I'm aware of my membership in the majority when I state that viewing a story of redemption is powerful and emotionally satisfying. Yet I realized today, as an audience for The Reader, how deeply I believe it is necessary to witness narratives that explain the other side, to watch the unfolding of an absolutely unapologetic character.
Kate Winslet is spellbinding as Hanna Schmitz, a woman who is eventually tried in the late 1960's for her part in the demise of women prisoners traveling on their death march from Auschwitz to Bergen-Belsen. Some of her trial is witnessed, coincidentally, by a young law student who nearly 10 years earlier had been involved in an affair with her. At the time of the trial (for those of you who are not delighted by courtroom proceedings, never fear, it comprises a small but crucial part of the film), I think the audience is expecting Hanna to be remorseful, contrite, ashamed at what she had done. And here is where the movie knocked my socks off. All at once, numerous questions ran through my head: how can she not have regret? Has she learned nothing of humanity in the 20 years since? Could she possibly she think she was right? Perhaps she is mental? How could she not know the Nazis were wrong?
Though the movie is over half done at this point, it is the complete essence of the story. I spent the remaining time trying to find answers, yet sometimes simply ended up with more questions.
This movie is so much more than a story about first love, or an attempt to define guilt, or an opinion about the cost of consequence. I think it offers an example of how our lives are rarely (if ever) defined by polarity: black and white, right and wrong, good and bad. That we must make room for those people who feel a strength of purpose different than our own. It's a challenge, and one that is met in many, many ways over a lifetime.
The theme of redemption is indeed the nuts-and-bolts of Clint Eastwood's Gran Torino. However, I feel supremely unqualified to give more than a superficial review of this movie as I've seen so few of his. Thus, reader beware: if you're a fan of Mr. Eastwood, you'll no doubt have waaaaaayyyyy more to say about this movie than I.
For 78 years old, Clint doesn't look too bad. With that said, his character's old-man walk and penchant for (literally) growling make you believe you're watching ol' Eastwood's daily life. As this is probably not the case (I've read Mr. Eastwood is really a nice guy), I'd have to give utter applause for his portrayal of main character Walt Kowalski.
Walt is retired from a career at Ford motors, is now a widower, and an unfortunate father to two middle aged men who don't like him. He putters around town, like lots of guys his age, but he does it with displeasure, annoyance and no small amount of racial profanity. Walt is of the midwest, where Willy Loman was a hero, and the post-war American Dream remains alive and well. Over time, "his" neighborhood has become populated by immigrants, and his sharply defined world is beginning to become a little cloudy.
Then, something happens that makes him start caring about others. Then something else happens that's bad. So he does something in return. Then something bad happens to him. It's not a fresh story, it's hardly even surprising. The symbolic moments and tokens (the '72 Gran Torino, the silver star, the handguns, the young Catholic priest) assigned to explain mistrust, naivety, forgiveness, and sacrifice are not subtle, and sometimes, blatantly stereotypical. Yet, "the critics" love this film and report that Eastwood is still masterful. I can't disagree, nor can I agree; I simply don't know Clint's history of film. I do know this movie wasn't a waste of my money, but it also wasn't the emotional juggernaut I had expected.
Monday, January 19, 2009
Sunday, June 1, 2008
Eeeeeeeeeeeeeew grossssssssss
For those of you who know me, you have a pretty good idea that I'm a fan of true crime stories, especially those that may involve psychopathy. And yet. I found Savage Grace, based on the book of the same name, to be nothing short of......icky.
The film will probably be coming to you in an "arthouse" theater due to the casting of Julianne Moore - indie darling - in the starring role of Barbara Baekeland, wife of the grandson of the inventor of Bakelite plastics. If you must, go and see it; but don't say I didn't warn you.
Before she married Brooks Baekeland, Barbara was a model and a wanna-be actress who finally found happiness when she married into wealth and was able to act the part of the socialite. Apparently, she had some personality disorders that led her to some wild mood swings and ultimately inappropriate (to put it mildly) behavior with her only child, a son named Antony. Antony displayed homosexual tendencies; in the American worldview of the 50's and 60's, a decided handicap for a mother trying to break her son into society. Antony's father finally washes his hands of the whole mess when he takes up with a younger woman (once Antony's girlfriend) and divorces Barbara. Unfortunately, that leaves Antony with only his mother and by the age of 25 he has killed her.
