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Neel Shah on Star Wars: The Force Awakens

12/22/2015

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“There has been an awakening, have you felt it?”
After leaving the theater, I experienced a massive range of emotions: nostalgia, excitement, and joy. Without a doubt, The Force Awakens was the movie event of the year. It was wonderful to watch the return of R2D2, Han, Leia while watching a new galactic saga unfold.

The Force Awakens takes place approximately 30 years after the fall of the Galactic Empire, brought on by the Rebel Alliance. Since the fall of the Empire, and the re-establishment of the Republic, a group known as the First Order has arisen from the remnants of the Empire, and is dead set on restoring Imperial rule. The Resistance, a small militia supported by the Republic, is focused on pushing back the advances of the First Order. This simple fight of a good against evil is what made the original trilogy so great, and The Force Awakens represents a return to form for the franchise.

Yet, J.J. Abrams adds complexity and depth to a simple fight of good against evil, as clearly demonstrated by the two protagonists of the movie, Rey (Daisy Ridley) and Finn (John Boyega) and the antagonist of the film, Kylo Ren (Adam Driver). Rey begins the movie as a rather insignificant resident of a desert planet who eventually gets drawn into a galactic conflict due to the whims of fate (sound familiar?) Rey is a beautiful character, who is strong and independent, yet damaged in her own way. Ridley’s spunk and charm really flesh out Rey as a character, makes her one of my favorite characters in the Star Wars universe. Adam Driver nails the role of Kylo Ren, a wannabe Sith Lord who is struggling to find his own destiny within the dark side after a rather complicated past. I felt just as invested in Ren’s character arc as I was in Rey’s, clearly indicating Abrams’ masterful directing and the excellent script. Moreover, the movie masterfully weaves in old favorites such as General Leia (Carrie Fisher) and Han Solo (Harrison Ford), giving them just enough screen time to satiate my nostalgia without taking attention away from the new characters.

I would also remiss if I didn’t mention the beautiful visuals and action scenes. The awful CGI and green screen of the prequels was replaced by vast set pieces and quirky new costumed aliens. Every scene felt gritty and real, while maintaining an air of wonder. The space dogfights were thrilling as I once again watched X-wings rush into battle against Imperial TIE fighters. Abrams’ directing chops are validated in every gorgeous, riveting scene. All in all, there is little to fault about this movie.

Yet, the greatest flaw of this movie is that it feels just a little too safe, like Abrams knew he didn’t want to disappoint fans, so he didn’t diverge too far from beloved canon. The Force Awakens feels like a beat for beat remake of A New Hope. Thanks to fantastic acting, great visuals and complex and compelling characters, this fact is rather masked, but at its core, the movie is homage to the original Star Wars movie. Any hardcore Star Wars fan will probably leave the theater incredibly satisfied with a gorgeous film kicking off a new franchise and new characters to root for. However, as a cranky and cynical film critic, I must acknowledge the flaws of this movie as well. I hope the positive reception to The Force Awakens encourages Abrams to move a little further afield for the sequels. Since I am both a cynical movie critic and a huge Star Wars fanboy, I will give this movie two different grades.

Grades:

Cynical Movie Critic: A-

Hardcore Fanboy: A+++++++
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Carter Sigl also wrote a review of The Force Awakens, which you can read here.
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Carter Sigl on Star Wars: The Force Awakens

