Big Thoughts from a Small Mind

Tyrannosaur Only Fears Itself

2012-02-01T10:00:00.024-05:00

To say watching Tyrannosaur was the equivalent of being punched in the stomach repeatedly would be an understatement. In fact being hit in the gut would probably have been more joyful. Despite being put through the emotional ringer, I would not hesitate for a second to recommend this film. There is an inherent beauty to the bleakness of the world in which the characters exist.

In a fit of blind rage, a widower, Jospeh (Peter Mullan) ends up accidently killing his dog. Determined to try and change his self-destructive ways, he strikes up a friendship with a thrift store worker, Hannah (Olivia Colman). As a woman of faith Hannah offers to pray for Joseph’s soul. Though strong in her faith, Hannah has problems of her own and they are even more destructive than Joseph could ever imagine.

Though the film will leave you feeling as battered emotionally as Hannah’s face in one jarring scene, Tyrannosaur is a film that is tough to turn away from. It is a bold and confident directorial debut from actor-turned-director Paddy Considine. At no point does Considine try to sugar coat the issues raised in the film nor does he seem particularly interested in providing any real statement. Considine merely offers up a realistic portrayal of the rage that can boil up from within when there are no more tears to be shed.

A perfect example of this comes when Hannah is trying to console her apologetic abusive husband after an incident. Despite being the victim, Hannah finds herself trying to sooth her crying husband and let him know that everything will be okay. However you can see that Hannah is seething inside. She struggles to conceal her disgust as she forces herself to spew soothing words that feel like bile to her.

Olivia Colman gives a star-making performance as Hannah. This is quite a feat considering she must hold her own against the likes of Peter Mullan and Eddie Marsan. Colman has a tough task being both the spiritual heart of the film and the personification of Joesph in a seemingly God-less world. It is not an easy job by any means, but Colman manages to pull it off with grace. As I mentioned before, Colman manages to hold her own against Mullan and Marsan who are in top form as usual. Marsan is especially strong as Hannah’s weasel of a husband, James. On the surface, James seems to be the most together of the three main characters. However, it is not long before it becomes apparent just how short his fuse is.

Mullan is electric as Joseph, a man who is so blinded by his rage that he inadvertently destroys the only thing that gave his life meaning in recent years. He longs to connect with people, but he is constantly caught within an internal struggle to hold on to the last bit of humanity he has left. This helps to bring a unique dynamic to the friendship between Joseph and Hannah. When one is on the upswing the other is on decline, rarely do they meet in the middle.

A startling and, at times, depressing film, Tyrannosaur is a film that will not leave you in the best of spirits. However you will be glad to have gone on such an emotionally jarring journey by time the final credits role. It is easily one of the best films of the year.

Blind Spot: Black Narcissus

2012-01-31T10:00:00.016-05:00

It is very rare that a film gets added to my all-time favourite list after just one viewing, but this is exactly where Black Narcissus ended up. I purposely waited a few weeks before watching it again to see if my initial reaction still held up. Needless to say, the film was even more glorious on repeat viewing. There is not a wrong note in the entire film. Directed by Michael Powell and Emeric Pressburger, famously known as The Archers, Black Narcissus is a tour de force in both storytelling and acting.

Based on the novel by Rumer Godden, Black Narcissus is a drama that explores how an isolated land in the Himalayas has an unexpected effect on five nuns. Charged with establishing a convent that will serve as both a school and hospital, Sister Clodagh (Deborah Kerr) struggles to adapt to her new role as Sister Superior while trying to navigate a foreign land. Perched upon a mountain top, the newly formed convent is situated within the walls of a palace formerly known for its sinful exploits. The presence of a local British agent, Dean (David Farrar), only complicates matter as both Sister Clodagh and the mentally unstable Sister Ruth (Kathleen Byron) both seem drawn to Dean’s charisma. As the altitude beings to impact the unaware nuns, memories of their lives prior to joining the nunnery start to re-surface. Blinded by their ambitions to re-shape the world around them, the nuns do not realize that some things are best left alone.

Black Narcissus is a film that is ultimately a cautionary tale about how easily routine and status can cause a person to lose sight of their true nature. Sister Clodagh is a perfect example of this as she goes from being overly prideful to longing for a love from her past. Although she is trying to teach the locals the ways of the church, Sister Clodagh seems to have forgotten what true faith is all about. At times the rougish Dean better embodies the true spirit of Christianity. In one particular scene Sister Clodagh tells a young general (Sabu) that he should not speak about Jesus in such everyday language. Dean, who shows up drunk for Christmas mass, is quick to rebuke this by telling Sister Clodagh that people should speaking the Lord’s name in common language. Implying that those who only speak of Jesus in a higher from of speech lose sight of what Jesus’ message is actually about.

Sister Clodagh and Dean are both solitary figures who clearly have feelings for one another, but neither is in a position to act on it. Once you throw the unstable Sister Ruth into the mix you have the makings of a brilliant love triangle. Unlike the frequently misguided love triangle in The Archers’ film The Red Shoes, the one Black Narcissus is executed flawlessly. Sister Clodagh and Sister Ruth represent everything the other secretly wishes they were. There is a wonderful scene where Sister Clodagh and Sister Ruth are having a discussion that quickly turns from pleasant to tense the minute Dean’s name is mentioned. The camera slowly moves from Sister Clodagh’s hands across the table and moves up to Sister Ruth’s angered eyes. Though a brief scene, it perfectly establishes the conflict that will arise between the two women as the film progresses.

Deborah Kerr and Kathleen Byron are outstanding as Sister Clodagh and Sister Ruth, Byron in particular really steals the show. She presents Sister Ruth as a woman who is tired of being viewed as both crazy and inferior compared to the other nuns. However, this is in fact what she turns out to be. Though it may deem sacrilege to say, it would be interesting to see Black Narcissus remade today. Not because the film needs a reboot per say, but it is very rare to see a predominantly female driven film with characters so well defined. Even David Farrar’s Dean, who is an important character in his own right, always manages to ensure that he does not overshadow the female performances.

The only thing more breathtaking than the performances is the cinematography. From the sweeping landscapes that played a major role in Sister Clodagh’s pre-nun life to the perilous mountain top where she now resides, there is no shortage of wonderful images in the film. The beauty of the film is not just relegated to landscapes, but also how the characters utilize the spaces they inhabit. In one memorable scene a 17 year-old temptress, Kanchi (Jean Simmons), strategically uses a mirror, handkerchief, and even hides under a table to draw the attention of the young unaware general. Breathtaking in regards to visual scope and storytelling, Black Narcissus knocked me over in a way I did not expect. It is a shame more modern day films are not this glorious.

Black Narcissus is also part of our "The Must See List" series. The film was recommended by Bob

A little nostalgic for Stand By Me

2012-01-30T10:00:00.005-05:00

“I never had any friends later on like the ones I had when I was 12. Jesus, does anyone?”

After writing my piece on Stephen King film adaptations, I happened upon one of my favourites, Stand By Me, on TV. The coming-of-age story about four young boys who go in search of a dead body is a film that has stood the test of time. It’s about friendship, strained relationships between fathers and sons, and the confusing, emotional and sometimes turbulent period of adolescence. The four boys played by Wil Wheaton, River Phoenix, Corey Feldman and Jerry O’Connell, are superb in their roles as Gordie, Chris, Teddy and Vern, respectively; so honest and real as youngsters on an adventure who along the way rib each other, sing songs and debate issues of the day, face bullies, outrun a train and open up emotional wounds in questioning who they are.

What I’ve come to appreciate most about the film is how the experience of watching it now as an adult has changed from when I first saw Stand By Me as a young teenager. I think I was 13 or 14 years old when I first saw the film and I remember thinking of it as an adventure film with four aimless boys looking for a little fun and danger to break up the monotony of living in a small town. Watching it as an adult, I can’t help but focus on the characters’ troubled lives and how the film lays bare all the emotions and heartache they’re feeling. Each wrestles with his own demons and each boy confronts his own fears.

Gordie (Wil Wheaton) doesn’t feel good about himself and is acutely aware that his father doesn’t love him. Gordie’s older brother was killed in a car accident and he’s since become the invisible boy at home, haunted by the realization that his parents feel like the wrong son was taken. Chris (River Phoenix) is a tough, cool and fiercely protective friend who comes from a loveless home and fears getting trapped in the small town he’s growing up in for the rest of his life. In one powerful scene, Chris has a breakdown because he thinks he’s worthless and fears he’ll never get the fresh start he so desperately hopes for. In only Phoenix’s second feature film, he showcased impressive vulnerability and an engaging onscreen presence that, when watching it today, is a reminder of his untimely death and the promising career that was cut tragically short.

Vern (Jerry O’Connell) is the youngest of the bunch; a chubby, cowardly and often irritating tag-along that the other boys pick on. Teddy (Corey Feldman) is perhaps the most intriguing of all the boys. He’s a disturbed kid who is physically abused by his mentally unstable father, yet cares so deeply for his dad. Say what you will about Corey Feldman and the career (or lack thereof) that he’s had as an adult (The Surreal Life, Blown Away), no one could have played the tortured Teddy Duchamp with as much raw emotion as he did.

Stand By Me is as effective today as it was when it was released in 1986 because the film is a rich tapestry of common themes that resonate with every generation - human emotion, growing up and self-discovery, the ties that bind friends together, emerging stronger after facing harsh realities, the fondness of bygone years, lessons about life and death and facing one’s own mortality – that will undoubtedly ensure the film’s relevance is never lost.

Scene Stealer: Say Anything

2012-01-29T10:00:00.004-05:00

Lloyd Dobler has got to be one of the most likeable, relatable film characters of all time. Lloyd’s “basic;” at least that’s what Diane Court tells him after their first date. He’s an underachiever without definitive goals or a plan for the future. He has a crush on Diane Court. She’s beautiful, sweet, smart, and according to most people, out of his league. But they go out. They fall in love. They make love in the back seat of his car. They face challenges. They break-up. They get back together because love won’t keep them apart. It’s all very basic as far as romantic comedies go, yet it’s a rare kind of movie.

John Cusack delivers one of the best performances of his career as Lloyd Dobler – so believable, so appealing, and so earnest. He thinks and talks like a real person. He fidgets and paces nervously when he calls Diane up for a date. He’s level-headed and uniquely insightful and perceptive. He says things like, “I’m looking for a dare to be great situation.” He doesn’t spout clichés. He wears his heart on his sleeve. He knows himself and he doesn’t fake anything or ever pretend to be someone he’s not. The film’s movie poster reads: “To know Lloyd Dobler is to love him,” and it’s true. Lloyd is, quite frankly, one of the best boyfriends in film and no scene proves it more than the iconic boom box serenade.

It’s the scene in the movie that gets the most attention because it’s one of the most memorable declarations of love in film. When Diane breaks up with Lloyd out of a combined fear of commitment and her father’s disapproval, he’s absolutely heartbroken. Lloyd does everything to win Diane back, and in the grandest, most romantic of gestures, he stands outside her bedroom window holding a boom box over his head as “In Your Eyes” by Peter Gabriel plays. It’s the song that played on the radio after their first time in Lloyd’s car. The look of resolute determination on Lloyd’s face as he hoists the boom box higher overhead, feet planted firmly on that spot outside Diane’s window, defiantly pleading with her to take him back, has become one of the most enduring and iconic images in 80s film.

The Best of Stephen King on Film

2012-01-28T10:00:00.002-05:00

The works of Stephen King, the literary master of horror, have been made into some pretty great films. Of course, there are some adaptations that were better left unmade, but the adaptations that worked, worked really well. The page-to-screen successes were helmed by directors up to the material, like Kubrick, Carpenter and Cronenberg, featuring formidable actors like Jack Nicholson, Sissy Spacek, Christopher Walken and Kathy Bates, and adapted from brilliant original works. The gems aren’t gems simply because they’re faithful to the works they’re adapted from because that alone doesn’t a gem make. Rather, they’re films that succeed on the basis of their own merits.

The total number of adapted works is pretty astounding at well over fifty adaptations if you include TV movies and sequels. With such a vast number of film adaptations spanning Stephen King’s long career, it’s no surprise that there’s a lot of drivel in the bunch. Sometimes the source material isn’t that good to begin with. Love him or loathe him, it cannot be denied that he’s a master storyteller who’s dreamt up concepts touched by greatness, and that his fertile imagination has given Hollywood some fun, fascinating and superb films.

Without further ado, here are my favourite Stephen King film adaptations.

10. It

9. Pet Sematary

8. The Running Man

7. Dead Zone

6. Carrie

5. Misery

4. The Green Mile

3. The Shining

2. Stand By Me

1. Shawshank Redemption

What are your favourite Stephen King film adaptations? Let us know in the comments section.

Sharing the Blogging Love

2012-01-27T09:00:00.010-05:00

Wondering what bloggers have been chatting about this week?

Here is Your Reading and Listening Schedule for Today:

9 am: Episode 83 of the French Toast Sunday podcast list some movies you need to give a second chance.

