The Dark Knight Rises

In preparation for seeing The Dark Knight Rises I re-watched Batman Begins and The Dark Knight for the first time in -- well, I'm not sure how long. TOO long. I'd forgotten the power of those films, and how they never fail to draw a deep, visceral, emotional response from me every time I view them, without fail. Christopher Nolan's darkly compelling reimagining of the Batman legend is storytelling at its finest, exhilarating, powerful, and moving. I feel as though I can't really look at this film as a single entity -- it really is just the third act of Nolan's Batman epic. And as such, I thought it was beautifully told. There are apt to be lots of spoilers below, just so's you know. :)

After I finished watching The Dark Knight, I went back to my old blog and read my thoughts on that film (that was 2008? where has the time gone?). I was once again powerfully struck by Batman's sacrifice at the end of TDK, where he takes the blame for the crimes Gotham's White Knight, Harvey Dent, committed as Two-Face prior to his death. If the Joker taught Batman anything, it was that there is a very thin line between hero and vigilante. If all -- or at least part -- of the reason Bruce Wayne initially donned Batman's cowl mask was to become a symbol for the people of his city, to embody the idea that anyone could make a difference, he takes a step towards the ultimate sacrifice by allowing himself to become the villain in order that Gotham might have hope, an ideal to cling to in the darkest night. As the then-Lieutenant Gordan explained to his son, Batman isn't the hero Gotham wanted, but the one she deserves. They'll chase him because they need to, and because he can take it, because he's willing to be whatever Gotham needs in order to give the people of the city the strength to rise up against crime and lawlessness. That was Batman's gift -- taking on Dent's guilt and leaving Gotham with the hope of something incorruptible and pure -- a line he crossed a long time ago.

The Dark Knight Rises picks up eight years after Harvey Dent's (Aaron Eckhart) death, the former District Attorney memorialized as a hero. The Dent Act, inspired by his heroism, has given Gotham's law enforcement the power need to virtually elimate crime. Superficially, all seems well -- but Gordon (Gary Oldman), now the police commissioner, is increasingly sick with guilt over his part in perpetuating the myth of Dent's nobility at the expense of Batman's reputation. Billionaire Bruce Wayne (Christian Bale) has become a recluse, whose notoriety only grows with each passing year that he spends in self-imposed seclusion on his estate. Following a large investment in Wayne Enterprises board member Miranda Tate's (Marion Cotillard) clean energy project -- a device designed to harness fusion power -- Wayne pulled funding when he learned that the device's core could be modified and transformed into a nuclear bomb. The failed project has left the once powerful and influential Wayne Enterprises in financial flux and turmoil, ripe for a takeover bid -- and waiting in the wings is an unscrupulous business rival, Daggett (Ben Mendelsohn), eager to deal the once-mighty company a final death blow.

Superficially, Gotham is more peaceful than it has been in years -- but as her once-mighty guardians Gordon and Wayne sit sick with the knowledge that the peace was bought with a lie, no matter how well-intentioned -- the city itself is crumbling from within. There are rumors of an army assembling beneath of the city, led by a ruthless mercenary -- as Gordon painfully discovers when investigating the kidnapping of a congressman. Gordon's only ally is a streetwise police officer named Blake (Joseph Gordon-Levitt), who grew up in an orphan's home funded by the Wayne family. Blake's family history is heart-breakingly similar to Bruce's -- and he has identified so strongly with the Bruce's family heartache that he's seen beyond the playboy persona and pegged the recluse as Gotham's Dark Knight. Blake and Gordon know their city needs its caped crusader -- but Batman has been absent for so long, could he survive another war with unspeakable evil? And as the ever-faithful Alfred (Michael Caine) worries, does he even want to?

Nolan doesn't miss a beat in bringing Batman's story full circle. I was blown away by how many threads from the first two films were woven into this final act. This is thorough, thoughtful, timeless storytelling. Over the years throughout this filmic journey I've been struck again and again by the manner in which Nolan utilizes the heroic journey template to bring Batman's story to life. In The Hero With a Thousand Faces, Joseph Campbell posits that the archetypal hero receives a call to adventure that requires him to set himself apart, venture into previously unknown territory, survive trials and complete quests, and then return to society where he shares the fruits of his knowledge and accomplishments. According to Campbell, the purpose of trials is to conduct individuals 'across those difficult thresholds of transformation that demand a change in patterns not only of conscious but also of unconscious life' (as discussed in my undergraduate thesis).

