PARANORMAL ACTIVITY 3 Review

"Paranormal Activity 3" (2011)

It still works. Ariel Schulman and Henry Joost, the directors of last year's controversial pseudo-documentary "Catfish," take the reins of the third installment in the highly popular found-footage horror franchise. And as much as the series has definitely set its own formula by now, "Paranormal Activity 3" does not feel derivative and still gives viewers something to be terrified about. It's clear Schulman and Joost have a sense of humor because this installment gives us new scare tactics that play with audience expectation.

The best of these clever devices is a camera mounted atop the base of a rotating fan. It pans at a deliberate and painfully slow pace between the kitchen and living room giving us a lot of anticipation to chew on before we see the other end of that camera's range. It's a dastardly trick. Along with this camera, there are only two others mounted in bedrooms unlike the second installment which had a whole security system of cameras to watch. The movie is a prequel to the events of the first taking place in September 1988, which explains the lack in technology. This aspect, though, is about the only thing that's period piece material. The high-vaulted ceilings and overall look of the home make it look incidentally quite modern, and the babysitter's outfit is a bit obvious.

But decade accuracy isn't the point here. The story follows Katie (Chloe Csengery) -- of the first film -- as a young girl living with her sister Kristi (Jessica Tyler Brown) and her parents, Dennis (Christopher Nicholas Smith) and Julie (Lauren Bittner). The setting of a prequel is meant to show how Katie initially had an encounter with the evil forces that drove her to the activity of the original movie. Consequently, a lot of the action focuses around Katie and her sister. These girls, however, aren't your typical creepy young girls in horror movies. They're ordinary, everyday young girls. Except when Katie wants to play a scary game of "Bloody Mary," saying it three times could actually bring horrific results. And Kristi's imaginary friend "Toby," who she talks to with intimidated obedience, is the one making noises at night.

"Paranormal Activity 3" causes a larger sense of unsettling dread than even the first two installments. It might be because the looming presence in the house feels more personal and malicious -- and from Kristi it even gets a name. The second movie enlisted jump-out scares to utmost effect. And while this outing still toys with that, it even more effectively finesses pure suspense in moments where nothing even happens. Take the last 15 minutes, for example, which had me literally shaking with anxiety.

These films are, if nothing else, a lesson in restraint when it comes to eliciting scares. Sure there's no restraint when it comes to the number of sequels they're going to keep churning out -- "Paranormal Activity 4" is inevitably on its way -- but I would much rather see eager audiences sitting down to spooky ghost stories than the glib and vile "Saw" splatter-fest which previously dominated Halloween movie season.

My review of Paranormal Activity
My review of Paranormal Activity 2

THE IDES OF MARCH Review

"The Ides of March" (2011)

The fourth feature directed by George Clooney (following "Confessions of a Dangerous Mind," "Good Night, and Good Luck" and "Leatherheads"), "The Ides of March" provides us with knowledge a lot of us may already know: the current climate of American politics leaves no room for idealism and dignity. It's a harsh and cynical look at the modern presidential campaign landscape, but it's also less about the candidates and more about the campaign managers working for them. There is scheming, backstabbing and lapses in loyalty aplenty, and it's all a riveting inside look at the men behind the faces we end up voting for.

The movie stars Ryan Gosling playing another rather introverted character. It's a much different character than "Drive," but his focus and intensity remains the same. Just when we think we have him figured out, he surprises us with a twist of action. He plays Stephen Meyers, a press secretary for Pennsylvania Gov. Mike Morris (George Clooney) during a presidential primary in Ohio, which acts as a pressure cooker for the proceedings. Perfectly cast, Clooney plays Mike Morris as an idealistic fictional Obama in 2008 candidate who is articulate and promising with a new kind of politics. Stephen works under Paul Zara (Phillip Seymour Hoffman in top form), a seasoned campaign manager for Morris. On the other side of the playing field is Tom Duffy (Paul Giamatti), the campaign manager for the opponent Pullman. All of these men, save for Stephen, are hardened realists who know exactly how to play their pieces on the board. Young professionals such as Stephen have yet learned how to check their values at the door.

