Avengers Age of Ultron

Avengers: Age of Ultron

A review

May 3, 2015

Viewed April 30,2015

**** out of *****

“The planet has survived everything, in its time. It will certainly survive us.”  Michael Crichton

          Decades from now when film historians study this period of cinema, they will likely spend a great deal of time discussing the rise of the superhero genre.   Hastened and strongly influenced by the amazing visual advances in the art of computer generated images this genre has exploded over the last decades as each successive blockbuster creates a powerful experience for the viewer.    These same historians may quibble over character development and story, elements that one could argue vanish with big screen spectacle. These are subjects of debate, but if you just want the spectacle these movies are certainly delivering. 

          No more is this in evidence than in the power and continuity of the Marvel brand and its showcase of its stable of superheroes is in full bloom with the challenging, fun, and dynamic Avengers: Age of Ultron, the follow up film to Marvel’s 2012, mega-smash The Avengers. 

          This latest effort again brought to life by the talented Josh Whedon is a vastly different film from the debut effort.  Audiences have grown familiar with the characters by now and as expected part of the appeal of the movie is seeing what new the actors can bring to these characters that audiences and comic book fans know so well.

          By the director’s own admission he sought with this story to tell a darker and more emotionally challenging tale which seeks to broach many themes and subplots along the two hour and twenty minute running time.   Some subplots and characters are better handled than others, but the overall texture and ideas that the film provides is both exhilarating and complex enough to offer food for thought for even casual filmgoers. Despite this, the movie’s highlights are its extended pieces of pure adrenaline action.

          A major issue I had with the film is the earlier sections of it.   It rushes through too many of its earlier scenes, especially in its creation story for Ultron, the super powerful robot created by Tony Stark as a protector for the world.   That Ultron turns on both the world and the Avengers is no surprise, but the development story especially Stark’s motivations could have been fleshed out more in beginning given the viewer time to breather.    There are other missing gaps through the film, but these are minor blips.  

          Ultron as a creation is amazing.   Voiced with wit and a haunting tone, actor James Spader gives an amazing performance.   Both Frankenstein’s creation and Frankenstein himself, Ultron is a convincing villain.    The film soars whenever he is around.

          In a movie packed with surprises and new characters and plenty of darker overtones the jokes fly fast and furious throughout the film.   This is helped by the banter and familiarity of the now huge cast.   The newest members of the cast, Elizabeth Olsen, Aaron Taylor-Johnson were a major surprise as the twins, Wanda and Pietro Maximoff, Scarlett Witch, and Quicksilver from the comics, however the film never calls them such.   This continues a trend from the first film where the characters refer to one another by their first or last names, a Marvel trademark for its films which humanizes the characters.  Stark’s arrogance, Thor’s bravado, these are parts of the characters they inhabit that offer a glimpse into the real people, flaws and all.   

          Whedon uses this to his advantage to break them down to individuals and the middle section of the film when some of the characters are allowed to show their vulnerability and fears offers some of the best work in the Marvel canon so far.

          Returning performers Robert Downey Jr, Chris Evans, Chris Hemsworth, Jeremy Renner, Mark Ruffalo, and Scarlett Johansson each get moments to shine.  Paul Bettany who has voiced Stark’s computer program Jarvis for several friends evolves into something new in an exciting development late in the film.   

          Whether one is a comic book fan or not, The Avengers: Age of Ultron offers something up for nearly ever viewer.    Its ending promises future adventures and plants seeds that will be explored in future films.   The film kicks the summer movie season off to a rousing start. 

         

                                                            Tommy Key

Rated PG-13(intense sequences of sci-fi action, violence, destruction, suggestive comments) 

Mockinjay

The Hunger Games: Mockingjay- Part I

A review

November 22, 2014

Viewed November, 21, 2014

****.5 out of *****

“To know your Enemy, you must become your Enemy.” 
― Sun Tzu

            Our common heritage is war.   There are myths of war, pains of war, the costs both tangible and the costs to the ones who fought and lost and the unseen costs on those who survived. Wars have been fought, won, and lost since mankind took its first precious breaths.    War’s ravages leave no survivors, and yet the true measure of a war’s toll is mostly found on the vacant stares of the ones who fight for something that can’t even name.   All revolutions begin with a promise of glory, but the survivors know a bitter truth.   The battle within has no ending. 

            As the first part of the concluding chapter in the four film series, The Hunger Games Mockingjay- Part I is a drastic and sudden departure from both the tone and substance audiences found in the first two.   The worldwide best-selling books by Suzanne Collins contain a not so subtle metaphor of a dystopian world that is North America by the author’s own admission sometime in the future.  The massive popularity of the books and films and the rising ascent of their mega-star Jennifer Lawrence has only increased anticipation for the two part conclusion.    The complaints rage about Hollywood’s milking of lucrative properties into multiple films, but after seeing this latest installment and the workmanship and craft that has been produced the film it seems doubtful that one much longer film could have really done the property justice.

            In this find we find the tortured heroine in an awful state reeling from the results of the second film.   Despite her goofy public persona, Ms. Lawrence has always been best in her film career at playing tragic and struggling characters and she has found her soul mate in Katniss Everdeen, and Ms. Lawrence’s work he is her best yet.   

