REVIEW: "The Tree of Life" (2011)

In The Tree of Life, acclaimed writer-director Terrence Malick (Days of Heaven, 1978; The Thin Red Line, 1998; The New World, 2006) presents a film experience not so much story-centered as it is emotion-centered. Although, each visual does suggest or evoke a certain story or an idea. On one hand, there is a series of images (some, like myself, may call them captured moments) of an American family in Texas in the 1950s. These moments are juxtaposed, on the other hand, with equally-“captured” images of the creation of the universe (a la 2001: A Space Odyssey), as well as images of dinosaurs, nature/naturalism, the modern world, and so many others that evoke feelings and memories. 

Jack is the central character, with apparently conflicting influences from his mother (Jessica Chastain) and father (Brad Pitt), respectfully. Upon hearing of the death of his younger brother as the film opens, an older Jack (Sean Penn) recalls his life growing up, including the innocence, angst, confusions, expectations, and self-interests he goes through, similar to the questions we carry as children/young adults into adulthood. On a spiritual level, the film also opens with a passage from the Book of Job (“Where were you when I laid the earth’s foundation?”), and is referenced throughout the film, such as in a scene at a church service where a priest gives a sermon on how Job, according to scripture, was very godly and knew it was God who gives and takes away. The same goes for the meditative and spiritual snippets of narration from various characters throughout (Young jack, Old Jack, Mother, Father). This also plays into the central theme of what nature expects and what grace doesn’t. 

With that in mind, many of these stream-of-consciousness images, once again, poetically suggest something. And the imagery (shot by Emmanuel Lubezki) is thoroughly engaging. One scene shows a room underwater, with a boy emerging through what looks like a cellar door, possibly a parallel of a baby’s emergence from a mother’s womb. A few other moments show a little boy and/or a tall man (father and son?) in a brown, wooden attic with sunlight through the lone window. And there’s the powerful and stunning sequence (titled, “Lacrimosa”) showcasing the creation of the universe and of life, with shots of space, volcanic lava, meteor explosions (one that arguably and strangely looks like the silhouette of a person’s face), and waves from underwater. The ethereal score by composer Alexandre Desplat adds a classical, haunting and beautiful touch. 

A few questions several viewers may have (and they will) could include as follows. 

1. Memories of Jack’s late brother seem to be coming back to him? Why now, as an adult, when his brother died as a child? 

2. The moments where Old Jack is out in some sort of rocky valley. Are these moments representative of his current state of mind? His confusion? 

3. Does one particular shot of a sting ray (or of dinosaurs) suggest the birth of consciousness?

4. What of the “tree” in the film’s title? There are many images of trees in this film, including forests. 

5. What of the film’s ending?

This film is very experimental and unconventional, and caused a lot of walkouts and outrages during its initial release in 2011. Such criticisms included several “boos” at the Cannes Film Festival that same year, where it won the coveted Palme D’or award (the equivalent to the Best Picture Academy Award). In recent years, however, several critics, including the late Roger Ebert, have declared the film a masterpiece. It stands as an impressionistic achievement, as well as a genuine work of art, on the influences of life, physically, emotionally and spiritually. This is a film that can inspire, influence and challenge moviegoers in terms of how images/pictures can tell a transcending and universal story, much like Man with a Movie Camera (1929), Fantasia (1940), and 2001: A Space Odyssey (1968) before it. 

Wearing a Mask: A Cine-Thematic and Provocative Retrospect of the Dark Knight

Ben Affleck in Batman v Superman: Dawn of Justice

This weekend's release of the highly-anticipated Batman v Superman: Dawn of Justice has already become one of this year's most debatable movies. Most of the reviews have been negative, citing the film as too brooding and dark, not to mention lacking a sense of fun. The film presents a grittier interpretation of two of DC Comics' most iconic characters--Clark Kent a.k.a. the Man of Steel, and Bruce Wayne a.k.a. the Caped Crusader--as they clash over opposing worldviews following the events that occurred during the climax of the former's recent cinematic outing (2013's Man of Steel). This portrayal of Batman (from Ben Affleck) is the latest in a long-list of many roles the character has filled, and not just for the actors who've played him over the years. And like his super-strength counterpart on screen, Batman is certainly no stranger to controversy. He has always been an equally compelling, provocative, and brooding character--at least the way creators Bob Kane and Bill Finger intended him to be in the comics. Here is a recap on some of the significant live-action outings (including their controversies as well as their thematic undertones) in the Caped Crusader's filmography. 

Michael Keaton and Jack Nicholson in Batman

Batman (1989) 

Director Tim Burton's (Pee-Wee's Big Adventure, Beetlejuice) dark-yet-highly-engrossing adaptation was the first that brought the character and world of Gotham City out of the campy setting that pervaded the classic 1960s T.V. series starring Adam West and Burt Ward. And although it spends most of its time with Jack Nicholson's interpretation of the Joker, the film does (more than the others in the original series) tap into the enigma of Bruce Wayne and why he does what he does. The making of the film was a ten-year odyssey, facing several roadblocks including backlash towards casting (Michael Keaton, in particular) and controversial revealings of the murderer of Bruce Wayne's parents. There is also a provocative and compelling visual motif of the difference between heroes and villains, as well as which one makes the other. 

