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“The Avengers” (2012)

Thu, 10 May 2012 09:01:33 GMT

Rating: 4/5 - Writer/director Joss Whedon delivers a winning and consistently entertaining motion picture, nicely balancing exposition, action, character-development scenes, and humor.

“Drive” (2011)

Fri, 04 May 2012 12:53:02 GMT

Rating: 5/5 - Perhaps most impressively of all, “Drive” is one of those rare movies that prove that style can actually be substance.

"Midnight in Paris" (2011)

Mon, 24 Oct 2011 19:02:08 GMT

Amusingly written and directed with a light touch by Woody Allen, Midnight in Paris provides a quirky take on the fact that many people living in the present tend to glorify a certain time in the past. Moments of pleasantly low-key, witty humor are sprinkled throughout the proceedings, much to the viewer's delight. This movie employs some clichés and lacks thematic depth, but that doesn't stop it from being an engaging, irresistibly charming, and highly entertaining trifle. Here, the journey, not the destination, is what matters.

Several historical cultural celebrities appear in the movie: Cole Porter, F. Scott and Zelda Fitzgerald, Ernest Hemingway, Gertrude Stein, Pablo Picasso, Salvador Dalí, and Luis Buñuel, among others. At one point in the film, unbeknownst to him, Buñuel finds himself in a time-travel version of the classic chicken-or-egg dilemma concerning one of his yet-to-be-made—or has it?—movies. Thankfully, one doesn't have to know who those people are or what they are famous for in order to appreciate Midnight in Paris, but having that knowledge makes the experience of watching the movie a bit more rewarding.

Allen clearly knows how to capture the essence of a city on film. He has a lot of help from Darius Khondji's sumptuous cinematography, the exquisite set design, and the well-chosen songs on the soundtrack. The opening sequence, which features picturesque images of Paris, no text, no dialogue, and no actors for what feels like five minutes, instantly establishes an almost spellbinding atmosphere. By taking full advantage of the gorgeous Parisian setting, the filmmakers ensure that the movie has a consistently alluring look and feel from beginning to end. After watching Midnight in Paris, one has the urge to take the next available flight to the French capital.

The cast members—Owen Wilson, Rachel McAdams, Michael Sheen, Kathy Bates, Marion Cotillard, and Adrien Brody, to name a few—deliver fine performances. Wilson shines in a serious role, and his facial expression when Gil, the character he plays in the movie, realizes what is going on perfectly conveys his character's feelings of amazement in that scene.

"Gone" (2011)

Sun, 09 Oct 2011 13:55:17 GMT

This lean, effective, fast-paced, moderately intense psychological thriller manages to feel less familiar than it actually is, largely thanks to the adroit direction by Mattias Olsson (who also wrote the screenplay) and Henrik JP Åkesson. The film benefits from its generally realistic tone, but it contains a few glaringly contrived moments and requires some suspension of disbelief on the part of the viewer. The simple, straightforward story is what it is and doesn't waste any time on unnecessary subplots or superfluous exposition.

Gone opens with a sequence that has a vague sense of dread about it, and soon thereafter the movie kicks into gear as the filmmakers' efforts to build suspense start to pay off really well. In what is arguably the most chilling scene in the film, the perpetrator talks with someone on the phone and one suddenly realizes that he has a wife and kids. While the final confrontation between the protagonist and the antagonist plays out pretty much as expected, a brief phone conversation adds a bittersweet tinge to the outcome.

The technical aspects of Gone are strong. Erik Molberg Hansen's lensing helps make the forest an appropriately threatening place in its own right, and the cinematography is consistently crisp. Not surprisingly, considering the involvement of two-time Academy Award–winning sound editor Per Hallberg in the project, the sound editing is very good, with the skillful inclusion of atmospheric ambient sounds being particularly noteworthy.

Sofia Ledarp delivers a solid performance as Malin, believably conveying the terror of the situation her character finds herself in. Kjell Bergqvist gets to show his range as an actor and is almost frighteningly convincing as a psychopath (no, I don't consider that information to be a spoiler, because the perpetrator's identity is revealed fairly early in the proceedings and has virtually no bearing on the plot). Judging by his ineffectual work here, Björn Kjellman seems to be out of his depth in a role that doesn't align properly with the actor's thespian abilities.

(Original title: Försvunnen.)

"Cowboys & Aliens" (2011)

Sat, 24 Sep 2011 10:57:05 GMT

The idea of pitting cowboys against aliens has potential, but Cowboys & Aliens only partially succeeds in extracting the gold nuggets. It doesn't have any particularly memorable qualities and ends up being a mediocre realization of an interesting concept. All things considered, however, the movie is a fairly pleasant diversion with a promising beginning, a weak middle section, and a satisfying ending.

