No matter how grand or wonderful your life is, you still end up shitting your pants. Message of the day, everyone.
Benjamin Button (Brad Pitt) was born on the Day the Great War (WWI) ended. That was supposed to be lucky day to be born on but this was an unlucky case because Button was born old, week and dyeing. Benjamin is now living his life in reverse and dealing with the hard ships that have to occur with such an unfortunate circumstance as this.
Watching this movie almost 5 years after I originally saw it really has me thinking, “Did I really just love this movie because I wasn’t that cinematically-inclined yet? Or, was it just that I loved this movie because it was a good movie?”. Those thoughts go through my head, each and every single time I even bother watching/reviewing a flick that I saw so long ago, way before I even thought about this website. Some of them turn-out to be the great story that I once remembered them as being, and others, well, thanks to my knowledge of what’s right and what’s wrong with a movie, make me realize that I had plenty of years to grab a hold of my movie-knowing mind. Somehow, this movie, is somewhere right in the middle and I have yet to make-up my mind. Oh well, hopefully I will by the end of this loooooooooong review.
The reason why I put such a strain on the word, “long”, was because that is exactly what this flick is and to be honest: it doesn’t have to be. This is adapted from a short story by F. Scott Fitzgerald, and for a bunch of source-material that probably equaled up to about 10-to-15 minutes full of reading-time, you would think that a simple story wouldn’t need to be told in over 3-hours. The story of a man that ages backwards and has all of these experiences in life, meets all of these people, and has a love that lasts generation-after-generation, does seem like it needs to be told in it’s own, epic-way, but this is a bit too much of a push. However, as long as this flick may be, you still can’t forget that this is a beautiful tale of growing old, falling in love, and above all, living life to the fullest. Yeah, it’s corny, but what makes it so strange is that the message is brought-out by David Fincher. Yes, THAT David Fincher.
It is quite surreal to see a story that’s so much about the human-spirit and always turning lemons into lemonade, directed by the guy who’s brought us some of the sickest stories in the past decade or so, but that’s what makes it so unique as well. Fincher has never, ever came close to touching material like this and at times, you’ll just think that it’s an attempt for him to make some cash and make a passion-project of sorts for himself, but you’ll begin to notice, there are still a whole bunch of Fincher’s trademarks. Everybody and anybody who has ever seen this movie always says the same damn thing, “It’s like Forrest Gump, but the guy’s older”. To be fair, that is a very true and realistic observation, one that I can’t contend with, mainly because the same writer of that flick (Eric Roth), is the same writer here but what makes the tales so different, is how one is all about sunshine and light at the end of the tunnels, this movie is more about how life starts and ends the same way: you start out as nothing, and in the end, you are still nothing. Anybody that has ever known you, will be the only ones and it’s a matter of whether or not you made an impact on their life is what really counts.
It’s a really depressing idea, especially when you put it side-by-side with something like, “Life is like a box of chocolates”, but it’s also more realistic and that’s why I applaud Fincher here, not just for stepping-out of his comfort-zone, but for being able to step-out and make the best type of movie he can. The story spans over generations and as long and dragging as it may be, it is always entertaining to see the type of stuff this man goes through, what he learns from certain experiences, and how it makes him a full and total human-being. Yes, there is always that known-factor that the guy is going to die at the end, but then again, isn’t that how life actually plays-out? Thanks, David Fincher! You’re always the type of guy I can depend on to remind me that life is great and all, but in the end, we just float away into the air. Happy hugs all-around!
Where I still feel like this flick hits a problem in, is that it does begin to run-out of steam by about the third-to-last-act and I think that’s mainly because Fincher, as well as all of us, knows what has to be done, what has to be said, and what needs to come of this story. We all anticipate the time to when Benjamin eventually starts to get so young and so tiny, that he can’t remember anything that has happened in his life and is just continuing to shrink-up into this little guy, that is eventually going to die any day now. It’s so sad to watch and as much of as an emotional-impact it may have on you because you’ve gotten so used to this character and all his stories, it is slightly redundant and almost feels like Fincher really needs to shoot somebody or decapitate somebody, you know, just to spice things up. I can totally tell that Fincher was running a little wild on the inside, but at least he made it interesting and entertaining for us, in the meantime.
What probably distracts people the most from this story, is how much time and effort was put in to the make-up and special-effects for these characters and their surroundings. Since Benjamin is aging backwards, we get to see him when he’s old as hell and looks like a turd on the side of the road, to the point of where he looks like Pitt from Meet Joe Black. It’s mesmerizing to just stare-at, not just because they make Pitt look as handsome as ever and Blanchett as sexy and glorious as she’s ever been, but because it’s almost seamless and never seems like a gimmick. Movies like these that simply just depend on changing-up a person’s look or style through neat-o special-effects, usually kills a movie and features no substance, but thankfully, the movie features both the neat-0 special-effects that help make us believe more in this story, as well as having a story that is worth believing in and actually getting involved with. Still, it’s great to see Pitt and Blanchett back in their younger, golden days, even if it all by a computer. Damn you technology!
