Rated R for disturbing images, language, some sexual content, nudity and drug use, 147 minutes
In Spanish with English subtitles
Bardem is perfecto in the anguishing drama "Biutiful"
"Biutiful" is not always beautiful to watch. As a matter of fact, some of it's downright difficult to watch. The wrenching, overlong new drama from Mexico stars Oscar-winner Javier Bardem ("Eat Pray Love") and after viewing the film, it's none too surprising that Bardem received a nomination for Best Actor and the film is a shoo-in for the Best Foreign Language film Oscar. It's a staggering, brauvera performance that as painful as it is to watch, you can't take your eyes off Bardem, who single-handedly carries the film.
"Biutiful" (it is the Spanish-language spellling of the word beautiful) tells the journey of Uxbal (Bardem), a conflicted man who struggles to reconcile fatherhood, love, spirituality, crime, guilt and mortality amidst the dangerous underworld of modern Barcelona. His livelihood is earned out of bounds, his sacrifices for his children know no bounds but then Uxbal is diagnosed with cancer and his life changes once more. Like life itself, "Biutiful" is a circular tale that ends where it begins. As fate encircles Uxbal and thresholds he must face the challenges of love, forgiveness and true redemption.
"Biutiful" is a painful, overlong but beautiful story of redemption, love, and family, as so poignantly told by acclaimed Mexican director Alejandro González Iñárritu ("Babel," "Amores perros") and superbly acted by Bardem, who is deserving of the accolades he's received for the downbeat, very long film. Most of Inarritu's messages are well-played with relevance by Bardem, who deglamourizes himself for the role, but it's more than just an "illness of the week" story of someone trying to make good; the messages are deeper and more heart-felt than that as Uxbal comes to terms with death and dying and must make amends with his loved ones.
Inarritu photographs Uxbal's tragic story with dark overtones and close-ups to give a shared intimacy with his story, and you will be right there in the midst of Uxbal's painful story from start to finish. Much like some of his earlier tales, Innaritu shows he's a fine filmmaker but one who can be redundant and one who could trim a few minutes of excess that don't move the story along as well as it should. But otherwise "Biutiful" is a superb, finely acted, emotionally rich and sad portrait of a man's journey from this life and comes highly recommended.
Friday, January 28, 2011
Ip Man 2 - C
Rated R for violence, 107 minutes
In Mandarin Chinese and Cantonese with English subtitles
More of the same kung fu in "Ip Man 2"
If kung fu or marital arts is your thing, you'll enjoy "Ip Man 2," the sequel to the successful Chinese 2008 film "Ip Man," a semi-autobiographical tale of Ip Man, a grandmaster of the Wing Chun martial arts. This follows Ip Man (Donnie Yen, again reprising his role) in Hong Kong following the events of the first film, this time facing even more challenges from other martial arts practictioners in the area. Chinese filmmaker Wilson Yip again directs, but the flimsy story seems a weak excuse to stage some sublime martial arts sequences, which are the clear highlight of the film. The fast-paced, quick style provides good enough reason why the "Ip Man" films are so popular in the East and just now audiences are beginning to discover them. The first film is clearly better, but if you want some above-average martial arts, then "Ip Man 2" is your man.
In Mandarin Chinese and Cantonese with English subtitles
More of the same kung fu in "Ip Man 2"
If kung fu or marital arts is your thing, you'll enjoy "Ip Man 2," the sequel to the successful Chinese 2008 film "Ip Man," a semi-autobiographical tale of Ip Man, a grandmaster of the Wing Chun martial arts. This follows Ip Man (Donnie Yen, again reprising his role) in Hong Kong following the events of the first film, this time facing even more challenges from other martial arts practictioners in the area. Chinese filmmaker Wilson Yip again directs, but the flimsy story seems a weak excuse to stage some sublime martial arts sequences, which are the clear highlight of the film. The fast-paced, quick style provides good enough reason why the "Ip Man" films are so popular in the East and just now audiences are beginning to discover them. The first film is clearly better, but if you want some above-average martial arts, then "Ip Man 2" is your man.
From Prada to Nada - D
Rated PG-13 for brief drug use and a sexual situation, 107 minutes
There's nada worth seeing in the Latina comedy "From Prada to Nada"
At least there's nothing good worth seeing in "From Prada to Nada," a Latina version of Jane Austen's "Sense and Sensibility" yet Austen would turn over in her grave if she knew what her story was turned into. Starring Camilla Belle and Alexa Vega as two wealthy Beverly Hills sisters who are forced to give up their lifestyle when their father suddenly passes away. They must trek across town to live with their Aunt (fine Oscar-nominated character actress Adrianna Barraza woefully slumming it here) in East L.A. Austen's story, played as an Elle Woods-fish-out-of-water story, is cheap, offensive and plays to Latina stereotypes in the worst way, and how many times must we hear "Cielito Lindo." Belle and especially Vega (who you may remember as the little girl from the "Spy Kids" films) are shrill, unfunny and play it out like an Latina version of "Hannah Montana," minus any comedy. Forgettable, stale as a three-day old corn tortilla, this one (obviously geared toward the tween set) lacks any spunk, spark or spice. Stay away.
