Today I saw Labor Day, starring Kate Winslet and Josh Brolin.
Adele (Winslet) is a single mother to Henry (Gattlin Griffith), and has such severe depression, she seldom leaves her home. Only when she has to tend to Henry's needs, does she depart.
Frank (Brolin) is an escaped convict who takes the two hostage and demands a safe haven as the manhunt for him begins. In their sleepy New Hampshire town, there are only so many places he could be (especially since he was injured during the escape), so one does wonder why there are no door-to-door searches.
That aside, I fully admit that I found this film completely satisfying.
Winslet recalls the pain she showed in Revolutionary Road, but plays it more understated this time. She's terrified of her intruder, but also drawn to what appears to be his kindness. Brolin is brooding, yet tender and Griffith is alternately horrified and curious. They all hit the right notes.
The longer Frank stays at the family home, the more useful he becomes. His handyman skills are put to use and for reasons we never learn, he's also an amazing cook/baker.
As the film turns from suspense thriller to love story, we go with it. If someone as damaged as Adele really did receive a dangerous criminal in her home, who happened to be handsome and helpful, she may just fall for him. Hell, I would.
While other critics have nit-picked the obvious flaws (Frank is often outside; the townspeople are nosy but never discover him), the oversights didn't bother me here. I enjoyed spending time in this world; watching them drink Yuban coffee, bake peach pies and play vinyls on a record player while life just kept happening.
I'll be happy to watch this again.
Showing posts with label 2013. Show all posts
Showing posts with label 2013. Show all posts
Saturday, March 01, 2014
Sunday, January 12, 2014
Frozen
Today I saw Frozen, starring the voices of Kristen Bell and Idina Menzel.
Elsa (Menzel) and Anna (Bell) are sisters. Elsa is older and blessed with superpowers; Anna excitedly wakes Elsa to play using those superpowers, which create magical landscapes around them.
One morning when they're having fun, Elsa loses control of her powers and Anna gets hurt. Their parents rush to their aid and are advised to lock Elsa away and hide her powers from Anna going forward.
When they're older, Elsa reveals those powers and her emotions get the better of her as her sister announces her engagement. She essentially freezes their whole village, but doesn't know it as she escapes immediately thereafter.
Anna decides to save the town by finding her sister and asking her to thaw everything out. This, of course, is harder than it seems and true to fairy tale form, we learn it is true love that must save them.
The film is a delightful romp, rich with beautiful, snowy visuals that actually make you chilly while you watch. The strength of Anna's character is refreshing in a female lead (animated or not) and the snowman, who could be obnoxious, is actually pretty cute. I also liked the men (both the dreadful ones and the nice ones).
Sitting next to an adorable 3-year-old boy for the duration, I heard him once reason with his mother, "Maybe one sister can be the cold weather queen and the other sister could be the warm weather queen?"
His innocence speaks to the vibe of the movie, which concentrates on simple justice and the pursuit of happiness. Truly delightful.
~~~
Elsa (Menzel) and Anna (Bell) are sisters. Elsa is older and blessed with superpowers; Anna excitedly wakes Elsa to play using those superpowers, which create magical landscapes around them.
One morning when they're having fun, Elsa loses control of her powers and Anna gets hurt. Their parents rush to their aid and are advised to lock Elsa away and hide her powers from Anna going forward.
When they're older, Elsa reveals those powers and her emotions get the better of her as her sister announces her engagement. She essentially freezes their whole village, but doesn't know it as she escapes immediately thereafter.
Anna decides to save the town by finding her sister and asking her to thaw everything out. This, of course, is harder than it seems and true to fairy tale form, we learn it is true love that must save them.
The film is a delightful romp, rich with beautiful, snowy visuals that actually make you chilly while you watch. The strength of Anna's character is refreshing in a female lead (animated or not) and the snowman, who could be obnoxious, is actually pretty cute. I also liked the men (both the dreadful ones and the nice ones).
Sitting next to an adorable 3-year-old boy for the duration, I heard him once reason with his mother, "Maybe one sister can be the cold weather queen and the other sister could be the warm weather queen?"
His innocence speaks to the vibe of the movie, which concentrates on simple justice and the pursuit of happiness. Truly delightful.
~~~
Friday, January 10, 2014
August: Osage County
Tonight I saw August: Osage County, starring Meryl Streep and Julia Roberts.
Vi (Streep) is short for "Violet," but really it should be short for "vile."
Her character, the matriarch of a severely dysfunctional Midwestern family, is the verbal equivalent of Mommie Dearest, spitting venom in every direction to her three grown daughters (and everyone else in her path).
Her sainted husband Beverly (Sam Shepherd), has just died and the crowd has descended on her home for the burial and mourning.
In the days that follow, her girls Barbara (Roberts), Ivy (Julianne Nicholson) and Karen (Juliette Lewis) alternately uncover and reveal secrets about themselves and others, which culminates in an eruption of emotion that plays out mostly during one tense, long, hilarious, draining dinner scene.
My favorite person in the whole movie? Chris Cooper, who plays Violet's sweet brother-in-law Charlie. He's the voice of reason—the calm before, during and after the storm—and is also a victim of the poisonous clan. Cooper plays it with such good-old-boy grace, I wanted to hug him at the end.
Meryl Streep is unsurprisingly fabulous in the role. It's a film based on a play and she plays it like a play, but that's not a bad thing. Also endearing is Julianne Nicholson, who I've admired since Flannel Pajamas, and really gets the chance to shine here with her character of several dimensions.
Margo Martindale owns her hilarious and tragic role as Violet's sister, Mattie Fae, and sparkles in authenticity.
I'd be lying if I said I wasn't thoroughly entertained: laughing, crying and gasping all the way through. But I do wish they hadn't talked about the heat so much (we got it after the first two fan scenes), I thought the Native American jokes got old and there are a few others who probably could've tackled the role of Barbara in a less abrasive way and made her more sympathetic.
But overall, well done. A slice of life that cuts deep.
~~~
Vi (Streep) is short for "Violet," but really it should be short for "vile."
Her character, the matriarch of a severely dysfunctional Midwestern family, is the verbal equivalent of Mommie Dearest, spitting venom in every direction to her three grown daughters (and everyone else in her path).
Her sainted husband Beverly (Sam Shepherd), has just died and the crowd has descended on her home for the burial and mourning.
In the days that follow, her girls Barbara (Roberts), Ivy (Julianne Nicholson) and Karen (Juliette Lewis) alternately uncover and reveal secrets about themselves and others, which culminates in an eruption of emotion that plays out mostly during one tense, long, hilarious, draining dinner scene.
My favorite person in the whole movie? Chris Cooper, who plays Violet's sweet brother-in-law Charlie. He's the voice of reason—the calm before, during and after the storm—and is also a victim of the poisonous clan. Cooper plays it with such good-old-boy grace, I wanted to hug him at the end.
