On Saturday I saw The Big Sick, starring Kumail Nanjiani and Zoe Kazan.
Kumail (Nanjiani) is a struggling stand up comic doing his best to avoid his mother's attempts at setting him up with a Pakistani wife. One night he gets heckled by Emily (Kazan), a white girl who lives nearby and they have a meet cute and fall in love.
Unfortunately, their path to happily-ever-after wasn't so simple: his parents weren't okay with him falling for a white girl so he broke up with her and Emily became severely ill, going into a coma shortly after their courtship fell apart.
While she's unconscious, Kumail realizes his feelings for her and visits her hospital room often. He gets to know her parents (played here charmingly by Holly Hunter and Ray Romano) and grows on them. By the time Emily wakes up, he's ready to resume their relationship, but she hasn't had the same time to process her feelings. So another roadblock emerges.
***SPOILERS AHEAD***
Sad as this all sounds, the film is a comedy. And, remarkably, it's also true—co-written by the real-life couple (Kumail and his wife Emily V. Gordon).
I have to admit, I'm still on the fence about this one.
I wanted desperately to like it because I tend to embrace stories of love overcoming all odds to prevail. I also appreciate when people with deep cultural values can learn to embrace new ideas and ideals for the sake of love. This has all of that ... but it's not perfect.
First, Kumail playing himself takes me out of the story. Maybe it's because I know him from Silicon Valley or because he always seems to have a smirk on deck even if the scene isn't comedic, but him being him made the rest of the cast feel like they were trying too hard (and they're all amazing actors who delivered stellar performances). I believed Emily was very ill. I got that Emily's father had greatly hurt Emily's mother. But that all felt like a play because Kumail was always there, hanging out, reminding us this was his life we were seeing.
I also found the roommate to be too dumb. They dedicated a lot of screen time to emphasizing how much of a loser he was, then made the audience feel guilty for not feeling worse when he didn't get chosen to be part of something the rest of them did. I would have much rather had that time with the other comedians or happy moments with the couple when all was said and done.
Annoying as well were the moments with Kumail's family. They seemed very one-dimensional since we seldom see them away from the dinner table.
I can't imagine what it must be like to see your life rewound on the big screen and I applaud the couple for the courage to tell their story.
i just wish it went lighter on the stereotypes and deeper into the heart of their love.
~~~
Monday, July 17, 2017
Wednesday, July 12, 2017
Girls Trip
Tonight I screened Girls Trip, starring Regina Hall and Queen Latifah.
Ryan Pierce (Hall) is a successful self-help author on her way to keynote the Essence Festival in New Orleans with her three best college pals in tow: Sasha (Latifah), Lisa (Jada Pinkett-Smith) and Dina (Tiffany Haddish).
Sasha is a celebrity gossip blogger who gets a tip that Ryan's husband Stewart (Mike Colter) is having an affair. She and the other girls share this with Ryan, who already knows about the infidelity, but is keeping up appearances for the sake of their joint brand.
Determined not to let the looming threat of a leak ruin their weekend, the women press on, partying in VIP circles, drinking, dancing and trying to get (uptight) divorcée Lisa laid. To complicate matters, Ryan's agent has set a meeting during the event with the head of a major retail store that's looking to make a lucrative deal with Ryan and Stewart.
That's all I can say without giving it all away, so I'll just say this: although there is one gross scene I desperately wish I could un-see, this isn't your average we-drank-too-much-and-will-pay-for-it party movies. It's a fun, feasible movie about four women with a host of issues just trying to get through life with a little help from their friends.
Because the screenwriters didn't just focus on Ryan's story, the audience develops empathy for all the players, giving each more dimension than a traditional "supporting" cast.
This film had a lot of laughs—but more importantly—a lot of heart.
~~~
Ryan Pierce (Hall) is a successful self-help author on her way to keynote the Essence Festival in New Orleans with her three best college pals in tow: Sasha (Latifah), Lisa (Jada Pinkett-Smith) and Dina (Tiffany Haddish).
Sasha is a celebrity gossip blogger who gets a tip that Ryan's husband Stewart (Mike Colter) is having an affair. She and the other girls share this with Ryan, who already knows about the infidelity, but is keeping up appearances for the sake of their joint brand.
Determined not to let the looming threat of a leak ruin their weekend, the women press on, partying in VIP circles, drinking, dancing and trying to get (uptight) divorcée Lisa laid. To complicate matters, Ryan's agent has set a meeting during the event with the head of a major retail store that's looking to make a lucrative deal with Ryan and Stewart.
That's all I can say without giving it all away, so I'll just say this: although there is one gross scene I desperately wish I could un-see, this isn't your average we-drank-too-much-and-will-pay-for-it party movies. It's a fun, feasible movie about four women with a host of issues just trying to get through life with a little help from their friends.
Because the screenwriters didn't just focus on Ryan's story, the audience develops empathy for all the players, giving each more dimension than a traditional "supporting" cast.
This film had a lot of laughs—but more importantly—a lot of heart.
~~~
Sunday, July 09, 2017
Maudie
Today I saw Maudie, starring Sally Hawkins and Ethan Hawke.
The film tells the story of real-life Canadian folk artist, Maud Lewis (Hawkins).
Born Maud Dowley, the artist was severely arthritic, which limited her dexterity but didn't stop her from loving to paint. After a comfortable upbringing, Dowley was forced to find work when her brother took all of their inheritance and left her with nothing. She became a housekeeper for Everett Lewis (Hawke), though she wasn't able to perform most chores.
Lewis was a grumpy fish peddler who lived a modest life in a tiny home on the outskirts of Marshalltown. Though it annoyed him she couldn't be a totally effective housemaid, he did allow her to paint the house, greeting cards and anything else she could get her hands on. The two later married and shared a simple, but arguably content life together.
