Rio (2011)

After being a little more than pleasantly surprised at how much I enjoyed Kung Fu Panda, and then adoring last year's How to Train Your Dragon even more than critically lauded Toy Story 3, it goes without saying that in my mind, Dreamworks has gone from being a factory of second-rate animated fare to a studio that could someday rival even the Grand Deity of Animation itself in terms of consistent quality (the "Grand Deity of Animation" being Pixar, of course). Dreamworks' latest effort, Rio, hasn't quite taken them to that point yet, but it's still a ridiculously enjoyable and lusciously vibrant romp.

The film follows Blu (Jesse Eisenberg), a rare blue macaw who lives in Minnesota with his owner,

Linda (Leslie Mann). When Blu is taken by ornithologist Tulio (Rodrigo Santoro) to Rio de Janeiro in order to mate with the fierce and independent Jewel (Anne Hathaway), he is promptly kidnapped by a group of bird smugglers. Thus, with the help of the other birds of Rio, Blu and Jewel must go on an adventure through the streets of Carnaval in order to escape and return to Linda and Tulio.

From the very first scene (an exhilarating musical number), the film takes full advantage of the resources that are at their disposal automatically from the plot - those being the gorgeous colors and delectable beats of Rio and of Carnaval. The score, helmed by John Powell (one of my favorite underrated film composers), is, needless to say, amazing - and the use of classic bossa nova is intelligent and perfect. And then there's the visual spectacle on display, one of reds, blues, oranges and yellows, put on display most effectively in the climax of the film, which takes place in a Carnaval Parade. It's in this aesthetic care that the film gets its most success.

Also, it's important to mention the quality of the voice acting on display. Though perhaps Rodrigo Santoro takes it too over the top, the rest of the cast is splendid. I'm a shameless Jesse Eisenberg fan, and I loved him here - he was neurotic, funny, and adorable. Anne Hathaway is, well, Anne Hathaway and what's better than that? And then there's Jemaine Clement, whose deliciously evil work as bad bird Nigel is made even better by a musical number that could have come straight out of "Flight of the Conchords".

As much as I wish awesome voice-overs and great aesthetics are enough to make a film succeed completely, they're not. Unfortunately, Rio suffers from an unspectacular screenplay. There's absolutely nothing wrong with it; it flows well, it's funny, and there are unexpected touches of heart here and there. But, it lacks the sparkle that everything else about the movie has, preventing the film as a whole from reaching the heights that it could have.

However, it's impossible not to enjoy Rio. It's cute, adorable, vibrant and totally entertaining. It may not have taken Dreamworks to a Pixar level (and it's certainly no How to Train Your Dragon) but it's still great fun for any age.

See it: if you like any of the actors involved, if you think Dreamworks has potential, if you like bossa nova, if you kind of want to feel like a kid again, if you've ever seen Black Orpheus.

Skip it: if you didn't like How to Train Your Dragon, if Jesse Eisenberg does nothing for you, if you're imperative to cuteness.

8/10

The Loved Ones (2009)

Teen-horror is a subgenre that seems to be synonymous with bad acting, poor plot development, and the mindless slaughter of a bunch of stupid and unlikable characters. Sean Byrne's film "The Loved Ones" could be considered a teen horror - it does revolve around a school dance - but it conforms to none of these parameters, succeeding rather brilliantly in its uniqueness.

The film's plot is relatively simple - Brent (Xavier Samuel), who was recently involved in a car crash that resulted in his father's death, turns down the invitation of a seemingly shy girl Lola (Robin McLeavy) to the school's end-of-the-year dance. Lola's daddy (John Brumpton) then kidnaps Brent, who them becomes a victim of horrendously violent and gruesome acts of torture at the hands of this macabre father-daughter team.

However, though the majority of the film's running time is occupied with grisly and painful-to-watch torture, it never descends into a gruesome conventional territory in its delivery. Lola, who seems to be the mastermind of the deadly acts, is a stunningly interesting character. Though she's repulsively evil, she's also extremely adorable, a feature that Robin McLeavy totally takes advantage of, with help from director Byrne, who dresses her up in a pink dress and paper crown and proudly shows her listening to a cutesy song whose lyrics declare "am I not pretty enough?".

