The Impossible Review

Rated PG-13 (Intense Realistic Disaster Sequences, including Disturbing Injury Images and Brief Nudity)

Running Time: 1 Hour & 54 Minutes

Cast-

Naomi Watts-Maria Bennett

Ewan McGregor-Henry Bennett

Tom Holland-Lucas Bennett

Samuel Joslin-Thomas Bennett

Oaklee Pendergast-Simon Bennett

Marta Etura-Simone

Sönke Möhring-Karl

Simon Blyberg-Ferdinand

Christopher Alan Byrd-Dieter

John Albasiny-Oliver Tudpole

Johan Sundberg-Daniel

Jan Roland Sundberg-Daniel's Father

Douglas Johansson-Mr. Benstrom

Emilio Riccardi-Morten Benstrom

Geraldine Chaplin-Old Woman

Ploy Jindachote-Caregiver

Directed by Juan Antonio Bayona

Naomi Watts delivers a powerful performance in "The Impossible," a dramatization of one's family battle for survival during the 2004 Indian Ocean tsunami.

Despite all the tragedies our world faces every day, no other force on Earth can compare to the catastrophic and indiscriminate wrath of Mother Nature. On the morning of December 26, 2004, a massive tsunami (the result of an undersea megathrust earthquake with a magnitude of 8.8) struck the coasts of Southeast Asia, leaving behind untold amounts of property and infrastructure damage in its wake as well as over 280,000 casualties, with a further 1.7 million displaced. Given Hollywood's penchant for wanton destruction with films like "The Day After Tomorrow" and "2012," it's easy to become desensitized since we know in the back of our minds that what we're seeing on-screen isn't real but director Juan Antonio Bayona's "The Impossible" shatters that fantasy in this dramatization of one family's battle for survival in the aftermath of the Indian Ocean tsunami. This is actually Bayona's second film; his first was the 2007 Spanish horror flick "The Orphanage," which was co-produced by Guillermo del Toro and received a ten-minute ovation from the audience when it premiered at the 60th Cannes Film Festival. Emotionally harrowing and powerfully acted, "The Impossible" is directed with a raw, visceral intensity by Bayona and serves as a terrifyingly harsh reminder of the fragility of our human lives. 

A British expatriate couple living in Japan, Maria (Naomi Watts) and Henry Bennett (Ewan McGregor) are taking their kids, Lucas (Tom Holland), Thomas (Samuel Joslin), and Simon (Oaklee Pendergast), on a much needed Christmas vacation in Thailand. Landing in Khao Lak on Christmas Eve, the family stays at a newly renovated resort overlooking the beach but the Bennett's idyllic holiday is shattered on the morning of December 26, 2004 when a devastating tsunami strikes the coast. With the resort decimated by the initial tidal wave, Maria fights for her life as she is thrashed around by the surging waters and debris. She manages to reach Lucas and the two catch their breath while holding onto an uprooted palm tree. Severely injured, Maria comes to rely on Lucas for support as they look for help in the wake of the disaster. A group of locals drive them to a hospital, where Maria lies on the brink of death. Meanwhile, Henry has managed to survive, shielding Thomas and Simon when the water hit. Sending his two sons to a safety zone up in the mountains, Henry searches for his wife and eldest child, desperately clinging onto what little hope he has left despite being faced with such destruction. 

Loosely based on the true story of María Belón, who survived the tsunami along with her husband and children, "The Impossible" may be marketed as a disaster/drama film but it also contains elements of horror, which isn't surprising considering Bayona's background. However, it's not a chainsaw-wielding manic threatening the lives of this family, it's Mother Nature. The director builds an omnipresent sense of dread, opening with a black screen where the only sound that can be heard is a dull roar that increases in intensity before cutting to a shot of a calm blue ocean as a plane screeches into view. The story (written by Sergio G. Sánchez, who worked with Bayona on the "The Orphanage") quickly establishes the family in broad strokes and just fifteen minutes in the tsunami hits, as sudden as it did in real life even though we're already aware that it's coming. It's an amazing scene, a seamless blend of practical and digital effects but what makes it stand out is the way Bayona presents it. Usually, Hollywood markets these sequences as the 'money shot' but that's not what the film does because then it would come off as distasteful and exploitative. Instead, Bayona shows the incoming tidal wave as a reflection on a glass door and just when Maria braces herself, the film immediately cuts to black. Sounds of rushing water are heard and then we see Maria, bloody and battered, screaming for Lucas while the water indiscriminately destroys everything in its path. It's a terrifying scene, one that held my stomach in a knot as the two are tossed around like ragdolls by the strong current. 