Just a few years before her death, her paintings got international attention and she and her husband sold them out of their house. Most were $2 or $5. Really special ones went for $10.
Aside from being heartbreaking at many turns, it's delightful to watch such a sweet spirit make so much of what anyone else would consider a meager life. Hawkins is Oscar-worthy as the title star—everything from her physical posture to her delicate voice so closely mimics that of the real person, when they show footage of Lewis at the end of the film, you have to do a double take to be sure it's not still her.
Hawke is also strong as an unlikable, yet somehow redeeming mean husband who clearly loves his wife but wants no part of admitting to that.
You'll laugh, you'll sob, you'll scour the internet to see where you can find prints of her work (hint: The Art Gallery of Nova Scotia)—you'll be absorbed into this most emotional, tender look at an artist not to be forgotten.
~~~
The film tells the story of real-life Canadian folk artist, Maud Lewis (Hawkins).
Born Maud Dowley, the artist was severely arthritic, which limited her dexterity but didn't stop her from loving to paint. After a comfortable upbringing, Dowley was forced to find work when her brother took all of their inheritance and left her with nothing. She became a housekeeper for Everett Lewis (Hawke), though she wasn't able to perform most chores.
Lewis was a grumpy fish peddler who lived a modest life in a tiny home on the outskirts of Marshalltown. Though it annoyed him she couldn't be a totally effective housemaid, he did allow her to paint the house, greeting cards and anything else she could get her hands on. The two later married and shared a simple, but arguably content life together.
Just a few years before her death, her paintings got international attention and she and her husband sold them out of their house. Most were $2 or $5. Really special ones went for $10.
Aside from being heartbreaking at many turns, it's delightful to watch such a sweet spirit make so much of what anyone else would consider a meager life. Hawkins is Oscar-worthy as the title star—everything from her physical posture to her delicate voice so closely mimics that of the real person, when they show footage of Lewis at the end of the film, you have to do a double take to be sure it's not still her.
Hawke is also strong as an unlikable, yet somehow redeeming mean husband who clearly loves his wife but wants no part of admitting to that.
You'll laugh, you'll sob, you'll scour the internet to see where you can find prints of her work (hint: The Art Gallery of Nova Scotia)—you'll be absorbed into this most emotional, tender look at an artist not to be forgotten.
~~~
Friday, July 07, 2017
Snatched
Last night I saw Snatched, starring Amy Schumer and Goldie Hawn.
Emily (Schumer) endures a break up with her latest flame right before they're due to take a non-refundable vacation to Honduras. Since none of her friends are readily available to go in his place, she decides to invite her mother, Linda (Hawn), who reluctantly accepts.
Though the dynamic of the trip has changed, Emily is still intent on having a good time, so while her mother rests in their resort room, she hits the bar, striking up a conversation with a local hottie. After a night of fun, it's decided the two will re-convene in the morning and bring mom along for a day trip. All goes well until the host decides to go off the beaten path and the women are abducted by (presumably) a drug lord.
The remainder of the film is the adventure of the two attempting to escape and make it to Bogota, Colombia where the U.S. State department can send for help. Aiding in their retrieval are a nerdy brother/son, a random American they meet at a jungle bar and a pair of eccentric fellow travelers (these two were my favorite, as they're portrayed by Wanda Sykes and Joan Cusack).
There is swearing and exposed body parts and murder and drinking and dancing. There is chemistry between the two leads, excellent comedic timing and way too much screen time allotted to the "angry" state department worker.
I both laughed out loud and shook my head lamenting just how much better it could have been.
If you're looking for a stereotypical, predictable comedy, you could do worse. But lacking in heart, it shouldn't be at the top of anyone's list.
~~~
Emily (Schumer) endures a break up with her latest flame right before they're due to take a non-refundable vacation to Honduras. Since none of her friends are readily available to go in his place, she decides to invite her mother, Linda (Hawn), who reluctantly accepts.
Though the dynamic of the trip has changed, Emily is still intent on having a good time, so while her mother rests in their resort room, she hits the bar, striking up a conversation with a local hottie. After a night of fun, it's decided the two will re-convene in the morning and bring mom along for a day trip. All goes well until the host decides to go off the beaten path and the women are abducted by (presumably) a drug lord.
The remainder of the film is the adventure of the two attempting to escape and make it to Bogota, Colombia where the U.S. State department can send for help. Aiding in their retrieval are a nerdy brother/son, a random American they meet at a jungle bar and a pair of eccentric fellow travelers (these two were my favorite, as they're portrayed by Wanda Sykes and Joan Cusack).
There is swearing and exposed body parts and murder and drinking and dancing. There is chemistry between the two leads, excellent comedic timing and way too much screen time allotted to the "angry" state department worker.
I both laughed out loud and shook my head lamenting just how much better it could have been.
If you're looking for a stereotypical, predictable comedy, you could do worse. But lacking in heart, it shouldn't be at the top of anyone's list.
~~~
Tuesday, July 04, 2017
Paris Can Wait
Today I saw Paris Can Wait, starring Diane Lane and Arnaud Viard.
Anne (Lane) is the wife of a successful film producer, Michael (Alec Baldwin). They are headed to Paris via Budapest from the South of France when Anne's ears begin bothering her and the pilot of their private plane advises against her flying. Michael's business associate, Jacques (Viard), offers to drive her straight to Paris since he's headed there anyway. She accepts the offer.
At first, Jacques sightseeing stops along the way feel spontaneous, but Anne soon realizes he has no intention of getting to Paris that evening. At what can only be described as an 'intimate dinner' they share, the wine flows and things are revealed and Anne begins to see her travel companion in a different light.
