Film Review: "Lawless"

No wonder Cannes didn't warm to John Hillcoat's latest, beyond the simple feeling that it's cut from the crop of Sundance. "Lawless" is the anti-gangster film, at least in that the confident and macho persona that most characters of this film take on is more of a smokescreen for some honestly pathetic human weakness. Don't let the "true story" prestige fool you, as this is much more an adaptation of a novel than it is the story of the Bondurant brothers. Shia Labeouf's commemorative narration gives assurances of that from the beginning, and calls to mind another narrator propelled feature from a year ago, "The Help".

That unlikely feature would go on to Oscar glory, which is more than can be expected from "Lawless". That's not to say that Hillcoat's latest is lacking in comparison. In fact quite the opposite, in much the same way as films like "Drive" and "Tinker Tailor Soldier Spy" were too genre oriented for the Academy's taste. Hillcoat and writer Nick Cave (who also scores the film) are not intent on thrusting the audience into the world of prohibition-era in a rural landscape. This isn't conventionally a history lesson, which would probably pin the film's more exciting inclinations and rob it of a degree of intensity.

THEN AND NOW: Supporting Actor & Actress

It's no secret, especially since the rather long leave of silence on the site, that I am just not loving this Oscar season anymore. I'm not sure if I ever was. Of course, there are some races that have me quite invested in the outcome, as always, but they are few. And I kept feeling like I had to explain why this year was a low point in the Academy history, though that should be perfectly obvious. The Academy has lost their teeth, which is no huge news, but even more than that, they've lost their sense of spontaneity. For the first time in a while, I am kind of wishing Brett Ratner and Eddie Murphy had stayed. Why? Because the moment they strolled off, this year became extremely safe. The quick choices of Brian Grazer and Billy Crystal to fill in was the first sign.

So it seems so fitting to compare this year to last year in terms of who made the cut for the nominations. This year, it doesn't really matter who the other four nominations are, as we all know it's going to be Christopher Plummer for Best Supporting Actor. I touched on this a bit a while back, but this year's slate of Supporting Actor competitors is extremely soft. I know everyone is pissed off that Jonah Hill made it, but he honestly isn't the worst of evils. In "Moneyball", he is admittedly kind of good. If nothing else, he has shown that he has a possible future in the way of dramatic roles. Does he deserve a nomination for just showing that he has potential. Absolutely not.

Film Review: "Take Shelter"

This was one of those films that spent so much time on the back burner with me barely considering seeing it while I had the chance, much like "The Ides of March". From the very first moment, this didn't seem like the heavy-hitter that many were pushing it to be. I've seen many a film take on the psychological thriller plot that this one takes on, and it has gotten to the point of becoming a depressing cliche. Too many films have used it as a gimmick with no idea exactly what purpose it serves, if any at all. Their intent behind it is to attain that sought-after title of "mind-fuck" that has been twisted out of any strong meaning it had. It's a term that loud college kids use to explain films that are too smart for them.

And there is a problem to be found in "Take Shelter" in that for the first solid hour, it unfolds in a manner that's so utterly predictable that it nearly turns you off from it. I was writing out the tweet review in my head well before the film was over, somewhere along the lines of "typical rundown of requisite psychological thriller scenes". What held me back from it then was the skill being put on screen. Yes, the cinematography was rather simply, and music merely eerie. All the same, director Jeff Nichols keeps things earth-bound in its depiction of a family teetering not just on, but towards the edge of economic collapse.

AWARDS 2011: Detroit Critics Nod for "Take Shelter"

It's hard to give much thought to the critics awards that take the time to dole out nominations. At this point, why not just get to the awards? The Detroit critics seemed to be in line perfectly with everyone else, with one notable difference. "Take Shelter" got a significant heap of awards many didn't expect it would. Seems like Detroit really loves the economic apocalyptic feature from Jeff Nichols.

BEST PICTURE

"The Artist"
"The Descendants"
"Hugo"
"Take Shelter"
"The Tree of Life"

BEST DIRECTOR

Michel Hazanavicius, "The Artist"

Terrence Malick, "The Tree of Life"

Jeff Nichols, "Take Shelter"

Nicolas Winding Refn, "Drive"

Martin Scorsese, "Hugo"

Carpet-Bagging: Supp. Actress is dead on arrival

Yesterday I talked a great deal about the supporting actor race, which was far from concrete and boasted plenty of weak performances in roles of the Academy mold as well as strong performances that are far outside that mold. For men in cinema, it often relies on that key factor of going for the gut. The key job of a supporting actor is often to be that antagonistic presence, and that's what's payed off most in the past. The supporting actress branch is often seen as something quite different, but history has shown that inclination to believe female winners aren't as vicious performances as men to be false.

