Movie with Abe: The Debt

The Debt
Directed by John Madden
Released August 31, 2011

Movies set in two different time periods chronicling the same people have advantages and disadvantages from the outset. There has to be a certain knowledge of what’s ultimately going to happen, even if some of the finer details are left to be discovered, simply because of the presence of specific characters in the future timeline. Positively, it does allow for multiple actors to offer their take on the same character, and for further depth to be added to each of the personalities. “The Debt” makes good use of its twin casts and presents an enticing, suspenseful thriller that’s worthwhile even if it’s not as satisfying as it hopes to be.

Jessica Chastain, making it big this year with roles in “The Tree of Life,” “The Help,” and the forthcoming “Take Shelter,” and Oscar winner Helen Mirren take on the role of Rachel Singer, a Mossad agent assigned to capture Nazi scientist Dieter Vogel (Jesper Christensen) with the help of fellow agents David Peretz (Sam Worthington and Ciarin Hinds) and Stephan Gold (Marton Csokas and Tom Wilkinson). The younger crew demonstrates a zeal for their country and for the livelihood of their mission, while the older three are far more hardened, disgruntled versions of themselves eager to move on with their lives and forget about what they had to do so many years earlier. If there’s one area in which “The Debt” indisputably excels, it’s the casting of each character’s twin portrayers.

The mission itself presents the able opportunity for a good thriller that utilizes precious few players, adding in some drama to the story with the internal struggle of the Mossad agents about their own humanity and how they should treat their horrible prisoner. While it’s certainly not fast-paced, “The Debt” remains actively interesting throughout its run time, and jumping forward to the future on occasion helps to speed along the process of revealing the major intrigue. Its contents shouldn’t disappoint, and the movie holds up decently well right after its big secret comes to light. As tends to be the case with films that tackle multiple time periods, one has more to offer than the other, and it’s the past that proves to be more enthralling, and therefore the film does become less captivating as it approaches its end. Nonetheless, there are some strong performances, particularly from rising star Chastain, and the makings of a good thriller here that doesn’t quite end as strongly as it begins.

B

Tuesday’s Top Trailer: Coriolanus

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

Coriolanus – Opening December 2, 2011



This Shakespeare adaptation marks Ralph Fiennes’ directorial debut, and it looks pretty damn exciting. Admittedly, seeing “From the writer of Gladiator” does heighten my anticipation considerably since that was such an awesome action film and drama. I’m not sure this will be quite as strong, but I am thrilled about any chance to see Ralph Fiennes in a leading role, which doesn’t come around all that often. It’s very much the Russell Crowe part in “Gladiator,” but still, that’s a role in which Fiennes should be able to excel. He usually plays bad guys, and seeing him on the good side of things, like in “The Constant Gardener,” has demonstrated that he is capable of making one compelling hero. I’m particularly pleased that Gerard Butler seems to be doing something positive with his career, since he was actually quite good in “RocknRolla” and I’ve been hoping that he’d do something productive ever since then. Jessica Chastain is also in the cast (she’s in everything these days!), which is wonderful, as are Brian Cox and Vanessa Redgrave. This should be an interesting take on a Shakespeare work with which I’m not familiar, and I’m curious about its modernity, and also to see what Fiennes does behind the camera. This may get lost amid many other releases in early December, but if I had the chance, I’d see it.

Movie with Abe: Brighton Rock

Brighton Rock
Directed by Rowan Joffe
Released August 26, 2011

Gangster movies usually follow a general format. Often times, the central character is someone who is up and coming in the gangster world, not necessarily fully corrupted to the ways of evil yet, seeking sage advice from an elder player. There’s always a girl, and she may or may not be aware of just what it is her budding beau does for a living. Eventually, there’s betrayal and plenty of killing, and whether or not there’s a happy ending really depends on the individual story. “Brighton Rock” follows that format, but it’s a terribly gloomy and rather off-putting take.

This adaptation of the 1938 Graham Greene novel stars Sam Riley in the leading role of Pinkie Brown, a young man who takes regrettable action to avenge the death of his mentor and finds himself wrapped up in a world more complicated than he might have imagined. Pinkie is proud to be in that world, however, and seeks to make a name for himself, all the while stringing along a poor girl who was a witness to his crime. Rose, like many mob lovers, can’t believe that Pinkie would hurt a fly, and suffers considerable emotional abuse in the service of trying to please the supposed love of her life.

“Brighton Rock” is set in the 1960s in Brighton, England. While it can be categorized as a crime film or a thriller, it is best described as a film noir. There’s a considerable amount of darkness and intrigue to be found in the film, and it definitely has a mean streak running through it, especially when it comes to its protagonist. There seems to be an argument, however, between a serious portrayal of death and danger and a far more corny, melodramatic one, which comes into play every once in a while and brings the film’s credibility into question. It’s mainly the lack of balance of the two, and choosing one tone would have made for a much tighter and more compelling film.

There are few sympathetic characters in “Brighton Rock,” and those who are decently endearing barely have a part. Philip Davis’ aging gangster Spicer is perhaps the least detestable of the players, and also the most believable. Screen veterans Helen Mirren and John Hurt have underdeveloped parts, and lead actor Sam Riley spends so much time perfecting his snarl that he almost seems too purposefully evil. Andrea Riseborough delivers a fine breakout performance as the naïve Rose, and though her innocence is often irritating and even infuriating, it’s good to have someone pure of heart since the film is sorely missing any soul. In all, it’s a dark, miserable experience without a silver lining or any stylistic or cinematographic achievements to make it worthwhile.

D-

Movie with Abe: Special Treatment

Special Treatment
Directed by Jeanne Labrune
Released August 26, 2011

In the new French film “Special Treatment,” Isabelle Huppert stars as Alice Bergerac, a high-class prostitute who schedules rendezvous with clients and makes sure to keep things on her terms, adhering to fetishes and fantasies only as long as they don’t put her in any physical danger. When they do, she takes matters into her own hands to stay safe. She also expresses a desire to leave the profession, though she doesn’t have much of an idea of what she might do instead. It’s clear that Alice is someone who knows what she is doing, and she’s been doing it for so long that she doesn’t know how to do much else.

It’s that inability to let her guard down and just be herself that troubles Xavier Demestre (Bouli Lanners), a malcontent psychoanalyst who seems impossibly bored by his patients and no longer able to tolerate living with his wife. Their meeting comes at a point in both their lives where they could use someone to reenergize themselves. Alice, however, isn’t used to clients who are unassertive and don’t know what they want, while Xavier just wants Alice to be herself and not put on a show for him. In both cases, it’s a feat easier said than done.

While “Special Treatment” is, more than anything, the story of Alice and Xavier as separate people prior to and following their meeting, it doesn’t maintain a thin focus, exploring and spotlighting supporting characters to add considerably more depth and breadth to the overarching plot. Alice’s prostitute friend Juliette plays an important part in the story, and Xavier’s casual acquaintance and fellow therapist Pierre Cassagne also takes on a crucial role. That attention to tangents is both a positive and a negative, as the film begins to lose focus towards its finale, resulting in a less than satisfying conclusion.

