Today I saw Mary Poppins Returns, starring Emily Blunt and Lin-Manuel Miranda.
The Banks children need some assistance. Michael (Ben Wishaw) and Jane (Emily Mortimer) are going to lose the family house to the bank if they don't come up with its full value because Michael repeatedly forgot to pay the mortgage.
The mean banker (Colin Firth, playing against type) doesn't want them to find the missing share certificates that will save them because he's hungry for more property. Out of the sky, Mary Poppins (Blunt) arrives to save the day.
Blunt is fantastic, as is lamplighter Jack (Miranda) and if only there were more of those two in the film, perhaps it could've met my expectations, but alas it did not.
The positives? The film is visually stunning. The sequences that include animation (the bath, my favorite) are nothing short of brilliant, with bright colors popping like a Target commercial and crisp, beautiful illustrations to match. This is the only place where, due to technology, the present-day film surpasses the classic.
Also great are the cameos by Dick Van Dyke, Angela Lansbury and Meryl Streep. Each gets an ample amount of time to do their thing and they all, of course, do it well.
The issues? The "magic" is few and far between. We feel it in the opening sequence with Jack singing about London; when Mary emerges from the clouds; when the kids dive into their first psychedelic-ish experience (in the bathtub); when the lamplighters do their dance near the end. But that's about it. The songs aren't really that memorable (through no fault of the singers) and way too much time is spent dwelling on the looming bank deadline.
While I'm on the topic of time: This film did not need to be as long as it was. It could have easily been a 90-minute delight. But no ... sequences drag on (I'm looking at you broken bowl) and character development somersaults until we're sick of hearing Michael yell and of watching the kids lose track of Georgie (Joel Dawson).
Also frustrating is the romance that is teased between Jack and Jane for the duration of the film, but never truly realized. They make a cute couple—why not give us that one?
All in all, the message is lovely and if it sparks a new generation of kids to go back and see what the original was all about, then it was worth it.
If you're hungry for a happy ending, then go forth and enjoy. But if you're looking for something transcendent, you may come away wishing for more.
~~~
Showing posts with label Meryl Streep. Show all posts
Showing posts with label Meryl Streep. Show all posts
Sunday, December 23, 2018
Monday, July 23, 2018
Mamma Mia! Here We Go Again
On Saturday, I saw Mamma Mia! Here We Go Again, starring Amanda Seyfried and Lily James.
Sophie (Seyfried) is on the verge of opening the hotel her mother Donna (James/Meryl Streep) had always dreamed of running. She's having trouble with her boyfriend, trouble with the weather and trouble with nausea. Of course, she sings about all of it.
Through present-day scenes with her and flashbacks of her young mother at a similar time in her life, we explore the parallels between the two women in a more heartwarming way that I honestly expected.
Lily James does a brilliant job of conveying the spirit of young Donna (a role originated by the magnificent Streep), finding herself in a new life on a small island, pregnant with Sophie. We get the backstory on how she first met Sophie's three dads (in somewhat comical retellings) and see her bravery and fears surface in vibrant color.
The film is enjoyable, if not a bit sad at poignant moments, and the always-reliable A-list stars definitely deliver (they even let Pierce Brosnan sing again).
My only disappointments would be the under-utilized Cher and the slow pace of the first 30 minutes.
~~~
Sophie (Seyfried) is on the verge of opening the hotel her mother Donna (James/Meryl Streep) had always dreamed of running. She's having trouble with her boyfriend, trouble with the weather and trouble with nausea. Of course, she sings about all of it.
Through present-day scenes with her and flashbacks of her young mother at a similar time in her life, we explore the parallels between the two women in a more heartwarming way that I honestly expected.
Lily James does a brilliant job of conveying the spirit of young Donna (a role originated by the magnificent Streep), finding herself in a new life on a small island, pregnant with Sophie. We get the backstory on how she first met Sophie's three dads (in somewhat comical retellings) and see her bravery and fears surface in vibrant color.
The film is enjoyable, if not a bit sad at poignant moments, and the always-reliable A-list stars definitely deliver (they even let Pierce Brosnan sing again).
My only disappointments would be the under-utilized Cher and the slow pace of the first 30 minutes.
~~~
Friday, January 05, 2018
The Post
This morning I saw The Post, starring Meryl Streep and Tom Hanks.
It's hard not to anticipate liking a movie when Streep and Hanks are its two biggest stars and Spielberg is the director. You know they'll never let you down and this film was no exception.
