Little Woods


When you’re knocked to the floor it can be a savage affair getting back to your feet.

(2018) Drama (NEON) Tessa Thompson, Lily James, Lance Reddick, Luke Kirby, James Badge Dale, Elizabeth Maxwell, Luci Christian, Rochelle Robinson, Morgana Shaw, Joe Stevens, Brandon Potter, Alexis West, Lydia Tracy, Gary Teague, Jeremy St. James, Carolyn Hoffman, Lawrence Varnado, Jason Newman, Stan Taylor, Charlie Ray Reid, Max Hartman, Allison Moseley. Directed by Nia DaCosta

Sometimes, I wonder how on earth we ever ended up with our current President. One need look no further than this film which addresses issues that hit close to home for far too many working Americans, particularly those in rural areas – issues that the other party failed to address in 2016 and if they don’t get their act together and start talking to these same working Americans about these issues, will end up in a very similar result in 2020.

Ollie (Thompson) lives in a bleak town in North Dakota near the Canadian border. The town is booming thanks to the fracking industry and filled with plenty of rough and tumble men who work the pipeline. However, it’s a rough existence in which muscles are constantly in pain and the nagging work injuries aren’t well-served by the town clinic where the waits exceed the amount of time these men have to visit a medical facility so they rely on drug smugglers bringing Oxy from Canada at prices they can afford. This isn’t their story.

Ollie was one such smuggler who got caught. Out on probation, she is mourning her mother for whom she was caretaker during an extensive and eventually terminal illness. She remains in her mom’s house, sleeping on the floor of her mom’s room, trying to eke out a living selling coffee and sandwiches in lieu of painkillers. The house is in foreclosure and the bank isn’t particularly compassionate. Making money legitimately for a woman in this town is almost impossible; the career choices that pay enough to survive for women are essentially what Ollie got busted for and dancing on a pole (the world’s oldest profession goes unremarked upon but is likely a choice as well).

Ollie’s estranged sister Deb (James) returns at an inopportune time. Pregnant by her abusive alcoholic boyfriend (Dale) and trying to support a little boy on her own, Deb lives in a trailer illegally parked on a diner waitress paycheck that doesn’t begin to cover the cost of her pregnancy. The nearest abortion clinic (and the only one in the state) is 200 miles away and is still expensive enough that Deb can’t afford it. As Ollie puts it, your choices are only as good as your options.

The two manage to reconcile but it becomes obvious to Ollie that the only way out is to resume her previous life. She will need to make a run to Canada and get a Manitoba health care card for her sister to do it; the drug dealer (Evans) she worked for previously who is as dangerous as they come. As things spiral down from bad to worse to untenable, the two women must find an inner reservoir of strength that may not even be enough to get them through.

Although the movie addresses a lot of topics that have some serious political ramifications here in 2019, this isn’t the kind of movie that hits you in the face with its politics. DaCosta sets up a situation that is not uncommon among women in rural areas and lets the characters tell their own stories. When considering the assault on reproductive rights and Roe v. Wade that is occurring in certain states at the moment, one can appreciate the frustration and concern among women who are stuck in similar situations where money isn’t plentiful and neither are good options.

Okay, I need to stop getting political here but it can’t be denied that the issues are exceedingly timely. It also can’t be denied that Thompson, as Ollie, shows a range that puts her in very elite company and marks her as a potential Oscar contender down the road – maybe not necessarily for this film but for others that follow. She has that kind of capability. DaCosta, who has been tapped by Jordan Peele to helm the upcoming Candyman reboot, has a similar capability.

My issue is that the movie is taking too many clues from films like Frozen River and Winter’s Bone, both with powerful female leads placed in an environment of despair, drugs and bleak prospects. It gives the overall film a sense of familiarity that isn’t a good thing. The movie’s ending is also a bit disappointing and derivative. DaCosta didn’t have to reinvent the wheel but I thought her choice was a bit too safe. I also thought the score was a bit intrusive.

