Hævnen (In a Better World) (2010)

Danish director Susanne Bier starts Hævnen with a father and son in mourning, following the death of the family matriarch.

Following the funeral, pre-teen Christian (William Jøhnk Nielsen) and his father Claus (Ulrich Thomsen) relocate to Denmark from London. Claus will commute to London while Claus’s mother watches Christian.

On his first day at school, Christian witnesses a peer being bullied by a group of much bigger boys. The bullied boy Elias (Markus Rygaard) ends up in Christian’s class. The two learn they share a birthday, sit together and begin a friendship. After school, the bullies await Elias. Christian calmly comes to his rescue, gets a basketball pummeled at his face and ends up with a bloody mess of a nose. He goes home, escapes into his shoot-‘em-up video game. He tells his father nothing as their fractured relationship continues to worsen.

Christian returns to wield revenge and send a message to his opportunistic bullies. The school calls in Christian’s dad and Elias’s mother Marianne (Trine Dyrholm) who is upset; the school hasn’t done anything to keep her son safe from bullying and now they are accusing him of conspiring against the bully. Elias’s father Anton (Mikael Persbrandt) works abroad in Africa as a doctor in a refugee camp and is gone for long periods. He’s a pacifist and it has rubbed off on Elias who until Christian’s intervention took the violence.

On one of Anton’s visits back, he takes Elias and Christian into town. Anton gets into an altercation with a man at a park. The man lashes out at Anton. Christian seethes at the injustice and disrespect. He urges Anton to exact revenge. Anton explains that remaining calm is the right way; that peace wins in the face of violence, much the way he conducts himself against the barbarity he witnesses in Africa.

Christian cannot accept it. Already struggling with his mother’s death and feelings about his father’s behavior during her illness, his rage explodes and pushes him toward irreparable violence.

The movie examines the effects of bullying on friendships, relationships between fathers and sons, the expectations of men in society and interplay between bullies and victims. Bier is a master of digging deeply into the messy swamp of people’s compulsions, fears and desires. The acting is terrific, especially from the two young leads. Elias displays the emotive side of fear and confusion, while Christian portrays the middle-aged seething at life’s injustices from the perspective of a young man.

Director: Susanne Bier

Country: Denmark

Genre: Drama

Run time: 118 minutes

Scale: 4

Flight (2012)

Denzel Washington brings new meaning to drunk driving while portraying boozy pilot Whip Whitaker. The opening scene depicts among the most terrifying plane-going-down sequences in recent memory.

Whip lands the plane in what his peers, superiors, the public call a miracle. He’s hailed a hero because only four of 106 die in the crash landing, but Whip isn’t off the hook. When admitted to the hospital, his blood was drawn and tested and his hair was snipped and examined for drugs and alcohol. The results cause Whip professional and personal problems that put him under the watchful public eye. Two empty airline-size bottles of vodka are found in the a bin only Whip and the crew had access to. Because of turbulence, beverage service had been suspended on the flight, making the empty bottles even more mysterious. Will Whip reveal what he knows or will he throw his dead friend under the metaphorical bus?

Whip has to face other issues he’s veiled himself from behind a wall of drugs and anger: his ex-wife only contacts him when she wants money. His son doesn’t get in touch at all. Katerina (Nadine Velazquez) his partying friend is dead. Whip meets Nicole (Kelly Reilly), an addict in recovery after an accidental OD, at the hospital and the two form an unlikely friendship. While this relationship gave some insight to the depth of Whip’s disease, the character of Nicole doesn’t anchor strongly in the plot. There isn’t investigation as to why Whip turned to drugs and alcohol, which would have given his character more insight but it didn’t occur to me until afterwards.

Flight is compelling. You see the scheming that goes on behind the scenes when big business stands to lose a lot of money and how deep pockets can erase medical records, skew evidence and disprove facts. Washington delivers an honest portrayal for which he was deservingly nominated for an Oscar. He may not have taken that prize but he does Flight right.

