Country Strong

The subtle differences between the movies recognized at award shows and those that aren’t are on display in Country Strong. In a nutshell, it’s essentially a strong ensemble cast crooning authentic country songs throughout an overzealous script. That script follows a recovering alcoholic/country music star (Gwenyth Paltrow) as she hits the road with two promising talents (Garrett Hedlund and Leighton Meester). All the while, her manager husband (Tim McGraw) keeps the pressure on to deliver a successful tour whether she’s ready or not.

While Paltrow is the big name promoted with the film, Hedlund emerges as the real star. He plays the country music purist very well. Being the most stable of the characters, there is not much development however. His views of others may evolve, but that’s it. The other standout is Mcgraw, whose business driven character has the look of a real money hungry music mogul. Like he did in Friday Night Lights and The Blind Side, McGraw shows he can outshine Hollywood heavyweights. This occasion was probably easier for him, seeing that he actually is a country music star. He’s still good though. Paltrow and Meester do deserve mentioning, but were handily overshadowed.

There are a lot of powerful scenes spread throughout Country Strong. Unfortunately, there are also a lot of soap opera plot points. Is it entirely necessary for everyone to sleep together? Or how about constant alcoholic relapses? In reality there are more subtle and effective ways to show someone struggling than chugging vodka while dancing on top of a bar. This is the fault of the screenwriter more so than the actors. But some scenes were impressive. When Paltrow’s character makes a visit to a child with leukemia, it has a real nice feel to it. And Hedlund leads a good amount of emotional exchanges with the other characters. Lastly, I must add that I did enjoy the parade of flannel shirts chosen by the wardrobe department. Apparently I dress like country music singers. (8.0 out of 10)

No Strings Attached

Following her Golden Globe winning performance in Black Swan, Natalie Portman decided that it was a good idea to team up with perennial flopper Ashton Kutcher in the rom com No Strings Attached. The plot, which differs from the advertisements, is centered on a couple that gets to know each other while attempting to keep their relationship at a purely physical level. Though the story is only the surface. Strong comedic elements are strung throughout to round out the shallow exchanges between Portman and Kutcher. I wouldn’t begin to claim that there are endless laughs but some are pretty good. A well-timed Rick Moranis reference tickled me most.

The film is quick to establish the reason for its R rating, unnecessarily dirty language in the opening scenes. Well actually they keep referencing the same few dirty jokes. But things settle down with the help of comedic genius Ludacris. I write it in a sarcastic tone, but he is pretty funny in the movie. Kutcher’s performance is borderline likeable, which is unexpected these days. Portman, not so much. But most players had their moments.

Cutting some of the ridiculous beginning portion of the movie would help drastically with the dragging pace. 110 minutes may not seem that long but it is in this instance. Every development repeats itself causing static points in the story arch. But possibly the best part of No Strings Attached is that Ivan Reitman is back in the director’s chair. It doesn’t necessarily mean much, but if the third Ghostbusters is to be made, his skills behind the camera need to be fresh. That has very little to do with this movie, but what can I say? (7.1 out of 10)

The Dilemma

The incredibly high success rate of Kevin James is at risk with his latest, The Dilemma and that’s a streak I am rooting for. In this venture, James stars alongside Vince Vaughn as friends and business partners on the verge of a big business deal. Though Vaughn’s character is faced with the titular problem when he witnesses his friend’s wife, played by Wynonna Ryder kissing another man, played by Channing Tatum.

Following that, the film is centered on awkward event after awkward event. Some are funny and others are cringe-worthy. The latter proves to be even more effective in causing discomfort because of its evolution from the nice and carefree opening to events like Channing Tatum bashing Vaughn’s antique car with a baseball bat. But in the long haul, Vaughn and James’ likeability overshadows the disaster situations.

The chemistry however is a bit misguided. Vaughn and Tatum prove to be the most successful combination while their characters are supposed to be opposites. James and Ryder are never really believable as a couple, but that is due to the fact that Ryder seems like such a witch. Individually the actors all do relatively well.

