Blue Valentine

In the midst of this tragic story is something poetic, almost inspiring. Like the old song goes, "Sometimes love just ain't enough."

Ryan Gosling and Michelle Williams give scorching performances in two parts, depicted throughout the films by flash backs and flash forwards. On the one hand, you have the young, optimistic, flirty lovers ready to take on the world, diving into a life together with reckless abandon. You can see from the get-go that the odds are stacked against them, but their love seems genuine.

On the other hand, you have the couple who has been together for four of five years, and the passion is dying. They are willing to do just about anything to salvage the last piece of their shared life, but even their child isn't enough to keep them together.

This is truly one of those films where most people will either skip altogether, or leave the theatre with a sense of disappointment and abject despondence. The gloom sucks the spirit out of you, and you truly need a couple of hours to decompress.

Gosling is one of my favorite actors around. He makes bold, independent choices and time after time delivers strong, heartfelt performances. There is an eye-raising film called "Crazy, Stupid, Love" coming up this summer which seems to be a comedy where Gosling plays opposite Steve Carell. Should be a good test of his range, although he has proven his ability time and time again.

Michelle Williams has flown under the radar for most of her long career, but her emotions just spew out onto the screen, on both ends of the spectrum. Her daring choices and fearless performances catapult her onto a short-list of dynamic actresses of her generation.

The catalyst is the chemistry. There is a natural feel to Dean and Cindy's relationship that captures the struggle of young lovers trapped in a cruel and merciless world. They fight like a real couple, and they kiss and make-up like a real couple.

The themes are too realistic and sordid to draw a crowd, so this film won't make much money, but that isn't the point. Both Gosling and Williams get an opportunity to hone their craft with yet another risky and rewarding performance. They should both receive Oscar nominations for their intrepid efforts.

I recommend this film for the stirring performances. The story, direction, and all else is just mediocre at best. It's all in all what I was expecting. 7/10.

The King's Speech

This biopic is more of a history lesson disguised as an inspirational story than anything else, but it is wonderfully done. King George VI came to power after the death of his father and the abdication of the throne by his less than patriotic brother. He was an established fixture of the Monarchy, with experience in the Royal Navy, and having versed himself in customs and responsibility. His one flaw, which is brilliantly portrayed in the film, was his speech impediment of stammering, which in turn caused a severe blow to his self-confidence.

Avoiding public speaking was King George's ultimate goal. The royal advisers knew of this ambition and obliged him when possible, but as England began to realize that avoiding Hitler and the war with Germany was impossible, they turned to their King for guidance and reassurance.

The film is gaining critical acclaim for Colin Firth's performance as the King, and I agree wholeheartedly, but Geoffrey Rush gives an equally impressive performance, and Helena Bonham Carter shirks the Tim Burton reputation nicely with an understated role as George's supportive wife.

Director Tom Hooper capitalizes on this compelling story by integrating just the right amount of humor through dialogue, and even camera work. Low angle shots, creating the perspective of someone who abhors speaking in front of anxiously awaiting crowds, and the well-timed uncomfortable pauses are just long enough to cause a bit of a squirm.

Integrated into this history lesson is a blossoming relationship between George and his speech therapist, Lionel Logue, played by Rush. His unorthodox methods, and direct, yet effective communication techniques lull his clients into a genuine trust and friendship that shows how passionate he is about his craft.

Firth demonstrates King George's sheer frustration at his impediment, and has given up hope that anyone can help him overcome this singular debilitating obstacle. The anxiety and self-consciousness consumes him, even as he works through Logue's exercises. He begins to believe in his therapist, and through his work and Logue's constant reassurance, he gains his own sense of hope.

The film maintains a positive tone throughout, and climaxes with a surprisingly intense crescendo of George's first speech as King; the declaration of war with Germany. The transformation of George from introverted Prince to regal King is subtle, but very noticeable. Firth makes the shift seamlessly, and leaves the viewer with the warm feeling that England is left in good hands.

Firth will win his first Oscar for his performance. There are so many layers to the character, and the speech impediment alone is worthy of accolades. Rush will add another Oscar nomination to his resume, and may very well win this year. I put him up against Christian Bale, and it is too close to call at this point.

The film, director, screenplay will all receive nominations as this is one of the more feel-good films to grace the Oscar ballot, and there is only so much negativity that can drive the awards ceremony. It's a great story of triumph over adversity, even if it is a relatively innocuous adversary.

Well acted and believable. Full of hope, tension, and genuine positivity and care by all of the performers. I liked this movie for the simplicity and the acting was absolutely wonderful. 9/10.