Upon their arrival, they soon discover the condition of the call is perhaps more severe than what was at first believed. Immediately upon entering the four collide, in the lobby, with the already hysteric residents whom, nerved and on edge, suspect the worst of the screaming woman upstairs. Thereafter—as part of a mysterious health code safety procedure—the four, together with the rest of the building’s inhabitants, are enclosed inside the apartment, forbidden by outside authorities to exit the premises.

The film is presented in first-person through the lens of Pablo’s camera. Unlike the majority of recent films that share this similar aesthetic, [REC] feels as if unrehearsed. The actors are too to credit for their honest performances that feel believable. The viewer does gain a great sense of the surrounding plight and an even greater sense of panic through the depictive stress in each character’s demeanor. Such suspenseful immersion is quite remarkable considering the film’s genre. However, save for the chemistry between Angela and Pablo, there is never any real characterization.

What is more, given the film’s perspective, it is surprisingly free of any real unbearable nausea while, yet still being effective in its maintaining of a consist, atmospheric urgency.

As [REC] has no score to mention, it relies heavily on its brutal imagery. [REC]‘s display of horrific imagery does make for some, though unsettling, fun, surprising moments. In combination to such imagery, the film’s macabre atmosphere places emphasis on tension by way of quick, relentless pacing.

[REC] is a terrifying film that will certainly test both one’s anxiety and nerves. It is a gruesome, and too, suspenseful affair that certainly must not be missed and may perhaps never forgotten.

9/10

As well as creating new friendships and influences, Lyle also has the misfortune of creating an enemy in Mike-an all affecting bully who, though pallid and gout, speaks as if he were the toughest gangbanger on the street and often finds himself in conflict with the other residents of ward as well.

Manic is told in a unique documentary style which creates an interesting dynamic as it feeds on and creates drama and realism. Throughout the film, the viewer gains a deep sense of perspective through the portrayal of each character and his or her state of mind as they find themselves hidden away from a world that doesn’t understand them.

Each cast member show unbelievable strength in their own respective performance though it is most notably the craftsmanship of Joseph Gordon-Levitt in his portrayal of an angered adolescent male searching for meaning and understanding that is a stand-out. He, however, is out performed by the always magnificent Don Cheadle. As the ward’s psychiatrist, Cheadle portrays a man whose endeavors to save his patients are wearing thin the fine threads of hope he has in them, his aptitude of refining them, himself, and life.

The film explores the life of its characters through emotional confrontations and person opinion. Manic’s cinematography is not anything of the special sort, but it is effective in its simplicity and does succeed, to some degree, in the telling of the story in which it belongs. All this, creates a raw, atmospheric presentation which excites the film’s sense of reality in profound, unexpected ways.

With strong performances and evocative, albeit at times vapid, individual character studies told in a unique documentary perspective, Manic is a film worthy of attention.

7/10

It is when the friends grow suspicious of the family’s legitimacy, that they begin an investigation in which has them traveling together so many miles across the country with but the single intention of confronting them face to face.

Catfish is not entirely a difficult film to enjoy if the focus is viewed in the perspective of a documentary. Albeit, Catfish does at times feel as if it is more pseudo-documentary than the real thing, it does raise a solitary, open ended question after the fact: “Was it real?” The family may or may not be what is expected from the viewer, but nevertheless, the sociological payoff is apparent—however misleading it is. And again, that really depends on the viewer’s conception of what awaits the friends in Michigan. One will either find disappointment or enthrallment here. Whichever is the case, there is no denying the fascination of it all.

Yaniv, Ariel, and Henry have excellent chemistry together creating moments of sheer hilarity in the film’s narrative. This chemistry as well, does add moments of suspense in exchanges of dialogue and surrounding. Their friendship happens to add a layer of believability to what is unfolding on screen and, as unorthodox at times it may appear to be, Catfish never does quite get away from their bonding. All the while simultaneously maintaining suspense, building toward the film’s climax.

Whether the events themselves are real is subjective, but in the end, what ultimately matters is that Catfish is a compelling, even suspenseful, study on the psyche of online, even personal, relationships.

7/10

During his desperate struggle for survival, Ralston examines his life through recollection, dream, and hallucination. As he discovers absolution he too finds what he believed once lost: hope, himself.

