Last night I saw Beirut, starring Jon Hamm and Rosamund Pike.
Mason (Hamm) is an alcoholic former diplomat who previously made a life in Beirut. It's been ten years since he lost his love in a night of gunfire. He returned to America shortly thereafter and has never looked back.
Unfortunately, his country needs him and summons him to return to the "scene of the crime" because his closest colleague/friend has been taken hostage and the kidnappers only want Mason to negotiate. Reluctantly he returns to the horrors he left and thus begins a game of cat and mouse between the Americans (amongst each other) and the terrorists.
Really, it's a pretty straightforward story, with good guys and bad guys and damaged guys who fall somewhere in between. Though Mason and his chauffeur Sandy (Pike) spend a lot of time together, sparks never fly for them, which seems like a missed opportunity for an otherwise one-dimensional plot.
The reason to see this is Hamm, who looks more like Don Draper than his real self, and melts comfortably back into the drunken/angry/smart hero role. He's great.
As for the story, well, if you lived during the 1980s, it will conjure up bad flashbacks of depressing evening news broadcasts showing violence and death that seemed to have no end.
If only we'd come farther since then, this would be easier to stomach.
~~~
Showing posts with label alcoholism. Show all posts
Showing posts with label alcoholism. Show all posts
Saturday, April 21, 2018
Friday, October 07, 2016
The Girl on the Train
Tonight I saw The Girl on the Train, starring Emily Blunt and Haley Bennett.
Rachel (Blunt) is a scorned woman, drowning her sorrows in drink following a divorce. Her ex-husband, Tom (Justin Theroux), has moved on and married his mistress. They live together in the house he and Rachel used to share. They have a baby daughter and seem the picture of happiness.
Megan (Bennett) nannies for Tom and his wife, and lives nearby. On the train Rachel takes each day to a job she lost over a year ago, she often watches Megan and her husband Scott on their porch.
One day, Megan goes missing and Rachel is one of the last people to see her. Because of her alcoholism, Rachel suffers blackouts and doesn't remember the events of that night.
Going any further with the plot will spoil many twists, so I'll leave the exploration at that. Though the film does stay true to the book it was based upon, it feels (painfully) slower.
Blunt is convincing as the tragic Rachel, who you alternately sympathize with and want to shake. Her portrait of alcoholism is faithful to sufferers of the disease, and her shock and horror as events unfold is believable. Unfortunately her wonderful acting skills, and the strong performances from the other leads and supporting characters, can't save the movie.
Instead of the page-turning crescendo of activity the book put us through, we're instead watching extended vignettes of Rachel and Megan in their various stages, acting out in whatever ways their characters act out.
Sure, it's powerful to see Rachel flashback to her marriage and let us see what brought her to such self-destruction, and Megan seductively sucking the fingers of one of her sexual partners is about as erotic as it gets for an R-rated movie. But what happened to all the suspense?
I'll just have to return to the pages of the novel to find it.
~~~
Rachel (Blunt) is a scorned woman, drowning her sorrows in drink following a divorce. Her ex-husband, Tom (Justin Theroux), has moved on and married his mistress. They live together in the house he and Rachel used to share. They have a baby daughter and seem the picture of happiness.
Megan (Bennett) nannies for Tom and his wife, and lives nearby. On the train Rachel takes each day to a job she lost over a year ago, she often watches Megan and her husband Scott on their porch.
One day, Megan goes missing and Rachel is one of the last people to see her. Because of her alcoholism, Rachel suffers blackouts and doesn't remember the events of that night.
Going any further with the plot will spoil many twists, so I'll leave the exploration at that. Though the film does stay true to the book it was based upon, it feels (painfully) slower.
Blunt is convincing as the tragic Rachel, who you alternately sympathize with and want to shake. Her portrait of alcoholism is faithful to sufferers of the disease, and her shock and horror as events unfold is believable. Unfortunately her wonderful acting skills, and the strong performances from the other leads and supporting characters, can't save the movie.
Instead of the page-turning crescendo of activity the book put us through, we're instead watching extended vignettes of Rachel and Megan in their various stages, acting out in whatever ways their characters act out.
