Monday Oscar Odds

Full-fledged, extensive Oscar predictions are coming in January, but I’d like to keep a running list of my predicted nominees up until that point, based purely on what we know now and subject to plenty of change. I’ll expand to include other categories later. For this week, I’ll offer my first official predictions for the top eight categories. Golden Globe and SAG predictions will be coming at the end of November and the beginning of December. For now, check back every Monday for a slightly updated list of Oscar predictions. Please chime in the comments with your thoughts!


Best Picture
The Artist
The Descendants
The Help
J. Edgar
Moneyball
War Horse

Best Director
Clint Eastwood (J. Edgar)
Michel Hazanavicius (The Artist)
Alexander Payne (The Descendants)
Nicolas Winding Refn (Drive)
Steven Spielberg (War Horse)

Best Actor
George Clooney (The Descendants)
Leonardo DiCaprio (J. Edgar)
Jean Dujardin (The Artist)
Ryan Gosling (Drive)
Woody Harrelson (Rampart)

Best Actress
Glenn Close (Albert Nobbs)
Viola Davis (The Help)
Elizabeth Olsen (Martha Marcy May Marlene)
Meryl Streep (The Iron Lady)
Michelle Williams (My Week with Marilyn)

Best Supporting Actor
Kenneth Branagh (My Week with Marilyn)
Albert Brooks (Drive)
Viggo Mortensen (A Dangerous Method)
Brad Pitt (The Tree of Life)
Christopher Plummer (Beginners)

Best Supporting Actress
Berenice Bejo (The Artist)
Jessica Chastain (The Help)
Carey Mulligan (Shame)
Octavia Spencer (The Help)
Shailene Woodley (The Descendants)

Best Original Screenplay
The Artist
Bridesmaids
J. Edgar
Midnight in Paris
Young Adult

Best Adapted Screenplay
The Descendants
The Help
The Ides of March
Moneyball
War Horse

Sunday Similar Standards: Abigail Breslin

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.


With the theatrical release of “Janie Jones” on Friday, it’s only fitting that Sunday Similar Standards returns to honor the commendable, recognizable talents of Abigail Breslin. The fifteen-year-old New York native has already starred in over twenty films, and earned an Oscar nomination at the age of ten for her role in “Little Miss Sunshine.” Her feature film debut was in 2002 in M. Night Shyamalan’s “Signs.” Since then, you’ll find her playing a teenager wise far beyond her years, exhibiting considerable charm and knowledge. Here’s a quick look at the familiar characters she tends to play.

Signs (2002): A young, somewhat fearless child whose family farm is being invaded by aliens.

Little Miss Sunshine (2006): An excitable tween named Olive thrilled by the idea of entering a beauty contest.

Definitely, Maybe (2008): The exceptionally mature daughter of a man who reveals his daughter’s mother identity to her by telling her the story of three different ex-girlfriends.

Zombieland (2009): A strong survivor of a zombie-infested world known only as Little Rock.

Janie Jones (2011): A talented budding musician left by her mother with her rock star father.

Anything different?

Not really.

What’s next?

A surely precocious role in the ensemble piece “New Year’s Eve” and a true game-changer in the sex-based comedy “Virgin Mary.”

The verdict?

Alan Arkin famously hoped that Breslin wouldn’t win her Oscar in 2006 because he wanted her to have a childhood and not get too much attention, but Breslin has proven over the past decade that she is one of the most talented young actresses working today, and her future looks plenty bright.

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

Janie Jones (recommended): This Tribeca entry makes its premiere, and it’s a perfectly acceptable but otherwise unextraordinary story of the unlikely reunion of a father and daughter, featuring strong performances from Abigail Breslin and Alessandro Nivola. Now playing at the Village East Cinema.

I’ve seen so little, and I’d like to have seen so much. In Time didn’t look great but could be cool, Like Crazy might be fun, and The Rum Diary could be enjoyable. I could live without Puss in Boots, Johnny English Reborn, and Anonymous.

New to DVD

Attack the Block (mixed bag): This loud, aggressive action film starts featuring British punks starts out as rather ordinary and unimpressive but picks up enough by its third act that it’s decently watchable.

Captain America: The First Avenger (highly recommended): It seems like there have been so many Marvel movies lately, especially featuring those superheroes that make up the Avengers team. I’m pleased to report that this latest entry is a superb, all-American success, perfectly enthralling and entertaining.

Winnie the Pooh (recommended): It’s always a pleasure to see Christopher Robin and all his imagined friends back for another classic tale. This isn’t a remake or a reboot, just another fun and wonderful story involving the honey-obsessed Pooh for audiences of all ages.

Now on Netflix Instant Streaming

Faces in the Crowd (anti-recommended): This thriller about a woman who gets face blindness just as she is the only one able to identify a serial killer tries but fails miserably to be anything but aggravating and laughable. Milla Jovovich starring doesn’t help matters.

A Little Help (mixed bag): Jenna Fischer of “The Office” takes on her first leading film role in this highly uneven and unsatisfying film. Rob Benedict shines as the lone consistent performer and character, while the rest of the film never quite gets off the ground with an iffy premise.

Movie with Abe: Janie Jones

I wrote a brief piece of "Janie Jones" back in April when it played at the Tribeca Film Festival, and today, it's being released theatrically at the Village East Cinema. I'm pleased to offer a full movie review, and I'll invite you to head over to Shockya.com to read the piece. I'll now be covering films and television on a fairly regular basis for Shockya, and I'll be sure to link to my pieces from here too so any loyal readers won't miss anything!

Click here to read my review of "Janie Jones" at Shockya.

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 Gustavo Santaolalla. The Argentinean musician frequently collaborates with director Alejandro Gonzalez Inarritu, and all of his compositions are devastating and moving. Since there are only a few, I’ve included two tracks from several selections. The score for “Biutiful” sets a tone of sadness for its powerful, dreary story. The instrumental, Oscar-winning rendition for “Babel” shapes and defines the many miscommunications that occur throughout the course of the film. The stirring soundtrack for “North Country” is melancholy but determined, symbolic of the state of the characters in the film. No matter if you loved “Brokeback Mountain” or hated it, it’s hard not to be moved by the sweet and sentimental score. For me, the deeply serious, sober theme to “21 Grams” made the experience of a terrific, heart-wrenching film.

Biutiful (2010)



Babel (2006)



North Country (2005)





Brokeback Mountain (2005)



21 Grams (2003)

Wednesday Oscar Watch

Welcome to a newly-restarted feature here at Movies with Abe, Wednesday Oscar Watch with Abe. It’s a bit early to be able to accurately predict the eventual Oscar nominees, but around this time, plenty of likely contenders are being released. I’ll be looking every Wednesday at the awards chances for all of the films released the previous week. Chime in with your thoughts on the Oscar chances for these films in the comments section. Also, if I’ve missed any films from the previous months, please say so!