Speaking of the Blanchett and Pitt, both make Daisy and Benjamin a lovely couple that is worth staying-for, no matter how uncommon the relationship they have may actually be. Blanchett is a joy to watch as Daisy, especially when she goes through her younger days as a free-willing, energetic dancer in her prime from NYC, and we get to see that charm and beauty come out of Blanchett’s acting-prowess that can sometimes go away when she takes crap scripts. I was a bit surprised to see that she didn’t get a nomination for her work here, but hey, I guess the Academy felt like they had to give the nomination to Taraji P. Henson, the caretaker of the old person’s home who finds Benjamin and takes of him, up until he’s an old, but yet, young-looking man. Henson is so charming and fun to watch in this movie that it’s a real shame she hasn’t been able to do anything that’s really worth buzzing-about. The girl’s got spark to her, and that shows through every scene she has.
Brad Pitt, though, is the real star of the show and milks this Benjamin Button’s simpleness almost to the point of where it doesn’t seem like he can go any longer, but however, he can. Pitt is great as Benjamin Button because he’s so kind, so simple, so polite, so regular, and so bright-sided about the world he lives in, that’s it almost way too easy to mark him as another caricature that ends-up taking some happiness out of his disability, but it’s not, and that’s all because Pitt won’t allow it. The guy doesn’t show many emotions throughout the whole flick (and that was the intention), but it feels real and honest, mostly because Pitt and Fincher, together, have painted a portrait of a guy that loves life and all those who inhabit it. Pit’s great to watch and the chemistry and love he has with Blanchett in this movie, never for a second, felt unrealistic or schmaltzy. It was as every bit as epic and heartfelt as I once remembered, and that will always stick in my mind when I think of this flick.
Consensus: Adapting a short story into a near-3-hour movie, is a bit of a stretch, especially when you have a flick that spans over decades-upon-decades, but The Curious Case of Benjamin Button is still a beautiful, endearing, and heartfelt story that looks at life through the eyes of a person who has a very strange one, despite him being played by the ultra-handsome, and ultra-powerful Brad Pitt.
Don’t piss off Gandhi.
Gary “Gal” Dove (Ray Winstone) is enjoying life. That’s why the news of the arrival of Don “Malky” Logan (Ben Kingsley), a man clearly from their long buried pasts, is met with such dread. He wants something from Gal, but no one is sure what.
This is the debut feature from director Jonathan Glazer who has done music videos in the past for big-time British bands such as Radiohead, Blur, and Jamiroquai. So basically you know this guy has got to be the shit when it comes to directing and British bad-asses. Mainly the latter.
What I liked about Glazer’s direction here is that it had sort of a mixture between the look of a David Fincher flick and a feel of a Michael Mann one as well. It sounds like a very cool mixture and it is because his style here works by giving you this slick look. It was also really cool to see how he used the contrast of Spain’s bright, beautiful sunlight and England’s wet, depressing nights because one looks like a happy place to be in, while the other does not. Don’t know why Glazer hasn’t been able to do anything worth mentioning since this but I can easily say that I think it’s time for him to come back up on the big-screen and stop making videos for shitty bands like Massive Attack. Sorry Massive Attack lovers out there!
But I’m going to stop focusing on Glazer now because in all honesty, he isn’t the main reason to see this flick. The main reason is none other than Sir Ben Kingsley himself playing the foul-mouthed, high-strung gangster, Don, who doesn’t seem like he wants to take “no” for an answer no matter what the proposition may be. Kingsley may seem like a very left-field choice to play this type of role but it works so well because not only is he perfect with this role but he gave us a look at what he can do with any character just by looking the same exact way he’s been looking for the past 30 years. To be honest, Ben Kingsley is not a scary looking dude but every time he was on-screen here, I wanted to run away from the movie itself. This guy owns just about every scene, constantly yelling, screaming, and causing all sorts of havoc, and is probably the most memorable aspect of the whole flick.
However, that’s also the problem with this flick because he isn’t what this film is all about, he’s actually a supporting character which means that the parts without him aren’t interesting. Don’t get me wrong Ray Winstone, Ian McShane, and everybody else here do great jobs with their roles but when it’s all said and done, you can’t stop to forget about Kinglsey and all of the crazy shit he does in all of his scenes. It was strange because there was just a time in this flick where I didn’t really seem to care as to what was going to happen next to our main character, and just basically wanted to know what Sir Ben was up to and when he was going to pop-up.
It’s also a shame too because the film does try its hardest to do something new with focusing more on character development here rather than all that other gangster stuff we usually see in these kinds of flicks. This is also what attributed to the fact that the flick was starting to drag by the end and the whole cool factor that this film was originally giving off, was starting to go away by the second and as much as I praised Glazer for his direction, I also have to say that I wish he kept up with himself later on in the game. Basically, it’s another one of the cases where the director is inspired and knows exactly what the hell he wants to do but the script is continuing to let him down. Happens all the time, especially to directors from a music video background.
Consensus: Sexy Beast does have a sleek and cool style to it that matches the good performances here, especially Ben Kingsley, but the film started to drag on a bit and started to lose me when they would focus the story away from Kingsley because he is honestly the most memorable thing about this whole flick.
Who is “The Zodiac Killer”? Actually I think the better question is who cares?
“The Zodiac Killer” was a serial killer during the 60′s to 70′s who wrote to the San Francisco Chronicle talking about what he was going to do next and stunned everybody all-over-the-world by how he was never caught. Two people, a homicide detective (Mark Ruffalo) and journalist (Robert Downey Jr.) spend half of their lives trying to solve the case, only to be shown-up many years later by a cartoonist (Jake Gyllenhaal).
