"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.

"Sister" : Swiss Chronicle Of A Stolen Childhood

Switzerland is a country of which most people have an image of First World poster-child, and well above average living conditions for its population. A neutral, financially secure nation known for its fair share of the Alps and the high-end resorts in them. All in all a modern and prosperous nation. Given this, it is unfair to judge a film based on the context and generalizations about its country of origin, but with Ursula Meier's new feature "Sister" this might be an important fact to consider when reflecting on the power of her piece. A coming of age story that is well structured within a singular location and without dwelling too much on the exposition of the character's past. Two young people dealing with the cards they've been dealt, in not an ideal way, but speaking truly of our need to be accepted and cared for, no matter how strong someone seems to be. It is hard to dive fully into the consequences and questions the film provokes without dropping a huge and evil "spoiler" which really shakes the ground in the film and makes the audience question everything they have seen. This secret, which I will refrain from spilling,  is perhaps as sad as it is disturbing and angering, begging for answers in terms of parental responsibility, and the heartbreaking stolen childhood unfolding on the screen. Meier creatures brutally human characters, tough and robbed of their innocence who are also,with every move begging for love. In the culminant moments of the film this sadness comes in great doses, and tears in this snowy, moving tale about children growing up alone, are not drop lightly.

Simon (Kacey Mottet Klein) is a prepubescent 12 year-old who lives with his sister Louise (Lea Seydoux) on the outskirts of a Swiss ski resort, they live off  the earnings from Simon's stolen skiing gear business. He spends his days going up to the resort to steal skies, glasses, gloves, etc to resell them and that way survive, as his sister doesnt provide for them and his parents seem,for most of the film, absent. Happy with the stingy and forced acts of kindness from his sister, Simon risks getting caught and becomes a street-smart kid that really has no choice, bu never seems to wallow on his troubles. His devotion to his sister is what keeps him going, even is she fails him time and time again. Louise is more concerned with drinking, hanging out with her abusive boyfriend and using Simon as her private bank, this vile indifference towards Simon hides her most infamous secret. Both of them are kids struggling to get by and suffer to afford the most basic necessities, while surrounded by opulence, and an equally indifferent society. The story doesnt give us a definite answer about the future of these siblings, but it opens their souls in silence for the audience to observe.

Simon is like any other kid, but he has been force to becoming a thief, to hide and be very organized and methodical about his acts, as if his whole existence is based on hiding to survive. At heart he is a loving kid just looking to be loved back. Restlessly trying to ignite some sort of affection from his only family member but with no response. In this search he finds a British cook who seems to show some interest in his story, but fails to care for him to save himself, just as everyone around him does.Loneliness is all he knows, he can provide for himself, but the the most valuable item cant be stolen. Simon desperately begs to belong to a family, to be hugged, and that is the devastating cross he must carry. Kacey Mottet Klein delivers a performance that I must admit made me teary, and his counterpart Lea Seydoux is raw, cold, and selfish, but not a complete villain. She is a kid forced to grow too fast as well. This is indeed the chronicle of their lost childhood, and their quest to feel wanted and deserving of love. Simon and Louise only have each other but that is what is toxic for them, these forceful reciprocal need for each other. Alone Together. Take into account that I still havent revealed the secret in the film, which might make many people feel an even more complex mixed of pity, sadness, and guilt.

Swiss films not often take the center stage of World Cinema, but with Meier's "Sister" or "L'enfant d'en haut" its original title, this might chance. Winner of a special award at this year's Berlin Film Festival, and chosen as Switzerland's Foreign Language Oscar Official Submission, the film might surprise many for its emotional power and beautiful visuals. Shot by the brilliant and renowned cinematographer Agnes Godard, and directed and co-written by Ursula Meier, the film is a tour de force, and a moving drama set in the middle of beautiful Swiss snow. Out in theaters now in limited release. Grade A.

