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This review is from: The Fighter (DVD)

"The Fighter" is easily director David O. Russell's most conventional film to date. Russell has been out of the film world for a few years after the mixed reception he received with the release of 2004's "I Heart Huckabees," an underrated film that may have tried a bit too hard. But when Russell burst onto the scene with the subversive "Spanking the Monkey," the exquisitely madcap "Flirting with Disaster," and the audacious "Three Kings"--I knew that I would follow this guy wherever he led! Well, he's back. "The Fighter" comes straight from the underdog sports genre of filmmaking, and in its plotting stays true to the course you would expect. But thankfully, there's a bit more to this appealing tale that's as much about brotherhood as it is about prizefighting. Sold by an A-list cast (the acting awards and nominations have already started rolling in), "The Fighter" manages, for the most part, to transcend the usual cliches with its focus on family.

Telling the true life tale of Micky Ward's unorthodox, and extremely bumpy, road to capturing the world light welterweight title--"The Fighter" appeals to the same everyman underdog sensibilities that countless films have already tapped. Mark Wahlberg, in a refreshingly understated way, lends a calmness to the center of the picture. The rest of the cast, for good and bad, go for broke in large showy performances. Christian Bale, gaunt and tweaking, plays Ward's brother. A former boxer and Micky's trainer, Bale is hapless and helpless as a habitual crack addict and a lowlife criminal. The drama between Bale and Wahlberg is easily the strongest element in "The Fighter" with Bale being both invaluable AND utterly destructive to Wahlberg's career prospects. Wahlberg is continually overshadowed within the family by his needier brother who tasted greatness before completely falling apart.

Make no mistake, in my opinion, "The Fighter" belongs to Christian Bale in perhaps the finest performance of his career and of the year. Stripped to skeletal proportions, Bale inhabits every moment with a desperate intensity. But despite everything, you understand why Wahlberg can't turn his back on his brother. Amy Adams displays a pleasing toughness in a change of pace role as Wahlberg's girlfriend. And Melissa Leo has been garnering a lot of attention as the brothers' mother. Unfortunately, the film is not without its shortcomings. For my taste, Leo is a bit over-the-top as is much of the other family dynamic. There are many sisters on hand, none of whom are developed, and so when the whole clan gets together--those scenes tend to veer over the line of believability.

I can easily overlook these false (and noisy) moments, however, to admire the interplay between the brothers. Every quiet moment is worth it. It's easy to lose Walhberg in all the larger than life shenanigans, but were it not for his simplicity--""The Fighter" might have pushed into overwrought melodrama. As is, he perfectly balances with Bale's manic energy. And I have to say it again--Bale is stunning! For this alone, "The Fighter" stands apart from every other film selling a similar story. Bale, Bale, Bale!!!!! KGHarris, 12/10.

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This review is from: Harry Potter and the Deathly Hallows, Part 1 (DVD)

Part I of the Deathly Hallows is faithful to the book for the most part. Although a few things were cut out (such as the evil werewolf Greyback with the Snatchers or cutting out the Harry/Lupin fight in favor of a cute tent dancing scene with Hermione) the overall spirit of the film was faithful to the book. 

Director David Yates I feel did not make a great film with Order of the Phoenix but clearly redeemed himself in my eyes with this film. 

The film felt rushed at first. In the book there was more build-up with Uncle Vernon. On the other hand, Harry's contemplation of the little stairway closet he used to live in, you can almost hear him say "Wow, I've come a long way." 

And indeed he has. He wants no one to be hurt or injured and would rather go off on his trek on his own. But Ron and Hermione will have none of it. and go Disapparating all over the English countryside with the Death Eaters hot on his tail. 

Several scenes they got right: Ron's anger and jealousy with Harry and Hermione. The Patronus doe to the lake where the sword of Gryffindor is laid. The snake attack at Bagshot's place. 

And most amazingly, the great animation of the Three Brothers tale, as told by Hermione (and interrupted by Ron a couple times)! 

Nitpicking Follows! 

Several things I would have liked to have seen: More of the elf Kreecher and his explanation of Regulus Black's switching of the Horcrux at the lake introduced in the previous film. And in the book, Harry's disguised self at the Ministry of Magic enabled him to free many people from the dungeons of the Ministry but that didn't happen here. And more of the radio -- there was a lot more going on with the radio broadcasts {Potter Watch}, like a Radio Free Wizard or something! 

