CONTAGION (2011)

The first thing to be said about Contagion is that I highly recommend avoiding it at all costs if you're any kind of germaphobe. I don't consider myself a germaphobe at all - although (like most people, I hope) I wash my hands after using the washroom and before I eat, I pay no attention to how often I touch my face (Contagion states its a ridiculous 6,000 or so times a day) and I rarely pay attention to the fact I occasionally chew on my hoodie's draw strings. Coming out of Contagion I felt filthy. As the film progressed I became more aware of the people around me coughing, or sneezing. I nearly freaked out when a lady beside me sneezed and some of her spittle ended up on my hand. At that moment I recalled walking out of Super Size Me in 2004 delighted as the theatre staff handed out some healthy snacks in support of a better lifestyle. I was praying some staff would be standing outside of Contagion with free bottles of Purel. In the paranoia aspect, Contagion brought it's A-game. Other aspects of the film ranked a little lower.

For all those out there hoping to see a film with as much action as something like 1995's Outbreak, you'll be disappointed. The general population will probably get bored by Contagion's slower pace. For those of us that like dramas and can feel comfortable and patient enough to ride the slow beats, Contagion should serve you just fine. The biggest problem with a film like this (which is just under two hours long) is that the patience never really pays off. I don't remember there being a moment where I actually felt satisfied. I knew Contagion could have been the movie I wanted it to be, but it just never excited me as much as I felt it should have.

I've heard through various other sources that this film is the most realistic take on a deadly virus outbreak that's graced the movie screen yet - perhaps that was the problem. Everything more or less happened the way it supposed to and while the human population isn't turned into zombies or completely annihilated, it's hardly a happy ending. Contagion feels less like a whole movie and more like part of a larger story - or several half stories put together.

That stated, the acting is killer. More specifically due to outstanding performances by Matt Damon, Laurence Fishburne and Jude Law. None of them get it wrong and all of them add realism to the story. Despite all the half-negatives I'm saying about Contagion, it still works. There may be problems with some pacing and character development, but it's still an interesting story. I don't for see anybody saying this is the best film of the year, nor is it the worst. It's right in the middle and ultimately I have to give it an open door. For all the more risky films like Contagion that don't quite hit the nail on the head, there are some that do. Besides, I'd rather have a world filled with mediocre movies than the one currently filled with 80% crap.

*Stills courtesy of Warner Bros. Pictures

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THE HELP (2011)

Every movie-goer likes an underdog, because every movie-goer likes to be inspired. Without a doubt, The Help accomplishes all this and more while continuing a theme from The Rise of the Planet of the Apes - one focused on civil rights. In this case though, it's one based on a true story. It's not a story that hasn't been told before, but it still amazes me when I watch a movie like this (that takes place only fifty years ago) and see just how far we've come in progressing racial equality. Unfortunately, fifty years has only made racism more taboo as opposed to obliterating it all together. Even then, it feels more like some people have just shifted their hatred to other races around the world.

The Help is based on the novel by Kathrym Stockett, with the screen adaptation by Tate Taylor - who also directs. It centers around Skeeter Phelan (Emma Stone), an aspiring journalist who finds herself doing a housekeeping column in a Jackson, Mississippi newspaper. Upon asking a friend's maid for cleaning tips, she finds out a lot more about what's going on between black maids and the white families they serve. The main maid in question is named Aibileen Clark, who is played by the wonderful Viola Davis.

Hesitant at first, Aibileen eventually gives in and begins to tell Skeeter her story. It only takes one call to the publisher of her dreams for Skeeter's idea to be tentatively picked up. There's a problem however, very few maids want to tell their story - even if Skeeter's attempt to share their inequality with the world is righteous. Especially when it comes to the ability for a maid to use a white family's toilet. As Skeeter states, the maids are allowed into these homes and are instructed to watch out for the children and essentially hold the ideal American suburban dream together. Yet, they have fewer human rights.

Along with the 'goodwill towards all mankind' message, a strong feature of The Help is the outstanding performances. Both Stone and Davis are pitch perfect and have a good chance at Oscar nominations, as does Allison Janney (who plays Skeeter's mother). The biggest surprise performance for belonged to Jessica Chastain, who plays a white woman who finds herself similarly outcast by the rest of the debutants.

The Help gets an open door. It's inspiring, touching and funny. Stone is at her best in this film and shows us what the cutie from Superbad can really accomplish. It makes me all the more hopeful for The Amazing Spider-Man next year (in which she coincidentally takes over Bryce Dallas Howard's role as Gwen Stacy). While at times The Help verges on something we've seen before, it never loses it's heart. It's that heart that keeps the film together, and keeps you caring.

