Last night I saw the documentary 56 Up.
Since 1963, director Michael Apted has followed the lives of a group of British school children every seven years.
It was considered a ground-breaking feat in its first few incarnations; now it's nothing short of a miracle that most of the players are still around and willing to participate, and the director (now in his 70s) is as sharp as ever with his questioning.
It's difficult to review this film without spoiling it, but I will say some of the marriages remain in tact; one of the characters who previously dropped out returns to promote his band; many of the subjects are experiencing the sorrows that come with being older (loss of family, etc.) and some are still completely nutters.
I enjoyed this version immensely, just as I've enjoyed all the rest.
I can only hope that 63 Up includes as many updates and insights into this fascinating group of people.
~~~
Sunday, February 10, 2013
Live Action Short Film Nominees (Oscars 2013)
Yesterday I saw all five of the nominated films in the Live Action Short category. I'll present my reviews in the order they were shown.
DEATH OF A SHADOW (Belgium/France)
This sci/fi head scratcher centers around a purgatory-dwelling soul who died in the war and is now tasked with photographing the shadows of death. These 'moments' he captures are then collected for a ghoulish gallery managed by a more dominant presence, who may or may not be evil. It's all very confusing, but the haunting elements and beautiful cinematography hold the audience attention well.
HENRY (Canada)
Another sad look at the progression of dementia in the elderly—this film focuses on Henry, a man who desperately misses his beloved wife Maria and can't face the fact that she is gone. The character is treated with dignity and the story is bittersweet as we see Henry's memories brought to life through his own confusion.
CURFEW (USA)
The strongest of the five, this short brings us into the life of a troubled brother and sister. They're trying to navigate their adult lives, which are littered with drugs and abuse, and find a common purpose in the sister's young daughter Sophia. This is sad, funny, poignant and unfortunately relevant in today's tumultous times.
BUZKASHI BOYS (Afghanistan/USA)
Two boys maintain a friendship and a sense of normalcy in one of the most dangerous areas of the world. What's remarkable about the film is not the plot (as we've seen this coming-of-age message time and time again), but the fact that the filmmakers shot on location in Kabul with the blessing of an international film alliance.
ASAD (South Africa/USA)
A young Somali boy has the weight of the world on his shoulders, collecting food and saving friends from armed soldiers who will kill them in the blink of an eye. It's a tender story that is made lighter by the clever screenwriting and somewhat unexpected ending.
~~~
DEATH OF A SHADOW (Belgium/France)
This sci/fi head scratcher centers around a purgatory-dwelling soul who died in the war and is now tasked with photographing the shadows of death. These 'moments' he captures are then collected for a ghoulish gallery managed by a more dominant presence, who may or may not be evil. It's all very confusing, but the haunting elements and beautiful cinematography hold the audience attention well.
HENRY (Canada)
Another sad look at the progression of dementia in the elderly—this film focuses on Henry, a man who desperately misses his beloved wife Maria and can't face the fact that she is gone. The character is treated with dignity and the story is bittersweet as we see Henry's memories brought to life through his own confusion.
CURFEW (USA)
The strongest of the five, this short brings us into the life of a troubled brother and sister. They're trying to navigate their adult lives, which are littered with drugs and abuse, and find a common purpose in the sister's young daughter Sophia. This is sad, funny, poignant and unfortunately relevant in today's tumultous times.
BUZKASHI BOYS (Afghanistan/USA)
Two boys maintain a friendship and a sense of normalcy in one of the most dangerous areas of the world. What's remarkable about the film is not the plot (as we've seen this coming-of-age message time and time again), but the fact that the filmmakers shot on location in Kabul with the blessing of an international film alliance.
ASAD (South Africa/USA)
A young Somali boy has the weight of the world on his shoulders, collecting food and saving friends from armed soldiers who will kill them in the blink of an eye. It's a tender story that is made lighter by the clever screenwriting and somewhat unexpected ending.
~~~
Sunday, January 27, 2013
Django Unchained
Yesterday I saw Django Unchained, starring Christoph Waltz and Jamie Foxx.
Django (Foxx) is a freed slave helping bounty hunter King (Waltz) search for a few select fugitives, who coincidentally are the same jerks who ripped Django and his wife Broomhilda (Kerry Washington) apart. Django is hungry to reunite with his lost love.
In typical Tarantino fashion, the conversations (and speeches) are lengthy (yet clever); characters have catchy, memorable names; good guys and bad guys engage in ridiculous amounts of violence; and black culture plays a big part.
In this case, the main bad guy is the always-brilliant Leonardo DiCaprio (Calvin Candie), who is slimy and charismatic all the same (without chewing scenery). Sparks practically fly off the screen as he and Waltz exchange their tension-filled pleasantries and negotiate business.
In fact, everyone here is good—Waltz definitely deserves his Oscar nod (though I probably would've placed him in the Best Actor category); DiCaprio an Foxx should've received them as well.
That said, what everyone is saying is true: this is far too bloody and far too long. I like seeing where QT will take us next, but I like seeing it without losing an entire day doing so.
When I think back to the first Tarantino film I enjoyed, Reservoir Dogs, which comes in at a trim 99 minutes, I remember wanting more, not shifting in my seat or looking at my phone for the time.
That's how all films should be.
Django (Foxx) is a freed slave helping bounty hunter King (Waltz) search for a few select fugitives, who coincidentally are the same jerks who ripped Django and his wife Broomhilda (Kerry Washington) apart. Django is hungry to reunite with his lost love.
