Hardly a feel good movie, this film kept me on the edge of my seat for the full 2 hours. Gripping portrait of things just getting worse and worse, as people make bad decisions hoping for a way out of their troubles. The story as advertised is exactly correct - a brothers' robbery of their parents' store goes horribly wrong, creating a cascade of more and more horrible situations. In the end, none of the men are without a healthy portion of culpability (strangely, the women are primarily victims here, although the men bear a hefty share of the burden too). Great performances all around. Phillip Seymour Hoffman is exceptional as the slick older brother slipping into the abyss, the architect of this entire tragedy. Most of the other cast is also good, although Albert Finney's father is nothing particularly deep. I found Ethan Hawke to be a bit unbelievable as the naive baby brother, but could certainly feel his desparation at wanted to be better that he is (but he is certainly no saint, so sympathy is limited). The script and the look of the film are exceptional - tight dialogue and editing, great use of time jumping to introduce the elements of the story at just the right time. I can't say I enjoyed the film, it certainly doesn't provide any uplifting message, just a warning that it doesn't work to try to correct your life's messes by making things messier - kind of like digging a hole in the sand on the beach: the water just keeps getting deeper.
- ROBYN
OK, reading those comments, I was almost convinced we'd seen different movies... I didn't really like much about this movie. It didn't grab me, I didn't feel any growing tension or dread, instead I fidgeted and kept looking at my watch. Philip Seymour Hoffman was good, but too similar to the conniving scoundrel of Owning Mahowney and Punch Drunk Love. Ethan Hawke was pretty good as the weaselly no-good younger brother, but I didn't really sympathize with his desperation (months behind on child support? what a jerk!)
I thought the time-shifting storyline was used quite ineffectively. Starting with a climactic moment and then back-tracking to show the build-up - it actually was not that straightforward - jumping back and forth in time with each character's perspective - I didn't feel that any useful insight to the characters or plot was gained by this. When the story finally catches up to the opening moment, we've seen enough screw-ups by the brothers that there's no hope of positive outcome. The ending leaves some things unresolved, but I was just glad it was over.
Two final complaints (caution: spoiler ahead!): it's impossible that the cops didn't catch up to the brothers in the first day! A robber is shot dead, no escape vehicle on site, but last seen just prior coincidentally and uncharacteristically with the son of the jewellery store's owner? Hello!!?! And then there's Marisa Tomei - the character isn't much to speak of, but there are numerous nude scenes, it's like she was attracted to the part because it was a chance to remind the world that she has nice boobs. (She does, but please woman show some respect for yourself!)
- JODI
November 25, 2007
November 5, 2007
Across the Universe
Wow - put this right up there with Moulin Rouge! for me. I think like most Beatles fans, I was nervous about seeing the music put into a story, and even more nervous about how it would sound - could these unknown singers/actors do justice to some of the greatest music ever. You bet! The versions of I Wanna Hold Your Hand and If I Fell (and also I've Just Seen a Face) are now some of my faves - huge kudos to Elliot Goldenthal for doing the impossible: making Beatles music sound even better. The story is surely the most appropriate setting for the music, reflecting part of the dramatic era that spawned the music in the first place. Part of the fun is to spot the Beatles references - characters such as Sadie, Prudence, Jude, Maxwell (who appears at one point with a hammer, of course), Lucy, and Jojo are just the beginning. True to form, Julie Taymor paints the screen with brilliant colours and create a visual delight that draws you in and gives a perfect backdrop (and often foreground) for the music and story. Some of my favourite images: strawberry fields, I Want You, the bowling scene, the grey beach in the opening scene. Overall, a wonderful visual and musical spectacle that I really enjoyed and highly recommend. Definately some Oscar potential here in the visual categories (editing, cinematography, art direction and visual effects) and sound, and possibly Julie Taymor for directing although that will really depend on what else emerges as strong here. The ensemble would be a good bet for a SAG.
- ROBYN
I was pretty wowed by this film! It was a surprise and delight that the songs were interpretted and arranged with such imagination (and success). Robyn and I both bought the soundtrack within a week of seeing the film and have really enjoyed it (though different songs). For me, there were weak points in the film (Mr. Kite, and Bono) and a bit of weakness in the soundtrack (quite a few tracks are similar with slowed-down tempo and a-capella intros). But numerous instances of visual imagery were stunning and have stayed with me long after seeing the film - I Wanna Hold Your Hand, I've Just Seen a Face, and I Want You.... it was art, and perfectly done. And the song performances are energetic, soulful and moving (All My Lovin', Hold Me Tight, It Won't Be Long, etc)
I've been telling people to see this film, recommending it wholeheartedly. If they like Beatles music, assuring them not to worry about the songs being butchered.