Tortured by his parents' murders, Bruce became Batman for a two-fold purpose -- to make a difference, to become a symbol of resistance to evil, but also in an attempt to exorcise the demons that haunt him. Because fighting evil at the level Batman encounters cannot help but change a man -- and every time he puts on that mask, every time he faces unspeakable evil, he dances with the risk of losing his own precious sense of humanity. That, I think, is how best I can articulate Alfred's grief over his son in every way but name -- his heart's desire is to know that Bruce could live free from the shackles of the past. His devotion is raw, pure, and heart-breaking. Caine's portrayal of Alfred breaks my heart every single time, and every time leaves me breathless, on the edge of my seat in awe of Bruce's drive and wondering how he can possibly come back from one more ride as the Dark Knight.

I suppose  the "easiest" way to finish up my discussion of this film, and in the hope of touching on as many of the elements that I loved, is to talk characters. I have loved every second watching Christian Bale's journey as Bruce Wayne/Batman. When Wayne the recluse was first introduced, my first thought was "Look! Wayne's an American Rochester!" (A Jane Eyre reference is always appropriate, no? Ha!!) Ever since Rachel's (Maggie Gyllenhaal) death at the end of The Dark Knight, Bruce has remained "stuck" in limbo, because with her death he believed he'd lost his one shot at a life beyond Batman. The revelation that Rachel would've chosen Harvey Dent if she'd lived, and that Alfred had kept that knowledge from him was positively gut-wrenching -- especially in how it leads him to reject the ever-faithful Alfred.

Meeting Blake and Selina Kyle, a.k.a. Catwoman (Anne Hathaway) are turning points for Bruce, as through them we see, I think, for the first time him realize that he has an opportunity to sow into their lives, to take everything his experiences as Bruce and Batman have taught him and share it (the final step in Campbell's heroic cycle). In Blake, Batman recognizes a kindred spirit, someone willing and capable of stepping into his shoes as Gothoam's symbol of resistance. Joseph Gordon-Levitt was just amazing as Blake -- principled, driven, loyal to Gordon, willing to risk the ire of fellow officers like Foley (Matthew Modine) to follow his gut instincts. I loved the energy and physicality Gordon-Levitt brought to the role, and that hint of brokenness behind the eyes, so similar to Bruce's -- yet perhaps not quite so in danger of losing himself, because of how he seems grounded in serving/mentoring his fellow orphans. And while his full legal name -- Robin John Blake -- comes as no surprise by the end of the film, the official reveal is an extremely satisfying moment. I loved the fact that rather than develop a partner relationship between the two, Batman mentors Blake and then gives him the ability to continue as his heir.

I confess I was a little nervous when I first heard that Hathaway had been case as Catwoman. Catwoman has been a favorite character of mine ever since I was a child -- I loved her style, her cat ears, and as I grew older, that sense of ambiguity and attraction between her and Batman. The script handles her character brilliantly and Hathaway more than rises to the occasion. Selina Kyle is, in her own way, just as broken as Bruce Wayne, just as desperate for a fresh start -- and until she meets Bruce/Batman, unable to see a way to achieve that new beginning without selfishly doing whatever it takes in order to guarantee her survival. It isn't until she effectively signs Batman's death warrant at Bane's hands that you see regret crack her steely demeanor -- and when he returns, the realization that he still sees the possibility for good in her, in spite of what she's done, that is what empowers her to change. More than the momentary flirtation Bruce Wayne shares with Miranda Tate, I loved the soul-deep connection this film forges between Batman and Catwoman, and the way in which it explores the idea that these two broken, wounded people can rise above their pasts to make a difference in their world.

Tom Hardy as the mercenary Bane was interesting. I am really a fan of Hardy as an actor but the character of Bane left me a little...flat. Compared to the Joker or the fear unleased by Ra's Al Ghul (Liam Neeson), he struck me as such a run-of-the-mill terrorist. Absolutely, 100%, crazy and evil yes -- but more interesting because of his history with the League of Shadows and relationship with Ra's Al Ghul's heir than his status as an arch-villain. He didn't stand alone for me -- he was a puppet. I remember reading that Hardy had to redo his dialogue because the initial cut was so garbled -- and laying the re-done dialogue over the existing soundtrack didn't do Bane any favors, either. It seemed separate from the film, in a way.

