Far from living up to its name, The Hobbit is exactly what we’ve come to expect from Peter Jackson; a long-winded, entertaining journey painted with stunning visual effects and extreme attention to detail. The first half is fraught with superfluous scenes, spawning pacing issues that the second half struggles, and ultimately fails, to overcome. Even with its problems this initial installment of The Hobbit gets a passing grade (B), it just lacks the magical elements that made me love the book — namely innocence and brevity.
I am not shocked that I enjoyed The Ides of March. I’m fairly cynical when it comes to politics, making political thrillers my bread and butter simply because they affirm my jaded opinions of politicians on either side if the party-line. That doesn’t mean this is favorite genre of film, mind you. It just makes it easier for movies in this category to please me. However, The Ides of March did exceed my expectations on two levels. I was pleasantly surprised at how apolitical it was and how restrained Clooney was as a director.
Going into the theater, I knew I would at least be entertained but I feared that George Clooney’s smug might be present, and that pushing real world political agendas might be the motivation for the entire film. This is always a disappointment because it is usually done at the sacrifice of good storytelling. Thankfully, Clooney kept this political thriller fairly apolitical. This sounds like an oxymoron, but it’s not. By planting the characters squarely in the Democratic Party and basing the story in the Presidential Primary Race, The Ides of March avoids the “Liberals vs. Conservatives” trap, allowing the audience to grapple with its classic morals vs. means conundrum.
My second surprise came from just how restrained Clooney’s directorial style was. I don’t really know why, but I was expecting this film to be an exercise in “slick” directing — constantly moving cameras from interesting angles with bold and intense music throughout. Which works well if you are Chris Nolan or David Fincher, but I tire of the second-hand directorial style of recent mediocre thrillers.
Clooney successfully avoids a second common pitfall; using overly stylized direction to cover a lack of story or the lack of ability to tell a good story. His minimalist direction, coupled with a great musical score, allows the audience to be all the more drawn into the drama of the film which perfectly frames a classic philosophical question: Do the means justify the ends? What makes this particular story compelling is that the means depicted within are completely realistic and an everyday part of modern politics.
Aside from these two pleasant surprises, my favorite part of this movie was its ending. It actually ends at the completion of the story arc! What an amazing concept. I loved the abrupt ending because I was expecting the usual five or ten minutes of wind-down thrown as explanation for the few dolts in the theater. Really though, ending at the proper point gives the audience the ability to better interpret things for themselves and leaves people wanting a bit more. This film reminded me of another Clooney film, Michael Clayton, in that it has expert pacing and doesn’t assume its audience is stupid.
I feel that The Ides of March easily rises above most, if not all, of this years previous films. It is precisely directed and acted, with extremely compelling characters. I highly recommend it. Although I can see how some might feel as Fogs’ Movie Reviews, that our current political atmosphere makes this film’s extreme realism just a little hard to stomach.
It’s not everyday that a civilian such as myself gets to see a major motion picture before its release date. So when I got the chance to see an advanced screening of Real Steel on Microsoft’s dime I jumped at the chance. Well, I shouldn’t say that “I jumped at the chance.” I just didn’t turn it down.
I wish I could say I was completely surprised and that Real Steel is going to be an Oscar underdog. But alas, it lives up to the expectations of a movie who’s premise asks, “What if Rock ‘Em Shock ‘Em Robots were life sized?” and explains this premise by saying that spectators tastes got so violent as to only be satisfied by robot carnage.
However, I am not the target audience for such a film. To be truly appreciated, Real Steel needs to be viewed by 12 year-old boys. In fact, the most entertaining sequences of the film were the ones that brought me back to the time when I too might daydream of controlling a giant robot – the only film that remotely satisfied this fantasy for my generation was Robot Jox, and it completely sucked. That being said, Real Steel got me excited for the day when I can take my own son to the movies, so I would recommend it to anyone looking for a boy’s night out with their son(s) — or anyone needing an Evangeline Lilly fix.
All said and done, I did have a great time at the showing of Real Steel and would like to thank Microsoft, the bing division in particular, for the opportunity.