*Stills courtesy of Dreamworks SKG

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HANNA (2011)

Ladies and gentlemen, the first Oscar-worthy film of the year.

I am proud to report that despite all odds Hop was number one at the box office this weekend... wait - HOP?! Alright, I suppose that makes sense - due to Easter coming up and all (this just in - Angry Charlie's Hop review coming soon). But what about Hanna? Where was the love for The Lovely Bones star Saoirse Ronan? Where was the love for a great thriller directed by Joe Wright and written by new Canadian writer Seth Lochhead? Well, it was there (somewhere) apparently, as Hanna did finish in the number two spot - but still nearly $10 million behind a film about bunnies celebrating the death of Jesus (not to say Hop is about that, but you get what I mean).

Hanna is about a girl named Hanna (obviously) who was raised near-feral by her father Erik (Eric Bana). Her life is not that of a normal girl - she has no iPod, no TV, no boyfriend... no life, really. Poor Hanna hasn't even heard music before - and I'm not talking about Justin Bieber, either. I literally mean nothing. She leads this sheltered life as a result of her father, who is essentially training Hanna to find and kill one woman - Marissa (Cate Blanchett). Why Marissa? Because she's the woman responsible for the death of Hanna's mother, who also in turn framed Erik for the murder. All of this is only the cause for Hanna's quest. However, her actual journey is what makes the movie and proves that we can expect to see great things from Ronan as an actress - Hanna may provide her (along with some of the supporting cast) with an Oscar nod or two.

While on route to her destination, Hanna runs into a few colorful characters - including an English family with a girl (Sophie) (who is around the same age as Hanna). Sophie (Jessica Barden) fulfills the role of teaching Hanna about friendship. While Hanna is certainly close with her father, real friendship was something she had yet to experience - and for Hanna, it was almost as beautiful as the music she had never heard. It's because of moments like these, where Hanna connects with different people in her travels that Hanna feels like a road trip movie, akin to a film like Into the Wild. While it's obvious Hanna never loses sight of her main goal (to kill Marissa and reach her father at a predetermined rendezvous point), you can see beneath this overly tough exterior that she's really still a girl and faces the same conflicts a character like Pinocchio may have. A wooden puppet, Pinocchio just wanted to be a real boy. Hanna wants to be a real girl - but she's unable to and that's where the true tragedy of Hanna lay. Hanna knows this is not her fight, yet she's expected to continue a war she was a predetermined casualty of.

While the majority of Hanna is filled with wonderful learning experiences as seen through the eyes of this insatiable girl, there are some darker moments as well. The dark moments in particular are where the score of Hanna (masterfully done by The Chemical Brothers) truly shines. The score of a film is a funny thing. You hardly notice it when its barely adequate, but you can always notice when it becomes a part of the movie itself. There are literal reasons for music being included in Hanna (a record player, the sound of a metal rod repeatedly banging a concrete floor) but even when the score isn't an actual part of the action on screen, it becomes part of the film. The score for Hanna is not an afterthought as it is with so many other films. Instead, it's nearly as integral a part of the film as the characters, the motivations and the dialogue. Inception was the last time I remember hearing a score I liked. Let me tell you something - Hanna has twice the score Inception did, hands down (and I'd never even heard of The Chemical Brothers before).

Hanna gets an open door as it's a completely enjoyable film. It has no slow moments (just quiet ones) and has a certain intensity only previously experienced in 1998's Run Lola Run (a near perfect comparison, by the way). Hanna is not only directed amazingly well, but has genuine performances and a revolutionary score. It's fast, fun, tender and overall - perfect.

*Stills courtesy of Focus Features

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LIMITLESS (2011)

I'll have what he's having.

The Hangover's funny man Bradley Cooper (also starring in The Hangover: Part 2 this summer) stars in Limitless as Eddie Morra, a man who proves that taking drugs can help you be a successful politician. So what's the magical pill itslelf? It's an experimental drug that only lasts for a half a day or so, but when it works - it really works. It works well enough as a 'brain enhancer' that people would kill for it. In fact, some do. What the concept of a film like Limitless proves is that the pen is truly mightier than the sword - except in this case the pen doesn't quite replace the sword as much as it teaches you how to wield it in a really kick ass kinda way.

