Movie Review: Zero Dark Thirty

Jessica Chastain

Zero Dark Thirty (2012)
Directed by: Kathryn Bigelow
Starring: Jessica Chastain, Kyle Chandler, Joel Edgerton, Jennifer Ehle and Jason Clarke

Right from the earliest scenes of her latest political thriller, director Kathryn Bigelow proves  her skill at displaying raw human emotion in even the most heart-pounding sequences.

Working again with screenwriter Mark Boal, who penned the script of her Oscar-winning The Hurt Locker, Bigelow has crafted one of the finest cinematic experiences of 2012.

Despite the swirl of controversy over the torture sequences -- an issue that hangs over the film like a wet blanket -- Zero Dark Thirty combines an investigative political thriller with a complex character study.

The film slowly unfurls over a span of 10 years; the length of time the in-depth manhunt for the whereabouts of Osama bin Laden took to reach its conclusion. While the subject is obviously derived from a true story, many will question its accuracy considering the shroud of secrecy that cloaked the government reports. However, although Bigelow and Boal insist they interviewed pivotal figures involved in bin Laden's death, the debate over whether or not the film is entirely based on reality is ultimately irrelevant.

What Bigelow has created is a plausible scenario that has scenes of action, interrogation and government verbal battles that all brim with complex decisions made by people who are neither good nor evil. Nothing is black and white in Zero Dark Thirty and every action can be called into question.

At the centre of the investigation is Maya (Jessica Chastain), a new CIA recruit sent to close in on bin Laden and bring the world's most wanted man to justice. Along the way she is faced with government suits (led by Kyle Chandler as U.S. Embassy chief in Pakistan, Joseph Bradley) who shoot down her theories and suppositions on the whereabouts of bin Laden. Her frustration is palpable at times, but her steely resolve pushes her through to the end.

As played by Chastain, Maya displays a remarkable composure that only falters a few times. Her perseverance and insistence on acquiring intelligence through investigative techniques -- her face displays her open revulsion at torture tactics -- forces others to follow her direction. Chastain gives one of the years best performances, subtly conveying each and every emotion that Maya struggles with -- whether it's the death of a close colleague or her frustration at the lack of support from her higher-ups.

Zero Dark Thirty plays out like a documentary, all of which is told from Maya's point of view. While we do eventually meet the Navy SEAL team that ultimately take down bin Laden, it's all through shadows and night-vision goggles.

Whether or not Zero Dark Thirty walks away from the Oscars as a big winner still remains to be seen, but there's no denying its smart script and note-worthy performances, all of which speaks to various important issues we confront in our news on a daily basis.

FINAL GRADE: A

Movie Review: Coriolanus

Coriolanus (2011)
Directed By: Ralph Fiennes
Starring: Ralph Fiennes, Gerard Butler, Vanessa Redgrave, Brian Cox and Jessica Chastain

The plays of William Shakespeare have been adapted, dissected and pulled-apart on screen since the invention of film. Over the decades, various directors have attempted to sell the Bard's timeless tales to new generations of audiences, all to varying degrees of success. While some purists may shrug off the adaptations that have supplanted the plots to modern times, this latest re-imagining of Coriolanus is an exceptional argument as to why it's sometimes appropriate to give a modern twist on a classic tale.

Roman General Caius Martius 'Coriolanus' (Ralph Fiennes) is a creature of war. Raised single-handedly by his a tyrant of a mother, Volumnia (Vanessa Redgrave), Coriolanus only knows how to communicate with weapons of warfare. Egged on by his ambitious mother, he seeks election to the powerful office of Consul. However, the few times he ventures forth to speak to the public, the end result is chaotic as his starving countrymen voice their outrage over the prolonged war and famine they've suffered at his hands as a General. Not one to keep his rage in check, Coriolanus' verbal outburst results in a full-blown riot which forces him to flee Rome and join ranks with his bitter enemy, Tullus Aufidius (Gerard Butler). Coriolanus will take back Rome on his own terms -- his fellow countrymen be damned.

Although little is known about Coriolanus' political motivation (does he really crave the Consulship for any other reason than personal gain or is he just following through on mother's orders?), he remains a fascinating character nonetheless. His all-consuming arrogance sometimes briefly gives way to quieter, more emotional moments, often shared with his mother or wife, Virgilia (Jessica Chastain). Although these scenes of psychological vulnerability are few and far between, they suggest an inner-torment; a softer, more human, side to Coriolanus that, unfortunately, always recedes into the background when his rage comes to the forefront. As played by Fiennes, Coriolanus is a commanding presence -- capable of instilling fear in even his most strongest opponents. Fiennes is a force to be reckoned with and his performance is nothing short of captivating. The reason you want to learn more about the actual man behind the facade of the feared General is because of his wonderful performance.

