Month: July 2019

Today’s quick review: The Last Castle. Following a bad decision that cost the lives of his men, General Eugene Irwin (Robert Redford) is sentenced to serve ten years in a military prison run by Colonel Winter (James Gandolfini). There Irwin earns the respect of his fellow prisoners by appealing to their sense of honor. But his actions bring him into conflict with Winter, who believes in using violence to keep his prisoners in line.

The Last Castle is a prison drama about a disgraced general, a military prison, and the petty tyrant in charge of it. The movie explores themes of honor, discipline, and humanity through the actions of Eugene Irwin, a respected general trying to live down one mistake. The Last Castle features a well-constructed plot and relatable characters. However, the story is not deep enough to rank it among the best dramas.

The Last Castle has an able lead in Robert Redford. His character of Eugene Irwin demonstrates honor in spite of his disgrace, discipline in the face of adversity, and respect for the prisoners who have forgotten what the word means. The way he interacts with the men around him gives the movie a persistent, human quality, and it makes his actions against Winter all the more rewarding.

The supporting cast is competent, if not flashy. James Gandolfini plays opposite him as Colonel Winter, a poser of a soldier who resorts to draconian methods to keep control of his prison. Mark Ruffalo plays Yates, a cynical prison bookie and one of the few inmates not to latch onto Irwin. Clifton Collins, Jr. rounds out the main cast as Aguilar, a dimwitted prisoner who becomes Irwin’s closest ally.

The plot is two parts drama and one part action. The early stages of the movie detail Irwin’s arrival at the prison and establish his relationships with the people there. As the conflict with Winter escalates, Irwin shifts into a more active role, leading the prisoners in an attempt to oust Winter for his abusive treatment. Both sides of the movie, drama and action, are handled well, but the transition between the two is rather abrupt.

The Last Castle does have its limitations. For all that Eugene Irwin is a fascinating figure, the embodiment of hard-won military honor, he lacks the warmth and nuance a hero in his position should have. Colonel Winter makes for a thematically suitable nemesis, a soft-handed tyrant undeserving of his uniform, but the skewed balance of power between the two means that Irwin’s victories are mainly due to leniency on Winter’s part.

Watch The Last Castle when you’re in the mood for a competent prison drama with a touch of action. The Last Castle is a more thoughtful movie than most ones like it, and while it never rises to the level of a masterpiece, it does make for a satisfying watch. Skip it if you are looking for a gritty drama or pure action. For a prison drama that gets at similar themes with greater skill, try The Shawshank Redemption or Cool Hand Luke.

6.9 out of 10 on IMDB. I give it a 7.0 for a solid plot, decent characters, and a military twist on the prison genre.

“How about something a little more commercial, for God’s sake?” —Sweet Pea

Today’s quick review: Sucker Punch. Trapped in a mental hospital by her abusive stepfather, Baby Doll (Emily Browning) retreats into her own mind, where she faces another sort of prison: a nightclub run by the manipulative Blue (Oscar Isaac). With only a week before the High Roller (Jon Hamm) comes to claim her, Baby Doll leads four other girls (Abbie Cornish, Jena Malone, Vanessa Hudgens, and Jamie Chung) in a risky plan to escape.

Sucker Punch is a stylized fantasy action movie from director Zack Snyder. Sucker Punch pits five young women against enemies both real and imagined in a desperate fight to win their freedom. The movie features stylish action sequences, experimental cinematography, and a soundtrack that’s equal parts melancholy and rebellious. The film takes risks that are only partially successful, but the ones that pay off give it a unique appeal.

Sucker Punch’s biggest draw is its action. Sucker Punch draws from a number of different genres for its action sequences, including steampunk, fantasy, and sci-fi. The film mixes and matches freely between the genres, yielding action scenes that are pure nerd fodder. Each scene has the impact and concision of a music video, and it is ushered in by one of the soundtrack’s hypnotic selection of songs.

These varied action sequences are justified by yet another layer of imagination. Forced to perform in Blue’s nightclub, Baby Doll treats each dance as a battle to be won. These inner battles form the basis for the film’s action scenes. The battles are only loosely connected to the world outside; the film takes advantage of their metaphorical nature by indulging in genres and songs that would be inconsistent with the main story’s mid-20th century setting.

