Movie Review - Milk

There are few actors that have the abilities of Sean Penn. There are also few that are as polarizing. While many may be turned off by his political views, there is no doubt that Penn is one of the premier actors working in Hollywood today, and as Harvey Milk in Gus Van Sant's "Milk" he delivers the best performance of his storied career. The film, nominated for 8 Oscars in 2008, is a stirring and uplifting look at the life of a man who did so much for his community and gays across the nation.

"Milk" charts the rise of Harvey Milk as the first openly gay man elected to political office. Milk realizes that, at age 40, he has done nothing special so, with the help of his lover Scott Smith (James Franco) he begins to campaign. As he tries over and over to gain the support of the public he is met with stiff resistance from the non-gay community. Even after he succeeds in being elected to public office he faces new challenges from the inside as he continues to put his life at risk to stand up for homosexuals across the country.

Van Sant has had an up and down career, with highlights such as "Good Will Hunting" and some lows like the ill-advised shot-for-shot "Psycho" remake. However, "Milk" finds him in top form. In what is the most mature film of his career, Van Sant's guiding hand not only lets Penn do what he does best but makes sure the movie doesn't stray too far in any direction. Some may see this film as a pro-gay rights film, and while it certainly sets Harvey Milk as a sort of hero it speaks more to the freedoms that all men have and the need to stand up for what we believe in. Benefiting greatly from a personal screenplay by Dustin Lance Black, meticulous editing that blends real footage with what's being played out on screen, and an operatic score by Danny Elfman the film soars in its vision and engages the audience while keeping bias out of the picture.

The film is riddled with excellent performances, but none as great as the lead. Sean Penn fully embodies Harvey Milk: his strength, his doubts, his passion, his playfulness. In a terrifically nuanced performance Penn creates a completely sympathetic character, one the audience finds themselves cheering for and believing in as he gives his all for a cause that is at the core of his being. His Oscar win was well deserved. The support Penn recieves is excellent, starting with Emile Hirsch as the fiesty, determined Cleve Jones and trickling on down to Diego Luna and Franco. However, the best support comes from Oscar-nominated Josh Brolin as Dan White, a man who does not know how to deal with Milk and his homosexuality and in the end lets ignorance get the best of him. His work is at the same time depressing, tragic, and at times even sympathetic.

While it was unable to win Best Picture (that honor went to the Cinderella story that was "Slumdog Millionaire"), "Milk" is one of the best films of 2008 and may have taken the top prize had it not been for "Slumdog" (which deserved its win). Anchored by one of the best performances of the decade as well as top notch production from all involved "Milk" is a triumph of the human spirit and deserves to be seen for its message of how to persevere in the face of persecution.

Movie Review - Avatar

What can I say about "Avatar" that hasn't already been said? From the $250+ million budget to the ten years of work that director James Cameron put into his new epic, "Avatar" entered film lore before it even opened. But when it did come out, all of the hype was met with positive reviews. I was a little bit skeptical that a film that was made with such a heavy reliance on special effects would be able to stand as a great film. Upon seeing it, I can say that "Avatar" is one of the best films of the year.

The story of "Avatar" begins with Jake Sully (Sam Worthington), a Marine who has been paralyzed from the waist down. When his twin brother dies, Jake takes his place as one of the members of a scientific team that is being used to diplomatically deal with the Na'vi, the large blue-skinned peaceful people of Pandora. He becomes an operator of his own Avatar, a genetically engineered Na'vi-human hybrid controlled by genetically matched human operators. As Jake becomes accepted into the Na'vi and falls in love with Neytiri (Zoe Saldana), the humans decide that military force is necessary in order to move the Na'vi and claim what they came to Pandora for: unobtanium. However, when Jake, who was initially sent in to give the military information on the Na'vi, chooses to help the Na'vi instead and the war for Pandora begins.

The special effects of "Avatar" are what everyone wanted to see, and they are no disappointment. They world of Pandora is easily the most realized film world since Middle-Earth was re-created in "The Lord of the Rings" trilogy. The difference in the case of "Avatar" is that not only are the creatures and the environment computerized but so are the inhabitants. The Na'vi are the most technically amazing creatures to be seen on film since LOTR's Gollum. Once the world of Pandora is revealed to the audience there is no going back. You are entered into a vision a decade in the making that has been brought beautifully to life by a master filmmaker. This is where the power of the film truly lies. One of the great functions of film is that it can engulf you in a world that can be totally different from our own and yet be so real. Pandora is such a place. By the time the film concludes there is no question that Cameron has succeeded in completely engaging the audience and emotionally investing them in this fantasy realm.