Director: Robert Zemeckis

Country: US

Genre: Drama

Run time: 138 minutes

Scale: 4

Jodaeiye Nader az Simin (A Separation) (2011)

The 2011 Oscar winner for best foreign film, A Separation opens with a couple requesting a divorce. Simin (Leila Hatami) is leaving Iran as planned. Nader’s (Payman Maadi) father has Alzheimer's and he won’t leave him behind. We don’t get details about their lives before they could look at one another without contempt and communicate without screaming, but we get idea it was a decent marriage. Now, their issue is what to do about Termeh (Sarina Farhadi), their eleven-year-old daughter? Does she go with her mother or stay in Iran with her father? The judge orders Termeh to decide.

Once Simin moves out, Nader hires stranger Razieh (Sareh Bayat) to care for his father while he’s at work. Razieh brings her young daughter to work. Giant problems begin immediately.

Each character has his/her quandaries. Nader’s father doesn’t speak, but the drama surrounds him. Razieh is conflicted, burdened and trying to do the right thing but knowing what that is becomes extremely hard. Termeh is often the adult, holding her parents to the moral code with which she’s been raised.

A Separation takes on perspective, desperation and tradition. The cultural differences, especially around legal matters and customs, are fascinating. Judges are in the vein of Judge Judy, prisoners are handcuffed to easygoing guards and the legal system operates with loose norms related to evidence collection and witness testimony.

This movie is not filmed in the omniscient point of view where we know what all the characters feel/do/expect. It pits perspective against honesty and asks tough questions. You will interpret the situation and nothing that happens is predictable. In the end, I re-watched nearly the whole movie again to try and get those missing bits. You are left contemplating a lot. Impressive. See it.

Writer/Director: Asghar Farhadi

Country: Iran

Genre: Drama

Run time: 123 minutes

Scale: 5

Friends with Benefits (2011)

We were flanked with the trailers, interviews and dates with the military folk. Did this saturation make me expect more?

Justin Timberlake was okay in The Social Network. After watching Friends with Benefits, I realized that Justin Timberlake is like George Clooney—he doesn’t act as much as play himself.

Head-hunter/recruiter Jamie (Mila Kunis) scores big when she convinces Dylan (Timberlake) to relocated to NYC from LA to take a job at GQ. The two hang out and become BFFs. They have a discussion about having sex sans strings and voila, it’s a friends-with-benefits arrangement. They seem to pull this off for a good long while. During this love fest, we also learn why both Jamie and Dylan are a mess in the relationship department.

Here’s the real mess—Friends with Benefits is lackluster. Even with some the quirky and heavy-hitters like Patricia Clarkson, Jenna Elfman, Emma Stone, Richard Jenkins, Andy Samberg and Shaun White (the snowboarder), this movie still manages to fall short. Even Kunis, who is enjoyable in comedic roles has a hard time. Her lines are read with knee-jerk speed and without authenticity. It takes on too much. Some of the sub-plots were interesting but there are too many doors opened, not enough time (despite being long for a rom-com) and the ending wraps too conveniently.

Director: Will Gluck

Country: USA

Genre: Romantic comedy

Run time: 109

Scale: 3

Looking for Eric (2009)

An on-going discussion regarding the best movie watched in 2011, Looking for Eric is likely the one. This was a year of excellent movies viewed, including Up, Whip It, The King’s Speech, Mary and Max, Bridesmaids, Beginners, Boy (a very close second), Exit Through the Gift Shop (a near tie with LFE), Fish Tank and TiMER), so why does Looking for Eric stand out?

You experience every emotion as you watch. Looking for Eric delves into depression, camaraderie and friendship, love lost, complicated family issues, divorce, redemption, honesty, new love, violence, sports, lost dreams and discovering you can change a lousy existence.

Our postal carrier protagonist Eric (Steve Evets) is a broken man. Two failed marriages, two unruly step-sons and three decades of regret. Eric keeps his mess to himself, that is until he starts having visions of his favorite footballer—former Manchester United player Eric Cantona. Cantona pushes Eric to revisit the mistakes he’s made and share his struggles instead of keeping them to himself. He encourages Eric to own up, open up and make changes.

