At the Box Office: High School Musical 3: Senior Year

When the baby boomer generation needed a musical to immortalize the culture of the 70s, it got Grease. A boy and a girl meet over the summer, share a few magic moments, and then head back home, assuming they'll never see each other again. They tell their friends fantastic stories, making each other out to be far more than they were, and yet the truth is they can't stop thinking about each other. And then she transfers in, and cultures clash as they try to reconcile their emotions with the status quo that wants to tear them apart. The result, of course, is love at rocking Rydell High.

It's been thirty years since John Travolta and Olivia Newton-John stole teenage hearts everywhere, and those teenagers have grown up into parents. And choreographers. And directors. Directors like Kenny Ortega, who managed to breathe new life into the tried and true story that charmed his generation and exhilarate preteens and teenagers everywhere. High School Musical introduced the world to a new pair of young heartthrobs, Zac Efron and Vanessa Anne Hudgens, whose decisions between basketball, science, theatre and love revolutionized East High and the Wildcats forever.

It seems like forever, at least, since Disney began pelting students everywhere with marketing for a series that went from just another Disney Channel Original Movie to an international culture-shaking tour-de-force. This weekend marked the opening of the third (and, we might imagine, final) installment in the series, High School Musical 3: Senior Year. Troy (Efron) and Gabriella (Hudgens) are ready to move on from East High, and they're faced with an incredible mix of excitement and fear at the uncertainty of life after graduation.

The actual plot of the film is relatively predictable: as in previous installments, everything is too good to be true, and then something happens that seems to spell doom for our characters forever, and then suddenly everything all works out in the end. Contrary to what some jokester posted on the IMDb, Troy does not die, and Sharpay (Ashley Tisdale) does not suddenly become the kind and caring person you might expect her to have become after the shenanigans in the previous film.

What's intriguing is the decision to continue a trend started in HSM2, which is fleshing out the characters who previously held very minor parts in the plot. Martha Cox (KayCee Stroh), the hefty nerd who revealed her desire to "pop, lock, and drop it," has taken a major role in the cheerleading squad; Taylor McKessie (Monique Coleman) has taken charge of her class and is a force to be reckoned with; Ryan Evans (Lucas Grabeel) has finally managed to make a name for himself outside of his sister's intimidating shadow; Kelsi Nielsen (Olesya Rulin) has stopped hiding behind her piano, and not only seems to be on an even level with Troy in conversation, but ends up in several legitimate dance numbers on stage.

Which brings us to both the great strength and weakness of the film: the stage. In a move that thinly veils the difficulty of pulling a classic remake into a robust trilogy, the drama director Ms. Darbus (Alyson Reed) decides that this year East High's musical will focus on the theme of "senior year." While this allows for an interesting blend of 'real life' character interaction and 'in the play' character interaction (segments which are, indeed, well-transitioned), it also leaves one wondering whether the creative team simply ran out of ideas for the characters to be facing in addition to the challenges of moving on.

Of course, since Troy and Gabriella have never had a legitimate danger of breaking up since the first film, most people aren't terribly interested in the plot: they're filling theaters for a brand new upbeat soundtrack and fun choreography. The latter of these Ortega delivers in spades: HSM3 features the most rigorous and engaging dance numbers in the series. It's always a treat to see how well-synchronized the dancers in these films are, and Ortega isn't afraid to bring in ever-larger groups of extras to lend massive scale to dances that take over entire gymnasiums, cafeterias, and stadiums. Of course, they need something to dance to, which brings us to the soundtrack.

It is entirely pointless to argue against the quality of the first film's pack of songs, which demonstrated a great degree of skill on the part of all involved (with the exception of Efron, whose voice always seemed a little bit digital). The second soundtrack, which featured a very enjoyable selection of pop, fell slightly flat, and was particularly disarming in conjunction with the film. A song that stands out as particularly dreadful is "Bet On It," which featured a solo Zac Efron running and jumping around a golf course--key word 'solo,' as in 'alone'--singing with what at times sounds like an entire chorus of voices.

While the new movie seems to have done away with entirely unbelievable solos like that, it seems to have replaced one rotten fruit with another, as all of a sudden everything feels overproduced: whereas the first album could have passed for a live recording, this soundtrack shimmers with so much studio polish that we wonder whether the on-screen personas are consciously lip-synching the entire time. The opening number, "Now or Never," is probably not even sung by Efron and co., who are at times found to be close-lipped when their characters are singing.

The overly sappy dancing in the rain segment, "Can I Have This Dance" will probably elicit rolled eyes from the older audience members, though it seems younger generations can't get enough of singing and soaking, and tween girls will probably have this song memorized by the time they get to school tomorrow morning. The older girls will probably be pleased enough by the choice to put Efron in a white t-shirt for this one...but more on that later.

The first four songs in the film seem like mediocre filler, and give initial reason to believe that the film is DOA; this perception gives way, however, in the wake of the fifth song, a magical ode to prom, moving on, and life in general. "A Night to Remember" is the first song to really grab audience attention, and suddenly the ride has left the station. "The Boys Are Back," a fun nostalgia-saturated duet with Efron and Corbin Bleu, finds the boys running through their childhood playground--an old auto junkyard--and remembering the games they used to play as kids.

Soon after, Troy breaks into the school (this isn't really dwelled on in the movie, and the lack of legal repercussion indicates the director doesn't want the audience to focus on the morality of such an action) as he angrily reflects on how much of his life has been out of his own control. This song, "Scream" follows Troy as he storms through the halls of East High, remembering the parts of it that have been so important to his past, and very unsure as to which path to take for his future: basketball or theatre?

The last few songs are tied together in quick succession, as everything neatly ties together, culminating in a graduation ceremony that features a re-imagined, choral version of the original film's "We're All In This Together." The final song, "Just Getting Started," features the line, "'see you later' doesn't mean goodbye," which leaves us wondering whether Disney really intends to let East High go when it's reeling in so much money.

Likewise, the introduction of new characters (including a British version of Sharpay, a goofy "scene" freshman and his buddy), and the career path that Tisdale's character eventually settles on, suggest that a "High School Musical: Reunion" might easily be coming next. That said, the film ends the trilogy well, and seems like a logical place to give the actors a chance to take advantage of their fame and move on to other projects. Probably more mature projects.

