Today I saw Bombshell, starring Charlize Theron and Nicole Kidman.
The women who brought down Fox News executive Roger Ailes (John Lithgow) weren't always united, but they all shared a common problem in their workplace: him. This film traces the journey of three of those women (two based on real people; one a fictional composite) and what they endured to reveal their truths.
Charlize Theron is almost unrecognizable as she dissolves into the role of Megyn Kelly, arguably the biggest female star that's ever graced the Fox network. Kelly was harassed early in her career by Ailes, but kept quiet until it was evident his behavior had continued and worsened over the years. Theron's performance is what everyone is talking about and they should be for how frighteningly good it is, right down to the sound of her voice and the way she enunciates words. I was never much of a fan of Kelly, but this portrayal of how she handled the situation makes me dislike her a lot less.
Nicole Kidman is also strong as Gretchen Carlson, the woman who began the fight—and finished it by furnishing a series of conversations she'd recorded of Ailes saying vile things to her in the workplace.
Of course the creepy, disgusting source of everyone's pain had to be shown and Lithgow does a fine job of repulsing us with his inappropriate grunts and demands. This old, overweight villain is both terrifying and pathetic in equal measure.
There is a satisfying element in seeing Ailes brought down, but in retrospect, considering how comfortably he got to live out his life (as did/are others who were fired for similar offenses), it's truly bittersweet.
The fast pace of the film thankfully absolves us from seeing all of the horrors this monster inflicted, but reveals enough to remind men that those days are over and we're coming for them if they attempt this behavior going forward.
Girls, take all of the men in your life to see this film—especially your sons.
~~~
Showing posts with label Charlize Theron. Show all posts
Showing posts with label Charlize Theron. Show all posts
Tuesday, December 24, 2019
Sunday, December 18, 2011
Young Adult
Today I saw Young Adult, starring Charlize Theron and Patton Oswalt.
Mavis Gary (Theron) got out of the small town she was raised in, moved to the big city, got married, became a young adult author and got divorced. Convinced she can find happiness with her high school sweetheart, she returns to said small town to break up his marriage and re-claim him as her own.
When she arrives in Mercury, Minn., the first person she sees is Matt (Oswalt), a former classmate who was permanently injured in an attack he endured during high school. True to stereotypical form, Mavis is not exactly kind to Matt, just as she wasn't when they were kids, but soon realizes he makes a good confidant (and drinking buddy). He entertains her perhaps because he enjoys the attention, or the puzzle of trying to figure her out.
Her pursuit of Buddy Slade (Patrick Wilson) is desperate, sad, devious and unfortunately completely believable. We all know women like this; we all know how it feels to suffer for the one who got away.
While the film's subject matter could be depressing for a variety of reasons, the sharp writing of Diablo Cody, thankfully dialed down from the cuteness of Juno, makes it sarcastic and funny, rather than tragic.
Now, that's not to say the audience isn't given an opportunity to cry near the end (I'll admit I did), but when the emotion arrives we've all earned it because we genuinely care about all of these people.
Theron is wonderful as this multi-dimensional mess; Oswalt delivers his best dramatic performance as the wounded soul who doesn't waste his time being bitter. They're one of the most real pairs, with the most real chemistry, to hit the big screen in a long time.
Reitman does right by his viewers, nailing the authenticity of a small town without making its residents stupid or simple. The Memorex yellow and pink cassettes that Mavis rocks out to are also a nice touch (every musical thirtysomething girl will remember those from childhood).
The only place this film fails is in the marketing—before seeing it, I assumed it would be a romantic comedy-catch-phrasey romp. Instead, I was pleasantly surprised with a dramedy full of heart.
~~~
Mavis Gary (Theron) got out of the small town she was raised in, moved to the big city, got married, became a young adult author and got divorced. Convinced she can find happiness with her high school sweetheart, she returns to said small town to break up his marriage and re-claim him as her own.
When she arrives in Mercury, Minn., the first person she sees is Matt (Oswalt), a former classmate who was permanently injured in an attack he endured during high school. True to stereotypical form, Mavis is not exactly kind to Matt, just as she wasn't when they were kids, but soon realizes he makes a good confidant (and drinking buddy). He entertains her perhaps because he enjoys the attention, or the puzzle of trying to figure her out.
Her pursuit of Buddy Slade (Patrick Wilson) is desperate, sad, devious and unfortunately completely believable. We all know women like this; we all know how it feels to suffer for the one who got away.
While the film's subject matter could be depressing for a variety of reasons, the sharp writing of Diablo Cody, thankfully dialed down from the cuteness of Juno, makes it sarcastic and funny, rather than tragic.
Now, that's not to say the audience isn't given an opportunity to cry near the end (I'll admit I did), but when the emotion arrives we've all earned it because we genuinely care about all of these people.
Theron is wonderful as this multi-dimensional mess; Oswalt delivers his best dramatic performance as the wounded soul who doesn't waste his time being bitter. They're one of the most real pairs, with the most real chemistry, to hit the big screen in a long time.
Reitman does right by his viewers, nailing the authenticity of a small town without making its residents stupid or simple. The Memorex yellow and pink cassettes that Mavis rocks out to are also a nice touch (every musical thirtysomething girl will remember those from childhood).
