Eat, Pray, Love

Tonight I saw Eat, Pray, Love starring Julia Roberts and Javier Bardem.

I can understand why some people won't like this film.

Jaded, cynical critics are practically forbidden from publicly praising any movie based on a "woman's journey," especially if that woman is an upper-middle-class white thirtysomething that seemed to have it all when she lost her mind.

As a critic who can admittedly be jaded and cynical much of the time, if I hadn't read the book I doubt I would've gone near the multiplex, but here's the thing: I did read the book, and I loved it.

Maybe it was timing? I don't know. I had just suffered the worst breakup of my life in the year prior to this book being released, so perhaps the story was literary tonic for me in the aftermath. All I know is that once I began reading it, I began calling other women in my life to see if they'd read it, and if they hadn't I was buying extra copies or loaning mine out so they could.

The film, based closely on the book, focuses on Liz Gilbert (Roberts)—a successful writer in Pennsylvania who decides she doesn't like being married, though nothing concrete is really wrong with her marriage. She breaks her husband's heart into a million pieces by suddenly walking out on him, then she embarks on an affair with a Much Younger Man, basically chewing him up and spitting him out too. Actions like this can leave one feeling very guilty and empty inside, so that's where the journey begins.

Liz decides to restore balance in her life by traveling for a year. It sounds terribly cliché and the fact that she had the money and time to do this makes many sour in jealousy, but amidst all of those privileges, it's hard not to feel sorry for how lost her soul truly is.

First, she ventures to Italy where she falls in love with the language and most importantly, the food. The book goes into greater detail, but the movie still brims with pasta and wine and pizza [Eat], so we're okay. In Rome, she also makes friends who encourage her to stop and smell the roses, which proves to be a valuable suggestion later in her trip. If only the film had captured more of Italy's ambiance, this section would have been more satisfying.

Second, she heads to India to learn how to Pray. This proves to be the most difficult task for anxiety-ridden Liz until she meets Richard from Texas (Richard Jenkins). Richard is an emotionally wounded tough guy who tells it like it is and nicknames her "Groceries" (due to her fondness for food). In the book, the guy is barely likable; in the movie, Jenkins makes you weep for him. Seriously, if there is a performance to be noted in this film, it is Richard Jenkins. Every time he enters a frame we hang on his every word because we know we'll be entertained or even moved. He's enormously endearing and when it's time for him to leave in the film, we almost wish we could go with him.

Last, Liz lands in Bali where she inevitably falls in Love (though that's the last thing she planned to do). Felipe (Bardem), her lover, is sexy and warm and charming all at once and she is strong-willed putty in his hands. Roberts and Bardem don't have any special chemistry, but they're pleasant enough to watch as two divorcees finding their way back to beating hearts.

Overall, the film stays very faithful to the book. Nothing crucial is cut; no major portion of the story altered to meet Hollywood standards.

It's not the greatest work of cinema, but it's certainly not awful or hard to watch. That said, if you hated the book, chances are you'll hate this too.

But I didn't.

~~~

The Girl Who Played with Fire

Yesterday I saw The Girl Who Played with Fire, starring Noomi Rapace and Michael Nyqvist.

Anyone who has read the novel this film was based on cannot help but compare the two, so I'll start by saying the filmmakers again did a good job of paring down the author's too-wordy text into simpler dialog, but I wish they hadn't changed certain details for the screen.

To explain them would be to spoil plot points for those who haven't yet seen the film, so I won't go into detail, but I will say that unless they payoff their changes in the third installment, I don't understand why they did it.

I also thought Lisbeth (Rapace) appeared less intelligent in this film, and that's something that could've easily been fixed by letting the camera linger on her smirks or having other characters reference her brilliance (as they do many times in the book).

My final complaint would be that Zala (Georgi Staykov) wasn't menacing enough for the monster that he is supposed to be. I was neither afraid nor repelled by his film version and felt that I should've been. Perhaps the director could've treated us to a few flashbacks with Liseth's mom?

On the good side: the casting again is superb. There isn't one person who doesn't fit the image of their literary likeness and act with conviction.

I also enjoyed the chemistry between Liseth and her girfriend Mimmi (Yasmine Garbi) and the tension between Blomkvist (Nyqvist) and Berger (Lena Andre).

In addition, as someone who is admittedly squeamish, I appreciated that the bloody scenes were not at all gratuitous and the violence true-to-life instead of ridiculous.

All in all, a satisfying middle to this thrilling trilogy.

~~~

Middle Men

Tonight I saw Middle Men, starring Luke Wilson and Giovanni Ribisi.

It will be the topic of Cinebanter #95, so tune in August 16 for our review.

Salt

Tonight I saw Salt, starring Angelina Jolie and Liev Schreiber.

Like a pinball that's just been thrust into play, Evelyn Salt (Jolie) begins oh so calmly, then darts from one thing to another with reckless abandon. She's an employee of the CIA who has unexpectedly been accused of spying for the Russians. Because you can never be too careful, the higher ups want to hold her for questioning, but Evelyn is terrified the Soviets who are framing her will go after her (innocent, non-CIA) husband, so she escapes her own high security office building and heads home to warn him. When she arrives, he's already gone so she must continue on the run until she locates him. Or fulfills her Russian mission. You decide.

Along the way, her colleague/friend Ted Winter (Schreiber) does his best to defend her honor, but he can only do so much. The fact that she ran doesn't look good to the authorities and she's too skilled to let the boys track her down for a simple interrogation.

Everything you'd expect from an action thriller is here: high speed chases through traffic, security guards getting pistol whipped by a badass, confusion regarding who is on who's side and good old-fashioned Russian hatred for America.

Now, before you ask what decade the film is set in (present day, if you must), might I remind you that just last week our country (in real life) deported a handful of Russian spies who had been working in respectable American companies, living family lives in the suburbs like so many normal patriots.

With that out of the way, I can say that much of the film is completely unbelievable. There is no man's ass Evelyn can't kick; no weapon she is unprepared to use; no otherwise fatal car crash that she can't walk away from without a scratch. It's ridiculous.

But it's also undoubtedly fun, in a classic, Cold War sort of way.

What I found refreshing is that before every strategic move is made, there's not someone scrambling a signal on a cell phone or cracking some mysterious code on a laptop. In fact, the only typing we really see is in reference to launching a missile, and that I can forgive.

Plus, though she's a sexy woman who purses her lips on more than one occasion, the writers didn't make Evelyn too girlie. You never see her check her makeup in a mirror or even use her sexuality to win anyone over. The only indication you get that she has capacity for normal female emotion is the tenderness we see when she's with her husband. She must really love him.

So if you can get past the cheesy lines and the 80s explosions and the same-old spy twists, you might just have a good time with this flick.

~~~

The Girl with the Dragon Tattoo

Today I saw The Girl with the Dragon Tattoo, starring Michael Nyqvist and Noomi Rapace.

I'm always hesitant to see a film created from a book I enjoyed, but in this case it worked out for the best. The parts of the book I found cumbersome and verbose are eliminated, yet the story is undoubtedly fulfilled.

Mikael (Nyqvist) is a journalist who has just been convicted for committing libel against a powerful, wealthy man. Never mind that he was probably framed; he agrees to go quietly into prison once his sentence commences in six months.

Before he can begin serving that sentence, he is contacted by the people of billionaire Henrik Vanger (Sven-Bertil Taube) to research the cold case murder of his niece Harriet who went missing 40 years ago. He is reluctant to take the offer, but the money is good, and coincidentally the missing woman babysat him in youth, so perhaps he feels remotely obligated.

Mikael doesn't get too far solving the mystery until he begins working alongside Lisbeth (Rapace), a twentysomething woman he caught hacking into his computer who has major social issues (and a menacing dragon tattoo).

Together they find the pieces of the never-forgotten puzzle and get close to one another as they discover them. On the side, Liseth overcomes some horrific personal violence (and no, if you can't handle brutal rape scenes, you shouldn't see this film) and fights demons from her own past.

The film succeeds in playing this all out in a realistic way. Nothing is over-stylized and the dialog is completely believable. We care about the characters enough to want to save them and root for any connections they can build with each other. That is both a testament to the strong adapted screenplay and the perfect casting of the two main leads. Really, how will any Americans measure up to them in a remake?

This was a very satisfying screen version of a book that could have been shorter. However, if you're going to devour both the film and the book, be sure to read the book first or you may not make it to the end.

~~~

Solitary Man

Tonight I saw Solitary Man, starring Michael Douglas and Jenna Fischer.

Car salesman are seldom liked and rarely respected, but you get the sense that before his dealership began running scams, Ben Kalmen (Douglas) may have been both. And when you're used to everyone adoring you and your world falls apart, it's hard to dissolve the natural arrogance that comes with the former privilege.

Susan (Fischer), Ben's adult daughter, just wishes he'd act his age. Instead of chasing skirts 30 years younger, she'd like for him to rebuild his life with a new job and a reasonable stability. His ex-wife Nancy (played by a cleavage-bearing Susan Sarandon) is apparently still fond of him, and his current girlfriend Jordan (Mary-Louise Parker) chooses to look the other way as he cheats his way around their relationship.

