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.
Showing posts with label love. Show all posts
Showing posts with label love. Show all posts
Wednesday, May 29, 2019
Saturday, April 06, 2019
Gloria Bell
This morning I saw Gloria Bell, starring Julianne Moore and John Turturro.
Gloria (Moore) is a fifty-something divorcée working in a standard job, living her best life in the after-hours, dancing the night away at Los Angeles clubs. It's at one of these clubs that she meets Arnold (Turturro), a more recently divorced father of two with a demanding ex-wife and two grown children who are just as needy.
At first, they find bliss in each other's arms, then Gloria grows tired of the hold Arnold's family has over him and from there they begin a frustrating pattern of wanting to be together, but often abandoning plans (sometimes in the middle of said plans). All the while Gloria is navigating a disturbingly loud neighbor, a hairless cat that keeps sneaking into her apartment and her own grown children, who have issues too.
The film seemed to repeatedly remind us that in life, "It's always something."
Moore is fantastic as this independent woman, prone to sing-a-longs and demanding more from the world. Her face never betrays her intentions and her intentions are often bold. That's not to say she doesn't have moments of weakness—one of the best scenes in the film happens when she's most vulnerable and her mother, played by the always-amazing Holland Taylor, comes to pick up the pieces. In those moments of quiet, we really saw the essence of the woman.
That said, the film sometimes meandered too much for my attention span and scenes lingered longer than they needed to for sufficient effect.
Still, you could do worse than spending a few hours with these characters.
~~~
Gloria (Moore) is a fifty-something divorcée working in a standard job, living her best life in the after-hours, dancing the night away at Los Angeles clubs. It's at one of these clubs that she meets Arnold (Turturro), a more recently divorced father of two with a demanding ex-wife and two grown children who are just as needy.
At first, they find bliss in each other's arms, then Gloria grows tired of the hold Arnold's family has over him and from there they begin a frustrating pattern of wanting to be together, but often abandoning plans (sometimes in the middle of said plans). All the while Gloria is navigating a disturbingly loud neighbor, a hairless cat that keeps sneaking into her apartment and her own grown children, who have issues too.
The film seemed to repeatedly remind us that in life, "It's always something."
Moore is fantastic as this independent woman, prone to sing-a-longs and demanding more from the world. Her face never betrays her intentions and her intentions are often bold. That's not to say she doesn't have moments of weakness—one of the best scenes in the film happens when she's most vulnerable and her mother, played by the always-amazing Holland Taylor, comes to pick up the pieces. In those moments of quiet, we really saw the essence of the woman.
That said, the film sometimes meandered too much for my attention span and scenes lingered longer than they needed to for sufficient effect.
Still, you could do worse than spending a few hours with these characters.
~~~
Saturday, February 23, 2019
Isn't It Romantic
Today I saw Isn't It Romantic, starring Rebel Wilson and Adam Devine.
Natalie (Wilson) is an under-appreciated architect who hates the clichés of romantic comedy narratives. When she gets mugged in a New York City subway station, she awakes to a new world where the streets are clean and the world is painted in colors of love.
After reluctantly entering into a relationship with colleague Blake (Hemsworth), she realizes that to break out of this fantasy world she finds so uncomfortable, she must actually fall in love with who she's meant to be with to break the spell and return to her normal life, so she begins pursuing her best friend, Josh (Devine).
Of course, Rebel Wilson is a pure delight in the lead role and her two suitors are well-cast. Basically this is a fun, clever, classic dig on traditional romantic comedies as it unfolds into one itself.
A welcome reprieve from real life for just under two hours.
~~~
Natalie (Wilson) is an under-appreciated architect who hates the clichés of romantic comedy narratives. When she gets mugged in a New York City subway station, she awakes to a new world where the streets are clean and the world is painted in colors of love.
After reluctantly entering into a relationship with colleague Blake (Hemsworth), she realizes that to break out of this fantasy world she finds so uncomfortable, she must actually fall in love with who she's meant to be with to break the spell and return to her normal life, so she begins pursuing her best friend, Josh (Devine).
Of course, Rebel Wilson is a pure delight in the lead role and her two suitors are well-cast. Basically this is a fun, clever, classic dig on traditional romantic comedies as it unfolds into one itself.
