THE MONUMENTS MEN Review

When the first trailer for George Clooney's latest directorial endeavor premiered it was clear that this wasn't going to be the large, dramatic, Oscar-bait piece everyone expected it to be given the caliber of the cast, the subject matter and the release date. We were originally scheduled to receive The Monuments Men on Christmas Day last year, but after The Wolf of Wall Street was pushed to that date it simply became too crowded. Clooney knew what he had on his hands here though and he knew he wasn't going for Oscar gold, but even more impressive is that he didn't fold under the pressure of these stipulations and force what felt unnatural upon this story to make an overly-serious or pretentious film that would fit squarely into the wheelhouse of highly-praised, but undeserving best picture winners. It is nice to know Clooney made what he wanted to make, what he first envisioned upon reading Robert M. Edsel's nonfiction book chronicling the adventures of these museum directors, curators and art historians that were out of their element, but took the risks anyway to preserve the culture this art represented. In that first trailer, one of the biggest signs that this wasn't going to be exactly what we expected was the music and it is in the soundtrack that we find more than anything the revealing nature of what Clooney was going for. It is not about the epic sacrifices of war, it is not touching on the moral dilemma of what war actually accomplishes or if the lives lost are lost for good reason or a justified outcome, but it simply takes war for what it is and tells an interesting adventure story while consistently asking our group of protagonists if during this time of war, is their endeavor too small? Sure, there are plenty of complaints to be made about The Monuments Men as it could have very easily been more entertaining, more fleshed out, less awkward and more authentic, but for what it is and what it seems intent on accomplishing we get the version Clooney wanted to deliver. Despite these complaints though I was very much intrigued by what these men were trying to accomplish, what they stood for and how their story turned out. This may not be the best interpretation of their story that could have been made, but it is a beautiful and professionally rendered version that does well to pay tribute to their mission statement.

THE WOLF OF WALL STREET Review

Just because a film depicts the excess of its main character doesn't necessarily mean the film itself falls under those qualities, right? Sure, many movies make it easy to relate much of a films overall tone and attributes in a way where one can speak unanimously about the main character and the film itself, but the big question with Martin Scorsese's latest is does he allow his film to fall into the trappings of the same temptations and indulgences his protagonist does? For the most part I would say the answer is a solid no. There is no way to look at the film and really get the sense that what the director and his now five time collaborator Leonardo DiCaprio are doing here is glorifying a man who doesn't deserve to ever have his name spoken in good regard again, not to mention in such a high profile film that numerous people will see and wonder how we'd even allow a dirtbag like this to seep into our competent consciousness. The reason why we don't mind watching this despite the unjust attention it will draw to the main character, why we find the tragic tale of someone like Jordan Belfort so intriguing is because he seemingly had everything anybody could want in order to experience a satisfying existence on this earth, but couldn't step back and appreciate how far he'd come, no, he always kept his eye on the future and how far he still felt he had to go. The Wolf of Wall Street can be an excessive film, it had a strong stopping point just after the two hour mark that would have made for a more than satisfying experience and would have allowed it the convenience of wrapping up the story with a few cue cards, but instead it continues on for almost another full hour hitting the narrative beats we've already seen before again only to result in conclusions we could have called the first time we got a real taste of just how far Belfort's greed, drug use and consistently unsatisfied carnal desires really went. Yet, at the same time it is very aware of itself and the point it intends to make. There are moments throughout the film where Scorsese hints at greatness, entire scenes even where you wish you could stay tucked in that little moment for a little bit longer while others go on for far too long and rather than re-enforce the throughline plot or contributing to character development, stand as evidence that more time was needed to fine tune the film. This is by no means a disappointment, as it is a strong film with easily the best performance of DiCaprio's illustrious career, but it is not the coherent masterpiece individual aspects of the ensemble piece hint it very well could have been.

