Today I saw The Kids Are All Right, starring Julianne Moore and Mark Ruffalo.
Nic (Annette Bening) and Jules (Moore) are modern family mamas. They're married lesbians living the dream in California with two nearly grown children; one boy, one girl. One from each of their wombs, produced by the same anonymous sperm donor father.
Joni (Mia Wasikowska) has turned 18 and is preparing to leave for college at the end of summer. Her brother, Laser (Josh Hutcherson) is pressuring her to inquire about their biological father because he is not yet of age, but dying of curiosity about his identity.
Finally persuaded, Joni contacts Paul (Ruffalo) and the three arrange to meet. The encounter goes well, and soon Paul has become a positive part of their lives, much to the dismay of their mother Nic, the most controlling (yet also responsible) of the family. Soon both children are spending quality time with him and Jules is designing his backyard (she's a landscape architect that just started her own business).
From here, things go awry as they do in many families: there is jealousy, betrayal, conversations no one ever wants to have—the family, once seemingly harmonious—is falling apart.
Nic, who is the instigator of much of the drama, is played almost too neurotic by Annette Bening. Of course there are people with her issues everywhere in life, but without anything redeeming to credit her with (aside from her obvious love of the family), it's hard to be on her side. In contrast, Mark Ruffalo's Paul is written to be so accepting and universally cool that I wanted to jump through the screen and start my own family with him. And really, he's not my type.
The real prize for acting, and remaining believable throughout the film goes to Julianne Moore. Her Jules is conflicted and honest and wounded and needy and likable all at once. She's one of those characters you can't help but forgive (and would probably do so in life if she existed), and I can't credit just the writing for that achievement. Moore's ability to morph into an entirely different spirit each time she graces the screen is in full form here.
Both children also do fine, though I would've liked more character development for Laser, and overall I would've favored an ending that didn't frustrate me.
I guess not everything about an enjoyably watchable movie can be satisfying.
~~~
Showing posts with label adultery. Show all posts
Showing posts with label adultery. Show all posts
Sunday, July 18, 2010
Sunday, July 04, 2010
Please Give
Today I saw Please Give, starring Catherine Keener and Rebecca Hall.
If you're not prepared to view life as it is sometimes lived, you probably want to stay away from Nicole Holofcener films such as this. I, for one, happen to love the fact that this writer/director creates characters who feel like real, breathing human beings, but I can see how they may depress others.
The subjects of this indie are neighbors. Kate (Keener) and Alex (Oliver Platt) are a married couple who own a vintage furniture business as they raise their only child, teenage Abby (Sarah Steele). Next door is 91-year-old Andra (Ann Morgan Guilbert), a miserable aging coot who is looked upon by her granddaughters. Rebecca (Hall) is the responsible, patient radiologist that acts compassionately no matter how badly her grandmother treats her; Mary (Amanda Peet) is the sexy, shallow spa worker who only visits Andra when forced.
Kate has a habit of giving money to strangers because she feels so guilty about her business. She and Alex aren't involved in any illegal activity, but they have been known to take advantage of families of the recently deceased who have valuable furniture and don't realize its worth.
Everyone in this film is searching for something: Abby desires the perfect jeans to offset her battle with acne; Kate wants a charitable cause to fill the hole in her heart; Alex seeks the excitement missing from his marriage; Rebecca would like a boyfriend; Mary wants answers as to why a muscle-heavy saleslady stole her man; Grandma wants her shopping granddaughters to use her carefully clipped coupons. Please, give.
The lives of these neighbors are intertwined as they offer the odd olive branch, but of course not everything works out for the best. As in reality, there are lies, deceptions, awkward silences and guilty consciences as a result of the bad decisions they make.
What I liked about this film (and its entire stellar cast) was that none of the characters were people who were difficult to relate to. Even those making choices we hope we wouldn't make didn't seem like horrible people—they were just wounded.
