Movie Review: Up in the Air

Up in the Air is a film that taps into the unexplored realms of middle-class America during this particular economic crisis. Jason Reitman's sensitive expose is unflinching in terms of showcasing the disintegration of the common American worker. He uses his camera to create a searing portrait of loss and personal hardship, incorporating real people into the film to emphasize the metaphorical significance of the character of Ryan Bingham (played by George Clooney). Using Bingham as a vessel to elicit sympathy for the downtrodden American laborer, Up in the Air provides testimony to the enduring power of relationships and how sometimes we need the comfort of loved ones to overcome the devastating burdens of professional deterioration. As a parallel, the film also comments on the destructive capabilities of isolation; how separating ourselves from the ones we love often leaves us feeling misguided and confused. We humans are built to love; we are meant to feel compassion for others and must adhere to the rules and responsibilities of our moral convictions. What Reitman shows us with the character of Ryan Bingham is the antithesis of that. Bingham flies cross-country on a regular basis, firing people because their bosses don't have the guts to do it themselves. He uses comfort as a tactic to become the best at what he does. And for the first three quarters of the film, Bingham is like an unfeeling shadow passing through without any kind of emotional nuances. He shuns himself from feeling any remorse, pushing himself away from family and friends in favor of joining the exclusive 10 million mile club. To him, the club is more important than generating lifelong bonds and preserving a legacy in the hearts of loved ones. Bingham is obviously a flawed character and Reitman uses the film as a canvas to illuminate his possible salvation. In the end, Reitman shows how Bingham's hope remains buried underneath the crusted soil of a flagellating economy and a misconceived notion of happiness through loneliness.

But by no means does Up in the Air rely strictly on its dramatic prowess to highlight the complexities of Bingham's wandering soul. It uses the perfect blend of comedy to illustrate fascinating character traits throughout the course of the film. This leads to the development of relationships and forces Bingham's philosophies to twist on their axles. Such transitions occur in Bingham's encounters with Vera Farmiga and Anna Kendrick. With the latter, the audience is meant to understand the difference between old-school traditions and new-wave ambitions within the job market. The escalating rise in technology, combined with the impeccable resumes of the Ivy League intelligentsia, invalidate the fundamental principles of loyalty and convention that come with employment. Companies hire those who project an image of success through appearance. Potential employees highlight their qualifications with a sassy outfit and sharp insight into the future. In showcasing the vivacity of an exuberant young college girl, Kendrick masters the part with a quiet confidence and grace. She is vibrant, energetic, and a refreshing source of comic relief that plays off Clooney's tranquil sense of levelheadedness. The crisp dialogue between the two not only provides a witty analysis of the introspective dichotomies between a man and a woman, but also seeks to expose and delineate the hypocrisy of Ryan Bingham. Kendrick's Natalie believes in the heartfelt potential of relationships to the point where she takes a job just to be closer to her boyfriend. For her, success is measured on the basis of hard-working professionalism and strict devotion to her relationship. She falls for the naivete of living happily-ever-after and projects genuine heartbreak when her visions of love are compromised. While Kendrick's Natalie is the comedic heart of Up in the Air, she is also the voice of reason and a beacon of sentimentalism for Bingham. The quick cut of her moving along the escalator towards the end of the film illustrates how important she was to him as a friend. She provides him with a chance to view the goodness within himself; an opportunity to cast aside the chains of limitation and shine a light on the darkest corners of his incorrigible heart.

Bingham opens himself to the dynamic personality of Alex Goran (played by Vera Farmiga). She is another frequent flyer who at first is nothing but a romantic entanglement for Bingham. They meet in various cities for erotic trysts the likes of which are meant to induce a temporary escapism from their daily routines. There are no attachments in this relationship. There are only impermanent moments of passion minus the nagging complications of falling in love. Yet the irony that remains hidden from both characters is that they are perfect for each other. And therein lies the catalyst for Bingham to develop a connection with another human being. Farmiga is perfectly cast as Alex, bringing together an equal level of sexiness and intelligence to the role. The high-angle shot of Clooney that comes right after she walks to the bed illustrates how Bingham has been hooked like a fish. His desire to want to keep seeing her is not only a cultivation of lust, but also a product of subdued emotional undercurrents involved in caring about another person. Their relationship develops onscreen through intimate close-ups and sparkling conversations. Both Bingham and Alex discover they have plenty of things in common, with Clooney and Farmiga playing it as smooth as Bogart and Bacall. The key moment in the entire film is when Bingham and Alex assign themselves to comfort the broken-hearted Natalie after her boyfriend dumps her via text message, which is a cardinal sin when it comes to ending relationships. Farmiga's acting in this particular scene is brilliant to say the least from her subtle delivery of lines to her unobtrusive bodily shifts and facial movements. It provides excellent substance for the emotional punch that occurs near the end of the film, when Clooney shows up at Farmiga's doorstep. He stands there hoping to encounter the definitive happy moment in his life. The chemistry between Clooney and Farmiga is so effective and so natural that by the time the audience reaches this moment, we have become totally invested in the lives of these two characters. As a result, the audience hopes to witness the redemption of Ryan Bingham and yearns to watch George Clooney ultimately end up with the girl of his dreams.

Yet Up in the Air is so much more than a romantic comedy dependent on redemption. This is due in large part to the nimbleness of its screenplay. Jason Reitman and Sheldon Turner have crafted a superior adaptation of Walter Kirn's novel, plunging directly into the seams of these characters and examining their places in a fluctuating corporate society. Reitman's sensitive direction of the material, combined with his astute commitment to detail, have allowed Up in the Air to transcend the limits of its genre. As a result, it emerges as a tragi-comedy centered around a serene performance by George Clooney. There are moments when his imperturbable delivery of lines and genuine awareness of comedic timing serve him well, particularly in his encounters with Farmiga and Kendrick. Yet it is in the moments of isolation, where Bingham is forced to re-examine himself as a person, that the performance takes on a whole new level. When Reitman turns the camera loose on Clooney's face, there are moments of thoughtful poignancy and extraordinary depth that truly add insight to the character of Ryan Bingham. Clooney is fearless and unafraid to establish a transition between Bingham's ignorant playfulness at the beginning of the film and his austere trepidation towards the end of the film. Clooney's performance is layered to the point where we see Bingham emerging as a different person by the end of the film. The final shot becomes a metaphor not only for the fear and uncertainty of the unemployed, but also for the fear and uncertainty hidden within Bingham's heart. In the end, Up in the Air soars to breathtaking heights five miles above the earth, encouraging us to remember the important things in our lives and to always cherish the relationships we have created for ourselves. For people living in angst and confusion, Up in the Air is a triumph.

Lenny's Grade: A

HURT LOCKER WINS PRODUCERS GUILD AWARD!!!