The direction here is utilized for maximum impact, with Bayona bringing a raw intensity that may be too much for more sensitive viewers. As the waves subside and the full scope of the destruction comes into view, Maria and Lucas struggle to survive; the brief glimpses of their injuries are nothing short of horrific. This is why the film affected me so deeply because Bayona doesn't shy away from the human toll that comes from such a disaster but he never verges into sensationalism. The sense of loneliness and desperation that comes with not knowing if your loved ones survived or perished is felt throughout. Sánchez's script tells a straightforward story but it derives much of its drama by putting the audience 'in the moment' and immersing us into the mindset of these characters. However, the film does commit one small misstep, relying on a series of contrived coincidences in the last twenty minutes as characters just miss each other. It feels artificial and forced but it then crescendos into an uplifting moment that put a lump in my throat. Films like these can devolve into mawkish over-sentimentalism but Bayona treats the material with a deft touch, pushing "The Impossible" as a late but no less worthy addition to the list of best films of 2012. 

A large part of what makes the film so harrowing is the naturalistic performances. Naomi Watts is one of my favorite actresses and here, she's put through the gauntlet, the agony and pain etched on her face is so real that just typing about it makes me feel emotional. I've always felt Ewan McGregor was underrated as an actor and here he proves what he's capable of when given such strong material. In a gut-wrenching scene, Henry calls Maria's father Brian but breaks down in tears. It's a powerful moment that represents how easily our lives can be taken away in an instant. Upstaging both Watts and McGregor is sixteen-year-old Tom Holland. This is his on-screen debut but what a debut it is, perfectly conveying the fear and desperation when thrust with the responsibility of keeping his mother alive but there's also a quiet determination in him. Many of the film's most emotional moments come from him and Watts. Addressing the controversy of the film being 'white-washed,' I agree that it's purely a marketing decision to increase international appeal as the family it's based on is Spanish but it's not as if the actors that were chosen are terrible, far from it in fact. I feel that focusing on the particulars of the family's race is doing the film a disservice as its purpose is to show that a disaster like this transcends skin color. To make such a big deal out of this honestly feels rather petty. 

In limited release since December 21, 2012, "The Impossible" has received largely positive reviews with a solid 80% on Rotten Tomatoes. Critics noted that 'the screenplay isn't quite as powerful as the direction or the acting, but with such an astonishing real-life story at its center, [the film] is never less than compelling.' Unfortunately, American audiences have shown little interest as it has only grossed a mere $3.6 million, even with an expanded release. Internationally, it's a different story as the film has already earned $67.6 million. Despite having a pair of recognizable leads, the fact that it's a 'foreign' film (this is a Spanish production) has put Americans off. Bolstered by Bayona's confident direction and the cast's excellent performances, "The Impossible" is an unforgettable, emotional experience that not only captures the devastating enormity of the 2004 Indian Ocean tsunami but treats it with the respect that it deserves. Audiences will find it hard not to leave the theater deeply affected by what they've seen.

Final Rating: 4.5 out of 5

"Listen, what if that boy was Simon or Thomas? What if they needed help? You'd want someone to help them, wouldn't you?"

Read More

The Master Review

Rated R (Sexual Content, Graphic Nudity and Language)

Running Time: 2 Hours & 17 Minutes

Cast-

Joaquin Phoenix-Freddie Quell

Philip Seymour Hoffman-Lancaster Dodd

Amy Adams-Peggy Dodd

Ambyr Childers-Elizabeth Dodd

Jesse Plemons-Val Dodd

Rami Malek-Clark

Laura Dern-Helen Sullivan

Madisen Beaty-Doris Solstad

Lena Endre-Mrs. Solstad

Patty McCormack-Mildred Drummond

Christopher Evan Welch-John More

Directed by Paul Thomas Anderson

The master and the student: Joaquin Phoenix and Philip Seymour Hoffman deliver powerful performances in Paul Thomas Anderson's latest film, "The Master."

