‘Halloween Kills’ is Brutal in More Ways Than One

It’s been a long time coming, but “Halloween Kills” has finally arrived in theaters everywhere. Personally, I think it is the result of Michael Myers keeping his mask on. Heck, he has been keeping it on for the most part since 1978. In this franchise, it is said that evil never dies and you can’t kill the boogeyman. Maybe this is because he is not an anti-vaxxer and has gotten his shots (whether it was Moderna or Johnson & Johnson, I have no idea). Besides, his victims this time around aren’t wearing masks. Doesn’t this tell you something?

Okay, let’s get something out of the way here, is “Halloween Kills” as effective as David Gordon Green’s previous “Halloween” from 2018? Not quite, and it does at times seem more concerned with upping the blood and gore this time around to where no one dies an easy death. Still, this follow-up has some very suspenseful moments as we know Michael, or The Shape as he is often called, is just around the corner. The question is, which corner?

Picking up at the moment where the previous installment ended, three generations of Strode women are being driven away from the fiery inferno which has engulfed Laurie’s home, but the fire department in Haddonfield is more reliable than they could have expected as they race over to her address even as she yells out, “let it burn!” And as the trailer shows us, Michael is quite handy with tools and hardware as he easily lays waste to trained professionals.

With 2018’s “Halloween,” Green retconned the franchise to excellent effect. In “Halloween Kills,” Green and screenwriters Scott Teems and Danny McBride retcon it even further as we see Michael getting captured by the police, and we learn of Deputy Frank Hawkins’ first run in with Michael when he was a fresh newbie on the police force. More importantly, it allows Will Patton to appear in yet another “Halloween” film as his seriously wounded character manages to survive. We also get to understand why Frank now has a renewed interest in killing Michael.

One of the things I really enjoyed about “Halloween Kills” is its attention to the characters. This is not your average slasher film filled with people you cannot wait to see get bludgeoned to death, and you never hear the audience breaking into a chant of “kill the bitch” as I witnessed at a screening of “Friday the 13th Part VII: The New Blood” years ago. They are all flesh and blood, some simply minding their own business while others still vividly remember what happened to their beloved hometown 40 years ago. Heck, even Lonnie Elam (Robert Longstreet) and Tommy Doyle (Anthony Michael Hall) get along here as Lonnie’s days of bullying Tommy have long since been put behind them. Deaths here are not ones to be celebrated, but are instead meant to be tragic.

Another fascinating thing is how this sequel touches on current events without ever exploiting them. When word gets out that Michael is back in Haddonfield doing his slicing and dicing act, Tommy is quick to get everyone he can together so they can form a mob to take down the Shape once and for all. The police encourage him and others not to go down this path, but considering how well they did the last time Michael came to town, and they refused to be swayed.

Granted, this franchise has dealt with angry mobs before, particularly in “Halloween 4,” but the mob in that one was incredibly tiny compared to one presented in “Halloween Kills.” Just about everyone in Haddonfield is seen shouting out “evil dies tonight” endlessly to where even its former sheriff, Leigh Brackett (Charles Cyphers, back for the first time since 1981’s “Halloween II”), wants to see justice done for his slain daughter. Of course, we all know angry mobs can lead to needless violence and death, and this makes the events which unfold here all the more tragic.

Of course, it is the Strode women who take center stage in this latest confrontation with the Shape. Surprisingly, Laurie Strode is largely left on the sidelines this time around as she recovers from a knife wound to the stomach. Still, this gives Jamie Lee Curtis a chance to shine in scenes opposite Patton as both talk about what could have been. Judy Greer proves to be more badass than ever as Karen, Laurie’s daughter who struggles to move past the death of her husband to keep her daughter safe. But as “Halloween Kills” reaches its bloody conclusion, even she realizes how evil must die.

Andi Matichak also returns as Laurie’s granddaughter, Allyson, who has since come to see that the boogeyman is real. Matichak makes Allyson into a tough character, but the actress is never hesitant to show the fear on her face as she gets closer and closer to Michael. As Allyson enters his childhood home armed with a shotgun, even Matichak knows it would be foolish for this character not to be the least bit scared.

There are some actors who are new to the franchise here, and they are very welcome additions. I figured Robert Longstreet would make Lonnie into an adult who still loves to bully kids like Tommy, but he instead makes this character into a wounded adult who looks out for his son and will never forget “the night he came home.” It is also great to see Anthony Michael Hall, long since removed from his Brat Pack days, here as Tommy Doyle. With Tommy’s introductory monologue, Hall puts the audience under a spell as he reminds us of Haddonfield’s tragedy while paying respect to the lives lost and how we should “never forget.” Hall is really good here. I also got a kick out of Scott MacArthur and Michael McDonald who play an eclectic couple that own the old Myers’ house. Furthermore, they know what happened there and have no buyer’s remorse (or will they?).

And yes, John Carpenter, along with son Cody Carpenter and Daniel Davies, have provided “Halloween Kills” with a terrific film score. The themes are familiar ones, but they are given a mournful sound as we are reminded of ghosts which have yet to be laid to rest. There are also some nice propulsive themes as well to keep the adrenaline going. Those who are a fan of Carpenter’s music will not be disappointed.

In some ways, “Halloween Kills” is at a disadvantage as it is the middle chapter in a trilogy, and we still have “Halloween Ends” to look forward to. Whether or not evil can die, I think it’s safe to say it can take one hell of a beating and keep on ticking. I mean, it has to knowing a third chapter is one the way. Regardless, this sequel gave me much to admire about it as it deals with how the bullied often become the bully, how the past can haunt us to no end, that small suburban towns are more often know for tragedies than anything else, and that some people have no business holding a gun.

Just keep in mind one thing: While this looks like a John Carpenter “Halloween” movie, it is a David Gordon Green “Halloween” movie. It is important to note this as many horror fans may be expecting a certain kind of film here, and you really should remember who is behind the camera on this one as it may not be the one you think.

It will be interesting to see Laurie Strode have one last showdown with Michael Myers, and I believe David Gordon Green has long since been prepared to save the best for last. Michael is not just pure evil; he is like the Energizer bunny, except with a bloody knife instead of a drum. He just keeps stabbing and stabbing and stabbing…

* * * out of * * * *

Final Trailer For ‘Halloween Kills’ Promises a Big Reunion

While the previous trailer for “Halloween Kills” showed how brutal the latest installment of this long running horror franchise is going to be, the final trailer proves it will be one hell of a reunion as well as several familiar faces return in an effort to lay waste to Michael Myers. Evil never dies, but it never stops the residents of Haddonfield from trying to kill it.

Kyle Richards returns as Lindsey Wallace, one of the kids Laurie Strode babysat in the original, and seeing her yell at a couple of young trick-or-treaters to rush home shows she has not fully recovered from the events of 40 years ago. We also see Nancy Stephens back in her fourth go-around as Marion Chambers, former assistant to the late Dr. Sam Loomis, and she is smart enough to bring a gun to a knife fight. But like Loomis in “Halloween II,” Marion appears to lack that extra bullet, and it looks as though she will have as much luck in this “Halloween” timeline as she did in the other.

Tommy Doyle, the other young lad Laurie saved in “Halloween,” is back as well, this time played by Anthony Michael Hall. Tommy as a youngster was convinced of how no one can kill the boogeyman, but seeing Hall wielding a metal baseball bat indicates he will give it his best shot.

Heck, even the kid who bullied Tommy as a kid, Lonnie Elam, makes a return to the franchise, and he is played as an adult by Robert Longstreet. This trailer also hints at Lonnie’s own encounter with Michael Myers, which he somehow survived, and even he is determined to take out “The Shape” anyway he can, even if it means going to Michael’s childhood home.

