Christopher Nolan (Memento, The Prestige) revealed his third Batman film would be called The Dark Knight Rises. At the end of the previous chapter Batman was on the run from the law, taking the blame for the death of Harvey Dent/Two-Face. I believe Nolan has said that this film would be the last of his Caped Crusader chronicles, so the title Rises, perhaps hints at a reckoning for Bruce Wayne and his troubled alter-ego.
Always one to keep information close to the vest (something in this day and age, that's becoming increasingly more difficult to do), Nolan also divulged that, after initial thinking, the Riddler would in fact not be the main antagonist. What we do know is that Tom Hardy (Bronson) will have a starring role, presumably as the villain.
At this point, we must now wait for more unsubstantiated rumours to hit the net as speculation will no doubt heat up as the script has been finished, and pre-production continues. Rises will not be filmed in 3-D, nor will it be converted after the fact. More sequences in IMAX will be included as was the case with TDK.
Production is set to start April, 2011, with a release date of July 20th, 2012.
Never Let Me Go is a science-fiction film, but it isn't. We are told that decades ago a breakthrough in technology has led to life expectancy topping over a hundred years old. This I suppose is where science comes in, although it's absent throughout.
The story is told through the eyes and voice of Kathy H. Through her words, she proceeds to paint a serene and moving portrait that begins at Hailsham--a boarding school in the English countryside. We meet Kathy as an adolescent. Apart from the cliques, she is reclusive from the others--save for a friendship with Ruth and a fascination with Tommy. Life at Hailsham seems idyllic: the students are properly educated, meals are provided. A few undertakings attack our presumptions: locator bracelets are adorned. Queries about what presides outside the campus walls fall on deaf ears.
While playing baseball during recess one day, Tommy fails to retrieve the ball that bounces over the fence. A unsettling conversation takes place between Miss Lucy--one of the teachers--and Ruth, who explains why Tommy didn't venture further.
"There was once a boy who ran off beyond the boundary. They found him, in the woods, with his hands and feet cut off."
"Who told you these stories?"
"Everybody knows them."
"And how do you know they're true?"
"Who would make up stories as horrible as that?"
This exchange is important, and that much more heartbreaking. We learn that there is no creature lurking in the trees; no malevolent force waiting to strike. But, nevertheless, Hailsham is a wicked place. The children are told of their unusual fate; their path is inevitable. The opening scene of the film reveals Kathy as an adult. Her gaze is on Tommy, sprawled on an operating table. Their eyes meet, a faint smile is produced; they both seem to know what's to happen next. Kathy's narration hints at the fates they are resigned to. While the original novel of Kazuo Ishiguro allows the plot to establish itself methodically, unfortunately, Mark Romanek's adaptation spills its secrets far too early.
That's not to say that the motion picture doesn't capture the beauty of Ishiguro's art; it is shot wonderfully. More hesitation would be appreciated however; the finality of the tale did not need to be learned so soon.
From Hailsham, the children--now adults--are moved to the Cottages--the next stage of their development. By now, Ruth (Keira Knightley) and Tommy (Andrew Garfield) are in the midst of a relationship, leaving Kathy (Carey Mulligan) once again, playing the part of the outcast. All three leads are outstanding. Mulligan, who starred in the Academy Award nominated An Education, portrays a character who is thrust into circumstances that challenges her convictions and resolve; a constrained intelligence is evident throughout. Knightley has the most unrewarding task. Ruth, although mellowed in the third act, is a bitter, spiteful girl. Her relationship with Tommy stems from spite of Kathy's personality, not from honest feelings. She is almost child-like, acting out in brash ways. Garfield, who had a starring role in David Fincher's The Social Network, is the most impressive. Still relatively obscure, he will soon become a household name, having been cast as the new interpretation of Spider-Man. Here, Garfield's expressions alone tell us all we need to know of the unenviable life these three live. His scenes are also the most wrenching; our feelings coincide with his. We share in his unmistakable optimism, yet also wallow alongside, when there is seemingly nothing left to fight for.
Never Let Me Go, is not about abandonment, but holding on to what we cherish most in life. Near the end of the film, Kathy and Tommy meet once more with Madame--a woman that was brought into Hailsham to collect pieces of art and sculpture. The two are there to plead their case, to prove that they're in love--an act that could have prolonged consequences. The art they were told, was something to manifest the condition of their soul. Madame looks upon them with a dejected gaze. "You poor creatures," she laments. "The art you donated was not to decide the quality of your soul, but rather determine if you had one at all." This is a film about empathy; how it comes from the most unlikeliest of places and people. Science can extend life and build new organs, but can it construct a spirit? Our existence is fleeting; nevermore has that felt so true.
