Reviews

Last year, 2008, DreamWorks Animation Studios pulled a fast one on all of us by offering up an animated film that seemed poised to steal the coveted Best Animated Picture award at this year's Oscars, Kung Fu Panda. Awards king Pixar Studios, however, wasn't about to let that one go unanswered, as they subsequently unleashed their greatest masterpiece yet, WALL-E, the critical darling of the year and would-be Best Picture candidate.

This year, freshly-minted animation studio Laika has delivered what is likely to be the greatest blow to Pixar in many a blue moon, Coraline. Director Henry Selick, known for his The Nightmare Before Christmas job, improves on his previous effort with superior animation, pacing, and storytelling. Selick has crafted here an entrancing and original piece of art that, I believe, will reign supreme in next year's Best Animated Feature Oscar category. Coraline manages to be quite subtle in its first half, with a slow-burning tension and quiet, offsetting realism most films only dream of achieving. The anticipation builds as a bizarre and charming cast of characters are introduced, with purposes not entirely disclosed until we reach the wholly surprising final half. This set-up is incredible, and the multiple payoffs are even more so.

At precisely the moment the audience is begging for the characteristic grotesqueness of Selick's stop-motion animation features, the film explodes in a torrent of surreal, chilling, effectively creepy sequences that are relentlessly inventive. From a very mysterious, shadowlike feline, to the frightening spider-themed villain. From a walk around the circumference of an imagined dreamland, to a haunting circus tent, to a nightmarish garden, the settings here act as their own characters with astounding effectiveness.

This film has an extraordinarily classic feel to it, which may elicit audience members to reach back into their subconsciousness, asking themselves, "where have I seen this movie before?" You haven't, you only think you have because the story is so intrinsic that it feels like an amalgamation of every children's story you've ever heard in your life. No, this film is strikingly original, and it feels right at home tucked into the recesses of our mind where those other disturbing and unforgettable tales reside.

With haunting intensity, Laika has managed to craft here one of the greatest animated films of the decade. As we continue to follow Laika's future projects, I am hopeful that the added competition exhibited by animated films in recent years will allow some of our finest filmmakers around to pump out more and more masterpieces. My prediction for 2009 is that Laika's Coraline will outdo Pixar's newest offering, Up, in critical praise, and end-of-the-year awards.

9.5/10

WOW, that is easily the most depressing film I saw this year, hands down. Michelle Williams and Lucy the Dog star as Wendy and Lucy, respectively, in this remarkably affecting drama about a poor, independent woman escaping from her undisclosed troubles and making her way to Alaska with her dog. All the two have in life is each other, money is tight, food is hard to come by, and sleeping in the car is the only option for Wendy. A devastating turn of events happens to Wendy, and Lucy subsequently goes missing, leading Wendy on a mission to recover the only companion she has in her life. Along the way, Wendy encounters indifferent individuals whose actions are driven by self-righteous attitudes, but Wendy also finds help in an unlikely place, a compassionate security guard. In many ways, Wendy and Lucy succeeds in areas where Bolt (2008) came up short, but they both approach their themes in very different ways. Wendy and Lucy is absolutely heartbreaking, forcing me to cry out "NO!" twice in its duration. The ending was an absolute shocker to me, and actually squeezed a few tears out of my eyes.

In this film, Lucy becomes a character in her own right, a brilliantly effective choice. Lucy becomes not just a symbol of everything Wendy loves in this world, but her only hope for survival. It is never specified, but the audience member is allowed to create an entire backstory behind these main characters. I like to believe that Lucy is a childhood pet of Wendy's, who helped Wendy through a difficult childhood, perhaps with abusive parents, in a foster home, whatever you would like to believe. It makes Wendy's situation that much more affecting. If you've ever felt like you have but one object in this world to turn to in times of trouble, and you've felt like escaping from chains that are holding you down, and beginning a new life for yourself someplace new. If you've ever felt so cut off from other individuals in this world, like screaming at the top of your lungs. If you've ever been placed in such a desperate situation, where your livelihood is threatened, and all that you love seems as though it is vanishing before you, you will undoubtedly shed a tear at this incredibly powerful drama about the connections humans make, the friendships we forge, and the sacrifices we must sometimes make.

