Review: Juno

Juno is Funny, Sweet and Fun

Juno is yet another comedy to come around dealing with a surprising pregnancy. Knocked Up was very different in its style and execution and was very good. Juno is an excellent film full of genuine laughs and strong, memorable performances. The performance that stands out is Ellen Page as Juno; she is so strong in the role and brings a sharp sense of humor and grace to the role. She is assured and confident and has great comic timing. She carries most of the weight of the film on her shoulders and she carries it well; it is a funny, charming and confident performance that will make you fall in love with her just as she seems to do to everyone in the film.

Michael Cera is great as always as the young man who got Juno pregnant. While Cera's range clearly doesn't vary as greatly as Ellen Page's, he delivers a reserved and effective performance. He is a very gifted actor, especially in comedy, and his scenes were highlights of the film. He had great chemistry with Page and brought a sweet, innocent and like able quality to the role. Jennifer Garner was great as the adoptive mother-to-be, and Jason Bateman was solid as always as the adoptive father-to-be with signs of cold feet.

Juno has sharp, witty dialogue, some of the funniest and most believable heard this year in cinemas. The script by Diablo Cody is really quite refreshing; it is not condesecnding of teenagers or their parents; rather she seems to give a fair, balanced and true voice to the characters. It moves at a quick pace and is divided into four seasons; autumn, winter, spring and summer. Juno doesn't contain any profound lessons but is an uplifting look at the good that comes from a mistake or any bad situation. Big life events can often bring people apart but can also bring them together. Juno is about the power of relationships and different forms of love; the love of her father gave her strength to confront the problem; but her relationship with the adoptive parents, or with the father, proved to be the catalyst to their separation. It is a coming of age story of what happens when a teenager is forced to confront things "way beyond my maturity level." Entertaining, funny, full of delightful dialogue and performances with clever direction by Jason Retiman and a fun, hip soundtrack.

My Grade: A-

Review: Charlie Wilson's War

Charlie Wilson's War is a quick-paced and enjoyable movie. Clocking in at around 100 minutes, it moves at a brisk pace and covers a lot of material. It has a great script by Aaron Sorkin, who manages to infuse each character with personality and wit and while showing the events that actually took place with an interesting yet lighthearted perspective. Tom Hanks is excellent as Charlie Wilson, the womanizing congressmen who is enjoying life as an elected official all too much before he realize something big going on around him. He brings a playful intensity to the role; he never deviates from his personality but his talent for coaxing favors and votes out of others is very believable. Julia Roberts does a good job as well, pulling off a believable accent and playing a fairly small but key role. She does well but can't match the screen presence of Hanks and Phillip Seymour-Hoffman. In his supporting role as the edgy CIA man who helped engineer the covert war against the Russians, he is brilliant. He never ceases to amaze me by making each of his supporting roles very unique and memorable; in this film, as Gust, he steals many scenes from even Tom Hanks.

In all, it was a fun movie about an important yet forgotten chapter in history. Nichols does a good job at avoiding political finger pointing; although one thought-provoking gem emerges from the film in its waning moments. The metaphor of the Zen master suggests an interesting parallel that most Americans are all too aware of; that helping topple the Russians was a good thing but at the cost of arming the people of Afghanistan. Without directly saying what we did was wrong it asks the audience to contemplate the cost of Charlie Wilson's war.

My Grade: B+

Updated Top 10 of 2007

Top 10 of 2007 as of Dec. 23rd

Based on what I've seen thus far, here is my updated Top 10 for 2007. One of the strongest year's I've ever seen. There are a few potential titles that will place high, mainly There Will Be Blood and Diving Bell and the Butterfly (which will be included soon)


1. Atonement
2. Into the Wild
3. Sweeney Todd
4. 3:10 to Yuma
5. No Country For Old Men
6. Before the Devil Knows You're Dead
7. Once
8. Juno
9. Zodiac
10. The Darjeeling Limited

11. American Gangster
12. Superbad
13. The Bourne Ultimatum
14. Charlie Wilson's War
15. Gone, Baby Gone
16. Michael Clayton
17. Knocked Up
18. Grindhouse
19. Assassination of Jesse James
20. Away From Her

