Today I saw Young Adult, starring Charlize Theron and Patton Oswalt.
Mavis Gary (Theron) got out of the small town she was raised in, moved to the big city, got married, became a young adult author and got divorced. Convinced she can find happiness with her high school sweetheart, she returns to said small town to break up his marriage and re-claim him as her own.
When she arrives in Mercury, Minn., the first person she sees is Matt (Oswalt), a former classmate who was permanently injured in an attack he endured during high school. True to stereotypical form, Mavis is not exactly kind to Matt, just as she wasn't when they were kids, but soon realizes he makes a good confidant (and drinking buddy). He entertains her perhaps because he enjoys the attention, or the puzzle of trying to figure her out.
Her pursuit of Buddy Slade (Patrick Wilson) is desperate, sad, devious and unfortunately completely believable. We all know women like this; we all know how it feels to suffer for the one who got away.
While the film's subject matter could be depressing for a variety of reasons, the sharp writing of Diablo Cody, thankfully dialed down from the cuteness of Juno, makes it sarcastic and funny, rather than tragic.
Now, that's not to say the audience isn't given an opportunity to cry near the end (I'll admit I did), but when the emotion arrives we've all earned it because we genuinely care about all of these people.
Theron is wonderful as this multi-dimensional mess; Oswalt delivers his best dramatic performance as the wounded soul who doesn't waste his time being bitter. They're one of the most real pairs, with the most real chemistry, to hit the big screen in a long time.
Reitman does right by his viewers, nailing the authenticity of a small town without making its residents stupid or simple. The Memorex yellow and pink cassettes that Mavis rocks out to are also a nice touch (every musical thirtysomething girl will remember those from childhood).
The only place this film fails is in the marketing—before seeing it, I assumed it would be a romantic comedy-catch-phrasey romp. Instead, I was pleasantly surprised with a dramedy full of heart.
~~~
Sunday, December 18, 2011
Monday, December 12, 2011
Coming Soon - Paradise Lost 3: Purgatory
One of the most powerful set of documentaries I've ever watched are Paradise Lost: The Child Murders at Robin Hills and Paradise Lost 2: Revelations, about the unfair murder convictions of three teenagers, which the media dubbed the "West Memphis 3."
Earlier this year, the convictions were overturned and the three boys (now men in their 30s) walked free. The filmmakers who told the first two parts of the story continued filming and have completed the conclusion to this real-life trilogy, Paradise Lost 3: Purgatory.
It debuts on HBO January 12 at 9:00 p.m.
Here's a sneak peek:
Earlier this year, the convictions were overturned and the three boys (now men in their 30s) walked free. The filmmakers who told the first two parts of the story continued filming and have completed the conclusion to this real-life trilogy, Paradise Lost 3: Purgatory.
It debuts on HBO January 12 at 9:00 p.m.
Here's a sneak peek:
Wednesday, December 07, 2011
I Wrote for Drink Tank 300
Yep, the Hugo-award winning Ezine recently published volume 300 and I wrote a piece for it in the 'My Favorite Movie Theatre' section.
You can check it out here.
My story is on page 172 (entry 240/241) and my bio lands on page 260.
I couldn't be more honored that I was asked to participate!
Saturday, December 03, 2011
The Descendants
Today I saw The Descendants, starring George Clooney and Shailene Woodley.
Matt (Clooney) is a distant dad, married to his work. He has a tough time relating to his daughters, and an even tougher time relating to his wife in the midst of a huge property sale. The land in question has been in his family for several generations and he is tasked with acting as the trustee of that land on behalf of several cousins.
When his wife Elizabeth (Patricia Hastie) ends up in a coma following a boating accident, Matt's life is turned upside down. Aside from his grief, his youngest daughter, Scottie (Amara Miller), is spiraling out of control, while his eldest daughter, Alexandra, may have a drug (or at least drinking) problem. He does the best he can under the circumstances.
Alexandra soon reveals a family secret that devastates Matt further. This leads to a witch hunt field trip and further distress for all involved.
Oh, and all of this happens in beautiful, paradise-like Hawaii (which they do a very good job of normalizing in this context).
Doesn't sound like fun? Well, no—but the characters are so well-written, and the actors are so great in their roles that it is actually a very pleasurable film to watch. Satisfying if not happy; but witty all the same.
A small but key role is nailed by the oozing-with-charisma Matthew Lillard, who is perfectly cast as an ambitious realtor. Also charming is the fantastic Judy Greer, who plays his wife.
Clooney will certainly be leading the Oscar race for his understated, powerful work in the film, and I for one won't be sorry if he prevails.
Though it may be a tough story to see (especially if you've had to decide whether or not to leave a loved one on life support) it is a genius exploration of family dynamics as they often play out in real life: complicated, loving, painful and revealing all at once.
~~~
Matt (Clooney) is a distant dad, married to his work. He has a tough time relating to his daughters, and an even tougher time relating to his wife in the midst of a huge property sale. The land in question has been in his family for several generations and he is tasked with acting as the trustee of that land on behalf of several cousins.