            Director Francis Lawrence who took over for the second film in the series has provided fans a disturbing and painful landscape of dreams lost and the horrors of war.     This bracing and sudden departure in tone (the film opens in total darkness with Ms. Lawrence in an almost manic state, and concludes with a horrifying image of pain for her character) is one of many adjustments the viewer must make to this nightmare world.

            This is not to say that the first two films are sunny picnics of joy, but Ms. Collins targets and her intended reach has always been more about the character’s struggles to come to grips with the horror of the world she inhabits.   This is especially true here as the screenplay by Peter Craig and Danny Strong with contributions by the author herself allows multiple opportunities to explore the character’s choices and decisions.    By exploring the themes of the costs of war on those who stand on the sideline, and in a deeper sense the way we have become desensitized to these costs, the filmmakers have given food for thought along with great entertainment.   The films have never been about just which boy she will wind up with in the end.

            The film’s two jarring set pieces are perfectly done, yet the primary complaint viewers may have with this edition is a lack of excitement.   The first two films with their game action have offered thrilling and morally challenging climaxes, and this film in contrast offers a dark dénouement and a promise of something more to come that leaves viewers hanging and waiting for part two to begin.  The moral issue at stake here with this film is much more complex.    Katniss the center piece in the chess battle that is her homeland Panem’s war is not Queen, but Pawn of the powers that be. 

            The elaborate look of the second film with its bright colors and costuming has been replaced with this new worn turn look as the inhabitants of the District 13 huddle together for the speeches that will carry them to victory and its inhabitants try to spark a rebellion from afar.   The effect of this on the viewer is immediate as it provides an aura of dread.

            The casting of the series has always been first rate and both Liam Hemsworth as Gale, who has an increased role here and is especially effective in all his scenes, and Josh Hutcherson as Peeta offer first rate work here.     The film is dedicated to the late Philip Seymour Hoffman who returns along with marvelous work again here from Woody Harrelson and especially Elizabeth Banks whose work as Effie Trinket has always made the character more interesting and deeper than expected.    New to the cast is Julianne Moore as President Coin, who is likely to become the head of the country if the resistance survives.   Ms. Moore’s presence is a virtue to a film that already has many.

            The series is set to conclude next November, and this stunning, powerful effort only increases the anticipation for its conclusion.   Whether one sees her as symbol, heroine, or pawn the journey and struggle of Katniss Everdeen will continue to hook readers and viewers for years to come. One can views this as a reflection of the times we live in, or as just an allegory for the loss and struggle of war, the enduring message of the story endures and the odds are in the favor of those who enter this challenging world.

Tommy Key

Rated PG-13(intense sequences of violence and action, disturbing images, thematic material)

Mockinjay

The Hunger Games: Mockingjay- Part I

A review

November 22, 2014

Viewed November, 21, 2014

****.5 out of *****

“To know your Enemy, you must become your Enemy.” 
― Sun Tzu

            Our common heritage is war.   There are myths of war, pains of war, the costs both tangible and the costs to the ones who fought and lost and the unseen costs on those who survived. Wars have been fought, won, and lost since mankind took its first precious breaths.    War’s ravages leave no survivors, and yet the true measure of a war’s toll is mostly found on the vacant stares of the ones who fight for something that can’t even name.   All revolutions begin with a promise of glory, but the survivors know a bitter truth.   The battle within has no ending. 

            As the first part of the concluding chapter in the four film series, The Hunger Games Mockingjay- Part I is a drastic and sudden departure from both the tone and substance audiences found in the first two.   The worldwide best-selling books by Suzanne Collins contain a not so subtle metaphor of a dystopian world that is North America by the author’s own admission sometime in the future.  The massive popularity of the books and films and the rising ascent of their mega-star Jennifer Lawrence has only increased anticipation for the two part conclusion.    The complaints rage about Hollywood’s milking of lucrative properties into multiple films, but after seeing this latest installment and the workmanship and craft that has been produced the film it seems doubtful that one much longer film could have really done the property justice.

            In this find we find the tortured heroine in an awful state reeling from the results of the second film.   Despite her goofy public persona, Ms. Lawrence has always been best in her film career at playing tragic and struggling characters and she has found her soul mate in Katniss Everdeen, and Ms. Lawrence’s work he is her best yet.   

            Director Francis Lawrence who took over for the second film in the series has provided fans a disturbing and painful landscape of dreams lost and the horrors of war.     This bracing and sudden departure in tone (the film opens in total darkness with Ms. Lawrence in an almost manic state, and concludes with a horrifying image of pain for her character) is one of many adjustments the viewer must make to this nightmare world.

            This is not to say that the first two films are sunny picnics of joy, but Ms. Collins targets and her intended reach has always been more about the character’s struggles to come to grips with the horror of the world she inhabits.   This is especially true here as the screenplay by Peter Craig and Danny Strong with contributions by the author herself allows multiple opportunities to explore the character’s choices and decisions.    By exploring the themes of the costs of war on those who stand on the sideline, and in a deeper sense the way we have become desensitized to these costs, the filmmakers have given food for thought along with great entertainment.   The films have never been about just which boy she will wind up with in the end.

