Looper

Time travel is getting tougher and tougher to sell on the big screen. Audiences have the benefit of numerous forums and web posts explaining the intricacies of loopholes in various blockbuster movies that deal with time-travel and as much as I hate to admit it, such material has largely jaded me on the genre. It takes a deft cinematic hand to use time travel in a film without tripping over one's own narrative devices.

Enter Rian Johnson.

Looper is only Johnson's third feature film (the other two being Brick and The Brothers Bloom), but as an exercise in originality it's quite impressive. The story follows Joe (Joseph Gordon-Levitt), a contract killer known as a "looper." The film explains early on that apparently it's incredibly difficult to dispose of a body in the future so criminal organizations send the people they need to disappear back to the past where they are executed and disposed of by the aforementioned loopers. In the event that a looper lives long enough to become a liability for the companies that employ them, the loopers are sent back to the past and disposed of by younger versions of themselves - an event referred to as "closing the loop." Such a moment is the flashpoint for much of the action when an older Joe (Bruce Willis) is sent back to be killed by his younger self. But as you can imagine, things aren't quite so cut and dry in the world of the film...

THE PROS


Rian Johnson is a real up-n-comer. In addition to his relatively small filmography, he also directed the "Fly" episode of Breaking Bad and his signature style is readily notable across his body of work. But where Brick ironically played up noir elements in a high school setting and The Brothers Bloom was more of a surreal dramedy, Looper is a profoundly gritty and intense motion picture.

Johnson's direction is superb; he weaves his own signature shot composition in amongst a myriad of textbook cinematography. He wonderfully balances his own penchant for kinetic camerawork with traditional photography and the result leaves Looper in a perfect harmony. As an extension of his directorial style, the future of Looper is a marvelous construction of the inventive and the familiar. I hesitate to use the term realistic, but an orchestra of small details give us windows into the world. Solar panels on cars imply the implementation of solar power, though it's never directly addressed. Hover bikes are available, but obscenely expensive and cumbersome. Another subplot within the film involves how a genetic mutation gave a small percentage of the population minor telekenetic abilities. But the film cynically notes through Joe's narration that while the world expected a new breed of superheroes, it ended up with "a bunch of assholes who think they're blowing your mind by floating quarters."

Joseph Gordon-Levitt is at the top of his game here. You've likely seen the trailers or posters depicting some of the makeup applied to make him actually look like a younger Bruce Willis. The makeup is seamlessly applied but I can't say that it actually made him look like Bruce Willis that much, at least not in my estimation. But this is made up for by Gordon-Levitt's uncanny skill at impersonating Bruce. His voice isn't exactly the same of course, but every other mannerism - from the angle of his eyebrows to the cocky grin and hardboiled attitude - is reconstructed in his performance brilliantly. Likewise Bruce's take on a wiser and even more embittered version of his younger self interplays with his co-star's delightfully. The two are at odds for the majority of the film, for obvious reasons, but the little screen time they share swapping cold confidence back and forth is nothing short of engrossing. Emily Blunt proudly adds herself to the list of English actors and actresses who can convincingly pull off an American accent. Were I unaware of her British origin, I would never suspect it because her accent is perfect. And just when I thought she couldn't get any sexier...

As I hinted at before, Looper is much more intense than you might expect, and this is both a bit of a pro and a bit of a con. What I liked about Looper's intensity was its visceral violence, and how that violence is staged. It gets pretty gory in a few places, but personally I enjoyed some of these moments. A shockingly vibrant moment involves a minor character exploding in slow motion. Plumes of red erupt from his chest and back as his body is torn apart by a subplot I won't spoil by mentioning here.

THE CONS

Picking right back up with how intense this movie is, I obviously don't object to violence generally speaking. In most cases, I enjoy it from a cinematic perspective. But there is one moment in particular that kinda crosses the line. If you care to know what I'm talking about, the italicized text below explains:


SPOILER
As part of his mission to escape his fate, old Joe is forced to hunt down a character known in the future as "The Rainmaker" - an enigmatic crime lord who is systematically and for as-yet-unknown reasons closing all the loops. Since Joe is trying to stop the Rainmaker in the past, his potential targets and suspicions are still children. In a necessary (for the purposes of the narrative) scene, old Joe kills one of these kids. It happens offscreen, and the scene is staged in such a way as to play down the horror as much as possible - but it still happens. I'm still not o.k. with that moment in the film on its own merits, though I see why it has to happen within the context of the film and for the purposes of further building narrative tension. But word to the wise, you might find your opinion of this film overall hinges on whether or not you find that scene just too much to handle.


There really isn't much here beyond what I mentioned above and any subjective objections you might have to the movie on general principle. So if you don't care for time travel movies, you probably won't enjoy Looper all that much.

THE VERDICT

Looper is a confidently unique and genuine work of cinematic spectacle. It's a bit early to tell if Rian Johnson has earned himself a nickname like "the new Christopher Nolan" or "Tarantino the Second." But he's well on his way to carving out a niche of "Rian Johnson movies" that are unmistakably his own and unmistakably well-crafted.

Apart from Johnson's direction, the film itself is really engaging and entertaining. As a time-travel movie, it doesn't dawdle particularly long in exposition. We aren't made intimately familiar with just exactly how the time travel in the film works - but we don't need to be. The film even makes a kind of meta-comment about the topic when young Joe asks old Joe if he doesn't already know how it all ends. Old Joe fires back with a comment about how if they started talking about how he can be in the same place in two places in time they'd be there all day. They even hint at one point that time travel invariably leads to insanity for the time traveler. Good enough for me. Time travel is just the vehicle the film uses to orchestrate its collection of philosophical questions, offering the viewer ample opportunity to consider what they might do in a similar situation or how far they'd go to protect someone they love.

Looper is absolutely an action movie, but it's more of a thinker than its trailers imply. Rian Johnson has crafted a truly unique film that's consistent and engaging throughout, and he's managed to employ time travel doing so. That alone might have been enough cause to laud Looper, but layered on top of that are a host of other reasons from the visual effects, to the casting and acting, to its cinematography and everything in between. The film is definitely much grittier and much more intense than I expected, certainly more so Johnson's preceding work. But looking back at just how brilliant Mr. Johnson's little collection of films has been thus far, I'm thrilled to see what he's going to do next.

As I Lay Dying - "Awakened"

Ladies and gentlemen, we have a repeat offender here on the Other R2D2 Blog!

It's none other than American metalcore heavyweights As I Lay Dying with their new album Awakened. You may recall I reviewed their album Decas in a previous post just shy of a year ago, and as I mentioned in that post the first thing I had to note was my sheer elation at new As I Lay Dying material, despite its relatively minor position on the album overall. But where Decas is more of a retrospective album - commemorating the band with remixes, remasters, and a small handful of new material - Awakened is a never-before-seen-or-heard-brand-spanking-new-full-length album replete with everything you've come to love about As I Lay Dying.

THE PROS:

Awakened is the sixth full-length album from As I Lay Dying - not counting any live albums or EPs or retrospectives. Over the course of that six-album discography, As I Lay Dying hasn't been a band concerned with reinvention. I remember back in 2005 when Shadows Are Security had just come out, there was a fairly distinct buzz in the "underground" music scene in regard to As I Lay Dying. Even then, with only a few major releases behind them, fans and critics alike were really taking a shine to this band. Metalcore was already an existing subgenre before As I Lay Dying began to rise, but there was something about their approach to it that made everyone stand up and go "Yeah! That's how it's supposed to be!" As I Lay Dying practically wrote the book on quality metalcore and while they have a few influences to which credit is due, there's a much much larger gaggle of musicians and bands who owe them credit for creative inspiration.

All that is to say, As I Lay Dying broke the mold, set the bar high, and haven't bothered changing much since. The music on Awakened is readily comparable to music from just about any of their discography - mixing and mastering aside. And as far as I'm concerned, that's a very good thing. I've come to expect a very specific thing from As I Lay Dying as they've consistently delivered the goods with each new release. That very specific thing is good ol' fashioned American metalcore: furious back and forth tempos in verse, consistent melody in chorus and/or bridge, and the occasional breakdown.

A few stand out tracks include the very first, "Cauterize," which features all of the aforementioned to a near formulaic extent. From there "A Greater Foundation" - the next track in sequence and my personal favorite - explores almost identical motifs, but does so with the musical confidence As I Lay Dying is known for. The more subdued parts of the track are utterly joyous to experience; rhythm guitars palm-muting a double-chug in halftime while lead guitars pick out a reverb-laden and melodious undercurrent. Layered over that is bassist and backup vocalist Josh Gilbert's sincere yell-singing, which acts as a beautiful counterpoint to lead vocalist Tim Lambesis' primal growls.

