‘Nebraska’ Review: 10 Things to Know About Alexander Payne’s New Drama

Paramount

While we all wish that those ridiculous pop-up ads and promotional flyers claiming we’ve won a prize were actually real, they’re always bogus. Yet, there comes a time in an aging man’s life when the chance to be rewarded, and to achieve what you never did, conjures an unrelenting hopefulness, which a scam — no matter how blatant — could ever extinguish.

In Alexander Payne’s “Nebraska,” Woody Grant (Bruce Dern) is that aging man, one who receives a certificate in the mail claiming he’s won a million-dollar sweepstakes. Resolute in claiming his prize, Woody leaves his home in Montana for Lincoln, Nebraska — even if it means walking there.

His wife (June Squibb) can’t handle Woody’s stubborn antics, so she calls her two sons David (Will Forte) and Ross (Bob Odenkirk) to help her out. When they fail to hammer any sense into Woody, Dave reluctantly decides to entertain his father by escorting him to the source of his winnings.

“Nebraska” opens in select theaters this weekend, but is it worth your time? Here are the 10 things you should know about the black-and-white, nontraditional road movie.

1. Will Forte Makes an Impressive Dramatic Turn
It definitely comes as a surprise to find former SNL favorite, Will Forte, co-starring in a drama, and specifically, not as the goofy guy with a weird hobby (remember The Falconer?). You’ll find no trace of MacGruber or Tim Calhoun in his David, a serious role that reveals Forte’s well-rounded talent. In a film where there is a solid handful of laughs (some rather raunchy), Forte is never the one joking. David is an incredibly relatable character, and one that leaves us excited to see more of Forte’s dramatic side.

2. Bruce Dern Delivers a Career-Defining Performance
Bruce Dern may not be as high-profile as other Hollywood legends, like Jack Nicholson or Gene Hackman, but that’s exactly what helps the reticent, stubborn Woody feel so fresh and real. Known more for playing anti-heroes and villains, Dern may seem an unlikely choice for Woody, but his very honest performance in “Nebraska” proves otherwise. Maybe it’s Dern’s unpredictable nature as an actor that lends credence to his very real portrayal of an obstinate man who zones out frequently, occasionally serving up one-word answers. Or, maybe it is simply Dern’s ability to completely embody Woody, pulling in universal elements of our parents and grandparents, so that, on some level, by the end of the movie we feel that we really know him.

3. Alexander Payne Knows How to Capture Emotional Rawness
Payne, best known for “The Descendants,” “Sideways,” and “About Schmidt,” has a knack for capturing the honesty and rawness of human behavior. In “Nebraska” each character expresses his or her emotional struggle, one that reflects whatever point it is in his or her life. Woody, a kind-hearted alcoholic-in-denial, longs for freedom and peace in what may be his final years; David, the unsuccessful son working at an electronic store, can’t seem to get a handle on his life and future; Woody’s wife, Kate (Squibb), is sick and tired of putting up with her husband. Disappointment, regret, guilt, hopelessness, faded love, indecisiveness, inescapable stasis: these are all feelings we know, have known, or may know one day.

4. The Use of Black-and-White Is Very Fitting
“Nebraska” feels like a film stuck in the recent past (in a good way). A good deal of that feeling comes from the movie being shot in black-and-white, an aesthetic in which contrasting light and dark hues enhance the richness of emotions portrayed on-screen. With color stripped away, the characters and their stories become the sole focus; there’s nothing to visually distract us.

4. Bob Odenkirk Is So Saul
Maybe we’re still experiencing “Breaking Bad” withdrawal, but Bob Odenkirk is, and (for us) always will be, Saul. He gives a good performance in “Nebraska” as Ross, David’s older and more successful brother. Ross is the stabilizing glue that holds the unpredictable Woody, the softer David, and the bad-mouthing Kate together. While Ross never dons a goofy-colored suit and tie, we can’t help but see the dirty “Breaking Bad” lawyer in Odenkirk’s exasperated tone and wild hand gestures. Also, did anyone else pick up on the fact that (spoiler!) Nebraska is where Saul ended up? Maybe his new identity is as Ross, the local news anchor… hmm.

5. While It’s a Drama, It’s Also Very Funny
The beauty of “Nebraska” is that it draws a great deal of comedy from the tragedy and humor of everyday life. It never tries to tell an unwaveringly serious story. Payne relies on realism, reminding us that nothing in life is wholly dramatic or funny. For instance, one scene has Woody and David searching for Woody’s lost dentures along train tracks. While that’s a funny-sounding setup, the scene is grounded by the fact that Woody lost his teeth as a result of his alcohol problem.

6. There’s a Hilarious Cemetery Scene
While visiting Woody’s hometown, David, Kate, and Woody go to his family’s burial site. This would-be somber moment quickly turns hilarious as Kate shows her true colors — and even shows some skin when she flashes a grave stone. As she introduces each of Woody’s dead family members to David, she mentions what she most fondly remembers them for, and it’s endlessly entertaining. Squibb is shockingly (and amazingly) crude, but her behavior never feels forced or one-dimensional. She’s a rambunctious, inappropriate old woman, and she’s just real.

7. It Has a Very Unfair ‘R’ Rating
We’ve seen PG-13 movies far more deserving of an R rating. While “Nebraska” has some inappropriate and colorful language that earned it an R, it’s unfortunate that a movie almost completely devoid of ill or offensive motives like this is restricted to a 17-and-up audience. If your teenager really wants to see it, you can feel confident in buying him or her a ticket.

8. It’s a Shining Exploration of American Greed
There are two types of people in “Nebraska”: those who congratulate you when they hear you’ve won a million dollars, and those that scheme to get a cut for themselves. There are more of the latter in “Nebraska,” specifically Woody’s old friends and close relatives. While good ol’ American greed is shown through the shameful extents some of the characters go to claim their share, Woody’s dedication to his prize is the furthest thing from it. He doesn’t brag about his money or flaunt the idea of being a potential millionaire; in fact, he doesn’t seem to care about the money, just the few things it will give him that he failed to acquire in his life. “Nebraska” is really about a man nearing the end who is trying to make up for lost time, his losses, and life’s disappointments.

9. There’s a Solid Supporting Cast
“Nebraska” is a great showcase of older actors in some fine supporting roles. Stacy Keach plays Woody’s former partner and old friend, Ed Pegram, who turns out to be not-so-friendly; and Mary Louise Wilson (who you may have seen on “Louie” as Louis C.K.’s recently outed mother) and Angela McEwan give warm supporting performances as small-town Nebraska folk.

