Hey all, I have not been around as much recently, as some of you may have realized. I have a heavy dose of school work and SAT preparation so I will not be as active for the next few weeks as I have before. I still write these reviews, however, and I am also nearly done with my "Best Films of the Decade" blog, which is large to put it lightly. Expect that in a few days. But thanks in advance for reading this one. :)
Edge of Darkness Directed by Martin Campbell Released in 2010
Over the past two years, a new genre, so simple yet so brilliant, has come to light. This is the "old guy kicking ass" action movie that proves to be a hit, time and time again. Sylvester Stallone starred and directed the newest Rocky and Rambo movies, and Clint Eastwood made his most successful film to date with Gran Torino. The Michael Caine vehicle Harry Brown looks like a ride as well, though it is only released in England at the moment. The middle aged action star emerged to a greater degree as well. Kevin Bacon starred in the shockingly violent Death Sentence and Liam Neeson defined "badass" with Taken. Now, Mel Gibson returns to acting at an age in the middle between those two. This film is Edge of Darkness, a fine film, though flawed in its execution.
The plot for Darkness does not take its time to reveal itself. Mel Gibson is Tom Craven, a Boston police officer, whose daughter Emma (Bojana Novakovic) returns home from her secluded work life to see her father. Once at home, the girl who Tom had raised still has her charm but something is missing. After coughing up blood, she panics that she needs to see a doctor and runs outside, only to be gunned down by a shotgun-wielding assassin. Her death traumatizes Tom, who vows to find the killer and his motives behind the shooting. What he becomes involved in, however, is a deep political conspiracy involving corporate CEOs, politicians, and hitmen alike. The villain de jour is Northmoor, a company specializing in nuclear materials, though a series of deaths there suggest more sinister activity. The story becomes surprisingly deep with every passing minute, sometimes to its detriment. A good 15 minutes could have been edited or reworked to make for a tighter film. Nonetheless, it wraps up at the end, albeit with more than a few plot holes, and has a very touching ending.
Taken this is not. Instead of a slick, far-fetched but very satisfying action film, Darkness takes the political thriller route with a few scenes of combat interspersed in between. Craven finds clues for this murder not with a gun drawn but with a Boston drawl. He talks with upper and lower class characters, such as Northmoor's head, Jack Bennett (Danny Huston) or the cold-blooded fixer Jedburgh, a rough and mumbly Ray Winstone. Winstone's character is a peculiar one: there is a lot of dialogue present here and most of Winstone's lines come across as unintelligible. Come to think of it, however, whenever Ray Winstone has talked in the past, he has also spoken in such a thick, low English accent that what is here is nothing new. Of course, he makes it work but not as much as his similar character in The Departed. That withstanding, what is left is a film with a script of varying quality. There are some classic lines, such as when Tom tells a hoodlum "You had better decide whether you're hangin' on the cross... or bangin' in the nails." The Biblical imagery is especially appropriate considering Mel's projects in the past. However, there are times when too many plot strands that make this feel like a poorly condensed TV mini-series....which it is. The BBC Films logo at the beginning is not totally random: this film is based off an English mini-series that was met with very positive acclaim. The remake is successful but does not have enough time to cover up every plot hole, unfortunately.
There is still action here, and its implementation is very well-done. While Liam Neeson can take out a whole building of Albanian mobsters without breaking a sweat, Mel Gibson is competent in a fist fight but, naturally, gets tired. This is realistic but also humorous when it happens. A knife-wielding lowlife tries to stab Craven, and obviously he is subdued, but Tom has to declare a truce when he is on the ground because, well, the man is exhausted! Scenes like this are a good laugh because of its blatant and honest self-awareness. Tom is better with handling a gun, however. In one scene, a car floors it at Craven, but he does not flinch. Instead, he slowly walks forward, popping a few shots at the killer, with the camera showing the damage from inside the vehicle. These all miss until a final gunshot is a clean hit to the head, with a bloody splatter on the windshield to show. Craven promptly shoots one of the wheels, so it spins to the side a moment before hitting him. Because the film is so dialogue-oriented, action scenes like these are a surprise and a welcome one at that. That they are well-directed, by Casino Royale's Martin Campbell no less, is a great bonus too.
Mel Gibson gives a great leading performance on top of all this. This should come as no surprise to those who are aware of his prestigious body of work and can overlook the trouble he is gotten himself in over the past few years. After his daughter is killed before his eyes, he carries a lined complexion that has seen the worst in life. Once he translates this sorrow to motivation to avenge her death, he becomes a determined detective who is able to put together the pieces faster than anyone else. A tragic motif to this movie comes into play following the intro, when Craven sees his deceased daughter in hallucinations around him. This is a sentimental touch that stands in sharp contrast to the vice and violence that laces every other scene of the film, and ultimately paves way for the moving conclusion. Gibson is an excellent actor, and his first role in almost eight years does not disappoint.
Ultimately, Edge of Darkness is not what most people will expect. It is more plot-driven than the trailers will have you predict, and the action arrives sparingly. An alteration of this format could have made the film a more cohesive experience, one without any down time and only enough story that it can handle. Still, what is here is perfectly competent. Mel Gibson impresses with a role that fits his talents perfectly, and Ray Winstone entertains, if for more of the wrong reasons. However, Winstone's final scene is incredibly satisfying, and makes you remember that, as a grim commentary on political corruption, violence, and personal loss, Edge of Darkness fits the bill just fine.
Sherlock Holmes Directed by Guy Ritchie Released in 2009
A modern reboot of a series of novels made in the late 19th century does not sound like a recipe for success. With Sherlock Holmes, the result is mixed but, for the most part, it succeeds. A likable cast and some neat action give this film momentum, even when it slows down to some problems with acting, editing and screenplay.
Everyone knows the general premise of Sherlock Holmes, though few know much else. Seriously, who between the age of 14 and 25 knows more than there is a guy named Sherlock and Watson? I sure did not and, fortunately, this film is meant for this crowd, introducing all the main characters and their brief histories. The plot centers around a mysterious figure named Lord Blackwood, played by Mark Strong, who murders five women in bizarre rituals. He is apprehended by Holmes and Watson, performed with much talent by Robert Downey Jr. and Jude Law, respectively, within the first 15 minutes. However, his disappearance proves to be the conflict and the duo uses all of their "not inconsiderable knowledge" to find out who this man really is. Along the way, Holmes encounters an old flame, Irene Adler, given a seductive allure by Rachel McAdams. She is the one criminal who outsmarted Holmes or, perhaps, merely tempted him to the point of disorientation. Nonetheless, her shifting alliances frustrate the duo but end up being useful. The story is okay, nothing too special, but the action is where the film really gets its edge.
Guy Ritchie, the director, is known for intriguing title credits and overly bombastic action scenes rife with explosions. Thankfully, Sherlock Holmes is subdued, if ever so slightly. There is an emphasis on Holmes' attentive approach to problem-solving, shown by how fast he speaks and how he is always, unsurprisingly, right. Perhaps the best part of this movie is its combat scenes which take both Holmes' intellect and strength and mash them together. In super slow-motion, Holmes narrates and explains each step in a fight he will take and its result (3 broken ribs, for example). Then, it is played in real time, with plenty of short cuts, and a broken man is on the floor while the crowd watches, mouths agape. It is a very neat feature and is met with a lot of exaggerated facial expressions, crushing audio and ripples on skin once the fist hits it. It only happens twice and I would have welcomed it again. Other action scenes are well choreographed, with the stereotypical "heavy, foreign beast of a man" as a recurring adversary. All of this takes place in an unflattering, gritty version of Victorian England that resembles its influence but lacks any real connection to the time period. Perhaps this was intentional (Sherlock Holmes is not aiming to be a period piece), but it feels like all of the characters could be in modern times if they only dressed differently and drove cars. It is not a real annoyance as much of a peculiar observation. That withstanding, the action is where this film shines and I would have actually welcomed more of the overblown action that Ritchie is known for here.
