Suspiria, a horror film by Dario Argento

Dario Argento’s classic Suspiria is one of the highlights from the golden age of the 1970s horror genre.

Intense in every sense of the word, Argento’s film is violent, visually vibrant and surreal with an alarmingly ear-grating soundtrack intentionally designed to set the audience’s nerves on edge. Be prepared for an experience that is both oddly immersive and abrasive to the senses.

The lighting, set design and shot composition are more the stars of this film than the doe-eyed lead, played by Jessica Harper, who merely drifts from one scene to the next as if led by an invisible hand.

The film’s vibrant visuals are just enough to counterbalance a feeble, sometimes nonsensical story and nonexistent character development. Some of its colorful dream-like qualities and childish dialogue make more sense when the viewer understands that portions of the film were inspired by the dreams of co-writer Daria Nicolodi, and that the script originally intended for the protagonist and her classmates to be no older than 12, but neither excuse a weak story.

Suspiria is a stunning film like no other, so be sure to put it in your canon of “must-sees” for cinematographers, art designers, filmmakers and horror buffs alongside other visually salient works like Roman Polanski’s Repulsion.

Rating: 3 / 5

Act of Valor, a film by Mike McCoy and Scott Waugh

By James Gilmore

Act of Valor is a ballad of the unsung heroic deeds of Navy SEALs in clandestine operations.

Although neatly structured the film feels less like a coherent story than a series of military reenactments with a few specks of story spliced in between action sequences. Valor is generously laden with fan service for military aficionados, but at times the ultra realistic use of military jargon crosses the line from necessity to extraneous masturbation. Action sequences deliver impressive intensity and speed while skillful POV camerawork immerses the audience inside each mission, lending a sort of video game feel to the advancement of the plot.

The acting is as wooden as it gets and not just in terms of line delivery—no surprise, considering the principal characters are played by real Navy SEALs and not professional actors. Unfortunately this means that emotional tangibility with the main characters is difficult to establish, even with the repeated use of artificial filmic constructs employed to build personal empathy.

Actor Jason Cottle’s uncanny intensity makes his performance stand out among the cast.

If Act of Valor teaches us anything, it’s that “actual” does not equal “dramatic.” For a stellar example of how dramatizing reality improves its filmic qualities, see Seal Team Six: The Raid on Osama bin Laden. In spite of its painful dialogue and feeble plot, Act of Valor is a realistic, tense experience that military and action enthusiasts will love.

Rating: 3 / 5

The Grand Design, by Stephen Hawking

By James Gilmore

It is not my habit to review non-story materials but I thought a brief experiment might be acceptable.

The Grand Design is yet another book by the mastermind Stephen Hawking concerning the makeup of our universe.  While a fascinating read, the book spends almost its entirety on the history of the field which built the foundation for quantum physics.  A Layman’s History of Physics would be a much more apt title.  The book only expresses one real opinion which is made plain at the very end—essentially that M-Theory rocks and everything else sucks.

Not Hawking’s best.  A tantalizing and thought-provoking read nonetheless.

Rating: 3 / 5

Damned, a novel by Chuck Palahniuk

by James Gilmore

Damned by Chuck Palahniuk follows the idea that every cliché you’ve ever heard about Hell is absolutely and completely true.  And Hell isn’t really that bad of a place so long as you don’t expect it to be like Heaven.  All it needs is a little optimism and some long-overdue re-landscaping by the supernumerous tenants.

The book is creative, thoughtful and entertaining, and is probably more broadly-appealing to readers than most of Palahniuk’s other, more shockingly gruesome works.  With trim, lean writing the author creates the most sympathetic, likeable protagonist of his career.  To his credit, the 13-year old female protagonist is thoroughly authentic in thought and viewpoint, which allows Palahniuk to lead the character to a number of unusually profound conclusions.  Like the protagonist, every member of the supporting cast is similarly illustrated with sympathetic—if not tragic—human weaknesses.  As the backstories of these characters are revealed the reader becomes continually haunted with the idea that there is no Heaven at all, and that Hell is for everyone.

Despite its strengths, Damned is not Palahniuk’s best.  His trademark technique of using repetition in changing contexts fails to fulfill its purpose in this novel.  The result is frequently negatively iterative, if not, at times, indulgent.

The structure of the final act is particularly weak as well, giving the impression that the novel was cut short of the full story the author was trying to tell.  Virtually without warning, we are ushered to a rapid climax which dissipates anti-climactically.  The pivotal idea to the story’s final revelation—that the main character is driven by free will—is hindered by the poor structure and ultimately results in invalidating all the story which preceded it by making it feel pointless.

