AVATAR

AVATAR (20th Century Fox)
Written and directed by James Cameron

Sometimes a decade just isn’t long enough to develop a cinematic masterpiece, so what’s another four to five year’s? I mean, given what his last film did at the box office and award shows, I think we all can respect James Cameron and the time needed to create his follow-up to TITANTIC. Hard to believe, but TITANTIC took over the world way back in 1997, roughly three years after Cameron came up with the idea for AVATAR. That’s right; this guy actually had both ideas churning in his ‘think-tank’ at one point in time, a chilling thought for those directors out there hoping to get a shot at something big one day. But, for Cameron, that’s just scratching the surface of what he’s capable of doing both writing and directing major motion pictures. Because if there’s one thing we know about this guy, when he does something it’s big and AVATAR is a prime example of that.

The film begins in the year of 2154 and takes place on a large moon known as Pandora. This moon of Polyphemus is one of three gas giants orbiting Alpha Centauri A, precisely 4.4 light years from Earth. And Pandora was known to hold a mineral known as unobtanium, a very powerful and virtually invisible material, said to be impossible to find. So, for master miner Parker Selfride (Giavanni Ribisi) and his team of scientists’/ mercenaries’, this was a great opportunity to tap into this forbidden world and take advantage of this fabled rock. Unfortunately for them, they were not the only one’s on this lush moon, as Pandora was inhabited by the Na’vi, indigenous humanoids standing nearly 10 feet tall with tails. Worshiping a mother goddess known as Eywa, the Na’vi made no mistake about their intentions and way of life, which was essentially to live in harmony with its natural habitat and/or world. Unable to breathe Pandora’s atmosphere, humans struggled to get close to the Na’vi, resulting in the creation of the Avatar Program.

This program, led by Dr. Grace Augustine (Sigourney Weaver), developed human/Na’vi hybrids that were meant to bridge the gap between the two species, so that they could learn from Pandora’s most loved "people." By sharing his/her genetic material with an avatar, they would mentally be linked, thus allowing them to control the avatar while sleeping in a controlled environment or hyperbaric chamber. So when ex-marine, turned paraplegic, Jake Sully (Sam Worthington) gets called up to replace his twin brother, who was killed in action, the decision was made. With the same genes, it was an easy fit for the team of scientists, vaulting Jake into this incredible world he never thought was real until he experienced it through his own avatar. There to gather only intelligence, the job was supposed to be cut and dry, but Jake fell in love with this new world and more importantly, Neytiri (Zoe Saldana) a female Na’vi more exotic than he could ever imagine. A bit stand-offish at first, Neytiri was led to trust Jake in a series of signs by Eywa and it was here we are introduced to Pandora’s greatest assets of natural and unnatural elements that could only be found in one’s dreams; resulting in an adventure full of love and war that will have you speechless long after the credits roll.

The true star to AVATAR is James Cameron, but the cast he managed to put into motion came through time and time again. It’s not the easiest task to act in front of nothing but a green screen behind you, but these actors do it and nowadays, it’s almost becoming more natural than not. How far we’ve come with technology and yet, we still need the physical presence of the actor(s). Being able to mold an entirely computer-generated body around a single actor’s facial expressions had never been perfected until recently, thus forcing Cameron to delay this project for years. Funny how advanced his idea was and yet, he still had to wait for technology to catch up. But, it’s a good thing, because without CGI, this cast would have never had a chance to succeed. And truthfully, there’s no need to go through the cast, because frankly, with everything else going on in this film, you really don’t care. That’s right, so for all those fans looking for some groundbreaking performance, you’re barking up the wrong ‘Hometree.’ This cast was there for support and although a few of them hit their marks well (i.e. Sam Worthington, Zoe Saldana), it’s not why AVATAR shined so bright.

