Tomorrow's the Big Day! (and Oscar Legacy Project)

Well, tomorrow is Oscar Day!

I believe Robyn and I are adequately prepared for the occasion... we haven't seen ALL of the nominated films, but between us I think we've done better than in past years. It can be hard to squeeze in viewings of all the nominated films between the announcement of nominations and the awards show. And there's always some random out-of-nowhere nomination like Melissa Leo in Frozen River. Not that she doesn't deserve a nomination, but how and where would we have a chance to see that?

Oscar day for us is a fairly informal ritual. There is always the pre-show discussion and debate of the nominations and completing the ballot with our official predictions (we always separate our prediction of who will win from our personal vote of who should win). There is always food - snacks and dinner - but tending much more towards informal than formal. Occasionally we will watch one of the nominated films in the afternoon - if there's something conveniently available that we haven't yet seen. But this practice is intended to add to our annual celebration and has backfired more than once... Once we tried watching two movies but the day was too long and we didn't get all the way through the second movie (Sherry Baby, which wasn't actually nominated) and then we were rushed to get through our discussion and voting. And once we painfully suffered through a stupid movie about a camel - nothing like a bad movie to put a damper on the day!

This year it's a fairly long all-day plan... we hope to view Vicky Cristina Barcelona if there's time but we decided to do a long-term reflection on Oscar wins in the past 10+ years and revisit which ones were (in retrospect) Gross Miscarriages of Justice. There are some well-known burs under my saddle. (Ellen Burstyn in Requiem for a Dream, and Annette Bening in Being Julia, for starters...) I expect there will be many interesting topics to debate - such as when a sentimental win is ok and when it isn't. And what exactly makes a "best movie" anyway? Groundbreaking achievement in storytelling or effects? A movie that remains a favourite many years later? An overall combination of excellent performances and outstanding production? Some of my all-time favourite movies wouldn't necessarily meet those criteria, so what gives? Can a movie be a Best Movie if it didn't really qualify for Best anything else? Can a movie be Best everything else and yet not be a Best Movie? Hmmmm...... We shall discuss at length...

As part of this we'll be looking at groups of years, instead of just year-by-year (though we'll be doing that too), because some years have very strong contests and so perhaps the awards would be better if they were more like Olympics - a top 3 every 4 years? Again, we shall discuss at length...

Reviewing these many years of past Oscar nominations and wins, I was immediately struck by the fact that if I hadn't seen a nominated film by Oscar time, I rarely saw it later, even if it won (like The Insider, and Unforgiven). And there were movies in the not-too-distant past that I recall loving and supporting in the Oscars - but which I never watched again and had even quite forgot them until this exercise (like The Hours, and Affliction). This disturbs me and makes me almost contemplate whether these awards mean anything. (emphasis on almost, I'm re-watching The Hours, and Affliction tonight).

As for the actual show tomorrow - I'm most excited about Hugh Jackman as host! Billy Crystal was my favourite host, and think Hugh Jackman will have the same kind of spirit and style. (One Oscar time-waster that I hope disappears is "introducing the presenters." When Julia Roberts struts onstage to give an award, I don't need a voiceover reminding me about her upcoming film or her undeserved win for Erin Brockovich! (meow! hiss!)

Revelling in movie geekness,
Surely much much more to report after tomorrow,

JODI (& Robyn)


I might have exaggerated the lack of fomality in our Oscar-day ritual. One of the reasons we often watch the show without other people is because we're very intolerant of chatter during the important moments of the show! Most family and friends know not to try calling because we won't answer the phone or we'll answer with 'Why are you calling?? The Oscars are on!" We have had a friend or two join us and it has always been fine, but there was one tragic year long ago when Robyn's husband kept stealing the remote and changing the channel in the middle of speeches (while laughing hysterically at our indignation and outrage). Ever since then we've been pretty uptight about the whole thing...

