MOVIE REVIEW: Argo (2012)

I'm really excited for the way this year has been shaping up, so far as film goes. And while this year has been punctuated by some good political works and thrillers, Argo is a successful combination of the two, with an even more unique plot. Being a true story, makes this one icing on the cake.

After being treated to a retro, WB-logo opening, the audience is briefed on the global political situation in 1979: The cancer-ridden Shah of Iran is controversially granted asylum in the United States, leaving his country behind poor, and his people bitter; all allegedly due to his excessive lifestyle and forced Westernization. Later that year, angry Iranians storm the American embassy, taking hostages while six manage to escape, taking sanctuary in the Canadian embassy. In 1980, knowing the foreign-servicemen and women's time in Iran is short, CIA agent Tony Mendez plans an extradition involving a false Canadian film production for a sci-fi sleazefest called "Argo." Once in Iran, Mendez needs to appease both the government and his countrymen that he needs to rescue, before executing the operation itself.

Argo is a caper film that feels very much like a product of it's time, and that's a good thing. Thrillers were among the top of their game around this point in time, at least what I've seen on an international scale. There's not a whole lot of action, but instead replaced by tense moments, human drama, and skilled attempts at making documentary/news footage relevant with what's happening. Essentially, the film is broken down into three tangible acts where the rescue operation is chronicled. By the time the film reaches the third act, you know how it's going to go down, but you're just as scared as the Americans as director Ben Affleck jumps us through Hitchcockian-hoops of tension that had my audience audibly gasping for air after these moments passed.

So then, the one area where Argo does feel a little strange is during the Hollywood sequence, where Mendez needs to find a pitch for the film. It's highly comical, lighthearted, and entertaining (with a hilarious performance by Alan Arkin, as a cantankerous producer), but felt a little out of place with the cold sincerity of the rest of the film. It's really hard to fault one part that happens to be highly entertaining, it's just a litte inconsistent with the tone of everything else.

Nonetheless, Argo is a tense, character-driven thriller that is definitely worth your time, and possibly one of the better films that you'll see all year. I won't be surprised if it picks up a few nods over the course of next year.

9/10

Peace,
- Jon

MOVIE REVIEW: Lincoln (2012)

Steven Spielberg, ever the consummate filmmaker, delivers a pensive, and thought-provoking account of President Abraham Lincoln's last four months in office. As with most films who's subject is a non-fictional character, I entered Lincoln with a sense of open-mindedness in considering which direction the story will go in. Although I would have liked to have seen some other areas of Lincoln's story elaborated on, as a film on his greatest achievement, this is a fine work, indeed.

Written by acclaimed playwright Tony Kushner, the story deals with the battles Lincoln undertook from within his cabinet to get the 13th Amendment, the Emancipation Proclamation, ratified in an attempt to end the Civil War. By abolishing slavery in the Union, Lincoln was convinced this amendment would make the Union look more sympathetic to abolitionists and slaves alike. Along with the ensuing political gridlock, he audience also gets a glimpse into his family life, detailing his strained marriage to his wife, and struggle with his eldest son's choice to join the army.

This film, in general, is a treat for history buffs. Those who revel in production aesthetics will be overjoyed by the 1860s costumes, Colonial architecture, and the detail Kushner and the actors have paid towards the speech and dialogue. The acting is outstanding, and I wouldn't be surprised if Lincoln collects the SAG award for Best Ensemble this year. It's no surprise that the biggest stars deliver the most notable performances. Tommy Lee Jones steals every scene he's in as the curmudgeonous Thaddeus Stevens. Sally Field as Mary Todd Lincoln does not get a lot of screen time, but portrays Mrs. Lincoln's fragility and mercurial personality perfectly. Daniel Day-Lewis...words alone will not do justice for the talent he brings as our 16th president, right down to the distinct inflection of his voice he brings Lincoln to life. I expect to see much news of him, come awards season.

So my criticisms of Lincoln relate mainly to the execution of the story itself. The title implies a biography, but Lincoln is nothing of the sort; just a chronicle of the man's most important moment of his entire presidency. The title's basically a draw-in; it would've been more appropriate and honest to call it something more related to the subject matter. Speaking of which, the glimpses and melodrama we observe of Lincoln's family are some of the most dramatic moments from a theatrical perspective. It's not to say Spielberg wasted some fine opportunities to explore these areas, but when one looks at something like The Godfather and says there can't be an argument made for great character drama in a contrasting story, I become skeptical.

Nonetheless, I still consider Lincoln one of the best films, albeit a flawed one, that 2012 had to offer.

8/10

Peace,
- Jon

MOVIE REVIEW: Skyfall (2012)

Skyfall is, in my opinion, without a doubt, the best of Daniel Craig's James Bond films. It's the perfect storm of the series' capable present roster of actors, renowned director Sam Mendes (who's responsible for one of my favorites, American Beauty), and a crew of reputable technicians with equally impressive resumes (I'm not kidding, there's at least 10 Oscar nods among the principals in the main credits). After a solid, but thematically jarring debut with Casino Royale and the underwhelmingly perfunctory Quantum of Solace, Skyfall is a welcome entry in the series that achieves something rare in James Bond films: It functions perfectly well as a stand-alone-film.

