I'm Not There

DAN - I’m Not There is a tribute to Bob Dylan as directed by Todd Haynes. Although being in a biographical format, the film doesn’t feature a singular representation of Dylan. Instead, six different actors portray various elements of Dylan’s life, be it truth or legend. The result is an intertwining set of separate narratives that amount to the director’s impression of one of his favorite artists.

Even though I know very little about the real Bob Dylan, it is apparent that this film’s construction of his character is unique. Dylan is depicted as a child, an outlaw, a poet, a prophet, and more. Each side of his personality is filmed in a different style; some segments are black and white, while others are in color. These stories could have been presented individually, but are instead intercut with one another, creating a unified presentation on the character of Dylan.

The effect of this myriad of plot lines can sometimes be disorienting. It’s clear that director Haynes is expressing himself through artistic editing, but I wasn’t always able to catch the intended meaning. Haynes’ style of storytelling, though unconventional, is not off-putting. It simply requires a greater level of attention from its audience.

Haynes previously directed a film called Velvet Goldmine that was based on the life of David Bowie. That film was more difficult to follow than I’m Not There, despite having only one actor in the role of the main character.

This film’s cast delivers a cornucopia of terrific performances. Cate Blanchett, Christian Bale, and the late Heath Ledger are standouts in an ensemble that lacks any notable flaws. I am impressed that black, white, male, and female actors are all able to convey something that resembles Bob Dylan.

The film’s soundtrack comprises Dylan’s music; some songs are original recordings, and others are covers. The music complements the film well, though at points there are some obvious problems with lip synching.

I’m Not There is an experimental film that is far from being mainstream. It’s an impressive outing for cast and crew alike. I imagine it would help to be a Dylan fan when watching this movie, but it merits a viewing by any interested audience.

Horton Hears a Who!

DAN - Horton Hears a Who is the latest cinematic adaptation of a Dr. Seuss novel. Horton is an energetic elephant who hears voices coming from a tiny white speck as it floats through the jungle. The voices belong to the Whos, a race of miniature people in a world where nothing ever goes wrong. Though the other animals think he’s crazy, Horton takes it upon himself to transport the Whos to a safe spot in the jungle.

This film has some good things going for it, the best of which is its animation. The characters’ movements are fluid and creative, and they add individuality to each persona. This can probably be attributed to the movie’s directors, Steve Martino and Jimmy Hayward, the latter of which was an animator on five Pixar films.

The animation also fits well with the film’s voice actors. The cast, particularly Jim Carrey, Steve Carell, Will Arnett, and Isla Fisher, put forth lively and unique performances.

The score by John Powell is fittingly whimsical, never overpowering the accompanying visuals. At times it adds an emotional charge to the film; I actually got chills at one point.

For the most part, this film successfully adapts the world imagined by Dr. Seuss. However, the story might have been a bit too modernized. Some pop culture references, including a segment in the style of Japanese anime, seem out of place. They may be good for a few chuckles, but they were unnecessary.

Horton Hears a Who is a family film, but that doesn’t mean it’s limited to children. Like last year’s Enchanted, this movie can be a pleasant break from the heavy drama that is common in the theater, as well as in real life.

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STEVE - From the creators of Ice Age comes the beloved story of an elephant named Horton, who stumbles upon a flying speck that can talk. Most of us know how the old story goes, and thus becomes the obstacle for screen writers Ken Daurio and Cinco Paul to turn a beloved child’s book into a feature motion picture.

Without a doubt, Horton Hears a Who is the best Dr. Seuss made adaptation for the sliver screen so far. It seems Hollywood has learned from its mistakes. Instead of dressing up Jim Carrey in green costume, they use his voice and give to a very dedicated elephant. Yes, Jim Carrey lends his voice to Horton in his second Dr. Seuss outing. And along with him comes comedic actors Steve Carell, Will Arnett, Amy Poehler, Seth Rogan, and the great Carol Burnett. All of whom do an excellent job, with the exception of Seth Rogan who just felt a little out of place in this movie as Horton’s somewhat loyal mouse friend Morton.