That said, I loved the reveal of Bane's history and how it related to Miranda Tate, revealed to be the true mastermind behind the latest attack on Gotham, because she is the daughter of Batman's mentor -- Ra's Al Ghul. First of all, Cotillard is unbelievably classy-looking, and I loved her whole demeanor as Tate -- and then the turn, when she reveals that she's been playing Wayne all along. This was a long con, brilliantly executed, and her cold-blooded plotting honestly scared me more than Bane's thuggery.

I've already mentioned how much I adore Caine as Alfred. It was also wonderful to see Morgan Freeman return one final time as Lucius Fox. I loved the moment at the end of the film when  he examines the Bat and realizes that Wayne had already fixed the autopilot issues -- and that against all odds he could've survived. That look -- oh it was priceless. In the category of people I never expected to see in this film, we have Burn Gorman, the Torchwood vet as Stryver, an associate of Daggett's, and then there's Sgt. Wu -- I mean Reggie Lee! -- as Ross, Blake's partner on the police force (thanks to Grimm I can't think of Lee as anyone other than Wu, lol!). I also loved seeing Scarecrow (Cillian Murphy) and Ra's Al Ghul make return appearances in this film -- Nolan never missed a beat. :)

Google The Dark Knight Rises and Charles Dickens, and you have your choice of articles discussing how Nolan was inspired by the classic A Tale of Two Cities when penning the script for Batman's final chapter. Dickens's tale of the French Revolution is all over the final third of this film in particular, lending a timeless quality to the chilling scenes of the show trials and Bane's efforts to get the Gotham populace to tear down its wealthy, and the scenes of the resistance led by Gordon and Blake. There is a particularly effective moment when Selena Kyle finds a family photo in a trashed home, and realizes, perhaps for the first time, the human cost of this "revolution."

When Bane throws Batman in his hellish pit of a prison, the trilogy really comes full circle. Batman Begins opens with Bruce Wayne in prison, so eaten alive with the pain of loss and rage that he was willing to live there in order to fight criminals. This time, this time the prison is not only literal but a symbol, and in breaking out of it, Bruce sheds the shackles of his past. He is literally and figuratively reborn when he emerges from the pit, ready for one final battle as the Batman -- but not just for himself, for his broken and besieged city. In making that final, apparently fatal sacrifice to save Gotham, Batman reveals that he is finally ready to relinquish his dual identity and move on with his life. (Side note: the look on Gordon's face when he realizes that Bruce Wayne, the child he offered comfort to years earlier has been his staunchest ally against crime, responsible for saving his son's life -- it's a powerful illustration of how one never knows what little, perhaps seemingly inconsequential moments, sow into the lives of others to bear fruit years later.)

At Bruce Wayne's funeral, Gordon reads the following passage from A Tale of Two Cities:

"I see a beautiful city and a brilliant people rising from this abyss, and, in their struggles to be truly free, in their triumphs and defeats, though long to come, I see the evil of this time and of the previous time of which this is the natural birth, gradually making expiation for itself and wearing out....It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known."

That is a fitting summation of Bruce Wayne's final gift to his city -- enabling them to rise above, to survive and (hopefully) thrive after Bane's assault -- the gift of faith that they could do so without him -- but he doesn't leave them forsaken. In willing the Batcave to a worthy successor in Blake, in seeing the Bat Signal repaired, lies an assurance to two o fhis staunchest allies that they will never be alone. Unlike the immortality Ra's Al Ghul saught to achieve, Batman's legacy as a symbol of sacrifice and hope is oh so much more powerful. And Bruce's final gift, of allowing Alfred to see that he'll be okay -- oh that brought tears to my eyes. He's finally, I hope, achieved a measure of the peace that proved so elusive.

I sincerely hope that come awards season The Dark Knight Rises receives a slew of nominations. This film, and the trilogy as a whole, is an epic accomplishment in every sense of that phrase. From Nolan's masterful direction, to the tightly-plotted scripts, character arcs, set and costume design, and yes, the musc -- love Hans Zimmer's scores! -- Nolan's Batman trilogy is a breath-taking, cinematic tour-de-force. Seeing Bruce's hard-won measure of peace -- it's been a long journey but one well worth the taking.

*Images copyright Warner Bros./DC Comics.