Honorable Mentions: Harry Potter 5, Transformers, August Rush, Golden Compass, The Signal
300

Top 101 Films: 65-85

65. Zodiac
66. The Phantom of the Opera
67. The Royal Tenenbaums
68. Training Day
69. 300
70. Being John Malkovich
71. Cold Mountain
72. Ocean’s 11
73. Mystic River
74. Bottle Rocket
75. Superbad
76. 12 Monkeys
77. Bottle Rocket
78. Oldboy
79. Magnolia
80. The Usual Suspects
81. The Darjeeling Limited
82. Knocked Up
83. Walk the Line
84. Once Upon a Time in the West
85. Hero

Atonement is an Epic, Tragic Masterpiece

Atonement

What can I say that hasn't already been said? There are no perfect films, there never will be... The best films of all time are so brilliantly executed that they can near perfection. The remaining gaps between artisitc mastery and perceived perfection are subjective. That being said, Atonement is not a perfect film, there are things that it could have done better. However, Atonement is clearly at this point the best film of 2007 and one for the ages.

This adaptations of Ian McEwan's twisty, complex novel is one that stands on its own two feet. One thing you can say against it is that the novel gives lovely insight to the characters motives and thoughts that the movie just can't attempt to contain. The book should be seen as the companion piece; the lovely source material that is extended and more detailed; the film version of Atonement is a loving ode to the original book, capturing its haunting, tragic spirit.
Each shot is crafted with precision; long overhead shots capture the Tallis daughters relaxing on a sunny hill, seemingly floating over them as they enjoy one last afternoon free from the heavy, ominous future that awaits them. As Briony races back and forth between the manor, the camera darts along with her with agility. The sequence at Dunkirk lives up to expectations and for me surpasses the groundbreaking seven minutes sequence seen in last year's Children of Men. This beautiful and haunting retreat is shown in a whirlwind that sees Robbie make his way through it's ruined shores as horses are shot, the chorus sings and soldiers wait to live and wait to die.

Accompanied by a perfect, haunting score by Dario Marianelli, the central theme of the film ties the various fragments together; it's has an epic sense of longing and tragedy. The sound of a typewriter accompanies the film as Briony performs her deeds. As the film progresses, these typewriter sounds disappear but are matched by the rhythmic clicking of subway trains. Director Joe Wright should be applauded for his vision and direction; it the most intimate epic film i've seen in years.

Briony is played by three actresses, each of whom does a wonderful job. The young Saoirse Ronan brings a sweet intensity to Briony; her deep blue eyes are large and convey a naive sweetness; however, she manages to suggest there is much more goign on inside her plotting mind. The best performance is given by James McAvoy as Robbie. We see his transformation from the carefree gardener to a confused and lovesick. After his false arrest, the Robbie we see is a crashed man, and we see the fatigue and anger on his face. The scenes between McAvoy and Keira Knightley in the cafe is a standout; watch the flashes of hope and excitement with intermittent expressions of uncertainty and awkwardness. Knightley is also strong, bringing a fierceness to Cecilia that is only broken by tender moments that Robbie brings out of her.

There is much more I could say. I would have loved to see fifteen more minutes with Robbie and his two soldier friends on their journey to Dunkirk, which contained many poignant moments in the book. The film could have easily sustained an extra twenty minutes of exposition. The cinematography was flawless, the acting was superb, the music was powerful...Atonement is a tragic love story that evokes tears but suggests that love is and can be powerful and long-lasting. The film's twist is disliked by some, but it is the essential theme of the movie; Briony's lifelong quest to atone for her mistake. Some mistakes cannot be corrected and some wounds never heal. Briony attempted to atone for her mistakes her whole life time, it's effect on the three lives of Robbie, Cecilia and Briony was irreversible. Ultimately we learn that Briony did the only thing in her power to bring them together. Certain scenes are all the more powerful and emotional when the ending is taken into consideration; the goodbye in the cafe being one example or Robbie's night in Dunkirk. Atonement is not a happy film, and the the story of Robby and Cecilia us ultimately a tragedy. For any romantic out there, it will pull at your heartstrings. It may not have a happy ending, but the contrast of the finale that Briony created for her readers in contrsat to the true fate of the two lovers is of such tragic beauty...Just like the book, the film Atonment will leave an impression on you. A very fine work of art, and a new personal favorite.

