Lincoln

As soon as the first promotional photo of Daniel Day-Lewis playing Abraham Lincoln was released, it became pretty clear he was the front runner for the Best Actor trophy at the Oscars. Now, I don’t believe I’ve ever met Lincoln, but from what I gather the resemblance is pretty uncanny. Directed by Steven Spielberg, Lincoln follows the final six months of the President’s life. During this time he deals with growing pressure to end the Civil War, along with his attempt to pass the Thirteenth Amendment in the House of Representatives. The amendment, which outlawed slavery, ends up being the film’s main conflict.

While I’m no Lincoln scholar, I know that the film presents the icon through a strictly supportive method. The issue that outlawing slavery was also important to collapse the Confederacy’s economy even in the face of their rejoining the Union is glossed over. Also, the use of corruption to secure the House votes is presented as a clever and positive way to do so. I understand Washington is a shifty place, but the flawed portrait of Honest Abe the film promises never comes to fruition. But what is presented is highly entertaining and dramatic. The audience has a built-in support for such an important figure, who was instrumental in freeing millions and is generally pretty likeable. The script takes advantage of that.

The film’s look continues where Spielberg’s last film, War Horse left off. With an eye on giving the gruesome conditions of war a bit of realism among highly stylized elements, the audience, which consists of more demographics than I’d expect, can handle seeing scenes such as the President riding through a field of soldier corpses. After this, Day-Lewis can probably make the best case for being the best actor in the world. While a look through his filmography may make one think otherwise, I believe that he will continue to win Oscars every time he takes on a role. Some of the other “contenders” seem plain silly compared to Day-Lewis. The supporting cast does very well also, led by Sally Field, David Strathairn and Tommy Lee Jones. But the difference is they give good performances, the actor with his name above the title gives one of the best performances ever.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

Red Dawn

After years on the shelf due to MGM’s bankruptcy, Red Dawn has finally seen the light of day with a cast much more famous than when they filmed it. A remake of the 1984 film of the same name, the remake follows a group of Washington teenagers and 20 somethings as North Korea invades their community. With Chris Hemsworth and Josh Hutcherson seeing blockbuster success in the past few years, there should have been a newfound sense of optimism for the film. However its buzz was extremely limited and the overwhelming amount of male centered advertising spoke to the desperation in trying to prevent a flop. The jury is still out on that, but the film delivers as advertised.

With campy one-liners and a premise that takes a while to believe, it’s definitely not a classic war epic. But once things get going there is a down to Earth feel that can put the audience in the shoes of such a frightening concept, your home being invaded. When the characters begin fighting back with their guerilla tactics, it’s hard to imagine they’d make any progress against the no-nonsense soldiers they are supposedly out-witting. How dare I question the elite fighting force who calls themselves “Wolverines.” After all, they shot tin cans in the woods for practice.

Running close to two hours, Red Dawn is paced well keeping the audience’s attention from the foreboding opening credits through the heart-pumping final scene. The scale seems a bit small for such a seemingly massive event. After the initial airborne invasion, everything shrinks a bit too much. In terms of acting, Hemsworth falls a bit flat as Hutcherson gives a more emotional performance. Josh Peck, who plays the stubborn younger brother to Hemsworth’s soldier character, disappoints with a whiny performance that gets old fast. It’s likely how the character is written, but still annoying. Red Dawn definitely could be better with some significant fine tuning, but after expectations were set so low, its entertainment value is definitely higher than you’d think.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

The Twilight Saga: Breaking Dawn Part II

I don’t know if I’ve ever had such a drastic swing in interest mid-movie as I did during The Twilight Saga: Breaking Dawn Part II. The film is the fifth and final installment in the supernatural love triangle series. This time around, Bella (Kristen Stewart) has been changed into a vampire in order to save her life and that of her half human half vampire daughter. Of course papa Edward Cullen (Robert Pattinson) is there to keep an eye on things and werewolf Jacob Black’s (Taylor Lautner) connection with the child is too complicated to explain in this short film review. But the real complication comes when the tyrannical Volturi mistake the girl for an “immortal child,” a child vampire, who are illegal. So the Cullens bring in friends from all over the world to bear witness to the girl and stand by them against the Volturi if it comes to that.

The first half of the movie, which focuses on Bella’s new abilities and the exhausted eternal love plot line between her and Edward, is completely cringe worthy. I can’t remember the last time I rolled my eyes this much. Probably last time I watched one of these movies. But then, imagine this, something actually happens. An external conflict is presented and interesting moments occur. The introduction of the new vampire characters, the Volturi, the changing of new werewolves, these are things that work in a fantasy film. The story reaches its peak with an epic fight scene that stands up against any other modern fantasy epic.