Damned is worth a read, especially for those who love anti-fundamentalist and anti-liberal satire.

Rating:  3 / 5

Shadows and Fog, a film by Woody Allen

by James Gilmore

“It’s been a strange night,” says the protagonist in Woody Allen’s film, Shadows and Fog (1991).  And a strange night it is.

This surreal tragicomedy features the bumbling Kleinman (Woody Allen) adrift and directionless in the “shadows and fog” of life in an existence where everyone else seems to know exactly where they are going and where death is a nameless killer ever lurking in the shadows.  Kleinman is invisible, a ghost in a world of flesh and a story of coincidence.

A cursory glance reveals a clumsy film which is episodic, disconnected, strange and star-studded with actors like a pathetic publicity stunt.  However, a much closer inspection is required in order to uncover the gold hidden beneath this deceptively layered film.

Shadows and Fog is an 85-minute metaphor for life in the macroscopic sense.  Every scene is a sampling of some form of human existence, a circus filled with “theories and questions” which masks the true meaning of humanity.

Ominously looming over the film’s rich qualities are a number of detractors.  The film feels coarse and drifting, like the filmmaker wasn’t satisfied with the end product but resigned not to fix it (or wasn’t sure how).  Scenes of maladroit exposition and dialogue appear too far into the story to justify their inclusion and are all too often coupled with less-than-desirable acting and blocky line deliveries.  The episodic nature of the story serves to confuse more often than engross.  The end result is a film whose pacing ebbs and flags and whose quality is uneven.

To sum up with a paraphrase from the magician (played by Kenneth Mars): “People need illusions, like they need air.”  Cinephiles and Woody Allen fans delight, all others take flight.

Rating:  3 / 5

The Trip, a film by Michael Winterbottom

by James Gilmore

The Trip is a comedic film reconstituted from a short-lived improv TV series of the same name, starring Steve Coogan and Rob Brydon as fictional (and sometimes not so fictional) versions of themselves. Off-beat and off-color, this hybrid mockumentary/traditional film narrative delivers comedy that might not be to taste for the general American viewing public. Although presented as a low-key comedy, the film is really a sad coming of middle-age story at heart.

The plot follows a foodie pilgrimage taken by non-foodies, unfolding to reveal the life of an aging, professional actor as he approaches a sort of mid-life crisis. But beneath the façade of this simple story is one man’s journey as he is confronted with the revelation that he hides in a fantasy world and must face the brutal truth about his own life, and in so doing transcend from the idles of youth into the maturity of adulthood. For this the film and especially the direction are commendable. Unfortunately, in part because of its conception and in part due to its nature as an ad-hoc film edited together from a TV series, The Trip fails to deliver a strong story arc, resolution of sub-plots or character relationships. The true core of the film cannot be better illustrated than by Steve Coogan’s line: “It’s not about the destination; it’s about the journey.”

The film’s comedy is both passive-aggressive and extremely understated, often to the point of there being no joke or gag at all, merely subtext and unspoken situation which presents itself as genuinely humorous. Especially entertaining is the continuous battle of dinner table impressions, namely those of Michael Cain and Woody Allen.

Coogan’s acting proves to be one of the most impressive aspects of the film as he demonstrates his chops for more serious roles (not to mention that he won a BAFTA for his acting in The Trip).

Rating:  3 / 5

(Jet Li’s) Fearless, a “Quickie” Review of the film by Ronnie Yu

by James Gilmore

Jet Li’s Fearless (aka Huo Yuan Jia) is a martial arts action film told in the old Hong Kong studio style.  While the fight scenes are nothing special in of themselves, watching Jet Li attempt to act is always a grueling task for even the most die-hard of his fans.  The impressive layered conclusion is packed with subtext, character and emotion, in spite of the obligatory (and blatant) pro-Chinese, pro-unity message required to pass government censorship.

A must for any fan of Jet Li or kung fu diehard, a popcorn film for everyone else.

Rating:  3 / 5

Ironclad, a film by Jonathan English

by James Gilmore

In my first random pick for review, I selected a film I’d never heard of based on its cast of superb actors.

