Munich

Munich - Dir. Steven Spielberg (2005)

It goes without saying that Steven Spielberg is a filmmaker in a league of his own. His films have become essential components of our pop culture lexicon. For better or worse, the Hollywood blockbuster exists because of Spielberg and his comrade, George Lucas. Munich lightly mixes Spielberg's slam, bang, blockbuster techniques with the schmaltzy pap that he is, oftentimes, criticized for to create a powerfully, dramatic affair.

During the 1972 Olympic Games in Munich, operatives of the Palestinian terrorist group, Black September held 11 members of the Israeli team hostage. Two were killed in their quarters, the rest (plus, most of the terrorists) were shot during a botched rescue attempt. In response, Israeli Prime Minister Golda Meir (Lynn Cohen) called for swift retribution against those responsible and hands the task to her former bodyguard, Avner (Eric Bana). Avner heads a covert task force that includes: the gung-ho South African Steve (Daniel Craig); Robert (Mathieu Kassovitz), a Belgian toymaker turned bomb maker; the German Hans (Hanns Zischler), who handles false documents; and Carl (Ciaran Hinds), the man in charge of cleaning up any traces of evidence.

Avner believes in his mission (one that may take years) so much that he leaves behind his pregnant wife, who is close to giving birth. Ironically, Avner's own father (a fellow Mossad agent with a heroic reputation) was absent from his life due to duties of the state. Avner's father is mentioned, but never seen during the film.

This year's summer movie season began with Mission: Impossible III and Munich gives us a peek at real life subterfuge. Like Mission: Impossible, the Israeli government disavows any knowledge of Avner and his operation. That's where the similarities end as nothing is at all like the sensationalized worlds of James Bond and Ethan Hunt. Avner's targets aren't at all like the bad guys you'd see in True Lies. The first two on the hit squad's list are elderly, living posh lives in Europe. One is even a poet; it doesn't save him from being gunned down in his apartment building.

Confronting the man face to face, Avner and Robert find themselves freezing at the last moment. It's not quite the quick and clean kill they had planned. The same goes for some of their other assassinations. One bomb isn't powerful enough, another is too powerful, and another doesn't work at all. In a harrowing moment, the team nearly kills a young girl with a remote-controlled bomb hidden in a telephone.

More and more, Avner finds that his mission may not be as righteous as he originally believed. At one point, the Mossad team shares a safe house with members of the PLO due to an angered information broker. Avner discusses the struggle between Israel and Palestine and, for the first time, attaches a human face to the people that are supposed to be his mortal enemy. Avner questions the orders he is given, are they even killing the right men? He questions the futility of his actions. Each man they kill will be replaced by someone else. Each kill brings about a brutal response from the other side. Numerous bombings and hijackings leave hundreds dead. What's the point of it all?

Bana put in fine performances in Troy and Hulk. Here, he's given far better material and truly carries the film. His gaunt face and sunken eyes reveal how much his ideology has been shattered. Bana completes Avner's breakdown by channeling Gene Hackman in The Conversation, when he tears apart his room looking for the very explosive devices he had readily used earlier. The actors filling out Avner's team do well, but aren't given anything as meaty since their roles lean towards standard archetypes, rather than fleshed out characters.

Spielberg has quite the habit by tacking on a happy ending whether it's appropriate for the story or not. One can look at the ridiculous finale of A.I. to see this in full effect. Munich ends on a much more somber note with just a hint of pessimism. In contrast to Schindler's List, there is no clear cut line between the good guys and the bad guys. Munich is a world with shades of gray. Avner tensely confronts his handler, Ephraim (Geoffrey Rush), about the work he has done. The scene is made more powerful against the backdrop of New York City, the Twin Towers still standing tall. In the city that is supposed to be the ultimate melting pot, two fellow Jews cannot see eye to eye.

Video/Audio: (****)
The video is presented in 1080p with an aspect ratio of 2.35:1. Spielberg and cinematographer Janusz Kaminski deftly capture the look of the era with a slightly muted color palette. Nothing comes off to soft or too dark.

The audio is presented in DTS-HD Master Audio 5.1. The sound is excellent and highlighted by the somber score by John Williams. Set pieces involving gunfire and explosions work to accentuate the crisp dialogue.

Extras: (***)

The Blu-ray bonus features have been ported over from the 2-Disc Collector's Edition DVD and are presented in standard definition.

