Film Review: Harry Potter and the Deathly Hallows - Part 1

Many of you may already know I am personally one of the Harry Potter franchise’s biggest fans. I’ve ready every book at least once (Deathly Hallows 4 times actually). I just returned from Thanksgiving Day visit to Wizarding World of Harry Potter in Orlando. And, I’m officially declaring an undying affection for Potions Professor and present Hogwart's Headmaster Severus Snape.

If you haven’t already been coerced by the non stop TV spots and pervasive marketing campaign, I invite you to read our latest movie review. I warn you however, seeing the first 6 films will create a much deeper understanding of the saga so you may want to catch up before heading to the cinema. Many wonderful details and character developments are made in this latest installment and to really enjoy them, it helps to know and see the full story. A special thank you to Jeffrey Butler for his wonderful review. Enjoy everyone!

Walking into Harry Potter & The Deathly Hallow - Part 1, certain expectations are already made. The title itself implies that. This really is one large movie split into two parts, although one should and could easily justify sitting in a theatre for 5 hours when it comes to the final installment of a 10 year, 7 part saga based on some of the best selling books of all time. Just give it an intermission. Yet Warner Bros. chose to split the film, and release it 8 months apart from one another. For some, this will be unbearable. But this movie wasn't made for those people. This movie is for those, young and old, who have grown and witnessed the progression of three of the world's biggest stars and their characters from children into adults, and thankfully allowing the characters of Harry Potter to breathe a bit before the grand finale. And as uncompromising as the series has become in it's attention to detail and supporting characters (you can miss an important bit of info unless you're watching very carefully), the series remains one of the highlights in world of cinema. It presents a world of wonder that is rarely fully realized and grand in scale, yet still maintaining the small, intimate character moments. When director David Yates took over the franchise with 2007’s Order of the Phoenix, a massive shift took place. The world of wizardry had been well established yet in it’s place was a far more real, character focused setting. Gone were the joyous moments spent in potions classes and Quidditch, and in their place were moments about love, friendship and understanding of the ever-growing world of danger. The Potter films became more about Harry, Ron, and of course, Hermione, as they slowly progressed into a more dangerous adulthood. It worked. One would even argue that the films have improved upon one another in each subsequent release. 2009’s The Half-Blood Prince became the pivotal turning point for the series, officially draping it in complete darkness with the death of beloved Professor Dumbledore. Sure, there was still fun and romance to be had, but the end was most certainly coming. And now it is here. Almost. From its opening montage of the three leads preparing for their upcoming quest, Part 1 of The Deathly Hallows pulls you in and doesn't let go until it's somber and tragic yet unanticipated break point.

As the film begins, it seems as though our heroes have already lost. The Dark Lord Voldemort (Ralph Fiennes) and his Death Eaters have made their move, rounding up and branding “muggles’ (non-wizarding folk) and “half-bloods” while beginning their search for Harry Potter, who naturally goes on the run (Hogwarts, the famous school of wizardry, is not in the film at all, a first for the series). Voldemort continues his search to kill Potter before Harry can find the Horcruxes, seven small, seemingly unimportant objects that each house a piece of Voldemort’s soul, and are the key to his immortality. With Voldemort becoming the most powerful and deadly wizard alive, these Horcruxes are Harry’s, and the world’s, only hope of defeating the Dark Lord.

The decision to move the story out of Hogwarts and onto the open road is a bold one, for both the filmmakers and author J.K. Rowling. This time, the trio who received guidance and hope from the adults and mentors in their lives are thrust into the wilderness without a clue what to do. Having only a few leads from their recently deceased mentor, Dumbledore, Harry, Ron, and Hermione struggle to understand how to proceed in the battle against evil. Alone in the forest, the greatest challenge they must first confront is themselves. Harry’s relationship with Ron is most ruthlessly put to the test. After years of commitment and loyalty, Ron’s deepest fears are revealed, with the aid of the horcrux locket weighing heavily against his soul. He begins to feel Harry really isn’t that more powerful than Ron himself. He bought into the hype of “the Chosen One”, but now doubts Harry’s leadership, particularly when Ron is separated from his own family. He sulks, listening to radio reports, hoping to not hear their names in the list of refugees Voldemort is collecting. Hermione as usual remains the most resourceful of the group, and honestly, what would they do without her? Her bag of tricks (literally) gets them out of nearly every dangerous situation that is thrown at them. And of course, Harry, conflicted as always, struggles to live up to his potential as the one to defeat Voldemort, possibly on his own if he has to. Some of this may sound like the same old stuff we've come to expect from a Harry Potter film. But David Yates manages to steer us yet again in a new direction for the characters. All their skills they've acquired, all their struggles they’ve had, both personal and external, have lead to this. We get to see the importance of Harry's invisibility cloak, his wand, and just how strong his friendship with Ron and Hermione really is. What finally sells it is the actors themselves. Daniel Radcliffe, Emma Watson, and Rupert Grint bring their A-game here, turning in their best performances of the series.

This is also one of the most technically accomplished Potter films. Beautifully shot by new cinematographer Eduardo Serra, he brings both a sense of dread and allure to the English countryside that hasn't been seen on film in quite a while, even managing to present the growingly popular handheld camera technique (in a short, quick chase through a forest) and making it feel focused, centered and tense. The sound design for the Horcrux's wailing evil is gruelingly effective and helps maintain the fantasy aspect of the kids hiding in the real “muggle” world, and then there's an outstanding animated sequence late in the film details the story of the Deathly Hallows themselves, perhaps the most engaging scene.