10. It’s Great for an Older Audience
Exploring themes of reflecting on a life in old age, making up for past disappointments, and getting toreally know the family you thought you knew, “Nebraska” is a mature film that will resonate with older audiences. This year has had a good handful of worthy dramas for adult audiences (“12 Years a Slave,” “Dallas Buyers Club,” and the upcoming “August: Osage County”), however, “Nebraska” is one that really zones in on aging and family. While it may not be as high-profile or commercial as any of those movies, it’s a noteworthy addition to this year’s list of best movies.

This article was originally featured on Moviefone on November 14, 2013.

What Is ‘Blue Is the Warmest Color’? A Primer on the Controversial Lesbian Drama

Sundance Selects

You’ve probably heard of the French film “Blue Is the Warmest Color” if the Cannes Film Festival was on your radar or if you’ve heard buzz about the film’s graphic 10 minute sex scene. But just in case you haven’t, we’re here to bring you up to speed on the critically acclaimed lesbian-centered drama that got itself an NC-17 rating in the U.S.

What It’s About: From Tunisian director Abdellatif Kechiche, “Blue Is the Warmest Color” is based on the 2010 French graphic novel of the same name by Julie Maroh. The film follows the love story that blossoms between two women, Adèle (Adèle Exarchopoulos) and Emma (Léa Seydoux, “Ghost Protocol”).

Why It’s So Controversial: “Blue” first hit the film world’s radar when it won the Palme d’Or, the top prize at Cannes, earlier this year. However, the film provoked such fiery attention for its incredibly erotic and extended sex scenes. While some prosthetics were used, the actresses’ bare bodies are shown and not just briefly, but for a full 10-minute scene and then in two shorter ones that follow. After winning at Cannes, the film stirred up more heat when Exarchopoulos and Seydoux spoke out against Kechiche and his directing methods, claiming they felt like prostitutes and were forced to do things they never agreed upon. Critics have taken multiple stances on the use of nudity and depiction of lesbian sex in the film, including Manohla Dargis who derided the scenes as exploitative, and Indiewire who proclaimed them sexy and accurate, but boring.

What Sets It Apart: In the LGBT genre, and especially in mainstream movies, there is a pronounced lack of well-made films that realistically portray lesbian relationships. The few films that do center on a female couple’s story, which are usually indie or foreign, are either campy (“But I’m a Cheerleader”), stereotypical male fantasies (“Room in Rome”), or a little too cute to be believable (“Imagine Me & You”). “Blue Is the Warmest Color” is one of the few, if only, that treats a lesbian relationship like that of any couple — the fights, the lustful honeymoon phase, the heartbreak, the jealousy are all portrayed without attention to the fact that it’s experienced between two women. Although Stacie Passon’s “Concussion” is said to be a similarly commendable depiction of sexuality, “Blue” is one of the best lesbian dramas to ever come to the big screen.

Why You Should See It: While “Blue” puts into question appropriate filmmaking methods, it also pushes the boundaries of the representation of sex — specifically lesbian sex — in movies. Would the scenes have been different from a female or a lesbian director? Should they be dismissed for their length and graphic content, or praised for their more accurate portrayal of lesbian sex than in previous films? These questions make up the whole of why “Blue” is such an important movie, and not just for a niche audience, but for everyone.

This article was originally featured on Moviefone on October 23, 2013.

’12 Years a Slave’ Review: 10 Things to Know About the Historical Epic

Fox Searchlight

In pre-Civil War America, neither legal documents or state lines could completely define the identity of a man, who regardless of lawfully deemed freedom was never guaranteed it.

Steve McQueen’s historical epic “12 Years a Slave” is based on the 1983 memoir of Solomon Northup, a free black man in New York who was kidnapped and sold into slavery. The educated and revered violinist Northup, portrayed by Chiwetel Ejiofor (“Children of Men”), is deceived by carnies and wakes up to find himself in shackles. Northup is stripped of his identity and passed from one plantation owner to the next.

“12 Years a Slave” has already reaped high acclaim after its premieres at various festivals, and is said to be the best and most emotionally intense film of the year. But before you start deeming it Oscar worthy, read on for 10 things you should know about the film before it opens in limited release this weekend.

1. It’s Incredibly Brutal
With Nortup’s first beating, where wooden planks and whips literally tear his shirt to bloody rags, McQueen immediately informs us that his film is going to be uncomfortably real and brutal. The director not only shows the many gruesome aspects of slavery, but he holds on to them long enough so that we must witness the full experience. From a stifling rape scene, shocking moments of unexpected violence, and an already infamous graphic whipping scene, the film has some of the heaviest and hardest-to-watch moments on screen in a while. Be prepared.

2. Ejiofor Gives the Performance of His Career
Ejiofor proved himself a noteworthy actor to watch with 2005’s “Serenity” and 2006’s “Children of Men,” yet his phenomenal performance in “12 Years” assures us that he knows his craft. The dehumanization of Northup is evinced in Ejiofor’s facial expressions alone, his glossy eyes revealing more about his internal and external degradation than words could tell. The confident, learned Solomon Northup, stripped of his identity, slowly descends into a petrified and humiliated man viewed as nothing more than a beast, as Paul Giamatti’s slave trader calls him. Yet unlike the other slaves, Northup maintains an unwavering conviction to survive no matter how much whips and words may break him down. From the tips of his toes that struggle to keep him alive in one long, unflinching scene to the quivers of his cheeks that restrain his hatred, every ounce of Ejiofor becomes Solomon Northup on the screen.

3. McQueen Brings the Perfect Balance of Realness
While there is a substantial amount of violence in the film, McQueen’s visceral approach is nonetheless artful and respectful of the history of slavery. He offers up a raw account of events without sensationalizing and dramatizing them, nor insulting the audience by diluting them. “12 Years” is clearly a film dedicated to honestly relating a real-life story, not one that manipulates audience’s emotions or one with an aim to strictly sell tickets. Each scene feels real enough to the point where we get it just enough.

4. Lupita Nyong’o Is an Actress to Watch
In her very first film role newcomer Lupita Nyong’o plays Patsy, the most hardworking and, unfortunately, most favored slave on Edwin Epp’s (Michael Fassbender) plantation. The sexual harassment and rape Patsy endures from the sickening Epps is undoubtedly awful, but nearly pales in comparison to the unending torture his jealous wife Mistress Epps (Sarah Paulson) puts her through. As Patsy, Nyong’o gives one of the most remarkable and heartbreaking performances of the year that will stay with you long after. It’s always refreshing to discover such talent in a new actor and we’re certain we’ll be seeing Nyong’o in many great roles to come.

