Movie Review: "Brave"/Disney-Pixar/100 min./Rated PG

When Disney bought Pixar Animation Studios in January of 2006 for a staggering $7.4 billion, much was made about the potential Disney-fication of Pixar's unique storytelling style. Those concerns were echoed in the summer of that year when "Cars" was released to huge profits and the worst critical response to any Pixar film to that point.  Of course, Pixar blew the pundits out of the water with their next string of films. "Ratatouille", "WALL-E", "Up" and "Toy Story 3" were each the most critically acclaimed film of their year and are among the most acclaimed movies of all-time. In fact, their rapturous reception by critics was one of the reasons that the Motion Picture Academy expanded the number of Best Picture nominees to ten (along with the continued Academy neglect of other pop hits like "The Dark Knight").

Last year things got iffy for Pixar with the release of "Cars 2". I honestly think that "Cars 2" is an entertaining movie, but the single element that it is most lacking is passion. Every other Pixar film is born out of a truly unique idea, spurred on by the passion of the filmmaker. "Cars 2" genuinely seems born out of corporate greed and, while I think Pixar did an admirable job of trying to make something out of it, it still ranks as their weakest film, creatively and commercially (not counting the billions it made from toys).

So, now Pixar releases "Brave", their first non-sequel in three years. It's also their first film directed by a woman (story-writer and co-director Brenda Chapman) and featuring a female central protagonist, which is all the better for the company. In fact, making a big budget computer-animated film that is a tribute to the mother/daughter relationship is borderline revolutionary in this boy-centric art form and very much in keeping with Pixar's M.O. They're risk takers. They're the one's that made a worldwide box-office smash out of a story about a rat obsessed with French cooking for heaven's sake! It only makes sense that they would see the need for this kind of a story. As long of the movie sticks to the family relationships, "Brave" is stellar.

It starts off startlingly well, with scenes that take the traditional fairy-tale elements of the story and infuse them with trademark Pixarian humor, rhythm and heart. It doesn't feel like any Princess movie you've ever seen before. The central protagonist, Merida (voice of Kelly McDonald), is a head-strong teenager who's never happier than when she can ride through the woods on her loyal horse, firing arrows into pre-placed targets on her way. Her "non-feminine" interests confuse and worry her mother (voiced by Emma Thompson), who sees it as her job to raise the perfect Princess and is thwarted at every turn by her wild-haired daughter. (Merida's hair is not only symbolic of her wild nature, but it is almost a character in itself) I want to leave the plot elements unspoiled, but this is a fairy tale, so it's not spoiler-y to say that there's a magic spell and a frantic race to set things right, but the plot is, as Roger Ebert once said, the percussion, not the melody. The plot is a means to telling the story, but point of the story is held in the relationship between Merida and her mother. Both are convinced that they could explain their view point if the other person would just listen, unfortunately, they're both too focused on that to ever listen to each other. That is until the situations force them to listen.

As I mentioned previously, when the focus is on this relationship, "Brave" is delightful. It's that central relationship that inspired Chapman when she wrote the story. However, part of the way into the production of "Brave", Chapman was replaced as director (she's credited as co-director on the final film) by Mark Andrews. Unlike other director replacements in Pixar's films (it's a more common occurrence than you'd think), this one seemed to be for commercial, rather than creative reasons. There have been reports that Andrews was brought in to make it more appealing to boys and to beef up the comedy. Unfortunately, when the humor goes crude and/or unoriginal, the magic of the central relationship is lost. For me, it's these moments that keep it from being counted among Pixar's best films, although it's a wonderful step up from the soulless, though entertaining, "Cars 2".

The animation in "Brave" is nothing short of amazing. The lushness of the Scottish highlands, the richness of the character animation, the wild beauty of Merida's aforementioned mane, it's all wonderful eye-candy. The musical score by Patrick Doyle has some lovely Scottish-themed flourishes and the voice-over work is universally excellent (Billy Connolly as King Fergus does a particularly hilarious impersonation of his teenage daughter)

 All told, "Brave" is definitely worth the price of admission and is a movie that children will love. It's wonderful to have a big-budget film sincerely address the tender and deep emotions associated with the mother/daughter relationship, I just wish the screenwriters and filmmakers would have had the courage to let that relationship inform all of the humor without letting more "hip" jabs a humor sneak in to the texture.

By the way, if you have very young children, be aware that there are moments of intense animal attacks, comparable to the Barracuda attack in "Finding Nemo". Plus, the crude moments of humor that I mentioned include some animated backsides played up for laughs and a rather surprising close up of a buxom woman's chest. These moments are short and certainly not telling of the general tone of the movie, but you should know they're there.

Also, get to the theater on time because the animated short, "La Luna", which shows before "Brave" is quite simply one of the most beautiful pieces of animation ever made. It's warm, surprising, creative and moving. In other words, it's vintage Pixar.

Overall grade for "Brave" - B+ / for "La Luna" - A+

Preview of Summer 2012....one month into it.

