My Top 10 Movies of 2013

Another year is in the books. Many thanks to everyone who read my blog over the past 12 months. This time around, I'm releasing this entry in phases just to have a little more fun with it. The full list should be complete before New Year's Eve.

Six months ago, I postulated that the best movies of the year would arrive over the course of the second half of the year, as per usual. I was right, not that this is a difficult thing to predict. During the spring and summer months, Hollywood is focused on blockbusters. They don't necessarily have to be good, they just have to give viewers another helping of their favorite franchises without being embarrassing. Anything shooting for something beyond that is dubbed as "Oscar Fare" and released in the autumn or later. It's all neatly compartmentalized. Everyone gets what they want, but there's a predictable rhythm to it all.

Nevertheless, I'm pleased to note that my Top 10 list here, in contrast to last year's, spread the ball around a little more. A vast majority of my choices in 2012 were released in the November-December timeframe. This time, only three films on the list fit that description as September, October, and even July received a little more love.

A few notes: don't expect any superheroes or other franchise favorites to make the list this year. Really, 2012 spoiled us with The Dark Knight Rises, The Avengers, and Skyfall. That's blockbuster representation we might not see again for a long time. The closest thing we had to that this year was The Hunger Games: Catching Fire, which, for what it's worth, I'd rank #16, just barely behind my five runners-up choices.

Also, I normally have a pretty easy choice most years in selecting my No. 1 movie. Not this time. I went back and forth many, many times between two films before finally settling on one. Really, they should be 1 and 1A, and either one of them would've ranked ahead of my No. 1 from last year (Looper).

On with the show! First, the five runners-up (in alphabetical order):

All is Lost

The Conjuring

 Don Jon

 The Place Beyond the Pines

The Spectacular Now













                And now for the Top 10, presented in reverse order with commentary:

10. The Wolf of Wall Street

Scorsese and DiCaprio are back and in great form, and this time they’ve taken things in a different direction. The Wolf of Wall Street is a bio-pic, but the filmmakers throw us a changeup by making this take on the slippery-dealing, hard-partying Jordan Belfort into a comedy. It makes for a fresher, not to mention more entertaining, approach than what we’re used to seeing with movies like this. And in all the times DiCaprio has worked for the director, this is easily the most wow-worthy performance he’s given.

9. Prisoners

Of all the movies in my Top 10, Prisoners has by far the most plot, and does it ever need its full 153-minute running time to tell it. It is both an awesomely unpredictable mystery thriller and a fascinating dive into brutally tough questions about morality and the law. Oscar buzz is curiously low for this movie and its stars (in particular Hugh Jackman, who is even better here than he was in Les Miserables), but don’t let that stop you from scoping this one out. It’s a superior thriller that not only keeps viewers guessing, but gives them plenty of after-movie debate material as well.

8. Blue Jasmine

It sure feels good to include a Woody Allen movie in a Top 10. And while the venerable actor/director has another winner on his hands, it’s his star actress who deservedly earns all the accolades. Cate Blanchett turns in career-best work here as a character who is deplorable for her superficiality and addiction to wealth yet nonetheless fascinating for all the same reasons. Blue Jasmine hits all the right notes with its commentary on elitism and mental illness, and just when you think you have the movie’s title character figured out, Allen introduces a final wrinkle that forces you to re-evaluate everything.

7. Her

Spike Jonze really knows how deliver movies that are unique, moving, darkly funny, and thought-provoking. He’s an auteur much like Quentin Tarantino, where a new film of his represents an event for a select group of movie-lovers. The basic premise of Her, that of a man starting a romantic relationship with a sophisticated, human-like Operating System, may sound ridiculous, but Jonze mines it for all its worth and takes the story in fascinating directions. Originality is at a premium these days in Hollywood, so it’s all the more refreshing when someone delivers something like Her.

6. Captain Phillips

Quite a few of 2013’s best movies are based on or inspired by a true story, and Captain Phillips is no exception. Though the ending is a matter of historical record, director Paul Greengrass’ movie is likely to enthrall and exhaust most viewers. It’s a more exciting movie than anything featuring superheroes or fast cars because the characters and situations connect and feel real. Throw in superb performances from the ever-reliable Tom Hanks and newcomer Barkhad Abdi and you’ve got a movie that should leave an impact on just about everyone, whether they’re looking for pure entertainment or something more.

 5. Disconnect

I can’t for the life of me understand why a drama this engrossing doesn’t have a place among the year’s Oscar hopefuls. Disconnect is nonetheless 2013’s great hidden treasure, a movie few saw but absolutely need to see for its blistering commentary on the darker side of social media. With a classic ensemble approach to storytelling that I always appreciate, all three of Disconnect’s story threads engage, intrigue, and enrich the viewer. I’ve seen it twice (it holds up extremely well on a second viewing) and sincerely hope movie-lovers everywhere see it at least once. It is for and about our Digital Age.

4. Blue is the Warmest Color

Yes, the graphic, NC-17-rated lesbian sex scenes in this movie caused quite a stir. But what makes Blue is the Warmest Color so memorable is that it’s about so much more than nudity and orgasms. It’s about a young woman’s very realistic struggle with life’s transitions, coming of age, and relationships. Lead actress Adele Exarchopoulos gives, in my humble opinion, the best female performance of the year, beating out Blue Jasmine’s Cate Blanchett by a whisker. The language barrier and three-hour running time appears daunting, but those two obstacles are surprisingly easy to overcome. Give it time and patience and you’ll be rewarded with one of the year’s most memorable experiences.

3. Gravity

Director Alfonso Cuaron went seven years between this film and his last one, and the wait was worth it and then some. Gravity represents technology in the movies used for its maximum impact; has the vastness and danger of space ever felt like as much a character in its own right as it does here? The story, while simple, is both realistic and resonant; this is not only about a woman’s fight for survival but about the gamut of emotions she runs through in trying to achieve it. Gravity also delivers a resounding message to Hollywood about the use of 3D; if you’re going to use it, make sure you only let filmmakers with vision handle it. I’d say Cuaron, like James Cameron with Avatar, fits the bill.

 2. 12 Years a Slave

I understand the counter-argument against 12 Years a Slave, that it provokes anger rather than healing, but I couldn’t disagree more. This blisteringly powerful movie deals with an overwhelmingly dark period in human history, and filmmakers who take on this challenge should absolutely not flinch from showing the ugliness of slavery nor the wrenching emotions displayed by everyone involved. 12 Years a Slave isn’t made to entertain viewers; it’s made to challenge and move them, and does it ever. Boasting superb acting across the board (in particular from Chiwetel Ejiofor and Lupita Nyong’o) and perfect pacing, director Steve McQueen has made the slavery-based film all others will now be judged by.

 1. Fruitvale Station

This is the only movie of 2013 that I feel goes beyond simply telling a great story and becomes a teaching tool. It breathes three-dimensional life into a main character that could’ve easily been depicted as little more than an angelic victim. Its endgame is phenomenal, delivering the hardest emotional punch of any movie this year in spite of the fact we all know its coming. Yes, some scenes deviate from the historical record of Oscar Grant III, but this isn’t a documentary. Instead, it’s narrative as statement, whether you interpret that statement as political, existential, cautionary, or all three. Fruitvale Station represents the timeliest and most transcendent film of 2013, and its impact will stay with me longer than any of its counterparts. It came out in July, and even after Hollywood’s rush of "Oscar" releases, it still stands alone for me as No. 1.

Review of The Wolf of Wall Street

When one thinks of a Martin Scorsese film, it's easy to conjure up images of violence, brutality, mobsters, sociopaths, and memorably profane dialogue exchanges. With the exception of that last part (more than 500 f-bombs this time around, folks), The Wolf of Wall Street is devoid of all those usual staples. Surprised? You shouldn't be. Consider that the director's two most recent movies before this one were a member of the "mind-fuck" sub-genre (Shutter Island) and a family film (Hugo). Scorsese possesses much more versatility as a filmmaker than many give him credit for, and with his sure-handed direction and phenomenal acting from all involved, he comes up with yet another winner with The Wolf of Wall Street.

