The Official Review Thread of 2011

[OscarGuy]

The film also came out very late in the process and most critics had already latched onto a handful of promising performances to boost for the end of the year. I think she got left out more because of inconvenience of access than anything. However, the film seems to be getting strong reviews, so it's mostly just my opinion that it was aimless. I'm not at all familiar with the Shakespeare play, but after seeing the film I can see why it's not only considered "minor" Shakespeare, but isn't produced very often at all compared to the more interesting and dramatic tales from the Bard.

By the end I was confused what the film was actually trying to tell? Was it just a historical piece or was there some moral to the story I was supposed to take away. Thankfully, I can pull a gem out of a film like Redgrave's performance, whether the surrounding film was any good or not. But I think her work, like Oldman's was a bit too subtle for most critics. I think they want something more fiery and although she does have a few fiery scenes in the film, she spends much of it off screen even though hers is the definition of what I would consider a supporting performance.

[Reza]

I also found the film dreadfully boring and utterly pointless.

I guess this is why Redgrave, despite getting such positive reviews, is not getting any traction for any of the awards.

[ksrymy]

Irvin now watch Wide Sargasso Sea and also the 1944 and 1971 versions of Jane Eyre.

Now see I have absolutely fucking hated Jane Eyre with a passion since high school. I hate Charlotte Brontë's writing style and find the heroine to be pedantic and whiny. The only Brontë book I've somewhat enjoyed was Wuthering Heights, but, alas, it's by Emily not Charlotte.

Then there's Wide Sargasso Sea that I put myself through to receive extra credit. And I loved it and I never even thought of there being a film adaptation. Thank you much, Reza.

[OscarGuy]

Don't you think Chastain makes an impression because we know who she is? The role isn't very deep and I don't think she brings anything to the performance. I was almost embarrassed for her because everything felt so forced with it. I think Redgrave is fantastic and I was surprised Butler actually showed some talent. I thought Fiennes was way, excessively over the top. I also found the film dreadfully boring and utterly pointless.

[anonymous1980]

CORIOLANUS
Cast: Ralph Fiennes, Gerard Butler, Brian Cox, Vanessa Redgrave, Jessica Chastain, Paul Jesson, James Nesbitt, John Kani, Lubna Azabal, Ashraf Barhom.
Dir: Ralph Fiennes.

This is yet another modernized adaptations of one of Shakespeare's plays and this is one of his more obscure ones. For good reason, it isn't quite as great as Hamlet or Romeo & Juliet or Macbeth but it's still an interesting, compelling story anyway. As for the film adaptation, Ralph Fiennes acquits himself well both as a lead actor and first-time director with the help of a great supporting cast. It's very good but far from great.

Oscar Prospects: Vanessa Redgrave was really good but I think Chastain is more impressive because she managed to make an impression from a borderline nothing role.

Grade: B

[Reza]

JANE EYRE
Cast: Mia Wasikowska, Michael Fassbender, Judi Dench, Jamie Bell, Sally Hawkins, Simon McBurney,alentina Cervi.
Dir: Cary Fukunaga.

I haven't read the Charlotte Bronte book it's based on but I've found out that it's actually a Gothic novel with supernatural/spooky undertones. This film adaptation actually brings out some of that. So in that way, the film kind of reminds of Twilight, however, this story has a far more well-written, stronger female character. And that character is brought to life beautifully by Mia Wasikowska, who's well on her way to becoming a major actress. (And supported by a great supporting cast too). Speaking of that, the young director of this film, Cary Fukunaga is also likewise on his way to becoming a major director. Despite being a period romance, the film is totally absorbing and never feels stuffy, this is all due to his direction. A solid piece of work.

Oscar Prospects: Deserves Adapted Screenplay, Actress, Costume Design, Cinematography and Art Direction.

Grade: B+

Irvin now watch Wide Sargasso Sea and also the 1944 and 1971 versions of Jane Eyre.

[anonymous1980]

JANE EYRE
Cast: Mia Wasikowska, Michael Fassbender, Judi Dench, Jamie Bell, Sally Hawkins, Simon McBurney,alentina Cervi.
Dir: Cary Fukunaga.

I haven't read the Charlotte Bronte book it's based on but I've found out that it's actually a Gothic novel with supernatural/spooky undertones. This film adaptation actually brings out some of that. So in that way, the film kind of reminds of Twilight, however, this story has a far more well-written, stronger female character. And that character is brought to life beautifully by Mia Wasikowska, who's well on her way to becoming a major actress. (And supported by a great supporting cast too). Speaking of that, the young director of this film, Cary Fukunaga is also likewise on his way to becoming a major director. Despite being a period romance, the film is totally absorbing and never feels stuffy, this is all due to his direction. A solid piece of work.

Oscar Prospects: Deserves Adapted Screenplay, Actress, Costume Design, Cinematography and Art Direction.

Grade: B+

[Okri]

I'm not surprised. Had Certified Copy been released last year, I think it would strum up a bit more passionate response from critic's, but it has a touch of yesterday's news to it. It was released last spring, and A Separation and Mysteries of Lisbon have taken a bit of its thunder. Especially the former. But if you look at every critic's aggregate polling, it routinely places in the top five alongside A Separation, Mysteries of Lisbon, The Tree of Life, and either Melancholia or Uncle Boonmee. I think had it premiered stateside last year, it would have received more attention.