Elsewhere, "Wasted Words" dabbles in the minor harmonic scales I seem to mention in every other post. I don't know what it is about those scales and chords and modes that I love so much, but a harmonic/melodic minor song structure is enough to hook me usually on principle alone and As I Lay Dying navigates that territory subtly and with relish.

The overall feel of the album is epic and anthemic, even to an extent that previous releases weren't fully. In addition to "A Greater Foundation," the song "Overcome" features some solid balance between furious bursts and muscled melody. The chorus exhorts listeners to take heart for "No matter what we face in this life, we can overcome." The entire album is chock full of this kind of motivational material; Awakened would make an excellent workout playlist as is.

THE CONS:

There aren't really any worth mentioning. As I said, Awakened doesn't showcase anything experimental or particularly innovative, but I don't see that as a bad thing for As I Lay Dying. Clean vocals feature a little more prominently on this record than previous outings, but Awakened is still Grade-A 100% All-American As I Lay Dying.

THE VERDICT

I had only heard "A Greater Foundation" before purchasing this album, but that song alone was enough to warrant the buy. I like to make a point of buying physical albums from artists I could just as easily stream over Spotify or strip song-by-song from iTunes. As much as I hate to admit it, I definitely harbor some hipsterish tendencies in regards to bands going "mainstream." But when it comes to bands like As I Lay Dying, I'm proud to help contribute to their spot on the Billboard charts because I think they deserve financial and critical recognition.



Awakened isn't really anything new, as I've mentioned a few times already. But for me, that's precisely why it's such a phenomenal album. It's a rare thing indeed to find any artist whose formula doesn't wear out its welcome, but As I Lay Dying is one of them. If you like metalcore, you will love Awakened. If you don't love metalcore then you probably won't be too thrilled with this album. If you have no clue what metalcore is and would like a demonstration, give Awakened a good listen - because that is what fantastic metalcore sounds like.

Netflix Nuggets - TV Edition

It's time for another edition of Netflix Nuggets! This time though, I'll be reviewing a handful of television shows currently available. So let's jump right in, shall we?



BREAKING BAD

If you haven't seen this show yet, you're likely familiar with it by reputation as "that show all your friends insist you watch." And if you haven't watched this show yet, I'm here to be another voice urging you to do so. Breaking Bad follows Walter White (Bryan Cranston), a somewhat timid and pushover high school chemistry teacher who is diagnosed with cancer. Without much time left and fearing he will leave his family with a financial burden they won't be able to manage, he decides to team up with an old student of his by the name of Jesse Pinkman (Aaron Paul) in order to cook crystal meth. Intimately familiar with nuances of chemistry, his product is unsurpassed in the local drug market and as one thing leads to another it becomes evident that "the road to Hell is paved with good intentions." It's hard to fully capture how absorbing this show is, but trust me when I say you'll be hooked from episode 1. It's a high stakes type of drama that occasionally dabbles in the macabre and grisly, as Walter and Jesse are pushed further and further in order to survive the ordeals they encounter. Every season is loaded to overflowing with cliffhangers and surprising twists, making this show as engrossing as it is unnerving at times. I've genuinely caught my own mouth hanging open as I've been shocked - once again - by just how insane this show occasionally gets; and I say that in the most complimentary way possible. But Breaking Bad isn't the kind of show that hinges on a formula or conforms to its own mold; each episode cold open has a different spin that often sets the tone for the episode or just showcases the writers' ability to find innovative ways to communicate with the audience. Breaking Bad occasionally reminds me of Dexter in its commitment to forcing its characters into seemingly insurmountable situations and levels of crisis. But where Dexter - one of my favorite shows - has a pretty definite fluctuation in quality depending on which season you're watching, Breaking Bad consistently manages to hit all the right notes and steadily evolve without growing tiresome or losing steam. That has as much to do with the writing as the cinematography or the acting. Walter White's subtle but definite transformation from mild-mannered and somewhat emasculated to unflinching and occasionally vicious is as profound as it is believable, and Bryan Cranston handles the transition brilliantly. Similarly Jesse's evolution from cocky hood rat to a more world-weary and embittered character mirrors White's as the two occasionally swap places between "the rational one" and "the one who is going to get us in trouble." And as much can be said of the supporting cast who each in their own way bring another level of depth and complexity to a show that already proudly weaves an intricate but accessible narrative. The only proviso I leave with this recommendation is that if you start this show, do so during a free afternoon or evening - because you likely won't be satisfied with it one or even two episodes at a time. The chemistry must be respected...yo.


DOC MARTIN

Doc Martin is a show built on a cliche, that delightfully manages to transcend it. It's another case of "big city character moves to small town and has to learn to live with their charming - if bothersome - local ways." Dr. Martin Ellingham (Martin Clunes) is a renowned surgeon at the start of the show who has transferred from his high-paying and supposedly glamorous lifestyle in London to be the general practitioner for the fictional seaside town of Portwenn. But he's hit a bit of a professional snag - he hates blood; so much as the sight of it can induce him to vomit. On top of the that, the citizens of Portwenn are accustomed to the practitioner Dr. Ellingham replaced; a man much more given to a relaxed and easy-going mindset. It's all be done before, I'm certainly not here to tell you otherwise. But the show isn't really too concerned with upending convention or making itself out to be more than it is. Like the town of Portwenn itself, Doc Martin kinda sneaks up on the viewer slowly; nothing particularly flashy or gimmicky about it. Dr. Ellingham himself is akin to Hugh Laurie's Dr. House in the sense that he's got a gruff and impatient manner with those around him - but he's rarely, if ever, wrong about his diagnoses or recommendations. On top of that, the show exists on the convergence of a few different genres. It's comedic qualities are undeniable, and underpinning that is a sense of poignant but sincere drama. Wrapping up the whole package nicely are a few nods to the mystery and "whodunit" subgenres as well - making Doc Martin the kind of show that "has something for everyone." The vignettes of Portwenn (shot in Port Isaac, Cornwall) are truly beautiful and if nothing else provide some gorgeous backdrops in which the narrative takes place. If you enjoy somewhat slow-paced British dramas, the kind of thing you might catch on a Sunday evening with a bowl of cereal, then Doc Martin is just what the doctor ordered. And if you find the show to your liking, you will also be glad to discover it's a 5-season, multiple made-for-Tv-movies-along-the-way kind of affair - so you have loads to catch up on.


DOWNTON ABBEY

The fact that there's only one season of this phenomenal show available on Netflix shouldn't deter you from from adding it to your must-see list. Set during the early 1900's, Downton Abbey follows the lives and times of a family of aristocrats and their servants. It's a marvelously written show, not only when you consider the caliber of the characterization and dialogue, but note just how many characters this show has and how well they're all developed. The show boasts somewhere around 20 regular cast members, not including the multitudinous recurring and guest cast. If you've heard anything about this show, you've likely heard how Maggie Smith (who plays the Dowager Countess Grantham) is practically worth watching this show for alone, and that's absolutely the case. She's matronly but sharp, sophisticated but never minces words, and like every other aspect of this show brilliantly realized. But trying to pick out a favorite character or aspect of this show is incredibly challenging for me because I just love every moment of it. It's a Masterpiece Classic type of piece in the same tradition as Brideshead Revisited or Upstairs Downstairs but in my estimation superior to both of those titles. I'm keeping this snippet somewhat brief because a million thoughts come to mind as points of interest, but taking on any one of them would require more verbiage than can adequately describe this show. Suffice it to say that if you're in the mood to watch a BBC/Masterpiece Classic period piece to rival any similar title up to this point in history - consistently well-written, engaging, and completely entertaining - you can't do better than Downton Abbey.


THE INBETWEENERS

This show isn't one you'll note for its subtlety or brilliance, but the title will tell you more than you might expect. The Inbetweeners is a half-hour British sitcom that follows the day-to-day of 4 students at the fictional Rudge Park Comprehensive school. Will (Simon Bird) is the bookish, previously private school attending, briefcase carrying (for which he earns the moniker, "briefcase wanker") straight thinking one of the bunch. His close friend Simon (Joe Thomas) is more of an everyman type of high school kid - not really fitting into any one stereotype or another. In contrast to both of them is Jay (James Cartwright), a sex-obsessed teen whose self-proclaimed exploits are always exaggerated and the the dim-witted but well meaning Neil (Blake Harrison). Over the course of 3 seasons (and a subsequent movie) The Inbetweeners chronicles the hurdles, failures, embarrassments and - occasionally - triumphs of growing up; navigating that "in between" time post-childhood but just before true adulthood. As the principle characters are all male, the perspectives are decidedly male as well. Which is to say, there's less about nostalgia and self-reflection and more about the time Will soiled his trousers during an exam, or Simon's repeated attempts and failures to lose his virginity. It's a pretty raunchy show that put me in mind of a television version of Superbad or American Pie, but if you're in the mood for uncouth jokes it's pretty entertaining. The characters are simple enough to be relateable on some level, but still nuanced enough to give the impression that you've known people just like them at various times growing up. Only the first two of the existing three seasons are available at this time on Netflix, but that's two season's worth of humorous teen exploits we've all be in or around at some point in our lives.


