John Carter - #13 of 2012

Erg… ummm… hmmm… ick.

So… I really wanted to like this movie.  I really did.  I wanted to tell all the naysayers to stick it.  But… erg… for debuting at #9 on my list, John Carter should be thankful for two things:

1.  That I’ve only seen 11 moves, so far, this year, and…

2.  The direct-to-video market stinks the big one.

As anyone who followed Friday Night Lights will tell you, playing a self-destructive alcoholic of a brut is totally in Taylor Kitsch’s wheel house… but this movie makes him look like an amateur. 

I just can’t beat around the bush here… this movie was simply ‘no good’… in any way.

Sadly, I blame director/writer Andrew Stanton.  Sure, he is a true talent.  He’s an amazing part of the Pixar team, having directed A Bug’s Life, Finding Nemo, and WALL-E… and he had a hand in writing all three installments of Toy Story… but John Carter shows the disconnect that can happen when moving from animated films to live-action.  It just didn’t work.

I… I just… I so wanted to like this movie.  But I can’t even begin to explain how much I didn’t care for it.  It just didn’t work.  At all.  Not even in the slightest way.

It is so sad.  The John Carter of Mars source material has so much to offer… but the film left so much to be desired.  I just… I don’t know where to begin.  So I won’t even start.

All I will say is this.  I am still a fan of Andrew’s animated work.  And I still think Taylor is a film actor.  But together… John Carter didn’t work at all.  I don’t know whose fault it was… but perhaps, the story would be more suited for a television series.

‘Contraband’ - #3 of 2012

When I tell people I liked Contraband most respond surprised with a confused face asking, “Really?”

Yes, really!

I thought it was a good movie and despite the negative reviews I’m not afraid to say it.  

Besides, most of the reviews for Contraband are downright lazy … they seem totally phoned in by an uncaring reviewer who is so preoccupied with January’s pre-Oscar fever that he/she can’t be bothered to write an actual review.

Even Leonard Maltin resorts to a mere plot summary (which is the laziest form of review ever, trailers accomplish the same thing) and he only offers three sentences of actual criticism:

1. Virtually all the actors go down with the ship, helpless to rise above a ponderous screenplay by Aaron Guzikowski.

2. A good caper movie should be light on its feet, but this one bears the weight of a heavy tread.

3. Contraband left a bad taste in my mouth, which is not what I’d call a ringing endorsement.

In addition, Maltin wishes the actors of Contraband “brighter prospects in 2012” and closes his review by saying, “But it is what I’ve come to expect from major studio releases in January.”

Now… I’m not going to say that Leonard Maltin is wrong on all accounts.  He is certainly correct about January.  It is a notoriously bad time of year for releasing movies… depending.  

Normally January brings us two kinds of films.  1) Great films that premiered in December, in limited venues, just to qualify for the Oscars and therefore given a wider release in January to keep their name in the media for Oscar voters, and 2) Films the studio don’t have much faith in.

Unfortunately, Contraband clearly falls into the latter category… and I believe reviewers allowed the timing of the film’s release to influence their opinions more than the actual film.

Also, to their credit, even the laziest reviewers took the time to point out one clear fault with the movie: the script.  The script was pretty formulaic, predictable, and at times, way over the top.  

However, unlike Maltin, I think the film’s tone and quality of acting saved the script and the overall film.

“Capers” as Maltin describes them, do not need to be light, like Ocean’s Eleven or The Italian Job, they can be heavy like The Spanish Prisoner or Heist.  Besides… I didn’t really think Contraband was trying to be a caper.  Sure there were elements, but there was a lot more going on.  I think the film was trying to be a gritty crime drama that just happened to have a caper-esque side plot.

In addition, the acting in this film was sublime.  Scripts don’t always have to be amazing for an actor to shine.  At some point a poorly crafted screenplay doesn’t matter anymore, as long as the performances are interesting and nuanced.  Mark Wahlberg was great as always.   This was one of Kate Beckinsale’s finer performances.  Ben Foster was fantastic.  And Giovanni Ribisi was at his best.  

