Category Archives: Movie Reviews – H

“HAYWIRE” – 4 STARS

by

0

One the surface, a movie advertised as an action film starring a female MMA fighter and one time American Gladiator doesn’t exactly raise my anticipation level. But seeing the name Steven Soderbergh attached to the movie changed that. Many moviegoers who are unfamiliar with Soderbergh and who go see “Haywire” strictly due to the movie trailer may go away a little disappointed. I found the movie to be an entertaining and stylistic action thriller tightly wrapped in a snug 90 minute package.

Soderbergh’s fingerprints are all over “Haywire” and that’s one of the main reasons the movie works so well. Not only did he direct and shoot the picture but he also edited it and it doesn’t take long to notice his sharp visual style. While Lem Dobbs’ story is smart and concise, it’s Soderbergh who engages the audience with clever camera angles, several tension-filled long takes, and his strategic use of music and sound. He tells the story without many of the contrived devices we see in most modern action pictures. There aren’t loads of blood and constant gunfire. But there are some great hand-to-hand fight scenes where the camera pulls back, the music stops, and the audience is allowed to take it all in. It’s the perfect approach.

Another huge plus is the impressive and memorable lead acting debut of Gina Carano. Her character is pretty straightforward and doesn’t require a lot of range, but Carano holds her own with the strong supporting cast featuring Michael Fassbender, Michael Douglas, Ewan McGregor, Antonio Banderas, Channing Tatum, and Bill Paxton. She plays Mallory Kane, an ex-Marine who does contract black-ops work for Kenneth Jay (McGregor) a slimey character with government contacts. Kenneth teams her up with a suave British Agent (Fassbender) for a mission in Dublin. It would spoil things to go much more into detail but let’s just say things don’t go as planned.

The supporting cast is strong and polished, just as you would expect. But it’s Carano who gets the bulk of the screen time and she nails it. One of the best things is that she actually sells her character. Unlike many of the fashion show runway models we often see in lead roles, I had no trouble believing the more full-formed Carano was an ex-Marine or that she could kick some serious butt. And while she is larger than life in many respects, there are certain touches that made her more believable. There is one particular chase scene where she is running on the rooftops and she actually gets turn around. She doesn’t know which way to go and has to backtrack. It’s a small and subtle detail but the film is filled with them.

“Haywire” isn’t your typical January release. Often times January and February movies are those that get pushed back after awards season. But this a really fun and well crafted picture. It’s a film that causes the audience to think and stay focused from start to finish, yet it’s a thrilling and fun ride that uses style over cliche. It’s a fast moving and compact story and Soderbergh’s direction keeps everything running smooth. I enjoyed “Haywire” and it’s a really good way to start the movie year.

REVIEW – “Hugo”

by

0

Martin Scorsese has proven himself to be a fantastic filmmaker, creating some of the industries most memorable films. The Oscar winning director is responsible for such movies as “Taxi Driver”, “Gangs of New York”, “The Departed”, and most recently “Shutter Island”. But out of all the movies on Scorsese’s resume, none are quite like “Hugo”. It’s his first foray into the more family friendly genre and his first film shot in 3D. But’s it’s also a stellar example of what a master craftsman can do with a great story, large budget, and the latest technology.  Based on the Brian Selznick’s novel “The Invention of Hugo Cabret”, “Hugo” is a movie that resonates on nearly every emotional level while also offering one of the most visually stunning experiences you’ll have in a theater. It’s a near masterpiece.

“Hugo” is the story of a young orphan living within the walls of a Paris train station. Hugo (Asa Butterfield) spends time swiping parts from around the train station in order to fix a broken automaton left behind by his deceased father. Desperate and lonely, Hugo hopes that hidden inside of the automaton is a message from his father. He is befriended by an adventurous young girl named Isabelle (Chloe Grace Moretz) but runs afoul of her godfather Georges (Ben Kingsley). We also spend time with several wonderful characters from around the train station. There’s the station inspector (Sacha Baron Cohen), a florist (Emily Mortimer), a book store owner (Christopher Lee), and more. These characters not only give the station life and vibrancy, but each have there own little role to play in Hugo’s story.

While the story is beautifully crafted, it’s the performances that drive it. Butterfield is very convincing as Hugo and he really amazed me with his emotional range. Even more impressive was Moretz. She’s energetic, charming, and lights up the screen. Kingsley gives another brilliant performance that deserves serious Oscar consideration and Cohen offers plenty of laughs while also showing a sad, pitiful side to his character. There is not one bad performance in the picture and Scorsese manages his actors with precision. These performances are perfect compliments to his directing style.

