Django Unchained (Jo****1/2)

Quentin Tarantino is on a roll. From the outlandish success of Inglourious Basterds comes Django Unchained, a spaghetti-western style film set in the deep South, where slavery was the economy of the time. While not a perfect film, Tarantino definitely employs all his cinematic tricks to create one of the more visceral and iconic films of the year.

Set a few years before the Civil War, Dr King Shultz (the ever-perfect Christoph Waltz), a bounty hunter, seeks the slave Django (Jamie Foxx in one of his better performances) to help identify a band of outlaws only he would recognize. The two quickly become a team, eventually working their way south to help buy Django's wife from a plantation owner, the eccentric and colorful Calvin Candie (Leonardo DiCaprio).

The film uses subtitles, music, and camera tricks to recreate the looks of spaghetti westerns and blaxsploitation films from the 1970's. This blending of genres, as well as an eclectic soundtrack mixing modern and classical scores, makes Django something we have never seen; a Tarantino-style film with a much more apparent directorial style (if that's even possible from Tarantino).

Technically, the film is a marvel, and the actors are all top notch. DiCaprio breaks away from his long stretch of criminally-burdened characters to play something completely new. While not the absolute best performance of his career (Gilbert Grape, The Aviator), this is something that should cause people to start talking about when he will finally win his first Oscar. Waltz, of course, carries the film in stride and reminds us why we love Tarantino so much for discovering him in the first place. Samuel L Jackson, though, is the true star of the film. Playing an elderly house slave and only appearing in perhaps 1/4th of the film, he undoubtedly steals every scene he shares and demonstrates some of the most manipulative and fiery acting of the year.

The film is brutally violent, and is in no way a film meant for a broad audience. Though nearly 3 hours long, there is never a dull moment in the plot, and the story keeps the audience entertained all the way to the end. Again, not perfect, but remains a gem in this truly remarkable Holiday lineup of great movies!

(Awards potential: Best Picture, Best Director, Best Supporting Actor (DiCaprio, Waltz, Jackson), Best Original Screenplay, Best Cinematography, Best Art Direction, Best Costume Design, Best Editing, Best Makeup, Best Sound Mixing, Best Sound Editing)

The Impossible (Jo*****)

There has been no more moving film this year than The Impossible, a true story about one family whose idyllic vacation is transformed into a week of tragedy and unimaginable horror amidst the 2004 tsunami. Yes, this is dark material and the film does not shy away from the bitter truths of the event, but here is a film that is an absolute joy to watch. A testament to the power of cinema and the great talent in the industry, The Impossible is easily one of the year's best. 

With very little setup, we learn about this family. Maria and Henry, two parents raising 3 sons in Japan, have picked the Asian coast to spend their Christmas holiday. The trip, though, is soon interrupted by the sudden wave that completely destroys the resort and separates the family. In one of the film's most horrifying scenes, we see Maria (played by Watts) being swept along by the waves like a rag doll, with debris and glass shards pummeling her body under water as she tries to reach her son. 

Though the family is all alive, they are separated by miles, each eventually ending up at a local hospital overrun with the victims. Maria and her son, Lucas, witness the countless people lost and injured while in the hospital - Maria falling ill due to her severe injuries from the initial wave. Henry (McGregor) has survived with his two youngest sons and stay behind in hopes to locate the rest of their family, alive or dead. 

The film is totally dependent on the cast, and here is the film's true strength. As the father, McGregor brings an unparalleled grief to his role. There is no doubt this is his best performance to date, and easily one of the best male leads of the year. There is one scene where he manages to get hold of a phone to call his family at home, and his sudden outpouring of emotion is so brutally honest and poignant, it is simply heartbreaking. Naomi Watts, one of Hollywood's most talented actresses, has truly outdone herself. Through her eyes, we see absolute terror and the dramatic weight, and her commitment to every single scene makes it hard to remember she is simply acting. Though much of her performance takes place in a hospital bed, she singlehandedly creates the film's heart. Could she be the new Best Actress frontrunner? I have no reason to doubt. And Tom Holland, the oldest son, what a breakthrough! Why this young actor hasn't received more credit for this role, I don't know. Here is a performance that is challenging both physically and emotionally, and he manages to breathlessly navigate the story. 

I have nothing but praise to give this film. I understand some of the criticisms regarding this film focusing on a white family in the midst of an Asian disaster. That makes no difference. This is a story of love, humanity, and passion. The Impossible is definitely a 'do-not-miss!'