Sure, it’s not a perfect film.  But perfect films are few and far between.  But that doesn’t mean Contraband is a total piece of garbage.  

The Hunger Games - #4 of 2012

Can The Hunger Games film series improve upon the books?  Yes, I think so.  And I will tell you why.

1^st, I read The Hunger Games prior to seeing the film and I found it to be one of the most gripping books I’ve read in a very long time.  I couldn’t but it down.  I was actually halfway through Abraham Lincoln: Vampire Hunter, which I was enjoying, when The Hunger Games film was released and my gut told me it was time to make a switch.  So, on a Saturday afternoon while Serena was taking a nap with the boys I started reading the book… and it was amazing.  That evening we had some friends over for karaoke and, quite literally, I just sat in the other room and read.  I hadn’t been that engrossed in a book in ages.

2^nd, after plowing through book one, I immediately started Catching Fire, which I thought was pretty good.  Not nearly as spectacular as the first book, mainly because it followed the exact same formula, but it was still pretty good.  I guess my main complaint is that it was kind of like seeing a really great horror movie only to me mildly disappointed by its all too similar sequel.  That said, I still devoured the book at record pace.

3^rd, to be honest… I’m having a lot of trouble getting through Mockingjay.  I’m about half way though and although it is completely different from the first two books, I don’t find it nearly as gripping or entertaining.

Now, the good news is that I can actually articulate why I feel this way.  And I have had numerous conversations with folks who have read the books about my feelings and most of them agree with my point.

I think the book series, as a whole, suffers from being in Katniss’ perspective.  All three books are told in first-person from her point of view and the problem I have found is that Katniss doesn’t grow enough as a character throughout the saga to keep up with how amazing the overall concept of the story is.  I really wish each book had changed perspectives.  I think Catching Fire would have been much better told from the point of view of Peeta.  And I think Mockingjay could have benefited from being in Haymitch or Gale’s perspective. 

My point is that there is a lot going on in the second two books… and most of the time Katniss isn’t privy to what’s going on.  And she isn’t mature enough to figure it out.

That said, I think The Hunger Games film is a brilliant compliment to the book.  Not better than the book, but a fine compliment.  However, the film was able to accomplish a number of things that the books couldn’t, that I think will benefit the overall film series, ultimately making the films better than the books.

The most important thing the film does is depart from the first-person narrative.  Although it focuses on Katniss, the film departs in a number of ways that benefits the story as a whole.  Like showing the start of the district revolts, how the gamekeepers operate, how Haymitch solicits sponsors, and most importantly, how much control President Snow has over the games.  These glimpses, departing from the books first person narratives, foreshadow how the next films will be handled.  And if the next films follow this format, they could potentially be stronger than the books.

I for one, am very excited to see how the film series expands the amazing source material.

I think The Hunger Games saga has the potential to be a lot like the television series Dexter, which is also based on a book series.  Although the first season of Dexter mirrors the original book, the television series, as a whole, has been to tell a much more compelling story.  

Bending the Rules - #11 of 2012

Okay.  So… WWE Films, subsidiary of World Wrestling Entertainment, is a bit of an interesting story.  They were originally created to co-produce The Scorpion King, The Rundown, and Walking Tall, all films starring The Rock, who had proven himself as a box office draw, but was still contractually obligated to WWE. 

That said, The Rock, although the most popular, was not an anomaly within the WWE organization.  Professional Wrestling has changed a lot over the years.  It wasn’t just about the wrestling any more.  It was about the performance and the pageantry.  The superstars in the ring were no-longer just athletic.  They had become talented orators and comedians.  They had transformed into showmen whose words alone could captivate an entire area full of people… holding them in the palm of their hands.

Say what you want about Professional Wrestling, but this is not an easy task.  Professional Wrestling isn’t just wrestling.  It’s a performance art.  And WWE knew it.