While this isn’t the sort of material you would usually relate to Scorsese, he handles it with the exact same care and detail as any of his other pictures. Even with it’s big imagination and sometimes fantasy feel, this is a story that seems deeply personal to the director and he pours out affection on every scene. His vision of 1930s Paris grabbed me from it first gorgeous sprawling shot and through every intricate detail found in the architecture, wardrobes, dialogue, and mannerisms. Scorsese’s use of the camera and his ability to set up shots is impeccable and the way he use’s 3D gives me hope for the technology. It’s worth noting that this is a movie you should see in 3D. With so many cheap conversions and cash grabs out there, Scorsese gives us the most visually engaging use of 3D since Avatar. It’s at times subtle and other time jaw-dropping but always pleasing to the eye and immersive.

“Hugo” is a film that should strike a chord with any true movie lover. Not only is it expert storytelling and a visual master work, but it’s a tip of the hat to everything that makes movies such a great art form. Scorsese takes us back to the early days of silent cinema and shows the power and influence of film. There’s no way you can watch the second half of this movie and not have a stronger appreciation for motion pictures and the way it’s incorporated into Hugo’s story is practically flawless.

“Hugo” is a family friendly drama and a celebration of cinema all wrapped into one. It’s a movie for both adults and children yet it never caters specifically to either. It’s an intelligent and earnest picture that earns our tears at the end through it’s genuine sincerity and tenderness. It’s a visual marvel with the same signature camera work we’ve seen throughout Scorsese’s career and a dazzling use of 3D that gives the technology the shot in the arm it desperately needs. “Hugo” left me with one of the most satisfying experiences I have had in the theater. This may be Scorsese’s first dive into this new sandbox, but the result is one of the best films of 2011.

VERDICT – 4.5 STARS

4.5 STARS

“THE HELP” – 3.5 STARS

by

0

Perhaps the biggest box office surprise of 2011 was “The Help”. The Civil Rights era drama dominated movie theaters to the tune of over $200 million. Based on the immensely popular novel by Kathryn Stockett, “The Help” was adapted for the big screen and directed by the relatively unknown Tate Taylor who was born in raised in Jackson, Mississippi, the deep south city where the film takes place. The movie nicely recaptures that time period and setting both through the look and feel of the picture. You do get a genuine sense of familiarity from the director and it shows onscreen.

At it’s core, “The Help” is a story about racism and the obstacles that the black community faced during the early 1960′s. It particularly focuses on maids, women hired to do everything from cook meals to raise the children of well-to-do white people. These women, simply referred to as the help, earn next to nothing while facing all sorts of embarrassments and humiliations. This is potentially heavy material and the film gives us several strong, emotionally charged moments that you can’t help but be effected by. But the film also dabbles in caricatures, lapses into occasional shallowness, and spends a little too much time away from the truly powerful central story.

The film’s biggest strengths can be found in the mesmerizing performances of Viola Jones and Octavia Spencer. Jones’ Aibileen and Spencer’s Minny are both quite unique and layered characters. They are fascinating individuals and the movie is at it’s best when they are on the screen. I found myself particularly drawn to Spencer. She takes a character that could have been an over the top cliche and beautifully portrays her through a controlled and measured performance. Emma Stone is also good as Skeeter, a young writer returning home after graduating from Ole Miss. After seeing the treatment of the help by some of her town “friends”, Skeeter sets out to convince Aibileen and Minny to let her write about their experiences. There are also several fun but smaller roles featuring Jessica Chastain, Sissy Spacek, Mary Steenburgen, and Cicely Tyson.

While “The Help” works well in many areas, it also hits a few speed bumps. The most notable problem with the film is it’s almost cartoonish portrayal of several of the upper-class white woman. Bryce Dallas Howard plays the proverbial villain (for lack of a better term) and her character is so exaggerated that I could never take her seriously. I’m not sure if it’s her acting or the way her character is written but I tend to think it’s a little of both. We get glimpses of this from several other women but not on the same scale as Howard’s Hilly character. I don’t deny for one second that this type of racism existed or that it was a real obstacle that these African American women faced. But I would have loved to see these white women portrayed in a much more believable and sincere fashion.

I always say that you can’t compare a movie with the book it’s based on. A movie is in a different universe with an entirely different set of limitations. Tate does a good job of keeping the main thrust of the story in tact and spends most of the film focused on what makes this a good movie, the story of Skeeter, Aibileen, and Minny. But the movie does wander off into several more uninteresting directions that do more to take away from the central story than add anything to it. Whether it’s Skeeter’s underplayed and irrelevant romance or Celia’s failed pregnancies and rags-to-riches story, “The Help” sometimes tries to cram too much into too little of a space which leaves the film feeling a little bloated.

Even with a few flaws, “The Help” is a movie that manages to deliver some gripping and powerful scenes. It’s impossible to not be drawn to the main characters and the perfomances from Viola Jones and Octavia Spencer are stunning. The movie manages to maintain the strength of it’s central message even though it could have been stronger with more balanced and believable portrayals of certain characters. But I was moved by “The Help” and although it’s not the most polished and steady film of the year, it certainly deserves the money it has made and the attention it has garnered.