There's nada worth seeing in the Latina comedy "From Prada to Nada"
At least there's nothing good worth seeing in "From Prada to Nada," a Latina version of Jane Austen's "Sense and Sensibility" yet Austen would turn over in her grave if she knew what her story was turned into. Starring Camilla Belle and Alexa Vega as two wealthy Beverly Hills sisters who are forced to give up their lifestyle when their father suddenly passes away. They must trek across town to live with their Aunt (fine Oscar-nominated character actress Adrianna Barraza woefully slumming it here) in East L.A. Austen's story, played as an Elle Woods-fish-out-of-water story, is cheap, offensive and plays to Latina stereotypes in the worst way, and how many times must we hear "Cielito Lindo." Belle and especially Vega (who you may remember as the little girl from the "Spy Kids" films) are shrill, unfunny and play it out like an Latina version of "Hannah Montana," minus any comedy. Forgettable, stale as a three-day old corn tortilla, this one (obviously geared toward the tween set) lacks any spunk, spark or spice. Stay away.
The Way Back - B
Rated PG-13 for violent content, depiction of physical hardships, a nude image and brief strong language, 133 minutes
Touching but overlong "The Way Back"
"The Way Back" is one of those hidden gems of a film based on a reportedly true but little-known story set in Russia during World War II. It tells the story of a Russian gulag who escape from prison and trek over 4000 miles from Russia to India over some treacherous, deadly terrain. Directed by veteran filmmaker Peter Weir ("Dead Poets Society," "Witness"), the epic film is an overlong but moving, uplifting journey to freedom.
Janusz (Jim Sturgess) is a young Polish POW sent to 20 years in a Russian prison in Siberia for supposedly being a spy by the Russian government. There he meets an elderly American who calls himself Mr. Smith (Ed Harris) and a Russian lowlife named Valka (Colin Ferrell). They along with a few others in their Gulag escape into the Siberian forest with plans to trek Mongolia to freedom. Along the way, they pick up a Polish orphan named Irena (Saiorse Ronan), on the run from the Russian government and nowhere to go. They're plans unexpectedly change and they decide to go to India instead, though the treacherous terrain and longer journey will undoubtedly claim a few, if not all, of the Gulag along the way.
"The Way Back" is a fascinating, touching portrait of an excessively long, tough road to freedom. Based on the book "The Long Walk" by Polish POW Slawomir Rawicz, it's based on his supposed true story though in fact much of it is fiction (even director Weir now says this). Epic in scope, Weir directs and co-writes the screenplay with a sweeping focus, though the story holds up well on its own, and the small, emotional moments in the extensive film are the more beautiful ones. Handsomely told, it's overlong and requires you to stay with it until the end, but once you get there it's a beautiful place.
Sturgess and Harris ground the film well in solid performances, as does young Oscar-nominee Saiorse Ronan ("Atonement") as the lone female for much of the film. Ferrell is decent in what is really a non-essential role, he's there to add a little toughness to the film, but Harris already does that nicely. Ferrell's abrupt exit from the film in the second act is a bit baffling considering how far his character has come, and the film actually works better without him.
Shot on location in several locations, including Morocco, Bulgaria, India, and Pakistan, there are some lovely set pieces and entertaining moments, but "The Way Back" does go on too long, and Weir could've trimmed some of the second act down, but overall, it comes recommended whether it's true or not. Too bad "The Way Back" hasn't received a wide release because it's a satisfying journey and worth it in the end.
Touching but overlong "The Way Back"
"The Way Back" is one of those hidden gems of a film based on a reportedly true but little-known story set in Russia during World War II. It tells the story of a Russian gulag who escape from prison and trek over 4000 miles from Russia to India over some treacherous, deadly terrain. Directed by veteran filmmaker Peter Weir ("Dead Poets Society," "Witness"), the epic film is an overlong but moving, uplifting journey to freedom.
