Brave (2012)

Pixar Animation's 2012 effort is Brave, a fantasy adventure set in Scotland directed by Mark Andrews and Brenda Chapman (who was replaced in the middle of production). Kelly Macdonald voices the flame-haired protagonist, Merida, while Emma Thompson, Billy Connolly, Kevin McKidd, Robbie Coltrane, Julie Walters, and Craig Ferguson also provide voices.

The film opens with a very young Merida, our tomboyish hero, playing hide and seek with her mother (Emma Thompson) while her father, the king (Billy Connolly), looks on. Shortly after recieving her birthday present, a bow, they are attacked by a large bear. Cutting to years later, Merida and her mother can now barely stand each other and her father is missing a leg from their encounter with the bear. Merida spends every spare moment she has practicing archery in the forest, when she doesn't have to practice being a proper, passive princess with her mother. Upon Merida finding out she is to be betrothed very soon (she isn't told until the suitors are practically on their doorstop), her contentious relationship with her mother comes to head. So, naturally, she encounters a witch and accidentally gets her mother turned into a bear, she gets a deadline to reverse the spell, and mother/daughter bonding ensues.

Firstly, I have to say, the animation is up to the usual high standards Pixar sets, though just about every other animation studio now active is up to those same high standards. The Scottish landscapes, in particular, are quite beautiful and detailed. The characters are expressive and fairly realistic looking, but some of the designs are distorted enough to provide a more wacky feel at times. The animation in the action-oriented sequences is very fluid, while not scrimping on the level of detail to be found in the landscapes.

The story, however, is extremely slight and seems like a first, and nowhere near a final, draft. The main problem with the script is that none of the characters are, well, likable: Merida is a spoiled brat, her mother is a tyrannical shrew, and her father (a king no less) is essentially a non-factor in her life aside from approving of her archery. Other issues with the film include no true villain, except for a bear with a way too convenient connection to the main plot, and a vague, poorly defined system of magic that doesn't seem to be a part of the universe at all aside from being a plot contrivance once or twice per act. The moral of the story, parents and children should talk to, not at, each other, is solid but the means of getting to that point are illogical. Merida and her mother both seemingly cave from their previous positions out of guilt, not understanding, when neither has been given a proper reason to do so.

The voice acting is solid, though it seems a bit exaggerated when it comes to the Scottish-ness of it all, even though most of the voice actors are Scottish (or at least British), so I may just be hearing things. Kelly Macdonald is a convincing teenaged girl not wanting to be betrothed to an idiot (all of her choices are very much idiots) but she can't change the content of the paper-thin material she was given to work with. Every one else is competent but not extraordinary in voicing their roles.

In the end, Brave is probably the weakest Pixar film to date, and after a couple of mediocre outings, this is the first film they have done I would say is legitimately bad. Though the spunky heroine and the beautiful animation should keep kids entertained, even if it may be a bit dark for the very young, adults will probably wonder why a ninety minute film could have  been able to have had forty minutes cut without losing any of the plot.

3/10

Grosse Pointe Blank (1997)

John Cusack is one of the true greats when it comes to playing a relatable every-man,  so it should come as no great surprise when he is able to make a deadly assassin fit into the same mold. Grosse Pointe Blank, directed by George Armitage, casts Cusack in the role of a hit-man returning home for his ten year high school reunion and a job, only to take up with his lost love once more, portrayed by Minnie Driver. Others in the cast include Alan Arkin, Jeremy Piven, Hank Azaria, Joan Cusack, and Dan Aykroyd as a rival assassin.

Martin Blank kills people and he is rather good at it, but after an encounter with a "colleague" who is in favor of unionizing their trade and a visit to his terrified therapist (who wouldn't be with a hit-man for a client), he decides to go home for his high school reunion. Blank had disappeared on prom night ten years prior in order to join the army, surprising everyone he knew and leaving Debi, his girlfriend dumbfounded and crushed. Reconnecting with some old friends and, especially, Debi, Martin is forced to take stock of what his life has become and maybe find his way back to something akin to a normal life, though not until he kills a bunch of (bad) people, of course.

This is a film that lives and dies on the lead performance, and, luckily for the producers of Grosse Pointe Blank, Cusack knocked it out of the park. Cusack imbues Martin with regret, a touch of neurosis, a certain amorality, and a deep, icy calm that only seems to appear when someone is trying to kill him, which is rather often. Blank is not particularly torn up about what he does, even if he is a little tired of it: I get the sense that he sees himself as the murder weapon, and not the murderer, which is understandable from a certain point of view. Minnie Driver is charming and appealing as Debi, the girl Martin left behind, though she is a bit thinly drawn compared to Martin. Alan Arkin is very funny as Martin's disturbed therapist, though he is onscreen for only a few scenes. Dan Aykroyd is solid as Martin Blank's rival, though I feel he is miscast as an assassin.

Grosse Pointe Blank's greatest strength, aside from John Cusack, is the whip-smart dialogue present throughout the entire film. Consistently funny and clever, the script manages to maintain its witty tone without becoming overbearing in its execution, which can certainly be an issue in cases where dialogue is written as such (cough, Sorkin, cough). The plot, however, goes from refreshingly unique to shockingly derivative over the course of a third act where all is resolved and everyone good is happy and bad is dead, which is a shame, because it was almost great.

George Armitage's Grosse Pointe Blank works competently as a romantic-comedy and superbly as a vehicle for John Cusack. The film is definitely worth watching, and is indisputably fun, but an uninspired final act prevents it from becoming a classic. Oh, and the soundtrack is pretty good as well (hooray for Ska).

7/10

Harry Potter and the Deathly Hallows - Part 1 (2010)

The adventures of Harry, Ron, and Hermione begin to come to a close in Harry Potter and the Deathly Hallows - Part 1, the first installment of the two-part conclusion to the eight film saga. Directed by David Yates (director of the final four films in the series), it stars Daniel Radcliffe, Rupert Grint, and Emma Watson, along with a regular who's who of quality British thespians.

Dumbledore is dead, Voldemort grows stronger by the day, and Harry Potter, left only with the vague mission of destroying the remaining horcruxes (pieces of Voldemort's soul embedded in hidden objects that make him, effectively, immortal). Joining him, as always, are his best friends Ron Weasley and Hermione Granger, as they both choose to leave behind their homes to help Harry fight the battles to come. A series of trials and tragedies befall the trio, including an aerial escape, a daring heist, and a fight with a rather large snake, as their bonds of friendship are tested and their wills are pushed to the limit. All the while, Voldemort is putting the final pieces on the board for his final push to controlling the wizarding world.