Really, this film is a triumph.
- JODI
- ROBYN
I was pretty wowed by this film! It was a surprise and delight that the songs were interpretted and arranged with such imagination (and success). Robyn and I both bought the soundtrack within a week of seeing the film and have really enjoyed it (though different songs). For me, there were weak points in the film (Mr. Kite, and Bono) and a bit of weakness in the soundtrack (quite a few tracks are similar with slowed-down tempo and a-capella intros). But numerous instances of visual imagery were stunning and have stayed with me long after seeing the film - I Wanna Hold Your Hand, I've Just Seen a Face, and I Want You.... it was art, and perfectly done. And the song performances are energetic, soulful and moving (All My Lovin', Hold Me Tight, It Won't Be Long, etc)
I've been telling people to see this film, recommending it wholeheartedly. If they like Beatles music, assuring them not to worry about the songs being butchered.
Really, this film is a triumph.
- JODI
Transformers - More Than Meets the Eye
I was not expecting much from this - cars and robots, evil doers and kids, and some cool animation. Yes, it was all of that, but amazingly the story was pretty well done and the VGA was very well done such that it made this movie very enjoyable. They do a great job of telling the back story, such that you do develop a connection with the characters of Optimus Prime and Bumblebee. The great animation help with this, as you can't help but be amazed at their motion and transformations. There is just the right amount of humour, a bit of romance, great chase scenes and well paced action. Even the evil government agents are not over done. This is definitely not a kids movie - when Megatron shows up, mankind needs to look out. I would definitely recommend this one for a good action movie, popcorn kinda night.
October 6, 2007
Knocked Up
Once again, I fell victim to the popular hype around a comedy that I should have known was not for me. This film belongs in the SNL-character-based, Ben Stiller-like comedy that I never enjoy - an insubstantial story populated by shallow characters, inane dialogue and gags based primarily on bongs, bodily functions and sexual dysfunction. The relationship - if one can call it that - between the leads has zero chemistry and makes absolutely no sense. It never becomes clear why she is living with her sister, how he supports either his rent or his drug habit, or what they see in each other (okay - he sees blond hair and big boobs).
Through the entire movie, I don't think I laughed once, and desperately wanted to shut it off after 40 minutes. I know that many people liked and enjoyed this movie - I'm just not one of them.
- ROBYN
Through the entire movie, I don't think I laughed once, and desperately wanted to shut it off after 40 minutes. I know that many people liked and enjoyed this movie - I'm just not one of them.
- ROBYN
September 4, 2007
White Palms
Like my sis, I too was disappointed with this film. It looks beautiful and the actors' performances are solid but significant parts of the story are missing. I expected to see a lot more of the friendship/rivalry between the main character and the Canadian gymnast (Zoltan Miklos Hajdu in the role of Miklos Dongo, and Kyle Shewfelt in the role of Kyle Manjak).
The hardship of Miklos' training as a young boy is quite heart-breaking and it's easy to see why he runs away with the circus (literally). But the part of the story with Miklos as a gymnastics coach in Calgary is the most interesting and it doesn't get nearly enough screen time. When the film jumps to Miklos and Kyle competing together at the 2002 World Championships, it's a surprise because the viewer really has no context or knowledge of the competitive history or status of Miklos' character. Although I want to understand Miklos saying it's his "last chance to prove I'm a real gymnast," the flashback part of the story hasn't yet shown why he should feel that way.
During the competition sequence, the film masterfully cuts back and forth between time periods, creating great drama and tension. Overlapping the climax of both storylines, however, doesn't allow the viewer to incorporate and appreciate the signifiance of the past events in relation to the earlier parts of the movie.
The film does briefly show the great comraderie that can exist between competitors in sports like gymnastics - where the competition is really against yourself. But this is only hinted at, and could be a bigger part of the story.
The final sequence of Miklos' later life is fascinating and breath-taking (again briefly), but it doesn't feel like a conclusion - mostly because there wasn't much story arc to conclude. I really wanted to love it, and I certainly didn't hate it, but it fell quite short of my expectations.