This is a complex and layered story as Eric holds onto a huge regret that he cannot surpass. He has a miserable relationship with his two step-sons, Ryan (Gerard Kearns) and Jess (Stefan Gumbs). The only sunshine in his life are his daughter, Sam (Lucy-Jo Hudson), his granddaughter, Daisy (Cole and Dylan Williams) and his favorite team Manchester United and footballer Eric “King Eric” Cantona. As the world conspires to push Eric out of his comfort zone with his step-son, Ryan, his first ex-wife Lily (Stephanie Bishop) who he hasn’t seen in 30 years and a local thug, Zac (Steve Marsh), who threatens his family, Eric will come out transformed but will he find himself and win back his life? (Tip: View with subtitles to ensure you don’t miss any of the good stuff. Otherwise, they speak 2 fast, 2 furious, and with very strong accents.)

Director: Ken Loach

Country: UK

Genre: Drama + Comedy

Run time: 116 minutes

Scale: 5

Okuribito (Departures) (2008)

An unemployed cellist stumbles upon a new career. Departures might makes you cry one minute and laugh the next. It shows how a man  be opposed to an idea only to discover it’s exactly what he needs.

Daigo (Masahiro Motoki) dreams of being a renown cellist but is dashed when his orchestra disbands. He’s left unemployed and in debt on his world-class cello. On a lark, he suggests to his wife, Mika (Ryôko Hirosue), that they move from Tokyo back to his hometown; where his mother passed on and left him the family home two years prior. Mika is on board and they start over.

He finds a cryptic help-wanted ad, applies and is hired on instinct. As an encoffiner, he prepares dead bodies for burial. Daigo faces many obstacles—the job isn’t easy, you can never predict death and he is shamed for his profession (so much so he doesn’t confess his job to Mike right away). Eccentric Ikuei (Tsutomu Yamazaki), Daigo’s boss and mentor becomes a father figure and through him, we learn Daigo has complicated feelings toward his own father.

The burial ritual is lovely. The body is cleansed and dressed and the family bids farewell. The survivors’ reactions reveal the conflicted relationships, complex issues and unresolved feelings left in the wake of death.

Departures is a serious (and comedic) movie about death, finding your path and excelling despite the pitfalls you encounter. It won many awards including the Oscar for Best Foreign Film of 2009.

Director: Yôjirô Takita

Country: Japan

Genre: Drama

Run time: 130 minutes

Scale: 5

Das weiße Band (The White Ribbon) (2009)

The black-and-white aesthetic of The White Ribbon adds an air of mystery and distance in this recounting of sinister events in a German village in the years before World War I.

The disturbing tale kicks off when a metal wire is rigged between two poles. The village doctor takes a life-threatening fall when his horse runs into said wire. The investigation grows cold—no witnesses, motives nor evidence. The next several incidents lead to the conclusion that someone is performing ritual punishments. Are the village children the perpetrators? The narrator has his own side story that allows for a bit of humor—a rare trait in a Michael Haneke film. It works juxtaposed against the intense main storyline. 

The White Ribbon has Haneke’s trademark theme—that we are all sadists. In fact, the events depicted are based on alleged incidents recorded in Germany and Austria in the 1920s and 1940s. The foreshadowing is clear—the German Reich lies ahead and many of these kids will end up in the Nazi movement. Is it coincidence that the white ribbon the Pastor makes his children wear when they are in need of moral cleansing is reminiscent of the bands the Jews were forced to wear during the Hitler regime?

The White Ribbon is engaging. Yet another Haneke ending without clarity is frustrating, especially after more than two hours.

Open letter to Michael Haneke:

Dear Mr. Haneke,

You are a master storyteller. I watch your movies with rapt interest. Despite their length, I don’t find myself clock watching which is different from how I behave at baseball games; they go too long and should end after the 7th inning. But, I digress.

My point is that unresolved endings mimic real life, but art offers us a break from that reality. Occasionally, I’d be delighted to see a decisive conclusion. That said, The Piano Teacher is a favorite with a reasonable ending. I refer instead to Caché, Funny Games and The White Ribbon. Your open-ended formula needs an overhaul. I don’t know if these children were culpable nor do I know if The School Teacher married Klara.

