Category Archives: Movie Reviews – A

REVIEW: “Anthropoid”

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Operation Anthropoid was the code name given to the 1942 attempted assassination of Reinhard Heydrich, Hitler’s third in command and one of the chief architects of the Holocaust. The secret mission took place in Prague and was carried out by agents of the exiled Czechoslovakian government. It’s also the subject of Sean Ellis’ new film “Anthropoid”.

“Anthropoid” isn’t the first movie to share this remarkable true story, but it is the first since 1975’s “Operation Daybreak”. Ellis directs, shoots, co-writes, and co-produces this taut wartime thriller that moves from methodical and restrained to intense and explosive in the snap of a finger. This unique shift in pace seems to have been a problem for some people. For me it represented two very different sides of a story that are intrinsically tied together, so much so that their eventual clash was inevitable.

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Jozef Gabčík (Cillian Murphy) and Jan Kubiš (Jamie Dornan) are Czech secret agents tasked with carrying out Operation Anthropoid. The two covertly slip into the Nazi-occupied city of Prague where they meet up with the dwindled Czech resistence led by Jan Zelenka-Hajský (Toby Jones). The early part of the film focuses on preparation and reconnaissance. They meet up with the rest of their team and begin planning their mission.

Ellis adds several layers to these early scenes. First is the layer of fear that blankets everyone Jozef and Jan encounter. Heydrich’s brutal presence in Prague has left the resistence in shambles and sympathizers terrorized. So many moments, even quiet ones, are soaked with anxiety and stress. This everpresent tension leads to bouts of distrust, uncertainty, and debates over the consequences of their potential actions.

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Jozef and Jan do get vague refuges of normalcy through their relationships with two women sympathetic to the resistance, Lenka (Anna Geislerová) and Marie (Charlotte Le Bon). Both are intriguing characters particularly Lenka who hints at a deeper disdain for the Nazis. Romances spring up which don’t feel forced or out of place, but that are underserviced and I wish they were given more time.

Ellis’ pace shifts and the intensity only gets thicker as the assassination attempt gets closer. The final act is edge-of-your-seat thrilling while also being perfectly (and violently) harmonious with the earlier slow-burning buildup. Ellis’ camerawork in the final act offers up some of the most visually gripping sequences of the year.

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One of my favorite things about “Anthropoid” is that it feels grounded and authentic. There is no stilted dialogue or grandiose verbiage. There is no sign of Hollywood formula, overwrought melodrama, or heavy sentimentality. It feels genuine and true to the story it’s telling. And while some may struggle with Jozef and Jan’s lack of backstory, I was drawn to their humanity and invigorated by their valor and conviction. And it is all conveyed without a flashy coat of studio gloss.

“Anthropoid” is refreshingly earnest and subtle. It has confidence in the compelling strength of its story and feels no need to embellish it or the characters. That same confidence allows Ellis to put more of his focus on an accurate historical portrayal. Sure, it may not be a common crowd-pleasing approach, but when it comes together this potently I can’t help but love it.

VERDICT – 4.5 STARS

4.5 STARS

2016 Blindspot Series: “A Man Escaped”

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1956’s “A Man Escaped” was the fourth feature from French cinema pioneer Robert Bresson and a showcase for his focused minimalist filmmaking. Considered by many to be Bresson’s masterpiece, the film brims with his signature stripped down presentation, free of any visual or narrative embellishment. In fact the film opens with a message from Bresson that reads “The following is a true story. I present it as it happened, without adornment”.

Bresson’s low-key style is also seen in his aversion to using movie stars in his films. He believed professional actors, much like special effects, drew attention to themselves and away from the story. He also believed professional actors conveyed too much emotion in their performances instead of letting the audience deduce it on their own. Therefore Bresson preferred to cast people to be models instead of performers.

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His chosen model for “A Man Escaped” was François Leterrier. He plays a French Resistance soldier named Fontaine. It’s 1943 and the film begins with a captured Fontaine being transported by Nazis to Montluc military prison in German occupied Lyon. The film is based on the true story of André Devigny and his attempt to escape Montluc prison before he is to be executed.

