The Savages

The Savages is a bleak, introspective look at the aging process in our society, and the physical and mental decline that ride along, unable to do anything to change the course. The impact on loved ones as well as estranged is significant, but the question is posed, "is this really how it's supposed to end?" So undignified and impersonal. Our culture has regressed into an age where the elderly are virtually put out to pasture in retirement homes, and the weight of the guilty children who are charged with selecting those final places of unrest is often an emotional mixture of confusion and helplessness.

Fortunately, there is levity thrown into the mix. Despite the serious subject matter, these two miserable siblings manage to come together one final time to choose a proper place for their dementia-plagued father to spend his final days. There isn't much else to say about the story, as this is a character study and social commentary of sorts regarding our treatment of the elderly, particularly our own families. Phillip Seymour Hoffman (when will he just go by Phil Hoffman?) and Laura Linney are perfectly cast as the siblings who reluctantly take on this necessary, but very uncomfortable task. They decide on a place near Hoffman's home in Buffalo, and are torn between their true feelings for the man and what they feel is their responsibility. Both are highly educated, self-absorbed neurotic losers who share their flaws to the viewer one at a time throughout the movie. The banter between the siblings is authentic in every way possible. From the conversations on the phone to the sad reality check in the parking lot. It is made clear from the start that this was not a happy home in which they lived. It is this detail that makes the story all the more stirring.

The performances strike a very personal chord, not because of any familial dysfunction, but because of the inevitable decisions that will have to be made someday, and the regret, guilt, and pain that are inherently associated with those looming decisions. Hoffman serves up a trifecta this year with his performances (Before the Devil Knows You're Dead, Charlie Wilson's War) and will undoubtedly see his name on the Oscar ballot in one role or another. The dialogue and writing is remarkable, but the direction and editing was not. It was a little unrefined and some of the angles were a frankly awkward. Tamara Jenkins (not to be confused with the Olympic kayaker from my high school class) is one to watch in the future (as a writer). No doubt there was a bit of her own life rolled into this story, but it was refreshing and thought-provoking. The cast didn't hurt this film at all either. Overall, 7/10.

Walk Hard

Aside from the gratuitous full frontal male nudity, and perhaps the unsettling machete fight scenes, this was a mildly entertaining movie with some gut busting sequences. Walk Hard follows Dewey Cox, a fictitious Johnny Cash doppleganger from his rural upbringing in 1940's Alabama to a present day lifetime achievement award concert. The story mirrors 2005's Walk the Line in many ways; from his brushes with musical legends to the drug abuse, to his unhappy and dysfunctional family life. The caveat is that this is a comedic story with original music, created by the guy who directed Knocked up and the 40 Year Old Virgin, and who has had his hands in every successful comedy over the past 2 years (as well as 2008's slated comedies). Judd Apatow was recently named the top entertainer of the year, and that honor is deserved. As a director, writer and producer, he is bringing stardom to his laundry list of friends, who each seem to be finding starring roles out of virtually nowhere.

The film brings to the screen a familiar theme of a rags to riches story with the speed bumps of fame and unhappiness, and it does it through John C. Reilly. One of the most recognizable and memorable supporting actors of the past 15 years, he finally gets to headline a film, and he brilliantly shows off his comedic chops. On display is also his performing ability, and voice. He sings the cheesy and lyrically riotous songs with a straight face, and makes you develop a soft spot for this character that is so over the top ridiculous and ignorant that it actually works. Had it been another actor, the intended effect of homage through comedy may have turned out to be more insulting. He deserves his Golden Globe nomination, but has stiff competition this year and may lose out to Depp or Hoffman.

What kept the film afloat for lack of a real story was the plethora of cameos. In a great scene taking place somewhere in India or Tibet, Jack Black, Paul Rudd, Jason Schwartzman and Justin Long play the Beatles and none are listed in the credits. Jenna Fischer plays the second wife of Cox (June Carter), and her performance is uplifting and proves that she can handle comedy with the big boys, and not just on television. Worthy of mention also is Tim Meadows, who has been out of the spotlight for quite some time, and although I've always kind of considered him a lightweight, he made for a delightful supporting character. Playing the drummer in Cox's band, he had some of the best lines of the movie, and his timing was right on.