There’s no doubt that AVATAR is something we have never seen before and that’s for good reason, given its vast development, which started a long time ago. This was not supposed to be just any film as writer/director James Cameron made sure of that, but even back in the mid to late 90’s, he knew the technology needed for this. That’s what impresses me, so for him to slowly mold this story and film into this format is quite the feat, as almost every detail to this film has Cameron’s fingerprints on it. Even the inspiration and artwork behind some of the Pandora creatures were from Cameron’s own hand, so don’t think for a minute this film was not taken seriously. And this technology I speak of needed to make all this work was something no director had ever used prior to now. So, instead of adding the CGI-driven environment after the actor’s motions had been filmed/captured, Cameron used a new “virtual” camera to film the motion of his actor’s, with the exact computer generated backdrop he wanted for that sequence.

This allowed him to see how everything would look during filming, which proved to be a huge asset at the end of the day. Essentially, he could add, delete and make changes on the fly while shooting the live action right before his eyes. Anything he wanted to do differently during the actual filming, he could do, which is scary for a director as thorough as Cameron. And to me, this only helped him with the overall “feel” of the film, which was as real as it gets. It’s funny to say that about a story based around a fantasy world such as this one, but I felt as if I was in AVATAR, completely submerged within the action and adventure. Now, maybe that was because of the 3D aspect, which I strongly recommend over the 2D version, but either way, Cameron made sure to bring the audience into his film like never before, creating a world that felt like a dream. The uncanny visuals and colors were incredible leaving you almost breathless at times, so who cares if it runs close to three hours long. I would have sat for another three hours if you had let me, which should tell you all you need to know about this film overall.

AVATAR certainly won’t draw everyone in, as no science-fiction film does, but it should. I can’t remember the last time I had this much fun watching a film and actually not wanting it to end. That speaks volumes at what director James Cameron has done with a project that very clearly meant a lot to him. Words truly cannot describe the feeling you get after watching this film, so take my word for it and just see it, for you won’t be disappointed.

A

INVICTUS

INVICTUS (Warner Bros)
Directed by Clint Eastwood

One could often wonder how and where ideas for the films we see each year come from; those that are not sequels of course, but even sequels or prequels are reborn in many ways with the new installment. Point is, as long as Hollywood continues to produce films, we will continue to watch them without much thought of where it all came from. But, every now and then one of these so-called ideas' becomes something more and it’s those films that eventually find themselves among the list of nominees each winter during the Oscar push. Really, it’s that simple and yet there are still some that get lost in the mix and eventually find themselves on the outside looking in. Maybe that all will change, though, with the new and improved Best Picture category this year for the Academy Awards, going from five to ten nominees. That certainly should open it up for some of these sleepers I speak of, that in any previous year would not even be on the map, outside a few acting and technical categories. INVICTUS is one of those sleepers; one that won’t scream Best Picture at first, but by films end, just might in a year that hasn’t seen too many great films, at least ones with heart like this.

Based on true events around the 1995 Rugby World Cup, as well as the John Carlin book Playing the Enemy: Nelson Mandela and the Game That Changed a Nation, the story here follows the recent election of Nelson Mandela and how his calculated gamble surrounding rugby would help transform his great country of South Africa. After spending nearly 30 years in prison for activist crimes surrounding race, Nelson Mandela (Morgan Freeman) was released and immediately, he began his journey to become the next president. Four years later, he is elected and begins his focus on releasing the racial tension that had strangled his country for so long, by showing how whites’ can work with blacks,’ doing the same job they each had been trained to do separately. This, of course, was done on a very small scale at first, as Mandela used his own security team as proof, but after attending a Springboks match, his country’s own union rugby team, an inspirational idea popped into Mandela’s head.

If he could somehow get the blacks’ and whites’ behind this one sole rugby team leading up to and during the upcoming 1995 World Cup, to be played in their very own backyard, he might just have a new unified country on his hands. So, despite pushback from his own party, Mandela moved forward and invited Springboks captain Francois Pienaar (Matt Damon) to the capital for tea. Not fully divulging his intent, Mandela explained to Francois how important it would be for his team to play well in the upcoming tournament, which by doing so would help open the eyes of his country that had been closed for so long. Having to read in-between the lines, Francois figures Mandela was essentially asking him to win the World Cup for South Africa. This, of course, was no simple feat, as his team was far from being a top contender and one capable of such a tall order. But, as stories like this go, that didn’t stop them for trying and as the Springboks moved closer and closer toward the final, South Africa started to change inside and out, for this was not just a story about an overachieving rugby team; this was story about a country and how one game could change everything.

