Tonight I saw a screening of The Life Before Her Eyes, starring Uma Thurman and Evan Rachel Wood.
If you could see your future life before your eyes, would it change how you live and love in the present?
At the root of this story, that's what's being asked of the audience.
We see a rebellious teenage Diana (Wood) bored with classes, free with sex and cold to her mother. When a Columbine-like shooting happens at her high school, and the killer is a boy who told her the previous day he was going to do it, we're forced to watch Diana and her best friend lobby for their lives. The scenes (some may call flashbacks; others may not) are brutally tension-filled and well-acted, which makes them incredibly hard to repeatedly sit through.
In parallel frames of the film, we see a thirtysomething Diana, now played by Thurman, in an unstable marriage with a bratty daughter of her own. She's struggling to get through the anniversary of the massacre and live her life in a meaningful way despite its dysfunctions.
The hard-to-believe part of the film was the fact Diana became a teacher. If I were the victim of a school shooting, the last place I'd probably want to spend every day would be at a school.
That said, the character in question and all of her actions are completely up for interpretation, so that last paragraph there could be erased, depending on how you digest one of the twists.
Regardless of where you think the story goes or went, no one can argue that the two leads aren't superb. Wood is an actress so gifted, her eyes convey her character's intentions and her body and words simply follow; Thurman brings a maturity I've never seen from her to the role, portraying 'damaged' in a painfully authentic and vulnerable way.
I would recommend this film as food for thought, if nothing else. And those of you who have seen it—I'd love to debate the ending with you.
E-mail me at tekatu2@gmail.com with your theories...
Thursday, April 10, 2008
Saturday, April 05, 2008
Snow Angels
Tonight I saw Snow Angels, starring Kate Beckinsale and Sam Rockwell.
It is the topic of Cinebanter #49, which is available here.
It is the topic of Cinebanter #49, which is available here.
Wednesday, April 02, 2008
Married Life
Tonight I saw Married Life, starring Chris Cooper and Pierce Brosnan.
I wonder why this isn't getting more press?
It's a woven tale of love, lies, lust and deceit, featuring brilliant actors, clever writing and solid direction. I was thoroughly entertained.
Harry (Cooper) is a man an an unhappy marriage (it's just based on sex) to Pat (Patricia Clarkson), who desires to marry his mistress for love (Rachel McAdams). It looks as though that will happen until outside interference throws everything out of sync.
Pierce Brosnan plays Rich, Harry's single best friend who narrates the story, and gives a charming Pierce-like performance.
There are a lot of twists and turns to all of the relationships (none I can mention without spoiling), some predictable; others not at all. This light and fast-paced journey has so much substance underneath, it's almost as if the audience is tricked into pondering life's big questions upon leaving the theater.
Very well done—anyone who's ever kept secrets from their lover (or had secrets kept from them by their lover) should see it. And then promptly get a divorce.
I wonder why this isn't getting more press?
It's a woven tale of love, lies, lust and deceit, featuring brilliant actors, clever writing and solid direction. I was thoroughly entertained.
Harry (Cooper) is a man an an unhappy marriage (it's just based on sex) to Pat (Patricia Clarkson), who desires to marry his mistress for love (Rachel McAdams). It looks as though that will happen until outside interference throws everything out of sync.
Pierce Brosnan plays Rich, Harry's single best friend who narrates the story, and gives a charming Pierce-like performance.
There are a lot of twists and turns to all of the relationships (none I can mention without spoiling), some predictable; others not at all. This light and fast-paced journey has so much substance underneath, it's almost as if the audience is tricked into pondering life's big questions upon leaving the theater.
Very well done—anyone who's ever kept secrets from their lover (or had secrets kept from them by their lover) should see it. And then promptly get a divorce.
Friday, March 28, 2008
Wednesday, March 19, 2008
Young at Heart
Tonight I saw the documentary Young at Heart, directed by Stephen Walker.
What a refreshing change from the slew of war films permeating the industry!
In Northampton, Mass., there lives a spirited chorus called Young at Heart. This chorus is made up of 'mature' singers (average age: 80) who come together to practice, perform and tour throughout the year. And quite frankly, they rock.
Seriously.
They're not singing Gershwin classics or busting out ancient showtunes, they're singing Sprinsgteen and Sonic Youth—and they're pulling it off.
The story follows the group from the point that they begin learning their new lineup of songs to their first performance of the set. Like any group, they have a nervous leader who pushes them and loses his patience with their pace from time to time, but they seem to enjoy it all nonetheless.
As the filmmaker follows various singers home, we get a glimpse of what these individuals were probably like in their prime: spunky, daring, full of life. Kind of like now.
Watching them enjoy the process and the friends they make along the way is truly a pleasure and hearing them interpret modern music for the first time is somewhat hilarious.
Of course, since they're old, there are members of the chorus with health problems. The only hard part of watching the film is seeing those few struggle with their ailments. But overall, what could be terribly depressing is just a minor pause along the way of this fun, inspiring film.
Although the Sinéad and Coldplay sections made me sob, the rest of the movie had me smiling throughout. And as someone who felt her life sort of ended when she turned 30, I do feel slightly ashamed.
If these folks can get out of bed and to choir practice 3 days a week, then take their show on the road, what the hell do I have to complain about?
Only that there aren't more films like this one.
Note: to purchase Young at Heart merchandise, visit the chorus's official Web site at youngatheartchorus.com.
What a refreshing change from the slew of war films permeating the industry!
In Northampton, Mass., there lives a spirited chorus called Young at Heart. This chorus is made up of 'mature' singers (average age: 80) who come together to practice, perform and tour throughout the year. And quite frankly, they rock.
Seriously.
They're not singing Gershwin classics or busting out ancient showtunes, they're singing Sprinsgteen and Sonic Youth—and they're pulling it off.
The story follows the group from the point that they begin learning their new lineup of songs to their first performance of the set. Like any group, they have a nervous leader who pushes them and loses his patience with their pace from time to time, but they seem to enjoy it all nonetheless.
As the filmmaker follows various singers home, we get a glimpse of what these individuals were probably like in their prime: spunky, daring, full of life. Kind of like now.
Watching them enjoy the process and the friends they make along the way is truly a pleasure and hearing them interpret modern music for the first time is somewhat hilarious.
Of course, since they're old, there are members of the chorus with health problems. The only hard part of watching the film is seeing those few struggle with their ailments. But overall, what could be terribly depressing is just a minor pause along the way of this fun, inspiring film.
Although the Sinéad and Coldplay sections made me sob, the rest of the movie had me smiling throughout. And as someone who felt her life sort of ended when she turned 30, I do feel slightly ashamed.
If these folks can get out of bed and to choir practice 3 days a week, then take their show on the road, what the hell do I have to complain about?
Only that there aren't more films like this one.
Note: to purchase Young at Heart merchandise, visit the chorus's official Web site at youngatheartchorus.com.
Saturday, March 01, 2008
The Other Boleyn Girl
This morning I saw The Other Boleyn Girl, starring Natalie Portman and Scarlett Johanssen.
It was the topic of Cinebanter #47, so click here to download the episode.
It was the topic of Cinebanter #47, so click here to download the episode.
Saturday, February 16, 2008
Om natten (At Night)
Today I saw Om natten, which is an Oscar® nominee in the Live Action Short Film category.
Set in a cancer hospital in Denmark, three young women bond over their "death sentences," their family problems and their hope for recovery (or lack thereof).
I always think one way to measure a good film is if it feels like the characters are still in existence after you leave the theater. With this one, I truly did.
The actresses that portray Stephanie, Sara and Mette deserve nominations of their own for their convincing moments as sick and conflicted women. The fact the film is set over the holidays only compounds the tears you'll shed as you dive into their world head-first, but you'll still be glad you spent time with them when all is said and done. After 39 minutes, I'm bargaining you'll feel grateful for your own blessings more than you did prior to seeing this.
If I could vote, this would easily be my pick to win.
Set in a cancer hospital in Denmark, three young women bond over their "death sentences," their family problems and their hope for recovery (or lack thereof).
I always think one way to measure a good film is if it feels like the characters are still in existence after you leave the theater. With this one, I truly did.
The actresses that portray Stephanie, Sara and Mette deserve nominations of their own for their convincing moments as sick and conflicted women. The fact the film is set over the holidays only compounds the tears you'll shed as you dive into their world head-first, but you'll still be glad you spent time with them when all is said and done. After 39 minutes, I'm bargaining you'll feel grateful for your own blessings more than you did prior to seeing this.
If I could vote, this would easily be my pick to win.
Le Mozart des pickpockets
Today I saw Le Mozart des pickpockets, which is an Oscar® nominee in the Live Action Short Film category.
France's Philippe Pollet-Villard wrote and directed this comedy about two thieves that accumulate passports, cash and credit cards from unknowing victims and somehow along the way pick up a deaf-mute child. Their banter is borderline charming as they work to communicate with their new 'son' and continue the cons that make their living.
I enjoyed this film quite a lot—even though one scene made me grab my purse from the chair next to me where it was resting.
It takes a non-admirable practice and brings light to it in an Odd Couple spirit (and adding in the cute kid doesn't hurt).
You'll probably leave the theater smiling in spite of yourself.
France's Philippe Pollet-Villard wrote and directed this comedy about two thieves that accumulate passports, cash and credit cards from unknowing victims and somehow along the way pick up a deaf-mute child. Their banter is borderline charming as they work to communicate with their new 'son' and continue the cons that make their living.
I enjoyed this film quite a lot—even though one scene made me grab my purse from the chair next to me where it was resting.
It takes a non-admirable practice and brings light to it in an Odd Couple spirit (and adding in the cute kid doesn't hurt).
You'll probably leave the theater smiling in spite of yourself.
The Tonto Woman
Today I saw The Tonto Woman, which is an Oscar® nominee in the Live Action Short Film Category.
For a short film, this sure went on for a long time.
The story is based on an Elmore Leonard work about a woman who is kidnapped by the Apaches and traded to the Mojaves, then returned 'tainted' to her husband. A friendly Mexican happens upon her bathing topless in the desert one day and becomes her confidant. He convinces her of her worth (which her husband seems to be ignoring), then something happens at the end which I won't spoil here.
I couldn't help but think that the only nominee in this category that is spoken in English would hold my attention more than the others, but I couldn't have been more wrong. Aside from the gratuitous (and non-sensual) nudity, I felt that what could've been a shocking story became very stale in this delivery. I wanted to care about the characters, but really didn't, and the ending was quite predictable.
It wouldn't get my vote if I were a member of the Academy.
For a short film, this sure went on for a long time.
The story is based on an Elmore Leonard work about a woman who is kidnapped by the Apaches and traded to the Mojaves, then returned 'tainted' to her husband. A friendly Mexican happens upon her bathing topless in the desert one day and becomes her confidant. He convinces her of her worth (which her husband seems to be ignoring), then something happens at the end which I won't spoil here.
I couldn't help but think that the only nominee in this category that is spoken in English would hold my attention more than the others, but I couldn't have been more wrong. Aside from the gratuitous (and non-sensual) nudity, I felt that what could've been a shocking story became very stale in this delivery. I wanted to care about the characters, but really didn't, and the ending was quite predictable.
It wouldn't get my vote if I were a member of the Academy.
Il Supplente
Today I saw Il Supplente, an Oscar® nominee in the Live Action Short Film category.
Italy's Andrea Jublin brings us rapidly into the classroom where all hell is breaking loose with the new substitute teacher. Usually when this happens, it's because the teacher has lost all control of the students. In this setting, the instructor is purposely wreaking havoc, chiming in with others to make fun of the fat kid, persuading one girl to hand over her diary and generally acting like an asshole.
This should be funny, but to me no part of it was. I thought the ending may redeem where the story had gone, but instead it carried the same cheap torch to the finish line.
It's disappointing this is even in the running for an Academy Award®.
Italy's Andrea Jublin brings us rapidly into the classroom where all hell is breaking loose with the new substitute teacher. Usually when this happens, it's because the teacher has lost all control of the students. In this setting, the instructor is purposely wreaking havoc, chiming in with others to make fun of the fat kid, persuading one girl to hand over her diary and generally acting like an asshole.
This should be funny, but to me no part of it was. I thought the ending may redeem where the story had gone, but instead it carried the same cheap torch to the finish line.
It's disappointing this is even in the running for an Academy Award®.
Tanghi Argentini
Today I saw Tanghi Argentini, one of the Oscar® nominees in the Live Action Short Film category.
In this 14-minute wonder, Belgium's Guido Thys brings us the sweet story of a man desperate to learn the tango so he can impress a date he's met on the Internet (with a screen name like "Bing Crosby" you can't help but root for him).
After much persuasion, he convinces a co-worker to teach him the crucial moves and what unfolds after that is pure delight.
This easily earned its nomination.
In this 14-minute wonder, Belgium's Guido Thys brings us the sweet story of a man desperate to learn the tango so he can impress a date he's met on the Internet (with a screen name like "Bing Crosby" you can't help but root for him).
After much persuasion, he convinces a co-worker to teach him the crucial moves and what unfolds after that is pure delight.
This easily earned its nomination.
