Extremely Loud &n Incredibly Close - 4 smiles

Although “Extremely Loud & Incredibly Close” is heart-wrenchingly difficult to watch, it’s also very good, dealing with life’s most important issues and building layers of sadness and joy. Based on the novel by Jonathan Safran Foer, director Stephen Daldry has fashioned an emotionally powerful story about the effects of 9/11 on a boy who loses his father, clearly illustrating his pain and confusion. And although 9/11 is a critical element of the film, the storyline takes place a year beyond that fateful day. Critics will dismiss this movie as a manipulative tear-jerker aiming for Oscar recognition. But that does a disservice to this compelling production. And while Tom Hanks and Sandra Bullock are the biggest names in the cast, they fill secondary roles. In fact, Hanks’ character is dead by the time the movie starts and we see him only through flashback. Max von Sydow, in a role that deserves recognition, has more screen time than either of them. The film belongs to young Thomas Horn, a former Jeopardy champion who is making his film debut. His Oskar Schell must carry every scene and he is equal to the enormous task set for him.

Oskar is not a normal nine year-old. He’s articulate and intelligent beyond his years, but does not relate well to people, has trouble controlling his emotions and is frightened by just about everything. His father, Thomas Schell (Hanks), believed Oskar to be afflicted with Asperger’s, but tests were inconclusive. We see New York City, circa 2001-2002, through Oskar’s eyes. When 9/11 occurs and Oskar’s father, who is on the 105^th floor of the north Tower, does not come home from a meeting, he does leave six answering machine messages. One year later, while rummaging in Thomas’ closet, Oskar discovers a key hidden in a vase. He believes that by embarking on a quest to discover the lock that matches the key, he will learn something important and keep a part of his father with him. He travels take him to all five Burroughs of New York City. He is accompanied by his grandmother’s lodger (von Sydow), an old man who has lost the ability to speak. In spite of the impossibility of his task, Oskar tackles it with relish, using lessons taught by his father to carry him though the difficult aspects.

For Oskar, the destination of his task is not as important as the journey. In undertaking it, he learns things about himself, his father, and his fellow citizens. He is met with kindness, pity, rudeness and indifference. And he sees his mother and the lodger with different eyes. And, most important, he learns to confront his own fears and overcome them in ways that would make his father proud. When a director decides to manipulate the emotion of his audience, that would seem to be a valid stylistic choice. However, when the viewer notices he is being manipulated, the director has gone too far. With “Extremely loud & Incredibly Close,” Daldry manages to touch the heart without being obvious and he has created an exceptional film. 12/25/11

The Adventures of Tintin 3D - 3 smiles

“The Adventures of Tintin” is a motion capture version of a popular French comic book. Had it been a live motion picture, it might rival Raiders of the Lost Ark for fun, adventure and excitement. As it is, it’s an entertaining movie, full of nonstop action involving exotic locations, grandiose villains, planes, trains, automobiles, motorcycles and ships. It’s also the first time Spielberg has made a 3D feature and the results are mixed. It’s a competent use of the format, but there’s nothing special that demonstrates why “The Adventures of Tintin” is deserving of the process. In fact, I’m sure the 2D version is just as good. A young journalist named Tintin (Jamie Bell), accompanied by his gifted dog Snowy, and a rarely sober Captain Haddock (Andy Serkis), seek the location of the lost treasure of one of Haddock’s seafaring ancestors. Tintin and Haddock, however, are not the only ones on this quest. The mysterious Sakharine (Daniel Craig) is also in the hunt and he’s willing to kill to achieve his goal. With one clue in Tintin’s possession and another in Sakharine’s the race is on to find the third piece, which is owned by a powerful Middle Eastern sheik.

One of the benefits of animation is what it allows Spielberg to do with Snowy. The little dog is smart, if not smarter than the humans that surround him and some of the funnier moments involve Snowy’s abilities in action sequences, like surviving a flood or riding with Tintin on a motorcycle. The action, which is fast and furious, is exciting and flashy, but generates little suspense. The voices were all well cast. And since the animated characters resemble their comic book counterparts, we’re not distracted by seeing an animated version of ‘James Bond.’ “The Adventures of Tintin” is a spirited adventure that’s smarter than your average animated family fare. 12/23/11

We Bought a Zoo - 2 1/2 smiles

I wanted to like “We Bought a Zoo.” It has animals in it and how can you not like a movie with animals? But I really, really wanted to like this movie. The main problem is the uneven tone with its manipulation of emotions and its strength is Matt Damon. Directed by Cameron Crowe, this movie is about overcoming grief and second chances. It’s a melodrama with bits and pieces of comedy, love story, coming of age narrative and father-son relationship drama. Matt Damon rises above the contrived material and humanizes Benjamin Mee, the widowed father of two who decides his family needs a fresh start and uses all of his savings to buy and fix a house with a ramshackle zoo.