When his wife Elizabeth (Patricia Hastie) ends up in a coma following a boating accident, Matt's life is turned upside down. Aside from his grief, his youngest daughter, Scottie (Amara Miller), is spiraling out of control, while his eldest daughter, Alexandra, may have a drug (or at least drinking) problem. He does the best he can under the circumstances.
Alexandra soon reveals a family secret that devastates Matt further. This leads to a witch hunt field trip and further distress for all involved.
Oh, and all of this happens in beautiful, paradise-like Hawaii (which they do a very good job of normalizing in this context).
Doesn't sound like fun? Well, no—but the characters are so well-written, and the actors are so great in their roles that it is actually a very pleasurable film to watch. Satisfying if not happy; but witty all the same.
A small but key role is nailed by the oozing-with-charisma Matthew Lillard, who is perfectly cast as an ambitious realtor. Also charming is the fantastic Judy Greer, who plays his wife.
Clooney will certainly be leading the Oscar race for his understated, powerful work in the film, and I for one won't be sorry if he prevails.
Though it may be a tough story to see (especially if you've had to decide whether or not to leave a loved one on life support) it is a genius exploration of family dynamics as they often play out in real life: complicated, loving, painful and revealing all at once.
~~~
Sunday, November 27, 2011
My Week with Marylin
Today I saw My Week with Marylin, starring Michelle Williams and Eddie Redmayne.
Colin Clark (Redmayne) is a starstruck twentysomething who will do anything to work in the movie business. Sir Lawrence Olivier (Kenneth Branagh) is beginning production on a new film starring Marylin Monroe (Williams). Colin is in the right place at the right time and scores himself a job as a 3rd director, which (as is repeated ad nauseum in the film) is basically an errand runner.
We are shown the fanfare when Marylin arrives in England as a newlywed (in her third marriage). We are shown how she is babysat around the clock by various handlers with various purposes. We see immediately that Marylin is a very unhappy, high maintenance woman.
But that doesn't stop Colin from developing a debilitating crush on her like many of the men of his time.
Colin's low-on-the-totem-pole role and polite nature make him attractive to the Hollywood starlet, and she soon begins requesting his presence at the home where she's staying for the duration of the film shoot.
If she wants to talk, he talks to her; if she wants to be held, he holds her. All the while we can see she is about to chew him up and spit him out.
But it's hard to hate a woman so desperate to be loved, no matter how much of a pain in the ass she turns out to be. Colin doesn't seem to resent her for using him, so why should we?
The film does a good job of conveying her circumstances, and Williams nails her mannerisms and speaking rhythms. Redmayne is a believable lost-puppy-in-love and all of the supporting cast does fine too. But for a movie so predictable, the story doesn't move very fast.
Also annoying is the padding they have on Williams to create the illusion of Monroe's curves. Williams is anything but voluptuous, and anytime they have her moving seductively, it looks like a teenager who has padded her bra acting out in front of a mirror. Williams face is too thin to be convincingly attached to the allegedly curvy body, and the nude scenes don't come close to showing a 140 lb. woman (that was the real Marylin's last reported weight).
All in all, this true tale plays out for what it is: one man's favorite story to tell, though he doesn't come out looking particularly smart or better for it.
~~~
Colin Clark (Redmayne) is a starstruck twentysomething who will do anything to work in the movie business. Sir Lawrence Olivier (Kenneth Branagh) is beginning production on a new film starring Marylin Monroe (Williams). Colin is in the right place at the right time and scores himself a job as a 3rd director, which (as is repeated ad nauseum in the film) is basically an errand runner.
We are shown the fanfare when Marylin arrives in England as a newlywed (in her third marriage). We are shown how she is babysat around the clock by various handlers with various purposes. We see immediately that Marylin is a very unhappy, high maintenance woman.
But that doesn't stop Colin from developing a debilitating crush on her like many of the men of his time.
Colin's low-on-the-totem-pole role and polite nature make him attractive to the Hollywood starlet, and she soon begins requesting his presence at the home where she's staying for the duration of the film shoot.
If she wants to talk, he talks to her; if she wants to be held, he holds her. All the while we can see she is about to chew him up and spit him out.
But it's hard to hate a woman so desperate to be loved, no matter how much of a pain in the ass she turns out to be. Colin doesn't seem to resent her for using him, so why should we?
The film does a good job of conveying her circumstances, and Williams nails her mannerisms and speaking rhythms. Redmayne is a believable lost-puppy-in-love and all of the supporting cast does fine too. But for a movie so predictable, the story doesn't move very fast.
Also annoying is the padding they have on Williams to create the illusion of Monroe's curves. Williams is anything but voluptuous, and anytime they have her moving seductively, it looks like a teenager who has padded her bra acting out in front of a mirror. Williams face is too thin to be convincingly attached to the allegedly curvy body, and the nude scenes don't come close to showing a 140 lb. woman (that was the real Marylin's last reported weight).
All in all, this true tale plays out for what it is: one man's favorite story to tell, though he doesn't come out looking particularly smart or better for it.