Sunday, February 10, 2008
4 Months, 3 Weeks and 2 Days
Today I saw 4 Months, 3 Weeks and 2 Days, starring Anamaria Marinca and Laura Vasiliu.
Who knew that a film could be both pro-life and pro-choice?
The time is the 1980s, the place is Romania. One college student, Gabriela (Vasiliu) is desperate to get an abortion; her roommate Otilia (Marinca) is just as desperate to help her. In their current society, it is illegal for Gabriela to have the procedure, so they learn through a friend of a man who performs them secretly.
After the maddening dash to secure a hotel room to perform the procedure in, we're introduced to the less-than-noble abortionist, Mr. Bebe (Vlod Ivanov), who scolds the girls for not following his instructions to the letter and maliciously makes them pay for it.
The story progresses in real-time from Gabriela's decision, Otilia's turmoil over the ordeal and the resulting emotional damage.
I won't say any further about specifics because I couldn't without spoiling, but I will say that as a woman, I had to leave the theater once because I thought I was going to be sick.
The things they choose to put the audience through (and the things they make you see) are so harrowing you can't help but envision yourself in place of the girls and wonder if you'd make the same decisions.
The film is pro-life because it truly shows the dangers and horrors of what an abortion can do, both physically and emotionally. It is pro-choice because most of those horrors are avoided by the option of legal abortions, performed by doctors in sterile, safe environments.
It's a travesty that this film wasn't nominated for several Oscars and also that it's currently only being shown in limited release. Everyone should see this. Especially those here in the U.S. that think Roe vs. Wade should be overturned. I can't imagine that after seeing this any of them could sleep at night picturing their daughter or girlfriend or sister in a similar situation.
The bravery of the filmmakers to bring us such a graphic, honest rendition of the controversial topic cannot be understated.
Go see this. But go on an empty stomach.
Who knew that a film could be both pro-life and pro-choice?
The time is the 1980s, the place is Romania. One college student, Gabriela (Vasiliu) is desperate to get an abortion; her roommate Otilia (Marinca) is just as desperate to help her. In their current society, it is illegal for Gabriela to have the procedure, so they learn through a friend of a man who performs them secretly.
After the maddening dash to secure a hotel room to perform the procedure in, we're introduced to the less-than-noble abortionist, Mr. Bebe (Vlod Ivanov), who scolds the girls for not following his instructions to the letter and maliciously makes them pay for it.
The story progresses in real-time from Gabriela's decision, Otilia's turmoil over the ordeal and the resulting emotional damage.
I won't say any further about specifics because I couldn't without spoiling, but I will say that as a woman, I had to leave the theater once because I thought I was going to be sick.
The things they choose to put the audience through (and the things they make you see) are so harrowing you can't help but envision yourself in place of the girls and wonder if you'd make the same decisions.
The film is pro-life because it truly shows the dangers and horrors of what an abortion can do, both physically and emotionally. It is pro-choice because most of those horrors are avoided by the option of legal abortions, performed by doctors in sterile, safe environments.
It's a travesty that this film wasn't nominated for several Oscars and also that it's currently only being shown in limited release. Everyone should see this. Especially those here in the U.S. that think Roe vs. Wade should be overturned. I can't imagine that after seeing this any of them could sleep at night picturing their daughter or girlfriend or sister in a similar situation.
The bravery of the filmmakers to bring us such a graphic, honest rendition of the controversial topic cannot be understated.
Go see this. But go on an empty stomach.
Saturday, February 02, 2008
I'm Not There
This morning I saw I'm Not There, starring Cate Blanchett and Heath Ledger.
It's an avant garde approach to Bob Dylan's life, told through a series of sequences that feature a number of different actors portraying the folk legend. Really, it's over two hours of hits and misses.
The hits come in the performances, first and foremost. Blanchett is clearly the standout, brilliantly adapting the mannerisms, sound and look of the star while placing her own charismatic stamp on the story. The more we see from her, the more we can't help but wish the entire movie was only her. She could've easily pulled off all of the complexities the filmmakers were trying to convey. Particularly hilarious is a scene of her frolicking with "The Beatles."
Also great is the late Heath Ledger. He plays Dylan with a combination of sexiness and swagger that goes way beyond the charm of the real man. While vastly different from Dylan in both physique and spirit, Ledger manages to convince us in his first few moments on screen, just "which" Bob we're watching.
In addition to the major players, there are also a sprinkling of supporting characters that infuse great amounts of life into the narrative. Namely, Julianne Moore and Michelle Williams.
The beauty of the way the film is shot also contributes to its successes—the Dylans, etc. move freely between grainy black-and-white 'footage' and gorgeous, full-color frames. At no point does this become distracting or confusing, in fact, it actually helps move the story along.
And that's where the misses come in. As someone who is not much of a Dylan fan, I went into the film hoping to learn more about why he rose to fame (and stayed there). Unfortunately, this doesn't tell me much. I already knew he was a philosopher, a liar, a poet, a rebel, etc. but what I didn't know was why?
Although elements of his character are exhibited by the various actors (some miscast, by the way: Christian Bale), the movie seems so caught up in its artsyness that it can't quite connect to its purpose.
And the more I think about it, maybe that's why I'm not much of a Dylan fan.
It's an avant garde approach to Bob Dylan's life, told through a series of sequences that feature a number of different actors portraying the folk legend. Really, it's over two hours of hits and misses.
The hits come in the performances, first and foremost. Blanchett is clearly the standout, brilliantly adapting the mannerisms, sound and look of the star while placing her own charismatic stamp on the story. The more we see from her, the more we can't help but wish the entire movie was only her. She could've easily pulled off all of the complexities the filmmakers were trying to convey. Particularly hilarious is a scene of her frolicking with "The Beatles."
Also great is the late Heath Ledger. He plays Dylan with a combination of sexiness and swagger that goes way beyond the charm of the real man. While vastly different from Dylan in both physique and spirit, Ledger manages to convince us in his first few moments on screen, just "which" Bob we're watching.
In addition to the major players, there are also a sprinkling of supporting characters that infuse great amounts of life into the narrative. Namely, Julianne Moore and Michelle Williams.
The beauty of the way the film is shot also contributes to its successes—the Dylans, etc. move freely between grainy black-and-white 'footage' and gorgeous, full-color frames. At no point does this become distracting or confusing, in fact, it actually helps move the story along.
And that's where the misses come in. As someone who is not much of a Dylan fan, I went into the film hoping to learn more about why he rose to fame (and stayed there). Unfortunately, this doesn't tell me much. I already knew he was a philosopher, a liar, a poet, a rebel, etc. but what I didn't know was why?
Although elements of his character are exhibited by the various actors (some miscast, by the way: Christian Bale), the movie seems so caught up in its artsyness that it can't quite connect to its purpose.
And the more I think about it, maybe that's why I'm not much of a Dylan fan.
Friday, February 01, 2008
Michael Clayton
Tonight I saw Michael Clayton, starring George Clooney and Tom Wilkinson.
Forgive me for being stunned, but how did this manage to rack up an Oscar® nomination for Best Picture? It's a solid movie with solid acting, but that's about it.
Clooney does fine as the title character, a legal 'fixer-upper' sort that seems to constantly be in more danger than he realizes. Wilkinson also shines as Arthur, a chemically imbalanced member of the same legal firm that is threatening to turn one of their big corporate cases upside down. Everyone else is gravy.
The story follows a damning memorandum in reverse to explain how the characters come to be (or not) four days later. I found these flashbacks irritating—not because I didn't understand them—because the same tale could've been told in a linear fashion with more exciting results. Once you catch on to the Same Old Corporate Argument, it's pretty clear who will reign victorious when all is said and done (allowing, of course, for at least one shocking death).
Tilda Swinton plays a minor role as a major player in the case, and she's good as usual, but almost underutilized for the amount of time she appears on screen.
I suppose what I'm trying to say is that I went into the film hoping to be dazzled by a smart thriller and unfortunately got a little bored.
Forgive me for being stunned, but how did this manage to rack up an Oscar® nomination for Best Picture? It's a solid movie with solid acting, but that's about it.
Clooney does fine as the title character, a legal 'fixer-upper' sort that seems to constantly be in more danger than he realizes. Wilkinson also shines as Arthur, a chemically imbalanced member of the same legal firm that is threatening to turn one of their big corporate cases upside down. Everyone else is gravy.
The story follows a damning memorandum in reverse to explain how the characters come to be (or not) four days later. I found these flashbacks irritating—not because I didn't understand them—because the same tale could've been told in a linear fashion with more exciting results. Once you catch on to the Same Old Corporate Argument, it's pretty clear who will reign victorious when all is said and done (allowing, of course, for at least one shocking death).
Tilda Swinton plays a minor role as a major player in the case, and she's good as usual, but almost underutilized for the amount of time she appears on screen.
I suppose what I'm trying to say is that I went into the film hoping to be dazzled by a smart thriller and unfortunately got a little bored.
Tuesday, January 29, 2008
Lars and the Real Girl
Tonight I saw Lars and the Real Girl, starring Ryan Gosling and Emily Mortimer.
How often do devastation and hilarity find themselves in the same movie? Seldom. But here, we have a glowing example.
Lars Lindstrom (Gosling) is a lonely, single man living in the garage of his family home, next door to his brother and sister-in-law, who reside in the same house. He makes his way through life devoid of affection, by choice, which his doting sister-in-law Karin (Mortimer) finds troubling.
He works in a generic office, with somewhat generic people, and despite the attempts of a co-worker, he doesn't date. In fact, he rarely leaves his home, save for work and church.
One day, his cubicle mate shows him a Web site that sells custom-made 'real' dolls. He promptly orders one and is soon introducing everyone to his new girlfriend, Bianca.
His brother is so immediately horrified by this development, he tricks Lars into a therapy appointment by alleging Bianca needs a check-up. The doctor, Dagmar (played expertly by Patricia Clarkson) concludes that the best way to handle this delusion is to play along with the relationship and treat Bianca as an actual girlfriend. They schedule regular appointments for the doll, claiming she needs 'treatments' and she uses the time to counsel Lars discreetly.
What results is a hilarious journey the whole town soon embarks on, complete with invented jobs (the mall needs mannequins; the hospital needs volunteers), social engagements (Bianca doesn't drink, but attends parties) and marital-like disputes.
The entire plot and execution is positively absurd, but for some reason, it works. Instead of the situation appearing creepy, it's endearing, and once we learn why Lars needs to soften his pain with the help of this fictional friend, we're compelled to root for him.
Anyone who has felt hollow or lacked companionship for any length of time with empathize with the sentiment; those who have never been alone will weep for those who are.
And aside from his appearance strangely resembling David Arquette, Ryan Gosling does an incredible job manipulating his mannerisms and his speech to pull off this character.
It's just amazing that the only Oscar this film is nominated for is the screenplay.
How often do devastation and hilarity find themselves in the same movie? Seldom. But here, we have a glowing example.
Lars Lindstrom (Gosling) is a lonely, single man living in the garage of his family home, next door to his brother and sister-in-law, who reside in the same house. He makes his way through life devoid of affection, by choice, which his doting sister-in-law Karin (Mortimer) finds troubling.
He works in a generic office, with somewhat generic people, and despite the attempts of a co-worker, he doesn't date. In fact, he rarely leaves his home, save for work and church.
One day, his cubicle mate shows him a Web site that sells custom-made 'real' dolls. He promptly orders one and is soon introducing everyone to his new girlfriend, Bianca.
His brother is so immediately horrified by this development, he tricks Lars into a therapy appointment by alleging Bianca needs a check-up. The doctor, Dagmar (played expertly by Patricia Clarkson) concludes that the best way to handle this delusion is to play along with the relationship and treat Bianca as an actual girlfriend. They schedule regular appointments for the doll, claiming she needs 'treatments' and she uses the time to counsel Lars discreetly.
What results is a hilarious journey the whole town soon embarks on, complete with invented jobs (the mall needs mannequins; the hospital needs volunteers), social engagements (Bianca doesn't drink, but attends parties) and marital-like disputes.
The entire plot and execution is positively absurd, but for some reason, it works. Instead of the situation appearing creepy, it's endearing, and once we learn why Lars needs to soften his pain with the help of this fictional friend, we're compelled to root for him.
Anyone who has felt hollow or lacked companionship for any length of time with empathize with the sentiment; those who have never been alone will weep for those who are.
And aside from his appearance strangely resembling David Arquette, Ryan Gosling does an incredible job manipulating his mannerisms and his speech to pull off this character.
It's just amazing that the only Oscar this film is nominated for is the screenplay.
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.
Sunday, January 20, 2008
Before the Devil Knows You're Dead
Tonight I saw Before the Devil Knows You're Dead, starring Philip Seymour Hoffman and Ethan Hawke.
In this unconventional story of brotherhood, Andy (Hoffman) is a successful real estate mogul who is married to Gina (Tomei), the very definition of a dumb broad.
His brother Hank (Hawke) is not the sharpest tool in the shed, but is somewhat redeemed by his genuine love for his daughter. Unfortunately he also loves Gina, who he is having an affair with, unbeknownst to anyone but them.
