OCEAN'S 8 Review

Very early in this spin-off of director Steven Soderbergh's trilogy of movies about George Clooney's ultra-smooth, ultra-smart thief we are introduced to what is and arguably always has been the most fascinating thing about these movies not to mention heist and/or crime dramas in general. This being the fact that the type of people who find themselves in such scenarios have enough self-confidence and charisma to be able to pull-off whatever facade they wish to carry. It's not about what you may or may not be hiding on the inside or what you know about yourself that you believe everyone who sees you immediately assumes as well, but more it is utilizing your appearance, age, and swagger (or lack thereof) to allow those who see you to make those first, quick assumptions only for you to then deliver upon them so as they don't think about you again. It is an awareness of sorts that Clooney's character never fully utilized, he was always the cool guy in the nice suit, but it is almost immediately that his sister, Debbie Ocean, as played by Sandra Bullock utilizes this tool. And then she uses it again. And again. Hell, if her character's tastes weren't so expensive she could make a fine enough living as a salesperson given the way she is able to adapt to and go with whatever environment she finds herself in and whatever people she finds herself in front of, but this is a movie that is meant to both continue the Ocean's legacy while expanding on the diversification of those gender and ethnic gaps that are being actively addressed in Hollywood as of late. Whether you are in support of this or moronically opposed for one reason or another this agenda doesn't really factor into the execution of the film save for one very pointed line of dialogue that is delivered in such a fashion so as to provide reasoning if not necessarily a justification for this movie's existence. Whether this was an Ocean's movie or not though, what gives the film its pulse is this throughline idea of knowing how to interact with people by scanning them upon meeting them and figuring out what type of person they want in their life and immediately becoming that person. Bullock and a few of her co-stars are able to explore this in a few different ways, but it is mostly Bullock who presents a surprisingly layered approach to this train of thought as we see her Debbie battle with how long such a lifestyle can remain exciting as masked by intentions of justice and vengeance. It's a shame the movie itself doesn't follow through on these instincts as the movie Bullock presents us with and allows us to assume Ocean's 8 might become is far more fascinating than the fun, but ultimately derivative one it ends up being.

First Trailer for OCEAN'S 8 Starring Sandra Bullock

I remember going to my local dollar theater at fourteen in what was probably early 2002 to see Ocean's 11 and more or less being taken with what was this star-studded affair where no one was taking themselves too seriously and having a total blast in this smooth and effortlessly cool remake of the 1960 Rat Pack movie. After two varied, but equally entertaining sequels in 2004 and 2007 it seemed as if the run was done for these crime caper comedies, but Warner Bros. has figured out a way to re-tool that franchise with Pleasantville and Hunger Games director as well as close friend of original trilogy helmer, Steven Soderbergh, Gary Ross to write and direct an all-female version of those movies. While it may feel like this is little more than a studio mining a brand for all it's worth, Ross and Soderbergh actually developed this idea together with Soderbergh serving as a producer on this new film. One even wonders if Soderbergh returned to feature directing this past year with a southern-fried version of an Ocean's movie in Logan Lucky to give Ross a tutorial on his process for making this type of film. Doubtful, but I wouldn't be surprised to find out Ross was on set more than a few times. All of that said, the idea seems to be to jump-start a new franchise with a new cast and this looks to be going swimmingly so far as the cast Ross has assembled is pretty stellar with a good mix of heavy hitters, unknowns, and diamonds in the rough that some know about, but are about to be exposed to a much broader audience. Also, Mindy Kaling seems like she's going to have a great 2018. And while this new movie is only tangentially related to Soderbergh’s Ocean’s trilogy, Ross certainly took aesthetic cues from his friend as the suave and stylish essence of Soderbergh's films is still intact, Sandra Bullock does star as Debbie Ocean, the sister of George Clooney’s Danny Ocean, who gets a nod in the trailer. In the film, Debbie is fresh out of prison and ready to assemble a team of her own to pull off a unique heist at the Met Gala. Ocean’s 8 also stars Cate Blanchett, Anne Hathaway, the aforementioned Mindy Kaling, Sarah Paulson, Awkwafina, Rihanna, Helena Bonham Carter, Richard Armitage, and opens on June 8, 2018.

OUR BRAND IS CRISIS Review

Note: This is a reprint of my review for Our Brand Is Crisis, which originally ran on September 13, 2015 after seeing it at the Toronto Film Festival. I am publishing it again today as it hits theaters this weekend.

