Lincoln

It would be incorrect to call Lincoln a biopic on the 16^th President. The major flaw of the biopic genre (and the reason I’m generally not a fan of it) is that many films seek to merely present the cinematic equivalent of a bullet points list of the major events in their subject’s life, rather than tell a full, solid narrative. Thankfully, Steven Spielberg’s long-awaited project opted not to take this route. Instead of just giving us a rundown of all the moments everyone knows about Abraham Lincoln from history class (the Lincoln-Douglas debates, the Gettysburg Address), the film instead depicts a small portion of his life. This makes for a more complete narrative, but also gives us a stronger, more in-depth portrait of the man.

The timeframe depicted, aside from a few scenes at the beginning and end, is January 1865, after President Lincoln (Daniel Day-Lewis) had won reelection, but before the start of his second term. The Civil War was coming to a close, and the South was seeking to make peace. It’s during this window, before the war ends and his second term begins, that Lincoln pushed the House of Representatives to pass the Thirteenth Amendment, which outlawed slavery. This meant reconciling the more conservative faction of the Republican Party with the radical abolitionist faction, and also courting several Democrats who opposed such an amendment, all while keeping the news of a Confederate peace delegation a secret.

Day-Lewis, known for his incredible dedication to his roles, delivers one of the great performances in film history as Lincoln. Not only does he get the look right, but every element we know about the man from history is there, too. He was a man of great conviction and ideals, but understood that he had to work with his political rivals. He was soft-spoken and even humorous, but had the iron will to see his vision through. He was reviled by many from all sides and faced the greatest crisis the nation had seen up to that time, and yet managed to lead the country through it with cool-headed reason, intelligence, and uncanny political savvy.

With a lot of great performances, we can observe and admire the particulars of how actors perform and bring their role to life. That’s hard to do here because from the first few minutes, we forget it’s a performance because it seems like we’re watching the real Abraham Lincoln. We’ll never know exactly what Lincoln was like in person or how his voice sounded, but Day-Lewis embodies the man as perfectly as anyone imaginably could. He defines Lincoln the way film footage of the real John F. Kennedy, Ronald Reagan, or Barack Obama define those Presidents, an achievement above and beyond the normal bounds of acting.

There are a few of the standard biopic trappings pertaining to Lincoln’s family life. Sally Field plays First Lady Mary Todd Lincoln as a loyal companion who struggles with personal demons (some historians believe she suffered from bipolar disorder, and the film briefly hints at this) and family drama, while at the same time giving some human, rather than political, counsel to her husband. She brings a veteran presence to the role that is convincing, reminding us that even some of the most revered historical figures were also family men. Less impressive is Joseph Gordon-Levitt, who’s not bad in the role of oldest son Robert Todd Lincoln, but seems to be more tacked on than a major part of the story.

The more engrossing part of the picture is the political drama, as we get to see all the great lengths Lincoln and his allies went to in order to pass the Thirteenth Amendment. It depicts the wheeling and dealing that we all expect from politicians, as well as the sharp-tongued barbs traded between the parties on the House Floor. But it also shows the appeals Lincoln made to his rivals’ humanity and intellect, and the delicate balance he had to strike between seeking an end to both the Civil War and slavery. It is here that the movie becomes a compelling, sometimes funny political drama, and by the time the Thirteenth Amendment passes onscreen (I don’t think I’m spoiling that for anybody), even the most cynical person might have their faith in the system restored. It is also here that the picture drops the semblance of a biopic and becomes an ensemble piece. Great performances shine from David Strathairn as Secretary of State William Seward, Hal Holbrook as influential Republican Francis Preston Blair, and especially Tommy Lee Jones, who brings an entertaining zeal as the radical abolitionist Congressman Thaddeus Stevens. He might have stolen the show if not for Day-Lewis’ performance, but Jones still manages to hold his own when the two are onscreen together.

Coming so soon after this year’s election, could Lincoln teach us any lessons about today’s political climate? Well, not directly; the issues debated onscreen are long gone, and the Democrats and Republicans in the film are near unrecognizable from their present-day counterparts. But the film does present the timeless truth that in order to do anything of importance, you have to work with people you disagree with, and that you can do so without compromising on your ideals.

