Obsession by Beaupre.

What am I currently obsessing over? Simple:

Across the Universe: 2-Disc Deluxe Edition.

John Cusack.

Robert Downey Jr.

'Two and a Half Men' reruns.

'Friends' reruns.

'Alias'.

Hostel: Part II

3.5/10.

As someone who firmly believes that the original Hostel is the best straight-up horror picture in decades, it's pretty safe to say that I was massively disappointed by Part II. It's nothing more than a prime example of what I've deemed 'The Tarantino Effect'. I use this term to describe what happened to Quentin Tarantino back in the early 90s and it applies even better to what's happened to Eli Roth. A surprise hit takes on a cult following (QT's Reservoir Dogs, Roth's Hostel) and achieves massive success, so the director decides to make more money by creating the same exact thing again but they add more hip scenes/dialogue or more gore and outrageous situations thinking the fans will love it. But in doing so they lose their original zest, the element that created a big fan of their first work out of me (this applies only to Roth, since I'm not a fan of any of Tarantino's work). The term certainly has an extra sting when applied to Roth, though, since Quentin was the executive producer on both Hostel and Hostel: Part II.

Some call the original Hostel nothing more than 'torture porn', a phrase that the film itself originated and has been used constantly since then (or they just call it Eurotrip with gore). I however, felt it was much more than that. It's a film based in it's characters; Roth added a lot of depth and development to them (primarily Paxton) and gave a huge arch at the end. He made me care for these characters and actually grimace when the horrible tortures were being performed upon them. I wanted them to escape, I wanted them to get vengeance and when Paxton finally exacts his revenge I cheered my head off. For the first time in years I actually reacted strongly to a horror film and found myself completely involved in the story and journey that it's characters took. I heard a quote recently stating that 'Hostel did for backpacking what Jaws did for going to the beach.' Personally, I find that to be true and then some. The fact that I'm a child of the 90s and Jaws was already quite dated probably had a lot to do with it, but I could watch that film a dozen times and be perfectly fine taking a swim in the deep waters. Hostel chilled me to my core. From the creepiness of the citizens to the actualy torture/killing company, it ensured that I will never go backpacking in Europe as long as I live.

Hostel: Part II completely destroys any kind of love I held for the first one. Roth created exactly what everyone said he was good for; a mere piece of 'torture porn' though it doesn't even deserve that degrading title. It's a pile of utter filth in every sense of the word. I couldn't muster up any kind of concern or sympathy for these characters as I just sat idly by and watched them get tortured and placed in very dangerous situations that I had absolutely no interest in. It comes off as nothing more than a fetish picture of Roth getting his sick twist from seeing what kind of torture scenes he can create to gross out the audience the most and it's simply pathetic. It's an insult to all of those who fell in love with the first one. To those who knew it was more than just 'torture porn' and actually cared for Paxton and found so much satisfaction when he exacted the revenge that we so desperately needed at the end of the first film.

Part II's story actually starts off in a very interesting place. We see what has become of our triumphant escapee (the role reprised by Jay Hernandez) from the first feature and the result isn't so pleasant, as you could imagine from escaping a place like that. He's become a paranoid wreck who's constantly waking up screaming from horrific nightmares; we get to see one of these very graphic and haunting dreams as the film's opening scene. Soon it's made clear that he had good reason to be paranoid and with the only interesting segment of the film over, we fly across the globe to see three girls getting ready to take a vacation. I wonder where they'll end up. Quickly, I realized that the best part of Hostel: Part II had come and gone. The first ten minutes picked up the interesting character study of Paxton, but that is quickly ended. Then it's just the typical three girls getting hit on by gross guys, faux-suspense, being hot and flirty and then getting brutally tortured and mutilated. Great job, Roth. You sold out like the rest of them; and I thought what we had was special.

