This morning I saw The Martian, starring Matt Damon and Chiwetel Ejiofor.
There is a NASA mission to Mars that gets interrupted by a terrible sandstorm. Because of the severity of the weather, the commander of the ship, Melissa (Jessica Chastain), chooses to have the team abort the mission. As the evacuation begins, the botanist on board, Mark (Damon), gets hit with debris and is presumed dead. The other astronauts safely continue their mission, mourning his loss.
But he didn't die. He was injured and knocked out, but very much alive.
And there we begin ... the nerve-wracking 2+ hours of seeing if he can successfully grow food, navigate unpreventable disasters, make contact with NASA and keep his sanity. It's a tough ride, but one we've been on before.
Reminiscent of films like Gravity and Moon, the film centers around the solitude of the main character, but at least here we have a balance of scenes with the folks back home. Chiwetel Ejiofor delivers a fantastic performance as the Mars head-honcho, though Kristen Wiig, as an essential NASA employee seems displaced. Damon is predictably solid, as is the always-badass Chastain.
Sure, it's interesting to watch the scientific process for how to make food if you're ever stranded on a deserted planet. It's undoubtedly enjoyable to see the kinship amongst astronauts rivaling that of soldiers at war. But what keeps it from being a "great" American film is the crime of formula.
We know what's going to happen every step of the way, even if we're not sure how they're going to get there.
The characters were likeable, the situation of the initial accident very believable, but the outcome was terribly predictable.
Go see it if you want a fun ride, but not if you're seeking something new.
~~~
Sunday, November 22, 2015
Steve Jobs
Two weeks ago I saw Steve Jobs, starring Michael Fassbender and Kate Winslet.
I fully admit that I've always been "a Mac." My first computer was a Strawberry Fields-colored iMac and every computer I've since owned has also been a Mac. I'm a very satisfied customer. I'm also faithful to Apple—owning both iPods and iPhones in my time. Again, having no regrets.
So perhaps I went into this film with a bias in favor of its subject.
That really shouldn't matter because I'll be the first to say it's not a perfect film. The main thing that bugged me was the fact that they really didn't care to stick too close to the truth. The entire film is structured around launches that were important in the tech legend's career, yet most of the situations surrounding them (with the exception of the public-facing moments) never happened. True, Jobs (Fassbender) had a rocky relationship with his daughter Lisa. True, his marketing maven Joanna (Winslet) was one of the few people who could call him on his BS. Not true, business partner Steve Wozniak (Seth Rogan) approached him before each launch and argued in public.
There are other sentimental details that were all the work of screenwriter Aaron Sorkin, but I won't mention them here in case you'd like to immerse yourself in the fake magic.
All of that aside, of course the acting is phenomenal. Fassbender and Winslet should do more films together because their chemistry crackles. The writing style is classic Sorkin, meaning it's never boring and always more fast-paced than most people have time to project. It's fun to watch, regardless of what you thought of the man or the myth.
It will come as no surprise that I regard Jobs as a genius, and greatly respect his legacy. Perhaps I'll have to wait for a documentary to see the perspective I'm craving.
~~~
I fully admit that I've always been "a Mac." My first computer was a Strawberry Fields-colored iMac and every computer I've since owned has also been a Mac. I'm a very satisfied customer. I'm also faithful to Apple—owning both iPods and iPhones in my time. Again, having no regrets.
So perhaps I went into this film with a bias in favor of its subject.
That really shouldn't matter because I'll be the first to say it's not a perfect film. The main thing that bugged me was the fact that they really didn't care to stick too close to the truth. The entire film is structured around launches that were important in the tech legend's career, yet most of the situations surrounding them (with the exception of the public-facing moments) never happened. True, Jobs (Fassbender) had a rocky relationship with his daughter Lisa. True, his marketing maven Joanna (Winslet) was one of the few people who could call him on his BS. Not true, business partner Steve Wozniak (Seth Rogan) approached him before each launch and argued in public.
There are other sentimental details that were all the work of screenwriter Aaron Sorkin, but I won't mention them here in case you'd like to immerse yourself in the fake magic.
All of that aside, of course the acting is phenomenal. Fassbender and Winslet should do more films together because their chemistry crackles. The writing style is classic Sorkin, meaning it's never boring and always more fast-paced than most people have time to project. It's fun to watch, regardless of what you thought of the man or the myth.
It will come as no surprise that I regard Jobs as a genius, and greatly respect his legacy. Perhaps I'll have to wait for a documentary to see the perspective I'm craving.
~~~
Tuesday, October 20, 2015
Bridge of Spies
Tonight I saw Bridge of Spies, starring Tom Hanks and Mark Rylance.
In 1957, Rudolf Abel (Rylance) was charged with being a Soviet spy in the United States. His reluctant defense lawyer, James B. Donovan (Hanks), grew fond of him as he worked on the case and fought to give him a fair trial.
Unfortunately, Donovan was unsuccessful and Abel went to prison. Three years after Abel was arrested, a U.S. pilot named Francis Powers (Austin Stowell) was captured in the Soviet Union after his U2 spy plane was shot down (yes, I squeed when they mentioned "U2"). Donovan suggested perhaps the two could be exchanged. The story we see in the film here is that of how Abel was used as a pawn ... and Donovan became the U.S.'s default chess player.
It's admirable how close the film stays to the real events (there are only a few instances of fiction or exaggeration), and goes without saying that the cast is phenomenal. Hanks is sincere, Rylance is endearing, and supporting cast members like Amy Ryan and Eve Hewson add a dose of authenticity to the family unit to prevent this from being "just another spy movie."
Though the true events are easy to snuff out online (and spoil the ending), the last third of the movie is no less heart-pounding as a result. The movie has suspense, heart, drama and a bit of humor.
Very warm for a Cold War subject.
~~~
In 1957, Rudolf Abel (Rylance) was charged with being a Soviet spy in the United States. His reluctant defense lawyer, James B. Donovan (Hanks), grew fond of him as he worked on the case and fought to give him a fair trial.
Unfortunately, Donovan was unsuccessful and Abel went to prison. Three years after Abel was arrested, a U.S. pilot named Francis Powers (Austin Stowell) was captured in the Soviet Union after his U2 spy plane was shot down (yes, I squeed when they mentioned "U2"). Donovan suggested perhaps the two could be exchanged. The story we see in the film here is that of how Abel was used as a pawn ... and Donovan became the U.S.'s default chess player.
It's admirable how close the film stays to the real events (there are only a few instances of fiction or exaggeration), and goes without saying that the cast is phenomenal. Hanks is sincere, Rylance is endearing, and supporting cast members like Amy Ryan and Eve Hewson add a dose of authenticity to the family unit to prevent this from being "just another spy movie."
Though the true events are easy to snuff out online (and spoil the ending), the last third of the movie is no less heart-pounding as a result. The movie has suspense, heart, drama and a bit of humor.
Very warm for a Cold War subject.
~~~
Saturday, October 17, 2015
Crimson Peak
This morning I saw Crimson Peak, starring Mia Wasikowska and Jessica Chastain.