In 1971, The New York Times revealed the first secrets contained within The Pentagon Papers, a classified commissioned study about the Vietnam War. It was leaked to them by a military analyst who also sent the same pages to various media outlets. When Nixon's White House imposed an injunction on the newspaper for printing "secrets," The Washington Post was faced with the tough decision whether or not to proceed with what they had from the same analyst.
Ben Bradlee (Hanks), the Executive Editor of the newspaper, was greatly in favor of publishing the scoop because he wanted to get in the game as a national publication; Katherine Graham (Streep), the publisher, had reservations because they had just taken the company public and the action could cause investors to flee, which ultimately meant risking the health of the newspaper.
Of course, there's also the matter of women (even those in charge) not getting their due respect from (most of) the men in the room. Ms. Graham was an absolute professional who believed in maintaining decorum, despite the chauvinistic actions of her colleagues and board members, but she also knew the decision was hers and went with her instincts.
Whether or not you know the outcome of the real events, this movie will have you gripping your seat in suspense, right up to the end. Perhaps because I saw the first public showing in Seattle today, I was in the most amped-up company, but the energy in the room was palpable.
Every time Ms. Graham shut a man down, people clapped. When key elements of the outcome were revealed, everyone cheered. An elderly woman stood up after the final scene, screamed an obscenity to our current Commander-in-Chief and the crowd went wild. It was the type of moviegoing experience that makes putting up with all the other theater nonsense worth it.
The acting is so good here that I got goosebumps several times over, just the way they delivered their lines. I heard recent replays of interviews with the real Graham and Bradlee and I'd swear they dubbed in their voices if I didn't know better (plus, Graham passed away many years ago, so that would be impossible).
Just go see it. It's painfully timely, but just what the doctor ordered.
~~~
It's hard not to anticipate liking a movie when Streep and Hanks are its two biggest stars and Spielberg is the director. You know they'll never let you down and this film was no exception.
In 1971, The New York Times revealed the first secrets contained within The Pentagon Papers, a classified commissioned study about the Vietnam War. It was leaked to them by a military analyst who also sent the same pages to various media outlets. When Nixon's White House imposed an injunction on the newspaper for printing "secrets," The Washington Post was faced with the tough decision whether or not to proceed with what they had from the same analyst.
Ben Bradlee (Hanks), the Executive Editor of the newspaper, was greatly in favor of publishing the scoop because he wanted to get in the game as a national publication; Katherine Graham (Streep), the publisher, had reservations because they had just taken the company public and the action could cause investors to flee, which ultimately meant risking the health of the newspaper.
Of course, there's also the matter of women (even those in charge) not getting their due respect from (most of) the men in the room. Ms. Graham was an absolute professional who believed in maintaining decorum, despite the chauvinistic actions of her colleagues and board members, but she also knew the decision was hers and went with her instincts.
Whether or not you know the outcome of the real events, this movie will have you gripping your seat in suspense, right up to the end. Perhaps because I saw the first public showing in Seattle today, I was in the most amped-up company, but the energy in the room was palpable.
Every time Ms. Graham shut a man down, people clapped. When key elements of the outcome were revealed, everyone cheered. An elderly woman stood up after the final scene, screamed an obscenity to our current Commander-in-Chief and the crowd went wild. It was the type of moviegoing experience that makes putting up with all the other theater nonsense worth it.
The acting is so good here that I got goosebumps several times over, just the way they delivered their lines. I heard recent replays of interviews with the real Graham and Bradlee and I'd swear they dubbed in their voices if I didn't know better (plus, Graham passed away many years ago, so that would be impossible).
Just go see it. It's painfully timely, but just what the doctor ordered.
~~~
Friday, January 09, 2015
Into the Woods
Tonight I saw Into the Woods, starring Emily Blunt and James Corden.
The famous Sondheim musical is translated to the big screen here under the direction of Chicago's Rob Marshall.
Along this journey of fractured fairy tales we meet Little Red Riding Hood (Lilla Crawford) and [The Big Bad] Wolf (Johnny Depp), Jack and the Beanstalk (Daniel Huttlestone) and his mother (Tracey Ullman), Cinderella (Anna Kendrick), Rapunzel (Mackenzie Mauzy), a baker (Corden) and his wife (Blunt), as well as an evil witch (Meryl Streep) along with a whole host of familiar supporting characters.
When we arrive, the witch has promised to remove the spell of infertility she cast upon the baker and his wife if they bring her four specific items: Little Red Riding Hood's cape; hair like a cornstalk; Cinderella's shoe and a white cow.
