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The Wolf of Wall Street (2013)
My name is Jordan Belford.
Now when Oliver Stone's Wall Street premiered in 1987, the character Gordon Gekko ushered in the physical manifestation of greed in American consumerism. Gekko would dismantle and profit from a company, simply because it could be destroyed. Now Jordon's Belford's novel "The Wolf of Wall Street", follows a similar direction, less having to do with the business aspect of his illegal dealings, and more to do with who he was. In Martin Scorsese's latest project, Leonardo Dicaprio delivers the Gordon Gekko of the 21st century, technically the 20th, but really who cares in that respect. The rage and ecstatic enthusiasm Dicaprio has always brought forth in his characters has once more proved remarkable in this recent collaboration with Scorsese. As Belford Dicaprio captures a charisma that is both fascinating and addictive in this character study of a film, as it is made clear from the constant voice-over narrations made by him that all he wants is money, and as the story progresses, mostly through the characters, Belford's quest for power is shown with so very little restraint that you think maybe Scorsese bribed a few Studio execs to get this movie made.
Starting out with a simple marriage, and eventually moving up into the big leagues, Jordon Belford began his climb to the top when he founded Stratton Oakmont, a boiler room which marketed penny stocks. It didn't take very long for Belford to see the weaknesses in such a small and minuscule business, giving him one chance after another to profit off the gullibility of simple minded people with fraudulent sales stocks. In time, Jordan formed a cheeky but wise team of swindlers with enough gull and enthusiasm, though not much brains at first, to reach higher and higher levels of monetary gain. His right hand man was Donnie Azoff (Hill), a businessman just as mad, and just as self-destructive as Jordan Bell, and most of this praise goes to the stellar and energetic performance Jonah Hill delivers as he once more breaks from the conventional comedian role into more zany and out of the box characters, following his Oscar nom in 2011 for Moneyball.
Aside from this film being a satire and black comedy, it really is not meant to be funny, according to Martin Scorsese, and that comes from his initial desire to show the darkest aspects of humanity within his characters. In a way, The Wolf of Wall Street shares so much similarity with Scorsese's 1990 film Good Fellas that as Belford from time again takes us through the story, breaking the fourth wall to add a little humor, it becomes very clear by the confidence, the profanity, and the smug arrogance is the spirit a confident Ray Liaotta had shown in one his role as Henry Hill, who in a way shares so much with Dicaprio's Jordan Belford that eventually it becomes clear what the story is about. And that is the characters and the examination Scorsese takes in portraying this darkly comedic Greek Tragedy. One of the most fascinating aspects that is prevalent within this film is the total lack of restraint it has when giving a gritty and in your face style kind of humor, sadness, and drama to that matter. There rarely goes a scene without Belford popping Quaaludes, or stepping into an orgy where the scene is cynically narrated by his remarkable honesty, and even when any modesty does come from this connoisseur, it is solely for the means of his self-centered agenda of greed and buffoonery.
The wolf of Wall Street says a lot about not just American culture, and its many flaws, but it really speaks about much deep-seeded questions regarding the dark nature within human beings. It questions the notion of greed, and it presents it in the manner in which it remains unsolved. In a Hollywood Reporter interview, promoting the film, Leo Dicaprio elaborated on the nature of greed, and although it is essential to our own survival, it still begs the question as to whether it can be conquered. It has been a part of the survival of not just our species, but really any living organism that thrives. Martin Scorsese in the same interview weighed in on the matter, believing that we as human beings are still far from ever solving that predicament within our biological construct, while also acknowledging that each of us individually have qualities within us that are detestable to even the most lenient of moral standards. Now although this notion of greed seems almost impossible for any species to conquer, especially one like ours which is self-conscious, it certainly is a unique question regarding both the positive and negative aspects of it. In Wall Street Gordon Gekko says, "Greed, for a lack of a better word is good", explaining the capabilities it holds when implemented. If one could really sum up the notion of greed is really that it is a double edged sword. It remains essential to our survival on any kind of level, be it social or physical. On the other hand, it can corrupt us to the point where the very satisfaction we get from it has lost all meaning that it becomes numb within its indulgence, thus making as empty and without purpose.
The Hunger Games: Catching Fire (2013)
Make him pay for it.
In the first Hunger Games film, it was quite shocking to see children indulging in blood shed and violence as part of their upbringing. Even to a lesser standard, as it serves the means of entertainment media, this latest chapter in Suzanne Collins's book trilogy has managed to burn a beautiful candle on both ends, with a complex and intricate story on one end, and a diverse and energetic atmosphere of performances from its cast, primary its lead star. Jennifer Lawrence with her naturalistic acting manages to further humanize Katniss Everdeen through this darker segment of The Hunger Games trilogy, as she encounters more loss and discovers more revelations within her struggle to defy the totalitarian regime of The Capitol and its ever growing vulnerability to the very rebellion that is rising.
Following her victory over The Hunger Games, Katniss and Peeta (Hutcherson) return to their district, only to be welcomed by the supposedly honorable greeting of Big Brother Snow (Sutherland). Katniss's conversation with the president is brief but intimidating as she is given no choice but to become The Capitol's main figure head in promoting their regime and discouraging the hope she so blatantly encouraged in her defiance. Refusal although an option, is endowed with drastic consequences, regardless of the intentions. As the meeting ends, a mindful montage of slaughter begins as Katniss and Peeta extend their sympathies to each district, only to see bloodshed and suppression at every corner. Eventually, the hope that Katniss inspired, reaches her district as it is picked and torn apart by brutal law enforcement, and treatment inhumane enough to reawaken the literary influence of George Orwell's "1984." In the sense of the modern age, The Hunger Games Trilogy, though made within the confines of an epic, it certainly carries with it the essence of Orwell's masterpiece. Every trace of resistance is squashed, regardless of it being an innocent child or a decrypt senior that gets a bullet to the back of the head. Fear and media indulgence are what dominate, as the twelve districts receive nothing but a false image of Katniss and Peeta, all thanks to the work of mysterious and calmly collected game maker (Hoffman). Not long after the biased pleasantries, there comes the announcement of yet another Hunger Games, with a twist boot as victors from previous completions are hauled back into the very slaughter house that gave them riches and fame. Most of this comes from the cynical mouth of Joanna Mason (Malone), a previous victor whose scorn for Katniss comes from her own devout hatred of The Capitol and the blood shed they crave, disguised as a fashion show.
The previous installment of The Hunger Games was merely a demonstration of the carnage children could inflict on one another as they killed each other at the sound of a canon. This year's Hunger Games were played more mutually, and although taking on a darker and hopeless tone, there was a slight dimmer of hope as Katniss acquired more allies for the growing rebellion to come in the upcoming sequels, The Hunger Games: Mocking Jay, which will be divided into two parts. As the story progresses, new characters are introduced and given more dimension as they bond and suffer the same pain as Katniss, losing those closest to them, giving them greater reason to fight and risk everything to defeat The Capitol. Sadly, such an idea is merely planted in this film's conclusion as it leaves with the final note of a cliff hanger, which has both its ups and down's. In the screening of this film, there was a lot of moaning and complaints as people screamed "That's not how you end a movie", which goes to show the ignorance of movie audiences. On a better note there was also praise in understanding the significance of the ending, thus generating greater excitement for the sequels to follow.
Upon seeing the first "Hunger Games" film, there was a lot of admiration, but also some doubt regarding the rather dreadful pattern of the sequel syndrome many films follow after commercial success. But thanks to the excellent direction by Francis Lawrence and the powerful performances of its cast, particularly Jennifer Lawrence, a wave of relief passes over this viewer, along with many others as the excitement for The Hunger Games sequels is more confident and capable of meeting such expectations. What was more striking in this particular segment was the struggle that followed Katniss's victory as her inspiration of hope triggered a chaotic jolt of fiery resistance that will cease to burn out. As this fire continues to burn through the plot of the film, the reality becomes more grim and desolate as Katniss's desire to distance herself from such heroics becomes more and more impossible in the waking misery that The Capitol inflicts on the twelve districts. The first film spoke for itself on a deep and personal level as the sight of children killing each other, rather joyfully was implemented as though it was a modern day tradition. The Hunger Games: Catching Fire took more drastic and effective turns in the story as the protagonist Katniss has developed from a warrior into a symbol. Now with the conclusion leaving at an uncertain future, the sequels will certainly give Lawrence's Everdeen the chance to become more than just a rebel, but a hero beyond simply here identity.
Up (2009)
Squirrel
If there is one thing that could be said about life, without an argument is in its own chaotic way, it is an adventure. It is beautiful and horrid to experience. It shapes us in many fashions as we experience every moment, learning more and more about ourselves. Whatever goals we have in life are part of the self-developing construct that helps us better in choosing whichever direction that intrigues us. This adventure is wondrous in its mystery and just as frightening in the same respect that in the end of this journey there is death. What follows after, who's to say? Modeling their love for exploring after famous explorer Charles F. Muntz (Plummer), Carl Fredericksen (Asher) and his wife Ellie (Docter) have looked at the prospect of exploring with the same charisma of their idle, believing in simply the journey. Their hope to reach a place known as Paradise Falls has been their one and only dream in life. Sadly because of the many pressures life brings forth, dreams are often left on a shelf for many years before they can be opened and fully realized. Not long after a poetically musical montage of introduction, Ellie passes on to hopefully a better place, leaving Carl alone, and with little spirit left to move forward. The story picks up later with Carl, a little more cynical and bitter, with his house blocking a construction site. After a misunderstood accident with a worker, Carl is forced into a retirement home. Gratefully though, as many senior citizens are encouraged to by yours truly, Carl refutes such a notion of indifferent hospitality, as he turns his home into a makeshift airship, embarking towards Paradise Falls, in the hope for just one more adventure, for his sake and Ellie's.
Joining Carl on this journey comes a chubby, and overly talkative boy scout named Russell (Jordan), who in accompanying Carl, hopes to acquire his final merit badge from assisting the elderly. Russell being an Asian character, played by an Asian actor is both delightful and charming through his innocence and his good nature, and giving a more cultural relevance to his identity, rather than the typical stereotype. No matter how many times he refers to Carl, as "Mr. Fredericksen", the cynical look on his disgruntled face marks a comic humor that has never lost its touch within these soulful comedies. Along their journey, the duo, lets call them that because eventually through their adventure they become heroes in their own manner, encounter many hardships, and meet many new friends as they head for Paradise Falls. First comes a large and colorful bird, who Russell names Kevin, and then a talking dog. Yes a talking dog, as hard as it is to believe, but then again its Disney so logic is somewhat out the window. Speaking of which, that really what the filmmakers are intending really when exploring such a simple concept in Disney film no less.
In an existentialist perspective, UP is beautiful in the poetry it tries to convey when discussing the subject of life. Early in the beginning of the film, after his wife's death, Carl has lost his zeal for life. His passion to explore, resulting in his demeanor being more negative and antagonistic towards strangers. His journey to Paradise Falls within the film is in its own way more of a spiritual journey as Carl heads towards a destination he and his wife envisioned as the ultimate adventure. Now this is to say that in death, as we carry out the wishes of our lost loved ones we take on an essence of their desires, as they live on in us, thus ushering a sense of immortality within the memories we still treasure of them. So Carl's journey, whether successful or unsuccessful is not the key goal. It is really the spirit he embodies as he carries the wishes of his wife, out of love for her, and in this journey he discards the anger he holds as he experiences the very adventure that shaped his childhood and formed his character. If anything, Up is beautiful within the simplicity it draws strength from, giving the prospect of life a purpose within on our own nature, as we are pattern seekers, and as we pursue knowledge, be it in science, philosophy, literature, art, or even religion, it all amounts to the spirit in which we take it to ourselves to make this complex journey we call life, hopefully with no regrets and no desire to limit ourselves.
The Incredibles (2004)
A company is like an enormous clock.
There a lot of super heroes out there have an assortment of talents. The Flash can run thousands of miles within a matter of seconds. Superman can fly and lift buildings with merely his hands. Spiderman can shoot webs from his arms, and climb walls as though he were an arachnid. Power free, not powerless heroes such as Batman use merely their intellect and resources to seek justice and carve their presence in the cruel and inhumane world they walk endlessly. Now when discussing these well-known heroes, the question of what makes a person special is delivered with a perplexing aura. It would be redundant to define these heroes merely by the gifts they were born with, be it super strength or the intellect to create justice through the world. There is more to a person than simply their talents. Following the success of his 1999 directorial debut, The Iron Giant, film maker Brad Bird presents yet another emotionally charged and politically themed animated feature worthy of the examination of American society.
