Shutter Island

Not since the 1991 remake of Cape Fear has Scorsese tackled the psychological thriller genre. Shutter Island is nothing like that, but in a good way. This is new territory that resembles something that Frank Darabont would direct, but there is the trademark Scorsese gratuitous gore and over-the-top violent imagery. Shutter Island is arguably the most well-written book by one of Hollywood's current popular author-turned-screenwriters (Mystic River, Gone Baby Gone). It is a departure from his typical Boston crime drama motif, and delves into a period piece in a secluded mental institute for the criminally insane.

Set in 1954 on a remote island off the Massachusetts coast, Leo DiCaprio is US Marshal Teddy Daniels searching for a missing patient in a mysterious hospital shrouded in secrecy and intrigue. It is as suspenseful as it is mysterious, and evokes nostalgic cinematic emotions of other prison/mental institute films of the past.

Teddy is searching for a lost prisoner, and as the clues come together, there is a confluence of clarity and confusion that leads to the climactic revelation which makes the whole film chilling and memorable. It is truly an original and sinister story for which Lehane deserves kudos.

A great cast was assembled for this film starting with DiCaprio. I am a huge fan of anything he does, and his choice of films keep getting better and better. Ben Kingsley and Max Von Sydow play the doctors at the institute, and Emily Mortimer shines as the missing patient, Rachel Solando. Although the cast is well-placed, the story is the true star. Well-timed musical placement and jumpy scare tactics make this as much Alfred Hitchcock as it is 21st century psycho-drama.

Having read the book a few summers ago, I have been excited about the prospect of the adaptation for some time. After learning of Scorsese and DiCaprio's attachment, even more so. This film did not disappoint at all. Staying true to the important elements of the original story and highlighting every moment that stands out starkly from reading the book, my hat is off to the creative team that transitioned the book to screen almost perfectly. No easy task with the demands of fickle moviegoers.

I have a feeling that this film will be widely successful at the box office, and although there may be some naysayers decrying the ending, I for one was not disappointed in the least. My only qualm is having known the outcome prior to seeing the film. It seemed that the probable ending was tipped a little early. I would like to see audience response of someone who hadn't read the book, but either way it is worth watching.

There are some heavy themes,and some haunting visual imagery, but it is important to maintain the authenticity of the setting and genre. I enjoyed it quite a bit, but I may be biased as I have an affinity for the director, actor, and story. Best movie of 2010 so far. 8/10.

Crazy Heart

Jeff Bridges, in the role that will certainly go down as his greatest in a long line of characters, plays Bad Blake, a washed up, alcoholic country star struggling with the impending twilight of his career.

The role has won critical acclaim and Bridges has been nominated, and won scores of awards. The film is essentially a combination of the Wrestler and Walk the Line, with a dash of Leaving Las Vegas. The surprise for me was how little of a role that alcoholism plays in the film. Bridges does well, but the story lacks the tragedy required of a film with this tone.

The film is good, and there is ample levity to make it less of a sob story, and more of a realistic fictional character study. Maggie Gyllenhall is a good choice as the younger love interest, and Robert Duvall plays the older mentor with his typical natural charm, but actually, it is Collin Farrell who makes the biggest impact in a relatively small role as Tommy Sweet, Blake's protege who tries to help rejuvenate his dwindling career, much to Blake's chagrin. Farrell has a great country singing voice that makes Bridges' weak, pitchy one pale in comparison.

I liked the character played by Bridges, but the singing angle is unbelievable. The songs are catchy and generic and there is a surefire Oscar for "The Weary Kind" but the songs also have that old country simplicity that bring an upbeat quality to the film.

Whether Bridges will win an Oscar depends entirely on the Academy. They tend to reward haggard, hard drinking, hard smoking, graying stubbled actors. I think that he will win his first in five nominations. The film doesn't resonate as anything more than an entertaining flick with some good music, and an unexpected happy ending, but it is worth watching. 7/10.

Golden Globe and SAG analysis

The Hollywood Foreign Press and the Screen Actor's Guild have spoken, and they lend some surprising clues toward who may win the Oscars come March.