My Grade: A

Top 101 Films: 86-101

Stay tuned to see the final 25...and #1 of all time.

86. Black Hawk Down
87. Crouching Tiger, Hidden Dragon
88. Traffic
89. Life is Beautiful
90. Bridge Over the River Kwai
91. Awakenings
92. The Insider
93. Lawrence of Arabia
94. Good Will Hunting
95. A Beautiful Mind
96. Back to the Future Trilogy
97. Gangs of New York
98. Pirates of the Caribbean
99. Cinema Paradiso
100. True Romance
101. Inside Man

Review of 'August Rush'

This review will be rather short. August Rush for me was a film that didn't have to meet lofty expectations like man of the films that I see do. I expected it to be a feel good story and not much else. It is exceptionally well made and credit is due to the director and writer for creating a fairly predicable film that defies many cliches and manages some surprises.
Freddy Highmore was fantastic in the lead role as Evan, better known as August. He is easily the most talented young actor in Hollywood, his work up to date has been incredible. The movie rests on his charisma, charm and likeablity. Keri Russel and Jonathan Rys-Meyers are both well cast and also give solid performances. The music in the film brought a nice element; I really felt like I could see and hear the gifts that August was supposed to possess. It was satisying to see his self-discovery and the matching journeys of his estranged parents. Watching the threads slowly come together was enjoyable and the films conclusion is quite moving. August Rush is a great family film and all in all a well crafted, solid film.

My Grade: B

Movies to See in December

December 2007: Many of the best films are about to be released to general audiences. Based on advance reactions and buzz, my most anticpated films to see before the end of the year are:

1. Atonement (amazing novel, rave reviews, great talent, awesome trailer, high buzz)

2. Sweeney Todd (Tim Burton and Depp, a very entertaining play, great music, advance reviews are very positive so far, looks like a lot of dark fun)

3. There Will be Blood (Some have called it a masterpiece, deep and unsettling)

4. Juno (people love it, great reviews, a great comedy)

5. The Kite Runner (powerful novel, great director, emotional powerhouse)

6. The Golden Compass (Great trilogy, great talent, good buzz)

7. The Diving Bell and the Butterfly (Great reviews, beautiful film)

8. Meet the Savages (Tragically funny. People really like this, Phillip Seymour Hoffman delivers an amazing performance, again.

9. I'm Not There

10. Lars and the Real Girl

Review of "The Mist"

The Mist is yet another adaptation of Stephen King. This time it is a short story from "The Skeleton Crew." Frank Darabont helms his third screen adaptation of King material; the first two were very successful; "The Shawshank Redemption" and "The Green Mile." This time the material is quite different; essentially The Mist is not much more than a spooky horror story.

The story of the film has a group of people in a small town's grocery store being trapped in due to the sudden arrival of an omious mist. The characters are warned early on that there is something in the mist. Essentially, the characters attempt to survive and different factions begin to develop. In fact, one of the highlights of the film is the insight it gives on human nature under stress. As the fear and uncertainty grows; some of the people are drawn towards David Drayton, well played by Thomas Jane who is logical and attempts to deal with the mist in the best way for the people; he accepts the danger of the mist and finds himself confronting the religious fanatic Mrs.Carmody, played by Marcia Gay Harden. As the fear intensifies the people are drawn towards Mrs. Carmody; who proclaims the mist to be the judgement of God. Tension grows and the people learn that there is something in the mist.

The Mist is a look at the conundrum in regards to having too much faith or not enough. The film starts quickly and the tension slowly builds from there; when we see our first attack it offers a frightening glimpse of the tentacles of an unseen and gigantic creature beyond the thin doors of the loading bay. I loved the tension that slowly built; eventually the true horror was found inside the grocery store; the unchecked fanaticism of Mrs. Carmody was perhaps the most terrifying thing in the movie; undoubtedly there have been many such people as Mrs. Carmody throughout history; their illogical passion and over abundant, blind faith are more terrifying than anything the mist could have in store.

