Take Shelter (2011) by Jeff Nichols

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american independent cinema, cinematic storytelling, Film, Jeff Nichols, Jessica Chastain, Michael Shannon, Shotgun Stories, Take Shelter

The union of Jeff Nichols and Michael Shannon in Shotgun Stories was memorable and surprising. Because Nichols knows cinematic storytelling and Shannon knows how to rip masks and show bare flesh without even a hint of a whimper. That is partly why Take Shelter is one of the most suffocating movies in recent American independent cinema. Curtis seems to have the perfect life and a struggling, but united, family. Hence all of a sudden panic strikes him through a series of apocalyptic nightmares which he fears will become true and subsequents incursions into schizophrenia. This is a truly unseen portrait of dementia, characterized by a slow descent into paranoia but always in a sustained manner. Rarely in movies have psychological disorders been shown in such a sober way, mainly because of Michael Shannon once again earth-shattering performance, in a disturbing struggle with himself to always stay in control. He is not alone this time though. Jessica Chastain, undoubtedly the next greatest actress in the world, is equally charismatic and moving as the wife whose concern and love never falter. And, with the risk of being reductive, the whole movie, even in its most prophetic aspirations, is all about that spark between them which allows him to take shelter on her before his mind fully unravels. That is why the much talked about ending is not to be feared or disdained. It ends up being nothing more than another projection of their belief in each other. And no storm can destroy that.

5 stars

Avengers (2012) by Joss Whedon

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entertainment, Film, joss whedon

If Joss Whedon was already a God to the geek race – Firefly and Serenity alone make him more than deserving of that honor – he has certainly achieved a new kind of celestial hierarchy now. It is no secret that the nerd population, in which I happily include myself, lives for the formation of teams that include a very unusual mixture of superheroes. And in the Marvel Universe, and besides the X-Men, you can’t get any bigger and more diversified than the Avengers. And what Whedon does so well is give each and every one of them a voice. No one is more important or more powerful than the next and that’s indeed the core of what makes them so special. Everyone brings something unique to the table and leaves you wanting more from every single one, much more so than in their individual ventures in cinema. Furthermore, the movie is the epitome of kick-ass. There isn’t a single second wasted, from beginning to the end, which is the most ridiculous, gargantuan and joyous action finale ever put to film. Never leaving the characters behind. That’s how Whedon wins. And we all do.

4 stars

PS: I demand the Scarlet Witch for the next movie. Not negotiable.

The Iron Lady (2011) by Phyllida Lloyd

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Film, Iron Lady, Mamma Mia, Margaret Thatcher, Meryl Streep, Phyllida Lloyd, Streep, Thatcher

Usually when it’s said that a performance saved a movie from disgrace its a blatant lie. There is no chance a poorly-written and mediocrely-directed can be rescued from oblivion by an actor. Unless that actor is, of course, called Meryl Streep. First and foremost, The Iron Lady is not a bad movie. Academic. Yes. Uninspired. Most of the times. Insufferable. No. The portrait of Margaret Thatcher is indeed a very biased and romanticized version of the truth and Phyllida Lloyd of Mamma Mia! is definitely not the director this picture needed, but one must give her credit for one thing: let the movie be devoured by that gargantuan performance. No matter how redundant it is to put Meryl Streep and acting excellency in the same sentences over and over again, she is once again incomparable and makes The Iron Lady an compelling and even unforgettable movie. As usual, her transformation is complete and goes beyond mere imitation, giving a one dimensional written character such glorious and disarming depth. If she is superb while portraying the controversial figure at the height of her power, Streep portrays her fall into cold dementia in a credible and endearing way. There are many moments that will stand the test of time, like the silent pause after Thatcher humiliates her aide in front of the whole cabin and sits alone in an empty room  in which she goes through an whole array of emotions and finally lets her mask fall. That scene alone is worth an Oscar. And that’s the eternal and unique wizardry of Meryl Streep.

3 stars

The Artist (2011) by Michel Hazanavicius

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2011, Academy Award, Bérénice Brejo, Film, Hugo, Jean Dujardin, Martin Scorsese, Michel Hazanavicius, Silent film, The Artist

It is indeed noteworthy that the two most acclaimed movies by the industry this year, Hugo and The Artist, are about the genesis of film. In a time ruled by remakes and general lack of originality, it’s only natural that one might look into the golden ages of Cinema for comfort and inspiration, when everything and anything was possible as long as you could dream it. The Artist is a tribute, both story and style-wise, to the silent era of movies and it captures the fall from grace from a famed silent actor as talkies become increasingly popular. What could be used only as a tiring gimmick turns out to be vital to the storytelling and Michel Hazanavicius homage is present in his own stylized direction as he permeates each scene with a singular and familiar visual tone that has disappeared from nowadays cinema. Not only because it does not play with the artifice of sound but, most importantly, because it, like Scorsese’s Hugo, represents something that was abandoned and forgotten a long time ago. The fickleness of fame and the definition of success and longevity are very much the central themes, but one might also argue that it is nothing more than a simple love story between a mentor and his apprentice. Bérénice Brejo is simply adorable but Jean Dujardin is the true breakout talent of The Artist as he not only embodies the physicality of the early male movie actor, but also manages to impregnate his interpretation with the torturing demons of a fallen star, not far from Norma Desmond. Albeit a lot more empathetic, especially with his irresistible dog companion.

4 stars