Finally, the mess of a prequel trilogy gets some moments of badass as George Lucas’s Star Wars Episode III: Revenge of the Sith (B) restores some dignity to the series. Hayden Christensen’s Anakin Skywalker and Natalie Portman’s Padmé Amadala are still the soapiest of characters – and now they are pregnant with Luke and Leia (guess it’s not a spoiler alert when you’re already in a prequel!) – and Anakin is still ticked at Obi-Wan (Ewan McGregor) for not making him a full Jedi. Lots of battles occur, and ultimately we get the anticipated volcano fight when Anakin finally transforms fully into part-man, part-machine Darth Vader. Of course, Lucas almost spoils that with a strange Frankenstein homage (the Ewoks weren’t available for a chorus of “Yub Nub”?) There’s at least some symmetry in this film that helps match it to the classic trilogy and foreshadows the continuing Skywalker saga to come. Did we care much about any of these prequel characters? Not really. There were some cool effects, and I guess it’s better to have a Star Wars movie than not (at least in some of Episode II ‘s case and most of Episode III). Fans will appreciate the plunge into darkness and the higher stakes than usual, even though the characters are still pretty undercooked.
Christopher Nolan’s Batman Begins (A-) is a thrilling reboot with Christian Bale as the caped crusader. I loved how it began unexpectedly in the Himalayas before settling in Gotham City. Nolan’s particular talents fit nicely with labyrinthine plot devices, elaborate inventions and double-crosses. Cillian Murphy is ok as The Scarecrow and Katie Holmes barely registers as a love interest, but overall the supporting cast is outstanding: Michael Caine, Gary Oldman, Morgan Freeman and Liam Neeson, to name a few. This is a highly recommended superhero movie that saves the franchise from the clutches of Joel Schumacher.
Ang Lee’s Brokeback Mountain (A) pairs brilliant actors Heath Ledger and Jake Gyllenhaal as men who fall in love in the Wyoming wilderness of the 1960’s and spend the rest of their life trying to reconcile their forbidden desires to their wives (played by Michelle Williams and Anne Hathaway) and hide their emotions from themselves. It’s a heartbreaking reverse-romance as most of the love is unrequited. The cinematography and storytelling are exquisite, and the brittle emotions cut to the bone. The passage of time parallels the creeks and brooks of the gorgeous countryside, even if the emotions run deep and powerful but often unexplored. Ledger and Gyllenhaal may be more daring than they even know for taking on these roles with such abandon, and Lee gives them a narrative that resonates.
David Cronenberg’s A History of Violence, based on a graphic novel of the same name, is a powerful thriller in which Viggo Mortensen plays a low-key small town merchant who fends off some criminal types that come into town and outs himself as having a bit of a secret past. Mortenssen is dynamite, and Maria Bello is also spectacular as his wife. William Hurt is also great in a creepy extended cameo. Packed with secrets and poignant as a meditation on crime and American life, this was one of the best films of 2005.
Building on a legacy that includes anthropomorphic toys, fish and cars, Brad Bird’s entry into the Pixar universe, The Incredibles (B-) is one of the first to feature human protagonists. Like The Flintstones or The Jetsons, this animated situational comedy features a one-of-a-kind family. Because The Incredibles are all undercover superheroes, there’s a fun dichotomy between domestic bliss and all-out adventure. It’s all pretty fantastical but a touch forgettable, even with all the clever flourishes. Bird includes some deft touches and nostalgic homages, but ultimately I hoped this one would leap more tall buildings with a single bound.
Richard Linklater’s Before Sunset (B) reunites the spontaneous lovers played so memorably by Ethan Hawke and Julie Delpy in Before Sunrise. This time the conceit is that the roving conversation (this time in Paris) plays out in real time. It’s a bit more experiment than narrative continuation and only occasionally nails universal truths as before. But rarely do you get films with emotions laid this bare, and it’s fascinating to watch what Jesse and Celine will do next.
Mel Gibson’s The Passion of the Christ (C+) is a peculiar cinematic work: a re-creation of the bloody death of Jesus Christ, which we presume is intended as an exercise to depict the intensity of personal sacrifice suffered by man’s ultimate martyr. As played by Jim Caviezel, the actor doesn’t get much opportunity to act the part but rather to be the part. Gibson should be applauded for authenticity in filming on location and in the Aramaic language, although he throws in some bizarre effects and lingers on some strange exchanges that could play into charges of religious intolerance. The overall film is graphic and punishing and technically quite an accomplishment in its nightmarish depiction of brutality; but in telling the story of the life of one of the most remarkable figures to have ever walked the earth, it is a curious choice to hone in on only the torture that ended that life.
Mark Waters’s Mean Girls (B+) is a hilarious sociological comedy about the class warfare teenage girls inflict on each other in high school. Lindsay Lohan is a delight as a teenager returning to America after living overseas until her junior year, and she is now exposed to the modern-day Heathers played by Rachel McAdams, Amanda Seyfried and Lacy Chabert. Infiltration of the cool crowd leads to dire consequences as the group lives and learns the Queen Bee mentality. Some jokes may hit too close to home for some, but this is a comedy that delivers.
Bill Condon’s Kinsey (A-) is a marvelous exploration of the life of a scientist who studied human sexuality in all of its forms. As played by Liam Neeson, it’s a revelatory performance, and so is Laura Linney’s as his wife. His controversies confound his expectations both scholarly and personally, leading to interpersonal drama. It’s a fascinating and well-made biopic.
As director and the film’s leading man, Clint Eastwood fills the sports drama Million Dollar Baby (A) with a vital sense of surrogate family. His boxing coach protagonist along with his business partner (Morgan Freeman) take on a female trainee (Hilary Swank) to help her realize her dream of becoming a professional. As hopes are realized and tragedy strikes, this central trio sticks together through thick and thin. The film contains well-observed sequences of how humans behave under pressure-cooker situations both physical and emotional. It’s also doubtful you’ll see three performances this outstanding together in a film in some time.