James Franco is brilliant in what can be considered, undoubtedly, one of the best performances of the past two decades. His brutal honesty through total commitment delivers an emotional torrent of ineffable expanse. In a film based solely upon the actor and his performance, Franco is mesmerizing as he alone takes reign of the human heart and steers it in to the high heavens of hope and down, even, into deep, bottomless, enveloping black hopelessness. Like a puppeteer he repeats this routine, collecting and dangling the viewer’s heart then expertly spinning it over and again, tying it into knots. Such is the same with director Danny Boyle.

Enrique Chediak and Anthony Dod Mantle’s cinematography here is indeed quite spectacular. The connecting contrast the two create between the scale of Moab, Utah and the confined space where Ralston’s plight unfolds, is as powerful a performance as any actor. These gripping distinctions as well, simultaneously, separate the two worlds, leaving the viewer feeling dismissive, small, not unlike Ralston. To build upon the already existent pieces of immersion with another, Chediak and Mantle display the film in a expressive, artistic form.

It is by way of the film’s score, one encompassing that of original and licensed songs, that absolute immersion is beheld and never to be let go of.

Despite the film’s foreseen conclusion Boyle’s absorbing deceit through the use of dream and hallucination creates a suspenseful atmosphere that will have the viewer reciting phrases of cheer in his or her own head as the film progresses.

127 Hours if an engaging film and true story of unprecedented power. The film’s aptness of breaking into the viewer’s conscious and lacerating it there to shreds leaving only tears and hope in its wake, is a triumphant splendor and with the combination of Aron Ralston’s relatability, is the reason why people attend the cinema.

Do not miss this film. It is perfect.

10/10

As it so happens, there are a handful of men interested in her husband’s missing fortune. Upon the notion of her having it, the men harass and threaten Regina in the hope of her turning it over. Fearing for her life, Regina befriends the mysterious albeit charming, Peter Joshua (Cary Grant) along the way and the two develop a platonic romance and he soon becomes the only person Regina trusts even after her revealing of his secret.

Together, Peter and Regina collaborate in an attempt to uncover Regina’s deceased husband’s fortune all the while the two are believed by the murderous men to have it in their very possession.

Grant’s performance is that of, once again, his finest self. His natural witticism a charm are, as always, on display and it is through such a display that his character become endearing, lovable. It is such that no matter the circumstance you cannot help but root for him—believe in him.

Miss Hepburn’s performance, too, is of true eloquence and intrigue. It is always that Audrey Hepburn proves she is more than a lovely face and figure. Here, her enchanting performances as Regina Lampert is as comedic as it is honest.

The supporting cast, while not terrible, are not entirely terrific either. The henchmen in particular put forth what I believe to be vapid performances devoid of any real character. Most notably is George Kennedy’s portrayal of Herman Scobie—a one handed, metal-clawed villain. His act seems at times a forced effort of over-dramatics. The others, too, are in the habit of the over-dramatics only in a more natural, congruent, way.

Despite its comedic undertones, Charade is a film of suspense and Henry Mancini’s score punctuates. His gripping composition adds dramatically to the film’s immediate nature. Sequences themselves appear as choreographed in such a way as to the requirement of his score. Mancini’s soundtrack builds layers of suspense upon its already suspenseful plot. Though the intricacies of the plot do at times get away from themselves, they are surprisingly rather easy to follow even with each, periodic, twist they present. The film’s final twenty minutes are a suspenseful ride into the film’s ultimate conclusion and truth.

Charade is a light-hearted thriller with an excellent plot, endearing characters, and an immersive soundtrack. Grant and Hepburn share unmistakable chemistry with one other. If you are a fan of either star, or perhaps a fan of mystery-suspense, do not miss Charade.

9/10

The film moves between both Ginsberg in his apartment—talking to an unknown interviewer—, reading aloud at poetry clubs, and the courtroom where testimonies of the poems legitimacy, merit, and contents are raised.

Ultimately, Howl is about a young artist seeking a voice and the censorship of his work in a time period when the public expression of oneself had an invisible line drawn before it.

Upon hearing Franco’s aloud rendition of Ginsberg’s “Howl”, it is something believed to be that of an acquired taste. It soon is made evident however, once the taste is met, of the power in his voice and the life it breathes into each word, comma, and period, Ginsberg wrote. As a whole, his performance is spot on and it is only his reading voice that starts questionably though it soon grows more gripping as the film progresses.