It’s been way too long since I’ve written in this blog, especially considering the fact that not only has the summer movie season been going for a full month, but it also contained the biggest summer movie OF ALL TIME (well, not if you adjust for inflation, then it’s just the 11th biggest summer movie of all time, but that’s still pretty darn big!) Of course, a large part of the reason for this delay is my day job(s). In the last six months I’ve conducted or performed in 14 different concerts, written and directed a musical and been in charge of several after-school hours student council activities at the school, in addition to my regular teaching and private studio schedule, so it’s been a bit busy. However, on this wonderfully beautiful Sunday afternoon, I’m going to take a breath and look forward to a somewhat less hectic summer schedule. Not that I haven’t seen any movies. I haven’t seen as many as I’d like (curse the fact that I’m not paid as a film critic), but I’ve seen the important ones. Interestingly, there are fewer movies that I’m looking forward to this summer. While there’s usually at least one film a week during the season that I’m at least moderately interested in, this year’s schedule looks a little more barren. However, the ones that look good look REALLY good, so maybe that makes up for it. However, before I get into it, let’s look at what happened in the first month. Of course, the summer started gently with a small little art house film called “The Avengers”. This intimate little costume drama somehow defied the odds and made over 570 million dollars and counting, looking to end up north of 600 million and at number 3 on the list of all-time grossers (behind only “Titanic” and “Avatar”). All sarcasm aside, “The Avengers” was awesome. A movie that by all means could’ve been a huge disaster, but somehow became one of the most ridiculously entertaining movies of the last decade. I’ve seen it three times in the theater and it’s not enough. So…..much…..awesomeness! I love how wise Marvel Studios has been in choosing directors. Joss Whedon didn’t seem like a natural fit for “The Avengers” to me, but the motivations for hiring him were totally character based and it was all for the best. He is a master at juggling ensemble casts and giving them all equal importance, which was exactly what was needed for this movie. Plus, he didn’t skimp on the special effects/action coolness. Also, it was surprisingly funny. Also, The Hulk was perfect. Also, I loved it. (grade: A) I missed the big movies of the next couple of weeks of the summer. Still haven’t seen “Dark Shadows” or “Battleship”, which is a good or a bad thing depending on who’s going the critiquing. I’ve had friends that had seen both and have heard that they are both either fun or horrible. I’ll have to check it out myself. I did see “Men in Black 3” and enjoyed it. There was an odd, made-for-video vibe about it, but it was humorous and surprisingly poignant in the end, even if the plot was a bit hole-ridden. Plus, it’s always nice to see Will Smith back on the big screen. Also, Josh Brolin is amazing as a younger version of Agent K. (grade: B-) “Snow White and the Huntsman” has two things about it that warrant a high recommendation: the visuals and Charlize Theron. This movie has some of the most stunning visuals I’ve ever seen in a film and I really do look forward to seeing what happens with director Rupert Sanders’ career. The enchant forest, the aerial views of the dark forest, the warriors made of shards of metal….there are so many scenes and individual shots that belong hung in an art museum. This visual art is framing a pretty average fantasy story with most of the actors doing the best they can with the stilted dialogue, however Theron rises above the dialogue to create a villain simultaneously terrifying, empathetic and attractive, not an easy feat. It was also nice to see Kristen Stewart in a non-“Twilight” related role. I thought she acquitted herself quite nicely. (grade: B-) The first sleeper hit of the summer is “The Best Exotic Marigold Hotel”, in which several great British actors and actresses of a certain age do their take on “Eat, Pray, Love”, however, I liked “Hotel” a lot more than Julia Roberts ode to self-indulgence disguised as self-discovery. For one, Maggie Smith and Judi Dench are in it, which instantly lifts any movie to a higher level of class. Secondly, there are actually some likeable characters and good messages throughout. The overall message of the film is found in a catchphrase that is uttered throughout: “It will be alright in the end, so if it’s not alright, it’s not the end yet.” A thought that would have been equally at home among Forrest Gump’s cavalcade of sentimentality, but pleasant nonetheless. (grade: B) Lastly, “Madagascar 3: Europe’s Most Wanted”. This installment of the successful animated franchise about zoo animals trying to find their way back to Central Park is by far the riskiest and, as a result, the most entertaining. The animals leave Africa to find their monkey and penguin friends in Monte Carlo and head back to the good ole’ U.S. of A. However, their path is thwarted by a French animal control officer expertly voiced by Frances McDormand. Not only is this woman fearless and a bit feral, but she can heal broken limbs merely by singing “Non Je Ne Regrette Rien”. I’d like to see anyone on “Grey’s Anatomy” pull off that one. The animals escape her by joining a European circus and turning it into a Cirque du Soleil-style surreal extravaganza and it’s in that plot point that the movie becomes something a little more special than the other “Madagascar” movies. The movie becomes a phantasmagoria of absurdist humor and surreal imagery, which is actually best viewed in 3d. I have never seen a film use the 3d technology to such successful comic effect. In every chase scene, every action sequence, every circus-related scene, there is no opportunity to throw stuff at the audience left unturned, most of the time eliciting giggles of surprise from the audience. “Madagascar 3” is far from a perfect movie, but it’s a pretty darn funny one and would make a very satisfying end to the franchise if the filmmakers decide to end it here. (grade: B+) As for the rest of the summer, it’s sort of like a desert with a few very real oasis to bask in. In a couple of weeks, we get the first non-sequel Pixar film since 2009’s “Up” with “Brave”. It also marks the first time Pixar has made a female character the central protagonist of a film and the first time they’ve had a female director (Brenda Chapman, who directed “Prince of Egypt” for DreamWorks receives co-director credit on “Brave”). While it doesn’t look like it will have the startling originality of previous Pixar films, “Brave” looks like a solidly entertaining and beautifully rendered story swimming in Scottish mythology. I can’t wait. The July 4th holiday marks the release of a movie that I have very mixed feelings about, “The Amazing Spider-Man”. The trailers look like the filmmakers have very thoughtfully crafted, interesting and detailed origin story for the popular comic book character, it’s just that it was only ten years ago that we HAD a thoughtfully crafted, interesting and detailed origin story for this particular comic book character, and, unlike the “Batman” franchise rebooting with “Batman Begins”, the last “Spider-Man” movie wasn’t a flop financially or critically. (fanboys like to decry “Spider-Man 3” and, while it is the weakest of the series, it’s nowhere near the disaster some like to say it was) However, Sony Pictures had to rush a movie into production in order to hold on to the rights to Spider-Man, which would’ve reverted back to Marvel Studios if Sony didn’t have a film ready by 2012, and since they couldn’t agree with Sam Raimi on a direction for a “Spider-Man 4”, they decided to reboot the whole thing. Sony made and interesting choice in director with Marc Webb, a filmmaker whose previously best-known movie was the 2009 indie sleeper hit “(500) Days of Summer”. Plus, the cast is great. The question isn’t if a good Spidey reboot could be made, but SHOULD it have been made. I guess we’ll find out July 3rd. And, of course, there’s “The Dark Knight Rises”, the movie that finishes Christopher Nolan’s planned Dark Knight trilogy. The commercials have hit all the right notes and I personally every bit of faith in Nolan’s talents, so there’s no reason to believe this will be anything less than great. It will also make an interesting counter-point to the candy-colored heroes of “The Avengers”. While I’m pretty sure “The Avengers” will end up with more repeated viewings by me, “The Dark Knight Rises” will probably be the one recognized come award season. In August, there’s “The Bourne Legacy”, not a reboot, but a continuation of the Treadstone plot line sans Jason Bourne. It looks pretty good and Jeremy Renner has already shown he can do the action hero thing in “Mission: Impossible – Ghost Protocol” and “The Avengers”, so I’m looking forward to it. Also in August comes “ParaNorman”, a stop-motion animated film from Portland’s own Laika studios (the guys who made “Coraline”). I know some parents that are concerned about the number of darkly themed animated films being made, but personally I think they’re sort of a perfect way for kids to enjoy the spirit of Halloween without being subjected to the horror movies that litter the cable networks in October. Of course, this begs the question “Why is this movie about the dead-communicating, zombie-fighting middle-schooler going to be released in August instead of October”. The answer is probably in order to avoid Tim Burton’s stop-motion film “Frankenweenie”, a remake of a live action film he made while still working at Disney. Regardless of the release date, it should be a hoot. So, the summer movie season is upon us and, hopefully, I’ll have a little more time to keep you apprised of my thoughts on the movies. Enjoy and have a fun summer at the movies!