The rest of the film seems almost secondary to the astonishing visual effects, but CGI alone can't create a great film. Admittedly the weakest part of "Avatar" is the story. It has a few cliches which at times can detract from the greatness around it. However, these are overcome by the involving world in which they take place. The acting serves the film well, even if the screen time for the actual actors is at times outweighed by their animated counterparts. The cinematography is excellent, the score is wonderfully affecting, and the editing is pitch-perfect, especially in the film's stunning climax.

The wait for "Avatar" is over, and I can easily say that it is worth the wait. With special effects and CGI the likes of which we have never seen and direction that can only be expected from a skilled filmmaker like Cameron the film soars into the ranks of best films to come out in 2009. A trip to Pandora is a must for all movie lovers, because once there you too will see just how real of a world Cameron has created.

Movie Review - Sherlock Holmes

The story of Sherlock Holmes is legendary. He is known throughout the world for his unorthodox brilliance and captivating presence. So when news hit that Guy Ritchie was going to direct a new film about the world's most famous detective, you had to wonder if the former Mr. Madonna would be up to the task. After seeing "Sherlock Holmes", I am pleased to say he certainly was.

The story finds Holmes (Robert Downey, Jr.) several months after his last case. He is disheveled and unruly, and his partner Dr. Watson (Jude Law) is leaving their home to be with his fiance. However, Holmes is thrown back in the game when Lord Blackwood (Mark Strong), a mysterious and powerful man with ties to the occult, rises from the dead. With the help of Holmes' old flame Irene Adler (Rachel McAdams), the two team up once again to take on a foe who seems to have magic on his side.

Purists may cry foul when seeing the legendary Sherlock Holmes become an intelligent version of an action hero in the new Guy Ritchie movie, but Ritchie has done an excellent job of keeping his visual fast-paced style while also including the intelligence and mystery that has become second nature to any Holmes story. In fact, the blending of this intelligence and action is what makes this film stand above the typical blockbuster fare. Several times during the film we are given a look inside Holmes' head, seeing the next several moves he will make. This visual style works to great effect as it engages the audience in the method behind the brilliance.

I don't think anyone could have more perfect for the role of Sherlock Holmes than Robert Downey, Jr. His roguish charm has helped re-endear himself to the public through films such as "Iron Man", and in "Sherlock Holmes" he is no different. Downey, Jr. is both tough and intelligent, and his mannerisms are spot on. As Dr. Watson Jude Law brings a rationality that is matched by his loyalty to Holmes. He knows that a more stable life is waiting for him, but he follows Holmes into adventure and danger with a reluctant loyalty that in the end is never second guessed. The chemistry between Downey, Jr. and Law is impeccable. Strong is frighteningly effective as the evil Lord Blackwood, while McAdams is fine as Holmes' love interest.

"Sherlock Holmes" is the type of film you would expect to see come out during the summer: it's got action, adventure, suspense, romance, and above all a high entertainment factor. That it came out on Christmas is a bit surprising, but the film is able to succeed during the heavy handed Oscar bait season by providing something that the Oscar hopefuls can be a little short on: pure fun.

Movie Review - Nine

When I first heard about the movie "Nine", I eagerly placed it atop the list of films I most wanted to see in 2009. And why shouldn't I? Directed by Rob Marshall, who struck Oscar gold with "Chicago". An A-list cast including 6 Oscar winners - Judi Dench, Penelope Cruz, Nicole Kidman, Marion Cotillard, Sophia Loren, and the always accountable Daniel Day-Lewis (whose turn in "There Will Be Blood" is my personal favorite performance in all of film). This movie has all of the parts to be a winner. A big winner. But after walking out of the theater I couldn't help but feel underwhelmed.

The plot centers on Italian director Guido Contini (Day-Lewis), who is experiencing a mid-life crisis as he prepares to start shooting his next film. His past few films have been flops and he has no script; better yet, he has no inspriation to start one. To make matters worse, Gudio has to juggle the many women in his life - his wife (Cotillard), his muse movie star (Kidman), his mistress (Cruz), an American reporter (Kate Hudson), and his deceased mother (Loren). Dealing with all of this at once, Guido is forced to discover what he truly wants and what he must do to get it.