Final Thoughts: 

I can see a person not having read the book might have some trouble with parts of the screenplay. Reading the book clearly helps in filling in the gaps. The snappy dialogue and the deep emotional investment by the audience is wrenching. But the occasional humor (the tent scene) was cute. And the soundtrack by the London Symphony Orchestra was superb. 

It's going to be a long wait to this summer! 

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This review is from: 127 Hours [Blu-ray] (Blu-ray)

From the macabre paranoia of "Shallow Grave" to the comedic debauchery of "Trainspotting" to the disturbing creepiness of "28 Days Later" to the fanciful romanticism of "Slumdog Millionaire," director Danny Boyle has made kinetic films that really connect to the viewer at a visceral level. Very much a visual stylist, Boyle uses every tool at his disposal--quick cut editing, frantic camera movement, fantasy sequences, jarring music--to really delve into the emotional core of whatever story he is telling. At first glance, "127 Hours" would seem an odd follow-up to the Oscar winning "Slumdog." Stripped down to the most primal level, "127 Hours" is one of the simplest, most straightforward narratives you're likely to encounter. And yet, through the technical bells and whistles and an earnest James Franco performance, you are immersed in a world of madness, desperation, perseverance, hope, struggle and ultimately survival. And there is no denying that this very matter-of-fact tale packs a punch! 

Franco plays real-life adventurer Aron Ralston. In 2003, the reckless Ralston set off to explore Utah's Canyonlands National Park. No one knew where he is going and safety was secondary to fun in Ralston's blissed-out commune with nature. While negotiating a crevice, a boulder dislodged and trapped Ralston's arm stranding him in isolation within the earth. The film then documents Ralston's dilemma for the next 127 hours. With limited supplies and no mobility, Boyle makes the most of his claustrophobic environment by inviting us into Ralston's mind. And the primary success of "127 Hours" is that it really traps us within this confined space as well. We're there to the bitter end where survival and sacrifice meet at a crossroads. 

In many ways, I wish people cold go into "127 Hours" with no expectations and forewarning of what is going to happen. I know that's naive. Ralston's tale is certainly public domain--reported on TV, the subject of books and news features. In fact, the entire film is marketed around the gruesome turning point in Ralston's struggle. This decisive act that spared Ralston's life is so harrowing and Boyle does not shy away from its unpleasantness. But the promise of this scene lingers over all that proceeds it. We are biding time for this ultimate act. We know what's going to happen and we know it's going to be graphic--everyone has told us so well in advance. But that sequence is so strong, it has come to define the entire movie. "127 Hours" has literally come to be described as "the movie where he......." (I, for my part, have resisted divulging this point--although you can read it everywhere else, including the product description and other reviews). 

Franco does a great job making us root for Ralston. Impetuous and somewhat irresponsible, this thrill seeker didn't take the necessary precautions advisable. He thought he was immune to the dangers inherent in the mountain. But Franco makes him such a life force, you want him to be the victor over his poor decisions. His whip smart survival instinct keeps him alive and he never gives up. But as he faces mortality, he comes to understand his shortcomings and even faces visions of the future. His videotaped proclamations to his family are the emotional highpoint of "127 Hours." Franco is a physical actor and acquits himself well in the adventure scenes--but it is the immobile moments that showcase an interior to Franco that hasn't always been on full display in other films. Boyle takes full advantage of Franco and delivers one of the year's most effective human dramas. Stunning in its simplicity, "127 Hours" has an energy and vitality that make it stand out from the pack. KGHarris, 11/10.

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This review is from: Black Swan (DVD)

Black Swan is one of the year's most acclaimed films, nominated for six Academy Awards including Best Picture. Watching it the first time I found it overrated and inferior to its companion film The Wrestler. Watching it a second time, I found it to be one of director Darren Aronofsky's most focused efforts. His skill and maturity as a director continues to grow and progress with each film and while it's too early to say if Black Swan is my favorite film by the man it may be his most impressive feature yet. 

