Nov 27: Brave

"Determined to make her own path in life, Princess Merida defies a custom that brings chaos to her kingdom. Granted one wish, Merida must rely on her bravery and her archery skills to undo a beastly curse."

Directed by: Mark Andrews and Brenda Chapman, Rated: PG, 93 minutes

Pixar is falling to pieces. It's a sad fact and I hate admitting it but it's true. Ending with one of its greatest films (Toy Story 3), Pixar has seemingly came full circle and now everything afterwards is just not really worth it. Cars 2 is a disgrace and is a sequel no one but kids and merchandisers asked for. If Pixar ever showed signs of slowing down it was with Cars 2, and all hope for the animation studio regaining its composure was put into this year's Brave. Unfortunately, the film is a complete mess and doesn't feel like a Pixar classic at all. It's unimaginative, horribly paced, and probably one of the more childish movies I've seen from the studio. Brave is a generic waste of time and I am so disappointed with Pixar.

She must have so much hair in her food...

Merida (Kelly McDonald) is a young princess (because we don't have enough of those already) who's rebellious and lives her life against the grain, never wanting to do the training her mother (Emma Thompson) wants her to do and never wanting to become the queen she's destined to be. Luckily, her rather rambunctious father (Billy Connolley) allows Merida her moments of freedom and time with archery, something she's very good at. After a fight with mommy, Merida runs off into the woods and encounters a witch. She tells the hag that she wants her mother to change and the witch conjures up a little tart to present to mom that will most certainly make things a bit different around the dinner table. Unfortunately for Merida, the changes are a bit too drastic for her own good, and a curse is placed upon her mother, leaving Merida with only 48 hours to stop it before it becomes permanent.

Believe it or not, there's very little of this that actually happens in the film. 

Brave never feels like something that sprung from the minds and imaginations of the once-genius animators at Pixar. The story is the same story we've seen hundreds of times before, disguised as something just a little bit different. With lush, very realistic scenery and terrific visuals, Brave at first glance is something special. However, as the film drags on, even that luster begins to fade and you can tell what parts were given more attention than the rest. Merida's hair is rendered really well and the bright orange color contrasts well with the green of Scotland, but at times, you can tell it's the only thing that was paid attention to. A large part of the story features a bear and after the animal is introduced, it sticks out as something poorly made, and the fur on it's back looks neglected compared to Merida's fiery mane. It's a shame more attention wasn't paid to the details because once you notice one, it slowly drives you insane.

Oh my God! There's a poorly rendered bear right behind you!

If the hit and miss visuals weren't enough to scare you away, Brave lacks any imagination in the story it tries so hard to tell. The pacing is awful and jumps from family melodrama to stupid kid humor in the blink of an eye. In it's more fun moments, Brave tries to pack in as much jokes as possible, all of which are far from being THAT funny. Sure, there are a couple of chuckles in the mess, but they are far from enough to save the film. As for the actual story, there's very little originality in it and from the very beginning you can predict where it's headed. By the movie's conclusion, you feel no satisfaction as you've seen it all before and are more happy that the whole thing's over than anything else. Pixar may be owned by Disney (who's still putting itself back together), but there are few excuses to allow such mediocrity from the studio. With a streak has strong as the one it has, a film like Brave coming out of nowhere and really disappointing is almost unforgivable.

Luxor Jr. is a little dimmer these days...

Brave is a hard film to really breakdown and review. As a stand alone movie, it's above average and has technical moments worthy of praise. As a Pixar film, it's terrible and one of the worst they have made (it gives Cars a run for its money if that tells you anything). It's a movie that's completely lacking any imagination or thought and the magic we're promised in this fairy tale is almost non-existent. Our heroine is hard to root for and her actions are more careless than anything else. Very little depth is put into her and the rest of the characters and any emotion we're supposed to feel is shallow, if anything. However, I won't recommend staying away from Brave, as I know many people will see it regardless  but I will warn you that it's far from anything else we've seen from Pixar. Here's hoping that next year's Monsters University will restore some of the faith I have lost. Mike and Sully can't let me down. Right?... 