~~~
Friday, November 25, 2011
Arthur Christmas
Tonight I saw the animated holiday film Arthur Christmas.
Arthur (James McAvoy) is the youngest of Santa's children. He wears Christmas sweaters we'd only wear as a joke and painstakingly answers Santa's miles and piles of mail.
Steve (Hugh Laurie) is Arthur's older brother, trusted with the operation of getting gifts to kids successfully across the world on the big day.
Santa (Jim Broadbent) is getting old; Grandsanta (Bill Nighy) is already 139. They're both not up to what they used to be.
When it is discovered on Christmas Eve that little Gwen (Ramona Marquez) of Cornwall, England, has accidentally been skipped, Arthur and Grandsanta set out to deliver her pink sparkly bike themselves.
It's a very classic story about doing the right thing that's infused with modern-day humor (there is more than one laugh at the expense of lead toys; they use a GPS to try to locate Gwen's home).
But what's so refreshing about the movie is the lack of 'potty' jokes that seem to permeate 99% of the kids' flicks made today. I was so glad to have chosen to see one that is in the 1%.
The voices are all famous Brits (save for a few of the supporting characters, who are American) and their presence only makes the characters more endearing. Arthur is an inherently sweet soul; Mrs. Santa (Imelda Staunton) is a classic, comforting mum; Bryony (Ashley Jensen) is an elf charmingly obsessed with package bows.
This is one for the whole family—there are enough clever adult references to keep the grown-ups smiling and plenty of holiday action to delight the children.
Seeing this is a great way to kick off the 2011 holiday season.
~~~
Arthur (James McAvoy) is the youngest of Santa's children. He wears Christmas sweaters we'd only wear as a joke and painstakingly answers Santa's miles and piles of mail.
Steve (Hugh Laurie) is Arthur's older brother, trusted with the operation of getting gifts to kids successfully across the world on the big day.
Santa (Jim Broadbent) is getting old; Grandsanta (Bill Nighy) is already 139. They're both not up to what they used to be.
When it is discovered on Christmas Eve that little Gwen (Ramona Marquez) of Cornwall, England, has accidentally been skipped, Arthur and Grandsanta set out to deliver her pink sparkly bike themselves.
It's a very classic story about doing the right thing that's infused with modern-day humor (there is more than one laugh at the expense of lead toys; they use a GPS to try to locate Gwen's home).
But what's so refreshing about the movie is the lack of 'potty' jokes that seem to permeate 99% of the kids' flicks made today. I was so glad to have chosen to see one that is in the 1%.
The voices are all famous Brits (save for a few of the supporting characters, who are American) and their presence only makes the characters more endearing. Arthur is an inherently sweet soul; Mrs. Santa (Imelda Staunton) is a classic, comforting mum; Bryony (Ashley Jensen) is an elf charmingly obsessed with package bows.
This is one for the whole family—there are enough clever adult references to keep the grown-ups smiling and plenty of holiday action to delight the children.
Seeing this is a great way to kick off the 2011 holiday season.
~~~
Sunday, November 13, 2011
Martha Marcy May Marlene
Today I saw Martha Marcy May Marlene starring Elizabeth Olsen and John Hawkes.
Finally, something Oscar-worthy in this dismal year of film.
Martha (Olsen) is a lost soul. Her father abandoned her family; her mother died. In light of these tragedies, she somehow finds her way to a commune, apparently craving a sense of place. At first, the hardworking family of people who make up the community seem nice, but we later learn that rape and violence are acceptable behaviors. The leader, Patrick (Hawkes), thinks it disloyal if members disagree.
We're not sure what pushes Martha over the edge, but our first introduction to her is when she is escaping the tribe. She calls her only sister, Lucy (Sarah Paulson), for help.
Once in the safe confines of Lucy's summer lake house, Martha attempts to re-acclimate to regular society despite an impatient brother-in-law (Hugh Dancy) and no professional help.
We see the abuse and brainwashing she suffers through flashbacks, woven brilliantly into her present-day experiences. It's somewhat like experiencing PTSD once-removed, and the amazing Elizabeth Olsen does an Oscar-worthy job of conveying it.
Also great, but painful to watch, is John Hawkes as the menacing patriarch of the cult. He appears so gentle at first, it's believable that he could weave new recruits into his web of oppression.
What's clever about the film is that the community isn't blamed on any religious sect, and Martha's wandering spirit is sad, but not completely lost. Every moment of what transpires could happen. In fact, it probably has, many times over.
Though few will relate to brainwashing or communal living, everyone who sees this has certainly searched for belonging at some point in their life, whether it be in a relationship or a friendship or a career.
Watching this tortured soul navigate her way back into a life that she never had isn't easy, but it's so well done, you can't look away.
~~~
Finally, something Oscar-worthy in this dismal year of film.
Martha (Olsen) is a lost soul. Her father abandoned her family; her mother died. In light of these tragedies, she somehow finds her way to a commune, apparently craving a sense of place. At first, the hardworking family of people who make up the community seem nice, but we later learn that rape and violence are acceptable behaviors. The leader, Patrick (Hawkes), thinks it disloyal if members disagree.