About halfway through Cowboys & Aliens, the film begins to lose momentum and spiral downward, starting with a scene in which the characters are gathered around a campfire. What transpires in that scene is jarringly ridiculous and raises a few problematic questions in the mind of the viewer. The scene in question is followed by some heavy-handed exposition that reveals the aliens' real reason for having come to Earth. Fortunately, the movie picks up speed and energy in the climax.

The aliens look otherworldly and threatening enough, but they are not particularly original in appearance. While generally solid, the effects work fails to be entirely convincing in the scenes in which the creatures are running around attacking people in broad daylight.

Perhaps the film's biggest problem is that there are no characters for the viewer to really care about. One becomes most invested in Emmett Taggart (sympathetically played by Noah Ringer), but most of the time he just reacts to what is happening to and around him.

Director Jon Favreau and the posse of screenwriters involved here (Roberto Orci, Alex Kurtzman, Damon Lindelof, Mark Fergus, and Hawk Ostby) wisely choose to give the picture a consistently serious tone. I don't think a more tongue-in-cheek approach to the material (the film is based on Scott Mitchell Rosenberg's graphic novel of the same name) would necessarily have made for a better movie.

One of the things I like about the film is its strong atmosphere. Matthew Libatique's warm lensing, the period details, and the locations make Cowboys & Aliens a treat for the eyes.

Daniel Craig is quite good in the role of Jake Lonergan, bringing nuance to an otherwise rather stereotypical character. Harrison Ford probably could have played Woodrow Dolarhyde in his sleep and doesn't seem to put much effort into his performance here, but he is always watchable. Playing Ella Swenson, Olivia Wilde gets the job done, nothing more and nothing less, although she deserves credit for her composure in what must have been an awkward scene to shoot. Sam Rockwell, Clancy Brown, Paul Dano, and Adam Beach acquit themselves nicely in supporting roles.

"Rise of the Planet of the Apes" (2011)

Wed, 07 Sep 2011 16:22:10 GMT

Rise of the Planet of the Apes succeeds on multiple levels: it is an engaging and thrilling science-fiction movie with genuinely touching moments of drama, it works really well as a kind of cautionary tale, and it turns out to be a worthy prequel of sorts to the original Planet of the Apes from 1968. The film is also a technical triumph, boasting impressive and sure-to-be-Oscar-nominated visual effects in the form of very life-like apes, particularly Caesar (Andy Serkis) with his marvelously expressive eyes. Admittedly, almost all the human characters are two-dimensional stereotypes, but that doesn't bother me much because the movie isn't really about them.

There are several great scenes in the film, some of which rely entirely on pure visual storytelling. Set on the Golden Gate Bridge, the climactic action scene is exemplarily executed and viscerally exciting. However, a few of the low-key moments end up being at least as memorable and add a rather surprising layer of emotion to the proceedings. As evidence of that, I submit the unexpected, momentous "No!" uttered by one of the characters and the beautiful scene with Will Rodman (James Franco) and Caesar at the end of the movie.

Speaking of which—Rise of the Planet of the Apes ends in a satisfying way that doesn't demand a sequel. That being said, I certainly wouldn't mind seeing where the filmmakers could take the franchise from here.

The brief scene after the first part of the end credits provides a plausible explanation of how the apes could take over the entire planet. It is appropriately ominous and segues into a graphical representation that suggests a terrifyingly bleak future for humankind.

Rupert Wyatt's deft, confident direction effectively ensures that Rise of the Planet of the Apes never becomes cheesy, something which could easily have happened in the hands of a less capable director. Screenwriters Rick Jaffa and Amanda Silver wisely keep the primary focus of the film on the apes. While the script gives the human characters things to do—those things, by the way, don't feel like an afterthought—the humans play second fiddle to the intriguing stuff that involves the apes and their eventual uprising.

Thanks to Conrad Buff IV and Mark Goldblatt's fluid editing, the narrative moves along at a good clip. Andrew Lesnie's cinematography alternates seamlessly between straightforward and artistic without drawing attention to itself. The score, composed by Patrick Doyle, features some rousing cues, the most notable of which is perhaps the one that plays during the final scenes of the movie.

The acting highlight here is inarguably Serkis, whose masterful motion-capture performance captures the viewer's attention from the get-go and makes Caesar the most well-rounded character in the film. Franco does a fine job as Will, the human protagonist. The relationship between Will and his Alzheimer's-stricken father, Charles, excellently played by John Lithgow, is portrayed with sensitivity and affection. As Caroline Aranha, Freida Pinto has next to nothing to do in a role that adds very little to the story. Tom Felton proves to be a good choice for the role of Dodge Landon; his character's abusive behavior toward the apes may at times seem exaggerated, but I don't doubt that such things also happen in real life.