Ralph Fiennes and Vanessa Redgrave

The rest of the cast are all equally excellent, specifically Redgrave as Volumnia, Coriolanus' mighty mother. Her ambition and unwavering love for her only son is beautifully executed in all of Redgrave's scenes. An absolute powerhouse of a performance, it's a shame Redgrave wasn't recognized with an Oscar nomination. Chastain is solid in the underwritten role of Coriolanus' wife. We aren't sure why she's so loyal to her violent husband or why she's so submissive to the will of his mother, but Chastain more than holds her own in a performance that rounds out a terrific debut year for her. As Tullus Aufidius, Butler is all barely concealed rage -- he loathes Coriolanus and, when he reluctantly agrees to help his sworn enemy reclaim Rome, it slowly begins to dawn on him that he may have made a fatal error in judgment in trusting Coriolanus in the first place.

Filmed as though it were a modern political documentary -- its jerky, handheld war footage revolves around issues like democracy, class wars, political egos and the nation state -- Coriolanus is a stunning technical achievement, nailing all of its brutal scenes of familial intimacy and violent warfare out in the field. Wearing camouflage, his face covered in blood and warpaint, the audience is left to wonder if Coriolanus -- reduced to a deadened shell of a solider -- even has an ounce of humanity left in him, once all is said and done.

FINAL GRADE: A-

Movie Rant: My Favourite Films of 2011

Michael Fassbender and Carey Mulligan in Shame

Another year has come and gone and, like every other film fan on the planet, I've decided to compile a list of my favourite films of 2011. Going through reviews from the past year, I realized that I hadn't seen enough truly great films to make a list of 10. So, instead, I'll have to settle for a list of eight.

Keep in mind I haven't seen the following films (some of which likely would have made the list had I seen them on time): The Descendants, The Adventures of Tintin, Tinker Tailor Soldier Spy, A Separation, Albert Nobbs and Warrior.


My Top 8 Films of 2011
1) Shame
Controversy over its explicit rating aside, Shame is a close study of the isolating nature of addiction -- that gradual separation from the tangible and the emotional. Some of the most revealing scenes in the film are often the ones with little or no dialogue and Michael Fassbender's performance is nothing short of astonishing. Shame will stay with you long after the final credits.


2) The Artist
It's a vibrant and richly texualized film. Although the idea may not be new and some may argue that the premise itself is a bit of a gimmick, it's an undeniable crowd-pleaser and a beautiful one at that. With its two charming leads at the centre, The Artist is, above all, a love letter to cinema's past.

Jessica Chastain in The Tree of Life

3) The Tree of Life
Audiences and critics alike will be hard-pressed to come up with a list of other films that are as ambitious, unique and full of meaning as Terrence Malick's latest. The Tree of Life is a bit of an enigma -- an often puzzling, yet incredibly powerful, film that deals with love, loss, death, nature and the universe. Without a linear narrative, the film includes long interludes of vivid cosmic and prehistoric visions. Spiritual and artsy, The Tree of Life challenges mainstream ideas of what a Hollywood film can achieve.


4) Hugo
One of the most visually beautiful films of the year, Hugo wraps you in a blanket of movie passion and nostalgia. Led by a wonderful ensemble cast, Martin Scorsese has created a haunting, yet whimsical, ode to the original pioneers of film.


5) Moneyball
There's no denying the long love affair that American cinema has had with the game of baseball. Moneyball is the best sports films to be released in years as it delves into the behind-the-scenes drama and inner workings of what it takes to build a winning team. Thanks to Brad Pitt's greatest performance to date, Moneyball reminds us that, despite the abundance of riches in professional sports, there are those who really do care -- for love of the game.


6) Martha Marcy May Marlene
Writer-director Sean Durkin has crafted a compelling debut feature that is ultimately a fascinating commentary on familial ties and paranoia. Elizabeth Olsen gives the kind of breakthrough performance that most up-and-comers can only dream about. She's quietly devastating and she makes it impossible to look away.

Michael Shannon and Jessica Chastain in Take Shelter

7) Take Shelter
With its slow-burning narrative, Take Shelter is a quietly unsettling indie hit that is more character study than apocalyptic thriller. In the lead role, Michael Shannon is remarkable. His quietly commanding performance is one of the highlights of the year and it's fascinating watching this gentle character battle his inner demons.

