This constantly scathing and scornful neo-noir about a man living in perpetual sadness is teeming with complexity, brilliance, and heartbreaking material. Consisting of two separate segments, one told chronologically in black and white, the other told in full colour and reverse. “Memento” has discouraged its fair share of viewers, but has astounded even more. Directed by filmmaking heavyweight Christopher Nolan and adapted from his brother Jonathan’s short story entitled “Memento Mori.” This is the Nolan’s first full-length feature together and roots their already exceedingly prosperous careers. “Memento” toys with its audience, tinkers with the mind and morals of each viewer. While everything may not be essentially what it seems. Ironically, this falsification is the films only truth and it is played out with the utmost effectiveness.

Leonard Shelby (Pearce) has short term memory loss resulting from an injury he sustained attempting to prevent his wife from being murdered. He remembers everything up until the point of the injury, after that, all that he experiences remains only briefly in his mind afterwords. Before the incident, Leonard was an insurance claims investigator and consistently remembers an encounter with a man named Sammy Jankis. Leonard has tattoos all over his body to help him remember the facts about the perp who murdered his wife and escaped justice. Leonard has made it his life mission to find his wife’s killer and submit him to his own form of redemption.

While “Memento” is a demanding psychological thriller that takes quite the toll mentally. What makes this mysterious Nolan tale a cut-above is its disheartening and emotional content that is equally as exhausting. Driven by loss, violence, and vengeance. “Memento” although primed by retribution, is fuelled with love and ignited by an honest rage, a deadly, yet sympathetic combination. Although all of this is a lot to absorb, process, and conclude. Nolan does an excellent job leading the audience through this intricate memory, making it as effortless and transient as possible. Like most of life, “Memento” is exquisite proof that everything isn’t always cut and dry. That being said, in this context, the circumstance is tiptoeing around the grey area. Regardless, this experience is unlike any other you’ve encountered watching a film. It is impossible to simply watch “Memento,” you either invest completely, or not at all.

“Memento” and its execution is completely entrusted to Nolan. However, the cast is charged with as difficult a task, arguably even more so. Due to Leonard’s condition, from the get go the audience is full of skepticism towards each character and their motives. The ensemble’s job is to convince the viewer that they’re genuine. Not such an easy feat when they only have a few minutes to work with at any given time because of the way the film is structured. Nonetheless, “Memento” triumphs and a large part of that success derives from the cast, which features: Guy Pearce, Carie-Anne Moss, Joe Pantoliano.

Carrie-Anne Moss and Joe Pantoliano give absolutely outstanding performances in support of Guy Pearce. Which really magnifies the fact that other than “Memento” and the “Matrix” trilogy, Moss and Pantoliano don’t garner enough screen time in high-profile features, which is a shame considering how effective they are. As for Guy Pearce, who I feel is also incredibly underrated, just not on the same scale as Moss and Pantoliano, really steals the show, as he should. Pearce does a terrific job highlighting the dark humour hidden amongst his character. In addition to fully entrancing the viewer with his melancholic, empathetic, and unstable tendencies. In summary, Memento is solid all the way through, on paper and both behind and in front of the camera.

“Memento” is essentially the film that made me the cinephile I am today. It is one of my all-time favourites and I don’t think that will ever change. “Memento” is disturbing, heartfelt, and immensely hypnotic. Directed with the utmost precision and acted immaculately, “Memento” is a must see.

“Memento” 9.5 out of 10.

Yes, that’s Benedict Cumberbatch leading off this week’s edition of The Gushing Cinephile, just for a good laugh. Well, welcome back! I’ll try to keep the dialogue to a minimum, as it is a long weekend here in Canada and I’m assuming those living here are a bit hungover. First off, let’s pretend you all noticed that I did not post this weekend. The reason being is my, let’s call it, trimming of daily posting. It has become apparent that creating quality, meaningful posts each day is wearing me thin. So, taking out weekends, at least for now, allows me time to recuperate and scribe better posts. Not a big deal, thought I’d just let you all know. Let’s get started, shall we?

