Today I saw Om natten, which is an Oscar® nominee in the Live Action Short Film category.
Set in a cancer hospital in Denmark, three young women bond over their "death sentences," their family problems and their hope for recovery (or lack thereof).
I always think one way to measure a good film is if it feels like the characters are still in existence after you leave the theater. With this one, I truly did.
The actresses that portray Stephanie, Sara and Mette deserve nominations of their own for their convincing moments as sick and conflicted women. The fact the film is set over the holidays only compounds the tears you'll shed as you dive into their world head-first, but you'll still be glad you spent time with them when all is said and done. After 39 minutes, I'm bargaining you'll feel grateful for your own blessings more than you did prior to seeing this.
If I could vote, this would easily be my pick to win.
Saturday, February 16, 2008
Le Mozart des pickpockets
Today I saw Le Mozart des pickpockets, which is an Oscar® nominee in the Live Action Short Film category.
France's Philippe Pollet-Villard wrote and directed this comedy about two thieves that accumulate passports, cash and credit cards from unknowing victims and somehow along the way pick up a deaf-mute child. Their banter is borderline charming as they work to communicate with their new 'son' and continue the cons that make their living.
I enjoyed this film quite a lot—even though one scene made me grab my purse from the chair next to me where it was resting.
It takes a non-admirable practice and brings light to it in an Odd Couple spirit (and adding in the cute kid doesn't hurt).
You'll probably leave the theater smiling in spite of yourself.
France's Philippe Pollet-Villard wrote and directed this comedy about two thieves that accumulate passports, cash and credit cards from unknowing victims and somehow along the way pick up a deaf-mute child. Their banter is borderline charming as they work to communicate with their new 'son' and continue the cons that make their living.
I enjoyed this film quite a lot—even though one scene made me grab my purse from the chair next to me where it was resting.
It takes a non-admirable practice and brings light to it in an Odd Couple spirit (and adding in the cute kid doesn't hurt).
You'll probably leave the theater smiling in spite of yourself.
The Tonto Woman
Today I saw The Tonto Woman, which is an Oscar® nominee in the Live Action Short Film Category.
For a short film, this sure went on for a long time.
The story is based on an Elmore Leonard work about a woman who is kidnapped by the Apaches and traded to the Mojaves, then returned 'tainted' to her husband. A friendly Mexican happens upon her bathing topless in the desert one day and becomes her confidant. He convinces her of her worth (which her husband seems to be ignoring), then something happens at the end which I won't spoil here.
I couldn't help but think that the only nominee in this category that is spoken in English would hold my attention more than the others, but I couldn't have been more wrong. Aside from the gratuitous (and non-sensual) nudity, I felt that what could've been a shocking story became very stale in this delivery. I wanted to care about the characters, but really didn't, and the ending was quite predictable.
It wouldn't get my vote if I were a member of the Academy.
For a short film, this sure went on for a long time.
The story is based on an Elmore Leonard work about a woman who is kidnapped by the Apaches and traded to the Mojaves, then returned 'tainted' to her husband. A friendly Mexican happens upon her bathing topless in the desert one day and becomes her confidant. He convinces her of her worth (which her husband seems to be ignoring), then something happens at the end which I won't spoil here.
I couldn't help but think that the only nominee in this category that is spoken in English would hold my attention more than the others, but I couldn't have been more wrong. Aside from the gratuitous (and non-sensual) nudity, I felt that what could've been a shocking story became very stale in this delivery. I wanted to care about the characters, but really didn't, and the ending was quite predictable.
It wouldn't get my vote if I were a member of the Academy.
Il Supplente
Today I saw Il Supplente, an Oscar® nominee in the Live Action Short Film category.
Italy's Andrea Jublin brings us rapidly into the classroom where all hell is breaking loose with the new substitute teacher. Usually when this happens, it's because the teacher has lost all control of the students. In this setting, the instructor is purposely wreaking havoc, chiming in with others to make fun of the fat kid, persuading one girl to hand over her diary and generally acting like an asshole.
This should be funny, but to me no part of it was. I thought the ending may redeem where the story had gone, but instead it carried the same cheap torch to the finish line.
It's disappointing this is even in the running for an Academy Award®.
Italy's Andrea Jublin brings us rapidly into the classroom where all hell is breaking loose with the new substitute teacher. Usually when this happens, it's because the teacher has lost all control of the students. In this setting, the instructor is purposely wreaking havoc, chiming in with others to make fun of the fat kid, persuading one girl to hand over her diary and generally acting like an asshole.
This should be funny, but to me no part of it was. I thought the ending may redeem where the story had gone, but instead it carried the same cheap torch to the finish line.
It's disappointing this is even in the running for an Academy Award®.
Tanghi Argentini
Today I saw Tanghi Argentini, one of the Oscar® nominees in the Live Action Short Film category.
In this 14-minute wonder, Belgium's Guido Thys brings us the sweet story of a man desperate to learn the tango so he can impress a date he's met on the Internet (with a screen name like "Bing Crosby" you can't help but root for him).
After much persuasion, he convinces a co-worker to teach him the crucial moves and what unfolds after that is pure delight.