For some reason, everyone is in need of cash. Andy for drugs and an escape to Brazil, Hank for child support, and Gina for...well...we assume shopping. And maybe upkeep of her most valuable asset (her body, which we see revealed throughout the film).
There isn't too much background on why neither son has a great relationship with their parents, but for what it's worth, they must not feel comfortable approaching them for a loan since they decide to rob their jewelry store instead.
It sounds ridiculous, but because I've read a lot of Dominick Dunne in my time, I know this sort of thing actually happens. That knowledge affords a special suspension of disbelief while witnessing the smart brother hatch the plan and impose it on the dumb brother (you'd think he'd just employ someone smarter to do it, to be sure they wouldn't screw it up).
What transpires at the robbery triggers a sequence of Babel-like events that basically all lead back to the moral of the story: don't lie, steal, cheat or shoot people.
The film is well-acted and the pace is comfortably fast, but I am a little mystified why this received such universal praise. The plot twists aren't surprising and there aren't a lot of characters to root for. What we learn is that people are basically rotten and the actions of smart people and dumb people are interchangeable when their intent is dishonorable.
What results is entertainment that resembles the nightly news: while compelling to watch, it can also turn your stomach.
In this unconventional story of brotherhood, Andy (Hoffman) is a successful real estate mogul who is married to Gina (Tomei), the very definition of a dumb broad.
His brother Hank (Hawke) is not the sharpest tool in the shed, but is somewhat redeemed by his genuine love for his daughter. Unfortunately he also loves Gina, who he is having an affair with, unbeknownst to anyone but them.
For some reason, everyone is in need of cash. Andy for drugs and an escape to Brazil, Hank for child support, and Gina for...well...we assume shopping. And maybe upkeep of her most valuable asset (her body, which we see revealed throughout the film).
There isn't too much background on why neither son has a great relationship with their parents, but for what it's worth, they must not feel comfortable approaching them for a loan since they decide to rob their jewelry store instead.
It sounds ridiculous, but because I've read a lot of Dominick Dunne in my time, I know this sort of thing actually happens. That knowledge affords a special suspension of disbelief while witnessing the smart brother hatch the plan and impose it on the dumb brother (you'd think he'd just employ someone smarter to do it, to be sure they wouldn't screw it up).
What transpires at the robbery triggers a sequence of Babel-like events that basically all lead back to the moral of the story: don't lie, steal, cheat or shoot people.
The film is well-acted and the pace is comfortably fast, but I am a little mystified why this received such universal praise. The plot twists aren't surprising and there aren't a lot of characters to root for. What we learn is that people are basically rotten and the actions of smart people and dumb people are interchangeable when their intent is dishonorable.
What results is entertainment that resembles the nightly news: while compelling to watch, it can also turn your stomach.
Saturday, January 19, 2008
There Will Be Blood
This morning I saw There Will Be Blood, starring Daniel Day-Lewis and Paul Dano.
It is the topic of Cinebanter #46, which is available here.
It is the topic of Cinebanter #46, which is available here.
Thursday, January 17, 2008
Tuesday, January 15, 2008
Here Is What Is
A few nights ago I screened the new Daniel Lanois documentary Here Is What Is.
My review can be found here at @U2.
To purchase Danny's new album and documentary, visit Red Floor Records.
My review can be found here at @U2.
To purchase Danny's new album and documentary, visit Red Floor Records.
Tuesday, January 01, 2008
The Diving Bell and the Butterfly
Today I saw The Diving Bell and the Butterfly, starring Mathieu Amalric and Marie Josée Croze.
It's a tale told mostly through the eyes of the subject, Jean-Dominique Bauby (Amalric), the real-life former editor of Elle magazine in France. On the way to the theater with his son one day, he has a massive stroke that leaves him paralyzed save for his left eye. This "locked-in" syndrome is so rare the physicians at first seem as if they don't know what to do with him. But, with the help of speech and physical therapists, Bauby learns to communicate by blinking.
Marie Josée Croze plays therapist Henriette, who develops a revised alphabet arranged in order of use frequency to make conversation with the patient easier. This results in Bauby requesting that his publisher honor his existing contract to write a book and the company sending a representative to take his dictation. What transpires is The Diving Bell and the Butterfly, the book in which this film is based upon.
This memoir detailed the feelings of a formerly vibrant man who has been reduced to nothing more than a hostage in his own body. Thankfully (or perhaps tragically) he retains his wit, sadness, sexual desires and memory, which he examines throughout.
The film shows us crushes on his therapists, discontent with his ex-partner (he purposely never married the mother of this children), longing for his mistress and love for his father.
It spotlights an imperfect man in impossible circumstances with a necessity to express himself creatively by any means available.
It forces us to see how lazy we are by not accomplishing all we hope to in the here and now, and reminds us to treasure the time and people we have in our lives.
There is one scene where a well-placed U2 song illustrates the type of man Bauby once was and how he chose to live his life before the stroke. This scene in particular hit me hard because the normalcy of his world was so previously carefree. You got the sense that his status and charisma afforded him more leeway than regular men would be granted by their women, children, etc.
But he overcame the depression of his situation long enough to write the novel describing it and lived barely long enough to see it published.
We should all be so productive.
It's a tale told mostly through the eyes of the subject, Jean-Dominique Bauby (Amalric), the real-life former editor of Elle magazine in France. On the way to the theater with his son one day, he has a massive stroke that leaves him paralyzed save for his left eye. This "locked-in" syndrome is so rare the physicians at first seem as if they don't know what to do with him. But, with the help of speech and physical therapists, Bauby learns to communicate by blinking.
Marie Josée Croze plays therapist Henriette, who develops a revised alphabet arranged in order of use frequency to make conversation with the patient easier. This results in Bauby requesting that his publisher honor his existing contract to write a book and the company sending a representative to take his dictation. What transpires is The Diving Bell and the Butterfly, the book in which this film is based upon.
This memoir detailed the feelings of a formerly vibrant man who has been reduced to nothing more than a hostage in his own body. Thankfully (or perhaps tragically) he retains his wit, sadness, sexual desires and memory, which he examines throughout.
The film shows us crushes on his therapists, discontent with his ex-partner (he purposely never married the mother of this children), longing for his mistress and love for his father.
It spotlights an imperfect man in impossible circumstances with a necessity to express himself creatively by any means available.
It forces us to see how lazy we are by not accomplishing all we hope to in the here and now, and reminds us to treasure the time and people we have in our lives.
There is one scene where a well-placed U2 song illustrates the type of man Bauby once was and how he chose to live his life before the stroke. This scene in particular hit me hard because the normalcy of his world was so previously carefree. You got the sense that his status and charisma afforded him more leeway than regular men would be granted by their women, children, etc.
But he overcame the depression of his situation long enough to write the novel describing it and lived barely long enough to see it published.
We should all be so productive.
Saturday, December 29, 2007
Walk Hard: The Dewey Cox Story
Today I saw Walk Hard: The Dewey Cox Story, starring John C. Reilly and Jenna Fischer.
It's the tale of Dewey Cox (Reilly), a Southern musician that alternately encompasses Johnny Cash, Bob Dylan and other notable stars, as he sings his way through life after a terrible childhood tragedy.
A tragedy that happens to be slicing his brother in half with a machete.
Sound stupid? Of course it does. But they way it was written and delivered makes it hilarious.
Dewey's enduring love for Darlene (Fischer) is the backbone of the bio, which takes us through his entire career of milestones and mistakes (the now-famous 'penis' scene is among the funniest). Each wink to another era and yet another star has such goofy charm attached to it I found myself anticipating who would pop up next (thankfully, my Beatles hope came true with the incomparable Jack Black as McCartney and Paul Rudd as Lennon).
The sidekicks are also funny—Tim Meadows as Dewey's primary drug connection, Kristen Wiig as his first wife and Margot Martindale as Ma, but the real credit goes to Reilly, who I found myself confusing with Will Ferrell (that's a compliment). He was that funny.
Overall, it's what I expected: a ridiculous beginning, predictably clever songs and electric nonsense chemistry between Reilly and Fischer.
I wouldn't have had it any other way.
It's the tale of Dewey Cox (Reilly), a Southern musician that alternately encompasses Johnny Cash, Bob Dylan and other notable stars, as he sings his way through life after a terrible childhood tragedy.
A tragedy that happens to be slicing his brother in half with a machete.
Sound stupid? Of course it does. But they way it was written and delivered makes it hilarious.
Dewey's enduring love for Darlene (Fischer) is the backbone of the bio, which takes us through his entire career of milestones and mistakes (the now-famous 'penis' scene is among the funniest). Each wink to another era and yet another star has such goofy charm attached to it I found myself anticipating who would pop up next (thankfully, my Beatles hope came true with the incomparable Jack Black as McCartney and Paul Rudd as Lennon).
The sidekicks are also funny—Tim Meadows as Dewey's primary drug connection, Kristen Wiig as his first wife and Margot Martindale as Ma, but the real credit goes to Reilly, who I found myself confusing with Will Ferrell (that's a compliment). He was that funny.
Overall, it's what I expected: a ridiculous beginning, predictably clever songs and electric nonsense chemistry between Reilly and Fischer.
I wouldn't have had it any other way.
Wednesday, December 26, 2007
Charlie Wilson's War
On December 23, I saw Charlie Wilson's War starring Tom Hanks and Philip Seymour Hoffman.
With so many big names (Hanks and Hoffman are joined by Amy Adams and Julia Roberts) attached to this film, it was hard not to anticipate its merit before going in, but having been burned in the past by similar assumptions, I reserved judgement.
Thankfully, there was no need for me to.
Hanks dazzles as real-life Texas congressman Charlie Wilson, a booze-loving womanizer with the heart of an everyman who is faced with political demands from a wealthy mover and shaker (played by Roberts), who also occupies his bed. Luckily, he's on the same page with her intentions, to covertly help the Afghans defend themselves against the then-enemy of Russia.
The plot is pretty basic and simple to follow, but what makes this movie so watchable (and will have you wondering how the time went so fast when it ends) is the collection of charisma that ensues: partly a result of good writing; partly a result of the performances.
The main scene stealer is Philip Seymour Hoffman who plays the Greek colleague of Wilson's that has enough justified anger and sarcasm to fill each room he steps into. He is absolutely electric in this role and I wouldn't be sorry to see him score another Oscar® nod because of it.
Also great is Wilson's adorably smart administrative assistant played by Amy Adams. Just the right mix of wholesome and alluring, Adams possesses a unique balance of what most men want: sexy mixed with Betty Crocker. There couldn't have been a better actress for this role.
The clothing and sets are also authentic to the time (early 80s), however I did question whether the phrase 'dial it down' was used back then?
Regardless, this film is solid entertainment that just happens to contain a valuable history lesson: don't fuck up the end game.
With so many big names (Hanks and Hoffman are joined by Amy Adams and Julia Roberts) attached to this film, it was hard not to anticipate its merit before going in, but having been burned in the past by similar assumptions, I reserved judgement.
Thankfully, there was no need for me to.
Hanks dazzles as real-life Texas congressman Charlie Wilson, a booze-loving womanizer with the heart of an everyman who is faced with political demands from a wealthy mover and shaker (played by Roberts), who also occupies his bed. Luckily, he's on the same page with her intentions, to covertly help the Afghans defend themselves against the then-enemy of Russia.
The plot is pretty basic and simple to follow, but what makes this movie so watchable (and will have you wondering how the time went so fast when it ends) is the collection of charisma that ensues: partly a result of good writing; partly a result of the performances.
The main scene stealer is Philip Seymour Hoffman who plays the Greek colleague of Wilson's that has enough justified anger and sarcasm to fill each room he steps into. He is absolutely electric in this role and I wouldn't be sorry to see him score another Oscar® nod because of it.
Also great is Wilson's adorably smart administrative assistant played by Amy Adams. Just the right mix of wholesome and alluring, Adams possesses a unique balance of what most men want: sexy mixed with Betty Crocker. There couldn't have been a better actress for this role.
The clothing and sets are also authentic to the time (early 80s), however I did question whether the phrase 'dial it down' was used back then?
Regardless, this film is solid entertainment that just happens to contain a valuable history lesson: don't fuck up the end game.
Saturday, December 22, 2007
Starting Out in the Evening
Today I saw Starting Out in the Evening, starring Frank Langella and Lauren Ambrose.
The narrative takes us into the lives of washed-up novelist Leonard Shiller (Langella) and righteous graduate student Heather Wolf (Ambrose). Her mission seems to be resurrecting his career, while his goal is simply to finish his final book before dying. He is a senior citizen with heart problems; she is a twentysomething with a hungry heart.
It's inevitable that in the course of her spending time with him to complete her thesis (based on him) that these two will develop a chemistry. Thankfully, they do. It's what saves this film from being a completely predictable starry-eyed-girl-wants-crotchety-old-man bore.
Although Heather is slightly too righteous to be endearing, there are so many real people like her, I could look past her irritating nature. What's also great is the subplot of Leonard's daughter Ariel (played by the amazing Lili Taylor—Ambrose's former Six Feet Under co-star) and her inability to have a successful relationship.