The couple desperately seeks to gather the items and while they search, we see the characters play out the narratives we all know from childhood.
At heart, this is a comedic slant on all of the most famous stories, brought to life by some of the most recognizable faces in show business.
Though Meryl Streep is getting all of the press, I was actually most taken with Emily Blunt's performance. Who knew she had such a gorgeous singing voice? When did she become just as great at comedy as she's always been at drama? Here, she absolutely shines.
James Corden makes a lovely complement to Blunt's sincere performance as well. You can't help but sympathize with his ridden-with-guilt face and root for him, despite his weaknesses.
The children are more precocious than cute, but perhaps that was intentional, and Tracey Ullman and Johnny Depp were sorely underused. Depp's howl at the moon was a nice touch, though.
Kids may squirm through the singing, and adults like me will be ready for it to end long before its finale, but there are worse ways you could spend your time.
~~~
The famous Sondheim musical is translated to the big screen here under the direction of Chicago's Rob Marshall.
Along this journey of fractured fairy tales we meet Little Red Riding Hood (Lilla Crawford) and [The Big Bad] Wolf (Johnny Depp), Jack and the Beanstalk (Daniel Huttlestone) and his mother (Tracey Ullman), Cinderella (Anna Kendrick), Rapunzel (Mackenzie Mauzy), a baker (Corden) and his wife (Blunt), as well as an evil witch (Meryl Streep) along with a whole host of familiar supporting characters.
When we arrive, the witch has promised to remove the spell of infertility she cast upon the baker and his wife if they bring her four specific items: Little Red Riding Hood's cape; hair like a cornstalk; Cinderella's shoe and a white cow.
The couple desperately seeks to gather the items and while they search, we see the characters play out the narratives we all know from childhood.
At heart, this is a comedic slant on all of the most famous stories, brought to life by some of the most recognizable faces in show business.
Though Meryl Streep is getting all of the press, I was actually most taken with Emily Blunt's performance. Who knew she had such a gorgeous singing voice? When did she become just as great at comedy as she's always been at drama? Here, she absolutely shines.
James Corden makes a lovely complement to Blunt's sincere performance as well. You can't help but sympathize with his ridden-with-guilt face and root for him, despite his weaknesses.
The children are more precocious than cute, but perhaps that was intentional, and Tracey Ullman and Johnny Depp were sorely underused. Depp's howl at the moon was a nice touch, though.
Kids may squirm through the singing, and adults like me will be ready for it to end long before its finale, but there are worse ways you could spend your time.
~~~
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.
~~~
Saturday, January 21, 2012
The Iron Lady
Today I saw The Iron Lady, starring Meryl Streep and Jim Broadbent.
Margaret Thatcher is one of the most polarizing political figures in modern history. Her reign as Prime Minister of England from 1979 to 1990 was notable not only because she was the first female elected to the office, but because she lasted so long in the role.
Revered by some and reviled by others, Thatcher is portrayed in a balanced light in this film by the always-amazing Meryl Streep. She shows the passion and conviction of a woman who truly believed in her decisions (as I think Thatcher did), and also the abusive monster she could be toward her staff. Sadly, most of what we see is her present-day self, shuffling around in a cloudy state of confusion.
In fact, that's my largest criticism of this movie. I went into it expecting a run-of-the-mill biography of the politician's life. Instead, I took a—sometimes first-person—journey of dementia, which not only dampened he impact of the story, but added a layer of sympathy that I'm guessing the real woman would detest.
It was almost as if the filmmakers laid the illness on so thick so the Thatcher haters couldn't attack it (or her) too much. It would have been more powerful if they had just told her story in a linear way, start-to-finish, with a title card at the end explaining her current state. Her life was interesting enough to warrant two hours without the last decade even being acknowledged.
That said, there is nothing wrong with Streep's performance. I grew up in the Thatcher-Reagan era and remember hearing the real Iron Lady speak often on television. Streep's diction and accent were insanely accurate, as were her mannerisms and expressions. And who doesn't love Jim Broadbent playing anyone's husband?
The movie was indeed paced well, despite way too many present-day/hallucination scenes, and it may prompt those who loathed the leader to remember her with a little respect, even if her choices for the country are never forgiven.
I will be very surprised if Streep doesn't add another Oscar to her shelf for this performance.