Also, a standout of the film is the return of a few strong supporting characters. Although Mad Eye Moody (Brendan Gleeson, not seen since Order of the Phoenix) gets limited screen time, Dobby the house-elf (voiced by Toby Jones) makes a huge return have being written out of the films since 2002's Chamber of Secrets. If you had any doubts about Dobby before, you will have a complete reversal in your feelings about him by the end of Part 1. Unfortunately, Professor Snape (the slimy and amazing Alan Rickman) has but one major scene, which will undoubtedly be rectified in the final installment.

If Deathly Hallows Part 1 has any fault, it lies in the title itself. Despite being highly entertaining, dark and tense, it is truly only half of a movie. There is no resolution that will make it stand on its own as a film, and in that regard it will face some criticism, despite its achievements. It's very daring of Warner Bros. to release this as 2 parts (especially nearly a year apart), but it's been done before, and of course, this is the Harry Potter franchise, everyone is going to see it. And while it is partially frustrating that Deathly Hallows Part 1 ends on such a rather meander note; it is unquestionably strong filmmaking, and certainly one of the more exciting films to be released this year.

Due Date Film Review

Last year, director Todd Phillips took comedy to new heights of hilarity with "The Hangover." Now, re-teaming with its breakout star Zach Galifinakis and superstar Robert Downey Jr., Phillips brings us "Due Date," his darkest, and most surprisingly heartfelt comedy yet.

A week before his wife Sarah (Michelle Monaghan) is due to give birth to their first child, L.A. architect Peter Highman (Downey) has an encounter with aspiring actor and ultimate aloof Ethan Tamblay (Galifinakis) which causes both to end up on the "no fly list" in Atlanta and grounded thousands of miles away from their destination in Los Angeles. With limited options, the two embark on a cross-country road trip together that redefines the word "disaster" for the both of them.

Taking a cue from 80's John Hughes classic Planes, Trains, and Automobiles and thrusting it into the raunchy comedy mold of the 21st century, Due Date creates a journey that mixes outrageous, often shocking humor with heart and a dark sense of tension that keeps the audience anticipating and hoping for a happy resolution for the mismatched pair of Peter and Ethan. While the story of Due Date won't surprise anyone who's ever seen a road trip movie, the caliber of the two lead actors and their lack of chemistry (yes, lack of chemistry) make for a bizarre, funny and wild journey.

Downey has become notorious in recent years for playing the cocky, charismatic jerk. Here, he is thrust in as a middleman in crisis, one who doesn't go out of his way to cause trouble, and often has difficulty handling it when it comes his. It's a nice change for Downey, as his boiling build up of rage against Ethan comes across as completely understandable and believable. He's dealing with a child in Ethan, ultimately preparing him for the journey of fatherhood he is about to embark on with his wife back home.

Zach Galifinakis's Ethan is a character that is one slight step above what he played in The Hangover, but with a little bit more of a soul. An aspiring actor who carries his dead father's ashes around with him in a coffee can, he's painfully and obnoxiously oblivious to his actions, whether it's getting Peter stranded with the Mexican Border patrol or dealing with his pet dog's nightly imitation of his master before bedtime (just wait for that one). And Galifinakis plays it like only he can. But it's in those smaller, touching scenes of bonding between the two road companions that he really shines. There's more to this stand-up turned actor than meets the eye, and although he'll go back to the well again with the sequel to Hangover next year, it would not be a surprise to see him turn up in more dramatic roles in the coming years.

There are also some truly stand out minor roles in the film from Danny McBride as a bank clerk (another one of the films best scenes where the less said, the better) and Juliette Lewis as a pot dealer. Not so much can be said of Jamie Foxx (usually a fantastic comic actor), as one of Peter's best friends who tries to help at one point. Foxx phones in the role and is barely a factor as his character turns out to be nothing more than a minor cameo, as he's not present at all in the second half of the film.

If there are flaws to be had in Due Date, it's that it never really feels like a completely cohesive movie. The jokes, while often hilarious, are grouped together in moments of spontaneity rather than being consistent like in many others. As the situation for Peter gets grimmer and grimmer, the laughs do come back, but there are often times where the audience will feel more tense than anything else. It gets uncomfortable at times, but the character's natural reactions to the situations keep the film grounded, and make for an ultimately satisfying and funny, but not mind-blowing film. Due Date is a film about parenting, and as any mother and father can tell you, it is not without it's ups and downs.

3 out of 5.

Written by Jeff Butler

2010 Academy Awards® Nominations – Best Picture

On March 7^th, the 2010 Academy Awards® will once again take over the airwaves, and the most honorable awards in filmmaking will be bestowed upon the best artists, actors and motion pictures of last year. And, for the first time since 1943, the Academy has granted that there will be 10 Best Picture nominations.

2009 was a rather surprisingly good year for film in general. At the beginning of the year, most of the films in theaters were written and filmed at the time of the WGA Writer’s Strike in late 2007. This meant rushed or incomplete scripts, which could not be rewritten under the rules of the WGA. Fortunately, it seems as though many of those films managed to avoid being plagued by the strike, as all 10 nominations are truly what the best of ’09 had to offer.

