Cloud Atlas [2012]

MPAA (R)  CNS/USCCB (O)  Roger Ebert (4 Stars)  Fr. Dennis (3 1/2 Stars)

IMDb listing
CNS/USCCB review
Roger Ebert's review

Cloud Atlas, screenplay written and directed by Todd Tykwer, Andy and Lana Wachowski and based on David Mitchell's novel by the same name premiered recently at the 48th Chicago International Film Festival (Oct 13-25, 2012).   Like The Matrix [1999-2003] films for which the Chicago area residing the brother and sister team of Andy and Lana Wachowski is best known for, this truly Sweeping [TM] film starring Tom Hanks, Halle Berry, Xun Zhou, David Gyasi, Jim Broadbent, Suzanne Sarandon, Hugh Grant and others, playing various characters in various epochs of time extending from "120 years after the Fall" to 2144 (or 130 years after our own), the film is more or less obviously intended to have religious overtones.  And I do want to make it clear here that as a work of speculative fiction, intended for a global audience (as again in the case of The Matrix [1999-2003] movies), I _don't_ find the effort here to be out-of-hand-wrong.  Indeed, as I've written before on this blog (in my reviews of the Tree of Life [2011], Meloncholia [2011] the Through the Wormhole [2011+] television series and Prometheus [2012]) I generally tend to welcome speculative efforts such as this (EVEN IF I'd disagree, and even for dogmatic reasons, with parts of them). 

The central conflict that ties all the vignettes together in Cloud Atlas is that of Universal Brother/Sisterhood vs. "The Natural Order of things" (basically Darwinism) where as the film says: "the weak are meat and the strong get to eat."  Given that I belong to a Church (the Catholic Church) that sees itself as having a Universal mission and understands all people to be fundamentally brothers and sisters to each other I can not but find this film to be overwhelmingly salutary. 

Yes, we can get bogged down in relative details (Does the film promote a belief in reincarnation?  Should that (in a film) really matter (_honestly_)?  Given that the film was funded by a production company coming out of SINGAPORE should Americans/Westerners really expect otherwise?  Can CATHOLICS AT LEAST come to see more or less obvious similarities between the Eastern concept of "karma" (continuous "reincarnation" until a soul finally gets it right...) and the purgation process that we would argue would take place in Purgatory (where we hope to all be until "we finally get it right...") and "let the argument go" (at least for a moment).  Hindus/Buddhists presumably would be just as proud their own beliefs as we Catholics would be of ours.  Can we at least choose to look for similarities rather than focus on differences?  (How can any serious inter-religious dialogue hope to succeed if one's starting position towards "the other side" is "you're out of hand _wrong_?")

Anyway, as a work of speculative fiction, WHAT A FILM!  Great job folks!  All of you!


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Chasing Mavericks [2012]

MPAA (PG)  CNS/USCCB (A-II)  Roger Ebert (3 Stars)  Fr. Dennis (2 1/2 Stars)

IMDb listing
CNS/USCCB review 
Roger Ebert's review

Chasing Mavericks (directed by Michael Apted and Curtis Hanson, screenplay by Kario Salem based on the story by Jim Meenagen and Brandon Hooper) is about a (then) teenager named Jay Moriarty (played by Johnny Weston) who just outside of his hometown of from Santa Cruz, CA successfully surfed one of the biggest waves (a "Maverick") ever recorded.

Given some of the personal challenges that Jay faced -- he largely raised himself as his father abandoned him and his mother Kristy Moriarty (played by Elizabeth Shue) when he was young, and ma' who was struggling with alcoholism wasn't exactly the most reliable person either, the true parent figures in his life were his neighbors, roofer during the week, surfer/"Maverick hunter" on early mornings, weekends and honestly whenever he could break-away Frosty Hesson (played by Gerard Butler) as well as his more sensible wife Brenda (played by Abigail Spenser) -- the film itself is being presented as having an uplifting/positive message.

However, I honestly do have my reservations:  Given that the film notes at the end that Jay died cliff diving some years later, at age 22, I'm HONESTLY _not sure_ if parents would like their teens to "live (exactly) as Jay did."

