The Best Exotic Marigold Hotel

John Madden, 2011  (8.1*)

From the director of Shakespeare in Love (1998) comes a more serious film, as a disparate group of seven Brits go to India to live in the hotel of the title, not knowing it's not really open yet, due to the ineptitude of undercapitalized owner Dev Patel, who inherited it when his father died.. 

This is a comedy with some tender moments, and a little drama, but without sentimentality, and with Oscar winners Judi Dench, Maggie Smith, Bill Nighy and the impeccable Tom Wilkinson in the cast, who is terrific here, it has a high degree of craftmanship..

IF anything, Dench has gotten even better with age.. I 1st saw her topless in Shakespeare's A MIDSUMMER NIGHT'S DREAM in 68 and I've been a big fan ever since (she was a babe!) - her acting is even better now, as tv's BEHAVING BADLY added to the argument that some of her best work may even be for the little screen.. (I think of all the living actresses, I could spend my life with her 1st! sorry, Salma, Scarlett, and Sofia!)

As for Tom Wilkinson, I've never seen even an avg performance from him, you very soon forget he's acting in any role he tackles - he's superb here, steals the acting kudos.. Nighy is good again as usual, Maggie Smith doesn't have much to do, and Dev Patel is easily the most overrated actor in the cast, the other Indian actors are all better in fact (he's an over-actor)

The rest of the hotel's name was "For the Elderly and Beautiful", and the story is from the novel THESE FOOLISH THINGS by Deborah Moggach. Like most, the literature is, no doubt, deeper and richer than the film, which is fine, just not overpowering.

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Margin Call

J.C. Chandor, 2011 (8.2*)

Another spooky film about how flimsy and corrupt western capitalism is at the top levels, those megalithic banking corporations that control everyone’s money and who always start what they like to call “investor panic”, when it’s really just the pros themselves making all the panic moves to cover their own assets.

This story involves massive layoffs at the trading floor of a major unnamed banking corporation. As one departs, he tells an underling he was working on something big and to be careful; the the junior risk analyst checks it out, the ripples become immediate and far-reaching.

Stanley Tucci is the laid off analyst, who unfortunately doesn't have a large enough part here. Dr. Spock look-alike Zachary Quinto (Star Trek) is the junior analyst whose work starts the whole cookie crumbling. Simon Baker (British accent and hair and all) is miscast as a division head bereft of any ethics. Jeremy Irons is credible, though untaxed, as the CEO of the entire corporation, who is, of course, self-serving and short-sighted. Demi Moore is perfect in a small part that added little to the story other than a female actor. Kevin Spacey is seeming a little tired in his too familiar part, as a experience trading group manager, a long time corporate employee with a little conscience remaining, since he came from the old school.

This repeating mistake usually involves someone big basically admitting all the “paper” they’re holding is generally worthless, whether it’s corporate bonds, mortgages, credit swaps, derivatives, and other worthless stuff they seem to invent daily while the feds look the other way - so they decide they have to start dumping theirs, and anything else they're holding, before everyone else does, and salvage what they can in the ensuing debacle.

This is sadly the recurring story of western capitalism: people with too much concentrated money and therefore financial power start taking too much risk for the amount of actual money they have. When they either collapse or start liquidating everything, it has ripple effects throughout all financial markets and millions of people lost trillions in wealth in a few hours. For some reason, this sort of sociopathic insanity is not only endorsed but seems to be allowed to control of nearly every western economy – or more accurately, has gained control of every western economy.

This version of the inner workings of high finance will be boring to many, but I found it quite riveting and totally credible. It is rumored to be the story of Merrill Lynch, who basically became bankrupt and was turned over to Bank of America for resurrection. (We don't allow corporate failures, just millions of individual ones by average citizens).

This story has happened far too often in my lifetime of 60 years. After awhile, you realize this is the scam. You extract as much money as you can from a corporation, then declare bankruptcy. If you an figure out a self-sustaining scam, you'll succeed longer - but remember that the world first corporation, The Dutch East India Trading Company (who are the 'bad guys' in the Pirates of the Caribbean series), also declared bankrupcty after years of success, so the pattern and con is as old as the first time it was pulled off. It's the oldest grift in the west and legal if you can get away with it.

