The_Film_Addict

Premiering on television airwaves in 1966, Gene Roddenberry's "Star Trek" was an allegory towards contemporary society; within this utopian future, a group of men and women of all races, free from the clutches of racism and sexism, would unite together "to boldly go where no man has gone before." "Trek" was powerful in its storytelling and reaffirmed the bold, unique powers of science fiction. Though "Star Trek" ran a measly three seasons, this failed television series boosted an influential legacy. With ten feature films under its belt, six TV series, comic books, and even a short-lived animated series, there's no doubt of the massive, influential impact this mythic universe had on popular culture. Warping to 2009, in an age where reboots and remakes run Hollywood, newbie director J.J. Abrams (creator of "Lost") leads a hip, modern cast in a new, ultra stylized reimagining of a television classic. Though Abrams' reboot is low on plot, "Star Trek" never fails from being a high-octane, hair-raising, pyrotechnic displaying, laser-tag chasing, visual effect showcasing thrill ride. "Star Trek" is at the top of its game.

Twenty-two years after the heroic death of his father, James T. Kirk (Chris Pine), an intelligent and often reckless young man, fills his time slurping beer and looking for trouble. After failing to womanize Uhura (Zoë Saldana) in an Iowan bar, Kirk, yet again, lances himself into a brawl with a group of overly confident academy students. Noting the fierce determination Kirk possesses, and his father's inherited bravery, Captain Pike (Bruce Greenwood), commander of the U.S.S. Enterprise, encourages the young, misguided Kirk to join the Starfleet. Knowing what little he has, Kirk, slightly hesitant, joins the Academy where he meets Dr. Leonard McCoy (Karl Urban), a loud mouthed, paranoid physician who fears the coldness of space. Years later, Kirk, still up to his old, devious ways, is put on academic suspension after strangely passing Spock's (Zachary Quinto) exigent flight simulator. When a distress signal is beamed from the distant planet Vulcan, Kirk, dodging academic suspension, is smuggled onto the U.S.S Enterprise with the clever help of Dr. McCoy. Once on the sacred Enterprise, Kirk's journey towards captain of the Enterprise and the formation of his aggressive, platonic friendship with the half-human half-Vulcan Spock begins.

Let's be honest here, over the years, "Star Trek" has been reduced to ridicule by the vast majority who think the series' mythology is one big, fat joke. The term Trekie (or Treker depending who you ask) even carries a negative connotation, we assume some middle-aged, convention attending, pimply-faced virgin, is the show's only target demograph. Unfortunately for those bashers, they never truly understood the power of this show or the power of the science-fiction in general. However, luckily for this franchise, J.J. Abrams' reboot, which is being marketed as "not your father's 'Star Trek,'" is surly to induct a new set of followers into this long established cult.

One of the reasons why this film is works is because of its hip, modern cast. From Kirk, Spock to Scotty (ingeniously played by Simon Pegg), each member of the cast brings a newly-formed resonance to its character. "Trek's" modern cast are not the scripted-punching actors of the 60's, the revamped update features fierce, spontaneous characters who are driven by mesmerizing performances. It's genius in its casting. Even the villainous Nero (Eric Bana), who gets little screen time and quite frankly a microscopic amount of villain time, brings an enormous amount of energy to the picture. Zachary Quinto, of Heroes fame, too, is able to confidently recreate Leonard Nimoy's initial creation.

Not only is the cast a marvel, but the film's technicality is amazing in its execution. Drowned in vibrant colors, slick architecture, and astounding set pieces, the film's production design is the stuff that dreams are made off. Director J.J. Abrams, who clearly has respect and enthusiasm for the source material, adds an alluring cinematic quality to every frame of this picture; he reaffirms the daring, stunning magic of movie making. "Trek's" Composer Michael Giacchino even manages to create an iconic score, replicating the unforgettable orchestrated sound of John Williams, is bound to take audiences back to the classic days of science fiction.

It's an exciting movie that proves not all Hollywood movies have to be reduced to cheese. It's cold, hard hitting entertainment of the highest order; it's entertainment done right! In fact, this is the type of film that deserves to be seen two, three or even four times on the biggest screen you could find. Headed by a competent cast and crew, "Star Trek" is a rock solid production.

There's an urgency in human nature to understand. When it comes to the Holocaust, history's bleak, unsettling period, it doesn't matter what book you've read, film you've seen or account you've heard; in the end, your response it halted by its incomprehensible conclusion. How could humanity course its way towards such a violent, destructive path? How could people knowingly send men, women, and children to their impending doom? Most puzzling, how could the world allow it? Even though its been 63 years since the blood-drenched annals of World War II, its aftermath today is still bone chilling.

After a six year celluloid dry spell, Stephen Daldry returns to the director's chair in a brilliant, sexually charged, and oddly heartbreaking tale about the complexity of human morality and the lifelong repercussions that result from our actions. Adapted from Bernhard Schlink's best-selling German novel, "The Reader," Daldry's visual translation is a powerful, emotionally absorbing film that is one of the year's best. It's superbly crafted.

With World War II over, Germany, in 1958, is still recovering. Deep within Heidelberg, Germany, Michael (David Kross), a young pubescent teenager haven fallen ill, is comforted by Hanna (Kate Winslet), a hard working woman who is twice his age. Taken by her generosity, Michael revisits Hanna to offer his gratitude. What begins as an awkward reunion escalates into a seductive, forbidden affair that intensifies when Michael begins reading to the distant, empty Hanna, who is deeply awakened by Michael's spoken literature. Too young to understand love's complicated implications, Michael is emotionally devastated when Hanna suddenly disappears. Nearly a decade later, unable to forget his passionate summer while studying law, he attends a Nazi trail, and to his dismay, hears Hanna's distant voice.

