12 Years A Slave (*****)

'12 Years A Slave,' Chiwetel Ejiofor, and Steve McQueen will soon be Oscar winners, mark my words. There, I said it. How else can I begin a film review of a movie so marvelous that it literally stole my breath away on more than one occasion. A film that pulled me in quietly and still has me pondering over it the next morning. The reviews so far have been stellar. To have a movie surpass even your wildest hopes is rare. McQueen has made a full-blown masterpiece.

The story is just as you would expect - a freeman is sold into slavery amidst a drug-induced kidnapping, and with his rights stripped, he is sold throughout the South, working plantation to plantation. This man is Solomon Northup. This man is also Chiwetel Ejiofor. You may recognize him from some smaller roles (Children of Men, for one), but start practicing that pronounciation. We will be hearing his name many times this award season.

What an ode to life, to God, to identity, to faith, to hope, and to despair. The absolute good and absolute evil in men. I can't recall a movie that has come remotely close in terms of packing such an emotional punch. Ever. Forget last year's saccharin 'Django Unchained,' this is the movie that cinema has been afraid to show - delving deep into America's dark, brutal past in regards to slavery, perhaps the best movie made on the subject yet.

The power is in little scenes. We see a mother have her children ripped from her arms and sold, the salesman casually demonstrating how high the woman's 8 year old son can kick his knees. It's in scenes where Northup is strung up by a noose, barely supporting his weight on his tip toes and slipping in the mud, and his fellow slaves continuing their work without a care as he grasps to life (one long, unsettling take, no less). A scene where a slave woman is beaten to within an inch of her life, not only by her master, but by her friend (perhaps the single-most disturbing and powerful scene in any movie I can recall).

We have only Steve McQueen to thank. Known for his one-word indie flicks (Hunger, Shame), he makes a powerful debut to mainstream cinema with one of the best-directed movies in years. He guides a miracle cast through the darkest of times, but never without hope that freedom will one day come.

McQueen is a regular employer of Michael Fassbender, who here plays a villainous plantation owner named Epps. Villainous isn't even remotely close - think Amon Goth from 'Schindler's List.' He is fowl, cruel, drunk, pitiful. A terrifying performance, all the more impressive having seen Fassbender's previous work. The object of his desire happens to be one of his slaves, Patsey (played in a startling debut by Lupita Nyong'o). She is young, shy, and unlike Solomon, she has absolutely given up hope, settled in a life of constant rape and torture. We hear her beg Solomon to end her life, and when he protests, she reminds him that God is merciful. She has some of the quietest (and best-written) scenes as well as some of the most tragic.  If there is any justice in the Academy, Nyong'o and Fassbender will soon be graced with deserved Oscar nominations.

But of course, Chiwetel Ejiofor. In years to come, perhaps they will say this was the role he was born to play. He is a kind man, smart, talented at the violin and with manual labor. He works to survive, holding on to the last shred of hope that his wife and two children will see him again. His work is an emotional powerhouse, draining and so full of passion. Can they simply give him the Oscar now?

From Hans Zimmer's brooding, oftentimes modern score (oftentimes reminiscent of 'There Will Be Blood'), the gorgeous cinematography that emphasizes the setting of the deep south, to the breathtaking dialogue adapted from the memoir Solomon Northup wrote himself, the movie flows effortlessly into the realm of 'great cinema' even as you're watching it.

Every now and again, a movie comes along that is the perfect marriage of talent and craftsmanship. It's extremely rare. Think 'Gone With The Wind,' 'The Godfather,' 'No Country For Old Men,' 'Casablanca...' This is one such film. To linger with my thoughts after seeing it only heightens my adoration. I can't remember the last time a movie left me with so many tears, so many thoughts, so many emotions. This movie has left an indelible mark.

(Awards potential: Best Picture, Best Director, Best Actor (Ejiofor), Best Supporting Actor (Fassbender), Best Supporting Actress (Nyong'o), Best Adapted Screenplay, Best Original Score, Best Cinematography, Best Costume Design, Best Art Direction, Best Editing, Best Sound Mixing)

Captain Phillips (****1/2)

Richard Phillips is an everyday man, lives in Vermont, has two children, a wife. His job as captain entails his occasional trips around the world, commanding a freighter ship that carries cargo from country to country. The Horn of Africa, though, proves to be quite dangerous, and Paul Greengrass's latest film is a mindbender of action, suspense, and humanity.