First time director J.C. Chandor (left) won seven awards for this, and received an Oscar nomination for screenplay directly for the screen (it lost to Woody’s Midnight in Paris). For a debut film, this is quite professional, and bodes well for the films of Chandor’s to follow.

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Melancholia

Lars von Trier, 2011 (8.4*)
This is a rarity among films, a science fiction film that has little to do, really, with that aspect of the story. Instead, the fact that a hidden planet has emerged from behind the sun and is heading on a path toward earth really is little more than a metaphor for the characters psychogically complex stories.

Von Trier has created his most mesmerizing film to date, full of dreamy, surrealistic images more reminiscent of painters like Magritte, De Chirico, and Dali, than any film references (see film still at the bottom) – except perhaps early Antonioni. 

Kirsten Dunst won five acting awards for her gutsy portrayal of a newlywed bride mired in her own melancholia, and whose dysfunctional personality seems to deteriorate as the planet, named Melancholia, moves closer to earth. Charlotte Gainsbourg plays her long-suffering sister, who seems determined to take care of her sister in spite of the apparent hopelessness of the situation, as her personal demons seems to have no cause or origin.

Like most of von Trier’s films, this one is also slow to develop, and eerily like a Bergman film of introspection and inner turmoil, and may not hold the attention of the average viewer, but if you stick with this one you will be surprised and rewarded, I believe, especially in comparison to his other efforts. This is the type of film rated higher by critics (80 at Metacritics) vs fans (7.2 at IMDB), but those are often the more unique and unforgettable films, as critics see so many of the mundane variety that it takes something different to wake them up from mediocrity.

One of the many surrealistic and artistic images in Melancholia

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Source Code

Duncan Jones, 2011 (7.9*)

Interesting science fiction film that leans more toward the intellectual and less action style, which is a welcome relief on one aspect. However, as usual, you can’t look too deeply at the so-called science aspect of this one.

Jake Gyllenhaal (hey, figure out a better way to spell that, will ya?) plays a man who suddenly comes to awareness on a commuter train to Chicago, but he seemingly has amnesia. As he’s trying to figure out both his own situation and who the woman is that apprarently is his companion, the train explodes, and he awakens to another reality entirely.

He now emerges in a world similar both to that in The Matrix and 12 Monkeys, even Avatar, where a person in one location experiences a digitally based reality through his brain. In this particular case, Jake plays a real life Captain Colter Stevens, a helicopter pilot in Afghanistan, at least in his own memories when they surface - now being used in a top secret experiment in the war on terror. The scientist in control of his world is well acted by Vera Farmiga, but she doesn't have a very demanding part; her character is supposed the be the dispassionate military scientist with only the objective in mind.

This film could have been much better without some useless meandering into pseudo-patriotism that was an unnecessary distraction, and other more sentimental discursions, but it’s still better than most other SF films of 2011 (it was a dismal year for the genre, with dogs like Green Lantern, X-Men First Class, and I Am Number Four).

This film unfortunately reminds one of numerous others, so it’s not very unique. Those who haven’t already should check out 12 Monkeys, Groundhog Day, The Matrix, RunLola Run, Frequency, The Adjustment Bureau, and Sliding Doors (all better than this film) – each of which involves manipulations or alterations of reality in some way.

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The Artist

Michel Hazanavicious, France-Belgium, 2011 (8.5*)
Best Picture (AA, BAA)

Having won 114 awards so far, second only to Lord of the Rings: Return of the King, you would expect this film to be one of the truly great cinematic masterpieces of all time. For me, it’s a good but not great film, not as good a 2011 film as Malick’s The Tree of Life, or Refn’s Drive, but I’d put it in the tier after that (with Midnight in Paris, The Help, Rango, and Ides of March). Most of the film is silent like it’s 20’s film star, George Valentin – even though it’s more like an enjoyable and rewarding romance in the tradition of classic 30’s films like My Man Godfrey, The Awful Truth, and My Favorite Wife (40’s?). Of course, by now familiarity makes this a fairly predictable ‘boy meets girl’ story.

Director Michel Hazanavicious, who also wrote the screenplay, has created a long overdue homage to films of that era which was also shot in the style of those films, including the same 4:3 aspect ratio of 35mm prints, and of course, black and white cinematography. Of course, we're not forgetting Peter Bogdanovich's Paper Moon, which treaded similar ground regarding creating a visual reference to a classic cinematic style of the past.

