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My DVDs: http://unborn-dreams.dvdaf.com/owned
Go. Watch. Laugh. Love.
Nationality: Caucasian. Irish, English & German mainly. Scottish and Welsh are kinda abundant as well.
Aspiring Writer & Film Director
Caution: I am awesome.
Some Of My Favorite Film Quotes:
I'm mad as hell, and I'm not going to take this anymore! - Howard Beale in Network
Together we will live forever. - Isabel in The Fountain
All these years, all these memories, there was you. You pull me through time. - Tom Verde in The Fountain
You were the one, you were the only one, and you were amazing. - Gia Carangi in Gia
There is an idea of a Patrick Bateman; some kind of abstraction. But there is no real me: only an entity, something illusory. And though I can hide my cold gaze, and you can shake my hand and feel flesh gripping yours and maybe you can even sense our lifestyles are probably comparable... I simply am not there. - Patrick Bateman in American Psycho
I'm sweating like a f-cking rapist. - Bateman in London
You're aware you're having a conversation with a decapitated dead, right? - Ben in The Signal
This calls for a radical reassesment of all the facts. - Lewis Denton in The Signal
Julien Jeanvier: You know... there were lots of things I was game for that you never said. Sophie Kowalski: Like? Julien Jeanvier: Eating ants... insulting the unemployed... loving you like crazy. in Jeux D' Enfants (Love Me If You Dare)
Here is the deepest secret nobody knows. Here is the root of the root and the bud of the bud and the sky of the sky of a tree called life; which grows higher than soul can hope or mind can hide. And this is the wonder that's keeping the stars apart... I carry your heart, I carry it in my heart. - Dan in Candy
If you have a milkshake, and I have a milkshake, and I have a straw- There it is, that's a straw, you see- my straw reaches across the room, and starts to drink your milkshake, I drink your... milkshake! I drink it up! - Daniel Plainview in There Will Be Blood
What's the most you've ever lost on a coin toss? - Anton Chigurh in No Country For Old Men
I'm a pimp... and pimps don't commit suicide. - Boxer Santaros in Southland Tales
These days, they want to be criminals more than they want to commit crime. - Mr. Longbaugh in The Way Of The Gun
Laugh and the world laughs with you. Weep and you weep alone. - Oh Dae-su in Oldboy
You're money, baby! - Trent in Swingers
People call me the Bry man; I'm the stylish one of the group. I know what you're asking yourself and the answer is yes. I have a nick name for my penis. It's called the Octagon, but I also nick named my testes - my left one is James Westfall and my right one is Doctor Kenneth Noisewater. You ladies play your cards right you just might get to meet the whole gang. - Brain Fantana in Anchorman: The Legend Of Ron Burguny
I thought that Mr. Clutter was a very nice gentleman. I thought so right up to the moment that I cut his throat. Perry Smith in Capote
Some Of My Favorite Scenes:
I'm Gonna Die - The Fountain
Why Wont You Work For NASA? - Good Will Hunting
Bar Scene - Good Will Hunting
The Dare Of Dares - Jeux D' Enfants(Love Me If You Dare)
Those We Don't Speak Of - The Village
Do You Bite Your Thumb At Us, Sir? - William Shakespeare's Romeo + Juliet
Sales Motivation - Glengarry Glen Ross
Group Interview - Boiler Room
*beep* You - 25th Hour
Once Upon A Time... - Candy
All These Things That I've Done - Southland Tales
A Dance Of Defiance - Billy Elliot
Corridor Fight - Oldboy
The Orange Man - Unbreakable
Top Ten Of Each Decade:
1. A Clockwork Orange (1971, Kubrick)
2. One Flew Over The Cuckoo's Nest (1975, Forman)
3. Network (1976, Lumet)
4. The Texas Chainsaw Massacre (1974, Hooper)
5. Alien (1979, Scott)
6. Star Wars (1977, Lucas)