Sucker Punch’s other major draw is its visual style. Zack Snyder uses the camera to great effect, toying with the borders of reality and using elegant shots to transition between fantasies. Elided and nonlinear storytelling keep the viewer guessing, while a skewed color palette and abundant use of CGI make the whole film seem surreal. The stylization is not subtle, but the techniques that comprise it often are.

Sucker Punch also pulls off a few clever tricks with its themes. The philosophical backbone of the movie is one particular message: that victory over even the most overwhelming odds can be found in the decision to fight back. Subtler themes include abuse and exploitation, heroism and the nature of stories, and fantasy and escapism. These themes carry little of the weight they would in a devoted drama, but they do give the movie some flavor.

Moreover, the themes double back around in paradoxical ways. Sucker Punch caters to a specific type of freewheeling fantasy, but it subverts that fantasy by tying it inextricably to grim themes of abuse and escape. The superficial worlds the movie visits for its action sequences are only temporary reprieves from the somber facts of Baby Doll’s reality. The result is a seemingly shallow action movie that has hidden depths.

Sucker Punch’s acting is decent but not great. Emily Browning as Baby Doll is something of a blank slate, capable of despair and determination but little in between. Her closest ally is Rocket (Jena Malone), a loyal but reckless friend, while Rocket’s sister Sweet Pea (Abbie Cornish) is the group’s pessimist. But the standout performance comes from Oscar Isaac as Blue, a reprehensible man who uses violence and emotional blackmail to control the girls.

As for its plot, Sucker Punch has the pared-down logic of a video game. Baby Doll’s plan to escape requires four items to work, a premise that none of the girls ever question. The plot proceeds linearly once it has been set up: Baby Doll and her crew steal the items they need, while Blue grows more and more suspicious of their activities. This framework gives the film a clear place to put its action sequences while giving the story some structure.

Though the simplistic nature of the plot can be disappointing to the viewer, it appears to be a deliberate choice by Zack Snyder. The basic rules of the plot reflect the film’s dreamlike story and video game influences. They also let the film indulge in more complexity elsewhere: its nested story, its abstract symbolism, and its active presentation style. The resulting story is not deep, but it is more intricate than it first appears.

Sucker Punch depends heavily on the audience’s forbearance. Its dream-within-a-dream setup can be disorienting, its skimpy outfits won’t please everyone, and its action sequences have little relation to the plot they’re dropped into. Much like the thin logic of the plot, each of these choices is a deliberate tradeoff, sacrificing broader appeal for the sake of an artistic point. Viewed the right way, they are part of a remarkable whole.

But the gambits pile up quickly. It just takes one misstep to ruin the movie for the viewer, and seemingly the whole film is on shaky footing. For the right viewer, one who delights in spectacle and paradox in equal measure, Sucker Punch is a rare treat: a film that weds superficial style to subtle artistry. But the majority of viewers will run into some issue or another they just cannot get past and never receive the film’s delicate payoff.

Watch Sucker Punch when you are in the mood for fanciful action and experimental storytelling. Sucker Punch is a peculiar hybrid that will not appeal to everyone. It is a niche pick masquerading as a blockbuster, and even those who are drawn to it may be disappointed. But its unique combination of elements makes it well worth the gamble for anyone who is curious.

6.1 out of 10 on IMDB. I give it an 8.5 for a stylish action, engrossing cinematography, and subtle connections within its story; your score will vary wildly.

“You act like insanity is catching.” —Teddy

Today’s quick review: Shutter Island. U.S. Marshal Teddy Daniels (Leonardo DiCaprio) and his new partner (Mark Ruffalo) are sent to a mental hospital on Shutter Island, a secluded island in Boston Harbor, to search for a patient who has gone missing. Dr. Cawley (Ben Kingsley), the psychiatrist in charge of the facility, gives them the run of the island, but as Teddy’s investigation continues, he begins to suspect there is more going on than meets the eye.