The acting is surprisingly strong for the leading roles but weak where there's Strong. Bad puns aside, Mark Strong is a fine actor on his own accord but noticeably bad here. He moves his face in strange ways and cloaks himself under a black hood to look menacing. He his hanging from a bridge at one point and I thought back to Christopher Walken in A View To A Kill. That can be seen as a compliment for both of these roles as they are so cheesy that they are good in a strange way. Still, Robert Downey Jr. is excellent, sporting an English accent that can sit comfortably next to Jude Law. Downey has gone from a druggie mess to reformed actor in the last few years, starting with Iron Man, and this new film is another franchise to add to his prestigious belt. It is great hearing about his success and his talent really deserves it. McAdams is also fine in her role; not spectacular but decent, as is Kelly Reilly who plays Watson's fiance. Jude Law himself brings his suave demeanor to Holmes' better half. He is not a pushover, however, as he resorts to brute force usually before Holmes does. All in all, the cast is mixed but the two leads certainly make for a strong ensemble.
There is an occult theme at the center of the storyline and that is where I really have my problems with the movie. You see it in The Da Vinci Code and Angels & Demons, but the whole "secret society with mysterious powers" cliche has been done so many times that it is tiring to see it be done here. I will not spoil how the plot turns out but, Holmes' reasoning withstanding, this could have been done without. In addition, the pacing of the film is fine as it moves along but 10 minutes could have been shaved off from the 2 hour, 8 minute runtime to make a tighter, more cohesive package. Writing wobbles from time to time as well. There is a good amount of humor present here but it counters the weak dialogue for the villains and predictable female encounters. The script does a very good job at wrapping up most of the loose ends, however, and Sherlock Holmes really lives up to his namesake by piecing everything together in the end. The other issues are not huge but they certainly deserve to be brought up.
Overall, Sherlock Holmes is an energetic, fun ride that does not require much thought. There is action that is both adrenaline-pumping and genuinely funny, and the stellar leading males have great chemistry with one another, also proving hilarious. I could harp on some of the flaws but I still heartily recommend this movie. It is a fun, fresh take on the famous detective and now I know that "Elementary, my dear Watson" is not the only thing Sherlock Holmes ever said.
Up In The Air Directed by Jason Reitman Released in 2009
Some films need dazzling special effects to transport you to its world. Up In The Air does not because it takes place in our world. The joy and hilarity of everyday life is countered by the toil and crushing realization that each day is a step closer to the grave. Looming overhead all of this is the morose economic climate of today's world filled with unemployment and depression. No movie this year filled me with such distinct laughs or profound emotional awareness, often in a single scene.
The ironic thing was that I was ready to hate on this movie from the get-go. Jason Reitman, the director, has never been on my good side. Thank You For Smoking had its moments but Juno was one of the most overrated films of the decade. With the latter's case, however, I have come to conclude that all the blame rests on the swaying hips of Diablo Cody, who somehow won the Oscar for Best Screenplay for that movie and then churned out the abysmal Jennifer's Body. Reitman, on the other hand, is a pillar of talent, shown by his directing, writing (along with Sheldon Turner) and producing of Up In The Air. He will garner a sweep of awards during Oscar season and deservedly so. After seeing this film I wondered why the hell he did not write Juno; underneath the grating dialogue was a sound tale that could have been even better.
Nonetheless, Up In The Air will hit close to home for many. It does not hide its recession-era setting: job loss, financial troubles and even suicide are general themes. However, this film is a great comedy with romantic elements; labeling anything of this caliber a "romantic comedy" is a disservice. George Clooney plays Ryan Bingham, a white collar man who fires people for a living. He spends 270 days of the year away from home, he does not have a wife nor ever wants one and has a secret desire to reach 10 million frequent flier miles, a feat that he would be the 7th in the world to reach. His conservative approach is foiled when the young Cornell grad Natalie Keener (performed by Anna Kendrick) proposes the idea of digitizing the firing work method through computers, making Bingham's job obsolete. She is supported by the boss (Jason Batemen in an unlikable character that you still love) but, to make things interesting, he has her tow along with Bingham to see if his method is still efficient. Along the way, he runs into Vera Farmiga's character, Alex Goran, who somehow is an exact replica of himself but, as she says, "with a vagina." They fall for each other but in their own, mutually detached way. Bingham finds marriage pointless, at least at the outset....
The acting is the best ensemble cast of the year, with George Clooney leading in his best performance yet. A confident, energetic man grows increasingly insecure as loneliness and age slowly pervade his core. He is able to fire people with a grace that he declares is better than anyone else yet cannot confront his estranged family. The two female leads in this film are also excellent, Kendrick and Farmiga. Anna Kendrick has been known from the Twilight films but she redeems herself in this fantastic role. She comes across as a spoiled brat at first but slowly loosens up as she realizes what is truly important in life. Meanwhile, Vera Farmiga, who was fantastic in The Departed, brings her sexy, seductive allure to yet another role, her finest yet. Alex is the same as Ryan in their "philosophy" of life. This thought process revolves around a certain obsession over "elite access" that their frequent flying compensates and an outright disdain for commitment. I dare not spoil any of the story but a few events in this film really hit you hard in the gut. I am not kidding when I felt a physical, internal reaction after a certain scene. That in itself is a feat of emotional storytelling.
Of course, Up In The Air is a comedy in a sense as well. There are many laughs to be had and they perfectly compensate some of the gloomier scenes. Danny McBride is the future brother-in-law for Ryan Bingham and he naturally exudes humor. Zach Galifiankis makes a cameo in the beginning as an example of an enraged employee who gets fired. His tantrums prove entertaining, if pathetic. The main characters themselves banter, stereotype and bicker, all of which prove hilarious. This is all comes down to the fact that this screenplay is of the highest caliber. Usually movies that are written well express it through their actors but this one is different: you feel the greatness of the actor's performances as well as the supremacy of the script coexist, one from another. You will leave the theater thinking of the impact this film made on you in both its performances and its superb writing, an extremely rare achievement. The characters do not speak in elevated, unrealistic manners but in a plausible fashion, though we certainly wish we had the suaveness of Mr. Clooney in oratory. A touching, and somewhat biting, scene in which Bingham and Keener fire J.K. Simmons' character, Bob, shows the quality of all the aspects of this film at once. He shows pictures of his two children to the two and asks what can be done with them. Keener intervenes for she feels that she, a newbie at the time, can take on these tough situations. Bob tears her apart as she, not purposely, insults him. However, Bingham shows his expertise as he cools the situation off by encouraging Bob to follow his dreams, using plenty of amusing analogies all the way. The full effect is reserved for the film itself but even after recollecting the scene in my memory I recalled its brilliance. For Film Writing 101, there is no better current example to analyze than this film.
Up In The Air, as you can tell by now, is a superb film. The directing, acting and stellar screenplay all combine to create one of the funniest yet poignant cinematic experiences in recent memory. This film crept up and surprised me. It surprised me that I was regaled and hurt at the same time. It surprised me that Jason Reitman, a director I had no interest in before, created the movie for our current time. Hey, it surprised me that Sam Elliott appeared, in full mustachioed form, in an appealing cameo. But, most of all, it surprised me that Up In The Air's slow takeoff ascended to such a smooth, personal ride. I felt like I knew more about myself after watching this and, for that reason, I never wanted to touch ground.
