Unknown *

Director: Jaume Collet-Serra

Cast: Liam Neeson, Diane Kruger, January Jones

Aidan Quinn, Frank Langella, Bruno Ganz

Unknown has all the makings for a campy, exciting, popcorn thriller; there's amnesia, femme fatales, exotically frigid locations, female cab drivers and Bruno Ganz as a kooky Stasi agent.

However, it fails to deliver cheesy, or any other kind, of thrills because it takes itself too seriously.

Liam Neeson plays Dr. Martin Harris, a renowned scientist who goes to Berlin with his wife (Jones) to attend a biotechnology summit. After a mishap at the airport and an accident that sends him to the hospital he wakes up to realize nobody knows who he is and worse than that, somebody else seems to have stolen his life.

His wife is still in Berlin with her own version of Dr. Harris (Quinn) and neither of them have any recollection of who this man who claims to be the "real Dr. Harris" can be.

Devastated he teams up with the cab driver (Kruger) who remembers him and sets out to discover the mystery behind these strange events.

Shot with almost too much precision by Collet-Serra, the film becomes a self important attempt at delivering a serious thriller. Yet it seems that the director is completely unaware that the screenplay includes secret plots to assassinate royals and Nazi inspired conspiracy theories.

Not that you can't combine both and make them into something superb (right?) but the director's take and the story never seem to be on the same page.

Neeson sulks beautifully of course and his rugged, worried face makes once again for an unlikely perfect action hero. You can't help but feel that he would be more at home in a Hitchcockian throwback, instead of this chaos.

His scenes with Jones have a specially seductive, almost tragic tone. As he remembers life with his wife, you see traces of Kim Novak and Jimmy Stewart in Vertigo, with Jones being the ultimate ice queen.

However the director cheapens this mood by making the flashbacks be recollections of shower sex and muffled moaning against a glass door...

Because Neeson is so reliably good, even his worst scenes have a certain serenity to them. The whole cast however seems to be playing out different movies. Kruger looks completely uninterested, Langella is reliably creepy and Ganz gives the movie just the right tone of cheesiness needed for audiences to relax.

The action sequences are over indulgent, sloppy and filled with plot holes. Sure, this may be a surreal plot, but even fantasy should be grounded on a version of the truth.

Unknown's main problem is that it never figures out what kind of movie it wants to be.

Wall Street: Money Never Sleeps *1/2

Director: Oliver Stone
Cast: Michael Douglas, Shia LaBeouf, Josh Brolin, Carey Mulligan
Eli Wallach, Frank Langella, John Buffalo Mailer, Susan Sarandon

Regardless of how many times you may have seen Splendor in the Grass, the moment when Bud Stamper (Warren Beatty) learns about the Great Depression never fails to turn your heart upside down.
Such a moment was supposed to occur in the fractured Wall Street: Money Never Sleeps, as it deals with recent economic disasters that have affected the world in unexpected ways. We expect it to come when we see Gordon Gekko (Douglas) being released from prison in late 2001 and we expect it to occur again when the movie jumps forward in time to the chaotic 2008.
However nothing really happens and we are left wondering exactly what was the point in making this film.
On the surface it's basically a remake of Wall Street. Gordon Gekko's time in jail nothing but a MacGuffin so that he can regain the prominence he had during his 80's peak.
He writes a book called Is Greed Good? and the masses flock to him like a messiah. Among the crowds is idealistic Jacob Moore (LaBeouf) a wide-eyed proprietary trader who admires Gekko and wishes to be like him. Essentially LaBeouf is playing Charlie Sheen.
Of course, this being the aughts and all, besides being one greedy little bastard he also has a thing for the environment and for his girlfriend Winnie (Mulligan), Gekko's estranged daughter who has gone all Elektra on him by becoming a leftist, money-hating, journalist.
To say that nothing much happens in this sequel would be an understatement given how most of the film consists of scenes where the young Jake and the old sharks (which besides Douglas include Brolin, Langella and a scene stealing Eli Wallach) discuss vengeance, power and money like characters straight out of Clash of the Titans.
Other than the awkwardness of the plot, we often wonder what drew Oliver Stone back to this themes. Throughout the movie his direction seems to be trying to find itself.
Part of him is so in love with Wall Street that he seems to think he invented the 80's. Winnie tells Jake "you're so Wall Street it makes me sick" referring to both the actual stock market and the movie which isn't as iconic as Stone wants to think.
Another part of him seems to feel proud about having predicted back in 1987 that the world's economy would just continue collapsing until we all approached doomsday; however, this part of him also feels guilty and like Jake tries to atone through innumerable mentions of what alternative energy can do for the planet.
Wall Street: Money Never Sleeps doesn't know whether to condemn or to glorify and its overlong running time makes us sit through what ultimately is an unnecessary debate.
The one thing that rarely fails is Douglas. Even if Stone tries hard to humanize him (Gekko says "I'm human" more than once) the actor tries his best to remind us that first and foremost Gordon Gekko was so effective because he wasn't human.
Precisely because of his larger-than-life greed it was that he became who he was and not for one minute should we expect him to be turned into a politically correct version of materialism.
This is best embodied in a pathetic end during which Stone once again puts Gekko in the wrong kind of spotlight and we're left wondering if he's making some sort of comment about how easily human beings give "bailouts" to those who have wronged us (which would've turned the film into a twisted, great satire) or if he's just turning Gordon into the Grinch.
It's safe to say that the idea of Gekko getting the last laugh is something 80's Stone would've made, what we end up with right now is a reminder that he doesn't make them like he used to.

