New Predictions

Recent viewing of Sweeney Todd gives me doubts of its Best Picture chances especially after the SAG absence. Which also leaves Johnny Depp out of the #1 spot. Into the Wild moves up as a serious threat to unseat No Country for Old Men as the Best Picture of the Year. The DGA's will put more into perspective.

Best Actress looks to be solid, the only question being will Cate Blanchett be nominated for Elizabeth: The Golden Age. There are many actresses fighting for that fifth spot: Amy Adams, Keira Knightley and Laura Linney being the likely ones.

Supporting actor seems locked and loaded. The question flying around is will Philip Seymour Hoffman make the cut? Sure looks like it at this point. But who will upset? Travolta, Lee Jones, Dano, Foster, Von Sydow? I don't know. It depends if No Country is as strong as it seems or if There Will Be Blood make the cut.

Supporting actress is wild for me. I have chosen to keep Saoirse Ronan off and keep Vanessa Redgrave in her place. I think she's more likely to show up especially after Ronan missing SAG which should have been an easy get.

The rest, you need to see: Here is the top 10 of each category.

Best Motion Picture

1. Atonement
2. No Country for Old Men
3. Into the Wild
4. The Diving Bell and the Butterfly
5. There Will Be Blood
6. Sweeney Todd: The Demon Barber of Fleet Street
7. Juno
8. American Gangster
9. Michael Clayton
10. The Great Debaters

Best Director

1. Joel Coen & Ethan Coen-No Country for Old Men
2. Joe Wright-Atonement
3. Sean Penn-Into the Wild
4. Julian Schnabel-The Diving Bell and the Butterfly
5. Sidney Lumet-Before the Devil Knows You’re Dead
6. Tim Burton-Sweeney Todd: The Demon Barber of Fleet Street
7. Paul Thomas Anderson-There Will Be Blood
8. Denzel Washington-The Great Debaters
9. Ridley Scott-American Gangster
10. Jason Reitman-Juno

Best Actor

1. Daniel Day-Lewis-There Will Be Blood
2. Johnny Depp-Sweeney Todd: The Demon Barber of Fleet Street
3. George Clooney-Michael Clayton
4. Emile Hirsch-Into the Wild
5. Viggo Mortensen-Eastern Promises
6. Denzel Washington-American Gangster
7. James McAvoy-Atonement
8. Ryan Gosling-Lars and the Real Girl
9. Josh Brolin-No Country for Old Men
10. Frank Langella-Starting Out in the Evening

Best Actress

1. Marion Cotillard-La Vie en Rose
2. Julie Christie-Away from Her
3. Ellen Page-Juno
4. Angelina Jolie-A Mighty Heart
5. Cate Blanchett-Elizabeth: The Golden Age
6. Laura Linney-The Savages
7. Keira Knightley-Atonement
8. Amy Adams-Enchanted
9. Helena Bonham Carter-Sweeney Todd: The Demon Barber of Fleet Street
10. Tang Wei-Lust, Caution

Best Supporting Actor

1. Javier Bardem-No Country for Old Men
2. Hal Holbrook-Into the Wild
3. Tom Wilkinson-Michael Clayton
4. Casey Affleck-The Assassination of Jesse James by the Coward Robert Ford
5. Philip Seymour Hoffman-Charlie Wilson’s War
6. Max Von Sydow-The Diving Bell and the Butterfly
7. Paul Dano-There Will Be Blood
8. Tommy Lee Jones-No Country for Old Men
9. Ben Foster-3:10 to Yuma
10. John Travolta-Hairspray

Best Supporting Actress

1. Amy Ryan-Gone Baby Gone
2. Cate Blanchett-I’m Not There
3. Catherine Keener-Into the Wild
4. Tilda Swinton-Michael Clayton
5. Vanessa Redgrave-Atonement
6. Saoirse Ronan-Atonement
7. Ruby Dee-American Gangster
8. Kelly MacDonald-No Country for Old Men
9. Marisa Tomei-Before the Devil Knows You’re Dead
10. Jennifer Jason Leigh-Margot at the Wedding

Best Original Screenplay

1. Juno
2. Ratatouille
3. Michael Clayton
4. Lars and the Real Girl
5. Before the Devil Knows You’re Dead
6. The Savages
7. Once
8. Knocked Up
9. American Gangster
10. I’m Not There

Best Adapted Screenplay

1. No Country for Old Men
2. Atonement
3. Into the WIld
4. The Diving Bell and the Butterfly
5. Charlie Wilson’s War
6. There Will Be Blood
7. The Kite Runner
8. Sweeney Todd: The Demon Barber of Fleet Street
9. Gone Baby Gone
10. Away from Her

2006 Davis Film Winners

Top 10 Films of 2006

1. Bobby (****)
2. Dreamgirls (****)
3. Little Miss Sunshine (****)
4. Little Children (****)
5. United 93 (****)
6. Apocalypto (****)
7. Stranger than Fiction (****)
8. A Guide to Recognizing your Saints (****)
9. The Departed (***½)
10. Letters from Iwo Jima (***½)
    

Davis Film Winners

Best Actor in a Leading Role

Leonardo DiCaprio-The Departed
Will Ferrell-Stranger than Fiction
Ryan Gosling-Half Nelson
Shia LeBeouf-A Guide to Recognizing your Saints
Derek Luke-Catch a Fire

Best Actress in a Leading Role

Penelope Cruz-Volver
Jennifer Hudson-Dreamgirls
Ellen Page-Hard Candy
Helen Mirren-The Queen
Kate Winslet-Little Children

Best Actor in a Supporting Role

Alan Arkin-Little Miss Sunshine
Steve Carell-Little Miss Sunshine
Jackie Earle Haley-Little Children
Freddy Rodriguez-Bobby
Michael Sheen-The Queen

Best Actress in a Supporting Role

Adriana Barraza-Babel
Cate Blanchett-Notes on a Scandal
Abigail Breslin-Little Miss Sunshine
Maggie Gyllenhaal-World Trade Center
Robin Wright Penn-Breaking and Entering

Best Director

Clint Eastwood-Letters from Iwo Jima
Todd Field-Little Children
Mel Gibson-Apocalypto
Paul Greengrass-United 93
Martin Scorsese-The Departed

Best Original Screenplay

Emilio Estevez-Bobby
Michael Arndt-Little Miss Sunshine
Peter Morgan-The Queen
Zach Helm-Stranger than Fiction
Pedro Almodovar-Volver

Best Adapted Screenplay

Alfonso Cuaron, Timothy J. Sexton, Mike Fergus, David Arata, Hawk Ostby-Children of Men
William Monahan-The Departed
Iris Yamashita & Paul Haggis-Letters from Iwo Jima
Todd Field & Tom Perrotta-Little Children
Patrick Marber-Notes on a Scandal

Best Original Score

Mark Isham-Bobby
Mychael Danna-Little Miss Sunshine
Philip Glass-Notes on a Scandal
Alexandre Desplat-The Queen
John Powell-United 93

Best Film Editing

Bobby
The Departed
Dreamgirls
Little Children
United 93

Best Cinematography

Apocalypto
Babel
Children of Men
Letters from Iwo Jima
Volver

Best Costume Design

Bobby
Dreamgirls
The Devil Wears Prada
Flags of our Fathers
The Prestige

Best Song from a Motion Picture

Bobby - "Never Gonna Break My Faith"
Dreamgirls - "And I Am Telling You (I'm Not Going)"
Dreamgirls - "Listen"
Little Miss Sunshine - "Til the End of Time"
Volver - "Volver"

Best Cast Ensemble

Bobby
The Departed
Dreamgirls
A Guide to Recognizing your Saints
Little Miss Sunshine

American Gangster

Director Ridley Scott brings to the screen, American Gangster, the true story of Frank Lucas, the notorious drug smuggler during the 60s and 70s revolutionized the drug industry. Oscar winner Steven Zaillian writes the crime piece but doesn't provide the viewer with enough fuel to launch the film off the ground. The countdown to take off was great and then the viewer stayed stagnant with the engines going for nearly forty-five minutes before the rocket took off. All the dialogue seemed too forced and too aggressive to engage us into the film. It was like a five year old telling us to "Watch this, watch this." Alright Mr. Scott and Mr. Zaillian, I'll watch just stop telling me to do so. I think there was too much anticipation built up into a mediocre storyline.