When we think of an everyday man, perhaps two actors come to mind: Jimmy Stewart, and Tom Hanks. I can imagine no other actor filling the titular role as passionately as Mr. Hanks, who seems assured for an Oscar nomination (his first since Cast Away in 2001, another high-stakes movie set on the open seas). Hanks, at first, makes Phillips a distanced man. He does not associate with his crew, and they don't seem to like him in return. His conversation with his wife (in the one clunker the film has: the opening scene, which carries on as though it were written and shot by film students) is monotonous and cool.

And then the drama. With a high threat level (do they really send emails to ship captains warning the threat of pirates in any particular area?), Phillips spots two small boats in the distance carrying armed Somalians. Led by a man named Muse (played to perfection by newcomer Barkhad Abdi), 4 men manage to board the ship and take over.

And here is where we think the suspense will happen. Or is it? Perhaps the trailer is misleading. Shortly after they board and search the ship for the crew (hidden away in the darkness of the engine room), Phillips is taken hostage as the pirates board an escape boat and set off towards their home country. They have optimistic goals: exchanging the captain for 10 million dollars. Perhaps one day Muse will be able to journey to New York City and buy a car. Or so he hopes.

The cast is largely unknown actors, which lends believability to the 'docudrama' stylings of Greengrass (the Oscar-nominated director of the brutal 'United 93'). Perhaps you know how it ends, recalling the story on the news back in 2009. Or perhaps you don't. Regardless, here is a film that follows in the footsteps of films like 'Apollo 13' by taking a true story and completely immersing its audience in the plot. Even if the story ends on a positive note, we are on the edge of our seat the entire way. That's the sign of a director who is entirely in control of the medium.

Largely an 'action' movie, we see the arrival of the Navy, bringing 3 battleships to the scene. Muse assumes they are escorting them back to Somalia. His 3 crew members are clearly less optimistic. We get to know our pirates through small moments, largely through the eyes of Hanks, and though we can't always understand their motives or their actions, these are not nameless villains, these are people with dreams and goals and fears.

'Captain Phillips' soars only because of Greengrass and Hanks, both at the peak of their powers. It's been a while since we've seen Tom Hanks in anything terrible (we can look the other way in regards to 'The DaVinci Code') but this is easily his strongest role in several years, perhaps of his career. Yes, he is largely at the mercy of pirates, and his performance is subdued and quiet, but the climax of this film is perhaps the most emotional endings I can recall. I would prefer to skip details, but the final 10 minutes of this film brings all the suspense and ferocity of the film to a realistic close, and Hanks demands our attention. I will only say that I was perhaps slightly weepy in the closing moments, unaware anymore that Tom Hanks was possibly acting. That's power, that's talent, that's a legend.

(Awards potential: Best Picture, Best Director, Best Actor (Hanks), Best Supporting Actor (Abdi), Best Adapted Screenplay, Best Editing, Best Cinematography, Best Sound Mixing, Best Sound Editing, Best Original Score)

Gravity (Jo***** Mo****)

John says:

Where does one begin to discuss a film so full of ambition and talent and power? Yes, this is what some consider a 'science fiction' film, though nothing I have seen in theaters has felt more visceral and real this year. 'Gravity' could very well be a crown jewel in the career of Alfonso Cuaron, the ambitious director behind films like 'Children of Men,' 'Y Tu Mama Tambien,' even 'A Little Princess.'

The film is without a doubt the technical masterpiece of the year. Hands down, case closed. Take the first shot, for example. We see earth, slowly passing below us as we look down from space. A tiny speck appears amongst the stars; this is the space shuttle our heroes are based around. And the shot keeps going, and going, through dialogue, and stunning visuals, to a crash, to separation, panic, confusion - perhaps a single take lasting 20 or more minutes. Done entirely in computers, but that's what makes it all the more thrilling. This is filmmaking at its best, when it leaves the audience wondering how any of this could have been practically done!

And yes, the crash. We learn through Houston radio interface that a nearby satellite broke apart, leading to a chain reaction of shrapnel and debris that is flying through space faster than a bullet. In perhaps the most thrilling and haunting crash scenes I can remember, the horror unfolds as the crew and shuttle are broken apart in a cloud of flying metal. Biblical in proportions, it's all the more terrifying in that it occurs with no sound (don't forget, sound does not carry in space).

The mission is changed, and we are left with the two remaining crew members: Ryan Stone (Sandra Bullock) and Matt Kowalski (George Clooney). Stone is assigned to this mission as a first-timer, she is no astronaut, just a scientist. She panics under pressure, she doesn't follow orders well, she's running out of oxygen. Kowalski, alternatively, carries a calm demeanor that allows the fear to mellow out.

