First off, we’d like to give director Baz Luhrmann a pat on the back for embarking on the ambitious journey in trying to take on arguably the greatest American novel of all time. In the past, other directors, Jack Clayton for one, attempted to recreate F. Scott Fitzgerald’s masterpiece with mediocre results. It seemed nobody could capture the grandeur and poetry of “The Great Gatsby,” and so some credit must be given to Luhrmann in his attempt to conquer such a seemingly impossible task. That being said, Luhrmann’s rendition of “The Great Gatsby” does not quite seem to pierce the heart of the novel. It comes so, so close, but in the end, the swooping shots of the New York City skyline, the writhing masses of colorful party-goers and the not-quite-poetic narration fail to capture the majesty of Fitzgerald’s timeless novel.

In his cinematic rendition of the beloved classic “The Great Gatsby,” director Baz Luhrmann didn’t quite manage to capture the poetic feeling of Fitzgerald’s prose. Photo by Paige Esterly.

Let’s start with the positives. For one thing, the casting was absolutely spot-on. Carey Mulligan (“Pride & Prejudice”) is a perfectly charming, alluring, ‘golden girl’ Daisy, while Joel Edgerton (“Zero Dark Thirty”) portrays the brutal, careless Tom as one of the most unlikable characters in movie history. And, of course, the always-sparkling Leonardo DiCaprio (“Inception”) portrays tragically reminiscent Jay Gatsby,  bubbling over with the charm of “Titanic”‘s Jack a decade and a half prior. The weakest link in the cast was regrettably Toby Macguire (“Seabiscuit”), who played Nick Carraway with a bit too many dramatic pauses for our taste. One gets the sense that Macguire, now 37, is too old to correctly portray Carraway as the naive, wide-eyed bonds salesman-turned-writer the novel casts him to be.

Another solid triumph of Luhrmann’s “Gatsby” came in his gaudy interpretation of the twenties, illustrated by flying shots of New York’s skyline, colorful, extravagant party scenes that dominated the screen with feathers and dancing bodies and the pumping of the modern soundtrack featuring artists such as Jay-Z and the xx. Although at first we were hesitant to accept these more contemporary aspects into the traditional view of the twenties, we quickly found that the modern touches actually help bring the characters to life and relate the over-the-top parties of the prohibition era to the pumping clubs of today.

Regrettably, Luhrmann failed to translate the soft, gentle poetry of Fitzgerald’s novel with the same brilliance as he portrayed the extravagance of the twenties. With fading shots of mist on the bay and words floating from Nick’s typewriter onto the screen, it was clear that the elegance of Fitzgerald’s prose was not forgotten, yet the movie failed to treat the hopes and dreams of each character (Gatsby especially) with the same gentle grace the book had so skillfully yielded. Quite honestly, the passages of the book inserted into the movie seemed painfully forced and unnatural, the complete opposite of their original fluid, natural poetry.

Yes, this movie made us cry (and not from disappointment), yet it failed to stay with us after we stepped out of the theatre and into the late afternoon sun. The dazzling effects of the film were visually entertaining, but detracted from the vibrant plot. Luhrmann’s rendition of the timeless classic came so painfully close to capturing the essence of Fitzgerald’s novel, yet fell short of the sad, haunting beauty that Gatby’s tale should have created.

So is this movie good? Yes. Very, very good. But is it great? Almost. Almost, but not quite. But, regrettably, “The ‘Alright’ Gatsby” just doesn’t have the same ring to it.

“As far as distinguishing ourselves, Campo Pizzeria serves more traditional Italian food,” sous chef Tyler Morrish says. “Other restaurants in the area serve Americanized pizzas and toppings.”

As I stepped into the dimly lit restaurant, I was met by a greeter, who walked me past the bar area to my table. Because it was 5:30 p.m., the restaurant was fairly empty, but I was directed to a table right next to the only other diners.

I started my dinner with the antipasti platter ($15), a collection of head-on prawns, “chic pea” fries, cheeses, and anchovies and roasted peppers. The head-on prawns arrived sizzling and moderately spiced. The entire platter was good, but it would have been better if the spices and flavors were more robust. It was, however, well-presented.