Shutter Island is a psychological thriller from director Martin Scorsese. Shutter Island features a rock-solid script, a talented cast, and skillful direction. The movie explores themes of trauma and mental illness against the backdrop of a mysterious mental hospital in the 1950s. Its tense tone can make it a difficult watch, but Shutter Island takes care not to abuse its power, and it rewards the viewer’s patience with a worthwhile mystery.

Shutter Island does a skillful job of building up its atmosphere. More suspense than horror, the film uses a variety of techniques to keep the tension high without resorting to pure shock value. The island itself is a nearly perfect setting: inhospitable, full of old buildings, and populated with the mentally ill. The cinematography also plays tricks on the viewer, such as subtle continuity errors or disorienting cuts, to maintain a sense of unease.

Shutter Island’s strong presentation is backed by a well-constructed plot. Exactly what Teddy has stumbled into is kept vague until the end, but tantalizing clues, a steady plot progression, and flashes of Teddy’s own memories are enough to keep the viewer engaged until then. Those who prefer mysteries they can puzzle out on their own will be frustrated, but those willing to follow in Teddy’s footsteps will be rewarded with a satisfying payoff.

Try Shutter Island when you are in the mood for a suspenseful mystery with a psychological twist. The film’s high degree of craftsmanship makes it worth checking out for anyone who can stomach the suspense. For a sensitive viewer, Shutter Island will be an uncomfortable watch, but less so than films that dip into true horror. For a more gruesome psychological thriller, try The Machinist. For another unconventional mystery, try Memento.

8.1 out of 10 on IMDB. I give it a 7.5 to 8.0 for excellent writing, atmosphere, and overall execution.

Today’s quick review: Black Swan. Nina Sayers (Natalie Portman), a ballerina for a prestigious ballet company, lands the role of her career: the Swan Queen in Swan Lake. To master the part, Nina needs not only technical perfection but to get in touch with her darker, more impulsive side. To do so, she spends time with Lily (Mila Kunis), a free-spirited fellow dancer. But as stress and new experiences collide, Nina begins to lose her grip on reality.

Black Swan is a psychological horror movie about a dancer pushed to the brink of sanity. Nina’s world gradually becomes a labyrinth of distrust and hallucination, one that only gets worse as she nears her opening night performance. The film features artful cinematography, shocking but effective imagery, and powerful themes of perfection, repression, and beauty. Black Swan makes for an unsettling watch, but a rewarding one.

Black Swan is packed with disturbing imagery that ranges from the mundane to the shocking. Director Darren Aronofsky maintains a light touch for much of the film, conveying Nina’s psychological state through an oppressive atmosphere and ambiguously sinister moments. But every few minutes, he shocks the audience with a glimpse of something truly malign: blood or injury, inexplicable transformations, abrupt scares, and scenes that blur fantasy and reality.

These visions increase in frequency and severity throughout the movie. Nina’s struggles mirror those of her character in Swan Lake, but the film leaves plenty of room for interpretation. Natalie Portman fits the role almost perfectly, and she’s backed by a capable supporting cast that includes Mila Kunis as Lily, her wilder counterpart, and Vincent Cassel as Thomas Leroy, her alluring director.

Watch Black Swan when you are in the mood for an abstract, artistic mystery with a dark tone. Black Swan is a finely crafted and tantalizingly surreal film. Its mature subject matter, open-ended mysteries, and shock value are not for everyone, but those whose tastes line up the right way will appreciate it for its vision and polish. Steer clear if you are squeamish or prefer films with clear answers.

For an animated psychological thriller that explores similar themes, try Perfect Blue. For a dark fantasy with a similar sense of foreboding, try Pan’s Labyrinth. For an upbeat, equally surreal drama about the theater, try Birdman. For a surreal fantasy with an unreliable narrator, try The Fall.

8.0 out of 10 on IMDB. I give it a 7.5 to 8.0 for delivering a powerful psychological trip.

Today’s quick review: Requiem for a Dream. Harry Goldfarb (Jared Leto), his girlfriend Marion (Jennifer Connelly), his best friend Tyrone (Marlon Wayans), and his mother Sara (Ellen Burstyn) all have ambitions: to deal drugs, to open a dress store, to be on television. Buoyed by a steady supply of drugs, they make plans for the future. But as addiction sets in, their dreams slip out of reach, and even basic existence becomes a struggle.

