Skyfall (2012)

3/5

Skyfall, the 23rd Bond film since its creation 50 years ago, is certainly the most beautiful Bond film I've ever seen. And it's a prototypical Bond movie in many ways--filled with dry wit, exotic locales, and evil villains--but it's set in the new "hero as human" era of superhero movies that started with The Dark Knight. I'm certainly not an expert in the franchise, but my experience has always been of James Bond as a suave, debonair, practically invincible spy. Ever since the refresh with Casino Royale, we've seen him tortured and shot and just about beaten to death. This new bastardization of Bond is of an action hero who relies on brute force instead of gadgets, luck instead of planning. The 007 franchise has turned into a predictable summer blockbuster with a little star power and name recognition thrown in, but it's lost what made it special.

On top of all that, the movie itself is pretty mediocre, even with Sam Mendes at the helm. I will give it credit for having phenomenal cinematography (thanks to the incomparable Roger Deakins) and set pieces. But Mendes did not do enough to make it special again. Q and his gadgets came back, but in the most piddling, imbecilic way possible. The pacing suffered from an extra 30 minutes of explosions tacked on at the end. The plot is absolutely laughable. Granted, the plots have always been laughable, but that was part of their charm. Now they're preposterous in a realistic world instead of a dream world, which makes the inconsistencies and plot holes all the more embarrassing.

This is a plea to the producers: Stop this nonsense. Bond is not an action series; it's a spy series. Stop turning it into every other movie and bring it back to its roots. Update it without destroying it. Bond is more than what we're seeing here.

IMDb link: http://www.imdb.com/title/tt1074638/

Biutiful (2010)

4/5

Iñárritu's Biutiful is a powerful, moving film about a single father dying of cancer. Uxbal (Bardem) has custody of his two kids, Mateo (Estrella) and Ana (Bouchaib), because of his bipolar wife's erratic behavior. He also runs a fake handbag business, managing Chinese sweatshop workers (Shen) and Senegalese street vendors (Ndiaye). After learning of his diagnosis, he tries to reconcile with his wife (Álvarez) for his children's sake, but all his attempts to do the right thing for everyone he cares about spiral out of control.

Iñárritu is a master of multiple story lines. Although they all stem from the same root (instead of intersecting randomly as they have in the past), we still enjoy vast, diverse, sprawling epics. Iñárritu does not shy away from tough topics, tackling illegal immigration, parenting with mental illness, and coming to grips with death. He brings these into sharp focus with an ear for incisive dialogue and an eye for evocative shots. For being such a dark, depressing movie, it contains extremely colorful shots that somehow still maintain a gritty blackness. The acting by Bardem is absolutely incredible. His silent looks, his flashes of anger, holding emotions in and letting rage out, all come together to give us a crystal clear picture of the chaos behind his passing life.

Despite my praise for the thematics and tone of the film, Biutiful can be a little slow. It's about thirty minutes longer than it needs to be. Despite its pace, it is steady in its progression and sure in its footing. The cinematography is too handheld for me, unnecessarily so. I wished the camera would just stop moving every once in a while. They invented tripods for a reason. Also, the nudity in this film seems superfluous and over-the-top. By the end of it, you're just tired of all the breasts. Still, this is a terrific movie. It is refreshing to see that Iñárritu still has important things to say and the talent to say it in prolific ways.

IMDb link: http://www.imdb.com/title/tt1164999/

Eat Pray Love (2010)

2/5

Eat Pray Love is a movie that pretends to be more than it is. It imagines itself as a universally philosophical journey that one woman takes to discover what's important in her life following an impending divorce. It instead plays as a travelogue to Italy (where she eats), India (where she prays), and Bali (where she loves) with a superficial sheen of self-discovery, but lacking any depth or importance. The plot is barebones and unconvincing. Perhaps the book is better, but watching this movie I had no idea why Liz (Roberts) was so fed up with her husband (Crudup) that she needed a divorce. I normally wouldn't have cared except that it was the impetus of her actions and the crux of the movie. Her journey is worthless if we don't understand why she's going on it in the first place. My other big complaint was at the end, where she meets and (apparently) falls in love with Felipe (Bardem). For the life of me, I cannot figure out why. They are together for a few unwitnessed days/weeks and suddenly they are in love? Their romance is assumed instead of shown (no thanks to the overabundant narration). There was more passion with the food in Italy.

