Mama MiAHHHHHHHH!!!!!!: Review of MAMA

Based on a 2008 Spanish-language short-film of the same name by Andres Muschietti, MAMA is a supernatural thriller that tells the modern-day ghost story of two little girls, Victoria and Lilly, who disappear into the woods the day that their mother is murdered. Thankfully(?), after five years worth of time and money spent by their Uncle Lucas (Nikolaj Coster-Waldau who also plays the girls' father Jeff), the girls are found in a decrepit cabin, alive but feral, muttering about the enigmatic "Mama." The girls are eventually released into the custody of Lucas and his rockstar girlfriend, Annabel (Jessica Chastain), and the newly formed family moves into a home provided by the court and the girls' psychiatrist, Dr. Dreyfuss (Daniel Kash). However, as Lucas and Annabel find out, Victoria and Lilly may not be the only new additions to the family. 

Basing a feature length film on a short is not a new practice. Many films based on short films have been incredibly successful, including BOOGIE NIGHTS, DISTRICT 9, and 12 MONKEYS. That being said, the 2008 MAMA is no more than 3 minutes. No matter how competent a filmmaker you have, it's going to be difficult to stretch those 3 minutes into a 100 minute feature film. And this is where MAMA (2013) struggles. In order to get Victoria and Lilly into the cabin to essentially start the movie proper, we get 10 to 15 minutes of the girls' father Jeff shooting his partners (we find this out from a car radio broadcast) and then his wife (off-screen), driving his girls away from the home, swerving off a cliff, stumbling into the cabin, building a fire, preparing himself and finally attempting to kill his daughters only to be killed by the shadowy "Mama." And then Jeff (except a brief scene or two), his wife, his partners and their entire situation is never mentioned again. 

That's kind of how MAMA, as a whole, goes. Despite a strong performance by Jessica Chastain, who although she isn't given much is clearly having a great time and making the most of what there is to work with, and a genuinely creepy atmosphere throughout, there just isn't a lot here. The middle act of the film, though full of frightening sequences, begins to become repetitive -- with Annabel dealing with her new, creepy kids, Victoria and Lilly playing with some offscreen monstrosity, and then something happens that scares the crap out of Annabel and the audience both. Then we reset and do it again the next day with little to no change (except Annabel maybe being slightly more reluctant to open that closet). Likewise, the central mystery of the film is fascinating, however through a series of contrivances including an old archivist lady who basically gifts the entire solution to Dr. Dreyfuss and the audience at the same time, it all happens far too fast for any real emotional connection. On the same note, the theme of the deep bond that forms between mother and daughter is also an enthralling one, but one that comes too late into the movie to have any real resonance.

That being said, Andres Muschietti is able to create a magnificently haunting atmosphere through strategic lighting and sound effects, and by his manipulation of framing, choosing to imply the horrific acts perpetrated by "Mama" rather than show it in all of its gory glory. There is definitely a clear style to the film that isn't lost from the short; one that makes it easy to see why del Toro was drawn to the project. For instance, in the opening credits the girls' 5 years in the cabin is depicted through childish crayon drawings that vary from sweet to nauseatingly disturbing. It is an impeccable demonstration of subtle filmmaking that shows that despite MAMA's shortcomings, Muschietti is a definite talent. 

Sadly, MAMA is unable to capitalize on the atmosphere it creates when the monster is finally revealed. Though the creature design is unique and very effecting, in execution of the CGI is mediocre at best and nearly undoes everything that Muschietti builds up to that point. By the time "Mama" is revealed, the final act of the film becomes less of a horror movie and more of a family drama with one of the parties being the disturbing, female ghost version of Rocky Dennis from MASK. The central mystery is completely discarded and what we're left with is a strange sequence that feels both appropriate and yet completely unearned. 

However, this ending does do something with the little girls that most other films of this ilk would not have the balls to do, and it should be commended for that. And despite all of its problems, it's still a mildly entertaining horror film with a unique visual style that mixes a legitimately haunting environment with obligatory jump scares. And yet with its countless contrivances and plot holes, it is easy to see why this film made an excellent short film (and probably would have been better as an extended short) but struggled heavily with its conversion to the big screen. 

But for what it's worth, MAMA really scared my mama and she's pretty tough. 6 out of 10 (8 out of 10 on the Mom-Scare-o-Meter)

For those interested, here's the 2008 short: 

My Most Anticipated Films of 2013

This is the type of thing you have to get out of the way quickly, otherwise half the films you want to mention have already come and gone. I could have possibly put GANGSTER SQUAD on this list at the beginning of the year, but I guess that's one time where waiting a bit to put your list out helps. That being said, WOO 2013! This year looks like it's going to be packed with awesome movies! Granted, every year looks like that in January. So, let's list out these bad boys before 2013 starts proving me wrong! Yeah! MOVIES! 

Bonus) NYMPHOMANIAC: Just a qualification to this. I hate Lars von Trier’s movies. He makes generally horrific films that will more than likely either completely unnerve you or simply just gross you out. However, while they don't do much for me and while I don't think they're necessarily good films, he does make incredibly personal movies that reflect his deep psychological pains and struggles. As such, although he doesn’t necessarily make good movies, he makes some of the most interesting pieces of cinema today. NYMPHOMANIAC (as if the title wasn’t a hint) will be no exception. It stars Charlotte Gainsbourg as Joe, a self-diagnosed nymphomaniac, who is found by Seligman (Stellan Skarsgård) beaten in an alley. Seligman takes her home to care for her, and Joe recounts the story of her life, from birth to the age of 50. It also stars Shia LaBeouf and is controversial for its reported use of unsimulated sex. It’s not going to be pretty or popular, but if you’re interested in cinema whatsoever, Lars von Trier’s films can’t be missed because of how much they continue to push the envelope on what you can and can’t do.

