Artsy Assassins and Subtle Substance - THE AMERICAN

THE AMERICAN 

2010 - 105 minutes - Crime/Drama/Thriller
Director: Anton Corbijn 
Country: United States
IMDB: 6.3
Metacritic: 61
RT: 66%

EpicEnthusiast's Rating: 9/10

Watch this movie if you enjoy: 

• crime/assassins

• visually appealing films

• real-life sets/Italian landscape 

• George Clooney

Avoid this movie if you dislike: 

• violence

• nudity

• slow pacing 

• Italian language 

Anton Corbijn's The American has received some mixed reviews, and my score certainly contrasts the numbers from IMDB, Metacritic and Rotten Tomatoes. What I'll say is the film is very much dependent on how the viewer perceives it, as well as how patient they are. 

The story revolves around an American assassin, Jack/Edward, who is forced to hide out in rural Italy after an ambush of Swedish counterparts. He's near the end of his career, and ultimately requests to get out of the game by the end of the film. In the seemingly quaint and quiet town of Castel De Monte, basic human desires end up getting Jack into trouble. 

Perhaps the lone aspect of the film that can't be debated is its visual presence. In both its production and its physical setting, The American is beautiful. Corbijn is an avid photographer, and his perspective proved extremely beneficial. He takes us through breathtaking parts of Sweden and Italy, and gives 

The primary setting of The American, Castel De Monte, Italy

us engaging shots of the characters and their surroundings. It felt european in its style, and captured a unique Italian culture. Some critics have called it pretentious or meaningless, but I didn't see any lack of purpose, and felt engrossed in the atmosphere throughout. It's one thing to shoot something in a certain way for the sake of doing it, but if it helps establish a setting and/or gives the audience an unexpected angle, I usually won't have an issue with it. A lot of those type of shots were featured in Corbijn's film,
and if nothing else, it was pleasing to look at. Not to mention George Clooney's face, which is attractive in any setting. 

George Clooney in The American

Speaking of Clooney, his performance is dominant, and worth noting. He's known for more comedic roles, but has proved capable of serious ones too with films like Michael Clayton, Syriana, and now The American. Here, his character is static and doesn't say much, but his actions and expressions are what develops him. He does a great job of portraying a killing expert, along with an aging man that's seeking a settled, honest life. Despite the lack of humor, the role seemed fitting for Clooney. He's on camera for much of the film, and is compelling without words. Following him through the rustic town may not be overly eventful, but it's thrilling nontheless. Something about George outfitted in black leather jackets, tattoos, and expensive watches just works. It's definitely his movie, and the kind that wouldn't be half of what it is without its lead actor. 

My main disagreement with the some of the critics regarding The American deals with its overall substance or storyline. I've read a lot saying the plot lacks purpose or explanation, but it's all perfectly clear to me. If you've yet to see the film, you may not want to read this portion until you have. 

The opening scene of the film depicts a content life from Jack. He's living out in the wilderness with his presumed girlfriend, and is enjoying a leave of absence from the assassinating business. When he's attacked and forced to kill her, it's the ultimate realization: He wants out for good. If he makes a friend, they end up getting killed. If he's not careful enough, someone is right around the corner ready to kill him. He's haunted by what happened, and just wants to move on. When he falls for Clara in Italy, he's close. They develop a connection and he's ready to complete his last job, and move away with her. He manages to intentionally alter a rifle and kill his hunter, only to be shot by his boss before he meets her back at the river. When he met Clara in town and told her to retreat to the river, you could see it on his face: jubilation, anticipation and relief. He sensed the start of a new life. One without blood, guns or looking over his shoulder. 

That's what I think Corbijn, Clooney and company did a fantastic job of depicting. A man striving for something he really didn't deserve, and coming up just short. His drive to the river says it all. He knows his fate, and hits the steering wheel in frustration and anger because ultimately, he regrets the life he lived. Again, it really depends on how its viewed, but that entire premise is enough for a strong story in my opinion. 

