The Fighter (2010)

It seems that every year there’s a film like this.  A film that ends up feeling weighted more towards character portrayal than big picture.  A film with at least one performance almost guaranteed to bring home the Oscar.  Last year it was Jeff Bridges in Crazy Heart. Before that Heath Ledger in The Dark Knight. Before that Daniel Day-Lewis in There Will Be Blood.  The list goes on.  It’s not that David O. Russell‘s The Fighter is an incomplete film as much as it’s so entirely driven by its actors.  This based-on-a-true-story is clean and concise, and doesn’t require much sifting to get at a core comprised of an underdog vs. the world and the massive weight of his family.

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The Tourist (2010)

What was the last Johnny Depp movie that got you really excited?  Or Angelina Jolie for that matter?  With Ol’ John there’s a glimmer of hope coming in the form of the Hunter S. Thompson adaptation The Rum Diary.  Certainly Depp recalling his Gonzo in any way is good news for us.  Other than that, it’s just a new trio of Pirates movies, yet another Tim Burton thing, and rumors regarding Kathryn Bigelow’s next flick.  Things are even bleaker for Angie, with a reprisal of her Kung Fu Panda Tigress on the horizon, and little else.  My point here isn’t so much to rip into these actors’ future endeavors as it is to call attention to the strange turn their careers have taken.  Towards the beginning of their respective careers, Deep and Jolie both built their legacies on talent.  They may have started out as beautiful faces, but with roles in films like Gia and Girl, Interrupted, Edward Scissorhands and What’s Eating Gilbert Grape? they cemented respect from a critical audience.  And now it’s come to this.  The Tourist. Boringly predictable and occasionally incoherent, The Tourist gives Jolie and Depp the opportunity to spend some time in Venice, dress in overly elegant clothes, and be some mildly different version of their publicly banal selves.

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Black Swan (2010)

Preparing for a Darren Aronofsky feature is sort of like preparing for a break up or a funeral.  That’s not to say that every last Aronofsky tale is a saga of desolation or exhausting melancholy, but when you look at the man’s filmography, one of the common elements is a darkness that permeates.  The difference, though, between his earlier works (Pi, Requiem for a Dream) and his more recent (The Fountain, The Wrestler), is a respect for subtlety.  In Requiem, Aronofsky thrust the grotesque into the faces of his audience with an almost mean-spirited bravado.  It’s a film that, despite its high quality, is simply too awful for repeated viewings.  Lately though, Aronofsky has coupled that signature bleakness with a real human beauty.  He has found a balance in his method, and with his last three films, The Fountain, The Wrestler and now Black Swan, he has shown the kind of forward momentum that ensures real longevity.

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The Walking Dead – Days Gone Bye

A year or two ago I was working on a pilot script for a zombie TV show.  Though nothing ever came of it, this was a labor of love born of my longstanding zeal for zombie stories, along with the conspicuous lack of zombie serials in any form, particularly on television.  And so it was with great anticipation that I sat down to watch the pilot episode for AMC’s latest, The Walking Dead. After the series hour and a half premiere episode entitled Days Gone Bye, it’s safe to say the network has added yet another remarkably distinctive show to its cache.

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127 Hours (2010)

127 Hours as a film was always going to be harrowing, intense, remarkable, hard to watch and so on.  Aron Ralston’s story is just too astonishing and too simple for it not to be effective.  It absolutely insists on empathy and as the audience filters out of the theater, the first and only question on everyone’s lips will be, “Could you do that?”  If you don’t know what “that” is then you haven’t been paying attention.  Ralston’s story has been all over the news in recent weeks, and before that his bestseller Between a Rock and a Hard Place did well enough to pierce the social consciousness.  However, to avoid from the start any ambiguity, this is a story about a man whose arm gets trapped under a rock, and the choice he makes to cut it off.  With any Top 25 Director and any Top 10 Face behind this story, you’re almost guaranteed serious Oscar contention.  It must be for this reason then that I ended up feeling underwhelmed by Danny Boyle’s latest.  Of course I was moved, because the reality of this situation is moving, but despite how successful this thing was always going to be, Danny Boyle somehow was able to get in his own way.  His style and his choices, so often exciting and strong, end up being frustratingly omnipresent and controlling.  Somehow he ended up over-telling a story that was fully prepared to tell itself.

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Due Date (2010)

The average fan of a Todd Phillips movie probably wouldn’t recognize his name or be able to pick him out of a lineup.  This is surprising not only because he’s directed enough solid comedies to rival Judd Apatow (Road Trip, Old School, Starsky & Hutch, The Hangover), but because he’s appeared as some curly-headed oddball character in all of them.  The Hangover is Phillips’ biggest critical and financial success (the sequel is shooting now) and along with that movie’s breakout star Zach Galifianakis the reason Due Date is sure to bring a big Box Office.  In some ways Phillips’ latest feels a bit like the cocky follow up to a surprise hit, banking on names and humor and seeming just a bit too unconcerned with story.  And so, like any number of comedies, Due Date is a Yin and Yang of solid, absurdist comedy and weak, mailed-in plot.  Which way do the scales tip?  Guess.

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Top 5 Films of 2010

As the season turns and we move toward the heartiest portion of the filmic year, it seems as good a time as any to take stock of what’s been seen thus far.  Certainly I haven’t made it to the theater for every new release, but 2010 has been for me a year of unrivaled theater going.  There are films on the horizon; Black Swan, The Fighter, True Grit and so on that promise to, at the very least, introduce some interesting characters and concepts, and at best hoist a golden statue at the 83rd Academy Awards.  Still, the year so far, while at times inevitably shallow and frustrating, has still seen some remarkable motion pictures pass into history.

Here are my Top Five…

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Kanye West’s Runaway (2010)

Kanye West made a film.  It’s mostly music and clocks in at 34 minutes, but there’s not really anything else to call it.  One can claim all day that MJ originated the massive music video event, with “Thriller” and “Black or White” dominating their respective premieres and inserting themselves into the culture for the days and weeks that followed.  You could even point to 1988’s Moonwalker as a legitimate, feature-length film, though I haven’t watched it in a decade or two and doubt it holds up.  But Kanye West has produced and directed a short musical film.  And you know what?  It’s pretty damn good.

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A New Era…

I put a lot of thought into this blog.  Most of that time is spent on an individual film, with a smaller percentage of time spent considering other possible topics of discussion.  In the past, for whatever reason, I’ve dissuaded myself from giving blog time to anything other than reviews.  This post will mark a change in that trend.  Though I’ll still be reviewing films as often as possible, I will from here on out do my best to include some new subject matter to fill the gaps left by opening weekends.  And hopefully along with it, some new insights.

— Peter Wertz

Never Let Me Go (2010)

I’m overwhelmed.  After a summer of crude, overly-budgeted nonsense, the last three weeks have found me in the theater watching films that were thoughtful, mature, and perhaps most resonantly, emotionally razing.  I’ll say again: I’m overwhelmed.  It’s exciting to arrive at this time of year as the mood starts to shift along with the caliber, but it’s also important to be prepared for it, and I can’t say that I have been.  I’ve gone head first into these films with little more than excitement to safeguard me.  Today, this trilogy of despair came to its logical conclusion with the lovingly crafted and deeply heartbreaking Never Let Me Go.

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