Network (1976)

The first movie from the AFI's 100 Greatest Movies list that I posted a few days ago, Network is a 1976 drama directed by Sidney Lumet (12 Angry Men, The Appointment, Dog Day Afternoon, The Verdict) and staring Faye Dunaway (Bonnie & Clyde, Chinatown). The script for Network may as well just be the guidebook for any current major news network, but more apparently, it's prophetic of our current state of affairs regarding entertainment and corporatocracy. Or maybe it's just always been that way. In Network, the fictional television network UBC has recently been bought by the conglomerate CCA. With a new, stronger incentive to make profit and boost ratings, UBC's programming director, Diana(Faye Dunaway), becomes desperate to create hit show; there is no line she won't cross.

Howard Beale (Peter Finch) in a evening news anchorman with journalistic credibility and a historic career, but awful ratings. When he is fired from the network, he has a mental break down and threatens to kill himself on air. The threat brings the channel enormous ratings and, even though Beale is clearly out of his mind, the network executives decided to give him his own nightly show as a modern, angry prophet. The show is an astronomical success until his mad rantings begin to target UBC and CCA. Beale's nightly newscasts don't have power, anger, or mass appeal anymore and his ratings plummet. Unable to just get rid of Beale, the network decides to obliterate him in an unimaginable way.

The current resonance of Network is astonishing. Glenn Beck might as well be reading directly from Howard Beale's script. The question, then, is when will Beck have to be suppressed by his puppet masters?! Anyway, it's a rather unique story. Not many movies are made about the inner workings of network TV, especially ones that are so socially relevant. The plot is engaging and Faye plays flat characters really well. Some of the dialogue is awfully corny, though. Especially regarding the relationship that develops between Max (UBS News president, played by William Holden) and Diana. This is probably intentional, though, as Max repeatedly reflects that their relationship merely follows one of Diana's TV scripts. Still, the dialogue during these scenes is laughable, which is a nice relief during such an intense drama. Overall, Network is a well constructed story with many ripples of influence. It's a movie that will be referred to and remain relevant for years to come.

Writing: 9/10
Acting: 8/10
Plot: 9/10
Visuals: 7/10

Invictus (2009)

Invictus is Latin for "unconquered" and is also the name of the poem by William Ernest Henley that Nelson Mandela turned to in times when he needed inspiration. Invictus the movie, directed by Clint Eastwood, centers around the beginning of the Nelson Mandela presidency. Mandela (Morgan Freeman) knows he has to unite post-apartheid country before tackling major issues like poverty, crime, and education. He decides to focus on using the South African rugby team, the Springboks, as a political tool; they must win the 1995 Rugby World Cup and bring the South African whites and blacks together. François Pienaar, the Springbok's captain played by Matt Damon, forms a relationship with Mandela based on their mutual leadership roles and need for inspiration.

Like all movies based on rather famous true stories, we already know how Invictus ends. It's how the movie gets to its end that becomes the focus. Clint Eastwood seems to be very good at manipulating emotions. He picks just the right stories that will tug at your heart strings and films them in a way that makes the sentiment of the film impossible to ignore. At times, this is just cheesy (i.e. showing the crowd cheering in slow motion up to the Springbok's game winning score). At other times, the cheesiness is outweighed by reality; this is not just a movie, this really happened. One such moment is when Pienaar is shows Mandela's cell when he was in prison. He looks down and sees the thin blankets on the floor that were his bed. He spreads his arms out while in the cell to see how small it is. He imagines Mandela sitting in the single chair, reading and never giving up hope. The scene is filmed in Mandela's actual cell, so even though it seems a bit gratuitous and the transparent Mandela sitting in the chair juxtaposed over Pienaar seems a bit too much, it doesn't matter.

I'm really a stickler for a movie being good only on the grounds of its production, its form. The movie in and of itself is not great. Sure, the acting is good (both Freeman and Damon were nominated for acting Oscars), but the story, the filming, and the writing are the same as just about every other sports movie ever made. The underdog always comes out on top and the same story is retold once again. However, what most sports movies don't have is the incredibly charismatic character of Mandela and the historical significance of something as monumental as the apartheid. Even if Invictus does follow the same old formula, it's a shining example of what the formula should be.

Writing: 7/10
Acting: 9/10
Plot: 6/10
Visuals: 6/10

The Box (2009)

The summary of The Box on IMDB is "A small wooden box arrives on the doorstep of a married couple, who know that opening it will grant them a million dollars and kill someone they don't know." This is also a rather succinct summary of the short story that The Box is based on: Richard Matheson's "Button, Button". Doesn't seem like much material for a full length movie. Instead of becoming a glorified extended episode of The Twilight Zone, Richard Kelly (director and writer of Donnie Darko) slowly warps and manipulates "Button, Button" into something entirely dissimilar. And much more interesting.

The Box is incredibly suspenseful. I watched it in bed one night with my boyfriend laying next to me. I kept having to pause the movie and I'd turn to him, "This is really scary. I'm really freaked out right now. This is really scary, etc." over and over. Now, I should say that I don't regularly enjoy horror movies and that I may have over reacted. However, even though I felt terrified for about 40 minutes of the film, I still really liked it. It was a kind of suspense that I don't normally experience with film, especially modern horror. It's also very weird. If you've seen Donnie Darko, The Box is very much in the same vein, both visually and dramatically. My only complaint would be the casting of Cameron Diaz, although her natural naivete is surprisingly fitting for a 1970's housewife. Frank Lagella is super creepy as Arlington Steward, the bearer of the box, so the acting isn't all bad.

Overall, I was really surprised with The Box and would recommend it to those looking for a suspenseful thrill ride that isn't typical of modern horror films.

Writing: 8/10
Acting: 6/10
Plot: 9/10
Visuals: 9/10

In the Loop (2009)

In the Loop is a British comedy that at once reminded me of the British version of The Office. I suppose it's the same sort of dry, subtle, straight-faced humor. It's also filmed in a similarly pseudo-documentary style. Apparently, In the Loop is a spin-off of the BBC television series The Thick of It, but I haven't seen it, so I can't really comment. Anyway, the movie depicts US and UK political relationships during the run up to the Iraq war in 2003.

The movie if filled with brilliantly amusing site gags and absurd quips. At one point, Karen Clarke (Mimi Kennedy), the US Assistant Secretary of State of Diplomacy starts bleeding profusely from the mouth during a meeting. She retreats to the bathroom where she stuffs her mouth with napkins with the assistance of her assistant, Liza (Anna Chlumpsky, the girl from My Girl). Karen gives Liza an order and when Liza clarifies, "You're not going to shout at me if I go and do that, are you?" Karen, with her mouth and hands covered in blood and crammed full of bloody napkins says, "I'm not a monster, Liza, okay?" Another delightful one-liner has Malcome Tucker (Peter Capaldi), the Prime Minister's Director of Communications, saying "'Climbing the mountain of conflict'? You sounded like a Nazi Julie Andrews!"

In the Loop is probably entertaining for those who are familiar with and enjoy British comedy, and maybe some of those who don't. I think deadpan punchlines and absurdity has it's place in American comedy, but it's much more subtle than the more common forms of humor.

Writing: 9/10
Acting: 8/10
Plot: 8/10
Visuals: 8/10