Independent Publishing - Independent Movie Reviews

DECEMBER MOVIE SPOTLIGHT

FANTASTIC MR. FOX (PG)
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Fantastic Mr. Fox is a wonderfully vibrant animated feature, and revolves around the incomparable Mr. Fox, a clever animal who opts to give up a life of chicken poaching to appease his pregnant wife. After a boring stint as a newspaper reporter, Mr. Fox soon realizes that you can't take the fox out of the fox, and before long, he finds himself slipping into his old, mischievous ways. Right up front, let it be known that The Fantastic Mr. Fox is probably one of those family films that will polarize viewers. As was the case with the audience-dividing Where the Wild Things Are, The Fantastic Mr. Fox was directed by a well-respected independent film maker (the ever-eccentric Wes Anderson) known for his quirky sensibility. Based on a lesser-known work by the beloved Roald Dahl (Charlie and the Chocolate Factory), this charming (if a tad offbeat) adaptation (written by Wes Anderson and Noah Baumbach) is a perfect fit for Anderson the director, and the animation style is unlike anything I think I've ever seen in a feature. It truly is a technical marvel. The vocal work is stellar. George Clooney hits all the right notes as the sly (and cocksure) Mr. Fox, while veteran Meryl Streep is picture-perfect as the fox who loves him. Also turning in wonderful work is Jason Scwartzman as a son who simply wants to be accepted by his father, Bill Murray as a badger attorney, Willem Dafoe as an evil rat nemesis, and Michael Gambon as a business man who wants to bring Mr. Fox's operation to a swift end.

Fantastic Mr. Fox has enough striking visuals to keep most kids happy, but chances are the little ones are not going to understand the plot. The family dysfunction element of the story will probably go right over their heads. However, most viewers will have no problem warming up to the film's primary theme: accepting others for who they are. The past year has seen a fair share of diverse animated features (see Up, Coraline and Ponyo), and Fantastic Mr. Fox takes the process in yet another unique direction. This is an odd film to be sure, but it’s extremely funny and engaging in a Wes Anderson kind of way.
(Currently playing at Westates Pineview Stadium 10 in St. George)

INDEPENDENT SHOWCASE

THE KILLING ROOM (R)
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The Killing Room plays like the thinking person's Saw. No, this isn't another entry in the increasingly tired torture porn genre, but it does feature a group of strangers locked in a room (a group that includes Timothy Hutton, Nick Cannon, Clea DuVall, and Shea Whigham). Strangers who are ultimately forced to make tough choices. While blood does make an appearance in the picture, The Killing Room opts to deliver its message through intriguing ideas rather than gore. This thriller isn't quite able to sustain a true sense of tension for its entire running time, but it’s still a film worth checking out. If not for the pressure cooker of a first act, then for its unexpected chiller of an ending. Seriously! The Killing Room offers up one of those terrific final moments. A moment that caused nearly everyone at our screening to gasp. It could prove to be a blessing that this sly little thriller bypassed theaters and went straight to DVD. Had the film been properly marketed, it could have been a theatrical hit, but this would have probably been at the expense of turning it into a meaningless franchise. As it stands, The Killing Room ends on a perfectly ambiguous note.
(The Killing Room is currently available on DVD)

HOLIDAY PICK

A CHRISTMAS CAROL (IN DIGITAL 3-D) (PG)
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There have been several splendid adaptations of Charles Dickens' A Christmas Carol (my personal favorite is 1970's "Scrooge" starring Albert Finney), but this is the first version to be told through the motion capture process (a fusion of live action and computer animation that was also used to bring Polar Express, Beowulf, and Monster House to life). This highly stylized take (which can also be viewed in Imax 3-D) comes courtesy of technical wizard Robert Zemeckis. This story – about a cantankerous old man who’s taught the true meaning of Christmas through the aid of three wise (and convincing) ghosts – remains faithful to the source material (save for a flashy, extended action sequence in which a miniaturized Scrooge is chased by the Ghost of Christmas Yet to Come). This time around, Scrooge has been brought to life by an effective Jim Carrey. In fact, Carrey plays multiple roles here (including Ghosts of Christmas Past, Present, and Yet to Come), and it’s wonderful work right across the board. Rounding out a fine supporting cast are Gary Oldman (Bob Cratchit, Marley, and Tiny Tim), Bob Hoskins (Mr. Fezziwig, Old Joe), Robin Wright Penn (Belle), Colin Firth (Fred), and Carey Elwes (Dick Wilkins, Mad Fiddler). Technically, this take on Christmas Carol is impressive. The scenes in which Scrooge takes flight over old London are breathtaking, and the character and location design is virtually flawless. Having said that, I'm still not entirely sold on the motion capture process. The movements and overall expressions are fine, but there's still a somewhat soulless aspect to these characters, particularly in the eyes. Still, there's no denying that this process has come a long way since Polar Express, and the upcoming Avatar looks to be taking the technology even further. There have been stronger adaptations of A Christmas Carol, but this one certainly looks and sounds amazing. And while there are a few scenes that might be a bit scary for toddlers, this is a holiday release that the whole family can enjoy.
(Currently playing at Westates Theaters in St. George and Cedar City)

