R. I. P. Paul Walker

On Friday, I used this space to say a few words about the passing of Nelson Mandela. A few days earlier, as you are probably aware, actor Paul Walker died in an auto accident. A tragic irony, if ever there was one. Regrettably, I didn't say anything here. Now that I have said something about Mandela, I feel bad for not doing so about Walker.

The fact that he was not a world leader does not make his death any less tragic than Mandela's. In fact, his popularity may make it just as impactful on the kids who see his movies. For them it should be a cautionary tale. They know who he is and can more readily identify with him. As important a person as Mandela is to the history of the world, many under thirty view him as something from their history books. To these people, he is important because that is what they have been told that. Walker is of this time. He became what they aspire to.

The one thing I hope does not come out of Walker's passing is what I read in one article over the weekend. It theorized that what happened to him may help romanticize street racing. Yes, I understand he was not racing at the time, but it is what has become associated with the man. We don't need a bunch of knuckleheads putting their petals to the metal. Leave that on the screen.

Speaking of the screen, I admit, the prospect of watching another Fast & Furious, or even the old ones, seems like it could be morbid entertainment. Still, I'm curious to see what the powers that be cook up for the next installment if the show does indeed go on. It's an odd series in that it actually hit its stride in the fifth movie. It can be argued that parts five and six are the best in the franchise. Click here and here to read my reviews of both of those movies.

The Imposter

Directed by Bart Layton.

2012. Rated R, 99 minutes.

Cast:

Frédéric Bourdin

Carey Gibson

Bryan Gibson

Beverly Dollarhide

Nancy Fisher

Phillip French

Adam O’Brian

Anna Ruben

Cathy Dresbach

Ivan Villanueva

Ken Appledorn

Every now and again we see something in life, on television, or on the internet that makes us wonder just how stupid people can be. Other things make us shudder at the thought of the human capacity for being sinister and deceptive. The Imposter is a documentary that does both. It starts with the 1994 disappearance of Nicholas Barclay, a thirteen year old Texan boy. After three years of searching, with no luck, the family has just about lost all hope when they receive a phone call informing them Nicholas has been found. In Spain. Big sis Carey immediately boards a plane to retrieve her now seventeen year old brother. However, she does not yet know what we’ve already learned. The boy she is coming to get is not Nicholas. He is, in fact, a twenty-three-year-old man named  Frédéric Bourdin posing as the lost teenager. He happened upon this identity in a desperate attempt to conceal his own. Logically, he assumes the jig will be up once Carey gets a look at him. After all, judging from a picture he obtained, he looks nothing like Nicholas.

This is where it gets really interesting. When Nicholas shows up to take her brother home, she embraces and accepts this guy as if he actually is her brother. She brings him back to Texas where the entire family, mom included, accepts him as Nicholas. Given the differences between Nicholas and the person they now have, this is beyond baffling. Nicholas was a fair-skinned, blue-eyed, blonde-haired boy. The man they trust is an older version of him is blonde, but because he colors his hair. Aside from this, he has a dark complexion and, most damning, brown eyes. In fact, it appears obvious that he is of a different ethnicity than anyone in the family. If none of that rings alarms, let’s throw in the fact he speaks with a heavy French accent. Still, no one in the family seems wise to the facts. Local officials are suspicious and begin investigating. Things hit the fan when the “new” Nicholas becomes a minor celebrity as news of his harrowing ordeal and miraculous return. He tells a sensational tale of mental and sexual abuse during his time as a captive, at the hands of military men from various nations including the U.S.

The movie proceeds from there while we watch in slack-jawed amazement. The first question is how long can this charade go on before indisputable evidence is uncovered, forcing the family to realize this guy is a fake. We hear several authorities involved in piecing together this puzzle give their recollection of their interactions with and pursuit of Bourdin. There are also lots of interviews with the family and, most interestingly, with Bourdin, himself. Mixed into all of these are some dramatizations of actual events. This stroke of genius helps the movie almost feel like a fiction narrative and is a nice change of pace from all of the talking heads.

The other questions The Imposter raises is where it runs into trouble. Why would Bourdin do such a thing? What really happened to him before he was picked up by the police in Spain while pretending to be a sniveling lost child? The film never dares to approach either one. It does touch on another, but in an unsatisfactory manner. That question is did the family have something to do with Nicholas’ disappearance in the first place. This would give them a motive for going along with the façade. We hear allegations from Bourdin about what he thinks happened. However, he is not exactly trustworthy. A few members of the family refute these claims. No surprise there. There is the private eye who has been snooping around trying to find out what happened to the boy and potentially comes upon an answer. The movie even ends as if he makes some startling discovery. The issue is that what we are told next, just before the credits roll, totally undermines this. In essence, the movie finishes when it feels like it should be shifting into another gear.