            The film’s two jarring set pieces are perfectly done, yet the primary complaint viewers may have with this edition is a lack of excitement.   The first two films with their game action have offered thrilling and morally challenging climaxes, and this film in contrast offers a dark dénouement and a promise of something more to come that leaves viewers hanging and waiting for part two to begin.  The moral issue at stake here with this film is much more complex.    Katniss the center piece in the chess battle that is her homeland Panem’s war is not Queen, but Pawn of the powers that be. 

            The elaborate look of the second film with its bright colors and costuming has been replaced with this new worn turn look as the inhabitants of the District 13 huddle together for the speeches that will carry them to victory and its inhabitants try to spark a rebellion from afar.   The effect of this on the viewer is immediate as it provides an aura of dread.

            The casting of the series has always been first rate and both Liam Hemsworth as Gale, who has an increased role here and is especially effective in all his scenes, and Josh Hutcherson as Peeta offer first rate work here.     The film is dedicated to the late Philip Seymour Hoffman who returns along with marvelous work again here from Woody Harrelson and especially Elizabeth Banks whose work as Effie Trinket has always made the character more interesting and deeper than expected.    New to the cast is Julianne Moore as President Coin, who is likely to become the head of the country if the resistance survives.   Ms. Moore’s presence is a virtue to a film that already has many.

            The series is set to conclude next November, and this stunning, powerful effort only increases the anticipation for its conclusion.   Whether one sees her as symbol, heroine, or pawn the journey and struggle of Katniss Everdeen will continue to hook readers and viewers for years to come. One can views this as a reflection of the times we live in, or as just an allegory for the loss and struggle of war, the enduring message of the story endures and the odds are in the favor of those who enter this challenging world.

Tommy Key

Rated PG-13(intense sequences of violence and action, disturbing images, thematic material)

Gone Girl

Gone Girl

A review

October 4, 2014

Viewed October 3^rd 2014

**** .5 out of *****

All concerns of men go wrong when they wish to cure evil with evil.

SOPHOCLES,

            There is a central question that many cannot resolve.   How well do we truly know those who share our lives and then our beds?   How well do we ever know the person who we commit our lives to in marriage?   For marriage, as antiquated as the idea may seem as it breathes and lives in this twenty-first century world where men and women marry many times over the course of a lifetime; it is a constant and a guide for so many. Marriage defines for many their chance to prove something to themselves or it is the last refuge of people who maybe know and understand the vagaries of marriage even if it is on the verge of unraveling before their eyes.   Then of course there is always the marriage of Nick and Amy Dunne.

            As timelines go from initial publication to the film opening, Gone Girl establishes a sort of record speed from book to film.   Gillian Flynn’s 2012 novel which covers the disappearance of a wife with husband the top suspect in her sudden vanishing has captured and rode a wave all the way to film with lofty expectations.    The film version lives up to the hype delivering the twists, emotional shocks, fine acting, and a pinpoint script by Flynn herself, and another standout work to add to the directorial career of David Fincher. 

            Surely no other filmmaker today was more equipped to handle the dark and disturbing insights into not only the expected thriller, but the sharp dissemination of popular culture and the current world we inhabit.   Fincher’s hand is all over the work which will work for fans of the book that have followed its complex plots and characters who are brought to life with conviction from a cast that delivers the goods. 

            Flynn weaves in minor changes to her story while keeping the central plotline intact including a few tremendous twists that no one should spoil lest they take away from the fun.   

            The screenplay allows a great deal of depth to the characters in its revealing dialogue, and for a long film which follows the structure of the book’s three acts leaves nothing to be trimmed.   There is simply not a wasted minute to be had, and this is important for a thriller that wants time and time again to not only challenge its viewer but alter their thinking.   

            Fincher has retained the talent he has used in previous films, with the same cinematographer, film editor, and the talents of Trent Reznor and Atticus Ross who have again delivered an amazing score.  

            Gone Girl works best in in second half when it takes aim at its targets, leaving no characters unscathed.  This is a movie that will prompt lots of discussion for possibly years to come. 

            Its cast is superb.   In supporting roles that are a change of pace writer-director Tyler Perry is a perfect choice for Tanner Bolt, who supplies the film with some of its only intentional humor.    Neil Patrick Harris is both sad and frightening as Desi.   The smaller roles are filled with great performances including Sela Ward, who is great in her brief moments, and pay attention to the knockout performances by Carrie Coon as Margo Dunne, Nick’s sister and Kim Dickens as Detective Boney, a character from the book that comes alive in the actress’ hands.  

            In the end the film belongs to the actors at its center.    As its major star Ben Affleck must walk a fine line as Nick and the actor is perfect here.  He inhibits just the right amount of pathos and animosity.    

            I suspect based on her performance, note perfect and to date the best performance I have seen this year, Rosamund Pike is going to be a big star by years end based on her shimmering work as Amy Dunne.   In Ms. Pike’s hand we are treated to a mesmerizing look inside her head.   Whether it is just her voice we hear or we see the impressive gazes she casts the audience way, this is a knockout.

            Gone Girl stands as one of the first truly great films of the year.   It is not for all tastes, and its challenging subject matter will keep you guessing and wondering for days.   It is not to be missed.