The story is as simple as they come yet so enthralling. With the exception of two brief scenes the entire film takes place within the walls of the prison. Fontaine is our eyes and ears. When he is in the cell so are we. When he is allowed out to wash we are with him. Then back in the cell we go. Everything we learn is from his perspective – from his brief interactions with other prisoners in the washroom, from what he sees from his cell window, or from the sounds he hears.

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The sound element is crucial to Bresson’s film. As mentioned it often provides information. A good example is the disturbing sounds of echoing machine gun fire each time the Nazis perform an execution. There are no common cutaway shots to visualize it for us. Instead it is spoken to us through the sounds. Bresson also focuses on every sound Fontaine makes as he prepares for his escape attempt. He secretly uses the few things in his room as tools and every sound he makes could tip off the guards.

Fontaine’s narration may be the most vital component in Bresson’s feeding of information. In some films narration can be a crutch. Here it cleverly unveils Fontaine’s feelings and thought processes while adding a surprising amount of depth to his character. It also serves as an important source of time. As we hear Fontaine’s reflections he often alludes to the passing of time – days, sometimes months. Every bit of narration is succinct and has purpose. It doesn’t romanticize the story or character in any way.

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Bresson frequently channeled much from his personal experiences into his movies. In the case of “A Man Escaped” it’s the cruelty he experienced from Nazis as a prisoner of war during World War 2. Certainly the bulk of his inspiration came from Devigny’s true account, but you clearly sense a personal connection between director and his cinematic canvas.

Robert Bresson was one of the most original and influential filmmakers in cinema history. “A Man Escaped” is an exhibition of his unique style and approach. Spiritual undertones, personal influences, and a minimalist focus are just some of his characteristics highlighted in this brilliant 1956 classic.

VERDICT – 4.5 STARS

4.5 STARS

REVIEW: “About Elly”

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It took five years but finally the US distribution rights for Asghar Farhadi’s “About Elly” were acquired bringing the highly acclaimed 2009 film to American theaters in 2015. These distribution wranglings and roadblocks are frustrating to say the least especially in this case. “About Elly” has received a ton of critical praise and has won numerous notable awards, yet it has lingered out of reach of many anxious cinephiles.

Farhadi, who I will go ahead and call one of the best international filmmakers going, has actually made two films since the release of “About Elly”, one being his searing Oscar-winning drama “A Separation”. You can see some of the same artistic strokes being used in both movies and the Iranian filmmaker’s soulful human explorations and subtle societal critiques are fundamental components to each. But at the same time “About Elly” differentiates itself in a variety of interesting ways while still maintaining Farhadi’s impeccable knack for mesmerizing and relevant storytelling.

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One such difference can be found in the openings. “A Separation” begins with a tense and solemn meeting with a family court judge. A husband and wife are preparing to end 14 years of marriage. Contrast that with the opening of “About Elly”. The first scene shows friends playfully yelling out their car windows while driving through a highway tunnel. The group is heading to the Caspian Sea for fun-filled three-day vacation. Two drastically different scenarios yet over time Farhadi’s distinct signature can be seen on both.

With “About Elly” it’s definitely a case of ‘the less you know the better’. The film sets itself up by offering us introductions to the characters and showing their whimsical enthusiasm. After all, they’re on vacation. Everyone seems excited yet there is something different about Elly (eloquently played by Taraneh Alidoosti). She feels like a bit of an outsider – apprehensive and reserved. Turns out Elly was invited by Sepideh (Golshifteh Farahani) in hopes that she would hit it off with recently divorced Ahmad (Shahab Hosseini).

In a cagey bit of foreshadowing the group must navigate a mishap with their reservations which threatens to derail their vacation. In this brief sequence we get a handful of subtle clues which play into how things unfold. Things finally get back on track and they land a place to stay at a seaside villa. They get settled in, Elly remains a bit of a mystery, and everyone starts to have a good time. That is until a key moment sends Farhadi’s story spinning and his characters along with their relationships are seen under a new light.

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There is a biting naturalistic harmony to Farhadi’s storytelling that uses plot twists and character complexities like pieces to an elaborate moral puzzle. At the same time, with every layer of the story that is peeled away we gain new insights into who these people are while also being challenged by various social critiques. Farhadi is never heavy-handed and he’s never preachy to the detriment of the story he’s telling.