Ironclad is an exciting action film with a rich, gritty palette and bravely executed combat scenes filled with gore and glory.  Well-designed, efficiently made for its modest budget, but I wouldn’t say well-directed.  ‘Adequate’ is more appropriate.  The film lacks requisite directorial intimacy in pivotal scenes while exposition is handled more like a dialogue-heavy Shakespeare stage play than a filmic story with keen visual moments.  However, the director excels in presenting intense battle scenes—the highlight of the film—much to the viewer’s benefit.

This Westernized remake of Kurasawa’s Seven Samurai has a rocky 30 minute start, after which it drastically—thankfully—improves with steady progression for the remainder of the film.  Unfortunately, Ironclad pales in comparison to the stability, complexity or thematic material inherent in Kurasawa’s version.

While it is refreshing to see Paul Giamatti play the villain and, in juxtaposition, Brian Cox as a good guy (their roles are usually reversed), the protagonist (played by James Purefoy) remains inexorably weak.  Without any sense of the proactive goal-seeking or depth required to drive the story, the first act feels directionless and unhinged.  Unfortunately, the protagonist’s deficiencies never correct themselves.  Every character ends up having more depth than and goal-orientation than the protagonist, who presents himself as the classic reactive type, acted upon instead of pro-acting to advance the plot.  His only element of character turns out to be an artificial construct which neither enhances nor develops the story.  Purefoy portrays his character just as weakly, like a beaten dog who tries to shrink into invisibility in order to avoid further beatings.  He is a non-character, and the weakest link at the core of story.

Despite its shortcomings, Ironclad is worth a look if you are in the mood for a superficial action film and aren’t afraid of a little graphic violence.

Rating: 2 / 5

TRON: Legacy, a film by Joseph Kosinski

by James Gilmore

TRON: Legacy is a delightfully updated remake/sequel of the original Tron (1982), although it’s more of the PG Disney version of The Matrix for tweens, than anything else.  With a strong, robust 15-minute opening sequence, this visually stunning film dazzles the eyes with dark, sleek spectacle without becoming intrusive or overbearing (no surprise, coming from Disney).  The landscapes and color palettes, although reminiscent of the original TRON, seem to be inspired far more by The Matrix and The Dark Knight.  Excellent directing and cinematography are worth noting (Kosinski managed to handle this big blockbuster budget directing debut without drowning).  The film’s visual elegance is complemented by a minimalist, electronica-revival soundtrack.

As is typical of an action/adventure film, the plot is thin, even though the concept is good enough for a potentially breathtaking story.  The magic of TRON: Legacy begins to fade toward the middle of the film as the weaknesses of its mediocre storyline are revealed, dispelling some, but not all, of the immersive filmic experience.  And although there are a few instances of borderlines senseless technobabble, a few stretches of logic (such as programs acting exactly like humans), and clichéd generic dialogue, this tightly-woven, efficient film is a visual feast and thoroughly enjoyable.

Garrett Hedlund stars as Sam Flynn with surprising presence.  Often he appears to be imitating a younger, more restrained version of Christian Bale in voice and countenance.  Jeff Bridges as Kevin Flynn* brings both dimension and depth to his character, adding that touch of subtlety akin truly great acting—and the same would be more than welcome in Sam Flynn and Quorra (played by Olivia Wilde) as well.  On the other hand, Zuse (played by Michael Sheen) appears curiously out of place and/or over-the-top within the tone of the piece, frequently sticking out like a decorative sore thumb after the parade.

Rating: 3 / 5

*It seems apt that I am writing this review on the day of Steve Jobs’ death because, in a sense, TRON: Legacy is about Sam Flynn, a fictional, magical Steve Jobsian visionary and technology emperor.  If you’re wondering about the date, these reviews are usually posted several days after they are initially written.

Iron Man 2, "Quickie" Review of a film by Jon Favreau

by James Gilmore

Tony Stark's character is well-rounded, but the others are cardboard.

Rating: 2 / 5

I Love You, Man, a film John Hamburg

by James Gilmore

Too many shenanigans, not enough story (common problem in feature comedies).  While Paul Rudd is extremely likeable, he does not have the presence or ability to carry the success of an entire feature on his back.  Great concept, adequate execution, some funny bits, but otherwise not worth the time.

2 / 5

Harry Potter and the Deathly Hallows: Part 2, a film by David Yates

by James Gilmore

In what should have been one of the greatest climaxes of modern film, Harry Potter and the Deathly Hallows: Part 2 falls very short of its mark.  While Part 1 transforms the worst segment of the Potter novel series into the greatest film of the series, Part 2 manages to insult the best portion of the novel series with nearly the worst filmic experience in the series.  The film is not without a few traces of remarkable moments, but nothing more than a trace.