Tommy Key

Rated R( violent and disturbing images, sexual situations, language, thematic material

Captain America: The Winter Soldier

Captain America: The Winter Soldier

A review

April 4, 2014

Viewed April 3, 2014

“It is not titles that honor men, but men that honor titles.” 
―  Machiavelli

          There is a moment late in the fantastic fun that is this sweeping and epic sequel a continuation of the story of Steve Rogers, aka Captain America when he is forced into a choice.    The choice defines him in the moment as have the choices he has made over the course of the film, and the franchise that Marvel has created since they began their perch on top of the comic book world.    In a lesser film the choice would have challenged audiences to take sides over his decision, but as characterized by actor and script, we already know his choice before he takes it, and we cheer him.

          This sequel follows nearly two years after The Avengers, and picks up Steve Rogers as serving his country as a SHEILD agent and one of its greatest assets, but a dark secret is going to come to light as he fights for his survival and is confronted with his past.   

          The directors, brothers Anthony and Joe Russo have provided audiences with a nearly breathtaking spectacle that is full of exciting moments, while maintaining a unique vision, a spy story interwoven within a universe of the fantastic.    It was a wise choice to focus this sequel on characters, and the film soars most when it slows down and lets the characters talk as people, and less as heroes.     It would have been easy to simply depend on CGI, and let the fantastic take over, but what sets this franchise apart is that Steve is flesh and blood and his character can show pain.   This is especially noticeable in how the screenwriters, Christopher Markus and Stephen McFeely have the characters address one another, by first name, and not by super moniker.

          Returning to his role as Captain America, Chris Evans once again provides a character worth investing in with a sharp turn.      His fellow Avenger, Scarlett Johansson as Natasha, continues to explore the shadings of this character.      Samuel L. Jackson has some great moments this time as Nick Fury.    As the Winter Soldier, Sebastian Stan is underwritten and needed more scenes, the movie’s only discernable flaw is the back story element that drives the story further.     Robert Redford’s role turned out to be more than the cameo that it seemed to be and he looks to be having a blast.     Anthony Mackie who plays Sam/The Falcon is one of the most welcome additions to the Marvel universe in some time, and Mr. Mackie was the perfect choice for this role.

          The film begins and ends with Steve and Sam together, one scene that is deeply comical in its intent, and one scene darkly foreboding.    The two men born decades apart have formed a bond, and they are moving forward in this harsh and dangerous world they must call home, bound by a code of honor they do not forsake.

                                                            Tommy Key

Rated PG-13(Intense sequences of violence, gunplay and action throughout)

her A review

her

A review

January 12, 2014

Viewed January 11, 2014

****.5 out of *****

“Don’t you draw the queen of diamonds, boys

She’ll beat you if she’s able, you know the queen of hearts is

Always your best best”

                               Frey & Henley

          Love in all of its forms is an emotion of connection.   Those who love most deeply and lose that love often describe the vacant, empty feeling of having something missing, a part of themselves they cannot accurately describe, except when it is gone.     The most basic forms of love asks us to share common ideas, common hopes and dreams.     A love that truly endures is often the love that accepts and allows their love to go forward, and take a fresh journey forward.   The connection survives, even after their presence is gone.  

He spends his days in quiet reflection, writing words for others that move some to smile, some to tears.   His face blank, void of the sentiment that pours out of him like an endless cycle of repetitive thoughts of faces and connections he will never make.   He is lonely, confused, and is waiting for something to awaken again.   He is coming back to life.   He is vaguely recognizable if only our eyes are open to see.

In the hands of writer-director Spike Jonze in the deeply moving and comical parable that is her, we meet Theodore Trumbley, suffering from a vague depression after the failure of his marriage, whose landscape and world is upended by his fledging relationship with his newly installed operating system who calls herself Samantha.   Samantha and Theodore begin the most unlikely of friendships, and Jonze and the incredible group of actors take us on a journey into our possible future.

Forty-Four year old director Jonze is only his fifth major feature seeks to explore the landscape of a perhaps not too distant future with this tale of loneliness, love, and regret.  Like never before Jonze has found his footing as a director with a sharp attention to detail and fashioned a film of expression.  her is a film which works on so many levels that it defies easy categorization.   It is certainly funny, but it is insightful in its analysis of our society, and its growing need of expression and connection through our devices.    Jonze uses his L.A milieu to paint the picture of the life Theodore must be living inside.    The film is one of images and thought, but its insightful and beautiful written screenplay reveals in slow increments the story of Theodore and Samantha.   It is remarkable in taking a story that seems on the outside implausible, and making it a human story.

Is Theodore a reflection of our times?    Jonze uses his occupation, as a letter writer for others who cannot express themselves emotionally, as an extended metaphor about our current age of time, when individuals hide behind their screens creating and synthesizing whatever they see fit to be.  The audience sits outside as observer as we watch the relationship grow between Theodore and Samantha.   We hear her voice, full of emotion and human feeling, and for the audience this creation is often more real than the characters we meet in the film.     I suspect that multiple viewings of the film will reveal layers of truth not apparent at first blush.

Casting of this film is surprising with four actors who are making notable departures from previous personas.   First off once again marvel at the wonder that is Amy Adams, who plays Theodore’s longtime friend, Amy.   Ms.  Adams once again has proven her versatility with a moving performance.     Rooney Mara has one wonderful scene and tons of flashbacks as Theodore’s soon to be ex, Catherine.      However the movie belongs to two actors who are stepping far away from their personas.   In this remarkable year for lead actors, Joaquin Phoenix gives a soulful and complicated portrayal of Theodore.  Mr. Phoenix, whose standard performance has been one of intense structure is deeply moving here in a subtle and heartfelt performance.     As Samantha, Scarlett Johansson is a marvel.   Although ruled ineligible for her voice-over performance for Academy Award consideration, she is able with her voice to reflect the growing conflicts of a character we cannot see, but certainly come to understand. 

