The Girl with the Dragon Tattoo

The Girl with the Dragon Tattoo is an excellent suspense/mystery/thriller about a troubled computer hacker, Lisbeth, and a disgraced investigative journalist, Mikael, joining forces to solve a 40-year-old murder mystery revolving around a powerful yet eccentric family.  It is a foreign film adapted from a popular series of novels and also set to be remade by Hollywood (Daniel Craig has signed up to play Mikael. No word on who will play Lisbeth yet, but I heard a rumor it might be Carey Mulligan, who is a great actress and could pull it off.)  The film is a dark thrill ride that is full of great twists. It is subtitled, though, in case you are opposed (and even if you are you should suck it up; you get used to them).

What stands out the most for me about this film is the acting.  Noomi Rapace literally transforms herself to play Lisbeth, the dark, brooding, tortured heroine.  More stunning than her physical transformation, though, is her ability to display a vulnerable, gentle femininity hidden deep beneath the grizzly, disturbed character she outwardly portrays.  Through the violent, angry acts she commits, she still manages to keep a gentleness in her eyes that reminds us of her victim hood, and, without it, her character would not be nearly as sympathetic or interesting.  The rest of the cast is also excellent.  Michael Nyqvist reminds me of and, to some degree, resembles Daniel Craig in his role of Mikael. He does an excellent job and sets the bar high for Craig (as well as builds the excitement for seeing him in that role).

The story has its tough moments, but, overall, it’s a great adaptation from a novel.  It manages to introduce and set up everything necessary for the film without it feeling like the film drags on.  We start right in the middle of the story with Mikael, as he is set to go to jail- a very telling introduction to his character.  Lisbeth takes a little longer to set up, but it is done well.  There are parallel disturbing scenes involving her that, at the time, I didn’t quite understand in the context of the story, but actually prove to be crucial towards explaining later, very important character motivation.  Also, we see the connection between Lisbeth and Mikael early and can see how they will be running into each other in the future.  I get the feeling that had I read the novel, I would be saying this set up is done efficiently (and I think it is), but it does take a little longer than normal to really get into the heart of the story.

 

Where I have issues with the story is towards the end.  It appears the filmmakers took the time in the beginning to properly set up the story, but tried to quickly jump around and tie up loose ends at its conclusion (which, given its length, it had to).  There are significant jumps in time as well as a puzzling resolve to the relationship between Lisbeth and Mikael, given how prominent each character is.  I would say that these not so tightly tied loose ends will be investigated further in the sequel, but, as a stand-alone film, there are questions.  (As an aside, there is a foreign sequel and I believe Hollywood plans on completing a trilogy- much like the Bourne Trilogy.)  Also, as with most thrillers, some of the clues seem very convenient (such as someone’s pension for rewearing the same sweater), but I give it a pass because the story is gripping and the reveal of the clues is sincere and truthful enough.

This film is a highly entertaining, dark thriller that is very enjoyable.  I would recommend this film to anyone who is not squeamish or easily rattled.  By this, I mean there are some scenes and images that are disturbingly violent and sexual.  I am not one to be prude, but a younger, less mature audience should probably sit this one out or at least have it screened by a trustworthy adult first.  Also, for those of you who simply do not enjoy such scenes, they very well may ruin the film for you.  However, if that doesn’t bother you and you’re willing to suck it up and live with the subtitles, I highly recommend this film and believe you’ll be very entertained. 

If you like this, check out:  The Black Dahlia (Widescreen Edition) or The Usual Suspects (Special Editon)

Scale: 

1-  Lots of Better Movies at Blockbuster   

2-  Might Be Worth Renting

3-  Rent It When You Get to It

4-  A Must Rent, at some point

5-  Put It in Your Queue NOW!

My Rating: 4

Buy The Girl With the Dragon Tattoo

Wifey's Chick Flick of the Week- Easy Virtue

Easy what?... I know, that’s what I said too when my wife brought Easy Virtue home from Blockbuster.  I checked out the cover- Jessica Biel (well, the guys have something to look at)… in a time period piece (never mind).  Colin Firth and Kristin Scott Thomas are in it (okay, some good acting) and a Chihuahua with a plume feather on his head is somehow being promoted over these two actors (yikes!).  Needless to say, I had my reservations and, alas, they were fulfilled as Easy Virtue tanks pretty badly.

I don’t really know where to start so I guess I’ll go to the beginning.  The opening image shows Larita (Biel) winning a car race then making eyes at John (Ben Barnes) then they cut to an artsy, graphic-driven make-out session between the two characters.  So, we know she races cars and they’re a couple… oh, and it’s some time in the early 1900’s.  This opening image proves to be the only true set up in the entire movie, though.  The next twenty or thirty minutes are characters talking out the plot and trying to reveal exposition through dialogue.  A few quips are thrown in, but they’re hard to really appreciate because the characters are not set up well.  They express their motivations, but we never see it… at least not until over half way into the movie.  Much of comedy is set-ups and pay-offs and this film never seems to set up its jokes.  That alone dooms it.