"Moonrise Kingdom": A Stylized Vision of Violent Innocence

Childhood memories are a mixture of what really happened, and a big dose of magical visions taken from how we perceived the world at a certain age. A time in which all sensations and emotions were exponentially more relevant, when happiness was pure and sadness was devastating. The world seems like such a big place, and contrary to what one might think, when one is a kid, we tend to use this enhancement of emotions to make things seem more important than what they are. A fight with your best friend seems like the end of the world, your little brother stealing your toys its worthy of war-like retaliation. More importantly, when one is at the gray spot between childhood and adolescent, that prepubescent first encounter with love can, and usually is life changing. Having said this, I believe Wes Anderson in his latest film has captured such a unique perception of this childhood memories, one that is both beautifully and meticulously stylized, and also very heartfelt and true to its characters emotions. The magical realism in his films never seems out of place, and the quirkiness and such unique vision can only be compared to his own past films. Wes Anderson is really an American auteur, a voice that uses cinema vastly and consciously, to make the tiniest story seem like and epic, comedic, homage to pre-computerized childhood. The film in its visuals and approach its far from trying to be Cinema Verite, yet it captures layers of emotion in its characters, specially the children, that are usually avoided by most filmmakers. Anderson explores a certain violent innocence, this contained angst that only speaks of the kids inability to fully understand what they are going through. “Moonrise Kingdom” is destined to become an American classic. Approachable but still profound, visually delightful, funny and tenderly romantic, it is a film to be remembered with such nostalgia as one has for those sweet moments at the beginning of our lives. 

In the island of New Penzance, misunderstood orphan Sam Shakusky (Jared Gilman) has decided to escape his Khaki Scout troop to meet his soul mate, a troubled girl named Suzy Bishop (Kara Hayward) who lives with her emotionally distress parents and siblings in the other side of the island. These love-struck runaways unravel a search that includes most of the socially awkward adults in the film. Captain Sharp played by Bruce Willis, Edward Norton as naive but brave Scout Master Randy Ward, and Suzy’s parents Walt and Laura Bishop played by Bill Murray and Francis McDormand respectively. Sam and Suzy get to know each other in the wilderness of the island, where Sam gets to put his scout’s knowledge to the test, and Suzy tells him of the books she loves, and the sadness she feels even while having both of her parents. Never being portrayed as ideal kids, they are complex characters even if their flaws are shown through comedic episodes of violence. These lovebirds are in battle against a world that can understand their pure young love. As a storm approaches their plans to run away are ended as the initial search succeeds; however, enemies will turn into friends all in the quest for a bit of happiness for the young protagonist. An array of magical realism touches are found all over the film, some which involved lighting, or fireworks, or even the climatic scenes during the storm might seem a bit over the top, but not in a film like this. This childhood adventure becomes an eye-opening lesson for the adults here, and sure a bonding experience for all of the kids. 

The two young leading actors are just superb. There is this seriousness, and at the same time a nonchalant attitude in them. They are certain of the decision they are making and they abide by an unbreakable honesty and fervor for each other. Even the kid-like eroticism in the film feels natural, as it is never seen with the wrong views of adults, just as something innocent between those who are in love. The adult cast is also pitch perfect, even Tilda Swinton as “Social Services” reflects this childish and stereotypical view of authority we tend to have as kids. I honestly believe that both Willis and Norton tend to be more powerful as performers in roles like this when they are real people seeking acceptance just the young lovers. Wes Anderson has a magic touch when it comes to actors, the performances are so unique and nuanced that it seems like he implanted his vision onto each one of them to create such an amusing piece. 

Then if we talk about visual style and the peculiarities of the film, then it seems like an even more triumphant achievement. Every piece of clothing, maps, books, and set decorations where fictitiously crafted by Anderson and his team. The colors in the film added to this 16mm film aesthetics are just a visual feast. The camera is alive in every shot, closing in or dolling out to reveal or hide information from us, whip-panning, whip-tilting to follow the action, or at times remaining static to let us see the magic unfold. This is truly the work of an experience filmmaker that has nothing more to go on but his own thoughts. From the opening sequence one can tell this is like no other film, including the great "epicness" and grandeur of Alexandre Desplat which scores every “battle” like the most heroic deed ever conducted. All in all a complete package of a film, a masterwork from Anderson that requires multiple and furthermost enjoyable viewings. 

