Author: Stan

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.

Today’s quick review: Gods of Egypt. On the day the sky god Horus (Nikolaj Coster-Waldau) was meant to claim the throne of Egypt, his bitter uncle Set (Gerard Butler) stages a coup, killing Horus’ father and stealing Horus’ eyes. After a year of Set’s tyrannical rule, it falls to Bek (Brenton Thwaites), a daring young thief, to steal back Horus’ eyes, return them to Horus, and help the injured god reclaim his rightful throne.

Gods of Egypt is a fantasy action adventure that offers a fanciful, CGI-laden take on Egyptian mythology. Set in a shimmering, thriving Egypt still ruled directly by the gods, the movie features ample action, impressive visual design, an elaborate world, and a linear but densely packed story. However, its cast, its tone, its special effects, and its plot all have flaws that hold it back. The result is a fun watch that misses the chance to be more.

Gods of Egypt shows an impressive amount of craft. Its world is a loose reimagining of Egyptian myth that casts the gods as enormous, shapeshifting beings that walk among and rule over the humans. Its flavor of fantasy is geared towards action, with gigantic beasts to fight and exotic locations to explore. The designs also have a sci-fi flavor to them, with ornate metallic designs for the gods’ architecture, weapons, and armor.

The adventure manages to be solid as well. The film never finds the time for any deep character development or truly surprising plot twists, but it does deliver a competent, well-paced story that hits all the beats it needs to. Horus and Bek run into plenty of action over the course of their journey, while their banter helps to keep the tone light. The scope of the story is also suitably grand, working in higher stakes than strictly necessary.

But Gods of Egypt has a hard time capitalizing on its strengths. The setting shows promise, but its pieces do not fit as tightly together as a straight adaptation would. The rules of magic are just arbitrary enough to raise questions about the plot logic, while the light, adventurous tone is at odds with the mythic setting and serious events of the plot. Even the CGI has issues: most of the film looks fine, but a few kinds of effects are consistently off.

The movie also suffers from a mediocre cast. Gerard Butler makes for a surprisingly entertaining villain as Set, but Brenton Thwaites and Nikolaj Coster-Waldau are not the tight pairing they should be. Both turn in serviceable performances, but neither one conveys drama very well, and both have the same flippant tone. The supporting cast has a few hidden gems, however, including Chadwick Boseman as Thoth and Geoffrey Rush as Ra.

Overall, Gods of Egypt is a movie that aims high but falls short of its target. Critical viewers will find plenty to pick at, most notably its predictable plot and general lack of cohesion. But the movie’s action, creativity, and sheer spectacle are enough to make it an enjoyable popcorn watch for a willing viewer. Those willing to overlook its flaws will find plenty to love; those looking for a complete package should look elsewhere.

For a similar reimagining of Norse mythology, try Thor. For a modern-day sci-fi adventure with a similar plot, try Black Panther. For another action fantasy movie set in the ancient world, check out Immortals, Clash of the Titans, The Scorpion King, or Prince of Persia.

5.4 out of 10 on IMDB. I give it a 7.0 for action, scope, and imagination, held back by uneven execution and two mediocre leads.

Today’s quick review: Acts of Vengeance. When his wife and daughter are murdered, defense attorney Frank Valera (Antonio Banderas) takes a vow of silence until he can avenge their deaths. He gets himself in shape, learns how to fight, and sets about solving a case that even the police have given up on. The few clues point to the Russian mob, but to identify the killer, he will need the help of Alma (Paz Vega), a kindly ER nurse he meets along the way.

Acts of Vengeance is a crime drama with a touch of action. The movie follows Frank Valera as he reinvents himself from a smooth-talking, irresponsible lawyer to a mute seeker of justice. Acts of Vengeance sets up a decent mystery and a well-considered transformation for its main character. Frank Valera is far from an invincible action hero, but his training gives him enough of an edge to make it through several violent situations.

However, Acts of Vengeance has little to set it apart. Frank’s vow of silence works well on paper but doesn’t matter much in practice. Likewise, his adoption of Stoic philosophy is closer to window dressing than anything profound. The handful of action scenes fit well with the realistic style of the movie, but they are less frequent and less impressive than the ones found in dedicated action movies. The plot is fine but nothing special.

Give Acts of Vengeance a shot when you’re in the mood for a short, tidy crime story with few frills. Acts of Vengeance gets the basics right, but it is outclassed by other, more elaborate mysteries and action movies that have more flair. For a violent action movie with a nearly mute protagonist, try Drive. For a darker crime drama with a similar premise, try Rage. For a more involved take on a similar premise, try Seeking Justice.

5.7 out of 10 on IMDB. I give it a 6.0 to 6.5 for a good story but little more.

Today’s quick review: Only God Forgives. Julian (Ryan Gosling) is an American living in Bangkok, where he deals drugs, runs a fight club, and reaps the rewards of the Thai nightlife. When his brother Billy (Tom Burke) is murdered, Julian sets out to find the men responsible. But the situation is more complicated than it first seemed, and Julian ends up on a collision course with Chang (Vithaya Pansringarm), a brutal cop who was involved in the murder.

Only God Forgives is a gritty, stylized crime drama that features striking cinematography, deliberate pacing, and a pervasive sense of detachment. The story is a dark tale of revenge and senseless violence told in an abstract style. However, the film’s thin plot, unlikable characters, and indirect presentation cause its artistry to go to waste. The result is a movie that’s briefly fascinating and occasionally beautiful but ultimately unrewarding.

Only God Forgives is hard to get a bead on. The film is peppered with stylistic devices that obfuscate the story. Brief dream sequences are impossible to distinguish from reality, portions of the story are told nonlinearly, and the film has a habit of ending scenes before they are fully resolved. Coupled with a laconic cast and a reluctance to share key facts, these attributes make watching Only God Forgives into something of a guessing game.

These problems are compounded by the characters. Julian makes for a strange protagonist, too quiet to get to know directly and too passive to characterize through his actions. Flashes of his character come through at key moments, but never enough to reconcile his moral streak with his lifestyle. His opposite, Chang, is a police officer who dispenses justice with a brutal hand, caught somewhere between violent hero and moral villain.

The movie’s main redeeming feature is its cinematography. The streets of Bangkok lend Only God Forgives a vivid color palette of reds and blues. The camera drinks in the scenery along with the characters’ slow, methodical actions. The stylized storytelling also has its merits, although the payoff tends not to be worth the effort of deciphering them. Only God Forgives makes for a visually interesting watch, but the story can’t quite back it up.

Try Only God Forgives when you’re in the mood for something short, dark, and stylized. The bleak tone and confusing presentation will be enough to turn off most viewers, but those willing to brave both will find the glimmer of something special. However, Only God Forgives does not offer the complete package, and even viewers who are intrigued by its style would likely be better off with another film in the same vein.

For a more successful violent crime drama with the same lead actor and director, check out Drive. For a more artful, gut-wrenching tale of violence and revenge, try Oldboy or No Country For Old Men. For an experimental crime drama that dives more deeply into its abstract elements, check out Revolver.

5.7 out of 10 on IMDB. I give it a 6.5 for skillful presentation that misses the mark and an empty story.