Tangled (2010)

4/5

Disney's Tangled is a return to the fairytale genre they seemed to have singlehandedly created way back in 1937 with Snow White and the Seven Dwarfs. The plot follows Rapunzel (Moore) as a young princess who was stolen by the aging Mother Gothel (Murphy) and placed in a hidden tower for the magical healing power of her hair. She dreams of what the outside world is like and one day her wish comes true when she gets rescued by a thief named Flynn Rider (Levi). Flynn is being chased by royal guards, and one particular royal horse named Maximus, who is quite possibly the most hilarious and memorable character in the entire movie, even though he never speaks a word. Disney knows good entertainment, and this movie continues in its tradition by producing this fantastic story with spectacular visuals.

I really loved the animation: it had a distinct style (unlike Beauty and the Beast) that I absolutely adored. It was painterly and beautiful and smooth and luminous and just about perfect. Except for one thing. The eyes really bugged me, because they were huge and outlined with like three million tiny eyelashes. So bizarre. I had smaller qualms with the movie as well. The narration was 100% unnecessary (the intro and ending would have been far more poignant had they tried it silently like in Up). The acting, the music, and the dialogue failed to impress me, although they never detracted from the rest of its greatness. What frustrated me the most about this movie was that it was so close to being something special. It was so close to being more than just another enjoyable flick, but unfortunately that's all I found it to be.

IMDb link: http://www.imdb.com/title/tt0398286/

Beauty and the Beast (1991)

4/5

When I think of Disney, I think of their animated fairy tales. And Beauty and the Beast is a classic one. As the title song says, the story is as old as time. We all know about the beastly Beast (Benson), a previously handsome prince who was cursed with ugliness until he learns true love, and the beautiful Belle (O'Hara), who is able to see past his hideous exterior and into his kind heart. Even I, with my forgetfulness, remember the French candlestick Lumiere (Orbach), the wound-up clock Cogsworth (Stiers), the teapot Mrs. Potts (Lansbury), and her teacup son Chip (Pierce). They stick in your brain for their uniqueness, their depth, and their extraordinary acting. It feels odd to know that they cast Broadway talent to both act and sing in this movie, but it really lets the film exceed expectations. And it gives the movie phenomenal songs. I think everyone knows "Be Our Guest," but my new favorite might be "Something There." It is compelling--and it elevates the film out of its cartoon beginnings into something mature and beautiful. It is with nostalgia that I rewatched Beauty and the Beast recently, but I couldn't help but feel a bit disappointed.

My main issue with the movie was its animation, which is practically everything for an animated film. It didn't feel stylistically unified and complete as so many Pixar films are. I was shocked to find out that each character had their own creative director, because it seemed as if they were all randomly drawn by a collection of people in cubicles who didn't get to see anybody else's work. Not only were drawings occasionally inconsistent, but some were flat-out ugly. Pixar's movies, on the other hand, will be seen exactly the same 20 years in the future as they are now despite their outdated graphics because they have their own distinct style that isn't stuck in a particular time. Still, Beauty and the Beast is as classic as Aladdin and should be one of the first films you pick up to rewatch if you want a walk down memory lane.

IMDb link: http://www.imdb.com/title/tt0101414/

Easy A (2010)

3/5

Easy A is a forgettable teen comedy about a girl (Stone) who is way too smart for high school. Once a rumor is spread by her friend Rhiannon (Michalka) that she lost her virginity to a college guy on a first date, she earns a reputation as an easy lay. She helps a gay friend (Byrd) pretend he's straight by having fake sex with him at a party. The rumors continue to swirl among the popular crowd (Badgley) and offended Christians (Bynes), while the truth makes its way around the losers of the high school. Eventually she realizes that her actions may have bigger consequences than she thinks.

The movie is unimpressive in almost every way except for its dependence on clichés and 80's movies references. The cinematography is bland and the pacing was somewhat uneven. The writing as a whole was superficial. I never really understood anybody's motivations for doing what they were doing and the pointless narration in the form of a webcast didn't help. But this movie is hilarious. The dialogue is sharp and witty and Emma Stone delivers her lines with precise comic timing. The jokes are even better when it comes to the adults (Haden Church, Kudrow, Clarkson, Tucci), each of which are shining, unique gems in an otherwise dull film. But that's not enough to make this film memorable. Watch it if you want a quick laugh, but don't expect anything more than that.

IMDb link: http://www.imdb.com/title/tt1282140/

Micmacs (2009)

4/5

Micmacs is a return to form for the exquisite Jean-Pierre Jeunet. The movie is as inventive, clever, and fun as all his other movies, with the expected bedazzling visual style and quirky, lovable heroes. The movie centers around Bazil (Boon). After being shot in the head by a stray bullet, he loses his job at a video rental store and takes to the streets for money. He is given shelter and friendship by a group of oddly-talented misfits (Pinon, Marielle, Ferrier, Moreau, Crémadès, Sy, Baup) who live underneath a garbage dump. One day he finds himself walking down a street separating the two biggest arms manufacturers in France. He gets it in his head--like the bullet that still resides there--to teach them a lesson for all the pain he's suffered at their hands, but he is going to need the help of all of his newfound friends.

