Star Trek

The resurrected and reinvented Star Trek hits theatres today with a young, mostly unknown cast and a turbo-charged injection of JJ Abrams behind the camera. The story is sharp, but not dense. It takes the space-time continuum and quantum mechanics and delivers it in a way that us non-Trekkies can understand and appreciate. It also doesn't dwell on the specifics of the story as much as the novelty and the set-up for the next big action franchise.

The writers found the appropriate balance of homage to the original, and 2009 special effects laden action porn. Abrams continues to amaze me with his delivery of seamless visual effects and quality storylines. He is truly the George Lucas of the 21st century. This film shirks the stigma of the 70's and 80's renditions and goes straight into territory where no Star Trek has gone before - mainstream hipness.

The cast assembled could have been more convincing. I don't take issue with any of the choices, as none are A-list stars, but some of the supporters were odd choices - most particularly Scotty, Bones, Chekov and Sulu. They just didn't quite fit, even as a younger generation of themselves. Where the film struck gold was with the two leads. Kirk and Spock were both exceptional choices, and Chris Pine as Kirk opened doors for him that he probably never knew existed. He carries the role with confidence fitting of the man who dethrones Shatner. He is an underdog and a rebel, and is convincing as both.

As the story progresses, there is a distinct familiarity to the universe that the characters live in, and that creates some nostalgia, but there is also a very exciting and palpable freshness to it as well. This version is what Gene Roddenberry envisioned it would be like in the future. It is worthy of carrying on the Star Trek torch.

I would recommend this movie to Trek fans and film fans alike. It walks the line between a gratuitous sci-fi action film and a serious attempt at art. Nothing nerdy about it. This is the first great film of the year, and hopefully the hits will keep on coming. 9/10.

X-Men Origins: Wolverine

Marvel Studios continues its calculated rise as a bankable production company with the first and most fan-friendly of the X-Men spin offs: Wolverine. Hugh Jackman again dons the adamantium claws and the lumberjack muttonchops as we are shown the back story that led him to become one of the most beloved and feared superheroes in the comic book universe.

Much like last summer's Iron Man and the Hulk, Wolverine doesn't waste any time explaining the back story by the end of the opening credits. This pace is much appreciated, although it allows for more downtime midway through the film, which leads to a less than exciting climax. The thing that works in this model is the simplicity of the expectation of viewer knowledge. One can walk into Wolverine (or Iron Man, or Hulk) without any previous exposure to the story or characters, and not be left behind by inside jokes or complex character innuendo. This is a smashing success for the first 3 films, and I hope that they continue this trend.

The progression of Wolverine's life leads from his 19th century roots to the transition to the original X-Men film. Along the way he is teamed up with some of the brand's more popular characters who fill the voids in lives of many comic fanatics. There is a bit of predictability to the story, and many questions are answered, but more importantly there are some great action sequences along the way, and mutant superpowers are displayed throughout.

Jackman has the role down, and he clearly enjoys it as well. He is given a good deal of time to show off close-ups of the veins in his biceps and walk around either in a tank top or shirtless snarling like an animal. Liev Schreiber plays the half-brother, Victor with a convincing sense of resentment and social angst. With the exception of Danny Huston as Colonel Stryker, the other cast members seem a little too contrived and assembled for the purpose of low budget fan appeal.

I have to say overall that this film lacked much of the excitement and energy that was seen in Iron Man, and even the Hulk, but it still was entertaining, and an exciting start to the summer blockbuster parade. I am salivating over Star Trek, Terminator, Transformers and GI Joe, so we will see what the rest of 2009's popcorn season brings. 7/10.

Oscar 2009

The day is almost here, and there have been some very interesting nominations this year; some deserving, and some perhaps nominated out of some sense of transference. Here is my rundown of the best in the main 8 categories for Sunday:

Best Picture - the best film of the year was the Curious Case of Benjamin Button. I enjoyed Slumdog Millionaire, but the story was not epic or memorable enough (or the cast) to deserve a Best Picture statue. Benjamin Button was the culmination of Fincher's 15 years directing underrated and critically unrecognized films. He wins it this year for his body of work and what is undeniably the best film of 2008.

Best Director - Typically this award goes hand in hand with the Best Picture, and this year Fincher deserves it for his visionary and mind-blowing creation. I've followed his work since Alien 3 and his unique style should finally be recognized on Sunday.

