The Kite Runner

Based on a Novel by Khaled Hosseini

Writer: David Benioff
Director: Marc Forster
Director of Photography: Roberto Schaefer
Composer: Alberto Iglesias
Editor: Matt Chesse
Lead Actor: Khalid Abdalla
Year: 2007

The Kite Runner is a sad, yet meaningful tale that tells of the life of a boy who grew up in Afghanistan. There are many themes woven together in this movie. I would say the main theme essentially being the power of friendship and standing up for others. I noble message indeed.

The story started as a novel written by an Afghan author named Khaled Hosseini. Soon some producers got involved, and then Marc Forster, the director. Everyone seemed to think the book would make a good film.

The film starts with some cool opening titles, and then cuts to the grown-up main character in San Francisco. He gets a call from an old friend telling him to come back to his land because “there’s a way to be good again”. Hm, what happened? The film goes on to tell.

We find that that the main character betrays his closest friend, Hassan. This leaves him with years of guilt. The boys get separated by war and then a tragedy befalls Hassan. This leaves him with even more shame and regret. Later in his life, he tries “to be good again” and redeem himself. The film indeed has a good ending, a happy ending.

So what’s with the title? Besides it being the name of the movie, it was the first element of Khaled’s book. A number of sequences are built around the kites. They are also apparently a sort of metaphor of being free and above and the reproaches of life. Besides that, the images with the kites are beautiful. There’s a certain life in them that gives the film some real spice and pep (not too mention the party and wedding sequences).

Some of the acting in this film is not the best, but it’s tolerable. The young boys do well. And Baba, the main character’s father, is a star. The orphanage director was well casted and played his part very well. The majority of the film is in Dari (the language of Afghanistan), so that can make it a bit hard to follow at times. There are subtitles, but you have to be quick because they move along.

A favorite scene is when Amir (the main character) and his father are fleeing the country and they get stopped by the soviets. They are in the back of a truck with a number of others and there isn’t enough money to pay the guard. The guard says he’ll let them pass with a half hour with one of the woman as pay. Amir’s father, who is a prominent character in the film, stands up and prevents the man, standing between them and risking his life. The sequence is well executed and well acted. And it really adds to the message of the story.

For all its complexities and locations, the story is well connected and flows seamlessly. It gives you the information you need, but moves along at a good clip, without belaboring unnecessary pieces.

The Kite Runner is an authentic drama that shows human shortcoming and strength. It is raw, yet thoughtful and clear. It portrays a lot of different emotions in a way one can really connect with. There are sad moments, fearful moments, romantic moments, tense moments, joyful moments, and loving moments, all in one, epic, human drama.

(500) Days of Summer

Writer: Scott Neustadter, Michael H. Weber
Director: Marc Webb
Director of Photography: Eric Steelberg
Composer: Michael Danna, Rob Simonsen
Editor: Alan Edward Bell
Lead Actor: Joseph Gordon-Levitt, Zooey Deschanel
Year: 2009

Where shall I begin. There may be more to the “Summer affect” than what meets the eye. The way this film is put together and the way the issues are handled make it not your average rom com.

Tom Hanson is an average guy working at a fluffy greeting card company. Summer Fin is an average girl who shows up to the same place as the secretary. Tom is drawn to Summer at first meeting and they soon find they are alike in many ways…except in one: Tom believes in true love and Summer thinks the whole thing is a myth.

But they still like each other and Tom ultimately has to go along with Summer's desire to "just be friends". He finds it difficult to reconcile that status with his feelings, yet he enjoys every minute of their "friendship". Until Summer begins to doubt their intentions. She feels the relationship is going to far and calls it off. This devastates Tom, even though Summer made it clear in the beginning that she didn't want anything serious.

Then there seems to be a glimmer of hope, only to be completely extinguished in a few short minutes. Ironically, this leaves Tom in the shoes Summer wore at the beginning, believing the whole thing is a joke. Indeed, the two seem to have completely switched places. Although not in the way Tom wished, Summer has found that you know it when you feel it, the thing Tom tried to convince her of at the beginning. From the message of this movie, it seems it's not about "convincing".

I think it goes to show why it is ‘experimental relationships’ can lead to messed up expectations and hearts. For one thing, is it only ‘compatibility’ that warrants a serious relationship? And then, even if we know going in that “it’s just for fun”, is that how humans work? Maybe the message of this is don’t fall for your first attraction? :P

Zooey’s eyes are about as expressive as Joseph’s eyes are not. Blue eyes, white teeth, squinty smile, and heart-shaped birthmark she’s a great candidate for our female icon, if you will (should I mention the fact that she’s 30? Nah). While Joseph is portraying the infatuated and sometimes awkward young man who is not quite as expressive, although we do know when he’s not in a chipper mood. Then off course we have Tom’s friends who are just a hysterical hoot from day 1.