12/18/2015

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​Well, after 10 years of waiting, it’s finally here: a new Star Wars movie. Unless you literally live under a rock, it’s been impossible to avoid the hype for this film. I have been a full participant in the hype myself; I am a massive Star Wars fanboy, and I have been ever since my dad showed me the original movie when I was a little kid. So I am of course incredibly happy to get a new entry in probably my most beloved of all franchises. However, after viewing the movie, my joy does come with one reservation. For all it’s glory, Star Wars: The Force Awakens is held back by the seeming unwillingness of Abrams and Disney to blaze a new path for the franchise. 
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More than 30 years have passed since Darth Vader and the Emperor were killed in the Battle of Endor. Since that time, the galaxy has been fractured into numerous pieces. Some it is ruled by the New Republic, child of the old Rebel Alliance. But some of it is still oppressed by remnants of the Empire, one of which is called the First Order. Fighting this tyrannical regime is the Resistance, including ace fighter pilot Poe Dameron (Oscar Isaac). Poe has journeyed to the desert world of Jakku for a very special mission: to acquire a map for the Resistance which lead them to the long-lost Luke Skywalker (Mark Hamill). But before he can deliver it, Poe is captured by First Order Stormtroopers under the command of the Dark Side warrior Kylo Ren (Adam Driver). Fortunately, his astromech droid BB-8 escapes with the map, and eventually runs into the scavenger Rey (Daisy Ridley). Meanwhile, Poe escapes from Ren with the help of defecting Stormtrooper FN-2187, whom Poe dubs Finn (John Boyega), although Poe is seemingly killed in their escape attempt. It’s not long before fate brings together Rey, Finn, and BB-8 and launches them into a star-hopping, epic, galactic adventure.
​
The first and most important thing about this movie is that we finally get to jump back in to the incredibly rich world of Star Wars. We have everything that amazed and awed us when we first watched the movies as children: mysterious worlds, bizarre aliens, amazing space ships (and space ship battles), cool one-liners, awesome heroes, terrifying villains, lightsabers, and the Force. For those of us who have seen entries in the series before, it’s pure nostalgia fuel. Whether you grew up with the original trilogy or the prequels, watching this movie will feel like the first time you glimpsed into that galaxy far far away. For those youngsters (or elders) who have not yet had that privilege, it will be a wonderful starting point. 
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​Next, the acting in this movie is superb, particularly that of newcomers Daisy Ridley and John Boyega. The two of them amazing chemistry both with each other and the rest of the cast, and each of them completely own their roles. Both of them get comparable screen time are equally important to the plot, which I thought was a nice touch. I expect both of them to become major Grade-A actors as a result of this movie, which will be well-deserved. The supporting cast is also fantastic- Oscar Isaac channels a younger Han Solo as Poe, complete with far too many wise cracks and one-liners. Adam Driver similarly channels Vader, although Kylo Ren is not so similar that it feels like a rip-off; Kylo Ren in-universe is directly inspired by Vader in much of what he does. Domnhall Gleeson steps into Governor Tarkin’s shoes as General Hux, a ruthless and efficient First Order commander, who at one point gives a speech which will win this year’s Hitler imitation contest hands-down. And in a surprisingly good supporting role is Lupita Nyong'o as an ancient alien named Maz Kanata, who is somewhat of a cross between your grandmother and Hector Barbosa. Gwendoline Christie and Daniel Craig both have cameos as First Order Stormtroopers- try to spot them by their voices! 
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But this movie does have one major flaw. Anyone who has seen the original Star Wars will undoubtedly notice how close The Force Awakens hews to that film, especially in terms of plot. Obviously it’s difficult to talk about in too much detail without getting into spoiler territory, but suffice to say that it is incredibly similar to that original in terms of plot. Some critics have gone as far to say that plot-wise there is nothing original in this movie and J.J. Abrams just remade the original with a new cast and better visuals. Although I would not describe it so harshly, I can’t help but partially agree with this sentiment. The whole time I was watching The Force Awakens, I was having so much fun seeing my old favorite characters, my new favorite characters, and everything else I mentioned several paragraphs above. I was positively giggling like a little kid for much of the film. But I also kept waiting for something new, something different to happen, something I didn’t expect. And that moment never came.
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So in the end, The Force Awakens is held back from true greatness by it unwillingness to break new ground, to do anything new, to metaphorically go somewhere that Star Wars has never gone before. And this is disappointing, because at times it honestly does feel like you’re just watching the original movie again. That movie is of course one of the greatest movies ever made, and by extension every other film in the franchise is vaulted to cinematic greatness.

But that is not enough. It is not enough to walk down paths that have already been blazed. What separates the merely good from the truly great is the willingness to try something new, to blaze a new path and make something new. Abrams refused to do that, and that is why Star Wars: The Force Awakens, for all its glory, is not a truly great film.
That being said, I will go see it at least two more times. Because come on guys, it’s fucking Star Wars!
 