Films released October 21, 2011

Martha Marcy May Marlene
Fox Searchlight tends to do a good job championing its films for Oscars, but I think that this one won’t receive acclaim in multiple categories. The love will be saved instead for star Elizabeth Olsen, who shouldn’t have too much of a problem breaking into the Best Actress category. Last year’s nominee John Hawkes could merit a few votes for Best Supporting Actor, but this is nothing compared to his performance in “Winter’s Bone.”

Le Havre
I haven’t had a chance to see this dramatic comedy, but I’ve heard only good things about Finland’s submission for Best Foreign Film.

Paranormal Activity 3
I stay far away from these kinds of films. What’s important to note, however, is that popular acclaim and big budget don’t always translate to Oscars, so don’t expect to see this on any ballots anytime soon.

Home Video with Abe: Faces in the Crowd (Capsule Review)

Faces in the Crowd
Directed by Julian Magnat
Released on DVD October 25, 2011



Serial killer movies have the potential to be extremely terrific, but can also be truly terrible. “Faces in the Crowd” puts a spin on the genre by outfitting its heroine Anna (Milla Jovovich) with a condition known as prosopagnosia, or face blindness, which puts her in the unfortunate position of not being able to recognize the killer that she and only she should be able to identify. It also means, rather lamentably, that the movie devotes far more attention to finding multiple actors who look remarkably similar to each other to play one particular role. The movie constructed around that is poorly written and highly trite. It’s obvious from the start that Julian McMahon’s impatient detective Kerrest will fall for Anna, and none of the other characters in the film will be of any consequence at all. The film’s big climax is almost comical in its badness, and there’s no saving grace to be found. Jovovich is not a strong actress, but the truth of the matter is that it’s not her fault that the movie falls flat. McMahon is capable of better, and should really be doing more with “Nip/Tuck” on his resume. There are ways to take a popular concept and liven it up, but having a protagonist identify men by their rear ends because their faces keep changing isn’t it.

F

Movie with Abe: Revenge of the Electric Car (Capsule Review)

Revenge of the Electric Car
Directed by Chris Paine
Released October 21, 2011



It’s a rare pleasure to find a documentary that’s both highly informative and extremely entertaining. This sequel to “Who Killed the Electric Car” takes a look at the resurgence of gasoline-free vehicles over the past few years, picking out the three major players and one small-time shop to tell this particular story. The characters are all fascinating personalities, particularly Elon Musk’s driven and questionably sane CEO of Tesla Motors, and the film addresses both their professional and personal lives to provide a complete picture of who these people are. The story is an absolutely interesting one, and the way it is told is highly energetic and invigorating. It’s hard not to become passionate about the topic over the course of the film’s run time, and the film does its subject matter justice with the appropriate range of focus and detail. Its ending isn’t as neat in practice as it wants to be in theory, but it’s still a fully worthwhile and educational experience.

B+

Movie with Abe: The Green (Capsule Review)

The Green
Directed by Steven Williford
Released on VOD October 18, 2011



Some movies are about people, and some are about more general or specific themes. Some films are about both, and that’s the case with “The Green,” the story of Michael, a gay high school teacher with a loving partner whose life falls apart when he is accused of having an inappropriate relationship with a student. There are many layers to Michael’s battle to regain his reputation, dealing with justice, prejudice, and, most importantly, humanity. “The Green” is an intriguing story with lively characters that tackles a controversial topic with a determined and energetic stance, producing a compelling and thought-provoking film. Jason Butler Harner stars as the quiet, nervous Michael, while Cheyenne Jackson, from “30 Rock” and “Glee,” plays his more exuberant partner Daniel. Julia Ormond and Illeana Douglas shine in supporting roles as Michael’s lawyer Karen and best friend Trish, respectively. It’s hardly a perfect film, but it’s decently engaging and heartfelt.

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

Martha Marcy May Marlene (mixed bag): This dark drama features a strong performance from Elizabeth Olsen, younger sister of the Olsen twins, as a woman escaping from a disturbing cult. The film is unsettling but also disjointed and generally unsatisfying. Now playing at the Angelika and AMC Lincoln Square. Read my review from yesterday.

Cargo (anti-recommended): This story of a captive woman and the human trafficker driving her across the border from Mexico into the United States is a tight, focused film, but its contents, unfortunately, aren’t all that interesting. Now playing at the Quad Cinema. Read my review.

Revenge of the Electric Car (recommended): This follow-up to 2006's "Who Killed the Electric Car" spotlights four different producers of electric cars as they battle to forge ahead and help change the way the automobile industry works. It's an energizing, engaging film with an invigorating narrative and smart editing. Now playing at the Landmark Sunshine. My review will be up on Monday.

New to DVD

Bad Teacher (mixed bag): This foul-mouthed comedy starring Cameron Diaz isn’t as edgy as it wants to be, and is inconsistently funny. Justin Timberlake and Jason Segel deserve better, but this isn’t the worst way to spend an hour and a half.

Pirates of the Caribbean: On Stranger Tides (anti-recommended): Why we needed a fourth film after two miserable sequels is beyond me. This film is so far removed from what the original was that it’s often nauseating. Johnny Depp and Geoffrey Rush just aren’t trying anymore, and neither is this waste of a movie.

Now on Netflix Instant Streaming

Three films to recommend not watching this week, of varying degrees of badness: Michael Shannon’s private investigator headed nowhere good in The Missing Person, the disturbing and weird series of hotel room vignettes Do Not Disturb, and the indigestible, incoherent look at the future Zenith. Avoid them all.

Movie with Abe: Martha Marcy May Marlene

Martha Marcy May Marlene
Directed by Sean Durkin
Released October 21, 2011

Last summer, Jennifer Lawrence broke out in Debra Granik’s “Winter’s Bone,” playing a tough-as-nails teenager looking out for her family amid horrifyingly violent and gruesome circumstances. This fall, another actress gets her breakthrough role in a similarly bleak and disturbing film, asserting her character’s toughness while still getting bruised quite a bit along the way. That actress is Elizabeth Olsen, previously known only as the younger sister of Mary-Kate and Ashley Olsen, but who will from now on be regarded as a serious, talented actress thanks to her film-making performance as the title chameleon character.

“Martha Marcy May Marlene” doesn’t tell its story in a straightforward, linear fashion, instead choosing two timelines to flip between, as Olsen’s Martha reunites with her sister Lucy and her husband Ted after escaping from an experience somewhere between a commune and a cult. Martha’s uneasiness and struggles re-acclimating to a positive, peaceful existence are readily apparent, but they cut doubly deep when the specifics of Martha’s ordeal are revealed piece by horrifying piece. The knowledge that Martha will be able to successfully leave the abusive life she led provides little comfort since its effects have clearly remained to cause her great continued anguish.