I’d like to reiterate that The Cinema Monster is finally on Twitter and Facebook! If you can follow @cinema_monster, that would be extremely helpful. I personally added and tweeted at everyone on my blogroll so please follow back . You can also like the Facebook page through the link below. Or, if you so choose, can like both accounts on the right side of the website.

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All right, first up, a plethora of images, albeit somewhat promotional, of Darren Aronofsky’s “Noah.” The pictures star Russell Crowe, Emma Watson, Logan Lerman, Jennifer Connelly, Anthony Hopkins, and Ray Winestone. The film is a dramatic retelling of the Biblical tale of Noah. Check out the pics below.

Okay, next up, the first teaser trailer for Ridley Scott’s highly anticipated “The Counselor.” The Film stars Brad Pitt, Michael Fassbender, Javier Bardem, and other big-name stars, as you’ll figure out from the trailer.

Following that, the first trailer for “Breathe In” starring Guy Pearce and the radiant Felicity Jones. Directed by Drake Doremus, who also stood behind the camera for the 2011 hit “Like Crazy.” However, it does seem like he is taking a much darker, cynical path with this effort. Still, looks fantastic.

Finally, the first clip was released this past week for Lars Von Trier’s next outing, “Nymphomaniac.” The title speaks for itself, if not, the clip will.

That’ll do it for this week’s news wrap-up. If you have any comments or questions, please post them below. Also, don’t forget to follow The Cinema Monster on Facebook and Twitter, it’ll really help me out. Okay all, have a great week!

Depending far too much on the success of the first two instalments and visual appeal of its played out tactics. Iron Man 3 starts off relatively strong but eventual succumbs to its contrived dialogue, over-compensating story, and childish acrobatics and gadgetry. Desperately trying to infuse more of a dramatic tone into its incessant attempts at comedy and wit, ends up alienating to a point of severe restlessness. Closing a successful trilogy might be considered difficult to say the least. However, after Christopher Nolan’s overwhelming hit, The Dark Knight Rises this past summer. It appears that a competent finale can be done and the failure of Iron Man 3 can be attributed to a single, simple fact. The amount of Marvel films being released is becoming annoyingly ridiculous and the content for these outings is heavily watered-down. Not to say that Iron Man 3 is not entertaining, far from it. I’d rank it a notch above most brainless action pictures released these days. What I am stating is that my expectations did not lower after the first two entertaining chapters and rightfully so.

Tony Stark (Downey Jr) is suffering from severe anxiety attacks and insomnia after the events that took place in New York. Spending his nights the only way he knows how, concocting new and improved suits. When a terrorist know as the Mandarin (Kingsley) begins attacking the United States and its citizens, Tony must suit up once again. After a deadly attack by the Mandarin on the Chinese Theatre in Los Angeles leaves Happy (Favreau) in a coma, renders Tony furious and seeking revenge. After challenging the Mandarin, Tony’s Malibu mansion is attacked and destroyed leaving Tony and Pepper (Paltrow) separated. Upon escaping, Tony crash lands in the middle of Tennessee. Now, with no suit, his mental illnesses, and the Mandarin continuing his attacks. Tony must befriend a child and begin to reconstruct a revamped suit and take down the Mandarin.

I wasn’t fairly excited for Iron Man 3 prior to its release. The publicity didn’t really catch my eye and the trailers didn’t offer anything that inventive. That being said, with outstanding cast additions such as the legendary Ben Kingsley, the incomparable Guy Pearce, and the always radiant Rebecca Hall. I felt there was hope for this loud, cocky, chaotic finale. Conversely, these additions didn’t diminish my guard, if anything, it made me more judgemental and raised my expectations. Another significant reason why my excitement for this third outing dropped off is the absence of Jon Favreau behind the camera. No doubt his keen, comedic eye had a monstrous effect on the first two chapters and his reprisal only as Happy should have been enough of a warning sign. Regardless, I never enter a film expecting it to be terrible. So, when Iron Man 3 disappointed me, it wasn’t a complete surprise, yet I anticipated more.

