Mark Schroeder

A Fresh Start 3 out of 4 stars

Come December, we are prepared to witness the bombardment of holiday movies across the Cineplex landscape. Usually the films are forgettable fluff that attempt to fill some innate need for holiday cheer, but don’t get me wrong; there are some fantastic films that convey the importance of the season. The newest addition to the club, Everybody’s Fine, starring Robert De Niro, lies somewhere in the middle of this chasm of holiday movies, encapsulating relatable issues of our present lives.

Frank Goode (De Niro) is an average blue-collar retiree that has embraced the American dream of his generation. His home is modest with a well-kept garden and spotless interior thanks to Frank’s diligence. Family photos line the shelves of his home and Frank takes time to bask in the sun of his accomplished life seen in the gallery of snapshots. Yet, he is alone and a recent widower, emphasizing the serene home life as a disguise for unknown issues. After his four children cancel on him for a family get together, he decides that he’ll just make a surprise visit in each of their respective cities. On each visit though, Frank gets an awkward welcome and a hint that each child is not divulging the entire truth. Let’s just say for this film’s purpose, he is trying to keep the communications lines open with his family.

De Niro does not show any signs of his idiosyncrasies in Everybody’s Fine. He really transforms himself into this respective, hard working and aging father that is trying to understand where his children are in their lives and how he fits in. His character is both intuitive and lost in a life where he’s discovering that he may have been shielded from all the unfortunate family news. The wife, the real matriarch of the household, was the glue of the family and the filter for De Niro’s character. There is not much back-story explained, but it’s obvious that the father worked long hours as a telephone wire assemblyman for his children’s needs and in turn made the mother the emotional rudder.

The road story is predictable and keeps a common thread with shots of telephone wires, focusing on both Frank’s profession and the broken lines of communication with his children. Each scene with the children is interesting, emotional and quite realistic. It’s a fine supporting cast with Drew Barrymore as the father favorite, Sam Rockwell as the independent musician and Kate Beckinsale as the successful advertising agent. Each vignette is well played, scraping off layers of family relationships with Rockwell’s performance shining through in his supporting role.

Although the film is predictable, it’s one of the better holiday movies to come out in recent memory. Everybody’s Fine displays the real interconnectedness of family, the good and the bad that comes with it. It also relates to the tribulations of the past year, highlighting what is most important and how there is always a chance to turn it all around. A great message in this, a new year.

The Unconquerable Soul 3 out of 4 stars

Clint Eastwood knows how to make a classically crafted film and in the last few years he has perfected his sense of timing. We are in the midst of award season and again Eastwood is prepared to make his presence felt with his new, factually based film Invictus starring Morgan Freeman and Matt Damon. The film is a hybrid biopic and sports movie, revealing the inspiring story of South African president Nelson Mandela’s attempt to unite his country through the power of a rugby team during the 1995 world cup. Can you hear the applause already?

The audience is engulfed in the social and political climate immediately. Upon his release from prison, Mandela (Freeman), is celebrated by poor black children while just across the road rich white rugby youths jeer the approach of a new era. The damaging effects of apartheid are constantly being referenced throughout the film and the focus of the first half is the mending of these social relationships for the newly elected president Mandela. Freeman takes on his role admirably, exhibiting the determination of Mandela to create a new nation.

In one such scene, Freeman speaks to the national sports commission, urging them to keep the original name of the rugby team, a name associated with the apartheid era, in order to show the forgiveness and acceptance of all citizens. As expected, many people look at Mandela as naïve and not revolutionary in his approach, but his passionate stance is explained through a verse of a poem that gave him strength during incarceration. Freeman’s voice-over softly, yet powerfully states “I am the master of my fate, the captain of my soul”. The actor’s voice has become synonymous with narration and serves the recounting of Mandela’s past and poetic verses very well.

