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.
The best player in the World for movie trailers, Hollywood interviews and movie clips.
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.
In the vein of Field of Dreams Astronaut Farmer is about building the seemingly impossible. Thankfully in this case it’s simply a rocket in the barn not a ballpark in a cornfield where ghosts of baseball heroes past can play the game. That is a bit far-fetched. Instead we meet Charles Farmer (Thornton) a man who was once on track to be an astronaut but was forced to leave NASA to save his family farm. He still wants to go into space however and so sets out to build a rocket inside his barn. By the time the movie starts the rocket is pretty much put together so we aren’t burdened with how he gets his supplies. All Charles needs now is 10 000 pounds of fuel which shoots up a big red flag with the government--a government that now considers Charles a threat--while the media look at him as a big story. But no matter the odds nothing can deter Charles from his dream to break through the atmosphere and orbit the earth. It’s refreshing to see Thornton as a loving father who wants to inspire his kids rather than make them go get him another beer. Of course Charles Farmer isn’t all sweetness and light—he’s an obvious eccentric whose obsession to launch into space effects the entire family—and it’s definitely a role right up Thornton’s alley. Virginia Madsen does an admirable job as the loving and supportive wife who nonetheless puts her foot down when things get out of hand while Bruce Dern plays the grizzled but equally supportive father-in-law. There’s also a supportive lawyer played by Tim Blake Nelson. In fact besides the big evil NASA chief (J.K. Simmons) and two bungling FBI agents (Mark Polish and Jon Gries) everyone supports Charles in his crazy dream. How could he fail? From the writing-directing team of Michael and Mark Polish (Northfork) Astronaut Farmer is pure old-school—an unassuming throwback to those feel-good movies of the ‘40s and ‘50s. In fact Thornton told Hollywood.com he considers this his “Jimmy Stewart” movie. While the Polish brothers based Charles Farmer on their own eccentric father and obviously harbor their own boyhood dreams of being an astronaut the guys still follow a nice and simple formula finding some good actors to carry it out and adding cool visual effects when they can. Yes the more cynical moviegoer may look at Astronaut Farmer as completely improbable and trite. But those willing to be taken back to a simpler time--when movies were about walking out triumphant--should find watching Astronaut Farmer a pleasant way to spend an afternoon.
Set in 1984 Josey Aimes (Charlize Theron) returns to her ice-cold hometown in Northern Minnesota after fleeing from an abusive husband. In order to care for her two young kids she needs a job--and for most of the townsfolk including her distant dad (Richard Jenkins) that means working in the local iron mines. Problem is not too many women work there and those who do are subjected to continual harassment by their male coworkers. Josey lands a job anyway and starts to get her fair share of sexual innuendos. One day her former high-school sweetheart also a mine employee takes it way too far with her. Although met with strong resistance of course a lawsuit ensues that results in a groundbreaking decision for women’s rights in the workplace. Ah what an Oscar can do for a career. It wasn't that long ago Theron wouldn’t even have been considered for such a dramatic role. But with deserved recognition she gets to strut her stuff in North Country. She's no Monster but she's no supermodel either--and while it's impossible to erase her beauty its glare has been reduced. A second-consecutive Oscar win? Maybe not but a nomination wouldn't be out of the place. Co-star Frances McDormand might also be in line for a nod of her own. She plays Glory a woman who gets Josey the job and encourages her to fight the good fight something that seems visceral for McDormand. Woody Harrelson is also solid as Josey's attorney though his Midwest-stoner drawl gets in the way of the northern accent he's supposed to be selling. New Zealand director Niki Caro mightily impressed us with Whale Rider a poignant mixture of grief and vigor and with North Country she continues to impress. As more an observer than anything else Caro lets the true story tell itself--of what happened in this small town with its frigid denizens and sexist behavior. And the film is definitely a period piece á la Norma Rae in that it's from a specific period albeit a recent one and pertains to a specific region. But it's kind of slow going. There’s a lot of weeping and dramatic speeches. Still Caro makes up for it by including several Bob Dylan songs who rarely grants the use of his songs in films. Perhaps he felt a certain a kinship to this film since it takes place in the desolate cold Northern Minnesota where he comes from--and so resents.