A sensational thriller from Oscar-winner Roman Polanski who has filmed one of the best final shots I’ve ever seen on the screen. To me, it’s a simply perfect ending to an already great film. This one leaves you guessing all the way…and even once you think you know what’s going on, you’re usually wrong. Ewan McGregor stars as a ghost writer for a scandal-ridden British Prime Minister, Adam Lang (Pierce Brosnan). While writing the PM’s memoirs, the writer gets himself involved with the same political and sexual shenanigans as his subject. The McGregor character is teeming with intensity and confusion. He knows something is going on, but WHAT? Brosnan does a great job of capturing the scorned political figure who might not be guilty of all he is accused of but is guilty of enough. This is a film, especially that fantastic ending, that you will want to watch over and over again to pick up on all of the slight nuances of each of the characters…not to mention the plot twists! The film Polanski has made here competes with Woody Allen’s Match Point as one of the best thrillers of the 21st Century (so far). The Ghost Writer: Rated PG-13, 128 minutes, directed by Roman Polanski, starring Ewan McGregor, Pierce Brosnan, Olivia Williams, and Kim Cattrall. The Niles Public Library will have copies of this DVD when it is released on August 3.
Posts Tagged: best of the year
As with other films, the background I have about this film was limited. South Africa — nada. Rugby — less than nada. But, it’s an Eastwood film and it has two of my favorite actors, so what the heck. And, boy, what a great film. Morgan Freeman does a spectular job of playing Mandela…he’s less about the looks of the Nobel Prize winner and more about the persona. So, at the start of the film in the early 1990s, Mandela gets out of jail and is elected to president. Apartheid is over. Mandela sees rugby and it’s “whites” only popularity as a way to try and help some of the white South Africans that he determined to unite his racially divided country. Matt Damon plays the rugby team captain who is in awe of the inspiring Mandela. Some believe (both black and white) that Mandela’s focus on rugby as a uniting tool is fooling. The blacks want to know why he is focusing this much attention on a white sport. And the whites don’t believe he is sincere and feel he has some sort of ulterior motive. South African politics are a big part of this film, as is rugby. Knowing next to nothing about those subjects did not hinder my enjoyment here. The story is intense and passionate enough sustain interest throughout. This film is about heart and friendship. It’s about determination and spirit. It’s a movie for all — not only political or sports junkies.
An Education is a charming, intelligent film filled with excellent performances, especially from Carey Mulligan, who shines as the curious ingénue. Mulligan’s character, Jenny, is bookish school girl from suburban London who meets an older, sophisticated attractive man, David (played perfectly by Peter Sarsgaard), who drives a sports car and who sweeps her off her feet. David even convinces her strict, driven parents with his “respectable” act. Jenny is hooked completely…so much so even school is no longer important. When David’s true colors surface, she seems left with nothing, but is she? Based on the memoir by Lynn Barber, An Education was adapted for the screen by British novelist and humorist Nick Hornby, who uses his satiric, dry wit to bring the characters, especially Jenny and her family, to life. Though this film is mostly a serious drama, Hornby’s knack for writing vibrant and vivid characters comes across in this touching and heartwarming story. Nominated for three Academy Awards (Best Actress (Mulligan), Best Adapted Screenplay (Hornby) and Best Picture), this film is one of the best of the year.
It’s hard to say I loved The Hurt Locker since it is such a disturbing and brutal movie. I will most likely never watch this film again. It’s not the kind of movie you want to re-live over and over again. And, it’s also not the type of film I would usually be drawn to. But, all I know is that I felt moved after seeing it…and that it affected me more than any film has in a long time. I think one of the reasons I was drawn to this film was that no matter what the subject, no matter how brutal or violent, good filmmaking is universal and stands out over all of the hype and other elements of the plot or story. The Hurt Locker is filmmaking at its finest. Never having been to war or even war-torn areas, this film is what I, as a naive civilian, imagine combat to be like. It is gritty and dismal and bleak and, at times, boring. There are men quarreling and having everyday personality issues like you and I do in the workplace. There are anger issues and missing family. There is death. Unlike some war films where the action and personalities of the soldiers and even the violence seems contrived, this film just seemed, to me at least, authentic. Revolving around soldiers in a bomb disposal unit in Iraq, the main character here is reckless and careless. But, he’s good at what he does so others around him are able to mostly excuse his free and easy behavior, especially because they do not want to do what he does. He’s the one who puts on the protective bomb gear and gets up close and personal with bombs. He might be a rebel, but in his dangerous job, rebellion is more of an asset at times than a liability. Like I said, I have no military experience so this feeling of authenticity is not based on anything specific…it’s just what I felt as I was watching the film—that this what be what it is really like over there. Then, on top of the intensity and drama of the film, The Hurt Locker also morphs into a thriller. As nail-biting (probably even more so) as any thriller made in Hollywood today, this war drama will not let up…even after the credits start to roll. With so many trite, predictable films being made today (some even about the war in Iraq), The Hurt Locker stands out among not only other war dramas, but among all other films.