That's right, folks. The Hurt Locker triumphs with the producers and manages to steal one away from Avatar. There were many people within the industry who felt that this would be a cakewalk for James Cameron and Jon Landau. Avatar is a big-budget action movie with mass critical and audience appeal. It has generated the most box-office revenue of any of the possible Best Picture nominees and has an outside chance of becoming the highest-grossing movie of all time. Its production values are second-to-none and more often than not, the Producers Guild likes to reward the films of the moment. I'm talking about the films that rely heavily on their production values to generate respect and admiration throughout the film industry. And while Avatar certainly has a larger share of supporters than detractors, it is very surprising to see it miss with the producers in this particular situation. With that being said, The Hurt Locker has taken a giant step forward in the Best Picture race. Coming off the threshold of an Avatar victory at the Golden Globes last weekend, there were many people who were doubting whether or not The Hurt Locker had a chance to compete with the popularity of James Cameron's ambitious endeavor. Its victory with the producers illustrates a steady amount of support for the film among the various guilds. It is a film that is well-acted, well-directed, well-written, and illustrates a very intriguing commentary on the Iraqi War. It may be that time in Hollywood where the powers that be have decided to finally reward films that tackle such a controversial subject. The Hurt Locker not only showcases the deadly environment through which American soldiers encounter violence and bloodshed on a daily basis, but it also shows us the addictive power of war and how there are some men who find their higher calling hidden beneath all the chaos and destruction. This is a film that could eventually be recognized as a modern classic; a film that might ultimately stand the test of time and prove to be one of the greatest films ever made. In spite of the popularity of Avatar, The Hurt Locker is a resonating force that cannot be ignored. And I have a gut feeling that it will not be ignored come Oscar time. Avatar has the advantage of being the most technically sound film of the year and as a result, it will most likely clean up with all of the technical awards. But in terms of sheer impact and vitality, combined with its influence and sharp analysis of the Iraqi War, The Hurt Locker stands the best chance of ultimately being recognized as the definitive film of 2009. The producers have recognized this and have rewarded it justly. We shall see if the directors do the same next week with Kathryn Bigelow.

2009 Screen Actors Guild Award Winners

The Screen Actors Guild Awards tend to reflect a detailed hypothesis of how the acting branch will vote during the Oscar season. Coinciding with the Golden Globes, the winners of the Screen Actors Guild awards usually stand a favorable chance of winning Oscars for acting come February or March. Of course, there have been exceptions to the rule i.e. Johnny Depp winning Best Actor for Pirates of the Caribbean: The Curse of the Black Pearl but losing the Oscar to Sean Penn for Mystic River in 2003. There were no surprises at the SAG awards this year as virtually every single favorite took home the award and strengthened their Oscar campaigns even further. Here were the winners of this year's Screen Actors Guild awards...

Best Ensemble: Inglourious Basterds

Best Actor: Jeff Bridges = Crazy Heart

Best Actress: Sandra Bullock = The Blind Side

Best Supporting Actor: Christoph Waltz = Inglourious Basterds

Best Supporting Actress: Mo'Nique = Precious: Based on the Novel 'Push' by Sapphire

Best Stunt Ensemble: Star Trek

WHAT THIS MEANS

Forget about the Stunt Ensemble award. It has absolutely nothing to do with the Oscars because the Oscars do not reward the stuntmen in feature films. If anything, it perhaps shows how Star Trek could be a thorn in the side of Avatar when it comes to dispensing the technical awards but even that is stretching it by a mile. Instead, one should turn their attention to the five other awards handed out on Saturday night, beginning with the Ensemble Award. Up until this moment, Inglourious Basterds was not making a statement in terms of the Best Picture race. What with The Hurt Locker taking home virtually every single critics' prize this season and Avatar taking home the Golden Globe for Best Drama, it would appear as if the voters were once again ignoring Quentin Tarantino's brand of auteur cinema. Yet this win on Saturday night shows how Inglourious Basterds is very popular with the actors. Tarantino himself was quoted in saying how the film was very hard to cast and that he "loved to see them getting these awards in unison." Support for the film was shown within the nominations as Diane Kruger picked up a surprise nomination in the Supporting Actress category. Personally, I would have nominated Melanie Laurent for her searingly complex performance as femme fatale Shoshanna but I also believe that any one of its main European stars could have received a nomination for the film. Inglourious Basterds has therefore become the beneficiary of a slight nudge in the Best Picture race. But even though the award for Best Ensemble Cast is well-deserved and certainly evident of support within the industry, I don't think the victory carries enough merit to catapult the film into the role of frontrunner. I still think it's a two-horse race between The Hurt Locker and Avatar, though it would be a nice surprise if Basterds shocks us all.

Sandra Bullock took a huge step in the Oscar race last weekend with an upset victory over Meryl Streep. But once again, I am inclined to believe that voters are following their hearts rather than their minds on this one. Many of those actors have worked with Bullock over the years and have a sincere respect for her body of work. They can't honestly believe that The Blind Side is a film worthy of honoring her creative talents. Or can they? To the surprise of many this season, audiences have fallen in love with The Blind Side. They are viewing it as an inspirational true story carried on the wings of an endearing performance from Bullock. Now I am obviously in the minority on this one, believing that The Blind Side is a Hallmark movie thinly disguised as a heartening piece of studio cinema. Yet in spite of my emphatic disgust with the choice of Bullock as the year's Best Actress, she is cleaning up as of late and is really making a statement in this year's Oscar race. Yet perhaps the only reason SAG did not dispose its highest honor on Meryl Streep is because they gave her the award last year for Doubt. I'm inclined to consider that as a very serious option and am convinced that this Best Actress race is far from over. I wish that there was some love for Gabourey Sidibe or Carey Mulligan in this race. But the voters are going with their hearts this year. And their hearts are telling them to either vote for Bullock or for Streep.

Oh...Jeff Bridges...Christoph Waltz....Mo'Nique...what do they all have in common? All of them have taken home numerous critics prizes. All of them have taken home the Golden Globe award. All of them have taken home the Screen Actors Guild award. And all of them will win on Oscar night. You can take that to the bank. You can bet any amount of money you want on those three names. All of them will win on Oscar night. Mark it down right now. It'll be the easiest money you ever made.

2009 Golden Globe Award Winners

Here are the winners of the 2009 Golden Globe Awards

Best Motion Picture (Drama): Avatar

Best Motion Picture (Musical/Comedy): The Hangover

Best Actor-Motion Picture (Drama): Jeff Bridges = Crazy Heart

Best Actress-Motion Picture (Drama): Sandra Bullock = The Blind Side

Best Actor-Motion Picture (Musical/Comedy): Robert Downey Jr. = Sherlock Holmes

Best Actress-Motion Picture (Musical/Comedy): Meryl Streep = Julie & Julia

Best Supporting Actor (Motion Picture): Christoph Waltz = Inglourious Basterds

Best Supporting Actress (Motion Picture): Mo'Nique = Precious: Based on the Novel 'Push' by Sapphire

Best Director (Motion Picture): James Cameron = Avatar

Best Screenplay (Motion Picture): Jason Reitman & Sheldon Turner = Up in the Air

Best Original Score (Motion Picture): Michael Giacchino = Up

Best Original Song (Motion Picture): "The Weary Kind" = Crazy Heart

Best Animated Feature Film: Up

Best Foreign Language Film: The White Ribbon

WHAT THIS MEANS

This again solidifies my theory of the Oscar race being a duel between Avatar and The Hurt Locker. According to press releases before the Golden Globes were announced on Sunday, there were rumors circulating about how the Hollywood Foreign Press loved Avatar but were unimpressed with The Hurt Locker. It is clear now that those rumors were true based on the fact that Avatar and James Cameron took home the two biggest awards of the evening. One would assume that because The Hurt Locker did not win any Golden Globes on Sunday, Avatar is now the favorite to win the Best Picture Oscar. Normally, that would be true. But in this particular case, one cannot designate Avatar as the favorite on Oscar night. And here's why...