The hardship of Miklos' training as a young boy is quite heart-breaking and it's easy to see why he runs away with the circus (literally). But the part of the story with Miklos as a gymnastics coach in Calgary is the most interesting and it doesn't get nearly enough screen time. When the film jumps to Miklos and Kyle competing together at the 2002 World Championships, it's a surprise because the viewer really has no context or knowledge of the competitive history or status of Miklos' character. Although I want to understand Miklos saying it's his "last chance to prove I'm a real gymnast," the flashback part of the story hasn't yet shown why he should feel that way.
During the competition sequence, the film masterfully cuts back and forth between time periods, creating great drama and tension. Overlapping the climax of both storylines, however, doesn't allow the viewer to incorporate and appreciate the signifiance of the past events in relation to the earlier parts of the movie.
The film does briefly show the great comraderie that can exist between competitors in sports like gymnastics - where the competition is really against yourself. But this is only hinted at, and could be a bigger part of the story.
The final sequence of Miklos' later life is fascinating and breath-taking (again briefly), but it doesn't feel like a conclusion - mostly because there wasn't much story arc to conclude. I really wanted to love it, and I certainly didn't hate it, but it fell quite short of my expectations.
September 3, 2007
White Palms
Not really what I was expecting based on other reviews. This film was short on a lot of things - including dialogue, continuity, and strangely enough, gymnastics footage. While the story was billed as the journey of a male gymnast from eastern Europe in the Communist era coming to Canada for a role as a coach, the threads quickly get lost in the early prolonged flashback to the not-so-nice place where he grew up. And the story never really comes back together after that. While the present and the past are revealed almost in parallel, the intercutting often does not make sense, and a substantial gap remains in the story - there is a 16-year period in his life that never really gets explained, and so the story remains unfulfilling. The film does have a few things going for it, including a great scene where the past mixed with the present makes for some edge-of-the-seat minutes, and the film's star makes for some wonderful eye candy. However, it never gets around to telling the entire story, and ends up feeling incomplete. The appearance of the Canadian gymnast is actually a bit of a distraction for me, mostly because I was hoping to see some excellent gymnastics routines but was disappointed. Some sports movies tend to show too much of the sport and competition, but this one showed too little to be satisfying, especially when the story and visual elements of the film were also lacking.
August 23, 2007
Gilda
I've loved this movie for many years and I'm always surprised that people don't know it or haven't seen it. 1946, Rita Hayworth at her peak, Glenn Ford, George Macready: hate, jealousy, lust and betrayal. This was probably my once-in-a-lifetime chance to see it on the big screen. (thank you Pacific Cinemateque!) I went to the movie by myself but felt among friends in the packed theatre. Ah yes, I'm not the only fan!
Glenn Ford is a Johnny Farrell, a handsome but semi-sleazy opportunist, befriending shady casino-owner Ballin Mundson (Macready) on his first day in Buenos Aires. All is swell until Ballin returns from a business trip with a young sexy vamp of a new wife, Gilda, and she happens to have a secret torrid past with Johnny. They pretend to be new acquaintances but can't disguise the hatred and jealousy. Nobody is fooled - the lusty hate steams up the screen. There's plenty of story to round out the motivations, and a very entertaining supporting cast.
This movie belongs to Rita Hayworth. She gets to be everything - from icy cold and aloof to violently enraged, from giddy and loose to fearful and heartbroken. And there's not a single shot of her that isn't definitively gorgeous. This film branded her as a sex goddess in Hollywood - an image she didn't enjoy but never escaped.
I'd remembered many of the great lines - Gilda and Johnny spit beautiful poison at eachother! But I'd forgotten the humour. Zingers like these are nowadays usually reserved for over-the-top comedies, or a single counterpoint moment.
Do Gilda and Johnny end up together? Or do they kill eachother? It doesn't even matter. They don't make 'em like Rita anymore, and they don't make movies like this either.
Glenn Ford is a Johnny Farrell, a handsome but semi-sleazy opportunist, befriending shady casino-owner Ballin Mundson (Macready) on his first day in Buenos Aires. All is swell until Ballin returns from a business trip with a young sexy vamp of a new wife, Gilda, and she happens to have a secret torrid past with Johnny. They pretend to be new acquaintances but can't disguise the hatred and jealousy. Nobody is fooled - the lusty hate steams up the screen. There's plenty of story to round out the motivations, and a very entertaining supporting cast.