Some great box sets released this week. The Alien anthology is even more enticing with the news of an upcoming Alien prequel film in the near future. The Back to the Future trilogy is incredible, as is the behind-the-scenes features with original Marty McFly Eric Stoltz. Michael J. Fox was an obvious upgrade, but it's still neat to see a What If? scenario sort of play out. Stoltz would go on to bigger and better things, starring in The Fly II and Pulp Fiction.
This week's easy choice though is Debra Granik's stirring Winter's Bone. This sadly didn't get a wide release, but one of the perks of living in New York City is getting a chance to see some limited films early on. Bone's breakout star is Jennifer Lawrence--Ree, a young girl forced to take care of her two siblings due to a missing father and an incapacitated mother.
This of course is a bare bones synopsis. Granik offers up a subtle country noir tale set in the back hills of the Ozarks which finds Ree searching for answers to find her father and unearth some long buried family secrets. John Hawkes plays Ree's uncle Teardrop. Both he and Lawrence should be nominated for multiple awards this season.
Stallone is back, and he's brought some friends. Written and directed by Sly himself, The Expendables has muscles, guns, detonations, corpses, a few babes, and a helluva lot of sweat and sneering. The Expendables are a team of mercenaries that...well...they kill people. And they're good at it. I suppose these murderers are good guys, some sort of anti-heroes. They do save lives, but they snuff out many more than they rescue. Bullets are used--from pistols, rifles, even airplanes. Don't forget knives and napalm. Rounds of ammunition are spent as an alternative to dialogue.
This film oozes (or actually bleeds) machismo. Its cast is one of 80's and 90's testosterone laden lore. Jason Statham, Jet Li, Bruce Willis, Arnold Schwartzenegger, Dolph Lundgren, Mickey Rourke; their resumés precede them. Expendables of course is a throwback to the action pictures of the past. The story is a familiar one:
Act One: The team is introduced through an initial mission in a foreign location--this time on a freighter. A hostage situation has arisen. After an assessment of the circumstances (and a few quips), the threat is shot/dismembered/decapitated. Crack open a beer and get a tattoo!
Act Two: A brief reprieve from the killing fields, while a shadowy organization begins to show its face. Lines are drawn, betrayal is a foot. The team is reestablished and risks life and limb to rescue what appears to be the life of a single (and beautiful!) woman.
Act Three: The siege begins. More shots/dismemberments/decapitations. Stallone fights the burly bodyguard. He suffers cuts and bruises but eventually triumphs. "What happened to you?" someone asks. "I got my ass kicked," is the undeniable reply. The Expendables are victorious; the indistinguishable bad guys in the red berets are defeated and the woman is saved.
Everything about this film screams reversion. Stallone and company battle a ruthless, political evil. The discourse is dumb, the explosions are immense; even the character names themselves shout retro. Barney Ross, Lee Christmas, Yin Yang, Toll Road, Gunnar Jensen, Hale Caesar, Tool, Trent Mauser, and Mr. Church. The women too are named appropriately. Christmas' girlfriend is alluring and vulnerable--her name is Lacy.
There is a redeeming quality in the mindless action flicks of yesteryears. They don't try to hide who they are. They aren't out to fool anyone. In the end, they offer what we want: to turn our brains off and enjoy the ride (and subsequent carnage). Perhaps in today's day and time--like the amount of villains our anti-heroes face--the odds are stacked against films of this nature. They say a little goes a long way. Well, The Expendables has a lot more than that, and that's just fine by me.
One of the Alfred Hitchcock's most well known films. Also, probably best recognized by the iconic shower moment where **SPOILER ALERT** Marion Crane gets sliced and diced in a frightening, yet still erotic scene.
Has anyone ever looked at through Norman Bates' eyes? This guy just misses his mom, AND Crane had stolen $40,000 from her boss to marry her boyfriend. She was a criminal! Bates did all those tax-payers a solid by avoiding all those expensive court fees after her eventual apprehension.
Pretty incredible how this film is fifty years old, and still has staying power. It led the way in terms of how horror was shot, and the vibe is still duplicated after all this time. Janet Leigh (Crane) is beautiful, and the film's score with the screeching of the violins, cellos and other stringed instruments is chilling.