2011 movies in review: Superheroes, wizards and merciful dinosaurs (no....really)

When I hunker down to do a year-end movie wrap up, I usually have one big problem. Ten movies are the norm for year-end “best of” lists, but usually struggle to find ten movies that are really great. Sure, there are plenty of good movies, but GREAT movies…..well, they’re a different story.

This year, however, is also a different story. There were some pretty terrific movies and I haven’t even seen some of the top Oscar contenders, like “The Artist” and “The Descendents”. I had a hard time narrowing it to ten, so I picked 20. The order has changed as I’ve mulled it over and I’ll try not to be too verbose as I explain why each movie is there, but for better or worse, here it is…..

20. Thor – Just an old-fashioned good time at the movies. Although, I have to admit that I’m hoping the sequel spends a little more time in Asgard and lets loose a little more now that we’re out of origin story territory.

19. The Adjustment Bureau – This is a little seen gem from the first quarter of the year, however, it was really mis-advertised. All of the marketing said that it was some sort of a sci-fi thriller, when it was really a romantic/action film paying tribute to the miracle of agency.

18. The Muppets – Pure nostalgia decorated with great songs and all the wit of the original movies.

17. Captain America: The First Avenger – Corny, sentimental, and action-packed, this is exactly what a movie called “Captain America” should be. Plus, Chris Evans pulls it off with a sincerity rarely seen in modern-day action heroes.

16. We Bought a Zoo – Surprisingly dramatic and moving, this family film with a cute premise has a brain and a heart not revealed in its advertising. As much about the healing power of family as it is about fluffy animals, this movie stayed with me longer than I expected it to.

15. The Tree of Life – Not so much a narrative film as a cinematic museum exhibit, “The Tree of Life” uses seemingly disparate imagery (including the aforementioned merciful dinosaurs), combined with a simple story about a family in the 50’s to examine the difference between the selfish nature of man and the forgiving nature of grace. Similar in tone to Kubrick’s “2001: A Space Odyssey”, however the message of Malick’s film is more clear and, therefore, the impact a little more visceral.

14. Rise of the Planet of the Apes – Rank this one with “Batman Begins” and J.J. Abrams’ “Star Trek” as the right way to do a series reboot. Resonant, character-based, and the right combination of thought-provoking and fun, this is a movie that moves this franchise from kitsch to event status.

13. Jane Eyre – A movie that has been unfairly ignored by a lot of the Oscar watchers, this is a superb adaptation of the Bronte novel with excellent performances by the two leads. Michael Fassbender is getting a lot of attention for his showier roles, but he and Mia Waskikowska really deserve attention for their work here.

12. Mission: Impossible – Ghost Protocol - The rumors of Tom Cruise’s professional death have been greatly exaggerated, as proved by this extremely entertaining blockbuster. Not to mention the fact that director Brad Bird has gone from one of the best makers of animated films (“The Iron Giant”, “The Incredibles”, “Ratatouille”) to one of the premiere orchestrators of live-action suspense sequences in Hollywood. The Dubai scene alone puts him at the top of that list.

11. X-Men: First Class – I can’t tell you how much I wish this movie was bigger at the domestic box-office. I think that the subpar “X-Men Origins: Wolverine” soured the taste for all things X-Men related, but, in my opinion, this is the best movie of the series and that’s saying quite a bit. I hope against hope that Fox studios puts some faith in the reviews of this movie and makes it a franchise, because it would be a pretty awesome one.

10. The Adventures of Tintin – I’ve never read a Tintin book, but it’s not necessary to recognize this movie for the achievement it is. The plot is right out of an old movie serial, but the execution is fast-paced and visually stunning. Everything you would expect from a computer-animated action movie directed by Steven Spielberg.