Based on former stockbroker Jordan Belfort's memoir of the same name, The Wolf of Wall Street tells of the rise and fall of a man consumed by the "money above all else" mentality that infects New York's financial district. There's an important twist, however-- most of this plays out like a comedy. Yes, there are a few serious scenes and an important underlying message, but for much of the three-hour running length, Scorsese's film is shooting for the funny bone. Its success rate is remarkably high, and I commend the filmmakers for going this offbeat route. How many more standard-order bio-pics do we need, anyway?

The Wolf of Wall Street opens, believe it or not, with a dwarf-tossing contest. It's there we're introduced to Belfort (Leonardo DiCaprio), and we flash back to his early days of breaking into the stock industry. Unfortunately for him, he completes his Series 7 Exam and earns his license on Black Monday, the day of the largest crash since the 1920s. Soon out of work and looking to make some inroads, he discovers a small firm specializing in "penny stocks," applies for a job, and becomes an almost overnight sensation among his co-workers. When he becomes wealthy enough, he founds his own company, Stratton Oakmont, where he and his right-hand-man, Donnie Azof (Jonah Hill) help grow it to gargantuan levels. He eventually divorces his wife for a younger, blonde, former Miller Light girl named Naomi (Margot Robbie) and develops a serious addiction to quaaludes. The SEC starts to suspect something isn't quite right with Stratton Oakmont (after all, they're essentially running a gigantic pump-and-dump scheme), but that's nothing compared to when FBI Agent Greg Coleman (Kyle Chandler) opens a case on Belfort.

Leonardo DiCaprio, in his fifth outing for Scorsese, is clearly the director's go-to-guy, and rarely has the pairing flourished like it does here. DiCaprio is magnetic from beginning to end; he presents Belfort as an oily yet charming leader who knows exactly how to help anyone get rich quick but loses so much more in the process, including any sense of morality. His speeches to throngs of men and women, who work in such incredibly close proximity in the phone room that they resemble packs of wolves, are something to behold. Think Alec Baldwin in Glengarry Glen Ross or Ben Affleck in Boiler Room, only instead of that personality dominating a single scene, it carries an entire film. And yes, many of these are laugh aloud hysterical.

Scorsese's leading man receives admirable support all around from both big names and relative unknowns. Jonah Hill matches DiCaprio's manic energy stride for stride; a scene featuring the two of them tripping out on industrial-strength quaaludes is physical comedy at its finest. Australian actress Margot Robbie proves she's a lot more than a pretty face and a hard body with her lively performance, and the character is treated as such as well. Belfort didn't just dump one "plain" wife for a "hotter" one, he felt he had a connection with Naomi and later fathered two children with her. Not that it worked out any better for him. Finally, a cornucopia of familiar faces all delight with their various supporting turns, including Rob Reiner as Jordan's father, Jean Dujardin as a Swiss banker, and Kyle Chandler as the primary antagonist.

In most R-rated Scorsese films, the director pushes the limit of the rating through violence. Here, it's with sex and nudity. As such, Scorsese was forced to make edits to avoid being slapped with the dreaded NC-17, but even after that, the finished product is still chock-full of naked bodies (mostly female, some male) and kinky activities. The emphasis on hedonism is so overpowering that the movie can't help but lose a little steam at the beginning of its third hour (I'd say a running time of 2:35 would've made this movie just about perfect). It rebounds though, when the proverbial shoe eventually falls on Belfort and Scorsese's point about the dehumanizing effect of doing nothing other than chasing money, women, drugs, rinsing and repeating rings loud and clear.

Is The Wolf of Wall Street an Oscar contender? That depends largely on your definition of the term. This is certainly a movie about something, and it crackles with energy and powerhouse acting, but time will tell if the Academy deems it "too comedic" to be taken seriously. Nevertheless, this is a very strong piece of work from a leading man at the peak of his powers and a filmmaker who adds another strong chapter to his storied legacy.

Rating: ***1/2 (out of ****) 

Review of Her

Spoiler Warning: In the second-to-last paragraph, I hint at the film's ending. While I don't think knowing what happens ahead of time will in any way ruin HER, those who want a completely "fresh" movie-going experience may want to back out now and read this later. Your choice. 

With his fourth directorial outing, Spike Jonze has officially become one of those filmmakers you watch for and become excited for his projects. Whether he's adapting someone else's work (like Adaptation and Where the Wild Things Are), or cutting his movies from original cloth (like here and his awesome debut film, Being John Malkovich), his films are worth the wait for true movie-lovers. In a world of pre-packaged entertainment, Her is a breath of fresh air. By turns very funny and deeply moving and filled to the brim with thought-provoking material about our need to connect in an intrapersonal, technology-driven world, it's safe to say there's nothing else like this out there. The maxim "There's nothing new under the sun" may have met its match.

Her opens in a not-so-distant future version of Los Angeles. Thodore Twombly (Joaquin Phoenix) is a writer who earns a living writing personal letters from one stranger to another. He's frequently lauded for his work and has a few close friends, but there's something empty within Theodore. His ever-present lonliness, driven in large part by a divorce he's going through with his ex-wife, Catherine (Rooney Mara), is what prompts him to take the plunge and purchase an Operating System for his computer and smartphone. He chooses a female voice and is greeted by "Samantha" (voice of Scarlett Johansson). While the technology is largely intended to be something of a personal assistant for work files, Theodore and Samantha hit it off, and he discovers, much to his delight, that this AI seems to "get" him more than any "real" woman does.

As crazy as it sounds, a romantic relationship with an AI reveals plenty of universal human truths. Theodore and Samantha go through all of the expected sign posts, including a honeymoon phase (complete with a tastefully done virtual "sex scene"), double-dates with friends, an attempt to add a little "spice" to their relationship (in the person of a young woman acting as a "surrogate sexual partner"), and a fight. When Theodore's platonic best friend, video game designer Amy (Amy Adams), learns about his relationship, she reacts with curiosity rather than disdain, as does one of his co-workers. It's actually kind of refreshing to see supporting characters in a story like this be supportive rather than unnecessary complications.

As befitting of a movie with science fiction influences, Her is replete with social commentary. One could look at this movie as an example of where our society might be headed; how often in public places do you see scores of people playing with their smartphones, disconnected from the world around them? This movie possibly represents the next logical step by depicting individuals out in public conversing with their personal AIs.

Joaquin Phoenix is the glue that holds Her together. He's in every scene and he's an easy character to like and want the best for. Jonze's frequent, lengthy close-ups of the actor's face during conversations with Samantha are also extremely effective in making us feel like we're getting inside his head. Meanwhile, Scarlett Johansson has been drawing raves for her voice acting as Samantha, and it's easy to see why. The character may be an AI, but Johansson gives her personality and depth beyond the printed page; Samantha really does feel like a flesh and blood character.

Her is primarily a drama, but early on, it contains some of the most explosively funny scenes of any 2013 movie. A "phone sex" scene between Theodore and a chat room stranger goes to some very bizarre places, and a controller-free video game involving a swearing blue alien is a nonstop laugh-riot. Her lags a bit pace-wise toward the end of its second act, but it rebounds with a final act some will find heartbreaking. This is the way Her has to end. One of the film's most dominant themes is that there's no way to escape personal accountability in a relationship. Theodore finds it liberating to be with Samantha, thinking that the lack of a flesh-and-blood human being couldn't possibly have a downside, but we all know better.

Her is one of the most original, unique, and emotionally resonant movies of 2013. Its themes and visual style slide right into Spike Jonze's repertoire, and anyone who adored his previous three outings are sure to lap up this one as well. We need more movies like Her. Sure, it has legitimate Oscar aspirations, but watching this movie, I felt the sense that Jonze has actually made the film he wanted to make rather than simply casting his line hoping for awards to bite. Her hooks the viewer intellectually and emotionally from start to finish.

