Movie Review A Man Called Otto

A Man Called Otto (2023) 

Directed by Marc Forster 

Written by David Magee 

Starring Tom Hanks, Mariana Trevino, Rachel Keller, Truman Hanks, Manuel Garcia Rulfo 

Release Date January 6th, 2023 

Published January 6th, 2023 

A Man Called Otto hits an emotional sweet spot for me. It made me cry in both sadness and in joy. This is a movie I was incredibly skeptical about. The trailer was an irritation, it made Tom Hanks into some kind of Archie Bunker character in a modern sitcom. Thankfully, that's not what A Man Called Otto really is. Instead, the film, directed by the brilliant Marc Forster, is a study of grief, aging and loss tinged with romance, sentimentality and a sense of humor. That sense of humor starts with casting purportedly the nicest man in Hollywood, Tom Hanks, as a grouchy curmudgeon who treats others with a deep and abiding contempt. 

Tom Hanks is Otto Anderson and six months ago, his beloved wife, Sonya, passed away. His grief has turned Otto into a depressive hermit who lives only by the routine of punishing minor offenses committed by his neighbors in a tiny gated community. Outside of that, he's simply waiting to die. Well, actually, he's not waiting. One of the first things we see Otto doing is gathering the materials needed to hang himself. That's when fate intervenes in the form of new neighbors, one of whom, Marisol (Mariana Trevino), seems intent on making Otto her friend. 

There is a strangely magical quality to A Man Called Otto in how fate constantly conspires to interrupt Otto's attempts at killing himself. It's comical how many times Otto comes close to ending his life only to have someone intervene at the last moment, unwittingly causing Otto stick around. And that's the arc, Otto battling with a universe that seems intent on keeping him alive regardless of his desire to go to the afterlife to be with his wife. One of those intervening to keep Otto around is a homeless cat who takes to Otto and may or may not be magical manifestation of his late wife. 

That's purely my interpretation of A Man Called Otto. Most other critics seem to be treating the film as a straightforward story about a jerk who hates everyone and is trying to kill himself. Me, I see a magical story about fate and a man eager to defy the forces of good around him. I found that to be a very sweet and funny story, dark, yes, but only in the sense that the character is in a dark place emotionally and the light seems to actively try to find him. Your mileage will vary on whether you buy into my take on the movie or decide to take it merely at face value. 

Mariana Trevino is a complete delight. Her Marisol is a ball of joy bounding into Otto's life unaware of his troubles and yet determined to save him all the same. She's Magic Pixie Dream Best Friend, a sweetheart bursting with empathy and cheer. Even in the moments where Otto inflicts some genuine hurt on her via his bad attitude, she always bounces back and her resilience is inspired. In the hands of a lesser performer, the character of Marisol could just be a function to move the plot but in the hands of Mariana Trevino, the character takes on wonderful dimensions as she draws Otto toward revealing his pain and beginning to heal. 

Find my full length review at Geeks.Media 

Movie Review Quantum of Solace

Quantum of Solace (2008) 

Directed by Marc Forster 

Written by Paul Haggis, Neal Purvis, Robert Wade

Starring Daniel Craig, Mathieu Amalric, Olga Kurylenko, Dame Judi Dench, Jeffrey Wright 

Release Date November 14th, 2008

Published November 13th, 2008 

Much of the juice of Quantum of Solace rides on whether you bought the whole James Bond-Vesper Lind romance from 2006's Casino Royale. I did not. Thus witnessing Quantum of Solace becomes something of a struggle for motivation. To enjoy it. is to suspend disbelief in an uncomfortable fashion. Believe that Bond could leap through fiery hallways without being burned? No problem. Believing Bond could be shot at more than Dick Cheney's hunting partners and live to tell? Sure, I can buy that.

But trying to believe that the cold hearted ladies man of 22 previous adventures could have his heart melted by a feisty government accountant. Sorry. Can't do it. Thus, Quantum of Solace gets off to a stumbling pace and builds to a non-climax climax on its merry way to promising yet another sequel instead of being the tightly wound, classy action pic it so desperately wishes it were.

