Quote of the Day

I have decorum... I'm wearing a collared shirt!

-Ethan Smith

Film Review: 127 Hours

In 2003, Aron Ralston amputated his lower right arm after spending 127 hours trapped under a boulder, stranded while mountain climbing in Utah. Danny Boyle, the wily British director who recently took America, and the Oscars, by storm with the crowd-pleaser Slumdog Millionare, has developed Ralston's incredible true story as the source for his unconventional biopic, constructing as a nearly one-man show for actor James Franco, in his first truly star-making turn.

The story of 127 Hours is known by the audience going into the theater (Ralston's incredible tale of survival made national headlines; I vividly remember watching a new story about the ordeal), and Boyle moves briskly to set up the main stage for his action, zipping through Ralston's preparation for the clim and helping two girls her runs into (Kate Mara and Amber Tamblyn) on their own hike. When Ralston finally begins the 127 hours of confinement and frustration, the film takes off; it's an interesting construct, given that the action doesn't physically leave the small fissure Ralston is trapped in. Boyle employs his distinct directorial style to the picture, weaving in hallucinations and visions, creating a play between Ralston's reality and fiction that slowly deteriorates.

Boyle uses every trick in his book - gorgeous widescreen landscape shots, fisheye cameras, shifting perspective, montage, split screen, amplified color, sound manipulation. 127 Hours is a virtuoso performance for the director, a chance to reall play with his aesthetic; after the incredible success of Slumdog Millionaire, Boyle is given free reign on this unique follow-up. I personally don't care for some of Boyle's choices, which was my most problematic experience while watching the film; I respect Boyle's skills, but I'm decidedly not one of his fans. I think he created some truly astounding visual moments, but I often found the directorial choices to be burdensome and overdetermined. The visual tricks took me out of the tale, and often made me focus on what was going on with the camera rather than the man trapped in the canyon; I wish Boyle could have streamlined his vision a little bit, and let some of the most absurd moments breathe.

Regardless of Boyle's trappings, the film is a stage for James Franco and his incredible talents; if it weren't for Colin Firth's dynamo performance in The King's Speech, I'd be calling Franco my favorite for the Oscar come February. Franco fully embodies Ralston in a draining performance that shows an actor pushed to his limits. The entire film rests on Franco's shoulders. It's interesting that Boyle originally wanted Cillian Murphy as his lead. After seeing Franco in the role, pushing Ralston through his hallucinations to arrive at the gruesome climax, it's impossible to envision another actor embodying the human spirit of Ralston on screen.

Any problems I have with Boyle's direction is undone in the final 20 minutes; the finale is near-perfect cinema, and one of the most rewarding end notes this year. Boyle and Franco do not make the infamous amputation easy - it's gory, disturbing, and unsettling; there have been reports of people vomiting and passing out while in the theater (a woman in the show before mine was taken out by ambulance). It's a brutal sequence, but ultimately a beautiful and empowering one, taking the aesthetics of torture porn to new heights in the overriding determination of the human will to live. 127 Hours works so well because it ends as a triumphant tale about the human spirit, and about taking time to appreciate everything in life. If your heart isn't pounding, and if tears aren't pouring down your face, by the time the credits roll (Boyle does some wonderful soundtrack work to help that pull at the soul), you might need to ask yourself if you're alive at all. A-

Quote of the Day

I just think Prada should be shut down, and truly I think they hate Americans. I think they’re still angry at us for WWII.
-Joan Rivers, to New York Magazine

Film Review: Blue Valentine

Blue Valentine has been plagued by the hoopla over the MPAA's initial NC-17 rating; after an intense appeal process, the film (released in theaters December 29th) will be rated R, without any edits from the unrated cut that has been circling the festival circuit followed by heaps of praise. Every single lick of praise is well deserved for this small gem - Blue Valentine is one of my favorite films of the year (narrowly losing out to Aronofsky's masterpiece in Black Swan for the top spot), tapping into a deep emotional reserve that I've never quite seen splayed across the screen. Prepare for the onslaught of tears.

Blue Valentine tells the tale of two lovers, Dean (Ryan Gosling) and Cindy (Michelle Williams). The story flits between the couple's dissolving marriage, centered around their daughter Frankie (the adorable Faith Wladyka, making a gorgeous feature debut that is absolutely heartbreaking), and the romantic kindling to their torrid relationship years earlier. One of the most astounding things about Blue Valentine is the emotionally punch behind such a seemingly slight structure; the narrative plays light and loose, but the way the film grabs you by the heart and never lets go is almost crippling. I have never seen a film this intense, or this real. I was wrecked by the time the credits rolled, so deeply affected I could barely move. It's a realism that's shattering and nearly revolutionary; watch who you see this film with, because the aftereffects are profound. This is the pinnacle of independent cinema, and a height that the industry should continually strive for.

The center of the film is focused on the couple's stay at a cheap "romance" motel, attempting to rekindle some sort of sexual chemistry that's been missing. The scenes in the motel are nearly embarrassing to watch, uncomfortable in the way that it feels like you're spying on a couple's most intimate, secret moments; it's a good thing that edits were not forced upon the studio to received an R rating, because deleting a single element would have diminished the spell this film casts. When things turn to the almost unbearable, director Derek Cianfrance flips to the giddy memories of true love, and the picture explodes in its tension between the two times.

Cinafrance crafts a rough, documentary aesthetic that works entirely with his seemingly invisible presence, and he pulls out impeccible performances from his two leads. The physical transformation between the two time periods is remarkable in and of itself, but the way both Gosling and Williams behave as coiled balls of energy is truly breathtaking. Both actors have fully inhabited their characters, and are completely devoted to their relationship at two distinctly different moments. Allegedly Gosling and Williams lived together before and during shooting, even participating in scripted conversations and fights. The performances carry an honesty that isn't usually seen in Hollywood; it's true naked abandon, and if both aren't awarded Oscar nominations, I will be livid. This is the best work the two have ever done.

The fact that the early NC-17 rating, and that the film is often said to be too "gory" in its depiction of a dying relationship, might hurt the chances of Oscar nominations for Blue Valentine makes me incredibly sad. If the (historically conservative) Academy can't recognize the bravest piece of cinema on screens this year, then something must change. Blue Valentine is gritty, raw, and honest with every frame. It's a pulsating depiction of love in all of its stages; it's not an easy film, but it's something that will touch everyone. The film is heartbreaking, but strangely uplifting. There is a unyielding heart beating firmly at the core of Blue Valentine; the film ends with an ellipses, not a period. It's not always perfect filmmaking, but the emotions at its core are undeniably perfect, almost impossibly rendered. Blue Valentine shows something truly beautiful, delicate and unflinching. A+

Quote of the Day

Alex, go buy some soda! People can't survive only on water. You need some soda on Christmas.

-Poppop

Quote of the Day

When I was pregnant with you, you know what my worst fear was? That you would come out with a cleft palate... Every expectant mother has an irrational fear!

-Mama Smith

Film Review: The Fighter

Mark Wahlberg has kept the story of "Irish" Micky Ward close to his heart, ushering the gritty biopic through Hollywood as his baby for years. Wahlberg should be proud of the real-life story that he's brought to the screen in its adherence to what actually occurred, a story that finds its strength from Ward's relationship with his brother and trainer, Dicky Eklund; however, while the film is centered on four absolutely electric performances, the film as a whole fails to assemble into a cohesive whole. Undermined by an unfocused tone, and sometimes taking the easy road cinematically, The Figher fails to become a boxing classic.

The world of boxing films is a steeped in history, with Raging Bull at the pinnacle, and The Fighter fails to rise above because it takes the easy shots to the finish; while something about boxing films is undeniably invigorating for me, it might be time for Hollywood to give the genre a little rest. The film starts out brilliantly, with Micky's boxing career as the backdrop for his dysfunctional family dynamic, especially zeroing in on his brother Dicky (Christian Bale), a crack-addled ex-boxer himself. However, about halfway through the film, after a startling reveal of how Dicky truly lives, the family drama fades underneath Micky's rise in the boxing world. It's an awkward shift, and a tighter control over the script could have done away with some of the boxing cliches that riddle the film's finale. There are scenes that transcend deal with Dicky's addiction, and the detrimental effects on the family and on Micky's potential as a boxer.