All hell breaks loose when Ben takes Jordan's daughter Allyson (Imogen Poots) to a college interview out of town and sleeps with a barely legal girl. The consequences don't dent his conscience, but they do wreak havoc on his finances, his reputation and his ability to start a new car dealership.

Faced with eviction and homelessness, Ben turns to his daughter for help until he also betrays her and she's forced to cut him off. He has also received word that he may have heart trouble, but instead of getting the necessary tests to find out either way, he puts himself on a steady diet of baby aspirin and alcohol.

The entire film is a character study of a man choosing to live his life the way he pleases, regardless of the consequences. It's not that he doesn't love his family, or respect the natural 'order' life is meant to impose; he just feels his charm will overcome any situation too difficult to bear, and when that doesn't work, he just moves on.

Michael Douglas plays Ben superbly without an ounce of self-loathing, complete with slimy appeal. You really believe he would easily talk these young women into his bed because despite his flaws, he's sexy and smooth.

Supporting characters are also perfectly cast—Sarandon as the wistful, yet independent divorcée, Danny Devito as a long-lost friend and Jenna Fischer, an innocent, wounded daughter.

The ensemble is strong, the writing (which could've easily been one-note) is sharp without being too precious, and the direction is organic enough to make you feel as if you're in New York and Boston alongside the characters.

I have no idea why this interesting indie with an all-star cast isn't getting more attention.

~~~

When Good Things Happen to Good People

I love that I have a reason to blog with such a headline.

Now let me explain:

In June of 2003, I attended an uber-geek event called the "U2 Fan Celebration" at the Rock and Roll Hall of Fame and Museum in Cleveland. I had recently joined a local U2 group through the meetup.com website, and made friends here in Seattle who shared my love of the band—they were also willing to travel to Ohio for worship.

I'd already seen the U2 exhibit in February when it opened, but was determined to return in June, not just for the special events surrounding the celebration, but because I was an avid reader of a fan site called @U2, where I was addicted to a humor column by a guy named Answer Guy. This site was co-hosting the event, and its owner and several staffers were going to be there. I was a fan of these fans, and couldn't wait to meet them.

The first night I got lucky enough to sit with a few of them at the dinner table. Present were @U2 founder Matt McGee, @U2 cartoonist Kelly Eddington, and Aaron Sams, who runs a site called U2 Wanderer. I remember immediately bonding with Kelly over the fact we were both wearing Sally Hansen silver nail polish, and enjoying the lighthearted energy of the collective group. Everyone was so naturally kind and welcoming.

Here's a photo of Kelly and Matt at the Hard Rock Café that night:



That weekend at the museum was nothing short of amazing. Aside from enjoying all the U2 content that was surrounding us, I came away feeling like part of the @U2 family.

When I returned to Seattle, I was flattered to learn that Kelly had featured me in one of her cartoons (that's me on the right on page 2). Though non-U2 friends made fun of me for appearing as a "fanatic," on a fan site, I couldn't have been more honored to have this artist reproduce me in such a way.

I stayed in close touch with my new friends, and in 2004, Matt gave me the opportunity to write as a contributor for the site. In 2005, just in time for U2's Vertigo tour, I was promoted to news writer, which changed my life.

@U2 threw an amazing party in my hometown of Portland, Ore. that year, in honor of the site's 10th birthday. And though I was already on staff, I still felt like a fan of all of these geniuses that had come before me. Many of them I met for the first time that weekend; others I spent time catching up with as if I were at a family reunion. Fans of the site were sweet to all of us, but the clear stars of the party were Answer Guy and Kelly the cartoonist, and it was easy to see why. Answer Guy was a naturally funny, sharp writer with a gift for sarcasm, and Kelly was a talented artist with a sense of humor that only enhanced her already-great writing.

Here's a photo of Kelly and me that night (she was making me a bracelet out of Christmas tinsel), taken by our mutual friend Michelle:



I was finally part of the crowd that I so longed to be associated with, and I considered my role on @U2 as a great privilege (5 years later, I still do). But as with all organizations and workplaces, people get married, switch their focus and move on. That's what happened with our brilliant Kelly, who was always putting out consistently wonderful, time-consuming cartoons. I was devastated when she announced her departure (as were thousands of fans who looked forward to her work each month), but as a friend I was glad that she'd found a more satisfying happiness in married life.

Since then, I've followed her blog, Alizarine, religiously, often making many of her delicious recipes and envying her idyllic home surrounded by the occasional woodchuck and deer. I was especially happy to see that she decided to follow her dreams and take a year off to paint. If only more of us were that courageous.

I've also branched out myself, focusing on my first love of film—co-creating the movie review podcast Cinebanter, which just turned four yesterday. My partner? A guy called Michael, who used to go by the name "Answer Guy."

Of course, all self-respecting film critics owe Roger Ebert for setting the bar so high and I am no exception. I immediately joined "The Ebert Club" when memberships were sold earlier this year, and consider him one of the best Tweeters on all of Twitter...so you can only imagine my delight today when I noticed that Roger was Tweeting about a certain watercolor artist, and that artist was Kelly!

You can read the full exchange on Kelly's blog, but basically Roger responded to her response to his earlier Tweet about film criticism books never getting their due in the background of films. She had done a painting recently that included one of his books on her shelf, and he not only wrote back in our club's blog, he Tweeted the sweetest endorsement for her art to his 180,000+ followers. As a result, Kelly's website has been getting countless hits, and I know of at least one painting that has already sold.

Congratulations Kelly, and thank you Roger, for recognizing the talent of my gifted friend.

It's so wonderful when good things happen to good people.

~~~

The Kids Are All Right

Today I saw The Kids Are All Right, starring Julianne Moore and Mark Ruffalo.

Nic (Annette Bening) and Jules (Moore) are modern family mamas. They're married lesbians living the dream in California with two nearly grown children; one boy, one girl. One from each of their wombs, produced by the same anonymous sperm donor father.

Joni (Mia Wasikowska) has turned 18 and is preparing to leave for college at the end of summer. Her brother, Laser (Josh Hutcherson) is pressuring her to inquire about their biological father because he is not yet of age, but dying of curiosity about his identity.

Finally persuaded, Joni contacts Paul (Ruffalo) and the three arrange to meet. The encounter goes well, and soon Paul has become a positive part of their lives, much to the dismay of their mother Nic, the most controlling (yet also responsible) of the family. Soon both children are spending quality time with him and Jules is designing his backyard (she's a landscape architect that just started her own business).

From here, things go awry as they do in many families: there is jealousy, betrayal, conversations no one ever wants to have—the family, once seemingly harmonious—is falling apart.

Nic, who is the instigator of much of the drama, is played almost too neurotic by Annette Bening. Of course there are people with her issues everywhere in life, but without anything redeeming to credit her with (aside from her obvious love of the family), it's hard to be on her side. In contrast, Mark Ruffalo's Paul is written to be so accepting and universally cool that I wanted to jump through the screen and start my own family with him. And really, he's not my type.

The real prize for acting, and remaining believable throughout the film goes to Julianne Moore. Her Jules is conflicted and honest and wounded and needy and likable all at once. She's one of those characters you can't help but forgive (and would probably do so in life if she existed), and I can't credit just the writing for that achievement. Moore's ability to morph into an entirely different spirit each time she graces the screen is in full form here.

Both children also do fine, though I would've liked more character development for Laser, and overall I would've favored an ending that didn't frustrate me.

I guess not everything about an enjoyably watchable movie can be satisfying.

~~~

Inception

Yesterday I saw Inception, starring Leonardo DiCaprio and Ellen Page.

It will be the topic of Cinebanter #94, so tune in August 2 for our review.

Exit Through the Gift Shop

Tonight I saw the documentary Exit Through the Gift Shop.

Thierry Guetta was a young boy when his mother passed away. As the youngest in his French family, her apparent illness was kept a secret from him, which made her death a horrible shock. He never truly coped with this grief, being swept away in the aftermath by relatives, and began filming every aspect of his life perhaps to ensure he'd never forget it.

As an adult, he moved to Los Angeles and began building a family, continuing to film even the most mundane of moments. Friends and neighbors grew accustomed to seeing him with a video camera in his hand, and after a while forgot they were constantly being taped.

At some point, Guetta became interested in the street art that was rapidly gaining notoriety. After learning more about the practice (really, just organized graffiti) he began shadowing some of the artists, traveling and filming their work, claiming he was making a documentary. Though his presence was obviously a nuisance to some, they let him play along, hoping his filming would shed a brighter light on their creations.

The film up to this point in the story is somewhat jumbled and dare I say: boring. If you're not a fan of basic cartooning, you may, like me, find yourself looking at your watch until Banksy appears.

Banksy is an undisputed genius of the medium. He's a British man cloaked in mystery who has made a name for himself by pushing the envelope with a sense of humor and a display of authentic talent. His "stunts" (painting along the controversial West Bank border; counterfeiting British money by replacing the Queen with Princess Di) have made international news, but there is an undeniable charm in his satire that makes him a coveted guest in the art world.

Unfortunately, he let Guetta into his life just long enough for the filmmaker to "learn the ropes" and decide that he would risk everything to create his own art show.

He's soon re-financed everything in his life and hired an army of true artists to make his concepts into artistic reality. And because he's good at self-promotion, he draws a crowd.

To say anymore would be to spoil the film, but I will say that I don't find Guetta to be the least bit endearing. If it were truly a film about Banksy (as it was billed to be), I would have been a lot less bored and perhaps this bad taste in my mouth would go away.