10 am: Over at the CriticalMassCast podcast, the gang talk about the best and worst films to be released this past December.

11 am Andrew comments on five vaguely vexing issues about this year’s Oscar nominations.

12 pm: Sebastian is taking in the Sundance Film Festival, here are his thoughts on the film California Solo.

1 pm: Emil has a great piece explaining why, as a Swede, The Girl with the Dragon Tattoo is strange to him.

2 pm: Jessica give The Kid with a Bike a positive review.

3 pm: Joel reveals his best films of 2011 list and Fast Five makes the cut.

4 pm: Paolo plays the Movie Association Game with the Oscar nominated film Pina.

5 pm: Chip Lary celebrates his 300th post by sharing some observations on the Oscar nominations.

6 pm: Ruth examines how space is depicted on film.

bonus: John names the top 10 stuck-in-one-spot movies.

Which is Better?

2012-01-26T10:00:00.008-05:00

70’s Best Picture Winners

10 sample films:

Patton
The French Connection
The Godfather
The Sting
The Godfather Part II
One Flew Over the Cuckoo’s Nest
Rocky
Annie Hall
The Deer Hunter
Kramer vs. Kramer

Post 70’s Best Picture Winners

10 sample films:

No Country for Old Men
Amadeus
American Beauty
Titanic
The Silence of the Lambs
Platoon
The Lord of the Rings: The Return of the King
Schindler’s List
The Hurt Locker
Braveheart

Which do you prefer? Let us know in the comments section

“Killin' generals could get to be a habit with me.”

2012-01-25T10:00:00.003-05:00

The Dirty Dozen (1967)

I recently watched a trailer for The Expendables 2 and was happy to learn Chuck Norris had joined the all star cast, led by Sylvester Stallone, Jason Statham, Jet Li, Dolph Lundgren, Bruce Willis and Arnold Schwarzenegger. Although Norris is better known these days for the satirical Chuck Norris Facts, he parlayed his tough guy image into a long and successful career in film and television. Which brings me back to the film; I am anticipating The Expendables 2 because it’s an old-school action film with old-school action stars. Plural. More than one. What I like about the first film is it harks back to a time when the “men on a mission” action/war film was on every teen boy’s movie list. There have been a few recently; Inglourious Basterds (2009) and Saving Private Ryan (1998) as well as The Expendables (2010) and this year’s sequel, but I think it’s fair to say the genre (or sub-genre) had its heyday in the 1960s and ‘70s with a dab or two in the ‘80s. And I’m talking about well-known big pictures, such as The Guns of Navarone (1961), The Great Escape (1963), Where Eagles Dare (1968), Kelly’s Heroes (1970), Force 10 from Navarone (1978), The Inglorious Bastards (1978), and The Big Red One (1980). All are good (Force 10 and Big Red are dubious, but have the “mission” factor) but my favourite of them all, the one that certainly inspired Quentin Tarantino’s Basterds, is The Dirty Dozen (1967), directed by Robert Aldrich.

In the spring of 1944, Allied forces are preparing for the D-Day invasion. Major General Worden (Ernest Borgnine) assigns Major John Reisman (Lee Marvin) an unusual and top-secret pre-invasion mission: train twelve soldiers convicted of felony offenses (either serving lengthy sentences or condemned to death) and as a unit infiltrate a château in north-western France to kill all senior German officers, who use the place as a retreat, the day before the invasion. Clearly this is a suicide mission and the men expendable, but if they survive the mission they will receive full pardons. After witnessing a hanging, Reisman meets the twelve: Franko (John Cassavetes), Jefferson (Jim Brown), Wladislaw, (Charles Bronson), Posey (Clint Walker), Maggott (Telly Savalas), Pinkley (Donald Sutherland), Jiminez (Trini Lopez). Bravos (Al Mancini), Vladek (Tom Busby), Gilpin (Ben Carruthers), Sawyer (Colin Maitland), and Lever (Stuart Cooper). Reisman, with Sergeant Bowren (Richard Jaeckel), takes the men to their secret training ground.

The bulk of the film’s running time is dedicated to the Dozen building their own compound and training, which highlights the interpersonal conflicts between the men. Some see this as an opportunity for redemption, while others see it as a chance for escape. Slowly but surely they being to work together, but the men and the mission are put in jeopardy when Reisman crosses paths with Colonel Breed (Robert Ryan), his former commander. There is no love lost between these two; the domineering and Regular Army Breed relishes at every opportunity to knock the rugged individualist Reisman a few rungs down the ladder. When Reisman breaks a series of military regulations, Breed becomes involved and proves these two can’t play nice in the sandbox together, and it forces General Worden, at Breed’s urging, to have the men prove their worth as a fighting unit in divisional war game maneuvers in the English countryside.

The third act is a great action sequence detailing the attack on the chateau. What, did you think the boys wouldn’t show what they’re made of? Gunfights and explosions make up the soundtrack for the finale, and it wouldn’t be a great action film if the mission were easy. There are several complications that threaten the mission that need to be overcome and the words spoken at the beginning ring true; not everyone is going to make it.

All in all, The Dirty Dozen is an excellent war/action film with a stellar cast; John Cassavetes steals the show as Franko and even earned himself an Academy Award nomination for Best Supporting Actor. Lee Marvin is perfect as Reisman; hard to believe John Wayne was originally offered the role. Fortunately he turned it down and went to make The Green Berets instead. Bronson is no stranger to men on a mission films; he was also in The Magnificent Seven and The Great Escape and here he doesn’t disappoint. Even Jim Brown (who retired from the Cleveland Browns in the middle of filming) gives a good performance in only his second film. Sutherland was an actor resident in the UK at the time and the film promoted him into Hollywood, especially after his turn in M*A*S*H, and would play proto-hippie Oddball in the more relaxed men on a mission film, Kelly’s Heroes with Telly Savalas who, in The Dirty Dozen, is exceptionally sinister as the woman hating, religious fanatic Maggott.

What I admire about The Dirty Dozen is that it is one of the first to depict American solider as less than clean-cut, which is natural of the times the film was made; Vietnam was a few years in and anti-war sentiment was gaining popularity. This was also a time in Hollywood where genre conventions were going through a revision; war films and westerns were especially turned over and presented as darker and grittier where the heroes are not so clearly defined. People can do heroic things and not necessarily be considered a hero; and the presentation of the Dozen as murders, psychopaths and misfits is a clear contrast to the All-American, battle-happy Joes from Company B. In fact, John Wayne turned down the role because of the depiction of American soldiers as military criminals and death-row prisoners. While there is violence and might present some anti-authoritarian, anti-military, anti-establishment, anti-everything, the film is not as bleak as it sounds; Aldrich tempers the nihilism with enough cynical humour to suggest the whole thing is a game, an inside joke only those in the situation can possibly get.

12 Random Thoughts on the 2012 Academy Award Nominations

2012-01-24T09:29:00.002-05:00

The Academy Award nominees have been announced! Here are my initial thoughts:

1. Nine Best Picture nominees! I had predicted it would be seven films.

2. I was hoping Sailcloth would get nominated in the Short Film (Live Action) category but no such luck. Very curious to check out the films that made the cut this year.

3. Did not expect to see J.C. Chandor get nominated in the Original Screenplay category for Margin Call. Super excited about this nomination.

4. I really need to see The Descendants, Extremely Loud and Incredibly Close, and War Horse in the next few weeks.

5. Nice to see Octavia Spencer and Viola Davis receive nominations for their work in The Help. Although Jessica Chastain was excellent in both Tree of Life and The Help, I thought she would be nominated for Tree of Life

6. The supporting acting categories are once again the most exciting race to watch. Melissa McCarthy could be the dark horse winner for the Supporting Actress award.

7. Only two Original Songs nominated this year? Also, how does neither Hanna nor Drive get nominated in the Original Score category?

8. No nominations for Elizabeth Olsen, Michael Shannon or Michael Fassbender? Wow! I was sure they would be locks.

9. While a good movie, I still do not see Moneyball as a worthy Best Picture contender.

10. Since The Adventures of Tintin is out of the picture, I cannot see any of the other animated films knocking out Rango.

11. Always nice to see a Canadian film, in this case Monsieur Lazhar, nominated in the Foreign Language category. Two years in a row no less!

12. Transformers: Dark of the Moon…an Academy Award nominee! Is it this year's The Wolfman?

What are your thoughts on the 2012 Academy Award nominations?

Haywire Gives Confusion the Boot

2012-01-23T10:00:00.015-05:00

It is rather peculiar that a film of Haywire’s quality would be released so early in the year. January has been notoriously known as the dumping ground for many studios. It is usually time of year when films that the studios have very little faith in are released in order to make a few quick bucks. In 2012 studios really seem to be going after fans of the action and horror genres with the release of films like The Devil Inside, Contraband, Underworld: Awakening, and the aforementioned Haywire. While I cannot speak on the other films, I can say if you are looking for an entertaining way to kill an hour and a half then Haywire is the film for you.

Haywire focuses on Malloy Kane (Gina Carano), a covert operative who is sent to Barcelona to facilitate a hostage rescue mission. Before she can relish in the success of a job well done, Mallory’s boss, Kenneth (Ewan McGregor), informs her that she is to immediately go to Dublin and connect with an MI6 agent (Michael Fassbender) for her next assignment. When things take a turn for the worst, Mallory finds herself on the run as a international manhunt for her commences. Determined to uncover who double crossed her, Mallory will stop at nothing to get answers. Even if this means literally fighting her way through fellow operatives, such as Aaron (Channing Tatum), local law enforcement, and whoever else dares to stand in her way.

In many ways Haywire finds director Steven Soderbergh back in the playful mode of his Ocean’s Eleven series. He sprinkles in elements of his previous films, most notably The Limey, throughout. Haywire is a film that does not offer much in the way of plot, as it plays more like a series of set ups more than anything else. However the action sequences and the overall style frequently ensure that the actual payoff always delivers at the level you expect.

One of great things about Soderbergh’s direction of Haywire is the little nuances he adds to a scene. In one scene, Mallory is unpacking boxes and placing items on a bookshelf while Kenneth is explaining the details of the mission. The camera is placed in a way that every time Kenneth explains a new, and more complicated, aspect of the mission, the camera follows Mallory as she places a new item on a lower level of the shelf. By time she reaches the third shelf all the components of her mission are revealed. Another subtle, and playful, moment from Soderbergh comes when Mallory takes a meeting with a high ranking government official, Coblenz (Michael Douglas), in airfield hangar. As Coblenz and Mallory size each other up in a verbal tête-à-tête, Soderbergh has a piece of tumbleweed roll by in the background to emphasize the old west style standoff Douglas and Carano are having.

In her first starring role, Gina Carano is electric as Mallory. The fact that she was a former mixed material arts fighter is a huge advantage over other films featuring a female lead. The fight scenes in this film feel authentic and plausible for each situation. Even when Carano adds a few “how did she do that moves?” to her repertoire, it still feels natural. When a character gets his head rammed into a bar stool or Mallory gets thrown into a wall, it feels as if the actors, and not stunt people, are taking every lump. One of the best things about Carano is that she knows how to play up her strengths and shortcomings. The film playful insinuates that looking at Mallory as a women is a grave mistake. Even Mallory herself comments on not being the girly girl. However, Carano manages to show that it is possible to be a strong individual while still being comfortable in her own skin. Caron feels like a natural successor to the Angelina Jolie throne as the next female action star.

While the plot could have been a little deeper, Haywire succeeds in delivering solid action at brisk pacing. There is enough of Steven Soderbergh’s stylistic touches to please his fans, while still managing to entertain hardcore action fans. Featuring stellar choreography and a star making turn by Carano, Haywire is every bit as entertaining as one could hope it would be.

Blow Out the Candles: Diane Lane

2012-01-22T10:00:00.013-05:00

Diane Lane

Born January 22, 1965

I feel like Diane Lane has either suffered some bad luck or made some unfortunate choices in her career. Lane has mostly had lead roles in lousy movies or supporting roles in great films. Her lead roles of the last few years have been in good but not great films, such as Under the Tuscan Sun, Must Love Dogs and Untraceable. To me, a rare highlight on her resume is a film that I feel aptly showcased her great acting ability, commanding onscreen presence and smolder as a beautiful leading lady: Unfaithful. The film wasn’t the best film but it was good, and Lane acted her heart out and sold every bit of lust, uncertainty, regret, passion, fear and anger that her character, Connie Sumner, experienced with such tangibility and honesty. I remember the moment in the film when she was on the train thinking about the affair she had just had, and shook and shuddered at the memory of her lover’s touch. The passion and excitement her character felt from the memory practically leapt off the screen.

Lane got her start in movies at the tender age of 13 when she was cast in A Little Romance opposite Sir Laurence Olivier. The film wasn’t a commercial success, but Lane was praised by Olivier who called her the next Grace Kelly. Her film debut earned Lane serious attention and she graced the cover of Time Magazine with the headline “new young acting sensation.” Lane seemed poised for greatness.