First, the awards that were both anticipated, and uncontested. Avatar for Best Picture and Cameron for Best Director. These will undoubtedly be repeated at the big show. Not that it is the best story, or even maybe film of the year, but the fact remains that 15 years in the making, revolutionary film making technology, and the potential to be the first film ever to gross 2 billion dollars worldwide are worthy of recognition. It is an achievement never before seen, and it will win all technical awards as well. The Hurt Locker, Inglourious Basterds, and Up in the Air were exceptionally well-made and entertaining films, but they lack the momentum and buzz of Avatar.

Christoph Waltz and Mo'Nique for Supporting Actor and Actress. Waltz was incredible in Inglourious Basterds, and although I haven't seen Precious, the ladies from Up in the Air will hurt each other's chances to win. Nine is too weak of a film, and the fifth nomination is yet to be determined.

Jeff Bridges has cleaned up the major awards with his come from nowhere film Crazy Heart. I see this as the equivalent of last year's Wrestler, which probably should have won Mickey Rourke the Oscar. It was a small film, and there were some skeptics, but Bridges has more recognition and has proven his acting value with four previous nominations. He should win over Clooney and Renner, although both of them deserve the recognition for brilliant performances and have added an array of critics prizes over the past month or two.

Sandra Bullock is the big surprise for me. She has received none of the best acting awards except for the Golden Globe and the SAG. She wasn't on my radar, and I think it is more unlikely that she will lose the Oscar in a relative upset. Sidibe, Mulligan, and Streep all are more viable candidates in my opinion. I wouldn't be at all surprised if Meryl Streep wins her 3rd Oscar in her 16th nomination. (Not a typo - 16th Oscar nomination). This would put her in the elite company of Ingrid Bergman, Walter Brennan, and Jack Nicholson. Only Katherine Hepburn has won more acting Oscars (4). Streep may tie or beat that before her career is over.

Up in the Air seems to be a lock for Adapted Screenplay. The category is weak, and it was one of the best films of the year. Loved by critics (and myself), it stands out like a sore thumb.

Inglourious Basterds should win Original Screenplay. It is fresh, creative, and has the Tarantino touch. The only possibly competitors are Avatar for obvious reasons, or the Hurt Locker. I would be happy if any of the three win the prize, although Avatar is too visual and not substantive enough to truly deserve it.

Those are the categories worth singling out. Check back in the next couple of months, and see how accurate my predictions are.

Book of Eli

Denzel Washington takes on the post-apocalyptic nightmare in the Hughes' brothers' fifth film (and they really haven't impressed since Menace II Society), the first in almost a decade. This time around, they clash a spiritual theme with a more secular and violent delivery. Interesting, right? If done right, the answer might be yes.

Washington plays Eli, a lone wanderer protecting the last remaining bible on earth while making his way to the West through wastelands and Mad Max inspired characters. We have seen this paradigm before. Good guy walks into trouble, finds a head honcho baddie, and leaves a trail of havoc in his wake. The problem with this type of model is that the bad guy generally is not believable as the mastermind and muscle. In this case, it is Gary Oldman, who returns to his Fifth Element mantra as a loud and verbally abusive boss. Only thing is, he appears weak and ineffective when lined up with his rugged and ruthless henchmen.

Throwing another wrench in the mix is Mila Kunis. She is a gorgeous young actress with an annoying voice and little talent beyond her looks. The antithesis of the type of girl you would see in this horrible dystopian future, she sticks out like a sore thumb.

Washington salvages the acting however, although dialogue is not a focal point. Instead, a bleak landscape with impressive sets and slow-motion camera shots are more the star. Long lulls interspersed with short pockets of action are not enough to keep the film afloat. Washington's talent is misused in this film as well, as there is little action, little dialogue, and little story.

The ending, although not as predictable as it could have been, is a cop out in the context of the story. The religious holier-than-thou message is misguided and a bit condescending. The Hughes' should have spent a little more time with the frenetic fight scenes. They are laden with great camera shots and good choreography, but they are ultimately flaccid and unsatisfying.

Much more uplifting and hopeful of a theme than last year's The Road, but I think the post-apocalyptic film genre needs a little break and revamping before it resurrects the Road Warrior. There are just so many times you can root for one man in the face of adversity, especially when there is no justice or real endgame. Denzel took a leap of faith with this role, and although the box office may prove otherwise, it is just not very good.

Interesting idea, but falls flat. 6/10.

