Ghost Rider 2: Spirit of Vengence

There was no way anyone thought that Ghost Rider 2: Spirit of Vengeance was going to be anything more than a bad movie. The only debate was if it was going to be so bad that it was good or that it was going to be just terrible. It had all the tools to be the former, I'm just not quite sure if the movie got there. As long as you don't get bogged down by things like acting, cohesiveness or consistency then there is a chance you may find the trashy fun in Ghost Rider 2 that I'm sure it was supposed to have.

Nicolas Cage returns as The Ghost Rider the superhero that always had the potential to be cool, just not if it was reigned in by a PG-13 rating. He sold his soul to Satan and now is consumed by this demon who hunts down evil men for the devil. The back story seems more or less irrelevant but the directing duo of Mark Neveldine and Brian Taylor does do something fun with it by animating the story to give the movie more of the comic book feel. Once they cut back to present day they can go right into the action. That may be the only thing they get right in the whole movie.

Mark Neveldine and Brian Taylor are the same duo who brought you Crank 2. I never saw that movie though because I believe Crank had a pretty solidified ending where there was no coming back from. Well apparently I was wrong so it is clear that these two have no problem dealing in the ridiculous including having the Rider piss fire. If any of you saw the trailer this may have been the moment where you laughed to yourselves and thought this may be a fun movie to see. While that scene may have been intended for more, it is such a throwaway moment that there is no doubt in my mind they put it in there just for the sake of the trailer.

Cage seems to only be putting in half effort in this one. You may be saying to yourself how does an Academy Award winning actor who has agreed to do whatever movie he can to pay off his massive tax bills put in even less effort? Well if there is one thing that ole Nic has become known for it is when he flies off the handle, and that seems to be the only time he puts in any effort into the movie. Add that to the fact that when Blaze became the rider he didn't need to show up at all thanks to CGI. Cage phones this movie in from the get go and that is saying a lot considering the movies he has been doing

They did everything they possibly could to ruin this movie, they made it PG-13, they shot it all in Eastern Europe to keep the budget low, they got rid of any semblance of recognizable actors they had from the original and of course they added an annoying child to the plot line. There are some of you that I'm sure will still find a way to enjoy the movie. But I think my head would have hurt less if I had left the 3D glasses off the whole movie. D-

The Descendants

After winning the Golden Globe for Best Drama The Descendants have to be one of the front runners to walk away with Best Picture along with several other awards in the big night. If The Artist represents everything that is happy and good, than The Descendants may be the exact opposite. The difference in tone may decide which film walks away with the statuette. The Descendants is both funny and devastating and captures the moments in life we fear the most with eloquence.

George Clooney stars as Matt King a working father who at his best considers himself second rate. After his wife is injured in a boating accident within the opening sequence of the movie he needs to step up and be something more to his family. All the while he and his cousins hold the fate of some of Hawaii's last bit of land in their hand as they are the direct descendants from Hawaii's last ruling family.

Clooney turns out of his best performances for the troubled father. Think Up in the Air, but that character in the third act. Don't get me wrong he is still playing Clooney in the movie, but with a definite lack of togetherness and cool. He plays the character effortlessly which makes the performance that much more believable and heartbreaking. He allows his character to bumble a little bit, to be awkward, because that is normal people would react. Matt King doesn't have all the right answer or the right moves and often makes mistakes, and that's what makes the character so endearing and relatable.

Clooney plays the part of Matt King perfectly, he allows for the awkward moments to seep into his performance. The movie comes off as a perfect balance between dramatic and funny. The Hawaiian backdrop is wonderful juxtaposition to the mundane and depressing he finds himself in. Not every action gets the perfect reaction; sometimes he comes off as downright cruel when facing stressful moments which anyone can relate to in wishing they could take what they said back.