Quantum of Solace picks up in the immediate aftermath of Casino Royale. Having captured Mr. White (Jesper Christianson) and begun torturing answers out of him about the shadowy organization he works for, Bond delivers him to M (Dame judi Dench) for further questioning, not before he is chased through the ancient streets of some nameless Italian mountainside.

Mr. White leads to a murder plot in Haiti involving a dangerous young woman named Camille (Olga Kurylenko), ostensibly the girlfriend of Mr. Green (Mathieu Amalric). She was to be the victim but Bond makes the rescue, something he will do several more times throughout the film. From there we are off to Bolivia where there may be oil or diamonds beneath a giant swath of desert and Mr. Green can get his hands on it by funding a military coup.

It's up to Bond to face down Mr. Green, Green's shadowy boss, and even the truly evil forces of corporate and state greed. All the while maintaining his Bond-ian cool which includes drinking, flirting and sexing when necessary. Along for different parts of the ride are Gemma Aterton as Agent Strawberry Fields and Giancarlo Giannini reprising his rather confusing role from Casino Royale.

Directed by Oscar nominee Marc Forster from a script by Oscar winner Paul Haggis, Quantum of Solace should be a great movie but settles for being a good movie. The action is cut to MTV style quick cuts that whip audiences through action scenes so we won't notice any sloppiness. We don't but often we are so dizzy we don't care.

The script makes more sense than much of Casino Royale, but beginning as it does on the false note of Bond's tragic 'love story', it is hamstrung from the start. The script lacks depth beyond its obvious action propellants, leaving only the character of James Bond to keep us from getting up and walking out. Thank heaven Daniel Craig rises to the challenge.

Craig is the baddest of all Bond's and because of him we are compelled past the film's worst flaws. He may not have any interest in sipping martinis or repeating his name and he is entirely without gadgets, but when he invites Gemma Aterton's Strawberry Fields to help him locate something in his bedroom you can't help but smile, knowing the next scene will find Ms. Fields sans clothes. Bond's way with women is one of the few elements of classic Bond to survive the reboot.

The other piece of classic Bond comes in the spectacular credit sequence. The animated opening featuring the nude bodies of gorgeous babes rising from desert sands has the bold, psychedelic look that has defined the Bond credit sequences of the past.

Did I like Quantum of Solace? Kind of. I liked Daniel Craig. I liked individual scenes and I liked the Bond babes, if only for serving their purpose as classic eye candy. But Quantum of Solace comes up short of being a movie I am wild about. It lacks a unifying plot. It lacks one truly breathtaking scene that might make this good movie into a great one, even beyond the plot trouble.

Movie Review Stranger Than Fiction

Stranger Than Fiction (2006) 

Directed by Marc Forster 

Written Zach Helm 

Starring Will Ferrell, Maggie Gyllenhaal, Dustin Hoffman, Queen Latifah, Emma Thompson

Release Date November 10th, 2006

Published November 8th, 2006 

Director Marc Forster is an exceptionally underrated director. In four features he has yet to make a less than brilliant movie, how many directors can say that. The resume is extraordinary. Monster's Ball, which won an Oscar for Halle Berry, a feat that looks more and more amazing with each ensuing performance from Ms. Berry. Finding Neverland, the J.M Barrie bio with the equally brilliant Johnny Depp, was a deserving Best Picture nominee.

Then there is the curious sci fi thriller Stay. This ingenious, marvelously directed film divided critics and met with complete audience indifference. For me Stay was a revelation and one of the best films of 2005.

Forster's latest is another movie that is dividing critics and only catching a modest audience. Stranger Than Fiction, starring Will Ferrell and Emma Thompson, couldn't be any more different from Stay. This wonderfully wordy, literate, deadpan comedy has a complicated premise that is executed with breezy ease and light hearted intelligence. It's just simply a terrific little movie.

