The Sunset Limited (2011)

3/5

Cormac McCarthy's The Sunset Limited, as adapted by Tommy Lee Jones, is an interesting story. White (Jones) is a retired professor who attempts suicide by jumping in front of the titular train. Black (Jackson) is an ex-convict who rescues White from death and brings him back to his apartment. And that's where the movie begins, as they start to talk. It retells the age-old battle between cynicism and hope, atheism and religion. Everything up until the ending seems tried and true, an ancient cliché, but it brings it to a close in a way that seems novel and intriguing.

The cinematography is surprisingly inventive and entertaining, despite taking place in a single room in real time. The editing keeps the pacing tight and, as far as directing goes, Jones does an expert job. But the problem with the movie is that it's overly-talky. I wouldn't expect anything less from Cormac McCarthy, but it's a little excessive in a film. What reads well doesn't always screen well. That is really the problem with The Sunset Limited. Although his technical feats are much appreciated, I would have hoped Jones could have adapted it a little bit better.

IMDb link: http://www.imdb.com/title/tt1510938/

Natural Born Killers (1994)

3/5

Oliver Stone's Natural Born Killers is a frenetic film, filled with so much energy and bombast it practically leaps off the screen and slaps you in the face. The movie follows Mickey (Harrelson) and Mallory (Lewis), two lovers who go on a mass murdering rampage, and the media that glorifies it. In the wake of recent school shootings and suicides publicized on Twitter, it feels even more timely than ever. People will always want their 15 minutes of fame, no matter how they get there.

The movie is visceral--it shouts loud and it hits hard--but somehow manages to be less graphic than more modern movies. It is violent, though, in every sense of the word: an offensive assault on our senses and sensibilities. Its aggressive pacing involves us in the story, exhilarating us and titillating us without giving us any room to breathe and process what we see. And we become awe-struck by the images of violence on the screen. Is that not precisely the kind of voyeurism we are supposed to condemn?

But despite what he has to say, Stone uses a sledgehammer to pound his point home. To say it lacks subtlety is to say that an elephant is larger than a mosquito. It blasts its message nonstop, using anything and everything from random video projections in the background of scenes to story elements like Downey Jr's sensationalist television series. It leaves nothing to the imagination, and our imagination is stronger and more horrific than anything Stone has to say.

Tarantino came up with the story, and I can tell that if he directed this it would have been a masterpiece. But Stone's version is messy and chaotic, unvarnished and unfocused. I'm glad I saw the movie just so I can say for sure that I don't need to see any more Oliver Stone films. Not that this is a bad film; it's just not my style. There's nothing deeper here than what Stone shows you. But Natural Born Killers does spark the conversation, and that's definitely worth something.

IMDb link: http://www.imdb.com/title/tt0110632/

Men In Black 3 (2012)

4/5

Men In Black 3 is the sequel that nobody asked for and that everybody was surprised by. It offers an origin story for both leads that brings complexity and depth to the characters, making them more authentic and infinitely more heartwarming. You wouldn't expect that from a simple sci-fi action comedy--and you wouldn't expect for it to be done so expertly--but it gives us all that on top of everything else that makes the series so watchable. Past all the superfluous and silly special effects, past all the precisely-delivered one-liners, past all the action and excitement, the movie leaves an indelible mark in your memory because it plucks the heartstrings so powerfully. Honestly, seeing that finale just made my heart drop a little. How can you not feel something when you discover what turned Josh Brolin into Tommy Lee Jones? That small, perfect moment at the end is what makes Men In Black 3 the best of the series. And what makes me want to see it again and again.

IMDb link: http://www.imdb.com/title/tt1409024/

Hope Springs (2012)

2/5

Hope Springs follows an aging married couple (Jones, Streep) who have spent 30+ years together, coexisting with frictionless perfection. But in so doing, they have lost whatever romance they once had. The movie never explains (to my satisfaction anyway) why they lost that intimacy, nor does it explore Streep's motivation for wanting it back. Regardless, they seek out the help of Dr. Feld (Carell) and his week-long intensive couples counseling. The movie is billed as a romantic comedy (I think), but it's more a series of awkward encounters that did little more than gross me out.

I mean, I will admit it had the occasional saccharine moment and life lesson strewn about, but these pleasantries were just surrounded by uncomfortable situation after uncomfortable situation. I can't look back on this movie with anything but disgust. It is made for a specific age group and I believe it can only truly be appreciated by that age group. (Imagine, if you will, a kids movie where characters eat their own boogers; kids might find it hilarious, but it's just a disturbing image for everyone else.)

