Up in the Air

WORTH-IT: (Jason Reitman) Do you ever get so deep into a routine that you forget what life is like outside of it? Ryan Bingham (George Clooney) is a top account executive at company who fires other company's employees for a living. Specializing in severance packages and "the after," he lives between airplane seats and hotel beds, laying off hundreds a week and never looking back. He's got the packing down, all the good member cards and his closest friends are employees of American Air. He's got it all, getting the best upgrades wherever he goes, steak dinners a la his company, and no baggage to come home to. In a sense, he is free... living life in the clouds, up in the air. When a Cornell honor student joins his team with new ideas threatening to keep him grounded, he is forced to see what his life has become while he's had in head in the clouds. The story is that of his re-evaluation, and while I won't spoil any of the journey for you, potential viewers, I can say that watching his rediscovery is fascinating. Clooney captures the innocence, ignorance and arrogance that Bingham has rolled into his character. He wears emotion on his face, in his body language and drenches his voice with a punch of those same feelings, making whatever story portrayed on-screen one not to ignore. The story here is funny. It's witty and sharp, laughing right back at you when you immediately wonder if the same joke is on you. Its dark and disheartening, but in a self-revelation sort of way. Its heavy on family, but dabbles in immorality... matching Bingham's inward conflict to that of life, in general. Its deep and thought-provoking. Overall, quick and painless entertainment, leaving you with slight discontentment, but inevitable encouragement to take the high road. Clooney does the job, and with newcomer Anna Kendrick as Cornell's brightest to shake up routine, and veteran (and growing personal favorite) Vera Farmiga as the mature, travel-high new companion, its a treat on-screen, for your eyes and your heart... and yes, in the end, your spirit. Up in the Air proves that at the lowest of lows we have what it takes to move on, we have what it takes to choose a different path, or recognize our current path for what it may actually offer. Surely Clooney will get the nod here, so do yourself a favor and see this flick.

Avatar

PHENOMENAL: (James Cameron) Everyone should see this film. Everyone. Aside from the fact that it is an epic tree-hugging love story comparable to Ferngully on steroids (thanks for that Reed), this film is a landmark in American cinema. In 1939, The Wizard of Oz was the first movie to hit theatres in color. Well, if you'd been around then (or maybe you were) to say you saw it, wouldn't you choose to have had that hand in history? So, for that monumental reason, everyone should see this film. With that out of the way, potential audiences, rest easy... This movie is phenomenal. And not just by Film Reviews by Jenni standards... Avatar is bonafide adjective worthy of my favorite vocabulary word. Writer/Director/(Genius) James Cameron introduces us to a futuristic U.S. colony hovering over a newly discovered planet of energy-rich flora and fauna that would improve life on Earth. The problem is that the inhabitants are hostile and the U.S. military are impatient. A small group of scientists aboard the Earth ship are out to befriend the people of this new planet, despite the orders of the military. By creating avatars of themselves, they can approach the people on the new planet (giant, blue-skinned, agile creatures), learning and interacting firsthand. Longstory short, the military arm of Earth's colony doesn't care about relationships or this planet's eco-system, out only for the natural resources and preparing for war if it doesn't happen soon. Are you seeing Ferngully? From here, its 3 hours of beautiful colors, textures, sounds and emotions all working together for the utmost cinematic experience thanks to the masterful hands of Cameron's crew. The fact that this film is in 3D makes your forget the movie theatre chair, never once acknowledging that its in 3D... (No roller coaster rides or flying objects). You're pretty much just inside the screen. So much so, that once the film is over, you almost believe in the blue people, or if not that severe, its like waking up from dream and shaking yourself back into what you know should be reality. The film is clever. Its emotional and fast-paced. No storyline is sacrificed for special effects and the acting shines, despite animation. I can't say enough about Avatar. Its the most mesmerizing piece of creativity I've seen on a movie screen, ever. Don't miss out.