David O. Russell's direction (Wahlberg's personal choice after Darren Aronofsky passed on the project to direct Black Swan) is decent, though some of his choices are unimaginative; some scenes stumble around with powerful handheld camera intensity, while others are sloppy and flat. More importantly, whoever cobbled together The Figher's soundtrack should never work on a Hollywood film again. The movie is littered with 80's rock tunes; while this is true to the period, the choices are overt, distracting, and ultimately ruin a number of wonderful shots with burdensome shlock and laughable idiocy. I cannot say enough horrible things about the musical choices for this film. They're that atrocious.

Any grit missing from the technical aspects of the film is made up in leaps and bounds by the knockout performances. Mark Wahlberg is the weakest of the bunch, simply because he has the most subdued role; playing Micky as a quiet, controlled ball of energy who lashes out in the ring, Wahlberg shows the pain Micky goes through for his family. Melissa Leo, as the family's matriarch Alice, is a true fireball - fierce, enigmatic, and utterly terrifying, a woman doing what she thinks is best for her children while lost in her own world. Amy Adams shows a break in her token doe-eyed ingenue role as Charlene Fleming, Micky's loyal girlfriend; she rocks a tough-girl personal and Boston accent with raw credibility. Both of these women are locks for Supporting Actress nominations, and one could possibly see victory.

Christian Bale steals the show as the gangly, wily Dicky Eklund. Losing 30 pounds to play the role, Bale is an absolute revelation, especially after spending so much time under the gruff voice of Batman. Bale plays Dicky with such undeniable force that it is impossible to look away, and the there is a definite hole left when he is not in a scene; Bale transforms himself into someone else, and the results are incredible. The Oscar is his to lose. Allegedly Brad Pitt and Matt Damon where approached for the role before Bale, but it's hard to imagine anyone else inhabiting the role, and Wahlberg should be lucky that Bale gave his everything to the meaty role.

The best sequence of the film is a scene between all four of these actors towards the end of the film at one of Micky's practices, each artist throwing their all into the fight for a struggling family to survive. It's unfortunate that the film can't always rise to the occasion, and that the film's final moments can't match the brutally honest first half. In a tale that's truly about the bond of a family, no matter what the circumstances, I wanted the film's last note pack a punch. Regardless, this is an acting showcase through and through, and possibly one of the best ensembles of the year; for that alone, it's worth taking in the story of Micky Ward. B

Quote of the Day

My lips taste of infidelity!

-Bobby Bowden, on his choice of chapstick flavor

Quote of the Day

The film is like a battlefield... Love, Hate, Action, Violence, Death... In one word, Emotion.

-Samuel Fuller, Pierrot le Fou

Quote of the Day

The biggest challenge for all actors is that you see yourself on a screen outside of your body, and have to reenter your body to look at the world through your own eyes instead of at yourself...
-Natalie Portman, to Vogue

Film Review: Black Swan

Darren Aronofsky, director of Requiem for a Dream, has been flying under the radar for some time now; while his films have been critically lauded (let's not mention The Fountain...) and are met with a passionate cult following, Aronofsky has yet to receive serious recognition along the award circuit. All of that is about to change with the virtuosic and daring Black Swan, Aronofsky's genre masterpiece that is this year's most thrilling trip to the theater. This is top-tier filmmaking, and narrowly beats out Social Network and Blue Valentine (my review for the latter film, including thoughts on the silly NC-17 drama, will be up soon) as my favorite film of 2010. It's flawed perfection, a type of imperfect filmmaking steeped in something vital that most films miss.

Nina Sayers (Natalie Portman) is a seasoned ballerina, meticulously trained and living with her overbearing mother on the Upper West Side (Barbara Hershey, channeling Carrie's Piper Laurie in a role deserving of a Best Supporting Actress nomination). When ballet director Thomas (Vincent Cassel, chillingly) replaces aged prima ballerina Beth (a crazed Winona Ryder), Nina goes in for the role of the Swan Queen; however, Thomas is unsure of Nina's ability to play the sexual Black Swan in the ballet's dual role. As Nina becomes obsessed with the role, and with new soloist Lily (Mila Kunis, showing devious sexuality and playful spunk) as a potential rival, her perception on reality becomes maddeningly unhinged.

Calling Black Swan an emotional roller coaster, a true tour de force, is an absolute understatement. This film puts its audience through the wringer, squeezing out every last emotion. When the lights went up in my theater, I was sweating, with my heart pounding, my head reeling. It's like nothing else in movie theaters right now, as Aronofsky has blended a madcap selection of B-rate genre melodrama, absurd horror, tight psychological thriller, and art house character study. It's a bizarre mixture, and with a less skilled director the entire film would have been a laughable farce (many in my showing still found elements to be unintentionally hilarious; I was always too disturbed to see the humor in such moments). Instead, Aronofsky's gifted hands make the story intensely terrifying and wholly enthralling.

While the entire ensemble cast is solid, no amount of praise heaped on Natalie Portman would do her justice. Portman's portrayal of Nina is the singular performance of the year, and probably of Portman's career. Portman sheds every inhibition, and her passionate, high-wire performance lights the screen on fire; she's taut, nuanced, extreme, and unbridled. This is what an Oscar performance looks like. Beyond losing 20 pounds for the role and training extensively in ballet (she took ballet as a child, but quit in her teens), Portman transformed her physical presence, but also delivered a transformative moment in her career; any preconceived notions about Portman's talents have clearly been stripped away. You can't take your eyes away from her, as Portman has never looked for gorgeous, helpless, or terrifying. This is one of the few times where a movie star has made me completely forget that they are not wholly the character in the film. Portman is perfection, and deserves every award headed her way.

Aronofsky's visionary style gives the film a realistic grit, and yet still lets the film shine with radiant beauty and seduction, centered around a fetishized depiction of ballet. As a director, Aronofsky is not only a gifted storyteller, but also devotes himself fully to his aesthetic. Many go-for-broke visual motifs exist; I can see where some wouldn't buy into Aronofsky's methods, but I was eating up every crazed detail he threw before my eyes. Working with the swirling cameras of cinematographer Matthew Libatique, Aronofsky paints a frenzied picture of Nina's downward spiral into insanity. Clint Mansell, using motifs from Tchaikovsky's original Swan Lake score, crafts brilliantly unsettling and beautifully atmospheric music to match; Mansell not only breathes new life into the ballet's tunes that have permeated pop culture, but also adds new and haunting meaning to the lush music of Swan Lake. Pushing the boundary between reality and mad hallucinations, an endless onslaught of rich cinema is born.

Black Swan is a companion piece of sorts to Aronofsky's The Wrestler, both depicting the self-destruction of an artist-athlete. Here, Aronofsky raises the stakes, presenting Nina as a woman hellbent on finding true artistic perfection, a woman who will net nothing get in the way of her dreams. It's an obsessive, ugly portrait; cracking open Nina's psyche gives the gorgeous dance sequences a disturbing pall. With Black Swan, Aronofsky has found his own perfection. This is a new type of dance film, a piece that surpasses simply its genre. Black Swan gave me everything I could ever ask for. It's bravura, no-holds-barred, unmissable filmmaking on every level. This won't be everyone's cup of tea, but Aronofsky should be applauded for creating such a unique, challenging, and visceral experience. It's a bizarre tale, one that might be too dark and twisted for the Academy; however, this should be one of the biggest names come Oscar night. Black Swan will carry you away in its dark, dizzying fever-dream, grabbing you by the soul and not letting go until it has completed its exhausting journey. Just try not to let the film, or Portman's searing facial expressions, haunt you. A+

Quote of the Day

Pornography is great!

-Arianna Sanders

Quote of the Day

And where are the clowns? There ought to be clowns. Well, maybe next year... GIVE ME A BEER!

-Mama Smith, rewriting the ending to "Send in the Clowns"

Film Review: Love and Other Drugs

Smart, realistic romantic comedies are hard to find, especially ones that convey an adult relationship; one recent release that came remarkably close was (500) Days of Summer. Love and Other Drugs is almost classic romantic comedy material, elevated greatly by the giant megawatt performances of Jake Gyllenhaal and Anne Hathaway. However, the film's script needs another few rounds of edits before truly honing this movie into a true gem; a director sharper than Edward Zwick would also have benefitted the picture, giving the romantic comedy structure and occasional cliches a more singular edge.