George Clooney and Violante Placido in The American 

To conclude, The American is a mature and intelligent film that demands patience, but rewards its viewers with aesthetics. It's artsy and eurocentric in style, but also features a meaningful storyline if you know where to look. A must see for George Clooney fans, as well as fans of film in general. 

- EE

As of November 26, 2013, The American is available for instant streaming on Netflix. Check out the trailer here:

Werewolves vs. Scotsmen - DOG SOLDIERS

Dog Soldiers
2002 - 105 minutes - Horror/Action
Director: Neil Marshall
Country: United Kingdom
IMDB: 6.7
Metacritic: N/A
RT: 76%

CinemaChagrin's Rating: B

Watch this movie if you enjoy:

• Horror-action films
• Great B-movies
• WEREWOLVES!
• Tons of great gory violence/action

Avoid this movie if you dislike:

• B-movies or horror films
• Extremely gory movies
• Werewolves...duh
• Some plot holes/horror cliches

If you were to combine George A. Romero's 1968 classic horror film Night of the Living Dead with James Cameron's pulse-pounding 1986 sci-fi action film Aliens, you'd probably end up with something like Dog Soldiers.

Of course, the antagonists in this English horror flick are werewolves, not zombies or aliens. A direct-to-DVD directorial debut (hence the cheap-looking poster), Dog Soldiers established newcomer Neil Marshall as a promising new horror director back in 2002. I initially took interest in this film after seeing one of Marshall's later productions, The Descent (an absolutely fantastic and terrifying horror film about a group of six women trapped underground and fighting for their lives against vicious creatures after a spelunking expedition goes wrong). Many of Marshall's talents as a director seen in The Descent are on display in Dog Soldiers, albeit in a less-refined form.

The protagonists of Dog Soldiers

The plot of Dog Soldiers is pretty straightforward (which is a good thing): a squad of 6 Scottish soldiers are sent into the Scottish highlands on a routine training mission. They trudge through the woods, making their way towards a rendezvous point before coming across the gory remains of a special forces team that was supposed to serve as a mock enemy for the mission. They soon afterwards encounter the enemy that inflicted so much carnage - a group of vicious werewolves. Outnumbered, the Scotsmen retreat into an abandoned farmhouse to make a last stand.

Dog Soldiers is an unabashed B-movie - obviously low budget, filled with stock characters, flush with plot twists seen coming a mile away - and a damn fine one at that. Though it is very horrific at times, the film never takes itself too seriously, and features several hilarious moments. The violence is ridiculously over-the-top and gory, while the plot is pretty predictable. Characters oftentimes make nonsensical decisions, and there are some pretty big plot holes. Why do I like this movie so much, you ask? Mainly because it's ridiculously entertaining!

Bad doggy!

What makes Dog Soldiers so entertaining, elevating it above most horror B-movies? A number of reasons, really. Firstly, Neil Marshall successfully builds tension through a variety of methods, including really neat black and white "werewolf-vision" shots, excellent camera angles, and swift editing. Marshall also doesn't make the mistake of showing the audience the monsters too early on the film. Throughout the first half of the movie, all we see are quick cuts of the werewolves running through the woods or lunging towards the soldiers. There are also also some really cool moments where a werewolf is just off screen, its visible exhalations fogging up soon-to-be broken windows. 

Though the film is very action-heavy, there are several suspenseful and terrifying moments. Additionally, while most of the characters in the film constitute stereotypes (the gruff sergeant, reluctant leader, crazy bad-ass), they are developed much more than your average horror flick. Several have very memorable personalities and scenes;  it is much easier to root for them to prevail as a result (even though they don't have much of a chance). 