9/10

This is a graphic novel in film form. This is an animated film that doesn't know it's not live-action. Waltz with Bashir may very well be the most important film of 2008. Waltz with Bashir is a very personal memoir of the Lebanon War of 1982, with the accounts of writer/director/producer Ari Folman and various real life individuals who fought on Israel's side during their odyssey into the hellish nightmare that would await them in Lebanon. The film plays out documentary-style, featuring the likenesses and words of Ari Folman himself, and many others who have the most amazing stories to tell about their experiences in this war. The film begins as a friend of Ari Folman is describing a recurring nightmare he has had for the past 20 years that is connected to a traumatic experience he had in the Lebanon War. This telling jump-starts Ari's own memories, and prompts him to seek out others who he fought with in the war to try and put the pieces of a seemingly unsolvable puzzle together. The quest he undergoes will reveal startling truths, harrowing and gritty accounts by Israeli soldiers, and profound revelations.

One story in particular involving a man whose fellow soldiers were wiped out on a beach in Lebanon, and the man subsequently had to swim far out to sea and stay there until it was clear to swim back, particularly moved me. Waltz with Bashir pulls no punches at any time; the war action is just as bloody and graphic as anything you will see in live-action war films, and the film intelligently explores the atrocities committed on both sides, by both Israeli troops and Lebanese Phalangists. The film's soundtrack has the most brilliant combination of Classical, Israeli Rock, and Euro Dance, and the animation style is designed to look like a graphic novel. The film has very profound messages, as Ari begins to question whether finding out the truth and solving the puzzle is something that he truly wants to do. Wouldn't it be better to forget about the horrors of war and pretend it never happened? Luckily for us, Ari does not follow that route, instead confronting his past head-on by creating this brilliant film about his journey to uncover the truth.

The film culminates in Ari's profound revelation that he may have inadvertently contributed to a massacre committed by Christian Phalangists in Lebanon, and symbolizes this revelation with a single use of live-action at the film's climax. This use of live-action is absolutely devastating, and one of the most powerful scenes in film this year. This is an astounding film about war, traumatic memories, and regret that stands as one of the most important films about genocide since Hotel Rwanda and Schindler's List. If you have any means of seeing this film, do it now.

10/10

I have a big smile on my face after seeing Happy-Go-Lucky. Poppy (Sally Hawkins) is a primary school teacher who keeps her sunny disposition in spite of life's everyday obstacles in this little British indie film that charmed the pants off me. The first half had me in stitches, as Poppy continuously delivers snappy one-liners to strangers she meets, her friends, and her driving instructor, attempting to keep the mood upbeat, even when their conversations begin to fall towards the depressing side of things.

The second half is very surprising at times, featuring some unexpectedly powerful scenes involving a homeless man Poppy meets, a troubled young boy that Poppy tries to help at her school, and some sweetly romantic scenes with a social worker who Poppy crosses paths with. The only time Poppy falls out of her happy-go-lucky mood is during the film's climax, which is very effective at making the audience feel uncomfortable for Poppy as her situation with her driving instructor turns ugly.

No doubt every audience member can recognize at least a little bit of themselves in these characters, be it Poppy, Scott, or Poppy's friends, making Happy-Go-Lucky a very personal and memorable film-going experience.

9/10

Every once in a while, a film comes along that has the power to dramatically change the lives of those who take it in, and it becomes a part of their being. These are films that transcend film to become something more; I call them masterpieces. Masterpieces do not come around every year; they can't, because that would defeat the purpose of the label. 2008 was blessed with one such film. It is called WALL•E. WALL•E is a story that I still find difficult to actually summarize, but here is my attempt. Set in the twenty-ninth century, planet Earth has become a literal garbage dump, a silent, desolate habitat with wind that seems to scream, and massive dust storms of undisclosed origin. For 700 years, one lone robot named WALL•E has been staidly doing its job, unaware of the futility of it all, cleaning up the mess the human race left on the once-beautiful planet. The film's opening act, set on this desert planet, ironically ends up being its most beautiful, filled with simple elegance, and completely devoid of conventional dialogue. Enter EVE, a highly advanced robot of the far future on a classified and mysterious search mission, who captivates our human-like title character with her grace. Ultimately, as EVE finds what she is looking for and is prepared to blast off, leaving WALL•E alone forever, he realizes that to allow her to leave unaccompanied would be to lose what is most important to him, a chance he will never again see for as long as he remains chained to the Earth.