Our Brand Is Crisis is a Grant Heslov/George Clooney production, but it's not Argo in the sense that it's not a political thriller and it's not Monuments Men in the sense it's not a heroic story parading around as a nostalgia trip. As this is a David Gordon Green picture though, this is a film that ends up being something of a mashup between a political drama and slapstick comedy. Green is an eclectic director who has dipped his hand in heavy drama (George Washington, Snow Angels) as well as broad comedy (Pineapple Express, The Sitter) and his latest somewhat blends these two styles to create something uniquely edgy if not completely conventional in the beats it hits. From the outset, Our Brand Is Crisis feels like a straightforward documentation of the carousel of politics this world and it's countries become wrapped up in every four years. Given this is Green we're talking about it also means the characters involved in such circumstances have a unique set of sensibilities that give the otherwise unsurprising narrative a twist. Early on in the film Sandra Bullock's 'Calamity' Jane Bodine tells a room of campaign volunteers they need to help make the narrative fit their candidate rather than the other way around. Green seems to have heeded his films own advice as he clearly caters his story to the character of Jane and her off the wall methods that have made her one of the most well-regarded campaign strategists in the game. Were Green to have not done this we would have little more than a standard political drama, but given the characters are fun and engaging it's impossible to not see it as at least a little more than that.

TIFF 2015: OUR BRAND IS CRISIS Review

Our Brand Is Crisis is a Grant Heslov/George Clooney production, but it's not Argo in the sense that it's not a political thriller and it's not Monuments Men in the sense it's no heroic story parading around as a nostalgia trip of the 1960's. As this is a David Gordon Green picture though, this is a film that ends up being something of a mashup between a political drama and slapstick comedy. Green is an eclectic director who has dipped his hand in heavy drama (George Washington, Snow Angels) as well as broad comedy (Pineapple Express, The Sitter) and his latest somewhat blends these two styles to create something uniquely edgy if not completely conventional in the beats it hits. From the outset, Our Brand Is Crisis feels like a straightforward documentation of the carousel of politics this world and it's countries become wrapped up in, but given this is Green we'r talking about it also means the characters involved in such circumstances have a unique set of sensibilities that give the otherwise unsurprising narrative a twist. Early on in the film Sandra Bullock's 'Calamity' Jane Bodine tells a room of campaign volunteers they need to help make the narrative fit their candidate rather than the other way around. Green seems to have heeded his films own advice as he clearly caters his story to the character of Jane and her off the wall methods that have made her one of the most well-regarded campaign strategists in the game. Were Green to have not done this we would have little more than a standard political drama, but given the characters are fun and engaging it's impossible to not see it as more than that.

First Trailer for OUR BRAND IS CRISIS Starring Sandra Bullock

I'll be seeing Our Brand Is Crisis on my third day in Toronto (which is this Saturday!) so it's nice to be getting a little more info on one of the bigger films that will be premiering at TIFF this year. The film comes to us courtesy of director David Gordon Green (All the Real Girls, Pineapple Express) is written by Peter Straughn (Tinker Tailor Soldier Spy, The Debt) and is an adaptation of the 2005 documentary of the same name. The film follows a group of American consultants who accept the challenge of getting an unpopular Bolivian president re-elected. Sandra Bullock will make her Oscar bid as maverick political consultant, "Calamity" Jane Bodine, who comes out of retirement to lead the team while Billy Bob Thornton portrays her nemesis, Pat Candy. The trailer offers a strong political satire vibe with the material in line to perfectly blend the more broad comedic strokes of Green's mainstream work with the low-key, dramatic material he seems to call home. In being able to find a balance in these two styles I can only hope to expect great things from the film and with Warner Bros. positioning this in a Oscar-friendly release date just before it was announced the film would premiere at TIFF I can only assume those expectations will be satisfied. Our Brand is Crisis also stars Zoe Kazan, Anthony Mackie, Scoot McNairy, Ann Dowd, Joaquim de Almeida and opens October 30th.