Touched by Love, Cattle Annie and Little Britches, Ladies and Gentlemen, the Fabulous Stains and Six Pack were critical and financial flops that failed to boost her career. After stints in TV movies, things took a turn for the better in 1983 when Francis Ford Coppola took notice of Lane and cast her in two “youth” films that went on to become cult classics – Rumble Fish and The Outsiders. Lane was on the right track again and seemed destined to fulfill the promise expected of her.

However, her next three choices had the adverse effect. She turned down the lead role in Splash, which was a surprise hit for Daryl Hannah, and instead accepted parts in two critical and commercial bombs – Streets of Fire and The Cotton Club. Lane had established a fan base and a loyal following after the success of her youth films in the early 80s, but it seemed this wasn’t enough to urge her forward to vie for better roles. Rather, she “retired” from acting at age 19, unhappy with the direction her career had taken. Her retirement lasted three years after which she returned to the film industry to begin the slow and gradual process of rebuilding her career.

Her rebuilding phase was marked with great variety. She suffered obscure and dismal showings with a straight-to-video release called Lady Beware, a thriller about a married man who stalks Lane’s character. She achieved critical success with the well-reviewed yet little seen film The Big Town, in which she played an embittered stripper wife who cooks up a revenge scheme. After that, Lane turned to TV and starred in a hugely popular Western series called Lonesome Dove. Her role as a “whore with a heart” earned her an Emmy nomination, and the success of the show generated interest by film producers who began offering Lane supporting parts in films like Chaplin and Indian Summer.

In 2000, Lane starred in the biggest film of her career; the blockbuster hit The Perfect Storm, which grossed $330-million worldwide. Lane was in demand after the success of that film and appeared in a no less than three lead roles following it, the last of which proved to be the greatest critical and commercial success of her career, the aforementioned – Unfaithful. Her role earned her an Academy Award nomination for best actress. After the major success of the film, however, she followed the familiar pattern of following success with mediocre films like Hollywoodland, Jumper and Nights in Rodanthe.

Lane’s career, like many actors in Hollywood, has had its share of highs and lows. She’s a wonderfully versatile actress with immense talent who deserves better roles in better films. It’s hard to say whether it’s Lane’s choice of roles that needs more discernment, or if it is the kind of roles she’s been offered that is the cause of her career inconsistencies. Her last film, Secretariat, was no Seabiscuit, but it was an entertaining, feel good, family film that did moderately well at the box office. Next up for Lane is the Superman reboot – Man of Steel – a highly anticipated blockbuster that I hope will set Lane on the right track because she deserves it.

What is your favourite Diane Lane performance? Let us know in the comments section.

Scene Stealer: Back to the Future

2012-01-21T10:00:00.003-05:00

When Doc Brown reveals the souped up time traveling Delorean with the licence plate "OUTATIME," the suspense and excitement is palpable. Still after dozens of screenings, Back to the Future excites, amuses and delights. It's a brilliant film where no scene is wasted or unnecessary. Every scene succeeds in advancing the story and every little detail matters because it's been thoroughly thought through.

Traveling 30 years back in time, Marty McFly encounters his parents as teenagers, when his mother was a naïve, love-struck girl and his father was a timid geek bullied by an obnoxious oaf named Biff. Marty's got his hands full in the future as he has to deal with the teenage version of his mother who's got the hots for him, and trying to run interference for his father who's being bullied mercilessly and simply takes it.

After witnessing his father take it on the chin yet again by Biff, Marty intervenes by first tripping Biff and then punching him out. Marty then hightails it out of the diner to escape the wrath of Biff and his gang who are in mad pursuit. What ensues is one of the most memorable moments in this definitive 80s classic - the skateboard chase scene.

The scene is exciting and very funny thanks to sight gags and clever one-liners. Marty creates a makeshift skateboard from a young boy's scooter to evade Biff and his gang who start by chasing him on foot. Biff et al wind up pursuing Marty in their car after Marty hangs off the back of a pickup truck. With sparks flying out from beneath the skateboard's wheels, Marty avoids crashing into open car doors, jumps over curbs and flies right smack into pedestrians on the sidewalk. Even though I know the scene by heart, it isn't any less thrilling, and the payoff remains as funny as ever.

Marty winds up holding on to the front of Biff’s car as it careens towards a manure truck parked at the end of the road. In a great manoever, Marty jumps up onto the car’s hood, climbs over Biff and his gang, and jumps off the back of the car and onto the skateboard which rolled under the car and through to the other side. So stunned is Biff that, with his neck craned to watch Marty, he slams straight into the manure truck. “Shit!” they all scream, as the load topples and covers them whole. It’s a hilarious moment and it’s the perfect line uttered at just the right moment since they’re now covered in it. It also establishes the rivalry between Marty/his father and Biff, which is the source of many more fantastic and funny scenes throughout the rest of the series. This scene, itself, is referenced again in the next two installments of the series, but with a twist. Remember the hover board?

Crashing the Illusion

2012-01-20T10:00:00.004-05:00

I hate when real-life changes the film going experience. To clarify I do not mean that I dislike films that deal with real issues or real people. What I am talking about is when events in my own life alter the magical illusion that film creates. Normally it works the other way around. Even if the disturbance is only temporary, it ultimately keeps me away from watching particular films I usually enjoy. Such is currently the case with films that feature memorable car crashes.

Toward the end of December, a day before New Year’s Eve in fact, I was involved in a multi-car accident on the way to work. Though traffic was light due to the fact many were still on vacation, the roads were icy which made the trek to work take longer than usual. While traveling on the highway the car to left of me lost control and slammed into the front driver’s side of my vehicle. The impact of the collision, coupled with the icy roads, knocked my car into the next lane on my right where I was eventually hit by a second car. While the incident feels like it played out over a lengthy period of time in my mind, the truth is it all happened in the blink of an eye. Though my car received the most damage of all the cars involved, the fact that no one was injured is a blessing.

Besides still being a little shaken, which is to be expected, I have noticed that I do not enjoy the spectacular scenes of car destruction the way I use to. This is especially noticeable when watching action films, a genre I usually love to revel in. The best example of this came when trying to watch The Matrix Reloaded on television. While I have comfortably convinced myself that the sequels to The Matrix were all horrible figments of our collective imaginations, I will admit that the only thing I liked about Reloaded was the epic highway chase scene. Everything from the various fights to the numerous car collisions works wonderfully. However, viewing the sequence again the thrill was gone. I could not bring myself to take glee in the sensory overload.

I had the same reaction when I tried to watch Death Proof, a film I usually have no problems revisiting. The memorable collision at the end of the first half of the film, where Quentin Tarantino replays the event from each of the four women’s perspective, is one of the many highlights from the film. While still eye-popping from a technical standpoint, I actually had to stop the film at as I found myself not enjoying the experience. I know I will watch Death Proof again in a few months, hopefully sooner depending on how long it takes me to shake this, but for now the sight of cars colliding just takes me out of the film instead of drawing me in further. My mind cannot help but go back to that fateful icy morning.

If this is my reaction to the big budget action films, then I know there will be some “smaller” films that I will not be watching again for at least a few weeks. Crashes in independent films are often more visceral as they strive to be both realistic and unexpected. I always remember that shocking flashback scene in Adaptation where you learn more about Chris Cooper’s John Laroche character. One of my favourite images in Magnolia is that brief scene where an unconscious Linda Partridge (Julianne Moore) lies in an ambulance as it flips on his side during the films climax. Sadly these films, along with numerous others, will have to be shelved for the time being. While I am sure this phase will pass, I will admit that it has taken away my ability to truly immerse myself in a film the way I would like to.

Have you ever had a real-life experience that hindered the way you looked at particular films for a period of time? Feel free to add your experiences in the comment section.

Which is Better?

2012-01-19T10:00:00.009-05:00

Kristin Scott Thomas

10 sample films:

The English Patient
Gosford Park
I’ve Loved You So Long
Richard III
The Horse Whisperer
Nowhere Boy
The Other Boleyn Girl
Mission: Impossible
Easy Virtue
Bitter Moon

Juliette Binoche

10 sample films:

Chocolat
Certified Copy
Dan in Real Life
Summer Hours
Caché
Breaking and Entering
Damage
The Unbearable Lightness of Being
Bee Season
Three Colours: Blue

Which do you prefer? Let us know in the comments section

And the award goes to…overkill or can’t get enough?

2012-01-18T10:00:00.001-05:00

Awards season is well underway. With the People’s Choice Awards, the Critics Choice Awards, the Golden Globe Awards, and several other awards’ events already in the bag, there’ve been no shortage of red carpets and acceptance speeches, and there’s still more to come. I know people who despise this time in film because award shows dominate the airwaves at the start of the year, and can become redundant, predictable and boring. Some, like the People’s Choice Awards, are viewed as bubble gum awards. I’ve heard some say that the focus on fashion detracts from the focus on film. And others argue that it’s more about politics than the films, filmmakers and actors. It becomes an exercise in which studio campaigns the hardest to amplify the attention surrounding its film. There are major marketing pushes, lavish cocktail parties and luncheons, and publicists racing to get their contenders out in front of the impressionable, vote-casting industry masses. The awards season is a veritable circus where great lengths are reached in order to win because winning amounts to money, acclaim and, well, winning. Still, for all the strikes against it, I quite enjoy the awards-giving time of year.

Awards season is a time when the industry is abuzz about film with a heightened sense of fervor and excitement. It’s a time when movies are lauded and when little known indies are shown more love and appreciation than major studio films. It’s a time when those behind the scenes, like writers, get well-deserved recognition, and when films that have been showing in limited release garner a lot of attention on the biggest stage of all. This is the main reason why I enjoy this time of year in film. Awards season can give small films and unknown actors a major boost and make little and fantastic films known to wider audiences. I think about The Wrestler, The Visitor and Boys Don’t Cry, three great indies that generated serious buzz from awards season and got audiences of all kinds – not just cinephiles – curious, interested and clamouring to see them. When an indie film gets attention, its acting talent usually does too, and I just love comeback stories like that of Mickey Rourke who, with The Wrestler, re-emerged from the has-been forest to deliver a stellar performance for Darren Aronofsky in an incredible film.

For unknown actors who’ve been working in relative anonymity for years, the impact is even greater. With one Golden Globe or Oscar nominated role, they and their work can be seen by millions. The exposure that awards season gives to little films and lesser known actors is remarkable. Unfortunately, awards season is exclusive in recognizing only a select group of films to the exclusion of many others. The same films usually remain in the rotation and are nominated repeatedly throughout awards season (although a one-off nomination has been known to happen), but when an indie film or an unknown actor grabs the gold, I think it’s a triumph for independent cinema as a whole. It’s a reminder that great cinema doesn’t just exist on a mainstream level backed by huge studios, padded by large budgets and casted with big names. It proves that modest filmmaking, marketed by word-of-mouth, featuring great up and coming talent is happening out there and the results are good films deserving of our time and attention.

Another aspect that I appreciate about awards season is that it gets people talking about all things film. The debates, the analyses, the articles, the blogs - it all amps up with a unique kind of passion and interest and, whether you love or despise awards season, it's difficult to not have an opinion either way about it. So with that said, tell me, how do you feel about awards season?

32 Genie Awards Nominations Announced

2012-01-17T14:53:00.000-05:00

The 32nd annual Genie Awards nominations were announced today. The Genie Awards are the Canadian equivalent of the Academy Awards. I am really happy to see both Beauty Day and Wiebo’s War received nominations in the Best Feature Length Documentary category. The awards will be handed out on Thursday, March 8, 2012.