Gyllenhaal plays Jamie Randall, a true charmer and lothario who finds his calling in the world of pharmaceutical sales during the late 1990s; Hathaway plays Maggie Murdock, a wild woman afflicted by Parkinson's. As Jamie's career becomes more intense, and Maggie begins to grapple with the reality of her disease, the two begin to fall into a surprising relationship. The film's central love story works on all levels, showing a rather realistic side to love and lust; Love and Other Drugs loves its sex scenes, while Gyllenhaal and Hathaway give it their all. There are copious amounts of nudity from the two stars (both of whom have never looked more beautiful on screen), but in a way that feels organic and fun. It's never overly gratuitous, but rather an appropriate look at two people with a wonderful appetite for sex; Jamie and Maggie don't have post-coital chats with the sheets up to their chins, hiding. It's sexy and steamy, but it also informs their relationship.

The film fails in its numerous subplots that weave in and out of the central narrative, subplots that could have used serious revision. Beyond the two leads, the rest of the cast is rather throwaway, especially an unimaginative spot by the occasionally funny Josh Gad as Jamie's brother Josh; Josh's subplot is derivative and boring, more cloying than comedic. Also, the pharmaceutical elements are not developed enough to compete with the high satire found in last year's Up in the Air. Zwick, who also cowrote the screenplay, should have realized that the film works best when Gyllenhaal and Hathaway are together, and stripped away much of the extraneous goop. Thankfully, Zwick carefully shies away from hopeless melodrama, instead focusing on well-used moments of sentimentality.

The undebatable highlight of this film is the overwhelming chemistry between Gyllenhaal and Hathaway; here's hoping these two star in another film together, soon. After playing a couple in Brokeback Mountain, the two are reunited and sparks fly. Gyllenhaal is perfectly cast as the cocky and egregiously charming Jamie, still able to mine the necessary emotions behind the pretty facade; Gyllenhaal is outstanding during the film's romantic climax, further cementing his status as one of Hollywood's true young and irresistible talents. However, Hathaway is the main attraction, giving a performance both effortlessly likable and searingly passionate. Hathaway mines everything Maggie has, especially during the meatier scenes about Maggie's illness (for example, an emotionally complex moment late in the film featuring a bottle of vodka). Hathaway's giant brown eyes light up the screen, it's impossible not to follow her every move. Depending on the film's fate as a whole, this could be another Oscar nomination for Miss Hathaway. She's gorgeously depressing and fiercely irresistible.

Zwick's direction is uninspired, undermining the script's subtleties. The cinematography feels flat and boring, and many of the shots are predictable. With a different director, Love and Other Drugs would have been a much better film, maintaining the romantic energy while giving a more solid aesthetic base. Love and Other Drugs still offers some big laugh, buff bodies, and heartbreakingly beautiful moments, a giddy story of falling in love that will have you tearing up; it's entertaining, touching, obscenely sexy, and always engaging, even at its messiest moments. The final scene is perfection, slight melancholy and bright joy laced together in equal measure. It's worth the price of admission alone to see Gyllenhaal and Hathaway, soaking up every second of the other's presence; what was disheartening for me was seeing a much better, solid-A film at the core of this movie, the type of solid-A romance Gyllenhaal and Hathaway deserve. B

Film Review: Harry Potter and the Deathly Hallows - Part I

Harry Potter was introduced to the Muggle world a decade ago by the one and only Jo Rowling, and a phenomenon began as a generation grewn up with The Boy Who Lived. As Harry Potter and the Deathly Hallows is released in theaters, with Part II coming out July 15, 2011, that chapter has finally come to a close; yes, I'm already sobbing at the prospect of finishing this long journey with characters I've had around since I was in third grade. It only seems appropriate that the film series has truly stepped up its game with the final entry in the penultimate film. The first half of Deathly Hallows is my favorite film of the cinematic adaptations (we'll see how Part II ranks this summer; I have outrageously high hopes after this installment), narrowly beating out Alfonso Cuarón wickedly dark Prisoner of Azkaban for the top spot. David Yates, who will live on as the master director of the series after overseeing the final four films, has finally struck a perfect balance of arthouse aesthetics, mature tone, magical wonderment, and blockbuster bombast.

Daniel Radcliffe, Emma Watson, and Rupert Grint return as Harry, Hermione, and Ron; instead of returning to Hogwarts, the trio are on the run to destroy the four remaining Horcruxes before taking on Lord Voldermort. The film ultimately rests on the shoulders of these three actors, an they give their best performances to date; Grint is especially surprising in his more emotive scenes, while Watson truly understands what's going on inside Hermione's head. Given the story's departure from confines of the wizarding school, Yates is able to craft more of his own vision. Beyond all else, this is undoubtedly the most gorgeously shot film of the series; cinematographer Eduardo Serra, new to the series and deserving of an Oscar nomination for his work here, captures breathtaking British landscapes, stunning sets pieces, and a deeply foreboding, dark tension. Alexandre Desplat, my favorite film composer, uplifts these moments by taking classic motifs from the previous films and creating a simple, sonically engaging soundtrack.

The decision to split Deathly Hallows into two films may have sounded like a transparent ploy by Warner Brothers to make as much money as possible, but Yates proves that the split was an artistic necessity. With more breathing room, Deathly Hallows follows the plot of the novel closer than any other entry. Yates also adds small moments that add beautiful to the tone of J.K. Rowling's work; specifically, a scene where Harry and Hermione dance during a particularly tense moment sums up the long, winding relationship of two best friends. It's a warm and nostalgic moment, one that reminded me how long these character have been in my life, and how much I will truly miss them come July. While the movie clocks in at two and a half hours, I never wanted Deathly Hallows to end.

Deathly Hallows is sprawling, epic, taut, full of surprises, biting funny, and endlessly rewarding as a cinematic event. Packed with sequences that are utterly terrifying sequences (the chilling opening scene; Godric's Hollow; a cold torture scene that once again demonstrates the flawless casting of Helena Bonham Carter), thrilling (the trio's infiltration of the Ministry of Magic with its new totalitarian imagery; a chase through the woods), and emotional resonant (Emma Watson is wonderful in a heartbreaking scene at the film's beginning; Toby Jones is exceptional as the voice of house-elf Dobby), the film always entertains; if you don't cry during the final ten minutes, you may need to double check that you have a pulse.

One of the film's best moments is a particularly imaginative depiction of the myth behind the Deathly Hallows. It shows that Yates has become completely comfortable with his handle on the series, and is finally willing to take big risks for a big payoff. With Hogwarts absent, Yates is able to truly focus in on the human relationships at play; the awe-struck sentiment that coursed through the first few films is long gone, replaced with a view of magic that is brutal and unflinching, a view that zooms in on the connective thread between those in search of hope. The dark Part I certainly feels like a prologue piece, with a slightly abrupt ending, to the giant finale to come, but it's a prologue that's firing on all cylinders. A-

Quote of the Day

Are there beaches in Australia...?

-Mama Smith

Quote of the Day

Celebrity is a mask that eats into the face... One can either see or be seen.
-John Updike

Quote of the Day

It doesn't matter what people call you unless they call you pigeon pie and eat you up.
-Charles Ryder, Brideshead Revisited

Album Review: Rihanna's 'Loud'

I'm trying out something different here? Bear with me...

After releasing commercial failure Rated R almost exactly a year ago, Rihanna has returned to her brand of danceable pop on Loud. While the album is packed with undeniable smash hits, the entire set feels a little hollow. Rihanna is back in high spirits, paired with that flaming red mane, but the twelve tracks on Loud fail to meld together into a cohesive album. It's a tighter, more controlled edition of what she delivered on Good Girl Gone Bad. Rihanna has become much more sonically mature, and Loud is an effortless, well-crafted pop gem; unfortunately, she's also not departing too far from her regular shtick.

The album kick off with its hottest track, and allegedly the album's third single, "S&M." Unabashedly sexualized, with shocking schoolyard recess wordplay and an extremely hooky chorus, the track is soaked in lurid sex appeal; it's a near-perfect pop jam, a modern twist on the best stuff from the 80s. Rihanna also wows with "Cheers (Drink To That)," using an obscure Avril Lavigne sample to craft a sing-a-long anthem. Rihanna in known for taking the best elements of modern radio and crafting flawless earworms, and Loud is far and above the strongest her usually thin voice has ever sounded. However, unlike fellow radio diva Lady Gaga, Rihanna is never a step ahead of current trends; "Cheers" shows that maybe there is a smarter and more imaginative album in Rihanna's future.

