Summer Movie Guide

 Summer Movie Guide

Find Out What’s Hot And What’s Not On This season’s Silver Screen.

By: Daniel Albert

Summer— home of sweltering heat waves, ice cold drinks by the pool and of course the blockbuster film. “Blockbuster” was a term that was coined when a summer movie would be so anticipated that patrons would line up around the block just to get a seat. Jaws was the one that started it all and three Star Wars have achieved blockbuster status. More recently films like Iron Man and the Harry Potter franchise have strategically set up summer release dates to drive them to the top of the box office success charts. The only problem is sometimes picking a winner at the movies isn’t so easy. Often times studios sneak in an abomination under the guise of a summer blockbuster (I’m looking at you Transformers: Revenge of the Fallen), leaving viewers with no more than a dent in their wallets and buyer’s remorse. So without further ado here is the list of LIVE’s certified picks for this summer’s hottest films.

X-Men: First Class
Release Date: June 3rd
Starring: James McAvoy, Michael Fassbender, Kevin Bacon, Caleb Landry Jones

The first of many in the super hero genre (excluding Thor which debuted to great reviews in May) X-Men: First Class is set to blow the blockbuster season wide open. The cast is extremely solid with James McAvoy playing a young Charles Xavier (Professor X) and Michael Fassbender playing a young Erik Lensherr (Magneto) as we get a glimpse at how the X-Men came to be. Expect stunning visuals, awesome action and an extremely interesting back story for both fans and non-fans of the franchise.

Super 8
Release Date: June 10th
Starring: Kyle Chandler, Elle Fanning, Amanda Michalka, Noah Emmerich

Super 8 is the brainchild of J.J. Abrams and has been a more closely guarded secret than Area 51. The story involves a series of unexplained events following a terrible train crash. A group of young amateur filmmakers accidentally witness the crash and begin to piece together what they believe was not an accident. The anticipation alone is enough to make this film a blockbuster and add to that Abrams pedigree with previous endeavors ( Lost_, Fringe, Star Trek and many more) and you get a sure fire recipe for success.

The Green Lantern
Release Date: June 17th
Starring: Ryan Reynolds, Blake Lively, Peter Sarsgaard, Tim Robbins

The second of this summer’s super hero line up Green Lantern is definitely not going to be average super hero fare. First, Green Lantern is a much lesser known super hero in the DC comic universe than say Batman but don’t let that discourage you. The backstory for Green Lantern is an intriguing one, involving a mystical green ring that bestows otherworldly powers, a membership into an intergalactic squadron tasked with keeping peace within the universe, and lots and lots of special effects. This one is sure to dazzle the eyeballs at the very least.

Cars 2
Release Date: June 24th
Starring: Owen Wilson, Larry the Cable Guy, John Turturro, Eddie Izzard

This highly anticipated sequel to one of Pixar’s highest rated franchises is the first family friendly film of the summer. The story sees the return of favorites, Lightning McQueen (Owen Wilson) and Mater (Larry the Cable Guy), as they travel overseas for the World Grand Prix. I don’t think I’ve seen a Pixar film that I didn’t enjoy and Cars 2 will certainly not be the one to disappoint.

Transformers: Dark of the Moon
Release Date: July 1st
Starring: Shia LaBeouf, Tyrese Gibson, John Malkovich, Frances McDormand

I put this one on the list with some trepidation. Anyone who saw the second installment of the Transformers franchise knows how horrible that film was and if you think it was great, well then I’m sure you’ll love the third installment even more so. However I have a feeling they worked out some of the kinks from Revenge of the Fallen, cough “robot heaven” cough, and with the addition of John Malkovich and Frances McDormand, the cast list is dramatically improved. Let’s just say enter this one at your own risk.