This easily earned its nomination.
In this 14-minute wonder, Belgium's Guido Thys brings us the sweet story of a man desperate to learn the tango so he can impress a date he's met on the Internet (with a screen name like "Bing Crosby" you can't help but root for him).
After much persuasion, he convinces a co-worker to teach him the crucial moves and what unfolds after that is pure delight.
This easily earned its nomination.
Sunday, February 10, 2008
4 Months, 3 Weeks and 2 Days
Today I saw 4 Months, 3 Weeks and 2 Days, starring Anamaria Marinca and Laura Vasiliu.
Who knew that a film could be both pro-life and pro-choice?
The time is the 1980s, the place is Romania. One college student, Gabriela (Vasiliu) is desperate to get an abortion; her roommate Otilia (Marinca) is just as desperate to help her. In their current society, it is illegal for Gabriela to have the procedure, so they learn through a friend of a man who performs them secretly.
After the maddening dash to secure a hotel room to perform the procedure in, we're introduced to the less-than-noble abortionist, Mr. Bebe (Vlod Ivanov), who scolds the girls for not following his instructions to the letter and maliciously makes them pay for it.
The story progresses in real-time from Gabriela's decision, Otilia's turmoil over the ordeal and the resulting emotional damage.
I won't say any further about specifics because I couldn't without spoiling, but I will say that as a woman, I had to leave the theater once because I thought I was going to be sick.
The things they choose to put the audience through (and the things they make you see) are so harrowing you can't help but envision yourself in place of the girls and wonder if you'd make the same decisions.
The film is pro-life because it truly shows the dangers and horrors of what an abortion can do, both physically and emotionally. It is pro-choice because most of those horrors are avoided by the option of legal abortions, performed by doctors in sterile, safe environments.
It's a travesty that this film wasn't nominated for several Oscars and also that it's currently only being shown in limited release. Everyone should see this. Especially those here in the U.S. that think Roe vs. Wade should be overturned. I can't imagine that after seeing this any of them could sleep at night picturing their daughter or girlfriend or sister in a similar situation.
The bravery of the filmmakers to bring us such a graphic, honest rendition of the controversial topic cannot be understated.
Go see this. But go on an empty stomach.
Who knew that a film could be both pro-life and pro-choice?
The time is the 1980s, the place is Romania. One college student, Gabriela (Vasiliu) is desperate to get an abortion; her roommate Otilia (Marinca) is just as desperate to help her. In their current society, it is illegal for Gabriela to have the procedure, so they learn through a friend of a man who performs them secretly.
After the maddening dash to secure a hotel room to perform the procedure in, we're introduced to the less-than-noble abortionist, Mr. Bebe (Vlod Ivanov), who scolds the girls for not following his instructions to the letter and maliciously makes them pay for it.
The story progresses in real-time from Gabriela's decision, Otilia's turmoil over the ordeal and the resulting emotional damage.
I won't say any further about specifics because I couldn't without spoiling, but I will say that as a woman, I had to leave the theater once because I thought I was going to be sick.
The things they choose to put the audience through (and the things they make you see) are so harrowing you can't help but envision yourself in place of the girls and wonder if you'd make the same decisions.
The film is pro-life because it truly shows the dangers and horrors of what an abortion can do, both physically and emotionally. It is pro-choice because most of those horrors are avoided by the option of legal abortions, performed by doctors in sterile, safe environments.
It's a travesty that this film wasn't nominated for several Oscars and also that it's currently only being shown in limited release. Everyone should see this. Especially those here in the U.S. that think Roe vs. Wade should be overturned. I can't imagine that after seeing this any of them could sleep at night picturing their daughter or girlfriend or sister in a similar situation.
The bravery of the filmmakers to bring us such a graphic, honest rendition of the controversial topic cannot be understated.
Go see this. But go on an empty stomach.
Saturday, February 02, 2008
I'm Not There
This morning I saw I'm Not There, starring Cate Blanchett and Heath Ledger.
It's an avant garde approach to Bob Dylan's life, told through a series of sequences that feature a number of different actors portraying the folk legend. Really, it's over two hours of hits and misses.
The hits come in the performances, first and foremost. Blanchett is clearly the standout, brilliantly adapting the mannerisms, sound and look of the star while placing her own charismatic stamp on the story. The more we see from her, the more we can't help but wish the entire movie was only her. She could've easily pulled off all of the complexities the filmmakers were trying to convey. Particularly hilarious is a scene of her frolicking with "The Beatles."
Also great is the late Heath Ledger. He plays Dylan with a combination of sexiness and swagger that goes way beyond the charm of the real man. While vastly different from Dylan in both physique and spirit, Ledger manages to convince us in his first few moments on screen, just "which" Bob we're watching.
In addition to the major players, there are also a sprinkling of supporting characters that infuse great amounts of life into the narrative. Namely, Julianne Moore and Michelle Williams.
The beauty of the way the film is shot also contributes to its successes—the Dylans, etc. move freely between grainy black-and-white 'footage' and gorgeous, full-color frames. At no point does this become distracting or confusing, in fact, it actually helps move the story along.
