This morning I saw Bridesmaids, starring Kristen Wiig and Rose Byrne.
Though it's tempting to compare the film to all of its male counterparts, I'll refrain from doing so because while it may have similar scenarios, it's definitely its own comedic beast.
The trouble begins when Lillian (Maya Rudolph) tells her best friend Annie (Wiig) that she is engaged.
The two have been BFFs since childhood, so naturally Annie is chosen to be her Maid of Honor, and naturally Annie represents the typical, pathetic, Single White Female who is incapable of having a successful relationship, etc.
Of course nothing is going Annie's way: the man she's sleeping with treats her terribly, she hates her job, has obnoxious roommates and a crappy car. If I hadn't been a similar version of Annie in real life just a few short years ago (I had everything but the roommates), I wouldn't have believed her. But having been there, I get that life can be that sad.
Enter Helen (Byrne), an equally miserable, yet undeniably gorgeous, wealthy married woman who is threatening to steal Lillian away from Annie amidst the grand plans for the wedding.
It's all highly predictable (women behave like women and back-stab each other until someone's asked to leave), but that doesn't mean that it's not enjoyable.
With the exception of a completely unnecessary food poisoning scene, most of the laughs you'll get from the film are quite original. The presence of Mike and Molly's Melissa McCarthy as Megan, sister of the groom, adds a tremendous spark to the ensemble and the added bonus of Chris O'Dowd as a police officer who keeps running into Annie is also a joy to watch. Plus, who doesn't enjoy a good Jon Hamm sex scene?
I scratched my head at the Wilson Phillips inclusion (didn't these SNL girls see Spring Breakdown, a film starring OTHER SNL girls who used the same song?), but do admit to tearing up just a little in the end.
It really is a fun, hopeful film for all the single ladies. And I bet that guys will laugh too.
~~~
Saturday, May 14, 2011
Sunday, May 08, 2011
Meek's Cutoff
Today I saw Meek's Cutoff, starring Michelle Williams and Paul Dano.
It will be the topic of Cinebanter #104, so tune in later in May for our review.
UPDATE: It in fact will not be the topic of Cinebanter, we have decided instead to review the new Woody Allen film, Midnight in Paris.
It will be the topic of Cinebanter #104, so tune in later in May for our review.
UPDATE: It in fact will not be the topic of Cinebanter, we have decided instead to review the new Woody Allen film, Midnight in Paris.
Monday, May 02, 2011
Top Gun
Tonight I saw Top Gun, starring Tom Cruise and Val Kilmer.
Sometimes the 25th anniversary of a film can spark nostalgia; other times it can reveal to your older self how cheesy a movie really is, and tonight I experienced both.
When Tom Cruise's Maverick struts into flight school, his smirk is so smug he owns the room. Everyone forgets that he's just over 5 feet tall and has crooked teeth because his eyes sparkle and his dimples glow. He even comes with his own sidekick, a when-he-had-hair Anthony Edwards (Goose).
Yet I did then (and I do now) still find Val Kilmer's Iceman a hell of a lot sexier. Never mind that both actors would grow up to be kooks in their own right, but in 1986 they were the stuff naughty dreams were made of.
All the posing and the smart remarks aside, this is an action film. With Bruckheimer's stamp all over it, the flight scenes hold up, and if you follow the camera faithfully enough, you can probably still get dizzy.
It's a romance too—the hot older woman, Charlie (Kelly McGillis) falling for the young pilot after just one public song. The steamy sex and tongue hockey to the famous song by Berlin. It's almost all too much in retrospect.
But I still got teary when Goose had his accident, and I clapped along with everyone else when the "wingman" quotes were exchanged at the end.
So I guess if you're into cheesy 80s movies, this one deserves its spot in heartthrob history.
~~~
Sometimes the 25th anniversary of a film can spark nostalgia; other times it can reveal to your older self how cheesy a movie really is, and tonight I experienced both.
When Tom Cruise's Maverick struts into flight school, his smirk is so smug he owns the room. Everyone forgets that he's just over 5 feet tall and has crooked teeth because his eyes sparkle and his dimples glow. He even comes with his own sidekick, a when-he-had-hair Anthony Edwards (Goose).
Yet I did then (and I do now) still find Val Kilmer's Iceman a hell of a lot sexier. Never mind that both actors would grow up to be kooks in their own right, but in 1986 they were the stuff naughty dreams were made of.
All the posing and the smart remarks aside, this is an action film. With Bruckheimer's stamp all over it, the flight scenes hold up, and if you follow the camera faithfully enough, you can probably still get dizzy.
It's a romance too—the hot older woman, Charlie (Kelly McGillis) falling for the young pilot after just one public song. The steamy sex and tongue hockey to the famous song by Berlin. It's almost all too much in retrospect.
But I still got teary when Goose had his accident, and I clapped along with everyone else when the "wingman" quotes were exchanged at the end.
So I guess if you're into cheesy 80s movies, this one deserves its spot in heartthrob history.
~~~
Sunday, April 17, 2011
Scream 4
This morning I saw Scream 4, starring Neve Campbell and David Arquette.
There are sequels that forever ruin beloved characters and there are sequels that spark a nostalgic feeling that makes you happy to be in the room with the characters again. Thankfully, Scream 4 falls into the latter category.
The main three survivors of the Woodsboro murders, Sydney Prescott (Campbell), Dewey Riley (Arquette) and Gale Weathers-Riley (Courteney Cox) have all moved on. Dewey has been promoted to sheriff; Gale has retired from reporting to write books full time; Syd's just completed her memoir and she's ending her book tour in her home town.
Syd's cousin Jill (Emma Roberts) is a popular teen who wants no part of the fan fare surrounding her famous cousin's return. When copycat murders begin to happen, she and her friends are thrust into high alert thinking their turn to die may be next.
This installment in the series feels most like the first. The quick-wit dialog and younger actors commanding the story works just as it did in the original, with the famous three acting as elder statesmen throughout.
It's admittedly awkward to see David Arquette and Courteney Cox weather troubles in their marriage on-screen as the world now knows they were doing in reality at the time of the filming. But they still bring their A game to their characters and the original chemistry is evident.
It's hard to say more about this one without spoiling it, so I will just say this: if you liked the original film (and maybe even the second), you're bound to be entertained by the sharp dialog and fast pace of the fourth. The ending is good too.
~~~
There are sequels that forever ruin beloved characters and there are sequels that spark a nostalgic feeling that makes you happy to be in the room with the characters again. Thankfully, Scream 4 falls into the latter category.
The main three survivors of the Woodsboro murders, Sydney Prescott (Campbell), Dewey Riley (Arquette) and Gale Weathers-Riley (Courteney Cox) have all moved on. Dewey has been promoted to sheriff; Gale has retired from reporting to write books full time; Syd's just completed her memoir and she's ending her book tour in her home town.
Syd's cousin Jill (Emma Roberts) is a popular teen who wants no part of the fan fare surrounding her famous cousin's return. When copycat murders begin to happen, she and her friends are thrust into high alert thinking their turn to die may be next.
This installment in the series feels most like the first. The quick-wit dialog and younger actors commanding the story works just as it did in the original, with the famous three acting as elder statesmen throughout.
It's admittedly awkward to see David Arquette and Courteney Cox weather troubles in their marriage on-screen as the world now knows they were doing in reality at the time of the filming. But they still bring their A game to their characters and the original chemistry is evident.
It's hard to say more about this one without spoiling it, so I will just say this: if you liked the original film (and maybe even the second), you're bound to be entertained by the sharp dialog and fast pace of the fourth. The ending is good too.
~~~
Saturday, April 09, 2011
Certified Copy
Today I saw Certified Copy, starring Juliette Binoche and William Schimell.
It will be the topic of Cinebaner #103, so tune in later this month for our review.
It will be the topic of Cinebaner #103, so tune in later this month for our review.
Sunday, March 27, 2011
The Lincoln Lawyer
Tonight I saw The Lincoln Lawyer, starring Matthew McConaughey and Ryan Phillippe.
Mick Haller (McConaughey) is the type of defense lawyer the really, really bad guys call when they've done something really, really bad.
Lewis Roulet (Phillippe) is an attractive rich man whose mother foots the bill for his many toys and indiscretions. He's also been accused of a violent crime, so he hires Haller to ensure he won't serve jail time.
But is he guilty?
The audience is told fairly early on in the film what the answer to that is, and the result sends the maybe-not-so-slimy-after-all lawyer back to the drawing board to make his case, protect his family and mourn the loss of the innocent who get caught in the danger zone.
There are predictable twists and turns leading up to the final courtroom scenes, which seem to last the duration of a real trial.
Marisa Tomei is along for the ride as Maggie, a prosecutor and the most nurturing ex-wife anyone has ever seen. She takes care of drunken Mick nearly more than she does their young daughter and even goes for the occasional roll in the hay with him (even if he has to put up with a harsh, out-of-nowhere scolding the morning after).
All of the actors are well cast (though Tomei is somewhat wasted in low cleavage and excessive giggles) and it is especially pleasurable to watch Phillippe act menacing versus saintly (as most of his roles would dictate).
McConaughey was tailor-made for his part: he's slimy, sexy, beautifully frustrated and able to show off his gorgeous biceps at a moment's notice. This was especially evident as he exits the hospital after an incident in a wife beater, and carries his suit jacket alongside him.
There is an undeniable element of cheese that permeates the film, with its too-perfect dialog and shots that speed up a la Guy Ritchie at the drop of a hat.
The film is enjoyable, but that's really all it is.
~~~
Mick Haller (McConaughey) is the type of defense lawyer the really, really bad guys call when they've done something really, really bad.
Lewis Roulet (Phillippe) is an attractive rich man whose mother foots the bill for his many toys and indiscretions. He's also been accused of a violent crime, so he hires Haller to ensure he won't serve jail time.
But is he guilty?
The audience is told fairly early on in the film what the answer to that is, and the result sends the maybe-not-so-slimy-after-all lawyer back to the drawing board to make his case, protect his family and mourn the loss of the innocent who get caught in the danger zone.
There are predictable twists and turns leading up to the final courtroom scenes, which seem to last the duration of a real trial.
Marisa Tomei is along for the ride as Maggie, a prosecutor and the most nurturing ex-wife anyone has ever seen. She takes care of drunken Mick nearly more than she does their young daughter and even goes for the occasional roll in the hay with him (even if he has to put up with a harsh, out-of-nowhere scolding the morning after).
All of the actors are well cast (though Tomei is somewhat wasted in low cleavage and excessive giggles) and it is especially pleasurable to watch Phillippe act menacing versus saintly (as most of his roles would dictate).
McConaughey was tailor-made for his part: he's slimy, sexy, beautifully frustrated and able to show off his gorgeous biceps at a moment's notice. This was especially evident as he exits the hospital after an incident in a wife beater, and carries his suit jacket alongside him.
There is an undeniable element of cheese that permeates the film, with its too-perfect dialog and shots that speed up a la Guy Ritchie at the drop of a hat.
The film is enjoyable, but that's really all it is.
~~~
Sunday, March 20, 2011
Taxi Driver
Last night I screened the 35th anniversary re-release of Taxi Driver, starring Robert De Niro and Jodie Foster.
All the lonely people, where do they all come from?
That line from The Beatles'"Eleanor Rigby"fits this film like a glove, as its main character, Travis Bickle (De Niro), tries to find companionship and contentment in 1970s New York.
He's a veteran of Vietnam (though that detail is not overblown) who has alienated himself intentionally from his family and taken on a job as a cab driver, working extended hours to combat his insomnia.
As he drives the streets of the gritty city, he witnesses horrific acts of violence and deviance. And though he's judgmental of these behaviors, he himself has a porn habit and thinks nothing of taking the woman of his dreams, Betsy (Cybill Shephard), to an adult film on their second date.
When Betsy up-and-leaves near the beginning of the film, Travis is baffled by her reaction and continues to attempt to connect with her, though she rejects him.
He becomes obsessed with righting wrongs in his own way, tries to rescue a not-yet-teenage prostitute, Iris (Foster), and purchases an arsenal of weapons to execute his plan. He is a fully functional, mentally ill mess of a person.
Having watched this film a handful of times on VHS and DVD doesn't compare for a moment to experiencing it on the big screen. Hearing the crowd react to the 'surprises' in the storyline and seeing repeated close-ups of the young De Niro acting primarily through expression truly reveals the genius of director Scorcese's depth.
Iconic lines are delivered with conviction; tension is built through the continuous loop of saxophone; just enough comic relief is introduced to allow the audience to breathe.
A pre-Giuliani New York City is the second most important character to De Niro's Travis, showed as the dangerous, dark place that it once was.
Something must also be said for Jodie Foster's amazing performance as a young hooker who knows no other life. The wisdom of this then-future Oscar winner shines through as she holds her own with De Niro and Harvey Keitel. It's a role all young actors should be forced to watch.
35 years later, Scorcese's masterpiece remains just that—a brilliant character study and master class on portraying mental illness.
~~~
All the lonely people, where do they all come from?
That line from The Beatles'"Eleanor Rigby"fits this film like a glove, as its main character, Travis Bickle (De Niro), tries to find companionship and contentment in 1970s New York.
He's a veteran of Vietnam (though that detail is not overblown) who has alienated himself intentionally from his family and taken on a job as a cab driver, working extended hours to combat his insomnia.
As he drives the streets of the gritty city, he witnesses horrific acts of violence and deviance. And though he's judgmental of these behaviors, he himself has a porn habit and thinks nothing of taking the woman of his dreams, Betsy (Cybill Shephard), to an adult film on their second date.
When Betsy up-and-leaves near the beginning of the film, Travis is baffled by her reaction and continues to attempt to connect with her, though she rejects him.
He becomes obsessed with righting wrongs in his own way, tries to rescue a not-yet-teenage prostitute, Iris (Foster), and purchases an arsenal of weapons to execute his plan. He is a fully functional, mentally ill mess of a person.
Having watched this film a handful of times on VHS and DVD doesn't compare for a moment to experiencing it on the big screen. Hearing the crowd react to the 'surprises' in the storyline and seeing repeated close-ups of the young De Niro acting primarily through expression truly reveals the genius of director Scorcese's depth.
Iconic lines are delivered with conviction; tension is built through the continuous loop of saxophone; just enough comic relief is introduced to allow the audience to breathe.
A pre-Giuliani New York City is the second most important character to De Niro's Travis, showed as the dangerous, dark place that it once was.
Something must also be said for Jodie Foster's amazing performance as a young hooker who knows no other life. The wisdom of this then-future Oscar winner shines through as she holds her own with De Niro and Harvey Keitel. It's a role all young actors should be forced to watch.
35 years later, Scorcese's masterpiece remains just that—a brilliant character study and master class on portraying mental illness.
~~~
Thursday, March 17, 2011
No Woman, No Cry
Last night I attended the Seattle premiere of the documentary No Woman, No Cry.
Most folks know Christy Turlington Burns from her successful career as a supermodel, but few know the serious complications that occurred after the birth of her first child.
Luckily, Mrs. Burns was in a birthing center inside of a respected hospital and was given the necessary medical attention to heal safely, but what she learned following her ordeal is that many women aren't so fortunate. In fact, women without access to similar care could have died in a the same situation.
This inspired her to learn more about women's health (she's currently earning her Master's of Public Health at Columbia University) and travel to different countries to examine maternal health through a closer lens.
She and her film crew visited Tanzania, Guatemala, Bangladesh and also a clinic within the United States. In each place they found challenges that no pregnant woman should have to face: proximity to care, access to care, money to pay the hospital, etc.
The film spotlights various expectant mothers in each setting and chronicles the pain and suffering they sometimes endure just to bring a new life into the world. In what was the hardest part for me to watch, she also visits an American widower who lost his wife during a natural childbirth in what he describes as both the best and worst day of his life. Absolutely devastating.
The film is currently 'on tour' with Mrs. Burns presenting after the screenings, and will make its television debut on OWN on Mother's Day.
It's something everyone should see, regardless of gender or economic status.
To learn more about the film, visit everymothercounts.org.
Most folks know Christy Turlington Burns from her successful career as a supermodel, but few know the serious complications that occurred after the birth of her first child.
Luckily, Mrs. Burns was in a birthing center inside of a respected hospital and was given the necessary medical attention to heal safely, but what she learned following her ordeal is that many women aren't so fortunate. In fact, women without access to similar care could have died in a the same situation.
This inspired her to learn more about women's health (she's currently earning her Master's of Public Health at Columbia University) and travel to different countries to examine maternal health through a closer lens.
She and her film crew visited Tanzania, Guatemala, Bangladesh and also a clinic within the United States. In each place they found challenges that no pregnant woman should have to face: proximity to care, access to care, money to pay the hospital, etc.
The film spotlights various expectant mothers in each setting and chronicles the pain and suffering they sometimes endure just to bring a new life into the world. In what was the hardest part for me to watch, she also visits an American widower who lost his wife during a natural childbirth in what he describes as both the best and worst day of his life. Absolutely devastating.
