Legend of the Guardians:The Owls of Ga'Hoole

Zack Snyder, you sneaky bugger. The acclaimed director known for his adaptations of 300 and Watchmen, makes his animated debut with Legend of the Guardians. For those who aren’t familiar, this movie is about owls, badass owls. Not enough of a description? Okay, the story follows Soren (Jim Sturgess) and his brother Kludd (Ryan Kwanten) as they grow from friends to enemies after being kidnapped by a cult of bigoted owls. Soren embarks on a journey to find the guardians, legendary heroes of their world. Kludd takes the opposite road of brainwashed evil soldier jerk.

It takes time to adjust to the fact that everything happening is in a world of cartoon owls, though at some point that campiness transforms into an epic movie. I didn’t think that was possible. Though I did find that gizzards found their way into the script too much. Personally, I don’t relate very well to owl-type things like owl pellets, but the second half of the film is focused more on the characters and less on what their species is. Plus, with the use of voice talent that strayed from Hollywood’s A-List, the voices belonged to the characters and not the talent’s past performances.

I am told (by Wikipedia) that the film is based on the first three books of a series of around 20 stories. While that presents plenty of material for sequels, the film is self-sustaining and will only have a sequel if its cash pull is enough. In regard to Legend’s pacing, I found it to be a fitting length for a movie searching for the epic feel it presents. However, after months of being billed as a children’s movie, I must say that it was slow at times for a younger audience. I just can’t help but think that Legend of the Guardians would be a fun franchise for kids to grow up with. Especially, with a director like Snyder, who continuously shows he knows how to adapt well-known stories to the big screen. I enjoyed it deep down in my gizzard…. Sigh. (7.5 out of 10)

The American

Early September releases are a big question mark in the film release schedule. Usually a George Clooney movie would have enough interest to garner the summer spotlight. The American, however just missed the cut. The film follows Clooney’s Jack, an aging hit man who grows weary of the stresses of his job while in hiding from his own enemies. The premise was not presented very clearly through the shoddy advertising campaign, which more than likely contributed to the lack of buzz the film created. But, in the long run that may have been for the better. The American is not for everyone.

With only minor supporting players preventing this from becoming the Clooney show, the development of the lead was crucial to the film’s overall success. It’s hard to say if the script met such a criteria, but Clooney pushes it that extra inch with a strong performance. He will always be remembered for his charming roles, but his presentation of the character’s numb personality was at the very least convincing. Subtlety is not always the easiest thing for an actor, but Clooney had no trouble at all.

The pace of the film is the aspect that wouldn’t have translated to the summer vacation masses. To be honest, a ton doesn’t happen. Some gunfights and such, but the realism left my stomach in knots more than most blockbusters could. Every time he goes to sleep, or walks down the street, the silence presents an ominous moment that leaves the audience on the edge of their seats paranoid for what’s to come.

While I don’t know the film’s lasting value, it has the feel of a classic with Italian influence both in front of and behind the cameras. The scenes flip-flop between the deep shadows of film noir and the structure of classic Hollywood productions. I have read many reviews where critics judge a picture for borrowing techniques of the past and overlapping styles, however, it’s refreshing to see a well thought out film with focus on tradition and the art of film making. The American shows this can be done without the contentious superiority in the modern independent movement. (9.0 out of 10)

Machete

Stereotypes are cool. Aren’t they? You agree Robert Rodriguez? Machete is the story of a military trained Mexican immigrant who tries to bring down a radically conservative politician who enjoys shooting Mexicans for sport. The film has an obvious political agenda that is placed side by side with excessive gore and shallow nudity. The gore and nudity are expected with Rodriguez but the preaching was stuffed down the viewer’s throat.

So, firstly southern border enforcing Americans are presented as uneducated white trash that have no respect from human life. Then the illegal immigrants are shown as day laborers and expendable workers. To add insult to injury, they all eat tacos and burritos throughout the film. I think a movie that tries to show the worth of a group of people would do better presenting their potential. Maybe a clearer showing of the conditions in Mexico or showing what they can amount to in the US would have been more affective. I seem to be completely over thinking this intentionally campy film. But, in my opinion, if a film goes political they need to back it up more than Machete does.

The big names in the cast aren’t overly successful. But, the script allows for usually mediocre actors to appear stronger through over the top comedic sequences. Michelle Rodriguez, and Jessica Alba fit that bill. Danny Trejo holds his own in the title role that doesn’t really demand that much. Machete is kind of a less classy James Bond. Charm is definitely not his selling point, though he is comically promiscuous. 007 never seemed to enjoy spurting blood as much.

The film’s over-the-top antics provide a comical and exciting experience. As I not so subtly said above, the politics shroud the positive elements of Machete. One thing is sure; nobody can leave this movie without feeling some type of emotion. The only problem is if too many people feel immense disgust. I only felt moderate disgust. (7.1 out of 10)