This movie belongs to Rita Hayworth. She gets to be everything - from icy cold and aloof to violently enraged, from giddy and loose to fearful and heartbroken. And there's not a single shot of her that isn't definitively gorgeous. This film branded her as a sex goddess in Hollywood - an image she didn't enjoy but never escaped.
I'd remembered many of the great lines - Gilda and Johnny spit beautiful poison at eachother! But I'd forgotten the humour. Zingers like these are nowadays usually reserved for over-the-top comedies, or a single counterpoint moment.
Do Gilda and Johnny end up together? Or do they kill eachother? It doesn't even matter. They don't make 'em like Rita anymore, and they don't make movies like this either.
August 21, 2007
Becoming Jane
I guess I'm on a bit of a streak of not-so-good movies. Becoming Jane is mostly uncharming and very full of itself. Anne Hathaway does a good job with her accent, and the supporting cast Julie Walters, Maggie Smith, James Cromwell and James McAvoy are great, but the movie isn't very good overall. In fact, it felt quite ridiculous.
This movie aspires to be the Jane Austen version of Jane Austen's real life, but falls very short. Jane's stubborn independence and sharp wit are on constant display but they don't reveal a lot of depth to the character - the movie seems to presuppose that you admire her. It's like watching Keira Knightley stomp and chomp her way through Pride and Punishme - I mean Prejudice.
Many surrounding situations hint (too heavy-handedly) at the future storylines of Jane Austen's novels. I found this almost insulting to Jane Austen's talent and imagination.
On top of all this, there are some terribly awkward - even hideous - camera transitions. So many styles of camera positioning and pace are employed that it starts to feel like the over-eager first production by a film student.
I wonder if the story and characters would be received better if they weren't trying to tell the story of Jane Austen? Possibly the plot and characters would stand alone and make for a not-bad movie. However, trying to be not just Jane Austen-like but the definitive Jane Austen story, this film is too contrived, too shallow and too short. Again, kudos to James McAvoy and the supporting cast, and no complaints about Anne Hathaway. I think I'll blame this one squarely on the director. (Big thanks to Kevin for going to see it with me! )
This movie aspires to be the Jane Austen version of Jane Austen's real life, but falls very short. Jane's stubborn independence and sharp wit are on constant display but they don't reveal a lot of depth to the character - the movie seems to presuppose that you admire her. It's like watching Keira Knightley stomp and chomp her way through Pride and Punishme - I mean Prejudice.
Many surrounding situations hint (too heavy-handedly) at the future storylines of Jane Austen's novels. I found this almost insulting to Jane Austen's talent and imagination.
On top of all this, there are some terribly awkward - even hideous - camera transitions. So many styles of camera positioning and pace are employed that it starts to feel like the over-eager first production by a film student.
I wonder if the story and characters would be received better if they weren't trying to tell the story of Jane Austen? Possibly the plot and characters would stand alone and make for a not-bad movie. However, trying to be not just Jane Austen-like but the definitive Jane Austen story, this film is too contrived, too shallow and too short. Again, kudos to James McAvoy and the supporting cast, and no complaints about Anne Hathaway. I think I'll blame this one squarely on the director. (Big thanks to Kevin for going to see it with me! )
August 11, 2007
The Bourne Ultimatum
This final chapter of the Bourne trilogy was disappointing. The movie has an exciting pace but moves way too fast for anything meaningful to occur. Who is Jason Bourne? What was Jason Bourne? There are no satisfying answers, nor any interesting developments.
I had the pleasure of reading The Bourne Identity several years before the first movie installment of this series was made. I thought they did a great job adapting the story to a film set in present day - no small feat given the advancements in spy-type technology. Jason Bourne is fascinating and sympathetic, mysterious and tortured. (and sexy!) But in this most recent film, Jason Bourne is none of these things. (well, ok, he's still sexy!)
The whole movie feels like an ultra-extended alternate ending to the 2nd film. It doesn't stand on it's own and ultimately feels quite pointless. Some very interesting characters, played by some very exceptional actors (Joan Allen, David Strathairn, Albert Finney, Scott Glenn, Chris Cooper) are wasted with inadequate story development. If there was an award for Least Dialogue in a Talkie, then this movie would be a prime contender. Make no mistake - this movie is all about action. They do introduce a new interesting character (Paddy Considine as reporter Simon Ross) but he doesn't make it far - another waste. His story line is snuffed-out, and for what? So we can bring back the meaningless Julia Stiles character again? Boring.