“Martha Marcy May Marlene” has an interesting premise, but it fails to capture at any moment the impact and intensity of her experience in a compelling and consistent way. Its storytelling style, however bold and well-intentioned, is lacking, and the plot often appears out of focus and disjointed, yet still extremely unsettling. The film’s conclusion, not to be discussed here, epitomizes that and is sure to ignite frustration in many viewers aside from this reviewer. Ultimately, the film is strongest when it comes to its star, and that’s exactly what its marketing has and will suggest.

Olsen conveys a certain depth to Martha that becomes apparent only gradually, as she begins to let more of herself show, both as she grows closer with the other cult members and as she opens up at home following her break from it. Her smile is warm but not infectious, and her laugh disarming but not charming. It’s a mesmerizing debut, and Olsen is sure to have great roles following this. John Hawkes plays a character even more despicable and terrifying than he did in “Winter’s Bone,” and he’s definitely the film’s most frightening figure. Sarah Paulson seems out of place as the perky Lucy, and I like Hugh Dancy better when he’s perfectly charming, which is not the case for Ted here. This film will be remembered as Olsen’s show, and that’s probably for the best.

B-

Movie with Abe: Cargo

Cargo
Directed by Yan Vizinberg
Released October 21, 2011

Human trafficking is a relatively common theme in cinema, ranging in focus and scope depending upon the specific project. In August’s “The Whistleblower,” based on a true story, Rachel Weisz’s UN peacekeeper fought to expose a ring of traffickers within the UN and to free the innocent girls involved. “Cargo,” which is an original story, uses a much narrower lens to explore the dynamic between Natasha, a young Russian woman hoping to make it as a model in New York, and Sayed, the serious, quiet Egyptian smuggler tasked with discreetly driving her from Mexico to the United States to meet her fate.

Intimacy doesn’t always equal meaning, and spending over an hour with just these two people doesn’t lead to depth or powerful revelations about these two. Instead, “Cargo” follows an extraordinarily predictable, often painfully slow trajectory in which Natasha, in disbelief, refuses to accept the reality of her situation, and Sayed gradually comes to care for the woman he is supposed to regard as nothing more than important cargo. The script is stuffy and uninventive, and all of their conversations feel familiar. It’s very much like a dramatic, action-less version of “The Transporter,” in which the title character breaks his one and only rule: don’t open the package. The difference is that Sayed is well aware of what his package is, but she’s determined not to be like other women before her.

Part of what holds “Cargo” back is that it doesn’t know what kind of film it wants to be. Its poster suggests that it might be a horror movie, as does its tagline, “What if you were the cargo?” It feels much more like a drama, though it occasionally borders on venturing into thriller territory, a journey for which it is not well-equipped. Much of the film’s success hinges on the impact of its lead performers. Natasha Rinis tackles her first major film role as Natasha, and she manages, if nothing else, to appropriately convey the terror of being trapped in an inescapable situation, determined not to let it break her. Sayed Badreya, whose career has consistently mostly of villainous supporting parts, isn’t asked to do much and responds accordingly. Both actors imbue their roles with passion but not necessarily believability, and the script doesn’t help much in that area. “Cargo” is a generally unpleasant experience that doesn’t manage enough intrigue to truly draw in its viewers and make itself memorable.

C-

Wednesday Oscar Watch

Welcome to a newly-restarted feature here at Movies with Abe, Wednesday Oscar Watch with Abe. It’s a bit early to be able to accurately predict the eventual Oscar nominees, but around this time, plenty of likely contenders are being released. I’ll be looking every Wednesday at the awards chances for all of the films released the previous week. Additionally, to make up for lost time, I’ll also be taking a look at the films released earlier in the year, one or two months at a time. Chime in with your thoughts on the Oscar chances for these films in the comments section. Also, if I’ve missed any films from the previous months, please say so!

Films released October 14, 2011

The Skin I Live In
Director Pedro Almodovar has had some success with the Oscars in the past, winning one Best Foreign film honor, getting nominated for another, winning Best Original Screenplay, getting nominated for Best Director, and directing Penelope Cruz to a nod. His film is not Spain’s Oscar submission this year, so I think he may have to sit the race out since many will be disturbed by his film’s content, and Antonio Banderas isn’t beloved enough to earn his first Oscar nomination for this off-putting part. If only a nomination for Best Art Direction was in the cards…

Footlose
The 1984 film was nominated for two different original songs, but I think the new film will sit the Oscar race out entirely.

Films released August 2011

Rise of the Planet of the Apes (August 5)
This surprisingly well-received film will probably contend for Best Visual Effects and may also pop up in the Best Sound, Best Sound Editing, and Best Makeup categories.

The Whistleblower (August 5)
Back in August, this may have seemed like a good bet for 2005 Best Supporting Actress winner Rachel Weisz. She may still net a Golden Globe nomination, but I think the film flew too under the radar to receive any Oscar attention.

The Help (August 10)
This film is going to get Oscar nominations; the question just becomes where. Best Adapted Screenplay is a strong possibility, and then the four actresses come into play. Octavia Spencer is a lock for Best Supporting Actress, and Viola Davis will probably get in, though it’s less clear where, though I’d put her in Best Actress right now. I’m pulling for Bryce Dallas Howard and Jessica Chastain, but I think there just isn’t enough room for all of them. Best Art Direction is a strong possibility, and I think that the film should be able to manage a Best Picture nomination if there are more than five nominees.

One Day (August 19)
One-time nominee Anne Hathaway and eventual nominee Jim Sturgess were good in this film, but I don’t think it’s going to attract any serious Oscar attention.

Tuesday’s Top Trailer: The Avengers

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 Avengers – Opening May 4, 2012



I’d say that almost everyone with even a passing interest in comic books or superhero movies has seen this trailer already. I was excited about this movie when I saw the slight sneak peek at the very end of “Captain America: The First Avenger,” and this full-fledged preview ups my anticipation considerably. Bringing together the lead characters from three highly exciting films - "Iron Man," "Captain America: The First Avenger," and "Thor" - and pairing them with three equally awesome characters - the Hulk, Hawkeye, and Black Widow - is the recipe for one entirely thrilling and superb blockbuster. The fact that this thing is being directed by Joss Whedon makes it infinitely cooler, and I can only hope that it's a roaring success so that the world can be privy to a new cinematic chapter in the "Firefly" saga. We've had glimpses of what the interactions between all of these characters could be like, namely in snippets from previous Marvel films, and the trailer offers some similar moments, particularly the ever-sarcastic Tony Stark telling Mark Ruffalo's Bruce Banner that he loves when he loses control and turns into the Hulk. There's so much about this film that could work so well, and I'm just hopeful that it's as good as it looks. It's certain to be a hit, and May couldn't come soon enough.