The Academy does not like science fiction films. It is very rare for that particular genre of film to receive a nomination much less win Best Picture. Here's a terrific example: 2001: A Space Odyssey, arguably the greatest science fiction film ever made, received 4 Oscar nominations including one for Best Director. Yet it did not receive the coveted Best Picture nomination because the majority of the Academy is comprised of actors. And since the technical aspects of a science fiction film tend to stand out more upon further analysis and judgment, the actors tend to shun them in terms of overall quality. While Avatar is without question the best film of the year technically, it will be very hard to convince the actors to buy into the idea of motion capture and CGI performances.

Secondly, the Hollywood Foreign Press is no longer considered the definitive authority on Oscar prognostication. While it is favorable that a film takes home the Golden Globe for Best Picture on its way to an Oscar victory, the Hollywood Foreign Press and the Academy have different tastes when it comes to selecting the best in film. The Golden Globes yearn to accommodate the celebrities and make their telecast more of a party than a ceremony. In a sense, the Academy is also trying to eliminate public scrutiny by expanding the field of nominees to ten and hopefully choosing a film that everybody thinks deserves to win Best Picture. What is the film of the moment? Avatar. People are flocking in droves to see it in theaters. The critics have an unfounded love and respect for what James Cameron as accomplished. To reward it would be consenting to popular demand and hopefully drawing in higher ratings for the awards telecast. While Avatar is a solid film from start to finish, which I will get into when I write my review of it, does it really deserve to win Best Picture? While the Hollywood Foreign Press seems to think so, I'm not sure that their opinion will carry Avatar to the finish line and James Cameron back to the podium, especially when Cameron went so far as to mention Kathryn Bigelow in his speech, assuming that she would win the Globe for Best Director. We haven't seen the last of The Hurt Locker. Expect it to walk away with something on Oscar night.

Jeff Bridges, Christoph Waltz, Mo'Nique are three guaranteed winners on Oscar night. Sandra Bullock and Meryl Streep is the other duel to watch out for. The SAG awards are being announced this weekend. Whoever takes home that award will go a long way in establishing themselves as the frontrunner for the Best Actress Oscar. The question will be if the Academy will want to reward Bullock on the basis of her career and for a performance that doesn't stand out at all. Or will they choose to bestow another honor on the great Meryl Streep? I'm inclined to go for the latter if only because I wasn't impressed with Bullock's performance and Streep is good in almost everything that she does. It will be interesting to see who takes home the SAG on Saturday night.

I must admit that the coolest moment of the night was watching The Hangover win a Best Picture award. But to prove how irrelevant the Globes are in terms of forecasting the Oscars, just look at who won for Best Actor (Musical/Comedy). There is no doubt in my mind that Robert Downey Jr. is one of the best actors working today. Yet his performance in Sherlock Holmes is not worthy of any recognition, much less a Golden Globe award. Downey Jr. only won it because of his celebrity rather than the quality of his performance. I hope that doesn't transcend over to the Best Actress race with Sandra Bullock. Consider Up in the Air dead in terms of winning the Best Picture Oscar. Look for Crazy Heart and Up to figure well in winning multiple Oscars this year. If the Oscars were held tonight, here is what the winners would look like...

Best Picture: The Hurt Locker

Best Director: Kathryn Bigelow = The Hurt Locker

Best Actor: Jeff Bridges = Crazy Heart

Best Actress: Meryl Streep = Julie & Julia

Best Supporting Actor: Christoph Waltz = Inglourious Basterds

Best Supporting Actress: Mo'Nique = Precious: Based on the Novel 'Push' by Sapphire

Best Adapted Screenplay: Jason Reitman & Sheldon Turner = Up in the Air

Best Original Screenplay: Quentin Tarantino = Inglourious Basterds

Best Cinematography: The Hurt Locker

Best Film Editing: Avatar

Best Original Score: Up

Best Original Song: "The Weary Kind" = Crazy Heart

Best Art Direction: Avatar

Best Costume Design: Inglourious Basterds

Best Sound Mixing: Avatar

Best Sound Editing: Avatar

Best Visual Effects: Avatar

Best Makeup: District 9

Best Foreign Language Film: The White Ribbon

Best Animated Feature: Up

Best Documentary Feature: The Cove

2009 Broadcast Film Critics Awards

The Broadcast Film Critics and the Hollywood Foreign Press announced their winners of the best in film for 2009. These are two of the most important precursors in the entire Oscar race, perhaps even the most important. The winners of these awards are pretty much guaranteed Oscar nominations and stand an awesome chance of actually winning on Oscar night. With that being said, here are the winners of the Critics' Choice Awards...

Best Picture: The Hurt Locker

Best Director: Kathryn Bigelow = The Hurt Locker

Best Actor: Jeff Bridges = Crazy Heart

Best Actress: (TIE) Sandra Bullock = The Blind Side, Meryl Streep = Julie & Julia

Best Supporting Actor: Christoph Waltz = Inglourious Basterds

Best Supporting Actress: Mo'Nique = Precious: Based on the Novel 'Push' by Sapphire

Best Adapted Screenplay: Jason Reitman & Sheldon Turner = Up in the Air

Best Original Screenplay: Quentin Tarantino = Inglourious Basterds

Best Cinematography: Avatar

Best Film Editing: Avatar

Best Original Score: Up

Best Original Song: "The Weary Kind" = Crazy Heart

Best Art Direction: Avatar

Best Costume Design: Avatar

Best Sound: Avatar

Best Visual Effects: Avatar

Best Makeup: District 9

Best Animated Feature: Up

Best Foreign Language Film: Broken Embraces

Best Acting Ensemble: Inglourious Basterds

Best Young Actor/Actress: Saoirse Ronan = The Lovely Bones

Best Action Movie: Avatar

Best Comedy Movie: The Hangover

Best Documentary Feature: The Cove

WHAT THIS MEANS

It is now a two-horse race between Avatar and The Hurt Locker. Forget the last five categories mentioned above, for those mean absolutely nothing in terms of Oscar prognostication. Avatar took home six awards on Friday night, but failed to take home the big awards of Best Picture and Best Director. Those two awards went to The Hurt Locker and Kathryn Bigelow respectively. What does that tell us? Avatar is appreciated as more of a visual extravaganza rather than an emotional drama. While James Cameron does an amazing job of incorporating a thematically resonating story with an ambitious visual presentation, there are many people in the industry who are skeptical of its accomplishments in both the acting and writing departments. This is why we did not see Avatar take away more of the critics' prizes during this Oscar season. Viewers tend to reward the emotional drama bearing the strongest connection to our current socioeconomic climate. And The Hurt Locker is a film that does exactly that. I believe that this is a year where Oscar takes a progressive step in the right direction. But rather than naming an epic sci-fi film as its Best Picture of 2009, it could be that the voters hand that honor to The Hurt Locker while also dispensing their first directing award to a woman in Kathryn Bigelow. It will be very interesting to see how this race unfolds down the stretch and what the nominations will look like on February 2nd.

