On Saturday I saw Marriage Story, starring Adam Driver and Scarlett Johansson.
Charlie (Driver) and Nicole (Johansson) are a creative couple in the New York theater world, and they are divorcing. They share one son, whom they both adore, but struggle to work out the details of their new lives, though they mostly want the same things. It's a good exploration how even those with good intentions in situations like this can spiral out of control at the suggestions of others.
Like the characters toward each other, I have mixed emotions about this film.
On one hand, there are several incredible performances to note: Laura Dern, Merritt Weaver, Julie Hagerty and Ray Liotta all come to mind. They're supporting characters, but they're the folks in the film who feel real.
On the other hand, our two leads, Driver and Johansson are of course great actors and their performances here are no exception, but their delivery is nothing short of annoying (and I don't think that's their fault). I realize they're supposed to be stage actors in the film, but every one of their arguments or sad conversations is delivered as a monologue as if they were starring in a play. Instead of the raw, authentic way we see the others.
If only each scene didn't feel like a performance, I would have believed them.
~~~
Showing posts with label independent film. Show all posts
Showing posts with label independent film. Show all posts
Wednesday, December 11, 2019
Friday, November 22, 2019
Brittany Runs a Marathon
Yesterday I saw Brittany Runs a Marathon, starring Jillian Bell and Jennifer Dundas.
Based on a real woman who transformed her life, the film tells the story of Brittany, an overweight twenty-something who likes to have fun. Perhaps too much fun.
After an awkward doctor's appointment where she's basically diagnosed as being "fat," Brittany decides to take control of her life and does just that. She takes up running, leaves a troublesome friend behind, makes new friends and resumes dating. Along the way she goes through the natural ups and downs associated with life changes and finds herself in situations that result in some not-so-great behavior.
Jillian Bell is fantastic in this role because she makes you sympathize with her pain, yet get angry at her mishaps. She's also got perfect comedic timing, which keeps the dialog from getting formulaic. Her actions felt real and by the time the film was over, us audience members felt like an honorary friend who shared her journey.
I was a bit annoyed by her romantic partner and the predictability of their progression, but other than that, this was a sweet little film.
~~~
Based on a real woman who transformed her life, the film tells the story of Brittany, an overweight twenty-something who likes to have fun. Perhaps too much fun.
After an awkward doctor's appointment where she's basically diagnosed as being "fat," Brittany decides to take control of her life and does just that. She takes up running, leaves a troublesome friend behind, makes new friends and resumes dating. Along the way she goes through the natural ups and downs associated with life changes and finds herself in situations that result in some not-so-great behavior.
Jillian Bell is fantastic in this role because she makes you sympathize with her pain, yet get angry at her mishaps. She's also got perfect comedic timing, which keeps the dialog from getting formulaic. Her actions felt real and by the time the film was over, us audience members felt like an honorary friend who shared her journey.
I was a bit annoyed by her romantic partner and the predictability of their progression, but other than that, this was a sweet little film.
~~~
Monday, July 15, 2019
Pavarotti
On Saturday, I saw Pavarotti, a documentary about the life of the legendary tenor.
Some people have a presence. It’s an intangible x factor that only a select amount of individuals possess, but those who do are unforgettable—Luciano Pavarotti was one of them.
The story of the Italian opera great is told here in a linear way by director Ron Howard, who conducted over 50 interviews to arrive at the finished work. From his childhood in Italy to his profound success as perhaps the greatest tenor of all time, Pavarotti’s life is recounted in a beautiful narrative by the people who knew him best.
He was a family man, a mentor, a friend and a humanitarian. He was also a philanderer, a diva and a man plagued with self-doubt. I’m grateful Howard chose to show both sides. Sometimes when we get to know someone larger than life, it’s only their persona that’s noticed; here we get to explore the human for all of his flaws, and we’re better for it.
Aside from his technical talent, his charisma is remembered through scenes from his friendship with Princess Diana and hilarious stories told by Bono. Pavarotti seemed to love life—his women, his friends, his children, his colleagues, his fans, his food. This was reflected in the way he lived his life, to the fullest of course, and that made it all the more heartbreaking to reach the end of the film where the last months of his life, as he suffered from pancreatic cancer, are remembered.
Though not much of an opera fan, because of his undeniable popularity and yes, because of the U2 song “Miss Sarajevo,” I knew about Pavarotti before seeing the film, but never did I think I’d enjoy such an intimate look at him.
I only wish I’d seen him perform when I had the chance.
~~~
Friday, July 05, 2019
The Biggest Little Farm
Yesterday I saw The Biggest Little Farm, starring John and Molly Chester.
John and Molly are married, living a pleasant life in the city. Molly is a personal chef; John is a documentarian. On one of his assignments, he films a home with an animal hoarder and falls in love with one of the dogs. He and Molly end up adopting said dog, Todd, and soon run into trouble because he won't stop barking. After many unsuccessful attempts to correct the dog's behavior, they're evicted from their apartment and decide to build a completely new life.
The couple buy a farm an hour north of Los Angeles and with the help of a dedicated mentor, commit themselves to reviving the land by farming using old-school methods that are kinder to the environment. This documentary chronicles their first seven years on the farm and all of the tragedy and victory that came with it. From pigs that won't eat to coyotes that murder their ducks and chickens, there's never a dull moment
Throughout the story, thankfully told chronologically, we recognize how idealistic and naive the couple were to start this venture with no previous farming experience, but also root for them because they refuse to give up regardless of the challenges they face. There is never a direct reference to climate change, but I sat there silently thanking them each time they "won" a bit of nature back (i.e. area bees returning and thriving). What they're doing all farmers should be doing.
The animals become family members, the lush landscapes provide both a peaceful retreat and an endless supply of headaches (some more dangerous than you may think) and every moment is entertaining whether you've ever had the desire to live on a farm yourself (I personally, have not).
At one point when their pig, Emma, is giving birth to what seems like an endless amount of piglets, Molly smiles with delight and says "I love our life!"
I, for one, loved watching their life.
~~~
John and Molly are married, living a pleasant life in the city. Molly is a personal chef; John is a documentarian. On one of his assignments, he films a home with an animal hoarder and falls in love with one of the dogs. He and Molly end up adopting said dog, Todd, and soon run into trouble because he won't stop barking. After many unsuccessful attempts to correct the dog's behavior, they're evicted from their apartment and decide to build a completely new life.
