Argo

*****
Dir. Ben Affleck
Ben Affleck has made some excellent dramas and thrillers over the course of his career, and Argo is no exception. This true story of the joint American-Canadian operation to extract six American diplomats from revolutionary Iran is one of the best historical dramas of the 21st Century.

The film opens with a narrative description of the events which led to the Iranian hostage crisis of 1979, and then displays a gritty and realistic depiction of the occupation of the U.S. Embassy. In spite of the 52 that spent 444 days in captivity, six escaped and were taken in by the Canadian Ambassador to Iran. When the C.I.A. finds out about this, exfiltration expert Tony Mendez (Ben Affleck) proposes an idea to get them out of the country. His plan is to make the Iranian government think the hostages are Canadian filmmakers there to scout locations for a movie. Once he manages to get approval, he contacts producers Lester Siegel (Alan Arkin) and John Chambers (John Goodman), friends of his who work for a Hollywood studio. The fake film they schedule to make is Argo, a science-fiction picture set in the Middle East. With the help of this crew and his partner Jack O'Donnell (Bryan Cranston), Mendez embarks on the most daring mission of his life to save these men and women.

This is one of several films Affleck has both directed and starred in; but what makes it even more gripping than ones like 2010's The Town is how it delivers the story with an incredibly emotional appeal, and a tone that will keep viewers on the edge of their seats throughout.

Chris Terrio's script provides the basis for Affleck's artistic direction. In spite of this being a Hollywood thriller, Terrio puts such emphasis on his characters that the action itself proves to be a less significant component of the film's success. While the main story is centered around the mission, there are some great subplots involving the hostages, as well as Mendez's relationship with his wife and son. From the opening sequence to the climactic finale, audiences are immersed in both the characters and the distorted world which they find themselves in.

From a cinematic standpoint, it's quite remarkable how Affleck makes you feel a part of the story. By implementing actual footage from the events depicted into the film, and at appropriate times, history is brought alive. Using primarily low-key lighting and a good number of close-up shots, the dramatic plot-line is made all the more intense. This is a dismal atmosphere in a time of fear and confusion, and Affleck utilizes a wide range of elements to make viewers connect with these characters' lives on an emotional level.

Acting wise, it couldn't have been better casted. Cranston and Affleck embrace their roles with a spirit of fierce determination. There's a scene at the end after the hostages have made it out, where Cranston's display of joy and relief is very reminiscent of Ed Harris' performance in Ron Howard's Apollo 13. Goodman and Arkin also give great performances, as their characters provide the film with a humorous element, while still maintaining serious objectives and motivations. Other noteworthy actors include Victor Garber as Canadian Ambassador Ken Taylor, and Kyle Chandler as C.I.A. operative Hamilton Jordan.

All in all, this film is nothing short of breathtaking, presenting itself as a unique and brilliantly constructed thriller, after a series of flashy and unoriginal action movies over the last few years. Two thumbs way up.

DC News: Justice League is in the Works

On June 6, DC and Warner Bros. officially announced that a Justice League film is set to arrive in theaters in the summer of 2015, which is also when Marvel is scheduled to release Avengers 2. If this does indeed happen, it's obvious that DC is going ahead without first making movies for individual superheroes, such as Flash and Wonder Woman. Also, Nolan's Batman will not be featured, making yet another reboot of the character inevitable. I thought I'd share my thoughts on this project, and where I think it'll go.

First off, let me go ahead and share my ideal JLA cast and crew, which can also be found on IMDb.

Directors: Andy and Lana Wachowski; Writers: Roberto Orci, Alex Kurtzman, Damon Lindelof; Producers: Wachowskis, Christopher Nolan, Zack Snyder, Charles Roven, Emma Thomas; Cinematographer: Wally Pfister; Composer: Hans Zimmer; Consultants: Bruce W. Timm, Geoff Johns

Now for the cast: Henry Cavill-Clark Kent/Superman, Nathan Fillion-Bruce Wayne/Batman, Terrence Howard-John Stewart/Green Lantern, Michael Fassbender-J'onn J'onzz/Martian Manhunter, Chris Pine-Wally West/The Flash, Kate Beckinsale-Wonder Woman, Elizabeth Banks-Hawkgirl, Brad Pitt-Steve Trevor, Angela Bassett-Amanda Waller, Mark Hamill-Voice of Darkseid 

Those are my picks, but who knows how close it'll be to the finished product. While I am a hard core DC fan, I have plenty of concerns as to how they're gonna handle this project. The reason behind the success of Avengers (say what you want about it as a movie, but it did the characters justice) is because Marvel had it in mind from the beginning. There have been so many separate franchises within the DC cinematic universe that it will be difficult to culminate each one into a single film, especially for viewers outside the comic book world.

