James Cameron's Avatar (2009)

I’ve purposefully waited nearly a week to write my review of James Cameron’s Avatar. I had hoped that some time to reflect would somehow temper my enthusiasm for this long, loud and rather unoriginal spectacle. Didn’t happen. My feelings for the film remain the same as the minute after I walked out of the theater. Perhaps it doesn’t match the insane amount of hype, but then what possibly could? Yes, the story is an uninspired mish-mash of several popular films and some of the characters are rather shallow and stereotypical, but James Cameron has created such a rousing, and frequently awe-inspiring film that I can only applaud his spectacular vision.

By now you’ve probably heard how Avatar is comprised of 40% live action and 60% photo-realistic CGI, as well as how Cameron himself has proclaimed that it will forever change the game in regards to special effects. James “I’m the king of the world” Cameron is no stranger to bombastic declarations, but in this case he really isn’t exaggerating. Avatar is a flat-out visual masterpiece. There has never been another film that even approaches the magnificent effects work on display here. Throughout the film, I found that I had to constantly remind myself that what I was seeing wasn’t real. The entire world of Pandora is a special effects marvel, whether it’s the unique fauna of the over sized jungle or the floating mountains that hang suspended above it. Even more remarkable are the Na’vi, the ten-foot tall blue-skinned humanoids who inhabit Pandora. Using digitally captured performances which were then replaced with entirely CG characters, Cameron has set a new benchmark for digitally created characters. What was celebrated with Gollum has been nearly perfected with the Na’vi. It would be virtually impossible to tell that they are computer generated if you didn’t already know it. So yes, Avatar’s visuals really do match the hype and the result is stunning.

You may have noticed that I began this review discussing only the special effects. Unfortunately, there is a reason for this – the story is a rather predictable retread of Dances with Wolves and Ferngully: The Last Rainforest, with certain elements of Braveheart and Jurassic Park thrown in for good measure. Now that’s not to say that Avatar’s story is really all that bad, just that I think we were all hoping for a unique and original story to match the groundbreaking filming style and visuals. In all honesty I thoroughly enjoyed the tale of Jake Sully, Neytiri, and Pandora, even though it was nothing we haven’t seen before. Those expecting an action extravaganza similar to some of Cameron’s other work may be surprised to see that Pandora is far from an action-filled sci-fi film. Besides the obvious adventure and fantasy aspects, there is also a healthy amount of romance that really provides the heart for the film. Zoe Saldana (seen previously in this year’s other sci-fi blockbuster Star Trek) is Neytiri, the warrior princess of the Na’vi tribe indigenous to Pandora. I know I’m going to lose some people here, but it’s my opinion that Saldana gives one of the best performances of the year. So what if her character is completely digital? It is a testament to Saldana that her performance is able to shine through the impressive CG creation that is Neytiri. There are long stretches where there is literally nothing real on screen, yet the audience will still come to care about these characters even though they are largely painted in broad strokes. The Na'vi are an obvious stand-in for Native Americans, as both groups must face the greedy white man, only in this case it's unobtanium instead of land that they are after. The great Wes Studi even portrays the chief of the tribe. The Na'vi are a positive stereotype, but they are still a stereotype and it would have been more satisfying if Cameron could have depicted the Na'vi and their culture with just a bit more grace and complexity. It's a small qualm, but I feel I must mention it nonetheless.

As you may have expected, this is not an actor’s movie, with the notable exception of Miss Saldana. Hollywood’s new “next big thing" Sam Worthington portrays Jake Sully, our hero. He is noticeably dull as a regular old human marine, but when his consciousness is transferred to the avatar, his charisma and character are really allowed to shine through. It is a solid performance, but I can’t help but wish he was equally engaging in human form. Giovanni Ribisi does a fine job channeling Paul Reiser in Aliens as the slimy corporate suit and Sigourney Weaver lends gravitas and charisma to the proceedings as Grace, the scientist in charge of the avatar program. Also worth mentioning is Stephen Lang, who chews his way through Pandora’s lush scenery in an enjoyable turn as the film’s chief villain. Although I suspect Avatar will garner plenty of attention come awards season, it will not be for the acting, and really, how could it with so much technical firepower on display?