9. Warrior – I’m a push over for sports movies, but I wasn’t expecting to like this one, simply because the idea of two brothers beating each other up for a mixed-martial arts championship didn’t really appeal to me. However, “Warrior” surpassed my over-simplified expectations. Extremely well written and acted, it’s a powerful movie that, in many ways, even surpasses the original “Rocky” for quality and impact.

8. Kung Fu Panda 2 – Forget what the Oscars will tell you next month, this was the best animated movie of the year. Not content to rest on the laurels of the well-received first film, this sequel exquisitely and artfully deepens the character development while creating truly beautiful visuals. More comparable to a more comical version of “Crouching Tiger, Hidden Dragon” than it is to most of the other DreamWorks stable of films, this is the rare sequel that makes the effort to be great.

7. Super 8 – J.J. Abrams has been compared a lot to Steven Spielberg in the last few years, so it’s only fitting that his “Super 8” (produced by Spielberg) is the most overtly “Spielbergian” film to be released since the mid-80’s, and that’s including the movies actually made by Spielberg himself. However, the most effective homages strive to be more than mere copies, and “Super 8” has a heart and a rhythm that’s all its own.

6. The Help – Having never lived in the South during the 60’s, I can’t speak to the historical accuracy of this movie, but as a lover of great storytelling, I can attest that it gets the job done. Using the backdrop of social mores during that tumultuous time period, “The Help” finds his closest cinematic relation in the early 90’s drama “The Long Walk Home”. Both films use the inherent conflict of being a woman of color working as a maid in a white household to spotlight the burgeoning civil rights and women’s rights movements of the era (plus both feature a terrific performance by Sissy Spacek).

5. Moneyball – Written by Steven Zaillian (“Schindler’s List”, “Searching For Bobby Fischer”) and Aaron Sorkin (t.v.’s “The West Wing”, “The Social Network”), “Moneyball” is a triumph of words. While taking place in the world of professional baseball, it’s more about the economics of professional sports and the “class warfare” that exists between well-supported sports franchises and those struggling to hold on to their players. Much like “The Social Network” made a gripping story out of the seemingly dull world of internet business, “Moneyball” grounds the world of sports economics in character and emotion.

4. War Horse – For the first half-hour of this movie, it seems like a light romp in “Far and Away” territory. Then it takes these warm and folksy characters and plops them into “Saving Private Ryan”. Alternatingly uplifting and heartbreaking, “War Horse” is a great achievement and one of the best films from Steven Spielberg in the last decade.

3. Midnight in Paris – I’ve already gushed about this movie a lot this year, but it really is a gem and one of the best Woody Allen films I’ve ever seen. In fact, I think it may be my favorite of his films because of its message and Allen’s willingness to tone down his inherent neurosis to let the natural talents of the cast effervesce.

2. Hugo in 3D – “Hugo” is, I’m sure, just as great a story in 2d as it was in 3d, but not since “Avatar” has there been a movie in which the 3d technique is almost part of the narrative structure of the film. This movie, from screenplay to shooting, was clearly conceived as a 3d movie and it uses the process to startling effect, helping the current jaded movie-goer experience a bit of the awe that the first watchers of film must have experienced the first time they saw a train racing toward the screen or first saw that rocket land on the man in the moon.

1. Harry Potter and the Deathly Hallows, Pt. 2 – When I was watching “The Tree of Life” (as the critics of the internet made me feel duty-bound to do) a thought kept running through my head…”How is this a better movie than ‘Deathly Hallows, Pt 2’?” Seriously. I may lose my credentials as a film enthusiast for saying this, but the finale in the Harry Potter series dealt with similar themes, was just as artful, just as well-written, just as well-acted, but it actually manages to be so with a solid narrative and without whispering its message repeatedly throughout its running time. Now, I’m not saying this to knock “The Tree of Life”, which is a wholly worth your time. I am saying, however, that to dismiss this film solely because it’s a Harry Potter movie is to dismiss one of the best film achievements of the last decade, particularly if parts 1 and 2 are viewed together as one epic movie. Had it been released as such, I think this movie would have Oscar knocking at its door just as “Lord of the Rings” did.

So, here are my last few thoughts on the year…....

Most overrated movie of the year: Rango – This animated film is three or four scenes of mad, wild, genius-level imagination buried in a lazy plot and surrounded by some of the most repulsive animation ever made. I would’ve loved to see the title character (who was the single charming aspect of the movie) in an entirely different story, preferably a story with a different art designer.

Movie that should’ve been a blockbuster, but wasn’t: Hugo
Runner-up: The Muppets

Movie that was a blockbuster, but shouldn’t have been: The Smurfs
Runner-up: Pirates of the Caribbean 4

Most disappointing movie of the year: Cars 2 (entertaining, but I expect more than just “entertaining” from Pixar)

Performances of the year: Alan Rickman (“Harry Potter”), Jessica Chastain (“The Help” and “The Tree of Life”), Michael Fassbender (“Jane Eyre” and “X-Men: First Class”), Brad Pitt (“Moneyball” and “The Tree of Life”), Ralph Finnes (“Harry Potter”), Viola Davis (“The Help”), Emma Stone (“The Help”), Octavia Spencer (“The Help”)….oh heck, the entire cast of “The Help”, Corey Stoll (“Midnight in Paris”), Mia Wasikowska (“Jane Eyre”)

There they are, my thoughts on 2011 movies. Bring on 2012!

The end of the summer as we know it....

I promise that I'm not jumping the "end of the summer" train on a whim. However, in the coming weeks my free time will be a rare and valuable commodity, so I won't have much blogging time. In addition, if I share with you the best movies of the summer now, perhaps you can go see some of them while they're still in theaters, especially considering that many of them are now playing in less expensive, 2nd-run theaters.