Films like her come few and far between.  Today’s films celebrate style and flash often at the expense of heart.   Jonze explores the foundations of love, and what it means to address our most basic fundamental needs, and find our place in the world.    This is a wonderful, moving story filled with memorable moments, and its last grace note is one to remember and cherish.    her is one of this year’s best films.   

                                         Tommy Key

Rated R( language, sexuality, brief nudity)

American Hustle A review

American Hustle

A review

December 22, 2013

Viewed December 21, 2013

***** out of *****

“A girl comes around at a time when your ground
Is as shaky as leaves on a tree
Creating for you a persona or two
Or an out and out mythology
Now there's too many cooks
But you like how it looks
When they're bowing and calling you "boss "
But the powers that were were invested in her
And now winning means taking a loss”

                                                Aimee Mann

            The greatest trick that anyone ever plays lies in the task of self-deception.   To acknowledge who we truly are underneath the masks of our most basic projections is a goal that alludes even the most emotionally mature.   We project not only what we think will obtain the most perfect life we can lead.  The lies, the endless struggle to overcome the malaise and lost dreams that are scattered along the path of fake fulfillments.  We are counterbalanced in our goals by the fact that we encounter others in life’s journey on the same quest.    The quest to be something new, to reinvent from the shadow of the real self, and to find out in the end the only game in town is the one we are playing.   The rest is nothing more than another illusion. 

            Great films often seem to arise from the most unlikely of subjects and ideas, and thus it is true with the sensational and timeless truths that are found in American Hustle.    This powerful, funny, dynamic film represents the conclusion of a strong trilogy of films by director, David O. Russell who has fastened together a collection of sharply written characters against a canvas of our recent American history and delivered the crown jewel of the three films.   This loose collections of films about the American experience began with 2010’s, The Fighter, and extended into 2012, Silver Linings Playbook.   Here Mr. Russell has blended together the elements of comedy, drama, political expose, and our struggle for the elusive American dream and crafted a tale of people trying to skirt around the rules of society to form their own brand of truth. 

            The real life ABSCAM scandal of the late 70’s and early 80’s in the United States, an FBI led investigation that led to disgrace for many political leaders has provided Russell and co-screenwriter Eric Singer a backdrop to explore the truths of what happened for real in the scandal, but to also attempt to explore deeper ideas about corruption and the grey area between right and wrong.      Mr.  Russell greatest strength as a director is that he is able to write fully realized characterizations that sparkle and then let his fantastic cast shine.   

            The film centers around Irving Rosenfield, a business man who arose from a middle class New Jersey life to have reputable businesses, and then make a better living swindling in phony investments deals.   Married and with a step-son Irving’s life is altered when he meets two people.  One, Sydney, who becomes his partner and his mistress, and an FBI agent, Richie DiMaso, who wants to use Irving’s and Sydney’s talents for schemes to bring down bigger fish and expose corruption while making a name for himself in FBI.   

            In the hands of a lessor talents American Hustle would not work, however Mr. Russell breathes life into the story with a series of distinct choices.   This is a film that works like a perfect engine of ideas that radiate an energy and confidence in the difficult subject matter.  In its more than two hour running time there is not a wasted scene, and the film crackles at a breakneck pace suggesting and framing its principles against without moral judgments.    It is a film that will cause you to change allegiances constantly and shifts perspective between each character.    It is a unique film in that regard and it could in many ways be told from the perspective of any of its five main characters.  

            The sharp editing and period detail only add to the film’s ability to hook the viewer in, and it is likely to reward viewers that return to it for repeat viewings.   This is another film that perfectly captures the mood of each scene with a great soundtrack to accompany certain scenes.    Like most films that cover shaky moral ground this one is sure to have its detractors, but the film is entertaining from beginning to end.   

            The casting of this film was critical to its success.   The entire main cast save Jeremy Renner has worked with Russell before.    Although essentially a narrative which requires the viewer follow Christian Bale’s Irving as its guide into this world of deceit each star is given a chance to shine.   Bale in particular as he has proven time over completely inhabits Rosenfeld with another acting performance to add to his already long resume of successes.    Jennifer Lawrence, in all her post Oscar glow initially seems the wrong choice for Irving’s complicated wife Rosayln, who supplies many of the films few laughs.  Then the audience meets Rosayn, and Ms. Lawrence again brings to her role is this knowing confidence and the charm of a woman whose star is not likely to fade anytime soon.   Bradley Cooper in another change of pace for this ever changing actor is wonderful here, and the aforementioned Jeremy Renner’s turn as the one of the politicians targeted, Carmine Polito offers another detailed portrayal laced with the right amount of pathos.   Once again audiences are to be captivated by the force that is Amy Adams.     In a role that requires her to be serious, sexy, and deceptive she is nothing short of brilliant.    The cast is supported by interesting supporting turns by Louis C.K, Michael Pena. and an uncredited role by Robert DeNiro in one stunning scene in the later part of the film. 