MINIONS Review

Minions, while inherently funny is wholly insignificant and unnecessary. For parents, Minions will be ol' reliable, for children who enjoyed the Despicable Me films it will be what they've been waiting for, but in terms of the actual quality of the product it couldn't be more vanilla sans for the ridiculous amounts of innuendo and subtext these guys are able to get away with due to literally half of the dialogue in the film being unintelligible. At the very least, I guess this flick might open up the idea to children that watching foreign films can't be all that bad as with those you are at least given subtitles whereas with Minions one has to count on interpretation of tone and inflection to elicit the intended comedy. The thing is though, and this became apparent in the Despicable Me sequel, is that it seems the folks behind these colorful fun fests are forgetting the minions are not only inherently funny, but inherently sidekicks despite the fact this film, their own feature, is about them seeking out a boss to serve. If the minions only goal in life is to function purely as sidekicks it only seems fitting they would remain in that role in any movie they might appear in, but when a movie only happens because the first was a surprise hit and the multiple sequels and spin-offs are concocted more because the iron is hot rather than there being any actual ideas of value you're going to run into such dilemmas. When the small Illumination Entertainment company scored a $540 million hit with the original film and it's sequel notched nearly a billion worldwide three years later you better believe they were going to milk this now-franchise for all it's worth. The minions instantly became cultural mainstays and so I understand why a feature of their own was ultimately inevitable, but it doesn't mean it makes any more sense. Get what I'm saying? They are sidekicks, they are good in small portions, but a little bit of these little yellow creatures goes a long way and in giving them a feature length film things have simply gone overboard as the weight of an entire narrative on the back of a character created purely for comic relief is too much for them to carry.

First Trailer for MINIONS

I've said it before and this will no doubt be the last time, but I always feel the spin-off is a cheap way to over-extend something that worked unexpectedly and is now being mined to death. With Despicable Me 2 becoming a bonafide worldwide smash last summer though and the third film not coming out until 2017, Illumination Studios was quick to capitalize on the popularity of Gru's minions and give them their own feature. Now, while I, like most people in the world, enjoy the minions and their shenanigans while trying to assist their criminal mastermind leader-giving them a whole feature to themselves initially felt like a bit much. They are great as supporting players, as comic relief, but to be the stars is to ask the question of how much will they overstay their welcome? With the first trailer for next summers easily titled Minions, directors Kyle Balda (The Lorax) and Pierre Coffin (Despicable Me 1 & 2) have taken us back to the beginning of life on earth and seem to have delivered the origin story of these little yellow creatures that influenced a fair amount of events throughout history eventually leading them to New York City in 1968 where the lore of these Igor-inspired servants becomes much deeper and more entrenched in villainy. I am always cautious to the idea of spin-offs or any piece of entertainment that feels specifically manufactured for the sole purpose of exploitation and profit, but darn if the film doesn't look like it will deliver the goods. Minions features the voice talents of Sandra Bullock, Jon Hamm, Katy Mixon, Chris Renaud, Steve Carell as well as Coffin and opens on July 10, 2015.

TOP 15 OF 2013

2013 was a pretty great year for film. As I've grown accustomed to ranking films on a five-star system I've realized how differently we approach each movie and how that rating reflects how well the film achieved the goals it was intended to meet. Four stars has become the standard for the above average film, ones with exceptional qualities that make them better than anything else playing at the given moment. There were a ton of four-star ratings this year and many of them even came in the midst of the summer movie season which I have been able to re-visit now and have verified that rating was worthy of most, especially films like The Great Gatsby, World War Z and The Fast and Furious 6. I would have liked to include more on the list, as there were so many above average to really good flicks this year, but I already expanded the article to what I would call fifteen of the best films I saw this year and I hate to expand the list further than that to weaken the value of the ones that do make it. I try to mix it up and keep as many small, indie films in there as much as big studio fare that tend to defy there stereotype and deliver something substantial. I really enjoyed Side Effects, Pain & Gain, Blue Jasmine, Dallas Buyer's Club and The East and in a lesser year you would see them ranked here. Then there were of course animated films like Frozen and Monsters University that played really well and I enjoyed, but not to the point I felt they earned a place on a year-end list. We also have awards bait such as Her and American Hustle or the two black and white front-runners on many lists this year, Nebraska and Frances Ha, all of which I enjoyed well enough but didn't think of them as exceptional pieces of work or understood what the hype was about surrounding each of them. You could also lump Before Midnight in that category as I appreciate what those films do and how well constructed and written they are, but I don't necessarily get what all the fuss is about. 42, Captain Phillips, Saving Mr. Banks, Out of the Furnace, Mandela: Long Walk to Freedom and even Anchorman 2: The Legend Continues are all well deserving of a mention here, but with such stiff competition it was going to be difficult to carve out a spot and Ron Burgundy knows I have a special place in my heart for him. 2013 was a great year for films, but the ones I have chosen to put on my list are the ones that I could watch over and over again or left an impression on me I wasn't able to shake and needed to see again, immediately, to confirm the legacy they will leave. So, without further adieu...