Natalie Portman plays Nina Sayers, a dancer at a New York ballet company. It's the beginning of a new season and the first production is of Tchaikovsky's Swan Lake. With the former star Beth MacIntyre (Winona Ryder) being cast out, the director Thomas Leroy (Vincent Cassel) must find a new dancer that can embody both the White Swan and her evil twin the Black Swan. Nina is dedicated to her craft, a perfectionist who knows every move perfectly. Newcomer Lily (Mila Kunis) is her opposite; free-spirited and effortless. Thomas knows Nina can dance the White Swan, but he's not sure she would able to convincingly dance the Black Swan. When Thomas finally casts Nina as the Swan Queen, she becomes so intent on perfecting her role that she begins transforming into the character (and what an amazing transformation it is). 

Nina is a fascinating protagonist; an innocent and sexually repressed character living with a sinister, domineering mother (Barbara Hershey). Nina's fragile mental state is immediately apparent and the film being told from her perspective makes us always question whether what we're seeing is reliable. A portrait of a slow mental breakdown is nothing new in cinema, but it's the adventurous way it's handled in this film that makes it so special. Aronofsky obviously derives some inspiration from Roman Polanski, particularly Repulsion with its portrait of female sexual repression, but Black Swan doesn't descend into a retread of earlier material. It's an example of a film being culminated from various influences to create something very new and fresh. 

Natalie Portman has received the majority of notice for her performance, but everyone here is worth mentioning. The stunning, beautiful Mila Kunis, in her first legitimate dramatic role, is perfect as Lily. Her character is a big part of the film, but one of the less complex roles. Still, she's a convincing opposite to Portman's Nina. Hershey is highly underrated doing some career-best work as Nina's mother. This is a stunning performance by an actress we don't see much of anymore and, in a less competitive year Hershey would've been a sure thing for an Oscar nomination. She brings such nuance to the simultaneously caring and overbearing mother role, making her loathsome yet sympathetic. Vincent Cassel is essentially playing the only male character in this film and he plays the charming, amoral, Svengali-like Thomas with a flamboyant subtlety that is brilliantly controlled and convincing. He's been accused of hamming it up, but I didn't get that impression. It's an Oscar-worthy performance that was unfortunately overlooked. Even Winona Ryder makes an impression with little screen-time. 

Portman will win the Academy Award this year for her performance as Nina Sayers, not as a sympathy vote or to award her for her time in this industry, but because she gives a remarkable, psychologically complex performance and pulls it off flawlessly. Portman so completely captures Nina's fragility, innocence, and elegance while bringing her through a haunting and memorable transformation that never feels over-the-top or forced. She's so in control of her performance and, physically, she's gone out of her way to look the part as well. Already small, Portman lost 20 pounds for her role as Nina. It's a sympathetic performance of a complicated character. Nina isn't the greatest female protagonist of 2010, but Portman gives the greatest female performance of 2010. With more roles like this, Portman could establish herself as a force to be reckoned with. When Nina says "I was perfect," you agree because of the job Portman has done here. 

The cinematography by Matthew Libatique is very tight, emphasizing close-ups on the face, while giving the film a very raw feel. The film has a visual style that almost completely mirrors the grainy, muted look of The Wrestler, but Black Swan is a much more beautiful film. The hypnotic opening scene is so instantly intriguing it takes hold of your interest and leads you through the rest of the film. The terrific, sometimes terrifying makeup and beautiful score (which does incorporate much of the Swan Lake ballet) all lend beautifully to the tone created by Aronofsky. 

Black Swan is not an easy film as it doesn't comfortably settle into any particular genre. It has the elements of a horror film and a psychological thriller but never quite falls into either genre, despite having many wince-inducing scenes. It has a European sensibility, evident in Aronofsky being influenced by Polanski's Repulsion and The Tenant and that might not sit well with some audiences. Other people may flock to the movie due to the highly publicized scene between Portman and Kunis (you know which one I'm talking about) which is neither gratuitous nor graphic and has supernatural element that may disappoint viewers hoping for something much more "arousing." 

For me, Black Swan really achieves greatness in the final 20 minutes which I found to be some of the gripping, powerful, and fascinating minutes of any movie from 2010. Even when using CGI effects, Aronofsky manages to simultaneously evoke emotion and challenge the viewer. Few films move me to tears, but Black Swan did even while knowing what to expect. Yes, it took a second viewing for me to really appreciate this film but I found myself blown away by it. It's an amazing film, a brilliant companion piece to The Wrestler, and an emotional rollercoaster ride. Black Swan is the most profound, moving cinematic experience I've had from a 2010 film. It's less of a film than an experience. 

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