CAPTAIN PHILLIPS

Captain Phillips

Directed by Paul Greengrass

Written by Billy Ray

     Captain Phillips is a taut, gripping thriller of realism. It is a film that brings forth action that is unforced and a moral immediacy to the world we live in. The kinetic action is balanced by an honest portrayal of a "real-life events" thriller, that does not judge either side and allows for a vision of the reasoning behind the actions of the proposed "good" and "bad" guys. The film rarely falters and with a few scenes that might be a little too stretched at times, it brings home an emotional level of authenticity in its final scene that will be sure to grab anyone by the heart. The film contains some of the finest acting in film today, especially by a crew of newcomers. Trust me, the film is intense and expertly made, but, I would not expect anything else from Mr. Paul Greengrass.

     Captain Phillips is based off true events that occurred in 2009 when the cargo ship the Maersk Alabama was hijacked by Somali pirates. It is based off Mr. Phillips book "A Captain's Duty: Somali Pirates, Navy SEALS and Dangerous Days at Sea." We first see Captain Richard Phillips (Tom Hanks) at his picturesque home in Vermont. He is packing for his next venture and he and his wife Andrea (Catherine Keener) are driving to the airport. The scene speaks of the two parents concerned about the future for their children and the fact the world is an ever-changing place. Greengrass opens with this to incorporate the humanism in Phillips and the state of place where the family is at in their lives. The scene sets up the calm for the film, but we do not go back the family. I like that. It allows for us to focus on Phillips and the events that happened at sea. It also allows for an emotionally difficult and intense scene at the end, as we have travelled through this film with Captain Phillips.
     After this, we are on his container cargo vessel, the Maersk Alabama. He is checking the pirate cages and locks, and right away we know this is going to be a dangerous trip. Going around the horn of Africa, delivering United Nations supplies and foods to African nations in need. Travelling from Oman to Kenya, and going through the piracy laden waters off the coast of Somalia. Danger persists.

     The film really brings about an honesty with its look into the job-like demeanor of a professional everyman in Phillips and then inter-cutting it with a peak into the Somali's. A poor nation, run by devastating warlords. We see them picking out men on the beach to hijack a ship. Piracy is a huge business and these men are doing what they have to do to survive. Even if it means committing massive crimes. It is a world completely opposite from the United States. Men are picked and travel out to sea, with battered ships and guns as there only means to force extraction. They are looking for a payoff and to fulfill the warlords wants and needs. I enjoyed seeing this juxtaposition of Phillips with his wife and then with his crew on the ship, and then the Somali's preparing to hijack a ship. It showed reasons, needs and necessities. It did not hold judgment or persecution. 

     Four men hijack the Maersk and hold the Captain at gunpoint. They state they do not want to hurt anyone, but just want the cargo and money. The crew is hiding and eventually, actions lead to consequences. We get to a point where Captain Phillips is put in a lifeboat and is used as a blackmail tool. The pirates are bringing him to Somali in order to get the money they want and will use him as a bargaining tool. Ok. I will not delve any further into the plot or its outcomes, but Greengrass has built everything up with educated suspense and well-acted scenes. Some of the scenes are drawn out a little too far in my opinion, but it does not lessen the impact and craft of the filmmaker and screenwriter Billy Ray (Shattered Glass, The Hunger Games). In its 130 minute run time, I never once was bored or uninterested, and Mr. Greengrass' kinetic, cinema verite style of directing gives that documentary realism that fits this film so well. That style is pretty much what you expect from Greengrass, who also directed United 93 and the final two installments of the Matt Damon-led Bourne films. Both of those Bourne films were fantastic.

     Greengrass is in top-form here and knows how to expertly tell a realistic, tense filled story. His direction is spot on and the camera work by his DP Barry Ackroyd does not miss either. Yeah, it is jittery and constantly moving, but it really fits with being on a ship and adds a level of unbridled tension to every scene. Ackroyd, who also shot Kathryn Bigelow's The Hurt Locker, is brilliant and does not over shot anything. The film is almost a companion piece to Bigelow's other great film, Zero Dark Thirty, with its account of realistic, harrowing events. They both contain brilliant Navy SEALS-led suspense and action as well. The score from Henry Jackman adds to the intensity of each scene, but never overpowers it. Believe me when I say that the final half hour of this film contains some of the finest filmmaking all year. It brings everything home and includes some of Tom Hanks best acting ever.

