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FOR YOUR CONSIDERATION

Author(s): Ryan (N/A)
Nothing of Importance Happened Here

Directed by Ivan Reitman
Written by Ivan Reitman
Music by Rolfe Kent

Principal Cast:

Tom Hanks (Tom Daley)
Meg Tilly (Elizabeth Daley)
Mary Elizabeth Winstead (Alexis Daley)
Julianna Margulies (Samantha Tyler)
Alfre Woodard (Marcie Reynolds)
Vanessa Williams (Candice Price)
Mark Wahlberg (Christopher Weaver)
Queen Latifah (Betty Allen)
Morgan Freeman (Samuel Davis)

Tagline: "History is hard to find, but easy to make up."

Synopsis: In Philadelphia you can walk from Betsy Ross’ house to the Liberty Bell to Independence Hall in less than five minutes. In between the locations is the Daley house. Nothing of importance happened there. Countless tour buses and groups walk right by the Daley’s front door everyday to snap photos of the landmarks, but seem to miss Elizabeth (Meg Tilly) watering the plants or husband Tom (Tom Hanks) fetching the Philadelphia Inquirer.

As the couple nears retirement, the housing market has crashed and their real estate taxes have skyrocketed. They are to sell their house to move to a quainter town as their daughter, Alexis (Mary Elizabeth Winstead) has flown the coop; the house is too big and has too much maintenance for just the two of them.

Graduated from law school, Alexis has got a high-paying job at the prestigious firm, Weaver (Mark Wahlberg) & Allen (Queen Latifah).

As money woes are getting tighter and potential buyers of their house are getting fewer, Tom hatches an idea after walking around his historical block. Claim that the house is a historical landmark. Located on one of the busiest streets in the city, Elizabeth reluctantly agrees in their dishonest venture. They decide on declaring their house as a stop on the Underground Railroad.

Enlisting their daughter to forge the documents and legal work, their plan is set to dramatically cut their costs of living and largely increase the chances of potential buyers. However, the city’s historical curator, Samantha Tyler (Julianna Margulies), smells something fishy. Sending the documents that the Daley’s claimed to find in the attic to a lab, forensic director Marcie Reynolds (Alfre Woodard) tells Tom and Elizabeth she knows the truth and that she won’t tell anyone unless she gets a share of the profits in what she considers the greatest and most ingenious scam of the century.

However, as the tourists and boatloads of cash flow in, so do Historians and history teachers like Samuel Davis (Morgan Freeman) with their classes, prompting the Daley’s to tell more and more lies till they can’t remember fact from fiction. Also, Candice Price (Vanessa Williams), a fellow Historical Landmark owner down the street, is now losing business while wising up to the Daley’s scheme.

As Tom fears that they have gone too far, in a change of heart, Elizabeth is putting on lavish events in greed and attention, bringing history to life, literally, in reenactments. Losing sight of their goal of selling their house, they are becoming more and more attached to it. Not to mention, the documents that Alexis keeps on forging in the firm, bosses Chris and Betty can’t help but find out what is going on, in a film that proves that history certainly writes its self.

What the press would say:

“Two thumbs WAY up!”-Ebert & Roeper
“Something of Importance did happen here. A comedy with depth and emotion in one of the most satisfying and compelling films in recent memory!”- People
“A+! Side-splittingly, laugh-until-you-are-blue-in-the-face hilarious!”-Entertainment Weekly
“Meg Tilly makes her welcome and needed comeback, Winstead proves herself and Tom Hanks is once again amazing. What a family…”-Rolling Stone Magazine

NOTHING OF IMPORTANCE HAPPENED HERE is one of those rare critic, family, box office and audience friendly comedies; Fox Searchlight has certainly found another winner. Somewhat wacky but leveled, funny yet relatable and most important, dimensional, NOTHING OF IMPORTANCE HAPPENED HERE is truly a landmark film.