Though it relies heavily on voice actors and sight gags, which tend to fall short of the mark about once or twice, the film does an exceptional job of keeping the spirit of Dr. Seuss alive, all the while mixing in twenty-first century humor. Although it’s not a perfect movie by any means, Horton Hears a Who is a fun filled adventure for the whole family and even retains the rare rating of “G”. When was the last time you saw one those?

The Assassination of Jesse James by the Coward Robert Ford

DAN - The Assassination of Jesse James by the Coward Robert Ford is the second film from New Zealand director Andrew Dominik. Robert Ford is a young amateur criminal who worships Jesse James, the most notorious outlaw of the nineteenth century. When he gets the opportunity to join James’ gang, Ford comes to know his idol on a personal level. This film chronicles Ford’s involvement in the final years of James’ life.

I make an effort to avoid spoiling plot points in my reviews, but this movie’s title sort of gives one away. Robert Ford assassinates Jesse James. Part of the film’s charm lies in the fact that the audience is aware of this fact. I personally found it enthralling to watch these characters interact, knowing that one would eventually kill the other.

Casey Affleck gives an intricate portrayal of a troubled Ford as he transforms throughout the film. Ford simultaneously admires, fears, and wants to destroy his hero. Affleck is able to convey these conflicting emotions in a palpable manner, and he seems to do so with ease. In fact, I cannot think of one performance in this film that is sub-par. The ensemble is fantastic.

The score by Nick Cave and Warren Ellis is bittersweet. It sometimes comes across as a lullaby for Jesse James, which is both beautiful and strange. It is most effective during segments of narration by Hugh Ross, which are peculiarly mesmerizing in their composition.

My only negative critique is a minor one; this movie is long. Its runtime is 160 minutes, but the slow plot makes it seem even longer. However, each individual scene is a work of art, aided immensely by Roger Deakins, whose cinematography is innovative and captivating. If your attention span can handle it, this film is definitely worth watching.

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STEVE - Brad Pitt stars as the outlaw Jesse James in the indie western The Assassination of Jesse James by the Coward Robert Ford. The film which is almost as long as its title, being that it clocks in just under three hours is about two separate men; the first man being the criminal Jesse James, who through crime and murder has achieved fame and novelty and has become an American icon. The other man is the coward Robert Ford, who wants have the fame and fortune that Jesse has, but even more prominently, to be Jesse James.

We obviously know from the title of the film that Jesse James will indeed die. So it’s no shock to the audience when the coward Robert Ford assassinates the famous outlaw. However, it’s the trip we take as a viewer, into the minds of these two characters, that really makes the climax of the film all that more consequential.

Something absolutely terrific that this movie does so very well that you don’t usually find in other works of film, is deep, deep, deep character development. This film takes you into the depths of these two men’s souls. We know what there thinking, why there thinking it, and why in the end, Robert Ford does what he does.

Because of how much time and energy is spent delving into the characters of the story we are left with a long run time. But it’s worth it, it’s so very much worth it. Terrific performances by the whole cast including my new favorite actor Casey Affleck, beautiful cinematography, excellent directing and wonderful execution. This movie comes highly recommended.

Gone Baby Gone

DAN - Gone Baby Gone comes as the directorial debut of actor Ben Affleck. Based on the novel by Dennis Lehane, the film follows a private investigator and his girlfriend when they are hired to find Amanda, a little girl who was recently abducted. Time is of the essence and the odds are against them as the pair searches through the underbelly of Boston.

The quality of Ben Affleck’s acting may be debatable, but I was intrigued by the thought of him as a director. He’d proven his writing chops in Good Will Hunting, which he co-wrote with Matt Damon, but he hadn’t written anything of note since then. Though it may not be entirely revolutionary, Gone Baby Gone is a good film.