Janusz (Jim Sturgess) is a young Polish POW sent to 20 years in a Russian prison in Siberia for supposedly being a spy by the Russian government. There he meets an elderly American who calls himself Mr. Smith (Ed Harris) and a Russian lowlife named Valka (Colin Ferrell). They along with a few others in their Gulag escape into the Siberian forest with plans to trek Mongolia to freedom. Along the way, they pick up a Polish orphan named Irena (Saiorse Ronan), on the run from the Russian government and nowhere to go. They're plans unexpectedly change and they decide to go to India instead, though the treacherous terrain and longer journey will undoubtedly claim a few, if not all, of the Gulag along the way.
"The Way Back" is a fascinating, touching portrait of an excessively long, tough road to freedom. Based on the book "The Long Walk" by Polish POW Slawomir Rawicz, it's based on his supposed true story though in fact much of it is fiction (even director Weir now says this). Epic in scope, Weir directs and co-writes the screenplay with a sweeping focus, though the story holds up well on its own, and the small, emotional moments in the extensive film are the more beautiful ones. Handsomely told, it's overlong and requires you to stay with it until the end, but once you get there it's a beautiful place.
Sturgess and Harris ground the film well in solid performances, as does young Oscar-nominee Saiorse Ronan ("Atonement") as the lone female for much of the film. Ferrell is decent in what is really a non-essential role, he's there to add a little toughness to the film, but Harris already does that nicely. Ferrell's abrupt exit from the film in the second act is a bit baffling considering how far his character has come, and the film actually works better without him.
Shot on location in several locations, including Morocco, Bulgaria, India, and Pakistan, there are some lovely set pieces and entertaining moments, but "The Way Back" does go on too long, and Weir could've trimmed some of the second act down, but overall, it comes recommended whether it's true or not. Too bad "The Way Back" hasn't received a wide release because it's a satisfying journey and worth it in the end.
Monday, January 24, 2011
The Mechanic - C
Rated R for strong brutal violence throughout, language, some sexual content and nudity, 94 minutes
"The Mechanic" is forgettable, trashy entertainment
"The Mechanic" is a weak machine. Forgettable, trashy and fast-paced entertainment that will likely be a modest hit, it's actually a remake of a trashy 1972 Charles Bronson vehicle. Loud and unnecessary, it utilizes Jason Statham well, who has morphed into a decent, if not low-grade, action-hero. He's paired with Ben Foster, a terrific young actor who often underuses his talents, though he makes for a fine bad guy.
Here, Statham is Arthur Bishop, a hired hitman by Harry (Donald Sutherland) who makes millions by hiring people like Arthur to do his dirty work. Because Harry is so corrupt himself, he ends one of Arthur's victims, and then Harry's estranged, slimy son named Steve (Foster) shows up and becomes an apprentice hitman with Arthur as the teacher. Together they work to bring down the slimeball (Tony Goldwyn) who still runs Harry's company.
Trashy, typical forgettable winter fare, "The Mechanic" makes good use of Statham and Foster, who still can't overcome how ridiculous and unnecessary the story is to begin with. Statham can play these roles in his sleep and will continue making good money playing them, much like Bronson himself did in the 1970s and '80s. Directed with loud, unoriginal flair by Simon West ("Lara Croft: Tomb Raider"), West thinks the bigger explosions the better, but after all they all run together, and after it's over, you won't remember much of it.
"The Mechanic" is forgettable, trashy entertainment
"The Mechanic" is a weak machine. Forgettable, trashy and fast-paced entertainment that will likely be a modest hit, it's actually a remake of a trashy 1972 Charles Bronson vehicle. Loud and unnecessary, it utilizes Jason Statham well, who has morphed into a decent, if not low-grade, action-hero. He's paired with Ben Foster, a terrific young actor who often underuses his talents, though he makes for a fine bad guy.
Here, Statham is Arthur Bishop, a hired hitman by Harry (Donald Sutherland) who makes millions by hiring people like Arthur to do his dirty work. Because Harry is so corrupt himself, he ends one of Arthur's victims, and then Harry's estranged, slimy son named Steve (Foster) shows up and becomes an apprentice hitman with Arthur as the teacher. Together they work to bring down the slimeball (Tony Goldwyn) who still runs Harry's company.
Trashy, typical forgettable winter fare, "The Mechanic" makes good use of Statham and Foster, who still can't overcome how ridiculous and unnecessary the story is to begin with. Statham can play these roles in his sleep and will continue making good money playing them, much like Bronson himself did in the 1970s and '80s. Directed with loud, unoriginal flair by Simon West ("Lara Croft: Tomb Raider"), West thinks the bigger explosions the better, but after all they all run together, and after it's over, you won't remember much of it.