I realized very early on that I am much too young to be watching Hope Springs. But I kept watching until the grisly end. That's the problem with my obsessive-compulsive personality: finishing things that don't need to be finished. This movie may very well be a good movie for people who emerged from their midlife crises 2 decades ago, but I am certainly not its target audience. Unless you're about to become a Medicare beneficiary, I would not recommend you see this film.

IMDb link: http://www.imdb.com/title/tt1535438/

Lincoln (2012)

4/5

Steven Spielberg's Lincoln is a tremendous film. Although the biopic only details the last year or so of Lincoln's life and presidency, it focuses on his most important contribution to the United States: the passage of the amendment that prohibits slavery. There is little of the Civil War, and there is lots of oration and debate. Luckily for me, I prefer thoughtful parables and eloquent monologues to simple-minding fighting, and that is exactly what this movie provides. Oh, and it brings with it plenty of sly witticisms and clever jokes.

Daniel Day-Lewis plays the titular character, although Day-Lewis completely disappears within Lincoln. Watching the 2.5 hour movie, I never once felt I was seeing Day-Lewis on screen. I only saw Lincoln. That is perhaps the greatest commendation I can give to an actor. Sally Field is immensely believable as Lincoln's wife; her presence allows us an unexpected and sharply penetrating look into Lincoln's personal life, including its love, its turmoil, and its troubles. Tommy Lee Jones gives an equally remarkable performance as Thaddeus Stevens, one of the biggest proponents for the end of slavery and the equality of every man and woman.

The movie is, unfortunately, relatively light on story. The dialogue could also feel preachy from time to time. There are actually quite a few loose ends and irrelevant side plots that crop up. Quite frankly, I don't understand the purpose of Joseph Gordon-Levitt's character, or why such a well-known actor was chosen to portray him. And James Spader and his men seem to stick around well past their utility and relevance. Overall, though, the movie is equal parts iconic and inspirational. It's a historical drama with the right amount of modern sensibilities peppered throughout its joyously old-timey vernacular.

IMDb link:  http://www.imdb.com/title/tt0443272/

In the Valley of Elah (2007)

4/5

Paul Haggis's In the Valley of Elah manages to be touching without the oversentimentality that usually suffocates his films. Based on a true story, the movie follows Tommy Lee Jones as a retired career officer who starts investigating the disappearance of his son after his return from Iraq. From the very beginning, the mystery is paced exceptionally well, continually pulling you in and keeping your brain active the entire time. While not as gripping as A Few Good Men (and ultimately not as good, in my opinion), it is without a doubt more timely and relevant.

The acting was really good, although I think Tommy Lee Jones was better in No Country for Old Men than in this. Much of it was subtle and understated, making it feel richer and more genuine. Paul Haggis used a number of extended shots to give the actors room to act, instead of cutting between shot/countershot close-ups across 30 different takes. He has definitely learned to use the camera to compose interesting shots and movements. (One of my big arguments against Crash is that it had almost zero cinematic qualities; it's good to see that Haggis is finally learning.) If you were interested in this flick when it first came out, I definitely recommend you see it. And if not, perhaps you should consider it anyway.

Note: It was awesome seeing Tommy Lee Jones, Josh Brolin, AND Barry Corbin all in this film. It's like all those bad comedies that become so much better because of cameos from side characters on the Office. Except it's cameos from No Country for Old Men!

IMDb link: http://www.imdb.com/title/tt0478134/

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/

The Three Burials of Melquiades Estrada (2005)

2/5

This is a pretty boring movie. The worst part is that it tricks you into thinking you're seeing a good movie because of its meditative pace. Scenes last so long, you ask yourself, Am I missing something? Nope, that's all there is. I wonder if it is Guillermo Arriaga who writes the script in flashback-mode or just Tommy Lee Jones' interpretation of it, but the nonlinear storyline really did not help the movie at all; it only hindered our understanding of it and took away from the power of the plot. The same thing happened in 21 Grams (also written by Arriaga). There seems to be something manipulative about introducing the past only after it is mentioned in the present instead of already having it shown and having the audience remember it. It's like baby-feeding and so the audience doesn't feel involved in or attached to the movie. In addition, there were a lot of unanswered questions that arose because of either curious/bizarre acting or unexplained plot twists. The plot wasn't very compelling and the end was neither sensational nor redemptive; it just stopped. In my eyes, this movie was all the bad stuff that didn't make the cut for Amores Perros and 21 Grams.

I liked the characters and how almost all of them were fleshed out by being involved in the plot after being introduced as side characters (like in The Station Agent, but not done as well). Some of the dialogue was pretty good, but I know that Guillermo Arriaga can do much much better. Some of the cinematography was absolutely mesmerizing, but that also took away from the story because it focused on the landscapes for too long.

IMDb link: http://www.imdb.com/title/tt0419294/