The other two-horse race will be in the Best Actress category between Sandra Bullock and Meryl Streep. Everyone knows my thoughts on ties. But in case you don't, let me refresh your memory...I HATE TIES!!!!! I think it's absolutely ridiculous when a voting body can't come to a decision on a winner. Pick a winner, stick with that winner, and let the audience judge however they may. It isn't supposed to be that challenging. The other thing that bothers me are the two performances that tied. I don't have much of a problem with Meryl Streep. She is, after all, the goddess of acting. But Sandra Bullock for The Blind Side? Wake up guys. The only reason Bullock is being rewarded for this performance is because of her underlying body of work. The performance is sub-par at best, as highlighted in my review of The Blind Side last week. There are two better performances among the nominees that the critics could have chosen: Carey Mulligan for An Education and Gabourey Sidibe for Precious. Both of those actresses are richly deserving of an award, as opposed to Bullock who is lucky to even get a nomination in my opinion. Despite my hatred for this particular choice, the Best Actress Oscar will either be given to Sandra Bullock or Meryl Streep. And I hope to God they make the wiser choice and worship at the feet of the goddess.

Other than that, nothing too surprising to come from these awards. Jeff Bridges, Christoph Waltz, and Mo'Nique have their awards sewn up and ready for the taking. Up could be the beneficiary of multiple awards come Oscar night. And Quentin Tarantino will have a hefty battle in the Original Screenplay category. But as of right now, consider the Best Picture race to be a duel between Avatar and The Hurt Locker.

Movie Review: The Blind Side

The Blind Side opens up showcasing the night Lawrence Taylor crippled Joe Theismann's knee and ended his football career. As told by the vocal stylings of Sandra Bullock, the film presses the argument of an NFL team's need to protect the quarterback from his blind side. For those who are unfamiliar, the blind side is the area outside the quarterback's vision. It renders him susceptible to an oncoming pass rush and oftentimes results in vicious hits and annihilating sacks. How does a team protect the quarterback's blind side? By drafting and/or trading for thunderous herds of 300-pound elephants to anchor their offensive line. While Taylor's hit on Theismann sets the tone for the rest of the movie, it also serves as a metaphor for the unpredictable events that can occur in our lives. I know that's some very heavy stuff to deal with considering how broad the metaphor is. In order to narrow it down a bit, director John Lee Hancock has decided to focus on the life of Baltimore Ravens offensive tackle Michael Oher.

The Blind Side argues that Oher's life is the definition of unpredictability. Born and raised in the slums and urban ghettoes of Memphis, Tennessee, Oher received little education and constructive criticism as a child. For the better part of his life, he was a drifter among the masses. He would come and go as he pleased and render in the unparalleled emptiness of his hopeless existence. There was no love in Michael Oher's life, no trace of compassion, no hint of a future. That is until he ran into Leigh Anne Tuohy while walking a dark street corner on his way to the school gym. Tuohy saved Oher from his wretchedness and despair, offering him shelter from the darkness of his life. Oher would play football at Briarcrest Christian School, emerging as one of the best offensive tackles in the nation. He would eventually play under Phillip Fullmer for the Tennessee Volunteers and will start at offensive tackle when the Baltimore Ravens visit the Indianapolis Colts on Saturday. The point is that Oher was given a chance to show the unlimited potential of what he could accomplish. The encouragement and love he received from the Tuohy family makes for a striking endeavor of cinematic grace. But even though The Blind Side attempts to compel audiences to fall for its inspirational story of hope and triumph, it ultimately fails to move beyond its predictable Hallmark conclusion, relying on the compelling performances of Bullock and Quinton Aaron to steer its way home.

Bullock's performance as Leigh Anne Tuohy is flashy and bombastic in that it represents an antithesis of personalities. Her character is very different from the character of Michael Oher, who is the ultimate personification of a gentle giant. Tuohy is the prima donna ballerina for the Memphis ballet, which is to say she is the commanding leader of her family and the aging, opulent debutantes of upper-class society. Her confidence is exerted through her repetition of one simple phrase, "Alright then." These two words highlight the dominance of her personality, illustrating her determination and desire to fulfill whatever goals she sets out for herself. What Bullock offers to the role of Tuohy is a quiet charm and poise that remains understated throughout the course of the film. There is an elegance to her character that serves her motivation and ignites her passion. We see this in her interactions with Michael Oher and how she plays the motherly figure in his life, how simple facial expressions can say a thousand words about what she's thinking regarding his future. However, Bullock doesn't underplay the character so much as she overplays the character. And in the end, Hancock has chosen to go for style over substance. Those quiet moments of solitude and contemplation, which illustrate the complexity of the Tuohy character, are subjugated by moments of confrontation and vocal expression. Scenes where Bullock marches on the field during football practice or threatens a hoodlum living in the projects are meant to incite a positive reaction to the character. And because these scenes dominate the film, the audience sees more of an extroverted Leigh Anne Tuohy as opposed to an introspective Leigh Anne Tuohy. In a sense, Hancock has deprived the audience a chance to see the full range of Bullock's performance, one that would have provided a unique balance between the lighter elements of the Tuohy character and the darker elements hidden underneath her fiery Southern accent and beautiful smile.

Quinton Aaron's performance as Michael Oher is sensitive and touching. He is able to exhibit a wide range of emotions that ultimately illustrate the complexity of his character. Simple hand movements across his legs are meant to highlight tense situations. It is in these moments where we are able to understand Oher's pain and inner conflict. Unlike Bullock, Aaron doesn't overplay the part of Michael Oher. Rather, he chooses to dissolve himself into the role, providing one of the few performances that goes for substance rather than style. There are many scenes in the film that could be considered melodramatic, particularly when Tuohy first invites Oher to her house or when Oher reunites with his brother in a restaurant. But there are also many scenes that avoid such a fate because of the delicate enthusiasm that Aaron brings to the screen. The scene where Oher is involved in a car accident is made more powerful by Aaron constantly rubbing his hands on his face. It is a supremely external moment that heightens the drama at work and refuses to be overbearing. It is moments like these where The Blind Side shows the potential to become something more than a Hallmark Movie of the Week. Yet because of Hancock's inability to consistently focus on these moments with the camera, the film suffers immensely and ultimately sinks into the realm of bathetic schmaltz.