Mo'Nique in "Precious" is the prime example of that, but also Melissa Leo ("The Fighter") and Penelope Cruz ("Vicky Christina Barcelona") in a certain way. They're not hardcore villains, as they have redeeming factors, but they've got those unstable problems in them. I'd like to think the trend will continue, but I can't say anything for certain. After all, the most assured nomination in this category for this year thus far, is Octavia Spencer for "The Help". God willing, she's not going to ever be the frontrunner this year. Not that I don't like her performance, but there as absolutely nothing spectacular about it.

Oscar Park: "Take Shelter" & "50/50"

This weekend had two films with moderate Oscar chances come out, but neither one has that many chances to merit a post of their own, so here we are. Obviously the more apparent of the two is "Take Shelter", which got strong reactions out of Cannes, and has continued that through this weekend. Michael Shannon is obviously the main talking point here, and the Academy has had a notable fancy for him in the past. I'd be particularly shocked if he didn't make it for this one. The other potential candidate for the film would be Jessica Chastain, who has too many films this year to dial out of the conversation.

I suppose the conversation could dwell between this, "The Help", and "The Tree of Life", but how the hell are we going to get people to rally under a single one of those? "50/50", on the other hand, has only one possibility in the cards, and that's for Joseph Gordon-Levitt. With heavyweights like Michael Shannon in the pot, how much of an impact can he really make? True, the odds are considerably against him, but don't write him off so immediately. If nothing else, you can expect some sort of Golden Globes traction. Unless Robert Downey Jr. steals it away from him for "Sherlock Holmes: A Game of Shadows". I kind of doubt it, though.

"Take Shelter"

Strong Possibilities: Best Actor (Michael Shannon)

Potential Causes: Best Supp. Actress (Jessica Chastain)

"50/50"

Potential Causes: Best Actor (Joseph Gordon-Levitt)

For Your Anticipation: Not a Word

If I've sounded a bit dismissive of "Take Shelter" in the past, it's not been by intention. I barely knew it was coming this month, and it hasn't been at the top of my mind. It seems, forgive me, somewhat simple. Man has dreams of storms, invests too much money into building a tornado shelter, and starts to lose his mind. Spooky stuff, and I don't mean that as a joke. This is how a decent thriller should be made, with motivating performances as well. Michael Shannon and Jessica Chastain both look to be in great form here. I'd be interested to see it if it comes around anytime soon. Still, I'm not rushing out for it.

For Your Anticipation: Good. That's Good.

Can we assume that this is more of an obligatory post than one I wish to write? We are at that point where the wheels are turning on more interesting things than the flock from the dog days of summer. "The Debt" does seem to be a little more than just that, and it's worth noting for being yet another film in Jessica Chastain's freshman year. I have to say, when actors like Helen Mirren and Tom Wilkinson are overshadowed by a relative newbie, it's worth at least mention. This is probably the most interesting thing out there this weekend. It also releases on Wednesday, for whatever reason I can't quite comprehend.

"Texas Killing Fields" Trailer

Another Venice premiere unveils itself ever so slightly. To be honest, though, I have no real idea as to what exactly is going on in "Texas Killing Fields". It does look like your standard procedural crime film, and it gives you ample introduction in the beginning. As we go towards the end of the trailer, I just lose sight of exactly what's happening. It becomes too obsessed with being an action film and we get lost in the fray. Seriously, who makes these trailers? My only interest in this film? Jessica Chastain and Chloe Moretz. Other than that? Not much.

Film Review: "The Help" (***)

I admit some hesitation on the rating I'd place on "The Help", but then I felt that the work of cast and crew behind this film was more deserving than three lousy stars. And then I remembered how corny the script was at times, and reverted back to three. Not to say that this isn't worth it. On the contrary, I am very happy that I was able to end my summer film experience one a relative high note, because I know for sure that I'm not checking out any more of this month's releases. I had expressed unease earlier, because despite the cast behind it being mostly strong, it seemed like far too safe an area to be interesting. Indeed it is, but this isn't really a film that invites too much suspense, nor does it need it.

Based on the bestselling novel of the same name, "The Help" chronicles the lives of a community of people living in Jackson, Mississippi in the 1960s. While it permeates through several lives, it mostly focuses on a main triad of protagonists. There's Skeeter, a strong willed, business-driven white girl, Aibileen, a proven and experienced black maid for a white family, and Minnie, an outspoken and sassy friend of Aibileen's who has lost a great deal of jobs due to that description. They all bring a different mentality to the table, and they do it in order to change the racist way things are done in Jackson.