13.) STOKER: Jesus, look at Nicole Kidman's face!! In all seriousness, STOKER is particularly interesting because it is the first English language film by Korean director Park Chan-wook (THE VENGEANCE TRILOGY). And apart from hopefully being a platform for a more widespread acknowledgement of some amazing Asian filmmakers, the film seems incredibly interesting. After her father dies, an enigmatic uncle (Matthew Goode) moves in with a girl, India Stoker (Mia Wasikowska), and her emotionally unstable mother (Nicole Kidman). Although India has suspicions about her uncle’s motives, she finds herself drawn to him. Apart from the amazing cast, the trailer makes the film seem like a strange mix of horror, family drama, and psychological thriller. It seems almost Hitchcockian and even the smallest glimpses of the film are magnetizing.

12.) PACIFIC RIM: BRHAMMMMMMMMMM!!!! PACIFIC RIM is just the latest entry into the newest sound trend for big, Hollywood action movies. However, this time it's about giant robots fighting giant sea-creature, monstery, CLOVERFIELD, Kaiju Big Battel things! And it's directed by Guillermo del Toro, one of the most visually talented filmmakers working today! In all (well, semi) seriousness, the film is about giant monsters that rise out of a crevice/portal to another dimension deep in the Pacific Ocean and start terrorizing literally everything. And instead of lying down and dying, the humans create these massive robots called Jaegers to essentialy battle the giant sea creatures and CANCEL THE APOCALYPSE!!! This film isn't due out until around mid-July but the trailers are already getting tons of play in theaters and on TV and while I really doubt this will be an amazing film thematically or performance-wise, I do anticipate it will be non-stop, big-budget action hopefully filled with mesmerizing visuals by del Toro and some awesome B-movie fun. 

11.) SIDE EFFECTS: It seems like Steven Soderbergh makes a new movie every year (sometimes two). That being said, all of his films are unique while still holding onto his hard to define genre style. “Side Effects” chronicles the perils of prescription drug abuse as Emily Taylor (Rooney Mara) begins to experiment as she waits for her husband’s (Channing Tatum) release from jail. Riding a fantastic string of films including HAYWIRE, CONTAGION, and MAGIC MIKE, Soderbergh will undoubtedly create a psychological thriller that will use and subvert genre conventions in order to delve into the dark depths of addiction in a way that could be cold and surgical or deep and personal. Regardless, it will be incredibly gripping. And with his retirement looming after the completion of this and his Liberace biopic, BEHIND THE CANDELABRA, you can bet that Soderbergh will be pulling out all the stops.

10.) TWELVE YEARS A SLAVE: Experimental artist, Steve McQueen is sort of like Lars von Trier in the way he pushes the boundaries of cinema. His last two films, HUNGER and SHAME, both employ experimental camera techniques and shots in order to a produce a raw and unique look at the human condition. Like the films of Lars von Trier, they also do not skimp on graphically depicting the horrific acts perpetrated within their frames; whether it be the ravages of hunger and both physical and emotional abuse, or the often violent and disturbing actions of a sex addict. 12 YEARS A SLAVE, which tells the true story of Solomon Northrup, a New York state citizen who is kidnapped and sold into brutal slavery, and made to work on a plantation in Louisiana in the 1800s as he desperately struggles to return home to his family, promises to continue McQueen’s streak of telling and harsh depictions of human nature. It’s not easy cinema, but it’s the type of cinema that really make you question our actions and who we were, are, and will be as people. And with an all-star cast including Brad Pitt, Michael Fassbender, Benedict Cumberbatch, and Paul Giamatti it should be fantastic.

9.) THE PLACE BEYOND THE PINES: The newest film from BLUE VALENTINE director, Derek Cianfrance, THE PLACE BEYOND THE PINES is the multi-generational story about motorcycle stunt rider, Luke Glanton (Ryan Gosling), who considers committing a crime in order to provide for his newborn child, an act that puts him on a collision course with a cop-turned-politician, Avery Cross (Bradley Cooper). We already know from BLUE VALENTINE that Cianfrance knows how to do human emotion right. Likewise, I will be very intrigued to see what he does with father-son relationships and the hefty themes that go along with them. Also starring Eva Mendes, Ray Liotta, and Dane Dehaan, THE PLACE BEYOND THE PINES has a strangely similar feel to another Gosling movie (and my favorite film of 2011), DRIVE which could be a very good sign.

8.) IRON MAN 3: Whatever you feel about writer/director Shane Black (I have mixed emotions, myself), it's clear from LETHAL WEAPON and KISS KISS BANG BANG that he knows how to expertly balance humor with often times dark and depressing subject matter. Given this fact, I am excited to see what he does with the latest installment of the IRON MAN franchise, in which Tony Stark faces a powerful enemy, The Mandarin, when he embarks a quest to find those responsible for destroying his private world. If the trailer and synopsis are any indication, this will be a notably darker and most intense Tony Stark than we have seen in the past. Supposedly playing close to many aspects of the character found in the comics, and could chronicle Stark's problems with alcoholism (a problem Robery Downey Jr. has faced in real life) and/or some of the  existential issues of the character. Regardless, it will be exciting to see what mood IRON MAN 3 (the first film since the crossover) will take and what direction THE AVENGERS franchise will consequently move in. I'm am also really looking forward to Downey Jr. and Black teaming up again and for RDJ to have the spotlight to himself again (not that I don't like the other guys, they're also amazing), with another opportunity to really show that he is one of the finest actors working today.

7.) UPSTREAM COLOR: This is probably the smallest of all these films. The sophomore effort by Shane Carruth (after his amazing debut, PRIMER, which is on Netflix and is the closest thing to “correct” time travel that there is in film), UPSTREAM COLOR might have the vaguest synopsis I've ever read. To quote, “A man and woman are drawn together, entangled in the life cycle of an ageless organism.” I don’t know what that means, but it sounds awesome. And the trailer is utterly encapsulating. I've literally seen it 15 times and still don’t know exactly what’s going on. A former software engineer, Carruth makes some of most intelligent and consequently hard to wrap your head around films today. But because of this, they are also some of the most rewarding. I don’t know when or where this will be released, but in the mean time please check out PRIMER. It’s amazing and even though you probably won’t completely understand it right away, I guarantee you'll want to see it again. Along with everything Carruth comes out with subsequently.