    The acting is phenomenal throughout this film. Hanks is perfect as the disciplined, American everyman Richard Phillips. He delivers throughout, as usual, but he is so to-the-core throughout, until we get to the final scene where his emotion and pain is so overwhelming. It got me and was as good of acting as Hanks has ever delivered. This should easily garner him awards attention, but the field of actors this year is highly competitive and growing. It is still Hanks that we can easily relate to. His ethics, determination and heart are on full display. Even in a scene where he is dealing with his crew and union based realities, he exemplifies command and efficiency. As much as Hanks is the star and shows how brilliant and talented he is, it is a newcomer that holds his own and almost steals the show from him.

    The main bad guy, Muse (newcomer Barkhad Abdi), is amazing as the captain of the four Somali pirates. His gaunt frame, misaligned teeth and skinny disposition is presented and acted with detailed fear and anger. The man is sent to perform a task and will not relent, even when the lifeboat is surrounded by the US Navy, carrying Navy SEALS. He states "I cannot give up." Abdi delivers a star turning performance and it is astonishing that this is the first film he has ever done. Going toe-to-toe with a veteran thespian like Hanks even adds to his wonderful, grounded performance. He gives Muse a balanced, honest portrayal. These are bad guys, but we see where they are coming from and how they live. A humanistic side to another part of the world and life that is full struggle and poverty. I must give attention to the other three Somali's, Barkhad Abdirahman, Faysal Ahmed and Mahat M. Ali, who give more traditional bad guy performances, but are equally effective. Also, real-life Navy corpsman Danielle Albert, who in the final scene with Hanks, delivers a powerful supporting turn. Amazing stuff.

     Greengrass and Ray do distinguish the differences between the "good guy" Americans and the "bad guy" Somali pirates, but do it in a way that shows the moral dilemma facing these men and the world. You obviously realize that piracy and theft is bad and that they have no justification to hurt Captain Phillips and his crew, but we see where they are coming from. They live in a world of intense poverty and reside in a society that is void of any comfort features. I enjoyed the fact that the filmmakers do not place "God-like" judgment on the characters and present the actions and reasons of what is going on. The film, as I said before, has some languished scenes, mainly once the hijack has occurred until they go off into the lifeboat, but it is told and filmed with such intensity and suspense that exemplifies the definition of a well-made and expertly constructed thriller. That moral immediacy that is delivered throughout, spot on directing from Greengrass and the excellent acting, especially from Hanks and Abdi, are what makes Captain Phillips a must-see.

Photo credits by IMDB.

     

Film Trailers: THE SECRET LIFE OF WALTER MITTY

     

     These trailer(s) have been out for awhile now, but I thought I would put this out there in case some of you have not seen the trailer yet. The Secret Life of Walter Mitty, directed by and starring Ben Stiller,  follows Mitty and the highly, "out-of-this-world" adventurous life he daydreams about where he is the hero and gets to date his beautiful co-worker. Otherwise, he is a boring and bored office worker. These daydreams help him escape the monotony of his uneventful life. He attempts to save his and the co-workers jobs by going on a global exploration when those jobs are at risk. The film, I hope, gives us the dramatic, good-actor Stiller (The Royal Tenenbaums), instead of the over-used, annoying comedic one. This film is a remake of a 1947 Danny Kaye picture of the same name and is based off a short story by James Thurber. The film co-stars Kristin Wiig, Adam Scott, Kathryn Hahn, Patton Oswalt, Shirley MacLaine and Sean Penn. I am skeptical of how this film will turn out, being that Stiller is always hit-and-miss, but the trailer does have me intrigued. The film will be released on Christmas day. Enjoy.

Photo credits by ropeofsilicon.com and trailer by YouTube.