Political insights aside, Lincoln is one of the best (and apparently most accurate) films ever made about American history, and one of the best movies in Spielberg’s career.

Skyfall

Daniel Craig is easily the best James Bond, ever.

I know saying that is going to irk many longtime fans who insist that no one can top Sean Connery. Well, I mean no disrespect to the man who originated the role, or any of the other actors who've played 007 (Pierce Brosnan will always have a place for me as the Bond I grew up with). And I admit I haven’t seen every single one of the twenty-odd films featuring the character. Nevertheless, I stand by my statement.

Bond movies were always entertaining before, but let’s be honest: they were a little ridiculous. The plots were very outlandish, and some of the action scenes stretched even the typical suspension of disbelief you need for an action movie. Also, there was arguably always a comedic undertone, as Bond never seemed to break a sweat or even seem surprised by any of his experiences (not to mention all those Q gadgets, which were laughable fantasy).

With 2006’s Casino Royale, the series did away with most of that, dropping Bond into the real world of the 21^st Century. The cartoonish bad guys were replaced with harder villains whose evil intentions were right out of the news, and Craig brought a much needed edge and cunning that made the character so much more compelling. The suave demeanor and cold wit people expect from Bond are still there, but he actually seems like a real secret agent now, as opposed to a smooth playboy who just happens to defeat an evil genius while on an exotic vacation.

So, I reiterate: Daniel Craig is the best Bond, ever. And Skyfall might be the best Bond film I’ve ever seen.

The movie begins with an amazing chase through Turkey involving motorcycles and a train (one of several great action sequences), which ends with Bond apparently dead (not really, of course), and a hard drive listing double agents in terrorist organizations stolen. Soon, whoever obtained the list starts toying with MI6 head M (Judi Dench) by releasing the names online, resulting in the agents being executed by the groups in which they operate. As M faces an inquiry on her leadership, Bond sets out to find whoever stole the list.

Casino Royale and Quantum of Solace (which had one continuing story stretched across two movies) didn’t follow the standard Bond formula, as they were reestablishing the character’s origins to start fresh. This time around, Craig is firmly in place as Bond, owning the role whether he’s in the heat of battle, dropping a one-liner, or getting the ladies. But he's a much more real Bond than anyone who came before him. He bleeds, he doesn’t just walk away unscathed from a fight, and he has human feeling.

Really, this could be a metaphor for the whole movie: It’s a Bond movie through and through, with all the familiar trappings (as well as some references to movies past), and yet different from any one we’ve seen. It’s darker, and much more character-driven, building as much dramatic tension between the action scenes as during them.

The last third of the movie even departs completely from the formula and takes the story in a direction the series has never seen, as we learn a little about Bond’s past, as well as his relationship with Dench’s M. It doesn’t reveal anything too specific, leaving Bond’s secretive mystique intact (and leaving open possibilities for sequels), but it speaks volumes about how the character became the man he is. What was evident from early in Casino Royale is made very obvious in Skyfall: Craig’s 007 is no campy caricature, but a strong, fully developed character, more in line with creator Ian Fleming’s original vision than some previous portrayals.

And he’s not the only character who gets a meatier part. Dench, who’s played M since the Pierce Brosnan movies, advances from simply a dignified voice of authority to a vital supporting role. More than just his boss, she comes off almost like a matriarchal figure to Bond, as their relationship is revealed as more than mere loyalty and professional respect, and yet remains at arm’s length because of the nature of their work. Other Oscar-level talent in supporting roles includes Ralph Fiennes and Albert Finney. As the new Q, Ben Whishaw is an appropriately nerdy techno geek, but he gets to play a more active part in the action than just a scene or two of comic relief (the filmmakers wisely reworked the character instead of trying to replace the late Desmond Llewelyn, which would have been a futile task). And (MINOR SPOILER!) even Moneypenny (Naomie Harris) gets an upgrade, becoming 007’s equal and ally in the field, not just the secretary he flirts with. The way the movie takes longtime characters and turns them into major, important supporting roles is comparable to what Christopher Nolan’s Batman movies did for previously minor characters like Alfred and Commissioner Gordon.