Now I don’t mean to hit Twi-Hards where it hurts, but the series’ leads, Bella and Edward are definitely the basis of the issues. It’s been well-documented in my reviews of the past Twilight films my thoughts on their acting abilities, but it goes deeper than that. Every character from Charlie to Rosalie to a random nameless werewolf comes across as more interesting than these duds. Ultimately the epic battle and a nice light hearted tribute to the series leave a pleasant taste in the mouths of the audience in the end. It’s so difficult to cast judgment on a movie that I both hated and really enjoyed. Oh Twilight, I’m going to miss you. But not enough for you to reboot. Please don’t do that.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

Skyfall

James Bond is the star of the ultimate film franchise. 22 movies that have adapted with the times, unable to be killed when a poor film is released (or a series of poor films). What’s that, MGM? You don’t have the money to make the latest installment? That’s okay, we’ll wait. And now the wait is over. Skyfall has Daniel Craig return to the tuxedo for the third time to battle a cyber-terrorist (Javier Bardem) targeting MI-6 and more specifically, M (Judi Dench). Many of the classic Bond motifs are present for the die-hard fans. Ben Whishaw stars as a Q, a certain Aston Martin makes an appearance, and Bond is forced to introduce himself in the well-known format- Last name, first name, last name.

The film’s opening sequence results in Bond’s apparent death by gunshot, then falling off a bridge. I don’t entirely understand how he could have survived that, but there has never been a more obvious fake-out than this. Sure he “dies” in convincing fashion, but he’s James Bond. He obviously isn’t going to die, so why even pretend? I suppose it’s to blend into the stunning opening credits accompanied by Adele’s theme for the movie. But what the apparent death actually does is build some tension with Eve, (Naomi Harris) who shoots him and M, who gives the order. It’s possible there has never been a more layered Bond movie than Skyfall with the range of emotions and depth of characters presented.

Among all the old Bond references and updated excitement that is expected, the film actually gives the audience something very new, a look into Bond’s past. Avoiding any spoilers, the film’s title refers to an aspect of the spy’s past that proves very interesting. It amazes me that 50 years since the original incarnation, Dr. No, the audience is learning so much about the character, much more during these Daniel Craig chapters. Compared to its counterparts, Skyfall is possibly the best of the 23.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

Argo

Last year when The Artist and Hugo took home tons of trophies on their way to big Oscar nights, it became clear that Hollywood is a big fan of movies about themselves. Sure both are quality movies, but since when does that get a movie Academy votes? If this trend continues this year, there is no doubt that Argo will have a full trophy case in its fake office. Both Directed by and starring Ben Affleck, Argo follows the true story of the CIA’s very stressful and odd maneuver to rescue six displaced American diplomats during the Iranian Hostage Crisis. Staging a fake movie, the Americans are presented as a Canadian film crew looking for shooting locations. Only the slightest bit of research tells me the film is highly dramatized and fictionalized, but it still covers the basic facts.

I can’t recall another film that is able to cut between such intense drama and witty comedy like Argo does. Alan Arkin and John Goodman, who play Hollywood big shots, prove to be a great distraction from the rioting masses portrayed in the Iranian scenes. But when it is time for that drama, it’s done incredibly well. Affleck’s calm confidence in the role of leading the escape shows a cool restraint in his acting that not only comforts the characters but also the viewers looking for some type of reprieve.

Americans love watching movies about classified, behind the scenes sort of stuff and Argo fills that want. There is always that moment in espionage thrillers that presents the common citizen as gullible for believing the untrue reports, but now we’re in on the secret. If Argo teaches us anything it’s that the government definitely has weird stuff going on in secret. It’s as if this story is straight out of the President’s “Book of Secrets.” I’m not talking about the movie with Nicholas Cage. I’m talking about the REAL “Book of Secrets.”

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

Flight

If the main focus of Flight was the dramatic plane crash where Denzel Washington’s character, a pilot, saves the lives of his passengers, then the movie would be accessible to wide-ranging audiences. However, after that very exciting sequence early in the film, the story unfolds as the tale of an alcoholic drug abuser, whose problems finally catch up with him. Of course during that miraculous plane crash he was under the influence, so he must try and find a way out of legal trouble. It’s all very stressful.

Washington gives a strong performance, but he’s one of those actors who have become so iconic that he always seems to be playing himself with a twist. He sounds like Denzel always sounds, moves like Denzel always moves, but he’s an alcoholic. The supporting cast offers a bit of reprieve. Kelly Reilly plays another drug abuser, who becomes a love interest for Washington’s character. But since she has an easier time making good choices than her counterpart, she becomes a more sympathetic character. Don Cheadle and Bruce Greenwood also add touches of responsibility that prove important to keep the audience from the constant cringing and disappointment.