This is the biggest problem with Senior Year: maturity. It seems that the movement to mature themes was also a movement to mature dress, and Disney is shamelessly playing off of the sex appeal of several of the lead actors. Efron, as previously mentioned, gets drenched in a white t-shirt, and this after having gone entirely bare-backed for a scene. Tisdale, 23, wears revealing clothing several times, most notably in the self-glorifying "I Want It All," which finds her imagining a life of modern Hollywood stardom. Ms. Hudgens, whose recent run-in with the press over a nude photo scandal ought to have meant keeping her outfits as unquestionable as possible, appears in this scene wearing a french maid outfit, which is more than just a little suggestive. That Disney is trying to draw in the twenty-something crowd is not surprising; that they are willing to risk exposing younger viewers to PG-13 thematics in a G film, however, is.

In general, however, the third High School Musical movie is largely innocuous. Most people will probably go into Senior Year with the assumption that it cannot possibly top the first one. And, to the extent that first one stuck to an already proven formula, and was, in fact, "the original," that's technically true. But the way in which this film explores such deep themes as leaving childhood behind, not being able to go back (the opening lines to "Scream" are "the day the door is closed, the echoes fill your soul"), and having to actually take control of one's life and decisions, makes it by far the most provocative of the series. You will, especially if you have recently had to (or currently have to) deal with these changes, walk out of High School Musical 3 with a lot of thoughts and questions, a benefit that cannot be listed among the virtues of either of the first two films.

Fans of the series, then, will certainly not be disappointed with the Wildcats' senior year. And if you're on the fence about the series, or think a G-rated movie cannot possibly be worth your time, perhaps HSM3 will be the film that changes your perspective.

Links:

~HSM3 on IMDb

~HSM3 trailer

~HSM3 official site

The Rental Rack: Double Feature: Art Edition

Arguably, those who attend a showing of High School Musical 3 this weekend are not there for the breathtaking panoramas or subtly invigorating classical scores, and they're certainly not there for no-name actors and obscure directors. And while those opting for the fifth installment of the Saw series might be able to claim their film of choice is somewhat thought-provoking with its history of difficult choices and twisted mystery-solving, it's likely that most of them will be equally pleased if the sequel fails to deliver in cogitation what it delivers in carnage. Yet some are drawn to the theater for the same reason one might be drawn to The Met in NYC or the Louvre in Paris: they thrive on art. The following two films, which are (and have been) available on DVD, should be worthy of any aficionado's time.



André (Jamel Debbouze) introduces himself to us from the get-go as a man who would like us to believe his life is going well; that he is well-liked. And yet André proves to be falser than Willy Loman could ever hope to have been, because André knows he's lying to you. He's a sleazy guy whose biggest fault is that he's a con man with no confidence. He's about fifty-thousand euros in debt, and his creditors are the sort of men who will sooner pitch you off the Eiffel Tower than show you mercy when you come up a few thousand short.

Euros? Eiffel Tower? Oh no, you say. This isn't one of those foreign films, is it?

Why yes, as a matter of fact, it is. Angel-A is entirely in French with subtitles. Probably, if you're the artsy type, the language of love is a plus. But even if you are a little apprehensive about reading an entire movie, don't be: the mark of a good foreign film, Angel-A's story is sure to captivate you to the point where you've forgotten the subtitles halfway through.

That story, by the way, begins when André decides it's time to take his life. As he stands teetering on the edge of a bridge, he screams up to heaven, asking why God has abandoned him. And then he turns and notices a beautiful woman at the next post, also ready to jump. They exchange a few words, and then she does it. Not thinking, André jumps in after her, (discovering in the interim that his suicide probably would have failed for height of the bridge anyway), and pulls the woman to safety. She awakes, and he asks her what could possibly compel a woman like her to take her life. She says 'same as you.' He says that's impossible-- i'm ugly, and stupid, and disgusting. To which she replies, 'so am i. on the inside.'

André is ready to leave, when he considers that this is perhaps the only time in his life that he has done something truly worthwhile, and begs the woman not to go jumping off any other bridges--if not for her sake, than his, so he can believe that he saved someone--to which she replies the only way he can be sure is if he lets her stay with him. André likes the idea of having an attractive and intimidating woman by his side, so he acquiesces, and asks her name. "Angela," she says.

Throughout the remainder of the movie, Angela (Rie Rasmussen) dedicates herself to returning the favor; that is to say, "saving" André's life from the hole he's dug himself into. Their journey, which takes them through Parisian parks, the beautiful Seine, dark city bars and high society clubs, is chronicled by what might be some of the most striking black and white cinematography in film history, complemented by a soulful original score by composer Anja Garbarek.

It's not often these days that a film can take the old redemption motif and make it fresh and interesting, but director Luc Besson (Nikita, The Fifth Element) manages to pull it off with this timid hustler and his six-foot companion who "fell from the sky." Angel-A isn't breaking any new ground here, but it will certainly lift your spirits. It might even make you believe in angels.

Links:
~Angel-A on IMDb
~Angel-A trailer
~Angel-A official site

City of Angels, roaring twenties, spanish mission. A young girl with her arm in a sling drops a note--"in English!"--out the window to a young nurse, and then runs downstairs to see where the note went. She passes the ice delivery man, the priest, and several nurses, and eventually wanders in to a room where she sees a bedridden man holding her note. She runs over and wordlessly snatches the note away from him, but as she goes to leave, he asks how she broke her arm. "I fell," she says. "Me too." She returns to his bedside with a chair. He asks her name, she replies "Alexandria."

"Did you know you're named after Alexander the Great?" So he tells Alexandria (Catinca Untaru) a short story about the warrior, and says that if she comes back tomorrow he'll tell her an 'epic.'

And so begins a fantastic story of daring and adventure, loyalty and treachery, as Roy Walker (Lee Pace) narrates and Alexandria (Catinca Untaru) uses her imagination to paint a vivid picture of his story. There were five of them: the Indian, the ex-slave, an explosive expert, Charles Darwin, and the Masked Bandit. They had one common enemy: Governor Odious.

As it turns out, Roy is only telling the story because he can use it to get Alexandria to do things for him. He reaches a cliffhanger, and then refuses to continue until she runs and gets him some pills. If she refuses, he kills someone off.

