The Book of Eli

The Book of Eli is one of the ballsiest movies I've seen in a long time. A religion-infused commentary wrapped in a post-apocalyptic disguise, this movie is already polarizing critics across the web with its handling of spiritual messages and metaphors. But don't let that scare you away - if you're looking for a kick-ass action movie and you can handle the religious subtext, look no further. The Hughes Brothers have crafted a stylish genre flick that hits all the beats: bar room brawl, highway robbers getting what's coming to them, and a bullet-riddled standoff in which a house gets completely destroyed. Action fans, you won't be disappointed.

The Book of Eli

Director: Albert and Allen Hughes

Starring: Denzel Washington, Gary Oldman, Mila Kunis

I haven't seen any of the Hughes Brothers' films before this one (this is only their fifth), but if the visual style in The Book of Eli is any indication of their previous work, I'm excited to check out their filmography. One might argue that it's easy to create a post-apocalyptic world since the genre has been around for so long, but it takes a considerable amount of talent to create an environment that feels fully realized, and the brothers have done it here with relative ease. Gae Buckley, the production designer, worked on Kevin Costner's 2003 western Open Range and here she translates those sensibilities into a vast expanse of abandoned vehicles and run-down towns. Ash, dust, and sand tear across the screen; the movie is tinted with pinks, grays, and blues; the sky features an unbroken line of constantly moving clouds.

In the story, a war ripped a hole in the sky thirty years ago, leaving the sun-scorched country in ruins. Denzel Washington's character (spoiler alert - his name is Eli) has been tasked with transporting a book across the country to a safe place, and he's been wandering west for thirty years trying to accomplish his mission. Carnegie (Gary Oldman) has been searching for the very book that Eli holds, but his goal is to use the book for his own purposes: the classic western theme of expansion. While Eli is willing to kill to protect the book, Carnegie is equally willing to kill to procure the book for himself. A slave girl named Solara (Mila Kunis) latches on to Eli in the hopes of escaping her oppression, and the two battle Carnegie and his goons as they set out to do whatever it takes to get the book.

Even at 55 years old, Denzel Washington is completely believable as a knife-wielding badass wandering west across a desolate America. Most of the action revolves around his character, and one shot in particular stands out in my mind (you've seen this in the trailer): a silhouetted Denzel takes down a group of highway robbers in one brutal shot, framed brilliantly against a highway overpass that doubles an an homage to the famous opening and closing shots of John Ford's The Searchers. In a previous podcast, Mazer and I had our doubts about Washington's physicality, but I completely bought him in this role and I thought he did a pretty great job with what he was given. Gary Oldman was entertaining (as always) in a villainous role reminiscent of Gene Hackman's in Eastwood's Unforgiven: he had a cheesy character, but restrained himself from going completely over-the-top with his performance. Mila Kunis seemed a bit out of her league, but I thought she did a fine job with a semi-annoying character. The only way she's going to grow professionally is by working with superior actors, so I think this is a necessary step forward for her and her performance certainly wasn't enough to curb my enjoyment of the movie.

If I had to pick one aspect of this film I enjoyed the most, it would be the camera work. The Hughes Brothers allow their camera to hover; they're content to capture something in a single shot that other directors and editors would have chopped into ten or twelve shots. In a post-Bourne world, I always find that refreshing. The opening ten or fifteen minutes (and I realize this is high praise, but I'm going to say it anyway) reminded me of Paul Thomas Anderson's There Will Be Blood, mixed with Francis Lawrence's I Am Legend. The way the film unfolds with almost no dialogue in those first few minutes, instead relying completely on the visuals and ambient audio to introduce us to their burnt-out world, set a tone that I wish the rest of the film could have retained. (Fear not, film snobs - the comparisons to PTA stop there.)

There are other visual flashes of brilliance as well. I'm thinking specifically of the final standoff sequence, where the camera moves around (aided by post-production work) and through the walls and windows of the dilapidated house where Eli and Solara try to fend off Carnegie and his thugs. I'm not sure if it was necessary to tell the story, but it looked pretty freaking cool. It was definitely one of the highlights of the movie for me.