The story is nothing new – it combines the boy meets girl story with the “rags to riches” and “riches to rags” stories of it’s two stars. Jean Dejardin won an Oscar (and 13 other awards) for his portrayal of fictitious silent film star George Valentin who bears an uncanny resemblance to the story of Douglas Fairbanks (except for a little average dancing), who was a swashbuckling action star and top box office draw in silent films, but, like many others, who never really made the transition when sound pictures arrived.

His real-life girlfriend, Bérénice Bejo, (photo above) steals the film for me as a young extra, and won seven acting awards for her Oscar-nominated performance as Peppy Miller, who catches George’s fancy in a ballroom dance scene in one of his silent films after stumbling into him outside a movie premiere for all the photographers to catch before that. He’s so immediately struck with her that he has trouble completing a simple scene, but the two part when the filming ends and follow their own career paths.

.. but, of course, George cannot shake her from his mind. At the same time, sound arrives to films, at which he scoffs, like many, thinking it will never catch on with the public – just like I didn’t think 3D would after so many failures in my lifetime.

His studio mogul, played by John Goodman, welcomes the new format but decides to can Valentin, thinking the new younger audience will also want new personalities talking, not aging silent stars. At the same time, Peppy Martin starts moving up the ladder to the stars, and her vivacious personality is a big hit, both within the story, and for Bejo in real life – in fact, for me, her energy, smile, and optimism steal the film as well as Jules/Georges heart.

Uggie is a Jack Russell terrier saved 

from a pound by trainer Omar Von Muller

There’s also a wonderful Jack Russell terrier named Uggie, claiming an award above, who adds welcome comic relief to what could have been a dreary story of the fall of a legend, from wealth to destitution. Uggie was also in Water for Elephants (2011), and What's Up, Scarlett (2005, comma required, lol). He obviously reminds most cinema fans of Asta, the spunky scene-stealing dog from the Thin Man series who starred in 14 films himself in the 30’s and 40’s, including My Favorite Wife.

For me, the one failing here is that half an hour into the film, Georges attends his first sound picture, because it stars Peppy Martin. At this point, director Hazanavicious should have introduced sound into this picture; unfortunately he did not, so we see an early talkie in silence, and we also do not hear the onscreen audiences reactions to the star-making film of Martin’s. By this point in The Artist, the gimmick of silence is wearing thin, and is not helped much by a dream of George's in which he hears the sounds of life but cannot talk himself. The only other sound in the picture is at the very end. I kept thinking that this would be a classic 30’s style film, but those all had sound, so instead this is more like an average 20’s film, very much like a Charlie Chaplin story, with lots of tear-wrenching pathos that keep it on the verge of tragedy, when it could have been more light-hearted and effervescent. It’s touted as a comedy, with a couple of dance numbers that are obviously not Astaire and Rodgers (though still fun in spirit), but spends 90% of it’s time as a tragic drama, relieved by a few humorous touches, mostly in the beginning of the story.

Definitely worth seeing, and an enjoyable if predictable story, but also overrated with this many awards. Malick's The Tree of Life (60 awards, including the Palm D'Or at Cannes) was a bigger hit with critics, and Drive (40 awards) was perhaps the sleeper of the year, both of which seemed closer to unforgettable cinematic art to me. But The Artist was definitely better than the dreariness of The Descendants, and was about on par with The Help, the two other films winning the most awards for the year; also with Take Shelter (31 awards), Woody's Midnight in Paris, and George Clooney’s overlooked The Ides of March.

Let’s hope that for Hazanavicious’ next film, he moves forward with time and adds sound so we can hear the laughter, the dialogue, and the dog barking.

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The Ides of March

George Clooney, 2011 (8.4*)

This is an intelligent political thriller with a few unpredictable twists. One would say the acclaim is due George Clooney, since he co-wrote the screenplay, directed the film with himself in a lead role.

His character is a new presidential candidate, whose idealistic follower Steven Myers, brilliantly underplayed by Ryan Gosling, is second-in-command of the campaign, which is headed by veteran campaigner Paul Giamatti. None of these men are saints, and over the course of the story we get to see each character in a more revealing light.

It’s hard to describe the film without giving away some important plot turns, but place this film on a short list of intelligent and adult political films, each revealing something about the process of government: Advise and Consent, All the President’s Men, The Queen, Executive Suite, Mr. Smith Goes to Washington.