Despite the presence of a supporting cast and their occasional involvement in the story, especially in the film’s third act, “Special Treatment” is largely a two-man show. Both actors manage to convey decades of experience in their respective careers with magnificent facial expressions and body language. It’s marvelous to see the two of them signal exasperation and then to come into contact with one another. Huppert displays a fervent energy and desire to be productive, while Lanners imbues Xavier with a biting sarcastic nature towards his patients and a stammering innocence towards Alice. More than anything else, “Special Treatment” is an intriguing character piece, and in that sense, it’s a marvelous success.

B

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

Our Idiot Brother (recommended): This ensemble comedy boasts a terrific cast, led by Paul Rudd as the dim-witted Ned, and it’s definitely a lot of fun, even if it’s not as funny as it could have been given the talent involved. Now playing in wide release. Read my review from yesterday.

Special Treatment (recommended): This French drama features spectacular performances from Isabelle Huppert as a prostitute and Bouli Lanners as a psychiatrist whose lives intersect as they’re both unhappy in their professions. It’s a very intriguing film that doesn’t quite come to a satisfying resolution, but it’s definitely an interesting ride. Now playing at the Cinema Village. My review will be up tomorrow.

Brighton Rock (anti-recommended): This film noir is moody, unexciting, and can’t decide whether or not it wants to be taken seriously. Don’t bother. Now playing at the Angelika. My review will be up on Monday.

New to DVD

The Greatest Movie Ever Sold (highly recommended): Morgan Spurlock likes to tackle hot-button subjects in his documentaries, and his look at product placement is no exception. It’s an enormously entertaining and inventive look at its commonplaceness that succeeds marvelously as both an investigative piece and an enjoyable film.

Win Win (highly recommended): One of this year’s best movies comes from way back in March and stars Paul Giamatti as a lawyer and wrestling coach. It’s a pleasant dramatic comedy with great performances and a strong, moving story.

Movie with Abe: Our Idiot Brother

Our Idiot Brother
Directed by Jesse Peretz
Released August 26, 2011

A title like “Our Idiot Brother” presupposes the existence of a central less-than-intelligent character, but also of a family unit that exists around him. That transforms this film from a one-man show into an ensemble piece, featuring a flurry of performances from actors with diverse backgrounds and previous roles. It’s a fun setup that brings together a wide range of talent in a movie that’s certainly fun, though doesn’t necessarily reach the level of funny on a regular basis. Nonetheless, it’s a harmless and enjoyable film that has a surprisingly strong sense of itself and ultimately proves to be heartwarming.

Paul Rudd stars as Ned, a well-meaning hippie sent to prison for selling marijuana to a uniformed police officer. Recent parts in films like “How Do You Know” and “I Love You Man” have made it easy to forget that Rudd is capable of playing more than just the straight man, and that when he wants to, he can actually be quite hilarious. Here, he’s fiercely committed to portraying Ned as just about the nicest guy on the face of the planet, even if he isn’t gifted with the ability to pick up on social cues or convey an extraordinary amount of intelligence.

Ned’s family members are crucial to the story since they all judge him for the ways in which he ruins their lives, though they’re hardly as perfect as they think they are. Emily Mortimer, Zooey Deschanel, and Elizabeth Banks take on the roles of Ned’s sisters, each weighed down by something different, be it an idea of perfection, promiscuousness, or a need to succeed. They are ably supported by Steve Coogan, Rashida Jones, Hugh Dancy, and Adam Scott, who fill the parts of their love interests, and all, in some way or another, have their lives strangely touched by Ned. Everyone here, including Kathryn Hahn, T.J. Miller, and Janet Montgomery, is clearly having fun, and it’s a joy to see so many talented performers assembled together.

“Our Idiot Brother” starts from an amusing premise and constructs a generally simple story with plenty of threads on which to send its dim-witted lead character. It’s entertaining enough, though it’s not the laugh fest that it could perhaps have been, focusing less on full-out humor than humorous situations. Despite that, there’s enough going on to keep audience members captivated and smiling, thanks to an endearing and occasionally charming cast that feels like a genuine dysfunctional family.

B

Thursday Token Themes

Welcome a weekly feature here at Movies With Abe. I’m a hugely enthusiastic fan of film scores, and music is far too often an element of cinema that goes unrecognized. Therefore I present a platform for a look – or rather, a listen – to some fantastic film scores. I’ll be selecting a composer and one or more of their film scores for your listening pleasure, embedded from YouTube.

This week’s featured composer is James Newton Howard. The eight-time Oscar nominee is a California native and has been writing top-notch soundtracks for over two decades. Going chronologically backwards, his most notable contribution was the best part of the awful “The Last Airbender,” which boasts an epic prologue as its strongest bit. The fun, bouncy, cat-and-mouse score to “Duplicity” helped make that such an enjoyable ride, and the heartfelt, stirring soundtrack of “Defiance” made it an incredibly moving experience. I’ve always been a huge fan of the thrilling track “I’m Not The Guy You Kill” from “Michael Clayton,” and I also enjoyed the energetic score to the underseen, underappreciated Joseph Gordon-Levitt starrer “The Lookout.” The action drama “Blood Diamond” was terrific, and Howard’s soundtrack was a big part of what made it exciting and effective. The first track of Howard’s composition for “The Village” is gorgeous, and there’s little more triumphant than the “Flying” track from the 2003 remake of “Peter Pan.” Howard provided the scores for the two M. Night Shyamalan films that were actually really good, “Signs” and “The Sixth Sense,” and his creepy compositions were crucial to the terror and suspense in each film. Prior to that, he wrote the bubbly music for “My Best Friend’s Wedding” and composed the suite for the classic Harrison Ford thriller “The Fugitive.”

The Last Airbender (2010)



Duplicity (2009)



Defiance (2008)



Michael Clayton (2007)



The Lookout (2007)



Blood Diamond (2006)



The Village (2004)



Peter Pan (2003)



Signs (2002)



The Sixth Sense (1999)



My Best Friend’s Wedding (1997)



The Fugitive (1993)

Theatre with Abe: Lola-Lola

Lola-Lola
Directed by Rebecca Hengstenberg
Final Performance Saturday, August 27

This past week, I had the rare pleasure of seeing a show in New York City. I caught the penultimate performance of “Lola-Lola,” a selection of the 15th Annual New York International Fringe Festival. This eccentric little play features five performers and tells the story of Lola-Lola, or Lola for short, a Tanzanian chimpanzee brought to the United States by Mary, the wife of John, a prominent professor of anthropology. Lola speaks to the audience, but can only communicate with the humans on stage with looks and deeds. Her evolution – and John’s gradual grasp of her intellect – is a delight to watch, filled with humor and cleverness. Melissa Sussman is engaging and believable as Lola, moving around the stage like a chimpanzee in a surprisingly graceful manner and subtly effecting a portrayal of someone who is not human but might as well be. Christopher Sutton, as John, delivers many a speech with the appropriate gusto, and it’s when John begins to doubt himself that his performance becomes most captivating. Leanne Barrineau is perfectly pretentious as Mary, and Colin McFadden makes the most of egghead Ted, John’s best friend and Mary’s lover. Dennis Z. Gagomiros rounds out the cast with hilarious accents as the remaining slew of characters that figure into only a scene or two. “Lola-Lola” derives its greatest achievements in the choice interactions of its players, developing Lola into a character far more complex, honest, and brave than all the humans that appear on stage. It’s a thought-provoking play that’s equally entertaining and funny. Its two-act, ninety-minute runtime brings all the arcs to a satisfying and memorable close.