The film seems to follow quite closely the details of actual happenings, but as an audience, we must still hold some disbelief for what is presented to us. I also contend we must feel compassion for Antony, the fundamental victim; but it's difficult to do when we are shown by the director such graphic acts of incestuous sexuality. In my humble opinion, I would have felt greater emotional empathy for all characters if the most dysfunctional happenings were left to my imagination.
As a side note, the editing of the film feels extremely choppy, and there lacks emotional continuity between the years presented. NOT recommended.
The film will probably be coming to you in an "arthouse" theater due to the casting of Julianne Moore - indie darling - in the starring role of Barbara Baekeland, wife of the grandson of the inventor of Bakelite plastics. If you must, go and see it; but don't say I didn't warn you.
Before she married Brooks Baekeland, Barbara was a model and a wanna-be actress who finally found happiness when she married into wealth and was able to act the part of the socialite. Apparently, she had some personality disorders that led her to some wild mood swings and ultimately inappropriate (to put it mildly) behavior with her only child, a son named Antony. Antony displayed homosexual tendencies; in the American worldview of the 50's and 60's, a decided handicap for a mother trying to break her son into society. Antony's father finally washes his hands of the whole mess when he takes up with a younger woman (once Antony's girlfriend) and divorces Barbara. Unfortunately, that leaves Antony with only his mother and by the age of 25 he has killed her.
The film seems to follow quite closely the details of actual happenings, but as an audience, we must still hold some disbelief for what is presented to us. I also contend we must feel compassion for Antony, the fundamental victim; but it's difficult to do when we are shown by the director such graphic acts of incestuous sexuality. In my humble opinion, I would have felt greater emotional empathy for all characters if the most dysfunctional happenings were left to my imagination.
As a side note, the editing of the film feels extremely choppy, and there lacks emotional continuity between the years presented. NOT recommended.
Oink Oink
Okay. I imagine there will be loads of women out there completely unmoved - and perhaps somewhat insulted - by the story of 3 Little Pigs (Les 3 p'tits cochons). But I'm not one of them!!! I found it charming and quite hilarious. If nothing else, it allowed me to see that the male "pigs" in my life are neither unique nor unusual; instead, they may just be an average sampling of their gender.
Remi, Mathieu, and Christian are three brothers, close in childhood, who still live near each other in Montreal. Their mother, living with the eldest, has been experiencing episodes of faintness, and finally takes a tumble that results in a complete loss of consciousness. The brothers are left to fend for themselves, sharing personal stories and taking ill advice on their marriages (and potential affairs) from each other.
I thought it fun deciding which brother is which "pig," though the eldest, Remi, lives in an actual house built of stone ("the chateau" as one sister-in-law snarks) and also appears to be the brother with the "strongest" life.* Christian (played by Guillaume Lemay-Thivierge who has to have the longest eyelashes in the northern hemisphere) is the youngest, most playful brother who owns a martial arts studio and lives vicariously through his middle brother, Mathieu (played deliciously by Claude Legault). Each of the brothers' wives is sexy, intelligent, and aware, leaving us in the audience to wonder how or why any of these three would consider adultery. But, while the big screen is fantasy, most of us can point to an example in our own lives of a "perfect love" gone wrong. Regardless, the charm of the characters and the humor of the story carry this farce to a satisfying ending and I look forward to finding these actors in other big screen stories.
*the end of the movie, however, gives a terrific twist to this assumption and made me sit in my chair with my hand over my gaping mouth.
Remi, Mathieu, and Christian are three brothers, close in childhood, who still live near each other in Montreal. Their mother, living with the eldest, has been experiencing episodes of faintness, and finally takes a tumble that results in a complete loss of consciousness. The brothers are left to fend for themselves, sharing personal stories and taking ill advice on their marriages (and potential affairs) from each other.
I thought it fun deciding which brother is which "pig," though the eldest, Remi, lives in an actual house built of stone ("the chateau" as one sister-in-law snarks) and also appears to be the brother with the "strongest" life.* Christian (played by Guillaume Lemay-Thivierge who has to have the longest eyelashes in the northern hemisphere) is the youngest, most playful brother who owns a martial arts studio and lives vicariously through his middle brother, Mathieu (played deliciously by Claude Legault). Each of the brothers' wives is sexy, intelligent, and aware, leaving us in the audience to wonder how or why any of these three would consider adultery. But, while the big screen is fantasy, most of us can point to an example in our own lives of a "perfect love" gone wrong. Regardless, the charm of the characters and the humor of the story carry this farce to a satisfying ending and I look forward to finding these actors in other big screen stories.