Pineapple Express

ALMOST: (David Gordon Green) Well, at this point, this film came and lived out its time in the limelight a while ago... In fact, the statement it makes that it has taken me this long to come up with what to say should tell you a little bit about the motif encircling this little comedy. For those of you who haven't seen it, the synopsis is that of two unlikely acquaintances, a user and a seller. Both going nowhere, and with seemingly dead-end life situations. Seth Rogen and James Franco team up to play this funny pair, and venture into almost 2 hours of bickering, hugging, smoking and sometimes, crying. They happen to witness a crime that leaves them running for their lives and learning who their friends truly are. But wait, don't for a second think its emotional, touching, or remotely worth seeing... The humor is almost completely lost in the characters' pathetic attempts for it. The combination of poor hygeine and unhealthy habits never quite finds its way to endearing, and ultimately sens the message that smoking out was never as cool as you thought it was. Its sad, and because of that, the movie is long and ridiculous. Yes, you will chuckle a few times. Yes, you'll probably be overwhelmed at points with the urge to "relax" and yes, you will probably watch the entire thing. But, know that it isn't worth it, and there are funnier ways to spend your two hours. If you're in the mood for a plant-inspired chill-out, then watch something classic, like Dazed and Confused, or even How High - both worth at least a gram more. And lastly, if you do ignore my warnings and give this film a chance (for which I wouldn't judge you), know that James Franco will never be the handsome dude he once was (see, Milk). Scrawny bones and stringy hair plus a co-dependency on grandma do nothing for libido.

Encounters at the End of the World

WORTH-IT: (Werner Herzog) Worth seeing for nature lovers and eco-gurus, Encounters is a beautiful glimpse into "real life" in Antarctica. Herzog takes us on a journey into the lives of several individuals making their living at The South Pole, from plumbers and bus drivers, to scientists and artists. There people who study penguins, underwater photographers, volcanic experts. Bottom line is, whatever you may have imagined life to be on the bottom of the world, a place once called "uninhabitable," there is never a dull moment in the vast winter wonderland that is Anarctica. Nominated for an Oscar, this documentary is certainly fascinating, educational and often inspiring. Where it does move slow throughout some of the deeper scientifics, the utter beauty that exists in a constantly changing and untouched land is incomparable and unforgettable. Almost 2 hours long, it flies by, as your eyes settle in trance to the easy tones of Herzog's narrating and the awesome grandeur of the giant icy continent. Although Herzong tends to stand his ground on an eco-hugging pedestal, its easy to ignore his distaste and instead, empathize with his wonder. All in all, a wonderful piece of work, enjoyable and educational. If that's your usual cup of tea - you National Geographic Channel nerds - this one is definitely for you!

Inglorious Basterds

PHENOMENAL: (Quentin Tarantino) Absolutely fabulous! Inglorious Basterds is the biggest pleasant surprise of the year, in film. It's the story of a macho men group from America and Europe wrecking havoc on members of The Third Reich throughout Germany. Led by Lt. Aldo Raine, a unique performance from Brad Pitt, they scalp heads troop by troop, earning a most wanted reputation throughout the Nazi nation. But, its also the story of Shosanna Dreyfus, a young Jew who narrowly escaped a massacre and is now secretly living in Paris and plotting revenge against the powers that killed her family. The film is as close to perfect entertainment as it comes. Humor delights almost every line, leaving a permanent smirk on your face, whether audible laughter accompanies not, which is often does. An emotional storyline surfaces amidst the silliness and action, the dramatic plot and the suspense keep you glued to your seat and dying for continuance. The movie is long, but long due to an intricate and fascinating web of stories, climaxing at once for one literal and figurative boom. Pitt plays counter to Diane Kruger and Christoph Waltz, two brilliant minds playing incredible characters--neither of whose absence would allow this film its splendor--plus, a short scene from Mike Myers for one unforgettable ride on the Tarantino movie train. For the faint-hearted, know that this is a Tarantino flick. There is blood and gore, galore. It spares no element of a true Tarantino-style entertainment, so expect that going in. If you can climb that personal mountain, you too will be enthralled with the on-screen eye candy. I still can't decide where to rank it in my Tarantino chart. It's up there. Its phenomenal. See it!

