The Tree of Life (2011, U.S.)

I just don't know what to say. At all. Because what just happened? At first I thought I was going to love it. I mean, visually it was one of the most beautiful movies I've ever seen. The score was completely out of this world, like a best of the eerie sounding classics. (Hard to describe the subset of music I'm talking about exactly, but it is a type of music I enjoy a lot. I would love to own this soundtrack.) Then there was original music composed by one of my all time favorite composers, Alexandre Desplat. Brad Pitt wasn't bad, but this wasn't my favorite performance of his. I thought Jessica Chastain was the real star of this film, which was unfortunate because she often seemed so peripheral. Overall, it was visually and aurally stunning, and the seed of the plot was good.

But. But but but. It just tried so hard to be artsy and impressionistic that it seemed silly instead. There were dinosaurs, for crying out loud. The sound mixing was not the best, so the score often overpowered whispered lines. I found myself having to turn on subtitles a lot. The part about adult Jack could have added a lot, but I don't think it was made clear enough. Plus, Sean Penn reminded me why I never liked Sean Penn (until Milk made me want to give him a second chance).

It could have been really great, but it just tried too hard and was too self aware. So instead of brilliance and beauty, I was left with a lot of annoyance and exhaustion.

Rating: 1.5

The Fighter (2010, U.S.)

I never really had much interest in seeing this, because I'm just not a big sports movie sort of gal. But after all the Oscar buzz, I decided I better check it out anyway. Besides, I have great respect for the talents of Christian Bale, Mark Wahlberg, and Amy Adams.

Basically, it's exactly what you'd expect it to be. Poor guy from Lowell, Massachusetts tries to follow in his older brother's athletic footsteps, but not his drug-addicted, law-breaking ones. He wants to maintain his relationship with his brother, who he loves and once respected, even though his brother is dragging him down. He wants to get out of the neighborhood and away from his overbearing mother and gaggle of sisters. He wants to earn enough to support his daughter. He wants to be with the woman he loves even though his family doesn't approve. He struggles, he triumphs, the end.

I hate to oversimplify the plot and make it sound like I'm mocking it, because I'm not. The acting was phenomenal, as you would expect from Bale (a well-earned Oscar), Wahlberg, and Adams especially. The real surprise to me was Melissa Leo (another well-earned Oscar) and the 5? 6? sisters. Between all those women, the two men, and Adams (who played Wahlberg's girlfriend), the dynamic was astounding. The family felt like a big, crazy, female-dominated family, and there was especially no love lost between the sisters and the girlfriend. Realistic stuff, and funny in a sad sort of way. Excellent ensemble.

When it comes down to it, though, it's just another sports movie to me. Exceptionally well acted, and probably interesting to those with an interest in the subject, but all the brilliant acting chops in the world wouldn't make this my favorite movie. It's just not my thing, and I appreciated it for what it was. (Probably a must for sports fans in general, boxing fans in particular, Massachusetts residents, and fans of the lead actors.)

Rating: 3.0

Prince of Persia: The Sands of Time (2010, U.S.)

I truly hope the subtitle doesn't imply they're planning a sequel, because this one wasn't very good. It was better than some other things I've seen lately, but still, not great.

In my humble opinion, Jake Gyllenhall is one of the most talented actors of his generation. What was he thinking accepting this movie? He wasn't bad as an action hero, but he's much more attractive and convincing as the slender, nerdy boy next door or as a sweet, shy but self-assured cowboy (as in Proof and Brokeback Mountain, two of my favorite performances of his). Who was this buff hero? Also, he had a strange, mild accent of no discernible origin. I guess it was supposed to be Persian, but I don't know. At least you can still say it was consistent though.

There was some good action here, but the plot was a bit hard to follow at times. If this makes any sense at all, part of their failure was the introduction of an object's concept without showing said object (i.e. the titular sands of time). It didn't work.

The music was underwhelming, which was a disappointment to me. A score can make or break a movie, and a good score here would have made it a bit more bearable. (Especially disappointing because I usually love Harry Gregson-Wililams' work.)

