Django Unchained Review

Rated R (Strong Graphic Violence Throughout, a Vicious Fight, Language and Some Nudity)

Running Time: 2 Hours & 45 Minutes

Cast-

Jamie Foxx-Django Freeman

Christoph Waltz-Dr. King Schultz

Leonardo DiCaprio-Calvin J. Candie

Kerry Washington-Broomhilda Von Shaft

Samuel L. Jackson-Stephen

Walton Goggins-Billy Crash

Don Johnson-Spencer 'Big Daddy' Bennett

Laura Cayouette-Lara Lee Candie-Fitzwilly

James Russo-Dicky Speck

James Remar-Ace Speck/Butch Pooch

Tom Wopat-Marshall Gill Tatum

Cooper Huckabee-Roger 'Little Raj' Brittle

Doc Duhame-Ellis Brittle

M. C. Gainey-Big John Brittle

Bruce Dern-Curtis Carrucan

Franco Nero-Amerigo Vassepi

Jonah Hill-Randy

Ato Essandoh-D'Artagnan

Sammi Rotibi-Rodney

Quentin Tarantino-The LeQuint Dickey Mining Co. Employee

Directed by Quentin Tarantino

The Dynamic Duo: Christoph Waltz and Jamie Foxx star as bounty hunters in Quentin Tarantino's latest film, "Django Unchained."

An exercise in revisionist history, Quentin Tarantino's 2009 film, "Inglourious Basterds," takes place in an alternate World War II where Adolf Hitler didn't commit suicide but instead meets a fiery demise at a small Paris theater in the name of 'Jewish vengeance'! Tarantino is once again rewriting the course of history in his latest film, "Django Unchained," set during the era of American slavery. Hailed as 'one of the greatest filmmakers of the modern age' (Eric Eisenberg of Cinema Blend), Tarantino's love of cinema shines through in every frame of his work, creating a reverent pastiche of genres while also telling surprisingly nuanced stories packed with over-the-top characters, off-beat humor, and extreme violence—just the way we like it. There is simply no other director out there that can mix-and-match such disparate elements to such entertaining effect like he can. Bolstered by memorable performances and a quirky sense of humor, "Django Unchained" delivers on everything you would expect from a Quentin Tarantino film and while it's not quite on the level of "Inglourious Basterds," it still stands as living proof that revenge is a dish best served…Tarantino-style! 

Bound in chains, a group of slaves led by the Speck brothers are being marched to their new owner's estate in 1858 Texas. A German man pulls up in a dentist cart and introduces himself to the brothers as Dr. King Schultz (Christoph Waltz). He explains that he is looking for a slave that can identify the Brittle brothers. One of the slaves, a man named Django (Jamie Foxx), announces that he can and Schultz offers to buy him from the Specks. However, the Speck brothers have no interest in cutting a deal and threaten Schultz but before they can even make a move, the articulate German shoots one of the brothers in the head and cripples the other. The crippled Speck brother immediately agrees to sell Django. After paying for both Django and the dead Speck's horse, Schultz frees the other slaves as well. He tells them that they can either carry the remaining Speck to the nearest town or shoot him and flee north. Arriving in a small town near El Paso, Schultz reveals to Django that he is actually a bounty hunter. He offers Django a deal: in exchange for locating and identifying the Brittle brothers, Schultz will grant him his freedom, pay him a $75 share of the reward, and let him keep the horse. Django readily agrees but Schultz, impressed with the former slave's intelligence and marksmanship, ends up taking him on as a full partner for the winter. Upon learning of Django's intent to free his wife, Broomhilda Von Shaft (Kerry Washington), Schultz decides to help him in return, with the two traveling to Calvin J. Candie's (Leonardo DiCaprio) plantation, 'Candieland,' deep in Mississippi. However, they run afoul of Stephen (Samuel L. Jackson), Candie's loyal servant and closest confidante, who will do whatever it takes to maintain the status quo. 

Similar to "Inglourious Basterds," "Django Unchained" pays homage to the spaghetti westerns made popular by Sergio Leone, with its story drawing inspiration from Sergio Corbucci's 1966 film "Django" while also mixing in elements of a seventies-style blaxploitation flick. The film begins in classic Tarantino style with a tense exchange between Christoph Waltz's Dr. King Schultz (ironic name if you think about it) and the Speck brothers, played by James Remar and James Russo. Of course, it all ends violently yet the scene maintains an almost light-hearted tone as Schultz is adamant about following protocol, requesting a Bill of Sale for Django while one of the Speck brothers lies dead in a pool of blood and the other crying from a broken leg. Tarantino has always excelled at mining humor from seemingly innocuous and violent situations. At one point, he turns a lynching into a hilarious farce as a group of Ku Klux Klan members begin complaining amongst themselves that they cannot see through their masks! With its irreverent tone and unflinching brutality, Tarantino once again weaves a tale of vengeance that is highlighted by sharply written and verbose conversations that keeps its audience on their toes despite the episodic structure of the story. 

Although Calvin J. Candie is presented as the 'main' villain, the film directs its fury at all the white men (and women) who oppresses or has oppressed Django, leading to some wildly entertaining action scenes (which is rather sparse) as bullets don't just hit their targets but explode into a geyser of blood as one man is shot over twenty times, sometimes in the same place! The graphic violence takes on a cartoonish surrealism since it's presented in such an over-the-top manner. There's a point to all this savagery and one of the reasons why Tarantino is such a gifted filmmaker is that he is able to entertain while mixing low-brow genre sensibilities with social commentary. Throughout the film, we are presented with moments of extreme cruelty and cavalier racism as every black person is treated as less than human and sold as cattle. It creates a simmering anger that explodes during its blood-soaked finale and what's even more shocking is that this used to be the norm. Tarantino may rewrite history with one man acting as a conduit for every pain and injustice inflicted on his people but as far as the time period is concerned, it's frighteningly accurate. One can understand and even sympathize with what the slaves went through yet we're still tip-toeing about the issue because of the strong emotions it rightly stirs up. By emphasizing the ugly world of the antebellum South, Tarantino is forcing us to confront our shameful past. 

Like his previous efforts, Tarantino has gathered an eclectic cast led by Christoph Waltz and Jamie Foxx. Waltz, who won Best Supporting Actor at the 82nd Academy Awards for his delightful performance as Colonel Hans Landa in "Inglourious Basterds," once again steals the entire film as the charming yet professional Dr. King Schultz. What makes Schultz such a memorable character is due in no small part to Waltz's natural charisma and his ability to transform Tarantino's long passages of dialogue into what Brian Orndorf calls a 'verbal ballet of playful energy.' Foxx is another Academy Award winner (he won Best Actor for 2004's "Ray"), although his recent body of work has largely been forgettable, with the exception of 2006's "Dreamgirls." It's a shame because he's a great actor and a funny comedian to boot. In a role originally intended for Will Smith, Foxx is more subdued compared to his more eccentric co-stars but it allows him to bring a subtlety and nuance to Django as he confidently strides across the screen, blasting away anybody who gets in his way with unerring accuracy. As for Leonardo DiCaprio, all I can say is 'wow.' DiCaprio normally takes more serious roles but he unleashes a sadistic dark side as Calvin J. Candie, hiding his ruthless malevolence behind a cultured facade. His monologue on how phrenology proves that black people are meant to be subservient is one of the most memorable scenes in the film. Candie isn't the only villain, as his manservant Stephen, played by Samuel L. Jackson in old-age makeup, is an even more contemptible figure who is all too willing to oblige his masters in enforcing and perpetuating the status quo. Rounding out the main cast is Kerry Washington, who isn't given much to do despite being the driving force behind the plot but she makes the most of her limited screen-time. The rest of the supporting cast contains a number of welcome cameos, such as Jonah Hill and even the original Django himself, the legendary Franco Nero. Tarantino also pops up as well, although his attempt at an Australian accent is frankly embarrassing. 