*the end of the movie, however, gives a terrific twist to this assumption and made me sit in my chair with my hand over my gaping mouth.
Marvel - lous
Dunh dunh dunhdunhdunh nuhnuhnuhnuhnuhnuhnuh dunh nuh nuh (<--- hum along here to Randy Rhoads' famous guitar riff). Luckily director Jon Favreau saved the "theme song" until the end credits, just another of the small touches that contributed to the superb quality of the superhero saga Iron Man. Learning that Jon Favreau was the director of this film was sort of a head-scratcher for me. He is a terrific actor in some great smallish films (Rudy, Swingers [which he wrote], Very Bad Things, Made) as well as on TV (Friends, Dinner for Five); but I suppose lots of kids born in the 1960's and '70's foster dreams of hanging with superheroes. Of course, for me, Robert Downey, Jr. is the gold star in this thrill ride. His aptitude for quick dialogue continues to leave me breathless, as does his ability to move his face like a (handsome) slab of putty. The guy can go from full grin to insipid in an eyeblink. I count myself among the multitudes who are thankful he's still alive and kicking (ass!) after his personal difficulties.
In a nutshell: this telling of the Iron Man story begins in a contemporary fashion, in Afghanistan with Downey Jr's character, Tony Stark, personally delivering some new weapons to the American troops. He is the second generation, and boy genius, of family owned weapons manufacturer, Stark Industries. Upon ultimately escaping from Afghani captors after being injured, he spends some time judging the usefulness of his profession and the benefits that it offers the modern world. When he decides that he would prefer to use his power for good, his deceased father's second in command (love the Jeff Bridges!) must act to cover up the evil-doings he's been party to over the years.
The only weak link in this modern story of heroism is Gwyneth Paltrow's portrayal of Pepper Pots. She's close, but.....just not close enough. Too wooden, not quite sexy enough. I hope Mr. Favreau makes a little cast change before Iron Man II arrives - and believe me, it WILL.
In a nutshell: this telling of the Iron Man story begins in a contemporary fashion, in Afghanistan with Downey Jr's character, Tony Stark, personally delivering some new weapons to the American troops. He is the second generation, and boy genius, of family owned weapons manufacturer, Stark Industries. Upon ultimately escaping from Afghani captors after being injured, he spends some time judging the usefulness of his profession and the benefits that it offers the modern world. When he decides that he would prefer to use his power for good, his deceased father's second in command (love the Jeff Bridges!) must act to cover up the evil-doings he's been party to over the years.
The only weak link in this modern story of heroism is Gwyneth Paltrow's portrayal of Pepper Pots. She's close, but.....just not close enough. Too wooden, not quite sexy enough. I hope Mr. Favreau makes a little cast change before Iron Man II arrives - and believe me, it WILL.
Monday, May 26, 2008
We're All A Little Sissy Around Here
Oh those Canadians!!! Making such fantastic and contemporary movies that we ought to be making. In Breakfast With Scot, Tom Cavanaugh (remember NBC's delightful Ed) plays Eric, an ex-hockey player turned sportscaster who's scared to death "his public" will find out he's gay. His partner Sam (Ben Shenkman) has a cad of a brother, Billy who had a girlfriend who died and left him the responsibility of rearing her son. Problem is, Billy's left town and fled to Rio. Enter Sam and Eric as reluctant guardians to inspired and precocious 11-year old Scot. Perfectly, Scot is most likely gay as well and a whole world of possibility suddenly opens up for child and adults.
Though the story is predictable, I can hardly say more without giving away some terrific moments. All the characters are so lively and well created (and lovingly altered from the original novel of the same name by Michael Downing), and most have a lesson to learn. Truly a great family movie!
Though the story is predictable, I can hardly say more without giving away some terrific moments. All the characters are so lively and well created (and lovingly altered from the original novel of the same name by Michael Downing), and most have a lesson to learn. Truly a great family movie!
