This morning I saw If Beale Street Could Talk, starring Kiki Layne and Regina King.
Tish (Layne) is in love with Fonny (Stephan James), a childhood friend she's grown up with in their predominantly black New York City neighborhood. They have a bright future ahead of them with Tish employed by a perfume counter at a high-end department store and Fonny getting his own career off the ground as they prepare to set down roots with a space of their own.
When they make love for the first time, Tish becomes pregnant with their child, which is unexpected but welcomed by the couple. Fonny's mother and sisters aren't so accepting (and the announcement to them about the pregnancy is perhaps the best scene in the film).
Unfortunately, Fonny has been arrested for a crime he did not commit and is placed in prison while Tish's family desperately tries to find and convince the accuser to recant her lineup identification. All the while, Tish faithfully visits and updates him on her pregnancy.
Some viewers may be frustrated by the slow pace of the film, but I actually appreciated it. We really got to know these characters and believe in their love as they battle the injustice of their situation.
Regina King who plays Tish's mother, Sharon, is especially phenomenal, showing every ounce of pain and concern as she comforts and helps her daughter. King deservedly won the Golden Globe for this performance and I'm hoping the takes the Oscar for it as well. She's that good.
Also important is the timing of this story. As our country seems to be enduring an unwelcome revival of hate crimes and racism, these are the narratives we need too see via art to help turn things around. Granted, the folks who need to see films like this probably won't. But for the few that may, it will have been worth it.
Another excellent chapter from Barry Jenkins.
~~~
Showing posts with label New York. Show all posts
Showing posts with label New York. Show all posts
Sunday, January 06, 2019
Friday, April 20, 2018
I Feel Pretty
Last night I saw I Feel Pretty, starring Amy Schumer and Michelle Williams.
Renee Bennett (Schumer) is an average-weight woman who is obsessed with beauty and works in the online division of a high-end cosmetics company. All she wants is to be pretty, and an accident at her nearby SoulCycle soon has her believing she's as glamorous as she desires.
This new-found confidence, though her outward appearance hasn't changed, works positively to advance her love life, career and general well-being. By believing in her beauty, and projecting that aura, others pick up on her vibes and want to be a part of it.
It's such a simple concept, but something so many people struggle with that perhaps more movies like this are needed to serve as blatant reminders.
I won't be shy about saying I loved the film ... for all its good humor, for the message it sends and for the endearing actors. Though Williams plays a cartoonish character with a silly voice who could easily be cold in a Devil Wears Prada sort of way, the writers refrained from making her evil, which I appreciated. Not everyone who is conventionally beautiful (or rich, or powerful) is automatically a bad person, and I'm glad they emphasized that point through her (and her on-screen family, who all seemed like decent folks).
Really, it's a great exploration of throwing all sorts of stereotypes out the window; not just the frumpy single girl who lays on her couch drinking wine watching old movies.
Go see it. And take your daughters.
~~~
Renee Bennett (Schumer) is an average-weight woman who is obsessed with beauty and works in the online division of a high-end cosmetics company. All she wants is to be pretty, and an accident at her nearby SoulCycle soon has her believing she's as glamorous as she desires.
This new-found confidence, though her outward appearance hasn't changed, works positively to advance her love life, career and general well-being. By believing in her beauty, and projecting that aura, others pick up on her vibes and want to be a part of it.
It's such a simple concept, but something so many people struggle with that perhaps more movies like this are needed to serve as blatant reminders.
I won't be shy about saying I loved the film ... for all its good humor, for the message it sends and for the endearing actors. Though Williams plays a cartoonish character with a silly voice who could easily be cold in a Devil Wears Prada sort of way, the writers refrained from making her evil, which I appreciated. Not everyone who is conventionally beautiful (or rich, or powerful) is automatically a bad person, and I'm glad they emphasized that point through her (and her on-screen family, who all seemed like decent folks).