Maggie Elizabeth Jones, the 7-year-old redhead who plays Benjamin’s daughter, Rosie, manages to be cute without being overly sugary. And Thomas Haden Church who plays Duncan, Benjamin’s accountant brother, has some of the best lines. Although there is some chemistry between Scarlett Johansson as the zookeeper Kelly, she seems miscast. The film is based on a true story of a Brit who bought a dilapidated zoo and the supporting cast of eccentric characters seem better suited to a British comedy than a mainstream American movie even though they are a likable lot. The least funny part involves a self-important inspector (John Michael Higgins), in charge of deciding whether the zoo will open to the public. His role is, at best, a caricature in the middle of real people with real issues. As a director, Crowe pushes every scene to the emotional max with close-ups in dappled sunlight and glowy background music. So when you feel the emotional pull, you’re also aware of everything Crowe did to get you there. Nonetheless, “We Bought a Zoo” is a sweet if predictable movie, just about right for the good will floating around the holidays. 12/24/11

Sherlock Holmes: A Game of Shadows - 3 smiles

To like Guy Ritchie’s version of Sherlock Holmes is to like Robert Downey, Jr. and not be hung up on Basil Rathbone’s portrayal of that famous detective. To like “Sherlock Holmes: A Game of Shadows,” the sequel to Ritchie’s 2009 Sherlock Holmes is to like a younger Holmes who can immerse himself in action as well as provide satisfactory mental acrobatics. And this time around, Ritchie introduces Professor Moriarty (Jared Harris) as Holmes’ equal-but-opposite, a brilliant mathematician whose just as smart as our detective. Holmes begins interfering with Moriarty’s schemes when he realizes that Moriarty is using anarchists and an ex-military sharpshooter to carry out assassinations. He’s also using Irene Adler (Rachel McAdams) as a messenger. Meanwhile Dr. John Watson (Jude Law), Holmes’ assistant and friend, is about to marry Mary (Kelly Reilly). To celebrate the impending nuptials, Holmes arranges a ‘stag night’ for Watson that involves the company of Holmes’ older brother, Mycroft (Stephen Fry) and a lot of drinking. While Watson is playing cards, Holmes visits a gypsy, Simza (Noomi Rapace) who may know something about Moriarty’s plans.

“A Game of Shadows” contains a number of action sequences, including a chase-and-escape from Watson’s bachelor party, fireworks on a train, a painful encounter with a meat hook and a race through a forest dodging artillery fire. Ritchie’s style is evident, especially the use of slow motion and numerous quick cuts. The most inventive sequence occurs when Holmes and Moriarty face each other at the end. Since each has the ability to plot out the steps of the battle in his mind, their moves and countermoves are shown before any physical fighting begins. Robert Downey Jr. is comfortable playing the venerable detective and Jared Harris conveys a quiet menace at Moriarty. Unfortunately, Noomi Rapace, so good in The Girl with the Dragon Tattoo, is wasted here. So put aside your memories of the 1940s Sherlock Holmes movies and enjoy this movie for the popcorn entertainment that it is. 12/17/11

Mission Impossible: Ghost Protocol - 3 smiles

“Mission Impossible: Ghost Protocol” is relentless in amping up the adrenalin with its eye-popping stunts, explosions, high-speed chases and a whole lot of suspension of disbelief. It’s wall-to-wall action with a little story thrown and at 133 minutes, it can be argued that there’s too much of it. The last half hour, when the scene moves to Mumbai seems a little anticlimactic when compared to the spectacular segments in Moscow and Dubai. Director Brad Bird, better known for his Oscar-winning The Incredibles and Ratatouille), proves he can handle the action genre, too. The film’s best sequence is the vertigo-inducing climb up Burj Khalifa in Dubai, best seen on the IMAX screen. And star Tom Cruise handles everything thrown at him with consummate skill and cool self-confidence. He is the reason to see this movie. Well, Tom Cruise and all of the dazzling stunts

Ethan Hunt (Cruise) opens the film in a Russian prison. Techie Benji (Simon Pegg) and an agent named Jane (Paula Patton) engineer a breakout. Later, Hunt is told he needs to break into the Kremlin and steal some nuclear missile codes. When the mission goes bad and the Kremlin blows up, Ethan is blamed and the team is disavowed. As it turns out, a crazed nuclear scientist (Michael Nyqvist from the Swedish The Girl with the Dragon Tattoo) has decided the world would be a better place after a nuclear holocaust so he’s planning to start World War III. And Ethan and the team have to stop him, but without outside support (remember, they were disavowed). This leads to some globe-trotting and risk-taking with newcomer Brandt (Jeremy Renner) joining the team. But you’re not supposed to notice that the team manages to get all kinds of sophisticated equipment and suites in expensive hotels without any outside support nor do they have to pay for the many expensive cars they destroy. “Ghost Protocol” is a top-notch popcorn movie and a great companion for a free afternoon. 12/18/11

Shame - 1 smile

“Shame,” starring Michael Fassbender and Carey Mulligan, is full of self-destructive behavior, from Brandon (Fassbender), a sex addict and his sister Sissy (Mulligan), a suicide-prone nymphomaniac. The movie is about a pair of emotional train wrecks on a collision course, leaving nothing to the imagination nor providing anything valid a normal viewer might learn along the way. “Shame” builds a depressing picture of existence, but it fails to explain why these people are they way they are. Sex becomes a substitute for plot, character development and emotional content. What does Brandon learn? What do we learn? “Shameless” seems pointless and a waste of time. Rated NC-17. 12/4/11