CURRENT RELEASES

THE ROAD (R)
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It’s been a long road for John Hillcoat's adaptation of Cormac McCarthy's The Road. The film's release has been pushed back for a myriad of reasons, and strangely, Dimension Films has decided to release this bleak, post-apocalyptic drama during the holiday season. The Road stars Viggo Mortnensen as a man who will stop at nothing to protect his son in a world where famine, earthquakes, and cannibalism are everyday occurrences. John Hillcoat brings to this literary adaptation of The Road the same authenticity he brought to his stunning Australian western The Proposition. I use the word authenticity loosely as we hardly know what the end of the world scenario will truly be like, but I have a sneaking suspicion it would play out a little more like this than it does in 2012. Rather than going into the realm of high-octane action like Mad Max or taking a detour into sci-fi like I Am Legend, The Road opts for an intimate, character-driven father/son story set to the backdrop of a world gone to hell. It’s a movie about desperation and the lengths to which some will go to survive, but it isn't afraid to show us the other side of the human condition – the one in which an individual decides to give up. In this regard, there were moments in The Road that reminded me a bit of Frank Darabont's adaptation of Stephen King's The Mist, but again, McCarthy's source material showcases an entirely different kind of monster. The Road is extremely well crafted, technically speaking. The cinematography (by Javier Aguirresarobe) is gorgeous as is the art direction (by Gershon Ginsburg), both of which transport the viewer to this beaten down planet through visions of desolate landscapes and grim blacks and grays. The haunting score by Nick Cave and Warren Ellis adds another layer to this bleak experience. Viggo Mortensen is outstanding here, and once again, he's able to convey true power through a mere glance. With some actors, body language is every bit as effective as dialogue delivery. Mortensen is certainly one of those actors. Kodi Smit-McPhee is strong as Mortensen's terrified son. Not only is this little boy being raised in an extremely hostile environment, but it’s with the knowledge that his father may not always be there to protect him. The Road is peppered with a cast of strong supporting players including Charlize Theron as Mortensen's concerned wife, Guy Pierece as a mysterious traveler, and a brilliant Robert Duvall who lights up the screen as an elderly vagabond. However, not all comes up roses in The Road. We never get a true sense of what drives specific characters to desperate measures because we haven't really seen what lead to such dire times. One character's ultimate choice feels a little underdeveloped as an end result. Furthermore, there are some moments, most notably in the final act, that are a tad overplayed, including an exchange between Mortensen and McPhee that brought to mind a moment from the Jon Voight/Ricky Schroder boxing drama, The Champ, and a weird union at the end of the picture that's supposed to represent hope for the human race, but really just creeped me out. Overall, The Road is one of those pictures that I wanted to love, but it’s more of a movie to admire. It certainly has courage and dares to go places most other studio pictures would shy away from, but it isn't quite the unforgettable morality play it aspires to be. At the end of the day, though, this post-apocalyptic road movie is infinitely more intriguing than Kevin Costner's The Postman.
(Currently in limited release. It goes nationwide in December.)