They began producing films showcasing their other wrestlers: Kane, John Cena, Stone Cold Steve Austin, The Big Show, Randy Orton, and Triple H.  And along the way, WWE Films has also enlisted the talents of Hollywood’s elite:  Robert Partick (Terminator), Vinne Jones (Snatch), Academy Award Nominee Patricia Clarkson (Pieces of April), Danny Glover (Leathal Weapon), Dennis Farina (Get Shorty), three-time Academy Award Nominee Ed Harris (The Abyss), Parker Posey (A Mighty Wind), Michael Rapaport (Beautiful Girls), Bruce Dern (Big Love), Ethan Embry (Can’t Hardy Wait), Amy Smart (Rat Race),  and Aiden Gillen (The Wire and Game of Thrones).

Now… I’m not trying to say WWE Films makes good films.  But they do make the most tolerable direct-to-DVD movies out there.  Well, kind of tolerable.  They are kind of fun… in a bad movie sort of way.  Okay, my point is that they’re not horrible.  Most movies finding themselves on the direct-to-DVD market are there because they are too horrible to release in theatres.  Or, they are films for a niche-audience like the ones made by Troma Pictures.

But WWE Films, after three R-rated box-office flops, now specifically produce direct-to-DVD movies for the PG-13 and below market.  That right… WWE Films essentially produces ‘family friendly’ films. Shocking, right?

Anyway, on my quest to watch every film released in 2012 I ended up watching WWE’s latest: Bending the Rules, starring Jamie Kennedy (Scream), Jennifer Esposito (Crash), Alicia Witt (Friday Night Lights), Jessica Walker (Arrested Development), Kevin Weisman (Alias), Philip Baker Hall (Magnolia), and WWE Superstar Adam ‘Edge’ Copeland.

Now… okay… hmmm… alright… the movie isn’t great.  The script is contrived, predictable, and ill-conceived… and the directing felt a bit sophomoric.  However, the acting is what really, kinda, holds this movie together. 

And get this.  Adam Copeland is really good.  I mean really good.  I think he’s the best thing in the movie; and I don’t mean that as an insult to his supporting cast.  (Although, this was not one of Jamie Kennedy’s finer performances, except for his scenes with Philip Baker Hall… those scenes alone gave me a glimpse at the actor Jamie has the potential to be.  But then again… Philip is one of the most generous actors in the business and he’s excellent in everything he does).

As for Adam, he is incredibly natural on screen.  He never seemed forced (except for one specific moment reciting a movie line… but that was a script and direction issue… it was an awkward moment that should have been cut… if you see the movie you’ll see what I mean). 

Adam really showed off what he can do outside the ring.  His performance was funny, genuine, and endearing.  He would be perfect as a television series regular and someone should scope him up. 

WWE Films may be a good home for Stone Cold and John Cena… but not for Edge.  I mean Adam.  Adam has something.  And I hope I’m not only one who sees it. 

Anyway, this is a pretty stupid movie and as a cinefile I can’t really recommend it, but if you have teenagers in the house and you’re looking for something fun to watch as a family… there are much worse films out there.  

I should also mention Bending the Rules PG-13 rating.  This is a very tame PG-13.   Language is nil and sex is limited to light references (nothing crude).  The PG-13 rating must coming from mild violence in the form of gun play.  People do get killed… but the violence is not glorified and simply a plot devise, not unlike the superheroes killed in Pixar’s The Incredible.  I would probably let my 10 year old watch this movie with me.  If I had a 10 year old.

Best Performances of 2011 – Dynamic List (Updated: December 2, 2012)

My ‘Best Performances’ dynamic lists are a lot like my Film lists, but slightly different.  For starters, while every film I see makes it onto my Film lists… only the most noteworthy performance make it onto my Best Performances lists.  Also, I only rank order what I consider the Top 5 Performances of the year.  However, I also maintain an Honorable Mentions list for each category, which is populated by performances that have either been bumped from the Top 5 or performances that are particularly noteworthy but not Top 5 worthy.  The honorable mentions are listed in alphabetical order by last name and are not rank ordered. 