Introduction by Steven Spielberg (4:34) sees the director give us some quick thoughts about how he came on board the project and why it was important to him.

The Mission, The Team (13:10) is all about assembling the major players including the leads and screenwriter Tony Kushner.

Members of the cast and crew give their thoughts and remembrances of the terrorist attack in Memories of the Event (8:36).

Portrait of an Era (13:17) is a featurette about how the filmmakers recreated the look and locations of the 70's.

The On-Set Experience (14:24) features interviews with the cast and crew as they look back at filming some of the movie's most pivotal sequences.

The International Cast (12:41) looks at the worldwide casting net that was used to create the large supporting cast.

Editing, Sound, and Music (12:23) looks at the lengthy post-production process with Spielberg and Editor Michael Kahn discussing how they still cut the picture on film as well as a few words from legendary sound designer Ben Burtt.

Film Value: (****)
Normally, I'd complain about almost 3-hour runtime of the film. I think being able to view it at home and being able to pause, stretch, etc. made it easier to swallow. Munich does have some extra fat that could be trimmed away. Yes, I'd describe Munich as long. I'd also describe it as engrossing, thought-provoking, and one of the best films of 2005. Spielberg proves himself as a master of the medium and I shall forgive him for The Terminal and War of the Worlds.

Lone Survivor

Lone Survivor - Dir. Peter Berg (2013)

Operation Red Wing was a 2005 military operation in which a four man SEAL team stationed in Afghanistan was tasked with eliminating Ahmad Shah, a high-level Taliban target. The mission went tragically awry and only Marcus Luttrell survived to tell the tale. Another sixteen troops were killed when their helicopter was shot down during an attempted rescue. Along with novelist Patrick Robinson, Luttrell co-authored Lone Survivor: The Eyewitness Account of Operation Redwing and the Lost Heroes of Seal Team 10, his account of the undertaking, which was quickly optioned by writer/director/producer Peter Berg, who was coming off the box office flop of Battleship.

In Lone Survivor, Luttrell, a hospital corpsman, is assigned the mission along with team leader Lt. Michael Murphy (Taylor Kitsch), communications specialist Danny Dietz (Emile Hirsch), and sniper Matthew Axelson (Ben Foster). The SEALs are dropped into the mountainous Hindu Kush region, but are eventually spotted by an elderly goat herder and two young boys. The SEALs choose to release them, despite knowing the civilians will alert Taliban forces to their presence. Sure enough, they are on the run, severely outnumbered and outgunned.

With a title like Lone Survivor, there's little doubt left to the ending, even if you aren't familiar with the real-life events. However, it's the journey that's important and Lone Survivor takes us on one harrowing ride. The film begins innocuously enough as the protagonists enjoy their down time by discussing wedding gifts, kitchen tiles, and hazing the new guy. Once the action begins, it almost never lets up as the movie becomes an extended firefight.

Berg is no stranger to kinetic action as seen in 2007's The Kingdom, which helped him earn credibility with Luttrell. Berg drops you right into the thick of things without relying heavily on the shaky cam that so many American directors employ. Yes, there are handheld shots, but not enough to make you confused as to what's happening on screen. He makes you feel every bone breaking hit when the SEALs tumble down a mountainside. And Berg doesn't shy away from the gorier bits as a bullet rips through a man's body in slow motion.

The acting is on point, particularly the always intense Ben Foster. The leads are called upon to convey distinct personalities with very little material. Berg doesn't attempt to shoehorn in back stories for each character; he's only interested in the here and now.

This being a Hollywood production, Lone Survivor does embellish the events for dramatic purposes. The film sees Luttrell's unit facing an enemy force of over a hundred while military reports list the number as anywhere from a dozen to the thirties. While Luttrell found safe harbor in a Pashtun village, the climatic shootout against Shah and his men never happened.

Lone Survivor is a realistic and brutal portrayal of war. It's gripping and action-packed while remaining respectful to those who lived and died during the actual events.

Rating: *** (*****)

Hanna

Hanna - Dir. Joe Wright (2011)

Joe Wright established himself immediately as a director to be reckoned with following his first two films Pride & Prejudice and Atonement. Wright brought a visual flair that isn’t generally found in historical romantic dramas and became known for his trademark uncut tracking shots. Cinephiles knew the moment Wright turned his hand to the action genre, the results would be something special.

