Silver Linings Playbook, So Damn Charming!

Mental illness as romantic comedy, who knew?

Silver Linings Playbook, one of the biggest of the Oscar bait films, is one of those landmark genre films, whether anyone right now realizes it or now. Like Harry Met Sally before it, this film captures the feel of our pop culture and turns it back on us, making us both laugh and wonder about ourselves. In a genre that is, despite my endless enjoyment of it, admittedly formulaic and tired, Silver Linings is simply refreshing.

The movie is about a man named Pat, played by Bradley Cooper, who is released from a mental hospital after a nervous breakdown six months prior, caused by his wife's infidelity. Since his hospitalization, Pat's been intensely working on himself, losing weight (because cheating on an overweight Bradley Cooper is the only scenario that makes sense for the world) and improving his outlook on life. He is released into his parents' custody, played brilliantly by Robert DeNiro and Jacki Weaver, where he continues on his quest to revive his marriage (even though his wife has sold their house and left town). Along the way, he meets Jennifer Lawrence's Tiffany, a slightly unhinged nymphomaniacal widower. While it's potentially obvious where the story ends up, the way it gets there is quite hilarious and unexpected.

I'm just going to get straight into it; I am madly in love with Jennifer Lawrence and Bradley Cooper after this film. Separately, they are excellent in this film, more than deserving of their Oscar nominations. Together, they are dynamite. Age difference be damned, they have a chemistry that works in both the quiet and boisterous moments. They are simultaneously hilarious and heartbreaking, and even when they act absolutely ridiculous (it is a film about recovering from mental illness after all), you cannot help but root for them. Jennifer Lawrence in this film is equatable to Julia Roberts in Pretty Woman, but younger and even better, and if she loses the Best Actress Oscar, there is no justice in the world.

The entire cast of Silver Linings Playbook is fantastic, which would've saved the film had it been a poorly written mess. The fact that it isn't, that it's instead a carefully crafted, joyous take on the dangers of blind love makes the experience all the more satisfying. Everything works, from the football backdrop, to the use of Stevie Wonder's "My Cherie Amour", even down to the ballroom dancing. it's irreverent, it's quirky, and it makes you heart burst, even at the fairly typical ending.

Pardon the football pun, but Silver Linings Playbook is easily the season's MVP.

The Social Implications of Tarantino's Django Unchained and Why It Matters

Django Unchained left me in stitches.

Yes, there was the side-splitting, fall-out-of-your-chair comedy delivered masterfully by Samuel L. Jackson and Christoph Waltz. But there was something else that cut at me. It wasn't deep enough to hinder my enjoyment of a truly excellent film by Quentin Tarantino, but there was a scar I couldn't help picking at in the hours after I left the theater.

It all started with one scene. Django, played by Jamie Foxx, is sitting with Dr. King Schultz (Christoph Waltz) in a cave after having killed the three brothers they were looking for. Django is a slave that Schultz rescued so that he could assist Schultz in the capture of the aforementioned brothers. During their time together, Django shares with bounty hunter Schultz that he is married to a fellow slave who happens to speak German. Schultz is German, and explains that her name, Broomhilda, comes from a well-known German tale. The camera shots during the telling of this tale frames Django below Schultz, looking on with wide-eyed wonder as the man who secured his freedom tells the story. Even those not well-versed in film theory could see the underlying power dynamic established in that scene alone.

The film is titled Django Unchained, but there were times when I questioned how much the film was about that character. It seemed as if the film belonged as much to Christoph Waltz as it did to Jamie Foxx. It could be the issue of acting, but still, something about that didn't seem right, not to take away from any of the performances, of course.

I'll reiterate that Django Unchained is an excellent film that has enough gore and humor to make the two and a half hours worth it. I commend Quentin Tarantino for telling an excellent story and not pulling any punches regarding its source of inspiration.

However, I still found myself troubled by how inconsequential Django was in his own story. The majority of his agency stems from a white man, from his release from bondage to his brand-new career as a bounty hunter. Even the film's resolution, which I won't ruin for those who haven't seen it yet, owes a considerable amount to Dr. Schultz. Although Dr. Schultz is a "good guy", a foil to the evil Mr. Candie, he is still white, which means that he still benefits from the institution of slavery, and admits as much to Django in their first conversation. This also means that Django is still indebted to a white man, although the terms are a lot less severe. This debt is resolved in the film's third act, in typical bloody Tarantino fashion, but it remains that it existed in the first place. As a young black man watching this film, about a slave exacting his revenge against the institution that caused irreparable harm to him and countless others, it bothered me how much of that revenge was made possible by a white man.