Sure, it's powerful to see Rachel flashback to her marriage and let us see what brought her to such self-destruction, and Megan seductively sucking the fingers of one of her sexual partners is about as erotic as it gets for an R-rated movie. But what happened to all the suspense?
I'll just have to return to the pages of the novel to find it.
~~~
Saturday, September 07, 2013
The Spectacular Now
Today I saw The Spectacular Now, starring Miles Teller and Shailene Woodley.
Sutter (Teller) is a popular guy at his high school. He makes everyone laugh, wins over his teachers with charm and has a hot blonde girlfriend named Cassidy (Brie Larson).
He also has a drinking problem.
To every party, in every class, on every car ride, he carries a flask full of whiskey. It's with him at all times like a sad security blanket.
After Cassidy has enough of his nonsense and breaks up with him, he begins hanging out with Aimee (Woodley). She's a classmate he's ignored for years, but she agrees to tutor him since he's struggling through his math course.
They have a genuinely sweet chemistry, and soon develop feelings for one another. At first, it appears that they make each other better, but later in the story we have to wonder if she's too good for him.
As we're watching this all unfold, we do feel like we're falling in love right along with them. Their scenes are tender and realistic; their magnetism completely believable though neither of them is conventionally attractive.
Teller and Woodley do a beautiful job of conveying young love and the ease of trusting the wrong people. Jennifer Jason Leigh's brief scenes as Sutter's mother are also powerful.
Though the story doesn't say much, it speaks volumes about the painful reality of addiction. If you're in the mood for something simple, but smart, with a satisfying ending, you should make a point of getting to this spectacular indie.
~~~
Sutter (Teller) is a popular guy at his high school. He makes everyone laugh, wins over his teachers with charm and has a hot blonde girlfriend named Cassidy (Brie Larson).
He also has a drinking problem.
To every party, in every class, on every car ride, he carries a flask full of whiskey. It's with him at all times like a sad security blanket.
After Cassidy has enough of his nonsense and breaks up with him, he begins hanging out with Aimee (Woodley). She's a classmate he's ignored for years, but she agrees to tutor him since he's struggling through his math course.
They have a genuinely sweet chemistry, and soon develop feelings for one another. At first, it appears that they make each other better, but later in the story we have to wonder if she's too good for him.
As we're watching this all unfold, we do feel like we're falling in love right along with them. Their scenes are tender and realistic; their magnetism completely believable though neither of them is conventionally attractive.
Teller and Woodley do a beautiful job of conveying young love and the ease of trusting the wrong people. Jennifer Jason Leigh's brief scenes as Sutter's mother are also powerful.
Though the story doesn't say much, it speaks volumes about the painful reality of addiction. If you're in the mood for something simple, but smart, with a satisfying ending, you should make a point of getting to this spectacular indie.
~~~
Sunday, November 11, 2012
Flight
Today I saw Flight, starring Denzel Washington and Kelly Reilly.
Whip Whitaker (Washington) is an addict. He likes his cocaine, he likes his women and he loves his drink. He's also a reliable, successful commercial airline pilot.
On a routine flight when the weather gets bad, Whip recovers the plane from horrible turbulence. Later, a technical malfunction causes the plane to nosedive and it's the quick thinking and actions of the pilot that result in a crash landing, which only causes six deaths.
When he wakes from his injuries, he's celebrated as a hero as his legal team works fiercely to hide the fact he could also be a criminal based on the amount of drugs he had in his system at the time of the flight.
At this point, the film shifts from being a suspense thriller to a difficult-to-watch, yet can't-take-your-eyes-off-of-it story of addiction.
Washington and Kelly Reilly, who plays his addicted girlfriend Nicole, are nothing short of superb in communicating the silence and sadness that haunt the lives of those who can't stop. Their situations are authentic and their struggles are common—in fact, since *Leaving Las Vegas*, I can't think of any film that's been as good at showing the raw behaviors of addiction.
What's more, it's difficult to determine who or what you should be rooting for as a viewer, which makes the dissection of the story all that more complex.
Robert Zemeckis is one of my favorite directors and I'm thrilled to see that he's crafted another film that's accessible to the mainstream, yet still sophisticated enough to keep the savvy filmgoers satisfied.
I can recommend this for just about any adult, except for those who are perhaps afraid of flying (the crash scene is beyond intense).