The Incredibles is a brilliant and artistically creative animated comedy which examines a world were super heroes are no longer allowed to be super. Mr. Incredible/ Bob Parr (Nelson) and his wife, Elastigirl, Helen (Hunter) were both forced into retirement in a world that began to believe that the super hero's secret identity was the only identity that which they could dawn. Now living the quiet, settled down, and hypocritically comfortable suburban life, with their children Dashiell (Fox) (short for Dash) and Violet (Vowell), they must make due with a world that merely moves by the prospect of capital and bureaucratic abuse. Now in saying that I know a lot of right-wingers probably hate Brad Bird's political leanings as his films constantly tackle American society regarding economics and even military conflict. Take for example the subject of the cold war in The Iron Giant which focused on the tension between the U.S. and the Soviet Union as paranoia defined our society heavily at the time that sputnik was launched. It can be said that The Incredibles borders more on an anti-capitalist agenda as the introduction of Mr. Incredible's employer gives an insight into the biased hypocrisies of white-collar America in the 1950's and even to this day. Wallace Shawn is known for playing strange and overly frantic characters in an attempt to deliver a bundle of laughs in whichever film production he makes a cameo, live or animated.
Now as Gilbert Huph, Wallace comes off as both greedy and fully aware of the deception his insurance company demonstrates when providing services to people in need, and when questioned by Mr. incredible on these ethical matters, he simply resorts to an elitist standard of corporate antagonism. Aside from the anti-capitalist views Brad Bird expresses within his characters, are even more prevalent within the nihilistic characteristics of the film's antagonist Syndrome (Lee). Now as the evil villain, Syndrome represents the apathetic psychopath who's quest for power knows no bounds within the common ethics he breaches within this film. Women, children, nor even the life of his lover matter as he cynically disregards life to the standard a power play between him and his nemesis Mr. Incredible.
It is very fascinating to see that an animated film like The Incredibles entertains such a philosophical discussion within such a broad topic as dynamically themed super heroes. It's even more interesting to see that within this simple story a lot of complexity can emerge from these animated characters. But then again that's why DreamWorks always comes second to Pixar, with the Shrek films being the exception. Near the end of the film is the big battle scene of any superhero film, most of the time with a big city being leveled and the heroes gathering to battle their monstrous adversary. Mr. Incredible rushes to face off against the Omnidroid, a robot designed by Syndrone, and as he is about to fight, his wife Helen objects as to why he is going alone. She presses him on whether it is about his pride, or his desire for glory, thus giving Helen's feminist depiction a three dimensional aspect to her character. The scene is emotionally engaging, no doubt it coming from the unique performances from Holly hunter and Craig T. Nelson, but it also speaks a lot about the unity of human beings. There are those who prefer to take on the hardships for others, believing they are not strong enough to bare their loved one's suffering. And there are those who feel that strength comes from the unity people can give to one another as a source of strength.
For an animated comedy it still seems new to see the prevalence of the theses themes of moral conflict, and emotional support being portrayed within a film that targets mostly child audiences. But then again, these themes were shown in Brad Bird's previous feature film, The Iron Giant, as it not only portrayed an era of political chaos, but it further elaborated on the nature of violence, and its implementation into American society. What can really make these films affective is the relevance they hold with their audiences, consisting of children between the ages of 5 to 10 and older. In today's modern world, most people see that the invasion of Iraq was immoral and unjustified, and that's primarily through the use of mainstream media. Now it would be absurd to say that television makes a majority of children imitate it, however it is also relevant to point out that it can have an effect in implementing certain beliefs into their mental construct. With a film as well-crafted and visually engaging as The Incredibles it doesn't seems as though it is a far cry from having the socially affective means of the director's intentions.
Out of the Furnace (2013)
I just need the money.
Naturally when the sight of Christian Bale's face on a poster appears, anyone will feel intrigued in the dedication he will deliver in the project, regardless of the film's subject matter. Granted the disappointment from Terminator Salvation was the only exception as it was the first time one witnessed a Bale character with a one dimensional depiction. The characters in Out of the Furnace are very real, and that can be both a positive and negative. The authenticity towards their representations are raw enough to fascinate a viewer into seeing through this two hour drama thriller, while also feeling a sense of disappointment. The poster of the film shows the protagonist Russell Blaze (Bale) aiming a rifle down, and framed in the same fashion as Jeff Bridges's role in Scott Cooper's Oscar winning film Crazy Heart, as it borders on similar territory. Sadly this latest endeavor into the exploration of the human condition falls short of its bond between brothers premise, only to rely solely on the performance of the actors, adding little intricacy to the plot, dragging it further and further, possibly in an attempt to add more depth to the character's inner turmoil, only with no success. Despite this simple plot, extended further from intention, it certainly borders on some philosophical insights, and it manages to use its long storyline to explore the character played by Bale more so through actions, rather than with words, giving the film sense of balance between its raw characters, but derivative story structure.
The decisions we make in our lives place a weight on us. They impact us in the manner in which the next choice can either help us move forward, or drag us further down a path that we choose to call hell, be it the torment of the mind, or the fires of a mystical realm of punishment. Scott Cooper's second feature film explores this aspect of the human condition through the rust belt segment of American blue collar towns. Most of the filming took place in the Pittsburg Metropolitan area, and Braddock, giving the film a greater scenic beauty. When discussing the concept of beauty, a lot of this can follow from the themes explored within the film, be it the awareness of the economic depression within the rust belt segment of America, or the political direction pertaining toward the Iraq War, a memory which still burns in our skulls even after withdrawal. Although they are tackled briefly, they do manage to define the conception of the characters, and their own inability to escape the bounds of their roots. The primary subject of course is the protagonist Russell Blaze, who's own quest through the course of the film is defined by his slow descent into action as he contemplates the choices on which he must embark to define himself fully.
The plot of Out of the Furnace is made clear through the trailer, a simple revenge thriller based on the concepts of love, family, and difficult choices made by dysfunctional individuals. Strangely enough though, it isn't until near the end of the film that the inciting incident manages to kick the protagonist into a whole new world of changing circumstances. Most of the film narrative plays out by a slow but naturalistic pace as the characters are presented with an authentic depiction in the time spent exploring the world they inhabit. After taking a poor, but agreed on dive in a fight, Russell's Iraq veteran brother Rodney (Affleck) is taken by a savage group of drug peddlers, run by Harlan DeGroat (Harrelson). As Harlan, Harrelson captures a monstrous brutality that makes his character both unpredictable yet hard to comprehend in his breed of justice. It is the shadow to Christian Bale's more tranquil Russell Blaze as Bale portrays his character with a mysterious presence of inner torment, despite his calm demeanor and subtle dialogue.
The conclusion of the film is not exactly built up in the standard that gives it a tremendous impact, but the execution of the last scene of the film certainly gives the film a deeper interpretation of Bale's character as he ponders his own existence in a town he feels is slowly degrading more and more. Although the chemistry between Casey Affleck and Christian Bale was a little slow, it was very energetic to the extent that it could give insight to the main subject of the story and that is the conscious human desire to progress. Regardless of whichever choices we make, the initial response to move forward and never turn back knowing the past can be a form of fear keeping us from living life, is the very pinnacle of our growth. Russell works the day shift at a rotting and crippling mill, while Rodney fights his demons in the ring, both refusing to move forward as the inner torment that shapes them forces them into isolated and deteriorating lives of uncertainty and fear.
Out of the Furnace, although not a perfect film, is recommendable to the extent that it delivers a great and visually intriguing characters. Enough has been said regarding the plot, and as flawed as it may be in its presentation, it certainly does not make one turn away. What also can be said about Russell Blaze is that he is one of Christian Bale's most complex characters up to date. Aside from Nolan's Batman, or Trevor Rezik, Blaze's complexity comes from the authenticity Bale gives to the character, and although he is not deeply explored, a lot is left open for interpretation as to who he is, or maybe the same can be said for this film overall. Aside story structure, and the lack of chemistry between Bale and Affleck, there are good points within the film as it explores a territory that is prevalent within our own existential capacities to willingly move forward, especially in a world that often beats you down enough times to feel as if moving forward was a pointless endeavor.
12 Years a Slave (2013)
I will not give in to despair.
Steve McQueen's previous work, Hunger, and Shame, both demonstrated his ability to create films that capture a unique rawness most films rarely show. The characters are never portrayed within a black and white context of this person being good or bad. The world McQueen often portrays in each of his films, although different within each approach has that authenticity that places him within the same intellectual status of filmmakers as daring as Paul Thomas Anderson and Nicolas Winding Refn. Although 12 Years a Slave's trailer, within its presentation gives an inspirational feeling of glory, that is merely a delusion. The story of Solomon Northrup is tragic and brutal, the film depiction of it is real enough to belittle and discourage the concept of hope most people will attempt to draw in the turmoil of such unabridged suffering.
Born a freeman and prosperous with a family, Solomon Northrup's (Ejiofor) story is played out within the twelve year period of his enslavement, as he is lured into what was believed to be a promising business deal. Being skilled with the fiddle, Northrup was invited to Washington D.C. to play for a pair of white gentlemen, trusting completely and never suspecting the treachery they bestowed upon the kindness and gratitude he expressed. Drugged and bedridden, Solomon awakens in a pair of chains, claiming his status as free, only to be beaten and humiliated as though he were more of a beast than a person.
Not long after an uncensored and grotesque torture scene, Solomon is sold as Platt, from one slave owner onto another. Beginning with the Baptist preacher William Ford (Cumberbatch), Solomon survives with what straightforward modesty among the kindness he sees in this current master, hoping that his generosity can deliver him the hope of seeing his family once more. After a few bouts with Ford's jealous and equally uneducated carpenter, Tibets (Dano), Solomon is sent to work for another master. Despite his pleas for Ford to see his innocence, little does it do him for that hope will soon disappear through the brutal hatred that slavery had inspired in many American's as they justified the prospect of human beings as property. Be it through scientific or divine principles.
The determination that Michael Fassbender exemplifies within Edwin Epps, is both brilliant and equally despicable to feel repulsion. Hateful, snide, racist, and even rarely kind enough to find intriguing in his malicious nature. Solomon's purity stands the many obstacles thrown at him. A young girl named Patsey (Nyong'o) becomes the subject of suffering as she embodies the object of Epp's sexual desires, and the focus of his wife's hatred. Sarah Paulson's calm and almost puppet like expression captures an appalling apathy of despair as she demonstrates a more silent, but inhumane brutality among Patsey. In fact, the portrayal of torture in this film is shown to the authentic extent that it does not hide one essence of its straightforward depiction. The scenes are long, and edited to the degree that McQueen wants nothing more but to show audiences what he feels is an honest and direct approach to telling the story of Northrups survival.
Sadly, survival does not come easy, nor does it often seem possible. If anything the story told here is never given an inspirational standards of positivity. The close-up shots of the character's faces embody both their despair as well as their desire for hope. Even after their fellow brother or sister has had the earth closed upon them do they tearfully sing in the hope for a better end. It really is sad to say that these raw scenes are merely shown as they are meant to be, giving no hope of the sort. The conclusion of the story is known through the written history of Northrup's memoir "Twelve Years a Slave", and upon reuniting with his family, the moment is presented with more tragedy than relief. The final endnotes give little indication of justice, as Northrup fails to punish those who condemned him to what many slaves would consider eternal punishment, and his own whereabouts remain a mystery.
Twelve Years a Slave is both powerful and moving. Although it forsakes any inspirational themes in its technique, it really focuses that primarily within the performance Chiwetel Ejiofor gives when capturing the sadness and the determination of this forsaken individual. An equal amount of praise can be given to the dark and evil depiction Fassbender delivers in what is for me his first menacing role. The direction of this film is never dull, nor does it give you the idea of a meaninglessness, although a lot else should be said for the suffering many slaves had endured during the trial now being labeled "America's Holocaust". A period piece in its own historical standard, and a drama, Twelve Years a Slave is both sad, but amazing in the daring vision that McQueen tackles, never holding back, nor even dumbing it down to more sensitive viewers. The film through its authentic tone of brutality manages to penetrate the more conventional American Slavery drama. It does not over exaggerate within the conception of the characters, nor does it hesitate to portray them as stereotypes. It simply brings out both the good and the bad qualities that shape them, thus giving this film a rare and challenging aura that further elevates the potential Steve McQueen embodies as a film maker.
Michael Clayton (2007)
I am Sheva The Destroyer
The truth in today's world is most often very difficult to find, or simply to comprehend. At times it can lead us into some sense of clarity, and it can also create even greater self-doubt within us. As the fixer, or bagman as he refers to himself, Michael Clayton (Clooney) has been the nurturer, the garbage man, "The Guy you buy. Not the guy you kill". Written and directed by Tony Gilroy, Michael Clayton is an invigorating drama with fully realized characters, battling the greatest danger that threaten to destroy and annihilate the people they hope to be.
