Today I saw Jojo Rabbit, starring Roman Griffin Davis and Thomasin McKenzie.
Jojo (Davis) is a 10-year-old boy in Nazi Germany. He is a youth training to fight for Hitler and his mother (Scarlett Johansson) isn't happy about it, but plays along for the sake of survival.
One day, Jojo discovers a young Jewish friend of his dead sister's hiding out in his house—apparently his mother has kept her there for quite a while, but she's never been discovered. He is torn whether or not to report her presence to the Gestapo.
But then he falls in love with her.
Sounds like a sweet story, right? Well, moments of it are, but that's all buried by the bold satire via Jojo's imaginary friend in the form of Adolf himself (Taika Waititi). And the precocious kid that's on-screen for virtually the entire film. Seriously, he's exhausting.
Perhaps it's healthy to explore WWII from a different angle and try to bring an absurd light to the infinite darkness of the Holocaust, but I just couldn't find myself getting on board.
The film was all over the place and because of that I couldn't completely 'feel' for any of the characters, though several were indisputably tragic.
I understand why Johansson got an Oscar nod for her performance in the film, but I'm baffled by it's Best Picture nomination.
~~~
Showing posts with label Sam Rockwell. Show all posts
Showing posts with label Sam Rockwell. Show all posts
Tuesday, January 28, 2020
Saturday, December 14, 2019
Richard Jewell
Yesterday I saw Richard Jewell, starring Paul Walter Hauser and Sam Rockwell.
During the 1996 Olympics in Atlanta, a domestic terrorist detonated a bomb in Centennial Park that killed one person and injured over a hundred others. The reason there was not a larger loss of life was due solely to the actions of a security guard on duty that night, Richard Jewell (Hauser).
At first the media—and the world—celebrated Jewell as the hero he was. He was interviewed by dozens of prominent journalists to tell his story of that night and appeared as a sincere, thoughtful man.
Then, the FBI needed a fall guy, so they decided Jewell was the easiest target. A local newspaper reporter got wind of their suspicions and blew the story up, making Jewell's life a living hell and shifting resources away from finding the true bomber (Eric Rudolph, who was caught years later).
This film tells the story of what was happening behind the scenes to Jewell and his mother (who he lived with). The acting is superb; especially from Rockwell, who portrays the attorney who stood by Jewell and ultimately got him cleared.
Watching it will make you angry, sad and disappointed in the pack mentality that seems to run rampant in our country, but hopefully will restore the reputation of a hero some still mistakenly think was responsible for a horrible act.
Too bad Jewell himself is no longer alive to see it.
~~~
During the 1996 Olympics in Atlanta, a domestic terrorist detonated a bomb in Centennial Park that killed one person and injured over a hundred others. The reason there was not a larger loss of life was due solely to the actions of a security guard on duty that night, Richard Jewell (Hauser).
At first the media—and the world—celebrated Jewell as the hero he was. He was interviewed by dozens of prominent journalists to tell his story of that night and appeared as a sincere, thoughtful man.
Then, the FBI needed a fall guy, so they decided Jewell was the easiest target. A local newspaper reporter got wind of their suspicions and blew the story up, making Jewell's life a living hell and shifting resources away from finding the true bomber (Eric Rudolph, who was caught years later).
This film tells the story of what was happening behind the scenes to Jewell and his mother (who he lived with). The acting is superb; especially from Rockwell, who portrays the attorney who stood by Jewell and ultimately got him cleared.
Watching it will make you angry, sad and disappointed in the pack mentality that seems to run rampant in our country, but hopefully will restore the reputation of a hero some still mistakenly think was responsible for a horrible act.
Too bad Jewell himself is no longer alive to see it.
~~~
Wednesday, December 26, 2018
Vice
Today I saw Vice, starring Christian Bale and Amy Adams.
If you're a staunch republican, you may not like this film, but if you're a liberal (or even perhaps an independent) you may chuckle along with the rest of the audience at this exaggerated—but undoubtedly entertaining—look at the life of Dick Cheney (Bale).
Christian Bale transforms physically and verbally into the former vice president so convincingly, you'd probably forget it was a fictional take were it not for the breaking of the fourth wall, the snappy cutaways and wink-y storytelling approach.
I'd be lying if I said I didn't enjoy every minute of it.
Then again, I'm the Pacific Northwestern liberal target audience they were probably banking on selling tickets to, so I didn't have a hard time buying what they were selling. What they were selling was of course how miserable of a human being Dick Cheney truly is, save for his one redeeming quality. He really seems to love and advocate for his lesbian daughter (although his other daughter does not). Other than that, it appears that his wife Lynne (Adams) calls the shots, and they aren't always in the best interest of the country.
