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Movie Review: Twilight New Moon

Eric Emin Wood — Fri, 20 Nov 2009 06:13:08 +0000

I am not the audience for this movie.

I did not see the original Twilight. I read the novel and was horrified; how many teenage girls truly believe that men like Edward Cullen exist? (Fewer, probably, than the number of boys men who expect to meet a gorgeous independent woman who caters to their every whim and is miraculously attracted to slovenly underachievers, but that’s a rant for another film.) In real life a man who stalks protects a woman the way Edward does will continue to do so whether her life’s in danger or not. Perhaps the majority of Twilight fans recognize this, and treat the stories as wish fulfillment, much as this reviewer does with good romantic comedies (though not, it must be said, The Ugly Truth, which peddled a similar adolescent fantasy).

On that level, New Moon delivers. It reproduces the central appeal of the books: a man who’s faster, stronger, more romantic, better at playing baseball and musical instruments alike and more beautiful than anyone you could possibly imagine falls for Bella Swan, an ordinary, unremarkable-looking girl, and continually professes not only that he loves her, but that he cannot live without her. So protective is he that when his otherworldly urges place her in danger he actually abandons her to protect her.

This is the basest sort of adolescent fantasy, the kind any writer who’s attended university could dream up, and yet it would be undone by a sense of manufactured cynicism if author Stephenie Meyer didn’t wholeheartedly believe in it. She does, and it would appear a wide cross-section of the western world does too.

The audience I saw New Moon with cheered when Robert Pattinson and Taylor Lautner entered, gasped when Bella was attacked by a vampire and cheered when a pack of werewolves defended her. Director Chris Weitz (The Golden Compass) provides plenty of eye candy, and even throws in a flourish or two (I enjoyed the way he depicted three months passing). With two exceptions – one of the worst-looking CG werewolves I’ve ever seen (only one, thankfully, not the entire pack, and only for one shot) and a flash-forward near the end that I doubt was intended to elicit hearty laughter from the audience but did – he gets the job done.

My problem with the movie lies completely with the source material. I hate Bella; she’s a wallflower, reacting to (instead of acting upon) events around her by screaming, moping and becoming recklessly suicidal when Edward leaves, yet suddenly protective of (and willing to die for) him if he’s in the room and in danger. Fans of Edward will be less than pleased that he’s off-screen for more than half the movie, appearing sporadically in a series of visions. And we all know the central conflict in Twilight is a metaphor for sex, with vampirism standing in for the horrid corruption that awaits Bella should she (gasp!) consummate her relationship with Edward without tying the knot first. To phrase it diplomatically, I do not share Meyer’s Mormon beliefs.

On the other hand, how is an adolescent girl’s desire to meet someone as protective as Edward any different from the hope that your True Love is out there, somewhere, and you could meet them, which forms the backbone of all romantic comedies?

I was completely and utterly indifferent to New Moon. Its fans will lap it up.

Movie Review: Bad Lieutenant

Sara Harowitz — Fri, 20 Nov 2009 05:01:08 +0000

It’s every citizen’s worst fear: a cop who willingly and continuously breaks the law; and even worse, a cop who gets away with it. Yet somehow, Bad Lieutenant: Port of Call New Orleans is still an enjoyable watch.

Directed by Werner Herzog, Bad Lieutenant tells the story of Terence (Nicholas Cage), a rogue detective who is equally as devoted to his job as he is to scoring illegal drugs. Taking place in the aftermath of Hurricane Katrina, the film follows Terence as he tries to find the drug dealing killer of a low-income family, all the while smoking and howling like a mad man.

Appearing high and/or delusional in every scene, Terence wields his gun, flashes his badge, and threatens everyone around him to get what he wants. And most of the time what he wants is drugs. He steals drugs from young couples at nightclubs, makes drug deals with the criminals he is supposed to be arresting, smokes drugs in front of just about anyone, and even carries around a lucky crack pipe.