Requiem for a Dream is a psychological drama about drug addiction and the terrible price it exacts. The film follows Harry Goldfarb and three of the people closest to him as drug use eats away at their lives. Requiem for a Dream features a harrowing plot, stylish presentation, and a memorable soundtrack by Clint Mansell. The film explores themes of loneliness and desperation through characters who inch closer and closer to total collapse.

Requiem for a Dream immerses the viewer in its story using an active directorial style. Director Darren Aronofsky’s bag of tricks includes split screen shots, drug montages, time-lapse sequences, and rapid cuts between parallel events. Drug-induced hallucinations give the film a disturbing edge beyond just its grim subject matter, while skilled performances and a steady progression from bad to worse gives the film all the dramatic weight it needs.

Still, Requiem for a Dream has a very particular flavor that will not match everyone’s tastes. Its unsettling tone, disheartening story, and heavy stylization make it a rough watch that sensitive viewers will loathe. The struggles of its characters are realistic but far from universal; depending on the viewer, they may not resonate fully. The film also uses blunt instruments to drive its points home, undermining the subtlety of its craftsmanship.

But for the right viewer, Requiem for a Dream is a skillful fusion of presentational style and emotional substance. Give it a try when you have the fortitude to put up with a heavy watch. Stay well away if you prefer lighter movies or more uplifting dramas. For a drama with similar themes and a sci-fi twist, try A Scanner Darkly. For a masterful drama with less disturbing subject matter and a core of hope, try The Shawshank Redemption.

8.3 out of 10 on IMDB. I give it a 7.5 for harrowing drama and polished presentation; your score will vary according to how well the drama resonates with you.

Today’s quick review: Pi. Maximillian Cohen (Sean Gullette), a mathematical prodigy who suffers from untreatable epilepsy, spends his days searching for the numerical pattern behind the stock market. One day, a glitch in his computer reveals the existence of a 216-digit number that could be the key to the pattern. But as Max dives deeper into his search for the number, he begins to lose his grip on reality.

Pi is a psychological thriller from director Darren Aronofsky. The film follows a mathematician’s descent into paranoia and madness as he tries to uncover the universe’s greatest mathematical secrets. Pi features black-and-white photography, taut direction, and an unnerving numerological mystery. Its fascinating premise and unpredictable developments make it an engrossing watch, but the abstract nature of the myster limits its emotional payoff.

Pi’s themes of overactive pattern-matching and psychosis are reflected in its directorial style. As Max grows obsessed with finding the elusive number, he begins to hallucinate, lose track of time, and cut off contact with his few friends. There are a few shocking images, but the film falls short of actual horror. Instead, it’s a visceral chronicle of a man on the verge of a discovery that could cost him his sanity.

Pi does have a few drawbacks. The exact nature of the mystery is never clearly explained. Max’s search touches on mathematics, Talmudic numerology, and computer science, but never in a cohesive or logical way. The story’s individual plot threads are also treated loosely. Pi omits many of its details and leaves the audience to draw their own conclusions. This practice culminates in a shocking and tonally consistent ending that does not enlighten.

Try Pi if you are a fan of tense, cerebral, and well-crafted dramas. Its unsettling tone and abstract plot make it a niche pick, but viewers who fall into that niche will find it to be a solid watch. Skip it if you’re looking for a tight mystery or purer horror. For a psychological thriller that skews more towards horror, try The Machinist. For a biopic with similar themes and a more grounded style, check out A Beautiful Mind.

7.4 out of 10 on IMDB. I give it a 7.0 to 7.5 for an intriguing premise and strong craftsmanship.

Today’s quick review: Stranger Than Fiction. Harold Crick (Will Ferrell), an auditor for the IRS, wakes up one morning to discover that his life is being narrated by a voice only he can hear. With the help of a literature professor (Dustin Hoffman), Harold determines that he’s actually the main character of a novel being written by Karen Eiffel (Emma Thompson). As Karen ponders how to kill her main character, Harold looks for a way to change his fate.