Rating: ***1/2 (out of ****)

Review of American Hustle

David O. Russell must be a very busy man. American Hustle is his third film in four years (following 2010's The Fighter and 2012's Silver Linings Playbook), and like the previous two, he's aggressively gunning for Oscar Gold. This time, he mashes the casts of both of those movies together and dips into the "period piece" well. American Hustle is based very loosely on the ABSCAM scandal in the 1970s, so loose in fact, that a caption helpfully reminds us at the beginning that "some of this actually happened." That's a perfect tone-setter for the film itself, which is wildly comedic, full of boundless energy, and steeped in nostalgic excess, right down the inclusion of multiple chart-topping hits on the soundtrack. 

American Hustle begins by introducing us to the meeting of Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams). He’s a skilled con-man on his own, but with her help (in the form of sex appeal and a convincing British accent), they become hugely successful at by preying on the greed of their clients. But one day, their games come to an abrupt end when they’re caught in a sting by FBI agent DiMaso (Bradley Cooper). Richie decides to spare jail time for the two lovers in exchange for them helping him climb the FBI's corporate ladder by nailing some big fish - Carmine Polito (Jeremy Renner), the mayor of Camden, New Jersey; congressmen; and maybe even some mobsters. Irving and Sydney go along with the scheme, but the scheme itself is far from the only complication they’ll face.

The con games aren’t just part of the movie’s central plot, they’re key with respect to every character’s relationship with others. No one in this film is who they seem, and the pace is so relentless that it takes a while for the pieces to snap into place. Russell also presents corrupt politicians in a different light than what we’re used to seeing. This isn’t a movie simmering with anger and cynicism; it presents some men as simply opportunists and some (particularly Carmine) with wanting to invest the money in a positive way for citizens of New Jersey. That’s consistent with the tone of the rest of the movie; though ABSCAM resulted in the corruption conviction of one U.S. Senator and six members of the House of Representatives, Russell recognizes the comedy inherent in how various parties bumble around with such a complex scheme.

Christian Bale is well-known for the extreme bodily makeovers he takes on from role to role. He’s been buff in American Psycho and the Dark Knight trilogy and skeletal in The Machinist and The Fighter, but this is the first time he tries on “fat” for size. Gaining 40 pounds, adapting a slouchy posture, and sporting a ridiculous comb-over, Bale disappears into Rosenfeld’s skin. Bradley Cooper plays Richie as the ultimate wanna-be Alpha Dog; he’s assertive, reckless, and a little unhinged. But he’s great fun to watch. Amy Adams handles the back-and-forth switch between accents with ease, and Jennifer Lawrence has a lot of fun playing a ditzy sexpot.

Oscar buzz abound for American Hustle, but for me, I fail to see anything that lifts it above its competition. It’s well-made, well-acted, and directed by a man with a unique sense of style, but it misses greatness. At times, the movie rambles, especially early on, and events unfold at such a dizzying pace that confusion occasionally results. Had this been a spring, summer, or early fall release, expectations for it would be lower, and that can factor in how a viewer perceives a film. Nevertheless, American Hustle is a triumph of style over substance, and it’s a welcome diversion no matter what the calendar reads.

Rating: *** (out of ****)

Review of Inside Llewyn Davis

The Coen Brothers' choice of setting Inside Llewyn Davis in New York's Greenwich Village in 1961 will not be lost on the musically astute viewer. In this movie's world, the impact of Bob Dylan has yet to be felt, and it's italicized in a scene where a producer informs the movie's title character "I don't see a lot of money here." Indeed, some will be wondering what happens just a few months down the road after this movie's story comes to a close. For those who don't know or care about such things, however, Inside Llewyn Davis is nonetheless another pleasing, quirky outing from the veteran filmmaking duo. And, as a bonus, it contains several era-appropriate songs guaranteed to get stuck in your head.

Inside Llewyn Davis is strictly character-driven. It follows a week in the life of a struggling folk singer (Oscar Issac) in Greenwich Village as he struggles to support himself. He seems misanthropic and disconnected with everyday life unless he's playing a song, where he displays remarkable talent. Without a permanent place to stay, he bounces from couch to couch, including those of fellow musicians Jean (Carey Mulligan) and Jim (Justin Timberlake). Llewyn's relationship with his sister is also fairly rocky. Late in the film, he takes a road trip to Chicago with oddball travelers Roland Turner (John Goodman) and Johnny Five (Garrett Hedlund) when a promising career opportunity materializes. And in the end, he must make a choice of whether to do what he loves for little compensation or give it up and take a steady job with steady income.

Llewyn Davis isn't the type of down-on-his-luck character who courts pity from a viewer. He's aloof, unfocused on his future, and can be a bit of a jackass at times. But he has just enough humanity (not to mention great skill at his craft) to have the average viewer hoping he catches a break in life. When playing his guitar and singing, we see a far more energetic and passionate man, and the Coens structure his songs almost like musical numbers in a Broadway play. Relative unknown Oscar Issac excels in the title role, both with the music (he does his own singing, as do Mulligan and Timberlake) and in everyday interaction with other characters.

Though this movie is straightforward and low-key, plenty of the Coens' trademark quirkiness can be found. The episodes involving a neighbor's cat (which Llewyn accidentally lets out and later carries around with him throughout the city) are frequently funny, as are the rambling stories of John Goodman's Roland Turner. And even if folk music isn't your cup of tea, the songs still have energy and verve, especially a wacky little number called "Please Mr. Kennedy." The use of a wrap-around framing device (involving Llewyn's confrontation with a mysterious stranger outside the cafe) isn't as effective, however. It seems to serve little purpose beyond shaking up the structure of an otherwise ordinary story.

In the end, while Inside Llewyn Davis isn't "great" Coen Brothers, it's still an offbeat, entertaining diversion. The movie itself won't have any legs beyond the art house circuit, and the performances, while solid, might not garner much attention in a massively crowded Oscar field. The soundtrack, however, has long-lasting potential. If you love the music, you'll love the film. Even if you don't, you'll still be impressed by the movie's immersive sense of time, place, and characters.

Rating: *** (out of ****)

Review of The Hobbit: The Desolation of Smaug

If any movie in the Hobbit/Lord of the Rings saga can be said to be all Peter Jackson and little (if any) J.R.R. Tolkien, this is it. When Jackson made the decision to split the novel "The Hobbit" into not two but three feature films, I'm sure we all knew that we would eventually come across "padding" material that Tolkien never intended to exist. On paper, this sounds like a recipe for disaster, but thankfully, much like last year's An Unexpected Journey, Jackson has successfully navigated most of the traps. With The Desolation of Smaug, this prequel trilogy announces itself not so much as "The Hobbit" but rather "The Hobbit-Plus," and that's okay as long as the end product entertains. This one certainly does.

After a brief flashback, The Desolation of Smaug picks right up with hobbit Bilbo Baggins (Martin Freeman), wizard Gandalf (Ian McKellan), and 13 dwarves led by Thorin Oakensheild (Richard Armitrage) as they resume their quest to take back the dwarves' homeland from the dragon Smaug (voice of Benedict Cumberbatch). After spending the night with a shape-shifting man named Beorn, they proceed through Mirkwood Forrest, where giant, unfriendly spiders await. They are saved by Elves, but later imprisoned when Oakenshield refuses to negotiate with the Elven king, Thranduil (Lee Pace). Bilbo eventually helps them escape, and they continue toward The Lonely Mountain (with a pit stop at the economically suffering human city of Laketown) with orcs in hot pursuit. Gandalf, meanwhile, splits from the group to pay a visit to Dol Guldur, the castle of the Necromancer, where he makes a horrifying discovery: the Dark Lord Sauron is returning to Middle Earth and preparing his troops for war.

The Desolation of Smaug is 20 minutes shorter than An Unexpected Journey as well as better paced. It's almost like the fantasy equivalent of an action movie, where the proceedings rocket from one set piece to the next. Tolkien's original work didn't have much room for elaborate chases and fights, but as presented here, they're a lot of fun and fluidly choreographed. The barrel escape sequence in particular is a standout; it may look like something out of a theme park ride, but it's a dizzying, whirlwind battle featuring moves and props that resemble that of a martial arts film. The dwarves as characters aren't as enchanting as the fellowship from the LOTR films, but those we get to know on a first name basis (not to mention Bilbo) are likable and worth rooting for.

