Shutter Island (Mo*** Jo***)

John says:
When Martin Scorsese won the Oscar for The Departed, he said it was the first movie he ever made with a plot. An interesting thing to say, but when you think about his plethora of gangster movies and biopics, you start to realize he may be right. Shutter Island, then, may only be his 2nd movie with a tangible plot - introduction, rising action, climax, etc - and although you can just about taste the Scorsese-ness of the film, for one reason or another it often falls flat.

That does not mean it is not a well-crafted film, on the contrary, the first 30 minutes or so are some of the most intriguing I've seen, eerily accompanied by Howard Shore's brooding score. The set pieces are all good, the plot is good, but as it progresses the constant introduction of new names and places ultimately made the story clunk along.

The cast is stellar, but it is Leonardo DiCaprio who possibly turns in his best performance yet. Scorsese seems to understand how to make stars out of his male actors (Robert DeNiro, anyone?) and DiCaprio easily joins the ranks. One scene in particular struck a chord - near the end when he discovers something floating in the water (spoiler free!), a surge of emotions pour out of him, and the result is the most genuine, disturbing, most impressive moment of Leo's acting career!

Being a Scorsese movie, you come to expect excellence - and Shutter Island is indeed well-made. Ultimately, though, it fails to live up to the incredibly high standard which makes him one of the greatest living directors. Good, but not great.

Maureen says:
Martin Scorcese usually sticks to biopics and sweeping epics... and after seeing Shutter Island, I would have to agree that would be where his strength lies. I had relatively high hopes for Shutter Island - Martin Scorcese+Leonardo DiCaprio=success (i.e., The Departed, The Aviator) - and while it is certainly watchable, it isn't by any means a great film.

The best parts of the movie are the cinematography, set design, and an especially wonderful performance by Leonardo DiCaprio in the lead role, who continues to pick challenging and career-building parts. This is arguably some of DiCaprio's best work to date, filled with layers of tangible emotion.

The script and story itself ultimately fail in their ultimate goal and inner-story development, with too many needless twists along the way, but it is beautifully and artistically designed throughout. Scorcese uses color and lighting to his full advantage, and it really helps save what would otherwise be a rather flat screenplay. The ending, however (again, no spoilers), has subtleties that the careful audience will appreciate, and makes the story about twice as good as it would be without it.

Scorcese has a well-made film here, as usual, but without the epic-ness of his usual style. Not one of his best by any means, and it looks as though this one may fall short during this awards season, but definitely not a waste of time.

(Awards potential: Best Actor, Best Cinematography, Best Editing, Best Art Direction)

How To Train Your Dragon (Mo**** Jo****)

John says:
Dreamworks may generally seem to be a Pixar ripoff - they produce popular animated films yet always manage to focus more on box office returns than basic storytelling. Well for once, they seem to have done it!

How To Train Your Dragon (bad title, but we'll get to the con's in a bit) is easily one of the best animated movies of the year and is possibly Dreamworks' finest contribution to the movie year. The story follows Hiccup, son of a Viking dragon warrior who wants to live up to his father's image, but ultimately befriends the creatures they are trying to destroy. What follows is a great story along the lines of E.T. - a story that is both satisfying and full of heart.

The animation is some of the most impressive I've ever seen, with flying sequences that easily rival last year's Avatar. The original score by John Powell (of Shrek-fame) is beautiful, and the story effortlessly draws the audience in. By the time we reach the climax, there is such an investment in the characters that it is genuinely edge-of-your-seat situation.

That is not to say that Dragon is without flaws. Aside from the overly-long and misleading title, the story is riddled with a tad too many jokes that often fall flat. The voice talents, mainly that of the lead- Hiccup, seem miscast and do not necessarily fit with the character's appearance. I also question the ending. Not giving anything away, but the final outcome of the humans and dragons seems a bit too 'man conquering nature' versus a more appropriate 'every species is equal' approach.

Nonetheless, How To Train Your Dragon is a fast-paced, moving, charming film that puts Dreamworks on the map and provides serious competition against Toy Story 3 for Best Animated Film at the upcoming Oscars.

Maureen says:
Everyone knows that Pixar always wins Best Animated Film... and they will again this year with third-time's-the-charm Toy Story 3. But if Pixar hadn't released Toy Story, How To Train Your Dragon would be an excellent choice for the Oscar. A predictable, often-used story with a silly title - but How To Train Your Dragon is clever, entertaining, and inspirational the whole way through.

Things I especially enjoyed about the film: The animation, Gerard Butler, the witty dialogue... but surprisingly, one of the biggest wins for the movie is the score. A gem of a soundtrack that I could honestly listen to for days on end. Beautifully orchestrated and written, the score perfectly fits the film and enhances it, honestly making the film about twice as good as it would be otherwise. John Powell received a very much deserved nomination for his work this year. He likely won't win this time around, but if he continues to compose in a similar vein, Oscar gold lies in his future.

Aside from the score, I found myself engrossed in the story the entire way through, despite the ridiculous names and - let's be honest - premise in general. What kept me involved were clever jokes, dry humor, and really excellent character development. The climax was nail-biting and exciting, and was supplemented with a wealth of stunning animated visuals.

I found the overall story to be extremely predictable and the ending cliche, but what more can you really ask for from a children's film? Also, many of the voice actors (including Jay Baruchel in the lead as Hiccup) seemed a bit out of place in their roles. Though I didn't find it necessarily distracting, as the actors themselves did well in their roles, their voices didn't make the film any better for me. The exception was Gerard Butler, whom I found commanding and humorous in his role as Hiccup's father, Stoick.