McLeavy's performace is brilliantly wacky and off-kilter. It's such a unique piece of work that one would be hard pressed to find anything really like it - perhaps the closest character comparison would be "Misery's" Annie Wilkes, though McLeavy never tries or comes close to emulating her. Instead, she captivates the screen with an irascible and incomparable presence. It will be fascinating to see where she goes next.

The true accomplishment of the film, however, is Sean Byrne's daring and captivating directorial style. Unlike so many other horror movies who use a clicheed gritty and muted color palate, Byrne isn't afraid of utilizing color and lighting to create tension. For example, the disco ball which is ever present in the torture room is perfectly unsettling, as is the fact that the torture room is actually Lola's living room - a subtle detail that makes a huge difference. It's Byrne's unflinching vision that keeps the movie from falling too deep into unwatchable torture porn territory.

On the other hand, the film does occasionally fall into convention and like any good horror movie, it has its wee plot holes. Plus, the ending feels a bit abrupt - a cop-out that misses out on some potential profundity. However, the problems are so minor and inconsequential that they can easily be overlooked. The film is so successful - it draws you in, violently shakes you up, and never quite lets you go.

See it: If you're in the mood for a smart and bloody horror movie or you want to see a really indescribable female performance.

Skip it: If you're a bit squeamish. The movie is a cringe-fest! I literally had nightmares the night I watched it. This is not for the faint of heart.

8/10

Waste Land (2010)

The most wonderful thing about this Oscar-nominated documentary is its unapologetic simplicity. Without a word of narration, a single fancy graphic, or any flashy editing techniques, Lucy Walker's "Waste Land" allows its fascinating subject (artist Vik Muniz's project to create recyclable materials into art in the world's largest landfill, Jardim Gramacho) to speak for itself, which it does with remarkable intensity and integrity. The "pickers" that are interviewed are all so unique and interesting, each one with a different personality and story. The editing is subtle but marvelous, giving just enough spotlight to the stark images of the landfill, but also juxtaposing the beauty of the people and of Muniz's art. Sure, most of why this film succeeds is Muniz's project itself, but the film's simplicity allows the amazing story to truly shine. It may not be as wildly engrossing as "Exit Through the Gift Shop" or as factually important as "Inside Job", but "Waste Land" is still a beautiful and moving piece of documentary filmmaking that is certainly worth seeing.

8/10

Black Narcissus (1947)

I've decided that now that Oscar season is over and 2011 has officially not yet given me a single movie that I want to see, it's time to catch up on some classics. So, if you have any suggestions, please mention in the comments and I'll almost surely watch what you suggest. "Black Narcissus" is a rather fascinating film that survives mainly because of its gorgeous cinematography. The colors are planned so well it's almost as if the movie is one hour and forty minute long painting, and some shots are just so breathtaking it's unbearable. The fact that the entire thing was filmed on a backlot in London is stunning when you see shots like the nuns ringing the bell on the cliff, or the panoramic looks at the "Himalayas". For the most part the acting is quite fantastic - Deborah Kerr's icy, yet vulnerable performance is absorbing and exhilarating to watch, and Kathleen Byron is a whirlwind in her final scenes. The story is paced somewhat strangely - the climax is fantastic but the lead up to said climax doesn't necessarily make sense. The script could have used more narrative focus though it's not bad enough to detract majorly from the rest of the amazing things happening in this film.

8/10

I Am Love, and a Perspective on Perspective

I think it'd be fair to call Luca Guadagnino's film "I Am Love" one of the most critically hypeds of the year. On the internet at the very least, it seems as though everybody who watches it falls head-over-heels with it. So, by the time I finally got around to watching it, I already had this expectation - this idea in my mind that I was going to be simply blown away. As a consequence of this expectation, I also developed a tinge of unwarranted bitterness towards the film. Quite simply, though I was expecting to be blown away, I think a subconscious part of me wanted to dislike the movie, so I could emerge as one of its few detractors.

This is, probably, why it took me so long to really develop an opinion on the film. Immediately after watching, though I was enthralled by the closing scene, I was already formulating what I believed to be the negatives in my head. Of course, it wasn't very easy to think of negatives, but I managed to scrounge a few up - "the story was cliche," I thought, cynically. "Too much melodrama - it's a boring premise cloaked in pretty cinematography and acting." I further went on to think, "if it wasn't Italian, and if Tilda Swinton wasn't the lead, nobody would care."

