Tonight I screened Countdown, starring Elizabeth Lail and Peter Facinelli.
A group of friends dare each other at a party to download an app that supposedly reveals your time of death and the person with the soonest fate has to drink the remaining drinks. Silly, right? Sure it is ... until that individual dies at the precise time that app said she would (and no, not from alcohol poisoning).
A story for modern times, for sure—with all of the tech nerd cheap shots they can fit–that examines our obsession with Smartphones and attempts to provide some jumps and scares in the meantime.
After one of her patients passes away, also at the time the app says he would, Quinn (Lail), a new nurse, downloads the app to her phone. She's alarmed when the time of death is just a few days away and begins seeing and hearing things that make her think there's more to it. She does what any sane person would do and attempts to delete the app from her phone, but that proves to be impossible.
She soon meets another app "victim" and they become friends, seeking ways to rid themselves of their certain fates. They enlist the help of an almost cartoonish young priest who is new to the demon-fighting trade and the film turns from wannabe-thriller to unsuccessful screwball comedy.
Did I mention there's a whole #MeToo side story in there too? I was excited to see Peter Facinelli emerge as the slimy doctor (I always loved him in a similar role on Nurse Jackie), but really as a fine actor, he deserved more.
Overall, this wasn't terribly scary, didn't ever really solve why the deaths were happening (what motivated the "demons") and gratuitously set up the sequel at the end. Thanks, but I'll pass.
~~~
Showing posts with label death. Show all posts
Showing posts with label death. Show all posts
Thursday, October 17, 2019
Tuesday, May 28, 2019
Emma Peters
Tonight I screened Emma Peeters, starring Monia Chokri and Fabrice Adde.
Emma (Chokri) is a thirty-something actress who spends her days juggling auditions for parts she doesn't get with a dead-end job at an electronics store, where she miserably succeeds in becoming the top salesperson. She decides that life is no longer worth living and begins an elaborate plan to commit suicide on her birthday.
As preparations begin, she encounters an enthusiastic funeral director, Alex (Adde), who comments that she doesn't appear sick. One thing leads to another and they become close as her self-imposed deadline approaches.
Sounds pretty grim, right? Well, it could be, but here it's more of a morbid-black-comedy vibe than a sad one, no matter how depressing her progress becomes.
Throw in a persistent cat named Jim (after Morrison), clueless parents and selfish friends and you can sort of see why Emma is disillusioned. That said, the thought of suicide isn't pleasant and the closer she gets to going through with it, the more you pray as an audience member that the happy ending film formula will win out and save her life.
You'll have to see the film to learn how it turns out, but I personally could have done with less squirming along the way.
~~~
Emma Peeters screened at the 45th annual Seattle International Film Festival.
Emma (Chokri) is a thirty-something actress who spends her days juggling auditions for parts she doesn't get with a dead-end job at an electronics store, where she miserably succeeds in becoming the top salesperson. She decides that life is no longer worth living and begins an elaborate plan to commit suicide on her birthday.
As preparations begin, she encounters an enthusiastic funeral director, Alex (Adde), who comments that she doesn't appear sick. One thing leads to another and they become close as her self-imposed deadline approaches.
Sounds pretty grim, right? Well, it could be, but here it's more of a morbid-black-comedy vibe than a sad one, no matter how depressing her progress becomes.
Throw in a persistent cat named Jim (after Morrison), clueless parents and selfish friends and you can sort of see why Emma is disillusioned. That said, the thought of suicide isn't pleasant and the closer she gets to going through with it, the more you pray as an audience member that the happy ending film formula will win out and save her life.
You'll have to see the film to learn how it turns out, but I personally could have done with less squirming along the way.
~~~
Emma Peeters screened at the 45th annual Seattle International Film Festival.
Friday, February 10, 2017
Documentary Short Film Nominees (Oscars® 2017)
Tonight I saw all five of the nominated films in the Documentary Short category. I'll present my reviews in the order they were shown.
JOE'S VIOLIN (USA)
Joseph Feingold survived the horrors of the Holocaust (though some of his family didn't). When he came to the United States after the war to begin a new life, he went to a flea market and bought a violin. It cost him only a carton of cigarettes and became his constant companion for over 70 years. When he heard an announcement that there was an instrument drive for local schools, he decided to finally part with it, and it landed at the Bronx Global Learning Institute for Girls. There, 12-year-old Brianna Perez was chosen to borrow it during her time at the school. When she learned of the instrument's history, she invited Feingold to a performance. He went, and it was magical. This film is less than a half an hour long and I cried through at least half of it. Beautiful story, beautiful people, beautiful music.