For the main course I ordered the quattro formaggio pizza ($16). Campo prides itself on using a sourdough starter that comes from a small Italian island to make pizza crusts with a unique flavor. The crust, however, did not seem so special. I had to eat the pizza with a fork and knife because it collapsed when I tried to hold it. The four cheeses did not give the pizza the accented mix of flavor I had expected. The pizza as a whole wasn’t bad, but it also wasn’t good.

The service, however, was good. My waiter was friendly, frequently checking on my table and refilling my water. But, he did ask me if I wanted a refill on my lemonade as if it would be free, but then brought me a new one and charged me another three dollars.

Campo definitely is not a teen hangout like Pizza My Heart is. Instead, Campo is a restaurant, open from Wednesday to Sunday, serving lunch and dinner. Although Campo is downtown, it is conveniently located near a few parking lots and structures, and is therefore easily accessible.

Just recently, I returned to Campo to try it a second time. Because it is a fairly new restaurant, Campo is still working out the kinks and changing its menu. Between my first and second visits, it had replaced four of its pizzas with different ones, and had changed other menu items, refocusing on its core ingredients.

“Campo Pizzeria buys most of its vegetables and several of its ingredients from local California farmers around the area between Watsonville, Half Moon Bay and farms in the North Bay,” Morrish says. “We also make our mozzarella in-house.”

He described the process to me:

“The mozzarella comes in cheese curd, which is what you get when you take milk and you add either citric acid or another acid. We get the curd already separated, and we heat it up in salt water, which softens it up. Then you just start stretching it like taffy.”

For my second time, I started with Italian tre stelle mozarella di bufala Campania ($12) from the mozzarella bar. It came with pesto, prosciutto and toast, and was excellent.

“Di Bufala mozzarella is actually flown in from Italy and made from water buffalo milk,” Morrish says. “It has a particular taste to it.”

I ordered one of the pizzas that had recently been added to the menu, grilled radicchio ($17). It came with bacon, peppers, and balsamic vinaigrette. Unlike the quattro formaggio of four weeks prior, the grilled radicchio did not disappoint. I still had to eat the pizza with a fork and knife, but the flavors were powerful, with the savory bacon offsetting the sweet taste of the radicchio and vinaigrette.

“I’ve been working on trying to include more powerful flavors,” Morrish says. “That’s also what the owners want. We’re tied to Osteria up in San Mateo, and we’re trying to match the heartier, powerful flavors [Osteria has] up there.”

Campo’s adherence to its Italian influences, use of natural flavors and attention to ingredients has put it on the right course to become a prominent restaurant in downtown Palo Alto.

After winning Golden Globe’s Best Animated Film, “Brave” was nominated for Oscar’s Best Animated Feature Film of the Year. With its stunning visuals, realistic characters and thoughtful themes, “Brave” definitely deserves its Oscar nomination. Photo property of Pixar Animation Studios.

As the first female protagonist to emerge from the ground-breaking Pixar Animation Studios, Merida (Kelly Macdonald), the fierce flame-haired archer struggling to make her own decisions in the face of tradition, must be sick of trying to live up to everyone’s sky-high expectations — those of her parents and those of the audience.

“Brave,” set in the Scottish highlands, might be characterized by cynics as a conventional fairy tale with a predictable plot; the movie is only saved from a barrage of flames by its stunningly beautiful aesthetics, produced with Pixar’s new animation system that was rewritten for the first time in 25 years.

After all, the animation studio that produced such thought-provoking films as “Up” and “WALL-E” could have surely done better than to use the old be-careful-what-you-wish-for plot and the currently trending independent-female-archer-that-can-totally-kill-all-the-boys-in-an-instant character archetype (think Katniss Everdeen). With directors like Mark Andrews, Brenda Chapman and Steve Purcell, all of whom had been involved with the Oscar-winning “Ratatouille,” audience expected nothing short of a miracle.

