This page contains Dave's reviews of films seen from October through December 2010.

“True Grit”: Somehow the words ‘remake’ and ‘new Coen Brothers movie’ don’t exactly roll off the tongue. The wildly successful filmmakers behind such classics as “Fargo,” “No Country for Old Men” and many others, did do their own version of “The Ladykillers” and they twisted Homer’s “The Odyssey” to their liking for “O Brother, Where Art Thou?” but never a John Wayne classic. That just seems like something a lesser filmmaker would attempt. Not only did they do it with their latest film, “True Grit,” but they pulled it off. I don’t think their latest film could be compared to the all-time classics, or even a modern remake like “3:10 to Yuma,” but it’s an entertaining movie and that’s what we want when we open our wallets. “True Grit” stars Jeff Bridges in the Wayne role of Marshall Reuben J. “Rooster” Cogburn, who’s been hired by whip-smart 14 year-old Mattie Ross (newcomer Hailee Steinfeld) to find and kill Tom Chaney (Josh Brolin) – the man who murdered her father. A Texas Ranger named LaBoeuf (Matt Damon) also pops up to try to capture Chaney, who’s running with a gang that interests the lawman. It’s a tried and true plot, but it plays out well over the film’s nearly two hour running time, especially because the actors are so good at making their characters interesting, especially young Hailee Steinfeld, who takes her juicy role and runs with it. It’s an easy prediction that Steinfeld has a bright future as an actress. As usual, Joel and Ethan Coen co-directed, co-wrote and co-edited their film, and reportedly were faithful to the original novel (by Charles Portis), making “True Grit” more of an adaptation of a novel rather than a remake of a 1969 film. It also boasts some absolutely gorgeous cinematography by old pro Roger Deakins, so credit where credit is due. And where the Coen Brothers’ style is concerned, “True Grit” isn’t that easy to pigeon-hole. The quirky characters are there, along with some dialogue that will make you chuckle (I especially like Matt Damon’s portrayal of LaBoeuf), but this isn’t a hard film or a comedy, it’s just, well, a good film. I liked how each of the three primary characters had distinctly different personalities that the Coens didn’t try to mold into their own. They just let their talented actors do their thing and the end result was, well, entertaining. The always-excellent Jeff Bridges didn’t try to emulate John Wayne, and thankfully Damon didn’t copy Glen Campbell. I would’ve preferred a little more Josh Brolin, but his part didn’t call for it. On my three-tier list of Coen Brothers films, “True Grit” rests solidly in the second, probably between “The Big Lebowski” and “Miller’s Crossing.” I’d say that’s pretty good company. *** (out of) **** (12/23/10)