Despite the enormous impact and success of Nolan's Batman trilogy, the character will have to be reinvented in order to be incorporated into a world of aliens and monsters beyond Gotham. Whoever is given the task of composing this film's script will need to keep this in mind, so as to avoid duplicating Nolan's version.

Choosing which characters to include is another vital aspect of bringing JLA to the big screen. There are as many JLA heroes in the comics as there are Avengers, if not more. I picked these seven not only because they're the main force in the animated series, but because they're the best. This team has a great mix of personalities, powers, and each play a pivotal role in each other's stories. Once they are used, an assortment of others can be featured in sequels.

As far as the plot goes, I'm hoping DC will make this a trilogy, so long as the first installment proves successful. I would imagine an apocalyptic war with Darkseid to initially unite the team. If you look at the animated series and the New 52 comics, you'll see Batman investigating C.A.D.M.U.S. closely prior to an invasion of Earth, and Martian Manhunter's origin linked to these events. Get a solid writer or two on board and we can expect a good epic to launch the series.

My ideal title for a sequel would be JLA: Project C.A.D.M.U.S., which will document Amanda Waller's strive to end the ever-growing superhero organization, along with Lex Luthor's rise to becoming President (whom I think should be portrayed by Timothy Olyphant.)

Other heroes and villains I feel should come about in sequels would be Green Arrow (Norman Reedus), Red Tornado (Jon Hamm), The Atom (Ben Affleck), Dr. Fate (Laurence Fishburne), Black Canary (Morena Baccarin), Deathstroke (Liev Schreiber), Solomon Grundy (Ron Perlman), and Vandall Savage (Javier Bardem).

Justice League will be one of the biggest comic book films of all time, and has the potential of being one of the best. If done right, it will be gritty, compelling, and contain a wide range of characters. In order for this to happen, each cast and crew member must be carefully selected; and the script needs to be a knockout.

Memento (2000)

*****
Dir. Christopher Nolan
Before The Dark Knight Trilogy and Inception, Christopher Nolan was critically acclaimed for his independent films. These mind-boggling thrillers and film noir pictures included Following (1998), Insomnia (2002), and Memento (2000).

Memento is the story of a widower named Leonard Shelby (Guy Pearce), who suffers from short-term memory loss, and uses a system of notes and tattoos to hunt down his wife's murderer. Limited by his condition, he recruits the aid of a young woman named Natalie (Carrie-Anne Moss), and a crooked cop Teddy Gammel (Joe Pantaliano). As he pursues his detective life, we see another plot line involving one of his former clients when he was an insurance agent, who also carries the burden of this disability. While this story is presented to viewers in chronological order, Leonard's is told backwards. As more and more pieces of the puzzle are displayed as the film progresses, they each culminate into a climactic finale which continues to mesmerize audiences over a decade after its release.

The most intriguing aspect of this film is the psychological impact it has on one's mind. Not only does Nolan tell a truly remarkable and unique story, but his ability as a director allows him to penetrate the deepest layers of the viewer's consciousness. His script, based on his brother Jonathan's short story, is a brilliantly composed piece of writing. While perplexing, it contains excellent characterization and well formulated dialogue. The construction of the plot departs from the standard Hollywood format, preventing viewers from guessing what will happen next, and instead allowing them to be fully captivated.

Pearce, Moss, Pantaliano, and every other cast member give terrific performances. Pearce presents his character as emotionally conflicted and for the most part alienated from society, but not unrealistic. Moss and Pantaliano are both dynamic and unique in portraying their characters, and how they relate to others. The internal and external conflicts are well balanced, effectively used, and very original.

This is a film which makes you think, experience, and interact with an assortment of characters and conflicts. Nolan's ability to incorporate a wide range of psychological themes into his movies, and use them effectively, is what makes him one of the best directors of the 21st Century.

