ROOM

The story of "Room" becomes increasingly unsettling the more one thinks about the fact that things like this have actually happened to people. On its broadest scale, the film is a story of juvenile kidnap, rape, and endless abuse; subjects which could easily yield a nightmare of a film. Miraculously however, the affecting performances and touching relationship at the heart of "Room" overshadow the elements of brutality and deliver a film which is moving and often heartwarming.

Brie Larson plays the role of Joy (or Ma, depending on who you ask), a young woman who was captured during her teens and, for years, has been held captive. Jack, the son born to Joy several years into her agony as a sexual slave, is raised knowing nothing of life outside the confines of the small shed inhabited by the characters. To Jack, what lies beyond the walls of the small room shared by he and his mother is known as "outer space", and things like animals and regular fixtures of comfort in our daily lives only exist in the fantastical world of television. Though what she and her son face are nothing short of horrific, Joy places Jack at the center of her existence, and does an honorable job of maintaining hope and providing her son with the closest thing to a normal life that she can manage.

The effectiveness of Larson's lead performance is no secret, as it earned her plenty of high profile awards and critical praise. She succeeds in bringing the subtle suffering and reflective depth that is pivotal to her tortured character. Amongst her most powerful moments in the film are the sudden cathartic episodes which her character experiences when her son is not around. As the collected façade falls, Joy allows herself to display the anguish which we expect from someone in her situation, and Larson delivers in these moments. The role of Jack also turned young Jacob Tremblay into the darling of the 2016 movie awards season. Any time a film as intense as this one relies so heavily on the skill of a child actor, moviegoers and filmmakers alike do not know what to expect, but Tremblay's combination of cheerful naivety and subdued emotion acts as a light of innocence at the heart of the film.

This movie does something very well which is impetrative to great films: it makes you care deeply about its characters. The scene in which Jack attempts his escape from the back of his captors pickup truck brought me stronger feelings of suspense than any horror film or thriller which I have seen recently. This is achieved by building a deep connection between the young boy and the audience as we have see the struggle involved in his childhood, recognize his opportunity to be free, and ask ourselves what will happen if he fails. Jack and Joy's escape from their confinement is the riveting turning point of the film, but this moment and the events that follow it would not matter nearly as much if viewers had not witnessed the meticulously displayed struggle at the opening of the film. Even as the characters attempt to assimilate with the largely unfamiliar outside world, they often rely on each other to maintain healthy spirits. It's the everyday moments shown between the protagonists which are the most poignant and memorable.

The fictional story of "Room", based on a novel by author and screenwriter Emma Donoghue, is almost eerily prophetic of the Ariel Castro kidnapping case of 2013. These events saw the discovery and escape of three young women, one with a child born in captivity, who were held in very similar circumstances to that of Joy. As I stated earlier, approaching this film with the knowledge that sickening things like these really happen in our world brings a powerful emotional rise out of viewers. But for all the cruelty which surrounds the story of Jack and Joy, this is, above all, an inspiring story about the power of love, the strength of companionship, and the importance of mothers. "Room" is one of the best movies of the decade so far, and it possesses the power to stimulate emotions as strongly as a film can.

RATING:  8.6/10

BLADE RUNNER

With the growing hype around the upcoming sequel to this Ridley Scott cult classic, I recently felt the itch for a viewing, and review, of the original "Blade Runner". Regarded by many as one of the great Sci-Fi films of all time, the movie set trends which have been imitated constantly since its release in 1982. A largely bleak view of an American future, the film explores the nature, and often hypocrisy, of how we view humanity. Specifically, I will focus on the conclusive "Final Cut" version of the film, which critics, many fans, and Scott himself often tout as the definitive rendering. Any further commentary on the lame original voice-over would be beating a dead replicant.

Harrison Ford stars Rick Deckard, a Blade Runner (some sort of cross between a detective and an assassin) in 2019 Los Angeles. The character reluctantly agrees to track down and eradicate a group of roguish replicants, who have been bioengineered by a major corporation to essentially act as slaves and perform any undesirable task that humans wish. Deckard's search for the missing replicants proves to become increasingly perilous, as his adversaries develop emotions, skills, and intelligence which is beyond what they were programmed for. It is only because of an extremely human deed performed by one of his non-human enemies that Deckard makes it out of his mission alive.