But, something felt false about these assertions. Namely, the fact that in reality, I didn't actually believe my own "opinions". Instead of officially denouncing the film with a review, I decided to let it simmer, and like the food in the film, the more it did so, the tastier it seemed. The things I liked about the film began to emerge. Tilda Swinton was, as usual, fabulous, in a language that wasn't even her own. Her conflicted and complicated Emma was a brilliant creation.

Besides Tilda, there were other fantastic things about the film that kept nagging away at my more bitter side. That cinematography, that art direction, that score, that Alba Rohrwacher, that final scene - especially that final scene. I began to realize that perhaps, I loved the movie more than I initially allowed myself. The "cliche" story and the melodrama began to seem less and less like issues, and instead, things that allowed the romance to blossom from the film's own cinematic beauty. Even the particular plot point near the end that I once considered ridiculous seemed like a non-issue.

So here I am now, proclaiming that in fact, I find "I Am Love" to be a gorgeously crafted piece of cinema, a romance whose surface simplicity is in no way a hindrance. The characters are complicated, and interesting - the fact that the movie is able to feel so minimal is a testament to how masterfully it was directed. As I said above, Tilda Swinton, who gave my favorite female performance last year, does marvelous work which is to be expected. Alba Rohrwacher's

absolutely devastating final glance at the camera is probably one of the best shots of the year. It's a gorgeous film.

All that aside though - how much can reviews and, perhaps even a little bit of blogging-peer-pressure, affect our perspective of a film? I had to cross this wall that I'd built for myself in order to truly discover how I felt about "I Am Love" and I find it strange that I couldn't respond to my feelings directly. How do you cope with pre-watching buzz and expectations? Respond below, I find this to be a rather interesting and relevant topic for all of us who want to intelligently and personally watch and experience cinema.

Yay, Gosling! Nay, Gosling... (Two Short Reviews)

All Good Things: It's really disappointing when a concept with such high potential falls as flat as this one did. The real life story is fascinating and the cast looked to be truly intriguing, but due to the film's unfocused direction and tonally-confused screenplay, the entire film turns into a boring slog that goes completely nowhere and leaves you knowing less about the topic than you did before you watched it. However, while Gosling and Frank Langella were unable to come out of this film unscathed, Kirsten Dunst was quite the opposite - in fact, she did quite fantastic work, the likes of which could be the only redeeming thing about this movie. Dunst gives such subtle work and her arc was absolutely perfect. I do hope we see more of her soon, because she's proven here her worth, and this movie is perhaps worth watching to see her fantastic performance. Oh! By the way -

Kristen Wiig is hilarious. (5/10)

Blue Valentine: Despite what the critics will have you think, this film does have flaws, which I attribute in large part to its screenplay. The overall effect of the writing is perfect - the development of the relationship between Gosling and Williams is perfectly paced and bittersweet. However, some of the smaller units end up feeling slightly unnecessary and rambly. Of course, starting with this small complaint is to give too much emphasis to the negatives, which really pale in comparison to the wonderful things about this movie. Williams, who I love, may not be doing her best work here, but it is still a heartbreaking performance; and Gosling is simply stunning. He completely inhabits his character and the way he plays the very last scene is simply devastating. In reality, that last scene sealed the deal for me - what with the Grizzly Bear score and the fireworks and the...aghhh. It was just so moving. The film is truly an achievement, if not the masterpiece that some have called it. (8/10)

127 Hours (2010)

I think that one of the greatest testaments to the emotional power of this film is that I began sobbing about thirty seconds into the credits. Really, any film can make you cry with ease in the middle of it - just play some weepy strings and show an actor tearing up. It takes real skill to make a movie that affects one in such a way that even after the images on the screen are gone, the impact that they leave on a viewer can move one to tears. "127 Hours" is, then, one of the most powerful films I've seen all year. James Franco is so real, bending his natural charisma and charm and turning it into a powerfully layered realization of Aron Ralston. His eyes are so expressive, and considering that we rely on them to tell so much of the story, that's a great feature.

