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Noah (2014)

Posted by amateurcinefile on March 29, 2014 in 2014 Film Reviews

Noah movie psoter 660Review by-Jarrett Leahy

 “No good movie is too long and no bad movie is short enough.”-Roger Ebert
And no quote better fit my thoughts about famed director Darren Aronofsky’s latest effort. I strongly disliked Noah, and it could not end soon enough. Judging from the dead silence of the exiting crowd who watched it with me opening night, I have a feeling I’m not the only one who felt this way. Aronofsky obviously tried to put his own unique spin on one of the most well known biblical stories, but his bizarre deviations from the known interpretations turned what was already a fantastical type tale into one that was outlandishly absurd.

Hollywood has long been known for taking artistic license, modifying original material to help better dramatize certain aspects of a story. But the inclusion of giant rock monsters with flaming yellow eyes into the Noah story is where I draw the line. While Anthony Hopkins character Methuselah is a real person referenced in the bible, the metaphysical storyline written for him was also an obvious creation of Aronofsky’s unusual imagination. Emma Watson’s character and storyline appear to be made up as well, and turning Tubal-Cain, a gifted metalsmith that some have credited as being one of the world’s first chemists, into the ultimate embodiment of pure evil bordered on nonsensical. Issues also arose with some of the visuals of the film. For a movie that relies so heavily on CGI, I was confounded by scenes that truly looked second rate. One of the many glaring examples was an aerial shot where the camera follows two doves flying that left me underwhelmed to say the least.

If any performance deserves some praise, it is Russell Crowe as Noah. Asked to portray a man whose single minded belief is straining both his family and his sanity, Crowe does it competently. However, I found myself surprisingly disappointed in Academy award winner Jennifer Connelly’s performance of Noah’s wife, Naameh. For most of the film she felt lifeless and lackluster, so by the time her emotional climax scene finally arrives, I’ve all but tuned her out. The actors cast to play the sons were also a miscalculation. Douglas Booth’s portrayal of Noah’s oldest son Shem was more wooden than the film’s famed boat, and as much as it pains me to say because I loved him in The Perks of Being A Wallflower, Logan Lerman was completely miscast as the middle son Ham.

All I can do is share my honest reactions about a movie, so trying to sugarcoat my feelings for the film would be disingenuous. However, one of the fine lines movie reviewers must tiptoe is writing and sharing negative reviews without being too venomous or snarky. It truly took me all night venting the many frustrations I had with the film to my lovely editor Michelle to keep from using the words hate and awful in this review. In a recent interview for The New Yorker, Aronofsky is quoted as saying Noah is “the least Biblical Biblical film ever made.” Well it certainly shows. For reasons only he knows, Aronofsky attempted to turn Noah into some sort of imaginative modern epic. In the end, the only thing epic about Noah is that it’s an epic disappointment.-JL

Grade: D-

Edited by-Michelle Zenor
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A Single Shot (2013)

Posted by amateurcinefile on March 28, 2014 in 2013 Film Reviews

A-SINGLE-SHOT-One-Sheet-535x355Review by-Jarrett Leahy

Sam Rockwell stars as John Moon, a lifelong rancher who just can’t manage to keep a traditional job after his father’s farm was foreclosed on years back. Separated from his wife and young son, John is desperate to put his family back together.  While out hunting deer during the dawning hours of a foggy morning, John mistakenly shoots and kills a young woman walking through the forest brush. Panicked, he tries to hide the body in an abandoned storage container in the woods when he stumbles across a hidden stash of money in a makeshift shelter. Seeing it as a way to get out of his financial problems and put his family back together, John takes the money, setting in motion a life and death game of cat and mouse as the backwoods criminals return looking for their money.

