Universal via Everett Collection
Lone Survivor isn't a film for the faint of heart. It's a film that beats you down and only lets you up for a few precious moments before the credits roll, but that emotional throttling is what helps make the film such a powerful experience.
Peter Berg's Lone Survivor tells the story of Operation Red Wings, primarily focusing on a group of four Navy SEALs who are sent to the mountains of Afganistan to capture or kill a member of the Taliban. The plan goes wrong, and the team has to fight for their lives to escape the enemy-infested area. The film does a marvelous job of ratcheting up the tension before collapsing into its main action sequence, one that is as thrilling as it is unsettling. The long sequence brings forth memories of the infamous D-Day opening of Saving Private Ryan, except this film's fire-fight stretches out the violence like a medieval torture device. The langourous scene is, at times, hard to sit through. Each moment slips by in coiled tension. It's undoubtedly uncomfortable, and the film makes a point to never make the violence fun or enticing. The action isn't consequence-free, and every bullet fired carries weight, making the scenes brutal and unrelenting because of it. The film takes on the aura of a horror movie that wants you to feel every second that ticks by, and director Berg makes sure that a pressing hopelessness starts to weigh on the viewer just as it does on the soldiers.
Mark Wahlberg is plenty capable as Marcus Lutrell, a member of the SEAL unit that is sent on the mission. The supporting cast plays its parts admirably by believably infusing a diverse set of personalities and values into the soldiers, while still keeping them in tune with the same military culture that governs much of their thoughts and actions. There's a great scene where a difficult decision has to be made, and the viewer gets to see the different directions to which some of the character's moral compasses are tuned. Sometimes the right thing can mean different things to different people when the risk of death is on the table. The real standout in the cast is Ben Foster, whose SO2 Matthew Alexson swirls with barely contained fury. He is darkly intense and has electric screen presence that really starts to manifest when the bullets star flying and things become dire.
Universal via Everett Collection
For all the good will that the film builds up in its first and second act, the final third of the film hits some snags as history demands that the story take itself to a different location, sacrificing some of the tension that it has built up. In the last 30 minutes of the film, there are some odd tonal choices that don't gel with the tension brimming in the first half. A comedic scene involving a language barrier stands out in particular.
The movie makes a point to steer clear of any political judgment, and it doesn't try to lay blame for the botched mission on any one head. And while the film never outwardly states and opinion on the conflicts that America found itself embroiled in during this time period, the searing brutality depicted in the movie highlight that no one should be subjected to the pain that these men were faced with. Made abundantly clear is the soldiers' willingness to drop everything and serve their country the best way they know how. Lone Survivor tries to honor the soldier, but not glorify war.
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Lone Survivor is at its best when it makes you feel the worst. It gives soldiers their due reverence by showcasing the true terror of the battlefield, and while the film does start to sag a bit in its third act, it's still more than worth the experience in order understand the consequences of war, and its toll on the people in the trenches.
Handsome James (Paul Dawson) is a bit depressed. In the opening scene he pees while taking a bath and then sets up his camera as he fellates himself while a stalker across the street (Peter Stickles) watches. Then James cries. He's miserable and his boyfriend Jamie (P.J. DeBoy) doesn't know what to do. They go to a sex therapist Sofia (Sook-Yin Lee). She in turn has incredible sex--or at least finds incredible positions--with her husband Rob (Raphael Barker) but she can't achieve an orgasm. They all end up at a wild club called Shortbus which looks like a room even Caligula would love and whose guests range from a former mayor of New York to a popular drag queen Justin Bond (playing his/herself). It's at Shortbus where James and Jamie meet young Ceth (Jay Brannan) and to try to add spice to their relationship while Sofia meets an angry dominatrix named Severin (Lindsay Beamish) who thinks she can help with Sofia's quest. The most amazing part of Shortbus comes from the performers who are as real as it gets. Mitchell tries to get the actors to play parts of themselves asking them to reenact their most bizarre sexual experiences and developing the storylines around them. With that Mitchell is quoted in the press notes as saying that every orgasm is genuine--except one and he's not saying which one. For this reason perhaps the cast is filled with virtual unknowns except for a few choice cameos (character actor/publicist Mickey Cottrell with a dead guy in a whirlpool is a particularly good one). But the players are all superb in their own individual ways especially Dawson as the sad-eyed stud and Lee as the desperate therapist. Beamish also shows quite an emotional range and looks like a modern-day Cyndi Lauper. Watch for her star to rise. John Cameron Mitchell best known for his searing little indie gem Hedwig and the Angry Inch apparently auditioned 100 people by throwing a rather sexually open party not unlike the parties shown in the film. But Mitchell has got more than an inch showing up in Shortbus. It's as if he has re-made The Rocky Horror Picture Show into a non-musical live NC-17 version. All the film’s sexual explicitness seems almost voyeuristic but dances around being pornographic or grotesque. In fact the scenes are often devoid of eroticism coming across as funny creepy and sad instead. Mitchell also paints an intriguing canvas mixing animation and art as the camera swoops into different neighborhoods around Manhattan. Ultimately the parade of sexuality and bizarre characters plays like a Federico Fellini film but it makes much more sense. Mitchell's picture is raw but heartfelt and it’s going to make audiences uncomfortable. But obviously that's the point.