It’s no secret when Morgan Freeman signs on for something, he means business and with his role here, he stayed true to form with one of his greatest performances to date. Now, clearly Freeman has done a lot and has been around the block once or twice, but with INVICTUS, he took it to another level playing the famed Nelson Mandela. And he played him to a ‘T,’ as you forgot who you were watching, becoming completely enthralled into Mandela’s world, or should I say Freeman’s? Fact is, Freeman made this movie his own and deserves whatever accolades come his way, as he was about as spot on as it gets.

As for Matt Damon, who knows if he truly pulled it off, as I had no idea who his character was walking into the film. Having said that, with no prior knowledge of his character Francois Pienaar, I thought he did well and really, I didn’t think he would. And Damon deserves some credit for taking on roles like these, where he is kind of out of his comfort zone. It keeps him sharp and truthfully, I can’t say there was a whole lot of bad with his performance overall. Early on, it was a little touch and go, but the more you watched him, the more you got to know his character and before you knew it, forgot all about the fact this Boston kid was speaking in a South African draw. Add in Damon’s natural ability and it was a given he would shine in this role, even though he is much smaller than the real life version of Pienaar.

Clint Eastwood doesn’t owe anything to anybody, but I was surprised he did a film like INVICTUS. I don’t know, when I look at this film, I don’t see it as a “Clint” picture and I’m not sure why. I guess it just doesn’t have that feel and honestly, I forgot he even directed it until the credits starting rolling. Talk about being engulfed into the film, but that’s to Clint’s credit and he really made sure he honored the legacy of Nelson Mandela with this film. Whether that was through the South African landscape or culture, he didn’t miss a beat with some incredible shots and angles, bringing this pseudo-biopic to life. A truly nice piece of work for Eastwood, who seems to have done everything now, as an actor, producer and director, but at the tender age of 79, doesn’t seem to be slowing down and certainly has no quit in him. In fact, he might be getting better the older he gets, which is insane to think considering 80 is staring him right in the face, but its true and as long as he keeps directing, I will keep watching as his films seem to grab you in more ways than one. This one certainly did, and despite any predictable clichés or moments of clarity, I think Eastwood found the right balance, all the while introducing the sport of rugby to many of us that probably didn’t know too much going in.

INVICTUS is one of those feel-good stories that the entire family should watch, as it covers a lot in 134 minutes, both in the forum of life and sport, which in many ways is the same when you break it all down. So, although this film takes its time in parts, it’s all worth it in the end, as this heartfelt story will have you on the edge of your seat long after the credits roll.

B+

BROTHERS

BROTHERS (Lionsgate)
Directed by Jim Sheridan

When it comes to war, the book is wide open on how to interpret it all and most of the time, we get it wrong. The reason why is simple; which is very few of us are educated to know exactly what it takes to put your life on the line for your country and the pressure it can ultimately bring for you and your family. And for that, we all should honor those that serve, for without them we wouldn’t have our freedom as we know it. But, this so-called ‘post-war life’ is not talked about enough in my mind, as it almost always changes the dynamics of a 'military' family, both good and bad. Too often we get caught up with the politics of war when we should really be focusing on what’s going on between the trenches. That’s where it's decided in an instant and why any story surrounding a P.O.W. is one to pay attention to, as they tend to be some of our most forgotten soldiers. Keeping a secret may be a relatively shallow thing for most of us, but for a soldier, it’s much more. And it’s with that spirit a film like BROTHERS comes along, proving that it’s not always a given things will go back to normal after a loved one returns from war.