Really, it's a great exploration of throwing all sorts of stereotypes out the window; not just the frumpy single girl who lays on her couch drinking wine watching old movies.
Go see it. And take your daughters.
~~~
Saturday, December 05, 2015
Brooklyn
Tonight I saw Brooklyn, starring Saoirse Ronan and Emory Cohen.
Ailish (Ronan) is a girl who feels she doesn't have a future in Ireland. With the help of her sister and the church, she gets a Visa to work in America and sets sail on the long, lonely journey.
Once she arrives in Brooklyn, New York, she doesn't immediately fit in—she's too shy at the department store where she works, she's too innocent to be part of the girls' club in her boarding house, and she's too plain to get noticed by any Irish fellows.
After a devastating spell of homesickness, a kind priest enrolls her in night school and she begins to come out of her shell, attending the local dances. It's there she meets Tony (Cohen), an Italian plumber with eyes only for her.
They fall in love easily and enjoy the bliss of mutual infatuation until tragedy strikes back in Ireland and Ailish is forced to choose between her life in the U.S. and home in County Wexford.
As someone obsessed with Irish culture, I perhaps had expectations that were too high for this film. I thought we'd see more of Ireland, get to know Ailish's family a bit better and learn why she was so set on making a new life across the pond. Instead, after the initial scenes, we only catch glimpses of her former life and become quite attached to her new one.
Though the acting is superb all around, I can't say I felt much pain for any of the characters. Though sad and bad things do happen, when we arrive at them we're still just observers; not invested.
I was pleased with the ending, so that's something to applaud, and the story undoubtedly mirrors many true-life situations of that era and those cultures. Go see it if you're in the mood for something simple, wrapped up in a nice bow.
~~~
Ailish (Ronan) is a girl who feels she doesn't have a future in Ireland. With the help of her sister and the church, she gets a Visa to work in America and sets sail on the long, lonely journey.
Once she arrives in Brooklyn, New York, she doesn't immediately fit in—she's too shy at the department store where she works, she's too innocent to be part of the girls' club in her boarding house, and she's too plain to get noticed by any Irish fellows.
After a devastating spell of homesickness, a kind priest enrolls her in night school and she begins to come out of her shell, attending the local dances. It's there she meets Tony (Cohen), an Italian plumber with eyes only for her.
They fall in love easily and enjoy the bliss of mutual infatuation until tragedy strikes back in Ireland and Ailish is forced to choose between her life in the U.S. and home in County Wexford.
As someone obsessed with Irish culture, I perhaps had expectations that were too high for this film. I thought we'd see more of Ireland, get to know Ailish's family a bit better and learn why she was so set on making a new life across the pond. Instead, after the initial scenes, we only catch glimpses of her former life and become quite attached to her new one.
Though the acting is superb all around, I can't say I felt much pain for any of the characters. Though sad and bad things do happen, when we arrive at them we're still just observers; not invested.
I was pleased with the ending, so that's something to applaud, and the story undoubtedly mirrors many true-life situations of that era and those cultures. Go see it if you're in the mood for something simple, wrapped up in a nice bow.
~~~
Wednesday, September 11, 2013
Out of the Clear Blue Sky
Tonight I saw the 9/11 documentary, Out of the Clear Blue Sky.
In the twelve years since the tragic terrorist attacks there have been countless news magazines, documentaries and even a few feature films about that horrific day. And just when you think there couldn't possibly be a new story to tell about it, one emerges. That was the case with this film.
There were over 900 Canton Fitzgerald employees who reported to work at the World Trade Center on September 11, 2001; 658 didn't survive.
But CEO Howard Lutnick did, and after a tearful interview with Connie Chung, became a sympathetic figurehead in the midst of the chaos.
But so quickly they turn.
Because most of their departments were completely wiped out that day (except for I.T.; they were on a fishing trip), Canton Fitzgerald couldn't turn out the amount of work needed to pay the salaries of the missing. Lutnick pledged to donate 25% of the company profits to the victims' families, as well as 10 years of covered healthcare instead. But that message—which was considerably generous considering what the company was facing—got lost in the shuffle and Lutnick (who lost his own brother in the tragedy) was vilified, soon getting death threats.
