The Descendants

Directed by Alexander Payne

Written by Alexander Payne, Nat Faxon, and Jim Rash

Based on a novel by Kaui Hart Hemmings

Alexander Payne’s “The Descendants” revolves around a burdened but successful lawyer/estranged father, whose life appears to be falling to pieces at conveniently one of the most idealistic destinations on earth…the islands of Hawaii. The film begins immediately expelling all pre-conceived notions of Hawaii being a land of no troubles, constant hula dances, and Mai Tais from 9-5. It permits the audience to realize that their expectations of the film’s plot and characters may not be as assumed. The film speaks to these expectations that we all create on a daily basis and plays at our heartstrings by reminding us about the importance of family and treasuring the planet that we live on.

Payne, known for his smash hit “Sideways” (which I have not seen as I am not yet 40) transforms Kauai Hart Hemmings’ novel The Descendants” into a visually and emotionally stunning film filled with wit, sarcasm, and plenty of teenage angst. The story evolves around Matt King, played by a seemingly lackluster George Clooney, who tries to unite his family upon receiving the news that his comatose wife will never awaken. He must then spread the news of his wife’s upcoming death to the island, accompanied by his two young daughters, and make the decision whether or not to sell the 25 acres of island that his family conveniently inherited.

We meet the youngest daughter Scottie King, played by newcomer Amara Miller, a sassy and fearless young girl who eagerly follows the example of her older sister Alex King, played by a heartfelt Shailene Woodley. Amara is full of life and joy only haltered by her inexperience, yet filled with moments where the young actress catches herself off-guard and reveals her true emotional depth and spunk. Her elder sister and remodel Alex King is unforgettably introduced to us at a horribly awkward drunken encounter where Matt flies to the big island’s boarding school with Scottie, to bring Alex back home only to find her incredibly intoxicated. The moment is filled with awkward familiarity as my mother sitting next to me in the movie theater, sends a stern side-ways glance my way. Shailene’s eyes are red and her spirits soaring high as her father brings her back down to earth, explaining that he will bring her home to see their mother.  This moment is unforgettable as a result of Shailene’s ability to take a possibly awkward and stereotypical line of dialogue and make it realistic and frighteningly human, the first glance at Shailene’s connection to this character.

Once Matt has Alex back home, he reveals to her the situation regarding her mother, leading to a shocking underwater crying sequence that simply takes your breath away. In return for Matt’s sharp blow to Alex, she reveals that her mother, Matt’s wife, was having an affair. This gets the ball rolling, allowing the gang, accompanied by an intrusive yet eye-opening stoner named Sid (Nick Krause) to spread the news on the island about the mother’s soon passing, allowing the community to say goodbye.  Nick Krause is spot on in his depiction of this easily stereotypical character, inviting the audience to permit themselves to relate to the film on a unique, but awkward manner. When Sid laughs at something a grandmother with Alzheimer’s nonsensically proclaims, we realize that we are the Sid to this family. We are the third wheel that jumps on board for the ride, experiencing this emotional journey with these unforgettable characters.    

The film is comically off-balance leaving the audience laughing in situations when they expect grave seriousness. Its charm allows the audience to let down their guard, and relate to the film in their own unique ways. Its only flaw is an almost “on the nose” dialogue drowning the audience with exposition that leaves them feeling spoon-fed. It is a big red flag when the characters say, “why not take a trip down memory lane” followed by a series of beach montages exposing the island’s significance to them.  By repeating information that may be new to the audience, but irrelevant in the dialogue, the audience takes a step back and is reminded that they are watching a movie. This surprisingly basic film mistake is later remedied by one of the culminating scenes where Clooney seems to acknowledge the film’s sometimes hyped-up and slightly over-dramatic dialogue by interrupting one of the characters in a dramatic crying monologue, and telling her to “cool it.”

This is turning out to be the year of the Indies with films like “Melancholia” and “Like Crazy” exceeding big pictures like “Rise of the Planet of the Apes” in the box office department. While “The Descendants’” plot is filled with a surplus of exposition, its dialogue and loveable characters only entrance and pull you in to the heart of the story. Following the example of Shailene, a seasoned actress already a Series-Regular on the vastly popular ABC hit “The Secret Life of the American Teenager,” who quit her job as a cashier at Abercrombie to do the film, we as film watchers must allow ourselves to expect the unexpected and jump into unknown territory. If one can flow down this tropical lazy river and permit ourselves to be jolted at points and heartbroken at others, one will finish feeling triumphant that they have just held a mirror up to life and maybe even learned a thing or two along the way.