After years of hype, James Cameron has finally delivered Avatar to the masses and while it may not be the transcendent cinematic experience some hoped for, there’s no denying the groundbreaking filming style and effects work that went in to creating what may very well be the most handsome motion picture of all time. If the story could match the sights and sounds on display then we would be talking about an all-time classic. Instead, Cameron and co. will have to settle for simply being the best science fiction film of the year (no small feat in a year which brought us District 9, Star Trek, and Moon). Avatar isn't perfect, but it's so utterly thrilling, so totally engrossing, that I simply can't give it anything less than my highest recommendation. 5 out of 5 stars.

Werner Herzog's The Bad Lieutenant: Port of Call - New Orleans (2009)

It's nearly impossible to review a movie like this. In fact, it's highly unlikely that there has ever been another movie "like this". Simply put, Werner Herzog and Nicolas Cage have created one of the most bizarre films I have ever seen. This assessment is only strengthened upon the realization that Bad Lieutenant: Port of Call - New Orleans (for the purposes of this review I will just call it Bad Lieutenant) tells no real story, at least not the kind of story that people expect when they, you know, watch a movie with a plot and actors and everything else.

First off I must warn you not to confuse this with Abel Ferrera's Bad Lieutenant, a dark and disturbing portrait of one man's downward spiral and quest for redemption. Harvey Keitel was absolutely riveting in the role and to this day, Bad Lieutenant stands as one of the most powerful films I have ever seen. A straight remake would have been an impossible task and luckily this new Bad Lieutenant shares only the most basic premise with its older cousin. Where as Ferrera's film chronicled one man's descent into hell and was about as pleasant as it sounds, Herzog's film is a zany, manic, and oftentimes hilarious cop drama/black comedy/police procedural. The two films really could not be anymore different -- the only reason they share a name is due to a producer tied to both projects. In case I haven't made it clear enough -- comparing the two films is pointless and should not be attempted.

Nicolas Cage plays a, wait for it ... bad lieutenant in post-Katrina New Orleans. When we first meet him he is debating the merits of saving a drowning prisoner with his psychotic partner, played by Val Kilmer, who manages to make an impression in his brief amount of screen time. Against his partner's recommendation, Lt. McDonagh (for that is the bad lieutenant's name) jumps into the flood waters and saves the man. When we next see him six months later, he is a literal wreck, suffering from constant back pain due to the rescue attempt, and is addicted to seemingly every substance on earth. Cage has a ball with the character and Herzog allows all of the usual Cage quirks and idiosyncrasies to shine, resulting in one of the most bizarre characters and performances in recent memory. Cage stalks around New Orleans, one shoulder held contorted above the other due to the back pain, his eyes practically popping out of his head, all with a .44 Magnum stuck in his waistband. This is a man with a lucky crack pipe who spouts hip hop non-sequiters at random ("Til the break a dawn! Til the break a dawn!") and frequently hallucinates that he is surrounded by iguanas. It is a thoroughly engrossing character, similar to a freak show member in a carnival, in that try as you might, you simply can't look away. The film's plot, if you could call it that, doesn't really warrant a discussion. This is not because the plot is terrible (it isn't), but because if you focus on the plot and other traditional elements of film making, you're really missing the point of Bad Lieutenant altogether.