So, what is opening up in October looks to be a horror film where everyone is still deeply traumatized from the horrible events which took place four decades ago, and now history has repeated itself to where no one in Haddonfield will allow this murderous rampage to continue. While Laurie looked to be the only one traumatized amongst the characters in the previous “Halloween,” this follow-up is filled with dozens of people whose lives have been forever shattered. Of course, there is another sequel coming after this one (“Halloween Ends”), so it will be interesting to see how this one will conclude as Michael’s reign of terror is still far from over.

Seeing all the characters in town chant “evil dies tonight” makes “Halloween Kills” especially chilling as an angry mob, even with the best of intentions, can make some seriously awful mistakes. We have seen this in previous sequels like “Halloween IV,” but on a much smaller scale. This installment has a budget which allows for the appearance of far more characters than its predecessors could ever hope to have.

Watching this final trailer several times over makes me wonder about a few things. Is Will Patton actually returning as Deputy Frank Hawkins even after what happened to him in the last film? Will we see how Michael Myers was captured by the Haddonfield police all those years ago? If you look really closely, Sam Loomis does make an appearance, but will he look and sound like Donald Pleasance?

But another thing I wondered about more than anything else was this: will Laurie Strode (played by the great Jamie Lee Curtis) die in “Halloween Kills?” While Laurie is featured throughout much of this trailer, the climax appears to be dominated by her granddaughter Allyson (Andi Matichak) and her daughter Karen (Judy Greer) as they attempt to not only kill Michael, but unmask him for all the world to see. We don’t see Laurie in any of those scenes, so I am worried this film maybe it for her. If she is to be killed off, let’s hope she gets a better fate than the one she received in “Halloween Resurrection.”

And of course, we have been promised an unmasked Michael Myers before. We got a glimpse of his face in John Carpenter’s original film, and we were promised an up close and personal look of him in “Halloween 5,” but the latter turned out to be a cruel tease. Besides, with one more “Halloween” coming in 2022, is this really the time to see Michael unmasked? Well, anything is possible.

“Halloween Kills” will finally arrive in theaters everywhere on October 15th, and will also debut on the Peacock streaming service on the same day. If I were you, however, I would see it on the silver screen with an audience, be it a big or a small one. And if you do see it in a theater, wear a mask. Hey, it works for Michael.

‘Halloween Kills’ Trailer Promises a Brutal Follow-Up

Thanks to the COVID-19 pandemic, this is one of the many films we had to wait an extra year for. But with the pandemic reaching its tail end (or so we have been told), we can look forward to “Halloween Kills,” the sequel to David Gordon Green’s highly successful “Halloween” reboot, arriving in theaters this October of 2021. John Carpenter, who returns as Executive, has told us the following about it:

“It’s brilliant. It’s the ultimate slasher. I mean, there’s nothing more than this one. Wow! Man.”

After watching the first trailer for “Halloween Kills” which was unleashed this past week, I believe Carpenter is a man of his word as what unfolds here is truly brutal. As I watched this preview, I wondered if this was a red band trailer or one which was approved for all audiences by the infamous MPAA.

When we last left this franchise, Laurie Strode (Jamie Lee Curtis) had left Michael Myers to burn to death in her house. But as she escaped alongside her daughter Karen (Judy Greer) and granddaughter Allyson (Andi Matichak) in the back of a truck, they watched in horror as fire trucks rushed their way over to Laurie’s residence which had since turned into a burning inferno. But as one firefighter reaches out to another who has fallen through the floor, we know the hand he takes in his is indeed Michael’s.

Watching as Michael stepped out of the house while it was still engulfed in flames, and holding a rather sharp firefighter tool in his hands, I was quickly reminded of what Steve Rogers said to a bunch of mercenaries while stuck in an elevator with them in “Captain America: The Winter Soldier:”

“Before we get started, does anyone want to get out?”

Seeing Michael lay waste to these firefighters with their own tools, one of them a power saw, it is clear this will be an exceptionally bloody follow-up as we see the “essence of evil,” as Laurie describes him, lay waste to helpless victims with an assortment of tools, one of them a broken fluorescent light tube.

 “Halloween Kills” looks to start mere seconds after the previous film ended, and it looks like the mob is out in full force as the town of Haddonfield is out for vengeance in the wake of so many murders. It feels like blood will be flowing endlessly this time around as we watch Anthony Michael Hall as Tommy Doyle, the young boy who took way too long to open the door for Laurie in the original “Halloween,” walking around town with a baseball bat. Not just any bat mind you, but one made out of metal. That’s right folks, Tommy is out to hit some balls!

There are several unforgettable images to be found here. Among them is the visual of three kids wearing those Silver Shamrock masks from “Halloween III: Season of the Witch” whose bodies lay lifeless and bloodied in a playground. Of course, part of me wonders if they got lucky. I mean, Michael got to them before they had any opportunity to “watch the magic pumpkin” on television. If they just missed Michael, their heads would have crumbled and turned to mush, releasing all sorts of pesky bugs and poisonous snakes. Haddonfield may have a solid police department, but how are they with animal control?

Also, Michael is once again unmasked in the franchise, this time by Karen who dares him to get his altered William Shatner “Star Trek” mask back. But we have been down this road before as Michael, as an adult, has had some opportunities to show us the face behind the mask, and it resulted in being nothing more than a tease (particularly in “Halloween 5”). Will the filmmakers here tease us yet again?

And yes, Jamie Lee Curtis is back in action, looking every bit as lethal as Michael does. Even after getting stabbed in the belly, you believe her fully when she tells her daughter that evil will die tonight. Regardless of how this film turns out, you can always count on Curtis giving a top-notch performance as she never disappoints.

“Halloween Kills” arrives at a theater near you on October 15, 2021. I look forward as I do to its soundtrack which will again be composed by John Carpenter, Cody Carpenter, and Daniel Davies. I am so excited to where I am reminding myself to keep my expectations in check. It is too easy to be disappointed in a film and for all the wrong reasons, and I want this one to live up to the hype.

Check out the trailer below:

‘The Assistant’ May Be The Most Horrific Film of 2019

The Assistant” features a music score by Tamar-kali, an American rock singer-songwriter and composer who is based in Brooklyn, New York. The interesting thing is, we only hear her score at the very beginning and the very end of this film. Truth is, “The Assistant” does not need a music score to highlight the endless tension of the working environment these characters we see here work in as the feeling of suffocating intensity is intensely palpable throughout. This is saying a lot because some filmmakers thrive on a music score to make the unbearable seem even more so, but like “The China Syndrome,” this film does not need it as writer and director Kitty Green shows how certain workplaces can be so toxic to where no further illustration is required to make this point clear.

“The Assistant” follows Jane (Julia Garner), a junior assistant at a film production company, through a single day at her job which has arriving at the office before the sun comes up, and leaving long after it has set. We watch as she performs numerous tasks which are menial at best, and it is no surprise to see the job leaves her endlessly stressed and exhausted as it consumes her life to where anything and everything outside of it plays a very distant second. She even forgets her father’s birthday, and her mother chides her for it. But perhaps the most shocking thing about this scene is how Jane manages to get the smallest amount of free time to make any personal calls while at work. During this moment, I kept thinking her boss was wondering where the hell she was and why she was not at her desk. Seriously, I have worked jobs which were similar to this one.

We quickly learn Jane has been working this job already for five weeks, so she has since been initially and brutally humbled by her boss who runs his company with an iron fist. Still, there is a bit of humanity left in Jane as we see her barely maintain her composure after her boss verbally abuses her for talking to his wife. From there, she is forced to apologize to him via email for her behavior, and her male colleagues (played by Jon Orsini and Noah Robbins) instruct her in the best way to write such an apology. Through scenes like this, it does not take much to see these guys have long since been schooled by their bully of a boss, and they feel obligated to help Jane out when she is in a tough position.