Will Ferrell stars in Stranger Than Fiction as Harold Crick. Harold is an IRS agent with a penchant for counting everything from steps to the strokes of his toothbrush. Harold's life is regimented, scheduled and timed to the minute. Timing becomes a crucial aspect of Harold's life as his unique wrist watch begins mixing up his life. Of course if a wacky wrist watch were Harold's only problem, he'd be happy.

Along with the wacky watch Harold has begun hearing a voice. Not voices, mind you, but a single voice that happens to be narrating his every move. Harold does what comes naturally in a situation like this, he consults a psychiatrist who immediately diagnoses him a schizophrenic. Unconvinced, Harold pleads for help in a more literary fashion to explain why his life is being narrated.

Enter professor Jules Hibbert (Dustin Hoffman) , a literary professor with a keen insight into narration and the art of the novel. Hibbert also believes that Harold is crazy until he hears the words ``Little did he know '',  a literary device that professor Hibbert has written volumes on. The phrase leads Hibbert to help Harold find his narrator and devine whether Harold is trapped within a comedy or a tragedy.

Parallel to Harold's story is that of novelist Karen Eiffel (Emma Thompson). A long respected writer, Ms. Eiffel is dealing with a case of writer's block so severe that her publisher has assigned an assistant (Queen Latifah) to keep her on track. Karen happens to be the narrator that Harold is looking for and her writer's block is a function of her inability to decide how to kill Harold Crick.

Writer Zak Helm came up with this wonderfully quirky story but it is director Marc Forster who gives it a visual life. Using various visual devices to lay out Harold's quirks and Karen's fantasies, Forster takes an exceptionally literary story and gives it texture and its own very unique reality. The story of Stranger Than Fiction is a bit of a mindbender at times but Forster manages to make it accessible, even comfortable and easy to follow for those willing to follow the movie's unique brand of logic.

Will Ferrell is terrific as the downbeat, average Joe Harold. Known more for his wildside, Ferrell indulges his rarely seen mild side to craft Harold as a believable character in an unbelievable situation. When Harold does come out of his shell and expresses his exasperation in more typically Will Ferrell ways, he manages to remain true to the character while delivering a few of the kinds of laughs we expect from a Will Ferrell character.

Maggie Gyllenhaal shows up in Stranger Than Fiction as Ana, the unlikely love interest for Harold. The romance in Stranger Than Fiction unfolds in the most wondrous of ways. Harold, unable or unwilling to approach Ana, has this crush thrust upon him by the narrator who leads him into the romance and then leaves him to cultivate it on his own. Harold is far from a natural romantic and the relationship develops strangely but in the most lovely of ways.

What I loved about Stranger Than Fiction is how smart it is about literature and literary conceits. The way Dustin Hoffman, as the literary professor Harold speaks to his narrator, speaks of the phrase 'little did he know', how he could write reams of papers about that phrase and its role in literature, its various meanings and interpretations. Part of the wonder is the way Hoffman delivers this line, with impish gleam in his eyes and boundless enthusiasm, but a bigger part is the truth of why he and we find it such a wondrous phrase.

Director Marc Forster's approach to Stranger Than Fiction was to create unusual characters and a universe in which those characters can exist in their own reality. A reality similar to our own but with its own unique beat. Compare Forster's approach to the one note approach of director Ryan Murphy in the film Running With Scissors, a film that wants a similar note of eccentricity but ends up just crafting weird characters being weird without regard to the world that formed them. 

Movie Review: Christopher Robin

Christopher Robin (2018)

Directed by Marc Forster

Written by Alex Ross Perry, Tom McCarthy, Allison Schroeder

Starring Ewan McGregor, Hayley Atwell, Jim Cummings, Brad Garrett 

Release Date August 3rd, 2018 

Published August 2nd, 2018

Disney has had remarkable success taking their animated properties and repurposing them for live action films. And somehow, they’ve done this with no one accusing them of recycling or calling out the nakedly calculated marketing strategy that was the inception for each of these movies from Cinderella to Jungle Book to Beauty and the Beast and now to Christopher Robin, the live action take on Winnie the Pooh.