I see Deckard as easily the most complex of any of Harrison Ford's classic film heroes. In fact, the term "hero" seems rather unfitting in itself. The character is a heavy-drinking, unsympathetic loner who seems to avoid contact with others whenever he can. Not to mention the uncomfortable love scenes in the film, which have aged as nothing less than blatant sexual assault. Of course, anyone who is even a casual fan of the film is aware of the ongoing debate over whether or not Deckard himself is a replicant, implanted with memories of a valiant past as a Blade Runner. Ridley Scott has hinted toward this idea in the past, while Ford has contended that Deckard is a necessary human presence in the story. Personally, I find the story to have much more meaning if Deckard is in fact a human. With this notion, his final encounter with Roy Batty (Rutger Hauer), essentially the leader of the hunted replicants, reveals the true underlying theme of the movie: the replicants truly are "more human than human". When Batty saves Deckard from falling off the rooftop and delivers his classic monologue about the meaningful memories which he has made, he exhibits qualities which the humans of "Blade Runner"'s future seem to have left in the past. Now, trailers and images of the upcoming "Blade Runner 2049" have surfaced, and it is clear that Ford will be reprising his character. Barring some potential loop in the science of the first film, its safe to assume that Deckard did not have the limited lifespan of most of the replicants. Nonetheless, "Blade Runner" is a film without a true hero versus villain dynamic. Batty is the character who we are led to see as evil and threatening, but at the conclusion, we sympathize with him more than anyone.

One thing is certain; the future depicted in "Blade Runner" is a fascinating one. Things that have become Sci-Fi staples, such as the enormous digital advertisements and flying cars, were made possible by special effects which were groundbreaking at the time. But to me, the most interesting aspects of Ridley Scott's 2019 Los Angeles go much deeper. The film shows a culture in the city which has experienced great influence from foreign cultures, specifically from Asia. In many ways, this projection has come true in the West coast cities of today. The setting of the film also includes many effective dystopian urban elements, such as the dark, smoky atmosphere and overly industrialized and overpopulated living spaces. For evidence of this setting's influence on its genre, look no further than the city planet of Coruscant in George Lucas' "Star Wars" prequels. What makes the city so effective in this case is the style with which Scott approached his filming. The shadowy streets, neon signs, and constant rainfall sends an essence of classic film noir through this foreboding scientific story.

As an example of unprecedented, influential style in filmmaking, "Blade Runner" may be as important as movies get. The film simply feels far different from anything that came before it. It's undoubtedly one of the most unique movies of all time. However, I must admit that I don't personally love it as much as many other movie fans do. This is possibly because I was not around to experience the "wow" factor of seeing it in the early 1980's, and we are so flooded with Sci-Fi in movies today. But, it's influence and originality are indisputable, and with the amount of material it gives for theories and analysis, I can fully appreciate its cult classic status.

RATING: 7.5/10
 

ETERNAL SUNSHINE OF THE SPOTLESS MIND

What we have here is one of those movies which, while seemingly lauded by everyone else, just does not do it for me, at all. I suspect every moviegoer has experienced films which don't strike the same personal chord that they do with the rest of the cinema world. It certainly has a few things going for it in my book, which I'll mention, but for the most part this Oscar winner comes off as nauseatingly mawkish and glum.

Charlie Kaufman, who brings a great deal of melodrama to most of his films, delivers a screenplay detailing the story of two former lovers who, upon a rocky ending to their relationship of the past, had each other scientifically removed from their memories. This Sci-Fi aspect of the narrative is interesting, but it would have been better used in a film which wasn't trying so hard to leave audiences feeling so damn sappy and wishy-washy. One of the components of the movie that fans and critics praise is the writing. Trust me, I posses entirely capable capacities for romantic and emotional intelligence, but the relationship at the center of this film is in many ways pathetic and gets caught up in a plot which is entirely overcomplicated. In scattered attempts to delve into the memories of the characters, viewers are easily lost. Some of Kaufman's efforts, like "Being John Malkovich", which intelligently balances humor and sentiment, I've thoroughly enjoyed. "Eternal Sunshine" on the other hand just needs to get over itself.

In some of his more lighthearted roles, I guess I don't mind Jim Carrey. "The Truman Show" is an example of the kind of film which has the right amount of oddball humor and clever storyline to magnify his comedic talent at the center of a very good film. In a film like this one however, Carrey is out of his element. Maybe it's because I'm so used to seeing him making strange faces and prompting cheap laughs, but in a deep and dramatically complex role such as this one I feel that he doesn't connect. The bond between Carrey and Kate Winslet, which is truly the focus of the entire story, feels forced, unlikely, and unnatural. I will add however, that Winslet's performance is without a doubt the brightest spot in the film. Perhaps the strength of her eccentric turn is what makes Carrey come off so bland.  

Many fans of this film, surprising as it is to think that there are many, would likely say that I am simply missing the point. But I do get the point. I do understand what the movie is trying to spoon feed me. The themes of failed, forgotten love and loneliness are effective and poignant in movies that make you care. "Eternal Sunshine" fails to make me care. By the time the tedious story makes its way to the pay off, I was too tired of Jim Carrey's sickly, miserable mood to maintain interest in the relations between the characters.