NINJA ASSASSIN (R)
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Ninja Assassin isn't only one of the weaker film experiences of the year, but it also emerges as a big disappointment, particularly given that it was directed by James McTeigue, a filmmaker who showed the deft ability to mesh dynamic visual style with surprisingly provocative writing with his outstanding debut V for Vendetta. Ninja Assassin is all style and no substance. But even stylistically, this movie falls flat. While this tale of a rogue ninja and his quest to destroy the ninja clan that spawned him moves at a quick clip, it never manages to be exciting. Most of the film's key action sequences are fast-paced, but they occur in complete and utter darkness making it near impossible to allow the viewer to see what the hell is going on. Add to this a choppy cutting style one would expect to see in a Transporter movie, and you have a recipe for disaster. As for the excessive blood splatter, it was mostly done digitally, and it really shows. McTeigue and his screenwriting team would have you believe that this is their homage to ninja films, but it’s more of an ode to the over-the-top action films of the ‘80s (think Commando) only without the charm. As for the screenplay? I've seen generic Canon productions from the ‘80s (including the cheesy American Ninja franchise) that were far more moving. This movie is full of stock characters in stock situations, and it constantly breaks its own rules. One minute, a ninja can't be shot, and the next minutem – boom! – a ninja gets shot. Lame! And all the supernatural mumbo jumbo didn't make a lick of sense. Ninja Assassin star Rain certainly looks good on camera, but there isn't much charisma there. And what the hell is Naomie Harris doing in this mess? I felt so bad for her. On the other hand, she chose to do it. I will give Ninja Assassin this: It had a hilariously chaotic opening. Beyond that, it’s a forgettable movie and completely lacking in the mystery you might expect from a flick about ninja mythology. This actioneer isn't even silly or excessive enough to fall into the guilty pleasure category. In fact, it made me yearn for the glorious days of classic titles like Bloodsport and Berry Gordy's The Last Dragon, entertainments that were more than worthy of their guilty pleasure status. Ninja Assassin isn't Transformers: Revenge of the Fallen or I Love You Beth Cooper bad, but I still wouldn't recommend it. And quite frankly, if I were a ninja (and I'm not –really, I'm not!), I'd be offended.
(Currently playing at Westates Theater is St. George, Cedar City, and Mesquite, and Hurricane's Coral Cliff Cinema 8)

THE TWILGHT SAGA: NEW MOON (PG-13)
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As my wife and I pulled up to our local theater for one of those much publicized midnight sneaks of the latest entry in the Twilight saga (saga! Ha ha. It’s not like it’s Star Wars), I noticed a girl standing in the parking lot holding up a sign that said: "Will bite for New Moon tickets!" The sad, desperate look on her face said it all. It looked like she had just come out of a screening of The Road. I guess her friends failed to tell her that New Moon premiere tickets had sold out weeks in advance. And the chances of her getting a ticket this late in the game were about as likely as me getting out of the theater alive if I went in wearing a Team Lestat t-shirt (which I did have on – under my jacket). Truth be told, I was really at the theater for my wife. While she isn't a Twilight fanatic, she's definitely a fan. I was also there to support local writer Jennifer Bennett who helped organize a Twilight essay writing contest. In fact, had it not been for Jen, Tonja and I probably wouldn't have gotten into the jam-packed theater ourselves. So thanks, Jen. Enough with the meaningless rambling. You’re reading to see if I liked the movie. The truth is, even if I hated it, you'd go see it anyway. New Moon is bigger and more lavish than the smaller, more intimate Twilight, but it’s also a little goofier and a lot cheesier. Clearly, it will appeal most to Stephenie Meyer's faithful fans. Having said that, I wouldn't say I hated the movie, but I'd liken the experience of watching it to listening to a Taylor Swift song. In other words, I'm clearly not the target audience.