Of course, it would be a travesty not to mention Adele's exceptional eponymous title song that almost makes up for the trauma my ears endured from Alicia Keys and Jack White's "Another Way to Die." Adele, like the film itself, belts a tune that harkens back to James Bond's jazzy 1960s roots. It's a tragically romantic torch song with an incendiary beat that underlies the doom-and-gloom tone of the film, while still achieving a refined sound and infectious melody.

The film begins with Bond and his attractive female colleague Eve pursuing a terrorist in Turkey. Whilst fighting him atop a train, Bond is hit by friendly fire from Eve's sniper rifle and plummets into the ocean. Although Bond survives and lays low; taking a much-needed sabbatical filled with women and booze, his boss M starts taking heat from the British government (in the form of the Intelligence Committee Chairman, played by Ralph Fiennes) after a mysterious computer glitch outs the MI6 roster of "00 agents." Determined to unmask the culprit, M takes MI6 "underground," rehabilitates Bond, and hires a young hacker (who later beomes Q) to design new gadgetry for Bond. After identifying the culprit, the tables begin to turn as this cyberterrorist not only turns out to be crazy, but is out for revenge against MI6. 007 himself will need to get in touch with his past, in order to defeat this madman.

I thouroughly enjoyed everything about Skyfall in that it was such a fresh approach to a medium that has become long in the tooth. The best way I could describe this film can't even be with one adjective. It's a lot like The Dark Knight in that the film has a foreboding atmosphere and build-up towards very violent or tense conclusions. Since the series has reached it's 50th birthday, there are a lot of fun references thrown in to prior works; it's done in a refreshingly subtle way, and considerably less in-your-face than the last "anniversary Bond film," the over-the-top Die Another Day. Javier Bardem also gives a chilling performance as the villain, whose behavior strikingly resembles that of Heath Ledger's immortal rendition of The Joker. The rest of the main cast does well with the story, which does an interesting job of exploring more of Bond's past, all of which leads up to a gripping conclusion that opens the door to a more familiar direction for the series that Bond fans will likely be more comfortable with.

If there is any complaint to be had, it's that the film is very atypical-Bond when it comes to the more decadent aspects of the series. This is not one of those films where Bond gets to shmooze around with beautiful women and nice hotels (in fact, we only get one of those moments in Shanghai. His earlier escapades are sleazy, but not that explicit). Skyfall tones down these elements in order to put more focus on the main story. Even the main Bond girls are somewhat underplayed; Judi Dench, for the most part, is the film's "Bond girl" based on the amount of screen-time she shares with Bond, as well as her larger role in the story. It may be a bit disappointing for some fans, but more likely than not, something they will complain hinders the film, too much.

It's hard to say whether or not Skyfall is the best James Bond film ever made. To call one film in the series "the best" is arguably an objective notion when six different actors have played the same role in 23 films. Fans have their loyalties, and sentimentalities, as I have mine with GoldenEye. I would certainly argue that at this point in the canon of Daniel Craig's Bond films, Skyfall is the bloke's magnum opus. His tenure and the series will most likely take a different turn in the subsequent installment, but as the final chapter in his unofficial introductory "trilogy" as Bond, Skyfall takes chances, maintains a tense pace, and is simply an excellent spy/thriller in the vein of it's contemporaries that happens to masquerade as a "Bond film."

Until Christopher Nolan directs a James Bond film, well...this will just have to do for now.

9/10

Peace,
- Jon

MOVIE REVIEW: Sinister (2012)

Due to my current, inhumanely hectic obligations to law school, it is a depressingly rare occasion for me to go out to the movies. Fortunately, such an occasion arose with a group of friends last evening to see this film: Sinister, this month's very hyped, indie-horror(?), creep-fest. It's a fun offering for serious horror fans, but only progresses so far enough as an intriguing concept to be anything but groundbreaking.

Murder-mystery novelist Ellison (Ethan Hawke) and his family move into a house, where unbeknownst to everyone in the family but him, was the site of a gruesome murder that affected the last inhabiting family. Ellison finds a box of old, super-8 home movies in the attic and discovers the footage to be that of the murders; recorded by the killer. During his research, Ellison stumbles upon the ghastly image of who he supposes is the killer. Although this discovery helps inspire him to write his newest story, he also learns after consulting with police, experts, and experiencing some paranormal activity, that what was shot on film isn't everything it appears to be.

Post-viewing, I read a review for the film on blu-ray.com, where the critic stated:

“Sinister” joins a growing trend of horror movies offering characters who don’t react appropriately to unequivocal proof of their own future doom, a bewildering screenwriting concept recently explored in the last three “Paranormal Activity” pictures.