Harry Potter and the Deathly Hallows: Part 2
Release Date: July 15th
Starring: Daniel Radcliffe, Rupert Grint, Emma Watson

This isn’t just a blockbuster—this is the end of an era. The hugely anticipated finale of the Harry Potter Franchise will deliver on all facets as most, if not all, of the films have so far. Enough said…

Captain America: The First Avenger
Release Date: July 22nd
Starring: Chris Evans, Hugo Weaving, Tommy Lee Jones, Sebastian Stan

Did I mention this summer is all about super heroes? With that being said this is the one I’m personally most psyched about. Captain America isn’t just a comic book character, he’s an icon, and seeing him brought to life on the silver screen is a dream come true for a lot of film nerds (myself included). Almost as anticipated is seeing Captain America’s nemesis The Red Skull brought to life, making Captain America: The First Avenger one to mark on your calendar.

Friends With Benefits
Release Date: July 22nd
Starring: Justin Timberlake, Mila Kunis, Patricia Clarkson, Jenna Elfman

Finally something that doesn’t involve explosions and flying super people! This comedy looks to be an updated, and much better, version of Ashton Kutcher and Natalie Portman’s No Strings Attached. With a title like that, is a plot synopsis even necessary? Any movie that makes fun of Katherine Heigl romcom’s is all right in my book.

Cowboys and Aliens
Release Date: July 29th
Starring: Daniel Craig, Olivia Wilde, Harrison Ford, Sam Rockwell

Yes, you read that correctly, Cowboys and Aliens not Cowboys and Indians. The movie centers around an amnesiac gunslinger who becomes a frontier town’s only hope against an extraterrestrial invasion. If you’re like me you may have immediately though of Wild, Wild, West but I assure you that this will be nothing like that. With Iron Man director Jon Favreau in charge this film is in more than capable hands to insure it doesn’t turn into some cheesy John Wayne E.T. mash up.


Also here are two more films that were released previous to this guide but are still in theaters (for those of you who haven’t already seen them.

The Hangover Part II
Release Date: May 26th
Starring: Bradley Cooper, Ed Helms, Zach Galifianakis, Justin Bartha

The verdict is still out on whether this will be just another retread of the first but either way it should provide some great laughs. The boys are back, this time in Thailand, and for some reason (we’re not complaining) there’s a monkey. Touche Todd Phillips

Tree of Life
Release Date: May 27th
Starring:Brad Pitt, Jessica Chastain, Sean Penn, Fiona Shaw

Perhaps the most polarized film at Cannes, Tree of Life is Terrance Malick’s latest and depending on how it’s received by American critics, could generate some Oscar Buzz. It tells the story of a man that tries to reconcile his complicated relationship with his father. Perhaps the most interesting part— Sean Penn is the son of Brad Pitt. If I hadn’t known about this film, I’d think that was some rag mag headline not an Oscar contender. Keep your eyes on this one…



These Amazing Shadows

Artwork and Review By: Daniel Albert

Day two of my Newport Beach Film Fest experience brought me down the documentary road.  With all the amazing documentaries premiering at the festival picking the right one seemed like an impossible feat.  Did I want to watch a group of extreme skiers brave the elements?  Or would I prefer to learn about architecture and art?  Hell I could have even watched a film about Santa Claus. 

More than anything though I wanted to find a documentary that I could really connect to, so in the end I chose the one thing I'm most close to as a film critic: film.  I decided that These Amazing Shadows was a perfect choice for not only me, but anyone with an affinity for film and film culture.

These Amazing Shadows is a loving film for film lovers.  The film itself is about the history and importance of The National Film Registry, a list of American cinema treasures that portrays the diversity not only of film, but also of the American experience reflected in the movie industry.  The movie is an amalgamation of anecdotes, interviews and timeless clips that come together to bestow upon audiences a true visceral experience for anyone in love with the silver screen. 

The list of people involved in the film is reason enough to see it.  Interviewees include everyone from Rob Reiner, John Waters and Christopher Nolan to Zooey Daschanel, Tim Roth and many more.  In addition to directors and actors audience members get to hear from the preservationists themselves, adding to the overall scope of the audiences look into the importance of keeping and preserving American cinema.

The most impressive part of the film for me was the breadth of the clips shown.  Of course the film showed the sprocket worn classics like Casablanca, It's a Wonderful Life, and The Sound of Music but I was also surprised to find other films such as Blazing Saddles, Toy Story, and many more contemporary films.  Not only that but the film (and the registry itself) also features many classic iconic pieces of film history, my favorite of which happens to be the Let's All Go to the Lobby bumper that is such a classic bit of film Americana. 