Watching “About Elly” is a near hypnotic experience whether it’s the fascinating mystery akin to Antonioni’s brilliant “L’Avventura” or the stimulating character study/morality play that puts each character under a microscope. As with his previous work, Asghar Farhadi injects this film with such authenticity and truth. Not a single character feels fake. Not a single emotion feels false. Not a single plot point feels contrived. It’s truth that permeates this entire picture which is a little ironic. In the film it’s the truth that proves to be the hardest thing for the characters to embrace. Not so for Farhadi.

VERDICT – 4.5 STARS

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REVIEW: “Ant-Man”

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Marvel’s cinematic universe has become a powerful presense at the box office. This has allowed Marvel Studios (and owner Disney) to branch out into what could be more obscure territories for moviegoers other than comic book fans. We saw it first in the insanely successful “Guardians of the Galaxy” – a film about a fringe group of characters within Marvel’s comic book mythology. “Guardians” was a decent film that struck a major chord with audiences grossing over $750 million. “Ant-Man” falls into a similar category – a Marvel character lesser known to the masses brought to the big screen on the backs of the other films and their successes.

One of my big questions going in was whether or not this character and story was worthy of the big screen solo treatment or is this simply Marvel showing off their powerful box office muscles? That is a tough question to answer especially considering Marvel took an insane amount of liberties with the source material. The story we end up with only features snippets of content and characters from the comics. Taking liberties and telling a unique story isn’t a bad thing. But with “Ant-Man” I left the theater thinking that the better story was the one left behind in the comics – the one Marvel chose not to tell.

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“Ant-Man” had its share of development problems mainly in the form of writer and director Edgar Wright’s departure. A number of other directors turned down offers to helm the film until Peyton Reed eventually took the reins. Perhaps this contributes to the film’s shaky foundation and overall lack of identity. There are times when “Ant-Man” feels fresh and a bit experimental within its genre, but it never sees these things through. Instead it embraces some of the same cliches and story contraptions that we have seen numerous times.

Funny man Paul Rudd plays Scott Lang, a smart man with a good heart who sometimes makes dumb decisions. We first meet him as he is being released from prison after serving a sentence for a non-violent burglary. His incarceration has driven a deeper wedge between him and his ex-wife Maggie (Judy Greer). She refuses to allow him to see their daughter Cassie until he gets his life together. This is tough pill for Scott to swallow especially considering how Cassie idolizes her father.

Now enter Hank Pym (Michael Douglas) who the movie has as a physicist who lost control of his company to an ambitious former protégé Darren Cross (Corey Stoll). Since gaining control of Pym Industries, Cross has been trying to replicate Pym’s shrinking technology. But knowing the dangers of the formula in the wrong hands, Pym refuses to give it up causing all sorts of animosity between him and Cross. After Cross’ nefarious intent is revealed, Pym and his estranged daughter Hope van Dyne (Evangeline Lilly) recruit Scott to help them stop Cross before he can unleash his evil plans.

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“Ant-Man” is definitely a mixed bag but its strong points are obvious. First, the story plays out on a much smaller scale which is something I appreciated. Yes, there are serious worldwide implications, but this is a superhero story which fits nicely within its smaller group of characters. There is no impending global doom or ominous cataclysmic event. In fact portions of the film play out like a corporate thriller while other portions play out like a heist film. I liked these elements and I was surprised by them. I was also surprised by how well Rudd fit into the character. The writing doesn’t always help him out, but overall he is good. I particularly liked Corey Stoll who managed to make a pretty one-dimensional character entertaining.

I also enjoyed the special effects which bounce back and forth between action-packed and playfully silly. In fact, some of the film’s best humor can be found in some of the visual effects sequences. It’s also worth noting that while the film is loaded with CGI, it’s not your standard big explosions and massive devastation. We get some of that but overall the effects serve different purposes which was refreshing. There is also a cool cameo and several other neat references which ground the film in Marvel’s greater cinematic universe.

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Unfortunately the movie’s strong points can’t overcome its problems. With all of the things the story does differently early on, ultimately it devolves into your standard, cliché-ridden fare. The redemption angle and typical origin story felt way too familiar and predictable. I also wasn’t blown away by its hit-or-miss humor. There were times when the movie is funny (Michael Pena is cast for no other purpose but to be a constant joke). Other times the humor fell flat and didn’t feel the slightest bit original. And perhaps my biggest issue was with the villain. On several occasions Marvel has struggled to give us an intense, engaging villain. Just look at “Guardians” for a glaring example. Darren Cross is pretty terrible. Now matter how good Corey Stoll is, his character’s actions simply don’t match his motivations. He is so poorly developed and we are basically given a few small lines of dialogue that are supposed to explain his reasoning. It just doesn’t work.