GRAVITY Review

The moment the title card came up at the end of Gravity I was ready to see it again. It has that type of effect on you where despite the fact what you've been a part of over the last ninety minutes was completely terrifying, completely out of your comfort zone, completely eye-opening and maybe to certain things you wouldn't want to admit; it was still so exhilarating that you want to experience it again and immediately. That is the kind of reaction I expect most people will have as they leave the theater and begin to reflect on what they've just witnessed for not only is it a visual delight, a technological wonder that defies all convention and expectation, but it never forgets story and character, the two driving forces behind anything worth telling. If there isn't an engaging story, a narrative to pull us in and recognizable characters, people with whom we live vicariously through or sympathize with in their moments of need and desperation then there is no connection to the film other than that of a superficial one. Director Alfonso Cuarón, who made the well-received but little seen Children of Men and my personal favorite Harry Potter film (The Prisoner of Azkaban), has crafted what could easily become one of those defining moments in cinematic history where the mythology that will no doubt come to surround Gravity will be as great as the content of the film itself. This is a game-changer in ways only those who hope to create something bigger than themselves, something that pushes the boundaries, but does so for the right reasons could only hope to achieve. It is a film that as far as I can tell best captures the feeling of being in space without actually having to go there. The vastness of it, the colossal weight of what it means, the beauty of it all, yet the film also comes to carry much more weight than simply functioning as a National Geographic tutorial on space travel while teaching a lesson about the consequences of space junk; it is a story about existence, about human nature, about the will to live and everything that comes along with these giant themes that are as extensive as the universe itself.

Movies I Wanna See Most: Fall 2013

It has been somewhat of a rough year for film. Though at the time of this writing I've found two or three films I absolutely loved this year and left a lasting impression on me with several others being great, but not necessarily anything exceptional. Exceptional is what we are always looking for as we head into the latter part of the year and studios begin to offer up their Oscar bait. 2013 will be no exception, but the surprise this year is just how many blockbusters have been saved for the final quarter. There are usually one or two December releases that stand to be critical and box office champions, but most are more adult fare that do well with critics and have long legs when it comes to box office numbers. While there will be plenty of these kinds of films still vying for a place on the ballot come next February there are also a fair amount of well-made films that are part of franchises that studios are looking to make a pretty penny on. Whether it be Marvel, young adult adaptations, or re-makes there is something for just about everyone on the docket for the remainder of this year. It was a tough task, to narrow down four months of releases to just ten films, so I've naturally included a quick briefing on five extra flicks that almost made the list at the end of this article. As for the big ten, I can tell you that I'm seriously anxious and optimistic for each and every one of them. Also, just because a film didn't make any part of this list doesn't mean I don't think it will be good; it could mean I'm just not as excited for it as the films that did make the list and it could also be due to the fact I haven't seen much from it at this point. Both guaranteed blockbusters such as the next Hobbit film and smaller fare that has received great festival buzz like J.C. Chandor's All is Lost didn't make any part of this list, but that isn't because I don't want to see them. There promotional material just didn't get me as excited for as the films listed below did. The way I look at it, the following ten films are what I would choose to see were I limited to only that amount for the rest of the year. So here we go...

THE HEAT Review

Much has been made of the fact it has taken this long to get a buddy cop film with two female leads made. There is certainly merit to this argument as The Heat is a ridiculously fun time at the movies even if the premise has been worn out for a good twenty years now. The plot is hardly what matters here as the real story is who's finally filled the roles of those two lead women and the chemistry between co-stars Sandra Bullock and Melissa McCarthy is so strong it will surely convince anyone doubting the power of women at the box office. The film will no doubt be a hit as well as officially confirming McCarthy's status as a certifiable draw. She did well with the average (though some would say downright terrible) Identity Thief co-starring Jason Bateman who is a fine comic actor, but not necessarily a big box office draw on his own. Next to American sweetheart Sandra Bullock and under the direction of Bridesmaids helmer Paul Feig, it is almost a guarantee that if there were a chance for women to get their fair share of summer blockbusters then this would more than be the way to go. There is plenty to complain about when it comes to The Heat as it doesn't possess the effortless balance of comedy and heart that the directors previous, female-powered, film so easily conveyed. Instead, The Heat doesn't need or even try to be anything more than a raunchy, no holds-barred action comedy that is more that able to be held up against any number of buddy cop movies that feature two male leads. I've never taken issue with the idea of women getting the short end of the stick when it comes to having the responsibility of a big budget studio comedy or any other genre on their shoulders, but I'm also a white male which puts me in the most favored demographic and therefore I don't really have much room to speak. What I will say is that I had a consistently good time throughout this well-intentioned if not mean-spirited piece of fluff that isn't here to say anything new or break any ground, but simply to make us laugh and in that regard it succeeds with comedy to spare.    