The thing is, all of these characters seem to be making the choices they need to make for themselves as their lives intersect. Heather is persistent in her quest for information from Leonard (and in her sexual attraction to him), Leonard will only talk about the topics of his choosing and fights to focus on his writing. Ariel wrestles with feelings for two men in her life; neither who share her desire to have children.
These simple, yet interesting situations are all presented in a well-acted, well-written package with believable dialogue and character progression.
I'll confess to being alternately touched and disgusted by Leonard and Heather's love story, but I can't help but admit it felt real.
I also wouldn't be surprised if Langella and/or Taylor were nominated for their performances.
Nor would I be sorry if they won.
The narrative takes us into the lives of washed-up novelist Leonard Shiller (Langella) and righteous graduate student Heather Wolf (Ambrose). Her mission seems to be resurrecting his career, while his goal is simply to finish his final book before dying. He is a senior citizen with heart problems; she is a twentysomething with a hungry heart.
It's inevitable that in the course of her spending time with him to complete her thesis (based on him) that these two will develop a chemistry. Thankfully, they do. It's what saves this film from being a completely predictable starry-eyed-girl-wants-crotchety-old-man bore.
Although Heather is slightly too righteous to be endearing, there are so many real people like her, I could look past her irritating nature. What's also great is the subplot of Leonard's daughter Ariel (played by the amazing Lili Taylor—Ambrose's former Six Feet Under co-star) and her inability to have a successful relationship.
The thing is, all of these characters seem to be making the choices they need to make for themselves as their lives intersect. Heather is persistent in her quest for information from Leonard (and in her sexual attraction to him), Leonard will only talk about the topics of his choosing and fights to focus on his writing. Ariel wrestles with feelings for two men in her life; neither who share her desire to have children.
These simple, yet interesting situations are all presented in a well-acted, well-written package with believable dialogue and character progression.
I'll confess to being alternately touched and disgusted by Leonard and Heather's love story, but I can't help but admit it felt real.
I also wouldn't be surprised if Langella and/or Taylor were nominated for their performances.
Nor would I be sorry if they won.
Friday, December 21, 2007
The Golden Compass
Today I saw The Golden Compass, starring Dakota Blue Richards and Nicole Kidman.
I must confess—I went into this ignorant, having never read the book it's based on. But in this case, I think I probably enjoyed it more as a result.
The story follows the orphan Lyra (Richards), a petite spitfire in the possession of the last magic golden compass. The power it holds is immeasurable, as it has the ability to display the truth in any situation. This upsets the magistrate (a.k.a. church) and the evil Mrs. Coulter (Kidman) pursues her to retrieve the compass, at first kindly offering her a trip north (where many of Lyra's friends have been kidnapped to, and are having their free will revoked) then fiercely hunting her after she escapes.
The way the characters get through this is somewhat confusing, but the ride is so visually stimulating, you can forgive the jumble. A parallel British town is illuminated at each glimpse, while the scenes in the great north make you nearly shiver in your seat, they're so remarkable.
And I musn't conclude my review without a mention of the polar bears. These aren't your typical Christmas-Coke-commerical polar bears, these look and sound like the real deal (well, except when they don human voices and carry on conversations). The growls and snarling teeth are terrifying; the fluffy fur and awkward bodies are endearing. I really wanted my own 'armored bear' after seeing the final fight scene, too.
So really—this film was pretty entertaining. Good, solid acting from the female leads and supporting actors like Daniel Craig and Sam Elliot, and cinematography that's nothing short of beautiful. An easy choice for holiday viewing.
I must confess—I went into this ignorant, having never read the book it's based on. But in this case, I think I probably enjoyed it more as a result.
The story follows the orphan Lyra (Richards), a petite spitfire in the possession of the last magic golden compass. The power it holds is immeasurable, as it has the ability to display the truth in any situation. This upsets the magistrate (a.k.a. church) and the evil Mrs. Coulter (Kidman) pursues her to retrieve the compass, at first kindly offering her a trip north (where many of Lyra's friends have been kidnapped to, and are having their free will revoked) then fiercely hunting her after she escapes.
The way the characters get through this is somewhat confusing, but the ride is so visually stimulating, you can forgive the jumble. A parallel British town is illuminated at each glimpse, while the scenes in the great north make you nearly shiver in your seat, they're so remarkable.
And I musn't conclude my review without a mention of the polar bears. These aren't your typical Christmas-Coke-commerical polar bears, these look and sound like the real deal (well, except when they don human voices and carry on conversations). The growls and snarling teeth are terrifying; the fluffy fur and awkward bodies are endearing. I really wanted my own 'armored bear' after seeing the final fight scene, too.
So really—this film was pretty entertaining. Good, solid acting from the female leads and supporting actors like Daniel Craig and Sam Elliot, and cinematography that's nothing short of beautiful. An easy choice for holiday viewing.
Sunday, December 16, 2007
I Am Legend
Today I saw I Am Legend, starring Will Smith.
If I hadn't yet seen No Country For Old Men, I may have claimed this was the most nervewracking film of 2007, but even it can't match the Coen brothers gift for tension.
At the core of this science-laden story is heart. Will Smith, always great, plays Robert Neville—a successful scientist convinced he can reverse a terrible virus that has wiped out New York City (and apparently most of the United States as well). We learn the virus had initial good intentions as a cure for cancer (a cameo by Emma Thompson delivers this revelation), but went terribly wrong as it mutated.
As you can imagine, what ensues forces you to abandon all rational thought and play the suspension-of-disbelief game with a non-thinking head.
Instead of the infected just withering away (as one may expect, after an incurable virus attacks the immune system), these victims exhibit "rabies-like" behavior (who knew rabies enabled you to scale walls and pull apart houses with superhuman strength?) and terrorize all who cross their path. They're not vampires in the traditional sense of the word, but they do have an aversion to light and a tendency to chomp at flesh.
Amidst all of this silliness, Neville somehow manages to make us feel sorry for him and bask in his lonely existence (though if I were him, I wouldn't be 'borrowing' one DVD at a time from the now desolate video store—I'd borrow a whole shelf). His dog Samantha brings him a fair amount of companionship, as dogs generally do, and familiar sounds such as Bob Marley on the stereo and Ann Curry on an obviously taped vintage Today Show would undoubtedly help keep one's sanity in tact if they were the last human roaming the city (after all, deer, lions, etc. seem to have no trouble avoiding the virus).
In the visual sense, this movie is arguably great. When things jump out at the characters, you feel they're jumping into your lap; the sounds are just as unnerving.
But as a "I'm the last person left in the world, what am I going to do with myself?" sci-fi romp, I'm disappointed the character chooses to stay at "ground zero" to pursue his mission.
The movie, brief in length, does manage to keep the viewer engaged until the ultimate predictable ending commences. For that, all of the stolen ideas from 28 Days Later can be forgiven.
If I hadn't yet seen No Country For Old Men, I may have claimed this was the most nervewracking film of 2007, but even it can't match the Coen brothers gift for tension.
At the core of this science-laden story is heart. Will Smith, always great, plays Robert Neville—a successful scientist convinced he can reverse a terrible virus that has wiped out New York City (and apparently most of the United States as well). We learn the virus had initial good intentions as a cure for cancer (a cameo by Emma Thompson delivers this revelation), but went terribly wrong as it mutated.
As you can imagine, what ensues forces you to abandon all rational thought and play the suspension-of-disbelief game with a non-thinking head.
Instead of the infected just withering away (as one may expect, after an incurable virus attacks the immune system), these victims exhibit "rabies-like" behavior (who knew rabies enabled you to scale walls and pull apart houses with superhuman strength?) and terrorize all who cross their path. They're not vampires in the traditional sense of the word, but they do have an aversion to light and a tendency to chomp at flesh.
Amidst all of this silliness, Neville somehow manages to make us feel sorry for him and bask in his lonely existence (though if I were him, I wouldn't be 'borrowing' one DVD at a time from the now desolate video store—I'd borrow a whole shelf). His dog Samantha brings him a fair amount of companionship, as dogs generally do, and familiar sounds such as Bob Marley on the stereo and Ann Curry on an obviously taped vintage Today Show would undoubtedly help keep one's sanity in tact if they were the last human roaming the city (after all, deer, lions, etc. seem to have no trouble avoiding the virus).
In the visual sense, this movie is arguably great. When things jump out at the characters, you feel they're jumping into your lap; the sounds are just as unnerving.
But as a "I'm the last person left in the world, what am I going to do with myself?" sci-fi romp, I'm disappointed the character chooses to stay at "ground zero" to pursue his mission.
The movie, brief in length, does manage to keep the viewer engaged until the ultimate predictable ending commences. For that, all of the stolen ideas from 28 Days Later can be forgiven.
Sunday, December 09, 2007
Jimmy Carter Man From Plains
Today I saw the documentary Jimmy Carter Man From Plains.
Every time I watch a documentary, I ask myself the same questions: Is the subject a worthy topic? Is the information presented in a captivating way? Did I learn something about the subject that I didn't previously know before I watched this film?
In this case, two out of three isn't bad.
Really, former U.S. president Jimmy Carter is a wonderful topic. He's as kind as he is smart and as driven as he is accomplished. As the first president I have any memory of as a child, I will always be especially curious about his history and his character because it helped shape my childhood as an American.
That said, watching a two-hour collection of interviews I could've Tivo'd wasn't the best way to educate me about this Nobel prize-winning man—though I did learn a few things.
Amidst this travelogue of president Carter's book tour (for his controversial book Palestine: Peace not Apartheid), I witnessed a man who finally seems comfortable in his skin and aims to make up for lost time. He does this in his trademark gracious way by making no apologies for his well-thought-out beliefs while showing the utmost respect to each person he tries to convince.
There is an innate refreshment in a transparent politician, probably because they're so rare. Carter lives the very definition of this role, alternately arguing with a TV host who is trying to misquote him, then thinking out loud about becoming fluent in Spanish because he has a program on his computer that would enable him to.
He's also the kind of Christian that gives Christians a good name: one who believes that science can co-exist with Jesus worship and also tirelessly serves the poor (in a too-brief segment, we see him building Habitat for Humanity houses in New Orleans). One who reads the Bible aloud with his wife each night and treats his staff as equals.
We see all of this in snippets of previously aired interviews and behind-the-scenes glances as he shuffles from city to city with his Simon & Schuster handlers. But what we don't see are the effects of his work. The people who read his book and saw the Middle East conflict in a different way as a result. The policymakers who defended his view and took his ideas to their colleagues for further debate. Where are they? Do they even exist?
The filmmaker doesn't attempt to pretend whose side he's on. You will love this former president from the first frame of the movie until the credits roll because the portrayal is so endearing, you'd be evil not to.
If that was the aim of the documentary, then I say "mission accomplished," but if the viewers were supposed to leave with an enhanced knowledge of the peace process, or an expert view on the background of Carter's legacy, it failed.
While many of the moments are sweet, that's ultimately all that this documentary adds up to: a series of moments. It's the dust jacket version of the story.
Makes me want to buy the book.
Every time I watch a documentary, I ask myself the same questions: Is the subject a worthy topic? Is the information presented in a captivating way? Did I learn something about the subject that I didn't previously know before I watched this film?
In this case, two out of three isn't bad.
Really, former U.S. president Jimmy Carter is a wonderful topic. He's as kind as he is smart and as driven as he is accomplished. As the first president I have any memory of as a child, I will always be especially curious about his history and his character because it helped shape my childhood as an American.
That said, watching a two-hour collection of interviews I could've Tivo'd wasn't the best way to educate me about this Nobel prize-winning man—though I did learn a few things.
Amidst this travelogue of president Carter's book tour (for his controversial book Palestine: Peace not Apartheid), I witnessed a man who finally seems comfortable in his skin and aims to make up for lost time. He does this in his trademark gracious way by making no apologies for his well-thought-out beliefs while showing the utmost respect to each person he tries to convince.
There is an innate refreshment in a transparent politician, probably because they're so rare. Carter lives the very definition of this role, alternately arguing with a TV host who is trying to misquote him, then thinking out loud about becoming fluent in Spanish because he has a program on his computer that would enable him to.
He's also the kind of Christian that gives Christians a good name: one who believes that science can co-exist with Jesus worship and also tirelessly serves the poor (in a too-brief segment, we see him building Habitat for Humanity houses in New Orleans). One who reads the Bible aloud with his wife each night and treats his staff as equals.
We see all of this in snippets of previously aired interviews and behind-the-scenes glances as he shuffles from city to city with his Simon & Schuster handlers. But what we don't see are the effects of his work. The people who read his book and saw the Middle East conflict in a different way as a result. The policymakers who defended his view and took his ideas to their colleagues for further debate. Where are they? Do they even exist?
The filmmaker doesn't attempt to pretend whose side he's on. You will love this former president from the first frame of the movie until the credits roll because the portrayal is so endearing, you'd be evil not to.
If that was the aim of the documentary, then I say "mission accomplished," but if the viewers were supposed to leave with an enhanced knowledge of the peace process, or an expert view on the background of Carter's legacy, it failed.
While many of the moments are sweet, that's ultimately all that this documentary adds up to: a series of moments. It's the dust jacket version of the story.
Makes me want to buy the book.