As the fixer for a prestigious law firm, Michael Clayton has served the role of the fixer for so long that his face is drenched in the guilt and shame he harbors. His work has gone from shoplifting housewives, corrupt congressman, and many more atrocities that would no doubt give him a greater incentive to look in the mirror and ask the big question, "Who am I"? The pale, but confident expression Clooney gives to this character carries with it a lone sense of sadness as Clayton, now no longer in his prime is called to fix a mess colossal enough to shake the very foundations of his soul.
After Arthur Eden (Wilkenson), a schizophrenic attorney labeled "A killer", played by Tom Wilkenson strips naked, Clayton is called in to handle the situation. The deposition involves a lawsuit against an agricultural products conglomerate called U-North. The general counsel is Karen Crowder (Swinton) a panic stricken lawyer that constantly recites the most basic of speeches, lacking any true self-confidence and any actual morality, despite the hesitation to acknowledge her own immoral nature. Not too long after Arthur's episode of clarity, as he proclaimed his divine revelation of being Sheva, conspiracies begin to emerge and challenge each of the characters in their initial quest for a soul.
Arthur claims that he has destroyed lives with his years in the courtroom, and Clayton has sheltered so many, that with what little innocence he can display, he gazes at his young son Henry, knowing that the cruel world he's seen cannot touch him. Clayton though has been dealt a bad hand with luck, avoiding card tables, and scrounging every penny he can to pay his dept. His gambling addiction is merely a minimal contradiction within the conception of the character, but it does elaborate a form of weakness in dealing with the hardships of being the family savior, the problem solver, and the one who comes to fix everyone's problems. At one point, this status is presented within the context of whether or not Michael holds any firm moral ground. Already owing eighty grand to the mob, following a failed restaurant, and a drug addicted brother as the cause, Michael turns to his boss, played by Sydney Pollock in his final screen role for help. The assurance of his worth may be refreshing at first, but as valuable as Michael may be, that significance comes with a price.
The film's plot is intricate in its thriller aspect, and it becomes clearer through the dialogue of the characters, but there is something deeper at hand within the film. There is a scene in the beginning of the film, where Clayton stops at the country side and gazes at three beautiful horses. One is white, one is brownish red, the other is brown but dark enough to be black, and Clayton is pale. It could be said that these three horses along with Clayton represent the four horsemen of the apocalypse, or with the slow walk Clayton takes towards them might represent a kindred desire to be one with the pristine purity and beauty of nature. Whatever it is, Gilroy leaves this scene mysterious, leaving more of the moral themes present within Michael Clayton as the central character's struggle to acquire clarity, mental peace, with only few coming close and actually realizing the ignorance of their indifference.
George Clooney's performance is powerful and endowed with confidence as he captures the spirit of Clayton, whoever this man may be. Wilkenson in his powerhouse antics of sophistication, captures an addictive persona of madness, as his character admits his wrongs and attempts to rid himself of the parasitic coat he constantly rants about in his moral condemnation. Swinton in her Oscar winning performance is brilliant, and frightening as she plays Clayton's polar opposite. As the fragile and hesitant Crowder, Swinton delivers a performance that fully elaborates on the vulnerability of her character. At times she makes choices that she never fully acknowledges, thus deluding herself, and believing she has escaped karmic justice and the possibility of ethical judgment. The world of Michael Clayton is both dark and morally questionable, as Gilroy creates character's that live in a world where nothing is dependent on the truth, but merely what can be adjusted. The film is powerful in its performances, and even more philosophical as it challenges the corruption of corporate influence, conformity among the margins, and nature of choice regarding ethics. Michael Clayton in a way is an enigma. He seems fully realized, sadly this not the case, as he searches for truth in a world where honesty is but a commodity, rather than a principle.
No Country for Old Men (2007)
You know how this is going to end?
The film's poster is both captivating and dark to the extent that each face represents a hardened entity within its own representation. With the face of Tommy Lee Jones in his always wise and powerful presence, comes the wisdom of a warrior who seeks justice in a world filled with malice and destruction. Brolin's face gives a similar feeling, with some wisdom, but stubborn determination. Bardem's face is haunting and yet intriguing, as it gives off the feeling of incomprehensible force beyond human conception, and that is exactly what his character Anton Chigurh stands as. In their first attempt, and it is a successful one indeed, the Coen's have delivered a faithful and brutal depiction of Cormac McCarthy's book of the same name, as they return to the darker psychological roots that first spawned their Neo Noir debut, Blood Simple. No Country for Old Men although dawned with the usual Coen Brother's humor, has very little hope to go on as it borders around a world that McCarthy knows all too well, apathetic, deteriorating ,and absent of God.
Through the calm, but tired out narration of Jone's Sheriff Bell, we are introduced to the wasteland he believes West Texas has become. In his father's time, police officers never carried a gun. They didn't need to, and in fact back then people use to address one another as Sir or Madam. Bell draws his sorrow and uncertainty from a world that is slowly changing, and becoming more deprived of the integrity his father, his grandfather, and their father's believed in when they sought to uphold the law. Aside from a barren dry wilderness, morality has forsaken the land that the wise lawman can't understand the cruelty and the indifference of this jungle as murder, rape, and sadism keep coming and going as if they were cherished past times. Bell's contemplation of this indifferent universe further comes at the revelation of his latest endeavor, as he searches for justice, despite what little faith he holds for the concept.
Upon the sight of drug deal gone wrong, Lewlyn Moss (Brolin), a Vietnam vet, with little to say, takes a case of two million. After a mild and sarcastic conversation with his spunky wife, Carla Jean (Macdonald) he returns to the sight of the crime. Little does he know that his little scavenger hunt has set him in the sights of hit man Anton Chigurh (Bardem). Chigurh, or sugar, to humor Moss's Sarcasm, comes off as vastly different than the more typical movie villain. His insanity and his cunning patience are not anything new to bask in the captivating performance Javier Bardem gives in this Machiavellian entity. With Anton's dreading eyes and the cryptic language Bardem captures a haunting and mysterious presence, beyond his own dark nature. Critics along with an assortment of scholars have praised this character in their interpretation, delineating on his persona, labeling Chigurh as the devil, the grim reaper, an agent of God, and many other forces that represent an unstoppable force of judgment. There is one scene where Anton confronts a store clerk with a coin toss after hearing him make a stupid and ignorant remark. Chigurh tells him to call heads or tails, saying that only he has the right to, and when asked what's at stake, his only answer is "Everything". After the coin lands on heads, Chigurh cynically congratulates what might have been his next victim, but due to fate he feels an even greater desire to abide by the laws of chance, than to slaughter mindlessly. It could be said that he is neither man nor monster, thus making it difficult for him to be killed, despite Lewyln's resourcefulness.
In the course of this film, as the cat and mouse game between Moss and Chigurh plays out with brutal bloodshed on both sides, Sheriff Bell tracks Moss, encountering one clue after another, finding very little truth if any in this enigmatic game of good and evil. The film's ending, not to give any spoilers, is neither about resolution nor despair, as little of the film offers hope, it is more of an insight towards humankind's struggle for survival, and comprehension. In our post 9/11 world, our hostility has grown drastically to the point where our own outlooks on morality has constantly been re-evaluated. Torture has been used as a means of acquiring information, and war has been given a religious manner of patriotism, deluding the masses into believing that our enemies are not human, but subhuman. The Coen brothers present these questions in the post-Vietnam era, mostly through the existential perplex ion Bell contemplates, and the tactical survival skills of Moss and Chigurh. The characters in No Country for Old Men carry with them a uniqueness that grants them a greater intuition into the world they inhabit, thus transcending the more oddly comedic aspects you see in a character within a Coen Brother's film.
No Country for Old Men, as a thriller, and as an examination into the human condition is horrifying, yet equally intriguing within its presentation. It explores an ever changing world, as people become more violent and more hostile within their desire to survive, by whatever means, motives, or for what they justify as reasons. Several quotes by a former deputy played by Barry Corbin sums up for Bell all that we can ever expect in a world where the question of God's existence, although mysterious, seems meaningless at this point. "What you got, ain't nothing new. You can't stop what's coming." It seems that we've reached a point where words as such can no longer hit us like a lightning bolt. Our immunity is due to the very violence we've become accustomed to, and the very hope we have lost in the world that as we grow older becomes more and more alien to us.
Fargo (1996)
Oh Yah!
To describe this film as complex would be redundant in its conception, when really it is a simple story. Although engaging in its depiction, Fargo gives this idea that there is a deeper meaning in it. The opening title sequence claims that this film is based on a true story, when really it's the culmination of many stories the Coen brothers have investigated. When promoting the film, in a 1996 interview with Charlie Rose, Charlie himself made a comment regarding the nature of the title sequence, and how it demonstrates how far the Coen brothers will go. It was a joke, and although it was jolly in spirit, the Coen's own take on the title was that it was battle between choosing Brainerd or Fargo. Obviously Fargo won that bout. But overall the tone of the film in its initial portrayal, is that it is a simple film, and the motives of the characters are simple to the extent that they can create a complexity within Fargo that we as an audience strive to understand them behind their own simplicity. As with any Coen Brother's film, there is an inevitable sense of tragedy within the story, and because it is shown in such a casual and forward manner, all we can do is laugh.
Taking place in the winter of 1987 at Fargo North Dakota, a pair of buffoons, Carl (Buscemi), a funny looking fella who can't shut up, and Gaear (Stomare) a mute who only speaks when he's hungry, are recruited by an even bigger schmuck. Jerry Lundergard (Macy), although both polite and simple, is two faced enough that he'll orchestrate a scheme to kidnap his own wife in order to extort his father in law, played dog heartedly by Harve Presnell, just to solve some of his financial troubles. Back home in Minneapolis, Jerry works as an executive sales manager for his Father in law, and even after a deal he proposed kicks in, his wife Jean (Rudred) is kidnapped. The sequence although portrayed with some humor, also carries with it an intensity in the moments of terror and panic Rudred shows in her erratic movements of fear.
Not too long after the kidnapping, a shooting takes place with three people being killed at Brainerd. By that time, half hour has passed, and then are we only introduced to the protagonist, Officer Marge Gunderson (McDormand). Being seven months pregnant, and carrying a truck load, Margi as her quaint husband Norm (Lynch) calls her, begins her investigation into the Brainerd murders. Marge is both calm and polite in her interactions with others, and even to the extent that she'll simply keep saying "Yah" and "Oh you betcha" when really she's bearing some forms of hostility and disappointment.
Although there is some disappointment to her search for justice, there is none within the overall portrayal of the character's the Coen Brother's have sketched in this combination of true stories. Each brings forth a unique level of oddness to the story that they transcends the simplicity of the film. A lot of the exterior scenes show a blank abyss of nothingness in the snow covered roads of North Dakota and Minneapolis, as the camera focus shots merely envelop the white snow during daylight, and even more illuminating during the night scenes, ushering a darker and more depriving tone within the film's more tragic elements. The interior scenes capture a much smaller and closed sense of existence within the simplicity of the characters, and their own understanding of the circumstances they encounter in their lives. One particular close-up of Marge as she contemplates the point of the Brainerd murders, never fully conceiving of why anyone would commit such an atrocity, and for money no less. She then comments on life and on the beautiful day in front of her. The detail of her introspection into human morality gives her greater depth and complexity, as normal as she may appear to be back home with her husband Norm. She questions the motives people have, and this merely represents her innocence, and at some tragic level her own ignorance.
As hard as it may be to understand why bad things happen, thinking it is simple merely drenches the curiosity with ignorance and reduces it to a more dismissible manner of existential contemplation. Fargo is brilliant and captivating in its odd sense of normality, capturing a peculiar and equally entertaining depiction of "Minnesota Nice" and the "Sing Song" regional accents. Every moment a character utters a "You betcha", or "Yah", its repetitiveness does not grow to be tiring ,but merely all the more entertaining in its ironic and often cynically delicious theme of Coen Brothers comedy. Over the course of the Coen Brother's careers, from films such as Blood Simple, or Barton Fink, which exemplify much darker tones, they managed to elaborate on the type of comedy they depict in each of their films. In the previously mentioned Charlie Rose interview, they couldn't really explain the comedy they conceive, only that they simply break from the more conventional standards. It's this break that stands out enough for anyone, fan or no fan to recognize within its perplexity. Fargo, as both a comedy and a thriller captures a humorous but brutal murder story that triggers a self-awareness within its protagonist Marge Gunderson, that although she questions the purpose of a such a transgression, she immediately returns to the normalcy of her life, showing very little change from experience. Some would label that as not a poor form of character development, when really it's more of accurate representation of a common folk the Coen's grew up around in the white abyss they lived in throughout their childhood.
Boogie Nights (1997)
All you need is love.
