Lincoln Review

Steven Spielberg has been busy on his Abraham Lincoln project for quite a few years. Initially he had Liam Neeson in mind for the role of the 16th President of the United States of America. But when Neeson claimed to be too old for the part, the role went to Daniel Day-Lewis. After seeing 'Lincoln' it's hard to imagine any other actor portraying this historical figure.

'Lincoln' is an important film. It's not just a history lesson, it's also an impressive dramatical achievement. A movie about the passing of the Thirteenth Amendment could've been boring as a rock. Fortunately, Spielberg and his screenwriter Tony Kushner find real suspense in the final months of Lincoln's life. It's not just the immense importance of abolishing slavery that captures our interest, nor is it the conclusion of the American Civil War, it's the story of a steadfast group of individuals. People who used, and sometimes abused, the political system to do the right thing. 

At the center of this group is Abraham Lincoln, who, by now, is regarded as an icon of democracy. In 'Lincoln' we see him with his family and we see him struggle with the death of his second son, Willie. These scenes, accompanied by John Williams' solemn score, are at the heart of the film. It's as if, for the first time, we are able to see past his historical  importance, and experience that Abraham Lincoln was very much a man like any other. There's a gentleness to this film that seems to be directly inspired by Lincoln's character. 

'Lincoln' will be remembered as one of the finest collections of performances in film history. Daniel Day-Lewis transforms into Abe Lincoln. From the moment he appears on screen his presence dominates the picture. He captures an intellectual, who is no stranger to suffering, nevertheless he has a fine sense of wit, demonstrated by the handful of shaggy dog stories he tells during the film. Sally Field is remarkable as Lincoln's grieving wife Mary Todd. Her confrontation with Tommy Lee Jones is one of the movie's highpoints.

All performances in 'Lincoln' are rock solid. Some of Hollywood's most prominent actors bring their best, and the dialogues, of which there are many, are impressive and suspenseful. But of all supporting actors Tommy Lee Jones stands out as the Radical Republican Thaddeus Stevens, a lifelong abolitionist. Surprisingly, the most  heartwarming moment in 'Lincoln' belongs to this tireless grouch. 

Spielberg's film will not appeal every viewer. Many scenes consist entirely out of political debates and conversations. The issues are no less important, but if you're not interested in history you won't find much to enjoy in 'Lincoln'. Aside from that, the film runs a bit too long. There's a moment, about ten minutes before the actual ending, which would've been a perfect conclusion. Instead, Spielberg choses to include the night of Lincoln's assassination. It doesn't ruin the film per se, but I do feel it's a missed opportunity to end the film  in a most touching manner. 

Django Unchained Review

Sergio Leone's famous spaghetti western 'For A Few Dollars More' begins with the words: ''Where life had no value, death, sometimes, had its price. That is why the bounty killers appeared.'' These words do not feature in 'Django Unchained' but they would've fit in quite nicely in Quentin Tarantino's latest. Jamie Foxx stars as a freed slave who sets out to rescue his wife with the help of a German bounty hunter.

Like all of Tarantino's movies 'Django Unchained' is heavily influenced by the cheap exploitation films of the 60s and 70s. There's a lot of off-beat music and old fashioned camera movements and editing. The result is a eclectic film with many fantasticly executed scenes. However, 'Django' suffers from the same flaws as Tarantino's previous film 'Inglourious Basterds', more on that later. 

The acting is amazing, Tarantino knows how to the get the best out of his actors. Christoph Waltz excells as Dr. King Schultz, a man who switched jobs from dentist to bounty hunter. The German actor has a flair for eccentric but dangerous individuals. Foxx, on the other hand, is a more coolheaded. This might be due to fact that Django himself is the least interesting character in the movie. 

The main villains are Leonardo DiCaprio's devious plantation owner Calvin Candie and his most loyal slave Stephen, played by Samuel L. Jackson. Surprisingly, Stephen shares his master's convictions about the inferiority of African-Americans, even though he is a black man himself. Django and Schultz might not be the most honourable heroes ever to grace the silver screen, but Candie and Stephen are so twisted it's hard not to root for them. 

The duo devise an elaborate plan to free Django's wife Broomhilda (Kerry Washington) from Candyland and live happily ever after. Of course, much like in 'Inglourious Basterds', things don't go as planned, resulting in a graphic, but terrific, shootout. I haven't seen gun battles as bloody as these since Paul Verhoeven stopped making movies in the US of A. 

Tarantino's filmmaking prowess allows for some great moments but he's hampered by an inability to rein himself in. Much like in 'Basterds' his dialogues, smart as they are, go on for far too long. It's too bad because, had 'Django Unchained' been shorter and more focused, it would've been a great film. On the other hand, the problems are less prominent than in 'Inglourious Basterds'.    

