The birth story of Facebook is a riveting tale of college sophomores that are brilliant, ambitious, immature, self-absorbed and disloyal – and about to become zillionaires. It’s a triumph for director David Fincher (Fight Club, Zodiac) and screenwriter Aaron Sorkin (A Few Good Men, The West Wing, Charlie Wilson’s War). Sorkin has written a screenplay about nerdy guys writing computer code and has made it fast-paced, understandable, funny and even gripping.
The most compelling aspect of the film is Jesse Eisenberg’s performance as Facebook creator Mark Zuckerberg. Eisenberg’s Zuckerman has few social skills, less social aptitude and exactly one friend, yet creates a framework for other people to share scores and even hundreds of “friends”. Eisenberg carries the film with an especially intense performance of an emotionally remote character. Eisenberg has been underrated despite strong performances in Adventureland, Zombieland and Solitary Man. Here, it is impossible to think of another actor who could so vividly create this Zuckerman.
The rest of the cast is outstanding, especially, Justin Timberlake (as Napster infant terrible Sean Parker), Armie Hammer, Rooney Mara and Douglas Urbanski.
One more thing: Fincher and Sorkin know how to end a movie.
Sylvain Chobert (The Triplets of Belleville) made this wistful animated charmer from a screenplay by the French master director Jacques Tati, who died in 1982. The Illusionist tells the story of a small time magician whose act no longer appeals to a postwar audience. As he prospects for an ever bleaker array of gigs, he drifts through show a biz detritus of seamy dressing rooms and broken talent. He meets a girl, who attaches herself to him to escape her drab existence. The magician selflessly works to help her blossom. It’s an innocent and sweet tale made bitterweet by the harsh grimness of his situation.
I wasn’t a big fan of Triplets of Belleville, but here Chobert strikes every note perfectly. It’s an essentially silent film that captures the tone of Tati’s Mr. Hulot’s Holiday. (Indeed, when the magician drops into a movie theater, it’s showing Tati’s masterpiece Mon Oncle.) It’s a fine movie with a sweetness that is rare in modern cinema.
The Super Bowl audience just got a glimpse of the newest genre mutant – a sci fi blended with a Western. Universal recently released the trailer for its $100 million summer 2011 blockbuster Cowboys & Aliens. In this article, the New York Times reports that the trailer’s first showing to a live audience evoked gales of laughter – but it’s not supposed to be a comedy.
According to the trailer, Harrison Ford’s torch-bearing mounted lynch mob is interrupted by laser attack from an alien spaceship. Daniel Craig, playing a Clint Eastwoodesque Man With No Name, awakes with his memory erased by aliens and a futuristic bracelet. Saloon gal Olivia Wilde (House, The OC) is pulled into the sky by alien forces.
It turns out that this isn’t the first Western with space aliens, although Oblivion aimed a lot lower. This 1994 schlockfest starred Andrew Divoff (as the alien Redeye), Richard Joseph Paul, Meg Foster, Isaac Hayes and Julie Newmar, with George Takei as the Jim Beam-swilling town doctor. Amazingly, Oblivion rated a 1996 sequel, Oblivion 2: Backlash.
If you want to see the Oscar nominees for Best Picture, I’d suggest catching True Grit, The King’s Speech, Black Swan and The Fighter in a theater.Another Year and Rabbit Hole are also on my list of Best Movies of 2010. 127 Hours, The Way Back, Somewhere and Biutiful are also good movies out now.
Another Year is Mike Leigh’s brilliant observation of the human condition, and asks why some people find contentment and others just cannot; Lesley Manville has the flashiest role – and gives the most remarkable performance – as a woman whose long trail of bad choices hasn’t left her with many options for a happy life. I also strongly recommend Rabbit Hole, an exquisite exploration of the grieving process with great performances by Nicole Kidman, Aaron Eckhardt, Diane Wiest, Sandra Oh and Miles Tenner.
Season of the Witch is a bad Nicholas Cage/Ron Perlman buddy movie set among the plague, crusades and witch hunts of the 13th century.
The Tillman Story weaves three stories together: the making of Pat Tillman, how he died in Afghanistan and his family’s struggle to pull the sheets back on the US military’s cover-up. At its core, it is the story of people who insist on truth dealing with a system that operates on perception.
I thought I knew the story. Tillman left the fame and wealth of an NFL career to enlist in the Army post-911. He was killed in a firefight in Afghanistan. The Army reported that he was killed while heroically charging the enemy to save his comrades. It was later revealed that he was killed by fire from his comrades. Still later, it became clear that the heroic death story was immediately concocted by the military for spin control or, worse, propaganda.
I didn’t know that Tillman predicted that the Army would propagandize his death and smuggled out to his wife the documentation of his wish for a civilian funeral. I didn’t know that Tillman crouched on a hill watching the bombing of Baghdad, and said, “This war is so fucking illegal.” I didn’t know that Tillman was with the team that waited hours to “rescue” captured soldier Jessica Lynch (abandoned by her captors) until a film crew arrived.
The US military made a huge miscalculation: they assumed that the family that produced someone with Pat Tillman’s values would be satisfied with a phony narrative of cartoonish heroism.
The more I think about The Tillman Story, the more I admire it. And I am increasingly grateful that Michael Moore didn’t make this movie and degrade it into a screed. Instead, Director Amir Bar-Lev avoids the simplistic and satisfying formulas and respects his subject matter and the audience by letting the story speak for itself.
127 Hours is surprisingly entertaining – surprisingly because you know, even before entering the theater, that the protagonist is going to get trapped under a rock and make his escape by cutting off his own arm. Although there are cringeworthy moments (not only the amputation), it’s not just a cringefest. This is a Danny Boyle movie after all, so there is lots of eye candy and a pounding score. But Boyle also framed a character for James Franco to play who is very fun at the beginning and more textured as his ordeal unfolds. And Franco, as usual, is wonderful.