It is perplexing how director David Yates and screenwriter Steve Kloves managed to create such a remarkable Part 1 and a pathetically deflated Part 2.  Part 2’s story somehow lacks the robust emotional presence, subtle character, the visual acuity, and skillful storytelling of Part 1.  The writing barely suffices to tell the plot of the story and proves completely insufficient to do anything more.  It lack the thematic material warranted by such an epic series conclusion.  Despite the intensely emotional situations involved in the story, every scene feels drained of emotional power, and is frequently absent altogether.

The main characters are robbed of their greatest gems, especially Snape, Hermione and Ron, all of whom receive little to no actual development on screen although they are ever present in the background.   Snape, for whom Part 2 is the apex of his character, is completely blunted as a character by the writing and direction to point that the incredible twist associated with his character is treated as a mere afterthought.  The loveable secondary characters are used liked doilies, thrown into the story whenever required but serving little to no purpose except to have a few minutes of face time before they are again forgotten.  The death of the Weasley brother, a moment of intense catharsis for the audience, is glossed over like the death of a background extra.  Only Narcissa Malfoy and Neville Longbottom are given any character work worthy of remembering.

Quite deadly to the film is its ending, or lack thereof.  Although there is a cute “years later” scene to conclude Part 2, the real conclusion which precedes it is barely a conclusion at all, consisting mostly of the main characters walking around with vacant stares.

Somehow, Daniel Radcliffe managed to break through the stunted storytelling to illustrate his grown maturity as an actor.

Overall, Part 2 feels unfinished, unsatisfactory and rushed, as if irreverently composed of mostly B-footage.

 

Rating: 3 / 5

Black Swan, a film by Darren Aronofsky

by James Gilmore

Black Swan is perfect in both conception and construction, although the plot and main character leave something to be desired. Despite a very good script, Aronofsky’s masterful directing far exceeds it, nearly surmounting the story’s shortcomings. Nina and Erica Sayers both lack adequate character depth, as does their relationship. The end result is a strange film whose story fails to engage the audience enough to match the superb filmmaking which surrounds it. Once again, a potential masterpiece is thwarted by a thin script. On the other hand, the exquisite filmic storytelling boasts powerful imagery and cinematography with a strong European—but especially French—influence.

Excellent casting with outstanding performances by the actors. Mila Kunis’ surprising performance demonstrates her capability to grapple serious acting weight while Vincent Cassel’s work falls nothing short of superlatively stunning. Natalie Portman delivers her best performance to date upon transformation into the Black Swan, but otherwise remains her usual self in which she appears to be perpetually on the verge of tears.

On a side note, one might almost call Black Swan "The Machinist for Women.”

Rating: 4 / 5

Inception, a film by Christopher Nolan

by James Gilmore

Christopher Nolan's Inception sports an original but difficult concept, which the film explains surprisingly well, although more could have been left to the speculative imagination. The unfortunate side effect of having a difficult concept is that it requires a lot of time to illustrate, meaning the film takes 60 minutes to get to the heart of the concept, at which point it runs with the intensity of a driven madman. The close cutting adds to the dreamlike quality of the story but cannot alter the impression that one is watching two or three films rolled into one—the total of which ultimately seems lacking in a final or third-act twist whose gravitas is appropriate to the story. Fortunately, the aggressive pacing of the story helps blunt the ham-fisted dialogue and the glaring plot hole which serves as the crux for the third act. As for acting, Leonardo DiCaprio's performance is adequate but overshadowed by the quiet show-stealer, Joseph Gordon-Levitt.

Overall, a slight disappointment but a supremely wonderful, well-executed concept.

Rating: 3 / 5

The Great Gatsby, a novel by F. Scott Fitzgerald

by James Gilmore

Calm, flowing prose on a near subconscious level floats the reader to a violent two-punch ending. Fitzgerald illustrates how careless wealthy people destroy those around them, even men destined for greatness such (as Gatsby), leaving everyone else to pick up the painful pieces. From another angle, Gatsby delivers a scathing opinion of capitalism by depicting it as superficial, debauched and criminal, as embodied by Gatsby himself, a man who came from nothing but gained everything through enterprising opportunism and less-than-legal means. It should have been a short story, but Fitzgerald dragged it out into a novel three times its necessary length, and somehow created one of the most recognized titles of 20th century literature.

Rating: 3 / 5