It's been almost two months since I saw this one, so my memory of it is a little spotty. I think that it was a pretty good movie with some good performances, but nothing about it really blew me away. Keira Knightley was still pretty lackluster, unfortunately, although I guess I disliked her less in this role than I usually do. On the other hand, James McAvoy has become someone I'm keeping my eye on, and although I'm not sure that Saoirse Ronan deserved an Oscar nomination I did think she was just right for her role. The direction was kind of hit or miss for me—I liked the way the soundtrack incorporated typewriter sounds and generally liked the way the film came together, but I found the long tracking shot in the middle to be pretty distracting. I think what I liked best was the writing, but even at that there was something vaguely dissatisfying about the story. That may just be due to what the story is about, though, because I can't really identify anything I would have liked to see happen differently.

Viewed: 2008-02-15 | Released: 2007-12-06 | Score: B+

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I wish I could tell you that the reason I waited forty days to write this review was because I wanted to take time to really think it over and give you an honest review, untainted by initial glow. I'd be lying if I did, of course. Still, having had the time to reflect on it was useful. What I've determined is that this was a very good movie that, nevertheless, didn't have that great a story. The film is amazingly well put-together. Those people whose only experience with the Coen Brothers has been goofier movies like The Big Lebowski or The Hudsucker Proxy may be surprised at the lack of obvious Coen eccentricity, as well as the darker tone. Indeed, the stars of the film, Tommy Lee Jones as the weary sheriff, Ed Tom Bell, and Javier Bardem as the cold-blooded assassin, Anton Chigurh, seem positively restrained compared to the likes of George Clooney's Ulysses Everett McGill. Bardem, of course, has been nominated for the Best Supporting Actor Oscar, and it's no surprise—he creates such an intense, inscrutable character that it couldn't help but get noticed. For me, though, Jones was even better. He gave such a tight, unpretentious performance, it was just a joy to watch him. The rest of the cast was also quite good—Josh Brolin and Kelly Macdonald, in particular. Still, despite the fact that I loved the performances and the cinematography—as you may know, I'm a sucker for landscapes—the film as a whole left me feeling a little unfulfilled, particularly the way it ended. Actually, I think the closing scene may have been genius from a thematic standpoint, but in terms of providing a resolution to the story, the film just didn't deliver. Despite my objections, though, I have no qualms about giving No Country for Old Men top marks.

Viewed: 2008-01-03 | Released: 2007-11-20 | Score: A

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Juno has been quite the critical darling, so I had pretty high expectations for it. I'm glad to report that it didn't disappoint. The movie follows the title character through an unplanned pregnancy, which she decides to give up for adoption rather than keep or abort. It sounds like kind of a heavy premise but the movie is actually both adorable and funny. The entire cast was just great. The big star, of course, is Ellen Page as Juno, whose offbeat teenage sarcasm and sass was just about perfect. Michael Cera, who plays the unborn baby's biological father, is rapidly becoming one of my favorite young comedic actors, and Jason Bateman, the adoptive father, actually dialed down his normal sarcasm for a much more layered performance. But the real surprise to me was Jennifer Garner. I'm not usually much of a Garner fan, but I can tell you right now that her performance as the adoptive mother will easily make this year's SMAs. She plays a character who desperately wants a child but has been unable to have one, but where a lesser actress might have gone for a lot of hand-wringing and over-emoting, Garner manages to convey some amazingly potent emotion with a few looks that she then tucks away so fast that if you weren't watching, you'd miss them. This is by far the best work I've seen her do. If you're in the market for the kind of movie that will make you chuckle and leave you feeling nice, check this one out.

Viewed: 2007-12-28 | Released: 2007-12-24 | Score: A-

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I had been really excited about I Am Legend ever since I saw the first teaser trailer several months ago. It just looked awesome. As it turned out, it was awesome but, even so, I don't know if I enjoyed it a whole lot. The whole thing was just so intense. I don't usually find myself highly affected by movie tension, so it should tell you something that I was on edge nearly the entire time we were watching this one. I was completely drawn in by the movie's portrayal of an empty New York City, and Will Smith's performance had all of the desperation, loneliness, terror, and near-insanity that you would expect the last man on Earth to be feeling. It was a little more than I could handle. Unfortunately, I can't really tell you too much more about my reactions without giving away some major plot points. I'll just repeat, it was intense. Anyway, if you're up to it, I do recommend this one pretty highly—it featured an amazing performance, good use of environment for exposition, and great production design. The only flaws, in my opinion, were a few moments of shaky, hand-held camera work and possibly the decision to use computer-generated characters for the infected. Those were pretty minor flaws in my book, though, so I feel comfortable giving this movie top marks.

Viewed: 2007-12-31 | Released: 2007-12-13 | Score: A

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I am coming to like this series pretty well. I think I still do prefer the Hornblower novels, but these books do have a lot to offer. For one thing, the characters seem a bit more three-dimensional than Forester's. In Post Captain, for example, a fair amount of the beginning of the book has to do with events on shore while Jack Aubrey is waiting for a new command. It seems like that might detract from the story, being primarily a naval adventure, but watching Jack and Stephen as they meet the women they fall in love with, for example, or following Jack's attempts to avoid debtor's prison really serves to round out the characters. And, like the previous episode, there is plenty of action to go around, both at sea and ashore. My only complaint is that there wasn't much in the way of denouement. It's a minor flaw, though, given the structure of the book, and really all it did was make me jump right into the next one.