Here is the full list of nominations:

Best Motion Picture
A Dangerous Method – Martin Katz, Marco Mehlitz, Jeremy Thomas
Café De Flore – Pierre Even, Marie-Claude Poulin, Jean-Marc Vallée
Monsieur Lazhar – Luc Déry, Kim Mccraw
Starbuck – André Rouleau
The Whistleblower – Christina Piovesan, Celine Rattray

Achievement In Direction
David Cronenberg – A Dangerous Method
Steven Silver – The Bang Bang Club
Jean-Marc Vallée – Café De Flore
Philippe Falardeau – Monsieur Lazhar
Larysa Kondracki – The Whistleblower

Performance By An Actor In A Leading Role
Fellag – Monsieur Lazhar
Garret Dillahunt – Oliver Sherman
Michael Fassbender – A Dangerous Method
Patrick Huard – Starbuck
Scott Speedman – Edwin Boyd: Citizen Gangster

Performance By An Actor In A Supporting Role
Antoine Bertrand – Starbuck
Kevin Durand – Edwin Boyd: Citizen Gangster
Marin Gerrier – Café De Flore
Taylor Kitsch – The Bang Bang Club
Viggo Mortensen – A Dangerous Method

Performance By An Actress In A Leading Role
Catherine De Léan – Nuit #1
Pascale Montpetit – The Girl In The White Coat
Vanessa Paradis – Café De Flore
Rachel Weisz – The Whistleblower
Michelle Williams – Take This Waltz

Performance By An Actress In A Supporting Role
Roxana Condurache – The Whistleblower
Hélène Florent – Café De Flore
Julie Lebreton – Starbuck
Sophie Nélisse – Monsieur Lazhar
Charlotte Sullivan – Edwin Boyd: Citizen Gangster

Achievement In Art Direction/Production Design
Jean Bécotte – Funkytown
Aidan Leroux, Rob Hepburn – Edwin Boyd: Citizen Gangster
James Mcateer – A Dangerous Method
Patrice Vermette – Café De Flore
Emelia Weavind – The Bang Bang Club

Achievement In Cinematography
Miroslaw Baszak, C.S.C. – The Bang Bang Club
Pierre Cottereau – Café De Flore
Jon Joffin – Daydream Nation
Jean-François Lord – Snow & Ashes
Ronald Plante – Monsieur Lazhar

Achievement In Costume Design
Denise Cronenberg – A Dangerous Method
Farnaz Khaki-Sadigh – Afghan Luke
Ginette Magny, Emmanuelle Youchnovski – Café De Flore
Heather Neale – Keyhole
Marie-Chantale Vaillancourt – Funkytown

Achievement In Editing
Jean-François Bergeron – The Year Dolly Parton Was My Mom
Michael Czarnecki – In Darkness
Patrick Demers – Jaloux
Stéphane Lafleur – Monsieur Lazhar
Ronald Sanders, C.C.E. A.C.E. – A Dangerous Method

Achievement In Make-Up
Christiane Fattori, Frédéric Marin – Café De Flore
Amber Makar – Amazon Falls
Virginie Paré – Bumrush
Tammy Lou Pate – Snow & Ashes
Leslie Ann Sebert, David R. Beecroft – Take This Waltz

Achievement In Music – Original Score
Ramachandra Borcar – Jaloux
Mychael Danna – The Whistleblower
Martin Léon – Monsieur Lazhar
Philip Miller – The Bang Bang Club
Howard Shore – A Dangerous Method

Achievement In Music – Original Song
Jay Brannan – Cloudburst – My Love My Love
Carole Facal – Starbuck – Quelque Part
Malajube – Good Neighbours – Oeil Pour Oeil
Steven Page – French Immersion – A Different Sort Of Solitude
Jean Robitaille, Steve Galluccio – Funkytown – Waiting For Your Touch

Achievement In Overall Sound
Stéphane Bergeron, Yann Cleary, Lise Wedlock – Marécages / Wetlands
Pierre Bertrand, Shaun Nicholas Gallagher, Bernard Gariépy Strobl – Monsieur
Lazhar
Jean Minondo, Jocelyn Caron, Gavin Fernandes, Louis Gignac – Café De Flore
Lou Solakofski, Stephan Carrier, Kirk Lynds – The Bang Bang Club
Orest Sushko, Christian Cooke – A Dangerous Method

Achievement In Sound Editing
Fred Brennan, James Bastable, Gabe Knox, John Sievert – You Are Here
Claude Beaugrand, Olivier Calvert, Natalie Fleurant, Francine Poirier –
Marécages / Wetlands
Wayne Griffin, Rob Bertola, Tony Currie, Andy Malcolm, Michael O’farrell – A
Dangerous Method
Martin Pinsonnault, Blaise Blanchier, Simon Meilleur, Mireille Morin,
Luc Raymond – Café De Flore
Jeremy Maclaverty, Daniel Pellerin, Geoff Raffan, Jan Rudy, John Sievert,
James Mark Stewart – In Darkness

Original Screenplay
Anne Émond – Nuit #1
Eilis Kirwan, Larysa Kondracki – The Whistleblower
Ken Scott, Martin Petit – Starbuck
Jean-Marc Vallée – Café De Flore
Ryan Ward, Matthew Heiti – Son Of The Sunshine

Adapted Screenplay
Philippe Falardeau – Monsieur Lazhar
Ryan Redford – Oliver Sherman
David Shamoon – In Darkness
Steven Silver – The Bang Bang Club

Achievement In Visual Effects
Dennis Berardi, Mathew Bornett, Mike Borrett, Wilson Cameron, Ovi Cinazin,
Jason Edwardh, Oliver Hearsey, Jim Price, Milan Schere, Wolciech Zielinski – A
Dangerous Method
Éve Brunet, Jacques Lévesque, Philippe Roberge – Snow & Ashes
Marc Côté, Stéphanie Broussaud, Gary Chuntz, Vincent Dudouet,
Cynthia Mourou, Eric Normandin, Martin Pensa, Luc Sanfaçon, Sylvain Théroux,
Nathalie Tremblay – Café De Flore
Geoffroy Lauzon – Bumrush
Tom Turnbull, Ian Britton, Robert Crowther, Tony Cybulski – Edwin Boyd: Citizen
Gangster

Best Feature Length Documentary
Beauty Day – Jay Cheel, Kristina Mclaughlin, Kevin Mcmahon, Roman Pizzacalla
Family Portrait In Black And White – Julia Ivanova, Boris Ivanov
The Guantanamo Trap – Thomas Wallner, Amit Breuer, Patrick Crowe
La Nuit, Elles Dansent / At Night, They Dance – Isabelle Lavigne, Stéphane Thibault,
Lucie Lambert
Wiebo’s War – David York, Nick Hector, C.C.E., Bryn Hughes, Bonnie Thompson

Best Short Documentary
75 Watts – John Cullen
Derailments – Chelsea Mcmullan
Sirmilik – Zacharias Kunuk, Joel Mcconvey, Kristina Mclaughlin, Kevin Mcmahon,
Michael Mcmahon, Geoff Morrison, Ryan J. Noth

Best Live Action Short Drama
Doubles With Slight Pepper – Ian Harnarine
Hope – Pedro Pires, Phoebe Greenberg, Penny Mancuso
Ora – René Chénier, Philippe Baylaucq
La Ronde – Élaine Hébert, Sophie Goyette

Best Animated Short
Choke – Michelle Latimer
La Cité Entre Les Murs / Inner City – Alain Fournier
Muybridge’s Strings – Koji Yamamura, Michael Fukushima, Shuzo John Shiota,
Keisuke Tsuchihashi
Romance – Georges Schwizgebel, René Chénier, Marc Bertrand
Wild Life – Amanda Forbis, Wendy Tilby, Marcy Page, Bonnie Thompson

Small Bites: Patton, The Red Shoes

2012-01-16T10:00:00.026-05:00

Patton

Patton is a film that I somehow avoided for many years despite seeing its iconic opening scene spoofed in numerous ways over the years. I had always heard that despite being a great film, the length of the film less than desirable. While I admit the film does feel even longer than it 170 minute running time, I was glad that I finally got around to seeing it. I loved the way George C. Scott portrays General Patton as both a brilliant strategist and as a man who may be slightly mad. Beside Scott’s performance, I thought Karl Malden was equally strong in his understated supporting role as General Omar Bradley. The rivalry between Patton and the British General Montgomery was interesting to watch unfold. However, the aspect of Patton’s life I found the most fascinating was the latter years when his outspoken ways cause the loss of his command. It must also be noted that the battle scenes in this film were quiet exceptional. Living in a time when it seems scenes of war have been documented on the big screen in every way possible, it is nice when a film, an older one at that, can still manage to grab your attention. Though Patton could have been trimmed down a tad, overall I was pleased.

Patton is part of our "The Must See List" series. The film was recommended by JBT’s husband Andrew

The Red Shoes

Over the course of one day I went from knowing nothing about the directing duo of Michael Powell and Emeric Pressburger to being completely enamoured with their films. After screening a double bill of Black Narcissus (which I will talk more about in my Blind Spot post for January) and The Red Shoes, I immediately added ‘I Know Where I’m Going!’ to my Netflix queue to watch at a later date. The centerpiece performance of the ballet The Red Shoes is quiet magical. I would recommend the film for this sequence alone. Even people who are not usually fond of the ballet, or do not like dance related films in general, cannot help but get swept away by the majesty of it all. Featuring lush sets and outstanding choreography, the directors skilfully use the ballet to foreshadow what Victoria Page will have to endure. Moira Shearer in particular was perfectly cast for the role of Victoria Page. Shearer really sells the conflict Page endures while trying to choose between her love for composer Julian Craster (Marius Goring) and her desire to dance for Boris Lermontov (Anton Walbrook). Unfortunately despite the strong performances, the cast cannot hide the predictability of the plot. This is especially noticeable in regards to the way love triangle is unfolds. Although The Red Shoes is a great film, it is not quite on the level of Black Narcissus. Granted, this is like saying a Ferrari FF is not as good as a Ferrari Spider...at the end of the day you are still driving a Ferrari when others are in a Buick. Those who enjoyed Black Swan should find The Red Shoes equally, if not more, rewarding.

Dear John: Keep up the good work

2012-01-15T10:00:00.006-05:00

From a porn star to a cop to Dewey Cox, John. C. Reilly has played some wildly different and interesting roles. He has emerged as a fine character actor and ensemble player with the ability to diversify when it comes to the roles he’s landed and the films he’s starred in. His filmography is full of unlikely turns and surprises. With his homely looks, lanky gait and curly hair, he might first appear fittest for quirky roles and silly comedies, but he’s proven with some unlikely roles that he’s capable of so much more.

Early on I often associated him with Will Ferrell. It doesn’t seem like such a ridiculous association, right? Just look at the poster for the film Step Brothers – the resemblance is uncanny. The two have also starred in a few movies together, done some writing collaborations, and have both become part of the Judd Apatow repertory. Where I think Reilly sets himself apart, though, is in his range as an actor and with his powerful onscreen presence.

Consider his performances in Walk Hard: The Dewey Cox Story and Chicago, for which he received an Academy Award nomination. He played very different characters and performed his own vocals. I think his roles in those two films are a testament to Reilly’s acting chops, and divergent performances like those have helped him avoid type-casting. He’s not just a comedic actor who’s tapped to play one outrageously funny character after another; he mixes it up and he doesn’t ever appear out of place in films that aren’t comedies. Reilly masterfully handles both emotional realism and absurd hilarity in serious dramas and in gross-out comedies.

One common denominator in Reilly’s repertoire of films is Paul Thomas Anderson. Reilly has starred in three of the director’s films, and two are among my favourite John C. Reilly performances. Boogie Nights was a vehicle that made every actor look good. It allowed Mark Wahlberg to shed the Marky Mark persona; it earned Burt Reynolds an Academy Award nomination; and it helped make Don Cheadle and William H. Macy household names. For Reilly, it helped him emerge as a formidable stand-out in an ensemble cast and sprung him from the supporting role cavern he had been in up to that point with roles in such films as Days of Thunder, The River Wild and What’s Eating Gilbert Grape.

Reilly made another indelible impression in P.T. Anderson’s Magnolia, in which he portrayed Officer Jim Kurring, a character born out of improv sessions Reilly did with Anderson. Reilly has said that he’s most proud of his collaborations with Anderson. I had seen Reilly in small parts in other films before Boogie Nights, but it wasn’t until, as Reed Rothchild, he proclaimed with conviction “People tell me I kinda look like Han Solo,” that I thought, he does look a little like Han Solo, and this guy is going places.

Reilly followed the ensemble gem, Magnolia, with another ensemble film, but of a very different sort. Reilly appeared in The Perfect Storm, a film based on a true story about a group of swordfisherman who vanish after their boat is caught in a violent storm. He also stole scenes in Gangs of New York and The Hours; once again playing two very different roles in films very dissimilar from each other. Reilly assumed darker personas as a corrupt city constable and an abusive husband, respectively, proving with those performances that he could shine in any role, and also that he was being tapped to play many different characters. His ability to diversify beyond comedy had been established.

He’s currently appearing alongside three Oscar winners – Jodie Foster, Kate Winslet and Christoph Waltz – in Roman Polanski’s Carnage. The controversial director specifically requested Reilly for the role. Next, he’ll switch it up again by co-starring opposite Sacha Baron Cohen in The Dictator, a comedy that is sure to be as outrageous and over-the-top as Borat. Reilly’s willingness to switch it up and his ability to do it successfully will undoubtedly help to fortify his longevity as an actor because he’s figured out what it takes to get noticed, to get parts and to stick around.

What are your favourite John C. Reilly films? Let us know in the comments section.

Sharing the Blogging Love

2012-01-14T09:00:00.004-05:00

Wondering what bloggers have been chatting about this week?

Here is Your Reading and Listening Schedule for Today:

9 am: Episode 241 of the Cinecast podcast offers up an extensive look at some of the upcoming films of 2012.

10 am: Over at Lee and Dan’s Midnight Movie Club, the guys end their epic look at the entire Star Trek franchise with J.J. Abrams’ Star Trek reboot.

11 am: Jordan has a great piece offering insight into the minds of Shame director Steve McQueen and Abi Morgan.

12 pm: Alan takes in the classic film Harvey.

1 pm: Jandy shares her top ten favourite films of 2011.

2 pm: Steve reviews Martin Scorsese’s Kundun.

3 pm: Ryan examines the record low theatre attendance and ponders if people still care about movies?

4 pm: Alex ranks her top five favourite films of 2011.

5 pm: Kid in the Front Row considers if online streaming is the future of film distribution?