The film is currently 'on tour' with Mrs. Burns presenting after the screenings, and will make its television debut on OWN on Mother's Day.
It's something everyone should see, regardless of gender or economic status.
To learn more about the film, visit everymothercounts.org.
Saturday, March 12, 2011
Cedar Rapids
This morning I saw Cedar Rapids, starring Ed Helms and Anne Heche.
Tim Lippe (Helms) is a small-town insurance agent who honestly believes in his work and does his best to do right by his clients. After all, most of them are his friends and family.
Dean Ziegler (John C. Reilly) is the used-car-salesman of the insurance industry. He offers bribes, tries to spook the competition and lacks respect—for himself and others.
The two meet at an annual conference, where Tim is a classic fish-out-of-water in the "big city" and has trouble acclimating to the group mentality.
Joan Ostrowski-Fox (Heche) is a married mother of two who treats this yearly outing as an excuse to let loose. She immediately targets Tim as a plaything and soon has him loosening up among his new friends.
Though Helms is charming and well-cast in this role, the screenwriters didn't bring much "fresh" to the novelty of him being a rookie conference attendee. The joke of him figuring out a room key card and in the same breath, being startled by the presence of a black man just don't play funny.
Reilly is practically a caricature and even less funny than Helms because he has the added bonus of bathroom humor on his plate.
Alia Shawkat from Arrested Development provides the most refreshing laughs in her turn as a prostitute, and Isiah Whitlock, Jr. as the token black character also lights up the screen with the best lines in the movie referring to his obsession with The Wire.
I was disappointed that the film never 'picked up' and paid off the two romances it began for its main character, but it's certainly not the fault of the actors.
With a better script, they'd have done just fine.
~~~
Tim Lippe (Helms) is a small-town insurance agent who honestly believes in his work and does his best to do right by his clients. After all, most of them are his friends and family.
Dean Ziegler (John C. Reilly) is the used-car-salesman of the insurance industry. He offers bribes, tries to spook the competition and lacks respect—for himself and others.
The two meet at an annual conference, where Tim is a classic fish-out-of-water in the "big city" and has trouble acclimating to the group mentality.
Joan Ostrowski-Fox (Heche) is a married mother of two who treats this yearly outing as an excuse to let loose. She immediately targets Tim as a plaything and soon has him loosening up among his new friends.
Though Helms is charming and well-cast in this role, the screenwriters didn't bring much "fresh" to the novelty of him being a rookie conference attendee. The joke of him figuring out a room key card and in the same breath, being startled by the presence of a black man just don't play funny.
Reilly is practically a caricature and even less funny than Helms because he has the added bonus of bathroom humor on his plate.
Alia Shawkat from Arrested Development provides the most refreshing laughs in her turn as a prostitute, and Isiah Whitlock, Jr. as the token black character also lights up the screen with the best lines in the movie referring to his obsession with The Wire.
I was disappointed that the film never 'picked up' and paid off the two romances it began for its main character, but it's certainly not the fault of the actors.
With a better script, they'd have done just fine.
~~~
Monday, March 07, 2011
The Adjustment Bureau
Yesterday I saw The Adjustment Bureau, starring Matt Damon and Emily Blunt.
It will be the topic of Cinebanter #102, so tune in later this month for our review.
Monday, February 21, 2011
Unknown
Today I saw Unknown, starring Liam Neeson and Diane Kruger.
An upper-class American couple arrives in Berlin to find some of their luggage didn't make it from the airport, so the husband catches a Taxi to return to the airport and retrieve it. Unfortunately, during that ride, he's in a terrible car accident and ends up in a coma for four days. When he wakes up, he remembers everything about his life, but no one will confirm it—not even his wife of five years.
So here we have the story of Martin Harris (Neeson). A supposed brilliant scientist who is in Germany to give a presentation at an intellectual conference until he is made to believe that his life is not his own after all.
There are folks who swear they don't know who he is. His wife Liz (January Jones) and the alleged real Martin Harris (Aidan Quinn), for starters.
Then, there are those sympathetic like his doctor and nurse, who just want proof before they agree that he is indeed Dr. Harris.
The folks at the hotel and the conference don't know what to believe, but the police are called multiple times just in case he's nuts.
Left without any options, Dr. Harris tracks down the taxi driver (Kruger) who saved him after the accident for additional answers and seeks the help of a former spy who is now a private investigator. As this is happening, at least two people (not those two) die trying to help him.
To say that it's boring would be unfair, to call it "smart" would be equally unfair.
Liam Neeson is his usual good "desperate" character. There are car chases and flashed knives and guns pulled and men in black leather jackets there to let you know they are bad guys.
There is also sexual tension (with the taxi driver) and enough flashback shots of a flirtatious Liz to make you wish you were watching re-runs of Mad Men instead.
As for figuring out the mystery, after a certain point I quit caring about Dr. Harris.
Unfortunately, the box office returns didn't, so more empty action films like this are sure to be made.
~~~
An upper-class American couple arrives in Berlin to find some of their luggage didn't make it from the airport, so the husband catches a Taxi to return to the airport and retrieve it. Unfortunately, during that ride, he's in a terrible car accident and ends up in a coma for four days. When he wakes up, he remembers everything about his life, but no one will confirm it—not even his wife of five years.
So here we have the story of Martin Harris (Neeson). A supposed brilliant scientist who is in Germany to give a presentation at an intellectual conference until he is made to believe that his life is not his own after all.
There are folks who swear they don't know who he is. His wife Liz (January Jones) and the alleged real Martin Harris (Aidan Quinn), for starters.
Then, there are those sympathetic like his doctor and nurse, who just want proof before they agree that he is indeed Dr. Harris.
The folks at the hotel and the conference don't know what to believe, but the police are called multiple times just in case he's nuts.
Left without any options, Dr. Harris tracks down the taxi driver (Kruger) who saved him after the accident for additional answers and seeks the help of a former spy who is now a private investigator. As this is happening, at least two people (not those two) die trying to help him.
To say that it's boring would be unfair, to call it "smart" would be equally unfair.
Liam Neeson is his usual good "desperate" character. There are car chases and flashed knives and guns pulled and men in black leather jackets there to let you know they are bad guys.
There is also sexual tension (with the taxi driver) and enough flashback shots of a flirtatious Liz to make you wish you were watching re-runs of Mad Men instead.
As for figuring out the mystery, after a certain point I quit caring about Dr. Harris.
Unfortunately, the box office returns didn't, so more empty action films like this are sure to be made.
~~~
Saturday, February 19, 2011
Barney's Version
This morning I saw Barney's Version, starring Paul Giamatti and Rosamund Pike.
I'll swear when I watched the trailer of this it was being marketed as a comedy. Once I was about 30 minutes into the film, I realized I must have been mistaken.
Barney (Giamatti) is a sad sack of a man who has a habit of marrying the wrong women. His first wife is a hippie artist who we never quite understand his connection with; his second wife, played by a spirited Minnie Driver, is a rich brat with beautiful breasts who wins him over with her cleavage.
It's no surprise that by their wedding day, Barney is already looking elsewhere. Unfortunately, it's on his wedding day when he spots "The One."
Miriam (Pike) is a guest on his new bride's side, and catches his attention by simply looking stunning in her bright blue dress. After one conversation with the beauty, Barney knows he's made a huge mistake marrying his second wife. He begins courting Miriam right then and there, never giving up his pursuit for true love.
Of course, like many neurotic Jewish characters, Barney is his own worst enemy. Once he gets what he wants in any given situation, he carelessly discards it in favor of behaving like a bachelor.
And then his kids begin hating him, and we begin hating him, and the story takes an even darker turn with his health problems.
All of the acting in this film is great—no argument there—but the way Barney's character is written, I had trouble feeling any empathy for him.
Why would anyone want to spend time with this unattractive, uninteresting man, let alone build a life with him?
I only wish I hadn't wasted two hours trying to figure that out.
~~~
I'll swear when I watched the trailer of this it was being marketed as a comedy. Once I was about 30 minutes into the film, I realized I must have been mistaken.
Barney (Giamatti) is a sad sack of a man who has a habit of marrying the wrong women. His first wife is a hippie artist who we never quite understand his connection with; his second wife, played by a spirited Minnie Driver, is a rich brat with beautiful breasts who wins him over with her cleavage.
It's no surprise that by their wedding day, Barney is already looking elsewhere. Unfortunately, it's on his wedding day when he spots "The One."
Miriam (Pike) is a guest on his new bride's side, and catches his attention by simply looking stunning in her bright blue dress. After one conversation with the beauty, Barney knows he's made a huge mistake marrying his second wife. He begins courting Miriam right then and there, never giving up his pursuit for true love.
Of course, like many neurotic Jewish characters, Barney is his own worst enemy. Once he gets what he wants in any given situation, he carelessly discards it in favor of behaving like a bachelor.
And then his kids begin hating him, and we begin hating him, and the story takes an even darker turn with his health problems.
All of the acting in this film is great—no argument there—but the way Barney's character is written, I had trouble feeling any empathy for him.
Why would anyone want to spend time with this unattractive, uninteresting man, let alone build a life with him?
I only wish I hadn't wasted two hours trying to figure that out.
~~~
Monday, February 14, 2011
Sixteen Candles
Tonight I saw Sixteen Candles, starring Molly Ringwald and Anthony Michael Hall.
There is something magical about a John Hughes film, even 27 years later.
Brought back to theaters in honor of Valentine's Day, the simplicity of teenage love shines on in the characters of Samantha (Molly), The Geek (Hall) and Jake (Michael Schoeffling). A love triangle if there ever was one.
When her family forgets her sixteenth birthday, Samantha is devastated. She whines to her friend at school and resents her sister who is getting married the following day. She's also taken an embarrassing written "sex test" that has fallen into the hands of the boy she has a crush on. She's had better weeks.
The Geek is obsessed with Samantha, bugging her on the bus, then hijacking a spot on the dance floor next to her later that same night. His sidekick friends, expecting the most from him, only make things worse.
Jake is a cute, popular boy with a bombshell girlfriend who is unsatisfied with his relationship. He's looking for more than a trophy, and is interested in learning more about Samantha.
And there you have the plot.
The rest of the film is a hilarious standard 80s teen comedy, complete with the obligatory exchange student, two Cusacks and an obnoxious kid brother.
Did I mention that I still loved every minute of it as much as I did when I was 9?
The formula of realistic dialogue, quotable catchphrases, and perfectly cast actors gets me every time.
John Hughes gave us even more than that, though. He gave us films with heart.
~~~
There is something magical about a John Hughes film, even 27 years later.
Brought back to theaters in honor of Valentine's Day, the simplicity of teenage love shines on in the characters of Samantha (Molly), The Geek (Hall) and Jake (Michael Schoeffling). A love triangle if there ever was one.
When her family forgets her sixteenth birthday, Samantha is devastated. She whines to her friend at school and resents her sister who is getting married the following day. She's also taken an embarrassing written "sex test" that has fallen into the hands of the boy she has a crush on. She's had better weeks.
The Geek is obsessed with Samantha, bugging her on the bus, then hijacking a spot on the dance floor next to her later that same night. His sidekick friends, expecting the most from him, only make things worse.
Jake is a cute, popular boy with a bombshell girlfriend who is unsatisfied with his relationship. He's looking for more than a trophy, and is interested in learning more about Samantha.
And there you have the plot.
The rest of the film is a hilarious standard 80s teen comedy, complete with the obligatory exchange student, two Cusacks and an obnoxious kid brother.
Did I mention that I still loved every minute of it as much as I did when I was 9?
The formula of realistic dialogue, quotable catchphrases, and perfectly cast actors gets me every time.
John Hughes gave us even more than that, though. He gave us films with heart.
~~~
Sunday, February 13, 2011
Live Action Short Film Nominees (Oscars® 2011)
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:
THE CONFESSION (United Kingdom)
What begins as a coming-of-age comedy based on two young boys discovering what it means to be Catholic rapidly turns into a dark, hopeless exploration of bad things happening to good people. Though the ending does provide closure, it's far from satisfying.
WISH 143 United Kingdom
A light look at what decisions we make when faced with our own mortality, this story centers on a 15-year-old boy who asks a charitable organization for one final wish: to have sex with a woman. Soon his virginity becomes the talk of the town and measures are taken to ensure his dream is fulfilled. Very cute, if you can suspend the disbelief long enough to enjoy it.
NA WEWE (Belgium)
The year is 1994. Rwanda is enduring a horrific civil war. When a van full of citizens is stopped by group of armed men, they each have to prove their nationality to stay alive. The tension is unimaginable, as we don't know who is telling the truth or who is lying. Thankfully, a U2 song interrupts the chaos for a moment of peace.
THE CRUSH (Ireland)
The strongest of the five nominees, this delightful short is short and sweet. A young boy falls in love with his second-grade teacher and challenges her fiancé to a duel for her hand in marriage. It's funny, sad, scary and completely charming.
GOD OF LOVE
A man is smitten with the drummer in his band, but unfortunately she's hot for his best friend (who is also in the band). He prays for her to return his affections, and as an answer to that prayer, receives in the mail a box of cupid-like arrows that possess supernatural powers. As he goes about casting love spells, he learns a bit more about relationships. It's a clever idea, but the execution was almost too wink-ridden to truly appreciate.
THE CONFESSION (United Kingdom)
What begins as a coming-of-age comedy based on two young boys discovering what it means to be Catholic rapidly turns into a dark, hopeless exploration of bad things happening to good people. Though the ending does provide closure, it's far from satisfying.
WISH 143 United Kingdom
A light look at what decisions we make when faced with our own mortality, this story centers on a 15-year-old boy who asks a charitable organization for one final wish: to have sex with a woman. Soon his virginity becomes the talk of the town and measures are taken to ensure his dream is fulfilled. Very cute, if you can suspend the disbelief long enough to enjoy it.
NA WEWE (Belgium)
The year is 1994. Rwanda is enduring a horrific civil war. When a van full of citizens is stopped by group of armed men, they each have to prove their nationality to stay alive. The tension is unimaginable, as we don't know who is telling the truth or who is lying. Thankfully, a U2 song interrupts the chaos for a moment of peace.
THE CRUSH (Ireland)
The strongest of the five nominees, this delightful short is short and sweet. A young boy falls in love with his second-grade teacher and challenges her fiancé to a duel for her hand in marriage. It's funny, sad, scary and completely charming.
GOD OF LOVE
A man is smitten with the drummer in his band, but unfortunately she's hot for his best friend (who is also in the band). He prays for her to return his affections, and as an answer to that prayer, receives in the mail a box of cupid-like arrows that possess supernatural powers. As he goes about casting love spells, he learns a bit more about relationships. It's a clever idea, but the execution was almost too wink-ridden to truly appreciate.
Sunday, February 06, 2011
The Company Men
This morning I saw The Company Men, starring Ben Affleck and Tommy Lee Jones.
Bobby Walker (Affleck) is not a corporate asshole. Sure, his wife calls him one during a heated argument, and he does favor golfing and nice cars to the blue collar lifestyle, but at the end of the day he's a good guy. He adores his children, stays faithful to his wife and doesn't willingly try to harm anyone in his life's work.
His boss Gene (Jones) at the GTX Corporation is less of a good guy, but he does genuinely care about his employees and is incensed to learn that Bobby has been let go in his absence. He's even more pissed when it happens to him a few months later.
This is all the fault of the Big Bad CEO, James Salinger (Craig T. Nelson) who will step on anyone (even his best friend Gene) to "save" the company and his inflated salary.
An almost too-fitting film for our times, watching this felt like seeing Up In the Air turned inside out. Instead of the office side of the layoffs, we see the repercussions.
Each man deals with his loss in a different way: Bobby genuinely tries to land a new gig but the offers just aren't there. Phil (Chris Cooper) dies his hair to look younger (at the recommendation of a placement specialist), Gene goes into a state of denial.
If all of this sounds straightforward and predictable, it is, but I can't overstate how well it all plays out.
The families of the men define how they react, regardless of their pride; the safety net we all want to think is there for us collapses in a very un-movie-like way for several characters. Their pain, though difficult to watch, is refreshingly real.
The performances by Affleck, Jones and Cooper are nothing short of top notch. They aren't "too" Boston to be believable, but still capture the assumed manliness of that slice of America.
There are also great supporting stars here: Maria Bello as the devious downsizer, Rosemarie Dewitt as Bobby's practical wife, and Kevin Costner as the rough brother-in-law who dislikes Bobby, but still reaches out to help him.
I was glued to the screen from start to finish by this satisfying, honest film. Everyone who's ever been in dire straits (and that's all of us, I think) should see it.
~~~
Bobby Walker (Affleck) is not a corporate asshole. Sure, his wife calls him one during a heated argument, and he does favor golfing and nice cars to the blue collar lifestyle, but at the end of the day he's a good guy. He adores his children, stays faithful to his wife and doesn't willingly try to harm anyone in his life's work.
