"Silver Linings Playboy" :Unlikely Bipolar Romance

Mental illness can be easily overdone or overly unrealistic in films, some depictions of individuals suffering from these are caricatures, lacking subtlety and humanity. These complex characters have many emotional shades and peculiar nuances; therefore, it is a difficult challenge for both actors and directors to achieve a believable, compelling, and engaging performance. Dramatization of the lives of people overwhelmed with such disorders is inevitable, but to find the brighter, comedic and heartwarming moments in them is a fulfilling achievement. In David O. Russell's new film Silver Linings Playbook all these aspects of characters suffering from bipolar disorders are present, beautifully executed, and smartly entertaining. The story is as compelling as it is plagued with emotions that expand from extreme anger to the purest love. A rewarding experience courtesy of the brilliant cast selection and the talent of the director to guide them into such human and vivid performances. David O. Russell graciously develops a romantic comedy that feels original, touching and sparkled with dark humor. He employs multi-dimensional characters that never feel flat or fabricated, instead they feel improvised, spur of the moment reactions that are already a trademark in the filmmaker's previous work.

Pat Solitano (Bradley Cooper) is coming after spending months at a mental facility because of an attack on his wife's lover. Empowered with a new attitude of unrealistic optimism, he decide, dementedly,  that the only way to save his marriage is to show his cheating-wife that he has changed. Pat has suffered from bipolar disorder his whole life but only after such incident was he diagnosed. From this premise the film might sound like a melancholic dramatic piece, but it is mile away from it; on the contrary, it packs irreverent humor in every line. Pat's father ,Pat Senior (Robert De Niro) carries his own compulsive baggage, a superstitious football fan who is perhaps the best point of reference for the origin of Patty's illness. In his quest to get a chance at getting the restraining order his wife placed on him lifted , Pat decides to get in physical shape by running around the block, and tuning up his mind by attending regular therapy, although he refuses to take his dozing medication. When Pat is invited by an old friend for dinner he meets the also unbalanced, pill-user, bipolar-darling Tiffany, with whom an instant "disconnection" is formed. Tiffany pushes herself into Pat's life, following him around and opening up to him, even if this result counterproductive because of Pal's inability to easily empathize or behave by social conventions. Nevertheless, Pat's interest in Tiffany grows as she informs him she can be the link to reach his wife through letters; however Tiffany wants something in return. In exchange for her very unlikely help, she asks for Pat to be her partner in a dancing competition, and with this the "dramedy"escalates in both of their lives.

Silver Linings is a joyous study of madness and sanity, what is really crazy? is love really a cure for such frantic way of thinking as that of Pat?, or is love itself the most insane, unstable, and dangerous emotional state of them all? With the help of a magnificent script the cast gets a chance at some of the best performances in their careers. Bradley Cooper is a rediscovery, fresh, fragile, child-like, pure emotion, his acting skills are put to the test in the role of a real person. Not a ladies man, or an action figure, but a broken, ill and hopeful man at the twilight of what he has known, trying to rebuild a past that cannot be. Yet, Cooper is obliviously funny, his fast paced speech and irrational outbursts of anger really get under your skin, where he becomes relatable. It would be a very sad surprise if he doesn't land an Academy Award at the very least. As Pat's father , De Niro reinvents his image and reminds us of the reason for his iconic status. A father who is as lost as his kid, who truthfully desires to connect and help, but doesn't know how. Indeed De Niro is hilarious, neurotic and very fatherly indeed, a great companion to the also precise performance by Jacki Weaver as Cooper's mother.

Now the performance that has generated lots of talk. Jennifer Lawrence as Tiffany validates her status as a great newcomer with an Academy Award nomination already on her record. Tiffany is a tough cookie, devastated after her husband's death she seeks consolation in the sexual attention of various men. She is lonely, furious and eager to feel loved again, she finds in Pat someone as messed up as her, or even worse. Their deficiencies make them prime partners. Lawrence is sweet and demented, unpredictable and unsafely impulsive, but still carries a good heart. She falls for Pat in a passive aggressive manner, hoping for him to realize their only chance at "fairytale" happiness is with each other. Her work sets her apart from many other roles this year because she never appears over the top or forced, every emotion registers as organic and that is really a talent. She is so far the front runner for most Awards, and given the fact that smart "Rom-Coms" haven't won much praised since the days of Annie Hall and When Harry Met Sally , this might her winning role. Probably that is where her edge comes from, there is other ,perhaps, stronger dramatic performances, but the fact that her role is a blend between a well-carried comedy and a mental-illness-drams gives her a push up.

David O. Russell is back with maybe his greatest work to date. A crowd-pleaser story that is a nurturing ground for the actors in it. Smart and funny, with a a few questionable visual choices: out of place zoom-outs and strange dolly shots, but nothing too far off to take from the overall achievement. A great time at the movies, for dance lover, for football fans, for acting nerds, for all moviegoers. One of the best films of the years, and surely the best Romantic comedy in ages. Out in theaters now. Grade A+

"The Impossible": Real Miracles From Devastating Loss

Disaster films have the difficult task of creating a balance between the visual effects to depict massive catastrophes, and the necessary human story to connect with the audience. Many times this balance is not achieved, and the tone of such films is undefined. Some rely heavily on the shock value of the destruction exposed on screen, forgetting to give us a reason to care for the characters. James Cameron's Titanic became such an iconic film because it encompassed the astonishing chaos of the sinking ship and a heartfelt story between two unlikely lovers. Without empathy for the victims then the disaster itself becomes irrelevant.

Most of these films are crafted from hypothetical stories of what could happen e.g. The Day After Tomorrow, Armageddon, Independence Day. Usually futuristic story lines in which there is always a way to prevent the imminent from occurring. This is when the new film by  Spanish director J.A. Bayona has an edge. The Impossible is based on the unimaginable true events that a Spanish family experienced during the 2004 mega-tsunami in Southeast Asia. The fact that, according to Bayona an scriptwriter Sergio G. Sanchez, everything on screen really happened to the real life characters, makes the film even more heartwrenching and memorable. Using a mixture of innovative, one-of-a-kind special effects technologies, with CGI and miniature models; the film is truly a fantastic accomplishment. It recreates the events with such clarity and sensorial accuracy, the viewer is immerse in  this turmoil, saturated with raw emotion, inevitably moving.