Young Adult -3 smiles

Insensitive, egocentric, self-deluding. These are words that describe Charlize Theron’s character, Mavis Gray, in “Young Adult,” a movie that focuses on discomfort and provides no concluding catharsis. A dark comedy that confirms Diablo Cody as a screenwriter of merit and validates Jason Reitman’s ability as a director, “Young Adult” posits that people don’t change. Mavis’s life peaked when she was in high school and it’s been floundering ever since. The ex-prom queen lives alone in a Minneapolis apartment, where she spends time feeling sorry for herself, drinking two-liter bottles of Diet Coke and sleeping in front of the television. Deciding to recapture the happiest period of her life, Mavis resolves to reconnect with her high school boyfriend, Buddy (Patrick Wilson), not caring that he’s happily married with a new baby.

Cody’s script has sympathy for Mavis, but she’s not an appealing character. Rather she’s so unhappy that she compensates by manipulating everyone she encounters, single-mindedly pursuing her goals with total disregard for the feelings and desires of others. Mavis is a challenging role and in Theron’s capable hands, Mavis comes to life with her immature actions and deluded behavior. The script also provides two perspectives that Reitman handles well. First, there’s Mavis and her self-absorbed behavior. That’s balanced with Matt (an excellent Patton Oswalt), whose feelings more closely resemble ours. Matt sees everything that’s absurd about Mavis – he understands that Buddy is happy with his family and has no interest in Mavis. He also understands that Mavis is miserable. Matt is probably a better match for Mavis because he understands and accepts her for what she is, but that would be another movie. If there’s a weakness, it’s that the conclusion lacks an emotional punch. Mavis doesn’t have an epiphany. We go on a difficult journey with her and she never gains a sense of what’s really important in life. So if you’re looking for a feel-good holiday movie, “Young Adult” isn’t it. 11/30/11

My Week with Marilyn - 2 1/2 smiles

The title, “My Week With Marilyn,” should have been a clue that the movie wasn’t going to be anything more than a superficial look at Marilyn Monroe. The problem isn’t Michelle Williams’ portrayal of this iconic star, but the script by Adrian Hodges that adheres faithfully (maybe too much so) to Colin Clark’s memoir, which is full of clichés. Instead of a complex woman, the script offers a catalogue of Monroe stereotypes: exhibitionist, neurotic, free spirit, and, sadly, drug-addled woman. But we never get beyond these various Monroe faces. Michelle Williams and Kenneth Branagh as Laurence Olivier are effective as are the supporting cast, including Judi Dench, Julia Ormond, Toby Jones and Dominic Cooper. However, Eddie Redmayne’s Colin smiles a lot but exhibits little depth. Again I’d have to blame the script.

The week in question was 1956. That’s when Colin Clark, a young Oxford graduate from a distinguished family, worked as a lowly gofer on the set of The Prince and the Showgirl, an Edwardian comedy that starred Marilyn Monroe opposite Laurence Olivier, who was also the film’s producer and director. The pairing was unlikely and Olivier, a no-nonsense professional, couldn’t abide Monroe’s neediness, her bouts of paralysis or the protective people around her. But seriously, “My Week with Marilyn” is really just a reason for Michelle Williams to display her considerable talents, which she surely does. And that’s the only reason you will want to see this movie.

The Lady - 2 1/2 smiles

“The Lady” is essentially a love story, about Aung San Suu Kyi, (Michelle Yeoh), the Burmese freedom fighter and Nobel Peace prize winner who challenged her country’s oppressive military junta and the enduring love between Suu Kyi and her English husband, Michael Aris (David Thewlis), a professor of Tibetan and Himalayan Studies at Oxford. The movie covers the Burmese student protests of the late 1980s; the violent reprisals by the military; the intimidation tactics intended to suppress the blossoming democratic movement led by Suu Kyi; her 15 years of house arrest in her family home even after she was lawfully elected president; and the military leaders’ continuing refusal to acknowledge international pressure to transition to a people’s government. Suu Kyi made tremendous sacrifices for her political convictions at the cost of being separated from her family and unable to be with her husband even as he was dying of cancer.

The weaknesses of the movie, directed by actioner Luc Besson, is its overly long running time (2 hours, 25 minutes) and the fact that many of the events in Suu Kyi’s life seem to be elements on a checklist. The shocking injustices the Burmese people faced and continue to face today should strike emotional chords, but, for some reason, Rebecca Frayn’s script remains detached. More successful is the depiction of Michael’s unwavering devotion and tireless campaigning on his wife’s behalf. Yeoh radiates a quiet strength, emphasizing Suu Kyi’s nickname ‘the steel orchid.’ As Myanmar (Burma) appears in headlines today, “The Lady” gives you the background you need to know to be concerned about what’s happening in that tiny country. 11/2/11