This is one of the better films of 2011, for me in that "second tier", with Rango, The Artist, and Take Shelter.

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Rango

Gore Verbinski, 2011 (8.8*)
Academy Award, Best Animated Film

I loved this trippy, clever, irreverent film! You know you’re into something heady when a family's pet chameleon character, hilariously voiced by Johnny Depp, falls off the family car on a highway,  and  gets blown by traffic smack into the windshield of the convertible driven by Hunter Thompson with Dr. Gonzo in the back, and Hunter and the lizard are wearing the same shirt ! That’s an indicator right there that this film may be a little induced by altered states.

Director Gore Verbinski directed the Pirates of the Caribbean series, and once again he seems to have fun directing this wacky stuff.

After falling off the car, he meets various desert dwelling critters that give him advice, with Alfred Molina as an armadillo telling him he needs to find the town of Dirt, out there somewhere. When he does, it’s inhabited by an odd assortment of western dressing animals. He meets a snotty girl, tho tells him, after mutual insults, "strangers don’t last long here", but when he discovers the town needs a sheriff and a hero, he volunteers, being lost and having little choice. He picks up his name in a bar, but I won’t spoil how he gets it, it’s mostly visual.


Much of this film is like that, references to classic westerns like A Fistful of Dollars, High Noon, even the later Quick and the Dead. There are also scenes paying homage to Chinatown and Apocalypse Now, and likely others that escaped me.

Ned Beatty gives his best John Huston (a la Chinatown) voice, as the mayor, who may or may not be involved in a plot involving the town’s water supply. British actor Bill Nighy is a dead ringer for the voice of Jack Palance as the villain Rattlesnake Jake. The plot is eerily similar to that of Chinatown, a parched town needs water, it never rains, and for some reason the town’s supply faucet has gone dry, spewing out mud and no liquid, so everyone is about to die of thirst like the crops already have.

Depp is perfect for this, delivering lines like "and stay out of my peripheral vision", and  "we should follow the pipe to it’s hydraulic origin, capture the criminals and solve this aquatic conundrum".

If you like classic westerns, as well as Depp’s irreverent, inebriated style, this will be right up your alley. Perhaps more enjoyable for adults than kids, it’s still a G-rated comedy that the entire family can watch together with many guffaws – though I’m sure the kids will often ask “what did he say?”, just like the background characters do.

There’s an uncanny scene by Tim Oliphant as the voice of Clint Eastwood, delivering the film’s best line.
Depp: “The Spirit of the West. Hey, is this heaven?”
Spirit of the West (as Eastwood): “if it was, we’d be sharing Pop-tarts with Kim Novak.”

I’m sure all the kids are asking, who’s Kim Novak? Well, she and Clint Eastwood are 60’s stars that both live in Carmel, California now – that should clear that up somewhat, and of course, Pop-tarts imply breakfast, which insinuates.. er, the hokey-pokey – that’s what it’s all about!

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Take Shelter

Jeff Nichols, 2011 (8.5*)

An intense young man, brilliantly portrayed by Michael Shannon, begins having apocalyptic dreams, leading him to think a huge storm is coming. He slowly drifts toward his vision and away from his everyday duties. He begins to spend more time and money building a safe tornado shelter for his family behind their house. 

This descent into obsession could have been ineffective without a performance such as Shannon’s, in his most intense role since his Oscar®-nominated part in Revolutionary Road.

His wife is played by Oscar-nominee Jessica Chastain, who had an amazing list of films released in 2011: her nominated performance in The Help; the updated Shakespeare play about the Roman military, Coriolanus, directed by Ralph Feinnes; and perhaps her best acting, in Malick’s The Tree of Life. In my opinion, she was likely nominated for her least unique and most predictable performance.

Director Jeff Nichols handles this with a subtle hand, and the film won 31 awards for 2011, most of them at film festivals. Critics have rated it higher than fans, 85 from Metacritics, 76 from fans at IMDB, far too low, in my opinion – I’m with the critics on this one.

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Drive

Nicolas Winding Refn, 2011 (9.0*)

Ryan Gosling plays a man we see in the beginning of the film driving a getaway car for men pulling a heist. The audience is immediately sucked into this film by having it start in the middle of some tense crime action. We later find out that Gosling also works in a garage, and performs driving stunts part-time for films.