"Eternal Sunshine of the Spotless Mind" is disorganized and histrionic. It quickly becomes tired and dull, and is one of the most painfully obvious attempts at emotion that movies have ever given us. I enjoy the Winslet performance, and the idea of exploring memory is often interesting, but both would have been better put to use in a film which avoids all of the repellent pathos. I know I am in the minority here, but this holds a spot among the most overrated movies of all time. The most maudlin moments of the picture are simply headache inducing. If someone were to offer to erase this from my memory of movie experiences, I don't think I would object.

RATING: 4/10

RECAP: TRIBECA FILM FESTIVAL'S "GODFATHER" REUNION

This past Saturday, I had the pleasure of attending the 2017 Tribeca Film Festival's closing event; a 45th anniversary screening and discussion of "The Godfather" and "The Godfather: Part II". Aside from the entirely unique experience of viewing two of the greatest films of all time, back to back, at the famed Radio City Music Hall, it was also a once in a lifetime treat to hear directly from Francis Ford Coppola as well as core members of the cast, including Al Pacino, Robert Duvall, James Caan, Diane Keaton, Talia Shire, and Robert De Niro. According to these Hollywood legends, this was the first time since the early seventies that they had all come together to discuss the Mafia masterpieces, and frankly as the cast and crew becomes continuously further removed from their young, fiery, Mafioso selves, I'm glad to say I saw this once in a lifetime event.

Of course, the first two installments of the "Godfather" saga are two of my favorite films. After every time I've watched them, I find myself playing over scenes and running through the best lines of the flawless screenplay in my head for days. Each having runtimes around the three hour mark, one may expect that a back to back viewing would be a bit too much underground crime for one day, but a testament to the brilliance of these films lies in the fact that throughout the event, I recall putting zero thought to the amount of time I had been sitting in the theater. The story of the Corleone family is so dazzlingly woven through the family bonds, development, and depth of the characters, that a viewer forgets that the world around them isn't the dark, corrupt, smoky world of post-war New York. I must say that the consecutive screening of the films had the effect of opening my eyes more than ever before to the true darkness of Michael Corleone's deterioration from unassuming outsider to kingpin verging on the psychopathic. Also, taking in these films alongside such a large crowd yielded results I can't say I anticipated. The expected cheers and applause were present following the films best scenes and upon the first appearances of the main characters, but it was certainly something of a surprise to hear praise and acclaim toward things like Michael, quite literally, shutting his wife out of his life. Fans will unswervingly be fans.

De Niro has stated that getting Francis Ford Coppola to agree to the reunion was a struggle at first, but the legendary director was eventually able to be convinced. I guess he just couldn't refuse the offer. During the discussion panel which followed the films, Coppola's anecdotes and recollections of the filmmaking process dominated conversation. It is truly amazing to think that, early in production, Paramount came within an inch of firing him, and vehemently opposed the participation of two actors named Marlon Brando and Al Pacino. We're lucky that they reconsidered. Without Coppola, Brando, and Pacino, there is no "Godfather". I was interested to hear whether or not the cast had seen the films recently themselves, and with Diane Keaton's mentioning that, not long ago, she had her own viewing, "On a f***ing computer!", it's clear to see that the people behind the movies have the same appreciation for them that fans do. James Caan, as entertaining in his own right as his character, Sonny, provided some stories of the best behind-the-scenes laughs, such as Marlon Brando's placing of weights in his hospital bed to make it difficult for the cast to carry the injured Don up the stairs. As a fan, its amusing to imagine the famed Vito Corleone chuckling and doing things like mooning cast members between takes. One inclusion in the discussion which I found fascinating was that Talia Shire proposed the idea that Kay Adams should have an abortion to avoid bringing another Corleone child into the world. This scene between Michael and his wife is one of the most emotional in the entire saga (I'll avoid the word trilogy, as not even a mention of the tabooed third film came from the panel), and Shire's generating of this idea shows the vital role that each of these people had in the success of the films. With the exception of late stars such as Brando and John Cazale, the true core of the "Godfather" family was present, and I am thrilled to have been able to experience it.

Having the chance to view two of the greatest films of all time and hear reflections from its key figures was endlessly enjoyable. It immediately made me wonder what others of my favorite films with ensemble casts an event like this could be held for ("Goodfellas" perhaps? "Pulp Fiction"? "The Lord of the Rings", years from now?). Without question the event made me all the more excited for more film festival gatherings like it in the future. These stories and discussions about "The Godfather" add a new, entertaining perspective to watching the films, and the stars behind the characters are as timeless as the characters themselves.