Not all of Danny Boyle's choices are necessarily convincing, but it's impossible to say that he doesn't take risks; and though some fail, others succeed with such gusto it's possible to overlook the others. The talk show scene, for example, was a directorial triumph made that much better by Franco. This sort of juxtaposition of jovial dialogue with the reality of a tense situation permeates the film and accentuates the suspense of every scene. Then there's the absolutely brilliant cinematography - just look at the way the colors start out so bright and then begin to lose their luster as the days pass and the situation becomes more hopeless. And then there's...that scene. Not gratuitous but still so, so effective. Perhaps the attempted message of society versus isolation isn't quite pulled off the way it wants to be, but as a complete unit this is a raw emotional experience, the likes of which I have not had in a very long time.

8/1o

Animal Kingdom (2010)

Everything you've heard about this film is true. In other words - Jacki Weaver is an absolute force of nature in this Australian family crime drama. Weaver's masterful juxtaposition of her character's corrupt intentions against her seemingly innocent and sweet persona is simply breathtaking to watch, and it's a performance that just keeps reminding you how great it is as the time goes by after you watch it. However, Jacki's brilliance also works against the film, since it seems to lilt a bit whenever she's not on screen. That is not to say, by any means, that the rest of the film is of poor quality - in fact, quite the opposite. It's a fine piece of cinema with a strong screenplay, good acting from the rest of the cast and subtle directorial choices that create masterful pathos. Though it may seem paradoxical, simply put, Jacki is so fantastic, so brilliant and so marvelous that even as good a film as "Animal Kingdom" is, it does not shine quite as brightly next to her.

8/10

Can we all just take a moment...

...to recognize the awesomeness that is Emma Stone?

Needless to say, I just finished watching "Easy A" and though this may just be that post-movie high, but allow me to just say how truly wonderful Emma was in the movie. Every little sarcastic eyebrow raise, every little snarky rhetorical remark, and every single faux-slutty strut that she took was so, so perfect and she injected so much into her character. As she began to go in too deep, we could see the subtlety of Olive's lies and how she was trying to be strong above it all.

Gosh, without Emma Stone "Easy A" would be nowhere near as good as it was. Though, that's not necessarily true because the supporting cast was quite good (the Tucci-Clarkson-Stone chemistry was irresistible) but let's be honest - Emma was just wonderful.

I know I'm always the last to the party but I just had to throw some confetti Emma's way nonetheless. ;)

Right now the movie is feeling about an 8, and a large part of that score is Stone. Loooooove

Chocolat (2000)

For some reason, I was under the impression that I was either going to hate or be extremely disinterested in this film (I really need to stop having so many preconceieved opinions!). But, I was neither bored nor angry at this lovely movie! It's got a very solid, well-paced and well-written screenplay, the score is lovely (I'm ranking this year later this week) and overall it's just a delicious little morsel of a film. Plus, those sequences with all that CHOCOLATE...I cannot resist it. Juliette Binoche's performance is really wonderful - it's vibrant and vigorous, yet she's not afraid to show the uglier sides of her character and it's just magical. Judi Dench had the perfect blend of sass and emotion. Overall, it's a fluffy and delicious movie that I thoroughly enjoyed.

8/10

Double Indemnity (1944)

There's this feeling that you get when you're watching an absolutely brilliant performance. It's not always possible to describe the aspects of the performance that make it great, but you know that it is simply because...it is. That's how I felt about Barbara Stanwyck's performance in the 1944 classic, "Double Indemnity", a film I'd known about for ages but just finally got to watching.

In the film, Fred MacMurray plays Walter Neff, an insurance agent who becomes enamored with a client's wife, Phyllis Dietrichson (Barbara Stanwyck). Phyllis expresses a mysterious interest in buying her husband accident insurance, and Walter, in an effort to woo Phyllis (who is unhappy in her marriage), encourages her to buy the policy and kill her husband. However, though the murder goes smoothly, things end up falling apart. The story is being narrated by Walter himself, who is recording his testimony in his boss's office.

"Double Indemnity" is a great noir that is, for the most part, extremely thrilling and entrancing. The story just wraps you in from the very beginning and the sharp dialogue keeps you going. Another great thing about the movie is that it perfectly balances the crime with the romance with the investigation to create a perfect piece of noir. As aforementioned, Stanwyck delivers a mind-blowingly good performance. She knows exactly how her character should change throughout the movie and does it perfectly - her mannerisms are impeccable and you can feel this woman through every scene she's in.

