Movie Review: Lincoln

Daniel Day-Lewis

I reviewed this film for Next Projection.

Long-regarded as one of America's greatest leaders, Abraham Lincoln was many things: A shrewd politician, a hardworking family man and a vocal proponent of passing an anti-slavery bill.

The gradual build-up to director Steven Spielberg's opus has helped revive public discussions on Lincoln outside of the usual historical circles. Yet, few films have ever ventured to portray the much-revered president on the silver screen and, if anyone were to succeed in the role, it would be celebrated British actor Daniel Day-Lewis. And, while the always-reliable Day-Lewis commands the screen with his award-worthy performance, Lincoln may ultimately leave some viewers scratching their heads.

Spielberg's Lincoln chronicles the last four months of the titular hero's life, from January to April 1865. The action takes place in Washington, as the President struggles to bring an end the Civil War raging throughout the nation. Lincoln puts most of his time and energy into passing an amendment to abolish slavery, a contentious issue that proves divisive within the House of Representatives.

In the moments where the script calls for levity, Lincoln enlists the help of three affable Republican "thugs" (James Spader, John Hawkes and Tim Blake Nelson, all excellent) to convince the remaining Democrats who are still on the fence over the anti-slavery act to come back with a verdict in support of the bill.

However, considering the historic significance of America's 16th President of the United States, it's somewhat perplexing as to why Spielberg gets off to a slow start in the early going. The first hour is filled with awkward exposition as the script calls for too many heavy-handed conversations that quibble over the semantics of passing a bill. Periods of long, drawn-out speeches on constitutional law and negotiating peace slow the momentum to a standstill.

The screenplay, by Tony Kushner, neglects to delve deeper into the man behind the iconic top hat and beard. There are even instances where, despite Day-Lewis' mesmerizing performance, Lincoln recedes into the background. When we do get glimpses of his private family life they are fleeting — especially frustrating considering certain scenes with his wife Mary (Sally Field) hint at a fascinating, albeit unhappy, marriage. Even a subplot involving his eldest son, Robert (Joseph Gordon-Levitt), is ultimately discarded in favour of the unending parade of secondary characters.

But where Lincoln ultimately falls short is in its hazy narrative. Is this a biopic on the man behind the legend or a docudrama on the abolishment of slavery in the United States?

Daniel Day-Lewis exudes a confidence in his craft rarely seen in actors working today. Although the passage of time prevents us from knowing exactly how Lincoln spoke and acted towards his colleagues and family, Day-Lewis imbues his metaphor-spouting Lincoln with a gentleness that defies his reputation as a commanding leader. Speaking in soft-spoken cadences that rarely rise above a whisper, Day-Lewis' Lincoln walks with shoulders so stooped that they appear to carry the entire weight of the world. He has the uncanny ability to transport you in time and make you believe that the person you are watching on the silver screen is the real person — as opposed to a carefully crafted reconstruction. It's a powerful — and beautifully subdued — performance from an artist who many would argue is a gift to acting.

The supporting cast is a revolving door of familiar faces from Jackie Earle Haley (as Alexander Stephens) to David Strathairn (as Secretary of State William Seward). But it's Tommy Lee Jones as Pennsylvania rep Thaddeus Stevens that is the standout — and potentially one of the early contenders for a Best Supporting Actor nomination. Grizzled and peevish, Jones unleashes passionate pleas in defense of Lincoln's anti-slavery bill — much to the chagrin of Democratic pro-slavery speaker Fernando Wood (Lee Pace).

Lincoln is not as epic or sentimental as one would come to expect from Spielberg — it's easily the director's most restrained work to date.

While the film has its powerful moments — many of which take place in the House of Representatives — Lincoln, the man, ultimately gets lost within Lincoln.

FINAL GRADE: C+

Blu-ray Review: Sunset Blvd. (1950)

Comparing the Blu-ray transfer to the DVD release.

