FURY Review

Ernest Hemingway said, "Never think that war, no matter how necessary, nor how justified, is not a crime." Hemingway means to inform us of the repercussions of getting carried away with violence as power, but director David Ayer asks us to contemplate not the repercussions but the mentality it takes to execute such acts of war. Is the ruthlessness with which these men approach their actions acceptable? Is their matter-of-fact attitude towards taking a life understandable within the confines of the circumstances? There is never a moment in Ayer's latest effort, Fury, where we let ourselves become distracted by the action sequences or the curiosity of where the story is going because we know exactly where it's taking us and that, in many ways, is the only let-up the film offers as it's otherwise a consistently tense and mentally exhausting experience. In order to deliver this disjointed, but outwardly insightful look Ayer has combined a typical plot-driven narrative with large elements of a pure character study. The director clearly wants to depict the type of men and personalities it took to win World War II, but further than this it is about how they became these beings free of any kind of moral compass yet trapped in a mindset that left nearly every other human an enemy. When we look at history we see what we are taught in textbooks and reference what we learn in lectures, but the little details escape us, the unimaginable is left at that and the countless lives sacrificed are best forgotten as their bodies are lost in a sea of limbs. Carnage is a disgusting act of man that seems to settle little more than who has more men fighting for them and Fury gets to the heart of this ugly method that sees men, people just like you and I, transformed into these conditioned warriors that see things in nothing but black and white, all or nothing, live or die. It is in these hands governments put as much power as they can muster which naturally translates to the indestructible mentality of soldiers thinking of themselves as an exception while the talkers, the leaders sit back and hope for the best possible outcome. Fury commentates on the ugliness of war by laying waste to the idea those we call heroes couldn't feel less like one.

First Trailer for FURY

I have to admit I am a little underwhelmed by this first trailer for David Ayer's Fury. Ayer's second release of the year after the disappointing Sabotage in March is easily one of my most anticipated films of the year. I highly doubt the film will turn out to be that way given Pitt has become the kind of actor very choosy of his projects and only investing his time and talent in projects he considers worthwhile and transcendent of cinema, but if a trailer is meant to elicit interest from people who aren't familiar with the project all this spot has going for it is the star power. Yes, Pitt is in it and it is a war movie and we are served that premise throughout while also getting highlights of Pitt's crew that includes Shia LaBeouf, Logan Lerman (Perks of Being A Wallflower, Noah), Michael Pena (Crash, End of Watch) and Jon Bernthal (Walking Dead, Wolf of Wall Street). The cast is strong and while Sabotage wasn't all it could have been Ayer's previous writing and directing effort, End of Watch, was one of my favorite films of 2012 and that being on his resume alone means I will reserve judgement on this WWII tank film. While the trailer overall tries to do too much in divulging one too many plot points it does wash us over with the gorgeous photography from cinematographer Roman Vasyanov (End of Watch, Charlie Countryman) . I worry only about the story as this is from an original screenplay by Ayer in that it might fall into convention, but again Pitt and his impressive supporting cast clearly had enough faith to sign on and so my excitement level will remain high until Fury opens on November 14th.