~~~
Margaret Thatcher is one of the most polarizing political figures in modern history. Her reign as Prime Minister of England from 1979 to 1990 was notable not only because she was the first female elected to the office, but because she lasted so long in the role.
Revered by some and reviled by others, Thatcher is portrayed in a balanced light in this film by the always-amazing Meryl Streep. She shows the passion and conviction of a woman who truly believed in her decisions (as I think Thatcher did), and also the abusive monster she could be toward her staff. Sadly, most of what we see is her present-day self, shuffling around in a cloudy state of confusion.
In fact, that's my largest criticism of this movie. I went into it expecting a run-of-the-mill biography of the politician's life. Instead, I took a—sometimes first-person—journey of dementia, which not only dampened he impact of the story, but added a layer of sympathy that I'm guessing the real woman would detest.
It was almost as if the filmmakers laid the illness on so thick so the Thatcher haters couldn't attack it (or her) too much. It would have been more powerful if they had just told her story in a linear way, start-to-finish, with a title card at the end explaining her current state. Her life was interesting enough to warrant two hours without the last decade even being acknowledged.
That said, there is nothing wrong with Streep's performance. I grew up in the Thatcher-Reagan era and remember hearing the real Iron Lady speak often on television. Streep's diction and accent were insanely accurate, as were her mannerisms and expressions. And who doesn't love Jim Broadbent playing anyone's husband?
The movie was indeed paced well, despite way too many present-day/hallucination scenes, and it may prompt those who loathed the leader to remember her with a little respect, even if her choices for the country are never forgiven.
I will be very surprised if Streep doesn't add another Oscar to her shelf for this performance.
~~~
Monday, December 21, 2009
It's Complicated
Tonight I screened It's Complicated, starring Meryl Streep and Alec Baldwin.
Divorce is never easy, especially when your husband leaves you for a woman half your age. That's what Jane (Streep) has had to deal with for the past ten years. But she's moved on gracefully, creating a beautiful home of her own and a successful business.
Jake (Baldwin), her ex, is not as happy—helping his young wife raise her 5-year-old and being pressured into producing a child with her via fertility treatments. He has "no quiet" in his life when he needs it most.
When the former mates reunite at the same hotel for their son's graduation, the wine flows and the sparks fly. They end up in bed and are so euphoric after their one night together, they decide to do it again...and again.
All of this is kept from their three grown kids, though their charming soon-to-be son-in-law Harley (John Krasinski) accidentally sees them together at a local hotel. Lucky for them, he keeps his mouth shut.
Meanwhile, Jane's architect Adam (Steve Martin), damaged by his own divorce, is falling for her and hoping that she's available.
After discussing her indiscretions with her girlfriends and her shrink, though she likes Adam, Jane decides to give the affair with Jake a shot. Of course, trouble follows.
The movie is shamefully predictable and aimed at the 50-something female demographic (though Jane's girlfriends sure do disappear early in the film). That said, I will never complain about spending two hours with these two leads. Their performances are spirited and Steve Martin is simply delicious icing on the middle-aged cake.
There is nothing new to be learned from this film. Sex with an ex can be great. People do have affairs. People do fall out of love with their spouses. People do always wonder "what if?"
At least this one lets you laugh along the way.
Divorce is never easy, especially when your husband leaves you for a woman half your age. That's what Jane (Streep) has had to deal with for the past ten years. But she's moved on gracefully, creating a beautiful home of her own and a successful business.
Jake (Baldwin), her ex, is not as happy—helping his young wife raise her 5-year-old and being pressured into producing a child with her via fertility treatments. He has "no quiet" in his life when he needs it most.
When the former mates reunite at the same hotel for their son's graduation, the wine flows and the sparks fly. They end up in bed and are so euphoric after their one night together, they decide to do it again...and again.
All of this is kept from their three grown kids, though their charming soon-to-be son-in-law Harley (John Krasinski) accidentally sees them together at a local hotel. Lucky for them, he keeps his mouth shut.
Meanwhile, Jane's architect Adam (Steve Martin), damaged by his own divorce, is falling for her and hoping that she's available.
After discussing her indiscretions with her girlfriends and her shrink, though she likes Adam, Jane decides to give the affair with Jake a shot. Of course, trouble follows.
The movie is shamefully predictable and aimed at the 50-something female demographic (though Jane's girlfriends sure do disappear early in the film). That said, I will never complain about spending two hours with these two leads. Their performances are spirited and Steve Martin is simply delicious icing on the middle-aged cake.