All that said, if a movie is going to be all-action, this IS the way to do it. There's hardly time to blink with all the racing and chasing and satellite-tracking. That makes for a fun ride, I won't deny that, but there's a surprising sense of "That's it?" when you get to the end.
I had the pleasure of reading The Bourne Identity several years before the first movie installment of this series was made. I thought they did a great job adapting the story to a film set in present day - no small feat given the advancements in spy-type technology. Jason Bourne is fascinating and sympathetic, mysterious and tortured. (and sexy!) But in this most recent film, Jason Bourne is none of these things. (well, ok, he's still sexy!)
The whole movie feels like an ultra-extended alternate ending to the 2nd film. It doesn't stand on it's own and ultimately feels quite pointless. Some very interesting characters, played by some very exceptional actors (Joan Allen, David Strathairn, Albert Finney, Scott Glenn, Chris Cooper) are wasted with inadequate story development. If there was an award for Least Dialogue in a Talkie, then this movie would be a prime contender. Make no mistake - this movie is all about action. They do introduce a new interesting character (Paddy Considine as reporter Simon Ross) but he doesn't make it far - another waste. His story line is snuffed-out, and for what? So we can bring back the meaningless Julia Stiles character again? Boring.
All that said, if a movie is going to be all-action, this IS the way to do it. There's hardly time to blink with all the racing and chasing and satellite-tracking. That makes for a fun ride, I won't deny that, but there's a surprising sense of "That's it?" when you get to the end.
December 2007 - Robyn chimes in: My turn to disagree with Jodi...It only took a few months, but I finally got around to seeing this film on DVD. I was looking forward to seeing this one for a while, as I love the previous two films, and the third did not disappoint. I thought it was action-packed and well paced, with great action scenes (although I was hoping for a better car chase scene). If you're not that familiar with the previous films, there are a few things that you'll miss - overlapping timelines and reminders of previous events make this a great story that dovetails nicely with the first films.
A few bits that are hard to suspend one's disbelief about: there's no way they could run an operation as complex as that and make the silly mistakes they made while chasing Bourne. Also, Julia Stiles - while I thought her inclusion in the story was well placed, I did find it hard to believe that she manages to disappear as effectively as she did, since in all other situations she was clearly clueless about spy tactics - and you never do find out what she tries to get Jason to remember... I also felt that the Albert Finney and Scott Glenn characters were not big enough to justify having such marquee actors in those roles - it was a bit distracting, as I kept waiting to learn more about their involvement. Finney was a bit over the top as the CIA "dad" to all the ultra spies.
Other than those bits, I enjoyed the look, sound and feel of the film. The story is well paced, and great use of camera angles keeps the energy up. Paul Greengrass seems well placed from his experience with United 93 to make a film feel urgent and immediate. Matt Damon is, of course, Matt Damon - as good a Jason Bourne as there could be.
I hope they don't make a fourth film, as that would be stretching the story beyond its lifespan (not to mention typecasting Matt Damon for eternity). While this one left a few loose ends, I think it tied up enough that we can let David Webb go on his way. This will be one that I want to add to my collection, to complete the trilogy, and I look forward to watching them back to back to back in a Bourne marathon one rainy weekend.
Step Into Liquid
Step into a beautiful world.
I never truly appeciated the beauty and art of surfing until Dana Brown and the Maverick crew showed how awesome it can be. This film presents the surfing world as a place of fun and harmony, where people take things just seriously enough to be respected, but not so seriously that they become a clique. These are athletic artists, who, while they may not all have a way with words, certainly have a way on the water. Dana Brown certainly has a way with words and pictures, weaving story after story together to present a lifestyle filled with smiles.
The images are breathtaking, one after another, and even I, who have a fear of water and the things with big teeth that live there, can feel the lure of the board. Unlike other sports, where the next guy down the run can basically follow your tracks or run in your footsteps, surfing involves acts that can never truly be duplicated. Each wave that rolls overhead or crashes to the shore is unique, and while each surfer may do something similar, they will never experience the same wave. Nature keeps remaking the surface, so everyone has an individual experience.
The soundtrack is outstanding - both the original music and the compilations are fun and catchy. This is a film you can have playing at a party, and people will enjoy just listening or watching a bit here and there.