6.) MAN OF STEEL: It's the superhero version of TREE OF LIFE! Like the "BRHAMMMMMMMM!!!!!" trend I spoke of earlier, Hollywood also seems to get off on making their movies seem super-artsy and mysterious -- not divulging much if any of the story  and leaving the audience with an overwhelming sensation of, "...Huh?" And while this style often leaves me feeling cold and scoffing at it's pretentiousness, something seems different about MAN OF STEEL. Is it that Christopher Nolan is producing or the Zack Snyder (WATCHMEN, 300) is directing? Is it the amazing cast including Henry Cavill, Amy Adams, Michael Shannon, Kevin Costner and Diane Lane? Maybe. However, I think it's the fact that it just looks so different from any other superhero movie I've seen. Sure THE DARK KNIGHT trilogy was "gritty and real" (and it was awesome), but it still doesn't seem like MAN OF STEEL has many comparisons. It seems like something completely new and refreshing (again, maybe that's just me). And no matter how it turns out, you can bet that it will two things: 1.) Absolutely gorgeous to look at and uniquely (if not impeccably) shot. And 2.) That it will most certainly be better than the 2006 abomination that was SUPERMAN RETURNS (and the poor, poor rotting corpse of Brandon Routh). And I think those are two things that we can all get firmly behind. 

5.) STAR TREK INTO DARKNESS: Admittedly I wasn't a huge STAR TREK fan. In fact, I wasn't a fan at all. Not that I disliked the series, I simply hadn't actually seen any of it. That all changed with the trailer for STAR TREK INTO DARKNESS. I don't know if it was Benedict Cumberbatch's strange and imposing presence or what, but I knew I had to see this film and its predecessor. So I watched 2009's STAR TREK by J.J. Abrams. And it was amazing! How had I been missing out on this wonderful series and especially this fantastic movie? Needless, I gushed about it for a week and have been incredibly excited for STAR TREK INTO DARKNESS (even despite its horrific name) ever since. To quote, "After being called back home, the crew of the Enterprise find a seemingly unstoppable force which has attacked Starfleet and left Earth in chaos. Captain Kirk and the crew of the U.S.S. Enterprise are tasked with leading the deadly manhunt to capture the party responsible and settle an old score." Needless to say, it looks as good if not better than the previous film. Look for Abrams to bring his patented visual sensibilities to the film along with his ability to depict fantastically organic human (or not-so-human) relationships. And with such an enigmatic and quietly threatening villain in Cumberbatch's character, this film could be the explosive start to a summer of amazing movies that THE AVENGERS would have been if the summer of 2012 would have had any amazing movies. That being said, it looks like a film that could blow away both fanboys and casual cinema goers.  

4.) GRAVITY: Most of you will know Alfonso Cuarón for his contributions to the Harry Potter universe with 2004’s HARRY POTTER AND THE PRISONER OF AZKABAN (my personal favorite of the series). However, what you should know him for are his two other films, Y TU MAMA TAMBIEN and CHILDREN OF MEN. Cuarón has an absolutely incredible visual sense (there’s a continuous steadicam shot in CHILDREN OF MEN that is one of my most breathtaking things I’ve ever seen) and a knack for emotional storytelling. Needless to say, there’s reason to be excited about his return to filmmaking after an 8 year absence with GRAVITY. Written and directed by Cuarón, GRAVITY stars Sandra Bullock as Dr. Ryan Stone, a brilliant medical engineer on her first shuttle mission, with veteran astronaut Matt Kowalsky (George Clooney) in command of his last flight before retiring. But on a seemingly routine spacewalk, disaster strikes. The shuttle is destroyed, leaving Stone and Kowalsky completely alone–tethered to nothing but each other and spiraling out into the blackness. Cuarón’s visuals in space? A story about isolation and the struggle to survive? An amazing duo to carry the film? What more do you need?!

3.) ONLY GOD FORGIVES: I spoke of DRIVE earlier as being my favorite film of 2011. I love Nicolas Winding-Refn as a director and I love Ryan Gosling being one cool mofo. I got it in DRIVE and if all the signs are correct, I’m going to get in again with ONLY GOD FORGIVES. Set in Thailand, the film follows Julian (Gosling), who runs a Thai boxing club as a front organization for his family's drug smuggling operation, as he is forced by his mother Jenna to find and kill the individual responsible for his brother's recent death. The film seems to have the same kind of brutal violence mixed with that weird, neon-y 1980s vibe with the strong, silent hero that made DRIVE amazing. But this time it’s in Thailand! And if THE HANGOVER PART 2 taught us anything (crazy, I know), it’s that Thailand is an amazing backdrop for a film. With DRIVE and 2009’s VALHALLA RISING, ONLY GOD FORGIVES looks to be the final part of a trilogy that progressively gets more and more violent, more and more strange, and more and more amazing. And I for one can’t wait! 

2.) THE WORLD'S END: Speaking of unofficial trilogies, Edgar Wright’s newest film, THE WORLD'S END, finishes his “Three Flavours Cornetto” or “Blood and Ice Cream” trilogy along with SHAUN OF THE DEAD and HOT FUZZ. SHAUN was his take on the horror genre, HOT FUZZ his take on the buddy cop/procedural genre. Now, with THE WORLD'S END, he has his end of the world/sci-fi film. Starring Simon Pegg and Nick Frost (stars of the previous films), the film tells of the story of five childhood friends who reunite after twenty years to repeat a legendary pub crawl from their youth, returning to their hometown once again to attempt to reach the fabled pub "The World’s End". Over the course of the night, they begin to realize that the real struggle is "not just theirs but humankind’s", and completing the crawl becomes the least of their worries. Edgar Wright has such a unique and kinetic editing style and his films are so uproariously funny that I would gladly watch them no matter what. However, with the return of Pegg and Frost along with Rosamund Pike, Paddy Considine and the now white-hot Martin Freeman, I wouldn’t miss this one for the world (pun intended?).