Much of the reason that we’ve given Disney a pass on such criticism is because the quality of this strip mining of our nostalgic memories of childhood have been so very good. Exceptional filmmakers such as Kenneth Branagh and Jon Favreau and now Marc Forster have turned this cynical nostalgic cash grab into something genuinely, lovingly artful. Marc Forster has even made, arguably, the most loving and artful of all of these cynical cash grabs.

Christopher Robin is the story of the young boy who found a door in a tree and bravely crossed it’s threshold into a world of wonder in the 100 Acre Woods. There he found magical creatures including a new best friend, Winnie the Pooh along with his pals, Piglet, Owl, Rabbit, Eeyore. Kanga and her son Roo, and the wonderful, bouncy backsided Tigger. Together they played and dreamed and had great adventures.

Years passed however and time came when Christopher Robin was forced to leave behind the 100 Acre Woods in favor of soggy old London and life in a boarding school. From there, Christopher would begin to forget his fuzzy former friends and start a real life. Grown up, and played by Ewan McGregor, Christopher met and fell in love with Evelyn (Hayley Atwell), they had a baby named Madeline (Bronte Carmichael) and he went to war.

Now home with his family, Christopher has begun to forget not just about the 100 Acre Woods but about fun in general. Christopher’s job at a luggage company consumes all his time and thoughts and even when he plans to spend a weekend away with his family, at his parents’ former cottage, he can’t get away from his work and the strain on his marriage is evident if only to us and to Evelyn.

Here’s where things take a turn. The scene shifts to Pooh Bear’s cottage. He’s just awoken and found that he has no hunny. He goes out seeking help from his friends and cannot find them. He finds the door in the tree where Christopher Robin always came from and decides to go through it into Christopher’s world. On the other side, Pooh emerges in London and finds Christopher anxiously hiding from a neighbor he doesn’t want to talk to.

Marc Forster is a filmmaker who knows a little something about gentle and pleasant kids stories. Forster’s Finding Neverland was an Academy Award nominee telling the story of J.M Barrie’s creation of Peter Pan. Christopher Robin feels a lot like that film with a similar whimsical, magical essence. Both Christopher Robin and Finding Neverland have an elegiac and plaintive pacing, an air of sadness slowly giving way to the joy of letting go. Forster worked with his Finding Neverland editor Matt Chesse on Christopher Robin and that may have contributed to the similarity in tone and pace.

What sets Christopher Robin apart is the screenplay which features work from three smoking hot properties. Indie darling Alex Ross Perry of Listen Up Phillip and Queen of Earth fame has a credit alongside Hidden Figures writer Allison Schroeder and Academy Award-winning Spotlight writer-director Tom McCarthy. Each contributes to the unique style of Christopher Robin’s story and the wonderful, whimsical way the characters interact.

Don’t misunderstand, these are still fully A.A Milne, by way of Disney, characters. Pooh still feels like Pooh, thanks to the legendary voice work of Jim Cummings and we still get to hear Tigger sing the Tigger song. But, the interaction between Christopher Robin and the rest of the world has a wit and liveliness to it that doesn’t distract from the classic source material. You can sense the respect that this creative team has for the source material, there is a loving care to the way Pooh and friends are presented, never with anything less than dignity; it's fun with a British sort of propriety.

Ewan McGregor is a wonderful Christopher Robin. I adored his stiffness early in the movie and the way his shoulders slowly go from up around his ears to fully at ease. He’s a man under desperate stress to do the right thing and he continually does the wrong thing until Pooh comes along and puts him straight. There is a lovely similarity to the recent Where the Wild Things Are when Christopher is in the 100 Acre Woods as an adult and realizes that he may, in fact, be the problem with his life and not everyone else.

McGregor is well matched with Hayley Atwell whose sympathetic care for her husband is only matched by her witty, self-protective, innate feminism. This is not a woman who will put up for very long with a man who doesn’t properly appreciate her, and especially her daughter, and you get that sense solely from Atwell’s manner and grace. She has a steely quality that easily gives way to softness and concern in the way only a great actress can show.