Most of us who've grown-up in the States know that there is a beauty and freedom in surfing and this movie is certainly celebrates that.  But there are also more problematic sides to the surfing subculture: _perhaps_ excessive risk taking as well as a culture of, again, largely "carefree" recreational drug use.  To be sure, both of these "more problematic" aspects of the surfing subculture are hinted at in the film.  The Maverick style waves that the film shows Jay surfing at the end of the film are truly _insane_ (and conversely honestly make the film ;-) and Jay's best friend and surfer buddy is shown apparently selling drugs out of the parking lot of the fast food restaurant that the two work at.  These more problematic elements of the surfer culture are, however, largely buried under the film's celebration of "surf and sun." 

Don't get me wrong, I do think that I _get_ (understand) the joy/freedom that must come with surfing, but I also understand "Frosty's" wife Brenda's Hesson's request of her husband: "Please promise me that the rush that must come with surfing down a 30 foot wave will not overpower your responsibility to me and your kids."   

Frosty is shown at the end of the film understanding Brenda's request, I do hope that readers here (especially the young ones) will appreciate it as well.

Still, "wouldn't it be nice?" ... ;-)


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Silent Hill 3D Revelation [2012]

MPAA (R)  CNS/USCCB (O) Fr. Dennis (2 Stars)

IMDb listing
CNS/USCCB review

Silent Hill 3D Revelation (written and directed by Michael J. Bassatt) like its predecessor Silent Hill [2006] is a film adapted from the (originally Japanese) "survival horror" video game series Silent Hill set in a fictitious "small American town" by the same name.  Like the video game, so the film, takes place in a "multiverse," that is on one level the story takes place in our own world (in and around that small town called Silent Hill) and on other level it exists in an alternate somewhat "dreamy" / "nightmarish" reality where ghastly things take place.

In the current movie, Australian actress Adelaide Clemens plays the lead role of Heather (in this world) / Alyssa (in the alternate one).  She has found herself moving quite a bit with her dad (played by Sean Been) in this world in order to try to avoid returning the town of Silent Hill, but, alas, she finds herself coming back to that town (or at least its equivalent in the other dimension) anyway.  Much of course ensues.

With the film being released around Halloween time and having been responsible for our parish's youth group over the years, I found the feel of this movie to be that of a good (meaning really scary) "virtual haunted house" (I saw the movie in 2D but I would imagine that if one wanted to spend the extra $4 to see it in 3D it _probably_ would not be a waste of money this time).

What I found annoying after a while was the film's arguably taking itself too seriously at times with regard to things "Occult."  Yes, I suppose some of this was necessary for the setup of the story, but I would have simply made "Silent Hill" some kind of "Gateway to Hell" / "Purgatory" (a la Dante) and just be done with it.  However, the film (and presumably the video game) chooses to dwell on what appear to be "Occult nuances" and I could imagine a great many Christian/Catholic parents finding this "really, really annoying" or worse.  And I would tend to agree.

However, rather than make a big thing of this, I would just suggest to parents to remind their teens (if their teens insist on wanting to see this movie or play the game) that this film/game is _really_ "just a story"/"game" and to honestly not dwell on the details.   As I recently wrote in my blogpost here about Paranormal Activity 4, there's really no need for any of us to become expert "Zoologists of Evil."  (There are plenty of far more positive ways we could spend our time...)


But heck, as a "virtual haunted house" or even as a "virtual descent into Hell" the film (and presumably the game) is really "kinda cool."  Just honestly LIKE DANTE "visit" these places "with a smile" ;-)


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Alex Cross [2012]

MPAA (PG-13)  CNS/USCCB (A-III)  Roger Ebert (2 Stars)  Fr. Dennis (3 Stars)

IMDb listing
CNS/USCCB review
Roger Ebert's review


Alex Cross (directed by Rob Cohen, screenplay by Marc Moss and Kerry Williamson based on the novel by James Patterson) is about the exploits of an African American detective and psychologist named Dr. Alex Cross (played in the film by Tyler Perry).  In the novels, he lives and works in the South East quadrant of Washington D.C. In the current film he and his family live in Detroit, MI. In both cases these are both "tough" generally crime ridden areas but with some more upscale sections where wealthier/upper middle class African Americans (like Alex Cross and his family) live.

The film concerns itself with Alex Cross' hunting down a particularly sadistic criminal who is given the nick-name "Picasso" (played by Matthew Fox) because he tends to leave charcoal drawings of his victims (often wrything in pain) at the scenes of the crimes.  This criminal apparently sees killing as an "art form" and he also _enjoys_ seeing his victims in pain.