Sucker Punch

Directed by Zack Snyder

Written by Zack Snyder 

Zack Snyder's film “Sucker Punch” is yet another attempt at snagging the attention of the testosterone pumped moviegoers who desire nothing more than to see scantily clad girls blow shit up. If the goal of this film is to be “action-packed” and recreate a Lara Croft level of sexiness, then it is a mild success. However, this film failed to even grab the attention of even these horny males hoping to see plenty of the film’s platinum blonde star Emily Browning (The Uninvited). It is the perfect example of how the singular combination of overt sexuality and violence do not make a movie successful. There has to be a connection with the characters and their goals, which is something this movie completely lacks.

The film follows a young woman named Baby Doll, played by the stunning and powerful Emily Browning. She has been framed by her abusive stepfather for killing her sister and is now being institutionalized in a mental hospital. The owner of the hospital, played by Oscar Isaac, is bribed by Baby Doll’s stepfather and asked to forge a signature of fellow Dr. Ver Gorski, permitting Baby Doll’s lobotomization.

The beautiful part of the film is the way Baby Doll copes with her rather dark situation. She uses her imagination to escape from the reality of her life, similar to Ofelia in Guillermo del Toro’s “Pan’s Labyrinth.” She imagines herself as part of a brothel, along with the other randomly attractive crazies in the hospital. Whenever she “entertains” men or dances, she further escapes into several varying fantasy worlds.

In one of these worlds, Baby Doll meets the guidance of Wise Man played by Scott Glenn (Silence of the Lambs, Apocalypse Now). This man tells her that if she wants to escape, she needs to find a map, fire, a knife, a key, and a super secret mystery item! Luckily, if the audience has any memory at all, we can remember the opening of the film where Snyder shamelessly focused 10 minutes of camera time on each of these items. Now all Baby Doll has to do is rally her fellow hotties and get them all to team work it up and find the items…yay!

If this is the kind of storytelling you are into, then high five. For any of the video gamers out there, the plot may seem a little familiar. “Gather these obscure items and you will be led to your freedom!” The movie follows this “video game plot” only further emphasized by Baby Doll’s trips of escapism as she and the gang attempt to obtain the items. Each time they begin the quest of finding the next item, they embark on a different adventure that parallels their goals in a more fantastical manner. When they were trying to get fire, they invaded a dragon’s castle. When they wanted the map they infiltrate a zombie infested World War I trench-warfare scene. Logical right?

I am not by any means bashing  the creativity of Zack Snyder. This man brought you “300,” “Watchmen,” and “Dawn of the Dead.” However, there is the faintest possibility that this movie might have been a tad overdone and therefore incapable of reeling any audience members in. When the characters are being bounced from fantasy world to fantasy world, and the audience never gets to bond with them, how are we supposed to understand them let alone enjoy the film?

Go see “Sucker Punch” if you’re bored and want to see some stuff explode. If you want to see a quality movie, you’re looking in the wrong direction.

The Adjustment Bureau

Director: George Nolfi

Writer: George Nolfi

“The Adjustment Bureau” was a box office success as a result of its two stars Matt Damon and Emily Blunt. Damon plays David Norris, a charismatic and impulsive politician who while seeking a career in the senate, simultaneously fights for the love of dancer Elise Sellas, played by the extraordinary Emily Blunt (whom I freaking love!). Their opponents turn out to be supernatural and take the form of a Adjustment Bureau or bureau of angels who intervene with the mysterious objective of separating the two lovers and keeping them “on track.” This is the perfect layout for the short story written by Philip K. Dick, however, does not nearly reach its full potential as a movie. The Bureau becomes overdone and extraneous causing the film to be so jam-packed that the audience neither processes the plot, nor fully understands the conflict. How could this problem have been fixed?

Not to be a complaining fool, but why didn’t they just make the film about the couple!? I have yet to read the short story, and after seeing this movie twice (a second time on a plane - out of sheer boredom) I have no interest. But in this presentation, the group of angels becomes completely melodramatic and laughable.