7. Lenny (1974, Fosse)
8. Rocky (1976, Avildsen)
9. Jaws (1975, Spielberg)
10. Halloween (1978, Carpenter)
1. Raging Bull (1980, Scorsese)
2. The Shining (1980, Kubrick
3. Star Wars - Episode V: The Empire Strikes Back (1980, Kershner)
4. The Color Of Money (1986, Scorsese)
5. The Princess Bride (1987, Reiner)
6. Full Metal Jacket (1987, Kubrick)
7. Aliens (1986, Cameron)
8. The King Of Comedy (1983, Scorsese)
9. Akira (1988, Ohtomo)
10. The Goonies (1985, Donner)
1. Pulp Fiction (1994, Tarantino)
2. Reservoir Dogs (1992, Tarantino)
3. Before Sunset (1995, Linklater)
4. Good Will Hunting (1997, Van Sant)
5. Swingers (1996, Liman)
6. William Shakespeare's Romeo + Juliet (1996, Luhrmann)
7. Fight Club (1999, Fincher)
8. Clean, Shaven (1995, Kerrigan)
- 9. Gia (1998, Cristofer) (TV) -
10. Leon: The Professional (1994, Besson)
1. The Fountain (2006, Aronofsky)
2. Jeux d' enfants/Love Me If You Dare (2003, Samuell)
3. The Departed (2006, Scorsese)
4. Black Swan (2010, Aronofsky)
5. Oldboy (2005, Park)
6. There Will Be Blood (2007, Anderson)
7. Before Sunset (2004, Linklater)
8. The Dark Knight (2008, Nolan)
9. The Assassination Of Jesse James By The Coward Robert Ford (2007, Dominik)
10. Anchorman: The Legend Of Ron Burgundy (2004, McKay)
Top 10 Current Favorite TV Shows:
1. The Newsroom
2. Game Of Thrones
5. The Walking Dead
6. Happy Endings
9. The Office (US)
10. Parks And Recreation
Top 10 Favorite TV Shows All Time:
4. The Office (US)
5. Arrested Development
8. Game Of Thrones
9. Saturday Night Live
10. X-Men: The Animated Series
Robert De Niro
Benicio Del Toro
Evan Rachel Wood
Rachel Leigh Cook
One through five being the nominees with number one being the winner, and six through ten just rounding out the Top Ten.
One through five being the nominees with number one being the winner, and six through ten just rounding out the Top Ten and the Top Twenty after that.
One through five being the nominees with number one being the winner.
One through five being the nominees with number one being the winner.
A visual beauty with equally beautiful performances.
Playing with tropes and flirting with genres Spring dances around the edges of it's own definition. Blending elements of mystery, thriller, horror, coming-of-age, and romance Justin Benson and Aaron Moorhead weave a fantastical tale of love and the mysteries in life. Giving the viewer just enough to hook us in they slowly reveal a beautiful and oddly charming relationship while keeping a brooding and sinister undertone throughout. Gorgeously shot Spring pops with vibrance showcasing it's alluring location in the sun. When the light dims in the night Spring comes alive. In these darkened morbid hours the central relationship of the story comes through.
Lou Taylor Pucci and Nadia Hilker own the screen with ease. If you were to tell me that they were a real life couple I would believe it. Their chemistry is electric and they play as if they have known each other their whole lives. Spring lives and dies by their relationship and they do not disappoint. Pucci plays Evan with a reserved edge. A man who is suffering, but has no one to confide in. His internal pain is easily felt and aptly conveyed through Pucci's eyes. He embodies the role of a wounded man seeking comfort. Hilker's mysterious and enticing Louise, seemingly, a dream woman. Striking beauty met with excellent wit and high intelligence made all the more enchanting by the mystery that surrounds her. Hilker makes it very easy for the view to quickly fall for Louise just as Pucci's Evan does. Just as much as he wants to experience more of her, we do as well. Louise is likewise intrigued by Evan and his apparent impulsiveness to up and leave his own country on a moments notice. Just as she wants to find out what it is he is seeking, we do as well.