Much like Franco’s temperament, the animation is too of an acquired taste. Only it seems to never quite transcend from appearance and instead remains attached to the superficial.While the animation itself is smooth and imaginative it fails to deliver emotionally.

The courtroom scenes throughout, create an uneven balance between the poem and the cases for and against it. It is a balance that needs the weight of another, missing, component to meet equilibrium and in turn be the powerful, capable, courtroom drama of its intentions.

That said, Howl‘s greatest flaw is in its lack of inclusion to those outside the courtroom and Ginsberg’s life. The film presents no scenes of outside, public, opinions on Ginsberg’s work or its effect on society that were so throughout raised in the courtroom.

The performances are there and so is a unique impressive style shown by way of cinematography and animation, but in the end Howl is a film that its viewer will either take to or not, depending on patience and interests. It is worth seeing if Ginsberg and his poetry interest you, but if you’ve no affair with him than skip this one; unless of course you’re a fan of the young, talented James Franco.

6/10

It is such, then, that she carries herself down, headlong, the path of darkness in an attempt to capture of the essence the Black Swan and become the perfect Swan Queen.

Black Swan‘s themes of insanity and perfection are evident as it is a piece and examination of both, however, while it believes itself to have succeeded marvelously in both fields, it aggressively presents the two themes in such a way that it resembles that of a procrastinated assignment rather than a developed analyst of an artist.

Nina’s descent into madness is indeed the fastest by any one singular character, literary or not; it is too sudden to be all to believable.  That said, Natalie Portman delivers a substantial, unsettling, performance. In a way Portman herself is much like the White Swan as she is a timid, gentle creature. Here it is however, that we are watching her as an actress, cast in a role unfamiliar to her—that of the evil villain, the Black Swan.

Darren Aronofsky’s fronts the notion of getting in-touch with one’s dark side through drug usage, lust, and desire for perfection. More so however, the focus is on that of the two formers. Black Swan does, at times, seem to creatively display Nina’s insanity through an admirable effort of mirror to real world parallels, but more often than not the presentation appears more in the flavor of a campy horror film.

Matthew Libatique’s cinematography is once again respectable as his efforts here are indeed his most commendable and it is by way of his lens that my favorite scene in the film unfolds. It occurs near the end of the film, while Nina is performing as the Black Swan. She spins and twirls herself into the role and through each rotation the development of two black wings are noticeable in place of either arm. It is simple, lovely.

Aronofsky’s Black Swan is a film that could have aimed high and perhaps landed amongst the stars, but instead his tasteless direction substitutes sex for substance and aims to be that of a prepubescent schoolboy’s wet dream. It does though carry a notable air in which it blends predictability and suspense.

Is it ironic that a film on perfection is so far away from it?

5/10

As Germany’s troops failed to abandon Poland, it is such that Great Britain declared war upon Hitler’s regieme. Now, Bertie is to recollect all his sessions of therapy and deliver a war-time speech to inspire his great nation and unite them for the potential darkness that await in the shadows of the days ahead.

Colin Firth’s quintessential performance as King George VI is undoubtedly the performance of his career. His poignant reenactment of King George’s stammer adorns the film and intelligibly captures, with high proficiency, the agony and terror of a man afraid of his own voice. Admittedly, the entire supporting ensemble is splendid. Though of them, it is Geoffrey Rush who truly is remarkable as the unorthodox, quick-witted, Lionel Logue.

Danny Cohen’s cinematography breathes divinity, class, and under the masterful direction of Tom Hooper, the whole of The King’s Speech is seen through a stylish eye in which enriches the film’s eloquence to an articulate grandeur. Not a instant is idly wasted here from actor or environment as even each set piece, in itself, delivers a performance of unimaginable heart.

At last, Alexandre Desplat’s original minimalistic score plays expertly against Ludwig van Beethoven’s finest symphony and concerto setting a most unnerving melancholy to the scene in which it tolls.

With its stylistic direction,  haunting score, and enthralling performances, The King’s Speech is a tremendously developed piece of cinema which remains consistently gripping from its opening scene where one’s attention is first captured.

10/10

The Fighter

It is in Vegas where Micky has the best of opportunities and it is there that he begins to make a name for himself be it only this time through matches he has won. After a long, arduous, fight that would not have hailed victorious if not for the help of Dickie, Micky’s next fight is the championship fight.