It is in these interspersed real life segments that we realize each of the main characters in the story is someone Alexandria has seen at the mission, which is intriguing insomuch as that is precisely the sort of technique we would expect a child to use when imagining such a story, and is (from a psychological standpoint) exactly what our brains do when we dream.

And what a dream this is! Vivid colors and extraordinary views are relentlessly breathtaking, and you inevitably find yourself wondering where the camera work ended and the CG began. Yet director Tarsem Singh maintains that there are no special effects in the film. That budget went instead towards traveling expenses, as the film was shot in 18 different countries on 26 different locations. The transitions between these locations are often surprisingly seamless, always sensible, and ingeniously executed.

From the opening black and white sequence (where we see Roy's crippling fall) to the equally engaging stock footage montage at the end (where we see just how dangerous the work of early twentieth-century stuntmen actually was), this film is a gorgeous captivating masterpiece. The Fall is, quite literally, the best movie you've never heard of.

Links:
~The Fall on IMDb
~The Fall trailer
~The Fall official site

At the Box Office: Hancock

It's been months since trailers appeared in theaters, tantalizing viewers with Will Smith as an antihero with a taste for recklessness. We've laughed as he throws a beached whale into the ocean, only to take out a boat. We've laughed as he's stopped an impending train wreck...only to cause a train wreck. We've ignored the whiskey on his breath and waited on the edge of our seats for July to come around and deliver us a brand new superhuman blockbuster.

Well the wait is up; Hancock has arrived. And guess what? He's not as super as we hoped.

The problem with Hancock is that it just doesn't live up to the hype. The trailers have led us to expect sarcastic humor, thrilling action, and a take-no-crap lead from a proven actor. Well, there's sarcasm, and a couple action sequences, but Hancock is more apathetic than anything else. What's worse, the "call me that name one more time and you'll regret it" mentality that Hancock uses for most of its gags (and is perhaps the only original aspect of the character) is a mentality that Hancock's mentor Ray (Jason Bateman) seems to feel inclined to get rid of.

Hancock, then, can be added to the list of films that pretty much give you everything in the trailer that might have interested you in the movie, and then drags you through the same gimmicks over and over again until it's no longer funny when someone calls him an a**hole. It's become the only appropriate word.

The one thing that can be said in Hancock's favor is the major reveal; that is to say, who or what is causing the tornadoes and massive destruction we were given a glimpse at in the previews. Peter Berg deserves a nod for keeping that a secret, even if it is the only surprising part of the whole movie.

I suppose if the idea of someone shoving someone else's head into a third person's anal crevice is the sort of thing that makes you roll out of your seat laughing, you'll enjoy Hancock. But if the devil-may-care, screw-this-i-want-a-pint attitude was already making you question Smith's latest endeavor, feel free to steer clear of this one.

Will Smith proved he has acting chops in last year's I Am Legend. You won't find the same quality here. Unless maybe you've been knocking back a few bottles yourself right before you go.

At the Box Office: Summer Edition

I've been slacking terribly, which i apologize for. To make up for it, here are three flicks currently in theaters that you might consider seeing.


Anyone who recognizes the signature Luxo lamp probably has a few expectations for Pixar's latest offering. They're looking for superb animation, quirky yet lovable characters, and a stellar musical score. That's all here in copious amounts.

If you have somehow avoided the trailers and huge promotional buzz surrounding WALL*E, here's the premise: mankind, failing to prevent fallout with nature, has succeeded in making Earth uninhabitable. They've gone off to the far reaches of space on luxury cruise starships, leaving robots to clean up; specifically, Waste Allocation Load-Lifter, Earth class units. Over time, all of these robots have broken down. All but one, that is.

Our solo hero spends his days compacting trash into cubes and organizing these cubes into rather impressive piles, occasionally saving things he finds interesting enough. At the end of the day he returns home with his findings, watches a clip of "Hello, Dolly," and powers down. He knows no other existence--until EVE shows up.

EVE (whose name is, as you guessed, an acronym, but i won't spoil it) has come in search of something top secret. What she finds is WALL*E, so enamored by the idea of another robot (and a female, at that!) that he begins to develop an emotional attachment despite her apathetic behavior towards him.

The real story begins when (as depicted in the trailer) WALL*E hitches a ride with EVE back to the human space colony, dazzled by a world far beyond his imagination.

The kicker with WALL*E is that there is so little dialogue. Unlike Pixar's previous movies, which have relied heavily on large ensemble casts and witty one-liners, WALL*E finds Pixar experimenting with its fanbase, using vivid animations and robotic beeps and blips to convey a story of discovery, romance, and adventure.

The only real downfall of WALL*E is that it is, under a veil of amazing art, a VERY thinly veiled social commentary. Anyone who walks out of WALL*E unconscious of the fact that it is a condemnation of humanity's wasteful and destructive habits must have been unconscious during the movie, too. I felt inclined to scan the credits just to see if Greenpeace had secretly funded the film.

That aside, WALL*E is a very cute and accessible film regardless of whether you are a family of five or a 20-something guy with nothing to do. A great score (complemented by the track "Down to Earth" by Genesis' Peter Gabriel during the credits) helps bring the vibrant animation to life, ensuring that WALL*E and EVE float straight into your heart.





The suit. The iconic music. The 007-esque entrance into CONTROL. And then the top page floats off the pile of reports and is crushed in the jaws of a massive metal door.

Maxwell Smart is back, and he's not exactly how you remember him. Let's be straightforward here: the latest incarnation of the battle between CONTROL and KAOS has definitely been done-up for a modern audience. Smart is no longer the bumbling idiot who accidentally thwarts evil; he has become the suave idiot who purposefully thwarts evil, if occasionally via accidental means. Fans of the series should note this difference.

The new Smart, however, is nothing to break out a Cone Of Silence and cry about. Steve Carell ((The Office, Little Miss Sunshine, Dan in Real Life) does a great job of making Max a well-meaning desk-slave-gone-agent, occasionally embarrassing and occasionally awesome yet always hilarious.

Agent 86 is accompanied on this adventure by Agent 99 (Anne Hathaway, The Princess Diaries), the sexy, experienced field agent who is only able to operate on the mission because she recently underwent facial reconstruction and thus her identity was not compromised in the KAOS break-in.