I completely understand that Django, like other Tarantino films, is an extension of his wonderfully twisted fantasies and maybe shouldn't be delved in too deeply or taken too seriously. Unlike Spike Lee, I also wasn't bothered by the liberal use of the N-word because that was a reality of slavery back then, as were the whippings and the scars that were also present in the film. I just would've liked to see Django being more responsible for his agency throughout the film, serving a more equal and powerful role to Dr. Schultz.

Then again, maybe it would have been too beyond the scope of reality. Much of the film is beyond that scope, but it is an undeniable and harsh truth that the agency of blacks, especially in comparison to whites, was nonexistent during slavery, sans an infinitesimal few. Yes, Django Unchained is blood-soaked, hilarious, and excessive in every possible way, but it is surprising because of the indelible scars that it has and will uncover in the collective African-American consciousness, the same scar I was picking at watching that cave scene. In an era where the relevance of our complicated, heartbreaking past within our present seems to fade, Django Unchained is an excellent film to bring it all into perspective.

Les Misérables, An Exhausting, Manipulative, But Satisfying Film Experience

I left the movie theater after watching Les Misérables desperate for a nap.

The musical, adapted from the iconic Broadway production, was an emotional rollercoaster that demanded the utter surrender of its audience with every twist, turn, and loop. It moved so quickly at times that it was hard to reconcile the myriad of depressed emotions that were stirred up. At the same time, the film felt very long, packed with so many scenes and storylines that, although intertwined, made you wonder when exactly the film was supposed to end. It was a faithful adaptation; I could see how this could work on stage, but it didn't quite work on screen.

The jarring pace was coupled with an insistence on close-ups that assured the audience could "see" the desperation of 19th century France's downtrodden. Sometimes it was effective (like with Anne Hathaway, but more on that later), and other times it was a blatantly manipulative tactic to wrench any sympathy we would've already felt for the characters. And yet, that one-two combo worked in the theater; a lot of these realizations came after a considerable amount of thought. Sitting there, I found myself deeply engrossed in the plights of Jean Valjean, Fantine, and Cosette, on the verge of tears multiple times.

The story follows Valjean (Hugh Jackman) as he spends decades trying to escape his tortured past and rebuild his life after working hard labor for twenty years. Along the way, he comes in contact with Fantine (Anne Hathaway), a single mother and prostitute, and promises to raise her daughter Cosette after she passes away. Following closely behind him is Javert (Russell Crowe), an officer determined to bring Valjean to justice for evading his parole. This all takes place in the backdrop of a revolution, led by Marius (Eddie Redmayne) against the bourgeoisie. This battle takes precedence in the second half, as does the unconvincing love story of Marius and a grownup Cosette (Amanda Seyfried). Equally unconvincing is Eponine's (Samantha Barks) unrequited love for Marius, but that is due to a lack of development. Honestly, and I'm aware of my biases to Jackman and Hathaway, I feel like the film would've been much better if it focused and re-imagined the first half of the film with Valjean, Fantine, and Cosette. While I understood the revolution plot, it didn't really pack the wallop that the daily life of the citizens did.

It's a busy film that could've easily collapsed under its own melodramatic weight, but it is kept up by a spectacular ensemble cast, headed by a revelatory Jackman. Knowing him primarily as butt-kicker Wolverine, seeing him drenched in tears and grime while maintaining both dignity and grace was spell-binding. It's unfortunate that Oscar glory probably won't be his as this is Daniel Day-Lewis's year with Lincoln, but a nomination must surely be in the cards. Someone who can start writing her speeches now is Anne Hathaway. She is simply brilliant from the moment she appears on screen. "I Dreamed a Dream" basically engraved her name on the Best Supporting Actress Oscar for her; I can't imagine her losing at this point. In fact, I would dare insist that she be considered as a lead actress.

Eddie Redmayne was amazing as Marius, delivering his own heart-wrenching performance of "Empty Chairs and Empty Tables". Samantha Barks's Eponine is woefully shorted in the plot, but her take of "On My Own" is another highlight. Sacha Baron Cohen, at his career best, and Helena Bonham Carter are wonderful as the innkeepers, providing the much-needed comic relief. Russell Crowe is regrettably the one sore spot; he is fine, when he isn't singing. While everyone else's vocal deliveries (mind you, they sung live on stage) were full of emotion and gravitas, Crowe was painfully stoic, almost dead in comparison.