I can't say that it's all bad, though. In fact there is a massive amount of entertainment to be gained by the two main murderers in this one. Roth attempted to add some originality to this film by giving us the back-story on the people who pay to murder innocent girls for fun. Of course we can't see any kind of foreigners killing innocent girls, so the two men have to be rich Americans. It's alright though because these men provide the only entertaining parts of the film and huge amounts of comic relief. They are played admirably by Roger Bart and Richard Burgi and the two are the perfect match for one another. Burgi is wild, charismatic and frighteningly excited to go and torture some hot young girls while Bart gives the contrast; the shy, reserved guy who goes along with it but deep down believes it to not be such a good idea. Once they get their cute little play-things though, both of them have complete characters arches as Burgi gets disgusted when he chops up a girl's face and leaves here there, alive, and therefore is eaten by dogs. Bart, on the opposite side of the fence, initially tries to help the girl escape but then his resentment towards his wife kicks in so he tries to rape her before he murders her. Of course this turns out to be a bad idea. Overall the film is nothing special, but watching these two perform is certainly a blissfll treat. And the Ruggero Deodato (the director of one of my favorite films, Cannibal Holocaust) is a very nice touch.

Gone Baby Gone

9.5/10

After a decade of critically disgraced performances and brutal public humiliation year after year, Ben Affleck took a well deserved break from the Hollywood scene. This year he came back, but instead of taking the spotlight by starring in a film, he went behind the scenes and opted to direct his first feature film. Taking an example from another actor turned director, a little independent man named Clint Eastwood, he decided to adapt a novel written by Mystic River author Dennis Lehane. On the surface, Gone Baby Gone tells the story of a missing child and the two private investigators who are hired to find her. The story transforms into a highly disturbing tale of selfish, terrifying characters and the fact that no matter what people never change.

In deciding who to play the leading role of the intelligent, reserved, moral and slight naive Patrick Kenzie, Ben looked no further than his brother Casey. Initially this may seem like a bad idea with lots of sibling tension on the set, but the decision couldn't have been a better one. After years of under-the-radar brilliance, Casey gets to show his acting genius in the leading role of a powerful, emotionally drenching work. I love the fact that everyone is finally getting to see what a true wonder this young actor is, with talent greater than the majority of actors I've ever seen no matter what their age. He's getting a large amount of critical recognition for his flawless turn in The Assassination of Jesse James by the Coward Robert Ford, but he is almost as exceptional in this one. Counterbalancing Kenzie is his mature and equally intelligent partner and lover, Angie Gennaro played by the beautiful Michelle Monaghan. The two of them grew up on the streets of Boston and therefore are pursued to use their relationships with the criminals involved to help find the men who kidnapped this little girl. This leads the audience on a highly engaging and very disturbing journey of the lowest forms of scum in the Boston population and a climax that is just as surprising as it is haunting.

The second half starts with another missing person's case and Kenzie discovers something that forces him to bring back Detective Remy Bressant (Ed Harris), a character who he didn't end on the best of terms with in the first act. In an act of high tension and in the face of an ultimate evil, Kenzie makes a decision that he immediately regrets and is the first time he really matures in the film and falls into a moral crisis as he witnesses the true personalities of those around him and re-evaluates everything in his life. A conversation with Bressant soon after this act provides a stage for Ed Harris' remarkable display of talent in one of his career best performances. However a revelation Kenzie makes during this conversation leads us into an even darker world of corruption within the police, back to the victims of the original crime and a lesson that sometimes the most morally righteous can people can do terrifying things if they believe it is for the greater good.

Another stirring revelation leads Affleck to the film's second big twist that I didn't see coming from a mile away. He finds moral corruption, again 'for the greater good', in the most unexpected place and is led to one of the most arduous and unimaginable decisions I've ever seen put on film. I won't spoil anything, but it's safe to say that this was the first and only time I've ever put myself in the shoes of a character on screen and wondered what I would do in his situation. It's a decision I don't think I could ever make, and one of the most painful scenes of the year. Watching Affleck's expression and the pain in his eyes is truly gutwrenching. In his decision we eventually see that even in the most emotionally straining situations and no matter how much they say they will, people never change. I found that to be the final moral of the film, and the ending was haunting, cathartic and emotionally painful as we see Kenzie living with the fact that maybe his decision was the wrong one but he still tries to do the morally just thing in the end.