WALL•E is a story about redemption, humanity, love, and growth. In addition to its beautiful and haunting first act, the story continues as our main characters find themselves thrust unwittingly, and unknowingly, into a situation that decides the ultimate fate of the human race: Will the human race remain in a perpetual state of de-evolution until the last human being withers away and dies, or will the human-like robots ironically be the saviors of all mankind? The film tackles bold topics such as the dangers of apathy towards our planet, decline of interpersonal communication, overconsumption, governmental corruption, irresponsible big business, and the ultimate rebirth of civilization. WALL•E ranks among the most genuine, human, important, and heartfelt films in the history of cinema. What it does it does passionately, with as much meticulous attention to detail as you will ever find in film. No other film this year came close to WALL•E in terms of originality, boldness, innovativeness, character development, or intelligence. WALL•E is never pretentious, never overstated, too esoteric, or too inaccessible; it remains a beautiful piece of cinema that will continue to captivate audiences for generations, and outlast every other film of 2008. And did I mention that it's animated?

10/10

This is what I have been waiting for. Darren Aronofsky, the director of Pi, Requiem for a Dream, and The Fountain, offers up his latest, and greatest, film yet (and I thought it couldn't get any better than Requiem.) The Wrestler stars Mickey Rourke as washed-up professional wrestler Randy "The Ram" Robinson, in the greatest performance of this year. The Wrestler is a magnificent near-masterpiece that I haven't been able to shake from my mind; it will stay with you, I promise.

The Wrestler can be thought of as an expose on the professional wrestling industry, and the health and relationship issues its stars face as the years of abuse inflicted on their body, both outwardly in the ring, and inwardly through strenuous training and drug use, take hold of their lives. The Wrestler may also be thought of as an emotional father and daughter drama piece, as Randy attempts to make amends with his long-estranged daughter Stephanie (Evan Rachel Wood) after having an epiphany. In addition, the film can also be thought of as a story of mutual human compassion between Randy and an exotic dancer he has come to befriend over the years named Pam (Marisa Tomei); both feel trapped and alone, but their mutual friendship seems to be a light in the dark. But most of all, The Wrestler can be thought of as easily one of the greatest films of the year, rivaling many films I've seen in the past decade.

This film is gritty, violent, and extremely difficult to watch at times. It is heartbreaking, tragic, and yet also quite humorous at exactly the right moments. The finale will remain in my mind for years to come, with a mind-blowing ending that makes the ending of last year's No Country for Old Men look amateurish by comparison. Mickey Rourke is unbelievable; I cannot over-hype his performance in this. No matter what, it will be better than you think. One scene in particular echoes Marlon Brando in On the Waterfront, in which Randy pleads for his daughter's forgiveness. If there is one thing wrong with this film, it's that Rourke makes Tomei and Wood look weak by comparison, even though Wood gives an excellent performance as well.

I love The Wrestler, perhaps more than any film since 2006 besides WALL-E. It has heart in all the right places, especially the dialogue between the pro wrestlers backstage, and during Randy's job at a supermarket. You will laugh, you will definitely cringe, and you might possibly cry. The title of this film has a double meaning; going in, you will presume the title refers to the profession of the main character. Upon exiting, you will understand that the title refers to what the main character must do every day of his life as his health and relationships crumble beneath him: Wrestle with life.

9.5/10. See it now.

Perhaps I went in to the theater with expectations that were a little too high. I did enjoy many aspects of this film, such as the many Pixar references and the spoof of the Hollywood entertainment industry in general. The gags involving the pigeons from around the country was clever, and I loved the heavy national theme of this film. When I first heard about Bolt I was hoping for a scene like the one in which we see Bolt, Mittens, and Rhino traveling through the United States from East to West, and I was happy to see that they delivered in that respect.

I found the plot to be a little unoriginal, as it reminded me of Homeward Bound, Finding Nemo, and even a little bit of Toy Story 2 all rolled into one. The Toy Story 2 similarity (Involving Mittens), however, was done very well and quite subtle, moreso even than Toy Story 2. I guess I've just been spoiled by Pixar, but I think it's clear that Disney Animation Studios hasn't quite broken out of its tendency to cater specifically to children, and I feel that Bolt is no exception.

I did appreciate the imagery very much though; I felt the animation and settings were superb. It had a real sense of culture in addition to its emotional content, which is what reminded me of Finding Nemo. I actually think the best part of this film involves a certain character learning to let go of the Hollywood lifestyle and live more simply, with the help of those around him; that seemed to be a very universal message, and should have been the main plot of the film, I feel, because it was done so well, and was very heartfelt and sincere. I think this is a story that is going to hit home the hardest for animal-lovers, as they will be able to relate best to the main plot, but I feel that everyone can find something about this film to relate to and laugh about, no matter what your age or geographical location.