The unlikely duo (why are the duos never likely?!) set off through Russia to fight the bad guys, running across such classics as Siegfried (Terence Stamp), the main villain. In the meantime they receive assistance from the Chief (Alan Arkin, Little Miss Sunshine) and Agent 23 (Dwayne "The Rock" Johnson). Agent 13, the one who always pops up in the most inexplicable places, makes only a small and unimportant appearance, and is portrayed by Bill Murray.

As mentioned earlier, the only thing that will make Get Smart irksome is that it is not an entirely faithful representation of the franchise. However, i'd venture a guess that even hardcore fans of the show will appreciate Carell and Hathaway's interpretations, in this hilarious, no-holds-barred action comedy that seems like it ought to spawn a spin-off television comeback.

And although fans looking for a weekly fix of what they're getting in theaters are bound to be disappointed, there is a little consolation prize set to come out today: "Get Smart's Bruce and Lloyd: Out of Control," a 71-minute movie featuring the antics of CONTROL geeks Bruce (Masi Oka, Heroes) and Lloyd (Nate Torrence, Studio 60 on the Sunset Strip) while Max is out saving the day. Granted, its direct-to-DVD release and timing indicate that Out of Control is most likely a low-quality money cow-milker, but judgment will remain reserved until this hypothesis is proven.

In the meantime, you could do a lot worse in theaters these days than seeing Get Smart. It may not be perfect, but don't worry: it only missed it by that much.






Anyone who saw 2003's Hulk has probably come to grips with the fact that it sucked. Banner was melodramatic and upset at his father. Hulk scenes involved so much blatant CG that you forgot to care about what was going on (i mean really, mutant poodles?).

It seems Marvel, too, has come to grips with the fact that the first Hulk movie sucked. That's why this year's release is not a follow-up to the previous one, but rather a re-imagining of what a Hulk movie ought to be: big, bad, and angry.

The content of the first movie (the lab accident, the romance with Betty Ross (Liv Tyler, The Lord of the Rings, Armageddon), the monster emerging when our young hero's heart rate spikes) is pretty much covered in the opening credits, a high-octane series of flashbacks that result in Banner (Edward Norton, Fight Club, The Illusionist) hiding in South America, a fugitive from the US government (whose General "Thunderbolt" Ross (William Hurt) considers Banner's body his property).

Banner is trying to find a cure for his condition, and is contacting a "Mr. Blue" under the guise of--wait for it--"Mr. Green" for answers. Meanwhile, he is extremely cautious to avoid any sign of his whereabouts from making it across Thunderbolt's desk, lest he be forced to run again.

All good things must come to an end though, and a drop of blood from Banner's radioactive veins finds its way, via a bottle of soda, into an old man's mouth back in the US, tipping the government off to Banner's location. Thunderbolt brings in a contract killer named Emil (Tim Roth) to take Banner out before he can escape yet again.

Well it's not much of a spoiler to say the movie doesn't end with Emil's successful takedown of our mild-mannered scientist. Banner escapes, and decides it's time to go home. Thus begins a wild faceoff between monster and creator, involving plenty of incredible explosions and radioactive experimentation, climaxing in a battle between the angry green giant and the Abomination that Emil becomes.

In addition to the incredible level of action presented in this new iteration, The Incredible Hulk features so many throwback references to the television show (both Bixby and Ferrigno, the original Banner/Hulk respectively, make cameos) and the comics (Hulk smash, anyone?) that the only reason to get angry about the movie is if you find yourself unable to see it.





And, well, i think that should about cover it for now. I'd also recommend seeing "Iron Man" if it's still playing near you, and to avoid "Speed Racer" if they haven't put it to sleep yet.

The Rental Rack: No Country for Old Men

No Country for Old Men
Running Time: 122 minutes



The best picture of 2007 (at least so far as the Academy is concerned) wasn't the throat-slashing mayhem of "Sweeney Todd" or the mock princess story of "Enchanted." No, last year's top honors went to a gritty psychological thriller/western hybrid. Chock-full of Mexicans, shotguns, cowboy boots and southern drawl, "No Country for Old Men" took home an astounding 87 awards, including four oscars. But what exactly is this anti-senior land all about?

It begins innocently enough. Llewelyn Moss (Josh Brolin) is out in the sandy midwest, rifle in hand, attempting to take down a pronghorn. His shot doesn't quite hit the mark, and as he comes down to investigate the blood trail he notices another one. He follows it until coming across a circle of seemingly abandoned trucks. Dead people and animals litter the area, and inside one truck he discovers a tremendous quantity of drugs and a case filled with cash. He also finds a man in the truck, slowly bleeding and begging for water (which of course Moss doesn't have).

That night in bed Moss gets a sting of conscience and gets out of bed to see if the guy is still alive and in need of water. Unfortunately for him, not only is his Mexican friend dead, but his pals have returned; with guns. One shootout later and Moss has gone from being in the right place and the right time to, well, the opposite. Not only are the Mexicans after their drug money, but unbeknownst to him they've hired a hit-man named Chigurh (Javier Bardem) to take him down.

And Chigurh is not your traditional assassin. He possesses a cool, calm mannerism and yet behaves in a seemingly erratic way. If you get in his way--indeed, if you see him--you will die. Unless of course he decides to let the flip of a coin decide your faith, in which case you may live. For the unlucky ones, however, it is likely that you'll be having a rendezvous with Chigurh's peculiar weapons, either his silenced shotgun or the captive bolt pistol, the latter of which is also commonly used to break into homes and hotel rooms.

Meanwhile, called in to investigate the same empty trucks and dead bodies is officer Ed Bell (Tommy Lee Jones). And so begins a warped game of cat-and-mouse wherein it's nigh impossible to tell exactly who the mice are and who the cats are. One thing's for sure: Chigurh will stop at nothing to get what he wants, and (it would seem) nothing can stop Chirgurh.

One of the most striking features of the Coen Brothers' latest venture is its stunning visuals. The Texan landscape is crisply captured in a way that is simultaneously gritty and polished. Stylistically, there is never too much concentration on the gore, though enough to convince the viewer that Chigurh is a truly heinous person.