In the film the Spanish family is replaced by an English one. Probably Bayona's only choice to secure financing for the film and an A-list cast. The family is formed by Henry (Ewan McGregor), Maria (Naomi Watts), oldest son Lucas (Tom Holland) , Thomas (Samuel Joslin), and Simon (Oaklee Pendergast). They arrive in Thailand a couple days before Christmas in 2004 to enjoy the exotic vistas, ancient festivals and tropical weather; as many other western tourist in the region. On December 26th, as the family is enjoying a day at the pool in their beach side hotel, the most atrocious tsunami in recorded history hits the coast, and rises enormous waves that ravage, and nearly erased the landscape of a great part of the Southeast Asian coasts. In the midst of such madness the family is separated but manages to survive. Maria and Thomas are forced to fight for their life despite their injuries and the horrific experience they endured. Relying on their own perseverance they manage to be get the severely injured Maria to a hospital. Meanwhile Henry and the other boys, unaware of the fate of their loved ones, search restlessly to find any clues on their whereabouts. One family's quest to reunite speaks of the disaster as a whole, and the unbreakable quality of the human spirit. It is cinema at its most powerful, visceral, emotionally affecting, beautifully heartbreaking, and real.

For the first time ever in my movie-going experience, I heard people sobbing, and tearing while the film played. Uncontainable emotions that are the result of the great craft and honesty with which Bayona, his cast and crew, created this movie. The special effects that immerse you into such powerful and violent force of nature, and the flawless performances that likewise make you a witness of the strength that the will to live has in all of us. First off, Naomi Watts as Maria, delivers the performance of her career. As a mother that is at once vulnerable and broken, but still fiercely refuses to lose her dignity and humanity in the middle of such adversity. Brutally injured and broken she must still set an example of compassion for her oldest son by rescuing a lost infant, and being humbly grateful to the locals that help her. Naomi Watts is raw, and every bit believable, never wallowing in the daunting circumstances but restrained, when the emotions are finally let out it its to say the least, powerful. It would be a shame that such a performance is ignored by the upcoming award nominations, but in her own right Watts has shown a different and profound character that aims to portray  a real life mother in the same situations. She loses all glamour, banal concerns, or generic acting conventions to leave a piece of herself on the screen, just remarkable. An Oscar contender undoubtedly.

The rest of the cast deserves very well earned praise. Ewan McGregor becomes a father with a mission, battling against all odds to find the other half of his family; while remaining strong for his two smaller children. He makes the difficult decision to let them go in order to blindly search for Maria and Thomas. In a crucial scene he must call home to let his family of their disappearance, and here is when McGregor delivers and moves with tender heartbreak. Of the child actors the one that stands out is Tom Holland as the brave Lucas who relentlessly cares for his mother while helping the other victims in need, a kid that in a matter of seconds must become and adult to save his life. All these amazing actors are helped by the splendid direction of Bayona, who blends his surreal devastation sequences and vistas, with the tragical story of the triumph of the human spirit. A respectful tribute to the lives of the survivors and the victims. Shot on location with real survivors as extras, and utilizing the most realistic practical effects possible, The Impossible is a knockout of a film. Impossible to believe something like this happened in real life, and almost impossible to think this family's miraculous ordeal.

An experience that is hard to shake once the film is done but one that must be cherish as it reminds us of what the essence of humanity is. That certain something that makes us thrive, love, and persevere against the most infamous of obstacles. Certainly one the most touching times I've ever had at the movies. Out this December just in time for Award Season. Grade A+

"Skyfall" :Bond's Origins or The Sharp Knight

In the pantheon of emblematic fictional heroes, James Bond has a  premier position. If you stack him up only against his compatriots then his ranking is much higher, perhaps his only competitor could be Sherlock Holmes. Although, Holmes has been resurrected in recent years played by Robert Downey Jr., his scope is merely visible in comparison with the gadget-savvy-timeless spy. Indeed 007 has been around the world's screens since 1962, fifty years of classy espionage that one way or another have endured the forces of time. A franchise that has reinvented itself endless times, sometimes unsuccessfully, and which along the bomb-paved road has acquired it's very own peculiar conventions. The quintessential Bond devices that have evolved with the films, and the must-have "Bond Girl" who at times can be an ally, or a lover, or the actual enemy.In regards to the agents nemesis, it is important to note that such villains are many times the heart of the film, which makes Bond nothing short of a mortal superhero. Every hero needs his maniacal foes. The role of the agent himself is of course crucial, and in half a century it has gone from Sean Connery to Daniel Craig, passing through Pierce Brosnan, Timothy Dalton, among others. Living up to it's noir/ literary conception, the character is complex. Bond is enigmatic, a lover with no intention to settle down, with obscure motivations, and a mechanical devotion to stop the always-inventive evil of the world. To shine some light on such prodigy, the franchise has recruited Sam Mendes; to make us forget the already forgettable Quantum of Solace, and to properly celebrate the impressive anniversary with a bang, or many.

In "Skyfall" MI6, Bond (Daniel Craig) included, must adapt to the new threats of the technology-dependent world. The film starts with one of the greatest Bond sequences in memory, set in Istanbul, this opening showcase of action-packed madness sets the mood for what comes after. From the rooftops of the bazaar, to a tractor on top of a moving, and car crashes galore, this really makes you hold on to the edge of your seat. Bond must retrieve a list of classified names from an enemy spy, even if this means "faking" his own dead. What follows is one of the most exquisite title sequences I've ever seen, accompanied by Adele's performance of the homonymous song, it just impressive, fitting, and visually arresting. During 007's absence his boss M. (Judi Dench) is faced with the idea of retiring as her superiors perceived the way she does things is too old fashioned and dangerous. After the headquarters of MI6 are the victim of a terrorist bombing, M. must reconsider her place in the service, and must find the responsible party for such acts. Things escalate as the identities of her agents is revealed via Internet, putting everyone at risk and infuriating the British government. Timely enough, Bond, James Bond, comes back from the shadows to finish his job. Older now, and with much more physical and emotional baggage, the agent is given a leap of faith from M. despite his limitations. From this point on Bond must travel the world to seek the man behind these crimes, who is none other than Raoul Silva (Javier Bardem), a former agent seeking revenge. London suffers the consequences of the battle between the two, trains destroyed, building on fire, and a courtroom massacre are part of the tally. Then the film takes into the genesis of the protagonist, and how M. fits in to the equation,not without giving the audience an epic resolution.

The film is just a great marriage of blockbuster production with smart writing. Judi Dench delivers a more than memorable performance, witty, restrained, but with a very strange layer of motherly love, very comedic at times, but always believable in her role as a leader with nerves of steel. Even though there is not a clear female sidekick for Bond in the film, M. appears to be the "Bond Girl" this time around being the bridge between the emotional and the heroic Bond. Daniel Craig repeating for the third time as the Tom Ford-suit-wearing agent has the part down, a girl-magnet that is also a cynic, and a lonely soul at heart. Craig's Bond has an edge, it loses the charm that Pierce Brosnan provided, but it works better for the tone of the films, a more somber, introverted hero with incomprehensible motives. However, if there is someone that steals the scenes and the audience's attention is the maniacal, sexually-ambiguous Silva, played beautifully by Bardem. A mixture of Hannibal Lecter and Heath Ledger's Joker, demented, psychopathic but with a peacefully dangerous demeanor, whose only purpose is to infringe pain and destroy. The film has a heavy dose of smart and precise humor within the seriousness of the situations.