If you're not of the belief that the story is true, at least see the film for the performances. If you do believe, well, be prepared to laugh (and possibly cry) at what a mess this man made of the world.
~~~
If you're a staunch republican, you may not like this film, but if you're a liberal (or even perhaps an independent) you may chuckle along with the rest of the audience at this exaggerated—but undoubtedly entertaining—look at the life of Dick Cheney (Bale).
Christian Bale transforms physically and verbally into the former vice president so convincingly, you'd probably forget it was a fictional take were it not for the breaking of the fourth wall, the snappy cutaways and wink-y storytelling approach.
I'd be lying if I said I didn't enjoy every minute of it.
Then again, I'm the Pacific Northwestern liberal target audience they were probably banking on selling tickets to, so I didn't have a hard time buying what they were selling. What they were selling was of course how miserable of a human being Dick Cheney truly is, save for his one redeeming quality. He really seems to love and advocate for his lesbian daughter (although his other daughter does not). Other than that, it appears that his wife Lynne (Adams) calls the shots, and they aren't always in the best interest of the country.
If you're not of the belief that the story is true, at least see the film for the performances. If you do believe, well, be prepared to laugh (and possibly cry) at what a mess this man made of the world.
~~~
Tuesday, November 07, 2017
Three Billboards Outside Ebbing, Missouri
Tonight I screened Three Billboards Outside Ebbing, Missouri, starring Frances McDormand and Sam Rockwell.
Mildred (McDormand) seeks justice for the rape and murder of her daughter Angela (Kathryn Newton) in the small town of (fictional) Ebbing, Missouri, where the police—in her view—spend more time hassling minorities than they do solving crimes.
Because the case has gone dormant, she pays to post three billboards asking the police chief (Woody Harrelson) why. This upsets the tight community and she gets grief from the local priest and other townspeople.
The chief is truly on her side, but after suffering another tragedy, she feels she has nowhere to turn and seeks revenge instead of justice. A series of bloody, scary, hilarious (yes, it's all those things) events follows and McDormand pretty much seals up her Oscar nomination.
But she's not the only great player here. Harrelson is tough, yet sincere as the chief whose hands are tied by circumstance; Sam Rockwell as the dim-witted Officer Dixon keeps his character from becoming a caricature by adding dimension through emotion, and Peter Dinklage is the welcome town oddity as the "midget" who is hot for Mildred.
I'd say the stereotypes are a bit much, but I did live in Missouri for five years, and for better or worse, I encountered people who resembled every last one of these folks.
In addition to addressing the horrific themes of sexual assault, racism and domestic violence—so timely considering our current national conversation—it reminds us that not every good person makes smart choices and not every bad apple is without a conscience.
Writer/director Martin McDonagh was inspired to write the film after driving past similar billboards in real life. I shudder to think what prompted their placement. The movie based on them isn't easy to watch, but you won't be able to take your eyes off of it.
~~~
Mildred (McDormand) seeks justice for the rape and murder of her daughter Angela (Kathryn Newton) in the small town of (fictional) Ebbing, Missouri, where the police—in her view—spend more time hassling minorities than they do solving crimes.
Because the case has gone dormant, she pays to post three billboards asking the police chief (Woody Harrelson) why. This upsets the tight community and she gets grief from the local priest and other townspeople.
The chief is truly on her side, but after suffering another tragedy, she feels she has nowhere to turn and seeks revenge instead of justice. A series of bloody, scary, hilarious (yes, it's all those things) events follows and McDormand pretty much seals up her Oscar nomination.
But she's not the only great player here. Harrelson is tough, yet sincere as the chief whose hands are tied by circumstance; Sam Rockwell as the dim-witted Officer Dixon keeps his character from becoming a caricature by adding dimension through emotion, and Peter Dinklage is the welcome town oddity as the "midget" who is hot for Mildred.
I'd say the stereotypes are a bit much, but I did live in Missouri for five years, and for better or worse, I encountered people who resembled every last one of these folks.
In addition to addressing the horrific themes of sexual assault, racism and domestic violence—so timely considering our current national conversation—it reminds us that not every good person makes smart choices and not every bad apple is without a conscience.
Writer/director Martin McDonagh was inspired to write the film after driving past similar billboards in real life. I shudder to think what prompted their placement. The movie based on them isn't easy to watch, but you won't be able to take your eyes off of it.
