She’s Out of My League Review

By Ryan Hamelin

Movie Grade: B

Wait, what? Let me get this straight. A funny R-rated comedy that has nothing to do with Judd Apatow, Will Ferrell, or Ben Stiller and starring a bunch of relative unknowns got greenlit at a major studio with a reasonably large budget? Maybe Hollywood isn’t a lost cause after all. Personally, I couldn’t be happier to see Jay Baruchel as a leading man, albeit an awkward and intentionally unflattering one. He’s done his time with great supporting roles in the recent classics Knocked Up and Tropic Thunder, so its nice to see the kid strike out on his own. Without the shadow of Apatow leaning over the movie, there’s a lot to enjoy that feels fresh and new without straying away from a formula that delivers the most satisfying beats. The comedy has a different style to it, and a decided lack of too-quirky-to-be-believable characters grounds the narrative surprisingly well. Sure it has all the moments you know you’re going to see in a rom-com, but it puts the comedy front and center and lets the romance meander around in the background until needed. Basically it’s a really solid date movie, one that won’t have either party clawing their eyes out.

Now that isn’t to say that the film can’t slide into less enjoyable territory form time to time. Make no mistake, the comedy gold here is derived mainly from the painfully awkward vein, and as someone who isn’t a huge fan of the cringe-worthy captured on film, there are parts of the movie that were hard to take. Other people seem to love that sort of humor (a primary reason that Will Ferrell has managed to build and maintain an audience over the years) and they will certainly love it here as the comments fly fast and furiously. The main group of guys is an eclectic bunch, and they’re varied enough to generate great moments of contrast while similar enough that you can believe they became good friends. The “bad guy,” aka the really hot girl’s former boyfriend doesn’t get all that much to do, and he seems to exist solely to progress the plot and fill up screen time.

This brings us to Alice Eve who plays Molly, the perfect 10. As required by the plot, she is a very attractive woman, and at first glance is easy to ignore as such. However, as the story moves forward and we spend more time watching her interact with Baruchel, something else starts to come into play, something I didn’t think we’d really see based on the film’s advertising. Chemistry. You’ll actually believe that she’s the kind of girl who would find a soft spot for the uncoordinated yet humorous qualities that make up the character of Kirk, in a way that wouldn’t have existed with a big name celebrity. The film works because they work, and the reason it surprised me was how completely overmatched the pairing seemed to be in the few clips you can find around the internet. That’s where the drama comes into play, and the romantic aspects finally assert themselves on the narrative.

No matter how it all builds up, a good comedy can never float if the conclusion leaves something to be desired. Luckily, She’s Out of My League sports one of the more satisfying third acts of any recent comedy, and when all is said and done, you will walk out of the theater feeling thoroughly entertained. It might not be comedy gold, and it might not be the kind of film that you will watch again and again with friends or in the background of a party, but there’s enough heart and soul here to make it worth your while. Bring a significant other, sit back, and have a blast. Just make sure you have some good ideas for after the movie too, as your original plans may get upstaged by the film’s most awkward moments.

The Ghost Writer Review

By Ryan Hamelin

Movie Grade: A

Well this is truly refreshing. It’s not very often that two of the greatest directors of our time premiere movies in close proximity to each other, and even rarer that those films both demonstrate a youth and vitality which contradict the age and experience behind the scenes. Of the two, I give Roman Polanski’s latest a slight edge over Scorcese’s Shutter Island, if only because it marks some of the best performances this particular group of actors has ever been directed towards, and has a script which surprises and entertains at every single turn. Yes he edited the movie under house arrest. Yes he will most likely end up getting sentenced to an extended period of jail time for his actions many decades ago. But neither of those things prevent the film from being among the greatest works in his undeniably impressive career and a tribute to what great cinema is all about.

The Ghost Writer, based on the best-selling novel “Ghost”, is the story of a man hired to pen the autobiography of a former British prime minister. The original ghostwriter apparently committed suicide, and the former PM is currently under investigation for war crimes related to ongoing wars in the Middle East. On the surface, it would seem to be directly addressing the story of Tony Blair, but as the narrative unfolds, a far more interesting series of subplots emerge. This is not a true story, but it really doesn’t matter. The attention to detail is elaborate enough for the audience to accept the world as a mere sidestep away from our own, and what few holes the brilliant screenplay leaves open are smoothed over by an incredibly well developed sense of character. Everyone is interesting, everyone is flawed, and everyone is part of the puzzle.