This is a crowd-pleasing film, enjoyable fro kids and adults alike I would say. It is a visual and fun fact fest for all movie buffs, and a great addition to the shelves of Anderson's fans who will not be disappointed. Set in the 60's in a time in which kids were kids and not an attachment to an electronic device,  "Moonrise Kingdom" is a rare film that comes ones in a blue moon, something so uniquely conceived and full of heart is a privilege to watch. For pure entertainment, for longing of times gone and first love, I highly recommend this film. By far one of the best of the year. Out Now in Blu-Ray/DVD. Grade A+

"The Forgiveness Of Blood" : Balkan Honor In The Modern Age

Certain values or virtues have different levels of importance within each society around the globe. Although, the westernized way of doing things has taken over most of the modern world, there is still people who are ruled by a different set of rules, and who even in the middle of an information-driven age hold on to ancient tradition. In the Balkans, and perhaps most noticeably in Albania, the judicial system, in certain isolated parts of the country, is not as strong as the ancient feudal code of justice know as Kanun. These rules are there to provide some of sort of almost religious guidance, as the Albanian people are very ambiguous in terms of religion due to a history of secular socialism. Some of these parameters are very barbaric for the western eye, but there are still the righteous way of doing things there, even if it includes killing in the name of honor. Now, mix in these ancient beliefs with a globalized world in which cellphones, the Internet, and even Facebook are a most have for teenagers all over, and you get yourself a conflict between the old and the current. Modernity and tradition colliding in the lives of the youngest ones in the community as the teenagers in a remote Albanian town see their future threaten by the actions of their elders, and the strict and intransigent commandments they uphold. This is what unfolds in Joshua Marston's film "The Forgiveness of Blood", in which a murder can only be forgiven with the killing of a male member of the opposite family. A coming of age tale that becomes unique due to the circumstances of the characters, and the drama that unfolds in their adolescent minds.

When the member of a rival family decides to close a road that has been used by Nik's father and his ancestors to deliver goods, his father decides to take matters into his own hands. Nik (Tristan Halilaj) and his sister Rudina (Sindi Lacej) are High School students, normal kids that are torned between the advances of the modern world and the rural life they are used to. When a murder is committed, both of their lives change dramatically without them having any say in the issue. In order for the male members of the offender's family to remain safe from the rightful murderous anger of the offended family, all of them must remain in isolation in their home until an agreement has been reached. This is an indefinite time in which the boys in the family can't even attend school or play in the front yard. For Nik this is torturous, a normal kid who is falling in love for the first time, who wants to go to parties and have friends. He must stay at home to, in a way, pay for a crime his father committed. For the sister there is no good news either. Their mother is sick and since none of the men can go outside, Rudina must also quit school to take over the bread delivery business of the family. Even though, we do see on occasion some  hostile attacks from their enemies, the real drama unfolds inside their own house. The younger kids becoming increasingly disturbed, Nik turning anxious, violent and desperate even losing respect fro his own father, and Rudina suffering to find ways to make more money to sustain the family.

The film is very well written and beautifully shot in a way that it feels extremely natural. Handheld shots and natural light give it a rustic appeal, and a sort of visual hopelessness that is sad but beautiful.The main idea here is this clash of what it used to be and what the rest of the world is doing. We see Nik and his friend posting pictures on Facebook,  playing Play Station with his younger brother, or even communicating with his classmates through a camera phone. All of these hints to the modern age feel fitting and out of place at once within this Balkan honor tale. Is it possible that such violent administration of justice is still being carried out? In a sense Nik is rebelling to the establishment of his roots by conforming to the technological trends of the time. He does want to be free and finds no place in his freedom for his father's mistakes. Its a son standing up to his father and his beliefs, trying to be his own man. However, we see this convulsion of ideas in Rudina too, she drives her dad's old horse-drawn carriage that seems out of place followed by modern vehicles, until one day she decides to sell the horse. This symbolizes and end to an era, a change in things that makes us wonder if its really that much better to follow the steps of the rest of us. Perhaps with not a real twist at the end, the film is well crafted to the last detail to expose its theme of juvenile angst against the background of Albanian feudal laws.