And...the nominees for Best Picture are:

Avatar: Directed by James Cameron

The biggest film of…well…ALL TIME leads the race with 9 nominations. While it will most definitely sweep the technical categories (and deservedly so), the idea of a big science fiction epic winning the almighty Best Picture award seems a little daunting. There are a large number of filmgoers who were amazed by Avatar, and even a great many more left wondering how a film with such a clichéd script could create such a phenomenon. For a big blockbuster to rank a nomination is not a surprise for the Oscars®, Star Wars: A New Hope. Raiders of the Lost Ark, Jaws, E.T. and all three of The Lord of the Rings were each nominated in the category. In 2003, the third Rings film famously swept with 11 Academy Awards. Titanic was not the most original film of 1997, but it was certainly the most memorable, and the same applies with Cameron’s follow up Avatar. The Academy cannot ignore a film which has reached out to millions of people across the globe with such a cultural impact. Despite its flaws, Avatar is well told, expertly crafted, brilliantly directed, and most importantly of all, it was thoroughly entertaining.

Will it win? Comicon fans rejoice! This could be the year of the Sci-fi!

For a full review of Avatar, visit our previous review here.

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The Blind Side, Directed by John Lee Hancock

One of the surprise nominations, The Blind Side is most notable for the captivating performance of Sandra Bullock as Leigh Anne Tuohy, and her family’s taking in of Michael Oher, a homeless African-American youngster. This young man is given a second shot at life as a successful student and eventually becomes a professional football player. It has become a box office success, and has won over the general audience with its heartfelt and touching story. Bullock gives the performance of her career as the feisty Leigh Anne, a woman whose determination helps ensure the success of Michael Oher (played by Quinten Aaron). Despite a mixed consensus from critics, the film has managed to secure two of the top nominations, making it an interesting choice to watch for come Oscar® night.

Will it win? It wouldn’t be a Blind Side if it did.
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District 9, Directed by Neill Blomkamp

Now here is a film that both surprises and delights many film lovers. Likely the most lightly financed yet smartest sci-fi film of the year, District 9 has become a cult classic among fans and is a ballsy choice for the Academy. But alas, it was most certainly not the best film of the year, and when the votes are tallied, this one won’t even come close.

Will it win? As unlikely as any Sci-Fi film featuring ugly, gross, gun carrying, cockroach-like aliens which mutates into a heartwarming film uncovering the truth behind a marriage, and the relationship of a father and his son.

For a full review of District 9, visit our previous review here.

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An Education, Directed by Lone Scherfig

Based on an autobiographical memoir of the same title written by the British journalist Lynn Barber, the high praise in this film comes from newcomer Carey Mulligan’s standout performance as Jenny, a young woman full of promise and intent to study at Oxford until she meets an older man (Peter Sarsgaard) who changes her life in ways she cannot realize. The film first made waves at the 2009 Sundance film festival where it won the World Cinema Audience Award in the Dramatic category. Despite Mulligan’s praise for her performance, she faces sharp competition from veteran Meryl Streep and Sandra Bullock, which will provide no easy feat in helping Academy voters decide who deserves the gold.

Will it win? Unlikely, but it’s certainly a lesson in fine filmmaking.

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The Hurt Locker, Directed by Kathryn Bigelow

If this film hasn’t hit your radar yet, you owe it to yourself to see free up some movie time. With fantastic performances, and suspenseful sequences that linger on until you are almost exhausted; The Hurt Locker is quite a ride. What is also promising about it is that it is a film, an Iraq based film no less, which offers no major, overtly preachy, message. It simply shows what soldiers are doing everyday to protect this country. It doesn’t question if what they are doing is moral or right, but it brings the audience up close to the personal hardships endured everyday, and the effects of their actions on their souls. This is a very powerful film, and most certainly a major contender for the win. The Hurt Locker is up for 9 nominations

Will it win? It’s definitely the one to beat.

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Inglourious Basterds, Directed by Quentin Tarantino

Tarantino returns to form, and the work speaks for itself with 8 nominations! This is the largest amount of nominations a Tarantino film has received, and the first time he has been nominated for any kind of Oscar since Pulp Fiction in 1994. Although it would be great if it won best picture, the odds are against it. However, the real crime will be if Christoph Waltz (The infamous Hans Landa) does not win the Best Supporting Actor category, which he is rightfully nominated for and deserves. There was not a single character that was more captivating or memorable than his was. Basterds also has a fair chance at winning Best Original Screenplay as well, as no one in the industry writes dialog like Tarantino does.

Will it win? Here’s hoping!

For a full review of Inglourious Basterds, visit our previous review here.

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Precious, Directed by Lee Daniels

One of the most controversial films of the year, Precious: Based on the Novel “Push” by Sapphire, is getting notable recognition from the Academy with 6 nominations. In particular, the performances of the two lead actresses, Gabourey Sidibe and Monique Imes (Mo’Nique), have been nominated in each of the respective actress categories. The film was a hit at the 2009 Cannes and Sundance Film Festivals, which provoked Oprah Winfrey and Tyler Perry to assist in promoting the film to a distributor, as well as receiving production credit. Precious tells the tale of an abused, obese and illiterate teenager growing up in Harlem in the late 1980’s. It has generally received strong praise, although some critics found the story to be exploitive in the presentation of the abuse scenes and it’s dark social commentary.