Ultimately, Flight relies almost entirely on the talent and likability of Denzel Washington. His acting ability is very strong and he’s able to carry the movie squarely on his shoulders. But what often happens with movies like this, the attempt at depth restricts the audience from caring enough about the character. I suppose it’s meant to be a cautionary tale of the dangers of alcoholism, but the underlying theme of the drugs and alcohol complimenting each other to make the habit possible to live with is just odd. There is of course an attempt at the end to denounce the whole ordeal, but over two hours of chasing boos with cocaine isn’t quite resolved with the last 10 pages in the script.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

Cloud Atlas

If one were to ask me what Cloud Atlas is like, the first word that comes to mind is dense. Based on the novel of the same name, the story follows a number of different timelines, which loosely intertwine and come back to themes of life, death, love and all that stuff. In order to better illustrate the connections, the film employs the use of the same actors as many of the leads spanning different lifetimes. It becomes an Easter egg hunt to find out who is playing who as the film goes on. The use of prosthesis often makes it difficult. Plus race, sex and age prove unimportant as the cast changes through all of them with ease. While I enjoyed this innovative move, it could be construed as gimmicky to distract impatient audiences from how long the film is.

In order to give each story its due, it makes sense that the length approaches three hours. I wonder if Cloud Atlas would have been more accessible as a mini-series. There are just too many story lines for a movie. Cutting one out would have gone a long way. But of course, which one would get cut? It’s impossible to choose. The Wachowski’s and Tom Tykwer direct with pinpoint precision to the point where each arch could stand on its own. Trying to choose a favorite, I switched between three different stories before realizing I couldn’t decide.

Cloud Atlas reaches its political heights in Neo-Seoul, pulls on the audience’s emotions in 1936 Scotland, gains our sympathy in the 1849 South Pacific and gives some comic relief in modern day England. Each member of the cast is given their moment to shine as a lead, which is welcome allowing for strong players like Jim Broadbent and Ben Whishaw to get their moments in the spotlight opposite the better known stars like Tom Hanks and Halle Berry. The movie was definitely long and doesn’t have the tie together ending big Hollywood has led us to expect, but this is the kind of project that will push film making to the next level.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

Alex Cross

I keep referring to this movie with different names. First I call it Alex Perry, then Tyler Cross. But those are wrong. It’s actually Alex Cross starring Tyler Perry. The film has Perry take over the lead role from Morgan Freeman who played the part in the 1997 film Kiss the Girls and 2001’s Along Came a Spider. This time the title character must track down an assassin (Matthew Fox) going after high ranking business people. But after a face to face encounter, Cross and his partners, played by Edward Burns and Rachel Nichols, become the killer’s target.

The film uses an interesting and extremely creepy villain, referred to as Picasso, in order to build tension. Fox went through a major physical transformation for the part and is rewarded by being the only memorable part of what appears on screen. Perry, who also lost weight, though in a less drastic way than Fox, for the film, falls flat as a predictable revenge driven cop. I don’t necessarily blame Perry for this. That’s the character in the script.

Trusty Wikipedia tells me there are 19 Alex Cross novels written by James Patterson. Fans of the series may discover some predictability in the books since there are so many, but there is no reason the first movie in a rebooted film series should be so obvious. The characters are mostly archetypes that are able to elicit the proper emotion from the audience, but very few are at all layered. For those looking for an exciting crime drama, Alex Cross fits. One problem (besides the script, which is definitely the main issue) may be the fall release of the film. Sandwiched between dense award-season films and fall/winter blockbusters, there really isn’t space for this kind of project. It would have done better in January or February.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

Here Comes the Boom

When Kevin James made the jump from television to film, he actually did much better than you may have realized. His first four starring roles grossed north of $100 million. That impressive streak ended in 2011, but the actor has already been cemented as a viable lead for comedies and family movies, which is a good thing since he’s such a likeable guy. His latest, Here Comes the Boom seems destined to fall short of his box office’s high standards. The likely reason is the divisive presence of mixed martial arts in what could otherwise be categorized as a family film.

James plays a high school biology teacher who takes up mixed martial arts in order to make enough money to save the school’s extracurricular activities from budget cuts. Henry Winkler plays an unnaturally kind music teacher, who would lose his job, which is the reason the unlikely fighter gets in the octagon. As the second film in two years that has a teacher fighting MMA to make more money (Warrior), you’d think fighters at all levels of success were rolling in cash. But that’s obviously not the case. We’re meant to think that James has this amazing hidden talent for the sport, but it’s a bit difficult to buy that people who train full time wouldn’t get the opportunities over him. It is a movie though and when you get by the little issue of realism, it’s quite fun to watch.

The comedy in Here Comes the Boom outweighs the inspirational moments, which is important. The characters are written well with Bas Rutten and Mark DellaGrotte adding just enough MMA credibility next to the Hollywood regulars James and Winkler. Like previously mentioned, the movie is actually family friendly. The controlled MMA violence is less than many video games and is often meant to be funny. If we can’t laugh at Kevin James falling down and hurting himself, then the three stooges truly failed in their comedy innovations.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.