At the heart of this latest entry in the four-chapter series, a brooding Edward (played by brooding Robert Pattinson) decides to up and leave Bella (needy Kristen Stewart), as he fears his being in Forks puts her life in danger. After Edward leaves, co-dependent Bella is consumed by visions of her undead high school love and is constantly compelled to commit reckless acts. Thankfully, long-time buddy Jacob (Taylour Lautner) – sporting a newly ripped physique – is there to comfort her in a time of need. And faster than you can say "Days of Our Lives," we have ourselves a love triangle. Oh, by the way, did I mention that Jacob is a werewolf? What is it with Bella and old-school monsters? Chris Weitz has taken over the directing reigns from Catherine Hardwicke, and he proves to be quite adept with the larger scale of things. The Volturi sequence in the final act is particularly effective. It was also nice to see a little more screen-time for Bella's human school buddies. And props to a chiseled Lautner who not only went through a major physical transformation, but also slips into the likable shoes of Jacob rather nicely. Sadly, though, even Weitz can't rise above the inherent cheese whiz that comes with the source material. Slow motion shots of Edward walking across the parking lot, a hilarious dreamlike sequence in which Bella and Edward are frolicking through the woods, and numerous gratuitous shots in which a pumped up Jacob shows off his new and improved body – none more ridiculous than a pivotal scene in which he removes his shirt to wipe blood from Bella's cut brow. I also could have done without the countless moments in which we're reminded of what a big Shakespeare fan Bella is (Romeo and Juliet resting on her pillow, Hamlet poster on the wall, etc.). There are several times throughout New Moon when the proceedings almost played like a parody. On the other hand, I have to admit, watching this film with a theater full of screaming girls (older women included) proved to be a hell of a lot of fun. They were eating it up. It then occurred to me that this saga is their Star Wars. And I suppose that's nothing to scoff at. So, to sum up: New Moon wasn't made for me, but I suppose I get the appeal. I believe A.O. Scott of The New York Times and At The Movies said it best when he suggested that New Moon not only causes girls to scream, but it actually has the ability to turn all of us into screaming girls. Hilarious! It’s nice to see that even during a recession, a movie can still sing to the tune of $140 million over the course of a single weekend. To put that into perspective, that's roughly $20 million less than Twilight made in its entire run. Never underestimate the power of Stephenie Meyer fans. On a final note, that sad young girl we saw in the parking lot three hours before show time did make it in, so she got her happy ending after all. In a related story, a man's body was found in a dumpster behind the theater with a bite mark on his neck. New Moon is now playing at a theater near you. Eclipse (from director David Slade) opens next June. Be sure to buy your tickets six months in advance.
(Currently playing at Westates Theaters in St. George, Mesquite, and Cedar City, Hurricane's Coral Cliffs Cinema 8, Mesquite's Redd Hills Cinemas, and Springdale's Zion Canyon Giant Screen Theater)

2012 (PG-13)
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Roland Emmerich is back to destroy the world yet again because, apparently, doing it in Independence Day, Godzilla, and The Day After Tomorrow simply wasn't enough. So, with 2012, he's essentially fashioned his greatest hits package. A big spectacle of a disaster film. The kind Irwin Allen used to make, only with better special effects. I suppose one question on everyone's mind is, with big, loud, mind-numbing special effects extravaganzas, who does it better – Roland Emmerich or Michael Bay? In terms of body of work, Bay probably wins the battle by a hair, but there is no question that 2012 is a much better film than Transformers: Revenge of the Fallen. Both films are painfully long, and neither picture offers up a single character worth really caring about, but 2012 has the edge for two reasons. Firstly, Emmerich really pulls back and allows the audience to see what's going on. When Los Angeles and Las Vegas are demolished, we see it in big sweeping master shots. Secondly, 2012 has the better cast. Again, I really didn't give a crap about anyone in this movie, but the fact remains that I love this cast. John Cusack is on cruise control as the everyman out to save his family from world annihilation, but he's still pretty appealing. Chiwetel Ejiofor is leaps and bounds better than the material, and he somehow manages to make his minimal dialogue completely believable. Woody Harrelson steals the show in limited screen-time as a pirate radio conspiracy theorist who conveniently clues Cusack in on what's going on so he can stay one step ahead of disaster. Rounding out the all-star cast are the likes of Danny Glover, Oliver Platt, Thandie Newton, and Amanda Peet. 2012 is relentlessly repetitious (there are several sequences in which Cusack outruns certain destruction in similar fashion, and numerous scenes in which characters manage to call their loved ones moments before they perish) and incredibly silly (watching Cusack outsmart an earthquake in a stretch limo is...well...a stretch!), but in the end, 2012 has a goofy energy about it and certainly offers up a fair share of awe-inspiring grandeur. Had Emmerich shaved about an hour off the running time, the film would have been more entertaining. As it stands, though, this is easily his best work since 2000's The Patriot.
(Currently playing at Westates Theaters in St. George, Mesquite, and Cedar City, and Hurricane's Coral Cliffs Cinema 8)

THE BOX (PG-13)
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The Box is based on a short story by Richard Matheson (it was the source material for an ‘80s Twilight Zone episode called Button, Button), and now, the short has been expanded into a feature by cult hero Richard Kelly, an interesting filmmaker who earned quite a legion of fans with his debut film, Donnie Darko. He followed that picture up with the much ridiculed Southland Tales (a film, I must confess, I have yet to see). At the surface, his latest film, The Box, appears as if it'll be an entirely accessible movie, but then Kelly quickly changes gears after baiting the audience in with a simple and compelling set up.