However, Stanwyck does such a wonderful job that the movie flounders a bit when she is not present (which is a surprisingly large chunk of time). Fred MacMurray gives a decent performance but he just doesn't elevate the material the way his co-star does, and even the exciting performance by Edward G. Robinson as Keyes couldn't make me stop wanting Barbara back.

Additionally, movies that utilize narration are always a little bit hit-or-miss with me. In this case, I was not completely convinced by it - it just didn't seem right that Neff would be describing his past two or so weeks in such grand detail especially (SPOILER ALERT) with his arm having been shot. Clunky narration like that is extremely bothersome at times. However, the ending did do a pretty good job of making up for it.

"Double Indemnity" is quite a thrilling piece of cinema, though in the end it didn't quite do as much for me emotionally as I thought it would. However, even though the film had its faults, Barbara Stanwyck gives an absolutely mesmerizing performance that should be considered one of the best of all time.

8/10
(so close to being a seven but Stanwyck was just too good for that)

Notes on a Scandal (2006)

People seem to love movies in which characters mentally unravel throughout the course of the plot. Movies like "Rebecca" and "Gaslight" and countless others, which revolve around paranoia and secrecy, thrive and are often called classics...and I agree! The human mind is a crazy place and films that deal with it are often quite brilliant, especially giving its actors a chance to shine. However, if not done perfectly, these films often come off as manipulative."Notes on a Scandal" works on both the best and worst levels of its genre.

"Scandal" revolves mainly around Barbara Covett (Judi Dench), an old and traditional teacher who keeps a diary that chronicles her lonely existence. She befriends a new, young art teacher, Sheba Hart (Cate Blanchett) and sees their friendship lasting forever. When Barbara finds Sheba is having an affair with a young student, she takes the opportunity to manipulate Sheba for her own gain. Things begin to grow tense and uncomfortable for Sheba and her family, as the secret between them becomes more and more lethal.

From the very beginning of the movie, we are drawn into Barbara Covett's psyche. She is a lonely woman, an extremely disturbed one, who seems to care nothing about people. It's implied that she is a lesbian, but it's never really clear if it's an emotional or physical lust that she has for Sheba. Either way, Dench wraps us in from the beginning and never lets us go, relentlessly toying with us. We hate her one minute, pity her the next - it's vicious, in the best of ways.

Cate Blanchett, in one of her most polarizing performances, I find absolutely brilliant. She displays the declining life of Sheba Hart so perfectly. Even when Sheba is making terrible decisions that we know are wrong we cannot help but root for her. The last scene between her and Dench, which many call too over the top, I find absolutely perfect. It's heart wrenching, terrifying, and ultimately saddening. Blanchett has been criticized for her histrionics but I find them justified...I really cannot imagine any better way to have done those scenes

Philip Glass's music just seals the deal on the tense atmosphere this film creates. It's frightening, scary, and just overbearing enough to make us feel uncomfortable. The writer and the director seem to know exactly what they want, and it's rewarding for the audience. The film is working as a thriller, a character study, and an acting showcase (for at least Dench and Blanchett) all at once, so well.

However, the movie is far from perfect. It's not a happy film but even so it sometimes feels overly manipulative. Also, some of the supporting cast was kind of weak. I just did not like the kid who played Sheba's young lover at all. I felt he was a bit boring and I cannot see why he was desirable to Sheba whatsoever. Also, you want over the top? The guy who played the principal in that scene with Dench. He was obviously having a lot of fun yelling all of his lines.

Nonetheless, though the movie isn't perfect, it's still quite fantastic and works so well on so many levels. Judi Dench and Cate Blanchett both give performances that I believe are possibly the best in their careers, the writing and music are tense, and it's all crafted quite marvelously. It's a horrifying movie that ultimately ends up being extremely sad.

8/10

Frost/Nixon (2008)

I had no idea this was going to be a mockumentary! That totally caught me by surprise...and despite my affectation for mocks, I felt like it was not the right decision for this movie. Unlike something like "District 9", this film didn't quite transition the documentary parts to the non-documentary parts too well. However, it's still impeccably written, so sharp and exciting. Nixon was portrayed so humanely that it was hard not to feel sorry for him. And the acting is phenomenal. I swear sparks were flying when Michael Sheen and Frank Langella were onscreen together! Yikes! And the supporting cast was fantastic as well...Rebecca Hall is always lovely and Sam Rockwell was stellar. So all in all, it's a thrilling and exciting movie that is brought down by its bizarre structure.

