Based on the sensational 1968 trial of the Chicago 7 (a group of anti-war protestors charged with conspiracy and inciting a riot) Chicago 10 is part documentary part motion-capture animation. The Chicago 7 was actually eight people and Chicago 10 is named after the group's two attorneys who also went courageously to jail. The men on trial included Abbie Hoffman the outspoken icon of Chicago-based activism and Jerry Rubin a 20th century celebrity in his own right. Chicago 10's cartoon portion tries to recreate the drama of the real-life trial. The jury listens skeptically and a crotchety old judge (voiced by the late Roy Scheider) gives the defendants’ opposition. It’s a commentary of the farcical nature of the trial--and the surreal standards behind it. Connecting the dots is a music video-like series of documentary images spotlighted by horrific scenes such as the Chicago police and National Guardsmen striking back scores of protestors. Rage Against the Machine and Beastie Boys songs underlie violent tableaus. For Americans born 1980 and after this era of left-leaning cultural dissent can be a foreign world. The 1960s’ silencing of voices questioning the government in the era of civil rights and the Vietnam War has been echoed with the Iraqi War. But protests like Chicago 10 are a rarity today. On display are the voices of a handful of top Hollywood stars--including Mark Ruffalo Jeffrey Wright Nick Nolte Liev Schrieber and Hank Azaria--as the voices of the courtroom players. As with many star-studded animation productions the result is not greater than the sum of its parts. Although Scheider in his last performance provides the most distinctive voice as Judge Julius Hoffman Ruffalo Wright et.al are lost in the mix. Partially because of a limp-ish script the actors have to inject excitement into a static courtroom environment--but compared to 12 Angry Men or Primal Fear it just doesn’t engage. Director Brett Morgen (The Kid Stays in the Picture) comes with a fresh visionary perspective. He brings a vibrant attitude to this anti-war flick but it's one poorly executed or at least unevenly so. At the heart of the film's animation there are technical problems. The character's eyes are dead and their movements clunky despite the lively body motions. Compared to a higher budget movie like Beowulf the animation is many years behind. It's a big reason to discount the slowness by which Chicago 10 chief concept operates. The animation doesn't provide enough dramatic potency to involve the audience and becomes more like a gimmick. Messy psychedelic assemblage of documentary footage--though culled reportedly from thousands of images and minutes of tape--doesn't add insight beyond common knowledge. Unfortunately it just isn’t much different from what we've already seen.
In the summer of 1990 after graduating from Emory University with grades good enough to get into Harvard Law upper-middle-class 22-year-old Christopher McCandless (Emile Hirsch) gave his $24 000 life savings to Oxfam and hit the open road. Christening himself Alexander Supertramp the idealistic McCandless proceeded to wander the country's highways and byways for two years before striking out alone into the wilds of Alaska. Anyone who's read the Jon Krakauer book knows what happened then but those who are new to McCandless' story will be holding their breath as his journey progresses toward its sadly inevitable end. The beauty of director Sean Penn's film is the route it takes to get there introducing viewers to the people Chris touched during his travels and making it clear what he learned about love and forgiveness along the way. The success of a movie like Into the Wild depends disproportionately on the talents of its star. Luckily Hirsch doesn't disappoint. Simultaneously charismatic and aloof he makes Chris both an enigma and an Everyman. Whether he's exulting in a panoramic view of the Alaskan wilderness shooting roiling river rapids (impressively no stunt doubles were used) or learning how to operate a combine machine Chris/Alex is completely aware--and appreciative--of every new experience life brings him. His quest for truth and authenticity affects everyone he meets from hippie couple Jan (Catherine Keener) and Rainey (Brian Dierker) to fast-talking entrepreneur Wayne (Vince Vaughn) and lonely leather worker Ron Frazer (Hal Holbrook). Meanwhile representing Chris' abandoned conflict-ridden homefront Jena Malone provides heartfelt nuanced voice-over narration as Chris' sister Carine. Filming Into the Wild was a labor of love for Penn and his affection for the material shows in every frame. Like Chris Penn and cinematographer Eric Gautier rhapsodize over sweeping vistas and pristine countryside lingering on the way sunlight glints on water droplets and the beauty of a freshly harvested field. Penn is in no hurry to tell Chris' tale; he lets it unfold naturally its rhythm matching the ebbs and flows of Chris' journey. Aiding him every step of the way is the film's powerful soundtrack which features original music by Eddie Vedder. Whether building momentum or accompanying Chris in moments of quiet contemplation the film's music is the traveling companion Chris doesn't realize he needs until it's too late. Blending sympathy for Chris' motives with regret for his tragic end; Into the Wild is a thoughtful biopic that's both inspiring and chastening.