His boss Gene (Jones) at the GTX Corporation is less of a good guy, but he does genuinely care about his employees and is incensed to learn that Bobby has been let go in his absence. He's even more pissed when it happens to him a few months later.
This is all the fault of the Big Bad CEO, James Salinger (Craig T. Nelson) who will step on anyone (even his best friend Gene) to "save" the company and his inflated salary.
An almost too-fitting film for our times, watching this felt like seeing Up In the Air turned inside out. Instead of the office side of the layoffs, we see the repercussions.
Each man deals with his loss in a different way: Bobby genuinely tries to land a new gig but the offers just aren't there. Phil (Chris Cooper) dies his hair to look younger (at the recommendation of a placement specialist), Gene goes into a state of denial.
If all of this sounds straightforward and predictable, it is, but I can't overstate how well it all plays out.
The families of the men define how they react, regardless of their pride; the safety net we all want to think is there for us collapses in a very un-movie-like way for several characters. Their pain, though difficult to watch, is refreshingly real.
The performances by Affleck, Jones and Cooper are nothing short of top notch. They aren't "too" Boston to be believable, but still capture the assumed manliness of that slice of America.
There are also great supporting stars here: Maria Bello as the devious downsizer, Rosemarie Dewitt as Bobby's practical wife, and Kevin Costner as the rough brother-in-law who dislikes Bobby, but still reaches out to help him.
I was glued to the screen from start to finish by this satisfying, honest film. Everyone who's ever been in dire straits (and that's all of us, I think) should see it.
~~~
Sunday, January 30, 2011
Another Year
Today I saw Another Year, starring Jim Broadbent and Ruth Sheen.
Tom (Broadbent) and Gerri (Sheen) are one of those rare couples who have spent their whole lives married and still like each other. In fact, they seem genuinely happier when in the presence of the other.
Mary (Lesley Manville) is the saddest third wheel that has ever been portrayed in film. She is the secretary at the hospital where Gerri works as a counselor, and aside from Gerri and Tom, she doesn't appear to have any friends.
The couple are good to her—perhaps the reason she clings so tightly to them—but even they have their limits when Mary makes passes at their much-younger son, then treats his new girlfriend with disrespect on her first visit to the home.
There is also Tom's troubled friend Ken (Peter Wight), who drinks, eats and smokes too much, and Tom's brother Ronnie (David Bradley), who says so little that we have to wonder if his bitter son's anger is justified.
Despite all the ranges of personalities, no one in the group is hard to watch (though the girlfriend of their son is borderline annoying). In fact, the group seems so organic you often forget your watching actors on a screen.
I love screenwriters who give such depth to their characters that we ache for their uncomfortable silences. Mike Leigh is such a writer, and Another Year is such a film.
A beautiful look at the unbalance of fairness in life that leaves you pitying the lonely ones and sympathizing with the lucky ones.
~~~
Tom (Broadbent) and Gerri (Sheen) are one of those rare couples who have spent their whole lives married and still like each other. In fact, they seem genuinely happier when in the presence of the other.
Mary (Lesley Manville) is the saddest third wheel that has ever been portrayed in film. She is the secretary at the hospital where Gerri works as a counselor, and aside from Gerri and Tom, she doesn't appear to have any friends.
The couple are good to her—perhaps the reason she clings so tightly to them—but even they have their limits when Mary makes passes at their much-younger son, then treats his new girlfriend with disrespect on her first visit to the home.
There is also Tom's troubled friend Ken (Peter Wight), who drinks, eats and smokes too much, and Tom's brother Ronnie (David Bradley), who says so little that we have to wonder if his bitter son's anger is justified.
Despite all the ranges of personalities, no one in the group is hard to watch (though the girlfriend of their son is borderline annoying). In fact, the group seems so organic you often forget your watching actors on a screen.
I love screenwriters who give such depth to their characters that we ache for their uncomfortable silences. Mike Leigh is such a writer, and Another Year is such a film.
A beautiful look at the unbalance of fairness in life that leaves you pitying the lonely ones and sympathizing with the lucky ones.
~~~
Saturday, January 29, 2011
The Rite
Tonight I saw The Rite, starring Colin O'Donoghue and Anthony Hopkins.
Michael Novak (O'Donoghue) is a seminary student ready to jump ship because he doubts his faith. Father Lucas (Hopkins) is the eccentric priest that the Vatican sends him to for exorcism training when he challenges his instructor. Demon possession arrives.
The story moves a lot slower than typical horror flicks and is significantly less frightening. Sure, there are a fair amount of contorted bodies hissing at the men of cloth, and a notable amount of jumpy moments, but at no point did I ever find myself looking over my shoulder or quivering in fear.
Therein lies the problem.
The topic is not a boring one. Millions of people, including the priests and devout members of the Catholic church, believe in demon possession.
In fact, this specific story is based on truth: the real-life Novak is Father Gary Thomas who currently practices in Saratoga, Calif. and served as a consultant for this film. Exorcisms, though they are rare, really do take place and lives are changed because of them.
Unfortunately, the flat script zaps out all of the the excitement and energy surrounding their rituals.
The acting is fine, though Colin is almost too handsome to be believable, and the character of Angelina (Alice Braga) is completely pointless.
Hopkins will never match his own creepiness as Hannibal Lecter in Silence of the Lambs, but his performance is acceptable, nonetheless.
I'd just rather have watched a documentary on the subject.
~~~
Michael Novak (O'Donoghue) is a seminary student ready to jump ship because he doubts his faith. Father Lucas (Hopkins) is the eccentric priest that the Vatican sends him to for exorcism training when he challenges his instructor. Demon possession arrives.
The story moves a lot slower than typical horror flicks and is significantly less frightening. Sure, there are a fair amount of contorted bodies hissing at the men of cloth, and a notable amount of jumpy moments, but at no point did I ever find myself looking over my shoulder or quivering in fear.
Therein lies the problem.
The topic is not a boring one. Millions of people, including the priests and devout members of the Catholic church, believe in demon possession.
In fact, this specific story is based on truth: the real-life Novak is Father Gary Thomas who currently practices in Saratoga, Calif. and served as a consultant for this film. Exorcisms, though they are rare, really do take place and lives are changed because of them.
Unfortunately, the flat script zaps out all of the the excitement and energy surrounding their rituals.
The acting is fine, though Colin is almost too handsome to be believable, and the character of Angelina (Alice Braga) is completely pointless.
Hopkins will never match his own creepiness as Hannibal Lecter in Silence of the Lambs, but his performance is acceptable, nonetheless.
I'd just rather have watched a documentary on the subject.
~~~
Wednesday, January 12, 2011
Blue Valentine
On Monday I saw Blue Valentine, starring Michelle Williams and Ryan Gosling.
It will be the topic of Cinebanter #101, airing in February.
It will be the topic of Cinebanter #101, airing in February.
Saturday, January 08, 2011
Millennium: The Story
Today I screened Millennium: The Story, a documentary about author Stieg Larsson.
A look at the author's life from birth to death, this informative film by Lawrence Lownethal taught me a great deal about this famous man.
Larsson grew up in a modest country home with no hot water, sleeping in the same bed with all of his family members for warmth. They were a happy family and his childhood was good. He traveled to many places as a politically charged adult, but spent most of his time in Stockholm, where his famous novels are set.
His life mirrored that of his books' hero, Mikael Blomkvist, as Larsson was an investigative journalist for a quarterly magazine (Expo) just like his alter ego was with Millennium. His colleagues joked that Mikael was a projection of what Stieg always wanted to be, having lots of women and sex. Unfortunately, the true parallels of the mens' lives were the violent ones. Larsson was always looking over his shoulder as the target of neo-nazi groups he had publicly condemned. For this reason, he never married his partner of over thirty years or listed his address as the same as hers publicly. He thought that tricking the bad guys into believing he was alone would protect her from their wrath, and apparently he succeeded. However, because he never married her, his estate is the source of constant controversy.
When he died at age 50 from a sudden heart attack, his books had not yet become the phenomenon they are today. In fact, he never saw a penny of his own success.
Of course they went on to break sales records and secure multimillion dollar movie deals, so quite a fortune was to be made. But who does it belong to? The family who raised him and will forever be linked by blood, or the woman he chose as his family for three decades? The courts say it's the family.
His surviving relatives (Dad and Brother both speak in this film) claim to not want the large sums of money for themselves. On camera his father says he has no interest in fancy cars and just wants a "quiet life." They also want to put some of the money toward women's charities, which surely would've pleased the author.
Then there's the matter of the unfinished book. Larsson was 3/4 of the way through the fourth book in the series (he planned to write 10) and so there is a debate about completing and publishing that book.
Let this be a lesson to all of us: it's important to create a will that clearly states your wishes, no matter how many years you assume you have left to live.
It feels like there is no right answer. In a perfect world, the common-law wife and the surviving relatives would split everything down the middle, but legally it's not that simple.
The documentary does a very good job of not "taking sides" and truly celebrating the wonder that was the author.
I truly enjoyed learning little trivia facts (he loved to eat pizza, just like his characters and also based part of Lisbeth on Pippi Longstocking). I also enjoyed seeing the movie versions of Lisbeth (Noomi Rapace) and Mikael (Michael Nyqvist) praising the stories, and learning that there is a Millennium tour that I can take the next time I'm in Stockholm.
After reading the books, seeing the movies and watching this documentary, I'm certain I will!
~~~
A look at the author's life from birth to death, this informative film by Lawrence Lownethal taught me a great deal about this famous man.
Larsson grew up in a modest country home with no hot water, sleeping in the same bed with all of his family members for warmth. They were a happy family and his childhood was good. He traveled to many places as a politically charged adult, but spent most of his time in Stockholm, where his famous novels are set.
His life mirrored that of his books' hero, Mikael Blomkvist, as Larsson was an investigative journalist for a quarterly magazine (Expo) just like his alter ego was with Millennium. His colleagues joked that Mikael was a projection of what Stieg always wanted to be, having lots of women and sex. Unfortunately, the true parallels of the mens' lives were the violent ones. Larsson was always looking over his shoulder as the target of neo-nazi groups he had publicly condemned. For this reason, he never married his partner of over thirty years or listed his address as the same as hers publicly. He thought that tricking the bad guys into believing he was alone would protect her from their wrath, and apparently he succeeded. However, because he never married her, his estate is the source of constant controversy.
When he died at age 50 from a sudden heart attack, his books had not yet become the phenomenon they are today. In fact, he never saw a penny of his own success.
Of course they went on to break sales records and secure multimillion dollar movie deals, so quite a fortune was to be made. But who does it belong to? The family who raised him and will forever be linked by blood, or the woman he chose as his family for three decades? The courts say it's the family.
His surviving relatives (Dad and Brother both speak in this film) claim to not want the large sums of money for themselves. On camera his father says he has no interest in fancy cars and just wants a "quiet life." They also want to put some of the money toward women's charities, which surely would've pleased the author.
Then there's the matter of the unfinished book. Larsson was 3/4 of the way through the fourth book in the series (he planned to write 10) and so there is a debate about completing and publishing that book.
Let this be a lesson to all of us: it's important to create a will that clearly states your wishes, no matter how many years you assume you have left to live.
It feels like there is no right answer. In a perfect world, the common-law wife and the surviving relatives would split everything down the middle, but legally it's not that simple.
The documentary does a very good job of not "taking sides" and truly celebrating the wonder that was the author.
I truly enjoyed learning little trivia facts (he loved to eat pizza, just like his characters and also based part of Lisbeth on Pippi Longstocking). I also enjoyed seeing the movie versions of Lisbeth (Noomi Rapace) and Mikael (Michael Nyqvist) praising the stories, and learning that there is a Millennium tour that I can take the next time I'm in Stockholm.
After reading the books, seeing the movies and watching this documentary, I'm certain I will!
~~~
Monday, January 03, 2011
The Fighter
Tonight I saw The Fighter, starring Mark Wahlberg and Christian Bale.
I won't shy away from any film that promises a shirtless Mark Wahlberg, though I must admit I wasn't excited to hear this film was about boxing. Good thing for me that there's very little boxing involved.
The story is a retelling of the true tale of two brothers who took the boxing world by storm.
Dicky Eklund (Bale) famously knocked down Sugar Ray Leonard (or, er...he slipped) in the late 70s and has been milking that spotlight ever since. He's a hero in the small Massachusetts town where they live.
Micky Ward (Wahlberg) is his only brother (though the two share seven—yes, seven—sisters) and looks up to him for this reason alone. There is not much else about Dicky to look up to. He has developed a crack habit, sleeps with whores and leaves his son with his family to be raised as an afterthought.
The training that he offers his brother would be valuable if he could stay clean long enough to see it through, but he can't, and the results are disastrous.
Lucky for Micky, he soon meets Charlene (Amy Adams) who has dropped out of college and works at the local bar. Yes, she is apparently the classiest broad in town.
Speaking of broads, the boys' mother Alice (Melissa Leo) is a real piece of work. Chain-smoking, foul-mouthed, hairspray-addicted and determined to make some serious cash off her sons, she is the very epitome of white trash. When she's not yelling at her beer-drinking, lounging daughters, she's organizing a fight to try to advance Micky to a Dicky level of spotlight.
It's just not working.
So Charlene convinces Micky to ditch his troubled family and the rest is pretty much as predictable as a Wheel of Fortune puzzle with only one letter missing.
It's not a terrible movie, and I'll admit I was entertained for the duration, but what's really bugging me is all the press that Christian Bale is getting for his performance.
I've always liked Bale, but here he seems to be playing this crack addict as a mentally challenged lunatic instead of a street guy who is high all the time. I grew up in a neighborhood of drug users and never once do I remember the crack users having perpetually popped eyes. They were jittery and nervous and hollow, but not exactly retarded.
On the flip side, Wahlberg's never been more understated and that was a welcome change from his usual too-angry portrayals.
And the women, well, they were fantastic.
Melissa Leo is a bit much as the annoying Alice, but I'm guessing the real woman was probably just as obnoxious; Amy Adams and her boobs aren't anything like the innocent Junebug and Enchanted characters we've seen her inhabit before, and it's hard to take your eyes off the screen when she's there. The seven sisters? Hilarious.
I had more fun with this movie than I expected to, but that's perhaps because my expectations were low.
~~~
I won't shy away from any film that promises a shirtless Mark Wahlberg, though I must admit I wasn't excited to hear this film was about boxing. Good thing for me that there's very little boxing involved.
The story is a retelling of the true tale of two brothers who took the boxing world by storm.
Dicky Eklund (Bale) famously knocked down Sugar Ray Leonard (or, er...he slipped) in the late 70s and has been milking that spotlight ever since. He's a hero in the small Massachusetts town where they live.
Micky Ward (Wahlberg) is his only brother (though the two share seven—yes, seven—sisters) and looks up to him for this reason alone. There is not much else about Dicky to look up to. He has developed a crack habit, sleeps with whores and leaves his son with his family to be raised as an afterthought.
The training that he offers his brother would be valuable if he could stay clean long enough to see it through, but he can't, and the results are disastrous.
Lucky for Micky, he soon meets Charlene (Amy Adams) who has dropped out of college and works at the local bar. Yes, she is apparently the classiest broad in town.
Speaking of broads, the boys' mother Alice (Melissa Leo) is a real piece of work. Chain-smoking, foul-mouthed, hairspray-addicted and determined to make some serious cash off her sons, she is the very epitome of white trash. When she's not yelling at her beer-drinking, lounging daughters, she's organizing a fight to try to advance Micky to a Dicky level of spotlight.
It's just not working.
So Charlene convinces Micky to ditch his troubled family and the rest is pretty much as predictable as a Wheel of Fortune puzzle with only one letter missing.
It's not a terrible movie, and I'll admit I was entertained for the duration, but what's really bugging me is all the press that Christian Bale is getting for his performance.
I've always liked Bale, but here he seems to be playing this crack addict as a mentally challenged lunatic instead of a street guy who is high all the time. I grew up in a neighborhood of drug users and never once do I remember the crack users having perpetually popped eyes. They were jittery and nervous and hollow, but not exactly retarded.
On the flip side, Wahlberg's never been more understated and that was a welcome change from his usual too-angry portrayals.
And the women, well, they were fantastic.
Melissa Leo is a bit much as the annoying Alice, but I'm guessing the real woman was probably just as obnoxious; Amy Adams and her boobs aren't anything like the innocent Junebug and Enchanted characters we've seen her inhabit before, and it's hard to take your eyes off the screen when she's there. The seven sisters? Hilarious.
I had more fun with this movie than I expected to, but that's perhaps because my expectations were low.
~~~
Sunday, January 02, 2011
I Love You Phillip Morris
Today I saw I Love You Phillip Morris, starring Jim Carrey and Ewan McGregor.
Truth will always be stranger than fiction, and that's certainly the case in the story of Steven Russell, the man on which this film is based.