Pornography has always been a delicate subject to tackle, and with the bold approach of Paul Thomas Anderson, it becomes even more surprising in its modern portrayal. Most people when they hear about pornography, they immediately regard those responsible with disdain and unapologetic hatred. Their humanity, as well as any sympathy is stripped from them by the very people judging them, as if they don't recognize their own flaws, when really that's the whole concept beyond this story. Boogie Nights is a multiple character study about a group of people, who each bare a unique quality within them, despite all the doubts and fears they hold in their struggle for survival. The film's direction is raw, and the scenes are long, as they capture the emotional aspects of each character in both their triumphant and tragic moments. It goes beyond a more conventional subject, as Anderson, both writer and director of this film illuminates these characters in a 6 year period from 1977 to 1984, initially finding a more empathetic definition for family, outside its traditional biological standards.
Beginning in the year 1977, upon the discovery of a 17 year old Eddie Adams (Wahlberg), adult film director Jack Horner (Reynolds) takes the troubled high school dropout in the hopes of making more influential and meaningful pictures. Along with the gifted Bruce Lee fan, comes Roller Girl (Graham), a mellow porn starlet who never takes her skates off, during or after sex. Ginger (Moore), Horner's girlfriend immediately fills the role of surrogate mother for Eddie, seeing him as a second chance for her to be an actual mother, knowing her addictions prevent her from ever seeing her own for even one weekend.
This film is really all about second chances for everyone. Early on in the film as Eddie makes love to a young woman named Cheryl (Holloman), she compliments his penis, and how he uses it so well to make love. Eddie then smiles and says, "Everybody's born with something special." The optimism that Mark Wahlberg that gives off in his performance, along with his youth give his character Eddie Adams an authentic sense of idealism. In this life, we all have this desire to make the best of it, and knowing that our time is short, then do we dream of being great. We hope to succeed in our lives, with the very talent we were born with. Call it God, destiny, or the Universe, wherever these talents emerge from, we all hope to use it as a means of defining ourselves more profoundly in this temporary journey. Boogie Nights captures this idealistic ambition through its assortment of characters. Ranging from the well-endowed Eddie Adams/Dirk Diggler, the country/hip-hop artist Buck (Cheadle), the aspiring filmmaker Jack Horner, to the cocaine addicted Amber, Anderson portrays these characters sympathetically, thus taking influence from his own family's involvement in the porn industry, as well his own personal feelings towards the familial aspect that aspires towards a new definition.
Aside from that many critics have often discussed the oedipal complex looming its shadow over the course of this film, and it can be clearly seen within the interactions Eddie has with both Amber his surrogate mother, and his biological mother played hatefully brilliant by Joanna Gleeson. A scene where Eddie returns home after his initiation at Jack's, he is confronted by his mother, who questions his sex life. This interrogation instantly turns into a brutal and humiliating argument as Eddie is berated to the point that he whimpers like a helpless child and desperately begs for his mother to stop. Within the comfort of Amber, comes a unique benevolent and innocent bond, and it is clearly seen within the graphic sex scenes they engage in, as the mother and son infatuation is explored against the more conventional standards of morality incestuous morality.
Long, and raw to the point that with each instance of change in its documentary essence, Boogie Nights beautifully captures the end of an era, as the 70's head to the 80's, and society turns to new direction. The cultural changes of drugs, music, and clothing attire constantly shift in the world Paul Thomas Anderson has created. A bright and colorful opening introduces the audience to a variety of characters each with a unique trait, soon to be fully open that we see their ambitions, as well their weaknesses. Anderson's writing style conveys a realistic interpretation of each his characters. In both their positive and negative qualities, the camera gives enough focus, rendering their reactions as authentic and polarizing to the degree that we can't look away as they run around going crazy. Boogie Nights is inspired from Anderson's 1988 mokumentary short, The Dirk Diggler Story, which chronicles the life of a well-endowed model, Dirk Diggler. Following a similar story pattern to the short, Boogie Nights expands its story more, with its variety of characters as they experience an era that challenges their own places in the world as human beings. Its captivating in its performances, and even touching within the themes tackled, as Anderson captures a more empathetic portrayal of family, escaping the biological roots that people often cling to despite the dysfunction, and delivers a more open minded concept, without demonizing the more traditional idea of family. The surrogate family, although they are in pornography, they all have love, and that is all that is required to brave an ever changing and indifferent world.
Nineteen Eighty-Four (1984)
What is the worst thing we are all capable of as human beings?
When George Orwell's publication of "1984" was distributed in 1949, it was not too long after the creation of two separate governments for Korea, as it was divided among the Democratic People's Republic of Korea of the North and the Republic of Korea in the south. South Korea is a moderate presidential republic. North Korea is the very nightmare Orwell's novel depicts. It is totalitarianism to the full definition of its own conception. The 'eternal" president and the general secretary are Kim LL sung, and Kim Jong LL. Corpses in leadership essentially. The current president is Kim Jong UN, or as Bill Maher often remarks as a member of the Adam's family. Little humor is to be derived from such a comparison, when really pity and sorrow is a more appropriate reaction to the citizens who live under the regime of North Korea, with little freedom, or rarely any individuality in their existence. The same can be said for the people of Ocenia as they praise their ever loving Big Brother, for whatever greater good the party of Insoc (English Socialism) has declared. The details never matter, for the purpose of totalitarianism in its nationalistic intentions is to promote ignorance, and to discourage all forms of independence.
Winston Smith (Hurt), a frail, and subtly loner, lives a pathetic and empty life in his methodical existence. His profession consists that of a worker at the ministry of truth, rewriting history, and preventing any essence of truth from reaching the surface of an ongoing war. He attends daily meetings of erratic praise, as many of the blue collared workers of the both the inner and outer parties praise the image of Big Brother, their all powerful and omniscient ruler. There is not a street corner where Big Brother's face isn't shown, or a room with a television screen of his bulgy focused eyes locked dead onto you. Children are recruited into groups known as the thought police, breeding suspicion amongst those they supposed to be thought criminals, as in those who commit the crimes of thinking. Friends, family, neither matters, anyone guilty of thought crime is considered an enemy of Big Brother.
Winston's world is forever changed when he receives a letter from a women named Julia (Hamilton), saying "I love you." Perplexing at first, and odd to the degree of such a confession, but with the curiosity of his wondering spirit, Winston pursues Julia to the point where they begin a forbidden affair, experiencing the sexual pleasure and the emotional love their society tirelessly works to prevent. As their love affair becomes more intimate, there comes an even greater understanding to Winston and his past, feeling regret for the sins of his childhood, and the doubts he holds to this day in being a human being.
One of the central themes of 1984, aside from its direct opposition to nationalistic totalitarianism, is that it is an examination that it tackles both the beautiful and the equally horrible parts of the human soul. Through the character Winston, there comes an unraveling of the certain extents that human nature represents. There are two sides to the fragile and well-meaning Winston. Through his love affair with Julia, comes the gentle and benevolent side that is still discovering the concepts of beauty and happiness, forsaking the absurd notion of purity and embracing the tranquility of an old woman singing as though these were peaceful times. Then comes the cowardly and terrified side to his persona. It is a side that only those that haven't read the novel will find surprising in the dark revelations regarding the human condition. It is mostly shown through the chilling performance Richard Burton gives as O'Brian. A member of the inner party, O'Brian lives a more comfortable lifestyle, being mysterious and cunning in his remarks. He gives Winston dreams of hope, while raising suspicions in the audience. It is a brilliant performance that manifests a cold representation of the human being.
Anyone who picks up a copy "1984" can merely see written words and images. As a filmmaker, Michael Radford captures the nightmare that George Orwell envisioned, generating a philosophical discussion regarding politics, the manipulation of history, and humanity in is most sensitive areas of understanding. For those who've already read the novel, fully know what happens in the conclusion. Given the film's faithful portrayal of the novel, 1984 distances itself from a typically broad ending, and sticks to the tragic ending that symbolizes the corruptibility of human beings. Winston is lured into the mysterious room 101, and as he is tortured endlessly, he eventually gives in, begging for not only mercy, but torment for Julia. Then and only then does the film truly conceive of the central point, as it causes us to reflect on the part within ourselves that is most vulnerable. Human beings are intriguing creatures indeed, especially in the conception of their capabilities. It is mysterious at times what we are capable of in our willingness, and the film presents that in an atrocious and pitiful form of betrayal, as Winston relinquishes the one he loves most, thus fully capitalizing on the deepest and most deteriorated part of the human soul, the part that is willing to do anything to end suffering, even if it means forsaking the very qualities that grant them the privilege to love. Then and only then does Big Brother truly win. O'Brian said it himself, "You must love him. It's not enough to obey him. You must love him".
Gravity (2013)
Life is short, and the present moment is all we have.
The sight of the earth encompassed in a wide shot brings tears to one's eyes, as it can revive memories of 2001 A Space Odyssey. Although different from the craft of Stanley Kubrick, the work of Alfonso Cuaron as a filmmaker is bold and original in its attempt to create his own genuine odyssey. As an evolved species, we are constantly embarking on an odyssey of knowledge. Every day we encounter some fragment of life which further defines who we are, what we'll be. This journey is filled with wonder and excitement, but also with peril and fear, knowing that in the end there is death, waiting to part with us each of us. Gravity although classified more a thriller, in the element of survival, there comes the self-reflection of our futility in our struggle to survive. It is the fear of death that truly brings out the most vulnerable aspects of our character. In those crucial moments we are tested, thus acknowledging the value of life in an agnostic universe where there is still so little that we know.
The opening scene of Gravity is something to marvel at, with the sight of the earth in scope. The only thing missing is the poetic composition of Johann Strauss. Oddly though, we get the honkytonk country antics of Hank Williams Jr. as an even mellower LT. Kowalski (Clooney) rides through space in his final mission, with first time astronaut Dr. Strong (Bullock). After a few quirky stories and some perverted humor regarding tequila and a weekend at mardi gras, disaster strikes aboard their ship. The impact of high-speed debris devours the ship, quicker than rapid waves to a boat, with no sound making the use of Steven Price's music although more thrilling. Two survivors remain, with Stone being hurled into the black abyss that is space, and Kowalski couching her through her panic.
In the time that they remain separate, the scene cuts are rather long, playing out within each scene, and giving the feeling of zero gravity more authenticity as Stone struggles to survive, let along comprehend her situation. Clooney's Kowalski, a veteran astronaut is endowed with the more calm and reflexive qualities that bring back an earlier image of Michael Caine's Jasper from Children of Men. Both mellow, and serving more of a guide for Bullock's character, Clooney embodies the wise mentor in the moment of peril, having learned from life that although there is beauty, there is also danger within the self-awareness of the present moment.
Gravity, although made within the aspects of a disaster thriller, draws even greater strength from its existentialist themes. These questions regarding death, spirituality, and God are never answered, nor are they posed directly to our own understanding of their mystery. They are simply there through the situation, as Stone floats and panics with erratic fear, in an abyss of perpetual darkness. Her courage to move forward, despite her fear is moving as it symbolizes the true strength of the human spirit's devotion to survival. Initially that is what separates from other animals, our ability to be self-aware, granting us the distinct capability of knowing that we share the same fate as all other animals, death. So much can happen in those moments, that we pray, we cry, and we plead for mercy. At times, despite our doubts, the essence of the divine becomes relevant, be it through the beautiful aspects of Buddhism and Christianity, we derive some source of strength as a means of combatting our fears, into further rising from a pool of despair.
Within a mere ninety minutes, Gravity manages to capitalize a brilliant portrayal of the human struggle for survival. It marks a story of determination through conflict, as Sandra bullock's protagonist with the sorted flaws and gifts that make her conception all the more worth watching. It is through her own innocent and kind presence that Bullock is able to capture the fragility, as well as the courageous strength of her character. George Clooney as well captures a uniqueness to his character Kowalski, representing the wisdom of a person whos experienced life to the degree that he can fully comprehend that it is short, and not worth the indulgence of fear. He serves the role of the wise mentor, guiding Dr. Stone to Safety, despite her own doubts and fears towards death, as well as the denial of happiness she acknowledges. Gravity is brilliant in its execution of the disaster element, as well as equally compelling within its examination of the human condition. As much as we look at life and contemplate our situation of death, it all boils down to the present moment. The here and now is all we have. Regardless of what we hope for in the future, the only thing we can only be reliant on is the present moment. It is basically a leap of faith regardless of the unknown and the only thing we can do is make the best of it.
A Clockwork Orange (1971)
It all boils down to the nature of choice within our morals, and the irony of being an object within that debate.
To understand the human being, one has to understand the idea of freewill. Although it is difficult to determine whether or not free will exists, it much simpler to analyze on how genuine a person can be, based on their own nature. Stanley Kubrick's dystopia satire plays on this concept of human individuality, pitting itself against a more mechanistic conception of the human being. A Clockwork Orange explores the subjects of morality, political institutions through manipulation, and the initial use of behavioral psychology, in a story that plays out with a chaotic theme of destruction, mixed with comedy.
