City of God

I recently watched “Flags of Our Fathers,” a film that mentioned the potential of a photo to win or lose a war. The one at Iwo Jima declared victory for America. Several in Vietnam ended the campaign flat out. And the many by one resident of the Cidade de Deus (“City of God”) told the world they existed.

“City of God” is one of the most culturally significant films in years because it observes one of the worst societies in the world with such great depth and insight. The Cidade de Deus are gruesome slums located in the otherwise picture perfect area of Rio de Janiero and remain unchanged because the people living there are so removed from the postcard image for the government to know or care. The film tells the story of Rocket (Alexandre Rodreigues), a teenage boy that for so long has resisted becoming a hoodlum or dead and now wishes to escape through his love of photography.

The film has a vivid screenplay that tells multiple episodic tales about the town and its residents. It starts interestingly enough, telling Rocket’s story chronologically, but the nature of the film is to back track, linking together these multiple stories so fluidly. Through the same shot, Director Fernando Merielles can create astounding revelations about the characters and their relation to one another. For instance, the mysterious disappearance of a character and another’s rise to power would never be as clear cut if told in order, but the shocking way in which they link almost seem to justify the sudden pounding on a door we’ve already heard three times.

This beautifully woven tapestry of a screenplay not only tells a tragic story but also explains the inner workings of a town that will always seem to be thriving on crime and violence. Continue reading “City of God”

Sin Nombre

“Sin Nombre” develops on the kill or be killed concept of “City of God”: If you stay, you’re dead. If you try to leave, you’re dead. Here is an example of a person trying to leave Mexico for America as so many attempt to do for a fate that is equally unclear.

The film’s title translates to “without a name” of which the main character has two, but no true identity. His name is Willy (Edgar Flores), but on the streets of Mexico and to his gang he is El Casper. We have much empathy for this character, who literally wears his emotions on his face in the form of a tattoo teardrop. He brings along a young 12-year-old to join the gang, either to distance himself or have someone closer to himself than these hoods that call themselves brothers. Continue reading “Sin Nombre”

Rapid Response: Badlands

I have now seen all of Terrence Malick’s movies… that is until “The Tree of Life” comes out. But having seen his first film last, “Badlands,” it is interesting to see how Malick has grown as a director over time.

The film recreates the story of mass murderer Charles Starkweather and his young girlfriend Carill Ann Fugate, but in the movie they are Kit (Martin Sheen) and Holly (Sissy Spacek). These two young kids, he an out-of-work 25-year-old and she a 15-year-old student, are lonely people that simply find each other and discover themselves attached. Their love is hardly a strong connection, and although he looks like James Dean, appearances aren’t really involved either. Continue reading “Rapid Response: Badlands”

The Princess and the Frog

There isn’t a song, gag, art design, character, moral or plot point in “The Princess and the Frog” that doesn’t seem patently borrowed, adapted and simplified from every other Disney movie ever.

But you know what? I don’t care.

“The Princess and the Frog” is highly watchable, charming, artistic, amusing and funny in the spirit of any of the Disney classics I grew up with as a kid. The film is done in a stunning, colorful 2-D. It has a textbook, but workable story structure. It forces its audience to think, engage with the characters, feel emotions and do it all simply. It does everything an animated movie was supposed to do before chaotic digitally animated action sequences took over or before Pixar made their kids movies a little too smart and started scaring lackadaisical parents and their kids back to the former. Continue reading “The Princess and the Frog”

Tangled

It’s hard to believe that with “Tangled,” the latest Disney animated feature, there have now been 50 of these magical movies since “Snow White and the Seven Dwarves” back in 1938.

I wrote in my “Princess and the Frog” review that the recipe from which Disney concocts their magic spell has gone a little stale, and that is no less true in this retelling of the Rapunzel story, but come on; it’s a Disney movie. It’s at least what you would call “good.”

To say the least, the goofy thugs, animals and slapstick that populate “Tangled’s” ranks inherently charmed me. The characters’ big droopy eyes and the colorful animation are also a treat.

But I’m more interested in the things “Tangled” does differently, the first of which smacks you right in the face from the first frame. The film was shot in 3-D, and the camera is granted the freedom of movement in a whole new dimension. There are swoops, spins and flurries of cinematography in this digital world that is unlike anything ever seen before in a Disney film. Continue reading “Tangled”

Cannes 2011 Preview

“Drive,” “Melancholia” and “The Tree of Life” are amongst the most anticipated films at Cannes 2011.

No, I’m not going to Cannes this year. The competition starts on Wednesday and runs through the 22nd. But if I was, I’d have my work cut out for me with what looks to be such a strong list of 20 films competing for the Palme D’Or. I wish the best of luck to Jury President Robert De Niro in selecting from such a field.