Released on December 25, 2012, "Django Unchained" has received overwhelmingly positive reviews with 89% on Rotten Tomatoes. Critics hailed it as a 'bold, bloody, and stylistically daring…incendiary masterpiece from Quentin Tarantino.' With $64 million already in the pot, the film is on-track to becoming Tarantino's highest-grossing movie ever. As for awards buzz, the late release might be a detriment but Waltz and DiCaprio are the strongest and likeliest contenders, although it's a long shot for both to be nominated in the same Supporting Actor category. Tarantino will likely receive a nod for Original Screenplay and that'll be it as I don't see this film going over so well with Academy voters, the majority of them being white. "Django Unchained" is another worthy addition to Tarantino's filmography, a hilarious, violent spectacle that also functions as a mirror to America's shameful past. It is only fitting that 2012 end with Tarantino having the last laugh.

Final Rating: 4.5 out of 5

"Kill white people and get paid for it? What's not to like?"

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Flight Review

Rated R (Drug and Alcohol Abuse, Language, Sexuality/Nudity and an Intense Action Sequence)

Running Time: 2 Hours & 18 Minutes

Cast-

Denzel Washington-Captain William 'Whip' Whitaker

Kelly Reilly-Nicole Maggen

Bruce Greenwood-Charlie Anderson

Don Cheadle-Hugh Lang

John Goodman-Harling Mays

Nadine Velazquez-Katerina Marquez

Tamara Tunie-Margaret Thomason

Brian Geraghty-Ken Evans

Melissa Leo-Ellen Block

Garcelle Beauvais-Deana Whitaker

Justin Martin-Will Whitaker

Directed by Robert Zemeckis

Denzel Washington stars as an alcoholic airline pilot in Robert Zemeckis' latest film, "Flight."

Denzel Washington has held many jobs. He's been a Civil War soldier, a hardline human rights activist, an FBI agent, a football coach, a corrupt narcotics detective, a burnt-out bodyguard, a drug lord, an MTA transit dispatcher, a railroad engineer, and finally an airline pilot in director Robert Zemeckis' latest film, "Flight." While he may have had a few critical duds over his 30-plus-year career, there's no disputing the fact that Washington is an outstanding actor who consistently delivers a compelling performance even in his worst films. "Flight" marks Zemeckis' return to live-action filmmaking since 2000's "Cast Away" after spending the past decade focusing solely on motion capture computer animation with films like 2004's "The Polar Express," 2007's "Beowulf," and 2009's "A Christmas Carol," all of which received mixed to lukewarm reviews. He's certainly capable of making a great film ("Back to the Future" anyone?) but "Flight" is a serious misfire from Zemeckis as it features a wholly unsympathetic protagonist, a meandering pace, and a sudden shift in tone in the last ten minutes that completely derails the film despite Washington's excellent performance. 

After a night of booze, sex and drugs, airline pilot Captain William 'Whip' Whitaker (Denzel Washington) wakes up in his Orlando hotel room with flight attendant Katerina Marquez (Nadine Velazquez) with a major hangover. He snorts a line of cocaine to wake up before boarding SouthJet Air Flight 227 to Atlanta, Georgia. Due to a severe rainstorm, the plane experiences heavy turbulence during take-off but Whitaker manages to push through by speeding up while continuing to climb. He switches control over to his co-pilot Ken Evans (Brian Geraghty) and takes a nap after mixing himself a screwdriver (orange juice spiked with vodka). Approaching their destination, a sudden jolt awakens Whitaker as the plane goes into a steep dive. Springing to action, he performs a risky maneuver by rolling the plane upside down, which stabilizes and slows its descent. Whitaker flips it right-side-up again and maintains a glide despite total engine failure. The plane crash-lands into an open field, knocking Whitaker out. Pulled from the wreckage, Whitaker wakes up in a hospital and is greeted by old friend Charlie Anderson (Bruce Greenwood), a representative of the airline's pilots union. Anderson reveals to him that there were only six casualties with ninety-six surviving. Among those lost was Katerina. Although hailed as a hero, Whitaker finds himself the subject of an investigation by the NTSB (National Transportation Safety Board) as questions begin to arise on what really happened on Flight 227. 

"Flight" is being advertised by Paramount Pictures as an 'action-packed mystery thriller' but it is actually a character drama/morality play…and not a very good one. The first thirty minutes of the film are undoubtedly the best as it opens to the gratuitous nude form of Nadine Velazquez walking around a hotel room while Washington's Whip Whitaker argues with his ex-wife (Garcelle Beauvais) on the phone. After a nerve-wracking take-off, there's a short lull before the plane suddenly goes into a steep dive, leading to an intense and even panic-inducing sequence where Whitaker pulls a miraculous 'Sully' Sullenberger, yelling out a series of instructions while keeping his cool. It's a tightly-edited scene, even if Zemeckis' camera largely stays within the confines of the cockpit. The actual crash happens off-screen and is only shown in full as part of a news broadcast. Unfortunately, the film then nosedives into a meandering melodrama as we're treated to repeated scenarios of Whitaker trying to beat his alcohol addiction but always failing at the first sign of stress. A romance also develops between Whitaker and a recovering heroin addict named Nicole (Kelly Reilly) yet it feels shoehorned in and adds little to the story. 

The main character is not especially likable or sympathetic, not because he's a drunk and refuses to get help but because he's a selfish bastard. During a funeral for Katerina, Whitaker has the gall to ask one of the flight attendants he saved to lie for him during the inquiry. At times, the film can get laughably preachy; Whitaker's visit to his co-pilot Ken Evans at the hospital devolves into a farce as his wife Sheila (Bethany Anne Lind) repeatedly says 'Praise Jesus!' as if she were possessed. However, the last fifteen minutes of "Flight" completely jumps the shark as the film becomes a cheesy afterschool special where Whitaker has a sudden epiphany when asked if Katerina was an alcoholic. It begins with a contrived scenario where the hotel room next to his is unlocked, allowing Whitaker to raid the mini-bar. Charlie and Whitaker's lawyer Hugh Lang (Don Cheadle) find the pilot passed out in the bathroom and wakes him from his drunken stupor by giving him cocaine, which Whitaker happily snorts in a scene that is supposed to be funny but is not. During the inquiry by the NTSB, Whitaker sees a photo of Katerina and overwhelmed with emotion, admits that he is an alcoholic. It's a completely unrealistic shift given what we've seen for the past two hours. "Flight" could've been a compelling exploration of one man's attempt to overcome his vices but the heavy-handed direction and the slow pacing just ruins the film, which is disappointing given the level of talent involved. 