In typical Tarantino fashion, the conversations (and speeches) are lengthy (yet clever); characters have catchy, memorable names; good guys and bad guys engage in ridiculous amounts of violence; and black culture plays a big part.
In this case, the main bad guy is the always-brilliant Leonardo DiCaprio (Calvin Candie), who is slimy and charismatic all the same (without chewing scenery). Sparks practically fly off the screen as he and Waltz exchange their tension-filled pleasantries and negotiate business.
In fact, everyone here is good—Waltz definitely deserves his Oscar nod (though I probably would've placed him in the Best Actor category); DiCaprio an Foxx should've received them as well.
That said, what everyone is saying is true: this is far too bloody and far too long. I like seeing where QT will take us next, but I like seeing it without losing an entire day doing so.
When I think back to the first Tarantino film I enjoyed, Reservoir Dogs, which comes in at a trim 99 minutes, I remember wanting more, not shifting in my seat or looking at my phone for the time.
That's how all films should be.
Saturday, January 26, 2013
Amour
Last night I saw Amour, starring Emmanuelle Riva and Jean-Louis Trintignant.
If this wasn't a Best Picture nominee, I would never have made it through the whole film.
Georges (Trintignant) and Anne (Riva) are a happy old couple. Their adult daughter has made a life of her own abroad and they seem content in their retirement.
One morning during breakfast, Anne zones out. Not for a moment, not for a second, but for a terrifying few minutes while her husband scrambles to decide what to do next. Anne has suffered a stroke and soon she will be paralyzed on one side of her body.
In a matter of days, this vibrant couple who still attended concerts and playfully flirted with one another will become a frustrated, pained duo who survives only for the other's benefit.
Emmanuelle Riva, who is still stunning in her mid 80s, is shown deteriorating piece by piece, while every last morsel of her dignity is stripped from her being. Jean-Louis Trintignant as Georges wears each heartbreaking revelation in his expressions, as he witnesses the love of his life leaving.
There is no greater devastation, and none of us want to think of our loved ones ever reaching these stages of their lives, but sometimes it happens. And there is always someone who carries the burden of dealing with it more than any other.
The film does a phenomenal job of communicating the quiet that comes with perpetual depression. Water left running is suddenly more noticeable, as is a window left open during a rain storm. The quiet is no longer peaceful; a home once filled with music is now stale with decay.
Every part of the movie (the acting, the script, the direction) is good, but I enjoyed none of it.
Life is hard enough as it is.
~~~
If this wasn't a Best Picture nominee, I would never have made it through the whole film.
Georges (Trintignant) and Anne (Riva) are a happy old couple. Their adult daughter has made a life of her own abroad and they seem content in their retirement.
One morning during breakfast, Anne zones out. Not for a moment, not for a second, but for a terrifying few minutes while her husband scrambles to decide what to do next. Anne has suffered a stroke and soon she will be paralyzed on one side of her body.
In a matter of days, this vibrant couple who still attended concerts and playfully flirted with one another will become a frustrated, pained duo who survives only for the other's benefit.
Emmanuelle Riva, who is still stunning in her mid 80s, is shown deteriorating piece by piece, while every last morsel of her dignity is stripped from her being. Jean-Louis Trintignant as Georges wears each heartbreaking revelation in his expressions, as he witnesses the love of his life leaving.
There is no greater devastation, and none of us want to think of our loved ones ever reaching these stages of their lives, but sometimes it happens. And there is always someone who carries the burden of dealing with it more than any other.
The film does a phenomenal job of communicating the quiet that comes with perpetual depression. Water left running is suddenly more noticeable, as is a window left open during a rain storm. The quiet is no longer peaceful; a home once filled with music is now stale with decay.
Every part of the movie (the acting, the script, the direction) is good, but I enjoyed none of it.
Life is hard enough as it is.
~~~
Sunday, January 20, 2013
Life of Pi
Yesterday I saw Life of Pi, starring Suraj Sharma and Irrfan Khan.
Full disclosure: when an enthusiastic colleague loaned me the book, Life of Pi, several years ago, I wrestled with the fact that I couldn't see what all of the fuss was about. Matter of fact, I couldn't even bring myself to finish the novel—I was that bored by it.
Fast forward to now: there is an Oscar nominated film, crafted by Ang Lee (whom I have great respect for), based on the work, gaining heaps of praise for its visual beauty and thrill. So, since it's up for Best Picture, I took a chance on it.
What a pleasant surprise.
The entire story centers around Pi Patel, who is played by Suraj Sharma in the younger sequences, and the marvelous Irrfan Khan as an adult. Pi's family owns a zoo in India and during a move via cargo ship, they encounter a violent storm that causes them to sink. Pi, and a few of the animals, are the only survivors.
After a few days, only Pi and the family's tiger, Richard Parker, are left. They remain adrift at sea, and the film chronicles their terrifying experiences.
Seeing the story play out in this way was much more engaging for me. I welcomed the metaphors for life that were obviously being communicated; I appreciated the bits of fantasy, which could be interpreted as scientific hallucinations or the epitome of spiritual greatness.
And visually? Yeah, Lee nails it.
Though I could have done without some of the gross animal scenes, Suraj Sharma gave a delightful performance as the frightened, yet brave young boy, and Irrfan Khan continues to be one of my favorite actors.
