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 ****)