VALDOSTA — “Extremely Loud & Incredibly Close” (Drama: 2 hours, 9 minutes)

Starring: Thomas Horn, Tom Hanks, Sandra Bullock, Zoe Caldwell and Max von Sydow    

Director: Stephen Daldry

Rated: PG-13 (Strong language, thematic elements and disturbing images)



Movie Review: Oskar Schell (Horn) is a very intelligent 9-year-old who searches throughout New York City for the lock that fits a mysterious key left behind by his father, Thomas Schell (Hanks), who often sent Oskar on mysterious expeditions. Oskar desperately wants to find lock as it is the last puzzling mystery left by his father who died in the World Trade Center on Sept. 11, 2001.

Stephen Daldry has only singularly directed three full-length films: “The Reader” (2008), “The Hours” (2002) and “Billy Elliot” (2000). All are memorable. He was nominated for an Oscar for each in the Best Director category. His fourth, “Extremely Loud & Incredibly Close,” which is based on Jonathan Safran Foer’s novel, is also memorable.

This is because Daldry chooses films with deep characters in solid stories. Oskar, a kid, is a very deep character, and his goal to honor his deceased father by completing a task is enduring. As Oskar moves around New York, audiences graciously have the chance to get to know him, his family and a number of New Yorkers.

The acting is topnotch. Horn works as a kid dealing with the death of a parent. Horn is really the lead in this film. He works. Films rarely have children as leads, but children can be very effective when used correctly. Horn is effective and affective, even if his character’s action can be irritating at times.  

He is also surrounded by several super actors. Bullock works as a mother trying to raise her son while dealing with grief herself. An excellent Hanks is always on key and makes an ideal father to Horn’s Oskar. Caldwell plays Oskar’s grandmother with a stern demeanor that makes her intriguing.

The best moments are Oskar’s travels around the Big Apple with a character known only as The Renter, who is played nicely by Von Sydow. As Horn and an elderly Von Sydow travel looking for answers regarding Oskar’s mysterious key, they form a deep relationship. Both are this movie’s highpoint.

Von Sydow gives one of 2011’s best performances. His character has to convey meaning and emote with out the use of words. Von Sydow’s performance makes it look all too easy. He easily energizes his scenes.

Other supporting cast members give added vigor, too. Viola Davis provides a great performance as usual, and Jeffrey Wright plays her husband with zeal.

What makes these characters neat is their reaction to life after tragic events, the biggest the events of Sept. 11, 2001. They must all deal with tragedies and continue living. This facet makes this photoplay a grand venture worth viewers’ attention and time.

Many films are apprehensive about tackling recent tragedies like Sept. 11. This is a solid film yet many are panning it because they cannot separate emotion from a good, fictional drama. While this is expected and human, it should not drive one’s reasoning.

Despite being set during a very tragic moment in this country’s history, this film is inspiring cinema. “Extremely Loud & Incredibly Close” is well-acted and nicely penned for the big screen by Eric Roth. Hats off to a very talented cast, director Daldry and writer Eric Roth for this moving drama that is told without becoming overly emotional.    

Grade: A- (Extremely beautiful and incredibly enduring)

 

“Red Tails” (War Drama/Action: 2 hours, 5 minutes)

Starring: Terrence Howard, Cuba Gooding Jr., Gerald McRaney and David Oyelowo        

Director: Anthony Hemingway

Rated: PG-13 (Violence, strong language and thematic elements)



Movie Review: This film is a great acknowledgment that the United States is a nation made powerful by the bravery of men and women of all races. Here, the focus is a fictional tale inspired by the real-life Tuskegee Airmen, a group of African-American pilots who flew with distinction as the 332nd Fighter Group of the U.S. Army Air Corps during World War II.

An intriguing honor to the Tuskegee Airmen, “Red Tails” is a light drama that is appealing but not powerful. The film creates characters but never lets you get close to them in a meaningful manner in which a solid drama should. It stays more on target with presenting a great story about some of history’s bravest men, America’s first all African-American aerial combat unit.

A disappointment is the designation of this film as fictional when a number of the Red Tail members are still alive. These brave men could have been contacted in more than just an advisory role to tell their stories in a non-fictional manner. Yet this measure is understandable. Movie producers rarely make minority dramas because they rarely make enough money to make producers see their need.

To make a minority production of this stature, producers apply a multitude of tricks to make the films more appealing. Additional humor, action sequences and a multitude of special effects are placed to widen audiences for these films. These additives may increase viewers, but they also lessen the authenticity to compete as acclaimed, award-worthy films. This is the case with “Red Tails.”

Anthony Hemingway directs his first feature film that is produced by George Lucas. Hemingway, primarily a television director, has helmed television series like “The Wire” and the revamped “Battlestar Galactica.” His direction is amiable but comparable to his teleplay-style of direction than the needed photoplay direction.

