Salmon Fishing in the Yemen

Salmon Fishing in the Yemen (2011)
Comedy, Drama, Romance, 107 minutes
Directed by Lasse Hallström
Starring Ewan McGregor, Emily Blunt, Kristin Scott Thomas and Amr Waked

Some movies are written off because of their titles and it takes a while for them to gain an audience. Few people knew what The Shawshank Redemption was before it was released on VHS. Another confusing title is The World's Fastest Indian. Is it about an athlete of some kind? While other movies, such as Freedom Writers and The Reader, simply sound boring. Salmon Fishing in the Yemen is in danger of being dismissed due to its title, but that would be a mistake.

Dr. Alfred Jones (McGregor) is a fisheries expert, and he seems like a boring man. His existence is dull and safe. His relationship with his wife is one of mutual tolerance, and they do not share the same passions. He only drinks alcohol on the weekend, and only after 7pm. Nobody takes him seriously at work either, so he has little to look forward to.

Sheikh Muhammed (Waked) is a keen fisherman, but that's not an easy hobby to satisfy when you are surrounded by sand. He recruits a team to investigate the possibility of building a river in the desert, and populating it with salmon, so that he can pursue his passion for fishing. Harriet Chetwode-Talbot (Blunt) is given the task of recruiting Jones and anyone or anything else that might be needed to complete the project. She's in a new relationship and loves a soldier, but that is put on hold when he is called up for duty.

The movie is heavily influenced by romance. Harriet is in a hopeful new relationship, Jones is in a tired marriage, and could there even be the possibility of romance between the two with them working so closely together? The other main element is humor. The largely British cast influences the tone, and the humor is more subtle and understated than in typical North American comedies. I found myself smiling often, rather than laughing out loud. Most of the laughs come at the expense of Jones, who is set in his routines and is a quirky individual.

Jones doesn't treat the project seriously because it sounds so ludicrous, but his outlook changes when he meets Sheikh Muhammed, who is one of the most likable characters in the movie.

Blunt is not a typical beauty, but she's a good actress. I was impressed with her performances in Sunshine Cleaning and The Adjustment Bureau, and she's just as effective in this movie. She has a certain warmth and vulnerability that works well for a romantic lead. McGregor most recently caught my attention in The Ghost Writer, and he plays Jones perfectly.

However, the movie is more than a romantic comedy. The two leads are required to pull off several emotional scenes, especially in the final act.

One character who elicits laughs in every scene in which she appears is Patricia Maxwell (Thomas), who plays the British Prime Minister's aide. She's the main villain in the story and is always out to manipulate the situation in order to gain votes and positive mentions in the newspapers.

I'm not entirely sure who the movie is aimed at, but it worked for me. It won't change your life with a dramatic message that you've never seen before, but it's an enjoyable place to visit for a while.

The Blu-ray presentation is strong and the desert scenes look particularly impressive. Special features are sparse and total just over 16 minutes.

Overall score 3.75/5

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The Master (Theatrical Review)

The Master (2012)
Drama, 137 minutes
Directed by Paul Thomas Anderson
Starring Philip Seymour Hoffman, Joaquin Phoenix and Amy Adams

Every once in a while, a film is created by a visionary director at the top of his game, with memorable performances from some of the best actors working today, resulting in a cohesive, moving and powerful story that fully resonates with me.

This is not one of those times.

The Master is populated by unlikable characters who do nothing to redeem themselves at any point in the film.

The bulk of the story takes place in 1950. Freddie Quell (Phoenix) is an able-bodied seaman who has trouble adapting to life after the war. He may have been mentally disturbed before that, but we aren't shown enough of his background to make that determination.

We are shown something of Quell's attempts to hold down a regular job -- he seems to have a gift for photography -- but he's quick to anger and attacks one of his customers without apparent provocation. He's also an alcoholic, and we see him drinking all manner of questionable substances, some of which appear to be potentially lethal. When he's accused of poisoning someone with one of his concoctions, he seeks refuge on a ship.

