500 Days of Summer: A Cautionary Tale

I’ve been telling myself for months to write this piece. I just finished watching the film Ruby Sparks that inspired me to finally start this endeavor. In some ways that film changed my thought process, but mostly just reconfirmed what I’ve come to learn. Maturing is a strange thing. It seems to change on a variety of preconceived notions. About a year ago I realized the true meaning of 500 Days of Summer because of me growing up. I wrote a review for the film some time ago and a lot of the points I brought up about the film are still valid. It’s still very much a whimsical tale told through a unique narrative. What changed is the paragraph I wrote about the story was sort of a fantasy of mine. 500 Days of Summer isn’t a change of pace in romantic comedies but a deconstrustruction of its very ideas (or at least partially). I still identify with Tom as a character, but it took me a bit longer than him to come up with the message that the film is trying to communicate. It is my intent to explore this theme for both myself and those who have seen the film already.
              

As I said it’s film that is a deconstruction of a theater troupe. Boy meets girl seems to be the classic pattern of nearly all romantic comedies, 500 Days of Summer’s beginning seems like it will follow the typical path. Yet the narrator mentions twice “this is not a love story”, a sign of things to come. At first I thought this was just an attempt to revive the genre. I thought the film was telling the story of idea of a soul mate with an unconventional ending. That idea isn’t wrong, but yet I adored much of what Tom believed in. He was looking for a soul mate but he already established what his soul mate would be like. He was building himself up to be let down. I didn’t see anything wrong with the idea of what a soul mate would be like. Yet Tom grew up and I believe I have now. 500 Days of Summer may have joyous and lovely moments, but it is truly more a sad movie than anything.

The audience learns of Tom’s hopes and dreams within the first five minutes of the film. This is a normal practice, the genre of film supports him, but the actual film wants to tear his world apart.  I too misunderstood the meaning of The Graduate at a young age. It’s not the story of finding your soul mate but rather building a false image. The ending has Dustin Hoffman and Katherine Ross sitting next to each other on a bus, now the can live their lives together supposedly. Hoffman stares ahead with a stare that looks like realization. He has built up this idea in his head of Ross’ character and now that he has her, what is he to do? He ruined her life even. Tom misunderstands the ending that these two lovers are free to be together. This experience and a large amount of sad British music (namely The Smiths) gave Tom the idea that he will finally be fulfilled when he finds his dream girl. So every day leading up into this he has been in suspended animation. He’s never followed through on his goal of architecture, instead wastes his life at a job that isn’t of his potential. Then Summer shows up and he think he’s found the one. This inspires him to try at life again. He has the talent but he’s been waiting for Summer to complete him.

                         

Tom’s ideas of Summer are obsessive. The man has built up a theory of what his dream girl would be like and now believes Summer is that person. I like the scene where she tells Tom here weekend was “good” and he believes she is slut because of it. He wants Summer to be a perfect girl.  She replicates some practices Tom believes in but not others. For a while things go fine. They have fun, share secrets and find little things to love about each other. Of course as the relationship progresses Tom becomes frustrated because she won’t conform to his dream girl fantasies. There is nothing wrong with her.

Summer is fully realized character, an individual. One who thinks and bleeds on her on free will. She is darling and loveable, so it’s easy to see why Tom would fall for her even if it were not for their shared interests. From the start, alongside Tom, the film shows just who Summer is as a person. She loves but is not one to settle down, or at least not easily. This is the opposite of what Tom wants. She’s not an idea of a person; she’s an individual just like every one else in the world. People aren’t created to fulfill the dreams of others; we’re all just trying to make the ride in this world easier.

                          

They break up and Tom is of course miserable. Believing he let the one he was supposed to be with slip away. Not understandable but he latter believes he has a second chance. This leads to the expectation vs. reality scene, which is heartbreaking. Here is Tom’s first sign that everything he believes in is hopeless. His expectations for life will never be met, just like 99% of the general public. However he’s so focused in this illusion of his dream that it wasn’t until that day did he see how life really is.  Tom is a man who’s just had his whole life ripped apart.

So this comes back to this being really a sad movie over it being a happy one.   Believing that his dream girl would solve all his life’s problems has stunted Tom. He wouldn’t have to try until she came along because she would sort out his life by inspiring him. Yet the whom he believed to be that girl is engaged to somebody else. So only after some thinking does Tom realize his life is “bullshit".  So now does he continue to believe a dream that almost certainly will never come true, or rebuild his character and take responsibility. Taking charge of his life although admits defeat, but with a chance of winning again.  I had the same idea of Tom once or something close to it. It hurts your life living in dreams and not reality. Either take charge or find something else you love.

 

So some of this probably seems live the ranting of a madman. Well it’s not far off; this isn’t a proper analysis but rather an admission of shame. I wanted to finally say my thoughts of 500 Days of Summer as they stand now. I’ll keep my old review up, as I said some of things I said are still true. It’s just now when I watch the film instead of feeling bliss I feel melancholy. At the end of the day 500 Days of Summer is truly phenomenal achievement about love and maturing. 

2012 in Film

In 2012 film inspired, devastated, aroused, excited, and intrigued us. We came to care for characters as if they were ourselves and wished for the destruction of others. We saw things that confused us but eager to discover the meaning of it all. I've seen a lot of films this year and it's my pleasure to show you what I thought was the best and worst was. Just because a film in lower on the list than another film, doesn't necessarily mean its worse. This is as much personal opinion as it critique. Let's start the journey.

1.) Holy Motors
2.) Zero Dark Thirty
3.) The Master
4.) Amour
5.) Moonrise Kingdom
6.) Rust and Bone
7.) Cloud Atlas
8.) Beasts of The Southern Wild
9.) Looper
10.) Argo
11.) The Secret World of Arrietty
12.) Cabin in the Woods
13.) Django Unchained
14.) The Loneliest Planet
15.) Silver Linings Playbook
16.) Lincoln
17.) Bernie
18.) The Dark Knight Rises
19.) Seven Psychopaths
20.) Perks of Being A Wallflower
21.) Skyfall
22.) Life of Pi
23.) Prometheus
24.) The Raid: Redemption
25.) The Impossible
26.) Anna Karenina
27.) The Deep Blue Sea
28.) Headhunters
29.) Haywire
30.) Celeste & Jesse Forever
31.) The Hunger Games
32.) Smashed
33.) Chronicle
34.) The Hobbit: An Expected Journey
35.) The Amazing Spider-Man
36.) Not Fade Away
37.) Seeking a Friend for the End of the World
38.) 21 Jump Street
39.) The Avengers
40.) Les Miserables
41.) Flight
42.) Cosmopolis
43.) Sound of My Voice
44.) Premium Rush
45.) Jeff, Who Lives at Home
46.) Arbitrage
47.) The Grey
48.) Saftey Not Guaranteed
49.) Sinister
50.) Lawless
51.) The Best Exotic Marigold Hotel
52.) Dredd
53.) Take this Waltz
54.) Killing Them Softly
56.) The Bourne Legacy
57.) End of Watch
58.) Snow White & The Huntsmen
59.) Men in Black 3
60.) John Carter
61.) The Campaign
62.) Wanderlust
63.) The Woman In Black
64.) Man In The Iron Fists
65.) This is 40
66.) The Five Year Engagement
67.) Silent House
68.) Total Recall
69.) Savages
70.) Abraham Lincoln: Vampire Hunter
71.) Contraband
72.) The Expandables 2
73.) Bachelorette
74.) Safe House
75.) Ted
76.) Resident Evil: Retribution
77.) Safe
78.) Lockout
79.) The Chernobyl Diaries
80.) Wrath of the Titans
81.) Silent Hill: Revelation
82.) The Watch
83.) Man On A Ledge
84.) Red Dawn
85.) Underworld Awakening
86.) Act of Valor
87.) The Words

Best Performances, Genre Films and Other Works

Best Performance by an Actor in a Leading Role

10.) Matthias Schoenaerts- Rust and Bone/ Liam Neeson – The Grey

9.) Jack Black- Bernie 

8.) Hugh Jackman – Les Miserables

7.) Richard Gere - Arbitrage

6.) Denzel Washington - Flight

5.) Bradley Cooper – Silver Linings Playbook

4.) Jean-Louise Trintignant- Amour

3.) Daniel Day Lewis – Lincoln

2.) Denis Lavent – Holy Motors

1.) Joaquin Phoneix – The Master

Best Performance by a Actress in a Leading Role

10.) Rashida Jones- Celeste & Jesse Forever

9.) Keira Knightly – Anna Karenina

8.) Mary Elizabeth Winstead- Smashed

7.) Quvenzhane Wallis – Beasts of The Southern Wild

6.) Naomi Watts – The Impossible

5.) Emmanule Riva- Amour

4.) Marion Cotillard- Rust and Bone

3.) Jennifer Lawrence – Silver Linings Playbook

2.) Rachael Weisz – The Deep Blue Sea

1.) Jessica Chastain- Zero Dark Thirty

Best Performance by and Actor in a Supporting Role

10.) Javier Bardem - Skyfall

9) Tommy Lee Jones – Lincoln

8.) Sam Rockwell- Seven Psychopaths

7.) Robert DeNiro – Silver Linings Playbook

6.) Leonardo DiCaprio – Django Unchained

5.) Ewan McGregor- The Impossible

4.) Samuel L. Jackson –Django Unchained

3.) Dwight Henry – Beasts of the Southern Wild

2.) Christoph Waltz- Django Unchained

1.) Philip Seymour Hoffman – The Master

Best Performance by an Actress in a Supporting Role

10.) Shirly MacLaine - Bernie

9.) Jacki Weaver – Silver Linings Playbook

8.) Judi Dench - Skyfall

7.) Maggie Smith – The Best Exotic Marigold Hotel

6.) Brit Marling – Sound of My Voice

5.) Sally Field - Lincoln

4.) Rosmaire DeWitt- Your Sister’s Sister

3.) Emily Blunt – Your Sister’s Sister

2.) Amy Adams – The Master

1.) Anne Hathaway – Les Miserables

Best Director

10.) Julia Loktev - The Loneliest Planet
9.) David O. Russell - Silver Lining Playbook
8.) Jacques Audiard - Rust and Bone
7.) Steven Spielberg - Lincoln
6.) Ben Affleck - Argo
5.) Quentin Tarantino - Django Unchained
4.) Michael Haneke - Amour
3.) Leos Carax - Holy Motors
2.) Kathryn Bigelow - Zero Dark Thirty
1.) Paul Thomas Anderson - The Master

Best Original Screenplay
5.) Amour
4.) Zero Dark Thirty
3.) Django Unchained
2.) Looper
1.) Moonrise Kingdom

Best Adapted Screenplay
5.) Life of Pi
4.) Lincoln
3.) Argo
2.) The Perks of Being a Wallflower
1.) Silver Linings Playbook

Best Score (music)
5.) Skyfall
4.) Lincoln
3.) The Master
2.) Anna Karenina
1.) Cloud Atlas

Best Action Movie - The Raid Redemption

Best General Comedy – 21 Jump Street

Best Dark Comedy – Seven Psychopaths

Most Entertaining Movie – Cabin in the Woods

Best Standard Romance - Logan Lerman and Emma Watson in Perks of Being a Wallflower

Best Unconventional Romance - Marion Cotillard and Mattias Schoenaerts in Rust and Bone

Best Science Fiction Movie - Looper

Best Movie I Thought Was Going To Suck – The Grey

Best Horror Movie – Sinister

Most Disappointing Movie of All Time (but still not that bad) – Prometheus

Most Disappointing Movie Outside of Prometheus – Killing Them Softley

Most Pleseant Surprise – Premium Rush

Best Superhero Movie – The Dark Knight Rises

Most Confusing Movie – Cosmopolis

Best Looking Film - Anna Karenina 

Future American Classsic – The Master 

Best Acting Ensambles

5.) The Master

4.) Argo

3.) Silver Lining Playbook

2.) Lincoln

1.) Moonrise Kingdom

(I thought about Les Miserables but when you have 3 bad performances I can’t give it to that)

Best Movies I Didn’t See – Magic Mike, Hitchcock, The Sessions, No, Pretty much every animated movie, The Hunt, A Royal Affair, Salmon Fishing in Yemen, Ruby Sparks, On the Road 

Movies on my Films of 2012 list I didn’t review but saw (No reviews mostly because I saw them way after their relsease):

Bernie (***1/2 out of ****)

The Loneliest Planet (***1/2 out of ****)

Life of Pi (*** out of ****)

The Deep Blue Sea (*** out of ****)

Saftey Not Guranteed (*** out of ****)

Take This Waltz (*** out of ****)

Dredd (*** out of ****)
End of Watch (**1/2 out of ****)

The Five Year Engagement (**1/2 out of ****)

Underworld Awakening (*1/2 out of ****)

Actor with the Best Year (Bias) – Joseph Godorn Levitt  - The Dark Knight Rises, Premium Rush, Looper, and Lincoln

Actor With the Best Year (unbiased, I haven’t seen half his movies) – Channing Tatum – Haywire, The Vow, 21 Jump Street, Magic Mike

Actress With the Best Year – Jennifer Lawrence- Massive and popular blockbuster with The Hunger Games and critic darling of movie that earned her an Oscar nomination with Silver Lining Playbook. Even the shitty The House at the End of the Street didn’t hurt her.

Burnout/Quick Reviews

I'm wrapping up my "end of the year best" lists and realizing I've fallen behind in my reviews some of the recent movie reviews are shorter (not all)  Sorry they're not more in depth and once I get back into the swing of things they'll be longer again. Anyway let's start.

Zero Dark Thirty (**** out of ****)

All The President's Men, United 93, and Zodiac were films that managed to effortlessly fuse drama, journalism, atmosphere, and suspense. Zero Dark Thirty now joins those great films in the hall of near flawlessly crafted investigative thrillers. Director Kathryn Bigelow and screenwriter Mark Boal walk the tightrope and complete the ambiguous journey. Conservative or liberal,  Zero Dark Thirty is a high octane powerhouse. There were eyebrows raised over how the truth of the torture scenes and just who was armed in Bin Laden's compound, but the film manages never reveal too much. Both elements manage to hide the controversy. Despite the fact we're watching the movie, there always feels like more is happening off it. That is how fantastic filmmakers craft the world their film inhabits. It is truly and marvelous achievement.

Maya (Jessica Chastain) has traded her youth in service for her country. She has spent her life working for the CIA with hunting Bin Laden.  She probably knows more about him than the few she's managed to stay close too. Maya is working with a small group searching for America's enemy and they are failing. They follow supposed messengers, make bribes, conduct surveillance, and interrogate prisoners often through violent force. Dan (Jason Clarke) administers these practices in both the role of the good cop/ bad cop. He makes perfectly clear that if they break any of his rules (mostly do not lie) he will hurt them, break them if he has too. However he brings them food and water, often talks casually in what seems both an attempt to win them over as well as Dan being himself. Through many different sources Maya thinks she may have just found the lead that will find the villain she has spent her life looking for.

Zero Dark Thirty is confident with itself. Tension builds naturally, nothing seems forced. During the raid on Bin Laden's compound you can hear a pin drop. It's suspenseful not through manipulation of score, cliche soldier types, or the will they or won't they. Bigelow takes her time to get here and has no intention to rush the payoff. It is some of the most intense cinema I've seen in some time. Many locations and different characters keep the movie flowing and never feels at a standstill. Kyle Chandler, Jennifer Elhe, Harold Perrineau, Edgar Ramirez, Mark Strong, Joel Edegerton, Chris Pratt, Mark Duplass, and James Gandolfini lend their talent in making the film all the stronger (sorry to name drop but there really is so many great actors here). Jessica Chastain doesn't simply act, but rather lives the role. No action, gesture, or emotion seems to big or to small. She is perfect from beginning to end. The ending has Maya sitting alone, no celebration from her success, just tears that are both or relief and emptiness. It is one of the fine film of this year and of any year.

**** out of ****

Les Misérables (**1/2 out of ****)

Victor Hugo's 1862 novel has been adapted countless times and here is perhaps the grandest attempt to bring it to cinema. However that doesn't mean the classic story holds up completely. For musical fans it will probably hit the sweet spot of emotianal heartbreak. It terms of a film, Les Miserables is a mediocre movie with several great scenes. These areas of excellence don't completely save the movie but make it worthwhile and shows just why this is the juggernaut of the musical world.

Jean Valjean (Hugh Jackman) is on a quest of redemption. After being released from prison Jean with a little help is looking to be a good man and find his place in the world. He is however pursued relentlessly by lawful Javert (Russell Crowe) who looks to send Jean back to prison, his own personal hell. Jean takes care of Cosette (Amanda Seyfried) the daughter of Fantine (Anne Hathaway) in part due to a dying request. These actions will change the fates of many people.

Tom Hopper isn't a very good director. He's involved in often fine work, but his contribution is the weakest element of his films. He and cinematographer Danny Cohen used distracting close ups for most the film, showing the full set would have been a better option. It is the acting and production designs that make up for Hooper's inadequacy. Most of the actors do a fantastic job with their roles here. Hugh Jackman steps up and admirably shows the strength of Valjean as protagonist. Anne Hathaway is mostly marvelous. She steals the show and the heart wrenching "I Dreamed A Dream" but doesn't get "Fantine's Death"quite right. Eddie Redmayne sings so fantastically it makes up for Marius's shortcomings as a character (he nails "Empty Chairs at Empty Tables"). Samantha Banks and Aaron Tveit don't shy away from loud vocals and are easily the most impressive in the voice department. Russell Crowe, Sacha Baron Cohen, and Helena Bonham Carter are the weak links in this cast, the Thenardier scenes don't provide the comic relief some claim is needed and don't come off as scummy as they should, Crowe seems too timid and barks his lines, but still does very well with "The Confrontation".  Les Miserables isn't a great movie nor is the strongest musical in recent memory, but it does contain some lovely displays of talent by the cast and sometimes it was just enough for enjoyment and drama.

**1/2 out of ****

Rust and Bone (**** out of ****)

Jacques Audiard is one of my favorite directors currently working and I like to believe that A Prophet is the finest film made all last decade. So of course I was looking forward to Rust and Bone especially when  the director is working with Marion Cotillard, my favorite actress now a days as well. Reviews of the film when it screened first at the Cannes Film Festival weren't as positive as A Prophet so my expectations lowered. Now that I've seen it I can honestly and with great determination hail it as a brave piece of filmmaking and one of the best films I've seen this year.

The film revolves around one of the most unlikely romances I've seen on screen. Alain van Versch ( a terrific Matthias Schoenaerts) is thrust into the care of his five year old son after the child's mother is arrested for drug trafficking. Alain is often a thief, boxer, hired muscle, friend, father or lover, whatever the situation calls for at the time. One night he's bouncing at a night club when he breaks a fight involving some men and Stephanie (Marion Cotillard). He drives her home and offers her his number. She is a Orca trainer at a park and one day her legs are bitten off by a whale in an accident (not spoiler if you've been reading so far , it's the plot of the film). She is in despair and eradicate, but one day calls back Alain. The two form an odd friendship that sometimes involves taking trips so that  he fighting in gypsy betting circles.

There is a lot to praise about this film. First being the performances, both are tour de forces especially Cotillard. There is also the weird plot of the film, it's a romance drama but in a such a strange fashion. It bleeds, nothing about it is safe. Like a wild animal Rust and Bone doesn't hide from the crazy world. It's also important to notice it's use of melodrama. Many movies use melodrama to create tension, but so few succeed like this film. Audiard builds character development to such a point where melodrama passes as credible. The people who made this care for the characters and their situations, so it's easy to form a odd bond with them. Also on another note Audiard uses music in all of his films including this one brilliantly. He uses a strange assortment such as Bon Ivor and Bruce Springsteen, but only could such a confident director use Katy Perry's Firework in a big emotional scene and completely pull it off. Rust and Bone doesn't shy away from life and you shouldn't shy away from this film.

**** out of ****

Amour (**** out of ****)

I don't think I really have ever enjoyed a Michael Haneke film. They are however challenging and masterfully crafted. This time he has reflected on the idea of what love truly represents. Amour is a film about love in the face of death, but is also just as much about how love and life are connected. Geroges (Jean-Louise Trintignant) and Anne (Emmanuelle Riva) are a married couple well into older age. They live in a nice Parisian apartment and are retired music teachers. Anne suffers a stroke and things are only likely to get worse. Geroges is more than willing to take care of his wife, he love her deeply and she feels the same. However she doesn't want this to be their life. So the issues questioned are how far love will go, what is best for your loved one, and is it ready for love in life to end etc. Perfectly acted the two leads are fearless in their performances (especially Riva whom starred in Hiroshima, Mon Amour around 60 years ago). Haneke has made a film hard to watch but impossible to look away from. One to think, reflect and meditate on. Amour is perhaps the best movie about the process of death ever made. It is one of the crowning achievements of this or any year. Yet I dare not watch it twice.

**** out of ****

Not Fade Away (*** out of ****)

David Chase, the creator of The Sopranos, strikes big with his first feature film. A semi autobiographical tale of his youth it often shines bright. It's the story of young Douglas (John Magaro) and the rock band he and his friends formed. Feuds, fights and dilemmas all face these kids as they figure out what music has in store for them. James Gandolfini plays Douglas's father who looks at his long haired/big mouthed son as slap in the face on the years of hard work he put in with his small business for this child. Bella Heathcoate of Dark Shadows adds weight to the film as Douglas girlfriend with a fierce mean streak. Not just a love letter or a retelling of his youth, Not Fade Away manages to fresh up the tiresome plot of kids and bands. Nothing feels simple here nor is it over melodramatic. It flows freely and honors both the past and the genre he's working in. It's not  the strongest film suffering from a few cliches (not many mind you) and the fact the film seems like it could end anywhere. Still for those who like the music of the past who simply like movies about the topic, Not Fade Away is about as good it gets.

*** out of ****
Here's a clip of the band singing instead of just a picture, I'd listen to them.

Django Unchained (***1/2 out of ****)

The tale of Siegfried and Broomhilda sets be up for this film. Django (Jamie Foxx) much like the mythological character of Siegfried must overcome perilous obstacles to be with the woman he loves. Siegfried must brave a mountain, face a dragon, and pass through hell fire. Django will march into a plantation, face a cruel man surrounded by minions, and there will be blood before the end. All of this he does not just for love, but for himself, for he his a hero and hero does what is right. Django is a western but not a typical one. It borrows themes from spaghetti westerns, american style ones, and the reflective nineties approach to the genre. However it is the Tarantino style that makes this succulent. Quentin Tarantino has made once again attempted something new within the world he knows and while it could use some sprucing around the edges, it is one of the fine films of the year.

Django is freed from slavery by Dr. King Schultz (show stealing Christoph Waltz) who proposes a deal. If Django helps this german bounty hunter find three brothers among other tasks, Schultz will reunite Django with his wife and let them go live however they please. Yet Django's wife is in the service of one Calvin Candie (a wonderful Leonardo DiCaprio), a slave owner. Django and Schultz will meet various characters under the employment of  Candie but it is Samuel L. Jackson letting loose as a racist against his own ethnicity that is the most fascinating.

Django Unchained is perhaps Tarantino's funniest and bloodiest film. Carefully crafted the film has many terrific scenes of suspense and drama. Also to be expected in a Tarantino is strong character development. There is a scene later in the film (in which the director himself plays a role) that shows just how far Django will go as a character. That the idea of slavery can be overcome by a person. While Spielberg's Lincoln was a film about healing the nation, Tarantino has made a movie about saying violence is sometimes necessary in such a hellish time. The film however isn't perfect. Unlike previous Tarantino films, this is the first to not feature a strong female character (except Reservoir Dogs obviously) which isa shame (Broomhilda played by Kerry Washington has nothing to do but be rescued). Also the last fourth of the film could be better if some scenes were switched around, the endings doesn't have much stress. Still this is a stunning achievement in cinema and just a plain old good time.

***1/2 out of ****
( I might write more here later, perhaps a proper analysis for those who have seen the film.)

The Impossible (***1/2 out of ****)

Every three years or so the Spanish film industry make a big english language film. The Impossible was  this project and it turned out immensely. As far as the production value goes the tsunami and the after affect scenery is hauntingly dazzling. The is of course the story of said tsunami that hit southeast asia several years ago and the film focuses on the events one family experienced. One could question why focus a film on a upper class white family in foreign location, but many lives were affected, not just locals, so focusing on that detail seems like creating an argument for the sake of it. Still the harrowing quest for survival and to be reunited is terrific cinema. Naomi Watts and Ewan McGregor play as parents to a family of three young boys (child actor Tom Holland is magnificent) that are staying at beach resort during the disaster. All the cast are perfect in their roles. The two things the film needed to be successful was emotional involving characters and a understanding of its surrounding (meaning good production values), and it certainly had it. Naomi Watts gives an emotional tour de force of a performance and McGregor is not far behind. Only the last ten tearjerking minutes seem like a weak point. Heartfelt and engaging this is not one to miss.

***1/2 out of ****

This is 40 (** out of ****)

Judd Apatow understands how to bring heart to comedy. He also knows how to address topics that seem much more personal. Yet with This is 40 the director has made a film that is high of itself. Instead of simply addressing the problems of a family as the move into middle age in the current world, he's made film to show off. Leslie Mann is a beautiful woman but does Apatow really need at least three scenes describing how gorgeous his real life wife is? It's not just a film that was inspired by Apatow's life, but one to show how wonderful it is. Some of the problems of the characters seem eye roll worthy. It seems like a bitter statement from me but this film made me see why the criticism for Funny People was there. It's often engaging and is somewhat funny, but leads nowhere. The ending is more of when it will happen and not what it will be. Paul Rudd is charming and the cast does well though. One day it I may see it in a different light, but today is not the time.

** out of ****

The Hobbit: An Unexpected Journey (*** out of ****)

For fans of the book and it's style, The Hobbit will probably a entertaining ride. However in the eyes of those who treat this as any run of the mill film will find it tiresome and inconsistent. Regardless there are scenes of grand adventure here, many developing characters, and a broad sense of comedy.

In the prequel of the Lord of the Rings trilogy, Bilbo Baggins(Martin Freeman perfectly casted) joins Gandalf and a company dwarves in a quest to reclaim their mountain homeland that was stolen from them by a ferocious dragon. Director Peter Jackson has decided to make one book into three films and while unnecessary does an admirable job with it. Many of the added or expanded scenes ties in naturally with the flow of the film. However that doesn't mean the movie doesn't drag. The Hobbit can be repetitive in themes and some scenes carry on perhaps longer than they should. However in the larger schemes of things, it doesn't detract from overall magic of the movie. The later half is a spellbinding and high caliber fun. Scenes of drama and action mix effortlessly.  Fans of the series should be delighted which is really the the goal of this whole project. It's an accomplishment.

Also if you have the chance to see the film in 48fps (frames per second), give it a shot. It's the Peter Jackson intended it and personally I have never seen a better looking movie.

*** out of ****

Killing Them Softly (**1/2 out of ****)

Often you hear about a director's sophomore feature being a dip in form, so it was strange in Andrew Dominik's case to see that with his third and most mainstream (or at least most widely released) film. Chopper is great and I consider The Assassination of Jesse James by the Coward Robert Forward to be one of the masterpieces of our time. So here comes Killing Them Softly (which is close to Chopper in style) which while has subtext and a respect for the audience, just seems far to bloated. The film revolves around two low life thugs (Scoot McNairy and Ben Mendelsohn) who rob a mafia protected card game. People start pointing fingers on who is guilty and thus the higher members of the mob bring in Jackie Coogan (Brad Pitt) to sort things out.

There is a hint of odd beauty in some disturbing scenes. Director Dominik experiments  with his scenes, he takes risks with editing and narrative techniques. A gangster beating or heroin use becomes strangely alluring. Yet within this complex film there is a lot elements that don't really carry much weight. Some elements are kind of pointless and the true meaning gets lost. This being the character of  destructive hitman (James Gandolfini) and symbolism between the crime world and the presidential election of 2008. The symbolism is so blatantly obvious I felt like they were bashing my head in with hammer. Still it's not a bad film, just disappointing. Whatever it's goals were, it felt like they never achieved it.

**1/2 out of ****