The special effects fit the tone of Spring well. Creative and original while still being a bit of a throwback to classic horror. By being used only sporadically their effectiveness is even stronger. Spring's is edited brilliantly. While flowing along at a rather slow pace Spring never feels as though it wanders or strays. Rather it takes a second to watch the beauty of the story as it unfolds. Benson and Moorhead crafted quite the film in Spring. A mesmerizing and haunting portrait.
Tension. Mystery. Intrigue. Confusion.
Tension. Mystery. Intrigue. Confusion.
That would be an apt tagline for Faults. Riley Stearns has crafted an ambiguous and effective low-key thriller that will be sure to turn a few heads. I will say right off the bat that this film will be divisive, and I understand why. I see this more-so joining the ranks of a Sound Of My Voice/Martha Marcy May Marlene as an oft-misjudged work than a Spring Breakers/Under The Skin love it or hate it experiment. I found a similar feel to all of those films and that feeling resides in Faults for me. This film makes you feel some sort of way. There is something there underneath the surface that is almost inexplicable. The question is whether it is off putting or not.
Leland Orser's Ansel Roth is a pathetic shell of a person. It isn't entirely clear the kind of man he used to be, but it is clear that he is no longer that person. He struggles within himself to live with his past, but he is unable to leave it there. Something grinds on his every thought. Pushing him down further and further into his own abyss. He is not a good man. He is a bottom feeder. A lowlife scavenger looking out only for himself. His failures in life control him. Is there any redemption left for him or his is ulterior motive his only concern? Leland Orser lends a sympathetic air to Ansel making the viewer want to see him be able to piece himself back together. He shines in his moments of weakness and really pulls at the strings of your heart. This is a character that could've easily been unlikeable, but Orser straddles the line marvelously giving us a fully rounded person who may not have been the best he could be, but there may still be hope for him yet.
Mary Elizabeth Winstead is stellar. From top to bottom she is in top form. This is a performance that is not to be missed this year. I suspect she will near the top of quite a few year end lists. Winstead's Claire is a mysterious subject. She is fragile, clearly conflicted, yet strong and seemingly in control of herself. Winstead brilliantly portrays all of these traits simultaneously putting the viewer through a whirlwind of emotions. She reels you in and never lets go. He presence is captivating and impossible to look away from. There is something dark unsaid in her past. Lurking just behind her eyes. She intrigues with her philosophies, but confuses with her actions. An utterly compelling and fascinating character. Winstead deserves recognition for this towering achievement.
Faults slithers along with a seedy and deplorable undercurrent. Something is not right here. Every scene aches with a darkness. A dirty feeling creeps into your bones. Riley Stearns frames this with the expertise of a well seasoned director. He proper laces each scene with tension. Giving the viewer more and more as each minute passes all while keeping a mysterious vibe in the air. Questions seem to be unanswered, but upon pondering for a few moments once the madness ends the answers do become present. Faults is a thriller for the thinking-man and for this viewer it delivered in every way.
We Need to Talk About Kevin (2011)
Experience the journey on your own.
This one is a little more difficult to write about. I don't want to say too much, I don't want to say anything really, because going through the journey with Swinton's Eva is what it's all about. A visceral drama that teeters on being a psychological thriller with the tones of a horror film. Everything about it feels so surreal but at once so honest. It's not an easy experience, but one that should definitely be had. Swinton deserves all of the praise she's gotten so far and so much more. It will be a travesty if the Academy passes on this. It ended almost an hour ago and it's still flooding my mind. One that stays with you for sure. Just watch it, then we'll talk.
A remake worth watching.
I sat down to write a review about this film and I couldn't. Even as I sit here now, hours later, I still can't. I could write up six paragraphs gushing over the film but that's all it would be. No matter what angle I try to come at the review at all I can think about is just how amazing the film was. I've written plenty of reviews for films I consider masterpieces wherein the only thing I do is praise the film, but for some reason it's not happening. I mean, I just can't. That's how good this film is. It's so good, and I loved it so much, that I can't put it into words. 2011 is the first year where I want to have my number one of the year be a tie. I didn't think anything could touch Drive, but this does. I loved everything about it. When I first watched the Swedish version all I could think after it was over was that David Fincher would've been the perfect man to direct it. Low and behold my wish was granted and did he ever deliver. It's not just him either everyone delivers. From the acting to the screenplay to the editing to the score to the sound mixing to the art direction to the cinematography everything. Just everything is exactly how it should be. The best part though? Rooney Mara. She gives what is my favorite performance of the year. Like it or not this one will be iconic.