NYFF Spotlight: The Descendants

I have the distinct pleasure this year of covering a few of the films that are being shown at the New York Film Festival. Most of these films do not yet have U.S. release dates, and therefore this can be considered a preview review.

The Descendants
Directed by Alexander Payne
To Be Released November 18, 2011

This film has been buzzed about as a surefire Oscar contender and potential crowd-pleasing Best Picture winner. It’s a movie that starts out a bit slowly but gradually gets better and better, combining a dramatic undercurrent with a good deal of humor and much-needed levity. Based on Kaui Hart Hemmings’ novel of the same name, “The Descendants” is a story tied closely to Hawaiian culture, following lawyer Matt King (George Clooney) as he deals with the untimely impending death of his wife and tries to pick up the pieces of his family and his business. It’s an extremely intimate story adapted and helmed by Alexander Payne, the man behind “Sideways,” “About Schmidt,” and “Election.” This film addresses powerful themes with appropriate gravitas but with an equally purposeful comedic slant that gives it a distinctive style. Clooney delivers a heartfelt performance as the worn-thin King, and the real breakout is Shailene Woodley as his foul-mouthed elder daughter Alexandra. Overall, it’s an engrossing and creative take on a somewhat familiar story with enough freshness and life to make it memorable.

B+

NYFF Spotlight: The Artist

I have the distinct pleasure this year of covering a few of the films that are being shown at the New York Film Festival. Most of these films do not yet have U.S. release dates, and therefore this can be considered a preview review.

The Artist
Directed by Michel Hazanavicius
To Be Released November 23, 2011

One of the festival’s most buzzed-about films is “The Artist,” from established French director Michel Hazanavicius, a black-and-white, silent film set at the end of the 1920s. This is one instance where all is not merely left in the premise, and instead the movie delivers fully on the possibilities of its format. There is plenty of humor to be found in the filming of a story with these visual and audial components, created at a time when more advanced technologies are available. One particularly entertaining dream sequence finds famed silent actor George Valentin (Jean Dujardin) unable to hear his own voice while the rest of the objects around him begin to possess sound. This is the story of Valentin’s trouble transitioning to sound cinema, paired with the rise of a young starlet with a soft spot for Valentin, the lovely Peppy Miller (Bérénice Bejo). Dujardin and Bejo have astonishing chemistry, quickly taking to each other and being present in three of the film’s most wonderfully choreographed scenes, mimicking stars of the golden age to perfection. Both lead actors are French, making a major, memorable crossover to Hollywood, joined by American actors John Goodman, James Cromwell, Penelope Ann Miller, and Beth Grant in the supporting cast. The plot is a delight, generally dramatic but filled with an enormous amount of heart and frequent laughs. It’s hard not to like this winning film, but more importantly, this film should be applauded for taking an innovative approach and taking full, proper advantage of the potential of such an experiment.

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 Skin I Live In (highly recommended): Acclaimed Spanish director Pedro Almodovar’s latest film is also his most disturbing, and therefore this recommendation comes with a caveat: see it only – and especially – if unsettling content doesn’t bother you. Either way, it’s graceful, artistic, and enormously compelling. Now playing at Clearview Chelsea, Landmark Sunshine, AMC Empire, and Lincoln Plaza. Read my review from yesterday.

New to DVD

Beautiful Boy (recommended): This hard-hitting drama is definitely not for everyone, much like last year’s “Rabbit Hole.” Strong performances from Michael Sheen and Maria Bello help to make it a powerful, occasionally uneven film that peaks at certain points.

Horrible Bosses (recommended): This comedy is even more hilarious than it looks in the trailers, thanks to spot-on performances from all of the cast members, both the protagonists and the bosses. Most impressively, it knows when not to go over the top and manages to stay consistent and funny the entire time.

Mr. Nice (recommended): This light-hearted drama is a caper film about a real-life drug smuggler who got away with a whole lot. Rhys Ifans is fun in the lead role, but mainly it’s just a great story that does get a little silly sometimes but ultimately entertains.

Terri (highly recommended): This “teacher movie” about a vice principal that takes an active interest in one of his students avoids being forgettable and instead, thanks mostly to a great performance by John C. Reilly, manages to be heartfelt and highly enjoyable.

The Tree of Life (mixed bag): This film is such a complicated mess that it’s hard to process. It’s way too art house for such a simple premise, yet there are definitely alluring and captivating parts that make it soar. Overall, you’ll need to be very patient to actually enjoy it and think it’s a terrific film.

Now on Netflix Instant Streaming

Casino Jack (mixed bag): This dramatization of Jack Abramoff’s downfall isn’t nearly as good or informative as the documentary also released last year, but it is quite entertaining, featuring an energized performance from Kevin Spacey and some juicy plotlines.

Happiness Runs (anti-recommended): This drama about a utopian community and its newest generation goes all kinds of wrong, focusing on boring, poorly defined characters and prone to derailment by mind-altering substances even after the plot has already taken a turn for the uninteresting.

Happy-Go-Lucky (highly recommended): I’m an enormous proponent of this very pleasant and wonderful Mike Leigh film featuring one of the best performances I’ve ever seen, from actress Sally Hawkins, as well as a hilarious supporting turn from the dependable Eddie Marsan.

Peter and Vandy (mixed bag): This romance drama chronicles the trials and tribulations of one particular relationship in no particular order, and it’s an uncreative experiment that produces nothing more than confusing, unfulfilling results about people that might otherwise be interesting.

Toe to Toe (mixed bag): This “two girls from different sides of the track” story is hardly original, and the only fresh thing about it is two new faces to watch, Louisa Krause and Sonequa Martin. Otherwise, this tale has been told better elsewhere.

Movie with Abe: The Skin I Live In

The Skin I Live In
Directed by Pedro Almodovar
Released October 14, 2011

Director Pedro Almodovar makes film in a very unique, memorable manner. In his past few releases, such as the spectacular “Broken Embraces” and the wonderful “Volver,” he has unveiled a dark, twisted secret under the guise of an otherwise pleasant and gorgeously-photographed story. In his new film, “The Skin I Live In,” Almodovar works not from an original script as usual but instead adapts a novella, marvelously working its plot into a film that might seem like it came entirely from his own mind. “The Skin I Live In” is equally alluring and disturbing, and Almodovar’s latest film is just as enticing as any of his works.

Not much is revealed early on in “The Skin I Live In,” and to say more than a few sentences about the film’s plot here would be a disservice to the viewing experience. Summarizing Antonio Banderas’ part as noted scientist Robert Ledgard, who keeps a mysterious woman with an artificial skin confined to a room in his mansion, will suffice to describe the intrigue. Almodovar is not concerned with filling in details right away, and those familiar with his previous films will be prepared to wait until the time is right for the unsettling revelation to occur.