Despite my nitpicks, this movie was nominated for and won several prestigious awards. Check it out and see what you opine.

Writer/Director: Michael Haneke

Country: Austria

Genre: Drama

Run time: 144 minutes

Scale: 4

The Kids Are All Right (2010)

I’m surprised there aren’t more movies about kids looking up their sperm donors. The best part of watching The Kids Are All Right is that I avoided reading or hearing anything about it beforehand so everything—from the secondary actors to the plot points to the ending were a surprise.

In a nutshell, siblings 18-year-old Joni (Mia Wasikowska) and 15-year-old Laser (Josh Hutcherson) seek out and meet Paul (Mark Ruffalo)the man behind the sperm that created them. When their moms Jules (Julianne Moore) and Nic (Annette Bening) find out, they are threatened by Paul and worried about the kids.

(Spoiler Alert: Read at Your Own Risk!)

Pros
It’s funny: Great use of humor—quips, one-liners and verbal sparring.

Insightful details and characterizations: Joni and Laser are confident. They have real teenage moments and through these we learn what drives them. Their relationship with one another is strong and they are self-assured. The relationship between their moms Jules (Julianne Moore) and Nic (Annette Bening) is portrayed with its blemishes and struggles. Paul (Mark Ruffalo) is affected by his relationship with Joni and Laser and he grows up.

Cons:
The ending: The way Paul is cut off from the Laser and Joni at the end was sloppy and offered no resolution. If this movie were longer, Laser and Paul would get likely be in touch again. They shared a connection but it would be difficult for the entire family to forgive Paul’s perceived “interloping.” I loved the idea of this blended family working out somehow.

Was Jules definitely gay? No way! I had difficulty believing that Jules was gay after her sex scenes with Paul. She was really into it MANY times over. At the very least, maybe she’s bisexual?

Co-writer/Director: Lisa Cholodenko

Country: USA

Genre: Dramedy

Run time: 106 minutes

Scale: 3.5

Thirteen Conversations About One Thing (2001)

Do you believe in fate? Thirteen Conversations About One Thing shows you why you should. Similar to (but not as compelling as) Robert Altman’s Short Cuts or PT Anderson’s Magnolia, the plot weaves four vignettes into one overall story.

Troy (Matthew McConaughey) has just prosecuted and won a big case. He’s headed for bigger and better. As he celebrates with his peers at a bar, he meets curmudgeon Gene (Alan Arkin) who’s irked by Troy’s glibness. He warns him: It won’t last. Troy is riding high and Gene’s negativity cannot touch him; that is, not until later that same night when a moment of distraction topsy-turvies his world.

Divorcee Gene works in insurance claims. His son is a drug addict. He strikes out at his jolly glass-half-full employee to prove that his happiness is fake. Only, it doesn’t work out as Gene expected.

Idealistic cleaning woman, Bea (Clea DuVall) is crushing on a client. After waking up in the hospital on the verge of death, her optimism wanes, but not as much as when she learns that her client believes she lacks integrity—a true moment of loss of innocence.

Physics professor Walker (John Turturro) and wife Patricia (Amy Irving) have an empty marriage. He’s carrying on with another professor. He seems to be on mute, barely alive. When he finds a victim, a students—a med-school hopeful—he unleashes his ire on him, much like Gene did on Troy. Walker will suffer a triple whammy. His robotic wife suffers one of her own.

The characters (many familiar faces) tussle with tragedy. They must react, suffer and rethink their modus operandi before the story is over. Some characters are hard to connect with and the cleaning woman and professor’s storylines are the weakest but it’s a thoughtful study of human behavior.

Co-writer/Director: Jill Sprecher

Country: USA

Genre: Drama

Run time: 104 minutes

Scale: 3

The 27 Club (2008)

The 27 Club is a study in sadness told in flashbacks during a cross-country road trip. Elliot (Joe Anderson) is reeling from the death of best friend and bandmate Tom (James Forgey) just after Tom’s 27th birthday. The two grew up like brothers in a dysfunctional home before finding success as the band Finn.