Denzel Washington manages to deliver another fine performance despite the mediocrity surrounding him. Convincingly unsympathetic, he fills Whitaker with an inflated ego even as he is consumed by his demons. It's a foregone conclusion that Washington will receive a nomination at next year's Academy Awards, although his chances of winning are slim. The rest of the supporting cast is given very little to do. Kelly Reilly is one-note as Whitaker's love interest while Bruce Greenwood and Don Cheadle are reduced to running around trying to keep the pilot on a tight leash with his alcoholism. John Goodman also pops up as drug dealer Harling Mays, a role that is played for laughs but just comes off as awkward and out of place, as if he just waltzed in from a completely different film. 

"Flight" was released on November 2, 2012 to largely positive reviews with 77% on Rotten Tomatoes. Critics found it to be 'a thoughtful and provocative character study propelled by a compelling performance from Denzel Washington.' While I share the same sentiment about Washington, I cannot see this film as 'thoughtful' or 'provocative.' More like 'melodramatic' and 'preachy.' Although it debuted to only 1884 theaters, the film managed to pull in $24.9 million over opening weekend, a testament of Washington's audience appeal. I really wanted to like "Flight" but Zemeckis' melodramatic approach reduces the film into an uninspired, pontificating life lesson. This is by far one of the biggest disappointments of 2012.

Final Rating: 2.5 out of 5

"Nobody could've landed that plane like I did."

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The Perks of Being a Wallflower Review

Rated PG-13 (Mature Thematic Material, Drug and Alcohol Use, Sexual Content including References, and a Fight—All involving Teens)

Running Time: 1 Hour & 42 Minutes

Cast-

Logan Lerman-Charlie Kelmeckis

Emma Watson-Sam

Ezra Miller-Patrick

Mae Whitman-Mary Elizabeth

Johnny Simmons-Brad

Erin Wilhelmi-Alice

Adam Hagenbuch-Bob

Nina Dobrev-Candace Kelmeckis

Zane Holtz-Chris Kelmeckis

Reece Thompson-Craig

Nicholas Braun-Ponytail Derek

Paul Rudd-Mr. Anderson

Kate Walsh-Charlie's Mother

Dylan McDermott-Charlie's Father

Melanie Lynskey-Aunt Helen

Joan Cusack-Dr. Burton

Directed by Stephen Chbosky

Logan Lerman and Emma Watson star in "The Perks of Being a Wallflower," one of the best coming-of-age films I've seen.

My best friend, who is 24 like me, mentioned that he now gets backaches when sitting in front of the computer for too long. 'We're old,' I responded. Hell, I can even spot a few grey hairs whenever I look at myself in the mirror. What's ironic is that it's only been six years since I graduated high school and yet I still feel like that awkward kid who overcompensates by behaving like a total clown in front of his classmates (and teachers!). Of course, being awkward just comes with the territory of being a teenager and that's what writer/director Stephen Chbosky captures in his sophomore effort, "The Perks of Being a Wallflower," based on his own novel published in 1999. Chbosky's first film was the independent comedy "The Four Corners of the World," which was shown on the Sundance Channel in 1995 but his most popular work (besides his novel) was the short-lived CBS television series "Jericho," on which he served as co-creator, writer, and executive producer. He also wrote the screenplay for 2005's "Rent," based on the Broadway rock musical of the same name. Adapting his own novel must've been a dream come true for Chbosky and he proves himself up to the task as "The Perks of Being a Wallflower" is one of the most sincere coming-of-age films I've seen thanks to its honest performances from its talented leading cast. 

Set in 1991 in Pittsburgh, Pennsylvania, shy and introverted fifteen-year-old Charlie Kelmeckis (Logan Lerman) is nervous about beginning his freshman year in high school. Writing to an anonymous person dubbed only as 'Friend,' Charlie reveals that he had a mental breakdown the year before. His first day of school does not go well as he ends up eating lunch alone and gets bullied by several of his peers. He does manage to make a connection with his English teacher, Mr. Anderson (Paul Rudd), although Charlie is too self-conscious to participate in class. During shop class, Charlie encounters a senior named Patrick (Ezra Miller) and is impressed when he stands up to their sarcastic teacher. Returning home, he pretends to have had a good first day as to not worry his parents (Kate Walsh, Dylan McDermott) and sister (Nina Dobrev) any more than he has to. Attending a football game alone, Charlie strikes up a conversation with Patrick, and is later joined by his stepsister Sam (Emma Watson). The stepsiblings greet Charlie warmly, taking him to a local diner and driving him back home. When Charlie reveals that his best friend Michael committed suicide the May before while high from eating brownies filled with marijuana, Sam and Patrick decide to induct him into their circle of friends made up of similar social misfits, or 'wallflowers.' Introduced to a whole new world of experiences, Charlie's demeanor improves as he bonds with his new friends over their eccentricities but the past soon catches up to him and his life begins to spiral out of control. 

"The Perks of Being a Wallflower" is a story of firsts as Charlie finds himself experiencing all these new sensations and feelings that come with being a teenager. It's not exactly reinventing the wheel as a coming-of-age tale but what sets the film apart is that it manages to not lose sight of the story's heart even as it goes into darker territory, where it approaches taboo topics with a subtlety that doesn't feel handicapped by its PG-13 rating. I will admit that I have not read the book but that in no way diminished the film in my eyes because I found myself relating to the characters more than I thought I would. While I haven't suffered a mental breakdown (so far), Charlie reminded me of myself in many ways as I used to dread meeting new people (something I've partially outgrown) and during social gatherings, I would actually be that one person standing alone with my back against the wall. I also identified with Patrick, who is the film's standout character, always cracking jokes without any thought of what others think of him. Despite the heavy material, Chbosky recognizes that high school is not all about mopey angst and he infuses the dialogue with an energetic wit, referring to Sam and Patrick as the 'island of misfit toys.' One of the more hilarious scenes is when everyone (except Charlie, who is sitting with the audience) acts out "The Rocky Horror Picture Show" while it plays in the background, with Patrick as the cross-dressing Dr. Frank-N-Furter, the role made famous by Tim Curry, and Sam as Janet, originally played by Susan Sarandon. It's a reminder of all the crazy stunts we all did in high school but where the film succeeds is in capturing that part of our lives where you're not a child anymore yet also not quite an adult. 