I wasn't bored for a moment.
Full disclosure: when an enthusiastic colleague loaned me the book, Life of Pi, several years ago, I wrestled with the fact that I couldn't see what all of the fuss was about. Matter of fact, I couldn't even bring myself to finish the novel—I was that bored by it.
Fast forward to now: there is an Oscar nominated film, crafted by Ang Lee (whom I have great respect for), based on the work, gaining heaps of praise for its visual beauty and thrill. So, since it's up for Best Picture, I took a chance on it.
What a pleasant surprise.
The entire story centers around Pi Patel, who is played by Suraj Sharma in the younger sequences, and the marvelous Irrfan Khan as an adult. Pi's family owns a zoo in India and during a move via cargo ship, they encounter a violent storm that causes them to sink. Pi, and a few of the animals, are the only survivors.
After a few days, only Pi and the family's tiger, Richard Parker, are left. They remain adrift at sea, and the film chronicles their terrifying experiences.
Seeing the story play out in this way was much more engaging for me. I welcomed the metaphors for life that were obviously being communicated; I appreciated the bits of fantasy, which could be interpreted as scientific hallucinations or the epitome of spiritual greatness.
And visually? Yeah, Lee nails it.
Though I could have done without some of the gross animal scenes, Suraj Sharma gave a delightful performance as the frightened, yet brave young boy, and Irrfan Khan continues to be one of my favorite actors.
I wasn't bored for a moment.
Sunday, January 06, 2013
Zero Dark Thirty
Today I saw Zero Dark Thirty, starring Jessica Chastain and Jason Clarke.
Most Americans remember the evening that President Obama announced we had killed Osama bin Laden, but few of us know how it happened.
This film aims to explain it.
Beginning with the attack on 9/11, we see a step-by-step progression of how 12-year CIA veteran "Maya" (Chastain) and a small team of her peers, learned where the terrorist was hiding and executed a ridiculously risky mission to find and kill him.
There's not a lot to spoil here, and if you're a fan of the NBC Nightly News, many of the clips will look familiar. In fact, the film—running time 2 hours, 37 min.—almost felt as if it was shot in real time because the pacing (until the big scene) was very slow.
Perhaps my expectations were too high because Director Kathryn Bigelow's last film, The Hurt Locker, had me riveted from start to finish, but this was far too long.
A few of the torture sequences could have been cut, as could the countless times we see Maya not getting the respect she deserves despite the fact we know she'll have the last word.
And it was fun to see cameos from folks like James Gandolfini and Mark Duplass, but if the movie was going to be that long, couldn't we have seen more of them?
The performances were all first rate, and Chastain will certainly be nominated for several awards; the writing is also strong with the dialog never veering away from realistic, even if many of the classified conversations had to be reinvented.
It just could have used a bit more editing.
Most Americans remember the evening that President Obama announced we had killed Osama bin Laden, but few of us know how it happened.
This film aims to explain it.
Beginning with the attack on 9/11, we see a step-by-step progression of how 12-year CIA veteran "Maya" (Chastain) and a small team of her peers, learned where the terrorist was hiding and executed a ridiculously risky mission to find and kill him.
There's not a lot to spoil here, and if you're a fan of the NBC Nightly News, many of the clips will look familiar. In fact, the film—running time 2 hours, 37 min.—almost felt as if it was shot in real time because the pacing (until the big scene) was very slow.
Perhaps my expectations were too high because Director Kathryn Bigelow's last film, The Hurt Locker, had me riveted from start to finish, but this was far too long.
A few of the torture sequences could have been cut, as could the countless times we see Maya not getting the respect she deserves despite the fact we know she'll have the last word.
And it was fun to see cameos from folks like James Gandolfini and Mark Duplass, but if the movie was going to be that long, couldn't we have seen more of them?
The performances were all first rate, and Chastain will certainly be nominated for several awards; the writing is also strong with the dialog never veering away from realistic, even if many of the classified conversations had to be reinvented.
It just could have used a bit more editing.
Saturday, January 05, 2013
The Impossible
This morning I saw The Impossible, starring Naomi Watts and Tom Holland.
Maria (Watts) and her husband Henry (Ewan McGregor) are a happy couple on holiday with their three young sons, Lucas (Holland), Thomas (Samuel Joslin) and Simon (Oaklee Pendergast) in Thailand. The year is 2004.
After celebrating a joyful Christmas the day before, the family is relaxing by the pool when they hear a horrible noise. Without warning a 30-foot wall of water comes crashing into them, obliterating everything in sight.
Maria gasps her way to the surface and realizes that her son Lucas is alive and nearby. She swims to reach him and they spend the next several hours fighting for their lives; he only has minor injuries, but she has internal and external bleeding. To top it off, she's a doctor so she knows what bad shape she's in. Despite that, she tries to stay strong for Lucas, assuming she's all he has left.
Meanwhile, Henry, Thomas and Simon have all survived and are in better shape. Henry trusts kind strangers to watch the boys as he desperately searches for Lucas and Maria.
This true story of the Belon family, is one of the most intense, emotional films I've ever experienced.
Though I knew what ultimately happened going in, every last moment of this roller coaster was draining. If the characters were happy, my eyes glistened with tears of joy; if they felt pain, I absorbed their grief ten-fold. And the reenactment of the tsunami itself was better than any horror film I've seen. Simply harrowing.