Belief is a dangerous animal. If you're a frequent subway commuter like me, then you'll surely remember all the billboards from Family Radio proclaiming that the end of the world was to take place on May 21, 2011. Using some very fuzzy math and shaky dates gleaned from the Bible, the radio station's co-founder, Harold Camping, predicted that the Rapture would occur at 6 pm local time, where approximately 200 million Christians (3% of the world's population) would ascend to Heaven while the rest of us suffer a grisly fate for the next five months before the world finally goes kaput on October 21. Obviously, none of this came to pass since yours truly is still here typing away but Camping and his followers illustrate an interesting phenomenon about the way people search for meaning in their lives. How else can you explain all these new 'religions' that seemingly pop up everyday like Scientology or the Falun Gong? Director Paul Thomas Anderson dissects the nature of these grassroots, pseudo-religious cults in his latest film, "The Master," through the lens of two men and the unlikely friendship that forms between them. If you've seen Anderson's previous film, 2007's "There Will Be Blood" starring Daniel Day-Lewis, then you already know that the critically-acclaimed filmmaker has a knack for not only challenging himself but also challenging his audience. It's more appropriate to call his films works of literature given the complexity that surrounds them. A densely layered character drama framed in gorgeous 65mm by Anderson, "The Master" is as engrossing as it is frustrating; this is a film that will confound all but the most ardent of cineastes yet this ambiguity is precisely why it's so captivating, inviting a kind of introspection that hasn't been seen since 2011's "The Tree of Life." Joaquin Phoenix and Philip Seymour Hoffman deliver powerful performances in this tale of clashing personalities. 

Freddie Quell (Joaquin Phoenix) is a man without purpose. A World War II veteran who served in the United States Navy, Quell suffers from post-traumatic stress disorder and struggles to adjust to a postwar society after being discharged due to an unknown medical condition. Prone to violent outbursts and obsessed with sex, he spends his time getting drunk and brewing his own alcoholic beverages using torpedo fuel and paint thinner. While working at a cabbage farm, Quell shares some of his homemade moonshine with another farmer. However, the farmer dies from alcohol poisoning and Quell is subsequently chased off the farm. With nowhere to go, an intoxicated Quell seeks refuge on a yacht owned by Lancaster Dodd (Philip Seymour Hoffman), the leader of a strange religious movement known as 'The Cause.' Dodd takes an immediate liking to Quell and invites him to stay for his daughter's (Ambyr Childers) wedding if he can make more of his 'magic potion.' Quell later agrees to become Dodd's 'guinea pig' and helps the charismatic leader spread his teachings. Unfortunately, Quell's wild and unpredictable behavior soon becomes a cause for concern among Dodd's followers and his wife Peggy (Amy Adams). 

"The Master" is one of the most challenging films I've seen since I began writing film reviews and I have to admit that I wasn't sure if I liked it or not when I left the theater. As I started to analyze what I've seen, my appreciation for the film grew exponentially, although it practically begs for a second viewing. This is really a work of literature disguised as a film because there are just so many layers within the narrative. The story is deceptively simple; it's about an emotionally damaged man falling under the thrall of a charismatic religious leader yet within that framework, Anderson works in a multitude of themes that not only explore the nature and allure of fringe religions but also man's constant struggle with his animalistic impulses. Most importantly, the film is about our innate need for companionship. Much has been made about the film's connection to Scientology and Anderson has stated that he conducted extensive research into Dianetics, a set of ideas and practices created by L. Ron Hubbard that stresses the metaphysical relationship between the body and the mind. One element of Dianetics is a procedure called 'auditing' where a series of questions are asked in an attempt to remove traumatic or painful experiences of the past. When Quell agrees to be Dodd's 'guinea pig,' he is subjected to 'Processing,' which operates in very much same way as 'auditing.' The nature of 'The Cause' in the film centers on the belief that humans are all living past versions of themselves and that traumatic experiences from one version can negatively affect a person once they are reincarnated. This is similar to the concept of 'thetans,' immortal spiritual beings trapped on Earth in a 'meat body.' However, Dodd's pseudo-religion is not the focus of the film and is merely used as a backdrop for its themes. 

