The Lucky One (2012, U.S.)

Yawn. I haven't really loved any post-2003 Nicholas Sparks books, but The Lucky One made me think that he was heading back in the right direction (though it is awfully reminiscent of Message in a Bottle to be its own story). The movie was kind of eh. If it tells you anything, this is the first Sparks movie that hasn't made me cry. At all. And I am a huge movie crier. Considering the fact that there are some pretty emotional scenes, I have to think that the filmmakers just didn't do the best job bringing it to the screen.

Zac Efron has grown up a lot. I wouldn't say he's the best actor in the world, but he seemed perfect for this role and he was hot. (There, I said it!) I liked Taylor Schilling, but I would have liked her more if she was playing someone like Theresa in Message in a Bottle. She didn't seem too old for this role, but because she seemed way older than Efron, it didn't work so well. It felt kind of Mrs. Robinson. But the kid who played her son was just adorable and absolutely perfect, so that was nice. Then there's Blythe Danner, who can make any movie better!

I liked a lot of the settings, including the treehouse over the river, the rundown place Logan was renting, and the dog kennels. It definitely had a unique feel, and it really helped the flagging plot. It also felt very Southern, in a nice way. I loved the final shot on the road with the sun seeming to set everything on fire. It was truly beautiful.

Obviously this movie has some things to commend it, including casting and setting, but I think the writing and directing must have been pretty weak, because overall the movie felt pretty weak. Still, worth a watch, especially if you're a fan of all things Sparks and/or sappy romance.

Rating: 3.0

Generation Kill (2008, U.S.)

Here she goes again! I've been on an Alexander Skarsgård kick lately, and despite my apathy about Operation Iraqi Freedom, the Iraq War, the War on Terror, etc., I watched it. It took me a bit of time to get into the first episode, but once I did, I thought it was wonderful.

Firstly, it was incredibly realistic. It is based on a book written by Rolling Stone reporter Evan Wright, who was with the 1st Recon Marines in the first humvee at the tip of the spear during Operation Iraqi Freedom. Every detail was carefully researched. The slang the men used, their superstitions, their training, their relationships, their day to day lives, the moral issues some of them dealt with... so realistic.

Although Generation Kill is about a war and a moment in history, it is more about the men who experience it. This was definitely an ensemble drama, and the acting was phenomenal. Of course, I thought Alexander Skarsgård was the most brilliant of them all. (Note: I was so fascinated by this series that I watched all of the special features, and he was just like the actual Marine he played, as were many of the other men. In fact, on of the 1st Recon Marines played himself!)

You know I love a good score, but in this series they clearly made a conscious choice to avoid scoring the series so as not to take away from the realism. Instead, picture a convoy of hardened Marines driving through the desert in humvees, singing together, a cappella. Songs like "Teenage Dirtbag," "Sk8er Boi," "Come Sail Away," "King of the Road," "Mamas Don't Let Your Babies Grow Up to Be Cowboys," "Fuck the Police," "Hot in Here," "Tainted Love," etc. The cast members did all the singing themselves, which further added to the realism.

I'm not going to say anything else about this series, because I don't feel like I can do it justice. The acting, the scenery, the incredible writing, the music, the shocking, gritty realism... And on top of all that, I learned a lot. This is an insanely good series. I found myself wishing there were many more than 7 episodes. I wanted to know what happened to these Marines after Baghdad, what happened to them in the time in between the scenes transferred to film, what happened to them after they went home. More than that, what happened to the Iraqi people they met in the line of duty?

Wonderful. I highly, highly recommend this series.

Rating: 4.0

The Hurt Locker (2008, U.S.)

An army bomb removal squadron disenganges a bomb in Baghdad. And then they disengage another. And a few days later they do another. On and on and on, blah blah blah.

This had to be the slowest paced movie I've ever seen in my life. It would be one thing if they tried to make some deep statement about the psychology of war or something like that. What made it worse was that they probably thought that's what they were doing. But no. Characters weren't sympathetic, writing wasn't good, acting was wooden... awful.

I was already doubtful about the Academy Awards in recent years, but the fact that this movie actually won the Best Picture Oscar just completely made me lose faith in the Academy. I've only seen a couple of other nominees, but all of them were better by far.

Rating: 1.0

The Lucky Ones (2008, U.S.)

I stumbled across this movie when looking for Rachel McAdams projects. Apparently, it was pulled after only a one week limited release. I think this is an absolute tragedy, because this film is incredible.

Three soldiers have been wounded in Iraq. Two are coming home on a 30-day leave, and the third has finished his third (and last) tour of duty. They're stranded in New York because of a blackout and decide to drive cross-country to get to their final destinations.

The tagline says, "Sometimes losing your way home means finding yourself," and this captures the feel entirely. The three think they know what they're coming home to, but they don't. Colee (McAdams) is fascinated with the country, wanting to stop and sight-see everywhere she goes. This emphasizes her lack of a home. TK is worried about his ability to be sexually intimate after a groin injury, and he ends up finding emotional intimacy instead. And Cheaver has made great sacrifices for his country, but his greatest sacrifice is for his son. The various reactions of people they run into around the country—from the hero worship to the political anti-war comments to the cruelty of college girls mocking the wounded Army girl—are really an interesting representative sample of the real American sentiment, I think. Wonderful.