Catch the final performance of “Lola-Lola” at the Living Theatre at 21 Clinton St on Saturday, August 27th at 4:45pm.

Tuesday’s Top Trailer: Contagion

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

Contagion - Opening September 9, 2011



It turns out that Steven Soderbergh has another terrific-looking ensemble thriller coming up even sooner than last week’s Tuesday Top Trailer, “Haywire.” Here we have a movie with an inhuman villain, where, as Laurence Fishburne’s top scientist puts it, the birds are doing a good enough job of weaponizing the bird flu. This film boasts an enormously talented cast, including a slew of Oscar winners, including Kate Winslet, Gwyneth Paltrow, and Marion Cotillard, and some other Oscar nominees like Matt Damon, Jude Law, and Laurence Fishburne. It’s the kind of film that you wouldn’t necessarily expect to have actors as high calibers as this starring in it, and the pedigree makes it seem that this film could be really, really good. Soderbergh has proven himself more than capable of enhancing other subject matter, namely “Ocean’s Eleven,” and elevating it to a level much higher than is necessary for the genre. There looks to be so much going on here that it’s bound to be extremely engaging and interesting. Damon has proven that he’s an effective lead in an action film or a thriller, and I’m pleased to see Cotillard in the cast, as well as Winslet in a somewhat less Oscar-baity role than usual. Basically, this movie should be great, and I’m very much looking forward to it.

Movie with Abe: 5 Days of War

5 Days of War
Directed by Renny Harlin
Released August 19, 2011

In any war, there are casualties, and in most cases, opposing forces are not equally matched. “5 Days of War” chronicles the five-day armed conflict between Russia and Georgia that arose in 2008 when Georgia moved forward to try to join NATO. The film follows a journalist and his cameraman as they accompany a local woman in search of her family through the most dangerous territories in the midst of the conflict. It’s a film that, more than anything, seeks to capture the horrors of war and the intensity and inescapability of such a situation, which it achieves with extraordinary effectiveness.

Rupert Friend stars in the film
The film takes on a decidedly Georgian perspective from the outset, flashing frequently between the journalists on the front lines and Georgian president Mikheil Saakashvili in the presidential office, determined to maintain a ceasefire despite the mobilization of invading Russian troops. While the story of the journalists is a constructed amalgamation of several journalists, as director Renny Harlin reveals, the rest of the story is based on true events. When Harlin met with Saakashvili, he cited Andy Garcia as his favorite actor, and so Harlin met only with Garcia to play the part. They were somewhat unusually permitted to film the scenes with Garcia in the presidential office, giving the film an air of authenticity and allowing a story that the Georgians very much want told to be made.

Star Andy Garcia discusses the film
Harlin’s most notable films include “Die Hard 2,” “Exorcist: The Beginning,” “The Covenant,” and “12 Rounds,” making him an interesting choice to bring this particular story to life. Harlin explains that he had been making Hollywood popcorn films for years, and is now seeking to have his films be meaningful in a different way, with a basis in reality. He describes “5 Days of War” as “a story that could have taken place anywhere, with people that are fighting from their freedom and independence,” and paints Georgia as “the poster child for the American idea of an emerging democracy.” He believes he told the story truthfully based on extensive research, and hopes that people will be able to relate on a human level. The full access granted by the Georgian government was beneficial, and he also recalls how his Russian special effects team often created tension with untrusting Georgians, since the conflict has hardly been forgotten.

Director Renny Harlin discusses the film
Thanks to Harlin’s action film roots, “5 Days of War” is a fully engaging, highly emotional and disturbing war piece that gets going from the very start. Harlin defends the casting of British actor Rupert Friend in the lead role of journalist Thomas Anders, emphasizing that he didn’t want the safety of a big star in that part. Garcia, whose role takes place far off from the conflict in Saakashvili’s office, compares the experience of watching the entire film to the first twelve minutes of “Saving Private Ryan.” The story does contain a bit of hokey romance and dramatics that it could have done without, but ultimately that is eclipsed by the extraordinarily stirring and powerful imagery and thematic content of a strong war movie.

B+

Movie with Abe: Griff the Invisible

Griff the Invisible
Directed by Leon Ford
Released August 19, 2011

It’s not hard to make a superhero movie when it finds its basis in a comic book, has a notable star attached, and has access to a budget of well over one hundred million dollars. While the film can still fall flat, as some certainly have, it’s hardly as much of a hurdle to get it made. It’s considerably more challenging, however, to craft a moving and exciting superhero piece with a measly budget of less than three million dollars and an Australian actor best known for a role in the ensemble of a television series. Yet “Griff the Invisible” succeeds with flying colors, offering a heartfelt, endearing portrait of a man living in his own world, determined to see justice served.

“Griff the Invisible” avoids the errors of this past April’s horrendous “Super” starring Rainn Wilson and Ellen Page by trading brutal, almost comical violence, for (slightly) more realistic combat that’s only used when absolutely necessary. Griff is a kind soul and isn’t keen on using force if it won’t accomplish anything, and doesn’t seek any kind of fame or glory for his good deeds. Fortunately, Griff also isn’t subject to any divine hallucinations, which greatly simplifies his delusions and makes them all the more enjoyable.

“Griff the Invisible” manages a fantastic balance between reality and the supernatural, thanks mostly to the presence of Maeve Dermody as Melody, the quirky girlfriend of Griff’s brother Tim. Upon her first appearance, Melody enlivens the film with her signature energy and spirit. She talks endlessly about how she loves to survey people about their favorite surveys, protest protests, and google the word google. Her imagination knows no bounds, and she’s exactly the right person to have around Griff. Dermody delivers a magnificent and captivating performance in a truly stellar part.

Inhabiting the lead role is Ryan Kwanten, most famous for his part as Jason Stackhouse on “True Blood.” Here, Kwanten abandons all Southern stupidity and dons his native Australian accent to play Griff, an entirely well-meaning, white-collar worker with an invented secret double life. Kwanten is a master at wearing doe eyes and looking shocked at nearly everything that comes his way, and he makes for one unconventional hero for whom it’s impossible not to root. The film has an indelible sense of itself, containing dialogue such as “Life is inevitable, just like gymnastics, perched in the middle on a balance beam.” The film boasts a strong soundtrack, and ends with a theme of “Take Me As I Am,” perfectly summarizing the film’s sensibility. “Griff the Invisible” is a unique, wonderful, and wholly worthwhile film.

B+

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

One Day (recommended): This romantic drama follows one couple for one day a year over the course of twenty years. That novel approach presents its advantages and its complications. The movie features great performances from Anne Hathaway and Jim Sturgess, and ultimately proves to be quite moving. Now playing in wide release. Read my review from yesterday.

Griff the Invisible (highly recommended): This superhero film is the exact opposite of what “Super” was and does a marvelous job crafting a fun and compelling movie about a delusional man who thinks he’s a superhero. Ryan Kwanten from “True Blood” and Maeve Dermody turn in wonderful performances. Now playing at the Village East Cinema. My review will be up tomorrow.

