Life of Pi 3D Review

Rated PG (Emotional Thematic Content Throughout, and Some Scary Action Sequences and Peril)

Running Time: 2 Hours & 7 Minutes

Cast-

Suraj Sharma-Piscine Molitor 'Pi' Patel

Irrfan Khan-Adult Pi Patel

Ayush Tandon-Pi Patel (11/12 Years)

Gautam Belur-Pi Patel (5 Years)

Tabassum Hashmi/Tabu-Gita Patel

Adil Hussain-Santosh Patel

Vibish Sivakumar-Ravi Patel (18/19 Years)

Mohamed Abbas Khaleeli-Ravi Patel (13/14 Years)

Ayan Khan-Ravi Patel (7 Years)

Rafe Spall-The Writer

Shravanthi Sainath-Anandi

Elie Alouf-Mamaji

Gérard Depardieu-The Cook

Andrea Di Stefano-The Priest

Bo-Chieh Wang-Buddhist Sailor

Directed by Ang Lee

Suraj Sharma stars as Pi Patel in Ang Lee's wondrous adaptation of Yann Martel's best-selling novel, "Life of Pi."

The world is full of stories and their ability to move and inspire, to make us ask questions and fill us with a sense of wonder make them powerful tools that can have a profound effect on people. It is this power that Ang Lee has captured in his latest film, "Life of Pi," based upon Yann Martel's best-selling 2001 novel of the same name. Long considered to be 'unfilmable,' the project languished in development hell for close to a decade as various directors, including M. Night Shyamalan and Alfonso Cuarón, became attached but quickly jumped ship. In a strange twist, it was Fox 2000 Pictures executive Elizabeth Gabler who kept the project alive. When Lee signed on in February 2009, the studio balked at his proposed $70 million production budget, putting the film on hold. Production finally began in 2011 and what was regarded as 'unfilmable' has now becoming a reality. The first person of Asian descent to win an Academy Award, Lee is one of Hollywood's most acclaimed directors and the different genres he's worked with demonstrate his versatility. If there was one person who was able to bring Martel's novel to life, it would be him. Proving once again that he's a force to be reckoned with, Lee's "Life of Pi" is one of the best films of 2012, a stunning technical achievement that utilizes 3D as a new form of artistic expression, resulting in a visual masterpiece filled with wonder, beauty, and most important of all, heart. 

A writer (Rafe Spall) looking for his next story is introduced to Piscine Molitor 'Pi' Patel (Irrfan Khan as an adult, Suraj Sharma as a teen), who recounts to him an extraordinary tale of survival where he was stranded at sea for 227 days. Growing up in Pondicherry, India during the 1970's, Pi's mother (Tabu) was deeply religious while his father (Adil Hussain), who owned a zoo, was more pragmatic. Fascinated with religion at a young age, Pi was initially raised Hindu but is introduced to Christianity and Islam when he is twelve years old. He begins to follow all three religions, much to the frustration of his father, who explains to him to think rationally and that believing in everything is the same as believing in nothing. Wanting to see the new Bengal tiger (given the unusual name Richard Parker due to a paperwork mix-up) that the zoo has acquired, Pi goes to its cage to feed it some meat but his older brother Ravi (Mohamed Abbas Khaleeli) runs away to warn his father. Ignoring Pi's explanation that animals have souls, his father teaches them a lesson by having a goat brought in and making his boys watch the tiger maul and drag it away. Pi reaches a turning point as a teen when his father explains that due to the tense political situation in India, the city council is no longer supporting the zoo. Hoping for a fresh start, he decides to move his entire family to Canada and sell all the animals. However, the Japanese cargo ship that they booked passage on runs afoul of a fierce storm while crossing the Pacific and Pi finds himself on a lifeboat with a zebra, an orangutan, a hyena, and Richard Parker. The animals soon succumb to hunger, leaving Pi alone with the fearsome tiger. Stranded at sea with no help in sight, Pi must battle for survival even as his faith is tested. 

At its core, "Life of Pi" tells a very simple story but one that asks viewers to reexamine how they view the world: through a spiritual lens or as a pragmatic cynic. Working with a script from David Magee, director Ang Lee has accomplished the impossible in bringing this tall tale parable to life and invoking the power that story-telling can have on others. The film's opening credits will leave quite a few people going 'Aww' as we're treated to scenes of various animals lounging about before segueing into Pi's amusing explanation of how he got his name. Apparently, his honorary uncle (or mamaji) was a frequent swimmer and came across a pool in Paris called the Piscine Molitor, a real swimming pool that has fallen into disrepair since its closure in 1989. Pi's father named him after the pool but the children at school pronounced it as 'Pissing.' A frustrated Pi abbreviates his name, demonstrating in math class his impressive knowledge of the irrational number π. The first forty-five or so minutes follow Pi as a child and his introduction to religion through the stories told by his mother. To him, the various Hindu gods were his superheroes. To understand God, Pi cherry-picks elements of Hinduism, Christianity, and Islam to build his point-of-view of the world. There's a sense of optimism in the way "Life of Pi" views religion; to the main character, those labels mean nothing because all of them have their own benefits. Rather than sticking with one belief, Pi creates a harmonious mix between the three religions. In a way, the film is telling the audience to celebrate their similarities instead of their differences. Given the times we live in, it's a message I hope people take seriously. 

The second act begins with the sinking of the cargo ship (a scene that will leave Roland Emmerich with his mouth open) that kicks off the film's most dazzling sequence. Lee's use of 3D is incredibly immersive and he doesn't waste it on gimmicks but instead pulls viewers into a sense of cinematic enchantment and wonder. We know that in the end Pi survives so the central drama is derived in how he survives and the relationship between him and Richard Parker. The ironically named tiger is a technical marvel as it's virtually impossible to tell the real animal from the CG one. Pi's father will argue that it does not have a soul but this one does; that's how convincing the effects are. Despite his harrowing survival experience, Pi encounters all sorts of wonderful phenomena, from bioluminescent jellyfish to an island full of chattering meerkats. Lee frames the endless ocean as a mirror that reflects the clouds and the stars, leading to a surreal sequence that recalls the 'Star Gate' scene in Stanley Kubrick's "2001: A Space Odyssey." He may be a novice when it comes to 3D but Lee's utilizes it like a seasoned pro and the 3D in this film puts all other 3D films released since "Avatar" to shame. The adult Pi ends the film by offering an alternative story that's grimmer and asks the writer (and by extension, the audience) to choose the one they prefer. It's a test of faith that the AV Club's Tasha Robinson perfectly summarizes, about 'whether they want to take [the] plot literally or metaphorically, whether to focus on the film's body, or accept its soul.' By leaving it so open-ended, the film wants its viewers to go home and think about what they've seen, which is an audacious move for big-budget production like this. Yet that's precisely the reason that "Life of Pi" is so good, that it dares to ask the hard question even as it entertains. 