The screenplay (adapted from Beau Willimon's play "Farragut North") co-written by Clooney, Willimon and Grant Heslov paired with Clooney's understated direction brings conversations and exchanges to the utmost importance. The title suggests a grand sweeping Shakespearian theme, but Clooney's goals are actually much simpler and straightforward and, in such, create an even greater impact. What Clooney strives to present may not be wholly profound, but it is pulpy and provocative. I don't think the screenplay sticks in the knife as deeply as Clooney hopes, but he still assembles an astonishingly powerful cast to navigate murky waters where the lines of political and emotional agenda get skewed.

A New York Times reporter played by Marisa Tomei represents manipulative media involvement in the campaign looking for the best scoop. A key conversation between her, Stephen and Paul early on shows where true loyalty lies along with the real perception of any campaign -- it always divulges into disappointment no matter who takes the title. At one point Stephen receives a call from Tom Duffy with a job offer to change sides. Motives here become unclear. Does Duffy actually want Stephen, or does the offer simply work as a ploy? Stephen is just opportunistic and looking out for his best interest revealing a surprising but subtle amorality. The real focus of the plot doesn't arrive, however, until a scandal surfaces around a luscious intern named Molly (Evan Rachel Wood). Stephen is handsome and suave, so he charms Molly into bed but in the process learns some unnerving information.

From here the film is tight, smart and swiftly paced showing us everything we've already come to know about how campaigns are really run in this country. It plays as if the pressure cooker finally goes over, and scenes flow with boiling urgency. The revelations keep us riveted but what keeps us engaged and interested is the toxic and malevolent atmosphere that Clooney expertly upholds. It's down and dirty stuff with men in pressed suits, and it's all the more disturbing considering the setting. "The Ides of March" works like a wrenching punch to the gut in the acceptance that sometimes politics is just about keeping a job.

Most Anticipated Movies of Fall 2011

10. My Week with Marilyn

What gets me so excited about this one is Michelle Williams playing the titular role of Marilyn Monroe. This performance will hopefully get her the recognition she has so long deserved, especially since she was overlooked for "Blue Valentine."

9. J. Edgar

Another heavy lead performance Oscar movie with Leonardo DiCaprio at its head. From the looks of the trailer, this latest outing from director Clint Eastwood is going to soar with critics as a rich biopic with a talented supporting cast. This is also no doubt DiCaprio's Best Actor vehicle, but I'd like to think it has more going for it than just that.

8. Paranormal Activity 3

I loved "Paranormal Activity" and although obviously lacking in originality, its sequel had even more effective scares. And so I can't help but get excited for the third installment from the directors of "Catfish." They basically promoted that viral pseudo-documentary as a horror flick, so just imagine them actually tackling one. That Bloody Mary part in the trailer alone had me peeking through my fingers.

7. The Rum Diary

I don't generally like Johnny Depp, but I sure did like him in this year's "Rango" -- even though he was voicing an animated lizard. And speaking of "Rango" with its undertones of Hunter S. Thompson, this latest starring Johnny Depp is actually an adaptation of a Thompson novel. The trailer is misleading at first, but then divulges what the film is really about: that substance-induced blurring between fantasy and reality. I'm intrigued.

6. Melancholia

Although I despised almost everything about Lars von Trier's "Antichrist," the director still has me roped in and anticipating his next feature. It seems much more subdued and contemplative than his last one, and Kirsten Dunst earned herself a Best Actress award at this year's Cannes. It's been getting underwhelming reviews, but with all that slow-motion and hoopla about the end of the world, I'm hooked.

5. War Horse

The teaser for Steven Spielberg's "War Horse" couldn't be any more of an announcement to the world that, hey, he's back in the game and going for an Oscar! But can you blame him? The movie looks magnificent. A sweeping historical piece as directed by the one and only Spielberg trumpeted by a resounding score from John Williams, and it's all just in time for Christmas.

4. Young Adult

After director Jason Reitman's "Up in the Air," he's now reunited with screenwriter Diablo Cody ("Juno") for his next feature. It stars Charlize Theron, and the first image of her from the film has been released along with a poster -- but not much else. I'm anxious for a trailer to see if the tone is going to match up with the overly quirky "Juno," or if it'll be a little more down-to-earth. Here's to hoping for the latter.

3. Extremely Loud & Incredibly Close

There has been almost nothing released about this adaptation of Jonathan Safran Foer's best-selling novel. All we know is that it's directed by Stephen Daldry ("The Reader") with a screenplay by Eric Roth ("The Curious Case of Benjamin Button"), and Tom Hanks is in it. I read the novel and fell in love with it, but it's also something that seems impossible to adapt for the screen. But don't they all? The film is also in talks of being the front-runner at this year's Oscars. Only time will tell.