I can say that there were a few mildly amusing lines. Alfred Molina was especially funny as an anti-tax, anti-government "small businessman." Almost incongruous in ancient Persia, but somehow it worked for this particular movie. On the other hand, his character and other things meant anachronisms all over the place. If you're looking for anything close to historical accuracy, look elsewhere.

Further faults? Predictable villain. Pretty tepid, weak romance—the movie would have been better off without it at all. Eh. Oh, and then there's the weird déjà vu feeling, a product of the very Aladdin feel at the beginning and the very Gollum at Mount Doom climax. Does that give too much away? Oh well, if you don't see it now, you're not missing much.

Rating: 2.0

Outing Riley (2004, U.S.)

This was one of a kind. One of five siblings in an Irish Catholic family with a recently deceased father is gay, and his sister (who knows) wants him to come out to his three brothers—an immature pot head, an internet porn-addicted stock broker, and a repressed Catholic priest. The contrast and interaction between these siblings was good. They had a great dynamic, and one could almost believe they were really related.

There were many funny lines, a sweet story, and it majorly broke the fourth wall. Bobby (the main character), says he pretends his life was like a movie, then he does things to make it clear his life was a movie, like pausing the frame to introduce characters, talking directly to the audience, and even stopping to ask the sound man's opinion on his life.

The music was like traditional Celtic mixed with mild '90s rock, a strange combination, yes, but it worked. Chicago was also obviously important to the writer. The city was almost its own character—he highlighted neighborhood restaurants, the fountain, Lincoln Park Zoo, and more.

I think this is my favorite coming out movie of all the ones I've seen. Also, Nathan Fillion!

Rating: 4.0

Remember Me (2010, U.S.)

I was absolutely stunned to discover that most professional critics ripped this film apart. It was absolutely astounding.

Essentially, two young people who have suffered terrible losses find each other and fall in love. Ally saw her mother murdered when she was 10 years old, and Tyler (whose 22nd birthday is approaching) had an older brother who committed suicide on his 22nd birthday. Ally's father has become overly protective while Tyler's parents divorced and his father especially emotionally distanced himself from his surviving children. Tyler is close to his young sister, a shy brainy girl whose classmates torture her.

The characters were so incredibly real. I've always said that Robert Pattinson is a seriously underrated actor (inevitable, due to his roles as Cedric Diggory and especially Edward Cullen). (See The Haunted Airman for further evidence.) He was Tyler in this film—frustrated, lost, alone, a good brother, a bit of a mess, imperfect but still a basically good person. Emilie de Ravin wasn't overwhelming by any means when contrasted with Pattinson, but she is still a fairly strong actress and convincingly portrayed a fragile girl trying to find herself and redefine her identity without hurting her father too much. The rest of the cast was also great, though what else would you expect from the likes of Pierce Brosnan and Lena Olin? The real stunner was the young actress who played Tyler's younger sister. Her performance just defies description; you have to see it to believe it.

Ally had a thing about eating her dessert before her meal, because anything could happen and she might not make it to the main course. The filmmakers seemed to make such a big deal of it that I kept running over it in my mind and found the heart of the story. This is a film about loss and living life as if each day will be your last. About learning from grief and embracing each day and appreciating each person that comes into your life. It's hard to say more without giving away the ending, but a lot of critics said that this film was just a series of tragic things happening to beautiful people. That sounds like the kind of opinion I would be prone to have, and yet I didn't. Even with an ending that was incredibly cliche and, in retrospect, totally obvious, I still thought it worked well.

Aside from fantastic acting, the subtle score, gritty New York scenery, touches of humor, and good writing really made this a stunning film. So take that, Roger Ebert.

Rating: 5.0

Brothers (2009, U.S.)

This is the kind of modern war film that there should be more of. I think that they really failed in marketing this one, however. While they made it seem like a movie about two brothers in love with the same woman, that was nowhere near the truth.