My first problem with "Nine" has to do with most of the Oscar-winning cast. This is not to say that this is a poorly acted film; far from it, I felt that there were very few faults to be found with any of the performers. However, when you are given the actresses that Marshall has in this film it would be a crime to underuse them. Unfortunately that is what happens. The women in Guido's life come and go, with their impact seeming to fade upon their exits. It is true that dividing screen time among this many actresses is difficult, but the end result leaves something to be desired.

As I stated previously, the acting in this film is excellent. The film centers on Day-Lewis, and once again he is able to carry it. Guido is a man of charm but this charm is used to get him what he wants: an actress for a film, a mistress to sleep with, some more time while he works (or rather doesn't work) on his script. He is not a very likable character; in fact, he's pretty repulsive. Day-Lewis is able to show not only the ugly underbelly of the character but also the charm through which Guido seems to so many to be a brilliant man. It doesn't hurt that he can sing, too. Cotillard is the female standout. Her charcter is given the most emotion and what a job she does with it. Luisa is a woman who never sees her husband. He is always working or off with another woman and she's been hurt to the point of being fed up. As with every other actor in the film Cotillard sings quite well. Dench, Kidman, Hudson, and especially Cruz were all wonderful, but their lack of screen time was upsetting given their talents.

Another disappointing feature of "Nine" is its lack of emotional attachment to the audience and musical numbers that, while good, were not as memorable as some might wish for. I am a fan of Marshall's "Chicago", a movie that I found deserving of its Best Picture win in 2002 despite great competition. That film was filled great songs, but more importantly it had a story that fit well with these songs and ultimately rewarded the audience. "Nine" can't say that. The movie left me strangely emotionless, which, given the emotions that are running amok in Guido's life, is not a good sign. I was hoping for something that would last but instead was given a hectic look at the life of a man losing everything. Who's to blame? Not the cast, I would say. Maybe Marshall for direction that I found less than great. Maybe the screenwriters for a script that was lacking at times. Regardless, "Nine" is an ambitious film that, while good, comes up short of being what it should have been: great.

Movie Review - Inglorious Basterds

I've now seen Quentin Tarantino's newest film "Inglorious Basterds" twice, and I'll admit: I wasn't the biggest fan of it after my first viewing. I found it pretentious, overlong, and generally muddled. Upon seeing it a second time, however, my stance has softened. Though I'm reluctant to call it a masterpiece like some have done, it is a high quality film that packs both an artistic and entertaining punch.

There are two converging story lines in "Inglorious Basterds". The first follows Shoshana (Melanie Laurent), a French Jew forced into hiding by the Nazis, led by "Jew Hunter" Colonel Hans Landa (Christoph Waltz). Shoshana owns a cinema in which the German plan to show a new film, and all of the important Nazi leaders, Hitler included, will be in attendance. Meanwhile, Lieutenant Aldo Raine (Brad Pitt) and his group of Basterds are terrorizing Nazis in France. The two stories collide into a brilliantly violent ending.

When it comes to screenplays, Quentin Tarantino knows how to write a good one - he deservedly won an Oscar for "Pulp Fiction". "Inglorious Basterds" also has a fine script, but there is one problem: the film is oftentimes not in English. I understand why this is, and indeed it is a necessity. But this leads to the dialogue losing some of its shine, which is a shame because when Tarantino is writing it's time to take notice. The pacing of the film for me was a little slow, which lead to it's slightly overlong 2 hours and 33 minutes. The slow pace did work well at some points, however; the first chapter, "Once Upon a Time...In Nazi-Occupied France", is sheer brilliance. The tension created by Landa's meeting with the French farmer harkens back to Angel Eyes in "The Good, The Bad, and The Ugly" or Frank in "Once Upon a Time in the West". The cinematography is excellent ,the score is uniquely Tarantino-esque, and the direction is among the best seen this year.

The acting is a strong point in "Inglorious Basterds". Brad Pitt is hilarious as the tough Southern leader of the Basterds. His over the top accent and perfect comedic timing aid the film a great deal in terms of entertainment value. Melanie Laurent brings a fire to Shoshana to suggests she is not just a mere laday. Her reason to live is to see the downfall of the Third Reich, and when she gets the chance she shows just how tough she can be. Diane Kruger is splendid as the beautiful double agent Brigit Von Hammersmark. But the best acting of the film belongs to Christoph Waltz, who will be tough to beat come Oscar time. His Colonel Landa is just as equally a monster that Heath Ledger's Joker is, but instead of a crazed laugh full of chaos we get a delightfully pleasant smile with an undertone of evil. He is sly, clever and above all hard to resist, making him all the more dangerous. It is a sign of great acting when we come away impressed by the bad guy, and Waltz has absolutely given us just that: a villain we have no problem admiring.

