It’s been an outstanding 2015 for Pixar. Coming just months after the studio’s conceptually elaborate and ingeniously inventive Inside Out is the more traditional, poetic and pure The Good Dinosaur. The former is a dazzling exploration of the human mind, the latter an agrarian ballad of the soul. Directed by Pete Sohn, The Good Dinosaur flips the classic boy-and-his-pet tale on its head with an odd role reversal: the towering beast is the talkative one, his human sidekick a non-speaking, mangy, doglike traveling partner. Still, the story’s mostly rooted in convention, fueled by good-natured, broad comedy and familiar life lessons to any and all Disney fanatics. It doesn’t break new ground in the same ways Inside Out does, but in the realm of visual artistry and craftsmanship, The Good Dinosaur is king.

Before any of the characters say a word, we get a demonstration of just how insane(ly talented) the digital artists at Pixar really are. Lush landscapes are blanketed by golden sunshine, shadows cast by the plants and animals living in tranquil harmony. It’s unmistakably our world (it’s breathtakingly convincing, really), but with a twist. As the movie opens we see earth 65 million years ago, around the time of the dinosaurs’ extinction. Rather than colliding with big blue, it whiffs and zooms onward into the cosmos, birthing an alternate timeline in which dinosaurs rule the planet for millions of years to come.

With knobby knees and an endearing lack of coordination, our leaf green apatosaur hero, Arlo (Raymond Ochoa), is welcomed into the world by Momma (Frances McDormand) and Poppa (Jeffrey Wright), hard-working farmers who hope he and his siblings, Libby and Buck, will help them tend to the family’s land for generations to come. This first portion of the story feels the most familiar, with the kids learning responsibility by plowing the fields and feeding the chickens at the foot of a toothy mountain range, the teeming landscape looking a lot like the American Northwest.

Arlo’s a bit of a runt and has an issue with fear, an undesirable trait Poppa’s determined to stomp out by taking him on a hunting mission, their target a young human “critter” who keeps stealing from the family’s corn harvest. A dark storm builds during their riverside pursuit, and Poppa tragically gets swept away by a flash flood, Mufasa-style. The family mourns, and just a short time later, Arlo sees the critter swiping corn yet again. He pursues with vengeance on his mind but, like his father, he gets swept away by the river’s current, leaving him stranded miles from home. His unlikely companion on his journey home is the critter, Spot (Jack Bright), a homo sapien who scrambles around on all fours and barks and snarls at anything of interest (Looney Toon the Tasmanian Devil comes to mind). Together, the once-enemies learn to trust one another as they search for home, meeting colorful allies and baddies along the way.

Mother nature is unquestionably the star of the show, arguably taking precedence over Arlo and Spot. There’s a strong sense that nature is the be-all-end-all, this enormous, beautiful, unfathomably powerful thing that the characters are at the mercy of at any given moment. Many movies cast our planet as a pretty backdrop, nothing more. But the folks at Pixar are more thoughtful than that, invoking the almost religious reverence of the great outdoors of classic great plains westerns and the films of Werner Herzog. Dinosaur feels most like a western when Arlo and Spot meet a family of t-rex buffalo herders, led by a grizzly, slow-talkin’ patriarch, played by the most popular cowboy thesp of the moment, Sam Elliott (the designers cleverly fashion the characters’ top teeth to resemble the actor’s signature snowy ‘stache).

The movie’s got a lot on its mind, touching on themes of family, loss, fear, and even the timeless battle between herbivores and carnivores: early on, Spot scavenges for animals and grubs for Arlo to eat, all of which repulse the long-necked plant eater. Eventually, they bond over their shared love of fresh berries and even share a moment where they wordlessly consider the value of fresh fruit. What’s problematic is that the film only touches on these ideas and doesn’t follow through in a fulfilling way, save for the main theme regarding Arlo finding courage in compassion. The story also seems to be leaning towards a message of chosen family, but that all gets undone in the end when Arlo and Spot make a heartbreaking decision that, while emotionally wrenching, doesn’t make a whole lot of sense.

These issues are easier to swallow when you consider how touchingly the characters’ friendship is developed. The movie’s most tender moment involves Arlo and Spot using sticks and lines drawn in the dirt to express to each other the hurt they feel for their lost loved ones. It’s nice to have a movie come along every once in a while that lets its characters shut up for a minute and appreciate their surroundings. The Good Dinosaur is more humble than Pixar’s typical fare, choosing to refine and riff on familiar ideas and themes rather than build new ones from the ground up and live on the cutting edge. It doesn’t feel hip and new, but timeless and classical, like movies from Disney Animation’s ’90s glory days.