The Dilemma’s script begins rather slowly. I dare say that when the movie inevitably airs on TBS in a few years, the viewers at home may change the channel before the plot really gets going. The middle portion is the strength, which builds the awkward story. It then slows back down near the resolution. The inconsistent pacing makes the film seem much longer than it actually is. This is not Vaughn or James’ best work, but surprisingly it is one of Tatum’s best. The movie is an enjoyable and a successful take on disaster comedy. It’s not a classic but there are laughs. (7.5 out of 10)

The Green Hornet

While there is a wealth of superhero flicks released every year, this recent influx hasn’t seen one quite like The Green Hornet. Based on the longtime radio serial, Britt Reid (Seth Rogan) looks to make a difference in the community after the death of his father. With the help of his sidekick, Kato, (Jay Chou) Reid builds the persona of the Green Hornet. The film is split between comedy and action, with the focus leaning towards the former. Without the overexposure to fighting, the audience can appreciate Chou’s martial artistry more when it is showcased.

The script is written spot on for Rogan and since he wrote it, with his writing partner Evan Goldberg, I can’t say I’m surprised. The creative team behind teen comedies like Superbad and Pineapple Express are more focused with this effort. The story loosely sticks to the necessary aspects of the original Hornet storyline while updating it and making it more appropriate for younger audiences.

The problem with pacing comes in the film’s final action scene, which goes on too long. They may have gotten away with it if they didn’t add the cheesiness in there, but the grouping is still very watchable. With that being said, the abundance of cheese that is present in the rest of the movie is very funny and adds a great dimension to the story.

The crime throughout tends to deal with gang violence and drugs, but still has the feel of old style crime that is usually associated with the Hornet. Lead by Cristoph Waltz, the criminals have airiness to them that keeps the comedy flowing at all times. The same can’t be said for the ever-unnecessary Cameron Diaz, who provides awkwardness to a static role. Even after identifying the negatives, The Green Hornet has the potential to be a very strong bridge between comic books and comedy, which I would be happy to see transform into a multi-film franchise. (8.6 out of 10)

The King's Speech

The hype surrounding The King’s Speech makes it near impossible to view with an unbiased eye. Throughout the feature, when a strong moment passes, it has an extra potency to it because the movie going public has been repeatedly told it’s good. The film is the true story of England’s King George VI, (Colin Firth) as he deals with his lifelong speech impediment in the wake of becoming king and looming war with Germany. After trying plenty of methods, progress finally comes with help from the poised Lionel Logue (Geoffrey Rush).

The script is successful in presenting the discomfort of the king without making the audience cringe. Firth’s performance definitely helps in that aspect. The stutter is executed with a realism that would have proven tough for other actors. The worst-case scenario of devolving into a Bugs Bunny sound is never even approached, which I did fear.

While the sets and filming locations are accurate and complement the film well, director Tom Hooper used a wealth of unconventional close-ups. The actors are given almost no breathing room because of the intimacy of the camera. I can’t say that the shots are entirely necessary though. They don’t fit the regality and tradition of the story. There are also mid-angle shots that are slightly high-angle and have atypical cropping. These feature negative space that sometimes respects the feeling of the scene and sometimes does not.

The tension that builds through nonverbal acting is the most successful aspect of The King’s Speech. Frequently the film borders on monotony but is saved before crossing the line by the actors. Not only are the lead actors crucial, but the abundance of well known Brits in support are strong, as well. While the media has conditioned the public to expect a certain caliber film, it is a good one, though at times unnecessarily artsy. (9.1 out of 10)

My Top 10 of 2010

I saw 57 films in the theaters throughout 2010 and there were quite a few I really enjoyed. This is my list of which ones I found to be most successful. Click on the links to read the full reviews.

10- The American (9.0 out of 10)

A thriller with the look and pace of the classics, it takes from multiple influences to ease the audience into calmness before tying their stomachs in knots.