The only really questionable aspect is what message "No Country for Old Men" wants to get across to its viewers. In light of the title and the way in which the film ends, it is likely a commentary on the degradation of American society, particularly in the areas of increased violence and decreased capacity to prevent it. If this is the case, Chigurh is certainly a good representation of the theme. His origins are obscure, but what he is now is unavoidable. He has no choice but to do as he does. "They always say the same thing," he taunts one character. " 'You don't have to do this.' "

This is the question we must ask ourselves. Is the violence really necessary? Can it be stopped? And, if so...

How?



Links:
~No Country for Old Men on IMDb
~No Country for Old Men official site

The Rental Rack: Double Feature

If you are (as i am) a member of the Blockbuster Rewards Program, you have a special opportunity every Monday, Wednesday, and Friday. That is to say, for every film you rent you get a non-new release rental for free. And so, keeping in mind the raving reviews for Wes Anderson's new release, "The Darjeeling Limited," i elected to deviate from the norm and review two films from the same director: the aforementioned, and his previous venture, "The Life Aquatic with Steve Zissou."

The Life Aquatic with Steve Zissou
Running Time: 119 minutes



Marine biologist Steve Zissou (Bill Murray) is having a rough year. His career is tanking like an ocean liner that just hit an iceberg, his best friend was just killed by a rare species of shark, and his wife is about to run off with her ex--a man Steve suspects of being gay. And then, for the first time, he meets his son Ned (Owen Wilson).

Somewhat excited to actually have someone look up to him, Steve convinces Ned to join him and his crew on what may, if the trend continues, be his final expedition. His goal, despite what the law may say, is to slay the creature that killed his friend.

And so the motley crew sets off, including some rather prominent characters: Klaus (Willem Defoe), the faithful companion to Zissou and (it would seem) second-in-command; Jane (Cate Blanchett), the reporter who promises a cover story to make Zissou big again yet whose motives are somewhat unclear; Bill (Bud Cort), the "stooge" sent to ensure Zissou does nothing illegal or expensive; and Pelé (Seu Jorge), whose Portuguese renditions of David Bowie provide the majority of the music throughout the film. Other characters include Steve's wife Eleanor (Anjelica Huston) and his arch-nemesis Alistair Hennessey (Jeff Goldblum), as well as his advisor Oseary Drakoulias (Michael Gambon, most recognizable as Dumbledore in the Harry Potter films).

What follows is an unpredictable rampage through the ocean chock-full of laughs, pirates, rivalry, self-discovery, and romance. The last of these is provided by the rather complicated character of Jane, five months pregnant with the child of a married man--married to someone else. Despite the extra 'baggage,' Jane seems to have plenty of time to behave like the stereotypical seafaring woman: although never depicted she is evidently sleeping with Ned, and at one point takes a swig of Zissou's liquor, prompting the response: "You really think it's cool for you to hit the sauce with a bun in the oven? "

The laughs delivered by "The Life Aquatic" are rivaled only, it seems, by the profanities. Although there are occasional views of one (female) crew member topless, the real reason this film received an 'R' from the MPAA is the approximately hundred vulgar words used, running the gauntlet from d**n to f**k, including references to homosexuality and prostitution. For a film that takes place at sea, director Wes Anderson has certainly filled his ship with sailors.

If you like the indie movement, or if you want to see a bunch of a-list actors doing something refreshingly different, then "The Life Aquatic with Steve Zissou" is probably the film for you. If, however, you want a night of clean entertainment, you might try finding something with a bit less ocean spray in the air.


Links:
~The Life Aquatic on IMDb


The Darjeeling Limited: Hotel Chevalier
Running Time: 13 minutes



"The Darjeeling Limited" is preceded, as per the director's request, by a thirteen-minute short film entitled "Hotel Chevalier." It takes place in Room 403 of said Hotel, in Paris, and finds Jack Whitman (Jason Schwartzman) lying on a gaudy bed ordering grilled cheese and a chocolate milk for room service. Soon he receives a call from whom we assume is his girlfriend (Natalie Portman); she is in fact never given a name.

But that doesn't mean we get nothing from Portman's character. Indeed, it's not long before she shows up at Jack's door. There is some small talk between the two, revealing that Jack has come to Paris to get away from the troubles in his life--including, presumably, his girlfriend--and has been living out of this hotel room for several weeks. Room service arrives, Jack asks for a Bloody Mary--better make that two--and then the real purpose of this short film begins.

That is to say, the couple is breaking up, and to commemorate the occasion they're going to put the hotel box-spring to the test. And although there are a few profanities tossed between the two--actually, almost exclusively from Ms. Portman--the real reason this short has garnered an 'R' rating is the sex. Although very little of the activity is actually shown, we do see Jack removing panties from his girlfriend, followed by her removal of her own top. And when the couple goes to the window to see the view of the city, we see Portman skillfully positioned in a leaning position that technically covers the necessary areas but still feels remarkably graphic.

Although there is a tie-in to this short film right by the conclusion of the main feature, "Hotel Chevalier" seems really like an unnecessary guilty pleasure for viewers. It's a shame, especially coming from a girl who spent most of her early years in the spotlight saying nudity was not for her.

The Darjeeling Limited
Running Time: 91 minutes



Thankfully, "The Darjeeling Limited" is far more uplifting (and far less perverse) than its prologue might lead one to believe. It is the tale of three brothers who haven't spoken to one another for a year, coming together at the behest of the eldest. Francis Whitman (Owen Wilson) has arranged an itinerary (with the help of his friend Brendan) that will, if all goes well, help he and his brothers rekindle their faith in themselves and each other, and perhaps bring his long-lost mother back home. The plan?

A month-long excursion across India on a train called The Darjeeling Limited.

The movie begins as Peter Whitman (Adrien Brody) narrowly catches the train and meets up with Jack and Francis in their shared cabin. It doesn't take long for two things to become evident to the viewer: 1. the Whitman brothers are quite dysfunctional, and have trust issues with each other, and 2. they're probably going to run into a lot of trouble.

Between the illegal prescription drugs, the pepper spray, and the poisonous snake, getting kicked off the train was an exercise in inevitability, though not before Jack can have a fling with the stewardess. That said, the antics on the train are quite amusing and do a good job of introducing the different characters.