It's hard to say if there is a group this film wouldn't appeal to because in general if you're going to the movies you love film, even if only in the tiniest corner of your heart.  Wonderfully crafted by Paul Mariano and Kurt Norton this homage to the great history of American film is sewn together with the utmost TLC providing an end product that is not only enjoyable to watch, but also a film that spreads the message that film preservation is also essential to continuing the legacy of American culture.

Lucky

Artwork and Review By: Daniel Albert

The best part about seeing a movie at a festival is the fact that you never know what to expect.  You can speculate all you want but generally the movie has much less out in the blogosphere/internet realm to give away any juicy detail that may be better left experienced first hand.  There generally aren't many reviews (if any) or spoilers floating around to ruin the surprise and what you end up with is a completely open minded look at a film for better or for worse.

Well that's exactly what I got when I saw Lucky.  The only prior knowledge of the film that I had was an approximately 200 word blurb, a cast of characters and the theater at which it would be playing.  That's it!  I had no biased reviews, no one's interpretation on whether they felt it was good or bad which made it all the more fulfilling when it was absolutely brilliant.  I felt as if I was a little kid playing in the yard and I had just found an arrowhead or an old matchbox car or a diamond ring.  I had stumbled upon something special and it was my little discovery (along with about 250 others in attendance).

Lucky is about Ben (Colin Hanks), a normal guy shyly pursuing the girl of his dreams, a woman named Lucy (Ari Graynor) whom he's known almost his whole life.  When Ben finds out he's won the Iowa State lottery he's seemingly upset until Lucy finally comes around and gives Ben the attention he's so desperately wanted.  The two begin a romance and everything seems to be falling into place for the couple until Lucy discovers that Ben's got some skeletons in his closet...literally.  Determined to survive just long enough to cash one of the lottery installment checks, Lucy begins to help Ben hide his identity as a serial killer resulting in some very precarious scenarios.

Sounds pretty good right?  That's not the half of it.  Reading a normal synopsis one might assume that Hanks is the star of the show but Ari Graynor completely steals the spotlight and in my opinion carries the film off into the promised land.  Her spunk and charm along with a humbled seriousness allow for the delicate balance between humor and horror, making this movie a monster all its own.  Of course Hanks holds his own wonderfully, and Jeffrey Tambor adds a dry humor to every scene he's in (although few and far between), but it is the unexpected greatness of Graynor, an actor showing she's got what it takes to headline a major studio film in the future (seriously put this woman in a blockbuster!), that takes this movie from just another festival favorite, to an indie that should have very wide success upon release.

You can tell that all the work that went into this movie was from a "labor of love" standpoint.  Lucky is a testament to the mentality that if you do what you love you'll never work a day in your life because it doesn't seem like the cast and crew were working at all, but instead having a blast acting out a story with some friends and the cameras just happened to be rolling.  The chemistry between all the cast and director Gil Cates Jr. is palpable and together they create a truly special piece of cinema. 

I'm beyond delighted that Lucky was the film to pop my festival cherry and if it's any indication of things to come I'm set for a great series of films.  

Source Code

Artwork and Review By: Daniel Albert

Jake Gyllenhaal as been on my "hmm...I dunno" list since Bubble Boy.  I mean the guy is more hit or miss than Nick Cage (who, let me remind those of you who are scoffing right now, won an Oscar at one point in his career).  The Day After Tomorrow was atrocious, Jarhead was mediocre at best (through now fault of Gyllenhaal's however), and I won't even go into Love and Other Drugs.  Which may have explained my trepidation when it came to Source Code.

One positive factor from the get go was that Source Code found Gyllenhaal returning to the genre that, for all intents and purposes launched his career; Time bending Sci-fi.  Sure Gyllenhaal had October Sky, but it was the cult classic Donnie Darko that propelled him into the limelight.  Source Code promised to deliver on all the same points and I was actually excited to see if the film could deliver.

I was pleasantly surprised to find that it did.  The film has everything a moviegoer could possibly want; action, drama, even a little bit of romance.  Source Code is that same time bending sci-fi thriller that's right in Gyllenhaal's wheel house. 