I have not even begun to praise the true star of the show, Winnie the Pooh. Earlier this year people were tripping over themselves to praise the over-hyped Paddington with his childish pratfalling and simplistic story. For me, Winnie the Pooh in Christopher Robin is my thesis statement on why Paddington doesn’t work. Pooh is charming in ways Paddington only hints at. He’s lovable in the ways that Paddington pretends towards. Most importantly, Pooh’s pratfalling antics and general mayhem are more well-explained and lovable than the destruction that Paddington wreaks upon his friends and family.

Christopher Robin is a lovely film, a gentle yet funny, sweet and harmless trifle that will make all audiences smile. Marc Forster is a director of immense talent and he brings that to bear in Christopher Robin with the lightest and most deft touch. The film is artful in how it is never flashy, you don’t feel as if you see Forster directing. The touch is light but effective, you sense how beautiful and well told the story is but it doesn’t feel as if you’re being steered and you sort of melt into the beauty and warmth of this story.

I feel as if, on a moral level, I should be upset about Disney strip mining my childhood for a quick buck. I feel like I should be annoyed that they aren’t developing original material and are instead basking in the dollars that existing products in shiny new packages can bring in. In the back of my mind, in fact, I am rebelling against these Disney products and their weaponized nostalgia. That said, up front and personal, Christopher Robin made my heart happy. The movie is completely adorable and a wonderful film for the whole family, proof that commerce and art can work together to create something beautiful.

Movie Review: Finding Neverland

Finding Neverland (2004) 

Directed by Marc Forster

Written by Marc Forster

Starring Johnny Depp, Kate Winslet, Freddie Highmore, Radha Mitchell, Dustin Hoffman, Julie Christie

Release Date November 12th, 2004

Published November 11th, 2004

James Matthew Barrie was born in Scotland in the late 1800's, moved to London just before the turn of the century, and ran in the circle of a number of well-known writers, including H.G Wells, P.G Wodehouse, and Sir Arthur Conan Doyle to name a few. Though Barrie is mainly known for one work in particular, he was arguably the most successful writer in his circle at that time. It is only the passage of time and the gloriousness of his best-known work that leaves so much of his other material forgotten. That one work was the seminal children’s fantasy Peter Pan and how Barrie invented this fantastic fairy tale is the subject of Finding Neverland starring Johnny Depp and directed by Marc Forster.

Coming off the tremendous failure of his latest play, writer J.M Barrie takes a walk in the park with his dog. As he sits on a bench attempting to find a new story to tell, Barrie meets the Davies’ family. George (Nick Roud), Jack (Joe Prospero), Michael (Luke Spill), Peter (Freddie Highmore), and their mother Sylvia (Kate Winslet). Llewellyn Davies takes an immediate liking to Mr. Barrie who entertains them with his imaginative storytelling.

Barrie begins going to the park every day to play with the boys and spend time with Sylvia. This, not surprisingly, causes trouble with his wife Mary (Radha Mitchell) as well as with Sylvia's mother Mrs. Du Maurier (Julie Christie) who worries what the unusual relationship will do to her daughter’s social standing as well as to her own.

Despite the tensions, Barrie can't stay away because the children have inspired him to write what will go on to be his masterpiece. While spending time with the Davies, Barrie begins to indulge a fantasy he has carried with him since he was a child: A story about pirates, Indians, fairies, and a place called Neverland. Even as real life grows more dramatic, the fantasy he's writing gets more and more fantastical.

Depp is extraordinary. In Finding Neverland, he has yet another of his lovable oddballs. Only this time, as opposed to his Jack Sparrow in Pirates of The Caribbean or his nutty writer in Secret Window, this character is both odd and believably dramatic. You believe that this character was this unusual but still a very real person. Indeed much of the script is historically accurate to the life of J.M Barrie and his relationship with the Davies family. What is unclear is how much of the odd behavior of the character is from Depp or from what was known of the real J.M Barrie. Either way it still works.

