Elegy

DAN - Isabel Coixet’s most recent film is based on a novel by Philip Roth. Roth has been known to write stories that feature sexually promiscuous characters, and this one is no exception. Elegy is the story of David Kepesh, a professor who becomes infatuated with Consuela, a student in one of his classes.

The film features Sir Ben Kingsley and Penélope Cruz as the two central characters. These roles require heartfelt performances from the actors, and they are successful for the most part. At times Kingsley seems detached from his character. He tends to stare blankly, which forced me to remember that I was sitting in a theatre, watching a movie. Dennis Hopper plays a supporting role in this film that, in my opinion, is one of the most authentic of his career. Patricia Clarkson and Peter Sarsgaard round out this noteworthy cast.

At first glance, the story may seem somewhat shallow. The relationship that develops between Kepesh and Consuela is immensely physical. Kepesh is accustomed to having flings with a number of women, but through the course of the film, he and Consuela experience a great deal of change.

At this film’s center are themes of fear, change, and loss. Kepesh becomes enraptured by his mistress, and he fears that she will eventually realize their age difference and lose interest in him. At the same time, Consuela wants their relationship to last, but her lover’s fears are apparent to her.

The characters’ motives are never made entirely clear, which allows for some healthy speculation. It’s worth noting that the novel on which this film is based is entitled The Dying Animal. It’s not made clear to whom this title refers, but I would suggest that the “animal” is Kepesh, whose behavior is somewhat animalistic. The transformation of Kepesh in this film is preceded by this quote from Hopper’s character: “We’re so dazzled by the outside that we never make it inside.” Consuela provides him with a second chance at something more than a physical romance.

I saw Elegy in a screening at the Canton Palace Theatre. Each Thursday, the Palace shows films that wouldn’t normally appear in mainstream theatres, and they always make for great conversation. If you live in the Canton area, I encourage you to visit cantonpalacetheatre.org to see what’s playing next.

Zack and Miri Make a Porno

Editor's Note: This review was originally written for Malone University's student newspaper. Steve didn't bother to write a non-Malone centric version for criticinema.

STEVE - As I was sitting in the theater, watching Zack and Miri make a (word I can’t repeat at Malone) I quickly began to wonder, “How I will I review a movie like this for Malone?” With words like “Bleep” and “Bleep” and other “Bleeps” I questioned if such a “Bleeping” review could be written without being “Bleeped.”

I should begin this review with the world’s largest disclaimer. Zack and Miri make a (word I can’t repeat at Malone) does indeed involve Zack and Miri making a (word I can’t repeat at Malone), so viewer be warned. This movie stretches the bounds of the MPAA R rating, leaving little left unseen, including the stretch marks.

Of course it’s hard to imagine anything less from writer director Kevin Smith (Clerks, Dogma, Clerks 2). His films have always pushed the limits of sex on screen in terms of its lewdness and sheer shrewdness. Where Judd Apatow mixes smut with charm, Smith mixes sex with…well… anything and everything. However, Smith’s potty-mouth freshman humor that he heavily incorporates into each of his films does aid in creating some of the most heart warming moments on screen.

The plot is simple, and could easily be found in any fare of romance. Zack (Seth Rogen) and Miri (Elizabeth Banks) are best friends. They went to high school together, they live together, hang out together, do every thing together… except have sex together. So when their water and electricity gets shut off, and they have no money left to pay the bills, they do what no dignified person would do. They make a… well you know. And when it comes time to do the dirty deed, instead of having sex, they do what any couple who have been together that long do, they make love.

Like I said, the story is as conventional and formulaic as they come, but Smith puts on his own unique spin that makes it become something special. Smith is a poet of vulgarity. His dialogue is as masterful as it is shocking. And the performances of his dialogue are exceptional. It should be pointed out that Craig Robison (Darryl from The Office) is especially hilarious.

All said and done, I have never seen as shocking nor raunchy a movie as Zack and Miri Make a (word I can not… aw screw it) Porno. It’s rude and crude and social unacceptable. But beneath the offensive coarseness and bad manners lies a witty story about two people being in love.

W.

DAN - Academy Award winner Oliver Stone’s latest film chronicles a fictionalized version of the life and times of George W. Bush. Though the story is based on actual events, many scenes and conversations are created to support Stone’s comedic vision of the president.

I’ve never been a fan of Oliver Stone. Alexander was painfully long and boring, and World Trade Center seemed like an attempt to take advantage of a crisis for personal gain. W. is a politically charged film, and I get the feeling that Stone created it for the primary purpose of drawing in crowds.

