GIFTED Review

I was reading a piece last week by Jaime Weinman for Vox that talked about a shift in film criticism recently and how critics have become more socially conscious than ever. While the piece is an interesting assertion of how many movies of late have come to be judged as much for their ethics as their art there was one particular section that took me by surprise and stuck with me. In a section titled "The end of Kaelism" Weinman says, "A work of art — serious or popular — isn't supposed to be judged by how much you agree with it, but by how it makes you feel and whether it can convince you of its validity." The context of this quote is key as the writer was discussing the approach of critics such as legendary New Yorker film critic Pauline Kael and Andrew Sarris, the man who invented the auteur theory, as critics who ultimately sported an "art-for-art's-sake approach to culture." I was reminded of this approach, this train of thought, as I sat watching the latest from director Marc Webb ((500) Days of Summer, The Amazing Spider-Man). I was struck by the fact that despite recognizing the predictable tropes utilized in Gifted that I was really, really into the story and that despite the clichés of the courtroom drama Webb's techniques were overcoming them in a way that was delivering a film, a piece of art, that made me feel good; that made me appreciate movies for showing me what they can do. How they can move you. I went into Gifted expecting something along the lines of a sappy, Hallmark-style melodrama with better actors and production design, but within the first fifteen minutes Gifted had convinced me of its validity — it had convinced me of its sincerity that was ingrained in its otherwise competent execution. Sure, many will dismiss Gifted for being the type of film that is emotionally manipulative because it wouldn't be mad if you shed a few tears and/or formulaic in the way that the premise is an old cliché that has been used before (specifically in 1991's Little Man Tate which I haven't seen, but more or less sounds like the same movie), but just because a movie might indeed be full of cliché or admittedly formulaic doesn't mean it's automatically bad. Webb is able to tell this recognizable story in ways that allow it to pop. The director and screenwriter, Tom Flynn, are able to prove certain tropes aren't always bad and that doing the opposite isn't always good by delivering all that is predictable and formulaic about Gifted with a warm and wholly wonderful sincerity that comes straight from the heart.

ALICE THROUGH THE LOOKING GLASS Review

For a movie wholly concentrated on time, time travel, and the essence of time it sure feels like this sequel to the 2010 Alice in Wonderland is a huge waste of it. Time that is. Of course, given that 2010 Tim Burton film made north of a billion dollars at the box office it was an inevitability that we'd be getting a sequel sooner or later, but it's still somewhat surprising it has come this late. Six years have passed, a handful of other live action adaptations of classic Disney animated films have been made and yet here we are, back in Wonderland. Having not read the Lewis Carroll stories on which these adventures of Alice have been based one has to imagine that to have made as big a cultural impact as they have they were more inventive and innovative than the film adaptations we're now receiving. To say that is to say that Alice Through the Looking Glass is no more interesting or compelling than its predecessor. It wasn't without hope that this viewer walked into this six year later sequel with optimism that new director James Bobin (The Muppets) might bring something fresh and exciting to what otherwise felt like the jaded side of Tim Burton that was incarnated in his predecessor. Transforming the widely known Wonderland as perceived by the naiveté of a child Alice, Burton turned the fantasy world into Underland and gave us a darker film than expected. That was all well and good until the movie didn't really work, but Bobin has now come along to bring to life a brighter, more enticing time in the realm of Wonderland as our heroine must travel through space and time to try and save the dying of depression Mad Hatter (Johnny Depp). This brings to mind the biggest undoing of Through the Looking Glass in that its narrative drive simply isn't compelling enough to sustain its nearly two hour runtime. It becomes repetitive and as if it is searching for disparate plot strands to try and pull together a complete story. Linda Woolverton, who has made a career out of writing Disney films (including The Lion King and Beauty and the Beast), adapted Carroll's story here and while there are certainly moments of inspired humor, a few nice character moments, and grand majestic visuals by way of Bobin and the special effects team, there is no substance to the product as a whole. It is a wonder how forgettable the film turns out to be.

BIRDMAN Review

Time is not kind. Time is the one thing we can't seem to make more of and yet the only thing, when it really comes down to it, that we could ever hope to gain. Birdman is about the moments in life when it really comes down to it. When everything in life seems so fleeting, materialistic or fake and we have a second of clarity that defines what is really important to us, what makes this existence worth enduring and even why we want to exist in the first place. Birdman is a character study wrapped in social commentary about the current state of cinema as well as a love letter written in blood to the idea of legacy. There are millions of avenues one could run down when it comes to telling a story about the basic experience of being human and those moments that define who we are, who we become or who we want to be despite our actions. Director Alejandro Gonzalez Inarritu (21 Grams, Babel) is interested in the moments that make up a personality and the effect or contribution that personality has on society, but he also wants to make a few other notions clear in the process. The guy hates comic book movies, clearly, or at least hates that they have become the cornerstone of the modern cinematic experience. It is hard to find fault in this opinion with as strong a case as his film makes, but then again this can all be perceived as pretentious and taking things too seriously since most comic book films have no intentions other than being escapism for the masses. As much as Birdman incorporates the world of super heroes and comic book movies into its structure to make a larger point the film is ultimately about the difference in love and admiration and how the quest to feel "special" will likely only leave you empty if you disregard those closest to you for personal gain and have no one to celebrate with when that gain puts you at the top of the mountain. Needless to say, there is a lot going on in Birdman. Both on the screen in front of you and as larger analogies Inarritu's film has a lot on its mind and is primarily so successful because it is so capable of conveying this multitude of thoughts and ideas in an entertaining and insightful manner.

ABOUT TIME Review

Maybe it is the point I'm at in my life, maybe it was the non-existent expectations, or maybe it is the simple fact that there is true emotion coming through on screen that translates to the audience in spades, but any way you cut it, About Time bowled me over and hit me like a ton of bricks. Billed simply as a romantic comedy I should have known to expect more upon seeing that Richard Curtis (Love Actually, Pirate Radio) wrote and directed the film and has also said this would be his final directorial effort, that we were in for something magical. For all intents and purposes the film looked to be nothing more than a light romantic comedy with the twist of time traveling all of which was plagued by the fact star Rachel McAdams had already starred in a movie where the central conceit was that her husband involuntarily time traveled causing all kinds of problems with their marriage. Still, despite these pre-conceived notions, I was more than anxious to see Domhnall Gleeson (Anna Karenina, Bill Weasley) get a leading role and the supporting cast of top notch British talent wasn't so off-putting and neither was the fact it was obvious the film would have that native sense of charm that director Curtis effortlessly sprinkles throughout each of his projects. It was watching the film progress, feeling it move in on you and being completely taken aback when you realized you were watching something truly great that took me by surprise. The pure characterization of these people brought to the forefront and developed so well throughout that we genuinely feel we've been on a journey with them, that we've come to be a part of their close-knit family gives the film the ability to transcend its time traveling plot device and help us understand the point it is trying to make with said device rather than succumbing to the inherent hokey nature it usually implies. This is a film about life and it is as equally funny, warm, heartbreaking and uplifting as any single day of any of our lives might be. It is a truly moving film that I didn't see coming, but am keen to place as one of my favorites of the year. It struck a chord no other film this year has and has serious replay value, something I've not been able to mention much at all this year. Hats off to you, Mr. Curtis.