PROMETHEUS Review

To be fair, I may show a bit of favoritism in writing about Prometheus. This is my kind of movie and I was hooked from the beautiful opening shots of the soaring landscapes of a distant, alien planet. Also, to be fair, I should state that I may be one of the few cinema lovers who does not have Ridley Scott's Alien ingrained into my mind as a film I grew up on, I never even considered it one of my favorites. Before refreshing my mind just before screening Prometheus I had only seen the movie that made Sigourney Weaver a star once. So, while many reviews you might read about this film will contain a high level of discussion about how this new film contains DNA of the directors genre-defining sci-fi flick, mine will not. In essence though this aspect feels like nothing more than an afterthought and so the knowledge of those previous films is unnecessary only offering a bit tacked on to appease those who have waited 30 years for the director to re-visit the genre he so generously made contributions to. Prometheus is a monster all its own, with a strand of thinking that goes after what Alien only hinted at. Alien was a minimal sci-fi film, it was elegant in its execution and a slow burn in its pace. Prometheus, on the other hand, while sharing the fine eye for the pacing of its predecessor, also goes beyond the walls of the ship to explore the existential longings of two scientists who believe they may have just solved the mystery of human existence. With such a big question premise there was bound to be some disappointing aspects to the revelations but Scott has concocted a film that is nothing short of an accomplishment in visual wizardry despite fumbling the ball in the final act.

Meredith Vickers (Charlize Theron) and Janek (Idris Elba)
watch from the ship as they discover the unthinkable.

We, as human beings, develop belief systems based on basic human needs. We do this to protect ourselves and function in the world. People strive to have happy events occur in their lives while feeling as if we are connected to the world in which we live. We create these systems though in an attempt to understand the world we live in, it provides structure and it helps us understand information so that all of this makes sense. Prometheus asks the question of what if these are all nothing more than self fulfilling prophecies? Are they nothing more than tools to interpret events in a way that fit into those belief systems? That is what I found not only the most engaging about the film, but also the most pleasing. That this large scale film that looks like a summer blockbuster has the balls to meditate on big philosophical questions. It is visually stunning and intellectually stimulating much in the vein of something like The Tree of Life while maintaining a demand that is something closer to that of a Marvel movie. Prometheus approaches these questions with the fact that there is biology somewhere else in our universe, that Earth is not the only planet able to sustain life, even if only in the smallest of organisms. The way in which it chooses to explore these themes is by pondering the questions of the origins of mankind.  The thesis is that life came from another race of extraterrestrials. It is kept strictly scientific throughout only upping the credibility of what we are witnessing. That is not to discourage beliefs in a higher power, but is instead something that quenches every single persons need to see to believe. At times, we can feel the strain of the script being unable to meet the epic expectations the dialogue reaches for. Still, for the most part this satisfies our sense of wonder and mystery with the awe-inspiring visuals that also carry a good amount of dread.

Dr. Holloway (Logan Marshall-Green), Dr. Shaw (Noomi
Rapace) and android David (Michael Fassbender)
investigate ancient ruins on a distant planet.

These thoughts and musings are played out through the story of two doctors, Elizabeth Shaw (Noomi Rapace the original Girl with the Dragon Tattoo) and Charlie Holloway (Logan Marshall-Green) who have discovered markings in caves that span thousands of years but share a common characteristic. These drawings lead them to a specific set of stars and planets where they believe the secrets to the origins of mankind will be found. The two scientists are on board the ship appropriately titled Prometheus after the God who is credited with the creation of man from clay and the theft of fire for human use, an act that is said to have enabled progress and civilization in mythology. Shaw and Holloway are funded by Peter Weyland (Guy Pearce in tons of make-up) an aging corporate tycoon who believes in their theories. They are joined on board by Captain Janek (a scene stealing Idris Elba) as well as corporate manager for Weyland Industries Meredith Vickers (Charlize Theron playing the baddie for a second week in a row). And then there is David, the android who looks, talks, and for the most part acts like a human being. There is always one robot in these kinds of movies, but Michael Fassbender makes David one for the record books. While David is neither good or bad, he clearly has his own agenda and he will stop at nothing to accomplish his personal goals. While there are plenty of scares to be expected from the slimy alien life forms to the several creative ways crew members are dispensed, nothing comes close to the frightening realization of what David is and how much he is capable of. Fassbender makes the most out of this already stand out character by creepily yearning to be a human himself yet taking full advantage of the perks that come with existing without a soul and bottomless database.