Using non-actors and very minimalistic settings Marston captures a certain foreign beauty and an organic feel. Very interesting and revealing for those like me who were not familiar with this Balkan way of life. At times a bit too consistent in its implementation of modern gadgets to prove its point, and lacking a more satisfying ending, it is still a great watch. The film is now available in Blu-ray/DVD or for even more convenience its on Netflix to stream instantly. Grade B+

What To Watch? Oct 9th-Oct-15. New to Blu-ray/DVD

This week there was a variety of genres and stories in the film releases to Blu-ray/DVD. From very rustic,but well written French animation, to a huge budget, CGI-loving, SciFi Space Odyssey. And unfortunately a film that disappointed and felt like a dread to watch, and a real achievement to make thru it. The best graded film this week is the unlikely Oscar nominated "A Cat In Paris", and the film that takes the lowest spot, an a well deserved one,is the indie drama "Crazy Eyes. As always the films are arranged by the grade given to them, and there is a link to the full review on each one and a trailer. Some good stuff to watch and one to avoid.

1. "A Cat In Paris"
A delightful very short feature animated film about criminals and justice-seekers. Yes in just over an hour there is lots of very well-developed side stories and very layered characters. This feels hand-crafted and very French. Vistas of Paris adorned by the not so perfect but very unique style of animation, and a nice message on how people have many shadows, and sometimes different lives. This gem follows a cat and his multiple masters, and how a plot to rob a statue unravels secrets and past vendettas. Just like a Hitchcock mystery but even more creative in its visual style. Grade A.

Read The Full Review Here:
http://selective-vision.blogspot.com/2012/10/a-cat-in-paris-rusitc-animated-mystery.html

2. "Prometheus"
This very existentially charged Science Fiction thriller follows a spaceship, from which the film gets its name, that travels two years to another planet to discover the alien creatures that created human life. Heavy huh? well even if it seems like it rises some very mind-bending questions, there is great performances from Michael Fassbender and Charlize Theron. Directed by Ridley Scott, this is sort of a prequel to his film "Alien", and it seems to be the beginning to a new franchise. There is disturbing creatures, high-tech gadgets, and lots, perhaps too many, hints to make you think about the meaning of creation. Not a perfect film but not shabby at all. Grade B.

Read The Full Review Here:
 http://selective-vision.blogspot.com/2012/10/prometheus-meeting-our-extraterrestrial.html

3. "Crazy Eyes"
This is an indie film that is more concerned with its purposelessness and very alcoholic meditations on failed love , than with actually telling a story that matters to anyone. The main character is a millionaire, divorced playboy who only wants the girl he cant have. Nothing new here, just the fact that there is more drinking scenes in this film that interesting dialogue or situations. Nothing happens here, no truthful heartbreak or revelation, no memorable performances, and just bland unsatisfactory shots of nothingness. If you for some reason must watch this film  then you have been warned, but if you can avoid it, do yourself the favor. Boredom is a harsh word to relate to a film but this fits right at home. Grade C-

Read The Full Review Here
http://selective-vision.blogspot.com/2012/10/crazy-eyes-purposeless-drunken.html

"Prometheus": Meeting Our (Extraterrestrial) Makers

Mankind is just a speck of nothingness in the great spectrum of time and space. Our history gets lost as a minimal period of time in comparison to the age of the universe or even to that of our Solar system. Even with all our technology advances we are still a creature without a clear origin. Certainly our past has been tracked with scientific and archaeological findings, but the human body and mind seem too complex an invention to have been randomly created by chance. Just a personal opinion. Whether one adheres to a Darwinist perception or a religious one, the answers in either direction are still hypothesis, some more well founded than others, but still the purpose of our existence is still up for debate. Why are we here? Is there something truly special about us? Who/What made us? Are all of thess existential and philosophical questions what make us "human"? It is said that men created God as a catch-all answer for all that is unexplainable and out of our reach and understanding. Such God lives in some sort of alternative universe, call it paradise, heaven, the other side. So when the answers cant be found here on Earth? Where does one search?. Outer Space perhaps. For director Ridley Scott the last frontier has always been a well known land.