“The Fighter”: Mark Wahlberg stars as Micky Ward, a former welterweight boxing champion whose professional career spanned from 1985 until 2003. Ward’s life is an interesting rise and fall, then rise again story, but he’s always lived in the shadow of his older half-brother, Dicky Ecklund (Christian Bale) who once went the distance against “Sugar Ray” Leonard. Dicky essentially retired to become Micky’s trainer, but it was really his addiction to crack cocaine that drove him away from fighting competitively. Despite his constant struggle with substances, Dicky was always the “pride of Lowell, Massachusetts.” To his large family and hangers-on, he could no wrong, which frustrated the comparatively clean-living Micky, who clearly had the talent to rise well above his brother, but was spinning his wheels under the direction of his toxic surroundings. Director David O. Russell’s film straddles the line between the examination of Micky’s life and times, and Dicky’s almost-comical struggle with addiction. I say almost comical because that’s how it’s portrayed, right or wrong. Apparently, the real-life Dicky Ecklund is a funny man who never takes anything serious, which probably led to the divide between himself and his intense younger half-brother, who was always being pulled between being dedicated to his family and doing what was right for his career. It wasn’t until Micky met the love of his life, a bartender named Charlene (played by Amy Adams) that he was able to open his eyes to what was going on around him, and how Dicky was ruining his chance at great success. Charlene had the toughness to stand up to Micky’s family (especially his sisters). It was Charlene, who, right or wrong, convinced Micky that he could survive just fine without his family, including Micky’s mother (played by Melissa Leo), who, as his manager, was also dragging him down. If Micky’s boxing career was going to advance to the big time, he had to let go. As I was thinking about what to write for this review, Simon and Garfunkel’s “The Boxer” was running through my head. Aside from the obvious theme, I’m not sure why I thought of that number as the peacefulness and serenity (and beauty) of that song is the opposite of what Russell was trying to convey to his viewers in this film. Paul Simon’s poetic lyrics seem appropriate at times but in the film “The Fighter” is really rock and roll and tough streets, as amply displayed in its working-class Lowell setting. Russell, who’s had an eclectic directing career (including “Three Kings” and “I Heart Huckabees”) takes his “Rocky” story and runs it through the grinder. Every single character, even Dicky’s father (played winningly by Jack McGee) is capable of breaking a bottle over your head. The film’s soundtrack is filled with barroom staples of the era but make no mistake about it: “The Fighter” is a very good film. But it’s also has an extra cliché or three which keeps it from being completely brilliant, yet it’s still a fine movie that’s absolutely packed with excellent performances, none greater than Christian Bale’s, who deserves nothing less than an Oscar statue and a standing ovation from his peers for his turn as Dicky Ecklund. Mark Wahlberg, whom I’ve long felt has a narrow, very specific range, is well within that range as a street-tough boxer with a heart of gold. Amy Adams, who, to her credit, has range to spare, was outstanding as Micky’s girlfriend, Charlene. Melissa Leo, who, like Adams, is one of the great actresses of our generation, does nothing in this film to diminish that well-deserved reputation. She can add Alice Ward to her impressive resume of great characters. David O. Russell balances it all out, and aside from a few liberties in his story (from a script with four writing credits), does an excellent job of managing his talented cast. Despite a few little flaws, “The Fighter” is still one of the best films of the year. *** ½ (out of) **** (12/18/10)

“Black Swan”: stars Natalie Portman as Nina Sayers, a 28 year-old ballerina in a prestigious New York ballet company that’s embarking on an ambitious re-telling of the famed ballet, “Swan Lake.” It’s Nina’s lifelong dream to play the lead of the Swan Queen. But in this adaptation, the company’s choreographer, Thomas (Vincent Cassel) requires his girl to play both the White and Black Swan. Nina’s graceful, yet timid personality is well-suited for the White role, but she’s going to have to find her dark side if she’s going to pull off the other part. Enter Lily (Mila Kunis), who wants the role and has the ability and the manipulative chops to pull it off. She manages to get into Nina’s head, which exposes the fragile ballerina’s delicate psyche and literally opens old wounds. Nina’s mother (played by Barbara Hershey) is a former dancer who gave up her own promising career when Nina was born. She has raised and sheltered her daughter for all of Nina’s 28 years, but the production of “Swan Lake” has consumed everyone, especially Nina, who is changing before her eyes. “Black Swan” was directed by Darren Aronofsky (“The Wrestler,” “Requiem for a Dream”) from a screenplay co-written by Andres Heinz, Mark Heyman and John J. McLaughlin. Aronofsky, in a style reminiscent of his previous films, uses colors, subtle symbolic images and shock to convey his points. True to the suggestions, “Black Swan” is a psychological horror film in every sense of the term. Aronofsky wants his viewers to be uncomfortable. As a seasoned filmgoer, I rarely look away at images I see on a movie-screen, but I caught myself doing it several times during this film. Aronofsky almost preyed on what he knew would make his viewers squirm, yet those scenes never felt gratuitous and always served to further the story. Aronofsky’s protagonist, Nina Sayers is a fascinating character. She’s a young woman who’s not just realizing her dreams, but also her mother’s. She’s never been allowed to have much of a life; dancing is just about all she knows. As a result, she’s very socially-stunted and quite vulnerable. The fictional Nina reminded me of ex-NFL quarterback, Todd Marinovich, who was “bred” to play football, and who was raised to live a clean and healthy life, all in pursuit of his father’s dream. But shortly before Marinovich went off to college in Southern California, he was revealed to have an addictive, destructive side that was never allowed to be exposed while under his father’s watch. Nina’s situation isn’t quite that dramatic, but it’s close. In her performance as Nina, Natalie Portman absolutely embodies her role to the point where you wonder if life is imitating art. I’ve been noticing her promise as an actor for years and she finally got the part that allowed her to show off her immense potential. It’s a devastating portrayal. Her co-stars Vincent Cassel and Mila Kunis were also outstanding, as well as Barbara Hershey, who hasn’t had a role this good in years. Ditto Winona Ryder, who has a small, but very important part as Thomas’ former top ballerina. Portman’s memorable performance aside, this is clearly Darren Aronofsky’s film. His vision may be second to none (though Terrence Malick and David Fincher also come to mind). His unique stamp is all over this film, which will not leave you right away. “Black Swan” is an awkward, unnerving, claustrophobic and thoroughly brilliant work of art. **** (out of) **** (12/11/10)