A respectable 8/10.

Changeling easily could be nominated for Best Picture. It features a riveting story, and beautiful pacing until we reach the climax. Changeling definitely has problems, though; the resolution feels long, drawn out, and like another film entirely. While it could have benefited from more extensive editing, I don't feel it deserves a negative review for it. It was very intriguing and went places I was totally not expecting it to go, and I do think it will be remembered around Oscar time.

Despite its obvious flaws, the drama is potent, Clint Eastwood's directing is just awesome (I think it's even better than Million Dollar Baby), and Angelina Jolie delivers an excellent performance as a determined mother. Even while others around her attempt to distort her perceptions of reality, she does not give in, ever. A brilliant performance. The setting of 1920's Los Angeles is incredible and realistic, and the fact that it's a true story blows me away; I can't believe I haven't heard this story.

It's an important film to watch, and I do get that feeling it's an Oscar-caliber film.

8/10

Set in 1940's fascist Spain during the Spanish Civil War, the film's main character is a little girl named Ophelia. Her mother is about to give birth to a baby boy, and she has recently married a sadistic Captain with the Spanish Army, who relocates Ophelia and her mother to the Spanish countryside. Ophelia is a little girl who loves fairy tales, although the adults around her discourage her from reading. Amidst the pain and suffering of the war torn countryside around her, Ophelia is one day summoned by a mythical faun who tells her that she was once a Princess in an underground world, and that in order to return to that world, she must complete three tasks. As she attempts to complete these tasks, she faces insurmountable repression at the hands of her new stepfather as the war arrives at Ophelia's front door.

The film segregates both a war drama and a fantasy story, while keeping them connected at all times. The audience is under constant reminder that not everything in this film may be what they appear to be, and Ophelia finds help from an unlikely source along the way. This is another film with an extremely profound ending that leaves it entirely up to your interpretation; but trust me, it's one you will enjoy debating with yourself about. This is a very dark and moody film, and quite frankly, downright depressing. But it also reminds you of the power of the human spirit in times of hardship, especially considering the spirit is that of a curious little girl named Ophelia. I actually get a strong anime vibe from this film, primarily due to the portrayal of the main character, and how her situation reminds me of various anime films. Also, this is a brutal film; do not make the mistake of thinking that fantasy = happy. It's a "hard R" as far as violence goes. A war film with a fantasy aspect may sound bizarre, and it is, but it makes for one of the most memorable experiences you'll have in a long time. I hope this post inspires someone who hasn't seen this film before to go rent it. As long as one person does, I will feel like my job is completed.

Caution: Do NOT read any explanations of the film's ending; it will ruin the experience for you. Think about it for yourself, and refer back to my paragraphs above. Instead, all you need to do is ask yourself the following questions: "Was it real or not? What are the consequences if it was real? What are the consequences if it was not real?"

Pan's Labyrinth is a masterpiece, and the greatest film of 2006.

10/10

The Triplets of Belleville is just as wonderfully bizarre as anything I've seen from Miyazaki. From a visual standpoint, this film is a success. Any scene involving the triplets themselves was inventive and interesting to watch. Also, I was particularly struck by the use of repetition and metronomic rhythm in this film; in most instances it is used to represent the passage of time or a feeling of anxiety the characters themselves are feeling. I, too, was feeling anxious after hearing that clock on the wall for ten minutes. Very effective artistic elements here.

However, the plot tends to be paper thin. I was left with the feeling that the plot could have come out of a Cartoon Network half-hour serial. This is actually a common issue I see in animation. It isn't detrimental in an extreme way, as the visuals and emotions conveyed do hold this film up, but I must admit they can't entirely conceal the other elements of the film which may be lacking.

It was a pleasure to watch, as are those films I've just mentioned, but still doesn't have substance and depth in order to satisfy me completely as Pixar, Miyazaki, or other animation studio's films tend to do.

7/10

Joel Barrish (Jim Carrey) plays a shy loner in a failing relationship with Clementine (Kate Winslet), his perky and blue/orange/green-haired polar opposite (it changes throughout the film). One day, "as a lark," Clementine decides to have her relationship with Joel professionally erased from her memory at a hole-in-the-wall clinic in New York City (you can find everything there). In response, Joel also decides to erase their relationship from his memory.