Speaking about the sound for a moment, whoever did the film's sound can expect to win an Oscar as well, because it was spectacular. There were times when I could not tell the difference between the soundtrack and the film itself. All of the musical numbers were excellent, the glaring exception being Jackman's "Bring Him Home". It was an octave too high for him, and kept imagining him singing it in a much lower key. I would highly recommend buying the Highlights soundtrack because, since it strips out the less important bits, it is one of the best film soundtracks I have ever heard.

For better or worse, Les Misérables is vacuum-packed full of emotion that will leave even the most stone-hearted wiping a tear or two. It's also the most obvious Oscar contender of the year that's not Lincoln. Although not perfect, it's one of those films that will strike a very nerve with audiences, which may be all that matters.

That said, seriously, take a nap before seeing this film.


THREE AND A HALF out of FIVE STARS

Movie Review: Skyfall is the Newest James Bond Classic

When you think of James Bond, a couple of things come to mind: suave, smooth, sexy, British. But never "aging".

James Bond is back, and at his best (well, at least Daniel Craig is)

That is the driving force behind Skyfall, the 23rd film in the James Bond canon and the third film to feature Daniel Craig as the legendary super-spy. Directed by Sam Mendes, it is a re-imagining of sorts of what Bond means for the 21st century. The action, the humor, and the irresistible sex appeal, are still there in full force, but it is all darker and much cooler than the previous Bond films.

Since 2006's Casino Royale, Daniel Craig has been critically lauded for his grittier, more dangerous portrayal of 007. His tenure has been pretty much flawless, and Skyfall finds him at his zenith. Daniel Craig no longer seems like he has to convince people he's worthy of Bond; he is Bond, and he is the best one yet, for this generation at the very least.

He is in top form, even though his Bond is considerably weathered this time around. After nearly dying in Turkey chasing a contract killer, he comes back with physical and psychological damage (even though his ability to seduce remains intact), exposed through a grueling series of tests. His working relationship with M (played by Judi Dench) is also in tatters because she is the one responsible for his near-death experience. In a compelling character arc, Bond has to contend with his mortality, and the fact that he isn't as valuable as he once thought.

This reality is heightened (although not as fleshed out as it could have been) with the introduction of the Raoul Silva, played by Javier Bardem. The antagonist of the film, he is a cyberterrorist responsible for a number of security breaches at MI6, with a dark past connected to M and the agency. Bardem is, without question, the best villain Bond has ever seen, and his deranged performance is worthy of an Oscar, á la Heath Ledger in The Dark Knight. While he comes dangerously close to stealing the film away from Craig and Dench, the three actors compliment each other well. Considering it's her last Bond film, the film does an excellent job in giving increased attention to Dench, who had been relegated to cameos in prior films. She is excellent as an embattled leader dealing with her own future at MI6. One of the best scenes of the film comes towards the end between Dench and Bardem, which is so arresting and disturbing that it caused chills, a first watching a Bond film.
  
A lot of the classic elements see some downgrading, notably the role of Bond girl (spoiler alert: she is offed in the first half). Still, there are some great nods to the franchise's fifty year history, such as the re-introduction of the Aston Martin. It's great to see that the producers understand the past, even as the plan for the future.

While that future has been planned since Casino Royale, Skyfall serves as the official, iconic benchmark for what this generation of Bond will be for the next fifty years.

Movie Review: "X-Men: First Class" Is Head of The Class!

X-Men: First Class is the franchise's valedictorian 

Rebooting one of the most popular comic book film franchises in history was a risk.

Throwing the movie forty years into the past, with only three characters from the previous films as the movie's lead was a big risk.

Setting the film in the context of the Cuban Missile Crisis was a huge, inspired risk.

And they all paid off in full.

I just returned from seeing X-Men: First Class at the Loews Theater on 34th Street in Manhattan, and I am stunned by how amazing it was. It made the previous X-Men films (except X2, but especially X-Men Origins: Wolverine) look like child's play in comparison. In fact, First Class is the best superhero film since 2008's iconic The Dark Knight.