Watts is so incredible as the drifting Maria, that you can almost feel the life leaving her as she lies weak in the hospital. The young Holland gives an Oscar-caliber performance, simultaneously exhibiting fear, sadness and strength.
Really, each and every cast member was phenomenal.
The Impossible will make you think about what you take for granted, how precious life is, and how kind the human spirit can be.
A wonderful, wonderful film.
Maria (Watts) and her husband Henry (Ewan McGregor) are a happy couple on holiday with their three young sons, Lucas (Holland), Thomas (Samuel Joslin) and Simon (Oaklee Pendergast) in Thailand. The year is 2004.
After celebrating a joyful Christmas the day before, the family is relaxing by the pool when they hear a horrible noise. Without warning a 30-foot wall of water comes crashing into them, obliterating everything in sight.
Maria gasps her way to the surface and realizes that her son Lucas is alive and nearby. She swims to reach him and they spend the next several hours fighting for their lives; he only has minor injuries, but she has internal and external bleeding. To top it off, she's a doctor so she knows what bad shape she's in. Despite that, she tries to stay strong for Lucas, assuming she's all he has left.
Meanwhile, Henry, Thomas and Simon have all survived and are in better shape. Henry trusts kind strangers to watch the boys as he desperately searches for Lucas and Maria.
This true story of the Belon family, is one of the most intense, emotional films I've ever experienced.
Though I knew what ultimately happened going in, every last moment of this roller coaster was draining. If the characters were happy, my eyes glistened with tears of joy; if they felt pain, I absorbed their grief ten-fold. And the reenactment of the tsunami itself was better than any horror film I've seen. Simply harrowing.
Watts is so incredible as the drifting Maria, that you can almost feel the life leaving her as she lies weak in the hospital. The young Holland gives an Oscar-caliber performance, simultaneously exhibiting fear, sadness and strength.
Really, each and every cast member was phenomenal.
The Impossible will make you think about what you take for granted, how precious life is, and how kind the human spirit can be.
A wonderful, wonderful film.
Sunday, December 30, 2012
Skyfall
Tonight I saw Skyfall, starring Daniel Craig and Javier Bardem.
What a fun ride!
I'll confess that I haven't loved the entire library of Bond movies—and the last one left a lot to be desired—but this one brought me back.
The opening scene is nothing if not exhilarating, with 007 (Craig) jumping trains and operating heavy equipment (yep) to bring down his first enemy of the chase.
Behind the scenes, M (Dame Judi Dench) is calling the shots, and unfortunately not calling them too well. There are moments of worry that the entire film may turn into one long funeral, but of course that's not the case. Bond is back, after all.
And even as wonderful as the two of them are, nothing injects the story with more pizazz than the appearance of villain Silva (Bardem), who appears to relish in the art of revenge.
Bardem is in fact so good in this role, it sort of makes me wish he could just pop in to every movie and "be the bad guy" because he brings his characters to life with such dimension. We fear him, we loathe him and we can't take our eyes off of him.
He's sadistic here, but also sad—showing traces of the time when he was once on the right side of the action. That said, our threshold for tolerating gratuitous violence may be exhausted several times as we anticipate the good triumphing over evil.
Aside from the excessive guns and explosions (it is, after all, a spy film), this story twists and turns with sexy scenes and fast-paced thrills that never disappoint.
The running time of almost three hours just flies by.
~~~
What a fun ride!
I'll confess that I haven't loved the entire library of Bond movies—and the last one left a lot to be desired—but this one brought me back.
The opening scene is nothing if not exhilarating, with 007 (Craig) jumping trains and operating heavy equipment (yep) to bring down his first enemy of the chase.
Behind the scenes, M (Dame Judi Dench) is calling the shots, and unfortunately not calling them too well. There are moments of worry that the entire film may turn into one long funeral, but of course that's not the case. Bond is back, after all.
And even as wonderful as the two of them are, nothing injects the story with more pizazz than the appearance of villain Silva (Bardem), who appears to relish in the art of revenge.
Bardem is in fact so good in this role, it sort of makes me wish he could just pop in to every movie and "be the bad guy" because he brings his characters to life with such dimension. We fear him, we loathe him and we can't take our eyes off of him.
He's sadistic here, but also sad—showing traces of the time when he was once on the right side of the action. That said, our threshold for tolerating gratuitous violence may be exhausted several times as we anticipate the good triumphing over evil.
Aside from the excessive guns and explosions (it is, after all, a spy film), this story twists and turns with sexy scenes and fast-paced thrills that never disappoint.
The running time of almost three hours just flies by.
~~~
Wednesday, December 26, 2012
The Fitzgerald Family Christmas
Tonight I saw The Fitzgerald Family Christmas, starring Edward Burns and Anita Gillette.
Jerry (Burns) wants his siblings to gather and celebrate his mother's birthday a few days before Christmas but they all have other commitments, so plan B is to reunite the whole family—including their estranged patriarch—for Christmas dinner.
The youngest of the bunch want nothing to do with their father, still holding onto anger from his abandonment years ago; the older children are more sympathetic, but vow to leave the final decision up to their mother (Gillette).
In the midst of all of the shuffling, one sister is dealing with an abusive husband, while another brother is hoping to propose marriage to the younger girlfriend he "likes a lot." Oh, and Dad announces that he has cancer.
What I love about Edward Burns' films (he wrote and directed this one as well) is that there are always a lot of moving parts, and plenty of characters who we may or may not really get to know. Why do I love this? Because it's just like life.