The film was shot in such a way that it felt real and visceral; no fancy camerawork or editing; we always were close to the characters and were immersed in their world; we were just as trapped in that store as they were. When the characters decide to go out into the mist it left me tense; the climax was thought-provoking and was accompanied by a haunting musical score. For those who haven't seen the film I will not say much more other than the ending is not your typical Hollywood ending. It is dark and surprising and left me speechless as the credits began to roll. It was just supposed to be a horror flick; yet it left quite an impression on me.

My Grade: B+

Gold Derby's Tom O'Neil: Sweeney Todd Best Film of 2007

Sweeney Todd: Best Film of 2007?


'Sweeney Todd' is the best pic of 2007, but can it win best pic?
You know that a movie wows an audience when nobody stirs during the closing credits. That's what happened at the end of "Sweeney Todd" tonight at the first critics' screening in Manhattan. Finally, three-fourths of the way through the credits, I stood to exit, but my neighbors in the dark did not and I had to climb over them.
Viewers were either utterly spellbound by this film or else struck dumb and numb in shock. A movie that begins with small riverlets of blood flowing during the opening shots ends with red showers so intense that New York Times Carpetbagger David Carr said to me afterward, "I felt like I should've watched that movie wearing a raincoat."
An embargo surrounding this film prohibits us journos from reviewing it, but we're permitted to discuss it in general terms, so let's try to tread that fine line so I can inform you about the most important movie of 2007. Certainly, it's the best I've seen all year, although, of course, I'm a bit biased as a diehard fan of the Broadway show.

Everybody whose opinion I pooled after the screening tonight said they thought the movie and Johnny Depp were brilliant. And everybody thought it was outrageously bloody and grisly. Many said they didn't think it could win best picture because of that. Yes, there was widespread belief that it'll be nommed for best pic, director and actor — maybe even best actress (Helena Bonham Carter), too — and that MAYBE Johnny could win, but not the film. Not because it doesn't deserve it. But because of all the blood, they say.
But is that true? Hold your derby horses, naysayers! Didn't lots of Oscarologists say "The Departed" was too violent to win last year? Didn't "Silence of the Lambs" break the taboo against horror flicks winning? Hey, are we all such a nation of wimps that we'll let a little blood — OK, a lot of it — get in the way of the year's best picture winning best picture?
After tonight's screening, I asked a number of journos the same questions: Do you think "Sweeney Todd" is going to have huge megabuzz and a high Cool Factor when it comes out? Yes, they all agreed. Is it going to be one of those Gotta-See Pix? Unanimous answer: yes.
If that's true — and it clearly is — then those factors may be enough to help it float the blood biz. And, frankly, the red stuff is handled in such an outlandish, cartoonish way that it often doesn't feel real.
But the movie does. In fact, it makes viewers feel so deeply in profound emotional and psychological ways, that it will haunt you, on many levels, long afterward. Director Tim Burton has created a masterpiece for the ages. If namby-pamby Oscar voters are too squeamish to give it the best picture award it deserves, Sweeney Todd would be entirely justified to give them all a close shave.
But many of them are definitely going to be squeamish and this question of whether or not it's too violent is going to be — get ready right now — discussed over and over and over again all Oscar season.
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If "Sweeney" becomes a box-office hit — which I think is inevitable — all could be forgiven, of course. If it just succeeds modestly, its Oscar hopes may drown in the red stuff.
I think it'll be nominated for best picture and it's going to have a large percentage of the largest voting bloc behind it: those chaps who Harvey Weinstein calls "the steak eaters." As Harvey sees it, they really decide who wins Oscars — the cinematographers, sound mixers, visual effects guys — not the actors' branch. The tech guys far outnumber everyone else and they're a testosterone-driven gang who, I suspect, might really delight in Burton's gorefest because he so artfully adapts a revered classic. And because Johnny Depp is so damn cool.
Now let's look around at the other movies that might be able to beat it for best picture. "Atonement"? Maybe. People do love it, but, to get catty for a sec, it's really just "The English Patient" with a trick ending. "No Country for Old Men"? Talk about bloody violence! Yikes! And its depiction is not cartoonish at all. Furthermore, to get catty here, too, it's really just an art-house twist on Freddy Krueger.
"The Kite Runner"? Great, yeah, but it has no Hollywood celebs, so forget it. "Juno"? It might be nommed for best pic, but it skews too female for the dude-heavy academy.
"Diving Bell and the Butterfly"? Too foreign. "Charlie Wilson's War"? Forget it. Now that we've seen it, "Charlie" just fell off most pundits' top five. "There Will Be Blood"? People admire it, especially Daniel Day-Lewis' performance, but they're not passionate about it. "American Gangster"? Might get nominated, but it doesn't seem like a winner. "Into the Wild"? Excitement seems to have ebbed a bit.
Hmmmm. So what can beat "Sweeney"?
There's one movie in this year's derby that I should probably take more seriously. Frankly, I thought it was a preposterous, unremarkable thriller when I saw it — "Michael Clayton" — but it keeps popping up in conversations while early frontrunners like "Charlie Wilson's War" stumble. I promise to stop pooh-poohing it because it's so ridiculously over-rated. But, oh, come on -- do you think it could actually beat that masterwork "Sweeney"? Hmmmmm again . . .
Basically, I see all of the obstacles facing "Sweeney," but I don't see what can beat it. Being a fan, am I just blinded?