Alexander Payne, who wrote and directed the movie, loves making characters who find themselves on the brink and who are already broken. He did great work in Election, About Schmidt, and Sideways. It is tough to believe this is his first movie since 2004, but Payne knows his strengths and knows the stories that he wants to tell. His experience with lead characters who are imperfect help to drive the best performance out of Clooney and what makes the movie so relatable.

There is a lot in the movie to feel down about, after all the movie opens with Matt King's wife stuck in a coma. His daughters are difficult girls to deal with, his eldest seems to be dating a complete toolbag and the people around him all seem very selfish. But as some people do, the characters tend to use comedy as a way to cope with their grief and that endears us to some of the softer moments in the movie. We see the character lean on each other for strength and it is when people are thrust into difficult situations that we often see them at their best. The characters become more endearing as the movie progresses.

The best performance besides that of Clooney may come from his eldest daughter played by Shailene Woodley. She plays the part of the spoiled brat so well, but when she needs to be she quickly becomes her father most trusted confidant. She makes the transition believable and that is the most important part of the role, she is able to be hated as the movie starts and seamlessly becomes beloved by the time the credits role. Beau Bridges does a great job as well having his character move in the opposite direction. He plays laid back so well that his callousness sneaks up on you. Every member of the supporting cast does a fantastic job of advancing the story and elevating the lead.

Just as the movie is looking to soften up though and place the audience at ease Payne is quick to hit them again and bring down the whole tone of the movie. The movie has a beautiful reality to it, and makes you feel what the actors are going through is genuine. It is rare to have a movie deal with such a depressing reality and give such a honest reaction that you can still walk out of the movie with a feeling of hope. The Descendants walk that line the whole time and on February 26th may be walking away with the best picture award. A-

Oscars 2012: First Thoughts

The Road to Wrestlemani...the Oscars have finally begun. Most would agree it was a pretty weak year in film. There are a score of movies that came out last year which would probably be taking home the award this year. That is just not the case though, so let's take a look at some of the nominations or lack there of

Best Picture
“The Artist”
“The Descendants”
“Extremely Loud & Incredibly Close”
“The Help”
“Hugo”
“Midnight in Paris”
“Moneyball”
“The Tree of Life”
“War Horse”

With different rules this year one of the biggest questions was how many movies would be nominated in this category. In order to be nominated for best picture the movie needed to receive at least 5% of the vote. Many thought that because the field was weak this year it would lead to fewer nominees. Instead it led to more. With the most surprising selection being “Extremely Loud and Incredibly Close” followed closely by “The Tree of Life.” Both of these movies left critics and audiences highly divided walking out of the theater. Despite the Academy not normally supporting comedies, I honestly thought that “Bridesmaids” would make it through this year, sadly it was not to be as the combination of Tom Hanks and September 11th seems too strong a pull for the older Academy voters. While it was never going to happen weren’t you kind of hoping to see the final Harry Potter movie get nominated, say what you wish about the series, bit if you put away any bias you may have it was a good movie, and one of the best this year. Not an artistic choice, but a really well done movie.

BEST DIRECTOR
Michel Hazanavicius ("The Artist")
Alexander Payne ("The Descendants")
Martin Scorsese ("Hugo")
Woody Allen ("Midnight in Paris")
Terrence Malick ("The Tree of Life")


Four of the five directors nominated also were nominated for the Director's Guild Award. While it may shock some to see Steven Spielberg off the list, the more surprising diss is without question David Fincher for his take on “The Girl with The Dragon Tattoo.” Spielberg is usually snubbed come awards season, it didn't help that his horse movie wasn't as so much good as it was sentimental. Fincher did terrific work, well maybe not terrific but certainly better than Terrence Malick whose own star couldn’t even understand “The Tree of Life.”