5 Days of War (highly recommended): This film about the 2008 conflict between Russia and Georgia is a strong, harrowing war film which shines in its depiction of the horrors of war and doesn’t let up on its intensity all throughout. Now playing at the Angelika Film Center. My review will be up on Monday.

I haven't seen Conan the Barbarian, Fright Night, or Spy Kids: All the Time in the World, and I don't plan to make time for any of them.

New to DVD

The Bang Bang Club (mixed bag): It’s a fitting time for the home video release of this film about war photographs with the theatrical release of the similarly-themed “5 Days of War.” This one isn’t quite as good, unfortunately, but it does offer some thought-provoking contemplations on journalistic ethics and war.

The Conspirator (mixed bag): This film about the controversial trial of one of Abraham Lincoln’s accused assassins wasn’t nearly as hard-hitting as it wanted to be, mostly because it just isn’t interesting or well-done enough to merit attention. It’s decently worthwhile though, and slightly affecting.

Meet Monica Velour (mixed bag): This tale of a teenager who gets the chance to meet his beloved favorite porn star is pleasant enough but doesn’t quite make the object of its main character’s affection worthy of being adored or remembered. Kim Cattrall tries her best though.

Now on Netflix Instant Streaming

Tangled (highly recommended): This magnificent animated film is a wonderful reminder that good old-fashioned fairy tales can still be updated in fun and invigorating new ways. This is a simply wonderful movie that is definitely enjoyable for audiences of all ages.

Highwater (recommended): Any fans of surfing will be excited to see this documentary about the Triple Crown competition in Oahu, which is fairly straightforward in theme but still plenty eye-opening about an exciting and unusual community.

La Soga (anti-recommended): When this came out on DVD back in May, I cautioned: It wouldn’t be accurate to call this Dominican Republic-based crime film messy since it’s actually rather neat; it’s just not believable and impossibly trite. Executing a criminal who’s just been arrested on camera in the first five minutes is not a good start, and this pale rip-off of “Animal Kingdom” just doesn’t deliver.

Movie with Abe: One Day

One Day
Directed by Lone Scherfig
Released August 19, 2011

There are conventional ways to tell love stories, and then there are less conventional ways. “One Day,” adapted from the 2009 novel by David Nicholls, follows best friends Dexter and Emma over the course of twenty years by showing their interactions on one day each year, July 15th. Sometimes, they spend that day together, while other times, they are worlds apart, more so physically than emotionally. It’s an intriguing approach to storytelling that definitely has its advantages but also leaves a bit to be desired in terms of the conveniences and inconsistencies it produces by relegating its focus to just twenty fateful days.

More than anything, “One Day” is about one couple that isn’t always a couple. There’s clearly a connection between Dexter and Emma, who meet on the night of their university graduation, that isn’t always realized romantically, though it’s obvious that they’re destined to be close. Each year, they evolve and devolve in different ways as they gain more experience in the world and develop as people. It’s a fascinating, fleeting transformation, since each new Dexter and Emma only appears for a few minutes before the next calendar year begins and time jumps ahead to the successive July 15th.

Interestingly, stars Anne Hathaway and Jim Sturgess discuss how, in many of the years portrayed in the film, they each lived in their own bubble, unaware of what the other was doing in his or her life at that point. Hathaway describes Emma as “a survivor, someone who wants to grow and be her best self and who believes that things are going to turn out okay, even if she has trouble admitting that to herself.” Sturgess describes Dexter, especially initially, as appearing like an “over-privileged, underachieving, mischievous idiot,” but goes on to add that, beneath all that, “he really is a good person with a good heart.”

Together, Hathaway and Sturgess make a great pair. Their interactions are not always entirely pleasant or perfect, but when they do manage to seduce each other occasionally, it’s a marvel to watch. Lone Scherfig, whose last project was the marvelous “An Education,” brings “One Day” to life with style and grace. Each year is given its own signature feel, loyal to the fashion and sensibilities of the time, and the film does effectively mimic a journey through the years. Occasionally, the film does lend too much credit to the given date to summarize the entire year, but as a whole, it’s still a moving and affecting experience with strong performances and sweet romance.

B

Thursday Token Themes

Welcome a weekly feature here at Movies With Abe. I’m a hugely enthusiastic fan of film scores, and music is far too often an element of cinema that goes unrecognized. Therefore I present a platform for a look – or rather, a listen – to some fantastic film scores. I’ll be selecting a composer and one or more of their film scores for your listening pleasure, embedded from YouTube.

This week’s featured composer is Hans Zimmer. The West Germany native has been nominated for nine Oscars, winning once for the original score for the classic Disney film “The Lion King.” His resume is rather astounding, with plenty of memorable scores, at least four of which would rank as my favorites (I’ll put a number in parentheses to denote them, in no particular order). His most recent musical achievement is the tremendous score to “Inception” (#1), and I’ve selected the track “Dream Within a Dream” to best represent that film’s momentous music. In 2009, Zimmer tried something different with a very distinctive, eccentric score for “Sherlock Holmes.” His foreboding and mysterious music for “Frost/Nixon” worked centrally to enhance the plot of the film. The anthem for “The Dark Knight,” and its predecessor “Batman Begins,” was appropriately loud and stirring. Even if the film wasn’t wondrous, there’s no denying that the ending theme to “The Da Vinci Code” (#2), “Chevaliers de Sangreal,” is absolutely incredible, and there’s a reason it’s used so often in movie montages and trailers. His battle score for “King Arthur” was inarguably energetic and excitable. Two of his best works (#3 & #4) are over a decade old: “Gladiator” and “The Rock,” both of which evoke particularly moving emotions for the triumphant lead character of Maximus and the all-out action of the latter film. “The Lion King” might be better remembered for its bevy of original songs, but its score is equally powerful. His first Oscar-nominated soundtrack, “Rain Man,” is considerably different from his later work, but it’s a fun moody theme that works quite well for its quirky lead characters.

Inception (2010)



Sherlock Holmes (2009)



Frost/Nixon (2008)



The Dark Knight (2008)



The Da Vinci Code (2006)



King Arthur (2004)



Gladiator (2000)



The Rock (1996)



The Lion King (1994)



Rain Man (1988)

Wednesday Oscar Retrospective: Five to Ten for 2002

Welcome back to a weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. Five to Ten is the fifth in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed.

On the heels of the Academy’s announcement that this coming year will feature anywhere from five to ten films in the Best Picture list, I thought to look back at the most recent decade to determine what number of films would have ultimately earned a slot in the top category. Obviously, this is all guesswork and designed, above anything, to be fun. In the new system, films will need to earn at least 5% of the first-place votes. Feel free to post your thoughts in the comments!

Five to Ten for 2002

The actual lineup: Chicago, Gangs of New York, The Hours, The Pianist, The Two Towers

The locks: The above five, and that’s it.

The benefactors: I’m not sure anything was that close to a nomination, though the three films that might have been the most ahead were probably My Big Fat Greek Wedding, About Schmidt and Adaptation.