Friday, May 23, 2008
Activism 101
The directorial debut by Stuart Townsend (aka Mr. Charlize Theron), Battle in Seattle feels like a very personal film - to Stuart Townsend. It is one of those films with an all star cast (except for Connie Nielsen....I still can't make myself enjoy her) made on a shoestring budget over many, many years, and snubbed by the biggie Hollywood distributors. Three cheers for the true independent film! Yet I feel that because the principles of activism are so goshdarn fuzzy for me, I was barely moved by this dramatic retelling of the WTO riots of 1999. Rationally, I applaud Townsend for wanting to put our city's story up on the screen, for wanting to create a visual love letter for those who hold such fierce passion for "a cause." I also understand the need to present the very real truth that human nature is sometimes brutal, and we have the capacity to treat each other with naked cruelty if threatened. But I simply don't find this story compelling enough to be told as an inspired-by-real-events production on the big screen - even though I was right here for it. A documentary maybe. Or a semi-fictional focus piece of a particular character with the riots as back story. See for yourself, and if you're so moved, please let me know what I'm missing. As Andre 3000's character states in the final act: "people still don't know what the WTO does, but at least they know it's bad." And maybe that's enough of a timely message for this film to deliver. That as members of a democracy we should do what we can to inform ourselves about all that happens within it; only then can we feel proud of the choices we make for the people we place in positions of power.
Another Kind of Family
A single mother whose baby-daddy died on purpose. A young boy who sees no purpose in life other than bullying adults and impressing the local crack cocaine dealer. A man who sees no life without his twin brother. Not only does Ballast introduce these characters so completely and empathetically, but in 96 minutes manages to move their lives and hearts together to a cautious yet hopeful ending.
Sunday, April 27, 2008
Found: A terrific new movie
Three cheers for the chick flick! Really??!!? Helen Hunt's directorial debut Then She Found Me is a beautiful example of how satisfying this sort of storytelling can be. Not because of its emphasis on emotional narrative, but because its theme involves the most primal sentiment shared by many women: motherhood.
Helen Hunt plays April, the eldest, adopted child in a two-child household. She's just married a man for whom she has genuine affection, but perhaps may see him as simply her last chance (at the ripe age of 39) to make a child. She holds a strong conviction that she wants a child created by her own body, despite - or maybe because of - the fact that she herself is adopted. Then, at the very time in which her marriage is breaking down, she's approached by a man who claims to be a representative of her birth mother, a local celebrity named Bernice played gloriously by Bette Midler.
The emotional temperament of the film follows the rhythm of a normal life; comedy laced with heartbreak following reluctance mixed with acceptance preceding joy shaded with bittersweet. Moments nestled together, emotions overlapping. For me, none of the characters feel forced or unnatural which suggests some nice handiwork by Helen Hunt at handling her fellow actors, her own performance, and the structure of the story.
To be sure, I believe men can be a tiptop audience for this movie. Not because I believe the other gender should be subjected to "sensitive" movies in order to be more seasoned, but because I think a story such as this can help inform men about the complexities women face when approaching the decision about motherhood. I think it also shows great examples of masculine characters who do things honestly, and do things well.
Helen Hunt plays April, the eldest, adopted child in a two-child household. She's just married a man for whom she has genuine affection, but perhaps may see him as simply her last chance (at the ripe age of 39) to make a child. She holds a strong conviction that she wants a child created by her own body, despite - or maybe because of - the fact that she herself is adopted. Then, at the very time in which her marriage is breaking down, she's approached by a man who claims to be a representative of her birth mother, a local celebrity named Bernice played gloriously by Bette Midler.
The emotional temperament of the film follows the rhythm of a normal life; comedy laced with heartbreak following reluctance mixed with acceptance preceding joy shaded with bittersweet. Moments nestled together, emotions overlapping. For me, none of the characters feel forced or unnatural which suggests some nice handiwork by Helen Hunt at handling her fellow actors, her own performance, and the structure of the story.
To be sure, I believe men can be a tiptop audience for this movie. Not because I believe the other gender should be subjected to "sensitive" movies in order to be more seasoned, but because I think a story such as this can help inform men about the complexities women face when approaching the decision about motherhood. I think it also shows great examples of masculine characters who do things honestly, and do things well.
Sunday, September 16, 2007
Portrait of A Lady
If I've said it once, I've said it thirty times, me loves a revenge story. But because it was Jodie Foster's story, I was secretly hoping The Brave One would be a little more than just the tale of a vigilante. I'm so glad my hopes weren't dashed. This drama follows a woman who not only responds to a paralyzing amount of fear, but who also outlasts an enormous amount of grief. Who among us hasn't wondered 'what would I do if everyone I cared for was taken away' - especially if taken under circumstances of violence? Sure, it's one of those what-ifs to which it's easy to respond "well hell, how can I really predict what I'd do until faced with such a terrible thing" but I believe it's crucial to realize there are women, men, children all around us who have had to endure such horrific circumstances. The only teeny weeny opposition I have to the movie is Terrence Howard's Detective Mercer who is at risk for becoming too predictable of a bow on this package of tragedy; but because of his marvelous talent, Mr. Howard delivers both a believable storyline and gratifying ending.