There's something life-affirming about watching people struggle and then advance past whatever is troubling them. Please Give reminds us that life isn't simple for anyone.
~~~
If you're not prepared to view life as it is sometimes lived, you probably want to stay away from Nicole Holofcener films such as this. I, for one, happen to love the fact that this writer/director creates characters who feel like real, breathing human beings, but I can see how they may depress others.
The subjects of this indie are neighbors. Kate (Keener) and Alex (Oliver Platt) are a married couple who own a vintage furniture business as they raise their only child, teenage Abby (Sarah Steele). Next door is 91-year-old Andra (Ann Morgan Guilbert), a miserable aging coot who is looked upon by her granddaughters. Rebecca (Hall) is the responsible, patient radiologist that acts compassionately no matter how badly her grandmother treats her; Mary (Amanda Peet) is the sexy, shallow spa worker who only visits Andra when forced.
Kate has a habit of giving money to strangers because she feels so guilty about her business. She and Alex aren't involved in any illegal activity, but they have been known to take advantage of families of the recently deceased who have valuable furniture and don't realize its worth.
Everyone in this film is searching for something: Abby desires the perfect jeans to offset her battle with acne; Kate wants a charitable cause to fill the hole in her heart; Alex seeks the excitement missing from his marriage; Rebecca would like a boyfriend; Mary wants answers as to why a muscle-heavy saleslady stole her man; Grandma wants her shopping granddaughters to use her carefully clipped coupons. Please, give.
The lives of these neighbors are intertwined as they offer the odd olive branch, but of course not everything works out for the best. As in reality, there are lies, deceptions, awkward silences and guilty consciences as a result of the bad decisions they make.
What I liked about this film (and its entire stellar cast) was that none of the characters were people who were difficult to relate to. Even those making choices we hope we wouldn't make didn't seem like horrible people—they were just wounded.
There's something life-affirming about watching people struggle and then advance past whatever is troubling them. Please Give reminds us that life isn't simple for anyone.
~~~
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.
Friday, September 25, 2009
Extract
On Sunday I saw Extract, starring Jason Bateman and Ben Affleck.
Writer/director Mike Judge has made me laugh in the past with the cult classic Office Space, and the doomsday comedy Idiocracy. As a fan of his, and just about everyone in the cast, I was greatly anticipating this new flick. Unfortunately, there wasn't much to anticipate.
Bateman plays Joel, a self-made business owner who runs an extract (as in "vanilla") factory. He's in a marriage that no longer sexually satisfies him, and desires an affair with a new temporary employee Cindy (Mila Kunis). However, he loves his wife, so he doesn't want to cheat without having leverage.
In a drunken, horse-tranquilized conversation with his friend/bartender Dean (Affleck), he decides it would be a good idea to hire a jigolo to seduce her so he wouldn't feel guilty consummating with Cindy. She takes the bait and immediately embarks on a passionate affair that lingers long past the "one time" that Joel hired him.
And to make matters worse, there's been an accident at the extract factory that causes their financial future to come into question. There is a con artist in the midst and a snake of a lawyer (played almost too well by Gene Simmons) to take advantage of the situation.
Add to that an annoying neighbor and you have pieces of about ten different movies; some of which are funny, some of which are not.
The standout performance here is undoubtedly Ben Affleck who comfortably resumes his Dazed and Confused stoner-stupor and delivers laughs each time he opens his mouth.
But sadly, despite the other star power, the story falls flat and feels false in too many ways (con artist unbelievable, Joel's marriage not authentic, etc.)
In an effort to prove how rare we intelligent entities are in suburban America, Judge forgot to make the story smart enough.
~~~
Writer/director Mike Judge has made me laugh in the past with the cult classic Office Space, and the doomsday comedy Idiocracy. As a fan of his, and just about everyone in the cast, I was greatly anticipating this new flick. Unfortunately, there wasn't much to anticipate.