What follows is the story of Joel and Clementine's relationship told backwards from the point of view of Joel's imagination, as he slowly begins to realize how much he cares about Clementine, and that losing his memory of her would be like losing a piece of himself as well.

Every single actor in the film is outstanding; Jim Carrey, Kate Winslet, Kirsten Dunst, Elijah Wood, Mark Ruffalo, and Tom Wilkinson all give the greatest performances I've ever seen from each of them. This is the greatest Charlie Kaufman screenplay I've ever seen. This is the greatest thing I've seen from Michael Gondry. The ending is profound and moving, and allows you to use your imagination and interpretation without being open-ended for the sake of gimmicks. The film has a classic message which can be summarized by three words (love conquers all), but is never the least bit cliché. Instead, you are in for a totally unique and fresh experience when you watch this film. I urge you all, see it now.

A masterpiece, and one of the greatest films of the decade.

10/10

Only Yesterday a remarkably made film about the awkwardness and harsh "caterpillar stage" we all must go through in our lives: adolescence. The film brilliantly portrays the disparity between generations in modern Japan, and the consequences of the changing Japanese society in the 1960s and 70s.

The narrative by the protagonist, Taeko, is extraordinarily written, and the exchanges between Taeko and Toshio are so realistic I forgot that I was watching an animated film. Every conversation between those two was excellent, particularly the drive home from the train station, in which Toshio describes the declining farming industry in Japan as a result of a changing society, while the magnificent landscape of the Japanese countryside pans in the background. Also, during another conversation between the two, Taeko mentions her less-than-stellar performance in mathematics in school, particularly dividing fractions. There is an extremely intelligent moment when her sister, when asked by Taeko to explain what dividing fractions means, is unable to answer coherently.

The characters in this film are so bursting with life that the story becomes so involving that I don't want it to end. Taeko is a human being searching for her niche in life, and she believes that she has found it in farm living; at one point, Taeko explains that she feels at home in the countryside, and we, as audience members, are genuinely warmed by her sense of happiness. But the real story of this film is the struggle to overcome the chains of adolescence that hold us all captive.

Throughout the film, the 10-year-old Taeko's creativity is stifled by the society around her, including her father and her 5th grade teacher. The cruel world of adolescence portrayed in this film comes to a heart-wrenching climax in the story of the boy who sat next to Taeko in class. As the film comes to a close, the adult Taeko is heard to say "I'll leave my ten-year-old self at home," but as the wonderful credits suggest, we must all face the reality before us that our past and future are, and will forever be, inseparable.

This is a wonderful film, and Takahata-San is an incredible storyteller.

9/10

Hands down the best film of 2003. Subtle, quiet, witty, intelligent, beautiful, and sophisticated.

Bob (Bill Murray) is a middle-aged actor in Tokyo, Japan to shoot a whiskey commercial. He's lonely, depressed, and unhappy in his marriage with a wife who is constantly making subtle jabs at him about not being there for his children. Charlotte (Scarlett Johansson) is a recent college graduate and newlywed in Tokyo, Japan because her photographer husband dragged her there. She's unsure if she made the right decision regarding her marriage, and doesn't feel comfortable with her new life. Bob and Charlotte meet up one night at the hotel they're both staying at, and have a heart-to-heart conversation about life in general. Neither one of them can stand Tokyo, and the culture is difficult for either of them to adapt to. They both enjoy each other's company so much and have so much in common that they form an unlikely friendship in a city in which they individually feel so cut off and helpless. It is through friendship that they both realize what they've been missing in their lives.

Sofia Coppola made incredible decision after incredible decision in the making of this film. The setting of Tokyo is so beautiful and yet so cold at the same time. The dialogue between Bob and Charlotte is ingenious. You really appreciate that there are still films out there that can depict a relationship between a male and female that is based on friendship and intellectual stimulation, without relying on sexual tension. It's such a wonderful film that anyone can enjoy, because it's so relate-able to your everyday life. If you've ever had a friend who pulled you out of a hard time when you felt so lost, regardless of their age or background, this is the film for you.

10/10, a masterpiece.

What I liked about this film is that it actually incorporates technology into it's plot, rather than simply relying on it for visual stimulation as many other films do. Robert Downey Jr. was just incredible. Right from the beginning you can't help but love him, even if sometimes you don't want to. The villains were a little typical though. And the film relies too much on action, when the action scenes, especially the final one, isn't really all that amazing. There is a great scene where Tony learns how to fly, and we see him fly over the Santa Monica boardwalk and L.A., which I found very cool.