The acting in Harry Potter and the Deathly - Part 1 may be the best in the entire series, despite a noticeable lack of Alan Rickman. Radcliffe, Grint, and Watson have grown as actors as they have aged, and all give excellent performances. Warner Brothers got truly lucky when they cast these actors a decade (or so) ago, because all of them have serious chops and all of them still look like the characters from the book. Additionally, Ralph Fiennes is wonderful as Lord Voldemort the few times he's onscreen: he is charismatic, darkly funny, and indisputably terrifying, all without a proper nose. Considering the large cast I will just list off some of the other  fantastic actors working in this movie: Alan Rickman, Jason Isaacs, Brendan Gleeson, Julie Walters, Helen Bonham Carter, Bill Nighy, Imelda Staunton, John Hurt, Rhys Ifans, and many more.

Harry Potter, while ostensibly a series for children, got progressively darker as its protagonists aged, and this is the darkest one yet. Harry's snow-white owl Hedwig gets killed as collateral damage, Ron's brother loses an ear, the three are forced to abandon friends to potential imprisonment and death: it is not light fare, fantasy or no (which is a very unfair stereotype, by the way). I don't mean to spoil, but there is a scene where a derogatory term is literally carved into someone's arm. The interpersonal issues the group face are less superficial and more personal and befitting of seventeen-year-olds; essentially Harry, Ron, and Hermione are sexual beings by this point and are preoccupied with such things (also saving the worlds and overthrowing dark lords).

This seventh film is the most restrained, though still possessing a substantial amount of special effects (handled beautifully), and is more reliant on atmosphere and mood then any of the previous entries. Whereas before the films would take place in a brightly lit castle, this one is set primarily in sparse, cold locations, from the dismal home Harry inherited from his godfather (Gary Oldman, we do so miss ye) to the forests they flee to. As the penultimate entry in such a vast franchise, much of the film is spent moving the pieces into place for the grand finale to come, which causes the film to lack a clear resolution, though it picks a good place to end.

This seventh of the eight films making up the Harry Potter epic is the most down to earth (relatively) and the most personal (definitely), but it still can't help but feel like it's missing a third act, which is to be expected considering that there is also a Harry Potter and the Deathly Hallows - Part 2. In the end, though, Harry Potter and the Deathly Hallows - Part 1 works as one of the stronger entries in an already very strong franchise.

8/10

Captain Marvel #1 Review

The cover is pretty cool, too.

Following the death of Mar-Vell, the original Captain Marvel, Carol Danvers has shed the name Ms. Marvel to take on her namesake's mantle and a less overtly sexy outfit. Written by Kelly Sue DeConnick, and drawn by Dexter Soy, this seems to be a part of a significant push to make Carol Danvers an A-list female character, which Marvel sorely lacks currently.

Despite opening with a fight in which Carol and Captain America take down the Absorbing Man, the issue is primarily focused on Carol's reluctance to take on Mar-Vell's mantle. After a conversation about it with Captain America, and a somewhat flirty sparring match with Spider-Man, Carol goes to visit a sick friend and recalls the first time she met on of her idols: Helen Cobb, a pioneer in female aviation. As the title to this comic should make clear, Carol eventually decides to stop being a Ms. and become a Captain after spending some time high (in terms of elevation) in the atmosphere.

This first issue is short on action, but long on character development and world-building, which is arguably more important at the beginning of a new ongoing series. Kelly Sue DeConnick has a good grasp on the character of Carol Danvers and what makes her tick, especially the disappointment she has at not being able to truly live up to her potential as a pilot, due to her lack of any actual need for a plane. The moments between the Captains America and Marvel are well written, if a bit by-the-numbers for inspirational pep-talks. I liked the continuation of the friendship/flirtation between Carol and Peter Parker (who is drawn to look a lot like Andrew Garfield), though I worry about the prospect of him potentially overshadowing her in her own book.

The art by Dexter Soy is interesting, and certainly well-drawn, though I am not yet sold on it for this book. The dark hues are intriguing, but every image seems like it needs to be a little bit lighter. Carol certainly has her demons, but she isn't like dark like Daredevil or the Punisher, there needs to be a certain vibrancy in her world. Soy has a good grasp of the human anatomy, though his faces seem a little bit off, though it is nothing I can pinpoint and is hardly noticeable. I also liked the frantic feel his action sequences had, though there really wasn't much action in this first issue.

Captain Marvel by Kelly Sue DeConnick has a decent first issue, though I am wary of the art not really fitting the material on hand, and should do well if it stays interesting (which it should). I am a fan of the character (and glad she got a less ridiculously revealing outfit) and certainly look forward to what comes next, though hopefully there will be some more action next time.

7/10

Avenging Spider-Man #14 Review

Avenging Spider-Man is essentially, a re-titled new volume of Marvel Team-Up, so it is nice to finally see a good, old-fashioned team-up between superheroes in the mighty marvel manner, and by that I mean, it starts with them trying to beat each other senseless. Written by current Venom scribe, Cullen Bunn, and drawn by artist Gabriele Dell'Otto, this issue is the start of two-part story teaming Spider-Man with Devil Dinosaur and Moon Boy in the Savage Land.

Spider-Man is fighting dinosaurs in the Savage Land while on work trip for Horizon Labs (just another day at the office), when he is attacked by a group of mutated fire-breathing pterodactyls trying to harvest his genetic material. He then runs into Devil Dinosaur (a red Tyrannosaurus Rex) and Moon Boy (an intelligent, ape-like humanoid) who, despite earlier friendly meetings, see him as an enemy and proceed to attack him. After realizing they are on the same side, Spider-Man attempts, and fails, to communicate with the prehistoric duo due to Moon Boy only speaking lizard, and Spider-Man's drawings in the dirt being indecipherable. They then proceed to attack those mutating the dinosaurs (and those who have kidnapped Peter's Horizon Labs coworkers) with all the subtlety a T. Rex and two friends can muster.

The story is simple, but the dialogue is sharp and Spider-Man's jokes are genuinely funny, so there is nothing really to complain about. Certain scenes, like those of Peter Parker being the only one of his think-tank coworkers not in awe of the Savage Land (he's been there at least a few times by now) are quite funny. It is interesting seeing Cullen Bunn take on lighter fair than that found in his current Venom run, but he handles it well and produces a genuinely fun comic. 

The art is, in a word, beautiful. Gabriele Dell'Otto might just be my favorite artist in comics, and he reaffirms the reasoning behind my admiration here. Everything visual in this comic, from the Savage Land setting to Spider-Man and Devil Dinosaur, works superbly. I would have bought this comic even if there was only the art, and no writing, assuming it was Gabriel Dell'Otto drawing it.