Early in the film we learn a little of his personal side as he helps a young mother, Carey Mulligan, who also lives in his apartment building, when she needs a ride after he car breaks down. (Mulligan's character has little acting to do in this compared to her brilliant role in An Education.) We slowly see Gosling as more than a heartless criminal, and realize his character may be more dimensional than most in crime films.

Interspersed with scenes involving Gosling’s character, we also learn a little about some small time organized criminals, a business owner played by Ron Perlman, and Gosling’s garage manager, played by Bryan Cranston (without the same passion and strength as his role on Breaking Bad). Cranston gets a shady mogul, superbly played by Albert Brooks in a rare dramatic part, to invest in a race car to be driven by Gosling. Brooks has won eight awards for supporting actor for his performance, but was skipped over for an Oscar® nomination.

The audience is slowly drawn into Gosling’s world, as he is drawn into that of Mulligan’s, whose husband is said to simply be away – we later find he was in prison after he is released. On top of that, he became connected with some rather despicable men while incarcerated, and to whom he is now in debt.

For me, this film has enough similarities to George Stevens’ western classic Shane to be inspired by it. It has an heroic outsider, Gosling, coming to the aid of a family facing criminals they can’t control, largely due to his attraction to the wife and her young son. His past is murky, like Shane’s, he may be a criminal himself, but not by choice, and at all times he tries to do the right thing, like a samurai warrior. He’s a warrior, but with a code of ethics and personal honor.

The pace is well maintained by Danish director Nicolas Refn. It never seems forced, slow, or too action-packed, there’s just enough of each element to make it a well-crafted film. In fact, I’m a bit surprised (and peeved) that it wasn’t nominated for best picture since they came up with nine, it could have just as easily been ten. I’m willing to bet without having seen but a couple so far that it was better than at least five of those nine. This is going to be considered a quiet, understated classic over time.

It’s currently ranked #237 on the IMDB top 250, and has won 38 awards out of 94 nominations. Only a handful of other films has won this many awards for 2011: The Artist, The Tree of Life, The Descendents, The Help.

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Midnight in Paris

Woody Allen, 2011 (9.0*)
Woody is back! This is a light romantic fantasy in the same vein as The Purple Rose of Cairo and Alice, which mixes reality with a fantasy world that obviously comes from the mind of the protagonist.

Owen Wilson is a young American, on a trip to Paris with his domineering fiance, Rachel MacAdams, whose right-wing parents are wealthy capitalists there for a business deal (naturally - why else would capitalists go anywhere but for some tax deductible reason, because the wealthy don't have to pay taxes since they can deduct everything from travel to meals by claiming they are 'for business purposes' - then the rest of us have to make up this shortfall).

Wilson is a screenwriter attempting to write a serious novel, while everyone urges him to do what he's successful at already. He seeks solitude at night by wandering around Paris alone. After midnight, magic happens, and he runs into people he assumes are in costume, but finds out that he's been transported in time to Paris of the 20's, first being found in the streets by F. Scott and Zelda Fitzgerald, who introduce him to Ernest Hemingway and Gertrude Stein (Kathy Bates). He later meets Picasso, and his beautiful model, played by Marion Cotillard, a muse for all the famous artists of her era. Naturally, the two strike up a platonic romance.

Wilson's fantasy world is centered around creative artists who spent time in Paris: Cole Porter, Gertrude Stein, F. Scott Fitzgerald, Ernest Hemingway, Luis Bunuel, Pablo Picasso, Claude Monet, Salvador Dali ("I paint you, with your lips melting into the sand - and of course, a rhinoceros!" - hilariously played by Adrien Brody), Paul Gauguin, and Toulouse-Lautrec are just a few of the famous artists who come alive for Owen Wilson on his post-midnight walks around Paris.

This film is superficially a light romantic comedy, but beneath all that is the underlying and beautiful idea that art not only is immortal, but will influence and inspire future generations of creative people. It also contains the protagonists desire to live in another era (don't we all?) he imagines is greater than his own (for Wilson, Paris in the 20's).

As an artist (painting and writing) this film reinforced my lifelong belief in the power of creativity. Most of the awards are for Allen's screenplay, which should be a favorite for an Oscar®. I would elevate this work above Woody's other output of the last 15 or so years.