This film chronicles the rise and fall (and rise again) of Lutnick's image in the years up to now through survivor interviews, commentary from victims' families and news footage.
It's understood that he had a ruthless reputation on Wall Street before the terrorist attack and one wonders if some just held a grudge after the fact, as if it were some sort of karmic payback. In another sense, his raw grief in the weeks and months following the attacks seemed painfully real. And how can you be angry with someone who has to save an international company while mourning two thirds of his employees and his own sibling?
Though those wounds will never heal, the film does imply that a sense of community has emerged in the Canton Fitzgerald family as a result of Lutnick's efforts to help victims' families, and maybe, just maybe, the ordeal made him a better man.
~~~
In the twelve years since the tragic terrorist attacks there have been countless news magazines, documentaries and even a few feature films about that horrific day. And just when you think there couldn't possibly be a new story to tell about it, one emerges. That was the case with this film.
There were over 900 Canton Fitzgerald employees who reported to work at the World Trade Center on September 11, 2001; 658 didn't survive.
But CEO Howard Lutnick did, and after a tearful interview with Connie Chung, became a sympathetic figurehead in the midst of the chaos.
But so quickly they turn.
Because most of their departments were completely wiped out that day (except for I.T.; they were on a fishing trip), Canton Fitzgerald couldn't turn out the amount of work needed to pay the salaries of the missing. Lutnick pledged to donate 25% of the company profits to the victims' families, as well as 10 years of covered healthcare instead. But that message—which was considerably generous considering what the company was facing—got lost in the shuffle and Lutnick (who lost his own brother in the tragedy) was vilified, soon getting death threats.
This film chronicles the rise and fall (and rise again) of Lutnick's image in the years up to now through survivor interviews, commentary from victims' families and news footage.
It's understood that he had a ruthless reputation on Wall Street before the terrorist attack and one wonders if some just held a grudge after the fact, as if it were some sort of karmic payback. In another sense, his raw grief in the weeks and months following the attacks seemed painfully real. And how can you be angry with someone who has to save an international company while mourning two thirds of his employees and his own sibling?
Though those wounds will never heal, the film does imply that a sense of community has emerged in the Canton Fitzgerald family as a result of Lutnick's efforts to help victims' families, and maybe, just maybe, the ordeal made him a better man.
~~~
Saturday, May 05, 2012
Newlyweds
Today I saw Newlyweds, starring Edward Burns and Caitlin Fitzgerald.
Full disclosure: I follow Edward Burns on Twitter and was actively watching/participating in the collaborative Tweets he sent out while scripting and shooting this film.
That said, even if I new nothing of his process, I'd still have walked away from this movie with a smile on my face.
Buzzy (Burns) and Katie (Fitzgerald) are newlyweds. They've both been married before and are determined to get it right this time.
They are close to Katie's sister Marsha (Marsha Dietlein) and her husband Max (Max Baker). Marsha is annoying in an older-sister kind of way; Max is clearly tired of being married to Marsha. It happens, you know.
When Buzzy's younger sister Linda (Kerry Bishé) arrives unexpectedly to stay with the couple until she finds permanent housing, their wedded bliss comes to a screeching halt.
Linda, to put it simply, is a handful. An immature, irresponsible, ungrateful handful. But Buzzy defends her to Katie and vice versa, and soon finds himself embroiled in drama (something he thought he was leaving behind when he married Katie).
As they navigate this storm of external influences, some of the ideals they had about their marriage (as told to us in earlier scenes) begin to dissolve. We see first-hand how fragile relationships really are (not that we didn't know, but...) and how important it may be to define certain "agreements" when making a commitment as serious as marriage.
When you say that you'll tell each other everything, does that include things that you know will hurt your partner?