From there they experience car trouble, money issues, a former girlfriend, cultural pit stops and a staggering amount of delicious French cuisine. Throughout the journey you wonder if the feelings they have for one another are mutual; you wonder if they'll act on them; you wonder if they'll ever make it to the City of Love.
The elegance of Diane Lane helps the tension stay enjoyable and Arnaud Viard is a feasible smitten bachelor, completely unbothered by the fact the woman he courts is married to his friend.
Watching this will make you want to take a road trip through the back roads of France to smell the lavender, drink good wine and fall in love.
~~~
Anne (Lane) is the wife of a successful film producer, Michael (Alec Baldwin). They are headed to Paris via Budapest from the South of France when Anne's ears begin bothering her and the pilot of their private plane advises against her flying. Michael's business associate, Jacques (Viard), offers to drive her straight to Paris since he's headed there anyway. She accepts the offer.
At first, Jacques sightseeing stops along the way feel spontaneous, but Anne soon realizes he has no intention of getting to Paris that evening. At what can only be described as an 'intimate dinner' they share, the wine flows and things are revealed and Anne begins to see her travel companion in a different light.
From there they experience car trouble, money issues, a former girlfriend, cultural pit stops and a staggering amount of delicious French cuisine. Throughout the journey you wonder if the feelings they have for one another are mutual; you wonder if they'll act on them; you wonder if they'll ever make it to the City of Love.
The elegance of Diane Lane helps the tension stay enjoyable and Arnaud Viard is a feasible smitten bachelor, completely unbothered by the fact the woman he courts is married to his friend.
Watching this will make you want to take a road trip through the back roads of France to smell the lavender, drink good wine and fall in love.
~~~
Wednesday, June 28, 2017
Baby Driver
Tonight I saw Baby Driver, starring Ansel Elgort and Jon Hamm.
Baby (Elgort) isn't your average getaway car driver. He's young. He's distracted (by music of his own choosing). He's got a seemingly endless supply of sunglasses.
He's not meant for a life of crime.
This story, really mostly about him, is a ride in itself—a genre-bending, hilarious, tragic, sentimental, endearing, tense thriller that doesn't give you much of a chance to breathe between scenes.
Baby's boss, Doc (Kevin Spacey), promises him he can leave the life once he's settled a debt that's unbeknownst to us. He achieves this in a heart-thumping heist scene and calmly returns home, where he cares for Joseph (CJ Jones), an elderly deaf man, in a run-down apartment. He also gets friendly with waitress Debora, who works at a nearby diner.
All along, Baby has a continuous soundtrack playing in his ears. The excuse given is tinnitus, but his knack for making music from his secretly taped conversations leads us to believe there could be more to it.
He gets to know many of the criminals he drives for along the way. Smoldering Buddy (Hamm), evil Bats (Jamie Foxx) and others. They are suspect of his youth and his earbuds and his incredible skill at operating motor vehicles.
There are too many twists and turns to properly take the story any further without spoiling, so I'll leave it there and simply say: Edgar Wright has outdone himself.
I'm a fan of his other work (Shaun of the Dead probably the most recognizable), but this is better. It's smarter. Sharper. Faster.
Above all else, it has rhythm. Since the storytelling is woven through music that our protagonist selects for his various moods and jobs, the film radiates with a series of songs that wouldn't feel out of place in the world of Tarantino. And yes, there's violence. And some language too.
But it remarkably doesn't feel gratuitous, and the Georgia accent on our hero makes him all that more appealing. There's even a love story for the romantics to fall for.
I may have to see it again.
~~~
Baby (Elgort) isn't your average getaway car driver. He's young. He's distracted (by music of his own choosing). He's got a seemingly endless supply of sunglasses.
He's not meant for a life of crime.
This story, really mostly about him, is a ride in itself—a genre-bending, hilarious, tragic, sentimental, endearing, tense thriller that doesn't give you much of a chance to breathe between scenes.
Baby's boss, Doc (Kevin Spacey), promises him he can leave the life once he's settled a debt that's unbeknownst to us. He achieves this in a heart-thumping heist scene and calmly returns home, where he cares for Joseph (CJ Jones), an elderly deaf man, in a run-down apartment. He also gets friendly with waitress Debora, who works at a nearby diner.
All along, Baby has a continuous soundtrack playing in his ears. The excuse given is tinnitus, but his knack for making music from his secretly taped conversations leads us to believe there could be more to it.
He gets to know many of the criminals he drives for along the way. Smoldering Buddy (Hamm), evil Bats (Jamie Foxx) and others. They are suspect of his youth and his earbuds and his incredible skill at operating motor vehicles.
There are too many twists and turns to properly take the story any further without spoiling, so I'll leave it there and simply say: Edgar Wright has outdone himself.
I'm a fan of his other work (Shaun of the Dead probably the most recognizable), but this is better. It's smarter. Sharper. Faster.
Above all else, it has rhythm. Since the storytelling is woven through music that our protagonist selects for his various moods and jobs, the film radiates with a series of songs that wouldn't feel out of place in the world of Tarantino. And yes, there's violence. And some language too.
But it remarkably doesn't feel gratuitous, and the Georgia accent on our hero makes him all that more appealing. There's even a love story for the romantics to fall for.
I may have to see it again.
~~~
Sunday, June 04, 2017
SIFF Sighting: WINNIE (documentary; France)
Last night I screened Winnie, a documentary about South African leader Winnie Mandela.
Though I'd seen countless documentaries and films about her former husband Nelson, I'd never seen a film dedicated to Winnie's story alone, so it's good I began with this one.
Things I learned:
- She was much angrier than her husband, even at the time of his imprisonment.
- She was treated horribly, with repeated arrests and harassment throughout the saga.
- She makes no apologies for her actions, but admits the years of bloodshed should never have happened.
- She is blamed to this day for a murder by activists loyal to her (some claim she ordered it).
