Grade Scale
- A+: Never say never
- A: A masterpiece
- A-: A near-masterpiece
- B+: Very good movie
- B: Good movie but some minor flaws
- B-: Pretty good but some flaws
- C+: Slightly above average
- C: Average
- C-: Mediocre
- D: Bad movie!!!
- F: Atrocious, avoid at all cost!
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|  By Castor | 
Gifted with a charming smile and good looks, George Clooney has always been a very charismatic movie star. He probably will never be known to have great depth or range but over the years, he has turned into a fairly solid actor who plays a certain persona (himself?) extremely well. Here, in Up the Air, you will see nothing new from him but he infuses his character with so much persona that his performance looks effortless and completely genuine. Ryan Bingham (Clooney) makes a living doing a peculiar job. He travels all over the country to fire other companies’ people. Firing an employee can be a messy process, hence some companies outsource the entire process and Bingham’s company is a direct beneficiary of the current economic environment.
Bingham has been extremely busy, spending over 320 days of the year on the road, in hotels, airports and unfamiliar places all over the country. However, from the first instant of the film, you know that Bingham loves it. He revels in the anonymity of being a perpetual traveler, not having to deal with significant relationships and other anchors that keep most people’s lives stagnant. One of his personal dream is to close in on 10 million frequent flyer-miles just for the sake of being the seventh person ever to join that club. One day, he even gets to meet Alex (Vera Farmiga), a female version of himself and the two begin a “casual” relationship. For these reasons, he feels threatened, when one day, a young co-worker named Natalie Keener (Anna Kendrick) pushes a new plan to cut cost that will revolutionize the business and ground Bingham for good. Instead of having to travel all over the country, people like him will just fire people over the internet. Keener and Bingham end up going on the next assignment together so she gets to see the human connection behind the process.
Nominated for six Academy Awards, Jason Reitman’s Up in the Air is a tale that resonates close to home for the many people who have experienced the loss of a job in the current economic turmoil. Unfortunately, much like Bingham’s shallow persona, Up in the Air is a superficial movie that pretends to deal with a current issue but ends up giving it the phony “everything is fine” Hollywood message instead. It would have been much more interesting to see Reitman digging deeper into the dark undercurrent of the issues at hand. Go ask the millions of people who lost their job whether they are enjoying their “new beginning” or their chance to “build a new empire”. By far, the most touching moments were the montage of real people who lost their jobs but those are used sparingly here and there. In short, it just doesn’t feel genuine.
In terms of film-making however, Reitman’s movie effortlessly mixes some humor, satire, poignancy and relevancy. It gives a nice feel of the ins-and-out of corporate life and travel. Although it never really feels like a drama or a comedy, the film moves at a nice pace and remains mostly witty and entertaining throughout thanks to three good central performances. The characters are developed just enough to drive the plot and it is a credit to George Clooney’s appeal that this movie was such a critical and box office success. Some actors radiate charisma and Clooney is one of them. He is supported by two wonderful supporting performances: Anna Kendrick gives a solid performance as the ambitious Natalie. I’m not sure if it was quite Academy Award worthy as it seem a tad forced at times especially when she had to act emotional but overall, she was believable as an idealistic young woman who gets a wake-up call to the real world. Vera Farmiga was absolutely outstanding. Few actresses would not be overwhelmed when matched with Clooney’s on-screen charisma but she more than held her own. She completely deserved her Oscar nomination. The three banter away and it’s often a pleasure to listen to their (adult) conversations in an age when we are often bombarded with inarticulate childish mumbling.
Elevated by the star power of the ever so charismatic George Clooney, Up in the Air is a very entertaining, well-crafted but ultimately superficial movie that pretends to be more than it really is.
B+
Notes: Rated R for language and some sexual content. 108 minutes.
VN:F [1.8.5_1061] Rating: 8.0/10 (1 vote cast)
| By Castor |
 David Fincher’s Se7en is a crime thriller that has become one of my favorite film of all-time. It initially appears as your typical run-of-the-mill serial killer movie but manages to go against all the viewer’s expectations. Fincher crafted an incredibly dark and bleak movie and the absolutely shocking final twist takes you aback like very few movies I have seen have ever managed to do. Since this movie has been released nearly 15 years ago, this review will contain important spoilers, I STRONGLY advise against reading beyond this point if you plan on seeing this movie.
As the film begins, we meet Detective William R. Somerset (Morgan Freeman), a disillusioned and burnt-out homicide detective who is set to retire within a week and only wants to get as far away as possible from this gloomy and decaying city. Alongside Detective David Mills (Brad Pitt), a brash and cocky young police officer who is set to replace him, Somerset investigates a series of murders inspired by the seven deadly sins.