So this is my Best of 2009 list. It is tough narrowing it down to "10" but I think these picks fit the bill effectively. As a word of warning, I have yet to play a few games that would most likely pop up on this list as well. They are the following: Borderlands, Silent Hill: Shattered Memories and Demon's Souls. Borderlands is that one game I have to play, I know. Nonetheless, here are my picks and comments along with each of them.
Well, the prestigious title of Game of the Year goes to none other than Uncharted 2: Among Thieves. No game had ever immersed me in such a cinematic world as this one and everything, and I truly mean every single aspect, was top-notch. The graphics were the best I have ever seen (truly any title with the "best graphics" of that year means best "ever," at least technically), and the lush jungles and snowcapped mountains proved that a gray, ugly background is not mandatory for a top-tier action game. The story was basically an Indiana Jones tale with a protagonist of equal charisma and courage. The cast, including the talented and omnipresent Nolan North and Claudia Black, created very likable characters that emoted well due to the superb motion capture animation. The action also made a lot of improvements over its predecessor and was incredibly intuitive. There was a difficulty spike near the final acts but I, for one, appreciated the challenge. No other game kept me enthralled so much that I had to beat the game in the shortest time possible (in this case 3 days) and then go back for seconds. For all the reasons above and its near-and-dear proximity to my heart, Uncharted 2 is my Game of the Year.
Say what you will about the story, but I had a blast with Modern Warfare 2's campaign mode. An apeshit crazy storyline perfectly complemented the apeshit crazy action, and it benefited all the while because of it. Plenty of plot twists and gripping sequences kept you hooked and it was short enough that its insanity didn't permeate your cranium. I despised the "No Russian" scene however and still won't forgive Infinity Ward for that nonsensical event but the game is dynamite nonetheless. The new Spec-Ops mode was a surprise in its variety and difficulty and will keep me busy for awhile as I pathetically attempt to reach 69 stars. The multiplayer mode finally hooked me this time around, which it did not for the 4th. I was terrible in the beginning but, with its addictive progression system and unlocks, I have managed to get good enough to be in the Top 5 nearly every round. My kill-to-death streak is terrible but the competitive multiplayer is top-notch in all fairness. Modern Warfare 2 is quickly approaching my most-played game of the year (see below) and will surely pass it soon.
Most of my thoughts for this game are summed up in my review, but this was my feel good game of the year. The Beatles are naturally my favorite band of all time, and combined with the best music game series out there, it makes for a stellar combination. The art style is very clean and actually makes the gameplay feel a lot more friendly, maybe considering this is also one of the easier Rock Band games out there. The downloadable content is pleasing as well: Abbey Road, Sgt. Pepper and Rubber Soul have all arrived already and there are still possibilities of others down the road.
Who would have thought a superhero game would be in almost everyone's Top 10's for the year but Batman: Arkham Asylum is a superb game in every regard. The chilling atmosphere, fantastic voice acting and dynamic combat system all are the main contributing factors to why this is the game that everyone could not stop talking about. The ending did disappoint, but everything else was so stellar that its overall impact was in no way lessened.
The first Assassin's Creed had more than its fair share of flaws but I enjoyed it for the innovative experience that it was. Thankfully, Assassin's Creed II does not make any excuses. It is an immensely polished, refined version of the first with many other improvements. The controls have some small but noticeable touch-ups and, while they still can frustrate in particular situations, free-running for the most part is surreal. The story for this now-franchise actually has depth this time around unlike the last one with its cheap ending. A bevy of side missions and assortments of weapons and armor make this game much deeper than its predecessor. Let's not forget the stunning graphics as well: they aren't as revolutionary as the first but the superb art design on the historical settings really adds to the game's impact.
Ratchet & Clank really is that franchise that allows kids to be at the forefront of gaming's technological advances and also witness an experience that is appropriate and a lot of fun for them. Thankfully, it translates into a brilliant game for any age group as its Pixar-like graphics, cartoony story, mind-bending puzzles, and innovative action all combine to make an entertaining package. I found myself laughing out loud at some of the jokes that are reminiscent of a good Spongebob episode. Add to that a hilarious arsenal of bizarre weapons and puzzles that manipulate time, which only get harder as the game progresses, and you've got a fantastic title for anyone to enjoy.
Yes, this game was in fact released in 2008. However, I did not play Fallout 3 until this year and it was, far and away, my most-played game this year. I sunk 90 hours into this baby and never looked back. That reasoning alone would be a pathetic reason for me to include this here but, rest assured, logic enters the equation. Fallout 3 had a total of five, yes FIVE, pieces of DLC throughout the year and they were all great diversions that turned this expansive post-apocalyptic RPG into the best Western RPG I have ever played. A bold declaration but this lives up to it in spades. The downloadable content was varied, whether it be an Alaskan virtual simulation, a Pennsylvania raider romp, a continuation of the main story (and an increased level cap!!!), a voodoo trek through Southern mutant territory or an extraterrestrial excursion. All the content worked, with Mothership Zeta possibly being the weakest add-on though I still enjoyed it. Point Lookout had one of the best atmospheres for any game I played this year, standing up to the likes of Batman: Arkham Asylum. The piles of sweet loot that I pillaged only added to the obsession I had, and possibly still have, with this game. Fallout 3 really was my drug for 2009.
Next to Fallout 3, this was the other game that dominated my summer. I have always had a soft spot for Battlefield's huge, if somewhat clunky, worlds and this affirmed that love. I would be lying if I said I didn't stay up until 3-4 AM some summer nights playing this instead of partying or, you know, sleeping. Due to its random nature, the game had some of the most memorable moments of the year for me, such as taking out the entire enemy team with my rifle alone, jumping into a jeep, flattening an adversary then piloting a plane where I would go kamikaze into a lighthouse before jumping out at the last second. All of this, and I didn't need a kill streak to get any satisfaction. Despite all of this, Battlefield 1943 feels surprisingly balanced and each class has their advantages. The lack of a persistent upgrade system was disappointing but that didn't stop me from spending a lot of time with this one....until Modern Warfare 2 came out of course.
This is the real surprise of the year. I never played a Diablo game before in my life and had no interest in the upcoming third installment in the acclaimed Blizzard franchise. That all changed when I spent $10 on Torchlight during the Steam sales and booted up a game people were praising but I really had no interest in. It hooks you from the get-go: barely even distracting you with its barebones story, Torchlight throws you into a cavernous mine to slay beasts and collect loot. Sure, it is a rip-off of Diablo (from what I have heard....) but it is an addictive and polished one at that. The art style is very attractive and the pounding score makes achievement-whoring the fishing minigame a pleasure. I am still not even done with this game yet but I really can't wait to play more.
I have always appreciated racing simulators but never got into them because of their high patience requirements and, well, realism. Burnout seemed to scratch my asphalt itch more than Gran Turismo. Nonetheless, I picked up Forza Motorsport 3 to see what the immense praise was all about. I was immediately fascinated by the white, sterile menus and the tutorial that made any player feel right at home. A steady stream of achievements didn't hurt either, and I was hooked. There is a lot to love in this game and the endless customization of difficulty and assists guarantee that no one will be left in the dark. The huge roster of beautiful, intricately detailed cars also is astonishing as is the 2nd disc that requires hard drive space to install because they could not fit all the cars and tracks on one disc. Turn 10 aimed for the stars and hit pretty close.