This has become one of my favourite movies, and I love sharing it with people who have never seen it. Even the skeptics end up glued to the screen, and often want to borrow it to watch it again. Like surfing itself, this film is addictive.
I never truly appeciated the beauty and art of surfing until Dana Brown and the Maverick crew showed how awesome it can be. This film presents the surfing world as a place of fun and harmony, where people take things just seriously enough to be respected, but not so seriously that they become a clique. These are athletic artists, who, while they may not all have a way with words, certainly have a way on the water. Dana Brown certainly has a way with words and pictures, weaving story after story together to present a lifestyle filled with smiles.
The images are breathtaking, one after another, and even I, who have a fear of water and the things with big teeth that live there, can feel the lure of the board. Unlike other sports, where the next guy down the run can basically follow your tracks or run in your footsteps, surfing involves acts that can never truly be duplicated. Each wave that rolls overhead or crashes to the shore is unique, and while each surfer may do something similar, they will never experience the same wave. Nature keeps remaking the surface, so everyone has an individual experience.
The soundtrack is outstanding - both the original music and the compilations are fun and catchy. This is a film you can have playing at a party, and people will enjoy just listening or watching a bit here and there.
This has become one of my favourite movies, and I love sharing it with people who have never seen it. Even the skeptics end up glued to the screen, and often want to borrow it to watch it again. Like surfing itself, this film is addictive.
February 25, 2007
Infamous
Infamous **** Known as “the other Truman Capote film”, this one is much better than the other more famous film. All of the performances were exceptional, and while the story follows a similar arc to Capote, the style of reportage-fiction neatly mimics Capote’s own approach to story-telling. Sandra Bullock was a real surprise here - really good - and Daniel Craig is unrecognizable and brilliant as the sensitive but volatile killer, as he truly makes you feel both the sympathy and the hatred for this man. This story makes more of the ‘romance’ between Capote and Smith, but this element goes a long way to explaining Capote’s spiralling downfall and own tragic end. Toby Jones is more believable as the extravagant and outrageous Capote, and the portrayals of his friendships in both New York and Kansas are given real depth and understanding. The film also looks great, and the story is paced very well. It is too bad it did not do as well as Capote, as this film is more gripping and enjoyable.
January 14, 2007
Children of Men
Children of Men **** ½ I really liked this film. I am struggling when thinking of this film to separate my knowledge and love of the novel (which I first read in 1994 and have reread many times as one of my favourites of all time) from the story depicted in the film. First off, the film is only based on the novel and does not depict either the breadth of or the specific details of the novel; some key details in the relationships and characters are different, and much of the background of the world of 2027 – plagues, wars, the immigrant situation – is either left out or only briefly touched on. But the 2 main points – that mankind is infertile and civilization has descended into chaos and decay – are central to the film, with the later point portrayed in wonderful tragic ways. It was awesome/awful to see the world as we know it – schools, coffee shops, banks – after 20 years of abandonment. Bleak, gray, overgrown, the world is decrepit and the remaining humans seem like a miserable lot. Visually, the film is stunning – the desolation is made so vivid and real. At one point, the film takes on the feel of a documentary, as blood and dirt are splashed on the camera lens that is following Theo through a battlefield, and those splashes remain a part of the images for a few long tough minutes.The magnitude and impact of complete human infertility is not emphasized enough, so part of the point of the story is missing, making the ending more absent of the hope that should be restored here. The performances are also good, especially Clive Owen and Pam Ferris (as Miriam). Clive Owen is good as the despondent depressed Theo, although his motives for getting involved with “The Fishes” is unclear, as the chemistry between Julianne and him was not great. One thing I did not like much was the music; absent for much of the film, the inclusion of some rather harsh but in appropriate songs was distracting. Overall, I really liked this film – I was moved, surprised, intrigued, awestruck, and fascinated by it, and recommend it, not least for the post-film conversations that can be had after viewing that speculative look at the near future.
January 12, 2007
European Women
Volver *** ½ European films often have a “huh?”-factor for me, which does not make them bad, just difficult to evaluate or explain. This film was no exception. While it was a nice story about how various deaths serve to separate or reunite this family of women, I’m not sure what the film’s overall message is. But, films don’t always have to have meaning or a message. The portrayals of women in this film are wonderful – each character has depth, complexity, beauty, history, and strength, with a healthy dose of strangeness to keep them real. When there are complaints that there are no good roles for women any more, this movie should be the counterargument.
