The Social Network (Mo***** Jo*****)

John Says:
The Social Network has become a very anticipated film for one reason or another, and early reviews from critics have been absolute raves. Clearly I would not pass on the opportunity to see an advanced screening (and Q&A session with screenwriter Aaron Sorkin and stars Jesse Eisenberg and Armie Hammer!).

My first viewing of the film in the front row of my theater was fascinating, albeit slightly underwhelming. I found the dialogue witty, beautiful photography, but on the whole I thought the concept of a Facebook movie was a bit short-sighted. My second viewing, seen on a smaller screen with no distractions (let's ignore the legalities for a moment) was awe-inspiring. The third - flawless. Here is a great movie with layer upon layer of depth and story. How I didn't recognize the genius during the first viewing remains a mystery, but now I am fully convinced this is one of the strongest films of the year.

The film follows a handful of testimonies and accounts of the various college students responsible for (and allegedly robbed of) the idea of Facebook. The story flows by incredibly quickly in a non-linear fashion as the story descends deeper and deeper into betrayal and greed. Jesse Eisenberg (who strikes me as the poor man's Michael Cera) is utterly shallow and completely riveting in his role. Likewise with Andrew Garfield (our future Spider-man) who gives possibly the strongest (and most sympathetic) performance in the film. Armie Hammer serves a dual role as the Winklevoss twins (through flawless CGI), those who claim to be the victim of intellectual property theft: Facebook. Were they robbed? Or was Zuckerberg's idea truly an original one? It's difficult to tell, especially as the story is told from such a multi-faceted angle. Justin Timberlake wraps up the leading cast with a surprisingly dramatic and believable role.

In terms of the film's story, was surprised at how timeless some of the central themes of betrayal, friendship, and personal gain were. I fully respect the screenwriter, who could have made a cliche, boring, forgettable movie - but managed to make a layered, resonant, albeit fictionalized account of this website and the people who were behind it.

I also give praise to the cinematography and original score. Both are very unconventional for the story at hand, but help so much in creating a unique tone throughout the movie. David Fincher is undoubtedly known for the technicality behind his films, and this one is no exception.

I highly, HIGHLY recommend this film! It's surprisingly deep and is completely fascinating. The story points towards a deeper understanding of today's culture - that as we seemingly get closer and closer to people via the internet, we really are isolating ourselves more and more... Yes, it took me 3 viewings to more fully grasp the genius at work behind this film, and I cannot wait to see it again. One of the year's strongest films by far.

Maureen says:
Going in to see The Social Network, I had low expectations. A movie about Facebook, of all things?! But soon after the film began, I realized this was not a film about Facebook, but a rags-to-riches story of conflict, friendship, success, failure, betrayal, and strength of character. David Fincher, as usual, is hitting on all cylinders, and as such, creates a film that will be a strong contender in the upcoming awards season.

To start, the acting: spot on, to say the least. Jesse Eisenberg has a break-out role as Mark Zuckerberg, the founder of Facebook. He makes you simultaneously hate Zuckerberg while cheering for him the whole way through. Strong supporting roles by Justin Timberlake, Armie Hammer, and the up-and-coming (and VERY easy-on-the-eyes) Andrew Garfield. The character development is riveting (credit to screenwriter Aaron Sorkin) and truly makes the film what it is.


In addition to the screenplay and the acting, the film is well-made, with excellent cinematography, unique (but perfect!) scoring, and beautiful sets. I'm not sure if Harvard actually looks they way it's portrayed, but they show it exactly the way 95% of America imagines it looks.


Overall, this is a difficult movie to NOT enjoy. There is drama, comedy, and the perfect amount of intrigue... a unique, compelling, and smart coming-of-age story. Consequently, in thinking about its rating, it is also difficult NOT to give it a perfect score, as it is nearly perfect in every regard. If you haven't seen it, do yourself a favor - get off of Facebook - and go.


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

4 Months Left! Movies To Keep In Your Radar...

Can you believe it? The year is already two-thirds of the way done! So far, we haven't seen too many 'Oscar-caliber' movies - but hopefully the upcoming fall/ winter season will finally give 2010 a solid lineup of great films! Here are some movies I think we should keep our eyes on:



THE KING'S SPEECH



What seems to be the current front-runner for the majority of Oscar nominations this year. Colin Firth seems poised for his second consecutive nomination and ideally his first win after his flawless performance last year in 'A Single Man.' The cast looks stellar and the story is both unique and historical. So far critics and audiences have been absolutely raving about the early screenings. Keep your eyes open for this - it's going to be one to watch.


BLACK SWAN



Darren Aronofsky's lack of ANY Oscar nominations for films like Requiem For A Dream and The Wrestler is almost unbelievable. This film looks like it could be a strong contender in multiple categories - possibly previous Oscar-nominee Natalie Portman? The film looks like it has a strong visual style, but will the dark, seemingly fantasy-like premise go over well with Oscar voters? We will have to see...


127 HOURS



Danny Boyle's return to movies after his mammoth achievement with Slumdog Millionaire. Like his previous films, 127 Hours looks like it will be both a visual wonder with a fast-paced plot. It has a lot going for it - true story, Oscar-winning director, James Franco... This movie could be one to beat.


CONVICTION



I honestly don't know what to think of this movie. The cast is amazing - Hilary Swank, Sam Rockwell, Melissa Leo, Mini Driver... The story - allegedly a true one - seems to be both gripping and inspirational. I could see this being either a dud or a complete winner. Interestingly, Annette Bening seems to be a front-runner for Best Actress this year, yet both of her past 2 nominations in the category were lost to Hilary Swank. Could these 2 possibly come head to head yet again? This is an interesting one to watch.


THE SOCIAL NETWORK



Yes, a movie about Facebook doesn't seem like it has much to offer, but early reviews have been complete raves. David Fincher directs, fresh off his Oscar-nomination for Benjamin Button. The cast leaves much to be desired (Justin Timberlake and Jesse Eisenberg don't exactly make the most prestigious movies), but it still has lots of potential, so for now lets just wait.


TRUE GRIT




The trailer is finally out and can we just say... this may or may not be a VERY strong contender this season. The film is made by the Coen brothers and stars Oscar-winner Jeff Bridges in the same leading role that won John Wayne an Oscar in 1969. Could Bridges become only the third actor to win back-to-back Oscars? The Coens' last western was a little film called No Country For Old Men. We think it's safe to say they understand how the genre works. With the Coens, you come to expect quality, and we can't imagine a situation where this will not be the case.


THE FIGHTER

A boxing movie starring Mark Wahlberg. History shows that boxing movies tend to do well, both critically and in terms of accolades (Million Dollar Baby, Raging Bull...) Could this movie follow in those footsteps?


THE TEMPEST

This movie may not end up being the right type of movie, but it has all the right ingredients. The cast includes Helen Mirren, David Strathairn, Djimon Hounsou, Alfred Molina, and Chris Cooper. The source material is the Shakespeare play.

Inception (Mo***** Jo*****)

John Says:
Christopher Nolan has achieved immortal status as both a visionary director and master storyteller, first with his unparalleled success with The Dark Knight, and now with his latest (and greatest) film, Inception. No matter how much you may hear about this film before seeing it, there is so much depth in the plot and character decvelopment, that it is virtually immune to spoilers.

The story follows a man named Cobb (Leonardo DiCaprio), an extractor who is trained to steal information from the minds of dreamers. DiCaprio, who is only refining his talent as an actor, possibly gives one of his most complete performances- a man driven by the future but haunted by his past. It is not a 'showy' performance in any sense, but DiCaprio still proves that he is one of the greatest actors working today.

On the surface, Inception may seem like an action movie. It is. It is also a top-notch mystery and a mind-bending drama. Repeat viewings only enrich the story and add to both the mystery and understanding. The cast is one of the best I have ever seen, with Marion Cotillard (stunning), Joseph Gordon-Levitt, Cillian Murphy, Ken Watanabe, and Ellen Page all delivering what is required of them and more.

And then comes the ending - open-ended to say the least, and one that will likely spark conversations and debates for years to come. Nolan is smart, not necessarily giving the audience what it wants, but what the story needs. There is debate over whether or not the entire movie is what it seems, we may never know. All I know it that Inception is a movie that does not compromise story in order to reach a wider audience. It manages to deliver both a solid story with solid acting, and as the box-office is showing, the audience appreciates it!

Maureen says:
At the time of this review, I have seen this film twice, and I've finally regained enough speech to write something about it. And still, all I can think of are words like "mesmerizing," "brilliant," "perfect," "masterpiece," "astonishing," "mind-blowing," "groundbreaking"... fill in the blank with what you like. I have never seen anything like this. My expectations were - dangerously - that this would be the best movie I've ever seen. These expectations were met halfway through and exceeded from then on. Perfectly cast, directed, shot, scored, written, performed... again, fill in the blank.

The best thing about it (if you can pick one) is the story. Chris Nolan spent around 10 years perfecting this script, and it's going to take audiences twice that long to stop talking about it and analyzing it. Rarely, if ever, have I said that the second viewing of a movie is like watching a different movie altogether. When I compare it to some of my other favorite movies and all-time classics, they either pale in comparison or I literally can't compare them because this is so unique. Do yourself a favor and see this movie. Like 5 times.

(Awards Potential: Best Picture, Best Director, Best Actor (DiCaprio), Best Supporting Actress (Cotillard), Best Original Screenplay, Best Cinematography, Best Art Direction, Best Editing, Best Original Score, Best Sound, Best Sound Editing, Best Visual Effects)

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)