Meryl Streep is unsurprisingly fabulous in the role. It's a film based on a play and she plays it like a play, but that's not a bad thing. Also endearing is Julianne Nicholson, who I've admired since Flannel Pajamas, and really gets the chance to shine here with her character of several dimensions.
Margo Martindale owns her hilarious and tragic role as Violet's sister, Mattie Fae, and sparkles in authenticity.
I'd be lying if I said I wasn't thoroughly entertained: laughing, crying and gasping all the way through. But I do wish they hadn't talked about the heat so much (we got it after the first two fan scenes), I thought the Native American jokes got old and there are a few others who probably could've tackled the role of Barbara in a less abrasive way and made her more sympathetic.
But overall, well done. A slice of life that cuts deep.
~~~
Sunday, January 05, 2014
Inside Llewyn Davis
Today I saw Inside Llewyn Davis, starring Oscar Issac and Carey Mulligan.
Llewyn Davis (Issac) is a 'starving artist' musician in New York. The year is 1961; the mood is grim.
Jean (Mulligan) and Jim (Justin Timberlake) are fellow folk singers who run in the same circles as Llewyn, and Llewyn may or may not have impregnated Jean. This is only one of the apparent many reasons that she hates him.
Davis seems to have a case of perpetual bad luck, but it's terribly hard to sympathize with him because his demeanor is so unappealing. You've met those people—the ones who whine and whine and act as if they're the only person in the world that has to struggle? That's the type of sad sack that Davis encompasses.
So… light attracts light and dark attracts dark. When you fall into a tunnel of darkness and refuse to climb out of it (or lose the will to at least try), you'll only spiral further down. And Davis, who couch surfs his way though his miserable life, is one big ball of darkness.
Jean is so full of venom that we barely even notice when Mulligan's American accent slips or her character tries to do a nice thing for Llewyn. We're way past her by then, having coated us in such anger.
That leaves the brief (but shining) performances by Timberlake and John Goodman to keep things light, and for a few moments they do. Timberlake leading the best song in the film, "Please Mr. Kennedy," and Goodman a passenger on the road trip from hell. Both brilliant performances that gave great flavor to the film.
I can't pretend the Coen brothers haven't done better. This isn't in the same ballpark as No Country for Old Men or The Man Who Wasn't There, but it's not terrible either.
Just make sure you see it when you're in a bright mood or it might bring you down.
~~~
Llewyn Davis (Issac) is a 'starving artist' musician in New York. The year is 1961; the mood is grim.
Jean (Mulligan) and Jim (Justin Timberlake) are fellow folk singers who run in the same circles as Llewyn, and Llewyn may or may not have impregnated Jean. This is only one of the apparent many reasons that she hates him.
Davis seems to have a case of perpetual bad luck, but it's terribly hard to sympathize with him because his demeanor is so unappealing. You've met those people—the ones who whine and whine and act as if they're the only person in the world that has to struggle? That's the type of sad sack that Davis encompasses.
So… light attracts light and dark attracts dark. When you fall into a tunnel of darkness and refuse to climb out of it (or lose the will to at least try), you'll only spiral further down. And Davis, who couch surfs his way though his miserable life, is one big ball of darkness.
Jean is so full of venom that we barely even notice when Mulligan's American accent slips or her character tries to do a nice thing for Llewyn. We're way past her by then, having coated us in such anger.
That leaves the brief (but shining) performances by Timberlake and John Goodman to keep things light, and for a few moments they do. Timberlake leading the best song in the film, "Please Mr. Kennedy," and Goodman a passenger on the road trip from hell. Both brilliant performances that gave great flavor to the film.
I can't pretend the Coen brothers haven't done better. This isn't in the same ballpark as No Country for Old Men or The Man Who Wasn't There, but it's not terrible either.
Just make sure you see it when you're in a bright mood or it might bring you down.
~~~
Tuesday, December 31, 2013
American Hustle
Tonight I saw American Hustle, starring Bradley Cooper and Amy Adams.
The Abscam scandal of the 1970s was the inspiration for this David O. Russell film about the FBI's use of a real con man to take down members of the U.S. government. In this dramatized version, we see two clever con artists: Irving (Christian Bale) and Sydney (Adams). They have a passionate personal relationship in addition to their professional collaboration, though Irving is overweight and married.
Enter Riche DiMaso (Cooper), an FBI agent hungry for a big sting, who after catching them in the act, recruits the pair for a bigger operation. They don't have much choice to accept the challenge and do their best to make the most of it. And the audience are the lucky recipients of their sparks.
Sydney flirts with Richie, Richie abuses his boss (played by the always-hilarious Louis C.K.), Irving fights with his wife (Jennifer Lawrence) and the mayor (Jeremy Renner) acts like... well... a politician.
All of this is wildly entertaining, but nothing is as perfect as every scene-stealing moment that Jennifer Lawrence takes the screen. The whole cast is terrific, but Lawrence lights up the room with her impeccable comedic timing and charisma. Let's just say I wouldn't be too surprised (or disappointed) if she took home another Oscar this year.
Also of note is the director's brilliant use of music. Taking cues from Tarantino and Scorsese, the music is of-the-era (the deliciously gritty '70s) and just as much a part of the script as the dialogue.
The twists and turns, though not complex, are clever and the ending is undeniably satisfying.
Believe the hype about this one—it's all true.
~~~
The Abscam scandal of the 1970s was the inspiration for this David O. Russell film about the FBI's use of a real con man to take down members of the U.S. government. In this dramatized version, we see two clever con artists: Irving (Christian Bale) and Sydney (Adams). They have a passionate personal relationship in addition to their professional collaboration, though Irving is overweight and married.
Enter Riche DiMaso (Cooper), an FBI agent hungry for a big sting, who after catching them in the act, recruits the pair for a bigger operation. They don't have much choice to accept the challenge and do their best to make the most of it. And the audience are the lucky recipients of their sparks.
Sydney flirts with Richie, Richie abuses his boss (played by the always-hilarious Louis C.K.), Irving fights with his wife (Jennifer Lawrence) and the mayor (Jeremy Renner) acts like... well... a politician.
All of this is wildly entertaining, but nothing is as perfect as every scene-stealing moment that Jennifer Lawrence takes the screen. The whole cast is terrific, but Lawrence lights up the room with her impeccable comedic timing and charisma. Let's just say I wouldn't be too surprised (or disappointed) if she took home another Oscar this year.
Also of note is the director's brilliant use of music. Taking cues from Tarantino and Scorsese, the music is of-the-era (the deliciously gritty '70s) and just as much a part of the script as the dialogue.
The twists and turns, though not complex, are clever and the ending is undeniably satisfying.
Believe the hype about this one—it's all true.