I noticed today that People magazine only gave this film 1 & 1/2 stars. Really. What a surprise from such a classy magazine.
I noticed today that People magazine only gave this film 1 & 1/2 stars. Really. What a surprise from such a classy magazine.
WWVD (What Wouldn't Viggo Do)
I don't know shit about directing, but when I read that the new film Eastern Promises was directed by David Cronenberg, the director of 2005's A History of Violence, that became almost as good a reason to see this movie as its star, Mr. Renaissance himself, Viggo Mortensen. Eastern has much the same feel as Violence; similarly savage but crucial bloodshed, comparable plot twists. It also has compelling performances from every single character, from the smallest to the biggest, including Viggo's Nikolai: A body full of tattoos. A flawless Ukranian accent topped off with the signature understated tenor. A confidence in the strength of his naked body.
While the final 1/4 of the film is not particularly surprising, it's still so satisfying because of what the characters have contributed to the story. There is simply too much that can be said about this movie, so I won't even begin to try. But there are some beautiful surprises including the acting heavyweight Armin Mueller-Stahl cast as the godfather of the Russian mob. His sausage-y lips give him the look of a sweet old man, but the fierce blueness of his eyes reveals something entirely different. Be scared.
While the final 1/4 of the film is not particularly surprising, it's still so satisfying because of what the characters have contributed to the story. There is simply too much that can be said about this movie, so I won't even begin to try. But there are some beautiful surprises including the acting heavyweight Armin Mueller-Stahl cast as the godfather of the Russian mob. His sausage-y lips give him the look of a sweet old man, but the fierce blueness of his eyes reveals something entirely different. Be scared.
Saturday, September 8, 2007
Monday, September 3, 2007
Two Giants
Jet Li + Jason Statham = War = lisflix bliss.
Even though Statham's last film Crank was a piece of crap, I'll never stop paying for a second row seat to his cinematic ass kickings. This is a great pairing with an ending just ambiguous enough to indicate we may be seeing more from these two. Jet plays a two-timing bad guy working for both the Chinese Triad and Japanese Yakuza in a feud that's lasted decades. Statham plays an FBI agent who's also an expert in Asian organized crime, and whose partner is killed in retaliation for an FBI sting. Some good fight scenes, great dialogue, and lots of ego bruising. Winner!
Even though Statham's last film Crank was a piece of crap, I'll never stop paying for a second row seat to his cinematic ass kickings. This is a great pairing with an ending just ambiguous enough to indicate we may be seeing more from these two. Jet plays a two-timing bad guy working for both the Chinese Triad and Japanese Yakuza in a feud that's lasted decades. Statham plays an FBI agent who's also an expert in Asian organized crime, and whose partner is killed in retaliation for an FBI sting. Some good fight scenes, great dialogue, and lots of ego bruising. Winner!
Space Invaders
I'm not sure if there needed to be another remake of Invasion of The Body Snatchers, the original was before my time. But I did enjoy watching the supernatural luminosity of Nicole Kidman's skin and listening once again to Daniel Craig's beautifully husky voice in the current The Invasion. For me however, the star of this movie is the fantastic Jackson Bond who plays not only Kidman's son Oliver, but the savior of all mankind with his selective immunity to the creepy alien virus. His mile-long lashes and cool ability to jab a needle of epinephrine into his fake mom's thoracic cavity may make him a contender for James Bond circa 2030.
Where's the Bacon
This I believe: Kevin Bacon needs to be in more movies. He's a pleasure to watch. He can inhabit characters effortlessly. Sometimes he still looks like he's 23. So when I first saw the trailers for Death Sentence (and dear readers, you know how I love a revenge film), I was Ex. Cit. Ed. Even when I knew Kelly Preston was cast as the wife, it did not deter me from the ticket window. Sadly, this I also believe: save your $$ for the rental.
This movie has so many great ingredients: a (really) perfect family, ferocious violence, a parent willing to risk everything in the name of his child. Unfortunately for Kevin, in this mishandled screenplay/soupcon, the result is a mushy, yucky stew.