Not once do we ever see the face of Jane’s boss as he is quick to pass by her on the way to his office, and we only get to hear his voice either behind closed doors or through the unsparingly vicious phone calls she has with Jane. There is no doubt this boss is meant to represent Harvey Weinstein, the man who ruled Miramax and The Weinstein Company through endless brutality and intimidation and is now in prison for his horrific offenses which include sexual assault and rape. Just the thought of this boss is enough to keep Jane and her fellow colleagues on edge throughout as any mere mistake can cause him to fall into a full-blown rage. He’s like the creature in Ridley Scott’s “Alien” as what you don’t see is far scarier than what you do. Besides, this boss probably looks as appealing as Harvey ever did (that’s to say, not at all).

But the most brutal scene in “The Assistant” comes when Jane speaks with the company’s Human Resources director, Wilcock (Matthew Macfadyen), about a new girl who has just been employed. Her name is Sienna (Kristine Froseth), and she has been put up in a room at The Peninsula, a high-end hotel in the heart of Beverly Hills. Jane never got this kind of treatment when she was hired and cannot help but wonder if Sienna is in some kind of danger. But instead of being taken seriously, Jane is instead berated by Wilcock for bringing this to his attention, reminding her of how many people she beat out to get the job she has (the number is in the hundreds). But as Jane leaves, Wilcock assures her she has nothing to worry about as, in a line which has long since been spoiled by the film’s trailer:

“You’re not his type.”

It is in this moment in which Green shows how the safeguards designed to protect employees from horrific abuse have long since failed them as those with all the power rendered them useless. As a result, you realize in a very depressing way how someone like Harvey Weinstein managed to get away with so much abuse for decades. Yes, karma did come around to kick him in the buttocks, but the fact it took so long to do so does not speak well of the world at large.

Green also shows how those employed in such a suffocating working environment get by even as they are micromanaged to such a blistering degree. Every character we see here has long since been indoctrinated into a situation which they have been led to believe will eventually move them up the show business ladder.

At the center of “The Assistant” is the unforgettable performance by Julia Garner. As Jane, she fully inhabits this character to where you see how she has since been indoctrinated into her position to where any abuses and humiliations from her boss have long since humbled her in ways no one should ever be humbled by. Still, the “Ozark” actress makes us see there is still some humanity left in her. The question is, will she have any of it left by the time the end credits begin to roll? We watch Jane as she observes a certain silhouette in her boss’ window, and her resignation to the things she is unable to control shows how this film was destined to end with a depressing climax. And in the end, how else could it have ended?

“The Assistant” would make an unforgettable double feature with “Swimming with Sharks,” George Huang’s 1994 film about a naïve young writer named Guy (Frank Whaley) who, just out of film school, gets a job as an assistant to influential movie mogul, Buddy Ackerman (Kevin Spacey), who quickly turns out to be the boss from hell. Both films show how this abusive behavior has been normalized for far too long as many industry hopefuls have been cruelly led to believe this treatment is a rite of passage into a realm which seemingly promises both wealth and power. It came out just after Harvey Weinstein’s sexual predatory acts were revealed for all the world to see, so it plays like a documentary which has been smothered from public view for far too long. Now that people like Harvey are out of the picture, I wonder if things will change for the better. The sad fact is, this kind of behavior has been seen as acceptable for far too long, so who knows?

While “The Assistant” is a fierce indictment of Hollywood, it would be a mistake to think this abusive behavior is relegated to one industry. While Hollywood may be one of the main epicenters of the #MeToo and #TimesUp movements, the abuses they address do not start and stop there as other business we know and have been led to believe are morally superior are as vulnerable to such abuses. Political commentator Tomi Lahren went out of her way to shame Hollywood for enabling Weinstein and people like him, but she did this from a news channel (in this case, Fox News) which went out of its way to pay millions to those who accused Bill O’Reilly and Roger Ailes of horrific abuse.

Simply put, judge not lest ye be judged. If you need someone to blame, throw a rock in the air. You will hit someone guilty.

* * * * out of * * * *

‘Gone Baby Gone’ – Ben Affleck’s Directorial Debut

Gone Baby Gone” marked the feature film directorial debut of Ben Affleck, and it is based on the novel of the same name by Dennis Lehane. Back in 2003, another Lehane novel was turned into a great movie by Clint Eastwood called “Mystic River,” but I would actually put “Gone Baby Gone” right ahead of it, and this is saying a lot. It is a completely absorbing and emotionally devastating film involving the abduction of a child whom several individuals are desperate to see returned home safely. Their search for the child will test their levels of morality, and it will change their concepts of right and wrong forever.

Casey Affleck and Michelle Monaghan play two Boston private detectives who are hired by relatives of the baby’s mother to help assist in the investigation. During this process, they come to work with two detectives (played by Ed Harris and John Ashton) to bring the child back home. As they continue their investigation, the story ends up coming with more twists and turns than you would ever expect.

Ben Affleck’s directorial debut here should be labeled as astonishing, but his success here should have seemed like a big surprise. He has been a Boston native all his life, so he is a natural to direct a movie like this. He perfectly captures the feel of Boston and of the people who live there. He sucks you right into the atmosphere of the town and never lets you go. He also brilliantly succeeds in generating strong tension, and it quickly becomes one of those movies where you feel the gunshots that go off. I found myself ducking in my seat in certain scenes. Yes, it is that intense.

In addition, Ben also succeeds in getting great performances from every single actor here. What a great feeling it is to see a movie which does not contain single bad performance in it. At the top of the list is Amy Ryan who gives an utterly believable and fearless performance as a drug addicted mother who at first does not seem to care at all about her child. She is a fiend and cannot hide it, but she shows cracks in that rough façade of hers to show a mother who desperately wants her daughter back. It is an utterly realistic performance which earned Ryan a deserved Oscar nomination for Best Supporting Actress.

Ben took a big risk casting his younger brother Casey in the lead role of Patrick Kenzie. It could have been a very bad case of Hollywood nepotism, something which pisses of my closest friends to no end. But Casey has proven to be a very strong actor in his own right, and he handles what is very difficult role here with a very strong performance. Casey has really gone beyond his brother’s shadow to do some great work in movies like “The Assassination of Jesse James,” and he truly deserved the Best Actor he won for “Manchester By the Sea.” He has shown that he is an actor who has taken many risks back when he was acting opposite his big brother in “Good Will Hunting,” and he continues to gives us one memorable performance after another

There is also great work done here by Ed Harris who portrays Remy Bressant, a good cop who is always trying to do the right thing. But Casey’s character sees the cracks in Remy’s façade, and Remy is indeed not all he appears to be. Harris has given one great performance after another, and this is one more great performance that he can add to a resume filled with them.

It is also great to see John Ashton here as Remy’s partner, Detective Nick Poole. We all remember him best as Sgt. Taggart from the “Beverly Hills Cop” movies and, when I first watched “Gone Baby Gone,” it felt like it has been way too long since I last saw him in anything. Ashton is, of course, very believable as a cop who has seen it all, but still won’t give up in finding that little girl.

And else can be said about Morgan Freeman which has not been said already? We see him often as a major force of morality in just about every movie he appears in, but “Gone Baby Gone” definitely puts this to the test as his character, Captain Jack Doyle, tries to give balance to a situation which threatens to go completely out of control, and the revelation made about Jack near the film’s end will hit you like a ton of bricks.

“Gone Baby Gone” is a very complex film which examines what we think are the right and wrong choices in any given situation. As it goes on, we discover there is a very thin line between what is right and wrong. All these characters spend their time doing what they feel is the right thing, but it does come with its own set of consequences. Nothing will ever come out quite the way we want it to, and there is a negative for every positive.

This is a truly haunting and devastating film on many levels. It is skillfully written and is devoid of clichés and characters that are types more than human beings. It is messy in the way they deal with certain situations, and it shows how even good choices come with severe consequences. Who truly knows if they are making the right choices in life? Can we ever be truly certain of this?

This old expression keeps playing in my head of how the road to hell is paved with good intentions. Not all these characters end up in hell, but many of them find the outcome they want is not what is best for everyone around them. One tagline for this film is that everyone wants the truth until they find it. That is very true for these characters here. For every positive, there is a negative; and the negative can have a far greater impact than the positive. You leave thinking about this constantly. Did the right thing happen? Is everything going to be alright? In this world, I guess we can never really know.