Tarantino has always known how to tell a story, and how he tells it is almost as important as the subject material itself. Think of the structural brilliance of "Pulp Fiction" and "Reservoir Dogs". The man has an abundance of talent. While his newest film surely is fun to watch and is definitely well put-together, it is not a masterpiece. That being said, it is one of the best films of the year both in an awards-worthy and entertainment sense and should not be missed.

Movie Review - Kramer vs. Kramer

1979 is another year that the Oscar haters point to as another example of how the Academy is so often "wrong". Winning Best Picture that year was "Kramer vs. Kramer", a drama that tackled the heavy issue of divorce and custody battles. Also nominated that year was "Apocalypse Now", heralded as a classic and one of the greatest films ever made. While I also share that viewpoint about the latter, upon viewing the Best Picture winner I must say that "Kramer vs. Kramer", in its own right, is a well-made and very good film. Was it the better film? I don't think so. Did it deserve its trophies? Perhaps. Let's take a look.

"Kramer vs. Kramer" focuses on a family in disarray. Ted Kramer (Dustin Hoffman) is a workaholic. He has allowed his marriage to deteriorate because of his commitment to his job. Joanna Kramer (Meryl Streep) is his wife, dreaming of the freedom she had before marriage. Unable to be the stay-at-home mother any longer, she leaves Ted to take care of their 7 year old son Billy (Justin Henry). The father and son learn to adapt to their new situation and grow to love each other more than ever. However, Joanna comes back after 18 months and wants her son back. A custody battle ensues and Ted fights for the son he has come to love so much in the time since he became a single parent.

The acting is what carries the film, and the best acting job belongs to Dustin Hoffman. Far from his showiest role ("Midnight Cowboy" and "Rain Man" catch people's eyes a lot more), he becomes the Everyman whose life has been thrown in a completely different direction. He must learn to become a father to his son, and when Joanna comes back to claim Billy he must fight to keep everything he has gained. Hoffman is utterly convincing and sensational. We grow to love his character as he tries to do something he hasn't been: a real father. Streep is also excellent, but not on the level that Hoffman is. It doesn't help that she is absent for most of the movie, but when she is on screen there is no missing her. Jane Alexander as the family friend Margaret and especially Justin Henry as the son only add to the cast's wealth.

The screenplay, written by director Robert Benton, is excellent. Benton's direction is also top-notch. The topic at the time was far more controversial than it is now. Nonetheless, the film doesn't provide any answers, which in my opinion is the right was to present the issue. While the intent may have been to not pick sides for me it was far easier to root for Ted than for Joanna. This may be due to Hoffman's wonderful performance but it might have been better had the movie been a little more open.

While "Kramer vs. Kramer" may not be the most remembered film of 1979, it certainly was one of the best. Deserving of Best Picture? I believe so, just not against its competition. With Apocalypse Now" coming out that year I think they awarded the wrong film. But I'll leave that up to you to compare.

Movie Review - The Departed

Martin Scorsese has amassed an unmatched legacy in the pantheon of great film directors. Arguably the greatest living director, Scorsese has continued to churn out great films for four decades. The last film of his to hit the big screen, "The Departed", was the one that finally nabbed Scorsese his much coveted Oscar. And for good reason: it is one of the best movies of the past decade.

The film, a remake of Japan's "Infernal Affairs" trilogy, centers on the cat-and-mouse game between the Boston Police Department and the Irish Mob, run by the ruthless Frank Costello (Jack Nicholson). Costello plants a mole, Colin Sullivan (Matt Damon), in the SIU of the Boston PD. Meanwhile, Billy Costigan (Leonardo DiCaprio) is sent deep undercover in Costello's mob in hopes of ultimately bringing him down. The two rats are then instructed to find each other, leading to a stunning and violent conclusion for all involved.

Scorsese has always been a master storyteller, and "The Departed" is no exception, taking the claim as his most entertaining film to date. Under his expert hand the film rolls at a visceral pace. The editing is sublimely quick and hostile in the streets, but there is no loss of tender moments as well. These may be morally corrupt characters, but that doesn't make you invested in them. Once scene between Costigan and his psychiatrist stands out as a beautifully edited sequence of outer violence and inner pain. Like many Scorsese pictures, "The Departed" also boasts an excellent soundtrack. Howard Shore's light guitar melodies are mixed in with Scorsese's finest songs, with the customary Rolling Stones leading the way. Aided greatly by William Monaghan's Oscar-winning screenplay, "The Departed" is a genuine street movie that packs both an entertainment and narrative punch unmatched by most films.