Banderas and Almodovar have collaborated many times in the past, but it’s clear that this is a fresh type of part and tone for them to work on together. The two agreed that Ledgard, a character with definite skeletons in his closet, shouldn’t be played big, opting for a reserved take on a fearsome and formidable man, making him into even more of an enigma. For the gorgeous mystery woman trapped in Ledgard’s home, Almodovar chooses not Penelope Cruz but instead Elena Anaya, who had a small part in “Talk to Her” and makes for a fantastic new muse for the director. Banderas and the charming, beautiful Anaya have a magnificent unspoken chemistry guided almost entirely by facial expressions and body language.

Those moviegoers enticed by the notion of a deeply complicated, extensively disquieting film should waste no time in going to see “The Skin I Live In.” Those less eager to be presented with such themes, which are not easy to get out of mind, should steer clear to avoid nightmares and unpleasant thoughts. For those willing to stick around, “The Skin I Live In” is one of Almodovar’s most visually astounding films, and one of his most contemplative and surprising as well.

B+

Movie with Abe: The Ides of March

The Ides of March
Directed by George Clooney
Released October 9, 2011

Ryan Gosling is a young actor with a promising future ahead of him who has already deliverd an impressive number of strong performances, in films such as “Half Nelson” and “The United States of Leland.” It’s fitting, therefore, that he should play a character with similar success in a different field, a political advisor already high up in the campaign of a governor for President. It’s hardly as serious a role as that he had in films like “Blue Valentine” and “Drive,” but a step up in terms of drama from the lightness of “Crazy Stupid Love.” He plays the part effortlessly in a film that’s good and engaging but not without its flaws.

“The Ides of March” is best categorized as a political drama. Its focus is on its characters, but the dynamics of campaigns and mutually beneficial relationships are strongly featured and emphasized as well. Clooney plays the role of Governor Mike Morris, the Democratic presidential candidate who seems almost impossibly liberal and committed to changing the way government works. Morris is still a supporting character, and this is really a story about his staff, the opposition, and the political world. It may not be anything breathtakingly new, but it’s still a captivating and genuinely interesting movie.

What distinguishes “The Ides of March” most from a forgettable film is its cast. Led by Gosling and Clooney, the ensemble is enormously capable. Philip Seymour Hoffman and Paul Giamatti play marvelously mean rival campaign managers, both with a considerable lack of patience and a desire to make the other miserable. Evan Rachel Wood shines in a supporting part as a young intern on Morris’ campaign, and Marisa Tomei humanizes a reporter fed stories by Gosling’s Stephen Meyers. Together, it’s a tight group of actors that help make these well-defined characters all the more believable.

The film itself is in no rush to reach its climax, but, fortunately, the plot doesn’t drag. At first, it seems rather generic, but there are clever twists hidden along the route to the film’s end, and plenty of dynamic character interactions and transformations. The story feels important during the body of the film, but its impact doesn’t stick or linger as long or effectively as it should. It’s a compelling, unexpectedly entrancing take on morality, politics, and doing the right thing, even if it never quite achieves the greatness that its bold advertisements and premise might suggest.

B

Wednesday Oscar Watch

Welcome to a newly-restarted feature here at Movies with Abe, Wednesday Oscar Watch with Abe. It’s a bit early to be able to accurately predict the eventual Oscar nominees, but around this time, plenty of likely contenders are being released. I’ll be looking every Wednesday at the awards chances for all of the films released the previous week. Additionally, to make up for lost time, I’ll also be taking a look at the films released earlier in the year, one or two months at a time. Chime in with your thoughts on the Oscar chances for these films in the comments section. Also, if I’ve missed any films from the previous months, please say so!

Films released October 7, 2011

The Ides of March
The last time George Clooney directed a serious film, it got plenty of Oscar nominations. It’s likely that Clooney’s other film, “The Descendants,” which he stars in but does not direct, will get most of the Oscar buzz, and Ryan Gosling may get more praise for “Drive.” This film does feature strong supporting performances from Philip Seymour Hoffman, Paul Giamatti, and Evan Rachel Wood, as well as a good script, but I think it may end up just missing the mark.

Films released July 2011

Larry Crowne (July 1)
Tom Hanks and Julia Roberts were both beloved by Oscar voters in the 1990s, and if anyone was feeling nostalgic, this would be a great way to honor the fact that they’re still working. I think, however, that this film will be relegated to Golden Globe affection, if that.

Harry Potter and the Deathly Hallows – Part 2 (July 15)
All but two of the Harry Potter films have been nominated for at least one Oscar, so this one will probably net a nod or two as well. Best Visual Effects is probably its best bet, but it could also contend for Best Cinematography or Best Art Direction.

Winnie the Pooh (July 15)
This nostalgic reboot of a much-beloved franchise could easily place in the Best Animated Feature race.

Captain America: The First Avenger (July 22)
This well-received superhero film may have some technical success, particularly in the Best Visual effects and possibly Best Sound and Best Sound Editing as well.

Cowboys & Aliens (July 29)
This sci-fi Western might manage a Best Visual Effects nod, but I think that would be it, if it even happens.

Crazy Stupid Love (July 29)
This comedy was a lot of fun, and I’m hopeful that it will score Golden Globe nominations for Steve Carell and Ryan Gosling, but I imagine it won’t be on Oscar voters’ radar.

The Guard (July 29)
This is more wishful thinking, but writer-director John Michael McDonagh’s brother Martin got an Oscar nomination for penning “In Bruges,” so maybe this can happen too. Let’s hope that Brendan Gleeson and Don Cheadle get their due from Golden Globe voters.

Tuesday’s Top Trailer: I Melt With You

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.

I Melt With You – Opening December 9, 2011



I found this trailer on the IMDB home page, and I have to say that what intrigues me most about it is the cast. The trailer presents it as a bit of a frenetic film, focusing heavily on drug usage and alcohol consumption that might lead to confuse the main characters’ memories, so it’s possible that it will prove a disjointed experience. Any story about a group of best friends, however, is bound to have something productive and interesting to offer, and that seems to be the case here. What we have is three American TV stars that either have or have had successful long-running roles on television series, and one breakout British actor with one major notable film to his name and a bright career certainly ahead of him. Thomas Jane seems to be considerably looser here than he is on “Hung,” which should be fun. Rob Lowe, by contrast, is probably a bit more toned-down than his current character on “Parks & Recreation” (not to mention Eddie Nero from “Californication”), and should be great at playing a more subdued and serious person. This is Jeremy Piven’s chance to show the world that he’s capable of being more than just Ari Gold from “Entourage,” which I think he is. Christian McKay was far and away the best part of “Me and Orson Welles,” and I didn’t even recognize him in the trailer until his name came up at the end. I’m not sure I would go out of my way to see this, but given the opportunity, I definitely wouldn’t skip it since it looks like a solid acting piece and a generally engaging story.