The Kite Runner: Strong Buzz

Kite Runner a Standout in a Troubling Year

By Sasha Stone

The Hollywood Reporter's Greg Kilday has written a piece that singles out the Oscar potential of the Kite Runner as being one of the few films of the season to offer hope and a new beginning:
This year, if voters do grow weary of all the downbeat movies heading their way, one beneficiary could be the upcoming film version of Khaled Hosseini's novel "The Kite Runner," which DreamWorks and Paramount Classics will usher into limited release December 14. For unlike so many of this season's crop of films, "Kite," though it hardly turns a blind eye to our troubled times, manages to reach a much more hopeful resolution.
Hosseini's tale, adapted for the screen by writer David Benioff and director Marc Forster, is set in Afghanistan -- beginning before the Russian invasion in 1979 and, after an interlude in California, returning to Kabul once the Taliban imposed its rule in the late '90s. In the eyes of some, it already has been lumped into this season's parade of movies set in whole or in part in the Mideast -- "The Kingdom," "Rendition," "In the Valley of Elah" -- most of which have fought an uphill battle at the box office.

But unlike those films, "Kite" doesn't take an American-centric view of the region. (For that, moviegoers can turn to "Charlie Wilson's War.") And while "Kite" uses the political turmoil in Afghanistan as a backdrop, its real concern is how one man redeems himself for his childhood betrayal of a friend. Infused with the culture it describes, the film explores how codes of honor can both bind a community together and, when perverted, tear it apart.
While the screen version inevitably loses some of the detail that allowed readers of the novel to understand an Afghanistan so different from the brief glimpses on the nightly news, Benioff has done a masterful job of adaptation. Additionally, Forster and casting director Kate Dowd have populated the film with ethnic actors -- including several young Afghan boys, nonactors -- who lend it authenticity.
Right now, given the competition, "Kite" isn't assured a best picture nomination. In fact, that quest just got a little bit harder because the Hollywood Foreign Press Assn. has relegated the movie -- much of which is spoken in the Afghan language of Dari -- to its foreign-language category, which means it won't be in the running for best drama at the Globes.
But "Kite" shouldn't be discounted as a genuine Oscar contender. At heart, it offers a healing vision that is in short supply this Oscar season.

No Country For Old Men Review

The Coen Brothers. Cannes Film Festival. Cormac McCarthy. These are some of the sparks of interest that drew me to this film. The Coen brothers are master of their art; despite a few recent missteps most of us knew they would return with this film which critics are hailing as a masterpiece. It was on the top of my must-see list for months and months.