Director Marc Forster, with the help of cinematographer Roberto Schaefer and production designer Gemma Jackson, creates a world that is a perfect balance of fantasy and reality. They manage to illustrate J.M Barrie's reality and a believable illusion of his spectacular imagination. Writer David Magee, working from source material based on a play by Alan Knee, crafts a terrific script that builds from somewhat mundane at the start to beautifully moving by the films climax.

It's hard to believe that Forster's previous directing credit was the gritty, hard bitten Monster's Ball. But it's not hard to believe that just as he led Halle Berry to an Oscar in Monster's Ball he has led Johnny Depp to the possibility of one. In fact everything about Finding Neverland, from Depp's performance to Forster’s direction, Kate Winslet and Julie Christie's tremendous supporting work and finally the cinematography and production design, looks Oscar quality.

Movie Review Monster's Ball

Monster's Ball (2002) 

Directed by Marc Forster 

Written by Milo Addica

Starring Billy Bob Thornton, Halle Berry, Heath Ledger, Sean Puffy Combs, Peter Boyle 

Release Date February 8th, 2002 

Published February 7th, 2002 

In my continuing effort to become a more well-rounded filmgoer, I have considered taking an acting class. It might be helpful in understanding just how difficult this craft truly is. After seeing Monster's Ball with Billy Bob Thornton and Halle Berry, I can save the tuition price. I simply need to purchase this DVD and watch it a few more times as this film is a lesson in what great acting is all about.

The story begins with prison guards preparing for an execution. Billy Bob Thornton is Hank the head guard. Hank has just hired his son Sonny, played by Heath Ledger, to be part of the crew and the execution of Lawrence Musgrove (Sean Combs). It will be the first he has ever taken part in. As Lawrence prepares for his execution he is visited for the last time by his wife Leticia (Halle Berry) and his only son Tyrell (Coronji Calhoun). Lawrence wants a meaningful goodbye but Leticia explains that she is only there so he can say goodbye to his son. In one of the film’s most touching moments Combs explains to his son that he is a bad man and that Tyrell is the only good to have come from his life.

As the preparations for the execution continue, Hank explains to Sonny a tradition known as the Monster’s Ball wherein guards sit with the condemned while he prepares to die. Yet again Combs has an effective bit of dialogue as he discusses the difference between drawing a portrait and taking a photo. The drawings will be important later in the film but not in the way you would expect.

After the execution, a shocking series of events leads Leticia into the arms of Hank, not knowing that Hank had taken part in her husband’s execution. The relationship between Hank and Leticia is complicated, not just because Hank is white and Leticia is black, but because of Hank's father Buck (Peter Boyle), a twisted old racist who has destroyed the lives of everyone he has come into contact with, with his hatred. There are also a series of tragic events that give Hank and Leticia more common ground, albeit a common ground based on pure sadness and desperation.

Both Thornton and Berry are outstanding, they put on a clinic for actors with their perfectly pitched roles. The romance between these two desperate and needy people is communicated by looks and gestures that are uncomfortable and tentative but also tender and longing. The supporting cast is equally good, especially Combs whose natural delivery brings a realistic depth to his character. Heath Ledger deserves extra credit for taking on this highly unglamorous role, his Sonny is skinny and desperately weak willed. Ledger sells it even with a suspect southern accent.

Director Marc Foster pores on the tragedy and sadness. At times it seems a little too much and yet he does manage to make a film that is surprisingly romantic and uplifting. Monsters Ball develops slowly but once Berry and Thornton come together the film lifts to amazing heights. I highly recommend Monster's Ball.