1.) INSIDE LLEWYN DAVIS: Everyone knows some film by the Coen Brothers. Whether it be NO COUNTRY FOR OLD MEN or O' BROTHER WHERE ART THOU or TRUE GRIT or whatever, everyone knows at least one. That being said, the Coens have made quite a few movies and many times their smaller ones get overlooked by the general public in favor of the larger, more widely available ones like the three I’ve listed. Likewise, I feel like it’s my duty to make sure you all know about their newest film, INSIDE LLEWYN DAVIS. Starring Oscar Isaacs and Carey Mulligan (also, crazily enough, from DRIVE) and the ubiquitous Justin Timberlake, the film tells the story of a singer-songwriter who navigates New York’s folk music scene in the 1960s (and is based loosely on Dave Van Ronk’s posthumous memoir THE MAYOR OF MACDOUGAL STREET). Now that might seem kind of boring to some of you, but apart from the New York folk music scene in the 60s being absolutely fascinating, you should see everything the Coen Brothers do because they’re two of the most unique minds making movies today and are arguably  today’s (along with Tarantino in my opinion) greatest living American directors. Couple that with the Coens talking about creating naturalistic dialogue that “creates the sense of being right in that world” along with shooting the film in an older format (i.e. 16mm) to emulate old-school documentaries AND a cast that also includes John Goodman and F. Murray Abraham and you have what sounds like a potentially amazing piece (we’re talking Oscar-level) with a very different feel from their “normal” films.

Notable Others: CAPTAIN AMERICAN: THE WINTER SOLDIER, MONSTERS UNIVERSITY, R.I.P.D., THOR: THE DARK WORLD, THE WOLF OF WALL STREET, THE WOLVERINE

...But while you wait for these potentially amazing movies, go watch DRIVE. It's a really great movie, guys. Really. 

My Favorite Films of 2012

Ahhh, the year that was. 2012 was not the greatest year for film. It started off incredibly strong and got me incredibly excited for what looked to be an amazing summer. And then the summer was one of the worst summers in movie history (hyperbole? yes, but still). However, just as I was beginning to lose hope, the fall and winter brought 2012 back with a vengeance with an amazing winter.  So, was it the best year? Not even close. But it was, like most years, still filled with many amazing films. Some I saw and wished I hadn't (cough, LES MIS, cough) and some I still have yet to see and it kills me. But I have seen a lot of movies (176 not counting repeat viewings) and here are my favorites of the year (ranked arbitrarily until the top 5 or so)!

10.)  THE GREY It seems like everyone hates this movie. Any time I hear someone bring it up it is always negative and I want so much to tell them that they're wrong. Instead I just shake my head and die a little bit inside. Granted, it's not their fault. THE GREY, directed by Joe Carnahan, was marketed terribly. "TAKEN with wolves?! Sign me up!" And as everyone found out (and promptly grabbed their pitchforks), this is just not the case. What THE GREY is, rather, is a story about a man at the end of his rope who is thrust into a situation where he is forced to confront death. It is a story about a man who realizes that his choice about whether to live or die has been taken away from him. It's a story about a man who realizes that when that choice has been taken away you, you want to fight for it. It's a meditation on God, on death and on the afterlife while being what is essentially a really cool genre film about Liam Neeson and a bunch of other guys trying to escape a pack of wolves. It also has one of the most intimate and intensely visceral plane crash sequences ever filmed. So, yeah, guys... Give this one another shot (P.S. It's on Netflix). 

9.) SKYFALL When it was revealed that Same Mendes would be directing the new James Bond film I was a little worried. I love AMERICAN BEAUTY and ROAD TO PERDITION is fantastic. But what would a Bond film directed by Sam Mendes actually look like? Well, turns out pretty damn beautiful. Behind the artistry of master cinematographer Roger Deakins, SKYFALL is the most gorgeous film of the year. But what is even more amazing, is that SKYFALL also happens to be one of the best Bond films ever. As 007, Daniel Craig finally feels completely comfortable with the role, so embodying the character that it doesn't even bother you when he orders a Heineken instead of his patented martini (you know how he takes it). He even gives Sean Connery and Roger Moore a run for their money. The action is also impeccably staged, the gadgets incredibly cool, and the puns and misogyny kept to a minimum. Couple that with stellar performances by Dame Judi Dench and Ralph Fiennes, and the Joker-like magnetism of the utterly disturbing yet oddly sympathetic Raoul Silva (Javier Bardem) and you have one superb James Bond film and one hell of an action movie.

8.) THE MASTER Is THE MASTER Paul Thomas Anderson's best work? No. Is it his most enigmatic? Absolutely. Perhaps a movie mainly for Anderson aficionados or the indie movie crowd, THE MASTER is so open to interpretation that it's ridiculous. Telling the parallel stories of Navy vet Freddie Quell (Joaquin Phoenix) and mysterious renaissance man and possible cult leader Lancaster Dodd (Phillip Seymour Hoffman), THE MASTER is a film that, for me, is all about power. Power over people, power over yourself, doesn't matter. It is also a film about two men that are absolutely fascinated with one another -- each teaching the other something about the world and something about themselves. It is also one of the most beautiful films of the year (second only to SKYFALL) and Anderson's use of 70mm (a film stock reserved mostly for large epics such as LAWRENCE OF ARABIA) in order to show the sheer magnitude of Quell's and Dodd's personalities is a pure brilliance. It's not an easy film by any stretch. It might not even deserve the weight being put on it by me and other critics. However, with it's amazing performances and overarching mystery, THE MASTER is a movie I will come back to again and again.

7.) BERNIE Many of you have probably not even heard of BERNIE (this is me pushing up my movie hipster glasses), and that's understandable. In fact, besides briefly reading about it here and there, it is film I had greatly forgotten and swept under the rug. However, that is a mistake no one should make. BERNIE tells the story about a small town in Texas where arguably the most beloved man in town, a funeral director named Bernie (Jack Black), befriends the most hated woman in town, the ultra-wealthy and ultra-shrewish Marge (Shirley MacLaine). However, after years of abuse, one day BERNIE snaps and kills Marge in a fit of rage (not spoilers, it's based on true events). It is a quaint little dark comedy with what I believe to be an Oscar (or at least Golden Globe) nom worthy performance by Jack Black. What makes the film so great, however, is that it's a fascinating and deeply troubling movie that will make you question not only the United States justice system, but also yourself and the morals you hold so dear. Of all the films I have seen this year, not many have forced me to question what kind of person I am more than BERNIE. Whether it reinforces your beliefs or forces you to completely change the way you look at things, you'll be hard pressed to leave BERNIE without feeling something. And that's one of the greatest things a film can achieve.