            American Hustle represents for Russell at this point in this seven major film career a milestone in writing and directing.    This marvelous take on lost souls offers a peak ahead into our modern culture of today and foreshadows the world of seemingly endless scandals that filter the American landscape.    Rich with characterizations, and a sharp sense of time and place, this film rates as easily on of the best of this year and is an early candidate for one of the best of this fledging decade.    It is not to be missed.    

                                                                        Tommy Key

Rated R(pervasive language, sexual content, brief violence) 

Hunger Games: Catching Fire

The Hunger Games:  Catching Fire

A review

November 24, 2013

Viewed November 21, 2013

****.5 out of *****

Occasionally the tree of Liberty must be watered with the blood of Patriots and Tyrants.” 
― Thomas Jefferson

            The battle rages on.   It is a part of her now whether she accepts it or not.   She carries the scars and the memories, and now she has to endure an even deeper burden.   She is a winner.   She has survived to live and breathe, but not to have any lasting freedom.   She is both victim and victor of something she has started in words and deeds.   She is still so young, and her future is yet to be written.  

            In real time the sequel to 2012’s sensational, The Hunger Games comes eighteen months later an eternity perhaps for audiences anxious to take another trip inside the nightmare world of Suzanne Collins’ dystopian landscape, and encounter one of literature’s most fascinating recent creations, Katniss Everdeen. 

            Ms. Collins books with its first person narration and its vivid and heartbreaking glimpse into a future world gone horribly wrong inhabit a unique place in popular culture, and offer an interesting commentary on our need to see every aspect of one another’s life played out for enjoyment.

            This latest film finds Katniss and Peeta at home and ready to take a victory tour following the first film through the districts of Panem.    Prior to leaving, she is warned that in order to save the life of her friends and family she must make a convincing show of allegiance to the Capital, and prove that she truly loves Peeta, and it is not an act derived for survival in the first Hunger Games.    What they find on tour instead is a country on the verge of a revolution, and Peeta and Katniss are sent back to the arena along with winners of past games to show a country ready to revolt who is really in charge. 

            In many ways this film is a landmark improvement on the first film.    First off the stakes are deeper, and for much of its two and half hour running time the sweep and power of the film is overwhelming in its intensity.    New director, Francis Lawrence who will return for the two part conclusion of the series due the next two years infuses the characterizations and action sequences with an incredible sense of control over the proceedings.     The result is an epic powerhouse of ideas, from its quiet opening where we see Katniss in quiet pose to the stunning end sequence as the camera stares straight down at her eyes wide open and afraid.  

            Jennifer Lawrence who owns this part is this film’s most valuable resource.    One simply cannot take their eyes off this actress as she attacks the role with a fervor and passion that is simply wonderful.     The rest of the returning cast is great with stronger work in this film by Josh Hutcherson as Peeta, Woody Harrelson as Haymitch, and Liam Hemsworth as Gale.    Elizabeth Banks and Lenny Kravitz add depth and layers to their performances that add to the richness of the characters.   

            The returnees are backed up by the excellent character choices and casting for the new roles.   Jeffrey Wright, Amanda Plummer and a terrific Jena Malone as competitors and former victors in the arena make the most of their parts.     The two larger new roles are played by Philip Seymour Hoffman, as the new game maker.  Mr. Hoffman as is generally the case with this fine actor adds a sense of menace and mystery to his multi-leveled performance.    Sam Clafin gives a sharp turn to the role of Finnick.    

            As the middle film in a four film series, Catching Fire is one of the stronger entries in recent years for a public perhaps tired of endless retreads of familiar stories.  One of the appeals of The Hunger Games stories is the freshness of the ideas.     If the film has a flaw it is in the repetition of the flow of the first film.     What is refreshing is the power of its female heroine.     Even as a symbol of the upcoming revolution for the books and films, she is truly a remarkable character and champion of both freedom and individual expression.    In its breathless cliffhanger ending Lawrence captures the rage and frustration of her character’s journey both literal and metaphorically.     Director Lawrence may have represented a change in tone for the franchise, but he knew the Lawrence on everyone’s lips was the twenty-three old who has become a heroine for the ages.     

                                                                        Tommy Key

Rated PG-13(intense sequences of violence and action, frightening images, thematic elements, suggestive situation, language) 

12 Years a Slave

12 Years a Slave

A review

November 11, 2013

Viewed November 11, 2013

***** out of *****

“You can't hold a man down without staying down with him.” 
― Booker T. Washington

            It has been stated for centuries that history is written by the winners.     The lens of history offers so much in retrospect that all the analysis in the world cannot change the uglier parts of a country’s past and its makeup.    The United States for all its glory and its power has a brutal history to comprehend and acknowledge.     As an institution slavery lasted in the United States from pre-Revolutionary War to Civil War, and at its peak time there may have been as many as four million slaves in the United States.   This painful and wrenching period in our history was the first in a chapter of loss and pain that generations have struggled to make sense of with no discernable answer.   In slavery’s bleak pill to swallow, history shows no winners, for the legacy remains and understanding it means telling its story.