NOAH Review

If there is one thing I've always admired and enjoyed about director Darren Aronofsky's films it is the ambition with which he constructs them and the innovation with which he operates within these worlds he builds. With Noah, the much talked about adaptation of the Bible story, Aronofsky has crafted what is essentially a mythological epic where our familiarity with the story and characters only serve as the intrigue to why we might be interested in what more is going on in this version. There has been much discussion over the content and the liberties Aronofsky has taken with the story from the book of Genesis, but if anything has been added or changed it seems to only serve the purpose of filling in the gaps of the story that the Bible didn't find necessary to go into detail about. To say that Aronofsky and his frequent collaborator Ari Handel have come up with some interesting theories and ideas within their script is a bit of an understatement. The bad news concerning this is that these sparks of creativity, where the story is allowed to diverge from the beaten path, begin to wear thin after the first hour or so. That isn't to say that the final hour and twenty minutes or so is any less interesting or drags as much of the inherent drama from within the family unit comes into play in these later stages, but it is the aura of those early scenes that stay with you as you leave the theater and the inherent attitudes of the characters that draw us in and make us question their sanity as much as we do our own faith, for better or worse. Noah is one of those films where I expected to walk in feeling one way and walk out with a new perspective on the difference between literal interpretation and what more accurately seem to be these metaphorical stories with implied lessons that influence over seventy percent of the worlds population. My world wasn't changed, my eyes weren't necessarily opened to a new way of thinking as I exited the screening, but what I did have was a sense of that still fresh ambition within Aronofsky. It is clear from the opening moments of the film that the director is still very much in tune with who he is and what kinds of films he wants to make and with as divisive a subject matter as this it is nothing short of rewarding to see that singular voice still come through.

Movies I Wanna See Most: 2014

2013 was a great year for film. When looking back on the list of my top ten films I wanted to see for the year there were a few that ended up being some of my favorite films of the year which speaks to anticipation vs. expectation in many ways. I was indeed more excited to see some of the films I put on my most anticipated list last year despite the fact I knew their eventual quality would not measure up to what would be necessary to make them one of my favorite pictures of the year. Even that type of list is ridiculous in many ways, but it is easier to make when you have ten solid films that year (and most of the time a few more than that) that you wouldn't mind watching over and over. That is the main ingredient I look for when I narrow down every movie I've seen in the previous year to what I would consider the ten best and that is which ones would I like to watch again? Which ones am I eager to experience one more time? I hope that many of the films I've placed on this list will end up making me feel this way and of course the main reason they are on here is because I can't wait to see them the first time, but the true test is if they deliver on that anticipation and live up to the expectations myself and plenty others will be holding for them. This year, as Marvel Studios and others who own Marvel properties (Sony & Fox) have decided to release a combined four films and I've placed them all in a single slot as I'm excited to see each (some more than others) but more than anything I'm excited to see how they continue to allow the genre to thrive. Other than that I have three other sequels on the list while the remaining six have a particular director or assembled cast that cannot be ignored which means their films will no doubt demand our attention. Here we go...

First Trailers for Darren Aronofsky’s NOAH

There has been much talk concerning director Darren Aronofsky's desire to adapt the tale of Noah and his ark for the big screen ever since that desire was made public. Aronofsky is a director who likes to push the limit and is always willing to look for an interesting perspective on subjects and a style to go along with that perspective that will influence how he captures the story on film. I have always been a big supporter of his 2006 passion project, The Fountain, and have enjoyed his work since as well as prior. With the ability to secure a massive budget and backing of a studio like Paramount Aronofsky is now operating on his biggest scale yet and if there is a story that might justify this excursion into big budget studio films for a more arthouse director, it would be a Bible story in which everyone will have plenty to say. Paramount is no doubt hoping this mentality means it will put up Passion of the Christ-like numbers though we've already heard reports that the director and Paramount are at odds over the final cut of the film after a few test screenings didn't come away with the most shining of results. All I care about though is that the final cut we see on-screen is the one Aronofsky originally had in mind when he began this project. The director knows what he is doing and the trailer implies he has a very specific way of channeling the aspects of God and how he communicated with Noah in a way that make this event feel all the more plausible. The visuals here are absolutely stunning and there is a grand scale to the film that a story like this justifies but going even further, Aronofsky has gathered a cast that will more than do their part to elevate the human aspects of this story we've all heard many times before and in doing so will no doubt deliver a complete film that packs plenty of its own surprises. Russel Crowe plays the titular Noah and is joined by the likes of Emma Watson, Jennifer Connelly, Logan Lerman, Ray Winstone, Douglas Booth, Kevin Durand, Martin Csokas, Mark Margolis, and Anthony Hopkins. Noah opens on March 28, 2014.