There is much to like about the film and despite its relatively low score I do urge most cinephiles to check it out. There is some real talent here in front of and behind the camera. There is a raw tone to the movie that might turn off some but nonetheless as mentioned before these are the people who are suffering in 21st century America and whose needs are far from being met. There is enough power here that despite the film’s flaws it is worthwhile to consider it for a look.

REASONS TO SEE: Thompson cements her reputation as an actress with big things ahead of her.
REASONS TO AVOID: Been there, seen that.
FAMILY VALUES: There are a lot of drug references and profanity.
TRIVIAL PURSUIT: The story was conceived as a modern retelling of Shakespeare’s Othello.
CRITICAL MASS: As of 5/25/19: Rotten Tomatoes: 96% positive reviews: Metacritic: 74/100.
COMPARISON SHOPPING: Frozen River
FINAL RATING: 6.5/10
NEXT:
If the Dancer Dances

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Spectral


You see dead people.

(2016) Sci-Fi Horror (Netflix/Legendary) James Badge Dale, Emily Mortimer, Bruce Greenwood, Max Martini, Cory Hardrict, Clayne Crawford, Gonzalo Menendez, Ursula Parker, Aaron Serban, Stephen Root, Royce Pierreson, Jimmy Akingbola, Philip Bulcock, Ryan Robbins, Dylan Smith, Louis Ozawa Changchien, James D. Dever, Mark O’Neal, Michael Bodie, Declan Hannigan  Directed by Nic Mathieu

 

There are more things in heaven and earth than are dreamt of by the minds of mortal men. Sometimes the minds of mortal men think up some amazing things. Some of those things are way too dangerous and should be left alone.

A group of elite U.S. soldiers are in the country of Moldova whose government has collapsed. They are attacked by something strange; glowing vaguely human beings that might be ghosts who kill with a single touch. The commander of the U.S. force (Greenwood) calls in DARPA scientist Mark Clyne (Dale) who developed goggles that allow men to see the invisible to the naked eye spectral beings.

He is accompanied by Fran Madison (Mortimer), a CIA analyst who believes that the deaths are the result of some super-weapon that the insurgents have developed. Using the goggles that Dr. Clyne built, the soldiers determine that the specters can’t be harmed with small arms fire. Clyne modifies searchlights so that they can see the specters more easily. They also find out that the creatures, which can move through solid walls, can’t go through iron. They modify their explosive devices so that they fire iron filings at the things.

The soldiers find a laboratory and discover to their shock that these specters were the results of weapons experiments in which human beings were duplicated with advanced 3D printers and are kept alive by the brains of the originals. However, control was lost of the experiment and now the city is full of these specters and it won’t take long before they overrun everything.

This was originally developed at Universal as part of their deal with Legendary who had just separated from their long-time distributors at Warner Brothers. However, when push came to shove the studio declined to release the film and Netflix eventually snapped it up. So Netflix essentially got a ready-made (relatively) big budget genre film.

Dale has been on the ragged edge of leading man duties for awhile and this should have been a career boost but sadly it likely won’t be now. That’s a shame; he’s a fine actor and while I don’t think this particular role really benefits him well, he at least does a decent enough job with an underwritten role that is largely a video game character.

In fact the whole movie reminded me of a video game. Sort of like Call of Duty meets Aliens with a dash of Ghostbusters thrown in only with the humor excised. That might work for some but I think it’s a serious miscalculation. People who like videogames want to have some control rather than passively watch someone else’s vision. The filmmakers would have been better served to make this less of a videogame cinematic.

The special effects aren’t half bad in some places and while the plot tends to meander a little bit, it doesn’t do so enough to make the film incomprehensible. I can see why Universal hesitated about releasing this wide; it seems to appeal to a niche audience and given that most videogame adaptations have been epic failures both critically and at the box office, I’m not sure that a videogame adaptation of a game that doesn’t exist would do any better. It seems tailor-made for Netflix and while I thought it was a bit disappointing, it is entertaining enough and interesting enough to be worth a look.