And that's where the misses come in. As someone who is not much of a Dylan fan, I went into the film hoping to learn more about why he rose to fame (and stayed there). Unfortunately, this doesn't tell me much. I already knew he was a philosopher, a liar, a poet, a rebel, etc. but what I didn't know was why?
Although elements of his character are exhibited by the various actors (some miscast, by the way: Christian Bale), the movie seems so caught up in its artsyness that it can't quite connect to its purpose.
And the more I think about it, maybe that's why I'm not much of a Dylan fan.
It's an avant garde approach to Bob Dylan's life, told through a series of sequences that feature a number of different actors portraying the folk legend. Really, it's over two hours of hits and misses.
The hits come in the performances, first and foremost. Blanchett is clearly the standout, brilliantly adapting the mannerisms, sound and look of the star while placing her own charismatic stamp on the story. The more we see from her, the more we can't help but wish the entire movie was only her. She could've easily pulled off all of the complexities the filmmakers were trying to convey. Particularly hilarious is a scene of her frolicking with "The Beatles."
Also great is the late Heath Ledger. He plays Dylan with a combination of sexiness and swagger that goes way beyond the charm of the real man. While vastly different from Dylan in both physique and spirit, Ledger manages to convince us in his first few moments on screen, just "which" Bob we're watching.
In addition to the major players, there are also a sprinkling of supporting characters that infuse great amounts of life into the narrative. Namely, Julianne Moore and Michelle Williams.
The beauty of the way the film is shot also contributes to its successes—the Dylans, etc. move freely between grainy black-and-white 'footage' and gorgeous, full-color frames. At no point does this become distracting or confusing, in fact, it actually helps move the story along.
And that's where the misses come in. As someone who is not much of a Dylan fan, I went into the film hoping to learn more about why he rose to fame (and stayed there). Unfortunately, this doesn't tell me much. I already knew he was a philosopher, a liar, a poet, a rebel, etc. but what I didn't know was why?
Although elements of his character are exhibited by the various actors (some miscast, by the way: Christian Bale), the movie seems so caught up in its artsyness that it can't quite connect to its purpose.
And the more I think about it, maybe that's why I'm not much of a Dylan fan.
Friday, February 01, 2008
Michael Clayton
Tonight I saw Michael Clayton, starring George Clooney and Tom Wilkinson.
Forgive me for being stunned, but how did this manage to rack up an Oscar® nomination for Best Picture? It's a solid movie with solid acting, but that's about it.
Clooney does fine as the title character, a legal 'fixer-upper' sort that seems to constantly be in more danger than he realizes. Wilkinson also shines as Arthur, a chemically imbalanced member of the same legal firm that is threatening to turn one of their big corporate cases upside down. Everyone else is gravy.
The story follows a damning memorandum in reverse to explain how the characters come to be (or not) four days later. I found these flashbacks irritating—not because I didn't understand them—because the same tale could've been told in a linear fashion with more exciting results. Once you catch on to the Same Old Corporate Argument, it's pretty clear who will reign victorious when all is said and done (allowing, of course, for at least one shocking death).
Tilda Swinton plays a minor role as a major player in the case, and she's good as usual, but almost underutilized for the amount of time she appears on screen.
I suppose what I'm trying to say is that I went into the film hoping to be dazzled by a smart thriller and unfortunately got a little bored.
Forgive me for being stunned, but how did this manage to rack up an Oscar® nomination for Best Picture? It's a solid movie with solid acting, but that's about it.
Clooney does fine as the title character, a legal 'fixer-upper' sort that seems to constantly be in more danger than he realizes. Wilkinson also shines as Arthur, a chemically imbalanced member of the same legal firm that is threatening to turn one of their big corporate cases upside down. Everyone else is gravy.
The story follows a damning memorandum in reverse to explain how the characters come to be (or not) four days later. I found these flashbacks irritating—not because I didn't understand them—because the same tale could've been told in a linear fashion with more exciting results. Once you catch on to the Same Old Corporate Argument, it's pretty clear who will reign victorious when all is said and done (allowing, of course, for at least one shocking death).
Tilda Swinton plays a minor role as a major player in the case, and she's good as usual, but almost underutilized for the amount of time she appears on screen.
I suppose what I'm trying to say is that I went into the film hoping to be dazzled by a smart thriller and unfortunately got a little bored.
Tuesday, January 29, 2008
Lars and the Real Girl
Tonight I saw Lars and the Real Girl, starring Ryan Gosling and Emily Mortimer.
How often do devastation and hilarity find themselves in the same movie? Seldom. But here, we have a glowing example.
Lars Lindstrom (Gosling) is a lonely, single man living in the garage of his family home, next door to his brother and sister-in-law, who reside in the same house. He makes his way through life devoid of affection, by choice, which his doting sister-in-law Karin (Mortimer) finds troubling.
He works in a generic office, with somewhat generic people, and despite the attempts of a co-worker, he doesn't date. In fact, he rarely leaves his home, save for work and church.