All the characters are striving for acceptance and Chbosky handles their struggles in a way that feels honest and sincere. Without the guidance that comes with hard-earned wisdom, they all flounder around, blindly accepting the 'love [they] think [they] deserve' (I sure could've used that advice when I was fifteen). It's clear that J.D. Salinger's "The Catcher in the Rye" influenced Chbosky as a writer but there's more of a sense of optimism here because the film celebrates the deep bonds we form in high school, either through study groups or having similar tastes in music. Despite being set in 1991, the story has a timeless feel that will resonate with not only teenagers but adults as well, although watching the characters wonder about the 'Tunnel Song' (actually David Bowie's Heroes) was a source of amusement since nowadays you could simply look it up on the internet…on your phone! Mixtapes may have gone out of style but the time and effort needed to make them spoke volumes about how much you cared for that person. The eclectic soundtrack adds a lot of flavor to the film and the aforementioned Heroes relates to the characters feeling of invincibility, that nothing can touch them. 'We are infinite' indeed. 

The cast in "The Perks of Being a Wallflower" is wonderful and the chemistry among them is just perfect. This is the breakthrough performance for Logan Lerman, who embodies all of Charlie's insecurities and doubts yet also captures his innocence and wide-eyed wonder. Watching him struggle to be understood and accepted made me emotional at times, which I did not expect. For many, Emma Watson will be the main draw and it's an attempt by the young actress to separate herself from Hermione Granger in the "Harry Potter" films. Her American accent is not as seamless but she excels as Sam, exuding a warm personality and a vulnerability that is both heartfelt and genuine. It's easily her strongest role to date, a fully nuanced performance that shows how far she's come. Stealing the film is Ezra Miller as Patrick, whose wise-cracking charisma helps defuse some of the heavier moments without dulling his dramatic flair.  The adult cast is made up of familiar faces but are largely underutilized. Only Paul Rudd as a sympathetic English teacher made an impression. Ironically, my favorite teachers in high school all taught English. 

Premiering at this year's Toronto International Film Festival before being released on September 21, 2012, "The Perks of Being a Wallflower" has received positive reviews with 85% on Rotten Tomatoes. Critics hailed it as 'a heartfelt and sincere adaptation that's bolstered by strong lead performances.' The film has received a number of accolades but unfortunately, it's unlikely to really gain much traction as we head into awards season. With so many good films released in the past few months, it's understandable that some will get lost in the shuffle. "The Perks of Being a Wallflower" is one of the truest coming-of-age films I've seen, one that captures the nostalgia of being a teenager with impeccable detail and captivating honesty, even if it doesn't exactly break any new ground.

Final Rating: 4.5 out of 5

"I can see it. This one moment when you know you're not a sad story. You are alive, and you stand up and see the lights on the buildings and everything that makes you wonder. And you're listening to that song and that drive with the people you love most in this world. And in this moment I swear, we are infinite."

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Rust and Bone (De Rouille et D'os) Review

Rated R (Strong Sexual Content, Brief Graphic Nudity, Some Violence and Language)

Running Time: 2 hours & 2 Minutes

Cast-

Marion Cotillard-Stéphanie

Matthias Schoenaerts-Alain 'Ali' van Versch

Armand Verdure-Sam

Corinne Masiero-Anna

Jean-Michel Correia-Richard

Bouli Lanners-Martial

Yannick Choirat-Simon

Céline Sallette-Louise

Mourad Frarema-Foued

Directed by Jacques Audiard

Marion Cotillard delivers a powerful performance full of raw emotion in Jacques Audiard's latest film, "Rust and Bone."

The recent tragedy in the Sandy Hook village of Newtown, Connecticut serves as a reminder of how fragile life can be. You could be alive one day and gone the next yet the one thing you shouldn't do, no matter how hard it gets, is despair. Physical and emotional trauma is part of living but how you deal with these traumas is what defines you as a person. This is "Rust and Bone" in a nutshell, the latest film from French director Jacques Audiard starring Marion Cotillard and Matthias Schoenaerts. Making his debut in 1994 with "See How They Fall," Audiard is one of Europe's most critically-acclaimed directors, a reputation he solidified with 2009's prison melodrama "A Prophet" (97% on Rotten Tomatoes). This is my first exposure to Audiard's work and what initially drew me toward "Rust and Bone" was the intriguing premise; the fact that Cotillard also starred in the film was a big plus, as she is one of my favorite actresses. Despite its unconvincing love story and clichéd happy ending, "Rust and Bone" manages to overcome its flaws on the strength of its performances, displaying a raw tenderness without devolving into mawkish sentimentalism. 

Fleeing Belgium with his five-year-old son Sam (Armand Verdure), Alain 'Ali' van Versch (Matthias Schoenaerts) arrives in Antibes, southern France to live with his estranged sister Anna (Corinne Masiero) and her husband Richard (Jean-Michel Correia). While working as a bouncer at the Annexe nightclub one night, Ali encounters Stéphanie (Marion Cotillard), whom he rescues from a brawl. He drives her back to the apartment she shares with her overly controlling boyfriend Simon (Yannick Choirat) and leaves his number in case of any trouble she might run into. Ali eventually reconnects with Stéphanie when she calls him out of the blue after suffering a traumatic freak accident at her job in Marineland that leaves her without legs. The two eventually form a strange bond built on casual sex but their relationship is strained when Ali continues his womanizing ways. Meanwhile, Ali encounters a shady character named Martial (Bouli Lanners) during his job as a night security guard. He agrees to help him install illegal security cameras in various stores (allowing supervisors to spy on their employees) and in return, Martial introduces Ali to an underground kickboxing group to earn a little extra cash. Neglecting his son to pursue his dream as a kickboxer, a near-fatal incident forces Ali to reevaluate his responsibilities as a father and come to terms with what truly matters in his life. 

Loosely based on Craig Davidson's 2005 short story anthology of the same name, "Rust and Bone" is an unusual romance film, one that would've been overly sappy if it were made in Hollywood but by stripping the two main characters to their barest emotions (hence the title), Audiard makes their struggles that much more real even when their relationship fails to convince. When we first meet Ali and his five-year-old son Sam, the two are hitchhiking to Antibes and eventually board a train for the duration of their trip. Homeless with no money, Ali rifles through trash to keep his son from going hungry and does not come off as very sympathetic or likable. He steals a camera at an electronics store and rushes out without even a glance at his son, who is standing in the sidewalk with a look of confusion on his face. In fact, Ali frequently neglects Sam and his treatment towards him borders on abuse at times, which makes it hard to connect with Ali on an emotional level. However, he does care for his son despite being an all-around terrible father. Stéphanie comes into play during a chance encounter at the nightclub where Ali works as a bouncer. Unfortunately, it's never entirely clear why she reaches out to him in the first place after the terrible accident (shown without resorting to gore) that leaves her legless. Ali is far from a gentleman, treating women as little more than objects to f*ck so it left me puzzled as to what exactly Stéphanie saw in him. There's certainly a primal attraction between them and both are handicapped in their own ways (one physical, the other emotional) but the more we spend time with Ali, the harder it is to see these two having a future together. Little by little, Ali helps Stéphanie regain her lost confidence and it's just a shame that she's not the story's main focus. The emotions that she goes through are the rawest as her entire world comes crashing down when she discovers that her legs are gone. The moment where she realizes that life can still be good despite her extreme circumstances is one of the most affecting scenes in the film, and it's all set to Katy Perry's Firework! Audiard's music choices can seem a little strange (Love Shack, anyone?) but it works in showing her gradual recovery. Stéphanie eventually becomes Ali's fight manager when Martial runs into trouble with the law, which mirrors her initial role as a trainer of killer whales. After a near-fatal incident that leaves Sam trapped in a coma for three hours, Ali realizes (finally!) his responsibilities as a father but the change comes about so suddenly, leading to a happy ending that feels unearned and forced. 