Every breathing soul in our world is not necessarily someone we know, but somehow in some way, they may have a lot to do with our life. And who lives a life free of drama? None of us. So it's nice to see that dysfunctional existence brought to the surface on screen.
Everyone here feels as if they have an actual beating heart, and everyone here is someone we may like. Or not. None of the members of this family are perfect (though Jerry probably comes the closest), but all of them have redeeming qualities. The beauty is that though conceptually the family is very stereotypical (Irish, Catholic, etc.), the characters are so well fleshed-out, they're anything but one-dimensional.
Location is less of a character compared to past films such as Sidewalks of New York and Purple Violets, but the cozy interiors tell enough of a story to satisfy a sense of place.
My only real criticism of this story would lie in the underuse of Connie Britton who plays nurse Nora. She's an endearing break from the core family drama, and sparks impressive chemistry with Burns. I wish she'd had more of a prominent spot later in the film, but perhaps she's being saved for the sequel?
I suppose time will tell, but until then, I'll wonder about who will be seated at next year's Fitzgerald Christmas dinner.
~~~
Jerry (Burns) wants his siblings to gather and celebrate his mother's birthday a few days before Christmas but they all have other commitments, so plan B is to reunite the whole family—including their estranged patriarch—for Christmas dinner.
The youngest of the bunch want nothing to do with their father, still holding onto anger from his abandonment years ago; the older children are more sympathetic, but vow to leave the final decision up to their mother (Gillette).
In the midst of all of the shuffling, one sister is dealing with an abusive husband, while another brother is hoping to propose marriage to the younger girlfriend he "likes a lot." Oh, and Dad announces that he has cancer.
What I love about Edward Burns' films (he wrote and directed this one as well) is that there are always a lot of moving parts, and plenty of characters who we may or may not really get to know. Why do I love this? Because it's just like life.
Every breathing soul in our world is not necessarily someone we know, but somehow in some way, they may have a lot to do with our life. And who lives a life free of drama? None of us. So it's nice to see that dysfunctional existence brought to the surface on screen.
Everyone here feels as if they have an actual beating heart, and everyone here is someone we may like. Or not. None of the members of this family are perfect (though Jerry probably comes the closest), but all of them have redeeming qualities. The beauty is that though conceptually the family is very stereotypical (Irish, Catholic, etc.), the characters are so well fleshed-out, they're anything but one-dimensional.
Location is less of a character compared to past films such as Sidewalks of New York and Purple Violets, but the cozy interiors tell enough of a story to satisfy a sense of place.
My only real criticism of this story would lie in the underuse of Connie Britton who plays nurse Nora. She's an endearing break from the core family drama, and sparks impressive chemistry with Burns. I wish she'd had more of a prominent spot later in the film, but perhaps she's being saved for the sequel?
I suppose time will tell, but until then, I'll wonder about who will be seated at next year's Fitzgerald Christmas dinner.
~~~
Les Misérables
Today I saw Les Misérables, starring Hugh Jackman and Russell Crowe.
The famous musical is so well-known at this point, I don't feel the need to recount the plot, but I will say that this rendition, sung live by its actors, certainly communicates the sentiment.
Director Tom Hooper thankfully doesn't add flash where none is necessary. Much like its anticipated awards season rival, Lincoln, it feels more like a stage performance than a film at some points, but that's forgiven in the context of the narrative.
Hugh Jackman couldn't be better as Valjean, with his earnest glances and dignified actions; Russell Crowe is equally superb as the rough Javert, nailing every line and mannerism.
Where I cringed a bit was when Anne Hathaway over-acted her part as Fantine, and her beautiful singing was overshadowed by her exaggerated looks of torture and despair. She would have been much more powerful if she'd played it understated. But oh, well. Her screen time is minimal after the first act, and others pick up where she left off—Amanda Seyfried as her daughter Cosette, and the refreshing Helena Bonham Carter as Madame Thénardier were welcome sights, as was Eddie Redmayne, who played an impressive Marius.
The aerial shots and meticulous costumes also add a grandeur to the film, which will surely be remembered at the Oscars for its sets and design, if not for its actors.
Overall, this is a satisfying, if not perfect, re-make of a story more often told as a play.
~~~
The famous musical is so well-known at this point, I don't feel the need to recount the plot, but I will say that this rendition, sung live by its actors, certainly communicates the sentiment.
Director Tom Hooper thankfully doesn't add flash where none is necessary. Much like its anticipated awards season rival, Lincoln, it feels more like a stage performance than a film at some points, but that's forgiven in the context of the narrative.
Hugh Jackman couldn't be better as Valjean, with his earnest glances and dignified actions; Russell Crowe is equally superb as the rough Javert, nailing every line and mannerism.
Where I cringed a bit was when Anne Hathaway over-acted her part as Fantine, and her beautiful singing was overshadowed by her exaggerated looks of torture and despair. She would have been much more powerful if she'd played it understated. But oh, well. Her screen time is minimal after the first act, and others pick up where she left off—Amanda Seyfried as her daughter Cosette, and the refreshing Helena Bonham Carter as Madame Thénardier were welcome sights, as was Eddie Redmayne, who played an impressive Marius.
The aerial shots and meticulous costumes also add a grandeur to the film, which will surely be remembered at the Oscars for its sets and design, if not for its actors.