After a particularly brutal murder of the woman of an otherwise unsavory gangster, Alex Cross and his partner Tommy Kane (played by Edward Burns) are brought in on the case.  After "Picasso" finds out that Alex Cross is on his tail, he of course takes enjoyment in "playing" with him and finding some very awful ways to cause Cross and his family (Alex Cross' wife Maria played by Carmen Ejogo, daughter Janelle played by Yara Shahidi, son Damon played by Sayeed Shahidi, and mother played by Cicely Tyson) pain.

IMHO it all makes for a rather good crime thriller and I like the development of Alex Cross' family.  However, PARENTS I would definitely warn you that the film should really be rated R.  There are definitely some very graphic/violent scenes present.  IMHO that does not necessarily make it a bad film, just at times a rather violent one and parents/families ought to know what they are walking into in that regard.


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Valley of Saints [2012]

MPAA (Unrated would be PG-13/R)  Fr. Dennis (4 Stars)

IMDb listing -


Valley of Saints [2012] written and directed by Musa Syeed, is an Indian/USA film (Kashmiri w. English subtitles) that played recently at the 48th Annual Chicago International Film Festival (Oct. 11-25, 2012).  It is set in and around Dal Lake in the Valley of Saints in the disputed territory (between India and Pakistan) of Kashmir.  The Kashmiri conflict forms an important part of the backdrop to the story.

Afzal (played by Mohammad Afzal), 20-something years old, along with his best friend Gulzar (played by Gulzar Ahmed Bhat) is a humble taxi/tourist boatman.  The two make their livings paddling tourists in their boats around the lake to the various islands, lotus gardens and so forth.  The beginning of the story finds Afzal beginning his day pretty much like any other day, helping his aging and somewhat ailing traditionally Muslim uncle get up.

Afzal appears to have some special concern about his uncle that day as apparently the uncle is going to travel somewhere reasonably distant for some kind of medical checkup.  But after his uncle is on his way (presumably by bus) the day continues like any other day with Afzal, Gulzar and other taxi/tourist boatmen hustling for customers onshore.  Eventually both get gigs, Afzal taking a young long-haired European couple to one of the islands, Gulzar meeting him on the island with his boat after taking somewhere as well.

However, this is Kashmir... So what began as a "normal day" soon ceases to be one.  While the two friends were transporting their customers to the island somewhere in the middle of the lake a riot broke-out onshore and the military authorities imposed a week-long 24 hour curfew on the cities onshore.  So the two find themselves stuck now on this island for a number of days.  Would Afzal's uncle be able to come home from his trip to the medical clinic?  Perhaps he made it back before the curfew was imposed, perhaps not.  In any case, "normal life" is frozen for a week and the two are stuck on the island.

While stuck on the island, the two come across a young woman, Indian/Kashmiri like they were named Asifa (played by Neelofar Hamid).  She was a university student (more probably a graduate student) who had come back to Dal Lake to study its environmental degradation.  Apparently not only is the Kashmiri conflict going on, but with the increase of population and general increase of "stuff" the overall environmental quality of the lake has been going down as well and it becomes progressively clear to the viewer that all kinds of garbage and refuse is being thrown or otherwise dumped into the lake.

A somewhat "impossible romance" naturally starts to develop.  Afzal, a humble boatman falls for the exotic and far more educated Asifa.  As a result, some traditional gender roles do reverse.  Trying to impress Asifa, Afzal cooks for her (Indeed, one gets the sense that Asifa probably would have been rather lost on the island during the curfew if not for Afzal).  On the other hand and certainly at the beginning of their interaction, Asifa treats Afzal as basically an underling "in need of an education" (by her) of how to treat the lake with respect.  In one scene he shows her a bathroom and she proceeds to draw him a plan for an "environmentally sound one" ... ;-).