Sweeney Todd: The Demon Barber of Fleet Street
This morning I screened Sweeney Todd: The Demon Barber of Fleet Street, starring Johnny Depp and Helena Bonham Carter.
The story, based on the popular musical, follows barber Benjamin Barker on his journey from happy family man to vicious killer. But there's more to it than that.
Without sounding like a complete cinelitist, many people will probably see and dismiss this movie as nothing more than a typical Burtonesque display of cool effects and crazy makeup. And that's a shame—because if they dig deeper and focus not only on the visual rewards, but the heart of the characters, they'll see a more profound film.
As usual, Johnny Depp (Barker) is brilliant as the main character, wearing more expressions on his powder-pale face than any other man could possibly muster. He is darling as a charming husband and father, then equally as effective as a violent monster. Alan Rickman is also notably good as his rival, Judge Turpin. Rounding out the main cast is the always-convincingly-creepy Helena Bonham Carter as Mrs. Lovett, a terrible pie maker who falls in love with Todd and becomes his key accomplice in murder.
If we unveil the allegory, we are left with this: terrible, unforgivable things happen to a good, decent person, robbing him of his faith in all of mankind. As a result, he retreats to a place so dark that he loses every trace of the person he once was, allowing negativity to thrive in its absence. That darkness arrives in the form of a typical jealous woman who will go to great lengths to conceal truth and protect her own interests. Only when it's too late will he realize that she has betrayed him and that he could've regained all that he lost—had be been open to just behavior.
Of course, because it's Burton, this is all masked in dark eyeliner and Einstein hair, but the core of the message remains clear. And it is delivered in a charming, if not slapstick, bloody way.
Were it not for the distractions like Sacha Baron Cohen (as a cartoonish con artist) and a wimpy sailor (Jamie Campbell Bower), this would've been practically flawless.
But then again, no one can be expected to make two Edward Scissorhands in one career. Even with the same genius actor.
The story, based on the popular musical, follows barber Benjamin Barker on his journey from happy family man to vicious killer. But there's more to it than that.
Without sounding like a complete cinelitist, many people will probably see and dismiss this movie as nothing more than a typical Burtonesque display of cool effects and crazy makeup. And that's a shame—because if they dig deeper and focus not only on the visual rewards, but the heart of the characters, they'll see a more profound film.
As usual, Johnny Depp (Barker) is brilliant as the main character, wearing more expressions on his powder-pale face than any other man could possibly muster. He is darling as a charming husband and father, then equally as effective as a violent monster. Alan Rickman is also notably good as his rival, Judge Turpin. Rounding out the main cast is the always-convincingly-creepy Helena Bonham Carter as Mrs. Lovett, a terrible pie maker who falls in love with Todd and becomes his key accomplice in murder.
If we unveil the allegory, we are left with this: terrible, unforgivable things happen to a good, decent person, robbing him of his faith in all of mankind. As a result, he retreats to a place so dark that he loses every trace of the person he once was, allowing negativity to thrive in its absence. That darkness arrives in the form of a typical jealous woman who will go to great lengths to conceal truth and protect her own interests. Only when it's too late will he realize that she has betrayed him and that he could've regained all that he lost—had be been open to just behavior.
Of course, because it's Burton, this is all masked in dark eyeliner and Einstein hair, but the core of the message remains clear. And it is delivered in a charming, if not slapstick, bloody way.
Were it not for the distractions like Sacha Baron Cohen (as a cartoonish con artist) and a wimpy sailor (Jamie Campbell Bower), this would've been practically flawless.
But then again, no one can be expected to make two Edward Scissorhands in one career. Even with the same genius actor.
Sunday, November 25, 2007
Titanic
Today, in honor of my birthday, I saw Titanic.
And no, I'm not talking about the DVD version—I mean I saw it on the big screen again. In fact, on the biggest screen I've ever seen it.
My local Cinerama is having a 70mm series and today they just happened to be showing this film, which I happen to love.
And you know what? It ages well.
Although I know every twist and turn that's going to occur (from my original repeated viewings of it when it was released nearly a decade ago), the suspense, romance and sadness are all still present in heavy doses.
I suppose this means the heart really does go on...
And no, I'm not talking about the DVD version—I mean I saw it on the big screen again. In fact, on the biggest screen I've ever seen it.
My local Cinerama is having a 70mm series and today they just happened to be showing this film, which I happen to love.
And you know what? It ages well.
Although I know every twist and turn that's going to occur (from my original repeated viewings of it when it was released nearly a decade ago), the suspense, romance and sadness are all still present in heavy doses.
I suppose this means the heart really does go on...
Friday, November 23, 2007
Margot at the Wedding
Today I saw Margot at the Wedding, starring Jennifer Jason Leigh and Nicole Kidman.
It was the topic of Cinebanter #44, which is available here.
It was the topic of Cinebanter #44, which is available here.
Thursday, November 22, 2007
August Rush
This morning I saw August Rush, starring Freddie Highmore and Keri Russell.
If it weren't for Robin Williams, this may have been a great movie.
At the heart of the film is little Evan Taylor (Highmore), an orphan with an incredible gift for music who believes his long-lost parents will find him by "hearing" him. He's placed in a miserable NY home for boys and runs away only to fall into the trap of "The Wizard" (Williams), an evil transient that pimps out young musicians only to reap the financial benefits.
Meanwhile Lyla (Russell) is a heartbroken cellist that never got over the supposed loss of her infant son (and his father, whom she had a passionate one-night-stand with). The boy's father Louis (Meyers) is a guitarist-turned-suit who left the pain of NY behind for a mundane life in San Francisco.
As you can imagine, there are many cheesy scenes that lead up to the predictable, if not sweet ending. But woven into them are great performances from Russell, Meyers, Highmore and Terrence Howard, who has a minor role as a social worker.
Robin Williams' awful overacting ultimately ruins the film, which with its message of music as a saving grace, could have been so much more.
If it weren't for Robin Williams, this may have been a great movie.
At the heart of the film is little Evan Taylor (Highmore), an orphan with an incredible gift for music who believes his long-lost parents will find him by "hearing" him. He's placed in a miserable NY home for boys and runs away only to fall into the trap of "The Wizard" (Williams), an evil transient that pimps out young musicians only to reap the financial benefits.
Meanwhile Lyla (Russell) is a heartbroken cellist that never got over the supposed loss of her infant son (and his father, whom she had a passionate one-night-stand with). The boy's father Louis (Meyers) is a guitarist-turned-suit who left the pain of NY behind for a mundane life in San Francisco.
As you can imagine, there are many cheesy scenes that lead up to the predictable, if not sweet ending. But woven into them are great performances from Russell, Meyers, Highmore and Terrence Howard, who has a minor role as a social worker.
Robin Williams' awful overacting ultimately ruins the film, which with its message of music as a saving grace, could have been so much more.
Wednesday, November 21, 2007
Enchanted
Today I saw Enchanted, starring Amy Adams and Patrick Dempsey.
I chose this film to kick off my holiday weekend because despite how silly the trailer looked, it's been well-reviewed and I like both of the lead actors.
The first, Amy Adams, is grossly underrated (I think she was robbed of an Oscar® for Junebug) and always adorable, therefore she was the perfect fit for the role of Giselle, the princess from the faraway land that gets catapulted into New York City after trusting that wicked queen from Snow White on her wedding day (long story).
Enter McDreamy himself to save the day as Robert, the handsome divorce lawyer/single father, whose awkward meet-cute (on a billboard) with the princess leads to...well...a fairy tale sort of love.
What I liked about the film was the acting (Susan Sarandon is great as the wicked queen, in addition to the leads) and the heart. It is a good, old-fashioned love story with an innocence that is rare in current cinema.
What I disliked was how dumb they made Edward (Giselle's supposed prince) and how they resorted to bathroom humor in a few places with Pip (the chipmunk), which took the overall sparkle off of the finished product.
Note to filmmakers: it doesn't have to be gross to be funny to kids.
That's all. Dempsey is hot and Adams is precious. Go see it for them.
I chose this film to kick off my holiday weekend because despite how silly the trailer looked, it's been well-reviewed and I like both of the lead actors.
The first, Amy Adams, is grossly underrated (I think she was robbed of an Oscar® for Junebug) and always adorable, therefore she was the perfect fit for the role of Giselle, the princess from the faraway land that gets catapulted into New York City after trusting that wicked queen from Snow White on her wedding day (long story).
Enter McDreamy himself to save the day as Robert, the handsome divorce lawyer/single father, whose awkward meet-cute (on a billboard) with the princess leads to...well...a fairy tale sort of love.
What I liked about the film was the acting (Susan Sarandon is great as the wicked queen, in addition to the leads) and the heart. It is a good, old-fashioned love story with an innocence that is rare in current cinema.
What I disliked was how dumb they made Edward (Giselle's supposed prince) and how they resorted to bathroom humor in a few places with Pip (the chipmunk), which took the overall sparkle off of the finished product.
Note to filmmakers: it doesn't have to be gross to be funny to kids.
That's all. Dempsey is hot and Adams is precious. Go see it for them.
Sunday, November 18, 2007
No Country for Old Men
Today I saw No Country for Old Men, starring Josh Brolin and Javier Bardem.
It was the topic of Cinebanter #43, which is available here.
It was the topic of Cinebanter #43, which is available here.
Saturday, November 03, 2007
Bee Movie
This morning I saw Bee Movie, featuring the voices of Jerry Seinfeld and Renee Zellweger.
What a breath of fresh air!
Full disclosure: I'm not a huge animation fan. In fact, save for The Simpsons Movie, I don't think I've seen an animated film in the theater since the anniversary of Yellow Submarine, so seeing this today was somewhat out of the ordinary for me. I'm glad I followed my instinct and ignored my self-imposed snobbiness though, because I really would have missed out on something great if I'd passed it up.
The story begins with Barry (Seinfeld) graduating from beehood and preparing to enter the job force, which basically consists of making honey exclusively. Adventure-seeker that he is, before he finalizes his career choice, he takes a trip outside the hive to see what the human world is like. While he's there (in present-day New York City), he falls in love with a human, Vanessa (Zellweger), and discovers the travesty that is bee slavery as he flies past the honey aisle at the grocery store.
What commences is somewhat of an animated genius that includes all of the components of a live-action Hollywood film: a sweet romance, courtroom drama, suspenseful action sequences, surprising celebrity cameos and a wink of an ending.
The voices are distinct (who could miss Chris Rock as the cunning mosquito?) but not at all distracting. Particularly great is John Goodman as the fat human defense attorney. And what's more, there are just as many jokes for the adults to laugh at as there are for the kids.
Go see this one in the theater—the bright yellow hues of the 'sets' cast a sunny glow on the whole production, which is nothing short of charming.
What a breath of fresh air!
Full disclosure: I'm not a huge animation fan. In fact, save for The Simpsons Movie, I don't think I've seen an animated film in the theater since the anniversary of Yellow Submarine, so seeing this today was somewhat out of the ordinary for me. I'm glad I followed my instinct and ignored my self-imposed snobbiness though, because I really would have missed out on something great if I'd passed it up.
The story begins with Barry (Seinfeld) graduating from beehood and preparing to enter the job force, which basically consists of making honey exclusively. Adventure-seeker that he is, before he finalizes his career choice, he takes a trip outside the hive to see what the human world is like. While he's there (in present-day New York City), he falls in love with a human, Vanessa (Zellweger), and discovers the travesty that is bee slavery as he flies past the honey aisle at the grocery store.
What commences is somewhat of an animated genius that includes all of the components of a live-action Hollywood film: a sweet romance, courtroom drama, suspenseful action sequences, surprising celebrity cameos and a wink of an ending.
The voices are distinct (who could miss Chris Rock as the cunning mosquito?) but not at all distracting. Particularly great is John Goodman as the fat human defense attorney. And what's more, there are just as many jokes for the adults to laugh at as there are for the kids.
Go see this one in the theater—the bright yellow hues of the 'sets' cast a sunny glow on the whole production, which is nothing short of charming.
Friday, November 02, 2007
American Gangster
Today I saw American Gangster, starring Denzel Washington and Russell Crowe.
It was the topic of Cinebanter #42, which is available here.
It was the topic of Cinebanter #42, which is available here.
Sunday, October 28, 2007
My Kid Could Paint That
Yesterday I saw the documentary My Kid Could Paint That.
The story follows that of alleged child prodigy Marla Olmstead and her family as they try to prove that the beautiful paintings they sold by the dozen were in fact done by her (a then 4-year-old).
This was a tough one to watch.
Of course, as a human being, you want the parents to be telling the truth and the girl to be supernaturally gifted, but watching this film, which includes the 60 Minutes footage that got everyone so worked up, you can't help but doubt the validity of the art.
To say much more would be to give too much of the movie away, but after you watch it, see if you agree with this theory:
• Mom was telling the truth (out of ignorance to the process)
• Dad was lying (but remorseful, as he probably didn't think "coaching" or "polishing" would be any big deal in the long run)
• Marla was innocent, and will probably be able to shed light on the controversy when she gets older
• Her little brother is adorable, and should have his own show
• Her manager is slimy and probably encouraged the "polishing"
• The art buyer in the end summed it up "the paintings look like they were done by two different artists"
Provocative and somewhat sad, this was not a bad way to spend an hour and a half.