Tom Hanks finds himself in a comedic role which is a welcome change as he brings his A-game and impeccable timing as Tom, a character that is in it for the short-run and convinces his wife into the concept until she turns the tables on him, making their scam into something much larger than imagined. Hanks is witty and greedy, but relatable with the reasons behind the scheme something that is plaguing everyone across the country. Not getting too political, the film brings up some points in a funny, yet nicely toned manner. Academy Award nominee Meg Tilly is brilliantly casted and still knows how to act luminously even after a decade plus hiatus. Fitting the character like a glove, Tilly shows real emotion. The smart script allows Tilly to make a slow transition from cautious of the scheme to enjoying it to loving it to the point of living it in one of the biggest character personality changes in movie history. Unbelievably greedy at points, Tilly is likable when needed which makes her a success.

Mary Elizabeth Winstead who has been rising for quite some time finally gets the role needed to truly breakout with a stunning performance. Winstead holds her ground against screen legend Hanks. Neutral of the scheme, Winstead’s character only tries helping her parents after they helped her. However, when she realizes the risks, her morals fail her. Julianna Margulies also gets a role where she should get the attention she deserves after flying under the radar for many years.

Alfre Woodard is convincing as the forensics detective who needs extra cash to support her family in a world where it costs over four dollars a gallon for gas in a film that also hints on the crazy economy. Woodard is in it for the money, but also realizes that money isn’t the most important thing in life and becomes a confidant to Hank’s character. In a smaller, but memorable part, Vanessa Williams is put in a fun role that reminds us how much we all missed her filling up the silver screen. Williams is in a villainous role trying to unearth the scheme with a big nasty grin on her face.

After some alright films, director Ivan Reitman steals the spotlight from his son, Jason, making another classic comedy. Ivan uses more natural angles to help bring a sense of reality to the film as well as shooting the film where it really takes place. His script is smart and intelligent and just like the scheme, ingenious! Rolfe Kent sets a fun musical tone instead of using popular songs like so many comedies do nowadays in lieu of a traditional score.

All-around applauded; NOTHING OF IMPORTANCE HAPPENED HERE is certainly the movie of the year with audience and critic approval.

Best Picture
Best Director: Ivan Reitman
Best Screenplay: Ivan Reitman
Best Original Score: Rolfe Kent
Best Actor: Tom Hanks
Best Actress: Meg Tilly
Best Supporting Actress: Mary Elizabeth Winstead, Julianna Margulies, Alfre Woodard, Vanessa Williams

Author(s): Ryne (Portland)
The People vs. Robert Wheeler

Directed by Jim Sheridan
Written by Brian Koppelman

Cast:

Brad Pitt as Robert Wheeler
Jeff Goldblum as Will Emmerich
Jada Pinkett Smith as D.A. Carol Penn
Zooey Deschanel as Kate Larken
Michael Shannon as Det. Josh Parish
Albert Finney as Judge Stanley Wallace

Tagline:

"The People Prosecuted Him. He Knows the Truth"

Synopsis: Robert Wheeler (Pitt) has been charged with the first degree murder of police officer Stan Marx after Marx pulled him over for speeding. It is said that Wheeler pulled a gun and shot the officer, who was working alone that early Tuesday morning, twice; once in the stomach and the second in the chest. The only problem is Robert Wheeler did not kill the officer, he was not even pulled over by Marx early that morning, and his charismatic defense attorney Will Emmerich (Goldblum) hopes to prove that.

Wheeler, a working class high school teacher, says he remembers little about the night in question, but he knows that he did not kill Stan Marx. District Attorney Carol Penn (Pinkett Smith) believes all the evidence found points to Wheeler as the murderer of a local hero and she plans to prosecute him to the fullest extent of the law.

The principal witness Kate Larkin (Deschanel) says she was driving down Huntington Rd. at about 2:47 A.M when she saw a man in his mid-40s roughly 5' 10" with the same build as Wheeler step out of a silver Honda and point a gun at the officer approaching the vehicle. She pulled around the corner and called 911. Larkin admits it was still dark out when she witnessed the murder so she was never able to a good view of the murderer's face. Detective Josh Parish (Shannon) was the first to report to the crime scene and find Stan Marx dead. He testifies that later Tuesday afternoon, he found Robert Wheeler in a local park about a mile from the crime scene passed out in the bushes with a Bersa Thunder .380 automatic pistol in his coat pocket. It is interesting that no prints were found on the weapon, however, given Wheeler's condition at the time. The bullets were traced back the gun in Wheeler's pocket though.