Obviously, purists will be horrified with the liberties Jackson takes from a story perspective. But for me, the inclusion of elves Legolas (Orlando Bloom) and Tauriel (Evangeline Lilly), two characters never mentioned in the book, prove effective. They have just enough of a personality and character arc to add more flavor to this vision of Middle Earth. Jackson also expands the backstory of Lake Town shipman Bard (Luke Evans) to give us another multi-layered human character. Finally, the film introduces a love triangle of sorts between Legolas, Tauriel, and the unusually tall dwarf Kili (Aidan Turner), and as cheesy as it sounds on paper, it's a welcome addition that doesn't soak up too much screen time.

Ultimately, the film's title dragon must have his day, and that's when the film loses a little steam. Don't get me wrong, Smaug looks amazing, and Benedict Cumberbatch (with the help of some Darth Vader-ization of his voice) delivers all his lines with relish, but this portion of the film occasionally dips into the realm of silliness. Think about it for a minute; what use would a gigantic, articulate dragon have for piles upon piles of gold and nothing to do with it? At times, he resembles a Bond villain with too much talk and not enough ruthlessness. And the resulting 20-something-minute action sequence involving Smaug and the dwarves is well-filmed but far, far too long for its own good. This eventually leads to a cliffhanger ending that simply doesn't work. Yes, while every film in the series except for Return of the King ended with one, it followed a climax and a sense that something was accomplished. Here, it's an awkward, literal stopping point.

Nevertheless, these are nothing more than nagging flaws in an otherwise entertaining film. I never expected this "Hobbit-Plus" trilogy to enthrall and engage emotionally the way the LOTR films did, but two films in, they blend in well with the overall mythology. This quest-based story is still fun and well-paced enough for the movie's 160-minute running time to elapse fairly quickly, and Jackson's numerous additions are mostly beneficial. The Desolation of Smaug isn't an Oscar contender; it will have to settle for being a well-assembled fantasy action film. But hey, that kind of movie works just as effectively in December, perhaps even more so, than your average superhero film does in the summer.

Rating: *** (out of ****)

Review of All is Lost

It's tough to overstate what director J.C. Chandor has achieved with All is Lost. This is a movie featuring only one character, alone with sparse dialogue and no backstory, for more than 90 minutes, and it represents a gripping experience. It's minimalist filmmaking, sure, but it's highly effective and easy for one to be swept along. The weight of the entire movie working for a viewer rests on two things, the ability of Robert Redford to hold our attention, and Chandor's ability to build suspenseful scenarios. Both men score high marks, and that's why All is Lost works splendidly in ways you wouldn't expect.

The movie's premise (not to be confused with plot, since there is virtually none) involves a lone mariner (credited as "Our Man") stranded aboard his house-boat somewhere on the Indian Ocean. As the film begins, he notices his boat has collided with a crate, leaving a hole in the side, letting abundant water in and frying most of his electronic equipment. After patching up the side with cloth and lacquer, he notices a storm approaching. With dwindling food and water, calling this situation grim would be an understatement.

Survivalist movies featuring a lone character in peril have picked up in popularity in recent years. Hell, it represents the premise for one of 2013's best films (Gravity) and a multi-Oscar winner from 2012 (Life of Pi). But that's where the similarities end. In this case, Redford has no one, no radio chatter or wild animals or even Cast Away's Wilson the volleyball. Most of his dialogue is confined to an opening voice-over, and that means he must carry the film with facial expressions, body language, and actions. For doing this so successfully and bringing us into his corner, a Best Actor nomination at the Oscars (even more impressive considering the crowded field) is mandatory.

Giving Redford's character no name or background is a humongous risk. After all, without these basic tenets of movies to string us along, how can we root for him? But I can think of two reasons why All is Lost succeeds here. First of all, this man is depicted as not only resourceful, but unflappable. When the first accident strikes, he calmly goes about his business in cleaning up the damage. When the storm hits, he's all business. It's a portrait of how many of us would love to behave in such a situation even though most of us would probably wallow in despair. Secondly, as long as said character isn't a "bad" guy, why wouldn't we root for him to achieve the impossible? Those who view All is Lost and wonder why we should care with so little to work with should pause and consider the opposite.

Chandor varies the situations enough to keep us hooked. His handling of the storm sequence is superb, and the various beneath-the-water shots of swarming schools of fish help lend the movie a unique aesthetic. Because this decidedly not mainstream material (in spite of the participation of a screen legend like Redford), we're kept wondering throughout whether this man's battles with death will end in triumph or defeat. The ending allows for interpretations for either side depending on the viewer's mindset. All is Lost is the correct title.

Look, this movie doesn't really "work" the way most do. For many, the thought of putting one actor alone on screen (unless you consider nature or the boat to be characters) for this length of time might seem like an experiment too wacky to pull off. Still, in spite of the absence of many traditional movie staples, it's hard not to be impressed by what All is Lost has to offer.

Rating: ***1/2 (out of ****)

Review of The Hunger Games: Catching Fire

Middle chapters are where it's at for movie franchises. It's where George Lucas' galaxy far far away deepened every character's arc with The Empire Strikes Back. It's where Christopher Nolan delivered the best superhero movie of all time in The Dark Knight. Now Suzanne Collins' Hunger Games novels receive a superior adaptation with Catching Fire. No disrespect whatsoever to the first movie, which I enjoyed very much, but with this second outing, every facet has kicked up a notch, from acting to writing to direction. Much like those other movies I mentioned, this one also ventures into darker territory, which is especially noteworthy considering the "Young Adult" source material. Taken as a whole, Catching Fire delivers a fuller, more satisfying experience than any 2013 featuring superheroes. Chew on that for a minute.

From the get-go, we know we're in for a different experience. Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutcherson), fresh off of becoming the first ever co-winners of the Annual Hunger Games, are having difficulties adjusting. Katniss suffers from a form of PTSD, while Peeta yearns for an actual relationship with Katniss rather than the "for the cameras" romance that played to crowds so well a year ago. As victors, they're obliged to embark on a victory tour through the 12 outlying Districts, where President Snow (Donald Sutherland) quickly becomes displeased with how the citizens of Panem view Katniss as a symbol of hope and governmental defiance. Determined to quell a possible uprising, Snow and newly-appointed Game Designer Plutarch Heavensbee (Phillip Seymour Hoffman) introduce a wrinkle for this year's Hunger Games: pit 24 surviving champions against one another and hope Katniss is eliminated in a way that tarnishes her image.

The competition itself is structured like a Hunger Games All-Stars of sorts, but that's far from the only way in which Catching Fire ratchets up its game. Early in the film, we're forced to reassess the events of the first film and how truly despicable these Games are. Crowds of immaculately dressed citizens of the Capitol city are captivated by the annual blood-sport, but what about the casualties involved, not only the fallen Tributes, but the grieving families and former victors who must live the rest of their lives as government pawns? Catching Fire offers abundant commentary on death vs survival and argues that perhaps those who died fighting might have gotten off easy compared to those who live with the complex emotions of anger, grief, and trauma.

The switch in directors (from Gary Ross to Francis Lawrence) and screenwriters (Simon Beaufoy and Michael Ardnt taking over for Ross and author Suzanne Collins)  proves an invaluable upgrade. Lawrence unflinchingly marches Catching Fire into darker territory, depicting scenes of violence and beatings that come close to R-rated in nature. During the games themselves, Lawrence keeps his camera still so that we catch glimpses of every dodge and blow. The structure of the competition provides abundant tension; Katniss and Peeta have no choice but to form an uneasy partnership with "allies" including the athletic Finnick (Sam Claflin), the sour-tongued Johanna (Jena Malone), and tech-savvy Beetee (Jeffrey Wright). And while there's a love triangle present (with Liam Hemsworth's Cayle as the third wheel), it's a lot closer to Empire's Luke/Han/Leia in tone and maturity than Twilight Saga's Edward/Jacob/Bella, a fact many of us should be extremely grateful for.