Limitless starts off being narrated by Morra, pointing out he is a writer, a loser and a lousy boyfriend. Morra no sooner loses his girlfriend than he finds himself in trouble because the book he's optioned has no single word to it's name and is due in the worst way. However, once he gets hold of the miracle drug to end all miracle drugs (100% of your brain is apparently used vs. the usual 20%) he gets a haircut, does a sit-up or two and writes his entire book in just four days. Morra then proceeds to get his girlfriend Lindy back (played by the unremarkable Abbie Cornish) and before he knows it he's on top of the world. Unexpectedly, however, he starts forgetting entire sections of his day, can't sleep right and is soon reliant on the drug that originally saved him. Not only that, but Morra has a few bad seeds after him and comes to realize that getting smart may not have been the smartest thing to do after all.

Now, aside from the few nausea-inducing transitions and opening title sequences Limitless threw at us that had me looking away a few times, I actually really liked the way the movie played out and the talent Cooper showcased by taking this role. The whole thing made me want to read a book, enhance my intelligence and play the stock markets. In theory, if you're smart enough, you can rule the world. It's all about predictable human psychology and behaviour - if a person knows people and how they act and maybe has a few start-up dollars, then there's no reason you can't become more powerful then you've ever imagined. To quote Morra 'I was blind but now I see". As you may expect, Limitless also shells out a healthy dose of action that keeps you on your toes more often than not. It's all really fascinating to be honest and it's almost impossible to not have a good time during this flick.

Limitless snags an open door. You may find yourself often thinking of Matthew McConaughey in Two for the Money (2005) as McConaughey also had the same kind of look Cooper sports here, with slicked back hair and a hunger for fortune and success. But, while Two for the Money didn't have Robert De Niro (who plays Carl Van Loon in Limitless), it did have Al Pacino in the role of the old man who knows all - but despite De Niro's star power - Cooper steals the show and you're left thinking "Robert De Whosit? Which is a good thing in Hollywood. Robert Downey Jr. did it, Jim Carrey tried to do it and Robin Williams - well, yeah... Either way, I look forward to seeing Cooper in Hangover 2 and I may just see him in just about anything else as well. You have a new fan, Mr. Cooper.

*Stills courtesy of Alliance Films

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127 HOURS (2010)

Hello....? Spider-Man? I'm sorryyyyyyy....

James Franco plays Aron Ralston in this amazing true story directed by the wonderful Danny Boyle. The tale goes like this: one day in 2003, Ralston was canyoneering in Utah when he slipped down a crevice and inadvertently got trapped, by pinning his arm in between a rock and a hardplace (also the title of Ralston's book). Surprisingly, a few years before the age of MySpace and Facebook, Ralston still felt the need to document his adventures via the mediums of digital photography and video. Boyle uses these devices, by the way, as a great storytelling tool - but it's certainly nothing we haven't seen before.

The movie itself does not run the actual 127 hours, but a mere ninety or so - which is perfect. During this time we become privy to knowing who Ralston is and a bit about his life. Boyle uses some nice techniques to take us inside Ralston's head as he slowly slips into madness from lack of nourishment. The parts I found the most intriguing though were those where Ralston filmed his video diaries. Even as he came face to face with impending death, a part of who he was and his casual demeanor shone through and he was still able to hold onto a sense of humour - as dark as that humour may have been at times.

Unsurprisingly, this film reminded me a lot of movies like Cast Away (2000), Into the Wild (2007) and more recently, last year's Frozen. Although I don't suspect it will happen, eventually I would like to see a documentary containing the real footage and photos Ralston captured. While Franco is at his best here (I've never really been a fan), there's something to be said for seeing the real Ralston going through the real thing.

127 Hours easily gets an open door. It's incredibly haunting, very touching and in some ways - a bit spiritual. Boyle does a great job with everything from the unique cinematography to the incredibly effective soundtrack. This is by far the most compelling docudrama of 2010 and I would keep an eye on it come Oscar time.

*Stills courtesy of 20th Century Fox

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TRUE GRIT (2010)

As gritty as the trail to high adventure! -excerpt from the 1969 True Grit trailer.

As I sat there and watched True Grit the other night, I felt pleasantly involved. Hailee Steinfeld captivated me as the 14-year old star of the movie, Mattie Ross. Jeff Bridges and Matt Damon more often then not made me smirk with their banter, and the brief appearance of Josh Brolin (who plays Tom Chaney) was amusing. Yet, I am disappointed and in some ways, I feel ripped off.

True Grit is about a young girl named Mattie Ross who hires Rooster Cogburn (Bridges) to hunt down and bring to justice the man who killed her father - Tom Chaney. Accompanying Cogburn on his search is Texas Ranger LaBoeuf (Damon). The three head off into the wild west bound for adventure... sort of.

The film itself, while shot and produced beautifully (one wouldn't expect less from directors Joel and Ethan Cohen), starts off slow and didn't ever seem to pick up speed for me. Even the climactic moment at the end of the film felt more like a slight pick-me-up rather than the moment I was waiting for for the last ninety minutes . While one can't deny that the acting in True Grit is top notch, I often wondered if it would actually be enough to hold the film together. For the record, it is.