The rest of the album strives to reach the pop splendor of those two standout tracks, as well as the album's fun and flirty first two singles, "Only Girl (In The World)" and "What's My Name?" featuring Drake. "Complicated" shows that Rihanna has been working on her belt, and is certainly the album's strongest mid-tempo track; the rest of the quasi-ballads are forgettable and uninspired. "Raining Men" wastes the skills of guest rapper Nicki Minaj with clunky production, and the island flavor of "Man Down" is a searingly hot but awkwardly squeezed in amongst the rest of the tracks. Regardless, it is wonderful to hear a rock-tinge smattered throughout Loud, including the boiling guitar riffs found throughout Rated R.

Ultimately, Loud doesn't completely work because Rihanna was at the height of her artistic talents on Rated R. Many dismissed the album for being too dark and depressing, too much of a departure of the singer. However, while many moments of Loud feel empty, Rated R blazed with raw aggression and passion. Each of the thirteen songs on Rated R showed a new facet of a woman dealing with unbearable tragedy; it was a true album, sonically electrifying and visceral, endlessly interesting and entertaining. Rihanna might be pleasing a much larger audience with Loud, but turning up the volume doesn't necessarily mean she has more to say. The album's final track, a beautiful acoustic cut of "Love The Way You Lie (Part II)," just Rihanna and a piano, shows the songstress at her most vulnerable, stripped and broken but still standing. It's the sort of emotion Loud could have used more of. B

Quote of the Day

RAH RAH like a dungeon dragon

-Nicki Minaj, "Roman's Revenge"

Concert Review: Robyn's Body Talk Tour, Terminal 5

Robyn's biggest moment crossover moment in the United States was her ubiquitous 1997 radio hit, "Show Me Love." Thirteen years later, and with three "albums" released in 2010 (Body Talk Pt. 1, Body Talk Pt. 2, and the full Body Talk), Robyn is on top of her game. After reaching superstar status in Europe with her 2005 release Robyn, Robyn has yet to make the huge impact in the States she so desperately deserves. Robyn certainly proved that she was worth the attention at her sold-out Terminal 5 show on Wednesday night, a Swedish pop genius that should be a name on everyone's lips.

Robyn's pop music is infused with an electro-80s flair, while still sounding irresistibly modern and insanely catchy. With a penchant for writing sad love songs over dance-happy synths, Robyn creates some of the most deeply engaging strictly pop tunes out there. Her vocal range might not be the widest in the business, but she packs every word with honest emotion and lyrical grace; her voice has a distinct quality and strong presence that draws you in. Live, her voice sounded flawless, and Robyn hit every single note on the mark. Robyn's dance moves are straight out of the 80s, rife with glitchy arm movements and dramatic hip gyrations. Matched with her short clip of bleach-blonde hair, Robyn pulls of an androgynous look that toes the line between sexy and adorable. She's always effortlessly cool.

Opening with "Fembot", which segued directly into "Cry When You Get Older" and her cover of the Teddybears' "Cobrastyle," Robyn had the packed, dancing crowd at a near riot from the very moment she stepped on stage. I was expecting the energy level to die down at some point, but Robyn kept giving each tune her everything, and the crowd responded with equal verve. Every song was a sing-a-long, and Terminal 5's general admission floor looked like an overwhelmed nightclub; Body Talk singles "Dancing On My Own," "Hang With Me," and "Indestructible" became scream-a-longs, transforming misery-tinged lyrics of lost love into empowering anthems. While I would have enjoyed some Robyn's beautiful acoustic reworkings in the middle of the set, Robyn's show glided along at a blazing clip, sexy and vibrant.

This by far was the loudest and most relentlessly enthusiastic crowd I have ever been a part of, and the sheer joy on Robyn's face between numbers showed that she was soaking up every moment. Packing her set with a double encore, Robyn gave her audience everything she had. With a killer band, live arrangements that added extra edge to her appeal, and boundless energy and passion, Robyn commanded the stage like a fearless icon. When started her second encore with "Dancehall Queen," which slowed down to a minimalist beat for a brief cover of ABBA's "Dancing Queen" before shifting into "Show Me Love," the accompanying screams cemented Robyn's status as pop superstar. Or rather, the United States' biggest undiscovered pop superstar.

Body Talk Tour Set List, 11/10/10
Fembot, Cry When You Get Older, Cobrastyle, Dancing On My Own, We Dance to the Beat/Don't Fucking Tell Me What to Do, Love Kills, The Girl and the Robot, Indestructible, Dream On, With Every Heartbeat; [encore #1] U Should Know Better, Konichiwa Bitches, Hang With Me, Be Mine; [encore #2] Dancehall Queen, Dancing Queen/Show Me Love

Quote of the Day

Just keep swimming...

-Dory, Finding Nemo

Quote of the Day

She's so Sixties French New Wave - like a Godard starlet - but totally modern.
-Ederm Moralioglu, on Carey Mulligan

Quote of the Day

I charmed the shit out of them.
-Ross Ramone

Concert Review: Florence + the Machine's Cosmic Love Tour, Terminal 5

Florence + the Machine has been making giant waves in the music world in the past year, slowly getting the giant recognition that is more than rightly deserved. The band (Florence Welch as the fiery redhead chanteuse, with the Machine as her backing band) released their debut album Lungs stateside in the summer of 2009; the album's singular sound and etherial faerie goddess have been gaining momentum ever since. Recently, Florence + the Machine performed "Dog Days Are Over" at the VMAs (arguably the best performance of the evening), while the single's video was nominated for Video of the Year.

I was blown away by Florence's previous appearance in New York in last April, so I just had to see her again when I found out she was playing two nights (November 1st and 2nd) at New York's Terminal 5. Florence returned with equal abandon, turning her gorgeous music into a rollicking live show. One of the greatest attributes of Florence's show is the translation of tunes, giving her studio arrangements more room to breathe when performed on stage, letting her untouchable voice command the melody. One of the best examples of this is "Drumming Song", which explodes on stage with equal parts energetic abandon and soft romanticism. It's just one of the bright instances where Florence turns her perfectly balanced slice of indie-folk-forest-Renaissance-magic album (a single label would do her flawless work a disservice) into something resembling a rock show.

One noticeable different found in last night's performance was Florence's confident and overwhelming stage presence. While Florence had a few quick moments of obvious nerves during her show last April, Florence has truly transformed into a mystical queen; she floated across the stage with uninhibited grace, bellowed with deep passion, and flirted with sensuous dance moves. When speaking to the audience, Florence was sweet and soft-spoken; when belting out her songs, she morphed into a different woman.

Florence's voice is unbelievable, and it is almost impossible to comprehend when heard live. Florence reaches her highest notes with ease, gorgeously whistling airy tones. However, just as quickly, her voice shifts into a hard, emotional belt, imbuing her notes with power and majesty. Florence perfectly executed this play between the two registers of her voice on the brand new song "Strangeness and Charm", a gorgeous and epically structured track that shows promising signs for the upcoming second album. Further, "I'm Not Calling You A Liar" showcased the soaring quality of Florence's voice, while "Kiss With A Fist," which become an energetic call-and-response with the audience, showed her brute force. Beautiful doesn't even begin.

When Florence finally played her biggest hit, "Dog Days Are Over", the crowd absolutely exploded. Florence's giant smile was infections, as were her demands to have the entire space jump and clap to the final chorus. Surrounded by her band, including her own free-standing drum and a giant harp, wearing a detailed leotard with flowing cape, Florence was on top of the world. If you ever have the opportunity to see this woman live, do not miss the chance. She is above and beyond the best vocalist I have ever heard in concert. Lungs is one of the deepest and most instantaneously engaging albums recently released, and Florence + the Machine's live show intensifies that feeling. This woman and her band will bring tears to your eyes, a pounding in your heart, and an indescribable joy to your heart.

Cosmic Love Tour Set List, 11/2/10
Cosmic Love; My Boy Builds Coffins; Hurricane Drunk; Drumming Song; Blinding; I'm Not Calling You A Liar; Between Two Lungs; Howl; Strangeness and Charm; Rabbit Heart (Raise It Up); [encore] Heavy In Your Arms, Kiss With A Fist, Dog Days Are Over

Quote of the Day

Julie Andrews is the closest thing this world has to an angel.

-Ross Ramone

Quote of the Day

Flossing is for people who think they're better than everyone else.