Source Code tells the story of Colter Stevens (Jake Gyllenhaal), a helicopter pilot poached from the military by a secret government operation known as source code.  The project, headed by Colleen Goodwin (Vera Farmiga) and source code inventor Dr. Rutledge (Jeffrey Wright), allows Stevens to relive the past via a computer program that links his brain waves to that of a deceased train passenger, tragically killed in a terrorist bombing.  As it's put in the movie "It's not time travel, it's time reassignment".

Stevens relives the past in 8 minute spurts, in hopes of finding out the identity of the bomber in order to prevent a future attack on the city of downtown Chicago.  However priorities switch for Stevens when he meets a beautiful woman on the train named Christina Warren (Michelle Monaghan) and decides that he is going to save her from a death that is already cemented in the past.

Before you get all up in arms about how ludicrous the plot line may be let me just say that Source Code plays with a delicate balance between plot, and story, and yes there is a difference.  Plot dictates the world the characters live in and how their actions effect the direction in which the story moves. 

The plot deals with some very complex ideas including quantum physics, multiple realities, and even extreme leaps in neuroscience, but overall at the end of the film it hardly matters because you are so engrossed with the characters and their journey.  By the end of the movie viewers are left satisfied with the story, leaving the plot to be discussed as a separate matter.

Being a huge sci fi fan and believer in the unknown I don't find the plot of Source Code to be that far fetched anyways.  It takes studied theories in quantum physics (which let's be honest is pretty much a science made up almost completely of theory) and combines it with a plausible scientific process involving neuroscience and opens the door for discussion on both.

But for all those who are avoiding this film because they think it will be a heady mess, do yourself a favor and give it a chance.  What you'll end up with is an engrossing film that is visually beautiful, solidly acted (especially the chemistry between Gyllenhaal and Monaghan), and just as thrilling as it promises.  Source Code is the first great film of 2011. 



Sucker Punch

Artwork and Review By: Daniel Albert

I really wanted to like Sucker Punch.  In fact I had a whole bunch of pride on the line since my girlfriend and I had gotten in an argument from the very first trailer.  I thought it looked like an interesting action packed ride with astounding visuals and an awesome soundtrack.  She thought it looked like a bunch of girls being exploited for the sake of film, all to pander to fanboys with titillation, explosions and every ridiculous piece of "awesomeness" a prepubescent boy could ever dream of (You mean I can have giant samurai, Nazi zombies, and android hitmen!?).  Which one of us would come out as the victor of our little spat, who knew?  Well as it turns out we were both right...



After viewing the movie I tried to let it seep in.  I read reviews, which by and large razed the film to the ground like some defunct Vegas Casino.  I also read an interview with the director explaining what he was going for, in addition to some funny posts from the virtual worlds trolls all trying to defend what in the end is a horribly beautiful mess.  I tried to gather as many opinions and valid or invalid points before I decided to sit down and write my review, and I have to say this film is not easy to categorize.

I'll start with the good.  As always Snyder pulls out all the stops and nearly puts the viewers into a catatonic state of grandeur with epic battle sequences and visuals that are so amazing you literally try not to blink.  In addition the film is set to a soundtrack filled with covers of rock 'n' roll songs that fit the scenes so well you can't help but be sucked into Sucker Punch's world.

Now the bad.  The acting was so wooden and stale (with the exception of Abbie Cornish) that it lands somewhere between pinocchio and that bag of chips you find in the cupboard that fell behind everything two years ago.  I had my worries about the cast from the get go since Snyder enlisted everyone's help from Disney to the Real World (although I will credit Vanessa Hudgens for looking the most natural during the fight scenes). 

In addition a coherent storyline was nowhere to be found, as I ended the movie wondering, ok so was she in a...or was it really her that...wtf did I just watch?  The women are scantily clad which seems like a completely unnecessary part of the film except for the fact that they throw in a brothel angle, which comes off as a half cocked excuse to flash upskirts during somersaults.  In addition the movie cuts so rigidly from "reality" to fantasy I felt like I was watching Mario Batali butcher a chicken carcass with a chainsaw.  Perhaps this was on purpose?  Some say yes, others say no but we'll get to that in a minute.