Overall, this is a satisfying, if not perfect, re-make of a story more often told as a play.
~~~
Monday, December 24, 2012
This Is 40
Tonight I saw This Is 40, starring Leslie Mann and Paul Rudd.
Debbie (Mann) and Pete (Rudd) are turning 40. Pete doesn't seem to mind it's happening to him, but Debbie has real trouble with it.
She begins to reflect on their family life (Mann's wonderful real-life children play their two daughters) and hopes to make positive changes before they get too old to enjoy one another.
Of course the more any of us try to plan our lives, the worse they turn out.
Pete is a cupcake-eating, secret-keeping, unwilling-to-face-reality loser who seems to care more about his record label than his marriage. Debbie is a judgmental, neurotic, worry wart who spies on her daughter's Facebook page and texts. The two only seem happy together when they escape for a weekend away and get high off marijuana cookies at a resort.
Though they try to make a 'deal' that they'll be better about kicking bad habits, and being nice to one another, all bets go out the window when the financial problems worsen and they begin calling their parents out on why they both turned out the way that they did.
I'm never a fan of films that justify adults blaming their parents for all of the problems in their grown-up lives, but luckily this film limits that rant to just a few scenes, so I can forgive it. It also shines a light on the lead couples' children calling their bluffs, so the absurdity is not lost on the audience.
The true-to-life dynamics between the children and the parents were some of the best points of the movie, even when it wasn't funny.
But mostly, it was funny.
I realize from my first few paragraphs, this film sounds heavy, but despite some isolated moments, it's really not. It's actually quite funny. And grown up, if you don't mind all the fighting.
Though I've not yet reached the dreaded age of 40, and don't have children of my own, I can relate to the fears about aging, and the frightening possibility that I may turn into a version of my parents.
Thankfully, this group of characters keeps it light enough to be enjoyable instead of haunting.
~~~
Debbie (Mann) and Pete (Rudd) are turning 40. Pete doesn't seem to mind it's happening to him, but Debbie has real trouble with it.
She begins to reflect on their family life (Mann's wonderful real-life children play their two daughters) and hopes to make positive changes before they get too old to enjoy one another.
Of course the more any of us try to plan our lives, the worse they turn out.
Pete is a cupcake-eating, secret-keeping, unwilling-to-face-reality loser who seems to care more about his record label than his marriage. Debbie is a judgmental, neurotic, worry wart who spies on her daughter's Facebook page and texts. The two only seem happy together when they escape for a weekend away and get high off marijuana cookies at a resort.
Though they try to make a 'deal' that they'll be better about kicking bad habits, and being nice to one another, all bets go out the window when the financial problems worsen and they begin calling their parents out on why they both turned out the way that they did.
I'm never a fan of films that justify adults blaming their parents for all of the problems in their grown-up lives, but luckily this film limits that rant to just a few scenes, so I can forgive it. It also shines a light on the lead couples' children calling their bluffs, so the absurdity is not lost on the audience.
The true-to-life dynamics between the children and the parents were some of the best points of the movie, even when it wasn't funny.
But mostly, it was funny.
I realize from my first few paragraphs, this film sounds heavy, but despite some isolated moments, it's really not. It's actually quite funny. And grown up, if you don't mind all the fighting.
Though I've not yet reached the dreaded age of 40, and don't have children of my own, I can relate to the fears about aging, and the frightening possibility that I may turn into a version of my parents.
Thankfully, this group of characters keeps it light enough to be enjoyable instead of haunting.
Friday, December 07, 2012
Killing Them Softly
Yesterday I saw Killing Them Softly, starring Brad Pitt and Richard Jenkins.
Jackie (Pitt) is brought in to restore order to a community of criminals after some amateurs rob a mobster card game.
His driver (Jenkins) acts as a supervisor removed from the violence; Mickey (James Gandolfini) is the pro Jackie outsources to finish off a guy who knows him.
In between this all, some other men get high (and we're treated to an ridiculously long scene from their POV), while another gets almost beaten to death for the robbery (though he was uninvolved).
There's also a beautiful hooker, a lot of drinks, multiple gun shots, a few driving scenes and even a shot of one of the criminals walking his dog.
I'm not sure if this film was an attempt at Tarantino-style action or just a very confusing episode of The Sopranos gone wrong, but whatever it was, it wasted the wealth of talent within.
Be smart and skip this one.
~~~
Jackie (Pitt) is brought in to restore order to a community of criminals after some amateurs rob a mobster card game.
His driver (Jenkins) acts as a supervisor removed from the violence; Mickey (James Gandolfini) is the pro Jackie outsources to finish off a guy who knows him.
In between this all, some other men get high (and we're treated to an ridiculously long scene from their POV), while another gets almost beaten to death for the robbery (though he was uninvolved).
There's also a beautiful hooker, a lot of drinks, multiple gun shots, a few driving scenes and even a shot of one of the criminals walking his dog.
I'm not sure if this film was an attempt at Tarantino-style action or just a very confusing episode of The Sopranos gone wrong, but whatever it was, it wasted the wealth of talent within.
Be smart and skip this one.
~~~
Sunday, December 02, 2012
The Collection
Yesterday I saw The Collection, starring Josh Stewart and Emma Fitzpatrick.
Elena (Fitzpatrick) is a privileged twenty-something who decides on a whim to go with her friends to a popular 'nightclub.' Unfortunately, the club has been booby-trapped by a sadistic killer and few will make it out alive.