There is nothing new to be learned from this film. Sex with an ex can be great. People do have affairs. People do fall out of love with their spouses. People do always wonder "what if?"
At least this one lets you laugh along the way.
Thursday, July 09, 2009
Julie & Julia
Tonight I screened Julie & Julia, starring Amy Adams and Meryl Streep.
Don't go see this film on an empty stomach. The amount of food on display throughout is enough to feed a small country and because most of what the characters talk about is food, you won't be able to put it out of your mind.
This true story begins with New Yorker Julie Powell (Adams) approaching her 30th birthday. She's married to a wonderful man (Chris Messina), but dislikes their new apartment in Queens and her dead-end job. She finds solace in cooking because there is a certainty in what will result from the mixing of the ingredients.
When one of her self-absorbed friends begins a blog, her husband encourages her to start her own—about cooking—and she decides to make a go of it. But to force herself to follow through with it (something she has trouble with), she creates her own plan to cook all of the recipes in Julia Child's famous French cookbook in one year's time.
In addition to showing us Julie's journey, the film also revisits Julia Child's path to glory with an expectedly transforming Meryl Streep. The acting phenom not only nails Child's famous accent, she captures the unique spunky spirit that make the world fall in love with her. If only Director Nora Ephron had shown us more of exterior France, perhaps it would have been perfect.
And Adams as the amateur cook, hungry for fame and validation, comes across as genuinely ordinary, which can't have been easy for the Enchanted beauty. Here, she's barely a housewife, and she plays it so convincingly, you almost don't see the sparkle of her eyes behind the dishes.
All in all, the movie will make you hungry, and make you smile, but at the end of the day—it was just a blog.
Don't go see this film on an empty stomach. The amount of food on display throughout is enough to feed a small country and because most of what the characters talk about is food, you won't be able to put it out of your mind.
This true story begins with New Yorker Julie Powell (Adams) approaching her 30th birthday. She's married to a wonderful man (Chris Messina), but dislikes their new apartment in Queens and her dead-end job. She finds solace in cooking because there is a certainty in what will result from the mixing of the ingredients.
When one of her self-absorbed friends begins a blog, her husband encourages her to start her own—about cooking—and she decides to make a go of it. But to force herself to follow through with it (something she has trouble with), she creates her own plan to cook all of the recipes in Julia Child's famous French cookbook in one year's time.
In addition to showing us Julie's journey, the film also revisits Julia Child's path to glory with an expectedly transforming Meryl Streep. The acting phenom not only nails Child's famous accent, she captures the unique spunky spirit that make the world fall in love with her. If only Director Nora Ephron had shown us more of exterior France, perhaps it would have been perfect.
And Adams as the amateur cook, hungry for fame and validation, comes across as genuinely ordinary, which can't have been easy for the Enchanted beauty. Here, she's barely a housewife, and she plays it so convincingly, you almost don't see the sparkle of her eyes behind the dishes.
All in all, the movie will make you hungry, and make you smile, but at the end of the day—it was just a blog.
Monday, December 29, 2008
Doubt
Yesterday I saw Doubt, starring Meryl Streep and Phillip Seymour Hoffman.
It's a drama (with a hint of comedy) about a Catholic school in the Bronx, in 1964. Sister Aloysius (Streep) is the stereotypical "mean nun" who administers wicked punishments to the children and is quick to judge her colleagues. Father Flynn (Hoffman) is a kind, warm-spirited priest who pays special attention to Donald (Joseph Foster), who is the first black student admitted to the school.
After witnessing a few normal situations at the school (kids misbehaving in class, nuns breaking bread together in silence, etc.), the writer wastes no time in letting us know that suspicion looms over Father Flynn regarding his relationship with Donald.
Amy Adams, in a role tailor made for her expertise in playing innocence, is Sister James, a naive teacher who notices a behavioral change in Donald after he returns from a private visit with the father. She soon tells Sister Aloysius, who is immediately anxious to expose and expunge the certainly guilty priest.
From there the movie places its title into your reactions as an audience member. Is this miserable woman just making life difficult for a man because he is a man? Is this kind-hearted priest who has a natural rapport with his congregation and students capable of such unspeakable harm? Is Sister James too inexperienced to correctly read the signs of abuse in one of her students?
All of the doubts they weave into your mind will have you taking sides with yourself, or perhaps the person sitting next to you. But they won't definitely answer the questions, which is what makes the film good.
