Transcendence Review

Transcendence

Directed by Wally Pfister

Released in 2014

Call me old fashioned, but I would rather watch a blockbuster with big ideas, conversing with the issues facing us today as well as millennia of literature and shared cultural history, than another superhero movie. The latest Johnny Depp bomb Transcendence — which grossed only $10.8 million last weekend, off a $100 million budget — fails as an action film, which the trailer makes it out to be, and could use a bit more pep as a thriller, which it actually is. By current Hollywood standards, it is sort of incompetent. But it succeeds, with pleasing consistency and formal rigor, as a film that raises questions, about our futures, plural, our presents and our pasts. It works as art.

I know I am fighting an uphill battle here, praising what Rotten Tomatoes has already canonized as trash, so let me complicate things further with some basic plot summary: Alongside his wife Evelyn (Rebecca Hall), Will Caster (Depp) foresees a world where computer intelligence supersedes that of a human, in that it becomes sentient. An affectless scientist and even drier orator, Caster nevertheless commands a lot of respect, as seen by Elon Musk’s head peeking from the U.C. Berkeley audience soaking in his Jobs-ian keynote. Some radical Neo-Luddite faction led by a noirish Kate Mara (House of Cards) lashes out, bombing artificial intelligence research labs and shooting Will after his speech. He survives the bullet but succumbs to its radiation contamination a month later — just enough time for Evelyn, along with friend and fellow scientist Max (Paul Bettany), to “upload” Will’s consciousness to an advanced computer framework the three of them had long been developing, in order for Will to keep on living when his body cannot.

The trailer and poster give away as much, but Will makes it. Or some form of Will — therein lies much of the dramatic tension. Depp’s performance is not notable, but that is kind of the point: Will is so bland it is impossible to gauge any loss of humanity when he jumps to a computer screen. Perhaps Warner Bros. should have put $20-plus million to better use, rather than casting him in such a flat part, but Depp’s presence at least comments, if unwittingly, on the automatic trust we place in celebrities whose faces grace magazine covers. Max doubts this new Will is actually Will, because his crackly, disembodied voice rattles off most megalomaniac demands. But not Evelyn: She senses her husband through the 1s and 0s and agrees to connect Will to the Internet and facilitate his dreams, which are also hers.

This all sounds quite silly, describing the plot like this, but Jack Paglen’s script pushes forward at a believable clip, with only weak dialogue as its cardinal sin. Speaking of sin, the film’s richest dialogue occurs beneath the text and involves the story of Adam and Eve. Named, one can assume, in reference to Eve, Evelyn threatens the world with another Fall of Man, except self-awareness will not now plague humans, who already have it, but a being whose intelligence we cannot fathom. Eve has long been blamed for the Fall; in Paradise Lost, the most admirable defense Milton could summon was to point at Adam and basically say, “She was yours; you should have kept her in her place.” Here, Evelyn’s love drives her initial actions, which put mankind on the brink once again, but it is her genius and unfailing agency which seek to reverse that course.

Will does not make it easy: In the midst of his underground Southwest research facility, he sets up an intimate ski lodge bungalow for the two of them to share. Evelyn can only speak to his likeness on a screen, but when Will recounts his memories of how they fell in love, it is impossible to deny the grounded, human feeling of the moment. Yet director Wally Pfister has us doubt this exchange, for he toys with the multiplicity of screens Will uses to reach her. First Pfister gives us a standard shot reverse shot, with Evelyn curled on a couch and looking up at Will, who is framed and flatters like a cool Humphrey Bogart. At the end of this unusual love scene, however, Pfister frames Evelyn as before, now joined with another screen of Will’s, one she does not see. It’s the same Will that is projected on the other screen, we assume, but it hovers just over her shoulder, whispering sweet nothings into her ear like a serpent. Will is both human and machine, God and Satan in this one scene, embodying divine paradoxes in a plausible, fascinating conceit.

Considering he only got to sit in the director’s chair due to his Oscar-winning tenure as Christopher Nolan’s cinematographer, Pfister recognizes the visual supremacy of his medium. Crumbled, monochromatic desert reminiscent of that in the video game Fallout: New Vegas contrasts with sleek, Apple Store-white corridors — the former dwarfs those standing in it, thanks to the inhospitality of nature and such, while the latter merges with Evelyn, who has a penchant for white, as she walks through them. When Will’s cyber self begins to incorporate nanotechnology, blue strains of sentient particles ascend from the desert ground into the air we all breathe. I think of a line Cormac McCarthy uses to describe post-apocalypse in The Road: “The salitter drying from the earth.” That archaic word, “salitter,” means “the grace of God.” Here, Will extracts this essence from the earth only to join with it and, he hopes, create it in his own image.