Elderly Ptolemy (Anthony Hopkins) who once served under the great Alexander (Colin Farrell) narrates the life story of the man the myth the legend--the son of the ambitious King Philip (Val Kilmer) who surpassed his father at every level and charged into the farthest reaches of the world. From early childhood in Macedonia we see where Alexander gets his drive--mostly from his vengeful snake-lovin' mother Olympias (Angelina Jolie) who urges her son to take charge as well from his tutor Aristotle (Christopher Plummer). Even in the taming of his unbreakable horse Bucephalas at 10 years old Alexander's destiny is evident. The heart of the film lies in Persia which Alexander conquers in one of the most studied military battles of all time. Alexander spends a great deal of time there--taking in the culture claiming its riches and marrying a Bactrian princess Roxane (Rosario Dawson)--much to the chagrin of his Macedonian generals who are stuck in this foreign land with their king. Despite this success Alexander grows restless and turns his attention to the rest of the world including the unexplored regions of India. With his army stretched thin and his Macedonian troops longing for home Alexander presses them one campaign too far. Succumbing to a mysterious illness at age 33 Alexander dies never quite finding what he so desperately searched for.
Although some may scoff at casting the Irish actor in the lead Farrell does an admirable job playing the tortured hero blond wig and all. He exudes plenty of wide-eyed fury and intensity as Alexander the warrior balanced by the controlled calculation of a hyper-effective military commander although he isn't nearly as effective as the idealistic pre-world-conqueror Alexander as he is spiraling down into the haunted angst-ridden Alexander at the end of his obsessive crusade. Casting Jolie as Olympias is a stroke of genius. Sure Jolie can play a smart and beautiful woman in her sleep but her beauty is surpassed only by the power she imbues as Alexander's bitter yet loving mother; she's as hypnotic as the snakes she carries around. Kilmer relishes his role as Alexander's father Philip in all of his grotesque wine-soaked glory. Powerful driven and battle-scarred Kilmer's Philip knows precisely what he wants and matches Jolie's quiet intensity with the raw aggressive masculinity of a warrior king who is far more comfortable in his armor than a toga. In the supporting roles Hopkins is great as always this time in the thankless role of the narrator while Dawson plays Roxane with a ferocity that is as mesmerizing as it is terrifying. Standout Jared Leto also turns in a concentrated performance as Hephaestion Alexander's long-time companion boyhood friend and the person who loves Alexander the best. (And we do mean love.)
Alexander is Oliver Stone at his best. An Alexander nut for most of his life the director gives us a film that--even in its loooong three-hour form--continuously holds your attention especially its intense and bloody battle scenes. I mean honestly once you've fought against an elephant in armor the plain old sword-and-shield skirmishes pale in comparison. Alexander also possesses a great breadth of visuals: Alexandria's peace Pella's tension Babylon's opulence and India's richness. Yet as wonderful as the landscapes are it's personal interactions and internal politics that drive the story--and of course Stone's penchant for conspiracy theories as he more than insinuates Alexander was poisoned by his enemies rather than dying of an "unknown" illness. But a problem still remains: Alexander's life was so huge and he did so much that it's almost impossible to encapsulate it effectively into one film. Stone instead has to focus on what he thinks is the most important namely Alexander's renowned conquests while allowing the pressure cooker in which the young conqueror grew up--the triangle of mother father and son--come through in the decisions he makes later in life. For those few of us who have studied Alexander Stone has made this film especially for us. If you haven't spent any time reading Arrian and the other histories this excellent film might just inspire you to do so.
Cambridge-educated Tony Wilson is a young but established TV journalist in Manchester who is fed up with his silly assignments be they hang-gliding adventures or an interview with a midget who cares for elephants. When one evening he catches an unknown band called the Sex Pistols at a poorly attended show he becomes a believer in what is the new and rebellious punk movement. Taking a chance he opens a club to give new punk bands exposure becoming a major promoter of the punk movement. But hardly the exemplary capitalist he's motivated by gut feelings and passion and his belief in Manchester as the epicenter of new music. Wilson does discover several bands that go on to varying degrees of success and notoriety including Joy Division/New Order and the Happy Mondays but punk values and the lifestyle take their toll. There are the premature deaths marital breakups including Wilson's first marriage and drug lords who wield too much influence in Wilson's club. His own loosey-goosey ways with his record business and artist contracts leads to his label's demise. Through it all Wilson keeps his day job as TV personality and never lets go his allegiance to his beloved Manchester flag.
Thanks to 24 Hour Party People Steve Coogan as Tony Wilson may well become a star in Yank country. Known to TV audiences in the U.K. Wilson with a background in comedy is a brilliant and compelling presence as the film's drolly ironic and obviously learned hero. All supporting roles here are superb including Andy Serkis as doomed and messed up producer Martin Hannett Rob Brydon as Ryan Letts and Shirley Henderson as Wilson's first wife Shirley.
Michael Winterbottom who so brilliantly directed Welcome to Sarajevo but disappointed with The Claim again triumphs here. Employing an arsenal of special effects and using DV Winterbottom perfectly captures an era a rock movement a place and the authentic spirit of a hugely intelligent and appealing maverick entrepreneur whose field of vision extended well above the bottom line.