The Hurt Locker: directed by Kathryn Bigelow and starring Jeremy Renner and Anthony Mackie. The Niles Public Library owns copies of this title on DVD.
George Clooney plays Ryan Bingham, a paid “hatchet” man whose job is to fire people for corporate executives who don’t have the guts to do it themselves. Touted as a “transition specialist”, he spends 322 days a year flying from one city to the next while living out of a one-room rental at a place that looks like the Hampton Inn.
His goal: To achieve membership in the 1,000,000 mile club and receive the airlines club card that identifies him as only the 7th man in the world to reach this milestone.
Bingham loves his work and he truly believes he is a performing a positive service. This, however, is not an upbeat movie. It is a timely and very poignant look at getting downsized in the worst job market in decades. Director Jason Reitman has chosen to cast real people who have been recently fired for the roles of the employees that Bingham meets.
Bingham has no relationships, even with his family, and no commitments. He finds this very satisfying. So too, does the female “road warrior” Alex Goran (Vera Farmiga) he meets in a hotel bar, naturally.
His boss, played by Justin Bateman, brings in a new whiz kid Natalie Keener (Anna Kendrick), who has found a way to cut expenses by firing people through videoconferencing. Kendrick is energetic, smart and likable. Bingham takes her on the road to show the hotshot how he does it, and then to attempt the changeover. Clooney is at his best in these scenes. He is smooth and warm and engaging.
We follow Bingham to Wisconsin to attend his sister’s wedding who he hasn’t seen in years. There we get another glimpse of the character’s bravado while really seeing that he is just a lonely guy.
A late scene with Alex is, thankfully, not your “Harry Met Sally” happy ending. It is also unexpected and it is in this scene that you witness the great actor Clooney has become.
Kendrick and Farmiga are good additions to the cast and this is Clooney’s best role. Academy Award nominations for sure for the movie and possibly Clooney.
Now, this is not one of my favorite films ever, but, for a Quentin Tarantino film, it’s very strong…mostly because of its performance by Christoph Waltz as Nazi officer Colonel Landa. It’s a long film, and like Tarantino’s other works, it’s very stylized and very violent. But, it features performances that make it worth seeing and Waltz’s performance, in particular, propels this film from standard-violent-war-movie to an excellent work of cinema. Waltz steals every moment he is on screen…unlike most Nazi characters portrayed in movies (I’m especially thinking of Ralph Fiennes’ cold-blooded killing machine in Schindler’s List), Waltz plays Landa with a sincerity and seeming likeability. We think “what is he after,” since we never know what to expect with this quietly deranged character; his light demeanor constantly keeps us off guard. And Tarantino really does capitalize off of this stellar performance. Landa’s scenes are visually elegant and the cast in scenes with Waltz seem to be pulling out all of the stops to give their best performance to match Landa’s maniacal, yet pleasant chill. As for the movie on a whole, it is a new twist on the WWII years in Europe…told with a strong film and filmmaking element. For movie buffs (like myself), I did enjoy the dialogue between the characters about the movie industry and 1930s directors and actors, etc. And, whether you like that “Hollywood” angle or not, it is something that really has not been touched on in a major way before. The style is unique, as usual for Tarantino, and his brash, bold techniques add to the power and intensity of the film. If you can tolerate the violence, check this one out! It’s a far cry from Pulp Fiction, but it’s a strong film on its own…highlighted by exceptional performances.