Will it win? As the Academy tends to favor deeper personal stories over spectacle, it will be no surprise if Precious takes home the gold.

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A Serious Man, Directed by the Coen Brothers

This is a nomination that both surprising and not surprising. A Serious Man was amongst one of the most memorable films of the year. If you haven’t already read our full revie, you can read it here. Although it was not widely circulated film and many have not heard of it, it is one of the most original films of the year.

Will it win? Unlikely. But at least the Academy have given well deserved nod to the Coen Brothers.

For a full review of A Serious Man, visit our previous review here.

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Up, Directed by Peter Doctor & Bob Peterson

A major surprise, as only one other animated film in history (Disney’s own Beauty and the Beast) has been nominated for the Best Picture category, It’s quite a delight that UP gets to be the only other to share that title thus far. With lovable characters and a creative, funny story with a great deal of heart, UP is a favorite for many. Unfortunately, since it is also nominated in the Best Animated Feature category where it’s biggest competitor is Fantastic Mr. Fox, the odds of it getting the big prize are slim.

Will it win? Only if the Movie Gods deem it worthy

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Up in the Air, Directed by Jason Reitman

Here is a film that has gathered a lot of buzz, praise and love in the recent months. The third film from Rietman (Thank You for Smoking & Juno), this is a film for our times. It deals directly with the economic fallout of the country, and is a pretty accurate portrait of the world we live in today. George Clooney finally washed away the horrible memories of the nippled-Batsuit with this role, perhaps his best. The anomaly for this film is how memorable it is. The film is well made, people praise it, and there is nothing wrong with the story, performances or directing, but it’s still leaves the audience a little empty afterward. It feels very middle-of-the-road, and certainly won’t be on anyone’s mind in the next year or so

Will it win? Only if they votes are tied between the Hurt Locker and Avatar

What are your thoughts on the Oscar® nominations? Agree? Disagree? Who do you think got snubbed? We want to know.

Written by Jeff Butler & Cheryl Savala

A Trifecta of Holiday Blockbusters!

As the holiday season ends and the New Year begins, three of the most anticipated blockbusters of the season are continuing to dominate the box-office. The first is a 15 years in-the-making science fiction epic; the second, the long awaiting revival of a beloved detective; and the third, a rockin’ and rollin’ Squeakquel.

Written back in the mid-1990s but delayed until film technology was primed, James Cameron presents his first film since 1997’s Academy Award™ Winner Titanic. AVATAR transports us to a bleak future where the only hope for mankind is to mine the distant planet of Pandora, a vast world of jungles and forests home to ten-foot tall, blue humanoids called the Na’vi.

From a purely technical level, AVATAR is an astonishing achievement. The world of Pandora is immensely beautiful and completely immersive. When seeing the film in 3D (truly the best way to experience it) the viewer is pushed straight into the action. Cameron developed a special 3D camera to shoot the film, and the result is nothing short of a visual feast. Another achievement is in the detail of the CGI. While promoting the film Director James Cameron boasted that it would contain effects so believable that viewers would be unable to distinguish reality from the visual effects. Today’s sophisticated audience may not completely agree, but the movie certainly shows that the next great advancement in visual effects has hit mainstream. Pandora is unlike anything ever seen on film. The artistic direction that went into the creation of the world will blow your mind and surely worth an artist’s investment in an edition of the Art of Avatar.

With a relatively simple story told by James Cameron – the master of action, pace, and emotion – there is a wealth of cliché’s in the film, but Cameron presents them in the best possible way, never leaving the film feeling amateur. The performances are also fairly well done. Zoe Saldana is a major standout. Her motion captured performance of Netiryi packs an emotional punch that hasn’t been seen since the likes of Gollum in The Lord of the Rings. Sigourney Weaver reunites with Cameron for the first time since Aliens to provide the role of Dr. Grace Augustine, creator of the “avatar” program and lead researcher on the Na’vi culture. Unfortunately, our hero Jake Sully (portrayed by Sam Worthington), is the most underwritten character in the film and many audience members may not find themselves connecting emotionally or rooting for our hero. The character seemingly acts without consideration to the consequences of his actions, which takes some of the drama away.

Despite these minor hiccups, AVATAR is a major, major achievement in film and with over $1 billion in gross revenue in a mere 2 weeks at the box-office. It’s a phenomenon no one could have predicted or should miss.

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Now, if you’re looking for something a little more down to earth, Sherlock Holmes is right up your alley. The first major film based on Sir Arthur Conan Doyle’s literary detective in over 20 years, Guy Ritchie’s update is a fast paced, deduction spewing adventure that doesn’t let up one second in its 134 minute runtime. Like AVATAR, Holmes has all the fine tuning of a rousing, entertaining, adventure of a movie and offers escapism into another, albeit former world. Add in the brilliant casting of Robert Downey, Jr. and Holmes is an elementary choice at the movies.

While the film is definitely a more modern take on the Holmes character, with a bit of amplified action, the film stays true to the characters of Sir Arthur Conan Doyle’s books. Holmes’ quirky, almost superhuman analytical and observational reasoning, his boxing and sword fighting skills, and his distinct lack of personal hygiene is truly the character at his roots. The charisma between Downey and Law is unmistakably great, so much so that they carry the film when the plot turns to mulch in the third act. While the plot for the film is well written and is quite witty at times, the overall payoff simply boils down to the villain’s desire to “take over the world” – seemingly a little generic for a film about the world’s greatest detective.