(Awards Potential: Best Picture, Best Director, Best Actress (Watts), Best Actor (McGregor), Best Supporting Actor (Holland), Best Original Screenplay, Best Visual Effects, Best Makeup, Best Original Score, Best Sound Mixing, Best Sound Editing)

Beasts of the Southern Wild (Jo*****)

What a marvelous little film this turned out to be. Released smack - dab in the middle of the year, here is another shining example of the power of cinema and the creativity of films. Despite the numerous rereleases, sequels, and remakes Hollywood is pumping out, Beasts of the Southern Wild is a nearly flawless example of all that is right with cinema today. No recognizable actors, filmmakers, or plot devices, yet here is a movie that is truly a work of art.

Set in an almost apocalyptic New Orleans, a small group of people live in the 'Bathtub,' a makeshift town barricaded from civilization by levees. Here, a community is developed, and we meet Wink and his daughter Hushpuppy. We are not watching this film to follow a story, rather to drink up a setting so vividly captured through film that it virtually tangible. The Bathtub is just a collection of broken down shacks and tents, but to Hushpuppy, her entire world is filled by it. She is not your typical child for a film, with her head full of daydreams of a better world. She is fierce, determined, and molded by her oftentimes brute father. He may not be nurturing in the way we expect of a single parent, but through him, she learns all that is necessary to survive.

The story is difficult to explain, so perhaps it's best to watch it, instead. I can talk about the marvels of the film itself, though- so beautifully filmed and scored, this is a movie with so many rivets and intricacies they could definitely go overlooked. The smallest details of a father teaching his daughter how to fish with her hand, to the preparations Bathtub goes through to prepare for a storm, or Hushpuppy attempting to document her life through cardboard drawings...

And then to the cast, itself. All newcomers to film, the two leads are simply unparalleled in their acting abilities. Dwight Henry as Wink brings such a strong presence to the screen, that even in scenes he is absent from he is never far from the forefront of the story. And Quvenzhane Wallis, the 5 year-old Hushpuppy. Simply put, this girl is a force of nature. Easily one of the strongest child performances I have ever seen and one of the most honest portrayals I have seen all year. Can the Academy bring themselves to nominate a Kindergartner for Leading Actress? It would be a momentous occasion, but how fulfilling a nomination it would be.

I can't fully describe my feelings about Beasts of the Southern Wild. Perhaps there were minor aspects that threw me off or perhaps dwindled too long. All I know is that here is a movie so complete in its concept and so full of passion, that any flaws simply disappear by the time the credits begin to role.

(Awards potential: Best Picture, Best Director, Best Actress (Wallis), Best Supporting Actor (Henry), Best Adapted Screenplay, Best Editing, Best Cinematography, Best Original Score)

The Hobbit: An Unexpected Journey (Jo***)

The Hobbit: An Unexpected Journey, is an unexpected stumble from the gifted Peter Jackson, who's original Middle Earth trilogy managed to win just about every Oscar possible back in 2003. Back at the helm, and divided into yet another trilogy, the quaint Hobbit novel is being transformed into something it is not:  a story massive enough to span three 3-hour films. Just because you have the power to make something, doesn't necessarily make it good. The Hobbit, though, is full of remarkable images, places, and moments, but the sum of their parts is little more than icing on a burnt cake. It might look good, but it's flawed all the way to the center. 

The story begins in present time (or not?) when the elder Bilbo begins writing down the tale 'There And Back Again,' and Jackson cleverly tries to tie in the original trilogy, with an immediate eye-rolling cameo from Elijah Wood (who is not the only returning cast member). We see this is the day of his long expected party from 'Fellowship,' just moments before Gandalf arrives on his carriage. The film does offer lots of nostalgia in that regard, but for a 3 hour movie with its own story to tell, it's clear the writers (the original crew in addition to Guillermo Del Toro) had wiggle room to add what they wished. 

The cast is superb, but it lacks the charisma an charm of the original Fellowship. The 13 dwarves all seem to have their own personality, but there is absolutely NOT enough screen time for each of them, and we only get to know maybe 3 or 4 as characters. The rest are merely fillers. 