This Means War

Yesterday Kaye and I went to see This Means War. The above poster pretty much sums up my initial reason for being interested in the film -- Tom Hardy and Chris Pine in suits? Yes please. The set up: Tuck (Hardy) and FDR (Pine) are two of the CIA's top operatives, as close as brothers -- best friends on and off the field, and when it comes to work a deadly team. As the film opens Tuck and FDR are on a covert assignment in Hong Kong, a simple "acquire the device" (don't you love how in these types of films non-specific "device" is enough to be threatening?) from a generic Nordic-looking bad guy with the nicely menacing name of Heinrich (Til Schweiger). :) Their mission becomes anything but covert as bullets fly and bodies drop from tall buildings, etc., including Heinrich's brother. Collins (Angela Bassett), Tuck and FDR's boss, makes the decision to sideline the pair and assign them desk duty until Heinrich is stopped, since now he has vengeance on his mind (as opposed to just terrorism I guess).

Away from the life-and-death intensity of field operations, Tuck and FDR are bored (Pine and Hardy are hilarious in their first desk duty scene), which gives them time to focus on their personal lives. Tuck, having been married before, longs for a genuine, workable romantic relationship. The covert nature of his job and the secrecy that it required led to his divorce, and forces him to be something less than the father and hero he'd like to be in the eyes of his young son (John Paul Ruttan). FDR is perfectly happy to hang out with his BFF when he's not hooking up with random women, but ultimately he supports Tuck's decision to enter the dating field. Tuck's first online date is with Lauren (Reese Witherspoon), a career savvy but lovelorn professional desperate to get out of the rut her life's become. Sparks fly with Tuck -- but sparks fly equally hot when, following their first date, Lauren wanders into a HUMUNGOUS DVD RENTAL STORE (seriously, what is this, 1995? who can go to rental stores like that anymore, aren't they all closed??) where she meets FDR. Both men want her -- and when they discover they're dating the same woman, well, it's war. *wink*

Now for some people I suspect whether or not they like this movie will depend on whether or not you can set aside the rather flippant attitude of the leads towards relationships/sex (particularly Lauren and FDR, though they both come through in the end). This is not a necessarily morally sound film in that respect, but it does have some interesting and solid things to say about friendship and long-term commitment and what it takes to really make a relationship work. I love spy-centric action films, and on that score This Means War delivers in spades. With direction by McG, it's small wonder -- he executive produced two of my television favorites, the short-lived Human Target and the recently concluded Chuck. This movie is like those two television shows on speed -- more spectacle, bigger explosions, and like Chuck unexpected moments of heart when it comes to relationships.

Tuck and FDR's friendship is the core of the film and Pine and Hardy play off each other too perfection on-screen. Hardy's career is on fire -- I was telling Kaye back when I first took notice of him as Heathcliff in Wuthering Heights (which I loved), I wouldn't have necessarily pegged him for big-screen stardom. But ever since his appearance in Inception his Hollywood career seems to have exploded -- last year there was Warrior and Tinker Tailor Soldier Spy, and this summer he follows up This Means War with a sure-to-be-stellar turn as Bane in The Dark Knight Rises (can. not. WAIT.). Out of the pair of agents, Hardy's character is the one I immediately liked because he was so nice, came across as so solid and dependable and vulnerable, and the accent didn't hurt either. *wink* Absolutely delightful. :)

Pine on the other hand -- oh my word the man was hilarious. I haven't seen him in anything since his turn was Kirk in the Star Trek re-boot, and I have to say FDR and Kirk are remarkably similar. In fact, FDR is everything Kirk was -- brash, cocky, self-confident, full of himself -- multiplied by a factor of ten. FDR is the player, unlike Tuck more than happy in his single status and the freedom that gives him to play the field. I loved how FDR, in the moments when he's focused on Lauren (as opposed to one-upping Tuck) that Pine lets viewers see his character soften, become vulnerable, realize he wants a relationship instead of yet another transitory fling. (I AM SUCH A SAP! But it's his EYES! Chris Pine's brilliant blue eyes melt me into an incoherent, babbling puddle of goo!!!) You know FDR is changing when we see him watching the James Cameron Titanic...by himself (arguable that he's changed or in need of an intervention, depending on your view of said film).

The "bromance" between Tuck and FDR is without a doubt the movie's greatest strength. But my second favorite aspect of the storyline has to be how the pair goes about trying to sabotage each other -- folding their desire to spy on the other's interactions with Lauren into their current directive to bring down Heinrich (which of course leads Heinrich to the leverage he needs to get at the men responsible for his brother's death). Everyone in their orbit at the agency becomes either "Team Tuck" or "Team FDR," and their proprietary attitude towards their useless intel is for the most part quite funny.