The film stars Affleck’s younger brother, Casey, who delivers a strong performance. I’ll definitely be keeping an eye on his career in the coming years.

The film’s score is subtle, yet effective. I was excited when I saw Harry Gregson-Williams’ name in the opening titles; he has composed some strong soundtracks in the past, and this is no exception.

The plot features several thrilling moments and unexpected twists. They work for the most part, though some might be perceived as a little too conventional. There is a particularly memorable scene near the end of the film that begs the question: must we obey the law if we are morally compelled to do otherwise? The arguments are convincing, and I found myself debating the alternatives in my mind for the rest of the night.

Gone Baby Gone is a thought provoking film akin to Mystic River, which was based on a book by the same author. If you like that film or are in the mood for a good mystery, check this one out.

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STEVE - Ben Affleck’s directorial debut is an excellent example of superb execution. The actor and Academy Award winning writer pens another great script along with new screenwriting partner Aaron Stockard and creates a haunting and very real portrait of modern day life in the movie Gone Baby Gone.

Baby brother Casey Affleck stars for older brother as the tough P.I. Patrick Kenzie. Kenzie along with lover and partner Angie Gennaro (Michelle Monaghan) are asked to solve a missing child case. Reluctant at first, both agree to the case after meeting mother Helene McCready portrayed by Amy Ryan. The two begin a long a desperate search for the child and along the way uncover secrets and hidden agendas that blend the line between right and wrong, and neither can agree what to do with the knowledge they have learned.

Gone Baby Gone is a powerful film that treads the lines from corruption, to domestic abuse, to good intentions gone wrong. Big brother Affleck drives his film forward giving powerful meanings to his messages through the use of his only weapon at hand… his camera.

As far as performances go, little brother Affleck and the rest of the ensemble consisting of Ed Harris, Morgan Freeman, Michelle Monaghan, and others perform considerably well under the older Affleck’s direction. Amy Ryan, in particular, turns in one of the best performances I’ve seen this year in a very impressive fashion. I can almost guarantee that you will find no other character to hate more than that of Ryan’s character of Helene McCready this year.

Gone Baby Gone recently arrived on DVD about a week ago and it’s one that you’re going to want to pick up at your local blockbuster. However be warned, this isn’t a feel good movie, but it is a great one.

Michael Clayton

DAN - Michael Clayton is a legal thriller from the mind of Tony Gilroy, writer of such films as the Bourne trilogy. Having been nominated for seven Oscars, the film was recently re-released in theaters. The title character, played by George Clooney, is an attorney who fixes situations that might damage his law firm. When one of his biggest clients seems to inexplicably lose his mind, Clayton searches for an answer. Unfortunately, there are other parties who would prefer that he doesn’t succeed.

I had fairly high hopes for this film, though I didn’t exactly know what to expect. Tony Gilroy had written some decent films in the past, but this was his first attempt at directing. I’m sure this film was a clever, tension-building tour de force, but to be honest, I had trouble keeping up with it.

The screenplay is choc full of legal terms and political dialogue that flew over my head. I was able to get the gist of the story, but the characters’ motives were lost in the details. I found myself trying so hard to understand the plot that I must have missed a few character introductions. The film features several scenes with Clayton’s siblings and his son, but I didn’t learn of his relation to them until after the movie ended.

The cinematography and musical score are somewhat bleak, creating a level of semi-realism that didn’t keep my interest. Even the acting is mostly low key, though Tom Wilkinson and Tilda Swinton individually have some good scenes.

This is a film that requires intelligence and attention, but I didn’t find it worth the effort. I suppose it’s commendable that the director chose to take a non-blockbuster approach in making this film, but the result wasn’t entirely entertaining for me. However, if you like political thrillers (Syriana, The Constant Gardener), then this one is right up your alley.