David gets to the heart of the truth the explorers hoped
to find on their expedition.

While the first hour or so of the film is completely compelling with non-stop discussion of the possibilities that lie ahead and the talk of what they already know and what they hope to discover; the conclusion does see the script slightly crumble. It is all very fascinating and is both in word and scope genuinely epic. I don't know that I have ever seen more clear, pristine visuals coated with such looming nuances of fear. Each of the actors bring a fine performance to the table and Rapace should certainly be commended for anchoring this huge film with such humility and confidence. Though her Dr. Shaw is unlikely to become as iconic a character as Weaver's Ripley, that role was of a different time and social landscape where now a woman protagonist is not as unheard of. What is most important is that Rapace proves herself up to the challenge and I am excited to see where her career in the U.S. will go from here. The only disheartening bit about the film and the only reason it ranks a four-star rather than a full five in my books is because of the questions it leaves unanswered. While this could of course be left to the explanation that Scott wants viewers to discuss and draw their own conclusions the truth feels closer to the fact that the screenwriters were unable to create an end result that matches the hype the early discussions build. The entire running time the audience is looking forward to answers to continuous questions being asked. When we finally reach the climax of the film we receive no concrete explanation (which I can live with) but we are not really given anything to draw from either. We see a set of actions take place with no justification. It's as if the writers hope the crowd will be so distracted by the loop around to the Alien connection that we will forget about the meat of why we are here. Not true, and I held such high hopes for what revelation might come. I can only hope that those unanswered questions were left open for a sequel that might offer insight rather than a discussion that will only ever consist of speculation.

  

PROMETHEUS Review

To be fair, I may show a bit of favoritism in writing about Prometheus. This is my kind of movie and I was hooked from the beautiful opening shots of the soaring landscapes of a distant, alien planet. Also, to be fair, I should state that I may be one of the few cinema lovers who does not have Ridley Scott's Alien ingrained into my mind as a film I grew up on, I never even considered it one of my favorites. Before refreshing my mind just before screening Prometheus I had only seen the movie that made Sigourney Weaver a star once. So, while many reviews you might read about this film will contain a high level of discussion about how this new film contains DNA of the directors genre-defining sci-fi flick, mine will not. In essence though this aspect feels like nothing more than an afterthought and so the knowledge of those previous films is unnecessary only offering a bit tacked on to appease those who have waited 30 years for the director to re-visit the genre he so generously made contributions to. Prometheus is a monster all its own, with a strand of thinking that goes after what Alien only hinted at. Alien was a minimal sci-fi film, it was elegant in its execution and a slow burn in its pace. Prometheus, on the other hand, while sharing the fine eye for the pacing of its predecessor, also goes beyond the walls of the ship to explore the existential longings of two scientists who believe they may have just solved the mystery of human existence. With such a big question premise there was bound to be some disappointing aspects to the revelations but Scott has concocted a film that is nothing short of an accomplishment in visual wizardry despite fumbling the ball in the final act.

BERNIE Review

Sometimes those true stories that are so strange and intriguing and really deserve the movie treatment are either embellished to the point of non recognition or played so straight its hard to believe we aren't watching a "48 Hours Mystery" episode. What is appealing about Bernie though is the way it walks this line so carefully. Sure, it sways pretty heavily in either direction from time to time but it always regains its balance and in the end delivers a dark comedy that is nothing short of entertaining and completely unbelievable. The unbelievable factor comes squarely from the personification of our title character. He is such a strange and mysterious being. You think you have him figured out and then you learn something else about him, some other aspect of his life and it makes you re-evaluate him completely. In that lead role, Jack Black has given what is one of his finest performances. I have always loved Black and his manic energy despite his many failures as of late. Here, he has calmed himself down and subdued his energy while channeling it into this character that is at times very complex while on the surface remaining a kind of simpleton. He is a gentle man, but someone who clearly has ambitions and motivation and as he becomes the most liked man in a small community in east Texas. While Black delivers on every level he is also backed by a subtle and all too brief performance by Shirley MacLaine and a wonderfully over-the-top turn from Matthew McConaughey. Director Richard Linklater (School of Rock) surrounds these characters with a Greek chorus of town members and fleshes out his story with the most absurd of commentaries. It is a strikingly odd film that even more strangely becomes as appealing and charming as its main character.