This is where the film gives the audience a glimmer of hope that it will develop into something interesting. This ship is run by Lancaster Dodd (Hoffman), who claims to be a writer, doctor, nuclear physicist, theoretical philosopher, and a great many more things. Dodd is fascinated by human beings and psychology, and wants to understand Quell and help him with his obvious anger issues. Dodd has his own way of doing things and his psychoanalysis produces the most memorable scenes in the movie.

Dodd is married to Peggy (Adams), but she's just as unpleasant as the rest of the characters. She barely had any lines, and most of the ones she did have were obscene.

Quell frequently fantasizes about women, as outlined in an early masturbation scene on the beach with a girl fashioned out of sand. This theme is continued when he pictures women naked at a gathering.

If this were a story about Dodd's quest to heal Quell, I might be satisfied with it, but the plot meanders along without any obvious conclusion.

I consider myself a patient viewer, and I appreciate all manner of films that have slow plots, hidden messages, and flawed characters. Unfortunately, The Master left me disappointed.

The final 30 minutes were thought-provoking. I found myself thinking whether I should walk out, and whether anyone would mind if I were to take off my right shoe and scratch my foot. I also wondered whether time was moving differently all of a sudden, and if this was the same Paul Thomas Anderson who gave is There Will Be Blood and Magnolia.

The individual components of the film were mostly in place; the acting was fine, the cinematography and score worked, and Anderson presented a convincing picture of New York in the 1950s. What wasn't present was a coherent story or a reason to care about these miserable characters.

I doubt that Amy Adams will ever work for Disney again after some of the words that came out of her mouth.

Overall score 2/5

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Seven Psychopaths (Theatrical Review)

Seven Psychopaths (2012)
Comedy, Crime, 109 minutes
Directed by Martin McDonagh
Starring Sam Rockwell, Colin Farrell, Christopher Walken, Woody Harrelson, Tom Waits, Harry Dean Stanton, Abbie Cornish and Olga Kurylenko

I've been waiting for the release of Seven Psychopaths ever since I learned that Martin McDonagh was writing and directing. If you have seen In Bruges, you'll know that McDonagh has a dark sense of humor, not too far removed from something Quentin Tarantino might be involved with.

Does Seven Psychopaths match the brilliance of In Bruges? Not quite, but it's still an entertaining movie.

Marty (Farrell) is a struggling screenwriter, who has decided on little more than the title, Seven Psychopaths. The problem is, he wants his psychopaths to be Buddhist, and he can't see how they would go around killing people. He decides to make one Amish instead, for no particular reason. Marty doesn't have a clue about writing.

His friends, Billy (Rockwell) and Hans (Walken), make money by dognapping and returning the animals to their owners in order to claim the reward money. This backfires when they inadvertently take a dog belonging to Charlie (Harrelson), who is some kind of crime lord. You only have to read the tag on the collar of his beloved Shih Tzu to understand Charlie's outlook on life.

Seven Psychopaths is a comedy. It's also extremely violent at times, and has more than its fair share of foul language (including the word that almost every woman detests), with brief nudity and occasional racist remarks. But it's obvious that everything is tongue-in-cheek. It's almost impossible to mistake the movie for a serious drama; it's a fun ride, and the R-rated material does not seem offensive or out of place.

I've already mentioned Tarantino, and for good reason. The genre and setting are almost irrelevant; this is an exercise in style, and you'll either love it or hate it. Dialogue is everything in this type of movie and most of the writing is inventive, witty and intelligent. The opening scene is reminiscent of Pulp Fiction, with two hit men talking nonsense. The scene ends in an unexpected way, and I won't reveal it here, but it sets the tone for the whole movie.

McDonagh is aware of the course that Hollywood action movies are supposed to follow, and Seven Psychopaths challenges those expectations. One character suggests that they pitch a tent in the middle of the desert so they can just sit there and talk, rather than having a traditional shootout with the bad guys. In response, his friend asks whether this is a French movie. It's that kind of humor. Another interchange observes that women have a rough deal in this story; when they aren't being verbally abused, they are in danger of being removed permanently.

I won't say any more about the plot because it's enjoyable seeing things gradually unfold on the screen, except to say that my favorite scene featured Hans making a suggestion about how to end the movie. Walken's comic timing is excellent as always, and his scenes are funnier when you think about some of the characters he has played in the past.