-Ethan Smith

Quick Take: The Romantic Comedy

Absolutely abysmal reviews for the romantic comedy Life as We Know It have me missing the days of a solid, funny, and poignant release from the genre. Romantic comedies (affectionately, rom-coms) have an awful reputation, as studios feel the need to churn out flat, unimaginative projects on a regular basis, hoping to attract a large female audience. Audiences can tell when they're watching drivel, and box office numbers will reflect the lack of substance. The romantic comedy truly succeeds when it can attract both a male and female following, touching into a niche that satisfies both sexes. It's an incredibly tough line to play with, but romantic comedies that survive the grind know how to play the game. Romantic comedies aren't doing much to further "the art of cinema," but should be a mindless blast.

One woman who has mastered the modern romantic comedy is Sandra Bullock, currently at the top of her game. Taking the title once held in the divine hands of Julia Roberts, Bullock now embodies the woman every man wants to date, that every woman wants to be best friends with. Reese Witherspoon, Kate Hudson, and Anne Hathaway are among the other leading ladies that can successful carry a strong rom-com. Katherine Heigl seems to be making a play for the next big romantic comedy actress, but she lacks a defining likability factor; she's an undoubtedly beautiful woman, but she has yet to truly connect with a female audience.

However, an original concept is even more important than a strong leading lady. In a way, the romantic comedy is a stripped-down microcosm for Hollywood, focusing in on the strength of a central story without distracting factors. While big dramas can focus the viewer's attention on arresting performances, the romantic comedy is reliant on the plot's trajectory holding up, remaining engaging and funny; this doesn't mean that the film needs to break formula, but that is just needs to be endlessly entertaining. Films like Miss Congeniality, How to Lose a Guy in 10 Days, and Legally Blonde (especially when compared to the lackluster sequel) are some of America's favorite rom-coms because incredibly charismatic women are given charming and hilarious situations, parodying well-known elements of by overblowing real life. The results are tangible.

An example of a rom-com that playfully stretches the genre, throwing a leading male character at the center of a madcap tale, is Shallow Hal. Jack Black and Gwyneth Paltrow make a surprisingly heartwarming duo. Shallow Hal succeeds because everyone is invested in the film's outrageous yet sweet story. The concept is enough to add an extra layer to the romantic comedy sheen while avoiding overly dramatic plotting. Shallow Hal uses raunchy male humor and a more masculine view of relationships, but also crafts a coda that gives the picture an uplifting and romantic message. The film is nothing spectacular, but it's a refreshingly different slant on the romantic comedy. Sure, the entire proceedings are on the predictable side, but isn't that one of the most pleasing elements of the genre? As a viewer, you're able to settle in, laugh, and let the mind escape.

This post is dedicated to Eric McKenna

Quote of the Day

Do you want a cookie? It's warm. Like my heart.

-Harry Stephenson

Quote of the Day

I can be a dick! I can wear a hat!

-Ross Ramone, on wingman tactics

Quote of the Day

It is what it is, it be what it be.
-John-Howard Sidman

Film Review: Never Let Me Go

Achingly romantic and utterly devastating, Never Let Me Go is this year's big dramatic tearjerker. Bolstered by three phenomenal performances at its center, director Mark Romanek and screenwriter Alex Garland have constructed a near-perfect adaptation of Kazuo Ishiguro's novel. It's a strong piece of emotional filmmaking, raw and poignant, and yet never relying on cheap sentimentality to manipulate the audience.

Never Let Me Go is a romance-driven character drama inside a timely science-fiction frame. The concept sounds a little odd, but it worked in Ishiguro's incredible book, and succeeds with equal aplomb on screen. In an alternate reality, Kathy, Tommy, and Ruth attend a British boarding school; the three friends make up a complicated love triangle. However, there's a remarkable secret kept at bay, fleetingly explained and obscured. When released into the world as adults, they must deal with the repercussions of this secret, and the fate that awaits them. Ishiguro's novel waits long into the narrative before truly spelling out the central ambiguous mystery; in the film, the truth is revealed in the first half hour. It's a smart move on Garland's part - he makes the science-fiction edge less overt, allowing the characters to propel the narrative forward.

The film is ultimately so strong because of the three exceptional performances of its main players - Carey Mulligan, Andrew Garfield, and Keira Knightley. First, Isobel Meikle-Small is a wonderful find as the young Kathy, a truly emotive and interesting child actress; here's hoping we see more from her. As an adult, Mulligan is an absolute vision as Kathy. Carey Mulligan is the future of Hollywood; she proved herself in last year's An Education, and she shows her remarkable, breathtaking talents again here. Mulligan's performance is all in her subtleties, the little things she does with her face and eyes, and the dejected sense brought to her brief, well-done voiceovers. You won't be able to tear your eyes off of her searing presence; she'll make your heart ache in every way possible.

Mulligan and Andrew Garfield are an acting match made in heaven. Garfield is extraordinary as Andrew, capturing a boyish sense of wonder mixed with a mature gravitas; his face is also loaded with emotion. There's a moment when Tommy is waiting outside alone, and every inch of Garfield's body is expressing something. It's just one beautifully depressing moment that shows how remarkably talented Garfield is. Keira Knightley also shows her incredible skill as Ruth, taking a role that could have been a one-note vamp, and instead making Ruth charming, volatile, and complex. All three of these actors should be on the Oscar short-list come nomination season.

The production values of Never Let Me Go are perfect, dripping with bleak British romanticism. Romanek's director is nonintrusive while affecting, giving Ishiguro's story his own personal touch. Garland's adaptation is unbelievable strong, retaining the difficult tone of the novel. Andrew Kimmel's cinematography is jaw-droppingly gorgeous, especially in a stunning sequence on the beach. Rachel Portman's score is haunting, repeating piano and string motifs that imbue a sense of restrained melancholy to accompany the flow of tears.

Many seem to have a problem with the film because these characters never rebel against the society that has them trapped. This sentiment misses a theme of the film - we're all stuck in society, knowing rebellion is futile, and simply resigning to our given fate. Others knock the film's austere and morose mood, but I find the film's seemingly cold approach to elevate the emotional core. Garland's screenplay does give Garfield one brief moment where every emotion comes flying out of the cracks, and the scene in its singularity works wonders. Never Let Me Go is sweepingly romantic and horrifying. It's a stunning juxtaposition, and a remarkable allegory for how we live our lives. It's bound to take your breath away, and hit you hard. A

Quote of the Day

If you could live in any time period, which would you choose? I'd want to be born in 1153.

-Harry Stephenson

Film Review: Catfish

The tagline for this remarkable documentary-thriller is "Don't let anyone tell you what it is." The command is an appropriate one, because this taut exploration of the internet is a unique and powerful experience. Ariel Schulman and Henry Joost began filming the life of Ariel's brother, Yaniv "Nev" Schulman, after Nev began an interesting Facebook relationship with a family, eventually focusing in on his blossoming love interest for young Megan Faccio. However, when strange occurrences begin popping up, the three friends decide to investigate the truth.

It's hard to write a review about Catfish, because the film's final 45 minutes carry numerous twists, along with intense weight and emotion. Just be aware that as the story begins to unspool, the truths revealed become a jaw-dropping look at suspense and human deception. The entire film succeeds because Nev is so unbelievable likable as the central, grounding "character"; you'll leave the movie theater thinking he's your own friend. Nev is effortlessly charming, goofy, and amiable.

Catfish is so profound because it pushes the boundary between fiction and reality - is this a true documentary? Are any of the moments portrayed fabricated? Does it even matter? The film is a roller-coaster of emotions, and is bound to spark endless debate; audiences have a lot to chew on, from the definition of a documentary to the terrifying nature of our obsession with and trust in strangers on the internet. Catfish makes for a riveting portrait of a man not knowing which way is up. It will make you laugh, it will make you cry, and it will haunt you for days. But above all, it will make you appreciate the art form (maybe the "art form"?) of the documentary. B+

Quote of the Day

Wait - so did they, like... put a costume on a horse?

-Kevin Zhai

Film Review: The Social Network

Once in a while, a film comes along that completely captures a generation, crafting a story both riveting and timely. With The Social Network, director David Fincher has gone above and beyond the awkward and seemingly gimmicky premise of the "Facebook movie" by giving us a film that leaps over all expectations. The Social Network is exactly what you want from a film, a virtuoso glimpse into the life of an incredibly complex young man.

