LET'S TALK ABOUT THE WIRE

THE WIRE

2002-2008 - 55 minutes - Crime/Drama/Thriller
Creator: David Simon
Country: United States
IMDB: 9.4
Metacritic average: 92
RT average: 96%

CinemaChagrin's Rating: A

EpicEnthusiast's Rating: A

(No spoilers below)

CC: Hello everyone, CC here. Well, I think both EE and I can admit we have become somewhat negligent of this blog over the past year or so. I mean, we did our last combo review back in October 2013! Let's just say life has gotten in the way at times. 

EE: To be fair, CC, I just graduated college and have had some moderately important things going on. Also, my last review of the 'Murican classic American Sniper was a bit draining. It was way too much 'Murica for one review — I needed a break. But now that we're back in action, I'm glad it's time for another joint review. Not only that, but I'm glad we're reviewing perhaps the best television series I've ever seen. With that, let's talk about The Wire. 

CC: Indeed. HBO's The Wire is a show that attracted a small but dedicated fanbase in addition to universal critical acclaim during its initial run. However, ask the average person if they've seen the show and you are likely to receive a blank stare. It's been recommended to me several times, though I just got around to watching it. I'm sure glad I did.

EE: The Wire has always been on my radar, but it wasn't until my English professor opted to teach it in my final year of college that I actually sat down to watch it. It also wasn't until Amazon coughed up the money to obtain HBO content for Prime members that I even had access to it. My class only discussed the first season, but I couldn't stop there. Fast forward a couple months and I finished the entire series. 

The setting of The Wire - Baltimore, Maryland

THE PLOT

CC: On its surface, The Wire begins as a crime drama. It focuses on the criminal drug trade in Baltimore. However, by the end of the final season, the show feels more like an epic literary saga chronicling the decline of a great American city. Each season highlights a specific aspect of Baltimore — the drug trade, the ports/labor unions, the political system, the public school system, and the media, respectively. In theory, this concept sounds like each season would be independent of each other; however, common characters, plot lines, and events intertwine to form one continuous story. 

EE: This structure is one of many aspects of The Wire that make it especially unique. It's not often that you get to watch so many different characters develop over five seasons of a show, and if you do, it's almost certainly not in the way creator David Simon and his crew opted to do it.We watch police officers climb the chain of command — or in some cases get exiled to the muddy waters of the Baltimore harbors. We watch drug dealers put in the dirty work and conquer the corners. We watch politicians scheme and backstab their way into office. We watch teachers struggle with educating the kids of West Baltimore. We watch journalists at a major newspaper fabricate and get rewarded for it. All of these could be shows in of themselves, but Simon and company manage to successfully and concisely combine them into five riveting seasons. 

Baltimore Police Commanders Daniels (Lance Reddick) and Rawls (John Doman)

CC: By the end of the show, I felt like I knew Baltimore intimately, despite never setting foot there. It's truly impressive how expansive the show feels, despite it all taking place in one city. The entire show was shot on-location in and around Baltimore, and this authenticity really shows. 

THE WRITING

EE: Like most great films and TV shows, success starts on paper. Simon and producer Ed Burns had extensive experience in Baltimore, working as a Baltimore Sun crime reporter and a homicide detective respectively, and there couldn't have been two better writers for the job. Simon didn't get to infuse his newsroom atmosphere until season five, but the Baltimore Police Department was lively and authentic from the beginning. It certainly helped that there were real cops on the set and on camera, but when a British actor like Dominic West can come off as a cocky and stingy BPD cop, some credit has to be given to the writing. I always say that any good actor can work with an average script, but to reach total greatness, the writing has to be great — it doesn't matter if the actor is or not. We'll touch on the acting below, but it wouldn't be possible without their reading material. The writing on The Wire is what ultimately makes the show.

Detective Jimmy McNulty (Dominic West)

CC: Agreed. Interestingly enough, the writing might be too authentic for its own good! One common complaint about The Wire is that the dialogue can be difficult to understand due to the "Balmer" accents and street talk prevalent throughout the series. For me, though, these added another layer of authenticity to the show. The actors looked and felt natural while speaking their lines. In fact, I hesitate to even use that phrase. The dialogue felt less like actors reading lines and more like natural conversation and improvisation.

EE: You hit in on the head, CC. It felt like someone just set up a camera on the drug corners of west Baltimore and let it roll. For me, the verbiage and accents of the crime landscape was enticing and enjoyable. A lot of characters in the show grew up in Baltimore (or other crime ridden areas) and that's the kind of actor you want for the job. To them, the script that Simon and Burns put together was just colloquial talk, so there was little learning involved. 

Felicia Pearson as hitwoman Snoop

THE ACTING


CC: Although outstanding writing serves as the foundation of The Wire, the show also features masterful acting across the board. The sheer scale and diversity of the ensemble is incredible to behold, and there really isn't a poor performance in the bunch. The show features a swath of lesser known character actors as well as non-actors plucked straight from the streets of Baltimore. Whereas in most TV shows or movies, one or two performances will stand out, in The Wire, there isn't really a single performance that overshadows the rest. Yes, a few are brought up frequently (such as Michael K. Williams' portrayal of drug dealer-robbing Omar Little), but it's just staggering to me how nuanced and convincing the performances were from pretty much the entire cast.

Omar (Michael K. Williams) and Detective Bunk Moreland (Wendell Pierce)

EE: Some of it surely has to do with the resources of HBO, but The Wire is the first show I've seen where every single actor is immensely talented. Everyone from the bottom up had a firm grip on their respective roles and it kept up from the pilot to the series finale. My favorite actor of the series was Idris Elba, another British actor who dove into the world of urban Baltimore and played a dominant drug boss. It's hard to imagine an American actor from Baltimore doing the job that Elba did as Stringer Bell, let alone someone from and utterly different culture in the UK. CC, you were right in saying that no performance on the show really overshadowed another, but I think Elba's was symbolic of just how dedicated and thorough the acting was. Couple this with the writing, and you have one dynamite show. 

