Wanted

Since it is my policy not to reveal plot points when reviewing a film, this review is going to be short. Wanted is a terrible film because it’s unbelievable, the stunts are nothing that we haven’t seen before and the storyline is way too predictable. As a viewer this is one of those films that leaves you saying, “oh, that wouldn’t happen,” too often, followed by laughter. The film just doesn’t work.

I don’t blame the acting, or even the directing, since the script is that poorly written. The premise of an all-telling loom revealing the fate of the peace-loving world should have shelved this film before it ever got to production. Since it didn’t, director Timur Bekmambetov didn’t have much choice but try and make the production values strong. They are, and the stunts are kind of cool to watch (even if they aren’t that original) which is why I’m giving the film a little more than one projector. The acting is what you expect from an action film; nothing special but good enough, however, even Morgan Feeman and Angelina Jolie can’t save this film.

Rating: 1/2

Film’s website: http://www.wantedmovie.com

The Visitor

In a word… brilliant. This is the first film of the year that truly deserves Oscar buzz. From the writing, to the directing, to the acting, “The Visitor” is a wonderfully small film that delivers a bigger punch than most block-busters could ever dream of doing.

From the mind of Thomas McCarthy (writer and director) “The Visitor” is one of those family dramas with hints of humor that will make you smile, cry and think. It’s not only a great story, it contains enough political timeliness to make the film matter in today’s current climate. McCarthy is subtle with everything he does (his 2003 film “The Station Agent” was great) and this time is no different. He delivers a script that any actor would love and directs the film with a careful balance between sentimentality and comedy.

At the heart of “The Visitor” is the performance of lead actor Richard Jenkins. A long time character-actor (you’ll recognize him immediately), Jenkins delivers the kind of performance that will be remembered at Oscar time. He’s already receiving early buzz and it’s well deserved.  He is both strong and weak, open and closed, warm and cold as his character confronts a mid-life crisis in a life that has failed to deliver all that he expected. At times, his deadpan delivery is incredibly funny. When he is discovered practicing his drumming, you’ll bust out laughing.

Jenkins is not alone in this film and, hopefully, his co-stars are remembered at the end of year as well. Haaz Sleiman and Hiam Abbass deliver quality supporting performances that allow Jenkins to shine. Sleiman’s portrayal of an illegal Syrian immigrant is incredibly powerful. His character comes across as warm and caring but also pained by a past that haunts him. Khaili is even better. Her performance as the mother of Sleiman’s character is stunning in it’s depth. This is what a true supporting role is all about. She is both stoic and vulnerable as a mother dealing with a terrible situation and a woman falling in love.

Finally, McCarthy’s story sense is spot on. Instead of taking us where we expect, his story twists in unconventional ways leaving the viewer surprised and satisfied. I had no idea the film was going to end the way it did and that was great. It’s not an unrealistic ending, just unexpected and that sums up this gem of a film… an unexpected jewel that should not be missed.

Rating: 1/2

Film’s website: www.thevisitorfilm.com

Vantage Point

I’m conflicted by this film. I really want to love it, but I just can’t. Pete Travis directs this mystery-thriller with a nod toward Kurosawa’s “Rashomon” and falls short of the mark when he reverts to a stereotypical Hollywood ending when anything but that was needed. I love it when writers and directors take creative chances and try something new with an old formula (which is why I loved Atonement, Crash and Traffic), but Travis doesn’t seem to trust himself with the ending. It’s either that, or the studio got in the way and wouldn’t allow a non-traditional ending. The more I think about this film the more I think this is true. I just can’t fathom a director making the first two-thirds of this film and then suddenly deciding to deviate from his narrative style so drastically in the final third. It’s either this or Travis got so lost editing that he forgot what kind of film he set out to make. So, did I hate it? Actually, no… for the first half. I really liked the idea of seeing this event unfold from several different points-of-view. While there were moans in the audience the third time the clock was reset (I heard an “oh, jesus” more than once) I had no problem with it. It was unique, original and kept me thinking where we were going next. The acting is strong, the cinematography and editing flawless and the narrative pacing fine. Where the film begins to fall apart is when we get to the third story and begin seeing too much of the same thing. I wanted the narrative to go much further with each “vantage point” and provide me with significant new information. Each one spends too much time recapping the mayor’s speech and not enough time moving the narrative forward. And then there is the end. It’s just absurd. Too impossible to believe and way too coincidental. It was forced, like somebody said, “ok, let’s end the film now” without regard to how the story had been developing. Some of the stunts were so unbelievable the audience was actually laughing. This is a film that started strong, had all the makings of a great movie, and then crashed and burned in the end. If you like the beginning, go out and rent Kurosawa’s “Rashomon” and see what this film could have been if made by a master director.

Rating:
Film Website: http://www.vantagepoint-movie.com/index.php