January 8, 2007
3 Fab Flicks
The Queen (loved it!)
I haven't read much about this movie, so I'm assuming that everything except for a few tidbits is conjecture - about what the Royal family is like in their private converstaions and dealings. Steadfastly NON-sensational, this is a fascinating and absorbing depiction of a woman (a family, an institution) that very few people really know.
Perfectly formal and austere in her royal duties, completely self-assured in her royal authority, living (by tradition and habit) in a buffered bubble, Elizabeth is portrayed respectfully and sympathetically as a long-experienced ruler in changing modern times and also as the caring matriarch of a family that is dysfunctional in some very common ways. Helen Mirren was superb. Michael Sheen was terrific, also. I enjoyed James Cromwell as Prince Phillip, a very natural and believable performance. He had me wondering if Prince Phillip really IS that annoying?
Blood Diamond (loved it!)
Leo, oh Leo, you are so very hot. The best part is that you are also so very talented.
This movie had me wanting to swear off all diamonds, forever, without feeling like a lecture or heavy-handed morality tale. This was acheived mostly by a compelling and complex central character, acted exceptionally well by Leonardo diCaprio. By comparison, Jennifer Connelly's "attractively courageous, big-hearted reporter who is after a story that will expose corruption and change the world" comes off a little simple. Djimon Housou, while effective, mines familiar territory (pardon the pun) as a moral but desperate man in extreme duress.
The movie shows South Africa (or Africa, generally) as beautiful but dangerous, chaotic but somehow organized and controlled (albeit by violent and inhumanely exploitative factions). This movie was more violent than I expected but it was a necessary part of the story. "TIA, right?"
Notes on a Scandal
This movie offered more than what I'd expected. I thought it would be a drama about a teacher who has an affair with a student.
But it's really about two women, one of whom has an affair with a student and the other is a bitter, lonely and obsessive friend.
Cate Blanchett playing Sheba is lovely and effortless, as always, but the real attraction is seeing Judi Dench as Barbara, the older disliked teacher who acts almost like a stalker and keeps a diary brimming with malicious criticisms.
Skillful story-telling avoids us getting wrapped-up in judgement of Sheba's ill-chosen affair and keeps us focussed on Barbara's twisted manipulations. Bill Nighy is perfect as husband to Sheba, a better-than-average supporting role that contrasts Sheba revealingly.
I haven't read much about this movie, so I'm assuming that everything except for a few tidbits is conjecture - about what the Royal family is like in their private converstaions and dealings. Steadfastly NON-sensational, this is a fascinating and absorbing depiction of a woman (a family, an institution) that very few people really know.
Perfectly formal and austere in her royal duties, completely self-assured in her royal authority, living (by tradition and habit) in a buffered bubble, Elizabeth is portrayed respectfully and sympathetically as a long-experienced ruler in changing modern times and also as the caring matriarch of a family that is dysfunctional in some very common ways. Helen Mirren was superb. Michael Sheen was terrific, also. I enjoyed James Cromwell as Prince Phillip, a very natural and believable performance. He had me wondering if Prince Phillip really IS that annoying?
Blood Diamond (loved it!)
Leo, oh Leo, you are so very hot. The best part is that you are also so very talented.
This movie had me wanting to swear off all diamonds, forever, without feeling like a lecture or heavy-handed morality tale. This was acheived mostly by a compelling and complex central character, acted exceptionally well by Leonardo diCaprio. By comparison, Jennifer Connelly's "attractively courageous, big-hearted reporter who is after a story that will expose corruption and change the world" comes off a little simple. Djimon Housou, while effective, mines familiar territory (pardon the pun) as a moral but desperate man in extreme duress.
The movie shows South Africa (or Africa, generally) as beautiful but dangerous, chaotic but somehow organized and controlled (albeit by violent and inhumanely exploitative factions). This movie was more violent than I expected but it was a necessary part of the story. "TIA, right?"
Notes on a Scandal
This movie offered more than what I'd expected. I thought it would be a drama about a teacher who has an affair with a student.
But it's really about two women, one of whom has an affair with a student and the other is a bitter, lonely and obsessive friend.
Cate Blanchett playing Sheba is lovely and effortless, as always, but the real attraction is seeing Judi Dench as Barbara, the older disliked teacher who acts almost like a stalker and keeps a diary brimming with malicious criticisms.