Idris Elba as crimelord Stringer Bell

FINAL THOUGHTS

EE: If you're interested in the Baltimore drug landscape, watch The Wire. If you want nothing to do with the Baltimore drug landscape, watch The Wire. Frankly, it's pure entertainment. Granted, the appeal of a Baltimore crime saga might not be widespread, but anyone that appreciates quality film-making or TV production can appreciate the show. Maybe you're an aspiring journalist like me who will really connect with season five, or maybe you're a future politician that can learn from the fiery mayoral race within the city. Maybe you're fascinated by police work or maybe you want an inside look of an inner-city school system. Whatever your interest, there's really something for almost everyone on The Wire. If nothing else, you can have a standard for every other TV show you watch in the future. From now on, I'll be subconsciously comparing everything I watch to the brilliance that is The Wire.

CC: While I wholeheartedly agree that The Wire is one of the best (perhaps the best) TV shows I've ever seen, I don't think it will appeal to everyone. It is frequently gritty, violent, and depressing. Happy-ending style resolutions are practically non-existent. In many ways, the Baltimore we see at the closing of season five didn't change a bit from the Baltimore we see at the opening of season one. Each season also starts off pretty slowly, gradually building steam as the story progresses. For viewers looking for an exciting show that they can jump into and enjoy right away, they may not love The Wire at first. I didn't really start getting into it until about mid-way through season one. But for people willing to stick around in the beginning, The Wire pays off in a spectacular fashion. So EE, do you have a favorite season? They are all impressive in different ways.

Sergeants Herc (Domenick Lombardozzi) and Carver (Seth Gilliam)

EE: Tough question. The first season is a classic. The second brings a totally new dynamic. Four is eye-opening and five scopes in on many different prevalent issues. As a recent journalism grad, it's hard not to pick five, but I think it's a close second behind season three for me. Without giving much away, a prominent drug lord, Avon Barksdale, is back on the streets, but his partner in crime, Stringer Bell, didn't skip a beat and has grown the empire while Barksdale was away in prison. The power struggle and desire to leave a troubled city and childhood behind for Elba's Bell was just totally compelling. The Wire didn't by any means peak during this season, but for me, season three was the most thought provoking and ultimately my favorite. How about you, CC?

CC: This is a tough decision. From a narrative standpoint, season one is probably the most self-contained, and is paced perfectly. It also featured perhaps my single favorite scene in the whole show. Seasons three, four and five are all outstanding in different ways, but overall my favorite is season two. This is when the show really started to branch out and take some risks in introducing a whole new story arc and set of characters. Also, from an emotional standpoint, the ending of season two hit me the hardest. But picking a favorite season of The Wire is like picking a favorite child. It's a nigh-impossible task.

To sum up my thoughts: The Wire is a masterful work of art that transcends pure television. It is truly one of the greatest stories ever told in any medium. It definitely set a high bar in terms of writing, acting, and overall execution.

EE: Agreed. The Wire stands alone as far as crime series go, and should be in any conversation regarding the best TV shows of all time. It's authenticity, quality, and boldness will be tough to match in the future. From my view, it's just about as perfect as a show can be.

-CC & EE

AMERICAN SNIPER

AMERICAN SNIPER
2015 - 132 minutes - Action/Biography/Drama
Director: Clint Eastwood
Country: United States
IMDB: 7.6
Metacritic: 72
RT: 72%

EpicEnthusiast's Rating: C

Watch this movie if you enjoy: 

• Bradley Cooper

• war films

• #Murica

Avoid this movie if you dislike:

• excessive drama

• cliched war sequences

• violence

• Clint Eastwood films

American Sniper was bound to be great. 

Legendary film icon Clint Eastwood in the director's chair. Four-time Oscar nominee Bradley Cooper in the lead role. Six Oscar nominations, including Best Picture and Best Actor in a leading role. 

But perhaps because of these reasons, expectations we're far too high. 

Cooper plays Chris Kyle, who with 160 confirmed kills out of 255 probable kills, is the most lethal sniper in U.S. Military history. Kyle was an aspiring cowboy in his native Texas when the 9/11 attacks in 2001 inspired him to join the Navy Seals. The film gives us a brief look into his upbringing and takes us through his four tours of service in Iraq before coming full circle to his tragic death in early 2013. 

Bradley Cooper as Chris Kyle

One thing that is clear throughout American Sniper is that Eastwood trusts Cooper to tell the story he wants to tell. He dominates the screen as Kyle and carries scene after scene with a certain rugged confidence. The result is both a thoroughly impressive performance from Cooper and extremely limited characterization around him. As if Eastwood was dying for us to know Chris Kyle, but not anyone else in his life. 

Throughout the film he switches back between the unstable personal life of Kyle in the U.S. and the chaotic streets of Iraq, and for every taut and riveting gunfight, there's an empty and lackluster sequence back home. Imperfect editing creates a roller coaster of emotion and quality, moving up in Iraq and down in the U.S. Eastwood's focus on Cooper is tight throughout, but is oftentimes too tight, as it closes out the other characters in the film. In a way, Cooper plays the only character in American Sniper. 

Granted, it's a pretty good one. 

Cooper consumed about 8,000 calories a day and spent many hours with a vocal coach to prepare for playing a hard-nosed Navy Seal, and it paid off big time. He put on more than 40 pounds, captured the essential Texan accent and used lessons from a real sniper to come forth as an ideal Chris Kyle. If there's a finger of criticism to be pointed at American Sniper, it shouldn't be towards Cooper. He works with an average script and puts together a resume-boosting lead that'll go down aa one of his best. 