A welcome reprieve from real life for just under two hours.
~~~
Tuesday, October 09, 2018
A Star Is Born
Last night I saw A Star Is Born, starring Lady Gaga and Bradley Cooper.
Jackson (Cooper) is a star of the stage—unfortunately he's as good at drinking as he is at singing and playing guitar. Ally (Gaga) is an amateur with an amazing voice who performs as the only "real" girl at drag shows. Jackson stumbles into one of those shows one evening and experiences love at first sight.
Soon, Ally is piggybacking her talent onto his successful music career and getting noticed in her own right. All the while, Jackson keeps drinking, keeps drugging.
Even if you've seen any of the previous versions of this story, you'll be able to predict where it's headed. Her star shines bright, his addiction worsens, etc.
At the heart of it, it's a story about the endurance of love through tough times. Anyone who has suffered from addiction, or suffered because of someone else's addiction will be able to relate. Anyone who's been so deeply in love with another soul will relate. Anyone who has struggled to reach their dreams will relate.
With the two leads having insanely strong chemistry (not to mention brilliant singing voices), it will be terribly surprising if they aren't both Oscar-nominated for their performances. It just works on so many levels.
If you can stand blinking through your tears, go see it. You won't regret it.
~~~
Jackson (Cooper) is a star of the stage—unfortunately he's as good at drinking as he is at singing and playing guitar. Ally (Gaga) is an amateur with an amazing voice who performs as the only "real" girl at drag shows. Jackson stumbles into one of those shows one evening and experiences love at first sight.
Soon, Ally is piggybacking her talent onto his successful music career and getting noticed in her own right. All the while, Jackson keeps drinking, keeps drugging.
Even if you've seen any of the previous versions of this story, you'll be able to predict where it's headed. Her star shines bright, his addiction worsens, etc.
At the heart of it, it's a story about the endurance of love through tough times. Anyone who has suffered from addiction, or suffered because of someone else's addiction will be able to relate. Anyone who's been so deeply in love with another soul will relate. Anyone who has struggled to reach their dreams will relate.
With the two leads having insanely strong chemistry (not to mention brilliant singing voices), it will be terribly surprising if they aren't both Oscar-nominated for their performances. It just works on so many levels.
If you can stand blinking through your tears, go see it. You won't regret it.
~~~
Sunday, September 10, 2017
Home Again
On Friday I saw Home Again, starring Reese Witherspoon and Pico Alexander.
Alice (Witherspoon) is a single mother, separated from her husband, who is a big-wig in the music industry. To make a fresh start she moves back home to L.A. with her two girls. On a night out with her friends, she meets Harry (Alexander) and two of his friends; all are trying to break into the film business. Her father was a legendary filmmaker. Before long, the three are living in Alice's guesthouse and she and Harry are falling for each other.
Things get complicated when her husband, Austin (Michael Sheen), decides he'd like to reconcile and makes his way to L.A. Alice is torn between starting over and returning to a comfortable familiarity for her kids.
This is a textbook rom-com with a convenient love triangle, which addresses age, commitment and societal norms. That said, it is also thoroughly enjoyable. Predictable, sure—but enjoyable.
Witherspoon is delightful as a genuinely good mom who only wants what's best for her kids, and the supporting players all foster her decision-making by staying true to their personas. The girls who play her daughters, Lola Flanery and Eden Grace Redfield, are also spectacular. They hit just the right notes of confusion and joy as their lives take a topsy-turvy turn.
If you're looking for something deep or dark, this isn't the film for you. But if you want to take a break from our fractured world and breathe for a while, I can safely say you'll be in good hands with this sweet flick.
~~~
Alice (Witherspoon) is a single mother, separated from her husband, who is a big-wig in the music industry. To make a fresh start she moves back home to L.A. with her two girls. On a night out with her friends, she meets Harry (Alexander) and two of his friends; all are trying to break into the film business. Her father was a legendary filmmaker. Before long, the three are living in Alice's guesthouse and she and Harry are falling for each other.
Things get complicated when her husband, Austin (Michael Sheen), decides he'd like to reconcile and makes his way to L.A. Alice is torn between starting over and returning to a comfortable familiarity for her kids.