Started: 2007-11-06 | Finished: 2007-11-18

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One of the things I like about this time of year is that the studios bring out all of their heaviest hitters in anticipation of the Oscars, and with the combination of Denzel Washington, Russell Crowe, and Ridley Scott, this one is about as heavy-hitting as it gets. As you might expect with two Oscar winners in the lead roles, the acting is outstanding. In addition to the leads, I also particularly liked Cuba Gooding's performance as Nicky Barnes, a friend and rival of Washington's Frank Lucas. Gooding's swagger contrasted perfectly with Washington's more business-like mien. In many ways this is a film about contrasts. There's the obvious one between Frank Lucas—a criminal who, on the other hand, appears to uphold traditional values by providing for his family—and Crowe's Ritchie Roberts—an honest detective whose personal life is in shambles. But there's also, as I mentioned, the comparison between Frank Lucas and Nicky Barnes, as well as between Lucas and his former mentor, not to mention between Roberts and his police counterparts. The film's only real problem is its length—if you see it in the theaters with the trailers it'll come out over three hours. Personally, I didn't think it was too long for its content, but in discussions with some other people I have heard some complaints about the pacing, so your mileage may vary. Nevertheless, I do recommend this one, and I'll be pretty surprised if it doesn't get multiple Oscar nominations.

Viewed: 2007-11-09 | Released: 2007-11-01 | Score: A

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Having previously read García Márquez's most recent novel, Memories of my Melancholy Whores, it was interesting to go back in his career with this one and see the similarities. Both novels explore old age, but where Memories is more concerned with nostalgia, this one is about love. We follow two characters from youth to old age: Fermina Daza and Florentino Ariza. The latter declares his eternal love for Fermina Daza at a young age and eventually waits most of his life to pursue it after she marries another man. Sort of—in the intervening years he goes on to have 622 affairs. It's this kind of dichotomy that makes the novel—such is García Márquez's skill that we are lured into sympathizing with Florentino Ariza despite all of his flaws. The novel expertly blends the comic and the profound, commenting on the progression of age, the struggle between progress and tradition, the relationships between men and women. And, as always, García Márquez delivers a strong sense of place, managing to be both critical and reverent of the city and country in which the story takes place. An excellent read that I highly recommend.

Started: 2007-09-04 | Finished: 2007-11-05

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I was pretty excited about this one, being a fan of Wes Anderson and not having had a new one in three years. I think that this one wasn't his best but I did like it quite a bit. In some ways this one covers a lot of the same ground as The Royal Tenenbaums—an absent parent, three damaged siblings—but even though there was still definitely the trademark Wes Anderson ridiculousness to The Darjeeling Limited, I think that this one was ultimately heavier and, perhaps, more personal. I think that all of Anderson's films have moments of real emotional depth but they're usually somewhat fleeting, which works really well by giving the films a little more substance underneath the silliness. In this one, though, there's at least one long stretch of the movie where the silliness is completely abandoned. I don't know whether that makes it a better or worse film but it certainly felt different to me. The performances were, as usual, odd and idiosyncratic but also wonderful. The one thing that made it a little uncomfortable for me was the juxtaposition of Owen Wilson's character with the current emotional trouble he's been having—at many points I found myself feeling genuinely bad for the actor rather than the character. In any case, I do recommend this one, with the one caveat that if you haven't seen any of Anderson's previous work, this may not be the best one to start with.

Viewed: 2007-10-11 | Released: 2007-10-25 | Score: A-

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If I tell you that this movie is about a man whose mental breakdown takes the form of a delusion wherein he believes that a realistic sex doll is his actual living, human girlfriend, well, you can probably expect that it's a bit, well, weird. And it comes as no surprise when I tell you that there are a number of very uncomfortable moments as he takes his "girlfriend" to church, to a party, to dinner at his brother and sister-in-law's house. On the surface, it doesn't seem like the kind of movie that I would like. I mean, beyond what I've already said, the movie really stretches credulity with the way that this man's community plays along with his delusion, that one woman even maintains her crush on him (this is the other figure that I believe the "Real Girl" in the title refers to). But if the story isn't quite right, the performances really are. Ryan Gosling, who plays the delusional title character, is rapidly cementing his position in my mind as one of today's best young(-ish) actors—and considering how much I hated The Notebook, I think that's quite an accomplishment. His performance in this film was just amazing. I also always like Emily Mortimer, and Paul Schneider also handled his role quite well. Patricia Clarkson's performance wasn't exactly breathtaking but what I noticed is that she seems to have a good range as an actor—her wise, maternal character in this film is nothing like her part as the irresponsible, hippy-ish aunt on [i]Six Feet Under[/i]. I really appreciate that sort of unpretentious competence in a character actor. Lars and the Real Girl is not one you need to rush out to see—I'd say you can safely wait and rent it—but if you're looking for an offbeat film with some great acting you might consider checking it out.

Viewed: 2007-10-27 | Released: 2007-10-24 | Score: B-

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I think I've liked just about everything I've seen Steve Carell in over the past few years and Dan in Real Life is no exception. It's not really surprising anymore to see comedians make the leap to more dramatic roles, some with more success than others. What's great about Carell is that he has a good feel for balance such that his performances never feel inappropriate, over the top, or self-indulgent. So, certainly, this movie has that going for it. Even more than Carell, though, what I really loved about this movie was the feeling of family that it evoked for me. In so many "family reunion"-type films the plot is driven by either a newcomer trying unsuccessfully to fit in (e.g. Meet the Parents or The Family Stone) or by dysfunction or in-fighting (e.g. The Royal Tenenbaums or Cat on a Hot Tin Roof). What felt so refreshing about Dan in Real Life was that the family, despite at times being annoying or intrusive, genuinely loved each other and tried to do right by each other. It really made me nostalgic for the vacations my own family took when I was a kid. Overall, the film was both funny and touching and I really enjoyed it.

Viewed: 2007-10-25 | Released: 2007-10-25 | Score: A-

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