Crazy Heart

As a movie goer, it is an extreme pleasure to witness a character that I can believe in. Someone with whom I can identify with while sharing in their experiences, both good and bad. Jeff Bridges is able to do so in Crazy Heart with his seemingly effortless portrayal of Bad Blake, an aging country music star who has long since seen his glory days pass him by. Instead of playing for thousands, he instead entertains his faithful followers by performing in bowling alleys and shabby piano bars.

Blake is an alcoholic and smokes too much. He tours around in an outdated Chevy Suburban and has been married five different times. He is every single country music cliche rolled into one, and yet Blake makes it seem that he is the source of those cliches. Bridges portrayal of Bad Blake makes us believe that these events actually happened to him. He can only sit idly by as Tommy Sweet (Colin Farrell), the young kid who once learned and toured with him is now making it big and when he does try to secure the love of Jean Craddock (Maggie Gyllenhaal), his alcoholism drives a wedge between to two that neither party can overcome. Jeff Bridges has taken every country song ever written and breathed live into them to create Bad Blake.

It is only fitting, then, that the soundtrack is comprised of Jeff Bridges singing original country songs written by T-Bone Burnett and the late Stephen Bruton. Bridges' voice, with it's gritty quality and subtle agony, is able to remind us of Blake's history every time he steps up to a microphone all while keeping the singer's pride intact as he performs at a bowling alley.

The preservation of pride in the midst of less-than-ideal situations is what keeps Blake from becoming too much of a cliche. Yes, bad things have happened to him, but he will never do the public a favor by letting them know that. In many ways, Bridges' performance in this movie closely resembles the performance of Mickey Rourke in The Wrestler a year ago. And it's true - I haven't cared about another character like I did for Randy "The Ram" Robinson until Bad Blake came along. Both men are desperately trying to salvage their lives after making mistakes time and time again and in doing so, we are reminded that it is the character of a person, not the previous mistakes made by that person, which is so endearing.

Crazy Heart is a film about a country music singer and it flows like a 2 hour country song. There are no gimmicks, no illusions. The performances from Farrell, Gyllenhaal, and Robert Duvall, who plays Bad's longtime friend, all help to detail who Bad Blake really is, despite his flaws. And Jeff Bridges, who has already established himself as a tremendously talented actor, simply added another notch to his belt without showing any effort exerted at all. If only all actors could be so lucky.

Shutter Island

Is is no secret that Martin Scorsese is a master storyteller. One only needs to look at his directing repertoire to come to this conclusion. Such is the case with Shutter Island. Here, Scorsese teams up once again with Leonardo DiCaprio to tell the story of U.S. Marshall Teddy Daniels who, with his partner Chuck Aule (Mark Ruffalo), is sent to Shutter Island, which houses a government facility for mentally unstable criminals., to investigate the disappearance of an inmate. Once on the island, events begin to unfold mysteriously and Daniels begins to believe that there is something more to this scenario than what meets the eye.

What makes this story so compelling is the element of the supernatural and the unstable psychosis. Scorsese is extremely careful in what he displays to the audience so that by the time the credits roll, he knows that the audience isn't exactly sure what to believe. The story begins simply enough, but then Teddy is informed by Dr. Cawley (Ben Kingsley) that the woman who disappeared did so as if she evaporated through the walls. Other encounters between Teddy and the inhabitants of the island lead him to believe that there a shady undercurrent to this case.

Shutter Island is portrayed with a Hitchcock-esque style of suspense. There is always the sense that something quite large is happening right under our nose and yet no one, audience and on-screen characters alike, is able to quite figure out what it is. And even when the ending is finally spelled out and a conclusion is drawn together, Scorsese still leave the door ajar for other possibilities. Along with the ever-present suspense is the film-noir style that DiCaprio evokes with his portrayal of Daniels. Yes, Dr. Cawley seems to exude mystery and menace every time he is on screen, but it is the obvious baggage that Teddy Daniels is carrying which makes him equally hard to trust. Shutter Island seems to draw out post-traumatic memories of World War II for Teddy and it all that the audience can do to determine why this is.

Scorsese and DiCaprio prove once again that this is a tandem that is not to be trifled with. Some movie goers may disapprove of the disjointed nature of the film, not to mention the way the ending will blindside viewers. And yet, this is exactly what Scorsese has in mind. While the audience members ask question after question, trying to piece together the events unfolding before them, Teddy find himself doing the exact same thing. And believe me, the ending of this film will blindside no one more than Teddy Daniels himself.

