BROTHERS: NEW FILM, OLD STORY

Another reason to love Natalie Portman (Grace Cahill). She is the loving, young wife of Sam Cahill (Tobey Maguire), a Captain in the Army taken hostage and left for dead. His black sheep brother, Tommy, steps in (Jake Gyllenhaal) and helps the family deal with the grief until surprisingly Sam is found alive and returned home, a shell of his former self. Of course Grace and Tommy find solace with each other, but not in the garish way it might be predicted. This isn't a bang bang film but a reflection on character and people and some side notes on war and politics. Nothing outstanding, but sturdy performances all around.
Bite: Nothing new or thrilling but an okay movie.

BEFORE THE DEVIL KNOWS YOU'RE DEAD

BEFORE THE DEVIL KNOWS YOU'RE DEAD... IRISH TOAST OR RUTHLESS FAMILY FUN?! DISCUSS...
It seems as if dysfunctional families are more the norm than the rule. In a story written so tightly, shaving inches off the reels of film and mastering such a precise plot, we dive into two a story about two brothers. Andy (Philip Seymour-Hoffman, certainly busy these days) and Hank (Ethan Hawke) are perhaps equally doomed. Andy is married to Gina (Marisa Tomei, who has fully come into her acting prime) and slowly we are sent back in time. With each trip, the details about the brothers, their lives and the whole plot unfolds and comes into focus. As the layers are revealed bit by bit, the story gets more and more repulsive. Andy is an arrogant prick who has a nasty cocaine habit in addition to his many lackluster qualities. Hank is not the sharpest tack in the box. It is he who provides a moral compass of sorts, but his pace falls behind his brother's smarmy actions. Again, we are shown the results of traumatic childhoods, real or perceived. The lines blur, because it isn't black or white. There is a lot of gray and adults need to be accountable for their own lives and let go of the past or they may end up a plot line for some writer's dramatic script. So well written and driven by the characters, this cast and the script are all brilliant and clever. Films like these are a testament to how truly violent and scary the world is now. The unthinkable is served to us with the nightly news on our TV trays. Did somebody say Menendez?
PICK: Outstanding script, sharp, clear characters and a very well laid out plot.

DEATH AT A FUNERAL

DEATH AT A FUNERAL PUTS THE 'FUN' IN FUNERAL

Only the British could get away with the antics in this film. It's the day of the funeral of two brother's father. One is a mild mannered man, the other his famous writer brother arriving first class from New York. There are far too many characters to summarize here. When the film starts with the wrong body delivered to the house, it can only go up from there; and it does go up. Higher and higher, faster and faster... there are a million stories and subplots going on at the same time, like an Altman film on speed. This movie does an amazing job at getting you really dizzy and then bringing you back to a sober halt. There is as much drama, realistic and genuine than there is comedy and bawdy humor. Very real issues are covered during the course of this film and at the end of the day, it is another movie about life and death. There is one scene that is truly the most disgusting and horrific scene than I have witnessed in a very long time; worse than anything from the Saw series or any other horror film. It must be seen to be believed. So well done and enjoyable from start to finish.

PICK: Must see film, funny and sad and everything in between. Big Pick!

THE DARJEELING LIMITED

THE DARJEELING LIMITED IS A TRAIN NOT TO BE MISSED
There are two kinds of people in this world; those who love Wes Anderson's work (The Royal Tenenbaums, Bottle Rocket, The Life Aquatic With Steve Zissou) and those who hate it. The DVD has a short "featurette" before the film officially starts, Hotel Chevalier, starring Natalie Portman and Jason Schwartzman (Jack).It offers some insight about Jack that comes up later during the film and is a nice short little added extra. After meeting Jack in the featurette, we are then introduced to his other brothers, Francis (Owen Wilson) and Peter (Adrian Brody). Francis has pulled his brothers together for a "spiritual journey" in India. "The past has happened, but it's over isn't it? Not for us." They haven't seen each other since their father's funeral and they start to re-bond before getting kicked off the train. Soon it is revealed that Francis has ulterior motives for their quest, despite his daily itinerary. Wes Anderson's films are magic to me. They are all about family and relationships and their complications and this film is no different. Some of the story is literate and some is unknowingly beautiful. It seems that the train if forever in motion and to get on it they must run after it. The film begins with this and ends with this practise. Bill Murray, a veteran Anderson cast member, gives an appearance as a business man who misses the train. When the brothers catch the train after literally loosing their baggage the effect comes full circle. Angelica Houston also a veteran "Andersonite", also makes a brief, but valuable part in the film. Although mostly humorous, this film has it's serious moments too. In my mind, movies, at the end of the day, are always about life and/or death. This movie is about both. Anderson's work is not for everyone, but I adore him and his vision and adored this film.

PICK: While not for everyone, I loved this film, both in subject matter and execution thereof.

WE OWN THE NIGHT

WE OWN THE NIGHT OWNS THE VIEWERS TOO
This is not an average "cop" movie. This is a powerful and intense drama about two brothers; neither living the life they wanted. Joe (played by Marky Mark Wahlberg) is his father's son and a cop. His father, Bert Grusinsky (Robert Duvall) is the Deputy Chief and is quite proud of his son... one of them anyway. The other son, Robert Green (Joaquin Phoenix) manages a disco/dance club and is fond of his Russian boss who treats him like family. Eva Mendes is Amanda, Bobbie's ubersexy girlfriend. Now this is where the train jumps the tracks. I'll not be specific so as not to ruin the twists and turns which usually only covers the ending. Not so here. The film is not a "typical" cop movie. There are no "dirty cops". There is no black or white, good or bad, right or wrong. This film is emotionally charged and driven which is a different place to go with a mostly all male cast. It's about emotion and sympathy and vengence and fear. The audience is challenged to forget what we think we know. I liked that, but would not have forseen it. Brothers who rival each other, and also love each other AND don't have a problem saying it outloud. Mendes, although ravishing, is more than an ornament. She doesn't hang off Phoenix like a cheap suit; she is a real and sincere person. This is the best I've seen from her thus far. Each character is individually well crafted and yet there is a connection between them that is implied, but not obvious. It is raw and vulnerable and tough all at the same time. Phoenix steers the ship, but Wahlberg, Duvall and Mendes are solidly rowing. Fantastic film all around.
Pick: Well crafted acting and solid script make a delicious and riveting film.