This is a textbook rom-com with a convenient love triangle, which addresses age, commitment and societal norms. That said, it is also thoroughly enjoyable. Predictable, sure—but enjoyable.
Witherspoon is delightful as a genuinely good mom who only wants what's best for her kids, and the supporting players all foster her decision-making by staying true to their personas. The girls who play her daughters, Lola Flanery and Eden Grace Redfield, are also spectacular. They hit just the right notes of confusion and joy as their lives take a topsy-turvy turn.
If you're looking for something deep or dark, this isn't the film for you. But if you want to take a break from our fractured world and breathe for a while, I can safely say you'll be in good hands with this sweet flick.
~~~
Saturday, May 28, 2016
Summertime
Today I saw Summertime, starring Izïa Higelin and Cécile de France.
Delphine (Higelin) is a farmer's daughter in rural France who decides to move to Paris for financial and social independence. Once there, she embraces the spirit of the city, joining a feminist group and falling in love with Carole (de France), a straight girl who is transfixed by her new friend.
Everything is blissful until Carole leaves her boyfriend to pursue Delphine just as Delphine has tragedy strike back home. Will family duty get in the way of true love or will the couple find happiness?
This film gets a lot right: the chemistry between the two leads; the authenticity of the era; the sensual nature of erotic attraction—and of course—hate for the unknown.
Unfortunately, the pace of the story is very uneven. It speeds up and slows down almost as the rhythms of their relationship ebb and flow, and that makes the film feel a lot longer than it actually is. Plus, the scenes come dangerously close to being formulaic.
It gets points for its timely women's issues (despite the fact the film is set in the '70s) and superb acting. I just wish it could have condensed it's slower sequences to keep its viewers minds from wandering.
~~~
Delphine (Higelin) is a farmer's daughter in rural France who decides to move to Paris for financial and social independence. Once there, she embraces the spirit of the city, joining a feminist group and falling in love with Carole (de France), a straight girl who is transfixed by her new friend.
Everything is blissful until Carole leaves her boyfriend to pursue Delphine just as Delphine has tragedy strike back home. Will family duty get in the way of true love or will the couple find happiness?
This film gets a lot right: the chemistry between the two leads; the authenticity of the era; the sensual nature of erotic attraction—and of course—hate for the unknown.
Unfortunately, the pace of the story is very uneven. It speeds up and slows down almost as the rhythms of their relationship ebb and flow, and that makes the film feel a lot longer than it actually is. Plus, the scenes come dangerously close to being formulaic.
It gets points for its timely women's issues (despite the fact the film is set in the '70s) and superb acting. I just wish it could have condensed it's slower sequences to keep its viewers minds from wandering.
~~~
Sunday, February 14, 2016
45 Years
This morning I saw 45 Years, starring Charlotte Rampling and Tom Courtenay.
Kate (Rampling) has loved Geoff (Courtenay) all of her adult life. The pair have been married for nearly 45 years and are in the midst of planning a party to commemorate that. What's normal for many is customary for them too—each have their rituals like reading the paper and walking the dog, though they're often done apart.
When the body of Geoff's first love, Katya, is found on the mountain he long left her on after she fell during a hike, their long-dormant marital tension comes to a head. You see, Geoff didn't tell Kate about Katya. Didn't mention that they were on the verge of marriage before he met her; or that her death had traumatized him ever since.
When Katya's perfectly preserved 27-year-old body surfaces (she's been frozen in the snow until now), Geoff's pent-up sorrow for his lost love does as well. This, of course, raises questions about what else he's been keeping from his wife all of these years. If he can hold a secret that serious for that long, upon what has their entire relationship been based?
This is a film that shows, not tells. This is a film that communicates pain through the faces of its actors; not through dialog. This is a film that moves along at a quiet pace, as life does when something tragic lingers in the air.
It's not an enjoyable movie to endure, but Rampling's performance is certainly worth its Oscar nomination, and watching her work will leave you speechless.
It will also leave you questioning every relationship you've ever had.
~~~
Kate (Rampling) has loved Geoff (Courtenay) all of her adult life. The pair have been married for nearly 45 years and are in the midst of planning a party to commemorate that. What's normal for many is customary for them too—each have their rituals like reading the paper and walking the dog, though they're often done apart.