EXTREMIS (USA)
Highland Hospital in Oakland, California treats patients of all walks of life in their Intensive Care Unit. This film showcases the work of Dr. Jessica Zitter, a palliative care specialist, and her team as they navigate their way through heartbreak after heartbreak, helping families make the toughest decisions of their lives. Their care, stress, compassion, intelligence and warmth are on raw display day after day, week after week. This short glimpse only captures a fraction of it, but reminds us who the real heroes are in this world.
4.1 MILES (USA)
Life as a Greek Coast Guard on the quiet island of Lesbos used to be stress-free for Captain Kyriakos Papadopoulos. That is, until the refugee crises began. Now his days are filled acting as a ferry between Turkey and his town as thousands risk their lives to cross the Aegean for a chance at a better life. He has no CPR or medical training, but continues to rescue and attempt to resuscitate those in need. Sometimes he succeeds; sometimes it's too late by the time the bodies float to his boat. Thinking of the times I splashed in that same Sea as a little girl, carefree and safe with my family in Greece, this film hit me especially hard. To see the terror in the eyes of parents not knowing if their children would live, or the fear in the children who were scarred by the horrors of war was borderline unbearable.
WATANI: MY HOMELAND (UK)
A Syrian couple tried to have children for eight years before conceiving, and then, God blessed them with four. Now their one son and three daughters dodge bullets and hide when shells come flying into their formerly peaceful neighborhood as their father, a Free Syrian Commander, dedicates his life to the revolution. Mom gives them cough syrup to relax, but they insist on staying by their father's side ... until their father is captured by ISIS. Unable to continue living in a constant state of chaos, the family seeks asylum in the small German town of Goslar. There they receive a clean home, a monthly salary and the warm welcome they so rightly deserve. They're grateful to their new hosts, but miss their family and homeland. The most in-depth look I've seen into the lives affected by the conflict, and one that will stay with me indefinitely.
THE WHITE HELMETS (UK)
As bombs fall onto their neighborhoods and explosions light up their Syrian skies, members of The White Helmets run toward the danger to rescue whomever survived or recover the bodies of those who did not. Members are former builders, former blacksmith—good, kind blue collar men that simply want to do the right thing in the midst of the most grim humanitarian conditions they'll ever face. Civilian volunteers with limited (or no) training who have saved over 58,000 lives to date. But those good deeds don't come without sacrifice. Each day they venture into the rubble is a day they may never come home. Many White Helmet lives have been lost "on the job." Despite this, they support each other like brothers (some even learn of their own deceased family members while being filmed for this documentary), crying, hugging and taking well-earned emotional breaks when they just can't keep going. Films like this should be mandatory in schools, in homes, in governments.
~~~
JOE'S VIOLIN (USA)
Joseph Feingold survived the horrors of the Holocaust (though some of his family didn't). When he came to the United States after the war to begin a new life, he went to a flea market and bought a violin. It cost him only a carton of cigarettes and became his constant companion for over 70 years. When he heard an announcement that there was an instrument drive for local schools, he decided to finally part with it, and it landed at the Bronx Global Learning Institute for Girls. There, 12-year-old Brianna Perez was chosen to borrow it during her time at the school. When she learned of the instrument's history, she invited Feingold to a performance. He went, and it was magical. This film is less than a half an hour long and I cried through at least half of it. Beautiful story, beautiful people, beautiful music.
EXTREMIS (USA)
Highland Hospital in Oakland, California treats patients of all walks of life in their Intensive Care Unit. This film showcases the work of Dr. Jessica Zitter, a palliative care specialist, and her team as they navigate their way through heartbreak after heartbreak, helping families make the toughest decisions of their lives. Their care, stress, compassion, intelligence and warmth are on raw display day after day, week after week. This short glimpse only captures a fraction of it, but reminds us who the real heroes are in this world.
4.1 MILES (USA)
Life as a Greek Coast Guard on the quiet island of Lesbos used to be stress-free for Captain Kyriakos Papadopoulos. That is, until the refugee crises began. Now his days are filled acting as a ferry between Turkey and his town as thousands risk their lives to cross the Aegean for a chance at a better life. He has no CPR or medical training, but continues to rescue and attempt to resuscitate those in need. Sometimes he succeeds; sometimes it's too late by the time the bodies float to his boat. Thinking of the times I splashed in that same Sea as a little girl, carefree and safe with my family in Greece, this film hit me especially hard. To see the terror in the eyes of parents not knowing if their children would live, or the fear in the children who were scarred by the horrors of war was borderline unbearable.