This is one of the questions the film asks of its characters and it seems like a good one to ask whomever you choose to spend your life with as well.
No union can be perfect, but serious damage can be done by family and friends—even those with good intentions. At the same time, no couple should have to isolate themselves from everyone to enjoy a healthy relationship.
Newlyweds is anchored by sharp dialog and well-developed characters who illustrate this point. Like Burns' other films, there isn't a lot of clutter to get in the way of telling a good old-fashioned story.
There's also an organic method in which the scenes are shot that allows us to feel as if we've just knocked on a friend's door after they've had a fight with their lover. We're there to observe and listen and react as they do in their most raw moments.
Isn't that what great filmmaking should make us feel?
~~~
Full disclosure: I follow Edward Burns on Twitter and was actively watching/participating in the collaborative Tweets he sent out while scripting and shooting this film.
That said, even if I new nothing of his process, I'd still have walked away from this movie with a smile on my face.
Buzzy (Burns) and Katie (Fitzgerald) are newlyweds. They've both been married before and are determined to get it right this time.
They are close to Katie's sister Marsha (Marsha Dietlein) and her husband Max (Max Baker). Marsha is annoying in an older-sister kind of way; Max is clearly tired of being married to Marsha. It happens, you know.
When Buzzy's younger sister Linda (Kerry Bishé) arrives unexpectedly to stay with the couple until she finds permanent housing, their wedded bliss comes to a screeching halt.
Linda, to put it simply, is a handful. An immature, irresponsible, ungrateful handful. But Buzzy defends her to Katie and vice versa, and soon finds himself embroiled in drama (something he thought he was leaving behind when he married Katie).
As they navigate this storm of external influences, some of the ideals they had about their marriage (as told to us in earlier scenes) begin to dissolve. We see first-hand how fragile relationships really are (not that we didn't know, but...) and how important it may be to define certain "agreements" when making a commitment as serious as marriage.
When you say that you'll tell each other everything, does that include things that you know will hurt your partner?
This is one of the questions the film asks of its characters and it seems like a good one to ask whomever you choose to spend your life with as well.
No union can be perfect, but serious damage can be done by family and friends—even those with good intentions. At the same time, no couple should have to isolate themselves from everyone to enjoy a healthy relationship.
Newlyweds is anchored by sharp dialog and well-developed characters who illustrate this point. Like Burns' other films, there isn't a lot of clutter to get in the way of telling a good old-fashioned story.
There's also an organic method in which the scenes are shot that allows us to feel as if we've just knocked on a friend's door after they've had a fight with their lover. We're there to observe and listen and react as they do in their most raw moments.
Isn't that what great filmmaking should make us feel?
~~~
Sunday, March 11, 2012
Friends with Kids
Today I saw Friends with Kids, starring Jennifer Westfeldt and Adam Scott.
Finally, a film for single folks that's not trying to be Sex and the City or it's blatant opposite.
Julie (Westfeldt) and Jason (Scott) are best pals. The kind of friends who have known each other since college and get each other through the tough stuff—bad relationships and the general perils of being single. They even live in the same Manhattan apartment building, which makes things convenient.
Ben (Jon Hamm) and Missy (Kristen Wiig) are their close friends, and represent the couple we all love to hate: the ones who can't keep their hands off one another and show up late to things because they're probably having sex.
Leslie (Maya Rudolph) and Alex (Chris O'Dowd) are also good friends, and show a more traditional pair, being the first among their group to take the plunge into parenthood. Soon they're frazzled and frumpy just like so many couples we all know.
Instead of being frightened or repulsed by the thought of parenting, Julie and Jason want to be a part of it. In their thirties, realizing they're not getting any younger, they decide to have a child together—just as friends—and attempt the awkward action of having sex with each other. It's understandably tough at first, but they do figure things out and produce a beautiful baby boy.
Their friends and family are skeptical about how it will all work, but they soon prove them wrong. Their homes stay clean; their bodies look great; their friendship has never been stronger. Most importantly, their ability to work as a team makes them incredibly good parents.