There is a whole political dimension to this film, too, which presents a scenario of miraculous health care, through Will’s technology, only to rule it a reckless fantasy. It is not a very weighty take on the issue, but at least it beats Elysium. In fact, Transcendence trumps a number of recent movies at their own game: It is a more literate Biblical movie than Noah, a wiser dissection of private and public surveillance than Captain America: The Winter Soldier, a knottier machine-man love story in that one scene than all of Her. This is smart, big-budget filmmaking, folks. So what if Cillian Murphy and Morgan Freeman’s characters are so bad I purposefully neglected to mention them until now? You will not remember them — seriously, there’s not even, like, camp value in their awfulness — but, if you keep your tomatoes holstered, you should remember the rest.

Final Verdict:

3.5 Stars Out of 5

This article was written for The Cornell Daily Sun and can be viewed at its original location here. 

Super 8 Review

Super 8
Directed by J.J. Abrams 
Released in 2011

I have not written any movie reviews for almost a year now. It was a pastime I loved but, well, let's just say things got in the way. One of those things was making not one but two movies myself, working with a group of other talented filmmakers my age. I saw Super 8 with these friends and, alas, I am back.


Super 8 loves the art of film, and anyone who shares the same passion will love this movie. The title itself refers to the affordable 8mm film cartridges that fueled the amateur films of young filmmakers, many now accomplished artists themselves. J.J. Abrams, the director of Super 8, clearly spent his childhood committing his fantasies to film, and it is commonly known that his mentor, Steven Spielberg, did the same. Quite fitting then, that in Abrams' attempt to create the E.T. of his time, the master sits besides him in the producer's chair. Abrams emulates the tone and aesthetic of Spielberg's early films, and does so while adding his own (sometimes literal) flair. 


The film opens in rural Ohio, 1979. The date is never explicitly mentioned but you will definitely catch it with the liberal references to "My Sharona", the new Walkman, and Three Mile Island. Young Joe Lamb (newcomer Joel Courtney) has just lost his mother in a tragic accident and is now under the solitary care of his distant father, the deputy sheriff of the town, Jackson (Friday Night Lights' Kyle Chandler). A fortunate distraction presents itself through his friend, Charles (Riley Griffiths) and the Super 8 zombie film he is making with his friends. They film a risky nighttime scene by the railroad tracks when a traumatic crash occurs, letting loose a secret government project. The army sweeps in and tries to cover it up but the kids luckily caught it on film. Extraterrestrial mumbles crescendo, leading to an explosive symphony by the last third of the film. 

And the perspective stays in the eyes of the children. In a move that surely concerned the studio execs behind the funding of this picture, Super 8 focuses on its young actors, none that well-known. For a sci-fi film set as a summer blockbuster, that is a risky move (and one that did not totally succeed from gross reports so far). However, Abrams made the right artistic choice. The banter between the youth crackles, consistently witty and grounded to the age of the characters. Cary (Ryan Lee), the pyro-cameraman, steals every line as the immature, garrulous adolescent we all knew. His lines are fewer than other characters but you will remember each wise-cracking remark. The other characters probably fit a mold of someone you know or used to know: Preston (Zach Mills) acts tough but lacks the backbone when tested, and the lead actor of Charles' film, Martin (Gabriel Basso), tends to break under pressure. Such lack of facility reveals the vulnerability of adolescence, while also providing a humorous venue to display such naivety. So, when the surrounding state turns to bedlam, the natural responses of a teenager - liberal (though PG-13) profanity and comical disbelief - are thrown around, which, while immature out of context, totally fits the characters.

And the chaos sure looks good. Abrams nailed an attractive, rich aesthetic with Star Trek, and, while there are less colors to work with this time around, he and cinematographer Larry Fong (who worked on stunning works like 300 and Watchmen) breathe life into such a banal setting. The image affords a greater clarity than most other films today, and reveals the finer details of both the characters and the perfect time capsule of a town they found to film at. Dolly and crane camera movements dominate over the handheld style of that other recent alien invasion movie District 9. The cacophonous train crash mixes computer animation and setpieces deftly well, creating ultimate carnage while preserving reality. As the children run through a deserted town later, with only tanks and guns blasting all around them, we see the expanse of their environment:  there is no green screen and the old-school approach to Hollywood action lives on. It is classic Spielberg, and clearly Abrams is learning from the master. 