Based on the 2004 film BRODRE by Susan Bier, and inspired by the epic poem by Homer, The Odyssey; the story here follows two brothers, Sam (Tobey Maguire) and Tommy (Jake Gyllenhaal), and their fight to stay close. Sam would soon be off on his fourth tour in Afghanistan while Tommy was attempting get his life back in order after being released from prison for armed robbery. Sam had a wife, Grace, (Natalie Portman) and two daughters, Isabelle and Maggie (Bailee Madison, Taylor Grace Geare), while Tommy had nothing but the shirt off his back. Hoping to make amends for his tarnished past, Tommy enlists the help of his friends to refurbish Grace and Sam’s kitchen, quickly improving his status with his sister-in-law. But, not too soon into the repairs, came news that Sam’s helicopter went down somewhere in the mountains and he was presumed dead. However, as we find out later, Sam and one of his own men, Private Joe Willis (Patrick Flueger) had instead been captured and taken to a local village for.

Brutally tortured and battered, they are forced to make videotaped confessions of their mission, although Joe is the only one that cracks, placing Sam into an extremely difficult predicament. Forced to either tell the truth of the mission or kill his friend Willis, Sam regrettably chose the latter, vaulting himself into a place he thought he would never be. Meanwhile back home, Tommy and Grace start to grow closer, naturally confiding in one another after losing Sam and for a brief moment began to move past the tragedy at hand. It was then a call came in that Sam was found and was alive. Confused and happy, they awaited for Sam’s return, but not too long after his arrival, they noticed this was not the same Sam that left. Often drifting away into lonely moments of clarity, Sam was lost and clearly traumatized by the events that took place in Afghanistan. Not willing to tell his family what had happened, he turned his shame into anger, accusing Grace and Tommy of having an affair while he was gone. It was then this story took a turn for the worse, resulting in one intense and all too honest conclusion that will have you thinking long after the credits roll.

For those that were skeptical of a duo with Maguire and Gyllenhaal, you weren’t alone. I was right there, unsure of which Gyllenhaal I would get and if Maguire could finally step away from his Spider-Man web for a more serious role. Well, both proved me wrong with two of the best performances I have seen in quite some time. I’m not sure if they garner a nomination, but I wouldn’t be surprised either way as they each commanded their screen time together and seperate. For Maguire, this is huge step out and I think he did well with his role as Sam, by far the most dynamic of the bunch. And Gyllenhaal just moved in and out of scenes swiftly with no issue, quietly turning in quite the performance in a fairly reserved role. And you believed the story at which they worked around too, which was obviously key to the success. But, by no means was it the only key, as Natalie Portman was also able to take care of business each time she was asked to, showing her range as one of the most endearing young actresses in Hollywood. However, maybe no performance could compare to the one turned in by the 10-year-old actress Bailee Madison, who played Isabelle, Sam and Grace's daughter. Each and every time this girl was on screen, she drew you into her world of a girl who just wanted her daddy back from war. The pure emotion that surrounded her character was uncanny and utterly impressive, as she was as real as it came.

Anytime you go from the struggles of war to the struggles at home, all in the same film, the potential for some truly intense drama is likely. It’s because of this, a story like the one in BROTHERS works, for it covers so many true-to-life subjects that many of us don’t want to accept, no matter where they are born. Here, it lies with the war in Afghanistan, where a decorated soldier is hit with the hardest decision he has ever had to make, a choice, that I doubt many could be able to make given the circumstances at which he had to make it. That’s the premise to this story, but it goes deeper than that, as the more you layers you peel back, the more you start to see of a problem that persists with soldiers coming home, which is post-traumatic stress disorder and how that can change things drastically. This is the heart of the story, not some wicked love triangle, turned upside down as the erroneous trailer suggests. Frankly, I’m not sure what the producers wanted with that trailer as it does anything but promote the movie for what it truly is, which is a valiant piece of moviemaking both inside and out. And most of the credit can go to director Jim Sheridan, who made sure to bring in all the raw emotion that surrounds war, yet still allowing the reality to sink in that this mental illness can exist in our soldiers that come home, an underlying message if you will, within a story that didn’t necessarily demand it.

BROTHERS, like many of its predecessors, will go just as it came, quietly. That’s a shame, because no matter what the subject might truly be, if the Middle East is part of the story, it will be swept under the rug without much thought. Maybe this film will be different, but that’s the reality that has set into this post 9/11 country we now live in and why a great story and film like this can go unnoticed more often than not.

B+