Things only get weird when each finds another partner, and feels the need to confide in the other about the new relationship. There are undeniable feelings on both sides, but they don't go there because they feel it would ruin their harmonious situation.
But why shouldn't they go there?
Westfeldt, not only the star, but the director and writer, makes this question the essence of the film and writes it in such a way that we can't help but root for them... with caution.
The fact that their dearest friends aren't outwardly in their corner only makes them appear jealous, as if they wish they'd done the same thing: find a really great friend with whom to build a life. And if you've ever been in a relationship with someone you primarily found physically attractive but did not have a mental attraction to, or someone who you loved to be with, but didn't feel a strong physical attraction, you may envy those who have somehow found someone to satisfy both.
Regardless, this smart, funny movie will keep you engaged from beginning to end; reflecting on your own life and invested in the characters.
Finally, a film for single folks that's not trying to be Sex and the City or it's blatant opposite.
Julie (Westfeldt) and Jason (Scott) are best pals. The kind of friends who have known each other since college and get each other through the tough stuff—bad relationships and the general perils of being single. They even live in the same Manhattan apartment building, which makes things convenient.
Ben (Jon Hamm) and Missy (Kristen Wiig) are their close friends, and represent the couple we all love to hate: the ones who can't keep their hands off one another and show up late to things because they're probably having sex.
Leslie (Maya Rudolph) and Alex (Chris O'Dowd) are also good friends, and show a more traditional pair, being the first among their group to take the plunge into parenthood. Soon they're frazzled and frumpy just like so many couples we all know.
Instead of being frightened or repulsed by the thought of parenting, Julie and Jason want to be a part of it. In their thirties, realizing they're not getting any younger, they decide to have a child together—just as friends—and attempt the awkward action of having sex with each other. It's understandably tough at first, but they do figure things out and produce a beautiful baby boy.
Their friends and family are skeptical about how it will all work, but they soon prove them wrong. Their homes stay clean; their bodies look great; their friendship has never been stronger. Most importantly, their ability to work as a team makes them incredibly good parents.
Things only get weird when each finds another partner, and feels the need to confide in the other about the new relationship. There are undeniable feelings on both sides, but they don't go there because they feel it would ruin their harmonious situation.
But why shouldn't they go there?
Westfeldt, not only the star, but the director and writer, makes this question the essence of the film and writes it in such a way that we can't help but root for them... with caution.
The fact that their dearest friends aren't outwardly in their corner only makes them appear jealous, as if they wish they'd done the same thing: find a really great friend with whom to build a life. And if you've ever been in a relationship with someone you primarily found physically attractive but did not have a mental attraction to, or someone who you loved to be with, but didn't feel a strong physical attraction, you may envy those who have somehow found someone to satisfy both.
Regardless, this smart, funny movie will keep you engaged from beginning to end; reflecting on your own life and invested in the characters.
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.
```
Wednesday, October 08, 2008
Nick and Norah's Infinite Playlist
Tonight I saw Nick and Norah's Infinite Playlist starring Michael Cera and Kat Dennings.
When you find your musical soul mate—the one who has the same concert pick for the inevitable time machine "what if?" and the person who understands why you tingle at the sound of certain songs, it's as if all is right with the world.
Searching for that soul mate is the hard part.
In this film, a heartbroken Nick (Cera) makes volumes of mix CDs for the ex-girlfriend who has dumped him, and they ultimately land in the hands of Norah (Dennings), who seems to genuinely appreciate them (though she doesn't know who Nick is).
After a meet-cute at one of Nick's concerts (did I mention he's the only straight guy in a gay band?), the two end up in the same car on the same night with the same purpose: to find Norah's lost drunken friend, and later to find the band "Where's Fluffy?"
The rest of the film is formulaic fluff at its best (though I really could've done without the vomit scenes, even if this is meant for a teenage crowd), though the overall charm of the story saves it.