Overall, this summer movie season didn't pan out the way I thought it would. Sure, I was expecting to love "Harry Potter", but there's no way in a million years I would've thought I'd like a "Planet of the Apes" movie more than the latest Pixar offering. Nor did I expect to be sorta bored by Captain Jack Sparrow. I doubt I could have predicted that I'd fall in love with Woddy Allen's latest or that a film about maids in Mississippi would evoke a far stronger emotional response than seeing Chicago destroyed by Decepticons. Actually, maybe I could've predicted that one.

The plus side was that I didn't see any awful movies. There were no films that looked entertaining that weren't, at least on a base level. However, there weren't a lot of GREAT films either. That's why I want to share with you my top ten list and some of my other favorite things about the summer movie season, so you can go see some movies that you might have missed that were truly worth the price of admission. So here's my top ten:

10. "Cowboys and Aliens" - Directed by Jon Favreau ("Iron Man, "Elf") this movie is far more cowboy than alien and it's all the better for it. It sort of feels like they were filming "True Grit" and got interrupted by the production of "Independence Day 2" and while that combination may not seem to have much dramatic weight (especially given the jokey title), it's handled in a way that makes absolute sense. The cowboys (including the terrific Daniel Craig and the newly re-energized Harrison Ford) don't see this invaders as "aliens". They are referred to as "Demons", which is a monster that fits in their world view. Seeing these characters set aside differences and devise solutions that are grounded in their reality is really quite fun and the cast sells it with absolute conviction.

9. "Thor" - I know that this movie has some detractors, but I am not one of them. This movie feels like a big budget action movie conceived by Shakespeare, with all of the pathos and intrigue one would expect from such a project. On top of that, it introduces the world to a new leading man in Chris Hemsworth, whose previous biggest roll was that of Kirk's pappa in the recent "Star Trek" reboot. While some people (and this includes every woman I've talked to that have seen this movie) find the movie particularly compelling whenever he takes off his shirt, the fact is that he's got talent behind the looks and every moment he's on screen is energized. Granted, the Earth scenes which focus on his developing relationship with a astro-physicist (played by Natalie Portman) aren't as well centered and developed as the scenes on his home planet of Asgard, they're still entertaining and give the main character his story arc. This is the perfect movie for Kenneth Brannagh, best known for his Shakespeare adaptations, to jump into the world of big-budget blockbusters. I only wish he were helming the sequel, because I'd love to see him play in this world a little longer.

8. "Rise of the Planet of the Apes" - It's not over-stating to say that this movie is to this franchise what "Batman Begins", "Star Trek" (2009) and "Casino Royale" were to theirs. It replaces the cliches with heart and the bulky ape suits with cutting-edge f/x and while the central protagonist may be James Franco's character, the central performance is unquestionably that of Andy Serkis as the highly developed chimp named Caesar. Serkis may have delivered this performance by way of motion capture animation, the same way he brought to life Gollum in "Lord of the Rings" and King Kong in the 2005 remake, but regardless of the special effects, it's clear that this performance is his. He gives this movie it's soul and it's edge. His performance also gives the movie it's dramatic balance. It shifts tones from medical drama to apocalyptic war movie subtly through every shift of the head and every turn of his gaze.

7. "Kung Fu Panda 2" - Are Pixar and DreamWorks trading places? No, I don't think so, but based on their output this summer, an argument could be made. While "Cars 2" was overly-dependent on pop culture references and car-related puns, "Kung Fu Panda 2" continued to get it's humor from characterizations and it's heart from genuine emotion. This film was beautiful to look at (the villain, an evil peacock, moves with a fierce grace that reminds one of the best parts of films like "Crouching Tiger, Hidden Dragon" and "Hero") and a delight to behold. Family entertainment in the truest sense of the term, equally fantastic for kids and adults alike.

6. "Captain America: The First Avenger" - I sort of wish they had left the subtitle off this one, because it gives the false impression that this movie only exists to set up next year's "Avengers" blow-out. The truth is that "Captain America" is a smart, fun and nostalgic blockbuster that is simultaneously self-aware and sincere. Well aware that the original "Captain America" comic books were thinly-veiled American propaganda designed to inspire patriotism during WWII (after all, the cover of the first issue was a picture of Caps knocking Hitler to the ground with one punch, an image that is spoofed in the film). The movie acknowledges the propaganda of the image in a hilarious sequence detailing Captain America's USO tour, but it moves beyond the surface to show the genuine patriotism that stirs in the heart of the Captain, (a.k.a. Steve Rogers, played with perfect sincerity by Chris Evans). Plus, this movie gives us the first superhero romance in many years that we actually care about, largely because of the spirited performance of Hayley Atwell as Peggy Carter and the genuine chemistry the two share. A wonderful throw back to movies the way they used to make them and a great way to beat the summer heat.

5. "Super 8" - The term "b movie" originated in the late 1920's and refers to a low-budget film that is the "lesser" film in a double feature. The b-movie was the warm-up act, the a-movie was the main event. Usually b-movies were sci-fi or horror films that weren't meant to be taken very seriously. However, in the 1970's Steven Spielberg made a name for himself (not to mention a large fortune) by taking b-movie plots and infusing them with a-movie writing, acting and production values. With films like "Jaws", "Close Encounters of the Third Kind", "Raiders of the Lost Ark" and "E.T.: The Extra-Terrestrial" he showed that fun movies could be really GOOD movies as well and thus inspired a generation of filmmakers. J.J. Abrams was one of those filmmakers and Spielberg's influence on his style is clear in his t.v. work ("Alias", "Lost") as well as in his films ("Mission:Impossible III", "Star Trek" 2009). "Super 8" is Abrams big, gooey love-letter to those late 70's-early 80's era films and it's splendidly done. It helps that Spielberg was the executive producer, but this movie truly feels like time machine back to that era of film. The everyman in extraordinary circumstances who is forced to deal with his own personal issues as he battles the big, scary thing, whatever that may be. It's still an engaging and inspiring formula and this movie does it very well.