Russell (Carrey) had a normal upbringing (with the exception of finding out he was adopted), which led to a normal adulthood that saw him become a respected husband, father and cop.
His wife Debbie (Leslie Mann) was a Jesus-loving goody-two-shoes who only wanted the best for everyone. She was clueless to the double-life Steven was living as a gay man and shocked when she found out about it after he was in a car accident. His "epiphany" to tell the *cough* truth.
Russell moved to Florida, got a boyfriend and began living the high life. The problem was, he couldn't afford the lifestyle he desired, so he began devising cons to pay his way. Eventually the cons caught up with him and he landed in prison, where he met (maybe) the love-of-his-life, Phillip Morris (McGregor). Steven immediately falls for Phillip and eventually gets them both out of prison to live their dream life together, but can't seem to stop the deception. This, of course, causes problems.
The story itself is completely true and undeniably fascinating; the movie has its moments.
Though warned by one of my show's listeners that it was awful, I forged on determined to give it a chance, but I can't deny I was truly let down.
Jim Carrey's portrayal of Russell has too much In Living Color Jim Carrey and not enough Eternal Sunshine of the Spotless Mind Jim Carrey.
Though the real con man is arguably an exaggerated personality, the mannerisms in which Carrey represents him don't for a minute ring true. There's posing and hanging on words and extended glances. There's an ease to the vocal impersonations that can't possibly have been as natural for Russell as they were for Carrey.
I'm not sure it's the actor's fault—perhaps the director encouraged him to go full out—but whomever's decision it was made the wrong one.
Ewan McGregor, on the other hand, was pitch perfect. His naive, sweet Morris is just how the real gentleman is said to behave and not for an instant did I doubt he was in love with Russell. And that's not an easy set of emotions to convey.
Anyone who has fallen for a liar knows that it is the most painful relationship you'll ever endure. First, they convince you better than anyone that you are worthy of being loved in the highest regard, then when you catch on that most of what comes out of their mouth is false, you doubt that any of your previous time together was real. It's excruciating (trust me, I've been there) and often even the liar doesn't realize how much damage their doing to the other person because they only know what the easy way out is, and that's usually not the side of things that confronts devastating pain.
McGregor nails these conflicted feelings with expressions and body language that bear his scars.
Leslie Mann is a delight as the devout Debbie, and each time she would appear on-screen I would wish that her scenes lasted longer.
It's just that the film focused too long on spotlighting the comical side of Carrey and never addressed the weight of what really became of these folks (Russell's sentence is one of the most severe in Texas, though he never physically hurt anyone; Morris and Mrs. Russell's lives will never be the same).
I'd have rather seen a documentary.
~~~
Truth will always be stranger than fiction, and that's certainly the case in the story of Steven Russell, the man on which this film is based.
Russell (Carrey) had a normal upbringing (with the exception of finding out he was adopted), which led to a normal adulthood that saw him become a respected husband, father and cop.
His wife Debbie (Leslie Mann) was a Jesus-loving goody-two-shoes who only wanted the best for everyone. She was clueless to the double-life Steven was living as a gay man and shocked when she found out about it after he was in a car accident. His "epiphany" to tell the *cough* truth.
Russell moved to Florida, got a boyfriend and began living the high life. The problem was, he couldn't afford the lifestyle he desired, so he began devising cons to pay his way. Eventually the cons caught up with him and he landed in prison, where he met (maybe) the love-of-his-life, Phillip Morris (McGregor). Steven immediately falls for Phillip and eventually gets them both out of prison to live their dream life together, but can't seem to stop the deception. This, of course, causes problems.
The story itself is completely true and undeniably fascinating; the movie has its moments.
Though warned by one of my show's listeners that it was awful, I forged on determined to give it a chance, but I can't deny I was truly let down.
Jim Carrey's portrayal of Russell has too much In Living Color Jim Carrey and not enough Eternal Sunshine of the Spotless Mind Jim Carrey.
Though the real con man is arguably an exaggerated personality, the mannerisms in which Carrey represents him don't for a minute ring true. There's posing and hanging on words and extended glances. There's an ease to the vocal impersonations that can't possibly have been as natural for Russell as they were for Carrey.
I'm not sure it's the actor's fault—perhaps the director encouraged him to go full out—but whomever's decision it was made the wrong one.
Ewan McGregor, on the other hand, was pitch perfect. His naive, sweet Morris is just how the real gentleman is said to behave and not for an instant did I doubt he was in love with Russell. And that's not an easy set of emotions to convey.
Anyone who has fallen for a liar knows that it is the most painful relationship you'll ever endure. First, they convince you better than anyone that you are worthy of being loved in the highest regard, then when you catch on that most of what comes out of their mouth is false, you doubt that any of your previous time together was real. It's excruciating (trust me, I've been there) and often even the liar doesn't realize how much damage their doing to the other person because they only know what the easy way out is, and that's usually not the side of things that confronts devastating pain.
McGregor nails these conflicted feelings with expressions and body language that bear his scars.
Leslie Mann is a delight as the devout Debbie, and each time she would appear on-screen I would wish that her scenes lasted longer.
It's just that the film focused too long on spotlighting the comical side of Carrey and never addressed the weight of what really became of these folks (Russell's sentence is one of the most severe in Texas, though he never physically hurt anyone; Morris and Mrs. Russell's lives will never be the same).
I'd have rather seen a documentary.
~~~
Saturday, January 01, 2011
The Girl Who Kicked the Hornet's Nest
Today I saw The Girl Who Kicked the Hornet's Nest, starring Noomi Rapace and Michael Nyqvist.
Never has a film so reminded me of the book—but in this case, that's not for the better.
In this third installment of the wildly popular Stieg Larsson series, our heroine Lisbeth (Rapace) is in the hospital recovering from injuries sustained during a fight with her evil father and half-brother. The half-brother has escaped into the wilderness, and the father is in stable condition just down the hall from her.
The police are after her (for the attempted murder of her father), her former psychiatrist is after her (to help the prosecutors have her committed), her lawyer is after her (to sort it all out) and her doctor is thankfully a compassionate man, who listens to the right folks and pardons her from too much harassment while she heals.
Meanwhile, Millennium editor Erica Berger (Lena Endre) has been receiving threats at her home and at work, which leads Mikael (Nyqvist) to need to save not one but two damsels in distress.
If they only would just get on with it.
That's what kept going through my mind as I read the novel and that's what was going through my mind today as I was watching this film (it's about an hour too long).
Sure, we need some exposition, but not two hours of it before we get to the meat of the story.
The performances here are predictably great, but the actors barely had anything to do. Courtroom scenes are known for their tension, and with the exception of one 'reveal' here, they are nothing of the sort.
The film was closure for the trilogy, but a disappointing, lengthy one at that.
~~~
Never has a film so reminded me of the book—but in this case, that's not for the better.
In this third installment of the wildly popular Stieg Larsson series, our heroine Lisbeth (Rapace) is in the hospital recovering from injuries sustained during a fight with her evil father and half-brother. The half-brother has escaped into the wilderness, and the father is in stable condition just down the hall from her.
The police are after her (for the attempted murder of her father), her former psychiatrist is after her (to help the prosecutors have her committed), her lawyer is after her (to sort it all out) and her doctor is thankfully a compassionate man, who listens to the right folks and pardons her from too much harassment while she heals.
Meanwhile, Millennium editor Erica Berger (Lena Endre) has been receiving threats at her home and at work, which leads Mikael (Nyqvist) to need to save not one but two damsels in distress.
If they only would just get on with it.
That's what kept going through my mind as I read the novel and that's what was going through my mind today as I was watching this film (it's about an hour too long).
Sure, we need some exposition, but not two hours of it before we get to the meat of the story.
The performances here are predictably great, but the actors barely had anything to do. Courtroom scenes are known for their tension, and with the exception of one 'reveal' here, they are nothing of the sort.
The film was closure for the trilogy, but a disappointing, lengthy one at that.
~~~
Friday, December 31, 2010
Never Let Me Go
Today I saw Never Let Me Go, starring Carey Mulligan and Andrew Garfield.
Kathy (Mulligan) seems to be a classic goody two-shoes. She is smart, helpful and kind to her fellow students at the refined British boarding school where she lives.
Tommy (Garfield) has anger management problems. Scenes featuring him during youth would lead many to believe he was perhaps autistic due to his outbursts. This is never confirmed, but is implied.
Kathy and Tommy form a tender friendship, which leads Tommy to buy a cassette tape for Kathy. The song she listens to repeatedly is called "Never Let Me Go."
Ruth (Keira Knightly) is the prettier, less-honorable girl at school who sleeps with Tommy to keep him from realizing his love for Kathy. Pretty straightforward love triangle, right?
Not so much.
It seems that the boarding school is merely a breeding ground for beings that are born from a laboratory for no other purpose than to harvest and donate organs. When they reach a certain age, they get their 'notice' similar to a military draft, and begin surgeries to give up as many parts of their body as possible. Their obligation is "complete" only when they die.
Kathy gets lucky and becomes a "carer," which apparently buys her a few more years. In the meantime, she cares for those not so lucky, comforting them in between surgeries and signing the releases for their bodies when they don't make it.
The film is solid; the acting superb; the scenery perfect. But something about its quiet pace doesn't quite instigate the anger that we should feel for these poor, sacrificed souls.
No matter how they were created, it is clear the students share human emotions and feelings, and therefore they should be entitled to a life longer than early adulthood. This injustice should trigger a more intense response from the audience, but falls short of doing so.
That said, it was nice to watch a movie that had an original plot, mixing character studies and science fiction into the same fold.
~~~
Kathy (Mulligan) seems to be a classic goody two-shoes. She is smart, helpful and kind to her fellow students at the refined British boarding school where she lives.
Tommy (Garfield) has anger management problems. Scenes featuring him during youth would lead many to believe he was perhaps autistic due to his outbursts. This is never confirmed, but is implied.
Kathy and Tommy form a tender friendship, which leads Tommy to buy a cassette tape for Kathy. The song she listens to repeatedly is called "Never Let Me Go."
Ruth (Keira Knightly) is the prettier, less-honorable girl at school who sleeps with Tommy to keep him from realizing his love for Kathy. Pretty straightforward love triangle, right?
Not so much.
It seems that the boarding school is merely a breeding ground for beings that are born from a laboratory for no other purpose than to harvest and donate organs. When they reach a certain age, they get their 'notice' similar to a military draft, and begin surgeries to give up as many parts of their body as possible. Their obligation is "complete" only when they die.
Kathy gets lucky and becomes a "carer," which apparently buys her a few more years. In the meantime, she cares for those not so lucky, comforting them in between surgeries and signing the releases for their bodies when they don't make it.
The film is solid; the acting superb; the scenery perfect. But something about its quiet pace doesn't quite instigate the anger that we should feel for these poor, sacrificed souls.
No matter how they were created, it is clear the students share human emotions and feelings, and therefore they should be entitled to a life longer than early adulthood. This injustice should trigger a more intense response from the audience, but falls short of doing so.
That said, it was nice to watch a movie that had an original plot, mixing character studies and science fiction into the same fold.
~~~
Wednesday, December 29, 2010
Nice Guy Johnny
Today I saw Nice Guy Johnny, starring Matt Bush and Edward Burns.
Johnny (Bush) is a California sports broadcaster a few weeks shy of getting married. His fiancé Claire (Anna Wood) is pressuring him to give up his current low-paying job and take one arranged by her wealthy father. He is a nice guy, so he agrees to it.
Enter Uncle Terry (Burns), an out-for-pleasure bartender who thinks his nephew is too young to be taking the plunge and attempts to set him up with a young tennis player. Her name is Brooke (Kerry Bishé), she is naturally beautiful and somewhat perfect for Johnny.
But Johnny's a nice guy, so he refuses to play his uncle's games and comes clean about being engaged. Brooke finds this to be noble, but doesn't completely give up on pursuing him.
After some time away at the beach, Johnny reconsiders the vast career move he's about to make and mistakenly expresses his concerns to Claire. She has an unreasonable, crazy reaction, which leaves him soul searching for the right answers.
What's so great about Burns' films, this one included, is that every character feels real. It helps that with the exception of Burns, that this is a cast of unknowns, but even if there were A-list actors playing each part, I dare say they'd still reek of authenticity. Everyone on screen behaves the way someone we've all known behaves.
My first response to the character of Claire was that she was too over-the-top and bitchy to be someone that Johnny would want to marry, but the more I thought about it, the more I realized that I know several couples like that. One person is lovely and sweet; the other not so much and no one knows why they're together.
I also like the role reversal of Johnny, the guy, being the good person. Sure, Terry's character more than satisfies our need for male sliminess, but our hero here is not a wounded or scorned woman chewing her way through bad men. Our hero is a good man trying to sustain a relationship with a bad woman.
I, despite my gender, find that refreshing.
And really, refreshing is a great word to sum up this whole rom com. There are well-developed characters to root for, there's pretty scenery to look at and a sense of closure when it all comes together, which left a smile on my face as the credits rolled.
Nice Guy Johnny is available now On Demand and via iTunes.
~~~
Johnny (Bush) is a California sports broadcaster a few weeks shy of getting married. His fiancé Claire (Anna Wood) is pressuring him to give up his current low-paying job and take one arranged by her wealthy father. He is a nice guy, so he agrees to it.
Enter Uncle Terry (Burns), an out-for-pleasure bartender who thinks his nephew is too young to be taking the plunge and attempts to set him up with a young tennis player. Her name is Brooke (Kerry Bishé), she is naturally beautiful and somewhat perfect for Johnny.
But Johnny's a nice guy, so he refuses to play his uncle's games and comes clean about being engaged. Brooke finds this to be noble, but doesn't completely give up on pursuing him.
After some time away at the beach, Johnny reconsiders the vast career move he's about to make and mistakenly expresses his concerns to Claire. She has an unreasonable, crazy reaction, which leaves him soul searching for the right answers.
What's so great about Burns' films, this one included, is that every character feels real. It helps that with the exception of Burns, that this is a cast of unknowns, but even if there were A-list actors playing each part, I dare say they'd still reek of authenticity. Everyone on screen behaves the way someone we've all known behaves.
My first response to the character of Claire was that she was too over-the-top and bitchy to be someone that Johnny would want to marry, but the more I thought about it, the more I realized that I know several couples like that. One person is lovely and sweet; the other not so much and no one knows why they're together.
I also like the role reversal of Johnny, the guy, being the good person. Sure, Terry's character more than satisfies our need for male sliminess, but our hero here is not a wounded or scorned woman chewing her way through bad men. Our hero is a good man trying to sustain a relationship with a bad woman.
I, despite my gender, find that refreshing.
And really, refreshing is a great word to sum up this whole rom com. There are well-developed characters to root for, there's pretty scenery to look at and a sense of closure when it all comes together, which left a smile on my face as the credits rolled.
Nice Guy Johnny is available now On Demand and via iTunes.
~~~
True Grit
This morning I saw True Grit, starring Hailee Steinfeld and Jeff Bridges.
I'll confess that I've never watched the original version of this film, but I'm bargaining that gives me an advantage at being objective here.
Mattie Ross (Steinfeld) is on a mission to avenge her father's murder in the old west, and hires the notorious Rooster Cogburn (Bridges) to help her track him down.
About five minutes into the film, the audience knows that Ross is the smartest person in town. Never mind the fact she's only 14 and has no experience chasing bad guys, etc. As my Cinebanter partner would say, there is nothing more annoying than a self-righteous, precocious child, but in this case, the character is not so bad.
The only problem with Mattie being so convincing is that all tension is removed. Everyone is aware that she will achieve her goal come hell or high water because her wit and determination will allow for no alternate result. Steinfeld plays the part earnestly and sincerely, and most likely has a bright career ahead of her, but that doesn't forgive the script for removing all surprise at the ending.
Bridges is absolutely believable as the boozy U.S. Marshal, but his speech is so slurred throughout the film that it borders on Sling Blade-like enunciation (or lack thereof). Less mumbling and more stumbling would've been preferred.
Matt Damon as a Texas Ranger in pursuit of the same criminal is another story.
Disclaimer: I love Matt Damon. I think he's one of the finest actors of my generation and I like him in nearly everything I've seen him in. But here, with a bushy mustache and a ridiculous accent, I just couldn't buy it.
He doesn't have the 'evil' or the 'anger' or the 'tough' I expect from gritty cowboys. He doesn't look like a ranger; he appears to be a young man playing dress-up in Western clothes.
I found this unfortunate casting to be distracting and disappointing, and his character to be annoying and forgettable.
The Coen brothers have always been hit (Raising Arizona) or miss (The Ladykillers) for me. Either I love them or I hate them.
In this film, I'm finally split down the middle.
I enjoyed watching Hallie Steinfeld steal the show, and Josh Brolin as a dimwit killer was a pleasure too. Yet Bridges' lack of articulation, Damon's cowboy impersonation coupled with the somewhat boring lapses of time in the middle of scenes kept it from being perfect.