Nevertheless, Afzal does seem to grow on Asifa...  However, remember folks that in many respects this is a "traditional Muslim movie" ;-).  So Westerners especially may find it "surprising" that the budding relationship doesn't seem to go anywhere.  Or honestly, does it (go nowhere)?  This aspect of the story becomes fascinating for me because it offers an invitation for viewers (and readers here) to reflect on the question of _when_ does a friendship (or even relationship) become _meaningful_?   And yes, I do believe that this film does offer an alternative to contemporary Western cultural "orthodoxy" on the matter.  :-)

The other aspect of the film that I found fascinating was the number of "levels of action"/"things happening" that are present in the film:  There was (1) the story of Afzal's uncle's gradual decline in health.  There's (2) the story of the three young protagonists' struggles to "grow-up" (finish school, achieve a stable and secure existence) and _begin_ their (adult) lives.  Both of these stories would fall into the realm of "the natural/human order of things."  But then there's (3) the intrusion and obvious resentment of the conflict in Kashmir: There's enough suffer, there are enough problems in life, why add political/military conflict to the mix?  Then there's (4) the (current) gradual decline in the quality of the Lake.  Even as Hindus/Muslims, India and Pakistan are fighting for this (previously) beautiful piece of land, it's being poisoned and _may_ become a lifeless cesspool to whoever ends up finally "winning" that political conflict.  Finally there's (5) a "timeless" dimension to the story, something that Afzal appears to be struggling with.  During the course of the film, Afzal narrates the story of why the area in which he lives is called "The Valley of Saints:"  At some time immemorial, there was a demon who lived in the lake that used to attack small children.  The Saints (giant, presumably at least partly supernatural beings) came and killed the demon, making the lake safe for the people who lived around it.  During the course of the film, Afzal repeatedly asks "Where are 'the Saints' now?" in the midst of all the suffering mostly political/military but also in regards to the lake's declining capacity to sustain life.  And yet, the story says that "life on the lake" has been guaranteed "safe" by those "Saints" since pretty much the beginning of time.  So is life "safe" or has it been pretty much _always_ rather "precarious" and yet are we still somehow guaranteed by those "Saints" (supernatural beings / Religion) that All will turn out well in the end?

This is a simple story that ends up asking some really big questions!  Very good job!


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Meeting Leila (orig. Ashnaee ba Leila) [2011]

MPAA (Unrated would be PG-13)  Fr. Dennis (3 1/2 Stars)

IMDb listing

Meeting Leila (orig. Ashnaee ba Leila) [2011] directed and cowritten by Adel Yaraghi along with Abbas Kiarostami is an Iranian film (in Farsi with English subtitles) that played recently at the 48th Annual Chicago International Film Festival (Oct. 11-25, 2012).

It is about two lonely Iranian 40-somethings, Leila (played by Leila Hatami, who also played recently in the 2011 Oscar Winning film A Separation [2011]) a chemist, and Adel (played by Adel Yaraghi) who works for a Tehran advertising agency.  They meet one winter morning in Tehran when Leila has trouble getting her Volkswagon Beetle up a small hill after a snowfall.  Adel also driving a Volkswagon Beetle courteously stops helps her get her Beetle moving up the slight but irritating incline (anyone who's ever driven a VW Beetle -- it was the car that I learned to drive stickshift on when I was a teenager ;-) -- would know its rather temperamental gearshift ;-).  They exchange phone numbers and apparently hit it off because when we meet them again, it's apparently a year later and it looks like they are going to get married.  Except there's a problem ... Adel's a chain smoker and _really enjoys smoking_, sincerely thinks it helps him in his creative work and Leila, again a chemist, one who _may_ be working in some sort of a pharmaceutical or medical lab, just hates it.  What to do?  Well that's what the rest of the movie is about ;-)

This is clearly a very simple and yet very universal story.  And then there are some fairly predictable as well as surprising elements impinging on both Iran's current cultural circumstances as well as our Western perceptions of them.

Look, my parents were Czechoslovakian who came here after fleeing the Communists.  Czechoslovakia was also in a cultural deep-freeze during most of the Communist Era.  Yes, there was the Prague Spring around 1968 but the cultural flourishing that occurred during that remarkable period before it was crushed by Soviet tanks only makes the point.  And the point is this: the story in this film, as simple, poignant, lovely as it is, is _exactly_ the kind of film that is _safe_ when a creative community is living under the boot of a totalitarian regime.  There's absolutely _no politics_ here (none, zero, nada...), just a story about a woman who'd really like to have her man stop smoking....

And yet, there are also surprises (for the "know it all" Westerner ;-).  Among them are simply that a Westerner gets to see that Tehran has "winter," something that I noted in the discussion that followed the screening of the movie happily surprised me, because most of the time when I think of the Middle East, I think of a "hot dry desert climate." ;-).