When the body of Geoff's first love, Katya, is found on the mountain he long left her on after she fell during a hike, their long-dormant marital tension comes to a head. You see, Geoff didn't tell Kate about Katya. Didn't mention that they were on the verge of marriage before he met her; or that her death had traumatized him ever since.
When Katya's perfectly preserved 27-year-old body surfaces (she's been frozen in the snow until now), Geoff's pent-up sorrow for his lost love does as well. This, of course, raises questions about what else he's been keeping from his wife all of these years. If he can hold a secret that serious for that long, upon what has their entire relationship been based?
This is a film that shows, not tells. This is a film that communicates pain through the faces of its actors; not through dialog. This is a film that moves along at a quiet pace, as life does when something tragic lingers in the air.
It's not an enjoyable movie to endure, but Rampling's performance is certainly worth its Oscar nomination, and watching her work will leave you speechless.
It will also leave you questioning every relationship you've ever had.
~~~
Sunday, January 03, 2016
Carol
This morning I saw Carol, starring Cate Blanchett and Rooney Mara.
There's a chronic ache one endures when love is unrequited. A pain detected by others only when looking deep into the afflicted's eyes. Carol (Blanchett), the subject of this film, feels this pain. She is on the verge of divorcing her husband Harge (Kyle Chandler) and is smitten with a young shop girl she met while searching for her daughter's Christmas gift.
As fate would have it, Carol accidentally left her gloves behind at the department store when purchasing said gift, so the shop girl, Therese (Mara) has them sent back to her. To show her gratitude for the gesture, she treats Therese to a fancy lunch and a new friendship is formed.
Meanwhile, Therese is somewhat confused about where she wants life to take her. She has a solid job at the store, but her passion is photography. She has a devoted boyfriend, but another friend likes her and also wants to be with her. Therese has little interest in either of them.
As Carol progresses with her separation, an ex-girlfriend, Abby (Sarah Paulson), helps her deal. But her association with Abby makes Harge believe she's going back to her—though she's not—so he begins proceedings to keep Carol from seeing their daughter. This drives Carol to quickly seek comfort in Therese's friendship and explore where it will go.
Did I mention it's the early 50s? And it's not okay to be an 'out' lesbian in the early 50s?
The whole film centers around this repression, despite the fact Carol seems very comfortable in who she is and makes no apologies for her feelings. It's one of those films where very little happens, yet everything does change.
If you're looking for a fast-paced love story, this is not the film for you, but if you have the cinema patience for quiet scenes, sexual frustration and longing looks, you may find yourself satisfied by its undercurrent.
Cate Blanchett is fantastic as always, as the cold, yet compassionate Carol. Mara didn't impress me as much with her deer-in-headlights glances and wooden dialog delivery, but Kyle Chandler playing against type as a jackass was fun to see.
I'm glad I checked this one off my list, even if it's not as flashy as competing films in this year's Oscar race.
~~~
There's a chronic ache one endures when love is unrequited. A pain detected by others only when looking deep into the afflicted's eyes. Carol (Blanchett), the subject of this film, feels this pain. She is on the verge of divorcing her husband Harge (Kyle Chandler) and is smitten with a young shop girl she met while searching for her daughter's Christmas gift.
As fate would have it, Carol accidentally left her gloves behind at the department store when purchasing said gift, so the shop girl, Therese (Mara) has them sent back to her. To show her gratitude for the gesture, she treats Therese to a fancy lunch and a new friendship is formed.
Meanwhile, Therese is somewhat confused about where she wants life to take her. She has a solid job at the store, but her passion is photography. She has a devoted boyfriend, but another friend likes her and also wants to be with her. Therese has little interest in either of them.
As Carol progresses with her separation, an ex-girlfriend, Abby (Sarah Paulson), helps her deal. But her association with Abby makes Harge believe she's going back to her—though she's not—so he begins proceedings to keep Carol from seeing their daughter. This drives Carol to quickly seek comfort in Therese's friendship and explore where it will go.
Did I mention it's the early 50s? And it's not okay to be an 'out' lesbian in the early 50s?
The whole film centers around this repression, despite the fact Carol seems very comfortable in who she is and makes no apologies for her feelings. It's one of those films where very little happens, yet everything does change.