I aforementioned that I felt ripped off and it's because after seeing this remake of the 1969 John Wayne vehicle, I checked out the original. Much to my dismay, the remake was made nearly shot for shot - therefore making this new version moot. Creatively speaking, True Grit didn't need to exist as it does nothing for bringing new ideas to the table. More often than not remakes fall into the failed category because the people behind the film either rely too much on the source material and follow it exactly (Psycho [1998]), or they stray too far from it and it's even worse (Charlie and the Chocolate Factory [2005]). I expected more from the Cohens, but it's not the first time I was let down (Burn After Reading [2008]).

Despite this huge factor, though, I am giving True Grit an open door. It's still really well made and directed, and the actors and acting all create a very believable 19th century atmosphere. If you go in expecting a good movie, that's exactly what you'll get - good. Great on the other hand, is an entirely different thing.

*Stills courtesy of Paramount Pictures

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BLACK SWAN (2010)

Life imitating art imitating death. Beautiful.

A couple of years ago director Darren Aronofsky brought us The Wrestler, a wonderful film about a man who lives (and dies) for his performances. A couple years before that he brought us The Fountain which was about ... well, I don't really know. Now he brings us the inspiring, the delusional, the dark, the horrific and mostly, the fantastic Black Swan.

Nina (Natalie Portman) is labelled as the rising star for a prestigious New York ballet. Nina, perhaps under the influence of her mother (Barbara Hershey), strives to be the perfect ballerina. She practices so hard it often becomes debilitating, and as her boss Thomas (Vincent Cassel) says, "It's not about perfection, it's about passion".

But this isn't the way Nina works, and when she lands the role of the Swan Queen in Swan Lake, all bets and all inhibitions are off. Much like the attitude of her predecessor (Winona Ryder), Nina now feels she is constantly in a battle with someone who wants to take her place - a new girl named Lily (Mila Kunis). Although Lily seems to only want to be Nina's friend, she seems mischievous and like she's hiding something. To say this creates a paranoia for Nina is an understatement - as is the constant pressure of trying to be the perfect lead, right down to last detail.

Black Swan is a haunting film about the obsession of ‘making it’ - a theme carried over from The Wrestler. Nina has a true passion for the arts, to the point where you see she eats, breathes and sleeps ballet. You can feel her obsession, always on the verge of complete despair and teetering on the fragile breaking point of success - every move is calculated far in advance to it's action. Yet when she secures the role she's always wanted, there is no real happiness - no sense of relief for the one who strives to have it all, and finally achieves it. This unrest is what makes Black Swan so intriguing.

The look and design and direction of the film is also something to really pay attention to, as it presents itself to the viewer as another character. Black Swan is a movie that gets into the mind of it's characters, and allows you to see what they see - feel what they feel. This is by far Aronofsky's best work to date and I am certainly interested to see how he pulls off next year's The Wolverine, seeing as it's not his usual forté.

I am giving Black Swan an open door. The film is just as patient, quiet and delicate as it is exciting, loud and harsh. Normally I would say you have to be in the mood to watch an Aronofsky film. They're the type of film that if you watch just the right moment it may blow you away - other times, you can't wait for it to be over. With Black Swan, it takes you in and grips you until it's final moments - all without you really knowing why. Watch for Portman and Kunis come Oscar time, they both did excellent with this one.

*Stills courtesy of Fox Searchlight Pictures

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HEREAFTER (2010)

I see dead people... and you can too for only $4.99 a minute!

I hadn't really heard of Clint Eastwood being a director until Million Dollar Baby (2004). Since then I've seen pretty much every film he's directed, my favorite being Gran Torino (2008). A lot of people like Gran Torino because of the shock value associated with Clint's racist remarks. It's also pretty cool to see Eastwood kick some ass again, with his 'takes no shit' attitude. What I remember most about that film, though, is not just the dark glimpse into the life of a dying man, but how the film itself flowed in a very organic way from the softer moments to the rougher ones. I remember Gran Torino being like a great poem. If you have the patience, take it slow, listen to and watch everything closely and appreciatively, a rare and beautiful experience will unfold before your eyes - leaving you knowing just a tiny bit more about your own life and who you really are. It's not inspiration per say, but rather an understanding.

As with Gran Torino, Eastwood seems to be realizing that he's getting older. If you've made a movie about what happens when you get old and the last minutes of your life are upon you, than I suppose the next logical step would be making a flick that questions what happens after you die. That's when Clint decided to team up with Matt Damon and Cécile De France to bring us Hereafter.