I am going to start off with some glaring irregularities and issues that extraordinarily hampered Iron Man 3. First off, the reason why the first half appeared passable is because it had a single, linear story line. When the plot broke off into several tangents, it marred the strength of the original and weakened each strand with each passing minute. However, what is most disconcerting about its unnecessary complexity is the multiple chances Iron Man 3 had to save itself, essentially from itself. It’s as if the audience was forced to accompany this nosedive and instead of pulling out of it, we unwillingly were forced to thrust towards the ground. Aside from its laughable story and characters. Watching the second half of Iron Man 3 is like watching a kids cartoon unfold. There is so many irrelevant and expendable one liners and flimsy action sequences it is honestly like a child took hold of the script and cameras for the entire last hour.

Now I,  unfortunately have to dissect the forced, trivial performances throughout Iron Man 3. I can’t bring myself to bad mouth Ben Kingsley, Rebecca Hall, and Guy Pearce so I will conveniently blame their fake, simulated portrayals on the limitations and stupidity of Iron Man 3′s weak script and faulty direction. As for Robert Downey Jr, Don Cheadle, and Gwyneth Paltrow, to summarize, I have no problem drowning their characters like a postpartum, depressive mother. I have nothing but the utmost respect for their careers and achievements…and I can understand that the money must have been handsomely defining since it was purchasing as well as silencing their integrity. However, there is an upside, Jarvis and the hollow suits had more depth and emotion than the entire ensemble.

I just can’t help but continually think of the word “unnecessary” to neatly sum up Iron Man 3.

Iron Man 3: 5 out of 10. (I am only giving it a five because I feel bad for Pearce, Kingsley, Hall, and crew).

Part of Ridley Scott’s prequel series to the widely successful “Alien” franchise. Prometheus may not provide answers to all of its promised questions, but it certainly set the stage for them. A supposed sequel in the mix which was apparently the plan all along, Prometheus, regardless of a follow up is able to stand on its own. Scott reminds us that science fiction is his genre wheelhouse and he’s returned to set the curve once again. Giving a sense of wonder and amazement to our existence, Prometheus and its intergalactic, cosmic journey is spellbinding. A formidable cast led by Michael Fassbender (Shame), Guy Pearce (Memento), Noomi Rapace (The Girl with the Dragon Tattoo), Charlize Theron (The Italian Job), and Idris Elba (28 Weeks Later), Prometheus is definitively original and visually baffling. Do not expect to be swept up in the search for our creators, Prometheus is a tough blow of  what could possibly be reality.

A group of scientists and astronauts travel through space on an unknown mission. Upon being woken from their sleep pods, the group is informed of their mission. Their goal is to investigate ancient markings found on Earth that could lead to the discovery of humanities existence. Following the markings, they arrive at a planet numerous light years away from Earth. They discover signs of a distant civilization and investigate. During the search, they encounter artefacts believed to be linked to humanity and our beginnings. Soon, their breakthrough turns violent and the planet becomes hostile. What follows is a dark descent into the search for humanities existence.

Before it completely rips apart the very fabric of humanities hopes, beliefs, and purpose, Prometheus is actually quite enthralling. Vast landscapes and oceanic skylines backdrop the birth of our world as we know it. A beautifully baron spaceship zooms across light years passing cosmic materials as its crew sleeps soundly. Scott and company once again flawlessly design awe and wonderment while conversely depicting dread and horror. Fassbender, as a robot, is the performance to look out for in Prometheus. Seemingly malicious and corrupt while contradicting these traits with a caring face and helpful acts, Fassbender expectedly delivers. Followed by Rapace and Pearce who, despite butting heads have similar motives and values. Their collective disappointments and optimisms echo throughout their performances and ring out to the viewers and pluck at our sympathy. Prometheus is smartly written and visually stunning. A welcome return to the genre for Scott and leaves us begging for a sequel.

Prometheus: 8.5 out of 10.