"Skyfall" more than anything serves as a film to expose the origins of the character, which, although not too on the nose, can be closely related to those of Bruce Wayne. An orphan kid who has an epiphany and changes the course of his life to fight crime. Not taking those details as a flaw, but as a connection to what audiences find intriguing about such heroes with an obscure beginning, the story of James bond or perhaps "The Sharp Knight" of England, gains ground as a more human tale. James Bond is indeed a gentleman, as Wayne is, they are both mortal heroes, depending only on their physical endurance and the high-tech gadgets at their disposal. For all the have in common, Bond relies on his British heritage to be the sharp, well-dressed hero without a mask, a real human being whose only shield are his secrets.The film reunites 007 with his classic Aston Martin, and makes fun of itself mentioning the flamboyant gadgets from which the franchise is famous for e.g. exploding pens.

Sam Mendes deserves the praise for this compelling, deeply entertaining, crow-pleasing Bond film. A new spirit has been implanted into he franchise, one that cohesively incorporate the classic charm and elegance of Bond's hometown, with the roaring place of technology in the modern world. Mendes stays loyal to the set conventions of Bond, but adds an edge that feels fresh, which gets people exited for a Bond film again. For all the comparisons, and the small details that people might nitpick, the film is one that must be watched in the big screen for its full effect to be received. Bond is back, hopefully for another 50 years of classy, mesmerizing, fun, and intelligent action film. In theaters tomorrow. Grade A.

"After Lucia" : Silent Suffering Of A Martyr Daughter

In recent years Mexico's cinema has had a sort of Renaissance that has allowed it to diversify more than in any other time. There is the usual easily digestible local comedies, more recently a few horror films, love stories, and then the smaller but very precise "art house" niche that has transcended the local praise to become renowned around the world. The best example perhaps are the crude, poetic, and sometimes experimental films by auteur Carlos Reygadas, who has an eye for the stories of the outcasts, or marginalized characters in Mexican society. On the other hand we have the newest face of psychologically complex Mexican dramas, Michel Franco. With his previous film "Daniel & Ana", he demonstrated his predilection for stories that stray from the rural to focus on the stories of wealthy Mexican families, and the humanity he finds in them despite their privileged position. In his first feature he tells the story of two siblings from a well-off family in Mexico City, who are kidnapped and forced to do despicable acts in front of a camera to sell on some sort of underground pornographic industry. Crude, but very haunting, as the film is more about the aftermath than the act itself. Walking on familiar road, Franco returns with his sophomore feature "After Lucia", which is a story about suffering in silence, victimization, bullying, and inevitably, revenge. A simple plot at first look, but layered with subjectivity and enhanced by a devastating performance by the lead actress Tessa Ia Gonzalez Norvid. A film that will scar,provoke, infuriated and perhaps even make the audience uneasy with its brutal resolution.

Moving from small town Puerto Vallarta to Mexico City seems like the right decision for Roberto (Hernan Mendoza) after the death of his wife Lucia in a car accident. Roberto and his daughter Alejandra (Tessa Ia Gonzalez Norvid) try to adapt to life in the new big city while they silently mourn the death of their loved one. Alejandra begins attending a private high school where she makes "friends" who at first seem very welcoming and caring. On his part, Roberto, a chef, finds a job at a high-end restaurant, and though he seems to be ok, the emotional damage he accumulates slowly takes over him. As Alejandra deepens her relationship with her classmates, teenage drama turns into extreme violence and psychological torment due to the spread of a sexual video in which she is involved. Quietly restrained,Alejandra hides the vicious acts from her father as to protect him from even more pain. They both play different characters around each other, but outside their home,  Roberto's violent behavior escalates as Alejandra's tormentors completely break her spirit. When the group of teens take a trip to a beach resort, Alejandra goes missing, her classmates/tormentors must confess to their crimes, and the film takes a turn that will linger with audience until the last shot.

Alejandra becomes a sort of martyr, suffering in silence is the most selfless thing she can do for her father, at least in her mind. Pretending to be happy, and even subtly taking on her mother's role, cooking for him, wearing her dresses, or even encouraging him to find love again. The film is full with small, weaved-in details about the characters and their state of mind. Many times the film includes shots from inside a car, as if to become a motif to represent Lucia and her tragic death. It is revealed  that Alejandra was involved in the accidental passing of her mother, thus her guilt is not shown but vividly present in her behavior. This vulnerability is ceased by her school's bullies who bank on anything to humiliate her, and abuse her. The film is much more than a narrative PSA on bullying; although it is a big driving force for the film, the story is much more psychologically complex. Franco explores the lack of trust between parents and children, the secrecy that allows bullies to exist, and above all, the unresolved sadness and grieving that separated Roberto and Alejandra emotionally. Lucia's death was the beginning to the unraveling of their distancing, for which I think the film's title is extremely fitting.what happens after one is gone? and how it forever changes the lives of those around us.

The authenticity of the film relies on its amazing cast, from violently subtle Hernan Mendoza as Roberto, to the young ensemble cast that played Alejandra's classmates. Nevertheless, it is evident that the star of the film Gonzalez Norvid gives a performance not to be forgotten easily. Natural, nuanced, innocent, and broken, as Alejandra she becomes a sort of Joan of Arc from Dreyer's film. Suffering alone in the company of her father, to save him, a sacrificial sheep for the enjoyment of her peers. The film also thrives on the magnificent visuals and evocative landscapes of the ocean as if to show us the only place where Alejandra can be free. In the final twist at sea, the cinematography adds a pessimistic tone to the scene that can only be understood as the lack of true justice and the cyclical temper of violence. Franco has become an auteur that can create stories that are rich in their exploration of human emotions and societal rules, a visionary point of view that sets him apart from his contemporary filmmakers.