Inspired by fairy tale folklore, Hanna takes elements from the stories of Snow White and Little Red Riding Hood (among others) and transplants them into a globe-trotting Jason Bourne-style actioner. The Grimm Brothers by way of Luc Besson.

Saoirse Ronan (who was nominated for an Oscar at the age of 13 for her role in Atonement) stars as Hanna, a young girl raised in the snowy wilderness of Finland by her father Erik Heller (Eric Bana), a rogue assassin. Heller trained her in survival skills, hand-to-hand combat, foreign languages, and firearms. Hanna’s bedtime stories are readings from what sounds like a discount encyclopedia. Father-daughter bonding sessions consist of Heller sneaking up and trying to kill her. Baby bird can’t stay in the nest forever and Hanna embarks on her journey into womanhood…by murdering her father’s enemies.

Hanna’s primary target is Cate Blanchett as CIA official Marissa Viegler, the evil stepmother of the story. The Wicked Witch of the Neo-Cons, Viegler sports a bob of dark red hair, classy pant suits, and designer high heels. Yes, the devil truly does wear Prada. Heller flips a switch and alerts Viegler of their whereabouts. Heller flees while Hanna allows herself to be captured. Hanna escapes from custody and hitches a ride with a hippie family putting from Morocco to Spain in a beat-up Volkswagen van. Forced to take extreme measures in killing the Hellers, Viegler hires a loony Euro-trash hitman named Isaacs (Tom Hollander) to capture the girl.

As expected, Hanna is an exceptionally stylish film utilizing techniques such as varying camera angles and jump cuts. Hanna’s escape from a CIA holding facility is the film’s most exciting sequence and Wright dips heavily into the Run Lola Run playbook. The set piece becomes a music video unto its own, punctuated by the throbbing electronic score by the Chemical Brothers (likely to be one of the best scores of 2011). The editing is fast-paced and the camera spins around and around. Sometimes it feels like Wright is showing off, but he thankfully stays away from the overused shaky handheld shots. Of course, he doesn’t forget the long take as the camera follows Heller into a subway stop where he battles a group of armed henchmen. The action is crisp and superbly staged by veteran fight coordinator Jeff Imada, who employs a similar style to the one he used in the Bourne pictures.

The movie isn’t always about kinetic action scenes, there’s a sense of tragedy and sweetness beneath the brutality of Hanna’s story. She has never encountered modern technology before. A short stay in a hotel room becomes a nightmare of sensory overload due to nothing more than a television and an electric kettle. Less frightening is the subplot involving Hanna’s friendship with the family’s daughter, Sophie (Jessica Barden), the first person her own age she’s ever met. Sophie is the stereotypical gum-chewing teenager and becomes fast friends with this oddball stray. This leads to Hanna’s first awkward (and surprisingly funny) encounter with an amorous Spanish boy.

Hanna isn’t bereft of problems. A gaping plot hole emerges when Hanna learns nearly everything about her background, her father, and top secret government projects in an internet café. This is in spite of the fact that she had an earlier freak out over a TV. The movie is also lacking a physically imposing villain, who might stand a chance against the superior fighting skills of the protagonists. The effete Isaacs isn’t going to cut it. He’s got a bad tan and wears eyeliner and velour tracksuits. Ludicrous fashion sense aside, once you see the stubby way in which he runs, you will be incapable of taking Hollander seriously as a bad guy. With her thick Texas drawl, Cate Blanchett comes off a little cartoonish as well. Most of the film’s over-the-top elements might be excused as a means to craft a modernized fairy tale. However, the point is driven in far too bluntly with a finale set in a run-down storybook amusement park.

”I just missed your heart…”

There’s something prophetic about that piece of dialogue used as the opening and closing lines of Hanna. She misses the mark from time to time, but still forcefully hits the target.

Rating: *** (*****)

Funny People

Funny People - Dir. Judd Apatow (2009)


Judd Apatow is the reigning king of comedy. He has a knack for portraying modern day relationships from the perspective of the overgrown man-child in desperate need of maturity. There’s also a healthy dose of raunchy, low-brow humor thrown in for good measure. Though Apatow has only written and directed two previous films (The 40-Year Old Virgin and Knocked Up), he’s stamped his name on numerous others, some successful (Superbad, Pineapple Express) and some not so much (Drillbit Taylor).