“Chloe”: There are things I love and loath about movies, but it is a rare occasion that a film comes along with both extreme highs and lows. “Chloe,” a remake (this is a low) of the French film, “Nathalie,” is a thriller with a very deliberate pace (a high) and near-perfect tone (high) courtesy of one of my favorite directors, Atom Egoyan (“The Sweet Hereafter”). “Chloe” stars Julianne Moore as Catherine, a gynecologist who is going through the motions in her marriage with David (Liam Neeson), a popular college professor. Suspecting that her husband is cheating on him with one of his students, Catherine decides to test him by hiring Chloe, an attractive “escort,” played by Amanda Seyfried from “Big Love.” Chloe sets the bait and reports her findings to Catherine. Simple? Not so much. Love and deception follows and that wasn’t part of the plan. The best parts of “Chloe” belong to its director, Atom Egoyan and his talented cast. Liam Neeson is a very capable leading man, and Julianne Moore is an automatic asset to any film. But it was Amanda Seyfried who surprised me. She’s always been a pleasant actress but hasn’t shown a lot of range in her career (unless you want to count “Mamma Mia!”). Her performance isn’t Oscar-material, but she’s good. I think the most credit should go to the person who cast her. Seyfried’s beauty is positively disarming, which I suppose is a stretch for a so-called “hooker,” but it’s suggested (but never really expanded upon) that she’s a well-paid escort. But it’s when Egoyan’s film starts cutting between two simultaneous sequences (right near the end) that “Chloe” goes off the rails and dissolves into yet-another bad Hollywood ending (big-time low). This basically undermines its otherwise pretty good first 80 minutes and is also the point when you should just turn off this film and use your own imagination for the ending. ** (out) **** (On DVD) (12/03/10)

“127 Hours”: Aron Ralston (James Franco) is a mountain-climbing enthusiast, who, while climbing in Utah in 2003, became trapped by a boulder for five days. Unfortunately, Ralston left his cell-phone in his car, had only minimal water with him and didn’t bother to tell anyone of his plans. This left him with few options for survival, but where there’s a will, there’s a way. A short lead-in before the accident, Ralston’s various efforts to escape, and flashbacks fill much of the film’s 90+ minute running time, yet you’re never really bored, thanks to Danny Boyle, who directed and co-wrote the excellent script (with Simon Beaufoy) from Ralston’s true-life story. And Boyle turned what could’ve been a downbeat film into a fairly positive adventure, thanks in large part to most of the same team who made “Slumdog Millionaire,” and because of James Franco’s excellent performance. We know he’s going to survive, but everything leading up to that moment is still entertaining. Highly recommended. *** ½ (out of) **** (11/28/10)