Okay, I am cheating. For one, this is the 11th item on this supposedly "Top 10" list and, secondly, I have not gotten too far into this game yet. However, I am loving it so far and I know this is the type of game that I will cherish. Mass Effect was not a huge favorite of mine but, on the other hand, KOTOR was, which this seems to more closely resemble. Or Baldur's Gate to be exact. The extremely deep single player campaign will most likely take me hours to finish and I am enjoying all of the characters already. The so-bad-it-is-good narration also puts me right in the medieval mood. This is definitely going to be a favorite of mine and I may edit this list later on for its placement to be accurate to my final impressions.
It took me some time to finally get this review done, you know, things like Christmas and holiday shopping but it is finally done. :)
Avatar Directed by James Cameron Released in 2009
I will eschew hypotheticals and get straight to business: Avatar is an excellent film. It is a film of revolutionary special effects, beautiful art design and rousing action, all contained in a story that holds emotional weight even if it seems like a road we have all traveled before. With an enormous budget (reports stated it was half a billion while it really is less than $400 million with marketing, $240 without) and James Cameron at the helm, an inordinate amount of hype has been attached to this movie and, naturally, not everyone will be pleased. However, for those who are willing to take Avatar at face value for the well-made blockbuster that it is, they will find one of the best action films in recent memory and a great way to end this fecund decade of cinema.
The concept behind Avatar is very idealistic but, through some miracle, it was realized. After steering Titanic to countless box-office records that have yet to be broken and mountains of Academy Awards, James Cameron wanted to make the film of his dreams. It took him years to reach the point where technology could match his megalomaniac wishes but, by the last 2000s, computers "caught up" to Cameron's vision and brought forth the film that is here today. Filmed with new, specially-designed 3D cameras, actors interacted with green screens and a fraction of what is on the screen (at least on Pandora's surface). The human element of filming seems to have been reduced, but this is not the case, as emotion and soul are very much present. The Michael Bay approach is nowhere to be found, as James Cameron does his best to balance the glitzy, million dollar linings of his special effects with a human story. Thankfully, he succeeds.
There is a tried and true story at the heart of Avatar and, while it will not win any Oscars for Screenplay, it serves as an inspiring tale of conflict, romance and betrayal. Sam Worthington plays Jake Sully, a wheelchair-bound soldier who picks up on his deceased brother's mission as part of the Avatar program. This breakthrough of technology allows humans to embody an "avatar," in this case, a Na'vi mixed with human DNA. The Na'vi is the race of indigenous creatures to the planet Pandora, and they are blue and close to 10 feet tall. They all share a closer bond to nature than humans do, and that is where conflict arrives. The humans want an element called "unobtanium" (yep, a joke there) that lies clustered under the surface of Pandora's beautiful exterior. Jake loves this world who, as an Avatar, can walk and run unlike his human, crippled self. He sees the world of Pandora as a place of opportunity that cannot be destroyed like the humans intend it to. To add to his conflicted feelings, Jake falls for a female Na'vi, Neytiri, voiced by the beautiful Zoe Saldana who made her first big-screen appearance in Star Trek earlier this year. The African (along with Native American, Mayan and every other race of people who were exploited for their land and labor) influence behind the tribes of Na'vi adds to their loving nature, as they cry when plants and animals are slayed. They also call upon their ancestors for spiritual guidance, shown by the trees that defy the laws of nature and hold ancient memories. Sure, some of the story has been done before but it is broke into a few parts with almost all of the action reserved for the end, allowing a period of focus on the fascinating natives. A touching, if predictable, ending wraps it all up effectively.
A point of interest in Avatar has been that it has box-office-breaching intentions while sticking with a cast devoid of any household names. For instance, Sigourney Weaver is the film's most known actress, though she lives up to her previous role in Aliens as a dominant female character. As the creator of the Avatar program, she is a certified genius but comes across as a hardass. Nonetheless, she quickly warms up to Jake's gung-ho attitude and becomes his greatest human ally on his quest to save the planet. As Jake's enemy, Stephen Lang is brilliant as Colonel Quaritch, who will stop at nothing to carry through with his mission. His character is more of a homage to cheesy action stars of the 80s, shown by his constant one-liners, but is a very entertaining figure because his muscles match his determination. The dude doesn't settle for mere explosions to take him down and proves to be an (unintentionally) hilarious character. Michelle Rodriguez (Ana Lucia from Lost), Dileep Rao (Drag Me To Hell) and Giovanni Ribisi (Public Enemies) all make appearances as well, and the latter especially personifies the arrogant, capitalistic mindset the film is trying to expose. The protagonist himself, Jake, is acted very well by Worthington, a surprise considering his generic appearance. Behind the "jarhead" attitude that he initially displays, a caring being emerges, and his conflict over which side to support proves to be the film's focal point. All in all, the cast of Avatar lacks heavyhitters but has some real talent.
Of course, the real draw for Avatar is its visuals. In 3D, filmed with ultra-advanced cameras and with huge sections of interaction that are only CGI, a certain amount of hype was rested on the special effects and what its technological advances mean for the future of cinema. To put it plainly, this is the best-looking film I have ever seen. The sprawling vistas of Pandora are insanely detailed and simply beautiful. Much of the credit can be attributed to the superb art design which creates original creatures that have qualities of animals we all know, but turn them into mesmerizing, sometimes frightening beasts. For instance, Jake encounters a creature that has the head of a hammerhead shark on top of the body of a Triceratops. The last time I saw creatures so alive and original in their composure, yet vaguely familiar, was Jurassic Park. Many parallels can be drawn to that film as well: there are problems with the story, yes, but the action and visuals more than make up for it to be an immensely entertaining experience. Even the blue, Na'vi creatures emote to a level of human capacity. That was a point of skepticism for many as to whether or not these computer-animated characters can be properly lifelike. Thankfully, Cameron does not pull a Robert Zemeckis on this one and actually creates characters that are insanely detailed and carry a lifelike aura to them. The Avatars all resemble the humans behind them, enhanced to a degree, making them younger and stronger than their human form. Even the Na'vi themselves slightly resemble their human actors, as Neytiri bares similarities to Zoe Saldana. The Uncanny Valley has finally been crossed and all filmmakers should seek guidance from James Cameron on how to create emotive digital characters in closeup.
The 3D effects in this also work surprisingly well. Beowulf and Up dabbled in the 3D medium with moderate success but Avatar is the first film to really excel in this format to the point that watching it in two dimensions is an inferior experience. In 3D, colors still run into the problem of being slightly drained out but the depth of field and clarity of objects is astonishing. There are no gimmicks such as shooting into the screen or reaching a hand out to the audience: the 3D experience only lends to the experience. This format is not perfect of course; I had a few problems with it initially. In IMAX 3D with the gargantuan screen, my eyes took some time to adjust properly and a chase sequence near the beginning seemed disjointed in what was being focused and what was not. This occurred in dialogue sequences as well: the camera was focused but my eyes could only focus on one focal point of the screen at a time and not others which made these scenes seem somewhat stilted. Others may not have this problem but reports say that some have it worse. Nonetheless, everyone should adjust after some time and then witness the remarkable work Cameron and his technological designers put towards this movie. The visual effects are a shock to the system and, like the best drug, a side-effect is only natural.
Saying this, Avatar runs into some flaws, but their nature and severity are so minimal that anyone focusing on them as a hindrance for enjoyment really is not viewing this film properly. The heavy-handed, impossible-to-miss message of conservation is somewhat overbearing but, really, any film with a green message is alright to me as long as it has something to complement it. The clichéd story is also unoriginal, taking cues from The Last Samurai and Dances With Wolves, even Pocahontas too, as a man who comes closer to nature and assimilates with a native group. This, for some reason, has been a point of contention for some and it seems to me that they forgot what James Cameron's work has been. Terminator 2 is one of the best action movies of all time and what is about? A robot from the future saving two humans from another robot. Not exactly mind-blowing material there. Arguably the best sci-fi action film of the 80s, Aliens did not showcase the heights of original storytelling either; the name is "Aliens" for godsakes. The point is: James Cameron is the master of cliché, and he does it so well. His directing of action scenes is still the classic approach of "bigger is better" and there is nothing wrong with that. Look to Avatar for a unique visual feast and action extravaganza. The complexity of Synecdoche, New York (a great, underlooked film by the way) is not going to be found here.