This comment basically addresses my largest criticism with the plot, being that the story is wholly negated when taking into consideration that Ellison made some poor decisions that result in the film's plot. This is common in horror films; it's a Pandora's Box archetype. Sure, by psychoanalyzing Ellison's motives, his actions are perfectly understandable. The problem is, as a contribution to narrative, it passes off as cliche, and frustrates the viewer who knows he would have done something more logical (like turning the home movies immediately in to the police!), and perhaps made for a more compelling story.

Still, Sinister is an interesting blend of a number of horror elements: The occult, ghosts, haunted houses, serial murder, and "found footage." It's a fun ride for genre lovers who enjoy getting scared; I definitely jumped a few times. And the concept, while a hybrid, is fresh enough to appreciate. Here's hoping if money talks, that it tells the studio to produce a more fleshed-out, credible sequel. I'd be interested to see where the story keeps going...

7/10

Peace,
- Jon

MOVIE REVIEW: The Expendables 2 (2012)

In 2010, Sylvester Stallone unleashed every fanboy's testosterone-infused paradise upon the world - The Expendables: A no-holds, ensemble action tribute to the ultra-violent 80s serials, featuring many big names in the genre. It's easily a dude's answer to Sex and the City. While a fun film, I felt it needed a little extra *oomph* in the action sequences and less of the banal, double-digit IQ verbal exchanges. Two years later, Stallone somehow answered my nitpicky criticisms with The Expendables 2 a rare instance of a sequel that bests the original in every way possible. The coup de grâce (and I'm not ashamed of SPOILING this) being a trifecta shootout in the finale with the owners of Planet Hollywood themselves:

If this scene doesn't convince you to see the film, then I don't know what will. I'm convinced at least half the American male population has been waiting for this moment in film history.

And then, there's Chuck Norris (cue: The Good, The Bad, and The Ugly theme):



...need I say more? The man appears in two scenes, but they're a killer (pun absolutely intended).

Now, onto the plot - Without elaborating too much (because honestly, who watches these films for plot?), Sly gets together the old gang once again to take on what is supposedly an "easy job" somewhere in the deserted mining towns of Albania. The mercenaries excursion goes fine until their newest and youngest recruit is ruthlessly whacked by Jean-Claude "The Muscles from Brussels" Van Damme, himself. Fixated on revenge (and wanting the item they came looking for, now stolen by Van Damme), the mercs go to town by doing what they do best - shooting first, and asking questions later. Ironically, violence is the answer to all their problems in this bullet-riddled fantasy.

This sequel has a lot going for it. Aside from the new cast members, the action is easily doubled from the first film, and the one-liners are much more in-tune with the stylings of Governor Schwarzenegger's work in the late-1980s. There's even a few nods to every cast member's previous works, typically in the dialogue. Moreover, I got a better sense of adventure, and even...um...character development than the first film. Sure, Expendables 2 isn't going to win any Academy Awards (at least in the artistic categories), but I'm sure that's not why people would go see it in the first place. I'm happy to say that as an action film, it was one of my favorites of the year, and it was nice to see the summer movie season of 2012 go out with a bang, in both senses of the word.

8/10

Peace,
- Jon

Food for thought: Lean Greek Pita Chicken Wraps

Greek food is one of the healthiest cuisines in the world. (just Google that last sentence if you don't believe me) It is also among the easiest to replicate. So I tried something other-than-a-sandwich for lunch while at home the other day, and I think it worked out quite nicely:

1 pita wrap or disc (plain or baked is optional)

1 grilled chicken breast (marinade is optional)

1/2 a tomato

A handful of salad greens

2 spoonfuls of tzatziki sauce or Trader Joe's cilantro & chive yogurt dip

Any other vegetables of your choice (optional)


Slice the chicken into thin strips. Dice the tomato into cubes. Spread the sauce/dip over the pita. Add the salad greens, chicken, and tomato. Feel free to add more vegetables but be careful not to overload the wrap.

If you buy everything pre-prepared, you can have this little bit of awesome on your plate in under 10 minutes.

Mangia!
- Jon

MOVIE REVIEW: The Campaign (2012)

At a brisk 85 minutes, The Campaign feels much like an afterthought written to cash in on the upcoming presidential election. The impeccable timing is certainly an asset; it's extriniscally a safe business move for the producers and keeps the audiences interested, although years from now, the political rifts or plot context may date themselves. It's not up to me to predict the future, but looking within the moment, the film touches on (or rather, spoofs) a lot of current issues in political campaigning, and is supported by some wonderfully zany performances by Will Ferrell and Zack Galfinakis alike. While not groundbreaking and rather juvenile, The Campaign is a fun romp, and those especially with a penchant for politics will find it enjoyable.

