No Country For Old Men (2007)

What I just saw could easily be classified as cinematic achievement. The striking performances by Josh Brolin, Javier Bardem, and Tommy Lee Jones are certainly worthy of praise. But is this film about murder, millons, cat and mouse? Or a film of morality--no matter how skewed?

Llewellen Moss (Josh Brolin) is a simple man. During a hunting trip, he stumbles upon dead bodies, $2 million dollars and a stash of drugs in the plains of Texas. He absconds with the money and unwittingly crosses the path of psychotic serial killer Anton Chigurh (Javier Bardem). Chigurh wants his money and will allow nothing and no one to come between him and it. Also in the pursuit is aging local sheriff Ed Tom Bell (Tommy Lee Jones) who's trying to save Llewellen from himself.

Though unfamiliar with Joel and Ethan Coen's body of work, No Country For Old Men is a striking, flawless drama which succeeds on many levels.

The trio of Brolin, Bardem and Jones perfectly execute their roles. Bardem is chilling as Chigurh. Perplexing and deranged, Chigurh will find a place in cinematic history for complexity of character. Bardem is to Chigurh as Hopkins is to Lector. He's one creepy bastard! Josh Brolin provides a tremendous performance of desperation in the anti-hero Moss. Having a vested interest in Moss you, too, want to save him from himself. Jones is the ultimate in understated lead here and provides the unorthodox narrative for the film. His dialogue, squinted gaze and shrug of the shoulder is remarkable.

In the unconventional story-telling, No Country For Old Men finds its brilliance {or source of frustration}. The Coen brothers know when to hold their cards. In return, the audience is asked to wield their own imaginings of events.

No matter what you decide- cat and mouse or morality- there is no denying No Country For Old Men is a bleak, violent piece of masterful film-making.

An American Haunting: Unrated (2006)

The following review originally appeared June 11, 2006.

An American Haunting is based on the true, documented story of the haunting of the Bell Family. While we're talking truth, the Bell Witch is the only documented case in this nation's history of a 'spirit' killing a human.

According to history (and the movie), in the early 1800's John Bell (Donald Sutherland) upsets a fellow church member, Kathryn Batts (Gaye Brown) in a somewhat shady business deal. The woman is rumored to be a witch and before they part she warns that great evil will befall him and his precious daughter Betsy (Rachel Hurd-Wood). Shunned by the church and with Batts' words ringing in his ears, John and his family go on their merry little way. At this point, the viewer should enjoy the peaceful moment because all hell is going break loose.

Within days strange things begin to happen. A great black wolf stalks Mr. Bell while he's out hunting with his son. There's scratching noises on the roof or are they in the house? Windows shatter, candles blow out, rain thunders down. And then there's poor Betsy at the mercy of this poltergeist. The spirit uses young Betsy as a rag doll, mercilessly beating and assaulting her. John and his wife Lucy (Sissy Spacek) can only watch helplessly as their daughter is tormented by the evil spirit.

The Bell family and what few friends they have left turn to the only things they know to help them-- a family Bible and guns. If only it could have saved them.

An American Haunting is a beautiful movie that chills to the bone and tingles the spine. Director Courtney Soloman depends on his camera to 'be' this unknown, unseen, presence that terrorizes the Bell family. He more than succeeds, mastering fine nuances of cinematography to tell a creepy story with amazing depth. The use of lighting, costuming, and muted color palette is beyond reproach.

Superb! You couldn't have found a better set of actors. The whole cast is strong. Donald Sutherland's portrayal of John Bell is simply award-winning. He says so much behind those eyes. Rachel Hurd-Wood is undeniably brilliant in this film as Betsy. The viewer is enchanted by this young girl and by the end, one is just wishing the torment would stop for her. The complexity in the relationship between father and daughter is something you can't quite put your finger on, for better or worse. Sissy Spacek as the distraught mother, Lucy, left in the dark is outstanding.

The pacing of this film is dead on. No pun intended. By the time the credits role, the viewer is thanking God it's over. One, because the just want the spirit to leave the innocent girl alone and two, because they've got to clean their pants out.

As for the ending, I won't spoil it. I've given away too much already. One must keep in mind, that there are many possible 'explanations' and theories surrounding this story. Of the all ones the writers could have used, I think they could have picked a better one. For me, the ending was a bit ho-hum, but it didn't really matter. I got great scare out of it, definitely more than six bucks worth.

