Leighton Trent (Glove86)

This is not as good a film as it's getting praised as. Ok, hold up, first of all, let me say that I am a big fan of Alexander Payne. From Election, to About Schmidt, to one of my personal favorites Sideways, he has a way of hitting the mark so perfectly sometimes that it's amazing he's not held in higher regard for his filmography. Now, seven years away from filmmaking may contribute to that. To follow up something as terrific as Sidways was probably not an easy task, but finally in 2011 he shows up with The Descendants. A George Clooney starrer - well, there's your bait. And it's an adventure into emotional territory for him, even better. As a filmmaker he's wearing his emotions on his sleeve more than he ever has before. Right on. But... I'm not falling for it. This is the first time he's ever honestly let me down. It saddens me. Bit by bit, scene by scene, the film plays out and it seems like it's a series of interlocking moments that don't feel complimentary. The main stories here, a dying wife who had an affair and the selling of Hawaiin family property, don't really seem to connect thematically like they think they do, and thus makes the story feel off-kilter. As for the characters: Clooney is middling here, not giving the "Best Actor"-worthy accolades everybody else is giving him for it, but he's fine as Matt, a man trying to deal with how to raise his daughters by himself now. Shailene Woodley is probably the best here playing Alex, a teenager, to a pissed-off "t." Amara Miller as a Scottie is a little annoying, but plays a kid about as honestly as I feel she could. Robert Forester is great in a two scene supporting role as Matt's father-in-law. His last scene in the hospital room is probably the finest scene in the entire film. As well, Judy Greer, as the wife of the man who had the affair with Matt's wife, is wonderful in her couple of scenes, playing naivete and hysterical pent-up anger perfectly. But, Lillard as Greer's husband, and especially Nick Krause are terrible casting choices, and in both cases, god-awful pieces of acting. I think the former more has to do with how that character and his moments are written, but Krause as Sid, I mean there's just no point to him being in the story. He's just annoying and quite simply awful, especially since he serves no purpose (save maybe one scene with Clooney), and could've easily been left out. It has all the makings of that emotional type story that could nail it if it had the right pieces a la Terms of Endearment. But, from what I can tell here, the source material never had it in the first place. Because it so wildly veers off the road so much of time, it never had a chance to impact me. Each time I felt it was starting to right itself, it went far left or far right again. I always say the dramedy does best on television. There's time to flesh out both the humor and the drama to where they feel they can co-exist. Here, you only have two hours and they never come together, in my opinion. I'm going to give it a second viewing, but I have a feeling it will play out the way Terms of Endearment's second viewing did... not well.

Though less have been taken with Spielberg's return to roots than I thought would, I sure am. (And much more so than the family drama homage Oscar bait War Horse.) I think you choose to fall for it, or you don't. Otherwise, it may be hard to appreciate. Unfortunately, Tintin is set up; a first part of a series, or at least part one for a part two, and so the ending, though satisfying on the front of its own story, is a little lackluster in that it drops us off at the precipice where which we'll have to wait a couple years before we see the story continue. To me, this is Spielberg coming back to his Indy roots (pun indeed), but in motion-capture/animated form. It's rollicking, enjoyable entertainment filled with Spielberg's usual small winking moments amidst his bigger story. It is probably the most fun I had in the theater in 2011; I couldn't help but smile through most of it, and to me, that's why this is one of the best of 2011. It captures what used to be a grand old adventure to go to the movies. Much credit is due to the motion-capture form itself, which gives story extra ummph as far as the way it can be told (especially camera-wise), and the Tintin character set almost live action qualities in terms of look and feel, which still containing the animated feel of its glory days. Credit to Steven Moffat, Edgar Wright, and Joe Cornish, as well, for all combining together in a script that really fits the mo-cap feel, and provides all the little delicacies that Tintin is known for. The story never slows, but it hardly ever feels too rushed. As well, the rest of the crafts are all on board here with amazing editing, music (John Williams back in top form!), sound, vfx, and incredible art direction that makes the film really explode. Finally, they've assembled a talented voice cast. Not since Ratatouille have I felt an animated ensemble really contributed to the overall effect of a film; each person brings his or her character to life with extraordinary voice work. It all comes together almost perfectly. There are a few bumps and bruises along the way that could've been smoothed out, but it's almost to no matter here. Sit back and enjoy. It may not quite be Raiders, Last Crusade, or E.T., but it's Spielberg doing what he does best, entertaining with heart.