~~~
Sunday, December 29, 2013
Mandela: Long Walk to Freedom
Today I saw Mandela: Long Walk to Freedom, starring Idris Elba and Naomie Harris.
The life of South African leader Nelson Mandela is inspiring under any lens, but actor Idris Elba brings a special spirit in his portrayal of the peacemaker in this film.
From the early scenes of him as a womanizer during his first marriage, to the angry scenes as his activism took flight in his 30s and on to the duration of his imprisonment, Elba nails it. His passion, his patience, his love, his grace.
Alongside him throughout the film was Naomie Harris, playing his second wife Winnie. Harris shows the fire within Winnie that fuels her ability to change the world. She did too, after all, though her tactics weren't always as kind.
The details we see here show more of the personal side of Madibe (as he is more often called); the father who didn't know his kids as they grew; the husband who never stopped loving his wife, though he couldn't physically touch her for 21 of his 27 years in prison. The time he lost will always be heartbreaking, no matter how many times we remind ourselves he had a happy ending (and speaking of happy endings: don't miss the end credits featuring a U2 song over real photos of his life).
In our modern, selfish world it's difficult to contemplate the integrity of someone so morally focused. Inconceivable to imagine the sacrifice of one's prime years in life, though it's painfully refreshing to watch.
As some of the scenes during his imprisonment lingered on quietly, I began fidgeting in my seat, mentally preparing to make a note of the slow pace for this review. And then it dawned on me: the filmmakers are trying to convey a 27-year imprisonment of an innocent man in less than three hours.
Shame on me for even considering a criticism of wasted time.
~~~
The life of South African leader Nelson Mandela is inspiring under any lens, but actor Idris Elba brings a special spirit in his portrayal of the peacemaker in this film.
From the early scenes of him as a womanizer during his first marriage, to the angry scenes as his activism took flight in his 30s and on to the duration of his imprisonment, Elba nails it. His passion, his patience, his love, his grace.
Alongside him throughout the film was Naomie Harris, playing his second wife Winnie. Harris shows the fire within Winnie that fuels her ability to change the world. She did too, after all, though her tactics weren't always as kind.
The details we see here show more of the personal side of Madibe (as he is more often called); the father who didn't know his kids as they grew; the husband who never stopped loving his wife, though he couldn't physically touch her for 21 of his 27 years in prison. The time he lost will always be heartbreaking, no matter how many times we remind ourselves he had a happy ending (and speaking of happy endings: don't miss the end credits featuring a U2 song over real photos of his life).
In our modern, selfish world it's difficult to contemplate the integrity of someone so morally focused. Inconceivable to imagine the sacrifice of one's prime years in life, though it's painfully refreshing to watch.
As some of the scenes during his imprisonment lingered on quietly, I began fidgeting in my seat, mentally preparing to make a note of the slow pace for this review. And then it dawned on me: the filmmakers are trying to convey a 27-year imprisonment of an innocent man in less than three hours.
Shame on me for even considering a criticism of wasted time.
~~~
Saturday, December 28, 2013
Her
Today I saw Her, starring Joaquin Phoenix and Amy Adams.
If you've ever panicked, thinking you've lost all the data on your smartphone, remember how fast your heart beat in those moments, and then think how much faster your heart would beat if you thought you were losing a relationship in there too. That's what's at stake for the virtual lovers in Her.
Theodore (Phoenix) writes letters for a living. Heartfelt, beautiful letters that get sent the old-fashioned way since our society has given up doing so. He is sadly separating from his wife (Rooney Mara), who we at first only see in brief flashbacks that make us wonder why their love died.
Though his profession clings to the nostalgia of the past, his life revolves around the technology of the future. Though he's barely social with humans anymore, he does sign up for an Operating System (OS) personal assistant and soon develops feelings for Her (the voice of Scarlett Johansson). She goes by the name Samantha. Amy (Amy Adams) is Theodore's closest human friend and she is just glad he's got a thirst for life again.
Soon the feelings between Theodore and Samantha are "mutual" and they become a fashionable couple. They have steamy phone sex, go on double dates with fully human couples—hell, she even shops for him. Though as I write this, it sounds absurd, the dynamic is not so unbelievable when presented on screen.
Aside from Joaquin's overacting (which happens throughout in his exaggerated facial expressions), the story borders on sweet. Theodore is a nice enough guy, and what harm is it doing for him to keep company with his computer, right?
Well, the Big Looming Lesson here is that our world is becoming too disconnected as we try to perpetually stay connected. Nothing can replace human love or interaction; not even an entity programmed to our specifications.
Director Spike Jonze also makes a point of showing countless wide open spaces (both in nature and indoors), which illustrate how hollow our landscape is; certainly meant to be a metaphor for our hearts in this modern world.
Johansson did a fine job with the voice of Samantha, but I have to wonder if the effect might have been greater if an unknown actress (who we couldn't picture so easily) had played the part.
It's an interesting (and timely) concept to explore the obsession we have with technology; I only wish this had been more multidimensional and less preachy.
~~~
If you've ever panicked, thinking you've lost all the data on your smartphone, remember how fast your heart beat in those moments, and then think how much faster your heart would beat if you thought you were losing a relationship in there too. That's what's at stake for the virtual lovers in Her.
Theodore (Phoenix) writes letters for a living. Heartfelt, beautiful letters that get sent the old-fashioned way since our society has given up doing so. He is sadly separating from his wife (Rooney Mara), who we at first only see in brief flashbacks that make us wonder why their love died.
Though his profession clings to the nostalgia of the past, his life revolves around the technology of the future. Though he's barely social with humans anymore, he does sign up for an Operating System (OS) personal assistant and soon develops feelings for Her (the voice of Scarlett Johansson). She goes by the name Samantha. Amy (Amy Adams) is Theodore's closest human friend and she is just glad he's got a thirst for life again.
Soon the feelings between Theodore and Samantha are "mutual" and they become a fashionable couple. They have steamy phone sex, go on double dates with fully human couples—hell, she even shops for him. Though as I write this, it sounds absurd, the dynamic is not so unbelievable when presented on screen.
Aside from Joaquin's overacting (which happens throughout in his exaggerated facial expressions), the story borders on sweet. Theodore is a nice enough guy, and what harm is it doing for him to keep company with his computer, right?
Well, the Big Looming Lesson here is that our world is becoming too disconnected as we try to perpetually stay connected. Nothing can replace human love or interaction; not even an entity programmed to our specifications.
Director Spike Jonze also makes a point of showing countless wide open spaces (both in nature and indoors), which illustrate how hollow our landscape is; certainly meant to be a metaphor for our hearts in this modern world.
Johansson did a fine job with the voice of Samantha, but I have to wonder if the effect might have been greater if an unknown actress (who we couldn't picture so easily) had played the part.
It's an interesting (and timely) concept to explore the obsession we have with technology; I only wish this had been more multidimensional and less preachy.