The young, and difficult to detest Alex (McDowell), our loving narrator, is both charming and witty in his many loves of life. Be it the beauty of battle among "Droogs" of a lesser caliber", his appetite for the "old in out", or the awe he experiences every time he plays Beethoven's the ninth. Alex, along with his fellow droogs walk the streets of London, beating the poor and further concocting more mayhem to enact on the innocent. After killing a gymnast, with an erotic piece of art, Alex is sentenced to 14 years in prison. It doesn't take long for the young hoodlum to acquire even more enemies, be it the conservative prison Chaplin(Quigley) played with an amusing authoritarianism that further strengthen the satirical aspects of the film.
After two years, of faithfully reading the good book, Alex enlists in a government rehabilitation program with the potential to help him get out quickly. Little to his satisfaction comes the revelation as he faces and reviles at the very violence he once cherished worthy of the grace of God. One grotesque image after another is played out with the ninth in the background, thus deconstructing the very monster Alex is, no by the means of himself, for the concept of choice is forsaken for simply greater ethics. It's hard to imagine that there are those who believe that the outcome is more important than the means generated, but as the Minister of the Interior (Sharp) proclaims his change of heart as the cure to evil, Alex's true purpose through the film becomes ever more clear.
When first viewing this film, and its brutal rape scenes, accompanied by a jolly tone of wonder, the delusion that Alex merely serves as the role of a sociopath came to mind. As the film progressed however, the manipulation of his nature for political gains, became one of the clearer messages within Alex's Cockney rhyming slang. The London society of the film although not completely desolate, is defined by chaos. The streets are filled with rampant gangs of violent sadists, crooked cops, and erotic artwork. Several of the criticism's towards the society in the film, have labeled it a Communist State, just after its failure to stand within the image of socialism. It isn't a far cry of an assumption, as equality appears to be absent within the setting, and it is much easier to see who is in charge. Regardless of who gets to Alex, be it the right-wing Minister, with his intellectual generosity, or the self-righteous patriotism of the Anti-Totalitarian left, his place is that of a puppet. Regardless of his nature, or whatever bad luck he stumbles upon. Alex will always find someone to play the puppeteer of his life.], never full grasping the irony of his place in the very society that has robbed him of his right to choose.
Although very brash in its approach towards the subject of political manipulation, behavioral psychology, and sexual violence, A Clock Work Orange is bold, and liberating exercise in filmmaking. Written and Directed by Stanley Kubrick, the film Adaptation of Anthony Burgess' novella is brilliant in its approach of presenting morality within the scope of choice in opposition of psychological abuse. Although the protagonist, Alex is a genuine monster, one cannot completely hate him. Within the first fifteen minutes, he rapes a woman, while singing "Singing in the Rain", and yet it is through his rather calm and quaint narrations that he is able to charm his audience into further observing his story, wondering where his path of inner torture will lead him. Malcom McDowell, in one of his first screen roles, delivers a performance that is both malevolent and ecstatic in its execution. As the leader of his droogs, his pacing along with his patience, comes the essence of a wacky and capricious trickster, who sooner tastes the perils of victim hood. Initially we are meant to sympathize with him as he is further thrown down a pit of despair. This same pit carries the many atrocities that he once more acquires, as he utters "Yes I was cured", but it all boils down to the true significance of his own purpose as a tool for political power, and not any genuine significance or meaning in his existence other than an addict.
2001: A Space Odyssey (1968)
It asks more questions through images, rather than with Dialogue.
What are we? It's a strange question at first and not the kind you usually ask. Yet people like Carl Sagan and Richard Feynman asked this question numerously. They posed it with humility and reason, never making up answers, and assuming that everything that science had come up with was wrong. In an interview where Feynman was asked about the certainty pertaining to the scientific method, he expressed his view, being that of a Cartesian, and how he would rather be filled with doubt, than to have answers that could possibly be wrong. Its noble and it entails the integrity of a curious mind who believes in the beauty of investigating and discovering, rather than basing your conclusion on little or no evidence. 2001: A Space Odyssey does not provide answers, but it gives us insights into what the human race is, posing even greater questions to the potential we hold as self-conscious beings.
2001 is significantly different from the usual science fiction film. Although it poses the usual questions pertaining to the uniqueness of our species, the existence of God, and the direction we are heading in out progressivism, it rarely goes beyond a few simple lines of dialogue. The few characters, mostly being astronauts and a few Hominids, utter very few words as the story progresses from the dawn of humankind, to the evolutionary stage of space exploration. But then again, it's those very moments that simply play out as naturalistic as possible that truly define the story, as the images of objects floating in space, with "On the Beautiful Blue Danube" playing in the background that we truly come to be in sync with the spirit of the film. This spirit is mysterious, and although we still don't understand what it is, or where it came from, but the search becomes all the more invigorating as we challenge both our intellectual and explorative capacities, thus gaining a greater understanding of the human spirit.
When human kind was still developing, our awareness was at a minimal state of ambiguity, never truly grasping the significance of any particular action, relying purely on instinct. A scene where a group of Hominids stumble upon a monolith, shows them react with wild and almost chaotic rage at the sight. Not too long after, they learn to kill enemy combatants for land. As our ancestor raises the bone and begins to shatter various bones on the ground, the shot is given a particular focus as it entails the essence of discovery in the most primitive standards. When at the peaking point of our development, we are more casually reliant on ungodly technological advances, endowing them with their own conscious awareness that merely gives greater reason to ponder the definition of intelligence.
The Hal 9000, an artificial intelligence unit, claims its inability to commit error, already symbolizing the very arrogance that defines our own self-indulged obligation to intellectual superiority. Hal's devotion of intelligence, although admirable is clouded with pride to the degree that it mirrors our own fear of death and failure in the face of the inevitable. Human beings, although the most intelligent creatures known so far, classify themselves as intelligent. Yet, with what little we still don't know about the Universe, there could be life elsewhere in the universe, probably vastly more intelligent than we are. Our modern day Carl Sagan, or Stephen Hawking, as daunting as their intellects are to the average individual, could merely pose as amateurs to intelligent alien life, depending on their own conception of intelligence.
The discussion to intelligence is central to the theme of this film, for it pertains with our own approach towards our ever growing desire to ascend and evolve. The film's episodic pattern of storytelling introduces a black monolith in each chapter. There are some speculations regarding these monoliths, and at times they drive the characters, be it the hominids, or the astronauts to further questioning their origins. The beliefs are focused around the notion of an extraterrestrial species. Their intentions, although never clear, are more viewed in the concepts of overseers to the universe. With 2001, being based on Arthur C. Clarke's novel of the same name, the origin of the multiple Monolith's gives little if any detail to their conception, Only the fact that they are of nonhuman origin, that there is some understanding of their descent, but little of their purpose.
2001: A Space Odyssey is something to wonder, for it is the sort of film that although gives very little answers, it raises the kinds of questions which have driven us from the jungles of Africa to the infinite realm of Space, in our quest for knowledge and understanding. Stanley Kubrick's vision of the human capacity for knowledge is an both enlightening and extraordinary attempt as his classic space epic, through long shots of the soundless and weightless space, combined with J Strauss's "On the Beautiful Blue Danube", there comes a more poetic feeling of the beautiful and mysterious cosmos we still hope to understand in our gradual evolutionary development. 2001 is a landmark of discovery, and even inspiring to the degree that it is spiritual and Godly in its essence. When touching on God, I don't mean a sentient being outside the universe, but more towards Arthur C. Clarke's definition, which pertains towards knowledge and the path that encompasses its essence as human kind still strives with the enthusiasm that drives the very curiosity that define people like Richard Feynman in their quest for knowledge. Feynman once said, "When you doubt and ask, it gets a little harder to believe", and although this clarifies the difficult journey humanity embarks on every day when learning, it's the first and necessary step to arriving at a more honorable degree of knowledge, God or no God.
Drive (2011)
It revives the traditional notion of a hero, created by the world he inahabits.
In most fairy tales of all sorts, there will always be the hero with a uniqueness that deems him worthy of transgressing the limits of that world. Drive has such a hero, an unnamed Driver (Gosling), who plays stuntman by day and getaway driver by night, leaving his identity a mystery. A hero who just comes out of the blue. To understand the driver, several scenes are shot within the interior of the car, giving the audience a more authentic thrill within the tension, the drama, and the romance this hero feels in his moments of self-reflection. The world of DRIVE may look normal, but merely in its presentation of Los Angeles as the setting. The reality of it is that of a fantasy realm, endowed with all sorts of qualities that deem it this magical essence. The plot is simple within the usual heist gone wrong film, although it's the character study element which defines the concept of the film. It's not merely about fast cars, or epic chase scenes. With no official name, the driver, at the behest of his mentor, Shannon (Cranston) is called the kid. His nature is silent, and subtle, as he roams the streets of Los Angeles, with a calmness that reminds many of a young Clint Eastwood roaming an immoral world, yet ready to make his mark.
Like any hero, they have loved ones. Those most precious to him will never be left out of the game, regardless of their innocence. The Driver' next door neighbor, Irene (Mulligan) and her son Benicio (Leos) bring out the good within his character, giving him purpose within the isolated existence he lives. Within time, the three bond into a family that is easily torn with the arrival of Irene's convict husband Standard (Isaac).The return of this calm, but obviously unstable character upsets the balance, and with making matters worse has debts left to pay. With no options the Driver offers his help, and this is where it turns to the failed robbery element of the story, spanning into multiple directions, leaving the audience wondering where it will end.
The whole concept of DRIVE is not simple. In fact, the story is just part of the substance that contributes to its essence. If anything the meaning derives from the character's own moral choices, the paths they take, and where it all leads them. In a way, DRIVE is an exploration into the human condition, as we all make our own choices in a world that is purely defined by uncertainty that we pursue the methodology of our choices, thus acquiring some form of purpose. As natural as it may seem for us, at some point in our journey of life we reach a point where it becomes routine. It is only when the balance is upset, that new paths are open that we act and define who we are, good or bad. With our Driver, the roads are endless, that's what makes his hero that much more unique, apart from his ability to drive.
Like a fairy tale, DRIVE derives its influence from a sorted mystical element that it no longer feels as the audience is watching a crime film. The crime is irrelevant in comparison to the themes, the flawed characters, and the overall tone that strengthens the film at the point where the viewer no longer feels excited but sad that it must end. It touches the soul on a whole new level, making one admire the character of the Driver as he rides away relying on fate, and fate alone to judge his direction. Directed by Nicolas Winding Refn and adapted from the James Sallis novel of the same name, DRIVE triumphs as a masterpiece of rigorous determination in exploring the lone hero archetype. The quiet one, the noble avenger, a hero that emerges out of nowhere pursuing justice and protecting innocence in a world that respects neither. Along with the direction, the performances of the cast with short dialogue and subtle calmness, each one embodies the uniqueness of the character, good or bad that the only thing that comes to mind is watch, regardless of the outcome. Several critics have been critical of the casting of Carry Mulligan as Iren, considering it as a mismatch. In her defense, the presence of her own innocence is what strengthens her performance, as she is portrayed with the same purity of Marianne Koch in A FISTFUL OF DOLLARS, as well as her son Benicio, resembling the untainted innocent of the Christ child and the holy mother. Ryan Gosling's Driver is the guardian, and the hero we all admire, knowing his only purpose is justice, and nothing less, as he further delivers those from the evils of a world that will soon know of his existence, thus granting him the immortality of "A Real Hero."
The Place Beyond the Pines (2012)
The Place Beyond The Pines
When a person makes a decision, good or bad there will always be consequences in relevance to those actions, regardless of the intentions. In viewing The Place Beyond The Pines, one quote was stuck in my mind through the duration of the film. As Luke Glanton (Gosling) tells his partner in crime, Robin (Ben Mendelson) that he wants to up the stakes on their bank robbing scheme, Robin criticizes his recklessness by saying, "You ride like lightening Luke, your gonna crash like thunder." As relevant as the metaphor might be to Luke's fierce and mythical motorcycle riding, it pertains to the conscious notion of the consequential actions human beings make in pursuit of their goals. The case of the film is relevant to the subject of fatherhood, as it pertains to not only to the actions of the fathers, but also the legacy they leave behind for their sons, regardless of where their ethical beliefs stand. In their previous collaborations with the 2010 film, Blue Valentine, director Derek Cianfrance and Ryan Goslig reunite to deliver an epic that carries the spirit of a story that goes beyond a typical crime drama, and escalates more towards the subject of inherited legacies and the universal curiosity of destiny. Undoubtedly drawing elements from The Godfather, The Place Beyond the Pines goes far in its direction s it creates a story with multiple, but linear narratives, never interchanging between the stories, and always remaining intact with the character's raw emotional depth. It is the 21st century's own Godfather, as the sins of the father are passed down to the sons, regardless of morality or even choice in that matter, letting fate define the legacies that will follow.