The official theatrical poster for Disney's Tron: Legacy has hit the world wide internets. Sam Flynn (Garrett Hedlund) strikes a heavenly pose while being embraced by Quorra (Olivia Wilde). For some reason Flynn is looking skyward instead of the direction of the beautiful woman wrapped around him, but it appears he has a lot on his mind.
Sam finds himself trapped in the same world as his father Kevin (Jeff Bridges), who's been missing for the last 20 years inside the game he developed. All the trailers look pretty impressive, and not to drum a point home, but Olivia Wilde looks to be wearing tight leather outfits throughout.
Tron: Legacy can be seen worldwide and in 3D! (Who would have thought?) December 17th, 2010.
Not my favourite Wes Anderson film, but every time I watch it, I love it more. Jason Schwartzman, Owen Wilson, and Adrien Brody seem like they are actual brothers. Schwartzman's facial hair gives me mustache envy though.
The Darjeeling Limited is the tale of the brothers Whitman as they go on a spiritual journey to India to find their mother. You can spot an Anderson film the moment it hits the screen. They have a supremely understated quality that doesn't always sit well with everyone. The dialogue is what puts these movies over the top. The table talk between the three is classic. Great cameos by Bill Murray (an Anderson mainstay), and Natalie Portman. Make sure to watch the short film Hotel Chevalier, which is featured on the disc, before Darjeeling to fully understand the relationship dynamics.
After every passing day, it seems Hollywood is resigned to spitting out sour story lines and rehashed material. Rightfully so, when word escaped that an Americanized version of Tomas Alfredson's Let the Right One In was coming--only two years after its release--a strong opposition was voiced. Some hailed Alfredson's imagining as an instant classic, and one of the best horror films of the last few decades. Matt Reeves (Cloverfield) was given the reins to Let Me In, and with it the unenviable task of appeasing the masses. And, it pains me to say it, but he maybe have succeeded.
Stockholm has been replaced with Los Alamos, New Mexico, but mercifully, the age of the main characters remain intact. The original had an innocence that was prevalent throughout. At its most basic form, Let Me In is a love story. Owen (Kodi Smit-McPhee) is the bullied kid in school. He is frait and unassuming. His parents have divorced, or soon will be. One night, Owen spies Abby (Chloe Moretz) and her guardian moving into his apartment complex. Abby doesn't wear shoes--a curious decision during the winter. After an initial reluctance by both parties, a bond is formed. Typical adolescent banter follows.
"You smell funny," remarks Owen. "How old are you?"
"Twelve," Abby returns. "More or less."
We learn that, indeed, Abby is twelve years old, and has been for a very long time. It's no surprise to say that Abby is a vampire. Her protector (Richard Jenkins) and she travel from one city to another, committing justified, grisly murders for the sake of Abby's insatiable need for blood. When suspicion arises, they pack and move again. The cycle is endless.
Abby is a vampire in the truest sense--not the bastardized version that the Twilight franchise try to poison our minds with. Abby feeds, and does so ferociously. It is animal-like, in sound and in fury when her hunger takes over. She doesn't age; she has no friends. She doesn't attend school, and most certainly does not sparkle like diamonds in the sunlight. Her life consists of sleeping in covered bathtubs and solving puzzles--a Rubik's cube is what initially brings the two leads together.
Let Me In begins in a hospital. This is a mistake. Too many films fall prey to the allure of the flashback. We are thrust into the action too soon. A terrifically disfigured man sits in a bed, as a cop's (Elias Koteas) interrogation begins. The cop is called away by a phone call, the man is next seen out the window, a bloody snow angel on the ground below. Right One In did a superior job of meticulously laying out the story. I prefer the slow burn, rather than being immediately immersed in the macabre and being duped as 'Two Weeks Earlier' scrolls onscreen.
The best scenes are the ones with Owen and Abby learning about each other. He introduces her to arcades and secret hideouts. She teaches him to fight back against his tormentors. If the attacks continue, she will help him because, as Abby says, "I'm stronger than you think I am." Smit-McPhee and Moretz carry Let Me In; without their behement performances, the film would flounder. Moretz has shown great range the last few years. From a younger sister with knowledge beyond her years (500 Days of Summer), to a costumed vigilante (Kick-Ass); Let Me In is her most difficult role to date. Smit-McPhee gained prominence as 'Boy' in John Hillcoat's underrated apocalyptic drama The Road, taken from the Cormac McCarthy novel of the same name. In both capacities his vulnerability seeps from every spoken word.