First Trailer for THE WOLF OF WALL STREET

I haven't read Jordan Belfort's non-fiction book, The Wolf of Wall Street, about his rise and fall in the stocks game during the 1990's that Martin Scorsese has adapted as his latest project, but as the first trailer has arrived it seems I will be unable to avoid it before the films November release. When first hearing of the project I imagined this would be some type of  serious drama about a stockbroker who cheated the system and had such a unique way of doing so they decided to make a movie about it. After watching the trailer it is clear this movie will be nothing like what I initially expected. It may in fact even turn out that leading man Leonardo DiCaprio may finally win that Oscar not for playing a necessarily serious or important character but instead for his portrayal of this drug-addicted, hard-partying guy that knows how to have fun. DiCaprio leads a great cast as well with Matthew McConaughey showing up for what looks like a small, but memorable role that might get him in the best supporting actor category where he should have been last year for Magic Mike. Jonah Hill also looks to follow-up his Oscar-nominated work in Moneyball with more than just broad comedies as he looks to be DiCaprio's right hand man here which could end up being an inspired pairing that I'm very much looking forward to. I placed this film on my top 10 most anticipated list for the year based simply on the fact it was another collaboration between DiCaprio and Scorsese, but I am all the more excited to see how great this movie turns out to be when it hits theaters on November 15th. The film also stars Kyle Chandler, Jean Dujardin, Margot Robbie, Jon Bernthal, and Rob Reiner. Hit the jump to check out the first trailer.

THE ARTIST Review

"The Artist" is not a perfect movie, it isn't even a perfect silent film, but it is completely what the movies are all about: entertainment. Many people who do not find the Academy of Motion Pictures Arts and Sciences to be in touch with the average movie-going public will dismiss this as a film too artsy for them. They will believe it to be something that they could find no joy in, one of those slow moving dramas so rich in it's own history that no one but film lovers will "get it". This is, of course, not the case as anyone who likes to go to the movies will find something in "The Artist" to love. It is a charming film that is not swallowed up by what it is trying to be, but is instead an exercise in creating an honorable love letter to an era many have forgotten about in Hollywood history. I have only seen a handful or so of silent films and most of them were not of the style in which director Michel Hazanavicius has chosen to tell his story, but his film does bring the era we associate these kinds of films with to life. In the most amazing of ways we are transported back to the 20's the moment those title cards flash on the screen and the loving piano-heavy score begins to play. We watch as Hazanavicius piles on the tricks including good use of the old fashioned wipes and lens effects, but this is not so much about the lengths the makers went through to make this feel like an authentic experience but feels more relevant in the fact that this represents where we are as an artistic culture. Yearning to feel a part of that black and white era where everything felt simple and you could dance your problems away.

George Valentin (Jean Dujardin) escorts his co-star
(Missi Pyle) across the stage after a premiere.

As the curtain is pulled back we are immediately introduced to Jean Dujardin as Geroge Valentin, a silent film star who is relishing in the success of his latest film. In a chance meeting outside of the theater a lovely woman accidentally bumps into George and an intrigue is sparked. Little does George know this young woman is a hopeful actress by the name of Peppy Miller. The lives of these two become intertwined when Peppy is chosen as an extra on George's next film and even more chemistry between the two becomes evident. There is a wonderful moment early on when Peppy, played by director Hazanavicius's wife Berenice Bejo, finds herself alone in Valentin's dressing room. She approaches his jacket as it hangs on the rack and slips her arm through imagining it is his. There is something almost provocative about the moment while at the same time feeling a little farcical. It, in an instant, provides a moment so perfectly in tune with the ways and looks of silent films from that era that we are laughing at the trick but in awe of the response it elicits. The film spans five years as soon, talkies are introduced and George is relegated to anonymity making way for Peppy to rise as the new star of the production company where George once reigned. Faces you recognize pop up throughout with John Goodman as the studio head, James Cromwell as Geroge's loyal butler Clifton, and Missi Pyle as a co-star of George's in his heyday. We know where the story is heading the moment George and Peppy run into one another at the beginning of the movie, but this film isn't really about the story it is telling rather it is about the feeling it leaves us with.