Instead, it was about the psychological damage done to a good soldier who was taken prisoner by the Taliban and forced to do unspeakable things, things that he couldn't tell anyone about—not his wife, not his superiors, and not his brother. Tobey Maguire did an absolutely brilliant job of portraying a man whose control is unraveling. It was an interesting contrast to his brother, an ex-con who spends his time trying to hold his brother's family together, for little thanks and a mountain of accusations. Jake Gyllenhaal and Natalie Portman are two of the most talented actors I can think of, and they were wonderful too.

And of course, beautiful score by Thomas Newman. That man has a gift.

Rating: 3.5

Legends of the Fall (1994, U.S.)

There just aren't enough movies made about World War I. It's a good thing that the ones that are made are quite good. Legends of the Fall is a bit melodramatic, but it is still a wonderful story. It mixes pieces of war movies, classic westerns, family sagas, and romances. If it comes off a bit melodramatic and times, that's okay. After all, it is a very ambitious film.

They used several very interesting narrative devices. To begin with, I liked that the narrator was a character who was only on the margins of the plot, rather than one of the primary players. To supplement this narration, they also used letters written to and from various characters, which was quite effective. They also used something I would call a flashback, for lack of a better term. To give an example, Tristan gets noticeably upset and frustrated when he tries to free a cow trapped in barb wire. Even though they never show the scene again, it is clearly meant to remind the viewer of the scene where his brother is trapped in barbed wire during the war. These scenes are very well done.

I've always found Aidan Quinn to be a competent but unremarkable actor, and most of the other actors fell into this same category as well. Then there's Anthony Hopkins and Brad Pitt. They steal the scene from anyone they ever work with. Hopkins is an imposing patriarch, and Pitt completely embodies the magnetic, troubled middle brother. Even if the film was awful (as it could have been if the rest was the same as the cheesy final scene), they'd redeem it. Wow.

Rating: 3.5

Lars and the Real Girl (2007, U.S.)

Morbid curiosity and an appreciation for the talent of Ryan Gosling made me watch this movie, and I was pleasantly surprised. Gosling is a fantastic, fantastic actor. His portrayal of a man in his late 20s with slight mental illness was brilliant. He used this squinting/blinking thing that somehow made his whole character and conveyed his imbalance very simply. (It reminded me of someone, but I can't think who.) Also, as a random note: I wish I could meet Ryan Gosling and have him read aloud to me. No matter his character, whenever he reads aloud, it is beautiful.

One other strange note. It seems like Emily Mortimer is pregnant in every movie she's ever in! She's often passionately arguing with her voice cracking. Though it's always the same, it is very convincing.

I really don't know how to describe the music. With its disjointed but lovely quality, it somehow conveys a childlike confusion and fear, but also an element hinting at struggling with very adult problems.

Should I give a brief synopsis? Basically, a lonely and maladjusted man orders a sex doll on the internet. Not for sex, but to create an ideal woman who he has a pure and loving relationship with. It is really remarkably original. Although it was marketed as such, it is not a comedy. It's actually a very moving portrait of mental illness, what our minds do to protect themselves, and how a family and community can band together to support someone who needs it.

I never thought I'd agree with Roger Ebert, and as much as it stuns me to say this, I can't say it better myself: "The film...wisely never goes for even one moment that could be interpreted as smutty or mocking...There are so many ways [it] could have gone wrong that one of the film's fascinations is how adroitly it sidesteps them. Its weapon is absolute sincerity...It has a kind of purity to it."

Rating: 3.5

Seven Brides for Seven Brothers (1954, U.S.)

I love musicals, and there is rarely one that I don't like. However, this one ranks up (or down) there with West Side Story. There was just something about it that was all wrong. Too cheesy, badly written, terrible acting... I can't put my finger on it, but I just didn't like it that much.

However, I can see the appeal in the story. Perhaps one day I will see a stage project that redeems this musical in my eyes. I hope so.

Rating: 2.5

Slumdog Millionaire (2008, UK)

I didn't know anything about this movie other than the fact that everyone was talking about it, it was nominated for tons of Oscars, and Stefanie insisted that I see it. As usual, I did what Stefanie said. Unlike her last disastrous suggestion (Montenegro), I loved it.