The story follows that of alleged child prodigy Marla Olmstead and her family as they try to prove that the beautiful paintings they sold by the dozen were in fact done by her (a then 4-year-old).
This was a tough one to watch.
Of course, as a human being, you want the parents to be telling the truth and the girl to be supernaturally gifted, but watching this film, which includes the 60 Minutes footage that got everyone so worked up, you can't help but doubt the validity of the art.
To say much more would be to give too much of the movie away, but after you watch it, see if you agree with this theory:
• Mom was telling the truth (out of ignorance to the process)
• Dad was lying (but remorseful, as he probably didn't think "coaching" or "polishing" would be any big deal in the long run)
• Marla was innocent, and will probably be able to shed light on the controversy when she gets older
• Her little brother is adorable, and should have his own show
• Her manager is slimy and probably encouraged the "polishing"
• The art buyer in the end summed it up "the paintings look like they were done by two different artists"
Provocative and somewhat sad, this was not a bad way to spend an hour and a half.
Monday, October 22, 2007
Lust, Caution
Tonight I saw Lust, Caution, starring Tony Leung Chiu Wai and Wei Tang.
It was 2 hours, 28 minutes long, and it felt like 4.
I typically love Lee's mesmerizing films (Brokeback I even counted as my favorite of 2005), but this one nearly put me to sleep.
It's a basic story: girl wants to be an actress, gets caught up in resistance, earns assignment she is both physically and emotionally not ready for - powerful, mean leader sees young eye candy and takes full advantage of it, being at once cruel and gentle. They both betray themselves and alternately fall in love and lust, which of course leads to tragic consequences.
The buzz surrounding this movie because of its graphic, NC17-earning sex has unfortunately clouded the story, which in itself isn't boring, but when drawn out for an unimaginable length of time sure turns out to be.
The acting by the two leads is phenomenal (Leung Chiu Wai is especially captivating) and their chemistry is completely feasible, but I could have done with a lot less of the glances across the room, the poised staring with cigarette in hand and the closeups of jewels and sweat.
It was 2 hours, 28 minutes long, and it felt like 4.
I typically love Lee's mesmerizing films (Brokeback I even counted as my favorite of 2005), but this one nearly put me to sleep.
It's a basic story: girl wants to be an actress, gets caught up in resistance, earns assignment she is both physically and emotionally not ready for - powerful, mean leader sees young eye candy and takes full advantage of it, being at once cruel and gentle. They both betray themselves and alternately fall in love and lust, which of course leads to tragic consequences.
The buzz surrounding this movie because of its graphic, NC17-earning sex has unfortunately clouded the story, which in itself isn't boring, but when drawn out for an unimaginable length of time sure turns out to be.
The acting by the two leads is phenomenal (Leung Chiu Wai is especially captivating) and their chemistry is completely feasible, but I could have done with a lot less of the glances across the room, the poised staring with cigarette in hand and the closeups of jewels and sweat.
Wednesday, October 17, 2007
Gone Baby Gone
Tonight I screened Gone Baby Gone, starring Casey Affleck and Ed Harris.
I love it when movies make me think.
There are those that say they simply go to the movies to be entertained, and while that's important, if a movie forces me to calculate decisions as I'm watching, or question my morals when I've left the theater, I have to rank it a little higher on the list than the fluff. And this one did.
The story tells of two young 'private investigator' types (Affleck and Michelle Monaghan) who get caught up in a missing children case with the Boston PD only to arrive at disastrous results. But that's merely the beginning.
What unfolds is a story of deceit, vigilante justice, moral integrity, betrayal and heartbreak. And I'm still making up my mind about the characters.
Affleck gives a terrific performance as the quintessential good guy and Harris is equally good as the tried-and-true tough cop.
But the twists in the writing and the exciting camera work are really what make this a thrilling Departed-like ride.
Proof positive that the other Affleck (who directed and co-wrote this) is at his best behind the scenes.
I love it when movies make me think.
There are those that say they simply go to the movies to be entertained, and while that's important, if a movie forces me to calculate decisions as I'm watching, or question my morals when I've left the theater, I have to rank it a little higher on the list than the fluff. And this one did.
The story tells of two young 'private investigator' types (Affleck and Michelle Monaghan) who get caught up in a missing children case with the Boston PD only to arrive at disastrous results. But that's merely the beginning.
What unfolds is a story of deceit, vigilante justice, moral integrity, betrayal and heartbreak. And I'm still making up my mind about the characters.
Affleck gives a terrific performance as the quintessential good guy and Harris is equally good as the tried-and-true tough cop.
But the twists in the writing and the exciting camera work are really what make this a thrilling Departed-like ride.
Proof positive that the other Affleck (who directed and co-wrote this) is at his best behind the scenes.
Monday, October 15, 2007
The Jane Austen Book Club
Tonight I saw Jane Austen Book Club, starring Maria Bello and Kathy Baker.
This is one of those I don't want to like, but I sort of can't help myself.
There are all the typical components of a shameless chick flick:
• Cheating husband
• Scorned wife
• Token lesbian
• Convenient free spirit
• Bitter spinster
• Obligatory nice guy
All of that, plus Starbucks, wine and literature, and I still lasted through the credits.
The buried delight of this film is that they are taking feasible situations and treating them in a more charming than realistic way, which actually makes it more digestible. Sort of like cough syrup chased with Coca-Cola or a caramel macchiato.
And what's more, the cute guy is truly very cute.
My main problems with the film were that men (with the exception of Mr. Very Cute) were portrayed as clueless oafs and women were only a superior emotionally unstable improvement.
And metaphorically, all of the characters' lives mirrored those of the books they were reading, but the interpretation was so literal, it was much less clever than it could have been.
But in the spirit of Austen, who really did tie everything up in a nice pretty bow at the end, the movie makes a decent attempt.
This is one of those I don't want to like, but I sort of can't help myself.
There are all the typical components of a shameless chick flick:
• Cheating husband
• Scorned wife
• Token lesbian
• Convenient free spirit
• Bitter spinster
• Obligatory nice guy
All of that, plus Starbucks, wine and literature, and I still lasted through the credits.
The buried delight of this film is that they are taking feasible situations and treating them in a more charming than realistic way, which actually makes it more digestible. Sort of like cough syrup chased with Coca-Cola or a caramel macchiato.
And what's more, the cute guy is truly very cute.
My main problems with the film were that men (with the exception of Mr. Very Cute) were portrayed as clueless oafs and women were only a superior emotionally unstable improvement.
And metaphorically, all of the characters' lives mirrored those of the books they were reading, but the interpretation was so literal, it was much less clever than it could have been.
But in the spirit of Austen, who really did tie everything up in a nice pretty bow at the end, the movie makes a decent attempt.
Saturday, October 13, 2007
In the Shadow of the Moon
Today I saw the documentary In the Shadow of the Moon.
I'll admit—I've never been a space fanatic. I had no aspirations as a child to be an astronaut, and up until now the only reason seeing footage of a shuttle launch would give me goosebumps is because it serves as a reminder of good old fashioned MTV (who used the clip to introduce videos in its early years).
But on my Cinebanter partner's recommendation, I decided that I would give this documentary a try and I'm so glad I did.
This may be the most endearing talking-head documentary I've ever seen.
Basically, it traces the steps of America's arrival on the moon from the point of Kennedy's challenge to the present day using the actual men who've walked upon it as narrators (save for Neil Armstrong, who is only seen in archival footage).
The split-screen clips of them at the time and them now only adds to the brilliant nostalgia that permeates this incredibly patriotic glance at what America used to be capable of. A president says we need to do something: a team of brave men get together and do it—within a decade.
We catch a glimpse of how the international community viewed Americans in the 60s (they trusted us), we learn that some of the astronauts felt guilt for not fighting in Vietnam (as if their mission was any less dangerous), we begin to understand the overwhelming peace that these men gained from realizing just how beautiful the earth we live upon is—only after traveling so far from it.
It's a simple film about an almost supernatural accomplishment, led by men of dignity and honor.
I hope it will be shown to future generations in the years to come.
I'll admit—I've never been a space fanatic. I had no aspirations as a child to be an astronaut, and up until now the only reason seeing footage of a shuttle launch would give me goosebumps is because it serves as a reminder of good old fashioned MTV (who used the clip to introduce videos in its early years).
But on my Cinebanter partner's recommendation, I decided that I would give this documentary a try and I'm so glad I did.
This may be the most endearing talking-head documentary I've ever seen.
Basically, it traces the steps of America's arrival on the moon from the point of Kennedy's challenge to the present day using the actual men who've walked upon it as narrators (save for Neil Armstrong, who is only seen in archival footage).
The split-screen clips of them at the time and them now only adds to the brilliant nostalgia that permeates this incredibly patriotic glance at what America used to be capable of. A president says we need to do something: a team of brave men get together and do it—within a decade.
We catch a glimpse of how the international community viewed Americans in the 60s (they trusted us), we learn that some of the astronauts felt guilt for not fighting in Vietnam (as if their mission was any less dangerous), we begin to understand the overwhelming peace that these men gained from realizing just how beautiful the earth we live upon is—only after traveling so far from it.
It's a simple film about an almost supernatural accomplishment, led by men of dignity and honor.
I hope it will be shown to future generations in the years to come.
Friday, October 12, 2007
Elizabeth: The Golden Age
Today I saw Elizabeth: The Golden Age, starring Cate Blanchett and Clive Owen.
When I saw the first Elizabeth during Oscar® season of 1998, I remember being blown away by its intensity and glory. This time, I remained impressed by the acting and the cinematography, but the pace left me bored throughout.
The story of how the famous virgin Queen, played pitch-perfectly yet again by Blanchett, comes to form an attraction to Sir Walter Raleigh (Owen, who is equally fantastic) is the core of the narrative and undoubtedly spawns the most exciting scenes in the film. The two lead actors couldn't be more electric in one another's presence and watching their cat-and-mouse game is nothing short of tension-filled—in a good way.
The problem is, there's a whole lot of traditional 'period piece' yammering that happens in between all of the juice that has you begging for them to get on with it.
Sure, there are bright spots found in the wicked Mary Stuart, played convincingly by Samantha Morton, and also the delicate affair between Raleigh and the other Elizabeth, portrayed by an especially voluptuous Abbie Cornish. But overall it felt like we were jumping from bit to bit with only hints of excitement at each pit stop.
The singular saving grace (aside from the excellent performances) would be the scenery. The film is shot beautifully, from the long elegant hallways and candle-filled rooms inside the castle to the stormy golden-age sea, boasting magnificent ships on the majestic waters.
What was missing was the emotional presence of the first, which truly showed us how this leader was ruled by and ruled with her fragile heart.
When I saw the first Elizabeth during Oscar® season of 1998, I remember being blown away by its intensity and glory. This time, I remained impressed by the acting and the cinematography, but the pace left me bored throughout.
The story of how the famous virgin Queen, played pitch-perfectly yet again by Blanchett, comes to form an attraction to Sir Walter Raleigh (Owen, who is equally fantastic) is the core of the narrative and undoubtedly spawns the most exciting scenes in the film. The two lead actors couldn't be more electric in one another's presence and watching their cat-and-mouse game is nothing short of tension-filled—in a good way.
The problem is, there's a whole lot of traditional 'period piece' yammering that happens in between all of the juice that has you begging for them to get on with it.
Sure, there are bright spots found in the wicked Mary Stuart, played convincingly by Samantha Morton, and also the delicate affair between Raleigh and the other Elizabeth, portrayed by an especially voluptuous Abbie Cornish. But overall it felt like we were jumping from bit to bit with only hints of excitement at each pit stop.
The singular saving grace (aside from the excellent performances) would be the scenery. The film is shot beautifully, from the long elegant hallways and candle-filled rooms inside the castle to the stormy golden-age sea, boasting magnificent ships on the majestic waters.
What was missing was the emotional presence of the first, which truly showed us how this leader was ruled by and ruled with her fragile heart.
Sunday, October 07, 2007
Into the Wild
This morning I saw Into the Wild, starring Emile Hirsch and directed by Sean Penn.
It is the topic of Cinebanter #41, which is available for download here.
It is the topic of Cinebanter #41, which is available for download here.
Sunday, September 30, 2007
Feast of Love
This morning I saw Feast of Love, starring Morgan Freeman and Greg Kinnear.
I liked this movie a lot more than most critics.
Set in my home city of Portland, Oregon, the story follows Professor Harry Stevenson (Freeman) as he observes his friends and neighbors falling in and out of love as they're guided by (or prisoners of) fate.
The tender relationship he maintains with his wife Esther (played refreshingly by Tell Me That You Love Me's Jane Alexander) acts as an anchor to the turbulent love lives of virtually everyone he encounters.
His friend Bradley (Kinnear), who owns a coffee shop, is irritating in an unintentional way and this ultimately causes him to lose his wife to a lesbian. As he dusts himself off and tries to find another match, we're introduced to Oscar - one of his coffee shop employees who is a former heroin addict and his love-at-first-sight girlfriend Chloe.