Having said that, this movie is all right. Although Stone makes it clear that he does not approve of President Bush, this is a film that can be enjoyed by democrats and [open minded] republicans alike.

Josh Brolin (Goonies, No Country for Old Men) delivers a surprisingly effective impression of Bush. He succeeds in going beyond the typical caricature, providing a character that feels human. I found myself sympathizing with this variant of Bush, which I’m sure is also due to the screenplay by Stanley Weiser.

The rest of the ensemble cast is impressive, consisting of James Cromwell, Richard Dreyfuss, Thandie Newton, Jeffrey Wright, Ellen Burstyn, and plenty more. Each performance is funny and unique, emphasizing the strange variety of characters that have been a part of this administration.

The most powerful and thought-provoking moment in this film takes place after the credits. The very last image we see is a symbol of the crucifix morphing into a “W.” Stone is a self-proclaimed Buddhist, so I’m not sure if this is a jab at Bush or Christianity.

Other than that, this is a pretty basic movie, serving as a retrospective of sorts. I’m interested in seeing how people will perceive this film in the future; will it be the definitive representation of Bush’s presidency? I hope not.

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STEVE - When I first heard that controversial filmmaker Oliver Stone was tackling a project about our current president I was (to say the least) shocked, appalled and very intrigued. A fictional biography on a living, still in office president… you don’t say?

Of course a film dealing with a major political figure, conveniently coming out around the time of presidential elections is sure to have political undertones, which this movie does about a third of the way into the film. However, this doesn’t keep W. from being a riveting and engrossing drama about the man in the White House.

The film focuses on the life of President Bush (the second one), and not so much on his political decisions, which was a wise choice by the filmmakers that easily paid off do to actor Josh Brolin. Brolin is intoxicatingly funny, gripping, and riveting as George W. Bush and I wouldn’t be the least surprised if he received an Oscar nomination for his performance. Equally as enjoyable was James Cromwell who was brilliant as Bush Sr.

Director Oliver Stone made excellent casting selections. Not only do his actors look and sound similar to their real life counterparts, but each actor brings to the table engrossing performances that drive the momentum of the story. The movie works for this very reason.

Great performances and a riving script that surprisingly tells it as it is makes W. a must see.

Tell No One

DAN - Tell No One is a thrilling French mystery from director Guillaume Canet, based on a novel by Harlan Coben. The film follows Alex Beck, a doctor whose wife was murdered eight years ago. When new details emerge concerning his wife’s death, Beck must run from the law in search of the truth.

After seeing this film, I think it’s safe to say that I’m a sucker for French movies. Maybe it’s the romance of their language, or maybe I just don’t expect to see such well-made films from foreign countries. Either way, I liked this one.

François Cluzet plays the protagonist well. I’ve never seen him before, but I enjoyed this performance. The supporting cast of characters, a few of whom I recognized, also works well.

One thing that I found somewhat odd about this movie was the music. There are a lot of lighthearted songs that don’t seem to fit the story, and it doesn’t help that most of them are in English. The presence of U2's “With or Without You” was especially jarring for me, but it led to a moment that suggested a romantic side of the film.

I loved the stunts in this film. Beck takes a few punches, jumps from windows, and nearly gets run over on a highway, and it all looks convincing. Even something as simple as tripping and falling onto the pavement made me cringe. It looked painful.

There were several points in the movie where characters made references to something I didn’t understand, and I’d say to myself, “What did I miss?” But it would all be cleared up before the end of the film. There’s a particularly lengthy scene of exposition that ties a lot of loose ends together, and it was a relief.

Tell No One threw me for some loops, but it all worked out by the time the credits rolled. I was never certain what to believe, and I didn’t see the twists coming, which is a good thing for any mystery. Good story, good performances, and good direction.

Body of Lies

STEVE - Leonardo Dicaprio and Russell Crowe star in the latest film from Director Ridley Scott. Body of Lies is a spy film set in the middle of the Iraq War. DiCaprio plays Agent Ferris, a solo on the ground CIA spy who tries to stop terrorism single handedly, while Crowe plays as Ferris’s ever watchful boss Ed Hoffman, who is always observing from the sky.

Real locations and sets serve the mise-en-scene in creating Ridley Scott’s dirty and depressing modern day Middle East. The cinematography aids in creating a stylized and fast paced film that unfortunately becomes sluggish due to a creative but Hollywood contaminated plot.

I recall talking to a friend about the overall plot after viewing the film. There where many sideplots and subplots and loveplots and subparplots. And the main plot (for which the title is named) becomes sandwiched between all these other plots and ultimately is left with itty-bitty-little space to breath. I believe when attempting to describe how the main plot was executed the word my friend used was, (insert high pitch voice) “Bloop!” And I think that pretty much sums it up.