I said before this is one of the ballsiest movies I've seen in a long time. The reason for that is because of how open the film is about its treatment of religion. Normally a taboo subject in mainstream film (at least these days), a movie that takes any stance at all in regards to religion is sure to earn my respect. Sure, the movie is very "Hollywood" - it's slick, not terribly deep, features huge movie stars, and is pretty on-the-nose with its messages. But the one thing that this movie is not? Safe. The Hughes Brothers took a risk here, and I think their gamble deserves to be rewarded. Even if you find yourself among those who don't share Eli's beliefs in the movie, perhaps it'll be enough to get a conversation started - and I think that's all the brothers Hughes were aiming for. I appreciated the element of Gary Whitta's script that suggested perhaps the book that Eli is carrying was ultimately responsible for the apocalypse, and thought that was a nice touch that allows for some alternate readings of the film instead of just a pro-Christian viewpoint. Annaleen has a great piece over at io9 that examines comparisons between The Book of Eli and the cult-classic Zardoz (a connection that is pretty obvious if you've seen the latter), so I'd suggest checking that out for another perspective on the flick.

I'm not going to give away the ludicrous twist near the end, but I will say that it's enough to make me want to go back and watch this movie again. It makes almost no sense based on what we've seen prior, but presents an interesting question: is Eli the receiver of divine intervention or borderline superpowers? Or, perhaps, are they one and the same?

Is The Book of Eli worth seeing in a theater? I'd say go for it. I enjoyed the movie on multiple levels: I thought the action was outstanding, the messages were interesting (since you don't see them handled this way very often in today's movies), the Road Warrior/western mashup was an entertaining landscape, and the cinematography was refreshing and fun to watch. Until next time...

My Favorites of the 2000's: 2009

The Brothers Bloom: Rian Johnson's second film is populated with superb acting, phenomenal writing, and a story that features multiple layers. A con movie with heart, this is not to be missed.

Drag Me To Hell: Sam Raimi's return to horror could also be hailed as a return to comedy - the gross-out moments are far funnier than they are scary. That said, this was the most intense theatrical experience I've ever had. Thanks to Raimi's decision to ramp up the volume at the "jump scare" moments, this movie almost literally shocked me out of my seat several times, and the tension involved (even in ridiculous scenarios) is top notch.

Avatar: While it certainly wasn't the perfect film some make it out to be, this was the "Event Movie" of the decade and it more than lived up to its insane reputation. James Cameron's return to feature length fiction was something to behold, especially in IMAX 3D. The legendary director sure hasn't forgotten any aspects of filmmaking in the twelve years we waited to see this movie, and now that the tech behind it is already in place, expect at least one Avatar sequel in the next three or so years.

(500) Days of Summer: Joseph Gordon-Levitt delivers more solid work in this picture, and I'm glad the guy is getting a little more high profile roles these days. The script was funny, heartbreaking, and real - that's more than can be said about almost any other film this year. Music video director Marc Webb made a great debut and I'm definitely looking forward to seeing his next project.

Star Trek: The ensemble cast took the world by storm, especially Chris Pine as James T. Kirk. The story of how the Enterprise gained its most famous crew was in good hands with J.J. Abrams, who, in only his second feature film, created a clearly defined universe filled with humor, action, romance, and - most importantly - fun. This was a blast, and (again, unusual for me to say) I'm really looking forward to the sequel.

Up In The Air: Jason Reitman's third film features George Clooney in one of his best performances. You can read my review here, but suffice it to say that I really enjoyed this movie.

District 9: One of the most original sci-fi movies I've seen in years, Neill Blomkamp's directorial debut (man, there are a lot of directorial debuts in my selections!) announced his presence in a big way. This guy has a bright future ahead of him, and District 9 proves his ability to work well with both actors and CGI.