(Top to bottom) Michael Keaton, Michelle Pfeiffer, and Danny DeVito
in a striking poster for Batman Returns

Batman Returns (1992) 

It seems Burton was given complete creative control for this even darker and more violent tale of characters with animal-like instincts and misguided ambitions in an equally dark and violent world. Easily the most neo-noir, grotesque, and disturbing of the original films (definitely not one for children or families), there are still intriguing themes and character studies of Batman/Bruce Wayne (Keaton), the Penguin (Danny DeVito), and Catwoman/Selina Kyle (Michelle Pfeiffer). If only they could have given Keaton more screen time.

(Clockwise from top): Val Kilmer, Chris O'Donnell, Nicole Kidman,
Tommy Lee Jones, and Jim Carrey in Batman Forever

Batman Forever (1995)
Steering from the nightmarish nature of the previous film, Warner Brothers sought to lighten the tone of the Batman universe. Burton was replaced by director Joel Schumacher (The Client, A Time to Kill), who brought a new level of excitement and intrigue, and Keaton was replaced by Val Kilmer, who made the title role all his own, but with sex appeal. The subplots involving his duel pursuit of a psychiatrist (Nicole Kidman), his mentoring of Robin/Dick Greyson (Chris O'Donnell), and his battle with Two-Face/Harvey Dent (Tommy Lee Jones) and especially the Riddler (Jim Carrey). This latter villain represents the film's motif of characters with multiple personalities. A surprise box-office hit, the film did, however, face backlash for the inclusion of rubber nipples on the batsuit, and arguably some questionable sexuality. And these were just a few elements, along with mind-blowing, razzle-dazzle action sequences and special effects, that made the widely-disregarded follow-up, Batman & Robin (1997), a disappointment.

Christian Bale in Batman Begins

Batman Begins (2005)
Fans and critics were given a surprise as director Christopher Nolan (Memento, Insomnia) brought them a gritty and intense reboot of the franchise, promising a more grounded-in-reality story that gave Batman new life and meaning, and made both groups forget the previous outing that reportedly killed the series. Boy, were their expectations exceeded! Nolan, co-writer David S. Goyer, and star Christian Bale set a new bar for backstory, character study, and intense action as Bruce Wayne's origins are traced back to his childhood all the way through his motivations for dressing up as a creature of the night, and setting an influence on Gotham City.

Heath Ledger, Christian Bale, and Aaron Eckhart in The Dark Knight

The Dark Knight (2008)
Widely regarded as the greatest comic book movie ever made, Nolan delivers a more-engrossing yet ultimately-tragic tale of Batman's (Bale) quest to rid Gotham City of crime, and his ultimate showdown with the character of the Joker (an unforgettable Heath Ledger), questioning the role of the former as hero or villain. The examinations of these characters, as well as Harvey Dent (Aaron Eckhart) and Jim Gordon (Gary Oldman), are thoroughly riveting, and the direction of the story is constantly gripping and grim. In fact, several viewers felt the tone was far darker than it needed to be, and that the overall effect was (according to some) "nihilistic" and "violent". According to Nolan, in an interview with Newsweek in 2008, "Yeah, it is grim. But Batman is a grim character. It's a grim world. And that's part of the fun of it--it's operatic. It's exciting. But it's definitely grim." Although I do find the film thrilling and engrossing (and seen as an ensemble piece), I'm not as keen as Nolan is on calling it an entertaining film, nor am I content with all the publicity that the late Ledger (who tragically died of an overdose in January of 2008) has gotten for all the film's credit.

Anne Hathaway, Christian Bale, and Tom Hardy in The Dark Knight Rises

The Dark Knight Rises (2012)
Set eight years after the events of the last film, Rises finds Bruce Wayne as a bruised-and-beaten man who's hung up his cape and cowl. And then, a masked vigilante named Bane (Tom Hardy) and a mysterious woman named Selina Kyle enter the picture. What follows are character studies of people in masks, experiences of pain, a city on the brink of destruction, and the hero's journey to rid it of crime and bring life back to it. Shot with the most IMAX footage at the time, and featuring tremendous action sequences, the release of this film was only undermined by a real-life tragic shooting at a movie theater in Colorado opening weekend. Also, some fans found the third film didn't live up to the bar set in the previous installment. Nevertheless, it is a thrilling a well-made conclusion to Nolan's now-famous Dark Knight trilogy, which inspired co-writer Goyer to pen a more grounded-in-reality version of Superman.