“Gone Baby Gone” was one of the best films of 2007, a year which featured one great motion picture after another. It proved to be a great achievement for Ben Affleck who took a of crap over the years for what even he has to admit were some bad career choices. But ever since his award-winning performance in “Hollywoodland,” things have been changed for him quite significantly, and he earned his place on the Oscar stage when “Argo” won Best Picture. Yes, there was “Batman v Superman: Dawn of Justice,” but enough about that one already. He still gave us “The Town,” right?

* * * * out of * * * *

‘No Country for Old Men’ was the Best Movie of 2007

No Country for Old Men poster

WRITER’S NOTE: This review was written back in 2007.

Now this is a great movie!

No Country for Old Man” stands alongside some of Joel and Ethan Coen’s best movies including “Fargo” and “Barton Fink.” Some say it is a return to form for the brothers after their last two movies, “Intolerable Cruelty” and “The Ladykillers,” but they can’t be as bad as people say they are. Even the worst Coen brothers’ movies are far more interesting than most American movies made today. The one thing “No Country for Old Men” proves is they never lost their touch to begin with, and who are we to think that they ever did? I mean really!

This movie is based on the novel by Pulitzer Prize winning author Cormac McCarthy, and he has written a lot of great novels over the years like “All the Pretty Horses.” I have not had the opportunity to read any of his books, but my understanding is they deal with a world where the goodness of human nature is a rarity as the atmosphere is overwhelmed by cruelty. His books have also been described as “unfilmable” by many, but I guess no one told the Coen brothers this (would it have made a difference?).

It all starts off with hunter Llewelyn Moss (Josh Brolin) who stumbles upon a Mexican standoff gone bad where rotting corpses of drug runners and dogs are impossible to ignore (think of the ending of “Reservoir Dogs”). There are also a bunch of trucks laying around, and in them Llewelyn finds the only survivor who begs him for some water. But Llewelyn ends up passively avoiding his pleas as he has no water to give. Instead, he finds among the carnage a big stockpile of heroin and $2 million dollars in cash. He doesn’t bother with the drugs, but he takes the cash and stashes it back at his trailer home where he lives with his wife Carla (Kelly MacDonald).

His conscience, however, keeps him from getting any sleep, so he ends up doing what even he openly says may be “the biggest mistake” he could possibly make. He fills up a bottle of water and heads back to the site to give to that Mexican. Instead, he gets ambushed by a faceless gang who take their shots at him as he escapes away. From then on, the movie is a chase to the finish. But this isn’t simply a chase movie, but a movie where the souls of the characters threaten to be every bit as barren as the desert lands in Texas.

“No Country for Old Men” is one of those movies where everything you hear about it is absolutely true. It has great acting, directing, cinematography and a superb screenplay. There isn’t a single wasted moment in it, and it is certainly one of the most quietly intense movies I have seen in some time. I think it is safe to say the Coen brothers have faithfully adapted Cormac McCarthy’s work while adding their own flavor and dark humor to it, and they drive away at one of his main themes in the book; society getting crueler, and of the end of the world as we know it.

In a sea of great performances, the one man who steals the show here is Javier Bardem who portrays Anton Chigurh, a man who is deeply psychotic but not without principles. From start to finish, Bardem gives us one of the scariest villains in cinematic history whose mere presence forces the characters to immediately fear for their safety. Those other characters who fail to do so are either totally naïve or have no idea who they are talking to.

Josh Brolin is having one heck of a great year right now in the movies. He started 2007 off early on as Dr. Block in “Grindhouse,” then we saw him play a very corrupt cop who runs afoul of Denzel Washington in “American Gangster,” and he is probably in another movie right now which I have yet to see. Safe to say, this is the best performance he has given this year as he is perfectly cast as Llewelyn Moss, a hunter who gets in way over his head.

The other performance worth singling out is Tommy Lee Jones’, and he gives one of his very best ever as Sheriff Ed Tom Bell. His character is really the observer of human nature and the decline of it in this story. Jones was pretty much born to play just about any part of a movie adapted from one of McCarthy’s novels. Like the novelist, he clearly understands the worldly feel of Texas and human nature, and this is echoed in the voiceover he gives at movie’s start.

I am not quite sure what to make of the ending. And what is meant by the title “No Country for Old Men” anyway? Is it a metaphor for how the old way of doing things has long since passed the Sheriff Bell by? That the lessons our elders taught us will soon become insignificant? Or is the painful truth that society has no use for men once they qualify for senior citizen discounts? The Coen brothers are not quick to give us answers, but they do give us much to think about as this is a motion picture which will linger with you long after the end credits have concluded.

“No Country for Old Men” is the best movie I have seen in 2007. As I said, there is not a single wasted moment in it.

* * * * out of * * * *

David Gordon Green’s ‘Halloween’ is the Sequel We Have Been Waiting For

Halloween 2018 theatrical poster

Why do filmmakers constantly insist on doing a retcon of the “Halloween” franchise? Every once in a while, the continuity of the series is tossed to the wayside, usually for profit and greed, but perhaps deep down there are those out there who remain infinitely eager for another and more fulfilling showdown between Laurie Strode and Michael Myers. We thought we got it in 1981’s “Halloween II,” but even Michael couldn’t stay down after being burned beyond recognition. Then there was “Halloween H2O: 20 Years Later,” but that was really a “Scream” movie disguised as a “Halloween” movie, and what resulted did not feel particularly compelling.

But just when you thought it was time to lay this long-running franchise to rest, along comes the simply titled “Halloween” which wipes the slate clean to give us the true sequel fans of the series have been waiting 40 years for. Once again, Michael Myers breaks free and heads back to Haddonfield, Illinois for a bloody homecoming. But this time, Laurie Strode is ready and waiting, and she is not about to take any prisoners. As this “Halloween” unfolds, you will see what Sylvester Stallone meant when he said, while in pursuit of Wesley Snipes in “Demotion Man:”

“Send a maniac to catch a maniac.”

In this alternate timeline, Michael did not escape at the end of John Carpenter’s “Halloween,” but was instead captured and sent back to Smith’s Grove Sanitarium and has remained there for the last 40 years. His latest psychiatrist, Dr. Ranbir Sartain (Haluk Bilginer), insists Michael can talk but chooses not to, but this doesn’t stop a pair of true-crime podcasters, Aaron Korey (Jefferson Hall) and Dana Haines (Rhian Rees), from trying to make him say something, anything. But once Aaron pulls Michael’s old mask out of his bag, we know it won’t be long before they are reminded of what curiosity did to the cat.

This particular “Halloween” was directed by David Gordon Green and co-written by him, Jeff Fradley and actor Danny McBride, and the respect they have for Carpenter’s 1978 horror classic is on display throughout. They even bring back the serif font from the original’s credits as they are determined to make us accept this is a direct sequel to the one which started it all. I admired how the credits started off with a pumpkin which looks to have been stomped on one too many times and which reforms slowly but surely. It’s almost like a metaphor for this franchise as many continue to resurrect Michael, or “The Shape” as he is often referred to, with varying results.

Green is one of those filmmakers who can go from making independent films like “All the Real Girls” and “Joe” to more mainstream fare such as “Pineapple Express” and “Stronger” with relative ease. With his “Halloween,” he gives a slow-burn thriller which thankfully doesn’t peak too soon. Many horror movies give us their best moments far too early these days, so it’s nice to see Green not making this same mistake here as he gives us a deeply suspenseful thriller which builds up and up to its much-anticipated climax.

I also have to give Green and his collaborators credit for giving us characters we care about. It is impossible not to relate to them in one way or another as we remember having their same needs and desires when we were their age. Many of the “Friday the 13th” sequels kept giving us characters we couldn’t wait to see get killed off as we were made to hate them, but when the residents of Haddonfield are killed off, you cannot help but feel for them, and not just because they never got the chance to lose their virginity.