Democratic Representative Cam Brady of North Carolina is charismatic, well-groomed, and everything limousine liberal politicians are hated for (hypocrisy, adultery, etc.). Of course, he's kept a good job of hiding the skeletons in his closet, until he finds himself challenged by Republican tour guide and devout Christian, Marty Huggins. Backed by his wealthy father, a smooth campaign manager (played wonderfully by Dylan McDermott) and two corrupt businessmen who want to use his newfound clout to bring Chinese industry to NC. But as Marty plays dirty politics, and Cam's personal life spins out of control, the Huggins' begin to suffer the effects of negative media scrutiny. Just like in real life, we don't know for long until election day rolls around, and the fates decide who ultimately gets the job.

There's a lot to like about The Campaign, and I feel like it's biggest selling point is the prodding it makes at the absurd state of politics in America right now. However, a lot of it is Ferrell and Galfinakis' usual brand of sophomoric, obnoxious humor. Some may already find it getting long in the tooth. Others, especially those who are fans of Funny or Die should feel right at home. As one who also appreciates meta-fiction, it was fun to see renowned news figures make cameos to provide their two cents on the candidates antics. Overall, it's a fun film, but realize what you're getting yourself into, should you decide to see it.

7/10

Peace,
- Jon

MOVIE REVIEW: The Dark Knight Rises (2012) + some thoughts on the shooting

This past Saturday, I walked into a packed AMC with three security guards keeping watch at the ticket booths. Perhaps relieving to some after the events of this past weekend, though it was hard sitting down and trying not to think about what happened. Ultimately, I let myself go with the film. I can attest that it fulfilled it's purpose; we go to the movies in order to escape the pressures of the day. Even though The Dark Knight Rises is a gritty, violent thriller, it's a story of good versus evil at it's core. What happened in Aurora was an unfortunate and tragic consequence, and at this stage in the game, I feel like enough has been said as far as gun control in the United States. There's still a lot of questions that need answering, but it's important that I move on.

Eight years after the death of Harvey Dent and Joker's reign of terror, a new villain surfaces in the form of Bane, and Commissioner Gordon struggles to keep crime under control. After the previous film's events, Bruce Wayne is reduced to a near-recluse with a limp, until he encounters a new adversary in the form of "cat burglar," Selina Kyle. Eventually, while pursuing Kyle, Wayne crosses paths with Bane and learns that he has an even grander scheme to destroy Gotham than ever before. However, conflicts both personal and formidable prove daunting to Wayne, even for this installment.

This is perhaps the darkest of the Dark Knight Trilogy, second sequels usually are. And with strong film sagas, this film had a tough act to follow with it's predecessor's first-class production. The story had some strong twists and continued Christopher Nolan's excellent tradition of bringing great character development to the series. Action sequences are not as plentiful as in the previous film, but come in short, exciting bursts. Production values were absolutely strong across the board.

Acting was solid; the reprising characters continued their roles in fine form. Bane is one of the more interesting villains I've seen in a film; he's a dangerous combination of brains and brawn, looks like Darth Vader crossed with Steve Austin, and sounds like Patrick Stewart doing a bad, garbled impersonation of Albert Einstein. Anne Hathaway stole the show for me as Catwoman, sure, I probably have a thing for her, but it's the restrained sexiness and cunning wit that won me over. She's one of the best things about the show.

Ultimately, I can't say if Rises is going to be a standalone classic, but it's a fitting conclusion to arguably the best comic-book superhero trilogy in film history. And in case you were wondering, I personally think it may be slightly better than this year's box-office behemoth The Avengers, because of the more dramatic tone of the story.

9/10

Peace, and God bless the families in Aurora, Colorado.
- Jon

MOVIE REVIEW: Ted (2012)

Some of my friends have grown weary of Seth MacFarlane, saying "Family Guy" is no longer funny and several of his other TV exploits are equally perfunctory. Thankfully, the man had the good sense to transition into film this year; with a concept I was instantly sold on - a foul-mouthed teddy bear who gets stoned, drinks, and picks up women. What could a guy not possibly love? It's a unique twist on the "bromance vs. romance"-type of story that doesn't quite escape the cliche'd trappings, but is fresh and enjoyable take on what happens when the characters of an innocent, childhood fable grow up. This, ladies and gentleman, is Ted.

On Christmas Day, 1985, a young, lonely Boston boy named John is given a teddy bear by his parents. Having no friends to call his own, he names the bear "Ted" and makes a wish that his bear could talk. His wish is granted and the now-inexplicably anthropomorphic Ted becomes an overnight celebrity, making rounds on the talk-show circuit but remaining a consistent source of companionship to John, and the two become best friends. Flash forward to 27 years later, John works as a clerk for a rental car company, is in a four-year relationship with an advertising exec named Lori, and still lives with Ted. Over the years, Ted has picked up a penchant for partying, smoking a bong, watching bad movies, and bringing hookers back to the apartment, much to Lori's chagrin. She gives John an ultimatum: Kick Ted out, or she'll kick herself out; something the two best buds have difficulty dealing with.

