The Lovely Bones

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Title: The Lovely Bones

Year of Release: 2009

Date Viewed: March 16th, 2011

MPAA Rating: PG-13

After a short film and a new take on the King Kong legend, writer/director Peter Jackson is back to adapting acclaimed novels for the big screen. This time he takes on The Lovely Bones based on Alice Sebold's 2002 novel of the same name.

The tragic story of Susie Salmon (Saoirse Ronan) is immediately laid out through narration straight from the character herself. At the age of fourteen, Susie was lured into a false sense of security and then murdered by child serial killer and next door neighbor George Harvey (Stanley Tucci). While the family grieves, her soul remains in a state of limbo. It's probably not purgatory because tales of that topic usually detail dark surroundings. More likely it's the long winding road leading up to heaven's gate. It's also hinted that the character's imagination is partly responsible for the appearance.

Only when their killer is brought to justice can Susie and the other victims ascend to the heavens and rest peacefully. Their physical bodies unavailing, the victims hopelessly watch over their families and can only pray for all the right pieces to fall into place. The most substantial pieces are connected to Susie's time spend on Earth before that fateful day. Her enthusiasm for photographing scenery appear like a divine intervention to her father Jack (Mark Wahlberg) who is now obsessed over identifying the murderer.

Even for a story that's all about spirituality, the events that lead to the solving of the mystery stretch too much. Jack's detective work is just a notch below Inspector Gadget standards. His first drawn conclusion is that the killer must have been someone close to them because Susie would never run off with a stranger. A fair suggestion but why rule out a first-time occurrence or a spontaneous kidnapping? Suspicions over George arise when Jack notices that he appears rather frequently in Susie's roll of old photographs that were developed after her death. As the wise yet antagonistic police detective points out, that doesn't prove anything even if the conclusion is correct. Even though Jack's lack of evidence is continually pointed out over the course of the second act, the movie insults intelligence by pretending that Susie's contact from beyond the grave is subtle when it is actually non-existent.

I got the impression that the ridiculous clues are only excuses to keep the story moving forward. As strange as this may sound, the movie is at its best when there is no story going on at all. Despite my many frustrations, what I'll remember most about this film are the beautiful depictions of the afterlife. Peter Jackson's reputation for being a visionist needs no further validation than the scenes of Susie embracing her peaceful surroundings of bright gardens, towering forests, reflecting lakes and plains that stretch further than the eye can see. These scenes hold more superbly crafted color patterns than an art festival. If this is what heaven's front yard looks like, I cannot even begin to imagine what the interior contains.

This is an odd case where the story gets in the way of a good movie. The living characters are not even close to being as interesting as the ghosts despite Susie's constant and obnoxious narration over every detail. Ironic that a movie that takes prides in its own art decides to spend so much time on exposition. Even more odd is the grandmother character introduced at the mid-way point to provide some unwelcome comic relief. Some character behaviors are so bizarre that they belong in a Zucker parody. Take for example a moment when Susie's sister learns the truth about George. In one of the movie's few exciting scenes, she narrowly escapes her own abduction and races back to the family. This gives her the perfect opportunity to expose the truth but she instead hesitates over a situation so inconsequential that I nearly started screaming at the television.

Susie has a lot to say about all these events but the character never seems to evolve in any fashion nor does she have any real effect over George's final fate. I felt lost in limbo myself while wondering what the point of all this was. The Lovely Bones can boast over having some of the most amazing visuals that the cinematic world has seen, but the substance falls short of what Peter Jackson's crew is capable of providing.

Rating: 4

 

Red

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Title: Red

Year of Release: 2010

Date Viewed: March 13th, 2011

MPAA Rating: PG-13

One of my favorite professional wrestlers to watch is Ricky "The Dragon" Steamboat. He wasn't the biggest or loudest guy to perform in the squared circle, but the technical skills and all-around professionalism more than made up for it. He was so good that nearly every man that stepped in the ring with him for a match ended up looking like a million bucks by the time it ended; win, lose or draw. Sadly, an unexpected neck injury ended his career prematurely. Although it was theoretically possible to press on, Steamboat decided to hang up the boots instead of push his luck. Looking back, it was probably the best possible decision. He had a great legacy and to this day lives in better health than a good portion of his fellow war-torn ring veterans. As years passed however, I often wondered if we would ever get to see The Dragon wrestle one last match for old times' sake. I couldn't shake off the hunch that there was still some fire burning within that heart. Then came Wrestlemania 25. Fifteen years after calling it quits, The Dragon returned from exile to participate in a special attraction tag team match and proved that he could still kick some butt as if the 1980s never ended.