Given its premise, the film lives and dies on the strength of its leading man and Lee couldn't have chosen a better actor in Suraj Sharma. The nineteen-year-old from New Delhi had absolutely no prior acting experience but he easily carries the entire film on his shoulders, exhibiting a sense of charm, curiosity, and determination. Let me remind you that Sharma spends the bulk of "Life of Pi" interacting with basically nothing and yet he manages to sell you on the poignant relationship between a boy and his tiger. He is supported by a solid cast that includes Irrfan Khan, Tabu, Adil Hussain, and Rafe Spall but the spotlight is always on Sharma alone. 

"Life of Pi" was released on November 21, 2012 to largely positive reviews with 87% on Rotten Tomatoes. Critics hailed it as 'an astonishing technical achievement that's also emotionally rewarding.' The audience I saw the film with greeted it with a round of applause once the end credits rolled, although its box office prospects remain uncertain despite its $30.6 million debut. Still, Lee should be proud of what he's accomplished and I expect his film and name to be among the Oscar nominees. With its lush 3D cinematography, "Life of Pi" is not only a reminder of the power of stories but of cinema as well, delivering a wondrous experience that has to be seen on the big screen.

Final Rating: 5 out of 5

"If every unfolding we experience takes us further along in life, then, we are truly experiencing what life is offering..."

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Anna Karenina Review

Rated R (Some Sexuality and Violence)

Running Time: 2 Hours & 10 Minutes

Cast-

Keira Knightley-Anna Karenina

Jude Law-Alexei Karenin

Aaron Taylor-Johnson-Count Alexei Vronsky

Domhnall Gleeson-Konstantin Levin

David Wilmot-Nikolai Levin

Alicia Vikander-Princess Ekaterina 'Kitty' Shcherbatskaya

Matthew Macfadyen-Prince Stepan 'Stiva' Oblonsky

Kelly Macdonald-Princess Darya 'Dolly' Oblonskaya

Olivia Williams-Countess Vronskaya

Ruth Wilson-Princess Elizaveta 'Betsy' Tverskoy

Emily Watson-Countess Lydia Ivanova

Oskar McNamara-Sergei 'Serhoza' Karenin

Directed by Joe Wright

Keira Knightley as Anna Karenina in Joe Wright's lavish adaptation of Leo Tolstoy's classic 1873 novel.

'All the world's a stage,' remarked a melancholy Jaques in William Shakespeare's comedy As You Like It, and nowhere is this truer than in Joe Wright's latest film, "Anna Karenina," based upon Leo Tolstoy's celebrated 1873 novel of the same name. Wright made a big splash in 2005 with his directorial debut "Pride and Prejudice," which earned him critical acclaim despite it being the umpteenth adaptation of Jane Austen's famous 1813 novel. His follow-up, 2007's "Atonement" (another adaptation, this time of Ian McEwan's 2001 novel), received a similar reaction and is one of my favorite films as it was integral to my awakened love of movies. 2009's "The Soloist" was a throwaway 'based on a true story' film that Hollywood loves to release so I didn't bother. Last year's "Hanna" marked a return to form for the British director. This was his first film based on an original script but instead of making another generic action thriller, Wright wove elements of dark fairy tales into the story and complemented it with a thumping score from electronic music duo the Chemical Brothers. Like "Pride and Prejudice," Tolstoy's novel has been adapted eleven times since 1914; the previous one was released in 1997 and starred Sophie Marceau and Sean Bean. This begs the question: do we really need another film adaptation? While it may not reach the grandiose heights that Wright was hoping for, "Anna Karenina" is still worth a look thanks to its bold creative vision, gorgeous production design, and rich performances. 

Taking place in 1874 Imperial Russia, Anna Karenina's (Keira Knightley) marriage to wealthy statesman Alexei Karenin (Jude Law), who is twenty years her senior, is thrown into turmoil when she begins a torrid affair with the dashing Count Alexei Vronsky (Aaron Taylor-Johnson). The two first meet when Anna arrives in Moscow from Saint Petersburg to help convince Darya 'Dolly' Oblonskaya (Kelly Macdonald) to take back her husband, Anna's adulterous brother Stepan Oblonsky (Matthew Macfadyen). Vronsky, who was at the train station to pick up his mother, Countess Vronskaya (Olivia Williams), is immediately infatuated with Anna and begins to pursue her. She initially rebuffs his advances but cannot help succumbing to them. During a steeplechase event, Vronsky pushes his horse Frou-Frou too hard, causing her to fall and break her back. A distressed and emotional Anna shouts Vronsky's name in the presence of her husband and she confesses her affair when they return home. Concerned about their public image, Karenin asks his wife to break it off, believing that it will preserve their marriage. Meanwhile, a childhood friend of Oblonsky's, Konstantin Levin (Domhnall Gleeson), seeks the hand of Dolly's younger sister, Ekaterina 'Kitty' Shcherbatskaya (Alicia Vikander), who was meant to be betrothed to Vronsky. A landowner, Levin is a shy and earnest man who is determined to win Kitty's affections. 

Eschewing the realism that Leo Tolstoy was famous for, Wright has chosen to frame "Anna Karenina" within a decrepit theater. This distinctive mise-en-scène is a literal symbol of how every action was closely scrutinized in Russian high society during the late nineteenth century. Characters walk the streets of Moscow and Saint Petersburg on an extravagant stage set against a painted backdrop, reflecting the artifice of the upper class where any hint of deviation from 'the rules' was met with a two-faced smile and a sneer behind your back. Living in the rafters above is the proletariat or the working class, represented as stage hands who furiously scramble in a brilliant display of choreography during one of the film's elaborate scene transitions, such as when Oblonsky leaves to meet with Levin, where the government office is disassembled and put back together in a flurry of activity as the restaurant L’Angleterre. Wright's gliding camera and the upbeat music make these sequences humorous to watch, with the film playing out like a broad comedy in the beginning before shifting into more dour territory. The stage occasionally opens up to the Russian countryside (shot on-location), with Levin returning home to his farm by opening a door in the back, a contrast of the apathetic, corrupting influence of city-life with the simpler, down-to-earth existence of that particular time period. 

Seamus McGarvey's lush cinematography and Sarah Greenwood's intricate production design make "Anna Karenina" one of the most dazzling films of the year. It's not only a feast for the eyes but for the ears as well thanks to Dario Marianelli's score, which combines a moving orchestral motif with hints of Russian folk music. Unfortunately, Tom Stoppard's script never matches the theatrical quality of its visuals. Tolstoy's novel exposed the hypocrisy that permeated through Russian high society by weaving two concurrent love stories, which Stoppard has retained in a more streamlined form. Yet the relationship between Anna and Vronsky never captures the heightened passion that it calls for due to how shallowly written Vronsky is. The pacing also begins to drag in the last twenty or so minutes as we're repeatedly treated to scenes of Anna accusing Vronsky of cheating on her. In an unusual move, the story depicts the two lovers as naïve and self-absorbed, while Karenin is the film's most sympathetic figure, suffering in silence and begging his wife not to continue her dalliance for the sake of not only her public image but her children as well. As unlikable as Anna was, I still pitied her as she leapt toward her dark fate. Levin and Kitty's subplot is not afforded as much screen-time but there's enough here to make it not feel tacked on. The two share a touching moment where they only communicate with lettered blocks, a reminder that love cannot survive if solely based on lust. 