As earlier stated, Ted is a typical story of "bromance vs. romance" wrapped in a fluffy, fuzzy package (...that sounded odd...). This gives the film an unfortunate sense of predictability that it doesn't shake throughout the entire run, but that doesn't stop it from being entertaining. Seth MacFarlane's crude, oddball humor thankfully outweighs the cliches. Some jokes fall flat, but most of them work. It's the concept that I'm really enamored with, and the performances from the cast are strong enough to carry the story through the bumps. There's an interesting twist/subplot towards the end that involves Ted getting himself into serious danger. It made me kind of wish the film based it's story more around that sort of structure, but for the most part, I was happy with the result (and the fact I only spent $5 for a ticket).

I had a difficult time rating Ted, because the more I dwelled upon the film, the more I felt better about it. I think it's just that I'm so enamored by the concept, that I'm allowing it to let me forgive some of it's more glaring flaws. Could Ted have been better? Sure. Is it enjoyable and entertaining? Absolutely!

...And how can I forget the Thunder Song:

8/10

Peace,
- Jon

MOVIE REVIEW: The Artist (2011)

Vintage cinema rarely resurfaces and becomes an outright hit, and that's perhaps one of the reasons why some people (or film snobs, if you will) who I know saw The Artist were scratching their heads when the film won Best Picture at this year's Academy Awards. I'm happy to report that the honors the film has received over the past year are undisputably deserved. The film is much more than a revisionist gimmick that employs a now-obsolete silent-filmmaking technique; it is a comment on the changing social structure of the time, amidst the advent of modern technology. In this case, the catalyst is sound in film, or "talking pictures." And while the film is unsurprisingly thin on plot, I find it simply amazing that the director made a choice to aesthetically revive the old techniques of the silent era.

In 1927, George Valentin is the top actor in silent film, in Hollywood. Soon he meets Peppy Miller, a budding starlet who is about to transition into "talking pictures" at the advent of the sound era. Like many others of the time, George dismisses "talkies" as a mere novelty with little artistic merit, but the innovation takes Hollywood by storm and while Peppy's career skyrockets, George's stagnates in light of the changing times. It's a simple story about tradition, and ultimately redemption.

And aside from the story, this is a meticulously shot picture that duplicates so many elements of silent film to a tee, right down to opening credits, that it has a great "like-you-were-there"-kind of quality. The music also plays an important role, being one of the only "sounds" the audience can actually depend upon. The composer does a wonderful job by utilizing the score to heighten moods and emphasize some of the physical comedy. Being a silent film, the creators have the added challenge of stretching the actors beyond words and depending on physicality and subtle imagery in order to get a point across. It pays off, mostly because while it's not Chaplin or Keaton, the slapstick is very restrained and sensible. Most especially enjoyable are the moments between George and his precocious dog.

As much as everything in The Artist is brilliant, the plot itself is nothing new. It's simply a revisiting of the typical "rise-and-fall" story in the context of a revisited film technique, augmented thematically by the film's intentional technical limitations. That doesn't mean the film is any less enjoyable, just don't go in expecting a completely original story. Although, overall, it was a treat to see The Artist as a new entry in revisionist cinema. I definitely plan on watching it again.

9/10

Peace,
- Jon

MOVIE REVIEW: Prometheus (2012)

The biggest controversy surrounding Ridley Scott's latest, Prometheus, is if the film is really a prequel to Alien or not. The best answer I can give while trying to ride a fine-line of spoiling too much is: "There's strong evidence that the film is a prequel to Alien"). Not that I was dying to know while watching it, but the films do share commonality with the notable plot points that occured in Alien. While Prometheus wasn't really anything groundbreaking for me, I still enjoyed it for thought-provoking entertainment.

A team of scientists stumble upon evidence linking early human civilizations to one another, in spite of existing in different areas of the globe. They track the message to a jungle planet, and encounter an underwater cave that was once populated by an alien species who happen to be the true ancestors of homo sapiens. But as with all science, the team has lots of questions and little answers, and the consequence of curiosity happens to manifest by some deadly encounters and turncoat conspiracies.

This was a hard film for me to rate; the production values for Prometheus are top notch, but why oh why did the story take such an ambiguous lull by the film's third act? The most obvious answer might be "so that they can have a sequel." Yet, for me, there was so much build up and potential for the film to bank on making me walk away shaken and stirred about the fate of humanity, that instead, I only felt "hmm, that was cool!" My other guess is along the way, the studio shaved off a few minutes of plot, as what often happens with Mr. Scott's work. An extended cut on DVD seems very possible down the line, and could rectify the loose ends. I'm not saying every film needs to explain for itself, but with Prometheus, the story and premise were so fascinating that it almost seemed necessary.

On the plus side, Prometheus has a lot of aesthetic appeal going for it. The unmistakable H.R. Geiger set designs evoke that unsettling, organic feel that made the Alien saga so cool. The suspense and special effects are handled very subtly and conservatively; there are certainly enough moments in the film that will impress and shock at the same time, perhaps even both. I predict at least an award nomination or two in the effects or art department, come next spring.