Edith (Wasikowska) is a girl of privilege, close to her wealthy father, hoping to be a published author someday. She's a feminist before her time (this being the year 1900), who ironically chooses to follow her heart instead of her head when a handsome suitor comes calling, despite the fact she resents having to include a love story in her manuscript because she's female.
That suitor is Thomas Sharpe (Tom Hiddleston), a baronet from England who's struggling to find investors for his steam drill. He hopes Edith's father will come on board, but instead gets met with more rejection. In fact, Edith's father dislikes him so much, he pays him off—on the condition that he leave Edith alone.
Thomas complies, breaks Edith's heart, and sets back to England with his wicked sister Lucille (Chastain). But tragedy soon strikes and Edith no longer answers to the good judgment of her father. She's free to follow Thomas to England, and that she does, soon marrying him and moving into the creepy castle he and his sister have all to themselves.
Things are not as they seem, though, as Edith soon finds out. Her sister-in-law won't part with the keys to the home, and weird visions occur when she's alone. She also doesn't feel so well in her new surroundings, her body growing weaker each day.
This is where the movie starts revealing its secrets and feels like classic Guillermo del Toro.
The horrific images come wrapped in sadness; their visual components so stunning you can't look away. The characters aren't merely one-note horror devices, they're complex, tragic figures who demand you at least care about how they came to be the way they are. And care we do.
We want to believe in the love Thomas has for Edith. We want to believe all of the bad in the home stems from Lucille. We want to believe the doctor back home hasn't forgotten her.
The thrilling ending has a twist this reviewer didn't see coming, and though parts of it were very gory (especially the sound effects), it has a satisfying close.
Perfect subject matter for the Halloween season, delivered with beautiful art direction and a clever screenplay.
Grab a cup of British tea and have fun with it.
~~~
Edith (Wasikowska) is a girl of privilege, close to her wealthy father, hoping to be a published author someday. She's a feminist before her time (this being the year 1900), who ironically chooses to follow her heart instead of her head when a handsome suitor comes calling, despite the fact she resents having to include a love story in her manuscript because she's female.
That suitor is Thomas Sharpe (Tom Hiddleston), a baronet from England who's struggling to find investors for his steam drill. He hopes Edith's father will come on board, but instead gets met with more rejection. In fact, Edith's father dislikes him so much, he pays him off—on the condition that he leave Edith alone.
Thomas complies, breaks Edith's heart, and sets back to England with his wicked sister Lucille (Chastain). But tragedy soon strikes and Edith no longer answers to the good judgment of her father. She's free to follow Thomas to England, and that she does, soon marrying him and moving into the creepy castle he and his sister have all to themselves.
Things are not as they seem, though, as Edith soon finds out. Her sister-in-law won't part with the keys to the home, and weird visions occur when she's alone. She also doesn't feel so well in her new surroundings, her body growing weaker each day.
This is where the movie starts revealing its secrets and feels like classic Guillermo del Toro.
The horrific images come wrapped in sadness; their visual components so stunning you can't look away. The characters aren't merely one-note horror devices, they're complex, tragic figures who demand you at least care about how they came to be the way they are. And care we do.
We want to believe in the love Thomas has for Edith. We want to believe all of the bad in the home stems from Lucille. We want to believe the doctor back home hasn't forgotten her.
The thrilling ending has a twist this reviewer didn't see coming, and though parts of it were very gory (especially the sound effects), it has a satisfying close.
Perfect subject matter for the Halloween season, delivered with beautiful art direction and a clever screenplay.
Grab a cup of British tea and have fun with it.
~~~
Thursday, October 15, 2015
The Visit
Tonight I saw The Visit, starring Olivia DeJonge and Deanna Dunagan.
Becca (DeJonge) and her brother Tyler (Ed Oxenbould) have never met their grandparents. Their mother left their house long ago when she fell in love with their father and never went back. Now, years after their father abandoned them, they want to meet their grandkids.
Reluctantly, Mom (Kathryn Hahn) agrees to let them go for a visit while she and her new boyfriend take off on a luxury cruise.
A train ride later, the kids are romping around the house where their mother grew up, asking Nana (Dunagan) and Pop Pop (Peter McRobbie) about their mother when she was young. It's an understandably sore subject, but is that the only reason they're being cagey?
I can't say more without spoiling (yes, there's a classic Shyamalan twist at the end that I figured out early on), but I will say that this movie was legitimately scary/disturbing. The kids do a great job (though Oxenbould's lisp gets annoying) of not being too exaggerated in their fears, and some clever dialogue helps make it more believable (when you hear "Katy Perry" you'll know what I mean).
Though I'm over the whole, "I'll set up a camera and we'll see what scary footage we get" trick, the elderly grandparents are a pair I'd never want to stay with under any circumstances.
What makes the film more effective is the genuine sentimentality that this broken family displays. Adults were hurt, and in the process kids got hurt, and that's never okay. Their care for one another helps us care about their well-being.
If you need a this-could-really-happen sort of terror this Halloween season, you could do worse than this film.
~~~
Becca (DeJonge) and her brother Tyler (Ed Oxenbould) have never met their grandparents. Their mother left their house long ago when she fell in love with their father and never went back. Now, years after their father abandoned them, they want to meet their grandkids.
Reluctantly, Mom (Kathryn Hahn) agrees to let them go for a visit while she and her new boyfriend take off on a luxury cruise.
A train ride later, the kids are romping around the house where their mother grew up, asking Nana (Dunagan) and Pop Pop (Peter McRobbie) about their mother when she was young. It's an understandably sore subject, but is that the only reason they're being cagey?
I can't say more without spoiling (yes, there's a classic Shyamalan twist at the end that I figured out early on), but I will say that this movie was legitimately scary/disturbing. The kids do a great job (though Oxenbould's lisp gets annoying) of not being too exaggerated in their fears, and some clever dialogue helps make it more believable (when you hear "Katy Perry" you'll know what I mean).
Though I'm over the whole, "I'll set up a camera and we'll see what scary footage we get" trick, the elderly grandparents are a pair I'd never want to stay with under any circumstances.
What makes the film more effective is the genuine sentimentality that this broken family displays. Adults were hurt, and in the process kids got hurt, and that's never okay. Their care for one another helps us care about their well-being.
If you need a this-could-really-happen sort of terror this Halloween season, you could do worse than this film.
~~~
Sunday, October 11, 2015
He Named Me Malala
Today I saw the documentary, He Named Me Malala, directed by Davis Guggenheim.
Malala Yousafzai is a normal teenager. Though she occasionally has to remind reporters of this fact, she doesn't seem too annoyed that they tend to forget. Of course aside from being a teenager she's also a global activist, the survivor of a personal Taliban attack and a Nobel Peace Prize Winner.
She hangs out with Bono and Hilary Clinton and Queen Elizabeth from time to time, but she also does hours of homework each night by choice, hard as it is for her youngest (incredibly adorable) brother to process. Her mother is having a tough time adjusting to life in England, and her other "laziest" brother likes to poke fun at her. She's a daddy's girl at heart. Yeah, that's Malala's life.