The Good:

visuals that create a vibrant world set in a very green wilderness (but has moments of blah)

The Bad:

a predictable story that does nothing new with the princess/fairy-tale story

The Ugly:

Pixar completely losing itself in the past couple of years and very little hope or signs that it's repairing itself

Overall: 6.1/10

Discussion Question:

Where does Brave rank in Pixar's filmography?

Trailer:

Nov 26: Big Fish

"A son tries to learn more about his dying father by reliving stories and myths he told about his life."

Directed by: Tim Burton, Rated: PG-13, 125 minutes

Tim Burton and I have a love-hate relationship. His earlier work I adore but his more recent films are absolute travesties. He's an incredibly talented filmmaker that's spiraled into awful. However, before his downfall, Burton delivered to us, in my opinion, his masterpiece with Big Fish. The film is a collection of tall tales that have twisted visions of reality and fit Burton's style and perspective brilliantly. Featuring larger than life characters, creatures, and situations, it's Burton's swan song of brilliance, incorporating everything he had become known for with dashes of added emotion. It's also worth noting that Burton's long time collaborator, Danny Elfman, also delivers one of his greatest scores to accompany the film.

Elfman even earned an Oscar nomination for the score, which is well deserved. 

In a Burton film lacking completely of Johnny Depp (that's a plus), Ewan McGregor, Billy Crudup, and Albert Finney shine. Crudup plays Will Bloom, a man that's become disconnected with his father, Ed (Finney), because of the constant larger than life stories he tells about himself, some seemingly exaggerated well past believability. Will feels his father has been lying to him his entire life with these stories, and as Ed lies on his death bed, Will feels obligated to figure out what's fact and what's fiction. In the retelling of the stories, we flashback to Ed's younger days (where he's played by McGregor) and see how he got to where he is now, how he meets the love of his life, Sanda (played by Jessica Lange and Allison Lohman), and his encounters with rather unique individuals throughout Alabama and the south.

Including a giant played by the late Matthew McGrory. Rest in peace, big fella. 

Big Fish is a beautifully colorful film that creates a fantasy world rooted in reality. With energetic and extraordinary embellishes, we see Burton burrowing into his comfort zone of the rather unusual and bizarre. However, unlike most of his films, he's pulled back to the real world more than often, and the blend of both worlds gives the film a greater strength. It's relatable and magical, something that's hard to find in a movie of this particular persuasion, and tells a story that inspires your imagination. Along with the magical qualities, Big Fish's other strengths are the performances. All three men at the core of the film are exceptional, and McGregor proves again that he's more than a likable face and is indeed a leading man and suave, gentle hero. Crudup also delivers a terrific performance as the man looking to find truth about the man he's called his dad for so long. He reminds us that he is just as talented as the rest of the cast and that deserves to be in more than what his career as ended up with. And, of course, the star of the film is the legendary Albert Finney. He's the "grandpa" we all would love to have and the over-the-top stories that come out of his mouth are never questioned, but believed immediately because of who he is.

You don't question Daddy Warbucks. 

Driven by incredible visuals and powerful performances, Big Fish is a film you cannot miss. It's Burton's final masterpiece before he loses himself along the way and he puts everything he has into it. It's just enough of his style for familiarity purposes, but focuses much more on the relationship between a father and his son than anything else. It's heart-warming and tests any ideas you have about how fully you can live life and that holding any grudges or regrets will only weigh down upon you and ruin any relationships you have. Big Fish is a tale of coming to terms with what you at first believe to be impossible and helps you realize that even if the truth may seem stretched a bit at first, there really is magic all around us.

The Good:

a focus on genuinely good storytelling, with visual beauty only strengthening it

The Better:
great performances from the entire cast, with even the smallest of roles added something special to the movie
The Best:

Tim Burton showing that he can make a movie that's not as weird as his usual outings and is much more effective

Overall: 9.0/10

Discussion Question:

Do you have any relatives that tell tall tales that are a little too hard to believe?