Academy Award winner Denzel Washington stars as Lucas bringing forth a candy cane version of his "Alonzo" in Training Day. As the ferocious Frank, Washington manages to inherit all the fury and anger of a troubled young individual yearning for success and leave his inhibitions at the door. As a terrific turn for the veteran actor Washington does an admiral job on a character we hardly know and introduces him to us full force. How can Washington manage to be so good and make all this seem effortless? Beats me, but the fact that it looks so easy and the character doesn't demand too much of Washington may be his undoing in this upcoming awards season. While a nomination isn't out of the question, with two wins to his credit, this performance holds no measure to his previous works. Zaillian was unsure how malicious he wanted to portray Lucas and ended up portraying him as incredibly unsure of himself and how he wanted to be. But maybe that's the character and Scott just failed to let us know.

Russell Crowe plays Detective Richie Roberts, a narcotics cop battling more than the drug war on the streets of New York. The monotone detective never lets Crowe break out of his exterior tough demeanor. A big star like Crowe definitely takes on this supporting turn with a sense of humility and that perhaps is the triumph of the performance. With big starring turns in Gladiator, Cinderella Man, and A Beautiful Mind, I would never expect Crowe to take on such a quiet role and do it with dignity. An impressive turn but doesn't have the pivotal scene that one actor yearns for that steals any scene.

With 90% of the film having Washington and Crowe separated, the anxious and satisfying meeting in the finale settled all tension built up throughout the film's narrative. Ridley Scott seems on the back burner of this picture as he allows his stars to run the show. The supporting cast even shows some brightness off and on.

It's Ruby Dee as Mama Lucas that capitalizes on her limited screen time. As a veteran actress she does have the power and potential to break into the extremely weak Supporting Actress race. She shows vulnerability yet an intense courage that evokes the audience when she's on screen.

Josh Brolin's exciting and villainous turn as a crooked cop turns out to be a strong turn for the actor who is having one hell of a year with an acclaimed turn in No Country for Old Men. Chiwitel Ejifor has a presence in a film that is soothing but doesn't flow with the characters he chooses. He might be Hollywood's best kept secret at the moment with the wrong roles.

In the end, American Gangster may not have enough steam to jump into the Best Picture race. With Scott being so "overdue" for a Oscar, that may the film's only hope. With comparisons be thrown around to The Departed, (which doesn't measure by a mile) last year's winner, the film already has an uphill climb ahead. Serious potential for Washington and Dee for this year's Oscar race. The film is enjoyable but tries too hard to start off with a bang and ends up leaving the viewer disenchanted and we spend too much of the premise trying to play catch up.

Grade: ***/****

I Now Pronounce You Chuck & Larry

I Now Pronounce You Chuck & Larry written by Academy Award winning writers Alexander Payne & Jim Taylor along with Barry Fanaro, is one of the smartest, and tender comedies of the year. The film stars comedy superstars Adam Sandler and Kevin James as two NYC firefighters, Chuck Levine and Larry Valentine who pretend to be a gay couple in order to get domestic partnership benefits for Larry's children who has recently lost their mother. When the partnership is questioned by City Official Clinton Fitzer played by another comedic icon, Steve Buscemi, they turn to the beautiful intelligent lawyer, Alex played by the sexy Jessica Biel.

The film brings forth some laughs but all in all the film soars on dramatic level which I believe Payne and Taylor weren't exactly aiming for. Sandler still struggles as a dramatic actor and finds it hard to find his inner characters without bringing himself out. We are still waiting for him to return to form as he did in Paul Thomas Anderson's Punch-Drunk Love. James however, is quite an actor who shows the most vulnerable parts of Larry without going over the top. We enjoy Larry's company and look forward to his story unraveling. Kevin James will have an easier transition into more affluent and demanding roles as an actor than Sandler has.

You also have your usual suspects in the Sandler films like the unrecognizable Rob Schnieder and you'll find some comfort in Dan Aykroyd who has been missed from the screen for some time and Ving Rhames who is always as funny as he is intimidating. But don't look for a revolutionary story to befall in front of you, it's a good watch, not a great one.

The film drags on a bit and no stand outs that scream recognition. It's a new addition to good popcorn flicks of 2007.

Grade: **½/****

The Simpsons Movie

Depending what generation you're from, you can appreciate "The Simpsons" on different levels. I can remember watching one of first episodes with my older siblings when I was five and thinking, this is the funniest show on the planet. Watching it nearly twenty years later, it has lost its spark and everyone waited in fright to see which "Simpsons" we were going to be seeing. The film however lies somewhere in between classic Simpsons and broken down, fireless Simpsons. So I guess the viewer got mediocre Simpsons.

The Simpsons Movie starts off fantastic with our Itchy and Scratchy humor that we love but after the first twenty minutes are over, Homer and the gang takes a small decline into general second-rate comedy. When Homer accidentally pollutes Springfield's water supply and the government encases the whole town in a glass dome, the people turn on them and declares them enemies.

The story is just so ordinary and average that it leaves the classic Simpsons fans, a little dead in the dirt and even worse disappointed. As middle-of-the-road as it may be, Oscar will surely take it on the Animated Feature film list but with the highly acclaimed Ratatouille, Simpsons are left Oscar-less and stuck at the Emmys unless there's a sequel in James L. Brooks' future.

This critic is left a little disenchanted and sorry for The Simpsons Movie and only hopes the best for the family.

Grade: **½/****

We Own the Night

From Writer/Director James Gray comes We Own the Night, a tale of a family spread amongst the darker and brighter aspects of Brooklyn city life. The film stars Academy Award nominees Joaquin Phoenix and Mark Wahlberg and winner, Robert Duvall.

Shot in 80's film style concentrating on eerie elements and subdued cinematography, the film reminds viewers of past films The Departed, Goodfellas, and The Warriors surprisingly but loses a lot of steam in areas. For this viewer, Joaquin Phoenix carries the film of his shoulders and elevates the cheesy dialogue and often at times, weak material. He plays Bobby Green, a middle aged rebel from a police family finding solace in the night life of New York. Besides having feuds with his family over career and life choices, Bobby wants to rid his family name by taking on his mother's name. Phoenix's vulnerability and humanity is evident all throughout the film.

Mark Wahlberg nominated for his stunning portrayal of a hard-nosed cop in last year's winner, The Departed takes on a completely different role. A bit more tamed and bit more character conflicted, Wahlberg gives an admirable effort. Gray however, fails on bringing in some flavor to these two ingredient characters. I wish we had fuel to add to the fire to make the picture work; Gray felt there was no fuel necessary.

Robert Duvall, a master thespian of the 20th century brings a much needed presence to the film. Duvall's worried "Burt" has a hard exterior and even less softer soul. Wanting nothing more than his family to be together and safe, Burt is more concerned in just moving forward.

Eva Mendes who might be our newly more talented Jennifer Lopez plays Bobby's girlfriend's Amada. This is the sexiest we've seen her but even more talented in her acting choice. Mendes however, is lost in this film like Vera Farmiga was lost in Scorsese's film. Gray had his heart in the right place but not the creativity to support it.

We Own the Night, is solid in effort and definitely viewable. Not enough gas to bring it to the finish line and not enough development to showcase the talent. You judge for yourself.

Grade: **½/****

Atonement

From Joe Wright, the acclaimed director Pride and Prejudice comes his sophomore effort, Atonement based on the best selling novel by Ian McEwan. The film tells the story of Robbie and Cecilia, two young lovers torn apart by a false accusation of young Briony, Cecilia’s sister. Robbie is sent to prison and in exchange for his incarceration, he must serve in World War II for his freedom.