~~~

Cyrus

On Sunday I saw Cyrus, starring John C. Reilly and Jonah Hill.

It will be the topic of Cinebanter #93, so tune in July 19 for our review.

Please Give

Today I saw Please Give, starring Catherine Keener and Rebecca Hall.

If you're not prepared to view life as it is sometimes lived, you probably want to stay away from Nicole Holofcener films such as this. I, for one, happen to love the fact that this writer/director creates characters who feel like real, breathing human beings, but I can see how they may depress others.

The subjects of this indie are neighbors. Kate (Keener) and Alex (Oliver Platt) are a married couple who own a vintage furniture business as they raise their only child, teenage Abby (Sarah Steele). Next door is 91-year-old Andra (Ann Morgan Guilbert), a miserable aging coot who is looked upon by her granddaughters. Rebecca (Hall) is the responsible, patient radiologist that acts compassionately no matter how badly her grandmother treats her; Mary (Amanda Peet) is the sexy, shallow spa worker who only visits Andra when forced.

Kate has a habit of giving money to strangers because she feels so guilty about her business. She and Alex aren't involved in any illegal activity, but they have been known to take advantage of families of the recently deceased who have valuable furniture and don't realize its worth.

Everyone in this film is searching for something: Abby desires the perfect jeans to offset her battle with acne; Kate wants a charitable cause to fill the hole in her heart; Alex seeks the excitement missing from his marriage; Rebecca would like a boyfriend; Mary wants answers as to why a muscle-heavy saleslady stole her man; Grandma wants her shopping granddaughters to use her carefully clipped coupons. Please, give.

The lives of these neighbors are intertwined as they offer the odd olive branch, but of course not everything works out for the best. As in reality, there are lies, deceptions, awkward silences and guilty consciences as a result of the bad decisions they make.

What I liked about this film (and its entire stellar cast) was that none of the characters were people who were difficult to relate to. Even those making choices we hope we wouldn't make didn't seem like horrible people—they were just wounded.

There's something life-affirming about watching people struggle and then advance past whatever is troubling them. Please Give reminds us that life isn't simple for anyone.

~~~

Joan Rivers: A Piece of Work

On Sunday I saw the documentary Joan Rivers: A Piece of Work.

Love her or hate her, no one can dispute the trails Ms. Rivers blazed for female comics. This film does a dynamic job of tracing her path to success and showcasing her present fight to stay relevant.

Always self-deprecating and unafraid to push the envelope, Joan burst on to the scene with great support from legend Johnny Carson. Her frequent appearances on The Tonight Show led to her reign as Carson's permanent guest host; her decision to depart and do her own talk show on Fox ended their friendship. It also put a stop to all of her appearances on NBC until her recent stint on The Celebrity Apprentice, a reality contest, which by the way, she won.

Part of the charm of Joan Rivers is that she has no shame. At age 75, she will take any endorsement deal or commercial offered to her because she knows at the end of the day she needs a paycheck. She lives an extravagant life, but there will be no doubt in anyone's mind by the end of watching this that she hasn't earned it.

Though the overall essence of the film aims to spotlight her toughness, there are moments where you catch her sensitivity and heart: speaking of the business associate she may have to fire; delivering a meal on Thanksgiving to a sufferer of MS; commenting on a heckler after a show who was angry about a deaf joke she made. She's a thick-skinned lady, but that doesn't negate her enormous heart.

She talked openly of her husband's selfish suicide after the demise of her talk show, but it's clear she doesn't dwell on it. She picked up her life after the tragedy and kept going--both for herself and for daughter Melissa, who has become a celebrity in her own right.

Of course the film also provides us many glimpses of Rivers' hilarious stand-up routines, but to me the funniest moments were her impromptu bits of commentary behind the scenes.

This film is simply an inspiring pleasure to watch.

~~~

The Secret of Kells

Last night I saw The Secret of Kells, starring the voices of Evan McGuire and Brendan Gleeson.

When this film was nominated for an Oscar last year, you could almost hear a collective "What?!" from the mouths of American moviegoers. The movie had not yet seen even a limited release in North America, and compared to its fellow nominees, displayed a very old-fashioned form of animation.

There were no fancy CGI shots; no 3D or IMAX options for viewing it—and for me, that's what made it all the more compelling.

Instead of focusing on moving pictures jumping out at me during action scenes, or pondering how something looked so life-like, I spent the film immersing myself in what felt like a 75-minute painting, featuring my favorite colors (blue and green).

The story is simple: little Brendan is an Irish orphan who lives at the Abbey of Kells with his paranoid uncle, who spends all of his time constructing walls to keep the danger out. Forbidden to leave the compound, Brendan, like any other child hero would, sneaks out to explore the surroundings, on a mission to get berries that produce ink for an "unfinished book" Brother Aidan (a wise elder) is working on.

On his journey he meets Ashley, a faerie-like guardian of the forest who he can't help but find enchanting. They encounter many varieties of peril as they travel together, and ultimately it's understood that Brendan will probably get caught.

The book Aidan is working on is undoubtedly the famous Book of Kells, which in reality has lived at Trinity College in Dublin for centuries. In the film, the significance of this breathtaking document isn't paid tribute to in the story, but more by way of the visuals (some were inspired by the actual book).

The hues that dominate the screen from start to finish come across like brilliant watercolors muted to soften the edges of the drawings, which, though imaginative, are somewhat basic.

The line drawings that make up the people, places and animals in the film are charmingly whimsical, with eyes that show their emotion and blink-or-you'll-miss-them details. The pages of each scene, if frozen, would be framable works of art.

As someone who has a special fondness for Ireland, and has seen the actual Book of Kells in person, I may have enjoyed this more than the average viewer. However, I would still recommend it for little ones not yet biased by recent animation technology, or adult fans of historical Ireland.

~~~

Greenberg

Tonight I saw Greenberg, starring Ben Stiller and Greta Garwig.

"Of course I know what it's like to live a life I didn't plan on.

Really, it could be the defining sentence of Generation X, and it's used well in this film to help us sympathize with Roger Greenberg (Stiller), who is in town from New York to babysit the L.A. mansion and dog of his brother's family, while they enjoy a vacation in Vietnam.

Roger is a 40-something who proudly proclaims to be content living an empty life of nothing. He tries to fill his days with whiskey, ice cream novelties and meaningless sex, but like everything, that doesn't seem to work for him.

He meets Florence (Garwig), his brother's pleasant personal assistant who resembles a cross between Kate Winslet and Elisabeth Shue. He immediately registers an attraction to her, but she's young, she works for his brother and she seems to understand him, so he most certainly doesn't want to begin a relationship with her. He makes this clear to her.

As the film progresses, we begin to form our love/hate relationship with Roger. Learning more about his past, we realize his issues are more severe than simple OCD—heck, he's even done time in a mental institution—but he's so nasty to everyone he comes in contact with, it's hard for us to like or excuse him.

Florence, however, is vulnerable and underutilized and so genuine in her fondness of Roger, we want to scoop her up and hide her from the inevitable pain she's about to experience.

In one respect, Roger is not unlike many men that choose to chase or settle with the woman that is "easy" for them to be with, instead of the girl that really "gets" them and loves them for their faults as much as in spite of them. Of course, it's the girl who understands Roger that receives the heartfelt mix CD.

In another respect, you don't want Florence to love Roger for who he is, because a lot of self-improvement needs to be achieved before he'll be worthy of her affections.

The writing here is excellent. The acting here is superb, but Greenberg isn't an easy pill to swallow. It's not fun to spend two hours with a man who spends most of his days writing hate letters to various corporations, then treats a sweet girl abusively. But, it's an incredibly interesting way to get to know characters.

"You like me more than you think you do." Florence says this to Roger at one of their most fragile moments.

I think she was right about him, and right about what I think of this film.

~~~

The Secret in Their Eyes

Today I saw The Secret in Their Eyes, starring Ricardo Darin and Soledad Villamil.

What do you get when you cross a murder mystery with unrequited love that's simmered for 25 years? A hell of a great movie.

When the film opens we see Benjamin (Darin) struggling at his writing desk, trying to purge the haunting remnants of a brutal rape and murder from his mind. We soon learn this was a real case that he worked on 25 years ago as an investigator, and he's never been able to shake it. So, he's making a book based on his memories of it.