One night as dad and eldest son are enjoying time together, the family's suburban sensibility is destroyed by the murder of the son by a pack of no-goodniks out for a thrill kill. It's a brutal scene, but powerful. The perpetrator is easily captured (he gets delayed at the scene of the crime as a result of being hit by a car), identified, and brought before a judge. Yet because Bacon's character disagrees with the notion of a plea bargain, he suddenly turns vigilante. And not in the clumsy, carelessly naive fashion that most wounded suburban fathers would employ; apparently this dad has so quickly embraced the darkness within him that he can stab, outrun, and throwdown on a half-dozen meth heads half his age.
It would have been so interesting (and not difficult) if the screenwriters would have added some dimension to the young man who killed Bacon's son. It would have been interesting if there had been more attention paid to the younger brother's awkward grief - his parents literally abandon him to it - after all, this was the perfect family, they would have talked about their feelings. And it certainly would have been interesting to give Bacon some opportunity to show that he had a bad ass hiding inside before he suddenly showed up ready to manhandle a pump action shotgun and 4 pound cannon stuffed in his waistband.
A little p.s. on product placement: with all the car grills that get shoved at the audience, it's perfectly evident the Ford Motor Co. was a silent partner in this film. Bacon drives a new 500 (even though it's from a Fusion he gets his tire iron to whack a bad guy), a Taurus goes off a roof, even the bad guys have a primo souped up Shelby fastback. Screw subliminal. Buy American!
This movie has so many great ingredients: a (really) perfect family, ferocious violence, a parent willing to risk everything in the name of his child. Unfortunately for Kevin, in this mishandled screenplay/soupcon, the result is a mushy, yucky stew.
One night as dad and eldest son are enjoying time together, the family's suburban sensibility is destroyed by the murder of the son by a pack of no-goodniks out for a thrill kill. It's a brutal scene, but powerful. The perpetrator is easily captured (he gets delayed at the scene of the crime as a result of being hit by a car), identified, and brought before a judge. Yet because Bacon's character disagrees with the notion of a plea bargain, he suddenly turns vigilante. And not in the clumsy, carelessly naive fashion that most wounded suburban fathers would employ; apparently this dad has so quickly embraced the darkness within him that he can stab, outrun, and throwdown on a half-dozen meth heads half his age.
It would have been so interesting (and not difficult) if the screenwriters would have added some dimension to the young man who killed Bacon's son. It would have been interesting if there had been more attention paid to the younger brother's awkward grief - his parents literally abandon him to it - after all, this was the perfect family, they would have talked about their feelings. And it certainly would have been interesting to give Bacon some opportunity to show that he had a bad ass hiding inside before he suddenly showed up ready to manhandle a pump action shotgun and 4 pound cannon stuffed in his waistband.
A little p.s. on product placement: with all the car grills that get shoved at the audience, it's perfectly evident the Ford Motor Co. was a silent partner in this film. Bacon drives a new 500 (even though it's from a Fusion he gets his tire iron to whack a bad guy), a Taurus goes off a roof, even the bad guys have a primo souped up Shelby fastback. Screw subliminal. Buy American!
Thursday, August 16, 2007
SuperAWESOME
There is no possible way I could recommend Superbad too much. From start (opening credits people!) to finish it is absolutely original and incontinence-inducing. There is not one extraneous second; every moment moves the story forward or fills out the outline of a character.
How many of you would agree that one of the worst tragedies of the cancellation of Arrested Development is the departure of Michael Cera's George-Michael? His Evan of Superbad is even more defined but this time without the pesky distraction of crushing on his cousin/sister. Instead, his mojo is focused firmly on the delightful Becca (played perfectly by Martha MacIsaac) who is so forgiving of Evan's awkward conversations and attempts at cool, that you can't believe she could return his schoolboy affection with any seriousness.
Jonah Hill's Seth brings the perfect timing and physicality to Evan's subtle but poignant observation skills. The two actors play perfectly with each other like comic geniuses thrice their age.
The final point to these boys' hysterical triangle is brand newbie Christopher Mintz-Plasse as the always unwelcome, forever-in-puberty Fogell. This 90 pound weakling steals his share of scenes, but not in ways you may expect.
The language is coarse, the sexuality overt, the bellylaughs constant.
See it now, thank me later.
For more good stuff check out www.clarkandmichael.com. I don't know how a 19 year old can be so dingdang funny.