Note: This and the last film I reviewed on here are both available to stream on Netflix.

My IMDb Lists

Follow this link to see all the lists I've compiled on IMDb: http://www.imdb.com/user/ur36611787/lists

These range from various titles and directors which I feel deserve recognition.

The Next Three Days (2010)

**** 
Dir. Paul Haggis
I saw this film when it first came out, and forgot how good it was until I watched it again on Netflix earlier today. Writer/director Paul Haggis (Crash) delivers a crime drama with a clever and intriguing plotline in The Next Three Days, moreso than a number of other modern thrillers have been able to achieve.

The story is centered around an English teacher named John Brennan (Russell Crowe), whose life is turned upside down when his wife Lara (Elizabeth Banks) is arrested for the murder of her boss. Left to care for their son by himself, John longs for his family to be reunited. Positive of Lara's innocence, this upstanding middle-class citizen will use any means necessary to liberate his beloved wife from a lifetime behind bars.

Upon seeking the advice of Damon Pennington (Liam Neeson), an escape artist turned author, he is given this warning prior to embarking on this mission:"But before you do anything, you have to ask yourself if you can do it. Can you forget about ever seeing your parents again? Can you kill a guard? Leave your kid at a gas station? Push some nice old lady to the ground just because she gets between you and the door? Because to do this thing, that's who you have to become. And if you can't, don't start, 'cause you'll just get someone killed."  With these words in mind, he trades his life for that of a vigilante, risking everything he has left to save Lara. 

Haggis is a master storyteller, with a style of filmmaking that is more independent than many other directors of this genre. This is a thriller with great depth to its characters, and a story much less outlandish than a number of other crime dramas. Not only are we able to sympathize with the conflicting emotions of Brennan, but viewers also continually gain insight into his motivations as the film progresses. The way Haggis develops the relationship between him and his son is brilliant, presenting numerous psychological themes throughout. 

There is also an excellent display of cinematography in this picture to enhance the story. We see multiple close-up shots, which allow us to examine the emotional state of each character, and put less emphasis on the overall action. Aspects like these are the mark of a great filmmaker. Rather than follow the standard structure for a Hollywood thriller, Haggis' style offers a unique approach which focuses more on story and character development than anything else. The pacing is just right, and Danny Elfman's score correlates well with the mood. 

Other noteworthy thrillers I've seen in recent years include Limitless (Neil Burger, 2011), Source Code (Duncan Jones, 2011), and Deja Vu (Tony Scott, 2006). What stands out about The Next Three Days is Haggis' effective use of characterization and film noir elements, all which culminate into a unique and intriguing story which keep viewers engaged up until the very end.

The Importance of Fiction

With garbage franchises like Twilight and The Hunger Games, I feel that the nature of fictitious novels and films is steadily declining as a result of society's poor taste and low expectations for this genre. Over the last couple weeks at NCSU, I've engaged in some very compelling discussions in class regarding this subject.

In order to understand the significance of fiction, we must first establish a clear and precise definition for it. Is fiction nothing more than made-up tales presented through the minds of imaginary characters, allowing us to escape from the constraints of reality? Or does this medium of storytelling serve a greater purpose?

The first novel we've been reading in Studies in Fiction is Daniel Defoe's Robinson Crusoe, a literary piece which has stood the test of time as one of the most definitive works in this genre. However, in spite of its legacy, this book is filled with numerous inconsistencies. There are time gaps, unnecessary repetitions, and characterization choices which leave readers puzzled. These things make us wonder exactly what intentions Defoe had when he wrote it. We know from the preface that he used Crusoe's character to project his ideas about the world and the direction of society; which to me should be the goal of every great writer.

At the time when Robinson Crusoe was written, the very concept of a fictional novel was a radical concept in it of itself. Although we as humans have always had an innate desire for storytelling, this particular medium had not yet developed. Furthermore, novels acquired just as much controversy as movies would at the birth of the film industry. The risk Defoe and other writers took at this time, and still take today, points to the fact that fiction is an important genre which allows us to reflect upon the questions that we all long to answer.

Let's look at one of my favorite pieces of fiction in both literature and cinema: Cormac McCarthy's best-selling novel No Country For Old Men, adapted into an Academy Award Winning film by Joel and Ethan Coen. Not only is this story a grotesquely intriguing tale of vengeance and mystery, but the manner in which it is presented enables us to examine the depths of our capacity for evil.