~~~
Whip Whitaker (Washington) is an addict. He likes his cocaine, he likes his women and he loves his drink. He's also a reliable, successful commercial airline pilot.
On a routine flight when the weather gets bad, Whip recovers the plane from horrible turbulence. Later, a technical malfunction causes the plane to nosedive and it's the quick thinking and actions of the pilot that result in a crash landing, which only causes six deaths.
When he wakes from his injuries, he's celebrated as a hero as his legal team works fiercely to hide the fact he could also be a criminal based on the amount of drugs he had in his system at the time of the flight.
At this point, the film shifts from being a suspense thriller to a difficult-to-watch, yet can't-take-your-eyes-off-of-it story of addiction.
Washington and Kelly Reilly, who plays his addicted girlfriend Nicole, are nothing short of superb in communicating the silence and sadness that haunt the lives of those who can't stop. Their situations are authentic and their struggles are common—in fact, since *Leaving Las Vegas*, I can't think of any film that's been as good at showing the raw behaviors of addiction.
What's more, it's difficult to determine who or what you should be rooting for as a viewer, which makes the dissection of the story all that more complex.
Robert Zemeckis is one of my favorite directors and I'm thrilled to see that he's crafted another film that's accessible to the mainstream, yet still sophisticated enough to keep the savvy filmgoers satisfied.
I can recommend this for just about any adult, except for those who are perhaps afraid of flying (the crash scene is beyond intense).
~~~
Monday, March 15, 2010
Applause
Tonight I screened Applause, starring Paprika Steen and Michael Falch.
Thea (played by the brilliant Steen) is an alcoholic actress who has lost everything except for her career. Christian (Falch) is her kind ex-husband and the father of her two sons. He has moved on with a new, lovely woman, but still cares for Thea and wants to help her renew her relationship with their kids.
Like many troubled parents, Thea realizes that to be a good mother she must first win the fight with her demons. Although the demon here is the somewhat conventional 'alcohol' demon, her struggle metaphorically could represent anyone who has suffered from self-loathing or unresolved issues that prevent them from true happiness.
To get past this darkness and loneliness, Thea makes an honest effort to clean herself up and get to know her boys. By reaching out in a healthy way, her ex and his present girlfriend allow her visits and family time with all of them. She is grateful for this and puts down the bottle during the transition. But she can't quite ever leave her life behind—though she's not knocking back whiskey anymore, she still sits at the neighborhood bar with a mineral water. Alone. Though that life of addiction clearly makes her miserable, it is there she feels most comfortable.
Things can't be the way they used to be because everyone else has moved on. This is a devastating realization to Thea, who continues her awkward journey through motherhood for the duration of the film.
As we cringe at her missteps and sympathize with the more balanced characters in the film, it's not hard to imagine how desperate we're all made to feel when we arrive at such a place of heartache.
If we can't make peace with ourselves, what good are we to anyone else?
~~~
Thea (played by the brilliant Steen) is an alcoholic actress who has lost everything except for her career. Christian (Falch) is her kind ex-husband and the father of her two sons. He has moved on with a new, lovely woman, but still cares for Thea and wants to help her renew her relationship with their kids.
Like many troubled parents, Thea realizes that to be a good mother she must first win the fight with her demons. Although the demon here is the somewhat conventional 'alcohol' demon, her struggle metaphorically could represent anyone who has suffered from self-loathing or unresolved issues that prevent them from true happiness.
To get past this darkness and loneliness, Thea makes an honest effort to clean herself up and get to know her boys. By reaching out in a healthy way, her ex and his present girlfriend allow her visits and family time with all of them. She is grateful for this and puts down the bottle during the transition. But she can't quite ever leave her life behind—though she's not knocking back whiskey anymore, she still sits at the neighborhood bar with a mineral water. Alone. Though that life of addiction clearly makes her miserable, it is there she feels most comfortable.
Things can't be the way they used to be because everyone else has moved on. This is a devastating realization to Thea, who continues her awkward journey through motherhood for the duration of the film.
As we cringe at her missteps and sympathize with the more balanced characters in the film, it's not hard to imagine how desperate we're all made to feel when we arrive at such a place of heartache.
If we can't make peace with ourselves, what good are we to anyone else?
~~~
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