- She has no desire to slow her activism, though she is now over 80 years of age.
It was a solid film, though difficult to watch in many places because of the archival footage. I especially appreciated the candid insight from Mandela herself and her daughter.
~~~
Winnie screened at the 43rd annual Seattle International Film Festival.
Saturday, June 03, 2017
Wonder Woman
Today I saw Wonder Woman, starring Gal Gadot and Chris Pine.
Diana Prince (Gadot) lives on the all-female island of Themyscira with her fellow Amazons, but she's the youngest. Youngest of them all when her aunt (Robin Wright) begins secretly training her for combat.
You see, these ladies are no fragile flowers—they're fully capable of defending themselves (plus anyone they deem worthy of defending) and Diana is special. They know they need to prepare her for greater obstacles someday.
The film gets us to "someday" rather quickly. Blue-eyed spy Steve Trevor (Pine) crashes his plane into the ocean that surrounds their land and Diana pulls him to safety. He is soon followed by angry Germans (this is WWI, after all) and it's on.
Diana accompanies him back to England, and from there on out, they're a team. He is working to stop the development of chemical warfare that will alter the rules of engagement; she is out to stop war(s) altogether. They make quite a pair.
Of course, there's romance. And I won't go as far to say that the two have a "crackling chemistry" or make you believe they are two halves of a full heart, but they do complement each other nicely (note: the one snarky line about marriage got a huge round of applause in my theater). I was fine when the two were together and I was fine when they were apart. I was grateful they didn't make the whole plot center around their attraction. In fact, the fight scenes rival that of any great action flick and that's more what I came away remembering.
But let's talk about Gal Gadot. Set aside for a moment that she's naturally gorgeous and flies around the screen with acrobatic grace, kicking the ass of anyone who gets in her way.
What do I love most about her performance? The warmth and intelligence she brings to our legendary superhero. This is no flake who bats her eyelashes, or waits for a man to protect her. This is a sweet, kind soul who just happens to fuel her intensity and power with love. Gadot comes to the role with just the right amount of innocence to be believable, yet she's strong enough to earn her superhero title. They really couldn't have cast a better actress to play her.
In fact, everyone here is well cast. The only character who really bothered me was Dr. Maru (Elena Anaya). She was a little over-the-top for my taste. So much, that I wouldn't have been surprised if she threw her head back and cackled or started petting a cat.
That said, the flaws are minor and the film is fantastic. It's hard to believe that this is the first major superhero movie to ever be directed by a woman, but Patty Jenkins was the right choice, hands down. The genius of it is that the focus really isn't on gender. It's just on this powerful being from a faraway place who happens to be female.
At heart, Wonder Woman just proves what we already know to be true: that love is the greatest force of all.
~~~
Diana Prince (Gadot) lives on the all-female island of Themyscira with her fellow Amazons, but she's the youngest. Youngest of them all when her aunt (Robin Wright) begins secretly training her for combat.
You see, these ladies are no fragile flowers—they're fully capable of defending themselves (plus anyone they deem worthy of defending) and Diana is special. They know they need to prepare her for greater obstacles someday.
The film gets us to "someday" rather quickly. Blue-eyed spy Steve Trevor (Pine) crashes his plane into the ocean that surrounds their land and Diana pulls him to safety. He is soon followed by angry Germans (this is WWI, after all) and it's on.
Diana accompanies him back to England, and from there on out, they're a team. He is working to stop the development of chemical warfare that will alter the rules of engagement; she is out to stop war(s) altogether. They make quite a pair.
Of course, there's romance. And I won't go as far to say that the two have a "crackling chemistry" or make you believe they are two halves of a full heart, but they do complement each other nicely (note: the one snarky line about marriage got a huge round of applause in my theater). I was fine when the two were together and I was fine when they were apart. I was grateful they didn't make the whole plot center around their attraction. In fact, the fight scenes rival that of any great action flick and that's more what I came away remembering.
But let's talk about Gal Gadot. Set aside for a moment that she's naturally gorgeous and flies around the screen with acrobatic grace, kicking the ass of anyone who gets in her way.
What do I love most about her performance? The warmth and intelligence she brings to our legendary superhero. This is no flake who bats her eyelashes, or waits for a man to protect her. This is a sweet, kind soul who just happens to fuel her intensity and power with love. Gadot comes to the role with just the right amount of innocence to be believable, yet she's strong enough to earn her superhero title. They really couldn't have cast a better actress to play her.
In fact, everyone here is well cast. The only character who really bothered me was Dr. Maru (Elena Anaya). She was a little over-the-top for my taste. So much, that I wouldn't have been surprised if she threw her head back and cackled or started petting a cat.
That said, the flaws are minor and the film is fantastic. It's hard to believe that this is the first major superhero movie to ever be directed by a woman, but Patty Jenkins was the right choice, hands down. The genius of it is that the focus really isn't on gender. It's just on this powerful being from a faraway place who happens to be female.
At heart, Wonder Woman just proves what we already know to be true: that love is the greatest force of all.
~~~
Sunday, May 28, 2017
SIFF Sighting: A DATE FOR MAD MARY (Comedy, Ireland)
Tonight I screened A Date for Mad Mary, starring Seana Kerslake and Tara Lee.
Mary (Kerslake) has just been sprung from prison—she's been there for six months on an assault charge. When she gets out, her community doesn't exactly welcome her with open arms, but she does her best to acclimate.
Her friend Charlene (Charleigh Bailey) is getting married and Mary is the maid of honor. Though Mary has this prestigious job in the ceremony, Charlene has elected not to give her a plus one. Mary wants to prove that she needs the invite, so she invents a boyfriend and quickly begins looking for a man who will go as her date.
As they say, hilarity ensues.
When she thinks she may have found a good fit, things go awry and a new friend vows to help her find someone else.