Grade: A-
Neel Shah also wrote a review of The Force Awakens, which you can read here.
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Carter Sigl on Macbeth

12/11/2015

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Out, out, brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage,
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.
SteveAnd so go the famous lines from Macbeth, one of the most well-known works of literature ever written. Macbeth, and all of Shakespeare’s works, have by now been adapted and re-adapted so many times, by so many different creators that it seems like everything has been tried before. Baz Luhrmann transplanted Romeo and Juliet to modern California and made the Montagues and Capulets gangster dynasties. Joss Whedon turned all the characters of Much Ado About Nothing into hipsters, filmed it all in black and white, and made the whole thing almost as an afterthought on his summer vacation. And Ian Doescher gifted to the world the awesomeness that is William Shakespeare’s Star Wars. This time Australian film director Justin Kurzel (Snowtown, The Turning) has made his take on it, and the film is a satisfying balance between traditional dramatic elements combined with the style of an epic war film.

The plot of the film is the same as that of the play. Macbeth (Michael Fassbender- Steve Jobs, Prometheus, X-Men: Days of Future Past) is a general in the army of Scotland, which has just triumphed against invading forces. After the King (David Thewlis- Harry Potter and The New World) executes the Thane (Lord) of Cawdor as a traitor, Macbeth acquires his title. But he has been visited by a trio of dark spirits, who has foretold him he would become Thane and that he will soon be King. Although Macbeth is unsure of how to act on this prophecy, his wife Lady Macbeth (Marion Cotillard- Inception, The Immigrant, La Vie en Rose) urges him to murder the King in order to ensure that the witches’ words come true. Macbeth, of course, does murder the King and takes his place. But afterwards, his mind becomes twisted with paranoia and fear, and Lady Macbeth’s with guilt and remorse.

In many ways, this is a very traditional adaption of Macbeth. Kurzel retains all the Shakespearian language, so if you’re not into that you'll probably want to pass on this one. The cinematography is done in such a way that many scenes recall a stage, with many wide shots with all the characters positioned as if they were in a theatre. The acting is done in a more dramatic (ie play-like) rather than cinematic style, with Fassbender and Cotlliard frequently bellowing out their lines like they needed to make sure the people in the back row could hear them. It’s certainly a traditional style, but one that meshes well with both lead actors and certainly the cinematographer.

But where this movie does feel very cinematic is how it incorporates elements of the war drama. The play does of course have this as part of the plot, but it is rarely touched upon in most performances and adaptions. Macbeth is a great general and warrior -the play opens with him receiving praise for winning a battle- and the climax of the story takes place during another invasion of Scotland, this time against Macbeth. Kurzel brings this often-neglected aspect of the story back to the forefront with a series of battles which wouldn’t look out of place in Braveheart, Gladiator, or any similar historical epic. The total screen time of the battles is still fairly minimal though, so the war epic aspect only compliments –and never overtakes- the traditional theatrical sections.

Overall, Macbeth is a quite enjoyable (if not incredibly original) film which functions well as both an adaption of one of the most well-known pieces of theatre ever written and an epic war film. It has Shakespearian language, solid acting by both Fassbender and Cotillard, beautiful cinematography, and bloody action scenes. So if you’re a fan of any or all of the above, give Justin Kurzel’s Macbeth a shot- I think you’ll like it.
​
Grade: B
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Eric Tatar on Youth

12/11/2015

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I went through the same range of reactions watching Youth as when I saw Paolo Sorrentino’s last film, The Great Beauty; there were times that I was amazed at how well every aspect of the film came together and other moments where I sunk down in my seat, begging for a new scene to end whatever fresh disappointment I was enduring. The Great Beauty was filled with scenes of such energy that they were almost enough to distract from the ineptly written characters and strange pacing. Youth has a similar dichotomy, but it’s strength lies in it’s characters and the calmer moments they spend with each other while the more emotionally incessant scenes come off as ridiculous.