The movie is simultaneously magical and believable. Jeunet creates a bizarre, exceptional world brimming with personalities instead of characters, spectacles instead of events, and mazes instead of plots. But it is a world that is self-contained, a world that survives under its own unique rules and regulations and not necessarily those of our world. His movies do not require you to suspend your disbelief so much as they require you to engage and engorge your belief, to open up your mind to match his own. Jeunet is full of imagination and, luckily for us, he is able to faithfully reproduce that same world for our benefit. His movies leave you with a grin on your face and a lightness in your soul.

But I have spent many words explaining why I like Jeunet and very little on why I like this movie. Micmacs is as technically proficient as any other Jeunet movie, and perhaps even a bit more ingenious, but it did not have the same oomph as Amélie or A Very Long Engagement. Nor did it have as clear or as relevant a message, at least for me (I found even less here than in Delicatessen). But none of that is a bad thing and none of that diminishes this movie in the slightest. Micmacs is overwhelmingly enjoyable and entertaining, otherworldly in the best possible way, and it is a movie that I would not hesitate to watch over and over again.

IMDb link: http://www.imdb.com/title/tt1149361/

Make Way For Tomorrow (1937)

2/5

Make Way For Tomorrow is a movie about an elderly couple (Moore, Bondi) who gather their kids together to announce that the bank is taking their house for failure to make payments on it. None of their children can seem to find enough room in their houses, their schedules, or their lives to take them in except for one son (Mitchell). He only has enough space for his mother, so he manages to convince his sister (Risdon) to put up their father until a more permanent situation can be sorted out. And so they are forced to go their separate ways after 50 years of marriage. They miss each other dearly as they try to adjust to their new living arrangements.

The movie itself was competent, but it was overwhelmingly heavy-handed and blunt in its message. It felt like they were hitting me over the head with every lonely composition and sad line of dialogue. Despite the sappy melodrama, a number of parts actually felt realistic. The parents themselves were somewhat annoying, which made the children's frustration easier to relate to. The entire movie was slow-paced, to match the speed of speech of the parents as they complained about random things. The last half of the movie felt a little more spirited--although it didn't make the movie go by any faster--as the couple reunited and relived the happiness they shared in their youth. The most powerful moment for me was a bit earlier on, however, when they are talking on the phone and you realize how much they sacrifice for the little happiness they get by being with each other. All in all, I am not a huge fan of this movie, but then again I am not yet a curmudgeonly grandfather who has shared the majority of my life with a meddling grandmother, although I fully intend to be when I grow up.

IMDb link: http://www.imdb.com/title/tt0029192/

True Grit (2010)

4/5

The Coen brothers' True Grit is an honest-to-goodness Western through and through. It follows 14-year-old Mattie Ross (Steinfeld) seeking revenge for the murder of her father by a drifter named Tom Chaney (Brolin). She hires US Marshal Rooster Cogburn (Bridges) to track him down; he tries his best to dissuade her, but she is steadfast in her determination. Texas Ranger LaBoeuf (Damon) joins in on the hunt, as he has been following Chaney since he killed a senator in Texas and aims to bring him back there for a hefty reward. The trio bicker back and forth in delicious Coen dialogue and have some gunfights with the baddies in precise Coen fashion before the final letdown in typical Coen style.

The movie is as technically proficient as ever. There is not a single misstep or error. The cinematography is beautiful and evocative. It feels rich and warm and barren and cold in metered, measured doses. The editing enhances the cinematography by letting it breathe when appropriate and taking your breath away when the story calls for it. But where this movie shines is in the writing and the acting. I recently realized that I am a big fan of the Coens' writing. The words they put down on paper are eloquent and earthy and the way they direct their actors to speak them deadpan works to subtly downplay their elegance. Their dialogue is even better than Tarantino's--and far more poignant and nuanced. Furthermore, the Coens do this on a consistent basis, in every single film they make, which just makes us take it for granted. As for the acting, Hailee Steinfeld is a revelation to behold, dominating every scene she's in (which is essentially the whole movie). She steals the limelight from Bridges and Damon, although their performances are impressive for their grit and charm in their own rights. And wow, does she earn it. Much like Aronofsky's Black Swan, True Grit is a technically proficient film that will be remembered not for the directing or the writing, but for the passionate, unforgettable performance of a young actress with seemingly limitless potential.

IMDb link: http://www.imdb.com/title/tt1403865/

The Road (2009)

2/5

The Road is a poorly-made adaptation of Cormac McCarthy's Pulitzer Prize-winning book of the same name. It follows a man (Mortensen) and his son (Smit-McPhee) fighting to survive in a post-apocalyptic world terrorized by nomadic groups of rapists and cannibals. The book is extraordinary, even though its message can be somewhat difficult to decipher. The movie, despite some arresting images, is unimpressive in almost every way and contains some very odd decisions by director John Hillcoat. He uses music in an attempt to bring emotion to a stoic piece, but instead just adds melodrama. He films a birth scene with as much uncomfortable awkwardness as the sex scene in Munich. He uses inane and unnecessary voice-over narration to reiterate what we are already watching on screen. The editing is jarring and stilted. The acting is either overwrought overacting or amateur hour. I'm not saying this is a bad movie, I just see no reason to waste your time watching it.