He’ll be assisted by the likes of Jude Law, Uma Thurman, Olivier Assayas (“Summer Hours,” “Carlos”) and several more film experts to choose the winner in the main competition. This year’s opening film is Woody Allen’s latest, “Midnight in Paris.” It is being shown out of competition, along with Jodie Foster’s “The Beaver” and the Rob Marshall directed “Pirates” sequel (thank god), and Allen is just one of many notable directors premiering films. Interestingly enough, 22 women are showing films at the festival this year, a record for Cannes and possibly film festivals everywhere.

So there’s a lot to be excited for. And I’ll do my best to recreate the experience of being there with this preview rundown of the competition’s front runners and a few more worth mentioning. Continue reading “Cannes 2011 Preview”

Blue Valentine

Ryan Gosling’s character in “Blue Valentine” mentions in passing that men are more romantic than women. For a man, his bride is the most beautiful creature on Earth, way out of his league. The woman may just settle. I found myself agreeing with Gosling over Michelle Williams more often throughout this film, but who’s right and who’s wrong hardly matters in this heartbreaking romance.

Dean and Cindy are a struggling married couple in their 30s, one child, lower middle class. He’s a blue-collar high school dropout. She’s a nurse through medical school. It’s Valentine’s Day, and they debate getting a room at a cheesy, romantic motel. They’ve made a reservation at “The Future Room.”

We don’t really know why, but things are not well at home. Dean is fun, if a little immature, but he’s good with their daughter and responsible at his job. He also clearly loves Cindy, but her love is not as clear. She gets upset when he gets jealous and angry after she bumps into an old boyfriend at the liquor store. She also questions why he doesn’t do more with his life, or isn’t a little tougher in maintaining the family responsibilities.

Their relationship alone is a variance on what is normally conveyed in broken romances or marriages. He’s usually distant and irresponsible, and she’s usually nitpicky and expecting too much. “Blue Valentine” exists on the basis of Gosling’s sentiment I mentioned above about men and women and romance. Continue reading “Blue Valentine”

The Last King of Scotland

When a leader commands as much conviction in his voice as Forest Whitaker does as Idi Amin in “The Last King of Scotland,” you don’t ask why the man thinks or acts the way he does; you just go along with the ride.

Director Kevin Macdonald and screenwriter Peter Morgan are more than happy to take us on this historical journey through 1970s Uganda, when Ugandan President and army general Idi Amin ruled the country with an iron fist. We see the events unfold through the eyes of Dr. Nicholas Garrigan (James McAvoy), a stifled young man from Scotland looking to escape into the world and do some good.

It does seem to be a trend in historical biopics like these to view the most interesting character, in this case, Amin, from the outside and not as the protagonist. And although we get a richly complex character in Amin, the main story is about a boy who was once sheltered at home and was then ironically sheltered in one of the most dangerous places in the world. Continue reading “The Last King of Scotland”

The New World

Even children know the story of Pocahontas. Her story does not need to be retold, and in fact it is slightly historically inaccurate. But there is still beauty in the story, and leave it to Terrence Malick to evoke the natural wonder contained within the British’s encounter with the “naturals” in “The New World.”

To make the Pocahontas tale a story for adults, Malick embeds in the film a message about the way we communicate when presented with something new. John Smith (Colin Farrell) begins the film as a stoic and silent convict in the crew to settle the colony of Jamestown. Upon arriving in the new world, it is expected of him to rebuild his reputation and communicate to the crew he is worthy of accepting the responsibility of exploring when presented with new circumstances. Continue reading “The New World”

Why Marvel is starting to piss me off

Marvel’s extended universe and Easter Eggs are getting out of hand.

When Lou Piniella was managing the Cubs, a journalist asked him why he didn’t switch pitchers following a bad loss under the pretense that they could’ve performed better in the next game of the series. Piniella said, “I’m focused on winning THIS game, not the next one.”

Marvel Studios, since 2008 and their separation as an individual studio, has always been focused on the next game.

I bring this up because “Thor” bothered me quite a bit. As the first movie of what will now be a llllooooonnng summer, it signaled to me the same crap Marvel pulled with “Iron Man 2.”

They are making an “Avengers” movie in 2012, and in both “Thor” and “Iron Man 2,” it has been heavily marketed within the movie as a prominent side plot to the main one.

The upcoming film has an all-star cast, is directed by cult TV favorite Joss Whedon, and they damn well want you to know to be excited for it. Continue reading “Why Marvel is starting to piss me off”