Unlike most movie critics, however, I did not go to the theater to watch another mind-blowing Pixar animation. I simply went to see the movie because I didn’t feel like joining my friends in seeing yet another superhero-saving-pretty-girl movie. To me, Merida’s “I’ll be shooting for my own hand!” beats a superhero movie any day.

Putting on my 3D glasses without much expectation, I was immediately transported to the land of legends — the boisterous medieval feasts, the awe-inspiring panorama of cliffs overlooking forests, the mysterious paths of the will-o’-the-wisps. Smooth animation, detailed designs and the hauntingly beautiful soundtrack contributed to an atmosphere that was all at once convivial, majestic and dream-like. The creators made great use of 3D technology to enhance the vivid and colorful images but not overdone to make the special effects distracting.

What I found most refreshing is that unlike traditional fairy tales in which the plot focuses on romance, “Brave” makes familial bonds the central motif. As Merida rebels against her parents’ wishes to choose a suitor from one of the major clans, her strong will comes head to head with that of her mother, Queen Elinor (Emma Thompson). To free herself from restricting traditions, she makes a dangerous wish that (surprise, surprise) comes true.

But although the plot is fairly predictable, the characters are realistic and complex. The mother-daughter interactions made for many poignant moments, while King Fergus (Billy Connolly), the triplet brothers and the suitors gave both witty and ridiculous comic relief. As a hero’s journey, both mother and daughter triumph in their struggle to understand their roles in family and society.

As a feminist statement, “Brave” emphasizes the strength and courage of women, whether they dutifully follow gender roles like Elinor or defy traditions like Merida. It highlights the complexity of female relationships that often goes unexplored in many fairy tales and children’s animations. Perhaps, the male characters could have been developed more deeply. But for a movie that focuses on women, the creators have succeeded in providing boyish cunning through the triplets as well as loyalty mixed with craziness through King Fergus.

In “How to Read Literature Like a Professor,” Thomas C. Foster explains that writers use some stories over and over to give the audience a sense of comfortable familiarity and to make the story resonate with past works of art and literature. “Brave” is one such instance in which an age-old plot of magic, growing up and discovery is given a fresh and enchanting spin that connects modern audiences to the past. In the beautifully magical world that new technology has created, the audience is told a bedtime story in which they are forced to notice that, unlike Cinderella or Snow White, a heroine has shot for her own hand and hit the bull’s-eye.

Brave
1 hour 33 minutes
Rated PG for some scary action and rude humor
Directed by Mark Andrews, Brenda Chapman and Steve Purcell
With Kelly Macdonald, Emma Thompson, Billy Connolly and Julie Walters

Here is the official trailer by Pixar Animation Studios:

A lengthy and highly suspenseful scene ensues as Whitaker attempts to avoid a catastrophic crash. Watching the film, one can hardly avoid feeling almost as if he or she is on the plane. The passengers hold on to whatever they can and scream in terror as the plane plummets. But after a thrilling opening scene, the plot dives down into a far less action-packed story.

“Flight” is largely a story of Whitaker’s conflict within himself as he struggles with drug abuse, contrary to what previews may have had audiences assume. While it is nice to have a break after a heart-racing beginning, it may be disappointing to some that there is little to no action for the remainder of the film.

However, what is lost in action is made up for by Denzel Washington’s performance.  The plot is entirely dependent on Washington’s acting abilities, and he does not disappoint. Audience members can sympathize with him and his positive qualities, but also hate him for what can easily be mistaken for weakness as he fights alcoholism. Washington carries the film, and keeps audiences engaged throughout.  He does a fantastic job of portraying the horrors of drug addiction. Washington is nominated for Best Actor in this year’s Oscars, and he certainly deserves the nomination if not the award as well.

In addition to the great acting, the music also highlights the mood of the movie. Featuring songs by well-known bands including the Red Hot Chili Peppers and the Rolling Stones, each track fits like a puzzle piece with the scene it accompanies. While it is not original music, it is certainly well-chosen.