I reviewed this Blu-ray for Next Projection.

Cast: Gloria Swanson, William Holden and Erich von Stroheim
Director: Billy Wilder
Country: U.S.
Genre: Drama
Official Trailer: YouTube

Video
Video Codec: MPEG-4 AVC
Video resolution: 1080 p
Aspect ratio: 1.37:1
Original aspect ratio: 1.37:1

Audio
English: Dolby True HD Mono
French: Dolby Digital Mono
Spanish: Dolby Digital Mono
Portugese: Dolby Digital Mono
Subtitles: English, French, Spanish and Portugese

Sunset Blvd. finally gets its close-up on Blu-ray. As one of the most cynical glimpses of Hollywood to ever hit the silver screen, Billy Wilder's satiric masterpiece is classic cinema at its finest.

Long revered as one of the finest films ever made, this seminal work marks a career high for Wilder who, at the time, was Hollywood's most celebrated director, having recently won the Oscars for Best Director and Best Screenplay for The Lost Weekend (1945).

With its assortment of colourful characters both fictional and real, Sunset Blvd. delves into the dark side of movie-making -- from the desperation of those who seek a life in the spotlight to those jaded figures who work behind the scenes. It's a dirty business and Wilder wasn't afraid to shine a light on its dark corners.

Struggling screenwriter Joe Gillis (William Holden) is down on his luck in Hollywood and, after a series of misadventures, finds himself in a ramshackle mansion on the outskirts of town. Once inside the oppressive house Joe meets Norma Desmond (Gloria Swanson), an aging former silent screen star, and her solumn German butler Max von Mayerling (Erich von Stroheim). When Norma shows Joe a script she plans to use as her "return" to the silver screen, she enlists him as her screenwriter in exchange for money to pay off his creditors. Lost in her delusions and exaggerated sense of self-worth, Norma showers Joe with money and jewellery -- lavishing the man she believes will be her gateway back to fame.

Sunset Blvd.'s theme of opportunism and its consequences narrows in on what making movies does to people in the business.

The transfer and digital reconstruction is gorgeous, capturing the luscious light and shadows in every shot. Paramount clearly appreciated the importance of preserving this classic and celebrating its place in film lore.

There is a wealth of supplemental features, many of which were brought over from the DVD restoration that was released a decade ago. Featuring the likes of film historian Ed Sikov, actress Nancy Olson and film historian Andrew Sarris, the extras give tidbits on the behind-the-scenes issues in bringing this classic to the big screen.

The only complaint is that, after clocking in at more than two and a half hours of extras, the information doled out in the interviews tends to get a bit repetitive. Perhaps had some of the smaller supplemental features been edited together into one longer finished product than viewers wouldn't suffer from a sense of deja vu. 

Extras
This Blu-ray release includes featurettes on "Sunset Blvd.: The Beginning", "Sunset Blvd.: A Look Back", "The Noir Side of Sunset Blvd.", "Paramount in the 50s" and a deleted scene, among other bonus supplements.

Final grade: A 

Scariest Movie Scenes

Tina's death in A Nightmare on Elm Street

In honour of Halloween: The 13 movie scenes that, at one time or another, scared the living crap out of me.

A Nightmare on Elm Street (1984)
The premise: A long-dead serial murderer haunts the dreams of the children whose parents were members of the lynch mob that hunted him down.
The scene: Rod (Jsu Garcia) witnesses his girlfriend Tina (Amanda Wyss) meet a grisly end as she's dragged across the ceiling of her bedroom by an unseen force.

Lost Highway (1997)
The premise: A saxophonist is framed for the murder of his wife and sent to prison where he transforms into a young mechanic and starts his life afresh.
The scene: The Mystery Man (Robert Blake) confronts Fred (Bill Pullman) at a party and convinces him to phone his own house. When Fred obliges he hears the voice of the Mystery Man pick up his home phone, even though he's standing right in front of him.