Throughout the witness process, Robert Wheeler begins to remember. Flashes first, slowly becoming into real memories. Will Emmerich motions for a recess while his client searches his mind for these memories. Judge Stanley Wallace (Finney) grants the motion despite Carol Penn's objection. Court will resumes the next day at 10 A.M, but will there be any new witnesses to call to the stand in defense of Robert Wheeler.

It is a case that will go down in history. It will skyrocket the carrier of one lawyer and mark the end to an admirable carrier of a judge. It is a case that will affect many people and captivate a nation. Ultimately, everyone will always remember The People vs. Robert Wheeler.

What the Press would say:

Brilliant! The People vs. Robert Wheeler succeeds on every level from the smallest word in the gritty dialogue to the amazing performance of the ensemble cast. It is a modern-day masterpiece and the best film of the year. Set mainly in the courtroom with few other locations and incorporated with flashbacks the different characters interact with one another so well that the audience feels this story is real life and that is the essence of what a courtroom drama should be. It immerses the audience from start to finish and never lets go. Brad Pitt gives an outstanding performance as the accused Robert Wheeler. He throws himself into this role and portrays Wheeler's confusion and helplessness perfectly. As Wheeler's memory slowly begins to retrieve information, the audience is shocked by what he remembers. I will not spoil it for those yet to see it though. Playing Wheeler's defense attorney is Jeff Goldblum who gives the performance of his carrier. Goldblum once again steals every scene he is in and makes the audience fall in love with his character's drive to acquit Robert Wheeler. Will Emmerich is a fun-loving man at heart, but when it is time to get serious, he goes to work and does it superbly. Jada Pinkett Smith gives an Oscar worthy performance as District Attorney Carol Penn. Being a female in a dominantly male profession, Carol Penn is unsure of herself and her abilities, but hides it and only lets it out when she is alone. Pinkett Smith capitalizes on this vulnerability to give one hell of a performance. Zooey Deschanel, Michael Shannon, and Albert Finney take a back seat to give great complementing performances that allow the main actors to shine. These three truly help encompass the idea of an ensemble. Brian Koppelman's smart-as-a-whip screenplay is some the best dialogue seen in movies in the past decade. It keeps the audience of the edge of their seat craving for more and he writes a perfect ending for this film: not clichéd, yet not boring. Only the word "Excellent" can describe it. Overall, The People vs. Robert Wheeler is an intelligent courtroom drama that is sure to win many awards come awards season.

FYI:

Best Picture
Best Director (Jim Sheridan)
Best Actor (Brad Pitt)
Best Supporting Actor (Jeff Goldblum)
Best Supporting Actress (Jada Pinkett Smith)
Best Original Screenplay

Author(s): Brian (AZ)
The Poisonwood Bible

Directed by Fernando Meirelles
Written by Eric Roth
Produced by Fernando Meirelles, Steven Spielberg & Brian Grazer
Music by Howard Shore
Based on the Novel by Barbara Kingsolver

Main Cast
Toni Collette (Orleanna Price)
Russell Crowe (Nathan Price)
Chiwitel Ejiofor (Anatole Ngemba)
Saoirse Ronan (Leah Price/Adah Price)
Kristen Stewart (Rachel Price)
Chloe Moretz (Ruth May Price)

Tagline: “A Family of God. A Life of Sin.”

Synopsis: Orleanna Price was blinded on her wedding day. Not blinded in the sense that she could not see anymore, per se, but in the sense that she could not see anything beyond her husband’s orders. Her husband, Nathan, is a man of the lord, and absolutely nothing else. He spends his life worshipping God and interrogating those who do not. A Baptist minister of fifteen years, Nathan was assigned a mission no one else would dream of taking: a one-year stay in the Belgian Congo in Africa in order to convert the locals. Orleanna encourages this entirely, and takes their four daughters—the twins Leah and Adah (who has a minor case of mental retardation), Rachel and Ruth May. Not all of them would return.

Upon their arrival in the Congo, the Prices were greeted by Anatole Ngemba. He was one of the few people in the region that spoke English, and would serve as the girls’ tutor. It does not take long for the family to discover what life is like in the Congo. There is no government; no regulations; nothing. Simply leaving one’s area is enough to put one’s life at risk.