The road to "rebirth" is a rocky one, rife with serious arguments, injuries, and death. "The Darjeeling Limited" is more of an emotional roller-coaster than a train-ride, though it never truly loses its indie polish and cynical edge. Each of the brothers is jaded in his own way, something clearly picked up from their mother (who we meet near the conclusion of the film), but this proves an obstacle that can be overcome by brotherly affection.

There's a trend in Hollywood these days to avoid making classifiable films, a trend "The Darjeeling Limited" is all-too-happy to embrace. It's comedic, but more than a comedy. It's sad at times, but not a tragedy. Ultimately, it's simply a good look at life. What it does, how we see it, and why we should change the way we look at it.

Sadly, the inclusion of "Hotel Chevalier" makes it difficult to recommend the entire film experience. Unlike a Pixar film, where the short could simply be considered an extra, Wes Anderson seems adamant that the short film be considered intrinsic to the complete work, deeming it "part one" of "The Darjeeling Limited." This coupled with the profanity that is scattered about and the occasionally dragging plot progression make this a train that you really don't need to worry about missing.



Links:
~Hotel Chevalier on IMDb
~The Darjeeling Limited on IMDb
~The Darjeeling Limited official site

The Rental Rack: Marie Antoinette

Marie Antoinette
Running Time: 123 minutes



Admittedly, it was a snippet of Peter Shaffer's comedy "Lettice and Lovage" that reminded me of the famous French queen, known throughout the world for her eccentric behavior and flippant disregard for the starving masses of her country. And so, with her ultimate fate in mind, i popped the DVD into my drive and dove into a daring recreation of the life of Marie Antoinette.

From the start, it's rather apparent that "Marie Antoinette" is not your typical period film. The brash soundtrack, inescapably modern, clashes greatly with the eighteenth-century dress and look appropriate to Marie's story. But keeping in revolutionary France is evidently not director Sofia Coppola's goal: anachronisms litter the film, including incandescent bulbs and converse shoes. If the mock episode of the MTV hit show "Cribs" with Louis XVI is any indication, this rendition of the tragic monarch's story has a rather clear target in mind: Generation Y.

Coppola's style is certainly not without its merits, however. The stuffy lifestyle most likely occupied by the majority of Marie's peers (granted, her own is supposed to be the exception) would probably have led to a rather boorish film. Replaced, however, with the upbeat mile-a-minute tempo of the film, Versailles 1776 quickly becomes quite the engaging world.

For those not quite up-to-par on their history, Marie Antoinette (Kirsten Dunst) was born into the privileged class of Austria. At the tender age of fourteen she was married to the then Dauphin of France, who would upon the present king's death be pronounced Louis XVI (Jason Shwartzman). Marie has been remembered by history as a woman characterized by excess in all she did: eating, drinking, dressing, and particularly her outrageous hairstyles. Her lavish lifestyle and naive entry into royalty contributed to a sort of laissez-faire attitude toward the masses, resulting in the now immortal response to the peasant starvation, "Let them eat cake."

For a girl whose previous roles have included many bubbly lovers, including Spiderman's Mary Jane, Kirsten Dunst is probably the ideal pick for the imposing role of Marie. Cute but often cloyingly ignorant, Dunst's Marie brings happiness to everyone she meets and yet concern to everyone in her counsel. As Henry reminds the viewer in his short prayer upon receiving word of the monarch's death, the young couple is not prepared to take the reins of France.

Ultimately, "Marie Antoinette" is a playful romp through an outrageous situation in history, but this is perhaps its greatest flaw. If Marie is truly as careless and naive as she is depicted, it's very little wonder that the peasantry of France sought (and gained) her head from the guillotine. The innocence that one is expected to derive sympathy from is simply a cheap facade for what Marie clearly was: her tryst with a visiting soldier seems without consequence, and we might imagine it is not the only time the queen was unfaithful to a mostly neglecting husband. And so, as torches and pitchforks surround the Versailles estate, it is impossible to muster more than the faintest of pity for the condition most likely brought about by Marie's own outrageous spending habits and poor interaction with the common people.

Coppola seeks, in her pseudo-modern approach to the tale, to bring to life characters from the dusty annals of history. However, if Marie Antoinette is as coquettish and immature as she is portrayed, it is ultimately an unsolvable dilemma that she be the heroine of this, or any, film.




Links:
~Marie Antoinette on IMDb
~Marie Antoinette official site

At the Box Office: The Other Boleyn Girl

The Other Boleyn Girl
Running Time: 115 minutes




Once upon a time there was a king that loved his land and would do anything to prevent throwing it into turmoil. He knew that the only way to preserve order was to have a strong male heir to whom the kingdom could be passed down. Unfortunately, his wife the queen miscarried, and proved incapable of providing a son to the king. The queen's name was Katherine of Aragon. The king's name was Henry VIII.

So begins the pseudo-historical tale of "The Other Boleyn Girl," a tale that begins with the king's pressing dilemma and ends by acknowledging that Elizabeth, daughter of Anne Boleyn, would ultimately come to rule the nation as one of its most cherished monarchs, presiding over England for more than four decades.

It was the custom of royalty to take one or more mistresses in the day; young, beautiful women who, in exchange for sexual favors, would provide for themselves and their families a gateway into higher class. After all, when one pleases the king one expects the favor to be returned.

And so, when Katherine (Ana Torrent) proves unable to provide a male heir, word begins to leak out among the gentry that King Henry (Eric Bana) shall seek a mistress to provide what his wife cannot. Due to his position in court, the Duke of Norfolk (David Morrissey) is privy to this news before it has become widespread, and suggests to his brother, Sir Thomas Boleyn (Mark Rylance) that he offer his daughter Anne (Natalie Portman) to His Majesty. Though both Anne and her mother are cool to the idea, the Duke persists and finally Sir Thomas agrees to have the king come to his manor in the hopes that Anne may woo him during his short stay.

Meanwhile, Anne's sister Mary (Scarlett Johansson) has recently been married to a young man with plans to live in the countryside for the rest of their lives, and is thus out of the running for Henry's hand.

At least, she ought to be, but unfortunate circumstances lead to the king taking an affection for Mary, bringing the entire Boleyn estate to the royal court. She becomes pregnant before long (her husband is promoted and sent away from the court so as to remove any voice of dissent in the king's proceedings) and is shut away in isolation, as was the custom for pregnant women in England at the time.

