It’s about as close to the perverse truth as any romantic-comedy has come close to depicting. It delivers the goods on its premise and is unique enough to distance itself from the genre. There is no denying the chemistry between its two wonderful, handsome leads and the laughs are consistent and real. Yet, one can’t help but feel that Joseph Gordon-Levitt’s directorial debut “Don Jon” is missing that certain climactic element. Essentially, there is nothing utterly wrong with the film itself. The fault lies in its inability to provoke any kind of meaningful reaction or reward the viewer for tagging along in the journey. Granted, the plots skeletal structure is anything but common and Levitt isn’t afraid to show a little skin, so to speak. However, the point in which the viewer joins the protagonist never diverts or scatters, resulting in a linear, anti-climactic, albeit impressive debut for Levitt.
Jon Martello (Levitt) is a present day Don Juan who objectifies everything in his life, specifically women. His friends call him Don Jon because he is consistently able to pull “10s” every week. Soon, Jon’s addiction to internet pornography renders his sex life less than fulfilling and eventually his relationships begin to falter because of it. On his journey to discover a more satisfying love life, Jon falls for Barbara (Johansson), a beautiful woman who is obsessed with control.
Much like Joss Whedon did to the horror genre with “The Cabin in the Woods,” Levitt has disassembled, dissected, and rebuilt the conventional stereotypes and outlook of the romantic comedy. However, when blatantly poking fun at countless years of tradition and canon, the revolt better be a game changer. And for the most part, Levitt has this transformation pointed in the right direction. His outing is a raunchy, veracious, satirical romp…of course not to the same height, success, or effectiveness as Whedon and Goddard’s comedic fright-fest. However, with “Don Jon,” Levitt has genuinely created something brash, original, and straightforward. It definitely bursts with the usual charisma and wit that typically defines films of this genre and manages to lure the viewer in with likeable, terrifically performed, over-the-top characters.
Although for the majority of its runtime, “Don Jon” is severely superficial. This reinvented concoction does offer more insight, intelligence, and endearing qualities than the majority of the genre’s entries. “Don Jon” is merely a half-realized revelation for the rom-com genre and is heavily directed at the male populous. It’s sure to not sit as well with the female market, but for those who can handle the harsh fact of differing motivations in opposite-gender relationships. It’ll conjure up some big body-aching laughs and a veritable gaze into the logical and emotional differences that continuously baffle our co-existing genders. Compared to its counterparts, “Don Jon” is a breath of fresh, sexually charged air into a genre that would rather play pretend than focus on truth-telling and authentic, situational humour.
It’s rather comical, yet seriously obscure that I’m having this much difficulty writing up this review. As I previously stated, there isn’t anything actually wrong with the film. It’s funny, different, and Levitt, again for the most part, has done everything with his usual flair and charm. I just feel that with “Don Jon,” Levitt errs on the side of caution. As if he has intentionally pushed the envelope, but got cold feet halfway to his destination. You’ll find yourself watching the film and feel a bit naughty and excited by this new, uncharted cinematic territory. And then, when you’ve finally reached the end, flustered and gleeful, the slow realization that you weren’t overly wowed begins to take over. However, all this being said, “Don Jon” truly is an impassioned, touching, respectable debut for Joseph Gordon-Levitt. So long as he keeps chugging along this road of ingenuity and continues to carve out his own way. Levitt will have a long, prosperous career behind the camera.
The one thing you can rely on when heading into the theatre to experience “Don Jon” is the consistent cleverness and turbulent coexistence of all the characters. Which are incredibly and ably performed by the entire cast, which features Scarlett Johansson, Joseph Gordon-Levitt, Julianne Moore, and Tony Danza.
Marred in heavy makeup and a thick New Jersey accent, Scarlett Johansson is as striking as ever, even though she maybe a tad incoherent. Nonetheless, in a role that significantly depends on superficiality and surface pleasures. It’s her ability to transform and power through the external distractions in order to reach internal importance that is truly remarkable. Tony Danza is down-right hilarious in his supporting role. Hopefully this will lead to his emergence from the shadows and launch him back into the mainstream. Moore is just phenomenal in her supporting role, she hasn’t been this effective and stunning in a long while. As for Levitt, he’s as effective and suave as ever, but we shouldn’t have expected anything less. Levitt does a phenomenal job while pulling double duty and really adapted both physically and mentally, not only to play and capture the role, but create it. Although I have to admit, Levitt’s portrayal here is quite the oddity when you associate him with the heartbroken romantic from “500 Days of Summer,” quite the contrast.