Earlier this month, I giggled through Season of the Witch, about the medieval Church’s exorcism of demons from an accused witch. Season of the Witch was set in the 13th century.
The new film The Rite is based on a book about Father Gary, who is the Diocese of San Jose’s official exorcist. Now. In 2011.
Helpfully, the Diocese has published FAQs about its modern-day exorcism. The FAQs include this statement:
“The Catholic Church maintains that demons are real and very rarely can inhabit the physical bodies of human beings, and to this day practices a rite of exorcism to make them leave. While it may take months or even years of exorcisms to free a person from a demonic presence, the Church’s solemn ritual of exorcism can be a formidable weapon against such evil.”
There is no word from the Diocese as to any Official Inquisitor.
Every year, The Movie Gourmet watches the Oscars while enjoying a meal inspired by the Best Picture nominees. For example, last year’s highlight was Grandma Ethel’s Brisket for A Serious Man. We also had airplane bottles of liquor for Up in the Air, fastfood chicken for Precious and Middle Eastern fare for The Hurt Locker. I particularly relished having prawns for District 9; (“prawn” is the South African slur for the aliens). You get the idea and you can read more at Oscar Dinner.
But this year, the elements of my Oscar Dinner are not so obvious (despite being a great year for movie Food Porn). Now, I do know what I’m going to serve for True Grit, Black Swan, Toy Story 3, Inception, The Social Network and The Kids Are All Right.
But I’m stumped on 127 Hours The King’s Speech and The Fighter. I need to find food and/or beverages found in these movies or inspired by the movies (typical of the movie’s setting, a pun on the movie, etc.) Any ideas? I welcome your suggestions.
Ruth Sheen and Jim Broadbent in Mike Leigh's Another Year
There are more excellent movies in the theaters RIGHT NOW than any other time of the year. Right now, you can see Another Year, True Grit, The King’s Speech, Black Swan, The Way Back, Somewhere, Biutiful, The Fighter, Rabbit Hole and Fair Game. It just doesn’t get any better than this for movie fans.
True Grit is the Coen Brothers’ splendid Old West story of Mattie Ross, a girl of unrelenting resolve and moxie played by 14-year-old Hailee Steinfeld in a breakthrough performance, and Jeff Bridges is perfect as the hilarious, oft-besotted and frequently lethal Rooster Cogburn. The King’s Speech is the crowd pleasing story of a good man (Colin Firth) overcoming his stammer to inspire his nation in wartime with the help of a brassy commoner (Geoffrey Rush). Darren Aronofsky’s Black Swan is a rip roaring thriller and a showcase for Natalie Portman and Barbara Hershey. Another Year is Mike Leigh’s brilliant observation of the human condition, and asks why some people find contentment and others just cannot; Lesley Manville has the flashiest role – and gives the most remarkable performance – as a woman whose long trail of bad choices hasn’t left her with many options for a happy life.
Biutiful is a grim, grim movie with a great performance by Javier Bardem in a compelling portrait of a desperate man in desperate circumstance, directed by Alejandro Gonzalez Inarritu (Amores perros, 21 Grams, Babel).
Somewhere is Sofia Coppola’s (Lost in Translation) artsy portrait of a man so purposeless that he can find no pleasure in pleasure. An A-list movie star (Steven Dorff) is living at the Chateau Marmont with his expensive toys, booze and drugs and an inexhaustible supply of beautiful, sexually available women, but without Without any purpose or connection to others, his debauchery is completely joyless. To his surprise and discomfort, his eleven-year-old daughter (Elle Fanning) moves in for a few weeks.
The Way Back is inspired by the story of a 1940 escape from a Siberian gulag by men who walk over 4,000 miles to freedom in India – a trek of 4000 miles. It’s beautifully shot by director Peter Weir (Picnic at Hanging Rock, The Year of Living Dangerously, Witness, Master and Commander) but, eleven months of trudging through dangerous, unfamiliar territory while suffering from starvation and exposure is really impressive, but not that engaging.
I strongly recommend Rabbit Hole, an exquisite exploration of the grieving process with great performances by Nicole Kidman, Aaron Eckhardt, Diane Wiest, Sandra Oh and Miles Tenner. The Fighter is an excellent drama, starring Mark Wahlberg as a boxer trying to succeed despite his crack addict brother (Christian Bale) and trashy mom (Melissa Leo). Fair Game, the Valerie Plame/Joe Wilson story with Naomi Watts and Sean Penn, is also excellent. All are on my list of Best Movies of 2010.
I Love You, Phillip Morris is an entertaining offbeat combo of the con man, prison and romantic comedy genres. Red Hill is a stylish contemporary Aussie Western. Season of the Witch is a bad Nicholas Cage/Ron Perlman buddy movie set among the plague, crusades and witch hunts of the 13th century.
Mike Leigh (Secrets and Lies, Vera Drake) has brought us another brilliant observation of the human condition, and asks why some people find contentment and others just cannot. The film observes a year in the life of a happily married couple (Jim Broadbent and Ruth Sheen). They generously host their friends and family; the couple (and we the audience) pick up insights about the visitors – variously scarred by unhappy circumstance, cluelessness and self-destructiveness.
Mike Leigh may be the cinema’s best director of actors, and Another Year is filled with excellent performances, especially Broadbent and Sheen, David Bradley and Peter Wight. The wonderful Imelda Staunton drops in with a searing cameo at the beginning of the film. But Lesley Manville has the flashiest role – and gives the most remarkable performance – as a woman whose long trail of bad choices hasn’t left her with many options for a happy life.