Going into this and knowing that this was a David Fincher flick, I had a feeling that I was in for some utterly insane craziness that happens in just about all of his films. However, when it comes to a 157 minute film about an open-case, I got something way way better.
This is a very long film that is filled with non-stop talking, evidence, procedures, details, facts, and everything else that has to do with this case but I was never bored once. Fincher seems totally dedicated to this case and all of the investigations and claims that were made for this whole case are brought up giving us a more clear view of what is actually going on with this case. We never find out who the killer is, even though we get a general idea through red herrings, but the fact that we listen and learn as this case is following through, you can get a sense that you are here solving the case as much as they are as well. Of course this is more like a clear-cut film that seems like one long episode of ‘CSI’, but if you like mystery/crime films that show you just about everything without leaving anything out, this is a perfect watch for you as much as it was for me.
Another great element to this film that Fincher uses is creating tension in the mood as if I was watching a flick from the 70′s itself, which is where the story takes place. Fincher creates the fashions and feelings of the time, but still being able to add in his own CGI-enhanced material that will still seem relevant to the story as it gives it this very moody and grim look but still in a way full of colors when some big shine of light comes through. We also get these dark and moody feelings where something is just not right in the air and the fact that almost nothing happens (no big car chases, no big shoot-out) is a true testament to Fincher’s sturdy hand considering the whole time I was on-the-edge-of-my-seat with this paranoia that I was starting to feel a lot more than the actual characters themselves. I also could not tell you if there was a completley unneeded scene here that had nothing to do with this actual investigation, which is not very common with thrillers nowadays but then again, Fincher is just a totally different dude.
I think I was just some impressed by this film because it’s something that is incredibly different from anything else that Fincher has done before. We see him in more of a subdued drama, that may seem too dialogue-heavy in some parts, but overall keeps you watching the whole time. The fact that Fincher also never lets us in on what he feels is the right solution to this case or who he feels is really the killer, made me appreciate this film even more as it could almost be another case where even motion pictures can shed some intelligent life on an investigation that may have taken forever to solve, but could be easily solved by just facing the facts…Jack.
My one and only problem with this flick is that I didn’t really like what it turned out to be in the end when we start to focus on Gyllenhaal’s character, Robert Graysmith. We see how Graysmith starts to become terribly obsessed with this case so much that he starts to alienate his family, grow paranoid in everything he does, and basically make his house a shit-sty of papers that have to do with the case that he can’t get over and just let go. We have all seen this idea and material way too much and it wasn’t like the last act had me annoyed, I was still easily interested but I just think it was more of a bummer to see Fincher resort what seemed like ‘The Number 23′.
Fincher has a huge cast of characters here but only a couple stand out in my book. Jake Gyllenhaal gives a very good performance as Graysmith and shows that he has a lot of craft, energy, and tension in almost every scene that he places himself in. It’s such a shame that him and Fincher vowed to never work again because Gyllenhaal was able to give one of his best grown-up performances that I have really seen so far. No, I do not mean you, ‘Prince of Persia’. Mark Ruffalo is also very good as David Toschi, showing that he is able to throw himself into an eccentric role that demands you to feel his pain and anguish. Robert Downey Jr. is a lot of fun as the flamboyant and funny, Paul Avery and shows why Downey should just go back to playing normal people roles rather than just Tony Stark or Sherlock Holmes. There are so many other people in this film that just do phenomenal jobs with each of their own respective roles and I really have to give it to Fincher for nailing down just about every single role.
Consensus: Zodiac is a film where barely anything happens, except for a lot of talking and investigation into a case that is still open today, but Fincher keeps this long flick totally entertaining, exciting, and tense with a great screenplay that dives right into the investigation itself, and show perfect performances by just about everybody involved.
OK maybe I lied, Americans acting like a Swedish people are more effed up.
This is basically the same exact premise as the Swedish original with a young computer hacker, Lisbeth (Rooney Mara) becomes entangled with a journalist, Mikael (Daniel Craig), over a case of a young girl’s death that is over 40 years old.
Never reading the book but seeing the Swedish original, I kind of knew right away what I was getting myself into. Even though it didn’t fully come out the way I would have liked to wish, I still couldn’t think of a better way to spend my Christmas night then watching 2 hours and 40 minutes worth of incest, rape, lesbians, and James Bond wearing glasses.
One of the problems with the remake was the fact that it didn’t really take too much time fleshing everything out from the characters to the mystery itself. Everything sort of just felt a little rushed but with this one, not so much. Writer Steven Zaillian does a great job of keeping this dialogue on many roads but giving them all enough time to flesh out and still seem effective at the end when it’s all said and done. You got to also give Zaillian a lot of credit for not trying to dumb it down for audiences in any way either.
However, this film is solely David Fincher‘s and almost every frame here, he reminds of you that. Fincher has been really getting farther and farther up my list for my favorite director and it’s inspired directions like this that make me understand why I feel this way. Fincher does not put in a scene here that doesn’t mean anything to the plot and instead every scene he puts in adds something more to the story every-time whether it being more material found out about Harriet, Lisbeth boning Mikael again, or just some more crazy-shit going down for this story. Fincher is working his A-game with this flick and doesn’t stop once to slow down or take a breather, don’t go into this blind, you will want to rip your hair out, and that’s something that Fincher likes to hear.