I haven't said much about Witherspoon -- I generally like her and she's her usual appealing romantic comedy self as Lauren. She can do vulnerable and broadly comedic equally well, which works to her advantage here. It is interesting how this movie inverts gender norms in film, i.e. Lauren is the one in the position of "power," if you will, since she has two equally appealing men vying for her attention. This was perhaps best illustrated in the post-sleeping together scene between Lauren and FDR -- she's the one awkwardly running out of the bedroom the next morning, leaving FDR to puzzle over her sudden exit. :P

As far as the rest of the cast goes, Chelsea Handler is completely annoying as Lauren's married best friend Trish, and Giver of Generally Horrible and Immoral Advice. I'm just not a fan. But she does bear an uncanny resemblance to Reese, so much so I initially thought they were supposed to be playing sisters. She does have one gem of a moment, though -- when she counsels Lauren to quit focusing on who is the better man between Tuck and FDR, but to instead decide who makes her the better woman, the best version of herself. When it comes to the man Lauren chooses, that nugget of wisdom certainly holds true for how she impacts him. :) It was also fabulous to see Rosemary Harris as FDR's grandmother -- I just love her, she adds a touch of class to any project.

This Means War is a hilarious twist on the spy/caper genre, full of laugh-out-loud moments and non-stop action. If you have any reservations about the film, take the rating seriously as some of the humor is on the crasser side (a lot of that due to Handler's character now that I stop and think about it). That aside, if you just want to be entertained by Pine and Hardy in sharp suits, well they deliver in spades. *wink* I'd love to see more films of this type from both men. While I'm quite partial to Pine (the eyes! the eyes!), Hardy was a revelation here as I would never have suspected him to have such an affinity for comedy. A surprisingly enjoyable, funny, fresh take on a genre I adore.

The Dark Knight Rises trailer

I am so ridiculously excited about this film.



Thoughts? I think Christopher Nolan has done a brilliant job with the character of Batman, and from the looks of the teaser trailer and the cast list ("series" regulars Christian Bale, Gary Oldman, Michael Caine, and Morgan Freeman are being joined by Tom Hardy, Joseph Godon-Levitt, Anne Hathaway, and Marion Cotillard), The Dark Knight Rises will be the best installment - and a fitting conclusion - to Nolan's richly compelling, dark, and gritty reimaging of the Batman story. It'll certainly be one of my most anticipated films of 2012 at the very least. :)

Tinker, Tailor, Soldier, Spy trailer

I'd heard some buzz about the upcoming film adaptation of John le Carre's novel Tinker, Tailor, Soldier, Spy, but hadn't really looked into the film until news broke that the teaser trailer was released today. Take a look:



Suddenly I'm very interested in this film. :) Cold War spies? Yes please!

The cast is amazing - Colin Firth, Tom Hardy, Gary Oldman, Mark Strong, Ciaran Hinds, Benedict Cumberbatch and Laura Carmichael, just to name a few.

Has anyone read the book? I'd love to hear your thoughts!

The Last Station

Apparently I’m on a Russian movie kick this week. I’ve watched The Last Station two or three times now, so I suppose it’s about time I review it. The film is a fascinating look at the last year in the life of a literary giant, Count Leo Tolstoy. This movie is based on a novel of the same name by Jay Parini, and it’s safe to say that both the film and book take some license with history, as to be expected. If anything, from what I can gather from a cursory reading of some of the biographical information available about Tolstoy on the internet, he was probably more difficult to live with than the movie depicts.

Tolstoy is brilliantly played by Christopher Plummer. Plummer plays the venerable writer with a sort of wry awareness – he’s famous and revered and highly aware of it, but there’s also the occasional acknowledgement that he doesn’t take himself quite as seriously as those who look to him for leadership and guidance. I had no idea there was such a “cult of celebrity” surrounding Tolstoy – there was the 1910 version of the modern paparazzi laying in wait around his home, hungry for the latest bit of family gossip, or for his latest writing or stance on current issues to be released. Helen Mirren plays Tolstoy’s passionate and long-suffering wife, Sofya. Whenever the two of them appear on-screen, sparks fly – Plummer and Mirren are truly one of the most memorable screen couples I’ve ever seen, the on-screen chemistry they exhibit in this film is amazing. I have got to say, despite all of Tolstoy & Sofya’s ups-and-downs, I loved seeing such a passionate marriage, between older people, portrayed on-screen. At the end of the day they loved each other – the fights and disagreements were outgrowths of the clash between their passionate, vibrant personalities. When they were good, things were very, very good – and when they were bad, things were horrid. But even in the bad times shown in this film, Tolstoy and Sofya had a love and need for each other that could not be denied by ideology or politics.