The Box ***

Director: Richard Kelly
Cast: James Marsden, Cameron Diaz, Frank Langella
Celia Weston, James Rebhorn, Sam Oz Stone, Ian Kahn

There's fluorescent green blood running through the theremin intoxicated veins of Richard Kelly's "The Box". Adapted from a short story by Richard Matheson, the movie is a throwback to sci-fi/horror films and TV shows- particularly "The Twilight Zone"-and like said productions sets its stage in the unassuming tranquility of the suburbs.
It's 1976 and Norma and Arthur Lewis (Diaz and Marsden respectively) are woken up one early morning by the doorbell. Norma opens and finds someone has left them a box containing a wooden contraption with a red button on top.
There's also a note that says they will be visited by someone that evening. They go on with their normal work days; Arthur, who works at NASA, learns that he has been dropped from the astronaut program because failed the psychological exam (perhaps an omen of things to come?) while Norma, who's a schoolteacher, is informed that she will no longer get tuition for her son Walter (Stone).
That afternoon they receive the visit of the mysterious Arlington Steward (a never creepier Langella) who explains to them the powers of the box and the button unit they received.
If they push the button they will receive one million dollars, completely tax free, but there's a catch; the minute they push the button someone they don't know will die.
Steward leaves, warning them that they have one day to make up their minds before he comes to retrieve the box.
After debating the matter and becoming overwhelmed by their economic misfortunes, Norma pushes the button.
Steward arrives to retrieve the box and give them their money; soon after, strange events begin to occur and before long the Lewis' are stuck in a labyrinth of deceit, stalkers, nose bleeding zombies, NASA investigations, alien conspiracy theories, NSA secrets and strange behavior from people they thought they knew.
It seems that only half the movie is Matheson's story and the crazier parts are all Kelly. The surprise isn't that such things come out of a person's mind, but that he makes them work as a movie.
In "The Box" Kelly doesn't hide the fact that this is homage in its purest form. The milky cinematography (done in digital video out of a bet of sorts) brings out a fuzzy sort of terror that recalls "Poltergeist" and "The Exorcist", while the strings heavy score (done by members of Arcade Fire) recalls some of Bernard Herrmann's greatest work.
The referential tone might result annoying to viewers who aren't in on the joke as they will probably hate the overacting of Marsden and Diaz.
Those who succumb to the movie will be delighted by the way the actors give in to the cheesiness Kelly comes up with. Forget the fact that they have to wear seventies clothing, the camp factor here lies in their late reactions, overworked lines and the way they still manage to convince us of the romantic backstory their characters share.
Kelly often tries to say too much and the movie sometimes borders complete ridicule, but by the end it really works more like a good film in B-movie disguise.
The most surprising thing about it all is how it achieves multiple readings. It works as a terrifying, postmodernist, existential drama unafraid to mix its Sartre with the Blob. In moments where the world seems to backfire on them it's a revelation to see Norma and Arthur go into discussions of their place in the world in contrast with others.
"Hell is other people seeing you for who you really are" says Norma to her students as she tries to explain existentialist theories. With its recurrent theme of "no exit" the movie flirts with Lynchean themes but unlike the too Freudian auteur, this one isn't afraid to pull out its "boos" out of the cheesiest of places.
"The Box" is also able to become scarily time appropriate given how it forces us to give a second look at the way people act when their survival is threatened.
In a world undergoing such critical economic times, it's difficult to avoid trying to empathize with the decision the Lewis' have to contemplate.
Kelly isn't afraid to ask if moral codes can be suspended or forgotten in the face of adversity. But before we're deep into an intellectual debate, Kelly is already scaring our pants off with a sudden thrill.
"The Box" might very well be the most entertaining movie about the recession made so far.