Even though his direction is incredible though, I still felt some tension was a little lost for many reasons. One of the reasons being here is that I felt like he should have at least taken more time with this story because when he does, it puts you on-the-edge-of-your-seat without any remorse. There also isn’t much time for Fincher to build up tension within a certain scene rather than just focusing on a lot of fast-cuts and quick chases in between two characters. There was probably one scene by the end of the flick where I really felt the real deal tension that I would usually get with a ‘Seven’ or ‘The Game’ or even ‘The Curious Case of Benjamin Button’ for that matter.
Another reason why I felt a lot of the tension was lost was because this is a re-make and even though some scenes are either changed, left out, or breezed right over that are from the original, I still couldn’t feel like I saw this story before but except with different people. The original film was all about the unpredictability of it and having no idea where this case was going to take either character, and just who was going to end up alive or dead. Here, the film didn’t change all that much so knowing all of the twists and happenings of the plot was kind of a real bummer and sort of felt lackluster for me even though I still do think Fincher gives it his all. You can only do so much with a film that has been by so many in the first place Finch, but I’m glad they gave it to you to direct.
The biggest selling point for this film was in fact The Girl herself: Lisbeth Salander who’s played by Rooney Mara aka that girl that broke up with Mark Zuckerberg in the beginning of ‘The Social Network’. I don’t think anyone ever thought that they would soon again be seeing the same chick about a year and two months later with tats, piercings, and full-on nakey scenes all-over-the-place. To say the least though, Mara is amazing here and brings a lot more to a role that was already down pat by Noomi Rapace. Mara has a lot to do here and in such a demanding role, she makes everything seem believable with a tough-ass character like Lisbeth that at times may go away but you never forget her and it’s only a short-time until she’s back on being a scary chick like usual. Mara definitely deserves an Oscar nomination probably because Rapace got one and I think that Mara should at least get a lot more roles now considering the last time I remembering her doing something this dark was ‘A Nightmare on Elm Street’ aka the awesome remake….
One of my biggest and bitchiest complaints of the original was the fact that the film barely even focused on Mikael, who was a totally cool character in and of himself. This is something that this film does not do and instead gave me what I would like to say Daniel Craig‘s best performance since he first decked out the James Bond look in ‘Casino Royale’. Mikael is an interesting character and it was cool to see him get a lot of time spent on him even when Lisbeth does come around to eff shit up. Even though he did not stand a chance from taking Mara’s spot-light, Craig is still great and offers up that real human-being aspect of a character that needed more attention to him in the first place.
Everybody else here is pretty damn good as well with plenty of creepy and eerie performances given by Stellan Skarsgård as Martin Vanger, Christopher Plummer as Henrik Vanger, and Joely Richardson as Anita Vanger who with this and ‘Anonymous’ earlier this year has found herself really heating things up and getting our minds away from the fact that she went out with the kid that played her son in ‘Nip/Tuck’. Yeah, it’s a little creepy but then again just watch one episode of that show and it will seem pretty normal after awhile.
Let’s also not forget to mention that this film also features another kick-ass score from the minds of Trent Reznor and Atticus Ross. Every time Fincher teams up with these guys, they just somehow make magic together and almost every scene that is under-lined with another piece of the score music, the more and more creepy the film gets without over-doing it. Also, this film definitely features one of the best and most random opening sequences to a film that I’ve seen all year. You can basically that ‘Immigrant Song’ cover to anything, and I guess that anything here was whips, chains, and very black and oily people.
Consensus: If you have seen the original, everything here may feel a bit familiar and old, but with Fincer’s version of The Girl with the Dragon Tattoo you don’t know what to expect with some great tension, non-stop fast pace, and great performances from the whole cast, especially Mara who shows her total role commitment and deserves some type of recognition come February.
Swedish people are really messed up.
Journalist Mikael Blomkvist (Michael Nyqvist) and rebellious computer hacker Lisbeth Salander (Noomi Rapace) team up to investigate the unsolved disappearance of wealthy Henrik Vanger’s (Sven-Bertil Taube) teen niece (Ewa Fröling), only to uncover dark secrets about Vanger’s powerful family.
I never read the book that this film is based off of and I probably never will, because I just am that cool but for a film that is being remade by David Fincher, it’s not as amazing as I was expecting.
This movie clocks in at about 152 minutes but I honestly didn’t feel bored at all. There is a lot of crazy stuff happening but you still have no idea what’s quite going to happen next considering that this story has so many mysterious and “whodunit” elements to it, that’s its pretty easy to get into it with a clear mind that something effed if going to go down at the end of this film.
Director Niels Arden Oplev did a great job with how the film takes time with its story and gives us time to see these characters for who they are before they have to go down in this case. Instead of just being a whole bunch of separate stories that somehow come together by the end of the film, the story is one single plot and goes on and transitions between both leads. This was a good element to the film and for anybody going into this expecting to be uber pissed because of the whole subtitles thing, well I can assure you that within the first 15 minutes, you forget that they are even there.
What I liked most about this film was the fact that it was able to be dark, mean, angry, and just plain and simply dirty but never seem raunchy or gritty. There’s a certain style to this film that shines through right away from the first shot to the last and how that mood is able to stay alive throughout the whole film and never seem tired, really shows what Oplev can do as a director. He’s got lots and lots of style here but never does it feel overly-stylized.