Some of the jokes got a little old (the wrong son died!), and I wish that there was a little more musically, but all of the songs (performed) were original and captured the essence of Cox in the changing world of pop music. Heavily influenced by current trends, his sound shifts into the Bob Dylan, Punk, David Bowie and Brian Wilson forms of music, ultimately coming back to his Johnny Cash roots at the end. A good story, but there are some segments that slow down a bit too much. It would have benefited from more musical interludes and less of an attempt at pseudo-drama in the home-life. For the record, the song "Let's Duet" should have been nominated for the Golden Globe, not "Walk Hard". It is absolutely hilarious, full of double entendres and innuendo. If you're in a cheerful mood, this is a good movie, but you have to truly be in the mood for silliness. 7/10.

Aliens vs. Predator: Requiem

Let me preface the following by saying that I am a huge fan of the franchises, particularly Aliens. I got excited to see this flick when I first saw the preview back in October. However, with directors Ridley Scott, James Cameron and David Fincher creating the first three installments, it is hard if not impossible to fill those shoes with any relative success. Predator on the other hand is an interesting concept, but perhaps should have been retired after Arnold Schwarzenegger did the first movie. That said, the critical reviews that I've seen thus far are much too hard on the first-time directors. This genre is science-fiction, and yes, the special and visual effects and creatures themselves are the main characters. So, to say that inadequate character development occurred is a misnomer in that there isn't enough time in the day to develop the humans' characters who ultimately are going to be alien or predator fodder.

The story begins where the abysmal AVP left off, with a predator returning home on his spaceship only to have an alien burst through his chest. The hybrid predator/alien is far more convincing than in past films (Alien Resurrection = ruined the franchise) due to the subtlety of the anatomical differences. This alien of course kills the predators on board and causes the spaceship to crash back on earth, and while the facehuggers escape looking for new hosts, the baddest of the predators is called and sent to earth to clean up the mess.

Still with me? As this is occurring, we are given brief glimpses into concurrent story lines, none of which are all that interesting. It is the obligatory back story and critically panned character development, but really it's a "get to know the victims" sequence. The commendable thing about this is that there is no hero established from the start. Many different characters could be a survivor, although you could probably guess who makes it and who doesn't. There is a bit of nostalgia in what other critics call an homage, but I would call it conformity to the aliens paradigm. A young child, a strong woman, a man who has a sordid past, etc. I can't blame the directors for this, but overall there isn't too much of a concern for anyone's well-being.

Alien 3 was originally going to take place on earth, but the logistics and budget didn't fit very well, so they did the traditional desolate planet scenario. I found AVPR to be refreshing in its attempt. There wasn't a memorable sequence like there was in each of the other films; an elaborate build up for some gruesome or special-effects laden pay off. There also wasn't a lot of escape. The confrontations usually ended the way they would in reality, which is also unfortunately one of the downfalls of the film.

Where Alien and Aliens, and even Predator to some extent succeeded was in the lingering suspense. The knowledge that there is a terrible creature right around the corner, or lurking somewhere in the jungle. This film had virtually no suspense. Predictability prevailed, and with so many people running around and no real vested interest in their safety, it became a bloody gore-fest. This is the directors' specialty however, having been behind the scenes of many of the action films shot over the past decade. They beautifully maintained the integrity of the creatures' idiosyncrasies and personas, and all the while had some stunning visual sequences.

