3.9 --
ZERO DARK THIRTY, Kathryn
Bigelow
[reviewed
by Daniel Charchuk]
This much-acclaimed (and heavily controversial) fact-based
account of the search for and eventual capture of Osama bin
Laden is akin in many ways to director Bigelow’s previous
Oscar-winning drama "The Hurt Locker." Both are
decidedly apolitical and straight-forward, depicting the lives
of their no-nonsense leads (whether an explosives expert in
Iraq or a CIA analyst in Pakistan) with little-to-no moral
posturing and no grand thesis statements on their respective
topics (whether it be war or terrorism). These are simply
low-level professionals, dedicated to their day-to-day jobs,
which just happen to be protecting America from potential
threats. In this case it is Maya (Jessica Chastain), a young
agent who becomes the key figure in the hunt for bin Laden,
and who seems less a fully developed character than a representative
cipher for the myriad of CIA professionals who helped lead
to bin Laden’s death. Nevertheless, Chastain’s performance
is fiery and ferocious, and Bigelow’s mastery of tension and
suspense remains unparalleled. Though largely procedural and
by-the-books, it is no less effective, making this likely
the best film of the year.
3.2
-- CATIMINI,
Nathalie Saint-Pierre
[reviewed
by Daniel Charchuk]
This low-key Québécois drama is an insightful and sobering
look and the deeply problematic foster child system, through
the eyes of four young girls ranging in age from 6 to 18.
Writer/director (and Montréal native) Saint-Pierre’s overlapping
screenplay is an emblem of structural perfection, as it follows
each girl for a set period of time before seamlessly transitioning
to the next one via the plot device of a shared foster home.
The film thus garners sympathy for each of its female leads
while simultaneously (and subtly) exposing the cracks and
flaws in the system. Through the progressively increasing
ages of the four young protagonists, the film tackles issues
stretching from borderline racism and homophobia to outright
sexual exploitation and substance abuse – weighty themes indeed.
Thus, despite the impressive performances of the cast and
the intriguing quality of the narrative, this is not an overly
enjoyable work, although it is quite an important one.
1.4 --
THE IMPOSSIBLE, Juan
Antonio Bayona
[reviewed
by Daniel Charchuk]
The supposedly true story of one family’s amazing survival
in Thailand following the 2004 Indian Ocean tsunami, it seems
less concerned with reality and truth than heartwarming fantasy
and cheap melodrama (the fact that the family’s nationality
was changed from Spanish to British for the purposes of the
film speaks to this). Melodrama is not necessarily a bad thing,
but in this case, the invocation of an actual natural disaster
which claimed the lives of hundreds of thousands for the purposes
of cinematic spectacle and tacky sentimentality seems in extremely
poor taste, not even a decade removed from the actual event.
Thus, any awe or wonder gained by the amazing digital reproduction
of the enormous tsunami wave is instantly washed away (so
to speak) by feelings of sadness and guilt for the real-life
victims. Despite the inevitable uplifting ending, then, this
is not an enjoyable film to watch, with images of dread, destruction,
and death dominating, leaving one notably depressed and downtrodden.
What is the purpose of making such a film? To whitewash the
actual disaster with a fake tale of survival? If so, what
a terrible affront to the remaining survivors, who surely
do not want to relive their tragedy for the purposes of entertainment.
1.8 --
BROKEN CITY, Allen
Hughes
[reviewed
by Daniel Charchuk]
Director Hughes flies solo for the first time, separating
from his brother and usual co-director Albert to helm this
NYC political drama starring Marky Mark Wahlberg as a former
detective turned private eye (yes, they do still exist – a
conceit even joked about) and Russell Crowe as the popular
mayor running for re-election (complete with an awful hairstyle
and fake tan). The result is a crime tale full of corruption,
intrigue and sleaze; unfortunately, it is also one full of
ridiculous action sequences and even more ridiculous plot
developments. Hughes lets the film get away from him on more
than one occasion, and thus things only grow wilder and more
out-of-control as the narrative progresses (and not in an
exciting or interesting way). The convolutions and contrivances
of the plot are actually fairly well structured and revealed;
however, the frequently overwrought camerawork and variable
performances (ranging from Crowe’s scenery-chewing to Wahlberg’s
woodenness) render the story mostly pointless. Therefore,
this becomes a largely meaningless and silly film, one without
much aim or direction.