This one's for 'Murica

But ultimately, there is a finger of criticism to be pointed at American Sniper — or more specifically, at its director. 

Some of the film's excessively dramatic content comes at the fault of screenwriter Jason Hall, who infuses overly sensational lines of dialogue in scenes that don't call for them, but most comes from Eastwood's director's chair. Throughout the film, he successfully builds up edge of your seat-type tension, only to climax with eye-rolling, cliched outcomes that are even more frustrating than they are unnecessary. 

One of these moments comes after Kyle and and his team are escaping a massive firefight during a sandstorm. After fleeing a rooftop where he was pinned down, Kyle is shot and falls to the ground. Meanwhile his team is rushing into the back of a Humvee when one asks where he is. What ensues is your prototypical running to safety while shot and reaching your hand out just far enough for someone to grab it and bring you up-type shot, which simply has no business being in a heroic biopic. 

He did look good, though

Even more glaring than this is the maneuver that blew Kyle's cover. As he lines up an "impossible" shot that is over a mile long and would take out the marine-killing enemy sniper Mustafa, you sense something over the top is coming. Sure enough, Eastwood delivers. An elongated and insulting slow-motion bullet makes its way over to one of the film's top targets, and sucks all the satisfaction of the kill along with it. The film's signature moment becomes almost laughable. Eastwood should know better. 

Even a brief sequence where Kyle is exclaiming his duty to America to his wife in bed should be proud and patriotic, but is instead sappy and theatrical because of its setup. Eastwood beats you over the head with heroism and bravery that speak for themselves. They're entirely evident in Eastwood's footage, but supremely overstated by the end. 

These are the moments that Cooper's performance couldn't save. These are the moments that put the film's high production value in the shadows. These are the moments that killed American Sniper. 

Like many of our country's heroes, Chris Kyle deserved a movie — he just deserved a better one. 

-EE

As of January 27, 2015, American Sniper is in theaters everywhere. Here's the similarly exceedingly dramatic trailer:

END OF AN ERA - LEGEND OF KORRA: BOOK 4

LEGEND OF KORRA: BOOK 4

2014 - 13 episodes - Adventure/Fantasy
Creator(s): Michael Dante DiMartino & Bryan Konietzko
IMDB: 8.7
Metacritic: n/a
RT: n/a

CinemaChagrin's Ratings:

Book 1: A-
Book 2: C+
Book 3: B+
Book 4: B-

Normally I include a section at the top of each review encouraging or discouraging readers to watch the film or show reviewed based on their interests/likes. I don't see a need to do so with this review. Those of you reading this have probably either watched LoK: Book 4 already or will never do so. After all, it is the last installment of what is essentially a seven-season series. Now, onto the review. 

I, too, am upset that this series is coming to an end.

After many years of prodding, I caved and finally watched Nickolodeon's Avatar: The Last Airbender last spring. Although it was ostensibly crafted as a children's show, I enjoyed it immensely and consider it one of the finest TV shows I've ever seen. A few months later, I delved into The Legend of Korra, the highly anticipated follow-up series to ATLA. Created with an older demographic in mind, LoK doesn't reach quite the same level of excellence as ATLA, but is highly enjoyable in its own right. Though the first three books had their ups and downs in quality, I binge-watched them all and had a great time doing so. 

***WARNING - MASSIVE SPOILERS BELOW***

The Plot

Book 4 picks up 3 years after the conclusion of Book 3, with Korra having mostly recovered from the wheelchair-bound state she ended up in at the end of the previous season. The first few episodes highlight the changing world and follow Korra as she travels the world incognito, suffering from PTSD as a result of her near-death experience at the hands of the Red Lotus in Book 3. Eventually she is reunited with her friends and confronts a new villain - the beautiful yet stone-cold Kuvira, a metalbender hailed as "The Great Uniter" who sets out to build an empire and conquer Republic City. As expected, our heroes defeat Kuvira, save the world, discover love, all that jazz.

Kuvira, the primary antagonist of Book 4. 

The Good

The Action: The breathtakingly exciting action sequences that are a hallmark of the ATLA/LoK universe are once again...well, breathtaking. The organic nature of bending makes for riveting fight scenes, and several in Book 4 are among the best the entire series has to offer. Unfortunately, there are fewer battles overall in Book 4 than in previous installments, but the ones present are for the most part very well done. Metalbending in particular is highlighted once again, as Kuvira proves a skilled fighter and the Beifong family once again plays a pivotal role in the story. Watch one of my favorite excerpts below:

The Voice-Acting: With a few exceptions, the voice acting in ATLA and LoK has been solid, and Book 4 continues that trend. Korra (Janet Varney) and Bolin (P.J. Byrne) again standout, but there really aren't many bad apples in the bunch.

The World: Geopolitics in the ATLA universe are just so darn cool. I really enjoyed the concept of a powerful dictator arising from the ashes of the fallen Earth kingdom, uniting its people, and then going on the offensive. 

The Music: Once again one of my favorite aspects of the series. A fantastic mix of epic, contemplative, and ethereal themes.

The Characters: All the LoK characters you know and love (or hate) are back in Book 4 (though there is one extremely obnoxious addition). I loved the fact that the ever-hilarious Varrick got more screen-time, and it was great to see how everyone had matured over the 3 years between Books 3 & 4. I also felt they reintroduced an old ATLA character (Toph) effectively - she served a purpose, unlike the presence of other old favorites in previous books, including Zuko and Katara.

Also good - the new Airbender wingsuits. Stylish yet utilitarian.

