Oct 6: Primal Fear

"An altar boy is accused of murdering a priest, and the truth is buried several layers deep."

Directed by: Gregory Hoblit, Rated: R, 129 minutes

Courtroom dramas are really hard to sell. For the most part, they can be very boring, predictable, and all kinds of stupid. Of course, there are a handful that are the exception (To Kill a Mockingbird, A Time to Kill, 12 Angry Men). Primal Fear can be put on the same list as those films. It's a much smaller film then the others and not quite as flashy (or as "classic"), but it manages to deliver incredible performances and tell a rather twisty story that grows more interesting as the movie progresses. Oh, and it introduces us to Edward Norton. 

Without Primal Fear, we wouldn't  have Fight Club, American History X, The Illusionist, or 25th Hour

The film follows Martin Vail (Richard Gere), a hotshot attorney who works more for the fame than for justice. He'll make deals for his clients as though they're worthless and do whatever he can to get his name all over the place. Aaron Stampler (Edward Norton) is a stuttering altar boy from Kentucky. He's arrested for murdering the arch-bishop of Chicago, in a seemingly easy to close case. He's found covered in blood and with the bishop's ring in his pocket. Vail, seeing a moment to garner more fame and attention, agrees to represent Aaron, pro-bono. As the case unravels, and Vail continues to press Aaron for details of the murder, much is revealed to the shock of both the characters in the film and the audience at home.

It's a complicated film that slowly ravels, never feeling forced or 'gimmicky'

It's easy to point out the best part of the film. The acting is absolutely flawless. Richard Gere is perfect as Vail, bringing his natural charisma and machismo to a character that's all too full of himself. As he realizes there is more to the case then a quick trial, he steps up his game and proves he's as good of a lawyer as he is a braggart. His supporting crew is just as impressive, with Frances McDormand playing the sympathetic psychiatrist, Andre Braugher playing his best friend and assistant, and Maura Tierney as his paralegal. However, in the midst of all these performances (from veteran actors), the star is Edward Norton. In his first role ever, Norton is phenomenal from the get-go. The character of Aaron is much more complex than you can gather from the initial introduction, and seeing where his character goes is not only shocking but incredible to watch. Seeing as this is our first look at Norton and his ability, you can easily see how he's one of the best actors working today. 

Something about this guy pisses me the f**k off but he does (on occasion)  remind me of how great he can really be. 

I would highly recommend Primal Fear. It's a courtroom drama that packs incredible performances into a small little film. It's very heavy on the dialogue, and it's completely up to the actors to make the film as good as it is (they deliver). The dialogue is strong, the plot is engaging, and Primal Fear is the kind of film that leaves you floored at its conclusion. Even if you've seen it before, and know how it all plays out, the ending still has quite the power behind it. Edward Norton is perfect as Aaron Stampler and takes the film to great heights, throwing it well past average and into unforgettable. Gere, who I am not usually a fan of, holds his own just as well and reminds us why he's a leading man. Go find this movie as fast as you can. The courtroom never looked so engaging. 

The Good:

a simple film that goes places you'd never expect, turning a small movie into a larger masterpiece

The Better:

a supporting cast that holds their own, standing behind the very talented Richard Gere

The Best:

Edward Norton in his first role, showing that from the very beginning that he's incredible

Overall: 8.6/10

Trailer:

July 15: Transformers: Dark of the Moon

"The Autobots learn of a Cybertronian spacecraft hidden on the moon, and race against the Decepticons to reach it and to learn its secrets."

Directed by: Michael Bay, Rated: PG-13, 154 minutes

I have never liked The Transformers movies. I feel they are loud, obnoxious, completely lacking of any substance, and a money-making vehicle that brings terrific actors to lows you'd never imagine. Sure, they are completely tailored to being huge summer blockbusters that are best enjoyed with a vat of fat-drenched popcorn, but at what point is this no longer acceptable? I believe a franchise has it's weight limit, and once the mess finds itself too full of shit to continue, it all implodes on itself. Unfortunately, and I hate saying this, Transformers: Dark of the Moon (T3 from here on out) does not bring the franchise over its threshold. In fact, it's a much better film than the second installment and, while it has plenty, plenty of flaws, I kind of had fun watching it. But dammit, does this thing push it close. 

