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.
~~~
Sunday, February 06, 2011
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.
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