There are a few blatant flaws with this film that are present regardless of personal subjectivity. For one, the script is lacking. James Cameron believes he is a Renaissance man of sorts. He most certainly is, as he created, directed, produced, and was one of the leading technical advisers behind this entire project. However, he also wrote the script, a problem that can be traced back to the Star Wars prequels that George Lucas took full control of. The script is far from terrible; it actually services the movie quite well but Cameron, as a screenwriter, has seemed to have lost his edge that made Aliens so quotable. There is no memorable Bill Paxton character in Avatar, and Cameron would have made the best decision if he focused on the story while giving the dialogue credits to an acclaimed screenwriter instead. Thankfully, the cast is so talented that they make the script actually work. Only a nitpicker like me will have real problems with the screenplay and I was amazed by everything else that the complaint is minimal.
In the end, Avatar is a fantastic way to end this incredibly influential decade of cinema. It is colossal entertainment on a grand scale and a film that truly must be seen to be believed. Its release on home DVD and Bluray will most likely contain a fraction of the impact it had in a big theater, a perfect way to inject life into the shaky box-office market. Truly though, its solid story along with brisk action combine to create an epic on the scale of any film to release this decade alone. The technology behind it is massive and also combines with some neat, recent tricks like a camcorder-like zoom (also seen in Star Trek and District 9 this year) that makes all of this glorious CGI actually seem lifelike. The impact of Avatar on cinema has yet to be seen: will 3D be the new standard? Is making a movie this large and expensive smart or even feasible in this economic time? Those questions have yet to be answered but, right now, end the decade on a high note and see one man's crazy vision become realized through the spectacular Avatar.
So, I have not gotten around to seeing a film in the theaters for sometime, though that will change this Sunday when I see the much-anticipated Avatar. A review will naturally follow and then you all can see whether or not it lived up to the hype. In the meanwhile, I have seen a few films through Netflix that are not heavyweights but worth mentioning. I am going informal with these reviews but, no worries, the trademark, RHCPfan24 analysis style will return for the Avatar review.
The Goods: Live Hard, Sell Hard
Directed by Neal Brennan
Released in 2009
Sometimes a cheap, raunchy comedy is needed in a time of serious releases and The Goods fits the bill well. With a talented cast including Jeremy Piven, Ving Rhames, Rob Riggle, Kathryn Hahn, David Koechner, Ed Helms and the always lovable Ken Jeong, the actors alone guarantee this movie to be a fun, disposable comedy, regardless of a shoddy storyline. The story centers around a failing automobile dealership needing to make sales on Independence Day weekend and the help they enlist. This is, of course, Jeremy Piven and his crew who live and breathe car sales. There is a lot of fun to be had here as they tame the wild workers at the dealership including Charles Napier as a homophobic, deranged war vet. Kathryn Hahn, known from Stepbrothers, is entertaining in her attempts to seduce Rob Riggle's character who has a mental disability in that his mind is as advanced as an elementary school kid. It is sad, but hilarious. The Goods suffers from the typical, weak middle section flaw that is common in comedies of this sort but is a hoot in the end.
Final Verdict: 3 Stars Out of 5
Angels & Demons Directed by Ron Howard Released in 2009
Following in the footsteps of the simply terrible Da Vinci Code, Angels & Demons has no where to go but up. It does in that regard but the amount is minimal. Tom Hanks returns as Robert Langdon, the Harvard professor who seems to be the only source for solving the cases that Vatican City and the Roman Catholic Church can find. He is introduced by an extended scene of him swimming in the Harvard lap pool, approached by a Vatican official. Because everyone wants to see topless, 53-year old Tom Hanks, right? Nonetheless, a group of a bishops has been kidnapped after the pope's death, messing up the selection process and panicking the clergy. Langdon must find the bishops before it is too late and is joined by Ayelet Zurer, the pair of which displays absolutely no romantic chemistry whatsoever. Ewan McGregor is also here as the clergyman with close ties to the late Pope, seeking to avenge his death. All of this is combined in overly expensive shots, flat dialogue, bland exposition, nonsensical action, melodramatic chase scenes and a plot twist that makes so little impact because the connection with the characters is nonexistent. Some praised Angels & Demons as a great improvement over its predecessor. It is a success in that I did not walk out of the movie, though I am sure I feel asleep. I probably dreamed of a better movie during that time so my opinion is certainly slanted. If you want to properly watch Angels & Demons then do so on comfortable couch/bed and consider your snooze time as the best part.
Final Verdict: 1.5 Stars Out of 5
The Brothers Bloom Directed by Rian Johnson Released in 2008
A small, overlooked film, The Brothers Bloom is a carefree, enjoyable, if flawed little movie. Starring Adrien Brody, Mark Ruffalo and Rachel Weisz, there is some great talent in the leading characters and they all play well off each other. The story is basically about a pair of brothers who are also professional con-artists and pull off
big jobs with ease. They are joined by "Bang Bang," their Japanese sidekick played by Rinko Kikuchi of Babel fame. The whole style is very interesting but it fails to pull of a Wes Anderson balance between quirkiness and hilarity. There simply is not a lot that makes you laugh, though you might be mildly entertained. Robbie Coltrane (Hagrid from Harry Potter) is one of the brightest spots of the film as the drunken "Curator," though his screen time is sadly very short. The film holds up however, and is a fun time for those looking for something different.
Final Verdict:
3 Stars Out of 5
X-Men Origins: Wolverine Directed by Released in 2009
As a fan of Wolverine and the X-Men comics and movies, I thought X-Men Origins: Wolverine would be a fun, if fleeting, experience. It turns out, both of those expectations were way off as this was a terrible "blockbuster" that stayed long in my head in the form of a headache. On paper it works: take Wolverine, flesh out his origins story, throw action scenes in and end with where he is today. In execution, it fails miserably.
Before focusing on the man himself, it is worth noting the low grade of the characters surrounding the protagonist. The cult favorite Deadpool is played by none other than Ryan Reynolds, a presence with such little comic or acting quality that every line uttered was a disgrace to his character and the film that it was printed on. Will.i.am (yes, that one) thought he could act and plays "John Wraith," an original name that perfectly symbolizes the actor's innovation. In this case, nothing. There are other characters but they are all dreadful as the next and the group sections are a real trial to get through. Unfortunately, Wolverine himself is not much better. Hugh Jackman, buff in a rigorous exercise routine, shines physically but actually decreases in quality as Wolverine, with cheesy acting and a poor script to draw his actions from. Wolverine's brother, Sabretooth, is played by Liev Schreiber, an excellent actor in his own right, but unfortunately he is handed a script that makes him come across as stubborn and pestering. The batshit ending where the producers put all the money they had left, bought fancy special effects and set pieces, and threw it at a wall expecting it to stick is an offense to your mind and intelligence too. X-Men Origins: Wolverine is not very much a disappointment in my mind for I had no expectations but it is a complete and utter failure.