Winner of Un Certain Regard in Cannes this year, and chosen as Mexico's Foreign Language Oscar Submission this year, "After Lucia" will anger and move the audience, it will definitely strike a chord with anyone that has ever been bullied, and it will shine some light on the now acceptable tendency to pick on the weak  to prove ones value. A magnificent film that I hope finds a wider audience worldwide in the upcoming months. Grade A+

"Wreck-it Ralph" : An Arcade Villain Seeks Redemption

For a while now, Disney has deviated from its tradition of films based on classic tales, or princess inspired plots. Probably to fit in with the demands of a new type of audience, kids are now technology-savvy, and they live surrounded by high-tech devices, and digital universes, which makes it harder to evoke in them any sort of amusement with old school cartoons. Therefore, it appears as a logical choice to create a story than involves the world of video games as the arena for a heartwarming story with the familiar theme of "be-yourself". Kid friendly films have become edgier and edgier each year, what might have seem inconceivable a decade ago, its now widely accepted as "appropriate", and adult are taken into account for this films  as much as children.  Director Rich Moore, whose background includes the adult-oriented animated series The Simpsons, Futurama, and the outrageous Drawn Together, seems like a prime candidate for the task of creating a cameo-packed, 90's childhood satire, product placement darling animated feature. In his feature film debut "Wreck-it Ralph" , he had to tone down the sexually deviant, and extremely violent situations of his previous work. Nevertheless, there is various glimpses here of his tonal style and pop-culture flavor.

The protagonist in the film is a video game bad guy who is tired of being defined by his line of work. Wreck-it Ralph (voice by John C. Reilly) wants to know how it feels  to be the hero for once, instead of being thrown out from a roof everyday and never getting credit for it. His counter part in the game is Fix-it Felix Jr. (Jack McBrayer) enjoys being the good guy but also feels like his personalty defines him, including his power to "fix" everything he touches, at times is more a course than a blessing. They are both part of a bigger gamin universe that involves all the games in the arcade, connected by a central station that has its own rules: If you die outside your game, you don't regenerate. Ralph desperate to fit in decides to leave his game in the quest of a medal that will prove to his game dwellers, that his indeed a good guy. On the road he finds a Call Of Duty-like game that seems like his way to a medal. Once he has his prize, Ralph finds himself trapped in a girly, pink-hued candy world named Sugar Rush, where he meets the tomboyish, sassy Vanellope (Sarah Silverman). This rowdy little girl needs Ralph's help to win a race that will give her back her status as part of the game. The charming relationship of these two misfits is almost like a father-daughter love, and really is enhanced by the amazing job Reilly and Silverman do. The villain here is King Candy, a seemingly nice ruler that hides a very dark, and not so sweet past. Aide by Fix-it Felix, and Jane Lynch as Sergeant Tamora Jean, Ralph and Vanellope will try to earn the place they deserve in the video game
world.

The film is a nostalgic bonanza. There is plenty of great cameos by video game celebrities from Street Fighter, to Sonic, and Pac-Man. It is an homage to those great games for those of us who grew up in the 80's and 90's. The vision and inner workings of the video game world are also very clever, characters traveling through the chords, connected to greater realm of games, and the great illusion of temporary death in the digital world. "Wreck-it Ralph" appeals to those great memories, and find its greatest moments in the back-and forth spit talk between Ralph and Vaneloppe, but sadly there are some "glitches" in the code of the film. There is an excessive amount of ads here, product placement at its most clever. Sure, one cant think of childhood without the love for candy, but here it becomes so obvious its sort of offensive. A cup from Subway, clearly at view for a couple seconds in the arcade, a clearly labeled Nestquick river, a cherry coke bottle-shape mountain, dancing Oreo cookies, a laffy-taffy jungle, all called by their brand name, with no intention of being subtle about it. Honestly, seems like a too-clever, unethical way to get business out of kid-friendly film. Besides that, to counterpoint the exaltment of consumerism, there is a very pushy reinforcement of the "be-yourself" policy that is well known in these type of films. Nevertheless, on the positive side there is very memorable scenes, like the group therapy session for bad guys at the beginning of the film, and the unlikely romance between Fix-it Felix and Lynch's character. It is nice to see that adults get thrown a couple gags in the film too, that despite its flaws, it is entertaining.

With a well thought-out concept, inventive characters, and hilarious situations, "Wreck-it Ralph" its a good addition to the Disney family, perhaps it will not be as memorable as this year's "Frankenweenie" but still will be a good choice for a trip to the movies. At times with signals of not so kid-friendly jokes ( when a villain rips a zombie's heart out to prove a point), but with enough sweetness and a bit of spice to be enjoyable for all ages. If you can make your kids not want candy or any other product advertised here, during or after the movie, then go ahead and enjoy the ride. Now out in theaters. Grade B+

"Elena": Murderous Rightful Heir

Hollywood loves to explore the boundaries and limits of the human morality and spirit. Usually with extreme situations that turn mundane days into life-or-death dilemmas. Someone has to stop a train from crashing, or an asteroid from destroying the Earth, or doing the humanly impossible to save the love of their life. When everyday necessities are taken for granted, we need bigger and wilder risky events to test the characters and the audience, in order to question  them how far would they go to get what they want. Andrey Zvyagintsev is a Russian filmmaker who enjoys placing his characters in situations that command them to make difficult choices to survive; however, his character's distress is way more grounded in reality, sometimes a bit too much. His family dramas show a different face of Russian  modern society. Away from the rural settings, Zygaintsev is more preoccupied with class withing urban Moscow. The distribution of wealth is crucial in his most recent film "Elena' , a story about who-deserves-what, and how far would someone go to take "justice" in their own hands. Zvyagintsev, as in his previous "The Return", likes to discuss the responsibility of parental figures in the lives of their children. In "Elena" the descendants from both sides of the story seem entitled, and behave like all-consuming parasites; but for a mother, the blind love for her children is such an unquestionable truth that surpasses any ethical conventions.

Elena (Nadezhda Markina) lives in the better part of Moscow, in a state of the art flat that is provided by her husband/patient  Vladimir (Andrey Smirnov), who is a rich man that met Elena as she was taking care of him as his nurse. Their marriage is a clash between classes. She is a working class woman, and he is a cynical millionaire. Although it seems like Elena is well adapted to her life in the suburbs, she still must go back to the bad part of town where her son's family lives. Elena is torn between the comfort she enjoys, and the precarious situations his son and grandchildren must endure. Inevitably, as most mothers would, she tries to help them financially, but when it becomes too much for her she decides to ask her husband for additional funds. Vladimir argues that she shouldn't finance her son's life, that as a grown man he must provide for his family. The contradiction here, is that Vladimir also has an older daughter from his previous marriage, who he supports and grants all material desires. As Vladimir falls sick and decides to write a will that will not be in favor of Elena, she must take extreme measures to make sure this doesn't happen. Katerina (Elena Lyadova), Vladimir's daughter, and Sergey (Aleksey Rozin), Elena's son are not so different. They are both purposeless adults that clench on their parents to advance, in the end its hard to say if justice was served in the film, as neither of them seem deserving of Vladimir's fortune or Elena's sacrifice.