Wright reunites with his favorite leading lady Keira Knightley, who delivers an excellent performance as the neurotic and shrill Anna. The numerous dresses she wears look absolutely beautiful thanks to Jacqueline Durran. Jude Law is marvelous as Karenin, lending the man a soft-spoken demeanor that serves as the film's moral center. The only weak link is Aaron Taylor-Johnson, who has the looks but not the skill to pull off such a complex character. His rendition of Vronsky is one-dimensional and his chemistry with Knightley is lacking. Domhnall Gleeson and Alicia Vikander are solid, with the two exhibiting a playful, innocent charm while Matthew Macfadyen provides some welcome comic relief as the amorous Stepan Oblonsky. 

In limited release since November 16, 2012, "Anna Karenina" has received mixed reviews with 61% on Rotten Tomatoes. Critics found 'Wright's energetic adaptation of Tolstoy's classic romance…a bold, visually stylized work—for both better and worse.' The film is obviously meant to be a major awards contender but given the mixed reception, it's unlikely to gain much traction even if it garners the usual nominations. Even the reactions from the audience seemed rather muted despite how packed the showing was on Saturday. Joe Wright's adaptation of "Anna Karenina" is definitely no dud but lavish visuals cannot make up for Stoppard's flawed script. However, there is no question that Wright remains a talented director and the unique approach he uses in adapting Tolstoy's novel is worth the price of admission alone, even if the film is not quite the revelation it hopes to be.

Final Rating: 3.5 out of 5

"Romantic love will be the last delusion of the old order."

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Wreck-It Ralph 3D Review

Rated PG (Some Rude Humor and Mild Action\Violence)

Running Time: 1 Hour & 41 Minutes

Cast (voice)-

John C. Reilly -Wreck-It Ralph

Sarah Silverman-Vanellope von Schweetz

Jack McBrayer-Fix-It Felix, Jr.

Jane Lynch-Sergeant Tamora Jean Calhoun

Alan Tudyk-King Candy

Mindy Kaling-Taffyta Muttonfudge

Ed O'Neill-Mr. Litwak

Dennis Haysbert-General Hologram

Raymond Persi-Mayor Gene/Zombie

Maurice LaMarche-Root Beer Tapper

Rich Moore-Sour Bill/Zangief

Gerald C. Rivers-M.Bison

Kevin Deters-Clyde the Ghost

Roger Craig Smith-Sonic the Hedgehog

Kyle Hebert-Ryu

Reuben Langdon-Ken Masters

Jamie Sparer Roberts-Yuni Verse

Skrillex-DJ

Directed by Rich Moore

Can you spot all the video game characters in this picture?

I still remember the first (and only) time my parents took me to the arcade. I distinctly recall a Mortal Kombat game that involved a holographic Kitana (or was it Sonya Blade?) and randomly pushing the buttons with wild abandon. Although I dabbled in handhelds like the original GameBoy, I didn't touch a game again until high school (you can thank my Asian upbringing for that) when I picked up Blizzard Entertainment's Diablo and StarCraft at a bargain price. I've been gaming for close to six years and I'm damn proud of it. Games open up a whole new realm of imagination, which Rich Moore has taken advantage of with his feature-length debut "Wreck-It Ralph," the latest from Walt Disney Animation Studios. There's something decidedly Pixar-like with Moore's film and while its story may fail to break new ground, "Wreck-It Ralph" remains a loving, nostalgic valentine to the video games of yesteryear, backed up by a lively voice cast that lends the film not only plenty of wit and charm, but also heart as well.  

The film is preceded by an adorable, dialogue-less short titled "Paperman." Once the lights go out at Litvak's Arcade, the various video game characters are free to leave their in-game roles and travel to other games using the electrical outlets and surge protectors as a tramway system. Within the arcade game Fix-It Felix, Jr., the inhabitants, called Nicelanders, celebrate its titular hero (Jack McBrayer) by awarding him medals but shun the villain, Wreck-It Ralph (John C. Reilly). Attending a support group for video game villains called Bad-Anon, Ralph reveals his unhappiness with his role and desire to be viewed as a hero like Felix. The other villains, which includes Clyde the Ghost (from Pac-Man), Bowser (from Super Mario), and Zangief (from Street Fighter), reassure Ralph that it is their job to be bad but that doesn't mean that they are bad themselves. The group closes the meeting by reciting the bad guy oath ('I am bad, and that's good. I will never be good, and that's not bad. I will always be me') before returning to Game Central Station—where the various video game characters travel from game to game. It is the thirtieth anniversary of Fix-It Felix, Jr. and the Nicelanders throw a lavish party for Felix, with Pac-Man himself in attendance. Although uninvited, Ralph decides to join as well but instead makes a mess. Mayor Gene (Raymond Persi) asserts that bad guys like him will never win a medal or be viewed as a hero. Fed up by their mistreatment, Ralph sets out to prove them wrong. He visits Tapper to vent his frustrations and comes across a soldier from a new first-person shooter called Hero's Duty. The soldier reveals that the winner receives a medal but then knocks himself unconscious upon seeing a bug. Ralph takes his armor and jumps into Hero's Duty, where he encounters the tough-as-nails Sergeant Tamora Jean Calhoun (Jane Lynch). Despite the game's hostile environment, Ralph manages to obtain the medal but inadvertently ends up in the candy-coated, cart racing world of Sugar Rush due to his clumsiness. A bratty little girl named Vanellope von Schweetz (Sarah Silverman) steals his medal and in order to get it back, Ralph has to help her win a race against the tyrannical King Candy (Alan Tudyk). 