The first portion of the film centers its focus on the attempts of a carnival stunt rider named Luke Glanton as he desperately tries to become a part of his child's life. In an effort to support his child along with the mother Romina (Eva Mendes), Luke performs a series of bank robberies long enough to throw a solid amount of money and even influential bonding with his son Jason and former lover. But moving through life as though it were as fast as his bike, there eventually comes the thundering moment where it all comes to a crash.
With an untimely and rather tragic end in the film the narrative shifts to the focus of aspiring New York police officer, Avery Cross (Bradley Cooper). His newly achieved status as a hero in the line of duty grants him praise from fellow officers, buddy wise and more so corrupt that it pushes Cross into a corner of moral contradiction. His love and desire to support his wife (Byrne) and one year old son bring even greater fear in the resolution and the future consequences of his actions to establish order and eliminate corruption.
Unfortunately, even good actions bring forth an unexpected barrage of consequences. After 15 years within his stance against police corruption, Cross finds even greater conflict in single handedly raising a chaotic child that indulges in drugs, reckless indifference, and the ignorant destruction of a young man named Jason (Dane DeHaan). Jason's own socially destructive nature is both familiar and even welcoming to AJ Cross (Emory Cohen), as they smoke marijuana and take oxycodone. The boy's bond is formed and eventually destroyed from the sins of their fathers. Regardless of whether a person is on the right or the wrong side of the law, those closest will always face some manner of consequential results. Cop, criminal, or any loving Father, they will always leave some remnant of their legacy for their children to inherit.
Derek Cianfrance's directing capabilities transcend the routine standards of an epic within The Place Beyond the Pines. As his second feature film and collaboration with Ryan Gosling, Cianfrance delivers a film that ultimately challenges the questions around the true meaning of fatherhood, and also within the actions of the sons. Gosling, joined by a cast of actors that demonstrate often raw and authentic performances, The Place Beyond the Pines captures a unique emotional depth within not just the character development or even the questionable ethics of its cast, but it also uses the beauty and isolated forest areas of Schenectady New York to convey the longing desire for order and peaceful solitude that most people often forsake within the struggles of life. Along with this sense of tranquility within the pristine beauty of nature, Catholicism although briefly approached within the first half of the film shows some influence within the themes of the film, as Glanton kneels beside a church bench, never praying but tearfully acknowledging his guilt before the child he sees as forsaken. The film gives a spiritual feeling within the chaos that defines these characters, be it the hopes both fathers have in providing for their sons, or the result of their actions in a world where nature itself gives an unspoken feeling of divinity.
The Lincoln Lawyer (2011)
The Lincoln Lawyer Review
Whether you are truly innocent or guilty, this legal system is only looking for the facts to end the matter. A jury can look at a complete white trash defendant, judge him by his clothes, his dialogue, and furthermore the way they look in their eyes. Whether he is a good person or not doesn't matter. The very first impression those people get, is all they need to bury him. Jesus Martinez (Pena) probably felt that kind of injustice, as his Attorney Mick Haller (McConaughey) told him to plead guilty in order to avoid the needle. Understandable, but demeaning enough to go against what he knew. "I'm Innocent Man. I ain't going to Jail. I ain't't putting my mom through that", is what Jesus said, feeling hope slip away from him, as the one man he believed could help him, told him to surrender his pride towards the truth. Defense Attorney Mickey Haller has often defended the less than prominent clients, the kind society will immediately judge as the obviously guilty. From motorcycle gangs, to a coke snorting addict, Haller's philosophy towards defending innocent clients as an even worse feeling of inner shame brings him to what some might say his most difficult, and terrifying client yet. Louis Roulet (Phillipe), a playboy with enough money to back his name, has been charged with the sexual assault of a prostitute, thus placing him in Mick's hands. What started as one night of paid pleasure, turned into a night of sexual abuse, confusion, and constant questioning. The way Louis tells it, he was struck in the back if his head, and the next thing he knew 2 homo's were holding him down, while the ho herself confessed in sheer panic, seeing him as a meal ticket to make extra cash. Viewers at first are going to be confused by this kid. His very first lines towards his collaborations with Mick reveal a scared kid. The very desperation of the need to prove his innocence, as much as his general obsession to keep the trial legitimate, shows a rational need to prove he's not lying. No settlements, just plain old proof of his innocence. It's hard to see any of the psychotic deviancy that described that girls story, and Mick's investigator Frank (Macy) suspects enough, beyond the parking tickets the kid has managed to score. Mick however focuses on this trial, asking questions of whatever relevance, yet trying to match a fierce prosecutor, Ted Minton (Lucas), and even juggling the very concepts of what he considers to be innocent and guilty from the strained but surprisingly friendly relationship he has with his ex (Tomei), as he learns more than enough about Louis to scare yet, give him the chance of taking the trial into his own hands. It seemed like the bad guy would win, as Haller played the right moves, insuring the freedom of his client. It took a few favors, like recruiting a snitch for the prosecution, and even so much as having that snitch expose himself as a liar. The very calm and patient sophistication of every courtroom scenes is ecstatic. There isn't a whole a lot of screaming. But there's enough tension, and even slick humor among the witnesses. I loved seeing the witnesses attract enough laughs from the audience as they express their own personality into answering the questions, which of course seems dull and repetitive to many witnesses, no matter what the case. I just felt the ecstasy of complete wonder, as I pondered to what Haller's true goal in freeing a man he knew to be a killer. Hell, his motivation to avenge his deceased partner seemed like enough of a motivation. Upon Roulet's freedom, an even bigger charge is dropped, (quite obvious) murder. We all know that wasn't enough to hold him, and we didn't want it to, because watching Mick's biker buddies kick the crap out of his face was more than amusing. His mom, Mary Windsor (Fischer) gave us quite a surprise, as she put a bullet in Haller, and revealing herself to be Frank's true murderer. Well that explains, Louis beating the tracer. Despite the bad luck of being shot, Mick makes it out with his own shot, and even goes back to his office doing what he does back. It's hard to imagine a character like the one McConaughey brings to the courtroom, has so much good in him, despite taking more pleasure of representing the scum of the earth, and not out of that typical lawyer crap. "Everybody deserves a fair trial", true, yet annoying words to hear. I can't say I heard Mick recite that once. "The Lincoln Lawyer" itself is unique, bringing out a truly thrilling sense of question into the very notion of our justice system. The performances are all incredible, with each character bringing in a charismatic personality, and the scenes in or out of court can really bring out either the tension in the case, or the trauma outside it. That very scene with Michael Pena, as a man convicted of murder, for one of Louis's past assaults, shows such torment, and furthermore a close look in to how much the trust among a Lawyer and his client should stand. Phillipe, as well was excellent, psycho. Matt's performance, as any of his performances, whether in a drama or comedy, shows sophistication, presence, and furthermore a bit of humor, even if dark in this film's case.
The Game (1997)
The Game Movie review
A rubbix cube, like any normal game in life can do many things for its player. It can excite them, challenge them, and at some notable point frustrate them drastically, out of the person's natural desire to simply win. In Director Fincher's 3rd directorial film, "The Game", its main player of focus Nicholas Vanhorton (Douglas) is never thrilled nor excited about the game he receives at the recommendation of his recovering addict brother, Conrad (Penn). Connie's suggestion proves to be interesting enough, for many other revealed players have proclaimed CRS to be a life changing experience. In fact one player in particular quoted "Where as once I was blind, now I can see" John Ch.9 verse 25, and trust me Nick sees quite the sight. Within the next few days his patience, and his usually calm demeanor are pushed through the limits of his character. Witnessing the destruction of his home, nearly drowning, and even being watched at every angle and location possible, Nicholas's hopes for an end to the game seem lost, not as lost as his brother, for he too was a participant. Nicholas's only hope is a mysterious woman named Christine, who apparently works for the company and reveals enough to give Nicholas no reason to trust anyone, including her. When Nicholas first attended CRS, it was disorganized, riddled with odd and even pointless question regarding the physical and physiological, all good factors serving as forefronts to distract him, with enough time for them to make him their pawn. His accounts, his lawyers, and even his business associates seem to be un trust worthy, with the possibility of being his enemies. It becomes very clear, in the game's true motive of changing the player completely, for Nicholas himself wasn't exactly the nicest guy around. He wasn't evil, nor greedy, just simply miserable. Witnessing your own dad's suicide can really leave some marks, marks that probably made him into the person he is. Despite being an investment banker, closing deals with various clients, moving large sums of money to various accounts, and living a more than accommodating lifestyle, Nick always had this calm, but nevertheless suppressed anger, an anger that soon diminishes at the games final and ever most devastating stage. In the wake of Nick's last chance to unravel the truth of the whole matter and settle this insane game of unending madness at gunpoint, all he is given are constant warnings, and how if he continues he'll regret his actions if not stopped. In the moments of desperation for the truth, Nicholas shoots an approaching figure, turning out to be his brother. Driven to depression over the murder of his brother, suicide becomes his last option. That fails just as much as any chance he truly had of figuring the game out on his own. His fall from who really knows how many stories turns out to be yet another part of the game. Hell the whole plan was Conrad's idea, with the purpose of changing his brother and preventing him from ever turning out like their father. In the end Nick hugs is actually alive brother in grief and relief, with a possible better outlook on his life. "The Game" may not be David Fincher's masterpiece, but I can certainly call it one of Michael Douglas's finest performances, portraying a character with so much anger, and misery to define his persona, that happiness is rarely shown throughout his role at all. The only glimpse of a smile viewers will get from him will be in the end as he asks Christine (Unger) for dinner. I would honestly say that the way Douglas portrayed his character was very cold, that his cold and suppressed nature perfectly fits the creepy neo noir theme of the film, making his very anger very ravage when released during moments of intensity, or personal confusion to Vanhorton. It's sad to say though that Douglas's acting isn't enough to save the film. "The Game" has no limits when it comes to playing with its character. All these crazy acts are physically possible, but not legal. In fact, even though the push for Nick's concluding character development was perfectly fit, it still makes you wonder if the film could've made it a little more tragic, because it was really a pretend scenario meant to help him. It sounds like Nick dodged a bullet, when most people who change for the better get a taste of the bullet. It's not easy to learn what you have in front of you, and feel like you've done everything to lose it, but when it's fake in the character's, rather than then actor's perspective, the drama seems not to moving. I still enjoyed the film, but it would have been better if CRS was a company for evil rather than well intentioned purposes, making the purpose of Nick's development all the more valuable.
The Adjustment Bureau (2011)
Broken Destiny
It's crazy enough for me to accept. Its concept of fate, and the actions of free will challenging those very predetermination's are interesting enough to be moved by the love shared by two human beings. It was love at first sight as New York Senator David Norris (Damon) had gone to the men's room in the wake of his latest defeat. His personal moments are easily interrupted to his own good fortune as he meets and strikes up one hell of a first kiss with a mysterious woman named Elise (Blunt), leaving him with the unending thought of seeing her again. The conversation was filled with enough chemistry to spark that first kiss with as much passion as it brought to the very bond these two individuals share through their brief moments together. Like I said it was love, however to the Adjustment Bureau, a group of guys dressed in suits, carrying the powers to move from door to door at the clockwise turn of door knob, it was mistake. Their interference in David's life reveals their own purpose as the guys who manage the fate of everyone. When someone falls off their predetermined plan they have to fix it with a couple turns. Their intentions to keep the 2 love birds from meeting, other than that one time cannot have been more than just a basic slip of the plan. I can't really stress on how crazy it was as the more compassionate member of this team of destiny repairmen (Mackie) stated that in some ways they have been revered as angels, and I just thought hey, maybe wings are out of fashion, and they just suited up. A style Barney Stintson from "How I Met Your Mother" would no doubt be proud to call an awesome form of religion. They even refer to the man who runs all of them as the chairman. Whether or not they're talking about God, I think director George Nolfi brings an interesting point, as well the fact that he mentioned the whole purpose of this was to raise questions. Angels in suits would've been more of humorous way of describing these guys. But were not here to talk suit. I'm talking about fate instead which can be a real bitch when the very concept of free will is more of an illusion for us to believe, rather coldly revered by the words of one of the bureau's top guys Thompson (Stamp) as they get desperate into telling David just how detrimental it is that he and Elise stay apart. They can see the value of their love, as well their very compassion towards one another. However they can see the very devastation of that connection, shattering their dreams as well their hopes of reaching their full potential. In David's case, despite having a previous bad boy background in his years of youth, has a shot in the White House, as President in fact. Elise, with the beauty and rhythm of her nearly flawless dancing has a chance to go pro and really make a name for herself. These revealed secrets only torture and push David into a corner, as he contemplates on whether to decide if life is truly better with or without Elise. The first 3 years of not seeing her, up until the moments they reunited were tough for him, but what was more painful was the last 11 months up until he prevents her pathetic attempts to marry a man whom she feels absolutely no happiness whatsoever. He even gets a little assistance from Harry, who apparently reveals that they've got feelings. In an all night cram session, David's new powers take him all over Manhattan, finding and surprisingly convincing Elise of his dilemma, despite some heated feelings from their last moments together. I can't say leaving someone in a hospital all by themselves is a good way of breaking up with someone, but it sure beats the cold and even slimy method of text breakups. Needless to say, after challenging destiny, and even risking a complete and inevitable fate similar to being lobotomized, the 2 lovers are touched by the hands of fate, the word of the chairman becomes very clear, of a change plans. The power of love can conquer all. Despite challenging the very notion of destiny, these 2 characters spent most of the movie thinking about one another endlessly. They cherished, and fought for every moment they could be together. "The Adjustment Bureau" is crazy, leaving several questions to be pondered at a level of amused curiosity. As a Catholic I've been raised to believe that Angels resemble figures with halos and bird wings. Don't get me wrong, I found the idea of the suits, as well as the more technologically advanced procedures they took to be intriguing. The transporting hats, the immobilization gadgets, and the plan books. How do we really know that Angel's really resemble the way they've been told? I'm not going to say they're suit wearing, door opening destiny officers. But the film's approach with that idea is telling us that maybe there are other possibilities with the Adjustment Bureau with it's officers and Chairman as synonyms for God and his Army of Angels. Above all the religious complexity, the film is impressive with the performances of its leads. Matt Damon, portraying a politician, with both Charisma, and even a history traumatic enough to serve as his inspirations and even to reach his goals. Blunts' character interesting in the chemistry she shares with David, as well as her reactions towards the whole issue of the being revealed a complete super natural elements. The scene where David transports them to Liberty Island, shows a reaction that relies on not to much exaggeration of her reaction, displaying very convincible panic expressions.Director George Nolfi has brought movie viewers a thriller with enough romance, intriguing forms of insanity, and even a reason for us to never allow our free will to go to waist.