It was interesting to watch, and I enjoyed seeing the portrayal of a superhero who is a technical genius who, ultimately, uses his brain rather than brawn to... well, do whatever it is that Iron Man does.

7.5/10

After revisiting this film just now, I have one word to say: Powerful. TDTESS is one of the greatest Cold War allegories ever created, but it really does transcend the time period it was created in and becomes simply a powerful film about the irrational fears, prejudices and jealousies of the human race, and the consequences of our behavior.

A spaceship is detected landing in Washington D.C., setting off mass panic all around the world, and prompting heavy military response. Upon arrival, two figures are seen exiting the spacecraft: Klaatu, a mysterious visitor who looks remarkably human, and Gort, an advanced and dangerous robot. As the world watches the events unfolding before them on television and radio, Klaatu desperately seeks out an audience composed of representatives from all the nations and cultures of the world in order to give them an important message, a message that concerns the continuation of all life on planet Earth.

When you watch this film you really have to be aware of the Cold War mentality of the time period, but the film works remarkably well even if you place it in the context of today's society. This is apparently why they have decided to create a remake, in theaters this December. Based on the trailer, I'm unsure if the spirit of this film will remain. I hope so, because this is an important film about issues concerning all of humanity. Perhaps they can find a new, more contemporary issue on which to draw inspiration for the remake.

TDTESS constantly reminds us of the achievements made by humanity, including some very touching scenes involving the national landmarks and memorials in the Washington D.C. area, while also making a statement about the fragility of our society. Its themes are universal, including cultural intolerance, aggression, apathy, greed, corruption, and innocence. It's an extremely intelligent film that sustains interest, and all the way until the end it remains a compelling and interesting human study.

10/10, a masterpiece.

For the first half hour the film is more or less typical of what I would expect from a Dreamworks, or any non-Pixar, animated film, which includes a few too many conventional "Dreamworks moments" and some safe comedy....

... and then it became beautiful! I am thoroughly impressed with this animated feature! I was not expecting it to be full of such quietly respectful Eastern sentimentality, or as artistically rich in detail as it was. I'll have to go back for a second viewing because there were so many little details I know I missed. The entire last hour of the film, for me, was near perfect. Tai-Lung's escape from prison, the last words of Oogway, the Five's battle with Tai-Lung, Po's training, the final confrontation between Shifu and Tai-Lung, and especially the fight between Po and Shifu for the dumpling, was outstanding and beautifully done. This film evoked the kind of feelings that a film based on such a significant part of Eastern culture should evoke in me. It is easily the second best film of the year so far for me, and by far Dreamworks greatest achievement yet.

9/10

The film had a couple of well-choreographed sequences and utilized some interesting techniques. For example, the SWAT chase was a well-done action scene, and the scene in which two important players are killed off simultaneously and another is nearly killed off was also a highlight. And, of course, Heath Ledger's performance may be the best this year in any film.

However, Maggie Gyllenhaal, Christian Bale, and occasionally Aaron Eckhart's performances brought the film down a bit for me. Also, the film felt too crowded with villains, if you ask me. And one problem I had immediately with the film as I was watching it was that it was too obvious that Chicago was the backdrop. It truly did not feel like Gotham to me because the buildings and the lighting looked nothing like they did in Batman Begins. There was one line in particular that bugged me; after Dent is nearly shot in a courtroom, Rachel casually remarks that if the Gotham D.A.'s life isn't threatened, he isn't doing his job. That took away from the seriousness of the film, for me, especially when Begins portrayed Gotham as such a terrifying place where you can be shot or mugged just stepping outside your door.

Again, there were some very creative parts, and I enjoyed the final dilemma posed by Joker towards the two ferries. It made for one of the better comic book adaptations I've seen, but ultimately it doesn't even come close to living up to the ridiculous hype it garnered.

8/10

Young Ellie: Dad, do you think there's people on other planets? Ted Arroway: I don't know, Sparks. But I guess I'd say if it is just us... seems like an awful waste of space.

Contact is a science-fiction film written by the late astronomer Carl Sagan. The title "Contact" refers to the main plot, in which the human race makes contact with intelligent extraterrestrial life for the first time. However, it has a double meaning, because the title also refers to the contact made between human beings, and how significant events can effect the dynamics between various groups of human beings.