"The Reader" is a complex film; maybe a little too complex for some. Though the film pertains to Nazism and the "sins of our fathers," in essence, "The Reader" is a film that reflects the emotions inside all of us. During a lecture, Michael's professor comments, "Societies like to think they operate on morality but they don't." In this cynical age, how far from reality is that statement? During Hanna's trial, she's questioned why she participated in the Nazi party's horrendous war crimes, broken she replies, "It was my job." Oddly enough, that seems to be the justification most people use. Surprisingly, though, "The Reader" isn't about her exposure as a war criminal, but an exposure on an individual who took the wrong path. She's not a bad person; she's simply made wrong choices. However, when it comes to having involvement in the Nazi's liquidation of the Jews, how "wrong" can you get? "You ask us to think like lawyers," cries on student, "what are we trying to do?" A distraught Michael replies, "We are trying to understand!" But, just who exactly is trying to grasp a deeper understanding: the court or Michael? How can Hanna's past be forgiven? Director Stephen Daldry brings the much needed emotional layer that a character such as Hanna Schmitz desperately needs. Although her actions are beyond unforgivable, strangely, we sympathize with her. Maybe it's her other shameful secret. Maybe it's superb character development.

"The Reader" is a film that is driven by it's raw performances. In one of her finest hours, Kate Winslet gives the performance of a lifetime. It's a haunting and heart-breaking. David Kross, who's only 18, is impressive as the teenager with raging hormones; it's such a daring performance. Winselt and Kross bring this picture together. Their performances are jaw-droppingly brilliant. Completing the role of Michael, as the tortured grown man, is Ralph Fiennes, who balances Michael's despair through his melancholic emotion when he encounters a grown Jewish woman, played by Lena Olin, who was also at Hanna's trail. Although her scenes clock in less than 10 minutes, Olin, too, is breathtaking.

When "The Reader's" credits rolled, I sat quietly shaken by what I had witnessed. It's a film that is impossible to forget. When a grown Michael asks Hanna, "Have you spent much time thinking about the past?" Heartbroken, she replies, "It doesn't matter what I think. It doesn't matter what I feel. The dead are still dead." She's right.

I swear by God this sacred oath: that I shall render unconditional obedience to Adolf Hitler, the Führer of the German Reich and people, supreme commander of the armed forces, and that I shall at all times be ready, as a brave soldier, to give my life for this oath. ––Wehrmacht Oath

"Valkyrie" poses a question: How can one surrender allegiance to a leader whose ideals are beyond comprehendible? During a time when expressing opposition would result in severe consequences, Col. Claus von Stauffenberg, wonderfully portrayed by Tom Cruise, and a group of courageous individuals, defied the status quo and dared to do the unthinkable when they attempted to assassinate Hitler. "Just remember," warns General Ludwig Beck (Terrance Stamp), "nothing ever goes according to plan." Though Stauffenberg is well aware of the impending outcome, he proceeds anyway. That's bravery.

Bryan Singer's suspensefully crafted "Valkyrie" revolves around the events of July 20, 1944, in which Col. Stauffenberg, following an intricate plan, carefully placed a briefcase containing a bomb during a meeting in Hitler's "Wolf Layer." With Hitler out of the picture, Operation Valkyrie, a contingency plan designed to protect the Nazi regime in the event of a threatening disruption, would come into effect. Ironically, through strategic deception, Operation Valkyrie was signed by Adolph Hitler, who was unaware that the plan would be used as a counter attack which would mislead Hitler's Reserve Army into thinking they were fighting for his government. Though we know Hitler's eventual fate, Valkyrie never becomes a bore. Through ingenious film-making, Bryan Singer (The Usual Suspects, X-Men) milks "Valkyrie's" nail-biting suspense and delivers a gripping, entertaining historical thriller.

The resemblance between Cruise and Stauffenberg is uncanny. Cruise, whose career went downhill after the release of "War of the Worlds," brings an interesting resonance to Stauffenberg. Though Cruise gives a stiff performance, it's properly justified. With Hitler's Germany unleashing catastrophic damage, how could Stauffenberg, who had dear love for his country, not be grim about its eventual outcome? Equipped with an elite cast including Kenneth Branagh, Bill Nighy, Tom Wilkinson, Eddie Izzard, and "Black Book's" Carice van Houten, as Stauffenberg's wife Nina von Stauffenberg, "Valkyrie" never falters. Even though the cast doesn't experiment with adopting German accents, due to Bryan Singer's film-making niche, it never becomes a distraction.

Re-teaming with screenwriter Christopher McQuarrie, who penned Singer's "The Usual Suspects," "Valkyrie" flows seamlessly on its suspense. Opening with a lackluster beginning, Valkyrie's emotional grasp kicks in during its second act. Though the film works primarily on its entertainment factor, the film's dramatic intensity places "Valkyrie" on a higher level. These individuals, knowing the consequences, went with their gut instincts and decided to act for the benefit of the nation, and the world. It's an inspiring story that needs to be told. Luckily, "Valkyrie" had an intelligent cast and crew worthy of telling it.