George Lonegan (Damon) is a retired psychic. He had a book written about him, his own website and his own office. One day, out of the blue, he quit to pursue a career at a factory. Now George makes only a fraction of what he did before, but as his brother Billy (Jay Mohr) proclaims, "He says he's happy". The reason for leaving it all behind? As George tells Billy repeatedly, its because his 'gift' is more of a curse. He finds he is spending more time on the afterlife than on his own life, leaving George without much of an existence at all.

I imagine it would be a tough life being the man who has all the answers. George often runs into problems with people disliking what he has to say, as is the case with the near romantic experience George has with fellow culinary class student, Melanie (Bryce Dallas Howard). After getting him to do a reading she begs him to do, he never sees her again. Even worse for George, who has the answers to the questions that plagues him?

Hereafter is not only George's movie, though. Being as important and diverse a topic as post-death existence is, we travel across the pond to catch up with the lives of two others who have had death come a little too close for comfort. There is the news personality, journalist Marie LeLay (De France), and Marcus (played by both Frankie and George McLaren). Marie nearly drowned and believes she saw the white light. Meanwhile Marcus, who is only about ten years old, lost his twin brother Jason (his only friend and confident) to a car accident. Marcus and Marie become affected intensely by the experience of death, so they both set out on their own journey to find the answers they are looking for.

Marie uses her journalist super powers to seek out a more definite answer, for a topic that her colleagues say has a 'limited market' (as in, it's only for the crazies in the world). Marcus on the other hand, simply wants to talk to his brother again and beg him to come back - sad, I know, yet highly effective. This leads Marcus on a journey that forces him to sift through the many fakes that exist in the psychic world - from mediums who use ultra-sensitive high frequency microphones, to those that use a similar technique originally popularized by fake psychic, John Edward. Marie on the other hand, speaks with esteemed colleagues of hers - professionals who have been looking into life after death for years on a scientific level. I found the two characters a good representation of the way the world sees the hereafter. While Marie is out seeking fact-based knowledge as a professional adult, Marcus is out taking a faith-based approach - which is right on the money for someone who is still young enough to believe in Santa Claus.

As you can gather from my aforementioned appreciation of Eastwood's directing skills, it would take a hell of a misfire for me to have disliked Herafter. One of the things I've consistently noticed in all of Eastwood's work is his keen eye for lighting. More often than not its completely breathtaking to look at and you can see a definite fondness for dark settings. In Hereafter, it works especially well as I believe all the under-lit faces play as a parallel on this film's brief images of the afterlife - where the deceased appear as fuzzy and darkly lit - another nice subtle commentary on the idea that the living are just as lost as those who have passed on.

I mentioned earlier as well that Eastwood's films more often than not require you to be patient. If you're looking for an action movie or for something that will move quickly, this isn't for you. Hereafter has a running time of over two hours, and it's the type of film you have to be in the mood for. But if you're in that mind frame, you'll be in for something that will leap off the screen and play out like the reading of an amazing poem, that has existed just long enough to be wise, and in turn radiates age and experience with every word -not unlike the Hereafter's eighty-year old director.

I am giving Hereafter a well deserved open door. Death and the afterlife are incredibly important topics to keep as neutral as possible in order to send the right message. Hereafter doesn't ever really confirm that life after death is a real thing, nor does it make religion front and center in trying to convey its messages. Rather, it tells the tale of George, Marie and Marcus to, simply enough, relay their story and portray the many ways a person deals with death. In the end, Hereafter is just as much about the acceptance of death as it's about what happens after we all die. Eastwood's never done better , and I would keep this in mind come Oscar season.

*Stills courtesy of Warner Bros. Pictures

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WALL STREET: MONEY NEVER SLEEPS (2010)

Blue Horseshoe likes Money Never Sleeps, but doesn’t love it.

I’ll admit it right off the bat. I’d never seen Wall Street until a week or so prior to seeing it’s follow up. Of course, like most, I knew of the 1987 original that earned Michael Douglas his first acting Oscar for his portrayal of the now infamous Gordon Gecko. ‘Greed is good’ Gecko used to say, with such certainty you could have sworn it was one of the Ten Commandments. Now, twenty some years later, it seems he may have been wrong – and more poignantly, realizes it.