By the end of it all I felt that I had just watched a horribly awesome movie.  I couldn't decide if I was enraged or enthralled, disgusted or disguising the fact that at times I was like a kid in a candy store.  That's when I went to my fellow critics to get their view on things.

What I got was usually either unreasonably negative or some jack ass just trying to be a contrarian listing nonsense as his defense points.  Obviously there was the feminist angle who viewed Sucker Punch as nothing more than an encapsulated wet dream/adrenaline boost mash up.  Some critics even tried to pass off a reverse sexism angle, stating that the only male characters in the movie were sleazy and perverted.  Uh ya because that's the world the girls are in?  It's a film! It's not reality.  In fact Snyder even takes the time to make this a point by opening on a red curtain, letting the audience know "This is a show".  That would be like someone saying there's reverse racism in Schindler's List because all the Nazi's are white.

I filtered and filtered until I finally came to a decision.  My girlfriend and I were both right.  Sucker Punch is both visually stimulating and sexistly titillating.  The film juxtaposes the harsh "reality" the girls live in, with these awesome "fantasy" scenes of sexed up trollops kicking ass and taking names.  Essentially what I believe Snyder is trying to do (and what he's claimed he's trying to do although I'm not sure how well he nailed it) is give us a subversive film that turns into a mirror at the midpoint and shines a light on the society we live in.

By showing these women in sexy clothes taking back control of the heroine archetype, while still looking sexy, Snyder is attempting to say "Why not?  Why can't a girl be really sexy and still badass?  Why should she have to fight in camo hammer pants and combat boots so you'll take her seriously.  I bet if a girl wielding a three foot kitana wearing Christain Louboutin pumps approached you on the street you'd be equally aroused and petrified."

I think that liking Sucker Punch depends on how much of an artist's bullshit you're willing to believe (since in my humble opinion all high concept art involves a certain amount of bullshitery).  Is Andres Serrano's Piss Christ high art because he says it is?  Or is it just a sacrilegious sham made by dunking a crucifix in a jar of urine and back lighting it?

Whether Sucker Punch is a subversive masterpiece or a multi hour mindless suck fest, I'll leave up to the viewer since I'm pretty sure it's both.  What I can say for sure is that Sucker Punch is a bold exploration into what film could be, and for critics to label the film as mindless I think is unfair. Especially when Michael Bay is allowed to blow stuff up nonsensically and Katherine Heigl can search for Mr. Right in all the wrong places ad nauseum, all while still receiving better reviews than a film that tried it's damnedest to give us something different.

In the end it's all about how much you buy into the bullshit and how truly heady you want to get.



Limitless

Artwork and Review By: Daniel Albert

From the start Limitless was right up my alley.  A sci fi thriller with a highly original premise that also stars three very high caliber actors is something that doesn't come along very often (although we've been lucky enough to have a 2nd recently with the release of The Adjustment Bureau).  So when it came time to view the film I dove in head first hopeful to come out the back end with a new film to add to my collection of sci fi favorites.

I'll spare you all the "Limitless is actually quite limited" pun that most writers have been wetting themselves over since the movie's release and give it to you straight.  Limitless is a very good film.  In fact it could have even been a great film, if it weren't for a few unnecessary lapses in judgment on the part of all involved.

The plot goes something like this.  Eddie Morra (Bradley Cooper) is a struggling writer living in New York waiting for the world to decide his fate.  Eddie is one of those guys who's got so much potential you just want to shake him, yet his lack of motivation drives his life further down the tubes, and his girlfriend Lindy (Abbie Cornish) has had enough.

Enter Eddie's ex brother in law Vernon (Johnny Whitworth), a sleazeball pusher with the key to all his problems; a little clear pill that let's one tap into the unused percentage of their brain that holds a wealth of knowledge and useful information.  The drug works for a while until side effects arise including black outs, being chased by bands of thugs, deterioration of the body, and the threat of withdrawal due to a dwindling supply.

