There’s a more than satisfactory amount of boom-boom in the movie’s trim running time.
Omer M. Mozaffar teaches at Loyola University Chicago, where he is the Muslim Chaplain, teaching courses in Theology and Literature. He has given thousands of talks on Islam since 9/11. He is also a Hollywood Technical Consultant for productions on matters related to Islam, Arabs, South Asians.
In 2009, Roger Ebert named him as one of his “Far Flung Correspondents.” In 2011, the Graham School of the University of Chicago honored him with an “Excellence in Teaching Award” in Humanities, Arts and Sciences. He is a lifelong Chicagoan, involving himself in various educational, social service and charitable projects.
There are a few spoilers here. Because I am mentioning that there are spoilers, I am implying that there are things you do not want to know in advance, thus making you curious, thus lifting your expectations higher than they should be, thus making it harder for you to enjoy the film. So, enter at your own risk.
Occasionally I receive a paper from a student that is so outstanding in content and ideas, that in grading it I am compelled to overlook the shortcomings in argument, style and polish. Such is my experience with Christopher Nolan's "Inception." This movie is very ambitious, not only in the ideas it explores, but also in the expectations it has of its audience. In my estimation, having watched the film on a giant screen with a packed theater of cheering, laughing, and groaning moviegoers at a popular suburban multiplex, it fulfills its ambitions of big-budget intelligent storytelling.
I have a friend who walked out of THERE WILL BE BLOOD during that baptism scene, when Daniel Day-Lewis exclaimed, "I've abandoned my child!" My friend was just divorced, lost custody of his children, and was tormented with the remorse that follows these things. As Daniel Day-Lewis shouted, my friend almost needed to cover his ears. He returned to his seat shortly afterwards, but needed that moment to collect himself.
I have another friend who was molested by a family friend. She refuses therapy, but she attributes multiple aspects of her personality, that she herself identifies as disorders - social ineptitude, sexual dysfunction and confusion, chronic despair - to that period of molestation. When she watched MYSTIC RIVER, a movie speaking of the physical and psychological abuse of children and the long term consequences on their hearts and minds, she found herself painfully revisiting those experiences, but not where we might expect.
After commenting on George Clooney as Hollywood star, and as star of the very excellent Jason Reitman film UP IN THE AIR, I decided to shift attention to a similar figure in Bollywood cinema: Aamir Khan. Aamir Khan is the star of the most successful Bollywood movie in history, the comedy THREE IDIOTS. Like Clooney (and perhaps Redford before him) he uses his star power to make serious movies, with the most famous being LAGAAN. Here, in MANGAL PANDEY: THE RISING we look at this story of one of the respected heroes of Indian cultural memory.
On the surface, the film continues the popular David vs. Goliath anti-imperialist genre we find in such films as THE TEN COMMANDMENTS, KING OF KINGS, LION OF THE DESERT, THE BATTLE FOR ALGIERS, some revisionist westerns like THE OUTLAW JOSEY WALES, the TV miniseries MASADA, BRAVEHEART,
I always look forward to George Clooney's movies. I have to admit, however, that in most movies, he seems to be playing "the George Clooney version of X" or some sort of anti-George-Clooney, who is still that astonishingly handsome man, though weak, withered, and flawed. Perhaps the exception is Syriana, where he is hidden behind whiskers and adipose.
So, even though I greatly appreciated Jason Reitman's previous films, this film - Up in the Air - was going to be another George Clooney celebration. Then, I saw the movie. Jason Reitman stole the show.
Up in the Air is a richly textured movie that invokes a spectrum of our prime emotions. It is a sharp, biting, mirror on society, observing the role that our professions take in defining our lives. When we speak romantically of the American Dream, we speak often of the ability to choose your profession, to choose your destiny. We are taught that you are
After following the discussions of my review of "Avatar," I decided to revisit a movie I so thoroughly enjoyed in my younger days. If you have not yet seen it, I hope you soon get the chance to watch "The Five Deadly Venoms," directed by one of the great Martial Arts directors, Chang Cheh (1978). And, tell me what you think of it.
"The Five Deadly Venoms" has an interesting premise: A teacher has trained a team of five martial arts fighters, each in a specific deadly martial arts style -- centipede (striking at high speeds), snake (able to strike while lying on the ground), scorpion (with powerful kicks), lizard (able to scurry along walls), and toad (thick skinned). Which of these five styles most resembles you? I, obviously, am most like the toad.
This movie has now taken on a new life for me, appealing in a different way than in the past.
I was born in Karachi, Pakistan, at a very young age. My beloved parents rode the huge wave that was the South Asian diaspora, landing here in Chicagoland, where I've been ever since. Thus, like many of my peers, I've been in a state of constant exile.
On the South Side of Chicago, I'm a Pakistani. In the rest of Chicago, I'm a Southsider. In the rest of America, I'm a Chicagoan. In the rest of the world, I'm an American. That is today's "normal," isn't it? We are simultaneously, unintentionally local and global. Still, the most comfortable spot for me is a center seat in the anonymous darkness of a crowded theater on the opening night of a movie. If you are reading this note on Roger Ebert's blog, then perhaps you feel the same way.