What’s here is still a fascinating story. It is the kind of movie that could only be a documentary. Had this been some screenwriter’s concoction, it would be laughed off for being too ridiculous. Think about it. How do you sell a work of fiction in which a teenage boy from Texas with classic All-American looks returns home as a darkly complected Frenchman with different color eyes? I suppose it’s possible as a farce starring Adam Sandler, or Will Ferrell, but certainly not as a serious thriller. This is precisely what makes The Imposter work as well as it does. We simply cannot believe what we are seeing, yet can’t look away. We wait for someone to make sense of it all. Even though that wait is largely in vain, we still have a film that’s hard to shake loose from our heads.

R. I. P. Nelson Mandela

Initially, I had another movie review ready to roll in this spot. However, when I heard the news of the passing of a truly great man, Nelson Mandela, I had to say something, regardless of whether he is associated with the world of movies or not. The fact that I called him great should suffice. He is one of those people who truly made the world a better place to live.

His own words sum up the man better than I could write here, so I'll let him have his say. Shortly after the world heard of Mandela's passing The USA Today listed what they think are his 15 best quotes and ranked this one number one:

"Difficulties break some men but make others. No axe is sharp enough to cut the soul of a sinner who keeps on trying, one armed with the hope that he will rise even in the end."

I agree with both the USA Today's sentiment and his.

If you must read a movie review then click here to read my review of Invictus, a film in which Morgan Freeman plays the South African leader.

Thank you Mr. Mandela, for all you have done.

Amour

Directed by Michael Haneke.

2012. Rated PG-13, 127 minutes.

Cast:

Jean-Louis Trintignant

Emmanuelle Riva

Isabelle Huppert

Alexandre Tharaud

Rita Blanco

Ramon Agirre

William Shimell

Carol Franck

Dinara Droukarova

Georges (Trintignant) and Anne (Riva) are one of those great couples who have been together forever and still appear to be in love. They do everything together and life is good. Unfortunately, things change drastically when she has a stroke. To correct the blockage that caused it, she undergoes surgery. However, that goes wrong and leaves her paralyzed on her right side. She returns home from the hospital and the two immediately become more care-giver and patient than husband and wife. The two trying to navigate the suddenly tough waters of their lives ensues.

The entire movie depicts the sad, downward spiral of their lives. It is filled with gut-wrenching emotion and deep devotion. There is really nothing we can do but feel sorry for Georges and Anne. She grows increasingly dependent on him and he gets more and more protective of her. His frustration also grows as his wife’s lucidity fades. As viewers, we become frustrated with him because of how secretive he is about her condition. He does what he can to care for her, employing nurses to aid them and whatever else is necessary. However, he flat refuses any help or suggestions their daughter offers. Through skillful writing and acting the entirety of the pain caused by every aspect of this situation transfers to us. Effectively, it keeps us engaged.

Something else that works to set the mood is the startling quiet of it all. In her younger days, Anne was a respected music instructor. Her prized pupil is now a famous musician. On occasion, there are bursts of classical music. However, much the movie is silent in places other films, particularly American ones, would fill with sound. Rather than artificially manipulate us with a rousing or saddening score, the lack of musical accompaniment adds to both the realism and the bleakness of that reality. Within the realm of this film, the take away is simple. Where there is music, there is hope; where there is none, there is not.

As in all situations such as this, decisions must constantly be made. Ultimately, the point is reached where that decision is the hardest one possible. Once Georges makes it, we immediately have one to make, ourselves. We begin to decide if we think he’s right or wrong, selfish or selfless. Then, how do we feel about what happens next? There are deep, philosophical conversations to be had about what transpires here. This is what gives Amour a lasting effect. It elevates itself from being a typical love story to one not only worthy of our viewing, but our contemplation.

The Croods

Deadfall

Happy Thanksgiving, folks!!! I couldn't let the day pass without an appropriately themed movie, so today you get Deadfall. It's not exactly going to give you the warm and fuzzies, but...well...let's just get into the review...

Directed by Stefan Ruzowitzky.

2012. Rated R, 95 minutes.

Cast:

Eric Bana

Olivia Wilde

Charlie Hunnam

Kate Mara

Kris Kristofferson

Sissy Spacek

Treat Williams

Patrick Kerton

Allison Graham

We meet Liza (Wilde) and her brother Addison (Bana) as they are riding along a snowy road in the getaway car after a casino heist. Our movie watching experience tells us that when a movie starts inside a vehicle, something bad is about to happen. And so, it does. As they tend to, a deer runs out into the middle of the road, which the driver slams into. We won’t be seeing either of them again. As for Liza and Addison, they survive. Since the car did not, they have to find a way to the Canadian border to complete their escape. Addison decides they will split up. Liza is to hitchhike her way to someplace safe. He will have the money and call her later tonight to find out where she is and get there any way possible. As an unsuspecting police officer who happens upon the crash site learns, killing anyone in the way is certainly an option for Addison. Something else we learn about him is that his relationship with his sister is probably a lot different than yours with your siblings. They take the phrase “keep it in the family” way too literally. Anyhoo, Addison takes off through the woods, taking a chance he’ll freeze to death, while Liza manages to get a ride from Jay (Hunnam). Unbeknownst to her, Jay has not only just gotten out of prison, but he is also on the run. Of course, they discover they kind of like one another. Hmmm, wonder what Addison thinks of all this. We find out over a rather tense Thanksgiving day feast.

