A Serious Man

The Coen Brothers are back with their latest about a Jewish Minnesotan in the 1960's. Only the Coens can take something so mundane and banal and turn it into an enthralling study of a single man's decline into an abyss of guilt and anguish.

Larry is a middle aged man at a crossroads in his life. The cleverly cast Michael Stuhlbarg portrays the math and physics professor anticipating tenure when his personal life is pulled out from under him with typical detailed Coen subplots. He of course has no idea that things are going poorly, and is forced to cope with problem after problem. The supporting characters are all Jewish, save the subtle neo-nazi neighbor, and there is a heavy theme of a man lost, finding his place in the confined world of his own life.

A Serious Man hearkens back to a simple time, a very linear and basic plot, and although not a great film by any stretch, it is a bearable and interesting piece with notable nuances indicative of the unique genre that has spawned out of the Coen's minds. Actors with uncharacteristically pronounced flaws or idiosyncratic tendencies. Settings and props that are quirky enough to cause notice. Prolonged scenes and awkward yet brilliant conversations.

I will religiously watch anything that the Coens create. Ever since No Country, I am a believer that they are true trailblazers in cinema in the way that Tarantino/Rodriguez and Cameron are, but the Coens hit a more visceral nerve in the viewer. They take ownership of their work. Writing, directing, editing, they do it all from start to finish.

The little things make this film great. The nervous tick in Larry's eye. The Gary Cole in Office Space-esque tenure committee chairman. The phone conversation with the subscription music clearing house. The slow walk of the receptionist down and back from the rabbi's office. All of these details are the trademark of the Coen Brothers, and although not a classic in their library, it is well done, down to the ambiguous and dissatisfying ending.

This one may not receive much critical acclaim besides the writing. Of course, with 10 Best Picture nominees this year, I wouldn't count this film out. Probably the 4th best film I've seen so far this year (Hurt Locker, Inglorious Basterds, the Informant) but there are a handful on the horizon that could easily knock it from its spot. Of course, it is the Coen Brothers...

I am looking forward to their next film, a 2010 remake of True Grit with Matt Damon, Josh Brolin and Jeff Bridges on board. They have been itching to tackle this project for some time and it looks like it will finally come to fruition. Like I said, they can do no wrong in my eyes, although I am disappointed that Cormac McCarthy's Blood Meridian fell from from Coens to Ridley Scott to Todd Field, and is taking so long to find it's way to the screen. It would have been gold (and probably still will be if ever shot).

The coming months are bringing only a handful of prospective Oscar candidates. For some reason it seems to be a down year for the Academy. Precious, Men who Stare at Goats, Up in the Air, the Road, the Messenger, Brothers, Nine, Invictus, Lovely Bones and Avatar are the only remaining films on my list, and many of those will certainly prove disappointing. My biggest disappointment is Shutter Island being pushed off to February. Oh well, Leo will have to wait for his Oscar another year.

A Serious Man: good, but not great. Definitely worth watching if you are a fan of the Coens. 8/10.

Paranormal Activity

Fight or Flight. This is the summary of the human condition in response to an adrenaline-inspiring external force. Let me begin by saying that this film is not all that it is hyped up to be. That said, it is extremely inventive and curious. For a film shot on a budget of $11,000, it will almost surely become one of the most profitable films of all time.

The premise is that two average people; a student and a day trader (convenient for the staying home all day angle) are noticing paranormal activity during the night. A pretty straight-forward back story of the girl having a history of haunting, and the psychic coming in to explain the difference between a ghost and a demon (thanks doc) builds tension over the course of about two weeks . The style is done as an almost exact replica of the Blair Witch Project only they are in a house instead of the woods. The characters are pretending to be authentic, and to make my movie going experience even better, upon conclusion, the girl behind me asks out loud "was that for real?" The answer to that is an obvious and resounding "no".

This film, along with Blair Witch and Cloverfield follows the pseudo-reality format, only the characters do not follow what a normal, real person would do in this situation. If there was creepy stuff going on in your house, to quote Eddie Murphy, you should "get out". Additionally, I would probably use lights as a demon deterrent and/or close the bedroom door maybe. I don't know, if the psychic said don't communicate or provoke, I might listen to him as well.

What works about this film is the ambitious semi-realism and the female lead, although she does resemble Pam from the Office just a little too much to take seriously. What doesn't work is how idiotic the male lead is. And that they don't take any discernible action to resolve their plight.

I went into this film with high hopes because of the hype and public response, but I was let down. There were certainly moments of heart-pounding tension, and it was the anticipation of something happening that made the film intriguing and scary. Frightening? No. Disturbing? A little. Watching things happen to people while they sleep is a fear that everyone can relate to. Helplessness and ignorance are scary concepts to deal with. However, if you leave the bedroom door open, you are kind of asking for it.

I liked this movie at times, but I couldn't get on board with half of the cast at all. The fact that they stayed in the house and continued their quest to figure out and solve these phenomena proved that they were not so hapless victims. 5/10.