As I said before this is a very good film.  To start with the visuals are so engrossing and provocative that you hardly remember you're watching a film at all.  Even hardcore moviegoers will find visuals and camera techniques they've never seen before, which is a refreshing change to most of the dreck that's been in theatres to start off 2011.  In addition the score, pace and acting (with an all star cast like this would you really expect any less?)  were all right on the money, sucking you into Eddie's world.

So what were these glaring mistakes that had me so upset and frustrated that I wanted to chuck my drink at the screen.  Well there are a few.  The voice over is an essential part of this film and if it was removed altogether the film wouldn't have nearly the same effect.  With that said at times it was clunky and unnecessary and altogether could have easily been chopped without effecting the progression of the story at all. 

In addition to some strange voice overs the director, or the screenwriter I'm still not exactly sure who's guilty, took certain liberties and got greedy (let's just say the most obvious of these has Abbie Cornish running with karate chop hands like she's the six million dollar man, before she ultimately wields a child as a weapon).  When dealing with science fiction directors must always keep in mind one thing; "suspension of disbelief".  You must always delay the movie goer from that pivotal moment where they decide whether or not something is so ridiculous that they no longer invest mentally in a movie.  When done right the decision is delayed all the way up until the end of a movie. 

Now although the problems I had with Limitless aren't necessary unbelievable, they definitely are illogical (I mean a child as a weapon? really?).  With that said the entire first act of the film is spotless and tight winding through twists and turns with panache and for that I give director Neil Burger kudos.  All I'm saying is that next time you want to make a good movie great, reign it in a bit and don't let the adrenal gland take over your brain.



The Adjustment Bureau

Artwork and Review by: Daniel Albert

For years now the collective works of Philip K. Dick have been a treasure trove of source material for Hollywood.  With some films paying homage truthfully (Blade Runner, A Scanner Darkly,Total Recall, Minority Report) and others butchering source material like the Muppet's Swedish Chef (Next, Paycheck),  you never know what you're going to get going into a film based on the writings of one of the greatest sci-fi minds of all times.  Hell sci-fi in general is a genre that lends itself to all or nothing films leaving very little wiggle room for those who dare to take the plunge.

Which is why I was hesitant about The Adjustment Bureau.  Based on the short story by PKD The Adjustment Team, the film delves into some heavier themes (fate, free will etc.), albeit with a light, and at some times silly, approach.  Despite being hesitant however I was encouraged by the fact that the film was based on a short story and not a novel, as it leaves filmmakers more room to work with, usually having to add in content, rather than delete it.  This is not to say all novel adaptations are bad and all short story adaptations are good because, well, we've all seen results that counter that hypothesis.

What I found in The Adjustment Bureau was mostly good.  The movie is solidly acted by the two leads, Matt Damon and Emily Blunt, whose chemistry onscreen is so palpable you can't help but root for them.  Visually the movie is stunning, especially in the chase scenes highlighting the sci-fi elements of the film.  Other than that the dialogue was snappy and fresh and explained some very conceptually tough subjects quite succinctly.

But as is the problem with many sci-fi films The Adjustment Bureau try's to explain away non existant plotholes by inventing subtle nonsense about how its fictional world works.  Does it really matter that  the adjusters have trouble reading the decisions of the adjustees when they're near water?  It comes into play later in the movie of course, but I found myself thinking, "They could have easily left that unexplained and it wouldn't have changed the film at all".  Same with the nonsensical "magic hats" the adjusters have to wear in order for them to use the special series of doors to move about the city rapidly.  If I'm gonna buy into the fact that there are people who can alter my fate magically do I really need to think that this hat is the key to their success?

As I said before however the good in this film far outweighs the bad.  If you sit back and relax and give the film a bit of latitude when it comes to the fictional world the characters live in you'll find one of the finest love stories made in the past decade.  Not only that but you'll find an enjoyable film that tackles some of man's most complex ideas and comes out the back end with its dignity in tact (even if it is a little bruised and bloodied).

Those who go in looking for a hard thriller, as the trailers may have untruthfully alluded to, will surely be disappointed.  But go in, grain of salt in hand, and you will enjoy this film immensely.