6 pm: Branden takes in The Proposition.

What is best in life? To crush your enemies, see them driven before you, and to hear the lamentation of their women

2012-01-13T10:00:00.009-05:00

Conan the Barbarian (1982)

Okay, so I watched the 2011 remake of Conan the Barbarian recently and found myself reaching for the 1982 version in my DVD collection to cleanse my palate and feel better. I don’t want to sound like I’m slagging off remakes, but if Hollywood is going to produce one it should equal or exceed the original. In fact, there are a few films that succeeded; Ocean’s Eleven (2001) and The Departed (2006) are two good examples. Then there are some that should never be considered for a remake, such as The Empire Strikes Back (1980). That being said, I retreated to the safe confines of my TV area and popped in the original Conan the Barbarian (1982) to convince myself the remake never happened, or at least it was a dream (all of you Dallas fans can understand that).

Set in the fictitious Hyborean Age (40,000 B.C.) of author Robert E. Howard’s novels, thousands of years before modern civilization. Young Conan lives with his parents and other Cimmerians in their remote village. Conan helps his father (the village swordsmith) forge a sword; the two sit on a mountaintop as Conan’s father tells him about the Riddle of Steel, an aphorism on how important steel is to the Cimmerians.

Roger Ebert commented how this film is “a perfect fantasy for the alienated preadolescent.” The Cimmerians are massacred by marauding warriors led by Thulsa Doom (James Earl Jones), who kills Conan’s parents and takes his father’s sword. Conan and the other children are sold into slavery and chained to a large mill, the Wheel of Pain, where he goes around in circles endlessly (a metaphor for school?). Now an adult, Conan (Arnold Schwarzenegger) is a massively muscled man, having pushed the grindstone for years and is then trained as a gladiator. After countless victories, Conan is set free and teams up with Subotai (Gerry Lopez), the Best Pal trope, and Valeria (Sandahl Bergman), the Queen of Thieves and Conan’s love interest.

With Subotai and Valeria at his side, Conan seeks out Thulsa Doom to avenge his parents’ death and recover his father’s sword. This involves travel to Eastern lands unknown, with tower fortresses and mountain temples, where Doom has created a snake cult that blossoms in every major city. Here the themes of death and rebirth are used as effective motifs in the film; the first one occurs just after Conan, freed and chased by wild dogs, falls into a tomb where he finds a sword to cut his chains with his newfound power. The second occurs when Conan and company burgle the Tower of Serpents and battle a giant serpent to steal a large jewel and other valuables. They celebrate their success in a local inn and in a drunken stupor, find themselves arrested by the city guards. They are presented before King Osric (Max von Sydow), who requests they rescue his daughter who joined Thulsa Doom’s cult. Conan’s hatred leads to an assault on Doom’s Temple of Set and an eventual showdown with Doom and his henchmen, Rexor (former NFLer Ben Davidson) and Thorgrim (Sven Ole-Thorsen, bodybuilder and Tigris of Gaul from Gladiator). Helping our heroes is the Wizard of the Mounds (Mako), whose sorcery brings Conan back from the brink of death.

The film’s casting is solid; Schwarzenegger embodies the visualization of author Robert E. Howard’s creation, and his accent is a definite advantage; something he uses to further success in The Terminator and its sequels. It also didn’t hurt that he was already in great physical shape from his years as a champion bodybuilder; he actually slimmed down from 240 to 210 pounds. Now we read stories of how actors work out hard to put on twenty pounds of muscle for this role or that. Frankly, I cannot see how it can be done without some chemical assistance, just sayin’. Bergman had a career as a dancer, so her athletic and slim physique helped lend an authenticity to a physically demanding role. Schwarzenegger, Bergman and Lopez trained in sword fighting, horseback riding, martial arts and rope climbing to prepare for the film and performed their own stunts. James Earl Jones, a wonderful actor whose baritone voice made him famous as the voice of Darth Vader in the Star Wars series, brings conviction and power to the role of Thulsa Doom which is necessary; a hero is only as good as his adversary, and if the villain is a wee bit badder and slightly more powerful it makes for a great payoff when the hero triumphs. And even Max von Sydow’s scene carries weight; the film presents experienced and classically trained actors who provide a nice balance against Schwarzenegger, Bergman and Lopez, who were relatively new.

While the film strays from the source material, Conan the Barbarian was one of the few comic book adaptations to be a commercial success in the early 80s and was the standard against most sword and sorcery films were measured, arguably until the Lord of the Rings trilogy. Writer/director John Milius (with help from Oliver Stone) crafts a story that pulls no punches as a revenge piece; at the same time the central theme is the Riddle of Steel and the trust one must place in it and its power. However, we and Conan come to realize, in an allusion to Homer, the hero makes the sword rather than the sword makes the hero. Is it violent? Sure, but what do you expect? These are rough and tumble characters in a world with a pre-Judeo/Christian ethic, no loving thy neighbour here. Besides, the violence is a reality in the world we are watching and not there for the sake of violence. In fact, Arnie’s Conan might seem tame in today’s world with films in release that are described as “torture porn’. The violence fits because these are violent men and women living in violent times, but I suppose it doesn’t hurt there is also some nudity as well. All work and no play makes Conan a dull barbarian, after all.

Which is Better?

2012-01-12T10:00:00.017-05:00

Michael Fassbender

10 sample films:

Shame
Fish Tank
Jane Eyre
Jonah Hex
Hunger
A Dangerous Method
300
Inglourious Basterds
Centurion
X-Men: First Class

Christian Bale

10 sample films:

The Fighter
The Prestige
Reign of Fire
American Psycho
Equilibrium
Rescue Dawn
Velvet Goldmine
Terminator Salvation
Empire of the Sun
Batman Begins

Which do you prefer? Let us know in the comments section

Short Film Spotlight: Sailcloth

2012-01-11T10:00:00.013-05:00

Eighteen minutes can seem like an eternity for some and not enough time to others. In the world of film it can come and go in a blink. This is one of the reasons why director Elfar Adalsteins’ film Sailcloth is such a treat. Adalsteins not only use the brief time to tell a charming story, but also manages to do it with no dialogue whatsoever.

An elderly widower (John Hurt) decides to set in motion a series of events to disguise his escape from a local nursing home. Free for the first time in a long while, the man gathers a few supplies, including a bed sheet that he uses as a sail, aheads to the pier and sets out on a boat for one last great journey.

Sailcloth is currently one of ten short films that has made the Academy Award short list in the Live Action Short category. While it is never easy to predict which films will be nominated, Sailcloth is a film that has several things working in its favour. The most obvious element is the brilliant performance by John Hurt. Forced to rely on his physical attributes to convey a lifetime worth of emotions, Hurt utilizes even the smallest gestures to maximum effect. He brings out his characters’ playful side while slowly peeling back the layers to reveal a much more somber side.

Though it would be easy to draw comparisons to another dialogue free potential Academy Award nominee, The Artist, Adalsteins’ film is more akin to the opening segment of Pixar’s Up. While Sailcloth does not go into the whole history of the main character like Up, the film still manages to provide the same sense of an eternal love that cannot be forgotten. One of the best moments in the film comes when Adalsteins uses silhouettes on the sail to show a tender moment between Hurt’s character and his beloved.

Sailcloth is a film that is both delightful and bittersweet at the same time. Adalstiens manages to take his audience through a sea of emotions in such a short span of time. One of the most remarkable aspects of the film is how Adalstiens and Hurt get the audience to care so deeply about an unnamed man whom they know so little about. Sailcloth is a wonderfully moving film that will have the audience laughing one minute and tearing up the next.

Short Film Spotlight: The Sea Is All I Know

2012-01-10T10:00:00.013-05:00

There are many things in life that are tough to deal with. As a parent one of those things is the potential to outlive your child. Director Jordan Bayne explores this, and how illness in general can both tear a family apart and unite them, in her film The Sea Is All I Know.

Against the doctor’s advice of treating her terminally ill daughter Angelina (Kelly Hutchinson) in a hospital, Sara (Melissa Leo) decides to bring Angelina home to care for her there. Angelina’s arrival at home leads to the reemergence of her father, and Sara’s estranged husband, Sonny (Peter Gerety). When Angelina asks her parents to assist her in committing suicide, Sara and Sonny are forced to question how far they are willing to go for a loved one.

Although The Sea Is All I Know touches on the issue of euthanasia, Bayne does not take a stance on the topic. Instead the film turns its attention to the emotional strain that Sara and Sonny endure as a result. Despite unresolved issues in their marriage, together they must come to terms with questions they have about faith. Sonny, a fisherman, sees life in simple terms. He views working hard and taking care of family as the key to living a good life. He finds it extremely hard to understand why his family has been placed in this situation. Even Sara, who has a deeper grasp of faith than Sonny, starts to question her spiritual duties versus her duties as a parent.

In one fantastic scene, Sara talks about her daughter’s illness in regards to God’s request for a sacrifice. It is a powerful moment that not only causes the audience to ponder their own beliefs in relation to the unexplainable tragedies in this world, but it also showcases the wonderful performances in this film. Melissa Leo has made a career of portraying characters dealing with hardship, so it would have been easy for her to “phone in” this performance. However, Leo raises her game by providing an honest and gripping look at the anguish that Sara is feeling.

Though Melissa Leo’s name will bring many to The Sea Is All I Know, it should be noted that Peter Gerety is exceptional in the role of Sonny. Gerety hits every emotional beat needed to make Sonny a relatable character. Through his strong chemistry with Leo, Gerety helps to make The Sea Is All I Know not just a tale of illness, but one of a couple being united as a result of it. If there is one minor knock against the film it is that there is not enough time to truly get to know the character of Angelina. Leo and Gerety dominate the film so much that Hutchinson’s performance, which is strong in its own right, often gets overshadowed. Filled with great performances, and featuring an emotional punch that cannot be ignored, The Sea is All I Know is a short film that leaves a lasting impression.

I'm confident all these dismissals will stand up under legal scrutiny.

2012-01-09T10:00:00.009-05:00

The Company Men (2011)

Okay, I got the economy on the brain; subconsciously I’ve been selecting films that deal with our current situation and only just realized it. I also watched Margin Call recently and loved it, so yes, the economy is on my mind. Not that it’s a bad thing, but I will make an effort to vary the themes in the next one, Dear Readers. I kinda feel like a CEO promising shareholders the stock price will get better in the next quarter, which interestingly enough, happens in The Company Men. However, I am nowhere near as ruthless as the corporate sharks; I am merely a guppy.

The film examines the effects of corporate downsizing at a transportation company in Boston. Bobby Wheeler (Ben Affleck) seems to have all one could want living the American Dream: a six-figure salary, Porsche, country club membership, a big suburban house and wife Maggie (Rosemarie DeWitt). However, it all gets thrown out the window when Bobby is given his walking papers in a large round of redundancy firings. Bobby enters the world of the unemployed; the company has rented office space at a job search center to help the newly fired with their resumes and he goes with displeased reluctance. Bobby’s severance and savings can’t cover his expenses, yet he lives in denial; believing he will get a job in short time he heads to the club for a round of golf, only to discover the fees haven’t been paid in over a month. The walls of the white-collar lifestyle come crumbling down as Bobby and Maggie count the pennies, sell the house, the Porsche and move into his parents’ home. Their son even returns the X-Box given to him as a Christmas present. Bobby is then forced to take a job installing drywall with his brother-in-law, Jack (Kevin Costner), a move he sees as beneath him.

Soon after there is another round of firings and the latest victim is Phil Woodward (Chris Cooper), a middle manager who worked his way up from the factory floor to the corporate offices. At 60, Phil is unemployable because of his age and, like Bobby, struggles with the growing pressures of a working poor lifestyle with children to support. Phil is a man who defined himself by his job; he believed he was valued by the company and was of great importance, only to realize too late that in the world of finance, stocks, and shareholders, everyone is expendable when it comes to serving the bottom line. When times are good, everyone is made to feel like they are part of the team; when times get tough, those not at the top quickly learn the team just got smaller and they’re on the outside looking in.

The company founders, James Salinger (Craig T. Nelson) and Gene McClary (Tommy Lee Jones), present opposing viewpoints on the nature of a corporation. McClary believes a corporation should remain loyal to its employees, while Salinger understands that corporations survive by maximizing profits and income at the expense of said employees to maintain the bottom line. No one, it seems, is immune from this philosophy as McClary is fired from his position by senior HR manager Sally Wilcox (Maria Bello) who delivers the bad news to fired employees throughout the company. McClary, being an executive with stock options, is in a better financial position than Bobby, Phil and others after being fired; he doesn’t face the pressure of seeking immediate employment to survive. However, the recent gutting of employees combined with his corporate outlook weigh heavily upon his shoulders.

While the actors are fine in their performances, it’s difficult to connect with them because they are executives, unlike the vast majority of us who work for said executives. These people define themselves by what they do, and that in turn defines their self-worth. However, none of the characters are ever really fleshed out because they are presented as economic units rather than people; they are numbers on paper that inevitably end up on one side of the balance sheet or the other. It doesn’t matter if you are a good parent, an honest person or a liar; either you help further the corporation or hinder it. The characters only become interesting when they overcome their attachment for the trappings of the American Dream and realize their self-worth (or not).