Note: in the rating, PG-14, in the beginning, it is mentioned that "features smoking" - holy smoke, are we now warning people when there are cigarettes in films? what's next, "characters eating pork", or "loud noises emitted by fireworks", or "capitalist merchants overcharging for coffee"?

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The Tree of Life

Terrence Malick, 2011 (9.2*)
Palm D'or, Cannes

Rated only 7.3 at IMDB by fans, received much higher 8.5 from 43 critics at Metacritics. I'd say it's even better than that, worthy of at least a 9.0; it's more a work of art than a film. I believe this film will take more than one viewing.

As it is now, it really seems like two films. There's a short one of cosmic creation that looks a lot like weaker, but still effective versions of Jordan Belson’s short art films (from the 60’s forward), the man Stanley Kubrick wanted for 2001: A Space Odyssey (1968), but who refuses to work on commercial films. His 'non-object' films defy description -suffice to say they are the most metaphysical ever made.

The other film is a story of a dysfunctional 50’s family in Waco, Texas led by a strong-willed Brad Pitt, who appears to be a loving father of three sons, but who in reality is alienating all three and his wife, newcomer of the year Jessica Chastain, by being too stern and demanding, and basically robbing the boys of their grace of childhood, of the innocent joy they feel just running in the yard with each other and their mother.

He seems to be a typical American materialist, making a comment to the effect that the world operates on trickery and if you don’t take your own share, you won’t have anything. On the other hand, he’s an industrialist who holds several U.S. patents, they just don’t seem to be enriching him, a fact that he shows bothers him in small ways, as he's often mentioning richer men in town.

The film doesn’t follow a straight narrative, sometimes jumping to one of the sons played by Sean Penn as an adult – which son is not clear, and is really not important. (Leading Penn to criticize Malick for his role in the final film; he claims the script was more touching than the result). The film is really more of a series of images, and the story will be largely up to the viewer. In this respect, the film attempts what Michaelangelo Antonioni perfected in L'avventura (1960), a film whose story is told more pictorially and less with dialogue, action, or plot. In fact, that film won a special jury prize from Cannes for “cinematic beauty and giving us a new way of looking at films.”

Though this was is a very creative endeavor, it did remind me visually of Jordan Belson’s films in the cosmic scenes (though those did feature some entirely unnecessary and confusing dinosaurs at one point!) and then Antonioni’s in the family story, but an homage to the influence of each. Throughout all, there is a strong classical music score, used in much the same way as 2001, and others have brought up comparisons to 2001 as well, as Malick sought technical advice from Kubrick's special effects director Douglas Trumbull for this film, since he used more traditional (non-digital) film techniques. Some say having planets doesn’t make it similar, but they’re ignoring the use of classic music along with those images, and also that each film basically deals metaphorically with creation and evolution of life. So it’s more similar to Kubrick’s classic than even I realized while watching it.

For that matter, both this film and Aronofsky's The Fountain (2006) use a tree of life metaphor, and that film was also spiritual in nature, questioning the nature of god and life and the apparent fragility of individual human lives, which is a major theme of Malick's film. Aronofsky's was even more complex than this, weaving together three stories, from a mythical past, a present, and a visionary future.

This is certainly one of the most beautifully shot films in recent memory, with stunning cinematography from Emmanuel Lubezki - look for an Oscar® here. Though many of the space images are really just Hubbell telescope photos (and one I’m using as wallpaper currently of my favorite nebula), some are abstract and in motion slightly (some special effects were added) and those resemble the Belson films most closely.

A Malick film is like a Kubrick film in another way, since he has made only five, and Kubrick only made 11 in his lifetime, so he’s on a similar pace. All of Malick’s films are very good, but he’s still about three masterpieces short of Kubrick however: 2001, Dr. Strangelove (1964), and A Clockwork Orange (1971). And one short of Antonioni, L’avventura. But he’s getting closer with efforts like this one, his best film yet, though Badlands was a very good debut film.

Winner of four awards so far, out of 7 nominations, I'm sure there will be about 30 more to follow.


Note: Several of Jordan Belson’s short art films are available on one dvd now, online, for around $35. Most were award winners, and they are like nothing else on film, created frame by frame by hand, taking years for a few minutes of length. He also created the soundtracks himself, sounds which changed as the images changed as if they were co-dependent. Wikipedia calls them “non-object films of spiritual content”.