The story of a down trodden boxer, Rocky, who gets a shot at the Champion, Apollo Creed, due to his original challenger going down with an injury. We open with a gritty shot of a boxing match in a worn down arena. Rocky is getting battered and doesn't seem to much care or even be trying. The crowd heckles and berates him with jeers and shouts about him being a bum. Rocky takes a good hit and then unloads on his opponent in an instant knocking him out. This is Rocky. A man who has the tools and the capabilities to be somebody, but is content with doing just enough to get by until he really has to bring it.
We go from this to seeing Rocky around town conversing with people, trying to give advice and just generally being a good human being. He works as muscle on the side for a local big shot. Even when trying to collect money from a local lowlife Rocky doesn't have it in him to hurt the guy in order to get the message across. Rocky is a good person. Yes, we get it. The film spends the better part of it's first hour shoving this point down the viewer's throat. It all feels so very forced. Rocky stops by a pet store every day to tell a joke to a woman, Adrian, he is infatuated with who doesn't seem to be giving him the time of day. He is confused by this and by her. All he knows is that there is something about her. Something more to her and he is drawn to her.
It isn't until Rocky goes on a date with Adrian that we are finally able to connect with the kindness Rocky has residing in him. After taking her out to the ice rink they go back to Rocky's place. He convinces her to come inside. Once inside they share a very sweet and tender moment. Rocky's vulnerability shows through as does his love for Adrian and it is a beautiful moment. This is followed by Rocky going to gym he frequents to find out someone is waiting for him. Here Rocky has quite an intense confrontation with the gym's owner Mickey. Rocky catches flak from everybody and doesn't seem to get why. Mickey is more than willing to let Rocky in on the fact that he has the tools to be a Champion, to be somebody but instead of trying and reaching for that goal he just floats around and lives day to day doing what is necessary to survive. For someone with so much potential it's quite aggravating to see them waste it.
Rocky is a simpleton. An average minded guy who isn't as smart as the average person. A man who doesn't expect opportunities in life to just present themselves. A man who, even though talented, doesn't fully believe in himself. During a meeting in which Rocky thinks he's going to be asked to spar with the Champion he finds out they want him to fight the Champion. When he is offered the chance at the title, the opportunity Rocky has been waiting his whole life for, at first Rocky declines. On the surface Rocky once again seems content to just be. Though it is something deeper. He's nervous. He is afraid of losing in front of the whole world. He's afraid of getting that one shot and failing, of really being a bum.
Talia Shire's Adrian is a shy and awkward woman, but one that loves and accepts Rocky for who he is. She is the crutch that holds him up and the foundation of his motivation. Shire plays her with an intricate vulnerability. She makes her connectable to the audience. Burgess Meredith's Mickey is a manager who, in Rocky, has his one last chance at the big time. Something he was never able to capitalize on. Meredith portrayals Mickey with such anguish and regret that it breaks down the viewer. He truly makes the character come to life. Burt Young's Paulie is a conflicted drunk who just can't get his act together. He loves Rocky as he is and doesn't know how to deal with the sudden attention and popularity he receives. It hurts him that Rocky seems to shun him and he shows his hurt in the only way he knows how by lashing out and pushing Rocky and his sister, Adrian, away. Young's performance is a heartbreaking one.
Rocky's problem lies in it's pacing which is the fault of the editing. The first hour doesn't contain enough to fill the hour and the second hour contains too much. About 15 minutes could've easily been trimmed from the first hour. It's strengths are it's performances and screenplay. Stallone, Shire, Meredith and Young all shine and were deserving of awards recognition. Rocky is a film that starts off slow, but finishes with a bang. The direction is nice, but nothing to drool over. Rocky is a good film and is deserving of it's Best Picture nomination. But Rocky has the disadvantage of being released in a year that featured Network. A film that is considered by many to be one of the best ever made. Because of that Rocky will never be fully accepted as a deserving BP winner and over Network it's not.