The performances are great, especially Bullock. Her acting range has been questioned by me for some time, but here she represents a believable character thrust into cataclysmic events. I was all the more impressed with the acting considering how the majority of this film must have been done with wires, blue screen, and computer trickery. Reacting to nothing has never felt more real.

Back to our technical praises, though. Like 'Life of Pi' and 'Inception,' this film seems guaranteed to take the cake as Best Visual Effects and Cinematography at next year's Oscars. The two awards seem to go hand in hand now, and it's impossible to imagine a win for any other film (seen or not). Emmanuel Lubezki, perhaps the second-best cinematographer currently working (we never forget Roger Deakins!), has been snubbed time and again by the Oscars (5 to be exact: A Little Princess, Sleepy Hollow, The New World, Children of Men, and Tree of Life (that being one of the most appalling snubs in Oscar history, mind you)). This film seems like his final ticket to Oscar gold. The gorgeous camera direction, the raw lighting during sunrise and sunset, and the ever-important maneuvering of visual effects. You won't see another film like this in theaters, and might I suggest seeing it on the largest screen possible (and in 3D, I promise).

The film has been compared to the likes of '2001,' but I think comparing the two is a tad overreaching. Both films are masterpieces of technical filmmaking and visuals, both seek towards a deeper human meaning. Perhaps the best comparison would be to classify each film as some of the best of the genre. Bravo, Mr. Cuaron!

Maureen says:

"I hate space."

Those three memorable words perfectly describe Ryan Stone (Sandra Bullock)'s trip to outer space in Alfonso Cuaron's action/suspense/sci-fi thriller, "Gravity." This film is unique, impressive, and incredibly well-envisioned. I have rarely, if ever, seen production value as high as this or experienced - because it IS an experience - entertainment at this level. I was quite literally on the edge of my seat and/or completely tense, adrenaline pumping, throughout most of the film's 90 minutes.

The story begins aboard the space shuttle as Dr. Stone (Bullock) and Matt Kowalski (George Clooney) attempt to repair some equipment outside of the spacecraft. The "abort mission" warning comes quickly and urgently from Houston, though for those who have seen the trailers, not quickly enough. Destruction and chaos ensue in an incredibly visceral and frightening action sequence. The sound and visuals intertwine immaculately to produce a scene so realistic, you nearly feel that you yourself are a part of the madness. In fact, a couple of times Ryan is spinning through space, I nearly lost my dinner just sitting there in my 3D glasses. (Yes, complete agreement with John - see it in 3D on the biggest screen you can.) The action continues throughout the duration of the film, with barely a moment to catch your breath before the next crisis occurs.

This film is exceptionally good in a few notable and important categories. The visual effects, sound editing, and sound mixing are stunning. "Gravity" compares incredibly well to the level of visual achievement reached by the best of the best - "Avatar," "Inception," "Life of Pi," to name a few. Not only are the effects technically impressive, the cinematography is beautiful. You'll see the Earth like you've never seen her before. On top of this, birth/creation symbolism throughout is striking. Emmanuel Lubezki is sure to be recognized for his work, hopefully for the win.

The beautiful imagery is complemented by a terrific performance by Sandra Bullock. Her portrayal of Ryan is human, sensitive, and real. You are with her every turn of the journey and feel her every emotion. Her performance is emphasized with the knowledge that she is essentially reacting to computer-generated nothingness... She is, of course, well supported by George Clooney, a calming presence in a situation that is anything but.

"Gravity" is not perfect, however... as a story and emotional tapestry typically required of Oscar-winning films, it falls short. Despite attempts of character development and emotional attachment, I never felt connected to Ryan or Kowalski's characters - this is where Bullock's acting was a saving grace, because the writing wasn't helping her out all that much. A few stereotypical "Hollywood-y" lines/moments also detracted from the film as a whole. "Apollo 13," which tells a similar story, achieve character development in a very real and emotional way, connecting the audience to the human characters themselves rather than just the situation they find themselves in. Although "Gravity" is arguably superior to "Apollo 13" in its visual prowess, to me, it doesn't do nearly as well in its storytelling.

Despite its shortcomings, "Gravity" is incredibly entertaining and a masterpiece of technical and cinematographic achievement. It is sure to do very well, if not sweep, the technical Oscars this year, and it is easily one of the best films so far.

(Awards potential: Best Picture, Best Director, Best Actress (Bullock), Best Original Screenplay, Best Editing, Best Visual Effects, Best Cinematography, Best Sound Mixing, Best Sound Editing, Best Original Score)