A couple themes are woven throughout the movie, almost to excess, religion being a big one. Various characters make references to acts of God, including Ken Evans (Brian Geraghty), who claims that “God landed the plane.” Religion is a central part of the movie.  At the climax, what sounds like a knock on the door to Whitaker’s hotel room is simply the wind, and leads him to the adjacent room.  There he looks into the sky from the window and sees a jet flying overhead. After taking a long look upward, he opens the fridge to find an abundance of liquor — has he changed his ways, or will he give in to the desire for alcohol?  The “knocking” is highly suggestive of divine intervention leading Whitaker to the decision of whether or not to drink the alcohol.

Another recurring element is the act of lying.  While battling alcoholism, it becomes easy for Whitaker to lie or bend the truth, almost by second-nature.  The audience is left to wonder whether he will be suffocated by his web of lies or break the habit in the end.

Despite his many contemptible qualities, the troubled pilot is also very likeable and relatable in many ways.  When Nicole (Kelly Reilly) is abused by her landlord, he rescues her in a heroic manner. It is often easy for the audience to sympathize with Whitaker, and feel sorry for him.

This makes it somewhat heart-wrenching and even painful to watch as he continually takes one step forward and followed by one or more steps back.  Many times he seems to be making positive changes in his life, when suddenly he reverts to old, familiar behavior.  While the film can be quite upsetting at times, and certainly doesn’t have your classic happy ending, it is deeply touching thanks in large part to the masterful work of Denzel Washington.

The whole film may not be a plane crash, but there is still plenty of suspense to make up for the lack of action later on.  For those who are easily disturbed, it might be better to stay away.  And if you weren’t expecting or interested in a drug addiction-centered plot, then there may be better options.  However, Washington’s masterful performance and a drama-filled plot combined to create a film that is moving and certainly worth watching.

Flight

2 hours 19 minutes

Rated “R” for drug and alcohol abuse, language, sexuality/nudity and an intense action sequence

R0bert Zemeckis

With Denzel Washington, Clint Greenwood, Brian Geraghty, Don Cheadle, Kelly Reilly, and Tamara Tunie

“The Best Exotic Marigold Hotel” was initially released in the United States on May 4. The movie follows seven British seniors and their retirement to the color and unfamiliar India. Photo by 20th Century Fox.

Directed by John Madden (“Shakespeare in Love”) and based on Deborah Maggoach’s novel, “These Foolish Things,” “The Best Exotic Marigold Hotel” was released in the United States on May 4. It features a cast consisting of some of the finest English actors and whose performances do not disappoint. Judi Dench, Bill Nighy, Penelope Wilton, Maggie Smith, Tom Wilkinson, Ronald Pickup and Celia Imrie play a group of pensioners leaving behind their beloved and familiar England in search of a more affordable and exciting retirement spot.

The movie begins by quickly introducing the characters in a short montage. Evelyn (Dench) is a recently widowed housewife who must sell her house in order to pay off her husband’s debts; Graham (Wilkinson) is a retried high-court judge who desires for a change in scenery; married couple Jean (Wilton) and Douglas (Nighy) are in search of an affordable retirement after losing all their savings in their daughter’s startup company; Muriel (Smith) is in need of an inexpensive operation for replacing her hip; and singletons Madge (Imrie) and Norman (Pickup) are simply seeking to find love again. All are drawn to India for a plethora of different reasons, and all, upon arriving, discover that The Best Exotic Marigold Hotel is not as beautiful as advertised.

Initially, some struggle with adjusting to the bustling and colorful lifestyle that surrounds the hotel whereas others jump right in. However, by the end of the film, each character has discovered exactly what he or she was searching for, having experienced the stereotypical revelation that occurs in almost every movie surrounding Asia (“Eat Pray Love” anyone?). Even the hotel’s energetic and optimistic manager, Sonny (Dev Patel), transforms by the end of the movie.

The film’s characters are simple and straightforward; however, the plot is occasionally overwhelmed by the multitude of varying storylines, and some of the characters’ transformations feel rushed or forced. Rather than adding to the movie, the immense amount of different characters in fact decreases the appeal of the film because none of the individual stories are able to fully develop, preventing any emotional or sentimental attachment that could have otherwise been formed had the audience known more about the characters.