Zvyagintsev creates a concise drama about the destiny of those in the outskirts of the economic spectrum, and the disconnect with those well-off. Markina's character serves as a bridge between the two, living in a spacious penthouse, while going back to an impoverished apartment complex, barely suitable for living. Elena's tormentous decision is made in part to be able to afford a college education for her grandson, who we see might end up in a life of crime if he doesn't get a chance. In a sense she is trying to revert what happened with her own Sergey, who became a entitled man, one more in the unemployment line. Whose fault is it? The government's? Society's? The parents'? In a crucial scene that might at first seem out of place. As Elena comes to Sergey to inform him of the "good news", Aleksandr, her grandson, is seen taking part of a violent gang fight from which he manages to escape alive. It makes the audience wonder what would happen with all those young men. The film's theme is more much universal, the abandoned youth of every country are the ones who reinforced the lines of crime, or those who must face  unproductive lives, because they were depraved from the start of a chance at escalating the social ladder. Then from this point of view Elena becomes a redemptive force, a sort of Robin Hood character in modern Russian society, but at what cost?, she is indeed the murderous rightful heir. The film succeeds at provoking questions like such, thus inquiring on our moral definitions of right and wrong. Well acted, specially Markina as Elena, and with intriguing visuals underscored by a mysterious soundtrack, the film is a great gem in the vault of modern Russian cinema.

Overall, the film works as a social meditation on class and responsibility, but it seems as if sometimes its solemn tone takes the best from it, and places it in an all-too-real place that doesn't always work for it. I believe that if Russia would focus its efforts in promoting smaller, more intimate films like this in the world's cinematic stage they would be more successful. In recent years they have attempted to promote Hollywoodesque action/sci-fi productions that don't always sit well with foreign audiences. Perhaps if they take a look at the core of the Russian emotional state in film, they could find a great niche of stories like the one that is depicted in "Elena". Out on DVD now, and also to watch instantly on Netflix. Grade B+

"The Perks Of Being A Wallflower" : A Beautiful Song In The Mixtape Of Life

One of the most common complaints from moviegoers is related to films that are based on novels. Most people agree that the book its always better, more detailed, etc. They failed to understand how different theses two mediums are. Their conventions, strengths,  and length make them unique in their own right. However,  it is true that most book-to-film adaptations lose most of the details, and are summarize into a couple hours. Even with this, the essence should still be there. When the essence of the story seems too far from the original material, it might be due to the process that goes into the adaptation. An author writes the original novel, then someone must translate that into a script, and then most of the time, another person will direct the film. This ends up creating a product that is now a mixture of the visions, ideas, and opinions of more than just the original author. It becomes a collaborative piece from its conception, and probably the author is not always satisfied with the portrayal of its characters on the screen.

This scenario does not apply to the film adaptation of "The Perks of Being a Wallflower", simply because the entire process from novel, to script, to film was headed by the same individual, keeping the soul of the story intact. This is a rare case, but a marvelous one for Stephen Chbosky who wrote the novel by the same title released in 1999. 13 years later he was able to adapt his own book into a script, and then direct it himself, which is perhaps the biggest accomplishment. The film never feels like a directorial debut, but like a beautifully crafted film  that emanates truth and vivid emotion. Keeping the literary nature of the story, but never sacrificing the need for a cinematic vision, Chbosky has become a storyteller that can cross the boundaries between paper and moving images. To settle down any speculation, right off the bat I must admit I loved the film, and it is by far one of the most rewarding emotional experiences I've had at the movies all year.What could have seem like one more run of the mill, coming of age, underdog, high school romance film, becomes a moving, hilarious, heartwarming ensemble piece. Needless to say, the film is the best example of a "wallflower" , not too flashy or extremely appealing at first, but once discovered, impossible to forget.

The film is an homage to adolescence in the 80's, but with timeless themes that resonate still today. Charlie ( Logan Lerman) is a quiet freshman in High School he seems to have had a rough past, and is emotionally fragile. Misunderstood like many at his age, he feels alone in a room full of people. His sister, brother, and ex-friends, seem to be too concerned with fitting in, and being liked. There is memories, and thoughts that haunt him, and that are only put to rest when he feels safe and loved by others. When he meets Patrick (Ezra Miller) at a football game, things start to change. He is introduced to Sam (Emma Watson) for whom he feels an instant connection. The trio starts developing a pure and loving friendship. Parties, drugs, fights, disappointments are all part of Charlie's real life education. Being the youngest of the group, he struggles with himself and his need to be liked by the older crowd. On the other hand Patrick faces a hidden homosexual relationship with a "macho"football player, while Sam pretends to turn her life around and go to college; while falling in love with the wrong guys. Charlie's love for Sam becomes his guiding light through the darkness in his past, and when the secrets are revealed, such love is the only thing that can save him from himself.

Logan Lerman is a REVELATION, his Charlie is a complex character which he plays beautifully. He is a mixture of hopelessness, and pure love, the kindest of them all, but with such pain inside that can make him dangerous. Lerman's character seeks desperately to be loved, and to show that he can love. He can really be defined by the most quotable line in the film "We accept the love we think we deserve", Charlie cant love himself until at last he meets his other broken half. This half is Emma Watson's Sam , who here shows she is much more as an actress than a magical kid icon. She is sleek, hurt, but radiant, and she has more in common with Charlie than she would like to admit. The chemistry is as good in the heartbreaking moments as in the glorious dance sequences. Last  but not least, there is Ezra Miller's show stopping character who delivers a performance to be remembered. Sassy, blunt, comedic and surely, broken as his other two teammates. Patrick is the shiniest star among the trio, and I assure you, he will steal the film in every scene. Such statement must be taken seriously as I have praised Lerman's flawless performance and Watson's incredible post-Potter breakthrough. Even Paul Rudd in a tiny role as Charlie's teacher feels tender and rings true. A grade "A" cast that will make you sigh, laugh, and more than likely even cry.

The perks of being a wallflower might be many, but here the biggest ones are the discovery of true friendship, and the most devoted love for those around you. Besides the endless cheerful, and hilarious moments, or the refreshing and original romance in this story full of 80's songs and mixtapes, Charlie truly is a beautiful song in the mixtape of life. That is Chbosky's greatest success, to create a character that comes from within him, from the original text to the screen, a real human being that is indeed "infinite". Still out in theaters. Grade A+

What To Watch? 0ct-16- Oct 29 2012. New to Blu-ray/DVD

Since the last couple weeks haven't seen that many important DVD releases, I have compiled the ones I reviewed in the past 2 weeks. They are a mixture of really good cinema, and just cliched manufactured pieces. The list includes the newest from Wes Anderson, a bit of foreign Balkan tradition, Apocalyptic romance, and surreal historical revisions. I could honestly say it is an eclectic mix.As usual the films are arranged by the grade they received. Here it is, take a look to see if you find something for you.