6.) ZERO DARK THIRTY The last film on this list that I saw in theaters, ZERO DARK THIRTY tells the story of the unfathomable amount of work and perseverance it took in order to finally bring down the most wanted man in the world, al Qaeda leader, Osama bin Laden. Condensing the 10 year manhunt and final raid mission into two and a half hours, Kathryn Bigelow's followup to 2008's THE HURT LOCKER is an amazing film that, like BERNIE, makes you question the actions and behavior of those that lead and protect our country as well as making you take a deeper look at yourself. It shows the lengths that one woman will go to accomplish the one thing that completely rules her life and how that obsession can completely consume and destroy a person. It is an objective look at the whole process, neither praising nor condemning the actions of either side -- allowing instead for you to draw you own conclusions. It is an incredibly shot, edited, and directed film -- a well-crafted and objective revenge film that is extremely intelligent and doesn't treat its audience with kid gloves. Whether the film condemns or glorifies torture is a pointless debate. It doesn't do either. It simply shows how torture was used and allows the audience to judge for themselves. It's a film that makes you really think and one that is immensely important for our nation's history. 

5.) THE AVENGERS Is THE AVENGERS perfect? No, no one would argue that. However, is it both an amazing movie and an even more impressive (and successful) endeavor. The setup for THE AVENGERS was 4 years (not counting the obviously extensive background work) in the making and was the climax to a story that spanned across 5 different films and story lines. And it was everything everyone (well, mostly everyone) had hoped for! Under the guidance of writer/director and all around nerd god, Joss Whedon, THE AVENGERS is one of the most fun and enjoyable popcorn films in the past decade with nearly perfect performances by even the smallest members of the all-star team. With Whedon's quippy dialogue and apparent flair for amazing action set-pieces (the final action sequence of the film is unbelievable) and a story that fleshed out the superhero stars' relationships in a way that feels both organic and incredibly endearing, THE AVENGERS is not only a fantastic movie, it has changed the face of cinema and of film franchises forever. With the new S.H.I.E.L.D. television show that will tie into and flesh out the story, and with Phase 2 already in the works, we are in for something we have never seen before. Cinema will never be the same and it started with insanely fun and ambitious movie.

4.) LOOPER As the old adage goes, "don't impress me, convince me." Rian Johnson's (BRICK, THE BROTHERS BLOOM) latest film, LOOPER, never tries to outsmart itself and consequently never collapses under the weight of trying to impress its audience. It's not a time travel movie. It's a movie that uses time travel in order to create a clever sci-fi conceit.  It doesn't do the things that cause other incredibly smart sci-fi films to fail. Instead, it strips away all the grandeur and the formalist pretension and becomes an intimate story about three people, old selves, past selves, possible selves, all struggling to come to terms with who they were or who they will become, trying desperately to do what they desire while realizing what they might not believe in along the way. It's a film with amazing visuals, a fantastic cast, and a deeply compelling story. Best of all, it doesn't try to out outsmart you. And the result is a film that resonates deeply with us as people. In short, it's a modern day sci-fi classic.

3.) MOONRISE KINGDOM Some people can't stand Wes Anderson and I can accept that. They either can't stand the way he writes dialogue or the aesthetics of his film, or they just can't stand the sense of whimsy that permeates through all of his works. I for one can't get enough of it. In my opinion, Wes Anderson creates some of the most fully realized films of our generation. The way his films feel like stylistic dioramas and the way he is able to create such deep, physical, fully formed worlds are simply breathtaking. Basically, Wes Anderson's films are delightful. But that's not what makes them great. What makes them great is his ability to use that delightfulness to create something personal, deeply intimate, and earnestly sweet. MOONRISE KINGDOM does this as well as any of his films to date. The relationship between the two main children, Sam and Suzy, is probably the most realistic romances captured on screen this year (take that AMOUR!). Plus they're absolutely adorable. It's not my favorite Wes Anderson film (that honor would go to either RUSHMORE or THE ROYAL TENENBAUMS if you were curious), but I think it can safely be said that this is Anderson's best film to date. 

2.) THE CABIN IN THE WOODS You can call this film whatever you want. Whether it be meta or introspective or simply horror comedy, THE CABIN IN THE WOODS is all of these things rolled into a big ball of outrageous, often hilarious mayhem. Not only does CABIN engage and comment on the conventions of the horror genre, it's acts a commentary on why we watch horror movies in the first place. It's like that famous scene in Tarantino's INGLORIOUS BASTERDS when the audience is essentially in a movie theater watching and cheering the devastating violence being perpetrated in a movie theater upon patrons who were just watching and cheering devastating violence being perpetrated while in a movie theater. Except for a whole movie! It's a film that makes you question your own actions and motivations -- what kind of person you are -- and it's a film that does so while showing you some pretty hilarious and messed up stuff. Every time you watch CABIN you find some new part of the puzzle that makes it even more rewarding than the previous viewing. And I've watched it a lot. Basically, as the ending portrays, Joss Whedon and Drew Goddard have essentially killed the horror genre. But not in a bad way. No, in a way that begs for a new beginning, begs us to look at ourselves and question the horror genre and why we flock to these movies. And in a stroke of brilliance, the negativity towards the film simply proves the film right. It's one of the smartest, deepest, most fun movies of the year AND it's a horror comedy. Need I say more?

1.) DJANGO UNCHAINED So, I might have tipped my hand a bit when I referenced Tarantino a moment ago (although those of you that read me regularly could probably have seen this coming). Quentin Tarantino might be the greatest American director working today. It's either him or the Coens. And like the Coens, Tarantino gets so often praised for what his films deliver on the surface -- his subtle and not-so-subtle cinematic references, the brutal violence, the incredibly sharp and witty dialogue -- that people don't look at what's beneath the surface. Like many of his films, especially the above mentioned BASTERDS, DJANGO UNCHAINED is big, bold, daring, and an epic that feels like it goes by in an instant. It's a film with a lot to say. Filled with moral reflexivism, role reversal, the subject of uneasy power, and finding humor is wickedness, DJANGO UNCHAINED is Tarantino taking a life's worth of cinema and forming an amalgamation that creates an entirely new form of cinema (now you're probably seeing why all these weird movies are at the top of my list). It's a film that completely destroys convention and traditional roles. It is a western/revenge film about a black slave, trained by a German bounty hunter to kill white men so he can eventually save his wife. It sounds absolutely ridiculous and many critics and casual movie-goers alike have declared it lack-luster and/or empty. What it actually is, is a deeply subversive and fascinating movie filled with outstanding performances by Christoph Waltz, Leonardo DiCaprio and Sam Jackson. What it is, is the most fun I have had at the movies all year. What it is, is my favorite film of 2012. 