If you're looking for a fast-paced love story, this is not the film for you, but if you have the cinema patience for quiet scenes, sexual frustration and longing looks, you may find yourself satisfied by its undercurrent.
Cate Blanchett is fantastic as always, as the cold, yet compassionate Carol. Mara didn't impress me as much with her deer-in-headlights glances and wooden dialog delivery, but Kyle Chandler playing against type as a jackass was fun to see.
I'm glad I checked this one off my list, even if it's not as flashy as competing films in this year's Oscar race.
~~~
Saturday, May 05, 2012
Newlyweds
Today I saw Newlyweds, starring Edward Burns and Caitlin Fitzgerald.
Full disclosure: I follow Edward Burns on Twitter and was actively watching/participating in the collaborative Tweets he sent out while scripting and shooting this film.
That said, even if I new nothing of his process, I'd still have walked away from this movie with a smile on my face.
Buzzy (Burns) and Katie (Fitzgerald) are newlyweds. They've both been married before and are determined to get it right this time.
They are close to Katie's sister Marsha (Marsha Dietlein) and her husband Max (Max Baker). Marsha is annoying in an older-sister kind of way; Max is clearly tired of being married to Marsha. It happens, you know.
When Buzzy's younger sister Linda (Kerry Bishé) arrives unexpectedly to stay with the couple until she finds permanent housing, their wedded bliss comes to a screeching halt.
Linda, to put it simply, is a handful. An immature, irresponsible, ungrateful handful. But Buzzy defends her to Katie and vice versa, and soon finds himself embroiled in drama (something he thought he was leaving behind when he married Katie).
As they navigate this storm of external influences, some of the ideals they had about their marriage (as told to us in earlier scenes) begin to dissolve. We see first-hand how fragile relationships really are (not that we didn't know, but...) and how important it may be to define certain "agreements" when making a commitment as serious as marriage.
When you say that you'll tell each other everything, does that include things that you know will hurt your partner?
This is one of the questions the film asks of its characters and it seems like a good one to ask whomever you choose to spend your life with as well.
No union can be perfect, but serious damage can be done by family and friends—even those with good intentions. At the same time, no couple should have to isolate themselves from everyone to enjoy a healthy relationship.
Newlyweds is anchored by sharp dialog and well-developed characters who illustrate this point. Like Burns' other films, there isn't a lot of clutter to get in the way of telling a good old-fashioned story.
There's also an organic method in which the scenes are shot that allows us to feel as if we've just knocked on a friend's door after they've had a fight with their lover. We're there to observe and listen and react as they do in their most raw moments.
Isn't that what great filmmaking should make us feel?
~~~
Full disclosure: I follow Edward Burns on Twitter and was actively watching/participating in the collaborative Tweets he sent out while scripting and shooting this film.
That said, even if I new nothing of his process, I'd still have walked away from this movie with a smile on my face.
Buzzy (Burns) and Katie (Fitzgerald) are newlyweds. They've both been married before and are determined to get it right this time.
They are close to Katie's sister Marsha (Marsha Dietlein) and her husband Max (Max Baker). Marsha is annoying in an older-sister kind of way; Max is clearly tired of being married to Marsha. It happens, you know.
When Buzzy's younger sister Linda (Kerry Bishé) arrives unexpectedly to stay with the couple until she finds permanent housing, their wedded bliss comes to a screeching halt.
Linda, to put it simply, is a handful. An immature, irresponsible, ungrateful handful. But Buzzy defends her to Katie and vice versa, and soon finds himself embroiled in drama (something he thought he was leaving behind when he married Katie).
As they navigate this storm of external influences, some of the ideals they had about their marriage (as told to us in earlier scenes) begin to dissolve. We see first-hand how fragile relationships really are (not that we didn't know, but...) and how important it may be to define certain "agreements" when making a commitment as serious as marriage.
When you say that you'll tell each other everything, does that include things that you know will hurt your partner?
This is one of the questions the film asks of its characters and it seems like a good one to ask whomever you choose to spend your life with as well.
No union can be perfect, but serious damage can be done by family and friends—even those with good intentions. At the same time, no couple should have to isolate themselves from everyone to enjoy a healthy relationship.