GRAVITY

Gravity

Directed by Alfonso Cuaron
Written by Alfonso & Jonas Cuaron

     Alfonso Cuaron's space epic Gravity is all it appears to be and is one of the most technically amazing films ever made. It is a movie that demands to be seen on the biggest screen possible with the ultimate sound. The film is daring and one of the most intense action films ever made, not to mention a true horror film as well. Cuaron and his director of photography Emmanuel Lubezki have created shots that cause your nails to almost break into the arms of the theatre seats. Blinking is almost absent from one suspenseful scene to the next and even though the film may lack a little bit of emotional relevance to the world we live in, not much though, it is still a movie for movie lovers. A film that has its metaphors, strengths, some weaknesses, but ultimately is easily one of the best films of the year and one of the greatest space/sci-fi films ever made. Cuaron has made a film unlike no other.
     The film begins with words across the screen stating that it is impossible to live and survive in space. Right away we know that this is going to be journey of survival, human strength and intelligence. A space shuttle is slowly moved in upon and we witness three astronauts on a space walk. Matt Kowalski (George Clooney), a veteran on his last mission, Dr. Ryan Stone (Sandra Bullock), a medical engineer on her first mission and Shariff (Paul Sharma), who is working as the other two are on the shuttle. Kowalski tries to keep the highly nervous Stone calm and at ease while mission control, voiced by Ed Harris, notifies the three that a Russian satellite was intentionally destroyed and the unintended debris is heading their way. The three are in a rush for their lives.
     Shariff is killed. Stone and Kowalski are separated and all Stone has to calm her down is Kowalski's voice, but eventually they tether together in a fascinating, complicated rush. They make it to the International Space Station only to encounter another round of debris going at thousands and thousands of miles per hour. Kowalski realizes they must separate, especially since Stone is running low on oxygen and Kowalski is pulling Stone with him as they are tangled on the space station's hoses. She is terrified and Bullock expresses with a continuous series of "aahhs" and "no's", but ultimately Kowalski detaches her and Stone has to find a way to survive. The film is a harrowing thrill-ride that is all about the wonders of technology, cinema and the will to stay alive.
     The rush that you feel while seeing the peril that is about to happen to Stone is like nothing I have ever seen in my life on screen. Shrapnel from the satellite comes flying in and, if seeing in 3D, right into your face. The booming, growing score by Steven Price is almost a starting gun for the emotional turmoil and suspenseful thrill that is about to happen in each devastating scene. I can honestly say that within that first thirteen minute continuous shot, without one visible edit, is absolutely breathtaking and completely gripping. The scenes become more harrowing and suspenseful as the film continues its ninety minute roller coaster, but it sold me right away. The loops, spins and breathtaking use of CGI is so seamless and pinpoint. This is the way CGI should be used and how it should be used.
     Emmanuel Lubezki's cinematography is as good as ever. Never falling at any point and the only wonder I have is how much of the film is CGI and how much is actual shots. Nevertheless, his camera work and use of lighting is some of the best you will ever see and sure to finally get him his much overdue Oscar. The CGI, which took over two years and the film close to four years to complete, is well worth the wait. The beauty of seeing these astronauts float in space and seeing different parts of the globe is mesmerizing. It is like seeing a Discovery Channel documentary. The clarity is perfect and the visuals are completely astonishing.
    Alfonso Cuaron's direction and creativity is unparalleled throughout Gravity. He wrote the film with his son Jonas and what a treat it is to see it on the big screen. He has crafted one of the greatest space films of all-time and has come close to the masterpiece that is Stanley Kubrick's 2001: A Space Odyssey. The film is a film for film lovers and enthusiats. It is a film that demands to be seen at the theater. I think, just because I find wearing the 3D glasses annoying since I have to wear them over my regular glasses, I would rather see it in 2D. The 3D is good and not stupid looking, but the graphics are sensational. The suspense is completely gripping and eye-popping. Cuaron has entertained some concepts of evolution and rebirth throughout his film, but those can be up to different interpretations, especially in the final scene. I will not spoil that for the audience. I do wonder what Kubrick would think of this film though. It was of the most technically amazing pieces of cinema I have ever seen.
    Clooney's role is somewhat small in the film, but he does bring it home throughout. Good humor, even if a little corny at times. The real wonder and beauty, outside of the technical wonder of creativity by all involved, is Sandra Bullock. Although Bullock does go through a phase at the beginning where all she seems to be saying is "ah" and "no" and "I can't breathe" that becomes a tiny bit annoying, she still is rock solid in her performance. This has to be one of the more physically demanding roles she, or any actor, has ever been challenged with and she delivers with confidence and warmth. Her spirit is tested, it seems like, every ten minutes as she runs into one challenge after another. Bullock is solid throughout the film and it is one of her finest moments as an actress. Definitely Oscar worthy.
     The score by Steven Price is a thing of beauty. Booming, slow build that brings home the emotional impact of what is occurring on screen. One minor problem and I might be knit picking too much, is that every time Stone was about to be in intense danger, his score is brought up and sets the tone. It is a beautiful crafted score, but I felt it would have been nice to have some of the scenes just be led into suspense by looks and gestures from Bullock. I am not saying I did not like it because it is amazing and a piece of genius, but it was over used a little.
     Gravity is about the struggles of humankind and the fact that space is something humans are not meant to survive in. I believe Cuaron tried to come through with notices that no matter how much technology we posses, it means little when you are in an environment not suited for human life and existence. In contrast, it focuses on the will and strength of human character to survive. To find anyway possible to get back home and not give up and die. I am not saying you do not need the technology to survive, because without it, it would be definitely impossible, but you have to have the power to not give it all up and keep fighting for survival. No matter how hard or drastic the situation, you have to fight on and find a way to survive the perils of life. Even if you are 600 plus kilometers above Earth and in the clutches of space.
     Alfonso Cuaron's Gravity was my most anticipated film of the year and what seems like the last four years, and he did not disappoint. A marvel of the possibilities of cinema and a film that is for all fans of the movies. A space/sci-fi/horror masterpiece of undeniable vision and talent. A thriller unlike anything made all year and one that will keep you clutching your seat for the duration of its ninety minute run time. Another marvel for the great cinematographer Emmanuel Lubezki and a top notch performance from Sandra Bullock. I cannot praise this film enough. I have never seen anything like it and cannot wait to see it again. Thank you Cuaron for crafting a film of such amazing creativity and one of the most visually astonishing films ever made.