1. "Moonrise Kingdom"
The delightful coming of age tale by the great Wes Anderson. The story is full of violent innocence, and real emotion in a completely artificial reinvention of an East Coast island. With a great cast that includes Bruce Willis, Edward Norton, Bill Murray, and Tilda Swinton, the film is just an instant classic. Funny, touching, and a visual feast. The young leads are truly wonderful,  their loyalty for each other and pure love takes over the screen. Just a wonderful film. Grade A+

Read The Full Review Here
http://selective-vision.blogspot.com/2012/10/moonrise-kingdom-stylized-vision-of.html

2. "The Forgiveness Of Blood"
A tale about tradition, growing up, and the clash of the new with the ancient. In a small Albanian village a crime is committed that can only only be forgiven by spilling the blood of a male member of the opposite family.  As the patriarch of the family hides to save himself, the oldest siblings must face the consequences and change their lives because of their father's mistakes. Beautiful directed and acted, enlightening about a subject that might new for most, but at times very slow in its pace. Still a great watch for those like me who love films with substance. Grade B+

Read The Full Review Here
http://selective-vision.blogspot.com/2012/10/the-forgiveness-of-blood-balkan-honor.html

3. "Seeking A Friend For The End Of The World"
Starring Steve Carell and Kiera Knightley, the story its romantic comedy based on the premise that the world has three weeks before its destroyed by an asteroid. Since life and all its conventions loses its meaning, Dodger (Carell) decides to find the love of his life, and he doesn't even know how close it is. Penny (Knightley) is a free-spirited woman with a love for music, and who must find her family in the midst of chaos.  A couple good laughs, and  good touching ending makes this film a deserving choice for home viewing. Grade B.

Read The Full Review Here
http://selective-vision.blogspot.com/2012/10/seeking-friend-for-end-of-world.html

4. "Abraham Lincoln: Vampire Hunter"
A historical revision that includes vampires as the iconic president's enemies. Confederate, pro-slavery bloodsuckers that will try to take over the abolitionists. The film uses slow-motion action sequences in a deranged manner. The acting isn't really noteworthy, and the CGI seem as if it was done with not so much grace. For what its worth some of the action works, and a couple lines are memorable. But if you can, stay away from this as Bella would from garlic. Grade C-

Read The Full (Wacky) Review Here
http://selective-vision.blogspot.com/2012/10/abraham-lincoln-vampire-hunter-history.html

"Abraham Lincoln: Vampire Hunter" : History Rewritten By Confederate Bloodsuckers

The vampire craze of recent years seems to have killed the possibility of anything original coming from this horror sub-genre. After the democratization of vampires by the teen-friendly "Twilight"saga or the 'Vampire Diaries", it seems as if everything goes, and absurdity reigns when it comes to find the new bloodsucking blockbuster. However, to blend the rules of the undead with 19th century American history does seem a bit of a stretch. A real historical icon as Abraham Lincoln sure has to have many layers to his life story, but somehow that  didn't seem good enough for the screenwriters of the film "Abraham Lincoln: Vampire Hunter". The concept is of course deranged; and for some maybe even outrageously offensive, but the issue is not with exploring such deviant form of pseudo history. The problem here is the approach. If the film would accept the irrational nature of its premise and be wacky, satirical, or downright a parody of history, maybe it would have worked. Director Timur Bekmanbetov pretends to treat this with great seriousness, making the side story of paranormal  revenge an extension of Lincoln's fight to abolish slavery and unite the North with the South. Its theme of freedom and righteousness is overshadowed by excessive slow-motion action sequences, a bland cast, and second class CGI that never feels well incorporated. It becomes hard to turn off our disbelief and enjoy the film.

Employing a biographical approach to the life of the iconic president, played here by Benjamin Walker. We start from his childhood in which we find out why he hates vampires so much, besides the fact that apparently vampires are pro-slavery, one of them is responsible for the terrifying death of momma Lincoln. From here on the fiction and facts are so tangled and abstractly blended, a historian might have a heart attack by the time we are told that the twist here is that vampires cant kill each other. I'm sure Bella and Edward feel much safer now, but unfortunately this rules seem to only apply to 1800's Confederate America. Abraham meets his professor in the art of hunting the undead, and becomes an avid assassin waiting for his chance to take revenge. This is when the fire for justice is ignited, and with a very busy schedule, he is able to work as a shopkeeper, pursue the love of a woman, study to be a lawyer, and of course, chase Dracula's descendants. Once the Civil War becomes a reality, as expected the vampires will side with the slavery-friendly Confederate States, to fight the abolitionists. Silver in great quantities will be needed to win the ordeal. The resolution is a mix of what really happened, and evidently, a big dent to the lines of the vampire army. At least Lincoln remains a man of principle, even when he fights demons with an axe on top of a burning train. Surrealism just got a new name.

To its favor the film has some, and I must emphasize SOME, amusing action sequences. All of them conceived with an obsessive predilection for super slow motion, in which you can see every drop of blood falling... a million times. This visual gadget becomes very repetitive and cliched after a while, so the effect loses its charm. A couple of memorable lines form part of the script, not always from Lincoln but from his vampire ally who recited cool lines such as "A boy only gets this drunk when he wants to kiss a girl or kill man"Something cool to recite at a drunken party, because it easily erases any other possibility for a night that ends up in vomit and regrets. In lines like this and the cartoonish look of the bloodsucking creatures is where the film could have found some strength, and not in its unreal seriousness about itself. The acting is barely noteworthy, and the plot is just a usual quest sprinkled with history book leftovers and gore. The scariest part is the possibility of American youth perceiving  this with any historical accuracy. Although one must admit that if this gets kid talking about Lincoln as a cool superhero, then I guess it deserves some forgiveness.

For what its worth, the film is just deserving popcorn material. Steven Spielberg's Lincoln biopic will be a success just by the mere fact that it doesn't include vampires, and that sets the bar very low for the iconic director. So let us hope that his vision will erase this of a slasher Lincoln who fancies axe-murdering  monsters. If you must see it, try to be in a very, very, blank state of mind to find some enjoyment. Now out on Blu-ray/DVD. Grade C-

"Cloud Atlas" :Love As A Continuum Through Time

Cinema is a medium like no other. Sensorial, dream-like, moving vision of imagination, fiction and superlative forms of replicating life. Films have and will explore all areas of the human experience, and those that come from our wildest thoughts and fictional universes. In itself, the art form is already ambitious. It speaks to the most instantaneous of experiences, what we see and hear in the moment, which tells us a story, or evokes a feeling we have lived. Its mass appeal makes it popular, and yet full of possibilities to become something more than just visual accompaniment to pop corn. Some films have very specific purposes: to make us laugh, to ignite romance, or sadness. On the other hand, some attempt to decipher existence itself, to explore the meaning of human life, and most of the times they reach for more that they can assimilate. In recent memory the best example of a movie with aspirations of divine magnitude is Malick's "The Tree of Life", which is a masterpiece but a very difficult piece to watch. There is this esoteric mood throughout the film, that somehow binds together the small human narrative with the creation of life unfolding on screen.

