by DAVID KERN

When discussing Kathryn Bigelow’s critically acclaimed new film, The Hurt Locker, film critics - and cinephiles in general - have repeatedly taken the time to point out that it is not like any of the other, mostly sub par, war films that have taken on the controversial subject of the particular war in which we are currently engaged. However, I would argue that, except perhaps as a point of reference, such comparisons are mostly superfluous, perhaps even insulting to what might just be one of the finest war films made in recent memory. The Hurt Locker is a film about war, war in general, that is, and only about a specific war inasmuch as it takes place in a specific place and at a specific time. It is not a polemic for or against the war, the men who started the war, or even the men who wage the war. This is not a political film. However, The Hurt Locker is a film about war in general, about what war does to people, about what makes war horrible and terrifying and glorious and addicting all at once. It suggests that war is a drug and introduces you to the people who can’t escape it’s firm grasp.

Of course, since it does take place in Iraq, in 2004, Bigelow’s (Point Break) film is a thoroughly modern war movie about thoroughly modern warfare. It’s fast-paced, abundantly visceral and, naturally, action packed. From the opening shot (of a motorized bot exploring the rubble-filled streets of Baghdad for bombs) to the final frames, Locker is a film in constant motion, which is appropriate since it’s characters are never in one place for long, and when they are they certainly aren’t sitting still. Viewers discover quickly that staying still for long is dangerous, very dangerous.

Sgt. J.T. Sanborn (played superbly by Anthony Mackie) and Specialist Owen Eldridge (Brian Geraghty) are Army specialists (Delta Company) highly skilled at identifying and diffusing bombs and I.E.D.s. They are the best of the best and they are charged with providing safety and peace-of-mind for the thousands of soldiers who patrol the city’s streets, not to mention the many civilians who make their home there. Of course, that charge provides them with little peace-of-mind, even less safety, and very little thanks, especially when brash Staff Sgt. William “wild man” James takes over as squad leader. James, played with deep complexity by Jeremy Renner, has his own way of doing things, a way that makes sanity and safety extremely hard to come by for the careful Sanborn and the nervous Eldridge. Of course, James is good at what he does - great, even - and his way is law. Quickly Sanborn and Eldridge discover that that way isn’t exactly “by the book” and are faced with the difficulty of obeying orders with which they wholeheartedly disagree. Read the rest of this entry »

by DAVID KERN

Well, here we are.

First we were introduced to those three sub-par, so-called Star Wars “films”, then the re-birth of a new, younger Bond, followed by bold reconsiderations of Batman, Superman and a host of other superheroes (not that any of those films stoop to the low, low level of the Star Wars prequels) all of whom successfully breached the tech-savvy, heavily ironic, slightly jaded world that is early 21st century cinema. Now, arriving in warp speed, arrives a re-boot of the famous Star Trek franchise called, well, Star Trek - a thoroughly post-modern, visually bold and essentially re-defining take on a cast of characters long beloved by pointy eared followers the world across, or should I say, the universe across. Read the rest of this entry »

by BRETT MCCRACKEN

The phrase “goodbye Solo” is never uttered out loud in Goodbye Solo, but in the film’s key scene it is the central sentiment. And it is conveyed in an old man’s eyes. It’s not really there, but it’s implied. And the same could be said for Goodbye Solo at large: it’s a film of remarkable restraint and subtle suggestion, where so many “points” aren’t hammered home as much as they are delicately positioned for us to coax them into place. It’s a rare film in the way that it knocks you down without ever having to so much as blow in your direction. Read the rest of this entry »

by DAVID KERN

On Wednesday, we posted our choices top 20 films of 2008. Today, as promised, we offer a preview of Sunday night’s Academy Awards.

A topic of wide discussion and even wider consternation, the Academy’s various nominations were full of terrible oversights and seemed to be driven by politics more than ever. Many movie lovers, fans and critics alike, were frustrated that films like Wall-E, The Dark Knight, Rachel Getting Married and Gran Torino were overlooked as much as they were, not to mention the Academy’s major oversight in denying Bruce Springsteen a nomination for his great song “The Wrestler” for Darren Aronofsky’s film of the same title. Of course, their were a few pleasant surprises among the nominations (see: Anne Hathaway) and some great stories (see: Mickey Rourke). And, as always, there were some sure things (see: Heath Ledger). But, hey, that’s Oscar season.

The Into the Hill Oscar Preview includes a list of the nominees in each of the major categories, my prediction for who will take the gold statuette, my choice for who I think is most deserving among the nominees and a choice or two of people who should have been nominated but weren’t (denoted by “got robbed”). I conclude with a few thoughts on some of the other various categories.

Be sure to let us know who you think will and/or should win. Just leave a comment for all of posterity. Feel free to rant at will.

2009 OSCAR PREVIEW:

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by DAVID KERN

It’s Academy Awards Week in Hollywood, which means it’s Film Week at Into the Hill. Today, its our choices for the top 20 films of last year. On Friday, come back and check out our Oscar preview, combined with our own choices in the various categories (sneak peek: I’m not a big fan of the Academy’s nominations).

Around here we wait until mid February to run our top films of the year list primarily so you all can actually go out and see most of them, unlike in January when most critics publish their lists and most of the films have yet to hit theaters widely - if at all. Also, by now, many of the more obscure, foreign, or otherwise hard to find films are now available on Netflix, some even are available to watch right there on your computer. Of course, many of the films on our list can be found on other great lists, some even in similar spots. But hopefully we’ll be able to bring some more great titles to your attention, and hey, if nothing else, it certainly can’t hurt to be reminded of the many great works of art out there.

So pull up that Netflix queue in another tab, download the necessary software and pop those kernels, ’cause its the best time of the year: it’s film season and it’s time to celebrate!

TOP 20 FILMS OF 2008:
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by DAVID KERN

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