At this point, we see there's more to Mary than the cursing, angry-at-the-world girl that's been on display for the first half of the film, and we begin to sympathize with her.
The story goes from a comedy that's rough around the edges to a sweet romance, to a heartfelt drama.
I enjoyed the emotional roller coaster and very much hope to see the film's lead in more things—she's definitely a rising star.
~~~
A Date for Mad Mary screened at the 43rd Annual Seattle International Film Festival.
Saturday, May 27, 2017
SIFF Sighting: ORIGINAL BLISS (Drama; Germany)
Tonight I screened Original Bliss, starring Martina Gedeck and Ulrich Tukur.
Helene (Gedeck) is suffering a crisis of faith. She's lost God, and as a result, she battles insomnia, which takes a toll on the rest of her life. She goes through the motions like a robot, every day watching her marriage fall apart even more.
When she hears the calming voice of a famous psychologist on the radio, she fakes a visit with her sister and embarks on a trip to Hamburg to meet him. There, they develop an unconventional friendship that could be the best thing that ever happened to her or her worst nightmare. You have to stay to the end to find out which.
In the meantime, there's graphic sex, domestic violence, death, humor and even a bit of twisted romance in this film. I can safely say I wasn't bored (though at times I questioned what the hell I was watching).
Fans of the phenomenal film The Lives of Others will remember the leads from that, and marvel at how great they're acting is, since they're playing such wildly different characters here.
Go see it. You won't be able to look away.
~~~
Original Bliss screened at the 43rd Annual Seattle International Film Festival.
SIFF Sighting: THE ODYSSEY (Drama; France)
Anyone who grew up in the 70s or 80s undoubtedly remembers the magical underwater expeditions of famed French explorer Jacques Cousteau. He was the first to take television cameras deep into the ocean and share a world only a fraction of the population would ever get to fully experience.
This film shows what the real man was like, how he treated his family and his crew.
Jacques (Wilson) did truly love his craft. He lived for the adventure and the thrill, and thrived on the fame his films and programs brought him. Unfortunately, much of that was at the expense of his wife, Simone (Audrey Tatou) who stayed by his side despite his serial infidelities, and his sons—one who shared his adrenaline-fueled passions and one who did not. At some point it became more about the money than anything else, and money sometimes brings out the worst in people.
The story here (as you may have guessed from the title) focuses mostly on the fractured relationship between him and his son Philippe (Niney), who became a key part of his productions yet resented his father for all of his faults along the way. Philippe operated with a code of integrity that his father didn't appreciate until much later in life.
The actors here portray their subjects in an intimate, authentic way and the screenplay—based on a book written by Cousteau's surviving son—helps guide their performance.
Aside from some pacing issues, this is worth a look; if not just for the family story, but for the gorgeous underwater scenery that is laced throughout.
This film shows what the real man was like, how he treated his family and his crew.
Jacques (Wilson) did truly love his craft. He lived for the adventure and the thrill, and thrived on the fame his films and programs brought him. Unfortunately, much of that was at the expense of his wife, Simone (Audrey Tatou) who stayed by his side despite his serial infidelities, and his sons—one who shared his adrenaline-fueled passions and one who did not. At some point it became more about the money than anything else, and money sometimes brings out the worst in people.
The story here (as you may have guessed from the title) focuses mostly on the fractured relationship between him and his son Philippe (Niney), who became a key part of his productions yet resented his father for all of his faults along the way. Philippe operated with a code of integrity that his father didn't appreciate until much later in life.
The actors here portray their subjects in an intimate, authentic way and the screenplay—based on a book written by Cousteau's surviving son—helps guide their performance.
Aside from some pacing issues, this is worth a look; if not just for the family story, but for the gorgeous underwater scenery that is laced throughout.
~~~
The Odyssey screened at the 43rd annual Seattle International Film Festival.
Sunday, May 21, 2017
SIFF Sighting: HELLO DESTROYER (Drama, Canada)
When an introverted hockey player, Tyson (Abrahamson), is pressured into playing the game violently, the consequences he suffers last long after the game is over.
In this quiet, dark film from Kevan Funk, it's evident that he went to art school instead of film school. The scenes following the violent event the movie centers around are intentionally devoid of color and claustrophobic; the time the camera spends meditating on angles is a bit much.
That said, the story is solid and the acting is good. Tyson is so emotionally scarred from what he's endured that he serves as a stain on the community, which quickly casts him aside and assumes no responsibility for his actions.
We're silent observers to his crescendo of pain, which builds like a disease for which there is no cure. Unfortunately, though the story is fictional, it's completely believable and similar situations probably happen more often than we realize.
The filmmaker mentioned in the Q&A following the screening that he wanted to emphasize institutionalized violence (choosing hockey as the metaphor because of his mostly Canadian audience).
I'd say he accomplished his mission.
~~~
Hello Destroyer screened at the 43rd annual Seattle International Film Festival.
SIFF Sighting: THE UNKNOWN GIRL (Thriller, Belgium)
When a woman becomes obsessed with a young girl's death, her preoccupation with the event gets her into trouble.
Their gift for capturing life as it is—getting interrupted while cooking, answering someone too quickly—is unparalleled and it shines here.
Don't let the slow pace discourage you from seeing it. The end is worth the wait.
~~
The Unknown Girl screened at the 43rd Annual Seattle International Film Festival.
Saturday, April 22, 2017
Boss Baby
On April 15, I saw Boss Baby, starring the voice of Alec Baldwin.
In the factory where babies are made, certain souls are set aside for a greater purpose. This is the case for the Boss Baby (Baldwin) who arrives at his new brother Tim's (Tobey Maguire) house in a taxi, briefcase in hand, ready for business.