Forced to abstain from sexual relations with Mary, Henry begins to take a fancy for Anne, newly returned from her French exile and grown much more sly in her absence. Thus grows the plot, like two twisted vines around a stake, each Boleyn sister taking the king's fancy at one time or another. One becomes queen; one gives birth to a son; one is considered treasonous; one is accused of incest.

Ultimately, two heads will roll from the headsman's block, and the heir to the throne proves to be a woman after all.

The story of Henry VIII's nightmarish attempts to preserve peace in his nation, including the separation of England from the Roman Catholic Church and the establishment of the Anglican order, is majestically interwoven with an intriguing romance that is, unless one is a Tudor scholar, impossible to distinguish from reality. The historical checkpoints in the film suggest accuracy even as the baffling final credits establish "The Other Boleyn Girl" as a work of fiction.

A dazzling score and beautiful setting contribute to the feel of authenticity throughout the film, and as usual Portman and Johansson put on a very enjoyable and convincing performance. Perhaps the finest acting is done by Mr. Bana, who manages the complexity of Henry's dilemma masterfully, at times impassioned and irrational and at other times cool and calculated.

"The Other Boleyn Girl" is probably not for everyone. The heavy historical context may make it difficult for younger viewers to swallow, though the film does manage to escape the boredom that is usually guaranteed by historical romance films. For those who consider themselves a bit more sophisticated--or those who are just looking for a great tragic drama--this one's for you.




Links:
~The Other Boleyn Girl on IMDb
~The Other Boleyn Girl trailer on Apple Trailers
~The Other Boleyn Girl official site

At the Box Office: Cloverfield

Cloverfield
Running Time: 85 minutes



*Writer's note: Cloverfield is an uncharacteristically secretive film. The viral marketing that preceded it as well as the secrecy that was deliberately used on everyone--including the actors--were designed so that you would go into this movie knowing nothing at all about it. I experienced the movie with minimal information and as such was able to feel as if new discoveries made by the characters were discoveries made by myself, which may have enhanced my experience. If you wish to get the absolute full effect of this film i encourage you not to read this review. If you wish to have a better idea of whether this is something you will enjoy and don't mind having some of the mystery taken away, feel free to continue. WARNING: THIS FILM MAY CAUSE MOTION SICKNESS.*


"I was in Japan a year ago with my son who is eight, and all he wanted to do was go to toy stores - so I know he's my son. And we went to the store and there were still all of these Godzillas, and I thought we need our own monster. We need a monster movie - not like King Kong. I love King Kong - King Kong is adorable - and Godzilla is a charming monster, but I wanted something that was just insane and intense." That is what J.J. Abrams said six months ago to explain the movie that has had audiences puzzled ever since trailers began to roll last summer. Most people have seen the frantic faces of the unfortunate party-going inhabitants of Cloverfield's Manhattan, the frenetic handling of a camcorder as the person (previously unidentified) sought to document the unfolding terror while avoiding soiling himself. And that's all they've seen.

Well, we've certainly got a monster now, and it's neither adorable nor charming. It has a penchant for ripping heads off of statues and chucking them into crowded streets. And that's before it gets nasty.

The film begins innocently enough: Rob Hawkins (Michael Stahl-David) is leaving for Japan (he's recently been promoted to vice presidentship) and his soon-to-be sister-in-law has arranged a surprise party for him. As part of his going away present, Lily (Jessica Lucas) asks her boyfriend Jason (Mike Vogel) to take a camcorder around to get testimonials from the guests à la une wedding. Lazy as ever, Jason hands the camera over to Hud (T.J. Miller), who is personally more interested in getting in the sack with Marlena (Lizzy Caplan).

Rob soon arrives and the party gets off to a good start. Since he's been charged with getting a testimonial from everyone Hud pesters Marlena (who claims to not know Rob enough to constitute leaving a farewell for him) to make one, a thinly disguised attempt to spend as much time as possible with a girl who is clearly uninterested. Soon after, Rob's best friend and (according to dialogue) roommate Beth (Odette Yustman) arrives with her new boyfriend Travis (Ben Feldman).

Apparently all these years of friendship with Beth have led Rob to fall in love with her, and his failure to confess this to her is exacerbated by her having a significant other right when he was ready to tell her. The two have an argument (resulting in Beth and Travis departing from the party) and Hud (filming it all) goes outside with Jason to try to console and/or coach Rob on how to deal with the situation. As they talk a huge tremor shakes the building, and they (with all the other partygoers) run to the roof to see if they can catch a glimpse of what caused the commotion. Suddenly a huge fireball erupts, terrifying the group and sending them running for the streets. They arrive just in time to see the (now iconic) severed head of Lady Liberty.

It's Jason that comes in with the clever idea here: "Let's get out of Manhattan."

So begins a havoc-wrought race against creature and chronos as Rob, Jason, Lily, and Marlena try to find Beth and get out of what quickly becomes Hell; all while Hud faithfully documents the unfolding events on the camcorder.

This is the part of the film that truly makes it unique and enjoyable. Cloverfield could have been a generic monster movie, with all the basic special effects and suspense-laden encounters with danger. Instead we see all these special effects and suspense from the perspective of a single person--rather, a single person's hand. Just as being attacked by a monster would cause a real person to drop his camera and/or forget he's supposed to be filming, Hud occasionally flails the camera too wildly to truly get in-focus. And while we might get quite angry at a friend or family member for making such a mistake, this helps convey a true sense of reality to the movie.

The film keeps a great pace throughout its (by modern standards) short duration (only about an hour and a half), but in that time there are a lot of heart-pounding moments. You WILL find yourself occasionally frightened and/or shocked at what is happening to those on-screen. Thankfully, Hud's remarks serve as comedic relief, meaning that time not spent saying to your neighbor "holy crap what was that" will be spent laughing out loud. This makes for a unique viewing experience in a theater, one that is much easier felt than described.

There is one hitch to the film, however, and that's content. The MPAA gave Cloverfield a "PG-13" rating, and admittedly the content is mostly tame. However, the language is noticeable: my younger brother used a pen to put a mark on his hand every time an s-word was used and when we got in the car i saw that his hand was covered in dashes. Also, there is a single scene in which the violence struck both of us as perhaps too intense for the rating the film received. This may be a concern for those with younger children, though it's true that they've probably seen worse already.