Trailer:

Also, as a reminder, make sure to check out The Shoes They Wear Blogathon, focusing on biopics of all varieties, even including, yes, Big Fish.

Nov 3: The Bay

"Chaos breaks out in a small Maryland town after an ecological disaster occurs."

Directed by: Barry Levinson, Rated: R, 84 minutes

I have to admit, there are very few films that creep me out. Call it a high tolerance from all the countless horror films and gore fests that I've seen or simply my own reluctance to allow scary things to get to me. With The Bay, a super low-budget found footage film, directed by none-other than Barry Levinson (yes, the man who made Rain Man), I not only was left disturbed, but realized that when in the hands of a master, found footage films can actually work. If anything, that is an admirable takeaway.

Sorry, MICHAEL Bay, no explosions or models turned actors around this film.

The Bay chronicles the tragic events that take place in a Chesapeake Bay seaside tourist trap on the Fourth of July. A reporter, Donna Thompson (Kether Donohue) is retelling the story of what unfolded, narrating over all sorts of footage that was gathered afterward. It just so happens that the small little town was infested with a parasite that literally ate itself out of its hosts, first devouring the tongue and then the rest of the head. As the audience, we see everything happen in what seems like real bits of footage edited together. We see the oceanographers and their research into the outbreak and the film ends with a somber, terrifying look at the devastation that the parasite leaves behind. It's graphic, it's gory, and it feels all too real.

Contagion meets Vacation. 

Levinson manages to craft a terrific tale of horror. It builds up slowly, with you knowing from the opening scene that something horrible is going to happen. The Bay sets the stage, introducing you to the town and its inhabitants and letting you see all the faults of the politicians and public workers. The film never loses the focus that the result of the tragedy is ,in fact, human error, and never supernatural happenings. It's a constant reminder that brings the fact home, towards the end, and makes The Bay feel like something based in reality. Levinson utilizes the found footage to great effect, almost to the point where it isn't as noticeable as say, Paranormal Activity. The scene actually has a plot and, as it all unfolds, you see more and more from all different angles and cameras. It comes together in a mosaic of horror and makes you question the water you drink every day.

Levinson makes you miss the days of toothpick counting...

While The Bay is far from a masterpiece, I can see how easy it is to overlook. The found footage genre has left a bad taste in our mouths but Levinson manages to bring a fresh style to it and actually scares you. Levinson has plenty of scenes that creep you out with the whole "what you don't see, is even scarier" and compliments your imagination with scenes that are downright unsettling. One scene that stands out is where a police car speeds through the streets, passing body after body splayed out on the ground. When it's through the lens of a dashboard cam, and all you have is silence to accompany the images, it sticks with you and is very haunting. The Bay has plenty of these moments and deserves to be called one of the better horror films of recent memory. I would highly recommend it.

The Good:

found footage done right, with plenty of scares and even more disturbing images

The Bad:

moments that feel incredibly cheap, including some of the smaller scenes featuring actors you can find at Rent-A-Star

The Ugly:

knowing that a found footage of quality only happens once in awhile and that there is plenty of crap to sort through to find the good stuff

7.6/10

Discussion Question:

Should big time directors like Levinson continue to experiment with found footage films or is that the seal of approval the genre does not need?

Trailer:

Oct 18: The Best Exotic Marigold Hotel

"British retirees travel to India to take up residence in what they believe is a newly restored hotel. Less luxurious than its advertisements, the Marigold Hotel nevertheless slowly begins to charm in unexpected ways."

Directed by: John Madden, Rated: PG-13, 124 minutes

When I first saw a trailer for The Best Exotic Marigold Hotel, I assumed it would be a safe movie you can watch with your grandparents, have a few laughs, and easily waste a couple of hours with a nice little movie. After seeing the movie, all of these thoughts have been changed, and the movie turns out to be something remarkable, spiritual, and much more profound than anything I expected. I have to give myself a little slap on the wrist for thinking so lightly of this movie, as in complete honesty, it's easily one of the best movies of 2012. Oh, and it has an incredible cast. 