The way this film is put together really keeps one on their toes, which is really going to be required if you want to follow the storyline (usually that is the point of watching a film right?). Maybe it would be better called the storydashes. Instead of seeing things in a linear way, we are jolted all over the “500” days of this relationship. Backward and forward, up and down. There’s going to be no coffee breaks during the duration of this one. Yet it really is an interesting perspective to put it all in perspective, I think.

The end completely got me. I wasn’t expecting that little bit of dialog and it was a laugh out loud moment. No, I’m not going to say what it is. Only that no matter how bad some things look, seasons do change.

Caution should be taken as there are several more-than-suggestive moments in this film.

Award Predictions

(After the fact)

I'm going to take a whack at who I think is going to take home the Oscar this year. Note that this isn't who I think should, it's who I think will, although those line up fairly often.

I've seen the major hitters (Avatar, Inglourious Bastards, The Hurt Locker, Up), but not everything nominated.


Best Picture
Avatar (The Hurt Locker)

Animated Feature Film
Up

Foreign Language Film
Un Prophete (The Secret in Their Eyes)

Documentary Feature
The Cove

Actor
Jeff Bridges

Supporting Actor
Christoph Waltz

Actress
Sandra Bullock

Supporting Actress
Mo’Nique (Go Baby!)

Writing (Adapted Screenplay)
Precious: Based on the Novel 'Push' by Sapphire

Writing (Original Screenplay)
Up (The Hurt Locker)

Directing
James Cameron (Kathryn Bigelow)

Art Direction
Avatar

Cinematography
Avatar

Costume Design
Coco Before Chanel (The Young Victoria)

Film Editing
The Hurt Locker

Makeup
Star Trek

Music (Score)
James Horner (Michael Giacchino)

Music (Song)
The Weary Kind

Sound Editing
Up (The Hurt Locker)

Sound Mixing
The Hurt Locker

Visual Effects
Avatar


(It's really a toss-up for me in some cases.)

(14 out of 20. I guess I expected Avatar to trump most everything...but it's certainly ok with me that there was a different story.)

Shine

Writer: Jan Sardi, Scott Hicks
Director: Scott Hicks
Director of Photography: Geoffrey Simpson
Editor: Pip Karmel
Composer: David Hirschfelder
Lead Actor: Geoffrey Rush
Year: 1996

The fiddler on the roof has taken up the piano in Scott Hick’s 1996 film of the up and down life of a peculiar character. The story for the most part is true, based off the real life character of David Hellfgot, who was born in 1947.

The first half of the film shows David growing up and finding his talent as a pianist. All this time he was in the holds of a tight-knit Jewish family residing in Australia. Apparently growing up under different circumstances, the patriarch seemed to think his family had things pretty easy and wanted them to never express any discontent. David’s father was an encourager until his skills began to take him from his grasp. The father and son’s relationship was sacrificed when David chose to expand and move his studies to a prestigious musical college in America.

The second half shows David trying to cope with his mental disorder. Somewhere along the way a couple circuits got disconnected, leaving this talented man in a state of abnormality. The outward evidence of the disorder is a chatterbox 90% of whose dialog is pretty much nonsense.

I suppose Geoffery Rush’s performance was worthy of the Academy Award it got him. I certainly couldn’t mouth that kind of tongue ruckus! Rush quite literally bent to give an accurate portrayal. He played a messed-up man who nonetheless asked for your acceptance and care. He was even somehow likeable.

I would also like to award Noah Taylor, who played the adolescent David. What a presence (and a face) that young actor has! (At least he was young then. Mr. Bucket wasn’t till over ten years later). He was convincing playing the 17 year old boy to a 22 year old college student. They were years that, in a lot of ways, defined the man, which is likely why Noah got a significant amount of screen time. During this time, David found the independence he needed, but may not have been ready for the level of which he got.

It was the filmmakers’ intent to avoid pulling the audience out of the story to analyze the piano performances. They wanted things to be able to flow, which I think was achieved. Geoffrey Rush’s piano training certainly helped in this regard. Then to get everything synced must have been quite the editing job!

Dare I say Shine’s heart exceeds that of A Beautiful Mind? It’s certainly not the same kind of epic filmmaking spectacle, indeed, Shine is a simple film. But I do believe it may touch down on meaningful ground that glitz seems to too often overshadow.

The director, Scott Hicks with David Helfgott

"I'm just constantly working. That's the stupid thing." -Alexandre Desplat

Somebody was busy in 2009...and he's showing no signs of slowing down.

And you've gotta love his choice of words sometimes. (American not being his first language).