MAD MEN

Here's another show you're probably at least somewhat familiar with by reputation alone. Set in the late 50's and early 60's, Mad Men follows the goings on of a handful of characters in and around early Madison Avenue - hence the title. Jon Hamm is the primary lead on the show, and much like the rest of the show's characters, is a complex mix of charm and darkness. Mad Men isn't the kind of show with "bad guys" and "good guys," rather each character is rendered in a much more human and realistic way. Certain characters have larger shortcomings than others, at least so it would seem, but the show is much more concerned with character study than character resolution. It can best be described as a novel adapted to the screen. Some episodes cover the events of a few days, others the events of a few hours; there's not a specific formula here. It's very precise, and the pacing of the show is often rather slow - but that only further serves to painstakingly explore each character depicted, weaving a narrative filled with cigarette smoke, liquor in the office, and more than a measure of infidelity. The lives of the principle characters aren't particularly romanticized, but neither are they demonized; again the aim is merely to explore and chronicle rather than pass narrative judgment. But despite the absence of a full scale endorsement, there's a great deal in the show that's just fun to look at. The first and most notable thing of course are the fashions of the era, revived and revitalized into a new kind of retro television chic. As the show is about the ad industry, a lucrative business to this day, most of the principle characters live relatively opulent lifestyles and it's fun to watch them schmooze and smoke with other sharply dressed schmoozers and smokers. Simply put, Mad Men is a surprisingly understated entry in a TV scene dominated by sound bites and flashy commercials and as such provides a nice throwback to a less in-your-face viewing experience. It's not the kind of show with lots of twists or surprises, and it's not the kind of show that's out to look back at bygone eras through rose-colored glasses. Personally, that's reason enough. But layer on top of that some wonderfully nuanced writing and acting, some top notch production design, and a cast of surprisingly engrossing characters and Mad Men is near the top of my list of all-time favorites.


PEEP SHOW

British humor can be a bit of an acquired taste; especially when it comes to the subtleties of their self-deprecating and dry bits. But arguably the best place to get acquainted with that comedic tradition is Peep Show; a BritCom steeped in cynicism and black humor. The show has a couple of rules in terms of format that further lend themselves to the overall feel it achieves. First off, with the exception of establishing shots of building or locations, everything else is POV. That is, the camera only shows what the characters in the scene are seeing - through their eyes. This can be a little strange to get used to, as conversations involve the characters involved looking directly at the camera according to the "POV rule" the show employs. Second, and just as important, the inner monologue of the two main characters - Mark and Jeremy (David Mitchell and Robert Webb, respectively) - is audible whenever their POV is being used. This not only gives us further insight into what makes these characters tick - comedically and otherwise - but further allows for the exploration of innovative narrative techniques. So where two characters talking back and forth might be missing each other's point, we as the audience are clued into the little thoughts that precede their spoken sentences. Again, it takes a little getting used to. But once you're familiarized with the characters and their various habits and foibles it's a brilliantly hilarious show. David Mitchell's take on Mark is one of the stereotypical tight-wad - he's a hopeless cynic with some pretty severe self-esteem issues and as such offers up some of the most humorous moments the show contains. Jeremy, on the other hand, is a care free musician whose scruples are sketchy at best. The two contrast each other - one austere, the other puerile - to pitch perfection and have fantastic comedic chemistry. If you're not a fan of darkly comedic and dry British wit, you might find Peep Show a bit too odd for your tastes. But if you enjoy that kind of humor, Peep Show is one of the best examples available in which to experience it.


THAT MITCHELL AND WEBB LOOK

The stars of Peep Show get another mention in this entry, but this time for their sketch comedy show That Mitchell and Webb Look. Where Peep Show follows a fairly linear narrative of its two protagonists, That Mitchell and Webb Look is your run-of-the-mill sketch comedy show with an audience laugh track. A number of recurring sketches abound here like "Numberwang," a zany and mile-a-minute gameshow with a set of completely unintelligible rules. "Get Me, Hennimore!" is a spoof on 70s sitcoms in which a bumbling employee (Webb) tries not to confuse the understandably difficult instructions his boss (Mitchell) gives him. For example, he's told to ensure that a group of Korean chefs in room "Room 1" do not get mixed up with a group of dog lovers in "Room I." Another of my favorite sketches from this show is "The Surprising Adventures of Sir Digby Chicken Caesar" which follows a homeless drunk Sir Digby (Webb) and his equally street-weary sidekick Ginger (Mitchell) - both of whom are under the delusion that Digby is a brilliant detective. It's a sketch comedy show, so by its very nature it's a hit-and-miss affair. In fact, one sketch has Mitchell and Webb "behind the scenes" mapping out the order of "hits" and "misses" to be used in the next episode. Despite abandoning some brilliantly realized characterizations in Peep Show, the duo continue to prove they're a fantastic pair when it comes to comedy and a number of faces from Peep Show you'll recognize here - or vice versa. As the comedy is more decidedly geared to British culture and pop culture, you may find there are a decent handful of jokes or sketches that aren't particularly understandable. But even with those, That Mitchell and Webb Look has a fantastic array of various sketches and bits and you're bound to find at least a few morsels to give you a good laugh.


THE WONDER YEARS

When this show was added to Netflix, I was surprised to discover how many of my friends weren't familiar with it. I practically grew up on this show and it's been a favorite of mine since I was a little kid. The Wonder Years is set in the late 60s and early 70s, a time when America was going through some significant changes. Those changes are mirrored in the life of its principle character, Kevin Arnold (Fred Savage) as he navigates the wonder of his growin' up years. (Ha! See?) The show is narrated by an adult Kevin (voiced by Daniel Stern) as he reflects back on the times depicted in each episode with varying emotional tone. Danica McKeller plays Winnie Cooper - Kevin's lady love, and the girl with whom Kevin has a relationship that runs the gamut from girlfriend to friend to estranged and back again. Josh Saviano is Kevin's best friend Paul Pfeiffer - a skinny bespectacled lad with a number of allergies. Kevin's family is equally colorful; his father Jack (Dan Lauria) is an old fashioned man who only occasionally shows his less abrasive side while his mother Norma (Alley Mills) provides a more nurturing counterpoint to her husband's rough exterior. Wayne, (Jason Hervey) is a somewhat stereotypically thick-headed older brother, who lovingly referes to Kevin as "butthead." Rounding out the Arnold family is the rebel daughter Karen (Olivia d'Abo), whose various forays into the counterculture of the time offers up some of the show's meatier moments. The Wonder Years is largely episodic, jumping from vignette to vignette as Kevin makes his way through middle school, high school, graduation, and everything that lay between. It's a profoundly nostalgic show that often goes right for the heartstrings. This is accomplished through Stern's pensive and well-articulated narration, the show's brilliant soundtrack (a mix of the popular music of the era and some gentle acoustic guitar original score), and occasional stock footage of historical events. The show isn't wholly a comedy, though there are some genuine laughs peppered throughout. And it's not completely a drama either, though more than a few episodes will give you cause to mist up. It simply romanticizes the bittersweet experience of adolescence in a way I've not yet seen another show accomplish, and it's hardly lost its acuity over the course of the 20 years or so since it aired. Even if you're not a child of the 60s and 70s, The Wonder Years explores universal experiences with a sincerity unparalleled.

Thanks for tuning in!

Resident Evil: Retribution

You might have seen the headlines proclaiming that Resident Evil: Retribution was top dog at the box office this weekend. I admit I was among those who contributed to its financial success, and I admit that I did so knowing full well that I was going to see the fifth Resident Evil movie.

With that in mind, I don't feel that my usual PROS/CONS/VERDICT will be sufficient to relay my experience watching this movie. And while I tried to resist the urge to just bash on this movie with snark and disparaging but (hopefully) humorous remarks, I've been unable to resist any longer. So below you will find a post that is a kind of mutant itself; cobbled together from prose, objective criticism, and all the things I found worth making fun of in Paul W. S. Anderson's latest entry in the series.

I give you...

Resident Evil: Regretribution


So as I mentioned, I went to see Resident Evil: Retribution over the weekend. Now, I'm not about to sit here and tell you I expected anything good to come out of that movie. All I really cared to see were some entertainingly choreographed fight scenes and hopefully some gore. A recent Cracked.com article raised several points about how the films are objectively better than the games, and while I didn't whole-heartedly agree with a few of its arguments, I was completely on board with its attempt to call out people who rip on blockbusters just because that's what's "in" these days.

That's a thing people do now, I guess. Sorry, Michael Bay.

"You are forgiven."