Next, we meet the woman he's adored for all these years—Irene (Villamil), who worked with him on the case and is now an accomplished judge. She is acting as a casual editor/admirer, sharing in his violent trip down memory lane.

Before I give the impression that this is a "flashback" movie, let me be clear in saying that it doesn't feel like it. Though it takes place both in 1974 and 2000, the audience is never tossed between the two unexpectedly.

The crime itself is ghastly, and we see just enough of it to register horror and want justice for the victim. The suspects are clear in their innocence and guilt, which is one of the genius elements of the script: we already know whodunnit. Unlike most stories, what we crave to learn is how the characters arrived in their present—seemingly peaceful—situations.

There are also supporting characters who are far more compelling than the main two. Sandoval (Guillermo Francella) is Benjamin's drunken sidekick we root for; a grieving widow of the victim is so calm, we figure there must be more to his story.

Of course the romance between our writer and his former colleague is what drives the tension throughout the film. Like perfectly written star-crossed lovers, they're attraction is undeniable, but their circumstances common: one of the two feels that they can never be together, so both spend agonizing years wondering what would happen if they could.

The movie teaches us that denying what our heart desires can sometimes lead to a life of purgatory, and our eyes hold the secrets of our truth.

~~~

Toy Story 3

On Saturday I saw Toy Story 3, starring the voices of Tom Hanks and Tim Allen.

It will be the topic of Cinebanter #92, so tune in July 5 for our review.

Ondine

On June 13, I saw Ondine, starring Colin Farrell.

It was the topic of Cinebanter #91, which can be found here.

Grease Sing-A-Long

On June 12, I saw the Grease Sing-A-Long, a spirited version of the 1978 hit musical.

For my highlights of that screening, click here.

This Way of Life

On June 11, I screened the documentary This Way of Life.

Click here to read my review on Cinebanter.com.

Monogamy

On June 9, I screened Monogamy, starring Rashida Jones and Chris Messina.

Click here to read my review on Cinebanter.com.

Upperdog

On June 7, I screened Upperdog, starring Hermann Sabado and Agnieszka Grochowska.

Click here to read my review on Cinebanter.com.

The Goonies

On Saturday, June 5, I saw The Goonies, starring Jeff Cohen and Josh Brolin.

As I nestled into a small Astoria, Oregon theater for this 25th anniversary screening, it had been only days since I last saw the film on DVD, but over 24 years since I'd seen it in a theater. I'm pleased to say it was just as magical for me at age 34 as it was for me at 10.

The story appeared strangely timely as our hero, Mikey (Sean Astin) and his brother Brand (Brolin) face the loss of their family home to foreclosure. The looming threat of papers being signed causes the kids to act fast in search of a treasure that could save them from moving. They achieve this by following an ancient map found in their attic with a host of their friends, who call themselves "The Goonies."

The iconic monoliths of Cannon Beach serve as their guides into the unknown, where they uncover a vicious crime family who is committing murders, and reveal clues from the treasure map one-by-one, putting them in a series of dangerous situations.

What sets the film apart from other kids-finding-treasures stories is the fact that the kids really talk like kids. It's a great credit to screenwriter Chris Columbus that they swear, discuss unimportant (yet vital at that age) topics, and form genuine bonds over old-fashioned pacts and crushes.

The movie is also heavy on comedy, provided mostly by Chunk (Cohen), a character known for exaggerating and eating. One scene where the bad guys are trying to torture him into talking is still one of the funniest, most believable 'kid' scenes in existence.

For those who have yet to see the film, I won't spoil it by discussing the ending, but will say the final beach scene still brings delightful chills to my spine.

What a pleasure it was to see that after all these years The Goonies remain timeless despite their 80s roots.

For more on The Goonies 25th Anniversary, visit Cinebanter.com.

~~~

The Topp Twins: Untouchable Girls

On June 1, I saw the documentary The Topp Twins: Untouchable Girls.

Click here to read my review on Cinebanter.com.

Marwencol

Yesterday I screened the documentary Marwencol.

Click here to read my review on Cinebanter.com.

Brownstones to Red Dirt

On Saturday, I screened the documentary Brownstones to Red Dirt.

Click here to read my review on Cinebanter.com.

Sex and the City 2

Last night I saw Sex and the City 2, starring Sarah Jessica Parker and Chris Noth.

I never counted the television show Sex and the City as a guilty pleasure because in the years that it aired it was considered a smart, sensible enterprise that gave thirty-something single women a voice.

When the first movie based on the same characters opened a few years ago, watching it was like reconnecting with long-lost friends. Sure, it was kind of dark for a group of characters that became famous for talking about sex and fashion, but it still captured the spirit of the show and stayed faithful to the clever writing.

You know what? So did this one, which is why I'm so incredibly baffled by how badly my fellow critics are reviewing it. Was anyone really expecting Gone With the Wind? Sure, it's silly and no, it's not the least bit unpredictable, but it's still enjoyable, and really, that's all it set out to be, right?

The story centers on the dulling marriage of our heroine Carrie (Parker) and her husband-of-almost-two-years, Mr. Big (Noth). True to form, when Carrie does something she wants and her man follows suit wanting to do the same, she becomes offended and wounded and whiny--ready to make a big mistake, which she may or may not do about 2/3 of the way into the film. Luckily, we have the return of Aidan (John Corbett, looking particularly sexy) to complicate things.

Oh, and the girls get a free trip to the Middle East courtesy of Samantha (Kim Cattrall), who wins the award for being the most annoying cast member in this installment. The menopause jokes got old very fast, as did most of the clothing they draped her in. That said, she still had the best sex scenes (though I dare say SJP took the cake for cleavage).

The most interesting story was that of Charlotte (Kristin Davis), our Polyanna, Jewish wife who is miserable living the perfect life she always dreamed of. If you take away the million dollar apartment and designer wardrobe, her situation is the most realistic, as a mother who wants to hide in closets and cry because her children drive her nuts.

It's not the smartest comedy ever written, but it's fun to watch the ladies wear 30+ outfits in the scope of 2+ hours, and gawk at the men who are still at the top of the sexy meter.

To straight men who hate this film: I ask, what were you doing there? If you only came to see scantily clad women and juicy sex scenes, you can't have been too disappointed.

To gay men who hate this film: I know Liza singing Beyonce was scary, but you have to admit it was appropriate for a Stanford wedding.

To women (lesbian or straight) who hate this film: You must be incredibly bitter about life not to crack a smile at the drama of other women. We've all known (or been) characters like the four drawn here, whether we're proud of it or not.

Take solace in chick flicks from time-to-time, folks. Consider it a beach read and get over it.

~~~

Turtle: The Incredible Journey

Tonight I screened Turtle: The Incredible Journey, a documentary from the United Kingdom.

Click here to read my full review, which is featured on Cinebanter.com.

The Freebie

Last night I screened The Freebie, starring Sean Nelson and Katie Aselton.

Click here to read my review on Cinebanter.com.

Nowhere Boy

Today I screened Nowhere Boy, starring Aaron Johnson and Kristin Scott Thomas.

Click here to read my review at Cinebanter.com.

Robin Hood

Yesterday I saw Robin Hood, starring Russell Crowe and Cate Blanchett.

It was the topic of Cinebanter #90, which is available here.

Iron Man 2

Tonight I saw Iron Man 2, starring Robert Downey, Jr. and Mickey Rourke.

It was the topic of Cinebanter 89, which is available here.

Cinebanter Featured on Sodapop Journal

My podcast partner (Michael) and I are featured in this week's Sodapop Journal, sharing our summer movie picks.

You can read the article here.

Be sure to also share your summer picks in the comments section!

The Square

Today I saw The Square, starring David Roberts and Claire van der Boom.

It was the topic of Cinebanter #88, which is available here.

~~~

Paulista

On Saturday, I screened Paulista, starring Silvia Lourenço and Maria Clara Spinelli.

When Marina (Lourenço), an aspiring actress, moves in with Suzana (Spinelli), her life is injected with opportunities that never seemed possible before. The street they live on in Sao Paulo, Avenida Paulista, is brimming with promise--socially and otherwise.

As we meet each character, we learn that they all share a connection to one another, much like a small town transported to a big city. There's Jay, who has fallen in love with a hooker, and he just happens to live in the same building as Marina and Suzana. Justine, a singer at a nearby club, quickly becomes the object of Marina's affection, and so forth.

None of the characters are boring and all of the situations presented (love, mystery, longing) keep you watching, but at the same time, none of what's happening is particularly unique.

I found the pace and transitions of Paulista to be very similar to that of the classic TV show miniseries Tales of the City, which was set in San Francisco. At the heart of both works is a message of people needing people, with a focus on how complicated our human desires and needs for validation can be.