~~~
Sunday, July 28, 2013
The Way Way Back
This morning I saw The Way Way Back, starring Liam James and Toni Collette.
Duncan (James) is a socially awkward teenager on summer break with his mother Pam (Collette) and her jerk-of-a-boyfriend Trent (Steve Carell). They land in a sleepy beach town where Trent has a community of colorful friends.
Not wanting to have any part of 'family time,' Duncan escapes to the nearby water park where Owen (Sam Rockwell) gives him a job, and more importantly, a sense of place. Owen is a misfit in his own right, annoying his colleague/girlfriend Caitlin with his immature behavior. Owen and Duncan make each other better.
Rockwell is especially good, portraying a fun-on-the-outside, yet broken-on-the-inside man. As an actor, Rockwell is criminally underutilized, but here at least, he gets to support the leads with some depth.
James is also great as the nerdy boy, loved by his mother who is too preoccupied with her own relationship to show it. Collette and Carell, who played a very different couple in Little Miss Sunshine, have a familiar chemistry that allows them to convince us of both their infatuation and discomfort.
There's not much more to this film than the standard coming-of-age argument scenes, awkward family moments and kinda-sorta first loves, but that's okay, because it's so easy to watch.
~~~
Duncan (James) is a socially awkward teenager on summer break with his mother Pam (Collette) and her jerk-of-a-boyfriend Trent (Steve Carell). They land in a sleepy beach town where Trent has a community of colorful friends.
Not wanting to have any part of 'family time,' Duncan escapes to the nearby water park where Owen (Sam Rockwell) gives him a job, and more importantly, a sense of place. Owen is a misfit in his own right, annoying his colleague/girlfriend Caitlin with his immature behavior. Owen and Duncan make each other better.
Rockwell is especially good, portraying a fun-on-the-outside, yet broken-on-the-inside man. As an actor, Rockwell is criminally underutilized, but here at least, he gets to support the leads with some depth.
James is also great as the nerdy boy, loved by his mother who is too preoccupied with her own relationship to show it. Collette and Carell, who played a very different couple in Little Miss Sunshine, have a familiar chemistry that allows them to convince us of both their infatuation and discomfort.
There's not much more to this film than the standard coming-of-age argument scenes, awkward family moments and kinda-sorta first loves, but that's okay, because it's so easy to watch.
~~~
Monday, July 13, 2009
Moon
Tonight I saw Moon, starring Sam Rockwell.
Films about loneliness will always keep our attention because no matter what our background, finances, marital status or age, we can all at times be vulnerable to it.
In Moon Sam (Rockwell) has reached the end of his lonely rope. He is in the final days of his three-year corporate mission to the moon (yes, THE moon) to help mine clean energy, and is desperate to return to his wife and daughter on earth.
We witness him going about his daily tasks—eating, working out, tending to 'house' plants, etc. We even see him watching the obligatory obviously-not-live television as he barely pays attention to a classic episode of Bewitched. If the TV technique weren't so over-used (i.e. Wall-E and I Am Legend), it would help reinforce the isolation, but it doesn't need to in this film. The cold white of the walls and surroundings mixed with the industrial nature of just about everything (right down to Sam's helpful robot Gerty, voiced by Kevin Spacey) tell us we're in a place devoid of love and warmth.
As Sam gets closer to his return date, his health begins to deteriorate and hallucinations materialize (or at least they appear to). One of these sightings causes him to wreck the vehicle he's using to complete his work "outside" on the surface of said moon. Next thing he knows, he's awake in the moon station infirmary seeing himself outside of his body. But he's not dead—and for me to say anymore would be to spoil, so I'll have to stop there.
What I can say is that Director Duncan Jones (coincidentally also David Bowie's son) creates a very realistic exterior for what the moon must somewhat be like. The quiet darkness he invokes results in a strange feelings of peace contrasted by hollowness. When the tires of the work vehicles scrape across the dirt, you can almost feel grains of dust in your mouth.
Also, the performance by Sam Rockwell, who plays against no one else, is all of the things it should be: funny, confusing, heartbreaking, life-affirming and frustrating. He's well cast and well-played. Of course, something should also be said about Kevin Spacey's voicing of Gerty. It sounds like an easy task, but to evoke emotion from a screen that registers different emoticons based on what it's saying can't have been that simple. His intonation and soothing tones make the ideal "humanized" machine.
All in all it's a very classic science fiction journey wrapped up in a modern-day pod. What makes it good is its exploration of people needing people, no matter where or when they are.