~~~
Thursday, December 26, 2013
The Wolf of Wall Street
Yesterday I saw The Wolf of Wall Street, starring Leonardo DiCaprio and Jonah Hill.
Jordan Belfort (DiCaprio) wasn't born rich, but he was obsessed with becoming rich. He used his smarts to get an entry level position on Wall Street and a few years later started his own brokerage firm, where he sold penny stocks and performed countless acts of fraud against his investors.
In this lively retelling of his life (so far), Martin Scorsese returns to his Goodfellas pacing and explodes the story across the screen. For three hours. No joke.
It's alternately exhilarating and nauseating, and the DiCaprio really couldn't be better, but I wonder: does it glamorize the excess too much?
Belfort was (maybe is?) not a nice guy. He swindled money out of people who were of the same class or lower than the honest parents who raised him in the Bronx. The only "victim" of his nonsense we see in the film is his first wife, who catches him cheating. But we do believe he loved his mistress (he did marry her, after all) so even that doesn't sting as much as it should.
The drug scenes happen almost constantly (as does the sex) and I can't help but think if I was young and impressionable, some of this stuff would be undeniably enticing.
Donnie Azoff a.k.a. the real Daniel Porush (Hill) was Belfort's right hand man, and committed as many sins as his boss. His character is hilarious and there are moments where Hill clearly steals the show. Also fantastic are cameos by Matthew McConaughey and Jon Favreau.
I can't imagine what Thelma "cut" to get this from an NC-17 to an R; it's plenty filthy, but oddly not gratuitous because it's necessary to convey how insanely out of control Belfort's world became.
There isn't anything wrong with this film, save for the common consequence of Scorsese's hallmark: he makes people who commit reprehensible acts appear invincible and heroic.
If only he also gave us a glimpse of those on the other side of the fence.
~~~
Jordan Belfort (DiCaprio) wasn't born rich, but he was obsessed with becoming rich. He used his smarts to get an entry level position on Wall Street and a few years later started his own brokerage firm, where he sold penny stocks and performed countless acts of fraud against his investors.
In this lively retelling of his life (so far), Martin Scorsese returns to his Goodfellas pacing and explodes the story across the screen. For three hours. No joke.
It's alternately exhilarating and nauseating, and the DiCaprio really couldn't be better, but I wonder: does it glamorize the excess too much?
Belfort was (maybe is?) not a nice guy. He swindled money out of people who were of the same class or lower than the honest parents who raised him in the Bronx. The only "victim" of his nonsense we see in the film is his first wife, who catches him cheating. But we do believe he loved his mistress (he did marry her, after all) so even that doesn't sting as much as it should.
The drug scenes happen almost constantly (as does the sex) and I can't help but think if I was young and impressionable, some of this stuff would be undeniably enticing.
Donnie Azoff a.k.a. the real Daniel Porush (Hill) was Belfort's right hand man, and committed as many sins as his boss. His character is hilarious and there are moments where Hill clearly steals the show. Also fantastic are cameos by Matthew McConaughey and Jon Favreau.
I can't imagine what Thelma "cut" to get this from an NC-17 to an R; it's plenty filthy, but oddly not gratuitous because it's necessary to convey how insanely out of control Belfort's world became.
There isn't anything wrong with this film, save for the common consequence of Scorsese's hallmark: he makes people who commit reprehensible acts appear invincible and heroic.
If only he also gave us a glimpse of those on the other side of the fence.
~~~
Sunday, December 22, 2013
Dallas Buyers Club
Tonight I saw Dallas Buyers Club, starring Matthew McConaughey and Jennifer Garner.
Ron Woodroof (McConaughey) was a cowboy in the 80s in denial about his HIV diagnosis. After doing independent research, and realizing straight men could indeed contract the virus through unprotected sex, he came to terms with his situation and decided to take action.
Since the experimental AZT treatments were causing more harm than cure in their first stages, Woodroof sought alternative solutions, traveling abroad to obtain drugs that hadn't yet been approved by the FDA in the U.S.
When he returns, drugs in hand, he starts a "buyers' club" and sells memberships to fellow HIV patients. With their membership, they get a supply of the drugs.
Soon the authorities are on his tail and his operation is in danger of folding.
A painfully thin McConaughey is the perfect fit for this role—he plays an asshole really well and nails the transformative nature of the character. Jennifer Garner is also strong as a doctor wrestling with the hospital treatments she's supposed to administer and the scientific evidence Woodroof provides that proves his club is helping people.
Jared Leto stands out, even above these two, for his turn as Rayon, a transgender woman who helps Woodroof manage the club.
Overall, the film was effective if not blatantly shaking its fist at bureaucracy and the evils that accompany it.
~~~
Ron Woodroof (McConaughey) was a cowboy in the 80s in denial about his HIV diagnosis. After doing independent research, and realizing straight men could indeed contract the virus through unprotected sex, he came to terms with his situation and decided to take action.
Since the experimental AZT treatments were causing more harm than cure in their first stages, Woodroof sought alternative solutions, traveling abroad to obtain drugs that hadn't yet been approved by the FDA in the U.S.
When he returns, drugs in hand, he starts a "buyers' club" and sells memberships to fellow HIV patients. With their membership, they get a supply of the drugs.
Soon the authorities are on his tail and his operation is in danger of folding.
A painfully thin McConaughey is the perfect fit for this role—he plays an asshole really well and nails the transformative nature of the character. Jennifer Garner is also strong as a doctor wrestling with the hospital treatments she's supposed to administer and the scientific evidence Woodroof provides that proves his club is helping people.
Jared Leto stands out, even above these two, for his turn as Rayon, a transgender woman who helps Woodroof manage the club.
Overall, the film was effective if not blatantly shaking its fist at bureaucracy and the evils that accompany it.
~~~
Wednesday, December 11, 2013
The Secret Life of Walter Mitty
Tonight I screened The Secret Life of Walter Mitty, starring Ben Stiller and Kristen Wiig.
As a child, I read the James Thurber short story of the same name and remember being captivated by its ability to transport me to wherever Walter's brain was going. In this film adaptation? Not so much.
Stiller plays Mitty in an almost stoic way, making him into a character who is not only sad, but perhaps mentally ill. He's bullied by colleagues, financially responsible for his mother and sister, and hopelessly trying to navigate eHarmony.com, which along with Papa John's and Cinnabon, enjoys some fantastic product placement here.
This version of Mitty is a negative assets specialist for the soon-to-fold Life magazine. He is responsible for the final issue's cover image, which he has misplaced. Sheryl (Wiig) works in a related department, but is new to the magazine. Walter has a crush on her. Soon he's off to Greenland to track down Sean (Sean Penn), the photographer of the final image.
It goes from being sort of sad to wild-and-crazy fantasy-like to a soul-searching mission with a love story sprinkled in for good measure. There's some comedy too.