The film is essentially a biopic (odd to say, when the subject is currently only 26), albeit with some slightly fictionalized twists, of Mark Zuckerberg, the world's youngest billionaire and founder of the ubiquitous Facebook. The film uses the two (biggest) legal cases surrounding Zuckerberg's creation of the site as a frame for the larger story, painting Zuckerberg's rise to power, beginning with his years as an undistinguished computer geek while attending Harvard University. Many critics have compared the film's central arch to Citizen Kane, and the comparison is incredibly apt; to go with another classic as a point of comparison, The Social Network is The Godfather of information age films.

David Fincher has proven his worth through numerous exceptional efforts - Se7en, Fight Club, Zodiac, and The Curious Case of Benjamin Button, among others. Fincher is one of my favorite directors still working, mainly because he is a true master at crafting atmosphere and a stark, compelling vision of our reality. His work in The Social Network is beautiful, gripping, and taut; there isn't a single moment where Fincher missteps. The production values are top-notch across the board - perfectly musty, moody cinematography; wonderful sound mixing; cohesive editing; and a dazzling score from Atticus Ross and Trent Reznor, of Nine Inch Nails fame, that is pulsating and invigorating while never intrusive.

Fincher is also working with a knock-out cast. The most interesting element of the film's ensemble is that it features not a single A-list actor. As Mark Zuckerberg, Jesse Eisenberg is now the front-runner for the Best Actor Oscar. This is a star-making turn for Eisenberg, giving Zuckerberg the deep emotional complexity and rough biting wit the part needed to succeed; it's a riveting portrait that not many actors could pull off. There's a slew of wonderful supporting male characters here too: Andrew Garfield (the new Spider-Man) as Zuckerberg's best friend Eduardo Saverin; Justin Timerblake as Napster founder Sean Parker; and Armie Hammer as both twins Cameron and Tyler Winklevoss, using Fincher's CGI magic to make their scenes together possible (Josh Pence stood in as a body double). The women in the film are all adept, but aren't given much to work with as rather objectified roles in the lives of the driving male characters.

The true star of the film is Aaron Sorkin's brilliant screenplay. Based on Ben Mezrich's The Accidental Billionaires, Sorkin has crafted his best work yet. From the perfect opening scene, where Zuckerberg spars with girlfriend Erica Albright (Rooney Mara, recently cast by Fincher as Lisbeth Salander in Hollywood's The Girl With the Dragon Tattoo), throwing quick retorts at one another over beer, Sorkin sets his tone. The dialogue rips throughout the picture, some of the sharpest "talkie" material I've heard in a very long time. Sorkin added some fictional twists to strengthen the tale's arch (for instance, Erica Albright is a completely fictional character), but nothing feels false or manufactured. Sorkin's greatest achievement is his multifaceted treatment of Zuckerberg, showing him simultaneously as genius, asshole, nerd, misunderstood loser, compassionate friend, jealous friend, witty comedian, relentless worker, and an incredibly lonely young man.

Fincher and Sorkin, a dream team of cinematic glory, have composed the best film of the year. I left the theater on a giddy high. This is currently the feature to beat on Oscar night - a big bold Hollywood opus, a swift "thriller" for the mind, a hilarious dark comedy, and a compact emotional character piece. Fincher made a film that is not about Facebook, but about the men behind the beast. The film dives directly into their hearts, and it's often hard to watch the darkness that rests at the center. The Social Network is a shining example of modern filmmaking. But more than just high entertainment, the film is bound to generate heated discussion... much of which is likely to take place on Facebook itself. Mark Zuckerberg would be happy. A+

Stage Review: Mrs. Warren's Profession

George Bernard Shaw's Victoria-era play Mrs. Warren's Profession, the tamest play about sex ever written, returns to Broadway through the Roundabout Theatre Company. Featuring Broadway star Cherry Jones in the title role, re-teaming with director Doug Hughes after her Tony-winning turn in Doubt , this production falls disappointing short on a number of levels.

Sally Hawkins, making her Broadway debut, also headlines the cast in this production as Vivie Warren; I had the unfortunate opportunity of seeing her understudy, Stephanie Janseen, perform. The play revolves around young Vivie Warren, dealing with her life as a woman coming up in the world, and attempting to understand the root of her mother's profession and wealth. Revealed early in the first act, Mrs. Warren is prostitute, a "secret" that is blatantly obvious due to some of this play's directional choices. Hughes does a disservice to Shaw's brilliant play by pushing all of the plot's subtleties to the forefront, hiding nothing in the strained relationships between each of the characters.

The show is worthwhile for Jones alone, a spectacular actress. However, she gives Mrs. Warren a low-brow Cockney accent. The choice isn't an awful one, but it seems odd; it seems to cheapen Mrs. Warren as a character. Janseen plays Vivie utterly wrong; she's a travesty. In her performance, Janseen spectacularly misses who Vivie truly is. The rest of the supporting cast is fairly strong, highlighted by Adam Driver's hilarious Frank Gardner and Mark Harelik's appropriate smarmy George Crofts.

Mrs. Warren's Profession disappoints because the entire production feels sloppy; it's as if Jones approached Hughes, and Hughes quickly slapped together a rickety staging. It can be a wonderful experience to see a classic Victoria staging, but Hughes botches such a pleasure by making his staging... boring: the set looks ridiculously cheap and underdeveloped, while the costumes are either unpronounced or incredibly garish... until the play's final scene. A thrilling conversation between two hysterical women, the play's closing finally hits its mark as captivating theatre. However, it was all far too little, too late. Mrs. Warren's Profession falls flat, failing to support the weight and majesty of Shaw's play. C

Film Review: The Town

Ben Affleck made his directorial debut with 2007's Gone Baby Gone, a wonderfully twisty tale of a Boston kidnapping, punctuated by Amy Ryan's sensational Oscar-nominated performance (she was unjustly beat out by Michael Clayton's Tilda Swinton). Affleck is back behind the camera with The Town, also starring in the lead role; with this gritty action thriller, Affleck has catapulted himself back onto the A-list of the film industry, kick-starting a career that could eventually mirror the auteur work of Clint Eastwood... Yes, he's that good.

The plot follows a intertwined cast of characters through the underworld of Charlestown, a neighborhood in Boston notorious for its insanely high number of bank robberies. Doug MacRay (Ben Affleck) and James Coughlin (Jeremy Renner) lead a team that has been executing bank heists for a long time; when James takes Claire Keesey (Rebecca Hall, gorgeous and controlled) hostage after a problematic job, their intricate world starts to fall apart. The supporting cast also notably features Blake Lively as James's sister, and Doug's sometimes lover, Krista, with Jon Hamm as FBI agent Adam Frawley on the hunt for Doug and his crew.

Affleck has found his muse in Boston, featuring beautiful aerial shots of the city, and establishing a singular atmosphere over the entire picture. Affleck also deftly executes his action sequences, specifically a thrilling car chase through Boston's frighteningly narrow streets; a big scene in Fenway Park is almost unbearable taut and terrifying. As a director, Affleck displays incredible skill at building tension between his characters, reeling in the drama tighter and tighter, culminating in a rewarding and effective climax.

Affleck is good in his role, but his talent behind the camera outshines any moment of his in front of the camera. The entire ensemble cast is incredibly strong, and features some brilliant casting choices. Lively's drugged out nymphomaniac shows that the young actress can do much more than her flimsy role on the television show Gossip Girl, even if she's only given a few short scenes to. However, the real star of the film in the acting department is Jeremy Renner (nominated for an Oscar in last year's The Hurt Locker), sparking like bottled lightening. Renner's James Coughlin is wound so tight you'll be tempted to hold your breathe every time he's on screen; the audience has no idea when he'll finally let his raw aggression and rage loose. It's a frightening performance that's impossible to look away from.

The Town is leagues better than Gone Baby Gone, and while there's not one performance that explodes quite like Amy Ryan's work in the latter film, the ensemble in the former is without a weak link. While Gone Baby Gone's conclusion felt a tad forced, The Town always stays true to its tone. No plot point feels awkward. The entire film sizzles. More than anything, Affleck (who also co-wrote the screenplay, based on Chuck Hogan's novel Prince of Thieves) proves he has a big future in Hollywood; he knows when to plant nuggets of humor, moments of humanity, and thrilling action sequences. Instead of producing a stale crime drama that retreads old material, Affleck infuses something new and exciting into his honed archetypes. A-

Quote of the Day

I'm a good person!