British and over 60? Welcome aboard!

The film follows a bunch of retired people that are all looking for a way out of their regular lives. Evelyn (Judi Dench) is trying to cope with the loss of her husband and wants to travel the world, something she never had the opportunity to do so. Graham (Tom Wilkinson) has a past he's trying to reconnect with and hopes to visit some people he grew up with. Douglas (Bill Nighy) and Jean (Penelope Wilton) are a newly retired couple that aren't happy with their home and want something more full of life and energy. Muriel (Maggie Smith) is a racist old woman who needs a hip replaced and the only place to do the surgery sooner than later is out of the country, much to her dissatisfaction. Madge (Celia Imrie) and Norman (Ronald Pickup) are two old-timers that are very young in the mind and are rather promiscuous. All of these older people come together in a hotel in India, run by Sonny (Dev Patel), a young man trying to turn the rather lackluster hotel into something much more grand. As all of these men and women begin to understand the complexities of India and its people, they all go through their own changes, mostly for the best. 

Oh, Wilkinson! You crazy!*

The Best Exotic Marigold Hotel is very unexpected and quite the treat. It's a lovely little film that shows the struggles of those thought to be past their prime and the youth and life they discover in one of the most beautiful countries in the world. The film is sweet, never forced, and genuinely funny. I rarely laugh at loud at movies (it takes a lot to impress me) and I let out plenty of chuckles throughout the film, either be it at hearing something I'd never expect one of these actors to say, or the sheer brilliance of the script. All of the cast are exceptional and even the young Dev Patel handles his own incredibly well. His character is very much a throwback to the classic optimistic and overwhelmed characters you'd see in something from the 50s or 60s and yet he manages to maintain a sincerity to the rather cartoon character he plays. The movie also features plenty of scenes that pull at your heart strings and leave you "with something in your eye". The Best Exotic Marigold Hotel is a movie that wraps you in with the cast and humor and leaves you happier and more satisfied than you could imagine (in a non-dirty way). 

Although, she'll have you either way. 

I would highly recommend The Best Exotic Marigold Hotel. As I mentioned, it's easily one of the best movies of the year and deserves to be talked about come the end of the year. After watching The Darjeeling Limited in 2007, I was immediately fascinated with India and have always wanted to travel there. With this film, that craving reemerges and director John Madden does a fabulous job at capturing the culture, the people, and even the modernizing of one of the most interesting countries in the world. I really love this movie and hope that you'll look past the rather generic, yet simple trailers and give The Best Exotic Marigold Hotel a shot. You won't be disappointed. 

The Good:

a great little look at India, from its people to its culture and even the food

The Better:

having a terrific cast come together for a film that's not only fun, but means a lot more than you'd think

The Best:

an ending that's sweet enough to be happy with and not feel like it's what you'd expect, even though you have a rough idea of where it's heading

Overall: 8.5/10

Trailer:

*I whole-heartily love this man. 

Jan 14: Bronson

"A young man who was sentenced to 7 years in prison for robbing a post office ends up spending 30 years in solitary confinement. During this time, his own personality is supplanted by his alter ego, Charles Bronson."

   Now, Bronson is one of my favorite movies and, after re-watching it, I have to say that fact still holds true. The film is hilarious, graphic, perverse, violent, and almost psychedelic at times. It's a perfect mix of A Clockwork Orange, Fight Club, Natural Born Killers and Monty Python. Tom Hardy absolutely kicks the role of Charlie Bronson in the ass and marvelously shines as one of the best young actors today. Watch this movie and you will be even more excited to see him as Bane in The Dark Knight Rises. 

Insert mandatory Bane picture- ensue with mangasms and fanboy squealing. 

  

   Tom Hardy plays a life long criminal who desperately wants to make a name for himself. He realizes that he can't do that with singing or acting, so he decides to take the violent route. He considers a prison room a hotel room, and flourishes in every prison he's in (when he's not in solitary confinement). He gains the respect of his fellow inmates, and the utmost hatred from the guards. He does so much damage to property and people that the prisons cannot afford to keep him anymore, so they let him go. 