The Bad

The Writing: Noticeably of lower quality than previous seasons. Many lines felt forced, out of place, or out of character. The extremely large cast certainly makes it difficult to allow most of the secondary characters to say anything of substance during only 13 short episodes. However, the writing and dialogue just generally felt rushed and very much plot-driven.

The Pacing: Also quite rushed. This has been a consistent problem with LoK since its inception, primarily because of the shorter season lengths (12-13 episodes, as opposed to 20 in the original series) and lack of overarching story. Book 4 comes across as even more frantic, with characters having to make obvious statements about lessons learned instead of developing in a more organic fashion.

The CGI: It's been bad since ATLA, and it only gets worse in Book 4 primarily because there is so much of it. I understand this show doesn't have the budget of a feature film, but I've always wondered why the animators felt the need to animate so many things in CGI.

Also, the fanservice. Never really bought into the Varrick - Zhu Li ship. 

The Interesting

I'll be the first to admit I did not see the ending coming. I had never heard of (let alone boarded) the H.M.S. Korrasami during my initial viewing of the finale. The first time I watched the final scene, the apparent romantic connotation between Korra and Asami went waaaay over my head. I had always viewed their friendship as strictly platonic. The creators apparently meant it to be much more than that. I have no problem with their intentions though, and thought it was very tastefully done, albeit a little forced (like many of the romances in the ATLA universe). Regardless, it's nice to once again see LoK pushing the envelope of youth programming on mainstream TV, this time with an LGBT couple.

The now-famous final shot

Though I would rate Book 4 third out of LoK's four seasons, it was still an enjoyable ride, and one that tied everything together quite nicely. I am sad to see the curtain close on the ATLA universe, and can't wait for whatever DiMartino and Konietzko have in store for us next.

- CC

Check out the Book 4 trailer:

Better Than The Book? THE HUNGER GAMES - MOCKINGJAY: PART 1

THE HUNGER GAMES - MOCKINGJAY: PART 1
2014 - 123 minutes - Science Fiction/Action
Director: Francis Lawrence
Country: United States
IMDB: 7.2
Metacritic: 64
RT: 66%

CinemaChagrin's Rating:  C

Watch this movie if you enjoy:

• The book
• Any of the big names in the film
• Fantastic direction/visual effects/props/sets

Avoid this movie if you dislike:

• Movies lacking conclusions
• Obvious cashgrabs
• Silly "action-movie" moments
• Shoddy writing
• Bizarre casting choices

Welp, here's another multi-part finale to a book adaptation series that feels altogether unnecessary from a storytelling standpoint but completely understandable from a business standpoint. I can't entirely blame the execs at LionsGate for splitting this movie into two parts - after all, I would do it too if it made me more money! Plus, moviegoers seem not to mind too much, as they show up for these films in droves. And while one could make the argument that the final installment of the Harry Potter series warranted two films due to the length of the book, one cannot make a similar argument for Mockingjay. It's not a very lengthy book by any means. At least they didn't try to make 3 movies out of it, a la The Hobbit. 

Don't worry, I'm confused too, Katniss.

Despite my peeves about splitting the final book into two movies, I (and many others) anticipated this movie because of the opportunity for it to outshine its written counterpart. Though the Hunger Games series is by no means fine literature, the first two books were entertaining fluff if also highly derivative and unoriginal. However, the third book was an absolute trainwreck - dull, uninteresting, and sloppily written. This presented an excellent opportunity for the screenwriters to trim unnecessary fat and present a taut, exciting closing film in the trilogy. For example, the writers of Game of Thrones are very good at cutting the unnecessary crap from Martin's book series and streamlining the plot of the show. Sadly, by splitting Mockingjay into two parts, any opportunity to improve upon the book pretty much went out the window. Plus, the naturally-resulting cliffhanger ending definitely does not leave the audience with a good taste in their collective mouths, given that they have to wait another year for the next installment.

Despite this, I actually liked the movie, and wouldn't mind re-watching it. That's saying something, as I don't ever plan on re-reading the book. However, just because I enjoyed the film to a certain extent doesn't excuse it from its glaring faults, of which there are many. I could spend entirely too much time dissecting each and every issue with the film, but I'll save us all a lot of time and identify the primary source of Mockingjay: Part 1's weaknesses (aside from the decision to split the book into two movies): the script.

Gale (Liam Hemsworth) & Katniss (Jennifer Lawrence) save the day

An outstanding script made Catching Fire not only an exciting blockbuster, but a great film in overall. Sharp writing allows quality directors and actors to excel at what they do. Unfortunately, a lackluster screenplay can and does limit the directors and actors forced to work with it. Such is the case with MJ: P1. Whereas Catching Fire balanced wit with gravity and excitement with sorrow, the script of MJ: P1 comes across as a bland offering riddled with cliches and silly lines. None of the actors are allowed to shine because the script doesn't really give them anything to work with. Character development has never been this series' strongpoint; however,  all of the returning characters in this film are reduced to either shadows or caricatures of their former selves. New faces are mostly uninteresting. It's really a shame to see so much talent wasted. Granted, the substandard source material doesn't help, but I wish the writers could have inserted a bit more pep into the screenplay.

The film's pacing is also off. It's admittedly a little slow for a big-budget blockbuster (again, the two-movies issue), and much of the screenplay involves characters reacting with horror to **shocker** the horrors of war. Large sections of the film seem to amble along with nothing much happening. When things really get going near the middle and ending segments of MJ: P1, the film gets quite exciting. Unfortunately the poor script fails to provide any sort of foundation during the more quiet moments. The ending also materializes quite abruptly.