NYFF Spotlight: My Week with Marilyn

I have the distinct pleasure this year of covering a few of the films that are being shown at the New York Film Festival. Most of these films do not yet have U.S. release dates, and therefore this can be considered a preview review.

My Week with Marilyn
Directed by Simon Curtis
NYFF Screening October 12 at 7pm
To be released November 4, 2011

A movie about making a movie is bound to be loaded with subtext, and it presents the opportunity for plenty of creative choices and layered meanings. That’s not the case, however, in “My Week with Marilyn,” a chronicle of one aspiring filmmaker’s role as third assistant director on the 1957 film “The Prince and the Showgirl,” in which he worked closely with both Sir Laurence Olivier and Marilyn Monroe. In more than just name, it bears a resemblance to the 2009 release “Me and Orson Welles,” in which a self-described nobody getting the chance to interface regularly with a big star. Colin Clark’s relationship with Marilyn Monroe takes on an entirely different nature, and the title of the film, and a basic knowledge of history, dooms it to an eventual end. Most prominent in the film are effortful performances from Michelle Williams as Marilyn and Kenneth Branagh as Olivier, both concerned with imitation but also with creating dynamic and compelling characters. None of the magic of that filmmaking process, however, translates to this film, save for the casting of Dame Judi Dench as Dame Sybil Thorndike. Eddie Redmayne, incapable of keeping a smile off his face for more than a few seconds, is charming, but his upward journey into the movie business seems a bit devoid of stakes. The story in general is highly predictable and fraught with commonplace circumstances and conversations, even if this is based on true events documented by the real-life Clark. Like his week with Marilyn, this film feels far too fleeting.

C+

NYFF Spotlight: Sodankyla Forever

I have the distinct pleasure this year of covering a few of the films that are being shown at the New York Film Festival. Most of these films do not yet have U.S. release dates, and therefore this can be considered a preview review.

“Sodankyla Forever” is a four-part documentary series that includes interviews with many well-known directors taken from the two-hour discussions that begin each day at the Midnight Sun Film Festival held annually since 1985 in Finland. It’s an astounding collection of conversations that’s rather broad in scope but surprisingly focused in specific subjects.

The first part, “History of a Century,” gets fun when Istvan Szabo burst onscreen and starts talking negatively about censors, to which Francis Ford Coppola adds, “the choice to make films is not in the hands of filmmakers, but in the hands of businessman.” Part two, “The Yearning for the First Cinema Experience,” finds its footing when directors discuss their reactions to “Snow White and the Seven Dwarves” and other memorable Disney films. Victor Erice notes that he realized that people die and that they can kill each other as a result of going to see a horror film, and the importance of critics such as Andre Bazin, potentially equal to directors, is emphasized.

Part three, “Eternal Time,” includes nostalgic discussions of John Ford, Charlie Chaplin, and Alfred Hitchcock. Coppola and Irvin Kershner decry the influence of money-grubbing producers, while Robert Wise discusses the experience of editing Orson Welles. Part four, “Drama of Light,” focuses extensively on Italian actors like Marcelo Mastroianni and Sophia Loren, citing a particularly amusing instance in which Mastroianni was devastated to learn about divorce having been legalized in Italy, so now his promised marriages to many women might not be nullified by his existing marriage. Marlon Brando and Jack Nicholson are obvious interesting topics, and Mils Forman comments that Nicholson was so professional during filming, but the moment they cut, he didn’t know if he was crazy or not. Terry Gilliam provides many of the film’s liveliest moments, talking about actors and using them in ways they wouldn’t usually be utilized, as he did with Bruce Willis in “Twelve Monkeys.”

The series ends with a montage of interviewed filmmakers who have passed away, providing a fitting tribute to their lives, works, and opinions. Overall, this is an exhaustive and occasionally exhausting experience, but there’s a good deal of cinema gold to be mined from within its conversations.

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 Way (mixed bag): This walking road movie starring Martin Sheen and written and directed by his son Emilio Estevez is decently entertaining but otherwise relatively aimless and in no hurry to get anywhere. Now playing at AMC Empire and Loews Kips Bay. Read my review from yesterday.

I missed the press screening of The Ides of March this past week because I was sick, and I’m still hoping to catch the film soon since it looks good. I can live without Real Steel and hope never to have to see Human Centipede 2: Full Sequence.

New to DVD

Fast Five (highly recommended): I think I’ve probably gone overboard with my emphasis on how much I loved this film. A fifth entry in a series shouldn’t be this good, and by that I don’t mean the writing or the acting, but rather the all-out action and the sheer thrill of having so many cast members from the four previous films back for more. I can’t wait for “Fast Six,” or whatever it might be called!

Submarine (highly recommended): The folks over at LBI were kind enough to send me a copy of this June release that I had missed, and I’m very grateful to them for it since I fully enjoyed this quirky and entertaining tale of an oddball teenager trying to resolve his own relationship and his parents’ marriage. It may not be for everyone, but I really liked it.

Jig (recommended): This documentary about Irish jig dancing is plenty interesting for those who find the topic appealing, and there’s no doubt that the dancing itself is quite impressive. Otherwise, it’s a generic competition drama, but whether or not you see it should depend on if the subject matter is a draw.

Now on Netflix Instant Streaming

Some highly recommended classics like Chinatown and Midnight Cowboy, as well as a slew of Woody Allen films, have been recently added to Netflix’s instant offerings.

The Perfect Host (mixed bag): This little indie is all about David Hyde Pierce, best known as Niles from “Frasier,” who delivers a commanding performance in a film that starts out incredibly strong but quickly gets derailed due to too many unlikely twists.

White Irish Drinkers (anti-recommended): This trite, overdone portrait of 1970s Brooklyn is entirely familiar and predictable. Unless you really like Brooklyn accents or the 1970s, skip it.

Movie with Abe: The Way

The Way
Directed by Emilio Estevez
Released October 7, 2011

Emilio Estevez starred in a number of films in the 1980s and 1990s, directing several of them, including “Wisdom,” “Men at Work,” and “The War at Home.” In the past decade, he has maintained a lower profile, directing some television episodes and making select film appearances. In 2006, he wrote and directed “Bobby,” a drama that focused on a number of people present for some reason or another when Robert F. Kennedy was shot. His first film since “Bobby” features a much tighter cast and a far more spiritual journey for one man trying to make a connection with his dead son that he wished he could have made while he was alive.