BEST ACTOR
Demián Bichir ("A Better Life")
George Clooney "The Descendants")
Jean Dujardin ("The Artist")
Gary Oldman ("Tinker Tailor Soldier Spy")
Brad Pitt ("Moneyball")

Clooney, Pitt, and Dujardin, were obvious selections and while it seems to be a two man race between Clooney and Dujardin many thought that two of the biggest rising stars in Hollywood would get the nod as well. Without a doubt the biggest snubs of the day came in this category with the exclusion of Michael Fassbender and Ryan Gosling. Gosling had three fantastic performances in “The Ides of March,” “Drive,” and “Crazy, Stupid Love” (which would actually get him a supporting nomination). But Fassbender seemed like the bigger snub of the two, though it makes more sense as Academy voters typically don't support naked men. But seriously has anyone seen “A Better Life’ besides Christoph Waltz?

BEST ACTRESS
Glenn Close ("Albert Nobbs")
Viola Davis ("The Help")
Rooney Mara ("The Girl with the Dragon Tattoo")
Meryl Streep ("The Iron Lady")
Michelle Williams ("My Week with Marilyn")

A lot of people are surprised that Rooney Mara made the list; I am not one of them. She did well but many of the experts thought that took away from Tilda Swinton for Let's Talk About Kevin. I didn't see this one so can't speak to it. Moving on.

BEST SUPPORTING ACTOR
Kenneth Branagh ("My Week with Marilyn")
Jonah Hill ("Moneyball")
Nick Nolte ("Warrior")
Christopher Plummer ("Beginners")
Max von Sydow ("Extremely Loud & Incredibly Close")

Love that Nick Nolte got nominated for “Warrior.” This was one of my favorite movies of the year and I suggest every guy out there go out and watch this one. This is one of the reasons that Tom Hardy got cast as Bane. The movie was marketed wrong initially, but it had a lot of great action sequences and was a fun watch. I did not think that Jonah Hill was going to get nominated either, but was glad to see him on the list. Now the question is did Albert Brooks deserve the nomination. He certainly was good but I completely forgot about his performance until people kept talking about it which may be the most telling sign of his deserving the honor.

BEST SUPPORTING ACTRESS
Bérénice Bejo ("The Artist")
Jessica Chastain ("The Help")
Melissa McCarthy ("Bridesmaids")
Janet McTeer ("Albert Nobbs")
Octavia Spencer ("The Help")

It is surprising that Bejo got nominated in this category and not for lead actress, but that was her decision to make as she submits herself into the category. Melissa McCarthy getting nominated was well deserved for her performance and also a way to make up for the fact that her movie didn't make it to the big one. But everyone knows this award will belong to Octavia Spencer by the end of the night.

Best Animated Film
“A Cat in Paris”
“Chico & Rita”
“Kung Fu Panda 2”
“Puss in Boots”
“Rango”

How did Puss in Boots get nominated? And while “Cars 2” didn't make it, and didn't deserve to make it I'm still surprised it didn't make it. This will be the first year in a while that Pixar won't walk away with the major award, which means this field is wide open.

Finally how are there only two songs nominated for Best Song. Man or Muppet will go head-to-head with Real in Rio. But where is the love, for songs from Elton John, Mary J. Blidge, and this year's Golden Globe winner Madonna all being left off the list. Even with the prospect of a Muppet performance at The Oscars it is surprising not to see more nominations, and for that matter where is the love for last year's winner Trent Reznor. His score for “The Girl With The Dragon Tattoo” is what garnered a lot of the early buzz for the movie. You certainly could take off one of John Williams’s two nominations for scores as that are completely interchangeable and sound like every other Spielberg movie he worked on
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Those were my thoughts. What did you think? Let me know.

Haywire

Steven Sogerbergh has been talking about retiring from the film industry for some time now, that being said this is his 25th film in a little over 20 years. He has never done a movie involving so much fighting as he is usually known for his dark shots and dialogue heavy stories. He is still able to put his own spin on the genre and makes Haywire an enjoyable movie even if it leaves no long lasting impression.