The only place this film fails is in the marketing—before seeing it, I assumed it would be a romantic comedy-catch-phrasey romp. Instead, I was pleasantly surprised with a dramedy full of heart.
~~~
Sunday, October 26, 2008
Battle in Seattle
Today I saw Battle in Seattle, starring Woody Harrelson and Martin Henderson.
As someone who lived through the event this movie is about, I'd be lying if I said I didn't have bias going into it.
So I'm just going to divide this review into the "good" and the "bad" and call it a night:
The Good
• The documentary-like way in which the film is shot gives it an organic, authentic feel, as does the real news footage of President Clinton, Pine Street, etc.
• The acting is good by Harrelson and Charlize Theron (who plays his wife).
• The writer (Stuart Townsend, who also directed) did a good job of not "taking sides" in the narrative and displaying the fiasco for what it was—a situation that got out of hand mainly due to a third party that refused to respect the agreements that were in place.
• The person they found to play our Governor was both physically and verbally a lot like the real guy.
The Bad
• They changed the mayor's name, age and appearance (the real mayor was an older, heavy set gentleman named Paul; in the film it's Richard Greico playing someone named Jim). Why change something that is easily Google-able? They couldn't find someone that looked like the real guy? I find that hard to believe.
• The situation they put Charlize's character in is a bit ludicrous. The riots were completely out of control, and innocent people did get caught in the crossfire. But the "action" they had the cop take was too over-the-top to be believable.
• They didn't explain enough about what the WTO was trying to accomplish.
• They included shots of buildings in Seattle that didn't exist in 1999 (Qwest Field, etc.)
All in all, it's nice someone (an Irishman, no less) felt this stain in our city's past worthy of a film; I just don't see why the accuracy was so hard to achieve. Interviewing anyone who lived through it, a real story could've emerged that was more interesting than the two forced stories that made up this film.
And I'd say that even if I didn't live here.
As someone who lived through the event this movie is about, I'd be lying if I said I didn't have bias going into it.
So I'm just going to divide this review into the "good" and the "bad" and call it a night:
The Good
• The documentary-like way in which the film is shot gives it an organic, authentic feel, as does the real news footage of President Clinton, Pine Street, etc.
• The acting is good by Harrelson and Charlize Theron (who plays his wife).
• The writer (Stuart Townsend, who also directed) did a good job of not "taking sides" in the narrative and displaying the fiasco for what it was—a situation that got out of hand mainly due to a third party that refused to respect the agreements that were in place.
• The person they found to play our Governor was both physically and verbally a lot like the real guy.
The Bad
• They changed the mayor's name, age and appearance (the real mayor was an older, heavy set gentleman named Paul; in the film it's Richard Greico playing someone named Jim). Why change something that is easily Google-able? They couldn't find someone that looked like the real guy? I find that hard to believe.
• The situation they put Charlize's character in is a bit ludicrous. The riots were completely out of control, and innocent people did get caught in the crossfire. But the "action" they had the cop take was too over-the-top to be believable.
• They didn't explain enough about what the WTO was trying to accomplish.
• They included shots of buildings in Seattle that didn't exist in 1999 (Qwest Field, etc.)
All in all, it's nice someone (an Irishman, no less) felt this stain in our city's past worthy of a film; I just don't see why the accuracy was so hard to achieve. Interviewing anyone who lived through it, a real story could've emerged that was more interesting than the two forced stories that made up this film.
And I'd say that even if I didn't live here.
Wednesday, July 02, 2008
Hancock
Today I saw Hancock, starring Will Smith and Charlize Theron.
Smith plays John Hancock, a reluctant and mysterious superhero with the power to fly, bounce bullets off his body and lift tons of weight. This comes in handy when the LAPD can't nail the bad guys.
The catch is that Hancock is also a sloppy alcoholic, who is sometimes more trouble than he is worth.
Enter Ray (Jason Bateman), an ambitious PR representative who is saved by Hancock, and wants to re-make his image to repay him.
Hancock is at first resistant to the suggestion, but soon grows warmer to the plan and agrees to adhere to his suggestions.
What unfolds is an action montage laden with special effects and surprise twists. Charlize Theron's character Mary, the wife of Ray, transforms from a supporting background character to a vital main character and adds her own dose of hero.
The movie sometimes feels like two different stories, as the transition is abrupt, but it's still an entertaining and humorous (if not at times vulgar) ride.
For Independence Day week, what more can Americans really demand?
Smith plays John Hancock, a reluctant and mysterious superhero with the power to fly, bounce bullets off his body and lift tons of weight. This comes in handy when the LAPD can't nail the bad guys.
The catch is that Hancock is also a sloppy alcoholic, who is sometimes more trouble than he is worth.
Enter Ray (Jason Bateman), an ambitious PR representative who is saved by Hancock, and wants to re-make his image to repay him.
Hancock is at first resistant to the suggestion, but soon grows warmer to the plan and agrees to adhere to his suggestions.
What unfolds is an action montage laden with special effects and surprise twists. Charlize Theron's character Mary, the wife of Ray, transforms from a supporting background character to a vital main character and adds her own dose of hero.
The movie sometimes feels like two different stories, as the transition is abrupt, but it's still an entertaining and humorous (if not at times vulgar) ride.
For Independence Day week, what more can Americans really demand?
Subscribe to:
Posts (Atom)