Free Zone *

This movie begins with about 10 minutes of a single shot – a close-up of Natalie Portman crying.The camera doesn’t move and nothing happens for 10 minutes except Natalie Portman cries. I have no idea what the purpose of this was and we never really find out why she was crying, and the movie only goes downhill from here.The only thing you really gain from this movie is Natalie Portman=Good Crier.

There are a number of strange film techniques the director (Amos Gitai)uses to create such an abysmal affect on the audience. Throughout the film she overlaps three scenes on top of one another with different degrees of transparency, so it’s like watching a kaleidoscope. I might have even cut her a little slack on this, but they actually use the same shot of driving through Jordan twice throughout the movie. The plot line seems to be almost something of a joke set-up – an American, an Israeli and a Palestinian go on a road trip…. This could have been a good set-up for something meaningful, but instead it ends up with two ladies (the Palestinian and the Israeli) bickering over money until the American finally runs away. There is no resolution in the film, but when the American runs away you feel happy because at least it’s over. The actresses all give fine performances, there’s just nothing in this script worth seeing.

North Country *****

And the Oscar race has begun. North Country is by far the best film I have seen this year. Charlize Theron delivers another monster performance that will surely net her another best actress nomination, if not another Oscar. Woody Harrelson also gives a surprisingly inspired performance, not that we didn't know he could - but where has he been lately? Really a stellar cast all around with Sean Bean, Frances McDormand, Richard Jenkins, and Sissy Spacek delivering not performances, but real people. The movie makes us a part of an important and powerful story in the hands of the very capable director Niki Caro (who directed Whale Rider, which I can't possibly rave about enough).

The film is based on the true story of the first successful sexual harassment class action lawsuit in the US. It is the case that set the legal precedent for sexual harassment protections women all across America now have. But the film merely uses this story as an outline, the many relationships make the film so poignant. It reminds us that this is not just an important court case, but peoples lives. The film reminded me a lot of the Accused with Jodi Foster. Although North Country deals with very violent elements, they are never thrust upon you like in Monster. It's not so much graphic as emotional, it resonates with you because of the pain you see in the peoples eyes - you don't actually have to see the acts themselves to understand. While there is violence, it's just done in a way that is more jarring emotionally than shocking.

Through all of the hardships and the violence, in a way I suppose this film is still a coming of age type discovery. Not of the shocking hardships of reality, but a discovery of the inner resolve and courage that Josie (Charlize Theron) and all the characters in the film who stood up and spoke out had all along. Josie also faces many of her demons and in a way heals not only her relationship with her parents, but learns to accept herself. There are many points in the film where you nearly want to cheer and most of those lines are delivered by Woody Harrelson, and probably are a little schmaltzy but the delivery transcended the material. Each character in the film is fully fleshed out and has their own story, that you may only get a few glimpses of but it just feels as if nothing is thrown away in this movie, everything packs a punch. It's really just well done. Don't miss this one.

Lord of War- ***1/2

I’ve never cared much for Andrew Niccol. His earlier films Gattaca and The Truman Show (which suffered from the same problems even though he didn't direct it) and were interesting ideas, but I could never care too much about them. They were too cold and aloof when they should've been involving the audience. Lord of War shows a strong improvement over these earlier films, and whiel it still falters here and there, it's interesting to see a director coming into his own.

Nicolas Cage plays Yuri Orlov, the oldest son of Ukrainian immigrants. After witnessing a mob hit gone wrong, he begins to fall in love with guns. He starts small time, dealing Uzis to local hoods, and slowly works his way up the food chain until he’s selling stolen Russian surplus to dictators like Andre Baptiste. This comes at a price, though. Not only is Agent Jack Valentine (Ethan Hawke) trying to close in on Yuri, but his relationships in his life, particularly with his brother Vitaly (Jared Leto) and wife (Bridget Moynahan).

The only real misstep the movie makes is the wife, Ava. The movie doesn’t seem as interested in developing their relationship (which is surprising, because the relationship with his family members is understated, yet surprisingly compelling), so when the marriage begins to break down, you find yourself just wishing they’d get back to the guns. I was reminded of 2001’s Blow, which had the same problem. It’s just an unnecessary distraction. Bridget Moynahan comes off like an Ashley Judd, filling the space well, but giving nothing to the film. I wonder if, like Blow, the entire relationship would’ve benefited from the casting of a better actress.

On the other hand, the rest of the plot is served well by Niccol’s style. Yuri’s character is entirely defined by his guns, and watching him only develop as far as his business keeps his character unlikable, yet compelling. The story is also not as gimmicky as Niccol’s earlier work, and the few gimmicks he uses work, such as the entire story is told by Yuri as he stands on a pile of bullets, watching a small town burn. The only cheesy one is in the opening credits, as we follow a computer-animated bullet’s journey from the factory to the head of an African boy.

Nicolas Cage is pretty much Nicolas Cage, but his toned-down, almost empty, performance works. He’s sometimes more of a salesman than an actor, and this serves the movie well. Equally as good is Jared Leto, who gets better with each passing movie, and the relationship between the two brothers is completely involving. Their relationship may be written as uninvolvingly as the relationship between Yuri and Ava, but Cage and Leto have a chemistry that brings it all together. Even Yuri’s parents, who are barely onscreen, contribute a decent dose of humanity with their few appearances. Ethan Hawke is pretty much Ethan Hawke, but his cocky smarm works for Agent Valentine, who is just as unlikable in his obsession as Yuri. Ian Holm gives a great supporting performance as a rival arms dealer, and Eamonn Walker is outstanding as the African dictator Andre Baptiste. Both performances exude a menace that lays over the film, and reminds us what we’re really dealing with.

Niccol does well to not let the film devolve into an Ocean’s 11-style likable-thief movie. Keeping Yuri in the middle and surrounding him with the opposite sides of the moral spectrum makes the movie work, and makes the audience have to seriously consider what they’re watching. Even with the wife subplot, Niccol has a control of his film that he lacked in the past and he’s almost made the story fit his style entirely. I used to dislike him, but after Lord of War, I’m very interested to see what he does next.