Newlyweds is anchored by sharp dialog and well-developed characters who illustrate this point. Like Burns' other films, there isn't a lot of clutter to get in the way of telling a good old-fashioned story.
There's also an organic method in which the scenes are shot that allows us to feel as if we've just knocked on a friend's door after they've had a fight with their lover. We're there to observe and listen and react as they do in their most raw moments.
Isn't that what great filmmaking should make us feel?
~~~
Friday, December 31, 2010
Never Let Me Go
Today I saw Never Let Me Go, starring Carey Mulligan and Andrew Garfield.
Kathy (Mulligan) seems to be a classic goody two-shoes. She is smart, helpful and kind to her fellow students at the refined British boarding school where she lives.
Tommy (Garfield) has anger management problems. Scenes featuring him during youth would lead many to believe he was perhaps autistic due to his outbursts. This is never confirmed, but is implied.
Kathy and Tommy form a tender friendship, which leads Tommy to buy a cassette tape for Kathy. The song she listens to repeatedly is called "Never Let Me Go."
Ruth (Keira Knightly) is the prettier, less-honorable girl at school who sleeps with Tommy to keep him from realizing his love for Kathy. Pretty straightforward love triangle, right?
Not so much.
It seems that the boarding school is merely a breeding ground for beings that are born from a laboratory for no other purpose than to harvest and donate organs. When they reach a certain age, they get their 'notice' similar to a military draft, and begin surgeries to give up as many parts of their body as possible. Their obligation is "complete" only when they die.
Kathy gets lucky and becomes a "carer," which apparently buys her a few more years. In the meantime, she cares for those not so lucky, comforting them in between surgeries and signing the releases for their bodies when they don't make it.
The film is solid; the acting superb; the scenery perfect. But something about its quiet pace doesn't quite instigate the anger that we should feel for these poor, sacrificed souls.
No matter how they were created, it is clear the students share human emotions and feelings, and therefore they should be entitled to a life longer than early adulthood. This injustice should trigger a more intense response from the audience, but falls short of doing so.
That said, it was nice to watch a movie that had an original plot, mixing character studies and science fiction into the same fold.
~~~
Kathy (Mulligan) seems to be a classic goody two-shoes. She is smart, helpful and kind to her fellow students at the refined British boarding school where she lives.
Tommy (Garfield) has anger management problems. Scenes featuring him during youth would lead many to believe he was perhaps autistic due to his outbursts. This is never confirmed, but is implied.
Kathy and Tommy form a tender friendship, which leads Tommy to buy a cassette tape for Kathy. The song she listens to repeatedly is called "Never Let Me Go."
Ruth (Keira Knightly) is the prettier, less-honorable girl at school who sleeps with Tommy to keep him from realizing his love for Kathy. Pretty straightforward love triangle, right?
Not so much.
It seems that the boarding school is merely a breeding ground for beings that are born from a laboratory for no other purpose than to harvest and donate organs. When they reach a certain age, they get their 'notice' similar to a military draft, and begin surgeries to give up as many parts of their body as possible. Their obligation is "complete" only when they die.
Kathy gets lucky and becomes a "carer," which apparently buys her a few more years. In the meantime, she cares for those not so lucky, comforting them in between surgeries and signing the releases for their bodies when they don't make it.
The film is solid; the acting superb; the scenery perfect. But something about its quiet pace doesn't quite instigate the anger that we should feel for these poor, sacrificed souls.
No matter how they were created, it is clear the students share human emotions and feelings, and therefore they should be entitled to a life longer than early adulthood. This injustice should trigger a more intense response from the audience, but falls short of doing so.
That said, it was nice to watch a movie that had an original plot, mixing character studies and science fiction into the same fold.
~~~
Friday, October 16, 2009
The Invention of Lying
Tonight I saw The Invention of Lying, starring Ricky Gervais and Jennifer Garner.
The alternate reality in which Mark (Gervais) and Anna (Garner) live in doesn't allow for lying. Actually, the citizens don't always just tell the truth—they say everything that comes to mind, even if it may be hurtful to the other person. It is a filter-free society, which makes folks like Mark miserable.
