True Grit (2010, U.S.)

I was absolutely stunned by this one. Finally, a western I could enjoy! After watching such modern and acclaimed westerns (featuring some of my favorite actors) as Appaloosa and 3:10 to Yuma, I was beginning to think that they just would never be my thing. So I was thrilled with my small victory here, because True Grit just blew me away.

I've never read the book or seen the original movie, but I have read that this version was a much closer adaptation of the book. If so, the book must be something else too. This film had the absolute best dialogue I have ever heard. It was oddly formal but it flowed so well and was often witty and amusing. Just fantastic. I think it definitely deserved the nomination for best adapted screenplay, and having seen the winner (Social Network), I do understand the tight competition.

The acting was phenomenal. Brolin, Damon, and Bridges all delivered the funniest lines with the most dry, deadpan expressions. Bridges was especially talented in that regard. Damon spent half of the movie with his tongue bitten through and his mouth swollen, and portraying that without looking ridiculous took some serious skill. With just those three men, this film already had an incredibly strong cast, but the real show-stealer was young Hailee Steinfeld. Although Bridges' character was the one who supposedly had the titular "true grit," I think Steinfeld (and her character, Maddie), was really the one with true grit. She was a real firecracker and a strong young actress, and watching her was truly a joy. I thought that Melissa Leo's supporting actress Oscar was ridiculous, and now I know who the hands-down winner should have been. Heck, she should have been nominated for best actress; her character was the central one. Absolutely stellar. Truly, the writing and acting in this film just defy description. You have to see it to understand how good it really is.

I also love the score. Carter Burwell is (sometimes) one of my favorite composers. At times, he writes perfect scores that bring the story alive, and at times he writes unmemorable, unfitting scores. This one was definitely the former. It's hard to describe (this seems to be a theme here), but it sounded very American, slightly western, and somehow peaceful. It fit beautifully with the film.

This brings me to my two small complaints. First, the transition from Burwell's score to the vocalized credits music was just too abrupt, jarring me out of the mood of the film. It really fit okay, but the transition could have been better. Of course, it was less noticeable than it could have been, following the worst bucket-of-cold-water-type moment in the film. I was completely immersed in the world of the film, enjoying the dialogue, the music, the western landscapes, when suddenly appears a mistreated (and then essentially murdered) horse. It's just one of my pet peeves, but I absolutely hate it when horses die in the movies. In a war movie, thousands of men can die without me blinking, but when the first horse falls I just start cringing. So in this otherwise enthralling film, I was suddenly thrown out of my enraptured viewing and back into reality with the death of this poor horse. Don't get me wrong, it works for the plot and Maddie's reaction is heart wrenching, but personally it was hard for me to get back into things and enjoy the rest of the film.

But overall, this was truly incredible. I find the Coen brothers to be very hit or miss when it comes to their films and my taste, and this was pure hit, hit, hit. A very pleasant surprise.

Rating: 4.5

Like Minds (2006, UK/Australia)

I definitely have to watch this one again, because even though I know what happened, I need to know why. This is a very dark, layered, psychological drama.

Det. Mackenzie (Roxburgh) calls Sally (Toni Collette), a forensic psychiatrist, into his investigation to psycholanalyze teenage Alex (Redmayne) to determine whether he could be guilty of murdering his disturbed/disturbing classmate Nigel (Sturridge). In a series of interview sessions, she learns the story of their twisted, complicated relationship, discovering that though dead, Nigel's psychological effect on Alex is undiminished. Despite all evidence to the contrary, she begins to seriously doubt his guilt.

Practically everything about this film, an independent drama by a first-time director, was incredible. One thing that especially struck me was the haunting score. It had this sort of ethereal female voice mixed with low orchestral instruments that truly captured the disturbing tone of the film. The dark lighting with a few splashes of color for emphasis further added to the tone.