Body of Lies isn’t anything special. Good acting and decent cinematography regrettably doesn’t make up for a poor plot(s) that could have been salvaged into something superior. It’s an ordinary, middle-of-the-road, run of the mill film that leaves you with nothing more than a few, fun, distracting hours. The movie attempts to send a message, but it ultimately was lost. After watching I just kinda felt like… well… I’ve had better.

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DAN - Ridley Scott’s latest film is an espionage thriller set chiefly in Jordan. Leonardo DiCaprio plays a CIA operative with a plan to infiltrate a terrorist organization, and Russell Crowe acts as his boss at Langley.

There’s not much more to it. This film follows the recent trend of terrorist-related movies set in the Middle East (Syriana, The Kingdom). Throughout most of the movie, I couldn’t shake the feeling that I’d seen it before. I wanted something new, but this felt like a rehash.

Near the end of the movie, Crowe’s character says, “Ain’t nobody likes the Middle East, buddy. There’s nothing here to like.” As far as films go, I tend to agree. I’m bored by the deserts, worn buildings, and warfare.

I didn’t have an emotional investment in any of the characters, and I rarely felt that they were in danger. There’s a romantic subplot that develops halfway through the film, and it seemed out of place.

I was bothered by a couple of things that should have been irrelevant, but they caught my eye. Most of them aren’t worth mentioning, but here’s one example. Ever since I saw the trailers for this movie, I’ve been annoyed by the characters’ hair. I know it should be trivial, but there’s no reason to dye DiCaprio’s hair pitch black (including his goatee). And Crowe’s hair doesn’t need to be grey and spiky. It was noticeably fake and distracting.

I was surprised to see Mark Strong as a Jordanian character, but he pulled it off. Strong has played supporting characters in several notable movies, such as Sunshine, Stardust, and a few Guy Ritchie films. Sure enough, his character in this movie has awkward grey streaks in his unnaturally black hair.

Even with all of my complaints, Body of Lies is a decent movie. It’s just not very inventive. I want more from the likes of Ridley Scott.

Man on Wire

DAN - In 1973, construction was officially completed on the World Trade Center. One year later, a tightrope walker named Philippe Petit walked between the roofs of the Twin Towers on a high wire, and he did it without anyone’s permission. His antics are chronicled in Man on Wire, a documentary by James Marsh.

This is a magical film. The story, visuals, music, and “characters” are presented in a way that had me wholly captivated.

The story is told firsthand through interviews with Petit and his cohorts. Each person has a distinct and genuine personality, and it is evident that they are each proud (and sometimes ecstatic) to have been a part of this inverted scheme. Petit in particular is a fantastic and physically active storyteller.

The film’s visuals, aside from the interviews, consist of archive footage, photography, and reenactments. I was surprised by how cohesive all of this material is; the cinematography of the black and white footage from the ‘60s meshes perfectly with the modern segments. It’s a delight to see Petit and his friends running through tall grass and wrestling like giddy children.

The film’s music supports a sense of wonderment. In particular, Erik Satie’s “First Gymnopédie” left an impression on me.

Man on Wire serves as an uplifting memory to associate with the World Trade Center in light of more recent events. It is a true heist story in which there are no victims, and nothing is stolen. Rather, Petit provides his audience with inspiration.

Eagle Eye

STEVE - Improbabilities, impossibilities, ambiguities, and implausibility would just be a few of the words needed to describe the outlandish and dubious plot of Eagle Eye.

Unlike other movie reviews, I won’t attempt to explain the plot to you. I’m not sure I can. Instead I recommend you watch the various trailers bumbling about on the interwebs. That should give you enough to understand what the movie, at the very least, attempts to do with the plot.

The film is the most ridiculous of the over-the-top action, adventure genre. Insane happenstance after insane happenstance pushes the audience further and further in asking, “WTF?” To quote the great Roger Ebert, “This whole movie is a feature-length deus ex machina, and if you don't know what that is, look it up, because you're going to need it to discuss ‘Eagle Eye.’” Amen.

However, even with that being said, you couldn’t help but enjoy the adrenaline pumping, shaky camera, action sequences which have become a staple in the action genre. As well as the conventional and eventual outcome of the film, which we all know the due to operational aesthetics. And if you don’t understand what that term means its okay, I learned it from Andrew Rudd.

For those of you film bloggers out there, this movie has fridge moments, nuke the fridge moments, and other refrigerator moments that I haven’t even heard of yet. After viewing this movie we may need to make one or two.