Estevez tends to cast both himself and his family members in his films, and that’s definitely the case here as well. Estevez takes the role of Daniel, a man who perished at the beginning of a lengthy pilgrimage from France to Spain called El Camino de Santiago, and his real-life father Martin Sheen plays his father Tom. It’s quickly made evident that Daniel and Tom rarely saw eye to eye and had barely kept in touch over recent years. Daniel’s untimely death paves the way for Tom to take a break from his neat, calm life to walk many, many miles on the path his son had planned to take.

“The Way” is a road movie of sorts, though its passengers walk rather than drive, which doesn’t diminish the problems that often arise when it comes to road movies. The places Tom and his companions stop are generally interesting, but the movie tends to lose focus and only jolt back to reality and alertness when it’s time for a pertinent event or conversation to take place. Surprisingly little of the physical hardship of undertaking this laborious journey is indicated, and as a result, it would be hard to confuse this film with the similarly-titled “The Way Back.”

On the road, the people one meets are always the most intriguing part of the journey. Tom’s energy isn’t high, and he isn’t terribly friendly for the first two-thirds of the film. Tom is no Jed Bartlett, and Sheen isn’t putting nearly as much effort into his performance as Tom is into making his trip. Among Tom’s more memorable and lively encounters and companions are Yorick van Wageningen’s boisterous and talkative Joost and James Nesbitt’s writer’s block-afflicted Irishman Jack. Deborah Kara Unger’s Sarah is supposed to be the female heart of the film, but she’s less interesting than the film wants her to be. Ultimately, what’s most compelling is the “way” itself, and it prompts a certain curiosity about this path that the film doesn’t do all that much to fulfill. It’s a fine and pleasant experience, but hardly the powerful and motivational success it should be.

C+

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 Danny Elfman. The Los Angeles native has written a slew of memorable themes over the past twenty-five years. A frequent collaborator with director Tim Burton, their most recent joint effort was “Alice in Wonderland,” for which Elfman composed the mesmerizing and magical theme for Alice. Previously, he wrote the frightening and moody anthem for “The Wolfman, and he provided a fresh introduction to a classic theme for “Terminator Salvation.” He composed sentimental, inspirational main titles for “Milk,” and an exciting musical success montage for “Wanted.” His stylized, action-packed opening titles for “The Kingdom” helped to establish an intense tone, while his music for “Charlie and the Chocolate Factory” was a delightful and exciting introduction to the magic of Willy Wonka. He set the tone for “Big Fish” with a sentimental, sad musical concept of this fantasy universe. His scores for Marvel superhero films “Hulk” and “Spider-Man” were appropriately epic and enthralling. He gave “Chicago” great instrumentals to go with all the songs, and I love the superb, haunting, foreboding score for “Red Dragon.” Elfman wrote the serene, melodical theme for “The Family Man” and the quiet, rhythmic end credits for “A Civil Action.” He also composed the mood-establishing, mysterious theme for “A Simple Plan” and the inspirational and happy score for “Good Will Hunting.” His energetic action score for “Mission Impossible” enhanced an already existing and memorable tune, and he wrote two of the more memorable anthems from recent sci-fi fantasy history: “Men in Black” and “Batman.”

Alice in Wonderland (2010)



The Wolfman (2010)



Terminator Salvation (2009)



Milk (2008)



Wanted (2008)



The Kingdom (2007)



Charlie and the Chocolate Factory (2005)

Not embeddable – click here to listen

Big Fish (2003)


Hulk (2003)



Spider-Man (2002)



Chicago (2002)



Red Dragon (2002)



The Family Man (2000)



A Civil Action (1998)



A Simple Plan (1998)



Good Will Hunting (1997)



Men in Black (1997)



Mission: Impossible (1996)



Batman (1989)

Wednesday Oscar Watch

Welcome to a newly-restarted feature here at Movies with Abe, Wednesday Oscar Watch with Abe. It’s a bit early to be able to accurately predict the eventual Oscar nominees, but around this time, plenty of likely contenders are being released. I’ll be looking every Wednesday at the awards chances for all of the films released the previous week. Additionally, to make up for lost time, I’ll also be taking a look at the films released earlier in the year, one or two months at a time. Chime in with your thoughts on the Oscar chances for these films in the comments section. Also, if I’ve missed any films from the previous months, please say so!

Films released September 30th, 2011

Take Shelter
This film may contend for two of its actors, though I’d argue that it deserves a cinematography or editing nomination as well. Michael Shannon received an Oscar nomination for a far less prominent part in “Revolutionary Road,” so he’s definitely a dark horse for his portrayal of a man losing his grip on reality. This is Jessica Chastain’s big year, and she’ll definitely end up in the supporting race here, where she may compete against herself in “The Help” and “The Tree of Life.”

Films released June 2011

Beginners (June 3)
It took the only Oscar nominee in this cast over fifty years in the business to earn his first nomination, but Christopher Plummer may well be in line for a second if voters recognize his alternately warm and heartbreaking performance is remembered come Oscar time. I’d hope that Ewan McGregor, Mélanie Laurent, and screenwriter Mike Mills could also drum up some favor, but I think that’s asking too much.

X-Men: First Class (June 3)
Don’t count on future Oscar nominees Michael Fassbender and James McAvoy or last year’s nominee Jennifer Lawrence earning accolades for this film. Instead, check it off in the technical categories, like Best Visual Effects, Best Sound, Best Sound Editing, and maybe Best Makeup as well.

Super 8 (June 10)
This summer, this looked like a surefire hit, but I think it will be long forgotten by the time Oscar season swings into full force. That’s not to say that it won’t still earn a decent nominations total, likely appearing in the Best Visual Effects, Best Sound, and Best Sound Editing categories, in addition to possibly making it into Best Original Score, Best Makeup, Best Film Editing, Best Art Direction, and Best Cinematography as well.

Cars 2 (June 24)
I can’t understand why this sequel was so seemingly poorly-received. It’s still possible that it will get a Best Animated Feature nomination, and if there ends up being an eligible original song in there, it’s a good bet too.

Tuesday’s Top Trailer: Norman

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.

Norman – Opening October 21, 2011



I caught this trailer on the IMDB home page, and I’m very much looking forward to seeing what this group of TV-bred actors produces. Dan Byrd got it right on his third try as a series regular with ABC’s “Cougar Town,” and he also appeared as Olive’s first fake conquest in “Easy A.” It makes sense that he’d have a shot at a lead role, and his demeanor reminds me of a cross between Anton Yelchin in “Charlie Bartlett” and Michael Angarano in “Gentlemen Broncos.” Emily VanCamp is currently acting all evil on ABC’s just-begun “Revenge,” and I’m eager the see her take on one of her first movie parts as what seems to be a fairly normal teenager, rather than someone with immense father issues, as tends to be the case. Speaking of fathers, I’m thrilled to see Richard Jenkins in anything, especially as a dad, mainly because I always hark back to “Six Feet Under” whenever I see him on screen. I’m also happy to see Adam Goldberg in a supporting role. This movie looks just eccentric enough to be interesting, with a coherent story that’s not too artsy or far off to be comprehended. Both director Jonathan Segal and writer Talton Wingate are relatively new to the world of feature filmmaking, so I think this could be a great independent breakout hit.