The couple buy a farm an hour north of Los Angeles and with the help of a dedicated mentor, commit themselves to reviving the land by farming using old-school methods that are kinder to the environment. This documentary chronicles their first seven years on the farm and all of the tragedy and victory that came with it. From pigs that won't eat to coyotes that murder their ducks and chickens, there's never a dull moment
Throughout the story, thankfully told chronologically, we recognize how idealistic and naive the couple were to start this venture with no previous farming experience, but also root for them because they refuse to give up regardless of the challenges they face. There is never a direct reference to climate change, but I sat there silently thanking them each time they "won" a bit of nature back (i.e. area bees returning and thriving). What they're doing all farmers should be doing.
The animals become family members, the lush landscapes provide both a peaceful retreat and an endless supply of headaches (some more dangerous than you may think) and every moment is entertaining whether you've ever had the desire to live on a farm yourself (I personally, have not).
At one point when their pig, Emma, is giving birth to what seems like an endless amount of piglets, Molly smiles with delight and says "I love our life!"
I, for one, loved watching their life.
~~~
Wednesday, June 19, 2019
The Souvenir
Tonight I saw The Souvenir, starring Honor Swinton Byrne and Tom Burke.
Julie (Swinton Byrne) is a film student in love with journalist Anthony (Burke), who also happens to be a heroin addict. It's England in the 1980s and she'll sacrifice everything for her art and her affair.
Who hasn't fallen for someone they shouldn't? Who hasn't made bad choices in the name of love ... or lust? Who hasn't stayed in toxic situations because of the emotions attached to them? These themes, along with a passionate thirst for the craft of film, are the tapestry that weaves this narrative together. Sort of.
I say 'sort of' because although the story is easy to follow, it's anything but linear, and the pace is agonizingly slow. Still, you can't look away. Swinton Byrne, who shares the screen with her real-life Mother (portraying her mother here too), Tilda Swinton, is phenomenal as a naive, yet fiercely dedicated film student. Tom Burke, as her tortured and torturous, addicted beau is equally compelling.
The way the film is shot captures the feel of the era it represents and what's left unsaid becomes just as important as the dialog that's spoken.
I wouldn't say I enjoyed the film, because it's a truly tragic story (and drawn from the real life of its creator, Joanna Hogg), but I certainly appreciated it and all that it represents.
If you're wondering why it's achieved almost universal acclaim, it's because of the lingering feelings about the powerful characters you're left with long after you leave the theater.
~~~
Julie (Swinton Byrne) is a film student in love with journalist Anthony (Burke), who also happens to be a heroin addict. It's England in the 1980s and she'll sacrifice everything for her art and her affair.
Who hasn't fallen for someone they shouldn't? Who hasn't made bad choices in the name of love ... or lust? Who hasn't stayed in toxic situations because of the emotions attached to them? These themes, along with a passionate thirst for the craft of film, are the tapestry that weaves this narrative together. Sort of.
I say 'sort of' because although the story is easy to follow, it's anything but linear, and the pace is agonizingly slow. Still, you can't look away. Swinton Byrne, who shares the screen with her real-life Mother (portraying her mother here too), Tilda Swinton, is phenomenal as a naive, yet fiercely dedicated film student. Tom Burke, as her tortured and torturous, addicted beau is equally compelling.
The way the film is shot captures the feel of the era it represents and what's left unsaid becomes just as important as the dialog that's spoken.
I wouldn't say I enjoyed the film, because it's a truly tragic story (and drawn from the real life of its creator, Joanna Hogg), but I certainly appreciated it and all that it represents.
If you're wondering why it's achieved almost universal acclaim, it's because of the lingering feelings about the powerful characters you're left with long after you leave the theater.
~~~
Wednesday, May 29, 2019
Top End Wedding
On Sunday I screened Top End Wedding, starring Miranda Tapsell and Gwilym Lee.
Lauren (Tapsell) and Ned (Lee) are in love and planning a whirlwind ceremony for their nuptials in 10 days, hut there's a complication—Lauren's mother is missing. They must find her or their perfect Top End Wedding will not happen.
What starts as a plane trip becomes a road trip and a journey deep into family dynamics and secrets from the past emerge, as if on cue. It's all executed in a comedic, fun way, but the real themes that anchor the story keep the film grounded enough to have meaning.
It's also an exploration of the merging of cultures (the bride's mother comes from an indigenous Australian tribe) and the traditions that come along with being part of something so sacred.
I very much enjoyed the fast-paced vibe of this film set in gorgeous remote areas of Australia. The characters were likeable (even those who were specifically supposed to serve as the opposite) and
the scenery breathtaking.
A satisfying romp with genuine roots.
~~~
Top End Wedding screened at the 45th Annual Seattle International Film Festival.
Lauren (Tapsell) and Ned (Lee) are in love and planning a whirlwind ceremony for their nuptials in 10 days, hut there's a complication—Lauren's mother is missing. They must find her or their perfect Top End Wedding will not happen.
What starts as a plane trip becomes a road trip and a journey deep into family dynamics and secrets from the past emerge, as if on cue. It's all executed in a comedic, fun way, but the real themes that anchor the story keep the film grounded enough to have meaning.
It's also an exploration of the merging of cultures (the bride's mother comes from an indigenous Australian tribe) and the traditions that come along with being part of something so sacred.
I very much enjoyed the fast-paced vibe of this film set in gorgeous remote areas of Australia. The characters were likeable (even those who were specifically supposed to serve as the opposite) and
the scenery breathtaking.
A satisfying romp with genuine roots.
~~~
Top End Wedding screened at the 45th Annual Seattle International Film Festival.
Sunday, May 19, 2019
Banana Split
Today I screened Banana Split, starring Hannah Marks and Liana Liberato.
April (Marks) is devastated by her breakup with Nick (Dylan Sprouse). It's the summer after high school graduation and instead of focusing on her upcoming entrance to college across the country, she instead focuses on learning more about Nick's new flame, Clara (Liberato).
Determined to loathe her, April has friends spying on Clara's Instagram account and is displeased when they end up at the same party. Until she gets to know Clara. And likes her.
The two girls unexpectedly form a genuine friendship, but choose to keep their association from Nick. Throughout the summer they visit each other's homes, go out to eat, take trips and behave just as besties do. And really, it shouldn't be so surprising—they fell for the same boy, so it's not weird they enjoy the same types of things, right?
Right. Until said same boy gets in the way and things get complicated all of a sudden.
I won't spoil the ending, but it's realistic and satisfying in a way that many films are not. And that's my take on the entire movie: it's realistic and satisfying in a way that many films are not. It examines the complicated friendships women sometimes enter into coupled with the complicated feelings of young love. The characters speak the way real people speak and the story progresses like life.
Don't miss this one—especially if you have (or ever were) a teenage girl.
~~~
Banana Split screened at the 45th annual Seattle International Film Festival.