            The backdrop of this remarkable film, 12 years a Slave, provides audiences with a stunning and powerful narrative that is such a distinct and unique experience that it transcends the boundaries of film.   Based on the memories of a man named Solomon Northup, the film tales the story of a free man tricked into slavery by two con artists who draw him from his New York home and his family, where he wakes up from a drunken night in chains and being sold.   The film follows Northup given the slave name of Platt, and he eventually finds his new home, and his path directly in the line of a brutal and terrible plantation owner named Epps.

            Films that have dealt with slavery in the past have done so with broad strokes, however this  film is an intimate piece with a flawless screenplay that allows the viewer to experience the thoughts and feelings of Northup even as it exposes the horrors of the slave condition.   As brutal as some of the segments are, and make no mistake this is a film that is painful to watch, but who could look away?   The screenplay by renowned American writer John Ridley is an exploration of the human soul at its weakest and most powerful.   By fleshing out such strong characterization especially of Northup, Epps, and the film’s other central character, Patsey,  Ridley is able to extend beyond the restrictions of memoir and tap directly into the psyche of this astonishing triangle that lies at the center of this film. 

            British director Steve McQueen, in only his third major feature film weaves all of the elements together in a cohesive flow, and his choices seem perfectly pitched to capture the moment.   He focuses largely on the faces of his principals, and captures the look alternating the camera to provide a counter perspective to the internal conflict. 

            The central paradox of Northup’s journey from free and quiet citizen to slave and back to free man again lies in the horror that he was a lucky one.    The end film notes that his story was reflected in many men and women who had similar narratives, but never escaped.    An educated and thoughtful man Northup stands out due to his demeanor.   The viewer is filled with fear for him for exposure, for his safety and life depends on him not standing out.

            There are so many indelible sequences in the film that burn into the memory with an urgency that is profoundly moving.    This is a film that will be discussed and talked about for years to come.

            The performers of this remarkable film are standouts one and all.   As Northup, thirty-six year old actor Chiwetel Ejiofor is amazing.  Mr. Ejiofor, who has been around for a decade now steps into this seemingly impossible role to play and do justice, and triumphs in every frame.   Without his towering presence the film would not soar to the heights it does.   Playing the loathsome Epps, Michael Fassbender brings his trademark intensity and the full measure of his considerable prowess to this character.    Newcomer Lupita Nyong’o is a revelation capturing the agony of Patsey, who is targeted by Epps for unwanted attention.    I would not be surprised to see all of these performers win award after award this following year for these portrayals.   The rest of the cast including Brad Pitt, Alfre Woodard, Benedict Cumberbatch, Paul Giamatti, and Adepero Oduye provide memorable moments as they drift in and out of the story.  

            There is a tendency with historical films to squander too much of the facts in favor of narrative.    Here is a historical film about a time in our nation’s history that volumes have been written about it, and yet with this film it is brought front and center with stunning detail.    One cannot view the events of this film without gaining a broader understanding of the tragic story as it unfolds.  Northup’s journey is not one of triumph of simply surviving the horror, but a moving testament to the heroes whose names were never known, and filled unmarked graves in history’s sad parable for us all.    

                                                            Tommy Key

Rated R(violence, cruelty, nudity, some sexuality) 

Gravity review

Gravity

A review

October 9, 2013

Viewed October 8, 2013

***** out of *****

“And my heart bled within me; for you can only be free when even the desire of seeking freedom becomes a harness to you”      Gibran

            In life our bonds of hope are tethers to the fabric of our existence.   From the time we take our first breaths to the day we breathe our last, we are linked by the processes of our mind and the journeys of our hearts.   We are thinking beings capable of creating ideas, developing concepts, and yet dreaming bigger dreams, and we long to escape from our world and understand the vast universe around us.   Wherever those dreams find us and the journeys they take us on we are forever linked to the memories we have made prior.   These little links are the moment to moment miracle that our lives truly become, and the reason we will fight with every last hope to stay alive. 

            There may yet be a better movie this year than this searing, heartfelt, and stirring wonder that is Gravity, but if so please count me first in line to see it.    This film although it runs only an hour and half is one of the most terrifically executed films to come in some time.     Great films are not accidents, and the work here to create this film is evident in every signal frame, every small detail.   This is a work that instantly invited you not to watch, but to experience.   The experience is what sets this apart from many other films set in space and the endless fantasy brigade that computer generated technology has allowed filmmakers to expand our horizons, and make the fantastic come alive.   Gravity works because we feel a gripping sense of familiarity with the proceedings by making the film about characters and ideas.     The film invites the viewer to explore the most nightmare of what if scenarios, but instead of sitting back comfortable in our seats we are engaged in our own struggle to survive.

            The auteur of this experience is the talented director, Alfonso Cuarón who as film producer, co-screenwriter, and co-editor of this film has provided audiences with something that will appeal to nearly everyone.    This is heady ambitious filmmaking that stirs the soul.    It is rare for any film to capture and push all of the human emotions of fear, hope, and sadness, but that is exactly what Mr. Cuarón has been able to achieve.    On a technical level alone Gravity is likely to achieve award after award.    It is one of the most realistic looking films for its visual effects ever created, and those involved in the challenge of making this film whether they were involved in visual effects or production design should think about investing in a great deal of formal wear. 

            Gravity’s story is simple.   Miles above space a satellite has exploded sending debris directly in path of a space crew.  Their ship destroyed and adrift in space with mere minutes of oxygen left two people must find a way to survive in the vacuum of space, and the options are limited. 