9- The Other Guys (9.0 out of 10)

This lone comedy on my list splits the screen between Will Farrell and Mark Wahlberg, allowing both to deliver a wide range of jokes without the usual pressure.

8- True Grit (9.2 out of 10)

Without any camera tricks or flashy effects, Jeff Bridges and company deliver a modern western that appeals because of all around quality filmmaking.

7- The Fighter (9.2 out of 10)

Incredibly real and well acted, it’s an inspirational sports film without the gloss that usually accompanies them.

6- Black Swan (9.3 out of 10)

Morphing from uneasy realism into psychological chaos, Natalie Portman’s character has an incredible amount of development, even if it is upsetting to watch.

5- The Town (9.3 out of 10)

A heist movie that doesn’t lose track of its characters, Ben Affleck and Jeremy Renner compliment each other better than any other duo this year.

4- Hereafter (9.4 out of 10)

With three intertwining storylines focused on what comes after death, Clint Eastwood’s latest is an emotional and aesthetically pleasing project.

3- Harry Potter and the Deathly Hallows Part 1 (9.4 out of 10)

The most successful fantasy film since the final Lord of the Rings, the only thing that outdoes the epic action is the humanity of the characters.

2- The Social Network (9.5 out of 10)

Rarely has a movie shed so much light on a generation defining event like this does. The contrast in earning ultimate success and failure simultaneously is quite tragic.

1- Inception (10 out of 10)

My first perfect score, its originality is only surpassed by its visual effects. An active audience is needed to connect with the cast who pick at your minds like they do each other’s.

Season of the Witch

Nicholas Cage’s latest is a black plague era fantasy thriller based around two former crusaders who escort a suspected witch to a monastery for trial. The majority of the film is a road story, where the characters encounter obstacles that are borderline supernatural. Season of the Witch is a perfect example of a movie that some would right off as “bad.” So, I thought this would be a good review to point out how I believe positives outweigh negatives in most films. There are plenty of both in this instance.

Firstly, the acting is a huge variable from scene to scene. Nicholas Cage’s range as an actor apparently is halted at the donning of a British accent. He is believable as the battle-hardened knight, but the script becomes incredibly weak when Cage slurs through it with the sound of a fifth grade Oliver Twist performance. Ron Perlman is a bit better, but still not plausible. They are saved however by a handful of supporting actors who play their parts very well. The two young members of the cast, Robert Sheehan, who plays Kay, and Claire Foy, the suspected witch, lead the way. It seems like they did their homework better than the two leads.

The setting for Season is split among a series of plague ridden, filthy towns that have diseased corps at every turn. It is quite disgusting and effective at setting the tone of mystery and suspense. Combining that with the possibility of witch attacks reveals that the tone is well executed. In the film’s climax however, there is the common fantasy film ailment of lame CGI monsters. Real actors would be more successful and keep a bit of credibility to the religious fiction plot. While full of positive aspects, it is difficult to become immersed in Season of the Witch because of frequent missteps. (7.0 out of 10)

The Chronicles of Narnia: The Legend of the Dawn Treader

The latest trip to Narnia follows a combination of old and new characters as they return to help fight a faceless enemy. Based on CS Lewis’ classic fantasy series, it’s baffling as to why these films garner less admiration then other similar stories. It could be the obviously allegorical storyline or maybe the presence of animals as lead characters, but no matter what the reason is, the Narnia films consistently hold a level of prestige that is directly correlated to the growth of the characters.

In Voyage of the Dawn Treader, the third release in the series, Edmund and Lucy return with their cousin Eustace to help King Caspian investigate some mysterious disappearances. With the majority of the storyline taking place on the Dawn Treader, an old-fashioned wooden navy ship, this is basically Pirates of Caribbean: Narnia. Don’t take that as a slight. Since this story was written before the Pirates films, the replication can only be aesthetic.