Cage does a convincing job as the out-of-his-mind lieutenant, acting as over-the-top as such a character requires. However, some motivation does seem a little random. At times his bursts of anger seem to come from nowhere at all and relate to absolutely nothing. His body language feels a little forced – a permanent hunchback due to a back injury (the primary cause of his needing the drugs). Still, when you’re that insane, you’re bound to be a little melodramatic.

The film also stars Eva Mendes, who plays Terence’s prostitute girlfriend named Frankie. She plays her part well, although you can’t help but wonder how the two of them met (you don’t find out).

Another major player in Bad Lieutenant is the reptile. Yes, you read that right. Herzog needed a way to play with the fact that Terence is always high. And, he found an effective one. With iguanas and alligators showing up at various crime scenes and police offices, the audience is made to feel as if they are hallucinating along with Terence.

One of the criminals that Terence is after is played by ride-pimping rapper Xzibit. And surprisingly, when the cornrows and baggy jeans are gone, he cleans up pretty nice. Xzibit even plays his character well, appearing both shocked and amused as the wild Terence snorts coke along with him.

Everyone involved in Bad Lieutenant has made it clear that this is not a re-make of Abel Ferrara’s 1992 flick, called, well, Bad Lieutenant. Still, many are bound to be confused by the title match, along with the loose plot similarity of a crazy, drug-addicted detective.

So let’s recap. Bad Lieutenant is insane. It’s as insane as Terence trying to function on three hits of coke and two hours of sleep. Sound intriguing? Well, it is. If a movie’s main goal is to entertain, then Bad Lieutenant gets an A+. It’s got some action, it’s humorous, and it’s just freaky (define that word how you wish) enough to keep audiences engaged. Still, don’t be alarmed if you come out of it a little confused. Or, maybe a little high…not high on drugs, though. Drugs are bad…or maybe badass. You decide.

Bad Lieutenant (Herzog’s Bad Lieutenant, that is) opens in Toronto, Vancouver, and Montreal on Nov. 20.

Movie Review: Pirate Radio

Ilan Mester — Fri, 13 Nov 2009 05:00:20 +0000

“Pirate Radio” is entertaining, well written — but also forgettable. Directed and written by Richard Curtis (“Love Actually,” “Four Weddings and a Funeral”), there’s no question this movie will appeal to rock lovers and rock dummies alike. However, that doesn’t make it a memorable film.

In theory, this comedy has everything going for it: actors who can actually act (like Philip Seymour Hoffman), a reasonably original plot and a witty, Oscar-nominated screenwriter. The movie is based on the true story of a seafaring group of rock-obsessed DJs who captivated 1960’s Britain with their “pirate radio.” This at a time where rock music was mostly banned from the airways so the group broadcast live-to-air in an old tanker from the middle of the North Sea.

Their radio station helped unify millions across the nation and their story is without a doubt hilarious as told by Curtis. So what’s the problem? It’s just clustered. “Pirate Radio” is an ensemble film, but one with too many characters. While the movie does a fantastic job of developing a handful of oddball DJs, the rest of them are merely props.

There are some fantastic scenes in “Pirate Radio,” but unfortunately they just flit from one to the next. The one thing (or character) who reoccurs throughout many of the scenes and sort of binds them is a teenager by the name of Carl (played by Tom Sturridge), the godson to Quentin (Bill Nighy, the station’s manager). He’s freshly expelled from school and sent by his mother to spend some time on board. Having Carl’s character in the movie is smart to say the least because it makes the film accessible to a much younger crowd (including those who think a record only refers to an achievement).

One thing that’s definitely phenomenal about this movie is its cast. From established actors including Hoffman, Nighy and Emma Thompson to younger actors like Sturridge and “007’s” Gemma Arterton, the movie exudes talent.

The plot is interesting as well. The thing that keeps this movie going is the government’s attempts at sinking the pirates through legislation, along with subplots from some of the DJs. When one subplot is unveiled, another one takes off. The problem is there’s too much filler to get cheep laughs from the audience.

However, with all it’s faults, “Pirate Radio” is still a worthwhile movie. The film may not be a masterpiece (and may be a half hour too long), but the songs it features are without a doubt classics. I mean, you can’t go wrong with a soundtrack that includes The Beatles, The Rolling Stones and The Kinks can you?