Now, think of a narrative with this same hopes for greatness, but throw in metaphysical complications, love stories expanding centuries, numerous characters, and subplots galore. This is in a nutshell what the new film from the Wachowski siblings and Tom Tykwer tries to show us. "Cloud Atlas" based on the novel by the same name by David Mitchell, is indeed perhaps one of the most ambitious films ever made, and just for that deserves some praise. It brings to the screen a narrative so broken into different time periods from the 18th century to the present to a hundred years from now. Its message, a revelation of a sort of "butterfly effect" theory in which all good and evil, love and hatred we commit in our lives will ripple forever after. The way of connecting the stories is reminiscent of "The Hours" in which a character writes a book, another reads it, and a third one lives it, all in different time periods. However, "Cloud Atlas" is even more complicated in its interior mechanics, and thus is fails to be as cohesive as the example I mentioned. Extremely comedic at times, touching in crucial moments, and mind-blowing throughout. Some stories feel stronger than others, so it ends up being a collection of good choices and some missteps. Nothing is definitive, maybe due to the multiple  directorial approaches, sort of like a "Paris, Je T'aime/ New York I Love You"  in its fragmentation with a point of conjunction, in the case of "Atlas" love instead of a city.

In the film each storyline has its romance and its villain, thess are interchangeable. In a certain time Tom Hanks might play a scheming doctor, and then in a different life he might be an obnoxious writer. This speaks of the variable nature of destiny, and how we are all part of cycles that can be broken, no ones existence is entirely evil nor good. The only unalterable force in the universe is love. Halle Berry plays a feisty journalist who is about to uncover a terrible plot against humanity, then she becomes a futuristic amazon trying to,again, save her people. The most reliable thing in the film is the romance between Hank's and Berry's characters, a constant that drives the plot a little more safely than the rest of the wacky subplots. Other stories are connected by a book written and read in different times, and the letters of a gay love story that inspired a musical piece, which presumably gives title to the film. Another big point the film makes is the importance of freedom, from the devil, from our past, from authority. The best example is the futuristic story of android-like,second-class-slave-clon-waitress Sonmi-451 (Doona Bae) who "works", against her will of course, at a virtual restaurant in the post-apocalyptic Neo Seoul. She is rescued from her captivity by Hae-Joo Chang (Jim Sturgess) who sees her as humanity's only hope for salvation. She is a sort of messiah that will ignite a revolution to free mankind from a consumption-crazy, robotic government. These two will necessarily fall in love, and the story will also travel through time exploring other more known forms of slavery. If you are lost already then watch out, because there is at least another 5 side stories I have not mentioned, and that tangle with the story as a whole.

The stories might not always collide in a logical sense but one thing that the brilliant editing does, is the fact that the stories connect in emotional force. When violence or action happens in one time period it is matched with similar conflict many years apart. Just under 3 hours, the film is a puzzle to be discussed for hours. Like I mentioned, the editing here is just as important as anything else, it drives the film and makes sense of its monumental complexities. A highlight of this, is a brief scene in which the forbidden romance between the runaways in Neo Seoul is consummated in a evocative sex scene; juxtaposed with a no less explosive scene in which the homosexual lovers release their tension by breaking tableware. Very subtle but packed with meaning. Unfortunately, sometimes the film is overly silly, specially in the biggest flaw in it, at least in my eyes. The inclusion of a sort of green, gnome-looking devil in formal attire, who ridiculously tries to persuade one of Hank's characters to do evil. One wonders what where they thinking when that seemed like a good idea, perhaps something more subtle would have worked better as a satanic force. This, and some other overly comedic scenes make it hard to fall into the seriousness of it all. Elderly fugitives, a murdered book critic, or Halle Berry as a white woman, are just a few of the irreverent parts of the script. For all of what it does not so greatly, the film is very entertaining and the almost 180 minutes fly, as we never stop switching from a murderous plot to another. An extremely demanding film in terms of attention to keep up with the turns, but honestly offers some thought provoking views on life, love, freedom, and our connections with one another.

Forget all what you have learned about life and start anew with "Cloud Atlas", if you take it as many interconnected (somehow) vignettes , and take the best parts from each one, you might really find this enjoyable. The style of both the Wachowskis and Tykwer are present. The siblings' taste for the colorful, plastic and futuristic, a mix of their Matrix palette with some Tron/Avatar-inspired visuals. From the German director of cult indie classic "Run Lola Run" we take the intercutting of stories, the repetition of cycles, and the importance of uncommon forms of love like in his most recent film "3". A bonanza of different genres, stylistic visions, and tones , their collaboration is a collage of perhaps the best and worse of life. Now in theaters. Grade B.

"Seeking A Friend For The End Of The World" : Apocalyptic Love Catalyst

Some people tend to do good under pressure. When a deadline must be met we are forced to get the work done one way or another, leaving things till the last minute can be both a curse and a blessing. In modern society we tend to postpone the really important things, packing our agendas and schedules, never prioritizing the most meaningful events in our lives. What would happen if all material things, long term plans and responsibilities suddenly  lost meaning by the imminent destruction of civilization? Would we used this deadline and pressure to really seek what truly matters? Or would we reflect on our past failures and make amends? All societal expectations would vanish, moral codes, federal laws, the value of money and property. All of it useless. Being stripped of all the things that tie us down can be liberating, but also disturbing. As the countdown to the end of the world approaches, what would you do? This is the premise of Lorene Scafaria'a "dramedy" "Seeking a Friend for the End of the World", in the final days of humanity the meaning of life for her characters is very vague and they are send on a quest to seek closure; and maybe love for the first and last time in their lives. A film that at times feels full of extreme tonal changes, an apocalyptic romantic comedy that falls a bit short at times,but does hit some poignant notes. Two lost souls adrift in a world with no more hope, with a timed and dated sentence.However, in their story the Apocalypse seems like a sort of catalyst for love. When there is nothing left to lose, there is everything to gain.