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The Beaver

Jodie Foster, 2011 (8.2*)
I liked this bizarre psychological study, that starts out funny but soon turns serious. Mel Gibson is at his best here, if you can get over his personal issues, and there is some gallows humor in the beginning for those who hate him, they will be smiling. He is also allowed to use his real Aussie accent, or maybe what he thought Americans would like to hear as a smart-ass Aussie, in this case speaking as a character called simply The Beaver.

He plays a chronic depressive, married to an exasperated Jodie Foster. Somewhere along the way he manages to get a beaver toy on his hand and it starts talking back to him but in Mel's Aussie voice, rather than his character Walter's real American accent - and he actually makes sense, so this intelligence is within Walter somewhere. Jodie even asks "and what's with the accent?", which alone was pretty funny. The two worked well onscreen together, likely due to both her professionalism and her direction here.

This story is hard to describe without giving too much away, but there is a sidebar story with Walt's unhappy and distant son (Anton Yelchin), who's becoming friends with local high school beauty and class valedictorean Norah, played by Jennifer Lawrence, who was Oscar®-nominated for lead actress in last year's crime mystery Winter's Bone (2010). They become friends in an unexpected way that I won't reveal, only that this part of the film was perhaps a little disjointed from the rest of the story, it seemed to have very little to do with Walter and the Beaver, while the rest of the film revolved around little else.

Still, this film didn't make me angry at times like Forrest Gump did, which I felt was taking advantage of someone's mental state. The difference is that in this film Walter is the CEO of a toy company with a sharp business mind, who seems down for little reason, or at least reasons we aren't privy to know - it's something from his past and his parents that we can only guess at. Foster's delicate direction (this is her best at the helm) kept this from going overboard in any direction.

Even if you're a Mel hater, you may be surprised by his acting here, it's far better than all the revenge films, where he's out for vengance on some criminal that kidnapped his kid or wife or killed one or more - that seems to have been at least half his storylines from Mad Max to Braveheart to Payback to Ransom to Edge of Darkness, maybe even The Patriot. At least this is a psycho CEO with a beaver puppet on his hand doing all his intelligent talking. Were this a little funnier, it would be a cult classic like Heathers (1989) or Repo Man (1984).

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The Adjustment Bureau

George Nolfi, 2011 (8.0*)

This is another thoughtful and eccentric science fiction excursion from the sometimes brilliant, sometimes dark mind of author Philip K. Dick (Blade Runner, Minority Report), this based on his story “The Adjustment Team”. Director George Nolfi is a screenwriter turned director, who co-wrote the films Bourne Ultimatum (conclusion of Bourne Trilogy (2007)), The Sentinel, and Ocean’s Twelve.

This story deals with fate vs. human endeavor and choice. Matt Damon plays a man whose seemingly unimportant everyday routine is being manipulated by a clandestine team of men, who appear to be some type of secret agents who answer to an unknown master. They watch a futuristic time line of his life in a special book, and if it starts to deviate then they intervene.

This puts into reality the metaphor of fate, which is generally considered a pre-determined sequence of life events over which we have no control, in this case actual people employed to ensure that fate. Damon’s character has a chance meeting with dancer Emily Blunt, and the two have a mutual attraction, which is counter to the plan the agents are using as a guide, and is a potential romance that would cause great deviations from the plan.

The master of this plan is only referred to as The Chairman, and perhaps the story’s major failing is to give no real explanation of the importance of all this. Obvious comparisons will be made to Inception, since each is about altering reality, but this action occurs in the waking state of corporal reality and is not in any fantasy or imaginitive realm.

A common theme of Dick’s novels are reality vs. fantasy, with characters often struggling to distinguish the difference in the two – characters who are usually unbalanced either through insanity or mind-altering drugs. In this story, neither is the case, as a common man is attempting to overcome real people who are controlling his life events, but for an unknown reason.

There is nothing special about the acting here, in spite of a good cast, which features John Slattery of Mad Men who works for the adjustment team. The story could have packed more punch, but is a pleasant excursion for a science fiction film, one that doesn’t have wild west style shootouts. or space wars, or lovably fuzzy aliens, or human-devouring monsters. In that regard, it belongs in a sub-genre with Inception, 2001: A Space Odyssey, Gattica, and Close Encounters of the Third Kind, it’s just not at the same artistic level as these others.

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