The Kite Runner (2007)

A dramatic adaption that is based on The Kite Runner, a novel, written by Afghan-American author Khaled Hosseini, an account of an Afghan emigrant turned Californian novelist, Amir (Khalid Abdalla.) Moments after opening a box that contains a freshly printed debut novel by Amir himself, a tender, proud moment spent with his wife Soraya (Atossa Leoni,) he receives a phone call from a voice (Shaun Toub) of the past that theatrically tells him "how he can be good again."

How? you ask, well by saving Sohrab, the son of his childhood companion Hassan. Hassan and his wife have been killed by the Taliban and there is reason to believe that Sohrab (Ali Danish Bakhty Ari) is still alive and salvageable (despite that fact that the Taliban took him and that Sohrab is of Hazara descent), and that Amir (who, ironically, betrayed Hassan to protect himself from the pain of his own cowardice as children) is the only one that can save him. Amir seeks redemption and steps up to plate, travels back to Afghanistan, and endures several obstacles along the way. Laspes of time are conveniently placed where the potential for the most sophisticated of conflicts might occur, the result is a suspension of disbelief that snaps into apathy and occasional frustration.

Furthermore, Amir's shortcomings do not make for an interesting protagonist. His sappy, "season's greetings" like dialogue, and lack of a sincere, internal drive leave the audience bored. Baba (Homayoun Ershadi,) his quick-witted, personable father, remained a more likeable, interesting character both before Amir's sacrificial quest and after. Even the rock-starish Taliban leader and childhood foe was more intriguing to watch. Amir's ability to challenge hostile savages of this calibre also seemed questionable due to his lack of "warrior" credentials. For a film that highlights the pre-war Taliban regime - a time seeping with tragedy and unspeakable atrocities - it somehow manages to fall flat.

Directed by Marc Foster.

Juno (2007)

Juno, the character (Ellen Page), makes teenage pregnancy almost seem fun which complements the film’s overwhelming potential of becoming a preachy “cautionary whale.” Juno is a somewhat precocious junior who becomes pregnant from what is implied as her one and only sexual experience shared with the athletic Paulie Bleeker (Michael Cera) who has had more experience on the track than on the field. After numerous pregnancy tests, she finally deems herself “unholy.” Rollo (Rainn Wilson), an aging yet articulate convenience store clerk, is the first to know, and perhaps the easiest to tell. What follows is a seemingly endless stream of difficult decisions and awkward situations "way beyond her maturity level."

At first, Juno is optimistic, but as the pregnancy progresses, it impedes her ability to cope. The Loring couple (sought out by Juno through a Pennysaver ad) end up complicating things for Juno - the reverse of what she was originally hoping for. Mark (Jason Bateman) is a bit green in the papa department while Vanessa Loring (Jennifer Garner) seems strangely cold and alien yet simultaneously eager and ready for motherhood. They opted for adoption due to fertility issues.

Juno displays the familiar view that women suffer more than men from the perils of sex by merely contrasting physique. As the months pass by, Juno’s stomach protrudes while Paulie continues jogging. Juno withstands judgments from the Ultrasound Technician (Kaaren de Zilva) (hilariously rebutted by her step-mother and nail technician Bren MacGuff (Allison Janney)) while Paulie considers dating Katrina “stinkeye” De Voort. The film successfully makes us not hate Paulie who isn’t being a douche, but a totally confused sixteen year-old boy.

The dialogue is sort of a clever vernacular of its own, peppered with quotable lines such as "He is the cheese to my macaroni," or "it makes his junk smell like pie," and let's not forget the formidable "fingernail" references first coined by Su-Chin (Valerie Tian.) This is definitely one of the best flicks of '07.

Directed by Jason Reitman

Margot At The Wedding (2007)

Margot At The Wedding is Baumbach's second consecutive film about a distraught family who can't resist breaking apart into dysfunctional pieces. Though Margot's tone is different from The Squid and The Whale's, there are the repetitive themes of semi-loser male with halfway decent female, and "I think it's time for a divorce."

