Munich

When I saw Munich and got to thinking about it, I realized how unsatisfied I was with the film. That’s when it dawned on me that that was the point, that the film itself and the characters involved lived in a world where no one could ever be fully satisfied. Based on the manhunt for those responsible for the 1972 murders of eleven Israeli Olympians, Munich captures the never-ending cycle of vengeance. For me, the film focuses more on the human realities of warfare and the guilt-ridden consciences that accompany the combat. On the surface, Munich is a riveting thriller that kicks in right at the start with explosions and gunfire and a few all-too-real and unsettling scenes. Paranoia also sets in, especially with Eric Bana’s Avner, leader of the Israeli assassination team, as he starts to fear for his family’s safety as he ironically disrupts the lives of Palestinian families. Bana gives a heartfelt performance particularly in the single moment when he hears his daughter speak for the first time half a world away. With powerful and gut-wrenching moments throughout, Munich is a solid film, although I felt it all started very suddenly and became very complicated with political talk. The world, however, is indeed a complicated place full of ignorance, appreciation, love, and hate as Munich forcefully displays.

Starring: Eric Bana, Daniel Craig, Geoffrey Rush, Ayelet Zoyer
Director: Steven Spielberg
Runtime: 164 minutes

Capote

Before I saw this film all I knew about Truman Capote was that he was the man behind Breakfast At Tiffany’s. When I heard about the story of this film I was surprised that the creator of Holly Golightly was also the author of In Cold Blood, a non-fiction novel about the murders of a Kansas family and their killers. The plot of the film simply follows Capote at the stage of his life while writing the aforementioned novel and his ambiguous involvement and soon-to-be friendship with the criminals while he researches for his book. Capote is a quiet film, with eerie calmness in conservative Kansas and a contrastingly loud New York City full of socialites. Philip Seymour Hoffman gives his all as the ultimately selfish author that lets his novel detach himself from the humanitarian that he somewhat pretends to be towards the killers. It is a fascinating depiction of Capote’s struggle between what is best for his book versus two human lives that are depending on him for humanizing their actions. It is truly an Oscar-worthy film with Hoffman completely stealing the show with his crack-up Capote that surprises you with laughs and tears.

Starring: Philip Seymour Hoffman, Catherine Keener, Clifton Collins Jr., Chris Cooper
Director: Bennett Miller
Runtime: 98 minutes

The Matador

Pierce Brosnan like you’ve never seen him before. Salt and pepper hair, a full-on mustache, a beer belly (and a beer always in his hand), and holding and pointing several guns throughout the film. Well that last part is quite similar to his late smooth 007 counterpart, but beyond that the movie is quite opposite of the James Bond series. The Matador is always changing; in mood, tone, theme, and it’s vibrant cultural soundtrack. Brosnan’s Julian Noble, an assassin going through a mid-life crisis, is pathetic and sleazy, yet entirely amusing. His new friendship with Greg Kinnear’s desperate goody-goody businessman, Danny Wright, makes a strange and peculiar relationship that revolves around Julian’s profession, but is often sentimental. Hope Davis’ quirky wife of Danny provides some awkward moments that don’t really fit, but overall the marriage is quite sweet. Just when you think you’ve figured out what’s going on, The Matador throws in a few surprises that are actually quite compassionate in a world where killing people is an acceptable profession.

Starring: Pierce Brosnan, Greg Kinnear, Hope Davis
Director: Richard Shepard
Runtime: 96 minutes