Ricky Steamboat's legacy is a lot like the team of Central Intelligence Agency retirees featured in Red; an adaptation of the Homage Comics series. They are over the hill but remain extremely dangerous and ready to raise hell all over again when the time calls for it. The agents are awaiting the right moment for their epic comeback; to show the world that they've still got it. As you can see, I get enthused by crowd pleasing movies like this. That's why it's still somewhat of a struggle to understand the reasons why I didn't like this one.

Bruce Willis plays former black-op Frank Moses, living in quiet yet restless retirement. The peace abruptly ends when a squad of assassins raid his home. After narrowly escaping termination, Frank retrieves his over-the-phone girlfriend Sarah (Mary-Louise Parker) from danger before making contact with his former CIA colleagues in the hopes of learning why they had been targeted. A few interviews later and it becomes clear that everyone in the group is connected to a political cover-up. If they don't act quickly enough, corruption will win and the resistance team will find themselves six feet under faster than their wills expect. But if they succeed, it's a last hurrah for all.

Comic book films like this often fall in one of two different categories. The realistic type with its own themes and ideas while borrowing the source material for guidelines on story advancement. (i.e. Batman Begins) And there's the stylish type that wants to visually imitate what the original artists envisioned (i.e. Watchmen). I've never read the original comic series but it's obvious that the latter option was chosen. The blocking and camera sight selection match up how a typical comic illustrates a scene. Since it's a globe-trotting tale, city welcoming signs are used to introduce story chapters which is a nice touch. I don't have many gripes over the choice in presentation. It's the failure of blending it well with the more complex production aspects that brings the enjoyment down.

Red wants to be humorous the whole way through and tries too hard to get there. Instead of the dialogue flying right off the pages, it sounds more like it's being read directly from the page. Improvisation seemed to be kept to a minimal. That strategy should be left for projects that require a more serious tone.

The casting is great when examined through individual cases. It's all for nothing when certain actors are forced to work scenes together without having any natural chemistry. Not to imply they are bad actresses, but Helen Mirren and Mary-Louise Parker contribute to some of the most awkward scenes for some odd reason. And speaking of Mirren, I find it amusing how a good portion of Red's promotional campaign involved showing off her character amounting massive destruction with a big machine gun. It is funny, don't get me wrong. Seeing a former Queen of England stand-in involved in that kind of scenario definitely helped bring some attention to my radar. What would have been wiser is saving that moment for a big payoff because now the movie cannot live up to the bar it set for itself.

Despite life and death hanging in the balance through every minute, the characters are having a blast revisiting the prime of their lives. For me, it felt like tagging along for the type of nostalgia trip that is fun while it lasts but the desire to do it over comes when the realization of unexplored potential sets in.

Rating: 5 

Due Date

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Title: Due Date

Year of Release: 2010

Date Viewed: March 10th, 2011

MPAA Rating: R

If you're in the mood for a fun road trip comedy with likable characters, memorable dialogue and big laughs at every minute....rent Planes, Trains and Automobiles. Due Date wants to be that next classic but encounters too many holes in the road to travel very far.

The new odd couple is the always dependable Robert Downey Jr. as Peter Highman and rising star Zach Galifianakis as Ethan Trembley. A misunderstanding at the Atlanta airport causes the pair to be placed on the TSA's "no-fly" list. This and the loss of his wallet dampers Peter's plans for travelling home to Los Angeles to witness the birth of his first child; due to be born in just a few days. Always looking for a new friend (especially one that doesn't come from Facebook), Ethan offers him a ride. An apathetic Peter agrees but soon finds the trip to be unbearable because of his tactless personality clashing with Ethan's immaturity.