Wall Street (1987)
Wall Street movie review
I confess that I know nothing about the market, nor do I know much about general economics. However on a positive note, anyone, even a dunce at their typical economics class can easily determine the pace of the film through the detailed, and I'm trusting accurate descriptions of stocks and bonds through the knowledge of Charlie Sheen's performance as the persistent Bud Fox. We know when the buck is being made, and when it's being lost, as well as the very competitors themselves. The hero of this tale of financial chaos is looking to make money and become a big time Wall Street broker. The struggles he encounters in his own career as a broker are what challenge his drive to achieve more. Unfortunately his ambition his motivated by the concept of his worth in financial gains, rather than the self worth a worker makes out of pure pride. Money is essential, and I personally believe in the value of survival being determined by the size of a man's wallet. However Bud can't deny the honest words of a responsible machinist like his father Car (Martin Sheen). It takes a good while for that kind of dignity to reach Bud, as he is taken into the wing, and teachings of his Wall Street idol Gordon Gekko (Douglas). Defined by charisma, ruthless perseverance, and furthermore a knowledge that goes far beyond Buds, as it expresses his confidence to succeed further in this crazy world of mind nerving numbers. Bud could present tons of various stocks and shares, only for Gekko to dismiss it as mere garbage. Its' the real inside info that none can access that truly peak his interests. "Blue Star Airlines" the very Airline that gives Bud's father his pride as both a machinist, and a union president, had just evaded a lawsuit involving maintenance problems, and the kind of leak gave Gekko a keen interest in Bud. Of course, it would take so much more than just a small spill on one business to get Bud up top. Bud's own sense of honest work is flipped at the very temptations Gordon presents, money, luxury, and even a chance to score with a former lover, and I might have to say the weakest part of this film, Darian (Hannah). She is neither beautiful, nor a believable in her roll as Gekko's former lover, nor Buds trophy girlfriend. Every line she brings sounds like that from an aroused prostitute. She just comes off too sexy. In know for most guys that's a good thing, but only if she actually was sexy, when clearly she should just be normal, and a little less shallow. I can see the effort she puts into her portrayal, unfortunately it would be better off in a porn flick, rather than a drama as sophisticated as the very talent of Oliver Stone. Bud's own sense of honor is replaced by greed as he further develops in the manner in which Gordon plays the so called game, where money could matter less. "It's about the Game", strong words coming from a man who has loads of money. Maybe that is what defines Gekko's own pride as the player that he is. Unfortunately, in the mind of Bud Fox, that logic clearly reveals the very difference among them. Bud's betrayal to the man he looked towards as a hero is ended in a quick change of sides, choosing his father's own responsibilities towards Blue Star. It actually sounded like a sweet gig, expanding it, bumping Bud to the presidential seat, and yes maybe firing tons of workers, which is exactly where he and Gekko truly stand apart. Buds betrayal stems farther than just switching sides, and teaming up with Gekko's rival Sir Lawrence Wildman (Stamp), but so much as to wear a wire spilling every little secret Gordon could keep to the cops. Justice is served, Bud's conscience is clean, and a road is open for him. A road where maybe at the very price of a punishment like prison can truly make Bud see. Sheens portrayal shows that of a hard worker, with both honest virtues, and a sorted sense of dignity, only with the severe weak points that Gordon further breaks, and infects with the temptations of the rewards of Greed. "Greed is Good", a speech that despite it's logic of results and inspirations brings the beliefs of the ruthless broker to a more clear sense. Gekko believes Greed to be the very thing that has kept us going, and maybe he's right on the levels of motivation. However the limits to how greedy a human being could be can never be good when they reach their ultimate dark ends. Director Oliver Stone has brought audiences an authentic depiction of the very business his father Lou Stone worked in. The specific moments of silence, just seconds before the numbers appear, the details to each individual action towards buying or dumping stock, and the notion of respectful pride towards all too consuming greed are what make "Wall Street" a film worthy of Stone's Best Picture Winner "Platoon". The chaos of the brokers looking to buy, sell, and dump their shares is accurately displayed with not only it's characters alone, but with the very scenes of the stock market, showing the very craziness these guys yell, scream, and even rip their hair off for. And another congrats to the great Michael Douglas, as he brings to life a character who is moved by the very concept of greed, but not on a matter of money, but out of his own desire to simply emerge victorious in the end. He shows a relaxed compliance with his clients, zero BS from losses or failures, and a philosophical approach to the very business he's good at.
The Constant Gardener (2005)
The Constnat Garner review
It can surprise, question, and even challenge the viewer's ability to comprehend it overall goal of a plot. It is no doubt a spy thriller, although mastering the drama of its lead character, Justin Quayle (Fiennes) as he searches for the mystery revolving around his wife's death. His wife Tessa (Wise) plays a passionate, and fortunately non radical humanitarian, using the very perceptive nature of her beliefs to so much as start arguments with whom ever she believes holds answers to questions the whole world has asked. In the film's case, the questions revolve around Kenya Africa, as well the very so called contribution the fictional drug company "The Three Bees has been providing for its dying citizens, and at a much quicker expense. Tessa's own ambition and drive to help those in need take her into a journey that ultimately leads in her demise, and in thus brings Justin into looking for more than just the reason for her execution, but furthermore her in general. In their very moments together, Tessa's relationship with Justin was built on trust, compassion, and basically love, while leaving some mysteries to be unveiled. Some of these mysteries revolved around her very loyalty, so far to whether relationship with her humanitarian friend and fellow victim, Arnold, was more than believed to be. Upon the discovery of his homosexuality, the true reality of her nature is further learned as Justin himself asks questions, here and there, circling the globe from Kenya to Britain, and back. Justin's profession as a diplomat, and his collaborations with Britain's foreign and Commonwealth had at first placed him in a side where he could not stand by his wife, nor could he believe in the difference of any human being's actions. His initial response to his wife, "You are my responsibility", in spite of having the opportunity to help several unfortunate refugees, represented his very lack of the true significance of his wife's nature. Tessa was portrayed as truly strong hearted person, believing in the deception that plagued these people. Three Bees' initial test of Dypraxa, was meant for the purpose of curing Tuberculosis, despite the more required research. It's test subjects only proved to be useful, in the very belief these foreign officials had at their very expandability. The nasty side affects took lives constantly, piling bodies everywhere. Basically Tessa's discovery of this money driven conspiracy caused her death. Her pursuits, her tendency to challenge the word of these tainted men became clear, as their own confession is spilled in the moments of Justin's eulogy, bringing the justice, both Justin and Tessa gave their very lives for. I know what I said, that's right, our hero dies, (off screen), but with nothing but peace in his very last moments of life. You might even say his last glimpse before he could truly arrive at death's door was the sight of his wife, gazing upon her, now truly aware of how to understand her. "The Constant Gardner" goes beyond the thrill of a spy flick. It's protagonist's trauma and struggle for justice take him to not only teaching him more about his wife than he could learn through her survival, but in the very cost of her life, as well as his determination to find the truth of her demise did he ultimately comprehend the mystery that at sometimes plagued their love. Aside from the powerful element of love it shows, the film's message of the tragedy that strikes Africa is one that can truly strike a viewers heart, revealing the very devastation of its citizens. We see the violence, the loss of lives at the hands of money and corruption, and furthermore we witness their overall condition to be wasted like experiments rather than human beings. It brutal, it's believable, and furthermore it's inspiring, for this film itself brought to life the formation of the Constant Gardner Trust, bringing education to the many in need. The film's overall drama revolving around this horrific display of the results of such corruption, are further intensified by the groundbreaking performances of it's cast, Fiennes, Wise, Houston, and Nighy.Wise portrayal is both inspiring, and yet very incredible to watch, because it's the very determination of her character that moves her action, as well as her overall pursuit of justice. Her very first scene, when she first met Justin, and how she just unleashed her beliefs, questioning our ethics in the current war against Iraq, show just how idealistic she is towards helping others, seeing the truly horrific results of things like war, or even the quest for oil. "The Constant Gardner" is a truly excellent film using great performances, the trauma of loss, and furthermore giving viewers the message of the tragedy many citizens in Africa, not just Kenya are experiencing.
Cassandra's Dream (2007)
Cassandra's Dream Movie Review
"Family is Family." Blood is Blood." These words alone are stressed out enough times to truly inspire, and even mask the very evil the film's leads stain themselves in as they commit an unspeakable act of common human nature, thus taking both brothers, Ian and Terry down a road beyond the concepts of cruel irony, infinite guilt, and utter self destruction. Director Woody Allen tackled yet another issue on the very concepts of dramatic irony. Two brothers, Ian (McGregor) an investor, working here and there in the deals he's been hoping to close with supposed L.A. hotels, in order to make a future beyond the declining misery that is his father's restaurant. Terry (Farrell) on the other hand lives a life of hard gambling, and hard drinking as the cards don't turn to his favor. These misfortunes get out their sweaty hands as the impulsive nature of Terry's capacity to control his addiction puts both Chaps in a bind, and leaving them to turn to a simple, but dark and vastly more complicated solution than they believed. Their mother has spoken enough times of their saint of an Uncle Howard's (Wilkinson) luxurious life and business in the establishment of medical clinics and regardless of his acclaimed success elsewhere far off in various continents, he's always remained loyal to his family, supporting them when times where tough, financially, or even medically in the case of the brother's stubborn father. In the wake of their desperation to avoid trouble, and even to reach the skies, their wishes are granted with out a moments' hesitation, although at a price beyond any range Ian could work for, or Terry could risk. Uncle Tom's stories of his business have been only centered around his loyalty to the family, thus leaving the boys to believe he's a legitimate businessman. That of course is a lie about to be further exploited to the more public eye than Howard's own family. In an exchange of favors, the truth of the matter revolves around the testimony of a man easy and willing to save himself in exchange for Howard's own end. Not much is said on what he could reveal, but by the very grief and anger of Howard's own request, and harsh tones, the infinite conclusion of the traitor Martin Burns ends with his demise. The idea is resisted at first by the 2 brothers, later preying on their very desperations to avoid their troubles, and even reach new limits of success. Ian's greed is far more easily tempted than Terry's, seeing only the benefit of his options, while Terry exhibits far more fear, guilt, and even thoughts of suicide, just mere moments after their personal assignation of the unlucky bloke. I won't spoil the ending because we viewers all know by the trailer that the 2 brother's due in fact kill Burns. It's what happens after this unforgivable sin that the 2 brothers truly reveal their own personal feelings on the matter. Ian expressing more concern towards the fortune of Howard's favor and even moving forward with the success it has brought him. Terry, oh poor Terry, expressing the more mind nerving guilt of his actions, leaving him to try and make things right, ending it all in a truly pitiful and shameful tragedy, all a result of the conflicts most people endure when it comes to choosing between making the right choices, and looking out for the people we love. As usual, Director Woody Allen has made films where he gets straight to the point. Viewers will tell what happened, but without complete awareness of when it's happened, or where it will fully lead to as they're given clear and accurate depictions of the film's characters. The two brothers, Ian and Terry are depicted as both very conflicted characters, yet each exhibiting a different manner of expressing the inner moral battle most people experience when committing evil deeds. "Cassandra's Dream" exemplifies its name far beyond the boat the 2 bothers bought and named, representing the tragic misery of the Greek mythology character herself. As Cassandra had angered and had suffered greatly for angering Apollo, the boy's tale of grief and sin had continued with endless misery and ended with a tragic conclusion. I have too commend the work of Woody Allen's directing style, as he not only brings out truly terrific performances from his cast members, but he honestly focuses the film's overall plot on a theme representing some form of art, in this case Greek tragedy. Another congrats to the performances of Farrell, McGregor, and despite his short, but remarkably well expressed performance Wilkinson. The conclusion may have been nothing but tragedy for the 2 lads. However it ended with the praise and the reward of their talent as truly dedicated and distinctive performers.
