Although pretty as a postcard, Water for Elephants (C-) is as formulaic as a tale can be that blends animal cruelty and forbidden love. At pachyderm pace, this three-ring melodrama fails to ring true. Robert Pattinson gives an inert performance. Witherspoon and Waltz dial it in as the other stock characters in the most mediocre show on earth.
All posts by Stephen Michael Brown
“Bridesmaids” Uproariously Funny
Paul Feig’s Bridesmaids (B+) is a gut-busting comedy about women behaving badly. Kristen Wiig and Melissa McCarthy are standouts in this ensemble about ladies going a little nuts on the path to a friend’s wedding. Gross-out gags, witty lines and sociological commentary aplenty fills up the screen for this shrewdly honest and very adult movie.
“Captain America: The First Avenger” Fun, Old-Fashioned
Joe Johnston’s Captain America: The First Avenger (B-) is an old-fashioned comic book adventure with Chris Evans as a weakling who volunteers for an experiment that turns him into a super-soldier in WWII and ultimately a superhero. Evans is appealing as the noble hero, and sequences with his buddy played by Sebastian Stan set the stage for some of the most emotional elements of this series. The plot with a villain called Red Skull comes off as a bit cheesy. Overall, it’s a colorful entry into the Marvel canon and a soaring showcase to the original agent with shield.
“Shame” (2011) a Visceral Look at Sex Addiction
Steve McQueen’s Shame (A-) is a tough and gritty look at sex addition through a central character played by Michael Fassbender in a fierce and primal performance. His disturbing relationship with all women in the film, including with his sister played by Carey Mulligan, is absorbing and insightful. The “New York, New York” scene in a high-rise nightclub is haunting, as are most all of the sequences in the film, actually. The big city plays a critical role in the isolation the filmmaker captures, as the film is elegantly and hauntingly shot. It’s one of the best films of its year, despite being a tough subject.
“The Best Exotic Marigold Hotel” is a Welcome Comedy
There’s not much “hip” aside from Maggie Smith’s replacement surgery in The Best Exotic Marigold Hotel (B+), but this senior citizen passage to India contains considerable joys and sentiment. Director John Madden and his muse Dame Judi Dench draw viewers in to the emotional far pavilions of friends and family. More than Cocoon with curry, it’s quite a sleeper hit.
“The Artist” (2011) Brings Back Golden Era Silent Films in Stylish Form
Just saw the year’s best picture and can’t imagine a scenario in which Oscars will disagree. Filmed as a silent movie in black and white with lush symphonic underscoring, The Artist (A+) is funny, romantic, nostalgic and occasionally profound. Jean Dujarden and Benenie Bejo display a chemistry beyond words in this ode to love and Hollywood. The dog is also an amazing supporting cast member. I was worried the film would be too cute for its own good and was quickly won over. Cinematic bliss!
Andrew Haigh’s “Weekend” Showcases His Penchant for Intimate Gay Love Stories
Andrew Haigh’s Weekend (B+) is a highly perceptive and dialogue-rich British-set film about two men who spend a few days together discussing the nature of love, relationships, art and the Big Topics of our age before one leaves the country. More than just a gay riff on the Before Sunrise movies or My Dinner with Andre, it’s a smart and discerning character study about the space between where passion starts and true love truly blossoms. Tom Cullen and Chris New are magnificent in their roles, and Haigh is masterful in depicting how they let down their guards. His documentary-like and episodic style conceals a deeper mission, as he’s accomplished quite a profound glimpse into the origins of romance.
“Toy Story 3” a Playground of Emotion
Lee Unkrich’s Toy Story 3 (B) delves even deeper into the emo treasure box of this CGI animation universe, with elegiac and nostalgic results. This is the installment of the family franchise that plumbs themes of putting away childish things, playing on the heartstrings without yielding as much fun with the playthings. Woody, Buzz and friends are donated to a daycare when owner Andy is preparing for college, and more melancholy moments and farewells happen than in Return of the King. The farewell tour is about as final as a Cher concert (see Toy Story 4). There’s still plenty of comedy and cleverness, but this entry tries hard to be capital “I” Important.
“Rabbit Hole” a Tough Tearjerker
Rabbit Hole (A) is a tearjerker of the first order with a never-better Nicole Kidman and Aaron Eckhart mining a groundswell of grief after the loss of their son. Director John Cameron Mitchell does an elegant and intimate job at getting to the heart of the story. Miles Teller is superb as the family’s son in flashbacks.
“Iron Man 2” Continues Marvel Momentum
Director Jon Favreau expands his mileu and enhances his aesthetic with an Iron Man 2 (B+) that builds on the giddy spirit of the first and allows Robert Downey Jr. to continue to hold court over gab and gadgetry. It’s a rip-roaring actioner with an even more personal story, higher stakes and an all-star supporting cast including Mickey Rourke as a villain and Scarlett Johannson and Samuel L. Jackson in Avenger roles. Gwyneth Paltrow returns, and Don Cheadle takes over the role originated by Terrence Howard. All in all, it’s a sensational sequel success.
“Shutter Island” Confounds Expectations
Martin Scorsese’s Shutter Island (B+) is the master director making a popcorn movie, like he did with Cape Fear. Leonardo DiCaprio and Mark Ruffalo go to an island asylum ostensibly to solve a crime, but they may soon find themselves prisoners of the mysterious place. This is great escapist entertainment with surprises at every corner.
Nolan’s “Inception” a Perfect Puzzle
Christopher Nolan’s Inception (A) is a perfect puzzle of a movie, with Leonardo DiCaprio helping sell the notion of highjacking peoples’ dreams . The high-concept effects and superb supporting cast including Ellen Page and Tom Hardy helps make the multiple parallel timelines work seamlessly. It’s a dazzling and inventive display of derring-do by one of the few directors who could pull thing kind of thing off.