However, that is not the only problem with the film.  The score sticks out like a sore thumb.  It’s a corny, show tune type of horn instrument ensemble that overwhelms every scene and does not come close to matching the action or even contrasting the action so as to create irony.  The film shows stodgy people bickering and then it plays show tunes over it. It could be funny if it is a more lively fight or if the music is subtler, however, neither is true.  It’s calm, dry British type humor and Jessica Biel’s “American” character does little to alter the mood and create the opportunity for a big, loud show tune to be appropriate.  Ultimately, it feels like the music is just haphazardly thrown over the scenes to try to keep the tone light and quirky when the action is anything but.

The storyline is erratic.  There is not real character development or story growth.  Rather, the characters all stay the same throughout the entire film and simply alternate between fighting and trying to make up (or in some cases, just avoiding a fight for a while) until eventually the end occurs, which is both predictable and just strange.  Making matters worse, very little actually happens in this film.  Few characters actually try to do something about what is troubling them, especially our leads.  Larita shows up and complains from the beginning that she does not want to be there and does very little to try to change her circumstances.  There is a brief period about half way through the film in which Larita and her husband’s mother (played by Scott Thomas) get a little back and forth battle going.  That aside, though, Larita just bickers and does nothing until the finale.  The same goes for her husband, John.  He does nothing, other than saying he wishes Larita fit in better.

I could go on, but why beat a dead horse?  Frankly, the film is not very good. 

My ratings so far must show a severe prejudice against chick flicks, but I assure you, my wife has agreed with each rating.  I have given her a hard time about her choices, so far, and she has taken it in stride.   She considers herself 0 for 3, but I think she has good taste in movies and her average is bound to improve, so hang in there with us.

If you like this (or want a better recommendation), check out:  Pride and Prejudice (Restored Edition) 

Scale: 

1-  Lots of Better Movies at Blockbuster   

2-  Might Be Worth Renting If You’re Bored

3-  Rent It When You Get to It

4-  A Must Rent, at some point

5-  Put It in Your Queue NOW!

My Rating: 0.5

Buy Easy Virtue

Crazy Heart

Crazy Heart is an excellent film about a drunk, washed up country singer on his path to redemption.  The storyline is a little unoriginal and predictable (I found it strikingly similar to the previous year’s hit The Wrestler), but it gets a pass because it serves a greater purpose for the film, which is to get out of the way of its stronger points:  the acting and the music.

While the storyline is formulaic, it is still well written and very well done.  It follows the story beats you would expect in a story about personal redemption versus substance abuse.  The hero, Bad Blake (Jeff Bridges) meets the catalyst to his change in the form of sweet reporter Jean Craddock (Maggie Gyllenhaal).  A romance buds and, from there, you can probably predict the ups and downs of the relationship and Blake’s struggle.  However, the dialogue and writing is understated nicely and the drama is not blown out of proportion.  Also, it does an excellent job of using simple, but meaningful little scenes to show both sides of the main character:  the sweet, loving man and the destructive substance abuser suffocating him.  These qualities of the writing give the film a much realer feel as well as accomplishing its most important task:  creating a vehicle for great artists to perform.

There are two well-deserved Oscar wins from this film:  Original Song and Best Actor. I’ll start with the acting.  Jeff Bridges is outstanding.  He has an easy manner about him that makes him likeable even when he’s behaving irrationally or destructively.  It is evident in the very beginning of the film, when he gets a drink on his “expense account” only to discover no such account exists… even after he agreed to perform at a bowling alley.  Rather than making a scene, he swallows his pride (and his drink) and pays (even though he’s broke).  While the writing is there with a nice, subtle exchange to show he’s a good guy deep down, Bridges’ performance is what sells it.  The writing is very subtle, and, without the performance, the likeability of the character doesn’t register, and, without that, we have no rooting interest in this character’s struggle, and, therefore, we don’t care about the story (see how fine that line can be?).  In this film, Bridges finds himself square on the correct side of that line, though, and the film shines because of it.

While Bridges is extraordinary, he does not do it on his own.  Gyllenhaal is excellent.  She is charming and likeable from the second she appears on screen, which is crucial to her being the catalyst for Blake’s change.  The rest of the acting is excellent as well and I must say I was impressed with Colin Farrell.  Since Miami Vice, it seemed like he had dropped off the face of the planet and his previous pension for high concept flops made me wary of his acting ability (or role selection) heading into the film.  However, he is very good and, surprisingly, pulls off being a pop country star despite having a real life Irish brogue (not in the movie,).