"Rust and Bone" is undone by a fragmented narrative and inconsistent characters yet the emotions remain very real thanks to the excellent performances from its two leads. Marion Cotillard is amazing as Stéphanie and the actress' beauty still manages to shine through even without makeup. She lends her character an inner strength that is crushed in the wake of her tragedy yet Audiard doesn't turn Stéphanie into a victim. Ali may have been the catalyst but every step she takes is on her own terms, allowing her to emerge stronger than ever and accept that she can still lead a fulfilling life. The visual effects used to remove Cotillard's legs are seamless and you quickly forget that it's all a digital trick. He may come off as a total meathead yet Matthias Schoenaerts does meathead well, even if you want to punch the guy in the face at times. Ali is a savage brute that lives to fight and f*ck and Audiard positions him as the type of man that needs to be tamed by a good woman. It would've worked too if we didn't already spend two hours watching him flail around like a Neanderthal but that's not a knock against Schoenaerts as an actor; the script just fails to make a case as to why we should about him. 

Premiering back in May at the 65th Cannes Film Festival and in limited release since November 23, 2012, "Rust and Bone" has received positive reviews with 81% on Rotten Tomatoes. I expected it to be a shoo-in on the nomination list for Best Foreign Language Film at the 85th Academy Awards but France instead chose "The Intouchables," a film that's not as artistically ambitious yet has more wide appeal. It remains to be seen whether Cotillard will land a spot for Best Actress; I hope she does though as a way to at least recognize her performance even if she doesn't win. In the meantime, "Rust and Bone" currently has two Golden Globe nominations but that awards show is really just an excuse for everyone in Hollywood to get drunk while receiving a few statues for their time. Although there are some stumbles along the way, the raw emotional power in "Rust and Bone" remains undiminished and I still wholeheartedly recommend this film, if only for Marion Cotillard's performance.

Final Rating: 3.5 out of 5

"In a human hand there are 27 bones. If you break an arm or a leg, the bone grows back together by calcification. Your arm or leg can therefore become even stronger. But with a hand fracture, it will never get quite right. In every battle and with each slap you will think of it. You'll be careful. But once in a while the pain will come back. Like needles. Like glass splinters."

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Les Misérables Review

Rated PG-13 (Suggestive and Sexual Material, Violence and Thematic Elements)

Running Time: 2 Hours & 37 Minutes

Cast-

Hugh Jackman-Jean Valjean

Russell Crowe-Inspector Javert

Anne Hathaway-Fantine

Amanda Seyfried-Cosette (Isabelle Allen-Young Cosette)

Eddie Redmayne-Marius Pontmercy

Samantha Barks-Éponine Thénardier

Sacha Baron Cohen-Thénardier

Helena Bonham Carter-Madame Thénardier

Aaron Tveit-Enjolras

Colm Wilkinson-Charles-François-Bienvenu Myriel, Bishop of Digne

Daniel Huttlestone-Gavroche

Directed by Tom Hooper

Will someone just give Anne Hathaway an Academy Award already?!

Men are often discouraged from crying at an early age because it's considered to be a sign of weakness and 'un-masculine' but I feel a real man is one who isn't afraid to show his emotions, regardless of what society or culture dictates. As an amateur film critic, I've come across numerous instances where I just couldn't help but feel a lump in my throat yet none of it compares to the experience of watching director Tom Hooper's latest film, "Les Misérables," based upon the musical of the same name by Alain Boublil and Claude-Michel Schönberg, which is in turn based on Victor Hugo's 1862 magnum opus. Widely considered as one of the greatest novels ever written, Les Misérables has been adapted into every form imaginable while the musical (which debuted in London in 1985) ranks as the fourth longest running Broadway show in history. Plans for a film adaptation of the musical stretched as far back as 1988 but it was mired in development hell until 2005. During that time, three major adaptations of Les Misérables were released: Claude Lelouch's 1995 re-imagination (set in France during the first half of the twentieth century), Bille August's 1998 version based on the novel starring Liam Neeson and Geoffrey Rush, and the 2000 French mini-series from Josée Dayan. After winning Best Director and Best Picture at the 83rd Academy Awards for "The King's Speech," Hooper took on "Les Misérables" as his next project, signing on in 2011 with production beginning the following year (he was also offered to direct "Iron Man 3" but declined). While the film may feel bloated at times, "Les Misérables" still stands as one of the most moving cinematic experiences I've ever seen, a grandiose epic that will sweep you away with its raw, emotional performances. 

In 1815 Toulon, France, Jean Valjean (Hugh Jackman), otherwise known as 'Prisoner 24601,' is released on parole by the policeman Javert (Russell Crowe) after spending nineteen years in prison (five for stealing a loaf of bread for his starving sister and her family, and the rest for his repeated escape attempts). Marked as an ex-convict due to his yellow ticket-of-leave, Valjean is unable to find work and sleeps on the street, bitter and angry. Myriel, the Bishop of Digne (Colm Wilkinson), offers him food and a warm bed to sleep in but Valjean instead runs off with the Bishop's silverware. When the police arrest him, the Bishop pretends that he has given the silverware to Valjean and insists he take the two candlesticks as well. Taken aback by his kindness, Valjean breaks his parole and vows to live his life as an honest man. Eight years later, Valjean has re-invented himself as 'Monsieur Madeleine' and is now a wealthy factory owner and mayor of Montreuil-sur-Mer. One of his employees is Fantine (Anne Hathaway), a seamstress struggling to earn a living but when a fight breaks out between her and the other workers due to the discovery of her illegitimate daughter (Isabelle Allen), the foreman throws her out onto the street. Desperate for money, Fantine sells her hair and two front teeth to support her daughter. She resorts to prostitution but when she attacks an abusive customer, Javert (now an Inspector stationed at Montreuil-sur-Mer) arrests her. Valjean arrives and realizing that he was indirectly responsible for her ruination, orders Javert to release her and takes her to the hospital. As Fantine lies on her deathbed, Valjean promises to look after her daughter Cosette. Learning of his true identity, Javert attempts to arrest Valjean for breaking his parole but he manages to slip away. Valjean travels to Montfermeil and rescues Cosette from the greedy Thénardiers (Sacha Baron Cohen and Helena Bonham Carter). Ten years later in Paris, Cosette (Amanda Seyfried), now a beautiful young woman, catches the eye of Marius Pontmercy (Eddie Redmayne). However, Éponine (Samantha Barks), the destitute daughter of the Thénardiers, is also in love with Marius but he sees her as only a friend. Marius is part of a student revolutionary group called the 'Friends of the ABC' led by the charismatic Enjolras (Aaron Tveit). Valjean and Javert's fates become intertwined on the eve of the June Rebellion. 