The writer/directors may very well enjoy their customary Oscar nominations, but I truly doubt they have a prayer at winning.
~~~
I'll confess that I've never watched the original version of this film, but I'm bargaining that gives me an advantage at being objective here.
Mattie Ross (Steinfeld) is on a mission to avenge her father's murder in the old west, and hires the notorious Rooster Cogburn (Bridges) to help her track him down.
About five minutes into the film, the audience knows that Ross is the smartest person in town. Never mind the fact she's only 14 and has no experience chasing bad guys, etc. As my Cinebanter partner would say, there is nothing more annoying than a self-righteous, precocious child, but in this case, the character is not so bad.
The only problem with Mattie being so convincing is that all tension is removed. Everyone is aware that she will achieve her goal come hell or high water because her wit and determination will allow for no alternate result. Steinfeld plays the part earnestly and sincerely, and most likely has a bright career ahead of her, but that doesn't forgive the script for removing all surprise at the ending.
Bridges is absolutely believable as the boozy U.S. Marshal, but his speech is so slurred throughout the film that it borders on Sling Blade-like enunciation (or lack thereof). Less mumbling and more stumbling would've been preferred.
Matt Damon as a Texas Ranger in pursuit of the same criminal is another story.
Disclaimer: I love Matt Damon. I think he's one of the finest actors of my generation and I like him in nearly everything I've seen him in. But here, with a bushy mustache and a ridiculous accent, I just couldn't buy it.
He doesn't have the 'evil' or the 'anger' or the 'tough' I expect from gritty cowboys. He doesn't look like a ranger; he appears to be a young man playing dress-up in Western clothes.
I found this unfortunate casting to be distracting and disappointing, and his character to be annoying and forgettable.
The Coen brothers have always been hit (Raising Arizona) or miss (The Ladykillers) for me. Either I love them or I hate them.
In this film, I'm finally split down the middle.
I enjoyed watching Hallie Steinfeld steal the show, and Josh Brolin as a dimwit killer was a pleasure too. Yet Bridges' lack of articulation, Damon's cowboy impersonation coupled with the somewhat boring lapses of time in the middle of scenes kept it from being perfect.
The writer/directors may very well enjoy their customary Oscar nominations, but I truly doubt they have a prayer at winning.
~~~
Tuesday, December 28, 2010
How Do You Know
Tonight I saw How Do You Know, starring Reese Witherspoon and Paul Rudd.
George (Rudd) is a financial something-or-other in hot water because of his father's illegal dealings in the family business. As a result, his girlfriend leaves him, which allows him to pursue a woman by the name of Lisa (Witherspoon) who another friend attempted to set him up with.
Lisa, a professional softball player just cut from the team, is currently in a relationship with Matty (Owen Wilson), a pitcher living the high life and enjoying the perks that come with it.
Once she realizes that Matty isn't the most honorable of men, she treats their union with equal respect and goes out on a date with George. But the timing is bad—he's just been indicted and she's just lost her career, so neither of them is really in the mood for good conversation. They decide it would just be best to remain silent throughout the meal and that's how their entire date is spent—enjoying the peace and quiet.
Lisa decides to try to work things out with Matty and George's self-esteem convinces him to leave her alone (though he thinks about her constantly after their weird evening together).
What's interesting about this somewhat conventional romantic comedy is that the only person worth rooting for here is George.
His life has been turned upside down through no fault of his own and now he's falling for an unavailable girl who frankly isn't much fun to be around. Poor thing!
Witherspoon does a great job of communicating a neurotic, selfish, spoiled brat who appears to leave any situation she doesn't find totally hospitable. Sure, she's pretty; yeah, she's in great shape (though, oddly enough, we never see her on the softball field), but what about this woman's personality is so enticing? Nothing.
Matty is cute, rich and clueless. He has redeeming qualities in that he truly seems to care about Lisa, but a truer-to-life version of him would surely cheat on her.
Though the cast here is predictably great, the screenplay falls short of delivering any real romance or spark, and the laughs are too few and far between to be satisfying.
How do you know when you're in love? This movie won't provide the answer.
~~~
George (Rudd) is a financial something-or-other in hot water because of his father's illegal dealings in the family business. As a result, his girlfriend leaves him, which allows him to pursue a woman by the name of Lisa (Witherspoon) who another friend attempted to set him up with.
Lisa, a professional softball player just cut from the team, is currently in a relationship with Matty (Owen Wilson), a pitcher living the high life and enjoying the perks that come with it.
Once she realizes that Matty isn't the most honorable of men, she treats their union with equal respect and goes out on a date with George. But the timing is bad—he's just been indicted and she's just lost her career, so neither of them is really in the mood for good conversation. They decide it would just be best to remain silent throughout the meal and that's how their entire date is spent—enjoying the peace and quiet.
Lisa decides to try to work things out with Matty and George's self-esteem convinces him to leave her alone (though he thinks about her constantly after their weird evening together).
What's interesting about this somewhat conventional romantic comedy is that the only person worth rooting for here is George.
His life has been turned upside down through no fault of his own and now he's falling for an unavailable girl who frankly isn't much fun to be around. Poor thing!
Witherspoon does a great job of communicating a neurotic, selfish, spoiled brat who appears to leave any situation she doesn't find totally hospitable. Sure, she's pretty; yeah, she's in great shape (though, oddly enough, we never see her on the softball field), but what about this woman's personality is so enticing? Nothing.
Matty is cute, rich and clueless. He has redeeming qualities in that he truly seems to care about Lisa, but a truer-to-life version of him would surely cheat on her.
Though the cast here is predictably great, the screenplay falls short of delivering any real romance or spark, and the laughs are too few and far between to be satisfying.
How do you know when you're in love? This movie won't provide the answer.
~~~
Monday, December 27, 2010
Rabbit Hole
Today I saw Rabbit Hole, starring Nicole Kidman and Aaron Eckhart.
Becca (Kidman) and Howie (Eckhart) have lost a son. Their beloved 4-year-old Danny chased their dog into the street and was struck and killed by a car. This was eight months ago.
Today their world is dismal. They don't make love, don't agree on ways to heal (he likes group therapy; she hates it) and have several problems communicating as a result. To top it off, Becca's irresponsible sister is knocked up and Becca can't help but be jealous and judgmental about the new baby.
Sound like fun? Well, of course not, but it's not quite as hard to watch as it sounds.
Sure, Becca is draped in depressing grays and exhibits the loss of energy any of us feel when experiencing pain of that magnitude, but there is a merit to what's happening on-screen.
The relationship Becca develops with Jason (Miles Teller), the teenager who was driving the car that killed her son, is tender and tragic—as if each time she looks at him she sees an age that her son will never reach.
Becca and Howie are angry, but they're not malicious toward one another, though their marriage is crumbling at every turn.
Gaby (Sandra Oh) is a friend Howie makes in group therapy and her presence seems appropriate and comforting in light of the circumstances. She's hurting too, and as the saying goes: misery loves company.
There is resolution without closure here, and it's done gracefully thanks to director John Cameron Mitchell. This 'slice of death' story could have been a blatant sob-fest if it had fallen into the wrong hands, but thankfully it did not.
Really, the only thing wrong with it is Kidman's inability to hold her American accent during outburst scenes. But that is forgivable in such a well-written, enveloping film.
~~~
Becca (Kidman) and Howie (Eckhart) have lost a son. Their beloved 4-year-old Danny chased their dog into the street and was struck and killed by a car. This was eight months ago.
Today their world is dismal. They don't make love, don't agree on ways to heal (he likes group therapy; she hates it) and have several problems communicating as a result. To top it off, Becca's irresponsible sister is knocked up and Becca can't help but be jealous and judgmental about the new baby.
Sound like fun? Well, of course not, but it's not quite as hard to watch as it sounds.
Sure, Becca is draped in depressing grays and exhibits the loss of energy any of us feel when experiencing pain of that magnitude, but there is a merit to what's happening on-screen.
The relationship Becca develops with Jason (Miles Teller), the teenager who was driving the car that killed her son, is tender and tragic—as if each time she looks at him she sees an age that her son will never reach.
Becca and Howie are angry, but they're not malicious toward one another, though their marriage is crumbling at every turn.
Gaby (Sandra Oh) is a friend Howie makes in group therapy and her presence seems appropriate and comforting in light of the circumstances. She's hurting too, and as the saying goes: misery loves company.
There is resolution without closure here, and it's done gracefully thanks to director John Cameron Mitchell. This 'slice of death' story could have been a blatant sob-fest if it had fallen into the wrong hands, but thankfully it did not.
Really, the only thing wrong with it is Kidman's inability to hold her American accent during outburst scenes. But that is forgivable in such a well-written, enveloping film.
~~~
The King's Speech
On Christmas Day, I saw The King's Speech, starring Colin Firth and Geoffrey Rush.
It's not difficult to speculate that this may be the role that finally earns Firth the Best Actor Oscar.
Firth plays Bertie, otherwise known as King George VI of England, as he struggles to cope with his problem of stuttering. His wife, who we knew as The Queen Mum, played wonderfully here by Helena Bonham Carter, is supportive and loving—constantly trying to find a professional to help him with his speech.
Enter Lionel Logue (Rush), an offbeat, unconventional therapist who will only work under the conditions he creates. This doesn't immediately mesh with the spoiled royal's philosophies, but he learns to embrace the rule when Logue's exercises begin to improve his speech.
The bulk of the film is the relationship between Lionel and Bertie, but there are strong supporting performances in the side story of King Edward VIII (Guy Pearce) abdicating the throne to marry American divorcée, Wallis Simpson (Eve Best). Pearce resembles the real royal so closely, it's borderline eerie. Best nails the essence of the bold Simpson, even if she's almost too pretty to be believed.
Timothy Spall as Winston Churchill would be my only complaint in the film. He portrays the iconic man in an exaggerated, over-the-top way that does no justice to the integrity he truly possessed.
Otherwise, Geoffrey Rush is so perpetually appealing, and Colin Firth is so consistently brilliant illustrating the progression of speech that it would be difficult to find fault with any other portion of this masterpiece.
I was entertained and enthralled from start to finish by what could easily be considered a boring topic. That's a testament to the sharp writing, the balanced directing, and most of all, the amazing acting.
~~~
It's not difficult to speculate that this may be the role that finally earns Firth the Best Actor Oscar.
Firth plays Bertie, otherwise known as King George VI of England, as he struggles to cope with his problem of stuttering. His wife, who we knew as The Queen Mum, played wonderfully here by Helena Bonham Carter, is supportive and loving—constantly trying to find a professional to help him with his speech.
Enter Lionel Logue (Rush), an offbeat, unconventional therapist who will only work under the conditions he creates. This doesn't immediately mesh with the spoiled royal's philosophies, but he learns to embrace the rule when Logue's exercises begin to improve his speech.
The bulk of the film is the relationship between Lionel and Bertie, but there are strong supporting performances in the side story of King Edward VIII (Guy Pearce) abdicating the throne to marry American divorcée, Wallis Simpson (Eve Best). Pearce resembles the real royal so closely, it's borderline eerie. Best nails the essence of the bold Simpson, even if she's almost too pretty to be believed.
Timothy Spall as Winston Churchill would be my only complaint in the film. He portrays the iconic man in an exaggerated, over-the-top way that does no justice to the integrity he truly possessed.
Otherwise, Geoffrey Rush is so perpetually appealing, and Colin Firth is so consistently brilliant illustrating the progression of speech that it would be difficult to find fault with any other portion of this masterpiece.
I was entertained and enthralled from start to finish by what could easily be considered a boring topic. That's a testament to the sharp writing, the balanced directing, and most of all, the amazing acting.
~~~
Sunday, December 26, 2010
The Tourist
On December 13, I saw The Tourist, starring Angelina Jolie and Johnny Depp.
Elise (Jolie) is in love with Alexander, who is being followed by the police via her. He sends instructions for her to find a man on an Italian train and make them think that this man is him. A decoy, if you will. Elise finds Frank (Depp).
Frank is a Midwestern math teacher who is trying to heal from a painful relationship and decides to use Venice as his medicine.
The chemistry between the two actors isn't what you'd expect (I thought since they're both a bit kooky off-screen they might just have a special spark on-screen, but they really don't). This lack of extra pizazz doesn't make looking at either one of them any less pleasant, but but also doesn't help the all-too-simple plot.
Once Frank gets mixed up in Elise's world, all hell breaks loose for him and he becomes the sacrificial lamb in her story of slaughter. Of course, since she's fond of him, she does swing by on a boat to rescue him in time of peril, and kisses him for good measure, but everything floats to the surface too easily to achieve any depth.
The ending was mildly surprising and welcome, since the rest of the film was ridiculously predictable. The scenery, however—both landscapes and lovers—was beautiful.
~~~
Elise (Jolie) is in love with Alexander, who is being followed by the police via her. He sends instructions for her to find a man on an Italian train and make them think that this man is him. A decoy, if you will. Elise finds Frank (Depp).
Frank is a Midwestern math teacher who is trying to heal from a painful relationship and decides to use Venice as his medicine.
The chemistry between the two actors isn't what you'd expect (I thought since they're both a bit kooky off-screen they might just have a special spark on-screen, but they really don't). This lack of extra pizazz doesn't make looking at either one of them any less pleasant, but but also doesn't help the all-too-simple plot.
Once Frank gets mixed up in Elise's world, all hell breaks loose for him and he becomes the sacrificial lamb in her story of slaughter. Of course, since she's fond of him, she does swing by on a boat to rescue him in time of peril, and kisses him for good measure, but everything floats to the surface too easily to achieve any depth.
The ending was mildly surprising and welcome, since the rest of the film was ridiculously predictable. The scenery, however—both landscapes and lovers—was beautiful.
~~~
Friday, December 10, 2010
Black Swan
Tonight I saw Black Swan, starring Natalie Portman and Mila Kunis.
It will be the topic of Cinebanter #100, which will be posted at the end of December.
It will be the topic of Cinebanter #100, which will be posted at the end of December.
Wednesday, December 01, 2010
127 Hours
On Monday, I saw 127 Hours, starring James Franco.
When I heard about the real news story that inspired this film, I was simultaneously repulsed and fascinated. How could anyone cut their own arm off to free their body from a rock? What conditions could be so dire that would leave no alternative?
Director Danny Boyle does a good job of spelling it all out for us viewers using James Franco's convincing talent to mimic what the real Aron Ralston must've endured.
When we meet Aron on-screen, he's a twentysomething adrenaline junkie seeking a Saturday hike in the canyons of Utah. He meets some cute girls, flirts with them and continues on his solo expedition. He jumps and climbs and leaps with reckless abandon. The angles and shots we see when we're experiencing his point of view are so dramatic, I had to wonder how close to danger the camera crew really came.
Very soon after leaving his new friends, a boulder falls during one of his climbs and pins his arm to a canyon wall. The remainder of the movie is his struggle to free his arm and eventually the desperate act of amputating it with a dull knife.
I wasn't sure I'd make it to the film, as I'm the squeamish type, but the buzz surrounding Franco's allegedly Oscar-worthy performance left me too curious to pass it up.
I'm glad I had the courage to go (even if I had to turn my eyes away from some of the most graphic parts) because his acting is first-rate and the story, though spoiled years ago by the nightly news, is still compelling. A man who was careless enough to go on a dangerous hike and not tell a soul where he was headed also turned out to be smart enough to survive—a feat many people probably couldn't have accomplished under the circumstances.
The only drawback for me was the distracting, almost Indian-sounding score that was overbearing at times.
Silence, I believe, can illustrate tense moments better than anything.
~~~
When I heard about the real news story that inspired this film, I was simultaneously repulsed and fascinated. How could anyone cut their own arm off to free their body from a rock? What conditions could be so dire that would leave no alternative?
Director Danny Boyle does a good job of spelling it all out for us viewers using James Franco's convincing talent to mimic what the real Aron Ralston must've endured.
When we meet Aron on-screen, he's a twentysomething adrenaline junkie seeking a Saturday hike in the canyons of Utah. He meets some cute girls, flirts with them and continues on his solo expedition. He jumps and climbs and leaps with reckless abandon. The angles and shots we see when we're experiencing his point of view are so dramatic, I had to wonder how close to danger the camera crew really came.
Very soon after leaving his new friends, a boulder falls during one of his climbs and pins his arm to a canyon wall. The remainder of the movie is his struggle to free his arm and eventually the desperate act of amputating it with a dull knife.
I wasn't sure I'd make it to the film, as I'm the squeamish type, but the buzz surrounding Franco's allegedly Oscar-worthy performance left me too curious to pass it up.
I'm glad I had the courage to go (even if I had to turn my eyes away from some of the most graphic parts) because his acting is first-rate and the story, though spoiled years ago by the nightly news, is still compelling. A man who was careless enough to go on a dangerous hike and not tell a soul where he was headed also turned out to be smart enough to survive—a feat many people probably couldn't have accomplished under the circumstances.
The only drawback for me was the distracting, almost Indian-sounding score that was overbearing at times.