The feature aspect of A Single Shot is the panoramic cinematography and skillful use of the stark, wooded surroundings. Shot in pronounced widescreen using Panavision technology, director David M. Rosenthal visually encapsulates the solitude of the secluded arboreal areas. Bleak, murky, and full of dark shadows that are intensified by the endless haze of fog, the wooded landscapes help add to the overtly suspenseful and ominous tone that is only accentuated by the film’s menacing and dreary score.
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I find it mystifying how under-appreciated Sam Rockwell continues to be considering he remains one of the most diversely gifted actors working today. In A Single Shot, Rockwell offers yet another uniquely adroit performance, personifying a simple minded man whose dogged pursuit to reunite his broken family is blinding him from the growing dangers his bad decision has created.  Along with Rockwell is a supporting cast that includes acting veterans Ted Levine and Jeffrey Wright and is highlighted by the exceptional William H. Macy, who perfectly portrays a jittery and peculiar small town attorney whose knowledge and involvement in the goings-on are left ambiguously murky. It was also great to see Kelly Reilly again after her impressive breakout performance in the 2012 thriller Flight. However, in the end I was disappointed that the scope of her role did not allow her to truly show off her dramatic talents.
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Slow and methodical pacing can add an extra level of chilling tension to a crime drama of this nature (i.e. No Country For Old Men), but unfortunately the deliberate tempo of A Single Shot became more of a hindrance to the overall enjoyment of the film. I also had issues with the inevitable and all too predictably familiar double crosses between the various stereotypical criminal types and with an ending that I’m guessing was supposed to have a feeling of catharsis but ended up coming off as bit flat and anti-climactic for all the buildup that preceded it.

Overall I don’t regret watching A Single Shot.  I always jump at the chance to see Sam Rockwell show off his chameleonic acting talents, and his performance didn’t disappoint.  But, I must admit with the gifted supporting talent brought in, I had higher expectations for this film than what it ultimately gives. A Single Shot is an opportunity ultimately wasted.-JL

Grade: C

Edited by-Michelle Zenor
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Top 6 Lists-Female Directed Films (2000-14)

Posted by amateurcinefile on March 27, 2014 in Top 6 lists

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List by-Jarrett Leahy

Watching Nicole Holofcener’s charming little romantic comedy Enough Said reminded me yet again how few women are actively working in Hollywood.  Even in 2014, the road for female directors is still a difficult uphill climb with only a small handful cracking the Hollywood good ol’ boy network.  Examining the 100 top box office films for 2013, only two female directors appeared on the list, Jennifer Lee, who co-directed the Disney animated juggernaut Frozen, and Kimberly Peirce, whose remake of the horror classic Carrie reached the #77 spot earning just over $35 million.  Despite the many overt and covert obstacles, there have been very talented female filmmakers with the persistence to overcome and create exceptional films.  Here are a few from the last 15 years that I feel are among the best…

6. The Kids Are All Right (2010): Lisa Cholodenko-A film already highlighted on our LGBT Top 6 List, Lisa Cholodenko’s ably directed story of a lesbian couple and their children’s curiosity about their sperm donor father was yet another small budget indie to make a wide release splash in 2010 (see #2).  Starring Annette Bening, Julianne Moore, and Mark Ruffalo, The Kids Are All Right received four Oscar nominations including Best Picture, joining Winter’s Bone as the two female directed films to receive that honor in 2010.

5. We Need To Talk About Kevin (2011): Lynne Ramsay-Tilda Swinton stars as a mother struggling to love her son due to his erratic behavior that is becoming more and more violent.  An expertly told nonlinear story that is aptly labeled as art-house horror, Ramsey’s film is equally mesmerizing and terrifying. Co-starring John C. Reilly and the extremely gifted young actor Ezra Miller (The Perks of Being a Wall Flower), We Need To Talk About Kevin is an extremely powerful film that is not for the faint of heart.

4. The Hurt Locker (2009)/Zero Dark Thirty (2012): Kathryn Bigelow-No female director has had more recent critical success than Kathryn Bigelow. Using the U.S. military involvement in Iraq as the backdrop for The Hurt Locker, Bigelow’s tension packed story about an Army bomb squad technician garnered six Academy awards including Best Picture of 2009 and Best Director for Bigelow, the first woman ever to receive that honor.  Zero Dark Thirty, her follow up film based on the search and eventual killing of Osama Bin Laden, was another critical success even with some expressing concerns about its graphic depiction of the torturous interrogation tactics reportedly used by the military. After these two riveting efforts, many film fans are waiting with bated breath to see what Bigelow decides to choose for her next film project.

