Today I saw Bombshell, starring Charlize Theron and Nicole Kidman.
The women who brought down Fox News executive Roger Ailes (John Lithgow) weren't always united, but they all shared a common problem in their workplace: him. This film traces the journey of three of those women (two based on real people; one a fictional composite) and what they endured to reveal their truths.
Charlize Theron is almost unrecognizable as she dissolves into the role of Megyn Kelly, arguably the biggest female star that's ever graced the Fox network. Kelly was harassed early in her career by Ailes, but kept quiet until it was evident his behavior had continued and worsened over the years. Theron's performance is what everyone is talking about and they should be for how frighteningly good it is, right down to the sound of her voice and the way she enunciates words. I was never much of a fan of Kelly, but this portrayal of how she handled the situation makes me dislike her a lot less.
Nicole Kidman is also strong as Gretchen Carlson, the woman who began the fight—and finished it by furnishing a series of conversations she'd recorded of Ailes saying vile things to her in the workplace.
Of course the creepy, disgusting source of everyone's pain had to be shown and Lithgow does a fine job of repulsing us with his inappropriate grunts and demands. This old, overweight villain is both terrifying and pathetic in equal measure.
There is a satisfying element in seeing Ailes brought down, but in retrospect, considering how comfortably he got to live out his life (as did/are others who were fired for similar offenses), it's truly bittersweet.
The fast pace of the film thankfully absolves us from seeing all of the horrors this monster inflicted, but reveals enough to remind men that those days are over and we're coming for them if they attempt this behavior going forward.
Girls, take all of the men in your life to see this film—especially your sons.
~~~
Showing posts with label Nicole Kidman. Show all posts
Showing posts with label Nicole Kidman. Show all posts
Tuesday, December 24, 2019
Wednesday, August 09, 2017
The Beguiled
Yesterday I saw The Beguiled, starring Colin Farrell and Nicole Kidman.
Corporal John McBurney (Farrell) fell into the Union army by way of desperation—he'd just arrived from Ireland without a penny to speak of, so while he was up for the job, he didn't have a specific affinity to either American side. When he is wounded in battle, a young girl finds him bleeding and helpless in the woods. She does the "Christian" thing (as they often mention), although he is from the opposite side, and brings him to safety at the girls' seminary where she lives.
The seminary is run by strict headmistress Martha (Kidman) who immediately mends his wound, cleans him up and transforms the music area into a makeshift bedroom for him. Soon all the young girls, and their teacher Edwina (Kirsten Dunst), are smitten with their guest, bending over backwards to see to his comfort.
He is grateful and gracious—gentle with the young girls and flirtatious with the women. His wound heals nicely and it is determined that it's not appropriate for him to remain, so (sexual) tensions rise as the group knows their time with him will end soon.
There is rivalry, violence, betrayal and heartbreak as the truth unfolds. To say any more would be to spoil, so I'll just mention that the soft, pearly light that Sofia Coppola always casts over her movies with works well here. Instead of being a raw, dusty war-time drama, it feels more like an occasional thriller with some splashes of romance that hang in the air like a misty Southern fog.
~~~
Corporal John McBurney (Farrell) fell into the Union army by way of desperation—he'd just arrived from Ireland without a penny to speak of, so while he was up for the job, he didn't have a specific affinity to either American side. When he is wounded in battle, a young girl finds him bleeding and helpless in the woods. She does the "Christian" thing (as they often mention), although he is from the opposite side, and brings him to safety at the girls' seminary where she lives.
The seminary is run by strict headmistress Martha (Kidman) who immediately mends his wound, cleans him up and transforms the music area into a makeshift bedroom for him. Soon all the young girls, and their teacher Edwina (Kirsten Dunst), are smitten with their guest, bending over backwards to see to his comfort.
He is grateful and gracious—gentle with the young girls and flirtatious with the women. His wound heals nicely and it is determined that it's not appropriate for him to remain, so (sexual) tensions rise as the group knows their time with him will end soon.