This is technically and visually the best film of the year. The stunning cinematography by Seamus McGarvey which acts like a photographer capturing the glimpses at the doors of heaven are absolutely breathtaking. The scenery and images are all but believable as we are thrown into a time of passion, betrayal, corruption, and torment.

Now, I’ve never been a fan of British Cinema like the next avid Oscar watcher. Never cared for Sense and Sensibility, Pride and Prejudice wasn’t terrible but nothing great, Howard’s End and The Remains of the Day are mediocre to me. The reason I say this is that I was feeling the way I felt about those films with Atonement for the first half. I thought was melodrama to the extreme and overly emotional and presented that it disengaged the viewer from the picture. As the film continued I felt myself being closely drawn to the performance of James McAvoy very reminiscent of Jude Law’s performance in Cold Mountain but with more depth, more life, more response.

The melodrama continued and all of a sudden, comes this powerful last third of Atonement. Romola Garai who plays the Briony at 18 who’s performance is very responsive and spacious heats up the screen with poise and control. Garai who hasn’t had success in with mediocre performances and films like Dirty Dancing: Havana Nights and Vanity Fair finally is given some scenery to chew. Inhabiting the guilt and despondency of Briony was quite a task and sincere effort to bring her to the viewer with aggression yet subtlety was great.

Keira Knightley who has teamed up with Joe Wright before in his directorial debut is beautiful in elegance but nothing extroverted that makes you take her with you after the film ends. Her "Romeo & Juliet" story with McAvoy is the most tender parts of the movie however, disappointment is the only feeling I can describe to you, the reader, with her work here. With expectations so high maybe that was her downfall with myself.

Saoirse Ronan who has been reaping all the buzz is a talent to watch in the future but alas, I can’t wallow in the glory of Ronan without feeling Garai is missing out on the glory. It is the best child performance of the year by far and her curiosity and crush on Robbie is special to the film; Ronan holds her own against the other talents in the film.

In the end, it’s the wonderful veteran actress Vanessa Redgrave that steals the show and inhabits Older Briony which singled handedly saves the film in its entirety. All the melodrama and over zealous antics of the film were summed up in the finale and because of Redgrave it all made me swallow it a whole lot better. Redgrave holds all the tragedy of the film in her brief and final moments that encourage all of us to share in the love for all humanity. Thinking about all the things that you regret and wish you could change is the solution to the film Atonement. "Atonement" in the sense of the word, is needed in all our lives as the one thing that is a necessity but everyone hesitates to take. The film is a work of art.

Grade: ***½/****

Top 10 List from 2006 and Awards

Top 10 Films of 2006

1. Bobby (****)
2. Dreamgirls (****)
3. Little Miss Sunshine (****)
4. Little Children (****)
5. United 93 (****)
6. Apocalypto (****)
7. Stranger than Fiction (****)
8. A Guide to Recognizing your Saints (****)
9. The Departed (***½)
10. Letters from Iwo Jima (***½)

Davis Film Nominees

Best Actor in a Leading Role
Leonardo DiCaprio-The Departed
Will Ferrell-Stranger than Fiction
Ryan Gosling-Half Nelson
Shia LeBeouf-A Guide to Recognizing your Saints
Derek Luke-Catch a Fire

Best Actress in a Leading Role
Penelope Cruz-Volver
Jennifer Hudson-Dreamgirls
Ellen Page-Hard Candy
Helen Mirren-The Queen
Kate Winslet-Little Children

Best Actor in a Supporting Role
Alan Arkin-Little Miss Sunshine
Steve Carell-Little Miss Sunshine
Jackie Earle Haley-Little Children
Freddy Rodriguez-Bobby
Michael Sheen-The Queen

Best Actress in a Supporting Role
Adriana Barraza-Babel
Cate Blanchett-Notes on a Scandal
Abigail Breslin-Little Miss Sunshine
Maggie Gyllenhaal-World Trade Center
Robin Wright Penn-Breaking and Entering

Best Director
Clint Eastwood-Letters from Iwo Jima
Todd Field-Little Children
Mel Gibson-Apocalypto
Paul Greengrass-United 93
Martin Scorsese-The Departed

Best Original Screenplay
Emilio Estevez-Bobby
Michael Arndt-Little Miss Sunshine
Peter Morgan-The Queen
Zach Helm-Stranger than Fiction
Pedro Almodovar-Volver

Best Adapted Screenplay
Alfonso Cuaron, Timothy J. Sexton, Mike Fergus, David Arata, Hawk Ostby-Children of Men
William Monahan-The Departed
Iris Yamashita & Paul Haggis-Letters from Iwo Jima
Todd Field & Tom Perrotta-Little Children
Patrick Marber-Notes on a Scandal

Best Original Score
Mark Isham-Bobby
Mychael Danna-Little Miss Sunshine
Philip Glass-Notes on a Scandal
Alexandre Desplat-The Queen
John Powell-United 93

Best Film Editing
Bobby
The Departed
Dreamgirls
Little Children
United 93

Best Cinematography
Apocalypto
Babel
Children of Men
Letters from Iwo Jima
Volver

Best Costume Design
Bobby
Dreamgirls
The Devil Wears Prada
Flags of our Fathers
The Prestige

Best Song from a Motion Picture
Bobby - "Never Gonna Break My Faith"
Dreamgirls - "And I Am Telling You (I'm Not Going)"
Dreamgirls - "Listen"
Little Miss Sunshine - "Til the End of Time"
Volver - "Volver"

Best Cast Ensemble
Bobby
The Departed
Dreamgirls
A Guide to Recognizing your Saints
Little Miss Sunshine

Gone Baby Gone

In his directorial debut, Ben Affleck has completely morphed himself into an emerging artist and even more challenging director. Gone Baby Gone might be the most innovative and moral challenging film of recent years. This is the story of young Amanda, a little girl who mysteriously disappears from her home and the activity and dangers that befall upon the people involved in her finding.

The film stars Affleck’s brother Casey as Patrick, in his most challenging and engrossing performance to date. Not since Sean Penn in Mystic River has a role been so subdued yet immensely victorious and depth defying in choice of delivery and spot on emotions. Casey Affleck has paved the way for himself in roles that demonstrate the actor’s showcase and give the performer range. It’s a bit odd what to make of the younger Affleck in the upcoming awards season. He fairs a better shot for his earlier raved performance in The Assassination of Jesse James by the Coward Robert Ford for a nomination, but his performance in Gone Baby Gone is far more superior. Especially with upcoming prospects such as Daniel Day-Lewis, Johnny Depp and other big name talents, it’ll be a tough road ahead for him.

Ed Harris, who’s been long “overdue” for Oscar recognition is purely haunting in his role as Remy, a hard-nosed cop looking for young Amanda. In one scene in particular, Harris shines and gives his best portrayal since The Hours. Although his character is a bit one-dimensional, Harris elevates the material and turns it into his show and steals frame after frame in a role easily lost in a picture like this.

Morgan Freeman, in a role we have not seen him in before, plays Captain Jack Doyle, the head of the missing persons unit with personal experience in the loss of a child. Freeman, although absent for most of the narrative, sugar coats the top acting talent in the picture. Freeman’s agenda into more range projects in his older career is reaffirming his Oscar win in 2003 for Million Dollar Baby, but now with the more rewarding films worthy of consideration.

Michelle Monaghan who’s a bit of an unknown face, plays Angie, Patrick’s significant other who’s personal fears interfere with her involvement in the case. To be honest, Monaghan gets lost in the shuffle and while the audience empathizes with her throughout the latter of the film, she’s placed into a role easily overshadowed by stronger characters. Perhaps being the only strong woman role would have gave us something to awe at, but not with the guns at full blaze at the hands of Amy Ryan.

Ryan plays Amanda’s mother Helene, definitely not the most likeable of characters but tragic in character arc. It’s like a full on tennis match going back and forth with Ryan and audience; the viewer is hating her one moment and then needing to hold her the next. Helene is multi-layered and grasps her own importance of parenting and the whole film it becomes a fallen angel lost in the fire. That is the tragedy of the film, a film not only about the loss of a little girl, but the loss of innocence and the torment that betrayal, guilt and corruption can weigh on our souls.