Of all the relationships, theirs is the most genuine.
But that's not to say the rest aren't believable. There are many a married men who can't read their wives, cheat on them and make futile attempts to keep it together. And there are also mistresses who are genuinely in love with other women's husbands and still other women who may decide to switch teams after several years of being straight.
The main problem with this movie is that it couldn't decide whether it wanted to be an aw-shucks romantic comedy or a Crash-like preachy lesson on love, God and fate.
There's also a ridiculous character called The Bat, played by Fred Ward, who is possibly the worst-written alcoholic father in the history of cinema.
Nonetheless, I still enjoyed it (despite the fact that one of the scenes features a loud thunderstorm that would never happen in Portland).
If nothing else, go to be charmed by the ever-appealing Freeman.
I liked this movie a lot more than most critics.
Set in my home city of Portland, Oregon, the story follows Professor Harry Stevenson (Freeman) as he observes his friends and neighbors falling in and out of love as they're guided by (or prisoners of) fate.
The tender relationship he maintains with his wife Esther (played refreshingly by Tell Me That You Love Me's Jane Alexander) acts as an anchor to the turbulent love lives of virtually everyone he encounters.
His friend Bradley (Kinnear), who owns a coffee shop, is irritating in an unintentional way and this ultimately causes him to lose his wife to a lesbian. As he dusts himself off and tries to find another match, we're introduced to Oscar - one of his coffee shop employees who is a former heroin addict and his love-at-first-sight girlfriend Chloe.
Of all the relationships, theirs is the most genuine.
But that's not to say the rest aren't believable. There are many a married men who can't read their wives, cheat on them and make futile attempts to keep it together. And there are also mistresses who are genuinely in love with other women's husbands and still other women who may decide to switch teams after several years of being straight.
The main problem with this movie is that it couldn't decide whether it wanted to be an aw-shucks romantic comedy or a Crash-like preachy lesson on love, God and fate.
There's also a ridiculous character called The Bat, played by Fred Ward, who is possibly the worst-written alcoholic father in the history of cinema.
Nonetheless, I still enjoyed it (despite the fact that one of the scenes features a loud thunderstorm that would never happen in Portland).
If nothing else, go to be charmed by the ever-appealing Freeman.
Monday, September 24, 2007
Across the Universe
Tonight I saw Across the Universe, starring Evan Rachel Wood.
It will is the topic of Cinebanter #40, which is available here.
It will is the topic of Cinebanter #40, which is available here.
Saturday, September 22, 2007
Eastern Promises
This morning I saw Eastern Promises, starring Naomi Watts and Viggo Mortensen.
My best advice to anyone heading out to see this: be prepared for the blood. I'm not a particular fan of gore, but for the story Cronenberg was telling, it was necessary.
A London midwife (Watts) loses a teenage mother on the operating table having known nothing about her and finds a diary the girl had written. In an effort to place the orphaned baby with the family of the deceased, she needs to have the diary translated from Russian to English. She firsts asks her uncle, but he refuses, so she goes to a restaurant that she found by way of a business card tucked into the girl's diary. There, she meets the proprietor who is perhaps too anxious to help her.
What transpires are frequent run-ins with the Russian mob and a flirtatious game of danger with the main family's "driver," who is played pitch-perfectly by Mortensen.
The film was well-paced and the story was easier to follow than many of Cronenberg's others, but without the delicious chemistry between Mortensen and Watts, it would have been just a series of violent chapters with little payoff in the end.
I liked A History of Violence better.
My best advice to anyone heading out to see this: be prepared for the blood. I'm not a particular fan of gore, but for the story Cronenberg was telling, it was necessary.
A London midwife (Watts) loses a teenage mother on the operating table having known nothing about her and finds a diary the girl had written. In an effort to place the orphaned baby with the family of the deceased, she needs to have the diary translated from Russian to English. She firsts asks her uncle, but he refuses, so she goes to a restaurant that she found by way of a business card tucked into the girl's diary. There, she meets the proprietor who is perhaps too anxious to help her.
What transpires are frequent run-ins with the Russian mob and a flirtatious game of danger with the main family's "driver," who is played pitch-perfectly by Mortensen.
The film was well-paced and the story was easier to follow than many of Cronenberg's others, but without the delicious chemistry between Mortensen and Watts, it would have been just a series of violent chapters with little payoff in the end.
I liked A History of Violence better.
Sunday, September 16, 2007
Chalk
Today I saw Chalk, starring Troy Schremmer and Shannon Haragan.
The film is staged like a fake documentary, which follows a group of teachers and administrators through a school year at an American high school.
Many of the stereotypical things about schools are targeted for laughs (nervous new teachers, the PE teacher being mistaken for a lesbian, gossip in the faculty lounge, etc.) as this is a comedy, but it wasn't quite strong enough to live up to its trailer.
I remember seeing a preview for this a few weeks back and getting very excited. Schools are a big part of my life—I now work at one, I once was a teacher and I am friends with several teachers. The culture is never dull, the stories are almost always funny and there is plenty of natural 'material' to draw on.
But as I was watching this movie, I got the sense they didn't really know how to harness that material without dumbing it down to a nearly slapstick level, and that left me longing for a real documentary to get the job done.
What I found most distracting were the actors' attempts to portray their roles as if they were guest stars on the American version of The Office. Many 'serious' diary entries to what I guess was supposed to be a 'home journal' were spliced in with 'action' shots and that didn't work at all.
The dialogue delivery was intentionally campy, when it should have really been more 'serious' to echo sincerity...THAT would have been hilarious.
They were just too conscious of their characters for it to be flawless.
That said, there were some funny moments—namely happy hour and the history teacher who takes away his student's cell phone.
The film is staged like a fake documentary, which follows a group of teachers and administrators through a school year at an American high school.
Many of the stereotypical things about schools are targeted for laughs (nervous new teachers, the PE teacher being mistaken for a lesbian, gossip in the faculty lounge, etc.) as this is a comedy, but it wasn't quite strong enough to live up to its trailer.
I remember seeing a preview for this a few weeks back and getting very excited. Schools are a big part of my life—I now work at one, I once was a teacher and I am friends with several teachers. The culture is never dull, the stories are almost always funny and there is plenty of natural 'material' to draw on.
But as I was watching this movie, I got the sense they didn't really know how to harness that material without dumbing it down to a nearly slapstick level, and that left me longing for a real documentary to get the job done.
What I found most distracting were the actors' attempts to portray their roles as if they were guest stars on the American version of The Office. Many 'serious' diary entries to what I guess was supposed to be a 'home journal' were spliced in with 'action' shots and that didn't work at all.
The dialogue delivery was intentionally campy, when it should have really been more 'serious' to echo sincerity...THAT would have been hilarious.
They were just too conscious of their characters for it to be flawless.
That said, there were some funny moments—namely happy hour and the history teacher who takes away his student's cell phone.
Thursday, September 13, 2007
Cinebanter LISTENER'S CHOICE
Hello everyone -
For those of you who are fans of Cinebanter, consider this a special heads-up for our 40th episode: we want you to choose the movie.
Simply tell us what to review by e-mailing your choice to us at cinebanter@gmail.com.
Please have your votes in no later than Friday, September 21, and keep in mind that we've eliminated some of the contenders already:
BALLS OF FURY
DRAGON WARS
HALLOWEEN
Happy voting!
For those of you who are fans of Cinebanter, consider this a special heads-up for our 40th episode: we want you to choose the movie.
Simply tell us what to review by e-mailing your choice to us at cinebanter@gmail.com.
Please have your votes in no later than Friday, September 21, and keep in mind that we've eliminated some of the contenders already:
BALLS OF FURY
DRAGON WARS
HALLOWEEN
Happy voting!
Sunday, September 02, 2007
King of Kong: A Fistful of Quarters
Today I saw King of Kong: A Fistful of Quarters, the documentary about gamers Steve Wiebe and Billy Mitchell competing for the Donkey Kong world record.
It was the topic of Cinebanter #39. Click here for our review.
It was the topic of Cinebanter #39. Click here for our review.
Tuesday, August 14, 2007
Sunday, August 12, 2007
Rescue Dawn
Today I saw Rescue Dawn, starring Christian Bale and Steve Zahn.
I hate to say it, but I'm so immune to war movies these days, this one barely meant more than the last handful I saw.
And I'm not implying it was a bad movie—it wasn't—but I'm so tired of the story and the torture and the horror and the injustice that I don't feel like watching it anymore.
This particular film tells the tale of Deiter (Bale), an American pilot who goes down in Laos and becomes imprisoned with others who have been there for years by the time he arrives (and he gets there 'before' the war starts). He concocts a successful escape plan, executes it (along with some prison guards) and finds himself wandering the jungle with one of his fellow prisoners, Duane (Zahn).
The best part of this movie is the friendship that develops between these two.
Of course we expect that Deiter will survive, and when he does, his rescue is nothing short of inspiring, but we're still left with flashbacks of the carnage left behind, on both sides of the conflict.
Herzog made a good, solid movie—I just wish he'd have chosen a less-popular topic.
I hate to say it, but I'm so immune to war movies these days, this one barely meant more than the last handful I saw.
And I'm not implying it was a bad movie—it wasn't—but I'm so tired of the story and the torture and the horror and the injustice that I don't feel like watching it anymore.
This particular film tells the tale of Deiter (Bale), an American pilot who goes down in Laos and becomes imprisoned with others who have been there for years by the time he arrives (and he gets there 'before' the war starts). He concocts a successful escape plan, executes it (along with some prison guards) and finds himself wandering the jungle with one of his fellow prisoners, Duane (Zahn).
The best part of this movie is the friendship that develops between these two.
Of course we expect that Deiter will survive, and when he does, his rescue is nothing short of inspiring, but we're still left with flashbacks of the carnage left behind, on both sides of the conflict.
Herzog made a good, solid movie—I just wish he'd have chosen a less-popular topic.
Saturday, August 11, 2007
The Bourne Ultimatum
This morning I saw The Bourne Ultimatum, starring Matt Damon and Julia Stiles.
This was definitely the best film of the trilogy. The first one lacked sentiment, the second one was simply a 'setup' device for the third, but this one had everything: action, suspense, drama, comedy and heart.
The heart is what really sets it apart from its predecessors.
In a very brief, yet pivotal scene, Nicky (Stiles) conveys more love for Bourne (Damon) than Marie (Franke Potente) did in either of the two movies. A twist I (and hopefully the rest of the audience) didn't see coming.
And while their 'love' story is never defined, her loyalty to him essentially saves him and vice versa.
Another standout in the film is David Strathairn as Noah Vosen, a bitter government big shot hell bent on burying Bourne and anyone who stands in his way from doing so. He's pitch perfect in this role because he's evil without being menacing and makes it easy for you to side with the assassin.
This film is also less dizzying than part two and the story moves at a more comfortable pace (read: I didn't feel like throwing up because of the camera work in this one).
My only gripe would be that it had a wink of an ending that almost begs for The Bourne Resurrection.
Let's hope they just let sleeping assassins lie.
This was definitely the best film of the trilogy. The first one lacked sentiment, the second one was simply a 'setup' device for the third, but this one had everything: action, suspense, drama, comedy and heart.
The heart is what really sets it apart from its predecessors.
In a very brief, yet pivotal scene, Nicky (Stiles) conveys more love for Bourne (Damon) than Marie (Franke Potente) did in either of the two movies. A twist I (and hopefully the rest of the audience) didn't see coming.
And while their 'love' story is never defined, her loyalty to him essentially saves him and vice versa.
Another standout in the film is David Strathairn as Noah Vosen, a bitter government big shot hell bent on burying Bourne and anyone who stands in his way from doing so. He's pitch perfect in this role because he's evil without being menacing and makes it easy for you to side with the assassin.
This film is also less dizzying than part two and the story moves at a more comfortable pace (read: I didn't feel like throwing up because of the camera work in this one).
My only gripe would be that it had a wink of an ending that almost begs for The Bourne Resurrection.
Let's hope they just let sleeping assassins lie.
Sunday, August 05, 2007
The Ten
Today I saw The Ten, starring Paul Rudd and Winona Ryder.
It is the topic of Cinebanter #37, which is available for download here.
After you listen, be sure to leave us comments on our site or e-mail us at cinebanter@gmail.com.
It is the topic of Cinebanter #37, which is available for download here.
After you listen, be sure to leave us comments on our site or e-mail us at cinebanter@gmail.com.
Sunday, July 29, 2007
A Mighty Heart
Today I saw A Mighty Heart, starring Angelina Jolie.
The story follows the tragic end of Wall Street Journal writer Daniel Pearl's life. It is told chronologically from the time he leaves his wife to go to that fateful interview, to the birth of their son Adam a few months after he was murdered.
Angelina, who plays Marianne, is magnificent as a strong-willed journalist who acts as an effective team leader in the search for her husband, despite the fact she's five months pregnant at the time of his kidnapping. Jolie not only captures Mrs. Pearl's mannerisms and speech patterns, she harnesses the essence of this amazing woman's spirit, portraying her as a calming presence in the midst of a personal and political disaster. It's a shame that many have not been able to overlook Angelina's fame when speaking about her in this role because she certainly could be nominated for another Oscar® as a result of it. She's that good.