REASONS TO GO: Some of the special effects are nifty.
REASONS TO STAY: The plot is a little bit convoluted.
FAMILY VALUES: There are some intense sci-fi action sequences.
TRIVIAL PURSUIT: James Badge Dale and Max Martini also played military roles in 13 Hours.
BEYOND THE THEATER: Netflix
CRITICAL MASS: As of 3/26/17: Rotten Tomatoes: 80% positive reviews. Metacritic: No score yet.
COMPARISON SHOPPING: The Objective
FINAL RATING: 5.5/10
NEXT: The Salesman

13 Hours: The Secret Soldiers of Benghazi


(2016) True Life Drama (Paramount) John Krasinski, James Badge Dale, Pablo Schreiber, David Denman, Dominic Fumusa, Max Martini, Alexia Barlier, David Constabile, Peyman Moaadi, Matt Letscher, Toby Stephens, Demetrius Grosse, David Giuntoli, Mike Moriarty, David Furr, Kevin Kent, Freddie Stroma, Andrew Arrabito, Kenny Sheard, Christopher Dingli, Manuel Cauchi, Frida Cauchi. Directed by Michael Bay

One of the watershed moments of the last five years is the September 11, 2012 attack on the U.S. temporary embassy in Benghazi, Libya. Three people were killed, including Ambassador Christopher Stevens. Since then, it has been used as a rallying point for the right to display the incompetence of the current administration and to place themselves in the role as advocates for the victims. The left has come to see the attack as something of a conservative media Judas goat in which facts are obscured or downright fabricated for the sake of scoring political points, particularly against presidential candidate Hilary Clinton who was Secretary of State at the time.

The movie is based on the accounts of three members of the Global Response Staff, the private contractors employed by the CIA to protect agency installations worldwide. The GRS is mainly made up of ex-military members. Jack Silva (Krasinski), a veteran of GRS tours of duty, arrives in Benghazi to find a city in chaos. Their longtime military dictator, Moammar Qaddafi had fallen and the government was struggling to keep order. The city of Benghazi was essentially ruled by competing militias of which the 17-Feb was most closely allied with American interests.

Included in the six man team protecting the Annex, the CIA installation a mile from the embassy, was Tyrone “Rone” Woods (Dale), his good friend and commanding officer; Mark “Oz” Geist (Martini), Dave “Boon” Benton (Denman) – the team sniper, John “Tig” Tiegen (Fumusa) and Kris “Tonto” Paronto (Schreiber). The station manager, known only as “The Chief” (Constabile), seems annoyed by the presence of the security professionals and warns them against engaging with the locals. Even though tensions are high, the men have a lot of down time to think about their families and their choices to serve their country so far from home.

As the anniversary of the attack of 9/11 nears, Ambassador Chris Stevens (Letscher) arrives with a small Diplomatic Services security team with the aim of strengthening U.S./Libya relations. Despite security worries on the part of the GRS team, he is determined to stay at the temporary embassy which is a security nightmare defended mostly by members of the 17-Feb militia. When after darkness falls an attack on the embassy is made by militants, the militia runs for their lives and the embassy is left wide open for attack. The GRS team wants to head over there to rescue those who are being overrun but The Chief refuses to allow them to go, unwilling to let the Annex go undefended. However, as it became clear that those at the Embassy were in mortal danger, the GRS team elected to mount a rescue mission, realizing that the militants might well follow them back to the Annex and mount an attack there as well.

Bay is known for his big budget special effects extravaganza and while there are some well-choreographed combat sequences, this is a much smaller scale than we’re used to seeing from him. In some ways you get the sense that he tends to be better suited for the Transformers-style action epics, but he handles the scale here pretty well although there doesn’t seem to be a ton of character development. I had a hard time differentiating the GRS team from each other (there are also other GRS operatives who show up later, including Glen “Bub” Doherty (Stephens) who also perished in the attack. There is a lot of gung-ho testosterone bonding among the men, which is to be expected.

