F.I.L.M. of the Week (September 25, 2009)

25 09 2009

I literally mean what I am about to say: drop what you are doing, get in a car, drive to Blockbuster, and go get “City of God,” the “F.I.L.M. (First-Rate, Independent Little-Known Movie) of the Week.”  With just his first film, director Fernando Meirelles creates a breathtaking world of crime and greed with the narrative poise of an old pro (I’m talking the level of Scorsese and Mike Nichols).  Set in a slum outside of Rio de Janeiro, the movie chronicles the history of drugs, gangs, and murder in the city through the eyes of Rocket, a boy with a knack for photography.  It is this gift which provides the opportunity to escape the vicious cycle of violence and retaliation which has claimed the lives of many of his friends.  For those who like comparisons, think “GoodFellas” crossed with the gritty world of poverty in “Slumdog Millionaire.”

After seeing the movie, I was compelled to find out more about Meirelles and what led him to make such a bold film.  I discovered Meirelles received a movie camera while living in Brazil at a young age, and it became a hobby.  It then made obvious sense to me why he was drawn to this project because he was clearly drawn to the character of Rocket and the parallels between how art saved them.  The painstaking lengths to which Mierelles goes to make sure that his vision hits you like a sucker punch the chest is incredible, yet it is even more incredible how hard he lands that punch.  I was in tears as the city’s crime lord forces a new recruit to slowly kill an innocent child.  The bleak, unsparing city that Mierelles is able to put on the screen before you is tough to watch.  But at the same time, he is able to bring such a vibrant and eclectic stylistic angle to the environment that I think “City of God” is a movie that I will want to watch over and over again.

So seriously, what are you still doing reading this post?  Get up NOW and get “City of God.”  (Although I do issue a disclaimer, this is once again not a movie for those who cannot handle brutally realistic violence and the gloomy world that Meirelles creates.  I would liken the violence to the level and power of “Schindler’s List” … at times, it really is that hard to watch.  And as for the gloomy world, he often cuts to shots of emaciated dogs that are literally just skin and bones scrounging for food.  That’s just a sample of what lies in store for you.)


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F.I.L.M. of the Week (September 18, 2009)

18 09 2009

The “F.I.L.M.” (gentle reminder: the acronym stands for “First-Class Independent Little-Known Movie”) of the Week is “The Lookout.”  Released in 2007, the movie flew under the radar of most moviegoers.  But with the movie’s star, Joseph Gordon-Levitt, now being hailed as the new Heath Ledger, perhaps there is no better time than the present to check out one of his hidden gems.  The movie is a spellbinding crime drama on the surface, but if you dig deeper, you will find that there is much more than meets the eye.  The film finds a quiet strength in Gordon-Levitt’s Chris, affected by short-term memory loss after a car crash that killed his friends, just trying to find a way to contribute to the world.  But his mental incapacitation makes it hard for him to do even the simplest of things, and he writes down his routine in a notebook.

Chris’ position as the night cleaner at a small-town bank attracts the attention of a gang of bank robbers who intend to exploit his shortcomings in order to get the money.  Led by the smooth Gary (Matthew Goode, “Watchmen”), the gang is able to coax Chris into helping, mainly through the strategic use of Luvlee (Isla Fisher, “Wedding Crashers”).  But Chris’ blind roommate, Lewis (Jeff Daniels), provides a foil for the gang.  He has street smarts and can see right through the gang.  And as time goes on, Chris begins to realize what Lewis can so clearly see.  The result is a wild and unpredictable third act, which excites and thrills.

I could speak volumes on Gordon-Levitt’s delicate performance, but I should let the movie speak for itself.  It is a refreshing take on the crime thriller, ranking up with “Inside Man” and possibly even close to “Reservoir Dogs.”  It is a very plot-driven movie, but “The Lookout” takes equally as much of its strength from the powerful performances of Gordon-Levitt and Daniels.  But now, it is time for me to stop writing and let the movie speak for itself.  Go give it a spin; you won’t be disappointed.


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F.I.L.M. of the Week (September 11, 2009)

11 09 2009

The “F.I.L.M. of the Week” is “A History of Violence.”  I watched it this weekend and was absolutely blown away by it.  The movie tells the story of Tom Stall (Viggo Mortensen), a small-town diner owner who is thrust into the spotlight after killing two robbers in self-defense.  However, the attention brings several mobsters into the town, confronting Tom about a past he claims never to have lived.  This threatens to rip Tom’s family apart at the seams, leading to some shocking revelations and startling actions.

Although Tom’s story arc is the most prevalent and important, I was extremely taken by the subplot of his son, Jack, and the effect of his father’s actions on his own as he strikes back against his intimidators.  The movie presents an unwaveringly honest portrait of high school, and I admired the commitment to realism.

There is a lot to interpret in “A History of Violence,” and it is one of those great movies that lingers in your mind for days on end.  Director David Cronenberg packs a great punch with only 90 minutes, quite a remarkable feat.  The movie centers around the concept of violence (if you couldn’t deduce as much), and by neither abhorring it nor glorifying it, he leaves it up to the viewer to decide what they think about it.  I do recommend this with a disclaimer though: squeamish should stay away.  The movie features some unsettling scenes of sexuality in addition to the graphic and gory violence.

If you watch this movie because of reading about it here or have seen it already, why not comment?  Even if you don’t agree with me, I still want to hear what you think.