Finally, although casting has been a strength of the series until this point, Julianne Moore is horribly miscast as the autocratic president of District 13. She delivers her admittedly terrible lines in a wooden and unconvincing fashion. I'm not sure who decided it would be a good idea to have her in this movie. Additionally, Natalie Dormer (known from playing Princess Maergery Tyrell in Game of Thrones) seems quite out of place too. Though her character is pretty much a cardboard cutout, she doesn't really strike me as the type of actress who would thrive in a science fiction setting. 

I love Natalie Dormer as much as the next guy, but she felt out of place

You might be asking by this point, "didn't he say he enjoyed the film?" Well yes, I did to a certain extent. First of all, Francis Lawrence once again proves a competent director. Given the material he had to work with, he did a fine job. MJ: P1 looks beautiful. Action scenes are superbly shot (though the content is typically pretty silly). Lawrence really has a great way of framing shots to help the viewer focus on the most important subject onscreen without ignoring the rest of what's going on. MJ: P1 also had some really great editing. The tribute extraction scene in particular was very well-shot and quite tense. From the scenes featuring Panem subjects revolting accompanied by Katniss' haunting singing, to the aforementioned raid scene, the film's editing stands out consistently.

Good news: Peeta bread is still one suave mofo

Bottom line - those of you who are fans of the book or were already planning on going to see the movie, by all means check it out and forge your own opinion. Unlike Catching Fire, though, I can't recommend this film to someone sitting on the fence or who doesn't already have an active interest in seeing it. It's entertaining but ultimately unsatisfying for the most part. Was it bad? No. Was it good? Not really. I'd say it's average. Hence my "C" rating.

-CC

Check out the trailer:

2015 Oscars Preview

2015 can't possibly be as strong as last year, but it's getting there

2013 was an absolutely stacked year for movies. 

You had Alfonso Cuaron's groundbreaking space thriller Gravity that dominated the Academy Awards and took home seven Oscars. You had the best picture-winning 12 Years a Slave that masterfully depicted slavery in a way we had never imagined. 

There was Matthew McConaughey's breakthrough in Dallas Buyer's Club and there was Spike Jonze's captivating modern love tale in Her. There was Captain Phillips and Before Midnight. There was American Hustle, Nebraska, and The Wolf of Wall Street, who were nominated for a combined 21 Oscars and didn't win a single one. 

What gives, huh?

A Martin Scorsese film didn't win an Oscar of any kind. That's when you know. 

Naturally, 2014 wasn't going to compete. It couldn't have. And it hasn't. But now the year is dwindling down and a few strong Oscar contenders are emerging. 

The year started slowly, with George Clooney's The Monuments Men leading the way as a promising Oscar contender that disappointed big time. 

In March, Darren Aronofsky debuted his modern take on the classic tale of Noah that sparked some controversy to say the least. The critics were more forgiving though, and Noah might grab a couple nominations, especially in visual categories. Aronofsky certainly didn't follow the biblical guidelines of the story in full, but he created one hell of an aesthetic experience. Oh, and Emma Watson. Because Emma Watson.

If any film from the early part of the year is going to make an appearance at the Academy Awards, it'll be The Lego Movie, but that can only win so much. It grossed over $250,000,000 and made even more from promotional products, but even last year's smash hit Frozen only won a couple Oscars, and one was for a song. It seems unlikely that "Everything is Awesome" will win one for The Lego Movie, but it could very well win Best Animated Film of the Year. 

In the summer came The Fault in Our Stars, and even though director Josh Boone did John Green justice with his heartfelt adaptation, it probably won't win much. The most likely nomination might be the Green-infused screenplay. Shailene Woodley deserves a best actress nomination, but it can't be expected. 

It wasn't until July and Richard Linklater's Boyhood that a definite Oscar contender emerged. The 12-year epic will surely garner interest from the Academy, especially because it's not Linklater's first rodeo. His script should earn him a second straight nomination, this time for Best Original Screenplay. It's also quite possible that he'll earn a nomination for best director, seeing as most don't work over a 12 year span. And don't be surprised if the "Boy" in Boyhood Ellar Coltrane earns a Best Leading Actor nomination. He was quite literally growing up twice during filming. Not to mention Best Picture. Look for Boyhood to make some serious noise. 

Fast forward a few months to October and David Fincher comes calling. His latest entry to the dark crime genre Gone Girl will earn him some nominations, especially on the production side of things. Ben Affleck probably won't win his first Oscar as an actor, but he should earn a nomination for his role. The real question is: Will this finally be the year Fincher wins Best Director? Richard Linklater and Christopher Nolan might have something to say about it, but 2014 seems likes a decent year to do it. 

A nomination for Affleck is debatable, but there's not even a question about Jake Gyllenhaal in Nightcrawler. His role might have been the best of his career, which is saying a lot. Don't be surprised if he wins. Dan Gilroy's dark satire of the modern media might earn a few more nominations in categories like Sound Mixing or Sound Editing, but it won't light up the show too much. 

And then there's Interstellar. Will it be this year's Gravity? Probably not, but let's just say Nolan picked a good year to debut his daring space adventure. Best Director, Best Visual Effects, Best Sound Mixing, Best Sound Editing and Best cinematography all seem like definite nominations, and it doesn't stop there. Matthew McConaughey could see his second straight Best Leading Actor nomination and Hans Zimmer seems like the current favorite for Best Score. 

While Interstellar probably won't win seven Oscars like Gravity did, it should definitely be nominated for at least that many. At this point, Nolan's epic seems like the overall frontrunner. 

The year is far from over, though, and there are a few titles set to be released soon that might join the conversation. Jennifer Lawrence is back in the latest The Hunger Games project, and Peter Jackson's The Hobbit trilogy is set to close in December. You also can't overlook Ridley Scott and Christian Bale in the upcoming Exodus: Gods and Kings. 

There have certainly some great films so far in 2014, and as long as you aren't expecting anything like last year, it should make for an entertaining awards season. 