The Company Men - B+
Rated R for language and brief nudity, 104 minutes
Relevant, affecting “Company Men” tackles a difficult subject
If you’ve ever been laid-off from a job, then “The Company Men” will hit closer to home than you want it to. The pertinent, well-acted drama tackles the issue of unemployment due to corporate restructuring; whereas last year’s “Up in the Air” told the same story from the people doing the laying off, this has to do with those being laid-off. Downbeat but fresh, “The Company Men” features a superbly talented cast in what was one of last year’s overlooked gem’s; some of it lacks a sharp, edgy quality to it but it’s certainly worth a look.
When the Boston-based GTX Corporation must cut jobs to improve the company's balance sheet during the 2010 recession, thousands of employees will take the hit, like Bobby Walker (Ben Affleck). Bobby learns the real life consequences of not having a job. Not only does he see a change to his family lifestyle, and the loss of his home, but also his feelings of self-worth. It also affects those left behind at the company to pick up the pieces, including disillusioned executives Gene (Tommy Lee Jones) and Phil (Chris Cooper), who are also at a crossroads in their personal and professional lives.
“The Company Men” tackles a heavy subject with an effective, sublime grace and poignancy. It’s no wonder the film has been overlooked, with so many out of work some audiences may not care to see something that hit so close to home. Directed and written by “The West Wing” producer John Wells, it shows how differently unemployment affects people and how remarkably attached to our jobs we are, it can make us or break us. It also has one of the best casts of recent memory, including Oscar-winners Affleck, Jones, Cooper along with fellow Oscar-winner Kevin Costner, Maria Bello, Craig T. Nelson and Rosemarie DeWitt.
Of the large cast, Affleck and Jones, who work remarkably well together, are most effective (and sympathetic), and it’s also nice seeing Costner in a supporting character part (and decent Boston accent). The movie is slow-going in its mid-section and some parts of the later-going are a bit predictable, but it’s wholly believable and involving, with some parts downright touching. Wells’ approached is a bit scrubbed and too clean-cut, but then his view is primarily middle America.
Sure, it’s not exactly a crowd-pleasing subject, but give the winning “The Company Men” a shot, it’s one of the year’s most affecting films.
Relevant, affecting “Company Men” tackles a difficult subject
If you’ve ever been laid-off from a job, then “The Company Men” will hit closer to home than you want it to. The pertinent, well-acted drama tackles the issue of unemployment due to corporate restructuring; whereas last year’s “Up in the Air” told the same story from the people doing the laying off, this has to do with those being laid-off. Downbeat but fresh, “The Company Men” features a superbly talented cast in what was one of last year’s overlooked gem’s; some of it lacks a sharp, edgy quality to it but it’s certainly worth a look.
When the Boston-based GTX Corporation must cut jobs to improve the company's balance sheet during the 2010 recession, thousands of employees will take the hit, like Bobby Walker (Ben Affleck). Bobby learns the real life consequences of not having a job. Not only does he see a change to his family lifestyle, and the loss of his home, but also his feelings of self-worth. It also affects those left behind at the company to pick up the pieces, including disillusioned executives Gene (Tommy Lee Jones) and Phil (Chris Cooper), who are also at a crossroads in their personal and professional lives.
“The Company Men” tackles a heavy subject with an effective, sublime grace and poignancy. It’s no wonder the film has been overlooked, with so many out of work some audiences may not care to see something that hit so close to home. Directed and written by “The West Wing” producer John Wells, it shows how differently unemployment affects people and how remarkably attached to our jobs we are, it can make us or break us. It also has one of the best casts of recent memory, including Oscar-winners Affleck, Jones, Cooper along with fellow Oscar-winner Kevin Costner, Maria Bello, Craig T. Nelson and Rosemarie DeWitt.
Of the large cast, Affleck and Jones, who work remarkably well together, are most effective (and sympathetic), and it’s also nice seeing Costner in a supporting character part (and decent Boston accent). The movie is slow-going in its mid-section and some parts of the later-going are a bit predictable, but it’s wholly believable and involving, with some parts downright touching. Wells’ approached is a bit scrubbed and too clean-cut, but then his view is primarily middle America.
Sure, it’s not exactly a crowd-pleasing subject, but give the winning “The Company Men” a shot, it’s one of the year’s most affecting films.
The Rite - C
Rated PG-13 for disturbing thematic material, violence, frightening images, and language including sexual references, 127 minutes
Except for Hopkins, the dull "Rite" is mostly wrong
Sir Anthony Hopkins can do wrong, even in movies that aren't quite right, as is the case with his new thriller "The Rite." Whether playing Hannibal Lecter or C.S. Lewis, he embodies each character he plays with sublime perfection. He does the same in the "The Rite," a dull and hokey horror film that until the film's final minutes, drags instead of thrills. A few jumps along the way don't make for a great film.