Additionally, due to the time crunch (seven stories, eight if you count Sonny’s, in a mere two hours), many of the conflicts are resolved too neatly and unrealistically. Furthermore, the characters talk of all these grand and beautiful locations and life-changing experiences, but very rarely do we get to see or witness the action, and all we receive are vague explanations.

Nevertheless, the film does have some degree of charm and attractiveness to it. Centering on the challenges that the elderly face, “The Best Exotic Marigold Hotel” addresses issues that are rarely mentioned in the film industry. It touches topics such as regret, loneliness and death while throwing in the occasional corny joke to lighten the mood.

The movie, with its pros and cons, ultimately paralleled one of the most memorable quotes of the film. As Sonny attempts to relieve the concerns of his customers, he continually says, “Everything will be alright in the end, and if it is not alright then it is not yet the end.” Indeed, the characters, plot and the film itself were alright in the end.

The Best Exotic Marigold Hotel
2 hours 3 minutes
Rated PG-13 for sexual content and language
Directed by John Madden
With Judi Dench, Bill Nighy, Penelope Wilton, Maggie Smith, Tom Wilkinson, Ronald Pickup, Celia Imrie and Dev Patel

Here is the official trailer by Fox Searchlight:

Tim Burton’s remake of his 1984 “Frankenweenie” is truly an animated masterpiece. Although rated PG, some images may make younger audiences squeamish. Nevertheless, this is a film that everyone should watch. Photo by Walt Disney Pictures.

Released on Oct. 5, “Frankenweenie” is a black and white stop motion animated remake of Burton’s own 1984 short film of the same name.

An homage to Mary Shelly’s beloved novel “Frankenstien,” Burton’s “Frankenweenie” reinvents one of the world’s best known monsters in the most playful and childlike of ways while adding that signature creepy-crawly Burton-style flare.

The plot is fairly simple. Victor Frankenstein (Charlie Tahan) is an introverted boy living in the quiet suburban town of New Holland. Although lacking in the friendship department (who could blame him, all of his classmates are freaky), Victor holds the deepest of bonds with his loyal and energetic dog, Sparky. However, when Sparky is killed by a car, Victor is crushed by the death of his best friend. But all hope is not lost. For the movie can’t be over until at least one thing is brought back to life. After his slightly eccentric science teacher, Rzykruski (Martin Landau), gives a lesson about electricity, Victor realizes what he must do in order to revive his beloved dog back to life. By hooking up his dead pooch to an assortment of metal wires, muffin pans and blenders, Victor successfully resurrects Sparky from the dead.

Victor’s classmates are vying for the top prize at the upcoming science fair, and after hearing about his little experiment on Sparky, they all demand to know Victor’s secret. And thus disaster ensues.

Although “Frankenweenie” is a  children’s movie, one must keep in mind that this is Tim Burton they’re dealing with. Burton, who’s original 1984 “Frankenweenie” was shelved and got him fired after Disney found it too unsuitable for children, has not toned down the macabre one bit. Although not as dark as other of Burton’s works, such as the bloody “Sweeny Todd: The Demon Barber of Fleet Street,” “Frankenweenie” is grisly in its own way. From spider-fingered and hunch-backed Edgar “E” Gore (Atticus Shaffer) to wide-eyed and appropriately named Weird Girl (Catherine O’Hara), almost all of the characters have a morbid feel about them. However, rather than scaring away the audience, Burton uses his talents to take advantage of the dark nature of the film. Luring the audience even closer into his gothic creation, Burton creates a masterpiece containing a captivating storyline and irresistible characters, regardless of how scary or freakish they appear.

“Frankenweenie” is also entirely in black and white, and the monochromatic color scheme gives the film a classic feel.

Additionally, the movie critiques many of the flaws pervasive in America’s current society. Rzykruski, who initially comes off as eerie and sinister, became one of my favorite characters after he preaches about the power of knowledge and condemns the townspeople for their ignorance. Highlighting one of the most pressing issues facing America, the film pushes for greater education and illustrates the disastrous results that can come with blindness and refusal to understand.