Best Actor - This was a tough call for me, but Frank Langella edges out Rourke and Penn in the most deserving, yet unexpected award of the evening. His portrayal of Richard Nixon was riveting, and truly made Frost/Nixon a quality film. Ron Howard is A-list, but this one was overhyped and uninteresting without the lead.

Best Actress - Again, I had a hard time with this one, but I'm going with Kate Winslett for the Reader. In a surprise turn, she wasn't nominated for her best performance of the year (Revolutionary Road), but she has cranked out more Oscar worthy performances over the past decade than any other actress not to have won one. She wins on principle.

Best Supporting Actor - For the second year in a row, this is the most talent-loaded category of the evening. Heath Ledger wins, and it's not for a posthumous homage. He owns the screen in the Dark Knight, which was honestly snubbed for Best Picture and Director. I am glad Shannon was recognized - he is a name to watch in the future.

Best Supporting Actress - Undoubtedly the weakest category of the year. I can honestly see any of the five nominees receiving the award, although none of them delivered a truly remarkable performance. Most deserving is Taraji Henson, and I hope she wins. Her character had the most emotional investment in the film.

Best Original Screenplay - Milk. No contest, this was a great movie with an incredible production team, and the competition in this category demands a double take. Wall-E? In Bruges? Let's just give it to Milk now.

Best Adapted Screenplay - Slumdog Millionaire. This was a fantastic adaptation worthy of the award. It is this year's diamond in the rough, and will open the floodgates for international independent films to receive serious award consideration (which I have some issue with - there are foreign film categories for a reason).

We'll see how my picks do. Some are underdogs, but these are the truly deserving of the bunch. Stay tuned for an update on my success rate -

DD

Gran Torino

Clint Eastwood's latest has him portraying a crotchety curmudgeon of a war veteran living in a Hmong area of Detroit. Hardly a stretch for him considering his past body of work. Gran Torino had some potential, but the uncreative emotional manipulation that Eastwood has used in the past backfires here with a shallow story that is driven primarily by his gravelly voice and disapproving glare.

I have long admired the simplicity of Eastwood's creations - Million Dollar Baby, Unforgiven, even Mystic River (a little more complex than the others), but his formula for success hits a brick wall here as there is little more than clever insults that seem almost charming coming from the old man.

The family is almost comic relief, and although the film is good for a few laughs via good lines, it detracts entirely from the point of the film, and the deeper themes of morality, and the old Eastwood favorite - street justice.

The build-up is slow, although there is some enjoyment getting to know the old man who bides his time sitting on the porch smoking, chewing and drinking with his dog, just watching the neighbors and using antiquated racial insults.

The problem is that there is no real hook. Why is this bigot going out of his way to save the neighbor boy? Why does he care? Maybe it is some sense of lifelong regret or a need for atonement, but it doesn't fit with the rotten nature of his character, so it is a little unbelievable.

I enjoy Eastwood films for the most part, and this one makes a genuine attempt to tug at the heart strings, but the facade is transparent, and ineffective. I wouldn't expect to see any nominations for this one besides original song (which there are typically few enough to warrant absurd nominations). 6/10.

The Wrestler

There are typically very few redeeming qualities that make a viewer sympathetic to a miserable character. The Wrestler strikes the chord of one of those qualities and transforms a drug-addicted, trailer-living loser who has neglected his family and his financial responsibilities in favor of his passion and only true skill. Not unlike Rocky Balboa, he is a champion for the common man, but with less notoriety and support from family and friends. He is a lonely warrior in the decline of his life.

What makes him so endearing is both passion and generosity. He loves what he does - to the point that his body is a degenerating mass of muscle. Most people would have quit when the sheer weight of the punishment that they have taken cause painkiller addiction, constant aches and pain, hearing loss and constant agonized breathing that is shown so sincerely by Mickey Rourke. Despite a brief tenure at the top of his craft, he is a consummate professional; respectful to his fellow wrestlers, adoring of his fans, and great with the kids who live in his trailer park. His gentle nature is shown through his sad, pained eyes and his ragged beat-up body and face.

This would have been a terrible movie had anyone else been cast in the lead role. Rourke was born to play this role as he passes both physically and personally as a legitimate wrestler. The sadness and longing for the life he had while at the top of his game is clear through the entire film as he struggles to cope with his declining health, and attempts to reconcile with his estranged daughter.