Michael Caine and Harvey Keitel play lifelong friends who have both been fortunate enough to find success in their careers: Caine’s Frank Bellinger is a revered composer intent on staying retired while Keitel’s Mick Boyle is a writer collaborating with a young team to finish his twenty-first film. Their fame allows them to vacation in the lap of luxury, spending their twilight years at a grand Swiss resort buried between the Alps. Their relaxation is interrupted when Frank gets pestered by the Queen of England’s lackies to perform his pieces again. His daughter, played by Rachel Weisz, encounters trouble as well when her husband, Mick’s son, leaves her for a pop star. In one of the film’s more successful scenes, Mick declares this new partner “the most insignificant woman on the face of the planet,” and it’s unclear whether he’s insulted by his son’s separation or if he’s recognizing an impression of his own past disappointments. From there, Mick has problems finding an ending to his script and guaranteeing the involvement of his lead actress (Jane Fonda, whose short time on screen is among the best in the film). As the characters’ issues continue to pile up, the resort stays in constant motion around them: new musicians, a few of them real life artists, perform on a rotating open-air stage each night, saunas and bathhouses are continually filled and emptied of elderly occupants, and Mick amasses a debt taking bets with Frank on whether a couple will ever talk at dinner.

The friendship between Frank and Mick is the lifeblood of the film and what carries the story through it’s rougher moments. Caine and Keitel make the relationship work; just like the characters they’re portraying, they’ve both lead artistic lives and have their respectable achievements behind them. The numerous scenes of the pair strolling through the resort grounds reminiscing on their past adventures come off as outings they may already go on once the lights and cameras are gone. Paul Dano’s role as an actor recognized for his single superhero role while his more serious work remains forgotten is reminiscent of 2013’s Birdman, although it’s much less intense: Dano’s Jimmy Tree is more annoyed than furious. It’s hard for the characters to stay angry for very long when their days are wrapped in the beauty of the mountains.

There are moments to love in the film: Frank’s orchestration of a field of grazing cows produces a beautiful bell symphony, and Mick daydreams of being visited by his former leading ladies on a rolling hillside (despite his fading memory, he never forgets anything he’s shot). The credit for these scenes goes to Luca Bigazzi, who Sorrentino was smart enough to utilize again after his cinematography made The Great Beauty such a pleasure to look at. Unfortunately, Sorrentino has also retained his awkward implementation of special effects; in The Great Beauty, CG flamingos and a fake giraffe left scenes aiming for emotional resonance feeling hollow and Youth features a similarly misused green screen shot that disrupts any momentum the film’s final minutes had. And the ending is where Youth makes its biggest misstep: a story concerned with meditations on the relationship between love and time confuses itself by suddenly thrusting emotional climaxes into the lives of Frank and Mick. It’s difficult to feel the weight of the pair’s actions when the rest of the movie has them ogling supermodels and trying to figure out if one of them slept with a mutual crush.

While The Great Beauty was steeped in cynicism, Youth is more interested in reflection. It’s characters are separated from the stress of the world and left to muse on how they’ve spent their time finding a place in it. Sometimes they look back with regret, but more often their memory is tinged with humor. Ultimately, Youth is frustrating because the moments that are so easily enjoyable are dragged down by plodding scenes that hamper whatever good will you held, but the film is still worth watching for those flashes of brilliance. This is a movie to watch when you’ve extinguished your backlog of conventionally good films and want to see an unevenly great one. The best recommendation I can give to Youth is that the worst parts are forgettable, so you’ll only remember the good things.

Grade: C+
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Carter Sigl on In the Heart of the Sea

12/11/2015

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For some reason, I’ve been in the mood to watch historical films recently. This is the reason I decided to review both Macbeth (see above) and In the Heart of the Sea. Well, part of the reason. See, when I was a kid my family owned a sailboat, so I spent every summer of my childhood on the sea. As a result, I have a special love of the ocean, which translates to (among other things) a fondness for aquatic-themed films.

The movie is based on the sinking of the American whaling ship Essex, which in turn inspired Herman Melville to write Moby Dick. This, in fact, forms the frame story of the movie: Herman Melville, played by Ben Whishaw (Skyfall, Spectre, Cloud Atlas), is interviewing a man named Thomas Nickerson (Brendan Gleeson- Calvary, The Guard, The Secret of Kells). Now an old man, as a boy Nickerson served as a crewman on the Essex. Although commanded by Captain George Pollard (Benjamin Walker, Flags of Our Fathers), the true leader of the crew is the first mate: Owen Chase (Chris Hemsworth, Thor and Avengers). The Essex leaves Nantucket, Massachusetts in search of whales, but has no luck in the usual hunting grounds and so is forced to sail farther and farther out to sea. They finally find a rich hunting ground far into the Eastern Pacific Ocean, but while they’re hunting the Essex is attacked and sunk by a massive pale whale. Forced to abandon ship, Nickerson, Pollard, Chase, and the rest of the crew must make their way across thousands of miles across the endless ocean.