Finally, if you have any reason to see a film in 3D, I'm happy to report that Prometheus is absolutley worth it! You don't necessarily miss out on any "money shots" by seeing it in 2D, but Scott keeps the effects subtle, much like Avatar. Here where the atmosphere, holographic computer screens and other elements of these strange new worlds manifest. Where some films you end up spending over $10, and the effects are far and few in-between, Prometheus features constant atmospheric effects that bring a strong vividness to the picture. Definitely worth checking out.

7/10

Peace,
- Jon

MOVIE REVIEW: The Dictator (2012)

Ali G? Check. Borat? Check. Bruno? Check. It took only about a decade, but Sasha Baron Cohen managed to give his three main characters from "Da Ali G Show" defining feature films. While the media exposure forced these comedic gems into retirement, Cohen managed to rake in a lot of cash, fame, and lawsuits in the process. Yet, being the comedic genius that he is, he still manages a few tricks up his sleeve, and brings us his first narrative comedy feature with The Dictator. While the results aren't quite as memorable or fresh as his earlier work, it's still an enjoyable, and very funny film.

Admiral General Aladeen (a parody by Cohen of the late, Libyan dictator, Muammar Gaddaffi) is the Supreme Dictator of the North African Republic of Wadiya (which happens to be in the same place as Eritrea). As presumably the last totalitarian nation in the world, the UN calls upon Aladeen to appear before the council and sign a treaty promising democratic reform, in light of his human rights abuses and harboring nuclear weapons. Upon arrival in New York City, and with plans to sabotage the signing, Aladeen escapes an abduction attempt (losing his signature beard in the process), and discovers the abduction was staged by his brother; the Defense Minister, who is puppeteering Aladeen's double to sign the treaty. Stripped of his identity, Aladeen wanders into an edgy organic food market, run by a hyper-sensitive young woman named Zoey (who, along with her store, is a parody of everything leftist, politically correct, and hipster). While the two are complete opposites, she ironically becomes Aladeen's only hope on the journey to reclaiming his sovereignty.

For anyone who's familiar with Cohen's brand of humor, The Dictator has many of the same elements of his earlier films, although, not as badly rehashed: The foreigner coming to America with the resulting culture clash, losing everything and hitting rock-bottom, sudden epiphany over cultural differences, and above all; a smattering of offensive-yet-hysterically-un-PC humor. Most of the humor works, but a lot of it does not feel as edgy or spontaneous as it did in his earlier works. I mainly presume this is the case, primarily because Cohen has some great opportunities throughout the film to really jab at current politics and social mores, but he doesn't attack them as strongly as he does with the situational comedy. Take these words as a caveat for anyone who is expecting a more political slant towards the humor, based on the film's subject matter.

Otherwise, while not his best film since Borat, The Dictator still offers enough laughs and general entertainment value to stand on it's own as a summer event comedy. Even it's featherweight political humor was enough to sustain my interest, despite my desire for that aspect to be much stronger. As a vaguely-relevant endnote, out of all the trailers that preceded it, I am most looking forward to The Campaign, with Will Ferrell and Zack Galfinakis. Perhaps this is due to it's timing towards the Presidential Election, but the political backstabbing seems like a fresh enough concept for me to enjoy.

7/10

And for anyone who missed this year's Oscars, here's Cohen's hysterical Red Carpet appearance as Aladeen:

And Aladeen's hysterical rendition of "The Next Episode," because I can (NSFW!)

Peace,
- Jon

MOVIE REVIEW: Dark Shadows (2012)

Surprisingly, the opportunity for me to see films this summer is unusually optimistic, I missed practically everything in the 2011-2012 academic year, but I’m hoping to make up for that with what’s turning out to be a strong summer movie season. Last week’s offering for me was Dark Shadows, a Tim Burton-directed adaptation of a cult, gothic soap opera from the 60s. Up until the release of the film, this show was unbeknownst to me. It’s popularity amongst baby boomers apparent from how my mother (who I consider to be very “hip”) spoke very enthusiastically of it. Sure enough, Burton, and stars Johnny Depp (who is also a producer) and Michelle Pfeiffer (who’s always a pleasure to watch) were also huge fans of the show and the chemistry of the three is quite wonderful. While it’s not one of Burton’s strongest creative offerings, the love put into the project is apparent, and is overall, an enjoyable film to watch.

In the 1760s, young Englishman, Barnabas Collins immigrates to Maine with his wealthy family, and they begin a successful fishing business. The business helps develop the town, eventually adopting the Collins’s namesake and respect. However, a spurned witch, jealous over Barnabas’ newfound love, curses the family, kills the girlfriend, and turns Barnabas into a vampire; condemning him to a coffin until 1972, when he is finally unearthed by an unsuspecting construction crew. Barnabas relocates his former estate, now in the decrepit care of his ancestors. His newfound cousin, Elizabeth Collins Stoddard, informs him that the family assets dried up, and the family business is all but gone. Barnabas reveals to her a hidden treasure vault, which helps fund restoration of the estate and the fishing business (now re-established as a cannery). However, Barnabas’s old flame is also alive and well, and still out to get the unsuspecting vampire.