As Elliot starts on his road trip from LA to Joplin, Missouri, to take care of his dead friend’s last request, the alcohol, drugs and shock of losing his best friend prove too much. Hungover, he stumbles into a grocery store; following an altercation, the cashier calms a flustered Elliot. In turn, Elliot offers the cashier $10,000 to drive him “east.”

Elliot is strikingly reminiscent of a young, sleep-deprived Kurt Cobain while the straight-laced, nameless driver looks like a young Leonard Nimoy. For the late-bloomer driver, this journey becomes his coming-of-age experience. The two merely co-exist as Elliot wrestles his demons. Anderson’s Elliot emotes with his haunting expression—mirroring the pain and turmoil from within. It isn't until they pick-up hitchhiker Stella (Eve Hewson, daughter of U2’s Bono) that the two begin to bond. Although she recognizes Elliot from Finn, she doesn’t immediately acknowledge nor share the information.

The 27 Club contains little crescendo and ends quietly. While soulful, it feels like a freshman film effort, which doesn’t harm the story. The emotional journey through Elliot’s mourning is symbolically interlaced with scenic American landscapes to nibble on.

Writer/Director: Erica Dunton

Country: USA

Genre: Drama

Run time: 84 minutes

Scale: 3.5

Extasis (Ecstacy) (1996)

Three scamps hatch an ill thought-out plan to rob their families and open a beachside bar. Rober (Javier Bardem), Ona (Leire Berrocal) and Max (Daniel Guzmán) rob and empty the till at Ona’s father’s store, but when the theft of Rober’s uncle doesn’t go as planned, Max ends up in jail.

Rober impersonates Max and tracks down Max’s estranged father, Daniel (Federico Luppi), a renown theater director. Rober is confident this plan will work as Max hasn’t seen his father since he was nine and he will get the money to liberate Max. When Rober introduces himself as Max to Max’s father, it’s as if another movie starts. Ona and Max become secondary as mastermind Rober begins the guise as Max. Daniel and Max interact as if engaged in a chess match. Rober falls under the allure of Max’s father, even landing a role in Daniel’s new play and being seduced by Daniel’s girlfriend.

The plot has some holes but it’s got clever twists and escalation of tension. Barden’s talent shines in one of his earlier film roles, especially opposite the shrewd character of Daniel. The ending is anti-climactic, unsatisfying but worthwhile to see Rober’s metamorphosis.

Co-Writer/Director: Mariano Barroso

Country: Spain

Genre: Drama

Run time: 93 minutes

Scale: 3

Beginners (2010)

As of late, I am winning too, Charlie Sheen. On a winning spree of movies, that is.

Beginners is a love story—part rom-com, part dram-com. Introspective Oliver (Ewan McGregor) falls in love with Anna (Mélanie Laurent) in the months following his father Hal’s (Christopher Plummer) death. Oliver absorbs himself in the memories of his father coming out after 45 years of marriage to Oliver’s wacky mother, Georgia (Mary Page Keller).

Shortly thereafter, Hal reveals another doozy as Oliver continues examining his own life and why all of his previous relationships have failed.

The movie has a winning personality—uncommonly witty yet humble. Extremely well cast. One reviewer stated that McGregor gets better with age; I couldn’t agree more. I’ve admired him since Shallow Grave and Trainspotting but haven’t felt bowled over by him again until now. He plays Oliver with genuine compassion and warmth as he supports Hal, even getting a kick out of his discoveries in his new lifestyle, such as house music and falling in love. There are no recriminations or angry declarations—this isn’t that kind of movie. Rounding out the stellar cast is Arthur (Cosmo), Hal’s charming long-haired Jack Russell terrier. Arthur holds his own opposite the speaking characters. He even gets subtitles. It’s brilliant.

Beginners is a semi-autobiographical, based on writer/director Mike Mills' experience with his own father coming out. Mills uses old photographs and random images to help visualize parts of the story. He also presents LA scenes. Instead of the usual frenzied and sprawling, you get a peek at the tranquil spots in its neighborhood landscapes.