The movie alternates between Addison’s countryside adventure and Liza’s road trip with Jay. It also lets us get to know Jay’s parents: his loving mom June (Spacek) and his grouchy dad Chet (Kristofferson) who won’t speak to him. Local cop Hannah (Mara), who grew up with Jay and now works under her overbearing father Sherrif Becker (Williams), is also in the mix. With all of this going on, Deadfall manages not to feel cluttered. It ably bounces around the various subplots and keeps them well tethered to the larger narrative. The motivations of each person is revealed in no uncertain terms. Within each, a different aspect of family dynamics plays out. Unfortunately, this also renders them all rather flat. We get the idea we know what any of them are going to say before they actually speak.

Addison is the one person who manages to escape the trap of predictability. Sure, his ultimate goal is transparent, but he gives us surprises along the way. This makes whatever is going on with him the most interesting thing in the movie. Eric Bana has some issues with his southern accent, his character is from Alabama, but is otherwise great. We get that this is a guy with a warped sense of morals. It is certainly understood that his screws are rolling around unfastened to anything in his noggin.

The elders in the cast:  Spacek, Kristofferson, and Williams are all excellent. Spacek is particularly good. Where her male cast mates all huff and puff through much of the movie, she gives a very nuanced performance. Our pair of instant lovers doesn’t fare as well. Olivia Wilde is actually solid, giving off enough naivete to sell her roll. Unfortunately, she shares most of her scenes with Charlie Hunnam. He gives the type of performance that makes it difficult to believe he has a pulse.

What Deadfall has going most for it is the way it all comes together at the end. Leading up to the finale things are a bit uneven. It’s fun when Bana is on the screen and the dynamics betwee the various characters works. During our time with the lovebirds the movie doesn’t sizzle the way it wants. However, from the moment Bana shows up in Spacek’s kitchen, the tension is ramped up and carries us through the third act. The actual ending is on the predictable side, but it works. It takes the movie from being one we could go either way on to the one that’s not too bad.

MY SCORE: 6.5/10

This is the End

Directed by Evan Goldberg and Seth Rogen.

2013. Rated R, 107 minutes.

Cast:

Seth Rogen

Jay Baruchel

James Franco

Jonah Hill

Craig Robinson

Danny McBride

Michael Cera

Emma Watson

Channing Tatum

Rihanna

You may know actor Jay Baruchel from such movies as The Sorcerer’s Apprentice, She’s Out of My League, and Goon. He finally has some time off so he goes to Los Angeles where he wants nothing more than to kick back at his buddy Seth Rogen’s house while the two smoke some weed and play video games. When Seth informs him there is a party tonight at James Franco’s place, Jay very reluctantly agrees to go. The problem is Jay doesn’t like Franco or any of the other people he is told will be there. Though he’s having a miserable time, things get considerably worse for Jay and everyone else as the apocalypse seems to be upon them, literally. Some people are instantly lifted towards the heavens while the ground opens up and swallows others, including many of Franco’s famous party guests, all playing themselves. Inside the actor’s home seems to be the only safe place for our remaining players: Franco, Baruchel, Rogen, Jonah Hill, Craig Robinson, and Danny McBride.

Early on, the movie gives us ridiculous thing to laugh at. We get things like the drug fueled lunacy of Michael Cera, Craig Robinson leading a group of revelers in a rendition of “Take Yo Panties Off,” and Rihanna being the target of a few sexual advances. There are also many more celebrity cameos, most of which comprise of the stars making fun of their own images. Once we transition into the survival portion of the film we explore the dynamics of the various relationships of our survivors, and of course, a number of power struggles. Weaved into all of this is the debate over whether or not what is going is biblical. With death waiting outside the door in the form of seldom seen, but very deadly creatures, it functions as a monster flick, too.

Comedy is the thread that holds it all together. If you’re familiar with any of these guys, you should know what type of humor to expect. It’s profane, over the top, completely irreverent, homoerotic, and especially when the guys get really thirsty, flat out gross. Thankfully, it works far better here than it has in any of their other recent comedic efforts. The guys settle into their roles quickly, caricatures of themselves, and play it for all it’s worth. Save possibly for Jay, none of the guys are particularly concerned with developing empathy for themselves. Each is just a portion of the joke. They all make their portion work.

Eventually, the movie gets into good vs. evil, and just what it takes to be accepted into the kingdom of Heaven. Don’t expect any deep meditation on the subject. In fact, if you’re serious about your religion you might bristle at the conclusions that are reached. Though, to be fair, it doesn’t question anyone’s beliefs as much as it pokes fun at them. More attention is given to the friendship between Jay and Seth in particular, but we also delve into each guy’s relationship with the other guys, and some of theirs with each other. This is the End becomes a amalgamation of bromances held together by outlandish humor. Therefore, if you just want something fun that’s not afraid to offend or appear stupid, yet still woks as a story, this will suit you quite nicely.