And to give credit where credit is due, there were a couple of fight scenes that definitely kicked ass. My favorite is this one where Alice (Milla Jovovich) takes on these zombies coming at her 2 and 3 at a time with a pistol and a makeshift meteor hammer - double teaming them with a little bit of that high choreography type of thing Go-Go Yubari employs against The Bride in Kill Bill: Volume 1. It's fun stuff - majorly fun stuff.

But there were some things about that movie that were so bad, so unexpectedly and unnecessarily bad - even for a movie like this - that I found myself genuinely surprised; despite my low expectations for this movie from the get-go.

First off, I don't know what was penned on the heavens ages ago that says "And whither he goes, he shall enter into theaters and they shall be empty. And he shall find a comfortable seat, and lo, he shall have plenty of room on either side of him. Then shall they come to the place where he is, saying, 'We have surveyed this empty theater and wish to rest ourselves where he is.' And though the rest of the theater be empty, many throngs shall rest themselves next to him - forsaking all other empty seats in the building. And up from their midst shall arise a clamor, such that none will be allowed to speak without shouting over them. For behold, they make their chatter known from the beginning of the little thing at Regal Cinemas where you ride a virtual roller coaster all the way until the credits roll. Yea, this shall he find whither he goes. And whence has been born uncomfortable sitting situations, he shall keep his elbow on the arm rest - lest they should be taken from him. But verily as it is written, so shall those sitting next to him be passive-aggressive losers without so much as the balls to just ask him to move down a seat. And in their distress, they shall make grand gestures with their arms, ironically flailing them about straight out in front of them so as to make him feel guilty for not giving them the arm rests. But he shall not give up his arm rests, he shall not cave to their passive aggressive attitudes, because seriously - screw those guys. And it shall come to pass that those sitting to his left will rise up, and in a fervor, step over him to take another seat elsewhere. But mark this, how they go not out of earshot, so that he might hear the exasperated sighs and frustration of those he hath prevented from stealing his arm rests. For he had the foresight to arrive well in advance of the start of the showing. For he had the foresight to choose a seat apart from all others, so as to maximize the potential to avoid such unwashed masses. And verily, he shall not be punished for their misdeeds. And seriously, screw those guys."

I don't know where that's written, but I'd like to have it edited to include less of everything.



That had nothing to do with the movie, I just wanted to get it off my chest.

Now moving on to the movie itself. To begin with, they've always been poorly acted. Not terribly acted, just poorly. Resident Evil: Retribution apparently thought, "You know what? All that mediocre bad acting needs to be replaced with some super terrible acting now...let's go for broke!" Milla can do drama when she has to - the film Stone is a great example. She's not gonna win an Oscar, but she can pull it off in a pinch. In the opening moments of the Retribution however, you'd never know it. There's an establishing scene where one of her clones finds herself under attack in the middle of a city which we soon find out is just a simulation that the evil-for-the-sake-of-being-

evil Umbrella Corporation uses to test the effectiveness of their completely ridiculous viruses. But Milla's strongsuit is action movie stuff, holding guns at the screen while looking coldly into the camera, punching the lights out of her enemies and then standing over them in that comic book heroine pose that says "I'm tough, but I'm also open to potentially spending a night with you and your vintage Princess Leia Golden Bikini costume." 

"Hehehe...I'm doing excellent feminism."

What she's not good at is basically anything else she does in the movie; screaming and fleeing in terror. Not tip-toeing through her house while holding a baseball bat like Shelley Duvall (haha, women!) in The Shining and shaking it so violently to indicate she's "scared" that you can practically hear Anderson off screen going "Milla. Milla? Milla! Yeah, Yeah. Just shiver a little more, shake your hands so we see how scared you are of that potted plant....Yeah, yeah, like that!!!"

With a few of the characters - particularly Ada Wong (Li Bingbing) - apparently Anderson saw The Room and thought: "Yeah, post dubbing is always a good idea!" and decided to do just that. ADR isn't always a bad thing with the right actors and the right sound technicians, but neither of those applied here apparently. The worst actors in the film are the only ones whose lines end up re-dubbed in post and they're all the worse for it. Like...almost Tommy Wiseau levels of that-line-doesn't-even-match-their-body-language bad.

Integrating your exposition can be difficult as a writer, I'm no stranger to that. And a lot of times you have to hide exposition in little details and conversations to keep the audience up to speed...zis is common in ze movies. Anderson didn't even try. Or...maybe that was him trying...hrm...

Alice wakes up in a holding cell wearing nothing but - I kid you not - two pieces of surgical paper on either side of her body that just barely covers everything needing to be covered - you might recall them from Resident Evil: Apocalypse. But here they're even smaller. Don't get me wrong, Milla is a gorgeous woman in my estimation, but she looked ridiculous. 

Feminism strikes again.

 So moving on she wakes up in that state, and is then basically broken out of her cell by as-of-yet unidentified characters. But not before her cell door slides open with - gasp! - armor and equipment for her to wear. Because the last thing you want to do is leave your enemy without properly ridiculous tight-fitting clothing that conveniently pops out of the wall as soon as someone comes to break them out. Then she ends up in a big open room and one of the characters of both franchises, Albert Wesker, appears on a large screen staring into the lens with all the villainous charisma his hair-slicked-back-and-wearing-sunglasses-indoors look can afford him. Up to this point in the series he's been a bad guy, but circumstances necessitate him joining forces with Alice under the whole "enemy of my enemy is my friend" thing. A twist! She asks where she is, he launches into an explanation that includes a brief history lesson about her location (no lie), including the fact that it's a former submarine facility from the Cold War. Completely unnecessary, but he drones on like it'll have some importance to the film. Spoiler, it doesn't. She asks what's going on, and he then launches into "The Exposition Part of the Movie" where there's literally a shot-counter-shot of Alice on the ground staring up at Wesker on this big screen. She asks a question, he pontificates. For about...10 minutes this goes on without interruption. Ya know, because Alice doesn't have a clue what's going on, so neither does the audience, and someone has to tell her!

"Hehehe. I'm doing excellent screen writing."

I'm not being too hard on Anderson here; he is genuinely capable of more. The first 15 minutes of the film catches the entire audience up on 4 films' worth of material in a way that was both innovative and entertaining. So, no slack for you!

Later on, a "Strike Team" consisting of just a couple of other characters from the film and game who have no canonical reason to know each other arrives to help Alice. Amongst them is the protagonist of RE4, Leon S. Kennedy. He looks like a video game character in the game, as he should. Which is to say he looks like this:

Paul W. S. Anderson saw that design and thought "Yeah, that totally wouldn't look ridiculous in the real world!" and rendered him thus:

That's him there on the left, with the ridiculous hair falling in his eyes - obscuring any attempt he makes to take a clear shot at advancing hordes. Seriously, his middle-parted superbangs get in his eyes so often in the movie it literally defies physics that he survives when Umbrella assassins and zombies drop like flies. I'm not ragging on long hair here, but you won't see me wearing it like a pair of stringy sunglasses at midnight: hideous, in my eyes, and completely unnecessary. And look at that expression: basically the one expression he wears the entire film. Yup, that's him...  good ol' Leon "Here Comes the Smoulder...*fart*...Haha Whoops, I'm So World Weary" Kennedy.

Let's take a closer look at that scene, shall we? In the above image, Alice is arguing with Leon (who really needs a cough drop, or is apparently obsessed with his own really really bad Batman impression) about going after this little girl who was just dragged away by a monster. This is actual dialogue, I kid you not.

Leon: "Don't do this."
Alice: "I won't leave her."
Leon: "You're more important than she is."
Alice: "That's where you're wrong."
Leon: "This is a mistake."
Alice: "That's what you think."
Leon: *Gritty Face*...*Constipated Face*...*World-Weary Mercenary Face*

Bear in mind we're talking about a little girl who was literally just dragged away kicking and screaming calling for Alice by the name "Mommy!". Oh, and did I mention she's deaf? So one of our heroes in this movie would rather let a deaf child perish in terror and anguish than just let someone else go after her. A little deaf girl who was alive and kicking (pun totally intended) not 20 seconds ago. Yeah Leon is supposed to be this hardened badass, but I mean c'mon....He basically said "Naaah....forget that kid." to a woman who has rescued him (and everyone) in the movie multiple times. But maybe he was afraid he wouldn't be able to find her in the sea of tall grass he has to peer through the whole movie.

 "Is anyone else having a hard time seeing through all this grass? It's everywhere, like...oh god I think it's attached to my head!!!!"

In all honesty, no hyperbole in this statement, the little deaf girl is the best actor in the whole movie and most of what she does is scream and run holding Alice's hand. I will give Anderson props for figuring out that little emotionally manipulative trick: kids = pathos, usually. Special needs kids = pathos, always. So I cared about this kid and what happened to her; I wanted her to survive all the improbabilities. But her little subplot with Alice had less to do with the overall arc of the film than the characters of the franchise who don't even show up in the film.