Ben Affleck and Henry Cavill in Batman v Superman: Dawn of Justice

Batman v Superman: Dawn of Justice (2016)
Actor Ben Affleck faced similar controversy, as Keaton did, when he was cast in director Zack Snyder's (300, Watchmen) follow-up to Man of Steel (and the second installment in the up-and-coming cinematic DC universe). Even Affleck had doubts about the role, until Snyder convinced him with the direction the film was going, and especially the take on Bruce Wayne he was going for. This risk pays off as Affleck portrays an older, more grim Wayne, who views the "Man of Steel" as a threat to mankind--ironic in how both represent opposing worldviews and provocative perceptions of what a hero is, how everything has a consequence, and how the world has fallen despite their well-meaning but misguided actions.

According to the current consensus on Rotten Tomatoes, the film "smothers a potentially powerful story--and some of America's most iconic superheroes--in a grim whirlwind of effects-driven action." To be fair, the film does suffer at times with its overbearing action and special-effects (a criticism that Man of Steel faced, regarding its destruction 45-minute climax), and the overall story is uneven and a bit convoluted from an initial viewing. Then again, so were Burton's films, as well as Nolan's predominant features, regarding the latter. Batman v Superman is still open for debate (as is the character himself). Yet it goes to show that there's no one way to interpret a classic character, and that everybody has their own take on him. 

Mindful or Mindless, Part II: Known and Remembered For (Actors and Filmmakers)

George Lucas, photographed at the Lucasfilm Big Rock Ranch in Marin County, CA, for USA Today in December 2011

Filmmaker George Lucas was interviewed by Wired magazine a few years ago, and he was asked how he wanted to be remembered. Lucas stated, 

"I'll be remembered as a filmmaker. . . . Hopefully some of the stories I told [Star Wars, Indiana Jones] will still be relevant. . . . If you've raised children, you know you have to explain things to them, and if you don't, they end up learning the hard way. . . . So the old stories have to be reiterated again in a form that's acceptable to each new generation. I don't think I'm ever going to go much beyond the old stories, because I think they still need to be told." 

Lucas's quote surely has great significant regarding one's legacy, as well as what that legacy consists of and what it leaves for future generations. Writing and reviewing about Adam Sandler last week (you can read my blog on that here) got me thinking about a few other famous actors and filmmakers in media and pop culture. Specifically, it got me thinking about what these famous people are known for, and what they may potentially be remembered for. In Sandler's case, he is known for lowbrow comedy, silly and/or angst-ridden humor and, in real-life, his nice-guy mentality. The late Roger Ebert once asked, "[Sandler] can't go on making those moronic comedies forever, can he?" Film critic Richard Roeper once candidly pitted Sandler and Nicolas Cage against each other for the competition of how many bad movies each of them could make. I, for one, would like to see Sandler do more serious roles in films, just as he did in Punch-Drunk Love and Spanglish. (His most recent one, in fact, was Men, Women & Children.) 

Adam Sandler

Michael Bay

Ebert's quote (replacing the "moronic comedy" aspect with certain filmmaking qualities) can stand as commentary on directors like Michael Bay and Quentin Tarantino, known for bombastic action films or franchises and crafty-but-extremely-violent movies, respectfully. Like Sandler, Bay has created a resume of films that follow a certain formula that audiences and critics have come to expect and even loathe. The majority of said films for both include crude sexual and/or offensive humor, shameless product placement, and poor acting. Nevertheless, they have ironically made millions of dollars at the box-office. In Bay's case, we've also come to expect the aforementioned explosive and endless action sequences that go on longer than they need to. (Director Peter Jackson can also fit this bill, what with his recent Hobbit trilogy).

Case in point: the Transformers franchise. While the first film in this series had a sense of 80s nostalgia (not to mention revolutionary visual effects at the time), the other films went from appaling (Revenge of the Fallen) to improved-but-still-unbearable (Dark of the Moon) to meaningless (Age of Extinction). For what it's worth, though, Bay has stated on several reported occasions that he was done with the franchise in favor of other projects, yet the studio behind the films (Paramount Pictures) has reportedly allowed him to make other movies, like Pain and Gain and this year's 13 Hours (the latter of which got him some of his best reviews), only if he agreed to make another Transformers. (Bay will, in fact, be directing a fifth installment, reportedly and hopefully his last.) Bay certainly has a knack for action sequences, to be sure, including the fact that he prefers shooting on film and doing as many practical effects as possible. In fact, one YouTube subscriber commented that if he worked as a cinematographer instead of a director, his work would be "legendary". There's a great YouTube video that discusses Bay's films (and features said comment on the video page), and it commentates on why they don't work and what we can take from them for the future of film. 

Quentin Tarantino has directed nearly ten feature films since 1992's Reservoir Dogs, and all of his films have met with critical acclaim, not to mention spots on some of the "Greatest Films of All-Time" lists. (Pulp Fiction, arguably his best, was ranked by the American Film Institute as one of the 100 greatest movies ever made.) Tarantino is certainly a craftsman, not to mention a self-appointed cinephile. (Actor Christoph Waltz, who starred in Inglorious Basterds and Django Unchained, will vouch for this.) However, like many of the films of director Martin Scorsese, Tarantino's films have not been accessible to all audiences because of their extreme, profane, and violent content. Tarantino was interviewed by Rolling Stone last fall, around the release of his latest film The Hateful Eight, and hinted that he may be retiring from film directing in favor of other avenues, such as writing plays or novels. 

