Monday, April 11, 2011

Film Review: An Education

Many people talk about how Up in the Air was so evocative of the time it was released, and while I do agree with that as endlessly as the next person, I apply that description much more towards An Education. Of course it's set a whole fifty years in the past, and in London as well, but for somebody from a lower middle-class family struggling to make it to and through college, this always rang rather true for me. Come to think of it, I doubt there's a film that puts this real period in everyone's life more fitfully and eloquently than this. Last year's The Kids Are All Right comes rather close, but it focuses far more on the family aspect of becoming an adult, not to mention the summery tone to it.

An Education is the story of Jenny Mellow, a dedicated student who's on the road to apply and be accepted into Oxford University. Out of the rain comes the charming and intelligent David Goldman, who wins Jenny over with class and ease. He introduces her to his upper-class friend Danny and his girlfriend Helen, somebody whose road through life is more than a little reminiscent of where Jenny is headed. Jenny's schoolwork takes a backseat as she's immersed and distracted by the world that David and his friends live in. She begins to question what it is that she wanted in the first place, as we all do at some point.

When you're introduced into a new set of friends, you start to lose sight of who you are as a person and become more of a member of the group. I never thought of it as quite so tragic a thing as it is painted here, but when the individual being lost is so beautiful and kind, that does offer something you want to hold onto. At the halfway point of this film, I had myself wondering whether or not she would convert completely into one of these people. It certainly would have been a much bolder move, and it would have made the film into something completely different. In some ways I cling onto that idea of what this film could have been, and then a retreat into the happiness and warmth of what actually happens.

The unfolding of David and Danny actually being con men makes the repeat viewing experience of the film all the more foreboding. The scary thing about the first half of the film is how intimidating Peter Sarsgaard is as David. He pulls the wool over Jenny's eyes, and whenever it seems like he's charming her, he is simply ridiculing her former way of life in hopes of ensnaring a young companion. He's a wolf, precarious in his moves and generally deplorable in his methods. That's not to say that people who do what he does day to day, conning people out of certain goods, are similarly deplorable. Their glorious way of life is only sustainable through that deceit and underhanded dealing. In a world like this, it can be seen as a necessary evil.

The way that Jenny goes along with the wrongdoing is really the way that we all wish we could live. We all envision a version of ourselves who lives free of such moral inhibitions and does what they like, but the world we live in just doesn't accommodate that. Then as the final act looms forward, we get an idea of the sweet life Jenny has lived with David finally going sour. We get an idea of the true emotional connections in Jenny's life, including her father, played wonderfully by the exquisite Alfred Molina. However the most vital connection in her life may be her favorite teacher, played by Olivia Williams. If she keeps taking on roles as endearing and wonderful as she has been, she'll be well on track for an Oscar one day, or should.

The entire film has you thinking about the numerous aspects of what is happening and what will be happening. Jenny is one of the most intelligent characters written in a while, portrayed wonderfully by Carey Mulligan, because she's not completely infallible in her actions. She makes mistakes, occasionally doesn't realize it, but is always quick to explain her actions. That's what is so great about this film is that all the characters have their flaws and make mistakes. It's those mistakes that define their characters and don't lead the story. Films should be driven by their characters and not their plots. You don't just fall into circumstances by accident, but by actions of others. Ultimately the ending of the film is optimistic, making a point that focus and time can be put to use doing anything that you choose. A simple message, but one that never seemed less cliche or contrived. The ending is a little wishy-washy, but it's more than forgivable.

A

Theatrical Trailer: The Double Hour

My interest is piqued, but color me more than a little confused. Who wouldn't be after watching this trailer? It opens up with a typical Italian romance premise that we would expect to see from it. Then what happens? Apparently "A Robbery" and "A Mystery". I don't know what's going on, but I really want to know. I hadn't even heard of The Double Hour before this trailer popped up. Take a look at the trailer below, and comment on your own thoughts.

Sunday, April 10, 2011

Film Review: Hanna

It looks like the powers that be have been holding off on the truly great films of this year until the unnecessary fever of the Oscars has worn off. Last week gave us a taste of something entertaining with Source Code, a thriller with similar vibes to the works of J.J. Abrams. This weekend finally gives us something fully rewarding in the way we always hope for. I was surprised by Joe Wright's latest feature, even if I didn't expect to be. I went in with high expectations, which weren't exceeded or diminished. I kept the idea in the back of my head constantly that Hanna might not be a great film, and that it could fail on the promises of the trailer. Rest assured that it didn't.

The film is set along the infinite canvas of Europe and Asia, with a young girl named Hanna (Saoirse Ronan) being trained in the frozen wilderness by her father, former CIA agent Erik Heller (Eric Bana). When she decides that she wants to see the world, Erik puts her ambition to the test, tasking her with killing the woman that murdered her mother, Marissa Wiegler (Cate Blanchett). This leads us on a grand scale cat and mouse chase, as Eric evades agents on his way to keep Hanna safe, Wiegler hires a group of nasty thugs to find the girl, and Hanna stows away with a vacationing English family.