The movie features good performances from Rockwell, Walken, Harrelson and Farrell in particular, although nobody else delivers a weak performance. The audience in my theater laughed often, and occasionally groaned at the unexpected violent scenes. If you go in expecting a dark comedy along the lines of In Bruges, Fargo, or The Guard, you'll likely enjoy the experience. The pacing feels just right.

One thing I should add is that it's best to sit through the credits, or you will miss the final scene.

I'm looking forward to the Blu-ray and the next McDonagh movie. It would be fun to see Brendan Gleeson involved too.

Overall score 4/5

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Taken 2 (Theatrical Review)

Taken 2 (2012)
Action, Crime, Drama (91 minutes)
Directed by Olivier Megaton
Starring Liam Neeson, Maggie Grace and Famke Janssen

I knew nothing about Taken when it was released in 2008, but it proved to be one of the best action movies I had ever seen. There was just enough information about the characters to care about them, and the action was intense and rather elegant.

That shouldn't surprise me because Luc Besson and Robert Mark Kamen wrote the script. Besson had previously grabbed my attention with Léon: The Professional, which is one of the best action movies ever made. La Femme Nikita was another notable triumph. I mention all that to explain why I was already sold on the idea of Taken 2 as soon as it was announced.

So, did it meet my lofty expectations?

The opening scenes were something of a surprise with Bryan Mills (Neeson) interacting with his ex-wife, Lenore (Janssen), and daughter, Kim (Grace) extensively. I like that we are shown how Mills has grown closer to Lenore. In the original movie, she was cold and spiteful, but the two are clearly on better terms now that Mills has used his skills to rescue Kim from her kidnappers. It made perfect sense and rang true for me.

The plot is simple. If you remember Marko from the first movie, you'll probably know that he was part of an Albanian gang. In Taken 2, Marko's father is obsessed with avenging the death of his son. He's not interested in why Marko was killed, or that he was guilty of many crimes, he's only interested in seeing Mills killed. When Mills takes Lenore and Kim on vacation to Istanbul, Marko's father instructs his gang to capture Mills and his family. He partly succeeds, but Kim escapes.

The opening setup is quite long and thorough, and I remember thinking that more than half the audience were probably anxious to see Neeson get on with the task of eliminating the opposition in as many unique and violent ways as possible. However, once the action starts, it's relentless and intense. We see car chases, shootouts, fights, threats, brief torture, and a rapidly increasing body count.

Mills wants Kim to stay out of danger, but eventually enlists her help. I'm half expecting a sequel called 'Miss Taken.'

It's unrealistic to expect a movie of this nature to be completely plausible. After all, the basic premise is that a 60-year-old man is capable of defeating gangs armed with automatic weapons. The method Mills uses to escape his kidnappers is so simple that I have to wonder why he didn't do it about 30 minutes earlier, but I'll forgive that.

The ending was quite inventive, and paves the way for another sequel should Neeson and the cast want to reprise their roles a third time.

I did have a few minor complaints, such as the kidnappers talking in English when it's obvious that they would stick to Albanian. Another minor annoyance was the use of shaky cam shots throughout most of the intense action scenes. There's a fine line between adding excitement and losing track of the events on the screen. The line was crossed a few times.

Overall, I was happy with Taken 2. It delivered more of what I liked about the first movie and added depth to the relationships between the main characters. I don't think it's quite as good as Taken because we now know what Mills is capable of, and some of the pleasure of the first movie was seeing Mills demonstrate his unique set of skills for the first time.

Taken 2 definitely works better if you have seen the first installment. Some of the actions and dialogue are direct references to events from the first movie, and you will miss some of the humor if you aren't aware of past events.

Fans of Taken will be more than happy with this worthy sequel.

Two things to remember:

1) Never agree to go on vacation with Bryan Mills.
2) If Neeson uses your taxi cab, you probably won't see it in one piece again.