My main problem with this film is the fact that I think it focused more on ‘The Girl with the Dragon Tattoo’ rather than the actual story at hand and the other dude, Mikael Blomkvist. The film is all about this murder case, which it never really loses sight of in the first place, but it’s almost as if when Lisbeth and Mikael meet, its all about what Lisbeth does for this case and how much of a crazy-ass she is, nothing for this dude Mikael.
Mikael seems like a cool character as well and he’s done pretty well by Michael Nyqvist, so it’s sort of a shame to see that this character is basically second-in-command when it comes to this story. The guy has a huge case in the beginning of the film that’s already resolved within the first two minutes, the fact that he beds around all of these chicks is hardly mentioned, and even when him and Lisbeth start this sexy little romance they got going on, it more or less just focuses on her and how she feels all about it. Poor Mikael, all he wanted was the spot-light.
The film also starts to lose itself a bit in the end as it goes right on for that slasher/gory and bloody type of ending that doesn’t really get you anywhere unless you’re really trying to shock the hell out of your audience. Speaking of shocking, for those people who have a problem with such subject as rape, torture, misogyny, racism, and all of those other grand and beautiful things, you may be a little pissed off at this film but I’m betting you would already know what to expect if you were going to watch it in the first place.
The real reason to see this film and why it got the notice that it did was all because of this crazy chick right here playing Lisbeth, Noomi Rapace. This character is a total bad-ass because she does not stand for anything that effs with her and the way Rapace brings this toughness to her in the first place is really something that shows talent within an actress. Not only is she a bad-ass though, she is also very smart when it comes to hacking so she’s not only an ass-kicker but also the brains behind everything as well which makes her even more of a force to be reckoned with. If I saw this chick in real-life, I really wouldn’t know what to do, except maybe run away and look for the nearest hiding-spot so she couldn’t find me and take advantage of me, and I’m not talking about the good way either.
Consensus: The Girl with the Dragon Tattoo is a long film that is entertaining due to Noomi Rapace’s performance as Lisbeth Salanders and a direction that is not only stylized but mysterious as well, however the film suffers by the fact that it follows Lisbeth too much and almost forgets about it’s other main character completley, Mikael. Still, I can’t wait to see what Fincher can do with this flick.
Pitt being Pitt, Morgan being Morgan, Spacey being Spacey, and Fincher being Fincher. Hell yeah.
Two homicide detectives are on a desperate hunt for a serial killer whose crimes are based on the “seven deadly sins”. The seasoned Det. Sommerset (Morgan Freeman) researches each sin in an effort to get inside the killer’s mind, while his novice partner, Mills (Brad Pitt), scoffs at his efforts to unravel the case.
David Fincher is a total mad-man and I think he has only gotten better as the years have gone on, but it’s great to see where it all started.
This film is straight-up messed up however, it is also a very smartly written one to say the least which is a lot of thanks to writer Andrew Kevin Walker, who did a lot of junk before and after this film but somehow got thing clickin’ at the right time and place. The film shows the characters always one step behind the killer so we’re constantly left wondering how is this damn guy so freakin’ smart and we don’t quite know what he’ll do next. It fully keeps you on the edge of your seat, until the grand finale comes up and then were left with, “Wow”.
However, it’s not the smarty-pants that the killer has is what’s so good about this screenplay, it’s the fact that it is actually horror/thriller film that has something to say. The killer’s motives really stuck into my head because he is only doing this to people that are not innocent, but more as to people who deserve it because of the hurt and pain they push onto others so subtly. This film will mess with how you view the world and most of all will take you inside of the mind of the serial killer it’s showing, which is unlike any thriller I have ever seen before. What the killer says is still in my mind and will stick with yours probably too.
The real reason this film works though is Fincher’s direction, that is almost nothing short of brilliant. His use of lighting still works in any film, and especially here because he knows how to make any place, no matter where it may be, and just make it the most dirty, grimy, and disturbing place you have ever seen on film. The thing is though, that he’s making Chicago look like this shit-hole where it doesn’t stop raining for a whole week. All of Fincher’s visual flairs add to the depressed and dark setting of this film and just about every sequence is thrilling just by the way he keeps the tension and mystery going.
Oh and let’s not forget the opening title sequence to the remix of the song “Closer” by Nine Inch Nails. Like that damn song didn’t already have me creeped out. Thanks Finch.
I also liked the fact that we never actually got to see any of the killing’s happen, and more of just the aftermath of these grisly murders. There’s a lot to be shocked by after seeing this film, and although I have seen this about 4 times now, I have to say that I still get a little grossed out by what I see. Others may like this, may despise it and this is one of those films where it’s just “not for everybody”. That can be said for a lot of Fincher films except for maybe his last two that came out, but with The Girl With the Dragon Tatoo, I think he’s back on-track for grossing people out again.
The cast is also nothing short of magnificent either. Brad Pitt is great as the young, cocky, and headstrong cop David Mills who wants to get the bad-guy at any way possible, and Morgan Freeman is even better as William Somerset, the laid-back, seasoned cop who plays the voice of reason every time Mills gets a little loose with it. They’re contrast of old school vs. new school is amazing to see on-screen and they work together so well having me actually believing them as a real-life detective team. The real shining star of this whole film is probably Kevin Spacey, who you will probably be stuck remembering long after the final credit reels off the screen. I can’t say much else about this role, but this is easily the best performance from the whole film by just how much he gets into not only the character’s heads, but also the audiences head as well.