8) Midnight in Paris

With its commentary on the folly of nostalgia and the assumption that everything was a whole lot better "back in the day", Woody Allen has crafted a welcome escape from blockbusters and franchise sequels. Guided by Owen Wilson in the lead, the film takes a delightful, whimsical tour of Paris in the present day and the 1920s, where it once seemed as though only intellectuals and artists roamed the streets.

What are your favourite films of 2011?

Movie Review: Take Shelter

Take Shelter (2011)
Written & Directed By: Jeff Nichols
Starring: Michael Shannon and Jessica Chastain

"You think I'm crazy? Well, listen up, there's a storm coming like nothing you've ever seen, and not a one of you is prepared for it."

A quietly unsettling indie hit, Take Shelter is more character study than apocalyptic thriller, leaving the audience just as overwhelmed and perplexed as the central protagonist -- a man who literally lets fear rule his life.

The setting: rural Ohio. Hard-working and loving family man Curtis (Michael Shannon) is plagued by shockingly realistic apocalyptic visions while he sleeps. Curtis isn't sure if he's inherited schizophrenia from his mother or if his visions are real -- a glimpse into the very near future. He decides to err on the side of caution and builds a survivalist shelter for himself and his wife, Samantha (Jessica Chastain), and young daughter, Hannah (Tova Stewart). Curtis is not a particularly religious man -- instead of looking up Bible passages to uncover answers to his violent and chilling visions, he checks out books on psychiatry from the local library instead. The overriding theme in the film is fear -- fear of economic hardship, fear of health problems, fear of losing those we love most, and fear of death and the end of the world. Fear often influences our greatest decisions and it's what ultimately sparks Curtis into action, regardless of what those around him think.


Take Shelter has a slow-burning narrative, carefully revealing the frustration and fear felt by a man unraveling right before his family's eyes. Despite its leisurely pace there's never a dull moment.

From a visual standpoint alone the film is stunning -- the apocalyptic visions are chillingly vague and appropriately ominous; like Curtis, you aren't sure exactly what they mean ...or if they even actually exist. With its smart use of CGI, the film conjures realistic thunderstorms and inky rain showers, using them to greater effect than any big-budget blockbuster.

Curtis (Shannon) and an apocalyptic vision.

In the lead role, Shannon is remarkable. His quietly commanding performance as Curtis is one of the highlights of 2011 and it's fascinating to watch this gentle character struggle with inner demons he just doesn't understand. A man of few words, Curtis is hesitant to explain his situation to his loving wife -- in fact, his pent up frustration and fear only boils over once in a shocking fire and brimstone speech that rattles those around him, himself included.

As Samantha, a religiously devout woman who dotes on her husband and young daughter, Chastain makes another case for why she's the biggest star of the year. Her performance is the definition of a supporting player -- she may be secondary in the plot but she makes her presence felt with a quietly beautiful performance. It'd be a shame if this wasn't the film she was recognized for at the Oscars.

Although the final scene may polarize moviegoers, Take Shelter leaves an undeniable impact. It's an intelligent piece of cinema that provokes a powerful response. Up-and-comer writer-director Jeff Nichols has crafted a resonating film that utilizes our societal fears to propel the story forward.

Part psychological thriller, character piece and family drama, Take Shelter is one of the highlights of 2011. 

FINAL GRADE: A-

Movie Rant: The debate over the SAG Award nominees

For me, this is the most wonderful time of the year. It's Christmas, hockey season and a prelude to all the upcoming film awards where I get to catch up on everything I've missed over the year. Nothing satiates my passion for cinema more than a good film debate.

I've enjoyed the SAG Awards in the past -- I often find them to the be the most accurate indicator as to which films and performances deserve the greatest accolades. The Golden Globes are a joke and the Oscars rarely get it right, which is why I've often relied on the SAG awards to set things straight -- well, kind of anyway. Moreso than the Oscars.

Not the case this year. Today's announcement of the 2012 nominees brought a lot of disappointment -- not just to me but all over the Internet, especially Twitter (you can see the full list of nominees HERE). A lot of people seem shocked at some of the obvious snubs in a what should have been a breakout year for smaller films and up-and-coming actors.