-EE

"The City Shines Brightest at Night" - NIGHTCRAWLER

NIGHTCRAWLER
2014 - 117 minutes - Crime/Drama/Thriller
Director: Dan Gilroy
Country: United States
IMDB: 8.4
Metacritic: 76
RT: 94%

EpicEnthusiast's Rating: B+

Watch this movie if you enjoy: 

• crime dramas

• dark films 

• Jake Gyllenhaal 

Avoid this movie if you dislike:

• violent crime

• dark films 

• satire 

If you're a fan of Jake Gyllenhaal, you should go see Nightcrawler. If you enjoy crime thrillers, you should go see Nightcrawler. If you like dark films, or films that may be more than originally meets the eye, you should go see Nightcrawler.

And if you you're interested in journalism, you need to go see Nightcrawler.

In his directorial debut, Dan Gilroy gives us a story centered around Louis Bloom, a shady thief living in the underworld of Los Angeles. Bloom resorts to stealing metals and bikes for money until he drives by a nasty car crash on the highway and decides to stop. Along with the police and medical crew, he sees someone filming the fiery wreck. As officers pull an injured women out of the car, Bloom, played by Jake Gyllenhaal, is standing there not horrified, but fascinated. He approaches the camera man with questions immediately, and even asks if he's hiring as he's leaving the scene. 

Jake Gyllenhaal as Louis Bloom 

Just like that, a nightcrawler is born. 

The trailers for Nightcrawler emphasize the more action-packed sequences of Bloom's plunge into Los Angeles crime journalism, and while those bits of the film certainly stand out, Gilroy's film is much more of a character study than it is an action flick. 

In the opening shot, we see Bloom attempting to cut a fence so he can sell it for scrap metal. He's soon approached by a security guard in the dark, who wonders what he's doing. Gilroy then strategically has the guard point a flashlight on Bloom's face to illuminate his gaudy structure and put emphasize on his eerily stoic dialogue. From the get-go, you're led to believe that Gyllenhaal isn't going to be playing one of his charming protagonists. 

In fact, Nightcrawler may not even have a protagonist. But Gyllenhaal dominates the screen like one, and puts forth a performance that will be remembered as one of the best of his career. To prepare for his role as Bloom, he lost 20 pounds and biked or ran to the set each day. It's clear that Gyllenhaal is far more than familiar with his character — he immerses himself in him.

Everything from manically screaming into a bathroom mirror to putting his hair up into a "man bun" before his adrenaline spikes is executed with control and impact, and his embracement of Gilroy's characterization drives Nightcrawler throughout. Gilroy couples a tactical use of the camera to thoroughly uncover surroundings with Gyllenhaal's charisma to bring his lead man to a chilling life.

And while Nightcrawler marks his first time directing his own screenplay, Gilroy's writing experience shows. With the exception of a few forced one-liners, his dialogue is both fitting and provoking and his cast capitalizes on what they had to work with. Notably strong is Rene Russo, who plays a news director at a Los Angeles news station that Bloom sells his footage to.

Similar to his actors, Gilroy takes advantage of the Los Angeles landscape with some stunning cinematography. Sweeping shots of the city are aesthetically pleasing and establish an absorbing atmosphere. Like Nicolas Winding Refn did before him with Drive, Gilroy makes the metropolis a theme of his film and proves that nightcrawling in Los Angeles is unlike nightcrawling anywhere else.

In the end, though, Nightcrawler's strong production value gets pushed aside by a light-hearted, but gripping message. At one point in the film, when another lead character seemingly adopts the philosophy of the deranged Bloom, Gilroy's true reasoning breaches the surface. He isn't just attempting to tell the story of some monster that stumbles upon the world of freelance crime journalism in one of the country's biggest cities — he's speaking to the industry as a whole.

Bloom's character alone sparks questions of ethics and morality, but so does journalism. In world where news is demanded immediately, technology rules, and journalism is one big competition, is it possible that someone like Bloom — who at one point in the movie drags a dead body into better lighting for his camera — could be feeding the public information?

More than anything else, Nightcrawler explores questions like this. It pokes fun at the current state of the media, but also presents a potentially alarming scenario. It manages to be serious, disturbing, comical, dark, and thought-provoking, all at the same time.

Gilroy's film is ultimately bogged down by a few unnecessary scenes, some rigid editing, and a soundtrack that sometimes doesn't have an identity — that makes you wonder what its purpose is — but it's a ride worth taking. If not for its visuals, then for its voice. If not for Gyllenhaal's performance, then for Gilroy's style.

Even more rare than a simultaneously satirical, edgy crime drama is a film that poses a relevant and purposeful question. Nightcrawler is one of those films and its pacy entertainment is just a bonus.

-EE

As of November 9th, 2014 Nightcrawler is in theaters everywhere. Here's the trailer:

My Top Ten Movie Scores of All Time

A good score can absolutely make a film. A bad one won't break it, but it definitely does detract. Example: 12 Years A Slave, while an excellent film overall, suffered from a derivative and bland score composed by the perpetually-overrated Hans Zimmer, a score that ultimately made the film less enjoyable for me. 

Truly outstanding scores draw you in and help suspend your disbelief. They can make you piss your pants one moment and sob your eyes out the next. Rousing tracks can make you shake in your seat during spectacular battle sequences, and soaring and heroic themes can make you want to jump up and roar in excitement. Don't agree? Then try watching this - the final scene of Star Wars: A New Hope, sans music:

Pretty painful, eh?