Quentin Tarantino

Martin Scorsese

Speaking of filmmakers, Scorsese's film resume, despite the graphic nature of many titles on the list, has actually been very diverse. Often known for gangster crime dramas (Goodfellas, The Departed), the award-winning filmmaker had been involved in other categories like period drama (The Age of Innocence, Gangs of New York), documentary (Shine a Light, on the Rolling Stones), biopic (The Aviator, The Wolf of Wall Street) and family entertainment (Hugo). He also stands as one of cinema's greatest advocates of film preservation. Such filmmakers who exemplify range in other mediums and fields are certainly worth commending. 

Steven Spielberg is another great example. He first came on the scene as the director of some of the greatest blockbuster films of all-time (Jaws, E.T., Jurassic Park). In the mid-eighties, however, he made a transition into drama with an adaptation of Alice Walker's Pulitzer Prize-winning novel The Color Purple. In 1993, the film Schindler's List inspired him to form the Shoah Foundation, which currently preserves over 50,000 video testimonies of Holocaust survivors. His passion for American and world history continued with films like Saving Private Ryan (1998), Munich (2005), and last year's Bridge of Spies. Spielberg also happens to be a lifelong fan of animation, and executive-produced several acclaimed animated films (An American Tail, The Land Before Time, Who Framed Roger Rabbit) and T.V. shows (Tiny Toon Adventures, Animaniacs) in the late-eighties and early-nineties, respectfully. 

Steven Spielberg

James Cameron

And there is James Cameron, who, like Spielberg, burst on the scene with blockbuster hits. His career launched with The Terminator in the early-eighties (putting Arnold Schwarzenegger on the map in the process), and continued with a string of action films like Aliens, Terminator 2: Judgment Day, the multi-award-winning Titanic, and the record-breaking Avatar. Not only has Cameron proven a visual and visceral storyteller, as well as a leading expert in the field of digital technology and effects (Avatar practically changed the way we look at movies in recent years, for crying out loud!). He has proven an expert in various expeditions and discoveries, such as the submersible that was specifically designed and build for a deepsea expedition in 2012 to the Mariana Trench in the Pacific Ocean.

While each of these people is certainly known for one or a variety of things (whether action or comedy or history), it's important to keep in mind how they have influenced culture, media, and the world. For some of them, diversifying their work if a good recommendation. Bay, for example, could arguably take some advice from directors like J.J. Abrams (Star Wars: The Force Awakens) or George Miller (Mad Max: Fury Road), both directors of big-budget action/effects movies, as well as visual and visceral storytellers. Sandler could start working with other directors and get outside his comedy comfort zone more often. One site made a list of indie directors he could work with, including David O. Russell (Silver Linings Playbook, Joy) and Paul Thomas Anderson (Punch-Drunk Love, Inherent Vice). Recently, it was announced that he and Ben Stiller will be headlining a new comedy-drama from director Noah Baumbach (While We're Young, Mistress America).

Sylvester Stallone

Vin Diesel

The same applies to action film stars like Sylvester Stallone, who won wide acclaim for his supporting role in last year's Creed, and Fast & Furious headliner Vin Diesel, who is currently shooting a biopic from director Ang Lee (Life of Pi). As for ourselves, we can all certainly choose how we want to live and choose to do. Yet we must consider that what we choose to do, whether as athletes or singers or movie stars or writers or what have you, must have a reason and that it will impact the world, for better or worse. 

Mindful Over Mindless: The Serious Side of Adam Sandler

WRITER'S NOTE: This piece focuses on films in Adam Sandler's resume where he put aside his typical goofy persona in favor of depth and understanding. Hence, films like The Wedding Singer, Click and Funny People aren't included on here, although they are commendable for showing Sandler's range as an actor.

The Mindful and the Mindless
The late film critic Roger Ebert once said, "I've met Adam Sandler a couple of times and he's a nice guy, smart and personable. Considering what I've written about his movies, he could also be described as forgiving and tactful. What I cannot understand is why he has devoted his career to finding new kinds of obnoxious voices and the characters to go along with them." Ebert also questioned why Sandler typically insists on playing goofy, lazy, and/or immature characters. Audiences (myself included) couldn't agree more, considering the fact that his recent movies (Jack & Jill, That's My Boy, Blended, and Pixels, among others) have been overblown, unfunny and, dare I say, resulted in poor box-office.

People have often perceived these and a majority of Sandler's films as mindless. One resource even went as far as making a list of so-called trademarks in his films, which include the aforementioned "obnoxious voices," crude sexual and/or offensive gags, shameless product placement, cameo appearances from various celebrities, and forced sentimentality. Some have wondered what message (if any) Sandler has been trying to send, or if he's just trying to be funny by any means necessary?