A common aspect of fiction is the idea that there are two sides to us all, which is explored in McCarthy's novel and the Coen Brothers' film. The moral implications of us possessing a split personality can be portrayed in numerous ways, as seen throughout a multitude of fictitious works. Because fiction has such an appeal to a wide range of audiences, writers and filmmakers are able to use it as a gateway to express their ideas regarding the nature of good and evil, along with a variety of other subjects.

My concern is that because so much of our society is easily wooed by anything (Hunger Games has the linguistic level of a 12 year-old), I'm afraid people fail to recognize the power of this genre. Too many make a conscious decision to turn their minds off when going to the movies or reading books, which lowers the bar for quality fiction.

Hence, my hope is that writers won't allow society's idea of good fantasy (crappy vampire romance), and good science fiction (a poorly written futuristic Lord of the Flies), to influence them.

Season Finale of Falling Skies

Sorry I'm a week late, but I wanted to comment on season two of this TNT series. Just to give you a heads up, you kinda have to be a fan of the show in order to really understand my points in this post.

First off, I wanna say how epic this season was; and how there were so many components which culminated together in an effective manner to develop the story. The states of both each character and of the 2nd Mass as a whole have changed dramatically since the show began. Karen's gone bad, Ben's off on his own, Matt's growing up, Tom and Anne are about to bring a kid into this broken world, and many members of the resistance have fallen. It's a wonder why I love this show.

Before I delve into various aspects of the plot and character relationships, let me go ahead and share my thoughts regarding the cliffhanger at the end of the last episode.

Is this new alien a friend or foe? Personally, I have no doubt that this newcomer is seeking to align with the humans. Let's look at what takes place right before its arrival. Tom and Captain Weaver assemble a team to launch an assault on the Overlord, and destroy a weapon which the Rebel Skitters informed them of. The mission was successful, and whatever species' the weapon was targeting are now safe. Given that we were unaware of there being alien life forms with intentions of helping the 2nd Mass until this season, I see no reason not to expand on this plotline.

Furthermore, if this alien was an enemy of the resistance, it wouldn't have hesitated to attack the base at Charleston as soon as it encountered the humans. We've seen that the antagonists of this story are ruthless war-mongerers with virtually no diplomatic principles. I'm betting this character is a fugitive of the Overlord's government, whose species was saved because of the 2nd Mass' heroic feat.

That being said, let's look at a few other aspects of this climactic season.

One of the most intriguing elements of the last few episodes has been watching Ben's character develop. His internal struggle is one of the most pivotal conflicts in the series, as it reflects many of the motifs presented. Still traumatized by his imprisonement and being harnessed by the Skitters, he sees himself as a danger to the 2nd Mass altogether. His relationships are strained, particularly his with Hal; and he feels quite lost in the search for his identity. Both the writers and Connor Jessup's performance have really complimented one another in exploring the depths of this troubled adolescent.

While it was a bit predictable, I'm glad Remi Aubuchon decided to have Anne get pregnant at the series finale. The very idea of bringing a kid into this apocalyptic society is a frightening concept in it of itself, especially because Tom has no intentions of staying in Charleston and ceasing to fight. Now that he has a fourth child on the way, I have no doubt every component of his character will be tested in season three. Although raising this child will be met with many challenges, it nevertheless sheds some light into the story. The fact that Tom and Anne have managed to find love among one another is an important factor. Perhaps this event is an opportunity to establish a new life in the midst of so much darkness.

There were many other things about this season which I loved as well. The concept of Charleston was introduced at just the right time, and there was a great build-up to it before the resistance finally reached the colony. I liked how they incorporated a lot of 1984 type themes into the last two episodes, and the tensions among ManChester's government and the 2nd Mass made the conflict all the more intense (especially since Pope refused to listen to anyone).

It was sad to see some great characters go, but there deaths served a significant purpose towards the story nonetheless. Jimmy, Jamal, and Dai were all strong warriors who died honorably. And if you watch any other shows or movies like this, you know they won't be the last.

I could ramble about this series all day long, but these are the highlights of what I wanted to say. Even though we do have to wait until next summer for season three, I think it'll definitely be worth the wait. Until then, keep the resistance strong.