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STEVE - Being one of the five Oscar nominees for best picture and in the running for six others including a best actor, best supporting actor, and best supporting actress, I was very interested in seeing this work of cinema. It’s not every day that you find a movie up for seven Oscars, three of which are for performances, for which reason, I recommend this film to the viewer.

Best actor nominee George Clooney leads this terrific cast of performers as the “miracle worker” Michael Clayton. Though he prefers to think of himself to be more like a janitor, Clooney’s character is a lawyer who cleans up others messes, and does it very well. It’s the different layers that Clooney brings to the character that holds my interest throughout this film. Every time the man walks on screen he demands your attention in the most subtle of ways, and it’s when Clooney is acting with eleven year-old Austin Williams that he truly shines and we see the human side of Michael Clayton.

Tom Wilkinson and Tilda Swinton also turn in memorable performances as they are up for the other two acting nominations. Also noteworthy of mention is already Oscar winner Sydney Pollack who gives a great performance as well and plays the role of Clooney’s superior.

Michael Clayton truly thrives in its performances; with a different cast I’m not sure the film would have been as well received. Though the script is also the cause for one of its many nominations, I wasn’t all to crazy about it. We really aren’t treading any new territory with this film as the story of loft business corruption has been done before. You are sufficiently lost for the fist third of the film, trying to piece together what exactly went wrong. If not for the well executed direction from scribe and director Tony Gilroy, and the many wonderful performances Michael Clayton could have been a very unnoticeable film.

There Will Be Blood

There Will Be Blood, the newest film from acclaimed director Paul Thomas Anderson, tells the story of a self-made oil baron in California at the dawn of the 20th century. He and his young son, who acts as his business partner, find a small town that sits above an underground “ocean of oil.” The only thing that stands in their way is a young, strong-willed priest who has aspirations of his own.

STEVE - A year ago I took a theater class here called Auditioning. Essentially it was about the process of auditioning (for stage or screen) and becoming better at that process, hence the name of the class. One thing that I remember talking about in that class is something our professor called the ultimate compliment. You see, when a performer gives a performance for an instructor or fellow peer, and that instructor or peer gives the performer no comment or instruction afterward, then that performer knows that they have just received the ultimate compliment. It sounds strange, but for a peer or instructor to say nothing means that they found nothing wrong with the performer’s performance. The instructor has nothing left to teach and the peer nothing left to say. The performer did a perfect job. Such a comment is rare, and is the greatest comment that a performer could receive. I myself have never received such comment and I am only aware of one other person who has. It is the highest praise given only to performances of the highest caliber.

There Will Be Blood pulls this same speechless response out of me. I honestly don’t know what to write because I feel like nothing needs to be said other than for me to tell the reader of this article to go see this movie, because you are in for a treat. Although I am speechless (in a manner of speaking) allow me to list some of the reasons why you need to go see this movie.

The direction and visual structure of this film is a work of art, the likes of which are rarely seen. The music only serves to drive the audience deeper into the intoxicating world of our protagonist, hero, and villain Daniel Plainview. While such a deep and multilayered character would sound hard to portray, actor Daniel Day Lewis successfully represents Plainview by giving the most stimulating and flawless performance of a lifetime. Writer and Director Paul Thomas Anderson could not have created a better vehicle for Oscar buzz, being that it has already been nominated for eight of them.

Please, ladies and gentlemen of this supposed college, go see this powerful character driven drama. Not only will you leave second guessing your humanity but you will indeed understand why, in the end, there will be blood.

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DAN - Having read the introduction in Steve’s review, I’m tempted to simply say “no comment” in regards to There Will Be Blood. However, I think some things deserve to be noted.

Director P.T. Anderson consistently makes great movies. He is an expert storyteller, and he knows how to create complex characters. I had high expectations for this film, and they were met. Perhaps they were even surpassed.

A good portion of the movie’s introduction is without any dialogue. It takes talent to pull this off as effectively as Anderson does, and Daniel Day-Lewis is equally gifted in acting physically.