Michael Bay- polished turd pusher since 1995. 

T3's story really doesn't matter, because there really is none. The film starts off showing the United States in the 1960s and the buildup to the lunar landing in '69. Of course, T3 has no qualms on changing history and reveals that the Apollo 11 mission was designed from the start as a investigation of an alien space wreck on the moon. After a very Armageddon-like, over-patriotic series of events, T3 jumps to present time, with a close-up of a woman's ass. Here, we see Carly (Rosie Huntington-Whiteley), an even less talented and less attractive Megan Fox replacement. She's the new girlfriend of Sam Witwicky (Shia LeBeouf), the savior of the world in the first two films and shouting enthusiast. They're tangled up in sweet young love and would do absolutely anything for each other. Of course, to throw in some unnecessary conflict, Sam's no longer involved in top secret giant machine missions and finds himself looking for a job, as I can only assume to be some faux-commentary on the "hard times" that has fallen upon all of us. Either that, or a sad excuse to re-introduce the two most annoying characters in the entire franchise- Sam's parents. There is so much filler in the first half hour of the film, you begin to wonder whether anything's going to happen and if the film is even worth continuing. Jump ahead- turns out that the Decepticons (the bad robots) are planning on opening up some portal, or what not, that would bring their home planet, Cybertron, to Earth and start fresh after their home world was destroyed. Enter the Autobots (the good robots), led by the part-time Mack truck, Optimus Prime. Unevenly matched and seemingly defeated before it all even begins, the Autobots team up with the US Government (Amurrika!) to take down the enemy. Sam's thrown in the mix because he just has to be there (it's in a contract somewhere), as well as his "damsel in distress". 

Clearly, she's the fish in her native England's "national dish", the fish and chips. 

While very little happens for the first chunk of the film, everything happens in the last hour and a half. It should be mentioned that T3 lasts a whopping 154 minutes. After "character development" and a bunch of small robot fights, T3 climaxes in a 90 minute explosion fest of special effects, awesome stunts, and absolutely no story. Hell, if I have to sit through something like this, make it as over-the-top epic as possible. T3 does just that, and while the climax (which really could be considered half the movie) is a little longer than it should be, it looks so f**king awesome you can't help but enjoy it. At this point of the film, as well as the franchise, I have absolutely no expectations, or even hope, for it all and when it becomes bat-shit crazy, I can't help but just sit back, laugh at the ridiculousness, and love every moment of it. Watching Chicago being completely demolished by talking machines and giant worm-bots make-a-me-happy. It's also worth mentioning that a stunt involving wind-suits and sky diving takes place, and although it's completely implausible, it's a one-of-the-kind spectacle. As always, no specific spoilers, the good guys win and pretty much, immediately after the fight concludes, the credits roll. Literally, like a minute after the fight is over. T3 doesn't even try to end with anything profound. It's fully aware that any story was lost halfway through and completely abandons it by the end. 

That's cool. 

The Transformers franchise has finally realized what it is with T3. An eye-candy spectacle that needs no story or development and simply a special effects festival that rapes the eyes. It's in this realization and full acceptance of this fact that T3 shines in its own confusing way. Don't call T3 my turn around for the franchise or that I'm now a converted fan of the series, but call it my acceptance of the fact that there's nothing at the core. The one part I have not been able to give up on, however, is the fact that The Transformers movies have lowered otherwise great actors to the lowest of lows. T3 features John Malkovich (tanned-orange), Frances McDormand (government super-bitch), John Turturro (conspiracy obsessed whack job), and Patrick Dempsey (power-crazy playboy). Each of these actors play cartoon characters that add nothing to the plot and only exist to provide the laughs any fresh-out-of-drama school "actor" could elicit. Why waste money on all this talent when you can have more robots and explosions? 