What really makes Dog Soldiers stand out is the action. Once the werewolves are introduced, the rest of the film is almost constant action. Part of the quality of the action can be attributed to Marshall's direction - the action sequences are all well-shot - but a lot of the entertainment stems from the premise itself: a horde of vicious werewolves duking it out with six Scottish soldiers (by the way, the accents are hilarious). The werewolves look absolutely fantastic, no CGI bullcrap, just cool werewolf suits that look really scary. Finally, the film avoids many of the worst horror cliches, including random/pointless nudity/sex or a forced romantic subplot.

I don't really have a lot of substantive things to say about Dog Soldiers (cause it's not really that deep); it's just a lot of fun! If you in any way like horror films, action films, or werewolves, this movie is a MUST SEE! It is supremely entertaining, a horror film with a good blend of action, suspense, comedy, and yes, horror. It also has a really cool soundtrack. Oh yeah, and characters we actually like and care about (always a good thing). As far as B-movies go, you can't go wrong with Dog Soldiers!

-CC

Watch the full movie on YouTube!

Is it perfect? "Oh you betcha" - FARGO

FARGO

1996 - 98 minutes - Crime/Drama/Thriller
Directors: Joel Coen, Ethan Coen
Country: United States
IMDB: 8.2
Metacritic: 85
RT: 94%

EpicEnthusiast's Rating: 10/10

Watch this movie if you enjoy: 

• crime thrillers

• the Coen brothers 

• unique cinematography 

• real-life sets/Minnesota

Avoid this move if you dislike:

• blood/violence

• profanity

• Minnesota accents

(minor spoilers and language below)

The first time I watched the Coen Brother's classic crime thriller Fargo, I saw some quality, but was underwhelmed overall. It had some cool camera shots, but seemed dry and slow. Only after a second viewing did I realize just how brilliant the seven time Oscar nominee is.

The story revolves around a man named Jerry Lundegaard, who because of financial troubles, decides to hire a couple of hit men to kidnap his own wife. The plan is to have his wife's wealthy father pay a large ransom in which Jerry would split with the hit men. There was to be no violence, no blood, or no mishaps. Not so much. All three happen, and a diligent (albeit slow and pregnant) police officer is on the case.

William H. Macy as Jerry Lundegaard

The beauty of Fargo lies within its characters. They aren't hot shot cops or wealthy business men or professional killers. They're all ordinary people. They live in a small town and drive bland sedans. The fact that a man like Jerry Lundegaard, (William H. Macy) who says "heck" and "darn tootin" is willing to have his own wife kidnapped for money is what makes it so effective. Macy is one of a trio of cast members to give the performance of a career, and he plays the tame, innocent Minnesota man toperfection. Everything from his facial expressions to his mannerisms to his quirky comments authenticate Lundegaard, and make it that much more compelling as we watch his hazardous act of desperation.

Steve Buscemi plays Carl Showalter, who is one of the hit men hired by Lundegaard. His character is unique in that he is loud and authoritative while also frail and "funny looking," as he was called multiple times in the film. His partner, (played by Peter Stormare) doesn't seem to take him seriously, but he's the one driving the getaway car, and collecting the cash. On the surface he's a ruthless and heartless villain, but he's humanized by prostitutes and the need for conversation on a long car ride. He's expertly developed, and very well acted from Buscemi.

Frances McDormand as Marge Gunderson

And finally we have the the police officer investigating it all. Frances McDormand plays the lead role of Marge Gunderson, and amazingly doesn't even appear until more than thirty minutes into the film. Looking at McDormand, you might think she'd be the last actress to play a police officer, but she did an exceptional job. She mastered the easily identifiable Minnesota accent, and even pulled off a fake pregnancy. What makes her character so fascinating though, goes back to the simple showcasing of her everyday life. She has a husband at home who paints. She eats fast food. She visits a friend from her past that has always been enamored with her. (Which by the way, is one of the most awkward and cringing moments I've ever seen on screen.) She's getting ready to have her first child. She lives a standard life, and is simply doing her job. In this case, her job just so happens to entail investigating a brutal homicide, but Gunderson herself is what carries Fargo, and McDormand put together a dynamite performance. Perhaps her husband (Joel Coen) being behind the camera had something to do with it, but either way her Oscar was well deserved.