In fact, Day-Lewis is nearly unrecognizable, yet forever memorable, in his role as a fully determined businessman. His performance in this film captured my interest, and I’m currently in the process of watching his previous films. He seems to fully delve into his characters, and the result is captivating.

The musical score for this film is a thing of beauty, ranging from melodious orchestrations to shrill discordance. Surprisingly, it was composed by Johnny Greenwood of Radiohead; I would not expect the guitarist of such a band to compose such an extensive score. The music vividly paints an image of balanced madness that follows the character of Daniel Plainview.

There Will Be Blood is a work of art in every way.

Cloverfield

DAN - Cloverfield is the second feature-length film from director Matt Reeves. Featuring a cast of relatively unknown actors, the film presents a first-person perspective of an attack on New York City by an unstoppable monster of gigantic proportions. Amidst the mayhem, five friends scramble to reach an injured friend who is trapped in another part of the city.

This film derives its inspiration from classic Godzilla films while simultaneously reinventing the genre. Unlike other monster movies that tell the story on a massive scale, this film puts the audience directly in the shoes of civilians who are struggling to survive. I haven’t experienced such a sense of helplessness in cinema since War of the Worlds in 2005.

The film is presented as though it were recorded entirely on a handheld camcorder. The cameraman, Hud (played by T.J. Miller), serves as the audience’s eyes and ears. We know what he knows; nothing more, nothing less. He often runs frantically, providing only glimpses of the terrors around him. This comes across as a believably realistic account of what a person might manage to record in the midst of such a tragedy.

There is no musical score in this film, save for a seven-minute operatic overture during the credits that was composed by Michael Giacchino. The absence of non-diegetic music adds to the realism of the film and was a wise decision on the part of the director. The visual and sound design of the film create an authentic and exhilarating experience that had me asking myself, “What would I do in this situation?”

It’s not often that a good monster film is made, but Cloverfield hits the mark. Relatable characters, immersive cinematography, and precise direction provide a unique and entertaining cinematic experience.

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STEVE - After months and months of internet promotions for Producer J.J. Abrams (creator of Lost) newest baby, I made my way to the nearest theater curious to see if Cloverfield lived up to its interweb hype. Now I’ll admit I wasn’t too excited to go see this movie. I sincerely thought that Cloverfield was going to be a complete waste of my time. You have unknown actors, a relatively unknown director, all in a Godzilla meets Blair Witch type movie that’s told from the point of view of a character (that is ironically named HUD) that happens to have a video camera. Truth be told, the real reason I wanted to go see Cloverfield was because I had an inkling that the new Star Trek trailer was going to be in front of it. And it was… and it was AWESOME. So now that I have sufficiently destroyed any chance of dating a woman on this campus, allow me to give you my actual thoughts on the sure to be cult favorite, Cloverfield.

When I wasn’t to busy getting annoyed with the camera, which was rarely centered on the action so that I could barely tell what was going on half the time, or looking at people’s shoes (which you surprisingly do a lot of in this movie) I was actually, dare I say it, enjoying myself. Now mind you those moments were rare, mainly due to our point of view cameraman (HUD) who couldn’t run a camera or steady one if his life depended on it. All that aside however, Cloverfield really wasn’t that bad of a movie.

There were some pretty sweet special effects in this film. The monster looked great, and the movie did a successful job of scaring its audience. And even though I’m sure some if not most will hate the ending of this movie, I thought that it was great. Brilliant. Well done writer Drew Goddard, an innovative way to end the picture.

So overall, it looks like I’d have to say that I surprisingly enjoyed Cloverfield. Nevertheless, I firmly believe that the shaky, hand-held, point-of-view camera system ultimately made the film suffer. The technique, though unique and probably a great idea on paper, held the movie back from its full potential. Perhaps with a more cinematic approach, Cloverfield could have been the great American monster picture. Instead, I guess we’ll just have to keep watching dubbed-over Godzilla movies.