“Ant-Man” is an easy movie to digest. It dabbles in promising areas and has its share of fun scenes and cool visual effects. But it also squanders a lot of its potential by traveling down well-worn and overused paths. In the end this isn’t a Marvel film that I’ll find myself visiting again and it makes me skeptical of how they will use these characters in the future. I guess this is a case where I simply can’t shake the comic book fanboy within me. I still feel an Ant-Man film focused on a young Hank Pym and his wife Janet would be much better and more interesting than what we get here. But I guess we will never know.

VERDICT – 3 STARS

3 Stars

REVIEW: “Annabelle”

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One of my favorite horror movie from recent years was 2013’s “The Conjuring”. The film was a huge success banking close to $320 million at the box office. Well obviously Hollywood wasn’t going to let that kind of success rest with just one movie. A proper sequel is scheduled for a 2016 release but in the meantime we’ve been given “Annabelle”, a prequel to “The Conjuring” and potentially a new spin-off franchise. Much like “The Conjuring”, “Annabelle” was a huge box office success raking in over $255 million against its small $6.5 million budget.

“Annabelle” starts with the exact same opening scene that we see in “The Conjuring”. It’s 1970 and three young people are telling the Warrens about their terrifying experience with a doll they believed to be possessed. The film then moves back one year and follows a handsome young couple, John and Mia Form (Ward Horton and Annabelle Wallis). They live in a nice neighborhood in Santa Monica, California and are expecting their first child. John surprises Mia with a doll she has wanted for their nursery. Apparently Mia has a weird taste in dolls because this thing is the ugliest and creepiest looking doll you’ll see.

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One night Mia is awoken by screams from their neighbor’s home. While John is checking it out a man and a crazed woman holding the doll attacks Mia. The police show up and kill the man while the woman locks herself in the nursery and commits suicide while cradling the doll in her arms. As a result of the traumatic event and some subsequent unexplained phenomena, Mia asks John to get rid of the doll. The couple have a healthy little girl named Leah, leave their troubling Santa Monica home, and move to Pasadena to start over. But while unpacking guess what they find? Yep, it’s that creepy doll that John had thrown away and as you can guess a series of terrifying occurrences follow.

“Annabelle” becomes a fairly standard mix of haunted house and possession horror. It’s pretty slow moving and it takes some time to get rolling. But when the attempted scares do come they are your garden variety creaking doors, flickering lights, and frightening figures lurking in the shadows. There are a small handful of unsettling moments but for the most part “Annabelle” just doesn’t have the frights I was hoping for. It meanders a bit too much and none of its horror elements feel original. And perhaps the biggest problem – they just aren’t that scary.

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Another shortcoming is tied to the performances. I’m not a bit familiar with Annabelle Wallis or Ward Horton but neither offer much in terms of charisma. It’s not that their performances are bad. They just feel terribly generic and by-the-books. Horton and Wallis are definitely likable and they are a very attractive couple, but their relationship never feels authentic. For me there was always a constant reminder that their relationship was scripted. Again not bad performances but pretty dry and buttoned up.

“Annabelle” often teases us with what it potentially could have been. It lays out a promising premise but it never goes beyond the routine run-of-the-mill horror flick that we have seen over and over. I loved “The Conjuring” and I like the idea of having tie-ins which expand the concept. But “Annabelle” doesn’t get the job done and if it does become a franchise, I can’t see myself investing much of my time in it. Simply put, regardless of its intentions and its potential, the film doesn’t do enough. That’s a real shame.

VERDICT – 2 STARS

REVIEW: “Avengers: Age of Ultron”

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It could be said that the first Avengers movie was in a ‘can’t miss’ position. Sure, with that much ambition comes a degree of risk. But fans had already shown their devotion to the Marvel movies at that point. Iron Man, Captain America, and Thor each had their own films which had earned a ton of box office cash. Bringing them altogether was sure to bring in truckloads of more money. That proved to be true to the tune of over $1.5 billion worldwide. And of course that doesn’t include home-video, merchandising, etc. More importantly, as a movie fan, the first film was fun and very satisfying.