A Serious Man

Almost: (Coen Brothers) What was promoted as "the best American movie of the year" proved, to me, nothing but a glimpse into the exploited sadness of a young Jewish family in the Midwest. The story is basically a middle aged college professor who begins to see his life unravel. His wife wants a divorce, his brother sleeps on their couch (indefinitely), a student bribes him and then threatens to sue for defamation, and someone is writing letter to the tenure board to prevent his promotion. He's got a lot going on, and there seems to be no one out there sympathizing with him. It's supposed to be funny - and most certainly it is from time to time. The utter nonsense of it all finds a chuckle and the ultimate frustration actor Michael Stuhlbarg is able to portray on his face conjures memories of animation and needs little else to pull response. Unfortunately, for me, the ridiculous storyline never crossed the line between ridiculous and "so ridiculous that it's hysterical." Instead, I found myself frustrated at such a wimpy character. Often measly personalities are endearing, because their potential is somehow revealed. Unfortunately, Stuhlbarg's Larry Gopnick is a lost cause. He literally has no balls, and as it seems, no interest in learning to grow them. People walk all over him, and if this no light at the end of the doormat tunnel is the best way the Coens can make fun of Jewish America, then I have seen enough. As a last effort to save opinions on this film, I'll admit full out that one with a little more knowledge of the Jewish faith will probably laugh much heartier - as I sat in the theatre, I no doubt found myself laughing at th "wrong" times and was apt to notice the head nods and singalongs dotted throughout the audience. These same viewers were the ones not ready to exit their seat at the end - so yes, I must have missed something. And, after giving up the chance to see Audrey Tautou as Coco Chanel, I was expecting something a little more Fargo or O Brother.

Powder Blue

ALMOST: (Timothy Linh Bui) Well, there is usually a reason when films go straight to DVD. Basically: It's not good enough to make people pay $10 for. Powder Blue is actually not good enough to make people pause life for its measly 106 minutes. Now, don't get me wrong, this film has some redeeming qualities that kept my machine playing. Forest Whitaker delivers a suspenseful and heartbreaking performance and Lisa Kudrow peaks into the plot as a refreshing quirky personality. And, while the storyline involving these two is minimal and secondary, it is by far supreme. Jessica Biel and Ray Liotta play the mainstream, an ill-matched customer-stripper with an unexplained relationship reaching deeper than what either admits out loud. Honestly, I didn't really care. Biel over acts her way through sweaty dancing and rainy sidewalks (an atmosphere also over done). Liotta has few words, yet relies on the same stoned facial expression for his entire appearance. In the end, I can't really say what this movie was about, what its bottom line was, or even how the title related. I was tempted to watch this movie because of the build up--now I ask, why was it even worth mentioning?

Blindness

ALMOST: (Fernando Meirelles) When you sit down for a film starring the Spanish phenom, Gael Garcia Bernal and American notables Julianne Moore and Mark Ruffalo, one would think it almost gurantees an intense, clever story, on fire on screen and deeply relatable for the audience. Unfortunately, the key word in the previous sentence remains as "almost." In Merielles adaptation of Jose Saramango's novel, we're introduced to a U.S.A. faced with a health crisis of unexplained blindness. Authorities, unsure of the cause or severity, quarantine the sick in a mental hospital, adding to the numbers as more are discovered. But, as the infected population grows, it's evident the sickness is working too fast for the givernment's planned logistics or their patience, and they are enventually left the sick to fend for themselves. Another movie illustrating soceity left to itself, a parody of sorts, showing how lost "we the people" would be trying to survive with a sublime democracy. That democracy is Julianne and Ruffalo playing a married couple holding the people sane against Bernal, the evil "Monarchy" taking advantage of the weary. It had potential--until it was dragged out for hours. The rising action of this plot lasted far too long and ends, really, unexplained. Making matters longer, even after the presumed climax finally comes, the film continues along a long and winding path towards resolution, thus making Part II equally as stagnant. The complex to me is why were such respected names in such a nobody blockbuster? No one was given the power to expand their role, and could have been equally as stagnant with your usual horror movie debut team. Don't worry about missing out on this one. If the story sounds compelling--read it.