As with most action movies, the writing of the female character has been undervalued. Irene Adler is touted as the one person in the world that has outsmarted Holmes, but Rachel McAdams is underwritten in her character, unconvincing in her role and undeniably present to set up a sequel. Granted, Downey is so brilliant in the role that it’s nearly impossible to imagine anyone able to match him.

Visually, the audience becomes captivated by the deductive reasoning of our genius detective as they are literally thrown into the mind of Holmes through fascinating slow motion camera work and editing. Add to the brilliant cinematography the slick, Tim Burton“esque” production design complimented by Hans Zimmer’s score of bizarre banjos & violins, and Sherlock Holmes becomes one of the most distinct and memorable films of the year.

Finally, for us designers, be sure to stay around for the end credits. They are truly an artistic achievement! If you want to learn more about the process of the design on these end credits, click HERE.



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To round out our trifecta of blockbusters, if you’re looking for just a “little” escapism with your movie going experience, climb aboard with Alvin and the Chipmunks as they head back to school and into a whole new world of adventure and...you guessed it...love!

Through another inevitable series of pratfalls, misguided intentions and overactive imaginations, our lovable munks Alvin, Simon and Theodore wind up in the care of Dave Seville’s twenty-something nephew Toby (Zachary Levi). The boys soon after find themselves tasked with saving their school’s music program in a battle of the bands when they unexpectedly meet their match with The Chipettes... Hellooooo Ladies!

Although the audience doesn’t see much of Dave (Jason Lee) in this film, Zachary Levi fills the role of the newly-appointed caregiver quite charmingly. Toby let’s the boys pretty much run amuck until Alvin, Simon and Theodore teach him a few unsuspecting lessons in commitment, responsibility and love. David Cross returns as Ian Hawke in a performance truely fitting of his character’s surname! Reduced to residing on the rooftop of Jett Records in a robe and slippers, Hawke receives an unexpected visit from what promises to become the next pop sensation...The Chipettes. Against his first impulse to “jett”ison the girls off the building, Hawke eagerly sees dollar signs in his eyes again and assigns himself their manager.

The Squeakquel is definitely a film for the family! Kids will laugh at the antics and be singing during the ride home. For parents, it’s a fun-loving movie you can feel good about taking the youngsters to see. If you’re looking for an emotionally packed story, rich cinematography, and ground breaking special effects, you’re barking up the wrong tree. Alvin and the Chipmunks offers a low dose of cinematic ingenuity but a high dose of good clean fun.

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The New Year promises something for every film enthusiast! If you love action, thrills and an unbelievable visual experience catch AVATAR. If you like your action movies with a little more intellectual flavor, Sherlock Holmes is your man! And, if you’re looking for a couple hours of saccharine induced antics, Alvin and the Chipmunks are ready to spin you round, round like a record baby! Those of us movie lovers here at Menagerie, are rarely satisfied with seeing any film just once so next time you’re at catching one of these blockbusters, look around, you may just run into us at the popcorn bar – extra butter please!

Written by Jeff Butler and Cheryl Savala

A Serious Man. Why So Serious?

Amongst the great American filmmakers, one team that never fails to stand out and surprise their audience, be it with laughter, disgust, frustration or applause, is the duo of Joel and Ethan Coen. Famous for such films as Fargo, Barton Fink, The Big Lebowski, and their Academy Award® winning No Country For Old Men, the brothers Coen return to the cinema with A Serious Man, one of their most mature, funny, and unconventional pictures to date, and while it may not be a major hit with the mainstream, it is one of the more memorable pictures of the year.

Mildly reflecting the Coen’s Jewish suburban Minnesota lifestyle, A Serious Man takes place in the late 1960s, where meek college physics professor Larry Gopnik (Michael Stuhlbarg) is having what he would call a “mid-life crisis.” Based on what happens to him in the film, the rest of us in the real world would call it a “apocalypse.” Mirroring a series of events similar to the story of Job, Larry is constantly tested in his faith when his whole world comes crashing down. His wife leaves him for the dreaded Sy Abelman, his son is a pot head, his daughter wants a nose job, his tenure is in question, his sick brother can’t stay out of the law’s way, his bills are piling up, and he is simultaneously being black-mailed and bribed by a student in his class. Is all this a test from God? Why do bad things happen to good people? Can he get an answer from a rabbi (or three)? Unfortunately for Larry, the Coen Bros. are the angry Gods punishing him, and as in all their classic dark comedies, the protagonist endures quite a lot before those end credits roll in.

While by no means a blockbuster, the film itself is quite hilarious, despite all the harrowing mishaps that Larry gets thrown at him. Michael Stuhlberg (a Tony Award winning stage actor in his first major role) plays Larry like George Costanza with a conscience. Despite being a complete push-over, the amount of abuse that he takes makes him an enduring and tragic character. His son Danny (Aaron Wolf), suffers in many similar ways at his school, and the parallels that both father and son endure while being nearly completely unaware of each other’s hardships is a funny and misfortunate. Danny manages to cope better than his father does, escaping with F Troop, getting stoned out of his mind at his Bar Mitzvah, and Jefferson Airplane (“Somebody To Love” is essentially the theme song for the film). Despite all the wild decisions that only a teenage can make, he ends up in a better place than his father...until the tornado storm of an ending.