Stranger Than Fiction is a dramatic comedy about life, death, and the nature of fiction. The movie takes a simple premise and spins it into a clever and varied tale that touches on everything from romance and pursuing one’s dreams to the more tragic aspects of life. Stranger Than Fiction features a capable cast, a skillful script, and a handful of presentational flourishes that enhance the film without distracting from the story proper.

Stranger Than Fiction straddles the line between comedy and drama. Harold’s situation and his reaction to it are inherently comical, but the film wades into deep philosophical waters when it gets into the inevitability of death. The equivocation between comedy and drama even turns into a plot point, where Harold must determine what genre of book he’s living in. The blend works fairly well, but it may come as a shock to those hoping for a pure comedy.

The film also has an impressive cast that includes Will Ferrell, Emma Thompson, Maggie Gyllenhaal, Dustin Hoffman, and Queen Latifah. The story’s focus on Harold means that Will Ferrell gets the lion’s share of the screen time, but he handles the burden well. The rest of the cast also leaves its mark, particularly Maggie Gyllenhaal as Harold’s vivacious, unlikely love interest Ana and Emma Thompson as the brilliant but frustrated writer Karen Eiffel.

Still, Stranger Than Fiction has a peculiar flavor that not everyone will enjoy. It’s an unusually grounded role for Will Ferrell, and the unpredictable nature of the plot makes the movie hard to pigeonhole. The effectiveness of the story depends heavily on how much the viewer connects with Harold Crick; there’s plenty in Harold to like, but a viewer who can’t sympathize with him will get little from the film.

Try Stranger Than Fiction when you’re in the mood for an unusually thoughtful comedy. A creative premise and strong follow-through make it a worthwhile watch for anyone who doesn’t mind the mixing of genres. Skip it if you’re looking for sheer hilarity. For a similar flavor of comedy with a wistful tone, try The Secret Life of Walter Mitty. For an even more comprehensive look at a similar premise, try The Truman Show.

7.6 out of 10 on IMDB. I give it a 7.0 to 7.5 for an original premise and solid execution.

Today’s quick review: 12 Angry Men. Locked in a sweltering jury room with tempers running high, twelve jurors deliberate the fate of a teenage boy accused of murdering his father. The case should be open-and-shut: two witnesses and a variety of circumstantial evidence incriminate the boy. But one juror (Henry Fonda) refuses to condemn the boy without a full discussion. As he forces the other jurors to reexamine the case, a different picture emerges.

12 Angry Men is a classic legal drama about civics, bigotry, and the presumption of innocence. The premise is simple: twelve jurors hold the life of a teenage boy in their hands, and only one tenacious skeptic stands between him and the electric chair. 12 Angry Men is a masterpiece of craft, with impeccable writing, artful blocking, and nuanced acting. Short and to the point, the film uses simple tools to excellent effect.

The bedrock of 12 Anrgy Men is its writing. The script appears to be wholly organic, yet its beats are expertly orchestrated. The jurors are carefully chosen to represent a whole range of personality types, personal prejudices, and attitudes towards the judicial system. Out of their arguments fall, as if by magic, significant lessons about ethics, hypocrisy, and responsibility. The lessons are clear and penetrating without seeming forced, a rare feat.

The other part of 12 Angry Men’s success is how the script comes to life. Henry Fonda leads an effective and well-balanced ensemble cast who imbue their roles with authenticity. Fonda himself strikes the right balance between assertive and humble, pushing the jurors towards a better understanding of the case without crossing over into egotism. The last piece of the puzzle is masterful cinematography that makes a one-room setting feel dynamic.

12 Anrgy Men is a minimalistic work of art that earns its place as a classic. The film is a must-see for fans of classic cinema, a case study in grounded writing, and a worthy watch for anyone intrigued by the premise. 12 Angry Men will not appeal to everyone, but its sheer quality and uplifting message give it much broader reach than the typical legal drama.

8.9 out of 10 on IMDB. I give it an 8.0 to 8.5 for a simple but effective premise and masterful craftsmanship.

Today’s quick review: Grave of the Fireflies. During the closing days of World War II, a Japanese boy named Seita (Adam Gibbs) and his younger sister Setsuko (Emily Neves) are left homeless and orphaned when American bombers raze their city. Forced to fend for themselves, the children must deal with starvation, the loss of loved ones, and the perils of living on their own in a country ravaged by war.