Is there a hotter actress in Hollywood right now than Jennifer Lawrence (I'm talking career-wise as opposed to looks, although the latter certainly helps)? She's every bit as good here as she was in her Oscar-winning role from Silver Linings Playbook; Katniss is not only a mentally and physically strong heroine, but Lawrence's portrayal gives her more depth than in even the first film. Every returning supporting player, from Hutcherson to Hemsworth to a once again hilarious Woody Harrelson, is in peak form. Donald Sutherland pulls off a convincingly despicable villain without going over-the-top. And among the newcomers, the best and brightest is Jena Malone, whose character makes quite the entrance during her first scene involving an elevator.

Catching Fire ends with a brutal cliffhanger; some viewers might feel cheated until they use just a little brain power to remember that A) this is only the second film of a four-movie cycle, and B) Collins' novel ended the same way. Lionsgate made the right call in releasing this film in November rather than the overcrowded summer marketplace; it's superior mainstream entertainment, crafted with respect for its characters and its audience, and it will maximize its viewing potential. I eagerly await the final chapters of this captivating sci-fi tale.

Rating: ***1/2 (out of ****)

Review of Nebraska

You know what they say about road trip movies: the journey matters more than the destination. That's especially true when it comes to director Alexander Payne's sixth feature film, Nebraska. The main plot device in this film involves a road trip from Billings, MT to Lincoln, NE, and there's really only one possible outcome. But Payne's film is really about social commentary, how we view our lives when our most action-packed years are long behind us, as well as our desperation to get a piece of someone else's good fortune. Aided by a series of strong (some Oscar-worthy) performances and superb black-and-white cinematography, Nebraska is certain to delight anyone willing to sample its small-town charm.

The first shot of the movie depicts Woody Grant (Bruce Dern) walking along a highway when he's stopped by a police officer and detained. When his son, Dave (Will Forte), picks him up at the station, we learn that Woody intends to travel, come hell or high water, from his home in Billings, MT to Lincoln, NE in order to claim one million dollars which he believes he has won from a mailing sweepstakes. Much like Dave, we know it's all a scam, and Woody's wife, Kate (June Squibb) goes even further when she declares she's fed up with Woody's lazy ways and believes he belongs in a nursing home. Determining that Woody is dead-set on this quest and knowing that it gives him some measure of hope in his twilight years, Dave decides to take a few days off from his electronics retail job and accompany his old man on the trip. Along the way, circumstances force them to make a stop in Woody's hometown of Hawthorne, where news of his situation spreads among old friends and family members faster than a wildfire.

Nebraska is about reflection, whether that's Dave slowly beginning to understand what makes his father tick, or Woody, who seems to take the inevitability of dying with little more than a shrug. Two of the movie's best scenes bring this to the forefront. One occurs in a cemetery, where Kate lashes out with colorful commentary about Woody's late relatives, and another depicts Woody, Kate, Dave, and the latter's brother Ross (Bob Odenkirk) taking a tour of Woody's former childhood home. This topic may sound tailor-made for a Lifetime movie hoping to boost Kleenex sales, but Payne isn't interested in going that route. Instead, he makes his point with low-key humor and scenes of quiet introspection.

As tricky as it is to write and structure a film around a barely-coherent character like Woody without turning him into a caricature, it's equally as difficult to portray him with humanity. 77-year-old Bruce Dern accomplishes that and then some. Dern doesn't have a whole lot of dialogue per scene, and that means he must inhabit his character through mannerisms, gait, and tone. He delivers masterful work as a man who seems nonchalant about what others say and think about him but ultimately acts that way only to mask his true insecurities. Forte is superb as well; the once ubiquitous former SNL cast member has come a long way and proves he can handle weighty material. And then there's June Squibb, who delivers most of the flim's best lines with sour-tongued delight. But Kate has plenty of humanity as well beneath the cynical exterior. Oscar nominations for Dern and Squibb appear inevitable, and rightfully so.

A secondary theme in Nebraska involves the greed and pettiness of Woody's relatives as well as former business partner Ed Pegram (Stacy Keach). It isn't long before some of them come calling for a share of Woody's winnings, believing they're entitled to it because of favors from long ago. The idea will resonate with many people who have experienced such things in real life, but a few too many of the bit players in this movie are too cartoonish to be entirely believable. There's also that minor nagging question of why the long stopover in Hawthorne is even necessary at all. Woody and Dave could have easily made the trip from Billings to Lincoln without any drama whatsoever. But then there wouldn't be a movie, would there?

In spite of contrivances from a plot standpoint, Nebraska feels true to life when it concentrates on a small group of characters and their attempts to rebuild fractured relationships. The movie doesn't ascend to the heights of some of Payne's previous films like Sideways or The Descendants, but it's definitely a worthwhile experience and a pleasant change of pace.

Rating: *** (out of ****)

Review of The Best Man Holiday

Imagine a sequel, made 14 years after the original film, in today's Hollywood. Normally, such a cash-grab of an idea would reek of desperation, but thankfully that's not the case with The Best Man Holiday. This movie came about because director Malcolm D. Lee and the cast from the original The Best Man were interested in having a reunion, plain and simple. And so, with the entire gang back in the fold, Lee succeeds once again with a slice-of-life tale combining equally effective comedy and drama. There's nothing subtle about this movie; The Best Man Holiday is striving full-throttle to embrace that bygone saying, "You'll laugh and you'll cry." But damn it, you'd have to be the bleakest of cynics not to go along for the ride at some point during the movie's 2-hour running time.

The Best Man Holiday opens with a recap of events from the 1999 feature, showing how each of the primary characters' lives have progressed in the past decade-plus. Harper (Taye Diggs), the author whose book caused plenty of controversy in the first movie, is suffering from writer's block. He's also under dire financial stress, which is especially problematic since he and his wife Robyn (Sanaa Lathan) are expecting their first child. He accepts a Christmas party invitation from his estranged best friend Lance (Morris Chestnut) and his wife Mia (Monica Calhoun) in hopes that he might be able to score the rights to write Lance's biography. Lance is an NFL running back approaching retirement and close to breaking the all-time rushing record, but he vehemently opposes someone telling his story. Joining them are Harper's ex-flame, TV producer Jordan (Nia Long) and her new boyfriend, Brian (Eddie Cibrian); as well as couple Julian (Harold Perrineau) and Candice (Regina Hall). Playing the 9th and 10th wheel of this party are bitchy reality-TV star Shelby (Melissa De Souza), and the freewheeling, uninhibited Quentin (Terrence Howard). As one might expect, over the course of the weekend, long-dormant wounds and rivalries are renewed before a tragedy brings everyone together.

The dominant strengths of The Best Man Holiday, as was the case of the the previous film, are dialogue and character depth. The setup and trajectory of this movie may seem cliche, but the characters act believably and easily rope us into their corner. In spite of the 14-year gap between movies, this film doesn't as much to say about how relationships change over time as, say, Richard Linklater's Before Midnight. Instead, The Best Man Holiday is about overcoming struggles with communication and the difficulty of healing old wounds, and that's something every viewer can relate to. Even in its later stages, when the film takes a sharp left turn from comedy/light drama to full-on melodrama, it still treats its characters and situations with respect.

Acting is strong across the board, which is no surprise considering that playing these characters again must feel like putting on an old pair of gloves. Taye Diggs is once again superb as a decent but flawed man trying to reclaim past glory as well as deal with impending fatherhood. Equally effective is Morris Chestnut, whose character has grown into a model citizen with a creed of "God, Family, Football, in that order," but still has trouble letting sleeping dogs lie. Also, in spite of the word "man" in the title, the actresses share nearly equal screen time. Monica Calhoun, Nia Long, and Sanaa Lathan are especially strong, and the first member of that trio nails all of the movie's most emotional moments without once going over the top. Finally, Terrence Howard is an absolute delight. He's mostly comic relief, but 90% of the film's funniest moments come from him.

Lee's film occasionally shows the seams. As well-written and well-acted as this movie is, it doesn't need a stock soundtrack kicking in at just the right moments for maximum effect. Some of the subplots, particularly those involving Melissa De Souza's Shelby, don't work as well as intended and are resolved a little too conveniently. In order to fully flesh out all ten characters, The Best Man Holiday might have needed a running time approaching three hours. And the football scenes, at least for this loyal viewer, ring utterly false. But these are small blemishes on an otherwise rewarding experience.