This really brings us into the heart of the film, because while most people complain that Hanna slows down while Hanna is traveling with the family, that's really what the film is about. It's about her adventures in the real world, finding out who she is as a person, and overcoming the ugly world that created her in the first place. As said before, it's a modern day set fairy tale, but while it draws inspiration from various sources, it is completely its own story. There are such wild bursts of originality and ambition, which you can tell from the first shot of the film. The text used in subtitles is unique in design and execution, and you can tell that Joe Wright slaved over each of these various aspects to make the film the way it is.

The film may not be necessarily about the performances, but such performances the cast gives us. Saoirse Ronan gives a more texture, frightening, and stimulating performance than I've seen from any other actress in recent memory. She carries us through wild progression of the film and her character, lulling us into believing her sweet and amusing, along with a bizarre yet appealing bit of sexiness, but occasionally flashing a darkly inhuman stare. You are always on edge, wondering who she is or who she wants to be, and the ending to the film doesn't necessarily give us an answer. It is an abrupt ending, but one that pays off in full as you think back over what you've experienced.

Eric Bana gives the most down-to-earth performance of the film, doling out some insanely gratifying action beats, but always holding onto the humanity of the situation. This isn't just murder and insanity for no reason and with no consequences. Blanchett is a real wild card in this film, playing the villain in a way that recalls the great Disney animated witches and devils, all the while bringing it to reality. You'll be fascinated with her as long as you don't mind a moment of camp at the end of the film. The cinematography in this film is absolutely gorgeous, offering several shots worthy of mention, but too many to acknowledge. The film does have an abrupt and somewhat unfinished nature to it, but it's supposed to. There are things that spit in the face of convention and clean closing, leaving some of our favorite characters in limbo without revealing their ultimate fates. I'm convinced that Hanna is the start of the next great era in film, offering something new and binding to hold onto for the following year. If this is merely a sign of things to come, which I feel like it is, it's a marvelous sign.


B+/A-

Box Office Update: Branded on Both Ends

We're getting very close to actually being ahead of where we were in 2010, and I can't quite pick up why we have been failing so much this year. Audiences still aren't being intelligent with their choices, but they just aren't going to the theater as much as they used to. I admit that I visited the theater more often last year than I have this year, but I'd never wait for a film I'm truly excited to see to release on DVD. The theatrical experience is one of the things that makes this medium of art and entertainment so powerful. I do hope that this year's box office slump has more to do with the quality of the films playing, and less to do with people having grown tired of the big screen experience.
We can still expect films like Hop to succeed more than anything else, an immediate and sustainable draw for the child crowd. The Easter themed flick held onto the top spot, dropping 42.2% from its debut. Another strange draw for the kiddie crowd, Arthur, took second place with the highest of four relatively low openings. Hanna, the true spectacle of this weekend, was right behind it with a higher average per theater. Soul Surfer, which played surprisingly well with audiences this weekend, followed Hanna with an even higher average. Last weekend's horror film, Insidious, held on most impressively amongst last weekend's films, dropping only 26.6%. Your Highness skidded just below the $10 million mark, marking the lowest income of the new releases. Source Code dropped by a margin less than Hop, but greater than Insidious, falling 38.9%. Overall, this weekend was a 13.9% drop from 2010, when Date Night opened shortly behind the second weekend of Clash of the Titans.

1. Hop (Second Weekend; $21.7 million)
2. Arthur (First Weekend; $12.6 million)
3. Hanna (First Weekend; $12.3 million)
4. Soul Surfer (First Weekend; $11.1 million)
5. Insidious (Second Weekend; $9.7 million)
6. Your Highness (First Weekend; $9.5 million)
7. Source Code (Second Weekend; $9 million)
8. Limitless (Fourth Weekend; $5.7 million)
9. Diary of a Wimpy Kid: Rodrick Rules (Third Weekend; $4.9 million)
10. The Lincoln Lawyer (Fourth Weekend; $4.6 million)

Saturday, April 9, 2011

Goodbye Sidney

I had different plans for what I'd be doing this afternoon, so finding time to grieve comes as a particular challenge. I've already been through a massive experience today, and I'll get to that later on this evening, but for now it feels wrong not to pay homage to one of the greatest directors of all time. I'm behind the beat on writing my eulogy for Sidney Lumet, but that's because I rarely push myself to see some of the greatest films of the past. I'm very much focused on the now and my experience in this time. I will say that of the one film of his that I've seen, 12 Angry Men impressed me substantially. It's insane that I haven't looked back on his film career when I loved his first one so much.