At first glance Rocky is the story of an underdog boxer, but when looked at deeper Rocky is the examination of a man who never had anything, was never taken seriously and was never given any opportunities and how he deals with finally getting that one shot. Sylvester Stallone gives a career best performance. One that was very worthy of the nomination he received.
The fomula pays off.
Sometimes the formula pays off. This is one of those times. A true story of two struggling attorneys set out to change the medical world. Gripping until the final moments. Despite being a bit predictable I found myself sitting up right in my recliner for it's duration. At it's core it is a powerful story of greed and corruption. One that should not be missed.
Chris Evans delivers what is his most moving performance to date. He stars as Mike Weiss a high performing drug addict. Despite his flaws I found myself smiling during his drug fueled rants and rooting for him as he fell deeper into his addictions. He lights up the screen every time he's on it and I never once wanted him to be in the background. Thankfully, he is not there often. Being someone who grew up around drugs and that sort of lifestyle I found his representation to be quite accurate of a driven man who just can't kick the habit. I've said it before and I'll say it again, Chris Evans has it.
Everything about this film, from top to bottom, excelled for me. The direction and screenplay are both tight, but make no mistake about it this is the Chris Evans show and he delivers in a major way.
A sweet journey.
Beginners is a very sweet story about wanting love, finding love then not really knowing what to do once you find it. McGregor stars as Oliver a co-dependent man who's just recently lost his father and his mother not long before him. He spends his days with his best friend Author, his dog, and his art. Through his art he tries to display how he's feeling and how to cope with his loss. Right after his mother's death his father, Plummer as Hal in a joyous and lovely performance, comes out. It seems as though for once Hal is able to enjoy his life to it's fullest extent. Something that Oliver is not familiar with. Hal enjoys them to his last. We see flashbacks to Oliver's childhood one that was mostly spent with his mother. She is an odd woman who likes to stand out. She wants to be noticed and felt and often does so in an unusual manner.
Anna, in a scene stealing portrayal by Laurent, enters into Oliver's life during a party. At once he doesn't know how to react to her but for some reason he is extremely drawn to her. She is odd and out of place. Just as his mother was. Though unlike his mother she does not make herself that way for attention. She simply just is. She is very reminiscent of his mother, but in a way that more suits him. I was at once in love with Laurent's Anna and in love with the chemistry Anna and Oliver share. It is what drives the film and makes you want more of it. Do yourself a favor and have a great time with these characters. A very sweet and moving story.
Spring Breakers (2012)
This is Spring break. This is the dream.
I wouldn't recommend reading this unless you've seen the film.
The bright sun glistens off the bright blue water as the warm sand squishes between your toes. Laughter and joyful screams fill the air. The beer funnel is full again and you're up next. "Woooo!" echoes throughout the beach. Smiles surround you and everyone is inviting. This is Spring break. This is the dream. Though just as all dreams do it is sure to come to an abrupt end. Bright lights and neon swim wear can only last so long before the harsh world comes bounding upon you. How far would you go to make it last? What would you be willing to do in order to have spring break forever? These are just a few of the questions Harmony Korine posits in his newest effort Spring Breakers. A study on the youth culture today and how amoral and corrupt just having fun can become.
Korine's nonlinear editing is a thing of genius here and really drives the film on. The constant foreshadowing and hints of the future asure that the tension never lets up and the view is never able to be at ease. Something isn't right here. Even through all the partying and seeming happiness something darker lies just beneath the surface. It will not be all laughter and smiles. Something will go very wrong. This feeling is met with truth as the film unfolds. Korine uses erratic dubstep music and quick cuts to illustrate the ever decomposing attention span of todays youth, then slowly eases the film into a more lingering and abstract statement on the moral decay of society at large.