Marjorie Nugent (Shirley MacLaine) becomes controlling
of her new found friend Bernie (Jack Black).

The crazy thing about the film, the hook of it, though really is the story and that is a lovely thing. When we first meet Black's Bernie Tiede he has accepted a job as the assistant funeral director in the little town of Carthage, Texas. Bernie quickly becomes a town staple and everyone's favorite person. He is more than just a committed worker at the funeral home, he teaches Sunday school and sings in the church choir. He ran the drama productions in town and he volunteered and would lend a helping hand anywhere he could. It comes as no surprise when Bernie befriends one of the widows of the husbands that has passed away. Marjorie Nugent (MacLaine) is pretty much hated throughout town and has been sued at least once by every member of her family. Marjorie also has a good amount of money to her name and so it works out perfectly that Marjorie can match Bernie's ambition with her finances and Bernie can fulfill Marjorie's desire for a companion. They do in fact become frequent travel buddies and Bernie goes as far as to begin managing her bank accounts, but she pushes him. He becomes more of her servant, waiting on her hand and foot and he is just such of a nice guy that he literally cannot tell her no. Instead of breaking the ties and having to deal with a disheartened friend he kills her. This, I find to be no spoiler because that is not the surprising part about the story. What is indeed surprising about the story is what happens after. The townspeople are glad to be rid of Marjorie and they would rather thank Bernie than condemn him. Bernie doesn't know what to do about what he's done and so he carries on as if nothing happens for nine months and in this time we find it fascinating what we really discover about the character of Bernie.

District Attorney Danny Buck
(Matthew McConaughey) is set
on finding Bernie guilty.

Because this does star Jack Black it might immediately be assumed this is a flat out comedy and this is partly true, but not really. There are funny bits, the commentary by the townspeople in itself is a guaranteed laugh, but there are strong hints of drama here as well. It is more than fitting into these genre lines though, Black makes his character a real human in the way that he captures the restrained madness and conflict that are no doubt hidden below the bubbly surface of Bernie. This becomes more than just a comedy film it is a social commentary on the south, specifically east Texas where the "real south begins....life behind the pine curtain" as one character calls it. That was the intrigue of the subject matter for me. It is all very specific, it knows what it is and it wraps you up in the world it documents while never clarifying or forcing its opinions of the title character on the audience. It leaves that up to us and in doing so it leaves just the right amount open while delivering everything we need to know to come to a well educated opinion. I still don't know what I think of Bernie though. The movie itself I loved, but the man is another case entirely. He is an earnest man and it is clear that he is simply a sweet guy who gets himself in to deep to something that his world and the way he works doesn't know how to deal with. It is interesting though that Bernie befriends most of the widows in town in an effort to keep them company and console them after the loss of their husbands. why he chooses Mrs. Nugent to become so involved with raises the question of is their more of a motive there because of her known wealth. Of course, it could be routed back to the fact they find in one another what no one else can offer but even still, what Marjorie can offer that no one else can is the money. Bernie has a large appetite for helping others and he uses Mrs. Nugent's money to do so in most cases. Even after her death he spends and spends. It is made clear that Bernie spent little to nothing on himself but it does show him, multiple times, taking a plane out for a fly and we assume it is his own personal one.

When this comes down to a trail (which is fittingly the finale of the film) McConaughey's cocky DA Danny Buck uses this angle to work the jury in his favor of putting Bernie away in prison. As a Linklater staple McConaughey doesn't come into play really until about mid-way through the film, but when he does he is certainly a force to be reckoned with and he seems the only one that is fascinated with the spell Bernie has seemed to cast over the townspeople. Director Linklater who also wrote the script was present for the actual trial of Bernie Tiede in the 1990's. This is clearly been a labor of love for the director and he paints a portrait of small town southern America in such a honest and pleasant way that this string of tragic events flows seamlessly as a big screen comedy.

Bernie explains how his fellow neighbors can get tax
deductions for what they've personally spent on
equipment and uniforms for work.

