Joe

There will always be those actors whose careers everyone assumes are a lost cause. After a whole string of box office flops and critical disasters, everyone simply agrees those actors' careers are pretty much dead and buried. That doesn't mean those actors are down for the count just yet.

Nicolas Cage frequently falls into this category. Many people assume the Oscar winner is basically a lost cause by this point. Sure, he's done a few good films within the last few years, but he's been in more misfires than hits.

Thankfully, David Gordon Green's Joe proves that Cage hasn't gone away just yet. Like his Oscar-nominated work in Leaving Las Vegas and Adaptation, Joe showcases how Cage is one of those actors with a burning fire within him. It's only a matter of time before that fire is unleashed.

In a way, Joe is much like last year's Mud. (Not just because both films feature Tye Sheridan.) Both Joe and Mud feature a man with a criminal past essentially being idolized by a young boy. It also becomes quite clear that said adoration could be a costly decision. (It should also be noted that Mud is darker than Joe in some regards.)

Anyway, Joe is one of those films that lingers in your mind afterwards. Cage and Sheridan are great but special mention must go to Gary Poulter. On a different note, I should see some of Green's other films.

My Rating: *****

The Ten: Most Iconic Movie Characters

Ooh, another relay race from My Filmviews. Candice over at Reel Talk passed the baton over to me and I figured I'll give it a shot. The rules are as followed:

A list of 10 iconic movie characters has been made. That list will be assigned to another blogger who can then change it by removing one character (describing why they think it should not be on the list) and replace it with another one (also with motivation) and hand over the baton to another blogger. Once assigned, that blogger will have to put his/her post up within a week. If this is not the case the blogger who assigned it has to reassign it to another blogger. After you have posted your update leave the link in the comments here and I will make sure it gets added to the overview post.

Now let's see who's made the list so far, shall we? (It starts after the jump.)

Le Week-End

Whenever a film about a couple gets released, the couple is always in their twenties or thirties. It always revolves around the couple in the early stages of their relationship, almost always ignoring the problems they'll encounter.

This is why Roger Michell's Le Week-End is a refreshing change of pace. Rather than a couple of twenty- or thirtysomethings, the film focuses on a couple in their early sixties as they take a trip to Paris. Their marriage has been on shaky grounds lately, and this trip could either save their marriage or destroy it.

Much like last year's Before Midnight, Le Week-End examines how even if relationships last for years and years, that doesn't generally mean they'll stay happy. After all, most long-term relationships are bound to have their ups and downs. (It's certainly a far cry from those films revolving around the early stages.)

And the performances are quite good too. Jim Broadbent and Lindsay Duncan bring out both the best and worst in their characters. And Jeff Goldblum easily steals every scene he's in. They're simple performances but lasting.

Le Week-End has a few flaws here and there but is overall a solid film. (Certainly doesn't hurt that it's also written by the same person behind My Beautiful Laundrette.) And that last scene has one of the best cinematic shout-outs I've seen.

My Rating: ****

The Lunchbox

The basis for any solid personal connection is communication. Everyone knows that. Without it, marriages can fail and friendships falter.

That is a vital part of Ritesh Batra's The Lunchbox. Focusing on a lonely housewife and a soon-to-be-retired widower, the film shows how a small mistake can lead to something potent. (It's something you don't usually see very often in most films.)

Now I'm not that well-versed when it comes to Indian films (a blight amongst my film watching), though I am aware of what they're like. (That is, those outside of the standard Bollywood films.) I know they tend to be melodramas but The Lunchbox is a much quieter film.

In a way, The Lunchbox is sort of like an Indian In the Mood for Love. How so? It doesn't rely on gratuitous sex scenes or repeated utterances of the word "love" to get its point across. All the film needs is solid interactions between its actors.

The Lunchbox is a very charming film. Batra weaves a beautiful story about connecting with others. Sometimes a small mistake doesn't always lead to a bad outcome.

My Rating: *****

Oculus

I have stated time and time again that I am not one for horror films. Most of the time it's because what Hollywood's cranking out doesn't look that appealing. (The rest of the time is because I'm a wuss.) There are simply too many horror sequels and remakes. Where are the original ideas?

Thankfully, we do get an original horror film every so often. And recently, that's in the form of Mike Flanagan's Oculus. I feel like I shouldn't say much about the film otherwise it would ruin the experience, but I'll try my best.

This is mostly my belief but I think for a horror film to work properly, it should rely more on suspense than on blood. And thankfully Flanagan follows this belief as well. God, the amount of suspense that builds throughout the film could easily stun an elephant. (Okay, I'm exaggerating a bit, but still.)

The stars of Oculus are Karen Gillan and Brenton Thwaites, both of whom clearly know how to act scared effectively. (Then again, Gillan pretty much knew how to from her Doctor Who days.) They display the film's paranoid ambiance from the get go. I expect a promising future from both of them.

Oculus has the right amount of paranoia and suspense, perhaps a little too much in some scenes. Still, Flanagan, Gillan and Thwaites manage to make a very effective horror film, a rarity by today's standards.

My Rating: ****1/2

The Broken Circle Breakdown

No one said life was easy. No life begins and ends perfectly. No one can lead a life without a few bumps in the road.

That certainly seems to be the main theme for Felix Van Groeningen's The Broken Circle Breakdown. Following the lives of Didier (Johan Heldenbergh, who also co-wrote the play the film is based on) and Elise (Veerle Baetens), the film shows how with every happy moment in one's life, tragedy will follow suit. (Like I said, life isn't easy.)

This is a small detail I often notice when watching foreign films. Most Hollywood films want to end on a positive note whereas foreign films aren't afraid to have a downer ending. (It also tends to sum up why I don't watch them as much as I should.) Basically if you want a sad ending, watch something not made in the United States.

How can I sum up The Broken Circle Breakdown into a concise sentence? Well, I suppose comparing it to a film from recent memory would do, but which one? Oh, that's easy. The Broken Circle Breakdown is like a more depressing Blue Valentine. (And that's saying a lot.)

Long story short, The Broken Circle Breakdown is devastating. Thanks to Heldenbergh and Baetens' performances, the film showcases how life can deal a cruel hand from time to time. And God, it'll hurt your heart immensely.

My Rating: *****

Captain America: The Winter Soldier

It's hard for superhero movies to carry on using the same formula time and time again, especially when in the shadow of something like The Avengers. Thankfully, some aren't afraid to try something new. (Working successfully, however, that's another matter.)

Thankfully, Anthony and Joe Russo's Captain America: The Winter Soldier manages to deliver on so many levels. (Not bad considering the directors hadn't done anything in the action genre before.) And since we're living in a post-The Dark Knight and The Avengers world, that's saying a lot.

What makes the movie work is that it doesn't actually become a superhero movie until the final third. The other two-thirds are a nice throwback to thrillers from both the Cold War and the 1970s. (Paranoia can make for one hell of a plot point.) God, we need more movies like this.

And like any good thriller, it all comes down to the actors. Chris Evans, Scarlett Johansson and Anthony Mackie certainly keep the suspense very much alive. But I just want to talk about Robert Redford's work for a moment. He seems like the last actor you'd expect to see in a Marvel movie, and he's awesome.

Anyway, Captain America: The Winter Soldier was very effective up until the last third. It's also a nice change of pace from some of the other run-of-the-mill superhero movies. (Read: it's not overwrought with angst like some of the others.) It's definitely worth a look.

My Rating: ****1/2

Big Night

During an opening scene of Stanley Tucci and Campbell Scott's Big Night, you can just see the utter exasperation on Secondo's (Tucci) face as he explains Italian cuisine to an ignorant diner of his restaurant. This is something that's common between he and his brother Primo (Tony Shalhoub).

The brotherly bond between Primo and Secondo is a running theme throughout Big Night. As anyone with a brother or sister knows, the connection between two siblings is a rather dynamic one. Simply put, the bond between siblings is one like no other.

Big Night isn't just about brotherly bonds; it's also about the food. This is one of those films that you need to watch on a full stomach. (Watching it when hungry is rather unwise.) God, all that food looks decadent, doesn't it?

Another aspect of Big Night I admire is its ambiance. It captures the mood of 1950s small town life. Most films set or from that time period are often set in a bustling city but Tucci and Scott decided on the opposite instead. It's a small touch but I appreciate it.

Now I didn't adore Big Night like some people I know, but I did like it. There were several great performances out of the actors (I particularly liked Scott's bit part). All in all, Big Night is a pretty good film.

My Rating: ****

The Limey

"You tell him...you tell him I'm coming. Tell him I'm fuckin' coming!" This threat from Wilson (Terence Stamp) pretty much sets the mood for Steven Soderbergh's The Limey. And boy, the film is a hell of a doozy too.

How so? Well, for starters, the film isn't exactly told in proper order. By that, I mean the editing by Sarah Flack presents the film in a different way than you would expect with the standard film. (Okay, not in the same way as, say, Memento.)

I'm not overly familiar with Soderbergh's films but I know what his style is like. (One thing I know of is that he's fond of yellow and blue lighting.) Anyway, his style is very much all over The Limey.

There's also something very subtle in The Limey that I really liked. Pay attention to the flashback scenes. Those are actually scenes from a film of Stamp's from way back when. It's a nice touch by Soderbergh.

The Limey isn't my favorite of Soderbergh's films I've seen, but I did very much like it. The best parts were definitely Stamp and Peter Fonda. So if you're a fan of Soderbergh or you want a throwback to films of the 1960s, The Limey is for you.

My Rating: ****

The Matador

There are always those actors who have that one role casting a shadow over their careers. Sometimes they're stuck with that role forever looming over them, but the wise ones shy away from projects that resemble their famed role.

An interesting example is in the form of Pierce Brosnan. As most people know, he played James Bond during most of the 90s. And by all accounts, he's managed to escape the shadow of Agent 007. But that doesn't mean he's not willing to do a role with shades of Bond as proven by his work in Richard Shepard's The Matador.

In that film, Brosnan plays Julian Noble, a professional assassin in the midst of a midlife crisis. After meeting Denver businessman Danny Wright (Greg Kinnear) while in Mexico, they form a sort of kinship...even though Danny's taken aback by Julian's line of work.

Much like Shepard's upcoming film Dom Hemingway, The Matador shines the lead character (one who partakes in an illegal profession) in a very sympathetic light. It's clear that Julian is a very flawed (and sometimes fucked-up) person. Conscience: it can screw you up sometimes.

The Matador is a very funny film but at the same time, it's a quiet character study as well. Brosnan and Kinnear are hilarious together. (I sort of want them to do another film.) SO be sure to see The Matador (and Dom Hemingway when it gets released).

My Rating: ****1/2