The longshots: A few foreign films likely garnered some votes, like Talk to Her and Y Tu Mama Tambien. Also, Far From Heaven and Road to Perdition could have been placed.

And the nominees could have been… Chicago, Gangs of New York, The Hours, The Pianist, The Two Towers

The takeaway: It’s fitting for the final installment of this series that we’d reach a year where the new system would have produced the same output. It’s a fine list, and while I would rank “Chicago” last out of these five, they’re all great films.

That’s a wrap for the Five to Ten series, and the Wednesday Oscar Retrospective for now. Stay tuned on future Wednesdays for the return of the Wednesday Oscar Watch.

Tuesday’s Top Trailer: Haywire

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

Haywire - Opening January 20, 2012



I watched the trailer for "Haywire" when it came up on the IMDB home page and I didn't even realize that this was the forthcoming project from Oscar-winning director Steven Soderbergh. After seeing that, it made sense that this film boasts such a terrific ensemble. Interestingly enough, the lead role is occupied by one Gina Carano, a martial arts fighter with limited acting experience, who is going to get one hell of a big break, potentially similar to that of Noomi Rapace, thanks to this film. I trust Soderbergh, however, and though I haven't loved some of his more recent films, such as "The Girlfriend Experience" and "The Good German," I'm forever awed by "Ocean's Eleven" and "Traffic," so I'm eager to see his latest film. The supporting cast is well stacked with a diverse lis of actors, including veterans like Michael Douglas, Bill Paxton, Antonio Banderas, and Ewan McGregor, up-and-comers Michael Fassbender and Channing Tatum, and young actors like Michael Angarano. This does look like a typical revenge thriller, but Lem Dobbs, who wrote "Dark City" and "The Score," penned the screenplay, so I have faith that it will be plenty interesting. I'm most intrigued and amused by the amount of facial hair going on in this movie, particuarly as seen on Paxton and Banderas. That's a silly side note, but this does like look a superb and energetic thriller, certainly much better than the forthcoming "Colombiana."

Monday Movie on the Mind: Dark City

Welcome to a weekly feature here at Movies With Abe: Monday Movie on the Mind. I’ll be kicking off some weeks with a clip or trailer from a film that happens to be on my mind, designed as a retrospective look at some well-known, forgotten, or underappreciated classic from movie history, be it antique or current. Chime in with your thoughts about the film or any other movies that you might be thinking of this week!

Dark City
Directed by Alex Proyas
Released February 27, 1998



After I saw the preview for “Haywire,” which will be tomorrow’s featured Tuesday Top Trailer, I noted that it was written by Lem Dobbs, who also penned this magnificent sci-fi gem from the 1990s. I was surprised to note that I hadn’t already featured it, since it’s one of the most memorable movies I’ve seen, notable also because most of the cast and crew haven’t done all that much since. Yes, it does feature a limping, creepy Kiefer Sutherland before his “24” days, but director Alex Proyas has only made three films since then, including “I, Robot,” and star Rufus Sewell hasn’t done too much in terms of impressive acting. Still, this is a terrific mind-bending experience. Set in a world that is constantly retouched and edited by the alien beings that control it, it’s a hypnotic, frantic experience that manages to be absolutely thrilling and even make a bit of sense. The effects, while they might not be top-notch in technology, are cool, and the whole story is rather intoxicating. Watch the trippy trailer above for a sneak peek, but if you’re into sci-fi, this is like a less advanced and modern version of “The Matrix,” which trades kung fu for a truly eerie and mesmerizing universe where nothing is permanent and everything can change overnight. The soundtrack by Trevor Jones also boasts some memorable tracks that very much serve to enhance the sedated, completely lost feel that the movie has.

Sunday Similar Standards: Emma Stone

Welcome to a new semi-regular weekly feature here at Movies with Abe. On those weeks where reviews are sparse, I’ll be taking a look at an actor or actress whose body of work boasts many roles that may not be as diverse as those taken on by other actors or actresses. This is hardly a judgment on their abilities; rather an analysis of the kind of parts they play so well.


In honor of her new film “The Help,” the star of this inaugural Sunday Similar Standards is Emma Stone. The 22-year-old actress, who is actually a natural blonde rather than a redhead, made her feature film debut in “Superbad” just four short years ago and has already amassed an impressive resume. Here’s a quick look at the familiar characters she tends to play. You’ll find Emma adopting the role of the surprisingly mature flirt boasting above-average intelligence and an often uncontrollable wit, who has no problem romancing the less cool kids on the playground.

Superbad (2007): An unexpectedly smart and sweet high schooler named Jules with a soft spot for dork Seth.

Zombieland (2009): Known only by her city codename, Wichita, a zombie apocalypse survivor who practices deception with her onscreen little sister Little Rock and effortlessly seduces Jesse Eisenberg’s Columbus.

Paper Man (2010): A bored babysitter named Abby who manages to infuse some mostly platonic life and energy – and soup – into Jeff Daniels’ Richard as she babysits for his fake child.

Easy A (2010): A good-hearted high school loser named Olive who gains spectacular attention by pretending to have slept with most of the boys at her school and wearing a “scarlet letter” A on her chest.

Crazy Stupid Love (2011): A highly motivated but unfulfilled law student named Hannah desperate to be swept off her feet but perfectly capable of resisting the charms of Ryan Gosling’s master playboy Jacob.

The Help (2011): An aspiring journalist named Skeeter in 1960s Mississippi astounded by the behavior of her white friends who has the courageous idea to write a book from the perspective of African-American maids.

Anything different?

Friends with Benefits (2011): In a minute role, she plays exactly the type of person that her normal characters would mock: a John Mayer-obsessed girlfriend that just wasn’t right for Justin Timberlake’s Dylan.

What’s next?

The Amazing Spider-Man (2012): Trying a new genre, Stone takes on a role familiar to comic book fans but not as much to movie fanatics: Peter Parker’s original (blonde) love interest, Gwen Stacy.

The verdict:

Stone does a great job playing this part, and she’s managed to make a big impression after only a few years, so I very much look forward to seeing what she does in the future.

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

The Help (recommended): This light-hearted drama tackles a serious subject matter with grace and humor, featuring four exceptional female performances from the likes of Octavia Spencer, Viola Davis, Bryce Dallas Howard, and Jessica Chastain. Now playing in wide release. Read my review from Thursday.

30 Minutes or Less (mixed bag): This comedy is a disappointment, considering how funny Jesse Eisenberg, Aziz Ansari, and Danny McBride have all proven they can be. There are certainly hilarious moments, but overall, this film just doesn’t cut it. Now playing in wide release. Read my review from yesterday.

I don’t have much need to see Glee: The 3-D Concert Movie since the show is more than enough for me, and I wouldn’t dream of seeing Final Destination 5 since I haven’t seen the first four and tend to shy away from horror movies in general.

Now on DVD

Super (anti-recommended): I can’t caution anyone against seeing this movie enough. It still ranks as my worst screened film of the year from a slate of over eighty films. It’s not even that it could have been so good with the talent of Rainn Wilson and Ellen Page involved, but more so that it’s absolutely horrendous. See next week’s “Griff the Invisible” starring Ryan Kwanten instead – that’s what this movie should have been.