During the day, Nathan would go out to talk to natives about his faith, the girls would go to school with Anatole, and Orleanna would stay in their area and keep house, just as she did at home. As always, however, the schedule did not work perfectly. After schooling, the girls would sometimes sneak out and explore the area, which would prove to be more and more dangerous every day. And, when Orleanna ignores their fears so as to satisfy her husband, the girls turn to Anatole as a parental figure, who, alongside the rest of the host tribe, are beginning to turn on the Prices. Orleanna, however, is too blinded to realize this, while Nathan simply does not care. The children begin to notice that the tone between the family and the tribe has grown into something less-than-friendly, but are too afraid to do anything about it, as they fear it will clash with their parents’. With this false sense of security, Nathan continually makes advances on the natives about the tribe’s faith in Christianity, which only isolates them further. Nathan neglects the harm he is doing to his family, and the fact that he is residing in an incredibly dangerous place. But he is so far beyond caring about the welfare of others or even himself: his life is devoted to his faith. In fact, it wasn’t even about faith anymore. It was about influence. As Orleanna starts to take notice of the intense negativity from the natives and the life-threatening activity that occurs in simple daily life, she feels a sense of discontentment towards her husband’s sense of judgment that she has never felt before. She does her best to mask this, as she has done with every other emotion since she married Nathan, but as things become grittier and grittier, that becomes increasingly impossible.

Throughout the year, the family would face devastation, fallout and, for some, even death. How much will it take for Orleanna to finally rise above her husband? What will Nathan do to keep order and strict religion in his family? Everything unfolds in “The Poisonwood Bible.”

What the Press Would Say:

Fernando Meirelles’ adaptation of Barbara Kingsolver’s bestselling novel The Poisonwood Bible is, and I say this with no exaggeration whatsoever, the most tragic film I have ever seen. But it’s also one of the most uplifting. And most captivating. And most beautiful. And most disturbing. It is, flat out, one of the best films I have seen this decade.

But what, exactly, can I attribute the film’s triumph to? Numerous things, really. First of all, the absolutely flawless performances from everyone in the ensemble cast. Rising star Chiwetel Ejiofor delivers a moving, entirely convincing performance as the Price girls’ tutor, and their only contact with the outside world, and “Atonement” teen Saoirse Ronan brings an emotional, very impressive performance to the table—as do her siblings, portrayed by Kristen Stewart and Chloe Moretz. But still, the real amazement on the acting front is the performances by the two leads, Toni Collette and Russell Crowe. Typically, I would talk about the lesser performance first and the superior one second, but it’s simply impossible to pick a favorite between the two. So instead, I will talk about them as a whole. Collette and Crowe put an incredible amount of trust in one another in their acting. In the beginning of the film, both of them have their values and beliefs completely set in stone. However, as the movie progresses, Collette’s character, Orleanna, gradually begins to question her husband as the mission grows worse and worse. Crowe, on the other hand, refuses to change. When these two ideals clash, as they do especially towards the end of the film, sparks fly off the screen. It is simply irrational to suppose that a viewer won’t be moved in the scene where Collette discusses her strife about her daughters’ loss of innocence, while Crowe remains stern and unsympathetic. I can confidently say that these are genuinely sublime performances, and that these two will be major threats come Oscar season.

As we know, good performances simply do not occur without solid direction, so we know for a fact that Fernando Meirelles did this film justice. The quality of his direction, however, goes well beyond creating great performances. Take, for instance, the now famous scene involving flesh-eating ants (yes, you know which one I’m talking about). The scene begins in a tight shot with music so soft you can barely hear it serenading in the background, and by the conclusion of the scene, we view an extremely wide shot with a thunderous overture. And then, in the very next scene, we view a chillingly loveless confrontation between the daughters and their mother (another one of Collette’s best moments). About half of the film’s scenes are sweeping and epic, while the other half are intimate and emotional, and Meirelles knows exactly what he’s doing for each style.

A less-than-skilled screenwriter may take Barbara Kingsolver’s amazing novel and use it as an excuse to be, for lack of a better word, lazy, when writing the adaptation. Fortunately, this was not the case for Eric Roth when he was writing “The Poisonwood Bible.” No, instead, he took advantage of the book’s incredibly complex characters and multi-dimensional events. Much to his credit, none of the dialogue is copied directly from the novel, however it feels so realistic, one feels it must be. Roth treated the screenplay very seriously and did something inarguably powerful with it.