Yeah, pretty much. Ditto Boonmee, which might've had a few runner-up directors citations, but this is dwarfed by Malick et al. Certified Copy also fights in an unusually strong year for original screenplays, surprisingly.

[anonymous1980]

A SEPARATION
Cast: Peyman Moadi, Leila Hatami, Sareh Bayat, Shahab Hosseini, Sarina Farhadi.
Dir: Asgar Farhadi.

Wow. What an intense, devastating drama. A husband and his wife separate. But an incident involving a miscarriage of a pregnant female caretaker of the husband's father opens up a whole new can of worms. This is one of the reasons why I love cinema. This is an eye-opening look into what goes on in Iranian society. This story can only be told in Iran yet its humanity is universal. The cast is amazing. I also absolutely love the fact that you really sympathize with all the characters involved, which makes this film all the more heartbreaking. It is one of the best films of the year.

Oscar Prospects: Deserves Best Picture, Best Director, Best Actor, Best Actress, Best Supporting Actress. But I'd be fine with an Original Screenplay nomination to go along with its Best Foreign Language Film nomination.

Grade: A

[Barrybrooks2011]

The Iron Lady

I think I would have enjoyed it more if it had been 100% linear. Start at her childhood and move towards her senility. The flashbacks and memories were just not effective to me, didn't stir up the emotions that were intended. Of course, Streep was fantastic but the film supplied no great supporting roles or performances. I would have loved to see Richard E Grant chew some more scenes with Streep! I only felt like I saw Meryl and not Margaret just one time (asking for the pencil). If she wins the Oscar for this, I'll approve (unless Olsen or Dunst are nominated, then I will be rooting for them).

[Mister Tee]

Had I not thought Demian Bichir had some shot at an Oscar nomination, I'd probably have turned off A Better Life at the half-hour mark. Not that it was notably bad; just that I have little patience for bummer movies about nice people that are about to have fate shit on them. Even had I not heard the film's roots were in The Bicycle Thief, I'm pretty sure I'd guessed from all "I need this money desperately" exposition that something was going to go horribly wrong in a Toys in the Attic/Raisin in the Sun way. In this case, given that I knew deSica's plot had been lifted, as soon as I saw the keys drop to the ground, I knew a losers-losing-badly plot was underway, and I just wanted to distance myself from it. Adding a TV-style semi-hopeful ending didn't do much to alleviate the pain.

Bichir does well enough with a pretty retro character -- the genuinely noble, good-hearted man -- and doesn't make him tiresome (the way, say, Melvyn Douglas' character in Hud was). I can see why SAG responded to his simple, direct work (and probably his tearful final monologue). But if he makes the Oscar list over Oldman or Fassbender, I'll be greatly displeased.

Margin Call. by contrast, is a movie that starts out extremely well. For the first half hour or so, in its terse, straightforward way it feels like a horror film, with the main characters seeing the shape of the disaster to come but being unable to stop it. It gets a bit flabbier as it goes on, though there are plot developments that, while a bit baroque, are also entertaining (esp. Jeremy Irons' boardroom scene) and some halfway pithy character-exchange scenes (notably one between Bettany & Tucci on the front steps). The film ends with less of a bang than I'd have preferred, both in plot terms (I wanted a full-on crash) and the choice of final scene, which feels out of a 50s Playhouse 90. But it never turns actively bad, and, though I wish the tone of that first half hour had been better sustained, I mostly enjoyed the film. Not a terrible choice for original screenplay, but that Chandor won critics' prizes for debut film over Durkin is incomprehensible to me.

[Sabin]

I'm not surprised. Had Certified Copy been released last year, I think it would strum up a bit more passionate response from critic's, but it has a touch of yesterday's news to it. It was released last spring, and A Separation and Mysteries of Lisbon have taken a bit of its thunder. Especially the former. But if you look at every critic's aggregate polling, it routinely places in the top five alongside A Separation, Mysteries of Lisbon, The Tree of Life, and either Melancholia or Uncle Boonmee. I think had it premiered stateside last year, it would have received more attention.

[The Original BJ]

I'm a little surprised Certified Copy didn't make ANY kind of a dent with the critics groups, simply because it seems like one of the very few movies this year (along with A Separation) that nearly EVERYONE who sees it LOVES. Unlike a lot of the year's critical heavy-hitters (The Tree of Life, Melancholia, The Artist, The Descendants, Hugo), which have passionate fans and detractors, Certified Copy seems to touch a chord with pretty much anyone with enough courage to seek it out. It's such a lovely movie, and Juliette Binoche is so lovely in it.

[anonymous1980]

CERTIFIED COPY
Cast: Juliette Binoche, William Schimmel.
Dir: Abbas Kiarostami.

What a magnificent film! This is probably my favorite Abbas Kiarostami film so far (along with A Taste of Cherry, which is due for a rewatch). This is a film about a couple. That's about the only thing I can say without giving way too much away but the film's appeal is finding out the direction where it is headed as it does a rather strange but wonderful narrative shift midway which reflects the title of the film. The two lead performers are magical onscreen together. I'd love to see this again. One of my favorites of the year so far.

Oscar Prospects: Deserves Best Actress, Best Actor and Best Original Screenplay.

Grade: A

[flipp525]

MELANCHOLIA
Oscar Prospects: I think Charlotte Gainsbourg deserves a shocker Supporting Actress Oscar nom.

Grade: B+

She deserved one for I'm Not There, too, frankly.