In what has become a Hollywood cliché, The Fighter, is yet another boxing redemption piece. Be that as it may, it is a wonderful true story with “real”, believable, characters and inspiring heart. The entire cast elicit tremendous performances that appear almost as if the film itself were a home video recorded in the mid 1980′s. When together on screen they are a bittersweet family full of emotion and opinions to boot.

Christian Bale as the cocaine addicted Dicky Eklund is entirely worthy of praise and is all too deserving of a supporting-actor nod at this year’s Oscars. Bale is well-known for his commitment to his roles and once again he embodies that of a master-actor. Wahlburg, however, is nothing too spectacular. That is not to say his performance is bad, but it does fail to shine. To put it simply: Wahlburg’s performance is as perfectly satisfactory as it should be; nothing more, nothing less. His portrayal of the endearing Micky Ward manages to capture the audience’s heart while it silently cheers for him in the comfort of its own collective head.

The fights both in and out of the ring are frighteningly realistic, personal, and entertaining, pushing The Fighter into a special class of sports cinema. That said, the dialogue as plausible as it is can at times become tedious, out-of-hand, but such is Micky’s life.

The film’s focus between Micky and Dickie creates two separate, albeit linked, stories of redemption and remains indecisive as to which is of the more importance. Yes, their stories are of equal importance in a sense, but The Fighter makes everyone an enemy of Micky’s in one fashion or another while simultaneously allowing them their own opportunity toward absolution. What this results to is the slightly out-of-focus feel-good film of the year.

Alas, I find there a difficulty in critiquing a film of which is based on true events. Nevertheless, The Fighter is a great film. You’ll laugh, cry, cheer, and perhaps even be disturbed all the while you remain completely entertained.

8/10

To appreciate Inception, one must descend down the rabbit hole, farther than they themselves even imagined possible. Then do it all a second time over. Inception is the apotheosis of cinema today. The film’s unforgettable expanse is truly breathtaking and it impresses in every possible category. Nolan’s vision unfolds in what would have once been an unimaginable, analytical fashion—be it now considered the height of Hollywood awe. Inception however, would not be so brilliant without the composition of Hans Zimmer’s latest score which booms and captivates in what is truly his magnum opus.

Nolan’s Inception is expertly analytical and because it carries such a tremendous amount of depth creates an immersion unlike any other. The film does hold the hand of its audience for quite some time as Cobb is putting together his team, but without such guidance the audience would feel less connected to each individual whom of which were brought in. Being there, learning of each character, feels natural; almost as if we ourselves were experiencing it.

It is then that Inception lets go and it is this Wonderland that we fall into, where each layer is seamlessly connected to the next through the slightest of items. We are simultaneously experiencing a multitude of layers all of which are happening at different intervals in time. All of which we are seeing unfold on screen, one after the other after the other, back to the other and again. This lapsing and weaving of events is so tight, so masterful that it is a true display of Nolan’s ability.

The performances are all well-done and each character is likable though it is Gordon-Levitt’s character, Arthur, that is of most notoriety. Not only due in part to a spectacular performance, but the character himself is though strong, able to make us laugh. DiCaprio’s portrayal of Cobb is one that though at times seems ordinary is most often gripping. Marion Cotillard as Mal, Cobb’s wife, his muse, is to a brilliant performance. Page, Watanabe, and the rest of the cast do a fine job as well.

Inception‘s scope is grand and make no mistake it is a BIG film. The cinematography here is enthralling, vivid, emotional. The environments in the dream world(s) and too the real word are meticulously arranged where even a corridor appears to carry its own aesthetic liveliness and is just as appealing as a mountain top. Both worlds, dream and real, are indistinguishable from one other—save for certain possibilities in the dream world that are unable to occur in the other and visa versa. For it is only by way of such distinctions that the two are separated.

What is more is that Inception perhaps is Nolan expressing his process of developing a film, not unlike Fellini’s 8 1/2. Each member of Cobb’s team (Cobb as well) all have distinct specialties paralleling that of a production team. Cobb as ‘The Extract’ is the director, Mal as ‘The Shade’, his unpredictable muse. Ariadne as the ‘The Architect’, the screenwriter. Robert Fischer, ‘The Mark’ as the audience. And so on. From such a perspective, there is yet another dimension of the film to explore.

Inception is 2010′s best picture which exhilarates and awes throughout its cinematic nuances that are unlike anything yet produced. It is certainly Nolan’s masterpiece and a triumph in film which need not be missed.

10/10