April (Marks) is devastated by her breakup with Nick (Dylan Sprouse). It's the summer after high school graduation and instead of focusing on her upcoming entrance to college across the country, she instead focuses on learning more about Nick's new flame, Clara (Liberato).
Determined to loathe her, April has friends spying on Clara's Instagram account and is displeased when they end up at the same party. Until she gets to know Clara. And likes her.
The two girls unexpectedly form a genuine friendship, but choose to keep their association from Nick. Throughout the summer they visit each other's homes, go out to eat, take trips and behave just as besties do. And really, it shouldn't be so surprising—they fell for the same boy, so it's not weird they enjoy the same types of things, right?
Right. Until said same boy gets in the way and things get complicated all of a sudden.
I won't spoil the ending, but it's realistic and satisfying in a way that many films are not. And that's my take on the entire movie: it's realistic and satisfying in a way that many films are not. It examines the complicated friendships women sometimes enter into coupled with the complicated feelings of young love. The characters speak the way real people speak and the story progresses like life.
Don't miss this one—especially if you have (or ever were) a teenage girl.
~~~
Banana Split screened at the 45th annual Seattle International Film Festival.
Saturday, November 24, 2018
Can you ever forgive me?
This morning I saw Can you ever forgive me? Starring Melissa McCarthy and Richard E. Grant.
Lee Israel (McCarthy) was an acclaimed writer of biographies in a bit of a slump. Her agent wasn't doing anything to promote the book she was working on and her financial situation was dire. One day as she was doing some research at the library, a personal letter by the author of the book she was reading fell out. She kept it and sold it to an independent bookstore that dealt in collectibles. Amazed by the amount of money she received for it, she came up with a plan to make more.
Because she was such a gifted writer, Israel was able to mimic the style of several long-gone authors and forge believable letters, which she would then "weather" to appear old. She found a few reliable dealers who would purchase from her and made a good living, affording her to catch up on her rent and save her ill cat.
When a savvy customer catches on to her deception, she is blacklisted around town and enlists the help of her only friend Jack (Grant) who enjoys stepping in to take the reigns. Soon enough they're in real trouble and must face the consequences.
Although there were perhaps too many scenes of her sickly cat and too many references to the bugs in her apartment (it's clear that her situation was bad), McCarthy is never boring and the uneven pace is forgivable just to watch her magic. She makes a very unlikable person sympathetic and convinces you to root for her, though she way she treats people (including herself) is awful.
It's sad that someone so talented couldn't sustain success under her own name, but of course the ordeal gave her enough material to write the book upon which this film is based. If she were alive today, I'd bet she'd get a kick out of McCarthy's portrayal of her.
~~~
Lee Israel (McCarthy) was an acclaimed writer of biographies in a bit of a slump. Her agent wasn't doing anything to promote the book she was working on and her financial situation was dire. One day as she was doing some research at the library, a personal letter by the author of the book she was reading fell out. She kept it and sold it to an independent bookstore that dealt in collectibles. Amazed by the amount of money she received for it, she came up with a plan to make more.
Because she was such a gifted writer, Israel was able to mimic the style of several long-gone authors and forge believable letters, which she would then "weather" to appear old. She found a few reliable dealers who would purchase from her and made a good living, affording her to catch up on her rent and save her ill cat.
When a savvy customer catches on to her deception, she is blacklisted around town and enlists the help of her only friend Jack (Grant) who enjoys stepping in to take the reigns. Soon enough they're in real trouble and must face the consequences.
Although there were perhaps too many scenes of her sickly cat and too many references to the bugs in her apartment (it's clear that her situation was bad), McCarthy is never boring and the uneven pace is forgivable just to watch her magic. She makes a very unlikable person sympathetic and convinces you to root for her, though she way she treats people (including herself) is awful.
It's sad that someone so talented couldn't sustain success under her own name, but of course the ordeal gave her enough material to write the book upon which this film is based. If she were alive today, I'd bet she'd get a kick out of McCarthy's portrayal of her.
~~~
Thursday, October 18, 2018
The Bookshop
Last night I saw The Bookshop, starring Emily Mortimer and Patricia Clarkson.
Florence (Mortimer) is a British widow who decides to take back her life after grieving her husband's death. She makes her dream of opening an independent bookshop a reality in the small village of Hardborough.
The town reacts positively to the shop, visiting in droves to buy forbidden titles such as Lolita. Florence also develops a friendship with a wealthy recluse (played by the always-great Bill Nighy) who has her send him as many Ray Bradbury titles as she can find.
Trouble brews when the town powerhouse, Mrs. Gamart (Clarkson), wants to use the building Florence opened the shop in for an arts center. Florence must decide whether or not it's worth it to deplete her resources and take on the legal battle, or let it be and move on.
Though the pace of the film is incredibly uneven, there are many enjoyable aspects to it. Watching Clarkson as a villainess is fun, as is seeing Nighy in a more understated role. Perhaps the most compelling touch is the fact the film's story is told like a book, complete with voiceover narrations and actors who behave like caricatures.
More importantly it's an assessment of the toxicity that can surface in communities when gossip and abuse of power rule.
See it for the performances, the ambiance and the satisfying twist ending.
~~~
Florence (Mortimer) is a British widow who decides to take back her life after grieving her husband's death. She makes her dream of opening an independent bookshop a reality in the small village of Hardborough.
The town reacts positively to the shop, visiting in droves to buy forbidden titles such as Lolita. Florence also develops a friendship with a wealthy recluse (played by the always-great Bill Nighy) who has her send him as many Ray Bradbury titles as she can find.
Trouble brews when the town powerhouse, Mrs. Gamart (Clarkson), wants to use the building Florence opened the shop in for an arts center. Florence must decide whether or not it's worth it to deplete her resources and take on the legal battle, or let it be and move on.
Though the pace of the film is incredibly uneven, there are many enjoyable aspects to it. Watching Clarkson as a villainess is fun, as is seeing Nighy in a more understated role. Perhaps the most compelling touch is the fact the film's story is told like a book, complete with voiceover narrations and actors who behave like caricatures.
More importantly it's an assessment of the toxicity that can surface in communities when gossip and abuse of power rule.
See it for the performances, the ambiance and the satisfying twist ending.
~~~
Saturday, September 08, 2018
Eighth Grade
Last night I saw Eighth Grade, starring Elsie Fisher and Josh Hamilton.
Kayla (Fisher) is a typical eighth grader in the modern world—she's always on her phone, engrossed in her laptop and hosts her own YouTube channel. She's awkward and anxious and lonely, but she desperately wants to fit in with the 'cool' crowd.
There are wonderful things about this film and not-so-great things about this film that keep me from agreeing with the general consensus (that it's fantastic).