A crusader for women's rights (as she was just becoming a woman herself), Malala fought for the right for girls to attend school in her native Pakistan. She lived an idyllic life with her family, a mountain pass separating them from the main city, before the Taliban came along. Once the arrived, she didn't feel she should have to sacrifice her education to honor their beliefs, so she kept going to school. One day when she was riding home from school on the bus with her friends, the Taliban shot her (and a few of her pals). Since the main bullet went into her head, it was thought she wouldn't survive, but she fought, and the world's faithful prayed, and she emerged with an even stronger resolve.
Though the left side of her face doesn't quite work as well as it used to (including hearing out of that ear), and she spent days in a coma as a result of the shooting, she has no anger for her attacker. Her father says it wasn't one person who shot her, it was "ideology."
To say that Malala is an inspiration would be an understatement. Many who endure such trauma simply retreat to quiet lives, never to be seen again. She did the opposite—she got better, and she kept fighting.
Award-winning filmmaker Davis Guggenheim captures her spirit beautifully in one-to-one interviews and visits with her entire family. There are also gorgeous, animated versions of some of the stories from her past as well as actual footage of the days following her attack.
Whether she's meeting with Syrian refugees or giving inspirational speeches to heads of state, the compassion and strength of this miracle girl shines through.
I only hope there's a sequel so we can see what she does next.
~~~
Malala Yousafzai is a normal teenager. Though she occasionally has to remind reporters of this fact, she doesn't seem too annoyed that they tend to forget. Of course aside from being a teenager she's also a global activist, the survivor of a personal Taliban attack and a Nobel Peace Prize Winner.
She hangs out with Bono and Hilary Clinton and Queen Elizabeth from time to time, but she also does hours of homework each night by choice, hard as it is for her youngest (incredibly adorable) brother to process. Her mother is having a tough time adjusting to life in England, and her other "laziest" brother likes to poke fun at her. She's a daddy's girl at heart. Yeah, that's Malala's life.
A crusader for women's rights (as she was just becoming a woman herself), Malala fought for the right for girls to attend school in her native Pakistan. She lived an idyllic life with her family, a mountain pass separating them from the main city, before the Taliban came along. Once the arrived, she didn't feel she should have to sacrifice her education to honor their beliefs, so she kept going to school. One day when she was riding home from school on the bus with her friends, the Taliban shot her (and a few of her pals). Since the main bullet went into her head, it was thought she wouldn't survive, but she fought, and the world's faithful prayed, and she emerged with an even stronger resolve.
Though the left side of her face doesn't quite work as well as it used to (including hearing out of that ear), and she spent days in a coma as a result of the shooting, she has no anger for her attacker. Her father says it wasn't one person who shot her, it was "ideology."
To say that Malala is an inspiration would be an understatement. Many who endure such trauma simply retreat to quiet lives, never to be seen again. She did the opposite—she got better, and she kept fighting.
Award-winning filmmaker Davis Guggenheim captures her spirit beautifully in one-to-one interviews and visits with her entire family. There are also gorgeous, animated versions of some of the stories from her past as well as actual footage of the days following her attack.
Whether she's meeting with Syrian refugees or giving inspirational speeches to heads of state, the compassion and strength of this miracle girl shines through.
I only hope there's a sequel so we can see what she does next.
~~~
Monday, October 05, 2015
Black Mass
On Saturday I saw Black Mass, starring Johnny Depp and Joel Edgerton.
Jimmy "Whitey" Bulger (Depp) loved his mother deeply. He was kind to old ladies. He was a doting father. He even took care of an abandoned cat in the neighborhood.
All of those things are true, as is the fact he was a malicious killer who terrorized the streets of Boston in the '70s and '80s as an Irish mob boss. This film tells of his decades evading justice as he used a childhood friend in the FBI to cover for him.
Spoiler alert: They're both now ending their days in prison.
Before they were caught, they each had a good run, though. Jimmy, defending his beloved Southie territory using whatever means necessary, and John Connolly (Joel Edgerton) climbing the ranks of the FBI by claiming Jimmy was a big-time informant.
Depp is icy cold as the brooding Bulger, always calm and collected even in the most gruesome times of violence. Edgerton is obnoxious and twitchy—apparently incredibly accurate—in his portrayal of Connolly, who in a weird, warped way always idolized Bulger. The attacks are frequent and the blood flows freely, but if you can anticipate when to look away, the other aspects of the movie will keep you glued to the screen.
In addition to the two leads, Benedict Cumberbatch, Kevin Bacon, Julianne Nicholson and Dakota Johnson all do a fine job in their supporting roles, but the real stand-out for me was Peter Sarsgaard as cocaine addict Brian Halloran. His brief time on screen was so memorable, he was who we were talking about as we left the theater.
The movie (and its real-life horrors) will stay with you for hours, maybe days after you see it. If you're tough enough to see this, be sure to stay to the very end where they show footage of the real criminals.
It's comforting to know that many of the people involved were in fact brought to justice, but the magnitude of the crimes still haunt.
~~~
Jimmy "Whitey" Bulger (Depp) loved his mother deeply. He was kind to old ladies. He was a doting father. He even took care of an abandoned cat in the neighborhood.
All of those things are true, as is the fact he was a malicious killer who terrorized the streets of Boston in the '70s and '80s as an Irish mob boss. This film tells of his decades evading justice as he used a childhood friend in the FBI to cover for him.
Spoiler alert: They're both now ending their days in prison.
Before they were caught, they each had a good run, though. Jimmy, defending his beloved Southie territory using whatever means necessary, and John Connolly (Joel Edgerton) climbing the ranks of the FBI by claiming Jimmy was a big-time informant.
Depp is icy cold as the brooding Bulger, always calm and collected even in the most gruesome times of violence. Edgerton is obnoxious and twitchy—apparently incredibly accurate—in his portrayal of Connolly, who in a weird, warped way always idolized Bulger. The attacks are frequent and the blood flows freely, but if you can anticipate when to look away, the other aspects of the movie will keep you glued to the screen.
In addition to the two leads, Benedict Cumberbatch, Kevin Bacon, Julianne Nicholson and Dakota Johnson all do a fine job in their supporting roles, but the real stand-out for me was Peter Sarsgaard as cocaine addict Brian Halloran. His brief time on screen was so memorable, he was who we were talking about as we left the theater.
The movie (and its real-life horrors) will stay with you for hours, maybe days after you see it. If you're tough enough to see this, be sure to stay to the very end where they show footage of the real criminals.
It's comforting to know that many of the people involved were in fact brought to justice, but the magnitude of the crimes still haunt.
~~~
Friday, September 18, 2015
Amy
Tonight I saw the documentary Amy, about the life and death of singer Amy Winehouse.
We only said goodbye with words
I died a hundred times
You go back to her
And I go back to black
I always loved the music of Amy Winehouse. Her lyrics stung the way the best lines of prose attack you—her voice a rare seduction in a sea of trendy, chirpy female voices. She epitomized sexy jazz.
Unfortunately, like so many musicians before her, she died at the young age of 27. This film, crafted together like a scrapbook of home movies by director Asif Kapadia, chronicles her life.
We see a young girl emerge rebellious from her parents' separation (she was 9 when they split), an undeniable gift for music cultivated and a dangerous substance addiction present throughout. At the end of the day she was a junkie. An incredibly talented genius, but still a junkie.
The love of her life was her husband Blake, and the film implies he made a great effort to keep her high (he, also a junkie). Couple that with a battle against bulimia and the pressures of intense international fame and you have a recipe for disaster.
The film captures her spirit well: a painfully shy, wounded little girl mixed with a bold, raw, authentic woman. It's sweet to watch her rise to stardom in the early days when she hadn't yet disappeared into addiction; gut-wrenching to see her staggering around the stage near the end, not fully knowing where she was.
The whole story is simply sad but at least she left us the legacy of her beautiful voice, and now, though this moving portrait of her years, we can see perhaps why she left us the way she did.
~~~
We only said goodbye with words
I died a hundred times
You go back to her
And I go back to black
I always loved the music of Amy Winehouse. Her lyrics stung the way the best lines of prose attack you—her voice a rare seduction in a sea of trendy, chirpy female voices. She epitomized sexy jazz.
Unfortunately, like so many musicians before her, she died at the young age of 27. This film, crafted together like a scrapbook of home movies by director Asif Kapadia, chronicles her life.
We see a young girl emerge rebellious from her parents' separation (she was 9 when they split), an undeniable gift for music cultivated and a dangerous substance addiction present throughout. At the end of the day she was a junkie. An incredibly talented genius, but still a junkie.
The love of her life was her husband Blake, and the film implies he made a great effort to keep her high (he, also a junkie). Couple that with a battle against bulimia and the pressures of intense international fame and you have a recipe for disaster.
The film captures her spirit well: a painfully shy, wounded little girl mixed with a bold, raw, authentic woman. It's sweet to watch her rise to stardom in the early days when she hadn't yet disappeared into addiction; gut-wrenching to see her staggering around the stage near the end, not fully knowing where she was.
The whole story is simply sad but at least she left us the legacy of her beautiful voice, and now, though this moving portrait of her years, we can see perhaps why she left us the way she did.
~~~
Saturday, August 01, 2015
Trainwrecked
In July, I saw Trainwrecked, starring Amy Schumer and Bill Hader. Unfortunately, I didn't write a review for it at the time. But I loved it.
Sunday, July 05, 2015
Ted 2
Last night I saw Ted 2, starring Mark Wahlberg and the voice of Seth MacFarlane.
When we last saw Ted the talking teddy bear (MacFarlane), he had fallen in love with his colleague Tami-Lynn (Jessica Barth). When this film opens, they're tying the knot.
But just like any other couple, soon there's trouble in paradise and Ted is desperate to save his marriage. On the advice of a mutual friend, Ted suggests they have a baby and Tami-Lynn couldn't be happier. The only problem? Ted doesn't have the appropriate baby-making body part.
After a few attempts to find a surrogate, they decide a smarter route would be to try to adopt, but when they apply they're told it won't be possible because the state of Massachusetts doesn't recognize Ted as a real person. Hilarity ensues.
Actually, the whole movie is funny. It's ridiculous, filthy, and wildly inappropriate, but yes—it's funny. A running Google joke had me in tears it was so good. The delivery of each actor (and some phenomenal cameos) was brilliant. I'm not remotely ashamed to admit I liked it.
On the negative side (if you don't mind the filth) was the continuation of Hasbro villain Donny (Giovonni Ribisi) trying to reclaim Ted. What was supposed to be creepy induced yawns and what could have been the climax (pun intended) was anything but that.
It's okay though, I laughed enough at every other part of the story to forgive it for this sin.
~~~
When we last saw Ted the talking teddy bear (MacFarlane), he had fallen in love with his colleague Tami-Lynn (Jessica Barth). When this film opens, they're tying the knot.
But just like any other couple, soon there's trouble in paradise and Ted is desperate to save his marriage. On the advice of a mutual friend, Ted suggests they have a baby and Tami-Lynn couldn't be happier. The only problem? Ted doesn't have the appropriate baby-making body part.
After a few attempts to find a surrogate, they decide a smarter route would be to try to adopt, but when they apply they're told it won't be possible because the state of Massachusetts doesn't recognize Ted as a real person. Hilarity ensues.
Actually, the whole movie is funny. It's ridiculous, filthy, and wildly inappropriate, but yes—it's funny. A running Google joke had me in tears it was so good. The delivery of each actor (and some phenomenal cameos) was brilliant. I'm not remotely ashamed to admit I liked it.
On the negative side (if you don't mind the filth) was the continuation of Hasbro villain Donny (Giovonni Ribisi) trying to reclaim Ted. What was supposed to be creepy induced yawns and what could have been the climax (pun intended) was anything but that.
It's okay though, I laughed enough at every other part of the story to forgive it for this sin.
~~~
Thursday, July 02, 2015
Magic Mike XXL
Tonight I saw Magic Mike XXL, starring Channing Tatum and Joe Manganiello.
You know what? This film is what it is. It is what it's supposed to be and it's supposed to be a movie for straight women and gay men to see with their friends and hoot and holler at the screen.
Mission accomplished.
The plot, if you could call it that, finds Mike (Tatum) re-joining his tribe of "male entertainter" mates as they take a road trip to the annual strippers' convention. Yeah, that's about it.
While that's pretty predictable, I will say that they do a better job this time around of fleshing out the characters (Kevin Nash's Tarzan is a budding artist; Matt Bomer's Ken experiments with energy healing), and it's later revealed just why we're supposed to care.
All of the men are charmers, but Manganiello really steals the show with a convenience store scene that can't be missed. His finale was also my personal favorite, but I've always liked Nine Inch Nails, so maybe that had something to do with it.
Jada Pinkett Smith is a perfect addition to the cast, adding a jolt of feminist strength, and the varied sizes of women they entertain throughout give me new respect for whomever cast the film.
Put simply it's a really fun romp—lighter fare than last time, and that's a good thing. The only thing missing was Matthew McConaughey
~~~
You know what? This film is what it is. It is what it's supposed to be and it's supposed to be a movie for straight women and gay men to see with their friends and hoot and holler at the screen.
Mission accomplished.
The plot, if you could call it that, finds Mike (Tatum) re-joining his tribe of "male entertainter" mates as they take a road trip to the annual strippers' convention. Yeah, that's about it.
While that's pretty predictable, I will say that they do a better job this time around of fleshing out the characters (Kevin Nash's Tarzan is a budding artist; Matt Bomer's Ken experiments with energy healing), and it's later revealed just why we're supposed to care.
All of the men are charmers, but Manganiello really steals the show with a convenience store scene that can't be missed. His finale was also my personal favorite, but I've always liked Nine Inch Nails, so maybe that had something to do with it.
Jada Pinkett Smith is a perfect addition to the cast, adding a jolt of feminist strength, and the varied sizes of women they entertain throughout give me new respect for whomever cast the film.
Put simply it's a really fun romp—lighter fare than last time, and that's a good thing. The only thing missing was Matthew McConaughey
~~~
Friday, June 19, 2015
Inside Out
Tonight I saw Inside Out, starring the voices of Amy Poehler and Phyllis Smith.
Pixar has done it again. They've gone and created a visually stunning, colorful, magical film that not only pleases the aural senses, but pulls your heart out and presents it to you on a platter.
Riley (Katilyn Dias) is a happy-go-lucky 11-year-old girl living a cozy life with her parents in Minnesota until one day everything changes: the family moves to San Francisco for her dad's job.
She keeps a brave face and tries not to get too upset when the house they arrive to is nothing like the one they left, and the moving van with all their stuff is delayed. The emotions inside of her are fighting the good fight to keep her safe and content, but Sadness (Smith) keeps grabbing her memories and forcing them to change shape. In an effort to keep Riley from getting dismal, Joy (Poehler) tries to rescue those memories and in the process gets catapulted out of "headquarters," leaving only Fear (Bill Hader), Anger (Lewis Black) and Disgust (Mindy Kaling) to rule her feelings.
Soon Riley is miserable at her new school, mad at her parents and ready to run back to the Midwest where she can again find happiness. Joy and Sadness have to do whatever it takes to get back inside headquarters to prevent her from going too far down the dark path.
What an amazing metaphor for an adolescent brain!
Didn't we all feel like a crazy train wreck of emotions during those years? Or was it just me because my parents put me through a move when I was the same age as Riley's character? I'm bargaining that most young people—male and female—feel so much uncertainty as their mind and body matures that they're often overwhelmed.
The voice actors here are well-known, but thankfully it's not distracting, because they're so perfectly suited to their assigned emotion (especially Smith, who everyone will remember from the American version of The Office).
I laughed, I cried, I mused, I remembered, I reflected, I hurt, I healed... I loved this film.
~~~
Pixar has done it again. They've gone and created a visually stunning, colorful, magical film that not only pleases the aural senses, but pulls your heart out and presents it to you on a platter.
Riley (Katilyn Dias) is a happy-go-lucky 11-year-old girl living a cozy life with her parents in Minnesota until one day everything changes: the family moves to San Francisco for her dad's job.
She keeps a brave face and tries not to get too upset when the house they arrive to is nothing like the one they left, and the moving van with all their stuff is delayed. The emotions inside of her are fighting the good fight to keep her safe and content, but Sadness (Smith) keeps grabbing her memories and forcing them to change shape. In an effort to keep Riley from getting dismal, Joy (Poehler) tries to rescue those memories and in the process gets catapulted out of "headquarters," leaving only Fear (Bill Hader), Anger (Lewis Black) and Disgust (Mindy Kaling) to rule her feelings.
Soon Riley is miserable at her new school, mad at her parents and ready to run back to the Midwest where she can again find happiness. Joy and Sadness have to do whatever it takes to get back inside headquarters to prevent her from going too far down the dark path.
What an amazing metaphor for an adolescent brain!
Didn't we all feel like a crazy train wreck of emotions during those years? Or was it just me because my parents put me through a move when I was the same age as Riley's character? I'm bargaining that most young people—male and female—feel so much uncertainty as their mind and body matures that they're often overwhelmed.
The voice actors here are well-known, but thankfully it's not distracting, because they're so perfectly suited to their assigned emotion (especially Smith, who everyone will remember from the American version of The Office).
I laughed, I cried, I mused, I remembered, I reflected, I hurt, I healed... I loved this film.
~~~
Saturday, June 06, 2015
Tig
Tonight I screened the documentary Tig.
I remember opening my email in October of 2012 and seeing one from Louis C.K. that started like this:
It begins with a chronicle of the horrible life events that Tig endured leading up to her cancer diagnosis (which is the news that led to the standup set that Louis C.K. mentioned in that email) and progresses almost to present day as she navigates reclaiming her career and building a family.
Sounds depressing, eh?
Don't think that for a minute. This was the most hilarious, life-affirming, just-what-anyone-going-through-anything-should-see documentary that I've ever witnessed. Throughout death and disappointment—and facing more death—Ms. Notaro sees the funny in everything and can't help but deliver it. That's the entire film. Whether she's in front of an audience or chatting with loved ones, she's making herself (and anyone exposed to her) laugh.
I enjoyed learning how she endured all of the tragedy, and was inspired by her strength throughout.
Though I did purchase her routine at the time, and knew of her previous struggles, I had no idea what she has faced since then and I was so (relieved and) thrilled to see her walk into our Q & A after the film, healthy and strong in good spirits.
The film is dangerously raw and heartbreaking .... so basically perfect.
~~~
Tig screened at the 41st annual Seattle International Film Festival. It will be released on Netflix July 17.
I remember opening my email in October of 2012 and seeing one from Louis C.K. that started like this:
Greetings to the people and parts of people that are reading this. Hi. This is Louis. I'm a comedian and you bought a thing from me. Well, I'm writing to tell You that there is a new thing you can buy on my website louisck.com. It's an audio standup set by not me but another comedian named Tig Notaro. Why am I selling someone else's comedy on my website?
This film answers that question and so many more. It begins with a chronicle of the horrible life events that Tig endured leading up to her cancer diagnosis (which is the news that led to the standup set that Louis C.K. mentioned in that email) and progresses almost to present day as she navigates reclaiming her career and building a family.
Sounds depressing, eh?
Don't think that for a minute. This was the most hilarious, life-affirming, just-what-anyone-going-through-anything-should-see documentary that I've ever witnessed. Throughout death and disappointment—and facing more death—Ms. Notaro sees the funny in everything and can't help but deliver it. That's the entire film. Whether she's in front of an audience or chatting with loved ones, she's making herself (and anyone exposed to her) laugh.
I enjoyed learning how she endured all of the tragedy, and was inspired by her strength throughout.
Though I did purchase her routine at the time, and knew of her previous struggles, I had no idea what she has faced since then and I was so (relieved and) thrilled to see her walk into our Q & A after the film, healthy and strong in good spirits.
The film is dangerously raw and heartbreaking .... so basically perfect.
~~~
Tig screened at the 41st annual Seattle International Film Festival. It will be released on Netflix July 17.
Tuesday, June 02, 2015
The Little Death
Tonight I screened The Little Death, starring Josh Lawson and Kate Box.
There are many ways to participate in and enjoy sex—the couples in this film give several methods a lighthearted spotlight in this story about relationships.
In a suburb of Sydney, a community seems to be plagued by various 'issues' in the bedroom. One pair has tried desperately for three years to conceive, making sex more routine than pleasurable; another sees a counselor for their lack of communication and begins role play as a homework assignment.
Perhaps less conventional, there's a man who wants his wife primarily while she's sleeping and another couple who promises to nurture the fetishes of the other only to discover one of them is horrific.
Add to that a deaf man who asks a sign language interpreter to translate phone sex and a cookie-baking sex offender who has just moved into the neighborhood and you have quite a tale to tell.
I laughed throughout, and so did the rest of the audience.
The way these men and women are portrayed is comical, but not too far-fetched to be real. From their difficulties come real challenges and the absurdity of how they're presented makes them accessible.
I hope to see more from director Josh Lawson (who also stars in the film) because he's found a refreshing new way to tell a story.
~~~
There are many ways to participate in and enjoy sex—the couples in this film give several methods a lighthearted spotlight in this story about relationships.
In a suburb of Sydney, a community seems to be plagued by various 'issues' in the bedroom. One pair has tried desperately for three years to conceive, making sex more routine than pleasurable; another sees a counselor for their lack of communication and begins role play as a homework assignment.
Perhaps less conventional, there's a man who wants his wife primarily while she's sleeping and another couple who promises to nurture the fetishes of the other only to discover one of them is horrific.
Add to that a deaf man who asks a sign language interpreter to translate phone sex and a cookie-baking sex offender who has just moved into the neighborhood and you have quite a tale to tell.
I laughed throughout, and so did the rest of the audience.
The way these men and women are portrayed is comical, but not too far-fetched to be real. From their difficulties come real challenges and the absurdity of how they're presented makes them accessible.
I hope to see more from director Josh Lawson (who also stars in the film) because he's found a refreshing new way to tell a story.
~~~
Sunday, May 31, 2015
Our Summer in Provence
Today I saw Our Summer in Provence, starring Jean Reno and Lukas Pelissier.
When Irene (Anna Galiena) takes in her daughter's children for the summer as she navigates a new world as a divorcee, her husband Paul (Reno) is furious. He has been estranged from their girl for 17 years and feels she's dumping her children upon them unfairly.
The children, Adrien (Hugo Dessioux), Léa (Chloé Jouannet) and Theo (Pelissier), are equally unexcited to be there, used to the fast Paris lifestyle. In their eyes, Provence is rural and boring and lacks a strong Internet signal. Plus, Theo is deaf, so only his brother and sister know how to properly communicate with him via sign language.
They all get off to a rough start with Léa's rebelling like her mother, and Adrian's typical teenage laziness acting as a catalyst for frustration from his grandfather. It seems for a while that Theo, who is proud to help with the olive trees on their estate, may be the only one willing to embrace the change.
As the summer continues, a problem Paul is battling comes front and center, and the family reaches a turning point. I can't say more than that without spoiling the film, but it's conventional, yet powerful.
In fact, that's a great way to sum up the whole film: conventional, yet powerful.
Where the main plot and characters are painfully formulaic, their story is redeemed my superb acting, gorgeous scenery and an abundance of scenes that don't take the dramatic too far.
The film made me think of my own family's dynamics and made me yearn for another European summer.
Our Summer in Provence screened at the 41st annual Seattle International Film Festival.
~~~
When Irene (Anna Galiena) takes in her daughter's children for the summer as she navigates a new world as a divorcee, her husband Paul (Reno) is furious. He has been estranged from their girl for 17 years and feels she's dumping her children upon them unfairly.
The children, Adrien (Hugo Dessioux), Léa (Chloé Jouannet) and Theo (Pelissier), are equally unexcited to be there, used to the fast Paris lifestyle. In their eyes, Provence is rural and boring and lacks a strong Internet signal. Plus, Theo is deaf, so only his brother and sister know how to properly communicate with him via sign language.
They all get off to a rough start with Léa's rebelling like her mother, and Adrian's typical teenage laziness acting as a catalyst for frustration from his grandfather. It seems for a while that Theo, who is proud to help with the olive trees on their estate, may be the only one willing to embrace the change.
As the summer continues, a problem Paul is battling comes front and center, and the family reaches a turning point. I can't say more than that without spoiling the film, but it's conventional, yet powerful.
In fact, that's a great way to sum up the whole film: conventional, yet powerful.
Where the main plot and characters are painfully formulaic, their story is redeemed my superb acting, gorgeous scenery and an abundance of scenes that don't take the dramatic too far.
The film made me think of my own family's dynamics and made me yearn for another European summer.
Our Summer in Provence screened at the 41st annual Seattle International Film Festival.
~~~
Saturday, May 30, 2015
All Things Must Pass
Tonight I screened the documentary All Things Must Pass.
Full disclosure: I was a financial backer of this film by way of a Kickstarter donation in 2011 and my name does actually appear in the credits (1st name, 3rd column if anyone's looking). Since I had absolutely no creative control, I don't think it's a conflict of interest to script a review. If you disagree, then feel free to leave this page.
Now that I got that out of the way, let me tell you how much I loved the film (and am relieved/excited my modest contribution went toward making something so great).
The first ten years of my life in Portland, Oregon, I lived directly across the street from a mall, and in the corner of that mall was Tower Records. There was no place more sacred than this store. Because it was open 365 days a year, my parents made a habit of buying Christmas gift certificates for my sister and me, so we would shuffle across the street and spend hours deciding how to use them. They were the only store open on Christmas and we couldn't have been happier. We also had their free calendar hanging on our bedroom door every year. And numerous album flats they would discard into the trash if we didn't claim them first (Millennials: an album flat was a cardboard image of an album cover used to promote new records; like a poster, only more legit).
In high school, on an extended stay in Washington, DC for a journalism workshop, my new friends and I spent afternoons in the Tower Records store that was near our dormitory at George Washington University—a common bond amongst teenagers from different backgrounds.
When I moved to Seattle at age 23, I spent a lot of time at the Queen Anne Tower Records, attending midnight release parties for U2 albums, etc. I wept when it closed a few years later.
This film isn't about just me, though, it's about the millions affected by the collapse of this eternally likeable brand. Director Colin Hanks gets testimonials from those closest to the company (its founder and executive team, who all came up as clerks) and many notable musicians (Springsteen, Dave Grohl) about what the stores meant to them and what its loss meant to the greater community.
It may sound silly to personify a brand so passionately, but Tower was so much more than a brand, it's fitting in this context.
From the joyful beginning that stemmed from the founder's father's drugstore to the international expansion and fame the company got from its celebrity shoppers (i.e. Elton John, who gives a sincere interview about his obsession with the store here), there really wasn't anything like it and because the way we consume music has changed so much there probably won't be again.
For those who remember Tower's glory, the film will serve as a sort of personal time capsule; for those who are too young to remember, it offers a glimpse of the golden years.
An entertaining final verse, sung with a lot of heart.
~~~
Full disclosure: I was a financial backer of this film by way of a Kickstarter donation in 2011 and my name does actually appear in the credits (1st name, 3rd column if anyone's looking). Since I had absolutely no creative control, I don't think it's a conflict of interest to script a review. If you disagree, then feel free to leave this page.
Now that I got that out of the way, let me tell you how much I loved the film (and am relieved/excited my modest contribution went toward making something so great).
The first ten years of my life in Portland, Oregon, I lived directly across the street from a mall, and in the corner of that mall was Tower Records. There was no place more sacred than this store. Because it was open 365 days a year, my parents made a habit of buying Christmas gift certificates for my sister and me, so we would shuffle across the street and spend hours deciding how to use them. They were the only store open on Christmas and we couldn't have been happier. We also had their free calendar hanging on our bedroom door every year. And numerous album flats they would discard into the trash if we didn't claim them first (Millennials: an album flat was a cardboard image of an album cover used to promote new records; like a poster, only more legit).
In high school, on an extended stay in Washington, DC for a journalism workshop, my new friends and I spent afternoons in the Tower Records store that was near our dormitory at George Washington University—a common bond amongst teenagers from different backgrounds.
When I moved to Seattle at age 23, I spent a lot of time at the Queen Anne Tower Records, attending midnight release parties for U2 albums, etc. I wept when it closed a few years later.
This film isn't about just me, though, it's about the millions affected by the collapse of this eternally likeable brand. Director Colin Hanks gets testimonials from those closest to the company (its founder and executive team, who all came up as clerks) and many notable musicians (Springsteen, Dave Grohl) about what the stores meant to them and what its loss meant to the greater community.
It may sound silly to personify a brand so passionately, but Tower was so much more than a brand, it's fitting in this context.
From the joyful beginning that stemmed from the founder's father's drugstore to the international expansion and fame the company got from its celebrity shoppers (i.e. Elton John, who gives a sincere interview about his obsession with the store here), there really wasn't anything like it and because the way we consume music has changed so much there probably won't be again.
For those who remember Tower's glory, the film will serve as a sort of personal time capsule; for those who are too young to remember, it offers a glimpse of the golden years.
An entertaining final verse, sung with a lot of heart.
~~~
Racing Extinction
Today I screened the documentary Racing Extinction.
There are lies, murder and an abundance of history lessons, but this isn't a war movie. It's a documentary about the war humans are declaring on our rapidly deteriorating earth.
Oscar-winning director Louie Psihoyos (famous for The Cove), teamed up with scientists, professors, photographers and technology innovators to deliver this gut punch of a wake up call, urging all of us to take action immediately.
So, what's the problem?
Well, there are a lot of them. Climate change. The market for 'exotic wildlife.' Methane generated by livestock. I could go on.
These are problems we hear about in abbreviated news mentions or headlines we see on articles we never get around to reading, but seldom do we submit to an emotional responsibility for them. Here, we do.
The photographer that is on a quest to take a picture of every species before it dies out especially got to me. Posing a petite frog for a close up or searching deep into the eyes of a tiger, we see the beings crying out for help in their own intimate way. Hearing a type of whale call out for a mate that no longer exists because their gender has been wiped out brought me to tears. Imagine being the last of your gender. Anywhere. Ever.
It's not all doom and gloom, though. We can slow some of these terrible things down if not prevent them completely. The film's official website invites you to take action, even if just one day at a time.
If we don't do something, the food we eat and the air we breathe will be a much different story in just a few decades.
Racing Extinction screened at the 41st annual Seattle International Film Festival.
~~~
There are lies, murder and an abundance of history lessons, but this isn't a war movie. It's a documentary about the war humans are declaring on our rapidly deteriorating earth.
Oscar-winning director Louie Psihoyos (famous for The Cove), teamed up with scientists, professors, photographers and technology innovators to deliver this gut punch of a wake up call, urging all of us to take action immediately.
So, what's the problem?
Well, there are a lot of them. Climate change. The market for 'exotic wildlife.' Methane generated by livestock. I could go on.
These are problems we hear about in abbreviated news mentions or headlines we see on articles we never get around to reading, but seldom do we submit to an emotional responsibility for them. Here, we do.
The photographer that is on a quest to take a picture of every species before it dies out especially got to me. Posing a petite frog for a close up or searching deep into the eyes of a tiger, we see the beings crying out for help in their own intimate way. Hearing a type of whale call out for a mate that no longer exists because their gender has been wiped out brought me to tears. Imagine being the last of your gender. Anywhere. Ever.
It's not all doom and gloom, though. We can slow some of these terrible things down if not prevent them completely. The film's official website invites you to take action, even if just one day at a time.
If we don't do something, the food we eat and the air we breathe will be a much different story in just a few decades.
Racing Extinction screened at the 41st annual Seattle International Film Festival.
~~~
Sunday, May 24, 2015
One Million Dubliners
Tonight I screened the documentary One Million Dubliners.
Our final resting place is something most of us try not to think about. At least not until later. When we're old.
But as the years go by, and more loved ones are lost, it's hard to avoid having the conversation about what the wishes we have in the event of the unthinkable.
For much of the residents of Dublin, Ireland, there's only one choice: Glasnevin Cemetery. Since 1828 everyone from the working class to the most famous of political activists have been buried there with the philosophy passed down from it's founder Daniel O'Connell, "To bury people of all religions and none."
Welcoming those of all faiths, as well as atheists and unborn/stillborn children, the cemetery has become such a cultural draw that it is now one of the most visited tourist attractions in Ireland. This film, narrated primarily by employees of the cemetery, tells the story of its history and how it cares so deeply for the dead.
Morbid, eh? Not really. With charismatic tour guide Shane MacThomais leading the charge, the tales told here are sometimes funny, or just merely fascinating. Some of the dead celebrities have "groupies" who visit regularly; some of the workers at Glasnevin have family members of their own there. None of it is boring.
As someone with a fair amount of Irish blood and an unabashed love for the country (and Dublin specifically), I'm ashamed to say I've never visited the site. Surely I have ancestors there—most people with Irish heritage do, because the dead in this cemetery outnumber the living population. After what I learned from this documentary, it will undoubtedly be a stop for me on my next trip to the Emerald Isle.
Anyone with a connection to Ireland should see it.
~~~
One Million Dubliners screened at the 41st annual Seattle International Film Festival.
Our final resting place is something most of us try not to think about. At least not until later. When we're old.
But as the years go by, and more loved ones are lost, it's hard to avoid having the conversation about what the wishes we have in the event of the unthinkable.
For much of the residents of Dublin, Ireland, there's only one choice: Glasnevin Cemetery. Since 1828 everyone from the working class to the most famous of political activists have been buried there with the philosophy passed down from it's founder Daniel O'Connell, "To bury people of all religions and none."
Welcoming those of all faiths, as well as atheists and unborn/stillborn children, the cemetery has become such a cultural draw that it is now one of the most visited tourist attractions in Ireland. This film, narrated primarily by employees of the cemetery, tells the story of its history and how it cares so deeply for the dead.
Morbid, eh? Not really. With charismatic tour guide Shane MacThomais leading the charge, the tales told here are sometimes funny, or just merely fascinating. Some of the dead celebrities have "groupies" who visit regularly; some of the workers at Glasnevin have family members of their own there. None of it is boring.
As someone with a fair amount of Irish blood and an unabashed love for the country (and Dublin specifically), I'm ashamed to say I've never visited the site. Surely I have ancestors there—most people with Irish heritage do, because the dead in this cemetery outnumber the living population. After what I learned from this documentary, it will undoubtedly be a stop for me on my next trip to the Emerald Isle.
Anyone with a connection to Ireland should see it.
~~~
One Million Dubliners screened at the 41st annual Seattle International Film Festival.
Saturday, May 02, 2015
Monkey Kingdom
Today I saw the documentary Monkey Kingdom, narrated by Tina Fey.
The film traces the lives of monkey families in Sri Lanka as they navigate a year in their natural jungle habitat. The most surprising element for this viewer? The strict class system that the primates adhere to, and for which dictate where they can hunt, eat, sleep, etc.
The heroine of the story is a gentle, "blue collar" monkey named Maya. She's a peaceful, calm girl who knows her place in society... at the bottom of the barrel. She doesn't try to challenge the "white collar" sisters who rule the roost; she merely keeps to herself on the bottom branch, carrying on her affair with a visiting monkey in another part of the forest.
Their love yields baby Kip, an adorable whippersnapper who clings to his mama as he learns the ropes of lower class life in the wild. We see her do what she has to do, like so many mothers do, to keep her little one safe. And yes, the father does run off for long periods of time.
The family survives monsoon season, various vicious predators and even a monkey-napping attack from others in their community. It's scary to watch, but almost comforting to know every species has to work hard to just to exist.
A venture into the city was the highlight of the film for me: monkeys stealing cake from a human birthday party; trying to sleep through the obnoxious street parade and dangling over open-air markets to steal fruit when no one was looking.
The delightful narration by Tina Fey only enhances the scenes, which are slow-paced, but not boring.
If you're a fan of nature and want to catch a glimpse of authentic jungle life, unharmed by our modern society, you could do worse than spending time with this film.
~~~
The film traces the lives of monkey families in Sri Lanka as they navigate a year in their natural jungle habitat. The most surprising element for this viewer? The strict class system that the primates adhere to, and for which dictate where they can hunt, eat, sleep, etc.
The heroine of the story is a gentle, "blue collar" monkey named Maya. She's a peaceful, calm girl who knows her place in society... at the bottom of the barrel. She doesn't try to challenge the "white collar" sisters who rule the roost; she merely keeps to herself on the bottom branch, carrying on her affair with a visiting monkey in another part of the forest.
Their love yields baby Kip, an adorable whippersnapper who clings to his mama as he learns the ropes of lower class life in the wild. We see her do what she has to do, like so many mothers do, to keep her little one safe. And yes, the father does run off for long periods of time.
The family survives monsoon season, various vicious predators and even a monkey-napping attack from others in their community. It's scary to watch, but almost comforting to know every species has to work hard to just to exist.
A venture into the city was the highlight of the film for me: monkeys stealing cake from a human birthday party; trying to sleep through the obnoxious street parade and dangling over open-air markets to steal fruit when no one was looking.
The delightful narration by Tina Fey only enhances the scenes, which are slow-paced, but not boring.
If you're a fan of nature and want to catch a glimpse of authentic jungle life, unharmed by our modern society, you could do worse than spending time with this film.
~~~
Thursday, April 23, 2015
Kurt Cobain: Montage of Heck
Tonight I attended the North American public premiere of Kurt Cobain: Montage of Heck.
I'll start by saying this: I'm a huge Nirvana fan. I was the "right age" when they became famous, and Kurt Cobain's life and death have haunted me ever since. I knew that I would see any documentary that was ever made about him/the band; I had no idea I'd see one that moved me this much.
Director Brett Morgen, privy to unprecedented access to the Cobain family storage vault, traces the genesis of the grunge genius in this raw, unvarnished, unpretentious series of moments captured by various friends, family members and journalists.
Beginning with Kurt's mother Wendy, his entire life is constructed by memories of those who were closest to him—and by Kurt himself.
When so seamlessly weaved together as they are here, the stages of his soul's progress are jarring. What begins as a picture perfect life for a boisterous blond baby soon becomes a cloud of shame for a child embarrassed by his parents' divorce. His energy—instead of being channeled into the music and art he was so good at—instead turns to mischief and darkness as he bounces from home to home, feeling rejected at each stop.
His family loved him, but he was out of control. Fortunately he found a good girlfriend to float him through periods of unemployment and allow him to perfect his creative crafts: writing, drawing, playing the guitar and singing. Unfortunately, he also learned to self-medicate his chronic stomach pain with heroin. And alcohol, and marijuana, etc.
Then along came Nirvana, and later Courtney Love, and the rest is music history.
The film shows us many things we already knew about Cobain, but what makes it special is how it conveys the things we didn't. Kurt's glorious innocence and sweetness as a toddler; his tender love for his wife; his sophisticated cries for help masked by elaborate artwork; his absolute dedication to being a better father than the one he had.
There was an innate kindness to Kurt that many spoke of in interviews after he passed, but here we get to witness it first-hand, from the little boy trying to feed the ceramic turtle his saltine cracker, to the proud papa throwing himself all over the room to make his infant daughter giggle.
It's painful to think that if his family unit had remained intact or if he hadn't been the victim of ridicule as a teenager that he may not have become an addict and could be alive today.
But there's also the chance that if his young life had been more conventional, he may never have been driven to express himself so deeply, or ever have shared his gifts with the world. And as tragic as it is, his passing brought awareness about the evils of drug use and the senselessness of suicide to the masses.
There has never been a more beautiful sacrificial lamb.
~~~
I'll start by saying this: I'm a huge Nirvana fan. I was the "right age" when they became famous, and Kurt Cobain's life and death have haunted me ever since. I knew that I would see any documentary that was ever made about him/the band; I had no idea I'd see one that moved me this much.
Director Brett Morgen, privy to unprecedented access to the Cobain family storage vault, traces the genesis of the grunge genius in this raw, unvarnished, unpretentious series of moments captured by various friends, family members and journalists.
Beginning with Kurt's mother Wendy, his entire life is constructed by memories of those who were closest to him—and by Kurt himself.
When so seamlessly weaved together as they are here, the stages of his soul's progress are jarring. What begins as a picture perfect life for a boisterous blond baby soon becomes a cloud of shame for a child embarrassed by his parents' divorce. His energy—instead of being channeled into the music and art he was so good at—instead turns to mischief and darkness as he bounces from home to home, feeling rejected at each stop.
His family loved him, but he was out of control. Fortunately he found a good girlfriend to float him through periods of unemployment and allow him to perfect his creative crafts: writing, drawing, playing the guitar and singing. Unfortunately, he also learned to self-medicate his chronic stomach pain with heroin. And alcohol, and marijuana, etc.
Then along came Nirvana, and later Courtney Love, and the rest is music history.
The film shows us many things we already knew about Cobain, but what makes it special is how it conveys the things we didn't. Kurt's glorious innocence and sweetness as a toddler; his tender love for his wife; his sophisticated cries for help masked by elaborate artwork; his absolute dedication to being a better father than the one he had.
There was an innate kindness to Kurt that many spoke of in interviews after he passed, but here we get to witness it first-hand, from the little boy trying to feed the ceramic turtle his saltine cracker, to the proud papa throwing himself all over the room to make his infant daughter giggle.
It's painful to think that if his family unit had remained intact or if he hadn't been the victim of ridicule as a teenager that he may not have become an addict and could be alive today.
But there's also the chance that if his young life had been more conventional, he may never have been driven to express himself so deeply, or ever have shared his gifts with the world. And as tragic as it is, his passing brought awareness about the evils of drug use and the senselessness of suicide to the masses.
There has never been a more beautiful sacrificial lamb.
~~~
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