Reservation Road

Based on the book by John Burnham Schwartz

Writer: John Burnham Schwartz, Terry George
Director: Terry George
Director of Photography: John Lindley
Editor: Naomi Geraghty
Composer: Mark Isham
Lead Actor: Joaquin Phoenix, Mark Ruffalo, Jennifer Connelly
Year: 2007

Reservation Road is a serious and sad drama about a family tragedy. A young boy is killed in a hit and run accident by Dwight Arno, played by Mark Ruffalo. The movie follows the family of the boy as they grieve and seek revenge, while almost just as much following the one that is sought. This tragic story is driven mostly by the performance of the cast, so we will look at each of the main character’s roles.

Jennifer Connelly is superb in this film. Better than in “A Beautiful Mind” I thought. She was rarely seen without teary eyes and a bed-head, which she tries to hide for the sake of her daughter. (As a side note, the make-up department wisely understood the restraint needed here and was careful not to glamorize things. Although that was a very good call, it was perhaps overly intentional). In the early stages of grappling with the death, Grace, Connelly’s character, desperately searches to see if she could be responsible for this in any way. This of course sends her deeper into grief. But soon her husband comes along side her, and assures her that she is not to blame. Then who is to blame? Well, that’s when Joaquin’s character starts to pulsate.

Ethan Learner, Joaquin’s character, is a strong father and husband who his obviously devastated by the loss of his son. He resorts to putting a lot of energy into finding who he views as “the killer”. This obsession does not help to heal him or his family. Through ‘happenstance’, or rather ‘dramatic effect’, the suspect becomes Learner’s attorney in the case. The suspense builds as Ethan gets little clues that lead to a pointblank confrontation of Dwight. This moment is obviously the climax. All through the movie we’ve seen both sides as people; with their own lives and relationships. Will the man who had this terrible thing happen take it out on the man who did it? Will he see any value worth saving in a broken down life that has little to live for, but that is nonetheless trying?

Mark Ruffalo is caught in a desperate pickle. He knows he’s done wrong, but for the sake of his son, he doesn’t own up immediately. He also knows what the consequences will be if found out. For that reason he puts it off, wanting a little more time with his son, one more chance to redeem the last thing he has (which he now only has half of). We understand Dwight’s battle and Ruffalo portrays the insecurity well.

From a script point of view, I wonder if all the “happenstance” went a little overboard. Not only was the suspect the attorney on his own case, but his ex-wife was the piano teacher of the sister of the lost boy. Is all that a little bit contrived? I wouldn’t say flat out that it doesn’t work. As a dramatic story, I think having it makes for suspense. It puts these two people so close together they get the opportunity to see each other for who they are. And then you get to feel the nakedness the character of Dwight feels when he looks Ethan in the eye. You get to feel Ethan’s suspicion and his journey to discovering the truth.

The score in Reservation Road, composed by Mark Isham, is at the same time thematic and restrained. It undertones and yet let’s you know it’s there. It insulates the emotional thrust of the story. I thought it was quite good. The song by Papercranes at the end credits is good as well.

Although there was a little bit of predictability (which isn’t necessarily bad), I think Reservation Road’s script and direction was fine. The movie is mostly a simple and meaningful story that was brought to life with a very talented cast.

Is Tarantino's latest concoction worth more than it's rough edges?

Ni! ni! ni! ni! ni! ni! ni!

Oh yes, yes, yes, yes. I do believe so.

Here's a few scattered thoughts...

No one should argue Quentin's way with visual storytelling. And way with dialog, it would seem from Inglourious Bastards (indeed there is plenty of chit chat throughout). The script is as well written as anything and better written than most. If you tried to pin this film's genre down, you may find a bit of difficulty.

In some ways it’s a comedy, maybe more precisely a black comedy. Which makes it the twisted thing that it is when mixed with the violence. The elements of performance, gore, and humor are controlled yet really over-the-top.

I liked how I didn’t recognize everyone who showed up in this film. I think it contributed to its authenticity. I did wonder whether “Brad Pitt” got in the way at times. He was great though. More like a scary pitt than a cherry pitt though. And one should watch their back because he's not an all-live pitt either. (Sorry, I'll stop).

I probably got the biggest kick out of the "Italian" trio at the premiere, if you know what I'm saying. Hysterical. I rarely laugh out loud watching a film, but I did there.

As mentioned above, the screenplay for this thing was very well written, although I do have one small complaint. Christhoph Waltz pulled an amazing performance and he has my bet for the Oscar. The problem lies in where his character goes at the very end. The reason it doesn’t completely work for me is because people were playing dress-up and pulling false identities through the whole movie. So by the time it came for Waltz to reveal himself, it wasn’t anything new. It almost seems like a cheap way out the situation in that part of the movie.

I will say though that this is a unique WW2 piece. Unlike any I’ve seen to be sure.

Yeah, peace bro. Right on. Peace.

By the way, I don't recommend Inglourious Bastards :P. Not all Rs are the same I suppose. Meaning, it apparently doesn't matter if you show it or not. Eeck.