            It is here the true weight of the story of Gravity begins and as an audience we are asked again to explore the human character in the form of one indelible creation, engineer Ryan Stone, as played by Sandra Bullock.    Ms.  Bullock who has formed the greater part of her career as an actress that audiences trust.   This ability to be an audience surrogate is part of the gift of Ms. Bullock.    She is actually likely underrated as an actress, and here with this role her gifts for establishing first and foremost her ability to tackle such a complex role.    Ms.  Bullock anchors the film by our trust in her as a performer.   In the film’s two emotional centerpieces she is nothing short of amazing.    As her counterpart in the film George Clooney is his charming self, and like Ms. Bullock he grounds the movie in a place both familiar and terrifying.   

            One of the many strengths of Gravity is its ability to understand that less is more.    The film provides little exposition or background for the events.   In this way it will prove timeless.   It asks simple questions of its audience, but deeper questions of its characters.   What does it mean to survive versus live?    A lesser movie would have been satisfied with just the spectacle and presentation.   Make no mistake this is a film of ideas, and is one of this early decades true masterpieces.    Miles above space, Dr. Stone confronts her humanity and her deepest fears,  tethered as it were holding on tight, but finally letting go.   

                                                                        Tommy Key

Rated PG-13( intense perilous sequences, disturbing images, brief strong language )

            

Prisoners - A review

Prisoners

A review 

September 22, 2013

Viewed September 21, 2013

****.5 out of *****

Evil is sweet in the beginning but bitter in the end.
Talmud

          We are madmen underneath our façade of self-control.   We are connected by the driving urge of justice in a world where darkness threatens our sanity, our state of mind.   Evil comes to us when we least expect it, when it invades our homes, and our hearts.   What then are we capable of doing when we are threatened?    Will we forsake our own mortal souls searching endlessly to the question of evil, and the answers to the same questions that have plagued mankind since his existence?    

          The nature of evil and faith are heady subjects for any filmmaker to take on in any capacity, but that is exactly what one will encounter with the mind-blowing and searing thriller that is Prisoners.   This sharply drawn, and densely plotted story follows only a week in a life of two families torn apart by the most unspeakable horrors, but it has the look and feel of an instant classic in the genre.   This is a film that will leave even the most prepared viewer shaken to their foundation as the film presents its characters and events without assistance of moral certainty to assess their actions.      The film packs enough emotion into its two hour twenty minute running time that most audiences may need to erase its images from the mind at film’s end to escape the nightmare.   This to better erase the psychological warfare that is needed to endure the intricate screenwriting, directing, cinematography, editing, sounds, and an ensemble cast that is nothing short of spectacular. 

          Prisoners is the creation of writer, Aaron Guzikowski and director, Denis Villeneuve, both men announcing their presence as major talents who by given structure and form to this world draw the audience in almost from the opening second.    Villeneuve’s sharp direction creates a claustrophobic feel to the film.  His work is extraordinary.   Adding to his already sterling resume, cinematographer Roger Deakins’ work here is nothing short of amazing.  

          On Thanksgiving Day, two families, the Dovers and the Birchs are plunged into a nightmare.   Their two youngest, both girls go missing in the span of minutes.   The police arrest a suspect shortly after, a deeply withdrawn young man whose low IQ, and lack of evidence allows his hasty release.   Convinced of his guilt and seeking answers, Keller Dover takes the law into his own hand kidnapping the young man to make him talk.    This culminates in a chain of events that spiral out of control for everyone involved. 

          The film makes good use of its small town locales to embed this nightmare landscapes with something familiar.    The film utilizes even its quieter moments to establish a sense of dread.   Nowhere is this more readily seen than in the candlelight sequence for the girls at midpoint of the drama, where the sequence moves from deeply moving to terrifying.    The film asks a simple question of its viewer, what would you do?   

          Seven of our most talented actors and actresses today populate the cast and they all give noteworthy performances.     As the accused young man, Paul Dano proves once again that as an actor he needs only the character as written.   As his aunt and protector Melissa Leo offers another in a line of performances for this actress to disappear completely into.   Viola Davis and Mario Bello give us two different viewpoints on the mothers given to their grief.  This may be the only flaw in this story that both their characters, and the work by Terrence Howard as Franklin Birch is given less development. 

          The film belongs to two actors who have shown time and again their versatility as performers.  In performances that establish both as potential award nominees, Jake Gyllenhall and Hugh Jackman offer two variations of men driven by the need for answers.   Gyllenhall’s police detective Loki is the finest work this thirty-three year old actor has provided yet.    As a lover of film and acting I would be hard pressed to name any actor who could have brought the talent, execution, and anger into the role that Mr. Jackman has provided here.    The two men driven to extremes are the differing sides of one another and their brief scenes together sparkle with an intensity that is keenly felt.

          From its opening moments with the Lord’s Prayer spoken softly off camera without opening credits to its stunning and powerful conclusion, Prisoners grabs the viewer fully with its dark vision of human behavior.  The twist and turns the film takes are a journey that despite the disturbing subject matter is worth taking.  This is one of the year’s finest films so far.    It should not be missed. 

                                                              Tommy Key

Rated R( violent content including torture, language, thematic material)