As someone who thinks music is one of, if not THE most important aspects of a good film, I spend a lot of time paying attention to soundtracks  and scores. There are countless scores that I come back to again and again, and for good reason. I've considered doing a post like this for a while. A few caveats:

1. I've included original scores only. Some movies have fantastic soundtracks comprised of other songs and pieces, but for the purposes of this list I've only selected movies with all-original music. Sadly, this rules out pretty much every Stanley Kubrick film, as well as a ton of other contemporary classics, such as Pulp Fiction. As fantastic as Mozart's music is, I can't put Amadeus on the list. Francis Ford Coppola's use of Wagner's Ride of the Valkyries in Apocalypse Now may be the single most epic use of music in film that I've ever seen, but it's not original, and thus not included either.

2. I've limited composers to one position each. Composers like John Williams, Bernard Hermann, and Miklos Rosza  have written countless memorable scores, but for the purposes of this list they can only get one spot.

3. I also haven't included any TV scores (of which there are many fantastic examples). If they were in the running, Cowboy Bebop would easily grab the first place spot. Seriously, I have never heard a more diverse and incredible score in my life. Attack on Titan would probably be pretty high up there too.

4. This list is entirely based on personal preference. While scores like Psycho and Jaws are certainly iconic, I don't listen to them for fun very often, and so they aren't on my list.

5. Finally, no Leonard Bernstein. Scores like On The Waterfront and West Side Story that were later turned into concert pieces will not appear on this list, as they are not solely film scores any more in my book.

So without further adieu, I present my top ten favorite movie scores of all time. 

10 - Requiem for a Dream (2000) - Clint Mansell

Sadly, the main theme of this film has become so popular and served as background music for so many Youtube videos that many people are completely unaware of where it originally came from. Requiem is certainly one of the most disturbing films you'll ever see, in large part due to its creepy and hypnotic score. Composed by the talented Clint Mansell (who has collaborated with director Darren Aronofsky on all of his films) and featuring the world-famous Kronos string quartet, it's an extremely memorable score. 

While you've probably heard the main theme before, I'd like to highlight the music used at the climax of the film, one of the most terrifying tracks ever composed for the big screen. Forget the Psycho shower scene, "Meltdown" almost makes you feel like you are overdosing on heroin. Granted, I don't know what that feels like, but daaamn, this track is scary! You can even hear the bonesaw used to amputate one of the protagonists' arms after it gets infected from shooting up too much:

9 -  The Lord of the Rings (2001-2003) - Howard Shore

I'm lumping these three scores together into one, as the three movies are essentially one story broken into three parts. Many consider Howard Shore's grandiose, leitmotif-infused masterpiece to be the best score of all-time. I can see why. The entire thing clocks in at nearly 4 hours long, and calls to mind the epic symphonies and operas of the late Romantic period. You'd be hard pressed to find someone who can't hum the main theme (sorry it's stuck in your head now), and the trilogy as a whole stands out as one of the best in film history. 

Shore's score really brought Middle Earth to life just as much as Peter Jackson's spectacular direction and use of visual effects. I remember being stuck on the edge of my seat, my eyes glued to the screen as the Fellowship tried to outrun the Balrog in "The Bridge of Khazad Dum." Ominous chants and brass fanfares abound, with an insistent percussive beat that mirrors the Balrog's unstoppable advance:

8 - Star Wars (1977-1983) - John Williams

Another brilliant film trilogy and fantastic accompanying score. While many disparage Williams' liberal "allusion" to many classic works of the orchestral repertoire, you can't deny he is one of the most talented film composers in history. The Star Wars trilogy would be incomplete without Williams' rousing and adventurous score. The main theme brings back waves of nostalgia, while the "Imperial March" instantly calls to mind Darth Vader's menacing presence. Despite all the excellent tracks throughout the trilogy, "Cantina Band" remains my favorite. Simply iconic:

7 - Ben-Hur (1959) - Miklos Rosza

Rosza's incredible score to this 3.5 hour biblical epic makes the film almost tolerable. Ben Hur is definitely a product of its time, and has not aged well. The chariot race is still astounding and quite exciting, but most of the film drags on and on. Thankfully, the score is one of the best I've ever heard, and melds perfectly with the events unfolding onscreen. Like many epic films of Hollywood's Golden Era, it even has an Overture and Entr'acte! Two tracks in particular stand out - "Ramming Speed," which slowly gathers momentum over the course of 3 minutes as slaves in a Roman galley are forced to row faster and faster, and the iconic "Parade of the Charioteers," which serves as a musical prelude to the famous chariot race, still one of the most exciting action scenes in cinematic history. Here is the former:

6 -  The Social Network (2010) - Trent Reznor and Atticus Ross

One of the few scores on my list that doesn't emulate the popular Romantic style of film composing, The Social Network features a fantastic contemporary score comprised of electronic music composed by Nine Inch Nails founder Trent Reznor and English composer Atticus Ross. The score pairs seamlessly with David Fincher's superb direction and Aaron Sorkin's masterful script. It runs the gamut of emotions, from regret ("Hand Covers Bruise") to anticipation ("In Motion") to anguish ("In the Hall of the Mountain King"). It's hard to imagine The Social Network without it, which is always a sign of a good score. It deservedly won the 2010 Oscar for Best Original Score, beating out another film on my list. Pop on "In Motion" and you'll feel like you can write a 10-page paper in 10 minutes! I definitely wore this track out while writing many a paper during my time at Furman:

5 - Avatar (2009) - James Horner

Despite all the flack that Avatar has received for its derivative and manipulative story line, it's still a favorite of mine. Largely due to its groundbreaking visual effects, it remains an exhilarating film experience. James Horner's outstanding score also has a lot to do with that. Horner reportedly spent a whole year composing it, during which he didn't work on any other movies. While Avatar's score definitely does suffer somewhat from Horner's trademark self-cannibalization (there are a few moments that call to mind themes from Aliens), overall, it's one of the most impressive scores of the past decade. 