This was not a scary movie, or even a great movie, but it did deliver entertainment, which is seemingly more difficult than ever with the science-fiction genre. The bar has been raised so high that critics often forget the context in which the film has been made in the first place. Mission accomplished, I found it to be an enjoyable treat, and although there were some flaws (the Sheriff was terrible, and the townsfolk were a bunch of sheep) it was a fun trip. I would slide it somewhere between Predator 2 and Alien Resurrection on the all-time list for the franchise collaboration. I also have to give this one 2 ratings; one from the sci-fi fan boy that I am; 7/10 and one from the critic in me; 5/10. If you happen to be new to the franchise, see Alien and Aliens and you won't be disappointed.

Juno

Juno is a guilty pleasure of a black comedy with endearing characters and thoroughly entertaining dialogue. Ellen Page stars as the titular star, and she is just that. Occupying the screen for the majority of the film's run time, the 20 year old masterfully plays a 16 year old with an innocent lack of social grace. At times, the writing is a little above the level of a typical 16 year old, but it is brought back down every time by the serious subject matter and the quick scene cuts. I think what makes this film successful where others in the genre have failed is that it is witty and funny, but is done without farcical fanfare by staying true to the character and the story.

Juno finds herself pregnant after her first sexual experience with her BFF Paulie Bleaker (Michael Cera), an avid runner and tic-tac addict. The story follows her dilemma as she contemplates her options and she ultimately decides to give the baby up to a couple that has advertised in the local want-ads. Broken into trimesters, the film moves at a steady pace with no scene seeming out of place and although it is difficult to call the ending "happy", it ends realistically and satisfying.

The supporting cast is excellent, consisting of JK Simmons, Allison Janney, Jennifer Garner, Jason Bateman and Michael Cera. They all have memorable lines, most serving as comedic punchlines, and their cohesion is great. The centerpiece of the film is Juno however, and Page plays her with maturity rarely seen by an actress her age. Her deadpan deliveries and sharp tongue almost excuses her rude juvenile comments where others would be held accountable. Her talent is amplified by her youthful appearance, but that youthfulness fits perfectly into this particular story. She is entirely deserving of the barrage of awards she has already received, including the Golden Globe nomination, and potential Oscar nomination in a few months.

The story has a unique, different feel, keeping light and funny amidst such serious subject matter. There is a section in the middle that leads to a potential uncomfortable sub-plot, and the writer and director wisely avert that scenario. Otherwise, it is a great piece of work all around. Page will be around for a long time, and if you want more of the jail bait role, check her out in Hard Candy. It is an uncomfortable film, but well done. Michael Cera is another up and comer who has unlimited potential in the comedy department. As long as he chooses roles wisely, the sky is the limit. 8/10.

Atonement

Atonement is poised to do for James McAvoy what the Notebook did for Ryan Gosling. It is a sharply written and heart-wrenching love story set in late 1930's England that separates two lovers by deception, war and circumstance. The striking thing about the execution of the story on film is that for a period piece, it maintained a remarkably modern feel. Typically this would have a negative effect on the credibility of the movie, but for this particular story, it meshed well and gave it a somewhat more hip feel. Aside from that, the musical integration was unique in using a rhythmic typewriter sound as the young sister's theme music. Ironic because she is a writer and the tangled web of fate all begins with the imaginative mind of a young and naive girl.

Knightley plays the older sister who loses her lover due to a horrible misunderstanding that lands McAvoy in prison and subsequently in France as the British are beginning their fight with the Germans. The story then follows the three intertwining lives of the two sisters and McAvoy as they all cope with this life-shattering event. The story climaxes in a flash forward and a heartbreaking revelation that proves that the past can never be changed, and atonement is unfortunately an impossibility, no matter how repentant or remorseful one is.

The director captures the essence of the film with innuendo and scenes being replayed through varying character perspectives. The events leading up to the cataclysmic incident are innocent enough, and there are numerous single frame shots that seer images into the viewer's mind; works of moving art. The second act taking place in France takes a dark and bleak turn, showing much more war-related material than expected, but each character's involvement in the war is emblematic of the internal struggle and damage that they have experienced. That fateful evening was the end of innocence for all of them.