First Trailer for GRAVITY

As I said earlier this week when the trailer for Ender's Game premiered, this is a good year for sci-fi and the presence of Gravity on the roster will likely only make that statement more true, if not improve it. I have been anxiously waiting to see what director Alfonso Cuaron would do to follow up his wonderful 2007 film, Children of Men. While that movie had hints of science fiction within it his latest seems to be a full blown sci-fi epic. There were test screenings for  Gravity as much as a year ago that gave us our first ideas of what we could expect, but despite the word of mouth being predominantly positive the film was pushed back from its originally scheduled release date of November 21, 2012 and moved to an unknown time slot. We now know that Gravity will open on October 4th and I am more than anxious to see the results of the hard work and ambition that Cuaron has clearly put into this project. If this first trailer is any indication we will clearly have a visual feast on our hands, but how will the story play out as it is said the movie will mainly feature Sandra Bullock floating in space for two hours. Is there actually a 17-minute single take shot (I wouldn't doubt this and neither would anyone else who's seen Children of Men)? How much will George Clooney's character play into it? Certainly with such a big name you wouldn't waste the potential. The thing is I don't think Cuaron cares and I don't think Clooney cared how big the part was either, he simply wanted to work with the man and be a part of a film that could push the limits of technology and make the audience feel as if they've actually been to space. Personally, I am extremely anxious to see this film and am beyond excited that we are finally seeing some press for it and have a definite release date. Who knows how much this film will divide audiences and if I will land on the side that loves it or doesn't get what the big deal is, but either way it will no doubt have people talking and I can't wait to be a part of that conversation. As stated, Gravity opens in 2D, 3D, and IMAX 3D on October 4th. Hit the jump to check out the trailer and let me know what you think.

EXTREMELY LOUD & INCREDIBLY CLOSE Review

Sometimes an entire movie can be redeemed through one solitary scene. One might be feeling a certain way about a film and then, in a brief window of three or four minutes all of that is washed away due to the impact of what we are experiencing. There is a scene like this in "Extremely Loud & Incredibly Close" where our young protagonist Oskar (Thomas Horn) is speaking with a man he hardly knows that may or may not hold the secret he has been searching for. Jeffrey Wright, in a small supporting role, is forced out of his comfort zone at his corporate America desk job and into an emotional state where he seems to face everything life has thrown at him rather than ignoring it as he has done before. I can't give much more about the scene away without spoiling details of the ending, but in that moment this went from being a film I wasn't sure I completely understood to one of great emotional impact. I wondered why we might need to draw back focus to the events of September 11th again, so soon after all of the anniversary specials a few months ago, but this is not a film about that horrible day (or as Oskar calls it "the worst day"). No, this is a movie about the grieving process and how the best way to handle a loss is probably not to push it under the rug and to try and convince yourself it never existed. It is a film that at times, tries a little too much and feels uneven, but in the end I was uplifted by the experience. This film has seemed to be one people either love or could care less about. I can see how such a divisive line has been drawn, but I have to go with those who took something from it. I feel I did and I can tell what a labor of love this seemed to be for director Stephen Daldry.

Oskar (Thomas Horn) clings to his father (Tom Hanks).

