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