So amidst stringy-haired anti-hero types that flex whenever they're on screen (take a look at that second Leon image again), to women like Ada Wong who fight their way through hordes of assassin's and undead in a red dress and stiletto boots, to some of the most wooden acting and dialogue this side of a gritty Pinocchio reboot...Resident Evil: Retribution proves that movies you expect to be pretty bad can be even worse.

Also, I love slow motion. I really do, especially in a movie like this. But I would be willing to bet that about 20 minutes of run time would be shaved off the final tally if everything was played back at normal speed. No exaggeration, no lie; this movie would be notably shorter without the slow motion. Though frankly, the slow-motion fight scenes were what I came to see so that's not technically a complaint. 

Am I sorry I contributed to Resident Evil: Retribution's #1 spot at this weekend's box office? But for the philistines and troglodytes in attendance with me, no I'm not. And I'll probably go see the next one when it comes out. But there's a difference between being bad in all the right ways and just plain bad. Retribution tries to be the former, but hilariously falters and falls on a whoopee cushion in the latter category. The 3D looks fantastic, the visual effects are pitch perfect, the fight scenes are thrilling and when Milla is doing her "gunslinger girl" thing she's pretty good too. But trying to find anything else even marginally acceptable in this movie is like trying to make "fetch" happen.

Netflix Nuggets #2

I'm back with another smattering of reviews for another smattering of titles from Netflix! Some you might be familiar with, others you may have never heard of. But that's precisely what this blog is here for. Enjoy!

GRIFF THE INVISIBLE

With the sustained presence of superhero movies in theaters lately, its almost hard to imagine a time when comic book adaptations were virtually non-existent. In the 80s and early 90s, the few superhero movies that had made waves financially and critically were by far the exception rather than the rule. But with the popularity of superheroes and comic book adaptations on screen rising to prominence comes the added opportunity to explore new facets of that mythology. Enter Griff the Invisible, an Australian film about an office grunt named Griff (Ryan Kwanten) who moonlights as a masked vigilante. His life changes when he meets a girl named Melody (Maeve Dermody) who seems to share his non-conventional view of the world at large. It sounds all-too familiar at first, but the film soon makes clear that this isn't another comic book movie. Bumping up against the nature of reality itself, Griff the Invisible asks the audience to question - right along with the film - the merit of what it means to live in the "real world." The film shows us how Griff sees himself; the romantically idealized version of his costume is muscled and fitted with numerous gadgets. But when we get a glimpse of him from another character's perspective we see that his suit is - in the "real world" - an ill-fitted collection of custom fabrics and plastics one might find on the lesser end of a cosplay contest. But again, the film doesn't seem overly concerned with forcing the main character or the audience to validate one perception over the other. Instead, we're left to determine for ourselves which reality is more "real," and at the end of the whole affair I didn't feel existentially confounded or befuddled. For all its sensible ambiguity, Griff the Invisible is a surprisingly accessible commentary on life and love and the nature of reality, with a few laughs thrown in for good measure.

MELANCHOLIA

The plot of Melancholia isn't complicated. The implications of some of its themes, on the other hand, are incredibly profound. The film primarily charts the disintegrating relationship between two sisters. Justine (Kirsten Dunst) is a newlywed who clearly suffers from severe bouts of depression. Her sister Claire (Charlotte Gainbourg) is the more sensible and grounded of the two - at least at first. Chronicling Justine's wedding reception and the day after, the film delicately paints a portrait of a family decaying from within. Justine's depression is a source of tension for several of the principle family members, and the passive aggressive behaviors exchanged amongst the cast (which includes John Hurt, Kiefer Sutherland, Stellan Skarsgard, and others) are rather difficult to watch. Underpinning the tension within the family is the fact that a rogue planet is heading for Earth. Some fear it will destroy us, others believe it will pass Earth by. The film states quite early on that Earth will be destroyed by the rogue planet, aptly named Melancholia, and the rest of the film plays out as more of a character study of minds and souls in crisis. Melancholia is a beautiful film, if an incredibly depressing one. Conveying the tepid attitudes of its primary character beautifully, the film itself evinces depression and melancholy with only a measure of subtlety. The symbolism of the film isn't particularly hard to decipher, and the opening images feature a high frame rate slow motion that almost makes the images displayed appear as a painting on screen - accompanied by the overture to Wagner's Tristan und Isolde. I wouldn't recommend watching Melancholia if you're in a good mood, because it's likely to sour it a bit. But if you find yourself in a place of placidity and emotional withdrawal, you might find that Melancholia resonates brilliantly with such a mood. Regardless of how you might choose to view it, there's no denying the inherent beauty of Lars Von Trier's ponderous piece.

PEGGY SUE GOT MARRIED

Remember Back to the Future? Of course you do, because it's awesome. Well, in the wake of that movie's subsequent success another, somewhat lesser-known piece involving time travel was released: Peggy Sue Got Married. Peggy Sue (Kathleen Turner) is a divorcee whose life seems but a shadow of the dreams she held as a young girl. At her high school's 25 year reunion, she collapses inexplicably only to wake up a few decades back, once again a high school student in 1960. The film follows her as she weighs in on the relationships and choices she made growing up - wondering how she'll seize the opportunity to change her life. There's no science-y related mumbo-jumbo to go along with this time-traveler's tale, but there's a great deal of charm and laughs in Francis Ford Coppola's Peggy Sue Got Married. Nicolas Cage plays Peggy Sue's future husband/boyfriend in high school Walter, and he hilariously affects a gawky teenage posture and somewhat squeaky voice. A handful of familiar faces populate the supporting cast, including Jim Carrey as the school jokester (what else?), Kevin J. O'Connor as the brooding but poetic bad boy, and a 14-year old Sofia Coppola as Peggy's younger sister. Much like Back to the Future, the movie enjoys showcasing its retro sensibilities with a vintage soundtrack, classic cars, and classic clothing. But where it differs from Back to the Future is in its more serious tone. Peggy Sue's struggle to determine if she should continue her relationship with Walter, knowing he will be unfaithful and eventually break her heart, isn't glossed over. And the ultimate implications of her final decision aren't shied away from either. But that's tempered brilliantly by some well-placed laughs and an ultimately uplifting ending. And while this certainly isn't one of Cage's more insane performances, it is still on the list of what makes Cage such a curiously compelling actor to watch. Peggy Sue Got Married isn't quite on par with its "sister film" Back to the Future - though they both share undeniable similarities. But for what it's worth, Peggy Sue is still a delightfully nostalgic jaunt back to two eras: 80s movie-making and early 60s vintage Americana.

PRIMAL FEAR

Every now and again a movie will steal a fantastic title that doesn't really represent what the movie is about. Primal Fear, though an engaging thriller, is just such a film. While the title (and even poster) might give you the impression that this movie is some kind of supernatural and atmospheric horror flick, it is instead a court room drama. Martin Vail (Richard Gere) is the kind of lawyer that lawyer jokes are made about. His moral compass is pretty obviously broken, as a handful of expositional conversations expose him as a lawyer famous for "putting the victims on trial" and getting well-funded clients off on technicalities. But when an altar boy named Aaron Stampler (Edward Norton) is accused of murdering an archbishop, with a near-overwhelming pile of circumstantial evidence implicating him, Vail decides to take the case pro-bono because he genuinely believes in Stampler's innocence.
I love courtroom drama films. I'm not sure what exactly it is about this cinematic subgenre that rarely fails to engross me but I was drawn to this film on those merits alone. Fortunately there's a good deal more to it than the usual examination/cross-examination antics that populate these films; including one of the best performances of Edward Norton's career. Laura Linney also works in a solid performance as the prosecuting attorney and a former lover of Martin Vail's, further complicating interpersonal relations within the film. Primal Fear isn't likely to keep you on the edge of your seat, it's not the kind of harrowing thriller that involves chase scenes or noir lighting techniques. But its well paced and makes its way around a few surprising twists during its run time, resulting in a solid entry in the courtroom drama/thriller subgenre.

LES EMOTIFS ANONYMES (ROMANTICS ANONYMOUS)

Looking for a heartwarming, feel-good romantic comedy from France? Something with which to follow up Amelie perhaps? Look no further than Romantics Anonymous, a quirky little piece that follows the budding romance between a shy but talented chocolatier named Angelique(Isabelle Carre) and her equally shy boss Jean-Rene Van Den Hugde (Benoit Poelvoorde). I almost didn't want to use the word "quirky" in the previous sentence, because that word has so indelibly become linked with a very specific kind of awkward indie comedy, or just with Zooey Deschanel. But here, there's an irresistible sincerity to the film's quirkiness that transcends Hollywood tropes. It's not just because the film is French; the principle characters are both undeniably charming. While their awkward romance encounters numerous pitfalls along the way, some profoundly wince-inducing, the movie never resorts to gags or gimmicks to get its laughs. Instead, memories of our own romantic misadventures are called to mind with a wistful nostalgia. Throughout the film, the French version of "I Have Confidence" from The Sound of Music permeates the soundtrack and in one brilliant moment, that scene is reconstructed shot-for-shot with Angelique. After watching this delightful little film I did some reading up and found that the Romantics Anonymous meetings that the principle characters attend is an actual organization that the two leads often frequent. That doesn't come as a bit of a surprise given how genuine their performances are and further adds another layer sincerity to an already disarmingly honest film. Feel-good foreign cinema really doesn't get much better than this, folks.