Anyone interested how the acting categories may pan out for the Oscars had their attention on the 2015 Screen Actors Guild Awards tonight, as this award show is much more reliable than say the Golden Globes, though there were a lot of overlap winners in the film categories. In fact, Patricia Arquette (Boyhood), J.K. Simmons (Whiplash), Julianne Moore (Still Alice) and Eddie Redmayne (The Theory of Everything) all repeated their wins in respected categorizes from the Globes two weeks ago. Redmayne continues his streak of edging out Michael Keaton (Birdman) who many consider to be the front-runner. This win might just shake things up for the category come Oscar night. Though Birdman wasn’t completely shut out, the film picked up the Outstanding Performance by a Cast award.

Orange Is the New Black picked up two awards on the television side of the awards, one for Outstanding Performance by an Ensemble in a Comedy Series and Uzo Aduba (for the role of Crazy Eyes) won for Outstanding Performance by a Female Actor in a Comedy Series. Kevin Spacey was the only Golden Globes repeat winner this year, earning Outstanding Performance by a Male Actor in a Drama Series in both awards shows. Other winners included Mark Ruffalo (The Normal Heart), Frances McDormand (Olive Kitteridge) and Viola Davis (How To Get Away With Murder).

List of 2015 Screen Actors Guild Award Winners

Film

Outstanding Performance by a Male Actor in a Leading Role
Eddie Redmayne – The Theory of Everything

Outstanding Performance by a Female Actor in a Leading Role
Julianne Moore – Still Alice

Outstanding Performance by a Male Actor in a Supporting Role
J.K. Simmons – Whiplash

Outstanding Performance by a Female Actor in a Supporting Role
Patricia Arquette – Boyhood

Outstanding Performance by a Cast in a Motion Picture
Birdman

Television

Outstanding Performance by a Male Actor in a Television Movie or Miniseries
Mark Ruffalo – The Normal Heart

Outstanding Performance by a Female Actor in a Television Movie or Miniseries
Frances McDormand – Olive Kitteridge

Outstanding Performance by a Male Actor in a Drama Series
Kevin Spacey – House of Cards

Outstanding Performance by a Female Actor in a Drama Series
Viola Davis – How To Get Away With Murder

Outstanding Performance by a Male Actor in a Comedy Series
William H. Macy – Shameless

Outstanding Performance by a Female Actor in a Comedy Series
Uzo Aduba – Orange Is the New Black

Outstanding Performance by an Ensemble in a Drama Series
Downton Abbey

Outstanding Performance by an Ensemble in a Comedy Series
Orange Is the New Black

When you first watch this story of trickery and deceit, you may perceive it quite differently as you would following a second viewing. After seeing Burn After Reading for the first time in 2008, I was compelled to hate everything about it. I found it hard to enjoy the events that occurred, I was unhappy with the character arcs that Joel and Ethan chose and I was dissatisfied with the ending. Having recently watched it again, however, I was willing to retract my previous judgement and declare that I was quite taken with the quirky, deceitful scenarios that rolled out.

Burn After Reading is a story based upon the idea that when people want something badly enough, they can sometimes go to extreme measures in achieving it; and the Coen Brothers once again demonstrate different ridiculous outcomes to the everyday circumstances these characters endure.

Academy Award Winner, Frances McDormand (Fargo) – a Coen Brothers/Amy favourite, plays as Linda Litzke, a woman who is absolutely determined to undergo plastic surgery to reshape her body and uplift her life. The whole film is molded around Litzke’s unwavering focus on her desire to reinvent herself, and mishap after mishap ensues as her schemes become increasingly reckless (and as a result a lot more dangerous). Initially disheartened by her insurance company refusing to cover the surgery; Chad (Brad Pitt), discovers a disc containing what he believes to be “high quality information” that he presumes will help her money issues. What unfolds thereafter is a series of events that leads up to you finally thinking “so what did we just watch?” It is not a bad movie as a result of this, I enjoyed the fact it gave me time to reflect on what I had just sat through: a story full of real feelings, real emotions and a narrative that never leaves you wanting to drift off face first into your popcorn.

McDormand’s character portrayal is not the only one I wish to comment on, as Brad Pitt’s character Chad, was one of his most versatile performances to date. Playing an energetic yet comically naive personal trainer for a fitness centre, it gave Pitt a chance to step back from his alter ego Rusty Ryan/Tyler Durden persona. Chad’s simplicity gets him in a lot of trouble during the course of the film, but his optimism for life never falters.

Each scene leaves you thinking “what is actually happening” as the story continues to take us in many different directions. Subplots divide and multiply as the film unfolds, yet all are interwoven. You’re not necessarily confused with what the characters are up to, but more so why they’re perhaps building a reclining sex chair or chasing fitness instructors with an axe. There are characters that you’ll come to love or hate, but on some level you’ll secretly empathize with each and every one of them.