"Captain America: The First Avenger" (2011)

Thu, 18 Aug 2011 13:56:11 GMT

Captain America: The First Avenger ends up being a fairly entertaining but only sporadically engaging superhero movie that relies too heavily on formulaic concepts and never leaves the comfort zone of its genre. While watching the film, one can't escape the feeling—solidified by a surprisingly extended coda—that its primary purpose is to pave the way for next year's The Avengers, which would help to explain the perfunctoriness of the proceedings.

Perhaps my lukewarm response to this film stems from the fact that I don't find Captain America to be a very compelling superhero. Christopher Markus and Stephen McFeely's undernourished screenplay and director Joe Johnston's inability to infuse the movie with a sense of awe may have something to do with it, too.

There is humor; those moments are funny and don't seem out of place. None of the action scenes manages to be particularly exciting or intense, but at least they are executed well. The final fight between the protagonist and the villain is disappointingly anticlimactic and uninvolving.

The visual effects generally look convincing, with one exception being the noticeable physical discrepancy between the protagonist's head and his scrawny body—the result of an actor's head, a body double, and modern technology—in the first part of the film. By combining period details from the time of the Second World War with certain futuristic elements, the filmmakers give the movie a visually stylish atmosphere that is easy to appreciate.

Captain America: The First Avenger contains two small things that nearly all Marvel movies contain: a cameo by Stan Lee and a scene after the end credits. The former generates a chuckle; the latter is actually more than one scene and provides a glimpse of what the future holds.

Chris Evans is likable as the brave, patriotic, good-hearted Steve Rogers/Captain America and fills out the role nicely, both acting-wise and with regard to the character's physique. Tommy Lee Jones turns in a pitch-perfect, enjoyable performance as Colonel Chester Phillips, and Dominic Cooper makes his Howard Stark a worthy father of Robert Downey Jr.'s Tony Stark (also known as Iron Man). As Peggy Carter, Hayley Atwell has a not insignificant screen presence, even though the purpose of her role is mostly decorative; I just wish that the character had been introduced in a less clichéd way. In the roles of Dr. Abraham Erskine and Dr. Arnim Zola, respectively, Stanley Tucci and Toby Jones each have some good scenes, whereas Neal McDonough and Derek Luke are severely underused. Hugo Weaving's Johann Schmidt/Red Skull exudes the right amount of devilish evil, but his master plan remains rather vague and doesn't seem to pose a serious threat to the world.

"Source Code" (2011)

Sun, 14 Aug 2011 12:50:32 GMT

This is one of those movies in which the viewer finds out, piece by piece, what is really going on at the same time as the protagonist does. This is also one of those movies that grow on the viewer upon post-movie reflection. Depending on the intellectual effort one is willing to engage in while watching the film, Source Code is either a solid, suspenseful thriller with elements of science fiction or a solid, suspenseful thriller with elements of science fiction plus a thought-provoking philosophical meditation on the nature of reality.

Clocking in at 93 brisk minutes, Source Code is a refreshingly short movie. Ben Ripley's tight and effective script wastes no time as it tells an intriguing story. Duncan Jones handles the material in an admirably economical way, and his resourcefulness as a director allows him to make the most of every second of the film's running time.

Initially, it may seem like character development will be scant, but as the movie unspools, one starts to care about the two central characters, Colter Stevens (Jake Gyllenhaal) and Christina Warren (Michelle Monaghan). While their fate is perhaps not as thrilling or unexpected as much of the rest of the movie, the filmmakers succeed in making it less cloying than it could have been, and the characters have arguably earned the kind of closure suggested by their final scene together.

What happens in the Source Code universe can obviously differ to some degree from what happened in reality before the bomb exploded. Considering what the viewer is told at first about how the technology behind the project works, that fact may appear to be a plot hole, but it's actually perfectly logical, at least in the context of the film. The fairly elegant explanation comes at the end of the proceedings. That revelation also puts the events of the movie in a whole new light, thereby ensuring that Source Code ends on a surprising, sobering note.

Don Burgess's crisp, somewhat cold cinematography—the opening sequence features striking aerial footage of Chicago—gives the picture a sense of immediacy that goes hand in hand with the fast pace of the film. The score, composed by Chris Bacon, helps to build atmosphere and subtly hints at something with profound implications going on beneath the surface.

Gyllenhaal ably carries Source Code on his shoulders with a strong performance. He and Monaghan, who winningly plays Christina, have good chemistry together, which makes their relationship come across as genuine rather than as a script contrivance. In the role of Colleen Goodwin, Vera Farmiga has little to do for most of the movie, but a few meatier scenes in the last act afford her an opportunity to make an emotional impact on the viewer.