For Apatow’s third film, Funny People, Adam Sandler lampoons his own on and off-screen persona as George Simmons, a former stand-up comic turned A-list movie star. His juvenile movies usually involve him turning into a baby or a merman. George is the Charles Foster Kane of comedians. He lives in his own personal Xanadu surrounded by expensive cars and posters adorned with his face, but he is all alone. George’s life doesn’t improve when he’s diagnosed with leukemia. Along the way, he hires Ira Wright (Seth Rogen), a struggling stand-up, to be his personal assistant and joke writer. Ira becomes George’s de facto confidant and the closest thing he has to a friend. When his leukemia goes into remission, George attempts to reconnect with a former flame, Laura (Leslie Mann), now married to an adulterous Australian (Eric Bana).

Funny People is Apatow’s most polished looking film thanks to bringing on Spielberg’s long-time cinematographer, Janusz Kaminski, as DP. It’s also his most ambitious and mature picture to date. Apatow balances the story of Ira’s rising star with George reflecting on his own narcissism and self-pity. He manages to stray from a formulaic plot with a loose narrative that is both the film’s strongest and weakest point.

Funny People isn’t the lighter fare that audiences are used to from Apatow, but those light moments are some of the film’s best. The movie drifts off on humorous asides such as Ira and George riffing on each other or comparing a German doctor to a Die Hard villain. Apatow also gives us a unique, inside look at the world of stand-up comedy. Littered throughout the film are a series of cameos from various comics like Sarah Silverman, Paul Reiser, and Andy Dick. However, Eminem outdoes them all with a profanity-laced rant directed at Ray Romano.

Yet, Apatow is unable to prevent his film from collapsing underneath the weight of its nearly two and a half hour runtime. At 146 minutes, Funny People is about 30 minutes too long. While engaging for the first two acts, the final act sputters towards a contrived and overly sentimental resolution.

Commenting on his past obnoxious and immature characters, Sandler gives a well-rounded performance, one that is less self-conscious than his most publicized dramatic turn in P.T. Anderson’s Punch-Drunk Love. Shining in supporting roles are Jason Schwartzman as a smarmy roommate who stars in a cheesy Saved by the Bell-esque sitcom and Aubrey Plaza as a sardonic female comic.

Rating: **

Star Trek

Star Trek - Dir. J.J. Abrams (2009)

Yes, I am a Star Trek fan. Like other Trekkies or Trekkers or whatever terminology is approved of, the thought of rebooting the original series must have been anathema. The idea isn’t completely unheard of as Babylon 5 creator J. Michael Straczynski wrote a treatment for a proposed remake series. Still, the very concept is like slaughtering a sacred cow. I approached the new Star Trek film with the same trepidation and disdain that I have with any other attempted remake from the Hollywood machine. I certainly didn’t consider J.J. Abrams to be the man that would be able to shepherd the franchise into the 21st century. Not to the mention the cast seemed as if they’d be more comfortable on a CW show than they would gallivanting through outer space. So it is with a great sense of surprise and satisfaction that I found the simply titled Star Trek to be a fantastic adventure film and the most fun theater experience I’ve had all year.

Abrams along with frequent collaborators Damon Lindelof (producer of Lost) and screenwriters Roberto Orci & Alex Kurtzman (Transformers) take us back to a time when the iconic Trek characters were still fresh-faced cadets in Starfleet Academy. James T. Kirk (Chris Pine) is a farm boy from Iowa whose father was captain of a starship for a only a few minutes and saved the lives of nearly every crew member including his wife and newborn son. This Kirk has a lot to live up to in more ways than one. He’s shunned Starfleet in favor of chasing girls and picking bar fights until a man-to-man talk with Capt. Christopher Pike (Bruce Greenwood). Light years away on the planet Vulcan, Spock (Zachary Quinto) has grown up torn between his Vulcan and human halves. Though he’s chosen the logical, emotionally repressed ways of his father Sarek (Ben Cross), he still possesses the fiery spirit of his mother Amanda (Winona Ryder). Long story short, they find their way on board the Enterprise along with plenty of familiar names with all new faces. These include; helmsman Hikaru Sulu (John Cho), communications officer Nyota Uhura (Zoe Saldana), the cantankerous Dr. Leonard McCoy (Karl Urban), and eventually engineer Montgomery Scott (Simon Pegg).