Hancock's directorial choices in this film compromise the validity of its serious emotional drama. Instead of focusing on those moments of great trepidation with Tuohy and Oher, Hancock presents us with a series of comedic montages featuring Nick Saban, Lou Holtz, Tommy Tuberville, and all the SEC coaches who recruited Oher out of high school. There are also montages when Oher is playing football with Briarcrest and when he is training with S.J., the adorable little son of Leigh Anne Tuohy. Hancock avoids the immense detail of the emotionally affecting scenes in favor of showcasing how cute S.J. looks when working with Oher or how attractive Leigh Anne finds Coach Saban. And while that indeed does add a touch of comedic prowess to the film, it ultimately renders The Blind Side hopeless for any serious consideration into the dramatic soiree. This film is drawing the crowds for its inspirational true story. Yet the truth is that most of those crowds are in it for the football rather than a tug at the heartstrings. In the end, The Blind Side may have the box-office clout to merit some awards consideration. Yet it is blindsided by the sheer brute force of monotony and cornball sentimentalism the likes of which not even Michael Oher could stop at the line of scrimmage.

Lenny's Grade: C+

2009 American Society of Cinematographers Nominees

Here are the nominees for the 2009 American Society of Cinematographers Awards, an important Oscar precursor that honors the very best in film cinematography...

Barry Ackroyd = The Hurt Locker

Dion Beebe = Nine

Christian Berger = The White Ribbon

Mauro Fiore = Avatar

Robert Richardson = Inglourious Basterds

WHAT THIS MEANS

Avatar and The Hurt Locker continue to shine with the guilds, especially Avatar. Many predicted The Hurt Locker would show up in this category. The cinematography of Barry Ackroyd is astonishing and really instrumental in telling the story of William James. There were not many who predicted Mauro Fiore would be nominated for his digital photography of Pandora, James Cameron's naturalistic fantasy world in Avatar. However, Fiore richly deserves his nomination because Avatar is certainly a beautiful film to look at. That is what the American Society of Cinematographers tend to honor. They want to reward films that express a keen visual style; a uniqueness complacent to the vision of the filmmaker and pleasing to the eye of the audience. Avatar does all of those things as Fiore and James Cameron pull us into the world of Pandora, illustrating an environment of unquestionable beauty torn apart by the savagery of military expansionism. While many would expect this race to be a duel between Avatar and The Hurt Locker, don't count out Inglourious Basterds as the dark horse candidate. Robert Richardson's cinematography is gorgeous to say the least, rich with color and consumed with the passion and vigor one would expect from a Quentin Tarantino film. Inglourious Basterds can send shock waves through the cinematic world with a Best Picture (Drama) victory at the Golden Globes. But we'll know its for real if it starts taking home guild awards as well. A cinematography award would go a long way towards boosting this film's Oscar chances. I think it comes close in the voting pool, stealing votes away from Avatar and The Hurt Locker. The same logic also applies to Nine and The White Ribbon. While Dion Beebe and Christian Berger produced some of the more vibrant camerawork in 2009, they don't stand a chance against the Best Picture frontrunners. Expect Avatar or The Hurt Locker to take this award, with the winner taking a huge step towards ensuring their supremacy on Oscar night.

2009 Writers Guild of America Nominees

These awards are somewhat skewered by the ineligibility of Inglourious Basterds, District 9, Up, An Education, A Single Man, and The Road. However, they are still very good indicators of what could be nominated come Oscar time. Here are the nominees for this year's WGA Awards

Best Adapted Screenplay

Crazy Heart

Julie & Julia

Precious: Based on the Novel 'Push' by Sapphire

Star Trek

Up in the Air

Best Original Screenplay

(500) Days of Summer

Avatar

The Hangover

The Hurt Locker

A Serious Man

WHAT THIS MEANS

As I said above, these nominations are practically rendered meaningless due to the ineligibility of the aforementioned films. However, one cannot ignore the power of the WGA as a surefire indicator of the crop of potential Oscar nominees. Don't read too much into the appearance of Star Trek and The Hangover on this list. While both are extremely well-written films, both would have missed the cut had An Education and Inglourious Basterds been eligible. Their glory is in the nomination and nothing more. The appearance of Crazy Heart in the adapted screenplay should be taken into consideration. The film has now received nominations from both the USC Scripters and the Writers Guild, which basically means it is all but assured of a nomination for Best Adapted Screenplay at the Oscars. This attention from both organizations illustrates a healthy respect for the film, which up until now was only interpreted as a vehicle for Jeff Bridges' first Oscar win. Appearances on numerous Top Ten lists, combined with these two nominations, have fueled the fire for Crazy Heart. I look at it as an underdog contender in the Best Picture race and wouldn't be surprised if it appeared as one of the ten nominees come Oscar time. The appearance of Avatar in the Best Original Screenplay category is only meant to cement its status as one of the frontrunners during this Oscar season. There are many critics who would argue that the writing is the weakest part of James Cameron's blockbuster epic. In fact, the problem for worldwide audiences is the choice of dialogue Cameron employs during key scenes in the film. Some say it hinders the quality of the film overall, whereas others dismiss it as a tiny quibble with what is otherwise a masterful work of art. The WGA responded to the film favorably because they responded to Cameron's creative imagination and his devotion to the story. They rewarded Cameron based on his meticulous attention to detail and his impeccable sense of creative structure. In essence, they honored Avatar to give Cameron an ego booster. Right now, Avatar is an unstoppable force with the guilds. It is garnering nominations from virtually every critical organization out there. And above all else, the people love it. Those are two terrific ingredients for a film focused on a Best Picture campaign. In the Adapted Screenplay race, I think it's a battle between Precious and Up in the Air. Both films have been consistent throughout this awards season and are certainly regarded as two of the year's best films. However, I think the edge belongs to Up in the Air, which is part screwball comedy, part emotional drama. It has the George Clooney factor attached to its hip. It pulls the heartstrings in ways you can't imagine. Precious is a moving film as well, but I think audiences are responding more so to Up in the Air because it focuses on America's current economic climate. With regards to the Original Screenplay category, The Hurt Locker has been taking every major critics' award so far. It is regarded as the definitive Iraqi war film and a monumental achievement for director Kathryn Bigelow. But everyone is forgetting how it is a profoundly complex character drama anchored on the intensity of Mark Boal's screenplay. Boal not only takes us into the heart and soul of Iraq, but also into the heart and soul of SSGT William James (played by Jeremy Renner). And what we find are thoughts and feelings that truly illustrate the addictive nature of war and the diseased trick it plays on the human spirit. Mark Boal will garner well-deserved recognition from the WGA for pending The Hurt Locker. Yet one wonders what would happen if he were going up against Quentin Tarantino and Inglourious Basterds. I personally think William James has nothing on The Bear Jew. But that's just me. Look for The Hurt Locker and Up in the Air to emerge victorious with the Writers Guild this year. But do not overlook Avatar or Inglourious Basterds in this Oscar race.