10 Must See Movies of 2009

After reading Stephen King's list in Entertainment Weekly, I thought I would publish my own list of the 10 movies that you absolutely must see from 2009. These films range from comedy to action, drama to sci-fi. Some are mainstream blockbusters, and some are more obscure. Without further ado, the 10 movies you absolutely must see from 2009.

10. The Informant!

Matt Damon showing comedic range as a corporate whistle blower in this piece of non-fiction. Soderbergh does a fantastic job with the levity of satire while maintaining the integrity of what is ultimately a seriously entertaining film.

9. Moon

Sam Rockwell as a solitary miner on the moon. Far and away the most original piece of science fiction this year, a great simple story with a haunting conclusion.

8. A Serious Man

The Coen brothers continue to etch their place in cinematic history with another plot that is little more than prolonged dialogue and quirky characters.

7. District 9

Amazing film for the budget. Timeless racial overtones and international flavor combined with futuristic weaponry and aliens. A recipe for pure entertainment.

6. The Hangover

By far the funniest film of the year. The trio of Zach Galifianakis, Bradley Cooper and Ed Helms complement each others' strengths and give birth to what is most likely going to become a trilogy or more. Unfathomable box office success and DVD sales, this movie has become one of the highest grossing comedies of all time. Galifianakis is emerging as a comic superstar.

5. Star Trek

A huge gamble in resurrecting an historic and fading franchise pays off with an injection of youth and coolness. Throw in new technology with great special effects and a director who blazes his own trail, and there is action galore.

4. Inglorious Basterds

Tarantino. His name is synonymous with wickedly clever screenplays, and tackling one of the most taboo film genres of the 20th century doesn't disappoint. His bold perspective makes for an epic cult classic in the making.

3. The Hurt Locker

Katherine Bigelow may take home the Oscar for direction, and Jeremy Renner leads a small but visceral cast in the edge-of-your-seat film of the year. Bomb defusing in an unforgiving war zone never seemed so real.

2. Avatar

The titanic 3D Imax extravaganza will resonate in the minds of cinemaphiles for years to come. Unlike anything ever seen before, this is the epitome of magical film entertainment. It will be a long time before something this monumental occurs again.

1. Up in the Air

Clooney will notch another Oscar for this light and airy dramedy. All around great, it manages to cause serious reflection on life, relationships, and the baggage that we all carry with us everyday. Jason Reitman will take home serious hardware before his career is finished.

Youth in Revolt

Quirky and awkward. Aloof and dispassionate. Michael Cera has the market cornered for dry, sardonic teen humor. His latest pits him as a lovestruck kid from a dysfunctional family who finds himself doing abhorrent things to impress the girl of his dreams.

The premise may pique some interest, but the delivery leaves much to be desired. Cera is Nick Twisp, a teen who has too sharp of a wit, and too broad a vocabulary to be taken seriously. His mother is a slut living off of his child support payments, and his father is chasing twenty-somethings. Nick leads a miserable existence, and worst of all, he is a virgin.

After realizing that women fall for bad boys (how unique), he creates an alter-ego named Francois Dillinger. What contributes to the comedic failure of the film is how Dillinger is not given the opportunity to let loose. His deadpan confidence is amusing, but his dialogue is shortened in contrast with Twisp's nerdy, voice-cracking mumblings.

The film attempts to capitalize on the success of American Pie, Superbad, and the other teen romp-comedies of the past ten years, but does so in an original way, which is frankly not very funny. Cera has a natural humor about him, but with the exception of a few good lines, the film falls flat.

Miguel Arteta, the director has been directing TV for the past decade, but this is his first high profile film. The attempt is valiant, but falls flat. Some of the humor is crude and ill-timed (I know - am I getting old, or what?).

Cera's acting talent is being wasted on typecast roles. I would love to see him take on something more seriously, which he dabbled in with Nick and Nora's Infinite Playlist, and Juno. He will be around for a long time (only 21), but I am waiting for the leap to more adult roles.

The supporting cast is mostly disappointing; Steve Buscemi, Zach Galifianakis, Ray Liotta, Fred Willard, and Justin Long all have limitless potential, but every one of them were given mediocre at best roles.

Forgettable story, brief pockets of humor, but otherwise terrible. 5/10.