5. It Effectively Uses Its Large Cast
While the other historical epic this year (“The Butler”) made a decent attempt with a large cast, it mainly used it as bait to enhance the story rather than to create strong characters. “12 Years a Slave,” however, utilizes its big-named cast to the perfect degree, where the audience isn’t left waiting for a famous actor to arrive on screen. While the film features small roles from Paul Giamatti, Brad Pitt, Quvenzhane Wallis, Paul Dano, and Benedict Cumberbatch, the actors themselves never overshadow their characters but simply add to the richness of the story. The main standouts are Michael Fassbender’s malicious slave owner Epps, and Sarah Paulson who is an ideal fit as his wicked, vile wife.

6. It’s So Much More Than a Film
In the wrong hands “12 Years a Slave” could’ve easily become operatic and desperate, or inappropriately violent. Yet with McQueen’s background in art and his previous films “Hunger” and “Shame”, both of which portray the agony of the human condition in a visually beautiful, yet trialing manner, “12 Years” is so much more than a movie. McQueen’s slow tracking shots through the sugarcane fields, his unwavering scenes of cries and abuse, and his elongated gaze on the embers of burning paper dig out deeper emotions beyond the surface of the story.

7. Hans Zimmer’s Score Is a Bit Melodramatic
Zimmer’s style is known for its epic emotionalism, and while “12 Years” is an epic, the music feels slightly overwhelming and melodramatic. This may be because of its pairing with McQueen’s slow-paced, naturalistic style, which is very dissimilar to Zimmer’s usual films full of action and fast editing. The score may also feel slightly out of place due to its striking resemblance to Zimmer’s past compositions. The music that repeats throughout the film is very similar, if not the same, to both his “Time” composition from “Inception” and “Journey to the Line” from “The Thin Red Line” (give them a listen once you see the film). Perhaps less repetition of the same music and more periods of silence would’ve better suited the film’s moments of intensity.

8. It Depicts Slavery Unlike Other Films Before It
So far this year two films have examined racial tensions and politics in America, with “Fruitvale Station” and “The Butler.” The latter briefly portrayed slavery rather softly and commercially, while just last year we got Tarantino’s signature twist on slavery in “Django Unchained.” It seems a fitting time though for a film to finally take a serious approach to one of the most horrific periods of dehumanization and suffering in American history. Unlike its predecessors, “12 Years” approaches pre-Civil War events with a mature respect without exploiting them for sympathy or blatant condemnation. While audiences of course have no first-hand experience of the slavery era to know how truly accurate the film is, McQueen’s film feels like the most authentic portrayal yet.

9. Yes, It Will Definitely Get a Ton of Nominations
We know all the early Oscar talk is annoying, but, with a film like “12 Years a Slave,” it’s incredibly difficult to avoid awards chatter since it so aptly succeeds on so many cinematic levels. From its brilliant cinematography — suffering truly never looked so gorgeous and harrowing — and its outstanding performances, to the all-consuming power of McQueens watchful, detailed eye, the film merits many praises.

10. While Historical, It Feels Very Relevant
It’s not uncommon for a period piece or a historical epic to get bogged down in the cobwebs of antiquity, feeling more like an educational lesson that is wholly separate from us today. However, McQueen’s film isn’t one that is easy to brush off as merely something that happened, as it leaves a lasting impression of something that still impacts us. “12 Years” isn’t a preachy sermon on morality and race issues, it doesn’t summarize history like “The Butler,” and it doesn’t just tell the story of one man. It encapsulates the birth of an evil and a widespread persecution which created waves that have echoed throughout history into the present. McQueen’s film is so powerful and consuming that you feel like you’re right there with Northup, yet when the credits roll you can’t help but feel the rippling effects such an era of agony has had on race in America and still does today.

This article was originally featured on Moviefone on October 17, 2013.

‘Her’ Review: 10 Things to Know About the Technological Romance Flick

Warner Bros.

In “Her,” which premiered at the New York Film Festival last weekend, Theodore Twombly (Joaquin Phoenix) is a lonely writer living in a futuristic Los Angeles who can’t get himself to sign his divorce papers. When the world’s first artificially intelligent computer software comes out, one that is personally matched to each user, Theodore sets it up immediately. After a few blunt questions including, “How would you describe your relationship with your mother?” he is given Samantha (voiced by Scarlett Johansson). Programmed with the thousands of personalities of her creators, Samantha is a constantly evolving software that develops more complex knowledge and emotions every moment. As Theodore interacts with her more and more each day, he begins to fall in love with her.

Spike Jonze’s sci-fi romance depicts a relatable, poignant love story with one of the best, yet most unusual onscreen romances this year. While the film doesn’t open until December 18, here are 10 things you should know about it.

1. It’s a Bizarre But Beautiful Love Story
Amy Adams’ Amy, Theodore’s closest friend, says “Falling in love is the craziest thing to do. It’s kind of like a form of socially acceptable insanity.” Nothing could ring truer in a film where various forms of love are examined and explored: a man falling for his A.I. computer software; said software experiencing the same emotions; a woman struggling with her marriage. At first, Theodore’s relationship with Samantha seems as weird as it sounds, but as the two grow closer their relationship becomes more and more realistic. We soon can’t help but see them as a real couple, communicating long distance.

2. It Echos Contemporary Anxieties
While “Her” takes place in a not-so-distant future, it serves as a reflection for the many social anxieties we face today. The need to always be connected, to always be in-the-know, is still present in Jonze’s future world. His Los Angeles citizens are constantly communicating via bluetooth-esque earpieces. Though Theodore works as a ghost writer of love letters, he spends most of his time playing video games and calling up a hotline for phone sex, all technological ways to connect that result in no real satisfaction. If Jonze’s world is our future then it proves that while technology may be fancier and more convenient, it may still leave us wanting more.

3. But Overall, It’s More About Humanity Than Technology
Though “Her” is an examination of technology and its growing effect on our daily lives, that’s just the basis for its story about the human condition. The film begins by exploring Theodore’s seemingly odd relationship with his OS (operating system) Samantha, and eventually focuses its attention more toward human emotions, experiences, and relationships. The closer Theodore gets to Samantha the more he unlocks his long-hidden spontaneous, vulnerable self. This ability to find friendship and even love with an OS becomes quite common among the film’s other characters. Yet through this deep connection with technology, Theodore, and even Samantha, soon discover what it means to be human. In a way “Her” begins with how technology removes us from ourselves, but then explores how it can help us stay in touch with our emotions.

4. Joaquin Phoenix Is Amazing (as Always)
Theodore is his most sensitive and relatable character yet, one whom isn’t as much of an anti-social recluse as Ryan Gosling’s Lars in “Lars and the Real Girl,” but still suffers from loneliness and heartbreak. In a majority of his scenes, Phoenix is alone on screen as he converses with Samantha, yet his performance is constantly charged with emotion. Whether lying in bed talking, dancing alone along the subway platform, or spinning around on the boardwalk with his eyes closed, Phoenix is fully captivating. He proves that he can carry an entire film and create a relatable character we can see facets of ourselves in.