It might dwell a little to close to safety, but its excess of honesty and hilarity is enough for “Don Jon” to overcome its faults. It is a respectable inception for director/writer Joseph Gordon-Levitt.
Don Jon: 7.5 out of 10.
Well, TIFF is a mere 6 days away and I’m finding it extremely hard to contain my excitement. So, I figured I’d compile this list to somewhat ease my strain as well as inform you all of what you can expect to be radiating from the festivities this year. Now, with nearly 300 films screening at the festival, narrowing it down to the top 10 was extremely difficult. Not to mention that each individual carries their own interpretation of anticipation and cinematic values. Inevitably, this means it’s almost a foregone conclusion that many of you won’t agree with most of my choices. That being said, I did my best to include the general public in my decisions regarding the films playing in Toronto and how hotly anticipated they are. So, please keep that in mind when judging this list. Click on the film title for all the information you need regarding the film.
As always, if you feel I’ve overlooked a film or listed one that shouldn’t have been included, feel free to voice your opinions and comments below.
James McAvoy and Jessica Chastain in “The Disappearance of Eleanor Rigby”
Eli Roth’s “The Green Inferno.”
Now, without further ado, let’s get to it!
10: August: Osage County.
Seriously, just read the cast list for this film and you’ll see why I’m so smitten.
Similar to Mud, except instead of Matthew McConaughey, Nicholas Cage takes on the role of the mentor.
8: Don Jon.
The Directorial debut for Joseph Gordon-Levitt, what’s not to like?
TWO Jake Gyllenhaal’s, yes please!
This just might earn Idris Elba an Oscar nomination.
5: Blood Ties.
Marion Cotillard and Clive Owen light up the screen in this thriller.
4: The Fifth Estate.
Is this performance by Benedict Cumberbatch going to earn him an Oscar?
Has anyone ever, in the history of cinema had two consecutive years as amazing as Matthew McConaughey’s past two? They are calling his role in Dallas Buyers Club Oscar worthy, even though he should probably win for Mud.
This film has recently shot up the list since its initial screening. It is garnering masively positive reviews out of the gate.
There is tremendous Oscar buzz surrounding this film and for good reason. Watch the trailer and you’ll find out for yourself.
That’ll do it for this week’s top 10, hope you all enjoyed it. Remember to leave all opinions and comments below. Have a great weekend!
We are now less than two weeks away from when the Toronto International Film Festival tickets go on sale to the public and a mere 16 days away from the start of the actual festivities. On Tuesday morning, another slew of films were announced along with the schedule itself and a long list of celebrities set to attend the festival. I don’t know about you, but the anticipation is overwhelming me. I suppose the nervousness and excitement will dissipate somewhat when I actually know what screenings I will be attending, or it could skyrocket even higher. Either way, this is shaping up to be one hell of a festival!
Now, for those attending, or those simply who’d like to know what’s going on and when, you can find the full schedule by clicking here.
FInal Film List and Programmes:
If you’d like to know what films are playing at the festival, you can click here for the entire list or click the TIFF button in the main menu at the top of this page. You can also find all the programmes offered by the festival by clicking here. Essentially, all films screening at the festival are divided into groups for attendees to better understand what type of genre and themes the film will contain.
Perhaps the most exciting news released Tuesday morning was the endless list of celebrities ready to attend the festival. Amongst the names are Benedict Cumberbatch, Meryl Streep, Rebecca Hall, Josh Broliin, Alan RIckman, Clive Owen, Kate Winslet, Jennifer Aniston, Mark Ruffalo, Elizabeth Olsen, Scarlett Johansson, Hugh Jackman, Tom Hiddleston, Joseph Gordon-Levitt, Nicholas Cage, Jennifer Garner, Joel Edgerton, Ben Foster, Anton Yelchin, Liam Neeson, James McAvoy, Nicole Kidman, Felicity Jones, Ed Harris, Spike Jonze, Melissa George, Paul Giamatti, Idris Elba, Chiwetel Ejiofor, Sarah Gadon, Colin Firth, Michael Fassbender, Jesse Eisenberg, Sandra Bullock, Chris Hemsworth, Mila Kunis, Jessica Chastain, Jake Gyllenhaal, Ralph Fiennes, Jude Law, Tom Wilkinson, Mia Waikowska, Owen Wilson, Steve McQueen, Jason Reitman, Keanu Reeves, Keira Knightley, Matthew McConaughey, Ti West, Eli Roth, Daniel Radcliffe, Julia Roberts, Reese Witherspoon, Sarah Paulson, Oliva Wilde, Mike Myers, James Franco, Adrien Brody, Marion Cotillard, and Thandie Newton, just to name what I feel to be the most important. And honestly, I couldn’t type any more names. There is a bunch more on the list you can find here. Also, these are just the people confirmed thus far, it is expected that the likes of George Clooney and Brad Pitt, amongst others will be attending.