More 2008 films seen

A true sign of being an Oscar geek - in the first 2 months of the year, almost all the movies seen are from the previous year. Could it be because not much in the way of good film is released at this time of year? Or are not many good films released this time of year because people like me don't go see them because we're too busy watching films from last year? A vicious circle...

Body of Lies - not very good. I think that Leo is wanting to a bit like Tom Cruise - moving from action/thriller/blockbuster where he plays scruffy tough guys to beautiful serious films where he plays more real people - but he is much more believable in the serious roles than the action ones (Blood Diamond would be the only exception, and that was a quasi-serious/action film). Whenever he has to don fake facial hair, swear a lot, and perhaps throw a punch, he is less than convincing. And in Body of Lies, he wore perhaps the worst fake beard ever. Russell Crowe was just irritating, and the overall story was lame. However, this movie was a classic compared to...

Miracle at St. Anna - this movie made no sense whatsoever. It never becomes clear what the miracle actually was. The story is predicated on a ludicrous coincidence and a rambling boring tale of some WWII soldiers in Italy, one of whom is carrying around a statue head that seems to be blessed. When St. Anna is finally revealed, it remains unclear what it has to do with anything in the story. Spike Lee's outburst at Clint Eastwood was completely uncalled for - it was not racism that made people prefer Clint's war movies to Spike's, it was the fact that Spike's movie was bad and Clint's were good.

It is Oscar weekend, and I did not make it this year to see all of the films, but am looking forward to the big shew, and to a full day of discussion, dissection, debate and delight with Jodi. No phone calls after 4pm!

 

Some 2008 films seen

Bottle Shock - disappointing. Alan Rickman was great as always, but the story lacked intensity, and the contrived romances (even if they were based on a true story) were silly.

The Reader - very good, but not great. Both actors were wonderful, but there were problems with the script and dialogue that they could not get around. I've since read the book, which is much better; I cannot understand why they changed the elements that they did for the film.

The Visitor - very good. A story about kindred friendships, hope, and tragedy in this new world order of Homeland Security.

Pride and Glory - would probably have made my worst of 2008 list if I'd seen it earlier. I haven't heard such flagrant use of the f-word since Joe Pesci in Casino.

Passchendaele - while the battle scenes were very well done (especially for a Canadian film which likely had a limited budget), again the contrived romance and sappy story diminished the films overall effect. The blatant historical inaccuracies in the dialogue were also disturbing. However, the chance to look at Paul Gross for two hours was okay :-) and the film score was very well done.

Rocknrolla - a characteristic Guy Ritchie film, not as good as Lock, Stock.

Revolutionary Road

This film was incredible - a heartrending, agonizing window into the lives of a couple struggling to make themselves BE happy. They are miserable, and put on the bravest of faces while inside they are screaming - at themselves, at each other, and occasionally at those that point their finger at the awful truth - their endless hopelessness. It is uncomfortable to watch at times, like when you are in a restaurant and overhear a couple nearby arguing - you can't help but listen, and at the same time feel incredibly uncomfortable witnessing their private lives.

Kate and Leo are awesome, there is no other word for it. Their individual ranges and their chemistry make for powerful love scenes and hate scenes. Their appearances as the happy and special couple, the Wheelers, are made all the more poignant and remarkable when contrasted with their passionate and volatile private relationship.

I can see how many viewers would see this as well worn territory for Sam Mendes, as the parallels with American Beauty are clear, right down to the musical score which works well in some places but eventually becomes annoyingly repetitive. But the look, script and pacing of the story are much better that American Beauty, as are the characters. These are real people in real distress, with no dream sequences to distract you from the ongoing onslaught that is their life.

It is a crime, big time, that Leonardo DiCaprio was not nominated for this. And Kate too. What were the academy members thinking? Michael Shannon was excellent in a fairly small role, and added a great spark to the fuse of the bomb that is the Wheelers' lives.

This film definitely gets added to my recommendations for 2008. Too bad I won't be able to vote for it at Oscar time.

2008 in review

Granted I still have many movies to see to be able to adequately comment on the year, but here's where I stand thus far.