Of course, I have said that I'd look back into film history to see films of the late greats, like my promise to immerse myself in the films of Elizabeth Taylor. That attempt didn't exactly fail, but I haven't had time for it. Finding the time to see Serpico, Dog Day Afternoon, Network, The Verdict, and Lumet's other works would require more of me than I'm prepared for at the moment. I wish the circumstances were different, and that I could look back on his career right this very moment. His death is a loss to the medium of film, and a vital shock to bring us back from the void of uninspired thought. The impact of this should settle in for me sometime in May, when I do get to view his works once more.

Friday, April 8, 2011

Theatrical Trailer: Melancholia

Lars Von Trier has made some severally messed up masterpieces in the past, and each has achieved some sort of classic status amongst the more detailed critical community. However, despite everything we've been able to pick up from his films, he's maintained that each of them had a happy ending. That is until Melancholia, which he says is his first film that doesn't have a happy ending. If you're looking for an experience far more terrifying than the typical horror film, look no further than Von Trier. He looks to be delivering another terrific piece of filmmaking, and I look forward to being kept up for days thinking about this film.


Thursday, April 7, 2011

Theatrical Trailer: Warrior

One thing I've learned across the past is that the cheesy inspiration feeling that permeates through these boxing film trailers is by design. I've never been looking forward to a boxing film, because the marketing is meant to be so emotional that you choke on it. Based on that fact, I can't say whether or not I'm looking forward to Warrior, because it seems like a sympathetic play off of The Fighter. One thing you'll notice in this trailer is that it never once says that it's based on a true story, because it isn't. It looks alright, but it seems tailor made to be inspirational. A war hero, brotherly love, and an underdog story? Doesn't that rather feel forceful and manipulative to you? Still, I am looking forward to it for Tom Hardy's performance, what little that may be.

Teaser Trailer: Anonymous

I absolutely refused to believe that a film by Roland Emmerich would turn his career around into a positive direction, and it looks like I was right. At least that is the indication I get from this trailer for Anonymous, a period conspiracy flick about who wrote the plays and stories of William Shakespeare. I'm getting two familiar vibes from this trailer, both of which from films released or releasing this year. The first is colorful pretty vibe from Red Riding Hood, and the other is the stilted English feeling of the Three Musketeers trailer. I don't know what's going on in this trailer, and I honestly don't care. If there aren't any explosions, my reasons to see it are few.


For Your Anticipation: Thank You For Being My Friend

Last weekend proved that the film industry hasn't yet lost its potential to massively entertain us, even if Source Code wasn't exactly a masterpiece. It was emotional, involving, and surprising, but Hanna looks to be something different. Joe Wright has made some interesting work across the past few years, but I was worried that he would only consign to the British period drama films for most of his work. This time he's going with a modern setting, a more distinct story, and a chance to truly show off his elaborate directing skills. My anticipation for this film is unending, until I see it this weekend.


Wednesday, April 6, 2011

Theatrical Trailer: Crazy, Stupid, Love.

I'm really not sure how this could really be possible, but for the first time in five years, I might actually like a Steve Carell film. The man hasn't had anything interesting coming for so long, instead opting for simple dumb comedies like Dinner for Schmucks and Evan Almighty. A film called Crazy, Stupid, Love doesn't sound so promising, but this trailer just won over me so completely. Yes, it has Steve Carell in the lead role, but it also has Ryan Gosling, Emma Stone, Julianne Moore, and Marisa Tomei. I know a great supporting cast doesn't make a good film, as made painfully obvious by The Lincoln Lawyer. However, this film just looks better than your average comedy. Nothing about looks typical in the least. I can't wait for this one. I might be anticipating it more than Deathly Hallows: Part 2. It looks like a great film, and it gets extra points for the Twilight joke.


Theatrical Trailer: Hesher

If the first trailer managed to make me feel mixed about the potential of Hesher, this one just eliminates all that uncertainty. One of the things that felt so off about that first trailer was how typical it felt, like it was holding itself back from being a gritty indie flick. This one just rocked my socks off, because all the insanity wasn't held back, but it wasn't over the top. A nice touch is the end credit card being placed before the title card. I really don't care if critics take this film to pieces. I'll see it either way.


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For Your Anticipation: Because We Are Men

I'm not going to bother writing out a review of Pineapple Express, not out of disrepect for the film, because I think it's an absolutely brilliant piece of comedic filmmaking. That's the main reason I'm excited for Your Highness, also from director David Gordon Green. If you've seen the trailers then you know why this is a topic of interest. Comedic musings in a fantasy land, this time with the intention to be funny, rather than Red Riding Hood. I doubt this film will be standing in my mind by the end of the year, mostly because of the typical nature of it. Still, it should be an enjoyable time.