Margot (Nicole Kidman) and her son Claude (Zane Pais) journey from their Manhattan life to a land known as Long Island for Pauline's (Jennifer Jason Leigh) wedding. From the get-go, Margot is clearly less than thrilled. Her and Pauline haven't spoken in sometime plus Margot disapproves of Pauline's and Malcolm's decision to marry after only knowing each other for a year. We wonder why Margot has decided to go, as does Claude.

Margot's intentions become clearer when it is revealed that Margot's illicit lover and current writing partner, Dick Koosman (Claran Hinds), lives a mile away from Pauline. Margot's life is in an unstable period. She can't decide between Dick or her devoted husband, Jim. She drinks a bit more than moderately and takes pills whenever she can get her hands on them. She is also superbly critical, and utterly unlikeable. Baumbach seems to have a special gift for creating repulsive personalites that still intrigue us. Kidman's performance is flawless, her familiar emotional chill was to her advantage in Margot.

Malcolm (Jack Black) is Pauline's almost husband. He's a music maestro, "letter writer," and professional slacker. His lack of motivation deems him pretty undesirable. Yet Pauline, a lax lady herself, appreciates his humor and knowledge of innane music trivia. Malcolm seems pretty content as does Ingrid (Flora Cross,) Pauline's cheerful daughter. Despite Pauline's apparent complacency, we come to learn that she too isn't as transparent as we initially thought.

Margot, however, refuses to accept Pauline's decision and warm up to Malcolm whom she thinks of as a rogue. She can't accept Pauline's differences. Her taste for self-help books, or use of incense. Pauline (rightfully) sees Margot's behavior as borderline psychotic and beyond hurtful. Pauline also resents Margot's family references in public writing. Something Baumbach apparently dealt with after the release of The Squid and The Whale

Though Margot At The Wedding is interesting and entertaining at times, it is ultimately a film about two sisters bickering. Margot is never in any real danger of losing her husband, and it seems nobody would mind if Pauline lost hers anyway. This film is not Baumbach's best, but definitely worth a viewing. Unfortunately, Jack Black's performance becomes less-than bearable as the film inches forward; hence, the screeching halt of an ending is thoroughly appreciated.

Klimt (2006)

"Klimt" is a biopic that brandishes its creative license somewhat proudly. Whether the general public is pleased by an imposition of drama that substitutes historical accuracy and artistic legacy for syphilis, and instability is questionable. Raul Ruiz's depiction of Klimt (John Malkovich) is that of the crazy, sexually relentless artist - a portrait of artists that has been popularized through cinema for quite sometime now. Whether this depiction is reverent seems to be the big concern regarding "Klimt."

The debates of art, function, design, and necessity were stimulating in the early 20th century, but modern audiences may find them "boring" or that Ruiz has made a film that consists of "Talk, talk, talk" as several IMDB commentors have complained.

"Klimt" starts out with the artist hospitalized due to syphilis. He gets a visit from the young Egon Schiele (Nikolai Kinski) who catapults Klimt into a hodgepodge of insecurities, and triumphs, some of which are fantasy and others reality. The first act comes off as overacted, and redundant. The images were somewhat sophomoric featuring broken mirrors, and cake in the face.

Then, oddly, the film becomes fairly inaccessible. Perhaps this is because the version I saw was the 91 minute rendition, and not the original which was about 30 minutes longer. Fist fights breakout without explaination, and the Sekretar (Stephen Dillane) turns out to be a figment of Klimt's imagination. We know of illegitimate children, affairs, and love. The "plot" is as dizzying as Ruiz's style of "circular cinema," which consists of him slowly rotating his subjects so that they make full-circle. At times it makes for a nice image, but at other moments it seems a bit unnecessary.

This film definitely shouldn't serve as an "Introduction to Klimt" for anyone - young or old. It's just too embedded in certain conventions that are ultimately characterless pretentions that leave one confused, and maybe a little annoyed too.

Directed by Raoul Ruiz

Opened in New York on Wednesday, October 17th, 2007.