Bernie is absolutely in my top 10 films of the year so far as I loved every minute of it. I was first happy to see Black and Linklater reunite after creating a minor classic in School of Rock almost ten years ago and second to see that Black would get the opportunity to portray a character that didn't fit the bill for his standard roles that have caused him more big budget misfires than hits as of late. I literally don't think he has appeared in a quality film since 2008's Tropic Thunder (I'm not counting his voice work in Kung Fu Panda or his extended cameo in The Muppets either). I have always liked the actors personality and willingness to go as far as it takes to pull off a good joke, but Linklater seems to know best how to focus these assets into a character that supports the story rather than a character who's story is struggling to keep up with him. Black plays the odd man with such a soft spoke, southern voice and hint of feminism that raise questions about his sexuality and only add layers to a man fascinating enough on his won without adding in other questions to make us ponder his true motives. Was the real Bernie Tiede simply too nice a guy too break an old lady s heart? Did he just crave friendship and approval so much that he killed to carry on his charitable works? They are such contrasting thoughts it's hard to even narrow down the real source of why such a thing came to be, but it did and in this crazy true story out of east Texas has come a film that re-defines a career and refreshes faith in a storyteller seeing the value of that over-used tagline "based on a true story".  

BERNIE Review

Sometimes those true stories that are so strange and intriguing and really deserve the movie treatment are either embellished to the point of non recognition or played so straight its hard to believe we aren't watching a "48 Hours Mystery" episode. What is appealing about Bernie though is the way it walks this line so carefully. Sure, it sways pretty heavily in either direction from time to time but it always regains its balance and in the end delivers a dark comedy that is nothing short of entertaining and completely unbelievable. The unbelievable factor comes squarely from the personification of our title character. He is such a strange and mysterious being. You think you have him figured out and then you learn something else about him, some other aspect of his life and it makes you re-evaluate him completely. In that lead role, Jack Black has given what is one of his finest performances. I have always loved Black and his manic energy despite his many failures as of late. Here, he has calmed himself down and subdued his energy while channeling it into this character that is at times very complex while on the surface remaining a kind of simpleton. He is a gentle man, but someone who clearly has ambitions and motivation and as he becomes the most liked man in a small community in east Texas. While Black delivers on every level he is also backed by a subtle and all too brief performance by Shirley MacLaine and a wonderfully over-the-top turn from Matthew McConaughey. Director Richard Linklater (School of Rock) surrounds these characters with a Greek chorus of town members and fleshes out his story with the most absurd of commentaries. It is a strikingly odd film that even more strangely becomes as appealing and charming as its main character.

SOUND OF MY VOICE Review

What grabs you about Sound of My Voice is not just the idea the film revolves around, but the fact that you don't necessarily know what or where exactly any of this is coming from and where it might be going. It is an ambitious film on a small scale. If you have seen the trailer then you understand the intrigue of what is going on here and you adore the tone for its subtle and scarce feelings it leaves you with. This is a brief but very precise film. It knows what it's going for and by all accounts it captures it perfectly. There is a mystery to the going-on's that can't hardly be described and there is an intelligence to the writing that at the same time makes us feel both calm yet inadequate. It is a strange feeling, but that kind of confusion, hesitation, and flat out mesmerizing effect is no doubt what director and co-writers Zal Batmanglij and Brit Marling were going for. Marling, who is the new "it" girl for indie films after last year's underrated Another Earth does tremendous work here. This is an original and engaging film that not only proves you can make a good science fiction flick without green screens and space ships but that you can also make a film on a small budget that can blow you away. The film keeps you on the edge of your seat and at the end you really do want more. It is one of those movies you want to watch again as soon as it ends. You want to interrogate the film because you enjoyed it so much. It was truly an experience and for anyone that did in fact doubt Ms. Marling can surely now be silenced as she has proved herself more than a one cult wonder. This is a fantastic film and one that will likely be on my top 10 list at the end of the year. I can't wait to tell people about this movie. I'm still thinking about it. I'm still fascinated.

Peter (Christopher Denham) integrates himself into a
cult to prove their leader is a fraud.