Final Verdict: 1 Star Out of 5
Thankfully, I rewatched some good films, those that are not an assault to the integrity of cinema but a grace to it. They are the following, and all on Bluray:
Public Enemies - This gangster film about John Dillinger is a technical marvel as well as truly drawing piece of cinema. Johnny Depp excels as does Christian Bale, even if his part is very emotionless. The ever beautiful Marion Cotillard, one of my favorite actresses, shows her Oscar-worth and is wonderful as Johnny's damsel-in-distress. Keep an eye out for Stephen Lang too, the hard-pressed detective who steals every scene he is in. He has a great year with this, Men Who Stare At Goats and a big role in Avatar. A collection of fine actors and the directing finesse of Michael Mann combine to make a very good film. 4 Stars Out of 5
Harry Potter and the Half-Blood Prince - Rewatching this movie was an interesting activity for me. I found it to still be one of the finest Potter films yet but I could not help but agree with some complaints that it was slow and rather plot-less. The book is similar but, as a film, that qualm really sticks out. No real action appears until the end and there are some sections that drag. However, character development is the focus of all these scenes, something I love. For those that love the Potter world and fiction, my original rating of 4.5/5 should still stand well. But for those who come to Half-Blood Prince and can't tell Ravenclaw from Hufflepuff then any other viewpoint rests well.
Star Trek - Besides looking positively fantastic on Bluray, Star Trek is bound to be a sci-fi classic and is one of the best summer action movies of the decade. No other film in recent memory combined great action and special effects, a compelling, deep story and likable, hilarious characters as well as this. It really is a marvel in every way and a film that everyone, no matter if he or she likes the franchise or not, should see. 4.5 Stars Out of 5
Inglourious Basterds - Quentin Tarantino's mad masterpiece is a polarizing film in that some love it and others hate it. Some find the scenes to be dragged out too long and pointless while others have seen the light and know that it all contributes to the greater picture. I am part of the latter group and believe this film to be one of the finest of the decade. It is hilarious, insane, suspenseful, and, overall, brilliant as a fictional World War II saga. Christoph Waltz as SS Colonel Hans Landa is the star of the show and will surely grab an Oscar nomination and hopefully a win for a performance that I would describe as a tour de force in acting. He speaks in 4 different languages with distinct motions and a fully realized character that was given great thought. He is shockingly good, as he is unknown by most American audiences, and the real soul of this film. With him, the rest of the cast and crew and Tarantino at the helm directing it all, a megalomaniac project that derived from Tarantino's dreams was realized into a work of genius. It will be remembered for years to come. 5 Stars out of 5.
Animation has always carried a stigma of only catering to a juvenile audience. From Saturday morning cartoons to Disney feature films, younger children seem to always be the only group of people meant to watch animated movies or TV shows. This thought process has changed, especially over the past 15 years, with the most consistent movie developer in the business, Pixar, and crude shows like South Park and Family Guy. It is very rare, however, to see a veteran of live-action cinema forgo flesh and blood and instead opt for a full-length animated film. In stop-motion, clay animation no less. Wes Anderson took the risk and it paid off with Fantastic Mr. Fox, one of the best films of the year that stands as great, mature entertainment while still being a fun time for the younger crowd.
Anderson, known for his films with plots centered around dysfunctional families, takes his trademark style and brings it to stop-motion animation. His quirks and acting regulars such as Bill Murray and Jason Schwartzman are all here yet he does not rest on his laurels for he innovates on a formula some were calling stale. There are no slow-motion, drawn-out scenes (or two, or three...) but everything that worked with him is still in place and improved upon. Fantastic Mr. Fox is Mr. Anderson's funniest movie yet, blending humorous character appearances with quality dialogue. For example, when trying to communicate with a lone wolf in the distance and after exhausting his skill in English and Latin (he names many animals in the film by their scientific name), Mr. Fox asks a wolf something in French and explains, "I'm asking him if he thinks he's in for a hard winter." This is the most accessible Anderson film yet, and anyone who does not typically like his work will appreciate this film while fans will downright adore it.
Based off the Roald Dahl children's book of the same name, the story takes liberties with the source material which is no concern, especially considering Fantastic Mr. Fox is by no means a sacred, lofty title. The general premise is that Mr. Fox steals chickens, ducks, turkey, and hard cider from the three wealthy farmers of the area with his wife, Mrs. Fox, but then vows to stop when they barely escape a close encounter. Being the "wild animal" he is, he betrays this promise years later and starts stealing again, much to his wife and the farmers' dismay. The farmers, Boggis, Bunce and Bean, put all their effort to capturing the fox and hold the family under siege while the animals work out a solution. It is a simple story and provides a very satisfying, uplifting conclusion.
The cast gives the characters human behavior behind each manufactured figure. George Clooney offers his smooth voice as the title character while Meryl Streep plays his wife. The two Oscar-winning actors have great chemistry as Mr. Fox serves as the adventurous type while his wife just wants to settle down in a life of safety. Their son, Ash, voiced by Jason Schwartzman, is the best character as he constantly scowls like a typical hormonal teenager while secretly wanting attention from his parents. The subject for Ash's jealousy is in his cousin Kristofferson who lives with the Fox family for awhile. He is everything that Ash is except better in some way: a better athlete, student, fighter, lover, etc. Played by Eric Chase Anderson, brother of Wes, Kristofferson is suave and likable: it is no wonder that only Ash has any problem with him. The legendary Bill Murray plays Badger, a lawyer, and Owen Wilson makes a short appearance as the coach giving the "simple" guidelines on how to play "Whackbat," the imaginary, head-spinning sport of the creatures. Willem Dafoe is sly as the dirty, dancing rat and Wallace Wolodarsky, another Anderson staple, plays the clueless, loyal assistant to Mr. Fox, Kylie. Finally, Michael Gambon, Dumbledore himself, lends his recognizable voice as the film's primary antagonist, Bean. The cast is well-rounded and excellent overall, with the old and new in Anderson's world united for his best creation yet.
As stellar as the voice talent is, the art style is where this film really shines. With figures from the U.K.-based puppet company Mackinnon and Saunders, everything has an organic look that gives each figure emotional weight while still preserving the rustic charm and humor that they all have. The fur on each of the puppet's faces rustle and quiver during close-ups while remaining static in others. Obviously, attention to such minute detail was not going to be paid to each, distant shot but this gives the film its welcome, quirky feel. A storybook aura definitely pervades the whole movie, with hand-drawn murals serving for most of the bucolic backdrops. Shots range from zoomed-in captures of facial expressions to scrolling, detached pans of the animals cavorting. This truly is an innovative, original film in many aspects and its direction and cinematography are the leading reasons why. A great soundtrack also accompanies the action with a few tracks by the Beach Boys as well as superb use of the Rolling Stones' "Street Fighting Man" in a key scene. If there is a reason why Fantastic Mr. Fox is one of the best films of the year, then it is certainly its style and new approach to animation.
Like any great film, there is a message lying underneath. The correlation between humans and animals (we are all animals, technically, after all) serves as a concealed foundation for most of the action. The debonair Mr. Fox is as sophisticated as James Bond yet engulfs his food like the vicious creature he is. On the contrary, the three rich farmers rake in huge profits yet commit literally their entire lives to bringing down a measly fox while Bean's disgustingly ugly son shoves his face with food and watches the events unfold on TV. There is a look into the human psyche in this film, funnily enough, that is not only pro-nature but showcasing the stupidity in some and brilliance in others. Anyone can be a Mr. Fox if they know what matters most in their life, even if it takes a near-death experience to reveal it. Further reinforcing this human-animal comparison point is the constant switching of titles in each scene, sometimes listing how much time has passed in "fox years" opposite human years. Action moves faster in the fox world (about 2 human years equals 12 fox ones) and this motivates the animals to get the most out of their life instead of eating 12 chickens a day like fat old Boggis.