Silence, I believe, can illustrate tense moments better than anything.
~~~
Wednesday, November 24, 2010
Love and Other Drugs
Today I saw Love and Other Drugs, starring Anne Hathaway and Jake Gyllenhaal.
Maggie (Hathaway) is a 26-year-old artist suffering from Parkinson's Disease. Jamie (Gyllenhaal) is a pharmaceutical salesman, peddling antidepressants who meets her one day as she's getting her breast examined. Seriously.
They banter back and forth about why he shouldn't have been in her exam room (he really shouldn't have) then consummate their attraction after their second encounter (this time, a coffee shop).
The sex is so good that both partners, who are anti-relationship, begin to crave more from one another. This scares Maggie, who doesn't want to tether anyone into being her caretaker for the rest of time, so she pushes Jamie away.
The two lead actors are phenomenal and share a very believable chemistry. Watching them become these two characters (forgetting they played a married couple in 2005's Brokeback Mountain) isn't remotely boring, and their spicy scenes keep us paying attention, if only for the skin.
What's wrong with the movie is everything else: the 'rich' brother that for some reason has to crash on Jamie's couch when his marriage falls apart; the waste of Hank Azaria (as a slimy doctor) and Oliver Platt (as a slimy salesman); the script discrepancies that throw us from a slapstick comedy to a depressing drama without warning.
I went into the theater thankful that this wouldn't be just another chick flick and came out disappointed that the result was almost worse.
At least Hathaway wasn't the only one who had to take off her clothes.
~~~
Maggie (Hathaway) is a 26-year-old artist suffering from Parkinson's Disease. Jamie (Gyllenhaal) is a pharmaceutical salesman, peddling antidepressants who meets her one day as she's getting her breast examined. Seriously.
They banter back and forth about why he shouldn't have been in her exam room (he really shouldn't have) then consummate their attraction after their second encounter (this time, a coffee shop).
The sex is so good that both partners, who are anti-relationship, begin to crave more from one another. This scares Maggie, who doesn't want to tether anyone into being her caretaker for the rest of time, so she pushes Jamie away.
The two lead actors are phenomenal and share a very believable chemistry. Watching them become these two characters (forgetting they played a married couple in 2005's Brokeback Mountain) isn't remotely boring, and their spicy scenes keep us paying attention, if only for the skin.
What's wrong with the movie is everything else: the 'rich' brother that for some reason has to crash on Jamie's couch when his marriage falls apart; the waste of Hank Azaria (as a slimy doctor) and Oliver Platt (as a slimy salesman); the script discrepancies that throw us from a slapstick comedy to a depressing drama without warning.
I went into the theater thankful that this wouldn't be just another chick flick and came out disappointed that the result was almost worse.
At least Hathaway wasn't the only one who had to take off her clothes.
~~~
Sunday, November 21, 2010
Harry Potter and the Deathly Hallows, Part 1
Today I saw Harry Potter and the Deathly Hallows, Part 1, starring Daniel Radcliffe and Emma Watson.
This movie was exactly what I expected—a faithful re-telling of the not-so-exciting portions of the final book in the Harry Potter series, sprinkled with enough charm to keep things interesting.
When this section of the story begins, Harry (Radcliffe) is by tradition leaving his aunt and uncle's house. Each book began this way with the young wizard heading off to Hogwarts for another year of school, but this final one has a twist: Harry is instead escaping to a safe house to elude the ever-so-evil Lord Voldemort (Ralph Fiennes).
In the first chuckle-worthy scene in the film, a spell is cast on several of Harry's friends who have agreed to be turned into a replica of his likeness to throw the death eaters off the scent. Radcliffe shines, taking on the mannerisms of most of them while remaining in his own 'skin.'
Of course, he does survive this stunt, but that set-up launches the audience into over two hours of provoking, then escaping, only to provoke again.
Harry is naturally accompanied into this war by his two best friends, Hermione (Watson) and Ron (Rupert Grint), who are preoccupied with their own chemistry, yet loyal to a fault.
It's difficult to squeeze even half of a book into a full-length film, but after a few meaningful scenes about the relationships between these three friends, I found myself wishing for more.
Sure, it's fun to see Helena Bonham Carter's Bellatrix throwing things around, and it's nice to see Draco Malfoy (Tom Felton) squirm instead of smirk, but the genuine camaraderie between the three lead actors is such a pleasure, I hope the final chapter devotes more time to their bond.
As for this installment, I thought it was appropriately dark and full of exposition, and I nearly went to pieces at the culmination of Dobby's big sacrifice. If ever the lesser class had a greater hero!
~~~
This movie was exactly what I expected—a faithful re-telling of the not-so-exciting portions of the final book in the Harry Potter series, sprinkled with enough charm to keep things interesting.
When this section of the story begins, Harry (Radcliffe) is by tradition leaving his aunt and uncle's house. Each book began this way with the young wizard heading off to Hogwarts for another year of school, but this final one has a twist: Harry is instead escaping to a safe house to elude the ever-so-evil Lord Voldemort (Ralph Fiennes).
In the first chuckle-worthy scene in the film, a spell is cast on several of Harry's friends who have agreed to be turned into a replica of his likeness to throw the death eaters off the scent. Radcliffe shines, taking on the mannerisms of most of them while remaining in his own 'skin.'
Of course, he does survive this stunt, but that set-up launches the audience into over two hours of provoking, then escaping, only to provoke again.
Harry is naturally accompanied into this war by his two best friends, Hermione (Watson) and Ron (Rupert Grint), who are preoccupied with their own chemistry, yet loyal to a fault.
It's difficult to squeeze even half of a book into a full-length film, but after a few meaningful scenes about the relationships between these three friends, I found myself wishing for more.
Sure, it's fun to see Helena Bonham Carter's Bellatrix throwing things around, and it's nice to see Draco Malfoy (Tom Felton) squirm instead of smirk, but the genuine camaraderie between the three lead actors is such a pleasure, I hope the final chapter devotes more time to their bond.
As for this installment, I thought it was appropriately dark and full of exposition, and I nearly went to pieces at the culmination of Dobby's big sacrifice. If ever the lesser class had a greater hero!
~~~
Saturday, November 06, 2010
Fair Game
Today I saw Fair Game, starring Naomi Watts and Sean Penn.
It will be the topic of Cinebanter #99, so tune in later this month for our review.
It will be the topic of Cinebanter #99, so tune in later this month for our review.
Sunday, October 31, 2010
Hereafter
This morning I saw Hereafter, starring Matt Damon and Cécile De France.
George Lonegan (Damon) is a retired psychic with a gift that won't stop giving. His brother Billy (Jay Mohr) is an enterprising businessman who convinces him to do just one reading for a Greek client going through a rough time. As a result of this spot-on reading, word gets out of George's abilities and Billy pressures him to return to his craft.
A few months prior, Marie (De France) survived what we must assume was the Sri Lankan tsunami, and has a tough time re-adjusting to life after her out-of-body experience during the tragedy.
As this is happening, Marcus (Frankie McLaren), a young British boy with a drunken mother, loses his twin in an auto accident.
Both Marie and Marcus go searching for answers following their respective events as George retreats into a solitary life of factory work.
Damon plays George so cold and guarded, he would be difficult to like if he weren't so appealing. That said, when faced with a burden of former fame, it's easy to sympathize with someone who doesn't want to confront death on a daily basis.
All of the stories are fleshed out well except the cameo by Bryce Dallas Howard, which still leaves me scratching my head. The overall topic of the film is engaging whether or not you're a believer in the afterlife, and the opening scene where the tsunami hits rivals any great action scene in recent memory.
But where director Clint Eastwood somehow misses the mark is in the quiet contemplation of each main character. Those suspended moments of thought and revelation don't need to be as long as he makes them, nor does the slow pace necessarily serve the screenplay well.
This film is like a beautiful piece of scenery captured by a camera that is just slightly out of focus, yet still pleasant to watch.
~~~
George Lonegan (Damon) is a retired psychic with a gift that won't stop giving. His brother Billy (Jay Mohr) is an enterprising businessman who convinces him to do just one reading for a Greek client going through a rough time. As a result of this spot-on reading, word gets out of George's abilities and Billy pressures him to return to his craft.
A few months prior, Marie (De France) survived what we must assume was the Sri Lankan tsunami, and has a tough time re-adjusting to life after her out-of-body experience during the tragedy.
As this is happening, Marcus (Frankie McLaren), a young British boy with a drunken mother, loses his twin in an auto accident.
Both Marie and Marcus go searching for answers following their respective events as George retreats into a solitary life of factory work.
Damon plays George so cold and guarded, he would be difficult to like if he weren't so appealing. That said, when faced with a burden of former fame, it's easy to sympathize with someone who doesn't want to confront death on a daily basis.
All of the stories are fleshed out well except the cameo by Bryce Dallas Howard, which still leaves me scratching my head. The overall topic of the film is engaging whether or not you're a believer in the afterlife, and the opening scene where the tsunami hits rivals any great action scene in recent memory.
But where director Clint Eastwood somehow misses the mark is in the quiet contemplation of each main character. Those suspended moments of thought and revelation don't need to be as long as he makes them, nor does the slow pace necessarily serve the screenplay well.
This film is like a beautiful piece of scenery captured by a camera that is just slightly out of focus, yet still pleasant to watch.
~~~
Saturday, October 30, 2010
Paranormal Activity 2
Today I saw Paranormal Activity 2, starring Sprague Grayden and Molly Ephraim.
I've arrived at the point where I cringe when I hear the announcement of a sequel. In recent years, very few sequels (save for Toy Story) have lived up to my expectations, and when I like the original film so much, I fear a bad second one will tarnish my memory of it.
That wasn't the case today when I saw the second installment of this independent horror success story. Today's film was more of a prequel than a sequel, but since it ends after the first one, I guess it's still technically a sequel.
Anyway, in this one we spend time with the sister, Kristi (Grayden), of the original star Katie (Katie Featherston), who makes a few appearances too.
Kristi has recently given birth to the first son on her side of the family in many generations. Her stepdaughter Ali (Ephraim) learns of this fun fact after she begins researching demons due to weird occurrences in their home. Doors open and close on their own, the dog reacts to 'nothing' and the automatic pool cleaner moves out of the water each night.
Dad (Brian Boland) believes nor witnesses any of it, but when the house is trashed and nothing is stolen, he installs surveillance cameras to try to catch the intruders. This footage point of view is how the audience sees the film 90% of the time.
Without giving anything away, the same tension and delayed jolts permeate this film the way they did the first, and surprisingly the effect is not diminished by anticipation. Though the plot is similar, even involving some of the same characters, at the heart of the plot the question "Why?" keeps everything interesting.
Why does this family have to endure this torture? What is the root reason of their link to the paranormal world? Will we ever know exactly what happened in the family's fire years ago?
The ending leaves all of these questions without answers, but remains satisfying because of the authentic feel of the cast and the less-shaky camera-work, which was a welcome improvement from the original.
All in all, this is a great movie to see if you want to stay spooked.
I've arrived at the point where I cringe when I hear the announcement of a sequel. In recent years, very few sequels (save for Toy Story) have lived up to my expectations, and when I like the original film so much, I fear a bad second one will tarnish my memory of it.
That wasn't the case today when I saw the second installment of this independent horror success story. Today's film was more of a prequel than a sequel, but since it ends after the first one, I guess it's still technically a sequel.
Anyway, in this one we spend time with the sister, Kristi (Grayden), of the original star Katie (Katie Featherston), who makes a few appearances too.
Kristi has recently given birth to the first son on her side of the family in many generations. Her stepdaughter Ali (Ephraim) learns of this fun fact after she begins researching demons due to weird occurrences in their home. Doors open and close on their own, the dog reacts to 'nothing' and the automatic pool cleaner moves out of the water each night.
Dad (Brian Boland) believes nor witnesses any of it, but when the house is trashed and nothing is stolen, he installs surveillance cameras to try to catch the intruders. This footage point of view is how the audience sees the film 90% of the time.
Without giving anything away, the same tension and delayed jolts permeate this film the way they did the first, and surprisingly the effect is not diminished by anticipation. Though the plot is similar, even involving some of the same characters, at the heart of the plot the question "Why?" keeps everything interesting.
Why does this family have to endure this torture? What is the root reason of their link to the paranormal world? Will we ever know exactly what happened in the family's fire years ago?
The ending leaves all of these questions without answers, but remains satisfying because of the authentic feel of the cast and the less-shaky camera-work, which was a welcome improvement from the original.
All in all, this is a great movie to see if you want to stay spooked.
Saturday, October 23, 2010
Back to the Future
Today I saw Back to the Future, starring Michael J. Fox and Christopher Lloyd.
As many of my readers know, Back to the Future is my favorite film of all time. I was 9-years-old when it debuted in June of 1985 and since then, I've seen it over 90 times. Yes, that's 9 - 0.
To me, it's a perfect film.
For those who have lived under a rock for a quarter century, Back to the Future tells the story of Marty Mcfly (Fox), a high school student in 1985 who befriends a 'mad scientist' named Doc Brown (Lloyd) and ends up accidentally being the first human traveler in his new invention: a time machine.
Marty goes back to the year 1955, when his parents were in high school, and unintentionally messes with the space time continuum, causing his mother to fall for him instead of his father. He spends the rest of the film trying to undo this error and get back to 1985.
The charming parts of the story re-visit what was cool about the 50s: the novelty of television (a new invention), bobby socks, poodle skirts and a universal innocence that has never been duplicated.
The serious parts of the story examine common themes that everyone can relate to: bullying, first loves, protective parents and rejection.
Combine those two major elements with excellent acting by the perfectly cast ensemble, a witty script by Bob Gale and Robert Zemeckis, and good old-fashioned heart-stopping action at the end, and you have a film that stands the test of time.
As a child, I loved it primarily because of my crush on Michael J. Fox; as a teenager, I identified with the restrictions Marty's parents put on the kids; as an adult I enjoy witnessing the nostalgia of my parents' era and my own as a child of the 80s.
At the end of the 25th anniversary presentation of the film I saw today, everyone clapped and cheered. I gave it a standing ovation.
As many of my readers know, Back to the Future is my favorite film of all time. I was 9-years-old when it debuted in June of 1985 and since then, I've seen it over 90 times. Yes, that's 9 - 0.
To me, it's a perfect film.
For those who have lived under a rock for a quarter century, Back to the Future tells the story of Marty Mcfly (Fox), a high school student in 1985 who befriends a 'mad scientist' named Doc Brown (Lloyd) and ends up accidentally being the first human traveler in his new invention: a time machine.
Marty goes back to the year 1955, when his parents were in high school, and unintentionally messes with the space time continuum, causing his mother to fall for him instead of his father. He spends the rest of the film trying to undo this error and get back to 1985.
The charming parts of the story re-visit what was cool about the 50s: the novelty of television (a new invention), bobby socks, poodle skirts and a universal innocence that has never been duplicated.
The serious parts of the story examine common themes that everyone can relate to: bullying, first loves, protective parents and rejection.
Combine those two major elements with excellent acting by the perfectly cast ensemble, a witty script by Bob Gale and Robert Zemeckis, and good old-fashioned heart-stopping action at the end, and you have a film that stands the test of time.
As a child, I loved it primarily because of my crush on Michael J. Fox; as a teenager, I identified with the restrictions Marty's parents put on the kids; as an adult I enjoy witnessing the nostalgia of my parents' era and my own as a child of the 80s.
At the end of the 25th anniversary presentation of the film I saw today, everyone clapped and cheered. I gave it a standing ovation.
Saturday, October 09, 2010
Waiting for Superman
Today I saw the documentary Waiting for Superman, directed by Davis Guggenheim.
American public schools are in trouble and each day leaders like Geoffrey Canada and Michelle Rhee do their best to fight against a broken system that refuses to right its wrongs.
In this film we meet those reformers, along with a small sample of underprivileged children from across the nation who all have one thing in common: a desire to learn.
One girl's mom cleans hospitals while dad stays at home searching for a job; another boy's grandmother has stepped in to raise him because her son (his father) died from drug use. These aren't easy times for anyone.
But the children wake up each day, wash their face and head to school because they're determined to make a better life than the one they were born into. They all come from families who recognize the importance of education and for that reason we come to find out they're all entered into separate lotteries to try to gain acceptance into better schools.
The numbers are dismal: the US ranks near the bottom of the list for developed countries in nearly every subject. The cost of keeping a prisoner incarcerated for four years turns out to be more than the cost of an exceptional private education. Why can't our country do the math?
Waiting for Superman turns out to be more of a wake up call than a call for action (many of the situations seem hopeless from what they've shown us), and it has already succeeded in angering a large portion of the good public school teachers who feel they are getting a bum rap.
The presentation of the issues was engaging and well done, but proposed solutions for how to solve the problem would've been more powerful.
~~~
American public schools are in trouble and each day leaders like Geoffrey Canada and Michelle Rhee do their best to fight against a broken system that refuses to right its wrongs.