But that's really a triviality.  What fascinates me much more about this film is that in many respects this is a very "classically Hollywood/American" film: It's simply the story of one man and one woman, both in their 40s (so both would have had some definite "life experience") with almost no friends and _no relatives_ in the story to speak of.  It's basically Humphrey Bogart [IMDb] and ... Ingrid Bergman [IMDb] / Lauren Bacall [IMDb].  So in the discussion after the film I did ask about that: Would this story be realistic in a place like Iran?  And the answer was that it was basically as realistic as the Humphrey Bogart [IMDb] movie of the 1940s, the implication and _reminder_ being that Iran is a sophisticated place.  For further support in this point, let the reader remember here the occupations of the two protagonists of the story.  He was an _ad man_ a profession as "hip, happening, modern" (and arguably as "artificial") as can be, and she was a chemist.  Neither was simply a "shop keeper" much less a "salt of the earth goat herder" of some sort.  They lived in Tehran, but they could have _easily_ lived in Los Angeles, Paris or New York.

And so I am very happy to have had the opportunity to see this film and then to share it with others here.   None (or extremely few) of us would have the capacity to visit "all the world,"  but with festivals such as these we do have an opportunity to visit the world and to see that we're not necessarily as different as we may at times think that we are. 

Excellent film!


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Xingu [2012]

MPAA (Unrated would be PG-13/R) Fr. Dennis (3 1/2 Stars)

IMDb listing
Adorocinema listing - [PT Orig][ENG trans]

Xingu [IMDb][AC-PT orig][ENG trans] directed and cowritten by Cao Hamburger [IMDb][AC Pt orig][AC Eng trans] along with Elena Soarez [IMDb] and Anna Muylaert [IMDb] is a remarkable Brazilian film that played recently at the 48th Chicago International Film Festival (Oct 11-25, 2012) about three brothers from a middle class family from São Paulo -- Claudio, Orlando and Leonardo Villas Boas (played by João Miguel [IMDb][AC Pt orig][AC Eng trans], Filipe Camargo [IMDb][AC Pt orig][AC Eng trans] and Ciao Blat [IMDb][AC Pt orig][AC Eng trans] respectively) who in the 1940s pretended to be illiterate in order to be allowed to join a Brazilian military expedition into the as of that time largely unexplored interior of Brazil specifically into the region called Mato Grosso.

Despite having good comfortable jobs São Paulo, the three brothers did so for the adventure of it _and_ out of a true respect/fascination with Brazil's indigenous peoples.  When the expedition had traversed a fair amount of the wilds, it made contact with the Xingu peoples in Mato Grosso and the three brothers became instrumental in establishing a remarkable relationship of respect between Brazil's government/military and the Xingu peoples such that the development of the area in the decades that followed actually resulted in the creation of a surprisingly successful Xingu National Park (under the supervision of the three brothers) where the Xingu peoples as well as others from the whole of the Amazon region were able to survive and keep their native ways of life more or less in peace.

(North) American readers will no doubt know of the both the largely tragic history of the Reservation system in the United States as well as Brazil's own often tragic history in this regard.  This film provides an IMHO much needed opportunity for viewers/readers to come to know, evaluate and hopefully learn from what could well be a true and very nice success!  Honestly good job makers of this this film and God bless you! ;-)

ADDENDUM:

My own religious order, The Friar Servants of Mary, as small as it has always been, has actually been very much involved in many of the issues surrounding the Amazon Rain Forest from calling for a 10 year moritorium on logging in the Amazon rain forest to the defense of both the indigenous peoples of Acre state in Brazil and the white/poor rubber tappers (seringueros) sent up to Acre in the 1940s by the Brazilian military during the same time as the three Villas-Bôas brothers joined the expedition that they took part in from São Paulo.  The Brazilian Servites in Acre knew the famed eco-martyr Chico Mendes personally (he was a _parishioner_ of theirs from their church at Xapuri in Acre, and he traveled with the Servites on their "desobriga" trips up and down the rivers of Acre as they did their missionary work.   In recent years, the Brazilian Servites contracted a book written by Brazilian writer Milton Claro to tell the story of "The Amazonia that We Do Not Know" mostly about the remarkable yet largely unknown humble people who inhabit the Amazon region.  I was the book's primary translator into English and since it was always intended for free distribution, I recently put it up on the internet so that people like yourselves could have access to it.  It is a truly remarkable text and there are entire chapters dedicated to the environmental destruction of the Amazon [2] [3], to the lives and challenges of the Indigenous peoples [2] [3] [4] and to the case of Chico Mendes.