SCENT OF A WOMAN

Martin Brest is known for a few things. The first one has to be that he was a favorite of bullies and name-callers growing up for his familial surname. The second is that his last film - thus far - was unforgivably bad. It starred Ben Affleck and Jennifer Lopez and if you don't recognize it from that clue then thank your lucky stars. The third is that before he torpedoed his career he made two romantic dramas that shared three things in common: 1) They were pretty good. 2) They were both scored, beautifully, by Thomas Newman. 3) They were both over 2-and-a-half hours long. One was Meet Joe Black, the other was Scent of a Woman. For some reason these two films almost feel like companion titles to me though they share little in common, and incidentally Meet Joe Black is on Netflix as well at the moment. But getting back to the task at hand, Scent of a Woman follows a young man named Charlie Simms (Chris O'Donnell with an undeniably 90s haircut) who takes a weekend job working as a companion to a blind and foul-tempered retired Army Lt. Col. named Frank Slade, played by Al Pacino. Frank is gruff and standoffish and generally the kind of curmudgeon needed as a foil to Charlie's youthful optimism. But over the course of the weekend Charlie begins to understand Frank and his seemingly unforgiving ways, and in turn Frank develops a subtle appreciation for his youthful companion. It's not a wholly unfamiliar plot by any stretch of the imagination and Brest plays all the expected notes emotionally. But there are some great quotes from Pacino and one or two tear-jerker moments that elevate this movie above the kind of tropes that seem fit for a 'heavy episode' in a conventional TV sitcom. A much  younger Philip Seymour Hoffman also makes an appearance as one of Charlie's prep school classmates. The film wraps up with Pacino giving a rousing and profoundly stirring speech about the nature of character and integrity to Charlie's prep school and while, again, the cliche is worn out and tired as ever - I still couldn't resist the swelling of the orchestra and the force of Pacino's voice. It wobbles on the border of kitschy at times, but for all of that it's still a wonderfully uplifting piece that - at 157 minutes - unfolds slowly, but surely.


STRICTLY BALLROOM

Here be the first of Baz Luhrmann's famous "Red Curtain Trilogy," so named not because they share a common narrative but because each film (Strictly Ballroom, Romeo+Juliet, and Moulin Rouge!) each open with the raising of a red curtain. Strictly Ballroom opens on a faux-documentary style vignette into the world of competitive ballroom dancing. A collection of talking head interviews relates the story of how talented hoofer Scott Hastings (Paul Mercurio) began performing his own flashy dance moves during a competition, costing him and his partner Liz Holt (Gia Carides) the victory. The movie then reverts back into a typical narrative style, albeit with Baz's signature low angle closeups and Bollywood-like cinematic choreography. Scott is soon approached by another aspiring dancer named Fran (Tara Morice) who convinces him to teach her "his way" of dancing so that they can compete in the Pan-Pacific competition together - only weeks away. What follows is an enjoyable, if predictable, romantically comedic romp through the world of competitive dancing, learning to follow your heart, Cyndi Lauper's "Time after Time", and a host of charmingly lampooned 'ugly duckling' and 'Cinderella' stereotypes. Baz's directorial debut showcases an already insightful cinematic perspective, and numerous moments in the film play out like practice for techniques and choreography he would later exploit in Moulin Rouge! This 1992 romantic comedy isn't nearly as frenetic or ultimately intense as 2001's Moulin Rouge!, but his signature style is very much apparent in nearly every frame. Being a fan of Luhrmann's work, this was a huge plus for me and suited the production design of the film itself marvelously. I don't know much about dancing at all, but this is the kind of film that transcends personal experience with its subject matter to be enjoyable and heartwarming regardless. Any fan of Luhrmann, romantic comedies, or dancing in general would be well served to add this to their "Must See" list.


That concludes Netflix Nuggets #2! Stay tuned for a soon-to-come special entry in the Netflix Nuggets series: TV Edition.

The Dark Knight Rises

You know what's a great feeling? Walking into a movie knowing you're going to be coming out of the theater with a new favorite on your list. Such were my feelings walking into The Dark Knight Rises. I'd been pumped about this film ever since the credits rolled in 2008 on The Dark Knight. I didn't see how the conclusion to this stunning trilogy could possibly be a letdown and consequently let my expectations soar unimaginably and almost unattainably high; just to see if Nolan could do it again.

And Holy Toledo, did he.

The film opens on a Gotham that's largely recovered from the municipal carnage that took place in Batman Begins and The Dark Knight. It's 8 years later, and both of Bruce Wayne's alter egos have gone into seclusion. But as the trailers are so fond of reminding us with that oft-used sound bite, "There's a storm coming Mr. Wayne."

WARNING: SPOILERS

THE PROS:

Christopher Nolan is without peer, as a director. Go look at his Rotten Tomatoes page. His lowest credit is in the mid 70s; everything else he's touched as director, producer, what have you has been box office gold and critically hailed; even his first major short film Following recouped its modest budget to the tune of almost 8 times over. The man is a modern Midas and it's little wonder. He is a master craftsman when it comes to the art and discipline of film making and The Dark Knight Rises is just more proof on top of existing fact. The film opens much in the way The Dark Knight does, introducing just a blueprint of the plot and the main villain. From there, it's a solid 20 to 30 minutes before the action even really gets going again, yet it doesn't drag in the slightest. Nolan builds an unnerving sense of placidity, a true calm before the storm, that brilliantly reflects Gotham City's placement in the scheme of events. Even in the lighter passages of the opening moments of the film, there's an undeniable presence of growing menace; the only way it could be more palpable is if there were big block letters across the screen flashing "THINGS ARE ABOUT TO GET MUCH WORSE." And of course they do, in a brilliantly satisfying way.

All the regulars are here: Christian Bale as the titular character, Michael Caine as his trusty butler, Morgan Freeman as his 'gadget guy' Lucius Fox, and of course the inimitable Gary Oldman as Commissioner Gordon. Rounding out the cast is a set of newcomers that brilliantly add more depth to a familiar world. Anne Hathaway is Selina Kyle, who most will recognize as Catwoman. Her portrayal as the sly but secretly vulnerable anti-heroine is spot on. She coos most of her dialogue in a seductive cadence, and occasionally offers out a vaguely campy line for effect. Joseph Gordon-Levitt is John Blake, a straight shooting if haunted cop with a past that mirrors Wayne's own. Marion Cotillard plays Miranda Tate, a Wayne Enterprises board member with a bit of a thing for Bruce. And, of course, the mountain-of-a-man Tom Hardy is the arch-villain Bane. Hardy is a marvelous actor, with The Dark Knight Rises being further evidence of his talent. With nearly his entire face obscured by his mask, he still manages to convey subtlety and precision. And he does so without the use of wild gesticulations; his voice aside, it's all in his eyes, his stance, and occasionally a stray gesture or two.

Nolan's selection in casting further reflects his abilities as a director. As the film plays out, the cast of characters ends up getting separated and reunited in various ways. And with so many characters to keep track of, it could have been very easy to lose track of who's where and why's what when and with whom and all that jazz. But each characterization is so genuine and committed, and likewise Nolan's direction is so measured and precise, not a moment of screen time is wasted and not a jot of the plot is lost in the action.

And speaking of action, The Dark Knight Rises brilliantly pays off in this department as well. The fight scenes here are just brutal. They're not gory or bloody or anything like that, but there's an element of pure brawl that goes into the conflict of this film. Much of that is due to Bane's nature as a kind of human wall capable of dishing out so much pure punchy pain you almost admire him. During Bane's first fight with our hero, he does what so many fanboys have suspected he would; he breaks the bat. Crushing Batman's helmet, he then holds him high over his head (just like in the comic), and brings him down on his knee; breaking his spine. It's tough to watch, but the scene is so expertly crafted. There's no score involved, just the sound of a waterfall echoing in the subterranean cavern and the crunch of fist and flesh on bone and Bane and Batman. It's profoundly visceral.

As with any franchise, each time the audience returns to the story there has to be something new. In most ways it has to be bigger - so Hollywood logic goes - and of course this presents the problem of running out of steam and being left to toss gimmicks at the audience to keep them interested. So with Batman Begins chronicling the caped crusader's fight against the League of Shadows/Scarecrow and his horror-movie nerve gas, and The Dark Knight offering one of the most iconic villains in the Joker and some absolutely jaw-dropping chase sequences, the only logical way to top that would be to...I don't know...stage a war in Gotham's streets, right? That's exactly what happens, and by the beef on Tom Hardy's body it's awesome. In the film's climactic final act, the citizens and mercenaries rallied to Bane's side and the cops of Gotham literally charge down the street at each other; medieval style! And in the midst of the chaos, Batman and Bane carry out their own War of the Punches.

Hans Zimmer's score is back in force, as always, to remind us that apparently no one does heroic symphonic music better than he can. All the familiar motifs from the previous films reappear in The Dark Knight Rises, in addition to some new ones. This one is a bit more percussion oriented than the previous two, but that too goes right along with the overall feeling of deep impact film making employed here.

THE CONS

In the first five minutes of the movie, Bane's voice sounds completely ridiculous; like a 13 year old whose voice keeps cracking while muffled under his hand. During these opening moments, I feared that the entire operation might be derailed by this, but either I got completely used to it or they somehow managed to change the resonance the next time the character appears on screen. A close call, but one that had me thoroughly distraught for about 5 to 10 minutes.

Nolan has largely managed to keep his films free of self-referential camp, and that's a good thing. With that in mind, there were one or two lines of dialogue that felt like necessary evils. At one point Bane says "You came back to die with your city." To which Batman growls. "No. I came back to stop you." THEY FIGHT. It teeters on the brink of all-too-familiar "comic book trash talk" like that once or twice. Not wholly enough to discredit the entire operation, but just enough for me to roll my eyes a few times. There are a couple of cliches in the affair that I could have done without.

Another Bane-related minor gripe is that his voice mixes strangely with the rest of the film. Almost as if he's doing a live ADR voice-over of his lines. This is likely due to fans who claimed his dialogue was indecipherable in the trailers. I didn't have a problem understanding him in the trailer, didn't have a problem understanding him in the film, though a few critics are still bemoaning that point. So it seems that in an attempt to reach out to fans, the sound mixing on The Dark Knight Rises was hastily reconstructed in the weeks leading up to release. It's strangely overpowering; as if his voice is coming from the speakers themselves rather than the film. But it didn't bother me for very long, and I still blame texting teens for the "Bane's voice is hard to understand" campaign.

THE VERDICT

Everything I hoped it would be and more, really. Nolan has taken his time with this franchise and it's paid off handsomely. I remember going with my parents to see Batman Begins in 2005 and thinking that this was like a new kind of superhero movie; stunningly realistic and genuine, but still full of big budget visual effects and spectacle. And over the course of almost 8 years and 3 films, Nolan has managed to maintain that unique sense of direction for the entire franchise. The movie's themselves are long - this latest one clocking in at almost three hours. Yet not a moment of screen time feels like filler or padding; everything on screen serves to move the story forward with a measure of precise pacing you could set your watch by.

The hype surrounding this film is well-deserved, and while there will undoubtedly be detractors (there always are) my hope is that The Dark Knight Rises will go on to set and break box office records because it's the kind of film that deserves that kind of critical and financial recognition. The performances are dead on, the visual effects are thrilling, the action sequences full of adrenaline and emotion, and the few twists along the way are as satisfying as vintage M. Night Shyamalan.

I'd like to say that a part of me regrets that the trilogy is completed; that I'm sad to leave it behind. But I'm surprised to say that I'm not. Nolan has expertly crafted a specific set of films that follow a logic and narrative so uniquely their own that here, at the conclusion, we're treated to a satisfying sense of closure rather than a post-credits promise of bigger and bolder things to come. The tagline for the film, "The legend ends," is perfect in every sense. It communicates exactly what the film's ultimate aim is and it implies that we will feel happy to reach the conclusion, rather than regretful. The legend has ended, and it was a glorious end; one truly worthy of the reputation constructed over the course of the two films leading up to it.

Cheers, Mr. Nolan. My hat is off to you.

Netflix Nuggets #1

I'm debuting another "special entry" series for this blog: Netflix Nuggets! Much like the Redbox Report, I'll collect a handful of reviews in a single blog post. The difference is, as you probably guessed, the titles in question will be available through Netflix Instant Watch. But rather than pick up the bigger and better known movies available through the most productive time-wasting service ever invented, I'll be cycling through movies that you may have never heard of, or hadn't heard much about. So the next time you're cruising through their library looking for something new to try out, check back with the blog and see if I can't shed a little light on a random title for ya. So without further ado, here is Netflix Nuggets #1


SUBMARINE

Normally, I don't go for quirky indie comedies; I feel like the whole genre is played out. I kinda felt that way when Juno came out, and it was basically the first big one. I don't hate them, I'm completely engulfed by a sense of 'meh' about most of them. So I was hesitant to give Submarine a go because everything about it - from the poster, to the trailer, to the opening moments - made me dread that I had just subjected myself to yet another exercise in breaking the fourth wall with snarky narration and gazing - catatonic - into the camera as a series of meaningless syllables sputter out. And "Submarine" is chock full of those things, as it happens. But the film somehow still manages to work in this undeniable sense of charm and humor that overcame my initial misgivings. The film follows protagonist Oliver Tate, who is precisely the kind of indie-film cliche that puts me off of this genre. But his cliche is played up to such a melodramatic height it's funny, rather than just tiresome. Early on in the film he mentions how he daydreams about what would happen after his death; how the world would react. The film cuts to a series of news snippets as school mates bemoan his passing, news reporters tear up as they report the catastrophic loss, mourners form candle-lit vigils in his honor; and the whole bloody affair is so over-the-top and ridiculous I couldn't help but laugh. Partly because I've daydreamed about that exact thing (I think most of us have) and can therefore relate, if somewhat sheepishly. And partly because Oliver is so unabashed in his melodramatic self-absorption it's almost impossible not to laugh. And a handful of the dialogue is just so absurd or hyperbolic, again the effect is truly laughable. Lines like "Now that we had kissed for non blackmail purposes, I thought it gentlemanly to escort Jordana home" are a great example of what I mean. The movie is a typical coming-of-age, indie-weird boy meets indie-weird girl, type of outing. But somehow it's charming and sincere enough to exceed its own cliches; and in many cases use them in a brilliantly self-deprecating way.


ROYAL DECEIT

Here's a credit you'll want to sit through either to beef up your resume of obscure films you've seen, or just because it's got a great cast. The story follows the original Jutish tale upon which Shakespeare's Hamlet is based. Young prince Amled is visited by his father's recently departed ghost to discover that his uncle is his father's true murderer. Amled vows revenge, and the tale is largely one familiar to anyone vaguely acquainted with Shakespeare's famous play. What's not great about the movie are the costumes and sets; here minimalist to a fault. The movie largely looks like a play that has been filmed, with none of the sets really evoking much implied design work or artistry. The same can be said of the costumes, which are largely just cobbled together pieces of mute-color cloth. Being set in a pre-medieval Jutland (Denmark), that may have been intentional. But it feels more like a convenient coincidence. Where it shines is in its casting decisions, which bring together a sizeable chunk of names and faces you're bound to recognize. Christian Bale plays the tortured Amled, Gabriel Byrne his deceitful uncle, Tom Wilkinson his deceased father, Helen Mirren his deceived mother, Brian Cox an ally from across the sea, Mark Williams and Andy Serkis as the Rosencrantz and Guildenstern characters of this tale, Kate Beckinsale as a less-insane iteration of Ophelia...the list goes on. It's just a treat to see all these actors together on screen, and largely atones for the pretty dreadful production value - which includes B-roll shot at a completely different frame rate than the rest of the film and a soundtrack that occasionally sounds as though it's from a completely different movie. But, as I said, this is one you'll likely not find on any shelf available for purchase - so if you're in need of a film credit to one-up another film buff with, this is your golden ticket.