Joel and Ethan Coen have such a rich history in filming excellent and unforgettable movies, such as Raising Arizona (1987), Fargo (1996), The Big Lebowski (1998) and more recently No Country for Old Men (2007) and True Grit (2010), that anything they make is classed as unique and creative; and Burn After Reading ticks both those boxes. Because of how interesting the storylines for each character are and how entertainingly painful they are to watch, after every scene you’re constantly questioning yourself as to whether or not you love or hate the film.

The quote that the movie went for, “Intelligence is Relative”, fits perfectly to the references to the CIA, where “Intelligence” is paramount, every character, including those government officials, are clueless as to what is happening within their own lives let alone anyone else’s. It’s a great quote to summarize the plot and the characters alike – that there can be no stupid questions, only stupid answers; cue Burn after Reading.

Moonrise Kingdom is unmistakably a Wes Anderson film. It features presumptuous children who seem to be more intelligent and mature than the adults and a simple but whimsical storyline that is completely overshadowed by its presentation. Everything is exaggerated and deadpan humor is in abundance. That is what often makes his films so fascinating to watch and Moonrise Kingdom is no exception. It is a fun adventurous fantasy that only he is able to create.

In the opening sequence, the camera paces through the house of the Bishop’s, introducing us to the three young boys listening to their precious record player and their older sister Suzy (Kara Hayward) who always has a pair of binoculars around her neck. Their mother Laura (Frances McDormand) is always yelling into a megaphone to call after the children and sometimes even her husband Walt (Bill Murray).

Also located on the fictitious island of New Penzance is a camp belonging to Khaki Scout Group Number 55. On what seems to be a routine morning, Scout Master Ward (Edward Norton) emerges from his tent then proceeds to do his daily check-ins to make sure his troop members are doing their duties. Finally he notices at the dinner table that one of its members is absent. He rushes to 12 year old Sam Shakusky’s (Jared Gilman) tent to find out that he has “flown the coop”.

Through a flashback a year earlier we see how Sam and Suzy met. During a play of Noah’s Ark Sam wonders around the building and stumbles into a dressing room full of girls dressed as birds. One of the birds catches his eye, the raven, which was played by Suzy. Soon after that run in, they exchanged many love letters back and forth over the course of a year. In their last letters, which brings us to the present time, they agree to run away together.

It is not long before the island’s local policeman Captain Share (Bruce Willis) receives a call from Suzy’s parents that puts the entire island on a manhunt to find the two. Due to Sam’s survival skills learned from being a Khaki Scout, the two young lovers are prepared and seem to not be in any harm. Suzy did bring several reading materials and a battery operated record player after all.

Our narrator (Bob Balaban) informs us that this is set in September of 1965. He also lets us know that in three days time there will be a massive rainstorm that will result in a flood unlike one the island has seen in hundreds of years. This information adds to the urgency of finding Suzy and Sam.

Each scene is meticulously designed with props and a matching color scheme which is a very common feature for a Wes Anderson film. I noticed it early on in Moonrise Kingdom when we see a primary yellow toned kitchen, in the very back of the shot there is a fan that even its blades we’re yellow to match. The little things like those that are often overlooked in other films that are done to perfection.

In addition to the amazing visual style, the other key element in Moonrise Kingdom is the fantastic cast. First you have Bill Murray, who seems to be born to play Wes Anderson films with his deadpan tone (he has been in five of his last six films). Another Anderson veteran is Jason Schwartzman whose sarcasm fits perfectly with his role as one of the Scout Leaders.

Then you have Anderson newcomers such as Bruce Willis, who I was concerned may stick out like a sore thumb in this role but was proven wrong. Edward Norton as the always serious and enthusiastic leader did not miss a beat either. Last but not least, the two young lovers played by Kara Hayward and Jared Gilman were outstanding together.

It is hard to walk away from a Wes Anderson film with a firm opinion, you must first let it soak in for a bit. It does not help that there is not as much substance in his films. But what Moonrise Kingdom lacks in substance it more than makes up for with plenty of style and quirky but lovable characters.

Moonrise Kingdom, for better or for worse, totally has Wes Anderson written all over it. If you were a fan of his films before, you will love Moonrise Kingdom. On the flip side, if you were not a fan of his work before, I do not think this will change your mind on the matter. Over the years I have come to accept the fact that the plot in his films does not seem to matter as much as the picturesque scenery and development of his quirky characters. It is hard to deny that he is one of the most original American filmmakers in the field today.

Paolo Sorrentino’s This Must Be the Place is a film I love so much I cannot even begin to put into words why. If someone were to ask me to make a list of films that are the reason why I love film, this would surely be on it. This movie as unique as a snow flake, a one of a kind ace, a film like almost nothing I have seen before.