It is Costner’s character who seems the most real in the film; Jack runs a small construction company where he and his crew restore houses one at a time. Jack is the embodiment of an honest wage for an honest days’ work, although even he is not totally immune to the economic climate that hovers over the country. At the same time, he does not need nor want the materialistic trappings that have enveloped Bobby; the pretenses many of us are conditioned to strive for and define our success, worth and place in society. Jack, however, is the opposite; he lives in a modest home, drinks beer, plays football with his kids and seems generally happy with his life and what he has built.

There is something more tangible with hammering nails, installing drywall or laying siding than working with numbers on a computer, and writer/director John Wells is intentional in presenting that viewpoint. However, Wells creates a world that offers neither hope nor gloom; the world is what it is. When times are good, everyone (it seems) wants the golden ring and when they are tough, carpentry looks very attractive (even though the film glosses over the skill required to be an in-demand carpenter). Perhaps we should find what we really love and do it rather than chase the (maybe not so much) almighty dollar. There might or might not be a lot of money on the table, but at the very least one could at least enjoy what they do and be grateful for the gifts that life has to offer. One only needs to take a step back from those conditioned pretenses we try to maintain and strive for something beyond the material.

Scene Stealer: High Fidelity

2012-01-08T10:00:00.001-05:00

I’m sure we’ve all experienced moments when we’ve come face to face with someone who’s the last person we want to see and imagine all the ways in which we’d actually like to handle the situation versus taking the high road. It’s for this reason that the scene in High Fidelity where Rob (John Cusack) receives an unexpected visit from Ian (Tim Robbins) is so fun and rings so true.

Ian is dating Rob’s ex-girlfriend. He’s a smarmy, condescending weasel who visits Rob’s record store to “sort things out” because Rob’s been calling Laura incessantly and hanging around outside his house. I guess Ian’s got a point, but he’s so unlikeable that you totally side with Rob regardless. High Fidelity is a character-driven, situational comedy and the two characters in this situation combine to form a scene stealer that features three different takes on a confrontation between Rob and Ian.

What I like about this scene and about John Cusack’s portrayal of Rob is that he plays the character so naturally and realistically. His facial expressions and reactions are genuine responses to what he’s going through. When he walks out of the back room of his record store and spots Ian, you can see the shock register on his face momentarily and then turn to rage. And when Ian calls him on hanging outside his house that very morning after Rob says “I’ve stopped all that now,” Cusack’s grimace of admittance and resignation is so bang on.

As Ian goes on about how special Laura is and how he understands Rob’s devastation at losing her, you just hope (at least I did) that Rob’s going to go off on his ass because who likes fake sympathy and condescension and being talked down to, right? What ensues are inspired fantasies in which Rob, Dick and Barry (Rob’s employees at the store) ream Ian out and kick the shit out of him in three different takes on the scene. In reality, Rob silently and sullenly acquiesces and Ian leaves the store unscathed.

High Fidelity makes us root for Rob and makes us hope that he will find happiness in love. When Rob lets Ian walk out feeling like he one-upped him, empathy arises. Most of us have probably found ourselves in a similar situation where we want to be brutally honest and say and do exactly what’s on our minds but choose instead to hold it all in. High Fidelity succeeds because it deals with a universal subject and makes it feel so real. Break-ups are universal, and the film does a superb job of displaying all of the various emotions that arise and all of the strange situations that occur as a result of them. Case in point: this scene stealer.

Sharing the Blogging Love

2012-01-07T09:00:00.001-05:00

Wondering what bloggers have been chatting about this week?

Here is Your Reading and Listening Schedule for Today:

9 am: In the latest episode of the Mamo! podcast, several Toronto film bloggers get together to discusses the results of the 2nd annual CAST awards.

10 am: Can’t Stop the Podcast, comment on what they think are the best films of 2011.

11 am: Dave shares the twelve films that he will be watching for the Blind Spot series.

12 pm: Aziza starts the year off well by watching Animal Kingdom.

1 pm: Jake provides capsule reviews for several films including Weekend.

2 pm: Jess considers Tom Cruise’s latest mission, Mission Impossible: Ghost Protocol, a success.

3 pm: Richard gives the film Young Adult a very positive review.

4 pm: James list his film discoveries of 2011.

5 pm: Dan list the top five Stephen King Adaptations.

6 pm: Rich would like you to join in on his It’s the Movie of My Life Blogathon!.

New Year’s Resolutions of a movie fan and blogger: it’s about making more time for movies

2012-01-06T10:00:00.010-05:00

Last year marked my first year as a blogger and my first year as a movie fan who didn’t see very many movies. Time felt like it was in limited supply and there were too few movies I wanted to see. The blogging was a great and unexpected enterprise, while the lack of theater outings was a huge disappointment. I want to turn things around in 2012 by making all things film-related a priority. I want to see more, read more and continue to write about film. And even during those times when there are slim pickings in theaters, I want to redirect the time I would spend in front of the big screen towards watching beloved favourites or must-see films on my ever-growing must-see list at home while munching on Orville Redenbacher. So that is my pledge – to watch more movies at the theater, and when nothing in theaters moves me, to retreat to my home theater with a sense of excitement about watching films of yore that I’ve been wanting to see.

In 2012, I pledge to share the blogging love even more too. It’s great when my blog posts provoke discussion and elicit great comments and feedback, and I want to share some of that love by expanding my blog reading list this year. Thanks to my “employer,” CS, I’ve come to really enjoy podcasts and I’ve been turned on to some really great blogs, so I am resolved to devote double the time I devoted last year to soaking up many more musings on the blogosphere.

Attempts in 2011 to attend film festivals didn’t quite pan out, so I’m hoping for better luck, better timing and better finances to enable me to make the festival-going experience a reality this year. I pledge to attend at least one film screening at a local film festival this year.

I will see a movie at a drive-in theater because I’ve never been to one. So few drive-ins exist nowadays, but I believe there’s still one in business here in the city and I intend to drive in and catch a flick. I’m really excited about this one because of the old-timiness of it all.

Also in this New Year, I am resolved to see more films that my husband recommends. This was supposed to be a regular blog feature of mine in 2011, but I only wrote one such post last year and I shall not shirk my wifely movie watching duties anymore in 2012; I will watch films that my husband makes me watch.

I’ll stop wondering about Black Dynamite and just watch it already and I’ll reacquaint myself with the P.T. Anderson movie collection.

Finally, I will win my office Oscar pool again (or at least try my damndest to regain the title!)

It's a new year, a fresh calendar and a clean slate. I'm not making resolutions about eating healthier or exercising more because I break those resolutions every year. This year I'm making resolutions that I can stick to; resolutions that will add a little more movie merriment to my life. Hiya, 2012, it should be fun!

Do you have any movie-related resolutions for 2012? Let us know in the comments section.

Which is Better?

2012-01-05T10:00:00.012-05:00

Robert Downey Jr.

10 sample films:

Chaplin
Iron Man
Kiss Kiss Bang Bang
Zodiac
Wonder Boys
Hearts and Souls
Sherlock Holmes
Short Cuts
Natural Born Killers
Tropic Thunder

Leonardo DiCaprio

10 sample films:

J. Edgar
Catch Me If You Can
Shutter Island
The Basketball Diaries
Revolutionary Road
Romeo + Juliet
Celebrity
Titanic
What’s Eating Gilbert Grape
Inception

Which do you prefer? Let us know in the comments section

Small Bites: Meek’s Cutoff, Bellflower, Moneyball

2012-01-04T10:00:00.038-05:00

Meek’s Cutoff

Kelly Reichardt’s film, Meek’s Cutoff, is a fascinating film because it manages to remain captivating despite the appearance of not much happening. The film focuses on settlers traveling across the harsh Oregon High Dessert to find a new life. Instead of making a film with grand set pieces, Reichardt opts for a film that takes a more contemplative tone. The film manages to really place the audience in the shoes of the settlers, who are struggling to find their way. Though mesmerizing, Meek’s Cutoff is bound to annoy some viewers with its deliberately slow pacing. However, those who are willing to stick with it will be rewarded.

Bellflower

Normally I try to avoid reading, and/or listening, to reviews for films that I am interested in seeing. However, there have been times, such as the case with Bellflower, where my curiosity about a film is based on a review. After listening to the guys over at the Film Junk podcast tear apart Bellflower on a previous episode of their show I had to see just how bad the film was. Surprisingly, I quite enjoyed the film overall, sure it has several flaws, but it was by no means the mess I was expecting. The whole “men who refuse to grow up” angle has been done to death, but Bellflower’s take on it was rather interesting. Writer, director, and star Evan Glodell uses the main character’s inability to cope with rejection as the catalyst for childlike obsession with violence. The performances by some of the supporting actors are spotty at times, and the film goes on far longer than it should, but Bellflower managed to keep my interest more than I thought it would.

Moneyball

As a sports fan, and fantasy sport pool addict who loves hearing people rattling off stats, Moneyball is a film I should have been clamoring to see. However, the mixed word of mouth at TIFF really lowered my expectations. It turns out that Moneyball was a quality film that does a nice job of highlighting one of the more memorable runs in recent baseball history. What really made Moneyball work are the performances of Brad Pitt and Jonah Hill. The two actors not only have great chemistry, but find a way to make guys sitting around a table talking statistics interesting. The best scene in the entire film is watching Pitt and Hill working the phones with various team general managers in an attempt to make a trade. While I enjoyed Moneyball, I do not see it as a worthy Best Picture contender.

2012 Blind Spot Series

2012-01-03T10:00:00.029-05:00

We all have films, that for some reason or another, we are embarrassed that we have not seen despite the critical acclaim they may have received. This is one of the reasons why I decided to create The Must See List series. Over at Toronto Screen Shots, James is attempting something similar, but on a far more manageable scale, with his Blind Spot series. The concept is to take 12 films you have not seen and ensure that you watch and review one each month. Ryan at The Matinee made the great suggestion of using the last Tuesday of every month as the day reviews will be posted.

Here are my twelve selected films:

La Dolce Vita (Federico Fellini, 1960)

Badlands (Terrence Malick, 1973)

The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik, 2007)

The Outlaw Josey Wales (Clint Eastwood, 1976)

Black Narcissus (Michael Powell, Emeric Pressburger, 1947)

Vanishing Point (Richard C. Sarafian, 1971)

Breathless (Jean-Luc Godard, 1960)

12 Angry Men (Sidney Lumet, 1957)

Double Indemnity (Billy Wilder, 1944)

The Battle of Algiers (Gillo Pontecorvo, 1966)

Rashomon (Akira Kurosawa, 1950)

Nashville (Robert Altman, 1975)

What twelve films are currently in your Blind Spot?

Mission Impossible: Ghost Protocol: A mission that every moviegoer should choose to accept

2012-01-02T10:00:00.010-05:00

It’s been five years since Ethan Hunt chose to accept his last mission. His latest– Mission Impossible: Ghost Protocol – was well worth the wait and the price of admission. The newest installment of the Mission Impossible series is packed with lots of action, mind-boggling stunts and a great cast. Though the film misses the mark at times, struggles sometimes to get from one scene to the next and runs longer than necessary, it still succeeds as an awesome action-packed adventure film.

The plot is rather generic, but that’s not detrimental to the film’s overall impact. Rather than confuse and confound like the first film in the series, Ghost Protocol tells the familiar story about a bad guy who wants to unleash nuclear Armageddon on the United States and a team of agents trying to stop him. Tom Cruise is up to the task as Ethan Hunt, showing that at 49 years of age, he can still pull off some heart-stopping stunts. He’s flanked by newcomers Simon Pegg, Paula Patton and Jeremy Renner. Together they share great chemistry as an IMF team charged with such tasks as executing a jailbreak from a Russian prison, penetrating the Kremlin, assuming alternate identities to circumvent an exchange of information, crashing a swanky party and working without US government support.

There’s some great gadgetry, particularly during the Kremlin break-in which involves one of the coolest gadgets in the film, a portable gauze camouflage screen, and some great funny moments courtesy of Simon Pegg, the film’s comic relief agent, who often steals the show. The Kremlin mission goes wrong after “Cobalt,” the subject Ethan Hunt et al are trying to steal information about, blows up the Kremlin and pins the explosion on Hunt’s team. What results is “ghost protocol” or total disavowment by the government of the IMF and its agents, forcing Hunt and his team to go rogue, without government aid and protection.

It’s at this point that Jeremy Renner gets involved and, like Simon Pegg, he’s a great addition to the cast. Portraying the female contingent, Paula Patton, sizzles and kicks butt as Agent Jane Carter. It’s great to see Patton in a high-profile, mainstream role because the girl can act (consider her work in Precious) and she proves here that she can do action just as well as drama and holds her own with the guys.