What also makes the film good are the performances. It's not shocking that Streep's accent is dead-on 60s New Yorker, and it's no surprise that Hoffman can be equally endearing and creepy, but the unexpected thrill is seeing the two battle it out on screen as if they were performing live theater. It's hard to take your eyes off of them.
Also great are supporting players Amy Adams as the sugar-sweet Sister James, and Viola Davis as the pained mother of young Donald. Both infuse their characters with mannerisms, expressions and speech patterns that perfectly illustrate their plight.
What makes the film bad is the ending. It betrays one of the characters they've crafted so brilliantly and makes no sense in the context of the resolution.
Shame it had to end that way.
```
It's a drama (with a hint of comedy) about a Catholic school in the Bronx, in 1964. Sister Aloysius (Streep) is the stereotypical "mean nun" who administers wicked punishments to the children and is quick to judge her colleagues. Father Flynn (Hoffman) is a kind, warm-spirited priest who pays special attention to Donald (Joseph Foster), who is the first black student admitted to the school.
After witnessing a few normal situations at the school (kids misbehaving in class, nuns breaking bread together in silence, etc.), the writer wastes no time in letting us know that suspicion looms over Father Flynn regarding his relationship with Donald.
Amy Adams, in a role tailor made for her expertise in playing innocence, is Sister James, a naive teacher who notices a behavioral change in Donald after he returns from a private visit with the father. She soon tells Sister Aloysius, who is immediately anxious to expose and expunge the certainly guilty priest.
From there the movie places its title into your reactions as an audience member. Is this miserable woman just making life difficult for a man because he is a man? Is this kind-hearted priest who has a natural rapport with his congregation and students capable of such unspeakable harm? Is Sister James too inexperienced to correctly read the signs of abuse in one of her students?
All of the doubts they weave into your mind will have you taking sides with yourself, or perhaps the person sitting next to you. But they won't definitely answer the questions, which is what makes the film good.
What also makes the film good are the performances. It's not shocking that Streep's accent is dead-on 60s New Yorker, and it's no surprise that Hoffman can be equally endearing and creepy, but the unexpected thrill is seeing the two battle it out on screen as if they were performing live theater. It's hard to take your eyes off of them.
Also great are supporting players Amy Adams as the sugar-sweet Sister James, and Viola Davis as the pained mother of young Donald. Both infuse their characters with mannerisms, expressions and speech patterns that perfectly illustrate their plight.
What makes the film bad is the ending. It betrays one of the characters they've crafted so brilliantly and makes no sense in the context of the resolution.
Shame it had to end that way.
```
Monday, June 11, 2007
Evening
This morning I screened Evening, starring Claire Danes and Toni Collette.
The story begins with the main character, Ann (Danes/Vanessa Redgrave) traveling to her friend Lila's wedding at a posh family home on the east coast. We immediately sense that Lila is preparing to marry the wrong man and see the immediate connection between Ann and Lila's brother Buddy (Hugh Dancy).
As the story unfolds, the subject of class prevails—preventing Lila from marrying the boy she has passion for, Harris (Patrick Wilson). Turns out that Ann has passion for him too and Harris returns that passion on Lila's wedding night as twists and turns are turning a happy day into a tragic one.
This is all told through flashbacks that the elderly Ann is remembering on her death bed, as her daughters (Collette and Natasha Richardson) face similar challenges in present day.
Without adding spoilers, the moral of the story is: marry the person you have the magic with.
Not the guy your friends think is perfect for you or the girl your family happens to adore.
Spend the rest of your life with the person who brings joy to your days and passion to your nights.
Then you won't regret it on your deathbed and make the rest of us cry.
The story begins with the main character, Ann (Danes/Vanessa Redgrave) traveling to her friend Lila's wedding at a posh family home on the east coast. We immediately sense that Lila is preparing to marry the wrong man and see the immediate connection between Ann and Lila's brother Buddy (Hugh Dancy).
As the story unfolds, the subject of class prevails—preventing Lila from marrying the boy she has passion for, Harris (Patrick Wilson). Turns out that Ann has passion for him too and Harris returns that passion on Lila's wedding night as twists and turns are turning a happy day into a tragic one.
This is all told through flashbacks that the elderly Ann is remembering on her death bed, as her daughters (Collette and Natasha Richardson) face similar challenges in present day.
Without adding spoilers, the moral of the story is: marry the person you have the magic with.
Not the guy your friends think is perfect for you or the girl your family happens to adore.
Spend the rest of your life with the person who brings joy to your days and passion to your nights.
Then you won't regret it on your deathbed and make the rest of us cry.
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