As portrayed in this film, Tolstoy was an interesting man of contradictions. Incredibly wealthy thanks to the popularity of his writing, towards the end of his life Tolstoy began to advocate passive resistance and came out against government oppression. He also advocated celibacy and shunned private property – two ideas that frustrated his wife to no end. For you see, for a man who claimed to shun sex, Tolstoy apparently really enjoyed it, and had 13 children with his wife (eight of whom survived). Sofya in this movie is a woman who needed that passion and connection, and to have it denied her for any reason proved incredibly frustrating. Also, as someone who played an integral part in forming and supporting her husband’s writing, acting as both muse and confidant, Sofya was also enraged by the idea that Tolstoy would give away his family’s inheritance by leaving the copyright of his works to the Russian people.

Paul Giamatti plays Vladimir Chertkov, a close friend of Tolstoy’s and a leader in the Tolstoyan movement, which advocated all of the ideals set forth in Tolstoy’s writing (community property, celibacy, passive resistance, etc.). Chertkov is Sofya’s great nemesis in this film, as he is intent on using his influence to convince Tolstoy to leave the copyright to his works to the Russian people, his great gift to humanity as it were. As part of his effort to undermine Sofya’s influence in her own home, he selects a new personal secretary for Tolstoy – Valentin Bulgakov, played by James McAvoy. (Allow me to pause here and just say it’s great to see McAvoy in another period film, those are definitely my favorite of his works, besides the fantasy film Penelope). Valentin is an eager disciple of Tolstoyan teachings and is excited for the chance to embrace that lifestyle and work under the great author. Chertkov has other plans – he wants Valentin to keep a diary, documenting Sofya’s “subversive” influence. Valentin’s life becomes extraordinarily complicated when Sofya takes a liking to him as well, and wants him to keep a diary to document her side of the story. I really found the struggle between Chertkov and Sofya fascinating, particularly how Valentin becomes torn between his dream of living a perfect Tolstoyan lifestyle and his growing realization that Sofya’s point of view has merit, even appeal. To complicate matters even moreso for the young secretary, Valentin falls in love with Masha, played by Kerry Condon. Masha is one of the women working at the Tolstoyan commune, but she’s not as devoted to the strict principles of the movement as hard-line leaders like Chertkov would like.

Oh, I can't forget to mention that Anne-Marie Duff also stars in this film (she's James McAvoy's wife), playing Sasha Tolstoy. Sasha apparently acted as her father's secretary and was one of his most ardent supporters. She was also constantly at odds with her mother's view on her father's work. The mother-daughter relationship between Sofya and Sasha brought me to tears at the very end of the film. When Tolstoy's "handlers," including Sasha, finally allow Sofya to come to Tolstoy's side as he lay dying, the way the two women connect, and reach a truce over their mutual grief was absolutely heart-rending. Very, very well played by both Mirren and Duff. Duff, incidentally, is a Masterpiece veteran, having appeared in The Virgin Queen miniseries back in 2005 as Elizabeth I opposite Tom Hardy of Wuthering Heights fame, who played Robert Dudley. (I totally forgot Tom Hardy was in that show, I need to go back & rewatch it!)

This film is a gorgeous work of art. Every frame is filled with eye-popping, gorgeous scenery and practically screams of extreme attention and care to historical detail, from the furniture filling the Tolstoy home to each stitch of clothing worn by the actors. And the score – I absolutely loved it! The music was composed by Russian composer Sergei Yevtushenko. This is a classical score, a throwback in a sense to the great orchestral scores that were the norm in Hollywood’s golden age. The music is a wonderful reflection of Russian culture and the story in general. It quite simply ranks as one of the most beautiful scores I’ve heard in recent memory – loved it!

Ratings-wise, this movie is rated “R” for the sole inclusion of two completely unnecessary s*x scenes between Valentin and Masha, that show off way more of Masha than is necessary if you get my drift. I get how this affair radically changes Valentin's view of the Tolstoyan movement, but there was no need for them to share quite so much skin on-screen, *sigh* If you’re intrigued by the story, those scenes can be easily skipped or fast-forwarded. Other than that, this isn’t a violent film and any language is minimal. It’s a very, very intensely emotional film, though. I think that’s why I like it, though – it paints such a great picture of the passion, joy, and pain that great love, that loving deeply and wholly, can bring to those involved.