One thing must be said, Quentin Tarantino has balls. Once again he has dared to make a subject as potentially offensive as slavery into a revisionist take on history. Much like in 'Basterds' the bad guys get what is coming to them. We get to see what punishment the Calvin Candies of the world deserve. 

Still, the severity of their punishment will make most viewers feel uncomfortable and, in a way, it lessens the heroisms of our protagonists. That's the funny thing about stories of revenge, they might be enjoyable, but in reality they are not quite moral. Tarantino appears to say that creating a fictional payback might be one of the best and most harmless ways to settle the score with all of history's wrongs.    

Exclusive first look at 'The Wind is Watching'!

Conrad Faraj is the young director behind last year's 'The Shadow People', which I saw about a year ago. I ended that review with the words: 

I'd like for Faraj to continue his work and show us what more he can do. Because this film, even though it's a little rough around the edges, shows a lot of promise. 

Now it seems like I got my wish. Today Faraj released a poster for his latest film 'The Wind is Watching' just in time for the end of the world. The look is familiar and it reminds me very much of the images we saw in the campaign for 'The Dark Knight'. It's not a bad image to start from and it gives 'The Wind is Watching' a nice apocalyptic vibe.

Aside from the poster I also got to look at the trailer for 'The Wind is Watching'. It promises a dystopian thriller and much like 'The Shadow People' the film features a strong female protagonist. A young woman caught up in the midst of a Second Civil War in the United States of America. It's an interesting concept and the trailer certainly feels like a cross between 'The Hunger Games' and 'Children of Men'. I'm curious as to how our heroine factors into this world and what her story is. You can expect to be able to see the trailer for yourself pretty soon.

The Hobbit: An Unexpected Journey Review

We've been waiting a long time for 'The Hobbit' to reach the silver screen. Ever since the release of 'The Return of the King' people have been dying to see more of Middle-Earth. From all of J.R.R. Tolkien's writings 'The Hobbit' was the most likely to be adapted. It chronicles the adventures of Bilbo Baggins and shows how the Ring of Power came into the hands of a Halfling. 

Written well before 'The Lord of the Rings' this story is a lot more lighthearted. While the former book details a struggle against an immense evil in the form of Sauron, 'The Hobbit' features a less urgent conflict: A quest to reclaim the kingdom of Erebor which was taken by a dragon with a love for gold. A band of dwarves led by Thorin Oakenshield (Richard Armitage) believe they are destined to free their land from Smaug the dragon. 

Bilbo Baggins enters the tale when the wise wizard Gandalf comes to him with a frightful proposition. He wishes for the hobbit to accompany him and thirteen dwarves on an adventure. For those who don't know, hobbits aren't adventuresome creatures. They prefer to live quiet and comfortable lives. However, after some convincing, curiosity gets the better of Bilbo and he's off on a dangerous journey. Their goal is to reach the Lonely Mountain and slay the dragon that hides there. 

Tolkien managed to tell this story quickly and economically. Director Peter Jackson, on the other hand, thought he needed three movies. With 'The Lord of the Rings' this was understandable, such a dense story needed room to breathe. With 'The Hobbit' this decision might lead to Jackson's undoing. The plot isn't suited for such a luxurious treatment and would've been more resonant had it been told in one (or two relatively short) films. 

The first chapter, 'An Unexpected Journey', feels like an extended cut. The entire first act is riddled with scenes that should have been removed. Many of these cover the same ground over and over and the film's pace suffers as a result. Some additions work wonderfully, like the prologue featuring the fall of Erebor at the claws of Smaug. Others, however, are so out of sync with the world Peter Jackson established in 'The Lord of the Rings' that you can't help but wonder what kind of mushrooms he was eating.   

That's my main gripe with the entire film. The film lacks focus because of the addition of material which doesn't have a direct influence on the central story. I understand why Jackson wanted to include the rise of Sauron into these pictures, but it should've been more subtle. Now the film constantly cuts way from our heroes to bother us with plot points that don't come into play until 'The Lord of the Rings'. It takes the urgency away from Bilbo's quest. 

As for poor Bilbo, his casting is a stroke of genius. Martin Freeman uses his comic sensibilities to great effect, bringing the ever so conservative hobbit to life. Ian McKellen must have been looking forward to these films as well. For his character, Gandalf the Grey, has a lot to do in 'The Unexpected Journey'. During this quest he's faced with the troubling appearance of a Necromancer in Middle-Earth. This mysterious figure proves to be an ancient evil seeking the power he once lost.

Then there's the company consisting out of an unwieldly number of dwarves. In this first story only a few of them get a real chance to shine. Thorin takes on a role not dissimilar from Aragorn in 'The Lord of the Rings', Balin (Ken Stott) is the kindly mentor and Bofur (James Nesbitt) the comic relief. The rest stumble along the sides of the frame without making an individual impression. But considering the crazy amount of characters this was very much expected. Luckily, the dwarves are easy to tell apart because of their distinctive looks. 