"The Departed" is one of the best acted films of the decade. Boasting an A-list cast, Scorsese, as he has done numerous times in the past, gets the best out of all of his actors. Jack Nicholson may be accused of over-acting, but I disagree completely. Costello is devious, loopy, unpredictable, and most of all evil, and Nicholson has a ball playing him. Damon gives one of the best performances of his career as the morally ambiguous Sullivan, a man whose strong allegiance to Costello conflicts with his love to Madelyn (Vera Farmiga). Mark Wahlberg, the films only Oscar nominee for acting, is exceptional as the foul-mouthed, tough guy cop who steals every scene he's in. However, the best performance of the film is given by DiCaprio. Arguably his best performance, he gives Costigan a tough exterior surrounding a wounded and fragile center. He is a man who wants nothing more than his own identity but works day by day on a tightrope operating as someone else. His loneliness and isolation are devastating when compared to work he does for Costello. Had it not been for his excellent performance in "Blood Diamond" that same year this performance would have been a shoo-in for an Oscar nomination. Other performances by Ray Winstone, Alec Baldwin, and Martin Sheen only add to the spoil of riches that "The Departed" boasts.

"The Departed" is one of Scorsese's best - though his best is a toss-up between Raging Bull, Taxi Driver, and Goodfellas - and is a worthy entry into the acclaimed director's resume. It is a triumphant return to the streets where his now grandiose reputation was built. Don't miss this film: it is a true example of an artist at his best.

Movie Review - The Conversation

Lost amidst the greatness created by the release of both "The Godfather Part II" and "Chinatown" the same year, Francis Ford Coppola's "The Conversation" is an equally fascinating piece of cinema that showcases the dangers of surveillance and the threat to privacy, even if we are unaware of it. For this reason alone the film still finds a place in today's society. Not to mention that it is an excellent movie.

The film centers on Harry Caul (Gene Hackman), a surveillance expert assigned to a job involving two young people meeting in a park. Caul is the best in the business, but this comes with a price: his profession has stripped him of any true socialization. His secrets have become his life, and as such his connections have become limited. In the act of reviewing the tapes that he is reluctant to turn over to their intended party, Caul believes that the young people he taped may be in danger of being murdered. Increasingly paranoid, he does not give up the tapes until he himself is watched. However, he still fears for the safety of the couple due to a past event that still haunts him, and his growing paranoia culminates in the tense climax.

In a film where sound is a dominant theme, "The Conversation" contains a wonderfully constructed collection of sounds. Sound quality in the film is excellent, and there are many instances of Caul's surveillance equipment being heard as it would be if we were there ourselves reviewing the tapes. The tension created through superb editing adds more emphasis on the sounds we do hear. The phone ringingly mysteriously in Caul's apartment, the tapes rewinding furiously, songs being played in a park - all add to the life and ultimately increasing confusion that Caul must face on the job. The score, nothing more than a piano, is simple yet eerily disconcerting. It plays brilliantly to the isolation that we see Caul in during the beginning of the film, but adds to the sense that something may in fact be awry as the film progresses.

As for the editing, Coppola creates an atmosphere of tension brought upon by uncertainty. Like, Caul, we do not know the truth, and by prying deeper in the matter we begin to feel uncertain about whether things will end up OK. The camera work is well done, visually reminding us of the distance that Caul has put between himself and the people he refuses to get close to. The opening scene itself is a masterwork: slowly zooming in on a crowd in the park, we only see Caul minutes after the film has started, a small figure seemingly undifferentiated from any other, just as he wants to be.

The acting in the film is dominated by the central performance of Gene Hackman. Showing off the versatility that has garnered him the label of one of his generation's best actors, Hackman strips himself of the machismo that won him an Oscar three years prior for "The French Connection". He is quiet, secretive, and reluctant to let others in on his life. His strength comes from his work, and when that is thrown into question Hackman's paranoia and vulnerability are put on full display. It is an excellent bit of underplaying by a very talented actor.

"The Conversation" is a taut, intelligent thriller that leaves its viewers guessing both during and after the film. It is engaging and suspenseful and was rightly nominated for Best Picture in 1974. Definitely a film worth seeing.