Jason Reitman’s Live Read:
You can find all the information below, provided by the TIFF website.
The Festival proudly welcomes back Jason Reitman’s Live Read — a unique event in which classic movie scripts are read by contemporary actors. With no rehearsal, the actors come together for a one-take read-through with Reitman narrating stage direction. In 2012, the Festival welcomed Reitman and an all-star cast — including Bryan Cranston, Christina Hendricks, Adam Driver, Sarah Gadon and George Stroumboulopoulos — for a live table read of Alan Ball’s screenplay for American Beauty. This year, Reitman is back with a surprise script from a modern classic and a new cast at the Ryerson Theatre on Friday, September 6. Details, including cast and script, for the 2013 Live Read event will be announced in early September.
New this year, audiences are invited to be part of the action with two official Festival selections and two special screenings presented in spectacular IMAX. The two films will be Alfonso Cuaron’s “Gravity” and Keanu Reeves “Man of Tai Chi.”
Next Wave and Manifesto Announced:
You can find another plethora of titles announced by clicking here.
New Galas and Special Presentations:
Metallica Through the Never: Nimród Antal, Canada/USA, World Premiere
Dane DeHaan (The Place Beyond the Pines) stars as a Metallica roadie dispatched to hell and back in this mind-blowing mash-up of concert film and post-apocalyptic adventure, presented in IMAX 3D.
The Wizard of Oz: Victor Fleming, USA, World Premiere
Experience Judy Garland’s over-the-rainbow adventure in vivid new detail with this IMAX 3D presentation of Victor Fleming’s family classic.
10th Midnight Madness Film Unveiled:
Witching & Bitching:
Fleeing through the impenetrable forests of the Basque countryside after a jewel heist, a hapless band of robbers runs afoul of a coven of witches, in this madcap supernatural spectacle from Spanish genre specialist Alex de la Iglesia (The Last Circus).
Okay then, that’ll do it for the pre-TIFF announcements. The Cinema Monster will be covering the festival in full, providing reviews, news, and Q and A’s as often as possible, make sure to follow our website to keep up with the festival. Also, follow The Cinema Monster on Twitter (@cinema_monster) and Facebook for up-to-the-minute news and posts, not to mention special pictures and videos provided by me from the screenings. Have a great week!
With a little over a month until the Toronto International Film Festival officially kicks off its 38th edition. The first batch of attending films were ceremoniously announced around 10am this morning in what is shaping up to be one of the most prolific, star-studded years in festival history!
75 films were announced Tuesday in what should become roughly 290 total, at least equalling last years output. Expect the entire Midnight Madness lineup to be released July 30, with the remaining films formally presented throughout the coming weeks. Check out the Galas here and the Special Presentations here.
The most notable from the first batch are as follows:
August: Osage County John Wells, USA, World Premiere:
August: Osage County tells the dark, hilarious and deeply touching story of the strong-willed women of the Weston family, whose lives have diverged until a family crisis brings them back to the Midwest house they grew up in, and to the dysfunctional woman who raised them. Based on Tracy Letts’ Pulitzer Prize– and Tony Award–winning 2007 play of the same name. Starring Meryl Streep, Julia Roberts, Ewan McGregor, Benedict Cumberbatch, Abigail Breslin, Sam Shepard and Chris Cooper.