Also rightfully recognized by the academy, was the Coen brothers' masterful script. When we think of scripts associated with a crime drama, comedy isn't typically associated. An exception that comes to mind is my favorite director Martin Scorsese and his films Goodfellas and Casino. He and Nicholas Pileggi insert some black comedy into those scripts, and mix humor and tragedy. Truthfully though, what the Coens do in Fargo takes it to a different level. Many parts of the film are tragic, and death is certainly prominent, but they're coupled with laugh-out-loud hysterics along the way. From the constant "oh yah's" and "you betcha's" to the philosophical inquires about life. The Coen brothers manage to balance a serious tone with a humorous one, and thats something that rarely works. Memorable quotes go from this:

So, I'm tendin' bar there at Ecklund and Swedlin's last Tuesday, and this little guy's drinkin' and he says, "So where can a guy find some action? I'm goin' crazy out there at the lake." And I says, "What kinda action?" and he says, "Women action, what do I look like?" and I says, "Well, what do I look like? I don't arrange that kinda thing," and he says, "But I'm goin' crazy out there at the lake," and I says, "Well, this ain't that kinda place." 

And this:

Steve Buscemi in Fargo

Would it.. .kill you to say something? "No." That's the first thing you've said in the last four hours. Thats a... that's fountain on conversation, man. That's a geyser. I mean, whoa daddy! Stand back, man. Shit. I'm sitting here driving. Doing all the driving, man. The whole fucking way from Brainard driving. Just trying to...chat, ya know. Keep our spirits up, fight the boredom of the road, and you can't say one fucking thing just in way of conversation. Oh fuck it. I don't have to talk to you either, man. See how you like it. Just total fucking silence. Two can play that game, smart guy. We'll just see how you like it. Total silence. 

To my favorite quote of the film, coming minutes after laughing out loud:

So that was Mrs. Lundergaard on the floor in there. And I guess that was your accomplice in the wood chipper. And those three people in Brainard. And for what? For a little bit of money. There's more to life than a little money, ya know. Don'tcha know that? And here ya are, and it's a beautiful day. Well. I just don't understand it. 

The screenplay mixes a number of emotions into one brilliant whole. It all meshes and flows in an almost inexplainable fashion. One of the best scripts I've ever come across. 

Another Fargo nomination that should have turned into a trophy was the cinematography by the Coens and Roger Deakins. They masterfully used the camera to both set a scene, and tell a story. When the shot called for facial expressions, they glued it to the actors and let them run with it. When the shot called for perspective and surrounding, they gave a unique angle. The outdoor atmosphere in the film was essential to the story, and it didn't take long to be absorbed by the snow. Although it wasn't actually filmed in Fargo, different areas of Minnesota and Canada certainly sufficed. Some standout stills: 

Overall, Fargo is an absolute masterpiece. It may be the only film I've ever seen that allows me to say that every single scene is perfect. There is simply nothing wrong with it. It'll make you laugh, wince, smirk, cringe, and maybe even cry. The characters are wonderfully developed, and supremely acted. The script is incredibly natural, and the cinematography is flat-out special. It was robbed of best picture, and should have won the other four oscars it was nominated for too. I've yet to see the 1997 winner The English Patient, but I'd be absolutely shocked if it even compared to Fargo in overall quality. Dare I say, it's the best film the Coen brothers have ever made. The late Roger Ebert concurs: 

"Rotates its story through satire, comedy, suspense and violence, until it emerges as one of the best films I've ever seen."


-EE

One last note I'd like make is in regards to the film's minuscule budget. Even for 1996, to make a film of this nature for around $7,000,000 is incredible. More and more today, movies are being produced in front of a green screen, and CGI and special effects take over. I find it both extremely refreshing and very impressive when films are shot in real places, and are made for less than what the actors are being paid. It makes Fargo that much more of a monumental achievement. 