5. Scarlett Johansson’s Voice Has a Strong Presence
While we only hear a voiceover from Johansson, her character is as palpable as the rest. The many nuances in her voice — her crackly laugh, her soft inhales, her squeaky excitements — make her presence all the more human, as if she’s just a person on the other end of the phone. We may imagine Johansson’s face as we listen to her Samantha, but the inability to see her on screen constantly challenges our imagination as we fight to visualize each of her expressions. Johansson’s voice work reveals just how much of a believable character can be created through audio only.

6. Amy Adams Is Very Real
Amy Adams is Spike Jonze’s usual rugged-yet-natural-looking female character (think Cameron Diaz in “Being John Malkovich”). Her messy hair and baggy clothes go along with her faltering marriage and overwhelming job. Adams has played both raw, feisty characters and sweet, charming ones, but as Amy she’s an unabashed and honest woman who’s endlessly flustered with life. She’s the best friend you wish you had, who can break down crying in front of you, but also just be blunt when you need it. Amy is the best portrayal of any real onscreen female this year.

7. It Has an Odd But Hilarious Sense of Humor
In “Her” we get a sense of Jonze’s unusual and candid sense of humor with a handful of unexpectedly funny moments. When Theodore is having phone sex, what would seemingly turn into a sad moment of loneliness quickly becomes the most bizarre and hilarious encounter imaginable. Jonze also adds doses of humor with Theodore’s holographic video game where an alien character shouts funny vulgar remarks at him and Samantha.

8. The Tone Is Very Natural
Regardless of its science fiction story, “Her” is both realistic and relatable. Jonze succeeds in showing people (or should we say all entities) for how and what they are: sensitive, jealous, goofy, angry, and selfish creatures. An entire spectrum of emotions is revealed through Theodore and Samantha as they come to discover each other and eventually themselves. There are moments in the film where you can laugh if you find it funny or take it earnestly. In a way, the film’s very natural and relatable style reflects how we all go through a confusing range of feelings and how every experience lends each person different ones.

9. It Reveals a Likely Future
Jonze’s futuristic world feels not so far away with its voice operated earpieces à la Siri, holographic motion-controlled video games (we’re almost there), and digitally transcribed letter-writing service. In the film, Theodore writes for BeautifulHandwrittenLetters.com, an ironic name for a company where no such handwriting occurs. Theodore verbally dictates all types of moving letters as his computer digitally transcribes them into cursive fonts and prints them onto digitally drawn lined paper. It wouldn’t be so surprising if this became the future of editorial publishing.

10. As Jonze’s First Solo Script, It’s Incredible
Spike Jonze made his signature mark as a director with films like “Being John Malkovich,” “Adaptation,” and “Where the Wild Things Are,” so it may seem surprising that “Her” is Jonze’s first solo writing credit. While Jonze has given life to Charlie Kaufman’s personal screenplays, “Her” seems like a very personal piece of Jonze himself. The film’s look at relationships and loneliness is so relatable that any viewer can find moments to connect to, to use as a reflection of their own personal struggles. To capture such honesty about the human condition in his first screenplay is a commendable achievement. We can’t wait to see what he brings us next.

This article was originally featured on Moviefone on October 14, 2013.

‘The Secret Life of Walter Mitty’ Review: 10 Things To Know About the Fantasy Film

20th Century Fox

Ben Stiller’s “The Secret Life of Walter Mitty,” an adaptation of James Thurber’s 1939 short story of the same name, premiered at the New York Film Festival this past weekend to widely polarized critical reactions. While many proclaimed the film an utter mess, others praised its fun and fantastical nature.

Directed by and starring Stiller, “Walter Mitty” loosely follows the fantasy and real-life adventures of the fictional title character (first portrayed on screen by Danny Kaye in 1947). Stiller’s awkward and timid Mitty works in the photography department at Life magazine and is the liason for famed photographer Sean O’Connell (Sean Penn). But when a negative of O’Connell’s photo goes missing — one that will be used as the cover photo of the very last Life print issue before the mag transitions to online — Mitty must go on a real adventure, one crazier than his imagination has ever concocted.

The comedy-fantasy flick from Stiller doesn’t hit theaters until Christmas Day, so to get a head start, here are 10 things you should probably know about it.

1. It’s Not the Film the Trailer Depicts
According to the trailer, Stiller’s remake appears to be more of an artful take on the famous short story than a silly romcom. Unfortunately, those expecting “Walter Mitty” to have a profound and uplifting message or original characters will be disappointed to find it a hodgepodge of Hollywood cliches. Stiller’s film takes the typical early-2000s romcom — as always, set in the journalism industry — and uses Thurber’s short story as inspiration for fantastical, outrageous, and some outright weird daydream sequences. The promo wants us to believe Stiller’s Mitty is a mix of Zach Braff‘s Andrew Largeman in “Garden State” with the wildly imaginative mind of Gael Garcia Bernal in “The Science of Sleep.” But don’t be mislead: “Walter Mitty” is nothing but mainstream fare (not that there’s anything wrong with that).

2. It’s Super Cute and Fun
Some of us have a soft spot for sweet and cheesy films, especially ones with visual flair like this movie. Stiller is convincing as an awkward nerd with big dreams of adventure. His daydreams are the most exciting element of the movie, from his superhero dog-in-a-burning-building rescue to his fantasy of talking back to Adam Scott‘s frat boy bully. His zone-out moments and real-life adventures are equally ridiculous, and his sentimental moments are pure cheese. If you swallow “Walter Mitty” for what it is, it is an enjoyable saccharine treat.

3. It’s Uneven In Tone
That said, the main downfall of “Walter Mitty” is its indecisiveness between comedy and drama. The film has a handful of laughable moments, but screenwriter Steve Conrad (“The Pursuit of Happiness”) throws in sudden serious elements that feel widely out of place. In one scene, Walter quickly transitions from lightheartedly joking about being in a Papa John’s in Greenland to relating the story of his father’s death. While the wavering tone of serious and playful throughout the film reflects the awkward nature of Stiller’s character, it unfortunately ruins several moments that could’ve been more believable.

4. Kristen Wiig Is Miscast
There’s something about Kristen Wiig, or maybe everything, that just makes you want to burst out laughing; it’s why we love her. For that very reason Wiig will simply never work in even a semi-serious role or as a character with any level of normalcy. Wiig’s Cheryl, a separated mother with an inactive eHarmony account, is your everyday woman with slight nerd tendencies like Stiller’s Walter. However, it’s impossible for Wiig to deliver a line with any amount of seriousness that doesn’t leave the audience teetering on whether to laugh or not. We’ve been conditioned to never take Wiig seriously. Like many other breakout female SNL cast members, Wiig has pigeonholed herself into such arbitrary comedic characters that normal ones may never fit.

