RazorFine Review

• Title: A Separation
• IMDB: link

Winner of the Academy Award for Best Foreign Language film, A Separation is a study in a family’s struggles after the husband and wife separate over differences surrounding the future of their daughter.

Simin (Leila Hatami) wants to move the family to America and give her daughter Termeh (Sarina Farhadi) opportunities she will not find in Iran, but her husband Nader (Peyman Moadi) will not consent to a divorce and refuses to abandon his invalid father (Ali-Asghar Shahbazi) for the promise of a better life in a country that is not his own.

When his wife moves out Nader has no other choice but to hire someone to look after his father while he is at work. Nader agrees to give the work to a husband (Shahab Hosseini) of a friend of Simin’s, but when he’s unable to take the job due to legal troubles it falls to his wife Razieh (Sareh Bayat) to take care of elderly man suffering from Alzheimer’s and dementia, which proves to be a much harder task then she initially envisioned.

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• Title: Act of Valor
• IMDB: link

Acting, it turns out, is harder than it looks. The experiment from co-directors Mike McCoy and Scott Waugh to cast real Navy SEALs instead of actors for the lead roles in Act of Valor produces mixed results and probably shouldn’t be repeated any time soon.

Act of Valor isn’t an awful film but it feels oddly put together. At times it films like a documentary, a pseudo-documentary, an action flick, and a hamfisted USA Armed Forces recruitment film. Despite giving us a group of impressive action sequences these pieces don’t fit together well.

It’s hard to blame the SEALs, who were chosen to showcase what the real soldiers can do in combat situations, when they are given such uneven writing to work with. It’s true, that with the possible exception of the oldest member of the team, the group certainly aren’t natural actors, but Kurt Johnstad‘s script doesn’t do them any favors with its share of awkward dialogue.

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• Title: Safe House
• IMDB: link

Safe House just goes to show you that Hollywood can find a way to take even one of the most boring jobs of any CIA agent would ever have and turn it into an action thriller with a horde of nameless bad guys who never seem to run out of ammunition.

The first thing you need to understand about Safe House is that very little of the film’s close to two-hour running time actually takes place in a safe house. Ryan Reynolds stars as Agent Matt Weston who has spent the last 12 months keeping an empty safe house in South Africa ready in case the CIA needs to safeguard, interrogate, or house someone in the area at a moment’s notice.

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• Title: Chronicle
• IMDB: link

This review originally appeared in shorter form on KSNT-NBC, KTKA-ABC, and KTMJ-FOX, Kansas First News.

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• Title: A Dangerous Method
• IMDB: link

A slow moving drama centered around the science of psychology may initially seem an odd choice for director David Cronenberg‘s latest project, but A Dangerous Method proves to be an engaging study of the minds and hearts of three individuals, each of whom finds themselves at the mercy of their uncontrollable passions and foibles.

Based on the play by Christopher Hampton and the book by John Kerr, Cronenberg and screenwriter Christopher Hampton deliver a character study centered around three people central to the birth of psychoanalysis. Michael Fassbender stars as Carl Jung, a doctor who in the early 20th Century would expand on the ideas of Sigmund Freud (Viggo Mortensen) to create analytical psychology.

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• Title: Shame
• IMDB: link

Brandon Sullivan (Michael Fassbender) is an intensely unhappy man. He spends his days in his searching for porn on his office computer and nights with a bevy of women (Elizabeth Masucci, Calamity Chang, DeeDee Luxe, Hannah Ware, Charisse Merman) he picks up in bars and clubs, or pays for (either in person or online).

Brandon is addicted to sex to such an extent that he’s unable to emotionally deal with any woman he might have something more than physical relationship with, including an alluring co-worker (Nicole Beharie). His only real friend is his boss who goes out with him at night as his wingman, looking for women to cheat on his wife with.

From the outside looking in everything looks fine, but when his sister Sissy (Carey Mulligan), who has a host of her own problems, shows up unannounced to stay on his couch he’s forced to take a good hard look at himself as his world quickly starts to unravel.

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• Title: The Iron Lady
• IMDB: link

The Iron Lady is as perplexing as it is forgettable. Coming off like a sanitized made-for-TV film that was given a bigger budget once it landed arguably the greatest living actress, the film is centered around some of the least important moments of one of the most important British politicians of the 20th Century. Like I said, perplexing.

In her waning days, after losing her husband, Margaret Thatcher (Meryl Streep) looks back on her career as she rose to power as Britain’s first female Prime Minister during one of the country’s most tumultuous periods. Despite detractors, and the fact that many of her monetary policies helped lead to high unemployment and social unrest (some of which is still felt today), the film certainly takes a pro-Thatcher stance.

The strangest choice the film makes is to center so much of the story around Thatcher’s days after her years in office. Yes we get flashbacks of her days in office, but except for a segment of the the film that deals with the Falklands War, they are short, fragmented, and don’t fit together all that well.

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• Title: Bridesmaids
• IMDB: link

Back in May a little film starring a mostly female cast and led by Kristen Wiig hit theaters and became the unexpected breakout comedic hit of the summer. Marketed to audiences as a The Hangover for women, Bridesmaids won favor not just with critics but with movie goers who stuffed theaters for months ballooning the film’s total domestic box office to almost $170 million. What follows is a dissenting opinion.

In the past, along with my Best of the Year list, I’ve occasionally done a list for the worst films I’ve been forced to sit through as a film critic over the same year. Rather than do that for 2011 I decided to take a look at films which generated discussion and praise and find the one which rankled me the most. There was one clear winner.

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• Title: Tinker Tailor Soldier Spy
• IMDB: link

Smiley. George Smiley. Reinterpreting John le Carré’s novel for the big screen director Tomas Alfredson and screenwriters Bridget O’Connor and Peter Straughan drop the audience into the middle of a Cold War British spy tale centered around five senior intelligence officers under suspicion of being a Soviet mole.

Gary Oldman stars as George Smiley, the right hand of the former Head of the Service (John Hurt) who was pushed out the door with his friend. Smiley is coaxed out of retirement by Oliver Lancum (Simon McBurney) after an operation in Hungary ends in disaster when an agent (Mark Strong) is shot while trying to buy intelligence from a Hungarian informant.

Smiley is charged with discovering the truth of the rumor that there is a high-ranking Soviet mole inside the “Circus” (what those who work for MI6 and the SIS call home). To do so he will have to work outside the bounds of the Circus, hiding the fact that any investigation is in progress to some of the smartest and most paranoid men in the entire country.

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• Title: War Horse
• IMDB: link

For his latest director Steven Spielberg returns to the theater of war, but in a far more family friendly way than Saving Private Ryan. War Horse centers around the relationship between a young man (Jeremy Irvine) and his horse, separated by the war, both trying to survive and make it back to each other. If it sounds like Lassie Goes to War, it is, except in this case Lassie is a horse (and Timmy falls into WWI instead of a well).

For the second time in a matter of weeks Spielberg delivers a somewhat disappointing film. War Horse doesn’t have the same problem as The Adventures of Tintin, having no real heart at the middle of the story, but it is overly sentimental and far, far too much like a Lassie film than I assume the director planned to make.

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