Movie Review: 2012

Sara Harowitz — Thu, 12 Nov 2009 17:25:34 +0000

Well folks, it looks like we’ve only got two years to live.With that in mind, are you sure you want to spend the last bit of your precious time watching your terrifying fate on the big screen? If your answer to that question is an enthusiastic and energetic YES, then 2012 is just the movie for you.

Directed by Roland Emmerich, 2012 is about the human race’s greatest fear: the end of the world. According to the Mayan calendar, the world is set to undergo a series of large-scale natural disasters on Dec. 12, 2012, that humans will not be able to survive. The film takes us on the two journeys. The first is with an intelligent but unpopular writer, played by John Cusack. He’s divorced, and has two kids who prefer their mom (Amanda Peet)’s new boyfriend to their real father. Pretty typical, right? Still, if anyone can wiggle back into a child’s heart, it’s Cusack.The second journey follows a geologist (Chiwetel Ejiofor) who works for the White House. He helps the government prepare by giving estimated times for each disaster to hit.

As for the special effects, let’s be honest: they look like a video game. Albeit trying to capture volcanoes the size of cities and earth cracks the size of supermarkets is difficult, it’s no secret that digitalization played a huge role in this film. And there’s no question that 2012 is melodramatic. It’s basically just one horrid natural disaster after the next. The fact that Cusack narrowly escapes death by two seconds on numerous occasions is a bit much.

The film’s most compelling aspect is its underlying moral dilemma: when it comes down to survival, is it every man for himself or every man united? When survival instincts first kick in, panic ensues and individual survival becomes primary. But does that make it right? The movie seems to ask, if you were in the position of these characters, what would you do?

Still, one major problem arises. Is it really a good idea to make this movie now? The world supposedly has only two years left of existence – not exactly a comforting thought. Do we really want mass amounts of people to see such disaster, knowing that some people believe it to be our fate? The film is frightening in that way. You see families get torn apart, witness parents and children saying goodbye for the last time. It makes you think: if this actually happens, where will your loved ones be? Will you get the chance to say goodbye?

This seems like the type of film that should be made after the fact – you know, maybe in 2014, when we are long past this dreaded day and can look back and laugh about how scared we once were. The fact that this date is coming our way so soon is rather unsettling.

Still, 2012 is sure to keep you entertained. It’s action-packed and in-your-face. And hey, it would make for a wicked video game. Let’s just wait a few years before we make it, shall we?

Movie Review: Inside Hana’s Suitcase

Ilan Mester — Fri, 06 Nov 2009 14:48:07 +0000

“Inside Hana’s Suitcase” will move anyone and everyone. The film mixes documentary with narrative techniques to tell the true-life story of Hana Brady, a girl who was killed during the Holocaust.

The film was inspired by the 2002 bestselling book Hana’s Suitcase. It retraces a series of coincidences that lead Tokyo school teacher Fumiko Ishioka, to the suitcase that belonged to a Czech Jewish girl, Hana Brady.

Ishioka, who also happens to be the director of the Tokyo Holocaust Education Centre, receives the suitcase with only two bits of information on Hana: her date of birth and the fact that she was an orphan by the time of her wartime capture. It doesn’t take long for the teacher to become emotionally invested in discovering Hana’s story, an investment she shares with her students. After intense research, she discovers that Hana’s brother George, a Holocaust survivor and thriving grandfather who lives in Toronto, is still alive.

Don’t let the documentary aspect turn you away from seeing this movie because it’s anything but dry. Director Larry Weinstein does a fantastic job of combining interviews with George and surviving friends and family with stunning re-enactment footage of Hana and George as kids. The two types of storytelling mesh together so well that sometimes they literally blend (a scene involving Ishioka and a drawing by Hana is simply amazing and unique).

But perhaps one of the most interesting aspects of this movie is its narration. Forget about the stereotypical monotone voice that narrates many documentaries, this one is told by children. And the interest these kids have in Hana definitely adds to the movie. It’s rare to find a kid-friendly documentary that a) captures children’s attention and b) informs them. This one does both.