The cast was a mixed bag. The school boys, Strurridge and Redmayne, were brilliant. It's true that I have a bit of a weakness for Redmayne, but he truly is a genius. In this role he walks the line between the innocently accused and the psychotic guilty, as the viewer isn't meant to know which he is until the end. Roxburgh was passable; he was a run-of-the-mill police inspector and didn't stand out one way or the other, which I expect was the intent. The most unfortunate cast member was Collette, who was supposed to be a great and compassionate psychiatrist but who was mostly wooden and underwhelming.

I was very interested in the title, which was originally Like Minds in the UK and Australia (it was a co-production) and was changed to Murderous Intent in the United States. The title can significantly change the way you interpret a film as you watch it, and it is especially true of this film and these titles.

Overall, this was an intense, brooding, disturbing, dark, creepy film, and it definitely stayed with me after I watched it. I get chills just thinking about it. This is another one I really need to watch again, knowing how it ends. I think I would have given this one a higher rating if the adults were better actors and some of the plot (mostly the secret society weirdness) wasn't so out in left field.

Those who are easily (or even not-so-easily) disturbed should beware, but if you love having your skin crawl, this is well worth watching.

Rating: 3.5

Savage Grace (2007, U.S.)

So, here I go on my quest to see every Eddie Redmayne film I can get my hands on! It has to be said that in my (so far limited) experience, he makes any film he's in exceptional.

Savage Grace is based on the real life murder of Barbara Baekeland, wife of the grandson of the inventor of Bakelite plastic. So one goes into this film knowing that young Tony is going to murder his mother in the end, and that what the film is ultimately about is not the destination (as it were) but the journey. The problem is that with the scripting, Tony seems to have very little motivation until the final days before the murder. Yes, he has a pretty bad upbringing, especially considering he's a wealthy child, and yes, his parents alternate between suffocating and neglectful, but still. The motivation just didn't seem that strong, nor was his mental illness that apparent. Watching this, I wouldn't have been surprised to hear he murdered his father rather than his mother; that's how off it seems.

It's interesting that much of what is presented in the movie never happened according to some firsthand accounts, and even the murder wasn't staged as it was occurred actuality. In this case, I think the true story would have made for much more gripping drama.

Parts of this film were extraordinary. For instance, as they take snapshots of this affluent life in the 1940s through the 1970s, the subtle changes in dress, decoration, and the like are very well done. And of course, acting is key here. Brooks Baekeland wasn't very memorable and Tony's grandmother was good (though she played a minor role). Hugh Dancy stood out as a gay man who was a sort of professional society companion. Julianne Moore, a very talented woman, was both lovable and loathe-able as Barbara Baekeland, a perfect combination. And Eddie Redmayne, of course, was brilliant beyond words. Watching him murder his mother, pick up the phone to order takeout, and then eat out of the white Chinese box with chopsticks while sitting next to his mother's body is just chilling. The combination of vulnerability and ruthlessness, childishness and maturity, is especially striking when portrayed by his genius. He really makes this one worth watching.

Rating: 3.0

Flickan som lekte med elden (2009, Sweden)

Inevitably, a film adaptation of a complex, multi-layered suspense/mystery novel of the outstanding caliber of Larsson's work just isn't going to have the same impact. True, a lot was too oversimplified (for instance, the sex trade angle, a huge part of the novel's plot, never made sense in the film). Also, the fight between Paolo, Miriam, and the German was way too *bang* *pow* super-choreographed.

Still, a lot of it carried over well. It was very dark and suspenseful. I still think the casting for Lisbeth was excellent, though Mikael was on and off. The music was eerie and dark, perfect to set the appropriate tone. Good stuff, especially if you haven't read the book but even if you have.

Chilling, powerful, engaging, and very Swedish. Good stuff.

Rating: 3.5

Män som hatar kvinnor ( 2009, Sweden)

There's nothing like seeing a film based on a novel starring a bunch of actors you don't know to let you appreciate the quality of the adaptation. This was a great film, and I'm glad I was able to see the Swedish adaptation before the American adaption comes out. (My guess is that this version will be the better one since it wasn't Hollywood-ed up, even if Daniel Craig is going to play Blomkvist in the American movie.)

The casting was pretty near perfect, at least for the two characters who mattered. (The rest I could take or leave.) Blomkvist was a middle aged but sort of ruggedly handsome go-getter type, and Salander was teeny and angry and very punk, with the haircut to match.

It's interesting how something so graphic and violent and awful (i.e. rape, murder, etc.) can seem less so when you read it (and frankly lack the imagination to picture something so horrible) and yet even when they tone it down for a film, it seems ten times as ugly. They definitely kept the bleak tone of the novel, and even the Swedish landscape added to the feel.

One thing that I really missed was the depth of the characters. Larsson had an almost overzealous narrative, rambling about things that seem pretty irrelevant to the plot. That's something that just can't carry over into film. Still, they didn't do an awful job converting it, and otherwise, everything that was good about the book was good about the movie. Suspenseful, complex, character-driven mystery. Wonderful.

Rating: 4.0

The Lovely Bones (2009, U.S.)

The novel that this movie is based on is a beautiful examination of death and life grief as seen in the eyes of a young girl who is raped and murdered by her neighbor. It is one of the most beautifully written books I've ever read, and some of the best parts of the film were the passages lifted directly from the novel.

It felt like they tried to cram a bit too much suspense into a story that was supposed to be more thoughtful. On the other hand, Saoirse Ronan is a great young actress (see Atonement for further proof) and played the dead girl with a very nuanced performance.

Peter Jackson's touch was obvious in Susie's CGI heaven. It was beautiful, with a forest in summer blending into mountains in winter, all with a slowly disintegrating gazebo in the center. (The gazebo is a duplicate of one in the mall where she was supposed to meet a boy on her first ever date.) From here, Susie watches her family and friends grieve and her murderer reliving his crime.

It could have been done better, but it was still quite good.

Rating: 3.5

The Messengers (2007, U.S.)

This movie was shockingly identical to Cold Creek Manor. A family moves from the city (Chicago) to the country (a sunflower farm in North Dakota). They have a daughter (played by Kristen Stewart again) and a younger son. The house is creepy, and something is obviously not right. Then a handyman shows up, and their luck seems to be turning around.

The major difference was that this movie had a supernatural element that the other lacked... and it was awful. It was really creepy, but it was pretty predictable. They used crows pretty well, but at the same time this seemed like a pretty cliché horror tool.

The best part about this movie was Kristen Stewart, of course. She's great at the troubled teen who's made some mistakes but is a great big sister and an honest person. She is also great at acting terror.

Perhaps I would have liked it more if I hadn't just seen Cold Creek Manor. Or if the ending wasn't so cheesy. But too bad, I did, and it was.

Rating: 2.0

No One Can Hear You (2001, U.S.)

I decided to watch this movie because it featured Kieren Hutchinson, a Kiwi actor I've seen once or twice and found quite adorable. It also stars Barry Corbin, a truly iconic actor. Of course, I'm not big into horror, but I figured I'd branch out.

The first night I started to watch it, I had to turn it off. Living alone in a very dark area across from a cemetery is not so bad on a normal day, but horror movies are not a good addition to this scenario. The opening credits are the scariest part. They show someone's darkroom, red light and eerie photos everywhere, while someone whispers, "True love never dies" in a voice that truly makes your skin crawl.

The rest was not so scary. Essentially, a bunch of suburban families with teenage daughters kept being found dead all together, decapitated. It seems to echo a crime that happened 15 years earlier. The local news reporter's daughter fears she will be next. The filmmakers work so hard to make you believe the killer is one person that it's incredibly clear that it's someone else.

It amazes me that a movie can be so horribly written with a completely nonsensical plot and yet still be so incredibly predictable. Terrible.

Rating: 2.0

Cold Creek Manor (2003, U.S.)

I've become a huge Kristen Stewart fan recently, so I decided to try out this movie even though it's not my usual fare. I have to say, I was pretty impressed. This movie was creepy.

A couple and their two children move from Manhattan to upstate New York. They move into a house they bought at auction; the previous occupants had gone bankrupt. The father, a documentary filmmakers, begins working on a film about the previous occupants. But weird things start happening in the house. Snake infestations, a dead horse. It is terrifying, especially because you know who is responsible the entire time, yet the family remains clueless.