George Lucas has not produced a recent film outside of his money-making “Star Wars” and “Indiana Jones” movies in nearly 15 years. He comes forward here to produce a good worthy story. It just never rises above the fray to be the exceptional drama it should be. Lucas’ productions always maintain an adolescent air that never quite reaches a mature presentation.        

This screenplay makes the characters enjoyable to watch by making them humorous military men. This also lessens some of the dramatic moments. 

The best scenes are the ones that take place in the air. The drama appears most intense during fight scenes. Here, audiences are able to see brave pilots help save the world in a gratifying manner.

Grade: B- (A glance at very brave men)

 

“The Iron Lady” (Drama/Biopic: 1 hour, 45 minutes)

Starring: Meryl Streep, Jim Broadbent, Olivia Colman and Alexandra Roach

Director: Phyllida Lloyd

Rated: PG-13 (Violent imagery, nudity and gore)



Movie Review: “People don’t think anymore. They feel.” Those are lines spoken by Streep as Margaret Thatcher. This is true for many involved with modern politics, politicians and the citizens they represent. One’s feelings toward Margaret Thatcher will determine how well one responds to this portrayal of Great Britain’s first woman prime minister.  

Streep plays Baroness Margaret Thatcher in manner that makes one sympathetic towards her. The film portrays an aged Thatcher, guarded in her home and suffering from a form dementia. She commonly sees and has conversations with her deceased husband, Dennis (Broadbent). As her daily life is not as fascinating as in her youth, the ex-prime minister of Great Britain continues, she reminisces about her entry into politics and resignation from that arena.   

Directed by Lloyd (“Mamma Mia!,” 2008), this screenplay is executed in a haphazard manner similar to last year’s “J. Edgar” (Director Clint Eastwood). “Iron Lady” is better if one sees it a second time. The disjointed nature of juxtaposed scenes becomes less annoying. The second outing also makes Streep’s performance appear better, if that is possible. Streep is rewarding to the point she more than ably makes other, lesser parts of this film barely noticeable.

The film nicely portrays the life of Margaret Thatcher as an eager young woman (played nicely by Roach who looks like a young Thatcher) to her time as her country’s powerful leader from 1979-1990. She is ranked as the seventh longest-serving prime minister and the longest continuously serving prime minister since 1827.

The term “Iron Lady” was applied to Thatcher as an insult by the communist Soviet Union. The words describe her perfectly. She was a tough woman.

This portrayal of Thatcher is biography of sorts that concentrates on her life as a mother, her philosophy of governance and her relationship with her husband. Thatcher’s political career is only applied as a means to get to know her. The movie excels in this manner but is told via choppy scenes that do not always work together as a solid piece.

Streep holds this film together. She superbly makes her scenes dynamic. Her performance is enriching and riveting. She is the reason one should see this film. No other actress measures up to Streep’s performance. Now, she has been nominated for an Academy Award for her role as Thatcher. She is deserving.

Director Lloyd should thank Streep. The phenomenal actress, doused in makeup, manages to wield a powerful, passionate portrayal that saves this production.       

Grade: B (Streep is the prime minister of acting)

 

“Haywire” (Action: 1 hour, 32 minutes)

Starring: Gina Carano, Channing Tatum, Ewan McGregor, Michael Fassbender     

Director: Steven Soderbergh

Rated: PG-13 (Strong violence and strong language)



Movie Review: Mallory Kane (mixed martial arts star Carano) is an operative working for a government security contractor. She completes assignments and readies for the next. After colleagues set her up, she goes after her former co-workers for revenge and answers.

The plot is clichéd. A very able and successful secret agent is framed and seeks revenge. This is a tired story in modern cinema.

Director Soderbergh takes this clichéd plot and makes it bland. It consists of many action scenes where Carano performs admirably, but she lacks pizzazz as a leading lady. This exists mainly due to the screenplay material presented. “Haywire” has good music. This is one good point about this film. Too bad, the rest of movie is not in synch.  

Grade: C (Haywire describes this.)

 

“Underworld: Awakening” (Action/Horror: 1 hour, 32 minutes)

Starring: Kate Beckinsale, Michael Ealy and India Eisley        

Directors: Måns Mårlind, Björn Stein

Rated: R (Violence, gore and thematic elements)



Movie Review: Twenty-first century humans discover the existence of Vampires and Lycan clans. Humans worldwide begin annihilating Vampires and Lycans, believing they are abnormal beings. As humans eradicate both species, the Lycan and the Vampires still battle each other. Selene (Beckinsale), a Vampire death dealer, battles humans and werewolves as she continues searching for the long-lost love Michael, a Vampire-Lycan hybrid.

If any one finds Michael, please inform the directors of this “Underworld” series. The series wanes as it continues. Beckinsale is good to look at, but it appears she and this series are repetitive processes. Each movie is similar to its prequel.

This latest addition is all action. While the stunts are smart, the story is weighed down by nonsensical moments and overdone and sometimes messy special effects.          

Grade: C (Still asleep)