The filmmakers took great pains to recreate the embassy and annex in Malta, and the combat sequences look pretty darn realistic from my uneducated point of view. Those sequences are pretty terrifying as it must have been for those inside both compounds. I would have been the one balled up in a corner weeping for my mommy. I can’t imagine living through something like that.

What was unexpected for me was the emotional impact of the film, and that has more to do with the significance of the event rather than Bay’s skills as a filmmaker. I can imagine that if the characters were a little more drawn up I would have cared a great deal more and the film would have had even more resonance. As it is you leave the movie feeling genuine grief for those who didn’t make it, as well as admiration for those who did.

Earlier I discussed the politicization of the event and it bears discussion here. Much of how you see this film is likely to be colored by your politics. Some critics of a right-wing leaning have overpraised the film (in my opinion) while other critics of a left-wing leaning have been unduly harsh (again in my opinion). I think that Bay went out of his way to make the movie apolitical, but let’s face it; making the film at all was a political statement. As best I can, I tried to leave my political hat out of it and tried to judge the film purely on entertainment value, and found that this is a solid, better than average movie that in a season when most of the offerings out there are pretty awful, can be recommended with little reservation although again, you’ll tend to see this movie viewed through the lens of your political outlook. As long as that’s duly noted, you should be okay.

REASONS TO GO: A very realistic account. A powerful emotional experience.
REASONS TO STAY: Politicization or the events may inform your perspective. Not a lot of character development.
FAMILY VALUES: Plenty of combat-style violence, rough language and some images of bloody carnage.
TRIVIAL PURSUIT: Krasinski, Denman and Constabile all starred on the hit sitcom The Office.
CRITICAL MASS: As of 2/6/16: Rotten Tomatoes: 55% positive reviews. Metacritic: 48/100.
COMPARISON SHOPPING: American Sniper
FINAL RATING: 6.5/10
NEXT: The Finest Hours

New Releases for the Week of January 15, 2016


Ride Along 2RIDE ALONG 2

(Universal) Kevin Hart, Ice Cube, Tika Sumpter, Benjamin Bratt, Olivia Munn, Ken Jeong, Bruce McGill, Michael Rose, Sherri Shepherd. Directed by Tim Story

The two polar opposite cops are back. One is preparing for his wedding – to his partner’s sister, which still makes him throw up in his mouth a little. However, the two are being sent from Atlanta to Miami to stop the flow of drugs into their city from South Florida. They take on as partners members of the Miami PD Narcotics squad, and it won’t be easy for the two of them to avoid getting shot by the drug gang – or the Miami cops.

See the trailer, clips, interviews and B-roll video here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Cop Comedy
Now Playing: Wide Release

Rating: PG-13 (for sequences of violence, sexual content, language and some drug material)

13 Hours: The Secret Soldiers of Benghazi

(Paramount) John Krasinski, James Badge Dale, Pablo Schreiber, David Denman. Most of us are aware of the tragedy of the assault on the U.S. Embassy in Benghazi, Libya in which a U.S. Ambassador and several others lost their lives. However, most people aren’t aware the death toll might have been much higher if it wasn’t for the heroics of a group of security operatives. This is their story, based on their personal accounts of the events that took place that night and directed by Michael Bay.

See the trailer here.
For more on the movie this is the website.

Release Formats: Standard
Genre: True Life Drama
Now Playing: Wide Release

Rating: R (for strong combat violence throughout, bloody images and language)

Band of Robbers

(Gravitas) Kyle Gallner, Adam Nee, Matthew Gray Gubler, Hannibal Buress. A modern retelling of the stories of Tom Sawyer and Huck Finn shows Huck newly released from prison and hoping to mend his ways. However, Tom (a corrupt cop here) has other plans, obsessing over a childhood fantasy of a lost treasure that he’s sure he and his criminal pal can still find.