2.5 --
PARKER, Taylor
Hackford
[reviewed
by Nancy Snipper]
Playing Parker won't go down as Jason Statham's greatest acting
role, but this fist-wielding dude who happens to be a professional
thief, sure knows how to knock out the bad guys using all
kinds of survival methods: guns, knives, fists, broken glass,
electric cords, even the top of a toilet tank. When bad guys
owe him money for taking part in a planned heist and then
renege on paying, watch out! This is exactly what this movie
is about: chasing down the bad guys for personal payback,
and this time the hero not only finds a way to get back the
$200,000 owed to him by participating in a heist at the Ohio
State (he disguised himself as a priest to make it happen),
but he ends up getting a lot more dough after he hunts down
the band of guys who betrayed him and left him for dead immediately
after shooting him because he doesn't want to do any more
heists. Jennifer Lopez plays a real estate agent up to her
eyeballs in debt, so when Parker lands at the real estate
office in Palm Beach, Florida, where she works without any
success, he uses her to get close to the bad guys' hideout.
She ends up winning big -- but not before she gets caught
in the bad guys' snare. Parker saves the day of course and
cashes in on jewels and ends up getting off the bad guys (they
rob them at huge auction). He kills them, gets the goods and
shares the money with the real estate agent much later. Parker
is a good guy who only wants what is promised to him in any
deal. He doesn't like chaos or those who don't do what they
say they will do, and he will kill to get his fair shake.
This film would make a good series around this Parker character,
and Jennifer Lopez ought to be included. She added great comedic
flare. Not a dull moment to be had, but the blood was as plentiful
as the billionaires who keep the banks busy at Palm Beach.
0.9 --
PARKER, Taylor
Hackford
[reviewed
by Daniel Charchuk]
The latest Jason Statham vehicle is an adaptation of the novel
Flashfire, from the Parker series of novels, of which the
films Point Blank and Payback had previously been adapted.
Though this film would thus seemingly have literary cred,
it is little more than an excuse for another generic Statham
plot, involving a group of thieves, a double-cross, J.Lo,
and a horribly fake Texan accent. If all that sounds rather
ridiculous, that’s because it is – but not even in a fun or
entertaining way. Instead, this thing is so ineptly shot and
cut that it’s barely watchable – director Hackford seems to
have forgotten how to construct a workable movie, and thus
the plot is full of so many gaps and holes you’d think they
were writing the script as they went. Even the action scenes
– the prime reason or any Statham picture – are few and far
between, leaving one to wonder as to the actual purpose of
such a film. Without impressive fight sequences, what’s the
point?
4.0 --
LES MISÉRABLES, Tom
Hooper
[reviewed
by Nancy Snipper]
Expect
the richest feast of lyric and song score with voices sent
from heaven and all lush places in between from the gifted
mouths of Hugh Jackman (Jean Valjean), Russell Crowe (Javert),
Anne Hathaway (Fantine), Amanda Seyfried (Cossette) Samatha
Bark (Éponine) and a sterling cast of supporting singer/actors
who dramatically convey their individual hopes, but mainly
horrors endured during the turmoil of pre-revolutionary France.
Based on Victor Hugo's epic 1862 masterpiece novel, this film
vividly captures the crush of chaos and inhumanity that begins
with the theft of a single loaf of bread! The script and libretto
is earth-shattering fantastic. Raw emotion was the only way
to go to give each character his/her profound plight. This
is a great musical worthy of the $81million dollars spent
to make it happen. I saw the Imax version at Cineplex Odeon
forum in Montreal, and I recommend you splurge to benefit
from the high definition sound. Powerful, stirring and a cinematic
feat for all involved.
3.8 --
QUARTET, Dustin
Hoffman
[reviewed
by Nancy Snipper]
It doesn't get much better than this! Music, wit, tempers,
hurt feelings, flamboyant personalities overflowing with magnificent
musicianship and a catharsis as compelling as any opera --
these are the juicy elements that reach their high notes in
this delightfully endearing comedy. An illustrious array of
over-the-hill opera stars have been put out to pasture --
so to speak -- in Beecham House, a stunning retirement home
that resembles a regal estate striding the verdant meadows
of Buckinghamshire. Musical ensembles, singing duos, solo
practices, piano lessons, choir groups and lectures fill the
days of this engaging group of septuagenarians. The plot is
as melodramatically thrilling as the Verdi quartet that the
main stars will be performing in honour of Verdi's birthday,
and most importantly, with the purpose of raising funds to
keep Beecham's old ebullient self alive. The cast of characters
who steal the entire movie include Cissy (Pauline Collins)
Wilf (Billy Connolly), Tom Courtney and Jean Horton (Maggie
Smith). Their over-the-top music director is Cedric whose
self-aggrandizement is embodied in the flashy garment/costumes
he wears every day. Cissy has dementia, and Wilf is a charming
letch whose flirtatious charm is practiced on Beecham's Doctor,
Lucy Cogan. Each of these characters appears to be characters
in their own real-life opera. With the arrival of Jean Horton,
Beecham House is thrown into chaos, and the plot intensifies.