Middle Earth is just as we left it: green, lush, but dangerous at every turn. The design of the landscape is no less impressive, as is the technical aspects behind the film - from costumes to makeup. It is clear no detail went unnoticed. Take, for instance, one of the final battle scenes - set in an underground system of caves inhabited by thousands of goblins. Our heroes run through mazes of tunnels and bridges, effortlessly navigating foreign terrain, and the audience is simply overwhelmed by the details put into each shot. It is truly remarkable even to such minute details. 

It must be said about the battle scenes though, more than Lord of the Rings, that the sense of danger is almost always lost. The choreography of each sword swing or punch is so perfectly timed, as are the dwarves narrow escape from certain death time and again. How is it that amid those thousand goblins, the dwarves manage to kill hundreds, while their small group of a dozen escapes unharmed?

And then to the high frame rate… Oh goodness. Of course I had to check out the film at 48 frames a second - its a whole new novelty to the filmgoing experience. I had an idea what to expect, but there is no amount of preparation that can prepare you for the feeling. It is truly jarring for the first few minutes - almost to the point that I considered telling the projectionist that they were playing the film too fast. The image quality is stunning, but the actual movement on screen really does feel like a video game or television show. There is something beautiful about the motion blurs now lost from 24 frames a second, and this new clarity is almost too much. Visual effects become all the more blatant, as do green-screen effects. There were several times throughout the film that it felt like I was watching special effects from 1980's, but there were also times I was amazed at what I was seeing. Do I think this will become the new standard? I can't say for sure, but I sincerely hope not. Seeing a movie like this at 48 frames a second is like getting a sneak peak at the making of a movie - you KNOW you're watching actors running around manmade sets, it takes you out of the experience. 

Overall, what can I say. Perhaps a year or 2 from now when the other films are released, I will have a better grasp of The Hobbit as a whole. It is clear the filmmakers are still clinging to the original trilogy as a crutch-assuming it will aid these films. Howard Shore's score has entire sections pulled from the original film - and usually poorly done. The Hobbit could have been a much more unique and invigorating experience. As of now, I am left somewhat disappointed, confused, and yet still curious for more.

(Awards potential: Best Cinematography, Best Art Direction, Best Visual Effects, Best Makeup, Best Sound Editing)

Skyfall (Jo*****)

James Bond is undoubtedly the most enduring film series of all time. There is iconic appeal: women, weapons, thrills, it's not hard to understand why people have continued to return time and again. With Skyfall, the series has truly taken off, and though I haven't seen many of the Bond films, this is undoubtedly a great film, regardless of it being the 20th-something installment in the series.

Breathed new life by director Sam Mendes (of Oscar-winning American Beauty) the film takes a grittier approach, dealing less with the high tech gadgetry and fight scenes and focusing more on the man. The approach is similar to all Bond films, I imagine. A mind-boggling opening scene, the establishment of a new villain, and Bond's test in trying to find and conquer said villain.

And what a villain we have. Javier Bardem, another Oscar-winner known for his own take on iconic screen villains, plays Silva, a computer hacker with a homosexual flair and disregard for the law, entirely. Here is an actor at the top of his form, and following the recent Oscar win for Heath Ledger, it seems like even action movies can be recognized for their talent on screen as well as off.

Even Dame Judi Dench shines as 'M,' her recurring character. We spend much more time with her outside of headquarters, exploring her own persona as she travels with Bond. It is a reserved performance, but one that manipulates the audience at every turn and shines as a high point of the film.

Technically, this is one of the most effective films of the year. From art direction (ranging from WWII tunnels converted into government headquarters) to the music (Thomas Newman carries the Bond theme proudly and adds his own beautiful flair), the film comes together at all the right points. And Roger Deakins, of course. Always a nominee, never a winner. With his nomination for this film (I guarantee his nomination, which will be his 10th), he will continue his reign as the greatest living cinematographer in my mind. From the very introduction to Bond (see above) to the climax, which is an action scene shot in virtual darkness in the country until orange flames beautifully silhouette everything in sight, there is no doubt that this is the best-photographed film of the year. There is a clear evolution of color and image throughout the film, and even though it seems likely the Academy will overlook Deakins once again, this film would be a significant achievement for any photographer.

Forget The Dark Knight Rises or any of the other summer action movies from earlier this year. Skyfall ranks not only as the best action film of the year, but easily as one of the year's best, period.

(Awards potential: Best Picture, Best Supporting Actor (Bardem), Best Supporting Actress (Dench), Best Adapted Screenplay, Best Art Direction, Best Cinematography, Best Original Score, Best Sound Mixing, Best Sound Editing, Best Visual Effects)