-Harry "Boy Who Lived" Stephenson

Stage Review: In The Heights

At the 2008 Tonys, In The Heights won 4 award, capping off the night with Best Musical. The show, about a vibrant Hispanic community in New York's Washington Heights, is still going strong, and recently added American Idol winner Jordin Sparks to the cast as Nina, the one girl who escaped the Heights for college... before dropping out and returning to the 'hood.

The musical was the brain child of Lin-Manuel Miranda, who also originated the role of Usnavi (currently Kyle Beltran). Miranda's passion is evident in every moment, from the vibrant characters to the sense of family imbued in the neighborhood. However, some of the characters fall into easy cliches, and there's a thick layer of predictable cheese lathered on top of the whole thing. When compared to something like Fela!, my favorite show from last year and another "cultural piece" on Broadway (unfortunately closing in January, and currently featuring Patti LaBelle), In The Heights's specific flavor feels a little manufactured, watered down for a standard Broadway audience.

Regardless, every moment in In The Heights is soaked with emotion and heart, something that can be said of very few shows currently running on Broadway. The score is explosive, catchy, and utterly original as the first real hip-hop musical. The choreography, an interesting mesh of urban street and studio contemporary, demonstrates how the show throws together classic musical theatre with its own distinct vision.

Sparks has a lovely, if strained, voice, and her upper register is especially appealing. However, her acting is questionable. She certainly has pipes, but her emotional connection to Nina is awkward and inauthentic; Sparks cycled through a handful of expressions, and often seemed far too young alongside the rest of the cast. Beltran, also making his Broadway debut after originating Usnavi role on tour, is ridiculous talented - he's utterly charming, funny, and hits each emotion perfectly. His vocal parts are also the show's most difficult, hitting a rapping-singing blend; Beltran's execution is pro. Both Sparks and Beltran are at their best during a particularly emotional scene during Act II.

The supporting cast is all over the map - Andréa Burns is utterly hilarious as Daniela, as is Shaun Taylor-Corbett's Sonny and Courtney Reed's Carla; Marcy Harriell makes an unappealing Vanessa, while Clifton Oliver seemed vocally weak as Benny; and finally, Olga Merediz is one of the show's brightest lights, still starring in her Tony-nominated role as Abuela Claudia.

In The Heights could have used an edit or two before hitting Broadway (the first act is too long, and a few songs feel especially weak), but the show works beautifully as a whole. The cast puts their everything out on stage, and the effort shows - the theatre pulsates with nonstop energy. There might not be much going on intellectually during In The Heights, but its crowd-pleasing nature and raw emotion hits. It took me long enough to finally see this show; my only regret is having been introduced to el barrio sooner. B+

Quote of the Day

I'm never on your Quote of the Day, and I'm pissed...

-Abaigeal Reilly

Television Review: Boardwalk Empire

HBO's Boardwalk Empire, a 1920s period piece about gang life in Prohibition-era Atlantic City, premiered last night after months of hype and stellar early reviews. With a pilot directed by Martin Scorsese and written by Terence Winter (of Sopranos fame), the lavish drama series was bound to be a big draw, and the extended pilot episode certainly delivered. This show has success written all over it.

Telling the story of political boss with a mobster agenda, Steve Buscemi plays Enoch "Nucky" Thompson (loosely based on a true character from Atlantic City's rich history, Nucky Johnson). Buscemi, known for his character work in a number of films, has finally hit the jackpot with Thompson, a complex character with numerous facets (and a seemingly rich backstory, involving the death of a wife that seems to haunt Thompson more than he lets on). The other main players are: Jimmy Darmody (Michael Pitt, using his pouty mug to wonderful results), Thompson's right-hand man, scarred by the war and unsure of his future in Thompson's gang world; Margaret (Kelly Macdonald), a desperate housewife that Thompson, rather mysteriously, shows unending compassion towards; and Van Alden (Michael Shannon, hard and gruff), a Prohibition officer investigating the Thompson's shady business dealings.

The pilot's plot dealt with the beginning moments of Prohibition (celebrated with a huge party of a "funeral," a countdown like New Year's Eve!), and a secret shipment of Canadian alcohol gone awry. One of my biggest problems with the pilot was its level of confusion; along with numerous new names and characters, it was often a difficult to sort out the show's details, and too intricate to hash out in its entirety here. That said, I'm sure the series will bring the important gangsters to the forefront, streamlining the expansive map of Atlantic City that the opening episode introduced. The use of historical characters is a wonderful touch - young Al Capone introducing himself to Darmody was a thrilling moment.

The production values for Boardwalk Empire are impeccable, from the costumes to the set to the music; everything is spot-on in capturing a different time, dripping with exquisite 1920s grit and glamour. The episode's depiction of the decadent, drunk lifestyle faded as the episode continued, beautifully striping down to the horrific gangster power during the Prohibition. Scorsese's work is a wonderful base for the series; his stylistic choices, often slightly overwrought (hello Gangs of New York, which treaded similar territory), are more understated here, yet still undoubtedly the work of Scorsese. Winter's writing is dense while deft, showing his skill at weaving a vast web of characters together in a singular environment.

The pilot could have used more time to flesh out its characters; the show's action-thriller opening minutes, before flashing back with a "three days earlier" title card, was a slight misstep, starting with action instead of the show's richly detailed characters. Still, this could also just be HBO's penchant for a flashy opening sequence, drawing in viewers so they'll stick around for the talky, intricate character drama that follows (speaking of which, Boardwalk Empire was incredibly light on nudity for an HBO premiere...).

Boardwalk Empire brings to mind previous period work from HBO (Deadwood, Carnivale). It also seems to be in direct competition with AMC's Mad Men. HBO infamously passed up on the critical darling, and now HBO is going to war with its own meticulously crafted period piece; we'll see how the Academy responds at the Emmy awards next year. However, having Boardwalk Empire in the time slot right before Mad Men actually served as a disservice to the former; last night, Mad Men's wonderful episode balanced nuanced characters, dark humor, and raw emotion... demonstrating (once again) why it is the greatest show currently on television.

Regardless, the comparison at this point in the game is be unfair; Mad Men's characters are playing off of three full seasons of background and history. Boardwalk Empire certainly needs time to establish itself, and the premiere episode built wonderful groundwork for a show that could easily reach the creative heights of Mad Men. For now, I am definitely a fan. I will definitely be tuning in next week. The possibilities for this gem are endless; if nurtured correctly, this could be classic HBO television gold. A-

Quote of the Day

I never thought I'd be asking Cher to hold my meat purse.

-Lady Gaga, at the VMAs

Quote of the Day

I thought Amir's was, like... a nail salon? They should do eyebrow threading.

-Ross Ramone, on a Morningside falafel restaurant

Quote of the Day

Omg this whole time I thought Daniel Craig was Daniel Radcliffe holy shittt

-Danielle Robin, in a text message

Film Review: The American

The American emulates European filmmaking, and almost feels ripped straight from the film industry of 1960s Italy, maybe France. George Clooney plays Jack (or is it Edward?), the titular American residing in a medieval Italian village. He's given a job to construct a gun for the mysterious Mathilde (Thekla Reuten, the best part of the film); during his stay, he also meets the beautiful prostitute Clara (Violante Placido).

To say more would ruin the film's deliberately structured plot, as not much actually happens in The American. Director Anton Corbijn, famed photographer and director of 2007's Control, has put a deliberate spin on what could have been a big spy thriller - this is an existential piece, a look at a man struggling with his place in the world. Sure, a spy or hitman with a conscious is nothing new, but Corbijn's careful execution elevates The American above cliched retread.

The film's opening sequence kick-starts the action, perfectly blurring Jack's morality (followed by a spectacularly designed opening credits sequence). One of the greatest things about The American is that it always feels like a larger spy movie that has been zeroed in. There is so much happening on the periphery of Jack's life and on this single job, things never fully explained to the audience; this gives Jack's journey a focused feel, like Corbijn has zoomed in on the elements of the story that intrigue him the most. George Clooney is stripped of his charm, subdued to an almost stoic level; Clooney, not one of my favorite actors, works wonderfully here, barely letting his emotions ripple across his face through most of the film.

While Clooney's take on Jack is an interesting turn for the actor, the film itself ends up too cold and rigid to become something truly remarkable. The pace of the film crawls along like a snail; in his adherence to European filmmaking, Corbijn has made a film that keeps the viewer at arm's length for far too long. Masterful European thrillers, such as Micahel Haneke's Caché, trick the audience such that the film moves at such a measured pace, and with such cold deliberation, that you're completely unprepared when the film suddenly slaps you across the face.