Movies I Still Have to / Want to See:

Blindness

Bottle Shock

Brideshead Revisited

The Curious Case of Benjamin Button

Defiance

Last Chance Harvey

Milk

Quantum of Solace

The Reader

Revolutionary Road

Slumdog Millionaire

Vicki Christina Barcelona

The Visitor

Wendy and Lucy

The Wrestler

2009 movies I'd recommend:

Cloverfield - a very well done monster movie.

Dark Knight - Batman, Heath Ledger, enough said.

Doubt - although I thought the play was better, and Meryl Streep seems to have lost her facility for spot-on accents, this was a good film.

Eagle Eye - a well done thriller action movie.

Fugitive Pieces - likely my favourite of the year. Also, one of my favourite novels of all time, so very fortunate for me that the film did not ruin that, as so often happens.

Funny Games - definitely not for everyone, but this unnerving  spooky film stayed with me for days.

Gran Torino - Clint is awesome, and the theme song makes the abrupt ending of the film okay.

Chronicles of Narnia: Prince Caspian - a good sequel to the even better first film, too bad they changed so much of the story.

In Bruges - wicked funny, a real surprise. Ralph Fiennes was awesome.

Kung Fu Panda - nearly peed my pants laughing.

Mamma Mia! - nearly sang out loud all the way through. How can you not love Abba? (although Pierce Brosnan should not sing. Ever.)

Son of Rambow - delightful, funny, touching story.

Wall-E - well done prophecy, very timely in our days of consumerism, obesity, and technology.

2009 movies I'd recommend you NOT see:

The Happening - see review below. Most ridiculous movie of the year.

Death Race - would have been an it-is-what-it-is car race/prison movie, were it not for the embarrassing appearance by Joan Allen - she must have lost some pretty serious bet with someone to have to appear in this, and say some of the worst dialogue of the year.

Appaloosa - . Renne Zelleweger puts the Appalling in Appaloosa. Only Viggo Mortenson saves this from becoming Appallingoosa.

One Missed Call - a silly horror movie that we watched only because the movie store put the wrong DVD in the box, and neither of us had the energy that evening to get up and shut it off.

Pineapple Express - if I had read the back of the DVD box and realized that this was brought to me by the same schlockmeister who brought me Knocked Up (one of my most despised movies of last year), I never would have rented it. As it was, we endured as much as we could (about 40 minutes) before shutting it off. 

Transsiberian - just plain awful.

As we get closer to the big day (Oscar day, 22 February 2009 - mark your calendars, and don't call me after 4:00pm), I'll hopefully make a significant dent in the want-to-see category, especially those with Noms. Early predictions:

• Kate Winslet for Best Actress
• Penelope Cruz for Best Supporting Actress
• Heath Ledger for Best Supporting Actor

The Happening

More like "Nothing Happening", this movie starts out moderately intriguing, and then lapses into silliness, maudlin attempts to engage the audience emotionally, lame attempts to engage intellectually, and then just becomes ridiculous. A scene that is supposed to be tense/scary involves Mark Wahlberg talking to a plant, trying to convince it that mankind is no threat. Despite his earnestness, and the director's attempts at building some kind of tension, the scene is more funny than scary, hardly what one wants from a suspense thriller. How reassuring that the threat to the world is abated by a bad science teacher with only a thin understanding of the scientific method, who's best advice to people is to "stay ahead of the wind" (surely it would be better to be behind the wind rather than in front of it).

M. Night Shyamalan should not go gently - he should just go.

Post Oscar Reviews

The winners, the dresses, the show - it was all good. I was a bit sad that Julie Christie didn't win for Away from Her (she was awesome), but Marion Cotillard was also excellent so that was okay. Was glad that Diablo Cody won for Juno - what a great movie that was. Best dresses - Cate Blanchett, Julie Christie, Diane Lane. Worst looks - Cameron Diaz (buy that girl a hairbrush), Rebecca Miller (what was with the buttons on that dress?), Renee Zellweger (never wear a skirt slit all the way to the waist - it looks bad when you have to walk across the stage and everyone can see your undies).

