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All Good Things (2010)

ALL THINGS GOOD is a polished little film based on a true story that while it may not have the visual gruesome detail of the usual thriller tropes of films, it is terrifying in its presentation of personality variations that produce a shuddering reaction on a purely intellectual level for the audience. It is both a love story and a missing persons/murder mystery based on a still unsolved case that continues to haunt New York investigators and reporters and detectives.

What writers Marcus Hinchey and Marc Smerling have created from known and newly discovered facts, speculation and court records results in a psychological examination of a powerful New York family, obsession, love and loss. The film relates incidents that began in 1972 and end in 2003 and at this time the truth is still unknown. Director Andrew Jarecki uses a superb cast and a fine sense of voice-over narration to interweave the puzzling history with the gradual dissolution of each of the characters involved.

Sanford Marks (Frank Langella) is one of the wealthiest owners of Manhattan real estate, the current head of a family that has long dominated the New York scene with its power and money. Marks is aging and is relying on his son David (Ryan Gosling) to take over the family business: he sends David out to the brothels, and filthy hotels and porn houses to collect rent. David is reticent to be a part of his father’s business: he is a deeply disturbed young man, having witnessed his mother’s suicide leap as a child. David meets a tenant in one of the properties – Katie McCarthy (Kirsten Dunst) who longs to go to medical school but at present has no income to support that dream. The chemistry between the two is magnetic and despite David’s father’s objection that Katie is not of ‘their kind of people’, David decides to marry Katie and move to Vermont to open a Health Foods store – a move that makes the couple ecstatic, but is financed by Sanford Marks who eventually convinces David to sell his haven and move to New York to stay with the family business.

In their Manhattan home (and in their country lake front home!) the couple flourishes until Katie mentions she’d like to have children – a force that drives David back into violent behavior resulting form his witnessing his mother’s suicide: David can’t understand why Katie would want anything but the obvious life of wealth they enjoy. The shell is cracked and the subsequent events include Katie becoming pregnant only to be forced by David to terminate the pregnancy, Katie’s disappearance after uncovering the facts about the sources of wealth of the family, David’s descent into drugs and irresponsible behavior, and ultimately his leaving New York for Galveston, Texas where he lives a life disguised as a woman, his only friend being another old runaway Melvin Bump (Philip Baker Hall) who David engages to do away with a ‘problem confidant’ (Lilly Rabe), after which Bump is killed and dissected and tossed into the river. The murders are never solved nor is the mystery of Katie’ disappearance. A trial (the source of the voice-over throughout the film has been the lawyer’s interrogation of David in the year 2003) fails to resolve anything and the film ends with the message that David Marks is at present a real estate broker in Florida.

Frank Langella is superb as the heartless father who drives his family like cattle in the quest of power and wealth. Ryan Gosling offer a multifaceted performance of the deeply disturbed David and is match by Kirsten Dunst’s bravura performance as Katie, the simple bright girl whose life is quashed by a powerful family’s sickness. The brilliant cast, including the performances by Philip Baker Hall and Lilly Rabe – daughter of the deceased Jill Clayburgh), has excellent cameo roles by Diane Venora, Trini Alvarado, David Margulies, Nick Offerman and many more. This is a tough film to watch because at the bottom of it all is that it is true and the cases are unsolved. It makes us cringe but it is a very fine film.

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Unknown (2011)

Dr. Martin Harris (Liam Neeson) and his wife Elizabeth (January Jones) fly into Berlin as he is going to attend a biotechnology conference with a colleague. As his wife tries checking into their hotel, Martin notices that one of his bags is missing. He takes a cab to go back and retrieve the bag. The taxi enters a crash and Martin is left unconscious, only to be saved by the driver, Gina (Diane Kruger). When Martin wakes up from a coma he sets out to find his wife. He discovers her at the bio conference but she claims that she does not know him and that another man (Aidan Quinn) is married to her and is the real Martin Harris. Martin sets out to reclaim his identity by tracking down Gina, who is now working as a waitress. He also employs the help of Ernst Jürgen (Bruno Ganz), who used to be a Stasi officer in East Germany. He specialises in tracking down people and Harris uses this skill to try and contact his friend Rodney Cole (Frank Langella) back in the USA.

Unknown was the wrong title. This is a film about identity loss and yet it includes a checklist of familiar scenarios and set pieces from a dozen other action films. The film commences intriguingly enough, mostly because of the slick, classical direction of Jaume Collet-Serra. He’s icily photographed film on location in Berlin and the omission of the shaky camera in these opening exchanges allows for smoother control. With this isolated and grey Cold War-like feel, it is hard not to be mildly drawn in by a curious, if familiar, premise.