The story is a sequel to The Collector, which I'll confess to having never seen, but I doubt previous experience with the characters would have made this any less horrific.
Basically, the living demon responsible for all of the murders is big on torture and 'collects' things: body parts, the sanity of his victims, and a few living souls who will wished they were spared life once they realize what he has planned for them.
In films like this, that are primarily 'scary' because of slamming doors and bloody scenes, I find it hard to register actual fear, because the effects are so distracting.
I'm much more interested in why a human being would want to inflict such pain on others than seeing how they do it.
The acting here is just fine, considering the dialog they're given to work with is so weak. Stewart as an escaped prisoner of the killer who is forced to return to the scene of the crime (to rescue the rich girl) is brooding and hesitant (as one would be) and Fitzpatrick's Elena is determined and strong, despite the fact she's probably been pampered all of her life.
There are plenty of great horror flicks out there these days; this is definitely not one of them.
~~~
Elena (Fitzpatrick) is a privileged twenty-something who decides on a whim to go with her friends to a popular 'nightclub.' Unfortunately, the club has been booby-trapped by a sadistic killer and few will make it out alive.
The story is a sequel to The Collector, which I'll confess to having never seen, but I doubt previous experience with the characters would have made this any less horrific.
Basically, the living demon responsible for all of the murders is big on torture and 'collects' things: body parts, the sanity of his victims, and a few living souls who will wished they were spared life once they realize what he has planned for them.
In films like this, that are primarily 'scary' because of slamming doors and bloody scenes, I find it hard to register actual fear, because the effects are so distracting.
I'm much more interested in why a human being would want to inflict such pain on others than seeing how they do it.
The acting here is just fine, considering the dialog they're given to work with is so weak. Stewart as an escaped prisoner of the killer who is forced to return to the scene of the crime (to rescue the rich girl) is brooding and hesitant (as one would be) and Fitzpatrick's Elena is determined and strong, despite the fact she's probably been pampered all of her life.
There are plenty of great horror flicks out there these days; this is definitely not one of them.
~~~
Friday, November 30, 2012
Silver Linings Playbook
Tonight I saw Silver Linings Playbook, starring Bradley Cooper and Jennifer Lawrence.
It will be the topic of Cinebanter #118, so tune in for our review in a few weeks.
It will be the topic of Cinebanter #118, so tune in for our review in a few weeks.
Sunday, November 25, 2012
The Sessions
This morning I saw The Sessions, starring John Hawkes and Helen Hunt.
Mark O'Brien (Hawkes) is disabled from childhood polio and lives most of his life inside of an iron lung. Despite this confinement, he is an accomplished poet with a sense of humor and a desire to enjoy normal things.
When he reaches the age of 38, he decides that he would like to pursue losing his virginity.
As a devout Catholic, he wrestles with the sin of premarital sex, and consults with his priest to see if he can "get a pass," since the chances of him marrying are slim to none. The priest grants him his blessing and soon he seeks the help of sexual surrogate named Cheryl (Hunt).
Cheryl does her best to communicate the boundaries of her role to Mark, but that doesn't stop him from developing a crush on her. After all, he's never been this intimate physically or emotionally with a woman before.
Their sessions to teach him about his sexuality are clinical, yet tender; mechanical, yet arousing. Most people probably don't even know that folks like Cheryl exist (and this, after all, is a true story).
Hawkes is phenomenal as the vulnerable, sweet, scared Mark, who wrestles with so many issues, you wonder if he'll ever be able to give his heart (and body) to any woman; Hunt is equally impressive as a matter-of-fact doctor of sorts, who is brimming with compassion.
This movie is far better than most films in theaters today. The dialogue is witty (and dangerously close to how it really happened, when compared with O'Brien's actual article on the topic); the revealing scenes are treated respectfully and tastefully while not being too sanitized.
It will surprise me if *The Sessions* doesn't receive multiple Oscar nominations, as it deserves several.
Go see it.
~~~
Mark O'Brien (Hawkes) is disabled from childhood polio and lives most of his life inside of an iron lung. Despite this confinement, he is an accomplished poet with a sense of humor and a desire to enjoy normal things.
When he reaches the age of 38, he decides that he would like to pursue losing his virginity.
As a devout Catholic, he wrestles with the sin of premarital sex, and consults with his priest to see if he can "get a pass," since the chances of him marrying are slim to none. The priest grants him his blessing and soon he seeks the help of sexual surrogate named Cheryl (Hunt).
Cheryl does her best to communicate the boundaries of her role to Mark, but that doesn't stop him from developing a crush on her. After all, he's never been this intimate physically or emotionally with a woman before.
Their sessions to teach him about his sexuality are clinical, yet tender; mechanical, yet arousing. Most people probably don't even know that folks like Cheryl exist (and this, after all, is a true story).
Hawkes is phenomenal as the vulnerable, sweet, scared Mark, who wrestles with so many issues, you wonder if he'll ever be able to give his heart (and body) to any woman; Hunt is equally impressive as a matter-of-fact doctor of sorts, who is brimming with compassion.
This movie is far better than most films in theaters today. The dialogue is witty (and dangerously close to how it really happened, when compared with O'Brien's actual article on the topic); the revealing scenes are treated respectfully and tastefully while not being too sanitized.
It will surprise me if *The Sessions* doesn't receive multiple Oscar nominations, as it deserves several.