There is rivalry, violence, betrayal and heartbreak as the truth unfolds. To say any more would be to spoil, so I'll just mention that the soft, pearly light that Sofia Coppola always casts over her movies with works well here. Instead of being a raw, dusty war-time drama, it feels more like an occasional thriller with some splashes of romance that hang in the air like a misty Southern fog.
~~~
Saturday, January 07, 2017
Lion
This morning I saw Lion, starring Sunny Pawar and Dev Patel.
As a young boy, Saroo (Pawar - young; Patel - present day) helps his mother carry rocks in the tiny village in India where they reside. Their family is living in poverty, but he and his brother Guddu (Abhishek Bharate) find work where they can get it. One night, Guddu sets out for a job and Saroo begs to tag along. After at first protesting, Guddu gives in and they set out by train for their journey.
Once they arrive, Guddu goes to look for the job site and the brothers become separated. Saroo falls asleep on a train and wakes up in an unfamiliar place: Calcutta. He's traveled over 1200 miles. There, he forages for food, escapes a gang that's rounding up street kids and finally lands in the care of authorities, who arrange for him to be adopted.
He wants to go home, but they don't understand the pronunciation of his town and he doesn't know his mother's name. His mother doesn't read or write, so she doesn't see the newspapers printing the reports of Saroo being found. Adoption is his best chance at resuming a normal life.
His adoptive parents, Sue (Nicole Kidman) and John (David Wenham), are a kind, financially comfortable Australian couple. They love him the instant he arrives and he loves them right back. Soon they adopt another Indian child and Saroo has a new brother, all the while missing his real family.
Sunny Pawar, who plays the young version of Saroo melted my heart instantly. His sweet little face, conveying every ounce of horror and pain he was enduring was almost too much to take, but incredibly well done. Is he too young to qualify for an Oscar nomination? I hope not.
Speaking of nominations, I think this is Kidman's best performance in years. Perhaps her own experience of being an adoptive mother helped her prepare for the role, or she just embraced the story so fully she aced it; whatever the reason, her time on-screen is amazing.
But I digress; this true story unfolds in the most tender of ways and to say that I got a little weepy toward the end would be a gross understatement. As Oprah would say, I went into "the ugly cry." And so did most of the folks around me.
What a beautiful film about a beautiful story.
~~~
As a young boy, Saroo (Pawar - young; Patel - present day) helps his mother carry rocks in the tiny village in India where they reside. Their family is living in poverty, but he and his brother Guddu (Abhishek Bharate) find work where they can get it. One night, Guddu sets out for a job and Saroo begs to tag along. After at first protesting, Guddu gives in and they set out by train for their journey.
Once they arrive, Guddu goes to look for the job site and the brothers become separated. Saroo falls asleep on a train and wakes up in an unfamiliar place: Calcutta. He's traveled over 1200 miles. There, he forages for food, escapes a gang that's rounding up street kids and finally lands in the care of authorities, who arrange for him to be adopted.
He wants to go home, but they don't understand the pronunciation of his town and he doesn't know his mother's name. His mother doesn't read or write, so she doesn't see the newspapers printing the reports of Saroo being found. Adoption is his best chance at resuming a normal life.
His adoptive parents, Sue (Nicole Kidman) and John (David Wenham), are a kind, financially comfortable Australian couple. They love him the instant he arrives and he loves them right back. Soon they adopt another Indian child and Saroo has a new brother, all the while missing his real family.
Sunny Pawar, who plays the young version of Saroo melted my heart instantly. His sweet little face, conveying every ounce of horror and pain he was enduring was almost too much to take, but incredibly well done. Is he too young to qualify for an Oscar nomination? I hope not.
Speaking of nominations, I think this is Kidman's best performance in years. Perhaps her own experience of being an adoptive mother helped her prepare for the role, or she just embraced the story so fully she aced it; whatever the reason, her time on-screen is amazing.
But I digress; this true story unfolds in the most tender of ways and to say that I got a little weepy toward the end would be a gross understatement. As Oprah would say, I went into "the ugly cry." And so did most of the folks around me.
What a beautiful film about a beautiful story.
~~~
Saturday, November 01, 2014
Before I Go to Sleep
Tonight I saw Before I Go to Sleep, starring Nicole Kidman and Colin Firth.