Peppy Miller (Berenice Bejo) shows off her good side to a
fellow actor (Malcolm McDowell).

Both Jean Dujardin and Berenice Bejo do great work in their roles, but it should be especially noted how good Dujardin does at transporting himself into the caricature of a silent film actor and how every time the camera stops rolling he becomes someone more real but just as authentic in the environment that surrounds him. He not only captures the look in which actors of ole styled themselves but everything from the way his body moved to the facial expressions that translated his every emotion were an homage to the actors who honed these skills for years in the 1920's. I can admit that I didn't think this kind of thing was possible, that a few critics might enjoy it because of their pool of knowledge that they draw from as far as cinema goes would allow them a few inside chuckles, but I didn't believe it would reach a mass audience or even turn into something so many can find joy in. The thing that does worry me is the fact as honorable and heartfelt as this film is, it might insight folks to go back and take a look at silent films that were made years ago because they found this enjoyable. This is a tribute to those movies, a statement about society and staple of cinema that will be remembered years from now, but it is not a film that would fit right in between "City Lights" or "The General". In fact, had this come out around that time "The Artist" might have been easily looked over. What "The Artist" is to us is a kind of symbol for how present society informs the methods of yesteryear. It is a heartfelt idea, and it works within the context of 2012. As we imagined the world to be, how we hope all of our romantic thoughts about that time period might really be true.

George and Peppy find themselves sharing the silver screen
together...finally.

With that, "The Artist" will still win best picture at next months Academy Awards and there is no reason it shouldn't. As I said before, it is the one film that shows a true representation of where we have been, where we are and how far we've come. It is a piece of monochromatic art that is asking its audience to come with it on a journey and most will enjoy the ride for its well intentions and its pure engagement that draws you into the world. I enjoyed the movie, I thought it was a great idea that draws on things everyone knows and can relate to. It is stunning to see it all re-created so well and with such love. Just keep in mind that as you watch, the story is not the point, but instead it really is the methods of how this melodramatic and very standard tale is being delivered. It is all about the delivery, and putting yourself in a crowd as if you were watching alongside audience members draped in 20's garb and enjoying for the first time the spectacle of two charismatic, charming people dancing their hearts out on stage. If you still aren't convinced you won't be bored watching a silent film in today's world of big budget special effects laden blockbusters there is also a cute little dog that might help you get past that fact and help you find enjoyable what so many others have already called their movie of the year. "The Artist" is not my movie of the year, but it is one that is well worth investing your time and heart in.

THE ARTIST Review

"The Artist" is not a perfect movie, it isn't even a perfect silent film, but it is completely what the movies are all about: entertainment. Many people who do not find the Academy of Motion Pictures Arts and Sciences to be in touch with the average movie-going public will dismiss this as a film too artsy for them. They will believe it to be something that they could find no joy in, one of those slow moving dramas so rich in it's own history that no one but film lovers will "get it". This is, of course, not the case as anyone who likes to go to the movies will find something in "The Artist" to love. It is a charming film that is not swallowed up by what it is trying to be, but is instead an exercise in creating an honorable love letter to an era many have forgotten about in Hollywood history. I have only seen a handful or so of silent films and most of them were not of the style in which director Michel Hazanavicius has chosen to tell his story, but his film does bring the era we associate these kinds of films with to life. In the most amazing of ways we are transported back to the 20's the moment those title cards flash on the screen and the loving piano-heavy score begins to play. We watch as Hazanavicius piles on the tricks including good use of the old fashioned wipes and lens effects, but this is not so much about the lengths the makers went through to make this feel like an authentic experience but feels more relevant in the fact that this represents where we are as an artistic culture. Yearning to feel a part of that black and white era where everything felt simple and you could dance your problems away.