Nosferatu (1922)
The premise: This silent classic chronicles the strange life of the vampire Count Orlok.
The scene: In a chilling example of German Expressionism at its finest, Count Orlok makes his way slowly up the staircase -- while the audience sees only his distorted shadow on the wall.

Silence of the Lambs (1991)
The premise: An FBI rookie must work with the infamous Hannibal Lecter in order to catch another killer on the loose.
The scene: Clarice (Jodie Foster) confronts Jame Gumb (Ted Levine) in his basement -- only to find herself abandoned in pitch black darkness as Jame follows her around with night-vision goggles.

Scream (1996)
The premise: A group of teenagers discuss the "rules" of horror films as students at their high school are systematically killed off one-by-one by a masked killer known as Ghostface.
The scene: The chilling opening sequence where Drew Barrymore receives harassing phone calls from an unknown assailant who quizzes her about her favourite horror films -- before brutally murdering her.

Halloween (1978)
The premise: A masked psychopath breaks out of an institution and stalks a teenage girl from his small hometown.
The scene: After emerging victorious from a faceoff with Michael Myers (Tony Moran), Laurie (Jamie Lee Curtis) breathes a sigh of relief -- while the seemingly dead Michael slowly sits up behind Laurie's shoulder.

The Exorcist (1973)
The premise: When a twelve-year-old girl is possessed by the devil, her mother enlists the help of two priests.
The scene: After stabbing herself in the crotch with a crucifix, Regan (Linda Blair) faces the audience by enabling her head to do a 360-degree spin.

The Exorcist III

The Exorcist III (1990)
The premise: A police officer respectfully acknowledges the anniversary of a priests death while, at the same time, trying to track down a vicious serial killer.
The scene: A nurse in a hospital checks a couple of rooms during a night shift when, in a genuine jump-out-of-your-skin moment, she's followed out of a room by a white-shrouded intruder.

The Thing (1982)
The premise: Scientists in the Antarctic discover a shape-shifting alien that takes on the appearance of its victims.
The scene: The alien, in human form, fakes a heart attack and, while the scientists scramble to save who they assume is their comrade, they are confronted with "the thing" itself in a shocking, terrifying, pre-CGI sequence.

The Shining (1980)
The premise: A family agrees to watch over a hotel that is closed for the winter season when an unseen force influences the father, pushing him to the edge of insanity.
The scene: While most would cite the twins in the hallway as the scariest sequence, there's also the simplistic slow zoom-in on Jack Nicholson's face looking out the hotel window as he slowly dissolves into madness.

Psycho (1960)
The premise: A young woman on the run stays at the isolated Bates Motel and meets the mother-fearing, socially inept owner.
The scene: No, not the shower sequence although that's terrifying in its own right. Lila Crane (Vera Miles) searches the Bates house for her missing sister (Janet Leigh), only to be confronted by the corpse of Mrs. Bates -- right before Norman (Anthony Perkins) bursts in to the room wearing a woman's wig and dress.

Jurassic Park (1993)
The premise: An ambitious millionaire creates a dinosaur theme park and, during a preview tour, a massive power outtage enables the prehistoric animals to rule the island.
The scene: A thunderstorm. A glass of water, trembling with each footstep. A T-Rex bites through an electrical fence and proceeds to attack the tourist cars.

Whatever Happened to Baby Jane? (1962)
The premise: A former child star jealously guards her more-famous older sister in a rundown mansion.
The scene: When wheelchair-bound Blanche (Joan Crawford) crawls her way to the telephone to make an emergency call, Jane (Bette Davis) discovers her calling for help and violently kicks her around the room.

Revisiting the Classics: Alfred Hitchcock's Psycho

Anthony Perkins as Norman Bates

"We all go a little mad sometimes." 

On Thursday night my friend suggested we check out a screening of Alfred Hitchcock's 1960 horror classic, Psycho, which was playing at a local theatre.