We're not sure what pushes Martha over the edge, but our first introduction to her is when she is escaping the tribe. She calls her only sister, Lucy (Sarah Paulson), for help.
Once in the safe confines of Lucy's summer lake house, Martha attempts to re-acclimate to regular society despite an impatient brother-in-law (Hugh Dancy) and no professional help.
We see the abuse and brainwashing she suffers through flashbacks, woven brilliantly into her present-day experiences. It's somewhat like experiencing PTSD once-removed, and the amazing Elizabeth Olsen does an Oscar-worthy job of conveying it.
Also great, but painful to watch, is John Hawkes as the menacing patriarch of the cult. He appears so gentle at first, it's believable that he could weave new recruits into his web of oppression.
What's clever about the film is that the community isn't blamed on any religious sect, and Martha's wandering spirit is sad, but not completely lost. Every moment of what transpires could happen. In fact, it probably has, many times over.
Though few will relate to brainwashing or communal living, everyone who sees this has certainly searched for belonging at some point in their life, whether it be in a relationship or a friendship or a career.
Watching this tortured soul navigate her way back into a life that she never had isn't easy, but it's so well done, you can't look away.
~~~
Saturday, November 12, 2011
J. Edgar
Tonight I saw J. Edgar, starring Leonardo DiCaprio and Naomi Watts.
It will be the topic of Cinebanter #109, so tune in later this month for our review.
It will be the topic of Cinebanter #109, so tune in later this month for our review.
Sunday, October 30, 2011
From The Sky Down
Today I saw From the Sky Down, a documentary about U2.
Directed by Davis Guggenheim, who previously worked with The Edge on the spectacular It Might Get Loud, the film centers around the band's time at Hansa Studios in Berlin during the making of their album, Achtung Baby.
I can see why diehards are disappointed in this and the masses are impressed.
Folks like me, in the diehard category, will see a lot of footage they've seen in the past. Some is from The Unforgettable Fire documentary; more is from Classic Albums: The Joshua Tree. Granted, it's weaved well within the context of the exploration Guggenheim needs to setup the 'drama' that was the Berlin sessions, but for those of us who have followed the band for three decades, it's old news.
There are also no 'big reveals' here that tell us anything we didn't already know.
The hats vs. the haircuts; the dance rythms vs. their signature sound; the drum machine vs. Larry. Old news.
That said, the production is beautiful.
Having the band go back (literally) to their old haunt and re-visit the songs and history that were created there is the perfect landscape for good documentary storytelling. You can tell from the present-day interviews that the memories still bring up a dose of pain for the group (for those not in-the-know, the band came close to breaking up during that time), but also a source of pride in the sense that they got through it and emerged stronger.
It will always be a pleasure to hear how "One" (arguably the song that sounds the most like their former selves) cracked the code of despair and allowed them to move forward with writing the rest of the album. And it will always be fun to look back to the time when the band was reinventing themselves (whether or not you think Achtung Baby was their career masterpiece).
But for an honest, raw look at that period of strained, tense creativity, I prefer to re-read the hilarious book, U2 At the End of the World, by Bill Flannigan. It reveals so much more.
~~~
Directed by Davis Guggenheim, who previously worked with The Edge on the spectacular It Might Get Loud, the film centers around the band's time at Hansa Studios in Berlin during the making of their album, Achtung Baby.
I can see why diehards are disappointed in this and the masses are impressed.
Folks like me, in the diehard category, will see a lot of footage they've seen in the past. Some is from The Unforgettable Fire documentary; more is from Classic Albums: The Joshua Tree. Granted, it's weaved well within the context of the exploration Guggenheim needs to setup the 'drama' that was the Berlin sessions, but for those of us who have followed the band for three decades, it's old news.
There are also no 'big reveals' here that tell us anything we didn't already know.
The hats vs. the haircuts; the dance rythms vs. their signature sound; the drum machine vs. Larry. Old news.
That said, the production is beautiful.
Having the band go back (literally) to their old haunt and re-visit the songs and history that were created there is the perfect landscape for good documentary storytelling. You can tell from the present-day interviews that the memories still bring up a dose of pain for the group (for those not in-the-know, the band came close to breaking up during that time), but also a source of pride in the sense that they got through it and emerged stronger.
It will always be a pleasure to hear how "One" (arguably the song that sounds the most like their former selves) cracked the code of despair and allowed them to move forward with writing the rest of the album. And it will always be fun to look back to the time when the band was reinventing themselves (whether or not you think Achtung Baby was their career masterpiece).
But for an honest, raw look at that period of strained, tense creativity, I prefer to re-read the hilarious book, U2 At the End of the World, by Bill Flannigan. It reveals so much more.
~~~
Saturday, October 29, 2011
Ghostbusters
On Thursday night I saw Ghostbusters, starring Bill Murray and Dan Akroyd.
It was one of my favorite films as a kid and it remains so today—I'm so glad I got to experience it on the big screen after all of these years.