The Fifth Estate Bill Condon, USA, World Premiere:
Triggering an age of high-stakes secrecy, explosive news leaks and the trafficking of classified information, WikiLeaks forever changed the game. This dramatic thriller based on real events reveals the quest to expose the deceptions and corruptions of power that turned an Internet upstart into the 21st century’s most fiercely debated organization. The story begins as WikiLeaks founder Julian Assange (Benedict Cumberbatch) and his colleague Daniel Domscheit-Berg (Daniel Brühl) team up to become underground watchdogs of the privileged and powerful. On a shoestring, they create a platform that allows whistleblowers to anonymously leak covert data, shining a light on the dark recesses of government secrets and corporate crimes. Soon, they are breaking more hard news than the world’s most legendary media organizations combined. But when Assange and Berg gain access to the biggest trove of confidential intelligence documents in U.S. history, they battle each other and a defining question of modern time: what are the costs of keeping secrets in a free society — and what are the costs of exposing them? The film also stars David Thewlis, Stanley Tucci, Laura Linney, Anthony Mackie and Dan Stevens.
Kill Your Darlings John Krokidas, USA, International Premiere:
Kill Your Darlings is the true story of friendship and murder that led to the birth of an entire generation. This is the previously untold story of murder that brought together a young Allen Ginsberg (Daniel Radcliffe), Jack Kerouac (Jack Huston), and William Burroughs (Ben Foster) at Columbia University in 1944, providing the spark that would lead to their Beat Revolution. Also stars Dane DeHaan, Michael C. Hall, David Cross, Jennifer Jason Leigh, Elizabeth Olsen, Kyra Sedgwick and John Cullum.
Mandela: Long Walk to Freedom Justin Chadwick, South Africa, World Premiere:
Mandela: Long Walk to Freedom is based on South African President Nelson Mandela’s autobiography of the same name, which chronicles his early life, coming of age, education, and 27 years in prison before working to rebuild his country’s once-segregated society. Starring Idris Elba as Nelson Mandela, and Naomie Harris as Winnie Mandela.
Rush Ron Howard, United Kingdom/Germany, International Premiere:
Two-time Academy Award winner Ron Howard (A Beautiful Mind, Frost/Nixon) teams up once again with two-time Academy Award–nominated writer Peter Morgan (Frost/Nixon, The Queen) on Rush — a spectacular big-screen re-creation of the merciless 1970s rivalry between James Hunt (Chris Hemsworth) and Niki Lauda (Daniel Brühl). Also features Olivia Wilde, Alexandra Maria Lara and Pierfrancesco Favino.
12 Years a Slave Steve McQueen, USA, World Premiere:
12 Years a Slave tells the incredible true story of Solomon Northup, a free black man from upstate New York who was kidnapped and sold into slavery in 1841 and finally freed in 1853. The story is a triumphant tale of one man’s courage and perseverance to reunite with his family that serves as an important historical and cultural marker in American history. Starring Chiwetel Ejiofor, Michael Fassbender, Benedict Cumberbatch, Paul Dano, Garret Dillahunt, Paul Giamatti, Scoot McNairy, Lupita Nyong’o, Adepero Oduye, Sarah Paulson, Brad Pitt, Michael Kenneth Williams and Alfre Woodard.
Blue Is The Warmest Color Abdellatif Kechiche, France, North American Premiere:
At 15, Adèle doesn’t question it: girls go out with boys. Her life is changed forever when she meets Emma, a young woman with blue hair, who will allow her to discover desire, to assert herself as a woman and as an adult. In front of others, Adèle grows, seeks herself, loses herself, and finds herself. Starring Léa Seydoux and Adèle Exarchopoulos.
The Disappearance of Eleanor Rigby: Him and Her Ned Benson, USA
The Disappearance of Eleanor Rigby: Him and Her is a two-part love story seen through the eyes of a New York couple trying to understand each other as they cope with personal hardship. The different perspectives of “Him” and “Her” result in two films with a unique look into one couple’s attempt to reclaim the life and love they once had. Starring Jessica Chastain, James McAvoy, Nina Arianda, Viola Davis, Bill Hader, Ciarán Hinds, Isabelle Huppert, William Hurt, and Jess Weixler.
Don Jon Joseph Gordon-Levitt, USA, Canadian Premiere:
Jon Martello (Joseph Gordon-Levitt) is a strong, handsome, good old fashioned guy. His buddies call him Don Jon due to his ability to “pull” a different woman every weekend, but even the finest fling doesn’t compare to the bliss he finds alone in front of the computer watching pornography. Barbara Sugarman (Scarlett Johansson) is a bright, beautiful, good old fashioned girl. Raised on romantic Hollywood movies, she’s determined to find her Prince Charming and ride off into the sunset. Wrestling with good old fashioned expectations of the opposite sex, Jon and Barbara struggle against a media culture full of false fantasies to try and find true intimacy in this unexpected comedy.
