Boyhood has an astounding level of characterization. The depiction of the four principals is deceptively simple. Yet it isn't until after you contemplate the full scope of the chronicle that you fully comprehend the complexity of the portrait. The production was shot over 39 days beginning in the summer of 2002 and completed in October 2013. Mason gets taller, his voice deepens. His personality matures before our very eyes. But even more than the physical changes is the emotional evolution of a life. Linklater isn't content to merely gives us Mason's reality. Mom Olivia has a compelling dramatic arc as well. Incidentally, Patricia Arquette is extraordinary. This is the single greatest performance of her career. She registers fear, pain, sorrow and joy with absolute veracity. At different points, her depiction details two marriages to men of questionable character. A scene where her husband Bill interrogates the kids about their mother's whereabouts is chilling but it gets increasingly intense when he starts checking their cell phones for calling history. Conversely there are moments that are quite moving as well. An offhand comment by Olivia to a handyman replacing their home's water pipes will have major repercussions later. All of these vignettes immediately make an impression but they must meditate in the mind well after the saga is over. The drama advances organically and the actors perform naturally. Rarely has an individual's developmental transitions been dramatized so imaginatively on film. Boyhood is an outstanding achievement and a magnificent paean to the simple brilliance of the human experience.
Aaron Swartz stood for a free and democratic Internet. He was guilty of downloading 5 million scholarly texts from the JSTOR database. However since this material wasn't of a sensitive nature, nor did he plan to financially gain from the acquisition, the infraction seems negligible at best. Unfortunately none of the antagonists agreed to appear on camera. If there's a villain here it's the U.S. attorney's office and specially the chief prosecutor in the case, Stephen Heymann. He doesn't fare too well at all. His absence doesn't help him, but it's hard to say whether it would have served him if he had showed up to defend his questionable motives. Even hallowed university MIT comes under fire for its failure to speak up in Aaron's defense despite their supposed commitment to open access. The end result is a one-sided but emotionally compelling view. It will make you angry but it will also make you profoundly sad. You will mourn this young man who, in the aftermath of the events detailed here, ultimately took his own life.
I certainly didn't expect to get a cogent commentary on the nature of war when I sat down to watch Dawn of the Planet of the Apes, but that's exactly what I got. The script makes a compelling explanation of how the behavior of a few are sometimes extrapolated to everyone in the group. And how a political body might try to justify going to war against, oh I don't know, let's say an entire country because of the isolated actions of some fringe fanatics. It makes a strong case that when boundaries are drawn and resources are needed in outlying areas, war is inevitable. There's plenty of jump-worthy moments to keep action fans entrained as well. I sat there mouth agape on several occasions because the sequences were that thrilling. The quality of Rise of the Planet of the Apes was a nice surprise in the re-introduction of this series back in 2011. Perhaps this production is an even bigger revelation because it's better and improves upon something that was already quite good. At this rate, the third film should win Best Picture.
Willy Wonka & the Chocolate Factory is based on the book Charlie and the Chocolate Factory by Roald Dahl. As is the case with the author's children's books, there is a sinister element that is most subversive. It is a recurring theme in his works and this adaptation is no different. The movie was filmed in Munich and this gives the town a puzzling hard-to-place feel before anyone even sets foot in the factory. Five lucky kids get the opportunity to tour Will Wonka's wondrous plant but the experience isn't quite what they were anticipating. The bright colorful production design stirs the imagination with possibilities. There's a chocolate river, giant edible mushrooms, lickable wallpaper, a Wonkamobile that shoots soap. It's all rather enchanting. Only the Fizzy Lifting Drinks sequence is snooze. When the picture was released in 1971 it was a box office disappointment. Despite garnering positive reviews it only earned a mere $4 million in 1971. Over the years, however, the film achieved the status as a cult film and is now widely accepted as an outright classic. It's easy to see why. I love this film.
Life Itself features Ebert's love of movies just as much as his love for Chaz Ebert his wife, whom he married at the age of 50 in 1992. Their relationship forms a major part of the narrative in the third act. The film is a life lived and it is at various times informative, fascinating and yes sentimental. It would almost have to be. In early 2002, Ebert was diagnosed with thyroid cancer which was successfully removed in February of that year. 4 years later he had surgery to remove cancerous tissue near his right jaw. The results of which altered his life to where he ate and drink through a tube. At times the unblinking gaze of the camera on his appearance is difficult to watch. Unable to speak, he communicated via text-to-speech computer software. There's an undeniable sadness that must permeate the proceedings. Chaz has a perspective that humanizes a man with an outsized ego. Chaz and Roger's love for each other is profoundly touching. Their devotion is just as important a component as his thoughts and feelings about film. These scenes contrast with his often cantankerous relationship with his famous cohort Gene Siskel. Although those displays are where the documentary soars, the final act provides a poignant coda on the life of a man who left an indelible legacy on film criticism.