That being said, they did make some really great choices:
-Midnight in Paris (Best Ensemble): One of my favourite films of 2011, it's one of those feel-good whimsical gems with a ridiculously perfect (and charming) cast and a story that just sweeps you away. I was worried it'd get lost in the shuffle. Still not sure where it stands with regards to the Oscars, though.
-Brad Pitt (Best Actor, Moneyball): I'm not surprised they went with the audience-friendly baseball movie. Pitt has had a truly breakout year with diverse performances. He could very easily have been nominated for Tree of Life; however, his performance as Billy Beane in Moneyball truly carries the film into a whole new level in the sports genre. He won't win but in his case it will be an honour to have been recognized.
-Christopher Plummer (Best Supporting Actor, Beginnners): This nearly-forgotten indie from earlier this year boasted one of the finest performances of 2011. We should all be happy that they remembered Plummer's lovely turn as an older gentleman finally coming to terms with his homosexuality. His performance is a lesson in how to subtly convey a persons inner conflict without having to resort to scenery-chewing.

Here's where, in my opinionated opinion, the SAG Awards got it wrong:
-Jessica Chastain (Best Supporting Actress, The Help): Chastain has been the story of the year, the toast of Hollywood. When was the last time an actress had such an astounding breakout year? She co-starred in four films and has one more coming up (Coriolanus) to round out 2011. She gave two truly stunning performances in Tree of Life and Take Shelter. And while she was equally wonderful in The Help it's a shame that the obvious love-fest for the 1960s-era drama resulted in her receiving a nomination for one of her "lesser" performances. I'm shocked she wasn't recognized for Tree of Life or Take Shelter but I suppose we should just be grateful that she was recognized in the first place.
-Michael Fassbender for Shame: Probably the BIGGEST shock of them all -- a lack of Best Actor nomination for the finest male performance of 2011 (that I've seen so far). Fassbender is outstanding in Shame -- a raw, realistic and truly challenging role. The fact that the film was given the equivalent of a porn rating in the U.S. likely damaged his chance of being recognized for his work. Unfortunate.
-Carey Mulligan for Shame: Some may argue that she didn't have a whole lot of screen time -- but remember when Judi Dench won Best Supporting Actress in 1998 for clocking in only eight minutes in Shakespeare in Love? Mulligan was heartbreaking and more than held her own alongside Fassbender.
-Shame: I suppose the lack of a Best Ensemble nomination shouldn't be all that surprising. It likely had to do with the MPAA ratings. Still disappointing. There's no way Bridesmaids was the better film in this department. To those stuffy, uptight SAG members, Shame is obviously too hot to handle.
-Michael Shannon for Take Shelter: In many critics circles, his performance was voted the best of the year. There's really no excuse for his snub -- unless he's secretly anti-SAG or not a member. People may be torn over the film itself but Shannon was just so good that he should should have been considered an automatic nominee.
-Elizabeth Olsen for Martha Marcy May Marlene:  I think a lot of people expected her to be a shoo-in. In her breakout role she carries the emotional weight of the film on her shoulders and never lets the ball drop once. She'll make you forget there were ever other actresses with the last name Olsen. I look forward to more of her work. I can only hope she's recognized by the Academy.
-Andy Serkis for The Rise of the Planet of the Apes: I've been on his bandwagon since Day 1, when he first started doing interviews about why motion capture performance is still acting. It's amazing how many people just brush it off as "voice work." Recognition from the SAG or the Academy would go a long way towards opening peoples eyes to this different (but still legitimate) method of performance art. Serkis deserves his chance in the spotlight.

Which of the SAG nominations to you agree (and disagree) with?

Movie Review: The Help

Viola Davis as Aibileen in The Help.

The Help (2011)
Directed By: Tate Taylor
Based on the Novel By: Kathryn Stockett
Starring: Viola Davis, Emma Stone, Octavia Spencer, Bryce Dallas Howard and Jessica Chastain

I saw this movie more than three weeks ago, so this review is long overdue. Initially, I had little interest in seeing The Help, but with all of the hype and Oscar buzz I couldn't let it pass me by.

Set in Jackson, Mississippi in 1963, at the height of the civil rights movement in America, The Help follows the intersecting lives of rich, white families and their "help" -- women who have raised generations of children not their own, while taking care of the household chores of the entitled people they work under. Skeeter (Emma Stone) has aspirations to become a writer. As she toils in an unsatisfactory job as a home care columnist, Skeeter decides to uncover a juicy story in order to impress a New York book editor. When the town terror, Hilly Holbrook (Bryce Dallas Howard), fights to enact a bylaw that would equip all homes with outdoor washrooms for "the help" -- to avoid sharing and "contamination" -- Skeeter sets her sights on writing a piece on the plight of black women working for white families in her hometown. It would be the raw, human story she was looking for, although it takes a fair amount of convincing before Skeeter finds someone willing to speak. She finds her subject in a woman named Aibileen (Viola Davis) who puts her heart and soul into raising her current charge, a lonely little toddler with a nonexistent mother, in an attempt to try to overcome the recent death of her own child.