Herzog has a reputation for getting the "crazy" out of his actors and obviously this film is no exception, although the lion's share of the credit must go to Nicolas Cage, an actor as frustrating in the display of his considerable talents as any I can think of. For the most part, Cage has waltzed through the past two decades releasing such dreck as Next, the National Treasure movies, Bangkok Dangerous, and The Wicker Man (which just may be the worst film of the past quarter-century). His roles in many of these films are characterized by record-setting overacting and the familiar "crazy look" of Nicolas Cage. This is the "bad" Nicolas Cage. After awhile, I think we all began to think that perhaps Cage was simply playing himself. Perhaps he really was a world-class nut-job. However, every once in awhile he released a film to remind us that deep beneath the frequently terrible hair and generic action roles is a highly talented actor with nigh-unstoppable range. Just take a look at Moonstruck, Raising Arizona, Leaving Las Vegas, or Adaptation to see the "good" Nicolas Cage. Which brings us to his role as Lt. Terence McDonagh in Bad Lieutenant. What makes Cage's performance so interesting (aside from the bizarre physical characteristics he lent to the role), is that what we have here is essentially "good" Nicolas Cage playing "bad" Nicolas Cage, all within the confines of the story, and he totally nails it. The performance is simultaneously hilarious and frightening and Cage owns every second that he is on screen.

I could go on to discuss the rest of the cast, or the film's bleached look or any other aspect of the film, but in all honesty this is a movie centered around one performance, one actor, and one man. They are all equally riveting. 4.5 out of 5 stars.

Daniel Barber's Harry Brown (2009)

To those of you who thought that Gran Torino would've been better if Clint Eastwood had channeled his 70s era self and shed some young gang banger blood -- Harry Brown is the movie for you. Michael Caine plays, you guessed it, Harry Brown, a retired ex-Marine widower who lives in a, how shall I say it, less than savory housing project. You see, the local youth has a penchant for driving around on motorbikes and shooting young mothers to death, selling smack in broad daylight, and generally scaring the living daylights out of anyone who dares cross their path. After Harry's only friend is brutally murdered by the gang, our geriatric pensioner sets out to put things right in his neighborhood. What follows is a grisly and satisfying, if somewhat unbelievable ride through one man's quest to clean up the streets -- no cape and cowl needed.

Predictably, Caine is fantastic in the role. When we first see Harry Brown he is a relatively meek man, or at least not a man prone to confrontation, much less violence. A theme throughout the beginning of the film is Brown's reluctance to travel the pedestrian subway, even if that means missing his comatose wife's last breath. His ill-fated friend and frequent chess opponent takes a more aggressive approach towards the young gang that is terrorizing their neighborhood. This approach proves to be an unwise fit for this particular pensioner and it is only after his friend's death that Brown finally snaps. Caine plays it straight, with no histrionics, opting instead for a very subtle slow burn. The gravitas and screen presence that Caine brings to the role can't be overstated and he effortlessly shows us a man who used to be a killer but has moved on in his life. His wife, his friends; they have helped to turn him into the kind and gentle old man that inhabits the first act of the film. However, with all of these calming influences gone, Brown soon reverts to the violent and aggressive tendencies of his past and the result is a thoroughly engrossing, if at times hard to watch, spectacle of bloody revenge. Emily Mortimer plays the inspector who, while investigating the death of Brown's friend, soon begins to suspect that the gentle old witness may be doing his best Charles Bronson impression. Sadly, Mortimer is largely wasted in the role, only getting to show her talents as an actress in the film's final reel. The rest of the cast does a fine if not entirely memorable job, but make no mistake, this is Caine's picture through and through.

Barber's direction, in his first feature-length effort, shines in just the way it should as he utilizes many long shots, many of which are eye-catching and creatively framed. This is not a flashy movie, and nor should it be, but Barber knows when to hold back and when to spice things up, such as the opening scene captured on one of the young thug's cellphones. For such an unassuming and straightforward picture, Barber manages to create a memorable look and feel which is no small feat and thus deserving of acknowledgment. The film's message, and underlying tone, however, is a little bit muddier territory. It's important not to delve too deep into the underlying theme of Harry Brown as the film does seem to deliver the message that it's OK to take justice in to your own hands and ruthlessly murder and torture in the name of the common good. That said, the audience must realize that this isn't Michael Clayton, nor is it Gone Baby Gone. Harry Brown is not a morality play, but a modern-day Death Wish, starring the one and only Michael Caine, and it aims to entertain. Mission accomplished. While currently showing only in England, I have high hopes that we will soon see Michael Caine unleash his brand of blood-soaked justice on American shores. 4 out of 5 stars.