Ben Affleck has come back strong to the Hollywood scene by avoiding public humiliation and realizing that the film would be miles superior if he directed instead of starred in it. There is one minor flaw in this feature, and that is that it felt to me like three different films. There are two clear cut endings, but the film picks back up afterwards on the road to the final conclusion. With each new story comes from depth and disturbance from the characters and overall plot, so one can easily ignore this very miniscule flaw. His casting was flawless from the stunning magnificence of Casey Affleck to the Oscar-worthy Ed Harris to the critically praise grieving mother Amy Ryan. Gone Baby Gone is certainly one of the best films so far this year, and I hope it's not forgotten come awards season, particularly in the form of it's reborn director and flawless leading man (as well as the rest of this multi-talented cast). A deeply disturbing and thoroughly engaging picture that is sure to stay on my mind for days.

The Assassination of Jesse James by the Coward Robert Ford

10/10

Despite some pointless narration (and irrelevantly blurred editing during the scenes with this narration) and the complete mistreatment of one of the finest actresses of the decade, The Assassination of Jesse James by the Coward Robert Ford is easily one of the finest modern films around and certainly one of the best of the year. It plays as a Shakespearean tragedy instead of an outlandish, action-filled western that one would expect when hearing the name Jesse James. Featuring some of the best performances of the decade, the film is a wonderful mix of subtle and emotional heartache with biting realistic tension and a beautifully flawed character that everyone can relate to in some way. Slowly the film builds a tension and knowing descension towards the inevitable downfall of Mr. James. It's a heartbreaking story of one man trying to be remembered and another knowing a betrayal is quickly coming upon him.

A contrast between the main characters Jesse James (Brad Pitt) and Robert Ford (Casey Affleck) is presented throughout and really shows the truth that Ford is exactly the same as James, just at an earlier stage in his life. Jesse was the youngest of three boys and rose above all of them to be the most renowned outlaw in American history. He murdered and stole, but gained nothing but respect and admiration from those who heard the stories of his crimes. Of course with all of this fame, and the bounty of men he's had work with him and in his trust, Jesse knew that a betrayal was soon coming. He averted one before, but he can see the end in sight and this time, he is welcoming it instead of trying to fight it.

This portrayal of James is one of the many things that make this film so brilliant. He's a melancholy, brooding, bipolar and enraged mess. A man who knows the end is approaching, but has come to a point in his life where he doesn't see any reason to try and stop it. We see him for how he truly was, instead of the gun-slinging charismatic outlaw that James is constantly portrayed as time and time again. This deeply heartbreaking man is perfectly personified by Pitt's award-worthy performance. We see a side of the light, breezy Brad Pitt that I personally could never have imagined. He presents so much pain and anguish behind those steely blues, that my heart stopped everytime he started intently with his eyes ever so lightly filling with tears.

I have no hesitation in calling Robert Ford the most tragic character in cinematic history. He is the youngest of five brothers, and all day he gets picked on and disrespected so when he sees another man who's the youngest of a number of brothers, he begins to idolize him. When he finally gets the chance to meet his hero, and work alongside him, his tendency to give a bad first impression (albeit he is a bit eerie with his strong admiration of the James boys) leads to more humiliation from the man he considered to be everything he wanted to grow up into. Obviously this leads the young man into spite and bitter insecurity. He becomes a wreck, but in this state of depression he is able to finally realize his true feelings and express them to the world. Due to this, Bob begins to get more respect and fear from those around him, and the Sheriff decides to capitalize on this bitterness by enlisting Bob in a sort-of undercover mission to arrest James, though everyone knows there is no way to arrest the man. It can only end in the death of one of the men.

Of course the title, and any kind of history book, reveals who the dead man is and Ford assumes that this will lead to him becoming a legend in the same way that Jesse was. An icon on the morally right side, instead of as a criminal. However he is gravely wrong and he's met with more disrespect and tales of him being the biggest coward in American history to match Jesse's status as the biggest and most respected criminal. James was an icon and Ford was just the snake in the grass who stabbed him in the back. This undoubtedly brings more depression to Robert; he killed his hero for fame and was forever remembered as a coward who betrayed an icon. And then another man gets the idea that Robert had; he was going to murder someone infamous in order to be remembered and with this second murder ends the tragedy that is Robert Ford's life. The man who wanted nothing more than to be Jesse James, and became his killer.

