Casino Royale

Title: Casino Royale (2006)
Dir: Martin Campbell
Rating: ****1/2 out of 5 stars



Much like the Batman franchise, a restart is exactly what James Bond needed. Sporting an old story and a new 007, Casino Royale is the best Bond film in years.

Royale begins with Bond (Daniel Craig) having just achieved 007 status. In his first mission, he takes on a man named LeChiffre (Mads Mikkelsen) who is laundering money for terrorists. He also happens to be a compulsive gambler, so Bond challenges him in a poker game in an attempt to make LeChiffre gamble away the blood money and have to turn himself in to MI6 for protection. Helping Bond is a lady banker named Vesper Lind (Eva Green) so, ya know, sexy stuff ensues.

I loved 90% of this movie. There is a chunk of film toward the end that sucked. And I can pinpoint the exact moment where the film peaks. There is a really awesome scene, and then a half-hour of crap that includes a lot of bullshit, mushy stuff, and really horrible dialogue. But by the end, it came back strong. The whole film is loaded with fantastic action scenes, none of which had any obvious CGI. This movie utilized stunt actors only, and the results are just great.

And Daniel Craig rocked this role! The sandy hair and unconventional looks couldn't stop him from nailing the part, even better than some of his predecessors (I'm looking at you, Dalton). I'd say he is the best Bond since Sean Connery (you heard me). Craig's 007 is charming, dangerous, and occasionally vulnerable. In a word, perfect.

I also liked the character of Bond so much more in Royale. He does less martini-drinking and more ass-kicking, as a good 007 should! And the film nails Bond's classic one liners - witty, not cheesy - and it boasts a great new villain. As 007's nemesis, Danish actor Mikkelsen portrays more than a token Bond villain. Sure, he has the obligatory quirk (asthma inhaler) and creepy body part (bleeding eye), but LeChiffre is also desperate, compulsive, and all-around human. I only wish that he and Daniel Craig had more scenes together (namely, a hand-to-hand battle would've been nice).

I can see why people would roll their eyes at this movie without seeing it. At first, I didn't want to see it, either. But I highly recommend you put aside your doubts and just watch it. It's a great action film, and gives us hope that even the worst franchises can be reincarnated as something great.

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The Gift

Title: The Gift (2000)
Dir: Sam Raimi
Rating: ***1/2 out of 5 stars



Ahh, my final Sam Raimi film!*

*Not counting For Love of the Game, which I'll probably never watch - sorry, Sam.

Written by Billy Bob Thorton and directed by God, The Gift is a supernatural thriller about a psychic (Cate Blanchett) who has visions of a murder in her small backwoods town. Her testimony leads to the arrest of a redneck wife-beater (Keanu Reeves), who threatens her and her children. Then, as her visions become more clear, she begins to question if the right man is behind bars.

With the exception of Reeves and Katie Holmes (who played the murder victim, thankfully), the cast is pretty good. Blanchett is strong and sympathetic as a single mother who didn't ask for her psychic gift but must deal with the consequences it brings. Rounding out the cast are Greg Kinnear as the murder victim's grieving fiance; Hilary Swank as a battered wife (sporting one hideous mullet); and Giovanni Ribisi, who gives a particularly disturbing performance as a mentally unbalanced man. Oh, and Gary Cole plays an attorney! I just had to mention that. Birdman, get in here!

I liked the story, and the murder mystery kept me guessing until the end. But the film failed to really haunt me afterwards. I prefer Raimi's other dark thriller, A Simple Plan. I loved that movie long before I knew who Sam was. It was better-written and much more haunting than The Gift. The latter is still good and my man did a great job directing. I liked it more than expected, but it's still one of Raimi's lesser works. I blame Neo and Mrs. Cruise!

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Stranger Than Fiction

Title: Stranger Than Fiction (2006)
Dir: Marc Forster
Rating: **** out of 5 stars



In Stranger Than Fiction, a novelist (Emma Thompson) struggles to decide how she will kill the protagonist of her book. But unbeknownst to her, the character, named Harold Crick, is a real man (Will Ferrell). Furthermore, Harold can hear her narrations and has become aware of his impending doom. He seeks help from a literature professor (Dustin Hoffman) to find the author before it's too late. And in trying to prevent his death, Harold learns what it means to really live.

I know that sounds awfully cliche, but the film is actually quite original and fun. If you think the plot sounds like a poor-man's Charlie Kaufman script, you're right. But even a poor-man's Charlie Kaufman is a helluva lot better than most Hollywood screenplays. This is a whimsical black comedy with a clever story and some great performances, especially from Will Ferrell. He achieves a performance that is serious and believable without being depressing and dull. Thompson, Gyllenhaal, and Hoffman also turn in great performances (was there any doubt?).

I rated Fiction four stars because it is one of those good but ultimately forgettable films. I enjoyed watching the movie, but it didn't stick with me (these types of comedies rarely do). I wouldn't berate you for skipping this one, but I still recommend seeing it, especially if you're craving some light-hearted comedy with a brain.