Gravity Alfonso Cuarón, USA/United Kingdom, North American Premiere:
Gravity is a heart-pounding thriller that pulls its audience into the infinite and unforgiving realm of deep space. Sandra Bullock plays Dr. Ryan Stone, a brilliant medical engineer accompanied on her first shuttle mission by veteran astronaut Matt Kowalsky (George Clooney). On a seemingly routine spacewalk, disaster strikes. The shuttle is destroyed, leaving Stone and Kowalsky completely alone — tethered to nothing but each other and spiraling out into the blackness. The deafening silence tells them they have lost any link to Earth… and any chance for rescue. As fear turns to panic, every gulp of air eats away at what little oxygen is left. But their only way home may be to go further out into the terrifying expanse of space.
To say that I am excited for TIFF 2013 would be a massive understatement! Can’t wait to see what other films will be joining this first wave.
Outlandishly complex, visually mesmerizing, and action-packed. “Inception” is an intelligent blockbuster that bursts forth from the screen with all the spectacle and wonder that makes cinema so riveting. With infinite staying-power fortified by unlimited ingenuity, an empathetic human element, and dynamism. “Inception” is easily one of the best science fiction films to ever be released, if not the best. Written and directed by the distinguished Christopher Nolan. “Inception” is a brilliant addition to his already stellar collection of highly memorable films and adds another layer of superlativeness to his stern and bright reputation. Completed by an all-star cast and an absolutely epic score from the incredibly talented Hans Zimmer. “Inception” is an unparalleled cinematic experience and regardless of its intricate story or the grandness of its heart-stopping scale, should stand the test of time (no pun intended).
Dominic Cobb (DiCaprio) is a skilled thief who is somewhat of a master when it comes to the artistic science of extraction. Simply put, Dom can be inserted into anyones dreams and steal their most valuable secrets and information. After a failed job, Dom and his partner Arthur (Levitt) are hired by Saito (Ken Watanabe), the original target, to convince a rival company’s owner to disband his inheritance. This tactic is officially known as inception. Upon recruiting Eames (Hardy), Ariadne (Page), and a few others, the group begins plotting against their target, Robert Fischer (Murphy), unaware that Dominic is hiding a dark and possibly dangerous secret about his late wife Mal (Cotillard).
Once again Nolan is able to top his previous efforts with a completely unique and bewildering idea presented with his usual flare and style. Evidently, more than a few like to poke fun at “Inception” claiming its premise as idiotic, amongst other aspects they feel to be miscalculated. Nonetheless, Nolan’s ability to transcend and harness the abstract remains unrivalled and is a much needed jump-start for the currently unbalanced film industry. While the path he has carved for cinema might not be for everyone. Cinephiles and critics universally agree that Nolan is a mind like no other. Arguably the most successful, forward-thinking, genius working in film as of the moment. Nolan always pushes the envelope and upon assisting in the much needed reboot of the Superman franchise, it appears the sky’s the limit for this one of a kind filmmaker, but I digress, back to “Inception.”
Very rarely does a film come along that proves to be a game-changer, and in every sense, “Inception” is one of these films. Whether it is the folding over of an entire city, mind-churning paradoxes, or astoundingly choreographed action sequences, “Inception” is deliciously appealing. Granted, a majority of these magical, majestic, delectable scenes take place in a fantastical realm. However it doesn’t degrade the sheer intellect, talent, and innovation infused into every single one of these miraculous scenes. And while the production value and intricacy of these aspects is enough for them to stand on their own. What truly puts “Inception” at another level is the brains that accompany the brawn. Equally matched intellectually and visually, “Inception” is its own excellent contrast. The mind and eyes receive quite the workout, yet, never has a strenuous effort felt so euphoric.
Talk about easy on the eyes. “Inception” has the outwardly striking, abundantly accomplished, and utterly skilled cast to assist in the completing of this masterpiece. Starring the likes of Leonardo DiCaprio, Tom Hardy, Joseph Gordon-Levitt, Ellen Page, Cillian Murphy, Marion Cottilard, and Michael Cane, amongst other proficient personnel . “Inception” is undoubtedly the full package with an ensemble that knows no weakness.