There’s a lot going on in Dark Shadows, which makes for a bit more of a complex narrative than expected for a comedy. I didn’t really mind the meandering script, because I felt like the creative and aesthetic aspects of the show made up for it. The costumes and art design are excellent, and acting is terrific. Depp brings another fun characterization as Barnabas, bringing great highbrow humor to the “fish-out-of-water” aspect to the story. Pfeiffer is fantastic as always; her grace and restraint evokes that of classic film stars of the golden age of Hollywood. Chloe Moretz plays her rebellious daughter, and while it’s obvious she’s being typecast as an edgy teenager, she services the role just fine. Helena Bonham Carter plays the family psychiatrist, and is amusingly aloof. There are a couple interesting twists that occur, and the ending leaves less closure for some of the characters than I’d hoped for (as well as an obvious sequel-setup), but I still left feeling pleased.

Prior to watching Dark Shadows, I had heard mixed things like “uneven”, “sloppy”, and not scary enough. All these criticisms are valid, depending on your perspective on Burton. Sure, the man’s made a lot of dark films, but there’s no denying he has a lighter side, too (Pee-Wee’s Big Adventure, Ed Wood). The tone of Dark Shadows is akin to that of his earlier efforts, in fact, it comfortingly reminded me of something he would have made in the early 90s. The silliness and dark fantasy vibe are comparable to say, The Addams Family. I can easily recommend it for anyone that enjoyed the former film, and fans of the show should get a nice nostalgia kick.

8/10

Peace,
- Jon

MOVIE REVIEW: The Avengers (2012)

Finally! After what seemed like ages, Marvel finally released the superhero film I was actually waiting for. As much as I enjoy the genre for it's special effects romps and cheesily-written one-liners, the glut of sequels, reboots and introductory films were becoming far too routine (and irritating towards my finances). The Avengers actually steps up to the plate and offers the audience much more of a cohesive film; one that stands up to the likes of Spider-Man, and maybe even The Dark Knight. At least it was one of the better superhero films I'd seen, in recent memory.

After Loki, Thor's nemesis, accidentally falls from Asgard to Earth, he corrupts Hawkeye and steals a powerful energy source from S.H.I.E.L.D. commander Nick Fury. Col. Fury assembles his close circle of superheroes: Iron Man, Black Widow, Captain America, The Hulk; and later on, Thor. The new team: The Avengers set out in search of Loki and try to stop him from from unleashing the forces of his world upon Earth through the use of this new energy.

Although the plot sounds typical of superhero movies with it's predictable good-versus-evil dynamic, The Avengers is different in that rarely does one see a film with a group of well-known superheroes matching wits with one another. Marvel may have started this trend with X-Men, but it's so infrequently used, from what I presume to be because of economic reasons. After all, the film is expected to make over a billion in it's third week; I presume from the excellent marketing and hype brought on by the preceding films. Director and writer Joss Wheadon takes great advantage of this setup, and finds great opportunities for humor and character development. These end up translating into some stellar performances from the cast. What I did feel like the film was lacking that would've truly made it a standout, was pathos. Sure, there was a sense of urgency to the film's events, but at the heart of the story's goofy, comic-book trappings, I didn't think the dramatic moments resonated with me as much as they did with Christopher Nolan's Batman series.

Things also get off to somewhat of a slow start in the begining, but after the film's first hour, it becomes relentless and pure action, with some of the amazing team dynamics being masterfully portrayed in the climactic, New York City, battle royale. Also, I didn't find Loki to be that engaging or threatening enough of a villain. But for those of you who've seen the film, it was satisfying to see one particular scene, which ends with Hulk refering to him as "puny god", because it basically summed up my feelings about his character.

Despite my few criticisms, I thought The Avengers was a lot of fun, and definitely has my pick as one of the better films of 2012. I didn't see it in IMAX, but with the exception of the two showcase battle scenes, I eventually confrimed from other sources that IMAX-viewing is only necessary for the diehard fans, as it is nothing groundbreaking. Summer movie season has gotten off to a fantastic start.

8/10

Peace,
- Jon

MOVIE REVIEW: Hugo (2011)

Hugo is one of those rare films that comes along, because it's so unique in it's artistry. It's a children's film, but it deals with some uncharacteristic mature subject matter. It's directed by Martin Scorsese, and yet, instead of a gritty potboiler, he gives us a vibrant, storybook rendition of Paris, 1932. It's a tribute to silent films, to the advent of modern technology, to the escapist in all of us. While I unfortunately missed the film in theaters, due to school (and subsequently, a lack of interest from family and friends - I refused to go see it alone), I had the rare fortune of winning a Blu-Ray copy in an online sweepstakes. I kid you not. I usually write those things off as trite, but I guess fortune favors the bold. And boy, what good fortune it was!