Simple Minds (with Complexity)
Sandler certainly has an admirable and likable personality in real life, and it's easy to see why many people like him. I may agree with a friend of mine in saying that he's best when he's serious. Make no mistake, there are moments from his old movies that are classics (Billy Madison or Happy Gilmore, anybody?), and there is a distinction in his characters, even though they are essentially one-dimensional. But it's when he does things for performance and not for cash-cow purposes that he really stands out.

Barry Egan in Punch-Drunk Love

Case in point: the 2002 critically-acclaimed, quirky and dark romance Punch-Drunk Love. This is a different kind of movie than what the SNL funnyman was previously known for. Sandler plays Barry Egan, a small novelty business owner who suffers from uncontrollable rage and emotions (another trait of Sandler's typical characters), partially due to the constant torment he receives from his seven sisters on a daily basis. One night, out of the sheer need to talk to somebody about his problems, he calls a phone-sex line, which only makes his life more complicated. That is, until he meets a mysterious woman named Lena (Emily Watson), who eventually brings out something in him that he never thought possible. This is arguably Sandler's best film to date (and his best reviewed, according to Rotten Tomatoes).

Ironically, many people (some die-hard Sandler fans) have said they were confused and disappointed by this one. Hence, this kind of movie, upon first-viewing, could be seen as "mindless" or trippy. But if one looks passed the Kubrick-esque and loopy elements and looks deep at the themes and ideas director Paul Thomas Anderson explores and illustrates, we find a story about a lonely man who finds and learns about love and companionship. In that regard, along with the fact that Sandler's character develops and matures (if only to a degree), we can find somewhat of a "mindful" performance.

Robbie Hart in The Wedding Singer

With the possible exception of director Frank Coraci's 1998 movie The Wedding Singer (in which Sandler played 80s singer Robbie Hart), Anderson (who previously directed Boogie Nights and Magnolia) was the first filmmaker to really bring out a different side of Sandler. He has called this "an arthouse Adam Sandler film," yet it's very distinct and unconventional in the way Barry deals with his issues, and in his humility and flaws as he finds love in Emily Watson's character. Though not for everybody, this is the kind of movie that has the power to generate cinematic and spiritual discussion, should audiences choose to see it.

One may ask, though: Did this indicate a potentially new direction in Sandler's career, similar to what The Truman Show did for Jim Carrey? Or, like Anderson's film, was it just an experiment? Other directors who've followed suit have included James L. Brooks (As Good As It Gets), Mike Binder (The Upside of Anger), Judd Apatow (Knocked Up), and Jason Reitman (Juno).

John Clasky in Spanglish

In Spanglish (2004), Sandler plays John Clasky, a renowned chef and devoted father with a bipolar wife and a Hispanic housemaid. Although he has more of a supporting role under Paz Vega's shining performance in director James L. Brooks' family dramedy, Sandler expresses understanding and confliction as a family man in the midst of a struggling marriage.

Charlie Fineman in Reign Over Me

In Reign Over Me (2007), Sandler gives possibly his most emotional and intense performance in director Mike Binder's drama as Charlie Fineman, a widow who lost his family on 9/11, and whose heart begins to open up again, thanks to the support and accountability of an old friend (played by Don Cheadle).

Don Truby in Men, Women and Children

In his most recent serious performance, in director Jason Reitman's Men, Women & Children, Sandler plays Don Truby, a man struggling with his relationship with his wife and son in the age of social media.

"Who knows how long it'll last?"
The slogan for the 2011 movie Young Adult (which Reitman also directed) reads, "Everybody gets older. Not everybody grows up." Likewise, is it appropriate to say that Adam Sandler has grown up? Or is he being pretentious and still marveling in manchild-like antics? (Some of these ideas are what others may possibly be thinking, and not just my own thoughts.) I can't help but wonder why he doesn't make more movies that have sincerity or depth or understanding. Some may even begin to think he simply doesn't know how anymore. Roger Ebert concluded in another of his Sandler reviews (read here), "He can't go on making those moronic comedies forever, can he? Who would have guessed he had such uncharted depths?" I, for one, believe he still does.

FUN FACT: My middle school class once voted me as "most likely to be the next Adam Sandler". I couldn't disagree more. However, out of any character Sandler has ever played, I identify with Barry Egan from Punch-Drunk Love the most. 

Standout Films of the Decade: 2015

B.e. Kerian: Film FreeQ

WRITER’S NOTE: As I mentioned in my post for my choices from 2010, some of my choices here aren’t necessarily a means of recommendation nor an endorsement for the worldviews expressed in said films. But they do standout in terms of their thematic and universal undertones.