Taking place in a small town in Texas, No Country opens with narration from Tommy Lee Jones who brings a certain gravitas to the role and the film itself. Each shot is meticulously framed; the rolling black streets that carve the desert landscapes. Immediately we are introduced to one the best film villains seen on screen in years: Anton Chigurh, played by Javier Bardem. He brings a quiet menace to the role; he has a goofy, sly smile and an ugly haircut; he never seems to be in a hurry but accomplishes his work with unforgiving, brutal precision. After blowing the brain out of a man on the side of the road and being arrested, the film starts on an enticing and delicious note; Chigurh uses his cuffed hands to strangle the cop; as they writhe in the floor in their death dance Bardem's villain doesn't even seem too worried; he has a haunting expression of both enjoyment and concentration, like this comes too easily for him.

The film has many sequences with very little dialogue; Josh Brolin's character roams the deserts and stumbles across the drug deal gone bad that is the catalyst for the rest of the film. He is our everyman; he takes the money like most of us would and the film follows his efforts at a clean getaway. The film's tag line promises that there "are no clean getaways," and this proves to be correct. The cat and mouse game between Brolin and Bardem is dazzling; two actors who are underrated and not well known to American audiences are at the top of their games. Each proceed with meticulous and quiet deliberation; Brolin manages to stay just ahead of Bardem's assassin. When they finally clash, the Coen Brothers stage one of the most tense confrontations in decades.

The film takes an unexpected turn three-fourths of the way through and had a surprising and startling conclusion. The turn of events left me a little confused and I struggled to keep up; it took me in a direction I never saw coming, something the Coen brothers love to do. The film demands a second viewing to appreciate the grander theme and angle of the movie; despite the screen time, this is not Brolin's film but Tommy Lee Jone's; it is one man's attempt at comprehending the devastating results of a drug deal gone bad; the effects of greed and the ultimate failure of justice. No Country For Old Men has many ideas behind it; some of which will be lost on the typical viewer. It doesn't wrap things up neatly or give answers to all the questions; it is an intelligent film that expects intelligence from its viewers. Easily one of the most impressive films in recent years; beautiful cinematography from R. Deakins punctuates a tight script that was well-adapted from the novel by Cormac McCarthy himself.

My Grade: A-

Beowulf 3D Review

It's always an enjoyable experience to see a project you have been monitoring for years come to the local multiplex. I've been interested in this ambitious project for some time; it was a unprecedented attempt at computer animation and motion capture. The integration with 3D is also very ambitious. The film was perhaps overshadowed by its technology, it stars (Angelina Jolie) and it's 3D "gimmick."

The director, the talented Robert Zemeckis, is one of the best in Hollywood. His works include the classic trilogy "Back to the Future" and the popular "Forrest Gump," in addition to "Castaway" and his other animated movie, "The Polar Express." Zemeckis makes films and always tries something new; but regardless, he is one talented filmmaker.

Beowulf is a fun movie. It is fast-paced and quite unlike any movie I've seen in a long time. I was surprised by the gore during the fight sequences. At times you can nearly forget you are watching computer generated characters. This is due to the fine work by Ray Winstone as Beowulf and Anthony Hopkins as the king. Their charisma and skill come through the animation and bring life to these digital characters; without their performances the film would have been weighed down by the animation. One dilemma I see with this film, and the technology; Why create such a photo realistic animated world? It is impressive, but why not film it in a conventional manner? I'm still not sure why. However, the film rolls along at a fast pace and contains impressive performances and breathtaking visuals; it pulled me in and entertained me. The 3D was a fun aspect that made me feel like I was actually there; it was a positive aspect of the movie. It's a fun movie; one I can see myself watching occasionally in the future.

My Grade: B

Atonement Trailer

Atonement is my top anticipated film of 2007. After reading the novel upon which it is based, my expectations are high. It is an epic love story that about a couple torn apart by a foolish act that changes the course of their lives. It is a realistic and grim tale; that sometimes a wrong can be done which despite the best intentions and remorse, cannot be undone. This book had me thinking for days and days. Early reviews indicate the film is spectatcular, an Oscar contender, and that the film is very faithful to the novel.