What really sets this film apart for me, though, is the music.  I’ll admit I’m not a country music fan, but I’m a huge T-Bone Burnett fan (producer).  The man just seems to get music and he is in top form with the soundtrack for Crazy Heart.  As you might expect, it is pretty crucial for a film about a country music star to have some good music in it.  Some films would try to skirt around the issue and play as little original music as possible because, well, not all actors can sing and it’s hard to make hit songs.  In this film, though, music is embraced and celebrated, as it should be.  The only thing that has lasted as long in Blake’s life as alcohol is his music.  It’s integral to his capacity to change, so, in order for this story to make sense, we (the audience) need to see his connection and love of music.  Thanks to Burnett and the great work by the music department, this film delivers on that front.

Crazy Heart is a touching film of redemption with solid writing, great acting, and great music.  Even people who don’t have a taste for country music (like me) can appreciate it in the film and even enjoy it.  Further, all the aspects of the film are sound and it is a very entertaining, enjoyable experience.  I highly recommend it.

If you like this, check out:  The Wrestler or Walk the Line

Scale: 

1-  Lots of Better Movies at Blockbuster   

2-  Might Be Worth Renting

3-  Rent It When You Get to It

4-  A Must Rent, at some point

5-  Put It in Your Queue NOW!

My Rating: 4

Buy Crazy Heart

or Buy its soundtrack Crazy Heart: Original Motion Picture Soundtrack (Ltd. Deluxe Edition)

Wheez's Vintage Movie of the Week- North by Northwest

I’m going to start out by being honest… I don’t think North by Northwest is that great (collect yourself…. Good.)  I’ll now qualify that statement by saying it’s not great by today’s standards.  However, for its time, it clearly was a masterpiece as elements of the film can be found in the bedrock of today’s action/thrillers.  Much like Citizen Kane, North by Northwest should be viewed with the restraints of its era in mind.  If you watch it through that perspective, you’ll be awed, if you watch it through a modern perspective, you’ll be entertained, but not blown away.

The story is excellent.  It carefully crafts a mystery, thriller of government and international intrigue that is full of action, some suspense, and comedy.  I say some suspense due to a pet peeve of mine that is prevalent in films of this era:  talking out the plot.  The film does a great job of not letting on to what’s happening early on until, finally, it gives in and has a government alphabet soup agency meeting in which someone dryly states all the painful exposition.  It’s actually pretty comical because the character is literally saying exactly what everyone in the room commonly knows.  I couldn’t help but think of Basil Exposition in Austin Powers.  However, the film avoids prolonging the exposition as it blurts all or most of it out in that one scene, which makes the rest of the film enjoyable, but not too suspenseful because we already know what to expect. This is what kills it a little for me- being on the edge of your seat results from not knowing what to expect and, well, you know what to expect.

That aside, the story is fabulous and parts of it have been parodied and copied in films over the past fifty years.  Some of the more memorable scenes include a dive-bombing crop duster and a suspenseful chase down Mount Rushmore.  More impressive, Alfred Hitchcock and writer Ernest Lehman are way ahead of their time on how to construct the storyline for a mystery/thriller.  The film masterfully navigates twists and turns to keep the audience hooked while also progressing the story and not losing the audience.  It sets up crossing and double-crossing characters.  It makes us question if the lead character is crazy or everyone around him is.  It does what a good action/thriller should do.

Further, the film mixes in some relevant themes of the time.  Being a government thriller from the late 1950’s, the Cold War is involved in the storyline. Further, the film  uses the traces of the Cold War in the film to question how far is too far when it comes to war- a theme that is definitely still applicable today.

The film has a distinct Hitchcock feel as well, even though it’s not a typical Hitchcock genre.  The directorial style mirrors other Hitchcock films, but doesn’t rival the direction of his better films, such as Psycho.  The acting for me is hot and cold.  There are scenes that are excellent and very well acted.  However, there are other times when the film cuts back and forth between actors in a conversation, who appear to be reading off cue cards.  Cary Grant is a classic actor, but in this film he really bombs some scenes.  While some scenes are great (like when he acts like a dopey drunk), in other scenes, he seems to rely solely on his accent to present charm and he doesn’t put much into his performance other than saying the lines he memorized (or is reading).

North by Northwest is a classic film and groundbreaking for its time.  It’s not Hitchcock’s greatest, but it’s still an entertaining Hitchcock film, and that says something.  It’s both a great trip back in time to the foundations of modern filmmaking as well as an entertaining film to watch in your living room.  It’s a must see for film enthusiasts, but is closer to just another film for the casual movie viewer (especially for younger viewers).  Either way, it’s a classic and is worth checking out.