The introduction and nugget of the film takes place in the beginning when Norris goes into the men’s bathroom to prepare a speech for his candidacy. He calls out to make sure the restroom is clear and then begins to practice. After fifteen minutes, and once his speech becomes personal, we realize that hiding in the bathroom is the adorable Elise Sellas. After an awkward acknowledgement of each other’s presence, they begin to playfully banter and make the audience fall instantly in love them. This relationship between the two is what the Adjustment Bureau must end. Once again, if the film had just continued on from this bathroom scene and avoided the super natural aspect (which I would normally love) the movie would have been wonderful. We understand this pair of characters and could easily have enjoyed a movie following their romance. Instead, the conflict shifts to the supernatural and moves to being unjustified and unexplained.

I love supernatural, sci-fi fantasy movies… if they are done well. But in this instance, the over coat and fedora wearing angels become extraneous and just confusing. Half way through the film we are told that angels don’t like water. Also that the angels only have super powers if they wear their hats...awk? These tools are unexplained and thrown into the film to further the conflict. George Nolfi choses to tell the audience and not show the arch of the characters and, therefore, loses all momentum. If the angels only obstruct the plot and do not reveal further character growth, they have no job being in the movie.

I REALLY wanted to like George Nolfi’s interpretation of “The Adjustment Bureau.” With extremely likeable leads and a charming backstory, the film should have been a cinematic success. Due to the success of the stars, the film was a hit commercially but will not be remembered in the years to come.

Taxi Driver

Directed by Martin Scorsese

Written by Paul Schrader

I watched Martin Scorsese’s “Taxi Driver” while on a plane to Mexico, and I am pretty sure that everyone else on the flight thought I was having a mental breakdown due to the sounds I was making while watching. My one and only excuse for my precarious behavior, is that this film might be the most bizarre and unique movie’s I have seen in a long time.

“Taxi Driver” is about a young man named Travis Bickle, played by Robert De Niro, who gets a job as a nighttime taxi driver in the heart of New York City. Why would someone want such a demanding and unpleasant job you ask? To do something productive with this time as he suffers from insomnia L. This message of using one’s time wisely may be the only positive message delivered in the film, as nearly every other character is highly negative and miserable. Anyway, Travis works his shifts and nightly discusses with himself and the film audience how much he hates the filth of New York City. However, this is a not a film about how much one man can complain; there is much more depth that follows.

As an audience member, we sit with Bickle in the passenger seat of his taxi, and follow his nightlife of driving around prostitutes and mischief-makers and simultaneously his daily pursuits of a young woman named Betsy, played by Cybill Shepherd. Betsy is your pretty, perfect, and yet somewhat fake campaign volunteer for Senator Charles Palantine, played by Leonard Harris. Bickle’s many strange attempts at obtaining her affection in the early parts of the film, are only spoiled by his idea to take her to see a porn film on a date. Gentlemen, I hope all of you have enough common sense to know to NEVER TAKE YOUR DATE TO SEE A PORNO. Obviously, she responds negatively and calls off the relationship enlightening Bickle on his unacceptable behavior.

Bickle’s actions expose how truly isolated and different he is compared to everyone else in the city. Your average Jo knows that taking your date to a porn is a recipe for disaster, yet we can see from Bickle’s face his intentions were only positive and naïve. His inability to interact with Betsy is one of many clues to the audience, opening their eyes to the fact that something is seriously wrong with this man and that he is freaking crazy. While spending his days attempting to regain contact with Betsy, he drives around at night hoping for something or someone to cleanse the city of its darkness. In this manner, Travis begins to portray a character similar to the Joker from Batman by exposing his lack of sympathy or human compassion. He dreams for one day a storm to come to shake everything apart and “wash the trash off the sidewalks.”

This lack of compassion is then contradicted by the introduction of a young child-prostitute named Easy or Iris Steensma played by Jodie Foster.  The presence of her character, allows the audience to see the good side of Travis Bickle through the fatherly compassion he shows her.  He meets with her on several occasions, hoping to get her to leave the city and return to her family. This is Bickle’s last act of charity in improving the world of New York in a peaceful manner.  Foster delivers a compelling performance of this young girl who is struggling with the freedom she has obtained as a young soul in New York City and the cost it has on her body as a prostitute along with her controlling pimp.

It isn’t until halfway through the film that the rising action begins to appear. After I watched the film I asked myself why I even sat through the first hour? Aside from the awkward interactions with Betsy, nothing of any significance occurs. I then realized that Scorsese takes his time to set up Bickle’s character, preparing the audience for the shock of the latter half.  Scorsese draws you into this character by showing you how human he is until something ignites in Bickle. After one of his interactions with Iris and he begins to prepare himself for battle. He does pushups and illegally purchases guns preparing the audience for the last twenty minutes of the film when the movie screen literally turns red.

Upon watching several interviews with Scorsese on the project, one can quickly come to the realization that this film is one of his earlier “Passion Projects.” Teaming up with the writer Paul Schrader and lead actor De Niro, the group made this film because they all related to the story and themes presented in the film. They had no hopes for it being remotely successful or well received which, as it turns out, the film accomplishes both garnering the Palm d’Or at Cannes and four Oscar noms. Bickle is alone in one of the most populated cities in the United States. He allows for every audience member to feel both estranged by his clear madness and also sympathetic of his circumstances. The film is a mixed bag of emotions, which takes the audience through every emotional twist and turn possible. Shot in a dark and shadowy film-noir style similar to Coppola’s “Apocalypse Now,” one quickly realizes how similar these two films are. This is exemplified by the similarities in the souls of the lead characters and the heart that the director places in both films. De Niro, Schrader (the writer), and Scorsese all place their soul into this movie, exemplified by the theatrical coma it’s audience members soon find themselves in.

Super 8

Directed by J.J. Abrams

Written by J.J. Abrams

I am sitting here, staring at my computer, trying to think of a recent movie to write about, when it hits me, like a crazy-ass awesome five-minute long jaw-dropping train explosion. Super 8 duh!

There is something special about going into a movie with zero expectations, and then having the movie blow you out of the water. But beyond the outward snazziness of CGI and fancy explosions, Super 8 follows the heartwarming story of a group of awkward kids as they attempt to understand the strange phenomenon occurring in their town resulting from the train crash. They do so while simultaneously working on their first student film *sigh* which they hope to enter into a local film festival.

The lead characters are short 13-year-old Joe, played by Joel Courtney and his love interest Alice, played by Elle Fanning (Phoebe in Wonderland).  We somberly begin with Joe outside the funeral party for his mother, whom we learn has died in a horrific accident involving Alice’s father. Yes, Joe is carrying a small heart-shaped locket. No the audience can’t see what’s inside. Yes we find out at the end. However, ignoring this shameless attempt at gaining sympathy from the audience, something familiar and naive about his character draws us in. It isn’t until 20 minutes later that we witness one of the most exciting explosion sequences in the last five years of cinema. Luckily our young filmmakers were shooting a scene during the explosion and were able to film a portion of the event and the mysterious monster the train was containing; making this group of mangy kids the only eyewitnesses to the event.

Turns out that the train was related to the military and carrying highly classified cargo, quickly leading to a rise in tensions as the United States Army surrounds the town. To his advantage, the student-film director Charles, your chubby, love-struck, bossy director, played by Riley Griffiths, decides to use the army and the recent occurrences to the crew’s advantage. While the army is busy trying to understand/cover-up the explosion and catch the “thing” that was released from the train, the young kids use them as a backdrop for their own film creating a high sense of realism and a chuckle or two from the audience.

Aside from the cheesy gas-station murder sequences and the over-used shots of mysterious monsters moving amongst the trees, the characters’ personalities quickly become the feature attraction. Joining Joe and Alice is a group of quite possibly the most loveable group of immature kids since Robin Williams. Standing out from the crew is young actor Ryan Lee, who beyond having the biggest teeth in the world, plays an endearing pyromaniac who accompanies the gang and serves as one of the comedic backbones of the film.

Anyone who purchases a movie ticket for Super 8 must keep in mind that they are not going to see this movie for its intricately layered plot. Unfortunately, one can guess the ending within the first 5 minutes. However, what you should be expecting is to fall in love with the charismatic gang of characters whom everyone can see a piece of themselves in.