Frost/Nixon **

Director: Ron Howard
Cast: Frank Langella, Michael Sheen
Kevin Bacon, Toby Jones, Sam Rockwell, Oliver Platt
Matthew McFadyen, Rebecca Hall

The private lives of public figures have always been a fetish for the masses. The private lives of fallen public figures are practically bliss.
In 1977 when Richard Nixon sat down for his first interview after his resignation, as President of the United States, with, British talk show host, David Frost those who cared saw in it the chance to go behind the scenes of the most controversial President in American history as well as an opportunity to end the speculation and set the record straight, giving Nixon an informal trial.
In an appropriately postmodernist approach, screenwriter Peter Morgan wonders what went on behind the scenes of the interviews and as directed by Ron Howard the result is a vastly entertaining film that fails to become relevant despite its best intentions.
When the film begins, Frost (Sheen) is doing a variety show in Australia and upon watching how popular the last Nixon (Langella) speech was, decides that interviewing the former President will save his career from exile and get him respect as a journalist.
After paying Nixon six hundred thousand dollars and coming up with a team that includes a top television producer (McFadyen) and investigators Bob Zelnick (Platt) and James Reston Jr. (Rockwell), the interview consisting of twelve two hour long sessions takes place.
Nothing in the film is as exciting as watching Langella and Sheen face each other. Both actors deliver breathtaking work as they become the people they're playing (that one mostly knows the actual beings through television gives the film an interesting meta connotation).
Langella is commanding and gives Nixon a dignity he preserves even during moments when he has to deliver cheap, self-analytical lines.
While looking nothing like the President his performance is full of vitality and even charm, Langella makes us believe in his Nixon.
Sheen on the other side proves again what a master of subtlety he can be as he lets the veteran actor take the movie from his hands and fully supports the main performance. He makes out of Frost an ambitious, persevering man with such charisma that you always know he's holding the aces.
Altogether the ensemble does terrific job, Bacon, as Nixon's chief of staff Jack Brennan, gives a moving portrayal of loyalty until the end, while Rockwell's manic energy actually helps make his Reston Jr. come off looking more serious than a conspiracy theorist.
Howard's direction has rarely been this efficient as he creates real tension in events with widely known outcomes. His detailed reconstruction of the interviews and the era is remarkable; he reccurs to aesthetic techniques of the 70's and fashions the film after a docudrama interviewing his own characters. All of this gives the movie a brisk, enjoyable pace that isn't able to get rid of the awkward, insecure discourse behind the people who made it.
Because deep into "Frost/Nixon" you realize that this film isn't exactly a biopic or a mere play adaptation but an actual attempt by Howard (and to some extent Morgan presumedly) to say something about our times.
And this becomes almost crystal clear during a moment when Frost accuses Nixon of invading Cambodia looking for Communists and coming up with nothing.
If you take Communists exchange them for weapons of mass destruction and Cambodia for Irak you have an obvious parallel with the Bush administration and more specifically its inhuman foreign policy.
Once Bush's administration is over hopefully the lesson that will be learned by the world is that history is nothing but a repetitive cycle, "all of this has happened before and it will happen again". And if there has ever been an administration as controversial as the current one it's Nixon's who with Vietnam, Watergate and his subsequent pardon by President Gerald Ford left an entire generation thirsty for justice.
In this way, the plot isn't only premonitory of what will ultimately happen to Bush who like Nixon "devalued the presidency" and "left the country who elected him in trauma" but also fails in justifying its existence.
The questions made by Frost are time appropriate, but the answers become underwhelming as they bring us back to the historical context of the film (there is no other way a reenactment could've gone obviously).
You have to add to this the fact that Howard's view tends to proselitism when from the very start we're made to see Frost and never Nixon as the underdog.
He manages to wash his hands a bit by making Frost a manipulator, "he knows television" says one of the characters and the film often suggests he had dubious qualifications for the job despite his eventual success.
One also has to remember that in a way Frost very well embodies the kind of journalism which we're stuck with nowadays, where attractive, charming people are the ones digesting the news for the audience and delivering them in easy to digest forms.
If the interviews were meant to take place today it's sad to think that someone like Frost would've probably been the only option.
But we never know if Frost is fighting for his credibility, getting back at his critics or if he's actually after the truth.
Not that it matters much because in a way Frost is like the movie itself with the filmmakers using it to make questions they don't know how else to address in the very same way that researchers in the film use the journalist to ventilate their own, more complex inquiries.
But what happens when the film, like Frost can only deliver what they are trained to do? Which is basically to entertain.
You throw them a Ron Howard-ism, which here comes in the shape of an unexpected call the President makes to Frost, where he all but gives away his weak points under the influence of alcohol.
Here the film which has delighted itself in throwing these two men into a cockfight reduces the final interview to an exorcism of class resentment.
Like a "Rocky"-esque match where it also suggests that Frost had the edge merely because he had good timing, "Frost/Nixon" is both its accusation and its absolution.