Structurally, Se7en is unlike most movies of its genre. We never witness the acts of violence, only their aftermaths. There is also only one single action scene, a thrilling chase sequence mid-way through the movie. On the other hand, Se7en is very heavy in terms of dialogue and character development and we spend a lot of time getting to know the 4 main characters. Finally, one of the first thing you will notice is the oppressive atmosphere. The interior scenes are almost unequivocally extremely dark, damp, and cramped. You can almost smell the stench of putrefaction. This was achieved thanks to the cinematography by Darius Khondji and the sets design by Arthur Max. They set a dark and gloomy atmosphere for most of the movie and the omnipresent rain on outdoor scenes only adds to that effect.
Fincher repeatedly plays with the viewer’s expectations. Somerset states at one point that John Doe is eventually going to make a mistake and that’s our expectation after having been conditioned by dozens of crime movies where the criminal ends up making a stupid mistake that leads to his own demise. However, in Se7en, John Doe is always in control from beginning to end. He surrenders himself to law enforcement but everything is still under his terms. He is given substantial amount of dialogue and we discover that he is not only a cunning and extremely intelligent individual but also extremely articulate and almost too convincing when trying to explain his”work”.
Morgan Freeman gives an outstanding subtle performance which elevates the performance of his co-stars. This is exactly the type of acting I’m talking about when I speak about conveying a character’s background without the viewer actually having to be told. We get to know Somerset’s life with very little dialogue and this is what makes Freeman a superb actor. We can see his personality evolve as he takes Mills under his wing after a relatively cold beginning to their relationship. He begins as this cynic and tired cop who has seen too much over the years but the layers start to peel away as he interacts with the young Mills and more importantly Tracy, who reminds him of innocence he hadn’t witnessed in so long. Beautiful Gwyneth Paltrow, as Mills’ wife Tracy, provides the few rays of brightness and hopes amid the oppressively gloomy settings and I would have liked to see more of her character.
Brad Pitt gives a somewhat uneven and uni-dimensional performance (I’m harping here, he is fine). His character would have been more likable, had he been infused with another layer of complexity beyond the all-brawn personality he displays for most of the movie. Finally, Kevin Spacey embodies the personality of the most dangerous people on Earth, fanatical individuals with nothing to lose and nothing to gain. Here, he is simply pitch-perfect, giving John Doe an aura of mellow and collected detachment that is incredibly creepy.
A masterpiece of the 90’s, Se7en is an oppressively dark and grisly crime thriller that has aged very well, so far.
A
Notes: Rated R for grisly after-views of horrific and bizarre killings, and for strong language. 127 minutes.
VN:F [1.8.5_1061] Rating: 9.6/10 (7 votes cast)
| By Red |
Directed by Michael Haneke, The White Ribbon is a mystery-drama that is based in a small village in Germany just before the outbreak of World War I. Like many other reviewers have, I would somewhat advise to see this movie without knowing too much about it. All you need to know is that this is probably an instant classic in my book, and knowing too much about the story would deprive you of the full effect the first viewing should have on the viewer.
The film follows the events taking place in the village of Eichwald, as the story is being narrated by the village school teacher. Eichwald is a very small village, everybody is under the rule of the Baron. The Baron employs over half the village as farmers, and lives what is apparently a very relaxed life with his wife and his three children. Along with the Baron, the town is run by the Pastor, the doctor, the school teacher, and the Steward. Nameless they remain, powerful figures they are among the town. The film begins with the doctor being involved in a terrible accident, in which someone among the village tripped the doctor and his horse by tying wire in between the two trees. While the doctor is sent to a hospital in a nearby town, the question of who did it still remains in doubt. What follows is a series of attacks from an unknown culprit, and nobody seem to connect any of the attacks into a single motive.
Along the way, we learn much about the villagers and everyday life in the early 20th century. Work is hard, times are rough, and the parents are some of the strictest guardians you will see on film. Most of the discipline comes from the Pastor, who doesn’t hesitate to whip his own children with a cane for being late to dinner. Religion is enforced to a high degree, even to a point as to where the movie gets it’s name from. As a sign of purity and innocence, the Pastor forces children of have strayed away from such values to wear a white ribbon on their arm and as a hair piece. This is supposed to give them a constant reminder of how they should act, remembering the ideals that their father has implemented in them. With this, Haneke is able to deliver certain themes to the movie, some that you won’t even realize that are there until the film is over. This is a theme that I wish I could elaborate more on, because it offers up such a great conversation starter, but I don’t want to ruin this movie for you in any possible way. Good thing people are allowed to comment on such posts, eh?
While the film is narrated by the school teacher, much of the film takes place away from the teacher. For most of his screen time, he is in a love story with a much younger girl that works as a sitter for the Baron. This love is put to the test after the girl is unfairly fired by the Baron, and she is forced to move back home in another village. When he’s not traveling to visit her, he begins to try and piece together the series of attacks that have plagued the town as of late. Nobody knows anything though, and hardly anybody trusts each other. As we learn more about the different villagers, it often leaves us in shock to learn of the events that take place within their own homes. After the entire viewing, one starts to realize exactly how these horrible attacks could possibly be taking place in such a small village. Like I said before, this movie brings up a good number of themes that stem from a number of places, most of all religion and politics. While the movie is never really resolved, one can put together the pieces and come up with a wide variety of opinions.
Shot in black and white, the movie is visually stunning. If I had popped this movie in the DVD player without reading when it was made, I would’ve sworn on my life that it was made no later 1960. Often using long single shots, this film paints the scene with such realism you can’t help but just sit back and admire what you are watching. DP Christian Berger is up for an Oscar here in two days, and this small foreign flick could very easily steal that award away from the giant blue aliens. Converting the footage to black and white was the absolute best idea that Haneke could have had for this film. One could even go as far as comparing the coloring of the film to some of the themes that take place within the film. Along with the camera work, the acting is spot on with every character. Not a single beat is missed with any of the casting, even with the children. It’s rumored that over 7,000 children were brought in and auditioned for these roles, and they were able to bring in the very best of the bunch. To pick out a single performance that you liked more than others is nearly impossible.
A visual treat, The White Ribbon is a movie that will not only be a spectacle for you to glare at, but also a film that will work your mind just as much as it delights your eyes. This is a classic in the making, and couldn’t get a higher recommendation from me.
A+
Notes: 144 minutes. Rated R for some disturbing content involving violence and sexuality. Seen in German with English subtitles.
VN:F [1.8.5_1061] Rating: 9.8/10 (4 votes cast)
| By Castor |
Directed by Steven Spielberg, Empire of the Sun is a coming-of-age movie based on J. G. Ballard’s semi-autobiographical novel of the same name. The movie stars Christian Bale as Jamie “Jim” Graham, a bratty young British boy living in Shanghai, China, who has a fascination with flying and airplanes. During the Japanese invasion of the International Settlement, Jim is separated from his parents. He wanders the streets for a while, meeting an opportunistic American sailor named Basie (John Malkovich), he is eventually captured by the Japanese and sent to an internment camp where he has to struggle for his own survival.
Having barely grossed $22 million at the US box office ($35 mil budget), Empire of the Sun could qualify as one of Steven Spielberg’s biggest flop. This, however, doesn’t accurately depict the quality of this movie which was through the roof as I truly think this is up there as one of his best movies. This is a character driven movie and it’s true that the plot is somewhat nonexistent at times. However, there is enough great moments in this movie to make up for the occasional lack of narrative drive.
Present on nearly every frame, Christian Bale, then 13 years old, demonstrate what brilliant and credible child acting is all about. We gradually see the loss of childhood innocence in his demeanor. He goes from a bratty, aristocratic kid who is completely dependent on his parents to an Oliver Twist-type creature who does everything he can for his own survival. Jim is not your typical Hollywood hero, here is a kid who idolize the Japanese aviators and eventually steals shoes and food from the dead. Then relatively unknown John Malkovich gives a good performance as Basie and broaches on a level of emotional complexity that made his character less of a caricature than the material gives him credit for. Other supporting characters such as Miranda Richardson, Nigel Havers, Ben Stiller, or Joe Pantoliano make appearances but they are not asked to do much of anything unfortunately.
Visually, this film is incredibly stunning and the cinematography is one of the main highlight. The movie was shot partly in Shanghai which, at the time, had barely changed since the end of World War II, giving the movie a nice feeling of authenticity. The CGI of the airplanes still looks astoundingly good to this day while the bleak landscape of the internment camp gave the film an atmosphere of desolation. Finally, the soundtrack by John Williams is first rate and complements the action on screen well.
One of Steven Spielberg’s most underrated film, Empire of the Sun is a film of great beauty, power and sadness.
A-
Notes: 153 min
VN:F [1.8.5_1061] Rating: 9.4/10 (5 votes cast)
| By Castor |
Directed by David Gordon Green, All the Real Girls is a slice of life romantic drama with a noble goal in mind: Portraying a more realistic, cliche-free and unglamorous love story. Set in a small North Carolina mill town, the film depicts the highs and lows of a relationship between Paul (Paul Schneider) and Noel (Zooey Deschanel). Paul is a womanizing young man with a reputation for having sex with 26 different girls in town. His best friend Tip (Shea Wigham) is none too happy when he learns that Paul and his younger sister Noel have started dating. To Paul though, Noel is unlike any girl he has been with before and he may have just fallen in love for the first time in his life.
Unlike most Hollywood romance, this movie is character driven. Almost no external events are dropped out of nowhere to further the (nearly nonexistent) plot. The movie also doesn’t cater to the “normal” expectations audiences may have for an American romance. The slightly out-of-shape Paul Schneider is probably one of the least likely romantic lead in years and it doesn’t get any less glamorous than a dormant tiny mill town in the middle of the Appalachians. I liked that the movie explored the fact that normal people aren’t always those highly articulate creatures who can formulate their thoughts clearly and on the drop of a hat. Paul and Noel try to slowly further their fragile relationship without rocking the boat but they have difficulty communicating with each other. Noel is a virgin and sexually curious while Paul doesn’t want to rush it and have sex with her because she is not the same to him as the 26 others he shagged previously. Toward the end, Noel says that “no one said we had to be perfect” and it rings true to life. At the beginning of a relationship, especially first love, it’s easy to start idealizing the other person and this only makes it more difficult for him/her to fulfill those expectations. Green went for a more truthful denouement, pointing to the fact that two people although obviously very much in love with each other still may not end up together.
Unfortunately, there is several significant flaws that prevent this movie from truly sweeping the viewer off his feet. The characters are uninteresting and unremarkable. Trying to create real and honest characters doesn’t mean they have to be bland and boring. Their dialogue is uneven, at times touching and most of the time, meaningless mumbling that doesn’t add anything to our understanding. The actors fail to convey any type of background about their character without the information actually having to be dropped on the viewer’s lap. This is a major issue in a slower paced movie where not much is happening on screen. The entire plotline about Tip’s disapproval of Paul dating his sister suddenly disappeared all of a sudden without any warning which is a bit hard to believe in such a tiny town. Finally, the twist toward the ending feels too convenient and came out of nowhere. Overall, this movie strives for authenticity but merely achieves honesty.
Paul Schneider is miscast and gives an uneven and dull performance. I can now sort of see why he hasn’t had his “own” movie since. He is quite unconvincing as the town’s Casanova who has slept and then playfully dumped dozens of girls. Zooey Deschanel fares better and gives one of these performance that we now know she can do so well: the charming, free-spirited, and slightly awkward girlfriend role she has played countless times ever since. Some of their improvisations (it must have been right?) are really bland, awkward, and banal conversation that don’t further the movie in any way. The two have no apparent chemistry to speak off. In all, the two main characters are completely unremarkable and it feels at times like you are eavesdropping on the meaningless mumblings of the most boring couple in town.
The supporting cast is fairly solid and is mainly highlighted by the consistently excellent Patricia Clarkson who plays Paul’s mother. Shea Wingham, Danny McBride, and Maurice Compte play Paul’s group of friend but aren’t given much of anything to do except sound like three semi-mentally challenged hillbillies. Talk about stereotypes of the South!
The musical soundtrack by Michael Linnen complements the action on screen well while the photography by Tim Orr takes advantages of the stunning landscape to immerse the viewer in this small North Carolina town. I’ve read a few people comparing David Gordon Green to Terrence Malick because of the slow pacing and contemplative nature of this movie. Nothing against Green but this is like comparing some Billy Joe who plays an occasional pickup game at the local YMCA with Michael Jordan. Anyone can pickup a camera and take a few contemplative shots of a sunset or a tree and insert them into their movie. That doesn’t make that person Terrence Malick.
Given my recent rant on the state of romantic movies, I really wanted to love this movie but I kept waiting for something to click. Instead I ended up merely liking it…
An uneven but honest-looking love story with a noble goal in mind. Unfortunately, Green fails to garner enough dramatic interest to make this a truly powerful and authentic movie.
B-
Notes: Rated R for language and some sexuality. 108 minutes.
VN:F [1.8.5_1061] Rating: 7.3/10 (3 votes cast)
| By Castor |
Directed by Mira Nair, The Namesake is the story, covering more than two decades, of a couple from India settling in the United States. When we first set our eyes on Ashima (Tabu) and Ashoke (Irrfan Khan), the two are about to have an arranged marriage in India with plans to move to New York City afterward. Arriving here in the US, Ashima grows depressed and lonely in this cold place far away from her family and friends. Eventually, they have a son who is somewhat accidentally named Gogol (Kal Penn) and soon turns into one of those turbulent monster also known as American teen. The movie chronicles the cross-cultural experience that he and his parents go through as first-generation immigrants to America.
Mira Nair (Monsoon Wedding, Pride and Prejudice) takes Jhumpa Lahiri’s bestseller and paints a gentle and affecting story that resounds universally because it is not only about a family of immigrants but ultimately about anyone starting a new life far away from where they grew up. The film accurately reflects the peculiar but very real difficulties first-generation immigrants have bringing up their American-born children. The parents are still dearly attached to the customs and traditions of their home country while their children have little interest in them. When returning to India for vacation, Gogol and his sister find India to be as foreign as America was to their parents and their mother laments that she has “given birth to strangers”.
Kal Penn, whom you will probably recognize from the Harold and Kumar franchise, gives a solid performance as Gogol, tapping into some dramatic depth he had never shown before. Instead of the usual teen crisis device, we see him gradually distancing himself from his family as he resents his father for naming him Gogol and is uncomfortable with his Indian heritage. He goes to Yale University, has a charming (and rich) blonde girlfriend and prefer to spend his time with her family than with his own. It takes a dramatic event for him to do a complete about-face which ultimately doesn’t turn out all that good him either.
One of the more gracefully portrayed aspect of this movie is the relationship between Ashima and Ashoke. The two barely know each other as they get married and awkwardly speak to each other at first but we get to watch their love grow as the years go by because of the deep respect they have for each other from the onset. This is so refreshing in a medium that puts so much emphasis on people falling in love at first encounter. Tabu and Khan , two Bollywood stars, give outstanding quiet performances that feel genuine and subtly shows their deep unspoken bond without anything as flashy as even touching hands.
A wonderful and universal story of what it means to be a first and second generation immigrant in America.
B+
Notes: Rated PG-13 for sexuality/nudity, a scene of drug use, some disturbing images and brief language. 122 minutes.
VN:F [1.8.5_1061] Rating: 7.5/10 (4 votes cast)
| By Castor |
Every now and then, you come across a movie that turns out to be a gem and it feels so good to be able to enjoy such a movie among the overwhelming numbers of mediocre to average movies that are forgotten as soon as they are over. Lars and The Real Girl, directed by Craig Gillespie, is one of those movies that you expect very little off and end up being blown away.
Set in a small Minnesota town, this is the story of Lars (Ryan Gosling), a socially inept but likable young man who chose to live in the barely furnished garage behind the house he and his brother Gus (Paul Schneider) inherited after their father’s death. Having suffered a terribly lonely childhood, Lars keeps to himself as much as he can and has extreme difficulties interacting with people. One day, he announces to Gus and his wife (Emily Mortimer) that he has a girlfriend named Bianca. To their utter shock, they soon realize that Bianca is a life-sized doll Lars bought off the internet. Unsure of what to do, they manage to take Lars and Bianca to the family doctor (Patricia Clarkson) who convinces them to treat Bianca as a real person to help with Lars’ therapy. Hilarity ensues…
Who would have thought a story about a delusional man in love with a plastic doll would be so affecting? Don’t let the strange synopsis or off-beat trailer put you off this movie, this is an outrageously hilarious and flawlessly executed flick with a big focus on kindness, acceptance and compassion. There is a lot of potential for cheap laughs and perverted gags and thankfully, the screenplay never ever ventures into these territories. Sure, it may not be credible that an entire small town would agree to treat Bianca as if she was real but it made for a really touching and funny story with a hopeful twist. Using a doll as a replacement for a real relationship may not be as absurd as one may believe. Think about it, in a relationship we are all projecting internal expectations and hopes onto the other person much like Lars is doing with the doll. Ultimately, this is a study of the impact of kindness, how and why we love, the line between healthy and unhealthy fantasy and what it means to be grown-up.
Canadian actor Ryan Gosling has been scarily impressive on the indie scene with an outstanding Oscar-nominated performance in 2006 Half-Nelson and he has proven to be one of the most talented and low key actors in the industry. Here, he is mesmerizing as the socially awkward Lars and he captures both the darkly funny aspect of his character and the poignant and sad background of Lars. Gosling is truly genuine, believing that Bianca is real and there isn’t a single moment where we question that fact. The supporting cast is equally impressive with terrific performances from Emily Mortimer, Paul Schneider and the consistently excellent Patricia Clarkson. It cannot be emphasized enough that the superb cast really kept the film grounded and pitch-perfect.
Elevated by an incredible performance from Ryan Gosling, Lars and The Real Girl is an hilarious and poignant off-beat comedy and one of those little gems that one is so glad to uncover every now and then.
A-
Notes: Rated PG-13 for some sex-related content. 106 minutes
VN:F [1.8.5_1061] Rating: 8.6/10 (7 votes cast)
| By Castor |
A Serious Man, directed by the Coens brothers, is a semi-autobiographical dark comedy that runs the usual dysfunctional family theme with a Jewish twist. The Coens, originally from Minnesota, shot the movie in Bloomington, MN after an extensive search for the perfect location around the Twin Cities.
Larry Gopnik (Michael Stuhlbarg) is a Jewish college professor of physics in Minneapolis, MN. His life gradually disintegrates as the movie unfolds. His wife (Sari Lennick) kicks him out of his own house to marry a “serious man”, family friend Sy Ableman (Fred Melamed). His socially inept brother is squatting his house, his son secretly smokes marijuana while his daughter might be stealing money from him to get a nose job. As if it wasn’t enough, one of his student blackmails him to have his failing grade changed and defamatory letters are being sent to the school as he is vying for tenure. Facing the deluge of bad luck befalling him, the weak-willed Larry seeks advice from several rabbis.
A Serious Man is a very dark comedy and I absolutely loved the ominous open ending which really reinforced the fatalistic nature of the plot. The movie, albeit not laugh-out-loud funny, is amusing thanks to its collection of eccentric characters and not so random coincidences. It’s also refreshing to see that there is a lot of substance and ambiguity that would favor repeat viewings in an era where Hollywood director feel like they have to spell out everything to the dumb masses. The relatively unknown Michael Stuhlbarg gives a very good performance as Larry but his character is mostly a one-note weak-willed man. Sari Lennick is outstanding as the delectably hateful wife while the rest of the cast acquits itself solidly as well.
One of the main problem of the film is that the main character doesn’t drive the plot but the other way around. All kind of incongruous accidents befall Larry and he does absolutely nothing about his situation except complain to some religious figures. Basically put, Larry is just laying down in the face of adversity and waiting to die. This makes it more difficult to empathize with the main character and the movie is a bit lacking in terms of emotional heart as the rest of the characters are nothing short of unlikable. Did Larry ever notice his wife unhappiness in the past? Her relationship with Abe? His son erratic behavior? His daughter’s sole concern of how her nose looks? It’s extremely unlikely that he woke up one day and suddenly, all hell broke loose. What does that tells us about this man? What kind of man would comply to move to a motel without a fight while his wife immediately replaces him with a family friend? Additionally, the movie is full of Jewish esoteric which makes it a bit heavy-handed for non-believers and I was at times lost as to what the characters were talking about. Finally, the opening sequence seems completely extraneous and all the questions raised by the film are left unanswered.
A fatalistic and ambiguous dark comedy elevated by solid performances from the cast, A Serious Man is saddled by weak, unlikable and stagnant characters who are like little ants waiting to be blown away by the wind.
B-
Notes: Rated R for language, some sexuality/nudity and brief violence. 106 minutes.
VN:F [1.8.5_1061] Rating: 7.0/10 (10 votes cast)
| By Castor |
 Directed by Nick Cassavetes and adapted from the novel of the same name by Nicholas Sparks, The Notebook is a romantic drama that came out of nowhere to become one of the most beloved romantic tearjerker of all-time. (IMDb : 8.0/10). In all truthfulness, this is the only movie to this day that has left me bawling like a freaking pussy a little teary eyed the first time I saw it.
Synopsis (some spoilers): Duke (James Garner) is an elderly man who spends all of his time reading a love story from his notebook to an elderly woman (Genna Rowlands) with an advanced form of Alzheimer’s disease. The story is set in 1940’s North Carolina and is about the tribulations of a young couple. Penniless country-boy Noah (Ryan Gosling) meets Allie Hamilton (Rachel McAdams), the spoiled daughter of a rich family in vacation in his town, and after some early reticence from her, the two spend an idyllic summer together. Unfortunately, Allie’s parents, more specifically her mother (Joan Allen), are none too keen to have their young daughter mingle with a local blue-collar everyman. The night before Allie leaves, she playfully makes Noah promise to renovate an old crumbling mansion to her liking. The two reluctantly separate and Noah starts writing letters to her every day for a year. The only problem is that she never writes back to him. Heartbroken, Noah enlist in the Army to fight in World War II and seven years go by before he sees her again. Allie has moved on but he hasn’t and he decides to put his mind into rebuilding that old plantation mansion, somehow thinking that if he ever restores it, she will come back to him.