Robyn's top 10 of 2007: Michael Clayton, Across the Universe, Away from Her, Once (I haven't seen this, but I've heard it is good), Juno, Eastern Promises, Into the Wild, Bourne Ultimatum, Transformers (yes, I really liked it), and La Vie En Rose (which I also haven't seen but anticipate liking based on the bits I've seen and what I've heard). Shocking statement: I think both No Country for Old Men and There Will Be Blood are over-rated.

A flurry of viewings and some hasty reviews

Who would have thought that travelling would actually be a great way to catch up on movie viewing? With the advent of in-flight entertainment systems and hotel movie channels that include current theatre releases, I've been able to see 3 and a half movies in the past week while on the road. Here are some quick reviews of what I've seen:

There Will Be Blood Wow - a long and dark and winding road. And yet at the end of it, I still felt there were things missing. While there are some scenes and segments that go on in excrutiating detail, there are others that are missing altogether, and so the story, like the soundtrack, end up being disturbing and in the end unfulfilling. In the midst of all that darkness and discomfort, there is Daniel Day Lewis, transformed into Daniel Plainview in a way so remarkable you can't take your eyes from him. You can see and feel the coil of rage and hate in him, and keep expecting it to explode, but even the outbursts there are seem to be unsatisfactory, feeding back on him and adding fuel to his angry fire. The film also looks good - you want to sneeze from the dust in the air and the feeling of dryness and desolation, and you can almost feel the rough stone underfoot, and the horrible cool of the pools of oil at the bottom of those wells. Can't say I'd recommend this film to anyone, but it will be one I likely revisit some time to try to figure out a bit more.

Into the Wild Saw this on the airplane and really wish I'd seen it in the theatre, mostly for the sense of freedom and adventure and solitude that Chris/Alex found on the road. Another in the recent trend of physically transformative portrayals (something I thought was the sole domain of Christian Bale until now), Emile Hirsch is the current champion in the skeletal category. Even without that, Hirsch is completely enthralling as the almost angelic Chris, embracing adventure, eschewing comforts (as well as rules) and living beyond the edge of society while taking only what he needed and giving back what he could in the form of his wisdom, friendship and love. His tragic end was made so poignant here, one can only hope the real story ended so lovely. Also tragic is that this film did not enjoy more popularity, as it was truly enjoyable and moving. I'd been led to believe that the ending was somehow unbearable to watch, but I found it a fitting conclusion to the story, and a beautiful tribute to a life lost in our world. Major kudos to Sean Penn for a wonderful film. Not sure I understand what the nomination for Hal Holbrook was for - no matter, he is no match for Javier Bardem!

In the Valley of Elah A kind of Courage Under Fire meets CSI, this is one of the first stories about soldiers returning from Iraq since the current invasion began 6 years ago. And yet the story isn't about that so much as that simply establishes a backdrop for the story that actually takes place. The soldiers here could have just returned from Vietnam, Grenada, Bosnia, Afghanistan, Kuwait, Somalia or any of the modern-day zones of quasi-war that soldiers now work in. They come back from those places with warped senses of identity and morals, and so the strange events that take place in this world feel seems perfectly alright to them (well, almost). Its just what they do. Charlize Theron is excellent in an understated role as a fairly novice detective taking on a lot all at once. Tommy Lee Jones is good, but I had a hard time distinguishing between his character here and the one in No Country for Old Men, so I don't understand what made this performance nomination worthy over the other, or at all for that matter. The film is written and paced very well, so it made for an enjoyable and interesting 2 hours, but in the end didn't really come up to the heroic proportions promised by the title.

Michael Clayton In what is becoming an annual tradition, I was able to watch only half of this film on the plane, and so am left dangling as to how it will end. The half that I've watched is excellent, and I'm very hopeful that I won't be disappointed like I was last year with my Departed experience.