But mostly it's a Forrest Gump-ish jumble of unbelievable events (without the endearing nature of a character like Gump) peppered with fantastic cameos from stars like Shirley MacLaine and Patton Oswalt.
I wish I could have enjoyed it more. All of these actors are likeable.
~~~
As a child, I read the James Thurber short story of the same name and remember being captivated by its ability to transport me to wherever Walter's brain was going. In this film adaptation? Not so much.
Stiller plays Mitty in an almost stoic way, making him into a character who is not only sad, but perhaps mentally ill. He's bullied by colleagues, financially responsible for his mother and sister, and hopelessly trying to navigate eHarmony.com, which along with Papa John's and Cinnabon, enjoys some fantastic product placement here.
This version of Mitty is a negative assets specialist for the soon-to-fold Life magazine. He is responsible for the final issue's cover image, which he has misplaced. Sheryl (Wiig) works in a related department, but is new to the magazine. Walter has a crush on her. Soon he's off to Greenland to track down Sean (Sean Penn), the photographer of the final image.
It goes from being sort of sad to wild-and-crazy fantasy-like to a soul-searching mission with a love story sprinkled in for good measure. There's some comedy too.
But mostly it's a Forrest Gump-ish jumble of unbelievable events (without the endearing nature of a character like Gump) peppered with fantastic cameos from stars like Shirley MacLaine and Patton Oswalt.
I wish I could have enjoyed it more. All of these actors are likeable.
~~~
Sunday, December 08, 2013
Philomena
This morning I saw Philomena, starring Judi Dench and Steve Coogan.
In the 1950s, it was shameful to be a pregnant teenager in Ireland. For a girl who was brought up by Catholic nuns, it was unspeakable.
When it happened to Philomena Lee (Dench) in 1952, the nuns punished her by working seven days a week, allowing only one-hour visitations with her son Anthony (Tadhg Bowen). She loved him dearly and lived for the special—if not limited—moments she had with him.
At age 3, Anthony was adopted by an American couple from St. Louis, Mo. Philomena was never given the chance to say goodbye. She kept his existence a secret for over 40 years, though she kept in regular touch with the convent in case Anthony ever came looking for her.
Once her daughter found out about her missing brother, she enlisted the help of Martin Sixsmith (Coogan), an out-of-work journalist with the investigative skills to track him down.
The film covers this true journey from start to finish, adding in unnecessary Hollywood embellishments, but thankfully that doesn't hurt its effectiveness. As depressing as the subject matter may be, it's a pleasure to watch.
Dench is simultaneously tragic and charming as Lee, showing the the pain of what she had lost with every glance. Coogan is also perfectly cast as the journalist who is at first in it for himself, but soon develops a genuine compassion for the mother.
As with all true stories, this one is being told too late, but there is hope that the conversations it will spark my soon make a difference in the practices of the church and the perception of sin in Ireland.
~~~
In the 1950s, it was shameful to be a pregnant teenager in Ireland. For a girl who was brought up by Catholic nuns, it was unspeakable.
When it happened to Philomena Lee (Dench) in 1952, the nuns punished her by working seven days a week, allowing only one-hour visitations with her son Anthony (Tadhg Bowen). She loved him dearly and lived for the special—if not limited—moments she had with him.
At age 3, Anthony was adopted by an American couple from St. Louis, Mo. Philomena was never given the chance to say goodbye. She kept his existence a secret for over 40 years, though she kept in regular touch with the convent in case Anthony ever came looking for her.
Once her daughter found out about her missing brother, she enlisted the help of Martin Sixsmith (Coogan), an out-of-work journalist with the investigative skills to track him down.
The film covers this true journey from start to finish, adding in unnecessary Hollywood embellishments, but thankfully that doesn't hurt its effectiveness. As depressing as the subject matter may be, it's a pleasure to watch.
Dench is simultaneously tragic and charming as Lee, showing the the pain of what she had lost with every glance. Coogan is also perfectly cast as the journalist who is at first in it for himself, but soon develops a genuine compassion for the mother.
As with all true stories, this one is being told too late, but there is hope that the conversations it will spark my soon make a difference in the practices of the church and the perception of sin in Ireland.
~~~
Wednesday, December 04, 2013
Saving Mr. Banks
Tonight I screened Saving Mr. Banks, starring Emma Thompson and Tom Hanks.
PL Travers (Thompson) was an Australian author who had suffered a difficult childhood at the hands of her drunken father and depressed mother. It was her imagination that got her through it and led her to eventually write Mary Poppins, which achieved great success.
Walt Disney (Hanks), a legendary Missouri-born entrepreneur, of course created the Happiest Place on Earth™. After his daughter, Diane, fell in love with the book Mary Poppins, he promised her someday he would turn it into a movie. It took him 20 years, but he kept that promise.
This film tells that story in flashbacks to Travers' childhood (which can be quite disturbing) and throughout the process of convincing her to sell the rights to Disney. The two leads couldn't be better in their roles, Hanks capturing every mannerism Disney was known for; Thompson a hard shell of a woman with a heartbreaking past bubbling underneath. Sweet moments of humor, like a spoonful of sugar, help this "medicine" go down.
Travers really defined the Hollywood term "development hell" and took issue with just about every song, design and element proposed to her by the "Americans." It can't have been easy for the writer and songwriters to navigate, but obviously, in the end everyone got a classic.
The film is much more dark than I expected it to be, and I found myself crying at least four times.
That said, the writing is not emotionally manipulative or too far from the truth at any time. In fact, reading through this article, it comes pretty close. The real footage of the film and also the final credits (which hold real surprises) were a nice touch.
I enjoyed the story, and would recommend it for adults, but not for children due to the disturbing flashback sequences.
~~~
PL Travers (Thompson) was an Australian author who had suffered a difficult childhood at the hands of her drunken father and depressed mother. It was her imagination that got her through it and led her to eventually write Mary Poppins, which achieved great success.
Walt Disney (Hanks), a legendary Missouri-born entrepreneur, of course created the Happiest Place on Earth™. After his daughter, Diane, fell in love with the book Mary Poppins, he promised her someday he would turn it into a movie. It took him 20 years, but he kept that promise.
This film tells that story in flashbacks to Travers' childhood (which can be quite disturbing) and throughout the process of convincing her to sell the rights to Disney. The two leads couldn't be better in their roles, Hanks capturing every mannerism Disney was known for; Thompson a hard shell of a woman with a heartbreaking past bubbling underneath. Sweet moments of humor, like a spoonful of sugar, help this "medicine" go down.
Travers really defined the Hollywood term "development hell" and took issue with just about every song, design and element proposed to her by the "Americans." It can't have been easy for the writer and songwriters to navigate, but obviously, in the end everyone got a classic.
The film is much more dark than I expected it to be, and I found myself crying at least four times.