"Bridesmaids" (2011)

Mon, 08 Aug 2011 17:24:19 GMT

Bridesmaids hits virtually all the right notes. Director Paul Feig and screenwriters Annie Mumolo and Kristen Wiig (also lead actress) balance comedy and drama remarkably well. The end result is a highly recommended, thoroughly engaging, smart, witty, and frequently laugh-out-loud hilarious movie blessed with a properly developed story and dramatic heft. I don't think I've had this much fun watching a movie since I saw Brüno.

The film alternates between clever humor and scatological jokes so elegantly that you wouldn't believe it. One of the most memorable scenes shows Annie (Wiig) and Helen (Rose Byrne) trying to outdo each other's toast at Lillian's (Maya Rudolph) engagement party; another involves food poisoning. But the funniest moment in the movie is arguably the scene in which Annie is in her car with Helen trying to get Officer Rhodes's (Chris O'Dowd) attention; it's irresistibly comical.

At its core, however, Bridesmaids has something that many other movies of its ilk lack: a heart and soul. Ultimately, that's why this picture is so easy to embrace. The filmmakers take their characters seriously and treat them with respect. The well-rounded central characters come across as real people with flaws, and even those who have limited screen time give the impression of existing and having their own lives beyond what is shown on the screen.

With a running time of 125 minutes, the film feels slightly too long, but that's the worst thing I have to say about it. One problem for—rather than with—the movie has to do with the fact that it appears to be a "chick flick," which it really isn't. Potential male viewers should definitely not avoid Bridesmaids, as they will most likely find it quite enjoyable.

The casting is perfect. Wiig plays Annie brilliantly, and I will henceforth regard her as a comedic genius. Equally good is Byrne as Helen, whose ongoing rivalry with Annie results in many delightfully funny scenes; however, Helen turns out to be a more complex and more sympathetic person than her role as Annie's antagonist would suggest. Melissa McCarthy deserves a special mention for delivering a scene-stealing performance that is memorable in more ways than one; her character, Megan, has a number of great scenes, including one that comes after the first part of the end credits. O'Dowd plays Officer Nathan Rhodes with a simple but attractive charm. While the word "charming" doesn't exactly apply to Ted, Jon Hamm (uncredited) brings a certain amount of playfulness to and has some fun with the role.

Finally, just an interesting observation that highlights cultural differences as expressed through different film rating systems: in the U.S., Bridesmaids is rated R "for some strong sexuality, and language throughout," whereas the film is considered to be suitable for viewers of all ages here in Sweden.

"Mr. Popper's Penguins" (2011)

Tue, 02 Aug 2011 16:08:07 GMT

Don't expect any surprises here, simply because there aren't any. This film is strictly by-the-numbers fluff with a predictable story that is as thin as the paper on which it is written (screenplay by Sean Anders, John Morris, and Jared Stern). Most of the time, the movie feels calculated rather than genuine, and the ending turns out to be just as sugary as could be expected.

Nevertheless, Mr. Popper's Penguins hardly ranks as an offensive film. Director Mark Waters keeps things moving along nicely, and thanks to its relatively short running time of 94 minutes, the picture actually ends up being a passable diversion that doesn't wear out its welcome. Beneath its layer of obvious moral lecturing, the movie manages to strike a chord in the viewer with the always reliable, universal theme of becoming a better person by taking responsibility and by caring about others.

The antics that the six penguins—Gentoos, to be precise—engage in are mildly charming and make for a number of amusing moments, provided that one can overlook the inherent absurdity of it all. Unfortunately, the animals themselves have almost no personality beyond each penguin's one distinguishing characteristic after which it is named (the penguins' names are Captain, Nimrod, Loudy, Bitey, Stinky, and Lovey).

Playing Mr. Popper—not much of a challenge for him, I suspect—Jim Carrey turns in a relatively restrained performance that at least didn't strike me as annoying; here, there is none of that manic, tiresome acting that Carrey has a habit of letting loose. Carla Gugino has next to nothing to do in the role of Amanda, Popper's ex-wife. Stealing virtually every scene in which she appears, Ophelia Lovibond plays Popper's assistant Pippi, who has a thing for words starting with the letter "P" (Pippi's brief conversation with a police officer near the end of the movie hints at the beginning of an interesting relationship). Angela Lansbury brings a certain amount of gravitas to the picture with her small but good role as Mrs. Van Gundy. Clark Gregg's supposed bad guy Nat Jones reasons and acts perfectly rationally, and one would probably side with him in real life.