See the trailer here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Comedy
Now Playing: AMC Altamonte Mall

Rating: NR

Lamb

(The Orchard) Ross Partridge, Oona Lawrence, Jess Wexler, Scoot McNairy. When a man is hit by the end of his marriage and the death of his father within the space of a week, he tries to find some sort of meaning in his life. Encountering an unpopular and awkward 11-year-old girl, he sees something in her that might allow her to avoid his own fate of an empty, meaningless life. He decides to take her on a road trip from Chicago to the Rockies to show her how beautiful the world can be, but the trip doesn’t exactly go to expectations.

See the trailer here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Drama
Now Playing: AMC Disney Springs, AMC West Oaks

Rating: NR

Mustang

(Cohen) Gűnes Sensoy, Doga Zeynep Doguslu, Elit Iscan, Tugba Sunguroglu. Five spirited sisters living in a remote Turkish village play an innocent game with a group of boys. When they are observed by a religiously conservative neighbor, the consequences change their lives radically as their strict grandmother and uncle begin to impose limitations on the girls. They also begin to arrange marriages for them, and slowly the young girls begin to break. Nominated for both a Golden Globe and Oscar for Best Foreign Language Film, a review for this film will appear in Cinema365 tomorrow.

See the trailer here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Drama
Now Playing: Regal Winter Park Village

Rating: PG-13 (for mature thematic material, sexual content and a rude gesture)

Norm of the North

(Lionsgate) Starring the voices of Rob Schneider, Heather Graham, Ken Jeong, Bill Nighy. A polar bear by the name of Norm is dismayed at the influx of tourists to his Arctic home. However, when a land developer threatens to build condos on his beloved land, enough is enough and he heads to New York City to have a word with the money-grubbing builder.

See the trailer, clips, interviews, a promo and B-roll video here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Animated Feature
Now Playing: Wide Release

Rating: PG (for mild rude humor and action)New Releases

The Walk


The ultimate vertigo.

The ultimate vertigo.

(2015) True Life Drama (Universal) Joseph Gordon-Levitt, Ben Kingsley, Charlotte Le Bon, Clément Sibony, César Domboy, Mark Camacho, James Badge Dale, Steve Valentine, Ben Schwartz, Benedict Samuel, Sergio Di Zio, Daniel Harroch, Soleyman Pierini, Patrick Baby, Marie Turgeon, Joel Rinzler, Inka Malovic, Larry Day, Catherine Lemieux. Directed by Robert Zemeckis

Some dreams are bigger than others. Most of our dreams are relatively small – taking the family to Walt Disney World, or eating a corn dog on Coney Island. They are infinitely doable without a whole lot of planning. Some, however, can be bigger than all the sky.

Take Frenchman Philippe Petit (Gordon-Levitt), for example. As a young boy, he grew fascinated by the circus performers who came to his small village. After learning the basics of walking on wires on his own, he convinced Papa Rudy (Kingsley), patriarch of the White Devils high wire act, to train him, often paying cash for each of Papa Rudy’s secrets. But even becoming a street performer in Paris after being thrown out of his house by his tyrannical father (Baby) isn’t enough, although he meets Annie (Le Bon), a fellow street performer who becomes his girlfriend.

No, he has his eye on bigger things. After walking between spires at the Notre Dame Cathedral, he still feels like there’s something else out there. While on a visit to the dentist’s office, he opens a magazine and sees the plans for the World Trade Center twin towers. He immediately knows what his destiny is to be – to walk on a wire strung between the two towers.

This actual event, chronicled in the Oscar-winning documentary Man on Wire, took place in 1974 and required years of planning. We see Petit assemble his accomplices (for the act which they called “The Coup”) including photographer Jean-Louis (Sibony) and inside man Barry Greenhouse (Steve) as well as ex-pat J.P (Dale) and shy Frenchman Jeff (Domboy), and of course, Annie.

Just getting the equipment up to the top of the towers is dangerous; it’s not just getting the steel cable up there, it has to be brought from one tower to the other and affixed, then tightened all of which requires specialized equipment as well as some brilliant improvisation – the conspirators get the cable across by shooting an arrow attached to fishing wire, then attaching the fishing wire to a rope and pulling it across, then that rope to a larger rope and finally the steel cable. They also string a wire across so they can communicate without using walkie talkies which could theoretically be intercepted by authorities.