You see, he's a spy and he's tasked with stopping an evil plot (to tell you more would be to spoil, so I'll leave it at that). Of course, his big brother is ready to "out" his true identity and blow his cover, but the Boss Baby soon wins him over and they work together to stop the bad guys.
There are a lot of cute moments in this animated film (I laughed especially hard when a nude shot occurred and they fuzzed out BB's teeny penis), and really no one is better suited for the voice of a spy baby than Baldwin.
So if you're taking the kids and want to know if adults will get bored, the answer is no. If you're not taking kids, but are just going as a filmgoer, this is not terribly high caliber entertainment. But it's enjoyable for what it is.
~~~
In the factory where babies are made, certain souls are set aside for a greater purpose. This is the case for the Boss Baby (Baldwin) who arrives at his new brother Tim's (Tobey Maguire) house in a taxi, briefcase in hand, ready for business.
You see, he's a spy and he's tasked with stopping an evil plot (to tell you more would be to spoil, so I'll leave it at that). Of course, his big brother is ready to "out" his true identity and blow his cover, but the Boss Baby soon wins him over and they work together to stop the bad guys.
There are a lot of cute moments in this animated film (I laughed especially hard when a nude shot occurred and they fuzzed out BB's teeny penis), and really no one is better suited for the voice of a spy baby than Baldwin.
So if you're taking the kids and want to know if adults will get bored, the answer is no. If you're not taking kids, but are just going as a filmgoer, this is not terribly high caliber entertainment. But it's enjoyable for what it is.
~~~
Thursday, March 30, 2017
Personal Shopper
Tonight I saw Personal Shopper starring Kristen Stewart.
Maureen (Stewart) is a personal shopper for a difficult, high-profile star in Paris. Though Maureen is American, she remains in France because her twin brother died there months ago, and they had a pact for whomever went first to send the other a message from beyond the grave. Did I mention they're both mediums?
She is growing impatient because odd things are happening (ghouls chase her when she's alone in the dark, faucets turn on, etc.) but she doesn't think any of them are her brother. Couple this with the fact that she's getting mysterious text messages from an unknown source (and for some reason, faithfully answering them) and we're left with a lot of unanswered questions.
Though I wanted to know what was driving the mysterious text message-sender, and I desperately wished for Maureen to hear from her suddenly gone brother, I didn't have patience for the pace or the meandering extra storyline and characters that may or may not have had anything to do with those elements.
If a script is going to be as provocative as this one, if the ends aren't going to be tied up, at least a few solid theories should be presented.
Instead of wanting more, I was really wanting it to end. Thankfully it did.
~~~
Maureen (Stewart) is a personal shopper for a difficult, high-profile star in Paris. Though Maureen is American, she remains in France because her twin brother died there months ago, and they had a pact for whomever went first to send the other a message from beyond the grave. Did I mention they're both mediums?
She is growing impatient because odd things are happening (ghouls chase her when she's alone in the dark, faucets turn on, etc.) but she doesn't think any of them are her brother. Couple this with the fact that she's getting mysterious text messages from an unknown source (and for some reason, faithfully answering them) and we're left with a lot of unanswered questions.
Though I wanted to know what was driving the mysterious text message-sender, and I desperately wished for Maureen to hear from her suddenly gone brother, I didn't have patience for the pace or the meandering extra storyline and characters that may or may not have had anything to do with those elements.
If a script is going to be as provocative as this one, if the ends aren't going to be tied up, at least a few solid theories should be presented.
Instead of wanting more, I was really wanting it to end. Thankfully it did.
~~~
Going in Style
Last night I screened Going in Style, starring Morgan Freeman and Michael Caine.
Willie (Freeman) and Al (Alan Arkin) are roommates. Joe (Caine) is their best friend. They are all former colleagues who spent years in blue collar work only to learn that their pension was being taken away from them.
Desperate to save his home, which is going into foreclosure, Joe suggests the three of them rob a bank. He was recently witness to one, and admired the efficiency and skill of the criminals. At first the other two scoff at the thought, but when things get really tight financially and they consider how many years they may or may not have left, they decide to go for it.
From consulting with someone from the other side of the tracks to choosing clever masks for the heist that align to their generation, there is a lot of silly in the film. But that's not necessarily a bad thing. If you go see this and don't expect it to be light, you're not getting the point.
Of course the men are fabulous actors. Of course the situation they find themselves in has you rooting for them (even if what they're doing is morally wrong). Of course things won't go precisely according to plan.
Where the film could be better: the broad strokes it draws of its various supporting cast. Everyone is a caricature from the surly waitress to the deadbeat son-in-law to the '80s-sitcom-style seductress. If those characters hadn't been so blatantly written, it would have been more believable.
But if you just want a fun romp with more cameos than you can keep track of, you could do worse.
~~~
Willie (Freeman) and Al (Alan Arkin) are roommates. Joe (Caine) is their best friend. They are all former colleagues who spent years in blue collar work only to learn that their pension was being taken away from them.
Desperate to save his home, which is going into foreclosure, Joe suggests the three of them rob a bank. He was recently witness to one, and admired the efficiency and skill of the criminals. At first the other two scoff at the thought, but when things get really tight financially and they consider how many years they may or may not have left, they decide to go for it.
From consulting with someone from the other side of the tracks to choosing clever masks for the heist that align to their generation, there is a lot of silly in the film. But that's not necessarily a bad thing. If you go see this and don't expect it to be light, you're not getting the point.
Of course the men are fabulous actors. Of course the situation they find themselves in has you rooting for them (even if what they're doing is morally wrong). Of course things won't go precisely according to plan.
Where the film could be better: the broad strokes it draws of its various supporting cast. Everyone is a caricature from the surly waitress to the deadbeat son-in-law to the '80s-sitcom-style seductress. If those characters hadn't been so blatantly written, it would have been more believable.