This issue is just a fun romp in the jungle, with some good humor and some truly amazing art, if you like the character of Spider-Man (or Devil Dinosaur or Moon-Boy) it is well worth picking up, though expecting anything substantial will certainly leave you disappointed. 

8/10

Arrow S1/E05: "Damaged" Review

Arrow has been a certifiable hit for The CW, and "Damaged", the series' fifth episode, makes a pretty good case as to why. Picking up where the previous episode left off, Oliver has been arrested for being "the Hood" (what a ridiculous notion) by Detective Lance, who is not keeping his personal feelings separate from his work. As always, spoilers ahead.

Oliver's stint as a vigilante may be at an end as he had been caught on camera with some of his Green Arrow-gear...or not, most likely not, especially since getting caught is all a part of his larger plan. Flashing back to his time on the island, the show reveals the first time he shot an arrow (badly), how he met Deathstroke and recieved some of his first scars (painfully), and indicates that the Oliver of the old was not completely the selfish cad he had been indicated to be. In the present, however, Oliver has drafted Laurel as his defense attorney (despite the six or seven conflicts of interest) and is planning to throw a prison-themed party while under house-arrest. Meanwhile, Walter is uncovering some of his wife's dirty secrets, Moira is still dealing with the cryptic "well dressed man", Thea is becoming suspicious of Oliver, and Diggle dawns the hood while Oliver is trapped at home.

The series, though still maintaining a villain of the week, seems to be moving towards a more a serialized narrative. The focus in this episode is on character progression, with the taking down of a nasty arms dealer seeming to be more of an afterthought than anything. The only major character actually not receiving any sort of legitimate development is Tommy, who is onscreen only briefly. The episode's A-plot is predictable, though solidly handled, but the subplots are more surprising, which keeps the episode tense throughout.

The episode also addresses some issues with the characters I had noted from the previous episodes, and new wrinkles to characters at risk of becoming stale. Laurel has finally asked if Oliver suffered like she did during the five years he was on the island (he definitely did), which, for a character seemingly quite intelligent and compassionate, was overdue. Thea has become legitimately skeptical of Oliver's story, and appears to be researching the arrowhead "trinket" Oliver gave her, despite his assurances that it was bought at the airport. In addition, Moira may not be the villain she originally appeared and Walter seems to be a legitimately good fellow (which was a nice surprise). And maybe most importantly, this episode establishes that Diggle is going to be a partner, and not a sidekick: he had very little trouble donning the hood and stopping an arms deal all by himself.

Two of the highlights of "Damaged" were the fight scenes between Oliver's island mentor and a silent Deathstroke, as well as between Oliver and an assassin sent to take him out. The fight choreographer deserves special praise for the sequences: they lack the fast cuts and use of stunt doubles so common in television hand to hand sequences. There is also some good attention to detail: Oliver and Lao Fei, his mentor, both use a couple of the same moves during their bouts.

The acting on the show has improved as the characters have become more fleshed out, particularly the performance of Stephen Amell as Oliver Queen. Amell, who I had thought a bit wooden, ably plays the different versions of Oliver: the naive and immature Oliver of five years ago, the brutal and confident vigilante Oliver, and the light-hearted, slightly withdrawn Oliver he presents to his family and the world. Katie Cassidy, as Laurel, does good-work, though she tends towards the melodramatic. Willa Holland, as Thea, is doing a good job with the limited screen time she gets and Paul Blackthorne is solid in the somewhat thankless role of Detective Lance.

Arrow is improving as it goes, and considering it was good to start with, the CW may have something special on their hands should they keep up the good work.

8/10

Additional Notes:

• Laurel: "Ah, yes. I wore those horrible fishnets." (if only she knew the outfits to come)
• Oliver: "You know us billionaire vigilantes, we do love our toys."

Hit-Girl #1 (of 5) Review

Superheroes don't wear helmets.

Mark Millar and John Romita Jr. follow up the success of Kick-Ass and Kick-Ass 2 with Hit-Girl, a new series that bridges the gap between the two previous installments. Hit-Girl finds Mindy struggling to come to terms with her family life, which is surprisingly not based around the Punisher-esque vigilantism, but rather, becoming normal girl.

Picking up a little while after Kick-Ass ended, Hit-Girl's first issue seems focused on establishing the relationships that currently define Mindy's life: including her mentoring of Kick-Ass, trying to be a normal girl for her oblivious mother, and trying to convince her (good) cop stepfather that she has hung up her weapons for good (she hasn't). Bullied at school, by a group of popular girls unknowingly playing with fire, Mindy turns to Dave Lizewski, better known as Kick-Ass, to help her better assimilate in exchange for making him, well, a competent hero. As Hit-Girl, she sets her sights on a new mob boss who runs several crime families from behind bars, and all the while Red Mist begins to assemble his gang.

Millar seems to have brought the series back down to reality after the breakneck-hyper-violent tone of Kick-Ass 2, which is a relief, because these characters are in desperate need of character development, though there are still four issues remaining for Millar to amp up the fighting. Focusing on Hit-Girl rather than Kick-Ass is refreshing, because the extant of her character up until now seemed to be her being a pint-sized, foul-mouthed ninja, in a wig; so seeing inside her head and what makes her tick was certainly a nice change of pace.

The art done by John Romita Jr., finished and inked by Tom Palmer, seems to be crisper and more detailed than in the previous installments. The art was technically fine, though the book seemed overly dark, not in tone, but in regards to the color palette, some scenes taking place in the middle of the day look like they are set in the early evening. The series tends towards the dark anyways, but the dark coloration seems to make the book less fun than it should be, though that is a minor quibble.

The main issue thus far with this comic is that it seems so unnecessary, I am not averse to prequels, but it seems too many of the book's plotlines lack any sort of tension seeing as Kick-Ass 2 takes place after and was released before. In addition, having Red Mist be a major character again seems redundant, when his character did not change all that much between the first and second volumes. Though, I have still have hope this series' plot will become relevant to the overall plot Millar and Romita have been building, aside from some character development for Mindy.

On the whole, this comic is just okay and that isn't okay, okay? What I am so eloquently trying to say is that for Hit-Girl to have a reason to exist, it should be good, if not great, and certainly not redundant. And at this point it is, even if the focus on Mindy rather than Dave is refreshing.

6/10

The Perks of Being a Wallflower (2012)

The Perks of Being a Wallflower, based Stephen Chbosky's 1999 cult favorite debut novel of the same name, has been released and misunderstood teens everywhere should probably be clamoring for a ticket right about...now. Directed by Stephen Chbosky (yes, the man who wrote the book, and the screenplay), the film stars Logan Lerman, Emma Watson, and Ezra Miller as the three leads, with an excellent supporting cast comprised of Paul Rudd, Dylan McDermott, Kate Walsh, Joan Cusack, Mae Whitman, Johnny Simmons, Nina Dobrev, and Melanie Lynsky.