Turns out Gecko’s former protégé, Bud Fox (Charlie Sheen of Wall Street), wasn’t the only one to back stab Gecko, landing him in the slammer. No, there were others. As more and more evidence turned up, Gecko soon found himself in jail until he was eventually released – years later. That’s where this movie begins – or sort of begins. Come to think of it, I’m not sure this movie really does begin as much as it sort of just starts existing. I digress. During his hiatus, Gecko manages to scribble out a book titled ‘Is Greed Good?’. Seems the nice man has learnt his lesson. Or did he? Gecko’s book is (in a fat nutshell) about the many trends Americans have adopted through a few generations that will lead to their downfall and ultimate demise. The trend – overspending; the downfall – the recession.

In Wall Street Gecko takes Bud Fox under his wing to teach him the ropes and show him the high life. Fox is undoubtedly glamoured by Gecko’s presence and thus follows suit until he comes face to face with the one thing Gecko left behind a long time ago – moral fibre. Gecko seems to always need someone to look up to him, and in Money Never Sleeps he sinks his talons into future son-in-law, Jake Moore (Shia LaBeouf). Jake is a nice kid who works on Wall Street and has always admired the legend that is Gecko. No doubt when he found out he was dating the daughter of the man he’s always admired, Jake hoped the two would cross paths one day.

After a lecture given by Mr. Greed himself, Jake takes the opportunity to introduce himself – against the wishes of his wife-to-be, Winnie Gecko (Carey Mulligan). The look on Jake’s face says “I know I should be cautious, but Gecko seems nice enough so I’ll stay around a little longer”. The two soon form a secret bond and it’s not long before Gecko seems to be back to his old ways the second some money enters the picture. Unsurprisingly, Winnie’s not allured by the power of money - Jake on the other hand just lost a third of his $1.5 million bonus due to the unpredictable recession. What a predicament - listen to the women who hates the man you admire and realize money does not mean happiness, or take advice from a man who has made a living out of making money even though the love of your life hates him with everything she has. What you have here folks, is the classic love vs career debate – a tussle that rarely finds a balanced medium.

That said, Money Never Sleeps seems to be missing something - more than that it seems to be unaware of whom the movie belongs to. One will argue that it’s Jake’s movie – Wall Street or wedding day? Other’s will say it’s Gecko’s film – money or mediocrity? Wall Street belonged to Gecko, hands down. Here it seems director Oliver Stone tried to breathe life into an old idea when all we get is another Basic Instinct 2 (2006) – it seems Michael Douglas will never get classic standalone movie without it being tainted by an unholier-than-thou sequel. Stone should have left Wall Street exist as it was – an iconic 80’s money movie, but he seems to always bring politics and economy and the American spirit into everything he does now (exhibit A: World Trade Center [2006]).

Still, I am giving Wall Street: Money Never Sleeps an open door. Despite its flaccid connection to the original hit, by itself, it wasn’t half bad and relatively watchable. LaBeouf finally shows off some nice acting chops and despite his limited range he fits in well here. Douglas is… well Douglas - great actor, nearly (if not already) past his prime though. There is a scene where Gecko and Winnie reconnect and it seems as if Gecko has finally been broken down and the harshness of prison and the disconnected family life he’s lead has finally gotten the best of him. Unfortunately, this is only a glimpse into what this movie could have been. I feel it may have been more interesting to see a film about a broken down Gecko struggling to find a new identity and a new path. Picture Wall Street mixed with About Schmidt (2002) – that’s the movie I wanted to see. Money Never Sleeps takes the easy way out and goes with, unfortunately, a slightly happier ending. If Douglas was hoping his reprise would earn him another Oscar, I’m sad to say he’s dead wrong.

*Stills courtesy of Twentieth Century Fox

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THE SOCIAL NETWORK (2010)

Angry Charlie likes The Social Network.

I remember when I first started hearing about Facebook back in about 2006 (maybe late 2005, not sure) via email invites from a few people. It wasn’t until my friend, Luke Fandrich of Editing Luke, decided to join the fad that I jumped on board. I recall him telling me about how it was the neatest thing ever and in just a few days on the site, he had connected with people he hadn’t spoken to in years. Prior to Facebook I never tried MySpace but was part of Hi5 – which never really went anywhere. Facebook never really seemed different until you realized EVERYONE was doing it. That’s when it became common for someone at a bar to ask if a person was on Facebook rather than try and get their phone number. Nowadays if you run into someone who doesn’t have Facebook, it seems about as strange as it did in the 80’s to not have a TV (before it became a trend for hipsters in the past decade).