THE PERKS OF BEING A WALLFLOWER Review

Everything about The Perks of Being a Wallflower is subtle. As it should be. From its beautifully subdued soundtrack to its washed out color palette. Even in the most flashy of performances and moments that creep towards the melodramatic this lovely film is limited to its inherent honesty. I have never read the book by Stephen Chbosky on which this is based, but I will be sure to pick up a copy to really understand the culmination of our main character. I found myself, throughout the entire film, wanting to really get a grasp on the writing of our main character in order to get to know him all the better. The film does more than a fine job at this, don't get me wrong. It is more a justification of how well this film draws you into each and every character we are presented with that we want to continue on their journey with them, that we never want it to end. I can only imagine the  kind of emotionality that goes into re-creating ones experience at such a delicate time in their lives but Chbosky, who not only is the author of the novel but also adapted it to a screenplay and then directed the film has done so in award-winning fashion. He shows the natural intuition of a seasoned director as he manages each of his characters and their equally important journeys with such care that we truly feel the effects of that first love, those traumatic experiences that come with every high school experience, the loss of innocence and how what we feel in being carefree will always exist as shadows of those moments will forever stay with us; meaning so much more than anyone who recalls them around you will ever know. They will never know the individual, personal experience of what memories your mind drifts to, but this movie provides a universally identifiable yet uniquely individual story of one boys account that will not only move you, but help you to understand life a little bit better.

Charlie (Logan Lerman) and Patrick (Ezra Miller) have two
different interpretations of their shop project.

The story we see unfold is one that is essentially touching on growing up. Something that we are all forced to do, even if we regret rushing it once we get there. I don't know that there has ever been a person wise enough to not be envious of the attractive aspects of adulthood that it doesn't cause them to want to hurry through adolescence. Naturally, there are no real exceptions to that rule here, but instead young human beings who understand the moment they are at in life is pretty damn great and they are going to take advantage of it. We are first introduced to Charlie (Logan Lerman) as he enters his freshman year of high school with the humble goal of trying to make a friend on the first day. Friends are a big deal to Charlie, his older sister is a senior and his even older brother has just left for college at Penn State on a football scholarship. Charlie's parents are nothing if not typical. They aren't overbearing, but their children seem to know what they expect. His father (played at just the right temperature by Dylan McDermott) probably drinks a little too much and his mother (Kate Walsh) could probably show a little more interest, but then again Chbosky might have felt their influence wasn't necessary as it's clear parent issues are not what Charlie is worried about. Charlie is simply trying to find where he fits in. He seems very sure of who he is, despite what he has been through (which I won't divulge here, the way it unfolds in the film and to such perfect effect is much too good to spoil) but clearly finds it hard to carve out a place with others who seem to share his sensibilities. So, it is nothing more than a blessing when misfit seniors like Patrick (Ezra Miller) and his step-sister Sam (Emma Watson) take in Charlie to their exclusive group where he feels, for the first time, he can truly be himself.

Charlie, Patrick, and his step-sister Sam (Emma Watson)
become friends with a unique bond.

While Chbosky has created a film that will live on for generations as those John Hughes films of the 80's do, The Perks of Being a Wallflower will be referenced by teenagers of the time period it represents as well as teenagers of today. It could really be set in any time period and the dynamics, the relationships and the conflicts that these teenagers go through will be the same they just might have a different set of stipulations. This is the closest thing we will likely ever have that touches the magic of those Hughes produced movies and, as in the cases of those films, what will really live on and stick with you long after the movie has come to a close are the characters. I was surprised to hear Lerman would be playing the socially awkward Charlie, the angst-ridden teen who also needed to convey the necessary amount of charm to be appealing. Lerman can certainly be appealing as he has proved in big budget bombs like The Three Musketeers and Percy Jackson, but being given those type of leading man roles made this seem a bit out of character. The actor surprises at every turn, making Charlie the most genuine kind of wallflower. He is smart, he knows and understands things, but he doesn't flaunt his superiority to his peers because his humble ways don't allow him to be too self-assured. It is a complex personality to set forth but Lerman delivers this even in his vocals that narrate our story.