Fantastic Mr. Fox lives to its namesake and is truly fantastic. The stellar voice acting and art style combine to create a unique experience that is one of the better comedies of year while still being animated. Any age group will enjoy this film, though different ages will obviously get different experiences. Children will be fascinated by its looks and like the characters while the older set will laugh at most of the jokes and appreciate the care that has been placed on every detail. This film also has one of the best censored scripts ever, with every curse word replaced with "cuss." It seems gimmicky at first but its abundance makes it friendly for the younger crowd while giving enough hints to know what the animals are really saying. And if there is anything that this film is trying to get across, it is that we are all wild animals in the end.
The Road: Directed by John Hillcoat Released in 2009
The world is in ruins. Once-lively cities are now wastelands. Forests are no more than burnt twigs and dead leaves. Almost the entire human race is extinct. And we do not know why.
Such is the general premise of The Road. An apocalypse, of human or natural origin is not known, completely ravages the world yet brings together two survivors: a father and son. In a world where the sun has ceased to rise, a young boy faces a tough life full of struggle, death and mystery. In The Road, directed by John Hillcoat, this boy is played by Kodi Smit-McPhee, a relative newcomer to cinema who shines as the pure, unscathed soul in a world of pain. His fiercely protective father, played by the consistently excellent Viggo Mortensen, does not hide the world's state in front of his son's eyes but will kill anyone who tries to harm him. This relationship is the foundation for this entire film and what could have been a disastrous, boring two hours of cinema is elevated as one of the best films of 2009 because of the superb acting and excellent source material by Cormac McCarthy.
The action, set only a few years into the future considering the child was born before the apocalypse, is offset by a few flashbacks to a supposedly better time. Charlize Theron is the mother who cannot bear the life and world she lives in as the atrophy of her marriage comes to attest. The tragic turn of events in their relationship sets the father and son off into the world, alone. They seek to go to the sea, most likely because it always carries a symbolic hope that the land does not. Most of the survivors have resorted to theft, murder or cannibalism, the latter shown during a haunting visit to a house's cellar. With only two bullets and a revolver to defend themselves with, the man and boy, never given a name, decide to flee most of their dangerous encounters rather than combat them. The boy consistently asks his father, "Are we the good guys?" met with the usual response "Of course we are." However, as later events show including a heartbreaking encounter with a poor thief, their moral compass starts to point astray in a land with no laws or predetermined consequences.
Michael K. Williams There is a bare minimum of supporting characters in this tale, though each one is extremely memorable in one way or another. Guy Pearce, with a facade far away from Memento, is the base for the film's powerful, closing scene. Michael K. Williams is the aforementioned thief who becomes the subject for the father's fury. His disheveled look and emotional pleading provide a compelling character who serves as a turning point for the man and boy's journey. None of these characters, however, compare to the impact the old man makes in his memorable 9 minutes of screen time. Robert Duvall, almost unrecognizable under layers of dirt, worn skin and glossy cataracts, is the "Old Man" the pair comes across and spends a night with. In a rather humorless film, he provides a few lines of comic relief yet also some of the deepest, most philosophical dialogue of the film. When asked by the father if he ever thinks of dying, he responds, "It’s foolish to ask for luxuries in times like these." A line like that sits alongside Colonel Kilgore's famous napalm speech in that you laugh at it yet choke on its resonance. His past is mysterious as well considering he cries after seeing the young boy in front of him, an angel in his eyes, and had a son whose fate he is too tortured to reveal. Duvall's short appearance makes the movie and enlightens everything around him.
What is around him is bleak and depressing, though beautifully poetic in a way. With cinematographer Javier Aguirresarobe, known for countless foreign films as well as the recent Twilight film (huh?), a vision of torn-apart America is realized. Gray and brown are the film's primary colors and the brighter, pre-destruction world is a real counter to what exists in their current environment. A captivating score by Nick Cave and Warren Ellis does not overstay its welcome, a worry in a story of such raw, coarse melancholy. While No Country For Old Men, the fantastic, other McCarthy adaptation, brilliantly implemented almost no orchestration whatsoever, The Road uses it to its advantage by incorporating a light layer of it during many of the scenes. Charlize Theron
The Road is a bleak, depressing film. One of the first shots of Viggo Mortensen's character as he is sleeping almost looks like a zombie, with mouth ajar and hollow eyes. The life from him is draining and he seems to exist merely as a shell of what he used to be. There is also a common theme of suicide that pervades the whole film. In an opening conversation between father and son, he teaches his child how to properly commit suicide with a revolver, a necessity for anyone being sought out by cannibals it seems. However, there is an uplifting nature to this film. The father has a purpose in life, to protect and care for his boy, that continually motivates him to push forward. Moments of childlike wonder pop up as well, such as the son drinking a can of Coke that has retained its fizz. Ultimately, The Road is austere in its nature yet optimistic in its message that there is always something to be fighting for, that blue sea to reach.
"The Men Who Stare At Goats: A Film By The Coen Brothers."
That is actually not true, like many parts of the film, but it might as well be. This movie has as much Coen Brothers quirkiness and humor as The Big Lebowski. It can be very uneven at parts but, in the end, The Men Who Stare At Goats is an enjoyable ride.
Based off a book by Jon Ronson and directed by Grant Heslov (a producer and writer of Good Night, Good Luck), The Men Who Stare At Goats is a strangely named film about the story of Bob Wilton, played by Ewan McGregor, an Ann Arbor journalist who, after being dumped by his girlfriend, is seeking for reckless adventure. He finds it in Kuwait when he meets Lyn Cassady, George Clooney in a mix between his nutty Burn After Reading character and the chill Danny Ocean from the Ocean's series. Bob heard of Lyn back in the States when he interviewed a supposed "super soldier" who had psychic powers. He mentioned Lyn as being the best of the best, someone able to stop a goat's heart from beating by merely staring at it. When Bob and Lyn go into Iraq on a joint effort, they run into kidnappers, a Coen's staple, and must escape. Flashbacks are also shown in between the current day action, such as a hippie Lyn Cassady receiving training from Bill Django, basically an aged version of The Dude played by Jeff Bridges. The similarities between this character and The Dude in The Big Lebowski are the main reason why this movie seems so akin to a Coens film, though the general vibe it has definitely attributes to this. More plot and events develop as the movie progresses, but, much like the state of many of the character throughout the film, it all seems to be under the influence of questionable substances.
Kevin Spacey makes an all-too-short appearance as Larry Hooper, a soldier with a grudge against Lyn and Bill. His deadpan delivery is a bright spot of the film and the ratty moustache he wears also ends up being one of the film's best jokes. The title of the film can be seen as a joke in itself as well. The psychic powers are never fully revealed or shown besides a few questionable occurrences. There is no denying that the title really draws in the passerby though. Kudos to the marketing team then. The movie also claims some of the events to be true without asserting any proof. Some people have been bothered by this but I find it humorous as well as drawing yet another parallel to the Coen Brothers. Their masterwork Fargo starts with the line "THIS IS A TRUE STORY," even when the entire story was a fabrication of Joel and Ethan's mind. The Middle Eastern setting makes The Men Who Stare At Goats a more debatable story, though it is almost certainly false.