What Anderson is really concerned with is how someone with such outlandish ideas can charm people into believing them and becoming fanatical followers. We first meet Freddie during his final days as a sailor in the United States Navy and it's immediately clear that there's something off about him. When a military doctor conducts a Rorschach test on him, every image reminds Freddie of male or female genitals. It is revealed through flashbacks that he was once in love with a girl named Doris (Madisen Beaty) and there's a feeling that Freddie chooses to initially stay with 'The Cause' to fill an emotional void. It's a place where he is accepted and given a sense of purpose. His friendship with Lancaster Dodd lies at the heart of "The Master." Charismatic and charming, Dodd uses his oratory skills to enthrall a group of followers to spread his teachings but he also has a temper that threatens to overwhelm him. During an intense scene, a man named John More (Christopher Evan Welch) expresses his skepticism on how 'Processing' can cure leukemia and Dodd loses control for an instant, calling More a 'pig fu*k.' Some critics have mentioned that Freddie is literally Dodd's 'mad dog slave' or a surrogate son but there appears to be a homosexual component to their relationship. There's an eerie scene where Dodd's wife Peggy masturbates him, reassuring Dodd to stay true to 'The Cause' while repeatedly saying 'cum for me.' It's almost as if Dodd is sexually repressed. 

Late in the film, Freddie travels to London to meet with Dodd one last time. He is confronted by Peggy, who insists that he has no intention of changing his life around and staying true to 'The Cause.' Dodd gives Freddie a choice: stay with him for the rest of his life so that he can be fully 'cured' or leave and never come back. Freddie chooses to leave and Dodd bizarrely sings Frank Loesser's (I'd Like to Get You On A) Slow Boat to China as a farewell. It's as if Dodd is mourning the loss of a lover instead of a friend. Freddie sheds a tear at this and it would appear that 'The Cause' had a much bigger effect on him than we initially thought as he lies in the arms of a woman during coitus, asking her the very same questions Dodd asked him during 'Processing.' The film cuts to Freddie lying next to the sand-woman in the beginning, a culmination of his journey for companionship, to be accepted, to be loved. Shot in 65mm, "The Master" is a dazzling, richly detailed work of art, with every scene featuring stunning clarity and depth. The opening shot of the ocean is so real that you can almost reach out and touch it. It lends the film a hypnotic quality, which is ironic given the subject matter. Mihai Malăimare, Jr.'s marvelous cinematography succinctly captures the postwar optimism of the 1950's while Jonny Greenwood (of Radiohead) contributes a haunting score, filled with an underlying sadness and discordant themes that mimic the chaos of Freddie's emotional impulses and his journey to overcome them. 

However, the one element that will leave an indelible mark on audiences is the performances. No amount of praise can do them justice. This is Joaquin Phoenix's first starring role since his 2010 mockumentary "I'm Still Here" (where he announced his 'retirement' from acting in order to transition to a 'career' as a hip-hop artist) and he is absolutely mesmerizing as Freddie Quell. With his awkward gait and twitchy mannerisms, the actor fully loses himself in the character. You can feel Quell's emotions bubbling underneath the surface and threatening to overwhelm him yet Phoenix always restrains himself just enough to avoid going over-the-top. Philip Seymour Hoffman delivers on another career-defining performance as Lancaster Dodd, bringing to life a character filled with nuance and mystery. These two actors is the reason that "The Master" is so magnetic and captivating. Whenever the two are on-screen, the film just comes alive and grabs hold of you. To not at least nominate them for an Academy Award would be a great travesty. Finally, there's Amy Adams as Dodd's perpetually pregnant wife Peggy and although her role is small, her presence can still be felt throughout the film. Adams' innocent features mask her character's icy demeanor and sometimes we're left wondering who the true 'master' really is. 

Shown as a 'surprise screening' back in August at the American Cinematheque, "The Master" officially premiered at the 69th Venice International Film Festival before being released on September 14, 2012 in a limited number of theaters. Although it expanded a week later, the film failed to find much of an audience due to its ambiguous nature, which is not a surprise. Films of an intellectually stimulating sort have always appealed to a niche group. That's not me being pretentious, that's me stating the truth. Reviews have been largely positive with 85% on Rotten Tomatoes as critics hailed it as 'smart, powerfully acted, beautifully filmed, and solidly engrossing.' Unfortunately, I fear that the film will suffer a similar fate like Terrence Malick's "The Tree of Life" and get snubbed at the Oscars with a perfunctory Best Picture nod. Whether it receives any lasting accolades or not, "The Master" is far and away the best film of 2012. Paul Thomas Anderson has crafted an extraordinary work of art that is brought to life with three of the finest performances of the year. A cinematic experience unlike any other, see "The Master" now before it disappears from theaters.

Final Rating: 5 out of 5

"I am a writer, a doctor, a nuclear physicist and a theoretical philosopher. But above all, I am a man, a hopelessly inquisitive man, just like you." 

Read More

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?"

Read More

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."

Read More

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."

Read More