Ben Affleck is completely in control of this film, which he has lacked in his performances often. He knows what the mission is of this picture and would gladly take a spot amongst some bigger, older talents among Oscar prospects this year. Along with Co-adapting the film with Aaron Stockard, if Oscar is feeling like inviting Affleck to the Kodak, the screenplay category seems like a better fit, especially with an already win for Good Will Hunting. Other possibilities for consideration is wonderful cinematography by John Toll and a great musical score by Harry Gregson-Williams.

Comparisons to Mystic River are all about, being done by the same author how could we expect no less. Mystic River had more of the message of the domino effect of one’s actions on others, Gone Baby Gone brings it to a new level. This film is about a society, a society who has lost the importance of innocence and the beauty of life. It focuses on the beauty of children and rest assure, when the film is over, if you’re not yearning to be a better parent of embrace a child as a blessing, there is probably emptiness in your chest. This film is marvelous, beautiful and spectacular. A must-see film of the year and a pleasant surprise coming from Ben Affleck.

Grade: ****/****

No Country for Old Men

Brothers Joel & Ethan Coen, the acclaimed filmmakers that brought us Fargo over ten years ago brings their most vicious film to date, No Country for Old Men. As the film evokes all the Coen brothers artistic qualities as their attention to detail and character study, the narrative disenchants the viewer on many levels.

The performances hold the viewers attention, especially during the final forty minutes or so. Many questions are left unanswered and many issues left not addressed. Javier Bardem as the ferociously frightening Anton gives his most stunning performance of his career. As the psychopathic killer looking for his $2 million case, Bardem not shutters, loses focus, or disengages himself from us. As crazy and psychotic as Anton is, there is a hero in him that the audience just loves to hate. A great character study for the Coen brothers indeed.

Josh Brolin as the eager and reserved Llewelyn Moss brings frustration to the viewer based on narrative choices but Brolin powers through and gives his tantalizing turn yet. He does capture the culture of South Texas and develops it into a full on human being. The sentiment we find in Llewelyn is in his relationship with his wife Carla, a beautiful naïve woman, blindly in love with her husband with some many agendas.

Kelly MacDonald as the beautiful Carla brings a resemblance of Amy Adams in Junebug, and we know how that worked out for her. This dramatic turn as minimal as the screen time is makes a lasting impression on everyone. When you walk out the theater it’s her and Bardem that you take with you. That naïve persona, “twangy” accent, (we forget that she’s Scottish) and that wonderful aura of curiosity and worried factors make it authentic to life.

Tommy Lee Jones as the authoritative Sheriff Ed does an admirable job in his performance however, the first half of the film is the Bardem show which Jones can’t overshadow at all. In the finale, the viewer is so frustrated by the story that I don’t care that Jones is now bringing the humanity to his performance. The film was lively and authentic for me for the first hour and a half, after that, I started looking at my watch wondering when it was going to end. It does disappoint me that Jones’ best work was placed in the weakest narrative points of the film. As people may feel different with that end, my intellect left the building at a point of aggravated feeling towards the things left unanswered. It was as if the Coen brothers started the film on pg. 34 of the novel and left out Chapters 12 and 14 to give us the full story.

Consequently the film does work and has great achievements in cinematography and dialogue and is a threat in the upcoming awards race especially for Javier Bardem and Kelly MacDonald however, I can’t foresee the Academy jumping on this for a Best Picture statue. This is so unlike Coens’ brothers previous works but the detail and storytelling is pure Coen. A admirable turn for them despite the flaws.

Grade: ***/****

Before the Devil Knows You're Dead

Veteran and iconic director Sidney Lumet brings the electrifying Before the Devil Knows You’re Dead. This may be one of the best, if not the best film of the year. With a star-studded cast who turn in some of the finest performances of the year and their careers, its hard to resist the darkness of the picture. With the Requiem for a Dream meets Closer persona, the film tells the story of Andy and Hank, two brothers who come up with a perfect plan to solve all their financial problems; they will rob their parents jewelry store. All seems well when the plan goes sour which domino-effects a chain of events that will change their lives forever.

Lumet directs Philip Seymour Hoffman in his best portrayal in years, definitely topping his award winner Capote. Hoffman plays the hard-nosed Andy, as powerfully disturbing as he is irritating, Hoffman layers Andy emotion on top of emotion never giving the viewer any indication of what he may be feeling next. The character, while well written. doesn’t embody any type of redeeming factor to make the audience like him at all. His character might be one of the paramount written character studies of the new millennium.

Ethan Hawke in his most daring and striking turn of his career plays Hank, the easily manipulated loser who is easily influenced by his overbearing brother Andy. Hawke has never been more aware, more internalizing, more invigorating in all his years on screen. Hank is your tragedy of the story, a character destined to fail and drowning in his endeavors, or lack there of. This is the performance that is in dyer need of awards consideration as Hawke proves that he can be a leading man, even though his performance is clearly supporting. (as is the entire cast)

Albert Finney as the tough and nearly unsentimental father Charles breathes new life into his characterizations that we have never seen from the veteran actor before. As loving and caring as Charles may appear, his feelings for life especially his children run skin deep but with Finney at the helm and bleeding out of the screen with frightening poise, that latter part of the film becomes his show. Along with Hawke, an awards-caliber piece that is worthy of citation.

Marisa Tomei, in a role which on the surface seems underdeveloped and unneeded brings forth a brilliant performance that tops her work in In the Bedroom. It’s her one-liners and long stares out a car window that fish hook us into her world. Besides her words and expressions being so endearing, we haven’t seen her more sexy, more ballsy, more unlike Marisa which we have come to know in her later years of acting in Unhook the Stars and What Women Want.

Aleksa Balladino, Michael Shannon, Rosemary Harris and the incomparable Amy Ryan turn in limited but special performances respectively. All adding to what could be a serious threat come SAG awards time for Best Performance by a Cast Ensemble nomination. But I’m afraid in the end it’s Kelly Masterson’s brilliant, which is an understatement, miraculous screenplay that makes the film work so well. How can this concept be thought of which on paper seems so ordinary but in the end be so original and provocative?

You get the legend Sidney Lumet to direct your picture. In his later years, Lumet hasn’t stood out (at least in my humble opinion) in his films as he did in his earlier years. With classics like Dog Day Afternoon and The Wiz, Lumet revolutionized filmmaking and make it more artistic and scenic. I only hope his work here can not go unnoticed because it is a return to form for him indeed.

Consequently, Before the Devil Knows You’re Dead excels and the most inventive levels. As the characters all inhabit something grotesque and grating about them, the radiance and grandeur of the eccentric type illuminates the screen and sends chills down the viewer’s body; creating fury and lack of comfort that follows you home until landing of the cranium on a soft light spread cushion.

Grade: ****/****

Juno

When’s the last time do you remember laughing at a teacher putting a condom on a banana? Or a teenager peeing on a home pregnancy test? Or quote “Thundercats a go!?” Diablo Cody writes her intimate character portrait Juno, starring Ellen Page in the title role as a young teenager who gets pregnant and decides to give it up to a family unable to have children.

Thank You for Smoking’s director Jason Reitman helms this ship of laughter, tenderness and Hamburger phones. The narrative is absolutely fantastic as it keeps the viewer engaged at all times but in essence, it’s the hypnotizing dialogue from the screenplay by Diablo Cody that makes the film work so well.

Ellen Page turns in one of the year’s best performances as the young naïve and charming Juno MacGuff. She’ll steal your heart with her wonderful one liners and equally break it with her character breakdowns and insecurities. Even though this has no measure to her Oscar snubbed performance in Hard Candy, this does hold some time of candle to it and is complete contention for an Oscar nomination. The role however, doesn’t possess that extra mile to steamroll any other female performer this year. But its not only Page that makes the film succeed.