Petit would cross back and forth across the wire for 45 minutes, making eight traverses between towers. His feat made him a bit of a folk hero; he was arrested but not thrown in jail; instead he was required to perform community service which included putting a show on for children in Central Park. Petit would become a resident of New York City (which he is to this day).

Zemeckis wanted to put his audience on the high wire with Petit and in this he mainly succeeds; there are a few CGI shots that look like CGI shots but for the most part your stomach will be lurching and your insides tingling with fear, especially if you have any sort of fear of heights. While I saw the film in standard format, I understand that IMAX and 3D presentations are absolutely jaw-dropping if you can still find the film in those formats.

Gordon-Levitt affects a French accent which is at times a touch over-the-top but otherwise captures the arrogance and single-mindedness of Petit nicely; he also has the athleticism and grace of the French performer. Gordon-Levitt inhabits this role as much as he has any other in his career and this is likely to be one of his signature performances. I’m not sure what his Oscar chances are – I suspect he’ll be on the bubble – but there certainly are going to be those at the Academy who will take notice. He gets some fine support from Le Bon and Sibony, as well as Kingsley in a small but crucial role.

Gordon-Levitt also narrates the movie, sometimes in voiceovers but also jauntily perched in the torch of the Statue of Liberty, a gift to the United States from France which is certainly not a coincidence that Zemeckis put him there. It contributes to the light and airy feel of the film, a delectable confection rather than a heavy-handed entree.

Of course, it’s difficult to view the Twin Towers – excellently re-created here down to the last rivet – without thinking about their fate. There is a moment at the film’s conclusion where it appears one of the towers is shaking as the movie fades to black but if I wasn’t imagining things that’s really the only overt mention of 9-11 in the movie. Zemeckis wisely allows it to remain in the back of our minds, knowing that we won’t be able to prevent thinking about it. He doesn’t try to and in that sense, he makes a more lasting tribute in the film itself which celebrates a good thing that happened there, something that those who witnessed it will never forget. In that sense, this is a fitting memorial to a pair of buildings that will be forever linked to the acts of lunatics that took more than two thousand lives; even if that was to be the destiny of the World Trade Center, it was still something else and something more once upon a time and it is high time that we remember that about them as well.

REASONS TO GO: Vertigo-inducing. Solid performances throughout. Clever narrative devices.
REASONS TO STAY: May be too vertigo-inducing.
FAMILY VALUES: Situation of peril, brief nudity, drug use, some historical smoking and a smattering of profanity.
TRIVIAL PURSUIT: Both Kingsley and Dale appeared in Iron Man 3.
CRITICAL MASS: As of 10/21/15: Rotten Tomatoes: 85% positive reviews. Metacritic: 70/100.
COMPARISON SHOPPING: Man On Wire
FINAL RATING: 8/10
NEXT: India’s Daughter

New Releases for the Week of October 2, 2015


The MartianTHE MARTIAN

(20th Century Fox) Matt Damon, Jessica Chastain, Kristen Wiig, Jeff Daniels, Michael Peňa, Sean Bean, Kate Mara, Sebastian Stan, Chiwetel Ejiofor. Directed by Ridley Scott

During a manned mission to Mars, a savage storm strikes the landing site and forces an early departure of the astronauts. One of them is presumed lost during the storm and the team takes off without him – except he’s not quite dead yet. Alone, abandoned on a dead planet hundreds of millions of miles from home, the stranded astronaut has to first contact NASA or his space craft and let them know he’s alive, then find a way to survive until help finally does come. Neither one is an easy task.

See the trailer, clips, interviews, a promo, a featurette and B-roll video here.
For more on the movie this is the website.
Release Formats: Standard, 3D  (Opens Thursday)
Genre: Science Fiction
Now Playing: Wide Release
Rating: PG-13 (for some strong language, injury images and brief nudity)

Finders Keepers

(The Orchard) Shannon Whisnant, John Wood. When Shannon Whisnant buys a smoker from a storage unit auction, he is surprised to discover an amputated human leg being stored inside it. This unleashes a bitter dispute between Whisnant, who determines to keep the leg because it is bringing him the fame he craves, and John Wood – the smoker’s previous owner – to whom the leg has a very personal connection. It could only happen in the South, folks.