Go big or go home; that's the approach Tom Hooper takes with "Les Misérables," opening the film with a spectacular scene set in 1815 Toulon, where a group of haggard prisoners are pulling a large ship into a shipyard while singing Look Down under the watchful eye of Javert. The production design, from the sets to the costume, is incredibly ambitious and is just beautiful to behold. Although the running time is already 2 hours and 37 minutes, the film can still feel somewhat rushed and overstuffed with its numerous themes and ensemble cast, leaving some of the characters underdeveloped. At its core, "Les Misérables" is a story of redemption and second chances, with its main character Jean Valjean trying to redeem himself in the eyes of God. However, he is constantly chased by Inspector Javert, who is convinced that a criminal like Valjean will never change. There's a certain irony at play here because in order to become an honest man, Valjean intentionally breaks his parole. He lives a moral life by breaking the law yet Javert sees justice as an absolute; to him being moral means following the law without question. Although positioned as an antagonist, Javert is not evil as he is only doing what he feels is right and it's more appropriate to call him misguided. The film (and by extension, the novel) also deals with inequality and social injustice. Seeing the citizens of Paris protest and throw rotten food at the wealthy reminded me of Occupy Wall Street (all the events lead up to the ill-fated June Rebellion or Paris Uprising of 1832). Again, it's ironic as Valjean only turned to crime because his sister was starving and all prison did was fuel his hatred. Fantine's extreme suffering is due to a cruel society where the men take advantage of her without consequences while the women condemn her for it. "Les Misérables" is also a romance, which the script unfortunately short changes as Cosette and Marius spend very little screen-time together. The weighty story and large number of characters can make the film feel bloated yet audiences won't care as they're seeing it for the music. While it's labeled as a musical, calling it that is a bit of a misnomer as it's really an opera, with all the dialogue being sung…live! Normally, a musical's soundtrack is pre-recorded in advance and then played back on set for the cast to lip-sync to. Hooper instead had everyone sing live on set while piano accompaniments were played through earpieces as a guide, with the orchestral accompaniment recorded during post-production. This is a brilliant move on his part because it lends a sense of realness and passion to the performances. 

I have to say, no other film has made me want to break out in tears like "Les Misérables." The high point is when Anne Hathaway belts out I Dreamed a Dream and you can feel her anger and desperation as she sings of Fantine's loss of innocence and shattered hopes. It's so beautifully sung and so heartbreaking to hear that just typing about it makes me emotional! Samantha Barks, who reprises her role as Éponine from the West End production (2010 to 2011) and the 25th Anniversary concert, is just as impressive, capturing the agony of unrequited love during her solo, On My Own. Eddie Redmayne (from 2011's "My Week with Marilyn") came as a total surprise, his vocals invoking the youthful idealism and young love that embodies Marius. His rendition of Empty Chairs at Empty Tables really tugs at your heartstrings. As for the rest of the cast, Jean Valjean is a role that Hugh Jackman was born to play. He has a powerful voice that fully conveys Valjean's sense of guilt and his longing for redemption. Although a capable actor in his own right, Russell Crowe unfortunately never feels comfortable with all the sung dialogue and his solos lack the conviction that is needed for Javert. That's not to say he's terrible but Crowe is the sole weak link in an otherwise perfect cast. Cosette is a rather dull character yet Amanda Seyfried manages to channel her character's sweet innocence through her vocals. Finally, there's Sacha Baron Cohen and Helena Bonham Carter as the thieving Thénardiers, who essentially serve as comic relief. Popping up throughout the film from time to time, their presence brings a sense of levity and keeps the tone from being too bleak. Cohen and Carter's duet of Master of the House, which includes a drunken Santa Claus, drew a lot of laughs from the audience. There are also a number of cameos that pay homage to the novel's numerous stage productions, including the original Jean Valjean, Colm Wilkinson, as the Bishop of Digne and Daniel Huttlestone reprising his role as streetwise urchin Gavroche from the West End production. 

To be released on December 25, 2012, "Les Misérables" has received surprisingly lukewarm reviews with 71% on Rotten Tomatoes. Critics found it 'impeccably mounted but occasionally bombastic, [the film] largely succeeds thanks to bravura performances from its distinguished cast.' Some have found Hooper's use of close-ups too repetitive but I thought it made the music much more intimate, something that cannot be replicated on a stage. This was one of those rare screenings where I had to pay the ticket price ($14.00) to see it early, which I gladly did. While I did overhear some negative comments, the audience loved the film, with the couple behind me bawling like babies! Given the level of anticipation, I foresee a lucrative run at the box office and Hathaway is already a lock for Best Supporting Actress; it truly is a career-defining performance. "Les Misérables" is a bombastic film and yet its grandiosity suits it just fine. This is by far one of the best musicals I've seen and one of the best films of 2012.

Film Rating: 4.5 out of 5

"I had a dream my life would be / So much different from this hell I'm living / So different now from what it seemed / Now life has killed / The dream…I dreamed."

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Zero Dark Thirty Review

Rated R (Strong Violence including Brutal Disturbing Images, and for Language)

Running Time: 2 Hours & 37 Minutes

Cast-

Jessica Chastain-Maya

Jason Clarke-Dan

Kyle Chandler-Joseph Bradley

Jennifer Ehle-Jessica

Harold Perrineau-Jack

Édgar Ramírez-Larry

Mark Duplass-Steve

Mark Strong-George

Joel Edgerton-Patrick (Squadron Team Leader)

Chris Pratt-Justin (DEVGRU)

James Gandolfini-CIA Director Leon Panetta

Directed by Kathryn Bigelow

This is the face of the woman who killed Osama bin Laden.

September 11, 2001. It was a day like any other but the world instantly became a more dangerous place when American Airlines Flight 11 and United Airlines Flight 175 were hijacked by terrorists belonging to the Islamist militant group Al-Qaeda, who deliberately crashed both planes into the North and South towers of the World Trade Center complex in the heart of New York City. Both towers collapsed within two hours; in addition, the hijackers also crashed American Airlines Flight 77 into the Pentagon in Arlington, Virginia but United Airlines Flight 93 failed to reach its target (believed to have been the United States Capital building) thanks to the heroic actions of the passengers, who attempted to retake control of the plane. 2996 people perished on that day. When the attack happened, my twelve-year-old self was sitting in English class at I.S. 187. The nineteen hijackers were quickly linked to Al-Qaeda but it wasn't until 2004 that the group's founder, Osama bin Laden, claimed responsibility in a taped statement. 9/11 marked the end of American dominance and a pervading sense of cynicism has gripped the country (and the world) since that terrible day, reflected not only in our politics but also in our society and culture as well. In 2009, director Kathryn Bigelow, working with journalist-turned-screenwriter Mark Boal, released "The Hurt Locker" to near-universal acclaim (97% on Rotten Tomatoes). Set during the Iraq War, the film follows a three-man Explosive Ordnance Disposal (EOD) team and examines that war may demoralize most people but for others, 'the rush of battle is a potent and often lethal addiction, for war is a drug' (from 2002's War Is a Force That Gives Us Meaning by Chris Hedges). Proving that her 2010 Academy Award win for Best Director was no fluke, Bigelow's latest film, "Zero Dark Thirty," is a tautly paced, captivating, and disturbing look at America's decade-long manhunt for bin Laden. Anchored by a superb performance from a stoic Jessica Chastain, it's still too soon to name it the best film of 2012 but it certainly ranks among the Top Five. 