Charlie, portrayed by Logan Lerman, is very much the wallflower the title implies him to be: he is quiet, shy, smart, and very perceptive. He is also still reeling from the suicide of his best friend a few months prior, and the death of his beloved Aunt Helen (Melanie Lynskey) a few years prior. In his first year of high school, Charlie's withdrawn nature is challenged by his befriending a group of off-beat seniors, particularly the extroverted, flamboyant, and gay Patrick and his quirky step-sister Sam, who has an impeccable taste in music. Others in their eclectic group include Mary-Elizabeth (a Buddhist punk), Bob (perpetually stoned and proud of it), and Craig, Sam's college student boyfriend who says things like "poetry writes me" with a straight face; he also connects with his English teacher (Paul Rudd), who encourages Charlie to read and write. As the school year goes on, Charlie experiences a lot of firsts: a first kiss, first girlfriend, first bad trip (and not of the travelling variety), and, of course, a first midnight showing of The Rocky Horror Picture Show. Experiences throughout year, such as seeing his sister, Candace (Nina Dobrev), get hit by her boyfriend and watching Patrick's painful behind closed doors relationship with star quarterback Brad (Johnny Simmons) unravel, cause Charlie to lose his innocence, though it is questionable if he ever had it to begin with.

Whoever handled the casting for this film deserves a raise, every actor inhabits their role superbly, no matter how big or small the part. Lerman is nuanced, charming, and heartbreaking as a Charlie tired of feeling numb, yet desperate to suppress the darker urges we all have. For example, in a scene in the middle of the film, where Charlie jumps to stop a brutal beating of Patrick by homophobic football players, Logan looks a touch unhinged as Charlie swiftly and brutally steps up in defense of friend where he leaves three large football players on the ground gasping and utters a blunt threat I don't doubt that he would be willing to carry out. Emma Watson, in her first major post-Harry Potter role, is able to take a what could have very easily been a cliche (the manic pixie dream girl) and injects it with enough subtlety and a slight sense of desperation to make Sam both a character worth rooting for, and a girl not hard to imagine falling for as a teenager (I mean, she listens to David Bowie and The Smiths, what's not to like). But, the true breakout star of the film is Ezra Miller as the outgoing Patrick. Miller, who was last seen terrifying audiences as a mass-murdering teenager in the excellent and under-seen We Need To Talk About Kevin, chews the scenery as the gay-and-unashamed Patrick, who can't take life seriously, because otherwise it would become too painful.

That couch is the island of misfit toys.

The rest of the cast performs well in somewhat limited roles: Paul Rudd is earnest as the supportive English teacher ideal for a young man like Charlie, though his role is limited. Dylan McDermott isn't given much to do as Charlie's father, but when he's onscreen he expertly plays a man who never knows what to say, but is desperate for his son to be happy and well. Other actors like Mae Whitman, Nina Dobrev, and Johnny Simmons are quite solid in their roles, though generally overshadowed by the other cast members.

The film, as directed and written by Chbosky, makes one extremely smart decision that elevates what could of been a very by-the-numbers, if well-acted, coming-of-age flick, into something better: Chbosky never implies that the issues and pains plaguing Charlie, Sam, and Patrick are more substantial than those facing the other characters. Charlie's sister is in an abusive relationship, Brad is closeted living in a homophobic household, and even Paul Rudd's Mr. Anderson is implied to be struggling to decide whether or not to stay as a teacher, or return to New York to chase his dreams as a playwright. Chbosky's style is remarkably assured for a director lacking much experience, though his "familiarity" with the source material definitely contributed to this. 

One thing I liked about the directorial style employed is that, like in the novel, everything is through Charlie's perspective. We see him listening to his parents' conversation in the kitchen, and then, as he leaves, we can still here the conversation going and it just trails off in the background; or we can only faintly here what Sam whispers into Patrick's ear as Charlie looks on from across the room. The film maintains the same narrative device of the novel, where Charlie is narrating his story by means of letters to an anonymous person he had heard of that "might understand." Narration, so often used as a crutch in film, is employed well here, as knowing Charlie's thoughts about what is happening around him is key to the effectiveness of the story on hand, yet those same thoughts are nearly impossible to supply without narration in the case of such an extremely withholding and introverted protagonist like Charlie.

In the end, even though I might be looking at through the eyes of a big fan of the novel (I'd be lying if I said I'd only read it once), The Perks of Being a Wallflower is a moving film about friendship and the importance of connection, and a very good, if somewhat condensed, adaptation of a truly excellent novel.

9/10

Daredevil: End of Days #1 (of 8) Review

In the long awaited Daredevil: End of Days, Brian Michael Bendis returns to his roots, in writing the man without fear, in an alternate future tale focusing on Matt Murdock's last battle. Bendis is joined in writing duties by David W. Mack, with the artwork done by Klaus Janson and Bill Sienkiewicz and a cover by Alex Maleev. This issue is the first of eight promised in the series.

The first issue of this limited series features the death of Daredevil at the hands of Bullseye after a particularly brutal fight and flashback to another particularly brutal fight between the Kingpin and Murdock. Seen through the eyes of Ben Urich, still working for J. Jonah Jameson at the soon to be defunct Daily Bugle, Matt Murdock's last moments have been captured in vivid detail for the whole world to see and Urich is struggling to cope with the loss and is essentially unable to write about both the man and his legacy but one last mystery surrounding Daredevil sucks him back in.

As written by Bendis and Mack, this first issue is not exactly a cheerful affair: it is dark and it is brutal. Daredevil is a character that has always lent himself to an interpretation that ends with tragedy for the hero, and whether it's written by Frank Miller or Brian Bendis or someone else: Daredevil does not have it easy. This particular take is unique in that it focuses on what happens after the man without fear fights his final bout while the whole world watches, and does nothing. The writing is solid, with most of it being comprised of Ben Urich's inner monologue, which ably supplies all of the information regarding the character needed to be known to the reader in order to fully appreciate this series. There is also a bit of a twist ending that establishes sufficient forward momentum in what is shaping up to be something more meditative, though there are still seven issues to go.

The art, drawn by Janson and inked by Sienkiewicz, is stunning. Switching between grittiness and psychadelis, and complexity and sparseness, the two artists have churned out a unique and effective visual look to what should be an interesting limited series. Additionally,  the cover, done by Alex Maleev, is understated yet striking. The paneling is interesting and daring as well, for example, there is a two-page spread comprised of thirty-two separate panels focusing on thirty-two separate characters that efficiently and effectively drives home the overwhelming reaction to Murdock's death by the city he protected with his life and why it infuriates Ben Urich so much.