The concept of "Wreck-It Ralph" bears some similarity to Pixar's "Toy Story" but instead of the toys coming alive once the humans are not around, it's video game characters. As a gamer myself, I had a great time watching the film, although I was somewhat disappointed that the various characters licensed from Sega, Capcom, etc. were relegated to little more than cameos. Zangief and M. Bison get a few lines at the support group that Ralph attends but others like Ryu, Ken, and even Sonic only appear in the background or have one line. Still, having them adds a lot of life to the world that Moore and his CG animators have created, which is chock full of references to both the 8-bit arcade games of yore and the high definition console/PC games of today. At one point, Felix finds himself mesmerized by Sergeant Calhoun's HD textures! Fix-It Felix, Jr. resembles 1981's Donkey Kong, which featured the first appearances of the titular ape and Mario (named Jumpman) while Hero's Duty is a mash-up of Call of Duty and Halo. Calhoun even looks like the female version of Commander Shepard from BioWare's Mass Effect and the soldiers she commands wear armor similar to Master Chief. Finally, Sugar Rush imitates the colorful cart racing games popularized by Nintendo. The innocent tone of the 8-bit era and the current HD era is humorously observed when Ralph remarks, 'When did video games become so violent? It's scary out here!' While these video game references create a cross-generational appeal with children and adults, there also has to be a story worth telling. In this instance, the film plays it safe, sticking to a traditional tale of a villain searching for redemption ala "Despicable Me." Fortunately, it has a lot of heart thanks to the friendship between Ralph and the absolutely adorable Vanellope, plus the dialogue is witty and crackles with energy. I also admit to feeling a little emotional at certain points, which I won't spoil. "Wreck-It Ralph" is not only about accepting others who are different but also accepting yourself and who you are. It's a tried-and-true message that's thankfully not shoved down our throats. The only complaint is that the product placement can get a little too much, which includes exploding Mentos and Nesquik Sand. 

With its vibrant worlds and CG animation, Moore's film was born to be in 3D and the results are impressive, if not exactly groundbreaking. He doesn't dabble in gimmicky effects like having objects constantly pop out of the screen but instead focuses on depth, making the world that Ralph inhabits feel tangible before our eyes. There are no brightness issues and the image is incredibly crisp; this is one instance where plunking down the extra $5 is worth it. The voice cast is one of the reasons that make "Wreck-It Ralph" so fun to watch. John C. Reilly brings a good-natured, if slightly oafish demeanor to Ralph but it is Sarah Silverman who steals the film. She's clearly having a lot of fun, injecting Vanellope with a sweet, bratty spunk that's hard not to love. In a way, Silverman is channeling herself onto the character, but keeps a lid on her potty mouth. Jane Lynch's Sergeant Calhoun and Jack McBrayer's Felix make for a hilarious odd couple, with Calhoun's no-nonsense attitude juxtaposed by Felix's innocent charm. Alan Tudyk is virtually unrecognizable as King Candy, exhibiting a kind exterior that belies his crazed, schizophrenic personality. 

Released on November 2, 2012, "Wreck-It Ralph" has received positive reviews with 86% on Rotten Tomatoes. Critics hailed the film as 'a clever, colorful adventure' that proves to be 'equally entertaining for both kids and parents old enough to catch the references.' It debuted to a strong $49 million and is on track for a final tally of at least $150 million, not to mention it hasn't opened in every foreign market. Even on a weekday, the theater was packed with families and it was clear that everyone enjoyed the film. I was also surprised that a little kid got the Metal Gear reference. "Wreck-It Ralph" may feature a familiar story but it's one of the most enjoyable animated films this year, boasting a world whose surface has barely been scratched. This is a flick that earns its high score with flying colors.

Final Rating: 4 out of 5

"It's hard to love your job, when no one else seems to like you for doing it..."

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Rise of the Guardians 3D Review

Rated PG (Thematic Elements and Some Mildly Scary Action)

Running Time: 1 Hour & 37 Minutes

Cast (voice)-

Chris Pine-Jack Frost

Alec Baldwin-Nicholas St. North/Santa Claus

Isla Fisher-Toothiana the Tooth Fairy

Hugh Jackman-E. Aster Bunnymund

Jude Law-The Boogeyman/Pitch Black

Dakota Goyo-Jamie Bennett

Georgie Grieve-Sophie Bennett

Dominique Grund-Cupcake

Khamani Griffin-Caleb

Kamil McFadden-Claude

Jacob Bertrand-Monty

Directed by Peter Ramsey

GUARDIANS ASSEMBLE!

A group of mythical childhood figures coming together in an Avengers/Justice League-style team-up to protect the children of the world from harm? Why hasn't anyone ever thought of that idea before?! This is the premise behind DreamWorks Animation's "Rise of the Guardians," based on William Joyce's book series The Guardians of Childhood and his 2011 short film, "The Man in the Moon." Joyce may have made a name for himself writing and illustrating children's books but he's had quite a career working behind-the-scenes in a number of high-profile animation films, including the original "Toy Story" and "A Bug's Life" for Pixar. He also won an Academy Award for Best Animated Short Film with Brandon Oldenburg for 2011's "The Fantastic Flying Books of Mr. Morris Lessmore." Belief in Santa Claus or the Tooth Fairy have always been an intrinsic part of childhood and "Rise of the Guardians," the last animated film to be distributed by Paramount Pictures, aims to invoke that same sense of wonder that came with believing in such figures. In this regard, the film is a runaway success thanks to some wildly imaginative and beautiful 3D visuals that make up for its derivative storyline. 

Trapped at the bottom of a frozen lake, young Jack Frost (Chris Pine) is awakened by the Man in the Moon and is given the ability to control snow, frost, and ice through a wooden magical staff. However, Frost remembers nothing of his former life and discovers that he is invisible to everyone else, as if he never existed. Three hundred years later, Frost finds himself in an American suburban town, where he causes all kinds of snowy mischief and makes a connection with a little boy named Jamie Bennett (Dakota Goyo). Despite his carefree attitude, Frost leads a lonely life and longs to be seen by others. Meanwhile at the North Pole, Santa Claus (Alec Baldwin) encounters a malevolent presence known as the Boogeyman (Jude Law), who seeks to replace all children's dreams with horrible nightmares. To combat this threat, Santa assembles the Guardians, which include E. Aster Bunnymund (Hugh Jackman), Toothiana the Tooth Fairy (Isla Fisher), and the Sandman. They consult with the Man in the Moon about a new Guardian, who happens to be Jack Frost (much to the team's surprise). Although he initially refuses to join, Frost decides to fight alongside the Guardians when he learns that Tooth can cure his amnesia. At the same time, the Boogeyman begins to wreck havoc on the world by making sure no children believe in the Guardians, which is their source of power. 