2009 Directors Guild of America Nominees

Here are the nominees for the Directors Guild of America Awards

Kathryn Bigelow = The Hurt Locker

James Cameron = Avatar

Lee Daniels = Precious: Based on the Novel 'Push' by Sapphire

Jason Reitman = Up in the Air

Quentin Tarantino = Inglourious Basterds

WHAT THIS MEANS

Of the ten films that will be nominated for Best Picture this year, these are the five that will have the best shot at winning the award. Here are some statistics for you. In the 60-year history of the DGA, only one film has gone on to win Best Picture without a previous Directors Guild nomination (Driving Miss Daisy in 1989). But that's not all. In the 60-year history of the DGA, only 11 films have gone on to win Best Picture without winning the DGA award. So it's fair to say that whichever film wins this award will have the best chance at winning the Best Picture Academy Award in March. There is nothing really unconventional about the DGA selections this year. Notice the absence of Clint Eastwood for Invictus, which means that the power of the Clint is not in full force this year. Also notice the absence of District 9, a film that had been gaining a lot of momentum before the DGA announcements this morning. Working in its favor are nominations from the Producers Guild and the USC Scripter Award. However, without nominations from the Golden Globes and the Broadcast Film Critics Association, along with its WGA ineligibility, District 9 will be hard-pressed at becoming a Best Picture nominee this year. My how the tables have turned in the last few days for that film. My sentiments for that film were made clear in the last post so it goes without saying that my suspicions have been confirmed. As to who will win the DGA this year, I'm finding it very hard not to predict Kathryn Bigelow for the victory. She has been cleaning up with all of the critics' groups throughout the awards season. The Hurt Locker is a well-respected and well-regarded film in the industry. If the DGA wants to make history this year, they will give it to Kathryn Bigelow. But as I've been saying and continue to say throughout the course of the season, James Cameron and Quentin Tarantino are the wild cards in this race. It's interesting to note that Tarantino is not a card-carrying member of the DGA, which says a lot about how loved Inglourious Basterds truly is. Yet because he is also not a card-carrying member of the WGA, his screenplay for Inglourious Basterds is considered ineligible for that award. This is funny because it is Tarantino's screenplay that stands the best chance at winning an Oscar right now. But we shall see what Golden Globe and Broadcast voters have to say in the coming weeks. As for Avatar, it is sitting pretty right now. It's been consistent among the guilds so far and will most likely continue its positive trend in the coming weeks. Again, a lot will be determined when the Golden Globe and Broadcast Film Critics announce their winners for 2009. But as for right now, Avatar is waiting in the wings for its grand recognition. Up in the Air is in the thick of the race as well, but I feel like it doesn't have as much momentum as Avatar or Inglourious Basterds. And Precious is just going along for the ride right now. If I had to predict my Oscar winners right now, this is what they would look like...

Best Picture: The Hurt Locker

Best Director: Kathryn Bigelow = The Hurt Locker

Best Actor: Jeff Bridges = Crazy Heart

Best Actress: Meryl Streep = Julie & Julia

Best Supporting Actor: Christoph Waltz = Inglourious Basterds

Best Supporting Actress: Mo'Nique = Precious: Based on the Novel 'Push' by Sapphire

Best Adapted Screenplay: Jason Reitman and Sheldon Turner = Up in the Air

Best Original Screenplay: Quentin Tarantino = Inglourious Basterds

Best Cinematography: The Hurt Locker

Best Film Editing: The Hurt Locker

Best Original Score: Avatar

Best Art Direction: Inglourious Basterds

Best Costume Design: Inglourious Basterds

Best Sound Mixing: Avatar

Best Sound Editing: Avatar

Best Visual Effects: Avatar

Best Makeup: District 9

Best Original Song: "The Weary Kind" = Crazy Heart

Best Animated Feature Film: Up

Best Foreign Language Film: A Prophet

Best Documentary Feature: The Cove

That's right. It will be an even split of awards between The Hurt Locker, Avatar, and Inglourious Basterds. At least that's what I think would happen if the Oscars were held right now. But there's still a lot of awards to hand out before the Oscars in March. So stay tuned and we shall see what happens.

Movie Review: The Twilight Saga: New Moon

Vampires and Werewolves. What is usually the source of nightmares is now the object of adolescent affection. The oozing of blood. The howling at the moonlight. This is the stuff where teenage lust is born. Oh yes, audiences have been sinking their teeth into The Twilight Saga: New Moon with a mouth-watering desire to cast their eyes on Robert Pattinson and Taylor Lautner. All are eager to see which gorgeous Adonis of a man will capture the heart of Bella Swan a.k.a. Kristen Stewart. But one need not watch the Twilight films to know that Ms. Stewart is going out with Mr. Pattinson in real life. As a result, one need not sit through 2 1/2 hours of some of the most wretched cinema ever produced to know that Bella chooses Edward not just in the fantasy world, but also in the real world. It's like a dream come true for most people, a preservation of the natural order of things because Bella's true soulmate is indeed Edward Cullen. Or is it? This is the question that fuels the plot of New Moon, the intriguing dilemma of choosing overprotective Edward or shirtless Jacob. It plagues the heart of poor Bella Swan, leaving her all kinds of crazy and confused. Hell, she even gets on a motorcycle and crashes it into a rock. Why? Because the spectral Edward keeps warning her not to do anything risky. You see folks, that is true heartbreak right there. Forget the storybook romances of princesses kissing frogs. All you need is Bella Swan jumping off cliffs and crashing motorcycles to understand the dynamic complexity of a broken heart. Give me a break. The Twilight Saga: New Moon is not interested in showing us how humans expand and deflate on the shoulders of love. It is not even interested in showing us cool vampire and werewolf fights. It is only interested in accommodating the salacious desires of Twilight fans, crooning and wailing in agony over the sheer lack of body fat inherent on the big screen.

New Moon bears all the drama and all the cheesiness of a Lifetime TV Movie. To say that it is a brand of cinema is a gross misinterpretation of the concept. New Moon represents everything that is wrong with cinema today, the kind of cinema that paints society and human emotion as a humorous caricature. There is no passion or feeling to these characters, no remorse or genuine trepidation from any of the actors playing them. There are times in the film when Stewart, Pattinson, and Lautner are clearly acting, which is to say they are relaying words on a page without any kind of depth or substance. And the trouble with New Moon is that these moments of clear acting occur in the most pivotal situations. Phrases like "You're my only reason to stay alive", "Bella, you give me everything by just breathing", and "Jake, you're sorta beautiful" compromise the validity of the acting. One can sense the agitation and hidden disgust on the part of the actors to sell the reality of the Twilight world. Such poor salesmanship can be attributed to the inadequacies of dreadful prose. The dialogue in this film hinders the actors from fully expressing the desires of their characters. It puts a strain on them to sell the three-way romance that anchors the core of the New Moon plotline. In order to preserve the suspension of disbelief, one must adhere to the cinematic logic presented onscreen. For this to happen, the actors must tap into the fundamental values of their characters, allowing for the audience to generate some kind of emotion. The writing is supposed to complement the actors, providing them with structure and discipline as they create a portrait of their characters. With New Moon, the source material by Stephanie Meyer is a distasteful piece of literary garbage. As a result, the filmmakers are left to scrounge and claw through the trash bin, locating pieces of edible goodies in order to quell the appetites of a devoted fanbase. In turn, this forces New Moon to become nothing more than a unsavory bag of Hershey kisses.