X-Men: First Class succeeds in melding action, humor, human (and mutant) drama, and even a bit of romance in an excellent retelling of the Cold War. Unlike the other films, the storyline was efficient and quick-paced, so much so that they had to remind us what setting were in. It worked, though, adding to the film's tension and excitement.

The comic timing was own of the movie's highlights. Its fearlessness in poking fun at itself and the franchise was a welcome addition to the traditional aspects of a superhero flick. X-Men fans will be particularly happy with some tongue-in-cheek cameos (don't worry, I won't spoil it for you) and many history lessons throughout. Prequels are meant to fill in history gaps, but this film made it so much fun doing so. Haven't you ever wondered how Mystique could be in this film in the first place? What's great about the allusions is that they are subtle, but important. The movie refused to take itself too seriously, which helped make the film even more enjoyable.

When there was drama, it hit all of the right notes. One of the movie's recurring themes was the physical ramifications of mutation, and the use of Raven (who would later be Mystique) and Hank McCoy (aka Beast) to convey it was handled very well. There was also the classic X-Men struggle between working with and working against humans, which was reworked with a fresh, more character-driven perspective.

For me, the acting was the most impressive part of the movie. James McAvoy as Professor X and Michael Fassbender as Magneto never failed in providing compelling, captivating moments through the film. There's one scene of them together that was so powerful that it could possibly bag them at least a Golden Globe nomination.

Jennifer Lawrence, who played Raven/Mystique and was nominated this past year for a Best Actress Oscar, was excellent in showing her growing discontent with the life she was living throughout the whole film. Nicholas Hoult was also really good as Hank/Beast; I particularly enjoyed his awkward-to-epic character development. January Jones, who played Emma Frost, has never been sexier, but she was woefully underused as the primary villanness. Kevin Bacon was surprisingly chilling as the movie's head bad guy, but his character lacked real intention behind his actions.

My only real criticism of the movie also has to do with the characters. It felt like there were too many characters doing too many things, when it would have been easier to just focus on the primary ones more, like Emma Frost.

With all of that said, this movie was certainly a surprise for me. As a big fan of the X-Men films, I was skeptical. I am happy to say that the hype wasn't wrong. X-Men: First Class is a high watermark for the franchise, and should be used as a blueprint for how to make a good superhero movie.

Green Lantern has a lot to prove now.

Some Notes About Mel Gibson's Rants Against His Ex

By now, everyone has heard at least one of the shocking angry rants from movie star Mel Gibson against his baby's mother Oksana Grigorieva. Instead of writing an essay about the tapes, I won't even give him that much of my time and just list some important notes to take away from the whole fiasco.

Note 1: His career, as he and we know it, is over
While many people have warned against such strong statements, it is pretty hard to imagine what kind of career this man will have after the full scope of these tapes are realized. He has shown bigotry against everything not white male: blacks, gays, jews, hispanics, and women. You could essentially use those tapes as an encyclopedia of slurs. Ironically, the industry he works in is filled with plenty of the people he harshly insulted. I can't imagine any actor, actress, producer, director, or even gaffer who is one of those denominations who would want to work with him.

Note 2: He cannot hide behind alcohol this time
Mel Gibson's infamous 2006 anti-semitic rant was the result of being pulled over by police and arrested for a DUI. While he could argue that the nasty incident was the result of the booze, there is no excuse that could explain away blatant racism, misogyny, and unspeakable violence. Sorry, there's no way to get out of this one, Mad Max

Note 3: He needs help. Serious. ass. help.
While he may a racist, a misogynist and an alleged perpetrator of unspeakable violence, but it is also clear he is in desperate need of therapy. Anger management, sensitivity training, the works. Not only is his behavior completely unacceptable in most circles of humanity, it is also unhealthy. When you're unhealthy, you usually got to a hospital. I'm sure Bellevue has openings this time of year.

It's a damn shame that an actor that I have enjoyed in films could have fallen so far from glory.

Some Notes About The Movie Avatar

As I mentioned in my last post, I went to go see Avatar this past weekend in 2D. It was this same weekend where the movie surpassed the billion dollar mark worldwide. I wasn't sure about writing a review, but considering its immediate global significance, I thought I could at least do a Some Notes post.

So, without further preface, here are some basic notes about Avatar (beware of spoilers!)