The Informant!

Steven Soderbergh's latest film carries many of the same nuances that have put him in a class of his own in the decade since giving us the underrated Out of Sight. There is the familiar Section Eight production team headed by close friend George Clooney, and Matt Damon in the type of lead role that we haven't seen from him to this extent before. The hip, anti-establishment visual swagger is evident in the overdone yet subtle costumes, the ridiculously inappropriate musical accompaniment and the witty dialogue that paints a beautiful picture of bizarro corporate 90's Midwest life.

The Informant! is a lighthearted film that takes a massive corporate scandal and makes it seem almost secondary to the delusional egocentric behavior of biochemist VP of a corn company; Mark Whitacre, played by Damon. Damon drives the film's attitude with an extra 30 pounds, a perfectly meager mustache and a toupee to top it off.

The film works mostly because it doesn't take itself too seriously. It's like Erin Brockovich (also Soderbergh) or a Civil Action, but with a little bit of Coen Brothers style of speed and humor. The supporting cast is great - a handful of comedians fit the roles of FBI agents, corporate executives and attorneys with straight faces, allowing the absurdity of the story to take the brunt of comic relief. Mostly however, it is Damon who shines as an exponentially spiraling amount of trouble befalls a doofus with a legitimate mental illness.

This is one of the first great films of Oscar season, and Damon will almost certainly get his second Best Actor nomination to go with the Best Picture nod. Soderbergh bounces back to life as an A-list director in his first work of art since Traffic. The past few years have been spent cultivating his relationships with Damon, Clooney and Pitt with vehicles that look like about as much fun as a director can have, but he's back on track with some quality work now.

I would recommend this film strictly for its wit and timely sardonic depiction of the vice presidents and general asinine culture of modern day corporate America. Damon is fantastic as well. 8/10.

Extract

Mike Judge, the creator of Beavis and Butthead, King of the Hill, and Office Space forays back to the silver screen with a simple tale about an extract company owner (Bateman) who is dissatisfied with his marriage, and has to deal with incompetent and apathetic employees at work while trying to avoid a pending lawsuit that is stalling his attempt to sell the company.

Judge has a knack for portraying the everyman and puts a genuinely interesting and humorous spin on the plights that a monotonous life can concoct. Much in the spirit of Office Space, Bateman's character is likable and pathetic, and his interactions with the interesting individuals around him are pedestrian, but somehow captivating. A great placement of supporting characters JK Simmons, David Koechner, Ben Affleck and Kristin Wiig creates a mood of levity that I surmise is exactly what Judge was going for.

What makes this film work is the simplicity of the story and the slow, innocuous dialogue as well as the banality of the characters' lives. From Simmons calling all of the employees "Dingus" because he can't remember their names, to Affleck suggesting drugs as a remedy to all of Bateman's problems and Koechner simply pestering his neighbors with his painfully prolongued plea for them to attend a benefit with him. These are all conversations that we have had in our lives, so there is that element of connection that is often missing from contrived dialogue.

Jason Bateman is the most naturally gifted comedic actor in the business. From his days in Arrested Development to his bit parts as the scene-stealing cameo or supporting player, he is able to evoke laughter with a perfect sense of comedic timing and innuendo.

The film itself was not great however. Although funny at times, it did delve into the realm of inside jokes that Judge and his friends might appreciate a little more than the general audience. There was also the sub-plot (or perhaps the primary plot depending on perspective) of Bateman's sexual frustrations with his wife, Kristin Wiig. It seemed entirely unrealistic as the two shared a rapport and chemistry that could only be described as loving and sincere.

There were just too many things going on to appreciate the film for its originality and humor. The testicular accident was unnecessary. Mila Kunis, although funny and beautiful seemed an unnecessary distraction to the rest of the film, Brad the gigolo held far too much screen time, and Gene Simmons was absolutely awful as the dial-a-lawyer looking to capitalize on the accident.

In the end, this was an entertaining film because Bateman can do no wrong in my eyes. If you are expecting the iconic cult status of Office Space, you will be a little disappointed, as Judge will never be able to duplicate that gem. However, Extract is still a funny, light-hearted comedy that hits dead-on almost as much as it misses the mark. 7/10

Gamer

*Disclaimer* Any movie that has Marilyn Manson and Frank Sinatra on the same soundtrack should be avoided at all cost.

If the Running Man and Gladiator had a threesome with Blade Runner, and there was a child created, it would most certainly have ADHD and would be named Gamer. This is the most concise way that I can explain the train wreck that is Gerard Butler's latest pseudo-action flick.

Butler oozes testosterone as Kable, a death-row avatar being played in a real mortal combat game called Slayers that draws billions of fans in a mindless bloodthirsty pay-per-view frenzy. The inmates are implanted with nano-cortex technology or something like that, and they are immobilized from determining their own physical movements. The gamers then control them and try to work through obstacles and combat to reach a save point.