Based on the nonfiction novel "The Making of a Modern Exorcist," "The Rite" concerns an American priest named Michael Kovak (Colin O'Donoghue) who has become dillusioned with his time in seminary and is questioning his faith. He is sent to study at an exorcism school in Rome, and is paired with an unorthodox Welsh priest Father Lucas (Hopkins) famous for his many exorcisms. While at the school, Michael meets a European journalist (Alice Braga) seeking questions of her own, but the two, along with Father Lucas, come face to face with true evil that will change them all.
"The Rite" is a slick but empty thriller that comes up short on chills and backstory. Without Oscar-winning legendary actor Hopkins on hand, it would've been a total drag. When exorcism/demon movies get it right, which is rarely, it can be genuinely frightening - "The Exorcist," "The Omen" and "Carrie" are prime examples - but when they don't, which is pretty much everything else, it can be as wrong as "The Rite": dreadfully slow and confusing with a few jumps thrown in for good measure.
"The Rite" is problematic in a few areas. First, the direction by Mikael Hafstrom ("1408") doesn't bring out many details of Michael Petroni's (writer of the recent "Narnia" film) vague, murky script with little backstory, especially into Hopkins' vastly underwritten role. It's a tribute to Hopkins' acting prowess that he can generate any interest at all in his character or the film itself for that matter, which is really a thin excuse to turn Hopkins into another evil character. Second, Irish TV actor and relative newcomer O'Donoghue is miscast as Kovak, but his blandness is strikingly amiss anytime he's onscreen with Hopkins, which is most of the movie.
And while "The Rite" is slickly, handsomely produced (and supposedly inspired by a true story), especially with Hopkins on hand, it lacks the genuinely frightening thrills that stick to you like pea soup. It starts off mildly interesting (and watch for a barely recognizable Rutger Hauer in a tiny role as Kovak's father), drags considerably in its mid-section, only to re-energize for an entertaining climax. "The Rite" could've been much more frightening, but it all comes off with a few pops instead of the fireworks it should've been. Hopkins is always worth watching, even in something as dull as "The Rite."
Except for Hopkins, the dull "Rite" is mostly wrong
Sir Anthony Hopkins can do wrong, even in movies that aren't quite right, as is the case with his new thriller "The Rite." Whether playing Hannibal Lecter or C.S. Lewis, he embodies each character he plays with sublime perfection. He does the same in the "The Rite," a dull and hokey horror film that until the film's final minutes, drags instead of thrills. A few jumps along the way don't make for a great film.
Based on the nonfiction novel "The Making of a Modern Exorcist," "The Rite" concerns an American priest named Michael Kovak (Colin O'Donoghue) who has become dillusioned with his time in seminary and is questioning his faith. He is sent to study at an exorcism school in Rome, and is paired with an unorthodox Welsh priest Father Lucas (Hopkins) famous for his many exorcisms. While at the school, Michael meets a European journalist (Alice Braga) seeking questions of her own, but the two, along with Father Lucas, come face to face with true evil that will change them all.
"The Rite" is a slick but empty thriller that comes up short on chills and backstory. Without Oscar-winning legendary actor Hopkins on hand, it would've been a total drag. When exorcism/demon movies get it right, which is rarely, it can be genuinely frightening - "The Exorcist," "The Omen" and "Carrie" are prime examples - but when they don't, which is pretty much everything else, it can be as wrong as "The Rite": dreadfully slow and confusing with a few jumps thrown in for good measure.
"The Rite" is problematic in a few areas. First, the direction by Mikael Hafstrom ("1408") doesn't bring out many details of Michael Petroni's (writer of the recent "Narnia" film) vague, murky script with little backstory, especially into Hopkins' vastly underwritten role. It's a tribute to Hopkins' acting prowess that he can generate any interest at all in his character or the film itself for that matter, which is really a thin excuse to turn Hopkins into another evil character. Second, Irish TV actor and relative newcomer O'Donoghue is miscast as Kovak, but his blandness is strikingly amiss anytime he's onscreen with Hopkins, which is most of the movie.
And while "The Rite" is slickly, handsomely produced (and supposedly inspired by a true story), especially with Hopkins on hand, it lacks the genuinely frightening thrills that stick to you like pea soup. It starts off mildly interesting (and watch for a barely recognizable Rutger Hauer in a tiny role as Kovak's father), drags considerably in its mid-section, only to re-energize for an entertaining climax. "The Rite" could've been much more frightening, but it all comes off with a few pops instead of the fireworks it should've been. Hopkins is always worth watching, even in something as dull as "The Rite."
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