Ong-Bak 2: The Beginning: Tony Jaa's masterpiece, this is the best action movie (of any kind, mind you) that I've ever seen. The bone-crunching martial arts on display are absolutely dazzling, and there are scenes in this movie (ex: two guys fighting ON TOP OF A LIVE ELEPHANT) that you'll probably never see in film again.

Inglourious Basterds: Tarantino's best film so far, this revisionist WWII story is expertly told by a man who truly loves cinema and translates that love into a palpable enjoyment on screen. This may well win the Best Picture of 2009.

Likely to see on everyone else's "Best Of" lists: The Hangover, Moon, The Hurt Locker, In The Loop, Where The Wild Things Are

My Favorites of the 2000's: 2008

Rambo: Stallone's return to his iconic character of John Rambo remains the most brutal film I've ever seen in a theater. His commentary on the atrocities in some third world countries may be a bit heavy-handed, but you've gotta admit: the dude can shoot an action movie. The final 40 minutes or so features Rambo mowing people down with a .50 caliber machine gun, so you can imagine what kind of mayhem you're in for if you missed this one last year and plan on checking it out.

Speed Racer: Another unpopular choice, but this is definitely one I'll defend until I die. The Wachowski's succeeded in creating a fun kid's movie that is almost as enjoyable as playing Mario Kart on the Nintendo 64. I'll admit the story was cheesy (that was the point!), and the kid and his monkey were almost enough to kick this movie from the list, but the madcap races reminiscent of old Penelope Pitstop cartoons were enough to keep my attention and keep a smile on my face. The visuals were insane in this movie, and I loved almost every minute of it.

Cloverfield: Not quite my favorite movie of the year, but this one came out of nowhere and surprised the hell out of me by actually turning out to be a great film. The monster movie genre is a bit old and worn out, but J.J. Abrams and director Matt Reeves breathed new life into it with their allegory of September 11th masked in a story of a destructive creature who tears New York City apart. The main reason why this movie worked? The characters. Hmm...maybe Hollywood should catch on to this pattern for their next big budget spectacle.

The Fall: This is another one you might not have seen, but since it's on this list, you'll rightly assume that I'd recommend checking it out. A whimsical story of adventure told featuring a "story within a story" structure, Tarsem's follow-up to The Cell is much more visually striking and emotionally satisfying. This movie conjures images of strange lands and wild and weird fairy tales, shot in 20 countries over four years. The characters are likable, the story is well-written, and the costume design (something I almost never mention) will blow your mind.

Slumdog Millionaire: Like 2003's City of God, this movie swept me into a world I'd never seen and I loved every second of it. The writing is freaking brilliant: the main character Jamal is playing Who Wants To Be A Millionaire and each time he answers a question, the film flashes back to the point in his life when he learned the answer. Powerful, visually arresting, and extraordinarily directed by Danny Boyle, Slumdog Millionaire had me reeling for weeks after I saw it. This is a fairy tale love story of the best kind.

In Bruges: Colin Farrell delivers the best performance of his career in this black comedy/action thriller set in Bruges, Belgium. One of the most original movies I've ever seen, I really hope writer/director Martin McDonagh gets behind the camera again soon. This movie almost defies explanation, so I'd urge you to see it for yourself if you haven't had the chance.

Iron Man: Talk about coming out of nowhere. Jon Favreau made the most seamless transition I've ever seen from indie to huge budget movies, and did it with style and class. Iron Man caught almost everyone by surprise, and ushered in the Era of Downey. Perfectly capturing the tone and essence of the comics, this movie was one of the few origin stories that didn't seem like they were simply going through the motions because they were required to. The story was fun, the characters felt like real people, and the all-star cast was clearly having a great time making the movie. It's hard to define that kind of feeling on a set, but it certainly translated into a fantastic final product for the rest of us to enjoy. And, while I'm usually wary of sequels, I'm excited about this one.

The Dark Knight: Like almost everyone else, I'd put this at my favorite movie of the year. You all know the drill - Heath was awe-inspiring, Bale's Bat-voice was the only real flaw, and Nolan freaking dominates. This is one of those movies where if I catch a few minutes of it on TV, I have to finish the whole thing. And you know what? I'm never disappointed. The only real crime is that Aaron Eckhart gets so little credit for his portrayal of Harvey Dent, which I legitimately think was award-worthy.