Cera is adorable in his usual nice-guy role (note: I like him so much I'd REALLY like to see him branch out a bit and try a different genre next time) and Dennings feels as if she's part Kelly McDonald, part Ione Skye, circa 1991—in a good way. They make a lovely couple.
New York City also shines in a raw yet welcoming light and well, the music isn't so bad either.
If you want to feel nostalgiac for that first love who "got" the Beatles (or whomever your band might have been) right along with you, see this film.
Just beware you may be the oldest person in the crowd.
When you find your musical soul mate—the one who has the same concert pick for the inevitable time machine "what if?" and the person who understands why you tingle at the sound of certain songs, it's as if all is right with the world.
Searching for that soul mate is the hard part.
In this film, a heartbroken Nick (Cera) makes volumes of mix CDs for the ex-girlfriend who has dumped him, and they ultimately land in the hands of Norah (Dennings), who seems to genuinely appreciate them (though she doesn't know who Nick is).
After a meet-cute at one of Nick's concerts (did I mention he's the only straight guy in a gay band?), the two end up in the same car on the same night with the same purpose: to find Norah's lost drunken friend, and later to find the band "Where's Fluffy?"
The rest of the film is formulaic fluff at its best (though I really could've done without the vomit scenes, even if this is meant for a teenage crowd), though the overall charm of the story saves it.
Cera is adorable in his usual nice-guy role (note: I like him so much I'd REALLY like to see him branch out a bit and try a different genre next time) and Dennings feels as if she's part Kelly McDonald, part Ione Skye, circa 1991—in a good way. They make a lovely couple.
New York City also shines in a raw yet welcoming light and well, the music isn't so bad either.
If you want to feel nostalgiac for that first love who "got" the Beatles (or whomever your band might have been) right along with you, see this film.
Just beware you may be the oldest person in the crowd.
Sunday, January 20, 2008
Before the Devil Knows You're Dead
Tonight I saw Before the Devil Knows You're Dead, starring Philip Seymour Hoffman and Ethan Hawke.
In this unconventional story of brotherhood, Andy (Hoffman) is a successful real estate mogul who is married to Gina (Tomei), the very definition of a dumb broad.
His brother Hank (Hawke) is not the sharpest tool in the shed, but is somewhat redeemed by his genuine love for his daughter. Unfortunately he also loves Gina, who he is having an affair with, unbeknownst to anyone but them.
For some reason, everyone is in need of cash. Andy for drugs and an escape to Brazil, Hank for child support, and Gina for...well...we assume shopping. And maybe upkeep of her most valuable asset (her body, which we see revealed throughout the film).
There isn't too much background on why neither son has a great relationship with their parents, but for what it's worth, they must not feel comfortable approaching them for a loan since they decide to rob their jewelry store instead.
It sounds ridiculous, but because I've read a lot of Dominick Dunne in my time, I know this sort of thing actually happens. That knowledge affords a special suspension of disbelief while witnessing the smart brother hatch the plan and impose it on the dumb brother (you'd think he'd just employ someone smarter to do it, to be sure they wouldn't screw it up).
What transpires at the robbery triggers a sequence of Babel-like events that basically all lead back to the moral of the story: don't lie, steal, cheat or shoot people.
The film is well-acted and the pace is comfortably fast, but I am a little mystified why this received such universal praise. The plot twists aren't surprising and there aren't a lot of characters to root for. What we learn is that people are basically rotten and the actions of smart people and dumb people are interchangeable when their intent is dishonorable.
What results is entertainment that resembles the nightly news: while compelling to watch, it can also turn your stomach.
In this unconventional story of brotherhood, Andy (Hoffman) is a successful real estate mogul who is married to Gina (Tomei), the very definition of a dumb broad.
His brother Hank (Hawke) is not the sharpest tool in the shed, but is somewhat redeemed by his genuine love for his daughter. Unfortunately he also loves Gina, who he is having an affair with, unbeknownst to anyone but them.