Photo credits by IMDB.

Classic Trailers: Y TU MAMA TAMBIEN

     

     While I finish up my final thoughts on Gravity and wrap up the end of a much needed vacation, here is the trailer for the film that put director Alfonso Cuaron on the map, Y Tu Mama Tambien (2001). The film about two young friends in Mexico that embark on a road trip with an older woman. The film is about love, friendship, romance and most importantly life. The film brought attention to the two young Mexican actors, Diego Luna and Gael Garcia Bernal, who the year before was in Alejandro Gonazalez Inarritu's first film Amores Perros. The film also stars the lovely Maribel Verdu and garnered Alfonso Cuaron and Carlos Cuaron an Academy Award nomination for Best Original Screenplay. Important film. Enjoy.

Photo credits by IMDB and trailer by YouTube.

Classic Trailers: HORROR OF DRACULA

     

     Wednesday's Classic Film Trailers continues with that other great British horror film from Hammer Studios Horror of Dracula (1958). Starring the same two actors that were in The Curse of Frankenstein, Christopher Lee and Peter Cushing, this film is probably my favorite of these classic British films. Although, upon second and third viewings of both films, I find myself being very fond of the The Curse of Frankenstein, liking it just as much as Horror of Dracula. The film is based on Bram Stoker's legendary novel "Dracula," but follows it very loosely. Directed by Terence Fisher, who also directed The Curse of Frankenstein, the film has the same great proper manners and sophistication, same great bright red blood and offers the amazing, somewhat corny, but satisfying Dracula film I love. Christopher Lee is Count Dracula and is as good as he has ever been. Peter Cushing plays Dr. Van Helsing and it is a good change from his maniacal Dr. Frankenstein portrayal. This is a classic and worth checking out as soon as possible. It is that time of year, so go out and seek some classic horror films. You will not regret it. Enjoy.

Photo credit by IMDB and trailer by YouTube.

ROOM 237

Room 237

Written & Directed 

by 

Rodney Ascher

     Rodney Ascher's documentary Room 237 focuses on a plethora of conspiracy theories and hidden meanings in Stanley Kubrick's classic, 1980 horror film The Shining. Everything from the film being about the Holocaust, to the massacres of the American Indians, to the faking of the landing on the moon, all are presented by The Shining obsessed conspiracy theorists. Some of the discussions and thoughts feel a little fruit loopy, but others began to work on me and led to a fairly enjoyable experience watching this film. For the most part, these people have taken film details and research for meaning to a whole new level. A fun, geeky paradise in search of what Kubrick was possible getting at and how he  possibly presented it in his film. Anyway you look at it, after seeing this documentary it will make watching The Shining a lot more entertaining, as if it was not already, and more obsessive.

     All of the individuals who have given there theories and time here are not physically shown. Their voices are used and pictures and scenes from all of Kubrick's films are used to exemplify what and who they are talking about. I do not want to call these people nuts, but feel as if they are looking so deep into the film that it could lead to a form of dementia. I do respect the passion they have for the film and it really does create great conversation. It makes talking about films exciting and definitely ensures that future viewings of The Shining will be taken to new heights of detail and specificity. 

     Ascher has crafted a documentary that is just pure fun, if not a little too much. Most of the time I was thinking that these people need to get out of whatever dark room they are in and stop obsessing over these subliminal and hidden meanings in this film, but by the end of it I was happy and intrigued by what they have presumed to uncover. Kubrick was a stickler for detail. That in itself is what I found most interesting about the film. The "faked" moon landing is the most interesting account presented here and it is hard not to at least feel the possibility through the details shown in the documentary. The holocaust and genocide of American Indians I can see with Kubrick's desire to make a film speaking of the horrors of Nazi Germany and human expansion and dominance, but they could be a little too far fetched. The details with number 42 are however quite intriguing.

     Back to more details in the film. The style of carpet in room 237 and how it looks to be a depiction of sex, to the points where Danny has the ball roll to him where he is playing and how the shape of the hexagonal carpet goes from being opened to closed was really fascinating. I really love stuff like that and it makes me want to see the film right away to find these minute details that hold so much meaning to the story and film. Even the part when Halloran is driving back to The Overlook Hotel and sees a semi-truck crashed on top of a red Volkswagen beetle shows how Kubrick states his ownership over the film and his dismissal of Stephen King's novel. In the book, the Torrance's are driving a red beetle and in this film they drive a yellow one. Also, the continuity issues of a chair being there in the shot, then missing the next time around and the changes in color of the typewriter are up for discussion. Kubrick was too detailed to allow this gaffs to occur so there had to be some meaning there.

     Room 237 is a fun documentary if you are a fan of Kubrick's The Shining and of the masters great filmography. It is fun if you are fan of mystery and debate over any film for that matter. The film shows how exciting diving into these theories and creating them can be and also how crazy obsessed fans and historians are at the same time. The documentary is an example of the greatness of film history and conversation. The engaging and obsessed film websites, blogs and discussing the various aspects of any film. When it comes to Stanley Kubrick, there is always more to research, discuss and be amazed about. I mean, it is Kubrick and there is only one Stanley Kubrick. Ascher has captured that love for film and conspiracies with this entertaining documentary.

Film Trailers: THE HOBBIT: THE DESOLATION OF SMAUG

 

 
     The new trailer for Peter Jackson's second "Hobbit" film, The Hobbit: The Desolation of Smaug has dropped and continues the adventures of Bilbo Baggins (Martin Freeman), along with the thirteen dwarves who are on a quest to reclaim their home, and gold, from the dragon Smaug in their mountain lair. Not much to say here. I am somewhat muted after the disappoint that was The Hobbit: An Unexpected Journey and do hope this film finds some of the passionate storytelling and drive that The Lord of the Rings films possessed. I am intrigued to see how Smaug fully looks and having Benedict Cumberbatch voice him is an assured plus. Let's see how much courage Bilbo can muster in this second film in the trilogy. Here is the trailer. Enjoy.

Photo credit by ropeofsilicon.com and trailer by YouTube.