Today I saw Prisoners, starring Hugh Jackman and Jake Gyllenhaal.
Keller (Jackman) and Grace (Maria Bello), have a wonderful Thanksgiving dinner with their neighbors Franklin (Terrence Howard) and Nancy (Viola Davis).
Each couple has a young daughter and the girls leave together after the meal to go play. The adults don't realize they are missing until much later. They report a suspected abduction and soon are on the trail of the owner of an RV who was parked on their street.
Detective Loki (Gyllenhaal) has solved every case to which he's been assigned, so the families are grateful when he takes on the challenge of finding their girls.
That same night he apprehends the RV owner, a mentally slow man named Alex (Paul Dano) who doesn't have any trace of the girls on his belongings. They hold him for 48 hours and release him to his aunt's custody.
Because Keller is convinced that Alex is guilty, he kidnaps him at gunpoint and takes him as a prisoner at an empty property he owns. He begins torturing him to get information from him, but gets no results.
Soon, he involves Franklin and Nancy, who don't feel right about what he's doing, but also choose not to stop him.
Meanwhile, at a candlelight vigil for the girls, a man's odd behavior catches the eye of Detective Loki and he gives chase. This is where, of course, the plot thickens.
From Hugh Jackman's desperation to the numbness of Maria Bello, each actor lives their role with frightful realism. The pain of the families is tangible, as is the frustration of the detective who is unable to decode the puzzle that may lead them all to the girls.
I was on the edge of my seat for the duration of this lengthy film, and with every twist and turn I held my breath, hoping for resolution.
Aside from a few key gruesome scenes, I never looked away.
I'm glad I didn't—a solid thriller is always a great way to get the adrenaline going.
~~~
Showing posts with label Hugh Jackman. Show all posts
Showing posts with label Hugh Jackman. Show all posts
Wednesday, October 16, 2013
Wednesday, December 26, 2012
Les Misérables
Today I saw Les Misérables, starring Hugh Jackman and Russell Crowe.
The famous musical is so well-known at this point, I don't feel the need to recount the plot, but I will say that this rendition, sung live by its actors, certainly communicates the sentiment.
Director Tom Hooper thankfully doesn't add flash where none is necessary. Much like its anticipated awards season rival, Lincoln, it feels more like a stage performance than a film at some points, but that's forgiven in the context of the narrative.
Hugh Jackman couldn't be better as Valjean, with his earnest glances and dignified actions; Russell Crowe is equally superb as the rough Javert, nailing every line and mannerism.
Where I cringed a bit was when Anne Hathaway over-acted her part as Fantine, and her beautiful singing was overshadowed by her exaggerated looks of torture and despair. She would have been much more powerful if she'd played it understated. But oh, well. Her screen time is minimal after the first act, and others pick up where she left off—Amanda Seyfried as her daughter Cosette, and the refreshing Helena Bonham Carter as Madame Thénardier were welcome sights, as was Eddie Redmayne, who played an impressive Marius.
The aerial shots and meticulous costumes also add a grandeur to the film, which will surely be remembered at the Oscars for its sets and design, if not for its actors.
Overall, this is a satisfying, if not perfect, re-make of a story more often told as a play.
~~~
The famous musical is so well-known at this point, I don't feel the need to recount the plot, but I will say that this rendition, sung live by its actors, certainly communicates the sentiment.
Director Tom Hooper thankfully doesn't add flash where none is necessary. Much like its anticipated awards season rival, Lincoln, it feels more like a stage performance than a film at some points, but that's forgiven in the context of the narrative.
Hugh Jackman couldn't be better as Valjean, with his earnest glances and dignified actions; Russell Crowe is equally superb as the rough Javert, nailing every line and mannerism.
Where I cringed a bit was when Anne Hathaway over-acted her part as Fantine, and her beautiful singing was overshadowed by her exaggerated looks of torture and despair. She would have been much more powerful if she'd played it understated. But oh, well. Her screen time is minimal after the first act, and others pick up where she left off—Amanda Seyfried as her daughter Cosette, and the refreshing Helena Bonham Carter as Madame Thénardier were welcome sights, as was Eddie Redmayne, who played an impressive Marius.
The aerial shots and meticulous costumes also add a grandeur to the film, which will surely be remembered at the Oscars for its sets and design, if not for its actors.
Overall, this is a satisfying, if not perfect, re-make of a story more often told as a play.
~~~
Saturday, November 29, 2008
Australia
Yesterday I saw Australia, starring Nicole Kidman and Hugh Jackman.
Baz Luhrman brings pre-World War II Australia to life by telling the story of Lady Sarah Ashley (Kidman), a British widow who has to relocate to the continent to save her husband's business and property after he is murdered. After many doses of typical movie-romance banter, she enlists the help of Drover (Jackman), a morally sound cattle rancher, who successfully assists her while consequently falling in love with her.
They also unofficially adopt Nullah (Brandon Walters), an aboriginal boy, who often appears to be the most resourceful and clever member of this dysfunctional, yet loyal, family.
To call the film a romance isn't really being honest—sure there are elements of it surrounding the main characters. And yes, Kidman and the ever-appealing Jackman have a respectable chemistry opposite one another. But the basis of the story is not merely their love; in fact, that part feels like more of a side dish in a meal that's more Western/war than anything else.
Because Director Baz Luhrman is in charge, that's all okay, though.
His stunning landscapes make for such a beautifully lit narrative, somehow even the hellish fires of war come out looking magical.
He also commands an almost supernaturally good performance from his youngest star, Walters, who brings so much character to Nullah, he steals the show.
Australia has all the elements of a traditional epic: deaths, rivalries, lovers torn apart, orphans, war and aristocracy, and each delivers in a satisfying, if not overwhelming way.
Many of the scenes and outcomes are predictable, but nonetheless well executed. Overall, it's an entertaining and attention-keeping film.
The biggest criticism I have is in the work's length—at nearly three hours long, I couldn't help but make mental notes along the way of portions that should have been cut.
But I'll forgive an artist as great as Luhrman for seeing his vision through to the end. Despite its flaws, the movie is still a suspense-filled visual marvel, and for that reason alone, audiences should see it on the big screen.
Baz Luhrman brings pre-World War II Australia to life by telling the story of Lady Sarah Ashley (Kidman), a British widow who has to relocate to the continent to save her husband's business and property after he is murdered. After many doses of typical movie-romance banter, she enlists the help of Drover (Jackman), a morally sound cattle rancher, who successfully assists her while consequently falling in love with her.
They also unofficially adopt Nullah (Brandon Walters), an aboriginal boy, who often appears to be the most resourceful and clever member of this dysfunctional, yet loyal, family.
To call the film a romance isn't really being honest—sure there are elements of it surrounding the main characters. And yes, Kidman and the ever-appealing Jackman have a respectable chemistry opposite one another. But the basis of the story is not merely their love; in fact, that part feels like more of a side dish in a meal that's more Western/war than anything else.
Because Director Baz Luhrman is in charge, that's all okay, though.
His stunning landscapes make for such a beautifully lit narrative, somehow even the hellish fires of war come out looking magical.
He also commands an almost supernaturally good performance from his youngest star, Walters, who brings so much character to Nullah, he steals the show.
Australia has all the elements of a traditional epic: deaths, rivalries, lovers torn apart, orphans, war and aristocracy, and each delivers in a satisfying, if not overwhelming way.
Many of the scenes and outcomes are predictable, but nonetheless well executed. Overall, it's an entertaining and attention-keeping film.
The biggest criticism I have is in the work's length—at nearly three hours long, I couldn't help but make mental notes along the way of portions that should have been cut.
But I'll forgive an artist as great as Luhrman for seeing his vision through to the end. Despite its flaws, the movie is still a suspense-filled visual marvel, and for that reason alone, audiences should see it on the big screen.
Friday, October 27, 2006
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