Grave of the Fireflies is an animated war drama from director Isao Takahata and Studio Ghibli. Grave of the Fireflies offers a personal, sobering take on the hardships of war. The gorgeous animation and heartfelt storytelling Studio Ghibli is known for are on full display, but unlike other Ghibli classics, Grave of the Fireflies is a pure drama. Apart from a touch of fantasy in the framing device, the film is a disturbingly realistic tale of perseverance.

As one would expect, Grave of the Fireflies makes for an incredibly heavy watch. The film keeps the violence to a minimum, but otherwise it depicts the full horrors of war without blinking. Death and desolation are commonplace, starvation is a growing threat as food supplies dwindle, and the bombings are a constant source of feat. The film grounds these brutal truths in the lives of Seita and Setsuko, two children who experience them firsthand.

At the same time, Grave of the Fireflies captures the beauty of life. Seita and Setsuko manage to find joy in the small moments, from playing on the beach to sucking on the last of their candy. Their little victories make their losses all the more poignant. Seita distinguishes himself as a resilient boy who does everything he can to care for his sister, while Setsuko keeps a positive attitude in spite of the hardships she endures.

However, the film’s inner workings show through in a handful of places. The logic of the story generally holds up to scrutiny, but analyzing the film too closely only serves to weaken its spell. Grave of the Fireflies depends on a close connection between the audience and its two main characters. Any gap in that connection can undermine what the film is trying to achieve. The best approach is a forgiving mind and an open heart.

Grave of the Fireflies is one of the best animated films ever made. Its particular style of drama will not suit everyone, but those willing to invest emotionally will be rewarded with a beautiful, sorrowful, and moving experience. Skip it if you are looking for a typical Studio Ghibli movie or something lighter. For an equally gorgeous fantasy adventure with a more uplifting tone, try Spirited Away.

8.5 out of 10 on IMDB. I give it an 8.0 for a high degree of artistry and a moving story.

Today’s quick review: Paper Moon. As part of a con, traveling grifter Moses Pray (Ryan O’Neal) agrees to take Addie Loggins (Tatum O’Neal), a young girl who just lost her mother, to live with her aunt in Missouri. What seems like a simple detour to drop the girl off turns into an extended partnership when Addie reveals an aptitude for con artistry. As Missouri draws near, Moses and Addie must decide whether their partnership will be a permanent one.

Paper Moon is a crime comedy about an unlikely duo of con artists. Taking place in the 1930s, Paper Moon features black-and-white photography and a seemingly authentic setting. The film imitates the wholesome flavor of classic cinema, but with just enough of an edge to make it distinct. Two strong leads and a charming story make Paper Moon a pleasant watch. However, its loose plot and subdued humor may not appeal to certain viewers.

The heart of the movie is the relationship between Addie and Moses. Moses agrees to drive Addie across the country for a quick buck, but she proves to be both smarter and harder to get rid of than he originally planned. Ryan and Tatum O’Neal, father and daughter in real life, match each other perfectly. The two have the same stubborn streak and the same cleverness, alternately butting heads and pooling their talents for dazzlingly effective cons.

Paper Moon is a road movie that follows Addie and Moses across the country. The story focuses more on its characters than any end goal, but two episodes stand out: a run-in with a bootlegger later in the movie and a prolonged dalliance with Trixie Delight (Madeline Kahn), an exotic dancer who sees Moses as a free meal ticket. Throughout it all, Paper Moon delivers a steady stream of gags that make the most of its main characters.

Watch Paper Moon when you’re in the mood for a comedy in the classic style. Two talented leads, a warm sense of humor, and skillful writing result in a movie that is fun, enduring, and even touching. Still, its charms are dependent taste, and the wrong viewer won’t get much from it. For another classic con movie, check out The Sting. For a more dramatic take on a similar premise, try Matchstick Men. For the hitman equivalent, try The Professional.

8.1 out of 10 on IMDB. I give it a 7.5 for great leads and a solid sense of humor; your score will vary.