First, the positive:
Kayla (Fisher) is a typical eighth grader in the modern world—she's always on her phone, engrossed in her laptop and hosts her own YouTube channel. She's awkward and anxious and lonely, but she desperately wants to fit in with the 'cool' crowd.
There are wonderful things about this film and not-so-great things about this film that keep me from agreeing with the general consensus (that it's fantastic).
First, the positive:
- The lead actress is phenomenal. Right down to the body language, how she hunches her shoulders as she walks, Fisher conveys the lack of self-esteem that plagues young women today and wears every scar in her downward glances.
- It's refreshing to see a coming-of-age film about a girl instead of a boy.
- In subtle ways, this film tells more about the horrors of the digital age than any previous fictional exploration.
Now, the negative:
- Kayla's dad (Hamilton) is practically a caricature of the embarrassing parent. He tries too hard, says all the wrong things and shows up when he's least welcome. He would have been a lot more effective if he'd been less blatant.
- The 'mean girls' that serve as the popular kids Kayla attempts to mingle with at a pool party are very one-dimensional. Sure, a pack of nasty girls can blend into one throbbing nightmare for any adolescent outcast, but the audience knows there is always more than meets the eye.
- In contrast to the girls her own age, Kayla's high school mentor is almost too nice to the young girl, inviting her to hang out amongst her pals after hours.
The pace is also frustrating because it's so uneven. We may get two or three comedic elements and then a long-drawn out dramatic sequence. I did look at my watch more than once.
So ... who should see this? Sure, parents should have a look. But really, it would be best if they took their adolescents with them and paid attention to the scenes that may trigger them. Have conversations about what to do if put in similar situations. Use it as an opening for dialog.
It is in those parent-child conversations that its best purpose will be served.
~~~
Sunday, September 02, 2018
Leave No Trace
Yesterday I saw Leave No Trace, starring Ben Foster and Thomasin McKenzie.
Will (Foster) is a veteran suffering from PTSD, raising his teenage daughter in the woods of a public park outside Portland, Oregon. Tom (McKenzie) accepts this life with grace as it's all she knows. We assume mom has passed away, but she's only mentioned briefly, quite vaguely, so we're not sure.
When Tom gets spotted by a hiker, their life is exposed and social services relocates them to temporary housing on a farm. There, Tom begins to make friends with nearby kids her age and Will works on the owner's tree farm in exchange for lodging. Tom loves it and Will hates it.
After just a few weeks, Will insists they leave and soon enough, they're back to a transient lifestyle. For the first time Tom lets Will know that she was happy with the structure and stability of the farm life. Though it pains him to make her suffer because of his issues, that doesn't prevent him from caving and they continue to press on.
The film is both tender and excruciating to watch. This father and daughter are genuine friends, and their love runs deep. Tom has learned amazing survival skills from Will, but his unreasonable need to be off the grid is unfair to her and she comes to realize that. Though his actions make you angry, you feel for him and that's a testament to the pain that comes through Ben Foster's eyes in every scene.
Tom McKenzie is also convincing as a young girl who just wants more out of life, but doesn't want to hurt her father.
If you're looking for a film that moves along at a quiet, but important-to-the-story pace and also makes you re-think every homeless person you encounter, give this a chance. It may just bring perspective along with the tears.
~~~
Will (Foster) is a veteran suffering from PTSD, raising his teenage daughter in the woods of a public park outside Portland, Oregon. Tom (McKenzie) accepts this life with grace as it's all she knows. We assume mom has passed away, but she's only mentioned briefly, quite vaguely, so we're not sure.
When Tom gets spotted by a hiker, their life is exposed and social services relocates them to temporary housing on a farm. There, Tom begins to make friends with nearby kids her age and Will works on the owner's tree farm in exchange for lodging. Tom loves it and Will hates it.
After just a few weeks, Will insists they leave and soon enough, they're back to a transient lifestyle. For the first time Tom lets Will know that she was happy with the structure and stability of the farm life. Though it pains him to make her suffer because of his issues, that doesn't prevent him from caving and they continue to press on.
The film is both tender and excruciating to watch. This father and daughter are genuine friends, and their love runs deep. Tom has learned amazing survival skills from Will, but his unreasonable need to be off the grid is unfair to her and she comes to realize that. Though his actions make you angry, you feel for him and that's a testament to the pain that comes through Ben Foster's eyes in every scene.
Tom McKenzie is also convincing as a young girl who just wants more out of life, but doesn't want to hurt her father.
If you're looking for a film that moves along at a quiet, but important-to-the-story pace and also makes you re-think every homeless person you encounter, give this a chance. It may just bring perspective along with the tears.
~~~
Wednesday, August 29, 2018
Puzzle
Last night I saw Puzzle, starring Kelly Macdonald and Irrfan Khan.
Agnes (Macdonald) is a content Connecticut housewife in a traditional Patriarchal Catholic marriage to Louie (David Denman), who with help from their eldest son, runs the local auto body shop. They have another, younger son who appears somewhat spoiled.
In the first scene of the film, we see Agnes act as a gracious hostess to a house full of people—she cleans up after a dish breaks, brings cake out for all to enjoy. What we soon realize is that the birthday party she's so carefully attending to is her own. In perhaps the saddest sequence, we see her open her presents, alone, after all the guests are gone and she's thoroughly cleaned the home.
Among those gifts is a 1,000-piece puzzle from her aunt who lives in New York City. The way she carefully opens the puzzle, studying it before practically attacking it on the table, lets us know that puzzles mean something to her.
She's very fast at constructing them and treats them almost like a drug—she sneaks around putting them together, becomes preoccupied thinking about them and has a visceral reaction to their completion.
Needing another "fix" she calls her aunt to inquire about where she found the one she got for her birthday. The aunt directs her to a store in Manhattan and soon she's making a day trip on the train there to feed her habit. In the store, she notices a flyer someone has posted who is seeking a puzzle partner for an upcoming competition. Intrigued, she uses her new iPhone (a birthday gift from her family) to text the gentleman and soon meets up with him in his New York City apartment.
Robert (Khan) is living an opposite lifestyle from her—he's wealthy, single and glued to the 24-hour news channels. She is bound by her duty to family and church, making sure dinner is on the table each night and the chores are properly done.
Though different, the two enjoy each other's company and agree to be partners, working toward a title at the Nationals. Agnes keeps this all from her family, who think she's aiding an injured relative when she ventures into the city twice a week.
Of course, the metaphor is strong—as Agnes succeeds in putting the puzzles together with Robert, the pieces of what's missing in her own life also begin to fall into place.