For Your Anticipation: It's Not Like I'd Be Fibbing

I know. Why the hell would I choose to plug this film with a clip featuring the least star power? It doesn't even have a second of Emma Stone? What gives? I guess I just got a little more excited for the film. Not excited enough to abandon my critical malice, which will surely have some problems with this clean feature. A friend of mine described the trailer as "insipid", and I knew he meant it because I had no idea what insipid meant. True, the marketing does give the film a flavorless tone, and it deals with something that isn't that much of a big deal. Still, there's too much talent in the cast for me to dismiss in the least. I'll probably take an hour or two out of my day tomorrow to check out The Help.

"Take Shelter" Trailer

One of the films which made an appearance at Cannes this past week was Take Shelter, and it won an alternate jury prize a few days before the official jury awards. I found it more than a tad bit intriguing in clips, and this trailer does add to that. The problem that props itself up a little to obviously is that I know where it's going. That being said, I won't let it get in the way of a good time. Take a look at the trailer below!

Can I Still Be Excited for "The Tree of Life"?

Yesterday brought the unveiling of one of the most anticipated films at Cannes Film Festival, The Tree of Life from famed filmmaker Terrence Malick. I'd been excited for the film for months, because I had a bunch of people talking to me about how brilliant a director Terrence Malick is. This is where I come to my weakest moment as a film critic, because I just took everyone's word on it. I hadn't seen a single Terrence Malick film in my entire life, and I just let people say that he's brilliant without thinking otherwise. As such, my excitement for The Tree of Life lasted just until a few days ago. I decided to actually take a look at one of Terrence Malick's more famed films, The Thin Red Line.

I was sitting there watching it, trying to find what people so adored about Malick's work, but I simply could not get into it. There was something so prosaic and self-destined about Malick's work that just turned me off. It's beautiful and all, but shouldn't there be something more? I went back to the trailer for The Tree of Life, and the pondering intellectual monologues on life seemed so much more prevalent than the visuals. I find myself asking now, what am I excited for? What is there behind this work that draws me to it beyond visuals and Brad Pitt? I then answered my own question rather simply by saying, "nothing."

I feel like now I'm going to incur the wrath of an armada of cinephiles who believe me insane for saying such, but despite the somewhat positive reaction to The Tree of Life, I doubt that it will find a place on my end of the year list, even amongst the honorable mentions. I had considered a trip to New York City so that I could see it sooner rather than later, but I'm a lot more patient now. I can wait the entire Summer to see it, and I'll still be okay. Am I saying that it looks like complete utter nonsense? Of course not, because there is something solid and agreeable there. Do I feel like my life will be changed by what I see? No.

Cannes Coverage 2011: "The Tree of Life"

We've been waiting for word on this film for years, waiting for something to tell us whether this is the "redefinition of cinema", as alleged test screenings raved, or merely another good film. Personally, I am a mild fan of Terrence Malick, but I'm not as praising as others. I've tried to get into one of his films, but there has always been a certain prosaic lifelessness to his work that's pushed me back. I was awe struck by the trailer for The Tree of Life, simply because it was oh so beautiful. The plot, on the other hand, just seems rather been-there-done-that. And so the reviews are bound to be good, but there was always going to be some sense of mild disappointment amidst the raves of others.

Guy Lodge (In Contention), ***: "Further fuzzing the question of what The Tree of Life wishes to say about our collective spiritual journey (perhaps it’s that the director is still open to all options, which is no bad thing, though confusing to visualize), it’s a badly misjudged finish to a film that nonetheless has sections so rapturous as to justify the six-year wait since The New World on their own. (That said, the film’s weaknesses may well be the result of an overthought creative process.) Malick’s slow-burn cinema tends to take several viewings to reveal its full arsenal of tactile pleasures, so I already look forward to a second encounter with his latest. At first blush, however, I’m left stimulated but unmoved, as if having watched the life of someone I hardly know flash before my eyes."

"The Tree of Life" Poster

Finally, we get a look at one of them dinosaurs! In case you couldn't figure it out, column 3, row 10. I think at this point we have a vague idea of what The Tree of Life is about, and it's a very exciting possibility. It's obviously not essentially about dinosaurs or the space shots we see in the trailer, but the story of a boy becoming a man. We can't quite say what this film will be because it hasn't happened yet. This poster offers not one stunning image, but several different beautiful images, none of which ultimately reveal the essential meaning of the film, nor should they. Terrence Malick remains evasive to the very end.