OK, you can go home now. 

  The film is shot with the dirt and grime of each of Bronson's prisons and uses the backdrop of the 70s and 80s to heighten the atmosphere. Along with this, the use of color and lighting works perfectly. Many scenes are filmed in red lighting, almost calling upon the rage building inside Bronson himself. One of my favorite parts of the film is when Charlie Bronson is on an imaginary stage, telling his life story to an audience. He uses all sorts of elaborate makeup and costumes and Tom Hardy is incredible with an assortment of emotions that he puts on display. He will laugh maniacally one moment and then completely turn it around and stare into the camera like he is going to jump through the screen and beat you to a pulp. If this film was shot in 3D, I wouldn't doubt a handful of audience members would be leaving the theater with wet pants.

  While the film depicts the awful, violent nature of one man, Tom Hardy's acting makes you root for him in every scene. He is in no way a good man, but his charisma and humor make up for it. The film gives wonderful insight to a lunatic and his life, and it is insanely fun to watch. With an excellent soundtrack, camerawork, and incredible acting, I highly recommend Bronson. Keep in mind; however, that this is not a film everyone will enjoy. It is offensive and it is violent. But without either, the film wouldn't succeed as well as it does. 

Sight: Gritty and artsy, Bronson is shot very well with wonderful throw backs to the films of the 80s. 

Sound: The soundtrack is incredible, using songs from the 70s and 80s while combining an electronic beat throughout. The soundtrack is very similar to that of Drive, another film Nicolas Winding Refn directed. 

Skill: Tom Hardy is perfect in every way. I believe it to be one of the best performances in the last ten years. 

Script: Everything Bronson says is clearly thought out and helps peel away another layer into seeing what kind of person he is. The staged monologues are some of the best lines in the film, and also the funniest. 

Overall: 8.6/10

Best Quote: 

Charles Bronson: "You don't want to be trapped inside with me sunshine. Inside, I'm somebody nobody wants to fuck with do you understand? I am Charlie Bronson, I am Britain's most violent prisoner."

Jan 2: Bunraku

"The story of a a young man who has spent his life searching for revenge only to find himself up against a bigger challenge than he originally bargained for."


   Bunraku is one hell of a mess, but still very entertaining. This movie is what would happen if Sin City, West Side Story, and Kung Fu Panda had a three-way and popped out a baby, with the romantic lighting of Legends of the Hidden Temple.
   The film follows the over-used idea where two strangers wander into town and team up to fight a common evil. This time, it's a "cowboy without a gun, and a samurai without a sword". 
   The fight scenes in Bunraku are very interesting, and at times well done, and at others, completely lackluster and boring. It's almost as though the fight choreographer had certain days off, and the rest of the crew put the scenes together. I do however have to give Josh Hartnett some credit for kicking quite the handful of ass. He almost channels Jack Sparrow with his  creepy and comical permanent drunkenness. 
   The samurai in the story is played by Gackt, a former Japanese boy band singer. His imdb page picture however, tells me he is some militant, punk-rock lesbian.

Why..

   One scene that stands out is where Hartnett fights through dozens of guards into a prison, all filmed in one take and using a set with multiple levels. It is very well done and if the rest of the film was shot just the same, the whole movie would be much better. Throw in Woody Harrleson, Demi Moore (who looks awful as some crime lord's "trophy wife") and the massive Ron Perlman (with dreads, or long dirty hair, or something) and you get a grab bag of a movie. I do not recommend watching this alone, at least not sober. 


Sight: The film has insanely elaborate sets with a style like that of old school musicals (but with blood!).
Sound: It has an underwhelming score, with hilarious, yet, very cheesy sound effects.
Skill: Not much acting is needed, just fists and feet do the talking. 
Script: There is an interesting voice-over narration but the script is severely lacking and the story is unoriginal and cliche.

Score: 5.5/10

Best Quote:
The Drifter: "That's pretty optimistic of you; worrying about your mustache when you should be worried about your head"