Bringing that world to life are a collection of actors who have spent their careers waiting in the wings. People like Pierce Brosnan, who hasn’t had the chance to develop a resume of character roles due to his instant celebrity and long-term commitment to his vodka martini-sipping alter ego. He makes a fantastic politician, and I wonder only briefly if there were any other contenders for the role. The film’s star, Ewan McGregor, seems to have been more miss than hit of late, but this is easily the greatest work of his career. Part of that probably has to do with not having to fake an American accent as he seems much more poised in his natural British cadence. Following him is Olivia Williams, taking a break from her time as the icy CEO of the Dollhouse and infusing the Prime Minister’s wife with a dark tenderness which betrays her true emotional state. To top it all off, add in the eternally terrific Tom Wilkinson, and you have a group of actors who could manage to elevate the worst screenplay ever written. Now imagine what they can do with quality material, and you start to see how this whole production comes together.

From the opening frames to the closing credits, the movie speaks to a director who is entirely in control of his film. Long takes that never bother to cut give the actors room to breathe and develop. Cinematography that is both intimate and epic, creating a sense of the individual and the world around them simultaneously. Music that is never overbearing and fits perfectly into the slow burn of a buildup that the editing has implied. A storytelling triumph that will keep even the most disinterested souls glued to the screen. In my mind, the greatest compliment that can be paid to the film is that it’s a thriller which commands multiple viewings, not simply a disposable adrenaline rush. You will want to see it again almost immediately, and it’s not the kind of movie that will lose its potency under future scrutiny. If this is the way 2010 is starting off, it’s going to be a great year for movies.

The Wolfman Review

By Ryan Hamelin

Movie Grade: C+

This is a sad day for me. The time has come to review a movie that is both everything I normally enjoy from a Hollywood release, and the worst case of studio excess I’ve witnessed in the last decade. After multiple directors, wholesale re-edits, vast amounts of additional shooting, and a special effects overhaul that re-did all of Rick Baker’s probably brilliant transformation makeup effects and replaced them with decent but not terrific CG ones, The Wolfman is finally getting released on the world, a full 3 months after it was originally slated to. And yet, even with so much to hate and so much to love, I can’t bring myself to find a solid foundation on which to analyze and review it. The extent to which I nothing this movie is so overwhelming that I’m surprised I was able to come up with a letter grade at all, much less back it up with substantiated argumentation.

Part of it is a production problem. The movie looks great, and the classic nature of its art direction, lighting, and color palette really works. The costumes are uniformly terrific, and the world comes through loud and clear, as though the one thing anybody really spent time focusing on was the canvas on which to tell the narrative, instead of the narrative itself. The acting is all over the place, with about half the scenes hitting all the right notes, and the rest, probably shot over a year apart, feeling like everyone involved was simply going through the motions. Even Anthony Hopkins feels uneven here, and that is both a feat of editing and direction to reduce a master craftsman to a bumbling idiot. Hugo Weaving, however, still comes off well in all his scenes, and is one of the only reasons you’ll have to keep watching.

The bigger problem is one of story. Did anyone, at any point in the process, ask themselves if this was a story worth telling? Most of the audience disappointment is going to stem from spending 2 hours in a movie theater watching a tale unfold for which they have absolutely no emotional investment or involvement. Why does that character exist? Why would anyone do that to their own son? How can they write an ending for this which doesn’t result in an outcome that is either patently ridiculous or wholly unsatisfying? To their credit, the vast majority of the story feels like it’s working, right up until you hit the next scene and it all begins to unravel again. Nothing can save a film without a reason to exist, and no feats of special effects, boo scares, blood, or action can fill the void. A different plot, way back in pre-production, if mixed with all the talent on this crew, could have yielded the greatest werewolf movie ever made. That’s probably what disheartens me the most.

Just in case you were in danger of possibly enjoying this particular story, you have a crack editing team to confuse and slice the hell out of it for you. Sure they can generate decent scares when they wind the movie this tight, but at what cost? Breezing through the first half hour like you’re watching a scrapbook instead of a movie wasn’t what the original director had in mind, and I doubt very much that the film is well served by a lack of space to breathe. Dramatic tension doesn’t just suddenly appear, and if you’re not confident enough in your film to allow it to develop, you might as well just shelve the whole thing instead of try and force feed it down the audience’s throats.

Beneath all the artifice and painful production headaches, there still is a light-hearted and entertaining creature feature buried in here somewhere. People I saw it with found it scary and fun, I just don’t think that much of that was a result of the filmmaking in question. Yes you’ll jump a few times, yes it gets violent and bloody enough to earn its R-rating, and yes you get plenty of dramatic transformations to go around. But is it worth the price of a ticket? Now that is the harder question to answer, and something I certainly can’t answer for you. Would I pay to see it again? Unlikely. Is it worth the first viewing? That has more to do with the kind of person you are, and what you value from a movie ticket and a tub of popcorn. I leave the final analysis entirely in your hands.

