Very Short Takes: Sci-fi and Rachel and Abs! (Oh My!)

Daniel Craig seems to be having the time of his life in Jon Favreau's Cowboys and Aliens an awkwardly titled nod to B movies, trashy sci-fi and the sexiness of the rugged male hero. Craig plays the lead opposite the aging, but still fantastically charming Harrison Ford (who plays a villain!). The movie lingers too much on character details that eventually make no difference - nobody came to this movie for John Ford melancholy - and by the time we get to the showdown between the title characters, our interest might've drifted elsewhere. Mostly meant for fans of the Western, the film takes too long to figure out exactly what it wants to be and other than Daniel Craig's ass in leather chaps, it offers nothing new, or exciting under the sun.
Grade: **

Out of all the comic book movies that have come out in recent years, none have been less spectacular, thrilling or fun than Green Lantern. Martin Campbell's film is an ode to how wrong CGI can go when used for the wrong reasons (a respectable superhero message if that's what he was truly going for). Ryan Reynolds tries to hold the movie together as the title superhero, even if the effects that make up his suit often make us think his head will move in the opposite direction of his body and you have to respect him for not relying on his abs so much this time around. Blake Lively gives rocks a run for their money in the dull department (all of her lines elicit laughter) and poor Peter Sarsgaard is relegated to playing a giant bugger. Then again, what can you expect of a movie that features a character who looks like a devil, is named Siniestro (Mark Strong) and still thinks we'll be shocked upon realizing he's a villain...
Grade: *

Rachel Weisz means business in The Whistleblower a real life story where she plays an American police officer who becomes part of a peace keeping committee in war ravaged Bosnia. Once there she realizes there's a huge human trafficking ring that involves UN members, army officers and even diplomats. Weisz remains a beacon of serenity and morality throughout the film and infuses her character with some rich ambiguities, reminding us of her brilliant portrayal in The Constant Gardener. The film however doesn't know what to do when she's not in the scene and makes a waste out of perfectly good actors like Vanessa Redgrave and David Strathairn. For a movie that tries to paint a time appropriate tale of corruption, the villains and heroes are too clearly divided most of the time and for those inclined to a good old fashioned social heroine tale, the lead never feels under actual danger, the cause in the end feeling like something she does out of an ulterior motive, in the very same way the movie feels made to get its leading lady some awards.
Grade: **½

If Alfred Hitchcock and Chris Marker decided to have a baby, it would be something like Source Code, this sci-fi thriller feels like a hybrid of Strangers on a Train and la Jetée. Jake Gyllenhaal plays a time traveling soldier sent to prevent a mission not even he's aware of. Revealing too much about this movie's plot is to deny the audience of the rich writing in Duncan Jones' sophomore feature. After the breathtaking Moon it's perhaps safe to say that the genre is in good hands with David Bowie's son. With moving performances, an unexpected climax and one of the most sincere romances portrayed in recent cinema, Source Code sends you away with a feeling of utter exhilaration. Like one of its major plot twists all you want to do is revisit it the minute it's over.

Grade: ***½

Sheet-y Saturday.

Where we take a look at posters for upcoming features.

Ralph Fiennes' adaptation of Coriolanus seems destined to be one of the highlights of this cinematic year and our first looks at its marketing campaign shines with promise. Gotta love the almost tribal feel the painted faces and colors give the image. Look closer and you shall see those are not tribal markings but guns! Or wait, are we already receiving a message from the film?

Is it just me or does Ralph Fiennes have one of the most beautiful noses in the industry? Excited about Coriolanus?

We're BAFTA-ing! Part 2.

As BAFTA announced the winner of its Rising Star award I was overjoyed at the possibility of seeing Carey Mulligan win a big award but then I remembered this is voted by the audience so of course Kristen Stewart won.


I know, Tahar, I was baffled she won as well (especially over Carey and you...)