Chris Lucas (Kidman) wakes up every day remembering nothing about her life for the past 18 years. She's 40, but in her head, she's 22. During the day her husband (Colin Firth) tries to catch her up by placing post-it notes and photos around the house, reminding her of their life, but by the time she retains it all, it's time for bed.
Her amnesia is the result of a traumatic attack she suffered at the hands of a mystery man several years ago. He was never caught or punished due to her lack of recollection about the incident.
Attempting to help her is Dr. Nasch (Mark Strong), who has developed an experimental therapy that has Chris recording a diary on camera each night. He hopes that the ritual will gradually begin to bring things back for her, but decides to remove himself from her case when he becomes too close to her.
Her instincts tell her that there are people in her life who should not be trusted, but determining who causes her great peril.
Kidman is convincing as a confused, disturbed woman trying to piece together her history from conflicting stories and evidence; Firth is effortlessly handsome (as usual) and compassionate as he's forced to repeat the same retelling of his wife's life every day.
I'll have to admit I found this story very depressing until the unexpected twist took hold of the plot and turned it upside down. I didn't see it coming, though I suspect if I went back and watched it again, the clues would all be there staring me in the face.
What started as a quiet drama evolved into a nail-biting thriller with a an ending that gave the characters a well-deserved exploration.
One of the nicest surprises I've had at the cinema in a while.
~~~
Chris Lucas (Kidman) wakes up every day remembering nothing about her life for the past 18 years. She's 40, but in her head, she's 22. During the day her husband (Colin Firth) tries to catch her up by placing post-it notes and photos around the house, reminding her of their life, but by the time she retains it all, it's time for bed.
Her amnesia is the result of a traumatic attack she suffered at the hands of a mystery man several years ago. He was never caught or punished due to her lack of recollection about the incident.
Attempting to help her is Dr. Nasch (Mark Strong), who has developed an experimental therapy that has Chris recording a diary on camera each night. He hopes that the ritual will gradually begin to bring things back for her, but decides to remove himself from her case when he becomes too close to her.
Her instincts tell her that there are people in her life who should not be trusted, but determining who causes her great peril.
Kidman is convincing as a confused, disturbed woman trying to piece together her history from conflicting stories and evidence; Firth is effortlessly handsome (as usual) and compassionate as he's forced to repeat the same retelling of his wife's life every day.
I'll have to admit I found this story very depressing until the unexpected twist took hold of the plot and turned it upside down. I didn't see it coming, though I suspect if I went back and watched it again, the clues would all be there staring me in the face.
What started as a quiet drama evolved into a nail-biting thriller with a an ending that gave the characters a well-deserved exploration.
One of the nicest surprises I've had at the cinema in a while.
~~~
Saturday, May 17, 2014
The Railway Man
This morning I saw The Railway Man, starring Colin Firth and Nicole Kidman.
Eric Lomax (Firth) was a British soldier during World War II, taken as a prisoner of war by the Japanese. In an effort to learn what was going on in the outside world, he and his fellow soldiers successfully built a radio, but the discovery of that invention caused him to be severely tortured.
Lomax survived the war, but never forgot his hatred and disgust for one of his main captors, Tekashi Nagase (Hiroyuki Sanada). Nagase was an educated interpreter who Lomax felt should have shown mercy during the conflict, but instead displayed vicious cruelty.
In the 1980s, after a rocky career and numerous subsequent effects of post-traumatic stress disorder, Lomax met his second wife, Patti (Kidman). He shared his love of railways with her and their romance blossomed. Not long after their wedding, she realized how damaged he was.
Her love for him, and the support of the soldiers he survived with, led him to reunite with Nagase and ultimately forgive his actions. In fact, the two became close friends until Nagase's death just a few years ago.
The film, based on this true story, captures both the horrors of actual prison camps and the psychological pain that echoes decades later from the experience of violence.
Firth is his usual amazing self, exhibiting an aloof nature at first, then revealing his layers of agony for all to witness; Kidman gives her best performance in recent memory as the concerned and curious wife, desperate to bring peace to the love of her life.
It's a story that needed to be told, both to remember the errors of our combative past and to realize the power of healing through forgiveness.