They send their children home to protect them, and as the suspense builds and it becomes clearer to them what's going on, my skin just kept crawling. The final confrontation is something else—although very cliché, as it occurs at night during a thunderstorm.

Sharon Stone and Dennis Quaid are very good actors, and the chemistry and marital tension between the two was great. And of course, Kristen Stewart was fabulous. Christopher Plummer was very convincing as an old, senile man. But it was Stephen Dorff, who I've never even heard of, who stole the show. He played very sketchy white trash to a T.

I wish I remembered the music more clearly, because I noticed later that the director also composed the score. Interesting.

Anyway, this is a great movie if you want to be super creeped out!

Rating: 3.5

Changeling (2008, U.S.)

Obviously I was going to see this one, because I absolutely adore Angelina Jolie. And she was nothing short of brilliant in this one. Brilliant.

I truly cannot say enough about this film. The cinematography was astounding , from the very first black and white fade to color until the final fade back to black and white. (Very effective in introducing the film, a sort of eerie "once upon a time.") The costumes were perfect (and let me tell you, Jolie should have been a '20s/'30s film star—she rocked that cloche hat). Mis en scene in general was good. Very few anachronisms.

And the score was incredible. I nearly died of shock when I saw it had been written by Clint Eastwood. It was mostly a serious of variations on a very simple theme, using a violin (I think) and a solo trumpet. It fits the time period well with its slight jazziness, but it especially fits the plot because it is so dark and sad. I actually bought the score, and I'm glad.

The film was much darker than I thought it was going to be. Obviously, the disappearance of a child is enough to make a film pretty depressing, but add to that police corruption, a serial killer, and an eery psychiatric hospital, and wow. It was a very strange, subtle kind of suspense, and it was very effective.

This is really the first Clint Eastwood film that I've really, really liked. (Midnight in the Garden of Good and Evil isn't bad, but it doesn't hold up compared to Changeling.) Angelina Jolie really made it what it was, but I think it would have been good even without her (though I'm glad we'll never know). This film blew me away, and I would definitely recommend it.

Rating: 4.5

The United States of Leland (2003, U.S.)

Last night I put Season 6 of McLeod's Daughters on hold to watch The United States of Leland. It was intense, to say the least. The cast of this film was incredible. Don Cheadle, Kevin Spacey, Lena Olin... great actors. I liked that they all took relatively minor roles in this film and played them well. As great as all of these actors are, they couldn't overshadow one of the greatest actors of what I will call "my" generation -- Ryan Gosling. Gosling has done so few big movie roles, and yet every one of them is powerful and memorable. You can try denying that he is a great actor, but I'm not buying it. This film is a particularly good example.

Gosling plays a very strange, withdrawn teenager named Leland P. Fitzgerald who murders his ex-girlfriend's retarded younger brother. However, the focus of the film isn't about the actual murder (we never see the event) or about solving a crime (he admits his guilt from the beginning). Instead, it is about discovering his character and why he committed the murder. Leland says he doesn't know why he did it, but he begins keeping a journal in prison to organize his thoughts. The "United States of Leland" is what he names his journal. He says it doesn't mean he's the president; it just means it's his way of seeing the world. While he never answers the "Why?" regarding the murder, the observant viewer can figure it out. And the reason is sad, and almost beautiful -- for lack of a better word.

Aside from the casting and acting, I also enjoyed Leland's narration, the repetition of a key image at the beginning and end of the film, and the shaken temporal structure that gave the feeling of a puzzle. The viewer therefore has to piece together Leland's confused thoughts as well as the chronology -- not to mention the relationships of all the characters. Leland's confused, the victim's family is confused, the prison teacher is confused, the viewer is confused. Relationships don't make sense, murder doesn't make sense, pain doesn't make sense, love doesn't make sense, life doesn't make sense. And that's sort of the feeling you get from this movie about a lost, lonely, detached teenager who takes his melancholy to an extreme. Fascinating.

Rating: 4.0