Movie with Abe: 30 Minutes or Less

30 Minutes or Less
Directed by Ruben Fleischer
Released August 12, 2011

Buddy movies present an intriguing opportunity to bring together two actors whose résumés and typical roles may be entirely different and to see what happens when they play off of each other. “Cop Out,” for instance, paired action star Bruce Willis with TV personality Tracy Morgan, with less than stellar results. “30 Minutes or Less” takes recent Oscar nominee Jesse Eisenberg, famous for playing nervous, dorky heroes, with Aziz Ansari, a stand-up comedian currently residing on NBC’s “Parks and Recreation.” In theory, Eisenberg and Ansari are a great match, yet the execution of the film leaves plenty to be desired.

This film falls into the unfortunate category in which the trailer for the film is markedly better than the finished product, mainly because all of the funny scenes are contained within the two-minute preview. There are certainly hilarious lines and situations to be found in “30 Minutes or Less,” but the trouble is that the construction of the plot is terribly lazy and realized in an extremely poor manner. Far-fetched comedies like “Horrible Bosses” have shown that it’s possible to frame a ridiculous premise in a thought-out and well-planned movie, and that’s not the case here, which, at best, is disappointing.

The dialogue is pretty much universally crude and features the kind of expressions and verbal mannerisms that might be found in a universe created by Judd Apatow. At times it’s over-the-top, and at others it’s genuinely funny. That’s one area in which the film doesn’t falter entirely, since Eisenberg and especially Ansari are adept at making that kind of dialogue sound believable. Danny McBride, as the film’s villain Dwayne, also mouths off the most vile of lines with a purpose, and it’s a real shame that his character is so weakly written since he’s proven capable of doing great things with despicable characters on HBO’s “Eastbound & Down.” He does the best he can with what he’s given here, which starts off great but eventually becomes lamentable.

Aside from any issues anyone might take with the fact that a pizza delivery boy was in fact killed after a bomb was strapped to him and he was forced to rob a bank, this film doesn’t deliver the kind of entertainment it should. With the exception of a few humorous conversations and scenarios, the film falls flat, and it devolves into illogical gibberish midway through without much hope of returning to coherence. It’s not all awful, but with this cast and Ruben Fleischer, the director of “Zombieland,” at the helm, it should have been much, much better.

C

Movie with Abe: The Help

The Help
Directed by Tate Taylor
Released August 10, 2011

Posters and trailers for “The Help” advertise it as a light-hearted film about the creation of a sensational novel about the lives of African-American maids set in the heart of Mississippi in the 1960s. It’s the kind of story that appears to telling a rather joyful tale of triumph set against the backdrop of the true history of segregation and discrimination in the South. Much of the controversy for this particular film surrounds the trivial nature of this novel and film in the place of American chronology, and what’s ultimately most important is that the cinematic adaptation is an enticing, appealing film with an energetic spirit and a positive message.

“The Help” is a drama laced with comedy, placing an important story in a historical context and helping it to come alive by showcasing strong, endearing characters with rich personalities and willful attitudes. While some might argue that the light nature of the material detracts from the significance of the greater events of the time period, it actually helps to make the subject matter more bearable, and turns what might otherwise be a dark, ineffective downer into a highly enjoyable and winning film, with an enthralling script that manages to make two hours and 17 minutes entirely compelling, thanks in no small part to a fantastic cast.

Emma Stone has made some fantastic choices in terms of movie roles since bursting onto the scene in “Superbad” just four years ago. While she certainly has a bright future ahead, her career will see much meatier roles than this. Her part in “The Help,” which arguably a leading one, is hardly the most memorable, nor is it supposed to be. That honor is shared by four actresses, all playing very different characters with separate but crucial functions in the film’s overall story. Viola Davis serves as the film’s dramatic heart as the kind and loyal maid Aibileen, while Octavia Spencer delivers an entirely hilarious, film-stealing performance as the snarky, sarcastic maid Minnie. Bryce Dallas Howard, finally playing a part that fleshes out her impressive talents, is unabashedly cruel and magnificently evil as primped wife Hilly, and rising star Jessica Chastain, who has three other major movie roles, in “The Tree of Life,” “The Debt,” and “Take Shelter” this calendar year, is charming as the delightfully off housewife Celia. The four women lead a marvelous ensemble that really makes “The Help” a complete success.

B+

Wednesday Oscar Retrospective: Five to Ten for 2003

Welcome back to a weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. Five to Ten is the fifth in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed.

On the heels of the Academy’s announcement that this coming year will feature anywhere from five to ten films in the Best Picture list, I thought to look back at the most recent decade to determine what number of films would have ultimately earned a slot in the top category. Obviously, this is all guesswork and designed, above anything, to be fun. In the new system, films will need to earn at least 5% of the first-place votes. Feel free to post your thoughts in the comments!

Five to Ten for 2003

The actual lineup: Lost in Translation, Master and Commander: The Far Side of the World, Mystic River, The Return of the King, Seabiscuit

The locks: The above five, and probably “Cold Mountain,” which fared very well before faltering at the Oscar lineup and was definitely sixth in line for a slot.

The benefactors: That’s probably it, though “Finding Nemo” might have come close.

The longshots: “In America,” “Big Fish,” and “The Last Sumarai” likely earned some votes.

And the nominees could have been… Cold Mountain, Lost in Translation, Master and Commander: The Far Side of the World, Mystic River, The Return of the King, Seabiscuit

Does it change the winner? Nope. “Cold Mountain” definitely fell out of favor much before Oscar night, and nothing was ever going to beat the final chapter in the “Lord of the Rings” saga.

Which lineup is better? While “Cold Mountain” wasn’t perfect, I do think that it was one of the definitive films of 2003, and certainly as memorable as the other selections.

Tuesday’s Top Trailer: The Ides of March

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

The Ides of March – Opening October 7, 2011



I’m very happy to see that Ryan Gosling is taking on a slew of roles recently that utilize his talents in great ways, such as “Crazy Stupid Love” and the forthcoming September release “Drive,” which is excellent. Here, he’s part of a hefty ensemble in what looks to be a strong political thriller. Though the structure of the story didn’t quite enthrall me in “Good Night, and Good Luck,” I can appreciate George Clooney’s deft direction and I’m happy to see him tackling this subject matter. Having him play a straight-arrow candidate seems like a good fit, and there are plenty of other high-caliber actors in the cast. Paul Giamatti and Philip Seymour Hoffman can both play seedy well, and, following their recent award wins, it’s great to see them taking on supporting roles and not letting their careers get ahead of them. Thrillers aren’t always great character pieces, but I feel like this one could well be. It looks like the kind of movie whose twists and turns sneak up on you, though one major event is given away in the film’s trailer. Having terrific casts like this sometimes leads to disappointment, but with Gosling, Clooney, Giamatti, and Hoffman on board, I’m not worried, and if anything, I’m incredibly pumped and ready to see it.

Movie with Abe: The Change-Up

The Change-Up
Directed by David Dobkin
Released August 5, 2011

Switching bodies can be comedy gold. It’s a great opportunity to see actors try to mimic each other’s motions and antics, and while one performance is often better than the other, it’s still enjoyable to see both give it their best shot. In “The Change-Up,” overworked dad Dave (Jason Bateman) and slacker actor wannabe Mitch (Ryan Reynolds) decide to urinate in a fountain, resulting in an accidental swap. It’s an amusing idea, and in this case, the results are wild and wacky rather than grounded, which, to be fair, is only to be expected in a film like this.