I am a fan of first-person shooter video games, but to substitute flesh and blood is just a little morbid. The idea on paper is kind of fascinating, but on the screen it is just a gratuitous mess of pointless violence.

There were times that I thought I was watching a Russell Crowe doppelganger, and the staging before battles was stolen from Gladiator point-blank. I was curious to see Michael C. Hall, as I am a big fan of his performance in Dexter, but he disappointed me as the billionaire creator of the hit game who supplanted Bill Gates as the richest man in the world. Likely? No - his Southern drawl depicts him as nothing more than a cute idiot. And his song and dance routine was as random as the Sims world that people were living and working in.

There were lingering questions after watching this film. Like why did the kid get to control Kable? There are about a dozen inmates per outing, and billions of viewers. How did those dozen get so lucky to actually control the guys? It was never even touched on. Maybe I was the only one in the audience thinking about that.

The other "big" name was Ludicris who was ludicrous as the revolutionary who hacked into the broadcasts to spread the moral high ground message. I have to say, I have no idea why he is in movies. Every single role he has played, he has disgraced the title of actor and made a mockery of film. The talentless rapper has no business being cast.

All in all, this film was a valiant effort to revive the futuristic sci-fi death-as-entertainment genre, but fell short with its scattered sub-plots and an overall lack of emotional connection. Butler's Kable is a hardcore warrior, but the wife and daughter angle just didn't leave me caring, and there was never a feeling like he was in danger because battle success was just so easy for him and his handler.

I like Gerard Butler, and he is a great potential action star. I think his intentions were great for this role, as the movie could have been cool. The story was original enough, but there were just too many elements that were disappointing; Overshadowing the others was definitely Michael C. Hall's performance.

Mediocre action, too much gratuitous violence and blood, and an ambitious failure of a delivery by hopefully last time directors of Crank and Crank 2, Taylor and Neveldine. 5/10.

Top 100 - 2009 Edition

As promised, here is my annual top 100 list, 2009 edition. There is a new number 1 as well as a few new additions that weren't on the 2008 edition. Comments, challenges and questions are welcome as always -

My list has different criteria than the AFI - I appreciate humor, originality, vision and a good old fashioned story. Acting, directing and cinematography also impact my decisions. In addition to the criteria listed above, this list also has some personal favorites that take me back to the awe and feeling of the cinematic magic that I felt when I first saw the film.

Without further ado - here it is from #1 - 100.

1. Dr. Strangelove
2. The Godfather
3. The Graduate
4. The Shawshank Redemption
5. Se7en
6. The Departed
7. Apocalypse Now
8. Patton
9. Aliens
10. A Clockwork Orange
11. It's a Wonderful Life
12. No Country for Old Men
13. American History X
14. One Flew Over the Cuckoo’s Nest
15. Citizen Kane
16. Casablanca
17. Saving Private Ryan
18. Brokeback Mountain
19. Braveheart
20. Taxi Driver
21. Forrest Gump
22. Schindler's List
23. Fargo
24. The Shining
25. Seven Samurai
26. The Exorcist
27. Pulp Fiction
28. Rear Window
29. The Sixth Sense
30. Scarface
31. Caddyshack
32. Raiders of the Lost Ark
33. Gladiator
34. Return of the Jedi
35. Annie Hall
36. The Apartment
37. Fast Times at Ridgemont High
38. Heat
39. Duck Soup
40. The Silence of the Lambs
41. Godfather 2
42. Cool Hand Luke
43. Rebel Without a Cause
44. Fight Club
45. LA Confidential
46. Dazed and Confused
47. Enter the Dragon
48. Raging Bull
49. American Beauty
50. Modern Times
51. Unforgiven
52. The Dark Knight
53. This is Spinal Tap
54. North by Northwest
55. 2001
56. M.A.S.H
57. Sin City
58. Tombstone
59. The Thing
60. Full Metal Jacket
61. Deer Hunter
62. Alien
63. Jaws
64. Rocky
65. Good Will Hunting
66. Mystic River
67. Glory
68. Bonnie and Clyde
69. The Fellowship Of The Ring
70. A History of Violence
71. Empire Strikes Back
72. To Kill A Mockingbird
73. Butch Cassidy and the Sundance Kid
74. Star Wars
75. The Big Lebowski
76. On the Waterfront
77. It Happened One Night
78. Vertigo
79. The French Connection
80. A Streetcar Named Desire
81. All Quiet on the Western Front
82. Boogie Nights
83. Training Day
84. American Graffiti
85. Dog Day Afternoon
86. High Noon
87. Psycho
88. Animal House
89. The Wall
90. Titanic
91. The Manchurian Candidate
92. E.T.
93. Primal Fear
94. Into the Wild
95. Return of the King
96. Platoon
97. Chinatown
98. Road to Perdition
99. A Christmas Story
100. The Matrix