Selena Gomez and Rachel Korine do well with what they have to work with. Vanessa Hudgens, Ashley Benson and James Franco however knock their parts out of the park. In particular Hudgens and Fanco.
Hudgens' Candy is so disconnected from reality that when a friend who she's known since kindergarten is fearful for their lives and wants to go back home her first instinct is to roll her eyes. Her constant finger gun shooting is very telling. She wants to "have fun" and do whatever she wants no matter the cost. Life to her is a video game. A movie. Drugs, alcohol, mindless robbing, unlimited money and no consequences. Sound familiar? Almost like a description for the newest Grand Theft Auto video game. This is her perception. This is how she makes the world around her. This is her reality. A girl making out with another girl and dancing raunchy is considered edgy and when she sees this happening at a party her reaction is to gyrate around and scream in joy. Something that many girls would do as well, but this is only a small glimpse into her psyche. It's not the act that excites her it is the fact that it is edgy and considered by some to be wrong. Money excites her because of the power it brings with it. She, several times, becomes aroused in the presence of money. Of all the girls she is the one who seems to be the first and most accepting of Alien and his lifestyle. After Cotty has been shot and tells Brit and Candy that spring break is over Candy again seems to not care. Just as Faith wanting to go home this only interrupts Candy's fun. She just wants this annoyance to be over. Get back to the fun stuff. Get back to being bad.
"I always wanted to be bad." A statement made by Franco's Alien that completely defines his character. Guns, drugs, money and power are his American Dream. Alien's idea of having fun is robbing spring breakers and blowing tons of money at strip clubs. He is gangster rap fully realized and defined. As he tells the girls he is a hustler and a rapper. It is quite important that he lists them in that order. It's as if being a rapper comes with the territory of being a hustler and plays second fiddle to it. The idea that all gangsters and hustlers are also rappers means he has to be one as well. Music is not his first love nor why he does this. He just wants to be bad and rappers are "bad" so he must do it. Scarface is the ultimate bad guy so it plays on repeat in his house. He surrounds himself with what he sees as bad. The necessities of being a bad guy. Just as when he is explaining his back story he says it's the same old sob story. It doesn't matter. All that matters is being the baddest guy he can be. There doesn't have to be a reason why other than he simply wants to be. This is his ultimate downfall.
Spring Breakers is worth seeing for Franco's performance alone. Hudgens performance, Harmony Korine's brilliant direction and hyper sensual style are just the icing on the cake. After seeing this for the second time it only got better. I expect the third time will only reveal more about this masterwork.
Another Earth (2011)
Incomplete until the last shot.
Incomplete until the last shot. Something that can be said about literally every film ever made, though it is rarely ever as crucial as it is here. I found myself watching this with amazement for several reasons; it's beauty, it's complexity and it's seemingly hollowness. How those three things could ever be coupled together is a mystery to me. I wondered how it was possible this was my take on the film as I watched it. It perplexed me, and it continued to right down to the final shot. Something was missing throughout it's entirety and it bothered me. I loved the camera work, the performances, the screenplay, all of it and yet somehow something felt missing. As beautiful as it all looked it felt hollow. I couldn't understand why.
Brit Marling fronts what is essentially a two person show along with William Mapother in a very honest and daring way. She plays Rhoda Williams in such a disconnected manner that I was wasn't able to get a full grasp on her for a good part of the film. She sees, hears and knows the world around her but she never really feels any of it. A starling position to be in. One that she put me in. She is a troubled individual dealing with a terrible incident that occurred to her. One that she feels she is the cause of. She was disconnected from her world and as such I felt disconnected from her. Something that, upon reflection, was perfect. That is until her encounters with William Mapother's John Burrow who is also dealing with a life altering tragedy. Mapother's John Burrow is a lost man. A man who used to know his way until one fateful night. Stricken with grief over a tragic event he has unraveled. He doesn't seem to care anymore. He spends his days and nights watching TV and drinking heavily. He doesn't appear to leave the house much nor does he appear to have any real desire to. He, like Rhoda, has nothing to live for. It is because of this shared state of disconnection they are able connect. Together they find a sort of medium with each other. Marling's Rhoda starts to feel again. Starts to feel as though she has something to live for. Something that balances her existence out. It is then that we are finally able to connect to her and it is a moving experience.