The Last Station is a fascinating snapshot of the twilight of a great man's life and his place in Russian history - a Russia on the brink of great social upheaval. The history that serves as the backdrop to this intensely personal drama is a fascinating, tumultuous time. Whether you agree or not with any of the ideaology that drives the characters in this film, it is in some ways one of the most realistic marriages I think I've ever seen on-screen. Tolstoy and Sofya were most definitely not without their problems, and neither of them were anywhere close to perfect - but inspite of all of their problems, the film clearly illustrates how deeply and passionately they loved each other, warts and all, if you will - and I loved that.

Inception

This may be one of my shorter movie reviews, because honestly I’m still sort of processing this movie. I saw Inception Friday night, and I really, really enjoyed it. I’m a big fan of director Christopher Nolan’s last couple of films (Batman Begins, The Dark Knight, and The Prestige), so I will admit to being predisposed towards wanting to be impressed with his newest effort. Inception is a beautifully constructed, thought-provoking sci-fi caper flick with some mind-blowing special effects. While I was predisposed to liking this movie, for me it delivered on every level and honestly surpassed my expectations.

As I mentioned, at its core Inception is a heist movie glossed up with eye-popping special effects. The team of extraction specialists – dream thieves – are incredibly well-cast and work really, really well together on-screen. The team is led by Cobb, the troubled Extractor played by Leonardo DiCaprio. I really, really liked DiCaprio in this role – his character is brilliant, troubled, and unsettling. The Point Man is Arthur, played by Joseph Gordon-Levitt, and I just have to say I didn’t realize until now how hot he is…just sayin’. *g* Arthur’s character was interesting – not quite in a position to be the “brains” of the operation, he’s brilliant at executing Cobb’s plans and extremely capable. Loved how Arthur pushed back when something didn’t “feel” right, but his loyalty to the team wouldn’t let him back out of the job. The Architect, Ariadne, is played by Ellen Page, and honestly given the rest of the cast I was concerned she’d be the weak link. However, she more than delivers in her role as Cobb’s conscience, I guess you could say, and provides an excellent counterpoint to Cobb’s character. My favorite team member was the Forger Eames, played by Tom Hardy of Wuthering Heights fame. His character was just fantastic and hilarious, and managed to steal every scene he was in.

Other notable casting includes Ken Watanabe as Saito, the Tourist, and I don’t think he’s ever been creepier to be quite honest. Marion Cotillard brilliantly plays the Shade, Mal – and I really, really don’t want to spoil her character. She’s by turn frightening and heartbreaking. There are also a couple of Nolan’s usual suspects making appearances. Michael Caine has a brief role as Miles, Cobb’s one-time teacher (and father? – a bit confused on that point). Cillian Murphy sadly loses his accent to play the Mark, businessman Robert Fischer, Jr. I would’ve loved more insight into his character, like how he developed his mental defenses against extraction, but one really can’t expect that in a caper flick I suppose.

The visuals of this movie are absolutely stunning throughout. Nolan and his team are definitely breaking new ground here – honestly I feel that way about the entire movie. I can’t remember offhand the last time I saw a film and left the theater feeling that I’d experienced something wholly original. The premise of Inception is extraordinarily disturbing, since Cobb & company specialize in infiltrating and stealing the very essence of what makes us individuals – our minds and thoughts. There are no heroes in this film, since by the end of the movie it is apparent that Cobb & company – especially Cobb – are caught in a vicious cycle of largely, if not entirely, of their own making. For me, the structure and the visuals of this film made it utterly absorbing. And one final comment:

SPOILERS!

The final scene of this movie just killed me. I mean in hindsight it makes perfect sense, but I was one of many people in the theater on Friday that let out a collective “no!!” By the end of the film, I was invested enough in the story and the characters, really in the world of the film, that I wanted everything I’d seen up to that point to be in the “real” timeline. I wanted Cobb to really achieve his dream. But like the entire movie, Nolan forces you to rethink what’s real and what’s a dream, and brilliantly constructs a dream on-screen to completely absorb viewers. Well played IMO. Thoughts? :)

Review: Silent in the Sanctuary by Deanna Raybourn

Silent in the Sanctuary (A Lady Julia Grey Novel #2)
By: Deanna Raybourn
Publisher: MIRA
ISBN: 978-0-7783-2603-8

About the book:

Fresh from a six-month sojourn in Italy, Lady Julia returns home to Sussex to find her father’s estate crowded with family and friends. Much to her surprise, the one man she had hoped to forget – the enigmatic and compelling Nicholas Brisbane – is among her father’s houseguests…and he is not alone. Not to be outdone, Julia shows him that two can play at flirtation and promptly introduces him to her devoted, younger, titled Italian count.