Two years after 9/11, a rookie CIA agent named Maya (Jessica Chastain) is sent to a 'black site' located at an undisclosed location in Pakistan to aid in the search for Osama bin Laden. Her first day on the job is spent observing fellow agent Dan (Jason Clarke) as he brutally interrogates a suspect named Ammar (Reda Kateb), who is believed to have information on one of bin Laden's couriers. Burnt out, Dan soon returns to Langley, Virginia to take a desk job while Maya's supervisor, Joseph Bradley (Kyle Chandler), is made a scapegoat when the agency's use of torture techniques is made public. Left as the only senior agent on the mission, Maya spends the next eight years chasing down every lead and piece of intelligence as her hunt for bin Laden turns into an all-consuming obsession. 

'I'm gonna smoke everybody involved in this op. And then I'm gonna kill bin Laden,' Maya coldly remarks in the aftermath of the Camp Chapman suicide attack that left nine dead, seven of them CIA officers. Initially, Bigelow and Boal wanted to make a film that focused on the 2001 Battle of Tora Bora, which took place in a cave complex situated in the White Mountains of eastern Afghanistan, near the Khyber Pass. Bin Laden was suspected to be hiding out there but the U.S.-led coalition forces failed to capture or kill him. The news of SEAL Team Six's successful raid on bin Laden's compound in Abbottabad, Pakistan on May 2, 2011 prompted the filmmakers to start from scratch just when production was about to begin but much of the research already done still applied. "Zero Dark Thirty" opens in complete silence; the title card reveals the date, September 11, 2001, over a black screen. Frantic radio transmissions and 911 phone calls are heard for a few minutes before it cuts to Dan torturing captured terrorist Ammar for information while a masked figure watches. It's a brutal scene that has Ammar being waterboarded yet he refuses to talk, defiantly asserting that 'jihad will go on for a hundred years.' A cavalier Dan explains that 'in the end, bro, everybody breaks. Its biology.' When I first heard that a film about the hunt for bin Laden was being made, I feared that it would be little more than a propaganda piece espousing the gung-ho 'heroics' of America (like February's "Act of Valor") but "Zero Dark Thirty" is set on a different battlefield, one that takes no sides and is defined by moral ambiguity. An impersonal behind-the-scenes look at the decade-long effort to capture bin Laden, Bigelow creates a heightened sense of realism and although you are aware of some embellishments, the verisimilitude in the film is nothing short of astounding. 

Despite the 2 hour and 37 minute running time, no scene feels wasted thanks to its taut pacing, with Bigelow managing to wring quite a lot of suspense even when we already know how it all ends. At the center of the film's story (divided into chapters) is Maya and while we know that she was recruited to the CIA straight out of high school and that she is willing to do whatever it takes to find bin Laden, the character remains a mystery. When a co-worker asks her if she has any friends, Maya remains silent. Arriving in Pakistan in 2003 at an undisclosed 'black site,' Maya is visibly uncomfortable as she observes Dan torturing Ammar. The sleep-deprived and humiliated terrorist begs her to help him but a shaken Maya regains her composure and icily replies, 'You can help yourself by being truthful.' Throughout her eight-year search for Al-Qaeda's leader, Maya slowly grows from a green CIA agent into a force of nature, a female Captain Ahab defined only by her obsession. It presents an interesting dichotomy of how women are perceived in the work place and in some ways the character is a stand-in for Bigelow herself. "Zero Dark Thirty" remains neutral on whether America's actions were justified and this is evident during the last thirty minutes when we are finally treated to SEAL Team Six's raid on bin Laden's fortified compound. This is the film at its most tense, as we see the soldiers (through their green-tinted night vision goggles) taking out bin Laden's men with extreme cold precision. If any of the women get in the way, they are shot as well. There is no music and the only sound is the short burst fire of the soldiers' assault rifles. Although one of the Navy SEAL's is ecstatic over the mission's success, there is no celebration held. As the camera pans close to Maya's tearful face, there are only two questions left to ask: what's next and was it all worth it? 

There are a lot of familiar faces in the film's cast but this is entirely Jessica Chastain's show and she is just excellent. No amount of praise can do justice to her forceful performance. Maya's uncompromising determination, despite the doubts of her superiors, is what makes the film so riveting to watch. To dominate the screen and yet know so little about her is a testament to Chastain's talent. It's a foregone conclusion that she'll garner a nomination at next year's Academy Awards but she doesn't need to win; in my eyes, she is already the best actress. Jason Clarke, Kyle Chandler, Jennifer Ehle and Harold Perrineau make the most of their minor roles while Mark Strong delivers in a tense boardroom conference that has him screaming to his agents at their failure to turn up any worthy intelligence. He shouts, 'I want targets! Do your f*cking job. Give me something to kill!' Mark Duplass also pops up to add some dry humor as an analyst. Rounding out the cast is Joel Edgerton and Chris Pratt as members of SEAL Team Six. 

In limited release since December 19, 2012 (wide release on January 11, 2013), "Zero Dark Thirty" has received near-universal acclaim (like "The Hurt Locker") with 95% on Rotten Tomatoes. Critics hailed it as 'gripping, suspenseful, and brilliantly crafted…with intelligence and an eye for detail.' However, there has been a lot of controversy surrounding the film as some have accused the Obama Administration with leaking classified information but it is the torture scenes that have been garnering the most attention. In no way is Bigelow promoting torture; she instead uses it to show how the country occupied a very dark place after 9/11. To think that torture wasn't used is a naïve belief among the film's detractors. All this publicity has generated even more interest and it has already earned an impressive $229,012 at only five theaters. "Zero Dark Thirty" is an important film, one that is unafraid to ask the hard questions and hold a mirror in front of America. As the children caught in the raid loudly weep over bin Laden's dead body, you can't help but wonder if we're just perpetuating a vicious cycle.

Final Rating: 5 out of 5

"I'm gonna smoke everybody involved in this op. And then I'm gonna kill bin Laden."

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Jack Reacher Review

Rated PG-13 (Violence, Language and Some Drug Material)

Running Time: 2 Hours & 10 Minutes

Cast-

Tom Cruise-Jack Reacher

Rosamund Pike-Helen Rodin

Richard Jenkins-Alex Rodin

David Oyelowo-Detective Emerson

Werner Herzog-The Zec

Robert Duvall-Gunny Samuel Cash

Jai Courtney-Charlie

Joseph Sikora-James Barr

Alexia Fast-Sandy

Directed by Christopher McQuarrie

You don't mess with Jack Reacher!