Damon’s performance as Francois Pienaar is very well executed for how little character depth is achieved. He plays the captain of the Springbok rugby team and becomes a catalyst for Mandela, inspiring his team and eventually the new South Africa. Matt Damon’s scenes are well executed, but short and you can tell he performed to the best of his ability with what he was given. The second half of the film readjusts the focus to the world cup competition, taking great chunks of time out of this portion. Eastwood carefully films this gameplay, making sure to reiterate the importance of the national unity through expansive shots of the diverse crowd supporting the team. It becomes a little clichéd at times with inspirational musical interludes and sports sequences, but it is still entertaining. Some of the best scenes are between the two leaders, each actor doing credible interpretations of the real-life interactions.

With such amazing directorial work in his canon, it seems difficult to swallow Eastwood’s Invictus as just a good film. But that’s just it; it’s a good inspirational biopic/sports movie. Although it falls into some predictably cliché moments, they are easy to forgive due to the entertainment value.

The Road Much Traveled 2.5 out of 4 stars

We are living in the cinematic apocalypse. In the past year we have seen our world falter under the powers of natural disaster and become infested by zombies just to identify a few films. Another scenario would involve our demise at our own hands, a situation brought to light in the recent film The Road, an adaptation of Cormac McCarthy’s Pulitzer-winning novel of the same title. Literary enthusiasts will be happy to know that the film is loyal to the original composition, bringing to life the grim, gray post-apocalyptic world and in turn becomes the greatest and weakest feature of the film adaptation.

This is another astonishing and beautifully haunting execution of filmmaking by director John Hillcoat who jumped onto the scene with his Australian western The Proposition in 2005. It’s hard not to notice that this new film encapsulates many facets of the western genre. You have the good guys, father and son bearing the elements traveling south in order to find warmer climate and a sustainable food source. There are the bad guys on the road that steal, kill and resort to cannibalism in order to survive. And then there is the ugly “new” frontier of the ever-deserted country. This may be a little of a stretch, but it is apparent that Hillcoat is comfortable in these dark corners of both the new desolate world and the pain ridden characters.

Throughout the treacherous travels of father and son, we lay witness to flashbacks of a different life before the fall of society. The father, played courageously by Viggo Mortensen, is seen in the flashbacks in a warmer world with his loving wife (Charlize Theron), experiencing glimpses of better days. The flashbacks become increasingly horrifying as they catch up with present time, showing the failure of outside life and the ultimate loss of the man’s wife. In these scenes Theron expresses the desperation in her voice that Mortensen conveys with his face and eyes throughout the film. The son (Kodi Smit-McPhee) is the minimalist combination of the two, shouting out in fear and holding this emotion in his eyes during close-ups. The screenplay is faithfully devoted to the original work and at times can become monotonous, but thanks to great acting the cold, raw environment is not totally dismissive.

This is by far one of the most depressing and engaging films out of all the post-apocalyptic films from this year. You become drawn into the realism of the world with much credit due to the superb somber acting and benefit of shooting on location with minimal post digital effects. Even though the new frontier is expansive and frightening, the emotional connection to the father shepherding his son against all odds in order to reach a presumed safety is an intimate and rewarding affair. This will be seen as more of an art house film and that’s okay because it is by far the best representation of the end of the world; Cold, dangerous and sometimes kind of tedious.

Keep on Knocking 2 out of 4 stars

For a family with an enlisted child, partner or parent, it is most likely the worst situation. Military officers arrive at your front door to inform you of your loved one’s death while on a tour of duty. It is a horrible scenario and an all too real nightmare for many in the past couple of years. But who are these soldiers, the informers of casualties? Oren Moverman’s new film, The Messenger, attempts to become the fly on the wall, exploring the lives and psyches of the bearers of grief.

The circumstances are flipped for the masses, exhibiting the torture and pressure upon the officers that deliver such devastating news. The two officers observed are Staff Sergeant Montgomery (Ben Foster), a man basically forced into the position, and Captain Stone (Woody Harrelson), a seasoned veteran in the assignment. Both men are from different eras in the Iraqi-American conflict, each with their own career achievements and psychological trauma. All of these emotions slowly boil to the surface throughout the film, with each message scene at someone’s home serving as an intermission from story development. In no way are these scenes a diversion; they are by far some of the most intimate and harrowing visions of tragedy. These scenes instead emphasis the documentary approach of the film and intricacies of each actor.

In one such scene, Montgomery delivers news to a new widow (Samantha Morton) that sets off an unlikely, yet undeveloped relationship between the two sufferers. The two begin to feel a connection and pull toward each other, basing a romantic flirtation that hinges on stalking and grief counseling. Again, the natural feel of the shooting style and long takes focus on the awkwardness and pain of real life. This is by far the most dramatic aspect of the film, drawing comparisons to the mundane normalcy and repeatedly, the torture of returning home to an unfamiliar life. The two men eventually can find solace in each other, becoming partners and maybe even friends. Yet again, the film pushes in on these scenes, allowing for a closeness and distress simultaneously. Harrelson is great as the rigid, yet cartoonish, superior that trains the tormented Foster on notification procedure and at times influences him to cut the binds that be. Each scene that focuses on the developing relationships is powerful due to great nuanced acting, but more aptly because of the documentary filming style with minimal editing.

The Messenger is a straight forward film that emphasizes the pain and suffering of all people involved during war times through great minimal dialogue acting and long documentary shot-like filming. It is a great idea with great scenes, but seems to lull too much. It is peppered with anti-war sentiments through the dialogue but in no way is a leftist discourse about the state of governing. It’s a poignant film for our time that reflects some issues of each of our lives and the importance of human connection. Not a great film, but a good one people will be talking about in the coming months.

Rocking the Boat 2.5 out of 4 stars

Stating that a film is based on historical fact, even if loosely based, can draw interest from potential audiences. In most cases, viewers are intrigued by a dramatic recreation of actual situations because the characters seem tangible. Although, more often than not, audiences find that these types of films are flawed, stating that the novel was better or that they don’t remember it happening that way. But don’t we all have our own subjective versions of history, especially if we lived through the event? Writer-Director Richard Curtis’ Pirate Radio exemplifies this unavoidable circumstance in telling the story of the 1960’s renegade disc jockeys that took to the airwaves in open waters to the delight of British citizens and loathing of Parliament. Even though the film explicitly states that it is based on this conflict of interests, it is Curtis’ lively interpretation.

The film takes place primarily on a completely fictionalized ship that is home and workplace for the diverse, yet marginalized group of misfits. They broadcast day and night, rocking the tunes for their devoted listeners, much to the dismay of both the BBC and government officials. Although it seems that at least half the population is listening to some form of pirate rock radio, the government will stop at nothing to try and stop the broadcasts. Since they are actually not doing anything illegal, the radio outcasts become radio gods and eventually pseudo-rebels. In the face of adversity, the rock rebels finally have to make their climatic choice in channeling rock n’roll to the masses.

Pirate Radio is chock full of talented actors playing interesting characters in a lively, cool environment. It focuses on the impact and role of these DJs enlisting citizens into the rock revolution. Yet, the film tends to introduce new sub-plots and characters only to neglect them until we have completely forgotten or worse, no longer care. Director Curtis has made other successful films such as Love Actually that are able to juggle multiple storylines, but in this instance it just seems to anchor the ship down. Beyond having a jumbled story, we never get great character development, which is unfortunate with a cast boasting Phillip Seymour Hoffman as the outspoken American DJ, ladies’ man Nick Frost and suave radio owner Bill Nighy.

However, let us not forget that the film is about the music and without it this ship may have sunk. The soundtrack includes now British rock staples like The Who, The Rolling Stones and The Beatles. It includes other obscure and brilliant pieces that assist the convoluted storyline tread the choppy waters. Many of the tracks may not have been recorded before the timeline of the film, but just forget about that. The film never really seems to be true to any vision of real historical fact, so it doesn’t really matter if the music isn’t chronologically correct. The music rocks and conveys Curtis’ vision of the British radio rebellion, even if it is very loosely based. Message broadcasted loud and clear: Long live Rock n’Roll.

Fantastic is the New Retro 3.5 out of 4 stars

Retro styles consistently re-emerge in fashion. Maybe it is an excuse for unimaginative ideas or a desire to recreate ideas and looks of the past. I’d like to think that in most cases it relates to the latter. Wes Anderson’s new film, Fantastic Mr. Fox, completely fulfills the resurfacing of retro. Not only is it an adaptation of Roald Dahl’s classic children’s story, it adheres to the specific time and place of the original work. Moreover, Anderson embraces the antiquated stop-motion animation of the same era and in the process creates a familiar, but exceedingly clever way of storytelling for both adults and children alike.

Mr. Fox is both cunning and charming, stealing chickens from local farmers in order to provide for his family. There is no such thing as risks, only calculated master plans. The audience takes pleasure in watching Fox as a young married chap, running the countryside, fulfilling his thrills. Yet, every young adult must grow up, especially if your career puts your growing family in harms way. Flash-forward a few fox years and see a devoted Fox family dealing with familiar issues such as finances, teenage angst and the housing market. The film is so dazzlingly impressive with stop-motion action, the fact that animals are wearing suits and holding office jobs only enhances the whimsical value of the story. Eventually, Mr. Fox, brilliantly voiced by George Clooney, decides to take on one last adventure with the help of a few local animal residents. However, when things go awry and the farmers are out for revenge, Mr. Fox may have sacrificed the entire community of wild animals.

The film begins in accordance with Dahl’s original work, but quickly and skillfully moves into Anderson territory. Anderson co-wrote the film with Noah Baumbach, his writing partner on 2004’s Life Aquatic, resulting in the colorful wit and dry humor audiences have come to recognize in his previous films. The dialogue is simultaneously basic and engaging, not only emphasizing the auteur of Anderson, but also reflecting the family-friendly writing of popular feature animation. Fantastic Mr. Fox is pure eye candy; the film unveils so many visual layers like watching an origami master fool you with a simple piece of paper. Although, the actual dialogue may be much more adult oriented than other animation, the natural splendor of the aesthetic is mesmerizing.

By using the stop-motion animation, Fantastic Mr. Fox, becomes a quirky film for adults and a visual stimulation for all. The world is engrossing and believable, taking any viewer on a leisurely ride down memory lane. Beyond the gorgeous stylized mod-look, the film is perfectly voiced with Anderson regulars including Bill Murray and Jason Schwartzman. Meryl Streep also takes counterpart control as Mr. Fox’s wife. The film is devotedly retro, bursting with details in an ingenious recreation of a classic tale and by no means a stale reproduction of any style. Take the family. Take a date. Just make sure you don’t miss this original film.

The Precious Essence 3.5 out of 4 stars

Sit back, but don’t plan on relaxing. The opening sequences of Precious make it perfectly clear that there is nothing soft or demure about the story about to unfold. We are immediately transmitted into a gritty, unexposed life occurring in 1980’s Harlem. The heroine, Clareece ‘Precious’ Jones (Gabby Sidibe), not only reflects all the hardships of her short teenage life, but also completely encompasses a sincere craftsmanship of character. Director Lee Daniels’ new film is unabashedly to the point; avoiding many of the pitfalls of neglected inner-city youth dramas and instead highlighting redemption through masterfully acted portraits of troubled individuals.

It is 1987 and we are thrown into a dark and ever enclosing world of despair, an existence for the16-year-old Precious. She is pregnant with her second child, has recently been suspended from school and in no uncertain terms, a slave to her abusive mother. Precious’ life is practically a living hell. It seems that her life could very likely resemble that of her mothers, relying on welfare and becoming emotionally and financially lost in an underprivileged society. The young teen follows orders, gambling on races and constantly frying up a meal for her TV bound mother.