Many will deny it having seen a few of these stars in previous films, but “Inception” officially launched Tom Hardy, Joseph Gordon-Levitt, and Cillian Murphy into the mainstream. Each give a humorous and heartfelt performance that instantly made them crowd favourites. Cottilard and Page do an outstanding job grounding this flick, adding a much needed emotional element to this larger-than-life picture. What can one say about Leonardo DiCaprio, he always makes it look so effortless, and I wouldn’t have it any other way. Finally, to quote the great Mr. Nolan, “it’s always good to have a little Michael Caine in your film.”
Literally appealing to every sense, “Inception” is not to be missed by anyone in existence, cinephile or not…and how about that ending?
Inception: 9 out of 10.
We might be a bit late to this particular list’s party, but better now than never. This was a difficult list to compile, lots of great pictures to chose from. But myself (monster1711) and my bud (cinema2033) think we’ve created a diverse and respectable list. If you feel that we overlooked a certain film or have any suggestions for future top 10’s, please comment below. Without further anticipation, let’s get started.
10. Looper. Easily the best science fiction film of the year. Featuring terrific performances from Joseph Gordon-Levitt and Bruce Willis, Looper is a brain scrambler that will leave you stunned.
9. The Cabin in the Woods. Speaking of brain scramblers. The Cabin in the Woods is definitely the most bizarre film of the year. Mixing the hilarious and terrifying elements of horror and poking fun at them, it is sure to be a cult favourite.
8. Skyfall. Quite possibly the best Bond film to ever grace the big screen. Skyfall is witty, charming, and one hell of a ride. With towering performances from Daniel Craig and Javier Bardem, Skyfall is not to be missed.
7. Seven Psychopaths. Another entry into Martin McDonagh’s violent comedies. Seven Psychopaths is full of violence, hilarity, and outstanding performances from Sam Rockwell and Christopher Walken.
6. Argo. Winner of the 2012 Oscar for best picture, need we say more? Directed and starring Ben Affleck, Argo is history come alive.
5. Silver Linings Playbook. Thought by many to be the best picture of 2012. Silver Linings Playbook is another solid outing from David O. Russell and features a return to form for Robert De Niro. Not to mention the emergence of Bradley Cooper and Jennifer Lawrence as real acting heavyweights.
4. On The Road. Possibly the most controversial film on the list, On The Road left audiences divided. Based on Jack Kerouac’s generation defining novel. On The Road features entrancing performances from Sam Riley, Garrett Hedlund, and especially the lovely Kristen Stewart.
3. Django Unchained. The second chapter in Tarantino’s yet to be finished history trilogy. Django Unchained landed Christoph Waltz another supporting actor Oscar. Also starring Jamie Foxx, Samuel L. Jackson, and a deliciously evil performance from Leonardo DiCaprio, Django Unchained is violently hilarious.
2. Zero Dark Thirty. Best picture nominee Zero Dark Thirty is brought to you by the creators of The Hurt Locker. There really isn’t anything else that needs to be said. Incredibly tense, monumental performances, and impeccably scripted. Zero Dark Thirty is an unstoppable force.
1. The Dark Knight Rises. The conclusion to the Dark Knight trilogy, directed by the brilliant Christopher Nolan. With Tom Hardy as Bane, The Dark Knight Rises has the best villain performance of the year. Including an unmatchable cast and an epic finale no one saw coming, The Dark Knight Rises might be the greatest comic book adapted film in the history of cinema.
Honourable Mentions. Lincoln, Sightseers, Prometheus, The Avengers, The Hobbit: An Unexpected Journey, End of Watch.
To say that Looper is an ambitious, mind churning take on time travel and the future would be putting it lightly. Turning the duality of humanity, destiny, and our forthcoming evolution into a provocative, thought bending thriller. Looper, a modern feat, has all the right elements in the concoction that is science fiction. Rian Johnson, Looper’s writer and director transposes his literary idealism in supreme form to the big screen, a difficult task when two of the main characters are the same person. The integrity of the CGI fused into Looper never falters and neither does Johnson’s Cast. Comprised of Bruce Willis, Joseph Gordon-Levitt, and Emily Blunt, Looper’s accomplished actors fulfill Johnson’s visions and demonstrate our impending fortunes or possibly our perils.