Likely to see on other people's "Best Of" lists: Vicky Cristina Barcelona, Tropic Thunder, Frost/Nixon, Milk, The Wrestler, The Curious Case of Benjamin Button, Hellboy II: The Golden Army

My Favorites of the 2000's: 2007

Wristcutters: A Love Story: My favorite film of the year. This is criminally overlooked by the critical community and the occasional moviegoer alike, and it's a crying shame. Featuring a brilliant script by Goran Dukic (he directed as well), along with pitch-perfect performances from Patrick Fugit and Shannyn Sossamon, this movie deals with some heavy material but is ultimately uplifting. I hesitate to use the word "transcendent," but that's how this movie made me feel. I can't recommend it highly enough.

Gone Baby Gone: Ben Affleck's directorial debut was startlingly good, a moody detective story about the kidnapping of a young girl in Boston. Based on the book by "Mystic River" author Dennis Lehane, Affleck creates a unique atmosphere and urges solid work from his younger brother Casey, who plays the lead role. Supporting work from Morgan Freeman, Ed Harris, Amy Adams, and Michelle Monaghan make this one unforgettable in my eyes. It's not the easiest movie to watch, but I think it's a great film.

3:10 to Yuma: Russell Crowe and Christian Bale are upstaged by Ben Foster, who plays one of the best crazed henchmen in recent memory. Director James Mangold crafts a successful western, one that recalls the genre classic High Noon and racks up the tension thanks to an excellent script. Even though Ben Foster's Charlie Prince is the most memorable character, Crowe and Bale put on an acting clinic: reserved and contemplative at the same time, the two actors never try to outdo each other and they are both fascinating to watch in this film.

The King of Kong: A Fistful of Quarters: One of my favorite documentaries, The King of Kong follows a middle school science teacher as he faces off against one of the most memorable nonfiction villains in recent memory: Billy Mitchell, the Donkey Kong world record holder. This is an incredibly entertaining movie even for those who haven't ever played Donkey Kong. If you have even a slight interest in video games and the subculture surrounding their players, this is the doc for you.

No Country For Old Men: The Coen's bleak take on the western genre features enough nihilism for the biggest cynic out there, but Javier Bardem's work as the terrifying Anton Chigurh and Tommy Lee Jones' turn as the one-step-behind Texas sheriff makes this worth watching. The film won Best Picture at the Academy Awards, so I'm obviously not the only one who dug it. The ending may have been unsatisfying to some, but in retrospect it was a stroke of brilliance by the immensely talented Brothers Coen.

There Will Be Blood: Paul Thomas Anderson tackles religion and capitalism in his epic period drama. Nothing more needs to be said about how amazing Daniel Day-Lewis was as Daniel Plainview, and I was psyched when "I'll Drink Your Milkshake" fever swept the nation, albeit for a brief time. I've still only seen this movie once, but even with that one viewing I know it's one of my favorites of 2007. I plan on seeing it again soon to try and decipher some of the more complex messages Anderson embedded, and I'd recommend a second viewing even if you didn't like it the first time around.

The Bourne Ultimatum: I was so disappointed when I heard that Hollywood was interested in a fourth Bourne film, because I think this one is a perfect capstone to a pretty excellent trilogy. Damon embodies the character with just the right amount of emotional distress, and is completely believable in fight scene after fight scene. Paul Greengrass dialed the shaky cam down a little from The Bourne Supremacy (which I disliked because of the nausea induced by the aforementioned camera style) and really let the story take the reins in this installment of the franchise. This was one of the best sequels in a year littered with big screen sequels, and I'm honestly hoping that we never see a Bourne 4 hit theaters.

Likely to see on other people's "Best Of" lists: Juno, American Gangster, I Am Legend, Atonement, Eastern Promises, Rescue Dawn, Sunshine