This film is a bit of a mixed bag in terms of quality. On the one hand, I was quite satisfied- if not absolutely blown away- by the film as a historical sea drama. The movie gets all the aspects of the time period right, including details about whaling and ships of the time period. At times it reminded me Master and Commander: The Far Side of the World, another sailing movie which takes place in around the same historical period (1805 and 1820).

But, I know that most people aren’t going to see this movie because they enjoy the fact that the Essex’s construction and rigging we’re properly portrayed; they’re going to see it so they can watch the whale destroy it. Unfortunately, the amount of effort to make the film historically accurate was not vested in the film’s special effects, which looked fairly mediocre. Also, the total amount of screen time the whale gets is fairly limited, so people who go into the movie expecting lots of destruction will probably be disappointed.

And finally, the film is somewhat lacking in its final section where it becomes a survival movie. Although to be fair, there’s only so much you can do with survival, and specifically cast-away, movies. When you get right down to it, most of them are very similar- Cast Away, Unbreakable, Life of Pi, etc. That’s not to say that some of them aren’t better than others- some certainly are, and In the Heart of the Sea is not among the better ones. It’s not because it’s bad, exactly; it’s just a bit boring and predictable, with nothing to particularly distinguish it from the others.

So if you’re looking for a decent historical film or a classic sea-shanty type movie, than give In the Heart of the Sea a shot. But if you’re interested in it as survival film, or just in the scenes involving fighting the whale, than you can probably give this one a pass.

Grade: C
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Here's Some Movies (Week Five) by Eric Tatar

12/8/2015

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It’s a shame that animation, a style that avoids many of the problems traditional filmmaking has to grapple with, is known as the medium primarily used for kid’s films. What’s more unfortunate is that Disney/Pixar and Dreamworks (whose films form this public notion of animation) have transitioned into using CGI for all their releases, limiting what can be accomplished with the format’s immense capacity for creative storytelling. With this week’s list, I’m recommending films whose unique designs showcase the diversity animation holds for telling stories visually. I’m not trying to paint the style these studios use as being creatively bankrupt (most of their classics were done using similar technology, and I love those now as much as I did growing up), but this recent trend has left me worried that someday we’ll become so accustomed to one kind of animation that all the interesting experimentation in the genre will fizzle out. Before we get to that point, watch these five films and enjoy their different ideas for what animation can be. They might not all be instantly appealing, but give them a chance: maybe you’ll end up being as captivated by them as I was.

It's Such a Beautiful Day

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Directed by: Don Hertzfeldt
Written by: Don Hertzfeldt
Released in: 2012
IMDB Page

I always drew little scenes of stickmen interaction in my notebook’s margins during the more boring classes of my middle school career, so seeing Don Hertzfeldt take what was a fairly easy way to distract myself from learning anything and build an extraordinarily compelling story of existentialism and acceptance from it was pretty amazing on my first watch. The second time I saw it, I noticed how many different ways he was able to take the simple animation and include a small new aspect that would form the scene to come: blues and reds setting the mood for a melancholic or uplifting moment, pinpricks of light gliding over a sleeping head, burning film strips tightening the frame’s grip on a cowering figure. The film is a feature length version of Hertzfeldt’s last three shorts, each of which he shot with a 35mm camera and through clever trickery inserted all these extra elements. Every section is by turns introspective, witty, and saddening, and it’s the meeting of the three that makes everything work so well; the film’s questions aren’t thrown at us but spread through the often intersecting humor and hopelessness of a simple line drawing, with moments spent examining both the ridiculousness and fragility of his existence.