“The Poisonwood Bible” is more than the best film of the year; it’s an emotional and powerful event. On every front, from acting, to writing, to direction, to general quality, “The Poisonwood Bible” is a complete and utter masterpiece.

FYC:
Best Picture
Best Director (Fernando Meirelles)
Best Actor (Russell Crowe)
Best Actress (Toni Collette)
Best Adapted Screenplay

Author(s): Alfredo (NY)
Pride of Baghdad

Directed by Hayao Miyazaki
Story Written by Brian K. Vaughan
Screenplay Written by Hayao Miyazaki & Brian K. Vaughan
Produced by John Lasseter
Based on the Graphic Novel by Brian K. Vaughan (Writing) & Niko Henrichon (Art)
Cinematography by Atsushi Okui
Art Direction by Yoji Takeshige
English Voice Casting by Joshua Rodriguez
Film Edited by Takeshi Seyama
Original Score Joe Hisaishi
Original Song "Price of Freedom" by Annie Lennox

CAST:
Laurence Fishburne - (voice) ...Zill
Alfre Woodard - (voice) ...Safa
Sanaa Lathan - (voice) ...Noor
Jaden Smith - (voice) ...Ali
Michael Clarke Duncan - (voice) ...Fajer
Omar Sharif - (voice) ...Sanji
John Malkovich - (voice) ...Malakai

Tagline: "In war, humans are not the only casualties."

Synopsis: In the spring of 2003, a pride of lions escaped from the Baghdad Zoo during an American bombing raid...

Zill: The ferocious leader of the pride. Having lived most of his life in captivity, Zill has little to no recollection of life beyond the walls of the Baghdad zoo.
Noor: A young lioness, who is tired of being held in captivity and wishes to go back to wild. Before the air raid she tries to conspire with the other animals in the zoo to break free.

Safa: An old lioness, who is blind in one eye. She has lived much of her later years of life in captivity and doesn’t care to go back into the wild because she remembers all too well the dangerous outside of the zoo.
Ali: The youngest member of the pride. Ali is Noor's cub. He is extremely energitic and curious about life.

Their zoo has been bombed and they are left to fend for themselves. The keepers of the zoo had fed them and then abandoned them to their fate. The sky is full of fighter jets and the city streets look empty. We see Baghdad through the eyes of the lions who are rummaging around the war torn city of Baghdad. We see them duck and dodge artillery fire and bombs as they try to make safe passage through the city. They run across civilian casualties as well as the casualties of other animals caught in the crossfire.

Lost and confused, hungry but finally free, the four lions roamed the decimated streets of Baghdad in a desperate struggle for their lives.

What the Press Would Say:

Based on actual events that occurred in 2003, this intelligent, thought-provoking, and ultimately heartbreaking tale directed by Hayao Miyazaki (Spirited Away, Princess Mononoke) and written by graphic novelist Brian K. Vaughan introduces us to the titular pride of four lions who escape a Baghdad zoo during an American bombing and embark on a thrilling and dangerous journey through the war-torn city. Along the way, they are forced to address the harsh reality of being free in a world that has gone completely awry. Thus giving us one of the most adult animated films ever made and best film about the war in Iraq, animated or otherwise. Told entirely from the viewpoint of the animals, who speak as people do, we’re offered a fascinating glimpse into the everyday life and culture of the great beasts. Miyazaki develops the pride of lions as a complex and wonderfully dysfunctional family. The events of the story take place in the better part of one day, creating an overall adrenaline rush that is well suited to a wartime drama, and Miyazaki’s tight plotting and straightforward storytelling keeps everything moving along smoothly and efficiently.

