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Korengal (2014)
Review: Korengal (2014) - War Journalism At It's Second Best
2010's Restrepo brought the Afghanistan War in to peoples' homes, bearing visceral shots and the raw emotion of modern warfare. Photojournalist Tim Heatherington and Sebastian Junger spent ten months with Combat Outpost (COP) Restrepo's "Battle Company" reaping an inordinate amount of footage. More footage than they could place into the first documentary. A year later, Heatherington would be dead; killed by shrapnel whilst covering the 2011 Libyan Civil War. Junger felt that the copious amount of footage leftover from Restrepo lent itself to another film. Thusly, Korengal, a companion film, was born.
Where the prior of the pair seemed aimed to illustrate Chris Hedge's 2002 quote, "The rush of battle is a potent and often lethal addiction, for war is a drug, one I ingested for many years," the latter shoots to exploit a more poignant and familial sense from the footage and interviews. For those familiar with Restrepo, do not expect anything revolutionary here. What you will be seeing is footage shot during the same time period (2007-2008) using the same equipment. That said, this is in no way a strike against the film. Junger fares well in his organization of the footage and new interviews. This is an altogether new narrative.
As a piece of war journalism, it stands out as a worthy companion piece to the first film, not only elaborating on notions explored in Restrepo's 93 minute running time, but introducing new and arguably more meaningful elements. Junger succeeds in revisiting their footage, and bringing freshness to what could have become a dull supercut of Restrepo's outtakes in another man's hands. It's a damn shame Heatherington wasn't around to see this complete vision of the creation he and Junger set out upon in 2007. These two pictures have set the standard for war journalism, and will hopefully usher in a new era of the discipline.
American Sniper (2014)
Review: American Sniper (2014) - A Powerful War Thriller
"You can only circle the flame so long."
From the opening frame, Clint Eastwood's American Sniper is a gripping Military Drama. The trailers and adverts for this film set me to expect merely a study of Chris Kyle's dual life as a loving father / American patriot "sheepdog," and it does function as that (exceptionally well), but what I wasn't anticipating was the superb war cinema that it became at points. The action sequences feel inspired. They are captured with an unrivaled attention to detail. The cameras and their positioning are tailored to depict gripping, no-holds-barred firefights and movement through the Iraqi battlefield. Bradley Cooper makes the incredible transformation into Chris Kyle, "The Devil of Ramadi," as Eastwood explores his anguished psyche during his time in both "The War on Terror" and stateside with his family between tours of duty.
Chris Kyle is a character that deserved to have his story told, and it is done lovingly, here, by Eastwood. I am ecstatic to say that Eastwood has made a triumphant return to directing after some arguable lulls in his directing career (Hereafter, J. Edgar, Jersey Boys). This film isn't just Oscar-bait- it succeeds on all proposed fronts, with the panache of a unabashed war film, and the intimacy of a film strictly identifying as a character study. A delicate balance executed surgically by the cast and crew.
The opening sequence is emotional and engaging, setting up the rest of the film more than adequately. A brief portion of the film near the beginning is spent in flashback, effectively and succinctly providing the motivations behind Chris Kyle's burden to become the legend he remains today. His relationship with his wife, Taya (played by Sienna Miller) is explored beautifully. From the first time they share the screen, and as they start a family with their varying circumstances looming overhead. Chris Kyle is torn between his responsibility to his family and his sense of duty to fight in the war overseas. He sees his passion to protect and help other people coupled with his skills with a rifle as almost a holy endowment.
The depiction of Kyle's Post Traumatic Stress Disorder and his disability to reconcile the effects of war while home from battle is done with heartbreaking authenticity. Most notably in a scene where he encounters a Marine he provided aid to whilst in one of his prior tours of duty. Bradley Cooper embodies this pain and frustration powerfully on screen. Most films fail to capture the baggage brought home by soldiers the way that American Sniper does so exquisitely. This film is a success; a masterful piece by director Clint Eastwood, and a great show of skill from Bradley Cooper, who is, with every role, proving his expansive diversity in acting.
Birdman or (The Unexpected Virtue of Ignorance) (2014)
Review: Birdman (2014) - A Weird Epic
"See, Birdman is like Icarus.."
Riggan Thompson doesn't matter anymore. At least that's what his daughter, Sam (Emma Stone) says. The washed-up star, played by Michael Keaton, can't seem to reclaim the glory he felt whilst portraying the superhero that "paved the way," for the influx of comic book films we see today: Birdman. Riggan is staging a Broadway adaptation of Raymond Carver's short story, What We Talk About When We Talk About Love, which he has adapted for the stage and plans also to direct and star in. This is Riggan's ticket back into the spotlight. It's been twenty-something years since his stint as Birdman, and it's his time to reclaim the glory.