Get Low

Artwork and Review By: Daniel Albert

Get Low, despite its list of high profile actors, is probably a film that flew under a lot of people's radars.  This could be for a variety of reasons.  The marketing budget was probably the size of something somewhere between Thumbelina's bathtub and Lincoln's chin hairs on a penny.  The director Aaron Schneider isn't exactly a household name, in lieu of the fact that he is the man behind the lens on several hollywood hits (cinematographer on Kiss the Girls and Director of Photography on Titanic).  Or it may just of have been unclear to viewers what type of movie Get Low is, a comedy or a drama, as scenes in the trailer misled the public into thinking one way or another what to expect.

              

I however, like all good critics, tried my damndest to go into Get Low with no expectations or preconcieved notions, a feat, although difficult, that seemed to pay dividends.  The film is a period piece set in the 1930's telling the part tall tale, part truth story of Tennessee hermit Felix Bush's self thrown live-in funeral.  With a synopsis like that it's no wonder that people had trouble trying to peg this movie down.

Obviously with an all-star cast, acting is not a problem for the film.  Everyone plays their role superbly, although the purpose of such roles are not clearly defined.  At times funeral director Frank Quinn (played by Bill Murray) seems a bit out of place.  With that said he adds a lightness to the film, which would border on too dark without it.  Juxtaposed with the humor is a taught drama involving an ambiguous fire, the films first frames, setting up an intriguing mystery involving the self forced exile of Felix Bush.

Also, with a skilled cinematographer like Schneider the overall look of the film is not only consistent, but beautifully accurate, especially when it comes to the tone of a movie set in the 1930's.  The problem is, there are shots interjected that serve no purpose, introducing storylines that aren't developed, leading the audience in a mulitiude of directions, only to backtrack them to the main plot moments later by sweeping entire sideplots (or at least what seems like sideplots), under the rug.

Had I gone into the film looking for a comedy I would have been sorely dissapointed, and likewise would I have left upset if I was looking for an Oscar worthy drama.  But going in with an open mind, what I got was a middle of the road film leaning closer to the exceptional end of the spectrum than the turkey end. 

Artwork and Review By: Daniel Albert

As my excitement to see yet another Coen Brothers take on the old west grew to a fever pitch, True Grit started to worry me.  I tried to block out all the praise I was hearing to avoid putting the film on a pedestal before I even set foot in a theatre, as I wanted to view it with a completely fresh approach.  This is also the reason I chose to forego seeing the John Wayne original (a classic in its own right), allowing myself an uninfluenced and unbiased opinion of the film.

What I found upon watching it was pretty standard Coen Brothers.  Vibrant dialogue, stunning visuals, and an overall sense of urgency that keeps the pace on point and holds your attention until the final frame.  However there was something not right about the film as a whole when I finished watching it and I couldn't quite put my finger on it.

Was it the acting? Jeff Bridges version of Rooster Cogburn is untouchable and newcomer Hailee Stanfield (as Mattie Ross) holds her own against her Hollywood heavyweight counterparts, without skipping a beat.  Hell even Barry Pepper, who in my opinion seems to steal the show at times to become a more important foe than Josh Brolin's Tom Chaney, is impeccible in his scenes, as is Matt Damon as LeBeouf.

So if it wasn't the scenery, which in the hands of the Coen brothers seems otherworldly in its beauty, or the acting, which again is spot on, what could it be?  Upon further contemplation I began to piece it together.

As the film approached its climactic confrontation I found myself trying to guess what the big twist would be.  Would Rooster die? Would Mattie? Would there be a huge train chase or a saloon gunfight?  I sat and waited yet no big twist came. What transpired was completely straightforward film making, which was very well done, but it left me wanting more.

Looking back now I realize the problem.  I've been so conditioned to feel like there has to be a huge twist in a film that I completely overlooked how refreshingly simple the outcome played out.  Not only was it satisfying but it was logical!  No leap of faith needed in order to maintain a suspension of disbelief.  It wasn't necessary at all for True Grit to conclude any other way, because the conclusion was poignant, elegant and completely in sync with the overall tone of the film.

Huge twist or not True Grit completely lived up to all the hype and then some, proving once again that Joel and Ethan Coen can put together a Western that'll put dust in your lungs.