Despite the strong performances, wonderful cinematography (by long time Coen collaborator Roger Deakins), and its hilariously grim humor, the ending is what is going to divide audiences. The Coens, over their last few films, have developed a trademark for the unconventional ending. While this can be a turn-off to many, it is a parallel to the sheer sense of uncertainty that Larry faces in his life, searching for the answers that we all ask ourselves and will never know the answers to. “Hashem doesn’t owe us anything,” a rabbi tells Larry. Frankly, neither do the Coens. They tell it like they see it, and while it is frustrating, they are making their point. It is a film that will stay in your mind, whether you love it or hate it, for days on end.

3.5 out of 5 Stars

Written by Jeffrey Butler

This is it! The Creative Process Immortalized

Imagine watching Michelangelo crush his own pigments, process comments and criticism from the politicians & clergy, and witness the technical prowess as he engineers and constructs a scaffolding system to support him as he masterfully creates one of mankind’s most treasured works of art.

Imagine seeing first hand as Ansel Adams transforms a seemingly common landscape into a relatively new visual expression of photography. Creating imagines, so rich in detail, they rival the most realistic sculptures for their musculature and textural nuances.

Imagine walking among hundreds of expert mathematicians, structural engineers and aviators working under the genius of Howard Hughes as he molds Hughes Aircraft into one of the nation’s most revered companies in American History.

This is the creative process in action
This is masterful talent in motion.
This is genius in the flesh.

THIS IS IT!

Like many of us who love music and dance, we’ve grown up listening and grooving to Michael Jackson. Legendary songs like Bad, Thriller, and the Man in the Mirror are indelibly engraved in our consciousness. We see flash mobs dancing to Beat It across the globe and kids of all ages want to master the moonwalk. But like much in history, the creative mind behind legendary cultural contributions such as these can often prove mysterious and elusive to comprehend.

As a visual artist who wants to leave a lasting impression on our culture and a musician for many of my formative high school and college years, I knew immediately upon the announcement of Michael Jackson’s This Is It film release that I would want to enjoy it with my family. But what surprised me most of all was not the iconic music, not the incredibly skilled dancers and musicians, not the spectacle of the concert performance. What impressed me most was the feeling the respect Michael and the entire creative ensemble had for each other and the gift they would share with their audience.

This film doesn’t just show Michael as the world's most gifted pop dancer – yes, he could still pop the moves with more precision than dancers less than half his age. The film doesn’t just show the many emotions he could evoke with the subtle nuances of his voice – the vocal performance for I’ll Be There is heart wrenching. What the film does better than anything else is to show all the creative contributions working together seemlessly and the creation of a stage show that would have undeniably marked each and every audience member.

Michael envisioned it all, and through his creative partner Kenny Ortega (the creative brilliance behind High School Musical) Michael perfected every aspect of the performance he wanted to celebrate with his fans. He also expected perfection of those who were talented enough to surround him. He didn’t threat, intimidate, use harsh language or disrespect a single musician, lighting technician, dancer or photographer. He surrounded himself with only the best, and the best wanted to impress the King of Pop. It was incredible to watch the creative process unfold as each craftsman and musician gave Michael their undivided attention and spoke with only the deepest admiration. As the show evolved and creative decisions were formed by hundreds of skilled lighting designers, choreograpers, coaches, musicians and dancers, Michael was there every step of the way to offer clear direction, support and congratulations on each success. When there was conflict – who could really argue with the King of Pop – it was shown resolved with humility and honor. In Michael’s words “all for love.”

It would be neglectful to ignore the other half of this film’s and performance’s creative brilliance – Kenny Ortega. This unassuming, caring, yet determined director brought out the best in everyone – including Michael. His direct, patient, respectful and fluid manner of keeping the production moving forward was truly inspirational to watch. The insight he showed by working with so many talented artists is worth the ticket price alone.

So, would I see it again? Aboslutely! In fact, I will likely add a few more dollars to the box office success before the weekend is up. And, I’ll definitely purchase the DVD and soundtrack. Why? This film represents the potential of true dedication and talent, not by seeing the finished result, but by capturing the magic that happens during the process of creative discovery.

Freaks Abound in Zombieland!

“Nut up or Shut up.” - Tallahassee

A memorable quote. A simple statement. And a complete summary of what Zombieland, the new horror comedy from director Ruben Fleischer,
is all about.

Set, (of course), in the near future where the world has been swept with a plague that causes the human race to become flesh-eating, goo-spewing, undead freaks, Zombieland tells the tale of a shy, cautious young man (Jesse Eisenberg), whom the film names “Columbus” (all the characters are named after their place of origin) and his struggle to find his parents (hopefully) amongst the zombie barren wasteland of what used to be America. Along for the ride is Tallahassee (Woody Harrelson in a film stealing performance), a tough as steel, cowboy hat wearing bad ass who has nothing left in his life but one goal: to find the last remaining Twinkies. Together with the female pairing of Wichita (Emma Stone) and Little Rock (Abigail Breslin), the stage is set for one of the most over the top and funniest films of the year. It is relentless in its action, and takes no prisoners, hurtling its audience along for a thrill that doesn’t stop until the end credits.