In the span of a few days, Mark loses his job, gets evicted from his apartment and has a disappointing date with Anna, whom he adores. As he goes to the bank to withdraw his last $300, the bank's computer system crashes and they can't check his balance. He knows he only has $300, but it's $800 he needs to pay his rent, so he says $800. And because everyone tells the truth, the teller has no reason to disbelieve him. She hands over his $800 and he's on his way.
He's invented lying.
He doesn't quite understand this gift, but when he tries it out on a few of his buddies (telling them he's a black Eskimo named Doug) and it works, he decides to use it to improve his life.
Soon he has enough money to stay in his apartment and take Anna on a second date, to a nicer restaurant. Things go well on that second date until Anna again confesses she can't be romantically involved with him because he's not a desirable genetic match for her (though he makes her laugh and makes her happy). During the date, his mother falls ill and the couple rush to her side in the hospital. On her deathbed, Mark realizes she's terrified of dying so he invents a story about a paradise afterlife to comfort her. Hospital officials overhear the fib and take it for gospel, alerting the news media to his wisdom, which prompts a mob of sorts to camp outside his residence.
He's not only invented lying, he's invented religion. And this is where the movie becomes preachy in the opposite way that films typically do.
Soon he's proclaiming edicts that sound dangerously like commandments (yes, there's ten) from a Pizza Hut box where he's scribbled them under the pressure of the crowd. Did I mention he's a screenwriter too?
The impromptu way Mark creates the rules of society is meant to highlight the absurdity of Biblical texts, which of course were recorded by men. God becomes "Man in the Sky" and houses resembling churches emerge to give folks a "quiet place to think about the Man in the Sky."
It all amounts to a great big wink in the direction of atheists who may be cheering, and an unflattering mirror to those devout.
I appreciated the clever dialog, the many cameos (Rob Lowe, Philip Seymour Hoffman, Tina Fey), the performances by the two leads and the sweetness of their courting, but it all could have moved a bit faster.
At the heart of the story is heart—the message being that we should not live our lives simply to please our families or friends, or conform to society's expectations, even if our brains tell us that is right.
We should follow the instinct that lies deep within us to be good people and seek out someone who fulfills our every dream no matter what sort of package they arrive in.
I wish the film had focused more on that.
~~~
The alternate reality in which Mark (Gervais) and Anna (Garner) live in doesn't allow for lying. Actually, the citizens don't always just tell the truth—they say everything that comes to mind, even if it may be hurtful to the other person. It is a filter-free society, which makes folks like Mark miserable.
In the span of a few days, Mark loses his job, gets evicted from his apartment and has a disappointing date with Anna, whom he adores. As he goes to the bank to withdraw his last $300, the bank's computer system crashes and they can't check his balance. He knows he only has $300, but it's $800 he needs to pay his rent, so he says $800. And because everyone tells the truth, the teller has no reason to disbelieve him. She hands over his $800 and he's on his way.
He's invented lying.
He doesn't quite understand this gift, but when he tries it out on a few of his buddies (telling them he's a black Eskimo named Doug) and it works, he decides to use it to improve his life.
Soon he has enough money to stay in his apartment and take Anna on a second date, to a nicer restaurant. Things go well on that second date until Anna again confesses she can't be romantically involved with him because he's not a desirable genetic match for her (though he makes her laugh and makes her happy). During the date, his mother falls ill and the couple rush to her side in the hospital. On her deathbed, Mark realizes she's terrified of dying so he invents a story about a paradise afterlife to comfort her. Hospital officials overhear the fib and take it for gospel, alerting the news media to his wisdom, which prompts a mob of sorts to camp outside his residence.
He's not only invented lying, he's invented religion. And this is where the movie becomes preachy in the opposite way that films typically do.
Soon he's proclaiming edicts that sound dangerously like commandments (yes, there's ten) from a Pizza Hut box where he's scribbled them under the pressure of the crowd. Did I mention he's a screenwriter too?
The impromptu way Mark creates the rules of society is meant to highlight the absurdity of Biblical texts, which of course were recorded by men. God becomes "Man in the Sky" and houses resembling churches emerge to give folks a "quiet place to think about the Man in the Sky."
It all amounts to a great big wink in the direction of atheists who may be cheering, and an unflattering mirror to those devout.