When three parapsychology professors lose their funding, they go into business battling ghosts around New York City.
Dr. Egon Spengler (Harold Ramis) is the serious scientist; Dr. Ray Stantz (Akroyd) is the bumbling idiot and Dr. Peter Venkman (Murray) leads the bunch with his sarcastic wit. It's a match made in heaven (or in Sumer), as the chemistry between the three provides consistent sparks throughout the film.
The damsel in distress is a young, alluring Sigourney Weaver as musician Dana Barrett. Her kitchen is taken over by Gozer, an ancient God worshiped by Sumerians. She reports this disturbance to the Ghostbusters, but when Dr. Venkman investigates, her kitchen doesn't deliver.
Soon she is possessed by the spirit and becomes the "Gate Keeper"; her nerdy neighbor across the hall (Rick Moranis) is her "Key Master." Just as they begin to prepare for the return of Gozer, the EPA shuts down the Ghostbusters' business, which releases countless specters back into New York City.
When the mayor realizes this was done in error, he invites the Ghostbusters to battle this paranormal apocalypse and save the city from certain destruction.
Even after seeing the film at least a dozen times over the years, seeing it again last night in the theater felt like the first time.
The ghost that opens the show in the New York Public Library still startled me, though I knew she would shush the scientists when they approached; the dog jumping out of the closet at the party still made me jump.
Though the film is clearly set in the 80s (as evidenced by the Coke cans that don't yet say 'classic' and Larry King's dark hair), the story and it's wonderfully developed characters remain timeless.
I could probably see this film once a week and never tire of it.
~~~
It was one of my favorite films as a kid and it remains so today—I'm so glad I got to experience it on the big screen after all of these years.
When three parapsychology professors lose their funding, they go into business battling ghosts around New York City.
Dr. Egon Spengler (Harold Ramis) is the serious scientist; Dr. Ray Stantz (Akroyd) is the bumbling idiot and Dr. Peter Venkman (Murray) leads the bunch with his sarcastic wit. It's a match made in heaven (or in Sumer), as the chemistry between the three provides consistent sparks throughout the film.
The damsel in distress is a young, alluring Sigourney Weaver as musician Dana Barrett. Her kitchen is taken over by Gozer, an ancient God worshiped by Sumerians. She reports this disturbance to the Ghostbusters, but when Dr. Venkman investigates, her kitchen doesn't deliver.
Soon she is possessed by the spirit and becomes the "Gate Keeper"; her nerdy neighbor across the hall (Rick Moranis) is her "Key Master." Just as they begin to prepare for the return of Gozer, the EPA shuts down the Ghostbusters' business, which releases countless specters back into New York City.
When the mayor realizes this was done in error, he invites the Ghostbusters to battle this paranormal apocalypse and save the city from certain destruction.
Even after seeing the film at least a dozen times over the years, seeing it again last night in the theater felt like the first time.
The ghost that opens the show in the New York Public Library still startled me, though I knew she would shush the scientists when they approached; the dog jumping out of the closet at the party still made me jump.
Though the film is clearly set in the 80s (as evidenced by the Coke cans that don't yet say 'classic' and Larry King's dark hair), the story and it's wonderfully developed characters remain timeless.
I could probably see this film once a week and never tire of it.
~~~
Saturday, October 22, 2011
The Man on the Train
Last night I screened The Man on the Train, starring Donald Sutherland and Larry Mullen, Jr.
Read my review on @U2.com.
Read my review on @U2.com.
Saturday, October 08, 2011
The Ides of March
Last night I saw The Ides of March, starring Ryan Gosling and George Clooney.
It will be the topic of Cinebanter #108, so tune in later this month for our review.
It will be the topic of Cinebanter #108, so tune in later this month for our review.
Thursday, September 29, 2011
Moneyball
Last night I saw Moneyball, starring Brad Pitt and Jonah Hill.
The story chronicles the rise of Oakland A’s general manager Billy Beane (Pitt) after he adapted the concept of choosing players based on statistical analysis of their abilities.
Beane was faced with a potential losing team in 2002 and a lack of budget to rectify the situation—he caught wind of an analyst, Peter Brand (Hill), who had a theory about recruiting talent based on mathematical equations and hired him. In real-life, “Peter” is really “Paul” and he went to Harvard, not Yale. But who really cares, right? A good story is a good story and this one happens to be well-told on the big screen.
Aside from the slow beginning, the film’s pace will keep you watching even if you could care less about baseball. The magic of Aaron Sorkin (who co-wrote the screenplay) is evidenced in the clever dialog; the bromance between Pitt and Hill adds a spark to the rest of the story, which is alternately nail-biting tense and satisfying.
Phillip Seymour Hoffman is great as the understated team manager Art Howe and Robin Wright makes a great cameo as Beane’s ex-wife, Sharon. All of the players are also well-cast, some truly resembling their real-life counterparts, and no one jumps out as unrealistic or cartoonish (except perhaps Sharon’s second husband, but his appearance is so brief it’s not too annoying).
There’s also a healthy balance of on-field (real life and reenacted) footage and locker room chatter. Really, there’s not much wrong with this film.