It is displayed in the early scenes of the film that Oskar has a close relationship with his father. As played by Tom Hanks, Thomas Schell is the kind of man we all associate Mr. Hanks with. He is a man who loves his family more than anything and he inherently does what is best for his son. It is obvious from his efforts that Oskar is wired a little differently than other 9-year old's on the block. At one point he informs us that he was tested for Asperger's but that they were inconclusive. Still, we can tell from his socially awkward dialogue, the way he speaks to people and his need for order, for sense and his attention to detail that Oskar requires a little more forgiveness than if we were watching a younger child on a scavenger hunt. Oskar loves his father, and his father indulges and challenges him to not just point out Oskar's flaws, but to assist him in helping them become irrelevant. Mr. Schell devises little "reconnaissance expeditions" that force Oskar out into a world he would usually fear. The scenes Hanks shares with young Horn do great to epitomize their relationship and why Oskar needs so badly to find closure after his death. Sandra Bullock plays the mother who is distanced after her husbands death. Oskar doesn't understand her grieving process. He persecutes her and throws uncontrollable fits that blame her for what happened and what didn't. In what was almost a stock character role Bullock is able to turn it around and in her limited time on screen deliver a truly heartfelt performance that moved me every bit the way Hanks did with his brief moments of joy and adventure.

Oskar and the mysterious man (Max von Sydow) renting a
room from his Grandmother go searching for the secrets
of the key. 

The film really gets rolling when, a year after the worst day, Oskar finds a key when searching through his fathers closet. Naturally, Oskar believes this to be a clue, a holder of some kind of secret that his father planned for him figure out after he was gone. This is the starting point for our quest with Oskar to find out what the key opens and who it belongs to. This leads him to come in contact with more people than his father could have ever imagined. Not being from New York it was easy for me to accept the long list of welcoming people that Oskar comes into contact with. It is in his search we meet Viola Davis who shines in brief moments. His mission also allows him to come in contact with the older gentlemen renting a room from his Grandmother who lives across the street. Simply known as the renter, Max von Sydow doesn't speak a word of dialogue the entire time he is on screen but is able to deliver the most moving performance in the film. Though it never actually says it we know why this man has such an interest in young Oskar, why he wants to assist him on his search and come to know him better. Sydow is remarkable in the role and makes a good contrast for Horn's character who can at times become somewhat of an annoyance.

Oskar always carries his tambourine with him to
help calm his nerves.

Oskar can be rude, moody, and precocious in his ways that leave little room for the concern of others. It is apparent he doesn't know better and is only acting in a way that seems perfectly reasonable to him. These differences in how Oskar's mind works and what is acceptable in society make the film engaging as we see it through Oskar's perspective. To see a world through the eyes of a young child, one with a form of asperger's no matter the severity, is a hard task to accomplish but the film does it incredibly well. Where at the beginning of writing this I couldn't put my finger on what is causing the divide in reaction now seems somewhat obvious. The facts of what Oskar needs to understand don't come as easily to him as they do people without this type of diagnosis as demonstrated by the argument he has with his mother in their kitchen. The film has an involving plot and an engaging lead character that some members of the audience will simply be put off by. People are attracted by the story and the need to understand more deeply the rippling effect of what that terrorist attack did to people like you and I. What they don't anticipate going in though is being told this story and how what happened affected a little boy who thinks much differently than they. Who reacts in what is likely the most opposite of ways. It is a tragic tale, and as I have written through it I feel I understand the film a little better now. It still might try and pull at the heart strings one too many times in a cloying manner, but it is no less an engaging film that deserves to be understood for what it is, not what you'd hoped it to be.

EXTREMELY LOUD & INCREDIBLY CLOSE Review

Sometimes an entire movie can be redeemed through one solitary scene. One might be feeling a certain way about a film and then, in a brief window of three or four minutes all of that is washed away due to the impact of what we are experiencing. There is a scene like this in "Extremely Loud & Incredibly Close" where our young protagonist Oskar (Thomas Horn) is speaking with a man he hardly knows that may or may not hold the secret he has been searching for. Jeffrey Wright, in a small supporting role, is forced out of his comfort zone at his corporate America desk job and into an emotional state where he seems to face everything life has thrown at him rather than ignoring it as he has done before. I can't give much more about the scene away without spoiling details of the ending, but in that moment this went from being a film I wasn't sure I completely understood to one of great emotional impact. I wondered why we might need to draw back focus to the events of September 11th again, so soon after all of the anniversary specials a few months ago, but this is not a film about that horrible day (or as Oskar calls it "the worst day"). No, this is a movie about the grieving process and how the best way to handle a loss is probably not to push it under the rug and to try and convince yourself it never existed. It is a film that at times, tries a little too much and feels uneven, but in the end I was uplifted by the experience. This film has seemed to be one people either love or could care less about. I can see how such a divisive line has been drawn, but I have to go with those who took something from it. I feel I did and I can tell what a labor of love this seemed to be for director Stephen Daldry.