Despite “Frankenweenie” being a story about the dead, Burton has never created anything so alive or real before.

Frankenweenie
1 hour 30 minutes
Rated PG for thematic elements, scary images and action
Directed by Tim Burton
With Charlie Tahan, Frank Welker, Winona Ryder, Catherine O’Hara, Martin Short, Martin Landau, Robert Capron and Atticus Shaffer

Here is the official trailer by Disney Movies:

Peter Jackson recreates the world of JRR Tolkein’s “The Hobbit” brilliantly. The film adaptation opened in theaters on Dec. 13, 2012, and constitutes the first of another trilogy following Bilbo Baggin’s journey. Photo property of Warner Bros.

After all, who could fill the (metaphoric, since Hobbits go barefoot) shoes of Frodo, Sam, Merry or Pippin?

Apparently, Bilbo Baggins could.

With the support of the brilliant director, Peter Jackson, “The Hobbit: An Unexpected Journey” provided great visuals, adventure and most importantly, another set of quirky, brave and loveable characters.

Even those who have not seen (or read) “The Lord of the Rings” will appreciate the stunning CGI graphics at work in “The Hobbit.” The scenery of the Elvish settlement of Lord Elrond remain breathtaking, while the underground tunnels of the goblins will make anyone shiver. Although I did not find the goblins as disgustingly horrifying as the orcs in the original trilogy, Gollum returns with a vengeance, even more hauntingly creepy than before.

And no one can deny the clever plot line of “The Hobbit.” In spite of a few key discrepancies with the novel version like the addition of Thorin’s hatred of elves and the bulked role of Azog, the film stays relatively close to the book. All the better because the adventure threatens to leap from the screen. Despite the more mature nature of the film adaptation, the thrills of the novel remain: the trolls and Smaug the dragon.

However, where “The Hobbit” truly shines as a success is in its introduction of a new set of all types of characters to cherish. Who could resist the quirkiness of Ragadast? The beloved fellowship is replaced by an equally loveable set of 13 dwarves and hobbit, Bilbo Baggins. The funny antics of Fili and Kili are reminiscent of Merry and Pippin; the grave, leader-aura of Thorin bring back images of Aragorn.

The acting is also very convincing. All the characters fit their roles extremely well, especially Martin Freeman, who radiates the particular personality of Bilbo Baggins.

These characters are the life of Jackson’s (and Tolkein’s) work. We are drawn to the films because we fear for these characters, laugh with (and at) them, love their mistakes and triumphs and overall experience with them. The pity we feel for Gollum, the thumping in the viewer’s chest as we watch Bilbo charge Azog, the laughter as the dwarves inspect the Elvish vegetables in distaste. The emotions that threaten to overwhelm us really make this film the masterpiece it is.

The only place where “The Hobbit” fell was with its length. At almost three hours long, some with low tolerance for longer movies may suffer through the detailed scenes and explanations.

Overall, no, The Hobbit was not “The Lord of the Rings.” I don’t think anyone in Tolkein’s majestic world can ever take the place of Sam (yes, Samwise Gamgee and not Frodo Baggins) in my heart. But the slight references to the trilogy, the return of several characters like Galadriel, Saruman, Gandalf and a guest appearance from Frodo himself brought back waves of pleasant nostalgia.

Fans of the original trilogy, of Tolkein’s books, of fantasy in general will not be disappointed by “The Hobbit.”

Take it from someone who stepped into the movie theater with the lowest expectations but emerged already anticipating the next film to take me further on my journey there and back.

The Hobbit: An Unexpected Journey
2 hours 46 minutes
Rated PG-13 for extended sequences of intense fantasy action violence, and frightening images
Directed by Peter Jackson
With Ian McKellen, Martin Freeman, Richard Armitage, Ken Stott and Graham McTavish

Here is an official trailer of “The Hobbit: An Unexpected Journey.”

Property of WarnerBroPictures.

