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.

The Changeling

MUST-SEE: (Clint Eastwood) Readers forgive me, I saw this film months ago and let it slip under the rug of priorities last fall. But that slip should not be taken as a sign that this film was anything short of brilliance. Clint Eastwood directs a story by J. Michael Straczynski that illustrates a mother's love for her son and a corrupt government's self-dug grave. Angelina Jolie plays Christine Collins, a single, working mother who loses her son and given a replacement to glorify the LAPD's apt problem solving skills. What the greater public doesn't realize is that she is also given a scolding to adopt the new child as her previous, because he is obviously not the same boy. As the audience, you are left thinking, WHAT?! Outlandish. Tragic. Impossible. But, the reality hits hard that our government acted this way, and our women were treated this way. Cocky, boisterous personalities are revealed for their insecurities and short-comings. Foolishness is shed in a new light. Even though it's been almost a year since I have seen this flick, I remember being touched by this exact sense: that something so horrid could have been passed (or attempted to pass) as normalcy. This truly frightening story that was one woman's reality. It's every parent's nightmare, but it's also a universal threat of what we (as a people) almost were, but thanks to one outspoken pastor (played by John Malkovich), we aren't. Eastwood flawlessly illustrates the worst of human nature and the best of our country's morale, and holds your heart in the palm of his hand while doing so. Don't miss this one. Jolie is a gem--well-deserved of her nod. Malkovich is powerful. And the story is true. (Enter, chills).

Yes Man

WORTH-IT: (Peyton Reed) From the director of The Break Up comes a Jim Carrey film that one hundred percent mocks Liar Liar, but one hundred percent entertains, again. I cannot emphasize how much this movie is like it's 1997 predecessor, but I also love that even with that complete unoriginality, it absolutely entertains. Carrey has been on a field trip doing serious films to balance out his Ace reputation (no doubt), but for his truest fans, Yes Man brings back the over-enunciating funny man that we knew and loved. Accompanied by Zooey Deschanel and Bradley Cooper, this is the story of a soon-to-be-recluse stepping out of his comfort zone to get over his ex and start living life again. With the help of a long-lost friend (John Michael Higgins) he adopts a program where all he can do to anything is say, "yes!" So, in the spirit of any Carrey personality, it's immediately taken to the extreme and too literally, setting him off on a journey of love, a promotion, new friendships, and then, eventually, jail. Between nights of too many red bulls and spontaneous trips across the country, lessons are hard-learned and relationships are tested. I am sure you can guess whether or not he makes a full recover and all is well, but I wouldn't want to spoil a movie you haven't pretty much already seen (in 1997). The bottom line here, is that if you run across this film, it's hilarious and you're in for a laugh and a much-needed dose of Carrey-humor, and who can resist Deschanel singing? But don't feel like you have to rush out to watch it. It's a treat, but it's not a treasure.

Last Chance Harvey

WORTH-IT: (Joel Hopkins) Now here is a story for the masses. An unusual love story of two adults, late in life and way past cliche. Dustin Hoffman and Emma Thompson play Harvey and Kate, introduced by chance in Heathrow Airport and inevitably akin. Nominated for 2 Golden Globes this story is refreshing, comedic and heartfelt, unlike the romantic comedies of its time. Harvey, an outcast in his own family, on the verge of losing his job, and facing a scary realization that he might actually be all alone meets Kate. She is a spinster who hangs with her mother and take surveys in the airport. Both intolerant of daily bullshit, but subconsciously yearning for something more than what they've made, their chance meeting takes them from making fun of each other to endless conversation and chemistry. Two of Hollywood's most congenial characters merge here, taking with them immediate fans in the hearts of their audience. The film goes by fast, meets all expectations and leaves you with a smile on your face and sparkle in your eye (most likely from a tear). No regrets from watching, although you must know there are also no big performances or life-changing story lines. It's simple life brought to the big screen, and it's in just that candor that the charm of the film wins out.