Mike Cahill and Brit Marling wrote what is my favorite screenplay of the year so far. Everything about this extraordinary story feels real and true. Even amidst the back drop of the finding of another planet that seems to be exactly like ours the film never feels like something that isn't a documentary. Cahill's direction does nothing but solidify and back this up. Marling's Rhoda and Mapother's Burrows feel like real people not characters being portrayed by actors. It never feels as though Cahill is directing a string of events, but rather that he happened to be the one present when they took place. A feat very few films have ever managed to achieve.
The ending is an astounding one. In a sense everything comes full circle. The last shot lingers in the mind long after it cuts from the screen and the credits begin to roll. I sat amazed and bewildered starring at my TV screen watching the white letters roll up their black, empty backdrop until they were gone. I pondered what I had just seen. It was undoubtedly very well acted, directed and written but did I like it? Why had it felt so hollow? Was it lacking something, and if so what is it? I thought about it and thought about it. Nothing was coming to me. I couldn't point out one thing that I didn't like. I couldn't point out one thing that I thought should've been changed or done differently. I then realized that the film had cut off and I was just staring at a blank TV screen. My reflection staring back at me. It was then that I understood why it felt hollow. It was because while watching I didn't see the whole picture. I couldn't. It was only after that last shot lingered in my mind, and everything had stopped, did I see the beauty of it all.
Up in the Air (2009)
One of the best of the year.
Up In The Air My Rating: 10/10.
Up In The Air is a film that celebrates life, the joys it brings and the happiness that can be achieved at the oddest times from the oddest of events. A rare film that evaluates life from different view points and the struggles it brings. George Clooney stars as Ryan Bingham a man, no one with a career, wants to ever meet. His job? He works for a company that hires him out to other companies to fire their employees. No ones dream job except maybe for Ryan Bingham himself. He is on road, so the speak, two hundred and fifty days a year. He enjoys his non-committal life. No strings attached for Mr. Bingham. That is until he encounters a woman, Vera Farmiga, who travels just as much as he and could possibly be the woman of his dreams. He experiences feelings and times with her that he hasn't in quite some time. Along the way he also meets a new employee of his company, Anna Kendrick, who is looking to revolutionize the way his business works.
Anna Kendrick plays Natalie Keener with the elegance of a veteran actress. It is nothing less than a star making performance which steps her out from her Twilight shadow, and shows that she can in fact play the game. Her stern, hard nosed and focused portrayal of Natalie is highlight of the supporting cast. There will be great things in this actresses future provided she makes the right choices.
Vera Farmiga shows through her character, Alex Goran, what a true talent she is as well. She shines in her scenes and has chemistry to die for with Clooney. She is perhaps the most mysterious character of all leaving everything about her to the imagination, and leaving the viewer always wanting more of her. It isn't until the third act that we find out who she truly is and why she lives the same kind of life as Clooney's Bingham.
Which brings us to Ryan Bingham. Clooney's range of emotions and depth is something yet seen in his illustrious career. Make no mistake about it, this is the highlight of his career thus far. His eyes tell the story of a lost man who has no clue how lost he really is. In the end it is his journey we don't want to see end. He is the reason we keep watching and hoping for a running time that never ceases.
Jason Reitman's direction shows his true promise and the maturity he is developing as an artist. He never comes in too close nor does he stray too far back. His lens is always at just the right angle. His visual style is really coming into it's own here. I wait, excitedly, at what his future endeavors hold.
Up In The Air is a film that can not be missed by anyone. A bright star in a wonderful year for film. Everything about it excels with brilliance. The entire supporting cast is spot on and it shows to be one of the best ensembles of the decade. A fitting film in this years Oscar race that deserves every bit of acclaim and all the accolades it is sure to see.