Romancing the Film

A guide to using movies as a tool for love

By: Daniel Albert

What is the quintessential idea of a date? Dinner and a Movie, right? It’s understandable why dinner is part of the equation, but how did movies get such a prime position ? One could speculate at length why the art of film has such a foothold on the dating market, but my personal guess is that movies have always taken us to happier places. Places where the good guy always ends up with the girl; the girl always finds her prince charming; and love always, always, conquers all. Whether it be a romantic comedy, drama, or even an animated fairy tale, movies will always be a sure bet as long as you spend it with that special someone. So as part of this month’s Art & Romance issue we’ve put together a list of both new and old movies that are sure to bring closer than ever, you and your significant other .



In Theaters:

Blue Valentine
Starring: Ryan Gosling, Michelle Williams
Opening: December 29th

This tale of love lost and found has battled its way from an NC-17 rating (for one supposedly graphic sex scene) back to an R which means it will be widely available, perhaps even into the month of February. The story is told using past and present instances of romantic memories as a couple struggles during a single night where they try to reconcile their relationship. If you can find it in a theater near you, jump at the chance to see it, as it has garnered a significant amount of awards talk for both Gosling and Williams’ performances.

Waiting for Forever

Starring: Rachel Bilson, Tom Sturridge

Opening: February 4th

The first of our entries in the rom-com category (romantic comedy for those of you not into film jargon) is a Hollywood-set romantic tale of a guy who is content to live his life without a job yet with the love of his life, a young actress. The premise alone should set in motion some pretty interesting laughs, while still keeping a tangible sense of reality in how their relationship plays out. This is considered an indie film, however, so it may not be a good fit for those who’d rather see only A-listers.

Just Go With It
Starring: Adam Sandler, Jennifer Aniston
Opening: February 11th

This is the romantic comedy for those looking for the A-listers. Adam Sandler and Jennifer Aniston bring this story to life of a man who enlists the help of a woman and her kids to land the woman of his dreams. Lemme guess— they’re gonna fall in love instead? Ok so maybe it’s predictable, but I would’ve thought the same thing about 50 First Dates and Sandler was able to pull that one off, so I think we can give this one a chance, even if it’s a slight one.

Gnomeo and Juliet
Starring: James McAvoy, Emily Blunt, Michael Caine, Maggie Smith
Opening: February 11th

The one and only animated feature on our list is a story about two love-struck garden gnomes who become caught up in a feud between neighbors. This clever riff on a Shakespearian classic is perfect for those who’ve already found love (and therefore have to bring their children along on their “date”). Movies like Despicable Me, How to Train Your Dragon and many others have proven that animated movies can not just be dismissed or you could miss out on good laughs and a touching story.



On DVD or Blu-Ray:

Casablanca
(1943)
Starring: Humphrey Bogart, Ingrid Bergman, Paul Henreid

Uh, it’s Casablanca! No further explanation needed

Say Anything
(1989)
Starring: John Cusack, Ione Skye

For anyone currently courting a significant other— watch this and take notes. Wielded properly, a boombox can become more potent than cupid’s arrow!

Groundhog Day
(1993)
Starring: Bill Murray, Andie McDowell

If you’re going to use comedy as your angle towards romance, go straight to the source. This tale of repetitious love sees Murray courting his love again and again until he gets it completely perfect. What could be more romantic! (and hilarious)

Sideways
(2004)
Starring: Paul Giamatti, Thomas Hayden Church, Sandra Oh, Virginia Madsen

Being a writer myself, I have a soft spot for this tale of a writer turned binger as a bachelor’s weekend in wine country turns into a nightmare in Napa. Equally funny and charming, this movie goes perfect with a nice Merlot.

Garden State
(2004)
Starring: Natalie Portman, Zach Braff, Peter Sarsgaard

Throw together quirky laughs and a heartwarming story about an unlikely pair and you’ll find Garden State. This is a perfect divining rod when it comes to finding out whether or not you and your significant other have a compatible sense of humor.

(500) Days of Summer
(2009)
Starring: Joseph Gordon Levitt, Zooey Daschanel

This refreshingly honest romantic comedy might be good for the couple on the rocks. Although it will force you to take a good look at that special someone, it ultimately offers a message of hope for those hopeless romantics.