This one is a gem that shouldn’t be missed.

Director: Mike Mills

Country: USA

Genre: Drama

Run time: 105 minutes

Scale: 4.5

Boy (2010)

New Zealand’s Boy combines Michael Jackson mania and coming of age to create a dark comedy with a talented, eclectic cast.

It’s 1984 and Boy (James Rolleston) fantasizes about his father arriving home to see him and his brother, Rocky (Te Aho Aho Eketone-Whitu), who live with their grandmother and several other parentless cousins on a farm in rural poverty. Boy is certain that when his dad returns, he will be the father Boy has dreamed of and will take him to see Michael Jackson live.

Boy’s granny, Alamein’s mother, is away for a week and has left Boy in charge. But, he’s 11 and soon the place becomes a madhouse. During this same week, his father, Alamein (Taika Waititi also Boy’s writer and director) returns after seven years in the clink. The wanna-be gangster is joined by the two sole members of his gang—the Crazyhorses. Boy falls under his spell. Alamein is set on finding an old stash of money and bolting. Rocky is having a crisis, convinced he has magical powers that can cause injury to others. Boy’s obsession with Michael Jackson is a vehicle for killer dance moves by Alamein, the red and black Thriller jacket (as well as other winning ‘80s fashions) and unforgettable choreography.

Director and co-star Waititi also directed some episodes of Flight of the Concords (and had an uncredited cameo) and Eagle vs. Shark. Rolleston, Waititi and Eketone-Whitu are outstanding. Each member of Boy’s posse could lead his/her own movie. And, Boy’s female cousin deserves a shout-out as the old soul who knows none of this will turn out well. With her mere looks and expressions, she boldly carries her character.

This movie is like the shy kid in the corner, who once you get talking you cannot believe you never noticed because he’s an irreverent delight. Boy delves into difficult themes positively, avoiding sentimentality, and finishes with a must-see rendition of Thriller. Will Boy make it to the US? Check out the official site where you can view trailers and read much more about it.

Writer/Director/Star: Taika Waititi

Country: New Zealand

Genre: Comedy

Run time: 86 minutes

Scale: 5

Up (2009)

The ‘cone of shame’ got me to see Up. When Shorty L got spayed last year, she wore a cone so she wouldn’t disturb her stitches. Many strangers commented on her ‘cone of shame.’ So many, in fact, that one day, I finally asked if there was some sort of reference. “You didn’t see Up, did you?”

A Pixar animated film, Up is the story of Carl Fredricksen (voice of Ed Asner), a man with a dream he is determined to make good on. As a boy, Carl idolized a celebrated explorer Charles Muntz (Christopher Plummer). After Muntz is disgraced, he goes on a mission to remote South America to prove his detractors wrong. He never returns.

Meanwhile, Carl grows up, gets married and still possesses the childhood goal to voyage to Paradise Falls, like his hero Muntz. Economic issues get in the way until one day, Carl is an elderly widower living in a house surrounded by a construction site.

Enter Russell (Jordan Nagai), a young boy and wilderness-explorer-in-training trying to earn a badge for helping an elderly person. Curmudgeonly Carl would rather be left alone and tricks Russell to make him get lost. After an altercation with a construction-site employee, Carl is mandated to move into a retirement facility. On the day he is to be escorted there, he surprises everyone with his bid for freedom, but he’s in store for an even bigger surprise.

Among other nominations and awards, Up received a 2010 Oscar for Best Animated Feature Film of the Year. It’s success in part is due to addressing real issues of seniorizing alone, absent fathers and the nature of dogs while presenting you with stunning graphics. The dogs in Up get their own sub-plot (woof woof). The visuals are crisp and realistic. The colors pop. The writing is clever. Up is funny. You want to be in that house with Carl and Russell. If you haven’t seen it, get on board. You will appreciate the ‘cone of shame’ references.

Directors: Pete Docter & Bob Peterson

Country: US

Genre: Animated comedy

Run time: 96 minutes

Scale: 5

Vozvrashchenie (The Return) (2003)

An appropriate subtitle for this cheerless film would be ‘road trip to nowhere with a militant father you haven’t seen in 12 years.’

