Duncan Jones' Moon (2009)

It's a difficult task to review a movie such as Moon, the first directorial effort from young Duncan Jones (formerly known as Zowie Bowie). The obvious parallels to 2001 aside, Moon is the kind of smart and quiet little film that you never saw coming, but ultimately ends up as one of your favorites of the year, if for no other reason than the sheer inventiveness and audacity of Jones' vision. That being said I must caution that those expecting a mind-bending science fiction tale on par with Kubrick's masterpiece may be disappointed. Moon is a character piece and it never once forgets this.

Sam Rockwell is tasked with carrying the entire film, as the only other human characters appear via video screen. Kevin Spacey lends his voice to GERTY, the Hal-inspired robot companion to Rockwell's Sam Bell. It is an interesting choice, given Spacey's cold and slightly creepy voice, but the film is not interested in replaying the robot gone bad storyline of 2001. Instead, working from Duncan's own original story and a fine screenplay crafted by Nathan Parker, Moon sets out to tell the story of a lone worker on the moon, given a three year contract and tasked with harvesting a newly discovered resource on the moon's surface. When we first meet Sam Bell, he has only three weeks left before his contract is finished and he can finally return to his wife and daughter on earth. Sam begins to get sick and one day, while checking on a distant outpost, makes a discovery which will change everything. To say anything more about the story would be a great disservice to those yet to see the film. Suffice it to say, not all is as it appears on the moon.

Rockwell is utterly fantastic in a role that requires some serious range and I never once grew tired of his constant presence on screen. Supposedly, Jones wrote the story with Rockwell in mind for the lead, and his vision payed off as Rockwell delivers one of the best performances of the year. In a perfect world, Rockwell would be nominated for an Oscar for his work here, but I'm not holding my breath. The other star of the show is the set design. This is not the sterile, clinical environment we saw in 2001, or even Alien. Instead we are shown a moon base which looks real. That is to say, it looks lived in. It's not hard to imagine Sam Bell spending time in his quarters as it looks less like a movie set, and more like a practical imagining of one man's life ... on the moon. The audience is not bashed over the head with overt displays of technological wizardry. The moon base and it's tools are suitably advanced but never overwhelm the story and character work. It must be noted that Moon was filmed with a budget of $5 million, an absolutely microscopic number in this day and age. It is a testament to Jones and his talented crew that the audience is never once sucked out of the experience by a shoddy effects shot or blatant green screening. Instead, they had to get creative with their sets and props, a difficult trick to pull off when your setting is the moon. This creativity is on display throughout Moon, whether it be the set design, acting (you'll see what I mean), cinematography, or the story itself of Jones' directorial debut. A creative, thoughtful science fiction film. Imagine that. 4 out of 5 stars.

Michael Mann's Public Enemies (2009)

Continuing in the tradition of such films as Heat and Miami Vice, Michael Mann's latest entry into the crime drama canon is Public Enemies, the story of John Dillinger. Perhaps a chapter of the story of John Dillinger would be a more appropriate description. Mann takes an interesting approach to the material, opting to show only the final year of Dillinger's life. This is not an origin story, instead it is a window into the world of a man who robs banks. Melvin Purvis, the FBI man tasked with tracking Dillinger down, is also a key figure, however neither figure is fully explored, although the primary actors do a fine job of bringing the characters to life.

Depp plays Dillinger with a quiet, almost steely, reserve which seems appropriate but also prevents the audience from really coming to understand the motivations that drive his character. Dillinger robs banks. We are never told why he chose this life. Mann asks us simply to accept Dillinger for what he is, a very slick, well-dressed, bank robber. Melvin Purvis, portrayed by Christian Bale, is given even less to work with as we see little character development between the two leads. Purvis is a career FBI man, and he will stop at nothing to catch Dillinger. Bale does a great job with the material he's given, but I couldn't help wishing that both he and Depp were given more time to develop their on-screen identities. Although the film was billed as a showdown between Depp and Bale, the character of Billie Frechette, played by Marion Cotillard, is arguably the most important character of all. In the midst of the cat-and-mouse game between Dillinger and Purvis, Frechette is discovered by a smitten Dillinger and the story of their doomed love affair is given just as much screen time as the Purvis storyline. Cotillard does a good job, although she is never given anything to do besides being the requisite damsel in distress. The supporting cast is absolutely crammed full of top-flight actors with everyone from Billy Crudup to Stephen Graham getting in on the action and although none are given much screen time, they are all welcome additions to Mann's latest crime saga.

Despite the fantastic cast, the real intriguing aspect of Public Enemies is the cinematography. Mann chose to shoot entirely with HD cameras, which he also employed in 2005's Collateral. However, as Public Enemies takes place in the 1930s, it is an interesting choice, to say the least. Much of the filming alternates between hand-held cameras and traditional shots and the picture clarity is stunning. The camera often perches just over the shoulder of Dillinger, giving the audience a close-up third-person perspective, which combined with the HD picture can give the impression of a documentary. I'm not sure if this is what Mann was intending, but given the subject matter, I think it's a successful technique which helps to differentiate the film from the millions of other gangster movies. The viewer often gets the impression that they are simply in the room with Dillinger and his men, as the hand-held cameras jostle about as men load their tommy guns and slip on their jackets. While I may have preferred a classically shot film in the vein of The Assassination of Jesse James, I can certainly appreciate the distinctive look and feel of Mann's 1930s Chicago. Public Enemies also benefits from the filming locations, as many of the banks Dillinger actually robbed were used in the film.

Michael Mann has created another film which fits solidly amongst his other work. His art house style tales of distant criminals living in their own self-created worlds can be hard to execute while still managing to captivate an audience. Mann, however, has this down to a science. Public Enemies is a worthy addition to his canon of crime, although I'm still waiting for him to match the perfection of Heat. While this film falls far short of the standard set by DeNiro and Pacino's epic crime story, Public Enemies still provides a great cast, solid acting, a unique and visually stimulating look, and some of the best gunfights in years. Those looking for something more, however, may leave the theater a tad disappointed. This is not an exploration of the character and motivations of John Dillinger. It is simply the story of a man who robbed banks. 4 out of 5 stars.