Some of the supporting players turn some of their best performances of their careers. Michael Cera popularly known as the innocent “Evan” from Superbad, plays Paulie Bleeker, the “father-to-be-not” and gives a charming comedic performance. His role however doesn’t require much out of him with the exception of tiny yellow shorts.

Jason Bateman and Jennifer Garner play Mark and Vanessa, the couple waiting for their chance at parenthood. This dynamic duo turn in the best performances of their careers. With layer upon layer of emotions these two actors possess, its amazing how they ever came to know them. Bateman’s charisma and immaturity to say the least, fits well with the picture. His awkwardness is embodied quite well. Garner who tears at you from the inside out is so effective as Vanessa, the hopeful mother-to-be shows acting range which we have never seen from her before. Heartbroken, worried, and disenchanted engulf Vanessa which makes Garner sensational at her job.

J.K. Simmons and Allison Janney play the loveable parents of Juno. As she tries to come to terms with her new pregnant lifestyle she spends time with her stepmother Bren, (Janney) the sarcastic, hard-nosed woman that is coming to terms with her new stepdaughter. Janney is loveable and utterly hilarious but its Simmons who is the stronger of the two and is more authentic in his character and traits. There is a good breakthrough performance lying in Olivia Thirlby as the “teacher obsessed” best friend of Juno. She turns in a beautiful humane performance and encompasses the young teenager persona wonderfully.

What are Juno’s Oscar chances? To quote Tom Houseman as he told me after the film was over “That is not Little Miss Sunshine.” Completely true and well said, it is not Little Miss Sunshine but it is a great picture, very reminiscent of past teenage icon films Fast Time at Ridgemont High and Weird Science. Diablo Cody is a definite threat for the Original Screenplay Oscar and Ellen Page is a strong contender for Best Actress. (I feel it’ll be between her and Amy Adams for a spot) Best Picture isn’t out of the question but it’s rather small in a year full of big films and bigger stars. The film is a gem but I think expectations were too high and it fell a little short. But alas, I love Juno.

Grade: ***½/****

Charlie Wilson's War - Sneak Peek

Here's the Entertainment Tonight clip from tonight's show. I have no comment as of now, you be the judge.

Apocalypto

Apocalypto is Mel Gibson's greatest achievement since Braveheart. As a matter of fact, it's his greatest of achievement of his career. The foreign language film spoken in the Mayan dialect is pitch perfect from its opening sequence to its gut wrenching climax. Besides the beautiful yet insanely tragic story being told its best qualities lie in its technical works.

The film tells the story of a Mayan tribe headed by the swift and wise, Flint Sky whom get overtaken by a Maya kingdom who feel they must offer more temples and human sacrifices to gain prosperity with the Gods. When dozens upon dozens of women, children, and men are killed and taken, Flint Sky's courageous son Jaguar Paw places his pregnant wife and son in deep hole to keep the safe from the bloody battle that was occurring. When Jaguar Paw is captured with the rest of his people, his wife and son are left in a helpless state without food and water and with Jaguar Paw helpless himself and slated for human sacrifice he is more relentless and determined to get back to his family. When Jaguar Paw escapes and has a "platoon" to say the least gunning for him we are locked into an action-filled and heartbreaking film experience. The way the film is shot, as if it were a documentary about wild men in the wilderness hunting prey on a Discovery Channel special following "Shark Week" is the definitely the most potent and surprisingly eye catching aspect of the film.

Despite Gibson's recent outbursts of Anti-Semitics which of course is unacceptable, we cannot deny his artistic eye and his eagerness to awe the viewer to breathless moments. Rudy Youngblood who plays the powerful Jaguar Paw puts in a fine performance and among the top breakthrough performances of the year. Along with Youngblood, Morris Birdyellowhead who plays the wise Flint Sky gives a wonderful supporting turn. With all the action and drama-full moments, we even get some interesting and much needed comic relief in the film.

Oscar consideration would warrant Gibson and his film among the final five of the year but honestly, that is not happening. It can find its way in the categories of Makeup, Cinematography, Score, and Film Editing. I cannot wait for Gibson's next project, whatever that may be.

Grade: ****/****

The Pursuit of Happyness - 12-06

Will Smith puts forth his best performance since his gut-wrenching portrayal of "Muhammad Ali" in Ali and his son, Jaden Smith gives one of best child performances in the past decade but all those things don't mean this is a great picture. The film tells the story of Chris Gardener, a single dad who has had a few too many bills pile up and decides on a career change. He becomes an unpaid intern at a prestigious stock firm and his only source of income is selling bone density scanners to doctors and hospitals. During this time he has tax problems, home issues, family separations, and many other things that could plow down the spirit of any human being. The story is entirely predictable and it's just the performances that pull you through.

The movie flaws in the fault of the writer, Steve Conrad who has written past misfires The Weather Man and Wrestling Ernest Hemingway. The film is "inspired by a true story" and he made it into this unbelievable, downfall after downfall film that features Will Smith running entirely way too often and luck getting worse for no apparent reason. Logically, life does throw you curveballs and coincidences do happen, but come on, the audience isn't that stupid. We need a bit more substance than that. Been homeless? Parents struggle immensely raising you? Feel like you're doing good in life and then something comes and knocks you down? If you answered yes, to any of those questions, then you should be touched by this picture. The sequences of Will Smith becoming homeless and watching his spirit collapse with his son sleeping in his arms in a bathroom stall is really heartbreaking. Only because of Smith's powerful performance do you feel the fear and anxiety right beside him and that daunting wondering of what to do next.

The true revelation of the picture comes from Smith's young son Jaden Smith. May be more of the "cute kid" factor but I walked out of the theater thinking of him the most. His "knock knock" jokes, crying over his Captain America and general enlightenment of his father are the most poignant piece of the film. When the experience of the movie is over you want to know very badly where his son is and what he is doing. Jaden Smith created that for us; that love for little "Christopher" and wanting to teach him life lessons and make sure he doesn't get plowed by the negativity around him.

Italian Director Gabriele Muccino played the film extremely safe with shot to shot dialogue and leaving no room for artistic imagery. But it is a solid effort and I wouldn't hesitate to see his next American film. All in all, The Pursuit of Happyness is a movie that a family could enjoy together and it will make you grateful for what you have but take it all with a grain of salt. This film stretches the mind and not in a good way.

Grade: **1/2/****

Babel - 10-06

By: Clayton Davis



Walking into a movie theater there are neutral expectations that enters the average viewer, being entertained being the most prevalent, enjoy the moments ahead whether it's in comedy, drama, musical, etc. is important to every movie-goer. No person wants to waste time or money on a film that will be keep them in the realization of being in a movie theater. The next usually depends on what genre you are watching, in this case drama, you searching to be moved, possibly learn something that will open your mind, heart, and soul to a brand new idea. The idea usually pushes the bar to new extremes such as past films as Crash, Forrest Gump, and even though aging poorly American Beauty. Babel, the newest addition to the Alejandro Gonzalez Innaritu film series of unique narratives is an immense film with a beautiful cast ensemble that is dedicated to the cause yet it becomes insanely heavy to the viewer and forces an immediate disengagement from the film if even for minutes at a time to catch a breath.The film is told in four different languages: Arabic, English, Spanish, and Japanese. (I do believe there is some French in there too.) We are thrown into four interwoven, grim tales of racism, discrimination barriers and journey seeking courage.