For some reason, everyone is in need of cash. Andy for drugs and an escape to Brazil, Hank for child support, and Gina for...well...we assume shopping. And maybe upkeep of her most valuable asset (her body, which we see revealed throughout the film).
There isn't too much background on why neither son has a great relationship with their parents, but for what it's worth, they must not feel comfortable approaching them for a loan since they decide to rob their jewelry store instead.
It sounds ridiculous, but because I've read a lot of Dominick Dunne in my time, I know this sort of thing actually happens. That knowledge affords a special suspension of disbelief while witnessing the smart brother hatch the plan and impose it on the dumb brother (you'd think he'd just employ someone smarter to do it, to be sure they wouldn't screw it up).
What transpires at the robbery triggers a sequence of Babel-like events that basically all lead back to the moral of the story: don't lie, steal, cheat or shoot people.
The film is well-acted and the pace is comfortably fast, but I am a little mystified why this received such universal praise. The plot twists aren't surprising and there aren't a lot of characters to root for. What we learn is that people are basically rotten and the actions of smart people and dumb people are interchangeable when their intent is dishonorable.
What results is entertainment that resembles the nightly news: while compelling to watch, it can also turn your stomach.
Wednesday, July 18, 2007
Broken English
Tonight my Cinebanter partner and I saw Broken English, starring Parker Posey.
It is the topic of Cinebanter 35. Click here to download the show, free of charge.
It is the topic of Cinebanter 35. Click here to download the show, free of charge.
Monday, December 25, 2006
Night At The Museum
Saturday evening I saw Night at the Museum starring Ben Stiller and Robin Williams.
The best way to evaluate this one is to say that it is what it is.
Is it silly? Yes. Is it funny? Sure. Is it a pleasant option for holiday movie watching? Absolutely.
Basically, Ben Stiller is a deadbeat dad that has trouble staying employed, so in desperation he accepts a position as a night guard at New York's Museum of Natural History. The catch? Due to an ancient Egyptian tablet, everything in the museum comes to life after dark.
The adventures that Ben's "Larry" endures are predictable and formulaic, but cute and easy to watch nonetheless. Robin Williams as the wax Teddy Roosevelt and Owen Wilson as a miniature cowboy round out this somewhat all-star cast and make for a good couple hours of laughs.
Take the kids, sit back and enjoy.
The best way to evaluate this one is to say that it is what it is.
Is it silly? Yes. Is it funny? Sure. Is it a pleasant option for holiday movie watching? Absolutely.
Basically, Ben Stiller is a deadbeat dad that has trouble staying employed, so in desperation he accepts a position as a night guard at New York's Museum of Natural History. The catch? Due to an ancient Egyptian tablet, everything in the museum comes to life after dark.
The adventures that Ben's "Larry" endures are predictable and formulaic, but cute and easy to watch nonetheless. Robin Williams as the wax Teddy Roosevelt and Owen Wilson as a miniature cowboy round out this somewhat all-star cast and make for a good couple hours of laughs.
Take the kids, sit back and enjoy.
Monday, September 11, 2006
Saint of 9/11
Tonight I saw Saint of 9/11, a documentary about FDNY Chaplain Mychal Judge.
I attended a special screening made up of movie club members and guests from our own Seattle PD. I'm convinced it was the best possible way I could've spent the 5th anniversary of the attack on our country. 'Anniversary' is the wrong word, but I'm at a loss for a good synonym on this somber night.
The mood was quiet before the movie began. It might have been my imagination, but I'll swear people were more polite as they were searching for seats and settling in. The SIFF representative welcomed the audience, said a few words (folks clapped for our guests from the PD) and the lights went down. Not one peep of noise was heard for the next 95 minutes.
Father Mychal Judge was an Irish boy that grew up in New York. His father died at a young age and he and his two sisters were raised by his mother. He was always a life-loving, kind, sweet soul.