So as is customary in modern Hollywood, a sequel was on the way and we get it in the form of “Avengers: Age of Ultron”. Writer and director Joss Whedon is back this time with a new and unique set of obstacles in front of him. First, it’s always a challenge for a sequel to recapture the magic of a successful first movie while also being distinctly its own film. Also, if Whedon thought expectations were high for the first movie, they are nothing compared to what people will expect from the sequel. And then there is the question of superhero fatigue. Can Whedon and company continue to energize a genre that has a small but growing list of detractors?

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I always give Marvel Studios credit. Their movies aren’t the assembly line sequels that we see each and every year. Certainly some films work better than others, but Marvel is always building upon their bigger cinematic universe and continuity which I enjoy. But for those not thoroughly invested it could be a legitimate stumbling block. “Age of Ultron” is unquestionably an installment – a transition chapter in this enormous franchise. Loose ends are tied up and potential plot holes related to other Marvel films are addressed throughout. Again, these are things that will satisfy fans but probably fuel the indifference of those not on board.

The film starts with our heroes attacking the snowy mountain compound of Baron von Strucker. He was the guy last seen in the mid-credits scene of “Captain America: The Winter Soldier”. Strucker has obtained Loki’s scepter and is using its powers for human experiments and other nefarious practices. The results of the conflict leads Tony Stark (Robert Downey, Jr.) to fulfill an ultimate peace keeping goal of his – the creation of an ultimate A.I. named Ultron (voiced by James Spader). Ultron becomes self-sustained and self-aware and immediately begins his own plan of global peace which happens to include the distruction of the world. Tony’s mishaps with Ultron and his failure to inform his fellow Avengers of his project creates a festering tension between the team. But they must work together if they have any hope of beating this new threat and once again saving the world.

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That is just a brief set up to what is a movie jam-packed with moving parts. There are so many characters and subplots that are being serviced and it is a testament to Whedon’s writing skills that the film is coherent at all. Wrapped around the central story are countless tie-ins from previous movies and setups for future films. It truly is a miraculous feat, but it’s not a flawless one. There were a handful of things that felt terribly shortchanged occasionally to the point of making no sense at all. During these moments it was as if Whedon was saying “Look, I have so much to cover. I just need you to go with this.” Sometimes I found that a little difficult to do.

But considering the insane amount of moving parts and the hefty ground the film is asked to cover, “Age of Ultron” is an impressive accomplishment. All of the core characters are back and get their moments to shine. In fact the amount of screen time between each hero felt much more balanced than in the previous movie. It also helps to have actors who have become more and more comfortable with their characters. In addition to Downey, Jr., Chris Evans (Captain America), Chris Hemsworth (Thor), Scarlett Johansson (Black Widow), Jeremy Renner (Hawkeye), and Mark Ruffalo (Hulk) each are a load of fun. We also get a good assortment of past side characters and some very intriguing new characters. The super powers endowed Maximoff Twins, Wanda (Elizabeth Olsen) and Pietro (Aaron Taylor-Johnson) are an interesting addition and there is the appearance of another new character who really got my geek juices flowing.

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“Age of Ultron” is clearly a movie aimed at serving a passionate fan base  which is really good for devotees like me, but maybe not so good for those unfamiliar with or lukewarm to its many intricacies. I ate up the funny banter between each unique superhero personality. I loved the large-scaled action which seemed ripped straight from the pages of a comic book. I was interested in the future movie tablesetting even when the scenes didn’t always play out smoothly. In a nutshell, “Age of Ultron” was a fun and entertaining ride that succeeded as the central cog in Marvel’s constantly moving cinematic universe.

“Age of Ultron” is not a movie devoid of problems and your experience will probably be influenced by the degree of affection you have for these characters and this universe. As a fanboy I loved being back in this world, I laughed at a lot of the humor, and I was thrilled by the big effects and larger than life action sequences. Yet while it scratched nearly all of my itches, it’s hard not to point out the messy patches. Still considering the film’s enormous importance to the Marvel movie universe and the even higher expectations, “Age of Ultron” succeeds where so many movies would have failed. Now I’m ready to start building towards the next installment.

VERDICT – 4 STARS