The Tree of Life
It was with great anticipation that I saw this latest of Malick’s “renewed” cinema based on how moved I was by the trailer I had watched a couple of times. Unfortunately, as is too often the case, the film itself didn’t measure up to the teaser. Like it’s two predecessors, The Thin Red Line and The New World, The Tree of Life is visually exquisite. Every shot is pretty much perfect. The camera is always in the right place, Malick shows us just the right things, the color and movement, and close-ups are perfectly accomplished as is the chaos of the beginnings of life. However, they provide an intimacy that only hints at actual characterization, and even the slim characterizations are undermined by the intrusive and clumsy voice-overs that Malick has become so enamored of. The two narrative streams, the foundations and origins of biological life, and the specific evolutionary iterations of that life presented in the O’Brien family, and even more specifically in the life of the oldest son, Jack, are not integrated. We are left expecting some confluence that remains unaccomplished. And even the narrative stream of the family is fragmented. Initially, it seems that we are inside Jack’s adult mind as he remembers the struggles of his coming of age. This is brilliantly accomplished, each scene of his youth has the feel and duration of a personal memory. But this stream devolves into a linear narrative that is too specific, detailed, and sequential to represent memory. And as this arc unfolds, I found myself disliking the characters, perhaps because we still have only stubs of them. Then there is Jack’s vision of the afterlife, that in and of itself, like the other narrative fragments, is individually very well accomplished, but which remains unconnected to either of the main, and themselves unconnected, narrative streams. The Tree of Life exemplifies what is great and disappointing in all three of these recent Malick films: stunningly, even profoundly beautiful scenes adrift without a narrative structure that even approximates their quality. I think Days of Heaven remains his best film, though the visual beauty of the three more recent films is staggering. And, even a deeply flawed film by Malick, which The Tree of Life is, stands far above most contemporary films. ***

Paris
Delightful French film depicting the search for love and connection in the lives of an ensemble of Parisians. Outstanding cast lead by Juliette Binoche and Roland Duris as siblings. Not extremely deep, but meditative, even a little reflective, and pitch perfect in acting, writing and pace. Enjoyed it quite a bit. **

Everything is Illuminated
Quirky, and eventually deeply moving film of Jonathan Safran Foer’s novel. Good acting, and adequate directing by Liev Schreiber. I was deeply saddened by the details, often repeated under the Nazis, of the slaughter of Trachimbrod, and touched by the ongoing need to collect the artifacts of people’s lives. Not a dry eye in the house. Thanks to Josh for giving it to me. **

Transformers: Dark of the Moon
Third film in this series of popular but cinematically lousy movies based on the kids’ toys that my son, like many others his age, played with. This one at least has a narrative that, for the most part, holds together and makes some sense. And the FX are well designed and executed enough to be compelling for a change, though they are derivative of recent movies such as Battle Los Angeles. But Michael Bay is an embarrassingly jingoistic hack, and the overly emotional appeal to patriotism and veneration of the military are the worst of many bad elements of these movies. **

Super 8
Though a pretty well done J. J. Abrams homage to ‘50s monster movies and Steven Spielberg, I found the adolescent characters in this movie too be stereotypes and far too precocious emotionally to be believable, and the two main parental characters to be extremely shallow. I thought the scenes of the military vehicles run amok unnecessary, even indulgent, and the encounter with the alien completely unconvincing. Deeply disappointing. **

3:10 to Yuma
Slick remake of the 1957 movie about a man’s attempt to redeem himself by escorting an outlaw to a train. Watched this as part of a renewed interest in westerns. As you would expect, Bale and Crowe work hard, and the story by Elmore Leonard is good, but the ending and diluted interplay between the main characters is unconvincing, even insulting. Too bad. **

Texas Rangers
Very bad movie about the origins of the Texas Rangers that came bundled on an inexpensive DVD of Dead Man. Most like a Hallmark presentation with very bad writing, made-for-TV production, and dopy acting, though that may be because of the painfully bad writing. Excellent caste just wated. Terrible.

