 |
Saturday, March 19, 2005 |
There are films that demand our attention because of what they reveal to us about history and humankinds' capacity to ignore, be privy to, or initiate lies, hate, abuse, and murder.
Terry George's Hotel Rwanda is such a film. Vivid and unflinching in its depiction of the genocide that ravaged Rwanda in 1994, in which over one million Tutsis were slaughtered, this film is the true-life story of Paul Rusesabagina, a hotel manager (and Hutu) who took in and eventually saved 1,286 Tutsis refugees (including his own wife and children) from being slaughtered by the Hutu militia.
Don Cheadle is nothing more than exceptional as Rusesabagina, a man whose career of styling ambassadors, generals, and diplomats allows him the leverage to save lives. It's a highly dynamic, stirring, and emotionally-charged performance.
Some people step forward in the only way they know how , or out of the basic need to survive, and by this act take upon them the salvation of many. In an industry that is becoming saturated with films about super heros, its refreshing to see one devoted to someone who is flesh and blood real.
5:00:14 PM  | |
|
|
Marc Forster's tender story of how the washed-out playwright J. M. Barrie befriends Sylvia Davies and her sons and, because of this, pens the beloved play "Peter Pan" is a pure joy and a heartwarming tale of finding solace in the face of death.
The noteworthy performances of Johnny Depp, Kate Winslet (she's amazing), Julie Christy, Dustin Hoffman, Radha Mitchell, and a group of brilliant child actors, especially Freddie Highmore as Peter, highlight a truly thoughtful and moving script.
Finding Neverland is one of those rare experiences whose value is near priceless because of how it affects you. Forster masterfully develops the story void of sentimentality, which, if you are familar with it, could have easily fallen prey to. By reigning in the performances of his key actors, Forster set up an experience that allowed the viewer's heart to be breached nearly willingly, and the rush of hope allowed in to carry us off to the Neverland Barrie promises.
You'll leave this film different than when you walked in, Neverland reached.
4:57:00 PM | |
|
|
Mathilde and Manech were childhood friends and lovers. When World War I began, Manech was sent off to the trenches. After seeing the soldier next to him blown into pieces, he lost his sanity. Soon after, he was court-martialed for being wounded. He was cast into No Man's Land, the battle zone between the two opposing trenches. It was recorded that he was gunned down while carving their love sign MMM into the lone skeleton of a tree. But Mathilde, sensing he was still alive, began a journey to find out what became of her only true love.
Jean-Pierre Jeunet's film is a masterful tale of undying love and hope in the midst of war. Jeunet's depiction of war at the trenches and back in the secured offices where decisions are made is brutally realistic, raw, and ugly. This may be one of the best depictions of World War 1 on film.
4:52:16 PM | |
|
|
There are films you can count on to deliver pure and unadulterated action -- giant explosions, ten-minute car chases, multiple-car pileups, gunfights, swordfights, or sparring scenes that try to one-up any fight in The Matrix.
Richard Linklater films, on the other hand, provide action in the form of conversational fireworks and subtle, poignant body language. His latest work, Before Sunset, is a masterful conglomeration of conversational topics, slow evolving feelings, and the unraveling of guarded expression between two lovers who meet after nine years and have only three hours to catch up on their lives.
With one of the best scripts of the year as a foundation, Ethan Hawke and Julie Delpy deliver simply amazing performances. I will not easily forget how, upon first meeting, their conversations stay safe and nondescript; but as the minutes of their time together pass by, the truth is eked out and the pain of their previous parting suddenly hits like a car crash. The timing and rhythmn of delivery and reaction throughout this film is masterful.
I read a comment calling Linklater’s scripts "pretentious." This isn’t a critique against Linklater as much as one on our dumbed-down society. We need more film characters with as much intellect, historical awareness, and reasoning capability that Linklater has graced us with.
4:47:32 PM | |
|
|
I have to admit that Michael Mann's edgy thriller Collateral was in my list until I saw Ray.
Jamie Foxx' transformation into the musical legend who battled blindness, loneliness, adultery, and drug addiction makes for the best performance of the year. What a monumental achievement!
Ray could have easily turned into a glorified made- for-television special but Taylor Hackford did a noteworthy job writing and directing the film. First and foremost, Hackford compiled and created a screenplay that didn't sweep under the carpet the incendiary aspects and characteristics of Charles' life.
Secondly, Hackford brought out the best in all of his actors. Other than Foxx, recognition should be given to the alluring and haunting Reginna King, who playied Ray's mother. Honestly, Ray consists of one of the best ensemble casts of the year.
Lastly, the cinematography at times was artistic. I'll not easily forget moments such as the multi-colored bottles hanging in the barren tree in Ray's boyhood yard; Ray's mother watching her blind son capture a cricket; Ray standing in front of the tiered audience in Ohio; and Ray's live performances.
4:41:32 PM | |
|
|
|
|