See the trailer and clips here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Documentary
Now Playing: Enzian Theater
Rating: R (for language)

Hell and Back

(Freestyle) Starring the voices of Mila Kunis, TJ Miller, Susan Sarandon, Bob Odenkirk. Never underestimate the idiocy of a young white male. When a group of bros inadvertently open a gateway to Hell and one of them gets sucked down into it, his three buddies try to do the right thing and go down to the infernal regions to welcome their friend. Hell has no idea what’s about to hit them. From the same animation studio that is guilty of giving us Robot Chicken and Bo-jack Horseman.

See the trailer here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Animated Feature
Now Playing: AMC Disney Springs, AMC Loew’s Universal Cineplex, Regal Oviedo Marketplace, Regal Pointe Orlando, Regal Winter Park Village, UA Seminole Town Center
Rating: R (for pervasive strong crude and sexual content, language and some drug use)

Sicario

(Lionsgate) Emily Blunt, Josh Brolin, Benicio Del Toro, Victor Garber. An idealistic FBI agent is brought into the war zone that is the U.S.-Mexican border to join a task force with the mission of stopping cartel violence from reaching its tentacles onto American soil. A mysterious consultant with an enigmatic past and an elite government agent whose ambitions are only matched with his amorality force the agent to question everything she believes in as she must go to extreme measures just to survive. The latest from talented director Denis Villeneuve has been receiving critical accolades wherever it has gone.

See the trailer, clips, interviews, a featurette and B-roll video here.
For more on the movie this is the website.
Release Formats: Standard (opens Thursday)
Genre: Action
Now Playing: Wide Release
Rating: R (for strong violence, grisly images, and language)

The Walk

(Tri-Star) Joseph Gordon-Levitt, Ben Kingsley, Charlotte Le Bon, James Badge Dale. Only one man has – and ever will – walked on a high wire between the twin towers of the World Trade Center. That man is Philippe Pettit and his real life exploits were captured on the excellent documentary Man on Wire – if you haven’t seen it yet I highly recommend it. This is a dramatization of the events that took place way back when. Director Robert Zemeckis has apparently utilized modern technology to put the audience in Philippe’s shoes, so high above the ground in New York City. This may end up being one of the few movies Da Queen and I end up seeing in IMAX 3D this year.

See the trailer, clips, interviews, featurettes, premiere footage and B-roll video here.
For more on the movie this is the website.
Release Formats: Standard, 3D, IMAX 3D (opened Wednesday)
Genre: True Life Drama
Now Playing: Large Format Screens
Rating: PG (for thematic elements including perilous situations, and for some nudity, language, brief drug references and smoking)

The Departed


You talkin' to me?

You talkin’ to me?

(2006) Drama (Warner Brothers) Leonardo di Caprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Martin Sheen, Ray Winstone, Vera Farmiga, Anthony Anderson, Alec Baldwin, Kevin Corrigan, James Badge Dale, David Patrick O’Hara, Mark Rolston, Robert Wahlberg, Kristen Dalton, Thomas B. Duffy, J.C. MacKenzie, Mary Klug, Peg Saurman Holzemer. Directed by Martin Scorsese

Our identity is often complicated. There’s the person we allow ourselves to be perceived to be, then there’s the person we really are. Often the two are entirely different people.

In Boston, Frank Costello (Nicholson) is king – the king of hoods. He is the most powerful mob boss in the city and he has his corrupting fingers in just about every civic institution. One of his most important pieces is the mole he has in the police department, Colin Sullivan (Damon). Recruited as a youngster, the squeaky-clean choirboy type Sullivan went through the police academy with flying colors and serves under Captain Ellerby (Baldwin) and using his intimate knowledge of ongoing investigations of Costello is able to move Costello’s assets around the city so that the crusty old mob boss doesn’t get caught with his pants down.