Percy Jackson & the Olympians: The Lightning Thief Review

By Ryan Hamelin

Movie Grade: B

I know I’m probably going to get a lot of flack from friends and critics for this review. Why did I enjoy Percy Jackson & The Olympians: The Lightning Thief despite it taking 5 minutes to say the entire title? Because it’s one word that seldom enters the vocabulary of those who analytically contemplate the merits of modern cinema. FUN. It’s entertainment, and it revels in its buttery popcorness. It’s a kids fantasy film that doesn’t start with “Harry” or “Chronicles” and yet manages to remain fast paced and enjoyable throughout. It may not end up being the better of the Greek God films released in the next few months, but it could very well be the start of another major franchise. Christopher Columbus did, after all, direct the first two films about a certain boy wizard, so if anybody can start a children’s fantasy saga off on a strong foundation, he’s certainly the man for the job.

I’d have to say that the biggest early success of the film was in the casting department. The film’s star, Logan Lerman, could very well be the next young actor to break into the big-time. His first film role was in The Butterfly Effect, but if you recognize the face, it’s from his great work as Christian Bale’s son in 3:10 to Yuma. He makes the hero likable but also avoids the pitfalls of the annoying/whiny variety that plague so many of his contemporaries. Kevin McKidd, one time television lead on the late, great Journeyman, plays Percy’s father Poseidon and is probably the most convincing of all the gods. Sean Bean isn’t quite as believable as Zeus (maybe because he’s played so many bad guys during his career) but he’s certainly not the worst choice. I’m of the opinion that the only living actor who could truly play the king of Olympus is Liam Neeson, and that is more than enough to ensure that I go and see Clash of the Titans. Pierce Brosnan also puts in some wonderful work here, and I’d love to see him do more non-tuxedo acting.

It’s a shame that the film will inevitably and extensively be compared to the Warnerbros. epic starring Sam Worthington. That film had a far larger budget, and has the benefit of a PG-13 rating to improve the battle sequences and general epic nature of its canvas. For a film directed at children, Percy Jackson does go out of its way to provide reasons to watch for the older crowd, but it still can’t have bloody fight scenes or realistic language (if a hydra was about to breathe fire at you, I don’t care who you are, you’d probably utter a large variety of obscenities). I guess, because of all that, it sortve cheapens the experience to a certain extent glazing everything with a candy sort of texture. Nobody ever seems to be in real danger, nothing ever has powerful consequences, and the scares don’t come across as anything you’d find terrifying if you’ve progressed past wetting your bed at night.

All those comments aside, the story is a great coming of age, reconnecting with a father figure, learning about yourself, magic and fantasy in the real world sort of yarn that, when done well, will never get old. It’s got all the elements you’ve come to expect, and a charm that makes you forgive certain logical missteps. It’s a good time at the movies, and gives you something to look at while chomping down popcorn. There are also plenty of great cameos spread throughout (I won’t spoil them, even though the opening credits do) that will make even a regular admission ticket worth your while. Do I think the film will be a giant success? Very likely. Will it be the movie that finally kicks Avatar out of the top spot at the box office. I’d put money on it. Am I looking forward to the inevitable sequel. Pleasantly, I am, though I also think Lerman might make a pretty good Peter Parker for the new Spiderman reboot that Sony’s been throwing around lately. I hope he and his agent can pull a Ryan Reynolds and get him 2 major franchises in simultaneous development because I think the kid has real talent. Don’t bother trying to remember the whole title, just tell the lady at the counter that you want to see Percy Jackson and that you also need a bucket of popcorn and a large soda. You don’t even need to thank me.

Shutter Island Review

By Ryan Hamelin

Movie Grade: A

You enter a Martin Scorcese film with a certain set of expectations about character, story, pacing, and style which have managed to remain consistent across his entire body of work. So when I tell you that Shutter Island is not your usual Scorcese movie, there will undoubtedly be a sense of confusion at the concept. My problem is that any review of this film will, unavoidably, devolve into a series of contradictory phrases, as I could just as easily make an argument that this is the most Scorcese a film of his has ever been. The more you think about it, the more you appreciate it, and the casual moviegoer will almost certainly have to see it multiple times to pick up on all the tiny nuances at play, nuances that, to the untrained eye, may seem like errors in judgment or technical mistakes. Only once the film has run its course do you truly understand the deft handiwork of a master craftsman, and question quite strongly Paramount’s decision to push the release back out of Oscar consideration.

I can’t decide what’s more tiring. Having Scorcese reuse a single leading man for multiple pictures, or being forced to repetitively write about how great they are in the starring role. Leonardo DiCaprio is terrific here, and any qualms I once had about his acting ability (or, prior to Blood Diamond and The Departed, lack thereof) have been sufficiently put to rest. The surprise for most of the potential audience will be Mark Ruffalo, who’s added quite handsomely to his repertoire in recent years including the criminally under-witnessed The Brothers Bloom and who continues the trend of wonderful supporting roles here. Add to that Ben Kingsley and Max von Sydow as the dark administrators of the mental institution on Shutter Island, and you’ve fully stocked the chessboard. There are several more cameos which help to further elevate the film, but I won’t spoil them here. Some things are better to experience with fresh eyes.