Once again, a small film that DESERVES TO BE SEEN gets tossed into a few theaters for a measly weekend in NYC and LA (just so it can say it’s a “theatrical release”) and then sent on its merry way to obscurity as a seemingly “direct to DVD” title. Sadly, this has little to do with caliber of acting and/or even the box-office draw potential of the cast (though I doubt Brad Pitt still has a few years to wait for this to happen to him): this film stars Kate Beckinsale, who after her Underworld films, not to mention other action films, is a pretty big star. It has, rather, to do with money…which, as usual, is what everything, especially in Hollywood, comes down to. So, this great film with great performances by a strong cast gets lost in the DVD shuffle. But, please…seek this one out! Loosely based on the true tale of a Washington political reporter, the script perfectly captures the right tone…not going too overboard to the weepy or the harpy, which could have easily been done here. And the cast takes that intensity from the page and adds power and subtlety and depth. Inspired by the case of real reporter Judith Miller who went to prison in 2005 to protect the identity of a source, the movie could have become one of those “it’s in the news so Hollywood must capitalize” flicks that are mainly seen as made-for-TV films. But, Nothing But the Truth is much more than that. I would say that this film far surpasses most intense dramas and thrillers you find in your local multiplex. Beckinsale plays the reporter who finds herself caught in this tangle of excitement and confusion after a story she wrote and championed found its way into the inner-workings of the D.C. elite. Every tactic possible is used to get her to reveal her source and the saga finally leads her to jail and away from not only her job, but also her family. Beckinsale, not someone I would call a “deep” actress, is highly emotive and rich here. She is calm and fearless when necessary, but at other times, she is raw and unabashingly open. Vera Farmiga, again not someone I’ve seen give a truly meaningful performance in the past, is tense and controlled…but just the right amount. Alan Alda also shines as a high-powered attorney who takes on Beckinsale’s case, against all odds. The supporting cast, including Angela Bassett, Matt Dillon, and David Schwimmer, is strong as well, making this a stellar effort by all involved and an all-around excellent film.
Mon., Jan. 4
Early registration opens for Niles District
cardholders who bring their completed
10-punch film card.
WATCH TO WIN contest begins
Registration opens for all Niles District cardholders
Tues., Jan. 26, 2pm
Rebecca, Not Rated, 130 min
Mon., Feb. 8
PICK THE WINNERS contest begins
Tues., Feb. 9, 2pm
The Lost Weekend, Not Rated, 101 min
Tues., Mar. 2, 2pm & 6pm
My Fair Lady, Rated G, 170 min — SINGALONG
(R) Registration required
*Sat., Dec. 5, 2pm—Angels and Demons, PG-13, 138 min
*Thurs., Dec. 17, 2pm—Four Christmases, PG-13, 88 min
*Sat., Dec.19, 2pm—Josh Groban in Concert, NR, 60 min
*Sat., Jan. 2, 2pm—My Sister’s Keeper, PG-13, 109 min
*Mon., Jan. 4—WATCH TO WIN OSCAR CONTEST begins —
see the AV Desk for details.
*Sat., Jan.16, 2pm—Gypsy Caravan: When the Road Bends, NR, 60m.
*Thurs., Jan. 21, 2pm—Julie and Julia, PG-13, 123 min
*Tues., Jan. 26, 2pm—Rebecca, NR, 130 min
*Thurs., Jan. 28, 2pm—Classical Composers in Hollywood
*Sat., Feb. 6, 2pm—The Proposal, PG-13, 108 min
*Mon., Feb. 8—PICK THE WINNERS OSCAR CONTEST begins —
see the AV Desk for details.
*Tues., Feb. 9, 2pm—The Lost Weekend, NR, 101 min
*Thurs., Feb. 11, 2pm—Amélie, R, 122 min
(in French with English subtitles)
*Sat., Feb. 13, 2pm—Patsy Cline: Sweet Dreams Still, NR, 60 min
*Wed., Feb. 17, 7:30pm—Road to the Oscars® w/Reid Schultz:
2009 in Film!
*Thurs., Feb. 18, 2pm—My Life in Ruins, PG-13, 95 min
*Tues., Mar. 2, 2pm & 6pm—My Fair Lady, G, 170 min — SINGALONG
Bridget Jones’s Diary
The Darjeeling Limited
Death at a Funeral
A Good Year
Kate and Leopold
Last Chance Harvey