Note #1: Avatar, and I say with as little overhype as possible, is a visual masterpiece without a single past, present, or future rival (that is, until Avatar 2 comes out)

Note #2: 30 minutes into the film, I decided I wanted to live on Pandora (ok, maybe without the huge flower panthers that could kill you in one fell swoop)

Note #3: Every human character who has an avatar, looks about three times better as an Avatar (Sigourney Weaver looked like she was in her 30's)

Note #4: The best actress in the film was Zoe Saldana, who played the Na'vi princess Neytiri. The fact that she could all that heavy emoting around all of that computer-generated stuff is astonishing.

 Note #4.5: Zoe Saldana should prepare for the onslaught of horny cult-following, Trekkie-esque losers who are about to become obssessed with her because of this film

Note #5: The creatures in this film are the most engrossing I have seen since Pokemon debuted in 1998

Note #5.5: With that said, The Pokemon Company should play James Cameron as much money as humanly possible to make a 3d, CGI, live action movie adaptation of Pokemon. Because let's be honest, the big red bird dinosaur is really Ho-Oh on steroids. Imagine what the "king of the world" could do with 493 epically designed characters. It would be so amazing that I am allowing this half-not approach paragraph status.

Note #6: Even though I saw it in effective 2D, I still recommend seeing it in its true format of 3D.

Note #6.5: Torrenting this film is absolutely disgraceful; not because its depriving people of money, but because you are robbing yourself of an immersive film experience that you would be foolish to miss. Unless you are living in your parent's house and you are pas the age of 29, pony up the ten bucks and see this film for real.

Note #7: Now about the plot. It's not that it's bad, but it is kind of predictable. It's very Dances With Wolves, except on a lush alien planet. There are some surprises, but if you have seen the "gone native" films before, you shouldn't be too confused.

Note #8: Anyone crying foul against the so-called anti-American, anti-war message of the film has the emotional depth of a puddle on a NYC street.

Note #9: The visual certainly adds to the concept of "seeing" nature, the Na'vi's philosophy/religion

Note #10: There is a sex scene, and it is stunningly tasteful and romantic (and reportedly longer in the Blu-ray/DVD edition)

Note #11: The most epic scene? When Jake rides down onto the Na'vi on the Ho-Oh on steroids-looking dinosaur bird.

Final Notes: The hype about this film isn't overblown. It is truly an experience watching this film. The visual presentation is flawless, and the story is engaging enough to absorb people into the world of Pandora. There is a reason that people are seeing this film multiple times. It is the modern epic of our time, even it has some superficial flaws (plot-wise, of course). Plus, there is a good chance this movie will surpass Titanic to become the most successful film in the history of global cinema (not adjusted for inflation; then the title goes to Gone with the Wind). I don't condone peer pressure, but do you really want to be one of the people on Earth not to see this film? So, what are you waiting for? Go SEE it!

Some Notes About New Moon...

Last weekend, I went with my friends to go see New Moon. The movie theater was PACKED, for that film alone, so I figured it would be a movie worth seeing. After mulling it over for a week, here are some thoughts about the film:

About 65% of New Moon was about someone staring. Whether it was Edward at Bella, Bella at Edward, Jacob at Bella, Bella out of a window, a lot of the film was them all just staring. In case you didn't know, staring does not a good film make.

For a 17-year old, Taylor Lautner is ripped as fuck. It's an appropriate note to make, since 70% of the movie featured him shirtless. I'm being much more respectful than the multitude of girls (and some boys) whose tongues were hitting the floor whenever he came on the screen, like he was a steak on a silver platter.

A fish flopping on dry land has more charisma than Kristen Stewart.

There wasn't enough of Alice Cullen in this film. Or Emmett. Or Rosalie. Or Esme. Or Jasper. Or Carlisle. In case you haven't figured it out, the Cullen family actually deserved some screen time. I mean, they are more interesting than Edward and Bella combined.

Michael Sheen (the head of the Volturi) and Dakota Fanning, in their 10 minute long scene, outperformed the rest of the cast by at least 65 miles.

Sorry Edward, but Bella is a complete crackhead (and there were scenes where she looked like one too) for not choosing Jacob. Come on, werewolf? Awesome.

The ending is a big WTF?

By the way, the film has no real discernible plot.

Final Note: Unless you either love Twilight or want to see a 17-year old being blatantly sexually exploited, you probably want to skip this film. Go see Precious instead.

Some Notes About Twilight...

If there is one pop culture phenomenon that has completely gone over my head, its the Twilight series. I never read the books, I never saw the movie, and I did not buy into the overnight celebrity and tabloid craze of its stars Robert Pattinson and Kristen Stewart.

Well, after months of befuddlement over the Twilight obsession, I decided to buckle down and watch the movie this past weekend. Without getting into a full movie review (it would be kind of pointless, since it came out last year), here are some things I noticed/gathered about this film:

- Even though, in real life, Robert Pattinson and Kristen Stewart (especially her) annoy the crap out of me, they actually have some chemistry on screen.

- That said, their characters Edward and Bella, are ridiculously dull, and I frankly cannot imagine how FOUR books were based around them.

- I understand that the book is 500 pages, so maybe it was lost in translation, but their love story is completely rushed. I mean, one minute he can't stand her, the next they're all awkward, and then they're head over heels? I know its primarily a teen book, but that is still too far out of the realm for anyone.

- The Cullen family scenes were my favorite scenes, especially the one where they first meet Bella at their amazing elevated house in the middle of nowhere. If the movie was based around them, and not Edward and Bella, I could've gotten into this movie a long time ago. I find Rosalie and Jasper the most interesting of the family.

- Another focus I would've preferred; the whole "vegetarian" aspect of the Cullen family's life. I mean, how did vampires find the self-control to not suck the blood of every single person at that stupid school? They alluded to it with the Edward/Bella story, but it wasn't enough.

- Another rushed thing was the whole tracker vampire thing with James. I didn't enjoy ANY of that part at all. There was virtually no buildup, and the whole "kill Bella to stick it to the Cullens" was shallow, at best.

Dragonball: Evolution Is An "Absolute, Unmitigated Disaster", Says Anime News Network

See the difference?

Webster's Dictionary defines unmitigated as "being so definitely what is stated as to offer little chance of change or relief".

This means that, according to leading anime news source Anime News Network, the live-action version of the hugely popular Dragonball metaseries is so horrible, that there is no possibility for any kind of good to come from watching it.

Last week, the website, which specializes in bringing the latest information about anime to English-speaking audience, released their review of Dragonball: Evolution, the much-maligned film produced by 20th Century Fox. Originally blasting fans for criticizing the film before anything came from it, the website admits that the otaku turned out to be right in this case: the movie really did suck.

"It's clear that a metric ton of material was hacked out, but this thing would need another 30 minutes rise from 'unforgivably retarded' to 'only mostly retarded'", says reviewer Zac Bertschy. "[It] might be fun when you're hammered and surrounded by friends. Or suicidal, and need something to push you over the edge."

The scathing review isn't a good sign for the film, which, according to star Justin Chatwin, already has a sequel in the works. Then again, it was kind of expected. You could tell from the teaser posters this movie was going to be a tragedy.

Now, we just confirmation.

Dragonball: Evolution will be released on April 10th.

The Dark Knight: Movie Review

It doesn't take very long for me to write movie reviews. When I sit home at the laptop, I can easily point out what I loved or hated about a film. Yet, somehow, it took me a day and a number of rewrites to finally decide what I thought of The Dark Knight.

Why?

Because  The Dark Knight is much more than a superhero film (which is what I have reviewed so far). It's more than a commentary on the strength of human will and the power of morality in society. The movie was an experience, one unparalleled to anything I have taken part of in my movie-going life. The sequel to the critically-acclaimed Batman Begins had the effect high-definition technology has been promising; engrossing, powerful, beautiful, as if you were actually there.

If there hadn't been light chatter and three rows of seats in my peripheral vision, I would've forgotten I was watching a fictional film. Director Christopher Nolan has proven himself a master filmmaker, using his skill and inspired vision to create a living, breathing city with three dimensional characters with complexity not often seen in his genre.

The story is very fast-paced, even with a running time past 2 1/2 hours. You don't realize it though; the movie never allows for the viewer to become bored. You will surely be entertained, and shocked when you find out that 2 hours have passed and the action is still in full force. However, the quick, take-no-prisoners movement slightly affected the smaller elements of the film. The movie makes it clear that there is a love triangle between Batman/Bruce Wayne, DA Harvey Dent, and Rachel Dawes, but it doesn't really go in depth into it. It may not seem important, but the lack of definition could confuse the viewer as the story makes one of its many twists and turns. Other than that, the story is quite awesome.

The cast is easily the strongest I have seen in a while. Christian Bale is great as both Batman and Bruce Wayne. My only gripe is Batman's voice. I get he is "The Dark Knight", but his voice doesn't have to sound like he eats gravel for lunch. I like Bale more as Bruce, and when he was technically both (you'll see what I mean). Aaron Eckhart impressed me as Harvey Dent, Gotham's "White Knight". He fit the moniker like a glove, portraying a man with an earnest desire to see justice served in Gotham. He does it with about lame or pathetic, and you sympathize with him when the burden of being the city's savior begins to wear on him. I don't want to spoil his story, but he is fantastic in both halves of the film (especially the second half). Morgan Freeman, Michael Caine, and Gary Oldman made supporting roles far more important, and I enjoyed them all. Maggie Gyllenhaal, who played Rachel Dawes, was okay, but I didn't really care for her character at all.

Then, there was the Joker. Everyone has been talking about Heath Ledger's performance, with good reason. The rest of the cast was amazing, yet Ledger outshined them all with one of the greatest performances I have seen in my entire life. He owned the film from the minute he pulled off the mask in the first five minutes and drove away with the cash in a school bus. Every scene he was in was mesmerizing. It was evident that he engrossed himself in this role. Miles away from the cartoonish versions of Batman's past, this villain was just that. Ledger's version was nothing short of brilliance, injecting a dose of unpredictable evil that was never present. Even in the humorous scenes, you still knew the guy was a nutjob. You never know what the Joker will do next, yet Ledger makes you realize how it all comes together. His performance was extremely exciting and terrifying, a potent combination. The Oscar buzz surrounding him is not unfounded; in fact, if he is not at least nominated for Best Actor, I will denounce the Academy Awards as a farce and never watch it again. It's just criminal for his performance to go unawarded.

The Dark Knight's crowning achievement (besides Ledger) was its discussion on the human psyche. Although Arkham Asylum was rarely mentioned, the movie was practically a sociological documentary. Every character in the film was forced to confront the line between good and evil. Everyone (except the Joker) had to confront those urges that everyone has; to get what we want, no matter the consequences for others. Some are able to handle the pressure, while others crumble beneath it. The movie also touches on the importance hope has on society. Harvey Dent was Gotham's hope for a better, brighter future. It's something Batman recognizes, and he does his best to keep it alive, all the way to end.

Visually, the movie is a masterpiece, without the IMAX. The colors are rich and the action is amazing. Batman's gadgets are also cool. The only problem I had was with the Batmobile. I, for one, missed the the sleek one from the past films. This new model looks like a mini monster truck. It definitely isn't attractive. The only good thing about this one was that the ejection mechanism pushed out Batman's kick-ass motorcycle.

The Dark Knight transcends the genre, expanding its relevance way past the fans of the comic book, action figures, and past films. It's a dark film that not only makes the characters question their values, it makes the viewer take a cold, hard look at themselves. Its realism is so great that you wonder how you would react if you were in the same situation.

When I left the film, I couldn't even begin to process what I just saw. The only solid thought that formed in my head was that The Dark Knight is the best superhero movie I have ever seen, and that it will go down as the gold standard of the entire genre.

Rating: A

Movie Review: Hancock Is Ambitious, But A Bit Drunk

                 

In my book, there are two types of superhero films. There is the movie that delves deep into the hero's psyche, trying to understand what makes him/her tick. Then, there is the movie that is all about the action and the fun and the superhero kicking the bad guy's butt. One is very heavy in its material, the other is light and easy.

The biggest problem is that Hancock tries to be both.

Hancock stars Will Smith as an alcoholic bum who just happens to have super strength and the ability to fly. With a bottle of booze in hand, he soars through the skies of L.A., trying to do good, but always screwing up. After incidents like throwing a whale into a boat or impaling a car on a spear, the city and it people are sick of their "savior". So, what's a hated superhero to do?

It turns out Hancock needs is a good PR guy. That's where Ray (Jason Bateman) comes in. After Hancock saves his life, he offers to give the embattled superhero a complete public makeover, by proving how important he is to the world. Everyone, including Ray's wife Mary (played by Charlize Theron). I turns out Ray's plan, which includes a stint in prison, actually works, and the city grows to love the man they used to despise.

What really makes this movie great is the comedy. The laughs barely stopped in the first half of the film. Will Smith will have you in stitches, especially when he is drunk or pissed off. The side-splitting scene is when Hancock is confronted by the inmates he put there. What happens next defies anything I have ever seen in my life. Despite playing a jerk, Smith has a charm that makes him very likable (even when he throws a kid 30,000 feet in the air).