As antagonist Raoul Silva, a cyber-terrorist and figure from M’s past, Javier Bardem makes the typical Bond villain monologue entrance, but the parallels to all the previous villains stop there. Unlike all the colorful megalomaniacal baddies over years, his goals are personal and vengeful, and he pursues them with the same brutal intensity and path of destruction he showed in No Country for Old Men. He’s easily one of 007’s most formidable foes, and one of the few who could really take him in a fight. If there’s anything to be desired, it’s that the character’s backstory sounds quite interesting, but the film only offers up small snippets. Then again, such a story could be good material for a sequel (or even a spinoff).

Speaking of sequels, the picture is just begging for them. Not only does it hint at plot points that could make for intriguing future storylines, but it puts in place and revamps the last few pieces of the Bond mythos that were missing from the first two Craig films, obviously priming the audience for more. More films of this caliber is an excellent prospect (and Craig is signed on for at least two more movies, which is encouraging). But overlooking the sequel potential, as it stands on its own, Skyfall is one fantastic movie.

Capsule Review: "Obama Wins"

South Park is now two-for-two in predicting Presidential Elections for Barack Obama, though if tonight’s episode is any indication, Trey Parker and Matt Stone may want an asterisk next to this year.

The episode had child Hell-raiser Cartman stealing ballots from swing states in order to rig yesterday’s election for Obama, as part of a twisted conspiracy involving the Chinese Military trying to wrest control of Star Wars from new owner Disney (it gets complicated, but luckily Morgan Freeman shows up to explain things in his patented warm voice). Also, it throws in some references to past episodes, like the psychotic businessman Mickey Mouse and a jab at Mitt Romney that suggests Stone and Parker aren’t fans of him, either (and had me dying laughing).

This one’s appeal is for more seasoned viewers, as much of the humor comes from past references and the surreal, complex storyline that longtime fans will appreciate. But the real strong point is its subtle but valid political satire.

Does the storyline seemingly validate Republican claims of voter fraud, or does it make a statement about alleged GOP ballot tampering by turning the tables and having Obama be the one stealing the election? You can decide based on your political views, but the episode also asks, would the average citizen even notice or care if a candidate became President by subverting the vote? Or, would they make a bigger deal out of less important things (say, the recent news surrounding Star Wars) than what goes on with their government?

After all the political noise that we’ve had to deal with this year, leave it to a potty-mouthed cartoon to show some unfortunate truths about our attitude toward politics. This was a strong cap on what has been a solid half-season overall. 

**I'll be back next season with more South Park reviews!**

Capsule Review: "A Scause for Applause"

Last night’s South Park was one of those moments where the program’s brilliance really shines. The episode had everything that’s great about the show: surreal humor, gleefully offensive potshots at sacred cows, and biting satire that puts things in perspective.

It starts with all the characters lining up to get their yellow bracelets removed after the person behind them is revealed as a fraud. Think it’s because of a certain cyclist in the news lately? WRONG! I won’t say who and ruin the surprise, but it’s someone who’s even more deified than any athlete. Lead character Stan also becomes the face of his own cause, complete with its own wristband, before falling from grace and turning into an arrogant pariah himself.

Amazingly, the episode managed to hit all the points of the controversy surrounding Lance Armstrong without even mentioning him, and skewered the very idea of cause wristbands (parts of it would have been relevant years ago). It depicts the makers of these bracelets as hucksters only out to make a buck off public sympathy, and the celebrities who endorse them as empty egotists who care more about promoting themselves than any issues. But there are also jabs at us, the public, for just buying these wristbands for the fad without actually doing (or even knowing) anything about the causes they seemingly represent (one telling scene shows Cartman wearing so many bracelets that he forgets what he supposedly supports).

The episode kept things quirky and funny by implementing references to Dr. Seuss. But the biggest laughs came from the sheer blasphemous shock value in seeing a certain religious figure sink lower and lower. A sobering (and hilarious) reminder, perhaps, that even those we most revere can be full of it.