Top 10 Films of 2007: Updated

Top 10 Films of 2007: As of 10/22/07

1. Into the Wild
2. 3:10 To Yuma
3. Once
4. Zodiac
5. Gone, Baby Gone
6. Rescue Dawn
7. Knocked Up
8. Assassination of Jesse James
9. Away From Her
10. Transformers
11. 300

'Into the Wild' a Thought-Provoking Gem

Into the Wild

Into the wild is a surprising film. A simple concept on the surface about the experiences of 'Alexander Supertramp,' who left society, his money, his family and his possessions to go on an experience that would change his life. The film is based on the true story of his life and his ultimate death and is based on the book by Jon Krakaeur. Emile Hirsch gives a performance that will launch his career and should make him a star. He is eccentric and charming, hopelessly devoted to his ideals. Hirsch went through a lot of physical demands for the role, and as he becomes more and more skinny, it is evident that his devotion to the role was key.

Sean Penn brilliantly directs the story; one that had great personal meaning to him, one which he has been trying to make for over 10 years. Alexander was many things, he was selfish and perhaps delusional, overly-confident. But he was brave, charming, courageous, smart; and on his two year journey, he touched the hearts of many people. 'Into the Wild' is an entertaining film; Vince Vaughn and Catherine Keener both do great in their small roles as people whom Alexander encountered on his journey. While we see his journey into the wild unfurl, we always return to the story that runs concordant with the journey that led him there; the abandoned Fairbanks bus in the Alaskan wilderness that was his home and his ultimate tomb. Perhaps the motives that led Alexander on his journey cannot and will not be understood by those who watch the film. However, the personal encounters that Penn juxtaposes with his Alaskan experience ultimately conclude with a powerful, emotional climax that teaches the viewer something that we all should learn ourselves; hopefully one that won't happen to late and at such a great cost. An entertaining and powerful film, a tragic ode to an amazing individual that in spite of his fate is an uplifting and though-provoking film.

Grade: A

Jesse James Explored

The Assassination of Jesse James by the Coward Robert Ford

Jesse James is an enigma. One of the most famous outlaws in American history, he has been presented on screen many times. Brad Pitt is the latest to portray the legend and does a wonderful job; as James, Brad Pitt is subdued and reserved yet brings a quiet ferocity to the outlaw. As the film says, "Rooms just seemed hotter when he was in them." It is a challenging role, one that is different than others Pitt has done. However, there is competition for Pitt in the film from a young Casey Affleck, playing the assassin Robert Ford. As Ford, Affleck is both pathetic, unnerving and likable at the same time. He adores the legend Jesse James, and does everything he can to spend time with the legend, and his dedication gets him noticed.


Throughout the film his troubling obsession with Jame grows more complicated; does the legend live up the the great expectation he held for him? The film has some of the best cinematography in years; each shot carefully framed. The film has an epic feel and despite the long run time, it moves fast. The audience knows Jesse James will be killed, the great question of the movie is the why. The possibilities were intriguing; did he plan to replace his idol, to emulate him? Was it jealousy? Unfortunately, the answers are not as interesting as I would have hoped, although they were satisfying.

As Robert Ford became a sort of running joke to James, his wounded ego became the catalyst for instability. The circumstances that led to the assassination by Ford with his brother's encouragement are realistic and are a powerful conclusion to the film.
His demise is thought-provoking and will leave you thinking about it for a long time after. An interesting film, not for everybody, but is a wonderful character driven epic that ponders the assassination of a legend by a infamous coward.

Grade: B

Afflecks Debut Film a Surprise

Gone, Baby Gone

In the directorial debut of well-known actor Ben Affleck, he presents us with a dark character-driven film about a young girls abduction. Casey Affleck brings an authenticity to the role that few other actors could have brought. His performance is the standout of the film; you can see his brooding anger, his angst. The film moves with a quick pace, never stopping to explain things in great detail and thus has a sense of realism. Affleck aptly captures the mood of modern Boston and feels both real and dangerous.

The film takes a turn towards the middle that is surprising and left me wondering where it would go next. Despite a flew plot twists that were surprising yet ultimately clichéd, they worked with the plot and created a second half of the film that left you redefining the first half. Beautifully shot and acted with great skill from the ensemble cast featuring a powerful performance from Ed Harris and a refreshingly simple yet skillful performance by Morgan Freeman. It is a dark movie that suggests there are no easy decisions, that the right choice isn't always right, nor is the wrong choice always wrong. One of the better films of 2007.

Grade: B+