Movies that just missed the cut: ARGO, CHRONICLE, MAGIC MIKE, THE QUEEN OF VERSAILLES, THE RAID: REDEMPTION, SILVER LININGS PLAYBOOK

Movies that disappointed me: BEASTS OF THE SOUTHERN WILD, THE DARK KNIGHT RISES, THE DEEP BLUE SEA, THE HOBBIT: AN UNEXPECTED JOURNEY, KILLER JOE, LINCOLN, PROMETHEUS, RUBY SPARKS

Movies that are terrible and should feel bad: ABRAHAM LINCOLN: VAMPIRE HUNTER, DARK SHADOWS, JEFF, WHO LIVES AT HOME, THE RAVEN, ROCK OF AGES, TAKE THIS WALTZ

Movies that I missed and am incredibly excited to see: HOLY MOTORS, ONCE UPON A TIME IN ANATOLIA, PARANORMAN, RUST AND BONE, SEVEN PSYCHOPATHS

Movie that I hate uncontrollably: LES MISERABLES 

Movie that I shouldn't like but adore: THE EXPENDABLES 2

End of the Year Film Dash

So, 2012 is over and a new year of movies is about to begin! However, until the award season is done, those of us who love cinema (and don't have the means or connections to get see limited releases or press screenings) have to make a mad dash and use any means (which may include some of the less-than-savory nature) to see the most highly praised films that slipped through the cracks during the year. Being a young college student from Eastern Kentucky, I am a prime representative of that particular group (in fact, I've been elected three years running). In years past this has been a very fulfilling, though often lonely, venture. Thankfully this year I have you guys! As such, I have decided to use this particular post to briefly record some of the smaller, lesser known releases (or films that were big releases a long time ago but I didn't see when they were out) and let you know where you can find them in case my reviews make you want to check them out. Ready. Set. GO!

THE QUEEN OF VERSAILLES: For those of you not familiar, THE QUEEN OF VERSAILLES is a documentary focusing on the lives of David Siegel, owner, founder, and CEO of Westgate Resorts -- the "largest time-share company on the planet," and his trophy wife Jackie as they are in the process of constructing their new monstrosity of a home, "Versailles," modelled after the palace of Louis XIV (and appropriately the top floor of some Vegas casino). Then the 2008 market crash happens and the Siegels are forced to deal with a failing company and the prospects of selling their precious dream home and living the shockingly difficult life of millionaires instead of billionaires. Needless to say, the Siegel's aren't likable. They are like a political cartoon's representation of the 1% brought to life and paraded out for our viewing pleasure. While it's a perfect look into the 2008 economic crisis and the effect on the wealthiest in the country, allowing for an abundance of schadenfreude for its viewers, it blends that perfectly with the compassion it somehow makes you feel for Jackie. Is it the sheer pathos that comes from the Siegel's absolutely lovely Filipino housekeepers who left their families to try and make enough money to build a better for them? Of course not. It's not even the same compassion you feel for David Siegal's grown son from his first wife whose father seems to care nothing about him. But there's something sadly endearing about the fact that she has a husband who openly says he draws no strength from his marriage and sees his wife simply as another kid. It's a truly fascinating and maddening glimpse into the lives of the super-rich -- a life where Jackie and David actually seemed worried about telling their kids they might have to actually go to college in order to make their own way in life -- juxtaposed beautifully with the brutal reality of how "actual" people live. Plus it's got a fantastic villain in David Siegel, who is a disgusting human being that I hope I never have the misfortune of meeting. You can watch THE QUEEN OF VERSAILLES on Netflix Watch Instantly. 8 out of 10

GIRL WALK//ALL DAY: It's not often that a movie is pure, unadulterated joy. But that is exactly what GIRL WALK//ALL DAY, the new film/"feature length music video" by Jacob Krupnik, is. Set to mashup artist Girl Talk's newest album ALL DAY, GIRL WALK's loose narrative tells the story of "the Girl" (Anne Marsen) as she dances her way through New York City. Through the day, she constantly interacts with various New York natives, eventually encountering the other subjects of the work, the charismatic, tap-dancing though often sensual "Gentleman" (Dai Omiya) and the skelton-jumpsuit sporting, poppin'-and-lockin', hip-hop "Creep" (John Doyle), in her desperate quest for people to dance with. However, the story isn't what's important. It's the dancing. A stunning blend of classic ballet, tap dance, and many modern forms that I can't begin to name is beautifully filmed and cleverly edited with a fantastic eye and a sharp wit and the result is pure energy and enjoyment. At one point about half-way through the film, "the Girl" is dancing around two rabbis. After ignoring her for a few moments, one of the two turns to her and asks (in a silent, subtitled exchange), "Why are you dancing?" "...Because I'm happy," she explains gleefully. "You should always be happy," the rabbi replies as he rejoins the other and continues away. And that's the point of GIRL WALK//ALL DAY. The world isn't perfect. It is often cynical and filled with people who forsake fun and enjoyment out of the fear of looking silly. But you should always be happy. Leave your apprehensions behind! Go out and have some fun! That's exactly what watching GIRL WALK//ALL DAY is. With Girl Talk's amazing (albeit nearly unmarketable) mix of hip-hop and classic pop hits and the immense charm and lovableness of its protagonists, GIRL WALK//ALL DAY is one of the most uplifting, well-made, unique, and all-around fun pieces of cinema in 2012. AND IT'S FREE! Just go to http://girlwalkallday.com/watch-the-film 9 out of 10