If you want a somewhat lighthearted, engaging two hours of entertainment, go see it.
~~~
The story chronicles the rise of Oakland A’s general manager Billy Beane (Pitt) after he adapted the concept of choosing players based on statistical analysis of their abilities.
Beane was faced with a potential losing team in 2002 and a lack of budget to rectify the situation—he caught wind of an analyst, Peter Brand (Hill), who had a theory about recruiting talent based on mathematical equations and hired him. In real-life, “Peter” is really “Paul” and he went to Harvard, not Yale. But who really cares, right? A good story is a good story and this one happens to be well-told on the big screen.
Aside from the slow beginning, the film’s pace will keep you watching even if you could care less about baseball. The magic of Aaron Sorkin (who co-wrote the screenplay) is evidenced in the clever dialog; the bromance between Pitt and Hill adds a spark to the rest of the story, which is alternately nail-biting tense and satisfying.
Phillip Seymour Hoffman is great as the understated team manager Art Howe and Robin Wright makes a great cameo as Beane’s ex-wife, Sharon. All of the players are also well-cast, some truly resembling their real-life counterparts, and no one jumps out as unrealistic or cartoonish (except perhaps Sharon’s second husband, but his appearance is so brief it’s not too annoying).
There’s also a healthy balance of on-field (real life and reenacted) footage and locker room chatter. Really, there’s not much wrong with this film.
If you want a somewhat lighthearted, engaging two hours of entertainment, go see it.
~~~
Sunday, September 25, 2011
Drive
Today I saw Drive, starring Ryan Gosling and Carey Mulligan.
A Hollywood stunt driver (Gosling) strikes up a friendship with his neighbor, Irene (Mulligan), with whom he shares an immediate chemistry, but soon learns she is married. Her husband is in prison and will be home in the next few weeks.
In the meantime, the Driver acts as a caretaker for Irene and her young son, not pretending to deny the elephant in the room.
By day the Driver works on Hollywood sets and in a nearby garage; by night he drives getaway cars but somehow manages to keep his hands clean of the crimes ... until Irene's husband comes home.
Standard (Oscar Isaac) owes a debt to some folks from his prison days. He wants to lead a crime-free life, but fears what may happen to his family if he doesn't make good on the promise. He mentions his predicament to the Driver, who agrees to help him purely to keep Irene and her son safe.
When the robbery spirals out of control (featuring an electric cameo from Mad Men's Christina Hendricks), the Driver finds himself guilty of more than driving, and in the worst danger of his life.
Ryan Gosling plays the main character with a controlled chaos that's fastly becoming his trademark. You can see by the look in his eyes he'll do anything for this woman, yet he's a man of few words. Only the Johnny Depps and Leo Dicaprios of the world could've played this part as well.
A Hollywood stunt driver (Gosling) strikes up a friendship with his neighbor, Irene (Mulligan), with whom he shares an immediate chemistry, but soon learns she is married. Her husband is in prison and will be home in the next few weeks.
In the meantime, the Driver acts as a caretaker for Irene and her young son, not pretending to deny the elephant in the room.
By day the Driver works on Hollywood sets and in a nearby garage; by night he drives getaway cars but somehow manages to keep his hands clean of the crimes ... until Irene's husband comes home.
Standard (Oscar Isaac) owes a debt to some folks from his prison days. He wants to lead a crime-free life, but fears what may happen to his family if he doesn't make good on the promise. He mentions his predicament to the Driver, who agrees to help him purely to keep Irene and her son safe.
When the robbery spirals out of control (featuring an electric cameo from Mad Men's Christina Hendricks), the Driver finds himself guilty of more than driving, and in the worst danger of his life.
Ryan Gosling plays the main character with a controlled chaos that's fastly becoming his trademark. You can see by the look in his eyes he'll do anything for this woman, yet he's a man of few words. Only the Johnny Depps and Leo Dicaprios of the world could've played this part as well.
The directing is also phenomenal—a battle is acted out in shadows; flashes of light build tension after a crash and nothing is as scary as the glimpse we get of a bad guy through the bathroom blinds.
All of this is intensified by a perfect musical score. The sounds that accompany the actions add to instead of subtract from the action, and there's plenty of it.
I could've done without much of the blood and gore, but none of it was gratuitous. In fact, it was probably all the more shocking because it was completely believable.
Easily one of the best films of 2011.
~~
Sunday, September 18, 2011
Straw Dogs
This morning I saw Straw Dogs, starring James Marsden and Alexander Skarsgard.
It's a good thing I went into this film with low expectations.
Though I've never seen the 1971 original, I knew the premise and figured it wouldn't be a genius production. Boy was I right.
David (Marsden) needs a quiet place to finish his writing and Hollywood isn't cutting it. So he and his wife Amy (Kate Bosworth) head to her hometown in the south to stay at her parents' seemingly abandoned house.
Of course, time has stood still in this rural town and her apparent high school sweetheart Charlie (Skarsgard) still carries a torch for her. He is part of a 'construction' crew that her husband hires to replace a roof on the property. The other three bumpkins aren't good looking or 'smart' like Charlie, so he calls all the shots.