IMDb link: http://www.imdb.com/title/tt0898367/

The Family Man (2000)

4/5

The Family Man feels like a modern reworking of Capra's It's A Wonderful Life with a sprinkle of Dickens's A Christmas Carol. The story follows money-hungry CEO Jack Campbell (Cage) working on a multi-billion dollar merger on Christmas Eve. He has even set up an emergency meeting on Christmas Day that he expects all his employees to come in for. He unexpectedly gets a call from Kate (Leoni), an old girlfriend he was thinking about marrying before he left her at the airport for a competitive internship in London, but decides to refrain from calling her back. On his way back to his bachelor pad in an NYC high-rise, a mysterious man (Cheadle) offers him a glimpse of the life he could have led, as a family man in Jersey married to Kate with two kids.

There is nothing particularly spectacular about the technical aspects in this film. The cinematography and editing are competent enough to fade into the background and be forgotten. The acting, on the other hand, was something special. Simple performances for relatively simple characters, but full of genuine emotion. You can easily see the hurt and happiness on their faces. You sympathize with them (even if you're not a fan of Nicolas Cage). When you're watching this movie, you are completely enveloped in it. And there is nothing more you want than for them to be happy. It's far from a perfect movie. There are plenty of plot inconsistencies, unclear motivations, and ambiguous backstories, but they matter about as much as the lighting. The Family Man is about the Christmas season and the holiday spirit, and it is pleasantly delightful.

IMDb link: http://www.imdb.com/title/tt0218967/

Black Swan (2010)

5/5

Darren Aronofsky's Black Swan is honestly one of the most terrifying movies I have ever seen. It envelops you in the psyche of an unstable, damaged woman. It traps you there without escape. Yet you cannot turn your eyes away. You can only watch in horror as she gradually disintegrates. You are left staring at scenes that will disturb and disgust you. You witness her fears come alive as hallucinations; you witness her ecstasies turn cruel and nightmarish. When her paranoia completely engulfs her, I was literally trembling with fear.

The movie is arresting in all its technical aspects. Its stark lighting and black and white palette is visually stunning. It frequently tracks characters' movements, more often rough, nauseating, and immersive instead of the more typical smooth, dreamlike voyeurism to which we are accustomed. The editing is pitch-perfect: it gives us fluid transitions alongside beautiful compositions, it integrates plot progression with taut suspense. The thematics are compelling and powerful, revealing Aronofsky's focus on central concepts that likely mirror his own life. The story shares the same basic framework as all of his other films. An outcast discovers a hobby or talent. It becomes an addiction that soon consumes their life. It finally metamorphoses into an obsession for which they will sacrifice everything they used to cherish.

Aronofsky's Black Swan, for all its technical prowess and thematic underpinnings, is a movie that ultimately rests on the actors' shoulders. Winona Ryder, Mila Kunis, Barbara Hershey, and Vincent Cassel shine in their roles, but none of them take your breath away quite like Natalie Portman. She delivers a phenomenal performance. She plays the timid, virginal ballerina to perfection. Her ultimate reversal into the sexually uninhibited black swan seems equally effortless. She simply becomes her character--none of it is acting. She is the reason to stop whatever you're doing right now and see this movie. But no matter when you see it, now or ten years from now, I have no doubt that it will still be hailed as a masterpiece.

IMDb link: http://www.imdb.com/title/tt0947798/

Transsiberian (2008)

3/5

Transsiberian attempts to be a finely-honed thriller but instead frequently crosses the line between tense and boring and often mixes up scary "what if" paranoias with absolutely ludicrous impossibilities. The movie follows an American couple, Roy (Harrelson) and Jessie (Mortimer), leaving China on an 8-day train ride to Moscow. On the train they meet another couple, Abby (Mara) and Carlos (Noriega), and quickly place way too much trust in them. When Roy is nowhere to be found when the train takes off, Jessie gets worried. She gets off at the next stop and waits there with Abby and Carlos, but they don't hear from Roy all night. Also, randomly, Ben Kingsley plays a narcotics officer that eventually gets involved.

The plot itself is a mixed bag. As I said earlier, the creators must have found it very difficult to strike the balance they desired. Oftentimes the movie drags, oftentimes it is preposterous. The other half of the time they spin a wonderfully taut psychological thriller. On paper it must have seemed well-crafted, giving the audience subtle clues and background stories to foreshadow ominous events before an exciting and climactic finale. But the whole thing seems very written and pre-planned. Unfortunately, the more you get into the movie, the less you believe it and the less you care about the characters. None of the technical features really stood out to me while watching it either. Still, this was a relatively enjoyable popcorn flick with a few too many contrivances and plot holes for me to really love it.

IMDb link: http://www.imdb.com/title/tt0800241/