Since this is a road trip comedy, it comes as no surprise to see their journey get jeopardized by more than a few obstacles. Ethan's stash of "medical marijuana" gets them in trouble with the border police. Peter fights sleep deprivation which nearly kills him. But nothing causes more mayhem than when one of the characters says or does the wrong thing that drives the other one insane. And this is where the biggest problem lies. To make this sort of comedy work, the conflict needs to feel natural. Too often it feels forced here. It's not a case of bad chemistry. I'm still convinced both actors could work together on a really good comedy someday. It's the poor character development coming from the script that hurts more than anything. It's possible to get away with it when an actor like Downey Jr., who can be entertaining just by reading the phone book, is involved. But the same cannot be said yet for Galifianakis who seems to be a condition performer; that is, entertaining when the material is right for him. He played a great loser in The Hangover because his character was written in a cute and clever way. And Galifianakis' style of comedic timing complimented it perfectly. In Due Date, he's the same annoying loser minus the written inspiration. One scene held a glimmer of hope. Upon learning that Ethan dreams of becoming an actor, Peter challenges him to demonstrate his skills with an improvised monologue. Ethan's vulnerable side comes through when he breaks down emotionally in front of his comrade. This opens the door for the characters to find some connection, but the scene is quickly forgotten about and the opportunity is wasted.

Downey Jr. is intended to be the square Steve Martin-type to Galifiankis' John Candy imitation. But his character is so bitter and his choice of words so mean-spirited that I dreaded to watch him have conversations with anyone much less his lonely soul of a travel mate. Not to mention the exchanges are often wooden so it hurts the movie's ability to earn laughs through dialogue, which leaves dependence on gimmicks and plot turns to pick up the slack. Some of them like the great escape from the border police are entertaining enough. Others like Ethan's dog imitating his master's method of sexually pleasuring himself seem like they came from the bottom of the barrel of filler ideas.

A few other notable actors appear in what I like to call pit-stop subplots. Most of these scenarios are here to enhance the backstory of the main characters and they work suitably enough. One glaring exception is Danny McBride's scene; an outrageous side show that will probably please most of his slapstick-happy fans but left me impatiently waiting to see the plot move forward.

Movies like these make me miss John Hughes during his prime. The presence could have elevated Due Date's mediocre material into something more memorable thanks to his knack for making audiences laugh at people's misfortune yet caring for their destiny all the same. This movie is stuck between following in his footsteps while trying to avoid stumbling over its own flimsy shoes.

Rating: 4

 

Let Me In

Title: Let Me In

Year of Release: 2010

Date Viewed: March 2nd, 2011

MPAA Rating: R

A foreign film receives the Hollywood treatment and the result is wonderful. Those words are probably not written very often. The Swedish novel turned movie Let The Right One In earned enough word-of-mouth praise upon its release to become a modern cult classic. Less than a year later, an American version re-titled Let Me In was greenlit to show the mainstream domestic audience what they have been missing. Re-imagining foreign cinema is a very common practice especially with horror films. The reception for these projects tend to be less than enthusiastic because the studios are often oblivious to the elements that made the original films popular in the first place. This is not the case here. Writer/director Matt Reeves should be proud of himself for not only creating a picture-perfect adaptation but also doing what many believed to be impossible; improve on the source material.

Kodi Smit-McPhee plays twelve-year-old Owen, an emotionally disturbed outcast who lives in fear of school bullies. As their antics become increasingly dangerous, Owen's dark dreams of fighting back start to consume his innocence. In an early scene, he rehearses fantasy scenarios that end with the tormentors getting a taste of their own violent medicine. But his social inhibitions are too strong to allow anything to happen beyond the imagination.

Just as the world (both physically and emotionally) begins to look its bleakest, a new neighbor moves into Owen's next-door apartment and then into his life. The person appears to be a girl around Owen's age and under the guardianship of a middle-aged parent. Supporting characters learn secrets of their otherworldly true history but most will not live to remember them. The girl is named Abby and she's played by rising star Chloe Grace Moretz. Abby's presence fills the missing void resulting from isolation. Her behavior is principally odd. She only appears after sunset, is often underdressed and initially rejects Owen's offer of friendship despite signs of a similar loneliness. Both characters soon understand that they need each other for their lives to have any hope of finding peace. This requires mutual sacrifice. Abby has what it takes to ensure her new friend's safety, but Owen first needs to accept the reality of their situation; which conflicts with the normal notions of reality.

To be a respectable successor to the Swedish product, there needed to be strong direction. Without that, even the best idea in the world can fall to injustice. I don't know how Matt Reeves got the job, but he was the right choice. Reeves understands that every shot counts and he makes the most of all opportunities. Since at least a full year passed after watching the original film, I cannot recall what, if anything, was recreated shot-for-shot. But I do know that effort was put forth to make the project his own. The moments I adore most are the scenes fixed on a stationary platform. By presenting the drama through wide angles, it enhances both the credibility and immersion. They look like moving works of art.

The story itself is rather artful in its own right. Supernatural romances like Stephanie Meyer's Twilight have the disadvantage of depending on the audience's will to accept pre-conceived fantasy and suspend disbelief. Let Me In's synopsis is far from realistic yet it doesn't require very much compromise to enjoy. People that were considered outcasts as children can find a lot of relatable material with the two main characters. Owen's story is one of social awkwardness while Abby's situation is more about physical limitations. These flaws prevent them from mainstream acceptance, so they turn to other outcasts for coping. It's just as much a love story as it is about friendship under realistic conditions. That's why the affection that Owen and Abby have for each other is more credible than Hollywood's common practice of pulling two pretty faces out of a hat for an experiment in chemistry.

You couldn't ask for better performances from child actors. Smit-McPhee and Moretz handle their tasks on the same level of grace as typical movie veterans. It's especially notable since the roles called for emotional maturity while staying true to childlike naivety at the same time. The supporting actors offered strong contributions as well. Richard Jenkins is perfectly cast in the heartbreaking role of Abby's caretaker. His character is depicted with vulnerability yet possessing of so much strength of love for his beloved companion. Elias Koteas (a personal favorite of mine) does respectively as the compulsive detective that doesn't understand the complexity of the local crime until it's too late. The bullies that terrorize poor Owen rise above the typical after-school special cutouts and bring a genuine aura of uneasiness. Their scenes are almost too uncomfortable to be watched.

As far as things that don't quite fit like a glove, some of Reeve's more subtle art is too muddled for its own good. Los Alamos, New Mexico is the chosen setting. Someone please correct me if I'm wrong, but I don't believe any parts of that state see winters as long and harsh as the one depicted here. It could be argued that the setting serves as an appropriate backdrop for the story's grim nature. But when the 1983 timeline complete with Ronald Reagan's "Evil Empire" speech enters the equation, one questions if a deeper meaning was intended. The only conclusions I came up with for connections with the Cold War and Republican politics are too vague for any serious thought. Those ideas, whatever they were, remain unrealized. The same however cannot be said for the heart of the movie. There is so much to appreciate here that it's discouraging to remember how poor the marketing was for this film. On the other hand, optimism for American studios' capability in faithfully translating foreign material has been boosted. Let Me In should be the blueprint for all future attempts.

Rating: 9

 

Commentary: Top Ten Indiana Jones Moments

Not sure what gave me the urge to do this. I haven't even seen any of these movies in a while. But inspiration never really has a schedule anyway, right?


The Indiana Jones franchise has so many exciting moments that I love to revisit again and again. This entry compiles what I believe to be the absolute best moments over the course of all four films. I hope you enjoy this slice of nostalgia. (Be aware that this post contains spoilers.)


Did your favorite make the list? If not, please leave a comment. I'd love to hear what it is.









# 10: "Don't Call Me Junior!" (Indiana Jones and the Last Crusade)

Upon locating his captive father Henry Jones Sr. in Castle Brunwald, Indy is ambushed by a group of Nazi soldiers. They demand him to surrender his father's diary that contains vital information on the whereabouts of the Holy Grail. Henry had originally hid the item back at home and is dismayed to learn that his son had brought it back within German territory. The two of them have a loud overdramatic argument. Indy uses the diversion to his advantage. When Henry addresses his son as "Junior", Indy suddenly snatches away one of the soldier's guns. He shoots and kills all the surprised enemies in the room before reminding his father that he hates the name "Junior."






# 9: Saved By The Fridge (Indiana Jones and the Kingdom of the Crystal Skull)

After escaping execution at a Nevada military base, Indy unknowingly stumbles onto a nuclear testing ground with a life-size model of a typical suburban community. His worst nightmares are realized when the sirens wail. A bomb is about to destroy everything in the area! Panicked, Indy looks around for something...anything...that will save him from the blast. At the last possible moment, he shoves himself inside a refrigerator. The last-ditch effort works. The bomb destroys the house but the fridge remains intact and is knocked far enough away from the detonation site for Indy to live another day.


This is probably the most controversial scene in the series for reasons I don't quite understand. Is it ridiculous? Of course. But is it any more far-fetched than moments 2, 4 or 8? Bashing something for implausibility is fine as long as it's consistent. This scene was gutsy to be sure but it did not contradict its own rules. I love movies that are not afraid to embrace their own wild universe.







# 8: The Curse (Indiana Jones and the Temple of Doom)

In an interesting twist, Indy is captured by a savage cult and is subjected to a voodoo curse that corrupts his mind. He joins forces with his captors and nearly assists in the execution of one of his allies.







# 7: Indy Almost Passes the Torch (Indiana Jones and the Kingdom of the Crystal Skull)

In Kingdom of the Crystal Skull's final scene, we are treated to a little tease. Indy and Marion finally tie the knot. Right when the ceremony ends, a gust of wind blows Indy's trademark Fedora inside the church and lands at the feet of Indy's son Mutt. He picks up the hat and examines it with wonder. Just before he tries it on for himself, Indy steps over and snatches the hat away. The scene is possible foreshadowing of a Mutt Williams adventure series. But it also reminds the audience that there will never be another icon quite like Indiana Jones.







# 6: "He's your son." (Indiana Jones and the Kingdom of the Crystal Skull)

Indy and his friends are on the run from Irina Spalko's Soviet team. He and Marion fall into quicksand. Mutt searches for something to help them out of the situation.  Indy uses the waiting time to congratulate Marion on raising a good child and also advises her not to fret too much over Mutt dropping out of school. Marion then reveals that Indy is the other parent. His reaction is priceless. A moment of awkward silence followed by a complete contradiction of his own advice. "WHY DIDN'T YOU MAKE HIM FINISH SCHOOL!?"







# 5: The Leap of Faith (Indiana Jones and the Last Crusade)

The third and final trial of the Holy Grail quest leads Indy into a rather unusual predicament. His prize is waiting for him at the other side of a large chasm. There is no bridge and it's impossible to jump far enough to reach it, at least not by traditional human physics. His father's grail diary implies the requirement to suspend all logic and make a leap of faith. Against all reason, he goes forth with it and makes an astounding discovery. The bottomless pit is an illusion. The bridge was cleverly disguised to be invisible to the naked eye. A thrilling moment to say the least.








# 4: The Heart Rip (Indiana Jones and the Temple of Doom)

Arguably the scariest moment in the series. Thugee cult leader Mola Ram conducts a ceremonial ritual for all victims that are sacrificed to his gods. He chants ominous words and then thrusts his hand inside the victim's chest to pull out their still-beating heart. The prisoner does not yet die until seconds later when he is lowered and disintegrated into a molten lava pit while his heart catches fire at the same time.

MOLA RAM WINS.

FATALITY!

(Sorry, I couldn't resist.)








# 3: Indy Encounters Adolf Hitler. (Indiana Jones and the Last Crusade)

Vanquishing evil is part of daily life for Indiana Jones. In this scene, he comes face-to-face with evil personified. Under the request of his father, Indy makes a stop in Berlin Germany to reacquire the Grail diary that had been stolen from him. This event takes place at a book burning overseen by Nazi leader Adolf Hitler. Indy literally bumps into the man himself while trying to make his way out of the building. Hitler notices the Grail diary in Indy's hand but mistakes it for an autograph book. He signs his John Hancock, returns the diary to him and resumes his business. The audience breathes a sigh of relief.








# 2: The Ark is Unleashed (Raiders of the Lost Ark)

The most epic game of hot potato reaches its conclusion when the Nazis open the Ark of the Covenant to examine its contents. What they find remains unclear. Some theorize that it's God's stored-up anger. Others say it's the spirit of the devil. Whatever it is, it wipes out everyone in sight (except for Indy and Marion) and brings us one of the most gruesome death scenes in movie history.








# 1: Indy Shoots the Swordsman (Raiders of the Lost Ark)

On a day scheduled for shooting a complex fight scene, Harrison Ford fell ill due to the harsh weather conditions. To avoid a filming delay, director Steven Spielberg improvised. He asked Ford to show up on set just long enough to shoot a ten second scene where Indy opts to gun down a swordsman instead of engaging in hand-to-hand combat. The rest is history.