5. Adam Scott Is Kind of Disappointing
The “Parks and Rec” actor is enjoyable to watch on the big and small screen for playing both a shy sweetheart and, at other times, an arrogant jerk. As Walter’s new boss, Scott is the perfect cocky bully you want to punch in the face. However, his character is nothing but a repeat of his “Step Brothers” character Derek, also a rich, insolent brat who thrives off of picking on losers. Had this been the first time we saw Scott as the ultimate office A-hole it would’ve been perfect, but Scott brought nothing new to the part and instead played the character with an air of desperation.

6. The Technology Adds to the Dream Sequences
A remake of Danny Kaye’s 1947 film was definitely due, if only to take advantage of current technology. The movie’s CGI makes Mitty’s fantasy and real-life adventure sequences all the more fun and crazy, from the animated sharks surrounding him in the ocean to flames exploding as Mitty escapes from a burning building. However, some CGI seemed unnecessary and completely weird, such as a daydream scene where Mitty imagines himself aging reversely, Benjamin Button-type.

7. It’s the Perfect Christmastime Movie
Opening on December 25th, “Walter Mitty” is the ideal Christmas film. With opening day contenders like Meryl Streep‘s family drama “August: Osage County,” macho sport comedy “Grudge Match,” and Tom Clancy’s “Jack Ryan: Shadow Recruit,” Stiller’s movie will be the ideal cherry entertainment for the entire family.

8. The Soundtrack Is Great
With empowering indie rock songs from Arcade Fire and Of Monsters and Men, along with a heavy focus on David Bowie’s “Space Oddity,” “Walter Mitty” is full of great music. The soundtrack definitely attempts to add an indie feel to the very mainstream movie, which, if anything, will bring wider attention to (slightly) lesser known bands and introduce the greatness of Bowie to a younger generation.

9. It’s a Good Oscar Contender
“Walter Mitty” has a good shot at getting a Best Picture nominee for its crowd-pleasing ability and feel-good nature. With a surplus of heavy dramas this year, Stiller’s film will shine as the fun yet sweetly sentimental family comedy. It’s unlikely the movie will go home with any golden statues, but we predict it will help skyrocket Stiller to directing bigger projects.

10. But Stiller Still Needs More Work as a Filmmaker 
This is undoubtedly the actor’s most ambitious film as a director and one that has the widest audience appeal. Stiller may not have proven himself successful in convincingly blending comedy, drama, andaction, but “Walter Mitty” is definitely a step in a better direction for his career behind the camera. The film’s many elements of reality and fantasy are a whole new territory for Stiller, and while he didn’t quite master them, we’re at least glad he’s moving away from slapstick comedy and closer toward big blockbuster crowd pleasers.

This article was originally featured on Moviefone on October 7, 2013.

‘Gravity’ Review: 10 Things to Know About the Space Epic

Warner Bros.

It’s difficult to find any flaw in Alfonso Cuaron’s “Gravity,” which, at this point, is easily the best film of the year if not one of the best technical films ever. While its best to avoid hyping up a movie to such grand extents — and we do really hate all the early Oscars talk — we just can’t help ourselves (sorry).

The space thriller, co-written and directed by Cuaron (“Children of Men,” “Harry Potter and the Prisoner of Azkaban“) stars Sandra Bullock as Dr. Ryan Stone and George Clooney as astronaut Matt Kowalski. While Stone is working on a repair on the crew’s Explorer space shuttle, the team gets word that a field of debris is heading their way. When it connects, their shuttle gets destroyed, and Stone ends up disconnected from the ship. With nowhere to return to, she must find a way to get to the International Space Station before her oxygen runs out.

Before you shoot out to see how this epic tale ends, here are 10 things you should know about the space thriller.

1. Its Characters Are Kind of Cheesy
On paper, “Gravity” is a rather corny and cliched story about two lost souls: Dr. Ryan Stone has lost her faith over the death of a loved one, while Matt Kowalski is a country-music-loving Texan divorcee. We learn details about the characters’ backstories in brief conversations, none of which are unique or profound. If you close your eyes during these moments, “Gravity” may sound like a typical Clooney or Bullock movie. However, this isn’t a film for shut eyes.

2. It’s More About the Thrill Ride
Discounting “The Prisoner of Azkaban,” “Gravity” is Cuaron’s most Hollywood-ized film, and one that delves less philosophically into the human condition. Instead, Cuaron spends more energy on technical prowess, layering and building suspense, and manipulating the audience’s physical, mental, and emotional well-being. If you go into “Gravity” expecting a complex story or strong character development, you’ll find yourself disappointed. “Gravity” resembles a cinematic space roller coaster more than a typical trip to the movies — and that’s why we love it.

3. It Will (Literally) Take Your Breath Away
There are moments in the film where you may feel like your oxygen is running low. You’ll probably release your sweaty grip from the seat, swallow a giant gulp of air, and attempt to level your heartbeat. The relentless moments of panic makes the experience of watching “Gravity” an all-consuming one. If any film will give you the most fun 91-minute anxiety attack of your life it’s this one (trust us, it’s worth it).

4. Bullock Is Maybe Her Best Ever
Bullock brings a genuine mix of courage and fear to the role. You can tell Stone’s scared out of her mind, but she never lets you doubt that she’ll figure out a way to survive. Her character is the ideal Hollywood hero we never stop cheering for, but also one who is deeply human. She’s no superhero in this survival tale, much less a professional astronaut — she’s just a woman trying to make it home alive. While there’s not much in Bullock’s performance that we haven’t already seen before, it’s nonetheless emotionally charged and honest. Her moments of panic and fear are so real you forget you’re watching a character.

5. See It In 3D
No one actually wants to put on a pair of used plastic glasses to enjoy a movie; it’s annoying, it’s expensive, and it usually offers nothing new. But all you anti-3D moviegoers out there: I am one of you, but I implore you to set aside your three-dimensional distaste for an hour and a half, put on a pair of clunky frames, and go to space. To see the dazzling depth of Earth against the blanketed atmosphere, the hyper-realistic debris speeding at you, and the intricacies of a tiny metal bolt floating towards you in zero gravity, is breathtaking. For the first time since “Avatar,” 3D has finally found a good way to enhance a film.

6. It’s (Probably) the Most Advanced Space Movie Ever
You may think James Cameron’s comments about “Gravity” being “the best space film ever” seem exaggerated. Sure, Kubrick’s “2001” has long been the king of space epics alongside the original “Star Wars” films. But Cameron’s right: space has never before looked as strikingly real and intricately detailed as it does in this film.