But the homecoming celebrations quickly take a ghastly turn when one of the guests is found brutally murdered in the chapel. Lady Julia resumes her unlikely and deliciously intriguing partnership with Nicholas Brisbane, setting out to unravel a tangle of deceit before the killer can strike again.

Review:

Deanna Raybourn suffers from no sophomore slump with her second Lady Julia Grey novel, Silent in the Sanctuary. This thoroughly engrossing, humorous sequel ranks even higher in my view than its predecessor, Silent in the Grave (which I absolutely loved!). Lady Julia’s second foray into the world of detection and mystery is just as un-put-downable as the first, and I was compelled to carry it with me everywhere until I finished it. This time, Raybourn gives readers a stronger, more self-assured Lady Julia, though she’s still learning to balance between societal expectations and her own new appreciation of independence, and an even more compelling, wonderfully and frustrating enigmatic Brisbane. When the two are reunited even more sparks fly, and you could cut the romantic tension with a knife, it’s that palpable. But of course nothing is going to come easy for two individuals whose strong wills and temperaments constantly put them at odds with convention and each other.

Following her brush with death in Grave, Lady Julia went to Italy to recover her health, and though she’s reluctant to admit it to herself, to forget inquiry agent Nicholas Brisbane. Though the connection between them is undeniable, when six months pass with nary a word she resolves to move on. When she and two of her brothers are recalled to the family estate for Christmas, she’s shocked and somewhat peeved to discover that Nicholas is in residence as well – with a completely unsuitable fiancée. However, her annoyance is pre-empted by the brutal murder of one of the houseguests, and her father charges her and Brisbane to work together to discover the culprit and minimize the scandal’s impact on the eccentric March family. Isolated by a snowstorm in the historic Abbey/family home, the pool of suspects is limited, casting a pall of suspicion over family, friends, and acquaintances alike. The truth must out before the snow melts, allowing a murderer to go free – or they may strike again.

One of this book’s greatest strengths is that Raybourn allows readers to spend more time with Julia’s delightfully eccentric family. They’re funny, sarcastic, irreverent, and fiercely loyal to each other, even the more questionable of their relations (like Aunt Dorcas, the ancient kleptomaniac). Sanctuary is rife with as much intrigue, misunderstandings, and hidden secrets as its predecessor. The storyline is multi-layered and fascinating, with enough twists and turns and red herrings to give a person whiplash. The fact that the family home was once an ancient Abbey adds to the atmosphere of the story – it’s as though anything is possible in a location where the very stones seem imbued with history and drama. At the center of it all lies Brisbane and Julia’s maddening relationship. Their relationship is like the ebb and flow of an intricate dance – just when events throw them together, something tears them apart. Raybourn excels at developing the romantic tension in this installment. Lady Julia’s world is one I love getting lost in – completely and utterly absorbing, and loads of fun to boot, Raybourn’s storytelling always leaves me wanting more.

So, in the comments section of my review of Silent in the Grave, there was some fun discussion about who should play Nicholas Brisbane, should this series ever be filmed. I bring you two other actors for your consideration:

First, Tom Hardy as Heathcliff in the 2009 version of Wuthering Heights. I honestly don't know why I didn't think of him first, as I am a big fan of his performance here. An added bonus in his favor is that Heathcliff and Brisbane share a very similar heritage...and that's all I'm gonna say about that. ;-)

My second choice today is the absolutely fabulous Richard Armitage. *swoon* I think Richard is a smidge too...hmm, aristocratic in his looks to perfectly fit the role of Brisbane as he's described in the novels. HOWEVER...Armitage's turn as Guy of Gisborne proved that he's a master at playing a dark, tortured, compelling leading man. If he played Brisbane on screen, I have no doubt he'd own the role. Happy thought. :)

So, to anyone who's read the books, please chime in with your opinion. Or, based on my reviews, which actor would you most like to see in the role?

*I have to say, while I don't like these "new" covers nearly as much as the first run designs for book one, I do appreciate how the cover artist nailed Julia's grey pearls - the necklace is exactly as described.