Whole New Thing

Previously homeschooled Emerson Thorsen (Aaron Webber), a 13 year-old author and playwright, may have an age appropriate Harry-Potter-inspired image (without the mousy disposition), but his problems are more of this world as well as less sensational - the latter perhaps not being to his benefit. His excellent verbal and written communication skills aren't enough to convince his mother, Kaya (Rebecca Jenkins), that his anemic math abilities shouldn't be honed by someone presumably better fit for the job, like a public school teacher.

Hubristic by nature yet lacking the experience, and accoutrement that only Junior High can offer, Emerson gets himself into a bit of a pickle when he (privately) intimates a crush on his new English teacher, Don Grant (Daniel MacIvor), without actually thinking about the circumstance involved. In some ways this endearing yet troublesome escapade would seem to wreak havoc on Don Grant's life, problem is it doesn't. This decision of not opting for small-town drama, or pedophilia could be viewed as taking the high road by many, but a lack of satisfaction emerges when you realize the cheap shots haven't been supplemented by top-shelf concoctions.

Though the characters are somewhat engaging, the story fails to shed any sort of light or dismay on the initial set-up. Emerson's parents, Kaya and Rog (Robert Joy), undergo a marital crisis due to Rog's ongoing disinterest in sex. Emerson's English teacher, Don, has depressing sexual encounters with other closeted men at a local rest stop to usurp his post-failed-relationship blues.

Emerson's naive attempts at love somehow serve as a catalyst for the more seasoned characters in the film. It concludes with everyone else's problems on the way to resolution, except for Emerson's - which are presumably just beginning. In some ways, it feels like a liberal's version of an after-school special. In other ways, it's a bit like Rog's eco-friendly, not yet workable, excrement/fuel idea; the idea is there, but its ability to create an impact isn't.

Directed by Amnon Buchbinder, and co-written with Daniel MacIvor.

Offside

Golden Berlin Bear nominee, and Silver Berlin Bear winner, "Offside," is a psuedo-documentary whose feel is emphasized by the use of non actors, near real-time shooting, and occasionally, a handheld camera. The writer, producer, director, Jafar Panahi is a widely acclaimed director; winner of twenty-three awards, and five nominations. He is also the director of "Dayereh" ("The Circle"), a less comedic film that criticizes the treatment of women in Iran, and is banned by the Islamic Government of Iran. "Offside" has not yet been cleared for release in Iran.

It is the World Cup 2005, Iran versus Bahrain. Throngs of soccer fanatics fill the streets wearing jerseys, flags, and other sports paraphernalia. The majority of the fans have two things in common; they are all headed towards the stadium, and they are all men - most of them anyway. In Iran, women are not allowed to enter sports stadiums for fear that they would be exposed to an onslaught of harsh language that the impassioned male audience would naturally indulge in.

Nonetheless, six women who are serious soccer devotees, mostly unaware of each other, attempt to sneak into the stadium with a variety of amusing costumes - all attempting to resemble men. But by the middle of the film, they are all held captive in a make-shift pen that is adjacent to a stadium entrance where the game can merely be overheard. The soldiers are dim-witted country boys, and the women held captive are sharper, more assertive than your stereotypical Middle Eastern woman. This makes for amusing dialogue at times.

The film is riddled with situations, behaviors, and decisions all aimed towards showing the hypocrisy of this particular law. The soldiers curse while watching the game through the entrance - all in earshot of the captive ladies in drag. Bahraini women who gathered by the entrance (though, are never shown) are eventually allowed entry, but placed in a glass room to "protect" them from foul language. One of the more convincing women in drag asks about the Japanese women that were allowed into the stadium to view the recent Japan versus Iran game. The most convincing argument the soldier can come up with is that those women don't understand the language.

The film is paradoxically light-hearted - though it focuses on such important issues. With its wit, and subtext, "Offside" manages to be simultaneously entertaining, and poignant. It ends with a sense of hope pertinent to keeping these young women moving forward. It is, without a doubt, a must-see.