Bateman plays Joel, a self-made business owner who runs an extract (as in "vanilla") factory. He's in a marriage that no longer sexually satisfies him, and desires an affair with a new temporary employee Cindy (Mila Kunis). However, he loves his wife, so he doesn't want to cheat without having leverage.
In a drunken, horse-tranquilized conversation with his friend/bartender Dean (Affleck), he decides it would be a good idea to hire a jigolo to seduce her so he wouldn't feel guilty consummating with Cindy. She takes the bait and immediately embarks on a passionate affair that lingers long past the "one time" that Joel hired him.
And to make matters worse, there's been an accident at the extract factory that causes their financial future to come into question. There is a con artist in the midst and a snake of a lawyer (played almost too well by Gene Simmons) to take advantage of the situation.
Add to that an annoying neighbor and you have pieces of about ten different movies; some of which are funny, some of which are not.
The standout performance here is undoubtedly Ben Affleck who comfortably resumes his Dazed and Confused stoner-stupor and delivers laughs each time he opens his mouth.
But sadly, despite the other star power, the story falls flat and feels false in too many ways (con artist unbelievable, Joel's marriage not authentic, etc.)
In an effort to prove how rare we intelligent entities are in suburban America, Judge forgot to make the story smart enough.
~~~
Sunday, December 07, 2008
The Duchess
Today I saw The Duchess, starring Keira Knightley and Ralph Fiennes.
Note: this review does contain spoilers.
Based on British history, the film tells the story of the former 18th century Duchess of Devonshire, Georgiana (Knightley), who is coincidentally an ancestor to our modern-day Princess Diana of Wales.
Unfortunately, their blood was not the only thing these two women had in common.
They both had spunky, outspoken personalities; they both married young into the British Monarchy with every sincerity and hope for a loving union; and they both were cheated on, controlled, lied to and forced to remain in situations that made them miserable—the only difference is that Diana eventually got out.
The Duchess is a well-done exploration of Georgiana's sad life from the time she was married until the time of her eventual complacency to the husband (Fiennes) who was never good to her.
An excitable teenager when first joined together, Georgiana's biggest problems were that her husband didn't "talk" to her and intercourse was mere sex; not the lovemaking she craved.
After two daughters and two stillborn sons, the Duke was growing impatient waiting for an heir and had taken a lover in Georgiana's best (and only) friend Bess (Hayley Atwell). Although "G" (as they called her), had looked away at the Duke's countless other affairs, this one pained her greatly and she expressed her anger at the betrayal, only to be met with indifference on his part. After taking G by force, the Duke finally got his wish and produced a male heir.
The mistress, genuinely caring for her former friend, arranged for the real object of G's affection, politician Charles Grey (Dominic Cooper), to reunite with her—and reunite they did. They also produced a child, daughter Eliza, which the Duke forced the Duchess to surrender to Grey's family.
Throughout this film, the performances are delivered expertly by all actors, not least of whom is Knightley herself—this is a role that feels as if it was tailor made for her, and after watching her, it's hard to picture anyone else pulling it off quite as well. Fiennes, as always is brilliant and Atwell as the conflicted Lady Elizabeth, is pitch perfect, commanding both sympathy and rage at her actions.
The real problems are plenty and scandalous, but at the end of it all, the Duke and the Duchess faced something that millions of people throughout time have faced: a loveless marriage. As the mother of the Duchess says at the beginning of the film, true love is identified instantly—it's a feeling you get that you can't escape.
The sad thing is that when you deny this magic, and gamble your own fate by doing what society (or merely your partner) feels is "right," you're most certainly going to lose. And lose Georgiana did.
It almost makes you feel guilty enjoying the film so much.
Note: this review does contain spoilers.
Based on British history, the film tells the story of the former 18th century Duchess of Devonshire, Georgiana (Knightley), who is coincidentally an ancestor to our modern-day Princess Diana of Wales.