Contrary to what the title says, "Rise of the Guardians" is not about how the Guardians came together. Instead, it focuses on Jack Frost and his struggle to find his purpose in life and who he was before he was given his powers. This is a smart move as the script (written by "Rabbit Hole" playwright David Lindsay-Abaire) takes inspiration from Joyce's books but isn't bound by them, allowing children who like the film to seek out the source material on their own accord. The story is a standard hero's journey tale and hits all the expected beats, with Frost initially reluctant to step into his new role as a Guardian. He's the classic rebel without a cause. A few wrinkles are added to provide some measure of depth but the path that Frost chooses is never in question, even when he is tempted by the Boogeyman. Still, it's a tightly wound, if predictable, package that delivers a lot of action (fluidly directed by Peter Ramsey) and a sense of grandeur thanks to Alexandre Desplat's score. While there are some laughs to be had, the tone is surprisingly serious and the few comedic moments in the film are aimed squarely at children with the Minion-like elves. The script may not reach Pixar's best due to its lack of originality yet "Rise of the Guardians" succeeds thanks to the intricate world that the CG animators have created. Sure, it's flashy but there's a passion behind the visuals that invokes a sense of wonder and is by far one of the best-looking CG animated films this year. Hiring cinematographer Roger Deakins to consult was a brilliant move on Ramsey's part as every frame is just beautiful. Each of the Guardians' homes is lovingly crafted, from Santa's retro-futuristic workshop to the Easter Bunny's Warren, a hidden oasis guarded by eight-foot-tall stone eggs called Sentinels. The standout is the Tooth Palace, where the hummingbird-like fairies collect the teeth, which contain a child's memories, and store them in marked drawers, essentially preserving a part of our child-like selves. As for the 3D, it looks great and there's a nice sense of depth to the image, especially when it comes to the particle effects like snowflakes and dreamsand. All of these mythical characters have been re-imagined yet look familiar at the same time. Santa Claus (appropriately nicknamed 'North') speaks in a heavy Russian accent, has the words 'Naughty' and 'Nice' tattooed on his arms and wields two falchions. Bunnymund resembles a kangaroo and uses boomerangs as offensive weapons. However, it is the Sandman that impresses, sprinkling his dreamsand through the air in large, river-like streams of imagination while communicating through images conjured above his head. "Rise of the Guardians" has a lot of charm, if not exactly wit but family audiences will find it hard not to get swept up by the gorgeous visuals. 

The voice cast is excellent with one exception. Chris Pine grounds Jack Frost with a charismatic hotheadedness yet also a sense of loneliness. It's not a flashy role compared to the others but it suits the character just fine. Alec Baldwin is virtually unrecognizable as a heavily Russian-accented Santa Claus while Isla Fisher brings a cute, flighty demeanor to the Tooth Fairy. As the bold and brash Easter Bunny, Hugh Jackman is clearly having a lot of fun and it's a role that fits him like a glove. Finally, there's Jude Law as the Boogeyman and while there's nothing specifically wrong with his voice-work, he doesn't quite capture the necessary menace of the character. You could say that it is merely competent. 

"Rise of the Guardians" will be released on November 21, 2012 and has so far received mixed reviews with 67% on Rotten Tomatoes. I have a feeling it'll garner a similar reception to "Madagascar 3: Europe's Most Wanted," also from DreamWorks Animation. The audience at yesterday's advance screening (which required me to wake up at 6:30 in the morning) was quite enthusiastic about the film, especially the children (not a surprise). To see all these characters together was probably a dream come true for them! Despite the crowded release date, the film will be the prime choice for families and will receive a bump at the weekend box office since most children will be off for Thanksgiving break. The story fails to take any risks but "Rise of the Guardians" remains an above-average animated film that boasts an energetic voice cast and some of the best 3D visuals of the year. This is definitely a world that's worth revisiting in a sequel.

Final Rating: 3.5 out of 5

"It is our job to protect the children of the world. For as long as they believe in us, we will guard them with our lives..."

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The Twilight Saga: Breaking Dawn - Part 2 Review

Rated PG-13 (Sequences of Violence including Disturbing Images, Some Sensuality and Partial Nudity)

Running Time: 1 Hour & 55 Minutes

Cast-

Kristen Stewart-Isabella 'Bella' Swan

Robert Pattinson-Edward Cullen

Taylor Lautner-Jacob Black

Mackenzie Foy-Renesmee Cullen

Peter Facinelli-Dr. Carlisle Cullen

Elizabeth Reaser-Esme Cullen

Ashley Greene-Alice Cullen

Jackson Rathbone-Jasper Hale

Kellan Lutz-Emmett Cullen

Nikki Reed-Rosalie Hale

Billy Burke-Charlie Swan

Chaske Spencer-Sam Uley

Julia Jones-Leah Clearwater

Booboo Stewart-Seth Clearwater

Michael Sheen-Aro

Jamie Campbell Bower-Caius

Christopher Heyerdahl-Marcus

Daniel Cudmore-Felix

Charlie Bewley-Demetri

Dakota Fanning-Jane

Cameron Bright-Alec

MyAnna Buring-Tanya Denali

Casey LaBow-Kate Denali

Christian Camargo-Eleazar Denali

Mia Maestro-Carmen Denali

Maggie Grace-Irina Denali

Lee Pace-Garrett

Rami Malek-Benjamin

Omar Metwally-Amun

Andrea Gabriel-Kebi

Angela Sarafyan-Tia

Marlane Barnes-Maggie

Lisa Howard-Siobhan

Patrick Brennan-Liam

Judi Shekoni-Zafrina

Tracey Heggins-Senna

Noel Fisher-Vladimir

Guri Weinberg-Stefan

Amadou Ly-Henri

Janelle Froelich-Yvette

Directed by Bill Condon

Bella (Kristen Stewart) and Edward (Robert Pattinson) look for food in "The Twilight Saga: Breaking Dawn Part 2," arguably the best entry in the series.

When it comes to a blockbuster franchise like "Twilight," you either love the series with a fanatical zeal or hate it vehemently and frequently troll online message boards to voice your derision. Since its debut in 2005, Stephenie Meyer's novels have sold over 116 million copies worldwide as of October 2010 while the film adaptations grossed a gargantuan $2.5 billion at the box office. Reviews of the novels have always focused on its popularity among young female adults because let's be blunt here: no one will mistake this as literature. Critical reception of the films has ranged from terrible to mediocre; as for my own feelings, I found the 2008 original to be passable but the installments that followed were awful. However, I've always been fair in my assessment of each film. It's hard to believe that it's only been four years and already the series is coming to a close with "The Twilight Saga: Breaking Dawn Part 2." Taking a page from "Harry Potter and the Deathly Hallows," Summit Entertainment (now owned by LionsGate) chose to split the final book into two parts, allowing the studio to reap double the money. Last year's "Breaking Dawn Part 1" was a massive bore as director Bill Condon was forced to pack the film with numerous filler scenes in order to meet its two hour running time. I had little hope the conclusion would be any better but color me surprised, the second part is actually good. Of course, 'good' is a relative term here given how low the bar's been set. From a film criticism perspective, "The Twilight Saga: Breaking Dawn Part 2" is neither great nor good cinema but it delivers a rousing enough conclusion and is by far the strongest entry out of the entire franchise. Condon sure saved the best for last. 