But if you just want a fun romp with more cameos than you can keep track of, you could do worse.
~~~
Saturday, March 25, 2017
Beauty and the Beast
On Thursday I saw Beauty and the Beast, starring Emma Watson and Luke Evans.
"There must be more than this provincial life," sings Belle (Watson) as she begins another day in her tired little French town. She, like so many, is dissatisfied with her surroundings. The books in which she escapes give her glimpses of places far more more interesting. She longs to be a part of them.
Her dad, Maurice (played by a perfectly cast Kevin Kline) is the town eccentric, and has doted on his daughter since she was born. Now, as an adult, Belle has become a feminist before her time, fending off the advances of the narcissist, Gaston (Evans) and dreaming of new possibilities.
When Maurice is taken prisoner by a ferocious beast (Dan Stevens) in a faraway castle, Belle attempts to rescue him and trades herself in his place. This is where the story truly begins.
What Belle doesn't know is that underneath the fur is a prince—one who behaved so badly a spell was cast upon him. The only way to break it is for him to fall in love and be loved in return. Conspiring to make a match between Belle and the Beast are various household fixtures like Mrs. Potts (Emma Thompson), who is now a teapot, but once was a normal woman.
It's a "tale as old as time" and one of the most beloved to say the least. As a huge fan of the animated classic, I cringed when I heard they were making this into a live action picture, but once I saw the cast I breathed a little and got over it.
I very much enjoyed this version; there is something in emotion that can't be captured in animation, so the love and romance is more effective here. Where I prefer the original is in the music.
As an actress, Emma Watson is brilliant. She's sincere, she's likable—her intelligence permeates every role she's in and Belle is no exception. But the shortcuts that were taken in her song arrangements left me wanting more. I found myself humming the ending bits that were cut off—in most cases the climactic notes of the songs.
I also felt a bit of the art direction could have been more spectacular. The sequence for "Be Our Guest" was a little too disco and starved for classy grandeur; the library that has Belle gasping at its magnificence we only see a few underwhelming frames of before the two are nose-down in books.
I will always make time for Beauty and the Beast no matter what its format. If you see this one, be sure to take in all of its strengths—Kevin Kline, Luke Evans, the chemistry between Watson and Stevens, and the clever winks amongst the household fixtures.
~~~
"There must be more than this provincial life," sings Belle (Watson) as she begins another day in her tired little French town. She, like so many, is dissatisfied with her surroundings. The books in which she escapes give her glimpses of places far more more interesting. She longs to be a part of them.
Her dad, Maurice (played by a perfectly cast Kevin Kline) is the town eccentric, and has doted on his daughter since she was born. Now, as an adult, Belle has become a feminist before her time, fending off the advances of the narcissist, Gaston (Evans) and dreaming of new possibilities.
When Maurice is taken prisoner by a ferocious beast (Dan Stevens) in a faraway castle, Belle attempts to rescue him and trades herself in his place. This is where the story truly begins.
What Belle doesn't know is that underneath the fur is a prince—one who behaved so badly a spell was cast upon him. The only way to break it is for him to fall in love and be loved in return. Conspiring to make a match between Belle and the Beast are various household fixtures like Mrs. Potts (Emma Thompson), who is now a teapot, but once was a normal woman.
It's a "tale as old as time" and one of the most beloved to say the least. As a huge fan of the animated classic, I cringed when I heard they were making this into a live action picture, but once I saw the cast I breathed a little and got over it.
I very much enjoyed this version; there is something in emotion that can't be captured in animation, so the love and romance is more effective here. Where I prefer the original is in the music.
As an actress, Emma Watson is brilliant. She's sincere, she's likable—her intelligence permeates every role she's in and Belle is no exception. But the shortcuts that were taken in her song arrangements left me wanting more. I found myself humming the ending bits that were cut off—in most cases the climactic notes of the songs.
I also felt a bit of the art direction could have been more spectacular. The sequence for "Be Our Guest" was a little too disco and starved for classy grandeur; the library that has Belle gasping at its magnificence we only see a few underwhelming frames of before the two are nose-down in books.
I will always make time for Beauty and the Beast no matter what its format. If you see this one, be sure to take in all of its strengths—Kevin Kline, Luke Evans, the chemistry between Watson and Stevens, and the clever winks amongst the household fixtures.
~~~
Wednesday, March 22, 2017
The Sense of An Ending
Tonight I saw The Sense of An Ending, starring Jim Broadbent and Harriet Walter.
Years ago when a friend recommended the book of the same name, by Julian Barnes, I was taken by it immediately. Tonight, when I saw the film, I found it hard to stay interested.
Tony (Broadbent) is divorced from Margaret (Walter). They remain friendly and share a grown daughter, Susie (Michelle Dockery) whom they dote upon in equal measure.
When Tony receives a random inheritance from his college girlfriend's mother, a lifetime of memories come to the surface as he seeks closure he never properly confronted.
Yep, that's it.
And it's drawn out so slowly and with such dramatic exception that the "big reveal" (which I, as a reader, had admittedly forgotten) was quite anti-climactic. In a way you feel bad for the main character, but in a way you can see why everyone in his life seems to be frustrated with him.
All of the acting is fine, the flashbacks are believable, the story at its core is tragic—it was just missing the heart and the complexity of the original story here, which was quite disappointing.
~~~
Years ago when a friend recommended the book of the same name, by Julian Barnes, I was taken by it immediately. Tonight, when I saw the film, I found it hard to stay interested.
Tony (Broadbent) is divorced from Margaret (Walter). They remain friendly and share a grown daughter, Susie (Michelle Dockery) whom they dote upon in equal measure.
When Tony receives a random inheritance from his college girlfriend's mother, a lifetime of memories come to the surface as he seeks closure he never properly confronted.