Newcomer Gina Carano stars as a black ops agent seeking revenge after being set-up on her latest mission. She was plucked from television after Steven Soderbergh saw her beating up a woman in a cage. At one point she was ranked number three in her weight class and was referred to as the face of women's MMA. It didn't hurt that she was also listed as number 16 on Maxim's Hot 100 List. Taking all that into account while she is a very talented and blessed woman, acting is not one of her strong suites. Soderbergh seems to understand that and builds up the movie around this fact. She is asked to deliver very little dialogue and instead just be herself whether it calls for total bad ass or drop dead gorgeous. He also puts a litany of huge and talented male counterparts at her disposal to carry any scene and also get lined up for an ass whooping.

It is clear that Steven Soderbergh is one of those directors that can get any actor he wants. With almost no money in his budget he is able to go out there and gather amazing talent to surround his leading lady. He is clearly able to get his actors to do anything he wants as well, he gets Antonio Banderas to put on a horrific beard, Ewan McGregor to sport a dorky looking hair cut, and puts Bill Paxton in a mustache which is always a ridiculous look, with some notable exceptions. The limited dialogue which is important to getting the story across is delivered by men who have more training than Carano. She instead is put in her comfort zone and handles the hand to hand combat throughout the movie with nameless punks along with Channing Tatum and Michael Fassbender. Despite his much larger size her encounter with Tatum still looks believable and her sequence with Fassbender in a hotel room is the coolest in the movie. The opening sequence may be jarring for those who are not comfortable watching a woman get her ass handed to her but as McGregor's character states in the movie "You shouldn’t think of her as a woman. No, that would be a mistake." She knows how to handle herself.

In a time when fight sequences have become full of quick cuts and body doubles Soderbergh takes a refreshing look. He shoots most of the sequences in long view and wide shots. He also uses long continuous shots to show off just how talented his leading lady is. He cast her for the very purpose of being a believable action hero who could handle the men around her. There is also no music over these sequences, he isn't trying to over-dramatize the scenes and lets the audience hear every hit and grunt. This is Soderbergh's first attempt at a martial arts film and makes it his own allowing the actors to do the heavy lifting instead of over dubbing everything with effects.

Soderbergh's head is clearly involved in the action and not so much the plot. The story is kind of ridiculous so don't try and overly concern yourself with it. Even Len Dobbs, who wrote the story and has worked previously with Steven, boils the plot points down by the end of the movie. It lacks any kind of convincing story to get the audience to care about his characters. The story seems more concerned with the visuals whether it be an action sequence or the background as he takes his movie to various locations across the globe. And if the writing staff isn't worried about the story I wouldn't either, just sit back and enjoy

Haywire is a solid action movie that runs at a brief 90 minutes. Gina Carano does a fine job as the indie-female version of Jason Bourne. It is a fun movie and much of that is clearly attributed to Soderbergh. He does a great job getting what he needs out of everyone on his staff and knows when to take his foot off the gas and let the audience enjoy the view. Plus it is always fun watching a woman kick ass. B-

Contraband

A former thief must commit one last job in order to look after and protect his family, coming out this week Mark Wahlberg stars in The Italian Job. Wait no, that knock off came out in 2003 and was based off a 1969 movie, this knock off is based off a 2008 Icelandic movie. Contraband is actually directed by the star of the original movie, so at least with a larger budget and the experience of working on the same story before the crew should be able to make a well done movie. At its best Contraband is a formulaic genre piece that is something to see if there is nothing else on.

In this version of the movie Marky Mark plays Chris Farraday, a former thief who once had the nickname of Houdini for his ability to get illicit items past customs agents. He has since got out of the game and now installs security systems and comes home to his loving children and wife played by Kate Beckinsale. That is until his wife's brother gets in deep with a man who is not quick to forgive for lost merchandise. He now must commit one final job to get his brother in law out of trouble and protect his family.

This is a far cry from anything worthy of an academy award by Marky Mark. The project seems perfectly tailored to a younger Wahlberg when he was making movies like The Italian Job. The movie though lacked any of the pop he displayed in The Departed or the humor from I Heart Huckabees. He instead reverts back to his comfort zone of principled tough guy rocking tight t-shirts. Which is fine, he does display a level of comfort in the role knowing it is well within his wheel house. Fortunately for everyone he doesn't attempt a New Orleans accent, and instead sticks with his Boston attitude and accent.