SLP is a story about two adults, Pat Solitano Jr. (Bradley Cooper) and Tiffany Maxwell (Jennifer Lawrence), who have recently reached the peak of each their psychological disorders. The movie is based around Pat’s journey trying to rebuild a relationship with his ex-wife, and he finds Tiffany along the way.

After an early release from a state psychological ward, Pat moves back to his hometown to rebuild his life. With a restraining order from both his ex-wife and his ex-boss, Pat struggles to adjust to his new lifestyle and he devotes his journey to bettering himself to win his ex-wife back.

He meets Tiffany through an old friend; like Pat, Tiffany has recently struggled from severe depression caused by the death of her husband. Their relationship begins with a deal: Tiffany will deliver a letter to Pat’s ex-wife, her friend, if Pat will dance with Tiffany, a competitive dancer, in an upcoming competition. The rest of the movie follows the relationship between Tiffany and Pat as well as his quest to reunite with his ex-wife.

The film is paced flawlessly, with no dull moments. Each scene serves its purpose and the plot flows naturally. The tone of the film is heavy, and at times depressing; however, we left the theater fulfilled. We thoroughly enjoyed this movie.

The acting job by all the characters is spectacular and deserving of its Oscar recognition, with eight nominations including Best Picture and Best Actor and Actress. Both Cooper and Lawrence deliver moving, believable performances. The supporting actors (including Robert De Niro and Jacki Weaver) are great additions, providing the perfect emotional support that helps make the story more dynamic. SLP is up for many awards at the Academy Awards, including Best Picture, Best Actor and Best Actress. This film deserves all of its recognition and hope that it can take away at least one award.

Being no stranger to the category of Best Director (he was nominated for “The Fighter” in 2010), David O. Russell is once again nominated. He is a master at capturing idiosyncratic moments that exude infectious emotion, and he deserves the Oscar for Best Director.

SLP takes a critical view on psychological disorders, as the film’s plot revolves around Pat and Tiffany’s ability to overcome severe psychological illnesses. Disorders such as those exemplified in the film can be seen as controversial by many (especially those affected by such illnesses). But we think it was a tasteful depiction and gives faces to people with these disorders, beautiful faces at that.

So if you’re looking for a slightly depressing, but otherwise enthralling movie to watch during this long weekend, we recommend Silver Linings Playbook. You won’t be disappointed.

Silver Linings Playbook

2 hours

Rated R for language and some sexual content/nudity

Directed by David O. Russell

With Bradley Cooper, Jennifer Lawrence, Robert DeNiro and Jacki Weaver

Here is the official trailer from The Weinstein Company:

A relaxing vacation turns deadly as a family is caught in the midst of the 2004 Thai tsunami. Armed with impressive CGI effects and a grisly storyline, ‘The Impossible’ captivates audiences with its’ powerful portrayal of the strength of the human spirit. Photo by Summit Entertainment.

Naomi Watts gives an outstanding performance as Maria, the mother who is pulled away from the rest of the family with her oldest son, Lucas (Thomas Holland), who, along with her oldest son, Lucas, when the wave finally hits. The father, Henry (Ewan McGregor) ends up with the family’s two younger sons, Thomas (Samuel Joslin) and Simon (Oaklee Pendergast).

The film’s tsunami effects are superb and incredibly convincing, and rivals those of ‘Hereafter’ and  ‘2012’. According to director Juan Bayona, the disaster scene took a year to plan, using real water as opposed to computer generated images water. Filming took place in various outdoor and indoor arenas from Spain to Florida. Bayona adds additional authenticity to the movie by using many actual survivors of the tsunami as extras and drawing from the real-life story of the family the film is based on, the Alvarez-Belons.

Although the screenplay is not as strong at the acting, the film’s  impossible but true storyline is enough to keep the audience interested. The climax of the film is ultimately not about the family’s survival, but rather the terrible aftermath of the wave, the struggle for safety and the dimming hope of finding one another after the destruction of the disaster.

‘The Impossible’ is an absorbing and thought-provoking drama. The film is well acted, make-up is believable and the setting is impeccable.

Naomi Watts is nominated for the best actress category in the Academy Awards, which takes place on Feb. 24.