As I walked into The Social Network (or “the Facebook movie” as it’s commonly referred to) I initially didn’t think too hard about how much of an impact Facebook has had on our lives, on our culture. Seeing where the site comes from is even more astounding as it’s something that sorta seemed to be there overnight. Unsurprisingly, that seems to be the way it was for Mark Zuckerberg (portrayed very well by Zombieland’s Jesse Eisenberg) as well. The basic story is that Mark gets drunk one night while getting revenge on his girlfriend who just dumped him. How does Mark get the revenge he seeks? Well outside of calling her a bitch on his blog, he decides to demoralize all the women on his and several other campuses by creating a website called FaceMash.com. The site, not unlike HotorNot.com, allows you to compare which girl is hotter – not exactly flattering for the one who doesn’t win. Within four hours of the site being live, there are 22, 000 hits to the website and it crashes Harvard’s network. This is an intro to the type of person Mark is - both in genius and ego

This stunt also gains the attention of a fraternity who wants Mark to create a website for them called ConnectU, which is pretty much an online dating site for the campus folk. Mark says he’ll do it but instead uses the interest in such a site to begin working on a project of his own – theFacebook.com. This leads him to making many acquaintances and business relationships in a span of only a couple of years, including friend and initial CFO of Facebook, Eduardo Saverin (Spider-Man 4’s Andrew Garfield), and Napster’s Sean Parker (Justin Timberlake). The rest, as they say, is history.

Now, when it comes to a docudrama, obviously we’re not seeing all truth. There are things used to exaggerate the real stories in order to create more of a compelling story. The funny thing is, is that The Social Network doesn’t really need such a gimmick. Director David Fincher is a great story teller – Fight Club (1999) and Se7en (1995) are just two examples of that. With this film he does no different. In the end what you realize is that for Mark Zuckerberg, creating Facebook wasn’t about money or popularity (well, maybe a little about popularity), it was about feeding his own hunger of self control, ego and perpetual rebellion – all in an effort to be self satisfied. What we find out in the end is that somebody like Zuckerberg may never be truly satisfied with what he’s doing – than again, I could be wrong. To me it seems like the classic case of the genius who’s unable to relate to anybody around him. The name of the film, The Social Network, is a double entendre referencing the obvious (Facebook itself) and the unobvious (Zuckerberg’s relationships to those he already knew and those he meets).

I am giving The Social Network an open door. Some of the people I spoke to after the movie stated they liked it but didn’t know why it existed, as nothing really happened and there seemed to be no point. While I agree with the fact that ‘nothing really happened’, I don’t think it’s a bad thing nor do I think it’s pointless. In the same style of 2008’s Vicky Cristina Barcelona, you get to experience the journey of someone who, in the end, is still the same person. They haven’t really learned any lessons, they didn’t gain a new perspective on life, if anything – they’re more annoyed by the complexities of it all. The journey though, is an important and inspiring one that I absolutely admired. Watch for this one come Oscar season.

*Stills courtesy of Columbia Pictures

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THE TOWN (2010)

Ben, Dardevil I get. But Armageddon?! COME ON!!

In a life lead by misguided thoughts and multiple directions, many people will wonder what path is theirs. If you are surrounded by friends and family who support you, they may tell you that (although it may not happen right away) that pursuing your passion no matter what will land you in a job that has meaning for you and that you’re good at and eventually, you will end up where you are meant to be. This may account for about 90% of all American Idol auditions, sure, but it’s also responsible for Ben Affleck’s inevitable realization that maybe he belongs behind the camera, as opposed to in front of it.

This is an obvious insight for those of us who have seen Affleck’s acting (which I never minded as much as others) compared to some respectable behind the camera work as with Good Will Hunting (1997) - which snagged Affleck his only Oscar to date. Only after Gone Baby Gone (2007) was released, however, did people take note of the insight Affleck had as a director. When you think of doing something for as long as Affleck surely did, though, perhaps it wasn’t an unusual thing there was one diamond in the rough. But to do it again would take actual talent - something Affleck surely didn’t have.

At least, that’s what most people may think walking into Affleck’s second stab at directing, The Town. They may find themselves pleasantly surprised, however, by how well this film is put together. The Town is about four guys who live in Charlestown (which is in Boston, Massachusetts). Apparently Charlestown (or ‘the town’) is America’s bank robbery capital and gives birth to more bank robbers in the US than any other city. I’m guessing that’s nothing they would like to advertise on the ‘Welcome to Charlestown!’ sign as you’re driving into town.

These four guys (which include Affleck and Jeremy ‘I want another Oscar nom’ Renner) may seem under- educated and nothing but simple quarry labourers by day, but by night (or day as well since it’s a bank) they are bank robbers, and pretty good ones at that. They know how to cover their tracks, have back up cars, get in/get out in a timely fashion all while playing it cool. That is until Doug (Affleck) takes hostage Claire (Rebecca Hall) as insurance during one of his heists, then begins to stalk her to make sure that she doesn’t know anything. He inevitably gets too close and what do you know? He starts to like her. Doug’s long time friend James (Renner) is concerned this will get in the way of their ‘work’ and starts to have a general dislike for their relationship when Doug starts talking about him and Claire running away together.