Consensus: Although it may not be for everybody, Seven is still one of Fincher’s best with a tension-filled atmosphere, brilliant script, superb writing, and a grand finale that will be sure to stay in your mind way long after the film is over.
Who cares what Michael Douglas does on a regular basis anyway?
In honor of his birthday, San Francisco banker Nicholas Van Orton (Michael Douglas), a financial genius and a coldhearted loner, receives an unusual present from his younger brother, Conrad (Sean Penn) — a gift certificate to play a unique kind of game. In nary a nanosecond, Nicholas finds himself consumed by a dangerous set of ever-changing rules, unable to distinguish where the charade ends and reality begins.
One night I was just hanging around when I found an old VHS of this and I have to say, I’m going to have to start watching my VHS’s from now on.
Director David Fincher is a great director as much of us know. He takes a lot of material and can make it incredibly more chilling, tense, and stylized like no other. He does not disappoint one bit here and just proves why he is one of the best mystery directors of all-time.
Fincher kept me guessing at every single scene just what was going to happen next, and what is real and what isn’t? I knew it was a game, because the title tells us that right from the get-go it was just so great to feel the claustrophobia from this film and being shocked at every single turn this film took. There’s a lot of twists and turns here that may confuse you, but Fincher makes it all seem pretty easy to follow. Also, Fincher uses this very bleak look to portray a lot of the emotions an ideas that are going through Nicholas’s head at certain points, and none of it ever feels too artsy-fartsy for my taking. Basically, Fincher is great, the story is where the problem lies.
I liked this plot and how it all came out on film, mainly because of Fincher but the problem with this story is that although it’s placed in the real world, it almost could never happen. Reason being that is because there are almost way too many co-incidences in this story to actually ring true. How do you know that somebody will get into this certain taxi cab? How do you know they will get into a room with a camera, where you will be seeing them all the time? How do you know that someone will be coming to the office at that exact moment? Also, how exactly do you know that someone will fall exactly off a roof, on the right side of the building, and not be killed? All of these questions and probably more will be raised when you’re watching the film and although I was along for the whole ride, I almost never thought that any of this could actually ever happen.
The ending also was pretty lame probably because I was expecting a big twist at the end, and I never got it. But saying that, I was disappointed that at the end of the film, we don’t learn anything or nothing really has changed about the character’s involved. I don’t want to give too much about this film away but I really did feel that we deserved a way better than what we got and some actual lessons learned at the end. Maybe it was just don’t be a little rich dickhead, and you’ll be fine. Well that’s at least what I took from it.
Although I don’t really like much of Michael Douglas in many films, here I actually kind of cared. This guy is such an asshole at times and when all this starts to happen, you start to see him actually lighten up about things because he doesn’t know what to do or who to trust, so I kind of actually stood behind him. He’s good in this role because he looks angry when he’s angry, he looks confused when he’s confused, and he always knows how to solve everything the right away. I think this is one of Douglas’s better performances mainly because Fincher directed him so well. Sean Penn is here as Conrad and is pretty good for what he does. Nothing special really, just sort of there I guess.
Consensus: Sparked by an incredibly dark and tense direction from David Fincher, The Game will have you guessing at every turn but as a whole the film seems too coincidental, and although by the end you feel a bit satisfied you never quite feel like you wanted to end on the note that it did.
Home Alone 4: The Revenge
This thriller centers on a divorcée (Jodie Foster) and her daughter (Kristen Stewart) who are caught in a deadly game of cat-and-mouse with three burglars (Forest Whitaker, Jared Leto and Dwight Yoakam) in their New York City brownstone, retreating to the vault-like safety of their aptly named panic room. As the intruders try to breach the room’s security, the embattled duo must stay one step ahead.
Out of all of David Fincher‘s films, this one is considered his weakest (that’s if you’re not including Aliens 3). However, this one isn’t so bad, considering it’s his most Hollywood-friendly film to date.
What Fincher does best here is make this pretty simple plot, and make it something that leaves you on the edge of your seat, the whole time. The dark style that Fincher uses works well for this film because it takes down the idea that your house is a beautiful little place, that no intruders can ever get into, and thinking about somebody breaking into our place is just unsettling to think about.
Fincher takes his dear old and sweet time with this pace which makes all of the suspense a lot more taut, and keeps you guessing even though you have a feeling you know what’s going to happen next. There’s a couple of cool camera-tricks that Fincher uses to fully get us knowing that we are in this one little house, with these people, and basically trapped with no way out. It’s crazy because Fincher really tools with our mind in all the right ways, and makes this film more than just your simple, average hostage-thriller.
The main problem with this film is not in Fincher’s directing as much as it is in the story itself. I liked the whole plot and thought it was simple enough to be thrilling but I did find myself guessing just what was going to happen next, and woolah, it did. The problem here is that three bad guys here just so happen to be a bunch of misfits that are pretty much psychopathic, or inexperienced with the exclusion of one person, who is pretty easy to figure out right away. In a way, I knew who was going to die, and who wasn’t (or in this case, who can’t) and what was going to happen in the end. However, I was still in suspense the whole time really.