In the end, the film is wrapped up nicely in a manner reminiscent of the Notebook, but much less fulfilling. It is a tragedy of Shakespearean proportions, and the cast does an excellent job working together, conveying their stirring emotions with their eyes. The two actresses who played the younger sister carry much of the emotional burden of the film, but as a viewer, you can't help but feel the hopelessness and futility that McAvoy exudes. A particular scene five years later in which he confronts the younger sister, is charged with anger and resentment. She stole a life of happiness and love away from him and he displays that with the poise and confidence of a much more experienced actor.

Great story, well acted and directed with a unique and effective style. Definitely deserving of the many accolades and Golden Globe nominations. A love story, but much deeper than that. It truly explores the deep core of loss and regret, love and atonement. 8/10.

Charlie Wilson's War

This fascinating true story about a Texas legislator who finds himself behind one of the most successful covert wars in American history is witty and just humorous enough to suspend the thought of the gravity and repercussions of the ordeal. Wilson is a refreshingly honest and charismatic man, unapologetic for his many character flaws, which include alcoholism, womanizing and drug use. Despite these morally ambivalent traits, he finds a worthy cause and calls in favors and uses his baffling likability to align all of the necessary parties to make a lasting global difference, the result of which remains to be seen even today. His motivation of course, is the welfare of his constituents and a powerful woman who seems to be able to use her sex appeal to make Wilson do whatever she wants.

The characters seem sleazy and immoral on the surface, but Aaron Sorkin delivers a wonderful screenplay that masks the political heaviness with witty dialogue and great character portrayals. Hanks plays the part wonderfully, with just enough non-nonchalance to be believable. The summation of his debaucheries are shown through a lavish Vegas hot tub party with cocaine and strippers, an incident that follows him throughout the film, but one which he seems to care very little about. This side story has all of the earmarkings of modern day political scandal, with a very similar conclusion.

As he begins to find himself involved in the conflict between the former Soviet Union and Afghanistan, while coordinating allies Pakistan, Israel and Saudi Arabia, there is a visible sense of pride and accomplishment that is conveyed through Hanks' performance. Also visible is a sense of nostalgia or regret in the life that he has led. There is a stirring scene in which he calls Roberts drunk from his apartment late at night, and the tears stream down his face as they discuss their accomplishments. It is hard for the viewer not to forgive him for all of his miscalculated decisions as that one moment shows his true remorse and shame in the midst of doing something truly monumental.

Of the supporting cast, Hoffman brilliantly plays the CIA case worker who is displaced by his boss, so he decides to help Hanks out of boredom. It is the details in the performance that make it so authentic; The huge belly that conveys years of desk work in an unrewarding dark basement somewhere, the mustache and dark glasses that are so often intertwined with the world of cold war espionage, and the constant cup of coffee and cigarette that he's carrying around. He is a jaded, and misused resource of the government in the twilight of his career, and he finds a kinship with Wilson in their affinity for women and booze. The dialogue is executed with such subtle comedic timing, that his performance is deserving of an Oscar nomination at the very least.

Roberts on the other hand, shows little range as the wealthy Texas socialite with a peculiar interest in helping the Afghani cause. She is on screen for a total of maybe 12 minutes, and does little more than offer her trademark smirk and add some well-written lines to the conversation. Her performance was over-rated and she is not deserving of the accolades she is being bestowed (Golden Globes). Amy Adams on the other hand, plays Wilson's personal assistant with charm. You can sense disapproval of his lifestyle, but she is eager to please and lights up the room with her smile. The other assistants add another dimension to the film, consisting of four beautiful young women nicknamed "jailbait" by Wilson. They are the epitome of 1980's pre-workplace harassment and play the subservient administrative assistants in stereotypical fashion. It is another detail that makes the main character more likable or despicable.