With "Prometheus" he presents sort of a prequel to his breakthrough film 'Alien", this time layering even more the concept of origin, creation, and the responsibility of the creator to punish its invention when its out of control. The conflict between God and Science is very present here, faith becomes an even more abstract concept when everything the characters once believed is challenged by a new version on the origin of life. As the characters often discuss, if there is some beings or being that created us, who created them? and even more important, why? is it replication and the need to create life innate? and if those before us where even wiser and stronger, does every replication means a lower version of itself? There is more than cool spaceships and alien abortions here, a real debate is generated to make us wonder about our own humanity even in such fictional, for now, setting.

The Prometheus is a spaceship founded by the Weyland Corporation, on the surface it has the only purpose to follow the ancestral findings discovered on Earth by scientists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway(Logan Marshall-Green). Such discoveries point that the ancient terrestrial civilizations had certain symbols in common, even if millennia apart. Now in 2093 they have finally arrived to their destination in a far corner of space that matches the galactic"map" left for them to follow by these beings, who Dr. Shaw refers to as "Engineers". For the years that space travel took, an android humanoid creature named David (Michael Fassbender) took care of the crew and now is a crucial piece for their quest to succeed or fail. Along side David, we meet the woman in charge, who is here to watch over the Corporation's interests, Meredith Vickers (Charlize Theron), who is  more concerned with a secret agenda than with finding alien life. As the expedition begins, the questions become even more complex, they find temple like caves, and corpses of gigantic proportions, added to this a separate plot is being carried out which will unravel death and further complications for the space travelers. With the mission to answer perhaps the only meaningful question posed by humanity, why are we here?, these characters will serve as a test sample for human vices, weaknesses, and survival skills all of which are the essence of our condition, flawed and perfect at the same time.

The script is packed with hints and ideas that speak of this sense of lost parenthood, of abandonment by those who provided us with life. The creation of life and its sustainability are what is at stage at all times. For example,Dr. Shaw and her cross which symbolize her belief in God, but also her father, both parental images to her. Or the he fact that David is a human creation is even more intellectually challenging, was he created just because he could be created? is indeed the gift of life what separates us from divinity? But when David's existence as a non-human entity collapses with all the irrationality of the human condition, the question is, is David a better version of ourselves because he lacks human complexities and anxieties? Or maybe its an answer to another clear reference to life-giving, as we learn also that Dr. Shaw is sterile, until the hand of alien technology puts in work for her. All this concepts, and more, that might be considered spoilers, and which I've left out, really overly layer the plot and become a constant push for the audience to think. I believe that although some work well, at some point it turns into too much imagery. The highlight of the film is undoubtedly Michael Fassbender as David, this well-mannered individual who cant grasp the concepts of want, love, or fear, and for whom everything is a certain answer, nothing is good or evil, it just exists. Fassbender's ability delivers a performance that reflects a contempt for his condition, and also showing a naive character, with such incredible lack of emotion. He really showcases his talents in here, being the most memorable character, and although artificial in his origin, still very engaging.

Ridley Scott created an iconic film that was a milestone in the history of Science Fiction films, with "Prometheus" he tries to create an even more sophisticate take on our relationship with other worlds, not completely succeeding at being subtle, but yes at creating an entertaining film that does pick our brains. It inquires about what we consider to be the meaning of being mortal and human, and how important is for us to know where we came from. As if the answer will give us a clearer purpose and the answers to achieve it. Visually proficient in creating a suspenseful vibe and with some standouts in the acting department, the film is good but a bit short of great. If you want to meet your (extraterrestrial) maker and discover why they left us here, watch this new SciFi odyssey. Out in Blu-ray/DVD now. Grade B.

"A Cat In Paris" : Rusitc Animated Mystery

Audiences today seem to define current animated films as those glossy 3-D studio pictures that became the standard in the industry thanks to the success of Pixar. Long gone are the days when studios devoted themselves to hand-crafted traditional animation. In part because of the need to be more efficient to meet the demands of the business, and because the CGI approach fits with the trends of modernity, of hyper-realism, and the growing need to wow the viewer time and time again. In a sense these animated films have become a cliche, each looking more like the one before, disposable and destined to be forgotten. Currently, an animated film created in the "ancient" way is something to get excited about, something to be cherished and admired. These rare gems have in recent year come from foreign countries, the most common examples are the works from Japanese master animator Hayao Miyazaki, whose film "Spirited Away" earned him an Academy Award for Best Animated Feature.