The Notebook is a shamelessly corny and predictable tearjerker that extols the virtue of true love with no regards for what the cynics among us may think or not. This is the kind of old-fashioned movie that doesn’t really get made all too often anymore and it’s a tribute to Nick Cassavetes uncompromising direction that this movie somehow hits the right notes despite taking on all the cliches of its formulaic genre. From the first instant, the movie wants you to surrender to its romantic premises. Reinforced by Aaron Zigman’s excellent musical score, the strikingly lush cinematography by Robert Fraisse has an atmospheric feeling to it that evokes romantic nostalgia. Shots of serene lakes, multicolored sunsets or flying sea birds give an unhurried feel to the film. The movie is carefully paced, clocking in at 123 minutes which feels just about right.
We have all seen the characters of The Notebook somewhere before. They are nothing new but each actor was able to give their respective characters a fresh twist that made them more colorful and memorable. Although all the characters initially appear fairly stereotypical, they eventually become fully fleshed out. Even Allie’s mother, played by the always reliable Joan Allen, eventually gets a chance to add another dimension to her initially witch-like character. It’s also refreshing to see that Allie’s fiance, played by the underrated James Marsden, is depicted as a really likable good guy. Not only does it add a little suspense as to who she is going to pick, but the viewer doesn’t have to wonder why she is engaged to him in the first place.
Numerous well-known actresses auditioned for the part of Allie but it was the then-little-known Rachel McAdams who got her first leading part. Cassavetes said he was extremely demanding of her because he knew the movie would not work if the main female protagonist wasn’t top notch. McAdams simply delivers, lighting up the screen and showing terrific range and depth of emotions. Not only does she achieve striking chemistry with Ryan Gosling but she also does with James Marsden. Her multifaceted character evolves between being a giggly free-spirited city girl, a bratty and spoiled child, a giddy little dynamite stick on springs, and a feisty yet peachy lady of high society. All of this while going through the entire range of human emotions and keeping this girl-next-door femininity that befits her character so perfectly. Allie is just plain utterly delightful and there is no questioning why Noah becomes smitten with her (who wouldn’t?) or why old Duke is still so persistent about reading to her right by her side after all of these years.
Ryan Gosling was offered the job from the onset as he was Cassavetes’ first and only choice for the role of Noah. Gosling has made a living of playing dark, tormented characters and he is extremely adept at underplaying his characters with a naturalistic and genuine touch. The movie was shot backward so Gosling could lose 25 lbs over a few weeks break to play the younger Noah, and you have to admire his dedication which is apparent in his physical transformation. I initially thought he was a little too mellow especially when contrasted to McAdams’ high energy passion but upon reflection, he held his own and that was the way to go. Having him match her energy would have made everything unauthentic. It’s easy to feel sympathy for his character as he is yearning for his beloved one to come back to him. The two share that one thing that is so rare on screen: excellent chemistry which is all the more remarkable given the fact that, at times, they reportedly could not bear the sight of each other on set.
As charming as the two young leads are, it is the legendary James Garner and Genna Rowlands who deliver the final emotional blows. Genna Rowlands, Cassavetes’ mother, nails the blank and confused face of a woman stricken by dementia. She gives just enough hints of hopes to James Garner who is pitch-perfect as her devoted husband who can’t bear to be away from his beloved wife and has to deal with an irreparable loss. Their final scenes together is probably where even the most stone-hearted souls lose it. Freaking old people, I swear.
The movie is far from perfection — the first 10 minutes could easily have been disposed of — but it goes to show you that competent direction and great acting can go a long way to infuse life into some lifeless material. The film is everything that a pure old-fashioned romance movie should be and it feels complete: young budding love, mature love, the perfect guy, a girl to die for, emotional highs and lows, sweet nothings, even a monologue in the rain. The Notebook is just a movie that you should “allow” to get to you with minimal resistance. I bet most people who did not like the movie were not able to get past this initial cynicism that one might have against sappy and melodramatic movies. Whether you believe true love that last a lifetime really exist or not is beside the point. The film is only a great remainder that there is a reason why every single human being on Earth wants to love and be loved.
Featuring exceptional performances from the cast and unapologetic but restrained direction from Nick Cassavetes, The Notebook somehow manages to raise above its overly sappy and trite premises to become a lovely old-fashioned celebration of true love. Maybe it’s too sentimental, manipulative and mushy for some, but isn’t it supposed to be?