Contact is about Ellie Arroway, a brilliant astronomer who passionately supports the Search for Extraterrestrial Intelligence project, a passion which is not reciprocated by those around her. One day, after years and years of listening to various radio frequencies across the universe, she finally hears a signal coming from the star Vega. This signal is unmistakably intelligent, as it consists of every prime number between 1 and 101. Upon closer inspection, something even deeper is discovered about the message, and what follows is an account of how this message effects the human race, including the political, religious, and the economic ramifications.

Carl Sagan was a staunch humanist, who believed strongly in the value of human ingenuity, and our potential to be accepted into a fictional galactic community which he wrote about often, consisting of the populations of extraterrestrial species on other star systems and planets. Contact most definitely incorporates all of these ideas, and is unmistakably Sagan in it's depth of inspiration, emotional content, and hope for humanity.

This is a film that has always stayed with me; it's a deeply moving and profound piece of art that poses serious intellectual questions, but at the same time makes an argument that not everything can be rationalized, including life, love, faith, and the existence of God. At its core, the film is a study... a study of the interactions between human beings, and the methods human beings will utilize in order to make sense of their existence on this "pale blue dot" of ours, whether it be by science, religion, destruction, or love.

It's not a perfect film, but it's one that has inspired me greatly; I wouldn't be the same without it.

9/10

Ever since 1984, the Coen brothers have made a career out of portraying naive characters caught in a tangled web of deceit, adultery, jealousy, ignorance, corruption, and stupidity, finding themselves in way over their heads, and typically resulting in their grisly deaths. Burn After Reading is no exception. The tone of this film is dramatically different than last year's spectacular No Country for Old Men, and many people expecting more of the same will inevitably be disappointed by this film. Before viewing this film, you should abandon all preconceived notions you may have based on the extremely misleading trailer, and simply walk into the theater prepared for a little bit of escapism. This film is not designed to be a serious masterpiece; that's not what it's after. Burn After Reading takes quite a while to rev up, and, quite frankly, the beginning feels very un-Coen-esquire and disappointing. Once Frances McDormand appears on the screen, the film begins to show it's potential. As it progresses, it becomes exponentially more original and involving, and four of the characters here do manage to shine, albeit some taking longer than others to do so.

The crux of the story centers around some gym workers who discover the personal writings and personal information of a CIA analyst recently forced into early retirement. The gym workers naturally assume they've stumbled upon classified material, and attempt to blackmail the analyst, setting off a wacky chain of events in which the ignorant blackmailers find themselves in way over their heads, dragging others into the situation, with inevitably disastrous consequences for all involved. The aforementioned four characters are played by Frances McDormand as a self-conscious gym trainer, Brad Pitt as her flamboyant and surprisingly un-annoying coworker, Richard Jenkins as the shy gym manager, and George Clooney in a strangely amusing role where no occupation seems to be required. Many of the other actors involved fall flat most of the time, including the usually good Tilda Swinton, whose two-dimensional character I could not appreciate very much. John Malkovich has an interesting role as the CIA analyst, but I feel they could have done so much more with this character; his last appearance in this film shows off this character's potential very well, it's just too bad that's his only great moment.

Burn After Reading portrays every last one of its characters as leading secret lives, driven by lustful and greedy intentions, manipulating those around them, and generally making life difficult for everyone involved in this tangled web. The film interestingly clues its audience in to the major points of the plot, such that we know what the main characters do not for the majority of the time, but interestingly throws in some side plots in which we, as audience members, are totally clueless. While these side gags are often rich in suspense, their payoffs are a mixed bag, serving primarily as distractions, though at times hilarious ones.

As mentioned before, this film is largely designed to be "fun," and makes NO promise that it will be this year's Oscar winner for Best Picture. Could it be? To me it's highly unlikely, unless the Academy is so enamored of the Coen brothers that they fail to recognize that this film is nowhere near as involving as No Country for Old Men, and that the plot, dialogue, characters, and setting is nowhere near as inspired as that in Fargo. But you have to hand it to the Coen brothers for having the courage to have a little fun once in a while. The last line in the film sums up the ambiguity of this film perfectly. I can give this film a recommended viewing, but just note that my recommendation is not as enthusiastic as it could be. If you read this review and think it sounds like a film you would be interested in, by all means go and watch it in theaters.

7.5/10