Hope Springs (Jo *1/2)

Hope Springs is an alarmingly misguided film. A story about two lovers lost in the midst of a flat marriage, the story follows predictable curves with little originality to become of the years most confused romantic comedies (or dramas?). Here are two stars in the golden years of their careers, yet not even the talent they bring to such a project is able to provide reasonable redemption.

We see a husband. And his wife. She makes his breakfast every morning, while he reads the paper. They have dinner together, he falls asleep in front of the TV, then they part ways to sleep in their own bedrooms for the night. Here is a film that makes observations about what it expects married life is like, yet makes no assertions of its own. We as an audience are not watching a film made by story tellers, rather a film that is content to just sit and watch what the script provides.

On a whim, Kay (Meryl Streep) reads a book about successful marriages and books a therapy weekend with the author (an uninspired Steve Carrell). Finally convincing her husband, Arnold (Tommy Lee Jones) to come with, the film settles into clunky scenes of therapy while we are supposed to find Tommy Lee Jones talking about oral sex amusing. The comedy employed is simply flat, and the dramatic moments are equally stiff.

As with any summer movie starring Meryl Streep, the ending is happy (though I won't spoil anymore here). Streep, fresh off her Oscar win for The Iron Lady, gets a pass here. The actors try their best, but there is nothing in Hope Springs that excited or amused me, even in the slightest. This was one movie I wish I didn't feel obligated to have seen.

(Awards potential: No awards potential)

Moonrise Kindgom (****)

Wes Anderson is undoubtably a visionary filmmaker, one who's style is instantly recognizable with its flat camera setups, dry humor, and quirky music. Moonrise Kindgom provides nothing less - a highly polished and efficient story of young love, family, and adventure.

The story finds us in an Anderson-esque New England setting somewhere in the mid 1900's. A young boy escapes from his 'Khaki Scout' camp in search of a girl he met a year prior. Having only talked through letters and postcards, the two have decided they are in love and set up a plan to run away to Moonrise Kingdom, a place they named and what will become their sanctuary.

This is, of course, trouble for the boy's supervisors and the girl's family, all of whom go searching for the young lovers as they flee on foot. Much of the humor is found in the actual settings and the commitment of the child actors to the seriousness of their roles. We forget these are young people as they disappear behind truly dramatic and oftentimes perfectly-timed performances.

The cast is exemplary, including Bruce Willis, Frances McDormand, Ed Norton, Tilda Swinton (whose character is simply named 'Social Services'), and Bill Murrary. For such limited release, this is truly a wonderful film through and through. Of course the film will have detractors, and the distinct style of Anderson is one that seems to polarize audiences. In a time when films aim higher and higher in scope, visual effects, and action, here is a small film that aims to be nothing more than the simplest of love stories.

(Awards potential: Best Picture, Best Original Screenplay, Best Art Direction, Best Cinematography)

Brave (Jo***)

Disney/Pixar's Brave is a delightful movie for children. Filled with colorful imagery of the Scottish highlands and following an easily-accessible story of acceptance and love, Pixar seems to be missing out on their prime audience: adults who have grown to love the originality of their previous films. While Brave is a wonderfully crafted movie, its ranking alongside its counterparts is almost surely at the very bottom.

The story follows young Princess Merida, a free-spirited girl who refuses to be bethrothed to any of the men from the nearby kingdoms. Though her mother insists it is the tradition of her people, Merida would rather live a playful life without the responsibilities her parents are trying to force on her. When she finally runs away, she encounters a witch in the forest who promises to help Merida's situation and change her mother's mind. This being a children's movie, it is no surprise her mother is transformed into a bear, and the two must figure out a way to right their mistakes.

While I can admire the animation and technical skills behind the making of Brave, I found little I could fully immerse myself in. Coming from a company that has made some of the best films of the past decade (Wall-E, Ratatouille, Toy Story 3, The Incredibles....), this film felt like one from a lesser company. Perhaps if the exact same film had been produced by Dreamworks Animation, for example, I would have found myself more engrossed. I understand how harsh a criticism this seems, but I do believe that in Pixar, the audiences expect something more.

First Cars 2, now Brave, I am concerned that perhaps Pixar is slipping from the top of the animation world in favor of more commercially promising films that appeal to a younger audience. While I sincerely hope Pixar has the potential to reclaim the title of best filmmaking company in the world, word that they are creating more and more sequels (Monsters University), perhaps it is a sad, cold fact that even the mighty can fall. Brave is not a bad film in any regard, but at the same time there is little to remember about it, either...

(Awards potential: Best Animated Feature, Best Original Score, Best Original Song ('Touch the Sky'))

Anna Karenina (Jo**1/2)

Anna Karenina marks the third collaboration of director Joe Wright and Kiera Knightly, a pairing that made much more reserved and dare I say beautiful films (Pride & Prejudice & Atonement). A film made with bold images and ideas, this is not to say Karenina is not a joy to watch or experience. For once though, Wright has made a film where the border of substance and style has been reached, and perhaps we lost out on much of the humanism that Tolstoy's novel brings.

Set in a turbulent Russian setting, the stage is set for Anna, a lavish woman living with a husband she may not love and a child she cares the world for. Through truly melodramatic form, she meets and falls in love with a young Count, and the two strike up a tragic affair - the type of scenario that only ever ends in tragedy.

Unlike previous adaptations of the work, director Joe Wright attempts to reimagine the story, largely through his staging and set pieces. Nearly all of the film plays out inside a hollowed out theater, with sets and transitions changing within shots. We learn how formal each character's life is - how bound they are to traditions and rules - and the theater aspect truly becomes apparent. It is an interesting concept and creates an experience not unlike watching a great play. The film doesn't attempt to reveal us to the beauty of Russia, instead, it tries to make the screen as close as possible. It is a confusing concept and one that audiences will have to get accustomed to, no doubt.

The highlights of the film are the technical aspects. You can almost assure an Oscar win for the vivid costume design - with dresses billowing out and flowing like water. The progression from scene to scene is remarkable as each new wardrobe for the characters is all the more impressive. The same can be said for the art direction - so innovative in its ideas and execution that it seems so likely to receive awards' attention.

The film reminded me somewhat of another piece of eye candy: Marie Antoinette. A beauty to watch, even on mute - the only difference being that one film truly explores the meaning of being bound by society and wealth, the other chooses a far safer route. There was endless potential for this retelling of the Anna Karenina story, and in the end, I think the film turned out to be a simple misstep.

(Awards potential: Best Costume Design, Best Art Direction, Best Cinematography, Best Original Score)

Lincoln (*****)

What Steven Speilberg creates with 'Lincoln' is nothing short of brilliant. His best work in years, coupled with a refined performance from the great Daniel Day-Lewis, crafts a history lesson as well as a captivating legal story. While the title suggests this is a story about the life of a man, it is moreso a story of the life of a nation, divided by war, struggling with immense issues that only such a war could bring out. Telling the story of a mere month or two during the height of the Civil War, 'Lincoln' aims high and beautifully reaches its target.

Set in January of 1865, the Civil War has already taken its toll on Lincoln. Gray-haired and sullen, Daniel Day-Lewis plays almost against type and captures a man who uses logic and loves telling stories to accent his ideas. The film opens with an intense battle scene, black soldiers fighting alongside whites, and bodies piling up in the rainy puddles of mud turning red from all the death. We then see two black soldiers, talking to an unknown man, discussing the position, pay, and rights they lack, even though they fight alongside white soldiers for the same cause. They speak bluntly with this unknown man, joke with him, stand close and understand his words. The camera pans to the great reveal of Lincoln's silhouette. It's a great scene, sharply written, ending with several of the soldiers proving their wisdom by quoting his recent Gettysburg address.

Abraham Lincoln believes that in order to end the Civil War once and for all, he must make permanent his actions of the Emancipation Proclamation and legally free slaves forever. His stance is met by harsh criticism from not only his colleagues, but his wife (played by Sally Field), who's tenacity both comforts Lincoln but reminds him of the losses he has already faced.

Needing a majority in the House of Representatives to pass the Amendment, we follow the Republican party as they try to win the handful of Democratic votes to win a majority. Many of those in Lincoln's cabinet advise him to drop the matter entirely and focus on ening the war. Lincoln believes this is the ONLY way he can end the war, once and for all.

I admire Speilberg's direction of this film. Lacking his usual cinematic flair we have come to recognize from him, 'Lincoln' instead focuses on the quieter moments. How any President can handle a civil war while coping with the loss of a child seems impossible, but we admire the man all the more for it. Historically the film seems to whitewash certain issues. Aside from a few servants of the Lincoln household, the cast is entriely white, with the only true Abolitionist being Thaddeus Stevens (played by a truly brilliant Tommy Lee Jones). Stevens believes in racial equality totally, but in order to help the Amendment pass, he curiously must remove emotion from it and reason that we are equal 'only under the law.'

'Lincoln' is a beautiful film, photographed in a shadowy darkness that seems foreshadowing of the dark future ahead. We feel the atmosphere of the sets, cold and gloomy - characters walk around the White House draped in blankets and hats to keep warm. The attention to detail is truly astounding, both in the reality of the film and the rich experience it creates for the audience. John Williams perfectly accompanies the film with a somber score - Speilberg and Williams truly have reached a perfect understanding of the sound of movies. The cast never falters, and altogether this is one of the most relevant films of the year.

The film seems to have something for all. It teaches us about a dark time in our country's history, but reminds us that there are heroes from all walks of life. It isn't often that a truly great man also sits in a position of immense power. In 'Lincoln,' we're glad he did.

(Awards potential: Best Picture, Best Director, Best Actor (Day Lewis), Best Supporting Actor (Lee Jones), Best Supporting Actress (Field), Best Adapted Screenplay, Best Cinematography, Best Art Direction, Best Costume Design, Best Makeup, Best Editing, Best Original Score)