Brad Pitt and Cate Blanchett play Richard and Susan, a married couple vacationing in Morocco to reignite any flame left of their marriage but a coincidence will leave them stranded in a series of conflict, tragedy, and helpless, thousands of miles from "civilization." Koji Yakusho and Rinko Kikuchi are "Yasujiro" and "Chieko," father and daughter living in Japan trying to rebuild a relationship since the untimely death of Chieko's mother. Two unknown young actors portray Moroccan brothers who instigate the events of the film. Adriana Barraza is Amelia, a Mexican nanny living in the United States taking care of Richard and Susan's children as they deal with their situation. Due to circumstances, she decides to travel to Mexico to attend her son's wedding with the children. Her unconditional care for the children is the emotional center of the picture and is where the film finds prosperity.The film is unusual but accurate, awkward but compelling, and bizarre yet organic. The film's cinematography is gorgeous panning in and out of the stories as if we were living right beside the disposition. Crisp, clear editing add to the depiction but this is where I needed the breather. The viewer never feels jaded by the narrative but as the writing is so thought provoking, the message being whispered, to say the least, feels at times being thrashed over the skull. I learned a lot which might be an understatement but there's a line between being taught and being abused. Several times, I had to close my eyes just to remember that my life isn't as bad as these individuals and that there is some communication between people without bloodshed, insult or tragedy.

The performances are by far one of the finest depictions of contemporary characters in recent memory. They're raw, intense, pure and actual in expressions as the actors deliver them to us. Brad Pitt gives his finest performance to date although not the best of the year by any measurement. Pitt finds the inner most personal parts of Richard and illustrates it to the audience. With his name alone, it should likely carry him to the top five. Baffles me how he is first billed, or any the four actors listed, and this is claimed to be an ensemble piece.(which it clearly is) The great Cate Blanchett whom is reserved to cries, screams and yells shows us she is still "Cate that Great," even in the smallest of roles.

The revelation of the film comes from the elder, Adriana Barraza and the young and fearsome Rinko Kikuchi. As stated earlier, Barraza's devotion to the children are the emotional center of the film but the role didn't become alive until the finale. Also, like Blanchett, she is relegated to simple, repetitive gestures but is given the chance to excel and shine right out the silver screen. Kikuchi, whom is deaf and mute in the film, is utterly heartbreaking. Let's imagine Holly Hunter from The Piano and multiply that by a death of a mother, a yearning to be loved, and a sincere feel of desperation. Kikuchi eyes alone will leave you shambles as the story progresses. It's her story that teaches this viewer the most but makes unfasten himself from the car and open the window for fresh air.Oscar prospects will more than likely see Babel in the Best Picture race with Innaritu locking up a director's spot. Directing in many languages should bring acclaim on its own before viewers even see the film. It was as if he spoke in the many tongues of language and everyone understands him perfectly.

Guillermo Arriaga is also locking up an Original Screenplay nomination and he is long overdue with past snubs with 21 Grams and Amores Perros. I believe it'll be Arriaga, Emilio Estevez for Bobby, and Michael Arndt for Little Miss Sunshine battling it out all season long. Editing and cinematography are also feasible. Babel is a great experience and I'm sure others will probably find out superb and tremendous but this is not Crash by any means rather belongs in a category all its own. Enjoy the experience.

Grade: ***1/2/****

A Guide to Recognizing your Saints - 9-06

By: Clayton Davis

There comes a time when motion pictures take an extraordinary turn, when and where that happens is irrelevant, although recently I've experienced a breathtaking turn in film making. The name of the experience is A Guide to Recognizing your Saints. First time director Dito Montiel created, based on own occurrences and adapted from his book, a personal picture engulfed in beautiful undertones of love, regret and forgiveness. The film is sculpted by a powerful screenplay by Montiel and an incredible cast who captured the best ensemble award from the coveted Sundance Film Festival. The film stars Academy Award nominees Robert Downey, Jr. and Chazz Palminteri, Oscar winner, Dianne Weist and a slew of incredible and upcoming talent coming from Shia LeBeouf, Rosario Dawson, Channing Tatum and Melonie Diaz. The movie parallels us through a downward spiral of daily entities and a burrow of absolution and adversity.

The movie cuts in and out of the years 2005 and 1986 and both center around Dito Montiel, a young Queens-born Italian trying to cope with the everyday hard streets of crime, prejudice and premature passion. In 2005 Dito lives away from his family and is contacted by his mother to return home to care for his ill and medically stubborn father. Robert Downey, Jr. plays the multi-layered character who carries the weight of the world on his heart. Dito's pain is so deep that he can't even believe or conceive a start to come to terms with it. Downey, Jr. has been making a strong comeback for his career and when he pulls in outstanding performances like this it reestablishes his talent. Shia LeBeouf portrays the young "Dito" in 1986 and pulls in one of the most riveting performances ever performed by a younger actor. LeBeouf shows you what it means not only to play a role but to inhabit it. "Dito" may seem flawless at times as he grows up and surrounds himself by his compatriots, but when he falls into temptation and wants the escape into an unrestrained humanity we see a true idol emerge. Dito's humanity is threatened by local thugs such as the Puerto Rican, Reefer and his relationship with his adverse father played by Palminteri. Throughout the film you see Dito trying to self-improve his life by conversations about relocating, expanding his friends with the new foreign student Mike and learning more about himself than he intends at his age. His circle of friends include the three "free-spirited" teenage girls from the neighborhood, his abused and violent friend Antonio, (Channing Tatum) the little man, Nerf, and Antonio's dazed younger brother Giuseppe. Dito searches for it including love with one of the ladies (Melonie Diaz (young) Rosario Dawson (old)) who captures the essence of innocence lost in between adolescence and the alleyway.Dito Montiel's life is the ultimate example of baggage accumulated over decades and inevitable recognition of it and eventual confrontation of it.

The movie is Kids meets The Basketball Diaries told in a Sleepers like narrative. The 21 Grams like cinematography is captivating and crisp editing makes a wonderful, enjoyable and imperative film to a generation lost in its own indulgence. Unfortunately, the film is far too "small" to be recognized by the Academy. If it were up to me this would be a definite contender in the Adapted Screenplay category and LeBeouf would be joining a very crowded Best Actor race. Downey, Jr. would also enhance his chances in the supporting category along with the upcoming project Fur. This personal portrait of culture and life exists primarily in the mind and suffering of Dito Montiel who painted this amazing representation. All who see the film will be yearning to recognize their saints.

Grade: ****/****

Bobby 06-06

By: Clayton Davis

Bobby which tells the story of the assassination of Robert Kennedy, the little brother of the late and also assassinated President John F. Kennedy, and what was going on 16 hours before it happened. We are thrown back and forth between 22 extraordinary characters and stories. Emilio Estevez writes, directs, and co-stars; he has truly elevated his level of direction and writing. This is coming from the same man who brought us hit and miss films like Men at Work and The War at Home. He parallels us through a journey of injustice, racism, prejudice, adultery, and more. This film much like Crash with its unsubtle undertones of encroachment could be the multi-character film that has the Good Night, and Good Luck feel that speaks assertively to America.

This film leads an all-star cast of some A and B-list actors. William H. Macy plays the manager of the famous Ambassador Hotel (which the Oscars were held at a few times) and Sharon Stone plays his wife and hairdresser of the hotel. Heather Graham plays one of switchboard operators whom Macy is having an affair with. Demi Moore plays Virginia Fallon, the alcoholic lounge singer who is set to introduce the doomed candidate of the presidency. Estevez portrays Moore's husband and manager being tormented emotionally by his wife's addiction. Lindsay Lohan, who has a step now to bring herself into more serious roles, depicts Diane, a young bride to be, who is marrying her boyfriend's brother to keep him from going to Vietnam. Elijah Wood plays the future and very grateful husband. Freddy Rodriguez known for his role in "Six Feet Under" and Jacob Vargas known for his supporting roles in Traffic and Jarhead, play Mexican kitchen staff members who are working a double shift and are in search of equality. Laurence Fishburne is Edward Robinson, an older black kitchen staff employee who is teaching his fellow compatriots about offering more to life than anger. Joshua Jackson and Nick Cannon are campaign managers for the infamous Bobby. Real life father of Emilio Estevez, Martin Sheen is Jack, a depressed older man who marries a younger woman portrayed brilliantly by Helen Hunt. Christian Slater is Timmons the very racist kitchen staff manager who is not subtle about his feelings towards minorities. And veterans Sir Anthony Hopkins and Harry Belafonte are John Casey, a veteran worker of the Ambassador and Nelson, an old friend reminiscing of the old days. And at the end we have a little Ashton Kutcher, Shia LaBeouf, and Mary Elizabeth Winstead.