7. It May Not Be Practical, But That’s OK
While the film may be a bit unrealistic — one major plot hole has already been spotted by a real astronaut — it doesn’t really matter, right? No space movie can be wholly realistic, especially one that has as many crazy moments as this one. At the end of the day, “Gravity” is a movie — and it’s probably the closest most of us are ever going to get to space for under $15.

8. The Sound Makes the Film
If the visuals rank first in this film then the sound — or lack thereof — comes second. Sound may not be something you always think about in a movie, but “Gravity” will definitely draw your attention to it. Cuaron takes advantage of the fact that there’s virtually no sound (at least that the human ear can hear) in space. There are various periods in the film with literally no noise except for the characters’ breathing and voices, reminding you of the complete and terrifying aloneness of space.

9. Cuaron’s Camerawork Is Riveting
Known for his considerably long takes, we experience both the infinite vastness and the suffocating claustrophobia of space through Cuaron’s camerawork, which spins out of control with Stone’s body then shoves us into the helmet with her. Like the astronauts, we lose complete control as the constantly moving camera tosses us around helplessly in zero gravity.

10. It Proves That the Death of Cinema Is Nowhere Near 
You’ve heard the debate over the past few years that filmmaking is in decline and that 3D is destroying the medium. If any film proves otherwise it’s “Gravity.” With some of the most mesmerizing and advanced photography and 3D ever used in a film, it’s hard to deny that this space movie won’t mark a shift in film history.

This article was originally featured on Moviefone on October 3, 2013.

‘Prisoners’ Review: 10 Things to Know About the Crime Thriller

Warner Bros.

You’ve probably heard a lot about Denis Villeneuve’s “Prisoners,” which stole much of the spotlight at the Toronto Film Festival last week and was a runner-up for the fest’s People’s Choice Award. Luckily, it isn’t one of those films that falls short of the hype; it is worth every bit of praise that’s been thrown its way.

“Prisoners” stars Hugh Jackman as Keller Dover, a small town Pennsylvanian family man whose young daughter Anna goes missing on Thanksgiving with her friend, daughter of Viola Davis and Terrence Howard’s Birch family. Jake Gyllenhaal, as the tattooed and tormented Detective Loki, is put on the case and tracks down Alex Jones (Paul Dano) as one of the suspects. But when the mentally underdeveloped Alex leads to a dead end, Keller takes it upon himself to get answers, pushing the boundaries of morality in his desperation to find Anna.

Before you see “Prisoners” this weekend and become overwhelmed with anxiety — oh yeah, you will — here are 10 things you should know about the film.

1. It’s the Best Thriller in Years
Aside from “Black Swan,” there hasn’t been a solid, mind-bending thriller of late that has captivated audiences. But “Prisoners” screenwriter Aaron Guzikowski (“Contraband”) has come up with a complex, riddled plot that will leave your mind whirling. This is another “Inception”-like shock that you’ll definitely need to see a few more times.

2. You Will Bite Your Nails Off
From its opening shot to its last, “Prisoners” will spike your anxiety, leaving you chewing your nails and holding your breath. It’s rare for a film to maintain such a high level of tension throughout without succumbing to grotesque violence à la “Saw” and “Se7en,” or hallucinatory extremes, as in “Black Swan” or “Fight Club.” “Prisoners” is just a damn good story with one of the most original, concise screenplays in years. It will certainly unsettle you more than any horror film.

3. It’s Also a Realistic Drama
While “Prisoners” is a riveting thriller, the film features just as much heavy drama, with a story that can happen to any of us. Child disappearances occur every day, with many left as unsolved mysteries, and “Prisoners” successfully reveals the gripping terror and crazed extremes that can result. We get the perspectives of both sets of afflicted parents — the unrelenting father who opts for violence as well as the more passive one (Howard) — and the resolute detective, who is as emotionally involved, yet just as powerless. “Prisoners” beautifully blends the two genres better than most films before it; without the twist it could still function as an effective drama, but with it it never falls ill to implausible suspense.

4. Its Performances are Phenomenal
Sometimes having a cast with as many prominent actors as “Prisoners” does can be overkill. However, just enough screentime is allotted to each actor: Davis (always a scene-stealer) is seen so little in the film that her distraught character adds just enough support to Jackman’s frantic Keller, Howard’s reticent Franklin, and Maria Bello’s melodramatic Grace. Melissa Leo is outstanding as always, aged as Holly Jones, the aunt to Paul Dano’s Alex. But of course the acclaim goes all to Jackman and Gyllenhaal, both strikingly different but equally riveting in their respective rage and composure. Loki may be Gyllenhaal’s most intriguing character in years.

5. Paul Dano is the Best Actor Who Hardly Speaks
Paul Dano proved himself a compelling actor to watch with 2006’s “Little Miss Sunshine” as the sworn-to-silence Dwayne. As Alex Jones, an apparent creep of few words who drives an old RV, Dano once again turns a character with less than 10 lines into one of the most intriguing in the film. His bulging watery eyes hiding behind oversized glasses conceal so much mystery that a mere close-up on his face is at once terrifying, disturbing, and heartbreaking. Dano is definitely an actor that will continue to amaze with his reserved intensity.

6. It’s 2.5 Hour Length Works Perfectly
With a running time of 153 minutes, a film can easily be susceptible to losing momentum or dragging on in unnecessary directions. However, every moment of “Prisoners” adds another layer of emotional complexity; with each scene we get deeper into the psyche of Keller as it shifts from fear to savagery. The script never feels desperate or reaching — it takes us just deep enough to leave us reaching for more answers.

7. It Looks Impeccable
The mysterious and gloomy look of the film is primarily what makes it so riveting and unnerving. Acclaimed cinematographer Roger Deakins (“Skyfall,” “No Country For Old Men,” “The Shawshank Redemption”) brings an eerie and sinister tone to each shot, making it difficult to ever look away or take in a full breath. Deakins’s photography doesn’t free you from the overwhelming suspense for a moment.

8. Villeneuve Is a Director You Need to Know
The Canadian director first garnered attention with 2000’s “Maelstrom,” but you may have heard of him when his drama “Incendies” was nominated for the Best Foreign Film Oscar in 2011. Villeneuve makes his English language debut with “Prisoners,” a feat many talented foreign filmmakers fail to meet when they venture into Hollywood. However, the thriller echoes the similar theme of familial secrets from “Incendies” — a must-see if you’ve yet to — that will translate well to American audiences. Villeneuve is sure to be a director to keep on your radar; Fincher and Nolan better watch out.

9. It Will Make You Question Your Morals
It’s easy to write off violence in a film when the situation is far from one you can realistically imagine yourself in. Yet Jackman’s character, one that could be any of us, pushes the limits of right and wrong to the point where you’re not sure who to sympathize with. Keller represents the goodness in us all that is easily corruptible with enough pain. How far is too far, and in the end, does our own suffering matter more than another’s?