Everything about it was great. The cinematography was beautiful. The acting, especially that of the very young children, was convincing. The story was always moving and sometimes funny. The score was okay, but I really don't think it was Academy Award-worthy. (It was just average music by an Indian composer, and I can only assume that it won because it was "different.")

I love character-driven films, and this definitely falls in that category; it follows the same three children from the time the main character is about 5 until he's 18. The use of flashback (another technique I love) is employed in a fascinating manner. The "present" shows Jamal in a jail being interrogated about how he could know all the answers to the questions in the Indian Who Wants to Be a Millionaire?, which he is one question away from winning; he is suspected of cheating. Flashbacks show Jamal answering questions on the show. Flashbacks from there show events from Jamal's childhood where he learned the answers to these questions.

I also love the complexity of the "aboutness." On one level, it's a coming of age story. It's also a rags-to-riches story. It's also about the relationship between brothers. It's about the reality of life in Mumbai and its slums. And it's also a love story.

Words to describe this one: complex, beautiful, heart-wrenching, stunning, unique.

Rating: 5.0

Defiance (2008, U.S.)

Defiance was astounding. So astounding that I'm surprised it wasn't nominated for more Oscars. The story was incredibly moving, all the more so because it was based on a true story. It is really a testament to the human spirit. These brothers' ability to create a community and protect their people and their culture in the face of extreme hardship is inspiring, all the more so because they each stayed true to their beliefs. I thought that the story was well-adapted without making it over-dramatic/emotional while still impressing upon the audience the magnitude and meaning of this quietly heroic undertaking.

The acting was brilliant. I was really impressed with Jamie Bell, a 22-year-old kid who played the youngest brother with a perfect mix of innocence and maturity. Liev Shreiber's character was rough and stoic, and his gruff demeanor never faltered. Daniel Craig stole the show, as I knew he would. That man has talent. Pure talent. All three maintained convincing Eastern European accents too, which was an added bonus. (Word on the street is that the other recent WWII film, Valkyrie, has a scattering of British and American accents where there should be German ones.)

On top of the acting and the subtly told story, the music and scenery just put it over the top. Really, listening to James Newton Howard's beautiful, haunting score filled with violin solos by Joshua Bell while watching beautiful shots of Eastern European forests would have made this film worth seeing by itself, no plot necessary. More movies should be filmed on location. James Newton Howard should do more scores. (His Peter Pan score is one of my all-time favorites.) I can't reinforce enough how much these two elements contributed to this film. And if Defiance doesn't win the Oscar for Best Original Score, I will truly be blown away.

Rating: 4.5

Adaptation. (2002, U.S.)

What a crazy, crazy, crazy film. I don't even know what to think of this one or what the point was, exactly.

The story is about a man (played by Cage) who is writing a screenplay of a book written by a woman (Streep). The book is entirely about orchids (and quite boring, from what I gather). The man lives with his loser brother (also played by Cage), who decides to become a screenwriter as well.

The screenplay isn't going well, so the man decides to look farther into the story—and all kinds of bizarre things start happening / are revealed.

I can't lie. I thought this one was quite slow and often boring. Nicolas Cage was adequate, but not great. Chris Cooper, who played a minor (but integral) role, definitely stole the show.

You'd really have to see this one for yourself. But I will say one thing for it—it was different.

Rating: 2.5

Speed Racer (2008, U.S.)

One guess why I watched this bit of silliness—yeah, that would be Matthew Fox. I love that man, and I loved him as Racer X. Add to that the brilliant, truly comic-book inspired score by Michael Giacchino, and the whole thing was worthwhile.

Don't get me wrong, this was a good family movie. The Wachowski brothers did a great job of creating this brightly-colored science fictional world, where car racing is a way of life. It was almost overwhelming to the point of distraction, all this color and such.