It is no secret what this central character claims to be and so I don't hesitate in mentioning it here. In fact, this is the way the trailer gets you. It is how it clinches that unnerving feeling it has already instilled. It offers the promise of some kind of insight into a phenomenon that is either not possible or beyond our realm of comprehension in this time period. We follow Peter (Christopher Denham) and his girlfriend Lorna (Nicole Vicius) as they set out to expose an enigmatic young woman named Maggie who is amassing followers in her basement under the provision that she is from the future. Yep, that's right a time traveler. I'm sure if you've seen the trailer you already know how well this piece of information is used and if you have seen the film I'm sure you know how well this device is used throughout the story to speak for so much more. Both Peter and Lorna set out as documentary filmmakers intent on trying to expose Maggie for what she is whether that be a liar, a fraud, or more than likely a loon. They are brave in their attempts to delve into this cult and fearless in the solace that there is nothing truly bad that can happen to them. They are only getting in deep enough to pull the lid off the whole thing. At least, that is where we stand when the movie begins and we meet our two protagonists as they are secretly escorted to their first meeting with Maggie. Naturally, the more they learn about Maggie's world and the more their individual personalities begin to match the information they are receiving the line becomes blurred on what their objective really is and it makes them question one another. They are a loving couple, a pair in their mid-twenties looking for their spot in the world together, but by the end of the film Maggie has not just driven a gap between them she has possibly made them realize who they truly are. We don't know the truth of what is going on and we are never told flat out what to think. This is not only a point of frustration with the film, but it is of course what makes the whole thing so mind-blowing.

Maggie (Brit Marling) claims to be from the future and
has amassed quite a following who believe her.

What truly grabs you about the film though is in fact just what causes that rift between our heroes. That is the trick of the film, that is where the hook lies. It is within Maggie. We are as unaware of her charisma at the beginning as Peter and Lorna and are allowed to make our own assertions of her as we learn and watch her as they do. We are allowed to be captivated by her and we are allowed to be cautious. The fact the movie doesn't tell us what to think not only makes the plausibility of this feel all the more real, but it puts us in that always interesting realm of what would we do if we were in that situation. If this really were the circumstances we were facing would you believe Maggie? The answer to that will likely be a debate as the ending is purposefully ambiguous and leaves it open to your own interpretation. Several days after viewing the film I'm still not sure what side of the fence I land on. I've tried going back and watching trailers again, trying to revisit the evidence that we were provided. If anything all that I've come up with is that there are more plot points I want to examine and better understand on repeat viewings. The reason we become so involved though, the reason we indeed have such a debate over whether to believe the practical or the unbelievable is the unflinching performance of Brit Marling. Though a good number of folks were disappointed in her other Sundance offering Another Earth, I found it extremely engaging and full of questions and thoughts it didn't really know the answers to itself. There was nothing wrong with that, I found it a good meditation on the "what-if's" and Sound of My Voice operates in a similar sphere while giving us a more seductive central character. The film makes us believe in th epossibility of time travel because of Maggie's caring tone and forceful, commanding presence. She coaxes all of her followers and the audience into feeling what she wants and then lets us decide what we want to do with them where we want to take them and if we want to believe.

Lorna (Nicole Vicius) gets some shooting lessons from a
fellow cult member.

The whole feeling of being in the eye in the storm is what gives us as an audience the right to feel as if we are a part of what is going on on screen and that feeling, in these events, is what will make you talk about it and debate the ending on the way home. It is what I loved about the film besides the loveliness of the premise. I am so happy to see that Marling has a taste for the science fiction elements while grounding them in a very practical world. It is a look into what would actually might be going on if there just happened to be a time traveler in the reality of our world. It is almost more magical than watching sci-fi films with large spectacle and that day dream palette. There is something awe-inspiring about how simple this is while also being smart enough to leave it completely open for interpretation. I haven't spent much time on the performances, but they are all perfectly tunes as Denham proves a great anchor for this investigative aspect of the story that is going on while at times his voice is almost indistinguishable from that of Topher Grace's. Lorna is almost as equally captivating as Maggie despite not having the moments to lure us in. Vicius plays her with a subdued self-confidence that serves the character well in the final act of the film and shows a real arc. They are each able to find out who they are and we understand this as well with only the slightest of hints at their true character. We are all constantly changing, adapting, and being tested. It is not only a testament to the acting, but the script that exercises to a T that age old lesson of less being more. I still have not decided what I believe, whether Maggie is a fraud or not, and she is so varied in her representation it is unlikely I will ever decide to permanently go one way or another, but I love it and I can't wait to watch this film again to at least attempt to console myself with a more concrete conclusion.