10. The Twist is Crazy…and You (Probably) Won’t Guess It
You’re probably trying to figure out what the hell this crazy twist is after all, but honestly, just stop. Maybe you’ll guess it, maybe you’ll be floored, but either way your thriller craving will still be fully satiated. This isn’t a film where one word (i.e. “The Usual Suspects”) gives away the twist or where knowing final reveal (i.e. “Oldboy”) ruins the story; even after you know you’ll still be left reeling and puzzled.

This article was originally featured on Moviefone on September 19, 2013.

‘Lee Daniels’ The Butler’ Review: 10 Things to Know About the Historical Drama

TWC

One butler serving in the White House for over three decades sounds like a story made just for the movies. Surprisingly enough it really happened, and thanks to director Lee Daniels and writer Danny Strong (Emmy winner for “Game Change”), the story of Eugene Allen is now getting told on the big screen.

Inspired by Wil Haygood’s Washington Post article, “Lee Daniels’ The Butler” (remember that never-ending name change mess?) stars Forest Whitaker as Cecil Gaines, who is based on Allen. From 1952 to 1986 Gaines serves seven presidents — but the film excludes Ford and Carter who seemingly weren’t interesting enough — while struggling to balance work with family at the height of the Civil Rights Movement.

With one of the biggest casts of the year — from Robin Williams to Mariah Carey — “The Butler” is already exploding with Oscar buzz. But does the historical drama hold up to the hype? Before you visit 1600 Pennsylvania Ave. here are 10 things you should know about the film before you see it.

1. It Covers a LOT of Ground
“The Butler” opens on a cotton plantation and ends in the Obama-run White House, so you know a lot is going to happen in between. In the film, we meet Robin Williams’s Eisenhower for no more than three brief scenes, then in comes James Marsden‘s Kennedy, and before you know it Jackie’s covered in blood and crying. But there’s no time for mourning because Liev Schreiber‘s Lyndon Johnson then signs the Voting Rights Act of 1965, Dr. King gets assassinated, John Cusack‘s Nixon guzzles down some liquor, Alan Rickman hints at a senile Reagan, and suddenly Shepard Fairey’sObama “Hope” poster is plastered on lawns. Be prepared, “The Butler” moves quick.

2. It’s the Least Political “Political” Movie (Personal > Political)
While “The Butler” covers a lot of ground, it merely skims the surface on political issues. Dedicating less than 10 minutes to JFK‘s assassination and a couple forgettable scenes to that thing called the Vietnam War feels odd, almost betraying. For a film charting the evolution of racial politics in America, it unfortunately opts for summarizing highlights over delving into details. But this isn’t all bad. Daniels uses events both inside and out of the White House as the backdrop for a moving story of father and son with two separate ideologies. There’s the dedicated black father working in the white man’s White House, then the young son fighting for equal rights on the streets. “The Butler” deals with many political moments, but remains interested in the lives of those affected by them.

3. The Acting is Great
Forest Whitaker always manages to make you feel so many emotions with that face of his (it’s just so damn endearing). The humble sweetness and tenacity that he brings to Cecil is what holds the sprawling film together. Lenny Kravitz, Cuba Gooding Jr., and Terrence Howard are great as the main supporting cast, adding doses of drunken and sexual humor to lighten things up (Gooding Jr. shows off his dirty side). James Marsden stands out as the most refreshing presidential portrayal, hitting the accent spot on, and David Oyelowo gives the film’s most emotional performance as Cecil’s eldest son, Louis.

4. Oprah Is So Oprah 
Of course she’s over-the-top and dramatic (we love it), but she’s also hilarious. In one scene Winfrey dons a black-and-white disco jumpsuit with hoop earrings and a giant fro (sadly not as big as the one she wore on the cover of the September issue of O), and boogies to music à la “Dance Fever.” She also sports a neon track suit when the ’80s come along (we probably weren’t supposed to laugh during this serious scene, but we blame wardrobe/80s fashion for that). Most importantly, Oprahimpresses her friends with dinner and gives us her latest Favorite Thing: adding dill to your potato salad. (Do it.)

5. It Has the Least On-Screen Time Ever for Most of the Cast
Vanessa Redgrave shows up for a New York minute, Mariah Carey mumbles a word or two, Jane Fonda briefly strides through the White House as Nancy Reagan, and each president drops in long enough to just recognize them beneath the makeup. At first you may feel cheated — and wonder when the heck Redgrave is coming back (she doesn’t) — yet the brief cameos are just enough. No one overstays their welcome nor steals the spotlight from the center of the film: the Gaines family.

6. The Makeup Is Incredible
Making some of Hollywood’s biggest actors look like iconic American presidents and aging them over a 50-year span is no easy task. Robin Williams becomes Eisenhower’s doppelganger with his balding, grey wisps; with added weight and wrinkles Liev Schreiber is an ideal Johnson; and a shiny-facedAlan Rickman and red-gowned Jane Fonda could easily be mistaken for the real Reagans. If anything, “The Butler” is definitely taking home the golden statue for Best Makeup.

7. The Louis Gaines Story Isn’t True
Although the majority of “The Butler” is historically accurate, one of the main and best subplots isn’t. In the film, Cecil’s oldest son Louis makes waves with his father when he joins the Freedom Riders and the Black Panthers. Louis’s story is one of the most moving of the film and helps show the Civil Rights Movement as it happened on the streets outside of the White House, but unfortunately it isn’t true.

8. It Doesn’t Rely on Actual Footage
So many political films use actual footage of presidents and news broadcasts to depict events, but that can get repetitive and boring. How many times do we want to see/hear JFK’s Inaugural Address in a movie? When read by Marsden, however, it feels refreshing and inventive. Daniels does scatter a few actual clips of Freedom Bus ambushes and sit-ins to give us a dose of reality, but it’s never too much to take us out of the film.

9. It’s an Oscar Shoo-In
Could it be any more of a given? Roundup a huge cast of favorites, retell a historical moment, and portray real presidents and you’ve got yourself some Oscar noms. It’s an easy formula to follow (unfortunately) and “The Butler” definitely nailed it. But the question is, does it deserve to win? While it’s still too early to tell, on its own Daniels’s film has some worthy contenders, most notably Winfrey (although she deserved it much more for “The Color Purple”) and Oyelowo for Supporting, as well as Makeup and Costume Design. Best Picture however, we’re not too keen on, but then again sometimes these things happen when they shouldn’t. Speaking of which …

10. It’s Good, But…
Yes, everything is good about “The Butler,” but with its gigantic cast and lengthy ambitions it is, as a whole, underwhelming. Daniels’s film is at best an ostentatious recap of American history, a perfect refresher for a high school U.S. history class. It may even get some tears by the end — OK, we shed a few, but they were more an admiration for national heroes than for the film itself. Sure, it appears to have all the mechanics of a great, timeless movie, but there’s nothing more than embellishment and summary here. It is not only the film’s immense scale or devotion to history that fail it — in comparison, “Forrest Gump” charted history similarly, just better — but mainly its lack of personality. More keen on name dropping than complex storytelling, “The Butler” fails to get at anything tangible or tell us what we don’t already know. Daniels simply picked up a U.S. history textbook and cast Hollywood’s finest; it’s entertaining, but forgettable.