The Box opens in 1976 suburbia and weaves its tale around a mysterious stranger (played by Frank Langella) who offers a financially struggling married couple (played by Cameron Diaz and James Marsden) a most unique opportunity. With a box in hand, Langella's horribly scarred Arlington Steward informs the couple that should they push the button at the center of the box, they'll receive $1 million cash. The catch? If they do decide to press the button, someone who they don't know, will die. What follows is a bizarre sequence of events that I'm still trying to wrap my head around. Through an odd fusion of religious and scientific themes, The Box emerges as a weird, dreamlike, and sometimes maddening morality play, but somehow, I was strangely intrigued by it. Kelly does a good job evoking a creepy sense of dread all while creating a slow build towards a wacked-out climax that still has me perplexed but completely fascinated. Parts of The Box reminded me of a David Lynch movie, while visually, the film has a distinct Stanley Kubrick ring to it. I'm not saying this movie is in the same league as Lynch or Kubrick's work, but it's certainly in a similar tradition. And technically, The Box is wonderfully put together. Particularly the ‘70s-inspired art direction and Arcade Fire's ominous score. The Box isn't exactly a masterpiece. There are moments that are overly dramatic, and Diaz and Marsden aren't always on target, but ultimately, The Box is thought-provoking enough and worthy of a recommendation to movie goers who don't mind thinking outside the box.
(Currently playing at Westates Theaters in Cedar City, and Mesquite's Red Hills Cinema)

THE MEN WHO STARE AT GOATS (PG-13)
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The Men Who Stare at Goats is one offbeat comedy. It features Ewan McGregor as a reporter who travels to Iraq after he learns of a strange story involving soldiers with apparent psychic powers who are ultimately recruited in an attempt to bring an end to the war through Jedi-like mind control. Ewan McGregor's Bob Wilton is led to soldier Lyn Cassady (played George Clooney), a somewhat zany individual who proclaims to be part of the previously mentioned operation. Together, this unlikely pair takes a road trip across the Middle East and comes in contact with a wide range of colorful characters, including Kevin Spacey's Larry Hooper and Jeff Bridges' Bill Django.

The Men Who Stare at Goats has the virtue of being the first major motion picture to take a light approach towards the conflict in the Middle East, and that, in and of itself, is quite refreshing. The movie has a carefree vibe and brought to mind Steven Soderberg's Ocean's 11 series. It's a bunch of big name stars having a good time, and while some of the movie plays like a big elaborate inside joke, I felt like I was in on it. I was smiling more often than not. Spacey is a riot as an insecure soldier, and Jeff Bridges is laugh-out-loud hilarious in a role that recalls his memorable turn in The Big Lebowski. George Clooney is immensely entertaining here, and McGregor is terrific as the straight man. On a final note, it was particularly fun listening to McGregor make off-color Jedi remarks, particularly given his affiliation with the Star Wars universe. A fun movie with a surprisingly breezy tone.
(Currently playing at Westates Theaters in St. George and Cedar City, and Mesquite's Red Hills Cinema)

OTHER MOVIES

PRECIOUS: BASED ON THE NOVEL PUSH BY SAPPHIRE (R)- ½
AN EDUCATION (PG-13)- êêêê½
THE COVE (PG-13)- êêêê½
CAPITALISM: A LOVE STORY (R)- êêê½
WHERE THE WILD THINGS ARE (PG)- êêêê½
MICHAEL JACKSON: THIS IS IT (PG)- êêêê
PARANORMAL ACTIVITY (R)- êêêê
ZOMBIELAND (R)- êêêê
SAW VI (R)- êê
THE MAID (R)- êêêê½
ADAM (PG-13)- êêê½
CLOUDY WITH A CHANCE OF MEATBALLS (PG)- êêêê

NEXT MONTH

OUR BEST OF THE DECADE ISSUE!

A MESSAGE FROM THE ST. GEORGE FILM SOCIETY

SUNDANCE FILM FESTIVAL

Just a heads-up in regard to the upcoming festival: You can now register to buy individual tickets for Sundance. Registration is free and available at sundance.org. Tickets go on sale in January.

HAPPY HOLIDAYS!

We just wanted to wish you all a Merry Christmas and a Happy New Year!