1. Room
No other film this year has shaken me nor moved me as much as this one. Based on the bestselling novel by Emma Donoghue (who also wrote the screenplay), Room is hard to watch at times, due to its strong subject matter. But at its heart, it’s a powerful and loving story of a mother and child who escape captivity and discover the world. Brie Larson and Jacob Tremblay are remarkable, heartbreaking, and thoroughly engaging. A unique portrait of childhood innocence, family heartache and drama, and unbreakable love.

2. Inside Out

Pixar hits another home-run with a daring story set inside the mind of an eleven-year-old girl named Riley, as her emotions (and herself) struggle with adjusting to life in a new city. Centered on the emotions of Joy and Sadness (along with support from Anger, Disgust and Fear), both learn the importance of growing up and moving on, including the theme that happiness isn’t everything. Quirky, funny, and deeply emotional, Inside Out transcends its own medium, like its preceding hits from the animation studio, and creates something for everybody. (The preceding short, Lava, is a fitting companion piece.) 

3. Bridge of Spies

Just as they did with Band of Brothers and The Pacific, Tom Hanks and Steven Spielberg deliver another untold story from American/world history, this time set during the Cold War of the 1950s. Attorney James Donovan (Hanks) is tasked with defending a Soviet spy (an excellent Mark Rylance), and eventually gets involved in an international exchange for captured American spy pilot Francis Gary Powers. Brilliantly directed, acted and photographed, this film reminds us of the power of cinema in telling a compelling and important part of history. 

4. Star Wars: The Force Awakens

No surprise to the box-office demographic, but certainly a bigger surprise to audiences and critics worldwide as director J.J. Abrams took both back to the “galaxy far, far away” (and broke just about every highest-grossing-film record, for that matter) that George Lucas created nearly forty years ago. Episode VII brings back the excitement and popcorn thrills that launched the popular space opera (not to mention a parallel homage, and more grit mixed in) while introducing new characters (Rey and BB-8 stand out) that have quickly become a new part of the pop culture zeitgeist. The force is indeed strong with this one. 

5. The Martian

What seems like another mere lone survivor story a la Cast Away is actually a clever, intense, and often witty science-fiction film, based on Andy Weir's bestselling novel. Matt Damon takes control as a NASA botanist accidentally left on Mars by his crew after being presumed dead in a sandstorm. The Martian not only focuses on Damon’s efforts to contact NASA and his crew. Even better, it shows the global effort it takes to (quoting the film’s tagline) bring him home. Despite unnecessary strong language, this is an impeccably cast, plausible, and executed film experience. 

6. Mission: Impossible--Rogue Nation

Tom Cruise returns as IMF agent Ethan Hunt on a new mission, this time to track down and bring to justice a ruthless organization out for a global takedown. An intense and provocative examination (as well as a thrill ride) of the line between heroes and villains, agents and vigilantes, and the organizations that carry both. The practical stunts (including Cruise literally hanging outside an A400M airplane!) and chase sequences hit home. 

7. Mad Max: Fury Road
Director George Miller returns to the post-apocalyptic world he created in the 1979 original starring Mel Gibson. Tom Hardy takes over Gibson’s role as the road warrior Max Rockatansky, drifting in a fallen and insane world, ruled by the tyrannical Immortan Joe. But Hardy’s Max really takes a back seat to Charlize Theron’s Imperator Furiosa, who leads a group of female prisoners to freedom. Shot as an insane two-hour car chase, the thrills and surprises (which stand out against the likes of Furious 7 and Avengers: Age of Ultron, in terms of substance) keep coming. Action afionados will likely be enthralled, while the squeamish will (and should) keep their distance.

8. Me and Earl and the Dying Girl

A favorite at the Sundance Film Festival last year, this quirky and heartbreaking drama tells the story of Greg, a high school senior who chooses to drift through his final year. His mother eventually forces him to spend time with classmate Rachel, recently diagnosed with cancer. Described by one critic as a mesh between the styles of directors John Hughes and Wes Anderson, Me and Earl does feature some unnecessary sexual references and an existential worldview a la Juno. But it also emphasizes the importance of friendships and being there for others, as well as choosing to live over merely surviving. 

9. The SpongeBob Movie: Sponge Out of Water

The ever-popular Nickelodeon sea critter makes a return to the silver screen after ten years, in both 2D and 3D animated forms (a rarity for the former these days). Yes, it’s silly and ridiculous and absurd. But that’s the point. Sponge Out of Water represents the kind of creative freedom that the television network has arguably lacked since the 90s. The result is an entertaining culmination of high art and low art, with parodies and homages of everything from 2001: A Space Odyssey to Mad Max to The Avengers. Pharrell Williams’ music is very catchy and fun. 

10. Joy
Jennifer Lawrence reunites with director David O. Russell in a surreal, often strange, and well-made story based on the life of entrepreneur Joy Mangano (creator of the Miracle Mop), as well as several other “brave and daring” women, according to Russell. Shot almost like a Paul Thomas Anderson film a la Punch-Drunk Love, Mangano’s story is chronicled from her childhood dreams to her creative mindset to her dysfunctional family to her stands against corporate America to the formation of a family business dynasty. The always-determined Lawrence gets terrific support from Russell-regulars Robert DeNiro and Bradley Cooper.