Her husband isn't "bad" enough to be unlikeable, but we still root for Robert, if nothing else because we know he'll let Agnes flourish however she chooses to.
The performances, especially by the two leads, are nothing short of perfection, which helps us believe a situation like this could happen.
A satisfying and strangely empowering film.
~~~
Agnes (Macdonald) is a content Connecticut housewife in a traditional Patriarchal Catholic marriage to Louie (David Denman), who with help from their eldest son, runs the local auto body shop. They have another, younger son who appears somewhat spoiled.
In the first scene of the film, we see Agnes act as a gracious hostess to a house full of people—she cleans up after a dish breaks, brings cake out for all to enjoy. What we soon realize is that the birthday party she's so carefully attending to is her own. In perhaps the saddest sequence, we see her open her presents, alone, after all the guests are gone and she's thoroughly cleaned the home.
Among those gifts is a 1,000-piece puzzle from her aunt who lives in New York City. The way she carefully opens the puzzle, studying it before practically attacking it on the table, lets us know that puzzles mean something to her.
She's very fast at constructing them and treats them almost like a drug—she sneaks around putting them together, becomes preoccupied thinking about them and has a visceral reaction to their completion.
Needing another "fix" she calls her aunt to inquire about where she found the one she got for her birthday. The aunt directs her to a store in Manhattan and soon she's making a day trip on the train there to feed her habit. In the store, she notices a flyer someone has posted who is seeking a puzzle partner for an upcoming competition. Intrigued, she uses her new iPhone (a birthday gift from her family) to text the gentleman and soon meets up with him in his New York City apartment.
Robert (Khan) is living an opposite lifestyle from her—he's wealthy, single and glued to the 24-hour news channels. She is bound by her duty to family and church, making sure dinner is on the table each night and the chores are properly done.
Though different, the two enjoy each other's company and agree to be partners, working toward a title at the Nationals. Agnes keeps this all from her family, who think she's aiding an injured relative when she ventures into the city twice a week.
Of course, the metaphor is strong—as Agnes succeeds in putting the puzzles together with Robert, the pieces of what's missing in her own life also begin to fall into place.
Her husband isn't "bad" enough to be unlikeable, but we still root for Robert, if nothing else because we know he'll let Agnes flourish however she chooses to.
The performances, especially by the two leads, are nothing short of perfection, which helps us believe a situation like this could happen.
A satisfying and strangely empowering film.
~~~
Wednesday, July 25, 2018
The 10 Documentaries I Tell Everyone to See
A recent conversation about the greatness of a documentary in theaters today prompted me to create this list; just keep in mind that I omitted music documentaries from possible inclusion because that's a list of its own.
10. CRUMB, 1995
This film about cult cartoonist Robert Crumb took the Grand Jury Prize at Sundance and it's not hard to see why. He came from a family of damaged souls, and of course battled his own demons. Perhaps too dark to be nominated for an Oscar, the film community understandably embraced it.
If you're discovering it for the first time, I highly recommend the Criterion Collection version, which features a commentary with the late Roger Ebert.
9. TIG, 2015
Who can endure a breakup, a near-fatal illness, the death of a parent and a cancer diagnosis ... then go on stage in front of a hundred guests and laugh about it? The incomparable comic, Tig Notaro, who tells her story in this oddly hilarious movie. My original review, when it debuted at the Seattle International Film Festival, is here.
At the time of this writing, you can stream this on Netflix.
8. MY FLESH AND BLOOD, 2004
Susan Tom is a single mother in California who has two biological children and 11 adopted, special needs children. This film chronicles a year in their life, which is run as efficiently as a military operation, but exposes the emotional gaps that result from a parent being spread so thin and gets at the reasons why Ms. Tom seems to be hoarding humans. Michael and I discuss this on a classic episode of Cinebanter.
This film is available on iTunes.
7. CAPTURING THE FRIEDMANS, 2003
What began as a film about kids' birthday party entertainers soon turns into a portrait of a severely dysfunctional family. With two family members accused of sexual abuse (yet maintaining their innocence) the film leaves the audience wondering—if the charges are true, is pedophilia genetic? Note: this is one of the rare instances where I recommend not reading anything about the film before going in. Let the horror unfold and wash over you organically.
Available on demand via HBO GO, this film is still in rotation on the network as well.
6. ETHEL, 2012
If there's such a thing as a refreshing political documentary, this is it. Democrat or Republican, it's hard not to fall for the charms of RFK's widow Ethel Kennedy, who is profiled here by her daughter Rory. It's delightful, sad, surprising and inspiring. I wrote a gushing review of it for Cinebanter, when it played at SIFF and have seen it several times since. Every viewing is a pleasure.
This film can be found in DVD format via Amazon.
5. THE TIMES OF HARVEY MILK, 1984
Though Sean Penn's Oscar-winning turn as the famous politician in the fictionalized version, Milk, was nothing short of phenomenal, I dare say I prefer this documentary over it. Seeing the real people discuss their friend and leader, and with archival footage of Milk himself, the powerful nature of his life and death become all the more luminous. Michael and I discussed it in this episode of Cinebanter.
You can rent this film via Amazon Prime.
4. MARWENCOL, 2010
This is one of those films you walk out of and say to yourself, "What just happened?" I loved it when I saw it at SIFF and was excited to learn a fictional version of it starring Steve Carell called Welcome to Marwen will be released later this year.
You can watch this film via iTunes.
3. DEAR ZACHARY: A LETTER TO A SON ABOUT HIS FATHER, 2008
Only listen to our Cinebanter episode where we talk about this after you've watched the film, because there are spoilers at every turn. This has everything—joy, drama, mystery, horror—you name it. At heart, it's just a story about a father and son and the influence that destroys their lives. By the time I'd finally recovered from seeing it (two years later) I ended up at a Cinequest table with the director, and over drinks gasped all over again hearing additional details that salted the wounds.
You can stream this free with an Amazon Prime membership.
2. FINDING VIVIAN MAIER, 2014
Imagine being infinitely gifted in a medium of art but living your entire life telling no one about that gift, having an alternate career and then dying with a full storage unit of your work that may or may not be discovered. That was the way of Vivian Maier, an immigrant nanny who was also a stunning photographer. Read my original review here. And like I did, find an exhibit of her photos (they regularly tour) and take them all in.
This film is available for purchase on Amazon.
1. PARADISE LOST TRILOGY, 1996, 2000 & 2011
I never thought I'd develop a crush on a convicted killer, but that's what happened when I saw Damien Echols in these films for the first time. It's a harrowing story of a brutal murder of three children and the three innocent teenagers (dubbed the "West Memphis Three") who were convicted of killing them. At the urging of my Cinebanter partner, Michael, I caught up with the first two and we discussed them on our show; the third one I saw in the theater when it was released and then met Damien and his wife at an event three years later.