From what I heard, Fincher was going to cast Nicole Kidman in the lead role but then she messed up her knee or something so she was put as a cameo here, and I have to say that I’m glad that they chose who they chose. Jodie Foster is really good in this role because she starts off all nerdy, and actually sad, but then turns into this vengeful, stop-at-nothing, crazy ladies who wants nothing but to get out of this situation alive. Foster is very good at driving all these emotions from her character just from her facial expressions, and although she almost rarely smiles in this film, she still is a delight to watch. Kristen Stewart does a good job in a very early role, and will probably stop any Twi-hard fans from having any boners over her after watching this. Forest Whitaker, Jared Leto and Dwight Yoakam are all good as the bad dudes, and each contribute great performances for three guys that you wouldn’t expect to actually be written well at all. Pretty small cast, for a relatively small film, but overall good job from the whole cast involved.
Consensus: Panic Room may suffer from it’s script, but David Fincher creates suspenseful tension and makes this simple plot, better than just your average-thriller.
So as everyone among the film community know, it is Oscar time babyyyyy!!! So that means get ready for some of the biggest upsets, wins, and probably tearful moments of the year. It was a great year in the film, and this is what has all come down to it people. The big night, and here are my predictions, I hope I do well.
Best Animated Feature: Will Win: Toy Story 3 Should Win: Toy Story 3 Wild Card: How To Train Your Dragon
Best Documentary Feature: Will Win: Restrepo Should Win: Restrepo Wild Card: Exit Through The Gift Shop
Best Foreign Language Film: Will Win: In a Better World Should Win: Dogtooth Wild Card: Biutiful
Best Documentary Short, Best Live Action Short, Best Animated Short: Will Win: Can’t say I care too much
Best Editing: Will Win: The Social Network Should Win: The Social Network Wild Card: Black Swan
Best Cinematography: Will Win: True Grit Should Win: Inception Wild Card: The King’s Speech
Best Visual Effects: Will Win: Inception Should Win: Inception Wild Card: Alice in Wonderland
Best Sound Editing: Will Win: Inception Should Win: Inception Wild Card: Unstoppable
Best Sound Mixing: Will Win: Inception Should Win: Inception Wild Card: The Social Network
Best Art Direction: Will Win: Alice in Wonderland Should Win: Inception Wild Card: The King’s Speech
Best Costume Design: Will Win: Alice in Wonderland Should Win: Alice in Wonderland Wild Card: True Grit
Best Makeup: Will Win: The Wolfman Should Win: The Way Back
Best Original Score: Will Win: The Social Network Should Win: The Social Network Wild Card: Inception
Best Original Song: Will Win: We Belong Together (Toy Story 3) Should Win: We Belong Together (Toy Story 3) Wild Card: I See The Light (Tangled)
Best Adapted Screenplay: Will Win: The Social Network Should Win: The Social Network Wild Card: 127 Hours
Best Original Screenplay: Will Win: The King’s Speech Should Win: Inception Wild Card: The Fighter
Best Supporting Actress: Will Win: Hailee Steinfeld Should Win: Melissa Leo Wild Card: Amy Adams
Best Supporting Actor: Will Win: Christian Bale Should Win: Christian Bale Wild Card: Geoffrey Rush
Best Actor: Will Win: Colin Firth Should Win: Jesse Eisenberg Wild Card: James Franco
Best Actress: Will Win: Natalie Portman Should Win: Natalie Portman Wild Card: Annette Bening
Best Director: Will Win: David Fincher Should Win: David Fincher Wild Card: Tom Hooper
Best Picture: Will Win: The King’s Speech Should Win: The Social Network Wild Card: Toy Story 3
I must say that this is a pretty solid year for the Oscar’s this year. All the nominees look just about right the only problem is how will the picks turn out? This year, everything seems like it’s coming down to Old School (The King’s Speech) vs. New School (The Social Network). The past couple of years The Academy (I hate that word) has been looking more towards hip, new films to win it’s Oscar Best Picture. Films such as Slumdog Millionaire, The Hurt Locker, and American Beauty have all been unconventional new films that have seen their taste of Best Picture gold. But there has also been countless period piece wins for films such as Gladiator, Shakespeare In Love, and The English Patient. Also, many other major award shows have already presented the Best Picture win to The King’s Speech which is really chasing up people’s noses, as many other award shows have been choosing The Social Network as theirs. In my opinion, I liked Inception more than both of them, and yeah it’s nominated, but in all honesty it has no chance of winning. When it comes down to it I think that The Social Network should win, because it is an age-defining film, that went from being known as “The Facebook Movie” to being known as the top contender for every Oscar it’s nominated for. I hope that The Academy goes for the new school, because if they had The King’s Speech win, everyone would feel robbed really.
As for Best Actor, I think that Firth deserves to win for all his years dedicate to films, but Eisenberg fully deserves it. I think what the Academy is doing more and more now, is honoring actors & actresses not for just a certain performance they had, but their careers and saying that it’s their time. I don’t mind seeing stars like Jeff Bridges, Kate Winslet, or Colin Firth win an Oscar, because of the career they have but I’d rather see the “best performance of the year award” go to the BEST PERFORMANCE OF THE YEAR.
