Mr. Nobody (2009)

Mr. Nobody is the surrealistic tale of a man known as Nemo Nobody.  Some time in the distant future, the one hundred and eighteen year old Nemo is now the last living mortal on Earth. (humans having discovered medical immortality)  A reporter secretly finds his way into his hospital room in order to interview him and find out the details of his life.  Nemo tells the story of his three distinct lives, insisting that they all happened.  We witness the different ways his life unfolds with Elise, Anna, and Jean, each of whom were married to him.  As the stories play out in jumbled bits and pieces, things slowly become stranger and stranger.  Finally, we are led to a final explanation that makes everything, impossible as it is, make sense.
Mr. Nobody is, at its heart, an experimental art film.  This is evidenced by the number of awards it won on the European film festival circuit, and the lack of attention it received in North America.  The visuals of the film echo other similar works such as Terry Gilliam's Brazil, or the dreamlike works of David Lynch.  This dreamlike quality even carries into the camera work itself.  Some scenes are prone to shift in and out of focus, or to run in reverse, reinforcing the confused nature of the narrative.
The narrative itself is good, but also frustrating for those who expect a traditional story.  At about the midway point, I found my attention wandering.  This was simply because of the slow paced and confusing nature of the story.  There is no way to tell what is truth or fiction, and because of this, I found it incredibly difficult to become emotionally invested in any character.  This is not to say that the cast doesn't deliver a solid performance, however.  Jared Leto does quite well with such a challenging role.  This is helped by a top rate makeup department, who provided some of the most captivating, realistic looking age makeup I've seen in some time.  My only true criticism is that Nemo appears to magically lose his British accent when he becomes an adult, though the plot does have a built in excuse for any inconsistencies.  Of the three wives in the film, Sarah Polley delivers a frighteningly believable performance as a woman suffering from an extreme form of bipolar disorder.  Acting-wise, I think Polley's scenes are some of the best in the entire film.
As the film descends into more dreamlike surrealism, the intent of the film as an art piece becomes much more clear.  These sequences are the most visually interesting, and a welcome change of pace from the rest of the film.  I found the final revelation of the film quite satisfying, but I can completely understand how it might leave many viewers frustrated.  As I said at the beginning of this review, Mr. Nobody is an experimental film about memory and choices.  On that conceptual level, it works remarkably well.  Unfortunately, in the terms of a traditional narrative, it's incredibly difficult to like or care about the characters.  So, if you choose to see Mr. Nobody, it's important to go in with the right expectations, or else you're going to be sorely disappointed.  If you're a fan of the unusual in film, or like to challenge yourself with your media, this will be right up your alley.  If you prefer your stories to have a proper beginning, middle, and end, this probably isn't for you.

Read This! - Thief of Thieves (Vol. 1)

Read This! is made possible by The Gauntlet Comics and Games

Thief of Thieves, published by Image Comics, tells the story of one Conrad Paulson, aka Redmond, a master thief on the FBI's most wanted list.  Interestingly enough, Redmond has decided to get out of the game.  While we see various flashbacks of his old life, we discover that Redmond's son Augustus is in prison.  In order to get him free, Redmond works out a deal with Elizabeth Cohen, one of the FBI agents assigned to track him down.  He agrees to do one last job, and assembles a team to rob one of the biggest players in his business.  Things don't go quite as planned on either side, and Redmond is left to make some serious decisions about his future.
Creator Robert Kirkman, best known for The Walking Dead, shows with this book that he can do more than capes and zombies.  Thief of Thieves contains a number of familiar character types and situations, but there are enough surprises to keep things interesting.  Writer Nick Spencer delivers appropriately hard-boiled dialogue and narration, along with some memorable action scenes.  The art style of Shawn Martinbrough matches the tone of the book very well.  The thick ink lines bring to mind newspaper detective comics of old.  One of the things I found most interesting about this book was the panel structure, which one could say is the cinematography of comics.  The majority of panels are full-page width (widescreen for comics, in other words), mixed with a handful of full-page splash panels that enhance the dramatic effect of key story moments.
Thief of Thieves seems tailor-made for an episodic medium like television, which is likely why it's currently in development with AMC.  If the success of The Walking Dead is any indication, Thief of Thieves could be the next big thing, so now's a great time to discover the original material for yourself!