All three films are sold in a collection via Amazon. Note: After watching, be sure to google the footage of their release if you want a good cry.
10. CRUMB, 1995
This film about cult cartoonist Robert Crumb took the Grand Jury Prize at Sundance and it's not hard to see why. He came from a family of damaged souls, and of course battled his own demons. Perhaps too dark to be nominated for an Oscar, the film community understandably embraced it.
If you're discovering it for the first time, I highly recommend the Criterion Collection version, which features a commentary with the late Roger Ebert.
9. TIG, 2015
Who can endure a breakup, a near-fatal illness, the death of a parent and a cancer diagnosis ... then go on stage in front of a hundred guests and laugh about it? The incomparable comic, Tig Notaro, who tells her story in this oddly hilarious movie. My original review, when it debuted at the Seattle International Film Festival, is here.
At the time of this writing, you can stream this on Netflix.
8. MY FLESH AND BLOOD, 2004
Susan Tom is a single mother in California who has two biological children and 11 adopted, special needs children. This film chronicles a year in their life, which is run as efficiently as a military operation, but exposes the emotional gaps that result from a parent being spread so thin and gets at the reasons why Ms. Tom seems to be hoarding humans. Michael and I discuss this on a classic episode of Cinebanter.
This film is available on iTunes.
7. CAPTURING THE FRIEDMANS, 2003
What began as a film about kids' birthday party entertainers soon turns into a portrait of a severely dysfunctional family. With two family members accused of sexual abuse (yet maintaining their innocence) the film leaves the audience wondering—if the charges are true, is pedophilia genetic? Note: this is one of the rare instances where I recommend not reading anything about the film before going in. Let the horror unfold and wash over you organically.
Available on demand via HBO GO, this film is still in rotation on the network as well.
6. ETHEL, 2012
If there's such a thing as a refreshing political documentary, this is it. Democrat or Republican, it's hard not to fall for the charms of RFK's widow Ethel Kennedy, who is profiled here by her daughter Rory. It's delightful, sad, surprising and inspiring. I wrote a gushing review of it for Cinebanter, when it played at SIFF and have seen it several times since. Every viewing is a pleasure.
This film can be found in DVD format via Amazon.
5. THE TIMES OF HARVEY MILK, 1984
Though Sean Penn's Oscar-winning turn as the famous politician in the fictionalized version, Milk, was nothing short of phenomenal, I dare say I prefer this documentary over it. Seeing the real people discuss their friend and leader, and with archival footage of Milk himself, the powerful nature of his life and death become all the more luminous. Michael and I discussed it in this episode of Cinebanter.
You can rent this film via Amazon Prime.
4. MARWENCOL, 2010
This is one of those films you walk out of and say to yourself, "What just happened?" I loved it when I saw it at SIFF and was excited to learn a fictional version of it starring Steve Carell called Welcome to Marwen will be released later this year.
You can watch this film via iTunes.
3. DEAR ZACHARY: A LETTER TO A SON ABOUT HIS FATHER, 2008
Only listen to our Cinebanter episode where we talk about this after you've watched the film, because there are spoilers at every turn. This has everything—joy, drama, mystery, horror—you name it. At heart, it's just a story about a father and son and the influence that destroys their lives. By the time I'd finally recovered from seeing it (two years later) I ended up at a Cinequest table with the director, and over drinks gasped all over again hearing additional details that salted the wounds.
You can stream this free with an Amazon Prime membership.
2. FINDING VIVIAN MAIER, 2014
Imagine being infinitely gifted in a medium of art but living your entire life telling no one about that gift, having an alternate career and then dying with a full storage unit of your work that may or may not be discovered. That was the way of Vivian Maier, an immigrant nanny who was also a stunning photographer. Read my original review here. And like I did, find an exhibit of her photos (they regularly tour) and take them all in.
This film is available for purchase on Amazon.
1. PARADISE LOST TRILOGY, 1996, 2000 & 2011
I never thought I'd develop a crush on a convicted killer, but that's what happened when I saw Damien Echols in these films for the first time. It's a harrowing story of a brutal murder of three children and the three innocent teenagers (dubbed the "West Memphis Three") who were convicted of killing them. At the urging of my Cinebanter partner, Michael, I caught up with the first two and we discussed them on our show; the third one I saw in the theater when it was released and then met Damien and his wife at an event three years later.
All three films are sold in a collection via Amazon. Note: After watching, be sure to google the footage of their release if you want a good cry.
Thursday, July 12, 2018
Disobedience
On Tuesday I saw Disobedience, starring Rachel Weisz and Rachel McAdams.
Ronit (Weisz) is the daughter of a beloved rabbi who returns home to England from America following his death. Esti (McAdams) is the girl she once fancied, who is now married to one of their (male) mutual friends and still lives in their hometown. Because they are from an Orthodox Jewish community, the former tryst between the two women is not spoken of and Ronit is treated more as an intruder than a grieving family member. Nonetheless, the couple make space in their home for Ronit as she navigates her past.
At first, the interactions between Ronit and Esti are tense, as if they aren’t willing to acknowledge their shared history, but as the film unfolds—at a pace that feels slow, yet authentic—we see there was so much more to their story than a physical attraction between kids.
Each glance, each longing stare across the room exhibits how much emotion still resides within each woman with regard to their love for the other. Finally, when they get time alone in a space where there are no judgmental eyes watching them, they are honest with themselves and each other about their resurfacing feelings. But their renewed understanding is not without consequences. How can they move forward when one lives a life that is free in another country and the other has embraced a life of conformity at home?
The answers to this come painfully and somewhat surprisingly as the last 30 minutes of the film take us one way and then drastically another.
Brilliant performances are certainly key here, but the superb writing for me is what takes it to another level. The complexities of love, tradition, culture and friendship all erupt in beautiful and tragic ways. I was left thinking about these characters long after I left the theater.
~~~
Sunday, May 27, 2018
On Chesil Beach
On Friday night I saw On Chesil Beach, starring Saoirse Ronan and Billy Howle.
Florence (Ronan) and Edward (Howle) are a young couple, madly in love. They've just been married and are beginning to enjoy their honeymoon on the beach, indulging in a fancy dinner, then retiring to bed to do what honeymooning couples do.
This is the entirety of the film, which was originally based on the novella of the same name. Author Ian McEwan adapted his own work here for the big screen and the story stays strong, but feels more like a play than a film.