Zombieland is pure escapist entertainment at its finest. While films about the post-apacolypse are often dark, tragic and offer little hope for their protagonists, Zombieland is hilarious, sweet, and surprisingly hopeful. It’s also ridiculously violent in it’s treatment of zombies. Tallahassee is quite the innovator in the ways that he dispatches the undead (just wait until the action packed theme park finale), and while the violence is particularly brutal at times, it is the kind of violence that evokes cheers from an audience rather than disgust. It’s crowd pleasing.

What makes the film work the most however, is, as with all good movies, the characters. Despite the fact that they are all maniacally brilliant at blowing away zombies, the four protagonists all have their own backstory that drives the film foward as more than simple fluff. Tallahassee’s quest for a Twinkie doesn’t seem that all far fetched when you learn about what he has lost in the post-human world (“Enjoy the little things” he says). The action beats are great in this movie, but the way the four main characters band together to make up what is basically the last surviving foster family in the world is the strength of the plot.

There’s also some fun usage of visual typography in Colombus’ “Zombie Rules”, which we learn about as the film progresses (often intergrated into the scene in a clever way), and a surprise cameo that is so great I refuse to say any more about it.

September and October are often the slow months for Hollywood films. With a few rare exceptions, it is the drop off period for studios, nothing particularly special comes out. Zombieland is special. It’s brutal, it's silly, it hilarious, and it leaves you with a great feeling as you exit the theater. It certainly won't be winning any Oscars, but it is still by far one of the most fun and enjoyable theatrical experiences of the year. I couldn't recommend it more.


Written By Jeff Butler

Masters of Advertising Honored in Film “Art & Copy”

If you haven't heard about the new documentary Art & Copy by Director Doug Pray (Surfwise, Scratch, Hype!), then let me tell you, it is amazing! And, a must see for every designer and business owner.

Remember the legendary ad slogans: Just Do It, I Love NY, Where’s the Beef?, Got Milk? and Think Different ? In this film, Pray captures the work and wisdom of advertising greats such as George Lois, Mary Wells, Dan Wieden, Lee Clow, Hal Riney and others behind these memorable campaigns as well as some of the other most famous campaigns ever known. Watch as they share their stories in the most inspirational hour and thirty minutes you will ever experience. Of all the points these masters of creativity made in the movie, two really resonated with me – the effectiveness of truth, and emotional connections in advertising.

As technology and our society continue to evolve, these two things are more important than ever. Consumers are much more sophisticated and have become more immune to the tricks of advertisers. They now have even more media vehicles for which to receive advertising. Thus, making it more challenging for advertisers to effectively reach their target market. Having said that, by watching this film, I have learned that to effectively embrace these emerging media vehicles, it is important to remember where you have been to know where you are going. As these top ad professionals have proved, no matter what vehicle you choose, good advertising comes from finding the truth and the emotional connection between product / service and consumer.

Rich Silverstein demonstrates this with his Got Milk? campaign. In his interview, he claims his inspiration came from sitting down and really analyzing the Milk, it does a body good campaign. He says, “if you really think about it, that campaign really wasn’t true. Would you really go out and chug a ton of milk after a run? Probably not. It really wouldn't be good for you.” However, with the Got Milk? campaign, the focus is on what could happen without milk. For example, the famous "Aaron Burr" commercial. For anyone who doesn’t remember, the commercial shows a guy listening to the radio and eating a peanut butter sandwich. Just as he takes a bite, he gets a call by the radio show to answer a trivia question. With the answer staring him right in the face, he is confident that he has won. However, with his mouth full of peanut butter, the announcer cannot understand him. So, he reaches for his glass of milk and discovers he is out. Naturally, he runs out of time and loses the contest. True, simple and brilliant!

Advertising has also proved to be effective when there is a connection between the ad and its creator. After hearing these countless stories behind the campaigns, you really look at advertising in a different way. Hal Riney became famous for creating really emotional commercials, particularly Ronald Reagan's re-election campaign. He said in his interview that often times he finds himself creating scenarios that he would want for himself or missed out on in his own life. It is through this emotional connection that he makes with himself that gives his feel genuine and trustworthy and provides comfort for consumer.

Mary Wells too, expresses how her theatrical upbringing led to the first ads painted on airplanes. Interview after interview, I saw how the greatest creativity came from being yourself. Not trying to imitate someone else and not settling for something when you know it could be so much more. She proved that determination, research, and harnessing your own unique characteristics are the keys to success.

These are only a few of the brilliant examples discussed in the movie and don’t even scratch the surface. This is a film that really has to be experienced. It is truly inspiring to glimpse into the lives of these courageous artists. To hear their passion for effective communication and their fight against mediocrity. To witness their strength and see them dare to be different is such great motivation to push on in a time where our industry is so dramatically changing and reminds the audience that when done correctly, advertising is one of our more beautiful art forms.

Written by Michelle Manley

Inglorious Basterds – No, that’s not a typo!

Quentin Tarantino returns to the world of cinema with all barrels blazing in Inglourious Basterds, the tale of a group of Jewish-American Gurellas on a mission in Nazi-Occupied France during World War II.