INDIE GAME: THE MOVIE: Telling two primary stories that follow the creators of three well known indie games, SUPER MEAT BOY and FEZ, in varying stages of completion, INDIE GAME is not simply a documentary for gamers. It's not simply a documentary for people who enjoy underdog stories. It's a documentary for anyone who enjoys well-made movies and well-told stories. One of the hardest things to do when filming a documentary is crafting a genuinely compelling narrative out of real-life events. Whether it be the heartbreaking stuggles of FEZ creator Phil Fish to both deal with his countless critics, a sabotaging ex-business partner, and his own perfectionism while attempting to finish a game four years in the making or the creators of SUPER MEAT BOY, Edmund McMillen and Tommy Refenes, dealing with impossible deadlines, onset depression, and overwhelming fear of failure, INDIE GAME makes you connect with these flawed and obviously tortured individuals on a deep, emotional level. INDIE GAME is an incredibly insightful movie that not only portrays the hardships of trying to create a game with two people instead of a crew of 1000 like a HALO or CALL OF DUTY might have, but also really makes one really consider (especially when this is what I do with a lot of my time) how criticism affects those you're criticizing. It's not wrong to criticize, in fact it's fantastic. But it should always be constructive. Criticism that only insults is nothing but destructive. It's this type of criticism that these creators must deal with. And it's their ability to overcome this criticism and to eventually succeed beyond their wildest dreams that allows for such an amazing catharsis by the end of the film. With fantastic cinematography and brilliant editing that combines live action scenes, talking heads, and video game excerpts with incredible fluidity and a truly uplifting and engaging narrative, INDIE GAME: THE MOVIE is easily one of the best documentaries of 2012. INDIE GAME can be seen on Netflix Watch Instantly 8 out of 10

TAKE THIS WALTZ: "I'm afraid of connections," Michelle Williams's character Margot opines to the enigmatic Daniel. This is the message of the whole film, people. It film gives it to you in the first 5 minutes and proceeds to beat you over the head with it over and over again for the rest of its inexcusable 2 hour runtime. I normally don't tell people to not see a movie, but don't watch this film. INSTAGRAM: THE MOVIE tells the story of Margot, one of those indie "writers" who actually doesn't do any writing (you see her keyboard once), who is in the weirdest marriage in America with the strange, sexless Lou (Seth Rogen) but who becomes smitten with the mysterious artist who doesn't want the public to see his art even though it's fantastic and instead drives a rickshaw (oh, yeah) for a living. I don't really want to spend time ranting about this movie, so I'll just run down what's wrong with it quickly. 1.) The script is beyond childish, with none of its characters actually being real characters (even though the actors put in solid performances, especially Williams, given what they're to work with). It's bland and derivative, filled with one indie movie cliche after the other and hipster shit galore. AND there is a ridiculous subplot involving Sarah Silverman playing an alcoholic who is awesome but it serves absolutely no purpose. 2.) You are supposed to care about these characters because they're so unique and quirky, but they don't feel like real people. Michelle Williams's Margot is the most maddening woman on the planet and instead of sympathizing with her, you are left wanting to do many of the horrible things Seth Rogen mentions doing to her in the couple's "pillow talk." 3.) The main problem in the film can be solved in the first 15 minutes if these people would just talk to one another. But no, they have to go through the same motions over and over and over again. It's Sarah Polley's way of trying to build eroticism and emotion, but all it does is increase frustration. And that's all this movie is. It's a frustrating and tone-deaf mess that brings nothing new to table and doesn't know where to end, continuously hammering its message home in more and more hamfisted ways, that by the end you'll be hoping those fists will just put you out of your misery. TAKE THIS WALTZ can be seen on Netflix Watch Instantly (but I wouldn't).  3 out 10 

THE DEEP BLUE SEA: All the posters and screenshots from Terence Davies's newest film, THE DEEP BLUE SEA (no, Samuel L. Jackson does not get eaten by a shark in this one) are either of Rachael Weisz as 1950s London housewife, Hester Collyer looking depressed and smoking a cigarette (see above) or Rachael Weisz and her on-screen love interest Tom Hiddleston (Loki from THOR and THE AVENGERS) romantically embraced in a house or on a street. That being said, only one of these accurately portray the true nature of the film -- and there's a reason I chose the photo I did. This is one of the more depressing movies I've seen this year. Per the classic phrase "caught between the devil and the deep blue sea" (a phrase which is unfortunately uttered in the film to really make sure you get the message), THE DEEP BLUE SEA is about a woman caught between two undesirable choices. 

In it, Rachael Weisz's character is stuck between two men, her husband who is much, much older, probably gay, way too attached to his mother and who refuses to give her a divorce after finding out about her affair with charming, young businessman, Tom Hiddleston. What follows is a series of flashbacks mixed with present day scenes of Hester slowly moving away from her husband and her budding (and then quickly failing relationship) with Hiddleston. Although Rachel Weisz's turn as Hester is both powerful and gripping, very well deserving of her Golden Globe nomination for Best Actress, it cannot save the film from being the dismal, unromantic slog that it is. I can take a film that is depressing. I quite enjoy films that accurately portray a character going through real emotions. What I cannot forgive is a film that is simply uninteresting. None of the characters besides Hester have any real depth and consequently I cared little about their relationships or interactions with Hester or each other. The setting for the film is gorgeous with some brilliant cinematographic choices including one particular scene where the camera follows smoke from Hester cigarette as it twists and twirls, filling the room around her. However, what the look ultimately does for the film is to make you realize just how much time was spent on making the film look era appropriate -- time that should have been spent on the actual story and script. It's melodramatic, poorly written, and, apart from Weisz, poorly acted. In other words, needs more sharks. THE DEEP BLUE SEA can be watched on Netflix Watch Instantly. 5 out of 10