Paulista is a sexy, enjoyable romp about a group of young people in the prime of their lives. Nothing more, nothing less.


~~~

Hot Tub Time Machine

This morning I saw Hot Tub Time Machine, starring John Cusack and Rob Corddry.

It was the topic of Cinebanter #86, which is available here.

Alice in Wonderland

Tonight I saw Alice in Wonderland, starring Mia Wasikowska and Johnny Depp.

I must confess: as a child I never liked the famed Lewis Carroll book. It simply creeped me out. I had a wild imagination of my own and the last place I wanted to take it was to a world with black holes and talking cats.

But tonight, my love for the creative fusion of Tim Burton and Johnny Depp won out over the unfavorable memories I had of the story, and I sat through the whole film. I'm so glad I did.

Mia Wasikowska is the very picture of a perfect Alice (except her hair was too curly, but I digress), and she's all grown up. In fact, she's just been proposed to by a boy she's not in love with and needs to escape the situation to take some time and think. She finds the perfect excuse to depart as she spots a rabbit in a waistcoat in her peripheral vision, then bolts away after it, only to fall down a big black hole.

Upon landing she's in a place she once called Wonderland (though she has no memory of ever visiting before) where she encounters all types of interesting characters: the Mad Hatter (Depp), Tweedledee and Tweedledum (Matt Lucas), the Cheshire Cat (Stephen Fry) and a pair of sister queens—one good and one bad.

The good one is the White Queen (Anne Hathaway) who lives in a white palace with white things surrounding her. She seems sweet if not a little bit spacey.

The bad one is the Red Queen (Helena Bonham Carter) who suffers from harboring a huge head and a horrible demeanor to go with it. "Off with his head" is a common phrase she screams, perhaps because she wishes she could rid herself of her own.

Anyway, somehow Alice gets caught up in the drama between sisters and has to slay the Jabberwocky to make everything right. She repeatedly insists that she doesn't slay and believes the whole ordeal is a dream from which she will soon wake, driving home the metaphorical theme of free will throughout the film.

And themes are big here.

In a deep conversation with the Mad Hatter, he asks her if he's bonkers and she replies that he is, but all great people are. It's a theatrical fist pump to all the crazy geniuses out there, and it was a nice—if not obvious—touch.

Also emphasized is female independence. From Alice confronting her sister with the fact she may not marry her suitor, to the queens leading their respective entourages into battle, this whole world is controlled by women.

I'm glad I got to spend time in Wonderland. This version is much less frightening than the one I created in my head as a child, and even the scariest of characters have comedic redemption.

Plus, watching Johnny Depp do a mean Futterwack is worth the price of admission.




~~~

Applause

Tonight I screened Applause, starring Paprika Steen and Michael Falch.

Thea (played by the brilliant Steen) is an alcoholic actress who has lost everything except for her career. Christian (Falch) is her kind ex-husband and the father of her two sons. He has moved on with a new, lovely woman, but still cares for Thea and wants to help her renew her relationship with their kids.

Like many troubled parents, Thea realizes that to be a good mother she must first win the fight with her demons. Although the demon here is the somewhat conventional 'alcohol' demon, her struggle metaphorically could represent anyone who has suffered from self-loathing or unresolved issues that prevent them from true happiness.

To get past this darkness and loneliness, Thea makes an honest effort to clean herself up and get to know her boys. By reaching out in a healthy way, her ex and his present girlfriend allow her visits and family time with all of them. She is grateful for this and puts down the bottle during the transition. But she can't quite ever leave her life behind—though she's not knocking back whiskey anymore, she still sits at the neighborhood bar with a mineral water. Alone. Though that life of addiction clearly makes her miserable, it is there she feels most comfortable.

Things can't be the way they used to be because everyone else has moved on. This is a devastating realization to Thea, who continues her awkward journey through motherhood for the duration of the film.

As we cringe at her missteps and sympathize with the more balanced characters in the film, it's not hard to imagine how desperate we're all made to feel when we arrive at such a place of heartache.

If we can't make peace with ourselves, what good are we to anyone else?

~~~

The Philosopher Kings

Today I screened the documentary The Philosopher Kings.

How many of us have ever felt invisible? And if so, how often?

The folks featured in this film represent one of the most invisible professions in our society—custodians. Sure, we all realize there's someone responsible for cleaning every office or establishment we visit, but they're usually around after we've all gone home and disappear before we return. Seldom do we know them by name.

The janitors here all have something in common: they work at colleges or universities. They also share something else: a mutual love for their work.

What many would consider to be menial, miserable labor, these folks feel is a somewhat pleasant, honest way to make a living. One female subject even goes so far as to say "I like cleaning."

That's not to say they don't have bad days or resent the fact that some feel they didn't have a choice in their selection of profession (yes, by the way, they did). But for the most part, these are happy, productive, successful professionals.

What's refreshing about the group shown here is that they are both male and female, and represent a wide variety of cultures. All are articulate, well-spoken individuals who seem to have overcome major obstacles in their life (one lost a parent as a child; another lost a limb in a car crash, etc.) and arrived at a place of peace in their current situation.

Coming from a blue collar family myself, I have a great respect for how hard manual labor can be. I've seen the physical and mental exhaustion after a difficult day, and realize the toll it takes on one's body and mind.

If only the veil were more obviously lifted so that everyone could see what life is like for custodians—and every other profession that entails physically serving others—I'm certain they would be held in higher regard and appreciated appropriately for what they do.

To purchase a DVD of The Philosopher Kings, click here.

Professor

On Saturday I screened the documentary Professor.

It's not often that a film makes you want to pack your bags and move to Iowa to sign up for a college course, but that's exactly the reaction I had to this one.

The professor who gives the film its title is Rabbi Jay Holstein, an educator for nearly four decades at the University of Iowa. He's not handsome, he speaks with an intonation that's insanely annoying, and most of what he's talking about is unpopular and/or provocative, yet it's hard to take your eyes off of him.

The first soliloquy the audience here gets to witness is one that consists primarily of Dr. Holstein complaining about the way the university remodeled a lecture hall. Really. He told them to "tear it down" and hates the fact that the configuration doesn't allow for him to catch every yawning face (so he can scold accordingly). He goes on and on ... and on about the hypocrisy of the setup and how he really has nothing much to say, but watching the eyes around the room, there isn't one student who can look away.

What is it about this guy?

Well, he's obnoxiously liberal and sarcastic in a non-forgiving way. But he's also undeniably sincere and self-deprecating. This combination of qualities balance out in the delivery of his rhythmic speaking. When tuning out "what" he was saying and just listening to his speech patterns, I was reminded of a great English teacher I had in high school that made me learn Vachel Lindsay poems by singing them. They meant nothing to me before I was prompted to do that, but now nearly 20 years later, I still hold onto a small book of his works—because I was moved by the rhythm of language. I have to believe that's part of what's making this man so magnetic.

Holstein would easily gel with a Seattle crowd, but he's undoubtedly "radical" by Iowa standards. He counsels a student about choosing Catholic priesthood, and doesn't hesitate to bring up the sexual scandals that have plagued the church for years along with his theories as to why they occur. He also frankly asks the kid whether or not he believes homosexuality is evil and by doing so solicits an honest, if not yet nervous, response.

Each scene we see where Holstein one-on-one with a student or a fellow adult is slightly more annoying and borderline intimidating than what we see in the classroom. There, he has enough space for his big ideas to be explored, but in the smaller settings he appears much more overwhelming.

I'd love to step into one of his lectures, brimming with brilliance and wit, to witness his energy live. It was so palpable on screen in this well-produced, organic-feeling film, I can only imagine what it must be like to experience in person.

~~~

Buried Prayers

Yesterday I screened the documentary Buried Prayers.

Everyone recognizes the name Auschwitz, but not many know of the Maidanek death camp near Lublin, Poland. It was smaller, but endured similar horrors.

This heart-wrenching, predictably difficult-to-watch documentary doesn't tell the entire history of this camp that murdered nearly 80,000 people, but spotlights survivors returning to claim items that their fellow prisoners buried in their last moments of desperation.

It really is remarkable how they must have pulled it off.

Maidenek was geographically the closest concentration camp to a major city, and its prisoners who weren't killed, "worked" mostly at sorting possessions taken from other prisoners at various camps. When those who were facing their death knew their time was approaching, they would cleverly bury their sentimental items (wedding rings, etc.) while pretending to work. The Nazis never figured it out.

The camp was liberated by the Soviets in 1944 and it wasn't until 2005 that a group of survivors went back for the first time, and allowed archaeologists to accompany them and search for those buried treasures.

The film shows them recovering just a few items (in reality there were nearly 50 artifacts found), but the excitement and emotion that accompanies each discovery is incredibly moving. Worse are the memories shared of their time at the camp (one story about a son being forced to hang his father almost made me get up and walk out, it was so horrific).

But the film itself, yes, it was effective. I'm glad to know that things meant to be left behind in memory of those prisoners finally saw the light of day and created yet another way to convey the inhumane reign of Nazi power.