Daredevil: End of Days is already shaping up to be a worthy addition to the wealth of quality material already available about the character, and Bendis is in top form with Janson and Sienkiewicz going above and beyond in creating a stunning, and visceral visual experience. 

9/10

Ode to a Cancelled Series: Bent (2012-2012)

*We've all been there, we connect with a show, we find it moving or funny or just plain entertaining, and then as soon as it arrives, it's gone. At any rate, I have decided to do write ups about series that have been cancelled too soon, or did not get a fair shot at success.

David Walton and Amanda Peet starred in Bent.

Bent, a single-camera NBC sitcom, was given an initial run that lasted all of six episodes and three weeks (two episodes a week) and one of the vaguest titles ever assigned to a television show (that also functions as a derogatory in other places on the planet). It was also pretty fantastic for the brief amount of time it lasted, featuring intelligent writing, leads with legitimate chemistry, and Jeffrey Tambor (of Arrested Development fame).

The lead characters are Pete (portrayed by David Walton), a laid back contractor, lothario, and former gambling addict, and Alex (portrayed by Amanda Peet), a single mom and lawyer with a husband in prison for white-collar crimes. He is remodeling her kitchen. That is the premise, it isn't much but it works. Other characters include Pete's father Walt, played hilariously by Jeffrey Tambor, who is still trying to make it as an actor after decades of bit parts and non-national commercials. Alex's sister, Screwsie, played Margo Harshman, is essentially a female, slightly younger version of Pete. Alex's daughter, Charlie, is played by Joey King and Pete's contractor crew is made up of J.B. Smoove, Jesse Plemons, and Pasha D. Lychnikoff.

This is Jeffrey Tambor.

David Walton, as Pete Riggins, exudes the sort of breezy charm that should make him a star if he plays his cards right, or ever manages to land a television show that lasts for more than one season. He plays a character often seen on television: a smooth-talking, fun-loving guy who ends up beginning to change his ways for the right girl. Amanda Peet, as Alex Meyers, does good work as the uptight lawyer trying to both stay in control and rebuild her life after she had the rug pulled out from under her by an insider-trading husband.  This show, like all romantic comedies, lives and dies on the romantic chemistry between the male and female leads and, luckily for Bent, there was plenty of chemistry between Walton and Peet.

The show's greatest strength may have been the surprisingly deep and legitimately funny supporting cast. Tambor is riotous as Pete's father, and his efforts to make his mark in Hollywood are consistently funny, and varied enough that they never become stale, at least not in the measly six episodes filmed and broadcast. J.B. Smoove, Jesse Plemons, and Pasha D. Lychnikoff are quite funny as the contractor crew constantly wondering whether or not Pete will sink their gig remodeling Alex's kitchen by getting her into bed (it happened at least once in the past). Smoove is exasperated, Plemons is awkward and soft-spoken, and Lychnikoff is just kind of there providing his weird, yet hilarious presence to make up one of the strangest Greek choruses I have ever seen.

Alex's sister Screwsie (derived from Susie?), as played by Margo Harshman, is flirty and promiscuous, but the show never errs and makes her out to be slutty or sad, just a free spirit (it is set in Venice, California after all). Rounding out the cast is Joey King as Alex's daughter Charlie (or Chuck, as Pete calls her), who manages to be the rare sitcom child who never becomes cloying or merely a plot device, which is quite refreshing. In addition, recurring as Alex's surgeon boyfriend Ben is Matt Letscher.

The shows overall story arc is pretty basic: Pete is fixing Alex's kitchen and himself, Alex is raising Charlie and, in a way, herself, they like each other, stuff happens, they may or may not get together, the end. In a way, the length of only six episodes could very well have saved the show from becoming bad or redundant, for the basic premise does not exactly lend itself to a multi-season run, though that could have been remedied easily in subsequent seasons if need be.

In the end, is Bent a great show? No, but it was definitely good enough to get a fair shot at success on NBC, which lives on quirky comedies (Community, The Office, 30 Rock, Parks and Recreation, etc.), which it did not get. Though in the end, there are still the six episodes out there that manage to add up to a fairly complete story with a satisfactory enough conclusion.

PS
All six episodes are available on the free version of Hulu, here.

How I Met Your Mother S8/E05: "The Autumn of Break Ups" Review

The second of the three promised breakups during How I Met Your Mother's Autumn of breakups occurs in this aptly named fifth episode: "The Autumn of Breakups." 

The veneer of perfection over the relationships between Ted and Victoria, and Robin and Nick begins to be wiped away as Victoria and Nick gain a greater understanding of the priorities of both Ted and Robin, and how strong a role their exes still play in their lives. Victoria's distressed that her and Ted seem to have something standing in the way of their moving forward with their relationship, and as usual it all comes back to Robin. Robin consistently prioritizes her friendships with Barney and Ted over spending alone time with Nick, and it is beginning to frustrate him. In addition, Barney gains a new canine wing-man who may just be the "bro" or "brover", as Barney so christens him, he has been waiting his whole life for and Marshall is being groomed by Lily to be a sassy advice giver in the vain of Oprah.

The A-plots of this episode are both solid and move the story along quite nicely, an issue from past seasons that seems to have been remedied in potentially the last year, and definitely earn the emotional payoff towards the end. Though, like in seemingly every episode thus far this season, the plot focusing on Marshall and Lily is groan inducing and takes away from the episode as a whole. These side-plots, could take up around a third of the screen-time they do and still use some trimming, which is truly a shame because Jason Segel and Alyson Hannigan give it their all. Barney's subplot with his new furry friend works better than it probably should, and  manages to add quite a few laughs in between the heavy nature of Ted's plot, and the just plain unfortunate nature of the Marshall and Lily plot.

Regarding the episode's writing, it is demonstrative of some of the show's issues in recent years: the emotional resonance and slow burn nature of the early seasons remain, but the subtlety that characterized the writing in those same early seasons is all but totally gone. The resolution to the episode regarding a choice Ted has to make about Victoria and Robin is hardly unexpected, but a certain wrinkle to it is, which should set up more drama later on in the year. In addition, the acting in this episode was very well done by all parties, particularly Josh Radnor as a Ted legitimately torn on what to do.

How I Met Your Mother is starting bring things to a close, and is starting to resolve plot threads left dangling (some of which have been unresolved for the better part of a decade), and is doing it well, the show just needs to start giving the entire ensemble solid material to work with as it heads towards, what I'm assuming is, its conclusion.