Alejandro Gonzalez Inarritu is most widely known for his films Babel (2006) and Biutiful (2010), two very somber films, so naturally, when I saw he was doing a film with Michael Keaton, Emma Stone, Naomi Watts, Edward Norton, and Zach Galiafinakis I was quite surprised. More intrigued than anything. I've been waiting to see this film since I first became aware of it. It's been a long wait, but I finally caught a screening, and I'm so glad I did. Birdman or (The Unexpected Virtue of Ignorance) is a delight; a revelation. It is a resurgence of art in cinema. Weird, funny, and emotionally engaging, Birdman will be remembered for the ages.
The cinematography in this film needs to be mentioned. I have long loved Emmanuel Lubezki. Ever since I first saw Children of Men (2006), I was hooked on his style. They way he shoots is astounding. He has an appreciation for the Golden Age of Cinema and it is evident in every single shot of his films. Lubezski's use of natural light is what draws most people in, but for me it has always been about his long takes. To me, nothing is more immerse than a camera that is able to linger in the action without cutting. It gives the viewer a frame of reference and commits to maintain it, engaging the viewer. Here, my appreciation of this only served to make me love this film even more. The entire film, save a very brief portion near the end, is processed to seem as one take. We move from location to location seamlessly for the two hour running time. It's a beautiful end result.
Keaton plays the Riggan Thompson / Birdman character seemingly with ease. It's so refreshing to see him back on the screen and doing so well for himself. He really does capture the hilarity of it the narrative. Ego and legacy take center stage. The struggle of this film is one of a man who struggles to remain relevant and potent in today's culture. Even with an ego large enough to persuade him to hallucinations of telekinesis and levitation, Riggan Thompson is looking for his place in the limelight. He wants to be important again.
Emma Stone and Edward Norton are also superb. Their interactions feel nothing short of genuine, and provide a heartfelt addition to the main narrative of The Unexpected Virtue of Ignorance. This film was, personally, one of my favorites from the Oscar Season. I had such a good time watching it, and despite the profane language, I couldn't shake the feeling of Classical Cinema. Film can be such a majestic thing when it is appreciated and nurtured as an art. We have that here, with Birdman. I see this film joining the Criterion Collection one day soon.
Selma (2014)
Review: Selma (2014) - A Stunning Biopic For The Ages
"White, Black and otherwise..come to Selma."
Selma has taken America by storm. Ava DuVernay directs a film that proves both pivotal and timely to our nation. In typicality, I try to stay away from other opinions on a film before viewing it or composing my own opinions. I hate to borrow from people, and verbiage is no exception. However, with Selma, I found my usual mode of cinematic sequestering difficult in this instance, as the film is consistently lauded as the best film of the year across the internet and all of social media. For the week or so prior to me composing this review, it held a "100% Certified Fresh" accolade on Rotten Tomatoes. My hopes for this film were quite high, indeed, and I am pleased to share that I was not, in the least bit, let down.
We open on Martin Luther King Jr., played by British actor David Oyelowo (Rise of the Planet of the Apes, Interstellar), speaking with his wife Coretta Scott King (Carmen Ejogo) prior to his December 10, 1964 reception of the Nobel Prize at the University of Oslo in Norway. We follow him to Norway as he receives his award. As his acceptance speech is given (more on this film's depiction of Martin Luther King Jr.'s public speeches later) we view a portrayal of the gut-wrenching events of September 15th, 1963, in which four small children were killed when a bomb was detonated in Birmingham, Alabama's 16th St. Baptist Church. A sobering opening to a beautiful and important film.
In years past, the King family has been said to make depictions of Martin Luther King Jr. virtually a nightmare to pursue. King's speeches are copyrighted works and property of the King Estate, who have not been openly supportive of Ava DuVernay's production. Reason being that they already licensed the spoken works of MLK to Dreamworks and Warner Bros. in 2009 for a yet-produced, yet-to-be-titled biopic (Source: The Hollywood Reporter), and the studios were unable to make a deal providing a shared use of Dr. Martin Luther King's words. Stingy much? But I digress, the lack of cooperation or support from any of the aforementioned has obviously not stopped this train. The words in the speeches and sermons we see in Selma are made specifically for the film. This is a positive! They took what they had to work with and created sharp dialog; both poignant and uplifting moments in Dr. King's speeches. The sermons are exquisitely crafted to run parallel to King's actual speeches, whilst avoiding infringement upon the copyrighted works, themselves.
David Oyelowo delivers every line with a vigor and passion that should launch him into, at the very least, a category nomination for Best Actor, come the Oscars (if not the win). The supporting cast, while often outshone by Oyelowo, is great here too. To name only a few: Tom Wilkinson as Lyndon B. Johnson, Giovanni Ribisi as Lee White, Oprah as Annie Lee Cooper, and Tim Roth as Governor George Wallace. The story's scope is much too large to truly spend a substantial amount of time with all of the supporting cast. Fortunately, there's so much authentic talent in the film, that there is never a lull on the screen.
This film comes at a time when our nation is struggling with understanding and peace, and for that matter, understanding peace itself. Selma endeavors to show us our error as a nation during the Civil Rights Movement, lest we not repeat it. Some sequences are an exposition of 1960's American Brutality, and thankfully, DuVernay pulls no punches here. The violence is visceral and true to the nature of the era. It is revolting, as it should be. Personally, I was sickened by the depictions, all of which occur within the confines of the PG-13 rating. Well done. Ava DuVernay has, with the help of her astounding cast, created a powerful and incredible biopic with Selma. It succeeds in it's goals, and in the end, it calls for unification and peace. Much like Dr. King would have wanted.
Magnolia (1999)
Review: Magnolia (1999) - A Visually Striking and Heartfelt Drama.
Six months ago, whilst spending some time in Tulsa, Oklahoma, I came across a copy of Paul Thomas Anderson's Magnolia on Blu-ray. It has since sat on my media shelf accumulating dust, as well as a couple additional "I'll watch them later's," atop it. With Inherent Vice on the horizon, I decided to watch the very film I've been neglecting for six months, and as some would say, my life. I figured, "I've more or less enjoyed everything that PTA has put his hands on, so I'll make some time to watch Magnolia tomorrow". Three hours after pressing play, I am left happy and genuinely affected by this film. Let me tell you why.
Marked by outstanding performances and extraordinary cinematography, Magnolia is one of the last film-making punches delivered by the '90's. Robert Elswit (Nightcrawler, Michael Clayton) brings his coveted expertise to the production. It's no wonder that Anderson has worked with him on most (all but one) of his features. The framing of shots is impeccable and lends itself well into the context of the film. Some of Elswit's shots were so perfect that they felt, to me, otherworldly. That level of attention to detail in a film like this is what sets it far apart from any similar in scale. At 188 minutes, not a shot outstays its welcome. Anderson and his crew have created a water-tight film in many respects, but none more than his cast.
This film is one about human beings; people who are trying to make a connection, and the happenstances that bind them to one another, whether they are aware of it or not. There are no weak or one-note performances in this film. The story does not unfold, it is commanded, transition by transition through the performances. Particularly John C. Reilly in his role as Officer Jim, William H. Macy as Donnie Smith, a former child genius, Julianne Moore as Linda Partridge and Philip Seymour Hoffman as Phil. I believed these actors in their respective roles; each seeking something entirely dependent on their connection with another human being. The juxtaposition of Donnie Smith and Stanley Spector is my favorite character oriented decision made creatively for this film. William H. Macy provides something of a window into latter's dismal future, as it would be, were it not to change course. Some proving to be more successful in their quests than others.
What I was not expecting when endeavoring into Magnolia was the visual poetry and eloquent little flourishes that pepper this film. I constantly found myself relishing in the genius of some of Anderson's touches throughout the film. Even the most intimately sized scenes in this film, such as Donnie Smith's conversation with Thurston Howell (Henry Gibson) feel organic to the nature of the film's scale and serve the over-arching premise. When other films try their luck at letting small occurrences and scenarios serve to usher the plot forward delicately, it most always comes off as too quick, heavy-handed, or unnecessary, but here, such touches as "BUT IT DID HAPPEN" on the painting in the apartment do more for the story than any human words possibly could. Or perhaps the sequence in which all of the characters, in each of their states of life, sing along to Aimee Mann's "Wise Up". It caters to an almost euphoric tone, which perfectly stages the remainder of the film for the masterful execution it receives.
Forgiveness, acceptance, and love take center stage in this somber tale, and culminates in a more than satisfying ending. Paul Thomas Anderson is quoted as saying that Magnolia "is for better or worse, the best movie he'll ever make". I think he set the bar pretty high with his sophomore film, but continues to create great works. All said, Magnolia can be most concisely described as a master stroke on the canvas of cinematic art.