Amy isn't so smart either. She jogs barefoot and braless along this country path, then gets upset when the filthy men gawk at her. Even her husband sort of tells her she's asking for it.
The fish-out-of-water situations they put David in grow boring quite rapidly, but thankfully the sweaty, dirty shots of Charlie don't.
Really, that's all that kept me watching.
The couple gets tormented by her ex's posse yet they still stick around. James Woods is a nasty old drunk who targets a mentally challenged man, who we see get berated and beaten repeatedly. The whole town goes to church together because they're all the same religion in the Bible Belt. Need I say more?
All of the actors here are above this, which is why it's such a shame they were all in it.
It's perhaps the worst movie I've seen so far this year.
It's a good thing I went into this film with low expectations.
Though I've never seen the 1971 original, I knew the premise and figured it wouldn't be a genius production. Boy was I right.
David (Marsden) needs a quiet place to finish his writing and Hollywood isn't cutting it. So he and his wife Amy (Kate Bosworth) head to her hometown in the south to stay at her parents' seemingly abandoned house.
Of course, time has stood still in this rural town and her apparent high school sweetheart Charlie (Skarsgard) still carries a torch for her. He is part of a 'construction' crew that her husband hires to replace a roof on the property. The other three bumpkins aren't good looking or 'smart' like Charlie, so he calls all the shots.
Amy isn't so smart either. She jogs barefoot and braless along this country path, then gets upset when the filthy men gawk at her. Even her husband sort of tells her she's asking for it.
The fish-out-of-water situations they put David in grow boring quite rapidly, but thankfully the sweaty, dirty shots of Charlie don't.
Really, that's all that kept me watching.
The couple gets tormented by her ex's posse yet they still stick around. James Woods is a nasty old drunk who targets a mentally challenged man, who we see get berated and beaten repeatedly. The whole town goes to church together because they're all the same religion in the Bible Belt. Need I say more?
All of the actors here are above this, which is why it's such a shame they were all in it.
It's perhaps the worst movie I've seen so far this year.
Sunday, September 11, 2011
The Whale
Last night I saw the documentary, The Whale, by Suzanne Chisolm and Michael Parfit.
In the spring of 2008, I screened a documentary at the Seattle International Film Festival that left me weeping and smiling all the same. It was called Saving Luna, and it captured the story of an orca from Washington's L-pod that became separated from his family and built a life in Canada, making friends with humans instead of returning home.
This film is a re-purposed version of that film, and delivers just as powerful a punch—reminding us to embrace nature and respect all of the treasures that our earth delivers.
My opinion hasn't changed since I wrote this review for Cinebanter, three years ago.
I encourage those of you in Seattle to get to The Whale before it leaves SIFF Cinema at the end of the week (and yes, I encourage you to take the kids). Those of you in other cities and countries should lobby for this beautiful film to come to your area. You won't be disappointed.
To view the trailer, click here.
In the spring of 2008, I screened a documentary at the Seattle International Film Festival that left me weeping and smiling all the same. It was called Saving Luna, and it captured the story of an orca from Washington's L-pod that became separated from his family and built a life in Canada, making friends with humans instead of returning home.
This film is a re-purposed version of that film, and delivers just as powerful a punch—reminding us to embrace nature and respect all of the treasures that our earth delivers.
My opinion hasn't changed since I wrote this review for Cinebanter, three years ago.
I encourage those of you in Seattle to get to The Whale before it leaves SIFF Cinema at the end of the week (and yes, I encourage you to take the kids). Those of you in other cities and countries should lobby for this beautiful film to come to your area. You won't be disappointed.
To view the trailer, click here.
Contagion
Yesterday I saw Contagion, starring Matt Damon and Kate Winslet.
It will be the topic of Cinebanter #107, so tune in later this month for our review.
It will be the topic of Cinebanter #107, so tune in later this month for our review.
Sunday, September 04, 2011
A Good Old Fashioned Orgy
This morning I saw A Good Old Fashioned Orgy, starring Jason Sudekis and Leslie Bibb.
Eric (Sudekis) has had the same group of friends since high school. They all fit the stereotypes of a movie-centered-around-a-group-of-friends. There's a mental health professional (who happens to be beautiful), a corporate nerd, a struggling musician, a loser that latches on to everyone else, etc. The women are hot; the men are average at best, but that doesn't stop the women from hanging out with them. They all gather for lavish theme parties at their favorite summer home, which belongs to Eric's dad.
Sounds like a good teenage/college premise right? Well, it would have been. Trouble is, these folks are pushing 40.
And that's where they lose me.
When Eric's dad makes a cameo (it is Don Johnson, after all) to announce he's selling off the summer home for no particular reason, Eric and his posse decide they must have the Best Party Ever to say goodbye to it. After a brief brainstorm, Eric decides that they should go full monty (pun intended) and throw an orgy. His suggestion is met by a less than enthusiastic response (who wants to bang their childhood friends in front of each other?) but one by one, the group gets used to the idea and starts doing 'research' to plan the evening.