Like the thoughtful writer that he is, Vaughan is never too obvious or heavy-handed, despite his use of such a potent and politically-charged narrative setting. Through the lions’ eyes, we’re offered a sober and effectively naïve outsider’s perspective on the chaos. Also, Vaughan’s approach to the concept of death is much more realistic than is common in mainstream films, animated or live action. There is no cheap, theatrical melodrama or long, pseudo-Shakespearian deathbed monologues here, leaving us with no easy comforts and little else but the quick, unforgiving finality. Miyazaki’s lush, affecting, and obviously well-researched artwork, with its rich, fiery-toned coloring, creates an environment that truly captures the majestic atmosphere of the desert, as well as the quite-shocking violence that occurs in both the animal world and our own. His depictions of the animals are fantastic, making them into completely believable characters. Miyazaki demonstrates a vast range of emotion and expression and endows each animal with their own distinct visual presence. The beautiful spread of the lions’ emergence from the zoo to finally get a view of the wide open landscape is as awe-inspiring as their exploration of what looks like one of Saddam’s abandoned palaces is spooky.

One of the major themes that seems to appear throughout the film is the idea of freedom, and the meaning and cost of it. Other analogies involving rape, the gray morality of violence, and the many dilemmas present in our current political climate can be made as well. The one theme that really sticks out, though, is that of life and family. The loving interactions between the lions are so rich with character that you forget about the usual notions regarding the Iraq conflict that have been hammered into our collective, media saturated consciousness. This allows the film to almost become a fun, family adventure story, albeit one where Mom talks with about sending a horse’s intestines spilling onto the sand (they’re still lions, after all). That sort of innocence is fleeting, however, and we’re brought crashing back when humans come into the dialogue at story’s end, which leaves quite a bitter taste on the moviegoer's proverbial palette in regards to the unquestionably horrible nature of war, violence, and the cultural misunderstanding that is at the heart of such conflicts. As food for thought goes, the moviegoer is left with quite a meal. Miyazaki and Vaughan have created a unique window into the nature of life during wartime, shedding light on this struggle as only an animated film can.

For Your Consideration

Best Picture
Best Animated Feature
Best Director, Hayao Miyazaki
Best Adapted Screenplay, Brian K. Vaughan

Author(s): Chris Moffitt (NC)
Prometheus

Directed by Terrence Mallick
Produced by Sarah Green and Terrence Mallick
Written by Terrence Mallick
Music by Hanz Zimmer
Edited by Leslie Jones, Saar Klein and Billy Weber
Cinematography by John Toll

Principal Cast:
Prometheus- Viggo Mortensen
Zeus- Martin Sheen
Hercules- Kevin McKidd
Epimetheus- Brendan Fraser
Pandora- Scarlett Johansson
Deucalion- Tom Welling
Hephaestus- Stellen Skarsgard
Aphrodite- Rachel McAdams
Hermes- Lukas Haas

Tagline: “The story of the Titan who gave birth to man.”

Synopsis: Prometheus stares into the open air. He rattles the chains around his arms knowing that he is still bound to a crag of the Caucasus Mountains. He awaits his daily attack from the unrelenting eagle heading to the rock. The eagle approaches Prometheus when the bird is pierced with an arrow and falls from the sky. Prometheus then looks to his right and notices a large man climbing up the side of the mountain. The man reaches where Prometheus is chained and asks if he is hurt. The man then introduces himself as the great hero Hercules, son of Zeus. Prometheus introduces himself and Hercules is immediately taken aback. He had heard the stories of Prometheus, the great Titan but could not believe that it was him. Hercules asked Prometheus how he ended up in these chains. After a moment of hesitation, Prometheus began to tell his tale.

Prometheus’ story began with Zeus’ victory in the war of Mount Olympus. The Earth had been badly damaged during the war. All living things had been destroyed and the world needed to be repopulated. Zeus decided that he would reward Prometheus and his brother, Epimetheus for their loyalty during the war by allowing them to accomplish this task. The two were given clay and box full of strengths and abilities that were to be given to the newly created animals. Epimetheus had no foresight and was very foolish. He began to hand out these abilities quickly to the animals he created while Prometheus carefully molded the humans. Eventually, Prometheus was satisfied that the human was perfectly created in the image of himself but alas Epimetheus had used up all the abilities and strengths leaving humans bare and simple.

With no strengths or advantages left to give to his new creations, Prometheus vowed to do something to help his beautiful creations. Prometheus went to Zeus and pleaded with him to give life-bearing fire to the humans. However, Zeus refused his request and reminded Prometheus of the hierarchy that exists on Mount Olympus. He exerted his power and authority and refused to allow the inferior humans to be equal to gods.