Witnessing the descent is heartbreaking and we feel the hopelessness of Precious, but as a companion on her journey, we also experience her daydreaming escapism. We see her hopes and desires, whether they are as simple as having a boyfriend to becoming an international cover-model, the audience understands her potential to rise above her horrible situation. And once given that chance for a voice in an alternative educational system, Precious’ life diverts toward a new self-discovery and possible outcome.

The realistically disturbing images throughout the film are definitely intense but could also become cliché in telling the unfortunate life of an inner-city youth, but the film averts this stigma with high caliber acting. Mo’Nique is absolutely detestable as Precious’ mother, Mary, driving home the feeling of gloom and becoming an unstoppable force of passion. Sidibe completely encapsulates the lead role and we feel as if we are eyewitnesses on this young girl’s journey. The acting is so superb; to not mention these two actresses in terms of awards this coming year would be foolish. Mariah Carey lends a great supporting role as a social worker, as does Paula Patton as a teacher and confidant for Precious. In simpler terms, if you are looking for well-crafted acting, look no further.

Precious: Based on the Novel ‘Push’ by Sapphire, is currently in limited release but with buzz and names like Tyler Perry and Oprah Winfrey attached as executive producers, you’ll be sure to hear more about the film. The film has an independent quality with Lee Daniels in the director’s chair for the second time, focusing on characters and mood, telling the harsh story of perseverance. It is a significant impression of the best qualities of the human spirit and art of screen performance.

A Bloody Mess 2 out of 4 stars

Halloween has come and gone, but not every bump in the night received their due notice. Hollywood’s obsession with vampires is definitely not fleeting as seen in the multitude of over-exposed bloodsuckers. The newest edition from out of the coffin is director Paul Weitz’s Cirque du Freak: The Vampire’s Assistant, an adaptation of a popular children’s series.

Although the title specifies the prominence of pointy teeth creatures, the film is centered on a traveling circus-style freak show, ranging from a monkey-girl to a serpent-boy. One of the acts is John C. Reilly, who plays a 200 year-old vampire named Larten Crepsley with a knack for entertaining. He is both buffoonish and endearing as the mentor to his young assistant. His garb is blatantly over the top, sporting bright, wild orange hair and a velvet purple suit and the opposite of his nature. As an experienced vampire, he has come to terms with his existence and ever-lasting life until things go awry at a show.

The story begins with two best friends, Darren (Chris Massoglia) and Steve (Josh Hutcherson), acting on their curiosity and attending the show one evening, finding themselves enthralled by the acts, especially Reilly as Larten Crepsley, the gloomy vampire with moral values. Eventually Reilly’s character will mentor Darren, teaching him how to use his powers to avoid trouble and possibly death. These life lessons are important, as Steve seems to be taking a much different and darker path than his best friend. As the title of the film states, it is about a group of misfits that rely on each other to live a somewhat normal life. Darren, the young teenager, must adapt to this new lifestyle as a vampire assistant and member of the cirque.

This film is clever and has humorous moments throughout, thanks particularly to Reilly’s acting chops, yet becomes jumbled with unrefined storylines and shallow character development. Yes, it is fun at many points but very obvious that the filmmakers had a difficult time trying to combine all the plot elements of the original book series. Some fanciful scenes seem drawn out, while other important dialogue scenes seem chopped out of the final cut altogether. Cirque du Freak has some interesting special effects as well, displaying vampire special powers and freaky characters in the troupe, but again can’t sail this ship.

The other sideshow acts, including Salma Hayek as a fortune teller/bearded lady, are entertaining and by far the best scene is the actual show the two boys attend, focusing on the crazy world of the cirque. Unfortunately, the freaks seem to become part of the backdrop as the vampire storyline takes over, wielding the film into already charted vampire drama.

Cirque du Freak: The Vampire’s Assistant endeavors to unveil a new story but instead becomes lost in the surface of it’s title, becoming a pre-packaged installment in the vampire mania.

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