Overall score 4.5/5

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Trouble with the Curve (Theatrical Review)

Trouble with the Curve (2012)
Drama, 111 minutes
Directed by Robert Lorenz
Starring Clint Eastwood, Amy Adams, Justin Timberlake and John Goodman

I knew that I wanted to see Trouble with the Curve without knowing anything about the plot. The reason? Clint Eastwood and Amy Adams are so likable. Eastwood claimed that he would never act again after making Gran Torino, but I'm happy that he changed his mind. Eastwood plays baseball scout, Gus Lobel, and his character is similar to Walt from Gran Torino in many ways. He's hard to get along with, even if you happen to be one of his close friends.

One thing I should point out is that Trouble of the Curve is funny. Although it's tagged as a drama, there is a lot of humor in the movie. Eastwood has good comic timing and his character delivers one-liners at every opportunity. The audience in my theater laughed loudly and often. But the story also has the ability to move you emotionally. It feels somewhat like a James L. Brooks movie, such as Broadcast News or As Good as It Gets.

Like Moneyball, Trouble with the Curve is about people more than it is about Baseball. Gus has three months left on his contract and with the exception of his friend, Paul (Goodman), people are starting to wonder whether he's still capable of doing his job. He's a dinosaur, preferring to dig through a pile of newspapers for statistics, rather than rely on computers for the information. His boss (Matthew Lillard) wants to replace him.

The thing is, there is some truth to the belief that Gus is struggling to do his job as a scout. His eyesight is failing and it doesn't go unnoticed. Paul pays him a visit and advises him of the situation, asking him if he has considered the future, but Gus won't listen. In desperation, Paul asks Gus's daughter, Mickey (Adams), to go on the road and help out her father with his latest scouting assignment. She's an ambitious lawyer, and on the verge of becoming a partner, but she agrees to squeeze it into her schedule and intervene.

Adams is a talented actress and I've been waiting for her to get a meaty role after earning an Oscar nomination for her performance in Doubt. Her role in The Fighter was too brief to count. I've yet to see The Master, but I came away thinking this was the best Amy Adams performance in the past four years. I mentioned that she is likable, but she's also good at what she does. There's a certain intelligence and vulnerability to her characters that I find appealing, and it's present in Mickey. She appears successful on the outside, but she has never been close to her father.

There are three main themes present in the movie:

If you have seen Absolute Power, you'll know that Eastwood is convincing as a father who has a problematic relationship with his daughter. One of the keys to Trouble with the Curve is seeing how Mickey attempts to resolve her issues with Gus.

The most obvious issue is with Gus, as old age threatens his livelihood. Director Robert Lorenz takes plenty of time at the outset to establish his characters, allowing us to get an idea of what is at stake. Is Gus washed up, or does he still have something to offer? I won't ruin that for you.

The other main theme is the ability to decide what constitutes happiness. It's different for everyone. Are you happy because you earn a good salary and thrive in your career? What about personal relationships and family? How about having time to enjoy your life?

It's clear that Gus is happy working as a baseball scout, but what isn't clear is how Mickey views her own life. Is she truly happy as a lawyer? Can she come to terms with the distance between her and her father? She's also romantically involved with a man who thinks of her as a commodity rather than as a woman he loves. He figures that they get along quite well and are both successful, so it would make sense for them to be together. He's not the most romantic of men.

I should also mention Justin Timberlake, who plays a former baseball player and young talent scout. He's also interested in Mickey if she'll let down her defenses long enough.

That's the setup. As you can see, there are a lot of issues at stake.

One thing the movie does badly is make it obvious which characters you are supposed to root for, and who you should dislike. That flaw makes it easy to predict the outcome for Gus, Mickey, and at least three other minor characters. Those flaws aside, I enjoyed the pacing and the thorough characterization.

If this turns out to be Eastwood's final acting role, it's not a bad way to finish. As for Adams, it is good to see her in a role which allows her to show that she can actually act.

Trouble with the Curve isn't a great movie, but it's very good, and one that I want to own. It's a pleasure to spend time with the actors and the story has a lot of warmth. If you're a fan of Eastwood or Adams, I doubt that you'll be disappointed.

Overall score 4/5

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Rushmore

Rushmore (1998)
Comedy, Drama, 93 minutes
Directed by Wes Anderson
Starring Jason Schwartzman, Bill Murray and Olivia Williams

Comedy is so subjective. Some people want American Pie, The Hangover, or the latest Eddie Murphy movie, while others prefer gentle indie comedies such as Little Miss Sunshine.