~~~
Eric Lomax (Firth) was a British soldier during World War II, taken as a prisoner of war by the Japanese. In an effort to learn what was going on in the outside world, he and his fellow soldiers successfully built a radio, but the discovery of that invention caused him to be severely tortured.
Lomax survived the war, but never forgot his hatred and disgust for one of his main captors, Tekashi Nagase (Hiroyuki Sanada). Nagase was an educated interpreter who Lomax felt should have shown mercy during the conflict, but instead displayed vicious cruelty.
In the 1980s, after a rocky career and numerous subsequent effects of post-traumatic stress disorder, Lomax met his second wife, Patti (Kidman). He shared his love of railways with her and their romance blossomed. Not long after their wedding, she realized how damaged he was.
Her love for him, and the support of the soldiers he survived with, led him to reunite with Nagase and ultimately forgive his actions. In fact, the two became close friends until Nagase's death just a few years ago.
The film, based on this true story, captures both the horrors of actual prison camps and the psychological pain that echoes decades later from the experience of violence.
Firth is his usual amazing self, exhibiting an aloof nature at first, then revealing his layers of agony for all to witness; Kidman gives her best performance in recent memory as the concerned and curious wife, desperate to bring peace to the love of her life.
It's a story that needed to be told, both to remember the errors of our combative past and to realize the power of healing through forgiveness.
~~~
Monday, December 27, 2010
Rabbit Hole
Today I saw Rabbit Hole, starring Nicole Kidman and Aaron Eckhart.
Becca (Kidman) and Howie (Eckhart) have lost a son. Their beloved 4-year-old Danny chased their dog into the street and was struck and killed by a car. This was eight months ago.
Today their world is dismal. They don't make love, don't agree on ways to heal (he likes group therapy; she hates it) and have several problems communicating as a result. To top it off, Becca's irresponsible sister is knocked up and Becca can't help but be jealous and judgmental about the new baby.
Sound like fun? Well, of course not, but it's not quite as hard to watch as it sounds.
Sure, Becca is draped in depressing grays and exhibits the loss of energy any of us feel when experiencing pain of that magnitude, but there is a merit to what's happening on-screen.
The relationship Becca develops with Jason (Miles Teller), the teenager who was driving the car that killed her son, is tender and tragic—as if each time she looks at him she sees an age that her son will never reach.
Becca and Howie are angry, but they're not malicious toward one another, though their marriage is crumbling at every turn.
Gaby (Sandra Oh) is a friend Howie makes in group therapy and her presence seems appropriate and comforting in light of the circumstances. She's hurting too, and as the saying goes: misery loves company.
There is resolution without closure here, and it's done gracefully thanks to director John Cameron Mitchell. This 'slice of death' story could have been a blatant sob-fest if it had fallen into the wrong hands, but thankfully it did not.
Really, the only thing wrong with it is Kidman's inability to hold her American accent during outburst scenes. But that is forgivable in such a well-written, enveloping film.
~~~
Becca (Kidman) and Howie (Eckhart) have lost a son. Their beloved 4-year-old Danny chased their dog into the street and was struck and killed by a car. This was eight months ago.
Today their world is dismal. They don't make love, don't agree on ways to heal (he likes group therapy; she hates it) and have several problems communicating as a result. To top it off, Becca's irresponsible sister is knocked up and Becca can't help but be jealous and judgmental about the new baby.
Sound like fun? Well, of course not, but it's not quite as hard to watch as it sounds.
Sure, Becca is draped in depressing grays and exhibits the loss of energy any of us feel when experiencing pain of that magnitude, but there is a merit to what's happening on-screen.
The relationship Becca develops with Jason (Miles Teller), the teenager who was driving the car that killed her son, is tender and tragic—as if each time she looks at him she sees an age that her son will never reach.
Becca and Howie are angry, but they're not malicious toward one another, though their marriage is crumbling at every turn.
Gaby (Sandra Oh) is a friend Howie makes in group therapy and her presence seems appropriate and comforting in light of the circumstances. She's hurting too, and as the saying goes: misery loves company.