Picking up immediately after the events of "Breaking Dawn Part 1," Isabella 'Bella' Swan (Kristen Stewart) has been brought back from the brink of death thanks to her husband, Edward Cullen (Robert Pattinson). Now a newborn vampire, Bella has little trouble controlling her thirst and is eager to see her daughter, Renesmee (Mackenzie Foy). Upon learning that Jacob Black (Taylor Lautner) had imprinted on Renesmee, Bella flies into a rage but calms down when Seth Clearwater (Booboo Stewart) intervenes. Settling into their new roles as parents, Bella and Edward are astonished at Renesmee's accelerated growth. In a matter of months, she physically matures to the appearance of a ten-year old girl. The Cullen's peace is threatened when Irina (Maggie Grace), of the Denali clan, sees Renesmee and mistakes her for an immortal child that Bella and Edward had created. She immediately informs the Volturi's leader, Aro (Michael Sheen), of the 'crime' that the Cullens had committed. As immortal children could not be controlled, the Volturi chose to purge them. The creation of such children was punishable by death. Foreseeing their arrival thanks to Alice's (Ashley Greene) talents, the Cullens begin to gather allies from around the world to convince the Volturi that Renesmee is not who they think she is. If need be, they would fight the Volturi to the death to protect her. 

From the synopsis alone, "Breaking Dawn Part 2" doesn't look especially exciting but its final half-hour delivers the necessary jolt that the series has been lacking for the past three installments. Right from the get-go, you can feel that there's something different about this film as we're treated to a stylish opening credits sequence. It then transitions to Bella awakening for the first time as a vampire and rushing out into the forest to test her new abilities. I've always found Bella to be a terrible character defined only by the men in her life and while I still view her wanting to be a vampire as selfish, it does allow her to finally evolve and not mope around. Bella's new lease on life (or un-life) gives her a sense of empowerment and she proudly proclaims that she 'was born to be a vampire.' Even Edward gets to smile more instead of looking constipated all the time! These films have always been silly fluff and Condon finally embraces the absurdity of it all (especially the costumes) but holds back just enough to not let it fall into a ridiculous self-parody. Many of the best scenes involve Bella's father Charlie (Billy Burke), which includes Jacob once again dropping his clothes, inspiring cheers from the audience. However, it still suffers from the same issues that plagued the previous entries, even if it is alleviated. The most serious offender is the dialogue; some of it is just cringe-inducing. The narration doesn't help either as it comes off as clumsy. Unlike the time-waster that was "Part 1," there's a sense of urgency as the Volturi makes their way toward Forks and as such, it moves at a nice clip and doesn't feel like two hours. Condon builds to a surprisingly engaging climax as the film breaks out with an impressive action scene between the Cullens (with their allies) and the Volturi. There's quite a lot of heads being ripped-off and it allows some of the minor characters who barely have any lines to shine. The way the battle is resolved might be viewed as a cop-out to some, even if it is unexpected. While the cinematography from Guillermo Navarro leads to some striking images, the visual effects remain problematic given the production budget and some of the wirework is too obvious. "Breaking Dawn Part 2" ends with a nice look back through the series, including an extended roll call of every cast member. It's a strangely dour send-off but Condon handles it well; it's just a shame that it took the last installment to show that "Twilight" could actually be good. 

There is some minor improvement with the performances. Kristen Stewart is more expressive now that she's a full vampire, playing a much more assertive and dare I say, ass-kicking Bella. Robert Pattinson and Taylor Lautner may not have much to do but it was a nice change to pace to see them get along instead of squabbling like hormone-addled teenagers. Lautner is still a terrible actor though; at least Pattinson tries. The rest of the supporting cast is mostly just set-dressing, with the exception of Michael Sheen as Volturi leader Aro. He knows what type of film he's in and goes way over-the-top with his goofy cackling. His every movement is exaggerated to theatrical proportions. Billy Burke is always enjoyable as Charlie and is the one thing that's been consistently good in the series. Dakota Fanning is unfortunately wasted as the sadistic Jane. 

To be released on November 16, 2012, "The Twilight Saga: Breaking Dawn Part 2" has surprisingly been receiving a positive reception and currently stands at 82% on Rotten Tomatoes. The first and the third installments are the best-reviewed with 49% each; I'm going to go out on a limb here and predict a final score in the lower-60s. The advance screening I attended yesterday leaned heavily female and they clearly enjoyed the film, with many cheering as each name popped up in the opening and end credits. For them, the experience was…orgasmic. It will rule the box office this weekend without any question, with some projecting a debut of at least a $140 million. Summit Entertainment is keen to start on spin-offs but it'd be better if the studio just let it end with some dignity as it would only be a blatant attempt to just milk the franchise. "Twilight" will never be viewed as a great series outside of its rabid fanbase but this final installment ends it on a classy note that lends it a sense of legitimacy, although it won't win any new converts. No matter your feelings about what Meyer has created, even the most jaded person will grudgingly admit that it wrapped up on a stronger foot than when it began.

Final Rating: 3.5 out of 5

"After eighteen years of being utterly ordinary, I finally found that I could shine."

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Taken 2 Review

Rated PG-13 (Intense Sequences of Violence and Action, and Some Sensuality)

Running Time: 1 Hour & 32 Minutes

Cast-

Liam Neeson-Bryan Mills

Famke Janssen-Lenore

Maggie Grace-Kim Mills

Rade Šerbedžija-Murad Krasniqi

Leland Orser-Sam

Jon Gries-Casey

D.B. Sweeney-Bernie

Luke Grimes-Jamie

Kevork Malikyan-Inspector Durmaz

Alain Figlarz-Suko

Directed by Olivier Megaton

You don't interrupt Liam Neeson when he's on the phone, or he will find you and kill you!

'I don't know who you are. I don't know what you want. If you are looking for ransom, I can tell you I don't have money. But what I do have are a very particular set of skills; skills I have acquired over a very long career. Skills that make me a nightmare for people like you. If you let my daughter go now, that'll be the end of it. I will not look for you, I will not pursue you. But if you don't, I will look for you, I will find you, and I will kill you.' At age 56 (now 60), who knew that Liam Neeson, an Academy Award-nominated actor, would have the chops to be a bona fide action star? Written and produced by Luc Besson, Pierre Morel's "Taken" was first released in France in February 2008 and didn't arrive in North American theaters until a year later in January, the month where movies go to die. However, the film proved to be a surprise hit despite mixed reviews (58% on Rotten Tomatoes) and racked up an impressive $226.8 million worldwide, almost ten times its $25 million production budget. It also marked a major turning point in Neeson's career, redefining the actor as a successful action star, which he's been keen to take advantage of by following up on his newfound status with films like "Unknown" and "The Grey." Money talks in Hollywood and seeing the potential for a new cash cow, 20th Century Fox announced a sequel in November 2010, once again with Besson writing the script with Robert Mark Kamen and churned out by his factory-like production company, EuropaCorp. While it's always nice to see Liam Neeson in badass mode, the lazily titled "Taken 2" is nothing more than a cynical cash-grab that is content with rehashing the original film. 