The two youngest of the four original Narnia children take lead in this chapter, which makes for a strong audience connection. Though some other main players lack any significant development. Voyage is thick in parable, possibly more so than its predecessors. This often slows the pace making clumsy dream sequences and repetitive exchanges.

Since The Lion, The Witch and The Wardrobe, the first Narnia film, the use of CGI animals has decreased significantly, but the two who survived the purge are very well voiced. Liam Neeson reprises his role as the divine lion Aslan and Simon Pegg replaces Eddie Izzard as Reepicheep. Less is more in this aspect as the two animals are well done and play important roles to the film. If this is to be the last of this current run of Narnia films, Voyage provides a strong ending to a casually linked trilogy. Though if more are to be made, a rethinking in marketing is needed because they provide more entertainment than their box office numbers state. (7.8 out of 10)

Yogi Bear

The favorite talking bears of Hanna Barbera return in this 3D incarnation of Yogi Bear and his picnic basket stealing antics. In a hybrid live action/animated format such as this, it seems that the acting process becomes more difficult for those actors who actually exist outside of the computer-generated world. However, Tom Cavanaugh, who plays Ranger Smith, has a valiant effort and is a more than adequate human version of the one and only “Mr. Park Ranger, sir.” That success is possibly more important than Yogi himself as the humans carry the storyline and the bears provide the jokes.

Content wise, the film kept to the true spirit of Yogi bear from the days of the bear’s own cartoon, more contrived and ridiculous than his original shorts on The Huckleberry Hound Show. Though this is necessary to compete with new animation in the "Shrek era" of multi-layered children's entertainment. The bears make a lot of food jokes, supported by interesting bits of humor, like Weird Al's “Lasagna” playing in the background of their cave. The humans on the other hand, have nature jokes coming out the ash (get it, like the tree).

Yogi and Boo Boo are voiced by Dan Akroyd and Justin Timberlake, though except for some strong comedic timing, I can't help but think that some low level voice actors could have done just as well. Seeing that they went with an imitation of the classic voices, I doubt their star power has any pull with audiences.

The shallow story line with a focus on responsibility and dedication is not revolutionary. But I find this kind of fun problem-solving plot much more appropriate and less preachy than the scared-straight tactics of this year’s biggest animated hit Toy Story 3. Yogi is a laid back, average joe type character that is most successful when written into a simple story where he can commit some good ol’ petty larceny. It’s an overall fun film for kids and fans of the cartoon. (7.2 out of 10)

Tron: Legacy

When movies are expensive and don’t gross very much money, it’s rare they get a sequel, as was the case with 1982’s Tron. But alas, almost 20 years later Disney decided to give it another go now that the technology has caught up to the storyline. No matter how you swing it, the light up hockey helmets in the original don’t stand the test of time. Anyway, Tron Legacy follows Sam Flynn (Garrett Hedlund) as he searches for his missing father (Jeff Bridges) in the digital world the father created. Once there he must deal with death match competitions, a tyrannical computer program seeking a perfect world and the general problem that he’s inside a computer.

While the complex tech heavy plot isn’t always easy to follow, there’s no denying its cleverness. There are very few moments where the CGI-heavy setting isn’t successful. The major problem lies with the digital de-ageing of Bridges in the flashback scenes and scenes involving the character Clu. It just doesn’t look real. Using a young actor who resembled Bridges would have been a better option, even if the voice were to be dubbed after the fact.

Hedlund, Bridges and Olivia Wilde provide adequate performances that hold up to the leads in similar sci-fi films. Even with the fighter plane scene where Hedlund blatantly copies the similar moment from Star Wars isn’t that bad. He then follows that with some incredibly unnecessary one-liners. This is definitely the weakest instant for him, in a promising performance that contained a number of quality action scenes occurring before the fairly predictable ending. The long-term impact of Tron Legacy may not be as revered as the original by cult fans, but it is likely a better attempt at conveying the spirit of the story’s digital experience. (8.9 out of 10)