For Ishioka, the purpose of teaching her students about the Holocaust was to show what can happen when prejudice and hatred are taken too far. The movie does a great job of capturing this. Take the advice of one of the schoolgirls in the documentary. She simply says, “we need to learn from this story” — advice worth taking.

Movie Review: This Is It

Eric Emin Wood — Wed, 28 Oct 2009 13:00:49 +0000

Dunno if you heard, but a concert documentary, starring a little-known performer who died recently, opened across the country at 12:01 this morning.

This performer, Michael Jackson, would likely have been plagued by scandal through much of his adult life had anyone actually heard of him, so perhaps it’s just as well.

To Sony’s credit, This Is It does not feel like a quickie cash-in on Jackson’s death. A bit over-adulatory perhaps, but that’s to be expected. It must be said, however, that Jackson’s death casts a pall over the movie’s early proceedings; to me, his fake cleft chin and overly manufactured nose make his face look like melted wax, his voice occasionally lilts – not in a good way – and some of his dance moves look robotic.

But as time passes, the rehearsals have an obvious effect on him; his dancing becomes smoother, his singing becomes stronger, and he appears to become younger. Performing came as naturally to Jackson as breathing, and while his voice occasionally disappears, he’s never off-key (and explains more than once that he’s trying to save his vocal cords), and every number yields enthusiastic applause from the gathered technicians and back-up dancers.

If there’s an aspect of This Is It worth complaining about, it’s that a series of early interviews with Jackson’s back-up dancers never mentions their names, nor does the movie return to them, making their initial praise of him and nervousness when auditioning both creepily voyeuristic and shamelessly sentimental. It’s also worth noting that we never learn anything about Jackson himself; whenever he’s talking it’s all business, though it’s enlightening to learn just how clearly he knew his music inside and out. As you might expect, Jackson is very affectionate with the people he works with, and the choreographers, musicians, back-up singers and dancers all speak highly of him.

And what of the performance itself? Jackson and High School Musical director Kenny Ortega created a very cinematic production – show-stopping sequences were filmed for at least five of the songs – and after a clumsy introduction, the movie soon feels like a private concert.

Most of the expected hits are here – half of Thriller (the title track; “Wanna Be Startin’ Somethin’”; “Billie Jean”; “Human Nature”; “Beat It”), some of Michael’s early stuff with the Jackson 5 (”I’ll Be There,” “Dance and Shout”), half the singles from Bad (”Smooth Criminal,” “Man In The Mirror”; “The Way You Make Me Feel”) and some of his most popular late-period work (”Black or White”; “Heal the World”; “They Don’t Care About Us”).

Watching This Is It, I couldn’t help but think about what Jackson’s detractors would have thought of the final product. Would they have seen his show and enjoyed it, or dismissed it as overproduced fanservice mounted by a fallen icon? Hard to say, since those detractors won’t see the movie; as for his fans, those who haven’t seen it already can expect a fond farewell. Whatever his faults, Jackson wrote some great music and remained a terrific performer until the end, and my impression is that anyone lucky enough to get a ticket would have seen a hell of a show.

Movie Review: Astro Boy

Ilan Mester — Fri, 23 Oct 2009 14:34:08 +0000

If you can sit through corny lines such as “everyone has their destiny,” “Astro Boy” isn’t too shabby. While it doesn’t live up to Pixar standards, the movie is quite an engaging family-friendly action flick.

The animated film tells the story of a robotic boy who first emerged in the 1950’s as part of a Japanese manga series. Astro Boy then ventured into television in the ‘60s and today, he can be seen on the silver screen with upgraded CGI animation.

The film starts with Toby (voiced by Freddie Highmore), a brilliant, curious kid who’s the son of an even more brilliant scientist (Nicolas Cage). Unfortunately, he dies in a freak lab accident and his father, stricken with grief and guilt, creates a robot that looks exactly like Toby (memories included).

However, he realizes shortly after bringing the robot home that no one — or in this case nothing — can replace his son. He abandons the robot, who later takes on the name Astro and leaves the gleaming Metro City in order to find a place where he belongs (I apologize for the cheesiness, but that’s literally how he feels).