COLD COMFORT FARM

Here be a British version of Polyanna or Anne of Green Gables, and like those titles also based on a novel of the same name. The plot is fairly simple: a young city girl with big dreams named Flora Poste moves in with her extended family out in the countryside and in so doing brings light and life to their miserable existence through her free-spirited ways. The girl in question is played by a younger and freckled-nosed Kate Beckinsale, but her precocious charm is undeniable. Like Royal Deceit, this film also boasts a marvelous collection of casting decisions. Rufus Sewell is the randy cousin Seth, who secretly harbors a love of the cinema that seems incompatible with his rural ways. Ian McKellen is Amos, the patriarch of the family. A fire-and-brimstone preacher and founder of the Quivering Brethren (a fictional and damnation-obsessed church domination), Amos is an extreme caricature of the Biblically-minded moralist and hams it up on screen appropriately. Freddie Jones portrays an aging farm-hand who works on Cold Comfort Farm and never refers to Flora by her name, but rather by her proxy relationship to the family as "Robert Poste's child." It's an unassuming little piece of cinematic fluff, which never asserts itself as more than the kind of feel-good outing you might catch during a Sunday afternoon on the couch. But it's got charm and sincerity to spare, and a handful of moments that are just a delight to watch. On one such occasion, Stephen Fry (who plays a local writer by the name of Mybug) openly propositions young Flora in a cafe, much to the chagrine of the patrons within earshot. At that very moment Amos enters the little tea room and in one of the worst cases of conversation timing hears Fry utter "I am referring to SEX!" Of course being the Bible-thumper he is, Amos summarily whisks Flora away by the hook of his umbrella. It's not the funniest moment of all time, but just to see that situation played out with such iconic actors as McKellen, Fry, and Beckinsale in their respective roles was a real treat. Cold Comfort Farm isn't the kind of film that will change your life, but it's a great little hour and forty-five minute into the charming and free-spirited world of a charming, free-spirited girl.


IRONCLAD

Epic historical films like Braveheart or Gladiator are one in a million. Plenty of loosely-based-on-fact historical epics have come and gone, but their grandeur and quality is usually harvested from a stock of lesser quality. That's not to say movies like King Arthur, Troy, or The 13th Warrior are without merit by any stretch; those are all enjoyable films in my estimation. They're just not as iconic and hallowed as the first two I mentioned, and as much can be said for a more recent epic period film: Ironclad. Following the story of the siege of Rochester Castle at the hands of King John in the early 1200s, the movie plays out like a kind of medieval Seven Samurai. James Purefoy plays Marshall, a principled Knight Templar who finds himself in charge of a small garrison committed to defending the castle from King John's (Paul Giamatti) onslaught. If you're a student of history, you will note several historical inaccuracies - but we've come to expect as much from period films these days. To its credit, the film has some great battle sequences that are both thrilling and visceral. Ironclad is definitely a good deal bloodier and gorier than Braveheart or Gladiator. Purefoy is confident and cool and carries the film well, as does his cast of supporting characters which includes Brian Cox, Derek Jacobi, and Kate Mara - to name the more recognizable. Again, Ironclad is a movie that tries to be more than it is on its own. But for what it's worth, it's a great siege tale filled with swords and arrows and trebuchets and moments like Brian Cox roaring "NO SURRENDER!" to an equally enraged Paul Giamatti. It doesn't swell with pride like Braveheart or seethe with righteous indignation like Gladiator; but it battles it up for most of its 2-hours-and-change run time and acts as a nice holdover until the next great historical epic sweeps the Oscars.


AGORA

Do you know who Hypatia of Alexandria was? I didn't until I saw this movie, and I'm surprised that there isn't more attention paid to her in history books. Almost none of her writings have survived history, but enough from other scholars survives about her to make a very compelling case for her genius. Agora follows Hypatia through the late 3rd century and early 4th century in Egypt during a time when Christianity was just beginning to take root amongst the people of the region. Against the backdrop of political upheaval, the film chronicles - with a decent amount of historical license - the lives and times of both Hypatia and some of her students, who included such historical figures as Orestes - Roman governor of Egypt in the early 4th century - and Synesius, who would eventually become a bishop of the fledgling Eastern Orthodox Church. The movie is something of a sword-and-sandal epic, but with a lot more sandal than sword. While there is some violence and action, the heart of the film is devoted to exploring the philosophical questions of the time - and how they relate to our modern era. Rachel Weisz plays Hypatia with the grace and dignity she naturally evinces; Oscar Isaac and Rupert Everett (Orestes and Synesius, respectively)  grow on screen from school boys to important leaders convincingly. Max Minghella further rounds out the cast as Davus, a slave who struggles with his own beliefs as the Christian and pagan factions vie for political and social control in the area. The overall message of the film emphasizes objectivity and respect for both scientific knowledge and faith, and for the most part walks the line between the two well. The majority of the film's villains end up appearing in the camp of the emerging Christian faith, which I found a little disappointing considering how well a balance was struck early on in the film. Having said that, for the most part Agora presents the viewer with the historical facts such as they are and lets the the audience decide where virtue remains. And for a film about ancient Egypt, it spends a great deal of time in space - either zooming in or out of Earth or exploring the cosmos whilst voice-over and score accent the imagery. It's not entirely abstract, but it's more cerebral a piece than I'm accustomed to seeing in a "toga movie." But it's incredibly educational, despite its historical license, and a fine film in its own right, too.


THE TRIP

What would it be like if Steve Coogan and Rob Brydon took a tour of the restaurants in Northern England, portraying somewhat fictionalized versions of themselves? A six-part BBC2 sitcom called The Trip sought to answer that strangely specific question. From that series, a film was edited together similarly titled The Trip and is, as you can surmise, currently available through Netflix. The film features mostly improvised dialogue, and said dialogue is largely composed of Coogan and Brydon (who are both known for their impersonation capabilities) trading impressions of various celebrities like Michael Caine, Sean Connery, and Hugh Grant. There's some rather reflective material courtesy of the contrast between the two character's lives. Coogan is estranged from his family and despite his success, is clearly nursing some emotional wounds. Whereas Brydon is not nearly as renown as Coogan, he has a great relationship with his wife and child and it's evident that Coogan envies him that somewhat. But the drama of the film doesn't work nearly as well as the comedy. It's not a laugh-a-minute type of affair, but watching Coogan and Brydon - two grown men - argue back and forth with each other about whose Michael Caine impression is more true-to-life had me in stitches. It's a fairly long movie considering that's really all it is, Coogan and Brydon making fun of each other and cracking snarky British quips. But I got enough of a laugh out of the whole thing to feel like my time was well spent. If you're not big on quirky British humor, you probably won't find much to like here. And even if you are, The Trip is certainly not cut from the same cloth as something like In the Loop. But if you like Coogan and/or Brydon's brand of comedy you'll probably enjoy this little restaurant-romp.


WORLD'S GREATEST DAD

Occasionally I have such an intense bout of 'cynic-brain' (I'm still working with the surgeon general to get this medically recognized) that just about the only thing I can laugh at is absurdly dark humor. I was in such a funk when I stumbled across World's Greatest Dad; a film whose trailer completely misrepresents it. If you want a nice shocker of a black comedy and don't want to have its big shocking plot point spoiled, skip ahead to the next entry because I can't quite describe this film without giving it away. Robin Williams plays Lance Clayton, an aspiring writer whose only published works appear in greeting cards; and whose unpublished materials comprise page upon page of rejected fiction. In addition to his failures as a writer, Lance's son Kyle (Daryl Sabara) hates him. Why? Mainly because Kyle is just an awful kid, and that would be putting it lightly. Things take a turn for the "Holy crap, did this just happen?" when Kyle accidentally perishes attempting autoerotic asphyxiation. In a last ditch attempt to make amends for his broken relationship, Lance pens a fake suicide note and frames his son's death accordingly. Things then take a turn for the downright unholy when people begin asking Lance for more of Kyle's writings, and Lance obliges. Overnight, he becomes a literary sensation and the movie proceeds to toss any notion of sacred out the window. As I mentioned before, I encountered this movie whilst in a rather pessimistic frame of mind, and consequently enjoyed it thoroughly. If black comedies like Fargo or Death to Smoochy aren't your thing, World's Greatest Dad certainly won't be either. But if you appreciate the kind of movie that doesn't take anything seriously and approaches the world from the standpoint of "Life sucks, and so does everyone in it" - you might find this to be just what the doctor ordered.


MY DATE WITH DREW

Documentaries can be a real hit or miss, especially when it comes to a topic that's just not particularly interesting. Topics like...one guy's big crush on Drew Barrymore. My Date With Drew follows Brian Herzlinger, a twenty-something year old living in Los Angeles on a 30-day quest to snag a date from his celebrity crush, the aforementioned Lady Drew, of House Barrymore. It sounds pretty smarmy, to say the least. And Brian isn't a suave screen personality either; he's your average Joe. So for the first 30 minutes or so of the movie, the whole affair feels rather contrived...as though you're watching some stranger's home videos. But as the movie goes on, it picks up an undeniable momentum and before I knew it I was cheering him on with all I had. It's a dream many of us can relate to: wanting to spend a few fleeting moments one on one with our favorite celebrity. Unfortunately it's also a dream many stalkers share, so going into this movie I wondered if Brian would come off as a stalker and make the whole thing feel more creepy than anything else. But fortunately I can say with confidence there's nothing creepy about Brian's manner or approach. And I won't tell you how the movie ends because it's a great watch; definitely leaves you with a warm fuzzy once all is said and done. So while it's technically a documentary, it feels more like you're part of this fun and crazy adventure in someone else's life and dammit if it's not actually inspiring.


That concludes this round of Netflix Nuggets, thanks for tuning in!