"I Watched It So You Don't Have To" - ENDER'S GAME

ENDER'S GAME 
2013 - 114 minutes - Sci-Fi/Action
Director: Gavin Hood
Country: United States
IMDB: 6.8
Metacritic: 51
RT: 62%

CinemaChagrin's Rating: D

Watch this movie if you enjoy:

• Science-fiction movies
• Asa Butterfield
• Harrison Ford
• Hailee Steinfeld

Avoid this movie if you dislike:

• Sloppy writing
• Seeing a beloved book butchered on the big screen
• More cheese than Wisconsin

[minor spoilers below]

Okay, so I should have seen that one coming.

Seriously, read the book!

Despite mostly mediocre reviews, some pretty underwhelming trailers, and questionable casting choices (who decided Viola Davis would be a good fit for a military-science fiction action film anyway?), I convinced myself to go see Ender's Game for a few reasons. One, no theaters in Greenville are playing 12 Years A Slave (a travesty!). Two, because the majority of the cast looked amazing (seriously, Harrison Ford, Ben Kingsley, Asa Butterfield, Hailee Steinfeld, and Abigail Breslin? That's a lot of talent for one movie!). And most importantly, three, I am a HUGE fan of the book. I first read it in the 4th grade, and have probably reread/listened to it 4 or 5 times since then. It's an incredible work of fiction, with wonderful characters and a thoroughly gripping story.

Since it's publication in 1985, the book has had a well-deserved reputation of being nigh-unfilmable. And for good reason too: it features a six-year old protagonist, takes place over the span of several years, and features brutal murders and mass genocide on a galactic scale. Sounds like the perfect book for kids, eh? Well it actually is, in a manner of speaking. It's really a rare kind of book - one that can appeal to readers of all ages.

But enough about the book, I'll get to the point and talk about the movie. (And no, I will not talk about author Orson Scott Card's virulently homophobic views. Anyone who boycotts this movie because Card hates the gays needs to get off of their high horse. IT'S A MOVIE!) 

No seriously, I'll talk about the movie now. First things first: it wasn't as bad as it could have been. Yes, I know that is quite a low standard. But we've all seen how bad book-movie adaptations can go (Eragon still gives me nightmares). Sometimes they go remarkably well (Lord of the Rings, Fight Club, Apocalypse Now), but for the most part, they usually miss the mark. In a way, Ender's Game reminds me of last year's Hunger Games, in that they both are not terrible, but really not good either. Although the former's source material is of a much higher quality, and the movie turned out a little worse.

Mazer Rackham (Ben Kingsley), Colonel Graff (Harrison Ford), and Ender (Asa Butterfield) in Ender's Game

The gist of the plot is this: Earth was attacked by an alien race called the Formics (and pejoratively "the Buggers" in the book, after their bug-like appearance, but for some reason that term is NEVER used in the movie, which is puzzling) about 50 years ago. Tens of millions of people were killed. Humanity vowed never again to be caught off guard. The unified world government established a "Battle School" space station and drafted all of the world's child geniuses to become the next generation of brilliant military commanders in preparation for an impending Formic invasion. Our protagonist, Ender Wiggin, is of course the smartest of them all, destined to save the human race from annihilation. But not is all as it seems, of course.

Let me start with what I liked about the film. Don't worry, this won't take long: 

1. The acting all around was pretty strong for what the actors had to work with (which admittedly wasn't much). Asa Butterfield gave a solid performance as Ender, as did Hailee Steinfeld as Petra Arkanian. Newcomer Aramis Knight actually captured most of Bean's spunk pretty well. Harrison Ford was probably my favorite, as he did his gruff and tough guy role quite convincingly.