It's amazing how fickle the public can be when it comes to celebrities. Tom Cruise has always been one of my favorite actors but his reputation was irreparably damaged after the infamous 'couch incident' seven years ago, where Cruise professed his love for then-girlfriend (and now divorced) Katie Holmes on "The Oprah Winfrey Show" by leaping around the set like a wild monkey. His association with the Church of Scientology hasn't helped but at the end of the day, none of it really matters. I am only concerned with him as an actor; what he does with his personal life does not enter the picture. Cruise has starred in a number of great films and last December, he reprised his role as IMF agent Ethan Hunt in "Mission Impossible: Ghost Protocol," which went on to achieve critical acclaim (94% on Rotten Tomatoes) and racked up an impressive $694.7 million worldwide. Paramount Pictures is clearly hoping to repeat that success with "Jack Reacher," based upon the novel One Shot from British novelist Jim Grant, better known by his pen name Lee Child. Debuting in 1997 and spanning seventeen novels (with more to come), the Jack Reacher series has proven to be quite popular, selling over 60 million copies worldwide. As for the film, Cruise delivers a suitably intense performance but "Jack Reacher" is nothing more than a generic action thriller featuring bland characters and a wildly uneven tone that borders on self-parody. Something must've been lost when translating the book to film. 

A quiet day in Pittsburgh, Pennsylvania is marred when a sniper fires six shots from a parking garage across the river and kills five random people in a public park. The police, led by Detective Emerson (David Oyelowo), quickly apprehend a suspect, an anti-social ex-military sniper named James Barr (Joseph Sikora). Emerson and tough-as-nails District Attorney Alex Rodin (Richard Jenkins) try to get Barr to sign a confession but he instead writes: 'Get Jack Reacher.' A highly-decorated former Police Major for the United States Military, Reacher (Tom Cruise) is now a drifter who lives off the grid with only the clothes on his back. Learning of Barr's actions on the news, Reacher travels to Pittsburgh to confront him but discovers that Barr has been beaten into a coma while on route to jail. Defending Barr is Rodin's daughter, Helen (Rosamund Pike), but Reacher is certain of the man's guilt as a similar incident took place during the Iraq War. However, Barr walked free due to a technicality and Reacher warned the sniper that he would come after him if he ever tried it again. Convinced by Helen to take a second look at the evidence, Reacher unravels a deadly conspiracy involving a shadowy Russian mobster known only as 'The Zec' (Werner Herzog). 

I must admit that I've never heard of Jack Reacher before Tom Cruise was cast in the role, a move that was met with an overwhelmingly negative reception from fans due to the actor's small stature. Apparently, the character in the novel is over 6 feet tall, while Cruise is only 5 feet and 7 inches. Based on the ninth novel in the series, "Jack Reacher" has a decidedly old-school feel and harkens back to the hard-boiled, vigilante crime dramas of the 1970's such as "Dirty Harry" and "Death Wish." The film opens with a chilling scene of the sniper driving to a parking garage in a white van and silently marking his targets before killing them in cold blood. It's an effective and unnerving opening that might hit too close to home for some as it may bring up memories of the Beltway sniper attacks ten years ago. Unfortunately, director/writer Christopher McQuarrie commits a serious misstep by allowing the audience to see the sniper's face. When Emerson arrests Barr, it's already clear that he was set-up as a patsy and thus, much of the suspense is gone. Not helping matters is the obvious music cues whenever Reacher discovers a new clue. The story does present an intriguing idea where people with homicidal tendencies join the military just to have a legal way of killing others. However, it's never sufficiently explored in detail with the exception of a flashback. 

The central mystery revolves around a Russian mobster called 'The Zec' (who resembles a Bond-villain reject) but it's never entirely clear what he was after. Whatever it was, it involved taking over a construction company for 'nefarious purposes.' Characters are largely one-dimensional and it tends to make the procedural elements feel like a drag as they over-explain themselves. Making a sudden entrance, Reacher remains an enigma and no explanation is given as to what made him this way and why he feels compelled to take the law into his own hands. The only comment he gives is that it 'started as an exercise and became an addiction.' He's almost like a superhero, drifting into one city after another and righting wrongs with nothing but his bare fists. While it's supposed to make him come off as tough, some of the dialogue he utters can get downright cheesy. Confronting the real sniper on the phone, Reacher vows to 'beat [him] to death, and drink [his] blood from a boot,' which just sounds unintentionally hilarious. In fact, "Jack Reacher" never nails down a proper tone as some of the humor feels out of place. An interrogation turns into a farce when the person being interrogated attempts to solicit sex and a bathroom brawl ends with two thugs knocking themselves out like the Three Stooges. McQuarrie handles the action well enough and it's in those instances that the film comes alive, like a nocturnal car chase that's backed up by Caleb Deschanel's stylish cinematography, where Pittsburgh feels like a city on the edge of chaos. It's a shame really, because there are inklings of a juicy pulp mystery in "Jack Reacher" but the inconsistent tone and muddled storytelling drags it down. 

One of the reasons the film remains watchable is Tom Cruise and while he's saddled with some shoddy dialogue, he still manages to deliver an intense performance as the stoic Jack Reacher. It's not a role that will flex his dramatic muscles but Cruise throws himself into it with a quiet determination, which should quell fan's concerns about his casting. Rosamund Pike is fine as hotshot lawyer Helen Rodin and the way the film handles the sexual tension between her and Reacher is one of the highlights as you're asking yourself will they or won't they. David Oyelowo plays it cool as Detective Emerson with Richard Jenkins lending support as Helen's estranged father. Famed German director Werner Herzog is the villain known only as 'The Zec,' who survived his imprisonment in a Russian Gulag by chewing off his own fingers. Although Herzog brings the right amount of menace, he still feels like a caricature of a Bond villain with his glass eye. 

"Jack Reacher" will be released on December 21, 2012 and the initial reviews have surprisingly been positive with 78% on Rotten Tomatoes. Several critics have called the film a guilty pleasure. Audience reaction at the advance screening I attended this past Monday appeared to be positive as well, although I feel like it had more to do with the unintentional hilarity to some of the scenes. With three other major releases (and one minor) vying for attention next week, it remains unclear whether "Jack Reacher" will break out from the pack given the hoopla surrounding Tom Cruise's casting and the underwhelming trailers. There's also the issue with the marketing. The novels may be popular but not everyone knows who Jack Reacher is so I'm betting that it'll be a midlevel hit on par with "Valkyrie" and "Knight and Day." Cruise is in fine form but "Jack Reacher" never really clicked with me. It's a well-made film from McQuarrie and is by no means terrible; it's simply just too bland and generic to warrant a full recommendation.

Final Rating: 2.5 out of 5

"There's this guy. He's a kind of cop…at least he used to be. He doesn't care about proof, he doesn't care about the law, he only cares about what's right. He knows what I did. You can't protect me. No one can."

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