A boy's best friend is his fire. His over-the-top, computer generated fire. 

I don't feel I need to either recommend or discourage a viewing of T3, as nearly everyone has already seen it. All I can say is that it is certainly better than I thought it would be and I enjoyed every bit of the drawn out conclusion. I've never been a sucker for style over substance (I hated Avatar), but for some reason T3 did it for me. Throughout my viewing, I even told myself how much I hated enjoying what was on screen, but a part of me would not relent. Transformers: Dark of the Moon is an epic spectacle that once it gets going, never stops. Literally, once it slows down, it just ends. There's no resolving action or quick wrap-up. In conclusion, f**k you Michael Bay and your ability to craft action sequences and f**k you even harder for making me enjoy them. 

The Good:

the second half, also known as the climax, that's non-stop action for a good ninety minutes

The Bad:

seeing great actors succumb to the power of a big paycheck and thus, throwing out any respect they may have had for their craft

The Ugly:

... enjoying it when I've hated the first two films with such fiery passion

Overall: A begrudgingly high, 7.0/10

Trailer:

June 24: Moonrise Kingdom

"A pair of young lovers flee their New England town, which causes a local search party to fan out and find them."

I am a huge fan of Wes Anderson and every single one of his films. I especially love Rushmore, Fantastic Mr. Fox, and even the underrated The Darjeeling Limited. He has a very unique approach to his movies, painting them as almost live-action storybooks, with vibrant colors, beautiful sets, and characters that are a little too over-the-top for the real world. He is certainly an acquired taste and many may find his movies to be a little too odd, but each one is its own work of art, and Moonrise Kingdom is no exception. In fact, it's one of Anderson's strongest, most imaginative films. 

The story follows Sam and Suzy (newcomers Jared Gilman and Kara Hayward), two young lovers who decide they have had enough with their families and friends and decide to run away together. The only thing, however, is that they are situated on a 16 mile island and don't have the widest of spaces to run off to. The runaways cause quite the ruckus in the small island community and everyone, from the only police officer, Captain Sharp (Bruce Willis), to a dedicated, yet confused Khaki Scout Master Ward (Edward Norton), join in the search for the two secret lovers. And thus, Moonrise Kingdom plays out in glorious fashion, mixing romantic and comedic themes, while interlacing a somewhat violent manhunt, as though the runaways are fugitives eluding capture. The shakeup of themes leads to a rather unpredictable story and makes it all the more enjoyable. 

Can't mention a Wes Anderson movie without talking about the good music, which also creates one of the most unique end-credit experiences. 

I would highly recommend Moonrise Kingdom. I am very sad to see the film is in such limited release, as a wider audience should have access to this work of art. Moonrise Kingdom has incredible attention to detail and each shot is set up beautifully, with each set constructed with great care and precision, each item and background creating another layer to this imaginative love story. The cast is flawless, and; Anderson was able to get two terrific performances out of the two leads, who both show signs that they certainly have what it takes to make it in Hollywood. The movie also features Bill Murray and Jason Schwartzman (two Anderson staples) as well as Frances McDormand, Harvey Keitel, and Tilda Swinton. Wes Anderson continues to make magic in his movies and I eagerly anticipate whatever he has for us next. Watch Moonrise Kingdom, you won't regret it.

The Good:

such attention to detail that you can watch the movie several times and still miss little aspects

The Better:

a great script that is in true Anderson form, blending romantic, funny, and even dark themes to create a vibrant, colorful world and cast of characters

The Best:

that very cast, with each actor fitting his/her perfectly and showing that Anderson really does get the best performances out of everyone he works with

Overall: 9.2/10

Trailer: