The Congress (2013)

Ari Folman's follow-up to his acclaimed animated documentary once again delves into the world of animation, this time using animation as a plot device.  The latter half of the film is animated in a style that is notably different from the cut-out comic book animation style of Waltz with Bashir.  It starts out sort of psychedelic in a Yellow Submarine-esque feel, preparing the audience for a funky ride through cuckoo town.  This is a seriously wacky movie.  Folman animates recognizable figures in pop culture and art--the animated scenes genuinely look like something straight from Cartoon Network.

The premise of the movie is very interesting, but there is simply too much going on.  The first premise of the film is Robin Wright playing a version of herself, an aging actress who is getting less work, and resorts to selling her image.  Her likeness is captured by computers and the computers make movies starring their manipulation of Robin Wright.  In exchange she promises to quit acting, so the computerized version of her can be used in movies.  The movie is a critique of Hollywood and the studio system.  Folman clearly supports actors and their art, which cannot be replaced by computers.  But this is not just mere theory--recently the Hunger Games director decided to not use a computerized Philip Seymour Hoffman in the final film, opting to simply remove him from their unfinished scenes.  Marlon Brando attempted to preserve his head and emotions digitally for use in performance in the future, as detailed in the documentary Listen to Me Marlon.

But this storyline, which could stand alone to make a formidable movie, is seemingly abandoned in the second half of the movie.  The plot gets more convoluted and the movie moves on to explore other issues about denying reality and living in a fantasy of one's own kooky creation.  There's just so much going on, that it is easy to get confused.  But the movie is very interesting and its a pleasure to watch the animations.  Robin Wright is excellent acting live and voice-acting.  She reveals her mastery of her emotions in the scene in which the computer is capturing her range of facial expressions.  This movie is less personal and less powerful than Waltz with Bashir, but it is a brave foray into narrative film.

The Kingdom of Dreams and Madness (2013)

This documentary takes us behind the scenes of the famed Studio Ghibli in Japan; home to legendary filmmakers Hayao Miyazaki and Isao Takahata. The film focuses primarily on Miya-san and his final film The Wind Rises.  It also alludes to Takahata and his final film The Tale of the Princess Kaguya dragging along.  Miyazaki hypothesizes that Takahata had no intention of finishing this movie, though it was released last year to much acclaim.

This documentary is a fitting end to an era of Japanese animated film. I grew up with these films and it is bittersweet; the film is somber hinting at the impending closure of the studio.  This movie is a eulogy of sorts for Studio Ghibli and it is beautiful.  Miyazaki is candid, musing about his art and life.  It is truly special to watch the hand-drawn animation process, an art that is losing steam to computer animation.  In the grand spectrum of cinema, this movie may not be a hallmark in film history, but it documents one of the most important men in one of the most important studios in film history.

Keep On Keepin' On (2014)

This was one of the most enjoyable documentaries I have seen. It made me smile a lot.  This film is about two jazz musicians: the legendary trumpeter Clark Terry, and a prodigious blind pianist Justin Kauflin.  But more than that, this film is about their mentor-mentee relationship. Though born 66 years apart, the two of them bond over a love of jazz, Terry's desire to impart his knowledge upon a protege,  and Terry's failing eyesight in his old age.  The filmmaker gets intimate footage inside the Arkansas home of Terry, filming late-night practice sessions.  Terry teaches Kauflin old riffs and melodies by singing them to him as he lays in bed, and Kauflin plays them back perfectly on his keyboard with his guide dog at his side.  It is a touching story of an unlikely friendship with great music.  

Big Hero 6 (2014)

Believe it or not, this is the first superhero film in the Disney canon. They've done the princess movie to death, but this is the first foray into animated superheroes.  After acquiring Marvel, this is a fitting film for Disney to produce as its main character is a child, and like all Disney films the parents are dead, and the film has a message. Baymax is Disney's answer to minions, a lovable, huggable white Michelin man sort of character; in other words a marketing, merchandising magnet.  The icing on the cake is John Lasseter's magic touch of comedy and emotion.

How to get children interested in science and robotics--more specifically how to get girls interested in STEM?  I understand that the story is based on established material, but I think the protagonist Hiro should have been a girl rather than a boy. At least two of the members of the superhero team are female.  This movie proves to children that science is cool and the limits of technology are endless.  It is important to inspire a new generation of innovators and inventors.


    

My Left Foot (1989)

This true story about Irish writer/artist Christy Brown is an inspiring and emotional vehicle for method actor Daniel Day-Lewis.  He plays a man born with cerebral palsy with limited mobility and speaking ability.  He learns to use his left foot to write and paint, and with some speech therapy he learns to talk.  Reportedly, Day-Lewis had difficulty using his left foot, and so he used his right foot and scenes were filmed in a mirror.  His mannerisms and speech are obviously the product of months of research and practice.  And this performance would earn Day-Lewis his first Oscar.  Brenda Fricker, too, won an Oscar for her performance as Christy's mother. She is strong despite poverty and a drunkard husband and perseveres to care for her many children.  

Penn and Teller on Broadway (Broadway) (2015)

In their 40th anniversary as a duo, Penn and Teller return to New York for a limited engagement at the Marquis Theater.  They present their classic tricks and illusions as a retrospective of sorts on their illustrious career.  Penn brings his signature comedy to magic, while Teller keeps up his mime persona throughout.  Teller conducts his acts in utter silence, commanding the room with nothing but masterful sleight-of-hand.  Penn shows off some of his other talents, singing on Broadway, and playing the double bass.

Their tricks are not big David Copperfield-style stunts.  The act is as much about comedy as it is about magic, and carnival tricks.  This is small magic that is difficult to see if you're not sitting in the first row. They use cameras sparingly, addressing this in one of the acts.  If they use a camera to show a close-up, then you won't pay attention to them, you'll just be watching the screen.  And they make a valid point.

After the show, Penn and Teller stuck around in the lobby of the Mariott Hotel to take pictures and sign autographs.  Teller speaks! and he is a master selfie-taker.  He is funny, approachable and personable. Surprisingly enough, Penn is the more reserved one.  Guess it is all just an act.

A Most Wanted Man (2014)

This is not your James Bond/Jason Bourne kind of spy movie.  There is little-to-no action, just the slow burn of an espionage thriller.  Real spy work is not glamorous, it is unrewarding and requires patience.  This movie requires the same of the audience--but patience is not my strong suit.

Philip Seymour Hoffman is excellent in his final role as a contemplative Gunther, a veteran in the spy game grappling with failure with the best German accent.  Compare this to Rachel McAdam's German accent that almost sounds dubbed. I don't think it sounds like her at all.  Robin Wright perfectly plays a role that is similar in demeanor to her House of Cards character.