solafekxela Blog

Under discussion:

Ocean's Thirteen  (2007)

I am quite sure that it is nearly impossible to be completely objective about a film that is part of a series I am somewhat guiltily obsessed with. In fact, it is difficult to be objective about any film; there is always some degree of subjectivity in the realm of what an individual finds entertaining.  At my midnight showing of Ocean’s Thirteen, I impatiently waited through seemingly endless trailers for the next Nicholas Cage flaming skull movie. Having watched its two predecessors just hours before, I felt completely prepared for whatever my boy Steven Soderbergh was going to bring this time. I am pleased to say that I was not underwhelmed.  That said, I had the exact same feeling walking out of the theater that I experienced after the first two: an indescribable, queasy sensation of relief and anxiety. This paradoxical sense of being completely amazed in how Soderbergh was able to tease me as I gullibly maintained that the film would end in a sudden, unsatisfying, over-stylized but short on logic conclusion to the anticipated heist. And after an hour to reflect on exactly what I thought about the film, I can conclude that I have a well-developed statement to summarize my feelings on the entire series (with the assumption that this is indeed the last venture).  What I find most impressive about this wholly entertaining trilogy is the shear originality and self-containment of each episode. The third film in particular, but each part of the series respectively, has an orgastically distinct style consisting of cinematography that could sustain a moviegoing experience on its own.  Yet what is style without substance? - Soderbergh delivers on both with a screenplay developed by a new pair of writers (Brian Koppelman and David Levien) that transcends what anyone without prior knowledge would expect from a crime movie. The writers suspend of the audience’s head for most of the first two acts that the team we know so well will not be stealing anything tangible at all, at least not in the typical black bag sense we have come to expect. This dynamic elevates the tension of the last act of the film, once again holding the audience in a state of utter confusion and anticipation.  And yes, as with the previous two, there a few moments that just don’t work on any level, which can mostly be blamed on the script, but these are made up for with countless surprises in the form of cameos, recurrent characters (largely from Ocean’s Twelve), and a long-anticipated character introduction. After 90 minutes of well-written dialogue and memorable photography, the audience begins to wonder what exactly the team, and the filmmakers for that matter, intends on accomplishing.  Sure there are a few subplots in there just to sustain credibility, but this technique of ambiguity particularly evident in the first film is the key to the success of Ocean’s Thirteen.  The conclusion is satisfying on a comic, logical, and thematic level; it leaves the audience begging for an immediate follow-up film. Or maybe that was just me. A-

Under discussion:

A Mighty Heart  (2007)

It’s been quite a few years since Angelina Jolie won her Oscar for Girl, Interrupted; it seems as though she dropped off the face of the serious acting world - until now. Michael Winterbottom’s A Mighty Heart rolled into Cannes film festival this year, and its another one of those current event films. Last year brought two of them - United 93 and World Trade Center. Obviously these are not easy films to sit through, but, if done right (like United 93), they can be truly moving. Sadly, Winterbottom’s telling of the brutal murder of Wall Street Journal writer Daniel Pearl in Pakistan is neither moving nor respectable in any fashion. The only great thing about the film is Jolie’s performance, which, contrast to many opinions, is not eclipsed by her star power.  I would like to think that most of the problems with the film happened in the editing room, but it is simply too flawed for editing to receive all the blame.  The first twenty minutes of the film are actually pretty good - the telling of the events leading up to the murder is effective and emotional.  It’s after this first act that the film comes to a screeching halt instigated by disorienting editing, a host of confusing minor characters, and varying points of view that distract more than inform.  When dealing with a topic this serious, it is imperative to remain focused and straightforward. By halfway through the movie, I was so confused that the film no longer had any staying power and the emotional moments just laid there on the screen.  If this were a fictional event, these faults would not be so serious. However, if one remembers all the discussion last year about whether it was too soon for such films to be made, it should be noted that the proper handling of such recent tragic events is critical, especially to those people directly affected by the events.  A Mighty Heart is almost offensive in its mishandling of such a serious topic. Winterbottom exploits the persons involved by randomly showing us images simply to provoke an emotional response. Random cuts to Daniel throughout the film serve no other purpose. The lack of a single point of view results in not only confusion but also a lack of suspense. It is a shame that some of the powerful images in the film fall flat because of all the distractions. Some more careful editing could have prevented these mistakes and resulted in a more powerful film. As is, A Mighty Heart is anything but mighty. C

Under discussion:

Sunshine  (2007)

The only Danny Boyle film I had seen before Sunshine was Millions, probably his biggest departure from his typical territory (Trainspotting, 28 Days Later).  Despite the fact that I loved this film, I’m not really anxious to see his other previous efforts.  It’s not that I’m afraid they won’t live up to my expectations, but simply because they are so different from this one.  After seeing the movie, I was incredibly surprised to remind myself that Boyle hadn’t directed a sci-fi film before this.  This may be my favorite science fiction film of this decade, and the last.  Each moment of the film builds on the previous’ intensity. What makes this a better film than, say, Apollo 13 is Boyle’s ability to avoid dull exposition while still providing effective characterization.  The film begins on the ship and stays there for all but about the last minute,  creating a feeling of claustrophobia that even most other space films can’t muster.  Sure, some of the dialogue is a little familiar, but Boyle embraces it, along with his many references to sci-fi greats. There are no distractions to take you out of it, and the suspense is natural and uncomfortable.  The film constantly keeps you guessing, but you barely have time to do so before the circumstances are changed.  Even though it’s pretty far out there, I never had a hard time buying the crisis, even from the opening line, “Our sun is dying”.  Each performance, from an ensemble of well-seasoned but generally unrecognized actors (lead by Cillian Murphy). What makes this a great film is not its entertainment value, but the near religious experience it provides. The crew members are more than astronauts, or just average people (like Apollo 13); they take on a role that is much more important and symbolic.  The visuals are more than stunning; they are either painful, or beautiful, or devastating.  Even though some of the characters don’t last very long, they are so sympathetic that it’s impossible not to connect to each one of them in their scenes. And even when Boyle takes the film in a new direction in the last 30 minutes, he pulls it off with class and unbearable tension. This film cannot be missed in theaters, even if just for the exciting summer movie factor. Sunshine should be placed among the sci-fi greats of 2001, Solaris, and Star Wars. A