Yep, that's it.
And it's drawn out so slowly and with such dramatic exception that the "big reveal" (which I, as a reader, had admittedly forgotten) was quite anti-climactic. In a way you feel bad for the main character, but in a way you can see why everyone in his life seems to be frustrated with him.
All of the acting is fine, the flashbacks are believable, the story at its core is tragic—it was just missing the heart and the complexity of the original story here, which was quite disappointing.
~~~
Thursday, March 09, 2017
Kong: Skull Island
Tonight I saw Kong: Skull Island, starring Tom Hiddleston and Brie Larson.
Self-proclaimed "crackpot" scholars convince the U.S. military to escort them to an uninhabited island in the South Pacific. They use topography as their excuse, but really at least one of them knows what may be out there.
After a harrowing helicopter ride—which we all feel we participated in—we meet Kong. Gigantic, ferocious, angry as hell, Kong. Perhaps the best beast of all time, and he's going strong.
Of course, you never want to poke the bear, which is what this group has unintentionally done, so they're in big trouble very early on.
The British officer, played by Hiddleston, isn't just all good looks—he's the brains when the team needs to develop a plan ASAP to survive. And he soon befriends an (equally gorgeous) anti-war photographer played by Brie Larson, to back him up.
Silly as it sounds, I enjoyed the heck out of this film.
Though the basic premise is obvious (do no harm; things aren't always as they seem), there are surprises along the way, both human and otherwise, that keep the story moving at a pleasingly fast pace. And the special effects are amazing.
The romance never quite develops between the two pairs that we start to suspect will unite, but my guess is that they're saving that for the sequel(s). Though, this kind of is one?
Regardless, if you want to lose yourself in something mindful, but not dumb, go ahead and make the leap with Kong. His sheer magnificence will impress you.
~~~
Self-proclaimed "crackpot" scholars convince the U.S. military to escort them to an uninhabited island in the South Pacific. They use topography as their excuse, but really at least one of them knows what may be out there.
After a harrowing helicopter ride—which we all feel we participated in—we meet Kong. Gigantic, ferocious, angry as hell, Kong. Perhaps the best beast of all time, and he's going strong.
Of course, you never want to poke the bear, which is what this group has unintentionally done, so they're in big trouble very early on.
The British officer, played by Hiddleston, isn't just all good looks—he's the brains when the team needs to develop a plan ASAP to survive. And he soon befriends an (equally gorgeous) anti-war photographer played by Brie Larson, to back him up.
Silly as it sounds, I enjoyed the heck out of this film.
Though the basic premise is obvious (do no harm; things aren't always as they seem), there are surprises along the way, both human and otherwise, that keep the story moving at a pleasingly fast pace. And the special effects are amazing.
The romance never quite develops between the two pairs that we start to suspect will unite, but my guess is that they're saving that for the sequel(s). Though, this kind of is one?
Regardless, if you want to lose yourself in something mindful, but not dumb, go ahead and make the leap with Kong. His sheer magnificence will impress you.
~~~
Friday, March 03, 2017
Get Out
Tonight I saw Get Out, starring Daniel Kaluuya and Allison Williams.
Rose (Williams) is excited to take her new boyfriend Chris (Kaluuya) home to meet her parents. They live on a lake a few hours from the city. Chris is nervous for their reaction because he's black and Rose is white, but she tells him not to worry—her parents aren't racist; just annoying.
The couple hits a deer on their way to the homestead and a cop comes to their aid. He asks to see Chris's identification, though Rose was driving when the accident happened. She defends Chris and the cop sends them on their way.
When they arrive at Rose's home, her parents are warm and welcoming, if not a little awkward. Chris is trying to stop smoking, so Rose's father (Bradley Whitford) suggests that his wife Missy (Catherine Keener), hypnotize the habit out of him. She's a gifted psychiatrist and has been successful with that in the past. Chris politely declines.
The first night there, Chris has trouble sleeping so he goes outside to get some air. There he has an odd encounter with "the help" (also black) and hurries back inside. Missy invites him to share a cup of tea with her and things get weird.
That's all I can say without spoiling the many twists and turns that follow. And boy, do they follow!
You may think you have the main "gotcha" revelation figured out, but you don't. Trust me, I thought I did too.
All I can say is, I was gripping my seat, my fellow theater-goers were gasping and screaming and I can't wait to go back for a repeat viewing to catch all the clues I missed about the reveal.
A satisfying, fun ride.
~~~
Rose (Williams) is excited to take her new boyfriend Chris (Kaluuya) home to meet her parents. They live on a lake a few hours from the city. Chris is nervous for their reaction because he's black and Rose is white, but she tells him not to worry—her parents aren't racist; just annoying.
The couple hits a deer on their way to the homestead and a cop comes to their aid. He asks to see Chris's identification, though Rose was driving when the accident happened. She defends Chris and the cop sends them on their way.
When they arrive at Rose's home, her parents are warm and welcoming, if not a little awkward. Chris is trying to stop smoking, so Rose's father (Bradley Whitford) suggests that his wife Missy (Catherine Keener), hypnotize the habit out of him. She's a gifted psychiatrist and has been successful with that in the past. Chris politely declines.
The first night there, Chris has trouble sleeping so he goes outside to get some air. There he has an odd encounter with "the help" (also black) and hurries back inside. Missy invites him to share a cup of tea with her and things get weird.
That's all I can say without spoiling the many twists and turns that follow. And boy, do they follow!
You may think you have the main "gotcha" revelation figured out, but you don't. Trust me, I thought I did too.
All I can say is, I was gripping my seat, my fellow theater-goers were gasping and screaming and I can't wait to go back for a repeat viewing to catch all the clues I missed about the reveal.
A satisfying, fun ride.
~~~
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