This article was originally featured on Moviefone on August 14, 2013.

“Oldboy” and the Insatiable Desire for Vengeance

Min-sik Choi in “Oldboy”

After calling his daughter on a payphone, Dae-su steps out into the rainy street only to suddenly vanish moments later. He will spend the next 15 years of his life trapped in a private prison for reasons both he and the audience do not know. He is fed the same dumplings for every meal and gassed to sleep each night, a television set his only companion. Once he is spontaneously released one day instead of being granted freedom, he is indebted with the mission of discovering who imprisoned him, and more importantly why.

The middle installment of Korean director Chan-wook Park’s Vengeance Trilogy, Oldboy tells an utterly disturbing tale of revenge, charting how far one will go to achieve it. During his imprisonment, and after, Dae-su is obsesses over finding and killing the person who stole 15 years of his life, the same person who murdered Dae-su’s wife and framed him in the process. So consumed with rage and hate Dae-su fails to consider the possibility that his imprisonment was someone else’s revenge on him. This vicious cycle folds in on itself revealing man’s unquenchable desire for vengeance in a thriller that ceases to shock with unimaginable horrors.

“Revenge is good for your health, but pain you will find again,” Dae-su proclaims. Oldboy recounts the rush of satisfaction and control revenge lends, but which also soon decays into the deep wounds beneath. Dae-su could kill every man in sight—and he nearly does in one fantastic hallway shot where he takes on fifteen gangsters with his fists and a hammer—but that wouldn’t give him back the years or the family he lost. Dae-su’s imprisoner also won’t be healed nor consoled by the torture he bestows upon Dae-su, since his revenge goes to inconceivable depths as we discover in the film’s final appalling twist. So if revenge is truly insatiable, what is the point?

Park demonstrates the extreme, brutal extents one will go to bestow pain on another in order to assuage their own suffering. Oldboy may come off a bit hyperbolic and excessive in its extremes, such as Dae-su ripping the prison keeper’s teeth out one by one with a hammer—which is far milder to the rest of the film’s violence—but this merely shows man at his most barbaric. Like so many other great thrillers, Oldboy is wants to make us cringe, push past our limits of comfort, and test our ability to keep watching: how far will we go to see the revenge accomplished?

After all the blood has squirted and the unerasable secrets have been revealed all the afflicted have left is their memory of the agony, unforgettable no matter how much revenge is sought. It is only once the men can learn to forgive their tormentor and themselves that they can truly begin to heal. But do Dae-su and his persecutor want to heal or do they simply want to exhaust their own pain on others? Park leaves Oldboy open-ended and leaves us with an uncomfortable mess of grisly images and stories to recover from on our own as we wonder how far is too far.

“Andrei Rublev” Unlocks the Spirituality Within

Andrei Tarkovsky’s 1966 “Andrei Rublev”

True inspiration and creativity arise only from complete surrender and vulnerability. In Andrei Tarkovsky’s 1966 Russian epic Andrei Rublev the 15th century icon painter of the same name (Anatoliy Solonitsyn) undergoes a spiritual and artistic transformation as he experiences the world for the first time. Rublev’s journey reveals how letting go is essential in discovering oneself and creating powerful art.

The film’s prologue gives the first insight to the journey Rublev will embark upon in showing a man traveling on a hot air balloon. After escaping an angry mob, the man is taken up in flight by the handmade balloon as it speeds across a river. Having no control over the course of the balloon, the man surrenders to it and laughs with a simultaneous sense of fear and joy as he views the world from a new vantage point. The man cannot stop the balloon nor land it, but he must trust that the journey will lead him to a new destination he would not have arrived at otherwise. When the balloon finally starts to deflate he screams in fear of crashing to his death as the camera plunges into the ground with a loud thump. But his faith in the uncertain, uncontrollable trip has handed him new life, as Tarkovsky’s next shot is of horses rolling along the ground, a metaphor of rebirth.

Rublev is also unknowingly about to enter the world blind to truly experience life around him for a first time. A monk all his life, Rublev has been contained from the beauty and destruction of life, the walls of the monastery hindering all inspiration. Once he leaves the monastery the cloth around his eyes slowly unravels as he witnesses the rawness of life, as he experiences murder, and as he begins to lose himself in doubt. A man brought up on the ideals of the church and stories of the Bible, Rublev is profoundly shocked and intrigued for the first time when he witnesses a Pagan ceremony of nude women and men making love along the river bank. This steers Rublev further from his religious upbringing as he begins to question all he has known.

After this Andrei is summoned to paint The Last Judgment in a church, but cannot paint anything for months. Here Rublev begins doubting his abilities and questioning the Bible, claiming that he cannot get himself to create something that instills such fear. After he accidentally kills the wrong man in an attempt to protect his young muse he caves into a pit of self-doubt, taking a vow of silence and giving up painting. It is at this point where Rublev succumbs to the external world and lets go of the strict morals that have been impeding his creativity all his life. After years of silence Rublev witnesses an event that will wake him from his fears of failure when a young boy, Boriska, casts a bell for the Grand Prince. Rublev silently watches Boriska anxiously work from afar as the boy confidently assures his workers and the Prince that he holds the secret to bell casting.

Finally when the finished bell is tolled for the first time Boriska is in utter disbelief at his success. He falls on the ground crying, revealing that he never knew any secret nor how to cast a successful bell. In witnessing Boriska’s pure faith and passion in building the bell Rublev is transformed and inspired to once again speak and paint. The previously black-and-white film then bursts with radiant color as the camera pans across the gorgeous reds, vibrant royal blues, and holy yellows of the icons Rublev goes on to paint. Tarkovsky then closes the film with a color image of horses on a grass patch. Just like the man on the hot air balloon, both Rublev and the audience are given a new set of fresh eyes to view the world with.

It is only through the pains of fear and doubt and through the surrendering of the self to the world around them that one can attain clear vision to be spiritually inspired. Andrei’s journey transformed him into the great icon painter he became known as and Tarkovsky’s telling of that journey transforms his audience just the same, instilling a spiritual power within each of us.