The Phantom of the Opera (1925)

First, a few words about silent films:
Considering the advances in film technology over the past century or so, it can be difficult to appreciate the simpler form of silent film.  I find it helps to remember the context of the time period.  Back in the 1920s, the art of film was in its infancy.  Directors had no true idea what would work for any given audience, and so films were made to appeal to the broadest audience possible.  In addition, film was able to transport audiences and give them experiences that were simply not possible with other mediums like books.  This means that by today's standards, silent films often have shots that seem to linger far too long, or performers who appear to be constantly overacting with their facial expressions.  However, if you can look past these things, and allow yourself to be absorbed with the story, you may begin to discover some of the foundations of great filmmaking.  As 2011's The Artist taught us, there was a reason motion pictures became popular, even without the use of sound.

The Phantom of the Opera, based on the classic novel by Gaston Leroux, concerns a mysterious patron of the Paris Opera House.  He begins to make strange demands of the casting of the operas, and things take a sinister turn when his demands are not met, and people end up dead.  Many believe the opera house is cursed or haunted, but these mysterious happenings are the work of a man known only as 'the Phantom' (Lon Chaney).  He takes a special interest in the singer Christine Daae (Mary Philbin), and lures her into his lair underneath the opera house.  There, she discovers that the Phantom wants to have her star in an opera he has composed.  However, she also makes the discovery that he is hideously deformed.  The Phantom allows her to leave one last time, but only on the condition she leaves her lover, the Vicomte  Raoul De Chagny (Norman Kerry).  Christine refuses his demands, and as a result is kidnapped and held hostage by the Phantom.  What follows is a daring rescue mission organized by Raoul along with the French police and opera staff to stop the Phantom's plans before he destroys the opera house.
This film makes great use of large sets, giving the story an appropriately grand feeling.  The costuming is also excellent, particularly in the masked ball scene.  You get a true feel of the decadence of the era shown onscreen.
Unlike the more sentimental Andrew Lloyd Webber version, this film pulls no punches concerning the grotesque nature of the Phantom.  In fact, Mary Philbin's Christine appears to be thoroughly horrified by the Phantom even before his unmasking.  The makeup is, of course, one of the biggest talking points of this film.  While he went uncredited for it, it is now accepted knowledge that Lon Chaney created his own makeup for this film.  The skull-like face is still considered one of the most accurate depictions of the Phantom as described in the book.
One of the most important legacies of The Phantom of the Opera lies with its star, Lon Chaney.  He would go on to earn the nickname 'the man of a thousand faces' for his groundbreaking work and performances with makeup.  In later years his son, Lon Chaney Jr., would bring to life such classic horror characters as the wolfman.  In addition, this film was the beginning of what would become known as the 'Universal Monsters' franchise, one of the most enduring and historically important collections of horror films today.  It's unsure if Universal will return to the Paris opera house anytime soon, but with the relaunch of the franchise in the near future, it's quite possible we'll see a new generation's Lon Chaney on screen soon enough.  

Chicago (2002)

"In this town, murder's a form of entertainment," says Matron 'Mama' Morton (Queen Latifah) early on in Chicago.  This is a very precise description of the story told in this film.
Set in 1920s Chicago, we are told the story of Roxie Hart (Renee Zelwegger), an aspiring vaudeville actress who accidentally kills a man who promised her fame and fortune.  She's sent to prison where she meets Velma Kelly (Catherine Zeta-Jones).  Her story is similar, except she's a legitimate vaudeville star, and did the deed on purpose.  Realizing the she's on death row and time is short, Roxie enlists the help of lawyer Billy Flynn (Richard Gere), who will represent anyone for the right price.  As it turns out, Flynn is also defending Velma in court at the same time.  What follows is a dramatic, and often dishonest, battle for fame in the Chicago courtrooms told in the tradition of vaudeville song and dance.
Along with other films like Moulin Rouge, Chicago is responsible for reigniting an interest in musical films.  It also did remarkably well at the 2003 Academy Awards, winning best picture over more serious films like Gangs of New York.
Chicago has an interesting premise, in that the internal dialogue of the characters is told in song and dance.  Vaudeville is central to the plot, and the film uses all the facets of the prohibition-era entertainment to great effect.  Over the course of the film, we see everything from tap-dancing to comedy to ventriloquism.  There's seldom a moment without an accompanying song.
As well as the music, the film borrows some techniques from vaudeville as well.  In place of more high-tech methods, the film makes use of traditional theatrical effects like mirrors, well-placed lighting, and even the use of scarves to simulate blood in one number.  It all works very well together to give the audience the feeling that they're front-row center at a Broadway production.
The cast are all accomplished in acting as well as song and dance.  Some of the choreography Zelwegger and Zeta-Jones perform on top of the acting itself is very impressive.  This film is also enhanced by a top-notch supporting cast.  I particularly liked John C. Reilly as Roxie's husband Amos, a pathetically sad man who has no understanding of what's really happening with Roxie.
As well put together as the film is, I personally found a felt a little let down in the plot department.  There are several potentially interesting plot threads that were left completely unexplored in favour of more musical numbers.  In addition, I felt the ending of the film was essentially the lead-in to an elaborate closing song and dance number.  I was left wanting some more definitive answers about what happened next, but was left to imagine an ending while the credits rolled.
Despite its few shortcomings, I do think Chicago is a good film.  What it lacks in substance, it makes up for in spectacle.  While the musical style may not be for everyone, it has something for just about everyone else.  It's fun and exciting, and captures all the elements of the prohibition era.