The movie's got great messages about family, fighting against the corrupt capitalist upper-class, doing the right thing, etc. The cast was really high-profile, which was a bit incongruous with this type of movie. (The last thing I saw Emile Hirsch in was Into the Wild, so seeing him now as Speed Racer was even stranger.) The plot was confusing at times, but it all became clear in the end.

As I seem to have really lost my gift for description, I think I'm going to give up on this review. Suffice is to say that for the type of movie this was, it was really good. Oh, and did I mention Matthew Fox?

Rating: 3.5

Dinotopia (2002, U.S.)

One guess as to why I picked this one out. The correct answer would be Wentworth Miller. I finished re-watching the first three seasons of Prison Break this summer break, and I was ready for a Wentworth fix. Since season four doesn't start for another week, I started looking for films. And I discovered this rare gem of a kid's movie, made-for-tv, and starring a 30-year-old Went as one of two teenage brothers who are in a plane crash and find themselves on a strange island called Dinotopia. The inhabitants of this island include both humans and dinosaurs, who coexist in peace. It's based on a series of books for children.

And it was actually quite great, as kids' movies go. Quite refreshing after some of the crap Disney has churned out in recent years. What an amazing undertaking. Nearly 3/4 of the film had to have some sort of CGI becauses of all the dinousaurs, and the actors did an amazing job of acting to the air, I think. Of course, the CGI dinosaurs were not what you would expect were you thinking Jurassic Park. They're much less terrifying—even the T Rexes. Even their appearance is brief and as minimally frightening as possible.

Of course, you have to give it a little flexibility in judgement, since it is a non-rated movie for children. For instance, as an older viewer, I would have liked to know what brother the girl chose in the end, since one of them kissed her and one of them told her he was falling in love with her. I guess the younger viewers don't care about those things though. Or the fact that some of the dialogue was exceedingly cheesy. Or the fact that the story really beats you over the head with its "lesson."

But despite these things, or maybe because of them, I really did like this movie. It was really a great fantasy world for children, with beautiful scenery that could really insipire a young imagination. It was four hours long, and I found myself wishing that it could be even longer. In fact, I liked it so much that before I even got to disk two, I was asking my mom if she would be allowed to show this movie to her fourth-graders.

Perhaps I've just had so much adult-type stress in my life recently that I needed to feel like a kid again. This was the way to go.

Ratin: 4.0

I'll Sleep When I'm Dead (2003, UK)

What a cheerful film to watch right before bed. From start to finish, I'll Sleep When I'm Dead was remarkably depressing. It was like one giant meditation on the value of a person, wasted lives, how a city can change one's personality irrevocably. There was rape; there was suicide; there was loss, loss, loss.

Of course, I can't say enough about the acting. Clive Owen and Jonathan Rhys Meyers were both brilliant, of course. JRM was very convincing as a victim whose mind was broken -- it was chilling to watch. Clive Owen spent most of the movie bearded, and while that mostly obscured his facial expression, it only made it that much more obvious how well he can act with just his eyes -- not to mention that expressive voice.


I always like the movies that explore the relationship between brothers, for some reason, and this was no different. It was almost easy to forget that they were brothers, however, since they never share a scene, and their attachment to each other is tentative but strong. Fascinating.

The ending leaves you feeling a bit unresolved and thoughtful. All in all, an interesting piece.

Rating: 3.5

Cassandra's Dream (2007, U.S.)

First thing I said out loud at the end: "Good ending, Woody Allen."

I think it's interesting how obsessed Woody Allen seems to be with the idea of getting away with murder. I wouldn't have thought this movie was unusual on its own, but following 2005's Match Point, it's something. Colin Farrell's character was strangely similar to his Ray in this year's In Bruges -- but he continues to do the emotionally vulnerable thing well. Ewan McGregor was also good, of course. I thought the writing was a bit weak, as the brothers' motivations were not quite convincing -- but I don't think it was the acting.

Of course I absolutely adore anything composed by Philip Glass, and this score was no different. It fit perfectly with the movie and was a fantastic suspense-builder.

The best part was the ending -- surprising yet inevitable at the same time. And it left you with that "Hmmm" feeling. Excellent.

Rating: 3.5