2. The visuals were pretty good overall (although for a budget rumored to be around $100 million, I was slightly underwhelmed - then again I just saw Gravity, which makes everything else look bad. But that was only made for a budget of $90 million! Hey, what gives??). Director Gavin Hood did a good job of visualizing many aspects of the book. The Battle Room looked really cool, as did the battle sequences between the Battle School armies. Apparently much of the Battle Room was a practical set, not all computer generated, which is impressive. I also thought the animated rendition of Ender's "mind game" was very creative and well done. Quite disturbing, as it should be.

Petra Arkanian (Hailee Steinfeld) and Ender (Butterfield) share a tender moment

...and now for what sucked. First of all, when I see book-movie adaptations, I like to view them in two ways: 1) as a movie and 2) as an adaptation. Ender's Game isn't necessarily a terrible movie, but it is an ineffective adaptation. I won't delve into the nitty-gritty, but key subplots are completely obliterated, the roles of Peter and Valentine are essentially non-existent (what a waste of Abigail Breslin!), and many character relationships are altered or compressed to save time. 

Which leads me to my next point of contention: the pacing. The first 4/5's of the film move incredibly fast - to a point where things become incoherent at times. If I hadn't read the book, I may have had difficulty understanding what was happening. Characters feel paper-thin and extremely underdeveloped. However, during the closing act of the film, the pace slows to a crawl. With the plot essentially wrapped up and very little emotional depth to carry it, the film becomes uber-boring for the last 10 minutes or so. 

Ender gets a stern talking-to from Colonel Graff

As I mentioned previously, some of the casting decisions are somewhat puzzling. Viola Davis was horribly miscast as Major Anderson, and Game of Thrones actor Nonso Anozie did not seem to fit the bill for Sergeant Dap at all. And while I appreciated that Ben Kingsley appropriately voiced his dialogue in Mazer Rackham's Kiwi accent, it was very inconsistent and jarring at times. All of these are somewhat minor details though. 

I must say the writing was the single weakest aspect of Ender's Game. The dialogue was hokey (and not in a good way) and not fluid at all. It's always frustrating to see otherwise spectacular actors hamstrung by a poor script. One particularly irritating aspect of the writing involved the use of the word "game". There were several instances during the movie when characters would shout "It's just a game!" or "This isn't a game!" or something else about playing a "game". Stop trying to shoehorn the title of the movie into the movie so much!

A lackluster musical score didn't help buoy the film's prospects either. Seriously, 90% of Hollywood film music nowadays sounds exactly the same. Oh what I would give to go back to the glory days of Bernard Hermann, Miklos Rocza, and Franz Waxman. But I digress...

In the Battle Room

To wrap up, Ender's Game is not a complete failure, but it hardly lives up to its source material. A talented cast was largely wasted on a weak script and hurried plot. The movie looked and even felt like one giant video game (albeit one where you can't participate!), as so much of it involved digitally-generated action sequences. There is nothing wrong with a visual-centric film (see, Gravity) if the special effects serve a clear purpose. Ender's Game  just feels like an empty shell with a pretty coat of paint, despite all of the familiar characters and lines from the book that were awkwardly shoehorned in with little context ("Remember, the enemy's gate is down!"). Interestingly enough, though a lot of the CGI in the film looked good, most of the actual costumes looked pretty cheap. The Battle School jumpsuits alternated between janitorial garb and snorkeling wetsuits, while high-ranking officers wore uniforms that looked like something employees at a theme park would wear.

Overall, it's decent popcorn entertainment. Fans of the book probably will be let down in a big way, but those of you who have not read the book may enjoy it somewhat. I wouldn't recommend going out and paying to see it in theaters, but you could do far worse with $9. 

-CC

(One minor implausible wish: that the movie had been rated R. It would have been really cool for the filmmakers to have gone all out and made the hand-to-hand combat and "mind-game" scenes just as unrelentingly brutal and gruesome as they are in the book. But alas, a PG-13 rating sells more tickets for this kind of movie.)