The real big news, however, about this “Halloween” is John Carpenter is back. It marks his return to the franchise he created for the first time since “Halloween III: Season of the Witch.” I imagine money was a big motivating factor, but I do believe Carpenter when he said how enthusiastic he was about Green and McBride’s pitch for this movie. In addition to acting as executive producer, Carpenter also scored the movie along with his son Cody Carpenter and Daniel Davies, and they give the brutal proceedings here an extra hard kick in the ass (click here to check out my review of the soundtrack).

But let’s face facts, the real star of this “Halloween” movie is Laurie Strode. Jamie Lee Curtis returns to her iconic role with a real vengeance, and she plays Laurie to the hilt in this installment. When Curtis first played Laurie, she was a kind, shy and innocent young woman. 40 years later, Laurie is a shell of her former self as her life has been severely undone by PTSD, alcoholism and agoraphobia. She has spent the past few decades training to be a survivalist as her life is now dedicated to removing Michael from the face of the earth, and it has all come at the expense of caring for her own family.

Curtis has always put in a great performance in each movie she appears in, be it a good or a bad one, but she really hits it out of the park here. She succeeds in turning Laurie Strode into a bad ass warrior who is never determined to suffer in the same way she did before, and at times she threatens to be more frightening than Michael herself. Just check out the scene when Laurie breaks into her daughter Karen’s (Judy Greer) house and reminds her bluntly of how unprepared she is for the oncoming slaughter.

Moreover, Curtis really makes us sympathize with Laurie Strode throughout. We know all what she has been through, and to see the effect it has on those closest to her is heartbreaking. We learn she has been divorced twice, and her daughter Karen wants little to do with her and constantly begs her to get help. Even when Laurie absent-mindedly takes a drink from a glass of wine like as it it were was an automatic impulse, we feel for her as no one can see Michael Myers as being the embodiment of pure evil the way she can.

Watching Curtis as Laurie here quickly reminded me of a line the late Natasha Richardson said in “Patty Hearst:”

“I finally realized what my crime was, I lived. Big mistake. Very messy.”

The cast overall does really good work, and they are made of very likable and dependable actors which include Judy Greer and Will Patton who make their characters seem very down to earth in a way you want them to be. One real standout here is Andi Matichak who plays Allyson, Laurie’s granddaughter and the only one capable of having a meaningful relationship with her. Matichak proves to be a very appealing presence here, and she makes Allyson into a strong and defiant young woman who is not about to suffer fools in the slightest.

As “Halloween” builds up to its inevitable climax, Green keeps increasing the tension throughout. He smartly leaves Michael in the shadows, and you can’t help but wondering when he is going to jump out next. Green also leaves you wondering if we might actually see Michael’s face or even hear him speak. Does he? Wouldn’t you like to know?

This “Halloween” is not at all groundbreaking, but then again neither was Carpenter’s film. The 1978 “Halloween” owed a lot to the works of Alfred Hitchcock among others, but it also managed to give a freshness to the horror genre in the same way “Psycho” did years before. With any “Halloween” follow-up, we can only hope for it to be as good, if not better, than the original. There’s no way you can top what Carpenter pulled off 40 years ago as none of us saw Michael Myers coming. But with this “Halloween,” we get the true sequel the original never quite received, and it proves to be well worth the wait.

There is also something very cathartic about watching this one in the midst of the #MeToo movement. Essentially, we are watching a woman take revenge on a man who thoughtlessly ruined her life years before, and seeing her do battle with him makes this “Halloween” especially thrilling. Lord knows women have been forced to be silent for far too long, so seeing one get her revenge feels much, much overdue.

By the way, I think I’m going to start calling this one “Halloween: 40 is the New 20.” It seems appropriate, don’t you think?

* * * ½ out of * * * *

WRITER’S NOTE: A lot of people have been getting mad at Jamie Lee Curtis recently. We see her wielding many different weapons and firearms in this movie as Laurie Strode, but some have been quick to call her a hypocrite for doing so as her stance on gun control and the need for it has been well-documented. Why is she appearing in this movie armed to the hilt and yet complaining about gun violence in real life? Ladies and gentlemen, what Curtis is doing in this movie is called ACTING. SHE IS PLAYING A CHARACTER. Whatever happened to make believe anyway? Not all actors are out to put their political issues into each movie they do. Do yourself and everyone else a favor and stop blurring the line between fiction and non-fiction. That is all.

The Best Movies of 1998

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Now it’s time to go to take a look back at the movies of 1998, the same year when California started the ban on smoking in bars and restaurants. What else happened that year? John Glenn became the oldest astronaut to go into space, and it gave us a reason to watch the space shuttle launch on television for the first time in years. The Denver Broncos became the first AFC team in 14 years to win the Super Bowl when they beat the Green Bay Packers (I’m so glad I didn’t bet on that game). The whole controversy of President Bill Clinton’s affair with Monica Lewinsky exploded, which the President’s enemies seized upon like teenagers going through their dads’ Playboy magazine issues while he is out of town. And, most ironically, a court in Taliban-controlled Afghanistan ruled Osama Bin Laden was “a man without a sin” in regard to the 1998 U.S. embassy bombings in Kenya and Tanzania. Well, we knew better.

As for myself, I was in my second year at UC Irvine and my fourth year in college. I still had a dorm room all to myself, and I was busy with school work and appearing in plays like “Enrico IV,” “The Scarlet Letter” and “Twelfth Night.” Of course, I tried to get out to the movies as much as humanly possible. Many of the movies on this list were ones I actually didn’t get around to seeing until years later, so it’s probably best I am giving you this list now.

10) There’s Something About Mary

Theres Something About Mary poster

Bobby and Peter Farrelly gave us one of the most gut bustlingly hilarious movies ever made with “There’s Something About Mary.” I was dying with laughter while watching this, and I wasn’t expecting to. In retrospect, I should have though since this came from the same directors who gave us “Dumb and Dumber” as well as “Kingpin.” On top of having so many funny moments, the movie also has a lot of heart in the way it portrays the two main characters played by Ben Stiller and Cameron Diaz. Those of you who think Diaz can’t act need to revisit this one because she is so good at playing a teenager who we later see as a well-meaning adult with a few too many stalkers.

9) American History X

American History X poster

So much has been said about the making of “American History X” and the bitter disagreements between director Danny Kaye and actor Edward Norton. Regardless of whoever deserves the majority of the credit, there is no denying this is a powerful and unforgettable motion picture. Norton gave one of his very best performances as white supremacist Derek Vineyard, and the look he gives the camera after killing two people is a very chilling moment which is not easily erased from the conscious mind. Norton also gets great support from Edward Furlong who plays Danny, Derek’s brother, who threatens to tread down the same hateful path Derek has. Kaye, even if he didn’t get final cut, gives the movie an amazing look in black and white which captures the escalating tension of Derek’s journey from a world of hate to a place of compassion.

8) Dark City

Dark City movie poster

Alex Proyas followed up his brilliant adaptation of “The Crow” with this visionary sci-fi epic about a man who wakes up not knowing who he is, and of those who seek to capture him for their own twisted experiments. Like many great sci-fi movies “Dark City” was a box office flop upon its release, but it has since found an audience to where there’s no denying it is a cult classic. You’re along for the ride with Rufus Sewell as he tries to understand his place in a world ruled over by the Strangers. This movie remains suspenseful to the very end, and the look of the movie feels like no other I have ever seen. Jennifer Connelly also stars in the film and looks beautiful as always, and it is interesting to watch Kiefer Sutherland play a complete wimp after watching him for so long on “24.”