That said, the writing is not emotionally manipulative or too far from the truth at any time. In fact, reading through this article, it comes pretty close. The real footage of the film and also the final credits (which hold real surprises) were a nice touch.
I enjoyed the story, and would recommend it for adults, but not for children due to the disturbing flashback sequences.
~~~
Saturday, November 30, 2013
The Hunger Games: Catching Fire
Today I saw The Hunger Games: Catching Fire starring Jennifer Lawrence and Josh Hutcherson.
The film begins where the book also started, as Katniss (Lawrence) and Peeta (Hutcherson) are gearing up for their victory tour of the districts, as the winners of the most recent Hunger Games.
Spying on the wildly popular couple, the president (Donald Sutherland) calls their bluff and fears their love story act will not sustain, so therefore Katniss must be eliminated. His new gamemaker, Plutarch Heavensbee (a perfectly cast Philip Seymour Hoffman) soon constructs a plot to bring the victors back into the games and seal her fate.
Though all of the excitement and horrors of the games is well executed, it's the performance that Lawrence gives that truly makes the film worth seeing. Every note of emotion is pitch perfect; every complexity captured in her eyes.
I also confess to eating up the love triangle between her, Peeta and Gale (Liam Hemsworth). As with any well done triangle, I change my mind every few minutes about who I want for Katniss. My brain says Peeta will do everything in his power to make her happy from now to eternity; my heart sees the way she looks at Gale.
Only one more year until the first installment of Mockingjay hits theaters, right?
~~~
The film begins where the book also started, as Katniss (Lawrence) and Peeta (Hutcherson) are gearing up for their victory tour of the districts, as the winners of the most recent Hunger Games.
Spying on the wildly popular couple, the president (Donald Sutherland) calls their bluff and fears their love story act will not sustain, so therefore Katniss must be eliminated. His new gamemaker, Plutarch Heavensbee (a perfectly cast Philip Seymour Hoffman) soon constructs a plot to bring the victors back into the games and seal her fate.
Though all of the excitement and horrors of the games is well executed, it's the performance that Lawrence gives that truly makes the film worth seeing. Every note of emotion is pitch perfect; every complexity captured in her eyes.
I also confess to eating up the love triangle between her, Peeta and Gale (Liam Hemsworth). As with any well done triangle, I change my mind every few minutes about who I want for Katniss. My brain says Peeta will do everything in his power to make her happy from now to eternity; my heart sees the way she looks at Gale.
Only one more year until the first installment of Mockingjay hits theaters, right?
~~~
Friday, November 22, 2013
Delivery Man
Today I saw Delivery Man, starring Vince Vaughn and Chris Pratt.
David (Vaughn) is an unreliable "meat chauffeur" for the family business. He's in love with Emma (Cobie Smulders), who is carrying his child, but unsure of whether or not she wants him to be a part of said child's life.
He wants to do better—he really does—and gets the chance to prove it when his world is unexpectedly turned upside down. It seems that as a sperm donor years ago, he fathered 533 children, over a hundred of which have filed a lawsuit to try to learn his identity.
His lawyer/BFF (Pratt) works tirelessly to preserve his anonymity, but David's impulsive actions don't help. He begins reading through profiles of his children (all of whom magically live in the vicinity) and finds them, following them throughout their daily lives.
Vaughn is fantastic as someone in awe of what the creation of a child truly means (there are some tear-inducing, tender scenes with one of the children, which I won't spoil) and at the same time frustratingly irresponsible.
Aside from that, and the side-story of the lawyer's four kids driving him nuts, this is a very slow-paced, often sad-in-tone film.
I really wanted to like it more than I did, and I wanted to laugh as much as the trailer implied I would. But I didn't.
~~~
David (Vaughn) is an unreliable "meat chauffeur" for the family business. He's in love with Emma (Cobie Smulders), who is carrying his child, but unsure of whether or not she wants him to be a part of said child's life.
He wants to do better—he really does—and gets the chance to prove it when his world is unexpectedly turned upside down. It seems that as a sperm donor years ago, he fathered 533 children, over a hundred of which have filed a lawsuit to try to learn his identity.
His lawyer/BFF (Pratt) works tirelessly to preserve his anonymity, but David's impulsive actions don't help. He begins reading through profiles of his children (all of whom magically live in the vicinity) and finds them, following them throughout their daily lives.
Vaughn is fantastic as someone in awe of what the creation of a child truly means (there are some tear-inducing, tender scenes with one of the children, which I won't spoil) and at the same time frustratingly irresponsible.
Aside from that, and the side-story of the lawyer's four kids driving him nuts, this is a very slow-paced, often sad-in-tone film.
I really wanted to like it more than I did, and I wanted to laugh as much as the trailer implied I would. But I didn't.
~~~
Saturday, November 09, 2013
Lee Daniels' The Butler
This morning I saw Lee Daniels' The Butler, starring Forest Whitaker and Oprah Winfrey.
Cecil Gains (Whitaker) was a real-life man named Eugene Allen, who was employed by The White House from the Truman administration all the way up through the Reagan administration. He began as a pantry worker and was soon promoted to butler, utilizing the skills he'd learned working in exclusive places around Virginia and Washington, D.C. And, he was black.
The film shows how he was trained as a child as a "house negro" to serve and dazzle the higher class, and takes great pride in doing good work for his superiors.
His wife Gloria (Winfrey)—who was named Helene in actuality—has a drinking problem and turns to another man for intimacy as her husband works long hours. Winfrey gives an Oscar-worthy performance as a woman who clearly adores her husband, but has so much brimming just beneath her emotional surface, she has to find other ways to cope.
The film has fairly been compared to Forrest Gump for its predictable trip down memory lane, but just as I didn't mind it in Forrest Gump, I didn't mind it here either. Though the big-name stars (Robin Williams, John Cusack, etc.) who play the various presidents are distracting, the overall message is clear: it really hasn't been that long since America was a terribly unbalanced country, devoid of human rights for all. In fact, it reminds us that though things are better, we still have a long way to go.
For all its unfaithfulness to the true story, it was still an engaging, well-paced movie that made me wish I was more like its main character: content in hard work, patient in times of injustice and lacking in envy of the riches that surround him.
~~~
Cecil Gains (Whitaker) was a real-life man named Eugene Allen, who was employed by The White House from the Truman administration all the way up through the Reagan administration. He began as a pantry worker and was soon promoted to butler, utilizing the skills he'd learned working in exclusive places around Virginia and Washington, D.C. And, he was black.
The film shows how he was trained as a child as a "house negro" to serve and dazzle the higher class, and takes great pride in doing good work for his superiors.
His wife Gloria (Winfrey)—who was named Helene in actuality—has a drinking problem and turns to another man for intimacy as her husband works long hours. Winfrey gives an Oscar-worthy performance as a woman who clearly adores her husband, but has so much brimming just beneath her emotional surface, she has to find other ways to cope.