4. "X-Men: First Class" - Can somebody please explain to me how a movie this fun, this well written, this exquisitely acted can flounder at the box-office while "Transformers 3" effortlessly earns over a billion dollars worldwide? For my money, this is the best of the X-Men films, as it's the first to delve into the emotional background of ALL of the characters, which makes the cool action sequences mean more than a great display of digital magic. This is the story I want to see continued. Placing these characters on the background of the cold war is absolutely brilliant, making the motivations of both sides of the mutant issue more raw and volatile. Plus, if you need more convincing, this movie has one of the absolute best performances of the summer in Michael Fassbender's portrayal of Magneto, a man who is kind by nature, but brutal by circumstance.

3. "The Help" - I really didn't expect to love this movie as much as I did. I was expecting something along the lines of "Fried Green Tomatoes" and, while this movie does evoke that combustible, sweaty, Southern spirit, it is first and foremost a film about humanity. Every character, from the saintly to the vile, is shown with genuine human strengths and weaknesses. Characters that seem to be stereotypical are revealed to be far more than their surface shows. I know it's a cliche, but this movie made me laugh and cry. Plus, it has the best acting ensemble of the summer, with each performance pitch perfect. Loved it.

2. "Midnight in Paris" - Again, I haven't been the biggest fan of Woody Allen. Once in a while, I'll see one of his movies that just seems to spark, but often they come across as whiny and self-indulgent. Fortunately, this one sparks brightly. This is a tribute to the inspirational power of art and the transformative power of conversation in the guise of a light comedy. The plot is sort of a bubbly take on "Somewhere in Time", with the protagonist (winningly played by Owen Wilson) inexplicably shifting from present day Paris to Paris in the 20's every night and getting to meet his artistic heroes, such as Ernest Hemingway, F. Scott Fitzgerald and Gertrude Stein, only to learn that great art has lest to do with when it was created, but how and why it was created. A really wonderful film.

1. "Harry Potter and the Deathly Hallows Pt. 2" - I freely admit that I am a fan of this series, both in book and movie form, but even if I weren't, this movie truly is a fantastic film. Smart, creative, enthralling and soundly rooted in emotional characterization, it is, quite simply, the movie of the summer. However, be forewarned, it does assume you've seen EVERY other Harry Potter movie, so if you're one of the 7 or 8 people who haven't seen it yet, brush up on your Potter-lore before you dive in.


There were some other movies that I really did enjoy this summer, including the charming "Winnie the Pooh" and the darkly amusing "Crazy, Stupid, Love", but these are my favorites. Below are some of my other thoughts about the season....

Biggest disappointment: "Cars 2" - Not horrible, but we expect better from the best studio in Hollywood. Runner-Up - "Pirates of the Caribbean: On Stranger Tides"

Best Performances: Andy Serkis, "Rise of the Planet of the Apes"
Michael Fassbender, "X-Men: First Class"
The entire cast of "The Help"
Corey Stoll as Hemingway, "Midnight in Paris" (the perfect
combination of war-hardened wisdom
and swagger)
Emma Watson, "HP7, PT. 2" (largely based on her performance in my
favorite scene of the summer. See below)
Chris Hemsworth, "Thor"
Elle Fanning, "Super 8"


Favorite movie moments of the summer: (SPOILER WARNING! In order to share scenes, I have to reveal plot points. If you haven't seen these movies, go ahead and stop reading now unless you want plot points spoiled.)

"I'll go with you" - Harry Potter
For those of you who have seen the movie, you know that Harry finds out he must make the ultimate sacrifice in order to defeat Voldemort. Throughout the film, watch Hermione whenever he mentions the Horcruxes. She clearly suspects that Harry is a Horcrux himself and when he reveals that he knows this and that he must be killed to defeat his enemy, her response isn't pity or denial. She simply says, through streaming tears, "I'll go with you". This willingness to give her life, merely to keep her best friend from being alone at the end of his is the ultimate testimony to the nobility of this character, one of the strongest female characters ever committed to screen.

Anything with Neville or McGonagall - Harry Potter
This movie has far too many great moments to pin-point them all, but anytime Neville or McGonagall showed up was cause for celebration. In particular, Neville's speech and McGonagall's battle with Snape...and her sending the Slytherin's to the dungeon....and her "I've always wanted to use that spell" line...and....well, like I said, anything with Neville or McGonagall!

"Ying/Yang" - Kung Fu Panda 2
There is a section in this film, towards the end, that is pure visual poetry. Throughout the film, Po is trying to find inner peace, but finding it very difficult, especially as the truth about his origins begins to surface. However, after understanding and acceptance of his past, he finds his peace, only to be fired on by a fleet of ships armed with cannons. However, as the cannonballs come toward him, he uses his own motion and physicality to re-direct the cannonballs back to their target. At one point, the cannonball spins him around as he attempts to re-direct, giving the visual illusion of turning him literally into the ying/yang symbol. Yes, it's a cartoon and the physics of the situation are ludicrous, but it's visually stunning and a good example of the layered story-telling going on here.

"The Satellite Dish" - X-Men: First Class
If you want to know why I'm so taken by Michael Fassbender's performance in this movie, just watch this scene. As Magneto is trying to maximize his powers, he realizes that he's only used anger as the motivating emotion to release them before. In a particularly heart-breaking scene, Xavier (James McAvoy) accesses his memories to show him a tender moment from his childhood involving his late mother (whose separation and brutal murder caused his powers to surface in the first place). The look on Fassbender's face as he relives this scene and as he discovers the level of power he has when he accesses his empathetic emotional side is pure cinema magic.