The American lacks such a punch. However, the film's final act is perfectly executed, finally letting the film's tension unravel; however, the film spends far too long churning the action instead of building in preparation for the finale. The final act puts together the pieces, finally elevating the film, giving meaning to its detailed focus. The cinematography is absolutely gorgeous, and every single shot drips with European elegance. The film's parting shot is breathtaking, in both style and content; it draws upon a motif built throughout the film, an understated metaphor that grows beautifully.

Despite it's chilly exterior, The American works because it trusts its audience: there are no flashbacks to spell out important moments, no expository dialogue to close up loose ends, no movement in the orchestration (unobtrusive and wonderful work by Herbert Grönemeyer) that screams how important a single line of dialogue is; there is a pivotal statement that spins the film and its characters, but Corbijn doesn't give it any added attention. Ultimately, this is a movie about a man, not a spy, and it's bound to be extremely polarizing. The American is almost unbearable slow in parts, but the film rewards the viewer's attention, as its cold, emotionally restrained focus unfolds a man's inner turmoil before your eyes. B

Quote of the Day

James Franco is the new Kevin Bacon - he's in everything!
-Mama Smith

Top Ten: Oscar Season 2010

At the end of every summer, I compile a list of the ten movies I'm most excited to see through the close of 2010, more affectionately known as Oscar season. This list used to be posted as a Facebook note, and was one of my biggest inspirations for finally creating a blog. Oscar season is undoubtedly my favorite time to be in a movie theater. It's electrifying. The title of each film below acts as a link to a trailer; imbedding ten YouTube videos in this post would make things a little too... lengthy. Even for me.

10. Tron: Legacy (December 17th) - Disney's original Tron was released in 1982; while it flopped at the box office, it became a cult phenomenon, praised for its revolutionary look. Now, Kevin Flynn (Jeff Bridges), the original Tron protagonist, has disappeared, leaving his son Sam (Garrett Hedlund) behind. When Sam uncovers a message at an old arcade, a message only his father could send, Sam is sucked into the video game world that has held his father captive for 20 years. While big budget action flicks are usually saved for the summer, it look as though Disney has created a dazzling world with sleek CGI and stunning visuals; need another reason to get excited? Daft Punk is providing an original soundtrack.

9. 127 Hours (November 5th) - Director Danny Boyle's last effort was the belle of the ball at the Academy Awards two years ago; he follows up Slumdog Millionaire with this extraordinary true story of Aron Ralson (James Franco), a mountain climber who cut off his arm to free himself from a fallen boulder in 2003; the title refers to the amount of time Ralson spent trapped. Boyle loves to dabble in different genres, and 127 Hours will be a big shift from the decadence of Slumdog. Still, the trailer features some absolutely breathtaking landscape shots of mountainous Utah.

8. Morning Glory (November 12th) - Rachel McAdams is one of my favorite young talents in Hollywood, and it looks like she's found a winning role in Morning Glory, written by Aline Brosh McKenna, famous for The Devil Wears Prada. McKenna has returned to a young woman thrown into a strange work environment; here, Becky Fuller (McAdams) becomes the head of a struggling morning show, casting a curmudgeonly evening newsman (Harrison Ford) to replace the hole next to the show's famous host (Diane Keaton). Just like with The Devil Wears Prada, this looks like a chick flick that's still very aware of its heart, and of its brain.

7. Hereafter (October 22nd) - Clint Eastwood returns to his directorial duties for this high-concept romance-thriller piece. The film deals with three separate storylines, each grappling with morality and tragedy. The film stars Matt Damon, Bryce Dallas Howard, Cecile de France, and twins Frank and George McLaren; the structure is Bable-esque, stretching across the globe with each vignette. Eastwood has even said that the film is tough to explain. However, Eastwood seems to really push himself as a director here, and the results are bound to be enthralling.

6. Love and Other Drugs (November 24th) - Jake Gyllenhaal and Anne Hathaway team up again (they last starred together in Brokeback Mountain) in this film based on the memoir Hard Sell, about a playboy pharmaceutical salesman (Gyllenhaal) from the '90s, caught up in the Viagra craze while finally finding himself falling in love (with Hathaway). The film looks to lampoon the pharmaceutical company, possibly giving the movie's central romance a satirical edge reminiscent of Thank You For Smoking. Also, Hathaway has been receiving some serious early Oscar buzz for her performance. Gyllenhaal and Hathaway have boundless chemistry, and the two are bound to shine regardless of the film's final quality.

5. Blue Valentine (December 31st) - After twelve years of production hell, this romance, about a young couple falling in and out of love over six years, became a indie superstar at Sundance last year, created an intense bidding war for distribution rights, and began strong Oscar chatter for stars Michelle Williams and Ryan Gosling. While there's only a short clip online, with no official trailer, the film has been lauded by critics along the festival circuit for the movie's unflinching portrayal of a passionate and volatile relationship. Blue Valentine might just give The Kids Are Alright a run for its money as the little-indie-that-could...

4. Black Swan (December 1st) - Movie blogs exploded when early snippets of Darren Aronofsky's script for this psychological thriller circulated online. Natalie Portman plays an ambitious ballerina, struggling to win the lead in a production of Swan Lake. When a new dancer arrives at her studio (Mila Kunis), a dangerous relationship begins between the two women. As the competition heats up, their structured world of ballet begins to fall apart. Aronofsky is know to either hit big (Requiem for a Dream) or miss big (The Fountain), but everything points to Black Swan becoming a visually stunning work of art with simmering eroticism.

3. Harry Potter and the Deathly Hallows: Part I (November 19th) - Does this film need an introduction? Director Richard Yates has truly hit his stride helming the Harry Potter series (he's been on board since Harry Potter and the Order of the Phoenix), and the trailer for the first half of the final installment looks promising. The cold menace felt throughout the final novel drips throughout the film's trailer; the entire gang is back, and they look poised to truly deliver with Harry Potter's final appearance.

2. Never Let Me Go (September 15th) - Based on Kazuo Ishiguro's 2005 novel, this fantastic piece of character-driven drama deserves a solid screen adaptation. The story follows Kathy (Carey Mulligan), Ruth (Keira Knightley), and Tommy (Andrew Garfield), who spend their childhoods at a boarding school in the English countryside. However, their lives hold many secrets, and their introduction to the real world proves shocking; don't let anyone ruin the narrative and emotional twists. The production for Never Let Me Go looks appropriately lush, and the actors are all brilliantly cast (even if Keira is too pretty to play Ruth...). If this adaptation is anywhere near as strong as the source material, this is certainly a must-see.

1. The Social Network (October 1st) - When plans were first announced for a film about the birth of Facebook, I was incredibly skeptical; the idea seemed odd, and ultimately unnecessary. But then... the trailer was released. Using a haunting and brilliant cover of Radiohead's Creep (Trent Reznor of Nine Inch Nails is scoring the picture), the trailer is magnificent. David Fincher, one of my favorite directors, is a master at sprawling and atmospheric tales about regular people; his touch is all over The Social Network, and I truly believe that the man could make gold out of anything. Aided with a screenplay by Aaron Sorkin, Fincher looks to have created a film that truly captures a generation. Sure, not everything in the film is based on the factual events behind Mark Zuckerberg's story, but when has that mattered? The film stars Jesse Eisenberg, Andrew Garfield (who is also in Never Let Me Go, and was recently cast as the new Spider-Man), and Justin Timberlake. Early screenings of the film have been returned with unbelievable reviews. This is the film to see this fall.

On The Radar
-Ben Affleck surprised with his directorial debut in Gone Baby Gone; he's at it again (and starring this time!) with The Town (September 17th)

-James Franco stars as the poet Allen Ginsberg in Howl (September 24th)

-Hilary Swank has Oscar buzz for Conviction (October 15th)

-The minds behind The Hangover are back with Due Date (November 5th)

-Naomi Watts and Sean Penn are together again (after 21 Grams) with the story of CIA agent Valerie Plame in Fair Game (November 5th)

-Two big directors find themselves in old locales - Sophia Coppola revisits a hotel with Somewhere (December 22nd), and the Coen Brothers are out West again in True Grit (December 25th)

-French director Julian Schnabel follows up The Diving Bell and the Butterfly with Miral (December 3rd)

-Two heralded British imports are on the horizon - Another Year (December 31st) and The King's Speech (November 24th)