No Strings Attached (2011)

2/5

No Strings Attached is a "romantic comedy" about two friends attempting to be friends with benefits (or actually friends with only one benefit, namely sexual intercourse). I put romantic comedy in quotes because you would be hard-pressed to find any romance in this film and the comedic elements fall flat about as frequently as they succeed. Natalie Portman plays a weird girl who is uncomfortable with intimacy; throughout the entire film we never get a sense of why she is the way she is. Ashton Kutcher plays the same character he has played for the past 10 years in romantic comedies, and there was nothing new or unique about it the first time we saw it. As for the plot, it progresses predictably into disaster when one party wants more than just sex. Whatever will they do.

Movies like No Strings Attached really frustrate me. It's not the quality of the movie that I find irritating, but the fact that it has so much potential that it chooses to throw away on cheap jokes and superficial meaning. Natalie Portman is incredible in this movie; she gives her character as much depth and warmth as possible, but the character is just written so shallowly that her talent is wasted. Half of the jokes are hilarious, but the other half you could practically hear crickets chirp in the theater. It was painful how bad they were and I actually felt embarrassed for the movie. The relationship between the two main characters is absent until the ending (maybe I'm just being naive, but I thought you had to be friends before you could be friends with benefits). The movie itself is okay, and there are plenty of laughs (more than any Will Ferrell or Ben Stiller comedy that I've seen), but it just feels like a half a movie. I can't recommend it in good conscience.

IMDb link: http://www.imdb.com/title/tt1411238/

New York, I Love You (2009)

2/5

Unlike its predecessor Paris, je t'aime, New York, I Love You is a terrible movie. It is a terrible, terrible movie. It is a collection of short films that reveal characters who become intertwined with other characters in New York City. Unfortunately, you wouldn't know that if you just watched it. It would appear to an innocent bystander to be a random smattering of ludicrous events that are pretentiously written, acted, and directed that give the illusion of lofty meaning and artistic flair. It is filled with empty stories based off of shallow ideas. However, amongst the 11 short films, there were two (2) good segments. The first starred Bradley Cooper and Drea De Matteo as two strangers who spent a night together that became more than a one-night stand; it is about the fears and doubts they have about what it meant for them and for the other person as they barrel through the city to meet again. It has a tremendously powerful ending. The second starred Eli Wallach and Cloris Leachman as an old married couple who head out on their 63rd anniversary to Coney Island, where they had their first date. They exchange playful banter, as unique and genuine as a real-world couple who might have lived in each other's companies longer than they have lived alone, who love and hate everything about the other person. It reminded me of No Country for Old Men in the best possible way. Still, those two gems in this giant pile of poop aren't quite valuable enough to recommend wading through it all. Ick.

IMDb link: http://www.imdb.com/title/tt0808399/

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/