DVD REVIEWS - The Hurt Locker

Every now and then, a movie slips by me completely unnoticed. I attribute this to my location, where the local theaters would rather show Did You Hear About The Morgans? for three weeks instead of bringing in something other than another romantic comedy that deserves more screen time. I am then forced to wait for the film to hit the DVD stands before I can see it for the first time, let alone review it. So I have determined not to let the local theaters dictate which movies I can review based on what they are showing and present to you the first installment of “DVD REVIEWS.”

“War is a drug.” From the opening quote by Chris Hedges, the audience is aware that they are not attending their typical war film. Then again, the war in Iraq isn’t a typical war and in many ways, it is a war of uncertainty. U.S. soldiers experience difficulties distinguishing enemies from the rest of the civilians and for Staff Sgt. William James (in an Oscar worthy performance by Jeremy Renner), whose main objective is to diffuse bombs, it seems that everything can be a potential IED. And yet, despite the fact that his job could literally kill him as it did to his predecessor, James approaches a bomb with an unbelievable air of confidence as if he enjoys the pressure brought on by the pressure of the situation.

James’ confidence borders on cockiness and doesn’t sit well with the members of his support squad, including Sgt. J.T. Sanborn (Anthony Mackie). Sanborn follows the rules and procedures to a ‘T’ and he and his men are charged with protecting James as he focuses solely on diffusing the IED. Naturally, because he and his men are worried about potential enemy fire, Sanborn wants to do things by the book so that they can get in, get out, and live to see another day. Sanborn and his crew do no take kindly to James’ seemingly unnecessary risks and view his overconfidence as hazardous, not only to those around him but to James as well.

James does take risks in which the term “bold” would simply be an understatement. Walking straight into a bomb site without first examining the situation or disconnecting radio contact with Sanborn during a diffusing seem crazy as opposed to brave. And yet, he focuses so intently on the task at hand that even though he is extremely reckless, he still is able to perform his job with the precision of a heart surgeon. James is fully aware of the fact that these bombs need to be diffused and no one can do it better than he can and when he is at work, exhilaration and focus consume him and put him in a place where nothing else matters.

This juxtaposition of confidence in the face of a live IED builds an intense amount of suspense, proving that director Kathryn Bigelow knows exactly what she is doing. She makes the audience fear for the wellbeing of SSgt. James while anticipating one false move that will result in his demise. The tension created from every bomb diffusion is simply remarkable. What is amazing is the simplicity of the situation that generates such an intense reaction from the viewer. The hero is in danger and we fear for his life. Alfred Hitchcock, the master of suspense, said that a bomb under a table that explodes creates shock, whereas a bomb under a table that goes unnoticed while the people at the table play cards creates suspense. Such it the case with The Hurt Locker, only this time, the bomb is under the ground, in a car, or strapped to an innocent citizen.

The Hurt Locker has been deemed as one the defining movies of the decade. After finally witnessing it firsthand, that statement is not too far off in its assumption. Bigelow creates a level of suspense that hasn’t been touched since the films of Hitchcock and also masterfully combines that suspense with the story of an ambiguous man who seems to believe that the only way to live his life is to risk it every single day.

Avatar

Despite being a frequent moviegoer, I have never walked out of a movie thinking, “This will change how films are made from now on.” That streak was broken after seeing James Cameron’s latest monster, Avatar. Cameron’s excellent use of CGI effects along with live action acting combined with the amazing 3D effects simply blew me away, exceeding every expectation that I had going into the film, which is something that Cameron has proven time and time again that he is fully capable of doing.

Set in the year 2154, a resource-depleted planet Earth sends representatives to Pandora, a small planet rich in a mineral that earth desperately needs. Certain humans are selected to control avatars of the native species, the Na’vi. These avatars are controlled neurotically while the human remains in a trance like state. This is an appealing characteristic for the main hero, Jake Sully (Sam Worthington), who is a paraplegic filling the role of his deceased, genetically identical twin for whom an avatar was specifically created. These avatars are then used study the native species up close and venture out into the Pandorian world, since the atmosphere is not breathable. Multiple references can be found within the storyline to movies such as Dances With Wolves and the Disney film Pocahontas (the Na’vi can be interestingly compared to the Native American Indians in more than one way), while Cameron is also inviting the audience to compare the film to contemporary politics: armed forces moving in on an area in order to forcibly obtain precious resources. However, while it is clear that Cameron doesn’t hide his opinions, he also doesn’t make these “morals” overpower the rest of the movie.

