The Grand Budapest Hotel (2014)

Former lobby-boy (Tony Revolo) and now owner, Zero Mustafa (F. Murray Abraham) Tony recounts the events that led him to become the owner of the Grand Budapest Hotel to a young writes (Jude Law).  Under the tutelage of M. Gustave (Ralph Fiennes), Zero embarks on a great adventure which includes a stolen painting and a the death of hotel patron to become a trusted friend of M. Gustave.

The Grand Budapest Hotel is a poetic masterpiece of story-telling, direction, costuming and scoring.  Anderson brings his trademark miniatures and framing to envelope what is a keenly written script.  Fiennes steals the show from a stacked ensemble cast.  He cuts quite a silhouette in uniform.  Anderson hands him some of the best dialogue since 'The Life Aquatic'.

Joining Fiennes on this adventure are all the names Anderson fans have come to love.  Jeff Goldblum, Jason Schwartmann, Owen Wilson, Bill Murray, Adrien Brody, and Wilem Dafoe all return as does Edward Norton, Waris Ahluwalia, and Bob Balaban.  Welcome aboard to Law, Saoirse Ronan, Tom Wilkinson, and Tilda Swinton.

Anderson continues his mixed media with the use of miniatures and animation.  It feels familiar but fresh.  And true to form, Anderson throws some dark unexpected moments amid the pastel-colored absurdity that are guaranteed to make you gasp.  His mastery of restraint remains and his keen eye for frame composition is just a delight.

As I see it, The Grand Budapest Hotel is a masterful addition to Anderson's canon.  Only time will tell if The Grand Budapest Hotel will surpass The Life Aquatic with Steve Zissou for my favorite Anderson film, but clearly will give it a run for the money as the most quotable.

Black Swan (2010)

Black Swan is a terrifying descent into madness from director Darren Aronofsky. Moody and atmospheric, the film takes the viewer on a delusional trip where you are never really sure who or which of your senses to trust. Every element of this film works beautifully to create mirage of fear and passion.

Smart casting takes the film to another level. Natalie Portman is exquisite at the fragile dancer Sayers. The evolution from virginal ballerina to hardened prima donna is brilliant. Portman plays her masterfully. Her character is so multi-faceted, so physically and emotionally obsessed. Portman deserves an Oscar. As her obsession grows, the viewer is equally repulsed and intrigued. Barbara Hershey as Sayers mom is unsettling in every sense of the word—another beautiful turn. Mila Kunis role as new rival ballerina Lily is parlayed into a thrilling paradox. Vincent Cassel is the company director whose brilliance is only outshined by his lust for his dancers.

There is an unsettling intensity herein thanks to Aronofsky. His direction is calculated for optimum effect. His ability to capture the erosion of the psyche is amazing. Every frame is calculated for optimum effect. The film oozes with an eerie and unsettling fragility that no words can do justice. The score is vibrates your soul.  In retrospect, this film could have been silent in nature and just as effective.

As I see it, one word can describe Black Swan. Intensity—of which you have never experienced. Black Swan is difficult to watch, but even more difficult to turn away from.

Coldplay (2009)

For once, I am speechless. Thankfully, there are enough flickr contributors for your viewing pleasure. Check amsd2dth and asfrederick. They might not have been sitting with me--but they have better phones. Never has being with 15,000 people been so intimately beautiful.

Stomp Live (2008)

Stomp Live captures the stunning stage musical beautifully. A fan since the 2000 performance at TPAC, the artistry and athleticism of the Stomp performers is legendary. This DVD (along with surround sound) recreates the intimacy of a live performance with the the footage of a front row seat.

Stomp is a fascinating production that combines rhythm, humor, and unreal discipline to create music. Brooms, pipes, trash pails, water jugs, sand--it all takes on new life and sound with the manipulation of the cast. The cast members obviously enjoy themselves. Their wordless chemistry with the audience in England's Bright Dome is fun. This banging on random pots takes on new meaning with the cadence of hubcaps and trashcans ringing in brilliant cacophony.

This DVD combined some performances from the show I remember--especially the Zippo lighters--and some new to me. The kitchen sinks were hysterical and downright cool, but the newspaper bit takes the performers at their best. Behind the scenes footage brings additional flare as does the interiew with the creates.