7) Out Of Sight

Out of Sight movie poster

Here’s the film which brought Steven Soderbergh and George Clooney together, and it also serves as one of the very best adaptations of an Elmore Leonard novel. With “Out of Sight,” Clooney proved without a doubt there was going to be life for him after “ER” with his performance as Jack Foley, the most successful bank robber in America. When Jack escapes from jail, he ends up sharing some trunk space with Federal Marshall Karen Sisco (Jennifer Lopez). “Out of Sight” also marked the beginning of a career resurgence for Soderbergh, and he got to work from a truly great screenplay written by Scott Frank. Also starring is the fantastic Catherine Keener, Ving Rhames, Steve Zahn, Dennis Farina, Isaiah Washington, and the always reliable Don Cheadle. This movie was a lot of fun, and Clooney and Lopez had such great chemistry together.

6) Rushmore

Rushmore movie poster

This was my introduction to the highly creative world of Wes Anderson. “Rushmore” is an instant comedy classic with more depth to it than many others of its genre at the time. Max Fischer is an original eccentric character; a young man involved in just about ever extra-curricular activity at school, all at the expense of his report card. Jason Schwartzman is great fun to watch as Max, and Bill Murray gives a performance which damn well should have earned him an Oscar nomination for Best Supporting Actor. With Anderson, his comedy is fueled by the sadness and isolation of his characters, and of the things they desperately want in life. “Rushmore” is filled with as much meaning as it does laughter as both Schwartzman and Murray battle over the same woman played by Olivia Williams. It also owes a lot to the late Mike Nichols’ enduring classic “The Graduate.”

5) Happiness

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Todd Solondz’s follow up to “Welcome To The Dollhouse” may very well be the most ironically titled film in cinema history. Controversy followed “Happiness” all the way to its release, and the MPAA of course just had to give it an NC-17 (it ended up being released unrated). One of the blackest of black comedies ever, it follows the lives of three sisters and the various people who are a part of their fragile lives. The late Philip Seymour Hoffman gives a frighteningly memorable performance as an obscene phone caller, and it was one of the first real examples of the brilliant character actor we came to see him as. But the bravest performance comes from Dylan Baker who plays Bill Maplewood, a psychiatrist, husband and loving father who, unbeknownst to his family, is a pedophile. Baker ends up making you empathize, but not sympathize, with a man who we would instantly despise once we discovered his terrible secret. As unappealing as these characters may seem, Solondz makes us see ourselves in them and to where we cannot see we are not all that different.

4) The Big Lebowski

The Big Lebowski movie poster

I didn’t get to see this when it first came out in theaters, but my parents did eventually strap me down in a chair to watch it, and this should give you an idea of how much they love it. The Coen brothers follow up to “Fargo” did not get the same reception when originally released, but it has since built up an amazing cult following. Much of this is thanks to Jeff Bridges’ brilliant performance as Jeffrey Lebowski, aka “The Dude.” What could have been a performance built on stereotypes of the slackers we know in life turns out to be perhaps the most memorable character in Bridges’ long and underappreciated career. It’s an ingenious comedy with not so much a plot as a connected series of events which start with the theft of Lebowski’s carpet which he says “tied the whole room together.”

3) The Truman Show

The Truman Show movie poster

It still seems criminal how Peter Weir’s film was surprisingly, and infuriatingly, snubbed for a Best Picture nomination. Jim Carrey gives a truly astonishing and powerful performance as Truman Burbank, a man who slowly becomes aware he is the star of a reality show about his life. Yes, he should have been nominated for an Oscar alongside his co-star Ed Harris, but there will always be the unforgivable snubs. “The Truman Show” has become a prophetic movie of sorts as reality shows are the norm in today’s culture, and this obsession we have over them remains very strong to this day. Andrew Niccol’s screenplay was a brilliant examination of how we might view our own life if we found out it was based on a lie, and that everything we know is actually wrong. This stands as one of Weir’s best American movies in a long and justly acclaimed career.

2) Shakespeare In Love

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While it may have gotten overwhelmed by Miramax’s Oscar campaign, there’s no denying “Shakespeare In Love” is a brilliant and highly entertaining romantic comedy. The film tells the story of how Shakespeare goes about writing “Romeo & Ethel The Pirate’s Daughter” which eventually evolves into “Romeo & Juliet.” Gwyneth Paltrow gives a most entrancing performance, and I loved watching her every second she appeared onscreen. Joseph Fiennes is perfectly cast as Shakespeare himself, a passionate writer who is hopelessly enamored with Paltrow’s Viola. I also got a huge kick out of Geoffrey Rush’s performance as theater manager Philip Henslowe, a brilliant comic creation who steals every scene he is in. “Shakespeare In Love” serves as not just a great story of how Shakespeare may have written one of the most immortal plays ever, but also as a great satire of the film industry and how it deviously profits from unsuspecting participants.

And now, drum roll please…

1) Saving Private Ryan

Saving Private Ryan movie poster

It would be so easy to put this as my top choice thanks to some of the greatest and most vividly realistic depictions of war ever put on film. Steven Spielberg’s depiction of the landing on D-Day is nothing short of amazing, and it was one of the reasons why I saw this film five times before it came out on DVD. But moreover, it is a deeply respectful salute to those war veterans who served in the armed forces during World War II. “Saving Private Ryan” is filled with great performances from a great cast of actors including Edward Burns, Jeremy Davies, Giovanni Ribisi, Tom Sizemore, Adam Goldberg, Vin Diesel, Matt Damon, and Barry Pepper among others. But it also has one of Tom Hanks’ best performances ever as Captain John Miller, a military man who leads his men to find Private Ryan and bring him back home to his grieving mother. Just when you thought Spielberg had peaked with “Schindler’s List,” he gives us yet another astonishing piece of filmmaking which shows him at the height of his powers.

Honorable Mentions:

Primary Colors – Great Mike Nichols movie based on the book by Joe Klein. It features great performances from John Travolta, Emma Thompson, Kathy Bates as well as an extraordinary cameo from Mykelti Williamson.

Bullworth – Warren Beatty’s scathing political satire may be a bit too broad, but it is a very effective indictment of how the Democratic Party let the American people down.

Elizabeth – Definitely worth mentioning for the brilliant breakthrough performance of Cate Blanchett as Queen Elizabeth.

Fear & Loathing in Las Vegas – Terry Gilliam’s adaptation of Hunter S. Thompson’s crazy novel is a true acid trip nightmare with Johnny Depp channeling the reporter all the way to what he was famous for wearing and smoking.

God Said, Ha! – Wonderful concert film of Julia Sweeney’s one-woman show which deals with the time her brother got cancer, and of how she later got cancer herself.

Hurlyburly – Film adaptation of David Rabe’s play dealing with Hollywood players and their dysfunctional relationships with one another. Features a great cast which includes Sean Penn, Chazz Palminteri and Anna Paquin among others.

Affliction – Another emotionally bruising movie from Paul Schrader which is based on the novel by Russell Banks. Features career high performances from Nick Nolte and the late James Coburn who deservedly won an Oscar for his work.

Next Stop Wonderland – An eccentrically unusual kind of romantic comedy which helped introduce actress Hope Davis to a wider audience.

Ronin – One of the last films from the late John Frankenheimer which stars Robert De Niro, Jean Reno, and Jonathan Pryce among others. It also features some of the very best car chases of the 1990’s.

Run Lola Run – Kinetic German thriller with Franka Potente that views her attempts to save her boyfriend’s life in three different ways. This was a great teaser for what would come in 1999, when movies of different kinds proceeded to change the rules of where a story could go.

The Thin Red Line – Terrence Malick’s first movie in over 20 years threatened to be more meandering than anything else, but it is filled with such powerful imagery and to where many considered it more anti-war than “Saving Private Ryan” was.

John Carpenter’s Vampires – It was advertised as a horror movie, but it is really a more of a western and the closest John Carpenter has ever come to making one. James Woods’ performance alone is worth the price of admission as he plays the most badass of vampire hunters, Jack Crow.

Star Trek: Insurrection – Much better than its reputation may suggest, being an odd numbered Star Trek movie and all.