The most powerful part of the movie occurs when Joe is watching movie clips of his deceased mother and Alice sneaks in. Did I mention Alice has an abusive alcoholic father? Together, the pair watch clips until we suddenly cut too Fanning giving the best performance of her career. Fanning floods with emotion allowing the audience to see her struggle and compassion. Coming from an actor, it is easy to summon that emotion and “bring the tears” but Fanning keeps her composure and allows herself the feel the emotion from beginning to it’s end. There is no straining. There is no side coaching from the J.J. Abrams. It is just the camera, Fanning, and simplicity.

Super 8 plays on similar heartstrings to E.T., The Goonies, and every other movie about a gang of kids whom you want to squeeze for eternity. You follow them on a laughable plot-line but your heart opens up and embrace its’ individuality. It wasn’t until I finished the film, and the cute short that followed during the credits, that I remembered what my thoughts were going into the movie. When (not if) you decide to see the film, you need only let yourself exist in that ever so horrible 13-year-old body again, and permit your adult mind to join them on their disjointed journey, and then you will not be disappointed. 

Tree of Life

Directed by Terrence Malick

Written by Terrence Malick

                                                         

The film, Tree of Life opens with a quote from Job 38.7, “Where were you when I laid the earth’s foundation...while the morning stars sang together and all the sons of God shouted for joy.” At this point in the film, I looked around and realized that I was prominently the youngest person in the theatre. Not to hate on my elders, but the average age had to be about 60-70 years old. That tells you a lot right there…

As the film slowly begins to unfold in an intriguing non-linear fashion, we see the parents of a seemingly happily Texan family receive the news that their son, age 19, has died. We are then catapulted to the 1950’s where we see the family’s original story evolve and how the children grew up and dealt with their surroundings. The family is comprised of parents Mr. and Mrs. Obrien; played by Brad Pitt and the dashing Jessica Chastain. As well as three young children, Jack, Steve, and R.L. portrayed by Hunter McCracken, Tye Sheridan, and Laramie Eppler. Pitt portrays your stereotypically stern southern father who occasionally expresses a soft side, as apposed to Chastain who fully embodies the young and innocent mother.

The trouble with this film is that a lot of what we see is actually through the memory of Jack (the eldest brother) who as an adult is played by Sean Pean. Unfortunately, we have no connection with Jack and do not care about his suffering in the slightest. This is further enforced by the flashbacks to him as young child where he treats his brother horribly and sporadically abuses animals. It is a fact that in film, if a character saves an animal, the audience will immediately feel a stronger bond towards them. Therefore, this creates the opposite reaction, and the audience’s hatred for this boy is further established. Does it work when one hates the protagonist? Malick cleverly uses this hatred to allow the audience to feel more for the other characters and subsequently emote more despair upon the death of the son.

Don’t forget about religion! If the movie opens with a Bible quote, you should expect a lot of religion stuffed down your throat. Yes…there was a lot of that. However, it is acceptable due to the importance faith has on these characters and how the theme of religion is juxtaposed in the film. While there is a lot of “God talk” in the movie, we also literally see the creation of the world through a scientific perspective We see every single aspect of our “creation” and how it has nothing to do with religion and is purely molecular. This I feel makes the film more appropriate as it expresses both perspectives of the world; both spirtual and scientific.

One aspect of the film that I have not discussed is the symbolic use of imagery and the 30-minute “creation of earth” scene. Throughout the movie, Terrence Malick interspliced images of the world being created and the first cells forming. Yes, the shots of the beautiful first “hot thin soup” of the world is stunning, and I do like volcano’s erupting, but this reaches a point of no return. After what seems like 45 minutes of these shots I am ready to punch the closest elder next to me, but I sit tight knowing this film has won a couple fancy awards…most recently the Palm d’Or at Cannes Film Festival.

Do I disagree with this? Should this movie have won such an award? I will tell you one thing. The movie is beautiful. The characters are delicately created and we have strong emotional feelings for all of them. However, this movie is not for your average audience. As I stated at the beginning, I was the youngest in the theatre by far. The best reason I can think of why River Road Entertainment (the distributor of the film) decided to spend the money to expose the movie on limited release is for the hope of the Oscars. Since the general public will not enjoy this movie, it leaves it for Hollywood’s favorite filmmakers and the dorky film geeks at home (like myself) to enjoy. Will this get a nomination for Best Screenplay and Cinematography? Maybe. Will it be enjoyed by all ages around the world? Not a chance.