And just a note about watching films on the plane (other than the obvious "make sure you have time for the whole thing" warning) - check all the lists before making your selection. I was 3/4 through Into the Wild (which I don't regret watching) when I noticed the woman next to me was watching La Vie en Rose, another that I would have dearly loved to see. That film was listed (for some reason) under the HBO options, and so I didn't see it in my perusal of the Movies list. So be sure you know all your choices before you pick (especially when you have to pay) so you don't get screen envy on the plane.

Charlie Wilson's War

This movie was better than I expected, but overall still just okay. A very interesting story about the legendary but not well known role of the US in the defeat of the Soviets in Afghanistan in the late '80s, it timely cautionary tale for our current times. Sadly, I don't think anyone learned anything from the earlier experience in Afghanistan, and we will go on paying the price for "fucking up the end game", as Charlie Wilson himself said. Best performance in this film goes to Phillip Seymour Hoffman as the CIA agent. For the other leads, there were some strange elements that never seemed to gel for me in their characters. For Charlie Wilson, the party animal persona that is supposed to be exemplified in the opening hot tub scene never really works for me; I never got the sense that he was reckless in his social life, and felt that the Las Vegas scene was included only to make the pending indictment later in the story make sense. For Joanne Herring, her relationship with Charlie Wilson was confusing - did somebody love somebody? was there real sadness when she married someone else? - and her role in the story similarly undefined; I found her condemnation of Charlie's office staff as "sluts" in the bar celebration scene to be very strange, as it did not fit in with either her role or their position. Despite appearances, Charlie's staff of buxom women were all smart, assertive go-getters, and whether he had them around for his own enjoyment or not, it appears from the story that he gave opportunities for women to be players on Capitol Hill at a time when it would have been challenging for women (especially beautiful ones) to get in the door legitimately. The best feature of this film is the screenplay and dialogue, and at the closing credits I was not at all surprised to see Aaron Sorkin as the responsible party. The smart, witty and fast dialogue is reminiscent of his previous work on West Wing and on The American President, and he shines again on this film.

Last minute memo to the Academy

Although prospects for the Oscars are looking grim, given the demise of the Golden Globes this past week, hopefully Academy members (include the writers) are still taking their responsibilities seriously and conscientiously completing and mailing in their nominations for awards. For those who have left it to the last minute (Sean Penn and Meryl Streep, you know who you are), here are some reminders of things worthy of consideration:

• What a great year for American films. The pool of contenders this year is fairly full of films from the good ole USA, with few of the esoteric foreign language films or English period pieces taking up space in theatres. Not that Americans come across as particularly nice in No Country for Old Men or There Will Be Blood (indeed, the Oscars may actually need an R rating to show clips from some of these), but there should be minimal whining this year about number of American films eligible for nomination and promising as contenders.
• Just because Denzel Washington had 2 films of note this year does not mean he has to be nominated for Best Actor.
• Just because Daniel Day-Lewis had 1 film of note this year does not mean he has to be nominated for Best Actor. He should be nominated for Best Actor because he is scary good - just the trailer gives me the willies.
• Speaking of scary, nominate Javier Bardem or he might get mad. Ditto Viggo Mortensen. Maybe they can have a fight on stage at the awards show, a true Alien vs. Predator.
• Like last year, the actress catagory is flush with good choices, so have at it here.
• Juno was a fantastic film that likely no one thought would be as good, popular or entertaining as it is. Particularly in the screenplay category, this film is extremely worthy.
• Similarly, Julie Christie made Away From Her incredibly powerful and poignant, and the cinematography of the Great White North perfectly reflected the bereft husband's feelings of loss and loneliness.
• If you saw Across the Universe and liked it, give it a nod. Julie Taymor deserves at least a nomination for being brave enough to tackle the Beatles and for being so damn good at creating visual spectacles with minimal silliness.
  

Now go make your nominations!

Before the Devil Knows You're Dead

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

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

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.

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

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.