The second the end of the world is announced by local radio, Dodger's (Steve Carell) wife leaves him and he must confront what he has done with his life. Always playing it safe, "dodging" anything that might create change or risk his passive existence, now faces guilt and regret for what could have been. Surrounded by people who take a different approach to spend their last days, a mixture of drug use, sexual misconduct, and a complete disregard for any moral code, Dodger feels lost. While contemplating suicide he is presented with an abandoned dog, which he baptizes as "Sorry" and once back home he meets Penny, (Kiera Knightley) a British hispter-looking young woman who seems rather disoriented herself. The two of them embark into an adventure to discover what really matters to them. Dodge decides he must find his High School sweetheart, while Penny needs to find a way back to England to see her family. As usual with road movies (although I must say this is a very peculiar one) they meet strange characters along the way including a trucker with a rather frightening secret, a devoted police officer, a group of raver-like waiters at a restaurant called Friendsy's, and one of Penny's Apocalypse-ready ex-boyfriends. The relationship between the two becomes a source of comfort, and although it seems unlikely, romance sparks. The ending is in a strange way satisfying; as it could have gone a different, more pleasant direction, but it doesn't compromise, and feels real. Although I must say the humor is rare in here, the story is touching, and a bit melancholic.

Steve Carell is good in his role, but it seems as if he has become typecasted into the passive aggressive, 40-something man who needs a change in his life but is inherently good at heart. Roles like those in " Dan In Real Life", "Dinner for Schmucks" or "Crazy Stupid Love" are on the same palette, and seem a bit rehearsed already. On the contrary, Kiera Knightley, who is the poster girl for English costume dramas based on literature, seems original and innovative as an actress here. Losing all the shiny clothing of the period pieces, she becomes the optimistic, warm, and free-spirited Penny. She is the completing piece to Dodger's life, as she mentions herself "opposites attract" just like her parents need each other to be whole. There is chemistry between the two leads, and that makes the film more enjoyable, getting more smiles than loud laughter, but still moving. The subject is already very relatable, as I'm sure we have all contemplate what would we do if our days where counted, but in Scafaria's script finding love seems to be the only thing that is worth doing while waiting for the end of the world.

We learn of Dodger's back story with his family, or his ex-wife, or of Penny's failed relationships and addiction to monogamy, but what is relevant is not their past but what is left of their lives. The closeness of the final hour serves as an eraser of all guilt as it all becomes meaningless. These two people have each other here and now, and even if the film fails in many instances, it is still a nice message. Not for those expecting a huge comedic feast, but maybe pleasant for the hopeless romantic who think its never too late for love...even if this is just 3 weeks before we are all turned to dust. Out in Blu-ray/DVD now. Grade B.

"ARGO" : Hollywood Artifice For International Relationships

The phrase "Based on a true story" gets tossed around way too often to advertise, and give movies some sort of credibility when the stories presented are so amazingly unreal, yet tied to a sort of factual event. This of course makes the film even more appealing for some, as many would say, reality most of the time surpasses fiction. Hollywood loves biopics and scripts loosely based on some great feat achieved by mere mortals, or the very famous "supernatural" event that is supposed to have been verified, by unknown sources, as real. All of these stories pretend to replicate, with a healthy dose of movie magic and plot revision, a slice of life. Furthermore, if such script involves a well known historical event, the need for realism and adherence to detail are crucial.

This interest for detail and resemblance to the actual people involved in such event, its notorious and gracefully pursued by director/lead actor Ben Affleck in his latest feature "ARGO". Using a now declassified CIA mission that involved a fake film production crew to rescue 6 American diplomats hiding in the Canadian ambassador's house during the hostage crisis in Iran. The film narrates a very complex event in American history that would forever chance its relationship with the Muslim World. However, the script is written in a very tactful manner that never demonizes Iran, and in fact puts some of the blame on the American government. Affleck presents the story as a study of mediatic influence on history, and how a ridiculous B-movie was the safest alternative to infiltrate the embassy and return the hostage homes. Full of suspense, acid humor, respect for both parts involved,and a feel of classic Hollywood, the film is impeccable, and well constructed, its only flaws are a few undeveloped subplots.

In a very concise but magnificent recap we are brought up to speed with the circumstances in Iranian history that bring us to the point in time in the film, 1979. Then the main event starts to unfold; a final, anger-based reaction from the Iranian people after the American government refused to extradite the ill, but guilty of many crimes, Shah. The taking of the embassy and the capture of hostages was an extreme decision, to say the least, from the Iranian civilians. In a desperate need to solve this, the Americans explored any possible escape route for the 6 diplomats that managed to escape the embassy.  This is where Tony Mendez (Affleck) comes in, working for the CIA he proposes to use a fake Hollywood Science Fiction production in search for an exotic location to repatriate the group in Iran. Crazy I know, even crazier the fact that this really happened. With the help of real life Oscar winning make-up artist John Chambers (John Goodman) and producer Lester Siegel (Alan Arkin), Mendez builds castles in the sky to make this film a fake reality. The tension in the film builds up right to the last seconds of the operation, and Affleck really delivers both as an actor, and even more noteworthy as a filmmaker. Comedic relief is provided by Arkin, and Bryan Cranston who plays Jack O'Donnell, Mendez's superior, both of whom know how to pack some punchlines into the drama. A petty complaint about the film is the undeveloped side story between Mendez and his family, who we only see shorty and which perhaps could have helped give Affleck's protagonist more soul.

The ending is deliciously predictable, the result is unavoidable but the road there is enjoyable and nerve-racking. It is a Hollywood film, about a fake film. Using the artifice of film to clandestinely fix international issues. The film comments on the truth in the images presented to us by media, whether printed, televised, or in cinemas. One character poses the question "Do you think its only for the cameras?", referring to the Iranian public demonstrations, questioning the magnitude of such images. What is manipulated? or enhanced to tamper with public opinion both here and in the Middle East? We are shown the same irrational anger from Americans infuriated by the hostage crisis, showing us how easily coerced we are to think one way or the other about an issue. Powerful stuff, and extremely relevant in our context. On the other hand the film is visually arresting, recreating Tehran with the Alborz Mountains included in the background, the busy bazaar, and the vistas of the Azadi Tower to top it off. The detail its exquisite both in setting and in creating a feel for how Iranians felt at that period in time. Also in such detailed way is the casting for all main characters, and their characterizations are glorious. From the six main diplomats, to specific scenes form the time's newsreels, the resemblance is unimaginable. A tight, tasteful, entertaining,  and exhilarating Hollywood lesson on a slice of world history.

"ARGO" places Ben Affleck as a well-rounded director with an eye for peculiarities, and gives him an original voice that overcomes his status as a star. The script by Chris Terrio based on Mendez's own accounts is superb, bringing up the tension and striking at the right times. The cast is credible, memorable, and iconic. A serious contender for the Best Picture Award at the Oscars, and most certainly a deserved nomination for Affleck as a director. The film is more than a historic account, it aims to rediscover the power of the media in a world for which only what its seen its what we believe. A pleasant surprise, released in theaters a couple weeks ago, but still playing now. Grade A.