There is resolution without closure here, and it's done gracefully thanks to director John Cameron Mitchell. This 'slice of death' story could have been a blatant sob-fest if it had fallen into the wrong hands, but thankfully it did not.
Really, the only thing wrong with it is Kidman's inability to hold her American accent during outburst scenes. But that is forgivable in such a well-written, enveloping film.
~~~
Saturday, November 29, 2008
Australia
Yesterday I saw Australia, starring Nicole Kidman and Hugh Jackman.
Baz Luhrman brings pre-World War II Australia to life by telling the story of Lady Sarah Ashley (Kidman), a British widow who has to relocate to the continent to save her husband's business and property after he is murdered. After many doses of typical movie-romance banter, she enlists the help of Drover (Jackman), a morally sound cattle rancher, who successfully assists her while consequently falling in love with her.
They also unofficially adopt Nullah (Brandon Walters), an aboriginal boy, who often appears to be the most resourceful and clever member of this dysfunctional, yet loyal, family.
To call the film a romance isn't really being honest—sure there are elements of it surrounding the main characters. And yes, Kidman and the ever-appealing Jackman have a respectable chemistry opposite one another. But the basis of the story is not merely their love; in fact, that part feels like more of a side dish in a meal that's more Western/war than anything else.
Because Director Baz Luhrman is in charge, that's all okay, though.
His stunning landscapes make for such a beautifully lit narrative, somehow even the hellish fires of war come out looking magical.
He also commands an almost supernaturally good performance from his youngest star, Walters, who brings so much character to Nullah, he steals the show.
Australia has all the elements of a traditional epic: deaths, rivalries, lovers torn apart, orphans, war and aristocracy, and each delivers in a satisfying, if not overwhelming way.
Many of the scenes and outcomes are predictable, but nonetheless well executed. Overall, it's an entertaining and attention-keeping film.
The biggest criticism I have is in the work's length—at nearly three hours long, I couldn't help but make mental notes along the way of portions that should have been cut.
But I'll forgive an artist as great as Luhrman for seeing his vision through to the end. Despite its flaws, the movie is still a suspense-filled visual marvel, and for that reason alone, audiences should see it on the big screen.
Baz Luhrman brings pre-World War II Australia to life by telling the story of Lady Sarah Ashley (Kidman), a British widow who has to relocate to the continent to save her husband's business and property after he is murdered. After many doses of typical movie-romance banter, she enlists the help of Drover (Jackman), a morally sound cattle rancher, who successfully assists her while consequently falling in love with her.
They also unofficially adopt Nullah (Brandon Walters), an aboriginal boy, who often appears to be the most resourceful and clever member of this dysfunctional, yet loyal, family.
To call the film a romance isn't really being honest—sure there are elements of it surrounding the main characters. And yes, Kidman and the ever-appealing Jackman have a respectable chemistry opposite one another. But the basis of the story is not merely their love; in fact, that part feels like more of a side dish in a meal that's more Western/war than anything else.
Because Director Baz Luhrman is in charge, that's all okay, though.
His stunning landscapes make for such a beautifully lit narrative, somehow even the hellish fires of war come out looking magical.
He also commands an almost supernaturally good performance from his youngest star, Walters, who brings so much character to Nullah, he steals the show.
Australia has all the elements of a traditional epic: deaths, rivalries, lovers torn apart, orphans, war and aristocracy, and each delivers in a satisfying, if not overwhelming way.
Many of the scenes and outcomes are predictable, but nonetheless well executed. Overall, it's an entertaining and attention-keeping film.
The biggest criticism I have is in the work's length—at nearly three hours long, I couldn't help but make mental notes along the way of portions that should have been cut.
But I'll forgive an artist as great as Luhrman for seeing his vision through to the end. Despite its flaws, the movie is still a suspense-filled visual marvel, and for that reason alone, audiences should see it on the big screen.
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.
Friday, November 23, 2007
Margot at the Wedding
Today I saw Margot at the Wedding, starring Jennifer Jason Leigh and Nicole Kidman.
It was the topic of Cinebanter #44, which is available here.
It was the topic of Cinebanter #44, which is available here.
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