Having seen the 'unrated' version today weekend, I am compelled to write an addendum. The "unrated" version completely changes the feeling of the movie and not in a good way. Scratch the last two paragraphs. The thrilling tension built through the first hour is burst thanks to Director Solomon's need to expose every detail. It just sucks the life right out of the film making An American Haunting a sad and cliched picture.

Sergei Prokofiev's Peter & the Wolf (2007)

The 2007 Oscar winner for Best Animated Short is a combination of stop-motion capture and CGI. Peter & the Wolf feels familiar, yet new. This complex re-imagining speaks volumes thanks to sharp detail and a beautiful score.

Set in Russian (pre or post, depends on the viewer), morose Peter manages to escape the grim life he leads with his hard, aged grandfather for a few hours. With his pet duck in tow and a bird with a broken wing (supported by a balloon), the trio set out to play in the wintry canvas of forest. The carefree day is stolen from Peter when the wolf arrives. After suffering at the paws of the wolf, Peter sets his cap to catch the beast and prevail.

Simple in nature, the story is remarkably complex in director Suzie Templeton's hands. The emotion found in here is remarkable and very human. Peter's world is brutal and lonely. Thanks to Prokofiev's score we feel Peter's sadness, ache at his despair and find joy in his smile.

The motion capture is beautiful. The seemingly rough edge belies technical prowess as our characters are brought to life-- almost like magic. Templeton has interpreted the Peter, Duck Grandpa, and the Wolf wonderfully from Prokofiev's masterful score.

As I see it, Peter and the Wolf is a magical creation that cinephiles of all ages will appreciate. What a treat!

Se, Jie (2007)

Too much has already been written on the explicit sex found in Ang Lee's latest tortured love story, Lust, Caution. True to form, Lee has created another story that explores the gambit of human emotion, but just barely.

Set in occupied Shanghai during WWII, young drama student Wang Jiazhi (Tang Wei) becomes swept up in dangerous game of emotional espionage and personal intrigue with the enigmatic political figure Mr. Yee (Tony Leung).

I hesitate to say more. Director Ang Lee uses their sexual relationship metaphorically for what happens outside the bedroom. Although Lee successfully examines lust and caution, we never really have more than a mere character study on our hands.

Sleeping with the enemy takes on new connotations thanks to the leads. Tang Wei portrays Jaizhi as the ideological student that evolves to wield her sexual power. Leung is the mysterious sadistic figure who slowly loses control. The emotion behind these powerful and intricately layered performances unfolds slowly, leaving us all exhausted.

For this viewer, Lust, Caution eventually crossed the line of analogy and became voyeuristic in nature. If I may be so bold, the film would have benefited from more exploration outside the bedroom. Sadly, the movie's climax is not nearly as powerful as the one in the bedroom.

Regardless, Lee has another top-crotch, er, top-notch masterpiece on his hands that will be debated (and decried) for years to come.

The Graduate: Special Edition (1967)

Benjamin Braddock (Dustin Hoffman) has returned home to consider his future. In the posh suburbs of California, this recent college grad and all-American contemplates his next step. Mrs. Robinson (Anne Bancroft) is a bored housewife with straying eyes. Ben doesn't know what hit him as Mrs. Robinson seduces the naive boy. In time, Ben becomes less infatuated with Mrs. Robinson and more in love with Miss Robinson (Katharine Ross). Now, it's complicated.

The late Anne Bancroft is alluring and dangerous. Classy and all-too sexy, this cougar captivates her prey and the viewer. In his own landmark performance, Dustin Hoffman is fascinating to observe. The young Hoffman shows remarkable skills with simple glances and delivery of dialogue.

Mike Nichols' clear direction prevents the film from being contrived. Instead, there is a sincerity found in our characters and despite some age, The Graduate feels relevant today. Obviously, you'll find the film steeped in the decade. The sets and styling are quintessential 60s with it's refined suburban living, disconnected youth and matching sweater sets.

The dialogue and score are essential component of the film. Hoffman and Bancroft's banter is perfect, but the odd lines like "plastics" are just too great to miss. Simon and Garfunkel's soundtrack is beautiful, of course, and serves to further not only the story, but develop the characters.

It's way to easy to tell why The Graduate has become so iconic. It is the perfect story of character, story, dialogue, direction, and score. Now, the ending gets a little loosey-goosey. As Ben and his girl run off into the sunset... You're not sure if the laughter is hysterics or joy.

The Graduate is certainly deserving of it's place in cinematic history. If you're wanting a solid drama or just want to see the origin of greatness, this is your movie.