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F.I.L.M. of the Week (September 4, 2009)

4 09 2009

This week’s “F.I.L.M. of the Week” is “Man on Wire.”  It is truly one of a kind: a documentary that feels like a movie.  I seldom watch documentaries, but I decided to watch it a few months ago because it had won the Oscar for Best Documentary and it had received unanimous critical praise.  The filmmakers tell the story of Philippe Petit, the daring trapeze artist who walked on a wire between the World Trade Center towers in 1973.

It’s nothing like a History Channel special, which the average moviegoer seems to group documentaries alongside.  Rather than recounting the events through interviews and pictures, the filmmakers have a cast reenact the events.  They also make a clever move in crafting the movie as if it were a heist film.  The result is a breath-taking, captivating, and delightful movie (three words I thought I would never use to describe a documentary.)


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F.I.L.M. of the Week (August 28, 2009)

28 08 2009

The F.I.L.M. (First-Rate Independent, Little-Known Movie) of this week is “Music of the Heart.” It was one of my favorites growing up, the first movie I saw at the then brand new Edwards Greenway Palace 24 Theaters in 1999. I occasionally catch it playing on Starz, and it still possesses the magic that enthralled me when I was 7.  The movie features one of the most underrated of Meryl Streep’s 15 Oscar-nominated performances, an emotionally compelling tour de force that connects with the audience on a level that very few ever have.

Roberta Guspari (Streep) is down on her luck.  After her husband runs off her with her best friend, she moves with her two young sons to the turbulent neighborhood of East Harlem in New York.  She starts a violin program in an inner city school, inspiring a love of music among youth who have never been given an opportunity to study it.  At first, it is tough to spark a work ethic among the kids and to convince their parents that the violin is a worthwhile skill to learn.  The program, over time, becomes a great success.  Unfortunately, many years later, budget cuts force the district to fire Roberta and cancel her program.  With help from teachers and parents, she fights for the right for kids to have access to arts education.

“Music of the Heart” is a movie that aims for the heart and hits it dead-on.  Immensely inspirational and uplifting, it provides wholesome entertainment with morals that don’t even fly over the little ones’ heads.  The film forges a deeply sentimental connection with the audience, and it pulls you in for a compelling experience.  It might be a hard find on the rental shelf, but it is worth the search.


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F.I.L.M. of the Week (August 21, 2009)

21 08 2009

The new feature that I hyped up (OK, I briefly mentioned in a post that no one read) is here!  The F.I.L.M. of the week will be unveiled every Friday; F.I.L.M. is an acronym for “First-Class Independent, Little-Known Movie.”  But the movies will not be limited to independent films, although I would like to highlight them.  The word just works better in forming a strategic acronym.

The whole point of this weekly feature is to suggest a movie that you might not have seen, considered, or even heard about (barring you are a major film buff like myself).  So if you are browsing Netflix or walking around Blockbuster, rather than picking up “17 Again” or, God forbid, “Paul Blart: Mall Cop,” you will be armed with the knowledge of at least one movie that is a safe bet for excellent entertainment.

It is my distinct pleasure to award the distinction of the first “F.I.L.M. of the Week” to the exquisite “Little Children.”  The movie is just on the outside of my top 10, although given more viewings, it just might move into the elite ranks.   It is one of very few movies that I can say are practically flawless.  Every performance is great.  Every character is well-developed.  Every minute of it is absolutely spellbinding. Unfortunately, audiences didn’t pick up on its brilliance; it grossed about $5 million at the box office, most of which was from Oscar season. The movie was nominated for Academy Awards for Best Actress (Kate Winslet), Best Supporting Actor (Jackie Earle Haley), and Best Adapted Screenplay. The Golden Globes nominated it for Best Picture.

The movie is based on the novel by Tom Perrotta, but he decided to take the movie in a distinctly different direction than the book rather than just make a carbon copy.  The screenplay is about as good as it gets.  It complexly weaves together the tales of Sarah (Kate Winslet), the resistant mother stuck among droves of Stepford wives, Brad (Patrick Wilson), the stay-at-home-dad emasculated by his wife (Jennifer Connelly) and her success, Larry (Noah Emmerich), a disgraced police officer out for vengeance, and Ronnie (Jackie Earle Haley), a pedophile who moves in with his loving mother.  They all impact each other in ways they cannot even fathom, and the film’s overlying messages become clear through their encounters.

Everyone is magnificent in the movie, but I do have to single out a few names.  Director Todd Field gives the film narrative poise unlike any movie of the decade, and his presence and guiding hand is clearly felt throughout the movie.  He skillfully handles the very tough material that the movie tackles, treating it with the respect and dignity that they deserve.  Despite its heavy themes, Field also allows it to function as a very dark comedy as well.  This should have been Kate Winslet’s Oscar-winning performance.  It is nuanced, emotional, and absolutely gripping.  She immediately draws you in and never lets go.  Jackie Earle Haley does the unthinkable by turning a feared sexual predator into someone we can ultimately feel compassion for and empathize.  He moves you almost to the verge of tears, especially in scenes with his gentle and loving mother (Phyllis Sommerville).  Here, we see him as emotionally raw and not a pedophile, but as an insecure human being just like the rest of us.

But it’s time for me to stop writing and let the movie speak for itself.  I will say that the movie might be disturbing for some easily squeamish, mainly because of its brutally honest and often graphic portrayal of things that exist in our society.  Nevertheless, for a movie that will keep you thinking for days, drop everything and watch “Little Children.”  If you do see it, write your thoughts in a comment, or if you have seen it, still express yourself in a comment.

Until the next reel,
Marshall

P.S. – Watch the trailer.  It’s one of the rare ones that doesn’t give away anything about the plot. And it also sets you up for the ride that “Little Children” offers.


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