There’s one catch, Astro is powered by Blue Core energy, a crystalline nugget that’s extremely powerful and that the government, mainly the vicious president, wants to get its hands on.

While the plotline may not appear simple on paper, it’s easy to follow on screen. As a film, “Astro Boy” is quite simple and doesn’t offer much innovation to its animated-action genre. But, it isn’t a completely passive movie. The war-obsessed fictional President in the film (voiced by Donald Sutherland) is an obvious political allusion anyone who sees the movie will pick up on within seconds. Also, the treatment of robots is quite cynical.

As far as the animation goes, it isn’t necessarily realistic per say, but it’s well done — to the point that you really get into the action. One thing the film deserves kudos for is its cast. While Summit Entertainment is relying on big names — including Samuel L. Jackson, Charlize Theron, Kristen Bell, Nathan Lane, Eugene Levy, among others — to draw in the audience, it pays off, because for the most part, their voices suit their respective characters — including Highmore who brings Astro to life.

Director David Bowers (“Flushed Away”), who penned the movie’s screenplay alongside Timothy Harris (“Space Jam”), clearly borrowed certain concepts from films like “WALL-E” and “Robots,” to create this movie. Unfortunately, he wasn’t able to make “Astro Boy” unique from them.

Movie Review: A Serious Man

Ilan Mester — Fri, 16 Oct 2009 14:22:20 +0000

Only great movies require cheesy appraisals, so here it goes: “A Serious Man” is seriously good. Compared to other Coen brother films, it holds its own in a line of classics. And for those thinking you’re going in to see a comedy, note that it’s not just any comedy — it’s a horrific comedy (meant in the best of ways).

When you see the opening sequence featuring a Polish peasant and his wife speaking in Yiddish, just note that you’re not in the wrong theatre. The film kicks off with a short horror film, ending with spilled blood. It raises the question: “Has the almighty Hashem blessed them with a visitor? Or cursed them with a soul-stealing dybbuk?” You’ll understand once you see the film.

It then fast forwards to a 1967 Minneapolis Jewish community, of which Physics professor Larry Gopnik (Michael Stuhlbarg) is a part of. And let’s just say his life isn’t one you would envy. Larry’s wife wants to leave him for their lovey-dovey friend Sy Ableman (Fred Melamed), his brother has taken over the family couch and his bathroom, and his kids are constantly bickering with each other.

To top things off, Larry’s opportunity to a life of tenure is being threatened by a student who blackmails him over something he didn’t quite do. Could things possibly get any worse? Apparently they can.

“A Serious Man” raises the question: what did Larry do to deserve all of this? The answer, however, isn’t quite clear, and that’s the point. Joel and Ethan Coen return to their Midwestern routes in this film and you can tell it’s a personal one for them (though to make it clear, it’s not a biopic of their lives). Although they set the film in a Jewish community, the quest for understanding that Larry goes on is universal, anyone can relate. Most of the film’s humour comes from his angst and the fact that everyone surrounding him is too self-absorbed to notice he’s suffering.

The Coens, who wrote and directed the movie, took a big risk when they put together a cast of mostly unknown actors for the black comedy. But they can rest assured the risk paid off. Stuhlbarg is so authentic as the film’s protagonist. Although none of the characters seem to sympathize with Larry, viewers will without a doubt. The entire supporting cast, including Larry’s wife Judith (Sari Lennick), his brother Arthur (Richard Kind), Sy (played by Fred Melamed) and his children (Jessica McManus and Aaron Wolff) are simply incredible (especially his pot-smoking pre-teen son).

Sure “A Serious Man” doesn’t feature the signature violence of “No Country for Old Men,” but it still has that custom-made surrealism only the Coen brothers can pull off.

Movie Review: Zombieland

Eric Emin Wood — Fri, 02 Oct 2009 03:06:03 +0000

Here’s an old-fashioned crowd-pleaser; albeit, a crowd-pleaser with lots of blood spewing, limb-chewing, and bone breaking – but really, why would you see a movie called Zombieland if you didn’t want to see that?