On a side note, the only not-completely-ridiculous part of the plot involves Eric falling in love with his realtor, Kelly (Bibb). They have a real, authentic chemistry and their scenes together make me wish this had just been a standard rom-com about a guy and a realtor having a meet-cute and living happily ever after.
But I digress.
Of course some of the friends like some of the other friends (who don't know they like them) and other friends have insecurity issues, body image issues, etc. They all have to get past this to get it on (but I would be spoiling things if I told you whether or not they did).
I can't say I exactly had high expectations going into this, but with folks like Sudekis and fellow SNL alum Will Forte on the roster, I did expect to laugh a lot more.
The 80s did raunchy (and comedy) so much better.
~~~
Eric (Sudekis) has had the same group of friends since high school. They all fit the stereotypes of a movie-centered-around-a-group-of-friends. There's a mental health professional (who happens to be beautiful), a corporate nerd, a struggling musician, a loser that latches on to everyone else, etc. The women are hot; the men are average at best, but that doesn't stop the women from hanging out with them. They all gather for lavish theme parties at their favorite summer home, which belongs to Eric's dad.
Sounds like a good teenage/college premise right? Well, it would have been. Trouble is, these folks are pushing 40.
And that's where they lose me.
When Eric's dad makes a cameo (it is Don Johnson, after all) to announce he's selling off the summer home for no particular reason, Eric and his posse decide they must have the Best Party Ever to say goodbye to it. After a brief brainstorm, Eric decides that they should go full monty (pun intended) and throw an orgy. His suggestion is met by a less than enthusiastic response (who wants to bang their childhood friends in front of each other?) but one by one, the group gets used to the idea and starts doing 'research' to plan the evening.
On a side note, the only not-completely-ridiculous part of the plot involves Eric falling in love with his realtor, Kelly (Bibb). They have a real, authentic chemistry and their scenes together make me wish this had just been a standard rom-com about a guy and a realtor having a meet-cute and living happily ever after.
But I digress.
Of course some of the friends like some of the other friends (who don't know they like them) and other friends have insecurity issues, body image issues, etc. They all have to get past this to get it on (but I would be spoiling things if I told you whether or not they did).
I can't say I exactly had high expectations going into this, but with folks like Sudekis and fellow SNL alum Will Forte on the roster, I did expect to laugh a lot more.
The 80s did raunchy (and comedy) so much better.
~~~
Saturday, September 03, 2011
Beginners
Today I saw Beginners, starring Ewan McGregor and Christopher Plummer.
Oliver (McGregor) is pushing 40 when his father, Hal (Plummer), tells him that he's gay, and he's known he was gay since he was 13 despite his marriage to Oliver's mother, which lasted until her passing.
Instead of freaking out or distancing himself from his dad, Oliver embraces this new knowledge and accepts his father's new lifestyle, along with his much younger boyfriend.
Unfortunately, he also has to deal with the news that his father is ill—so the limited time they have together makes his questions rise to the surface probably faster than they would have otherwise.
Depressing? Uh-huh. Stories about loss usually are sad, and this one definitely qualifies despite its attempts at momentary lapses of light.
The film jumps around between present day, flashbacks, voiceover and dog subtitles. Yes, dog subtitles. And instead of finding the high maintenance Jack Russell "Arthur" adorable (like many surely did), I found him to be terribly annoying.
The quirky bits don't really have a place in this melancholy drama, which at the heart of the script is really only about loss. Loss of family, loss of love, loss of innocence.
And despite the actors' phenomenal performances, the slow pace and the tragic topics at every turn made this film a somewhat unpleasant experience to witness.
Just one of the story arcs would've been enough to keep me interested, and I wish the writer (who based this on his own life experience) had chosen to approach it that way instead.
~~~
Oliver (McGregor) is pushing 40 when his father, Hal (Plummer), tells him that he's gay, and he's known he was gay since he was 13 despite his marriage to Oliver's mother, which lasted until her passing.
Instead of freaking out or distancing himself from his dad, Oliver embraces this new knowledge and accepts his father's new lifestyle, along with his much younger boyfriend.
Unfortunately, he also has to deal with the news that his father is ill—so the limited time they have together makes his questions rise to the surface probably faster than they would have otherwise.
Depressing? Uh-huh. Stories about loss usually are sad, and this one definitely qualifies despite its attempts at momentary lapses of light.
The film jumps around between present day, flashbacks, voiceover and dog subtitles. Yes, dog subtitles. And instead of finding the high maintenance Jack Russell "Arthur" adorable (like many surely did), I found him to be terribly annoying.
The quirky bits don't really have a place in this melancholy drama, which at the heart of the script is really only about loss. Loss of family, loss of love, loss of innocence.
And despite the actors' phenomenal performances, the slow pace and the tragic topics at every turn made this film a somewhat unpleasant experience to witness.
Just one of the story arcs would've been enough to keep me interested, and I wish the writer (who based this on his own life experience) had chosen to approach it that way instead.
~~~
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