Each scene, placed carefully in between the scenario I detailed above, is a flashback that gives us more insight into how the two came together and what their lives were like growing up. One had a well-to-do family; the other struggled with a mentally ill parent. One was welcomed with open arms into the other's family; the other not so much.
Each vignette gives us clues as to why their honeymoon is so filled with tension and somewhat cleverly begins to draw us in to both characters.
To put it more plainly, I didn't know I was emotionally invested in either of them until one of the final scenes, when I effortlessly burst into tears.
Wonderful storytelling in an unconventional way with two brilliant actors.
If you're fascinated by love and relationships as I am, you should see this film.
~~~
Florence (Ronan) and Edward (Howle) are a young couple, madly in love. They've just been married and are beginning to enjoy their honeymoon on the beach, indulging in a fancy dinner, then retiring to bed to do what honeymooning couples do.
This is the entirety of the film, which was originally based on the novella of the same name. Author Ian McEwan adapted his own work here for the big screen and the story stays strong, but feels more like a play than a film.
Each scene, placed carefully in between the scenario I detailed above, is a flashback that gives us more insight into how the two came together and what their lives were like growing up. One had a well-to-do family; the other struggled with a mentally ill parent. One was welcomed with open arms into the other's family; the other not so much.
Each vignette gives us clues as to why their honeymoon is so filled with tension and somewhat cleverly begins to draw us in to both characters.
To put it more plainly, I didn't know I was emotionally invested in either of them until one of the final scenes, when I effortlessly burst into tears.
Wonderful storytelling in an unconventional way with two brilliant actors.
If you're fascinated by love and relationships as I am, you should see this film.
~~~
Saturday, March 17, 2018
Love, Simon
Today I saw Love, Simon, starring Nick Robinson and Logan Miller.
Simon (Robinson) is a closeted gay high school student, scared to come out to his friends and family. He begins a secret correspondence with another closeted gay student and all is well until their emails become intercepted.
Without knowing each other's identity, they can't meet in person—at least not yet—and it's a race to keep the one person in-the-know from spilling the beans on both of them.
Simon is incredibly likable—he's a sweet older brother to his only sister, respectful to his parents and teachers, and genuine with his close-knit group of friends. He's someone everyone wants to be around, which is why it's so painful to watch him grapple with this dilemma alone.
In fact, what's very refreshing about the film is that nearly everyone (save for the "interceptor" and a few childish a-holes at school) is likable. We aren't hit over the head with hate, though there are prominent race and LGBTQ themes throughout the movie. As a viewer, I very much appreciated that.
Also refreshing are lighthearted scenes (one involving a Whitney Houston song is especially lovely) that are peppered throughout to keep it from feeling like an After School Special™or heavy drama.
You'll laugh, you'll cry, you'll cheer—you'll very much enjoy this movie if you go see it!
~~~
Simon (Robinson) is a closeted gay high school student, scared to come out to his friends and family. He begins a secret correspondence with another closeted gay student and all is well until their emails become intercepted.
Without knowing each other's identity, they can't meet in person—at least not yet—and it's a race to keep the one person in-the-know from spilling the beans on both of them.
Simon is incredibly likable—he's a sweet older brother to his only sister, respectful to his parents and teachers, and genuine with his close-knit group of friends. He's someone everyone wants to be around, which is why it's so painful to watch him grapple with this dilemma alone.
In fact, what's very refreshing about the film is that nearly everyone (save for the "interceptor" and a few childish a-holes at school) is likable. We aren't hit over the head with hate, though there are prominent race and LGBTQ themes throughout the movie. As a viewer, I very much appreciated that.
Also refreshing are lighthearted scenes (one involving a Whitney Houston song is especially lovely) that are peppered throughout to keep it from feeling like an After School Special™or heavy drama.
You'll laugh, you'll cry, you'll cheer—you'll very much enjoy this movie if you go see it!
~~~
Wednesday, January 31, 2018
The Florida Project
Last night I saw The Florida Project, starring Brooklynn Prince and Willem Dafoe.
Moonee (Prince) is a precocious hellraiser, talking her friends into all sorts of mischief (some harmless, some serious) to pass the time. She's on summer break and lives at a motel not too far from Disney World, where those more fortunate go to have fun. Her mother, Halley (Bria Vinaite) is young, reckless and barely able to make each week's "rent," (though the property is breaking rules by allowing them to live there).
The film is told through the sun-kissed lens of Florida, but is one of the darkest stories I've seen in a while.
When Halley can't scrape up enough cash to pay the front desk, she turns tricks in her room, sometimes with Moonee nearby in the bathtub (the sound of her customers masked by loud hip-hop music). Discovering that Moonee has talked her son into doing something illegal, the downstairs neighbor cuts off all contact, which results in Halley confronting her at her place of business, then physically attacking her on a separate occasion. You'd assume that Moonee's chances of a having normal life are slim—and you'd be right—were it not for the motel manager, Bobby (Dafoe), who spends as much time looking out for her as he does caring for the property.
I spent the duration of the film reminding myself that it was fictional so I wouldn't erupt into a rage-cry, but I know that several variations of this story do exist in real life, so the tears were hard to avoid. I remembered watching Alexandra Pelosi's amazing documentary, Homeless: The Motel Kids of Orange County, back in 2010. That had a similar vibe though it was real children and real parents, and they lived near Disneyland, not Disney World. Also, the parents in her story weren't monsters, they were hard-working people desperate to build a better life for their families, if the universe would just give them an out.
It's not easy to watch, but you can't take your eyes off of it. Prince, just 6 years-old when this was filmed, is phenomenal (and looks like a tiny version of Diane Lane); Vinaite is impressive too, displaying enough love for her girl that you sympathize with her in spite of her horrific behavior. And Dafoe, who is Oscar-nominated for his performance, hits all the right notes as the compassionate observer.
It will be a long time before these characters leave my mind.
~~~
Moonee (Prince) is a precocious hellraiser, talking her friends into all sorts of mischief (some harmless, some serious) to pass the time. She's on summer break and lives at a motel not too far from Disney World, where those more fortunate go to have fun. Her mother, Halley (Bria Vinaite) is young, reckless and barely able to make each week's "rent," (though the property is breaking rules by allowing them to live there).
The film is told through the sun-kissed lens of Florida, but is one of the darkest stories I've seen in a while.
When Halley can't scrape up enough cash to pay the front desk, she turns tricks in her room, sometimes with Moonee nearby in the bathtub (the sound of her customers masked by loud hip-hop music). Discovering that Moonee has talked her son into doing something illegal, the downstairs neighbor cuts off all contact, which results in Halley confronting her at her place of business, then physically attacking her on a separate occasion. You'd assume that Moonee's chances of a having normal life are slim—and you'd be right—were it not for the motel manager, Bobby (Dafoe), who spends as much time looking out for her as he does caring for the property.