This is a must see for fans of the series, and for that matter, fans of humour, action, suspense and crazy special effects. There is one gob-smacking scene that alone makes the movie worth watching. It’s a vertigo nightmare that has Hunt climbing the tallest building in the world – the Burj Khalifa in Dubai – a 160-story skyscraper that Hunt scales along on the outside using adhesive gloves that falter midway through his climb. The scene is heart palpitatingly intense and unbelievable, and it’s mind-blowing on the big screen.

The film is solid entertainment and a good thrill ride. High tech equipment fails, tried and true mask disguises falter, sand storms blow in and even the agents show signs of weariness, apprehension and nerves just before taking the plunge and making the leap. As the fourth installment in a franchise, the film delivers on all cylinders and I left the theatre hoping for another impossible mission should all involved choose to accept it.

2nd Annual CAST Awards

2012-01-02T08:00:00.017-05:00

The 2nd annual CAST Awards were announced yesterday. Named for the Cinema Appreciation Society of Toronto, a ragtag group of film bloggers (including yours truly), tweeters and Lightbox lobby loiterers, this year's CAST Awards were drawn from a final list of 112 eligible films. After a round of preliminary voting, 100 films were chosen as well as all films released theatrically in Toronto on or after December 16th. Here are the Top 20:

1. Drive

2. The Artist

3. The Tree of Life

4. Attack the Block

5. Take Shelter

6. Midnight in Paris

7. Melancholia

8. Shame

9. Beginners

10. Martha Marcy May Marlene

11. Hanna

12. Café de Flore

13. The Raid

14. Blue Valentine

15. Bridesmaids

16. The Muppets

17. The Illusionist

18. The Descendants

19. Super 8

20. Contagion

My Top Films of 2011

2012-01-01T10:00:00.051-05:00

There have been grumblings that 2011 has been a poor year for cinema. While I admit that the Summer Blockbuster season was less than stellar, overall, there have been some exceptional films released. Sequels may have dominated the box office but 2011 will be remembered as the year directors and audiences really started to embrace what can only called “the other”. Beloved directors such as Martin Scorsese and Steven Spielberg embraced the world of 3D filmmaking. Acclaimed directors like Terrence Malick and Lars von Trier pushed themselves to new heights and audiences were willing to take the journey with them. Even those who did not like either Tree of Life or Melancholia engaged in meaningful discussions about the films. The biggest surprise in 2011 was the fact that niche films, such as Drive, Hobo with a Shotgun, Hanna, I Saw the Devil, 13 Assassins and Rubber, received mainstream notice. Selecting my ten favourite films of the year is always tough as there are so many films that could easily make the list…just look at the honourable mention section below. As always, I only included films that had a theatrical release in 2011. As a result festival gems that would otherwise be in my top ten, such as The Journals of Musan and Breathing (Atmen), have been relegated to the films you should see in 2012 list. Without further ado here are my ten favourite films of 2011:

10. Fast Five

My wife, and several friends for that matter, did not believe me when I said that Fast Five would probably make my end of year list. Yes the film is ridiculously over-the-top, not to mention a blatant rip-off of the Ocean’s Eleven series, but I cannot deny that I had a blast watching it. While the highbrow thing would be to use this spot for another more esteemed picture, sometimes going lowbrow is just as rewarding.

9. Melancholia

Sadness has never felt, or looked, so beautiful. Lars von Trier’s most accessible film to date manages to take depression, which some would consider a weakness, and turn it into a strength. Visually stunning and filled with great performances, Melancholia was a truly wonderful experience. The slow pacing of this film will turn off some, but I found the film mesmerizing from being to end.

8. Hugo

Scorsese’s first attempt at a family film felt more like a university lecture at times, but oh what a lecture it was. The film is a cinephile’s wet dream as Scorsese, a master filmmaker himself, shines a light on one of the directors that influenced his love of cinema. Best of all, for a first time attempt, Scorsese seems to be right at home using 3D technology.

7. Drive

Taking cues from Michael Mann and Brian De Palma, Nicolas Winding Refn offered an action thriller that exuded 80’s cool. From the killer soundtrack, to its protagonist who spoke more with his actions than with words, everything in Drive worked well. I am still amazed Refn was able to create so much tension out of scenes where not much actually happens.

6. The Skin I Live In

Tales of twisted doctors have been done before, but few have been as riveting as director Pedro Almodóvar’s latest film. Indulging in melodrama is Almodóvar’s specialty, but it has been a while since he has gone to such a beautifully twisted place. If Broken Embraces was Almodóvar on cruise control, then this film is the director in high gear.

5. Attack the Block

As much as I enjoyed Super 8, my kids versus aliens film choice this year was Attack the Block. It was one of the few films of 2011 where I hated the main characters at the beginning, but ended up cheering for them by the end. The great work from the predominantly young ensemble cast, coupled with the fantastic creature design, made Attack the Block one of the more pleasant surprises of the year.

4. Beauty Day

2011 saw the release of many great documentaries that could have easily made my top ten list. However, the one that I keep going back to is director Jay Cheel’s Beauty Day. To some Ralph Zavadil was merely a man who would do crazy stunts on local television, but Cheel presents Zavadil as a man who cared deeply for his family and friends. Through his wonderful cinematography and sweet comedic touches, Cheel creates a documentary that manages to leave a lasting smile on my face.

3. 13 Assassins

My experience with Takashi Miike up to this point has been equally divided between hits and misses. 13 Assassins is a film that would definitely go into the “hit” column. Featuring one of the cruelest villains to appear on screen in a while, and a epic fight scene that never gets dull despite its length, Miike’s film was a treat. Delivering both an engaging story and a strong dose of action, 13 Assassins was an exhilarating rush.

2. Midnight in Paris

A film that focuses on how we invest too much time romanticizing the past may not sound like much, but placed in the hands of Woody Allen the results are truly magical. Owen Wilson delivers his best performance in years and the rest of the ensemble cast does a great job of bringing classic literary figures to life. Blending romantic comedy with elements of fantasy, Allen creates a wonderful film that shows he still can create cinematic gems after all these years.

1. The Artist

At some point along the way films that evoked uncontrollable glee out of an audience began to get dismissed as frivolous cinema. It seems only films that punched audiences in the gut with raw emotion became regarded as legitimate filmmaking. The Artist harkens back to a time where making the audience smile was the acceptable norm. Making a modern day silent film that laments the end of the silent film era is a difficult thing to do, but director Michel Hazanavicius pulls it off wonderfully. Cynacism has engulf many of us film lovers over the years, so it is refreshing when a joyous film like this breaks through and reminds us that “feel good” does not have to be a dirty term.

Honourable Mentions: Tabloid, Martha Marcy May Marlene, Super 8, Rango, Margin Call, Meek’s Cutoff, Source Code, Contagion, Into the Abyss, Wiebo’s War

Films to keep an eye out for in 2012: The Journals of Musan, Breathing (Atmen), Jump Ashin!.

Sharing the Blogging Love

2011-12-31T09:37:00.002-05:00

Wondering what bloggers have been chatting about this week?

Here is Your Reading and Listening Schedule for Today:

9 am: The latest episode of the Damn Good Movie Show podcast discusses the best and worst films of 2011.

10 am: In Episode 30 of The Demented Podcast, guests test their film knowledge in the third edition of the Battle Royale competition.

11 am: Bob takes a look back at the movie moments of 2011, here is part 1 and part 2 of his piece.

12 pm: Alex highlights the works of character actress Viola Davis.

1 pm: Jessica has a great article on her end of the year list frustration.

2 pm: Joseph gives Pariah a rave review.

3 pm: Emil makes some predictions for the 2012 film season.

4 pm: Pete used 2011 to catch up on films that some consider to be essential viewing.

5 pm: Dylan list the top five stars in need of a heel turn.

6 pm: Andrew raves about We Bought A Zoo.

Ape alone ... weak. Apes together strong.

2011-12-30T10:00:00.016-05:00

Rise of the Planet of the Apes (2011)

Remakes, reboots, sequels and prequels are ubiquitous in Hollywood these days; Spider-Man is getting another reboot, as is Superman. Clash of the Titans had its remake and a sequel is in the works; even Footloose, The Thing, Conan the Barbarian, and Straw Dogs were reborn this past year with disappointing results. To make things worse, My Fair Lady, The Warriors, Red Dawn, and Escape from New York are to be resurrected for 2012. If Hollywood intended for me to cry, it should pat itself on the back for a job well done.

That being said, there are a few remakes that are really good; Ocean’s Eleven (2001) and The Departed (2006) surpassed their respective originals, but on the whole it seems they are alone in a sea of mediocrity. That being said, Rise of the Planet of the Apes (2011) offers some redemption for the deluge of remakes we endured this year.

Scientist Will Rodman (James Franco) works for a large pharmaceutical company and is the lead researcher on a possible cure for Alzheimer’s; his motivation for success is to help his father, Charles (John Lithgow), a former music teacher afflicted with Alzheimer’s. He tests the breakthrough drug on chimpanzees captured and shipped from Africa. Rodman sees the immediate results; the chimps’ intelligence increases exponentially and they are able to communicate via sign language.

The experiment is shut down when one of the chimps turns violent and crashes (literally) into the board meeting. The remaining chimps are ordered put down, but Will takes home a baby chimp whose mother went berserk. Caesar, who thrives with his human family, displays tremendous intelligence, emotions and body language that would make Marcel Marceau jealous. At the same time, Will becomes involved with primatologist Caroline (Freida Pinto), who bonds with Caesar as well.

An unfortunate incident with the neighbour (David Hewlett) has Caesar forcibly removed from Will’s home by authorities and taken to a primate sanctuary led by John Landon (Brian Cox) and his son, Dodge (Tom Felton), who is deliberately cruel to the apes. This sets up the third act in which Caesar assembles a simian army and escapes the sanctuary and the inevitable collision course between humans and apes.

James Franco seems to have woken up from his usual sleepy detachment of earlier performances (see: Pineapple Express, Spider-Man 2 and last year’s Academy Awards), but is given a role that offers little to chew on except his lip; so much more could be drawn out in terms of philosophical questions and ethics, but isn’t. Pinto is easy on the eyes, but no one would mistake her for Dian Fossey or Jane Goodall and is relegated to the girlfriend of the hero trope. Brian Cox seems to have dialled it in; the expression he wears for most of his screen time begets the question, ‘When do I get paid?’ Tom Felton seems to delight in the role of cruel and snivelling meanie, but it isn’t really much of a stretch considering he spent the last ten years playing one in the Harry Potter series. Even John Lithgow is painted into a corner; he is there for one thing and one thing only as the suffering father.

The most mesmerizing performance in the film by and large goes to Andy Serkis; his portrayal of Caesar is wrought with emotion and we sympathize with him from the moment we see him. While Serkis has acted in non-performance capture roles, he has his greatest success in such films as The Lord of the Rings trilogy and King Kong and will no doubt further cement his talents in the upcoming The Hobbit. While there are fantastic special effects and the latest GCI make Caesar look like a real chimp, it is merely icing on the cake; Serkis himself brings the character to life with his facial features, eye movements and body language. If anyone ever deserved an Academy Award for portraying such a wonderful character, it is Andy Serkis. It’s unfortunate the fogies at the Academy are too obtuse to see a true genius at work; sadly, he won’t be nominated.

Weaved in and throughout the film are references to the original Apes films of the 1960’s and 70’s; it’s a an Easter Egg hunt for fanboys, from names of characters to lines of dialogue and several plot points that lead to a nice tie-in to the original film starring Charlton Heston. This film lays down a nice foundation and sets the stage for Heston’s movie, which is set thousands of years in the future. A back to back viewing of both with food, drinks and friends is no waste of time, and for the bold, perhaps an Apes marathon.

Which is Better?

2011-12-29T10:00:00.002-05:00

Renée Zellweger

10 sample films:

Cold Mountain
Jerry Maguire
Love and a .45
Cinderella Man
Shark Tale
Nurse Betty
Empire Records
Bridget Jones’s Diary
Down with Love
Chicago

Reese Witherspoon

10 sample films:

Walk the Line
Legally Blonde
Freeway
American Psycho
Pleasantville
Monsters vs. Aliens
S.W.F.
Election
Cruel Intentions
Water for Elephants

Which do you prefer? Let us know in the comments section

Martha Marcy May Marlene A Tongue Twister

2011-12-28T10:00:00.016-05:00

If there can be one thing said about 2011 it is that it was a great year for actresses. Films like Melancholia, Meeks Cutoff, Another Earth, Hanna, and The Help, just to name a few, all showcased fully realized female characters. Martha Marcy May Marlene is another film that falls into this category as it features one of the best breakthrough performances of the year.

The film’s title, Martha Marcy May Marlene, refers to the names that the lead character Martha (Elizabeth Olsen) uses over the course of the film. After two years of living in a cult-like community, Martha flees the group and goes to live with her older sister Lucy (Sarah Paulson) and her husband Ted (Hugh Dancy). As Martha struggles to adapt to life with her sister, she becomes increasingly paranoid that Patrick (John Hawkes), the leader of the cult, and the rest of his disciples will track her down.