Your Highness
Really disgusting and intentionally gross movie about brothers’ search for credibility in medieval Europe. Neither of which is as bad as the sheer stupidity of every aspect of it. I guess Natalie Portman needed the money.

The Conspirator
Well-enough done Redford film about the trial of John Wilkes Booth’s mother. The narrative seems purposely pointed at our current politics, which politically doesn’t bother me, but weakens the film artistically. Good acting, adequate writing, but the production itself looked strained and amateurish, and Redford’s directing seemed clumsy at times, which was surprising. Not that good, but a silent theatre at the end. **

Red Riding: In the Year of Our Lord 1983
Final installment of this film trilogy, as brilliant as the first two, but this time with a wholly-justified moral and personal redemption that is deeply moving, especially after the utter bleakness of the previous films. Again excellent acting, writing, and production. For me, it is hard to overstate how good this trilogy is in light of the wasteland of contemporary filmmaking. Outstanding.****

The Housemaid
Eerie Korean film about the strange relationship between a housemaid and the psychotic and powerful family she works for. Strong undertone of anti-Americanism, which, though perhaps justified, undermines the narrative. Deeply dissatisfying ending. *

Hanna
Film about a girl designed and raised to be an assassin. The odd fairy tale motif and tone undermine any power the narrative might have had as a thriller, and there is really no characterization to speak of in a movie that was almost solely dependent on it. Disappointing. *

Source Code
Science fiction movie about the use of a soldier’s brain to go back and change history. Perfect example of what the money thugs have done to the film industry. This movie, though not great, could have made a very strong and even beautiful statement about the nature of human existence. Instead, a happy ending is very clumsily pasted on to the end, that destroys any value it had, no doubt in response to focus group evaluations. Disgusting and deeply regrettable. *

Paul
Another absolutely delightful movie from Simon Pegg on a par with Shaun of the Dead. I really enjoyed the lighthearted, geeky tone, the silly but heartwarming characters, and the imaginative sci-fi spoof. Perhaps could have done without the male relationship evaluation, but a lot of fun. **

Limitless
Movie about a drug that allows humans to use the full capacity of their brains, but with some nasty side effects. And what does the protagonist do when he becomes super smart? Find a cure for cancer or AIDS, work on solving social ills or political conflicts? Of course not. He uses his abilities to make tons of money and go into politics so he can have power. And repeatedly lies to the woman he supposedly loves. Nice values. Marginally well done cinematically, but evil in its content. *

The Adjustment Bureau
Perhaps I was hoping for too much, it being based on a Philip K. Dick story about identity and bureaucracy, but I was disappointed by this film. The characters and their relationship were completely unconvincing, and as is usually the case these days, there are way too many chase scenes instead of real narrative. Happy ending was undeserved and unbelievable. Too bad. **

Summer Wars
Absolutely wonderful anime about a technology crisis as a frame for the value of family, an even more important network. Visually stunning, especially Oz, and thematically powerful, even moving, at times. Loved it. ***

Drive Angry
Mildly entertaining grindhouse movie with Nicholas Cage as an escapee from hell trying to save his daughter. Lame narrative and low production values even for grindhouse, and not enough of what makes grindhouse marginally interesting. *

Red Riding: In the Year of Our Lord 1980
Like the first film in the trilogy, this second installment is an incredibly powerful and deeply depressing film about renewed attempts to uncover police corruption surrounding the Yorkshire ripper cases. Perhaps even more tragic. Once again, excellent writing, acting, and re-creation of the period. Extremely well done. Very difficult emotionally. ****

Eden of the East
Visually-wonderful and thematically-interesting anime series about people forced to play a game to save the world. A little adolescent, as most anime are, but pretty good, and over all, I enjoyed it. But not great. **

Still Walking
Kore-eda’s homage to his mother that explores the complex relationship we all have with our parents and their influences on us, apparent or not. Very well done in every way, as I have come to expect from him. Didn’t have the power, for me, of Maborosi or After Life, but excellent nonetheless. ***

Good
Very disappointing film adaptation of a play about a German intellectual who ends up helping the Nazis. Deeply unbelievable character historically, and it never becomes a film, always looks and feels like a play. Thematically reminiscent of Mother Night, but not nearly as powerful. Too bad. *