The film has fairly been compared to Forrest Gump for its predictable trip down memory lane, but just as I didn't mind it in Forrest Gump, I didn't mind it here either. Though the big-name stars (Robin Williams, John Cusack, etc.) who play the various presidents are distracting, the overall message is clear: it really hasn't been that long since America was a terribly unbalanced country, devoid of human rights for all. In fact, it reminds us that though things are better, we still have a long way to go.
For all its unfaithfulness to the true story, it was still an engaging, well-paced movie that made me wish I was more like its main character: content in hard work, patient in times of injustice and lacking in envy of the riches that surround him.
~~~
Saturday, November 02, 2013
12 Years a Slave
Today I saw 12 Years a Slave, starring Chiwetel Ejiofor and Michael Fassbender.
It will be the topic of our November Cinebanter episode, so tune in later this month for our review.
It will be the topic of our November Cinebanter episode, so tune in later this month for our review.
Friday, November 01, 2013
Captain Philips
Tonight I saw Captain Phillips, starring Tom Hanks and Barkhad Abdi.
Captain Rich Phillips (Hanks) is an east coast merchant marine leading a new crew through the dangerous waters of Africa to deliver cargo. Muse (Abdi) is a Somali pirate that leads a handful of fellow pirates to take over the Captain's ship. Despite the elaborate security measures, Muse succeeds.
After a nerve-wracking chain of events (all happening while the U.S. Navy Seals are getting their ducks in a row to initiate a rescue), the pirates leave the ship and escape on one of its lifeboats with Captain Phillips as their hostage.
What happened over the course of five days in real life is chronicled in just over two hours here, but it's no less harrowing. The Captain talks to them, negotiates the extension of his life and feels compassion for the youngest pirate, who is just a kid. Tempers flare, weapons are drawn and physical fights are commonplace.
What makes Paul Greengrass such a phenomenal director is how real it all feels, though it's not something everyday people will ever truly know. His gift for capturing the sound of desperate breaths, the temperature in a space and the discombobulation of chaos is unique.
All of the performances in this film are first-rate; most notably those of the pirates who weren't even actors before they took on these roles.
I can't imagine this won't get a ripple of well-deserved Oscar nominations.
~~~
Captain Rich Phillips (Hanks) is an east coast merchant marine leading a new crew through the dangerous waters of Africa to deliver cargo. Muse (Abdi) is a Somali pirate that leads a handful of fellow pirates to take over the Captain's ship. Despite the elaborate security measures, Muse succeeds.
After a nerve-wracking chain of events (all happening while the U.S. Navy Seals are getting their ducks in a row to initiate a rescue), the pirates leave the ship and escape on one of its lifeboats with Captain Phillips as their hostage.
What happened over the course of five days in real life is chronicled in just over two hours here, but it's no less harrowing. The Captain talks to them, negotiates the extension of his life and feels compassion for the youngest pirate, who is just a kid. Tempers flare, weapons are drawn and physical fights are commonplace.
What makes Paul Greengrass such a phenomenal director is how real it all feels, though it's not something everyday people will ever truly know. His gift for capturing the sound of desperate breaths, the temperature in a space and the discombobulation of chaos is unique.
All of the performances in this film are first-rate; most notably those of the pirates who weren't even actors before they took on these roles.
I can't imagine this won't get a ripple of well-deserved Oscar nominations.
~~~
Wednesday, October 16, 2013
Prisoners
Today I saw Prisoners, starring Hugh Jackman and Jake Gyllenhaal.
Keller (Jackman) and Grace (Maria Bello), have a wonderful Thanksgiving dinner with their neighbors Franklin (Terrence Howard) and Nancy (Viola Davis).
Each couple has a young daughter and the girls leave together after the meal to go play. The adults don't realize they are missing until much later. They report a suspected abduction and soon are on the trail of the owner of an RV who was parked on their street.
Detective Loki (Gyllenhaal) has solved every case to which he's been assigned, so the families are grateful when he takes on the challenge of finding their girls.
That same night he apprehends the RV owner, a mentally slow man named Alex (Paul Dano) who doesn't have any trace of the girls on his belongings. They hold him for 48 hours and release him to his aunt's custody.
Because Keller is convinced that Alex is guilty, he kidnaps him at gunpoint and takes him as a prisoner at an empty property he owns. He begins torturing him to get information from him, but gets no results.
Soon, he involves Franklin and Nancy, who don't feel right about what he's doing, but also choose not to stop him.
Meanwhile, at a candlelight vigil for the girls, a man's odd behavior catches the eye of Detective Loki and he gives chase. This is where, of course, the plot thickens.
From Hugh Jackman's desperation to the numbness of Maria Bello, each actor lives their role with frightful realism. The pain of the families is tangible, as is the frustration of the detective who is unable to decode the puzzle that may lead them all to the girls.
I was on the edge of my seat for the duration of this lengthy film, and with every twist and turn I held my breath, hoping for resolution.
Aside from a few key gruesome scenes, I never looked away.
I'm glad I didn't—a solid thriller is always a great way to get the adrenaline going.
~~~
Keller (Jackman) and Grace (Maria Bello), have a wonderful Thanksgiving dinner with their neighbors Franklin (Terrence Howard) and Nancy (Viola Davis).
Each couple has a young daughter and the girls leave together after the meal to go play. The adults don't realize they are missing until much later. They report a suspected abduction and soon are on the trail of the owner of an RV who was parked on their street.
Detective Loki (Gyllenhaal) has solved every case to which he's been assigned, so the families are grateful when he takes on the challenge of finding their girls.
That same night he apprehends the RV owner, a mentally slow man named Alex (Paul Dano) who doesn't have any trace of the girls on his belongings. They hold him for 48 hours and release him to his aunt's custody.
Because Keller is convinced that Alex is guilty, he kidnaps him at gunpoint and takes him as a prisoner at an empty property he owns. He begins torturing him to get information from him, but gets no results.
Soon, he involves Franklin and Nancy, who don't feel right about what he's doing, but also choose not to stop him.
Meanwhile, at a candlelight vigil for the girls, a man's odd behavior catches the eye of Detective Loki and he gives chase. This is where, of course, the plot thickens.
From Hugh Jackman's desperation to the numbness of Maria Bello, each actor lives their role with frightful realism. The pain of the families is tangible, as is the frustration of the detective who is unable to decode the puzzle that may lead them all to the girls.
I was on the edge of my seat for the duration of this lengthy film, and with every twist and turn I held my breath, hoping for resolution.
Aside from a few key gruesome scenes, I never looked away.
I'm glad I didn't—a solid thriller is always a great way to get the adrenaline going.