The Social Network (2010)
The Social Network
It's strive for perfection is as poetically determined in the very image of Jesse Eisenberg's methodical performance as Facebook founder Mark Zuckerberg, making this film one of Fincher's greatest works of art. The director of memorable classics like "Fight Club", "Seven", and my personal favorite "Zodiac" has done it once more. Today Facebook's expansion has long exceeded that of its 1 million member rate, and into a 500 million member rate, entailing both the financial, and critical success of Zuckerberg's many risks and sacrifices. Eisenberg's portrayal of the renowned computer genius brings questionable aspects to the very motives of Zuckerberg's actions towards this project. From the moment the film starts, and the very second we hear Zuckerberg talking a mile a minute, moments before and during the creation of Facemash.com, we see not only a bright genius with a superiority complex, but we see someone who has high aspirations of his potential. He is portrayed as a person incapable of intentionally hurting others, despite the negative effect his own actions towards his aspiration of creating a network that has influenced such widespread social activity. His goal towards the development, as well as the very enhancement of Facebook had its rewards in the many investors, as well the representative corporate offices, as a result of his associations with the slick witted, but notorious opportunist Sean Parker (Timberlake), the co founder of Napster. However like all rewards, there is always a price, or a difficult decision to be made in order for those rewards to be fully realized. In Mark's case, despite the friendship, and more than financially loyal cooperation of the Facebook co founder Eduardo Saverin, Mark's own bitterness, as well as his ideals towards the very potential of Facebook drive him to strip all of his friend's efforts of truly calling his contributions to this project memorable, and worth 34.4% of entitlement. Director David Fincher has tackled a very popular, but seemingly complicated issue. Today, Facebook among its many users is an addictive sensation of internet socialization. It is a website allowing each individual to create their own profile, as well as giving them the freedom to meet up and converse with not only their friends, but with people they've never even met, and probably will never come face to face with. When approached with the ideological concept of such a site, at the request of the Winklevoss twins, Tyler and Cameron (both Hammer), it was to be exclusive, and only accessible to the students of Harvard University. Their trust, as well their overall lack of involvement in the development of Facebook angered them into suing the declared nerd, just because they gave him the idea, when clearly it was his own efforts and general disgust for exclusivity that generated the overall popularity and constant expansion. Eduardo's reason for legal action against a former friend seemed more rational, and less selfish. The critical point of "The Social Network" that Fincher hopes to reveal to viewers is the very true aspect of the development of one of America's most popular social sites had on its creator. Zuckerberg's initial goal of launching Facebook may have brought him great wealth, as well as a great sense of substantial recognition for his work, which he obviously expressed a want for in the beginning of the film, but it also created this obsession so detrimental to him that in the end his own nature to remain intellectually superior cost him a good friend, while bringing forth more and more enemies to the subject. Many Facebook users will no doubt enjoy the film, mainly because it brings them to the roots of one of society's most popular websites, but they will also enjoy the surprising authenticity of Eisenberg's portrayal of the gifted Harvard dropout. Seriously, the dialogue, the interpretations he makes, and even several of his physical mannerisms remind all of us viewers of that very image of the typical super nerd. They talk like robots, using a professional manner of speaking, and using their own intelligence as part of their condescension. "The Social Network" focuses on the concept of obsession and even addiction, which of course is the critical factor most Facebook users have when Facebooking one another in most cases. In Zuckerberg's case, his obsession was generated into the very development of the site itself rather than the actual experience most members adore, and constantly browse. I can say this film is mostly accurate, considering the fact that Fincher used additional fictional inspiration for the creation of Facebook, other than Marks general desire to expand the social capabilities most people enjoy expressing. When watching a film as organized, cryptic, and arranged in a shifting pattern of direction, from the current legal battles and back to the development of the site, I think to myself how interesting it would be to fully explore issues that may seem simple and enjoyable to others, but in reality they contain their own complications, and their own seemingly dark aspects of its ending result. Once again David Fincher, has given audiences a deep look into a world where the characters he brings to the table show every positive, negative, and relatable qualities possible. "The Social Network" is a network of theatrical success.
Risky Business (1983)
Risky Business movie Review
Starting out as a typical erotic dream, with a specific and eventual learning experience to the hero of this story, Joel Goodsen (Cruise), a high school student, blessed with talent in business, wealth, and yet plagued with a limited capacity to act on what he'll consider risky and consequential. "In life, sometimes you've just got to just say, What the f ". These are wise words indeed coming from a Joel's zany friend Miles (Armstrong), although I rather say "the f with it". The main point is that life is to short, and when you have even a slight shot at anything, you got to grab it by the balls, and in this case not Joel's whenever he is in private. Joel is portrayed as a character who is just restrained, no doubt his parents are responsible for that , as they mean well in their efforts to send him off to Princeton, and even so much as leaving him with the house to himself. Despite this constantly mentioned array of freedom his friends remind him he has at his disposal, Joel's only sense of fun and excitement resort from a slow dance to the magic of "Old Time Rock and Roll". No much of a thrill, especially when having his own quiet time jerking off seems even less dignified. Fortunately, Mile's own stupidity leads Joel down to the right path of discovering more than just freedom, but an opportunity beyond the already displayed capabilities of his risk free behavior. The arrival of transvestite call girl, named Jackie, (one word: Yikes!) gives Joel a real chance to score, and real chance to get a girl to say "Oh God". The slick, and even charmingly approaching call girl Lana (Mornay) does more than take Joel's virginity, as she involves him into her array of insanity. An angry pimp, a prosperous in home brothel, and a stolen egg that top it all off, bring Joel towards discovering his talents as he risks his own future in putting things back together. The stolen egg belonging to his mother signifies her very trust for him, and the brothel, being my personally favorite scene of the film, as we viewers witness Joel show a side of himself that even he never knew. None of the business courses he had attended could have ever brought him the more than financially, but even furthermore scholastically rewards to come, all out of the very brilliance of his own persuasion and slickly witted perseverance. Anyone would consider a chance to enroll into Princeton University to be the opportunity of a lifetime, and in Joel's case it seemed like a opportunity ready to crash. As the many men and women flourished in the temporary brothel, an interviewer setup for Joel's enrollment arrives with questionable indifference, speculating more and more as he examines Joel in an interview most instructors would regard as an obvious rejection, only to end in an official enrollment to Joel's surprise. The charm of any beautiful woman can move a man to making the best choices. In the Princeton instructor's case, enough satisfaction to approve of the interview and accepting Joel as a student. Despite the fortune of Joel's risks and benefits came with deception and more bargaining. Lana's pimp, Guido (Pantiliano), witty, and convinced in the hopes that Joel has a brain to use, takes all he can from his own house, and sets up a deal, with the chance to get it all back in order to make some quick bucks. As risky and almost consequential as Joel's timing was, his furniture is returned, his parents are enthralled at his future in Princeton with little knowledge of his craziness and only the mere disappointment of a cracked glass egg, and his own chances with a woman who makes a living off the phone calls of often lonely and desperate men is how the film ends. "Risky Business" is interesting enough in both the comedy of its mature elements, as well as having its lead Tom Cruise portray a character lacking the stones to actually take risks, thus making the events he experiences more enthralling and more influential on his character development. At first he was careful and overly cautious, but in the time he spent with his new girl Lana, and even in the dealings of sleazy opportunist, his view of how to grab life by the balls has given him more than just a little weekend to remember, but something everyone wants, the excitement of never truly knowing how anything will turn out in our own hands. It's that very thrill that enveloped Joel, both scaring him and yet turning him into more confident human being. I was a little confused at his desire to pursue Lana, despite the possibility that she might have been the reason for two timing him towards Guido. Heck, from that very car chase, I'm starting to wonder if the whole thing was a set up to start. Nevertheless, the film's maturity, as well as the evolving development of Cruise's character make "Risky Business" worthy of the gamble of either liking its end result, or just plain out asking your self, "What the f"?
Fracture (2007)
Fracture Movie Review
Everything in life has its own breaking point, the very weak spot that further motivates that certain something to crumble and shatter. Whether it's an object of fragile delicacy, or a person in general, there is always that weak spot where the damage inflicted can result in one ultimate change. "Fracture" may not be thrilling, but it's very straight forward with the characters and their very desires. Anthony Hopkins plays Teddy Crawford, a man who's very breaking point has a long been broken after the discovery of his wife's affair with another man, a cop no less, thus shattering the hopes he had for their marriage. His patience, as well his very ability to manipulate the situation become apparent soon after he shoots her in the head, wounding her into a coma, and setting up a trial against a young and upcoming attorney named Willy Beachum (Gosling) who's peaked his very interest. Maybe it was Willy's noticeable arrogance, or the very simplicity of his youth that gave the coldly damaged Crawford the appetite for his presence. All I know is, from the very moment Willy accepts this case as an easy win, the battle begins, only for Willy to be slowly losing more than what he bargained for. His own promotion from Criminal law into Wooton and Simms, as a more corporate profession serves as both a distraction, and an eventual loss, as Teddy's manipulation of various technicalities in our legal system humiliate Willy into closed corners. Even his new romantic relationship with his Boss Niki (Pike) is not enough for the big wigs to notice a small fry who can't handle a supposed open and shut case. We all saw Teddy unload a .45 caliber on his wife's pretty little face, and yet the evidence isn't incriminating enough to a man who's confiscated Glock 21 was never fired. The fired bullets fit the type, but not the exact gun. Teddy's confidence as well as his clever wit, display the intricacy as well as the very inner damage his character is experiencing at the hands of betrayal. Hopkins displays a coldly manipulative character who planned this all to the end, and like I said earlier, his very point of fracture has been broken for a long time. He discovered his wife's infidelity only recently, however based on his demeanor in the beginning, the suspicions alone were enough to damage his psyche into making the very decision of executing what came to be a mastery of discovering multiple weak points in our Law System, Willy's own situation, and even his eventual appeal for freedom. I know it's seems crazy, but hey so is our law system. It has so many technicalities that even a man completely inexperienced in law, can learn just enough to find the cracks of his scenario, and break them further more. In Teddy's case, his wife's infidelity went on with the very man who arrested him, thus making the evidence null and void. In the case of a human being, a point of fracture can be motivated by anything, greed, selfishness, anger, envy, or just about any emotional response. In Teddy's case the very anger towards his wife's betrayal broke whatever kindness he had for her, creating a monster. In Willy's case, I think he had reached his fracture point, and that itself changed him for the better. His two time loss in the case helped him clearly see the very damage he'd committed with his overconfidence, as well the overall concern with his own career. "Fracture" in a way serves a much greater purpose, beside the fact of it being a courtroom thriller. It also seems educational, in displaying just how flawed the United States legal system can be, and how it's easily manipulation can explain that. Crawford's personal display of using "The Fruit of The Poisonous Tree", and his very own mastery of the various loop holes show just how easy the system can be walked over with simple knowledge. I don't plan ruin the ending for viewers, because when I mentioned just how lacking in thrill the film is, I didn't feel the need to spoil any more of it, just because I didn't see this film as horrific as Hopkins's character makes it out to be. However, I can comment that I was very entertained by the performances of the characters, and the very plot of the film. A man shoots his wife, willingly admitting it, yet still fighting for freedom, using diligence and overall confidence, showing just how intricately intelligent the story can be. Crawford may not be Hopkins's most terrifying character, however his nearly soulless, and calm demeanor serve as his strengths in showing the very damage that signifies this clever character. Gosling's performance is impressive through his cocky and yet slowly developed transformation. He started out with a complete understanding of how the world works in the nature of his profession, but once witnessing his mistakes and the result of them, his own moral conscience improves as it is brought to question. I wish I could've enjoyed this film more, but the way it presents itself in evoking reaction of fear is weak, and quite frankly I believed it could've done better in that area, when it clearly displayed great performances, a terrific exploration into the very weaknesses of our legal system, as well as an interesting moral result for Gosling's character's morality.