When looking at The Men Who Stare At Goats from the bigger picture, it does not leave the brightest impression. The story was jumbled and the characters never were fully-developed. However, the fun in this film lies in the minute-to-minute scenes. Kevin Spacey giving Clooney a "death palm" and George's hilarious reaction to are where the film finds its strengths. The Dude (I cannot call him anything else), old and overweight, with a ripped open shirt flying a helicopter while on LSD is priceless in itself. McGregor's narration can be a bit bland at times but his final scene is a good parody, or realization, of the film's events. I certainly recommend any Coen Brothers fan to see The Men Who Stare At Goats. Some may be left flabbergasted but that is the point. It was a wild acid trip while it lasted: you may not remember all of it but you can recall it being a fun ride.
*Two months late maybe, but that is how my school newspaper rolls. I wrote this for it over the weekend and decided to post it here too. ;)
“By reinterpreting an essential symbol of one generation in the medium and technology of another, The Beatles: Rock Band provides a transformative entertainment experience. In that sense it may be the most important video game yet made.”
Seth Schiesel, the New York Times video game critic, declared this upon the release of The Beatles: Rock Band on September 9, 2009. In the field of journalism, this type of statement is viewed as hyperbole. And it is. However, Schiesel makes a somewhat valid point here about the importance of this new release. By blending icons of two generations (Beatles for old; video games for current), The Beatles: Rock Band is a far more important release for both music and video games than the fifth Guitar Hero or another Rock Band featuring LEGOs (yes, there is one).
But first, a short history. Practically every human being on the planet with an ear for popular music is aware of The Beatles. From their Liverpool days to the final rooftop concert they performed in London, The Beatles defined a generation and remain one of the most influential acts on the planet. John, Paul, George and Ringo created immortal albums such as Sgt. Pepper and Rubber Soul that remain ingrained into the public consciousness today. Thus, this Rock Band release is significant in its ability to bring The Beatles’ music to those who may not be that acquainted with their music already.
Nonetheless, the only thing people want to know is whether or not the game lives up to the hype or not. To an extent, it certainly does. The tried and true Rock Band formula is brought here with little change to the fundamental structure but many tweaks to the aesthetic style. The game is bright and organic, unlike many of the dark, dimly lit venues from Rock Band 2. The most famous venues of the Beatles’ career serve as backdrops for the songs, including the Cavern Club in Liverpool, Shea Stadium and Budokan. Once the Beatles moved past touring and fully divulged their creative element, they settled at Studio 2 in Abbey Road, which is where most of The Beatles: Rock Band takes place at. Here, each song starts in their expansive studio then
transforms into a “dreamscape” based off the song that is being played. For instance, “Yellow Submarine” will feature nautical scenery such as huge waves and, of course, a yellow submarine. All of the songs at Abbey Road have an individual scene and while some of them are drab (“Getting Better” is merely flashing lights and Sgt. Pepper garb), the dreamscapes really set this experience apart from any other music game out there and really make this game a loving tribute to the band that brought so much to the world.
Furthermore, the set list is stellar even if it misses some key tracks. All points of their career are touched upon, starting with “I Saw Her Standing There” and ending with, well, “The End.” “Dear Prudence” is a blast to play on any instrument, with difficult hammer-ons for guitar, a steady groove for bass, complex fills for drums and a soulful vocal part. Speaking of vocals, there is an innovative (and somewhat overdue) addition brought to this game: 3-part harmonies. As any Beatles fan knows, much of the magic behind their songs lies in the layered harmonies between John, Paul and George. For this game, three different microphones can be plugged in for different participants to attempt to harmonize with one another. It is not easy to do but it is very
satisfying when the chorus of “I Want To Hold Your Hand” is mastered with a group of people. While vocals are obviously tough merely because of the voices behind the songs, the rest of the difficulty on the instruments are a considerable knock down from other Rock Band/Guitar Hero games. The Beatles were not the technical masters of their instruments like Eric Clapton and Keith Moon of the day even if they still rank up there with the best. The creativity they had was unequivocal and, thus, why their songs were so captivating. I was able to 5-star nearly every song on Expert Bass or Hard/Expert Guitar, something I am rarely able to do in other games. However, the drums actually remain very challenging, possibly dispelling the naysayers of Ringo’s ability. “I Wanna Be Your Man,” from the early album Meet The Beatles , is shockingly hard, with an erratic beat and intricate rhythm that is laughably difficult. The note patterns on the whole are not as tough as other games but arrive at a good middle ground to cater to newcomers as well as veterans, leaving both parties satisfied in the end.
It is disappointing that such tracks as “Strawberry Fields Forever” and “Hey Jude” are unexplainably absent from the game as well, but they will most likely appear down the road in the form of downloadable content. The full albums of Sgt. Pepper and Rubber Soul are planned to release before the year is over, and Abbey Road already came out with songs like “Maxwell’s Silver Hammer” and “Oh! Darling.” Even with the missing songs, the library included in the game is varied and fun to play, which ultimately means the most in this case.
The Beatles: Rock Band is obviously a labor of love from the folks behind it at Harmonix. Every aspect of this game feels more polished and refined then other music games that have come before it. The fact that this game was made is still somewhat shocking considering Apple Corps, the Beatles’ studio, and their strict protection of the band’s name. They obviously oversaw many of the stages of production, making sure this was not slighting the band in any sense. Apparently they demanded more wind to be added to the final rooftop concert, seeking to capture that chilly day accurately. However, the history in the game is certainly a sugarcoated one, with nary a mention of the forces behind their breakup. Any fan knows those details though, and this game really serves as a tribute to why they were so great in the first place.
Of course, there are many out there who could care less about The Beatles: Rock Band but still eagerly awaited September 9. That reason is because the remasters of The Beatles’ catalog was released on this day as well. Available in two different sets, stereo and mono, The Beatles’ catalog finally received the upgrade it has severely needed.
To those unaware, the 1987 CD versions of The Beatles’ music were released haphazardly in stereo, without much care or attention to detail. Fans for over 20 years have been seeking better forms of their music, found, of course, on vinyl. However, with the new release of these CDs, the LPs may not be the superior alternative anymore. I got an early holiday gift in the form of the mono box set and observed some of the differences between the remasters and the 1987 CDs.
Please Please Me , The Beatles’ debut, features a number of classic tracks but they usually were flat or lacking in energy. This is different with the remasters, with “Twist and Shout” being a great example. John, who recorded this song at the end of a daylong session, barely has any vocal cords left, giving it its famous, raw sound. The detail is fleshed out with this remaster, making it sound much more authentic and close to the original recording. One of my favorite Beatles songs, “Taxman,” was a rather shoddy track previously but is given new life with this facelift. The bass and drums are cranked up and sound drastically different. Some songs even change pitch or tempo, such as “She’s Leaving Home.” Raised a half step and sped up, Paul’s singing sounds more confident and less shaky than before. Listening to these songs on my PS3 hooked to a nice sound system, I really was impressed by the quality and overall vigor the songs captured. Even without a nice sound system, these songs are great on headphones or boomboxes because of the one-channel sound that mono is defined by. Truthfully, most of the changes are small but, overall, they create a new set of recordings that is really greater than the sum of its parts. Mono sounds very different from stereo and my time with the latter has been restricted to online samplings so I cannot properly gauge its quality. However, mono is the biggest jump from the 1987 set so this box set is probably the best way to buy the remasters considering that they are unavailable for individual purchase.
It is not often that a nearly 50-year-old act is given the spotlight in today’s fast-moving society, but The Beatles are no average band. As the top-selling band of all time, there was not much more ground that they needed to cover to gain more recognition or acclaim. However, they are now the feature of the best music game to date, one that is appealing to many who have been unaware of most of their work, as well as serving the ultimate fan service to the millions of loyal fans in the form of the new, remastered box sets. Even after the death of George and John, their influence remains strong. There will never be an act that can rival their impact again, but the fact that we can celebrate their work together, decades later, benefits all of us.
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