7/10

Additional Notes:

• Having Nick (the Bad Boy Chef) be the star of cooking show that is struggling to find a suitable catchphrase was pretty funny. "Who's poppin' a chub for some grub?"
• The scenes with Barney helping the dog get laid were much funnier than they probably should have been, notch that one up to Neil Patrick Harris' comedic abilities.

The Descendants (2011)

Alexander Payne is an interesting director with a penchant for making interesting movies. George Clooney is an interesting actor who also has a penchant for making interesting movies. Adapted from Kaui Hart Hemmings' 2007 novel of the same name, Hawaii-set The Descendants is the result of both of their talents and manages to be the rare (oscar-baiting) character study that, while not exactly a feel-good movie, certainly works as entertainment for the masses. Shailene Woodley, Beau Bridges, Judy Greer, Matthew Lillard, and Robert Forster also star.

The film centers on Matt King, a wealthy Oahu-based lawyer and native Hawaiian and his dealing with his coma-ridden wife's impending death, and the revelation that she had been having an affair prior to her tragic water-skiing accident. In addition, he also is tasked with making a decision regarding an extremely large tract of very lucrative land his extended family has owned since the eighteen-sixties and whether or not to sell (and who to) for what promises to be a vast amount. The situation on hand forces Matt to become a more hands on parent to his two rebellious daughters: Scottie, ten or so, and Alex, seventeen or so. Revelations of his wife's infidelity, that come unexpectedly from Alex, lead to Matt confronting a variety of people, including, but not limited to, self-centered friends, a standoffish father-in-law, some of his oddly named cousins, and the man his wife has been sleeping with, along with his wife. In addition, Sid, Alex's perpetually stoned and somewhat oblivious friend comes along for the ride. 

The acting in this film is exceptional, with George Clooney giving one of his best performances to date and Shailene Woodley giving what should amount to be a star-making performance (that is not on a teen-soap broadcast on ABC Family) as Matt King's teenage daughter Alex. Clooney, while certainly able to be wacky when called upon, is at his best in this type of role: understated, contemplative, and pained to the core (see: Michael Clayton or The American). Woodley is arguably given the more difficult task as the troubled Alex, in what is essentially a lead role, in playing a teenager with alot of resentment towards her parents, that does not come off as petty and lacking the typical "righteous indignation" of youth, but she manages to pull it off with aplomb. In addition, Robert Forster is excellent as an aggressive father grieving by means of rose-colored glasses. Other actors, such Nick Krause playing the stoned Sid and Beau Bridges as Cousin Hugh do well with their limited roles.

The writing in the film is whip-smart and generally sounds like real people speaking. One issue with the film is that it has a tendency to introduce characters for a scene or two, only to drop them for the remainder of the film, though this is hardly a mortal sin considering the film is, rightly, focused on Matt King and his two daughters, particularly Alex. One thing The Descendants manages to do extremely well is that it takes uncomfortable situations and is able to make them very funny without compromising the emotional heft of the scene. Instances such as Sid confusing Matt's mother-in-law's dementia for a joke, only to be punched in the face by his father-in-law could have easily fallen into the realm of slapstick, but do not.

The film, particularly the views of the scenery, is beautifully shot through its entirety and evokes a Hawaii, that while very beautiful, is not the ethereal paradise so often conveyed in film. Payne's style is well suited to the material in that it brings out the best in his actors, scenes focusing just on Clooney's face are very effective and bring the emotions he is forcing down to the forefront without having him give a lengthy monologue or break down crying. Another aspect worth noting is the score, composed entirely of Hawaiian music, is both tonally effective and ably reinforces the Hawaiian setting without having hula dancers or surfers, et cetera, to distract from the meat of the story.

The Descendants is, in the end, an excellent film, with very few faults and some legitimately powerful performances from its leads and a worthy addition to Alexander Payne's already rather impressive collection of directorial efforts.

10/10

Additional Notes:

• "Come on, Alex. Tell her how you were drunk the other night. Tell her how maybe you're an alcoholic." -an overly excited preteen Scottie
• "Don't be fooled. In Hawaii some of the most important people look like bums and stunt men." -a conference room bound Matt King

Wolverine Max #1 Review

Cover by Jock

If one were to think of characters in the Marvel  Comics stable in need of a new solo title, the odds favor Wolverine being absolutely nowhere on that list. Yet, here we are with a brand new MAX adaptation of the character written by Jason Starr with art by Roland Boschi and Connor Willumsen.

At first glance, this seems to be like any old Wolverine comic, and except for a lack of X-Men references, that first glance would be pretty spot on. The general plot is pretty basic: Wolverine wakes up without memories, is intrigued by a mysterious Japanese woman, gets thrown around by Sabretooth (or "Victor"), and has vague memories about killing things. There is a twist near the end that I did not anticipate, but in general the first issue is a pretty by-the-numbers take on the clawed Canadian.

The writing is nothing special, but it isn't exactly bad either. Certain choices, like the decision to have Wolverine's internal monologue have a more stream-of-consciousness-like feel with sparse sentence fragments to describe his current mental state (he mainly talks about killing and curses at himself) are good, even if that monologue can be a touch cloying at times. In general, I disliked the book starting off with such well worn territory (Wolverine goes to Japan), though I can definitely see the logic behind starting off with a such an iconic part of the character's back-story.

In general, the art in this book did not appeal to me. The art of the scenes taking place in the present day are rather well done, it just never was able to grab me or felt like it fit the subject matter at hand. The main issue I had with the present-day scenes, drawn by Roland Boschi, is that Wolverine doesn't really look like himself. Logan is a character with a very iconic look, and I never truly got the impression I was looking at Wolverine in this issue (though this is not set the primary 616 universe). The flashback sequences drawn by Connor Willumsen are too stylized for the subject matter, in my opinion, and, while not exactly cartoony, takes away from the serious tone present in the rest of the volume. One aspect of this issue's art that I found to be routinely excellent is the coloring done by Dan Brown.

The only new element I can think of is this shark attack.

Wolverine Max is, at least for the first issue, just a mediocre read. The character is definitely suited for the MAX imprint (more so than anyone not named the Punisher), but it is difficult to justify this book's existence when so many current titles already feature the character and nothing new is really being done. Though, for a fan of the character, and, especially, his gruff loner roots, it may be worth picking up.

5/10

Additional Notes:

• The cover is a beautiful work of art, it's a shame the interior artwork doesn't match it.
• It seems strange that this book is $3.99, when it doesn't come with the code for the digital copy.

Bedlam #1 Review

Bedlam has the potential to be something very special. Nick Spencer and Riley Rossmo combine their not inconsiderable talents, in this first issue from the first pages, to create a dark, bleak, and strangely beautiful world well worth checking out at least once.

The comic focuses on Fillmore Press, once a masked villain named Madder Red, and his struggle to move on with his life a decade after he stopped slaughtering people by the hundreds. The clearest influences on the character of Madder Red appear to be the Joker and Dexter Morgan, with maybe a little Sherlock Holmes thrown in for good measure. The issue is split between the present where Fillmore is struggling to keep it together while listening to reports of a particularly prolific serial killer on the radio, and the day ten years prior when Madder Red set the city of Bedlam into mass turmoil and apparently died in an explosion at police headquarters. As of this point, the only well developed character is Madder Red, though there seem to be several characters that will be important later on present in this issue; one such character is Madder Red's superhero arch-nemesis (though as of this point, I can't tell if he is more of a Batman-type or a Superman-type).

Nick Spencer is a very talented writer of comic books, and this first issue of Bedlam is no exception. Well-plotted with a fascinating protagonist, this inaugural issue had me interested on the first page, and hooked by the third. The dialogue is both clever and well-written for the most part, and the only real issue I had with it was that Madder Red's monologues where he waxes poetic on both human nature and the atrocities he commits are a touch over done and take away from the otherwise frantic nature the flashback sequences have, though that is a minor issue on the whole. If Morning Glories has proved anything to me, it is that Nick Spencer knows how to tell an intricate and engaging story, and Bedlam is setting itself up for very good things down the road.

The art done by Riley Rossmo is some of the finest I have ever seen, and is a perfect fit for the subject matter on hand. Rossmo's art is unsettling, unique, and gorgeous and complements Spencer's writing perfectly. The sequences set in the past are done solely in whites, blacks, and grays, with splashes of red here and there meant to accentuate what is going on within the panels (a slit throat, the diamonds on a playing card, Madder Red's mask.). The design of Madder Red is excellent, being emotionless, menacing, and rather disturbing, while Fillmore Press is lanky, jittery, and sallow.  

I'm not sure even a mother could love this face.

Bedlam is a truly excellent first issue to what promises to be, at very least, an interesting comic from top flight talent and is well worth picking up if only to be able look at the art inside.

10/10

Additional Notes:

• While the first issue is double length, it is still only $3.50 (with no ads).
• I can't help but feel like the design of Fillmore Press is based off of Cillian Murphy (not a complaint, just something I noticed).

National Comics: Madame X #1 Review

Note: I love the cover art (except for the ad)

Truthfully, going into this one-and-done issue I had very little idea who Madame X(anadu) is - I just had vague recollections of an appearance on an episode of a television show I had watched - however, after reading National Comics: Madame X #1 from writer Rob Williams and artist Trevor Hairsine, I feel that I now possess a somewhat decent grasp on the character that is presented. 

This New Orleans based issue focuses on a murder mystery involving a dead mayoral candidate, a zombie, and a fair bit of voodoo mysticism. Madame X, Nima to those who know her, is a disgraced former stage psychic (think Zatanna with less fishnets) with legitimate tarot-based precognitive abilities working with a law firm to help prove their clients' innocence. 

The plotting and writing in this issue is top notch, if a bit rushed near the conclusion, and develops Madame X's strange little world rather well considering the restraints inherent to the one-shot format. Rob Williams does an excellent job of providing all of the necessary details about Madame X in the single issue, though her characterization can feel a bit shallow at times. The only real complaints I have about the story-line is the unnecessary, though surprising, cliffhanger and the slightly, but not terribly, abrupt manner in which the issue's central mystery is resolved.

The art by Trevor Hairsine, while a bit rough for my tastes, fits the issue's story and tone very well and creates a very atmospheric visual experience on the whole. The colors done by Antonio Fabela are definitely owed much for helping to create the book's "feel" with certain scenes, like those in the swamps, being legitimately eerie in large part due to the coloration. One minor gripe that I had with this issue's art is that in images with closeups of faces, the eyes seemed to be a touch out of proportion.

On the whole, this one-shot put out by DC is well worth picking up and manages to provide a good introduction to the character and her world. Despite this, I can't help but feel that this issue reads like a pilot episode (complete with the episodic format and a spunky law firm based heroine) that will sadly never get picked up for a series. 

8/10

Additional Notes:

• I believe that this issue is completely out of continuity with the rest of the DC universe, considering there are, apparently, already two books featuring Madame Xanadu already put out on a monthly basis.
• The cover done by Fiona Staples is visually striking and well done, and I will definitely pay attention to her work henceforth.

Romeo and Juliet (1968)

William Shakespeare, though often regarded as being history's greatest playwright, is (falsely) regarded as being too "dry" or "dated" by many modern readers.  The irony of this is that the plays of Shakespeare have as much sex (implied sex, but sex) and violence as your average soap opera.  Franco Zeffirelli's 1968 version of Romeo and Juliet is one of the most famous Shakespeare adaptations; this version is unique in that it cast appropriately aged actors to play the star-crossed lovers: the fifteen year old Olivia Hussy and the seventeen year old Leonard Whiting portrayed Juliet and her Romeo.

Romeo and Juliet are the scions of two rival noble families (the Montagues and the Capulets) in Verona, Italy.  At as masquerade ball hosted by the Capulets, a disguised Romeo manages to catch a glimpse of Juliet for the first time and becomes smitten.  The young pair quickly fall for each other and soon make secret vows to wed, though their families' violent feud threatens to derail their romantic plans.  A series of duels and a fatal miscommunication lead up to a tragic climax in the full Shakespearean fashion (everybody dies).

Franco Zeffirelli (the premiere director of Shakespearean adaptations after Laurence Olivier, who narrates this film) chose to adapt Romeo and Juliet following his critically acclaimed version of The Taming of the Shrew.  Zeffirelli did one thing in particular to allow this film to work, he cast actors that were actually of an appropriate age (previous versions had cast thirty-somethings) to play the pair.  Hussy and Whiting were fifteen and seventeen, respectively, during filming and are able to provide legitimacy to the plot; it is difficult to imagine casting thirty-year olds and having them be believable teenage lovers.  Michael York, in an early role, is great as the hot-headed Tybalt, as is John McEnery as the flamboyant Mercutio.

There is little to say about the plot other than that it fits into the mold of the standard Shakespearean tragedy; the dialogue is taken directly from the play and is brilliant (as is to be expected from the Bard).  Hussy and Whiting do well with the material, though they struggle to make their many soliloquies sound both spontaneous and natural.  The plot is considerably trimmed down and simplified from the text, as a runtime of four or five hours is unrealistic for a theatrically released film (though not unheard of).  The main problems that eliminating significant elements from the plot brought about is that it simplified the motivations of many of the characters and all but completely eliminated one of the key players.