Overall, I was impressed by the story more than anything else. It is fascinating to think that a nobody congressman can pull off such a large scale global effort with nothing more than the help of some of his "good old boy" contacts and some innovative thinking. What he accomplished changed the world forever, and it was terribly interesting to watch. Sorkin is the premier political screenwriter of this generation and his work should not go unnoticed. I enjoyed this film quite a bit. Great performances, particularly in the scenes between Hanks and Hoffman. The writing was top-notch and detail in direction and story were spot on. 8/10.

Enchanted

I saw this film a couple of weeks ago and just hadn't thought about doing a review, but the more I think about it, the more I think it deserves some critical acclaim. A lighthearted piece blending fairy tale with the harsh stereotype of the tough city of New York. Genre-bending, yet comical, this movie excels at self-deprecating humor. The actors for the most part do a fine job, and the cartoon intro really lightens the mood and makes for an enjoyable journey.

Amy Adams and James Marsden are the Cinderella/Snow White and Prince Valiant characters, and their naivetés and strange customs make them stick out like a sore thumb in the otherwise "normal" New York City. Patrick Dempsey is the cliche wealthy single father divorce lawyer who is in a moderately unhappy relationship. Kudos to Adams for convincingly playing the princess, singing to birds and making dresses out of window treatments while always maintaining an optimistic and ignorant smile. She makes the movie what it is, and without her, it would just be average fare.

The story lacks any real creativity except for the untraditional take on mixing media, which it does successfully. There is something refreshing about the cartoon sequences, they are done almost with excessive mocking of the fairy tale existence, and it makes the film work. The song and dance routines are not my cup of tea, but they are cute, and get the point across. The storyline doesn't stray far from what would be expected, and everyone of course lives happily ever after.

Adams deserves a nomination for this one, and I would say that it is a great family-friendly film worthy of checking out. 6/10.

I Am Legend

This interesting story about the last man on earth due to a global epidemic has some good and some bad. Contrary to the scathing reviews bestowed by local critics, it was a very entertaining film, and well done. The flaws reside mainly in some of the director's visions and liberties taken regarding the story originally written in 1954 by Richard Matheson. Cinematic interpretations have been attempted before, as this is the third remake, but this one delves into a darker, more sinister empty world, and it causes a sort of claustrophobic introspection, which is surely the intent.

Will Smith plays Robert Neville, who spends most of the film alone, walking or driving the barren streets of Manhattan with his trusty sidekick, a German Shepherd named Sam. Being a dog-lover, I thought the performance by the canine was fantastic, and an emotionally charged fight scene with the "dark seekers" (aka, the super-human mutant zombies) left me with a little lump in my throat. In the midst of his seemingly bleak existence of hunting, gathering, watching DVD's and pilfering canned goods and gas, he fortifies his townhouse each night at sundown so that the dark seekers can't infiltrate his life. Did I mention that they are susceptible to severe burns if they encounter ultra-violet light? And that Neville is a brilliant virologist and retired military officer? A perfect combination for someone trying to find the anti-virus.

The scenery is depressing, but accurate in a world of plant overgrowth and abandoned cars lining the streets. Neville has flashbacks in the form of nightly dreams (or nightmares) that paints the picture as to how he found himself in such a grim predicament. I appreciated the back story, and it adds a human touch to an otherwise characterless endeavor. Smith carries the film in the way that Hanks did with Castaway. He plays a believable poor soul on the brink of some sort of psychotic breakdown. However, he survives day to day, with the weight of the world resting squarely on his shoulders.

The dark seekers are hairless animals formerly known as people or dogs who seem to enjoy making lots of noise and baring their teeth. With the special and visual effects of recent films, I was quite a bit disappointed with the way they were presented, and with the continuity in that they are evolving over the course of the film enough to set a trap that Neville falls for, but they still bang their heads against doors and windows instead of opening them. They are scary from the isolated perspective, but they still just aren't convincing.

Overall, this was an entertaining movie that takes you down fantasy lane with the question "what would you do?" Smith does a great job, the Shepherd does even better, and ultimately there is some disappointment with the ending. I would recommend this for holiday entertainment, but don't expect anything more than some building suspense and a big letdown at the end. 6/10.