The secondary story of his failed attempts to connect with a local stripper (Marissa Tomei) is yet another indicator of the irony in his character's nature. Through the surface appearance of a string of misguided and questionable decisions, at the heart of the matter, he is just a man in need of a friend.

The scenes where he confronts his daughter are the most emotionally poignant. The confluence of strong and weak is riveting and sincere without being overdone.

I don't think Darren Aronofsky knew what he was getting from Rourke when he was cast. The raw emotion, although subtle and natural, carries the film to the brink of greatness. This film is exceptionally acted by Rourke, but I do think that the small scale of the film, as well as the narrow target audience will prevent it from taking home any awards - with the exception of original song. There is something catchy and familiar about Springsteen's the Wrestler. Although unoriginal, it may bring home the gold. I would expect nominations for Rourke, as well as original screenplay, but Langella still owns the best performance of 2008.

Great film, and a comeback vehicle for Rourke. I loved him in Sin City, and am looking forward to his role as the villain in Iron Man 2. 3 Nominations and 1 win. 8/10.

Revolutionary Road

Revolutionary Road is an adaptation of the classic Richard Yates novel which follows the Wheelers; your average, starry-eyed suburban couple growing up in the 1950's, starting career and family. The tagline "how do you break free without breaking apart?" sums up the despondence and sense of hopelessness that bubbles to the surface - marring the picture perfect existence that they both admire and despise.

April and Frank, played by Kate Winslett and Leo DiCaprio respectively, embody the spirit of the characters intended by Yates. April finds herself raising two kids, keeping the home, and giving the appearance of a happy, young wife and mother. There is something missing however, and her struggle is to define and capture it. Frank is a rising star as a salesman for the company that his father toiled at for his entire career. He is finding comfort in the normalcy of his respectable place, yet realizes that there is something robotic and inhuman about his life.

Together, they begin to scrutinize the inane rules that dictate their silly lives, and hatch a plot to cash in their assets and move to Paris to experience life the way it was meant and the way that they have both always wanted. Met with disapproval by friends and neighbors, they begin to make preparations, but the old adage - "best laid plans" sums up the tragic turn of events that follow.

The story is depressing enough to discourage a large portion of the prospective audience - This film will turn off the Titanic faithful as much as Saving Private Ryan did for the Matt Damon crowd. The two of them are wonderful together. Their relationship is so natural that it seamlessly integrates the characters into the story and actually evokes some feelings of unease as the director is Winslett's real life husband (Sam Mendes).

Mendes has propelled himself to the A-list as a unique and premier filmmaker over the past decade with American Beauty (for which he won an Oscar), Road to Perdition, Jarhead, and now Revolutionary Road. His directorial style is subtle, and can really only be recognized during a few scenes - one in particular near the end of the film that brings chills just thinking about it.

The supporting cast is wonderfully complementary to the leads with the exception of Michael Shannon. He plays the son of the Wheeler's real estate agent who has been institutionalized, although holding a PhD in mathematics. The Wheeler's agent (Kathy Bates) brings him over for some much needed socialization, and he steals every scene he touches.

He plays crazy with such ease, that he has been type-cast over the years. This may have to do with his lack of Hollywood looks, but he is a great actor, and has been for years. The irony of his character is that the Wheelers see him as the only other person who sees the hypocrisy and hopelessness in society and the underpinnings of their bond borders on insanity itself.

I thoroughly enjoyed this film. The adaptation was represented more tastefully than it could have been, and the actors and director are fully in their elements. I do agree with some critics that the content of the film will prevent major awards from befalling any of them - with the exception of Winslett. She delivered the finest performance by an actress that I have seen this year, and her hard work and numerous nominations will finally pay off with this one. DiCaprio was equally as captivating, but this won't be his year. He deserves a nomination, but is up against too much competition to win. If he continues choosing great scripts and projects, he will be a multiple Oscar winner before his career is over.

Mendes adds to his already impressive resume, and is taking a turn to comedy in his next couple of projects. A little disappointing to me, but I'll let the work speak for itself. Expect nominations for the leads, and maybe a dark horse supporting actor nod for Shannon. Best Picture and Director are maybes at this point. I will put them in the nominated category on my ballot, but that doesn't count for much. 9/10.