The early intensity at least makes it interesting to see how the film will unravel. Unfortunately a lot of suspense is undone by some routine dialogue of the ‘that man is pretending to be me’ kind and some surprisingly flat revelations. Judging from the accent of the German doctor who aids Martin, I was expecting some crazed German mind games. But there’s too much Bourne here and a silly finale owes more than a little to the superior Salt from last year. The two writers credited to the screenplay were unimaginative enough to even include a digital readout bomb that needs to be disarmed. In between, there are some tired car chases and fist fights, chaotically edited, with the shaky cam and rapid cutting rearing their ugly heads. Any subtext relating to the submissive identities of migrants runs second to clichés like black four wheel drives and trained assassins.

Liam Neeson is an experienced and decorated performer so it’s problematic that he’s still in Taken-mode. With a gruff American accent and one expression on his face, glum, he lends himself to a tough but highly monotonous performance. Nearly sixty-years-old, what is Neeson’s interest in choosing these action roles and bit parts? Even he cannot bring credibility to embarrassing lines like, ‘I haven’t forgotten how to kill you asshole’. It’s Neeson’s movie and yet his character is surprisingly underwritten, mostly to mask the final plot twist. More appealing support is provided by Diane Kruger (from Inglorious Basterds) and Bruno Ganz (Downfall). He has some of the best lines in the film, like when he describes his cigarette flavour as killing more Russians than Stalin and he brings some tension and ambiguity to the plot. The talents of Langella are just wasted though because he arrives very late in the film, with the sole intent of explaining the film’s denouement. The film is not as primitive or as offensive as Taken, it is occasionally intense and involving, but even Dr. Martin would have trouble escaping the nostalgia.

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Harry Potter and the Deathly Hallows: Part 1 (2010)

It should be wise for people to at least watch the first six films in order before watching this one, if they haven’t read the books already.

With this film, we are slowly but surely bidding farewell to one of cinema’s most successful and imaginative franchises. The franchise, like Harry Potter himself, has grown and matured as the years (and films) progress. Part I of the “Deathly Hallows” is ultimately a strong build- up to what will be a triumphant, bittersweet finale for everybody.

I won’t waste time trying to talk about the performances, because they are all great and powerful in their own way. Never mind that many of the cast members are very talented veteran British actors (try getting John Hurt, Alan Rickman, Ralph Fiennes, Brendan Gleeson, David Thewlis, Michael Gambon, Helena Bonham Carter, Imelda Staunton, Jason Isaacs and Bill Nighy in the same film again) – the three young actors who we have come to love and care for following the first film a decade ago, basically carry the franchise on their shoulders, and this film is no exception. Radcliffe looks handsome, Grint looks gruff, and Watson looks gorgeous. They’ve grown into fine young people.

Screenwriter Steve Kloves doesn’t forget to add the mood and gloom to the story as it slowly unfolds, but then again he adds some light humor to the film when it needs it. Bonus points for making this not only a visual spectacle, but also a character-driven ensemble; there’s some complex characterization here. Also there’s some action which aren’t seen on screen, but mentioned by the characters. It’s OK, because it’s necessary for the brisk pacing, and it’s not really that important anyways. Besides, the human mind can imagine these images far more powerfully.

There are many themes in this film. Sacrifice, determination, (obviously) friendship, and above all – acceptance. As the films progressed the films started to gain an increasingly dark momentum – signaling that all hope may be lost. But in the end, will good triumph over evil? Like the film, real life isn’t so sure. Also, the fact that the actors and crew are moving on after a decade of making these films – it’s also another way of acceptance – the films have ended, they’re moving on for the better of their lives/careers. It’s real life, and I wish all these promising young actors brilliant lives and careers ahead of them.

“Hallows: Part I” is many parts thrilling, as there are quite a number of intense action sequences. Many of them, of course, are done with well-rendered visual effects, and in this one they just blend in at a natural level without being too jarring. However, the action sequences are perfectly blended in with the gripping, dramatic moments. They don’t feel heavy handed and it’s beautiful to look at. The animated sequence about the origins of the Deathly Hallows is an absolute masterclass and jaw-droppingly beautiful to both watch and listen. If separated by itself it can win an Oscar for best animated short.

The crew also get their due here. David Yates has gotten a firm grip on the film’s direction since directing the fifth and sixth films years ago. The cinematography is stunning and exquisite, and it gives off a certain moody hue to the film. The editing is also crisp, it’s not choppy when it doesn’t need to be. Alexandre Desplat’s score really makes a difference, it literally puts you into the world with its beautiful, harmonious, and emotional tones.

In short, I would have to say that this film is the best “Harry Potter: film yet in all honesty. I grew up with the series, and as per the actors, it will be an emotional goodbye. But rest assured, the finale will be grand.

One more thing. This interpretation of the novel is the best one yet. The novel is done justice, something not seen since the first three films. It’s something for both the fans and novel-readers alike, as there are some pieces only book readers can discover while watching the film. It’s definitely a huge improvement over “Half-Blood Prince”‘s adaptation, which for me is the worst Potter film.

Harry Potter is a phenomenon. But, like all things, it most come to an end eventually. This is the beginning of the end, and I wouldn’t have it any other way.

Overall rating: 75/100

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