The wonderful Peter Capaldi presented Best Animated Feature Film which obviously went to "Up"
Isn't it strange that "The Secret of Kells" was snubbed in its own homeland? (I mean the UK not England obviously...)
Seeing Capaldi made me want to puke when I remembered he was snubbed for Best Supporting Actor when Alec Baldwin got in of all people...


Penélope Cruz wasn't nominated for anything, "Nine" got one nod and so did "Broken Embraces". Watching her light up the screen when Foreign Language Film was presented made me wonder why are the Brits so enamored with Audrey Tautou's one note performances?
If I'm not mistaken she was nominated for "Amélie" where she's not all that, the movie yes, her performance meh and now she got in Best Actress for the dull "Coco Before Chanel" when Cruz for example was soooo marvelous in "Broken Embraces".
Assuming of course that they just wanted the foreign language factor...if not they could've nominated Katie Jarvis, Charlotte Gainsbourg, Abbie Cornish etc.


"A Prophet" won Best Foreign Language Film and the brilliant Jacques Audiard brought his posse to receive the award, The woman translated his speech while the adorable Tahar Rahim smiled in the background.


It was no surprise to see Kathryn Bigelow win Best Director for "The Hurt Locker". She of course looked fantastic and in her great speech encouraged people never to abandon "the need to find a resolution for peace".


When Kate Winslet came out to present Best Actress I was taken aback by how magnificent she looked.
Remember last year when she looked so constipated at every awards show (with the straight gowns in dull colors and severe hairdos)? This time she seemed floaty as she handed out the award to Colin Firth.


The sadly underrated actor made a great speech and confessed he almost said no to the part but never emailed director Tom Ford that answer because a repairman came over just as he was about to hit send.


The incomparable Ford looked proud and a million kinds of handsome as Firth compared meeting him as being "resuscitated" and advised the audience "don't ever press send and have your fridges repaired".


The awesome Mickey Rourke messed up his teleprompter lines and got one of the funniest jokes from the host who said he was sure Mickey hadn't been back home since winning the BAFTA in 09.


The undervalued Carey Mulligan finally won an award and looking breathtaking she confessed she hadn't expected to win (who can blame her with the preposterous way she's been treated in all these awards?).
"I wish I could make this speech like Colin firth and talk about fridges" she said completely ignorant of the fact that she was making my heart melt.


When Best Film came it was a bit stunning to see "The Hurt Locker" win the big one (especially when BAFTA is so nationalist) but it was a choice you really can't argue with, the win made sense after the show ended though...(read below).


While most shows are done with once the big award is handed out, BAFTA made us wait while Prince William and Uma Thurman (gotta LOVE those presenting pairs they come up with!) presented the legendary Vanessa Redgrave with an Academy Fellowship.


Redgrave was visibly moved as she went on telling stories about her childhood and told things she learned about Maria Callas (without the opera legend's knowledge).
She also made a penis joke and wrapped the whole thing up with a beautiful ode to the constantly changing medium of film.

Watching Redgrave appear onstage was glorious (especially when paired with a roaring standing ovation) and made me want to strangulate the people who moved the Honorary Oscars to a private dinner!
Shouldn't movies also be about preserving the great ones? Do we have to enjoy having the "Twilight" kids imposed on us while people like Roger Corman and Lauren Bacall get little sideshows?
Tisk tisk tisk AMPAS, BAFTA kicked your ass on this one.

Now back to "The Hurt Locker", just when I was thinking no film had won big, the announcer showed us the awards that had been presented earlier (BBC tape delayed this) and I was astounded to realize that "The Hurt Locker"'s tally had come down to:

• Best Film
• Best Director
• Best Original Screenplay
• Best Cinematography
• Best Editing
• Best Sound

it only lost two awards! "Avatar" got exactly that number of trophies but so did "The Young Victoria"...

I'm hoping this bodes well for Bigelow's masterpiece in two weeks, if not I can always use the snob card and say I prefer the Brits.
Wouldn't you?