Our protagonist owes a good amount to his co-stars for helping make his personality shine though, there is no doubt there. Ezra Miller plays Patrick with a drama queen attitude and flair for the abusive honesty his classmates would like to sweep under the rug. Miller is clearly a force to be reckoned with (especially if you saw him in last years We Need to Talk About Kevin) and he brings a certain weight to every second he is on screen whether it be to comedic or dramatic effect. Then, there is of course Emma Watson who nails an American accent, but more importantly turns in a better, more mature performance than she was ever able to give in the Harry Potter films. As Sam, Watson breathes an intelligence that could only come with understanding where her character is in life. Lerman is our anchor, but Miller nearly steals the film and Watson simply makes this whole affair feel less of something that could have come from the mind of any screenwriter. She seems to have a real connection, a personal need with and from the story that is taking place. That coming-of-age tale that includes every emotion that comes along with real life. The whole movie could be described in the same way. The performances only make these facts even more true.

It is clear from the beginning Sam and Charlie share
something more, though we never know if it
will work out. 

There is no other way to put it other than to flat out say I loved this movie. It is so good and I enjoyed every minute of it. Never have I felt so often moved by a picture and at the same time so invigorated to go out and live by the virtues its preaching. It doesn't talk down to its audience. It isn't trying to teach us a lesson and it isn't judging us through the way it treats its characters. It doesn't throw moral guidelines at us, more it is simply providing an earnest interpretation of what being a teenager feels like and showing how everyone can find something to relate to in that stage of life. No matter if it were the ways in which these kids interact with one another or the moments in which they realize and come to that epiphany that expands their minds past  not just who they are but into what else is out there and who they (or we) could be in this bigger landscape our confined mind could have ever hoped to imagine. There is a real sense of ephemeral bliss to everything that happens in the movie and that relates to the crowd even more. You can relate so much that you can feel the similarities between what you did, might, or are going through and it seriously takes you back and puts you in that moment. It gets to you. If you don't feel anything from it, if you don't get a sense of nostalgia at the very least I don't know that you even understand the point of film. Spending two hours with these folks makes anyone who has ever felt lost know that there is something or someone out there who completely understands them and as cliched or pretentious as that might come off it, as the movie is able to effortlessly convey, is only meant in the most genuine and heartfelt of ways. This film is a true experience, a flash of memories and a rush of excitement. Above all, it is timeless and I expect it will stay with me more than any other film this year.

     

THE PERKS OF BEING A WALLFLOWER Review

Everything about The Perks of Being a Wallflower is subtle. As it should be. From its beautifully subdued soundtrack to its washed out color palette. Even in the most flashy of performances and moments that creep towards the melodramatic this lovely film is limited to its inherent honesty. I have never read the book by Stephen Chbosky on which this is based, but I will be sure to pick up a copy to really understand the culmination of our main character. I found myself, throughout the entire film, wanting to really get a grasp on the writing of our main character in order to get to know him all the better. The film does more than a fine job at this, don't get me wrong. It is more a justification of how well this film draws you into each and every character we are presented with that we want to continue on their journey with them, that we never want it to end. I can only imagine the  kind of emotionality that goes into re-creating ones experience at such a delicate time in their lives but Chbosky, who not only is the author of the novel but also adapted it to a screenplay and then directed the film has done so in award-winning fashion. He shows the natural intuition of a seasoned director as he manages each of his characters and their equally important journeys with such care that we truly feel the effects of that first love, those traumatic experiences that come with every high school experience, the loss of innocence and how what we feel in being carefree will always exist as shadows of those moments will forever stay with us; meaning so much more than anyone who recalls them around you will ever know. They will never know the individual, personal experience of what memories your mind drifts to, but this movie provides a universally identifiable yet uniquely individual story of one boys account that will not only move you, but help you to understand life a little bit better.