3. Little Miss Sunshine (2006)/Ruby Sparks (2012): Valerie Faris (& Jonathan Dayton)-Being part of a male/female director team doesn’t make your accomplishments any less impressive, and these two films are so darn great that I couldn’t dare leave them or Valerie Faris off this list.  Little Miss Sunshine set the indie world on fire back in 2006, garnering two Oscars and another two nominations including one for Best Picture.  Valerie and Jonathan waited six years to come out with a worthy follow-up film, and boy did they, directing the irrepressibly wonderful Ruby Sparks, a romantic fantasy about a novelist who tries to overcome writer’s block by creating a story about his perfect woman only to find she has magically come to life. Ruby Sparks’ clever script was written by the film’s adorably gifted star Zoe Kazan, granddaughter of legendary director Elia Kazan.

2. Winter’s Bone (2010): Debra Granik-The Sundance Film Festival has long been on the front line for showcasing some of the more gifted smaller budget films that might not have otherwise gotten the same support.  Winter’s Bone and its relative unknown writer/director Debra Granik is the perfect example of the impact Sundance can have on a film.  Dark and nerve-wrackingly suspenseful, Winter’s Bone tells the story of a young woman’s search for her father, whose disappearance in a rural Ozark mountain town while out on bail has put their family house and land in jeopardy of being taken. Winter’s Bone, which was the career spring board for now superstar Jennifer Lawrence, was awarded the 2010 Sundance Grand Jury prize, launching it on a meteoric rise that led to four Academy award nominations including Best Picture.

1. Lost In Translation (2003): Sofia Coppola-My love for this film is already well documented (see 2014 Hall of Fame class), and there is no way I could keep it from this list. In a fleeting industry, especially for women, Lost In Translation is such a major accomplishment. Directors spend their entire career trying to create what Sofia was able to capture on screen. Similarly to the way Tapestry has come to define the career of legendary singer/songwriter Carole King, Coppola is now defined by, will always have a career because of, and will probably never again live up to the skill and sheer cinematic beauty of her comedic masterpiece.-JL

Edited by-Michelle Zenor
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Enough Said (2013)

Posted by amateurcinefile on March 27, 2014 in 2013 Film Reviews

1374788257_james-gandolfini-julia-louis-dreyfus-enough-said-467
Review by-Jarrett Leahy

Julia Louis-Dreyfus plays Eva, a skilled masseuse and divorced mother with a teenage daughter about to go off to college.  While attending a cocktail party with her best friend Sarah (Toni Collette), Eva is introduced to Marianne (Catherine Keener), an acclaimed poet who expresses interest in becoming a new massage client.  At this same party, Eva also has a chance encounter with Albert (James Galdolfini), a stout and uniquely charismatic divorcee.  The next day Eva is surprised to learn that Albert had asked for Eva’s phone number, for each had glibly mentioned not being attracted to anyone at the party. A relationship flourishes as the two begin dating.  However, unforeseen entanglements arise when Eva discovers that her Albert is in fact the ex-husband of Marianne, who, clueless of the situation, has been venting a barrage of disparaging remarks about him.

Thoughtful and playfully winsome, Enough Said offers sharp and astute observations about fears and experiences that middle-aged adults encounter including unhealed emotional scars brought on by divorce, apprehensions that arise from dating again, and empty nest anxieties caused by children leaving home for the first time.  Refreshingly, these topics aren’t used to simply pander or placate the audience but instead create a genuine connection with the viewer.