Unsurprisingly, the sexual content is toned down while the violence is turned up. A common theme in American society. Sex in the States remains taboo subject matter, while bloodshed continues unabashedly. Many scenes are carbon copies from Alfredson's take. Some of the clumsier moments from Right One In are omitted (the cat attack for one), while new injections keep Let Me In fresh. When Jenkins hides in the back of a car waiting to blitz his next victim, the account is startling.
Let Me In has prominent performances and a chilling, albeit duplicated narrative. Owen and Abby are new age star-crossed lovers. Not from rival families, but species. We understand where Owen's hopes lay. He is a shell of a human being. With no allies at school, absentee parents; he is looking for a lasting connection. Abby's intentions are more clouded. They realistically have no future together. Her youth is eternal, while he is doomed to age and wither. Are her feelings for Owen genuine, or is he simply another meanings to an end? The question is posed of whether evil exists in the world. The answer is a resounding yes, but perhaps it still has a heart.
There's a beautiful scene near the end of Anton Corbijn's The American where George Clooney is feverishly driving to rendezvous with his lover. The camera stays on Clooney's face throughout and in his eyes, they tell an account of a life that is only briefly exposed during the narrative. It is a tale of sacrifice and loneliness. Of betrayal and abandonment. This scene is like many during the film, where expression speaks over the absent dialogue.
Earlier we are introduced to Clooney's Jack in a cabin in the Swedish countryside. Seemingly happy, side by side with a naked woman, Ingrid, the two later share an affectionate walk across a frozen lake. Cinematographer Martin Ruhe repeatedly allows us to be soaked into the environment; it becomes equally important as the people that reside there. An ambush snaps Jack back to reality and after a serene gunfight, Jack murders his would be assailants, as well as Ingrid, although reluctantly so.
He is a composed assassin; an artist whose tools are not brushes but rifles; his canvases are the bodies that add up around him. His existence is one of exclusivity; he is persistent in his moves, seemingly always one step ahead of his attackers. The assault in Sweden sends Jack to hide out in the Abruzzo region of Italy by the order of his handler Pavel. Pavel assigns him one last job. Here we meet Mathilde (Thekla Reuten) who commissions Jack to forge a silenced weapon. They of course discuss the logistics in a public plaza, where all illegal assignations happen.
Jack's lone weakness is women. While in Italy, he begins a tryst with Clara (Violante Placido), a local prostitute. One would believe that his selection of this particular type of partner doesn't come without reason. Like all great assassins, constant paranoia is a trait that must be honed. Clara can offer what evidently Ingrid could not. Perhaps inevitably, a connection materializes; enough of one that leads Jack to question the effective life he lives.
Corbijn (Control) displays a remarkable handle over the film's tone and directs Clooney to a remarkably composed performance. This is a far stronger role than last year's performance in Up In the Air. Jack has range and sentiment over the Oscar nominated but ultimately Clooney-esque Ryan Bingham character. The American washes over us like a slow tide. There are periods when the scenery speaks volumes; it completely removes the need for discourse. The third act brings a loud crescendo, as Jack's past and future collide during a festival in the quaint European town.
Jack has a fascination for butterflies. Why or when this came about is unknown; we understand a connection through his comprehension of an endangered species and an unexplained tattoo near the top of his back. If you grab the wings of a butterfly, the membrane peels away and they're no longer able to fly. Any close contact will cripple the insect. Jack's life mirrors that of the art which adorns his skin. He flutters through life one job to the next. But women are his achilles heel. If he lets them in, his invincibility will melt away.
David Fincher's The Social Network opens with a conversation between a boy and girl. Mark and Erica are dating. At the beginning we are led to believe that this relationship is going well, but after a few minutes and multiple scintillating pages of dialogue, Mark, we learn will never be accepted. Not because he is not welcome in Harvard's elitist clubs, or because he doesn't have the body of a rower. "No," Erica says. "It's because you're an asshole."
And, that my friends, is how to become a billionaire.
Network, of course is about the spawning of Facebook, the social site which allows users to monitor friends and their pictures, videos, relationship statuses, creed, political stance, occupation, dot dot dot. Facebook now is an all-encompassing entity. What was originally conceptualized as a Myspace clone has surpassed its predecessors and left them in its cyberspace dust. Now, one can play multi-player games, chat online. Hell, you can even change your language to pirate talk. Let's be honest, most of these features are as useful as screen-door on a submarine, but regardless of if you have a profile or not, it's impossible to ignore. Facebook has taken over the world.