"Letting Go" - Super 8
Much of the emotional thrust of "Super 8" deals with another main character losing his beloved mother, this time in a pretty horrific accident. The child (played terrifically by newcommer Joel Courtney) has one personal momento of his mother, a locket with a picture of his mother holding him as a baby. In the final scene of the film, there is a huge magnetic field that causes all metal objects to fly into the town's water tower. Amid the big-budget mayhem, the boy's locket slips from his pocket and he grabs it. The locket opens giving him a last look at his mother as he tearfully let's it go. Yes, it's sentimental and emotionally manipulative, but it's handled with grace and sincerity and it's a powerful moment.

So, there you go. I'll keep trying to blog when I can throughout the year and I'll definitely see you next year as we get "The Avengers", "The Dark Knight Rises" and "Brave" or, as I like to call it, Pixar's (hopeful) return to greatness!

Harry Potter and the Deathly Hallows Part II: Movie Review

"Harry Potter and the Deathly Hallows Part II"/Rated PG-13/Warner Bros./Dir. by David Yates/130 min.

WARNING: There be spoilers ahead. If you haven't read the book "Harry Potter and the Deathly Hallows", you may not want to continue.

After 11 years and 8 films, the Harry Potter movie saga is at an end. While every installment has brought new mysteries to light and provided ample character development, they have all been a prelude to a battle. So, the question is, does the movie get it right. Director David Yates has been, for my money, the best thing that could've happened to this series, delivering movies that are faithful, yet fresh and creative. Thankfully, he is at the helm here again and he gets is almost perfect. It's a small "almost", but I'll get to that in a moment.

More than any of the other films, this is an action movie. It's a war film. There isn't much in the line of character development because the characters have been developed over the course of the previous chapters (with a couple key exceptions). It's pretty much a race to the battle for Hogwarts, but it's a thrilling race. The story begins exactly where Part 1 ended, with Voldemort holding the mythical Elder Wand, one of the three "Deathly Hallows" (magical objects that make their holder a master over death) and Harry is still looking for and destroying horcruxes (objects that hold a small piece of Voldemort's soul). Harry's search brings him back to Gringotts bank, but this time it's not to make a withdrawl, it's a bank heist.

Among the many wonderful performances in this film, one of the most delightful is Helena Bonham Carter, who has already shown us that she can be totally crazy as Bellatrix Lestrange, but in this scene is playing Hermione morphed into Bellatrix thanks to a polyjuice potion. Hermione's shyness and awkward walk in high heels are spot on.

After a bout with self-replicating gold and a ride on a giant dragon, the film moves us quickly back to Hogwarts, but it isn't the magical place that Harry once considered a home away from home. It's a darkened police state, with students being marched and those who dared stand up for what's right are beaten into submission. It's on this dark canvas that the battle for the future of wizarding kind happens and it's here where the movie's greatest and (few) weakest moments occur.

Let me preface this with a note about the running time. Deathly Hallows Part II is the shortest of all the Harry Potter movies, where it really should have been the longest. The final battle is both glorious and hurried. While I appreciate the idea of giving the audience a feel for the havoc of war, there are moments that could have been given a little more weight. For example, Molly Weasley (the wonderful Julie Walters) and the aforementioned Beatrix Lestrange have an epic battle in the book after Beatrix attempts to kill Molly's daughter. It's a pivotal moment in the book and easily one of the most triumphant scenes in the series. However, in the film it's boiled down to about 30 seconds, with momma bear Weasley having her Ripley from "Aliens" moment and ending as quickly as it started. Since the whole series has been leading to these types of moments, I would've gladly sat for another 20 minutes just to enjoy the grandeur of these scenes a little more.

This is a small complaint. The number of scenes that are pitch perfect far outweigh these scenes and, frankly, it's a great compliment to the books and the movie that the only complaint I have is that I wanted more. The highlight for me was the scene where Snape's motivations are finally revealed. It's one of the finest performances I've ever seen from Alan Rickman and that's truly saying something.

Overall, I loved it. Neville was great, Luna was great (plus it was implied that they become a couple, which was something I always wanted from the books), McGongall was AWESOME! It was a very satisfying ending to one of the best fantasy series in the history of film. That's not hyperbole, it's fact.

Grade: A

Midnight in Paris - Movie Review

"Midnight in Paris"/Sony Classics/94 min./Rated PG-13/Dir. by Woody Allen

Over the past 45 years, Woody Allen has directed 45 films, making him one of the most prolific living American directors. Unfortunately, his films have also been pretty uneven. His unique voice can often tightwalk a dangerous line between insightful and whiny. In fact, some of his earlier, more acclaimed films I find almost impossible to get through. His films of the 80's, including "Hannah and Her Sisters" and "Radio Days" were my previous favorites of his. It's not a coincidence that these films didn't star him (although he was a supporting actor in "Hannah"). His voice as a writer is much less, for lack of a better word, nebbish-like than his voice as an actor. Plus, I just find it totally implausible when he casts himself as a heart-throb (possibly the only failing that he and Adam Sandler share).

That having been said, "Midnight in Paris" is my new favorite. It's light, but surprisingly profound. A comedy that tastes bubbly, but manages to nourish beyond the fizz.

The premise is pretty high-concept for Allen. A successful Hollywood screenwriter named Gil (Owen Wilson) is visiting Paris with his high-maintenance fiancee (Rachel McAdams). While very taken with the city, he can't help but fantasize about what it was like in the 20's, when Paris was the epicenter for the greatest artists and writers of the time. His fiancee tolerates his nostalgic attitude all the while keeping an eye to a pseudo-intellectual former professor of hers (played with a great American accent by Brit, Michael Sheen).