The Best Man Holiday provides an interesting counterpart to 2013's movies about race relations. Frankly, as strong as some of those films are (including two of my favorites of the year, Fruitvale Station and 12 Years a Slave), we need movies like this one too-- stories with all-Black casts that deal with relationships and communication rather than violence or racism. Plus, this movie's themes are universal; audiences of other ethnic backgrounds need not feel left out. The Best Man Holiday has all the elements of a crowd-pleaser in place and delivers whats expected of it. And with the film ending on a note that promises another sequel, hopefully we don't have to wait anywhere near 14 years for a third outing. I, for one, would welcome one.


Rating: *** (out of ****)

Review of Thor: The Dark World

Every long running franchise has a "meh" episode or two, the kind of outing that's competently made and has its moments but ultimately doesn't belong on a highlight reel. Thor: The Dark World represents that chapter for Marvel's Cinematic Universe. There's certainly nothing radically wrong with the film; it functions on a level that superhero die-hards will appreciate, but when it's all over, one can't help but feel just a little empty and less satisfied than usual. Sure, it offers impressive big-screen spectacle and will make a lot of money, but we're probably going to have to wait until Avengers: Age of Ultron for that "wow" experience the genre now demands.

By setting most of the action on other planets, Thor: The Dark World neatly sidesteps that nagging question of "Where are the other Avengers?" Indeed, none of the major players are around; S.H.I.E.L.D. also gets a few passing mentions, but nothing more. Instead, this adventure concerns Thor (Chris Hemsworth) and company cleaning up skirmishes in the other realms. A Dark Elf named Malekith (Christopher Eccleston), one of the Asgardians oldest and thought-to-be-dead enemies, has his sights set on ruling all nine realms by way of dark magic called the Aether. When scientist Jane Foster (Natalie Portman) comes into contact with this dark magic during a routine investigation of paranormal activity, Thor has no choice but to return to Earth, bring his former flame back to Asgard, and shield her from the advancing Malekith.

For some reason, Thor: The Dark World feels less like a Marvel outing and more like the lost Star Wars prequel episode. The similarities are too obvious to ignore; we have ship-to-ship combat, action on multiple planets, henchmen who behave a lot like clones/Stormtroopers, a villain with about as much character development as Darth Maul, and of course, Natalie Portman forgetting how to act. The movie moves at a brisk pace, but it feels disposable. Sure, many superhero films revolve around stopping some variation of Armageddon, but there has to be something unique about the story for it to stand out from the crowded pack. A great performance, an awesome visual style, social commentary, something. Thor: The Dark World has a few inspired moments (like a particularly hilarious "cameo" from another Marvel character and Thor's amusing reactions to modern-day London) but not nearly enough of them to justify a trip to the theater.

The decision to make Loki (Tom Hiddleston) a prominent supporting character is a wise one; his scenes are by far the most compelling in the film. The fascinating family dynamic between him, Thor, Odin (Anthony Hopkins) and Freda (Rene Russo) occasionally lifts the proceedings out of B-movie territory. If only the same could be said of the main villain. Malekith certainly looks the part of a menacing guy, but his motives are nothing beyond simple megalomania. Christopher Eccleston is given very little dialogue or dimension to chew on for this role and is largely wasted. Finally, while Chris Hemsworth is once again comfortable and commanding in the title role, he shares very little chemistry with Natalie Portman. By misfiring with the main villain and love interest, Thor: The Dark World digs itself a hole that it can never fully climb out of.

Director Alan Taylor (best known for helming episodes of Game of Thrones) certainly seems at ease with this material; the movie is always interesting to look at and contains a few genuinely eye-popping scenes (an Asgardian funeral, for example). Likewise, the one-on-one throwdown between Thor and Malekith is clever in how it shows the two combatants zipping in and out of time and space from planet to planet. On the whole, however, this is a generic adventure. Without characters we've come to care about in the first Thor and The Avengers, this wouldn't be worth seeing at all. As it is, Thor: The Dark World is moderately entertaining but really best served for completists. Non-die-hards can skip this chapter and wait for the next Avengers team-up without having missed anything terribly important. 

Rating: **1/2 (out of ****)

Review of Blue is the Warmest Color

Funny how controversy in the movies always tends to overwhelm and trivialize the movie itself. Say hello to Blue is the Warmest Color. This is a three-hour-long, NC-17-rated French film about a lesbian relationship, but to remember it only for it's highly explicit sex scenes and the beef between the director and lead actresses would be doing it quite a disservice. In spite of the same-sex pairing, this is a movie about relationships in a broader sense and the intense, emotional difficulties one struggles with growing up and trying to determine what "love" really is. There's a universal truth in what it has to show and say. You might be lured into this movie by the sex, nudity, and controversy, but give it time and patience, and you'll leave having witnessed a powerful, emotionally draining journey.

Blue is the Warmest Color spans roughly 10 years. As it begins, Adele (Adele Exarchopoulos) is a junior in high school and a virgin. Her friends give her a good ribbing about making the jump to womanhood, so to speak, so she does just that with a male classmate who takes an interest in her. Ultimately, she's unfulfilled by that relationship and ends it. A brief fling with a female classmate also ends poorly when the other girl doesn't reciprocate Adele's feelings. But during this period, she briefly makes eye contact with a tomboy-ish, blue-haired young woman in a busy street. It doesn't take long for Adele to become obsessed with finding her again.

Flashing forward an unspecified time later, Adele runs into the blue-haired woman at a lesbian bar and the two strike up a conversation. The woman's name is Emma (Lea Seydoux), and their mutual attraction and shared interest in fine arts lead to a friendship and eventually a steamy love affair. After finishing school, Adele moves in with Emma, becomes a schoolteacher, and serves as a muse for Emma's painting career. But the trials and tribulations of any long-term relationship await, and Adele isn't anywhere near as emotionally mature as her partner. A key mistake by Adele leads to an inevitable confrontation.

Anyone in a theater showing Blue is the Warmest Color is likely aware of how this movie generated so much controversy in its native France. It contains three sex scenes of Adele and Emma, fully naked, contorting their bodies in pretty much every position imaginable. Not only are these scenes unquestionably enough for this movie to earn its NC-17 rating, but the first one is incredibly lengthy. At the Cannes Film Festival, where this movie won the Palm D'Or (the festival's Grand Prize), some critics railed against Kechiche for being misogynistic and exploitative. After all, what do you think of when you imagine lesbian sex scenes filmed by a male director? But there's a larger point to this.

Having seen the entire movie, I argue that since these scenes represent the "honeymoon" phase of the relationship, Kechiche wanted to make sure a sense of white-hot passion, excitement, and discovery is conveyed. It's as stark a contrast as possible compared to what happens later in the movie, when it becomes abundantly clear that Adele is one of those people who craves this phase and wishes it would last forever. But we all know it can't. The hard work and soul-baring that goes with the territory is something she's ill-equipped to handle. Such is life. When I look back on this movie's most memorable scenes, the sex and nudity place second to the two emotionally crushing scenes that come later (one where Emma confronts Adele and another when the two meet later at a restaurant).  

Blue is the Warmest Color missed the deadline for consideration for Best Foreign Film at the Academy Awards, and it's likely that its big star will sadly miss out on a nomination as well. Simply put, Adele Exarchopoulos is extraordinary. She nails every one of her character's emotional highs and lows, even in scenes devoid of dialogue. Lea Seydoux (probably last seen by American audiences as the woman Owen Wilson ends up with at the end of Midnight in Paris) is every bit as impressive, although her role isn't as large. This is Exarchopoulos' film; she's literally in every scene and has us caring about her from the outset. I can throw out all the usual superlatives commending the two actresses for their bravery in baring their bodies, but what's more impressive is the way they bare their souls.