Despite my criticisms, I didn't actually hate this movie. In fact, I didn't mind it at all, thanks to the acting, cinematography, and editing. While none of the actors were bad, they were pretty flat and boring. I couldn't tell if it was bad acting or bad writing, but based on the rest of the screenplay, I'm going to assume it's bad writing. However, Roberts and Jenkins were given very interesting characters to play, and they fill each scene they're in with emotion and empathy. While I don't think the cinematography was actually that impressive, the locales themselves are gorgeous. They're captured in exquisite detail, and I felt transported to each city. The editing was surprisingly the best part about the movie. It is extremely well done, cutting across time and space to unite multiple ideas and thoughts. But most people, myself included, can't treasure technical prowess if the storyline is bad or forgettable. And that is this film's fatal flaw. If you were interested in the movie based on the trailer, you might enjoy wasting 2 hours and 15 minutes watching it. But for everyone else, just pretend it never existed.

IMDb link: http://www.imdb.com/title/tt0879870/

Vicky Cristina Barcelona (2008)

4/5

Woody Allen's Vicky Cristina Barcelona tells its entire story in the title, which I'm sure Allen intended. It is about Vicky (Hall) and Cristina (Johansson) during a summer vacation in Barcelona, where they meet Juan Antonio (Bardem) who invites them to drink wine and make love to him. As a young narrator informs us, the two girls have differing views on love. Vicky is engaged to Doug (Messina) but is afraid she wants more than her boring but otherwise perfect marriage. Cristina is always looking for more and different ways to be pleased until she finds what she's looking for. Juan Antonio is frank and honest with his emotions and sexuality. While these all sound like unique characters, they're not; they're caricatures exaggerated to make fun of each social class (educated homemaker wishing for something more, ever-unsatisfied free spirit, and romantic bohemian artist). Even the side characters are laughable.

This is not to denigrate the acting, which was excellently understated, but rather to emphasize the humor. I was laughing throughout the entire piece, not because of the things that happened, but because of the characters' impressions of themselves--how they talked and what they said--that revealed Allen poking fun at each of these social circles. Technically, the movie was solid, with little risk and littler reward. (There was an odd cross dissolve during a shot/countershot conversation, but nothing else particularly awful comes to mind.) I actually didn't mind the narration that much (and thankfully they didn't try to explain it at the end like in Million Dollar Baby). The movie is a fairly light romp through what is clearly a male fantasy with nothing profoundly insightful, but it's well worth the ride.

IMDb link: http://www.imdb.com/title/tt0497465/

No Country for Old Men (2007)

5/5

Watching this movie again, after contemplating it for half a year, I am struck by how much I remember. How every single scene in my memory matches perfectly what I was watching on screen today. Every frame is burned in my brain. The story allegedly focuses on a cowboy who, upon finding a stash of heroin and two million dollars in cash, is chased by a ruthless killer who will stop at nothing to retrieve the money. But to say that is what the movie is about is to deny it depth. It is not about a specific story set in a specific place and time, but about the darkness in man, the descent of society, and how we are helpless to prevent our own downfall. Aside from the pure thrill rush of seeing such a flawlessly-crafted movie, its insight into humanity will ensure its place in the annals of film history.

No Country for Old Men is the latest by the Coen brothers, who are known for their ability to remold every genre and inject humor into even the darkest of situations. The first time I saw this movie, I don't think I ever laughed. Or smiled. I was too scared to. In terms of suspense, this movie outshines even The Silence of the Lambs. But there are so many humorous moments to even out the bleak, soulless remainder of the movie. What the Coens have achieved is an atmosphere that is completely unique; they have put us in a world that is completely their own. We have no way of predicting what will happen next or how the movie will end because we have never set foot in a world quite like this one.

Technically, there is not a single misstep or error. Every composition and camera movement is accomplished with such purpose and precision. There is something tranquil and calming about the way they shoot the barren landscapes, terrifying and tense about the dark hotels and pooling blood. The editing is pristine, and its role extends past mere function into thematics. In the Coens' refusal to show certain events we consider essential, we realize the true essence of the movie. The acting by Josh Brolin and Javier Bardem is spot-on, but Tommy Lee Jones's portrayal of Ed Tom Bell is absolutely spellbinding. He quite literally becomes his character, emanating his very being without needing to speak a single line. A shift in his weight or a sluggish turn and we know more about him than any words could tell. That is not to say the dialogue is unnecessary--it is brilliant and profound, unnerving and unforgettable. At the end of this movie, you will sit there stunned. And you will remember it for a long time to come.

IMDb link: http://imdb.com/title/tt0477348/