Also wonderful is Irfan Khan (The Namesake) as the captain in charge of tracking down Danny's captors. His no-nonsense, yet compassionate aura never entered the annoying arena of personas that typically get exaggerated in stories like this. I guess what I'm saying is that his understated acting is a benefit to this role and ultimately to the film overall.
I also felt that the dramatic scenes that we knew were all coming, were treated with grace and not overdone as I somewhat expected.
It's a devastating story, but it's also heartwarming because we learn that law enforcement and the governments of the countries involved and the family and coworkers of Mr. Pearl all worked together in peace to try to bring him home safely.
And they came so close.
The story follows the tragic end of Wall Street Journal writer Daniel Pearl's life. It is told chronologically from the time he leaves his wife to go to that fateful interview, to the birth of their son Adam a few months after he was murdered.
Angelina, who plays Marianne, is magnificent as a strong-willed journalist who acts as an effective team leader in the search for her husband, despite the fact she's five months pregnant at the time of his kidnapping. Jolie not only captures Mrs. Pearl's mannerisms and speech patterns, she harnesses the essence of this amazing woman's spirit, portraying her as a calming presence in the midst of a personal and political disaster. It's a shame that many have not been able to overlook Angelina's fame when speaking about her in this role because she certainly could be nominated for another Oscar® as a result of it. She's that good.
Also wonderful is Irfan Khan (The Namesake) as the captain in charge of tracking down Danny's captors. His no-nonsense, yet compassionate aura never entered the annoying arena of personas that typically get exaggerated in stories like this. I guess what I'm saying is that his understated acting is a benefit to this role and ultimately to the film overall.
I also felt that the dramatic scenes that we knew were all coming, were treated with grace and not overdone as I somewhat expected.
It's a devastating story, but it's also heartwarming because we learn that law enforcement and the governments of the countries involved and the family and coworkers of Mr. Pearl all worked together in peace to try to bring him home safely.
And they came so close.
Friday, July 27, 2007
The Simpsons Movie
Tonight I saw The Simpsons Movie, starring Homer, Bart, Marge, Maggie and Lisa Simpson.
It is the topic of Cinebanter #36, so tune in to hear our review.
It is the topic of Cinebanter #36, so tune in to hear our review.
Wednesday, July 18, 2007
Broken English
Tonight my Cinebanter partner and I saw Broken English, starring Parker Posey.
It is the topic of Cinebanter 35. Click here to download the show, free of charge.
It is the topic of Cinebanter 35. Click here to download the show, free of charge.
Friday, June 29, 2007
Tuesday, June 26, 2007
1408
Tonight I saw 1408, starring John Cusack and Samuel L. Jackson.
It's Kafka-esque kookiness with a bit of sadness...and a bit of humor thrown in.
The film focuses on author Michael Enslin (Cusack), who travels to 'haunted' hotels and reports on their paranormal (or just normal) activity. We soon learn he is a skeptic who recently left his wife after their only daughter died at a young age. His vices apparently include drinking and surfing. He is sarcastic and jaded and every other stereotype that writers are supposed to be.
After he receives an anonymous postcard to visit the Dolphin Hotel in New York City, he takes the bait and attempts to book the room referenced on the card. When he's unable to do this on his own, he gets his literary agent and lawyer involved and they force the issue. When he arrives at the hotel, a typically-charismatic Samuel L. Jackson (playing the manager) pleads with him to stay away from the room.
Now Samuel is wonderful, but the I-could-open-a-can-of-whoop-ass-on-you-in-an-instant rhythm of his speech is such a distraction, it's hard to take him seriously. And along the same lines, although Cusack is supposed to be a messed up, faithless woman deserter, he still somehow manages to be likable—even attractive at times.
But I digress.
At the heart of the movie is a man who is lost in grief and subconsciously hoping to find proof of something else in the universe.
In room 1408, he finds it and we jump.
It's Kafka-esque kookiness with a bit of sadness...and a bit of humor thrown in.
The film focuses on author Michael Enslin (Cusack), who travels to 'haunted' hotels and reports on their paranormal (or just normal) activity. We soon learn he is a skeptic who recently left his wife after their only daughter died at a young age. His vices apparently include drinking and surfing. He is sarcastic and jaded and every other stereotype that writers are supposed to be.
After he receives an anonymous postcard to visit the Dolphin Hotel in New York City, he takes the bait and attempts to book the room referenced on the card. When he's unable to do this on his own, he gets his literary agent and lawyer involved and they force the issue. When he arrives at the hotel, a typically-charismatic Samuel L. Jackson (playing the manager) pleads with him to stay away from the room.
Now Samuel is wonderful, but the I-could-open-a-can-of-whoop-ass-on-you-in-an-instant rhythm of his speech is such a distraction, it's hard to take him seriously. And along the same lines, although Cusack is supposed to be a messed up, faithless woman deserter, he still somehow manages to be likable—even attractive at times.
But I digress.
At the heart of the movie is a man who is lost in grief and subconsciously hoping to find proof of something else in the universe.
In room 1408, he finds it and we jump.
Sunday, June 24, 2007
Paris Je'Taime
Yesterday I saw Paris Je'Taime, starring Natalie Portman and Elijah Wood.
It will be the topic of Cinebanter 33, so tune in on July 3 for our review.
It will be the topic of Cinebanter 33, so tune in on July 3 for our review.
Saturday, June 16, 2007
Sex and Death 101
Last night I screened Sex and Death 101, starring Simon Baker (pictured below signing autographs after the premiere) and Winona Ryder.
Stay tuned to Cinebanter for my upcoming review.
Stay tuned to Cinebanter for my upcoming review.
Thursday, June 14, 2007
Wednesday, June 13, 2007
Knocked Up
Tonight I saw Knocked Up, starring Katherine Heigl and Seth Rogen.
It is the topic of Cinebanter #32, which is available here.
It is the topic of Cinebanter #32, which is available here.
Monday, June 11, 2007
Evening
This morning I screened Evening, starring Claire Danes and Toni Collette.
The story begins with the main character, Ann (Danes/Vanessa Redgrave) traveling to her friend Lila's wedding at a posh family home on the east coast. We immediately sense that Lila is preparing to marry the wrong man and see the immediate connection between Ann and Lila's brother Buddy (Hugh Dancy).
As the story unfolds, the subject of class prevails—preventing Lila from marrying the boy she has passion for, Harris (Patrick Wilson). Turns out that Ann has passion for him too and Harris returns that passion on Lila's wedding night as twists and turns are turning a happy day into a tragic one.
This is all told through flashbacks that the elderly Ann is remembering on her death bed, as her daughters (Collette and Natasha Richardson) face similar challenges in present day.
Without adding spoilers, the moral of the story is: marry the person you have the magic with.
Not the guy your friends think is perfect for you or the girl your family happens to adore.
Spend the rest of your life with the person who brings joy to your days and passion to your nights.
Then you won't regret it on your deathbed and make the rest of us cry.
The story begins with the main character, Ann (Danes/Vanessa Redgrave) traveling to her friend Lila's wedding at a posh family home on the east coast. We immediately sense that Lila is preparing to marry the wrong man and see the immediate connection between Ann and Lila's brother Buddy (Hugh Dancy).
As the story unfolds, the subject of class prevails—preventing Lila from marrying the boy she has passion for, Harris (Patrick Wilson). Turns out that Ann has passion for him too and Harris returns that passion on Lila's wedding night as twists and turns are turning a happy day into a tragic one.
This is all told through flashbacks that the elderly Ann is remembering on her death bed, as her daughters (Collette and Natasha Richardson) face similar challenges in present day.
Without adding spoilers, the moral of the story is: marry the person you have the magic with.
Not the guy your friends think is perfect for you or the girl your family happens to adore.
Spend the rest of your life with the person who brings joy to your days and passion to your nights.
Then you won't regret it on your deathbed and make the rest of us cry.
Wednesday, June 06, 2007
Walk the Talk
Tonight I screened Walk the Talk, starring Cary Elwes and Ileana Douglas.
Stay tuned to Cinebanter for my full review.
Stay tuned to Cinebanter for my full review.
Interview
This morning I screened the film Interview, starring Steve Buscemi and Sienna Miller.
Stay tuned to Cinebanter for my upcoming review.
Stay tuned to Cinebanter for my upcoming review.
Tuesday, June 05, 2007
Big Rig
Tonight I screened the documentary Big Rig.
Listen to Cinebanter #31: WAITRESS for my capsule review.
Listen to Cinebanter #31: WAITRESS for my capsule review.
Sunday, June 03, 2007
Jindabyne
Today I saw Jindabyne, starring Laura Linney and Gabriel Byrne.
This is one of those films that will probably linger in my head for a while, but I'm not completely sure why.
The story tells of an already dysfunctional marriage between Claire (Linney) and Stewart (Byrne) that is disrupted further by a discovery Stewart and his friends make on a fishing trip. They find the body of a murdered woman and don't report it until the end of their stay at the river. This brings shame from the townspeople and anger from their partners as the crime gets investigated.
As the tale is based on a short story by Raymond Carver, I can see why they left many things a mystery, but I'm not sure it worked in this context.
What we do know is that Claire is Stewart's second wife, she left her husband once, her mother-in-law is a meddling nightmare, and their best friends apparently lost their adult daughter. We also know who the killer is and how he preyed upon his victim.
What we don't know is why Claire left Stewart (though all signs point to post-partum depression), how exactly their friend's daughter passed, why the killer kills and why the Irish Stewart and the American Claire are living in Australia in the first place.
As the film progresses, you think you may get the answers to some of these questions, but you don't. I guess that's the biggest problem I had with this film—too many stones left unturned.
But to call it boring wouldn't be fair.
The performances are good, the pace is fine and the subject matter is interesting, if not exciting.
This is one of those films that will probably linger in my head for a while, but I'm not completely sure why.
The story tells of an already dysfunctional marriage between Claire (Linney) and Stewart (Byrne) that is disrupted further by a discovery Stewart and his friends make on a fishing trip. They find the body of a murdered woman and don't report it until the end of their stay at the river. This brings shame from the townspeople and anger from their partners as the crime gets investigated.
As the tale is based on a short story by Raymond Carver, I can see why they left many things a mystery, but I'm not sure it worked in this context.
What we do know is that Claire is Stewart's second wife, she left her husband once, her mother-in-law is a meddling nightmare, and their best friends apparently lost their adult daughter. We also know who the killer is and how he preyed upon his victim.
What we don't know is why Claire left Stewart (though all signs point to post-partum depression), how exactly their friend's daughter passed, why the killer kills and why the Irish Stewart and the American Claire are living in Australia in the first place.
As the film progresses, you think you may get the answers to some of these questions, but you don't. I guess that's the biggest problem I had with this film—too many stones left unturned.
But to call it boring wouldn't be fair.
The performances are good, the pace is fine and the subject matter is interesting, if not exciting.
2 Days in Paris
Last night I screened 2 Days in Paris, starring Julie Delpy and Adam Goldberg (Adam is pictured here at the SIFF Q&A).
Visit this Cinebanter page for my capsule review.
Visit this Cinebanter page for my capsule review.
Friday, June 01, 2007
Once
Today I saw Once, a harmonic love story starring Glen Hansard and Markéta Irglova.
If I was forced to describe this film in one word it would be "chemistry."
The musical follows a guy and a girl (seriously—we're not sure of their names) as they meet on a Dublin street and fall in love...over music.
The guy is a street musician/vaccuum repair man who catches the eye of the girl who is a maid/flower salesperson, originally from the Czech Republic. There is an immediate spark between the two, and at first it seems as if the girl is chasing the boy.
Soon enough we learn the girl is married with a daughter and an estranged husband. This puts a damper on things, as the tables have quickly turned and the guy is the one doing the chasing.
Regardless, the two end up making beautiful music together—joining forces to create an actual CD with a handful of other musicians, and dancing around the topic that is their connection.
The movie is frustrating, as you're never quite sure the girl wants their love to be realized the way you and the guy character crave for it to be, but it's a beautiful journey nonetheless.
The original music, their undeniable chemistry and an especially gorgeous scene with a piano in the dark makes for a pretty romantic piece of art.
Go see it.
If I was forced to describe this film in one word it would be "chemistry."
The musical follows a guy and a girl (seriously—we're not sure of their names) as they meet on a Dublin street and fall in love...over music.
The guy is a street musician/vaccuum repair man who catches the eye of the girl who is a maid/flower salesperson, originally from the Czech Republic. There is an immediate spark between the two, and at first it seems as if the girl is chasing the boy.
Soon enough we learn the girl is married with a daughter and an estranged husband. This puts a damper on things, as the tables have quickly turned and the guy is the one doing the chasing.
Regardless, the two end up making beautiful music together—joining forces to create an actual CD with a handful of other musicians, and dancing around the topic that is their connection.
The movie is frustrating, as you're never quite sure the girl wants their love to be realized the way you and the guy character crave for it to be, but it's a beautiful journey nonetheless.
The original music, their undeniable chemistry and an especially gorgeous scene with a piano in the dark makes for a pretty romantic piece of art.
Go see it.
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