“Fair Game”: stars Naomi Watts as Valerie Plame, who, in 2003 gained unintentional fame when a member of the White House staff exposed her cover as a covert agent for the Central Intelligence Agency. It was concluded by many that the leak was retaliation for her husband Joe Wilson’s (Sean Penn) New York Times article that criticized the George W. Bush administration for their justifications for the war in Iraq. Several months before the invasion in Iraq, Wilson, who was the former ambassador to Niger, was sent by the U.S. government to the African nation to investigate a report that Niger sold uranium yellowcake (which is used to make nuclear weapons) to Iraq. He reported to his superiors that he found no such evidence of any sales. Shortly afterwards, then President Bush, in his State of the Union speech, declared very matter-of-factly that Africa did sell the specific uranium to Iraq. It was later learned this part of his speech was based on State Department “intelligence” from Niger. “Fair Game” spends much of its time showing the aftermath of the speech, Wilson’s article, Plame’s subsequent exposure, and the effect it had on everyone, including the couple’s marriage. The film, which was adapted from Plame’s book, “Fair Game: My Life as a Spy, My Betrayal by the White House,” and Wilson’s book, “The Politics of Truth,” was directed by Doug Liman (“The Bourne Identity”), who offered little in the way of anything new for those of us who are very familiar with the story. As a thriller, it’s fairly routine which is especially disappointing given the possibilities of the story and the impressiveness of the film’s two leads, who were solid and well-cast, but didn’t give close to their best performances. I don’t know why Liman didn’t direct the second and third installments of the Bourne series (he was just a producer), but after watching “Fair Game,” I think I understand the reasons. It’s a timid film when it should’ve been thrilling. Mild recommendation, but only to those unfamiliar with the real story. ** (out of) **** (11/20/10)

“Due Date”: You have to be a true film fan to enjoy certain movies. Personally, I’m a film snob, but I’ve relaxed my standards in recent years to include a ‘guilty pleasure sub-category,’ which is a polite way of saying that raunch is now on the table. Having said that, I won’t waste my time with the lowest of the low, but if I like the filmmakers and the cast, and the film is getting decent reviews, well, then I’ll open up my wallet. Writer-director Todd Phillips, like Judd Apatow, is very adept at making funny films, which he proved with “The Hangover,” and does with his latest “Due Date,” albeit to a lesser extent. Phillips’ film stars Robert Downey Jr. as Peter and Zach Galifianakis as Ethan. The two men meet as strangers at the airport on the way to a flight from Atlanta to Los Angeles, where, in five days Peter’s wife (who is at home) is scheduled for a Cesarean section birth of their first child. Ethan, an inspiring actor, is flying back to L.A. after attending his father’s funeral. After a series of crazy events that include getting kicked off the flight and being placed on the “no-fly” list, the unlikely pair end up driving cross-country together. Peter is a serious guy with a quick temper and little patience for Ethan’s just-plain-out-there personality. That’s a polite way of saying that Peter can’t stand Ethan, but he needs him if he’s going reach Los Angeles in five days. The premise is solid and I was looking forward to seeing the film, but as usual, the trailer and the heavily-played television commercials (I watched a lot of post-season baseball games) showed off most of the film’s funny parts. The rest of the film was a little over-the-top, but still pretty amusing. “Due Date” doesn’t re-invent the comedy wheel and isn’t quite in the same category as the movie it emulates, “Planes, Trains and Automobiles,” but there’s still a lot to like -- and the film’s two leads, Robert Downey Jr. and Zach Galifianakis, are quite good in their roles. Mild recommendation. ** 1/2 (out of) **** (11/05/10)

“The Girl Who Kicked the Hornet’s Nest”: Based on the popular series of books by the late author, Stieg Larsson, the third and final chapter of the “Girl with the Dragon Tattoo” series, “Hornet’s Nest,” picks up where the previous film, “The Girl Who Played with Fire,” left off. Our heroine, Lisbeth Salander (Noomi Rapace) is recovering in the hospital and is also facing attempted murder charges, the threat of returning to a mental institution, and of course, the bad guys finishing her off. Meanwhile, her friend and ally, Mikael (Michael Nyqvist), who runs the tabloid magazine "Millenium," is working hard to establish her innocence against “the forces of evil” who have been conspiring against Lisbeth for most of her young life. Pedestrian plot, yes, but as with its predecessors, it works, though the standard warning applies: don’t try to watch this film unless you’ve viewed the first two films in the series. To do so would be a mostly pointless exercise and a waste of 2 ½ hours of your time. Director Daniel Alfredson, who directed the previous film, is back, but with yet another new screenwriter (Ulf Ryberg), who brings a slightly different flavor, but the pace is right and there’s just enough action and suspense, and plenty of Noomi Rapace, who owns her role, well, at least the international version. There’s also some pretty good closure, so fans of the series should find “Hornet’s Nest” to be a mostly satisfying film-going experience. *** (out of) **** (In Swedish with English subtitles) (10/30/10)

“The Social Network”: There is something magical about viewing a film that just…gets it. And I’m not necessarily talking about a movie that understands its topic, but one, that, from a technical standpoint, is a pleasure to watch. “The Social Network” is such an example. The so-called ‘Facebook Movie’ boasts a whip-smart script from veteran television and film writer Aaron Sorkin (“The West Wing;” “Charlie Wilson’s War”) and precise direction from David Fincher (“The Curious Case of Benjamin Button”), who guided a young and talented cast headed by Jesse Eisenberg (“Adventureland”). Eisenberg plays Mark Zuckerberg, the now-infamous co-founder of the website Facebook. “The Social Network” begins in the fall of 2003 on the campus of Harvard University. Zuckerberg is a sophomore at the prestigious school and is about to get dumped by his girlfriend, Erica (Rooney Mara), who is tired of his pretentious rants and obsessions, but little does she know that she’s about to become his new obsession – and a big reason why he co-founded one of the most popular websites on the planet. Zuckerberg begins with Facemash, an impromptu Harvard site that rates the attractiveness of the school’s female students. The site proves to be so popular that Zuckerberg is recruited by a couple of fellow students, Tyler and Cameron Winklevoss (both played by Armie Hammer) who want Mark’s programming skills for their upstart website, ‘Harvard Connection.’ And this is where the controversy begins. The twins’ site inspires Zuckerberg and his best friend (and fellow computer geek), Eduardo Saverin (Andrew Garfield) to expand upon their previous Facemash idea to create a new site, initially dubbed ‘The Facebook.’ It isn’t long before that website explodes, beginning at Ivy League colleges and then key schools around the country. This doesn’t sit well with the affluent Winklevoss twins and their family’s powerful lawyers, who unsuccessfully try to stop Zuckerberg and Saverin from stealing what they felt was their idea. Meanwhile, out in Palo Alto, California, Napster founder Sean Parker (Justin Timberlake) is just catching wind of the Facebook, via a fling with a student from Stanford University. The notorious, but very well-connected Parker sets up a meeting with Zuckerberg and Saverin to convince them to team up with him, and that he has the vision and experience to advance their fantastic premise. Zuckerberg is enraptured by Parker, but best friend Saverin, who at this point has put up all the money for the site (now known as simply ‘Facebook’), is skeptical. It’s the beginning of the end for Saverin, who is slowly squeezed out of Facebook and is left with the courts as his best chance to protect his interests. David Fincher’s film darts back and forth seamlessly between a deposition hearing with Zuckerberg, Saverin, and the Winklevoss twins, who give their accounts of Facebook’s origins. Seamless is also a good word to describe Fincher’s direction. He is able to keep the story flowing effortlessly without ever losing his viewer’s interest. This is accomplished in large part due to Aaron Sorkin’s absolutely brilliant screenplay. Throw in some timely music by Trent Reznor (“Nine Inch Nails”) and Atticus Ross and some great editing from Kirk Baxter and Angus Wall, and much of what’s left are the performances, which, true to the overall tone of this film, are spot on. It’s almost hard to single out an actor, because they’re all excellent, but Jesse Eisenberg, as the extremely arrogant Mark Zuckerberg, is especially terrific. He mines some of the aspects of his previous roles to form a character that really isn’t at all sympathetic, no matter how much we’d like to admire him for his difficult achievements. And, to Fincher and Sorkin’s credit, their film is able to balance out the difficult ‘court of public opinion’ aspect of the story. And while it’s admitted that certain portions of their story were ‘Hollywoodized,’ they really leave it up to the viewer to draw their own conclusions, though it’s very clear that Mark Zuckerberg isn’t painted in a very good light. In the end, “The Social Network” emerges as a near-flawless film account of a person who (whether we care to admit it) has indirectly become a large part of many lives in today’s new society. **** (out of) **** (10/01/10)