~~~
Thursday, October 10, 2013
Enough Said
Tonight I saw Enough Said, starring James Gandolfini and Julia Louis-Dreyfus.
Eva (Louis-Dreyfus) is a divorced masseuse ready to send her daughter Ellen (Tracey Fairaway) off to college. She accompanies her best friends—a married couple—to a party and meets two people.
The first, Marianne (Catherine Keener), is a poet with a shoulder that is in desperate need of massage therapy; the second, Albert (Gandolfini) is Marianne's ex-husband.
When Eva meets them, she has no idea they were once married to each other. She begins dating Albert and immediately feels a chemistry with him. Alternately, Marianne becomes her client and they develop a genuine friendship.
It's only when Eva sees their daughter Tessa (Eve Hewson) at Marianne's house that she makes the connection.
Unfortunately, instead of coming clean then and there, she keeps her knowledge of their past a secret and mines Marianne for information about Albert. Because Marianne is so bitter toward her ex, the the things she describes that once bothered her begin to bother Eva.
This scenario is refreshing because it could (and probably does) happen in real life. Furthermore, both leads are so endearing, it's hard not to root for them to end up together, even with Albert's sloppy faults and Eva's bad judgment.
It's a relief to see Louis-Dreyfus not playing a silly or snarky woman and borderline heartbreaking to watch Gandolfini at his most gentle, the way most who knew him personally describe his real-life personality.
The supporting cast is fantastic too—Toni Colette effortlessly plays Eva's flawed best friend, who just happens to be a shrink, and Eve Hewson nails the self-absorbed teenage daughter part.
I've always been a fan of writer/director Nicole Holofcener's gift for painting such real characters and this movie may be her best of all.
Go see it as soon as possible. And then go see it again.
~~~
Eva (Louis-Dreyfus) is a divorced masseuse ready to send her daughter Ellen (Tracey Fairaway) off to college. She accompanies her best friends—a married couple—to a party and meets two people.
The first, Marianne (Catherine Keener), is a poet with a shoulder that is in desperate need of massage therapy; the second, Albert (Gandolfini) is Marianne's ex-husband.
When Eva meets them, she has no idea they were once married to each other. She begins dating Albert and immediately feels a chemistry with him. Alternately, Marianne becomes her client and they develop a genuine friendship.
It's only when Eva sees their daughter Tessa (Eve Hewson) at Marianne's house that she makes the connection.
Unfortunately, instead of coming clean then and there, she keeps her knowledge of their past a secret and mines Marianne for information about Albert. Because Marianne is so bitter toward her ex, the the things she describes that once bothered her begin to bother Eva.
This scenario is refreshing because it could (and probably does) happen in real life. Furthermore, both leads are so endearing, it's hard not to root for them to end up together, even with Albert's sloppy faults and Eva's bad judgment.
It's a relief to see Louis-Dreyfus not playing a silly or snarky woman and borderline heartbreaking to watch Gandolfini at his most gentle, the way most who knew him personally describe his real-life personality.
The supporting cast is fantastic too—Toni Colette effortlessly plays Eva's flawed best friend, who just happens to be a shrink, and Eve Hewson nails the self-absorbed teenage daughter part.
I've always been a fan of writer/director Nicole Holofcener's gift for painting such real characters and this movie may be her best of all.
Go see it as soon as possible. And then go see it again.
~~~
Sunday, October 06, 2013
The Wizard of Oz - 3D
Today I saw The Wizard of Oz in 3D, starring Judy Garland and Margaret Hamilton.
It always feels odd reviewing a classic, especially one of this magnitude, because everyone already knows the story and has made their mind up about its merit.
But I'll give it a go anyhow.
Dorothy Gale (Garland) has dog, Toto, that can't seem to stay out of trouble. He's bitten Miss Gulch (Hamilton), eats hot dogs in mid-barbecue (before being asked) and jumps out of any basket he's confined to; really, he's a pain in the ass.
When Miss Gulch attempts to confiscate little Toto, he escapes back to his owner and fearing the authorities will return for him, Dorothy runs away from home.
While she's out the storm picks up and a twister forms near the small Kansas farm where she lives.
Not making it to the storm cellar in time, Dorothy runs into the house for cover and is soon transported to a magical place where she's greeted by a good witch and about a hundred little people.
Soon, she embarks on a journey to find her way home, following the path of a trusted yellow brick road, meeting friends along the way, all the while dodging the Wicked Witch of the West (Hamilton) who seeks revenge for the death of her sister, which she believes Dorothy caused.
The flying monkeys that help the witch never bothered me as a child, and they still don't now, but the dark forest is unsettling as are the voices and hairdos of the Munchkins.
The songs are fantastic (especially Garland's "Somewhere Over the Rainbow," which makes her sound years older than she was at the time) and the colors pop (even more so in glorious 3D), and Hamilton sets the bar unimaginably high for any woman who dares to be a witch thereafter.
When I was a child, watching this film was an annual event. It would come on the television on some random Friday night and we would put sleeping bags on the floor and eat popcorn out of a huge bowl. I don't remember ever paying attention to the beginning before the tornado hits or noticing that the Cowardly Lion had a Jersey accent.
It's still magic though, 75 years on.
~~~
It always feels odd reviewing a classic, especially one of this magnitude, because everyone already knows the story and has made their mind up about its merit.
But I'll give it a go anyhow.
Dorothy Gale (Garland) has dog, Toto, that can't seem to stay out of trouble. He's bitten Miss Gulch (Hamilton), eats hot dogs in mid-barbecue (before being asked) and jumps out of any basket he's confined to; really, he's a pain in the ass.
When Miss Gulch attempts to confiscate little Toto, he escapes back to his owner and fearing the authorities will return for him, Dorothy runs away from home.
While she's out the storm picks up and a twister forms near the small Kansas farm where she lives.
Not making it to the storm cellar in time, Dorothy runs into the house for cover and is soon transported to a magical place where she's greeted by a good witch and about a hundred little people.
Soon, she embarks on a journey to find her way home, following the path of a trusted yellow brick road, meeting friends along the way, all the while dodging the Wicked Witch of the West (Hamilton) who seeks revenge for the death of her sister, which she believes Dorothy caused.
The flying monkeys that help the witch never bothered me as a child, and they still don't now, but the dark forest is unsettling as are the voices and hairdos of the Munchkins.
The songs are fantastic (especially Garland's "Somewhere Over the Rainbow," which makes her sound years older than she was at the time) and the colors pop (even more so in glorious 3D), and Hamilton sets the bar unimaginably high for any woman who dares to be a witch thereafter.
When I was a child, watching this film was an annual event. It would come on the television on some random Friday night and we would put sleeping bags on the floor and eat popcorn out of a huge bowl. I don't remember ever paying attention to the beginning before the tornado hits or noticing that the Cowardly Lion had a Jersey accent.
It's still magic though, 75 years on.
~~~
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