I spent the duration of the film reminding myself that it was fictional so I wouldn't erupt into a rage-cry, but I know that several variations of this story do exist in real life, so the tears were hard to avoid. I remembered watching Alexandra Pelosi's amazing documentary, Homeless: The Motel Kids of Orange County, back in 2010. That had a similar vibe though it was real children and real parents, and they lived near Disneyland, not Disney World. Also, the parents in her story weren't monsters, they were hard-working people desperate to build a better life for their families, if the universe would just give them an out.
It's not easy to watch, but you can't take your eyes off of it. Prince, just 6 years-old when this was filmed, is phenomenal (and looks like a tiny version of Diane Lane); Vinaite is impressive too, displaying enough love for her girl that you sympathize with her in spite of her horrific behavior. And Dafoe, who is Oscar-nominated for his performance, hits all the right notes as the compassionate observer.
It will be a long time before these characters leave my mind.
~~~
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.
~~~
Tuesday, August 15, 2017
Beatriz at Dinner
Tonight I saw Beatriz at Dinner, starring Salma Hayek and Connie Britton.
Beatriz (Hayek) is a Mexican healer who gives her affluent client Cathy (Britton) a massage after a losing a beloved pet. She can't hide her grief, but Cathy is compassionate and listens to her as she tells the story of an angry neighbor who killed her goat. As she's leaving the mansion, her car breaks down so she calls a friend to come and fix it. It will be a few hours until he can get there, so Cathy invites her to stay for dinner.
At the meal are Cathy and her husband, plus two couples. Both of the men work with her husband in the real estate development business. All of them are white.
Beatriz awkwardly greets the dinner party visitors with warm hugs instead of the cold handshakes they're used to and the night is off to a weird start. The more wine Beatriz drinks, the more honest she becomes and soon the polite conversation turns contentious.
John Lithgow is condescending and cool as the mogul Doug, who everyone seems to be kissing up to. Immediately he stereotypes Beatriz, asking her first to get him a drink (mistaking her for the help), then joking that maybe she once danced in Vegas when she mentions he looks familiar.
During the meal, Beatriz has a small meltdown when she mistakes Doug for a corporate animal who ruined her home town in Mexico. She leaves the group to rest and uncovers something more. The story continues with her return to the party.
The film is very light on actual action, but the dialog here crackles so easily that's it's hard to notice. Every note of every word is carefully chosen either by the two who are sparring or those aiming to diffuse them.
It's hard to take your eyes of off Hayek, as her performance has so many dimensions. She emotes from deep within her eyes and carries herself as a confident holistic healer offended by soulless people would.
Alternately, Lithgow makes small sparks of his character redeeming, yet we can't help but shake our heads in disgust at his behavior.
A quiet—but no less powerful—commentary on our culturally volatile times.
~~~
Saturday, January 07, 2017
Lion
This morning I saw Lion, starring Sunny Pawar and Dev Patel.
As a young boy, Saroo (Pawar - young; Patel - present day) helps his mother carry rocks in the tiny village in India where they reside. Their family is living in poverty, but he and his brother Guddu (Abhishek Bharate) find work where they can get it. One night, Guddu sets out for a job and Saroo begs to tag along. After at first protesting, Guddu gives in and they set out by train for their journey.
Once they arrive, Guddu goes to look for the job site and the brothers become separated. Saroo falls asleep on a train and wakes up in an unfamiliar place: Calcutta. He's traveled over 1200 miles. There, he forages for food, escapes a gang that's rounding up street kids and finally lands in the care of authorities, who arrange for him to be adopted.
He wants to go home, but they don't understand the pronunciation of his town and he doesn't know his mother's name. His mother doesn't read or write, so she doesn't see the newspapers printing the reports of Saroo being found. Adoption is his best chance at resuming a normal life.
His adoptive parents, Sue (Nicole Kidman) and John (David Wenham), are a kind, financially comfortable Australian couple. They love him the instant he arrives and he loves them right back. Soon they adopt another Indian child and Saroo has a new brother, all the while missing his real family.
Sunny Pawar, who plays the young version of Saroo melted my heart instantly. His sweet little face, conveying every ounce of horror and pain he was enduring was almost too much to take, but incredibly well done. Is he too young to qualify for an Oscar nomination? I hope not.
Speaking of nominations, I think this is Kidman's best performance in years. Perhaps her own experience of being an adoptive mother helped her prepare for the role, or she just embraced the story so fully she aced it; whatever the reason, her time on-screen is amazing.
But I digress; this true story unfolds in the most tender of ways and to say that I got a little weepy toward the end would be a gross understatement. As Oprah would say, I went into "the ugly cry." And so did most of the folks around me.
What a beautiful film about a beautiful story.
~~~
As a young boy, Saroo (Pawar - young; Patel - present day) helps his mother carry rocks in the tiny village in India where they reside. Their family is living in poverty, but he and his brother Guddu (Abhishek Bharate) find work where they can get it. One night, Guddu sets out for a job and Saroo begs to tag along. After at first protesting, Guddu gives in and they set out by train for their journey.
Once they arrive, Guddu goes to look for the job site and the brothers become separated. Saroo falls asleep on a train and wakes up in an unfamiliar place: Calcutta. He's traveled over 1200 miles. There, he forages for food, escapes a gang that's rounding up street kids and finally lands in the care of authorities, who arrange for him to be adopted.
He wants to go home, but they don't understand the pronunciation of his town and he doesn't know his mother's name. His mother doesn't read or write, so she doesn't see the newspapers printing the reports of Saroo being found. Adoption is his best chance at resuming a normal life.
His adoptive parents, Sue (Nicole Kidman) and John (David Wenham), are a kind, financially comfortable Australian couple. They love him the instant he arrives and he loves them right back. Soon they adopt another Indian child and Saroo has a new brother, all the while missing his real family.
Sunny Pawar, who plays the young version of Saroo melted my heart instantly. His sweet little face, conveying every ounce of horror and pain he was enduring was almost too much to take, but incredibly well done. Is he too young to qualify for an Oscar nomination? I hope not.
Speaking of nominations, I think this is Kidman's best performance in years. Perhaps her own experience of being an adoptive mother helped her prepare for the role, or she just embraced the story so fully she aced it; whatever the reason, her time on-screen is amazing.
But I digress; this true story unfolds in the most tender of ways and to say that I got a little weepy toward the end would be a gross understatement. As Oprah would say, I went into "the ugly cry." And so did most of the folks around me.
What a beautiful film about a beautiful story.
~~~
Subscribe to:
Posts (Atom)