If you like this, check out:  Indiana Jones and the Raiders of the Lost Ark (Special Edition) or Strangers on a Train

Scale: 

1-  Lots of Better Movies at Blockbuster   

2-  Might Be Worth Renting If You’re Bored

3-  Rent It When You Get to It

4-  A Must Rent, at some point

5-  Put It in Your Queue NOW!

My Rating: 3.5

Buy North by Northwest (50th Anniversary Edition)

Babel, and why it's way worse than Crash

Babel is an attempt at an international version of Crash in which a group of intercontinental characters are all loosely connected through fateful events, but all suffer as a consequence of fate and the harsh realities of the real world.  As the title hints, it uses language as a means to show division between people and cultures.  However, despite its clever premise and lofty aspirations, Babel falls flat due to a disconnected, meandering story, impersonal characters, and extreme melodrama.

The story is a mess.  It jumps around amid three places and groups of people:  Morocco, Japan, and California/Mexico.  In order to show simultaneous suffering that does not happen sequentially, the film shows these three stories that occur at different points in time as if they are occurring simultaneously.  Even by the end of the film, I wasn’t quite sure what the timeline was. 

Further, the three stories drag on too long and are quite unrelated (even the common theme of communication isn’t common as there’s no language barrier in the U.S./Mexico story, just prejudice).  Where Crash is successful, is in not hanging around too long in a scene unless something very dramatic is happening, and even then it moves quickly.  Babel, contrarily, indulges in countless, documentary-style, unnecessary establishing shots for EVERY scene that just slow the entire pace of the movie down to a crawl.  Further, the film lingers with one story for way too long so that when the film cuts back to another of the three stories, it takes us (the audience) out of the film because we’ve been engrossed in the other story for so long.  There is no sense that these three stories are all working collaboratively towards some similar, relevant conclusion as in Crash, rather, it seems like there are three, disconnected short films being jammed all into one using the cliché theme that “the world’s a cruel place” as the excuse for doing it.

Now, a big reason it is easy to criticize the story is because we (the audience) have no rooting interest in its characters.  Keeping with the Crash comparison, the (only) reason Crash is such a great film is because it saved the cat… a lot.  “Save the cat” is a term coined by screenwriter Blake Snyder and it refers to a scene or part of a scene in which the (main) character or hero/heroine does something endearing (like saving a cat) that defines the character and also gives us reason to like him/her.  Some examples from Crash are the racist cop (Matt Dillon) helping his father to the toilet in the middle of the night and the locksmith (Michael Pena) giving his young daughter the invisible, impenetrable cloak. We see these scenes and we think, “Oh, Matt Dillon is such a pr**k because he’s up all night helping his dad deal with his enlarged prostate” and “That locksmith isn’t a gang banger, he’s just a hard working father trying to provide the best for his family”.  In other words, we’re hooked. We care what happens to these characters now.  In Babel, there’s no trace of saving the cat, which makes it difficult for us (the audience) to care about any of the characters because the film is too busy juggling three stories.  Further, all the characters are markedly flawed to the point that the tragedy that befalls them is less tragic because their issues, to some degree, cause it:  the Moroccan boy is dumb, his father is negligent, the Mexican nanny is weak-willed and cracks under pressure, her nephew is brash, sarcastic, and drives drunk, the Japanese girl is a weird sexual deviant, her father is negligent, Brad Pitt is aloof, and Cate Blanchett is arrogant.  I’m not saying characters shouldn’t have flaws, but they should have redeeming qualities, shouldn’t they?  As the story progresses, we see some of those redeeming qualities, but not enough to outweigh the flaws that got them into this mess in the first place (except for with Pitt and Blanchett, but their story is so stagnant that it is boring- they literally sit in the same place doing nothing for the majority of the second half of the film.)

 

Some films such as This Is Spinal Tap are dubbed mockumentaries because they use a fictitious story in a documentary-style to make fun of documentaries. Well, I would call Babel a melomentary because it uses a fictitious story in a documentary-style to dramatize a news story they couldn’t get actual footage for and never happened.  The film tries so hard to be poignant and dramatic in every scene that it smothers you (and smothers you without you having a rooting interest in the characters).  What’s worse, in doing so, when the final, really dramatic scenes present themselves, they just get lost in the fold as another melodramatic scene instead of standing out as the climax of the rising action.

This film has a good premise, but comes across as a haphazard splicing of three short stories.  It isn’t really worth checking out unless you are the type that really wants to fight for the cause and are already incensed at the happenings of the world (and the U.S.’s activities therein).

If you like this (or want a better film), check out:  Crash (Widescreen Edition)

Scale: 

1-  Lots of Better Movies at Blockbuster   

2-  Might Be Worth Renting If You’re Bored

3-  Rent It When You Get to It

4-  A Must Rent, at some point

5-  Put It in Your Queue NOW!

My Rating: 1

Buy Babel