“The Change-Up” is not a smart movie, relying on consistency and coherence only when it happens to be convenient for a plot development. Personality tics and important life events are quickly forgotten and then remembered again at a given instant, and no one else in the film is supposed to suspect that anything is awry with the two lead characters despite their extremely unpredictable behavior. Suspension of disbelief is paramount in this particular picture, and it’s only disappointing because the film could have been considerably better had it not strayed so far from a logical course of action.

The actors in “The Change-Up” go for broad as often as possible, aiming for big laughs instead of subtler humor. As was the case in the 1997 action thriller “Face/Off,” which involved a somewhat different and more deadly serious body swap, one character had considerably little personality before the switch. Just like that movie, that allows for more entertainment once the characters have traded places. Bateman gets to be as inappropriate and offensive as possible, while Reynolds has the opportunity to try and play down his excitable goofiness and straighten up as he does his best to play a businessman. These are hardly the best performances that Bateman and Reynolds have turned in, but they do both produce their share of laughs.

If nothing else, the actors have fun playing their parts. Leslie Mann and Olivia Wilde appear as Dave’s wife and co-worker, respectively, and while their characters do have to stick to the same sensibilities and keep plot developments in mind, they’re often just as unhinged and funny. Despite an underwhelming script and only fleeting moments of laughter, “The Change-Up” somehow arrives at a sentimental finish. It’s definitely a contrived conclusion not supported by the events of the film, though a step up from the somewhat similar sappy, rather poor ending to Adam Sandler’s “Click.” Overall, it’s a film that doesn’t much exceed its potential but is far more entertaining than it could have been or deserves to be.

C+

Movie with Abe: Gun Hill Road

Gun Hill Road
Directed by Rashaad Ernesto Green
Released August 5, 2011

Harmony Santana stars in the film
There are prison movies, and then there are post-prison movies. Both represent important periods in someone’s life, and very often a film shows only one or the other, not both. In the case of “Gun Hill Road,” it’s not so important what Enrique’s crime was that landed him in jail, but rather the effect being in prison has on him once he’s returned to real life. Enrique (Esai Morales) arrives home after several years in prison and gradually learns that his son Michael (Harmony Santana) often dresses up as a woman who calls herself Vanessa. This unusual and uncommon circumstance, coupled with Enrique’s experiences in prison, creates enormous tension on the home front and the basis for this stirring, strong drama.

Esai Morales and Rashaad Ernesto Green discuss the film
“Gun Hill Road” is a film laced with authenticity. Much of the cast is from the Bronx, and the culture of Gun Hill Road is a familiar place. Most meaningful, Enrique’s son Michael is played by Harmony Santana, who herself is undergoing gender reassignment. Over the course of shooting, Harmony would arrive on set dressed as a man and then later came back dressed as a woman, asking to be referred to as “she.” It lends a considerable honesty to the film to have Harmony relate entirely to the experiences of Michael, or Vanessa, as he’s known when in female garb. Director Rashaad Ernesto Green was extremely committed to finding the perfect person for the role, ultimately locating Harmony on the street at a gay pride event in Queens, describing the success of finding her as an “accidental miracle.” If nothing else, Harmony’s performance is heartfelt and serves as the emotional core of the film.

Harmony Santana and Judy Reyes discuss the film
“Gun Hill Road” is an exploration of the interaction between the LGBT world and the Latino community in the Bronx. The actors, including Harmony, bring with them a sense of their own cultures and backgrounds, creating complex characters and lived-in roles. Esai Morales does double duty as star and executive producer, while Green makes his feature film debut as director and writer, telling a story inspired by his own family. Judy Reyes, who stars as Ernesto’s wife Angela, marks her first film role since her tenure on “Scrubs,” transitioning from comedy television to drama film. The disjointed family unit feels real, and it’s easy to recognize this broken family from any culture. “Gun Hill Road” may have a very specific story to tell, but its message is far more universal and important.

B+

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

The Whistleblower (recommended): This disturbing drama is based on the true story of a Nebraska cop who went to Bosnia in 1999 to become a UN peacekeeper and discovered an excessive amount of human trafficking going on in the area. It may be unsettling, but it’s a strong, powerful film. Now playing at the AMC Empire, Landmark Sunshine, and Lincoln Plaza. Read my review from yesterday.

Gun Hill Road (recommended): This film follows Esai Morales as Enrique, a man recently released from prison who discovers that his son prefers dressing as a woman. It features a breakout performance from Harmony Santana as his child and a moving family story. Now playing at the AMC Empire and Angelika. My review will be up tomorrow.

The Change-Up (mixed bag): I enjoyed this silly comedy considerably more than I expected to, and while it’s hardly a great movie, it’s much funnier than I thought it would be. Not a must-see by any means, but you will laugh a bit, even if you aren’t planning on it. My review will be up on Monday.

The trailer for Rise of the Planet of the Apes impressed me much more than I thought it would, so I wouldn’t mind seeing that but have no plans to do so anytime soon.

New to DVD

Last Night (mixed bag): This Tribeca selection features Keira Knightley and action star Sam Worthington as partners both contemplating affairs. It’s a slow-paced, directionless film that isn’t necessarily bad but also doesn’t evoke the proper emotion and empathy for the characters that it should.

Now on Netflix Instant Streaming

Check out two classic thrillers from the 90s that have just arrived if you haven’t already, both of which won acting Oscars, for Kevin Spacey and Kathy Bates, respectively: The Usual Suspects and Misery.

Movie with Abe: The Whistleblower

The Whistleblower
Directed by Larysa Kondracki
Released August 5, 2011

True stories can make for very good movies. Basing something on fact means that there's a wealth of material from which a script and complex characters can be mined, and also room for certain creative liberties that might make for better storytelling. Turning true stories into thrillers, however, can be more difficult, since there's a tendency to exaggerate and sensationalize in the name of producing suspense. In "The Whistleblower," the story of Kathy Bolkovac, a Nebraska cop who signs up to be a UN peacekeeper in Bosnia and discovers a disturbing connection between the UN forces and human trafficking, nothing is played bigger than it should be, presenting a straightforward, immensely unsettling picture of these real-life events.

"The Whistleblower" is a production with heavy female involvement at all levels. Star Rachel Weisz compares it to "Silkwood" and "Erin Brockovich," showcasing a determined women aiming to correct a perversion of justice and expose the truth. This is the first feature film from director Larysa Kondracki, who collaborated with Eilis Kirwan on the script. Kondracki describes the film as flipping traditional gender roles, as Kathy's love interest, Jan, is more like the girlfriend. Ultimately, it's Kathy against a sea of predatory men, with precious few exceptions.

"The Whistleblower" is a very tough film to watch due to its depiction of human trafficking. Kondracki leaves little to the imagination without being gratuitous, showing just how horrific the mental and physical abuse undergone by the trafficked girls can be. Kondracki notes that those who have been freed from such circumstances prefer to be known as survivors of human trafficking rather than victims, and that distinction is clear in the film, more so to underline the dependency that these girls can feel towards their captors. It's heartbreaking to watch, especially as seen on Cathy's face.