The way Horner writes music for the Na'vi versus the humans really strengthens the conflict that serves as the centerpiece of the film. Contrast "Jakes First Flight," an absolutely glorious track celebrating the Na'vi way of life, with "War," which showcases humanity's military brutality. Chanting and non-western instruments dominate Na'vi tracks, while rigid percussion and demonic brass feature in human tracks. There really isn't a bad track in the whole score (with the exception of the painful pop-song that accompanies the closing credits), and overall it is a score that deserves repeat-listening. The 11-minute epic "War" definitely showcases most of what this score has to offer:

4 - How to Train Your Dragon (2010) - John Powell

Another 2010 nominee for the Best Original Score Oscar (ultimately losing out to The Social Network), John Powell's magnificent composition transformed what would have been merely a great animated film to one that outshines everything Pixar has done since Wall-E. Powell's integration of Celtic influences and Scottish bagpipes lend the film a distinct "viking" flair, while his rousing action themes soar higher than Toothless, the film's dragon protagonist. Certain sections are reminiscent of John Williams' style, and in some ways actually superior. 

The repeated descending sequential motif that permeates most tracks in the score ties the whole thing together, while the "Test Drive" theme that appears several times may be the most memorable movie theme of the decade. It's impossible not to feel good when listening to this music - it's simply amazing. And while I am certainly tempted to use "Test Drive" as an example, I think "Forbidden Friendship" does an even better job:

3 - The Good, The Bad, and The Ugly (1966) - Ennio Morricone

Arguably the definitive Western of all time also features one of the best scores of all time. Everyone, and I mean EVERYONE, can hum the main tune. The featured whistling is so ingrained into popular culture that the tune is perhaps more iconic than Clint Eastwood's performance, which is saying something. Morricone wrote a bevy of incredible scores to Westerns, including the other two films of the "Dollars" trilogy and Once Upon A Time In The West, but The Good, The Bad, and The Ugly will forever remain his ultimate masterpiece. 

Composers like Dmitri Tiomkin and Elmer Bernstein also wrote fantastic scores to Westerns, but Morricone's scores truly feel authentic. The wide-open intervals prevalent in each track echo the wide-open expanses of the boundless American West. The score to The Good, The Bad, and The Ugly is simply perfect in every way possible. In fact, it's pretty crazy to me that I've put two scores ahead of it. I think I once posted on Facebook that I'd like "The Ecstasy of Gold" played at my funeral. I don't know what that would say about my own values (heh), but it is an incredible track that accompanies one of my favorite scenes in cinematic history:

2 - Akira (1988) - Geino Yamashirogumi

Akira is considered by many to be the most influential Japanese anime of all time, and for good reason. Released in 1988, it took the world by storm is and is largely credited for introducing Western audiences to the genre. While the plot of the film is largely a convoluted mess (understandable, given it is a 2 hour adaptation of a 2,000 page manga), it is a thrilling experience nonetheless, in large part due to the incredible animation and one of the most unique scores I've ever heard.

In a stroke of brilliance, composer Geino Yamashirogumi incorporated Balinese gamelan into the main theme of Akira, giving the film a very distinct feel. The first time I saw the protagonists' motorbikes swerve through the busy streets of Neo-Tokyo accompanied by gamelan music, my jaw hit the floor. The entire score covers a wide range of styles, running the gamut from horrifying ("Doll's Polyphony") to evocative ("Kaneda") to apocalyptic ("Requiem") to downright exciting ("Exodus from the Underground Fortress"). Of particular note is the use of chant throughout the score in a variety of styles, serving a variety of purposes. The track "Battle Against Clown" best demonstrates this technique:

Before I reveal my favorite score of all time, I'd like to note some honorable mentions. All of these films have fantastic scores as well. It's a shame I've limited the list to just 10!

Slumdog Millionaire (2008) - A.R. Rahman
Metropolis (1927) - Gottfried Huppertz
Lawrence of Arabia (1960)- Maurice Jarre
Gettysburg (1993) - Randy Edelman
The Incredibles (2004) - Michael Giacchino 
Sideways (2004) - Rolfe Kent

...and now for my favorite film score of all time.

1 - The Third Man (1949) - Anton Karas

Sadly, few people of my generation have heard of, let alone seen, this masterful film noir. It features an incredibly dark story, acidic script, and dynamite performances. It also features perhaps the best ending to any film I've ever seen. Shot in the ruins of post-WWII Vienna, if I had to sum up this film in one word, it would be atmospheric. Very few films can rival the atmosphere this film establishes right from the get go. The Oscar-winning cinematography has a lot to do with that, Anton Karas' zither score even more so. (If you haven't seen the film, I implore you to give it a try; you won't be disappointed!)

Apparently while scouting locations to shoot in Vienna, director Carol Reed came across Karas playing the zither in a local bar. So taken aback by the music, Reed immediately approached Karas and offered him the opportunity to write the music to his upcoming film, The Third Man. Thank goodness Karas did; it's impossible to imagine how the film would have turned out with a traditional Hollywood score from the era. The zither perfectly captures the mood of the deserted streets of occupied Vienna as well as the eccentric and dangerous inhabitants who lurk in the shadows.

The Third Man was a smashing success, and the main theme to the film ("The Harry Lime Theme") rocketed to the top of the worldwide charts and became the best-selling single of 1950. Never has a score so perfectly mirrored the events unfolding on screen. Quite frankly, I don't imagine it will ever happen again. Simply put, I believe the score to The Third Man to be the best film score of all time. Here's a taste:

Well, there you have it. My top ten film scores of all time. I hope you enjoyed reading through and listening to the list as much as I enjoyed putting it together! Film music is truly one of the most incredible musical mediums when done well. Thankfully, there is no shortage of great film music to explore.

-CC