Avatar incorporated groundbreaking technology in the special effects department at a time when it seems as if things can’t get much better. Pandora is largely composed through CGI and the Na’vi were created through motion capturing techniques but both the planet and the species were created so convincingly that the audience begins to forget that they are fictitious. Cameron’s creation of Pandora was especially breathtaking with the exquisite landscape in which even the tiniest detail was not left forgotten and the bioluminescence of the entire planet made you believe that not only was Pandora real, but that it was a life entity functioning entirely on its own. All in all, considering the CGI regurgitation that has been produced as of late, it is extremely refreshing to have computer-generated images that convincingly lead us to believe that they are reality.

Cameron’s last theatrical monster, Titanic, broke the 3-hour mark in regards to length, but it did so in a way that didn’t make it seem like it was too long. Such is the case with Avatar. Running at 162 minutes, it certainly doesn’t feel too long, mainly due to the fact that there is so much for the audience to take in, even after the amazing special effects. There are the standard human storylines, of course, but because the Na’vi are created in such a convincing way, their individual stories become important as well. Add in the planet that is its own life force and a war in which the human supporters of the Na’vi help by joining the resistance and the end result is an audience that is asking for more after the credits begin to roll. Adding to all this is a phenomenal cast including the lovely Zoë Saldana as the Na’vi princess Neytiri, Sigourney Weaver, Michelle Rodriguez, Stephan Lang, and Joel David Moore.

What people will be talking about long after these storylines fade from memory, however, is the groundbreaking usage of 3-D film technology. So often, 3-D movies were thought of as a gimmick and were used, more often than not, as attractions at a theme park. Cameron’s handling of 3-D changes this whole mindset. Simply put, the usage of 3-D in Avatar is to enhance the overall product and not once is it used simply because it is there. It was nice to have a 3-D movie in which the fourth wall wasn’t intentionally violated over and over and over again. The 3-D technology was carefully implemented in this film and because of this it worked to perfection. And if this is the way that 3-D movies will be handled in the future, many exciting things are in store for moviegoers.

The Wrestler

The critics of wrestling write off the profession, claiming that it is fake and scripted and therefore doesn't have any merit whatsoever. And while it is true that professional wrestling matches are scripted, this fact does not mask the toll that the profession takes on those that partake, both physically and mentally.

The Wrestler tells the story of Randy "The Ram" Robinson (Mickey Rourke) 20 years after his glory days, hanging on to what used to be with his battered hands and the use of a hypodermic needle. Outside the ring, his only possessions are a trailer home he can barely afford, a fledgling romance with a stripper (Marissa Tomei), and a failing relationship with his daughter that he cannot mend. However, when the shot of a comeback comes along, hope glimmers in his personal life as well.

Rourke is able to, through his moving, 'Contender'-like performance, capture the humanity and the anguish of The Ram and magically captivate his audience. Right beside him, Tomei plays the exact same character in a different costume and is able to match Rourke step for step in her own stunning performance. Both are dealing with aging within their profession, both are dealing with their own separate child issues, and both are looking for companionship. It is amazing to see these two on screen with one another.

Adding to the overall experience is the fabulous directing by Darren Aronofsky. The constant over-the-shoulder shots of The Ram bring to mind the wrestler's walk from the dressing to the ring to face his next battle. However, these walks aren't to the ring, but rather to another area of Robinson's post-wrestling life where he must face a new battle, whether that be starting a new job as a deli clerk or trying to get let into his trailer after being locked out for not paying his rent on time. Aronofsky's directing, teamed with Rourke's acting, is able to capture the tormenting struggle of adjusting to a new life outside the ring.

This is definitely not your typical "feel-good" film. The potential for happy endings is rare to find and just when you think that things are going to end up all right, the tide changes just as fast as it does in the ring. Sadness and anguish dominate this movie, but they do so in a way that simply grabs hold on an audience and doesn't let go. I cared for The Ram as much as have with any other character and The Wrestler, with all of its individual elements, is simply amazing in telling his touching tale of grief, heartache, and loneliness.

Being that the Academy Awards are over, my film hindsight is perfect. And even though I have yet to see Milk, and that Sean Penn probably did do a phenomenal job to earn him the Oscar, The Wrestler deserved to be nominated for best picture, and the night should have belonged to Mickey Rourke. His performance, along with that of Marissa Tomei, was absolutely breathtaking in a film that is arguably the best of 2008.

Slumdog Millionaire

Destiny and fate are themes that are commonly used throughout many films from every genre. But it can be argued that these films have never captivated an audience as much as this film is able to.