With her expressive eyes and quiet grace, Viola Davis gives a beautiful performance as Aibileen. She gives her characterization of a grieving, under-appreciated woman subtle nuances that pulls the viewer in from the start. What the story lacks in cohesive plotting, it more than makes up for in the acting department. With Davis leading the charge, The Help is a film brimming with wonderful performances from some of the best actresses working in Hollywood today.

Viola Davis (left) and Octavia Spencer.

 As Aibileen's closest friend, Minny, Octavia Spencer gives a performance that is both hilarious and heartwarming. Although Minny was initially reluctant to agree to an interview with Skeeter, watching her transform from a hesitant woman to one filled with confidence is one of the films highlights. You can't help but sit up and take notice when Davis and Spencer share scenes together. And, as the town's outcast "floozie," Celia Foote, Jessica Chastain continues to impress with a memorable supporting performance as a lonely housewife who finds true companionship with Minny; their scenes together provide The Help with some of its strongest, most emotional moments. 

As Hilly, Bryce Dallas Howard does her best with a role that is, at best, a cartoonish villain devoid of any redeeming quality or legitimate motivation as to why she behaves the way that she does. It's fun to hate her (and Howard is so good at being unlikeable in the film), but the word "villain" is practically stamped on her forehead. Emma Stone is solid as Skeeter but she's ultimately relegated to the background in the second half of the film.

Despite wonderful, award-worthy performances, The Help has the tendency to gloss over racial themes in favour of fluffy, easily-resolved issues. The main problem is at the very core of the plot -- rich, privileged Skeeter is likable enough; however her book on "the help" poses no risk to herself. Best case scenario, she'll get to move to New York to become a successful author and fulfill her dreams and, at worst, she can just go back to the job she already holds down at the local newspaper. The fact that she's writing the story to land a cushy job and take a step up the career ladder is hard to forget as she coaxes Aibileen, Minny and other women in her hometown to speak out against their employers. Sure, Skeeter promises them anonymity but, as we see, it isn't hard to figure out who is who in the finished novel. Skeeter is appropriately outraged at the tragic stories that are recounted for her, but it leaves a bit of a bad aftertaste knowing that the ones who will suffer the consequences of any backlash will be the actual subjects of the novel.

The quieter scenes with Aibileen and Minny recounting their life stories are powerful, yet audiences may want a little less glossing over of the true, tense nature of that time period in the south. One scene, in particular, stands out as an indication of exactly what is at stake in 1963: When civil rights activist Medgar Evers is shot dead in front of his family, the town of Jackson goes into a state of panic. After learning the news of Evers' death, Aibileen is cruelly booted from the bus she was riding on with mostly white patrons. As people run back and forth in the dead of the night, Aibileen panics and starts to run towards her own house. Suddenly gripped by the realization that she, too, could wind up getting killed while all alone on the street, Aibileen lets her fear take over. A usually stoic and reserved woman, she is briefly overtaken by unrestrained terror. The Help needed more of these quietly powerful scenes to provide more commentary on the racial relations in Mississippi during the 1960s.

However, any qualms you may or may not have about certain aspects of the film easily disappear as you witness the performances of the superb cast; celebrating with each of the characters as they witness the powerful effects of their stories being revealed to the public for the first time. Part quick-summary history lesson, part melodrama, The Help should (and will) be recognized during awards season for its remarkable cast who all rallied around a patchy, glossy script to create a mostly satisfying tearjerker.

FINAL GRADE: B+

Movie Review: The Tree of Life

The Tree of Life (2011) 
Starring: Brad Pitt, Jessica Chastain, Sean Penn and Hunter McCracken
Written & Directed By: Terrence Malick

Film critic Peter Bradshaw (of The Guardian in the U.K.) called director Terrence Malick's latest film, "cinema that's thinking big." Audiences and critics, alike, will be hard-pressed to come up with other films that are as unique and full of meaning as Malick's latest. "Thinking big" is just scratching the surface, really -- the film is thinking on a much larger plain.