Other Notable Mentions:

Brooklyn
Set during the 1950s, a young Irish girl named Eilis (played wonderfully by Saoirse Ronan) immigrates to New York in America for a new life. Seems like a love story on the surface, what with a triangle romance Eilis has between two different men; one in NY, and one back in Ireland. But it’s really (with an unnecessary suggestive scene notwithstanding) a telling and heartbreaking coming-of-age story about a young woman’s choice between two different lives and the place she calls “home”. Based on the book by Colm Toibin.

Cinderella
Disney continues its streak of live-action adaptations of some of its own animated classics (following Alice in Wonderland and Maleficent) with a beautiful rendition of Charles Perreault’s classic rags-to-riches story, and a more grounded sense of realism that makes this the best adaptation of Cinderella to date. An impressive film debut for Lily James, backed up by the always-stellar Cate Blanchett as her wicked stepmother. 

Creed 
I picked this Rocky spinoff largely because of Sylvester Stallone. Michael B. Jordan's riveting performance (as the son of Rocky’s former rival and friend, Apollo Creed) and Ryan Coolger's direction give the film a gritty and engrossing tone. But it's Stallone’s supporting role that guides and holds the story together, and makes it worthwhile with a portrayal of an aging and ill-stricken man who gets a new lease on "going the distance,” as well as a lesson for his protégé in leaving a legacy.

The Hunger Games series (2012-2015)
Both Suzanne Collins’ book trilogy and the film adaptations (which concluded with Mockingjay—Part 2 last year) are arguably the most relevant books and films in today’s culture, socially, ethically, and media-wise. Gripping and intense, these are provocative stories set in a post-apocalyptic ancient Rome-type of world, casting a light on what is considered “entertainment” versus what is true and right for the world.

The Peanuts Movie 
Charles Schultz's beloved comic strip and characters are brought to the screen in eye-popping 3D, yet in a way that faithfully honors the late cartoonist's legacy. Featuring dance-filled music by Meghan Trainor, as well as everybody from Charlie Brown to Snoopy to Linus to Peppermint Patty, this is a fun time at the movies that will fill kids and adults with joy.

"Redeemed" By the Razzies

The Golden Raspberry Awards (or, Razzies, for short) were created in 1980 as a counterpart to the Academy of Motion Picture Arts and Sciences. Instead of honoring the best in film, founder John J.B. Wilson created the awards show to recognize (or, more appropriately, dishonor) the worst in film. Past recipients and “winners” have included actors Kevin Costner, Tom Green, Sylvester Stallone, Nicolas Cage, Adam Sandler, Halle Berry, Sandra Bullock, and director Michael Bay. 

On one hand, this ceremony is, perhaps, commendable for pointing out the low quality of filmmaking choices and directions in peoples’ careers, not to mention the scraping of the bottom of the barrel. Then again, this seems to only add insult to injury in said peoples’ careers. 

Last year, though, a new “award” was created for past recipients who have made a comeback of sorts in the film industry. Ergo, the “Redeemer Award”. The winner was Ben Affleck, recognized for going “from Razzie winner for Gigli to Oscar Darling for Argo and Gone Girl”. This year’s nominees in this category include Elizabeth Banks, M. Night Shyamalan, Will Smith, and Sylvester Stallone. 

Elizabeth Banks

M. Night Shyamalan

Will Smith

Sylvester Stallone

Banks (known for playing Effie Trinkett in the Hunger Games franchise) was recognized a few years ago for co-directing the "Worst Picture"-awarded Movie 43. She went on to direct last summer's a cappella comedy Pitch Perfect 2, which was a hit at the box-office. Shyamalan, who first came on the scene with The Sixth Sense but also made a series of financial failures like The Last Airbender and After Earth, directed last fall's horror hit The Visit. Will Smith, the Fresh Prince t.v. icon and Fourth-of-July box-office champ who also starred in After Earth, received critical acclaim for his performance in the NFL drama Concussion. And finally, "all-time Razzie champ" Sylvester Stallone (also an icon of action films, not to mention machismo) is getting well-deserved recognition, including a Golden Globe win and Oscar nomination, for his supporting role in Creed. 

Again, it's ironic that a ceremony known for recognizing the worst in film makes room for congratulating individuals who have shown that they can make better film choices. Perhaps they should focus more on the latter and make an awards show out of that. 

$UCCESSFU! FILMS SERIES: Star Wars, Record-Breaking and Redefining

It’s no surprise, really. Star Wars: The Force Awakens has revived public interest in the cinematic space saga that George Lucas first created in 1977. That practically goes without saying, what with all the merchandising and anticipation months prior to the film’s December 2015 release. Having broken just about every record in the history of movies since then (including the worldwide $1 billion mark in a record 13 days), audiences and critics have been reminded of the power of a franchise that doesn't just center on Jedis, Wookies, droids, lightsabers, battle cruisers, and villainous Sith lords.