Director Abdellatif Kechiche is a man with a master plan when it comes to presenting this lengthy coming-of-age tale. He establishes the tone early with abundant close-ups (particularly of facial features), long takes, and vivid colors. We feel closer to Adele and Emma not just because the movie takes its time, but because Kechiche's camera literally puts us closer. Exarchopoulous and Seydoux may have lashed out at him in interviews for being too much of a taskmaster (some scenes required as many as 100 takes), but while they may have a point, the work of all three ultimately speaks for itself. 

And so comes the million-dollar question that faces every three-hour movie: is it too long? In this case, probably, but not by much. Some individual scenes and conversations drag more than necessary. And those who are only seeing this movie for hot sex may want to reconsider. Within the total running time of 180 minutes, maybe 10 to 12 feature female nudity. Not a promising ratio if that's what you're after. A lot has to happen before the movie even reaches Adele and Emma first meeting. The first hour or so unhurriedly depicts Adele's high school and home life, and both are key to understanding who she is and what makes her tick.  

It goes without saying that Blue is the Warmest Color is for adventurous moviegoers only. I stayed in my seat engrossed by the experience, and it will stick with me for a good long while, but those who don't appreciate movies driven by character development and dialogue will not feel the same way. In spite of the lesbian angle, this is thankfully not a movie with a political agenda, either. It's about relationships, love vs lust, and emotions (much like Brokeback Mountain, a good analog for this). The controversy surrounding this movie, as far as I'm concerned, just raises awareness, and that's a good thing because it draws in more viewers to a truthful film that might not otherwise have ensnared them.

Rating: ***1/2 (out of ****) 

Review of 12 Years a Slave

Many movies are made to entertain. Even those with strong dramatic underpinnings ultimately want audiences to leave feeling good about the world or at least satisfied with a night's excursion. But then there are those that seek to challenge, to provoke, and to teach. Steve McQueen's 12 Years a Slave, the third and easily the most accessible of the up-and-coming British director's career, accomplishes all three of those goals and does so in an uncompromising manner no one will forget. It's an uncomfortable watch, but that's entirely the point; McQueen fashioned this motion picture in order to peel away any misconceptions of slavery in the movies and display the horrors for what they truly are. And much like another superior 2013 movie about race relations (Fruitvale Station), the "Based on a True Story" blurb (on Solomon Northrup's 1853 memoir) amplifies the effect.

As 12 Years a Slave begins, we're introduced to Solomon Northrup (Chiwetel Ejiofor), an educated, free black man with a wife and two children living in Saratoga, NY. He displays great talent with the violin, and professional illusionists Brown (Scoot McNairy) and Hamilton (Taran Killam) make him an extremely lucrative offer for him to join their travelling circus. It's all a ruse, of course, and after a night of drinking and partying, Solomon wakes up in shackles, learning that he is about to be stripped of his identity and sold into slavery. There is nothing he can do to protest, and after being forced into a new identity as a Georgia runaway named Platt, he ends up at the New Orleans mansion of Master Ford (Bennedict Cumberbatch). Ford is significantly less cruel than most slavers, but the same cannot be said for his hotheaded assistant, Tibeats (Paul Dano). When actions by Solomon threaten to splinter the relationships of the plantation owners, Ford has no choice but to sell him to the only bidder, the relentlessly monstrous Edwin Epps (Michael Fassbender) and his nasty shrew of a wife (Sarah Paulson).

12 Years a Slave is a first-person account of Solomon Northrup's ordeal. Free from any pretensions of offering a cathartic revenge fantasy like last year's Django Unchained did, McQueen takes the material down to earth and displays the conditions of slavery as nothing less than atrocious and without the smallest kernel of traditional "entertainment" value. But just because every living American understands the atrocities of slavery doesn't mean there weren't incredibly complex forces at work during the time, especially with respect to the relationship between masters and slaves. In one scene, Master Ford is referred to by Solomon as "a good man, considering the circumstances" while another character, mourning the separation of herself from her children, vehemently disagrees. In pre-Civil War America, where human beings don't even have equality under the law, concepts like right and wrong, good and evil, are warped in the extreme.

Lee Daniels' The Butler depicted a schism in two characters' views on the role of the Black man in America during the Civil Rights Movement, but that's a conflict that characters in McQueen's film and in this particular era would've yearned for. Solomon faces a war of emotional will, but the stakes are raised. Early in the film, a fellow captive warns Solomon to let no one know of his ability to read and write lest he suffer an ugly fate, and so he takes that advice, all while adopting a "don't rock the boat" attitude that he hopes will serve him well. That mentality keeps him alive and hoping but does no good in lessening the amount of punishment he receives when compared to others. Ultimately, Solomon's refusal to play the victim in spite of being horrifically victimized is what propelled him to eventually return home (hey, that's not a spoiler, it's in the title).

The maddening complexity of master/slave relationships extends well into the Epps plantation story thread, where Epps displays a sickly sexual fascination with his best cotton picker, a young woman named Patsey (Lupita Nyong'o in her feature debut). His wife knows what's going on and despises both him and her equally, demanding that he beat Patsey within an inch of her life to teach her a lesson. And so Epps must struggle to come to grips with what he's really feeling toward this woman. It's almost as if Michael Fassbender is re-visiting territory in McQueen's last film, the sensationally provocative sex-addiction drama Shame. And a late conversation between Epps and hired help Bass (Brad Pitt) about morality versus the law is fascinating without being the least bit preachy.

When Academy Awards nominations for acting ring in, 12 Years a Slave has every right to a stream of them. Chiwetel Ejiofor has been a steady, dependable actor for well over a decade, but this is his shining moment. His acting with his eyes, face, and body language speak every bit as loudly as his passages of dialogue. Fassbender is, of course, brilliant once again in a supporting role, and newcomer Lupita Nyong'o burns up the screen with her raw, passionate display. The single most uncomfortable moment in 12 Years a Slave involves an extended whipping, and it's where the performances of all three involved reach their peak. Supporting players including the good (Brad Pitt), the ambiguous, (Benedict Cumberbatch) and the disgustingly ugly (Paul Giamatti as a trader) are all excellent.

McQueen has made a movie that will play well with mainstream audiences who know what they're walking into, but he still retains stylistic elements from his previous, lower-budgeted endeavors. He's fond of long takes and close-ups, and he unleashes a truly memorable master shot upon us during a scene where Solomon is hanging by a noose with only his tip-toes on the ground saving him from strangulation. Passers by roam in and out of the scene as time passes, the director daring us not to look away. Also noteworthy is a scene featuring Tibeats singing a song filled with utterances of "nigger." McQueen lets the song segue into the next scene as if to dare us into getting it stuck in our heads. Some may call this manipulative, but there's a method to the madness. McQueen is striving for a sense of discomfort, where even small scenes of relief are tinged with bitterness.

Is 12 Years a Slave, with its lofty goal of enriching and telling a story about one of the ugliest stains in American history, so-called "Oscar Bait?" No more than superhero movies are box office bait. Cinema has been waiting for a definitive, serious-minded, single-movie take on a slavery-based story (before now, you could argue Roots, but that was a mini-series). We now have it. And in spite of all the gut-punches this movie delivers on an emotional level, the story is at its core about the will to survive in the face of unfairly enormous odds. For its uncompromising vision, fearless emotional power, brave performances, and emotionally complex characterization, 12 Years a Slave demands to be sought out.

Rating: **** (out of ****)  

Review of Captain Phillips

I'm always amazed at how much tension filmmakers can wring from a situation where everyone in the audience is aware of the outcome. Ben Affleck did it so well with last year's Argo that he won an Oscar for it. Now Paul Greengrass has successfully mined similar territory with Captain Phillips. This is a white-knuckle thriller that, in spite of the presence of military and pirates, is all about matching wits. The fact that the ending is a matter of public record does very little to defuse the suspense the director wants us to feel. And to top things off, Greengrass even provides room for social commentary, although it is used sparingly so as not to slow down the fittingly relentless pace.