 

 

‘Doubt’ Examines The Crippling Power of Uncertainty

Doubt movie poster

Doubt” follows the goings on at the St. Nicholas Catholic school in the Bronx of New York back in 1964. Sister Aloysius Beauvier (Meryl Streep) becomes concerned Father Flynn (Philip Seymour Hoffman) may have developed an unhealthy relationship with the school’s sole black student, Donald Muller (Joseph Foster). This is brought to her attention when Sister James (Amy Adams) notices Donald acting strangely after he has been in the private company of Father Flynn, and Sister James also mentions she smelled alcohol on Donald’s breath. Sister Aloysius becomes convinced of Father Flynn’s guilt even though she has no real proof, but he denies any wrongdoing on his part. From there, it becomes a battle between Aloysius and Flynn which involves not just the accusations, but the state of the school and its students as well.

The fascinating thing about “Doubt” is how its story is simple in its construction, but the characters and the situations they get caught up in prove to be very complex. As the fight goes on between Aloysius and Flynn, you begin to wonder if the conflict doesn’t involve any specific student as it does the direction things are going as the threat of change often frightens people into defending what they believe to be their domain. Sister Aloysius represents the old guard and of the way things have always been. Father Flynn, on the other hand, represents the change many are quick to resist. When he suggests to Aloysius that they need to be nicer to the students, she takes it as an insult.

To watch Meryl Streep and Philip Seymour Hoffman face off with each other is to watch a master class in acting. God only knows how hard these parts were for them to play. But the fact these two were among the best actors working back in 2008, you come into this movie knowing they are more than up to the challenge. It’s not just the delivery of Shanley’s dialogue they have to work at; it’s also what they show the audience through their eyes. The eyes are the window to the soul, and I’m sure that these two actors have thought their roles out through and through to where they never have to spell anything out to the audience, and it makes their journey all the more enthralling as we can never be absolutely certain of the thing they have and have not done.

Streep has given us an endless number of great performances in which she created characters so memorable which can never be easily erased from our conscious minds once we have seen her onscreen. Sister Aloysius Beauvier is another character she can rack up with her most memorable work, and the character’s introduction is brilliant as we see know from the back of her head who she is as she gets the young children to pay full attention to Father Flynn’s sermon. Without even seeing her face right away, Streep quickly makes an impact as a strong and frightening authority figure to the students and the nuns under her tutelage. Her performance will quickly bring back memories of the awful teachers you were forced to learn under to where you realize the psychological scars are still very raw. She’s the kind of teacher where everything she says is right, and the students are wrong. I hated teachers like that! Hated them!

Hoffman, as always, is brilliant here and matches Streep from one scene to the next. We keep waiting to see if there will be a slip where all will be revealed, but Hoffman keeps his cards close to his chest. Flynn’s explanations for the private meeting between him and Donald are not implausible, but Aloysius remains unconvinced. Hoffman is great at showing how the simple feeling of doubt can easily destroy a person to where guilt and innocence doesn’t matter. Flynn’s fight to prove his innocence threatens to bring out the worst in him, and he continues to sink deeper into a hole he is desperately trying to climb out of.

Along for this morally complex ride is Amy Adams who plays Sister James, and her character is essentially stuck in the middle between these Aloysius and Flynn. Watching Adams here made me wonder if there was another actress who could the same empathy and kindness which she gives off here, and no one quickly comes to mind. Adams shows the love Sister James has for her job as a history teacher ever so perfectly, and she also shows the desperation her character exudes in her search of absolutely certainty. Sister James is the first to suspect Father Flynn is up to no good when she sees him put an undershirt worn by Donald in his locker, but she knows this proves nothing. At times, Sister James seems rather naïve when it comes to how people act around each other, but she proves to be the most morally grounded of the three main characters as she never loses her sense of right and wrong.

There is also a fantastic performance from Viola Davis who plays Mrs. Miller, Donald’s mother. She shares a tense scene with Streep as they discuss their individual suspicions which proves to be one of “Doubt’s” most unforgettable moments. Mrs. Miller likes how Father Flynn has been so nice to her son because she admits her husband beats him severely when he misbehaves. When Sister Aloysius confides her suspicions to Mrs. Miller, it doesn’t change the level of worry for her son’s welfare as it is already extremely high. Instead, she fears more about what Donald’s father will do to him if the allegations against Father Flynn prove to be true. With only ten to twenty minutes of screen time, Viola does a brilliant job of making you feel her character’s heartbreaking dilemma, and of how she has been with left little choice over how to resolve this potentially unhealthy situation she is just now being made aware of. It’s one thing for an actor to show what their character is going through, but it is quite another for them to make you feel what they are experiencing.

With “Doubt,” Shanley brilliantly shows how the state of doubt affects everyone equally. No character comes out of this story the same, and we are left with a deep uncertainty which cannot be easily dismissed while walking out of the theater. Everyone is harmed deeply here, and it binds them as strongly as it tears them apart. You have to feel for those caught in its ugly wake because they end up having to live with something they did not necessarily bring on themselves. It’s a brilliant play which has been made into a great movie filled with outstanding performances, and of this I have no doubt.

* * * * out of * * * *

The Best Movies of 2008

2008 Year in Review

2008 was a year more memorable for those who died as opposed to the movies which were released. We lost Heath Ledger, Brad Renfro, George Carlin, and Paul Newman among many others, and their individual deaths spread through the news like an uncontrollable wildfire. Their passing left a big mark on us all. When we look back at this year, I think people will remember where they were upon learning of their deaths more than anything else. Many of us will remember where we were when we got the news that Ledger died, but they will not remember how much money they wasted on “Righteous Kill,” the second movie featuring Al Pacino and Robert De Niro sharing the screen at the same time.

2008 did pale in comparison to 2007 which saw a wealth of great movies released. Many said this was a horrible year for movies as high expectations ruined some of the big summer tent pole franchises, and that there were too many remakes being made. The way I see it, 2008 had a lot of really good movies, but not a lot of great ones. There was a big drought of good ones worth seeing at one point in this year, and I started to wonder if I would have enough of them to create a top ten list. If it were not for all those Oscar hopefuls released towards the year’s end, I am certain I would have come up short.

So, let us commence with this fine list, if I do say so myself, of the ten best movies of 2008:

  1. The Reader/Revolutionary Road

I had to put these two together for various reasons. Of course, the most obvious being Kate Winslet starred in both movies and was brilliant and devastating in her separate roles. Also, these were movies with stories about relationships laden with secrets, unbearable pressures, and deeply wounded feelings. Both were devoid of happy endings and of stories which were designed to be neatly wrapped up. Each one also dealt with the passing of time and how it destroys the characters’ hopes and dreams.

The Reader” looked at the secret relationship between Winslet’s character and a young man, and of the repercussions from it which end up lasting a lifetime. There is so much they want to say to one another but can’t, as it will doom them to punishments they cannot bear to endure.

Speaking of escape, it is what the characters in “Revolutionary Road” end up yearning for, and the movie is brilliant in how it shows us characters who think they know what they want but have no realistic way of getting it. Each movie deals with characters who are trapped in situations they want to be free from but can never be, and of feelings just beneath the surface but never verbalized until too late.

Both Stephen Daldry and Sam Mendes direct their films with great confidence, and they don’t just get great performances from their entire cast, but they also capture the look and setting of the era their stories take place in perfectly. All the elements come together so strongly to where we are completely drawn in to the emotional state of each film, and we cannot leave either of them without being totally shaken at what we just witnessed.