In this film we meet those reformers, along with a small sample of underprivileged children from across the nation who all have one thing in common: a desire to learn.
One girl's mom cleans hospitals while dad stays at home searching for a job; another boy's grandmother has stepped in to raise him because her son (his father) died from drug use. These aren't easy times for anyone.
But the children wake up each day, wash their face and head to school because they're determined to make a better life than the one they were born into. They all come from families who recognize the importance of education and for that reason we come to find out they're all entered into separate lotteries to try to gain acceptance into better schools.
The numbers are dismal: the US ranks near the bottom of the list for developed countries in nearly every subject. The cost of keeping a prisoner incarcerated for four years turns out to be more than the cost of an exceptional private education. Why can't our country do the math?
Waiting for Superman turns out to be more of a wake up call than a call for action (many of the situations seem hopeless from what they've shown us), and it has already succeeded in angering a large portion of the good public school teachers who feel they are getting a bum rap.
The presentation of the issues was engaging and well done, but proposed solutions for how to solve the problem would've been more powerful.
~~~
Saturday, October 02, 2010
The Social Network
Today I saw The Social Network, starring Jesse Eisenberg and Justin Timberlake.
It will be the topic of Cinebanter #98, so tune in for our review (coming soon).
Sunday, September 26, 2010
Heartbreaker
Today I saw Heartbreaker, starring Vanessa Paradis and Romain Duris.
We all have loved ones with partners we'd like to trade. Whether they be adulterous or simply annoying, at some point we all fantasize about breaking said couples up, but seldom follow through.
However, if there were a breakup-for-hire third party who we could solicit to do our dirty work, would we take the risk?
Many would, according to the premise of this film.
Alex (Duris) makes a living seducing women out of their current relationships with the help of his sister and her dim-witted husband. He makes it a rule not to break up what he perceives to be "happy" couples and ends his pairings immediately after accomplishing his task.
The father of Juliette (Paradis) has commissioned him for a rush-project of sorts—her wedding to a Brit they're not fond of is due to take place in a matter of days, so Alex will have to work fast to win her over.
During his "research" of the client, he learns she loves George Michael music and quickly rigs the car with vintage Wham! hits (though the way he achieves it seems needlessly elaborate). He also begins memorizing her favorite movie, Dirty Dancing, to learn the dance moves of Patrick Swayze's character.
Alex poses as Juliette's bodyguard to gain 24/7 access to her, and like many formulaic romantic comedies, he doesn't like her at first. She is the pampered princess; he the working-class simpleton.
Of course that changes, and he begins to make progress on his mission, but this is where the movie lost me. Vanessa is model-beautiful and her husband-to-be is Prince Charming handsome. Alex is skinny, somewhat unclean and sloppy. His actions are so exaggerated he comes off as a buffoon and the way he conveys his "love" for the things she adores isn't terribly convincing.
Throw in the slapstick nature of the supporting characters (his sister and brother-in-law, and her sex-crazed best friend) and all of the sweetness of the idea here is gone.
I enjoyed the leading lady's performance, but without a believable match for her to have to decide between, this film just couldn't work as it was intended.
I may have to cleanse my palette and throw good-old Dirty Dancing into the DVD player.
~~~
We all have loved ones with partners we'd like to trade. Whether they be adulterous or simply annoying, at some point we all fantasize about breaking said couples up, but seldom follow through.
However, if there were a breakup-for-hire third party who we could solicit to do our dirty work, would we take the risk?
Many would, according to the premise of this film.
Alex (Duris) makes a living seducing women out of their current relationships with the help of his sister and her dim-witted husband. He makes it a rule not to break up what he perceives to be "happy" couples and ends his pairings immediately after accomplishing his task.
The father of Juliette (Paradis) has commissioned him for a rush-project of sorts—her wedding to a Brit they're not fond of is due to take place in a matter of days, so Alex will have to work fast to win her over.
During his "research" of the client, he learns she loves George Michael music and quickly rigs the car with vintage Wham! hits (though the way he achieves it seems needlessly elaborate). He also begins memorizing her favorite movie, Dirty Dancing, to learn the dance moves of Patrick Swayze's character.
Alex poses as Juliette's bodyguard to gain 24/7 access to her, and like many formulaic romantic comedies, he doesn't like her at first. She is the pampered princess; he the working-class simpleton.
Of course that changes, and he begins to make progress on his mission, but this is where the movie lost me. Vanessa is model-beautiful and her husband-to-be is Prince Charming handsome. Alex is skinny, somewhat unclean and sloppy. His actions are so exaggerated he comes off as a buffoon and the way he conveys his "love" for the things she adores isn't terribly convincing.
Throw in the slapstick nature of the supporting characters (his sister and brother-in-law, and her sex-crazed best friend) and all of the sweetness of the idea here is gone.
I enjoyed the leading lady's performance, but without a believable match for her to have to decide between, this film just couldn't work as it was intended.
I may have to cleanse my palette and throw good-old Dirty Dancing into the DVD player.
~~~
Friday, September 24, 2010
The Town
On Wednesday, I saw The Town, starring Ben Affleck and Rebecca Hall.
Doug MacRay (Affleck) was the good kid from a bad Boston family. Dad is behind bars, mom has disappeared and his best friend, troublemaker Jim (Jeremy Renner) has taken him in as an adopted brother.
When we meet Doug and Jim, they're robbing a bank with their friends, and we see that Doug shows compassion for their hostage Claire (Hall), while Jim is more prone to aggression, beating an assistant manager savagely because he suspects he tripped the alarm.
Following the crime, the group needs to be sure the witness won't talk, so Doug follows Claire, quickly learning the emotional ramifications of what they did to her. He shows genuine compassion for her pain during a meet-cute at a laundromat and they begin dating.
Meanwhile, overzealous FBI agent Adam Frawley (Jon Hamm) is determined to put a stop to this dangerous group and begins to put the pieces of the crime together.
From there it's a cat-and-mouse chase of further violence, action and mayhem leading up to a tense ending that had me holding my breath.
Affleck as a director is clear in his aim to make Boston its own character. Shots of the city are alternately beautiful and harrowing, depending on the neighborhood, and the ever-present accents never let us forget where they are.
He's also good at action scenes, getting just enough angles to keep it interesting without confusing us.
As for the performances, Jeremy Renner stands out as exceptionally evil, while Affleck appears sincere and conflicted at the life he's chosen vs. the life that was chosen for him.
Although it's a formulaic good-guy, bad-guy story, with the intent that the audience will root for the redeeming bad guy, I still enjoyed the ride and look forward to see what Affleck will come up with next.
~~~
Doug MacRay (Affleck) was the good kid from a bad Boston family. Dad is behind bars, mom has disappeared and his best friend, troublemaker Jim (Jeremy Renner) has taken him in as an adopted brother.
When we meet Doug and Jim, they're robbing a bank with their friends, and we see that Doug shows compassion for their hostage Claire (Hall), while Jim is more prone to aggression, beating an assistant manager savagely because he suspects he tripped the alarm.
Following the crime, the group needs to be sure the witness won't talk, so Doug follows Claire, quickly learning the emotional ramifications of what they did to her. He shows genuine compassion for her pain during a meet-cute at a laundromat and they begin dating.
Meanwhile, overzealous FBI agent Adam Frawley (Jon Hamm) is determined to put a stop to this dangerous group and begins to put the pieces of the crime together.
From there it's a cat-and-mouse chase of further violence, action and mayhem leading up to a tense ending that had me holding my breath.
Affleck as a director is clear in his aim to make Boston its own character. Shots of the city are alternately beautiful and harrowing, depending on the neighborhood, and the ever-present accents never let us forget where they are.
He's also good at action scenes, getting just enough angles to keep it interesting without confusing us.
As for the performances, Jeremy Renner stands out as exceptionally evil, while Affleck appears sincere and conflicted at the life he's chosen vs. the life that was chosen for him.
Although it's a formulaic good-guy, bad-guy story, with the intent that the audience will root for the redeeming bad guy, I still enjoyed the ride and look forward to see what Affleck will come up with next.
~~~
Monday, September 20, 2010
The Tillman Story
Tonight I saw The Tillman Story, a documentary about the late Pat Tillman.
It's a story that's far too familiar: a good American man wants to serve his country so he enlists in the military, goes on a tour of duty and is killed in the line of fire.
Only Pat Tillman wasn't just any soldier—he was a former football star who gave up millions of dollars and the promise of doing something he loved for the rest of his life to fight for the US.
Sent to Iraq (alongside his younger brother, who enlisted at the same time), Private Tillman was killed on Earth Day in 2004 by members of his own troop. First, the military claimed Tillman was a hero in combat against the enemy. Then, when word got out that it was truly friendly fire that got him, they billed it as an "accident." But the men who served alongside Pat knew better, and eventually, they spoke.
Tillman's mother, Mary, simply wanted the truth she was entitled to, and that's what this film is about.
It's about a family's struggle for answers, a group of soldiers who were friends of Tillman and wanted the truth to come out, and a collective of high-level government officials who covered up the real story so they could turn the Tillman death into a public relations stunt in favor of the war.
Talking head interviews with Tillman's family and fellow soldiers are the bulk of the film, but the commentary is never dull. We see footage of formal hearings, scenes from his memorial service in San Jose, and video from the actual day he died, in the area where he perished.
The movie is at once frustrating and devastating, but there is validity in its existence if only to expose the corrupt powers-that-be to anyone left who may mistake them for honorable.
Refreshing as well is the approach Tillman's mother has, which indicates she doesn't want her son to be thought of as a hero any more than any other soldier who traded his life for his country.
Though the lack of closure in the matter may make you angry as you leave the theater, you'll be proud to know that true Americans like the Tillmans still exist.
~~~
It's a story that's far too familiar: a good American man wants to serve his country so he enlists in the military, goes on a tour of duty and is killed in the line of fire.
Only Pat Tillman wasn't just any soldier—he was a former football star who gave up millions of dollars and the promise of doing something he loved for the rest of his life to fight for the US.
Sent to Iraq (alongside his younger brother, who enlisted at the same time), Private Tillman was killed on Earth Day in 2004 by members of his own troop. First, the military claimed Tillman was a hero in combat against the enemy. Then, when word got out that it was truly friendly fire that got him, they billed it as an "accident." But the men who served alongside Pat knew better, and eventually, they spoke.
Tillman's mother, Mary, simply wanted the truth she was entitled to, and that's what this film is about.
It's about a family's struggle for answers, a group of soldiers who were friends of Tillman and wanted the truth to come out, and a collective of high-level government officials who covered up the real story so they could turn the Tillman death into a public relations stunt in favor of the war.
Talking head interviews with Tillman's family and fellow soldiers are the bulk of the film, but the commentary is never dull. We see footage of formal hearings, scenes from his memorial service in San Jose, and video from the actual day he died, in the area where he perished.
The movie is at once frustrating and devastating, but there is validity in its existence if only to expose the corrupt powers-that-be to anyone left who may mistake them for honorable.
Refreshing as well is the approach Tillman's mother has, which indicates she doesn't want her son to be thought of as a hero any more than any other soldier who traded his life for his country.
Though the lack of closure in the matter may make you angry as you leave the theater, you'll be proud to know that true Americans like the Tillmans still exist.
~~~
Sunday, September 19, 2010
Going the Distance
This morning I saw Going the Distance, starring Drew Barrymore and Justin Long.
Erin (Barrymore) is a grad student interning at a New York newspaper when she meets Garrett (Long), a record label talent searcher, disgruntled with the changing industry.
They have a meet-cute over a Centipede arcade game and fall in love at first sight. The couple's chemistry is believable (perhaps because they're a real-life pairing) and we can't help it that we want them to be together.
But what happens when two people find perfect bliss and then have to part indefinitely?
At first, nothing. When Erin returns to the West Coast to finish her degree, we experience the romance of long distance. There are late night phone calls, webcam chats and surprise visits. Absence is making the heart grow fonder.
Then, there's the realization that when each of them wakes up in the morning, the other is not lying next to them. That can hurt, especially when one is at a point in there life where major decisions are going to need to be made.
Erin is faced with such a decision regarding her career and her living situation (she's 31 and still bunking with her big sis). Does she sacrifice relationship for career or vice versa? The question may be a no-brainer for those who already have families, but for the single folk out there (especially the women) it's a much tougher call.
The story in this film is a simple one, but the writing and delightful presence of the leads makes it more than watchable. It's an enjoyable representation of modern relationships that all of us Gen Xers can surely relate to in one way or another.
I felt special kinship with Erin when she told her lover that she did in fact like saying "I told you so" when he was wrong. Those words have come out of my mouth more than a few times with partners, and it was nice to see a fictional person behaving so honestly.
This movie avoids typical rom-com clichés with just enough reality to keep us invested and the laughs come easily.
A refreshing change from the status quo.
~~~
Erin (Barrymore) is a grad student interning at a New York newspaper when she meets Garrett (Long), a record label talent searcher, disgruntled with the changing industry.
They have a meet-cute over a Centipede arcade game and fall in love at first sight. The couple's chemistry is believable (perhaps because they're a real-life pairing) and we can't help it that we want them to be together.
But what happens when two people find perfect bliss and then have to part indefinitely?
At first, nothing. When Erin returns to the West Coast to finish her degree, we experience the romance of long distance. There are late night phone calls, webcam chats and surprise visits. Absence is making the heart grow fonder.
Then, there's the realization that when each of them wakes up in the morning, the other is not lying next to them. That can hurt, especially when one is at a point in there life where major decisions are going to need to be made.
Erin is faced with such a decision regarding her career and her living situation (she's 31 and still bunking with her big sis). Does she sacrifice relationship for career or vice versa? The question may be a no-brainer for those who already have families, but for the single folk out there (especially the women) it's a much tougher call.
The story in this film is a simple one, but the writing and delightful presence of the leads makes it more than watchable. It's an enjoyable representation of modern relationships that all of us Gen Xers can surely relate to in one way or another.
I felt special kinship with Erin when she told her lover that she did in fact like saying "I told you so" when he was wrong. Those words have come out of my mouth more than a few times with partners, and it was nice to see a fictional person behaving so honestly.
This movie avoids typical rom-com clichés with just enough reality to keep us invested and the laughs come easily.
A refreshing change from the status quo.
~~~
Sunday, September 12, 2010
I'm Still Here
Today I saw the documentary I'm Still Here about the Joaquin Phoenix's career transition.
Casey Affleck directs this sad film about the fall of a once-great actor through biased eyes (he married Phoenix's sister, Summer, in 2006) and as a result the story feels too calculated to be authentic, even if it's not a hoax.
The story begins with childhood footage of the famous Phoenix siblings performing a song-and-dance routine for a sidewalk full of gawkers. You get the sense perhaps you're supposed to pity these kids, as if they had no choice, but from all I've read of their commune-like upbringing, it's hard to believe that was the case.
Joaquin's older brother River was the true star of the family, and had it not been for his senseless fatal overdose, probably would've become one of the greatest actors of our time. Joaquin has never matched that magnitude of talent, but he's certainly displayed the potential to (he's been nominated twice for an Oscar).
In 2008, after receiving praise for his work in the critically acclaimed Two Lovers, Joaquin allegedly decided to quit acting once and for all, and begin a recording career in hip-hop. The fact that he commissioned Affleck to begin filing at precisely this time is why I say "allegedly."
He plays to the camera as someone who is "on" in every frame. Whether he's doing lines of cocaine (yes, I thought this was especially tasteless considering the manner in which his brother died), dancing and fondling hookers at his house, or ranting at one of his many pointless assistants, he's undoubtedly performing.
There are a series of funny exchanges between Phoenix and Sean "P Diddy" Combs, who is too smart not to notice that his entire genre of music may be mocked by Phoenix if he consents to produce him. Joaquin is disrespectful, showing up late and unprepared, and Combs gives it right back to him in the form of much-needed tough-love lecturing. It was the best part of the film.
In addition to that train wreck, there are plenty more (the now famous Letterman appearance; a scorned assistant retaliating in the most vile way imaginable), which makes this entire documentary nothing more than a meandering reality show. And no, I didn't appreciate the "bathroom" scenes.
I'm Still Here is meant to leave you wondering if it was all a hoax or if Phoenix was really delusional enough to think he could transition from being a serious, successful actor to a flashy, hip-hop star overnight.
I'm sure (and hopeful) it's probably the former, but whatever the case, I like Phoenix a hell of a lot less after seeing it.
~~~
Casey Affleck directs this sad film about the fall of a once-great actor through biased eyes (he married Phoenix's sister, Summer, in 2006) and as a result the story feels too calculated to be authentic, even if it's not a hoax.
The story begins with childhood footage of the famous Phoenix siblings performing a song-and-dance routine for a sidewalk full of gawkers. You get the sense perhaps you're supposed to pity these kids, as if they had no choice, but from all I've read of their commune-like upbringing, it's hard to believe that was the case.