How many of you would agree that one of the worst tragedies of the cancellation of Arrested Development is the departure of Michael Cera's George-Michael? His Evan of Superbad is even more defined but this time without the pesky distraction of crushing on his cousin/sister. Instead, his mojo is focused firmly on the delightful Becca (played perfectly by Martha MacIsaac) who is so forgiving of Evan's awkward conversations and attempts at cool, that you can't believe she could return his schoolboy affection with any seriousness.
Jonah Hill's Seth brings the perfect timing and physicality to Evan's subtle but poignant observation skills. The two actors play perfectly with each other like comic geniuses thrice their age.
The final point to these boys' hysterical triangle is brand newbie Christopher Mintz-Plasse as the always unwelcome, forever-in-puberty Fogell. This 90 pound weakling steals his share of scenes, but not in ways you may expect.
The language is coarse, the sexuality overt, the bellylaughs constant.
See it now, thank me later.
For more good stuff check out www.clarkandmichael.com. I don't know how a 19 year old can be so dingdang funny.
Sunday, June 17, 2007
Breaking the Surface
Duel meaning: just finished up my 34th & last viewing at the 2007 Seattle Film Fest so now slowly crawling my way back to a routine AND there were so so so so so so so many interesting choices this year, I'm sure I barely saw the tip of the iceberg. Stay tuned!
Monday, May 28, 2007
Worst Case Scenarios
What's the proper storage for your coworker's leg that gets cut off in a bear trap? Where's the safety switch on an automatic rifle? What's the proper baking time of a "found" pie? Get to a showing of Severance for a fast primer on these and other queries that may be relevant if you find yourself hunted by a band of Hungarian forest dwellers with a grudge against American defense contractors.
Saturday, May 19, 2007
Hoover-Fixin' Sucker Man
I had a terrific opportunity last night to see a screening of the new Irish film once, written & directed by a very talented musician-turned-filmmaker, John Carney, and starring Glen Hansard and Marketa Irglova. Lo, it was a very special screening; afterwards, not only was there a Q & A session (emceed by the witty DJ El Toro from the best radio station in the world, KEXP 90.3, www.kexp.org) with the director and his two stars, but live music celebrating the songs from the film (and 1 non-related request from the audience).
For readers who may not be familiar with Glen Hansard, he is one of the founding members (along with John Carney and 4 others) of the Irish rock/folk group The Frames. He also had a part in another Irish music film, the 1991 gem The Committments (great soundtrack). Since 1990, The Frames have bashed out 8 albums, including 2 live albums, and have also been credited with influencing the newer Irish singer-songwriters-rockers like Damien Rice and Turn. And Marketa herself is no rookie. Though this is her first foray into acting, she has built a reputation as a talented Czech musician and composer.
The two artists originally had been approached to author two songs for a Czech film, Beauty in Trouble (coming to a film festival near you!) but ended up composing an entire album of 10 haunting and beautiful melodies called The Swell Season. Buy it. Download it. Most of all, enjoy it.
At first blush, once seems to be a very simple story. A young man - vacuum handyman by day, busker by afternoon & night - is approached one evening by a young woman asking him about the genesis of a particular song he is singing. They enter into a conversation, then a friendship, then something else. Both are very likable, neither seem disingenuous, and as everyone in the audience knows, countless love stories have been based on less. But then an amazing thing happens: with both subtleness and suddenness, the movie becomes a musical. A musical!? The nerve! The brilliance!
There are so many small moments of beauty and fragility throughout the story, moments that are so delicate that as an audience member you just want to hold your breath for fear you'll disturb the setting. And when it ends, there remains a small sense of that wonder just in case the story could continue (because you'll want it to) if you only wished hard enough. It was just a joyous experience, and the time spent with those involved in its creation was just so meaningful.
Tidbits:
The whole movie was made for the sum of $130K euros, $5K of which went solely to the rental of a crane for the ending shot.
There is a scene in the film where Glen is writing lyrics while watching home movies of his ex-girlfriend. This woman to whom he is composing a song called lies lies lies is, in actuality, the real-life girlfriend of the director; and those are their home movies.
Cillian Murphy was originally slated to play the part of the young man. The director was having difficulties finding a young, eastern European woman who could play the piano to fulfill the role of the woman. Glen suggested Marketa to John, and upon finding her perfect for the role, brought her to meet Cillian. Apparently, he was not keen on the idea of a non-actor playing opposite him and withdrew himself from the film. Things happen for a reason, folks. And as Carney said last night "for this type of film, it's much easier to work with musicians who can half-act, than with actors who can half-sing."