Zeffirelli's version of Romeo and Juliet is a competent, if simplified, take on Shakespeare's tragedy about the two lovers that has attractive leads and a talented cast.  The film runs into many of the problems that typically face Shakespeare plays that have been brought to the big screen, but that is to be expected.  In the end, it is perfect for the role that it has been serving for years: being the film that high school students see after reading the play, with twenty-seconds where the teacher "accidentally" fast forwards over nudity.

7/10

Note: This review was previously posted on another blog that I wrote.

The Pride of the Yankees (1942)

There are a select few baseball players that are remembered for their character off of the field as much as their prowess on it: Lou Gehrig was one of those players.  Directed by Sam Wood, The Pride of the Yankees starred Gary Cooper as the iconic first baseman with Teresa Wright playing Eleanor, his beloved wife.  The film was released to critical acclaim in 1942, the year after Gehrig tragically died.  Equal parts of baseball, romance, and tragedy make The Pride of the Yankees refreshingly different from most of the inspiring sports movies that have frequented cineplexes for decades.

Lou Gehrig is a typical American child, he desires only to play baseball for the New York Yankees and to please his domineering mother.  His problem is that in order to please his mother, he must give up baseball (though he has prodigious skill with the bat) and become an engineer like his Uncle Otto.  He manages to juggle both his studies and baseball until monetary issues force his hand while he is a student at Columbia: his mother's hospital bills necessitate quick cash that a signing bonus from the Yankees can provide.  Gehrig quickly rises through the minor leagues and is called up to the majors.  He meets the charming Eleanor on the way up to his first at-bat; he trips and she quickly christens him "Tanglefoot" to Gehrig's embarrassment and the crowd's delight.  As Gehrig develops into one of the game's most beloved stars, he falls in love with and eventually weds Eleanor.  Gehrig leads a blissfully happy life, accumulating accolades for his play and respect for his character while setting the record for the most consecutive games played.  One day, illness causes Gehrig to take himself out of the lineup (for the first time in 2130 games) so as to not be a detriment to the team.  A visit to the doctor reveals that the "Iron Horse" is dying; the Yankees host a "Lou Gehrig Day" at the ballpark to commemorate the man.  The film ends with Gehrig's famous speech to the crowd.

The film's greatest strength is Gary Cooper in the lead role, his stiff and often awkward demeanor in the film is ideal  for Gehrig and his apparently sinless existence.  The sole downside of casting Cooper was his age, he was around forty when he played Gehrig: his age distracted from his performance for much of the film's runtime.  It was, and is, nearly impossible to have a forty-something actor play an eighteen year old college student.  Teresa Wright (in one of her first roles) is charming as Lou Gehrig's beloved Eleanor and Walter Brennan does his typical good work in his supporting role as Gehrig's sport-writer friend.  Not to forget Babe Ruth, the film's most famous cast member, who appears on screen in several (brief) scenes; though his appearance appears as more of a novelty than a tribute to Gehrig.

The film is immensely predictable in both the romance and sports portions of the plot, the main difference between the The Pride of the Yankees and other sports films of the same variety is the tragic element that comes into play during the final act.  The romantic portion of the film (which is most of it) is characterized by the fairy-tale-esque relationship that develops between Gehrig and Eleanor.  A scene takes place where Gehrig suggests that he goes to spring training without her so she does not get bored, not ten seconds pass before they run into each others arms because they could not possibly stand to be apart for that long: if it wasn't so gosh darn sweet it would be sickening.  The relationship between Gehrig and his mother has heavy Oedipal overtones during the first half of the film, but abandons them midway through it.  It was a mistake to include them at all.  It was not sweet.  It was just creepy.  A film's portrayal of a domineering mother's relationship with her son does not have to be Oedipal to be effective.  One thing to be noted is that there has rarely been a movie character to approach death with the amount of dignity that Cooper's Gehrig does in The Pride of the Yankees.

The Pride of the Yankees is one thing above all else: a tribute to the man, and in that manner the film works.  Though in the end Gehrig's life story makes for merely an interesting film and not an essential one, with the well-cast Cooper and Wright doing good work despite the (unavoidably) clichéd nature of the film. 

6/10

Note: This review was previously posted on another blog that I wrote.

Ben-Hur (1959)

When one thinks of a big Hollywood spectacle, Ben-Hur, the 1959 (and third) adaptation of Lew Wallace's 1880 novel Ben-Hur: A Tale of the Christ is one of the first films to pop into one's mind.  At the Academy Awards it won a record eleven Oscars (a feat that has been equaled twice, but never surpassed) and was the highest grossing film of 1959.  For the film, director William Wyler won his third directing Oscar and star Charlton Heston won his only acting Oscar.

The film focuses on the trials and tribulations of Judah Ben-Hur, a rich and respected Jew living in Jerusalem who seeks both peace and vengeance.  The film opens with the nativity scene and then skips to the reuniting of Judah and his childhood friend Messala.  Messala has returned a proud and ambitious Roman seeking nothing more than to appear impressive to the emperor.  Driven by his ambition, he tries to force Judah to give up names of dissenting Jews in Jerusalem.  Judah refuses and Messala has him sent to the galleys and his mother and sister are imprisoned; Judah never loses his desire for vengeance.  All the while, there is talk of a new prophet throughout the land.

The film is considerably long, at over three and a half hours, and tends to drag considerably at points.  The story is a complex one and necessitates the lengthy runtime, although I cannot help but feel that the shaving off of thirty minutes or so could have helped the film move more quickly.  The religious themes will be appreciated by many, though others may find them overly abrasive.  As it stands, Ben-Hur has a sufficient story to support its vast scope and ambitious vision.

One element of the film that must be mentioned is the phenomenal chariot-race scene.  The scene, filmed over fifty years ago over the course of three months, is still a wonder to behold, all the more impressive because it was filmed decades before the use CGI in cinema.  I have yet to see a match for it in any film since in terms of thrills and ability to awe.

The acting in the film was exceptional throughout, particularly the work done by Charlton Heston in the lead role of Judah Ben-Hur.  Heston, one the greater movie stars of the era, gave the performance that has come to define his career in the years since in this film.  The supporting cast also did an admirable job in their roles; particularly Stephen Boyd  in the role of Messala and Jack Hawkins as Quintus Arrias.

The film, though possibly not of best picture quality, is one of the stand-outs of the epic and sword-and-sandal genres.  While not without its faults, Ben-Hur is an epic that is well worth the time to watch it and shows star Charlton Heston and director William Wyler in top form.

7/10

Note: This review was previously posted on another blog I wrote.