Movie Review The Kite Runner

The Kite Runner (2007) 

Directed by Marc Forster 

Written by David Benioff 

Starring Khallid Abdalla, Zekaria Ebrahimi 

Release Date December 14th, 2007 

Published December 13th, 2007 

Marc Forster is an auteur of the highest order. His debut film, Monster's Ball, crafted astonishing art out of some of the grimiest, grittiest, settings, the deathly, colorless halls of a prison and the desperate, depressing decorations of the lowest wrung of the economic ladder. Halle Berry at her most naked didn't hurt but beyond that artifice lay characters of great depth, feeling and sadness. He followed that stunning feature debut with something entirely different, the gentle, imaginative life story of J.M Barrie in Finding Neverland. That film earned him a Best Director and Best Picture nomination. Forster then offered yet another dizzying 180, following his Oscar nominated work with a turn to the sci fi genre, a mystery called Stay.

Somehow critics missed the subtle brilliance of Stay, a thoughtful, ingenious genre pic. The failure of Stay thankfully didn't slow Forster for a moment and he was back on ten best lists across the country the next year with the imaginative and quirk filled romance, Stranger Than Fiction. And once again Forster has pulled one of his masterful 180's. His newest effort is arguably his most ambitious yet. Leaving behind many of the trappings of Hollywood, he's kept the budget, but Forster has moved to the Middle East to craft a story in Arabic based on a best selling novel. So, not an easy box office sell. 

The Kite Runner, Khaled Hosseini's stunning tale of life before and after the Taliban in Afghanistan was long sought after but thought to be un-filmable. Many filmmakers could see the potential of this story about the bond of children, the love of family and country, and the many inherent tragedies of the Middle East. However, they could also see that trying to make a movie entirely in Arabic in Arab countries with Hollywood dollars would be nearly impossible. Thankfully, Marc Forster was undaunted and now we have The Kite Runner, a subtle, thoughtful, and thoroughly absorbing tale that once again affirms Marc Forster's place among our finest filmmakers.

It seems like ancient history. Before the Russians invaded Afghanistan there was the beginning of a revolution. A revolution of freedom, democracy and most hopefully, peace. In this pre-Russia, pre-Taliban environment, we meet Amir and Hassan. Though Hassan is technically a servant in Amir's father's home, the two young boys are equal in love and friendship, the kind of close bond that only young children can have. Together they fly kites, see movies and tell stories. Unfortunately for young Amir he is something of a coward and relies entirely on Hassan for protection.

So, when Hassan is attacked by bullies and humiliated in a devastating fashion, Amir witnesses but does nothing. His shame unbearable, Amir ends their friendship just before the Russians arrive to end it permanently. Chased from the country by the Russians, Amir's father takes him to America and he goes on to become a successful writer. It is then that another secret is revealed, one that will rekindle the bond between Amir and Hassan and return Amir to an Afghanistan that is a far different place than of his youth.

Told with soft, precise movements, audiences will be forgiven for calling The Kite Runner slow though I prefer to call it deliberate. It's a far cry from Forster's other impressive works which were far less understated than The Kite Runner a work of a much more quiet and thoughtful genius. The Kite Runner is Forster's first stab at real film-making maturity. Removing the tricky elements of his earlier works, the sex of Monster's Ball, the flights of dreamlike fantasy in Finding Neverland or the twisting logic of Stay, the physics of Stranger Than Fiction, Forster settles in for a quiet bit of storytelling in The Kite Runner and shows himself a master of that as well.

Told almost entirely in Arabic with Arab actors in all of the lead roles and not a recognizable American face in the bunch, The Kite Runner is in so many ways brave and bold. What a shock it is that a Hollywood studio, Dreamworks/Universal, actually got behind it. They did and we are the beneficiaries of their faith that Marc Forster could tell this foreign story in such a universal fashion. Shocking moments of violence occasionally break the calm of The Kite Runner but they are merely a small part of the subtle, human tapestry of this exceptionally well told tale which teaches far more with gentility than with the force of shocking violence. 

A remarkable work by a remarkable filmmaker, The Kite Runner is a beautifully compelling film experience. By the way, in case you are wondering what Marc Forster has up his sleeve next? In another wild career twist, he is hard at work on the next James Bond movie.