But boy, there are enough Hershey kisses in this film to make the audience scream to high heaven. There's more than enough eye candy to make the audience go "ooo" and "ahh". Yet all of that eye candy leaves a bitter taste in your mouth. It's like eating one of those Every Flavor Beans from Harry Potter, you know the kind that make you want to vomit everywhere. Imagine what this film could have been if Taylor Lautner had kept his shirt on. Imagine if the filmmakers had chosen to stray from the source material in order to develop a more profound commentary on romance. You could still keep the characters, for those are intangibles in adapting literature for the screen. But you could change their little idiosyncrasies; the particular nuances that define who they are and what they choose to do. Wouldn't that make for a great movie? Of course it would. But New Moon is not interested in being a great movie. If Taylor Lautner isn't half-naked, there is no movie. If Robert Pattinson isn't longing for Kristen Stewart and vice-versa, there is no movie. If Bella isn't jumping off cliffs, crashing motorcycles, or sitting in her room as the camera pans around showing her insufferable depression, then there is no movie. The point I'm making is that New Moon is not a movie without these superficial intangibles. The filmmakers are interested in giving us two things: a massive jug of Wine to go with an enormous chunk of Cheese. And the popularity of this film suggests that audiences are okay with that. They view New Moon as more of an escapist melodrama than a serious piece of filmmaking. But if audiences want more escapist melodrama and less serious filmmaking, while also satisfying their craving for vampire sex and blood, then just tune into True Blood on HBO. True Blood knows how to balance the cliched artificiality of the vampire stories by developing its characters and exploring the complex labyrinth of their sexual appetites. New Moon wants to be slick and sexy, hip and energetic. But it doesn't have the testicular fortitude to push these characters to the brink of their sexual appetites. The closest they ever come is when Jake almost kisses Bella, which certainly isn't enough to satisfy our libidos. It doesn't have the stamina to unleash hell all over those Alaskan woods and fine Italian courts. The closest they ever come is when Edward protects Bella from the blazing red eyes of Dakota Fanning and the lascivious aspirations of vampire king Michael Sheen, which isn't enough to satisfy our blood lust. What is New Moon but an extension of the first Twilight only with werewolves? What is New Moon but a PG-13 edition of True Blood? What is New Moon? It is a chance for fans to wet themselves on the bosoms of Taylor Lautner and Robert Pattinson. Nothing more, nothing less, and a waste of valuable time.

And if I had to choose a team, I would choose Team Jacob only because there is no rhyme or reason behind Bella's attraction to Edward. Her attraction to Jacob is real and it is authentic, whereas her attraction to Edward is absolutely befuddling and mind-numbingly repulsive.

Lenny's Grade: D-

2009 Producers Guild Nominations/USC Scripter Nominations

Here are the nominees for the 2009 Producers Guild Awards, which can be used as the primary basis for what the Best Picture nominees might look like come Oscar morning.

AVATAR

DISTRICT 9

AN EDUCATION

THE HURT LOCKER

INGLOURIOUS BASTERDS

INVICTUS

PRECIOUS: BASED ON THE NOVEL 'PUSH' BY SAPPHIRE

STAR TREK

UP

UP IN THE AIR

Here are the nominees for the USC Scripter Award, which coincides with the Writers Guild nominees to give us our best hypothesis on what the Best Adapted Screenplay award may look like at Oscar time.

CRAZY HEART

DISTRICT 9

AN EDUCATION

PRECIOUS: BASED ON THE NOVEL 'PUSH' BY SAPPHIRE

UP IN THE AIR

WHAT THIS MEANS

Avatar, The Hurt Locker, and Up in the Air are surefire nominees for Best Picture come Oscar night. Inglourious Basterds and Precious are good bets to be nominated as well. The most noticeable piece of information to stem from these announcements is the inclusion of District 9. While I personally thought District 9 was a very overrated film, I thought it had admirable qualities and was richly deserving of some technical nominations. I was not expecting such love from the producers or the writers with this film. With that being said, District 9 is building up a lot of momentum seemingly out of nowhere right now. It will be interesting to see if Neill Blomkamp receives a DGA nomination on Thursday. If he does, then District 9 will suddenly be a contender for the Best Picture Oscar. If not, then I think the best it could hope for is recognition from the Writers Guild, a possible Best Adapted Screenplay nomination, and a few technical nods as well. I also think there is a lot of support for Star Trek within the industry. Critics and audiences alike thought it was the most entertaining film of the year and one of the most impressive achievements of 2009. However, I don't think the PGA nod will materialize into a Best Picture Oscar nomination. Star Trek is still a sci-fi motion picture, and the Academy has never really embraced sci-fi throughout its illustrious history. If they are going down that road this year, it will most likely be with Avatar and nothing more. I still think A Serious Man has a great shot at being nominated for Best Picture because it is without question one of the more superior filmmaking achievements of 2009. Also, Up stands a terrific chance of being the first animated film to be nominated for Best Picture since Beauty and the Beast in 1991. The power of the Clint will carry Invictus towards the finish line, and Lone Scherfig's An Education will be there as well. But as of right now, I think it is a three-horse race between Avatar, The Hurt Locker, and Up in the Air. While The Hurt Locker may turn out to be the definitive film on the Iraqi war, and Up in the Air may be the film that best represents the current state of mind in American culture, I have a funny feeling that this will be the year of James Cameron and Avatar. I know it will take a lot for the Academy to embrace sci-fi and that the actors are very hesitant on voting for a technically resonant film. But Avatar is the film of the moment. The people and the critics have spoken on the matter. Avatar is the film of 2009 and I think that may just be enough to give Cameron some more Oscars.

2009 National Society of Film Critics Award Winners

Here is a list of the 2009 National Society of Film Critics Award Winners...