Kate Beckinsale is stuck at home playing wifey and offers very little to the role besides playing the damsel in distress. The only performance that really stands out is Giovanni Ribisi as character actor and fill-in bad guy Tim Briggs, rocking out neck tattoos and poorly groomed facial hair to let everyone know his role. His performance is completely over the top but it fits the movie and he is fun to watch. It is also too ridiculous to take him as a serious threat.

Ridiculousness tends to run throughout the movie as each series of event seems to be far too coincidental to do anything but laugh at. Once they make port it seems that the boat is always in a state of shipping off in 10 minutes. It lacks any control of a realistic timeline as there is no way they would be able to get any of these things done in the time they have set out to do it in. This plays a problem as it seems the funky bunch have a laundry list of things to do before heading back, with each event leading up to another even more outlandish task. The problem with the story is it seems the writing staff first wrote an action beat every 10 pages or so and then filled in the rest from there. This may be why any semblance of story seems lost in the jumble; it’s as if they ran out of room to write before they hit another car sequence. Probably the only intentionally funny part of the movie involves the theft of a near priceless Jackson Pollack.

The movie's director Balastar Kormakur tries to raise the stakes by using a lot of shaky camera techniques and quick zooms. All this accomplishes though is an unfocused shot that takes you directly out of the story.

At the very least Contraband knows that it is a genre movie, and doesn't try to be anything more grandiose. It is a mediocre movie that could stand out because in general January is usually a lackluster time for movies. This may not be enough to make you go out and see it immediately but at least you know it is out there. C+

The Artist

The Artist has the opportunity to alienate a lot of people before anyone even steps up to the ticket counter. The movie is done in black and white, it is mostly a silent movie, and there is little chance you will recognize either lead actor. While this may deter some people from seeing it I encourage you not to be one of them. The Artist is a beautifully crafted movie, and within a couple months may be declared the best movie of the year.

The Artist is a silent movie about the silent movie era. It follows two different careers and how they intersect while the industry transitions to the talkie era. These two actors could very well be right out of the 1920's. It stars Jean Dujardin as George Valentine, the king of Hollywood during the silent film era. After his most recent premiere he bumps into Peppy Miller played by Berenice Bejo. You may not know their names now, but I'm sure the Academy does, these two play to the era perfectly and look the part to boot. While on camera they are able to capture the era by hamming it up, but when the characters are alone they play down their parts. They display every thought perfectly to the audience, who needs words when you already know exactly what’s been said.

It isn't exactly a silent movie though, not only is there a scant bit of dialogue but there are also some perfectly placed sound effects to accentuate the moment. Also throughout the movie is a beautifully made soundtrack done by Ludovic Bource. While far more elaborate than any orchestra would play at the time; the score keeps a modern audience engaged throughout the many mood swings of the story. Listen closely and you may also hear pieces of Bernard Herrmann's score from Vertigo. Actually they pretty much lift the piece entirely, along with the breakfast table scene from Citizen Kane. No matter though, they fit the piece perfectly.

While all about the Hollywood era this isn't like one of the movies that the studios would look to crank out by Thursday. It looks more like an early French film than early Hollywood which would make sense because while it was shot in LA this is a French movie. Although you would never notice it as there are plenty of American actors and no French accents. The moments that give away the film’s origin are on screen in the director's artistic choices that very few American directors would even attempt. Contemporary directors would have a hard time getting support to make a silent, black and white film in this era. Making it all the more impressive that Michel Hazanavivius wrote and directed such a beautifully crafted film, in a 1.33 aspect ratio no less.