The movie looses a bit of momentum when they try to shift the film from a raucous comedy to a serious drama with romantic undertones. What seemed like a simplistic plot actually has much more to it. You see, Hancock is immortal, but he has no memory past 80 years ago. There is no one who can fill the blanks, or so he thinks. It turns out Ray's wife Mary knows more about Hancock than even he knows. I'll leave it at that, but it gets more complicated.

It's actually a fascinating plot that even has some religious undertones. It's just not presented well through this film. The movie tries to stuff so much into the 92 minute running time, which ends up slowing down a movie that ran so fast in the beginning.

The director had a tough choice to make; either make the film an in-depth character study of LA's drunkard superhero, or make it a popcorn movie with cool action effects, a lot of swearing, and side-splitting moments. Ambitiously, he tried to fuse both together with very questionable results.

I suggest going to see the movie, mostly because Will Smith is in it and he is fantastic (as usual). That being said, you might be a tad disappointed, especially if you saw either Iron Man or The Incredible Hulk before.

Rating: B-

Movie Review: "Iron Man" Has A Heart

          There's more than gold-and-red painted metal to "Iron Man"

When I left the movie theater at 3:15 pm, there was one thought running through my head: Iron Man is the best superhero film I have seen in a LONG time.

Ironically, it's because Iron Man was more of an actual film than a summer blockbuster. Unbelievably smart casting, humor-ridden dialogue, well-rounded characters, and a coherent plot expand the movie's audience past the die-hard comic book fans. The movie would have done well regardless of its release date; its just fortunate that it was chosen as the kick-off to the summer movie season.

The movie is about Tony Stark, a genius billionaire playboy who runs a weapon production company that helps supply the US military. He is funny, witty, charming, and terribly self-involved, like many superhero alter-egos. His view on life is changed when he is kidnapped by infidels in Afghanistan after a weapons presentation to the Army. The explosion used to kidnap Tony nearly killed him, but the quick work of a European scientist saves him. To keep him alive, the scientist plugs a mini-power generator into his heart. The two work together on a special suit powered by the arc reactor that will aide in their escape, under the guise of developing a super-missile for the infidels. Stark eventually escapes, not before getting back at his captives, of course.

Speaking of heart, it is one of the central themes of the film. After his traumatic three-month experience in Afghanistan, Tony Stark decides to cancel his company's weapons division after witnessing the destruction they cause first-hand. His view of assistant Pepper Potts (played exceptionally by Gwyneth Paltrow) is also altered, recognizing the importance she holds in his life. Although a romance is only implied, the chemistry between Paltrow and Downey is there. She, along with picking up his dry cleaning, helps him replace the arc reactor keeping his heart beating. So, for the romantics, yes, she actually held his heart in her hands.

The middle part of the film deals with Stark perfecting the crude design he cultivated in that Afghan cave. The scenes are both hilarious and captivating at the same time. If you look at another way, it is also a bit sad, considering how isolated the billionaire appears to be. If you didn't love the character of Tony in the beginning, these scenes will definitely do the trick.

The last part of the film is very action packed and CGI-ed, while still maintaining the humor set earlier. I won't spoil the main plot (if you want a plot summary, email me and I'll put one up soon), but it is quite the spectacle. The ending definitely blows a certain superhero cliche into the sky.

Although a skeptical casting choice in the beginning, Robert Downey Jr.'s portrayal is the only one that would make sense. His comic timing is key to what makes this film great; I have never laughed so much during a superhero film. His chemistry with everyone (even the computer robots that help him build the suit) is fantastic. His ability to be vulnerable (I'm assuming he drew from his drug experiences) makes his alter-ego more relatable than any other in the superhero franchise. He, quite simply, is the heart of both the film and the suit.

The other performances are great. Jeff Bridges, who plays Obadiah Stane, is fantastic as Tony's co-worker. Even in the beginning, you can see an underlying resentment that will help shape the rest of the film. Terrance Howard is woefully underused, being nothing more than a sidekick. However, there is a scene in the second half that implies a greater role in future films.

Iron Man is a triumph for Marvel Studios, who produced the film alone. The movie breaks free from the stereotypical comic-book flick, becoming a franchise that everyone can enjoy. Despite being a metal suit, Iron Man has brains, brawn, and most importantly of all, a heart.

RATING: 9/10