Skillful story-telling avoids us getting wrapped-up in judgement of Sheba's ill-chosen affair and keeps us focussed on Barbara's twisted manipulations. Bill Nighy is perfect as husband to Sheba, a better-than-average supporting role that contrasts Sheba revealingly.
A Four-Star Saturday
This past weekend, recognizing that the serious movie season was upon us, we went for a triple-header on Saturday and boy, did we pick winners!
Blood Diamond **** Much better than I expected. The action is very good, tense and not at all gratuitous, and the story does not digress into too much political lecturing or unreal romance, even though the potential is there. Leo is exceptional – really lost in the character, and his facility with language and accent was astonishing; I forget how truly excellent he can be. Djimon Hounsou was also good, showing intensity and depth, but not much different from several of his other characters in memory (Amistad, Gladiator).
The Queen **** Excellent film. Assuming this is an accurate portrayal of the royal family, it is delightful to see that they are so very normal in such extraordinary circumstances – meaning their everyday lives of privilege and splendour, but also the pressures and responsibilities. Some of the portrayals were a bit too caricature - Prince Charles was a bit of a goof although still trying to do the best for his boys, and I thought that they made Cherie Blair look a bit shrill and silly and the Queen Mum look truly dotty – but the main characters of The Queen and Tony Blair are superbly done. Most striking to me was the change in the Queen’s voice when she gives the televised address – suddenly, there was the fluid high-pitched even-cadenced voice of the sovereign that we all know, and it was striking to see and hear the sharp contrast to the private Elizabeth we’d been watching up to that point. Especially prescient is the Queen’s comment to Tony Blair about the headlines and the fickle nature of the media and the public – his current unpopularity is a sharp counterpoint to the PM on top of the world back in 1997. Go Helen Mirren!!
Notes on a Scandal **** A very compelling story. Could have very easily become tawdry and tabloid, but it stayed very real and very adult. This is a very grown-up chick-flick. Judi Dench, Cate Blanchett and Bill Nighy were all wonderful. Judi Dench is particularly malevolent, if not truly evil – you grudgingly have a measure of sympathy for her, right before she does something despicable. The music was also great, although once I was reminded I recognized it as very similar to the music from The Hours (same composer). Most interesting to see the media portrayed here as the callous and crass scrum that were vilified in the film we watched just a few hours earlier – clearly, we have not learned a thing since 1997 if scandal and vice are still front-page news.
Blood Diamond **** Much better than I expected. The action is very good, tense and not at all gratuitous, and the story does not digress into too much political lecturing or unreal romance, even though the potential is there. Leo is exceptional – really lost in the character, and his facility with language and accent was astonishing; I forget how truly excellent he can be. Djimon Hounsou was also good, showing intensity and depth, but not much different from several of his other characters in memory (Amistad, Gladiator).
The Queen **** Excellent film. Assuming this is an accurate portrayal of the royal family, it is delightful to see that they are so very normal in such extraordinary circumstances – meaning their everyday lives of privilege and splendour, but also the pressures and responsibilities. Some of the portrayals were a bit too caricature - Prince Charles was a bit of a goof although still trying to do the best for his boys, and I thought that they made Cherie Blair look a bit shrill and silly and the Queen Mum look truly dotty – but the main characters of The Queen and Tony Blair are superbly done. Most striking to me was the change in the Queen’s voice when she gives the televised address – suddenly, there was the fluid high-pitched even-cadenced voice of the sovereign that we all know, and it was striking to see and hear the sharp contrast to the private Elizabeth we’d been watching up to that point. Especially prescient is the Queen’s comment to Tony Blair about the headlines and the fickle nature of the media and the public – his current unpopularity is a sharp counterpoint to the PM on top of the world back in 1997. Go Helen Mirren!!
Notes on a Scandal **** A very compelling story. Could have very easily become tawdry and tabloid, but it stayed very real and very adult. This is a very grown-up chick-flick. Judi Dench, Cate Blanchett and Bill Nighy were all wonderful. Judi Dench is particularly malevolent, if not truly evil – you grudgingly have a measure of sympathy for her, right before she does something despicable. The music was also great, although once I was reminded I recognized it as very similar to the music from The Hours (same composer). Most interesting to see the media portrayed here as the callous and crass scrum that were vilified in the film we watched just a few hours earlier – clearly, we have not learned a thing since 1997 if scandal and vice are still front-page news.
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