I just wonder—how many more original stories of pain will our world have to hear before all of the genocides stop?

~~~

Mother

On Saturday night, I screened Mother, starring Kim Hye-Ja and Weon Bin.

There are very few limits to a mother's love.

When mentally disabled Do-jun (Bin) is accused and arrested for the murder of a beautiful young girl in their Korean village, his widowed, devoted mother (Hye-Ja) takes matters into her own hands to prove his innocence. The trouble is, no one truly knows what happened on that fateful night.

Do-jun hangs around primarily with Jin-tae (Jin Gu) who is a troublemaker that easily convinces Do-jun to follow suit. Just days before the brutal murder, both are punished for damaging a car and attacking a group of golfers following a hit-and-run accident. Do-jun's lack of intelligence puts him in an unreliable position to convey the truth. He also has a very violent response to folks who tease him about his condition.

After he is booked for the crime and the case is considered closed, his mother (who has limited means and runs an underground acupuncture business) retains a lawyer and searches for the truth. We're led through a series of possibilities based on what she learns from the deceased girl's friends, and begin to develop a sympathy for the situation.

Rooting for this mother to get to the bottom of what the police won't investigate, our natural instincts want her to be correct, not because we like her son so much, but because we sympathize with her pain of raising a special needs child. At the same time, our rational minds wonder if there is more to the story.

Turns out: there is. Much. More. To. The. Story.

And it goes on, and on, and on, until we almost don't care who killed the poor girl as long as we'll be released from the narrative purgatory at some point.

The film started strong with excellent acting by all of the main characters and a few shocking moments of violence (squeamish me could do without so much blood, though). Yet the sheer volume of information we're made to wade through for what some may interpret to be a simple resolution is not necessary.

Plus, the ending happened three times before the film was over. It would've helped to conclude it at the first opportunity, but instead we're forced to endure lengthy, excessive scenes that minimize the impact of the actual discovery.

A shame, considering the concept and acting were so solid.

~~~

The House of Branching Love

On Saturday, I screened The House of Branching Love.

The house in this film should be renamed "The House of Branching Jealousy and Revenge." It centers around the supposedly amicable divorce between Tuula (Elina Knihtilä) and Juhani (Hannu-Pekka Björkman), and follows each of them on their path to emotionally destroy the other.

Sounds heavy, huh? Not so much.

When determining house rules so the two can continue living together for a period of time, they decide that no "new" people should be staying at the home, but then both promptly break that rule much to each other's dismay. The slapstick elements of the film begin when a carelessly tossed cigar starts the yard on fire as the husband receives oral sex. I have to agree with my partner when he says these slapstick moments ruined the story for him. They were unnecessary and excessive.

But aside from that, we got to see a few beautiful people, namely Nina (Anna Easteden) and Marco (Ilkka Villi) have sex and show off their beautiful bodies. You see, both members of the married couple essentially hire folks to service them in view of their soon-to-be ex. And that (unsurprisingly) backfires.

As if that weren't enough, there is a mob subplot that is so incredibly far-fetched it makes the slapstick seem almost feasible.

A big disappointment, this film.

~~~

Complaints Choir

On Saturday, I screened the documentary Complaints Choir.

A Finnish couple (Tellervo Kalleinen and Oliver Kochta-Kalleinen) thought it would be interesting to direct energy that we typically use to complain for a greater purpose. Their idea was to create a chorus of folks airing their grievances, big and small, then hold performances under the name "Complaints Choir." They were right: it was interesting.

What makes the experiment so compelling is the vast difference between how communities and countries react to it. Us Americans, of course, have no trouble listing out things that bother us and shouting it at the top of our lungs. Heck—we're practically famous for our loud mouths. But when the 'tour' arrives in Singapore, the tunes take a different turn.

Recruiting for the choir was not too difficult. Though folks were hesitant to admit fault with their lives publicly, many still stepped forward to do so. Some even seemed to be creating a makeshift therapy session for themselves.

Like the Yankees, these folks had minor complaints (waiting in lines, inconsiderate people) and major complaints (government, family), and were willing to sing about them in equal measure. But when rehearsals were well underway and the local police caught wind of what was about to take place, they forbid the singers from performing under threat of arrest. It seems free speech is not a privilege Singaporeans are allowed to enjoy.

So now their complaints are merely immortalized on the official film site and in this documentary. And Singapore appears to be humorless and really, really oppressive. Their government clearly did nothing to dispute this portrayal.

The Complaints Choir has since expanded to over 20 countries so far (some that we would have assumed similar to Singapore in restrictions, but weren't), and the idea is catching on. The organizers offer how-to instructions about creating your own on the film site. This particular documentary only focuses on the Singapore and Chicago choirs, but the spirit of the movement is captured well.

And after you see it, you'll leave wanting to craft a song about your problems each time they arise.

~~~

Oil Rocks: City Above the Sea

On Saturday I screened the documentary Oil Rocks: City Above the Sea.

Traveling 6 hours from the nearest shore in the Caspian Sea and you'll find a fully-functioning separate society, built on the life of oil.

Commissioned by Stalin in the late 40s, over 2000 workers (some who came on board during its inception) work there today. And despite their generally sunny demeanor, I had to wonder: what if I lived and breathed and died for only one purpose for the rest of my adult life?

These folks wake early to get started with (usually) heavy, dangerous labor; break for meals (which are similar each day as evidenced by the glimpse we get of the "bread shop" that offers much of what it always has—bread, cheese, sausage); work some more, then retire to the dormitory, where many of them share rooms the size of ... well ... a college dormitory. It seems unfair to witness those folks living such a modest life when their very existences are dedicated to the success of one of the richest commodities on earth.

They all speak passionately about their duties and the past (there was a terrible accident in the 50s), but they don't focus a whole lot on their relationships. You get the sense they all get along well enough (they'd almost have to for survival), but we don't see clusters of folks getting together for card games or dozens of couples falling in love, either. They do point out that many of the dormitory floors are 'women only' so they can remain separate from the men.

The film is presented in traditional documentary style: talking head interviews spliced with footage, old and new. But I'll admit to getting a little bored when they remained with one subject or person for too long.

Though the residents clearly succeed in completing their tasks at hand, I wonder how well the younger generations will acclimate to regular society when they're forced to in about 20 years (when the oil well will ultimately dry up).

Perhaps another filmmaker will spotlight the transition when it happens.

~~~

1981

On Friday I screened 1981, starring Jean-Carl Boucher and Claudio Colangelo.

In 1981, the Trogi family moved to a nicer home, which meant they had to make do with less to afford it. Ricardo (Boucher) was 11 years old at the time and found the change to be very disruptive.

Ricardo's parents were good, blue-collar people who only wanted the best for their two children (Ricardo also had a younger sister). They worked long hours and extra jobs to earn enough to provide for their kids.

Ricardo was typical in the sense that he just wanted what every other boy was entitled to—a new gadget called a Walkman, and of course the latest clothes that would help him look good for his crush, one-time tutor Anne Tremblay.

He narrates the film for us in a humorous, honest way in the spirit of the Wonder Years. He shows us how he manipulates his parents into giving him things, obsesses over the relationship (or more accurately, a brushing of the arm) with Anne, and shares his desperate attempts to fit in with the cool kids by promising them issues of Playboy (which of course, he does not possess).

It's simultaneously endearing, self-deprecating, hopeful and sad.

When Ricardo realizes how hard his uneducated Dad (Colangelo) is working to make ends meet, the guilt sets in and we watch him "grow up" virtually overnight. There are wonderful scenes surrounding this transformation that also offer a perspective on why men who meet as boys often stay lifelong friends.

I enjoyed the journey into this loss of innocence, and even though some of the 80s fun had been played similarly in prior films (there's always a kid in KISS makeup, for example), it still worked well in this context. The extra touches added a welcome lightness to some of the darker themes playing out, and the family seemed like a true family.

Another pleasant element is that this story really was based on the writer/director's life. The real Ricardo Trogi showed sincerity and wit without giving in to self-indulgence, which made this one of the most appealing films I saw at the Cinequest Film Festival.

I do hope 1981 gains distribution so everyone can discover its charming appeal.

~~~

Live Action Short Film Nominees (Oscars® 2010)

Tonight I saw all five of the nominated films in the Live Action Short category. I'll present my reviews in the order they were shown.

KAVI (India)

In this dismal drama, a young boy desperately wants to go to school, but instead must work to repay his father's debt by constructing bricks. It's inspiring to see how resourceful and clever this slave child is, but the scenes of abuse his family endures make the film almost too unbearable to appreciate.

THE NEW TENANTS (Denmark)

A gay couple moves into an apartment that was recently vacated due to the murder of its former tenant. After a somewhat witty rant from one of the occupants, there is a knock at the door, which results in the first of four visitors that take this potentially smart concept past any point of pleasurable comedy. It feels more like a college film project than an Academy Award nominated piece. Plus, the ending is just silly.