Unfortunately, their blood was not the only thing these two women had in common.
They both had spunky, outspoken personalities; they both married young into the British Monarchy with every sincerity and hope for a loving union; and they both were cheated on, controlled, lied to and forced to remain in situations that made them miserable—the only difference is that Diana eventually got out.
The Duchess is a well-done exploration of Georgiana's sad life from the time she was married until the time of her eventual complacency to the husband (Fiennes) who was never good to her.
An excitable teenager when first joined together, Georgiana's biggest problems were that her husband didn't "talk" to her and intercourse was mere sex; not the lovemaking she craved.
After two daughters and two stillborn sons, the Duke was growing impatient waiting for an heir and had taken a lover in Georgiana's best (and only) friend Bess (Hayley Atwell). Although "G" (as they called her), had looked away at the Duke's countless other affairs, this one pained her greatly and she expressed her anger at the betrayal, only to be met with indifference on his part. After taking G by force, the Duke finally got his wish and produced a male heir.
The mistress, genuinely caring for her former friend, arranged for the real object of G's affection, politician Charles Grey (Dominic Cooper), to reunite with her—and reunite they did. They also produced a child, daughter Eliza, which the Duke forced the Duchess to surrender to Grey's family.
Throughout this film, the performances are delivered expertly by all actors, not least of whom is Knightley herself—this is a role that feels as if it was tailor made for her, and after watching her, it's hard to picture anyone else pulling it off quite as well. Fiennes, as always is brilliant and Atwell as the conflicted Lady Elizabeth, is pitch perfect, commanding both sympathy and rage at her actions.
The real problems are plenty and scandalous, but at the end of it all, the Duke and the Duchess faced something that millions of people throughout time have faced: a loveless marriage. As the mother of the Duchess says at the beginning of the film, true love is identified instantly—it's a feeling you get that you can't escape.
The sad thing is that when you deny this magic, and gamble your own fate by doing what society (or merely your partner) feels is "right," you're most certainly going to lose. And lose Georgiana did.
It almost makes you feel guilty enjoying the film so much.
Saturday, November 18, 2006
Little Children
Last night I saw Little Children starring Kate Winslet and Patrick Wilson.
It was the most complex, realistic and human movie I've seen all year.
The setting—American suburbia—is perfectly executed in the catty behavior of the soccer moms and the weekly football games the men play as an escape.
At first the movie is funny, complete with voiceovers that actually work and a steamy romance that you root for. Then, the movie turns dark as you find yourself alternately sympathizing with and being disgusted by the town pedophile, portrayed brilliantly by Jackie Earle Hayley.
It all comes to a climactic end when the characters each discover their individual destiny and take action to live them out. It makes you think, it makes you laugh and it makes you cry. The problem that I had with it was that the entire movie seemed to be illustrating why some things are just meant to be, yet the ending doesn't pay that theory off.
Nonetheless, it's another fantastic journey from Todd Field that carries us through the American experience with fierce authenticity.
To hear me and Michaelvox discuss this in Cinebanter 14, click here.
It was the most complex, realistic and human movie I've seen all year.
The setting—American suburbia—is perfectly executed in the catty behavior of the soccer moms and the weekly football games the men play as an escape.
At first the movie is funny, complete with voiceovers that actually work and a steamy romance that you root for. Then, the movie turns dark as you find yourself alternately sympathizing with and being disgusted by the town pedophile, portrayed brilliantly by Jackie Earle Hayley.
It all comes to a climactic end when the characters each discover their individual destiny and take action to live them out. It makes you think, it makes you laugh and it makes you cry. The problem that I had with it was that the entire movie seemed to be illustrating why some things are just meant to be, yet the ending doesn't pay that theory off.
Nonetheless, it's another fantastic journey from Todd Field that carries us through the American experience with fierce authenticity.
To hear me and Michaelvox discuss this in Cinebanter 14, click here.
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