WATANI: MY HOMELAND (UK)
A Syrian couple tried to have children for eight years before conceiving, and then, God blessed them with four. Now their one son and three daughters dodge bullets and hide when shells come flying into their formerly peaceful neighborhood as their father, a Free Syrian Commander, dedicates his life to the revolution. Mom gives them cough syrup to relax, but they insist on staying by their father's side ... until their father is captured by ISIS. Unable to continue living in a constant state of chaos, the family seeks asylum in the small German town of Goslar. There they receive a clean home, a monthly salary and the warm welcome they so rightly deserve. They're grateful to their new hosts, but miss their family and homeland. The most in-depth look I've seen into the lives affected by the conflict, and one that will stay with me indefinitely.
THE WHITE HELMETS (UK)
As bombs fall onto their neighborhoods and explosions light up their Syrian skies, members of The White Helmets run toward the danger to rescue whomever survived or recover the bodies of those who did not. Members are former builders, former blacksmith—good, kind blue collar men that simply want to do the right thing in the midst of the most grim humanitarian conditions they'll ever face. Civilian volunteers with limited (or no) training who have saved over 58,000 lives to date. But those good deeds don't come without sacrifice. Each day they venture into the rubble is a day they may never come home. Many White Helmet lives have been lost "on the job." Despite this, they support each other like brothers (some even learn of their own deceased family members while being filmed for this documentary), crying, hugging and taking well-earned emotional breaks when they just can't keep going. Films like this should be mandatory in schools, in homes, in governments.
~~~
Wednesday, December 21, 2016
A Monster Calls
Tonight I saw A Monster Calls, starring Lewis MacDougall and Sigourney Weaver.
Time is on our side. Time heals all wounds. Time flies.
There are countless sayings about our only true measure of life; simply choose the circumstance to match the cliché.
In this film, time is in short supply as young, British Conor (MacDougall) has a mum (Felicity Jones) who is terminally ill. As if that isn't enough for a kid to deal with, he's also the target of the school bully and doesn't really get along with his Grandma (Weaver). Did I mention Dad has made a new life with a new family in America too? It's no surprise Conor suffers from terrible reoccurring nightmares.
As he attempts to cope with all of the turmoil in his life, he begins receiving visits—always at 12:07—from a tree monster (voiced by the magnificent Liam Neeson). The monster tells him a series of stories, empowering Conor to wreak havoc along the way, with the expectation Conor will tell him "his" story, or rather the entirety of his nightmares.
The adults do the right thing to try to help Conor: Grandma takes him home with her, Dad comes for a much-needed visit, Mum always tells him the truth (even if it's bad news). But that doesn't make his situation any less tragic.
No matter how old we are, dealing with loss/significant change is rough. Adjustments are painful even if they have a more pleasant existence on the other side. We may never truly learn to navigate the rough roads of life (or perhaps when we do, we die), but in the meantime we find ways to escape, distract and power through.
This film serves as a metaphor for those escapes, delivered through beautiful watercolor-inspired animation that's like no other I've ever seen. The tree monster is a bit scary for little ones (there were some toddlers crying/screaming in the theater when he lashed out with fire), but an appropriate match to the rage felt when one is in so much pain they can barely breathe.
The acting on all fronts is solid in the film and the grief very raw. Though stories of children losing their parents and bullies picking on the weakest of souls is nothing new, this story does find a new way of telling it with a somewhat magical "twist" ending.
Just don't forget your tissues. You'll need them.
~~~
Time is on our side. Time heals all wounds. Time flies.
There are countless sayings about our only true measure of life; simply choose the circumstance to match the cliché.
In this film, time is in short supply as young, British Conor (MacDougall) has a mum (Felicity Jones) who is terminally ill. As if that isn't enough for a kid to deal with, he's also the target of the school bully and doesn't really get along with his Grandma (Weaver). Did I mention Dad has made a new life with a new family in America too? It's no surprise Conor suffers from terrible reoccurring nightmares.
As he attempts to cope with all of the turmoil in his life, he begins receiving visits—always at 12:07—from a tree monster (voiced by the magnificent Liam Neeson). The monster tells him a series of stories, empowering Conor to wreak havoc along the way, with the expectation Conor will tell him "his" story, or rather the entirety of his nightmares.
The adults do the right thing to try to help Conor: Grandma takes him home with her, Dad comes for a much-needed visit, Mum always tells him the truth (even if it's bad news). But that doesn't make his situation any less tragic.
No matter how old we are, dealing with loss/significant change is rough. Adjustments are painful even if they have a more pleasant existence on the other side. We may never truly learn to navigate the rough roads of life (or perhaps when we do, we die), but in the meantime we find ways to escape, distract and power through.