In Tropojë, the leader of the Albanian Mafia, Murad Krasniqi (Rade Šerbedžija), mourns the loss of his son Marko, who was electrocuted to death by former CIA agent Bryan Mills (Liam Neeson) while searching for his kidnapped daughter Kim (Maggie Grace) in Paris, France. The relatives of all the men Bryan killed gather with Murad, vowing to avenge the deaths of their loved ones. Back in Los Angeles, Bryan continues to keep a close eye on his daughter, who is currently late for her daily driving lesson. He learns from his ex-wife Lenore (Famke Janssen) that Kim is at her boyfriend's house and he easily tracks her down using the GPS device secretly installed on her phone. Kim is less-than thrilled of her father's still-overprotective behavior. The next day, Bryan visits Lenore again, only to find her in tears. Her husband Stuart had cancelled their trip to China over an argument and feeling sympathetic, Bryan suggests that she and Kim come join him in Istanbul, Turkey after he wraps up a high-paying security job. He initially believes that they had not taken up on his offer but is surprised to see that they had indeed flown out to see him. Meanwhile, Murad and his gang of thugs learn that Bryan is in Istanbul. While spending time with Lenore, Bryan senses danger and orders her to go back to his hotel room but both end up getting kidnapped. Enlisting the help of Kim, Bryan must once again put his skills to use and do what he does best—kill the men who are after him. 

The only reason that "Taken 2" exists is because the original was a box office success. As proof of its laziness, writers Luc Besson and Robert Mark Kamen simply took the script of the previous film and replaced Bryan's daughter with his wife. It's painful to see a respected actor like Liam Neeson sink to such lows and recite some of the worst dialogue in recent memory. Part of the problem is the fact that the film takes an inordinate amount of time to set everything up and by the time it's done, there's only thirty minutes left before the end credits. "Taken 2" simply begins and ends since the entire second act is virtually missing. Not doing the paper-thin story any favors is its complete absence of logic, where Bryan seemingly possesses some sort of Spider-Sense as he is able to locate Murad's men by memorizing the sounds of the route they took…while blind-folded. Making Bryan into a superhuman ex-spy undermines the suspense as it never feels like he or his family is in any danger. In the film's most ridiculous moment, he has his daughter throw hand grenades in order to determine his location by timing how long it takes for the sound to reach him. First off, no one's hearing is that good and second, you're throwing grenades out in the open and yet the good citizens of Istanbul are completely oblivious that a car just exploded. 

Replacing director Pierre Morel is Olivier Megaton (whose previous work was 2011's "Colombiana," which was just as terrible) and he continues to show his incompetence by turning the film's biggest selling point—the action—into a complete, indecipherable mess. The fight scenes are encumbered by shaky cam and choppy editing. Each shot lasts no more than a second and all you see is just a blur of fists coupled with some sound effects. There's also a complete lack of energy, as if Megaton was falling asleep at the wheel. A perfunctory car chase is thrown in but watching Bryan repeatedly shout at his daughter to drive faster is unintentionally hilarious. It ends with them crashing into the U.S. Embassy and apparently one call to the CIA makes it all better. Then again, destroying public property in foreign countries is what America is famous for. Due to the PG-13 rating, all the violence has been diluted. At times, it looks like Bryan is killing his opponents simply by raking his hand over their faces due to the poor angles chosen. The inept script would've been somewhat forgivable if Besson had kept Morel or hired someone who wasn't a hack but alas, he picked Megaton. You have to wonder if he was even thinking! 

Liam Neeson is a brilliant actor and seeing him in badass mode was one of the real treats in the original "Taken." However, he looks completely disinterested here as he goes through the motions and yet he remains watchable despite the train wreck he's in. The sequel does add a slight wrinkle by pairing Bryan with Kim as they escape from Murad's endless supply of mindless thugs and Maggie Grace handles the action well enough. The actress is clearly too old to be playing a teenager (she's now 29) so some of the story elements, such as her learning how to drive, don't entirely make sense (nothing does). Famke Janssen essentially replaces Grace's role in the previous film and is little more than a MacGuffin. Rade Šerbedžija is effective as the villain but his final confrontation with Bryan is a letdown. To stop Bryan, he sends an Albanian bruiser who wears a tacky track suit that does his pronounced beer gut no favors. Not exactly a smart move. 

Released on October 5, 2012, "Taken 2" has received largely negative reviews with 21% on Rotten Tomatoes. Critics found it 'bereft of the kinetic thrills—and surprises—that made the original a hit.' Of course, that didn't stop audiences from flocking to theaters, with the film earning $49.5 million during its opening weekend.  It has already grossed $348.3 million worldwide on an increased production budget of $45 million, all but assuring a "Taken 3" in the future, possibly even more. The people that enjoy this do not care for story or proper editing or all the other elements that make up a good film and are content with being fed sloppy seconds. Six weeks after release, it's still in the top five at the box office! I hate to do this to Liam Neeson but "Taken 2" is an awful mess, a soulless, derivative sequel that solely exists to take money from moviegoers who simply don't know any better.

Final Rating: 1.5 out of 5

Bryan Mills: If I kill you, your other sons will come and seek revenge?

Murad Krasniqi: They will...

Bryan Mills: And I will kill them too.

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Lincoln Review

Rated PG-13 (An Intense Scene of War Violence, Some Images of Carnage and Brief Strong Language)

Running Time: 2 Hours & 29 Minutes

Cast-

Daniel Day-Lewis-Abraham Lincoln

Sally Field-Mary Todd Lincoln

Joseph Gordon-Levitt-Robert Todd Lincoln

Gulliver McGrath-Tad Lincoln

David Strathairn-William Seward

Tommy Lee Jones-Thaddeus Stevens

Hal Holbrook-Francis Preston Blair

James Spader-William N. Bilbo

John Hawkes-Robert Latham

Tim Blake Nelson-Richard Schell

Bruce McGill-Edwin Stanton

Lee Pace-Fernando Wood

Peter McRobbie-George Pendleton

Michael Stuhlbarg-George Yeaman

Boris McGiver-Alexander Coffroth

Walton Goggins-Clay Hutchins

Jared Harris-General Ulysses S. Grant

Jackie Earle Haley-Alexander Stephens

Gregory Itzin-John A. Campbell

Gloria Reuben-Elizabeth Keckley

David Oyelowo-Corporal Ira Clark

Directed by Steven Spielberg

Daniel Day-Lewis delivers the year's best performance in Steven Spielberg's latest film, "Lincoln."

'A house divided against itself cannot stand.' Although these words were spoken by Abraham Lincoln 154 years ago in 1858, it remains surprisingly relevant today given the recent presidential election, which was marked by bitter attacks from both sides. It's ironic that director Steven Spielberg chose to release his biographical drama film "Lincoln" at such a polarizing time, and what's remarkable is that it shows how little our country's politics have changed in the last 150 years. Much has been already said about Lincoln, who has attained a near-mythological status, rising from relative obscurity through honest hard work to lead the United States through one of the bloodiest wars in history and end slavery at the same time. Despite the title, Spielberg's film does not focus on Lincoln's life but instead on a pivotal moment of his presidency: the passing of the Thirteenth Amendment and the end of the American Civil War. While it feels more suited as a stage play than as a film, "Lincoln" remains a compelling and poignant portrait of an American legend thanks to another superb performance from Daniel Day-Lewis. 