Today, it's difficult not to compare any animated film with Pixar, and for good reason - they have set the standard, and they have set it high. How To Train Your Dragon is a not quite as clever or adult as Pixar, but who is, really? I would highly recommend this film for anyone and everyone!

(Awards potential: Best Animated Feature, Best Sound Editing, Best Original Score)

Toy Story 3 (Mo ***** Jo****1/2)

John says:
Toy Story 3 continues the miraculous reign of Pixar over both box-office reapings and classic storytelling. Making a 3rd movie about Buzz and Woody may seem like banging an old drum, but the movie is surprisingly original and fresh. Pixar films seem to be getting better and better, and even when you think they have plateaued with films like Wall-E and Up, they reveal yet greater achievements and animation.

Unlike previous Pixar films, Toy Story 3 deals with much heavier themes- a central one being mortality. As Andy goes off to college, Woody and the gang are shipped off to daycare. As innocent as it may seem, the plot slowly shapes up to be that of a prison break - and a hilarious and smart one at that.

The dialogue is witty and appreciable by both adults and children, the humor is fantastic, and the addition of new characters is refreshing. Like most Pixar films, there are moments that will undoubtedly have you tearing up, yet these moments are well-deserved and you never feel cheated. It's a perfect way to conclude the franchise, leaving you both satisfied and invigorated. Easily one of the best movies of the year.

*On a side note, the short film at the head of the movie, Day and Night, is a bold departure from the typical Pixar shorts we have seen before. It explores abstract themes and combines dazzling 2D and 3D animation. Make sure you get to the theater early - it's worth checking out.

Maureen says: 
Toy Story 3 has done what few, if any, sequels - especially "3" sequels - have done. This is a stand-alone film which successfully builds off of the first two films while managing to remain extremely entertaining and original on its own, despite its challenge of being third in the series.

Pixar never ceases to amaze me. They always manage to make wildly entertaining films out of seemingly ridiculous ideas (Ratatouille, anyone?). Toy Story 3 is right up there with Pixar's best work. Smart, clever humor, thought-provoking themes, fantastic voice acting (as usual), easy to follow but never slow, and above all, a fun movie to watch for literally every age. Not surprisingly for Pixar, during a "children's" film, the adults in the audience seemed to be having more fun than the kids.

Aside from being roll-on-the-ground hilarious, this Pixar film in particular has touched a place in the heart that nearly everyone watching, children and adults alike, will be able to relate to. This is what makes the film particularly memorable and will make it watchable for years to come. I felt tears well up several times -  and it wasn't always because of the hilarity of Ken's wardrobe.

Not only is this a shoo-in for a Best Animated Feature nomination (no surprise there, for Pixar), it is - and is likely to remain - one of the best films of 2010 in general.

(Awards potential: Best Picture, Best Animated Feature, Best Original Score, Best Original Song ('We Belong Together'), Best Adapted Screenplay)

The Kids Are All Right (Mo****1/2 Jo****1/2)

John says:
In a year marked by few cinematic marvels (Inception, Toy Story 3), The Kids Are All Right is a breath of fresh air. A story overflowing with originality and wit, the movie contains some of the the funniest and moving scenes of the year so far.

The story is basic enough: a lesbian couple (Annette Bening and Julianne Moore) raising their 2 teenagers are suddenly thrust into an unforeseeable situation - that their children have contacted and met with the man (Mark Ruffalo) who donated his sperm so many years ago.

The situation provides the basis for many hilarious and undoubtedly awkward moments, but underneath it all there is a story of a couple going through a change. Both Annette Bening and Julianne Moore give award-worthy performances. They simultaneously manage to balance witty dialogue and humorous moments with great emotion and concentration. Annette Bening manages to steal the show, though. Like her masterful performance in American Beauty, Bening takes on the difficult role of playing a sexually-frustrated and overbearing wife. Her final scenes are easily the best acting I've seen all year and both her and Moore should be considered heavyweights in the upcoming Awards season.

Overall this is a fascinating study of a 21st Century family, balancing drama with humor flawlessly. At times it may take certain liberties, but it is definitely a movie not to miss!

Maureen says:
A fresh look at an unconventional modern-day family, filled with humor and twists with every new scene. One cannot help being reminded of similar dysfunctional family dramas such as American Beauty; and although this is not quite on the same level as Beauty, it is a satisfying and thought-provoking experience nonetheless.

The filmmaking and cinematography are nothing to write home about (although, that's to be expected from an independent film), but the acting is spectacular. Annete Bening is outstanding as a disciplinarian lesbian mother - after the movie, I literally had to look up whether or not she was straight in real life! (She is, by the way, making her performance all the more impressive.) Mark Ruffalo and Julianne Moore are also excellent as usual. The hilarity and awkwardness of each new situation is wonderfully entertaining, and in contrast, the pain and heartbreak is tangible, particularly from Bening. She will certainly be recognized with a nomination for her work, and quite possibly a (well-deserved) win.

The story itself is wonderfully witty and watchable to say the least. Only slightly predictable, with unique twists and of course hilarity at every turn. Really, there's something for everyone. One of the best movies of the year, without question. Hopefully it will be recognized as such during awards season.

(Awards potential: Best Picture, Best Actress (Moore & Bening), Best Supporting Actor (Ruffalo), Best Original Screenplay)