Andrei (Vladimir Garin) and younger brother Ivan (Ivan Dobronravov) are surprised by the sudden reappearance of their father (Konstantin Lavronenko). He says little, and has no affect. The boys’ mother (Natalya Vdovina) and grandmother (Galina Petrova) pay him quiet deference but look worried. Just as suddenly, he announces the boys will accompany him on a road trip. They are elated at the prospect to create memories with a father they don’t know and for Ivan, a chance to go fishing. The boys have a picture of him. They use it to compare and determine if this stranger is indeed their dad. As they set off, it’s clear: The Father expects certain behavior from them; when they don’t satisfy his expectation, he reacts with force. Their ages aren’t stated—Andrei looks in his early teens. He’s under the spell of The Father and the idea of having him back. Young Ivan (12 or 13) is not so easily swayed and becomes his father’s antagonist. The Father is a dark version of McGuyver—rugged and able to take on the land and the elements with an eerie calm, ripe for an explosion.

The pessimistic landscape coupled with frequent downpours match the tension inside the car. When daddy’s sadism begins to escalate, so does Ivan’s anger. As the days press on, they camp, fish and drive deeper and deeper into the wilderness. Soon, a canoe replaces the car and they are on their way to a remote island. Their mental and physical stamina is taxed. Contempt has replaced Ivan’s trust.

The rain, the woods, the beaches and the expansive water become character. If the boys can survive their father, they still have the elements to challenge. There are unusual cinematic moments when Ivan looks directly at camera. It’s as if he’s connecting with the viewer, anyone who can provide him a reality check.

Some questions are never answered. Why was The Father gone for so long? Why does he take them on this voyage? You can formulate your own answers with clues provided. The foreshadowing tells you what’s coming but it’s a long disturbing road to the tragic end.

Director: Andrei Zvyagintsev

Country: Russia

Genre: Drama

Run time:  101 minutes

Scale: 3.5

Get Him to the Greek (2010)

Low-rung record executive Aaron (Jonah Hill) is charged with getting his rock idol and infamous drug addict Aldous Snow (Russell Brand) from London to New York City for a performance (on the Today Show) and then to Los Angeles within 72 hours for Snow’s 10-year anniversary performance. Aaron is an uber-fan of Snow’s, but has no idea the challenges he will face fulfilling his task. As Aaron is set to depart on his mission, his girlfriend, Daphne (Elisabeth Moss), drops a bomb that puts their relationship on hold.

Once Aaron meets the eccentric Snow in London, he realizes he has no control. Can they survive the celebrity antics, paparazzi, groupies, sycophants, hateful respect and still make the big show? Can Aaron keep a lid on his scorn toward Snow’s last album, African Child? Add to this that Snow is still trying to win back model/actress/mother of his child Jackie Q (Rose Byrne).

This movie is fun with some great party shots. Are there lame scenes? Yes. But, they are overshadowed by Brand and Hill’s chemistry, their bromantic appeal and the furious banter. Brand’s expressions, his delivery and his movements mesh with Hill’s awkward deer-in-the-headlights’ reactions. Kristen Schaal has a tiny role as a Today Show producer. Ellie Kemper (Erin from The Office) has an unspoken cameo—a wasted opportunity. While Moss is fine as Aaron’s girlfriend, Kemper would have rocked it. P.Diddy isn’t going to win an Oscar but he delivers some humdingers. Colm Meaney as Snow’s father is excellent. You even get Lars Ulrich as Jackie Q’s lover and muse. If you saw Forgetting Sarah Marshall, you know that Brand is reprising his role (there’s a Sarah Marshall/Kristen Bell cameo). If that’s not enough (talking to you, John Kennedy), perhaps you might be swayed by the ridiculous songs, such as The Clap, Ring ‘Round (My Dirty Posy), Beans and Mash, Going Down and Furry Walls. Apologies to those who will watch and hate; I loved it.

Writer-Director: Nicholas Stoller

Country: USA

Genre: Bromantic comedy

Run time:  109 minutes

Scale: 4