If you’ve seen Tartantino's other films, you'll know that he is amongst Hollywood’s most intriguing director’s. The tagline for the film is “You haven't seen war, until you’ve seen it through the eyes of Tarantino.” A little boastful perhaps, but truer words cannot be spoken of the film itself. This is ultimately a revenge fantasy that celebrates what cinema is and why it is so beloved. A world where everyone has a reputation,a role that they play like an actor in a film, and how they exploit that role to their own gain. The Basterds themselves, set out to terrify the Germans with their cold-blooded antics, making them highly feared amongst the soldiers of the Third Reich. The SS Colonel that builds a reputation as “The Jew Hunter”. The innocent girl who becomes a cinema owner, misguiding the villainous Germans into her trap. This is a film that puts on a show for us to watch, and gives us an unexpected ending. And QT rewrites the rules with a masterful grace.

Like his Cannes Festival winning classic, Pulp Fiction, Inglourious Basterds is split up into five seemingly unconnected chapters that ultimately build up to one grand event. As with Pulp Fiction, QT’s strengths shine in his dialogue. QT literally makes us sit down with his characters and have a nice, long talk (and in this movie, mostly in another language). What director has the guts to do that today? One that defies convention. One that wants to give us an experience, not just glamour. One that knows that movies need to be more than just explosions. If any of this sounds boring to you, you really don't know what you are missing, the dialogue in this film is spot on, pulling you into the scenes as if you are there with the characters, whom, by the way, all give stellar performances. The film's tone is typical of QT, satirical, whimsical, brutal, but never too serious (which is apparent in the fantastic finale).

Amongst the standout performers are, if you haven't heard by now, Brad Pitt as Lt. Aldo “The Apache” Raine, and Christoph Waltz, as the film's central villain, the genius Nazi detective known as SS Col. Hans Landa (“The Jew Hunter”). While Pitt is outstanding and hilarious in every scene he has, the true show stealer is Waltz. Here, we have a complex, riveting, despicable and above all, charming villain that you love to watch and fear for what he might do. The opening scene of the film has him searching out for the remaining hiding Jewish in the French countryside, at a farmer's home. The way Waltz slithers into the scene and how he obtains his information is mesmerizing, despite the results. If he doesn't receive an Oscar® nomination (or even the win), then I want to see the performances that beat it, because there has not been a better one this year. The character of Shoshanna(played by (Mélanie Laurent) is the films tragic character, her Jewish family taken from her in an instant, and she is helpless to stop it. She runs and hides from it all, playing her part away from the dangers of the war, but when the opportunity falls right into her lap, she seizes the moment to strike back, and the audience will cheer and shudder at her vengeance. Laurent takes that innocence and uses it to propel her character into World War II's greatest fictional (and unknown) heroine.

At 153 minutes, the film does seem a tad long, and a few of the long scenes of dialogue could have been trimmed down, but the film never ceases to be an entertaining and is by far one of the best theatrical experiences that has come out this summer.

Written by Jeff Butler

District 9 Film review!

Blustering with an incredible first time lead actor, an intriguing story, and fantastic special effects, District 9 soars to incredible heights as one of the must see films of the decade.

29-year old South African born newcomer Neill Blomkamp proves he has all the makings of the next Spielberg with his uncompromising and unique vision. Utilizing a structure that is both standard cinema and also documentary, Blokamp effectively combines both styles to present a science fiction story that not only has great action but also timeless ideas about immigration and humanity.

The film tells the tale of one Wikus van der Merwe (a brilliant newcomer name Sharlto Copley), a field operative working for MNU, the private company tasked with maintaining the government camp "District 9", where lost alien refugees and their ship have been held for the past 20 years in Johannesburg, South Africa.

Wikus is promoted by his father in law in MNU to run an operation where all the "Prawn" (a derogatory term for the aliens) refugees would be moved out of Johannesburg and into a new camp outside of the city, away from the protesting public who has had enough of the alien presence in their city. While he inspects the slums of the rotting district, he becomes infected with a bioweapon that begins to affect his DNA in ways he cannot imagine, eventually leading to him being on the run from MNU agents and Nigerian gangsters.

The film is a non-stop thriller from beginning to end, and it's break neck pace will keep you riveted for it's 112 minute runtime. Producer Peter Jackson (of Lord of the Rings and King Kong fame), allows Blomkamp to run wild, taking risks in a summer blockbuster not seen since the likes of the Dark Knight last year. The character of Wikus is selfish, cowardly, and self-centered, and the film rarely chooses to hide that. The idea to run with an unlikable main character, one which we alternate in sympathy for throughout the film, is a strong move, as is the conscious choice to leave some ideas and explanations to the audiences imagination. Unlike certain blockbusters this summer, District 9 trusts it's audience to fill in the blanks when explanation isn't needed in order to service and make the best possible story that they could. The special effects themselves (rendered by Image Engine in Vancouver, Canada),are seamless, and again, unlike most blockbusters, are used to service the story, rather than distract from it. The Prawn creatures are among some of the best rendered creatures since Gollum in Lord of the Rings, and will hopefully be recognized by the Academy next Spring.

Exciting from beginning to end, the only flaw in District 9 is that it leaves you aching for more once you leave the theatre. It stands well enough on it's own as a great science fiction film, but the ideas for sequels will no doubt be lingering in the minds of audiences once they leave the theater. Nevertheless, the ideas and suspense of the film are what make District 9 a highly memorable time at the movies, and is among one of the best films of the year.

By Jeff Butler