In the year 2074, time travel exists but is forbidden. However, when criminal organizations get hold of time travel machines, they send people they want killed back in time to be taken out by “loopers.” Loopers are hired by the organizations thirty years in the past and are ordered to kill whoever is sent back and get rid of the body. When the mob decides to terminate a contract with anyone of their killers, they send him back in time to be killed by himself and this closes the loop. In 2044, Joe (Levitt) is a contract killer who’s loop is sent back to be closed. When old Joe (Willis) returns to the past, young Joe is unable to take him out. Learning of his life, a ruthless leader named Rainmaker, and the possibility to change the future, young Joe also becomes entangled with a woman named Sara (Blunt). In order to save his life and do right by the people he cares about, Joe is filled with difficult decisions that need to be made.
With its twists and catchy action sequences, Looper is a sci-fi obsessors dream. However, while it may be encased in a genre, Looper has its fair share of surprising personal conundrums and political indecisions. Looper may deal with time travel, but the use for it isn’t typical of your usual dime a dozen, brain dead science fiction pictures. The ripples caused by its usage severely impacts our existence and disintegrates what we may have become accustom to. Essentially, the battle between good and evil rages on in Looper with a much more plausible function. Willis and Levitt are terrific in their roles of the same character caught at different times and at opposite ends of the moral line. Levitt is barely recognizable except for his superb acting prowess and Willis hasn’t been this effective in years. Blunt is graceful and nurturing in her role that is based heavily on the argument of nature vs nurture. Johnson’s Looper is glorifying and incredibly significant in these times and gives a unique insight into our lives and everyday decisions.
Looper: 8.5 out of 10.
Where to begin with a film that is so entrancing and cataclysmic it sets off air raid sirens to everyone of its viewers senses. Christopher Nolan once again manages to spawn a villain more loveable than the superhero. As destructive and necessary his evil may be, Bane has a method to his madness and somehow this insanity is acceptable and cheer worthy. The scale of the entire film is stupefying and the entire ensemble is out of this world. Literally featuring one of the greatest casts ever assembled. Leading The Dark Knight Rises is Christian Bale, Anne Hathaway, Michael Caine, Tom Hardy, Gary Oldman, Marion Cotillard, Morgan Freeman, and Joseph Gordon Levitt. Directed by the previously mentioned Christopher Nolan or otherwise known as the series saviour. The Dark Knight trilogy’s beginnings may have grown from a simple comic book, but what the cast and crew have done is not that of the imagination from a few colourful pages. The trilogy has shattered stereotypes and the box office, redefined a genre, and set the bar for every comic book film to follow.
Eight years after the events in The Dark Knight, Bruce Wayne (Bale) is a recluse trying to recover mentally and physically from his arduous battles for Gotham. At the anniversary party of Harvey Dent’s death at Bruce’s manor, a seemingly normal maid steals from Mr. Wayne’s safe and proves elusive in his attempts to capture her. Bruce later finds out that this thief is career burglar Selina Kyle (Hathaway), however he is unaware that she is the least of his problems. Commissioner Gordon (Oldman) and a hot headed cop named Blake (Levitt) out on a call run into trouble. The commissioner is taken captive by the evil force named Bane (Hardy). While dealing with his financial problems with Mr. Fox (Freeman) and Miranda Tate (Cotillard), his return to the world, and the absence of Alfred (Caine), Bruce Wayne now must deal with the terrorist, Bane.
One would have figured it safe to assume that it would be impossible for The Dark Knight’s follow up to compete, so most would watch The Dark Knight Rises with low standards. When in actuality the bar along with our expectations should have continued to rise (no pun intended). Yes Heath Ledger’s performance was delightfully mad and morally impartial, but he wasn’t the only aspect of that great cinematic achievement. Regardless of his tragic death, would the story have continued with the Joker? Calculating the way Nolan and his crew function, I think it’s a safe bet that they would have gone in a new direction. Therefore, for any of those who dismissed the sequel without giving it a chance or those not respecting Nolan and cast. it is your loss. The Dark Knight Rises, one of the best films of all time, let alone 2012 is an electric and stirring thrill ride that is deserving of our praise, its runtime, and to hold the Batman legacy for eternity.
The Dark Knight Rises: 9 out of 10.