Captain Queenan (Sheen) of the BPD wants to catch Costello in the worst way and he knows he needs to send someone deep inside to do it. Billy Costigan (di Caprio) is the perfect undercover; a Southie with a history, and family ties to the Mob, Corrigan turns out to be a perfect fit. However, before long both Queenan and Costello begin to realize that their organizations have been infiltrated. Now begins a cat and mouse game to find the moles; the stakes are life and death for Costigan and Sulliva, as well as for those around them.

The Departed is a fairly faithful remake of the Hong Kong thriller Infernal Affairs and will be remembered if for nothing else but as the movie that won Martin Scorsese his first Oscar for Best Director. There are those that grouse that it is not his best movie (it isn’t) but it was deserving nonetheless; the movie is certainly one of Scorsese’s best works.

Part of what makes it work is that this movie is as tense as any I have ever seen. From the moment that the two opposing forces discover that they have a rat in their midst the race is on to discover who it is and the fact that we end up rooting for both Sullivan and Costigan makes the tension all the more intense.

Another factor in the movie’s success is that the film is chock full of memorable characters, cast with stellar actors who deliver incredible performances. Both Damon and di Caprio are at the top of their game, and Nicholson delivers his best performance since he snarled at Tom Cruise that he couldn’t handle the truth in A Few Good Men.

The supporting cast is just as amazing. I think Mark Wahlberg came into his own with his portrayal of the foul-mouthed Lt. Dignam, Queenan’s right hand man. Ray Winstone is menacing and unforgettable as Costello’s enforcer, Mr. French. Vera Farmiga showed her star power in her role as Madolyn, the police psychologist who enters into relationships with both Costello and Corrigan as well.

There is a ton of violence here (which is a Scorsese trademark), perhaps too much for some. There is also a whole lot of profanity – there are more F bombs (or variations thereof) for any Best Picture winner in Oscar history. Those who are sensitive to such matters, take heed.

Good as this is, the source movie from Hong Kong is just as good. While it can be seen with subtitles, an effective translation program can be helpful as well – if you choose to go that route, I’d recommend Smartling, which is primarily a business translation software. You can find out more about it at the link above.

What makes The Departed so compelling is that Costigan and .Sullivan are so obviously two sides of the same coin, and the cops and the mobs more alike than unalike which is an unsettling thought in and of itself. While the profanity and violence may put some off, they are utilized so beautifully that they become a kind of poetry within the confines of the movie. Given the top-notch performances throughout the movie, this is, like so many of Scorsese’s other films, a must-see for any film buff and it remains to this point my favorite American remake of a foreign film.

WHY RENT THIS: Amazing cast. The tension in this movie is delightfully unbearable. One of Scorsese’s best.
WHY RENT SOMETHING ELSE: May be too violent for some.
FAMILY VALUES: As is par for the course with Scorsese films, the violence is strong and often brutal and the foul language pervasive. There’s also some sexual content and drug material.
TRIVIAL PURSUIT: Scorsese wanted to shoot the film in Boston where it is set, but due to political concerns and cost concerns he was only able to shoot a few weeks in the city. For most of the film, New York City – where Scorsese was able to get tax benefits for filming – doubled for Beantown. After the success of the film, Massachusetts enacted a 25% tax break for movies filming in the state.
NOTABLE HOME VIDEO EXTRAS: The Blu-Ray edition and  2-Disc Special DVD edition have a featurette on real-life gangster Whitey Bulger (who Frank Costello was based on and who is getting a movie of his own this fall) as well as the TCM documentary Scorsese on Scorsese.
BOX OFFICE PERFORMANCE: $289.9M on a $90M production budget.
SITES TO SEE: Netflix (DVD/Blu-Ray Rental only), Amazon, Flixster, iTunes, Vudu
COMPARISON SHOPPING: The Boondock Saints
FINAL RATING: 9.5/10
NEXT: Catch .44