The decision to leave Charlestown with Claire also puts Doug in another sticky situation. The crime boss Doug and friends work for, refuses to let him get out of the game and go lead his fantasy life, especially since there’s a heist being planned that will rake in roughly $3 million. I won’t say what it is, but the place they plan to hit is quite a clever idea and serves for an interesting setting when the time comes to make the move. It’s also very representational of the location The Town is set in.

I had seen the movie several days ago but due to other projects and just being busy in general I wasn’t able to write this review until now. That’s given some time to let the movie sink in and see how it settles with me. Turns out, it settles quite well. Now, The Town is a really well done movie. From the startling images of the nun outfits (notorious with the poster by now), the unique relationships the characters have with one another to the atypical crime boss who runs a flower shop, The Town not only shows that Affleck has an eye for directing and camera set up – but one for character as well. Affleck’s acting in the film was alright, btw, but nothing anymore special than his performance in Daredevil (2003). The rest of the actors are good enough though that they overcome any burden Affleck’s acting may have had and carry him through to the end.

I am giving The Town an open door. It’s exciting enough to hold your attention throughout the movie and Renner’s performance along with Hall’s may snag them some Oscar nominations. Is The Town my favourite movie of the year? No. Frankly, movies like this or The Departed (2006) never really drew my attention – as good as they may be. But it shows Affleck’s growth and ability to grab attention with a simple image, such as the nun outfit and many more throughout the film that play out like a modern mob tale. Guess you could say he went to town on The Town – creatively speaking that is.

*Stills courtesy of Warner Bros. Pictures

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UP IN THE AIR (2009)

Angry Charlie Reviews 'Up in the Air' from Angry Charlie on Vimeo.

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THE LOVELY BONES (2009)

I still don't really understand the title...

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There were two things that drove me to see this movie. The first was Peter Jackson's reputation does unfortunately precede him by this point. Lord of the Rings was well done and King Kong was epic, although long and perhaps even slightly under appreciated by most. However, Lovely Bones did not seem like the cup of tea Jackson was likely to drink from, but I'm glad he did.

At the heart of all Jackson's films, there is a romantic notion. In this case it was the idea that good will overcome evil and no matter how gone someone is they are not really "gone". They have drifted off into a world where nothing may make sense but jumping onto a sleigh and letting a small dog take you over a cliff is but one of many ways to spend an afternoon, if such a thing exists in Susie Salmon's in-between. This "in-between" is a beautifully, well-imagined visual sensation that is used cleverly to tie both worlds of fantasy and truth together. This is no doubt what interested Jackson in the first place. Yet after seeing the movie, this is not what ended up being it's biggest strength, and it certainly not what has gelled most with me.

The queerest part about the film is when one would think for a second that the narrator, Susie Salmon (over-acted only slightly by Saoirse Ronan) was speaking in the past and present tense at the same time. Saying things like "this is the man that would eventually murder me" is a weird thing to hear. The idea of it all gives one a sense of relaxed and chilled oddness filled with hope that if Susie was to assist in solving her own murder, she would wake up and still be alive and everything would be back to normal, a'la It's a Wonderful Life. Obviously that would be a cheesy ending and a let down, but it doesn't stop one for hoping it still happens. This movie works well as a classic example that story is still king in a world filled with visual and CG temptation.

This type of narration though, is only part of a series of performances that worked well in the movie. Mark Wahlberg ends up being surprisingly good and genuine as Susie's dad, Jack, Susan Surandon steals every scene she's in as Grandma Lynn, and Stanly Tucci does nothing less then fill out every possible trait to its fullest with his character George Harvey, the film's nothing-less-than-creepy pedophile neighbour. Unfortunetly I still remember him as the real bad guy, Frank, from Pauly Shore's Jury Duty.

Lovely Bones in the end works as a fantastic movie that aims for nothing less than to please it's audience. It is a mix of What Dreams May Come and Ghost, so in that sense it will feel like you're treading familiar ground, but it still manages to work it's way through that familiarity to produce something newer and slightly (but not badly) chilling. It's not terribly realistic, and you will feel inspired by the scenery Susie gets to experience, in way that makes you kind of wish you were in her place, which is where the film's only real fault lies.

Post-'end of the year new drama Oscar hopefuls', things have died down in theatres a little as far as drama is concerned. And if vampires, angels and post-apocolyptic movies aren't your thing, I see no reason not to walk through this door into the in-between played out in Lovely Bones.
*Still courtesy of Dreamworks

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