Home Video with Abe: Submarine

Submarine
Directed by Richard Ayoade
Released June 3, 2011

Arriving on DVD this Tuesday is the spectacularly quirky and energetic comedy “Submarine,” which segments young Oliver Tate’s life into several chapters as he navigates the intricacies of his world. Oliver’s perspective is absolutely fascinating – he imagines his own shockingly well-attended funeral in the opening moments of the film, and frequently revisits situations as if a film crew was lensing them, describing, often aloud to other characters, how a specific scene would play out if his life were a movie. Both Oliver as a person and “Submarine” as a film are equally interesting, and this film is one delightful take on teenage angst.

One of the reasons “Submarine” succeeds so brilliantly is that it gives Oliver complete license to tell his own story, even introducing himself in a non-diegetic written opening title, begging Americans to watch and appreciate his important Welsh story. He quickly earns the attention he demands, as he describes his life at the moment and his situation, discussing the complex journey of trying to figure out what kind of person he is, citing having worn hats as a passé phase. Oliver’s idea of life is how it might be in a film, and even though it doesn’t tend to work out that way, it doesn’t mean that Oliver can’t imagine it as such before reality hits.

Oliver’s actions are very much defined by those around him. Early on in the film, he compromises his morals and becomes a bully to appeal to his longtime crush, Jordana Bevan. Jordana sticks out like a sore thumb in the grey background with her red coat, and her attitude is equally anti-conformist. When Oliver tries to be romantic, she outright calls him a serial killer, and she has him write down reasons that she should sleep with him when he invites her over to spend the evening together. While his unconventional romance with Jordana brews, Oliver also monitors his parents’ sex life and takes action to ensure that another man doesn’t steal away his mother.

Each member of the cast in “Submarine” is perfectly suited for their part. Craig Roberts is wide-eyed and appropriately subdued and awkward as Oliver. Yasmin Paige displays just the right amount of teen rebelliousness as Jordana. Noah Taylor and Sally Hawkins play Oliver’s parents as flat, energy-less people, making Oliver’s need to create a fantasy world for himself all the more understandable, and Paddy Considine has a fun small role as Oliver’s mother’s guru suitor. This is a film where the ensemble is well-matched with a superb script by Richard Ayoade based on Joe Dunthorne’s 2008 novel, enhanced by excellent cinematography and photography that makes Oliver’s life all the more intensely watchable.

B+

Movie with Abe: Tucker & Dale vs. Evil

Tucker & Dale vs. Evil
Directed by Eli Craig
Released September 30, 2011

Any good buddy movie needs, more than anything else, a well-paired duo. Tyler Labine and Alan Tudyk both have their roots in cult sci-fi television shows, with the former appearing on both “Invasion” and “Reaper” and the latter having been a crucial cast member on the eternally beloved “Firefly.” Since then, neither has found a stable gig, and “Tucker & Dale vs. Evil” presents a highly productive use of their talents. It’s hardly your conventional buddy movie, offering up a hilarious parody of horror movies by pegging its title characters as the unintentional villains when that couldn’t be farther from the truth.

It’s often hard to make fun of something without mimicking it, which is to say that some horror comedies can be pretty darn scary. In “Tucker & Dale vs. Evil,” the extent of violence might be frightening, but not the actual sequence of events and the revelation of them. Tucker and Dale are both rather dim-witted and unable to function terribly well in social situations, and it’s no surprise that they are assumed to be dangerous and potentially murderous by the group of impossibly dumb college students who encounter them as they head out to their West Virginia vacation cabin.

What ensues is a comedy of errors of epic and disastrous proportions. Those who find excessive violence unfunny and offensive will not be pleased, but those less opposed will be in for an enthralling and hilarious ride. The construction of the story, in which the college kids, as Tucker and Dale continually refer to them, continually manage to end their lives, one by one, in ways that seem to implicate the buddies in their deaths, is actually quite clever, and nothing else if not thoroughly entertaining. The appalled reactions from Tucker and Dale seal the deal, providing an entirely amusing experience.

Labine and Tudyk are great stars to have these parts, and together, they make a great pair. There are familiar faces among the college kids, including Brandon Jay McLaren, who recently appeared on “The Killing,” but the true breakout is Katrina Bowden, who plays Allison, the only semi-intelligent member of the group. Bowden, who many will know as the air-headed Cerie from “30 Rock,” is actually quite skilled at balancing comedy with sexuality, and she plays the part with just the right energy. Even if the story takes a turn for the more ridiculous in its third act, it never shows any signs of slowing down, providing a great hillbilly ride with plenty of laugh-out-loud moments.

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

Take Shelter (highly recommended): This dramatic thriller features a spectacular lead performance from Michael Shannon as a man warring with his own sanity as he hallucinates visions of terrible storms. Both the script and the visual representations of his imagination are equally strong, and the film is unsettling, highly stressful, and extremely effective. Now playing at the Angelika and Lincoln Plaza. Read my review from yesterday.

Tucker & Dale vs. Evil (recommended): This horror comedy is extremely funny, featuring Tyler Labine and Alan Tudyk as best friends who end up with a slew of college kids determined to put themselves in danger thinking that they’re deranged murderers. It’s not for the faint of heart in terms of gore, but for everyone else, it’s absolutely hilarious. Now playing at the Village East Cinema. My review will be up tomorrow.

My Joy (mixed bag): I saw this film just over a year ago at last year’s New York Film Festival, and I remember it as an impossibly bleak, meandering film that just gets more and more demoralizing as it goes on through its two-hour-plus runtime. The production values are better than the film itself, and otherwise this is better saved for truly patient foreign film buffs. Now playing at the Cinema Village. Check out my capsule review from NYFF last year.

I really want to see the new dramedy 50/50 with Joseph Gordon-Levitt and Seth Rogen, and though it’s likely good, Dream House looks downright terrifying.

New to DVD

The Ledge (mixed bag): This movie would be more effective as a metaphor or a full-length book about the debate between evolution and creationism, and what it is instead is an uneven thriller with a ticking clock and underdeveloped characters whose lives, presented in some other vein, might be far more interesting and compelling.

Now on Netflix Instant Streaming

Biutiful (recommended): This devastating Oscar nominee for Best Foreign Film features an outstanding lead performance from Javier Bardem. If you’re not in the mood to be depressed, don’t watch this one, but otherwise, see it as soon as you can. It’s nearly two and a half hours of heart-wrenching drama.