Overall, Abrams has pulled off pretty much exactly what he was going for. The use of no-name actors combined with the utter secrecy with which this film was enshrouded resulted in an outrageously effective viral campaign for what should be a quite enjoyable experience for moviegoers everywhere. Just make sure to watch through to the end of the credits.




Links:
~Cloverfield on IMDb
~Cloverfield trailer on Apple Trailers
~Cloverfield official site

At the Box Office: Atonement

Atonement
Running Time: 130 minutes




Writer's note: this review contains content that may be deemed inappropriate for impressionable readers, specifically unpleasant imagery of sexual nature.

Emotions are dangerous. In our anger, confusion, fear or passion we can do incredible things. We can also make terrible, irreversible mistakes, ones that affect not only our future but that of others; and ones that we may spend our whole lives seeking atonement for.

Based on the novel by Ian McEwan, Atonement (2007) is the utterly tragic story of two young lovers torn apart by the actions of another, and moreover the story of the other seeking redemption for her heinous act.

Briony Tallis (Saorise Ronan) and her sister Cecilia (Keira Knightley) live with their mother in a mansion on a beautiful estate full of rolling hillsides and mysterious woods. Briony, thirteen years old, aspires to be a writer; the opening scene finds her completing her first play, gleefully (but maturely) letting the maids and servants know that this evening there will be a performance (supposing the visiting twins are compliant). When asked by her cousin Lola (Juno Temple) what it's about, she replies "It's about how love is all very good, but you have to be reasonable."

One of the servants to whom Briony heralds her play is Robbie Turner (James McAvoy), whose response to the news indicates a greater level of intimacy with the Tallis family than the other household help (he accuses her of no longer giving him "bound volumes" of her work as she used to). She pleads with him to come see her performance with such fervor that one must wonder whether this thirteen year-old who thinks love must be "reasonable" carries an affection for the hired labor.

Such suspicions are confirmed when Briony spots Robbie and Cecilia out by the fountain and is forced to look away, all the while bearing a face of shock, pain, and unquestionable jealousy. What Briony sees from her bedroom window proves to be far more than simply "two figures by a fountain;" from various angles we watch as the two awkwardly walk out to the fountain, Cecilia carrying an intricate vase replete with a myriad of flowers and Robbie trying in earnest to serve her. She has come to the fountain, we assume, to draw water for the vase. Robbie reaches to help her, she pulls away in a brash show of feminine independence, resulting in the severing of a handle from the vase and a rather flush Ms. Tallis. "You idiot! You realize that's probably the most valuable thing we own?" To which Robbie replies "Not anymore."

Cecilia proceeds to strip down to her undergarments and dive into the fountain to retrieve a lost piece of the vase, emerging with her clothes clinging tightly to her figure to the dropped jaw and gaping eyes of Robbie (this is the point at which Briony could no longer watch). Wordlessly Cecilia redresses, picks up the vase, and brushes awkwardly away from Robbie as she tears the severed handle from his hand. Ashamed and embarrassed, Robbie retires to his typewriter and a pocketful of cigarettes and attempts a letter of apology. As he writes we see a transformation overtake him as he begins to realize how deeply in love he is with her.

Robbie goes through many drafts of his letter, ranging from strictly 'sorry' to overflowing with emotion. At one point, reclining in his chair and spouting smoke from his nose, Robbie begins to chortle. The letter he writes here is probably (and understandably) the most controversial part of the film. "In my dreams i kiss your c**t, your sweet wet c**t."

Though deplorable, we must accept this as a simple outing of internal feeling which (were it not in a movie) no one but Robbie would ever have seen. Even before the ink has dried on this pornographic note he has removed the offending letter and begun anew, this time with a far more appropriate (and poetic) phrasing that conveys simply the newly realized affection he has for Cecilia.

Finishing his writing, Robbie quickly dresses for the party he has been invited to that evening, grabbing his letter on the way out the door. As he sets out he spies Briony playing in the nearby woods. He calls to her and asks her to run straightaway with his letter to Cecilia for he'd be too embarrassed to deliver it in person. She takes the letter and runs toward home, leaving Robbie at the bridge in contemplation. Suddenly it hits him: she has the wrong letter. The very wrong letter.

It is too late, however. Briony curiously reads the letter and is terrified at its contents. She delivers it to Cecilia but begins to consider Robbie a "sex freak." She also confides in Lola with this information, and they agree that Robbie is probably dangerous and should be reported.

These feelings are further exacerbated when Briony stumbles upon Robbie and Cecilia having sex in the library (a scene which is gratefully far more intense than explicit). The viewer knows that the sex is consensual, and that both parties are deeply in love with the other; Briony, however, considers it rape.

Thus, confused as to Robbie's true intentions, when Briony goes into the woods to find her missing cousins she spots a man in a suit raping Lola and assumes it is Robbie. At least, this is what she reports to the investigators who arrive shortly thereafter, and Robbie is sent to prison.

This is the first half of the film, and it is this false accusation upon which the film hinges. When the Second World War erupts soon after Robbie's imprisonment, he is given the choice to stay and die in jail or to join the military and fight for his country. His decision to do the latter draws him into the bloody and terrible warfare that World War Two is infamous for. The scene in which Robbie and comrades emerge from tall grass onto a beach teeming with dying and suffering soldiers is at once terrible and beautiful.

It is this stunning cinematography that truly makes Atonement a sensational film. Everything from the landscapes to the actors is gloriously sharp and crisp, a rare experience that the trailers only begin to do justice. Beautiful, lush imagery is accompanied by a stirring score by composer Dario Marianelli that is at times both chilling and heartwarming.

Spanning half a century, Atonement is perhaps one of the greatest films to grace the silver screen in years. True, it is a cold and tragic story (with one of the iciest endings i've ever seen in a movie) but as a work of art it is nigh unparalleled. If you are looking for a feel-good matinée, go see Mad Money. But if you want a substantial experience; if you want to see two lovers torn apart by a series of unfortunate events; if you want a look at the horror of war and the closeness of death it brings; if you want these things, then Atonement is right for you.





Links:
~Atonement on IMDb
~Atonement trailer on Apple Trailers
~Atonement official site