JEFF, WHO LIVES AT HOME: Anyone who has ever seen Jason Segel (left) in anything knows the type of characters he plays. In a word, idiots. While the Duplass Brothers allow him to stretch his dramatic legs, much like they did for Jonah Hill in their last film, CYRUS, JEFF, WHO LIVES AT HOME is hardly any different from any of Jason Segel's other comedies. In fact, there is little difference between it and any other indie comedy period. JEFF, WHO LIVES AT HOME tells the stories of three family members, Sharon (Susan Sarandon) and her two sons Jeff and Pat (Segel and THE HANGOVER's Ed Helms). Jeff is the stoner loser who watches a lot of movies and television and who, taking cues from his movie gurus Yoda and SIGNS, sets off on a path to figure out what the mysterious call asking for "Kevin" means. On the way he meets up with his douchebag brother Pat who is in a less than desirable marriage with Linda (Judy Greer) and the two attempt to find out whether or not Linda is cheating on Pat. And off to the side is Sharon who, afraid to go home to her layabout son, Jeff, gets caught up in an office mystery when an anonymous person sends her a romantic IM. Every plot line here has been seen before and thus are all easily predictable. There's nothing new here. Nor are there many laughs. Sporadically funny, and during those times only moderately so, JEFF, WHO LIVES AT HOME just doesn't have any energy. Contrivance after contrivance anemically build on the film's Zen theme and the Sharon plot line feels like it's from a completely different movie. The film eventually climaxes with one of those conclusions that conveniently, if unbelievably, brings the characters together and resolves the many plot threads. However, like most of the film, this ending lacks any dramatic tension and has little emotional payoff. Everything happens just as we expect them to and nothing surprises or stirs the spirit. Though Sarandon and Greer put in performances that remind you of their power to steal the spotlight, the film is ultimately underwhelming. A film with underdeveloped characters that feels incomplete; heavy in dialogue and light on everything else (also on Netflix Watch Instantly). 5 out of 10

HOW TO SURVIVE A PLAGUE: Recently nominated for Best Documentary at the 85 Annual Academy Awards, HOW TO SURVIVE A PLAGUE chronicles the early years of the AIDS epidemic as well as the beginnings and ongoing efforts of ACT UP (Aids Coalition to Unleash Power) and TAG (Treat Action Group) as they fight to help people with AIDS and to bring about legislation, medical research and treatment and policies to ultimately bring about an end to the disease. Told primarily through extensive archive footage of both movements and talking head segments of the survivors today, HOW TO SURVIVE A PLAGUE is both incredibly fascinating and deeply troubling. The film provides a first hand account and then shows directly how society treated, and continues to treat, people afflicted with HIV/AIDS. These portrayals are not objective, mind you, being filmed primarily by other afflicted men and women. However, they don't have or need to be. What is demonstrated is the cruelty towards these sick and dying individuals by both the government and their fellow men and women. And it's sickening. But in choosing to focus on the creation and development of these two fantastic groups, the film find the positive in the negative. These groups are doing amazing work for people afflicted with HIV/AIDS and this fantastic documentary will both instill you with hope and make you want to do your part to help, to ACT UP (Netflix Watch Instantly). 9 out of 10

Moral Relativism: Review of ZERO DARK THIRTY

Torture is a loaded word. Even a quiet utterance of it is instantly evocative of countless horrific images that have plagued society since humans have been able to interact with one another. Another particularly nasty word with significant emotional heft is terrorism. Clearly any work that deals with these subjects is taking a risk. Tackling such weighty subjects while creating a film that is incredibly rewarding emotionally while objectively presenting flawed and complex characters doing morally questionable things and making impossible decisions is nearly impossible. However, that's exactly what Kathryn Bigelow and Mark Boal do with their second collaboration, ZERO DARK THIRTY. 

Billed as "the story of history's greatest manhunt for the world's most dangerous man," ZERO DARK THIRTY condenses the ten year period between the 9/11 terrorist attacks. The film chronicles the efforts and struggles of the United States, specifically the efforts of CIA officer Maya (Jessica Chastain) and eventually those of Seal Team Six, to find and kill public enemy number one, al Qaeda leader Osama bin Laden. 

As she showed in her previous film, THE HURT LOCKER, Kathryn Bigelow is a master of pacing and high level tension. Apart from the final half hour of the film that focuses on the actual mission into the compound at Abbottabad, most of ZERO DARK THIRTY's action takes place in various CIA offices. It's a tribute to Bigelow and Boal's skill, that they are able to imbue scenes of people looking at files and prisoner interrogation on DVDs, or simply having conversations with one another (scenes depicting events of which we already know the ending) with incredible suspense. 

The power of these scenes is equally a product of the performance of the film's leading lady, Jessica Chastain. As CIA officer Maya, Chastain brings to life one of the most vivid and realistic characters of the year. Having to battle sexism, red tape, and doubt throughout her career, Maya shows an indescribable amount of diligence and persistence in the face of adversity; her delicate features masking the granite underneath. It is clear that Maya is the hero of ZERO DARK THIRTY. However, because of the way Bigelow and Boal choose to present the events and actions of the story, we are left questioning what the word "hero" really means. 

Shooting primarily handheld, ZERO DARK THIRTY has a clear documentary feel about it. The film neither condones or condemns the actions depicted on screen, opting instead to depict events as they were reported to have happened. The film refuses to spoon feed its audience, forcing viewers to think for themselves, asking questions without giving easy answers. This undoubtedly has led to tremendous controversy about the film's objective portrayal of torture as an effective measure of acquiring intelligence. Apart from the fact that this particular stance is very reactionary and simply untrue, the depiction of torture (and events in general) in this way serves a very important purpose. By not taking a side one way or the other, Bigelow avoids having her film devolve into a generic, jingoistic mess while also making the audience question the United States' methods of interrogation -- forcing you to reevaluate all you thought true about various individuals on both sides of the aisle, blurring the lines between who's "good" and who's "bad." 

Behind a powerful performance by Chastain and an incredible score by Alexandre Desplat, ZERO DARK THIRTY is a taut and gripping depiction of one of the most important events of the 21st century. Though it most certainly takes dramatic liberty with the events depicted, it's an extremely well-crafted film with intense, visceral action sequences that manages to sustain some of the highest levels of intensity I've felt in quite some time. It's a film that doesn't take the easy way out -- instead giving context to the manhunt while showing the very real human cost of obsession and zeal. It's a beautifully shot film depicting incredibly real and often ugly things. And despite how you feel about what is depicted, it is one of the most enrapturing films of 2012. 9 out of 10