James Galdolfini’s delicate portrayal of Albert was eye-opening.  For so long he has been synonymous with his legendary tough guy persona. In Enough Said, Gandolfini instead demonstrates a heartfelt vulnerability and sweetness. I was pleasantly amazed that the man who played Tony Soprano could wow me with his ability to portray a man who is tender, exposed, and dare I say even a bit sensitive without compromising that inner Gandolfini swagger. As much as I tried to, it was hard to ignore the knowledge that this was one of his final performances. Admittedly I found myself more closely examining him on screen, as if trying to find some sort of subliminal warning sign of the tragedy to come.  This scrutiny in turn allowed me to pick up on the subtle expressions he so skillfully used to convey such a wide range of emotions.
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Julia Louis-Dreyfus, who shines yet again in Enough Said, is so talented a comedienne that sometimes she is almost taken for granted. Lovable and still alluringly attractive, Dreyfus’ portrayal anchors the film, adding a mature and sophisticated level of humor. Never does she dominate the scenes she’s in. Instead, Enough Said is yet another example of how Dreyfus has that rare ability to make everyone around her that much better on screen.  Together, I absolutely loved what Gandolfini and Dreyfus were able to create– an honest and charming couple you unabashedly root for.  Their affectionate interactions never felt forced or contrived; they adeptly captured that awkward excitability and silent fixated gaze that new couple shares.

I mustn’t forget to mention and praise two other wonderfully accomplished actresses, Catherine Keener and Toni Collette, who both offered exquisitely amusing supporting performances. Keener fearlessly embodied the hoity toity poet and bitter ex-wife to perfection, and it was such a pleasant surprise to hear Collette actually get to perform a role using her delicious native Australian accent.

Through its richly rewarding story, skillful actors, and abundance of subtle adult humor, Enough Said is a mature and calmly confident film that never sacrificed long term enjoyment for the few cheap laughs that come from your typical rom-com cliches.  I truly wish Hollywood would offer more films of this adept caliber. After my thorough enjoyment, I must say I look forward to seeing what else director Nicole Holofcener has in store for us on future projects.-JL

Grade: B+

 

Edited by-Michelle Zenor
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Closed Circuit (2013)

Posted by amateurcinefile on March 24, 2014 in 2013 Film Reviews

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Review by-Jarrett Leahy

A devastating terror attack in a busy London marketplace leads to the swift apprehension of the suspected mastermind Farroukh Erdogan, while two other suspected co-conspirators are killed during the attempt to apprehend them.  Due to the sensitive nature of the case, the trial is split into two sections, a closed door segment for discussions about highly classified documents and an open trial where Farroukh will be defended for his alleged crimes. When the original defense attorney has an unfortunate accident, the Attorney General assigns Martin Rose (Bana) to take over the defense of open trial while Claudia Simmons-Howe (Hall) is chosen to represent the defense during the closed door sessions. As the two begin to dig deeper into the background of their client, they quickly realize things aren’t as they seem, and the death of the previous defense attorney may not have been so accidental.

Despite every attempt to create tension and suspense, in the end Closed Circuit just felt a bit flat.  The trailer for the film not only breaks the cardinal rule by spoiling the big surprise twist, but also wrongfully sold the film as a frightening examination about how everyone is now under surveillance in today’s modern society.  Instead the film just spins its wheels with muddled denunciations about the dangers of unchecked big government. The MI5 aspects of the story seemed to add more plot holes than tie up storylines.  How can such a powerful, clandestine organization let a guarded witness escape so easily? And if the final decision that was made was an option all along, why didn’t they just execute it a lot sooner?
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Another of the film’s missteps came in the miscasting of the two leads, Eric Bana and Rebecca Hall. While both of these actors have given commendable performances in previous films, they’ve been most successful when cast in solid secondary roles with strong leads to play off of.  In Closed Circuit the two, who are supposed to ex-lovers, exhibit a complete lack of on-screen chemistry.  Even worse, they weren’t able to capably convey the confusion, terror, and emotional distress their roles necessitated.  Perhaps one or the other could have worked, but together they just don’t succeed.

What started out with such an attention grabbing bang fizzles out by the end, hampered by sloppy storylines, subpar performances, and an anti-climactic ending. Overall, Closed Circuit is a throwaway thriller that most will forget about soon after the credits finish rolling.-JL

Grade: C


Edited by-Michelle Zenor

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