Casey Affleck's performance is the stuff of cinematic legend. His dynamic brilliance, deeply emotional strength and powerful absorption into this fatally flawed character combine to create what is easily one of the best performances I've ever seen and quite simply the best performance of the year so far. I've been a fan of this underrated genius for a long time now, and this performance is his best by far and is sure to get him a lot of attention come awards season; I could even see an Oscar in his future. He completely steals the show from Pitt, who still turns in an excellent portrayal, and perfectly embodies a character who just breaks my heart. Casey creates such a nice demeanor and personality for this dangerously awkward young man that makes him one of the most complex and, as I said before, easily the most tragic character in the history of film in my eyes. A true revelation to modern acting and proof that when you get the right role in the right film, you can take it all the way to the top.

Pitt and Affleck aren't the only actors in the film though, and each complex character is matched with a stunning performance from the entire cast. Paul Schneider gives one of my favorite performances of the year as Dick Liddil, the ladies man with a heart of gold. I'm sure his work will go completely unnoticed, but it deserves some serious recognition and I'm sure he'll remain on my awards ballot at the year's end (he's my supporting actor winner, currently). Sam Rockwell knocks the role of Charley Ford, Robert's older brother who is the main antagonizer for all of the bullying and mocking he receives, out of the park. His charismatic charm in the majority of the film is the perfect contrast for his completely gut-wrenching breakdown in the final act. His final two scenes are some of the most painful to watch that I can remember in a very long time. He literally transforms himself into the James that him and Robert saw in his final few moments, and it's tragic.

Even Jeremy Renner and Garret Dillahunt give some notable work in two other members of the James crew, Wood Hite and Ed Miller respectively, who meet with very unfortunate fates, ironically at the hands of the two title characters (Robert shoots Wood to protect Dick, and Jesse's weariness over Ed's nervous demeanor leads him to putting a bullet through him). Even Mary-Louise Parker, who's given a nothing role as Jesse's wife, Zee James, gives it her all and pours out some painfully heartfelt emotion as she cares about nothing more than the well-being of her family but is blind to the fact that nothing can end well. Then there's the mistreatment of one of the finest actresses around that I mentioned in the first paragraph; in which a perfect actress is wildly underused. This mistreatment belongs to Zooey Deschanel who portrays Robert's close friend and possible romantic interest, Dorothy Evans, after he kills James. She's given a bit part that lasts no longer than fifteen minutes but she completely nails the beauty and mysterious enchantment of the character and delivers one of my favorite performances of the year (a phrase I say quite often when discussing this film, but mean it dearly everytime).

For all of the beauty and astonishment that comes from the story and performances in this epic masterpiece, it's hard to forget the ingenuity of the technical aspects. The original score is one of the most haunting I've ever heard; easily the most haunting, monotonous and reoccurring sound since Taxi Driver. Everytime those chords sound and the beat begins, a familiar sense of dread looms over my entire being as if Robert Ford is behind my back about to put the bullet in me. It's a truly painful experience that is unlike anything I've ever felt, and the ability for a score to put that feeling in me is jaw dropping. While the set design and the editing are just as fantastic, Roger Deakins' cinematography absolutely took my breath away. He combines such beautiful scenery with some of the most hypnotic and terrifyingly ominous landscape shots I've ever seen. Certainly an aspect of the film that will stay fresh on my mind for days, and I pray that he won't be forgotten come awards season.

Through all of the technical genius, it is clear what The Assassination of Jesse James is about and that's it's characters. With a vast array of men both deadly and beautiful, there is something to relate to in each of these different people, something to fear, something to hate and something to respect. Each men is so unique, but each one is just as relatable and painfully flawed. These people are realistic and with realism comes tragedy, which is the center of this beautiful film. The tragedy of one man so determined to be great, to be legendary that he would stab his own hero in the back for merely the fame. And through this gut-wrenching, heart-breaking Shakespearean tragedy comes some of the finest performances of the decade and one that will not be soon to leave my mind in the form of Casey Affleck. His true genius shines through and through every second of this picture and it's his nuanced turned into quixotic portrayal that rips my heart to shreds everytime I think of it.