Rock on.
For readers who may not be familiar with Glen Hansard, he is one of the founding members (along with John Carney and 4 others) of the Irish rock/folk group The Frames. He also had a part in another Irish music film, the 1991 gem The Committments (great soundtrack). Since 1990, The Frames have bashed out 8 albums, including 2 live albums, and have also been credited with influencing the newer Irish singer-songwriters-rockers like Damien Rice and Turn. And Marketa herself is no rookie. Though this is her first foray into acting, she has built a reputation as a talented Czech musician and composer.
The two artists originally had been approached to author two songs for a Czech film, Beauty in Trouble (coming to a film festival near you!) but ended up composing an entire album of 10 haunting and beautiful melodies called The Swell Season. Buy it. Download it. Most of all, enjoy it.
At first blush, once seems to be a very simple story. A young man - vacuum handyman by day, busker by afternoon & night - is approached one evening by a young woman asking him about the genesis of a particular song he is singing. They enter into a conversation, then a friendship, then something else. Both are very likable, neither seem disingenuous, and as everyone in the audience knows, countless love stories have been based on less. But then an amazing thing happens: with both subtleness and suddenness, the movie becomes a musical. A musical!? The nerve! The brilliance!
There are so many small moments of beauty and fragility throughout the story, moments that are so delicate that as an audience member you just want to hold your breath for fear you'll disturb the setting. And when it ends, there remains a small sense of that wonder just in case the story could continue (because you'll want it to) if you only wished hard enough. It was just a joyous experience, and the time spent with those involved in its creation was just so meaningful.
Tidbits:
The whole movie was made for the sum of $130K euros, $5K of which went solely to the rental of a crane for the ending shot.
There is a scene in the film where Glen is writing lyrics while watching home movies of his ex-girlfriend. This woman to whom he is composing a song called lies lies lies is, in actuality, the real-life girlfriend of the director; and those are their home movies.
Cillian Murphy was originally slated to play the part of the young man. The director was having difficulties finding a young, eastern European woman who could play the piano to fulfill the role of the woman. Glen suggested Marketa to John, and upon finding her perfect for the role, brought her to meet Cillian. Apparently, he was not keen on the idea of a non-actor playing opposite him and withdrew himself from the film. Things happen for a reason, folks. And as Carney said last night "for this type of film, it's much easier to work with musicians who can half-act, than with actors who can half-sing."
Rock on.
Monday, May 7, 2007
United We Still Fall
Not that I want to take any wind out of our President's Mission Accomplished sail, but perhaps it's important for us to remember that inflammatory discourse has ignited civil wars all around the globe. 1920's Ireland was one such place. After the British troops were finally thrown out and a provisional treaty was signed between Northern Ireland and England, there were still two very distinct sides that continued to tear the Irish apart - those that viewed the treaty as temporary "freedom to regain more freedom" and those who felt they were just a breath away from complete independence. The Wind That Shakes The Barley is a lengthy, but heartbreaking tale of the beginnings of the Irish Republican Army; young men - brothers, neighbors, friends - who take the same journey but end up on opposite sides of an ideal, unable to find any middle ground. The inimitable Cillian Murphy plays Damien, a gentle young medical student who witnesses the murder of a friend, with Padraic Delaney as his older brother Teddy who begins as a mentor to his younger brother but ends up being a witness to his demise.
Both sides are right; both sides are wrong. It's a familiar song to which we all now know the lyrics. Thanks W.
Both sides are right; both sides are wrong. It's a familiar song to which we all now know the lyrics. Thanks W.
From The Danes With Love
In After The Wedding, Mads Mikkelsen plays Jacob, a Danish man who's been living in India for the past 20 years taking care of impoverished orphans. He has been summoned back to Copenhagen to meet with a man who may be able to provide his school and its town with much needed capital. Problem is, The Man in Denmark turns out to be the current husband to Jacob's old flame. And that little ring toss is only the beginning. The movie explores ideas that in a lesser film may have seemed timeworn or dull: who is your family; what is love; to whom are you bound; what is sacrifice. The director's constant use of tight shots on her characters' eyes will lead viewers to believe that in them is where all answers lay.
Subscribe to:
Posts (Atom)