At a young age, he knew his calling was to serve God, so he began religious studies in the Franciscan order. After he became a priest, he struggled with alcoholism and his sexual orientation.
He remained a closeted homosexual out of respect for the church that he so loved, but trusted his close friends and associates with the truth. Over time, he became more open about his sexuality because he realized it humanized him in the eyes of the people.
Anecodotes and stories about his life were provided by friends, churchgoers, firefighters, politicians, priests, nuns and street people. Gay and straight, black and white. All of them mentioned his kind spirit, his sense of humor and his compassion for the poor.
An AIDS activist remembered how sad it was when the virus was still an unknown killer in the early 80s. Victims of it were isolated by friends and family in their final days for fear of spreading or catching it. Father Judge visited all of them, without protective masks or gloves and even kissed them and massaged their feet. He administered the Last Rites to dying homosexuals and spoke at their funerals with tenderness and pride for their accomplishments in life.
He was a loyal member of Alcoholics Anonymous and was 23 years sober when he was laid to rest.
He counseled families for months following the airplane crash of flight 800.
He worshiped with the gay Catholic group 'Dignity.'
He acquired winter coats for the homeless each year by persuading shop owners to give him discounts or not charge him at all, and delivered them in his official FDNY vehicle.
This hero was the first recorded death in New York City on September 11, 2001.
Footage of his September 10, 2001 sermon is played throughout the film and prior readings are told by narrator Ian McKellan.
Father Judge spoke of God's Kingdom of Heaven becoming bright with beautiful souls after devastating tragedies that capture many good lives all at once.
I can think of no one more deserving for the title of Saint than Father Mychal Judge.
I attended a special screening made up of movie club members and guests from our own Seattle PD. I'm convinced it was the best possible way I could've spent the 5th anniversary of the attack on our country. 'Anniversary' is the wrong word, but I'm at a loss for a good synonym on this somber night.
The mood was quiet before the movie began. It might have been my imagination, but I'll swear people were more polite as they were searching for seats and settling in. The SIFF representative welcomed the audience, said a few words (folks clapped for our guests from the PD) and the lights went down. Not one peep of noise was heard for the next 95 minutes.
Father Mychal Judge was an Irish boy that grew up in New York. His father died at a young age and he and his two sisters were raised by his mother. He was always a life-loving, kind, sweet soul.
At a young age, he knew his calling was to serve God, so he began religious studies in the Franciscan order. After he became a priest, he struggled with alcoholism and his sexual orientation.
He remained a closeted homosexual out of respect for the church that he so loved, but trusted his close friends and associates with the truth. Over time, he became more open about his sexuality because he realized it humanized him in the eyes of the people.
Anecodotes and stories about his life were provided by friends, churchgoers, firefighters, politicians, priests, nuns and street people. Gay and straight, black and white. All of them mentioned his kind spirit, his sense of humor and his compassion for the poor.
An AIDS activist remembered how sad it was when the virus was still an unknown killer in the early 80s. Victims of it were isolated by friends and family in their final days for fear of spreading or catching it. Father Judge visited all of them, without protective masks or gloves and even kissed them and massaged their feet. He administered the Last Rites to dying homosexuals and spoke at their funerals with tenderness and pride for their accomplishments in life.
He was a loyal member of Alcoholics Anonymous and was 23 years sober when he was laid to rest.
He counseled families for months following the airplane crash of flight 800.
He worshiped with the gay Catholic group 'Dignity.'
He acquired winter coats for the homeless each year by persuading shop owners to give him discounts or not charge him at all, and delivered them in his official FDNY vehicle.
This hero was the first recorded death in New York City on September 11, 2001.
Footage of his September 10, 2001 sermon is played throughout the film and prior readings are told by narrator Ian McKellan.
Father Judge spoke of God's Kingdom of Heaven becoming bright with beautiful souls after devastating tragedies that capture many good lives all at once.
I can think of no one more deserving for the title of Saint than Father Mychal Judge.
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