For a feature film debut, Martha Marcy May Marlene is quite an accomplishment for director Sean Durkin. He effortlessly creates an atmosphere of paranoia through only a few key scenes. It is a smart choice on his part to have Martha drift between the present and memories of the past. Not only is this useful for explaining Martha’s life within the cult, but it forces the audience to question whether Martha’s paranoia is causing her to go insane.

Elizabeth Olsen is outstanding in the role of Martha, it is fascinating to see her run the gambit from naïve newbie at the compound, to cold calculated believer, to lost soul trying to find her way. By time she reaches Lucy’s home Martha is a walking contradiction of ideals. On one hand she wants to rid herself of the cult life, however, she cannot shake the brainwashing. This is what makes her attempts at assimilating into Lucy’s “normal” life, which Martha deems as excess, so complicated. John Hawkes and Sarah Paulson also give strong performances. Hawkes is mesmerizing as the manipulative leader who manages to justify criminal acts, such as robbery and rape, as being for the overall benefit of the group. Paulson does a wonderfully understated job as Lucy. She brings out Lucy’s complex mix of love and frustrations. She is desperate to reconnect with Martha on an emotional level and help her through whatever mental issues she is facing. However, Lucy knows that she is unable to provide Martha with the professional help she really needs.

At times Martha Marcy May Marlene falls prey to keeping things a secret for far too long. While it is obvious that the dramatic experience of the past has damaged Martha’s mental state, she never gives one ounce of information to her sister about what occurred. Even when she is in a dreamlike-state of confusion as to whether what she is experiencing is the present or the past, Martha never opens up about what she did or saw. There are times when the film would have benefitted from not having so much left unsaid. However these are minor quibbles in a film that is otherwise engaging from beginning to end. Martha Marcy May Marlene is one of the indie gems of 2011.

Things I Don’t Understand About Death Could Fill A Book

2011-12-28T08:00:00.022-05:00

Questions about life and death are themes that, while a prominent staple in cinema, are really making a strong resurgence of late. While films like Tree of Life and Uncle Boonmee Who Can Recall His Past Lives have explored the spiritual aspects through more elaborate means, Things I Don’t Understand is an indie film that explores how our quest for seeking meaning in life often handicaps us from enjoying the here and now.

Written and directed by David Spaltro, Things I Don’t Understand tells the story of Violet Kubelick (Molly Ryman) a rising star in her psychology and sociology graduate studies program whose thesis is focused on the question “what happens after we die?” Unable to find the answers she seeks, and after a failed suicide attempt herself, Violet finds herself in a downward spiral. Working a minimum wage job and living with her two roommates Remy (Hugo Dillon), a drug-addled musician, and Gabby (Meissa Hampton), a performance artist, Violet floats through life getting drunk and having one-night stands. The only truly stable thing in Violet’s life is a stoic bartender, Parker (Aaron Mathias), who has unresolved issues of his own. At the advice of a therapist (Lisa Eichorn), Violet is convinced to finish her thesis while spending time at a local Hospice. There she meets Sara (Grace Folsom), a terminally ill patient whose condition provides her with a unique view of life and death. Little does Violet know that her connection with Sara will have a huge impact on her life.

The need to connect and feel appreciated is a common theme that flows throughout Things I Don’t Understand. The interesting thing is that many of the characters are blind to the bonds they currently have or once had. Compared to what characters like Sara and Parker are going through, or have been through, many of the self-absorbed issues that Violet, Gabby, and Remy have seem minuscule in comparison. This contrast allows Spaltro to provide an interesting juxtaposition between Violet’s friendship with Parker with her friendship with Sara. While both relationships force Violet to look inward at her own decisions in life, they each offer a unique perspective. One highlights the emotional damage that being consumed by thepast can cause; while the other teaches not only the importance of embracing the present, but finding your own spiritual awaking as well...in whatever form that may be.

Needless to say Things I Don’t Understand is a film that is far from a light-hearted film. If anything Things I Don’t Understand is a little too ambitious in its scope. The film deals with topics of life and death, finding and losing love, spirituality, accepting responsibility, facing ones fears, and sexuality. Spaltro has so many areas that he wants to touch on, that it becomes a bit of a chore juggling them all. There is really enough material here to create two separate films. This is most noticeable when looking at some of the subplots involving secondary characters. The whole housing dilemma story line never fully connects the way it should. The same can be said for the relationship issues that both Remy and Gabby have to deal with on some level. Given more time, or even a separate film, these story arcs could have been fleshed out in greater detail.

The ensemble cast does an admirable job of hitting the right emotional and comedic notes. Hugo Dillon in particular steals numerous scenes as the trust fund wannabe-rocker Remy. He really helps to accentuate some of the great comedic dialogue in Spaltro’s script. The film is much funnier than you would initially expect from a drama like this, which is rather refreshing all things considered. In fact the dialogue is Things I Don’t Understand’s biggest strength as it allows Spaltro to explore rather heavy issues in a very accessible way.

Small Bites: Tabloid, Rango, The Ides of March, Cars 2, Contagion

2011-12-27T11:17:00.003-05:00

Tabloid

It is great to see documentaries receiving wider acceptance amongst mainstream audiences. Still, many are reluctant to consider documentaries as a legitimate source of entertainment. However, if there was ever a film that manages to disprove this short sighted view, it is Errol Morris’ Tabloid. Joyce McKinney is a former beauty queen who is accused of kidnapping and raping her Mormon boyfriend Kirk Anderson. McKinney is a woman who condemns the vicious media spotlight, but seems to secretly crave it. Her life story is so outlandish that not even the best script writers could have come up with. Morris playfully flashes bolds works like “handcuffs” and “loves kink” to emphasize how his own film is adding to the sensationalism of McKinney’s life. Tabloid also offers an engaging look at how the media, especially British tabloids, use manipulation to dig up information on their subjects. Although the events that made McKinney a household name took place in the 70’s, Tabloid feels perfectly at home in our current media obsessed society.

Rango

I honestly do not think that there was a 2011 film that I procrastinated more on seeing than Rango. I am not sure why, despite ample opportunity, it took so long to watch the film, but I am glad I finally got around to it. The character designs and the overall animation are fantastic. The animation in the action sequence between Rango’s posse and the moles in the desert is especially stunning. What struck me about the film was just how funny it is. While the references to the Sergio Leone western and films like Fear and Loathing in Las Vegas were amusing, the character of Rango himself was the most entertaining aspect of the film. Whether he is hitting on a headless torso of doll, or trying to invent a whole idea persona, Rango is joy to watch.

Rango is part of our "The Must See List" series.

The Ides of March

Set in the cutthroat world of politics, The Ides of March is ultimately a film about the loss of innocence and how easily morals can be compromised. The ensemble cast do a great job conveying the political game of chess that is played on various levels (e.g. between political camps, at debates, with members of the press, etc). There are so many great actors in the film that occasionally it feels like there are not enough quality parts for all of them. Although George Clooney’s direction is solid the subplot between Stephen (Ryan Gosling) and Molly (Rachel Evan Wood) never feels fully realized. There is not enough depth to their relationship to justify the lengths Stephen goes to for her. This causes the film to lack the biting political punch that one would hope for. Still the performances and overall premise are strong enough to keep the film interesting.

Cars 2

The original Cars ranks at the bottom of Pixar’s canon of films for me and Cars 2 only fairs slightly better. Despite taking comedic, and I use that term loosely, aim at the spy film genre, the film’s main problem is it tries to make a bit player from the original, Mater (Larry the Cable guy), and makes him the main character. Mater is just not that interesting of a character and his dimwitted humour wears thin pretty fast. Cars 2 would have been better had the main characters been the spy duo of Miles Axel Rod (Michael Caine) and Holly Shiftwell (Emily Mortimer). Also, the film feels like it is aiming towards an even younger audience than the first one. This is odd considering the blatant environmental message in the film. Young kids will not care about importance of embracing cleaner fuel and its impact on the world. The film’s only real saving grace is its spot on satire of the James Bond franchise.

Contagion

When a film makes you want to wear gloves everywhere you go then you know it has done an effective job. Unlike the film Outbreak, Contagion uses the act of touching, which is something we all numerous times a day, to show how the virus is transmitted. Steven Soderbergh does a good job balancing the majority of the various storylines in the film. Only one story, Dr. Leonora Orantes’ (Marion Cotillard) arc, seems to get lost in the shuffle halfway through. The cast is wonderful all around, Jude Law and Laurence Fishburne in particular really steal the show. Law really nails the annoying blogger whose motives may be more sinister than he lets on. Fishburne is given a less flashy role, but is equally effective. He plays a doctor who is trying to do things by the book, but must also face the natural human instinct of protecting the ones he loves. By the end of the film you will not only be a little leery of bloggers, but you will also want to bathe in hand sanitizer.

We all sell out every day, might as well be on the winning team.

2011-12-26T10:00:00.009-05:00

They Live (1988)

We are currently living in a global recession and times are tough; unemployment is high, manufacturing is disappearing from the economic landscape, and several European nations are teetering on payment default which threatens to drop a full depression bomb on the global economy. Add to that the frustration many people feel when governments give bailout packages to save the financial sectors, only to watch gobsmacked when the CEOs give themselves raises. It’s certainly understandable why people would want to send a message to those in the 1%. But what if those who comprise the 1% are such monsters that they couldn’t care less and are happy to keep you down?

Now that I’ve fired you up, depressed you, it seems fitting to look at a film whose story world is eerily similar to our current situation of turmoil and uncertainty; fears of a declining economy, a culture of greed and conspicuous consumption common among Americans in the 1980s, but with a more sinister agenda. Such is the premise for John Carpenter’s They Live.

Times are tough all over America; the wealth gap between rich and poor makes the Grand Canyon look like the crack in your driveway you find every spring. Factories are closing down, unemployment is high, and there are shantytowns in every city across the States. Nada (played by wrestler Roddy Piper) is a quiet drifter who arrives in Los Angeles to find work at a construction site. Frank (Keith David), another worker, takes him to a nearby shantytown and soup kitchen for a hot meal and a bed for the night. Nada notices odd behaviour at the church across the street and when he investigates, discovers a pair of special sunglasses. When he puts them on, Nada realizes the population are bombarded with subliminal messages in all media content with imperatives like "Stay Asleep", "Obey", "Do Not Question Authority". Even scarier is that he is able to see those in charge of keeping humans subjugated. Here he becomes the man on the run and forces help from Holly (Meg Foster), a semi-femme fatale who may or may not be on Nada’s side.

The film wades through a certain amount of paranoia and uncertainty for its first half then changes gears into an action film as we get to enjoy Piper shoot his way through the rest of the film with Schwarzenegger-like one-liners. The best line in the film occurs in one particular scene when Nada enters a bank, fully armed. He looks upon the crowd and calmly announces, "I have come here to chew bubble gum and kick ass... and I'm all out of bubblegum."

While not an initial commercial success, They Live debuted at #1 at the box office and grossed just over $4 million on its opening weekend, essentially breaking even with the production budget. Over time, the film has become a cult hit, with a rating of 88% on Rotten Tomatoes. That being said, I’m more impressed with director John Carpenter and what he does with what he has, namely small budgets, good stories and solid casting. Roddy Piper is not a great actor, though his theatrics carried him to stardom in wrestling’s heyday of the 80s. He does bring a ruggedness that makes you believe he has seen a lot in his time and been dumped on by life. Keith David, who was in Carpenter’s The Thing, is another fine choice; he holds his own in the not quite traditional sidekick role, and the two engage in a brutal five and a half minute alley fight that is arguably the best in film.

I also admire Carpenter for his sense of style; recurring techniques include minimalist lighting and cinematography, lots of static and steadicam shots, and distinctive often self-composed synthesized scores are synonymous with his films. Not many people might realize this is the same director who made Halloween, The Fog, Escape from New York, The Thing, Christine, Starman, and Big Trouble in Little China among others. He allows the audience to absorb what’s going on without having to resort to fast editing, sweeping camera shots and an abundance of expensive special effects; Carpenter was once quoted as saying he was influenced by Howard Hawks and Alfred Hitchcock. This allows the audience to focus on characters and mise en scene, which is not necessarily a bad thing.

Carpenter also isn’t shy about offering an opinion in his films either. With They Live, he examines the increasing commercialization of popular culture and politics in the 1980s; the ubiquitous advertising we have become so used to its almost strange and unsettling when we don’t see them. As a society we have bought into the perceived sense of urgency to continually buy the latest and greatest goods and services that not spending our money seems unthinkable. We have become so wholly immersed in a disposable world that it seems silly buying new is cheaper than having the older item repaired; if we easily discard an item that quickly, does that mentality extend into other aspects of our lives? Have relationships also become disposable? We don’t like our present partner, so we drop them and find a younger, better model?

It’s interesting how many of these ideas seem to ring truer than ever today with vulgar displays of greed (think Enron, Wall Street execs) on one side and those opposed (the Occupy movement) on the other. I suppose the only difference between our world and the film is that the strings in our world aren’t pulled by wealthy, fascist ghouls.

Or are they?