B+
Notes: Rated PG-13 for some sexuality. 123 minutes. Quotes and extra material from DVD’s director’s commentary.
VN:F [1.8.5_1061] Rating: 7.5/10 (13 votes cast)
| By Castor |
 Widely seen as one of the great masterpiece of the seventh art, Casablanca is also unanimously hailed as one of the greatest romantic movie of all time (IMDb: 8.8/10 and #13 Top 250). Originally destined to be a propaganda movie for the Allies during World War II, the film was met with relatively solid success at the box office but no one at the time expected it to eventually become synonym with being one of the crowning achievement of American cinema.
World War II has engulfed Europe and is knocking on the gates of the French-Moroccan city of Casablanca. Rick Blaine (Humphrey Bogart) is a cynical American loner who has settled in the North African city where he owns an upscale bar after fleeing Paris earlier in the war. He secretly comes into the possession of two extremely valuable letters of transit which allow the bearers to travel freely to Lisbon, Portugal from where one can get to America safely. Soon after, the object of Rick’s bitterness, former lover Ilsa Lund (Ingrid Bergman), shows up at his nightclub. She is accompanied by her husband Victor Laszlo (Paul Henreid), a fugitive Czech resistance leader who just escaped from a concentration camp. The two urgently need letters of transit so they can escape capture from the German controlled local law enforcement lead by Captain Louis Renault (Claude Rains). Memories of a long lost love flood Rick who had wanted all along to sit on the sidelines of the war and is now confronted with life and deaths decisions.
One of the most striking qualities of Casablanca is how timeless the movie is. Even nearly 70 years later, the film doesn’t feel like it is outdated or lost any of its charm. It is a prime example of everything coming together to achieve a great movie. The direction by Michael Curtiz merits a mention if only for the fact that production was somewhat chaotic and no one had any idea how the movie would end until it came time to shoot the scenes. Surprisingly, the script itself doesn’t look like it was put together day-to-day and the plot unfolds naturally and without any hiccups. The dialogue remains clever and witty to this day and innumerable lines have become part of our everyday lexicon such as “Round up the usual suspects” or “Play it again, Sam” (misquotation by the way). The story itself puts heavy emphasis on the values of honor, courage and sacrifice over personal desires such as love. These were and remain so important at a time of national war mobilization and we have to remember that this was a propaganda movie after all. There is no doubt that Ilsa and Rick still love each other even after all these years but the two know perfectly that the world is at war and needs its heroes such as Victor Laszlo. As Rick said: “The problems of three little people don’t amount to a hill of beans in this crazy world” and the melancholic ending only highlights what has been sorely missing in Hollywood for quite some time.
The character are fully-fleshed out thanks in part to outstanding performance from the ensemble cast as well as the tightly woven script. Humphrey Bogart takes on his first romantic lead role and his instantly recognizable voice lends credence to the cynical nature of his character. However, hiding behind his tough facade is a man of principle, yearning for the long-gone great love of his life. This multifaceted aspect of Rick’s character requires Bogart to use a fairly wide range of emotions which he does convincingly as shown in the flashback to Paris where he is a completely different person from the cynical lone-wolf roaming a nightclub. The luminous Ingrid Bergman gives her most memorable performance of her career. Technically, it’s not a great part but the beautiful Bergman gives the brave Ilsa a steely resolve and vulnerability that is enough for us to be convinced of why Rick would be in love with her. Together, Rick and Ilsa ooze of true romantic tension and desire and there is never any doubt that they are made for each other. Claude Reins is fantastic as Captain Renault and comes close to stealing the scene from Bogie every single time he appears on screen. That’s talent! Finally, Paul Henreid is solid as Laszlo, the third part of our love triangle. He is so heroic and selfless that even Rick himself can’t hide his admiration.
The cinematography is effective albeit unspectacular. Curtiz manages to give the film interior scenes a smoky and convivial atmosphere, while the exterior scenes have a cosmopolitan exoticism that has been copied repeatedly ever since. The soundtrack for the film is excellent and the song “As time goes by” from Herman Hupfeld has become associated with the very fabric of the movie. After all, one of the most romantic scene of the movie is the one where Sam sings the song late at night as Rick is drowning himself in alcohol after seeing Ilsa again.
An accidental masterpiece that has withstood the test of time, Casablanca is a simple but bittersweet love story set in the backdrop of World War II. It has mesmerized viewers for decades and will continue to do so for a long time to come. Bogart, Bergman, a doomed romance, what’s more to ask?
A
Notes: Rated PG for mild violence. 102 minutes.
VN:F [1.8.5_1061] Rating: 9.9/10 (8 votes cast)
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