Joaquin's older brother River was the true star of the family, and had it not been for his senseless fatal overdose, probably would've become one of the greatest actors of our time. Joaquin has never matched that magnitude of talent, but he's certainly displayed the potential to (he's been nominated twice for an Oscar).
In 2008, after receiving praise for his work in the critically acclaimed Two Lovers, Joaquin allegedly decided to quit acting once and for all, and begin a recording career in hip-hop. The fact that he commissioned Affleck to begin filing at precisely this time is why I say "allegedly."
He plays to the camera as someone who is "on" in every frame. Whether he's doing lines of cocaine (yes, I thought this was especially tasteless considering the manner in which his brother died), dancing and fondling hookers at his house, or ranting at one of his many pointless assistants, he's undoubtedly performing.
There are a series of funny exchanges between Phoenix and Sean "P Diddy" Combs, who is too smart not to notice that his entire genre of music may be mocked by Phoenix if he consents to produce him. Joaquin is disrespectful, showing up late and unprepared, and Combs gives it right back to him in the form of much-needed tough-love lecturing. It was the best part of the film.
In addition to that train wreck, there are plenty more (the now famous Letterman appearance; a scorned assistant retaliating in the most vile way imaginable), which makes this entire documentary nothing more than a meandering reality show. And no, I didn't appreciate the "bathroom" scenes.
I'm Still Here is meant to leave you wondering if it was all a hoax or if Phoenix was really delusional enough to think he could transition from being a serious, successful actor to a flashy, hip-hop star overnight.
I'm sure (and hopeful) it's probably the former, but whatever the case, I like Phoenix a hell of a lot less after seeing it.
~~~
Friday, September 03, 2010
Cairo Time
Tonight I saw Cairo Time, starring Patricia Clarkson and Alexander Siddig.
Juliette (Clarkson) travels to Cairo to meet her husband who works for the UN as a refugee camp organizer in Gaza. He is (not surprisingly) detained, so he sends a friend to entertain her in his absence.
Tareq (Siddig) is a handsome, never-married Egyptian who runs a café, yet appears wherever Juliette needs him, whenever she needs him.
With additional husband delays, the waiting gets to be too much and restless Juliette begins to explore the city on her own. She finds this to be unsafe and solicits the company of Tareq as her informal tour guide. They cruise along the Nile, taste the "best coffee in the world" and get to know one another in a sweet, innocent way. She teases him about the girl who got away; he flatters her with jokes about her foreign pronunciation. They fall in love.
As we witness their chemistry develop, the director puts us in the places they are visiting in an almost visceral way. When the noise of Cairo is too intrusive for Juliette speak with her husband on the phone or to sleep, we're annoyed right along with her; when she takes constant sips of her bottled water on a dusty bus to the desert, we become thirsty with dryness.
The two main actors are perfect in their roles and the few supporting characters who show up are like seasoning on a pleasantly spicy dish.
The pace of the film is unimaginably slow, yet never dull. Watching a friendship grow into something unexpected is both exciting and frightening. Contemplating what one would do in a similar situation and wondering which man deserves Juliette's love keeps our minds going as the landscape quietly draws us into its mystery.
Also to be appreciated is the way the pyramids are savored in minimal, powerful scenes. There are no obligatory helicopter perspectives of the landmarks, nor do they steal the show (though they are breathtaking as seen from the characters' perspectives).
I'd recommend seeing Cairo Time on your own time, when you have the luxury of lingering right along with it.
~~~
Juliette (Clarkson) travels to Cairo to meet her husband who works for the UN as a refugee camp organizer in Gaza. He is (not surprisingly) detained, so he sends a friend to entertain her in his absence.
Tareq (Siddig) is a handsome, never-married Egyptian who runs a café, yet appears wherever Juliette needs him, whenever she needs him.
With additional husband delays, the waiting gets to be too much and restless Juliette begins to explore the city on her own. She finds this to be unsafe and solicits the company of Tareq as her informal tour guide. They cruise along the Nile, taste the "best coffee in the world" and get to know one another in a sweet, innocent way. She teases him about the girl who got away; he flatters her with jokes about her foreign pronunciation. They fall in love.
As we witness their chemistry develop, the director puts us in the places they are visiting in an almost visceral way. When the noise of Cairo is too intrusive for Juliette speak with her husband on the phone or to sleep, we're annoyed right along with her; when she takes constant sips of her bottled water on a dusty bus to the desert, we become thirsty with dryness.
The two main actors are perfect in their roles and the few supporting characters who show up are like seasoning on a pleasantly spicy dish.
The pace of the film is unimaginably slow, yet never dull. Watching a friendship grow into something unexpected is both exciting and frightening. Contemplating what one would do in a similar situation and wondering which man deserves Juliette's love keeps our minds going as the landscape quietly draws us into its mystery.
Also to be appreciated is the way the pyramids are savored in minimal, powerful scenes. There are no obligatory helicopter perspectives of the landmarks, nor do they steal the show (though they are breathtaking as seen from the characters' perspectives).
I'd recommend seeing Cairo Time on your own time, when you have the luxury of lingering right along with it.
~~~
Thursday, September 02, 2010
The American
Tonight I saw The American, starring George Clooney and Violante Placido.
It will be the topic of Cinebanter #97, so tune in on September 13 for our review.
It will be the topic of Cinebanter #97, so tune in on September 13 for our review.
Tuesday, August 31, 2010
The Last Exorcism
Tonight I saw The Last Exorcism, starring Patrick Fabian and Ashley Bell.
Cotton Marcus (Fabian) is a Southern reverend who claims more to be a trained actor than a genuine voice of God. He agrees to let a film crew create a documentary about his "last exorcism" so he can expose all of his tricks and reveal the practice to be a universal sham.
His subject is a 16-year-old farm girl named Nell (Bell). She seems sweet enough during the daytime, but at night her Bible-bouncing father reports that demons emerge and she kills random pets/livestock.
With her father and brother as witnesses, Cotton performs his "exorcism" complete with fake sounds and a shaking bed, which he controls with fish wire. He proclaims the demons gone and leaves with a fat paycheck to a nearby motel.
Unfortunately, something is still the matter with Nell and she materializes at the motel, desperately in need of assistance. Cotton and the filmmakers take her to a hospital, but once she returns home, they learn she's hurt her brother. After another hospital trip, the reverend tries to convince the father to get her psychiatric help, but he doesn't believe in it.
Cotton (who really turns out to be somewhat of a decent fellow) feels responsible for Nell in some way, so he decides to help her himself and keeps digging to learn the truth.
The film is perfectly enjoyable/believable up to this point, then it all takes a turn for the worse.
One minor twist leads to a few different theories about Nell's evil, then the answer is given to us in an ending that makes you doubt the same screenwriter wrote the first half of the film.
The script did an excellent job of building the suspense and wonder through well-developed, complex characters and then left us alone with a convention that's been overused since film was invented.
What a shame.
~~~
Cotton Marcus (Fabian) is a Southern reverend who claims more to be a trained actor than a genuine voice of God. He agrees to let a film crew create a documentary about his "last exorcism" so he can expose all of his tricks and reveal the practice to be a universal sham.
His subject is a 16-year-old farm girl named Nell (Bell). She seems sweet enough during the daytime, but at night her Bible-bouncing father reports that demons emerge and she kills random pets/livestock.
With her father and brother as witnesses, Cotton performs his "exorcism" complete with fake sounds and a shaking bed, which he controls with fish wire. He proclaims the demons gone and leaves with a fat paycheck to a nearby motel.
Unfortunately, something is still the matter with Nell and she materializes at the motel, desperately in need of assistance. Cotton and the filmmakers take her to a hospital, but once she returns home, they learn she's hurt her brother. After another hospital trip, the reverend tries to convince the father to get her psychiatric help, but he doesn't believe in it.
Cotton (who really turns out to be somewhat of a decent fellow) feels responsible for Nell in some way, so he decides to help her himself and keeps digging to learn the truth.
The film is perfectly enjoyable/believable up to this point, then it all takes a turn for the worse.
One minor twist leads to a few different theories about Nell's evil, then the answer is given to us in an ending that makes you doubt the same screenwriter wrote the first half of the film.
The script did an excellent job of building the suspense and wonder through well-developed, complex characters and then left us alone with a convention that's been overused since film was invented.
What a shame.
~~~
Sunday, August 29, 2010
Hubble 3D
This morning I saw the documentary Hubble 3D.
Though I never had aspirations of becoming an astronaut, I have always wanted to know what it felt like to see earth from a distance. The closest I came until today was when astronaut Nicholas Patrick came to our school a few years back and brought a video of footage he'd taken in space. Though that was a once-in-a-lifetime opportunity, I was surrounded by classes of antsy Kindergarteners, so it was hard to focus on the depth of what I was seeing.
Watching Hubble 3D in a quiet, dark theater on an IMAX screen so large it felt like it was surrounding me was a much more immersive experience.
Despite its short length (approx. 45 minutes running time), this film does have a plot. After the tragedy of the Columbia mission, NASA canceled the next scheduled mission to repair the Hubble telescope, a massive eye into the universe that took 10,000 people to create. Without the necessary fixes, the telescope would be rendered useless and years of hard work and money would be lost.
Thankfully, the engineers at NASA devised a plan that removed some of the risk from attempting another mission (basically having an extra shuttle ready if the astronauts became stranded in space) and in April of 2009, a brave team of heroes made the trip.
What we see in this film is their trip—a joyous, nerve-wracking, heart-pumping mission where they only had one chance to get it right. Their demeanor is surprisingly light-hearted, though their work couldn't be more dangerous. These folks are celebrating a lifetime of learning that earned them this place in history.
As we watch the careful maneuvering of an uncooperative tool, we feel like holding our breath (though if we watched the news at all last year, we already know the outcome). Although that alone is remarkable enough to keep us riveted, what's most amazing are the photographs that Hubble graces us with. The glistening close-ups of stars and energies that are billions of light years away.
Leonardo DiCaprio narrates what we're seeing sincerely, though the amount of times he plugs the Utopian qualities of earth becomes borderline preachy.
I'd recommend this film to people of all ages—especially Americans. I found myself getting goosebumps each time they showed a shuttle countdown. Perhaps that's because my earliest memory of space travel is watching the Challenger explode live on television in my 5th grade classroom. I remember my otherwise-stoic teacher bursting into tears and feeling sick that a class of students in New Hampshire would never again see their own teacher (Christa McAuliffe, the first teacher sent to space, was aboard).
In high school, I visited the memorial to the Challenger astronauts at Arlington National Cemetery and became nauseous with remembrance. Earlier this month I saw the trees that had been planted in their honor at the Johnson Space Center. Astronauts sacrifices, to me, are just as profound as those who serve bravely in our military.
Films like Hubble 3D remind us of their courage.
~~~
Though I never had aspirations of becoming an astronaut, I have always wanted to know what it felt like to see earth from a distance. The closest I came until today was when astronaut Nicholas Patrick came to our school a few years back and brought a video of footage he'd taken in space. Though that was a once-in-a-lifetime opportunity, I was surrounded by classes of antsy Kindergarteners, so it was hard to focus on the depth of what I was seeing.
Watching Hubble 3D in a quiet, dark theater on an IMAX screen so large it felt like it was surrounding me was a much more immersive experience.
Despite its short length (approx. 45 minutes running time), this film does have a plot. After the tragedy of the Columbia mission, NASA canceled the next scheduled mission to repair the Hubble telescope, a massive eye into the universe that took 10,000 people to create. Without the necessary fixes, the telescope would be rendered useless and years of hard work and money would be lost.
Thankfully, the engineers at NASA devised a plan that removed some of the risk from attempting another mission (basically having an extra shuttle ready if the astronauts became stranded in space) and in April of 2009, a brave team of heroes made the trip.
What we see in this film is their trip—a joyous, nerve-wracking, heart-pumping mission where they only had one chance to get it right. Their demeanor is surprisingly light-hearted, though their work couldn't be more dangerous. These folks are celebrating a lifetime of learning that earned them this place in history.
As we watch the careful maneuvering of an uncooperative tool, we feel like holding our breath (though if we watched the news at all last year, we already know the outcome). Although that alone is remarkable enough to keep us riveted, what's most amazing are the photographs that Hubble graces us with. The glistening close-ups of stars and energies that are billions of light years away.
Leonardo DiCaprio narrates what we're seeing sincerely, though the amount of times he plugs the Utopian qualities of earth becomes borderline preachy.
I'd recommend this film to people of all ages—especially Americans. I found myself getting goosebumps each time they showed a shuttle countdown. Perhaps that's because my earliest memory of space travel is watching the Challenger explode live on television in my 5th grade classroom. I remember my otherwise-stoic teacher bursting into tears and feeling sick that a class of students in New Hampshire would never again see their own teacher (Christa McAuliffe, the first teacher sent to space, was aboard).
In high school, I visited the memorial to the Challenger astronauts at Arlington National Cemetery and became nauseous with remembrance. Earlier this month I saw the trees that had been planted in their honor at the Johnson Space Center. Astronauts sacrifices, to me, are just as profound as those who serve bravely in our military.
Films like Hubble 3D remind us of their courage.
~~~
Tuesday, August 24, 2010
The Other Guys
On Sunday I saw The Other Guys, starring Will Ferrell and Mark Wahlberg.
Allen Gamble (Ferrell) is a pencil pusher who does accounting work for the police department; his partner Terry Hoitz (Wahlberg) is a bad ass detective who is relegated to desk duty after an unfortunate shooting incident.
Two of the most respected (and reckless) cops have just lost their lives in the line of duty and Terry thinks it's high time he and Allen—the other guys—take their place. Because Allen enjoys working at a desk, Terry has to threaten him to get him to go along with his plan. Soon they're both risking their jobs and lives in hot pursuit of a high-profile white collar criminal, all from the front seat of Allen's cherry red Prius.
Sound ridiculous? Of course it is, but it's meant to be and that's why it works.
Not for one moment do we ever forget that these two characters are meant to mock every buddy cop movie in the history of cinema. Never for a second do we mind.
Ferrell's deadpan delivery of a straight-man wanting to do the right thing and Wahlberg's naturally angry tough guy attitude make it hard for us to picture anyone else in their roles.
And speaking of perfect casting—don't even get me started on Eva Mendes. As Allen's sexy wife, Dr. Sheila Gamble, she shows more pitch-perfect comedic chops than any female in recent memory. Her alluring cleavage may be why she was considered; her acting is obviously why she was chosen. I've never enjoyed her more than I did here.
In addition to the acting, there are small yet hilarious reminders (such as quiet, cheesy saxophone music) that we're in a cop film. There are also random references (one that will make you want to pop in a T.L.C. record) that make no sense but somehow fit well in the context of the film.
I haven't laughed this hard at a movie since The Hangover. If you need a reason to smile, make sure to get to this movie.
~~~
Allen Gamble (Ferrell) is a pencil pusher who does accounting work for the police department; his partner Terry Hoitz (Wahlberg) is a bad ass detective who is relegated to desk duty after an unfortunate shooting incident.
Two of the most respected (and reckless) cops have just lost their lives in the line of duty and Terry thinks it's high time he and Allen—the other guys—take their place. Because Allen enjoys working at a desk, Terry has to threaten him to get him to go along with his plan. Soon they're both risking their jobs and lives in hot pursuit of a high-profile white collar criminal, all from the front seat of Allen's cherry red Prius.
Sound ridiculous? Of course it is, but it's meant to be and that's why it works.
Not for one moment do we ever forget that these two characters are meant to mock every buddy cop movie in the history of cinema. Never for a second do we mind.
Ferrell's deadpan delivery of a straight-man wanting to do the right thing and Wahlberg's naturally angry tough guy attitude make it hard for us to picture anyone else in their roles.
And speaking of perfect casting—don't even get me started on Eva Mendes. As Allen's sexy wife, Dr. Sheila Gamble, she shows more pitch-perfect comedic chops than any female in recent memory. Her alluring cleavage may be why she was considered; her acting is obviously why she was chosen. I've never enjoyed her more than I did here.
In addition to the acting, there are small yet hilarious reminders (such as quiet, cheesy saxophone music) that we're in a cop film. There are also random references (one that will make you want to pop in a T.L.C. record) that make no sense but somehow fit well in the context of the film.
I haven't laughed this hard at a movie since The Hangover. If you need a reason to smile, make sure to get to this movie.
~~~
Thursday, August 19, 2010
Get Low
On Sunday I saw Get Low, starring Robert Duvall and Bill Murray.
It will be the topic of our next Cinebanter episode, so tune in August 30 for our review.
It will be the topic of our next Cinebanter episode, so tune in August 30 for our review.
Friday, August 13, 2010
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.
~~~
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.
~~~
Wednesday, August 11, 2010
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.
~~~
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.
~~~
Friday, August 06, 2010
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.
It will be the topic of Cinebanter #95, so tune in August 16 for our review.
Monday, August 02, 2010
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.
~~~
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.
~~~
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