That said, my Best Performances lists are just as dynamic and ever changing as my Film lists.

Best Performances of 2011:

Best Actor

1. Jean Dujardin - 'The Artist'
2. Joseph Gordon-Levitt - '50/50'
3. Paul Giamatti - 'Win Win'
4. Ryan Gosling - 'Drive'
5. George Clooney - 'The Descendants'

Honorable Mentions:

• Steve Carell - 'Crazy, Stupid, Love'
• Brendan Gleeson - 'The Guard'
• Ryan Gosling - 'Crazy, Stupid, Love'
• Ryan Gosling - 'The Ides of March'
• Ed Helms - 'Cedar Rapids'
• Thomas Horn - 'Extremely Loud and Incredibly Close'
• Danny McBride - 'Your Highness'
• Brad Pitt - 'Moneyball'
• John C. Reilly - 'Carnage'
• Michael Shannon - 'Take Shelter'
• Paul Rudd - 'Our Idiot Brother'
• Christoph Waltz - 'Carnage'
• Owen Wilson - 'Midnight in Paris'

Best Actress

1. Tilda Swinton - 'We Need to Talk About Kevin'
2. Viola Davis - 'The Help'
3. Charlize Theron - 'Young Adult'
4. Michelle Williams - 'My Week with Marilyn'
5. Beranice Bejo - 'The Artist'

Honorable Mention

• Kirsten Dunst – ‘Melancholia’
• Jodie Foster - 'Carnage'
• Rooney Mara - 'The Girl with the Dragon Tattoo'
• Julian Moore - 'Crazy, Stupid, Love'
• Saorise Ronan - 'Hanna'
• Emma Stone - 'Crazy, Stupid, Love'
• Emma Stone - 'The Help’
• Kristen Wiig - 'Bridesmaids'
• Kate Winslet - 'Carnage'

Best Supporting Actor

1. Ezra Miller - 'We Need to Talk About Kevin'
2. Christopher Plummer - 'Beginners'
3. Kevin Spacey - 'Margin Call'
4. Albert Brooks - 'Drive'
5. Seth Rogen - '50/50'

Honorable Mentions:

• Kevin Bacon - 'Crazy, Stupid, Love'
• Paul Bettany - 'Margin Call'
• Kenneth Branagh - 'My Week with Marilyn'
• Kyle Chandler - 'Super 8'
• George Clooney - 'The Ideas of March'
• Sasha Baron Cohen - 'Hugo'
• Jonah Hill - 'Moneyball'
• Jeremy Irons - 'Margin Call'
• Ben Kingsley - 'Hugo'
• Patton Oswalt - 'Young Adult'
• John C. Reilly - 'Cedar Rapids'
• Alex Shaffer - 'Win Win'
• Alexander Skarsgard - 'Straw Dogs'
• Stanley Tucci - 'Margin Call'
• Max von Sydow - 'Extremely Loud and Incredibly Close'
• Christopher Waltz – ‘Water for Elephants’

Best Supporting Actress

1. Octavia Spencer - 'The Help'
2. Shailene Woodley - 'The Descendants'
3. Amy Ryan - 'Win Win' 
4. Carey Mulligan - 'Drive'
5. Jessica Chastain - 'The Debt'

Honorable Mentions:

• Cate Blanchett - 'Hanna'
• Jessica Chastain - 'The Help'
• Jessica Chastain - 'Take Shelter'
• Elle Fanning - 'Super 8'
• Charlotte Gainsbourg – ‘Melancholia’
• Anne Heche - 'Cedar Rapids'
• Bryce Dallas Howard - 'The Help'
• Demi Moore - 'Margin Call'
• May Rudolph - 'Bridesmaids'
• Analeigh Tipton - 'Crazy, Stupid, Love'
• Marisa Tomei - 'Crazy, Stupid, Love'
• Emma Watson - 'My Week with Marilyn'
• Evan Rachel Wood - 'The Ides of March'