A couple of different people have asked me what the genre of the film is. The trailers seem to lean towards horror, or at the very least, a scary chilling atmosphere. Surprisingly, the trailers manage to not show all that much of the meat of the film. In reality, the best genre classification I can think of is psychological thriller, a chase for answers that never lets the audience get ahead of the characters. The kind of skill required to maintain the tension one morsel of information at a time is where Scorcese really shines here, and like I said before, the big picture isn’t something that will jump out at you early on either. If you find yourself annoyed or even disliking the movie in the early going, as I will admit to myself (I believe my thoughts were something along the lines of “Scorcese’s finally made a terrible movie, it had to happen sometime”) just trust that the longer you hold out, the more devious and worthwhile the whole exercise becomes. By the halfway mark, if you’re not glued to your chair, I don’t really know what kind of movie would do it for you.

Is Shutter Island another Scorcese masterpiece? I’d need a second viewing before I’d let it claim that particular prize. Is it an incredibly impressive entry in the filmography of one of the industry’s greatest directors? Absolutely. Try to leave your expectations at the door, because with the exception of those who have read the original novel, I can guarantee that this will not be the movie you think you’re going to see. Just enjoy the ride, and embrace the power of classic moviemaking all over again. Mr. Scorcese, I salute you.

Edge of Darkness Review

By Ryan Hamelin

Movie Grade: B+

This is the first film in which Mel Gibson has acted in over 7 years. As a successful director in his own right (Passion of the Christ, Apocalypto), Gibson doesn’t have a whole lot of reason to act anymore. With that in mind, consider how good a script would have to be to get him back in the game. Whatever you think of him as a person, it doesn’t change the fact that he is one of the most talented actors of his generation, and when films like Edge of Darkness come around, it’s good to see him back where he started, in front of the camera. It helps to have an all-star crew behind the scenes too, as this is the kind of film which could have easily swerved into melodrama and cheese with the slightest detour.

Enter Martin Campbell, fresh off directing duties on easily the best Bond movie in recent memory, Casino Royale, and the man behind the upcoming Green Lantern adaptation with Ryan Reynolds. I can’t say that the previews or any of the advance buzz had me excited to see the film, and Campbell put my fears to rest in the first 15 minutes. When a director handles a movie with the grace of knowing that he’s pulled off far larger scale storytelling before, there’s a comfort and ease at play. It’s like when Steven Spielberg went from Minority Report to Catch Me If You Can. Nothing feels out of control, or even slightly adverse to the original vision, and it makes for an incredibly solid experience that sucks the audience in, even when there’s nothing particularly interesting going on. We know there will be, we trust in the talent and the forces behind the camera, and we’re grabbing the armchairs of our seats in anticipation.

The other shining light in the off-screen circle is screenwriter William Monahan, whose Academy Award winning work on Scorcese’s The Departed made him an ideal candidate to adapt another larger work, in this case the BBC series of the same name, and relocate the story to his now familiar turf of Boston Massachusetts. Gibson’s accent may be a little hit or miss, but the words come through loud and clear, and the script takes its time in the first two acts of set-up, clearing the way for an emotional and satisfying finale that does everything you’d want it to do and more. The pacing is a bit of a marvel to behold, as it never bores, but also saves most of its adrenaline rush for the final frames. Yet another way in which the film balances itself close to perfectly.

Putting Gibson’s performance to one side, (you’ll need to see the film to judge that work for yourself as everyone is going to have their own personal response to the man and to the actor) I want to talk about one of the great supporting actors on hand in the film, Ray Winstone. With the exception of Beowulf, for which I blame the script and the direction most prominently for the failure, I’ve never seen Winstone give a performance that wasn’t incredible. There’s something about his hard edged demeanor that feels so genuine and honest that we can’t help but believe him, no matter who he’s supposed to be. He’s particularly good here, and it’s nice to see him getting work that shows off what he can do. Monahan’s words always sound just right coming out of his mouth, and I wouldn’t be surprised if they collaborate more in the future.

Edge of Darkness is a taught, emotional thrill ride. It has the same problems as most thrillers do, mainly in the lack of need for repeat viewings. Once you see it, you won’t really want to see it again, because not knowing what’s around the next turn is almost as satisfying as seeing what happens when you get there. Is this Mel Gibson’s triumphant return to acting? I’m not completely convinced. Is it a damn good time at the movies? Unquestionably. The best movies are collaborations between a group of extremely talented people, and this is as good an example as any that I can think of. Have fun with it, and enjoy the brief respite from utter crap over the dump months of studio releases.