The Academy recently has set its eyes more and more on animation produced abroad, nominating some of these films in the past few years: "The Triplets of Belleville", "The Illusionist", "The Secret of Kells". However, they always lose to the big studio pictures, not necessarily because those are superior in content or technique. This year the Academy decides to nominate two foreign animated features the Spanish Language "Chico & Rita" , and "A Cat In Paris". The latter is just one unique film that I doubt can be compared to anything else, peculiar in its visuals and even more particular in its plot. Just over 1 hour, the film develops, and in a great manner, a series of subplots, villains, noir-like heroes, an animal lead, a side story of a kid losing her dad, all with beautiful animated vistas of Paris. Did I mention the film runs only for 64 minutes? Its amazing how each sequence, each line of dialogue, and each character are precisely placed to create suspense, in an adult-friendly children's animated film in French. A bit too far for the radars of many movie goers, but trust me this is just so well directed and drawn, that even the title sequences feel like out of a Hitchcock film.

The film tells the story of a little girl named Zoe (Bernadette Lafont) and Jeanne (Dominique Blanc), her mother, a police officer in search of her husbands killer. As a result of that tragic event the girl has lost her ability to speak as a post trauma side effect. She spends he time playing with an astray cat who roams around her neighborhood but always comes back to her. This cat has a double life, he is also the sidekick of a burglar named Nico (Bruno Salomone), who specializes in jewelry theft. Jeanne finds out that gangster Victor Costa (Jean Benguigui) plans to steal a monumental statue on its way tot he museum. Costa is the guy she is after, a brute villain who has kept an eyed on Zoe through one of his accomplices. When Zoe decides to follow the cat in one of his nighttime escapades, she discovers Costa's plans and is helped by Nico to hide. This unravels a series of chases throughout Paris, suspenseful rescue missions, and a great story about bad guys who aren't so bad, smart felines, and the search of a family for justice. Pretty intense and cool for a very concise animated film.

The animation feels rustic, not perfectly beautiful characters,a bit of a comic strip feel, but overall very elegant and I would say French, as it is hard to think a story like this and the way presented could come from another culture. Notre Dame and the Eiffel tower at night have never been so beautiful from the roofs of Paris, as we see them from the point of view of Nico and the cat. These two characters who are not so different from each other, both of them living a sort of double life. The cat a loving pet and a partner in crime, and Nico a burglar but also a nice, harmless guy. Even secondary characters like Costa's gang members seem very well developed. They are a bunch of naive knuckleheads who are upset at getting ridiculous code names, it feel like a clever reference to Reservoir Dogs. There is also this sort a psychological thriller vibe the film in the shape of hallucinations or bad omens that Jeanne has as she imagines Costa as an all consuming octopus. This haunts her and becomes her motivation. Even Costa himself has some sort of visions about the Colossus of Nairobi, which the statue he wishes to steal. Like I mentioned, a very interesting film for adults and entertaining and sweet for the younger audience, a win win situation for all.

If you are open to leave the Toy Stories and Nemos of the world for a bit, and enjoy a very beautifully crafted animated film that feels like a very well written mystery novel, then "A Cat In Paris" will show you a good time. Short in running time, but with numerous achievements, the film will go by quick so enjoy it while it lasts. Directed by Jean-Loup Felicioli and Alain Gagnol this charming hand- drawn delight is  out in Blu-ray/DVD today. Grade A.