'An Unexpected Journey' features a beautiful presentation of Middle-Earth. Taking place before the shadow of Sauron falls falls over this world, it has never looked this colourful or fantastic. The design of the characters is also wonderful. The dwarves look great and the numerous other creatures are designed with a tremendous eye for detail. Gollum (Andy Serkis), especially, has never looked this good. The performance capture technology has taken great strides since the earlier films. 

Aside from some missteps 'An Unexpected Journey' is a welcome  return to the world of Tolkien. And I'm very much looking forward to 'The Desolation of Smaug' and 'There and Back Again'. There's less doom and gloom than in 'The Lord of the Rings', instead 'The Hobbit' has fun with the fantastic elements of Middle-Earth. The tone of the entire film could best be described as playful. For instance, there's a wizard named Radagast (Sylvester McCoy) who speeds through this movie on a sled pulled by bunnies. I can't say it works but it's the one image I took away from this movie. A vagrant Santa Claus outrunning orcs on a sled pulled by Easter Bunnies.  

Looper Review

Time travel has always been an enticing concept for filmmakers. George Pal showed us the year 802.701 in 'The Time Machine', Robert Zemeckis took us on three trips in a time machine with the 'Back to the Future' movies and on the small screen Doctor Who travels through time on a weekly basis. Popular culture is saturated with time travel and why not? How cool would it be to meet your grandparents when they were kids or to see beyond years and into the future? 

Unfortunately, the concept is rarely used intelligently. The implications of time travel are tremendous and it's high time for filmmakers to learn they can exploit them to create dense and intricate stories. 'Looper' is one of those films. Aside from being an excellent action film it is also a very smart science-fiction story. It handles the time travel paradoxes in an interesting and entertaining way. That's why it's one of the year's best movies.

In 2074 time travel will have been invented. The technology is immediately outlawed but the mob uses it to get rid of people. They are put into a time machine and blasted thirty years back in time. Upon arrival a hired gun kills them and destroys their bodies. The mercenaries are known as Loopers, they get good money for their work but it comes at a price. Sooner or later their older selves will come through that portal and the looper will have to kill him(self). It's called 'closing the loop'.

For Joe (Joseph Gordon-Levitt) the loop is about to close. However his older self (Bruce Willis) is a wily one and escapes. The mob doesn't take kindly to this and set their dogs on both Joes. Now Young Joe will have to find Old Joe in order to save himself and his future. There are some other twists and turns which I won't spoil.,what I can say is that the story moves quickly and includes some very enjoyable surprises. 

Director Rian Johnson doesn't think of time travel paradoxes as bothersome. Instead he integrates these technicalities into the plot. What we get is a movie that's totally unpredictable but when we come to the conclusion we wouldn't want it to end any other way. Sure, after some thinking, little parts of the film don't quite seem to make sense but that's part of the fun. 'Looper' is a movie that will ignite discussions about the possibilties and impossibilities of time travel.. 

Joseph Gordon-Levitt's transformation into a young Bruce Willis is also worthy to be talked about. His make-up isn't a complete success but the way Levitt copies Willis his mannerisms is uncanny. It's not the make-up but the acting that sells this very important part of the plot. Bruce Willis himself is also terrific. I can't imagine a better candidate for this particular role. It's also one of his most memorable performances in a very long time. He brings out the utter desperation of a character who only wants to return to his life.

To me 'Looper' is nothing short of genius. The story might seem gimmicky at first but it manages to convince  you before knocking you on your skeptical ass. This is a movie with a lot of smarts and enough energy to make it all seem effortless. It's not afraid to go to dark places or to have the most famous actor in its cast do some seriously despicable stuff. 'Looper' is a great film and a breath of fresh air for fans of intelligent science-fiction.

Frankenweenie Review

After 'Vincent', 'The Nightmare Before Christmas' and 'Corpse Bride' Tim Burton returns to stop-motion. Based on a live-action short film he directed in 1984, 'Frankenweenie' tells the story of young Victor who succeeds at reviving his dead dog Sparky. The movie is shot in black and white and contains many nods to old-school horror flicks from Universal and Hammer.

Burton's unique visual style has always been perfect for stop-motion animation. His production 'The Nightmare Before Christmas' is still one of best films of that kind. The surreal look of Burton's vision combined with the somewhat creepy feel of stop-motion work wonders together. And with its bizarre subject matter 'Frankenweenie' walks the line between lightweight horror and comedy.

Unlike his previous live-action movies, 'Alice In Wonderland' and 'Dark Shadows', 'Frankenweenie' feels fresh. For the first time since 'Sleepy Hollow' Burton seems to be in his element. He and his animators are having fun playing with Victor's world, which appears to be a cross between 1950's suburbia and a misty Dutch town from the late 1800's.