It had been awhile since I'd last visited the Bates Motel and its man-with-severe-mother-issues owner, Norman.

I actually can't recall the last time I'd seen Psycho which makes me think it has been at least five years, if not longer. So, watching it in glorious black and white on the big screen made it feel as though I were watching it for the first time. I'd forgotten about a couple of little twists and the fact that the script (based on the novel by Robert Bloch) was chock-full of great dialogue and slow, engaging character revelations. It truly is a masterpiece of suspense and thrills. And, regardless of how many times you've seen the film, its final twist and closing shot (see photo above) is still as mesmerizing and shocking as it undoubtedly was back in 1960.

A complex psychological thriller, Psycho is celebrated in film circles as one of Hitchcock's finest -- if not his greatest -- achievements (and whether or not you think that Vertigo is technically the better film is a debate worthy of a whole separate blog post). At the age of 61, Hitchcock cobbled together his now-classic shocker on a tiny budget in a matter of weeks. With Hitchcock's knack for building tension and influential stylistic flare, Psycho is as unsettling in its premise as it is a technical marvel -- what with all those unique camera angles, intimate close-ups of his cast and that famous image of Mama Bates' skull superimposed over the crazed face of Norman as the film closes.

But one of the true revelations in Psycho is Anthony Perkins in the lead role. I'd never fully appreciated his performance until this recent viewing. He commanded the screen with a charismatically awkward performance that, on the surface, made him appear as likeable as a young boy eager to please his friends or parents. "I think I must have one of those faces you can't help believing," he tells Marion Crane (Janet Leigh) early on in the film. And you, as the audience, totally fall for it too, just like Marion. Even though you know Norman has the capability to kill, he lulls you into feeling sympathy for him -- you may even catch yourself wishing he'll get the help he so obviously needs.

The role of Norman Bates could have easily been nothing more than a stock horror character. A villain without personality. Someone lurking in the shadows who ultimately leaves no lasting impression once the credits roll. But where Perkins excels is in his ability to make you realize that Norman Bates could be anyone. Literally. He could be the man sitting next to you on the subway, or the woman walking her dog down the street. He's not some Freddy Krueger-type fantasy-villain who would stick out like a sore thumb if you saw him in a crowd of people from across the street. Perkins, with his average-joe features and shy nature, totally inhabits the character of Norman Bates.

It's an all-around fantastic performance in an already perfect psychological thriller.

Movie Review: Frankenweenie

Frankenweenie (2012)
Directed by: Tim Burton
Starring: Martin Short, Catherine O'Hara, Winona Ryder, Martin Landau and Charlie Tahan

I reviewed this film for Next Projection.

Tim Burton's latest animated oddity heralds a return to form for the director. Although he distracted himself with big-budget remakes over the years -- many of which failed to resonate with viewers -- Frankenweenie is a welcome return to the Burton of old.

Expanding on a concept conceived back in 1984, Frankenweenie has gone from a 30-minute project to a feature-length film lensed in glorious black and white -- an homage to the horror influences of his childhood.

Victor Frankenstein (Charlie Tahan) is devastated when his beloved dog, Sparky, is killed in a tragic road accident. However, when a grieving Victor learns about the effects of electricity while in his science class he concocts a plan to bring his dog back to life. But, in order to avoid detection, he must outsmart his parents (Catherine O'Hara and Martin Short), science teacher Mr. Rzykruski (Martin Landau) and his nosy classmates. Although Victor's experiment initially proves to be a success, he is ultimately forced to confront the consequences of his actions when other people get their hands on the science behind bringing the dead back to life.

Influenced by the aesthetics and techniques used in the German Expressionist films that were prevalent in the 1920s, Frankenweenie also contains a memorable cast of eccentric outsiders -- all familiar features in Burton's oeuvre.