When it comes to the Best Actress category, it seems like Natalie Portman is the sole winner for here, as she has won almost every single Best Actress nomination at every award show. However, there is once again that little idea that it’s Annette Bening’s “time” to win, as she has been nominated twice, and still has not won yet even though her career has been going on for so long. I want Portman to win, and most likely she will, but I still have a feeling that The Academy may pull something out of their pockets and surprise us all with a Bening win.
I’m very disappointed that my main man Christopher Nolan was not nominated for Best Director this year. He was snubbed for The Dark Knight, and now he’s being snubbed again, and it just pisses me off knowing that certain directors that do such a good job with daring material, don’t get the credit they deserve. I think if Nolan was nominated, he should have won, but I know it’s The Oscars, and not everything works out the right way.
This year had great films, and I’m glad to see that the Oscars have turned out to be this way. I loved 2010 as a year, and the films made it awesome. Here’s to 2011, and let’s just hope that the Oscars are awesome.
Thanks everybody for always reading, and keep on checking!!
I never thought I would actually love a film, that is about Facebook.
David Fincher’s biographical drama chronicles the meteoric rise of Facebook CEO Mark Zuckerberg (Jesse Eisenberg) from Harvard sophomore to Internet superstar, examining his relationships with co-founder Eduardo Saverin (Andrew Garfield) and Napster founder Sean Parker (Justin Timberlake).
Way back when, I remember hearing news that crazy, dark director, David Fincher, was making a film on Facebook. So I don’t know how everybody else felt, but I was basically wondering “why the hell are they doing this!??!”. I thought it was a dumb idea, then I saw the trailer, and that’s when my guilt was finally taken away.
When it comes to directing, deep, strange, and bleak material, David Fincher is the main for that job, and here he shows that he can branch out and take a story like the creation, and overall effect of Facebook. He does it so well, with keeping a fast pace throughout the film, but not forgetting to show us how Facebook came to be, and the people that were “the other creators” of Facebook. The film bounces back in forth between showing the creation, and also the lawsuits that soon followed, and at first, I felt like it was going to be confusing, but I feel like that was the best way for this film to be structured, through flashbacks, and then you see how these people react with each other, before and after the creation of Facebook. It really is something remarkable what Fincher can do with this big-budget, Hollywood story, and still keep his own type of style in it, but attract mainstream audiences.
However, the main reason this film works, is the amazing, and I do repeat, amazing script job done here by Aaron Sorkin. This is what all films should be like, smart, witty, dark, and true to the point. Sorkin blends a great deal of comedy, and drama within this film that keeps it going, as fast as these geeks are talking, and the lines that come out, feel so real, and so genuine, as if your actually hearing somebody talk from the 21st century, just as this was going on. It works as a character study because the script dives into the egos that these people create, as they get bigger, and bigger, but not without showing us how they get the job done. This literally is the perfect script, cause you understand everything that these people are saying, even though they are speaking 50 miles per second. You also don’t really know who to hate, or who to sympathize with. Sorkin doesn’t just show you how much of a dick Zuckerberg is, but it does show the true emotions when a friendship is tested between business’, and who the real, and the fake friends are.
I was so astonished by Jesse Eisenberg in this film, and can easily say he has gotten rid of the awkward nerd title, that has been on his forehead for quite some time now. There are moments in this film, where you can see that Zuckerberg is just ready for something genius, and you can tell through Eisenberg’s purely amazing performance, because he’s got the look of a smart, and witty geek, but when he gets the attitude of a kid that will just rip your ass to shreds, by how much more rich, and famous he is than you, your just amazed by how good Eisenberg really can pull this off. He plays a dick so well, but yet his charm also attracts us to him oddly enough, and he’s likable, and utterly disgusting at the same time. I really do hope he gets nominated this year, and that he doesn’t once shy away from playing even more serious roles, cause he really can do them.
But it’s not just all about Eisenberg, the supporting cast, has also got some very bright spots as well. Andrew Garfield (aka New Spider-Man), is just perfect, and sort of the wild-card here in this film. This film mainly shows Eisenberg as the big see in this film, when Garfield, gives some honestly great showings of emotion within this film. You can feel the anger within this guy, as he sees his best friend, and ultimately whole life, go right down the tubes, and you just watch him every time he’s on screen. Justin Timberlake goes back to the old days of his N’Sync curly locks days, and basically gives a surprisingly very, very good, and energetic performance. This one shows that he is indeed an entertainer, and if his music career starts to slow down, he can just keep on doing acting, he’s obviously good at it. Armie Hammer also plays both of the Winklevoss Twins in this film, and does a great job at showing, two both arrogant, and cocky son of a bitches, that rely on their last name for everything, and he plays both sides very well.
There is also an amazing score job done by the Trent Reznor, which at first struck as me as odd, simply because he’s known for making crazy weird songs like: “Closer“, or “March of the Pigs“, and adding a creepy score to a film about Facebook, doesn’t seem to match very well, but somehow it does, and gels very well with the story, and brings a lot more emotion to the scenes.
The only problem I had with this film that I can think of, was that I do feel some things were made up, just for the fact of dramatic effect. Which in ways is alright, but at the same time, it kind of gets you thinking, why would you dramatize something, if it wasn’t as interesting in the first place? I don’t know, but other than that almost flawless film.
Consensus: When it comes to modern film-making at its finest, The Social Network, is brilliantly directed, written, and acted, but will also be a 21st Century defining film, for the years to come.