MIRACLE FISH (Australia)

A child of modest means goes to school on his birthday only to be teased by his classmates for not getting the latest toys as gifts. He heads to the sick room where he dreams of having the school all to himself, free of the pain. When he wakes up, the hallways are dark and the classrooms are empty, so he begins to enjoy the new-found freedom. It's very satisfying to watch this victim of a bully dive into treats he normally wouldn't get and take pleasure in the solace that comes with eliminating negativity in life. But he soon finds out he's not alone and the film makes a sharp turn. Luckily, the impact of the message remains crystal clear.

THE DOOR (Ireland)

Only those familiar with the 1986 nuclear accident at Chernobyl will fully absorb the tragedy played out here, as a family struggles to navigate their loss and suffering. The first scene, though relevant in its purpose, is vastly out of pace with the rest of the film, which makes it hard to accept the muted rhythm that permeates each additional scene. Nonetheless, a powerful snapshot of a horrible historical event.

INSTEAD OF ABRACADABRA (Sweden)

The only blatant comedy of the bunch, this silly scenario centers around a 25-year-old man who wants nothing more than to be a professional magician. He tests tricks out on his parents (sometimes unsuccessfully), shocks children at birthday parties and develops a crush on a pretty blond, whom he tries to impress with his hobby. This is a fun, if not pointless, ride to take, and the ending is fabulous.

---

It's probably not hard to guess that my pick for this year's Live Action Short Film statue goes to Miracle Fish, but I wouldn't be terribly disappointed if The Door prevailed instead.

Shutter Island

This morning I saw Shutter Island, starring Leonardo DiCaprio and Ben Kingsley.

The year is 1954 and Federal Marshall Teddy Daniels (DiCaprio) is sent to investigate a disappearance at a mental hospital off the shores of Boston called Shutter Island. He is accompanied by his nonchalant partner Chuck (Mark Ruffalo) who strangely calls him "Boss" though they've only just met.

The backdrop of a messy storm sets the mood for their arrival, as the seasick Daniels accepts aspirin from hospital staff to combat his queasy feelings. Soon he's feeling up to interrogation and requests interviews with all personnel on duty the night of the missing patient's disappearance. He is met with resistance (and even sarcasm) from many as he asks basic questions to solve the mystery.

One of the most passive aggressive road blocks on his journey is Dr. Cawley (Kingsley), a powerful psychiatrist who seems to be hiding something.

When Teddy and Chuck can't get to the answers they're looking for, they decide to leave the island the following morning, but the violent weather stops them, so they continue exploring the institution on their own, against the wishes of the staff.

Throughout their search, Teddy is haunted by visions of his deceased wife Dolores (Michelle Williams) and reveals he has ties to the institution due to her murder. He also seems to be suffering from post-traumatic stress disorder, having flashbacks from assisting in the liberation of Nazi-occupied Germany.

The entire film is Teddy's journey to find the truth in whatever context the film is referring to during that specific beat. It's at times all over the place and alternately solid and linear.

Scorsese creates a fantastic creepy mood from the opening credits and sustains that quiet unrest right up until the end. The images (especially of Nazi Germany) are sometimes horrific; other times just bloody (though I'll have to admit a scene full of squeaking rats takes the cake for most-likely-to-cause-nightmares).

The characters are all crafted well--each has something unique to hide, yet it's hard to know who to trust.

Leonardo DiCaprio, who is in nearly every frame of the film, plays every emotion with sincerity; from the angry and arrogant Federal Marshall to the fragile, grieving widow. The expression in his face carries us from scene to scene, guiding our reactions and filling us with whatever feelings he's meant to experience.

The ending provides a hot conversation topic for anyone who likes to challenge such resolution, and provides a satisfactory conclusion for those who prefer closure.

Really, Shutter Island is the very definition of a successful psychological thriller. It will keep you guessing hours after you leave the theater...that is, if you want to keep guessing.

Hell Is Other People

Tonight I screened Hell Is Other People, starring Richard Johnson.

Morty (Johnson) is sad. Not because of something specific that's necessarily happened to him, but more likely because of everything that hasn't. He hasn't found anyone to share his life with (though he does have a very 'present' ex who he obviously cares for), he doesn't have a career, and there isn't any proof of aspiration to do more than he's currently doing. Being broke induces a forced indifference.

Director Jarrod Whaley captures the absurdity of lonely living quite well. After all, what is time when you have nowhere to be?

Morty needs money so he claims a friend owes him for a recent 'favor', or he simply performs odd jobs to fill in the blanks (the oddest: acting as a makeshift shrink for a guy even more troubled than him). Nothing about his actions suggest things will get better, but for some reason, we don't hate him for that.

Chattanooga, Tenn. provides a perfect backdrop for the slow pace and discussions of the characters in this film. The mood feels Southern; polite with a natural tendency to get heated. All of the friends and acquaintances talk to and about one another just as we all do in real life. The women also appear to talk a lot more. Fair enough.

Morty is easily the link between all of these folks, though he's probably the least interesting, and that's what makes this comedy so tragic.

Social graces are a hot commodity in our world of new media. Though we never see Morty updating his Facebook page, we get the sense he'd be more comfortable doing that than striking up a conversation with a stranger. It's not that he wouldn't want the connection—he just doesn't know how to go about creating it (a scene where he asks his doctor's receptionist out is especially painful to watch).

Hell is a solid indie with especially good character development, but perhaps not enough "showing" vs. "telling." I do wish there had been more situations instead of scenes that linger just a tad too long, but I was engaged throughout, nonetheless.

Each step of the way, we're led to silently root for Morty's success, yet he continues to disappoint us. This happens with people in our real world, why shouldn't it happen in cinema?

Hell is Other People premieres at Cinequest 20 on February 27. Visit Cinequest.org for details.

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The White Ribbon

Today I saw The White Ribbon, starring Susanne Lothar and Christian Friedel.

Black and white film can't make a story work, but it most certainly can enhance a story that's already good. This is the case in this moody, quiet drama from director Michael Haneke.

Once you get the characters straight (some of them look similar, and well, they all dress alike) you're led into an unconventional whodunnit featuring a village full of suspects.

The pre-World War I German setting itself builds suspense, as the audience knows what becomes of the nation in the decades to follow. Each scene passes along to something more that you realize will build and turn into something bad.

And that's how it unfolds: first, the town doctor has a freak accident (one that couldn't have taken place without the help of a human), then another person turns up dead. This is followed by a tortured child and the list goes on.

In between these ghastly happenings, we get to know many of the townspeople including the teacher who is narrating our journey (Friedel) and the scorned mistress of the doctor (Lothar). The revealing peek behind the curtain doesn't endear us to many of the citizens; it in fact does the opposite.

We witness abuse, we question motives, we sympathize with the children—well, at least some of the children—and we wonder if karma is just simply playing its punishment cards for all of the heinous behavior that goes on behind these closed doors.

True to form, Haneke (who attracted attention in 2005 with his thriller Caché) isn't going to spell it out for us.

There are many 'suspects' and layers of people to keep track of, but no clear-cut answer unless you're willing to believe the theory that's presented near the end. It certainly could be true, but if it was that easy, would our journey have been so rough?

A Serious Man

Today I saw A Serious Man, starring Michael Stuhlbarg and Richard Kind.

Larry Gopnik (Stuhlbarg) will remind you of every Jewish man you've ever met. Not in a stereotypical way, but in a cultural way.

He seldom feels the need to raise his voice. His appearance is neat and tidy. His wife is bold and controlling. His work and his children and his property mean a lot to him.

Though he appears to be a dedicated husband, father and professor, each part of his world is slowly being dismantled by external forces. His wife is leaving him for his friend, his children are stealing and taking drugs, and a disgruntled student is attempting to sue him because he won't unfairly inflate his grade.

He also has a frightening militant neighbor, a live-in brother (Kind) who is in trouble with the law and difficulty getting an appointment with the sought-after rabbi at his temple. What would bury most men simply piles up in his mind, causing unavoidable nightmares.

I felt sorry for Larry—not just because he didn't appear to deserve all of the bad things that happened to him, but because his meek nature allowed it to continue. He solves most of these problems by throwing money at them (retaining a lawyer, paying for a motel room to sleep in when his wife kicks him out), but at least he's pressing on.

His resolve in the face of adversity is admirable, and though the scenes and situations are undoubtedly comical, it is refreshing to see a main character who doesn't run from his problems or throw things against a wall when things don't go his way.

Stuhlbarg plays the character expertly with quiet intensity. We can feel his tension and pain, but he doesn't burden us with it; it's all kept inside for him to manage. That is partly a credit to the odd, yet solid script from The Coen Brothers. It feels like a screenplay they spent time on, much like The Man Who Wasn't There, and their Oscar-winning No Country for Old Men.

There are many layers to A Serious Man that us viewers don't get to see, but what we do witness is endlessly satisfying. If how we react to things in life defines us, Larry Gopnik serves as a good example of how to deal.

The Imaginarium of Doctor Parnassus

Today I saw The Imaginarium of Doctor Parnassus, starring Heath Ledger and Lily Cole.