Lucas was inspired by the writings of Joseph Campbell, as well as Saturday matinee serials such as Flash Gordon, while penning his saga of a young farm boy who journeys to become a Jedi, a princess who co-leads a rebellion against a sinister empire, and the central battle between good (the Light) and evil (the Dark Side). And let’s not forget two droids, a Wookie, and a smuggler, as well as spiritual, mythic, and psychological motifs throughout. As Obi-Wan Kenobi said, “You’ve taken your first step into a larger work.” The rest is history.

The 1977 original film

Fully titled Star Wars: Episode IV—A New Hope in subsequent years, the film became an instant blockbuster and worldwide phenomenon, spawning a whole new franchise and generation of filmmaking and storytelling forever. Says IMDb user “EggoMan” (on the 1980 sequel The Empire Strikes Back): “This is a truly wondrous film, and serves as a constant reminder that just because a movie is expensive and a blockbuster doesn't mean that it has to be shallow and two dimensional.” A New Hope remains a classic piece of science-fiction nostalgia, mythology, and entertainment, with an unforgettable score by John Williams that grabs you right away, revolutionary special effects that were detailed and jaw-dropping, and episodic stories and fantastic worlds that served as a substitute, in the universe of film, for what was apparently lacking for children in the 1970s. In fact, one of Lucas’s intentions was to create a story for children who were apparently growing up without fairy tales and classic stories. Late film critics Gene Siskel and Roger Ebert remarked that the film contained a “childlike” sense of fun and entertainment.

That being said, this film (as well as its sequels, Empire and Return of the Jedi) bridge the gap between ages, generations, cultures, and countries. They also represent subtle amalgamations of different genres, and not just science-fiction. Says Forrest Wickman of Slate magazine, “There are few faster ways to incense a movie geek than by calling Star Wars ‘sci-fi.’ [It] may feature spaceships and aliens, but . . . its aspirations are definitely not those of science-fiction. Ask what Star Wars actually is, however, and you’ll receive as many answers as there are scoundrels at the Mos Eisley Cantina. Star Wars is a western . . . a samurai movie . . . a space opera . . . a war film . . . a fairy tale. A Jedi craves not such narrow interpretations. In fact, Star Wars – the original 1977 film that started it all – is all these things. It’s a pastiche, as mashed-up and hyper referential as any movie from Quentin Tarantino. It takes the blasters of Flash Gordon and puts them in the low-slung holsters of John Ford’s gunslingers. It takes Kurosawa’s samurai masters and sends them to Rick’s Café Americain from Casablanca. It takes the plot of The Hidden Fortress, pours it into Joseph Campbell’s mythological mold, and tops it all off with the climax from The Dam Busters. Blending the high with the low, all while wearing its influences on its sleeve, Star Wars is pretty much the epitome of a postmodernist film.”

(l-r) Rey, BB-8, and Finn in The Force Awakens

And so it is, once again, with the J.J. Abrams-helmed seventh episode in the franchise, a roller-coaster of excitement, action, humor, drama, nostalgia (real sets, practical effects, and 35mm Kodak film were used to great extent), and Shakespearean tragedy. Although it has been criticized for being too “retro” in terms of being like the original film, The Force Awakens is arguably a story of one generation’s lack of knowledge or little knowledge of a previous generation that involves certain people, stories, or news of yesteryear. Along with iconic characters Luke Skywalker, Leia, Han Solo, C-3PO, R2-D2 and Chewbacca, Episode VII introduces newcomers in scavenger Rey, reformed Stormtrooper Finn, pilot Poe Dameron, droid ball BB-8, and the villainous Kylo Ren. All are on various journeys of different kinds. Rey (Daisy Ridley) waits on the deserted planet Jakku, apparently for a family she never knew. Finn (John Boyega) longs to escape a misguided life he was forced into. Poe (Oscar Isaac) leads a resistance against the menacing First Order (successor to the Empire of the original trilogy), of which Kylo Ren is a leading apprentice to the Supreme Leader Snoke. BB-8 carries a secret message that may bring balance to the Force again. (Sound familiar to all you die-hard fans?)

Rey is exceptional as a strong female lead in the Star Wars universe. Writes Alicia Cohn for Christianity Today, “Throughout the series, Star Wars has shown us a chosen character grappling with how to use his unmerited gifts. It established the pop culture expectation that a young man has the right to choose his own path. Now perhaps it’s time for an iconic coming of age tale about a young woman. It is particularly encouraging – particularly for the mothers taking daughters – that for once, a female coming of age story in popular culture might not involve a messy sexual awakening, but her own search for power, agency, and calling.”

Said Siskel and Ebert, on the construction of stories: “If a story is written well, if it is told well, if it is acted well, then it will reach across to audiences with its mythological influence.” This is part of what makes Star Wars timeless, as well as historically, culturally and globally relevant.