One day, his cubicle mate shows him a Web site that sells custom-made 'real' dolls. He promptly orders one and is soon introducing everyone to his new girlfriend, Bianca.
His brother is so immediately horrified by this development, he tricks Lars into a therapy appointment by alleging Bianca needs a check-up. The doctor, Dagmar (played expertly by Patricia Clarkson) concludes that the best way to handle this delusion is to play along with the relationship and treat Bianca as an actual girlfriend. They schedule regular appointments for the doll, claiming she needs 'treatments' and she uses the time to counsel Lars discreetly.
What results is a hilarious journey the whole town soon embarks on, complete with invented jobs (the mall needs mannequins; the hospital needs volunteers), social engagements (Bianca doesn't drink, but attends parties) and marital-like disputes.
The entire plot and execution is positively absurd, but for some reason, it works. Instead of the situation appearing creepy, it's endearing, and once we learn why Lars needs to soften his pain with the help of this fictional friend, we're compelled to root for him.
Anyone who has felt hollow or lacked companionship for any length of time with empathize with the sentiment; those who have never been alone will weep for those who are.
And aside from his appearance strangely resembling David Arquette, Ryan Gosling does an incredible job manipulating his mannerisms and his speech to pull off this character.
It's just amazing that the only Oscar this film is nominated for is the screenplay.
How often do devastation and hilarity find themselves in the same movie? Seldom. But here, we have a glowing example.
Lars Lindstrom (Gosling) is a lonely, single man living in the garage of his family home, next door to his brother and sister-in-law, who reside in the same house. He makes his way through life devoid of affection, by choice, which his doting sister-in-law Karin (Mortimer) finds troubling.
He works in a generic office, with somewhat generic people, and despite the attempts of a co-worker, he doesn't date. In fact, he rarely leaves his home, save for work and church.
One day, his cubicle mate shows him a Web site that sells custom-made 'real' dolls. He promptly orders one and is soon introducing everyone to his new girlfriend, Bianca.
His brother is so immediately horrified by this development, he tricks Lars into a therapy appointment by alleging Bianca needs a check-up. The doctor, Dagmar (played expertly by Patricia Clarkson) concludes that the best way to handle this delusion is to play along with the relationship and treat Bianca as an actual girlfriend. They schedule regular appointments for the doll, claiming she needs 'treatments' and she uses the time to counsel Lars discreetly.
What results is a hilarious journey the whole town soon embarks on, complete with invented jobs (the mall needs mannequins; the hospital needs volunteers), social engagements (Bianca doesn't drink, but attends parties) and marital-like disputes.
The entire plot and execution is positively absurd, but for some reason, it works. Instead of the situation appearing creepy, it's endearing, and once we learn why Lars needs to soften his pain with the help of this fictional friend, we're compelled to root for him.
Anyone who has felt hollow or lacked companionship for any length of time with empathize with the sentiment; those who have never been alone will weep for those who are.
And aside from his appearance strangely resembling David Arquette, Ryan Gosling does an incredible job manipulating his mannerisms and his speech to pull off this character.
It's just amazing that the only Oscar this film is nominated for is the screenplay.
Monday, January 28, 2008
Atonement
Today I saw Atonement, starring Keira Knightley and James McAvoy.
This film has all the hallmarks of a Best Picture candidate: attractive stars, solid acting, sweeping landscapes, love, war, betrayal and dueling sisters. But what it lacked, was the 'it' factor that takes the characters to another (necessary) level.
In the story we briefly see Cecilia (Knightley) fall in love/lust with Robbie (McAvoy). Their chemistry isn't electric enough for the audience to feel the jolt of their passion, but their intentions are explained in a letter intercepted by Cecilia's mischievous younger sister Briony (played by three different actresses, to demonstrate each age).
Briony, also a budding writer, uses the letter and a glimpse of consensual intercourse that she interrupts, as her basis for pinning a rape on Robbie, though she knows he's not guilty. It seems she was jealous of his affection for her sister and would've liked him for herself.
This selfish action costs Robbie his freedom and Cecilia years of misery as she pines for him. It also eats away at the older Briony, who wrestles with coming forward to right her catastrophic wrong.
In the middle, we see Robbie go to war and both sisters become nurses. This is the part of the film that nearly put me to sleep. Maybe I'm an unabashed romantic, but couldn't there have been some steamy scenes of them fantasizing about one another? Couldn't we witness more correspondence between the two, or at least see more of the agonizing ways they passed time during their separation?
I believed that the younger sister really did want to atone for her sins, but I wasn't entirely convinced that a soldier and a nurse, a great distance apart from each other, were going to stay so true to their hearts. And I certainly wanted to.
At the core of the story is a beautiful message: true love is worth waiting for no matter what the cost in time.
This ending leaves pessimists satisfied that the lies added up to ultimate heartbreak; the romantics will believe their characters passed in succession so they could find harmony on the other side.
A great love story this is not, but at least it leaves us pondering.
This film has all the hallmarks of a Best Picture candidate: attractive stars, solid acting, sweeping landscapes, love, war, betrayal and dueling sisters. But what it lacked, was the 'it' factor that takes the characters to another (necessary) level.
In the story we briefly see Cecilia (Knightley) fall in love/lust with Robbie (McAvoy). Their chemistry isn't electric enough for the audience to feel the jolt of their passion, but their intentions are explained in a letter intercepted by Cecilia's mischievous younger sister Briony (played by three different actresses, to demonstrate each age).
Briony, also a budding writer, uses the letter and a glimpse of consensual intercourse that she interrupts, as her basis for pinning a rape on Robbie, though she knows he's not guilty. It seems she was jealous of his affection for her sister and would've liked him for herself.
This selfish action costs Robbie his freedom and Cecilia years of misery as she pines for him. It also eats away at the older Briony, who wrestles with coming forward to right her catastrophic wrong.
In the middle, we see Robbie go to war and both sisters become nurses. This is the part of the film that nearly put me to sleep. Maybe I'm an unabashed romantic, but couldn't there have been some steamy scenes of them fantasizing about one another? Couldn't we witness more correspondence between the two, or at least see more of the agonizing ways they passed time during their separation?
I believed that the younger sister really did want to atone for her sins, but I wasn't entirely convinced that a soldier and a nurse, a great distance apart from each other, were going to stay so true to their hearts. And I certainly wanted to.
At the core of the story is a beautiful message: true love is worth waiting for no matter what the cost in time.
This ending leaves pessimists satisfied that the lies added up to ultimate heartbreak; the romantics will believe their characters passed in succession so they could find harmony on the other side.
A great love story this is not, but at least it leaves us pondering.
Sunday, January 20, 2008
Before the Devil Knows You're Dead
Tonight I saw Before the Devil Knows You're Dead, starring Philip Seymour Hoffman and Ethan Hawke.
In this unconventional story of brotherhood, Andy (Hoffman) is a successful real estate mogul who is married to Gina (Tomei), the very definition of a dumb broad.
His brother Hank (Hawke) is not the sharpest tool in the shed, but is somewhat redeemed by his genuine love for his daughter. Unfortunately he also loves Gina, who he is having an affair with, unbeknownst to anyone but them.
For some reason, everyone is in need of cash. Andy for drugs and an escape to Brazil, Hank for child support, and Gina for...well...we assume shopping. And maybe upkeep of her most valuable asset (her body, which we see revealed throughout the film).
There isn't too much background on why neither son has a great relationship with their parents, but for what it's worth, they must not feel comfortable approaching them for a loan since they decide to rob their jewelry store instead.
It sounds ridiculous, but because I've read a lot of Dominick Dunne in my time, I know this sort of thing actually happens. That knowledge affords a special suspension of disbelief while witnessing the smart brother hatch the plan and impose it on the dumb brother (you'd think he'd just employ someone smarter to do it, to be sure they wouldn't screw it up).
What transpires at the robbery triggers a sequence of Babel-like events that basically all lead back to the moral of the story: don't lie, steal, cheat or shoot people.
The film is well-acted and the pace is comfortably fast, but I am a little mystified why this received such universal praise. The plot twists aren't surprising and there aren't a lot of characters to root for. What we learn is that people are basically rotten and the actions of smart people and dumb people are interchangeable when their intent is dishonorable.
What results is entertainment that resembles the nightly news: while compelling to watch, it can also turn your stomach.
In this unconventional story of brotherhood, Andy (Hoffman) is a successful real estate mogul who is married to Gina (Tomei), the very definition of a dumb broad.
His brother Hank (Hawke) is not the sharpest tool in the shed, but is somewhat redeemed by his genuine love for his daughter. Unfortunately he also loves Gina, who he is having an affair with, unbeknownst to anyone but them.
For some reason, everyone is in need of cash. Andy for drugs and an escape to Brazil, Hank for child support, and Gina for...well...we assume shopping. And maybe upkeep of her most valuable asset (her body, which we see revealed throughout the film).
There isn't too much background on why neither son has a great relationship with their parents, but for what it's worth, they must not feel comfortable approaching them for a loan since they decide to rob their jewelry store instead.
It sounds ridiculous, but because I've read a lot of Dominick Dunne in my time, I know this sort of thing actually happens. That knowledge affords a special suspension of disbelief while witnessing the smart brother hatch the plan and impose it on the dumb brother (you'd think he'd just employ someone smarter to do it, to be sure they wouldn't screw it up).
What transpires at the robbery triggers a sequence of Babel-like events that basically all lead back to the moral of the story: don't lie, steal, cheat or shoot people.
The film is well-acted and the pace is comfortably fast, but I am a little mystified why this received such universal praise. The plot twists aren't surprising and there aren't a lot of characters to root for. What we learn is that people are basically rotten and the actions of smart people and dumb people are interchangeable when their intent is dishonorable.
What results is entertainment that resembles the nightly news: while compelling to watch, it can also turn your stomach.
Saturday, January 19, 2008
There Will Be Blood
This morning I saw There Will Be Blood, starring Daniel Day-Lewis and Paul Dano.
It is the topic of Cinebanter #46, which is available here.
It is the topic of Cinebanter #46, which is available here.
Thursday, January 17, 2008
Tuesday, January 15, 2008
Here Is What Is
A few nights ago I screened the new Daniel Lanois documentary Here Is What Is.
My review can be found here at @U2.
To purchase Danny's new album and documentary, visit Red Floor Records.
My review can be found here at @U2.
To purchase Danny's new album and documentary, visit Red Floor Records.
Tuesday, January 01, 2008
The Diving Bell and the Butterfly
Today I saw The Diving Bell and the Butterfly, starring Mathieu Amalric and Marie Josée Croze.
It's a tale told mostly through the eyes of the subject, Jean-Dominique Bauby (Amalric), the real-life former editor of Elle magazine in France. On the way to the theater with his son one day, he has a massive stroke that leaves him paralyzed save for his left eye. This "locked-in" syndrome is so rare the physicians at first seem as if they don't know what to do with him. But, with the help of speech and physical therapists, Bauby learns to communicate by blinking.
Marie Josée Croze plays therapist Henriette, who develops a revised alphabet arranged in order of use frequency to make conversation with the patient easier. This results in Bauby requesting that his publisher honor his existing contract to write a book and the company sending a representative to take his dictation. What transpires is The Diving Bell and the Butterfly, the book in which this film is based upon.
This memoir detailed the feelings of a formerly vibrant man who has been reduced to nothing more than a hostage in his own body. Thankfully (or perhaps tragically) he retains his wit, sadness, sexual desires and memory, which he examines throughout.
The film shows us crushes on his therapists, discontent with his ex-partner (he purposely never married the mother of this children), longing for his mistress and love for his father.
It spotlights an imperfect man in impossible circumstances with a necessity to express himself creatively by any means available.
It forces us to see how lazy we are by not accomplishing all we hope to in the here and now, and reminds us to treasure the time and people we have in our lives.
There is one scene where a well-placed U2 song illustrates the type of man Bauby once was and how he chose to live his life before the stroke. This scene in particular hit me hard because the normalcy of his world was so previously carefree. You got the sense that his status and charisma afforded him more leeway than regular men would be granted by their women, children, etc.
But he overcame the depression of his situation long enough to write the novel describing it and lived barely long enough to see it published.
We should all be so productive.
It's a tale told mostly through the eyes of the subject, Jean-Dominique Bauby (Amalric), the real-life former editor of Elle magazine in France. On the way to the theater with his son one day, he has a massive stroke that leaves him paralyzed save for his left eye. This "locked-in" syndrome is so rare the physicians at first seem as if they don't know what to do with him. But, with the help of speech and physical therapists, Bauby learns to communicate by blinking.
Marie Josée Croze plays therapist Henriette, who develops a revised alphabet arranged in order of use frequency to make conversation with the patient easier. This results in Bauby requesting that his publisher honor his existing contract to write a book and the company sending a representative to take his dictation. What transpires is The Diving Bell and the Butterfly, the book in which this film is based upon.
This memoir detailed the feelings of a formerly vibrant man who has been reduced to nothing more than a hostage in his own body. Thankfully (or perhaps tragically) he retains his wit, sadness, sexual desires and memory, which he examines throughout.
The film shows us crushes on his therapists, discontent with his ex-partner (he purposely never married the mother of this children), longing for his mistress and love for his father.
It spotlights an imperfect man in impossible circumstances with a necessity to express himself creatively by any means available.
It forces us to see how lazy we are by not accomplishing all we hope to in the here and now, and reminds us to treasure the time and people we have in our lives.
There is one scene where a well-placed U2 song illustrates the type of man Bauby once was and how he chose to live his life before the stroke. This scene in particular hit me hard because the normalcy of his world was so previously carefree. You got the sense that his status and charisma afforded him more leeway than regular men would be granted by their women, children, etc.
But he overcame the depression of his situation long enough to write the novel describing it and lived barely long enough to see it published.
We should all be so productive.
Saturday, December 29, 2007
Walk Hard: The Dewey Cox Story
Today I saw Walk Hard: The Dewey Cox Story, starring John C. Reilly and Jenna Fischer.
It's the tale of Dewey Cox (Reilly), a Southern musician that alternately encompasses Johnny Cash, Bob Dylan and other notable stars, as he sings his way through life after a terrible childhood tragedy.
A tragedy that happens to be slicing his brother in half with a machete.
Sound stupid? Of course it does. But they way it was written and delivered makes it hilarious.
Dewey's enduring love for Darlene (Fischer) is the backbone of the bio, which takes us through his entire career of milestones and mistakes (the now-famous 'penis' scene is among the funniest). Each wink to another era and yet another star has such goofy charm attached to it I found myself anticipating who would pop up next (thankfully, my Beatles hope came true with the incomparable Jack Black as McCartney and Paul Rudd as Lennon).
The sidekicks are also funny—Tim Meadows as Dewey's primary drug connection, Kristen Wiig as his first wife and Margot Martindale as Ma, but the real credit goes to Reilly, who I found myself confusing with Will Ferrell (that's a compliment). He was that funny.
