Coriolanus

Transposing a lesser-known Shakespeare play into the modern era seems doesn't play so well initially, but comes to pay off in Ralph Fiennes' emotionally charged "Coriolanus." He moves it to a modernized Rome that engages in an intense back-and-forth with a nearby city. The dialogue at the beginning comes off as line-reading; later on, for the most part, it enriches the proceedings. It sets the stage for some of 2011's best acting, which was criminally neglected during awards season. Sure, it's over-the-top much of the time, but that's what makes all the more moving in this case.

Coriolanus (Fiennes) is a general who wants to be consul (for those not schooled in Roman politics, that means like president/leader). He's valiant, to be sure: he fought a one-on-one battle with his most bitter enemy Aufidius (Gerard Butler) and almost won. But he also doesn't really care about his people, not giving them bread (or circuses, in this case). A rebellious force has emerged, led by Tamora and Cassius (Lubna Azabal of "Incendies" and Ashraf Barhom, respectively) and the tribunes they want to be consul (James Nesbitt and Paul Jesson), and they want Coriolanus out. This leads him to do some crazy things.

Also worth mentioning in this are Coriolanus' right hand man, Senator Menenius (Brian Cox), his mother, Volumnia (Vanessa Redgrave), and his wife, Virgilia (Jessica Chastain). These are the only three people in his life, especially the latter two, and especially his mother, whom he feels any emotional connection to. They also provide the film with its heart; without them, the film would be nowhere as poignant as it ultimately is.

The acting by the leads, once they settle in (so to speak, I have no idea whether or not this was shot in sequence), is essentially impeccable. So the problem lies elsewhere. The film drags a lot in the middle, and at times, certain parts make an odd fit with one another (especially the strange "Call of Duty"-meets-the-Bard section). The film does make an admirable commitment to its enraged (and, to others, enraging) main character until the very end, and does what it can to grip you. For me, it worked, not throughout, but ultimately. B

The Factory: Schindler's List

After such summer smashes as Jaws, Raiders of the Lost Ark, E.T., and Jurassic Park, and the success of his primitive but utterly fun TV movie Duel, Steven Spielberg finally makes a serious and gratifying movie that still stands to this day as his magnum opus. This may not be the 8th greatest American film of all time (as said by the AFI), but it deserves a spot in at least the Top 50, as it is fearless in taking on one of history's most difficult subjects, the Holocaust. (As a friend said) save Liam Neeson's emotional "I should've saved one more" breakdown towards the end, this film is note-perfect. Neeson plays Oskar Schindler, a industrial member of the Nazi party who is focused on one thing: money. He decides to hire an accountant (Ben Kingsley) and start a business of assembling pots and pans that Jews can work in. We see early on that Schindler is not at all caring about his workers. But this all changes with a new mindset later. Another factor: Amon Goeth (Ralph Fiennes), a faux-enigmatic Nazi who snipes Jews in his spare time from just killing them on the streets of Krakow. Why do I say faux-enigmatic? Well, how do you explain the fact that after hearing a thought from Schindler about pardoning Jews he releases a Jewish servant and then momentarily kills him after a change of mind? The straight truth is that he is a devoted killer of Jewish people, but he is also helping Schindler out a bit in his cause of freeing some Jews. The similarities that these two very different men bare are strange and eery. Anyways, between the folds of the main quest are mini-stories about Jews who are on the run from the Nazis. These are extremely compelling, and within minutes you are familiarized and acquainted with these people. Also, beneath the lead idea are some of the most violent scenes of all time, in which many Jews are executed and it is very disturbing. There are also other very memorable but disturbing scenes scattered through the movie as well. Speaking of memorable, this movie is unforgettable and is a cinematic wonderland, filled with sparing amounts of color in the majority of black and white, such as the red dress that a girl is wearing which Schindler sees in the stages of running through the streets and dying. Also, a final scene shows the real life survivors alongside the actors, in a brilliant and great touch. Now, to the acting: Neeson is pretty good, but is memorable for his stern and heroic presence. Fiennes, though, plays Goeth with flare and does a great job. All the minor performances are also spectacular. Bottom line: a near-flawless, no-nonsense movie that is flat-out outstanding. A