Grey Gardens

WORTH-IT: (Ellen Hovde, Albert Maysles, David Maysles and Muffie Meyer) The 1975 documentary reveals Edith Beale and her daughter Edie Beale living in the filth which they refer to as their East Hampton mansion. Their story, gisted well here, here, and here explains the background. I took interest in this original after seeing a strung out duo of Drew Barrymore and Jessica Lange publicize their work in the remake at this year's Oscar ceremony. The strange way the pair flaunted their upcoming film struck a chord with me, as I knew briefly of the history of the strange pair of real Beales. The documentary is hard to watch. It's from 1975, so consists of straight shooting. The women do all the talking and entertaining, sometimes bringing their face close to the camera or putting on small performances. Their ignorance and delusion is so crystal clear it becomes tragic to watch, but at the same time hypnotizing. Their filth is radiant. Feeding cats off the same plates they feed themselves. Eating canned food and throwing the leftovers to the animals roaming through their hallways. Dinner consists of cottage cheese on crackers, or ice cream from the tub. I watched it for 15-20 minutes at a time, quickly becoming disgusted at the candid grotesque these women called life. What was once a beautiful, reputable mansion was left overgrown and rotting. The women seem unaware and almost uncomfortable with the thought of leaving. Turning it off each time forced me to shake my head, snap out of it and move on. It took almost a week to watch. But, I must say that the raw filming was gripping. I was entranced, locked in on their portraits, locked in watching their disenchantment flourish and their reputation relent. I recommend it to history buffs, those interested in the history of the socialite society, particularly that of East Hampton. It's truly fascinating if you can put up with the literal nastiness. Plus, it gives you the adequate portrait before we see Lange and Barrymore's tripped out attempt at recreation. I'm looking forward to it.

Away We Go

MUST-SEE: (Sam Mendes) Maya Rudolph and John Krasinski star as Ramona and Burt in this immeasurably adorable flick about two young lovers expecting a little one and trying to find their place in the world before it comes. It starts off light-hearted and comical, just skimming the edge of sincerity and sentiment. But then, the couple says goodbye to their only set of would-be grandparents and has to stop the car on the side of the road to let out frustration. Is this the pivotal fight making it the drama it claims to be? Nope. Just a sigh and a deep thought from Verona before picking at Burt until his struggles to make her laugh win out and as the audience, we are left smitten for a truly candid couple, ignorant to the world's judgement and dependent on a positive wing of fate to lend their survival. Their love is a unique gesture--one often underestimated here in our real world. They're frank. They're quick about their frankness. And, they've got their entire life packed in a hatchback to take across the US in search of the site for their perfect home. It's a labyrinth from here--a scurry to visit all the places where either family or friends have once described the bliss found in that particular city. From Madison to Phoenix to Miami, their little journey runs them through kooky pastimes and even stranger people. They face sadness and disappointment, are reminded of old scars and end up facing each other, wondering if this is something, if this life is something, they are really cut out for. Writers Dave Eggers and Vendela Vita bring us solid emotion as it plays out for the real people. Real fright and real issues standing in the way of happiness are put up against a kind of love unmoved by life's tragedies, and for sure not trivial consequences. They illustrate fine ordinary people moving about their way, but doing it with such an unspoken grace, one almost unrecognizable, that by the end you're gripped, hypnotized by the the tender relationship you're watching grow on screen. Believe me, I let the tears rain on this one. It catches you off guard, literally warms your heart and soul. Your emotional ups and downs are so deeply opposed that the overwhelming ride is one unfit for nonchalance. This is serious stuff, seriously good stuff. Don't miss it.