Told in a series of flashbacks, Slumdog Millionaire is the story of Jamal Malik, an orphan boy who grew up in the slums of India with his brother. The movie opens with Jamal being interrogated after being accused of cheating on the Indian version of the game show "Who Wants To Be A Millionaire?" It seems that it is hard to believe that a boy from the slums could not make it all the way to the final question on his knowledge alone. But Malik insists that he knew all the answers and by watching his recorded performance, explains how each question he received was specifically tied to a memory from his turmoil filled childhood.

Throughout these flashbacks, there is a juxtaposition between the glitz and glamour of the game show and the world that Jamal grew up in, and some of the horrific things that a third world orphan may encounter. The horrific shots of an impoverished India border on unbelievable, with kids living in garbage dumps and outhouses that are simply a hole that opens up into the marsh below. Contrasted against the flashy game show set makes these images even more unreal. But from these slums rises a hero that anyone can cheer for. Using only his wits, Jamal is able to survive trial after trial to find himself not only staring a fortune in the face, but the love of his life as well. Not bad for someone who was probably expected never to make it out of the slums in the first place.

Every aspect of this film is tremendous, from the brilliant acting of young Dev Patel and the rest of the cast, to the seamless editing of a beautiful story. And while director Danny Boyle flirts with the line of pushing the envelope too far in order to depict the harsh realities of a chai wallah slumdog, it does not take away from this fantastic rags-to-riches love story. In short, it is a phenomenal film that lives up to all of its hype, and then surprises its audience by surpassing it ten-fold. And come Oscar night, Slumdog will not stop at meeting, and exceeding, everyone's expectations.

Doubt

I cannot recall a movie that centered around one simple emotion and yet was able to address so many different controversial topics and do so with amazing success. Set in 1964, when there was much confusion and hesitation with the changing times, Doubt addresses, but never resolves, issues of race, authority, religion, and morality.

St. Nicolas is a Catholic school in the Bronx and is headed by Sister Aloysius (Meryl Streep) who is, from my Lutheran point of view, the typical Catholic nun. Strict, hard to please, and quick to discipline, nothing stands in her way. Until the appointment of the new priest, Father Flynn (Philip Seymour Hoffman), who, with his unorthodox approach to Catholicism, has found himself in an undeclared war with the strict Sister. However due to Catholic hierarchy, she finds herself powerless to do anything.

Father Flynn, with his cigarette smoking, long fingernails, and fondness for sugar, is set against the nuns, especially Sister Aloysius, who seems hell bent on removing any trace of the modern world from her school, including ballpoint pens, hair barrettes, and "Frosty the Snowman," claiming it is merely a song celebrating witchcraft. Similarity, the innocent Sister James (Amy Adams), who finds herself under the command of Aloysius, displays a knowledge of the outside world as it is observed through her bedroom window.

The central situation revolves around one particular student at the school, who happens to be the only African-American pupil in enrollment by the name of Donald Miller (Joseph Foster III). Father Flynn takes an apparent interest in the boy, which is assumed to be simply because of his isolated and unique situation. However, when Sister James notices that Flynn summons the boy to the rectory alone. This is deemed inappropriate and upon the mentioning of this event to the principal, Aloysius decides that now is the time to take action against this progressive cancer that has taken hold of her school.

However, despite the introduction of this sketchy situation, the movie isn't about the possible sexual abuse of a student. Rather, it is about the title word, Doubt, in a world of certainty. Oblivious to the fact that she has no solid evidence to support her claim, Aloysius is certain that Flynn is guilty. So certain, in fact, that she ignores the alibi of the priest, as well as the changing of opinion of Sister James in believing that she was mistaken in her suspicions. Flynn, on the other hand, knows that a scandal will tarnish him for life and is just as determined to prove his innocence.

Thrown into the mix is Donald's mother (Viola Davis), who is confronted with the situation during a private meeting with Aloysius. However, her biggest fear is that her son will be expelled, not the other events that Aloysius is certain of. What is remarkable is that in this short 10-minute scene, Davis is able to stand toe to toe with one of the greatest actresses of this generation and it is this confrontation that generates terrifying power.

Doubt. Not only the title of the opening sermon in the film, as well as the title of the film itself, but it is also the basis of the entire movie. During the 1960's, doubt was entering the church, as well as the United States, especially after the assassination of President Kennedy. This doubt in the church is what fueled the confrontation between Flynn and Aloysius, between old and new, traditional and progressive, certainty and dubiousness. And when all is said and done, and the audience is still left doubting, there isn't a feeling of annoyance from being deprived of a concrete ending. Rather, one is left to sit in quiet contemplation, trying to remove all doubt for themselves.