Here’s a horror film that acknowledges how ridiculous it is by depicting a group of eight-year-old zombie girls before the opening credits; and a comedy that, by casting Jesse Eisenberg in the lead role, quickly establishes an enjoyably quirky tone, and maintains it by adding Abigail Breslin as a shotgun-toting 12-year-old and Woody Harrelson (in a terrific performance) as the movie’s resident badass.

Here’s a genre movie with a coherent plot – Breslin and Emma Stone, playing nervy sisters, push the thin but logical story along – and which pays attention to its characters, giving each of them solid backstories and respectable screentime. (My biggest complaint with Zombieland is that while the sisters are much stronger than typical damsels in distress, they nonetheless wind up being damsels in distress).

Here’s an action movie with an extended, glorious climax at an amusement park, with all the standbys (roller coaster, tilt-a-whirl, drop mechanism) used in exactly the way you’d expect; plus characters using really big guns, and firing them with a generous helping of one-liners.

Zombieland is that rare film which knowingly (rather that ignorantly) prefers to play into its conventions rather than create new ones, parading its influences on both the front and back of its blood-splattered t-shirt (in one scene a pair of characters actually sit down to watch Ghostbusters). What is wrong with that? When it’s done this well, nothing.

Horror comedy is a tough sell with audiences, and even the gold standard of this decade, Shaun of the Dead, barely raked in $13 million at the North American box office. However, I must confess I did not particularly like Shaun of the Dead. It was a great movie, but the “happy” (of sorts) ending was so dark I had forgotten what I was laughing at by the end.

I had no such problems with Zombieland. While it has few genuine scares, and much of it coasts on warm-hearted good humour rather than laugh-out-loud laughter, I can’t remember the last time I consistently heard an audience gasp, laugh, or clap at the same moments during a film.
What a wonderful year we’re having when I can say Zombieland is the best pop entertainment to hit theatres since District 9.

Movie Review: Coco Avant Chanel

Ilan Mester — Fri, 02 Oct 2009 02:53:48 +0000

At the end of the day, “Coco Avant Chanel” doesn’t do justice to one of the world’s most iconic fashion figures. It leaves you wanting to see more of the avant (before) and the après (after) of Chanel’s rise to fame.

As suggested by the title, the film focuses on Coco’s early years, before she hit it big in the global fashion scene. We first meet her as an orphaned girl, with no sight of the glamour and celebrity endorsements that are associated with today’s Chanel brand. The movie then fast-forwards to a twenty-something Gabrielle “Coco” Chanel (played by “Amelie’s” Audrey Tautou) who’s involved in a French cabaret act with her sister (Marie Gillain). She dreams of becoming the next theatre starlet of Paris, but that dream slowly slips from her hands.

One older, wealthy man (Etienne Balsan played by Benoît Poelvoorde), promises to try and get her an audition and while she doesn’t make the cut, Gabrielle continues a brief fling with him. She comes off as opportunistic when she arrives at Etienne’s mansion unannounced and stays there as she decides what to do with her life.

Is designing for women in theatre enough to satisfy her dream of becoming one? Well that answer we already know, but most people don’t know how she got to that level and that’s what this film is about.

Don’t be fooled, “Coco Avant Chanel” isn’t a biopic. It focuses more on a snapshot of Chanel’s life instead of sticking strictly to her unique sense of style and design, making the film enjoyable for everyone as opposed to just fashion lovers.

The idea that a once mistress with nowhere to drop dead became one of fashion’s household names is truly astounding. The movie will definitely make you feel for Coco’s harsh upbringing but not necessarily with her character in the film. As usual, Tautou delivers a strong performance, but her Coco comes off as stern and at times narcissistic.

It’s clear that director Anne Fontaine was more interested in Coco’s youth and while her story is engaging, it would have been nice to see more of Coco the designer. In honesty, this film isn’t bad. With France as its backdrop, the movie is visually attractive and at times stunning. But for an unconventional woman who revolutionized the industry and proved she could make it despite all odds, it sure is conventional.