Sanctum
Visually slightly interesting Australian movie about cave explorers caught in a hurricane. Only went to it because they use James Cameron’s name, though, it turns out, he had nothing to do with it. It didn’t interest me, but it did have one of my favorite film lines for some time. Still, a waste. *

The Eagle
Uninteresting movie about a young centurion’s attempt to recapture an eagle standard that is the symbol of a Roman legion and his father’s defeat and humiliation. Very weak in characterization and narrative, but strong in emotional manipulation and unconvincing meaningfulness. But what’s new?*

Vicky Cristina Barcelona
Woody Allen film about two friends and their searches for love while in Barcelona. Again, Woody has created a very interesting female character, the woman who only knows what she doesn’t want. Too bad he cast Scarlett Johansen in the role. Javier Bardem and Penelope Cruz were excellent. His best film in some time, though not up to his standards of the late 70s. **

The Mechanic
Bad action film vehicle for Jason Statham. Huge narrative lacunae, no real characterization, ordinary action, and high levels of stupidity in dialogue and plot. Only redeeming element was Donald Sutherland’s brief performance, which also highlighted how bad everything else was. *

Tron: Legacy in Disney Digital 3D
Saw this primarily to test the new 3-D technology being hyped. Nothing really wrong with the film, though nothing great about it either, but 3-D in its current state is a giant boondoggle. Most of the film is shot in 2-D, and the glasses needed to see the 3-D are pathetic. On a par with the original in terms of quality, but without anything groundbreaking about it. *

Red Riding: In the Year of Our Lord 1974
First of a trilogy based on the David Peace novels, this is an incredibly powerful film about the search for the Yorkshire ripper and the police corruption that hinders it. Excellent writing, acting, and re-creation of the period. Deeply depressing because of the seemingly-impenetrable mire of corruption, murder, and the grief. One of the best films I’ve seen for some time, even though it was difficult to understand the broad and authentic Yorkshire accents. ****

The Way Back
Marginally-interesting film based on a true account of people who escape the Soviet Gulag during World War II. Everything about the film is done well enough, but I found the author’s reason for his unrelenting push to survive and continue the journey, to relieve his wife of her guilt for betraying him, to be a completely unbelievable self justification. Not quite good enough to avoid being a waste of time. *

The Imaginarium of Doctor Parnassus
Absolutely beautiful, highly imaginative, and wonderfully delightful film by Terry Gilliam about love, identity, the origins of the world, sacrifice, friendship, redemption, … well all the things that make human existence what it is. Still can’t get Lily Cole’s face out of my mind. To my surprise, I really enjoyed it. ***

Green Hornet
Would be on my list of worst films of the year. Had I known Seth Rogin wrote it, I would have skipped it. Turned an interesting superhero comic into a whiny, unfunny gesture in stupidity. Really bad.

Feast III: The Happy Finish
Slightly better than II, but still not up to I. This one at least has some redeeming female nudity and lesbian sexual overtones, but pretty bad, even for grindhouse, though I think the title is wonderfully ironic. *

Feast II: Sloppy Seconds
Poor sequel to the highly original and entertaining Feast. Plenty of shlock without any of the wit or imagination. Could have missed it. *

The Social Network
Very well written film about Mark Zuckerberg’s creation of Facebook. The dialogue races along and is highly intelligent, but I found a lack of meaningful characterization so I eneded up disliking everyone, which very well may have been the intention. Also, who cares? I guess I’m glad I saw it… **

Dead Space: Downfall
Violent animated film about a cargo spaceship that is transporting an artifact to earth. It is the object of worship to a cult who protect it, even though it turns people into vicious flech-eating mutants. Even with the politico-religious commentary, the graphics and narrative are only average, as I guess is to be expected when a video game is made into a movie. *

Blindness
Interesting and well-acted film of Saramago’s book about a plague of blindness that suddenly affects a huge number of people. They are quarantined into camps, allowing Saramago to discuss relationships of all sorts, sexual politics and oppression, social and political oppression, violence, etc. Much too positive an ending. **