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The Fountain

Title: The Fountain (2006)
Dir: Darren Aronofsky
Rating: **** out of 5 stars



For The Diamondback....

A good love story is hard to find these days. Too often, Hollywood’s idea of romance involves the same recycled formula: girl meets boy, girl hates boy, boy charms girl, and a happy ending ensues. On the opposite end of the spectrum, heavy melodramas about heartache and death often lack entertainment value. Reality lies somewhere between these two extremes, and can sometimes be found in the least likely of places – fantasy.

Darren Aronofsky’s The Fountain is a haunting science fiction film about life, love, and death – none of which are sugarcoated here. The reality is life is fleeting, love is painful, and death is inevitable, but this film challenges viewers to think of death as an act of creation rather than destruction. The story is not a spiritual lecture, but rather an epic fantasy. With a wildly original script, bold visuals, and powerful performances, The Fountain is one of the year’s most thought-provoking films.

The narrative is composed of three parallel storylines - each set in different time periods, but involving the same two people. All three stories revolve around a man (Hugh Jackman, The Prestige) desperately trying to protect the woman he loves (Rachel Weisz, The Constant Gardner) from her impending death.

At one end of the timeline, a 16th century Spanish queen faces certain execution unless her loyal conquistador can find the fountain of immortality, long hidden by the Mayans. Centuries later, a modern-day doctor tries frantically to cure his dying wife of her malignant brain tumor. And finally, a 26th century man takes a celestial journey in a last-ditch effort to be with his true love forever. The three stories are beautifully interwoven, but to elaborate further would spoil the film.

The common theme between these stories is a man (all three played by Jackman) unwilling to let go of the woman he loves, even if it means battling Mayan warriors, a cancerous tumor, or his own mind in the isolation of deep space. And each of the men quests for immortality, be it literally or figuratively. But writer/director Darren Aronofsky (Requiem for a Dream) conveys the message that death in itself is a path to immortality. The film frequently alludes to the ancient Mayans, who believed that time was cyclical and death was a means to re-birth. The story does not preach, but merely presents a fantastical interpretation of an ancient philosophy and its relevancy to the modern world.

Although The Fountain is a love story between two people, most of the film’s emotional weight rests on Hugh Jackman. It is very much about his characters’ journey from dark to light, from denial to acceptance. The role requires a lot of emotional depth, and Jackman is more than up to the task. He gives an intense, believable performance that is sure to garner much critical acclaim. Even though Weisz spends considerably less time on-screen, their characters’ love is never doubted because Jackman so perfectly portrays a man boiling with passion and desperation. Forget Wolverine – here is a man who would traverse centuries just to save the one he loves.

Most impressive of all are the film’s visual effects. Instead of using computer-generated imagery (CGI), the director created outer space scenery using photography of chemical and bacterial reactions. The resulting footage was cheaper and considerably more realistic. Other impressive effects were accomplished using practical techniques, while computers were only used for facial touch-ups and set extensions. Few films today dare to limit CGI so drastically, let alone an elaborate science fiction such as this. Even if you hate the story, you have to respect this bold, inventive move by Aronofsky.

The biggest downside of The Fountain is the pacing. Particularly at the beginning of the film, it tends to be slow-moving. Furthermore, the story is complicated and takes some time to sort out. For this reason, it is doomed to be a love-it-or-hate-it movie. Mainstream audiences may not be accustomed to a film like this, but with a little patience and an open-mind, one should appreciate where it succeeds as a science fiction and a love story. It is not perfect, and not even Aronofsky’s best work, but it excels nonetheless.

One of this film’s biggest influences, 2001: A Space Odyssey was largely deemed a failure upon its release in 1968. Today, it is hailed as brilliant and groundbreaking. In the same way, perhaps The Fountain will only earn its acclaim when people are ready for it. And much like its immortal protagonist, this film will surely stand the test of time.

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Borat

Title: Borat! Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006)
Dir: Larry Charles
Rating: ***** out of 5 stars



Borat is gut-busting hilarious from the very beginning. Within the first three minutes, I knew I loved it.

Sacha Baron Cohen plays the titular Kazakhi who visits America to film a documentary. Borat is dimwitted, crude, and yet undeniably lovable. His naivete gets him into some uncomfortable scenarios - from naked man-wrestling in a hotel, to singing the Kazakhstan anthem at a redneck rodeo. Whether they be real or staged, every situation is jaw-dropping and hilarious. I haven't laughed this hard in a long time.

I can see why Kazakhstan feels misrepresented by the film, but c'mon, it's satire! America doesn't get its panties in a bunch everytime the Daily Show mocks it. Besides, Borat spends about five minutes satirizing Kazakhstan, and the rest of the film lampooning the United States. The film exposes all the ugly sides of America, especially the bigoted assholes (who fully deserve the public humiliation they got).

I can't even begin to describe how funny Borat it. You just gotta see it for yourself. Cohen is a hilarious, talented guy with balls of STEEL. If for some crazy reason you haven't already seen this movie, do yourself a favor and go see/download/rent/buy it right NOW.

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