2. The Descendants

Another Alexander Payne film, and his first in seven years? Well, count me in. Starring George Clooney, this film appears to be another Payne-ian look at human relationships à la "Sideways" and "About Schmidt." It received mixed critical reception from the festival at which it premiered -- some even called it Payne's worst effort -- but my hopes remain high.

1. The Girl with the Dragon Tattoo

David Fincher's remake of "The Girl with the Dragon Tattoo" is easily my most anticipated movie of the fall. Ever since Rooney Mara's transformation into gothic bisexual hacker Lisbeth Salander graced the cover of magazines, I knew this adaptation of the Swedish novel would absolutely nail it. And then came the first teaser trailer with a rocking track from the Yeah Yeah Yeahs and the tagline, "The feel bad movie of Christmas" to hype up the anticipation. Not to mention that revealing initial poster with Rooney Mara and co-star Daniel Craig, and now the official trailer which perhaps runs a little long but still proves that Fincher definitely has a handle on the ideal tone for what this movie is all about. Gritty, grisly stuff.

DRIVE Review

"Drive" (2011)

He is a driver and only a driver. He has no name to the men he works for and not even to us. He's the guy behind the wheel who will be there if you tell him when and where. He's the getaway driver and a man defined by what he does. We're introduced to this driver -- with his steely blue eyes and gloved hands gripping the steering wheel -- during a job. He's cool and collected even during a vehicular game of cat-and-mouse with the authorities. It's a sequence wrought with tension and suspense and one of the most expertly handled car chases I've seen. Eyes fixated on the road and not ever on the faces of the criminals he carts around, the driver doesn't commit the act; he only gets those doing so from point A to point B. "I drive," he says.

Albert Brooks, who's not at all funny here, plays a nasty man of business named Bernie in "Drive" from Danish director Nicolas Winding Refn ("Bronson," "Valhalla Rising"). His character is a producer for the type of B-movies that the driver does car stunts for, which is the driver's day job when he's not a driver for hire by night. Bernie describes the movies he used to produce in the 80s as action thrillers lauded by critics. Some critics even called them European. But he thought his movies were shit. As a self-knowing nod, he could be describing the very movie he's in -- minus the part about being shit.

The modern soundtrack recalls 80s synth with titles presented in a retro pink cursive font like something out of "Miami Vice." A sleek, subdued and sophisticated European sentiment permeates the mood. It's an action thriller for the art house crowd but in no way pretentious. "Drive" provides the perfect elements of a genre flick in high fashion emphasizing the master of craft. While putting the pedal to the metal, there's respect for acting and writing. It plays on commercialism while becoming an exact rebuttal to convention.

As the driver Ryan Gosling sustains an impenetrable and indiscernible calm that's unnerving. He has the severe cool of a young George Clooney, and here he seems to be channeling him in "Michael Clayton" form. He's wordless and expresses a wide expanse of inner-thought through a shift in the brow or a twinge of the mouth. A master of nuance, Gosling gives us a brilliant work of existentialism through moments of idling silence before this mysterious wheel man slams on the accelerator. He's a man who's been around cars most his life mentored by a fatherly figure, a mechanic named Shannon (Bryan Cranston of "Breaking Bad"). The driver lives in an apartment complex and becomes close with his neighbor, Irene (Carey Mulligan). She has a young son, Benecio (Kaden Leos), and a husband, Standard (Oscar Isaac), who's in jail. The driver and Irene grow fond of each other, but Standard returns home within the week. Once there he's not jealous of the driver but instead finds opportunity. He's in trouble -- the kind of trouble the driver can deal with.

Filling in the blanks of back story are characters' expressions and subtleties. The film doesn't wear its emotions on its sleeve but they do run deep. The script by Hossein Amini is minimal in dialogue, so reading between the lines is essential and it works. The driver's loyalty to Irene's family is obvious as he accepts a job with little to no benefit to himself. It's a heist that goes horribly wrong with bloodshed aplenty namely from Christina Hendricks of "Mad Men" who plays a sexy accomplice. With the smooth purr of seduction "Drive" offers filmgoers, it is a gradual and moody escalation with hyper-violent and ultra-stylized eruptions that fuels this beast's engine. It's a simple parable of fast cars and dangerous deeds involving men not defined by what they say but, instead, by their actions -- no matter the blood stains left in their wake.