It seems Reginald was married to Jean for a grand total of
nine hours decades ago; he left her when he had found out
she cavorted with some Italian tenor in her younger days while
on tour. But at Beecham they come face to face once again,
and although Jean wishes to make amends, Reginald snubs her
-- that is until he along with his friends realize they need
her to complete the quartet group for the Verdi benefit performance.
Jean refuses. She is a gritty one who does not take ageing
gracefully. But she relents once she realizes she has been
acting like a vintage prima donna. Action and dialogue pick
up their pace marked in moments of various crescendos and
diminuendos -- much like Bach's contrapuntal preludes and
fugues which intermittently are heard throughout this timeless
gem, "Quartet" is a mini masterpiece that is funny,
fun and highly sympathetic to the exceptional calling of artists
who have so much to offer no matter how old they get. The
cast (which also features Dame Gwyneth Jones in the role of
a former 'Tosca' star -- vocal rival to Horton) is sheer genius.
What an ensemble. Every moment in this film is precious. Bravo!
2.5
-- QUARTE,
Dustin Hoffman
[reviewed
by Daniel Charchuk]
An altogether harmless and rather enjoyable romp, set a retirement
home in the English countryside for former musicians ranging
from opera singers to pianists. The titular foursome refers
to a famed group of operatic voices that are reunited when
the most popular of the group (played by Maggie Smith) arrives
at the sprawling estate. Inevitably, personality clashes emerge
and old wounds open, leading to some sense of manufactured
drama; however, the stakes are never particularly high – all
that’s at risk is a climactic performance of one of Verdi’s
operas – and thus the tone remains agreeably pleasant throughout
– save for a typically crass and colourful performance by
Billy Connolly, one of the funniest men on the planet. But
even he is eventually tamed by director Hoffman’s bland filmmaking
and adherence to the stagey script – adapted by Ronald Harwood
from his own play – that saps the film of most of its life
and renders the lively performances mostly inert. Still, it’s
not a bad film, just a plain and simple one, geared towards
middlebrow audiences by an actor-turned-director who lost
his edge a long time ago.
2.5 --
DJANGO UNCHAINED, Quentin
Tarantino
[reviewed
by Nancy Snipper]
Bounty hunter Dr. King Schultz (Christoph Waltz), a German
immigrant, joins forces with Django (Jamie Fox), a slave he
picks and frees from a small chain gang being led in the forest
by some bad white guys who are on route to sell the poor souls.
They too are freed after the bad guys are killed by Schultz.
This polite former dentist is looking for the cruel Brittle
brothers who work on a plantation who Django can pick out
as they used to whip him silly. They are wanted by the USA
government for murder. Soon into the story, they are found
and killed by both. Django and Schultz become close friends,
and now they are trying to find Broomhilda, Django's wife
-- separated from him when they were sold. She is tracked
down on Candyland Plantation run by Calvin Candy (Leonardo
DiCaprio). They mislead Calvin cooking up a business deal
that has nothing to do with their true intentions -- to escape
with Broomhilda. Django carries out his love mission; he is
a fearless hero who stops at nothing to find his beloved Broomhilda
and seek vengeance; she has suffered great indignations and
cruel whippings. After much bloodshed, the film ends in happiness,
but Schultz is killed in a Candyland shootout when he refuses
to shake hands with Calvin after paying thousands of dollars
to buy back Broomhilda. The best performances come from Christoph
Waltz, an interesting character who plays by the rules which
involve upstanding values. Another interesting role was the
supercilious slave, Stephen (Samuel L. Jackson) Calvin's uber-loyal
confident who runs the house. He is a betrayer of his own
people, preferring to tattle and seek punishment on run-way
slaves, such as Broomhilda. There are so many violent scenes
in the film that the message in this love story is drowned
in a never-ending series of blood baths. It's a fun western,
but don't eat anything while watching it.
![Canadian Tire Repair Scam [2211 boul Roland-Therrien, Longueuil] = documents-proofs](../2010_v9_n5/images/mapleleaf.jpg)