This film serves as a metaphor for those escapes, delivered through beautiful watercolor-inspired animation that's like no other I've ever seen. The tree monster is a bit scary for little ones (there were some toddlers crying/screaming in the theater when he lashed out with fire), but an appropriate match to the rage felt when one is in so much pain they can barely breathe.
The acting on all fronts is solid in the film and the grief very raw. Though stories of children losing their parents and bullies picking on the weakest of souls is nothing new, this story does find a new way of telling it with a somewhat magical "twist" ending.
Just don't forget your tissues. You'll need them.
~~~
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.
~~~
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.
~~~
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, October 13, 2012
ParaNorman
Today I saw the animated feature, ParaNorman.
Norman isn't like other children.
Kids don't like him because he's different; his family grows tired of his paranormal claims. Basically, he sees ghosts and hardly anyone believes him.
His one true friend, Neil, a chubby kid that deals with bullies of his own, does have faith he's telling the truth and wants to help Norman as he prepares to save their village from an end-of-days curse.
Throughout this film there's a healthy mix of every-day kid situations (obnoxious older siblings; idiot classmates that pick on others because they're not as smart as their victims) and historical/paranormal references including everything from witch trials to modern-day zombies. The balance is good, but I would hesitate taking a small child to see this. Aside from the obvious frightening scenes, there would be a lot of explaining to do on the part of the adult.
The afterlife is a major theme, as is that of bullying and the treatment of social outcasts.
Overall it sends a wonderful message about how we all should treat each other while marveling us with gorgeous animation wrapped into a very sweet story.
A wonderful escape, especially during the spooky fall season.
~~~
Saturday, December 03, 2011
The Descendants
Today I saw The Descendants, starring George Clooney and Shailene Woodley.
Matt (Clooney) is a distant dad, married to his work. He has a tough time relating to his daughters, and an even tougher time relating to his wife in the midst of a huge property sale. The land in question has been in his family for several generations and he is tasked with acting as the trustee of that land on behalf of several cousins.
When his wife Elizabeth (Patricia Hastie) ends up in a coma following a boating accident, Matt's life is turned upside down. Aside from his grief, his youngest daughter, Scottie (Amara Miller), is spiraling out of control, while his eldest daughter, Alexandra, may have a drug (or at least drinking) problem. He does the best he can under the circumstances.
Alexandra soon reveals a family secret that devastates Matt further. This leads to a witch hunt field trip and further distress for all involved.
Oh, and all of this happens in beautiful, paradise-like Hawaii (which they do a very good job of normalizing in this context).
Doesn't sound like fun? Well, no—but the characters are so well-written, and the actors are so great in their roles that it is actually a very pleasurable film to watch. Satisfying if not happy; but witty all the same.
A small but key role is nailed by the oozing-with-charisma Matthew Lillard, who is perfectly cast as an ambitious realtor. Also charming is the fantastic Judy Greer, who plays his wife.
Clooney will certainly be leading the Oscar race for his understated, powerful work in the film, and I for one won't be sorry if he prevails.
Though it may be a tough story to see (especially if you've had to decide whether or not to leave a loved one on life support) it is a genius exploration of family dynamics as they often play out in real life: complicated, loving, painful and revealing all at once.
~~~
Matt (Clooney) is a distant dad, married to his work. He has a tough time relating to his daughters, and an even tougher time relating to his wife in the midst of a huge property sale. The land in question has been in his family for several generations and he is tasked with acting as the trustee of that land on behalf of several cousins.
When his wife Elizabeth (Patricia Hastie) ends up in a coma following a boating accident, Matt's life is turned upside down. Aside from his grief, his youngest daughter, Scottie (Amara Miller), is spiraling out of control, while his eldest daughter, Alexandra, may have a drug (or at least drinking) problem. He does the best he can under the circumstances.
Alexandra soon reveals a family secret that devastates Matt further. This leads to a witch hunt field trip and further distress for all involved.
Oh, and all of this happens in beautiful, paradise-like Hawaii (which they do a very good job of normalizing in this context).
Doesn't sound like fun? Well, no—but the characters are so well-written, and the actors are so great in their roles that it is actually a very pleasurable film to watch. Satisfying if not happy; but witty all the same.
A small but key role is nailed by the oozing-with-charisma Matthew Lillard, who is perfectly cast as an ambitious realtor. Also charming is the fantastic Judy Greer, who plays his wife.
Clooney will certainly be leading the Oscar race for his understated, powerful work in the film, and I for one won't be sorry if he prevails.
Though it may be a tough story to see (especially if you've had to decide whether or not to leave a loved one on life support) it is a genius exploration of family dynamics as they often play out in real life: complicated, loving, painful and revealing all at once.
~~~
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.
~~~
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