I appreciated the clever dialog, the many cameos (Rob Lowe, Philip Seymour Hoffman, Tina Fey), the performances by the two leads and the sweetness of their courting, but it all could have moved a bit faster.
At the heart of the story is heart—the message being that we should not live our lives simply to please our families or friends, or conform to society's expectations, even if our brains tell us that is right.
We should follow the instinct that lies deep within us to be good people and seek out someone who fulfills our every dream no matter what sort of package they arrive in.
I wish the film had focused more on that.
~~~
Monday, January 28, 2008
Atonement
Today I saw Atonement, starring Keira Knightley and James McAvoy.
This film has all the hallmarks of a Best Picture candidate: attractive stars, solid acting, sweeping landscapes, love, war, betrayal and dueling sisters. But what it lacked, was the 'it' factor that takes the characters to another (necessary) level.
In the story we briefly see Cecilia (Knightley) fall in love/lust with Robbie (McAvoy). Their chemistry isn't electric enough for the audience to feel the jolt of their passion, but their intentions are explained in a letter intercepted by Cecilia's mischievous younger sister Briony (played by three different actresses, to demonstrate each age).
Briony, also a budding writer, uses the letter and a glimpse of consensual intercourse that she interrupts, as her basis for pinning a rape on Robbie, though she knows he's not guilty. It seems she was jealous of his affection for her sister and would've liked him for herself.
This selfish action costs Robbie his freedom and Cecilia years of misery as she pines for him. It also eats away at the older Briony, who wrestles with coming forward to right her catastrophic wrong.
In the middle, we see Robbie go to war and both sisters become nurses. This is the part of the film that nearly put me to sleep. Maybe I'm an unabashed romantic, but couldn't there have been some steamy scenes of them fantasizing about one another? Couldn't we witness more correspondence between the two, or at least see more of the agonizing ways they passed time during their separation?
I believed that the younger sister really did want to atone for her sins, but I wasn't entirely convinced that a soldier and a nurse, a great distance apart from each other, were going to stay so true to their hearts. And I certainly wanted to.
At the core of the story is a beautiful message: true love is worth waiting for no matter what the cost in time.
This ending leaves pessimists satisfied that the lies added up to ultimate heartbreak; the romantics will believe their characters passed in succession so they could find harmony on the other side.
A great love story this is not, but at least it leaves us pondering.
This film has all the hallmarks of a Best Picture candidate: attractive stars, solid acting, sweeping landscapes, love, war, betrayal and dueling sisters. But what it lacked, was the 'it' factor that takes the characters to another (necessary) level.
In the story we briefly see Cecilia (Knightley) fall in love/lust with Robbie (McAvoy). Their chemistry isn't electric enough for the audience to feel the jolt of their passion, but their intentions are explained in a letter intercepted by Cecilia's mischievous younger sister Briony (played by three different actresses, to demonstrate each age).
Briony, also a budding writer, uses the letter and a glimpse of consensual intercourse that she interrupts, as her basis for pinning a rape on Robbie, though she knows he's not guilty. It seems she was jealous of his affection for her sister and would've liked him for herself.
This selfish action costs Robbie his freedom and Cecilia years of misery as she pines for him. It also eats away at the older Briony, who wrestles with coming forward to right her catastrophic wrong.
In the middle, we see Robbie go to war and both sisters become nurses. This is the part of the film that nearly put me to sleep. Maybe I'm an unabashed romantic, but couldn't there have been some steamy scenes of them fantasizing about one another? Couldn't we witness more correspondence between the two, or at least see more of the agonizing ways they passed time during their separation?
I believed that the younger sister really did want to atone for her sins, but I wasn't entirely convinced that a soldier and a nurse, a great distance apart from each other, were going to stay so true to their hearts. And I certainly wanted to.
At the core of the story is a beautiful message: true love is worth waiting for no matter what the cost in time.
This ending leaves pessimists satisfied that the lies added up to ultimate heartbreak; the romantics will believe their characters passed in succession so they could find harmony on the other side.
A great love story this is not, but at least it leaves us pondering.
Saturday, September 23, 2006
The Last Kiss
Saw this new Zach Braff flick today and it became the topic of Cinebanter 8, which is available here.
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