Young orphan Hugo Cabret, wanders the streets of Paris, searching for parts to complete an automoton (a type of primative robot; a mechanical puppet, if you will) inherited from his late father. When he's caught by an elderly toymaker, who then takes his notebook, which contains building instructions for the automoton, he embarks on a quest to understand the toymaker's strange interest with the notebook. Fortunately aided by the toymaker's young goddaughter, Hugo discovers the unlikely working relationship his father had with the man, and how the automoton may be the key to reviving his once prestigious past.

While Hugo is on it's face, a slow film, due to the dominant use of dreamlike, visual storytelling that Scorsese handles so well, I was never once bored, because it meant I was getting a chance to immerse myself in such a lush and vibrant world. The director, being the genius that he is, captures each tangible and intellectual element of the story so masterfully, I felt like I was in the presence of greatness even once the opening title hit the screen. Even though I was only watching in 2D,  I didn't need 3D to be impressed by the sheer magnitude of the visuals (although, it must've been, undoubtedly more impressive). The acting, as anticipated, was also impressive. I expected nothing less from Asa Butterfield after seeing his outstanding performance in The Boy in the Striped Pajamas. Chloe Moretz is equally good as his precocious confidante; something the actress has characterstically embodied in most of the work I've seen her in.

Although only time will tell if Hugo stands to become a classic, it certainly is qualified by the strong critical acclaim and numerous honors (among them, 11 Academy Award nominations, with 5 wins) it garnered last year. I certainly hope so, as it was one of the more visually arresting and innovative films that 2011 had to offer.

And for anyone who may be interested, here is a complete copy of Georges Méliès A Trip to the Moon:

9/10

Peace,
- Jon

MOVIE REVIEW: Game Change (2012)

Hi everyone! Sorry for having been away for so long. Law school has consumed a better part of my life, and I'm finally on Spring Break for the next week or so. I plan on doing a re-cap of how my first year went, as soon as the time is right, because I feel like some bright-eyed, future student out there could use the advice. But more on that, later...

On my second night home, I watched Game Change, the HBO movie, based on the book about the 2008 US Presidential Election. Focused on the Republican Party's  John McCain campaign, the audience gets an inside, albeit dramatized look at the pressured campaign managers as they try to combat bad PR and tackle two "maverick" candidates.

Most of us lived through this little piece of history, but few are aware and perhaps uninterested as to what actually happened behind-the-scenes. Faced with deciding on a running mate for the presidential ticket, John McCain selects the hockey-mom Governor of Alaska, Sarah Palin, igniting a media firestorm from Palin's formidible celebrity presence to that of Democratic candidate Barack Obama. With her strong moral values, down-to-earth disposition, and close family ties, Palin becomes an overnight poster-child for the conservative movement. The rest of political America, however, is less than pleased, when it soon becomes apparent that her political acumen, and personal life are not up to snuff. We know how this ends, but what we didn't know, then, for Palin, it was just beginning.

While not my favorite story in the canon of political campaigns, there's a lot to like about Game Change. Even if you look at everyone who was involved in the production and understand most of them have strong liberal backgrounds, it's a better experience if that notion is dropped in favor of the enjoyment of good storytelling, which is exactly what the film features. This is a story best described as good intentions that didn't quite pan out as expected; a tragedy of errors. Not just because McCain's campain managers didn't realize the proverbial pandora's box they unleashed with Palin, but because her strong personality (or ego, if you will) was more than anything the McCain campaign was ready to deal with.

Amongst the star-studded cast, Julianne Moore's portrayal of Sarah Palin arguably outshines the rest. She really transforms into the role, but her portrayal is a much more subtle, realistic rendition of Palin then the Emmy-winning masterpiece Tina Fey offered in '08 (she makes two cameo appearances in SNL archive footage). Moore offers the audience to look into the mind of a fiercely independent woman, who refused to sacrifice her beliefs for the political game. Perhaps Palin is more misunderstood than we thought. In the end, one starts to think she was meant for something less obstrusive and more rewarding than politics, after we see the effects it has on her family and personal life.

Game Change, at times, is painfully like what I observed one reviewer say: "watching the A student trying to help the D student pass the final exam."  It is clear from the narrative that the McCain campaign managers feel the campaign is doomed once Palin enters the picture. I presume most of what I'm watching is taken from reliable sources within the campaign, although I did feel at times that Palin's "nervous breakdowns" and moments of morose catatonia reeked of melodrama, especially when the advisors begin to question her mental health. It certainly works in the field of drama, but something about it didn't sit right with me. Lastly, with the majority of the perspecitve fixated on Palin (who is, arguably, the more fascinating figure in this yarn), it would have been nice to see more of McCain's perspective too.

Despite my mild criticisms, Game Change is absolutely worth your time, even if for just the performances alone.

8/10

Peace,
- Jon