Overall, it's what I expected: a ridiculous beginning, predictably clever songs and electric nonsense chemistry between Reilly and Fischer.
I wouldn't have had it any other way.
It's the tale of Dewey Cox (Reilly), a Southern musician that alternately encompasses Johnny Cash, Bob Dylan and other notable stars, as he sings his way through life after a terrible childhood tragedy.
A tragedy that happens to be slicing his brother in half with a machete.
Sound stupid? Of course it does. But they way it was written and delivered makes it hilarious.
Dewey's enduring love for Darlene (Fischer) is the backbone of the bio, which takes us through his entire career of milestones and mistakes (the now-famous 'penis' scene is among the funniest). Each wink to another era and yet another star has such goofy charm attached to it I found myself anticipating who would pop up next (thankfully, my Beatles hope came true with the incomparable Jack Black as McCartney and Paul Rudd as Lennon).
The sidekicks are also funny—Tim Meadows as Dewey's primary drug connection, Kristen Wiig as his first wife and Margot Martindale as Ma, but the real credit goes to Reilly, who I found myself confusing with Will Ferrell (that's a compliment). He was that funny.
Overall, it's what I expected: a ridiculous beginning, predictably clever songs and electric nonsense chemistry between Reilly and Fischer.
I wouldn't have had it any other way.
Wednesday, December 26, 2007
Charlie Wilson's War
On December 23, I saw Charlie Wilson's War starring Tom Hanks and Philip Seymour Hoffman.
With so many big names (Hanks and Hoffman are joined by Amy Adams and Julia Roberts) attached to this film, it was hard not to anticipate its merit before going in, but having been burned in the past by similar assumptions, I reserved judgement.
Thankfully, there was no need for me to.
Hanks dazzles as real-life Texas congressman Charlie Wilson, a booze-loving womanizer with the heart of an everyman who is faced with political demands from a wealthy mover and shaker (played by Roberts), who also occupies his bed. Luckily, he's on the same page with her intentions, to covertly help the Afghans defend themselves against the then-enemy of Russia.
The plot is pretty basic and simple to follow, but what makes this movie so watchable (and will have you wondering how the time went so fast when it ends) is the collection of charisma that ensues: partly a result of good writing; partly a result of the performances.
The main scene stealer is Philip Seymour Hoffman who plays the Greek colleague of Wilson's that has enough justified anger and sarcasm to fill each room he steps into. He is absolutely electric in this role and I wouldn't be sorry to see him score another Oscar® nod because of it.
Also great is Wilson's adorably smart administrative assistant played by Amy Adams. Just the right mix of wholesome and alluring, Adams possesses a unique balance of what most men want: sexy mixed with Betty Crocker. There couldn't have been a better actress for this role.
The clothing and sets are also authentic to the time (early 80s), however I did question whether the phrase 'dial it down' was used back then?
Regardless, this film is solid entertainment that just happens to contain a valuable history lesson: don't fuck up the end game.
With so many big names (Hanks and Hoffman are joined by Amy Adams and Julia Roberts) attached to this film, it was hard not to anticipate its merit before going in, but having been burned in the past by similar assumptions, I reserved judgement.
Thankfully, there was no need for me to.
Hanks dazzles as real-life Texas congressman Charlie Wilson, a booze-loving womanizer with the heart of an everyman who is faced with political demands from a wealthy mover and shaker (played by Roberts), who also occupies his bed. Luckily, he's on the same page with her intentions, to covertly help the Afghans defend themselves against the then-enemy of Russia.
The plot is pretty basic and simple to follow, but what makes this movie so watchable (and will have you wondering how the time went so fast when it ends) is the collection of charisma that ensues: partly a result of good writing; partly a result of the performances.
The main scene stealer is Philip Seymour Hoffman who plays the Greek colleague of Wilson's that has enough justified anger and sarcasm to fill each room he steps into. He is absolutely electric in this role and I wouldn't be sorry to see him score another Oscar® nod because of it.
Also great is Wilson's adorably smart administrative assistant played by Amy Adams. Just the right mix of wholesome and alluring, Adams possesses a unique balance of what most men want: sexy mixed with Betty Crocker. There couldn't have been a better actress for this role.
The clothing and sets are also authentic to the time (early 80s), however I did question whether the phrase 'dial it down' was used back then?
Regardless, this film is solid entertainment that just happens to contain a valuable history lesson: don't fuck up the end game.
Saturday, December 22, 2007
Starting Out in the Evening
Today I saw Starting Out in the Evening, starring Frank Langella and Lauren Ambrose.
The narrative takes us into the lives of washed-up novelist Leonard Shiller (Langella) and righteous graduate student Heather Wolf (Ambrose). Her mission seems to be resurrecting his career, while his goal is simply to finish his final book before dying. He is a senior citizen with heart problems; she is a twentysomething with a hungry heart.
It's inevitable that in the course of her spending time with him to complete her thesis (based on him) that these two will develop a chemistry. Thankfully, they do. It's what saves this film from being a completely predictable starry-eyed-girl-wants-crotchety-old-man bore.
Although Heather is slightly too righteous to be endearing, there are so many real people like her, I could look past her irritating nature. What's also great is the subplot of Leonard's daughter Ariel (played by the amazing Lili Taylor—Ambrose's former Six Feet Under co-star) and her inability to have a successful relationship.
The thing is, all of these characters seem to be making the choices they need to make for themselves as their lives intersect. Heather is persistent in her quest for information from Leonard (and in her sexual attraction to him), Leonard will only talk about the topics of his choosing and fights to focus on his writing. Ariel wrestles with feelings for two men in her life; neither who share her desire to have children.
These simple, yet interesting situations are all presented in a well-acted, well-written package with believable dialogue and character progression.
I'll confess to being alternately touched and disgusted by Leonard and Heather's love story, but I can't help but admit it felt real.
I also wouldn't be surprised if Langella and/or Taylor were nominated for their performances.
Nor would I be sorry if they won.
The narrative takes us into the lives of washed-up novelist Leonard Shiller (Langella) and righteous graduate student Heather Wolf (Ambrose). Her mission seems to be resurrecting his career, while his goal is simply to finish his final book before dying. He is a senior citizen with heart problems; she is a twentysomething with a hungry heart.
It's inevitable that in the course of her spending time with him to complete her thesis (based on him) that these two will develop a chemistry. Thankfully, they do. It's what saves this film from being a completely predictable starry-eyed-girl-wants-crotchety-old-man bore.
Although Heather is slightly too righteous to be endearing, there are so many real people like her, I could look past her irritating nature. What's also great is the subplot of Leonard's daughter Ariel (played by the amazing Lili Taylor—Ambrose's former Six Feet Under co-star) and her inability to have a successful relationship.
The thing is, all of these characters seem to be making the choices they need to make for themselves as their lives intersect. Heather is persistent in her quest for information from Leonard (and in her sexual attraction to him), Leonard will only talk about the topics of his choosing and fights to focus on his writing. Ariel wrestles with feelings for two men in her life; neither who share her desire to have children.
These simple, yet interesting situations are all presented in a well-acted, well-written package with believable dialogue and character progression.
I'll confess to being alternately touched and disgusted by Leonard and Heather's love story, but I can't help but admit it felt real.
I also wouldn't be surprised if Langella and/or Taylor were nominated for their performances.
Nor would I be sorry if they won.
Friday, December 21, 2007
The Golden Compass
Today I saw The Golden Compass, starring Dakota Blue Richards and Nicole Kidman.
I must confess—I went into this ignorant, having never read the book it's based on. But in this case, I think I probably enjoyed it more as a result.
The story follows the orphan Lyra (Richards), a petite spitfire in the possession of the last magic golden compass. The power it holds is immeasurable, as it has the ability to display the truth in any situation. This upsets the magistrate (a.k.a. church) and the evil Mrs. Coulter (Kidman) pursues her to retrieve the compass, at first kindly offering her a trip north (where many of Lyra's friends have been kidnapped to, and are having their free will revoked) then fiercely hunting her after she escapes.
The way the characters get through this is somewhat confusing, but the ride is so visually stimulating, you can forgive the jumble. A parallel British town is illuminated at each glimpse, while the scenes in the great north make you nearly shiver in your seat, they're so remarkable.
And I musn't conclude my review without a mention of the polar bears. These aren't your typical Christmas-Coke-commerical polar bears, these look and sound like the real deal (well, except when they don human voices and carry on conversations). The growls and snarling teeth are terrifying; the fluffy fur and awkward bodies are endearing. I really wanted my own 'armored bear' after seeing the final fight scene, too.
So really—this film was pretty entertaining. Good, solid acting from the female leads and supporting actors like Daniel Craig and Sam Elliot, and cinematography that's nothing short of beautiful. An easy choice for holiday viewing.
I must confess—I went into this ignorant, having never read the book it's based on. But in this case, I think I probably enjoyed it more as a result.
The story follows the orphan Lyra (Richards), a petite spitfire in the possession of the last magic golden compass. The power it holds is immeasurable, as it has the ability to display the truth in any situation. This upsets the magistrate (a.k.a. church) and the evil Mrs. Coulter (Kidman) pursues her to retrieve the compass, at first kindly offering her a trip north (where many of Lyra's friends have been kidnapped to, and are having their free will revoked) then fiercely hunting her after she escapes.
The way the characters get through this is somewhat confusing, but the ride is so visually stimulating, you can forgive the jumble. A parallel British town is illuminated at each glimpse, while the scenes in the great north make you nearly shiver in your seat, they're so remarkable.
And I musn't conclude my review without a mention of the polar bears. These aren't your typical Christmas-Coke-commerical polar bears, these look and sound like the real deal (well, except when they don human voices and carry on conversations). The growls and snarling teeth are terrifying; the fluffy fur and awkward bodies are endearing. I really wanted my own 'armored bear' after seeing the final fight scene, too.
So really—this film was pretty entertaining. Good, solid acting from the female leads and supporting actors like Daniel Craig and Sam Elliot, and cinematography that's nothing short of beautiful. An easy choice for holiday viewing.
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