No one remembers ET for any action scenes, however. While Super 8 is a different beast, one that features destruction prominently and more than ably, it does not let the visual eye candy become the crux of the film. Abrams clearly aims for a childhood parable the same way Steven did almost 30 years ago. Joe is as alien to his father as the mysterious creature outside. He finds comfort in the misfits who run around in zombie makeup, and his father does not agree with his son's choices. The dad downright condemns any interaction with Alice (Elle Fanning), the dream girl Charles hooked to play the female role in his film. Turns out her father has an unfortunate history with his own family. But the Montague-Capulet flame of tension burns stronger as love. Alice may have the looks to attract the guys but she bears the emotional scars of a loveless past. Joe understands her, and the burgeoning romance evolves maturely and nary a gimmick. Elle Fanning scales taller dramatic heights than her sister did in Spielberg's own 21st century alien film, War of the Worlds, and displays so much potential for an excellent career to follow. Joel Courtney - without any previous acting credentials in Sophia Coppola films unlike his counterpart - shines as the cute, sensitive protagonist. He cares about his friends and sees the good in the world, and Courtney achieves the delicate pathos the role requires. Much like Henry Thomas as Eliot in ET, a newcomer was chosen for the main role, and this tactic succeeds to preserve such unadulterated innocence in his character.


The coverage of the father and son relationship lacks consistency, but the payoff works despite a missing link in their dynamic bond. Not only does Joe find love in a girl of his dreams, but in the solemn man he never connected to in his life. Kyle Chandler delivers in the emotional intensity of a man on a mission to connect. His son sees the good in him that his sandpaper heart has concealed for too long. Joe's final "test" will prove his beliefs, and his father is there to grasp what he has been missing for so long. Over the emotional interchange, and the whole rest of the film, exists Michael Giacchino's beautiful score, reaching levels of John Williams-esque opera in broad shots, while still resorting to that delicate solo piano known from Lost in the most intimate scenes. Giacchino has, unarguably, been a main factor in the emotional resonance of any film or television show he has touched. 


Super 8 exposes the creature behind all the carnage in due time, but it should be commended for revealing the alien we all harbor. We all carry our passions that seem ridiculous to others. Above all, the level of time spent studying, watching and visualizing the art of film puts it at odds with other activities many deem more important. Yet film, the language Abrams and so many of us speak, communicates truths unlike any other medium. Its prevalence grows while the influence remains intact; the visual fidelity and means of distribution in 1979 are lightyears from today's benchmark but the connection remains the same. It is rather perfect I saw this film with those I created alongside as well. We saw each other in the characters on-screen. We had a back-talking, know-it-all Cary. The butt of jokes in our own Preston. And, as I was reminded more than once, the bossy, idealistic director seeking the best "production values" in myself.


Final Verdict:
4 Stars out of 5

Drag Me To Hell Review

Drag Me To Hell:

Directed by Sam Raimi

Released in 2009

For a movie that is poking fun at the current horror movie genre, Drag Me To Hell ends up being one of the best horror movies in recent memory. Its mix of campy violence, witty humor and genuine scares make Drag Me To Hell an entertaining, compelling film.

The overall premise is simple: Christine, played by Alison Lohman with a full committal to her role, is living a nice life until Mrs. Ganush (Lorna Raver) comes along. This old, gypsy woman requests Christine for an extension on her mortgage. Christine decides to deny the mortgage in hopes of a promotion but Ganush, in her fury, casts a dark spell upon the poor girl, the curse of the Lamia. The Lamia stalks its victims for three days until finally bringing them down to eternal hell. Christine has no plans of eternal suffering and goes to great lengths to rid her of the curse. The film is brilliantly paced and just moves; this film will hook you from the beginning and not let go until the end. And what a finale; I could not have imagined a better way to end this movie and it combines equal parts humor and pure terror to leave the viewer shocked as well as satiated.

In a horror movie like this one, acting is not a field where this film will usually, or even necessarily have to, excel in. However, Drag Me To Hell has an excellent lineup lead by the lead actress, Alison Lohman. As an innocent girl with a (literal) hellish burden put upon her, she performs her part with a great mix of typical horror film naivety, pure terror and pissed-off badassery. Lohman even goes to disgusting lengths such as swallowing maggots in her full dedication to her role. Christine's boyfriend is played by Justin Long and is just what you would expect from him. He doesn't really believe his girlfriend's struggles and has bigot parents to boot. This role is not new for him but Justin Long is a likable actor and he fits the role with ease. As well, Lorna Raver as Mrs. Ganush is excellent without a doubt. Her makeup transforms her into a menacing, demented gypsy who haunts Christine at every turn. There is even an extended fight scene that involves her brawling with young Lohman. Clearly, Mrs. Raver put a lot of effort into her role. Another prevalent actor in this film is Dileep Rao who plays Rham Jas, the seer who can see Christine's troubles. He is a likable character who only has limited screen time but ends up being one of the few, real good guys in the film. Basically, the acting is better than expected and a big part of why this film is better than most horror films this decade.

However, what really sets Drag Me To Hell apart is its style. There is a certain campiness to it that was clearly the brainchild of Sam Raimi, the director, looking back to his early days of Evil Dead. The violence, especially for a PG-13 film, is shocking yet somewhat hilarious. At one point, Christine spouts blood from her nose like a fountain, with people around her viewing it as a minor distraction. Clearly, the violence is meant to amuse, not repulse. That being said, there are various forms of blood and bile liquid flowing throughout. Furthermore, its self-deprecating look at the horror genre actually lends it an advantage. Many situations are full of the typical cliches such as a dead flashlight, shadows under a door, or closet jump scares. It works though; this could be attributed to its excellent directing or driving pacing. It never plods along at a slow pace. Countering this humor and convention is real horror. There were many times throughout the film where I was actually creeped out by its Lamia spirit or Mrs. Ganush, even if I may have laughed at them afterward. All in all, it is very interesting how Drag Me To Hell blends comedy, parody and horror all into one creation that seems original as much as they may have been done before.

To sum up, Drag Me To Hell is a fun, wild film. It keeps you hooked, regaled and even spooked throughout with no time to breathe. Add in the surprisingly good acting and one of the best endings I have seen in recent memory and you've got one of the finest horror films of the decade. 

Final Verdict:

4 Out of 5 Stars

Zombieland Review

Zombieland:

Directed by Ruben Fleischer

Released in 2009

Zombieland does not reinvent the wheel. A hybrid of a zombie and romantic comedy, Zombieland takes a lot of influence from films before it such as Shaun of the Dead and even the similarly titled (as well the career launch pad for one of this film's leading actors) Adventureland. However, it works because of its execution. The cast - with a pleasant surprise - fit with one another in a practically flawless manner, and the comedy and action are very well-balanced.

Columbus (Jesse Eisenberg) is a kid on his own with a certain set of rules for surviving the zombie apocalypse. His OCD mentality is restricting but effective, as he has survived longer than most on Earth. He eventually runs into Tallahassee, played by Woody Harrelson, whose gun-ho approach strictly conflicts with his reserved attitude. Nonetheless, they join forces to survive until they run into the sly sisters, Wichitaw (Emma Stone) and Little Rock (Abigail Breslin). Their uncertain motives put the two males down often, but Columbus knows he has an attraction for the older sister (Stone) and she does too. The chemistry between the two is very good and similar to the Eisenberg-Kristen Stewart relationship from Adventureland. From me, that is a compliment. Emma Stone, more commonly known as "Jules" from Superbad, is in a similar role here but brings her own sexy charm and back-stabbing attitude to make it a fun role. Abigail Breslin is in her best role since Little Miss Sunshine as a tough girl despite her small appearance. The real star of the show here, however, is Woody Harrelson. An underrated actor in many regards, Woody constantly brings a rough, humorous approach to almost all of his roles and this one is one of his finest. Tallahassee directly contrasts Columbus's conservative approach and that really highlights his talents. He will casually, yet brutally, take down a zombie, laugh at rednecks' obsession for guns, grow furious at a Hostess truck for lacking his ultimate treat, Twinkies, and even grow emotional when his real reason for roaming the wastes of the US are revealed. This film has shined the much-deserved spotlight on Woody's career again, and the commercial and critical success this movie is experiencing can only foretell good things for his long-running career. Overall, the casting in this film is spot-on and its finest aspect.

However, the joy and carnage this film conveys through its story and action are also very notable. The film starts out as a typical zombie comedy, with countless undead killing helpless humans while Columbus's narration explains what they did wrong and how he avoids their mistakes. The opening is actually pretty brutal, with plenty of appendages either decaying or being eaten, and the huge bursts of blood are not for the faint at heart. The credits sequence, played to Metallica's epic "For Whom The Bell Tolls", is similar to Watchmen's as it contains many slow-motion scenes of carnage while still conveying a pseudo "history" of the zombie events (more like a collage of action honestly). Once the romantic interests are introduced, however, this film takes a long break from zombie action all together and focuses mainly on its comedic laurels. To some, this may seem like an unwelcome approach but I found it a perfectly fine way of mixing the movie up. The film's conclusion contains plenty of action so it ends up being very balanced. In around the middle of Zombieland, there is a certain cameo whose identity I will not reveal, but he (a hint at least) ended up being my favorite part of the film. He is a universally-loved actor anyway, and seeing him again is a pleasure for practically anyone who will being seeing a movie called "Zombieland."

All in all, Zombieland takes lemons and makes damn fine lemonade. You may have tasted some of it before, whether it be in the consistency or tartness, but it brings back good memories and is the perfect cure for thirst on a hot day. In this case, the hot day is the current slough of movies that really make this film stand out. Even without these limitations, Zombieland is an excellent zombie film and one of the year's better comedies. Its careful borrowing of older ideas end up working because of the stellar execution in almost every regard. The acting, action, dialogue, comedy, cinematography....it all works. And I am more than satisfied with that.

Final Verdict:

4 Stars Out of 5