What makes you laugh?

I often think about my own sense of humor and it's difficult to pin down at times. I tend to avoid cheap laughs or things done for shock value, and I admire intelligent dialogue and quirky or original takes on everyday situations. One director who never fails to make me smile is Wes Anderson. He definitely falls into the quirky category, but there is so much more to his movies than that.

Rushmore is Anderson's second movie, coming two years after his debut, Bottle Rocket. Both movies were written with Owen Wilson, and they have a similar feel. Anderson is one of those directors who appears to make movies about nothing and it's easy to sit there wondering what you just watched. But, unlike many comedies, there are deeper themes present. I usually find myself thinking about Anderson's work several days after I see the movie. That's the case this time, and it's the main reason I am writing this review.

Rushmore stars Jason Schwartzman in his first role. He plays Max Fischer, who is a 15-year-old student at Rushmore, a private school. He's there because he wrote a play in second grade and won a scholarship. Most of the students have rich parents, but Max's father is a barber and Max has to lie and claim that he's the son of a brain surgeon in order to gain acceptance.

Max is struggling at school and is informed that he'll be expelled if he flunks another class. His main problem is not one of intelligence, it's his lack of focus. He takes on so many extracurricular activities that he doesn't have time to work on his grades. We see snippets of Max indulging in each of these activities, such as beekeeping and fencing, and these snapshots give the movie a lot of charm. It reminds me of Amelie and some of Jeunet's other work in that regard.

As usual, something feels odd in Anderson's world. This effect is heightened by the dialogue. For example, Max sounds as if he is much older. He talks so seriously and it's funny that someone of that age thinks the way he does. Watch him direct Serpico for the school play and you'll see just what I mean.

The heart of the story involves an unusual love triangle. Max befriends Herman Blume (Murray), who is a wealthy tycoon and former student of Rushmore. They both develop feelings for Miss Cross (Williams), who teaches at the school.

I won't reveal any more of the plot, because it doesn't really matter. All you need to know is that Rushmore is a typical Wes Anderson film. He'll surprise you at times, make you laugh, and leave you wondering how he came up with such original ideas.

I should also mention Mark Mothersbaugh, who began his association with Anderson on this film by contributing to the soundtrack. Other music used in the film includes songs by The Kinks, The Who, The Faces, and John Lennon. They all add to the nostalgic tone and fit perfectly.

Owen Wilson doesn't appear in this one, but Luke and Andrew Wilson are both involved. If you appreciate quirky comedy, Rushmore won't disappoint.

The Criterion Blu-ray offers a superb presentation. Colors are natural throughout and you'll feel as if you are standing next to the characters. The special features are also noteworthy and the highlight is a 55-minute feature showing interviews with Murray and Anderson on the Charlie Rose Show. Fans of commentaries will be happy that Anderson, Owen Wilson and Schwartzman appear on the commentary track.

If you are curious about the appeal of Wes Anderson, Rushmore isn't a bad starting point. It won't work for everyone though.

Overall score 4.5/5

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The Hunger Games

The Hunger Games (2012)
Action, Adventure, Sci-Fi, 142 minutes
Directed by Gary Ross
Starring Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Stanley Tucci, Wes Bentley, Donald Sutherland and Amandla Stenburg

The Top 5 films at the box office (worldwide) this year are: The Avengers ($1.5 billion), The Dark Knight Rises ($1 billion), Ice Age: Continental Drift ($836 million), The Amazing Spider-Man ($744 million) and The Hunger Games ($645 million). In the US, The Hunger Games ranks third behind The Avengers and The Dark Knight Rises. It's clear that comic book heroes sell, and other key elements are action and conflict. The Hunger Games aims to give us a new fantasy hero to follow after the conclusion of the Harry Potter franchise.

Does it succeed?