The maiden voyage of the U.S.S. Enterprise isn’t a smooth one as the crew must immediately go into battle against Nero (Eric Bana), a mad Romulan on a path to massive genocide. Nero has traveled back in time to avenge the destruction of his home planet by wiping out every world belonging to the Federation. Luckily for our heroes, an elderly Spock has found his way into the past to provide sage advice to the hotheaded Kirk.

Getting my nitpicks out of the way first, the script does feel rushed despite the film’s run time of over two hours. Kirk has an incredibly quick change of heart from rebellious youth to enlisting in Starfleet. From there, the story plays fast and loose as it assembles the famous crew of the Enterprise and gets them all in their proper place. Abrams manages to avoid the trendy shaky camera work that nearly everyone uses for action sequences in the wake of the Bourne trilogy. He does, however, utilize an awful lot of lens flare. It definitely works for many of the space scenes in accurately reflecting sun light off the hulls of the starships. I’m not so sure that it was needed for so many scenes, becoming quite distracting and obtrusive. Time travel probably wasn’t the most optimal choice for a storyline, but it was a necessary evil in order to placate the diehard fans in establishing this new Trek without wiping out or being beholden to previous continuity. It also allows Leonard Nimoy to take on a small role and symbolically pass the torch to this new ensemble. To their credit, the writers use time travel as a mere backdrop in order to avoid all the confusion and plot holes that usually comes with it.

The story, in and of itself, isn’t particularly original. It follows the basic journey of the protagonist into becoming the hero we know he will be while foiling the supervillain in his quest to destroy all life. Where the film shines is in its treatment of its characters and the actors who truly elevate the material they’ve been given. Chris Pine had the unenviable task of bringing life to James T. Kirk while the specter of William Shatner forever followed him. Pine captures the swashbuckling attitude of the original Kirk with a dash of Han Solo thrown in for good measure. His freewheeling ways stand in contrast to his restrained Vulcan first officer. Quinto not only looks the part of Spock, but captures his logical nature as well as the burning passions buried deep inside his human half. As expected, Simon Pegg provides the comic relief though neither he nor Sulu are given enough scenes to work with. Anton Yelchin nails Chekov’s Russian accent perfectly.

I’ve not been much of a fan of Eric Bana and found many of his performances a bit on the stiff side. I thought he was good in Munich though easily outshined by co-stars Daniel Craig and Geoffrey Rush. As Nero, Bana really relishes the villainous role and chews the scenery whenever he gets the chance. There are echoes of Wrath of Khan in Nero’s confrontations with the Enterprise along with a heavy influence from Jules Verne’s 20,000 Leagues Under the Sea. Both characters suffered the loss of their family and people thus dedicating their lives to battling what they feel are injustice and imperialism. Perhaps, the best performance out of anyone is Karl Urban who shows off amazing comedic timing as the grouchy, wild-eyed Dr. McCoy. Urban, a self-professed Trek fan, practically channels the spirit of DeForest Kelly.

For the first time in a long time, we have a Trek film that was truly meant for the big screen. Abrams and company have fashioned a widescreen spectacle packed to the gills with action and excitement. Will it please every longtime fan? No. This is a Trek accessible to the masses and unencumbered by past mythology. Just like Bond and Batman, this is a reboot that works. This is a new Star Trek that still pays homage to its predecessor not just in spirit. There are several scenes and lines of dialogue that call back to past episodes and films. At the same time, the film frees up the franchise to boldly go where no one has gone before.

There are still detractors. I know some fellow Trek fans who absolutely refuse to see the film. I also know several people (friends and relatives) who’ve never shown an inkling of interest in Star Trek and are either dying to see this new version or have seen it and loved it. If someone went to see Iron Man, loved it, and wanted to read some of the comics, I’m all for it. If Abrams’ Star Trek gets new fans to watch the original series or Next Generation or any iteration, I’m all for it. I don’t agree with the viewpoint that the new Star Trek detracts from classic Trek nor does it erase what’s come before it. I’ve been more than willing to accept this new vision as an alternate reality far removed from the original. Consider Star Trek to be a flickering light in the corner of your eye and ignore it if you choose. Me? I’m more than happy to enjoy all versions.

I’m also happy to see that in the future go-go boots and mini-skirts are still in fashion.

Rating: ****