It is 1865 and the Civil War rages on in its fourth year with no end in sight. Visiting a Union Army camp, President Abraham Lincoln (Daniel Day-Lewis) listens to two African American soldiers recount a recent battle against the Confederates. The younger of the two soldiers expresses his desire to move up the ranks and maybe work for Lincoln himself one day, which makes Lincoln smile with pride. Two white soldiers, newly enlisted, approach Lincoln and proclaim their admiration of him by reciting the Gettysburg Address from memory. However, they become flustered and forget the last sentence, leaving the younger African American soldier to recite the final line. Returning to the White House, Lincoln begins to push for the ratification of the Thirteenth Amendment which will formally abolish slavery. To gather the necessary two-thirds majority in the House of Representatives, Secretary of State William Seward (David Strathairn) enlists the aid of three lobbyists, William N. Bilbo (James Spader), Robert Latham (John Hawkes), and Richard Schell (Tim Blake Nelson), to convince several Democrats to either switch or abstain their votes. As Seward works to get the Amendment passed, Lincoln faces trouble at home, with eldest son Robert (Joseph Gordon-Levitt) frustrated at his parent's refusal to let him join the Union Army and help in the war effort while First Lady Mary Todd (Sally Field) continues to mourn the death of their son Willie a few years earlier. The weary President finds solace in the arms of young Tad (Gulliver McGrath), who often runs amok in the White House dressed in the attire of a Union soldier. Meanwhile, the passage of the Thirteenth Amendment hits a snag when rumors of a peace delegation from the Confederacy reach the ears of Lincoln's Cabinet. Lincoln is faced with a difficult choice: save the lives of thousands of soldiers by ending the Civil War now or grant freedom to the millions of slaves living in the South by passing the Thirteenth Amendment first. 

"Lincoln" is an atypical biopic, focusing less on our nation's sixteenth President and more on the difficulty in getting the Thirteenth Amendment ratified. What's striking about Spielberg's film is that the politics of 1865 is no different from the politics of today, although Republicans were ironically seen as 'radical' with their anti-slavery views while Democrats quoted the Bible to justify their conservative values. Seeing the two factions bicker in the House of Representatives invites quite a few eerie comparisons to our time. At one point, New York Congressman Fernando Wood (Lee Pace) proclaims that 'Congress must never declare equal those whom GOD created unequal,' which recalls the current issue of same-sex marriage, with those who oppose it often citing religious reasons. Written by playwright Tony Kushner and based on Doris Kearns Goodwin's 2005 biography Team of Rivals: The Political Genius of Abraham Lincoln, the depiction of Lincoln himself leans toward the saintly kind as he moves about delivering humorous anecdotes, poking and prodding his men to do what is morally right. However, he's not exactly the 'Honest Abe' that we've read about in school as he is forced to resort to less-than savory means to get the Amendment passed. This means having his closest confidante, Secretary of State William Seward, employ three lobbyists to basically bribe (called 'patronage') twenty Democrats to either abstain from voting or switch sides. Lobbying hasn't changed much in modern times and continues to be a controversial practice, even if you're fighting for a good cause. This leads to a hilarious montage that includes one Democrat shooting at Spader's William N. Bilbo. In order to buy enough time, Lincoln even asks General Ulysses S. Grant (Jared Harris) to delay the Confederate peace delegation and lies to the Democrats that there is no such peace offer on the table. This in no way demonizes Lincoln but instead emphasizes the fact that he knew how to play the political game, which sometimes meant getting your hands dirty. As soft-spoken as he was, there was a fire within Lincoln and he wasn't afraid to show it, slamming his hand on the table during a powerful scene where he orders his Cabinet to stop squabbling and do what is necessary to get the Amendment through. The story's narrow focus lends "Lincoln" a stage-bound feel, with much the drama taking place behind closed doors yet it maintains a grasp on the cinematic thanks to Janusz Kamiński's cinematography, where sun rays pierce through the windows of the White House, inviting a rustic ambience that is occasionally interrupted by the horrors of war. Since this is a historical film, we already know that the Thirteenth Amendment did pass but Kushner and Spielberg still manage to create an atmosphere of suspense as the votes are slowly tallied up, juxtaposed with scenes of Lincoln quietly sitting in his office as his son Tad runs about. The film ends with his inevitable assassination and yes, we know its coming but it still hits you emotionally. 'Now he belongs to the ages,' a mournful Edwin Stanton (Bruce McGill) remarks. There are times when Spielberg indulges in moments of schmaltz but he treats Abraham Lincoln with the respect and reverence that he deserves, serving as a reminder of what democracy can accomplish when you have a leader who leads with words. 

Daniel Day-Lewis, what more can be said about him? No amount of praise can describe his portrayal of Abraham Lincoln, which ranks as the best performance of the year, no contest. Tall, lanky, his face wrinkled from the burdens of leading a fractured country, it's as if Lincoln himself was still alive. Lewis captures the humble and quiet dignity of the man but also his frustrations as he struggles to not only keep his troubled wife from falling apart but also his Cabinet. Sally Field is excellent as Lincoln's long-suffering wife, Mary Todd, while David Strathairn is the voice of reason as William Seward. Joseph Gordon-Levitt pops up briefly as eldest son Robert Todd Lincoln but his screen-time is too limited to make much of an impression. Tommy Lee Jones, the only actor able to hold the screen with Lewis, is enjoyable and at times hilarious as hardline Republican abolitionist Thaddeus Stevens, who is a force of nature in the House Chamber yet can be self-deprecating when he needs to be, such as mocking himself for wearing an obviously terrible wig. James Spader, John Hawkes, and Tim Blake Nelson make for a fun trio as three lobbyists working in secret to get the Thirteenth Amendment passed, offering a birds-eye view of the history being made before their eyes. A number of familiar faces such as Jared Harris, Jackie Earle Haley, Gregory Itzin, and Walton Goggins have minor supporting roles, adding to the already incredible talent on display. 

In limited release since November 9, 2012, "Lincoln" has received critical acclaim with 91% on Rotten Tomatoes. Critics hailed it as a 'witty, dignified portrait of [an] American icon that immerses the audience in its world and entertains even as it informs.' The audience greeted the film with applause at the advance screening this past Thursday, with many staying through the end credits to listen to John William's score. It may have only been shown in eleven theaters but "Lincoln" had an impressive per-theater average of $81,818 this past weekend, which suggests a healthy run at the box office. Its character-driven drama and stage-bound quality won't appeal to everyone but "Lincoln" is an excellent film in its own right thanks to the subtle gravitas Daniel Day-Lewis lends to this great historical figure. I bet Lincoln himself would be proud of Spielberg's film if he was still alive today.

Final Rating: 5 out of 5

"We are stepped out upon the world stage now, the fate of human dignity in our hands. Blood's been spilled to afford us this moment, NOW, NOW, NOW!"

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