The movie is an adaptation of the first part of a trilogy, written by Suzanne Collins, which was initially aimed at young adults. But, like the Harry Potter series, the trilogy appeals to readers of all ages. I can't comment on the quality of the books because I haven't read them, so I don't know how faithful the movie adaptation is. All I can judge is how well the story works on the big screen. The second movie in the series is set for a 2013 release, while the final part of the trilogy will be split into two movies. So, to answer my question, The Hunger Games is a resounding success as a financial venture and it's enormously popular.

Financial success is one thing, but is the movie worth your time? I guess that depends on what you find entertaining. Let me describe what you can expect.

The story opens with a glimpse into the life of Katniss Everdeen (Lawrence). We learn that she lives in one of the poorest of twelve districts in Panem, and that food is scarce. She feeds her mother and sister by hunting for game in the woods and she's a gifted archer. The twelve districts hold a lottery each year to select a boy and girl to represent them. The 24 children will fight to the death and only a single victor will survive. When Katniss sees her young sister chosen, she volunteers to take her place. The chosen boy from District 12 is Peeta Mellark (Hutcherson).

That's all we are told about life in District 12. This is not a drama in which we learn about the struggle to live under such a regime, it's more of an action movie. The story moves on quickly and we are shown the sharp contrast between District 12 and the Capitol, where the population is wealthy and the games are seen as nothing more than a form of entertainment. Katniss and Peeta are interviewed on television by host Caesar Flickerman (Tucci). The Capitol is presented as weird and decadent, and most people look like extras from Amadeus. One character looks to be based on Rita Skeeter from Harry Potter. I had the impression that these people were weird for the sake of being weird and it didn't feel convincing.

The movie plays out like an American version of Battle Royale with elements from The Running Man added for good measure. Those in control of the game can intervene at will using computers. Sometimes they will send medicine, while at other times they will harm or kill some of the contestants. It's all a grotesque manipulation aimed at entertaining the population in the Capitol.

Director Gary Ross is a gifted storyteller, and he also has writing credits for Big, Pleasantville, and Seabiscuit. Unlike all three of those movies, I found that The Hunger Games lacked depth. It's obvious why I am supposed to root for Katniss as she risks her own life to save her sister, but there aren't enough background details to make me connect with her strongly. It felt more like a cynical plot device than anything that was remotely real.

So, for me, The Hunger Games became something of a comic book. There is an attempt at showing group dynamics. Who will work together? At what point will they try to kill each other? Who will take their chances alone? What skills will each of the characters have? How inventive will the deaths be? But the attempt is flawed because some of the most dangerous contestants are displayed as sneering idiots, and it detracts from the seriousness of the situation. This is supposed to be a battle for survival, not a comedy?

I'm trying to give a balanced review, but some of the battles are rather silly. That's not to say that the movie doesn't have a few good moments. One alliance in particular did resonate with me and I reacted emotionally to the death of one character.

My overall impression is one of sadness. Not because of the death of some of the characters, but at what we are becoming as a society. Do we really need to see children fight to the death in order to be entertained? As with modern comedies, we are relying more on shock value than good writing. Katniss Everdeen was portrayed well by a promising actress, but original ideas were few and far between. You know almost exactly what to expect from The Hunger Games before it begins, and most events are thoroughly predictable.

The next three movies will be a huge success, I am sure, but I'm not anxiously awaiting their release. I'm glad that I avoided The Hunger Games in theaters and waited to borrow the Blu-ray from a friend. Don't label me as a prude or someone who is against violence in movies. One of my favorites is Kill Bill, but, unlike the portrayal of Katniss Everdeen, I was shown enough background to care about what happened to The Bride.

This movie does have a huge audience as I outlined at the beginning. If you are the kind of moviegoer who enjoys action, good presentation, and special effects, The Hunger Games will entertain you. You'll need to switch your brain off for a couple of hours, but movies like this do have their place. I guess that's why they get made. I am left wondering about the book and how much was left out. Don't let this review stop you from buying the Blu-ray (which looks and sounds fantastic) or checking out the movie for yourself. I'm clearly in the minority on this one.

(Edit to add: After seeing this movie for the second time, I eventually ended up buying it. It seems that I was in the wrong mood the first time I saw it. Jennifer Lawrence is very good in the role and I am planning to see the sequels and maybe even read the books).

Overall score 3/5 (Subsequently upgraded to 3.75/5)

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