Snowpiercer (2013)

Snowpiercer takes place in the not-too-distant future, in a world where attempts to stop global warming have gone horribly wrong, and the Earth as we know it has been frozen solid.  What remains of humanity has been left to circle the globe (for generations) on a gargantuan train named Snowpiercer.  In the time the the train has been in operation, the system of government has become corrupt and murderous.  While passengers in the rear of the train are beaten and served slabs of black gelatin, the elite people towards the front are treated to the luxuries of steam baths and sushi. When low-class citizens Curtis (Chris Evans) and his friend Edgar (Jamie Bell) decide they've seen enough, they organize a revolutionary group to get to the front of the train in order to confront Wilford (Ed Harris), the mysterious figurehead and operator of Snowpiercer.  Along the way, they encounter both political and physical resistance, until they are finally faced with the monstrous realities of how the train operates, as well as being faced with an impossible choice that affects all the lives on board.
The production design of Snowpiercer is brilliant from top to bottom.  It makes great use of the techno-industrial ghetto aesthetic used in such films as the Matrix and Alien franchises.  Almost immediately, the film gives you a very clear sense of place.  This feeling also serves to reinforce the ideals of the characters.  We understand why they want out of the place they're in because we're shown how awful it is.
Equally important to this theming is the costume design.  The uniforms of the train guards call to mind soldiers of Nazi Germany.  Train overseer Mason (Tilda Swinton), on the other hand, wears clothing that would have been highly fashionable in the 1980s.  John Hurt's Gilliam wears patched, sooty clothing, concealing his artificial limbs, which are themselves cobbled together from canes and various scrap metal.  These costume choices are not only wonderfully made, but they solidify the idea of the class system, which is a key theme of the film.
Snowpiercer is just as well made behind the camera.  Director Joon-ho Bong (credited as Bong Joon Ho) brings a totally unique combination of techniques to this film.  Both the camera work and lighting seem to magnify the emotion of the actors, which makes the story all the more thrilling.
The acting is brilliant across the board.  Chris Evans is a picture of grim determination, in a performance which only gets more intense as we approach the ending.  Tilda Swinton displays a bureaucratic tyranny that might remind one of Margaret Thatcher's iron-clad vision for England in her time as Prime Minister.  While John Hurt's role has less screen time, he plays it with a depth and believability that is unmatched.  Also of note is Kang-ho Song as Namgoong Nimsoo, the drug addicted security expert who is drafted to get Curtis' team to the front of the train.
I was somewhat surprised at the amount of violence in Snowpiercer, but I found that it was well handled, if slightly graphic.  This approach to violence works in much the same way it does in Quentin Tarantino's Kill Bill.  The violence serves to drive the plot forward, as well as reinforce the grander themes in play.
Snowpiercer is a film with many faces.  You can watch it as a thoughtful art film, or simply as a great piece of sci-fi action.  It's thrilling in its originality, and in my opinion, it is one of the most smartest sci-fi films made in the past decade.  If you haven't seen it yet, do yourself a favour and check it out today!