The Tree of Life is a bit of an enigma -- an often puzzling, yet incredibly powerful, film that deals with love, loss, life, death, nature, spirituality and the universe in a two hour and 15 minute running time. But we would expect nothing less from Malick, the reclusive Texas director who spends years piecing together his films.

Tree of Life is without a linear narrative -- its plot not only moves into different periods in the life of its main protagonist, but also throughout the history of the world and, on a grander scale, the universe -- with long interludes of vivid cosmic and prehistoric visions.

When a friend recently asked me to describe the film, I said it was like a poem with moving images captured on celluloid. With very minimal dialogue (most of which is whispered), Malick has managed to inspire his audience to question the meaning of life and, ultimately, what our purpose is in the grand scheme of things. Because, at some point don't we all wonder: why are we here?

Jack O'Brien (Sean Penn) is at a crossroads in his life. What little we know about him is glimpsed through brief images -- a seemingly broken relationship and a corporate job that is heading nowhere. His overwhelming dissatisfaction with his life sends him down memory lane to his boyhood growing up in a small Texas town. In times of personal crisis we are often reminded of the past, which Malick illustrates by sending us back in time to Jack's youth (played by Hunter McCracken). With very little use of dialogue, other than soft and questioning whispers, the audience watches young Jack interact with his family in the 1950s -- his overbearing father (Brad Pitt) who is an often frightening blend of nurture and violence, his beautiful mother (Jessica Chastain) who is the heart and soul of the family and his two younger brothers, R.L. (Laramie Eppler) and Steve (Tye Sheridan).

Mrs. O'Brien (Jessica Chastain)

One of the most notable highlights of the film is the performances. Considering there is very little background given on the characters and very little dialogue in which they can use to interact, the cast does a remarkable job of conveying the myriad of emotions each of them goes through in the film.

Pitt is both terrifying and gentle as Mr. O'Brien and, as a result, this may be his greatest and most mature performance to date. A stiff, conservatively traditional man, O'Brien encourages his sons to learn to fight, while tenderly embracing them in some of their quieter shared moments. This disparity in his personal nature only makes him that much more human -- a man battling his own personal demons, whatever they may be, and taking them out on his loving family.

Chastain is the real revelation of the film. Her quiet performance is full of beautifully realized moments and interactions with her co-stars. She understands Mrs. O'Brien's connection to nature and motherhood and she's mesmerizing to watch, even if all she's doing is washing the dishes or watching her sons play outside. 

Penn rounds out the adult cast as older Jack and, despite the fact that he has very few scenes, his weary eyes and hunched posture suggests a man who, like his father, is battling a darker and melancholy side of himself. The three young actors who play the O'Brien boys are all wonderful -- their performances even more remarkable for the fact that Tree of Life is the screen debut for all three of them. McCracken is the standout, with the larger role of Jack. He has a maturity rarely seen in child actors and his scenes with Eppler, who plays his brother R.L., are some of the highlights of the entire film. 

Mr. O'Brien (Brad Pitt)

The Tree of Life is comprised of some of the most beautifully intimate human interactions ever captured on camera. How often do audiences get to see a toddler gaze down in wonder at his newborn baby brother, only to be punched lightly in the nose by his little fist? Or the scene where Mr. O'Brien cups his newborn sons little foot between his palms, marvelling at its tiny size? There are lovely moments between parents and children -- such as when Mrs. O'Brien playfully wakes up her three sons by putting ice cubes down their pyjama shirts. Or when Mr. O'Brien shows his softer side as his son, R.L., accompanies his piano playing with that of his guitar -- a wonderful little musical moment of father-son bonding. 

One of the most striking scenes of brotherly love is the moment when a chagrined Jack apologizes to R.L. for a particularly mean trick by softly kissing his younger brothers arm -- only to have the kiss wiped off by a still-upset R.L. Jack's perseverance ultimately pays off when, after a couple more arm kisses for his younger sibling, R.L. finally doesn't wipe Jack's affection off his arm. All is forgiven. 

It's moments like those that can make film fans and critics, alike, wish there were more directors out there like Malick, who challenge the mind while providing glimpses of smaller moments that happen in everyday life.

The Tree of Life is a challenging film and won't be to everyone's own personal tastes. It will likely require more than one viewing to fully appreciate. It's spiritual and artsy, challenging mainstream ideas of what a Hollywood film could be. While there are moments and sequences within the film that may be alienating, you still leave the film appreciating Malick's complex masterpiece. 

FINAL GRADE: A-