Go see it.
~~~
Lincoln
On Friday I saw Lincoln, starring Daniel Day-Lewis and Sally Field.
The last few months of Abraham Lincoln's life are often overshadowed by stories of his famous assassination at Ford's Theatre. In Steven Spielberg's new film, the months leading up to that event take center stage.
Daniel Day-Lewis plays the popular president in the most historically accurate way possible: hunched over, soft-spoken and thoughtful. According to the scholars, Mr. Lincoln was all of those things.
What's so brilliant about this performance is that his humanity, and his elegant simplicity, shines through. Lincoln was a common man from humble beginnings, and his gift for knowing 'real' people is part of what made him a great politician.
The film shows the president's struggle to get the 13th Amendment passed as his son threatens to go off to war and his wife Mary (Field) forbids it, having already lost one son to the country. Field's performance as the 'crazy' First Lady is played less hysterically than one might expect, and that's what makes it work.
Joseph Gordon-Levitt is a convincing young Robert Todd Lincoln, and the rest of the supporting cast: David Strathairn, John Hawkes and Tommy Lee Jones, all work their magic as the movers and shakers of the time.
The usual Spielberg-ian grandeur is traded in this time for what mimics a quiet stage performance, and that makes sense since the screenwriter, Tony Kushner, is a Pulitzer Prize-winning playwright.
If you're looking for a Civil War-era film with action, this isn't the movie for you; but if you want to see some of the most impressive acting of the year, coupled with a slice of history often forgotten, you need to see Lincoln.
~~~
The last few months of Abraham Lincoln's life are often overshadowed by stories of his famous assassination at Ford's Theatre. In Steven Spielberg's new film, the months leading up to that event take center stage.
Daniel Day-Lewis plays the popular president in the most historically accurate way possible: hunched over, soft-spoken and thoughtful. According to the scholars, Mr. Lincoln was all of those things.
What's so brilliant about this performance is that his humanity, and his elegant simplicity, shines through. Lincoln was a common man from humble beginnings, and his gift for knowing 'real' people is part of what made him a great politician.
The film shows the president's struggle to get the 13th Amendment passed as his son threatens to go off to war and his wife Mary (Field) forbids it, having already lost one son to the country. Field's performance as the 'crazy' First Lady is played less hysterically than one might expect, and that's what makes it work.
Joseph Gordon-Levitt is a convincing young Robert Todd Lincoln, and the rest of the supporting cast: David Strathairn, John Hawkes and Tommy Lee Jones, all work their magic as the movers and shakers of the time.
The usual Spielberg-ian grandeur is traded in this time for what mimics a quiet stage performance, and that makes sense since the screenwriter, Tony Kushner, is a Pulitzer Prize-winning playwright.
If you're looking for a Civil War-era film with action, this isn't the movie for you; but if you want to see some of the most impressive acting of the year, coupled with a slice of history often forgotten, you need to see Lincoln.
~~~
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).
~~~
Sunday, November 04, 2012
Cloud Atlas
Today I saw Cloud Atlas, starring Tom Hanks and Halle Berry.
It will be the topic of Cinebanter #118, so tune in later this month for our review.
Monday, October 15, 2012
The Perks of Being a Wallflower
This morning I saw The Perks of Being a Wallflower, starring Logan Lerman and Emma Watson.
Charlie (Lerman) longs for companionship because something in his past caused him to shut down socially.
Sam (Watson) made many mistakes in her past, but has found solace in her friends and her bestie stepbrother Patrick (Ezra Miller).
When Patrick befriends Charlie, Sam is the one who brings him out of his shell, which causes Charlie to fall in love with her. Of course, as in any teenage story, Sam already has her eyes on another guy, so they just remain friends.
Charlie loves his new life, though his past never stops fully haunting him. The remainder of the film lets the audience navigate this brave new world with him—and its inevitable road bumps.
What's so refreshing about the wonderful script that Stephen Chbosky (who also wrote the novel) has created is that it's painfully realistic.
There are major themes explored in this film—virginity, bullying, homophobia, child abuse, accident trauma and promiscuity, just to name a few. But none of these overwhelming topics ever cloud the story or its progress. The lives of these characters just keep moving along as they would if they were living, breathing souls.
It doesn't hurt that the cast is phenomenal.
Logan Lerman has eyes so sweet, you'll ache for his every setback
Charlie (Lerman) longs for companionship because something in his past caused him to shut down socially.
Sam (Watson) made many mistakes in her past, but has found solace in her friends and her bestie stepbrother Patrick (Ezra Miller).
When Patrick befriends Charlie, Sam is the one who brings him out of his shell, which causes Charlie to fall in love with her. Of course, as in any teenage story, Sam already has her eyes on another guy, so they just remain friends.
Charlie loves his new life, though his past never stops fully haunting him. The remainder of the film lets the audience navigate this brave new world with him—and its inevitable road bumps.
What's so refreshing about the wonderful script that Stephen Chbosky (who also wrote the novel) has created is that it's painfully realistic.
There are major themes explored in this film—virginity, bullying, homophobia, child abuse, accident trauma and promiscuity, just to name a few. But none of these overwhelming topics ever cloud the story or its progress. The lives of these characters just keep moving along as they would if they were living, breathing souls.
It doesn't hurt that the cast is phenomenal.
Logan Lerman has eyes so sweet, you'll ache for his every setback
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.
~~~
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