Thankfully, Network ignores Farmville and the Mafia Wars and focusses solely on how Mark Zuckerberg created a 25 billion dollar company with over 500 million users. The interesting thing is that he might not have created it in the first place. Fincher and screenwriter Aaron Sorkin (TV's Sportsnight) make it a point to create an ambiguous atmosphere throughout; hinting at, but never admitting one way or another to Zuckerberg's alleged plagiarism. The first act is driven by his incessant drive to be accepted. He is rejected by Erica, ignored by his school's high society; all of this sets in motion his path to personal reprisal. We are introduced to Facebook's other founders: Eduardo Saverin (Andrew Garfield), Dustin Moskovitz (Joseph Mazzello), and how the fledgling start-up came to be, beginning in the dormitories of Harvard to its eventual home base in Silicon Valley. In between there is deceit, childish behaviour, groupies, broken friendships and lawsuits by the rumoured originators of the program: the Winklevoss twins, Cameron and Tyler. Astoundingly, they are both played by one actor (Armie Hammer).
Zuckerberg himself is portrayed by Jesse Eisenberg (Zombieland, The Squid and the Whale). Eisenberg has made a career out of playing the habitually neurotic boy next door. He depicts lovable and fixated all at once. I have never met Mark Zuckerberg, nor have I ever heard him speak. But, if he is anything like what what represented onscreen, Fincher's casting was spot on. Justin Timberlake (Alpha Dog) is also particularly strong as Napster creator, and Facebook infiltrator Sean Parker.
The finest part of Network thoughis the writing of the aforementioned Sorkin. It's staggering to think that his name isn't thrown around Hollywood more as one of its elite writers; his words here are impeccable. We understand these characters to be real, yet they become even more than that. We know these people by the time the lights come on. Not an easy task when dealing with a non-fiction work. There is a gravitas to the matter--always the case when dealing with money--yet, sprinkled into the script are moments and discourse that are laugh out loud funny.
Currently, and absurdly, I have 1,023 Facebook friends. A hundred or so are close, a few hundred more are acquaintances. I would venture that a third of them I couldn't even pick out of a lineup, while even more are probably just friends of friends of friends etc. I suppose I am just as guilty as Mark Zuckerberg--a hint of vanity seeps through, the hope for popularity reigns supreme. There is no good reason to accept people I do not know, even some from other corners of the globe.
Network will have staying power as it's been a pillar among social and economic discussion. Expect multiple nominations on the award scene for Best Picture, Adapted Screenplay, Direction, and perhaps even Score for Nine Inch Nails frontman Trent Reznor. Acting nods will be deserved but harder to come by in a deep year.
I am not a rich man, far from it; somedays I wish I were. After seeing this film, it makes you think twice about what you have to give up, or what you actually gain to achieve a certain standard. It's difficult not to marvel at Mark Zuckerberg's intellect--he crashed Harvard's server while drunk at four in the morning. Although, one could question the thought process of a man who goes to meetings in a robe, and has "I'm CEO...bitch" printed on his business cards. We are told that the Facebook wheels were started by the spurning from a single girl. She is Zuckerberg's Helen of Troy so to speak; the film begins and ends with her. 25 billion can buy you many things, but what a lonely life to live, perpetually refreshing a web page.
I love that this is finally getting a taste of the high-def treatment. Michael Mann's film from James Fenimore Cooper novel is an incredible ride, and Daniel Day-Lewis is at his best here. The action scenes are truly breathtaking as well. There was some barbaric shit that went on back then, scalping for one. I'm not that brave to begin with, but I imagine it takes a real man to go to war with tomahawks.
Then there's Magua (Wes Studi) who cuts out the heart of his enemy, which is somewhat justified seeing as his family was murdered by said white devil. I have a soft spot for Magua however, since we both share Huron blood, although I'd like to think I'm able to settle my feuds in a more civilized manner. Mohicans won the Academy Award for Sound, and rightfully so; the main theme is engrossing. There are a few films where if they're on, I cannot turn off, Mohicans is one of them. A great pick up.
October 1st The Social Network
The long awaited tale of the inception of the global behemoth Facebook. Started on the campus of Harvard University, and very soon on every school grounds, and now in over 500 million houses, Network lets us into the life of creator Mark Zuckerberg and his disciples as they slowly took over the world, one computer at a time. It's directed by David Fincher (Se7en, Fight Club, The Game), and written by Aaron Sorkin (A Few Good Men, Sports Night).