"Crazy Eyes" : Purposeless Drunken Missconnection

Rarely would I reduced the core of my opinion on a film to just one word. Specially if such word has a terribly negative connotation. To call a film "boring" is not an understatement, for most people a 3 hour film by master Bella Tarr, might be defined as boring, I dont believe that to be the case. Even in the apparent slowness or complete meditative state of such films, a purpose is found, an interest to build a sense of hopelessness in the audience. Therefore, to consider a film to be "boring" implies the existence some flaws such as: a repetitive and pointless use of certain situations, a complete lack of interest for the characters, a painfully bane protagonist, generic, and I dare to say, bad acting from some of the cast, and a sense of anxiety for the film to be over as it seems to get nowhere, or say anything new or relevant about nothing at all. All of this qualities are fixed into "Crazy Eyes", a film which aims to be profound about love, loneliness, and alcoholism, but with all its pretentious voice overs and artsy shots fails to ignite anything in itself or the viewer. The characters in here live in an eternal hangover, physically and emotionally, they seem to have no concern for anything in their lives besides "going for a drink". In fact, if you dare to count how many times someone in the film mentions phrases like "Let's go for a drink", " I need a drink", "I'm drunk" or anything that implies their desperate need to ingest alcohol, you might lose count in the first 30 minutes. A rich guy with a bunch of women on call for his pleasures, his drunk and enabling buddy who, not surprisingly, owns a bar, and the one girl who wont let him have sex with her are basically all his concerns. Oh yeah, once in a while we are reminded he has a kid and parents. Painfully trying to be over realistic, and placing itself  deeply into the abyss of forgettable, never-to-watch-again category of films.

Zach (Lukas Haas) is your textbook millionaire playboy; although it is never clear where does his money come from, but we sure know how he spends it. He drinks his life away in the company of his buddy Dan (Jake Busey) and a bunch of random girls who only want his money. One night he meets a certain girl named Rebecca (Madeline Zima), and instantly names her affectionately "crazy eyes". She becomes the classic nemesis of a rich guy who can have anyone he wants, she is the one he cant have. Even if he constantly tries to force her, Rebecca refuses to have sex with him. She is the special one,at least until she gives him what he wants. There is endless episodes of drinking at the bar, going to bed and spending a sexless night together, and the never ending hangovers. These repetitive and monotonous ordeals are sparkled a couple times by a bar fight here, or some coke there, and the always failed plan of going to an art exhibit. Zach is made to seem kind of more human when we see his "attempts" at parenthood, talking to his kid about the absence of God and other random topics like such. Then we meet his parents who seem really obnoxious even for Zach's standards, but hey at least we are lead to believe he actually gives a damn about his family. There is nothing really special about the story, no revealing twist, no heartbreaking anything, no punishment, no payoff, just plain and simple as someones life (probably rich guys watching this connected with him). Definitely not a single strong reason to care for Zach, maybe a bit for "crazy eyes" but that's a stretch.

The acting is for the most part bad, unless the sort of ridiculous, unrealistic approach was what the director required. Haas seems monotone the entire film, one real angry burst, and then just bland, soulless alcoholism, just a dread to watch his character on screen. The rest of the secondary characters are to say the least underachieved, none of them really stand out, maybe not the actors' fault, but the characters they were presented with. The one and only exception is Madeline Zima as Rebecca, who is the one complex and layered character in this gray panorama. We don't know much about her but that plays to her advantage, she is a drunk but not a whore, she is smart but really, like her nickname, a bit crazy and unpredictable. At times one wishes the story was more about her,a real person, than about the collection of bad voice overs and cliches Zach becomes. Zima has real charm and is the one good thing about this long and purposeless "Entourage" wannabe of a film.

The film is pretty. Very superficial and bane in its visuals, but sadly also in its plot. Nice cinematography and... well that is it. Something that under no circumstance I would sit down and watch again. I'm sure that writer/director Adam Sherman had a real message to get through with this film, and I can see that. Maybe he tried to comment on the way life loses purpose in many ways when extreme financial success is achieved, or maybe the replaceable nature of love and how it can change so fast, who knows what his intent truly was. However,  whatever this was, it failed to engaged and that is a deadly sin when it comes to movies. If alcoholism, self-destruction, bored millionaires and sexless affairs are your thing then this might fulfill  all of your peculiar needs, otherwise save yourself the trouble. If you still must see it for yourself, "Crazy Eyes" is out tomorrow on DVD. Grade C-