Christopher Plummer plays the Doctor, who runs a traveling show with his daughter Valentina (Cole) and a couple of male freaks. He's truly ancient and has made a deal with the devil in return for his immortality (meaning: the daughter goes to the darkness at age 16 unless he does something to reverse the arrangement).

Tony (Ledger) is a man who Valentina and her sidekicks save from a hanging noose (and yes, since this is the first scene we see Ledger in, in the last movie we'll ever see Ledger in, it's especially difficult to watch). He soon proves to be the most valuable member of the traveling show, earning them heaps of money and spicing things up (he joins it because it provides a good front for the people he's hiding from).

Though Ledger doesn't play the main character, his presence does wake the audience up every time he dances (sometimes literally) into the frame. Aside from the rescue scene where he first turns up, the first 45 minutes of this film had me yawning. Circuses have always creeped me out, and as a plot device I think a traveling show with built-in freaks is kind of a screenwriting cop-out.

But anyway, the rumors are true that once the characters enter the Imaginarium, the film does pick up, if only because we want desperately to jump through the screen and create our own version of paradise along with them. It's visually stunning, if you're the romantic, rolling green hills type.

The transition in the Imaginarium from Heath Ledger to Johnny Depp (the first of three actors to take over the part when Ledger died) is utterly flawless, and Depp having all those years in the Tim Burton School of Weirdness feels right at home in the role. He even looks like Heath. Not so flawless: Jude Law, who looks like Jude Law with bad eyeliner.

That leaves the final portion of the role to Colin Farrell, who really gets better and better every day. The man appears to be channeling Ledger here and his charisma and good looks only help seal the deal.

But aside from the cool visuals, the typically great performance from the late Ledger, and the competency of his understudies, Director Terry Gilliam has again led us into an incomplete world of his own making, which simply begs to be properly grounded.

Leap Year

Tonight I saw Leap Year, starring Amy Adams and Matthew Goode.

I'll start by saying, yes, I knew it would be terrible. But I needed a mindless girl movie tonight, and I suppose I deserved what I got.

Adams plays Anna, and the "A" stands for "Type-A." She stages apartments for a living in Boston and organizes the life of herself and her boyfriend for fun. Jeremy (Adam Scott) is an impressive cardiologist who is good to her, but has not yet popped the question, though they've been together for four years. When he travels to Dublin on business, Anna sees it as her opportunity to follow an Irish superstition and propose to him on February 29. All she needs to do is make it to Dublin and surprise him before then. She has one day...or maybe two days until the 29th. Ah, who cares? You know where this is going.

First, there's (scary, sudden) turbulence on her plane so they have to make an emergency landing in Cardiff. This is handled by the airline almost as nonchalantly as running out of gas with a AAA truck behind you on the highway.

Once Anna lands in Wales, she tries to convince the ticket agents to "re-open" the Dublin airport and when that (shockingly) doesn't work, she rents a boat. Somehow instead of ending up in Dublin, in the midst of the storm she finds herself on a tiny road in a remote Dingle village.

The locals nearly laugh her out of the pub she wanders into (tugging her Louis Vutton bag closely behind), but she has nowhere else to go, so she stays there for the night. What follows is the scene I was hoping wouldn't happen: the obligatory American Woman knocks out the town's power trying to plug in her Blackberry™.

But wait, it gets worse.

The pub owner just happens to be Declan (Goode), who is rough around the edges, but undeniably cute. He agrees (for a large sum) to drive her to Dublin the next day. Small talk turns into sexual tension (via "arguing") and then a herd of cows delay their trip. You heard me: a Herd of Cows. On an Irish country road. The only thing surprising about this scene was that it was cows, not sheep.

Anyway, because of some ridiculous chain of events caused by Anna's American princess impatience, they're soon car-less and back on the road. And they miss a train. And they have to stay in a charming Bed & Breakfast, pretending of course to be married because the old Irish folk wouldn't rent the room to a sinning couple.

I won't even bore you with the rest because you already know what happens. How it happens isn't even difficult to decode.

I'm just incredibly disappointed these delightful actors took the roles because the material was way beneath their talent. Perhaps they just wanted the free time in Ireland? I should hope that was the reason.

And I hope they never do it again.

Me and Orson Welles

Tonight I saw Me and Orson Welles, starring Christian McKay and Claire Danes.

Richard (Zac Efron) is a high school student with dreams of succeeding on Broadway. He gets his foot in the door with a small part in Julius Caesar, which is directed by Orson Welles.

Soon he falls for the beautiful Sonja (Danes) who works at the theater and is heartbroken to learn that in addition to sleeping with him, she'll also go home with the married Welles (McKay) believing it will further her career. It does.

During the production of the show, we see cast members overworked and left in the shadows of the big star, but always willing to make the sacrifice. As they rehearse and take jabs of criticism from their director, it is clear what it must have been like to work with such a polarizing figure in theater, radio and film.

Of course Richard is too immature to mask his anger toward Welles' transgressions and gets himself fired. What happens next in the production and between the two male leads is not entirely unpredictable, but I won't reveal it here.

The reason to go see his movie is the almost eerily accurate performance by Christian McKay. Not only does he physically resemble Welles, he emulates his mannerisms and speech patterns with unbelievable accuracy. He conveys the brilliance and the arrogance of the famed man just as effortlessly as Claire Danes looks beautiful in red lipstick.

But if the theater bores you, or Zac Efron annoys you, the pace may be too slow for your taste.

Crazy Heart

Today I saw Crazy Heart, starring Jeff Bridges and Maggie Gyllenhaal.

It was the topic of Cinebanter #85, which is available here.

The Young Victoria

On Thursday I saw The Young Victoria, starring Emily Blunt and Rupert Friend.

The longest reigning female monarch, Queen Victoria, had a very melancholy childhood. Her mother raised her in a cold, isolated environment so she wouldn't be exposed to anyone that would influence her unfavorably. As a result, Victoria had no friends (save for her dog) nor private time, as her mother shared a bedroom with her until she became queen (at age 18). Her mother believed she as a regent, and later Victoria as queen, would restore the good name of the monarchy that had been tarnished in recent years due to the less-than-honorable behavior exhibited by her deceased husband's family.

Unfortunately for her mother, there was never a need for a regent, so when it was time for Victoria to assume the crown, she turned the tables on her and moved her to another part of the palace where she wouldn't interfere. Shortly thereafter, Victoria also married the man she was in love with (her first cousin, Prince Albert) and ruled the way she wanted to rule, confiding in a close political adviser for much of the time.

This film traces that portion of the legendary Queen's life and goes no further than her young, married years. Emily Blunt was in fact perfectly cast to play the role, as she can appear both delicately innocent and brilliantly controlling at once. The real monarch's complexities were revealed clearly in everything from Blunt's posture to the adoring way she looked at her on-screen husband (Friend).

He doesn't do such a bad job either—Friend is enamored, but not desperate over the young beauty, and perfectly conveys this in his portrayal of Albert. He gives him enough of a backbone to be respected, but balances that with a tenderness to be envied.

The film doesn't do a remarkable job explaining why the country turns on Victoria early in her reign, nor how she reclaims their trust, but it does create a beautiful couple in the two main characters, who by all accounts really did love one another until the end.

If you can make it through the chess games and important conversations between those fighting for control over the young queen, watching this will prove to be a pleasurable experience, mostly due to Blunt's flawless performance.

Broken Embraces

Today I saw Broken Embraces, starring Penélope Cruz and Lluis Hómar.

Magdalena (Cruz) is a secretary who wishes to be an actress. Ernesto (José Luis Gomez) is her wealthy boss, and the man who helped her family when her father grew gravely ill. She repays him by becoming his live-in mistress. Ernesto also has an annoying son (Rubén Ochandiano) who acts as his lap dog.

Mateo (Homar), a charismatic film director, no longer goes by that name. Since the accident that caused his blindness, he's been Harry Caine. He is taken care of by his agent Judit (Blanca Portillo) and her son Diego (Tamar Novas).

Through a series of flashbacks that rewind their lives back to 1992, we see how all of their worlds fit together. Director Pedro Almodóvar does this in such a way that you can't get lost in one era or the other—you're always clear on "when" you are mostly due to Mateo's eyesight or lack thereof (though I did wonder why he wore a non-digital wristwatch in one of his blind scenes).

There is love, betrayal, jealousy, anger, violence, sex, nudity, sensuality, humor, sentiment, creativity, redemption, resolution and color. Lots and lots of color.

From the cherry red suit Lena wears to the rich blues of the beach and the vibrant crosses that grace the walls of two of the main characters' homes, with few exceptions, this movie is drenched in prominent hues.

Those hues help distinguish when we're watching Mateo's movies from when we're lounging in the mansion, or making love at the beach house. They help the characters express their feelings, though we may not realize it until after it's happened.

All of the players are well cast and especially nice to watch is Lluis Homar, who moves seamlessly between a man with sight and a man without. And though I've seen Cruz do better work, it almost wouldn't feel like an Almodóvar film if she weren't the token siren.

You won't get bored in this one, and you'll delight in the aural assault of its visuals.