Rachel Weisz, who won an Oscar for "The Constant Gardener" in 2005, has found a similar role in "The Whistleblower," though here she's front and center, unaware of just what it is that she's walking into when she signs up to go to Bosnia. Weisz plays the part with a kind of naive optimism, assuming that she'll see the best in people and utterly unprepared for the fact that matters are infinitely worse than she could ever have expected. Watching Kathy transform into a more hardened person is extremely compelling. Weisz is ably supported by a cast that includes Vanessa Redgrave, David Strathairn, and Liam Cunningham, as well as a host of local European actors that add a degree of authenticity to the film. "The Whistleblower" is not a pleasant viewing experience, but it is a strong, effective, powerful, and important film.

B+

Thursday Token Themes

Welcome a weekly feature here at Movies With Abe. I’m a hugely enthusiastic fan of film scores, and music is far too often an element of cinema that goes unrecognized. Therefore I present a platform for a look – or rather, a listen – to some fantastic film scores. I’ll be selecting a composer and one or more of their film scores for your listening pleasure, embedded from YouTube.

This week’s featured composer is Johan Söderqvist, the Swedish-born go-to composer for Oscar-winning Danish filmmaker Susanne Bier. Söderqvist has composed tremendous, powerful scores for Bier’s films that help to draw out the intensity of each of them, but you’ll notice a distinctive and creative energy to some of the tracks as well. Listen to two tracks from the best film I’ve seen so far this year, “In a Better World,” where the music really helps to make the film an awe-inspiring experience. Bier’s only American film, “Things We Lost in the Fire,” was an enormous disappointment, but fortunately the score wasn’t. Listen to three short selections from that soundtrack. The suite from “After the Wedding” shows a particularly diverse range of musical selections on Söderqvist’s part. These are excellent musical compositions, but more than anything, if you haven’t seen “In a Better World” or “After the Wedding,” watch them as soon as you can.

In a Better World (2011)





Things We Lost in the Fire (2007)







After the Wedding (2006)

Wednesday Oscar Retrospective: Five to Ten for 2004

Welcome back to a weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. Five to Ten is the fifth in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed.

On the heels of the Academy’s announcement that this coming year will feature anywhere from five to ten films in the Best Picture list, I thought to look back at the most recent decade to determine what number of films would have ultimately earned a slot in the top category. Obviously, this is all guesswork and designed, above anything, to be fun. In the new system, films will need to earn at least 5% of the first-place votes. Feel free to post your thoughts in the comments!

Five to Ten for 2004
The actual lineup: The Aviator, Finding Neverland, Million Dollar Baby, Ray, Sideways

The locks: The above five were probably the only guarantees.

The benefactors: The closest two on the drama side were probably Golden Globe Best Motion Picture nominees “Hotel Rwanda” and “Closer.” The former earned a screenplay nomination and a SAG mention for Best Ensemble, while the latter did well with the Globes and then ended up with only acting Oscar bids. It’s also possible that “Eternal Sunshine of the Spotless Mind” could have snuck in since it definitely had a fan base and garnered some number one votes.

The longshots: Plenty of contenders here. Golden Globe Best Motion Picture nominees “Kinsey” and “The Incredibles” probably could have scored well but probably wouldn’t have been able to muster up a Best Picture nod. There are two other films with more incredible stories that could have contended, though I suspect both were too controversial: Mel Gibson’s “The Passion of the Christ” and Michael Moore’s “Fahrenheit 9/11.”

And the nominees could have been… The Aviator, Eternal Sunshine of the Spotless Mind, Finding Neverland, Million Dollar Baby, Ray, Sideways

Does it change the winner? Doubtful. “Eternal Sunshine” might be the indie choice, but even Martin Scorsese and the story of Howard Hughes couldn’t defeat the late-November onslaught of Clint Eastwood and “Million Dollar Baby.”

Which lineup is better? I liked “Eternal Sunshine” and I’m always in favor of including a more diverse set of films. I didn’t much care for “The Aviator” and I thought “Finding Neverland” was a “safe” and somewhat uninteresting choice, so I’m all for fantasy memory-erasure making the cut.

Movie with Abe: Attack the Block (Capsule Review)

Attack the Block
Directed by Joe Cornish
Released July 29, 2011



In the course of cinematic history, there have been many alien invasions. They vary in form, shape, and size, as well as motivation for the planetary intrusion on the part of the extraterrestrials. In some cases, it’s unclear just why the alien life forms are attacking humans, but their intended victims definitely don’t want them there. In “Attack the Block,” a loud, violent, occasionally unserious thriller, a group of thugs prepare to defend their neighborhood with a vengeance. It’s a film that builds both in drama and intensity as it goes on, and while it lags initially, it ultimately delivers in terms of energetic and heart-pumping action. The best surprise in a sea of actors playing adolescent punks is Jodie Whittaker from “Venus” and “White Wedding,” who shines in a role that asks little of her, yet she still delivers with all the fierceness and gusto she’s got. That’s not entirely true of the film, but it’s still a fun if not always brainy film.

B-

Movie with Abe: The Future

The Future
Directed by Miranda July
Released July 29, 2011

In 2005, Miranda July wrote, directed, and starred in her first feature film, “Me and You and Everyone We Know,” a distinctive and entirely unique look at love and life. From that promising start, it’s fair to say that her follow-up film is highly anticipated to a degree. There’s something about the way July thinks and writes that doesn’t adhere to societal norms and seems to know no bounds. There’s some of that, to be sure, in “The Future,” but as a whole, it feels more like an unfinished, incomplete experience on the verge of discovering something extraordinary that never quite gets there.

Instead of an ensemble cast with multiple threads, as was the case in her previous film, “The Future” centers on only one couple, Sophie (July) and Jason (Hamish Linklater). As they prepare to adopt a dog, Sophie and Jason plan to make the most of their last thirty days without anyone else in their lives. As they contemplate what will next become of their relationship, they find their bond tested as they look to their futures as individuals and as a pair.

There are several irresistibly intriguing and innovative moments in “The Future.” Sophie decides that she’s going to cut off Internet access for the month leading up to the adoption, and tells Jason that he should look anything up that he wants to know before the service is disconnected. Jason also purports to be able to freeze time, a game in which Sophie gleefully plays along, and it’s only when he and Sophie are in the middle of a huge argument that his invented superpowers actually become real, and he finds himself stuck in a motionless world. These are glimmers of the creativity that makes July such a fascinating talent.

Other untraditional efforts don’t work nearly as well. July does double duty as the voice of Paw-Paw, the dog Sophie and Jason are planning to adopt. The high-pitched dialogue is cringe-inducing at times, and only occasionally effective as narration. July and Linklater, whose resume consists mostly of irrelevant sarcastic lines uttered on “The New Adventures of Old Christine,” do an able job of playing their parts, but the characters are only as strong as the story that supports them. This is a film that tries not to be a conventional narrative story, yet it’s not as detached from reality as it might think and as a result feels, more than anything, aimless.

C+