While careful to detail some aspects of the time the production crew are quick to abandon others. Gone are the soft focus close ups of the time, replaced with a clearer image more prevalent today. More important to the filmmakers are capturing the mood, energy, and emotional appeal. A direct tribute may have kept more people away; capturing moments using techniques from across the first half of the century will get more people inside the movie house. This isn't a movie done in the times, so much as a tribute to times gone by.

The movie has it all and captures almost every genre from comedy to melodrama to romance; it is as silly as it is serious. The plot is probably as predictable as any goodhearted movie of the era. Part of the charm of the movie is they are playing with old Hollywood clichés especially in the first half. While it comes off as corny at times we allow this trespass to occur because despite knowing what is coming we want to see how.

The technique of The Artist is grand but it is the performances of the artists that capture the audience. Every look and movement by these two actors brings to life an era that reflects a modern life of things constantly being left behind. They are able to be cheesy when showing off for the camera, but also capture a soft sincere look that will melt your heart. This is a beautifully done movie that will have you smiling long after you leave the theater. A

War Horse

While talking to my friend about War Horse, he told me that he initially thought there was some deeper meaning to the title; it wasn’t until later that he found out that the movie is literally about a horse in a war. Any kind of serious discussion about the movie from that point on was impossible. This makes the review all that more difficult to write because Steven Spielberg takes his story very seriously. You know the one about a horse, in a war.

Steven Spielberg takes us back to just before the start to The Great War. It opens on a young Albert Narracott, played by newcomer Jeremy Irvine, who takes his first look at the pony which he will one day own named Joey. The beginning 45-minutes of the movie not only set up the bond between the horse and his owner but set the tone of being over romanticized and overly-dramatic. With sweeping landscapes and a beautiful setting it is tough not to be taken in by the beauty of the movie. The music though is too on the nose to be taken completely seriously. John Williams, who composes the score, goes full throttle trying to bring the weepies out of the viewing audience. The sentiment these two frequent partners in crime are trying to get off is clear, it is never more noticeable than this segment of the film but the tone carries on the rest of the way.

The story has now been told through the written word, on stage, and now takes to the screen. This may be hard to understand but of the three versions, the one with a real horse may be the least believable. The story comes from the 1982 novel where the horse is the narrator of the story. It then took to the stage where it won a TONY for best play by using wonderfully crafted puppetry reminiscent of what “The Lion King” has been doing in front of packed houses for over a decade now. Spielberg decided to use a real animal and let the people around him do the narration and allow the horse to be perceived as it normally would be. The animal truly is beautiful and after viewing the movie, it is impressive just what they were able to train this animal to do. But one thing it can’t give you is a reaction shot as the horse is just going to look at the camera no matter how many close-ups of its face you give it, and there were a lot. In the other two mediums there was a level of mysticism behind the story telling because the animal wasn’t real so you allowed yourself to be taken away by the emotional plight of the character. Here it looks almost like they are trying to make up for what they lost by being over-romanticized and the outcome just makes it look cheesy.

Once the actual war begins the director creates more genuine moment. One of the most memorable come from the horse’s war time owner Captain Nicholls played by Tom Hiddleston as we witness first hand one of the most notable moments in wartime history in the transition of fighting styles to automatic weapons. One other moment comes towards the end of the movie; feel free to jump to the next paragraph as there are SPOILERS AHEAD. But not really as this is the moment before the climax of the film, I’ll do my best to be vague. It features two soldiers coming out of their respective trenches to aid the horse which was stuck in barbed wire in no man’s land. While coming off initially corny I appreciate the filmmaker referencing a little known moment in history called the Christmas Truce that took place across the Western Front between the warring sides. It is no surprise that Spielberg is able to properly capture these moments of war as he has had so much experience in the past creating them.

One of the most talented filmmakers of our time, Speirberg takes his expertise in both action packed war movies and childhood films and is able to create quite the hybrid that is getting a lot of award talk. The accolades the movie has received may be more attributed to the source material, the timing, and the man behind the project than the film itself. He does create a movie that can be viewed by audiences of all ages and that is something rarely seen in movie making anymore. B-