Captain Phillips is based on a non-fiction book written by Captain Richard Phillips and Stephen Talty entitled A Captain's Duty: Somali Pirates, Navy SEALS, and Dangerous Days at Sea. It depicts events from April 2009 where a group of four Somali pirates successfully hijack the merchant vessel Maersk Alabama. Captain Phillips (Tom Hanks) and his crew are initially able to outsmart the pirates and keep them from taking lives, but Phillips is eventually taken hostage by the pirates aboard a lifeboat. This triggers a game of moves and counter-moves between the pirates and the US Navy. After a brief setup, Greengrass' film devotes relatively equal time to the action aboard and ship and the hostage situation.

The advertising material markets Captain Phillips as being "From the Director of The Bourne Supremacy," but a better analog may very well be Greengrass' 2006 film United 93. That film established a unique, "you are there" perspective in depicting events from 9/11, and the director achieves similar success with this tale in American history as well. The sense of claustrophobia is undeniable and the threat of death always palpable, whether the situation involves the pirates hunting down Phillips' crew in dank, dark corridors, or the constantly escalating sense of dread aboard the lifeboat. As is the case with a Greengrass film, shaky-cam style is evident, but since this is a film about a battle of wits rather than explosions and fights, the chaotic approach works greatly in its favor.

Captain Phillips doesn't offer as much insight into the socio-economic realities of Somalia as a novel or documentary might, but the few scenes Greengrass displays it speak loudly and lucidly. The two main scenes of setup, one involving a casual conversation between Phillips and his wife about how much tougher the job market is today, and another involving the recruitment of pirates for hijacking jobs, set the tone for what's to come. Later, when Phillips remarks to the pirate leader that there has to be more to life than fishing and stealing, he replies, "Maybe in America, Irish. Maybe in America...."   Finally, Captain Phillips addresses Stockholm Syndrome, namely the idea that a captive can develop a meaningful connection with his captors even as he desperately wishes to be rescued. The final scene argues that not only is it possible, but it can prove emotionally devastating.

For the most part, the only actors whose performances matter are Tom Hanks and the four unknowns making their feature debuts as the pirates. Hanks is once again in top form as a very relatable man who acts believably in extraordinary circumstances. Phillips is unarmed and physically outmatched, so he must rely on his guile and smarts to gain the upper hand on his captors. Barkhad Abdi has the most visible secondary role as the pirates' leader, and he's an excellent foil for our protagonist. The lack of experience among all four actors is hardly a drawback. By spending so much time with the established enemies of the conflict, Captain Phillips lets us get to know them as people, and that can't be underestimated in the role it plays in involving us on an emotional level.

Captain Phillips will leave most viewers exhausted. From the first sight of the pirates headed toward the Alabama, the tension never lets up. Again, while the resolution of the movie's main conflict is a matter of historical record, it's quite a treat to absorb all of the details in how it plays out. I'm sure Captain Phillips will play its part in the Oscar race; it's a classic thriller with all of the important elements that helped out not only Argo, but also Zero Dark Thirty as well (the presence of SEALS strengthens the connection with the latter). This is top-notch entertainment that should please just about everyone.

Rating: ***1/2 (out of ****)

Review of Gravity

Gravity is a phenomenal, awe-inspiring movie-going experience. Not just a very good, highly-recommended one, mind you, but a truly great one. It delivers a relentlessly suspenseful tale of survival and the indestructibility of the human will, and it does so in a manner we've never before seen. In a way, dedicating a couple of paragraphs reviewing it is almost silly because with something like this, seeing is believing. Director Alfonso Cuaron, who hasn't directed a film since 2006's superb sci-fi tale Children of Men, has returned to cinema with the force of a lightning bolt. He has crafted a motion picture that can only work as a movie. With its amazing visual power and constant white-knuckle suspense, it's made to be projected on a large screen (and with the best use of 3D in years, to boot), enveloping viewers in another reality for 90 minutes (the perfect length, by the way) and letting them emerge blown away and a little disoriented.

If you've seen the trailers, you already know the setup, and the minimalist plot works entirely in the film's favor. Gravity begins in the vast reaches of space with a beautiful shot of Earth, where it will spend the rest of the film. A shuttle slowly enters from the right side of the screen and radio chatter perks up. That's when we're introduced to Dr. Ryan Stone (Sandra Bullock), a medical engineer on her first spacewalk, and astronaut Matt Kowalski (George Clooney), as the two are doing routine maintenance aboard a satellite. Houston (voice of Ed Harris) informs them that debris from a nearby explosion is headed their way and that they must abort immediately. But Stone is just a few seconds too late, and the resulting collision sends her hurtling into nothingness. Kowalski manages to save her thanks to his jet pack, but with no contact from Mission Control and oxygen running out, their options for survival are slim at best.

I have described, at most, the first 25 minutes. Suffice it to say the rest is better discovered through experiencing. For a movie with such a slim narrative, visual prowess and scene construction takes on a far greater responsibility than it would in a more traditional film. And does it ever impress and then some. Gravity is one memorable image after another, from the breathtaking opening shot (lasting more than 10 minutes as Cuaron's camera slowly swishes and pans around the action) to the accident, through Stone's fight for survival, to the final outcome. Sound also plays just as large a role; an opening caption helpfully and accurately reminds us that sound waves cannot travel through the vacuum of space. When disaster strikes, the only noise we hear is the musical score and radio dialogue. At no point does Gravity waver from this key principle.

Cuaron makes every correct decision in presenting the human side of this tale. There are no "meanwhile, at Mission Control" scenes or any scene at all diverting our attention from Stone and Kowalski. No human villains come within a thousand light-years of the proceedings. And in giving us backstory for Stone, the director/screenwriter presents us with just enough information to let us in on her fragile state of mind without overplaying his hand. The same goes for a key scene late in the film where she, and therefore we, learn something enlightening about inner will; it could have gone so horribly over-the-top, but Cuaron shows just enough restraint. He's walking a tightrope as thin as the ropes dangling from a damaged space station, and he pulls it off.

With so much time spent alone with one character, Sandra Bullock's performance is tantamount to the film's success. Sure, Clooney is as delightful as ever with his one-liners and ever-present charm, but his participation is limited. Bullock has spearheaded the Women in the Movies movement of 2013, appearing front-and-center in two traditionally male-dominated genres, comedy (The Heat) and now here with science fiction. In a strange way, her battle with mortality and the will to survive isn't all that different from that of Sigourney Weaver in the Alien movies, but one could argue that the emptiness and isolation of space is even scarier than that of a large creature with sharp teeth. We identify with her and root for her to pull off the impossible, and once again, I must comment that since Gravity is an original property by a director who's not afraid to be unconventional, we literally have no idea of her fate.

Ever since Avatar, I've waited four years for the next mind-blowing, game-changing use of 3D. After all, so many studios and movies, seeing nothing more than $$$, thrust it upon us with little regard to whether it actually enhances the movie-going experience. But Gravity reminds us of its power when utilized by a master craftsman. Cuaron developed this movie specifically to be used with 3D, and with it, the finished product is immersive, with stunning depth oozing from every scene. This isn't an amusement park ride designed to throw objects at a gasping audience, it's a world where viewers can lose all sense of ordinary life and become involved in a desperate struggle. From the very first moment, I was there, lost in space with the characters. In fact, Gravity might be the first movie I've seen where I recommend sitting in the first few rows, as I was forced to during an advance screening. Go ahead and let the towering images loom over you. Your neck will be fine.       

Man vs nature (or in this case, woman vs nature with a little helping of woman vs self) is hardly a new conflict in literature or in cinema. We've seen it before, but never played out in this particular fashion. As I mentioned before, Gravity, as told here, can only reach its full power as a film. It would lose significant power in a TV-based, small-screen realm. Some will view this movie as "(insert survival movie here) in space." Some may see only a technical exercise, but I believe they're missing the point. Visual, viscerally powerful film-making isn't just limited to "blockbuster" films with shootouts and explosions; it works every bit as well here, where every image serves the story and its themes rather than overwhelms them.

Technology in the movies has progressed to the point where blurbs like "it will blow you away" seem superfluous. But Gravity is that rare film that embodies such a lofty claim and then some. This is a transcendent cinematic experience, unlike any we've ever seen. Do not let it pass you by.

Rating: **** (out of ****)