 

Doubt movie poster

  1. Doubt

Looking back, I wondered if I was actually reviewing the play more than I was John Patrick Shanley’s movie of his Pulitzer Prize winning work. But the fact is Shanley brilliantly captures the mood and feel of the time this movie takes place in, and it contains one great performance after another. Meryl Streep personifies the teacher you hated so much in elementary school, Philip Seymour Hoffman perfectly captures the friendly priest we want to trust but are not sure we can, and Amy Adams illustrates the anxiety and confusion of the one person caught in the middle of everything. Don’t forget Viola Davis who, in less than 20 minutes, gives a galvanizing performance as a woman more worried about what her husband will do to their child more than the possibility of her child being molested by a priest who has been so kind to him. Long after its Broadway debut, “Doubt” still proves to be one of the most thought provoking plays ever, and it lost none of its power in its adaptation to the silver screen.

 

Vicky Cristina Barcelona movie poster

  1. Vicky Cristina Barcelona

This is the best Woody Allen movie I have seen in a LONG time. Woody’s meditation on the ways of love could have gone over subjects he has long since pondered over to an exhausting extent, but this is not the case here. “Vicky Cristina Barcelona” is a lovely and wonderfully character driven piece filled with many great performances, the best being Penelope Cruz’s as Javier Bardem’s ex-wife. Cruz is a firecracker every time she appears on screen, and she gives one of the most unpredictable performances I have seen in a while. Just when I was ready to write Allen off completely, he comes back to surprise me with something funny, lovely and deeply moving.

One day, I will be as sexy as Javier Bardem. Just you wait!

 

Slumdog Millionaire poster

  1. Slumdog Millionaire

Danny Boyle, one of the most versatile film directors working today, gave us a most exhilarating movie which dealt with lives rooted in crime, poverty and desperation, and yet he made it all so uplifting. It is a love story like many we have seen before, but this one is done with such freshness and vitality to where I felt like I was seeing something new and utterly original. Boyle also reminds us of how “Who Wants to Be A Millionaire” was so exciting before ABC pimped it out excessively on their prime-time schedule. “Slumdog Millionaire” was pure excitement from beginning to end, and it was a movie with a lot of heart.

 

 

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  1. Frost/Nixon

Ron Howard turns in one of the best directorial efforts of his career with this adaptation of Peter Morgan’s acclaimed stage play, “Frost/Nixon,” which dealt with the infamous interview between former President Richard Nixon and TV personality David Frost. Despite us all knowing the outcome of this interview, Howard still sustains a genuine tension between these two personalities, one being larger than life. Howard also has the fortune of working with the same two actors from the original stage production, Frank Langella and Michael Sheen. Langella’s performance is utterly riveting in how he gets to the heart of Nixon without descending into some form of mimicry or impersonation. You may think a movie dealing with two people having an interview would be anything but exciting, but when Langella and Sheen are staring each other down, they both give us one of the most exciting moments to be found in any film in 2008. Just as he did with “Apollo 13,” Howard amazes you in how he can make something so familiar seem so incredibly exciting and intense.

 

Rachel Getting Married movie poster

  1. Rachel Getting Married

Jonathan Demme’s “Rachel Getting Married” had a huge effect on me with its raw emotion, and I loved how he made us feel like we were in the same room with all these characters. When the movie ended, it felt like we had shared some time with great friends, and Demme, from a screenplay written by Jenny Lumet, gives us a wealth of characters who are anything but typical clichés. Anne Hathaway is a revelation here as Kym, the problem child of the family who is taking a break from rehab to attend her sister’s wedding. Kym is not the easiest person to like or trust, but Hathaway makes us completely empathize with her as she tries to move on from a tragic past which has long since defined her in the eyes of everyone. Great performances also come from Bill Irwin who is so wonderful as Kym’s father, Rosemarie DeWitt, and the seldom seen Debra Winger who shares a very intense scene with Hathaway towards the movie’s end. I really liked this one a lot, and it almost moved me to tears.

 

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  1. The Wrestler

Darren Aronofsky’s “The Wrestler” has grown on me so much since I saw it. While it may be best known as the movie in which Mickey Rourke gave one hell of a comeback performance, this movie works brilliantly on so many levels. To limit its success to just Rourke’s performance would not be fair to what Aronofsky has accomplished as he surrounds all the characters in the bleakness of the urban environment they are stuck in, and he makes you feel their endless struggles to keep a roof over their heads and food on the table. “The Wrestler” succeeds because Aronofsky’s vision in making it was so precise and focused, and he never sugarcoats the realities of its desperate characters. Rourke more than deserved the Oscar for Best Actor, which in the end went to Sean Penn for “Milk.” Furthermore, the movie has great performances from Marisa Tomei and Evan Rachel Wood as those closest to Rourke’s character, and who look past his faded fame to see the wounded man underneath. The more I look at “The Wrestler,” the more amazed and thrilled I am by it.

 

Let The Right One In movie poster

  1. Let the Right One In

Tomas Alfredson’s film of a friendship between a lonely boy and a vampire was so absorbing on an atmospheric level, and it surprised me to no end. What looks like an average horror movie turns out to actually be a sweet love story with a good deal of blood in it. Widely described as the “anti-Twilight,” “Let the Right One In” gives a strong sense of freshness to the vampire genre which back in the early 2000’s was overflowing with too many movies. The performances given by Kåre Hedebrant as Oskar and Lina Leandersson as Eli are pitch perfect, and despite the circumstances surrounding their improbable relationship, I found myself not wanting to see them separated from one another.

 

Wall E poster

  1. Wall-E

Pixar does it once again and makes another cinematic masterpiece which puts so many other movies to shame. With “Wall-E,” director Andrew Stanton took some big risks by leaving a good portion of the movie free of dialogue, and this allowed us to take in the amazing visuals of planet Earth which has long since become completely inhospitable. Plus, it is also one of the best romantic movies to come out of Hollywood in ages. The relationship between Wall-E and his iPod-like crush Eve is so much fun to watch, and the two of them coming together gives the movie a strong sense of feeling which really draws us into the story. The fact these two are machines quickly becomes irrelevant, especially when you compare them to the humans they meet in a spaceship who have long since become imprisoned by their laziness and gluttony.

I gave the DVD of this movie to my mom as a Christmas present, and she said you could do an entire thesis on it. Nothing could be truer as it is such a brilliant achievement which dazzles us not just on a visual level, but also with its story which is the basis from which all Pixar movies originate. “Wall-E” is the kind of movie I want to see more often, a film which appeals equally to kids and adults as this is not always what Hollywood is quick to put out.

 

The Dark Knight poster

  1. The Dark Knight

The biggest movie of 2008 was also its best. I was blown away with not just what Christopher Nolan accomplished, but of what he got away with in a big budget Hollywood blockbuster. “The Dark Knight” is not just an action movie, but a tragedy on such an epic scale. Many call it the “Empire Strikes Back” of the Batman series, and this is a very apt description. Many will point to this movie’s amazing success as the result of the untimely death of Heath Ledger whose performance as the Joker all but blows away what Jack Nicholson accomplished in Tim Burton’s “Batman,” but the sheer brilliance of the movie is not limited to the late actor’s insanely brilliant work. Each performance in the movie is excellent, and Christian Bale now effectively owns the role of the Caped Crusader in a way no one has before.

Aaron Eckhart also gives a great performance as Harvey “Two-Face” Dent, one which threatened to be the most underrated of 2008. The “white knight” becomes such a tragic figure of revenge, and we come to pity him more than we despise him. The movie is also aided greatly by the always reliable Michael Caine and Morgan Freeman. Everyone does excellent work here, and there is not a single weak performance to be found.

Whereas the other “Batman” movies, the Joel Schumacher ones in particular, were stories about the good guys against the bad guys, “The Dark Knight” is a fascinating look at how the line between right and wrong can be easily blurred. Harvey’s line of how you either die a hero or you live long enough to see yourself become the villain perfectly personifies the dilemmas for every character here. To capture the Joker, Bruce Wayne may end up becoming the very thing he is fighting against. I can’t think of many other summer blockbusters which would ask such questions or be as dark. “The Dark Knight” took a lot of risks, and it more than deserved its huge success. It set the bar very high for future comic book movies, and they will need all the luck they can get to top this one.