~~~
Films about loneliness will always keep our attention because no matter what our background, finances, marital status or age, we can all at times be vulnerable to it.
In Moon Sam (Rockwell) has reached the end of his lonely rope. He is in the final days of his three-year corporate mission to the moon (yes, THE moon) to help mine clean energy, and is desperate to return to his wife and daughter on earth.
We witness him going about his daily tasks—eating, working out, tending to 'house' plants, etc. We even see him watching the obligatory obviously-not-live television as he barely pays attention to a classic episode of Bewitched. If the TV technique weren't so over-used (i.e. Wall-E and I Am Legend), it would help reinforce the isolation, but it doesn't need to in this film. The cold white of the walls and surroundings mixed with the industrial nature of just about everything (right down to Sam's helpful robot Gerty, voiced by Kevin Spacey) tell us we're in a place devoid of love and warmth.
As Sam gets closer to his return date, his health begins to deteriorate and hallucinations materialize (or at least they appear to). One of these sightings causes him to wreck the vehicle he's using to complete his work "outside" on the surface of said moon. Next thing he knows, he's awake in the moon station infirmary seeing himself outside of his body. But he's not dead—and for me to say anymore would be to spoil, so I'll have to stop there.
What I can say is that Director Duncan Jones (coincidentally also David Bowie's son) creates a very realistic exterior for what the moon must somewhat be like. The quiet darkness he invokes results in a strange feelings of peace contrasted by hollowness. When the tires of the work vehicles scrape across the dirt, you can almost feel grains of dust in your mouth.
Also, the performance by Sam Rockwell, who plays against no one else, is all of the things it should be: funny, confusing, heartbreaking, life-affirming and frustrating. He's well cast and well-played. Of course, something should also be said about Kevin Spacey's voicing of Gerty. It sounds like an easy task, but to evoke emotion from a screen that registers different emoticons based on what it's saying can't have been that simple. His intonation and soothing tones make the ideal "humanized" machine.
All in all it's a very classic science fiction journey wrapped up in a modern-day pod. What makes it good is its exploration of people needing people, no matter where or when they are.
~~~
Monday, September 29, 2008
Choke
Tonight I saw Choke, starring Sam Rockwell and Angelica Houston.
Victor Mancini (Rockwell) is a seemingly incurable sex addict who makes a living as a "historical interpreter" (a.k.a. colonial theme park tour guide) in between meaningless sexual encounters and frequent visits with his mother Ida (Houston), who is suffering from dementia or Alzheimer's or both.
The film is billed as a comedy, though "tragic comedy" would be more accurate. Rockwell's disheveled appearance and quirky speech patterns have him resembling a thirtysomething rendition of Dana Carvey, which is distracting when we're supposed to loathe him or simply feel enormous pity for him.
The film isn't primarily about sex (darn); it's more about a man whose life resembles a jigsaw puzzle of mystery that we're led to believe is exciting, but unfolds only to reveal more darkness.
We find sadness in Victor's orphan past, sadness in his dead-end present, sadness in his bleak future—and I haven't even mentioned the girl he's fallen for.
Despite all of that, I can't say I was bored, or that the acting was bad, because really it was quite good. But so much of the main character's numbness (and so many scenes from which the film draws its title) was hard to witness, I can't say I enjoyed it either.
There were some very funny situations and clever twists, but for me that wasn't enough of a payoff for the depressing mood it left me in.
Victor Mancini (Rockwell) is a seemingly incurable sex addict who makes a living as a "historical interpreter" (a.k.a. colonial theme park tour guide) in between meaningless sexual encounters and frequent visits with his mother Ida (Houston), who is suffering from dementia or Alzheimer's or both.
The film is billed as a comedy, though "tragic comedy" would be more accurate. Rockwell's disheveled appearance and quirky speech patterns have him resembling a thirtysomething rendition of Dana Carvey, which is distracting when we're supposed to loathe him or simply feel enormous pity for him.
The film isn't primarily about sex (darn); it's more about a man whose life resembles a jigsaw puzzle of mystery that we're led to believe is exciting, but unfolds only to reveal more darkness.
We find sadness in Victor's orphan past, sadness in his dead-end present, sadness in his bleak future—and I haven't even mentioned the girl he's fallen for.
Despite all of that, I can't say I was bored, or that the acting was bad, because really it was quite good. But so much of the main character's numbness (and so many scenes from which the film draws its title) was hard to witness, I can't say I enjoyed it either.
There were some very funny situations and clever twists, but for me that wasn't enough of a payoff for the depressing mood it left me in.
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