When I finished the film, I had a massive grin on my face that I tried (but could not) remove from my face 10 minutes after it had finished. A movie that is so good, as it was ending my heart beat faster and goose bumps rose from my arms.

The only film I could even come close to thinking it reminded me of was Wim Wender’s gleefully fantastic 80’s indie film Paris, Texas. A film I also adored. Wender’s film concerned itself with a man who was a mute who was caught walking across the desert with no recollection of who, what, where, or why. Beautifully shot landscapes with intimate and silent scenes filled with honesty and emotion. This Must Be the Place essentially has the fantastic landscapes and that’s about it, but for some reason I was reminded of Paris, Texas. I am not alone either. Maybe it is because both are films mainly shot in America by foreign directors. I do not know.

The film starts out in Ireland, our hero is Cheyenne (Sean Penn), a retired rock star who looks like the offspring mixture Robert Smith of The Cure and Tim Burton. I apologize for that image. He is played magnificently by Sean Penn who adds yet another unbelievable performance to his career. Living in a mansion in Dublin with his wife, Jane (Frances McDormand, who is also great), he spends most his days playing handball in his waterless pool and cooking frozen pizzas.

One of the best things about This Must Be the Place is that you do not even know where the movie is headed until about 50 minutes in when Cheyenne is called to New York to see his dying father. I love that the movie just flows for the first 50 minutes. Just observing Cheyenne and his quirky lifestyle hanging around the mall with his grungy dressed friend or watching his wife go to work as a firefighter.

Then Cheyenne gets the call to see his father. He flies to New York only to arrive too late. His father has passed on. But soon he finds out that his father, along with a Jewish Nazi hunter (played brilliantly by Judd Hirsch), have been hunting down his torturer from World War II.

And thus we are sent on a completely original journey about a retired rock star who makes it his mission to hunt down and kill his father’s Nazi nemesis. Obtaining a truck from a greasy business man, Cheyenne sets out across America in search of the treacherous Nazi. I chuckled at the images of an emo looking middle aged man driving a massive 4×4 truck down the highways of America. Along the way he meets oddities such as the Nazi’s ex-wife who is actually a former history teacher in a Midwestern state. Now an elderly lady she lives with an old friend and a goose who consistently honks at Cheyenne.

He meets a woman, who may or may not be involved with his quest, who lives in the desert with her overweight son. She waitresses at a local diner while he argues with Cheyenne about who originally sings the song the film is named after. The kid says Arcade Fire. Cheyenne says Talking Heads. After a minute of disagreement, they sing the song together. We learn Cheyenne also happens to be a fantastic Ping Pong player as he schools a young man. Who would have thought?

One of the best scenes involves Cheyenne running into an old man at a diner late in his journey. He is played by Harry Dean Stanton, who by the way was the hero of Paris, Texas. My connection came before Stanton entered the film in case you were wondering. When asked if he knows an old German in town he replies, “That could only be one man, but let me tell you about suitcases first.” Then proceeds to talk about selling suitcases and then directs Cheyenne to the famous German of the town.

This Must Be the Place is a true original. A movie that soars above just about everything else, filled with fantastic cinematography, funny performances and scenes that are consistently better than the ones prior. Movies that get better and better with each scene are rare. The film’s confrontational scene with Cheyenne and the Nazi henchman is done so well, I almost could not believe it.

A film about self-perception, family and vengeance, Sorrentino’s film is a fantastic original work that will only grow in stature with time. I absolutely loved This Must Be the Place.

Wes Anderson’s latest film Moonrise Kingdom will open the 65th Cannes Film Festival on May 16 2012. Some of the cast members in the film should come as no surprise such as Billy Murray, Jason Schwartzman, and Bruce Willis who have all appeared in Wes Anderson film’s previously. Joining them are other big names; Tilda Swinton, Edward Norton, and Frances McDormand.

Synopsis from the official site:

“Set on an island off the coast of New England in the summer of 1965, MOONRISE KINGDOM tells the story of two twelve-year-olds who fall in love, make a secret pact, and run away together into the wilderness. As various authorities try to hunt them down, a violent storm is brewing off-shore — and the peaceful island community is turned upside down in more ways than anyone can handle. Bruce Willis plays the local sheriff. Edward Norton is a Khaki Scout troop leader. Bill Murray and Frances McDormand portray the young girl’s parents. The cast also includes Tilda Swinton, Jason Schwartzman, and Jared Gilman and Kara Hayward as the boy and girl.”

UPDATE: Check out our review of Moonrise Kingdom

Check out the official trailer for “Moonrise Kingdom” below: