Today I saw Knives Out, starring Ana de Armas and Daniel Craig.
Harlan Thrombey (Christopher Plummer) is a wealthy novelist who is found dead of an apparent suicide. While his family swarms to line up for their inevitable inheritances, investigator Benoit Blanc (Craig) appears on scene with the cops to determine whether or not it was really a suicide.
All along, Marta (de Armas), Thrombey's nurse, has a painful secret she's desperately trying to keep under wraps, and the family's black sheep —who cleverly goes by 'Ransom'—(Chris Evans) is most certainly up to something, but we don't know what.
The film starts out as a straight whodunnit with all of the suspicious parties interviewed separately by law enforcement. After the presentation of a certain scenario, it's obvious what happened, so as an audience member you wonder why the reveal was done so early ... until you realize there is a twist. And then another. And then more after that.
All throughout, crackling dialog laced with hilarious listen-close-or-you'll-miss-them lines pepper the story with a strong dose of humor, making this modern mystery a lot of fun.
The only thing I could have done without was the vomiting. Future viewers: Tere's a lot of that, so be forewarned.
Otherwise, sit back and let the ride take you where it will—you won't be disappointed.
~~~
Showing posts with label Massachussetts. Show all posts
Showing posts with label Massachussetts. Show all posts
Saturday, December 21, 2019
Thursday, June 20, 2019
Jaws
Tonight I saw Jaws, starring Richard Dreyfuss and Roy Scheider in honor of its 44th anniversary.
The legendary score, the almost-laughable fake shark, the unlikely bonding of the bros who venture out to kill the beast—I simply never tire of this classic, which is just a few months older than me.
I've seen the film dozens of times, but I don't recall ever enjoying it on the big screen, so I was thrilled to see that one of my favorite indie theaters would host a complimentary viewing as part of their Throwback Thursday series. The crowd was in my age range (with many of their kids in tow) and the audience behavior was perfect. Absolute silence throughout, with the exception of claps and cheers when famous lines were spoken.
The thing I realized that had never dawned on me before was the emphasis on the 1%/educated character besting the blue collar warrior who at first seems to know far better in every circumstance. It's an interesting lens in which to see the film, especially in light of our class divisions present day, and one that perhaps deserves a closer look.
Nevertheless, the experience was a wonderful way to welcome summer and keep me out of the water for at least a few more days.
~~~
The legendary score, the almost-laughable fake shark, the unlikely bonding of the bros who venture out to kill the beast—I simply never tire of this classic, which is just a few months older than me.
I've seen the film dozens of times, but I don't recall ever enjoying it on the big screen, so I was thrilled to see that one of my favorite indie theaters would host a complimentary viewing as part of their Throwback Thursday series. The crowd was in my age range (with many of their kids in tow) and the audience behavior was perfect. Absolute silence throughout, with the exception of claps and cheers when famous lines were spoken.
The thing I realized that had never dawned on me before was the emphasis on the 1%/educated character besting the blue collar warrior who at first seems to know far better in every circumstance. It's an interesting lens in which to see the film, especially in light of our class divisions present day, and one that perhaps deserves a closer look.
Nevertheless, the experience was a wonderful way to welcome summer and keep me out of the water for at least a few more days.
~~~
Saturday, December 17, 2016
Manchester By the Sea
This morning I saw Manchester By the Sea, starring Casey Affleck and Michelle Williams.
Lee (Affleck) is a divorced repairman who lives a quiet life alone until his brother Joe (Kyle Chandler) suddenly dies, leaving him guardianship of his only son, Patrick (Lucas Hedges). Because the two never discussed this arrangement, he must decide whether to relocate himself or his nephew to make it work.
We learn from flashbacks that Lee once had a family of his own, and in fact the first person he thinks to call when he learns of his brother's passing is his ex-wife. We also find out that he left his hometown because of an event that he caused many years prior, so being around the old neighborhood triggers bad memories.
Patrick is basically a good kid, but he's a teenager, so he selfishly doesn't want his school or his friends or his hobbies to change at all. He also wants to hold on to an expensive boat his dad owned.
Lee wrestles with the decisions he will soon have to make for both of them, and the film is basically his journey getting there.
First, let me say that all of the hype about Affleck's performance is justified. For being a character who's meant to appear numb in the majority of the scenes, he does a phenomenal job of convincing us that underneath that layer of numb lies tremendous pain. There is never a moment where we as audience members don't know how he feels, yet the people in his life likely have no clue.
The script is brilliant in that it absolutely nails the stages of grief; not by telling, but by showing.
From the denial in the first moments, when gathering logistical chores actually dulls the reality of the situation, to the rage of overreacting to little things—it's all there. I also like how the screenwriter elegantly planted "triggers" that would set the characters off emotionally, just like loss does in real life.
The pain here was raw, but the sentiment sincere and never overdone. I barely noticed the score (a good sign in a heavy drama) and imagined the characters existing long after the screen went dark on their small Massachusetts town.
I'll be baffled if this movie doesn't score several Oscar nods, and disappointed if it doesn't win at least some of them.
~~~
Lee (Affleck) is a divorced repairman who lives a quiet life alone until his brother Joe (Kyle Chandler) suddenly dies, leaving him guardianship of his only son, Patrick (Lucas Hedges). Because the two never discussed this arrangement, he must decide whether to relocate himself or his nephew to make it work.
We learn from flashbacks that Lee once had a family of his own, and in fact the first person he thinks to call when he learns of his brother's passing is his ex-wife. We also find out that he left his hometown because of an event that he caused many years prior, so being around the old neighborhood triggers bad memories.
Patrick is basically a good kid, but he's a teenager, so he selfishly doesn't want his school or his friends or his hobbies to change at all. He also wants to hold on to an expensive boat his dad owned.
Lee wrestles with the decisions he will soon have to make for both of them, and the film is basically his journey getting there.
First, let me say that all of the hype about Affleck's performance is justified. For being a character who's meant to appear numb in the majority of the scenes, he does a phenomenal job of convincing us that underneath that layer of numb lies tremendous pain. There is never a moment where we as audience members don't know how he feels, yet the people in his life likely have no clue.
The script is brilliant in that it absolutely nails the stages of grief; not by telling, but by showing.
From the denial in the first moments, when gathering logistical chores actually dulls the reality of the situation, to the rage of overreacting to little things—it's all there. I also like how the screenwriter elegantly planted "triggers" that would set the characters off emotionally, just like loss does in real life.
The pain here was raw, but the sentiment sincere and never overdone. I barely noticed the score (a good sign in a heavy drama) and imagined the characters existing long after the screen went dark on their small Massachusetts town.
I'll be baffled if this movie doesn't score several Oscar nods, and disappointed if it doesn't win at least some of them.
~~~
Wednesday, March 19, 2008
Young at Heart
Tonight I saw the documentary Young at Heart, directed by Stephen Walker.
What a refreshing change from the slew of war films permeating the industry!
In Northampton, Mass., there lives a spirited chorus called Young at Heart. This chorus is made up of 'mature' singers (average age: 80) who come together to practice, perform and tour throughout the year. And quite frankly, they rock.
Seriously.
They're not singing Gershwin classics or busting out ancient showtunes, they're singing Sprinsgteen and Sonic Youth—and they're pulling it off.
The story follows the group from the point that they begin learning their new lineup of songs to their first performance of the set. Like any group, they have a nervous leader who pushes them and loses his patience with their pace from time to time, but they seem to enjoy it all nonetheless.
As the filmmaker follows various singers home, we get a glimpse of what these individuals were probably like in their prime: spunky, daring, full of life. Kind of like now.
Watching them enjoy the process and the friends they make along the way is truly a pleasure and hearing them interpret modern music for the first time is somewhat hilarious.
Of course, since they're old, there are members of the chorus with health problems. The only hard part of watching the film is seeing those few struggle with their ailments. But overall, what could be terribly depressing is just a minor pause along the way of this fun, inspiring film.
Although the Sinéad and Coldplay sections made me sob, the rest of the movie had me smiling throughout. And as someone who felt her life sort of ended when she turned 30, I do feel slightly ashamed.
If these folks can get out of bed and to choir practice 3 days a week, then take their show on the road, what the hell do I have to complain about?
Only that there aren't more films like this one.
Note: to purchase Young at Heart merchandise, visit the chorus's official Web site at youngatheartchorus.com.
What a refreshing change from the slew of war films permeating the industry!
In Northampton, Mass., there lives a spirited chorus called Young at Heart. This chorus is made up of 'mature' singers (average age: 80) who come together to practice, perform and tour throughout the year. And quite frankly, they rock.
Seriously.
They're not singing Gershwin classics or busting out ancient showtunes, they're singing Sprinsgteen and Sonic Youth—and they're pulling it off.
The story follows the group from the point that they begin learning their new lineup of songs to their first performance of the set. Like any group, they have a nervous leader who pushes them and loses his patience with their pace from time to time, but they seem to enjoy it all nonetheless.
As the filmmaker follows various singers home, we get a glimpse of what these individuals were probably like in their prime: spunky, daring, full of life. Kind of like now.
Watching them enjoy the process and the friends they make along the way is truly a pleasure and hearing them interpret modern music for the first time is somewhat hilarious.
Of course, since they're old, there are members of the chorus with health problems. The only hard part of watching the film is seeing those few struggle with their ailments. But overall, what could be terribly depressing is just a minor pause along the way of this fun, inspiring film.
Although the Sinéad and Coldplay sections made me sob, the rest of the movie had me smiling throughout. And as someone who felt her life sort of ended when she turned 30, I do feel slightly ashamed.
If these folks can get out of bed and to choir practice 3 days a week, then take their show on the road, what the hell do I have to complain about?
Only that there aren't more films like this one.
Note: to purchase Young at Heart merchandise, visit the chorus's official Web site at youngatheartchorus.com.
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