Stomp Live is hand down better than the '97 HBO special Stomp Out Loud. Unlike any musical you've seen, Stomp Live is a riot.

Dear Wendy (2005)

My enjoyment of the seemingly obsure led me to this selection. Dear Wendy is a provocative and engaging character study. Beautiful composition by writer/director Thomas Vinteberg {new to me} creates a fresh bittersweet tale.

Dick Dandelion (Jamie Bell) is a social outcast in any Smalltown, USA. When he disocvers that the toy gun he purchased for an idiot friend is actually a small handgun, Dick finds himself strangly drawn to it despite his fervent pacifist views. When he finds a fellow sympathizer in Stevie (Mark Webber), the two delve into the history and nuances of their respective weapons. Before long it becomes an obsession and, after recruiting a few more misfits from town (Chris Owen, Alison Pill, Michael Angarano), The Dandies--a pacifist gun club--is born.

The group is ruled by a strict code of conduct that each member eagerly obeys and fervently respects. Each of these social rejects are the direct result of their circumstances and as they find acceptance and confidence with the Dandies, each member {and their silent partner} loom large. With the power of their knowledge and their choice to wield is responsibly, the Dandies maintain the ritualistic existence until the world comes crashing in with the arrival of Sebastian (Danso Gordon).

The ensemble cast is remarkably strong. A young Jamie Bell leads the way as Dick and provides narration for our story. Bell plays the character for sympathy and never loses sight of what makes Dick vulnerable. Mark Webber is equally captivating. Brother Huey and Freddie (Owen and Angarano respectively) and Susan (Alison Pill) each add a quirk or theme that rounds out our study.

Dear Wendy is beautifully outrageous and equally graphic. Director Vinterberg weaves tight cinematography with light and dark that plays well against the human condition provided by the remarkable screenplay. His use of The Zombies laden soundtrack adds a strangely morose touch.

Dear Wendy is, I hesitate, like a modern day Western. Perhaps it's more a reworking of a western film. Building to a climax that guarantees a reaction--a climax that is brilliant {a study in perfection}, Dear Wendy is oddly pitch perfect.

Bonus Feature: CD

Months later and I'm still enamored of the Coldplay's latest Viva la Vida or Death and All His Friends.

With Viva la Vida, Chris Martin stretches beyond the piano and simple lyrics to create an expansive sound complete with orchestral arrangements. V la V is a focused effort that plays like a book, each chapter building on the next.

The instrumental opening track Life in Technicolor sets the pace with an ethereal, nouveau quality. At first listen, V la V doesn't sound like Coldplay at all, but continued exposure leads you to believe this album was the obvious next step for a band that dissects the normal to exposure the abnormal that makes it up. {Did I just blow your mind or what?}

Much has been said on the symbolism and Martin's fascination with painter and Frenchman Delacroix {?}. Regardless, people, just listen. Your ears haven't heard beauty like this.

Martin's vocals are perfect and fit well with the album's lusty approach to sound. Every note is treated as an element to blend in creating this new picture. Lovers In Japan/Reign of Love has a comforting feel that fans will appreciate. Yes allows Martin to expand his range solidly.

Viva La Vida is the first single from the album and how wonderful it is. Exploring the lyrics brings to light Martin's fascinations with symbolism. Across the Internet, fans are projecting all types of imagery. If you get a change, check out the original video for it--not the one that the suits wanted released--the other one--found only on http://www.coldplay.com/. That solves it for me. Viva La Vida is deserves its praise. Champion gets to shine here, too.

My personal favorite {and new theme song} is the decidedly darkest track. It was a long and dark December... The band rocks out on this song of heartbreak and hope. Violet Hill is both sad and hopeful. Champion, Berryman and Buckland all provide supporting vocals. Breathtaking. As the song breaks into the bridge... WOW!! The sheer simplicity is amazing.

I like to think that Strawberry Swing is a direct result of the kick-ass concert Coldplay had here in Tennessee. Perhaps the group had an epiphany amongst the ghost of Music City. The country-tinged track is strangely not out of place.

Ending where it began is Death And All His Friends.

Viva La Vida is everything I wanted it to be. You just wouldn't understand.