Prometheus returned to the Earth where his brother and his son Deucalion were living among the humans. Many were dying from cold and hunger everyday. Deucalion pleaded to his father to do something in order to help the humans. Without fire most of the humans would die in a matter of days. Prometheus then made the conscious decision to steal fire from Mount Olympus and give it to the humans no matter what the consequence would be for him. He returned to the mountain and took the fire from the Olympians’ throne room and returned to Earth. The humans were overjoyed with happiness and immediately the fire was spread throughout the cities. People’s homes were lit and warmed and food was cooked. The people praised Prometheus as their savior but Prometheus was not basking in his own glory for he knew that the wrath of Zeus would soon be upon him.

He was right. When Zeus looked down on the humans and saw that the people had fire he was furious. He immediately sent for Prometheus and captured his former ally. Before his capture, Prometheus said his heartfelt goodbyes to his friends and family and warned them to take no gifts from the gods. Zeus then chained Prometheus to the Caucasus Mountains and informed him that everyday an eagle would his liver and then it would grow back at the end of the day to allow for continued punishment.

Yet, Zeus also wanted to punish the humans and came up with a very creative idea. He had his children Hephaestus and Aphrodite create a beautiful woman with looks that no man could deny. The woman created was named Pandora and was sent to Earth in a flash of lightning. Epimetheus saw the woman and was immediately intrigued by her. He knew that she was a gift from Zeus and was cautious knowing of his current anger however his attraction for her made him foolish. He immediately married the seductive and slow-witted woman and the two seemed to be extremely happy. As a wedding gift, Zeus sent to Earth a beautiful box made of gold and gave it to Pandora. She was told by Hermes, the messenger who gave her the box, that it was never to be opened for its contents needed to be remained sealed. After their wedding, the box began to consume the curious Pandora as she desperately wanted to open it. After stopping herself multiple times she eventually made the decision that the box needed to be opened. She opened it and out sprang a horde of miseries: Greed, Vanity, Slander, Envy and many others. She slammed the lid back on the box before Hope could escape thus saving it from being destroyed by the other evils but it was too late. The evils had begun to bite the humans and chaos had spread. Prometheus could only watch from afar as his creations began to destroy each other.

Prometheus then returns to his present day situation and tells Hercules that it is his fault that mankind has suffered and that he deserves his punishment. However, Hercules breaks the chains around Prometheus’ arms and tells Prometheus that he sees him not as a man who caused mankind’s suffering but as a man who saved mankind. Prometheus then stands on his own two feet as a free man.

What the Critics Would Say:

Terrence Mallick proves once again that he is one of the greatest directors to ever pick up a camera as he turns the Greek myths of the titan Prometheus into an epic and moving story of a man devoted to his people. Viggo Mortensen carries this film. As Prometheus, Mortensen is a brilliant anti-hero, a character that is intelligent and cunning yet also caring. In each of his scenes, the audience truly understands his devotion and love for mankind. Martin Sheen is fantastic as Zeus, chewing scenery as the fiery and domineering king of the gods. Also, Brendan Fraser delivers the performance of his career as the foolish but ultimately likeable brother of Prometheus. His character is so likeable that you almost feel sorry when his fate is sealed with the other humans. Scarlett Johansson is also brilliant as the beautiful and curious Pandora. Kevin McKidd, Stellan Skaarsgard, Rachel McAdams, Tom Welling and Lukas Haas all do well in their small but important parts in the film.

Filmed in Greece, the film is also a feast for the eyes with breathtaking scenes of the Greek mountains and countryside. However, Mallick, as with all of his films, combines these amazing visuals with a brilliant story. Mallick really fleshes out the characters from the classic myths and creates a very modern yet philosophical screenplay. The film transports the audience to Ancient Greece thanks to brilliant costumes, make-up, and art direction. Prometheus is an amazing film that succeeds on all levels. It will easily be a huge favorite come Oscar season.

Best Picture
Best Director- Terrence Mallick
Best Actor- Viggo Mortensen
Best Supporting Actor- Brendan Fraser
Best Supporting Actor- Martin Sheen
Best Original Screenplay- Terrence Mallick

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