Best Film: The Hurt Locker

Best Director: Kathryn Bigelow = The Hurt Locker

Best Actor: Jeremy Renner = The Hurt Locker

Best Actress: Yolande Moreau = Seraphine

Best Supporting Actor: (TIE) Christoph Waltz = Inglourious Basterds, Paul Schneider = Bright Star

Best Supporting Actress: Mo'Nique = Precious

Best Screenplay: Joel & Ethan Coen = A Serious Man

Best Foreign Language Film: Summer Hours

Best Non-Fiction Film: The Beaches of Agnes

Best Cinematography: The White Ribbon

WHAT THIS MEANS

The National Society of Film Critics is usually very exclusive in terms of their selections for the best of the year. They usually do not march in accord with other critical organizations and usually do not go hand-in-hand with what the Oscars say are the very best. With all that being said, the National Society of Film Critics chose The Hurt Locker as the best film of 2009, which means they have marched in accord with other critical organizations this awards season. There is no doubt that The Hurt Locker has emerged as the critical darling of the Oscar race and will be one of the ten nominees for Best Picture in March. This calls to mind the Oscar race of 1997, when L.A. Confidential swept all of the critics' prizes and emerged as the odds-on favorite to win the Academy Award for Best Picture. What happened in 1997? Titanic happened. James Cameron's epic film went on to win 11 of 14 Academy Awards and became the highest-grossing movie of all time. And what happened in 2009? James Cameron released Avatar, his first film in twelve years that received mass critical acclaim and a slough of nominations from the Golden Globes and Broadcast Film Critics Association. It is also raking up a tremendous amount of box-office revenue as audiences have flocked to theaters to watch it in 2D, 3D, IMAX 3-D, 4D, whatever kind of D imaginable. Okay so the last two may have been exaggerations. But the point I'm making is that Avatar will make noise in this Oscar race. It has a tremendous amount of support from the people, which is always good to have. It has awed critics to the point where some are predicting it to win the Best Picture Oscar. It is the film of the moment and could very well be the film that defines the year 2009. As a result, Avatar will have a lot to say before this Oscar season is concluded. So take The Hurt Locker and its sweep of the critics' prizes with a grain of salt. Avatar is like a runaway freight train, building momentum on a daily basis in this Oscar race. Do not be surprised if it starts collecting some Best Film prizes in the coming weeks. Also, do not underestimate the power of Quentin Tarantino. Inglourious Basterds has a lot of respect in the industry ranging from the actors all the way to the sound mixers. Tarantino could finally get the recognition he deserves for a film that is arguably his best since Pulp Fiction. Keep a sharp eye on Avatar, but beware the might of Inglourious Basterds.

Movie Review: The Road

How does one envision the apocalypse? How do we contemplate the end of our world, the termination of our species as the dominant force on this planet? Artists, writers, filmmakers, theologians: all have given thoughts on this matter. It is a question that weighs heavily on our minds for fear of the inevitable. It is a prophecy waiting to be fulfilled. We know nothing of what the future will bring us, which means we are limited to the capabilities of our imagination. We foresee darkness and anticipate the decay of civilization, having nothing to rely on except our own instincts. This is the reality of Cormac McCarthy's The Road, a grim nightmare of a book that polarizes the mind and consumes the heart. McCarthy's meticulous attention to detail, along with his exquisite use of language, complements the relationship between his protagonists, the Man and the Boy. The reader hopes that both will survive and make it to the Coast because McCarthy's anarchic storyline coincides with the undying love the Man has for the Boy. Their relationship becomes the real driving force of the book, imbuing McCarthy's apocalyptic ode with a feeling of humanity and strong emotional impact. This is what is missing from John Hillcoat's film adaptation of The Road. While Hillcoat is able to capture the melancholy of McCarthy's dreary world, he is unable to echo the tenderness inherent in the relationship between the Man and the Boy. The audience is bombarded with several images of unbridled sorrow and destruction, all of which are meant to induce a cathartic experience tantamount to reading McCarthy's book. And while Viggo Mortensen is powerful in the role of the Man, the film as a whole breaks apart the seams of McCarthy's ambitious masterpiece and fails to elicit enough sympathy from the audience to live up to its lofty expectations.

Hillcoat's visceral approach to filmmaking is a perfect match visually for McCarthy's source material. His film The Proposition was a significant contribution to the Western genre because of its kinetic energy and sprightly devotion to the telling of a suspenseful story. And even though The Road dwindles and dawdles in understanding the psychology of its characters, there are times when the film appears strikingly beautiful. Hillcoat and cinematographer Javier Aguirresarobe paint the screen with dark and gray colors to emphasize a scorched Earth. The distant shots of burning buildings, the wide-angle shots of ruined cities, and the close interior shots of abandoned houses are all meant to emphasize the perennial self-destruction of mother nature. The production design mediates our interaction with the mise-en-scene of the film, selling us an environment of unwavering despondency and unquestionable anguish. It plays a vital role in establishing the tone of the film, allowing us to understand why the characters are driven to their most basic instincts. The makeup is essential in showing the decay of these characters, leaving behind noticeable scars of tragedy with layers of earth attached to their cheekbones. Their unnaturally rugged appearance gives substance to the nature of their horrific actions, which is to say they are doing what is necessary in order to survive. Hillcoat's vision of McCarthy's novel is that of a survivalist world inhabited by creatures who have lost their humanity. Their cannibalism, along with their lack of compassion for the sanctity of human life, is contrasted with the loving relationship between the Man and the Boy. Their relationship is the hope that the film rests upon, the illuminating light that casts away the darkening shadows of an irrational world. And it is in that reason alone why the visual look of the film, while impressive, is not allowed to supersede the importance of developing these two characters.

Yet that is the tragic misstep that Hillcoat takes with The Road. To paraphrase Robert Frost, Hillcoat took the road less traveled by, only it has not made all the difference. A brilliant performance by Viggo Mortensen is sacrificed in the name of auspicious visuals. Mortensen's performance is very internal, which is to say his emotions are depicted through his facial expressions. One can sense his love for the boy simply by the way he looks at him. Yet one can also sense his great fear and trepidation by his sternness with the boy, which is to say he is aware of the world around him and knows how dangerous it has become. This is contrasted with the flashback scenes between Mortensen and Charlize Theron, where we see happiness devolve into sadness and tremendous heartbreak. Mortensen dissects his character to a point where he is on the brink of hopelessness. The only speck of light for him exists in the heart of the Boy and Mortensen is keen on showing that for every moment he appears onscreen. Yet this is a film that relies heavily on its images to promote its shock value. And when you have a source material that is as profoundly layered as The Road, such a reliance compromises the audience's search for a deeper meaning among the protagonists. There are hints of this meaning scattered throughout the film, existing like larger pieces of a complex jigsaw puzzle. One scene in particular with Robert Duvall provides the audience with a glimpse of the complex emotions at play in this film. Duvall's portrayal of the Old Man is richly satisfying in that it allows the audience to understand how the only thing some of these characters have left is memories. They have the painful memories of a world long gone, a world that has changed for the ultimate worse and a world devoid of hope. One can understand just from the five minutes Duvall appears onscreen how nihilistic the world has become and how faith has taken a backseat to survival. There is no time for hope and faith. There is only, to quote the Bard, tomorrow and tomorrow and tomorrow. Yet Hillcoat appears less interested in the psychological ramifications of McCarthy's story than he is with giving us a suspenseful action thriller. How the Man saves the Boy takes a precedent over how the Man interacts with the Boy. Some may say the relationship between the two is interchangeable. Yet the real power of McCarthy's book exists in the quiet moments of contemplation and interplay. Quite frankly, there aren't enough of those moments in the film to make The Road a cinematic journey worth taking.

Lenny's Grade: C+