8/10

Bright Star (2009)

I finally watched it!!! "Bright Star" was such a hit on the blogosphere I felt like I was the only one who hadn't seen it. But thankfully, enough people recommended that I watch it and I had a major incentive to go ahead and finally do it.

So in case you didn't already know, "Bright Star" is the rather quiet story of a love affair that developed between the doomed poet John Keats (Ben Whishaw) and a fashionable young woman, Fanny Brawne (Abbie Cornish).

Really, one of the most surprising things about this movie was how quiet and subtle it was. I'm so used to period dramas where the guys are all prideful and proper all the time and all the girls are constantly screaming or crying about stuff. But no, this one was different - Keats is a frail hero, and Abbie is a strong girl. Their love is never gratuitous, the emotions never over the top, and instead, it's all presented so realistically and beautifully.

Obviously the biggest credit goes to Jane Campion's direction, and the absolutely wonderful performance by Abbie Cornish. She definitely deserved at least a nomination last year at the Oscars. And the little girl who played Toots...she was perfect. The cinematography is also gorgeous, and the costumes...oh my goodness! The costumes!!! They were phenomenal. At least Oscar had the eyeballs to nominate those.

Oh and the score was very, very pretty.

However, I will say that the story was not super compelling. It was highly wordy (though, the words were lovely) but not a lot happened between each sentence. Though...I was never really bored. I didn't mind the wordiness; those whispered conversations. Then again, I do feel the movie ended too abruptly.

I did not fall head over heels in love with the movie, but it was still an absolutely breathtaking film visually, and a refreshingly subtle diversion from the usual period film that I have grown accustomed to seeing. Great recommendation everyone! And now I don't feel like the only blogger who hasn't seen it.

8/10

Now just a bit more eye candy...

What did you think of Bright Star? I know you've all seen it! ;)

Now Playing: How to Train Your Dragon

"How to Train Your Dragon" is kind of an exciting movie for me, because...it was the first animated film I saw this year! And, the first of this new decade! I'm such an animation geek, I get excited about little things like this, but seriously, it's awesome.

Anyway! So, "Dragon" tells the story of an outcast, Hiccup (Jay Baruchel) who lives in a viking community of dragon killers. Hiccup however, being kind of a wimp, has never killed a dragon and dreams of the day when he will. However, when presented with the opportunity to do so, he finds compassion with the dragon and befriends it, and must save his village.

The plot is super basic and mildly cliche, but it totally worked nonetheless. The friendship between Hiccup and the dragon is so ridiculously cute it's just impossible not to love, and the dragon-flying scenes were just beautiful! I felt like I was on the back of the dragon, so free and in the air. It was really quite special.

I suppose the thing about this movie is...I almost feel sorry for it, because...it's really good, and it almost feels like Dreamworks was just kind of like..."OH! We have this dragon movie we have to release! Quick, get it finished and released ASAP, it can't conflict with Shrek 4!" Not because the movie necessarily shows it (even though perhaps with some more love it could have been even better) but that the entire presentation seemed a bit rushed.

Despite that, however, "How to Train Your Dragon" is a ridiculously enjoyable and lovable little movie, if not a bit trite. Definitely a fitting way to start the year/decade in animation and I highly recommend seeing it.

8/10

P.S. I did see this in 3D, and it was pretty good. I felt the 3D enhanced it for sure, but I'm sure it'd be fine in 2D as well.

The Secret of Kells (2009)

Mini review!!!

"Kells" was quite a mind blowing and refreshing little film. The animation was absolutely fantastic and the art was beautiful. There were times when it was so wonderful that my eyes were watering. I could go on and on about the impressive and beautiful sequences that made this movie absolutely wonderful. The music by Bruno Coulais was fantastic, as usual. And the story, while not particularly fantastic, was not as bad as people had been reporting! Anyway good for this movie for getting nominated at the Oscars, it really is a wonderful little gem. I really liked the movie, I suppose a 9 wouldn't be too high but I just don't think it was really substantial enough to merit it, unfortunately. I'm still working on my ratings! Haha. Anyway, if you get the chance to see this movie, DO IT!

8/10