I've always found Tim Robbins to be a good actor, if not one with an overwhelming presence. I thought this was the case in this film, where his quiet, older nature didn't dominate the other two characters. The same can be said for Michael Peña, who is an actor with lots of unharnessed potential. He was one of my favorites in the ensamble of Crash, and he's just as great here. And of course, I adore Rachel McAdams. She is good in every role she takes, whether as a romantic lead or a solitary Iraq War veteran or a Mean Girl. Aside from being an incredibly talented actress, she has a beautiful face that looks vulnerable open and makes you want to stare into her eyes and memorize her face. Or maybe it's just me... I think I'd want to look like Rachel McAdams if I could look like anyone!

Anyway, I think this film is an amazing, amazing film about modern war. I liked Stop-Loss in its depiction of the effect the memory of war has on men's psyches. But I thought this was almost more poweful in its depiction of the effect of returning from a war to a home from which they've been long absent. It is really, really a shame that this had such a limited theatrical engagement. Everyone should see this film.

Rating: 4.0

W. (2008, U.S.)

Of course I thought I was going to like this one. And I was right. It was great. Oliver Stone is a wonderful director, and while he clearly isn't Bush's biggest fan, I think he did his best to make the film as unbiased as possible.

Blogger is silly and will only let me tag so many things per post, so let me list who portrayed all the major characters—Elizabeth Banks (Laura Bush), Ellen Burstyn (Barbara Bush), James Cromwell (George H.W. Bush), Richard Dreyfuss (Dick Cheney), Michael Gaston (General Tommy Franks), Scott Glenn (Donald Rumsfeld), Ioan Gruffudd (Tony Blair), Toby Jones (Karl Rove), Thandie Newton (Condaleeza Rice), and Jeffrey Wright (Colin Powell). If this doesn't sell this film to you, I don't know what would. All of these actors were so absolutely brilliant that I almost forgot that they were actors and not the actual people. And then there was Josh Brolin. Wow. To be able to play such an interesting character over a span of 40 years with such authenticity is sheer, undeniable brilliance. Stefanie (who I saw this film with) had the same reaction as me—by the end, we were convinced that we were watching Dubya and not Brolin. Amazing, amazing, amazing acting. I cannot say enough about the whole cast, and especially about Brolin.

Besides the great acting and the high level of realism, I also love the flashback method of storytelling (as I always do) and the clever, clever score. The flashbacks attempted to parallel his early life with how he behaved as president. He was (apparently) a wild, alcoholic, irresponsible boy who couldn't hold down a job and was an embarrassment to George Sr. He decided to get it together and go into the family business by running for the House of Representatives, but he was "out-Texased" by the democratic candidate. Then somehow he becomes governor of Texas, and then God calls him to run for president. (H.W. didn't want him to run for governor and overshadow his brother Jeb, who he seemed to be much prouder of.) You feel bad for poor W. But at the same time, you recognize that trying to prove oneself to one's father is a terrible motivation for becoming president and that this man was not qualified for the job. (Kind of like another politician whose primary experience is as a state governor...)

Then there was the music. There was an interesting arrangement of the "Battle Hymn of the Republic" playing in the background when Bush and his cabinet are in a meeting to decide whether or not they're going into Baghdad. It gave me goosebumps—and not the good kind. Especially when the cabinet took part in their customary prayer at the end of the meeting. There were also several uses of a chirpy song about Robin Hood, primarily when Bush was wandering around his ranch followed by a troop of his not-so-merry men (and Condoleeza). It fit perfectly, with all its lyrics about feared by the evil and loved by the good, added to its goofy sound.

I liked George H.W. Bush in this film. I never thought much about him before since he was president when I was too young to care, but based on this he wasn't so bad. I liked how they had him tell W. that he had disgraced the Bush family name. However, in case this is less than accurate, he says this in a dream that W. has. That way, the idea was introduced but not implied as fact. I thought that was very subtly clever.

The last thing I will mention is the ongoing baseball field scenes, which culminated with the excellently done final scene. Apparently, center field is where Bush is able to think the most clearly. (His most successful job is as a baseball team owner, in fact.) Whenever he is trying to make a tough choice, they show him zoning out and imagining himself into center field. The last scene shows a fly ball coming towards him, and he keeps looking for it and looking for it, but he never sees it again. And that was a perfectly executed simile, right there. It was also a great way to end it. No hopeful messages, no preaching via end titles, no scrambling to choose a good final scene that really happened... It was wonderful.

I would give this film a 5, but I just wish there was more in it. Obviously, time is an issue and it can't go on forever, but I wanted it to. And since this is my blog, I can take half a point off for leaving me wanting more!

Go see this film. And don't "misunderestimate" it!

Rating: 4.5