The movie races against the clock to bring us into all these characters lives and show us about "Old America" and where we've come from. The film has it all, some comic relief coming from Kutcher, your strong political message, the dramatic elements, and the emotional punch that lays the icing on the already multi-layered cake. This is one of the most important films of the year and if justice is served this will be on many critics' top ten lists of the year. I can't explain too much about the film without giving away vital parts but it speaks to America. It shows a history of grave transgressions and how that may seem all behind us it is lucidly vigorous. The mention of Dr. King and his impact on people fighting for equal rights is mentioned quite of a bit and leaves in discernment. Bobby Kennedy was the light at the end of a lot of citizen's dark tunnel. People believed he was going to do some amazing things for us and we'll never know if he would have lived up to those expectations but I am now very informed of his life, legacy and how much he meant to so many individuals.

Emilio Estevez could very well be the Paul Haggis of the year with his excellent writing and direction of the film. I never would have thought he had it in him to pull off this passionate and affecting drama out of him. The performances are amazing but to be honest, with 22 different characters as oppose to Crash's ten or twelve it's hard to pick a standout. If critics go crazy for the film, I'd place bets for Laurence Fishburne who has already received raves for his Akeelah and the Bee, Helen Hunt's haunting and powerful performance very reminiscent of Julianne Moore's performance in The Hours, and possibly Harry Belafonte as the veteran of the year to make it to the short list for the first time. With these bets my favorites differ; by far Freddy Rodriguez as Jose who brings a sense of humanity to his role which mirrors Michael Pena's Daniel in Crash went home with me post-experience. I wouldn't even be hesitant to say Christian Slater was great as a racist who also mirrors Matt Dillon's Oscar nominated performance. Sharon Stone also left a beautiful impact on me to make long forget about Basic Instinct 2: Risk Addiction.

With all of these key components and sides of The Constant Gardener and JFK, this is the film of the year. Undying gratitude can be expressed to cast and crew involved in such a passionate masterpiece of film-making. The technical aspects of the film are eye-catching. The recreation of the Ambassador Hotel by unknown Colin De Rouin is beautifully constructed and is alone worthy of viewing pleasure. The cinematography always keeps the smooth flow of the film moving along with excellent editing coming from Richard Chew, the Oscar winner of a little bold masterpiece called Star Wars. Even the Mark Isham score definitely sampled from Thomas Newman adds to a melancholy yet invigorating memoir. A review such as this cannot begin to encapsulate the consciousness of Bobby it can only be a fishhook with enough thrust to get a viewer into a chair and enjoy respect, knowledge and background of one of the most notorious and resourceful men in the history of politics.

Grade: ****/****

Breaking and Entering - 11-06

By: Clayton Davis
Anthony Minghella’s latest work is as anomalous as it is rapture. The Academy Award winning director of The English Patient has brought brutal honesty of a different type of culture but I’m afraid the middle acts of the film leave the audience too disenchanted and by the final act when it finally does pick up, we are already lost in the quarrel of deceit and dialogue. Minghella brings us the story of Will, (Jude Law) an architect who has just opened up his own company with his long time business partner Sandy (Martin Freeman). Unfortunately, they open up on a rough side of London and have a few “B & E’s” before taking it upon themselves to sniff out the culprit. The culprit however, is a young fifteen year old boy, Miro (Rafi Gavron) who works for a gang of thugs who consists of his late father’s side of the family. The acrobatic Miro must jump railings, rooftops, etc. in order to shake authorities but somehow finds himself intrigued by Will’s architecture.


When Will is not sniffing, he is distancing himself away from his long time girlfriend Liv (Robin Wright Penn) and her behaviorally challenged daughter Beatrice. The strain on their relationship has been ten years in the making with their unmarried lifestyle and soon to become familiar nature. After many nights of sitting and having conversations with the local and extremely humorous prostitute, (Vera Farmiga) Will discovers his guilty party and pursues Miro all the way to his home. In Miro’s home he lives with his hard-working and loving mother, Amira (Juliette Binoche) and Will’s attraction is sparked immediately before even fathoming a mention of Miro. The two start a very involved and passionate love affair with Amira having no knowledge of Miro’s extracurricular events.

Minghella does a fantastic job of wrapping us in the story from the premise of the film but somewhere in the ladder we are left on the side of the road in an unbalanced rising action. In its 120 minutes of running time, the audience meets and greets the characters; we are brought intimately with each of them and like Minghella’s previous works, he introduces us with much dialogue but in this case it was not enough to suffice. While I admire the honesty, truth and expression of human weakness of the picture, I needed a little more to pull me along the story to keep me progressing. As usual Gabriel Yared’s score is evident and gives great conviction to each scene along with the beautiful camera work and editing and fortunately, the performances were sufficient enough to keep me intrigued in the story.

Jude Law regrettably is “Dan” from Closer for a good duration of the film but rest assure by the final act he gives his best performance to date. Not entirely sure what happened the first 2/3 of the film but Law completely lost himself in “Will” for the resolution and emerged a true leading thespian. It is Law’s final performance that saves the film from being ordinary to something a little more. I’m uncertain of his chances with the “Gold Man” because we’ve seen a Jude Law like this before and he’s had excellent chemistry with Minghella as we saw in his previous nominated works. I suppose there’s too much flaw in his armor to carry it all the way to battle.

Juliette Binoche has proved time and time again that she is a reliable actress to carry a film. As the refugee survivor “Amira,” Binoche stretches out her legs to give us someone utterly heartbreaking and unlike what we’ve seen before. The admiration for “Amira” is in her strong and undying espousal for her son. Amira is determined to set her son straight on a path and you can’t deny the love between them. It is in the intimate moments of laughing and kissing between the mother and son, that we find the emotional center of the tale. Minghella really deserves praise for directing and showing us one of the best mother-son moments of contemporary cinema. Binoche and Gavron are truly that good.

The standout and M.V.P. of the film is the no-less than perfect Robin Wright-Penn as Oscar’s favorite lady; the suffering wife or in this case girlfriend. Wright has taken large steps in Indie films the past few years but she gives the Swedish and beautiful Liv, a sense of humanity that actresses like Winslet and Weisz can only pull off. “Liv” is an attentive mother, a loving girlfriend, but a woman with a tortured soul that by credits end you bring home with you. Despite some of her accent flaws, which came from time to time, Wright never leaves “Liv” unattended and gives the film the backbone needed to walk a very rough road. If there’s any aspect of the film to nominate it is Robin Wright-Penn for charisma, zeal and dedication to a role that sounds formula-matic on paper but no formula in sight. There’s much fondness in “Liv” and many women can relate to her character which is probably why she’s so great. As this was being touted as Minghella’s best work to date, I might pass on that notion. We could see a worthy screenplay nomination and a much needed Maria Bello-like nomination for Robin Wright-Penn. (I’m telling you, it’s that good) Other than that, nothing spectacular about the movie although it may appeal to crowds of Minghella stalkers and lovers but not to this critic.

Grade: ***/****

United 93 - 4/06

By: Clayton Davis
Honorable, heart-breaking, proud, frustrating, angry, endearing, brave, unbelievable, morose, and about a million other verbs, adverbs, or whatever other superlatives you can think of will cross the mind upon the experience called United 93. This film opens up old wounds and creates new ones. How could this possibly happen? Why didn’t people move faster? Where in God’s name was Bush? Why them? Why us? You are put on the doomed plane with forty extraordinary ladies and gentleman. You are so proud when this film is over and not to be an American but to be a part of the human race. At mankind’s peek of expiration the spirit becomes alive and is evident in actions and words.