'Frankenweenie' is visually appealing. The sets are beautifully designed and some characters look genuinely creepy. The animation itself is noticeably crude, especially when compared to this year's 'ParaNorman' which was made in a similar fashion. The crudeness appears to be on purpose. There's little polish here, when a cat moves its head you can see its fur move as the animator make his frame per frame adjustments. This gives life to the characters and lends a great deal of authenticity to the film.

Danny Elfman is back with his unique brand of fairy tale music. Drawing heavily from earlier collaborations with Tim Burton, more than once Elfman's score reminded me of 'Edward Scissorhands'. His dark but playful music amplifies the film's gloomy atmosphere. 

The story deals with one of life's more serious and final problems: death. It's a heavy subject to handle, especially in a medium that will appeal to a lot of children. Fortunately, Burton keeps the film from getting lost in dark territory. Unlike Mary Shelley's original novel 'Frankenstein' we're not faced with the existential dilemma that arises when you bring life to what was once dead.

'Frankenweenie' is sure to be a treat for all fans of classic horror. Whether you're a Universal Horror enthusiast or a Hammer Horror lover you'll eat this up. This film's science teacher looks and sounds like Vincent Price, Christopher Lee makes an appearence in his most famous role and the finale takes place in a burning windmill. Sparky's love interest even sports the iconic hair cut from James Whale's 'The Bride of Frankenstein'. 

'Frankenweenie' feels like its Tim Burton's comeback. He's returned from the commercial direction his later movies have followed. His recent career appeared to be marred by a profound lack of interest. 'Dark Shadows' featured hints of Burton's former glory but 'Frankenweenie' sees him reaching back and recapturing that unique and entertaining spirit. 

Skyfall Review

'Skyfall' is Daniel Craig's third performance as 007; the most famous of all spies. It's also his best, after a solid introduction with 'Casino Royale' and the rather dissapointing 'Quantum of Solace', Craig finally comes into his own as James Bond. Under the direction of Sam Mendes the twenty-third Bond film belongs up there with 'Goldfinger', 'From Russia With Love' and 'On Her Majesty's Secret Service'. 

This might sound like high praise but 'Skyfall' is pure quality. Mendes' character-driven approach breathes new life into a franchise which has known many up and downs. It also gives Craig the opportunity to portray Bond as a real person instead of the cartoony gentleman spy whom we've seen in many other installments. 

The story also has weight to it. The whole thing revolves around M, whose actions as head of MI6 are called into question when the secret identities of spies all over the globe are stolen. Someone, somewhere, has it out for her. Meanwhile, 007 is presumed dead after a mission to recover the identies goes awry. He returns from the shadows in order to save M from being discharged by the British Prime-Minister and to hunt down the man behind this evil plot.

The villain, Raoul Silva, reveals himself to be an ex-MI6 agent with a grudge against M. He tries everything within his power to put an end to her career and, ultimately, her life. Javier Bardem plays Silva with a psychotic sense of humor. His twisted obsession with M is one of the film's high points and makes Bardem's antagonist truly memorable. 

Aside from Craig and the entertaining villain this movie belongs entirely to Judi Dench. She's the ultimate Bond Girl and does a great job portraying a conflicted M. She's horrified at the lengths that Silva goes to in order to harm her but somehow she feels that she might deserve everything that's coming her way. This performance is yet another reason why 'Skyfall' manages to make a huge impact. 

The action is also top notch. While 'Quantum of Solace' was made incromprehensible by the insane amount of shaky cam the action in this film is astounding. There's some spectacular scenes featuring some gorgeous cinematography. It might not be the absolute best Bond film but it's surely the most beautiful in the whole franchise. 

As is tradition in the James Bond franchise 'Skyfall' has its own theme. This time Adele's voice is heard over the opening credits and it's an impressive song. It's been a while since we've heard a good theme for one of these movies. Adele manages to convey the gloomy feel of the film perfectly, setting the tone for the entire film.

If there's one thing I'm kind of divided on it's the obvious nods to previous Bond films. In celebration of Bond's 50th anniversary 'Skyfall' is sprinkled with little references. Some are fun; like the introduction of Ms. Moneypenny and Q, while others seem a bit too on the nose. The appearance of the Ashton Martin DB5 from 'Goldfinger', complete with all the gadgets from that film, is a little distracting. It's not enough to pull you out off the movie but it seems excessive. 

As the movie ends and the credits begin to role the film assures us that Bond will be back. And I'm not complaining. With 'Skyfall' Daniel Craig has gotten the film that he deserves. He got to shine as the legendary British hero and fulfilled the promises he made with 'Casino Royale'. It's one of the most entertaining films of the year and one of the best Bond movies I've ever had the pleasure to experience.