The Impossible
1 hour 47 minutes
Rated PG-13 for intense realistic disaster sequences, including disturbing injury images and brief nudity
Directed by Juan Antonio Bayona
With Naomi Watts,  Ewan McGregor, Tom Holland, Samuel Joslin and Oaklee Pendergast

When we met outside the door of 150 University Ave, the new home of five-week old Campo Pizzeria, we didn’t know quite what to expect. We all wondered how the new pizzeria would compare to prominent downtown pizza joints Pizza My Heart, kitty-corner from the new restaurant, and Paxti’s, just across the street.

Walking in, we were met by dim lighting and a host standing politely behind a podium. Having chosen to spend our Sunday evening reviewing a restaurant instead of watching the Superbowl like the rest of America, the restaurant was almost empty and we were shown to our table without a wait.

Scanning the menu, we struggled to decipher the long, Italian names of each dish and debated what exactly to order, before settling on classic and iconic Italian dishes: caeser salad ($15), margherita pizza ($16) and lasagna ($18). We payed little attention to the prices which, looking back, may have been a bit of a mistake, as the bill came out to just under 60 dollars.

The caser salad came first, and was a prime example of the strange, large-plate small-food phenomenon that often occurs at fancy restaurants. But although the white rim of the plate dwarfed the small pile of lettuce in the center, the salad was most definitely up there in our ranking of the meal. The dressing tasted more strongly of anchovies than most, giving the salad more flavor per bite. The lettuce wasn’t old and limp, but it wasn’t pale and tasteless either, instead walking the tightrope of perfection between the two. The salad also lacked the croutons we’re all so familiar with, in favor for a more refined sprinkling of crunchy bread crumbs throughout.

Next came the two main courses, neither of which lived up to the expectations the salad set. The pizza was good, but was served in a traditional Italian style, with sporadic globs of mozzarella here and there instead of the uniform covering of cheese us Americans are used to. Although we felt sophisticated eating such a traditional dish, we all agreed that the mozzarella globs were just too cheesy, while the rest of the pizza tasted too overwhelmingly of tomato sauce.

The lasagna, too, was a bit of a disappointment. Served in a messy, unsightly pan covered in sauce splatters, it contrasted with the elegance of the salad. After taking our first bites, we concluded that it was a bit heavy on the meat, light on everything else, and grew too salty and unappetizing after a few fork fulls.

After finishing the meal we decided to split a desert, choosing the apple crostata ($6). Upon taking our first bites, we unanimously agreed it to be the unquestioned highlight of the meal, surpassing even the caeser salad. Although the menu made the dish sound more like a sort of apple crumble, the crostata turned out to be like an Italian apple pie, richer and less syrupy than its American cousin, and was topped with vanilla ice cream.

But even better than the heavenly apple dessert was the service. Our waiter was upbeat, and happily answered the many questions we had about unknown, unpronounceable Italian dishes. The service was quick, and our water glasses never got below halfway empty, thanks to the attentiveness of the staff. Finally, the executive chef, a man by the name of Sean O’Brien, even agreed to take the time to let us interview him, giving us insight into what goes on behind the scenes of the restaurant.

“What makes us maybe more unique than other places is our pizza dough,” O’Brien said. “We use a sourdough starter which gives it kind of a unique flavor. There’s a strain of it that we got off the Izquida Island off the coast of italy. Half of the dough is a high gluten bread flower from the United States, and the other half is an Italian flour called Double Zero from Italy.”

In addition to their unusual approach on pizza, we also learned that all desserts and pastas are made in-house. These are just two of the things that, according to O’Brien, set Campo apart from Pizza My Heart and Paxti’s.

“We’re rustic Italian, obviously focusing and specializing in pizzas,” he said. “We have a different crowd than Paxti’s, which is Chicago deep-dish, and I think Pizza My Heart is more by the slice.”

The bottom line: Campo adds a unique flavor to downtown Palo Alto, and the service is impeccable. Some of the dishes are a bit disappointing and pricy, but overall the restaurant is a great new dinner destination.

For more information on Campo Pizzeria, please visit their website.