I try not to look at this subjectively. Living so close to New York City and witnessing the attacks happen right in front of your eyes does make this experience that much harder. I will agree with a lot of people and say this might have been too soon to start giving the different perspectives on the attacks but it’s been made and we have to deal with it. This is a film that you really don’t want to see that you should see. Paul Greengrass took a huge risk on making this film and he does the passengers, the families, and the rest of mankind justice. The most hurtful thing of this process wasn’t the actual things in the film taking place but the mystery that is left afterwards. We will never know in this world and lifetime what happened on that plane, we will never know what it felt like to be on that plane or to be the loved one of a person being called by someone on that plane, but we do know that if you are reading this review right now than you are alive and that is a blessing in its own.

There are no performances that stick out unless you give it to all the passengers as an ensemble. (hint: Screen Actors Guild) I’m not sure if this could make it to the ceremony. I on one hand loved the film for its brutal honesty and hate it because it’s a constant reminder of evil. I will probably never see this film again, I’ll own it on DVD just because I’m a freak like that but living through that day over and over again is just something I don’t want to do.

Possible nominations for Picture, Director, Screenplay, and the technical categories. If our Academy is touched as I am by this film they will want to reward it with at least a nomination otherwise it will play as another Passion of the Christ. Touches the hearts of people yet will stir up the controversy.

Your eyes will dry out, you’ll feel the sense of redemption, you’ll pray to everything higher than you that Paul Greengrass will make a different ending even though we all know how it ends. You want these people to live, you want peace, you want happiness, you want the love of the father to come down and prevent the tragedy from occurring but that doesn’t happen. What we are left with is a tortured heart and pain stricken soul that will always wonder why the beauty of mankind is shown in the unknown? A round of applause to the cast, crew, Mr. Greengrass, and to the individuals involved in the attacks for showing us that in the darkest hour of man, the brightest light can be shown and love can always breakthrough.

Grade: ****/****

Driving Lessons 11-06

By: Clayton Davis

From the writer of the critically acclaimed films, Mrs. Brown and Charlotte Gray, Jeremy Brock brings a touching heartfelt dramedy starring Academy Award Nominees Julie Walters and Laura Linney and from the Harry Potter series, Rupert Grint. The beautiful portrait tells the story of Ben Marshall, (Rupert Grint) a seventeen-year old boy being held captive in the heart of his religiously neurotic mother Laura (Laura Linney). After his school year ends he decides to take a job with a clever, free-spirited, and “heavy on the bottle” retired actress, Evie Walton (Julie Walters). The pair embarks upon wonderful adventures from camping to walks around the block to the simple conversations about life. Challenging the domineering mother, as well as each other along the way, the two develop a beautiful bond that revolutionizes both their lives.The comedic elements are flawless and precise especially coming from the British veteran, Walters. Brock uses his unique style to create an infamous and loving nature that first time directors could only dream. Directing comes naturally to Brock as he builds up stunning imagery that breaks the surfaces and plunges the viewer down into an overabundance of adoration and creation. Even the subtle score by unknown composers Clive Carroll and John Renbourn accentuate the tone and manner Brock had no trouble in generating.

Laura Linney is always making her mark in films as she does as “Laura.” The bossy and overbearing mother is at times unbearable and with Linney at the helm of it we are engulfed into that persona. The complexity of her character couldn’t have been more flawlessly portrayed by any actress. Rupert Grint breaks away from “Ron Weasley” and tries on someone new. His performance is more responsive than loquacious but Grint gives us someone brand new to child performances and the viewer thoroughly enjoys it.

The standout however, comes from Oscar nominated actress Julie Walters who gives “Evie” a life of her own. Despite the role being clearly a leading one, Walters fairs better in the supporting category where I believe she can simply take the prize. “Evie” is a mix of “Clementine Kruczynski” and “Mrs. Laura Henderson” with her free spirit and loveable persona that makes completely irrestiable. Hopefully her role will not go unnoticed this awards season. Driving Lessons isn’t an “out of this world” experience but a fine, enjoyable one that any viewer could just kick back and learn a little something about life, love, and friendship coming in the forms of the most beautiful colors and sizes.

Grade: ***/****

Running with Scissors 10-06

By: Clayton Davis

I'm afraid that first time director Ryan Murphy has no control of his film, Running with Scissors. Based on the personal memoir of Augusten Burroughs, it tells the outlandish story of young “Augusten” and during his formative years being given up for adoption to his mother’s therapist and all the craziness that followed. The underdevelopment of characters and ill-mannered direction of them is too “cartoonish” and too zany for my taste. The beautiful ensemble is enough to get the viewer into the seat and the comedic elements are excellent but there’s too much gap between premise and resolution to complete an already difficult tale to construct. The performances are what pull us through a rough ride and uncomfortable and annoying anecdote. Joseph Cross plays the young “Augusten” and does so well. Cross who can also be seen in Flags of our Fathers brings forth an admirable young performance. This is a great breakthrough performance by a male actor this year and I’m glad that both Eastwood and Murphy have stumbled upon him because he’ll be one to watch in the coming years. He plays flamboyantly yet controlled and heartbreaking; yet restrained along removing the layers each scene as the story goes to give us a rare and naked individual. I wish this performance was bringing more buzz for him but the film itself holds him back in the prickly nature of it. I foresee a few breakthrough awards for him this awards season.

Brian Cox was the “cartoon” of the film and I’m not sure who to blame that on. His character was like watching Daffy Duck do a Thomas Haden Church from Sideways impersonation. I didn’t like the way “Dr. Finch” flowed with the story; the immaturity undersized the image being brought and then suddenly the viewer is supposed to sympathize with this character out of nowhere which fails on every level. It’s a shame to see Cox’s talent wasted here.

Evan Rachel Wood was a revelation of the picture which smelled a lot like “Tracy” in her previous project, Thirteen but now she’s a year older. The sympathy in the story is flown immediately to her “Natalie Finch” who creates such a potent aura of refuge and concealment you can’t turn away from her. I’m glad she’s stretching out her acting legs and hope she won’t fall into the hole that Scarlett Johansson has fallen into, the “hot girl” who we’re all getting a little sick of. (but don’t get me wrong Johansson and Wood are both insanely hot.)

Joseph Fiennes has created a person I have never seen before and something I’ve never seen on him. He took on a character I couldn’t have imagined him taking on and ran with it. As the psychotic, gay-lover of young Augusten he truly gives more than a few mannerisms. He does the complete opposite of Cross and layers his character as each scene progresses and unleashes it so abruptly in the fury and anger of a character. But I’m afraid all that leaves quite a bad taste in my mouth after it ends. Gwyneth Paltrow and Alec Baldwin are not too much to talk about but their brief, a little humorous and nothing to marvel at.

Jill Clayburgh is the most “human” character of the story and the favorite of the entire team to this critic. As “Agnes Finch” she shows us Oscar’s favorite “suffering wife” believe it or not but quite a lovely take on her. She is a marvel to watch but Murphy and Burroughs bring up too many questions about her and leave them unanswered. Clayburgh enjoys her role but the writing doesn’t allow her to give us or her the necessary equipment to build her properly. She can make it in the supporting actress list with the way that mess of a race is looking.

And…Annette Bening is such a great female thespian and brings such a great presence to the screen. She took her role and ran so far with it that it literally came around the world a few times. I don’t even care about her questions that are left unanswered, she’s just a wonder in her own. Her “Deirdre Burroughs” is so zany and so crazy and Bening does deglamorizes her image into a wonderful surprise. She brought forth the same vulnerability and cattiness that Ellen Burstyn brought in Requiem for a Dream. I enjoyed her thoroughly and her performance will warrant her that nomination that critics are predicting but I’m afraid she will be (in the words of Johnny Alba, our Oscar Igloo editor) destined to lose if she plays out as a lead (which hurts her because she definitely is a lead). It’s such a tough call.

The film however is in no way coming out with a Best Picture nomination nor an unlikely screenplay nomination. A possible SAG Ensemble nomination is in hand if people like it enough but it’s tough to come alive to it when the story is so irritating and unbelievable. Running with Scissors is exactly what “running with scissors” is, STUPID!

Grade: **/****