The craftsmanship is a wonder to behold. Frankenweenie is arguably Burton's most visually stunning work in years. Making the bold decision to release a family feature in black and white, the characters and their little town of New Holland are so vivid they appear to pop off the screen. To understand the painstaking process involved in creating a stop-motion feature, is to realize that Frankenweenie is a genuine labour of love for its director.

While the plot fondly borrows from films and literature of the past, it's the characters that keeps the action moving forward. The premise may not be original but the memorable cast of characters is all Burton's own creation. His signature long-legged, saucer-eyed characters tend to resemble grotesque marionettes but their personalities carry a lot of heart.

Despite all the impressively eerie visuals and classic film references, Frankenweenie is ultimately just a touching story about a young boy and his dog; the rare family feature that will appeal to both children and adults alike.

Burton's affection for his now-28-year-old story is undeniable as Frankenweenie proves to be the director's most successful outing in years.

FINAL GRADE: B+

Movie Review: The Master

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

I reviewed this film for The Hollywood News.

Paul Thomas Anderson’s ambitious follow-up to his 2007 masterpiece There Will Be Blood has received a lot of ink touting it as the origin tale of Scientology. And, while aspects of The Cause (the cult at the heart of Anderson’s narrative) often mirrors certain methods promoted by Scientology, to simply categorize The Master as a loosely-based look at L. Ron Hubbard is to do it a great disservice.

The idea of a Scientology-like “religion” is used only as a narrative framing device — the film itself poses much more thought-provoking questions. Why are we susceptible to mind control and manipulation? What does it ultimately say about the human condition? Just how fragile are we?

Discharged US Navy officer and alcoholic Freddie Quell (Joaquin Phoenix) falls under the influence of the charismatic Lancaster Dodd (Philip Seymour Hoffman), taking to his cult group The Cause in a desperate attempt to tame his animalistic nature and put an end to his own rootlessness.

However, The Master is an intricate character study, first and foremost. It chronicles the lives of two very different men carrying their own unique emotional baggage. When the two collide and, for a brief time, appear to understand one another, it becomes apparent that their only real difference is how they each choose to handle their inner torment. Where Dodd went on to become The Master to the followers of The Cause, Freddie wallowed in his misery, constantly conjuring images of his violent past and the love of his life that he let slip away.

As Freddie Quell, Phoenix gives what is arguably the finest performance of his career to date. From his physical transformation to his fierce intensity, his full commitment to the role is palpable. His Freddie is a lost soul so damaged that he seems beyond repair. You don’t doubt that his admiration for Lancaster Dodd is genuine, although he appears to simultaneously love and loathe the only man who has ever given him the time of day. He’s teetering on the edge of insanity and Phoenix’s shocking performance is absolutely mesmerizing to watch.

With Lancaster Dodd, Hoffman is equally compelling as he goes from a charismatic father figure to launching a tirade of abuse against anyone who dares question his theories on life. Dodd thrives on the admiration of others and, beneath his jovial exterior, masks an ego that constantly needs nourishing.

In these early stages of the awards season, Phoenix and Hoffman are two clear frontrunners.

To enhance an already vivid experience, Anderson used 70 mm cinematography from director of photography, Mihai Malaimare Jr. The end result is a series of gloriously lensed, razor-sharp images that pop off the screen and lend the performances — specifically Phoenix’s haunted Freddie — an added layer of realism. You can see every line on his furrowed brow.

The Master is one of those films that will undoubtedly benefit from multiple viewings. While it may appear that the script only scratches the surface of its deeper questions and philosophies, Anderson’s latest entry does not judge his characters or their actions and does what any great film should — generate discussion, not only about film but life in general.

FINAL GRADE: A-

"We travel just to travel."
~ The Motorcycle Diaries (2004)

I'll be away on vacation for two weeks. Not only will I be missing the Toronto International Film Festival for the first time in seven years, but I'll be super-behind on all the latest movie releases ...so I'll be looking forward to catching up on everyone's blogs when I get back! :)

-Laura