One evening Gil separates himself from the group to walk through the streets of the city of lights, only to discover that every night at midnight a car arrives at a certain set of steps to whisk him off to Paris in the 20's. Wilson plays befuddled with a warm charm as he meets his idols, including Ernest Hemingway, F.Scott and Zelda Fitzgerald and Cole Porter. However, when he leaves the group from the 20's, he's instantly transported back to 2011.

As I said, it's pretty high-concept for Allen, but the plot conceits give the film a misty warmth that permeates every scene, regardless of the time period. It's such a blast to see how different and how similar the two time periods are and Owen Wilson is the perfect "everyman" to take us on the journey. His natural stammer mimics Allen's trademark nervousness, but it feels more born out of innocence than Allen's does. Wilson is just happy to be along for this ride and every shocked reaction and star-struck interaction feels honest and sincere.

Speaking of honesty, one of the runaway terrific performances in this movie (and that's saying a lot with a cast this extraordinary) belongs to Corey Stoll as Hemingway. As he uses the language of love and courage and bravery, Stoll is every bit the personality I've always envisioned Hemingway to be. He gives the master author an authority that makes the audience just as mesmerized as Gil is.

It would be easy to dismiss "Midnight in Paris" as a nostalgic love letter to the grand history of the city, however Allen does so much more than cast a loving eye back in time. It's a love letter to art, to the creative spirit. It's a love letter to optimism and to courageously meeting the world with conviction of purpose. I adore the ways the ideas of the strength of love and the nobility of art are presented in this film. Plus, it's just a lot of fun.

"Midnight in Paris" is the anti-summer film. In a season where movies are judged by explosions per minute and opening weekend grosses, this is a movie that uses words and ideas to thrill. It's every bit the source of eye-candy and movie-going excitement that any other special-effects extravaganza is, it just nourished the mind and the soul as well. I loved this movie.

Grade: A

Transformers: Dark of the Moon - Movie Review

"Transformers: Dark of the Moon"/Dir. by Michael Bay/Paramount Pictures/Rated PG-13/157 min.

Michael Bay likes to blow stuff up real good. I know this is a bold statement about the man who directed "Bad Boys", "Armageddon" and the "Transformers" films, but I stand by it. He pays lip service to the idea of a "plot" and to "character", but really, they're nothing more than an explosive delivery system. In previous films, this sort of bothered me, especially in "Pearl Harbor", where he used one of the most tragic events in U.S. history as a means for his fetishistic love of all things destructive. One shouldn't be watching the attack on Hawaii and think "Wow, those explosions are cool!".

However, I thought the first "Transformers" movie was the perfect marriage of director and material. Go ahead Michael, make the giant alien robots blow stuff up. Fill the story to the brim with silly characters and silly plot contrivances because this is, after all, a movie based on a toy. (anytime you start a movie with the credit "in association with Hasbro productions", you know you're not looking at a future best picture candidate) Yes, "Transformers" was profoundly silly, but it was fun and gave the maestro of destruction a perfect canvas for his unique sensibilities.

Unfortunately, it also made him a fortune and gave him free reign to go crazy on the sequel, which amped up the action, but also amped up the "comedy" with wall to wall characterizations that made Jar-Jar Binks seems subtle and sophisticated by comparison.

So, the real question for "Transformers: Dark of the Moon" is this: Is it better than the last one? The answer, thankfully, is yes. The annoying characters are still annoying, but there's less of them. The "funny" parts are still, for the most part, met with silence and the "serious" parts met with laughter. It's still WAAAAYYY to long, with a final battle that lasts for over and hour. Seriously. Over an hour. However, it's more of the guilty pleasure that the first one was, instead of just the guilt (minus the pleasure) of the second one.

This time, our protagonist, Sam Witwicky (Shia LaBeouf) has graduated from an ivy league school, but is still having a hard time finding work. Fortunately, his new girlfriend (former Victoria Secret model Rosie Huntington-Whiteley) just got a great new job and is making enough for both of this. However, Sam feels that his past service to the country (you know, saving the world a couple of times) should have afforded him a better career path.

Meanwhile, bad things are happening in the world of robots in disguise. Several world events, including the original moon landing and the explosion at Chernobyl, are being revealed to be all Cybertron-y. It's up to all of the gang from the previous films to get together and figure it out before Earth becomes the blueprint for "The Matrix".

As I said, the plot is strictly incidental, although there are some nice twists as the true villains of the story are revealed. They're fairly obvious, but these twists show more cleverness than this series has heretofore shown as a standard. In the end, the central protagonist isn't Sam, or even Optimus Prime and his Autobot buddies. It's the mayhem.

I mentioned earlier that the final battle is over an hour long and while I believe it was a little bit of overkill, it's still a pretty stunning set of eye-candy. The previous films took a slightly more cartoonish approach to the ending set pieces, but this one has a bit of a "War of the Worlds" type vibe to it. The threat is surprisingly dark for this light an entertainment and it's doubly impressive in 3D. (word is that James Cameron himself gave Bay pointers on how to effectively use the format). Supposedly, this is the final film in a trilogy and I kind of hope it is because the sheer volume of havoc found in this battle would be unwise to try to top. As it is, I don't think I need to see a giant special-effects extravaganza for quite some time and for those of you who know my love for all things digital, you know that's saying something.

The bottom line is this. "Transformers: Dark of the Moon" is not a good film, but it is a great spectacle. It's less annoying that the 2nd film, although not quite as much fun as the 1st. However, if you liked either of those two, it's an easy recommendation.

Grade: B-