Mary and Max

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Directed by: Adam Elliot
Written by: Adam Elliot
Released in: 2009
IMDB Page

Done in the claymation style of the Aardman classic Wallace and Gromit (and this year’s awesome Shaun the Sheep) known for it’s grueling production time, Mary and Max is the story of two pen pals drawn together by chance: one an 8 year old Australian girl from a suburban family, the other an obese 44 year old New Yorker living alone with his mental health issues. Neither of them seem to be able to find a place in the world, and as their respective social and mental problems grow, their letters becomes the only way they can express themselves. The heart of the film lies in this correspondence and the relationship that builds from it, but it isn’t some unrealistic perfect escape from their dreary lives: they get angry with each other, their words become filled with spite, and their exchanges dry up. The quality of the film lies in how much it makes us want them to find happiness and remain friends. It does get very heavy and depressing, especially coming up to the finale, but that’s what makes it a great example of the emotions claymation is able to convey when it’s not being used for more lighthearted stories.

Redline

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Directed by: Takeshi Koike
Written by: Katsuhito Ishii, Yoji Enokido, Yoshiki Sakurai
Released in: 2009
IMDB Page

Seeing contemporary animated films awkwardly incorporate CGI into their story due to budget and time constraints is always disappointing. The magical quality of hand animation, that ability to create a sense of movement which appears hyper-real, gets muddled by glossy polygons and jerky models. Redline is lucky enough to escape these failings thanks to its unique position of having a seven year development period which gave the film’s studio, Madhouse, the space needed to fully achieve its vision of a high speed alien-globetrotting race. The cars move so smoothly that it’s easy to miss how good the characters look: they’re constantly expressive, and the smallest details of their conversations are full of motion. While the story of a disgraced driver set on finally winning the glory he always falls short of is simple and nothing new, it’s only there to lay the tracks for the roller coaster of a film speeding over it. As our boy JP’s pompadour stretches further in front of him with each hit of boost jammed into the engine, we’re eager to find out the same thing he is: how much faster can we go?
This movie was also reviewed as part of Carter Sigl's Guide to Animeland.

A Scanner Darkly

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Directed by: Richard Linklater
Written by: Richard Linklater, Phillip K. Dick
Released in: 2006
IMDB Page

Made with the rotoscoping technique that recalls graphic novels and cel shaded art, Richard Linklater’s take on the Phillip K. Dick novel of the same name looks at how a widespread drug addiction would be perceived through the eyes of an undercover cop inching closer to solely becoming a user. Linklater already had experience using rotoscoping for his film Waking Life, with the style’s incorporation there aiming to create a dreamy aura for the main character to wander through. Here it adds another level to the surreal mood made up of drug trips, hallucinations, and swirling body projections. It’s definitely the hardest visual style to get used to on this list, since you’re able to recognize Robert Downey Jr., Woody Harrelson, and Keanu Reeves even as they’re hidden behind shifting paintings, creating an initial disconnect that might prevent you from connecting with their characters at all. Once you attune yourself to the film’s bizarre wavelength, though, the crisp dialogue and compelling acting from Reeves will keep you held there for what becomes a beautiful story, not just visually but in it’s final message as well.

The Secret of Kells

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Directed by: Tomm Moore, Nora Twomey
Written by: Tomm Moore, Fabrice Ziolkowski
Released in: 2009
IMDB Page

A beautiful interpretation of Irish folklore told with the aesthetic of a child’s storybook, the kaleidoscopic geometry of The Secret of Kells makes its flat planes of chilled stone and bright forest ground feel like a return to the ideals of traditional animation while embracing contemporary stylings. Brendan, a young boy living at the remote monastery of Kells, is enthralled by the tales he hears of an unfinished book whose completion will bring peace and understanding to the troubled world of Vikings his people hide from. When it’s creator brings the fabled book to the abbey and asks Brendan to find him a few berries from the surrounding forest to be made into ink, the breathtaking flurry of colors and shapes morphing into trees, flowers, and animals that soon rush past him evoke the young wonder felt when turning a page to discover the next meticulously detailed picture. The film’s historical influence provides another compelling layer to it’s story, with the bewitching spirit Brendan encounters in the forest coming from Celtic mythology and the all important book actually having existed as a Latin manuscript of the New Testament. Combine that with it’s great vocal cast and a nice short running length, and you get another transfixing animation from a year that was rife with them.
It’s Such a Beautiful Day and The Secret of Kells are available on Netflix, and you can find Redline on Hulu, but you’ll have to seek out Mary and Max and A Scanner Darkly someplace else. Have a good winter break and watch the best movies you can find!
This article is part of an ongoing series. Click here to read last week's article, and check back next semester for more awesome movies!
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