Amazing cast (but none of them doing career best work), weighty theme handled well (and yet the Church is completely demonized, with no reasonable opposing view of their actions in dealing with the scandal) the direction is fairly tight - however the dialogue is occasionally very on the nose and scenes often skim the surface and then cut away to the next thing without really building or exploring in depth. The music and pacing was fine but at times felt like a really high end TV movie rather than a theatrical film. It is an affecting drama, well-told, I just felt it never reached the fever pitch of outrage it really should have, and the ending is quite underwhelming. There is a lot of talking/exposition/monologuing. Would have been nice for some revelations to happen visually/through action the audience could observe first hand. It feels kind of labored as is. I personally don't think anything about the film is awards worthy, except maybe Ruffalo (what else is new?) and while Todd McCarthy is a fine filmmaker, this is not his best film and nowhere near the directorial achievement of someone like Lenny Abrahamson for Room. I just feel like the reason critics are really raving about this film is that it shows their fellow journalists getting to be the heroes.
Reviews
13 Reviews
The First Grader
(2010)
1st class.
11 July 2011
Glorious acting by the leads, a charming yet affecting screenplay, taut direction and above all stunning cinematography - all making for a gem of a film.
Due the nature of the story (daww, an 84 year-old guy in Kenya learning his ABCs with all the little kids...) some scenes skim dangerously close to being too cute and sentimental but thankfully the harrowing background to the story and gutwrenching depiction of conflicts in the past, along with the personal tragedy at the heart of the story make this such a moving film. Both Naomie Harris and Oliver Litondo deliver phenomenal performances, the latter in particular I think deserves Oscar consideration.
Due the nature of the story (daww, an 84 year-old guy in Kenya learning his ABCs with all the little kids...) some scenes skim dangerously close to being too cute and sentimental but thankfully the harrowing background to the story and gutwrenching depiction of conflicts in the past, along with the personal tragedy at the heart of the story make this such a moving film. Both Naomie Harris and Oliver Litondo deliver phenomenal performances, the latter in particular I think deserves Oscar consideration.
Meek's Cutoff
(2010)
A near masterpiece
22 April 2011
'Who knows what's over that hill? Could be water, could be an army of heathens
blood or water' – the words of Stephen Meek, a hardened pioneer of the Western front, whose name is more than a slight contradiction of character. The year is 1845 and Meek is the guide for members of three families who have left the settlements on the thriving Eastern Seaboard of America and are now undertaking the last leg of their long journey, through Oregon desert. Although they are at the brink of their destination – the uncertainty of their route, the need for food and water, and more than anything the threat of Indigenous tribes – is deeply felt.
Kelly Reichardt has been an intriguing presence on the independent scene for several years now. While sparse and potentially esoteric, her previous films Old Joy and Wendy and Lucy felt very unique, rich in atmosphere and subtext. This one, shot in the 4:3 aspect ratio – this is clearly not about gorgeous panoramic Western vistas, but an arid environment and sense of isolation, constriction and fear that the characters can't escape. The cinematography is enveloping – every image and sound has clarity of intent and authenticity that's impressive, but not mechanical, there's a level of artistry here that's seamless.
Reichardt has done a remarkable job. The way in which we first encounter this group has an almost voyeuristic dimension. We observe them bringing their belongings across the river, cages and basket across, a woman pregnant. The classic wagon vehicle. We see the necessity they feel to wade through and continue on their journey no matter what. Reichardt's not interested in fulfilling the conventions of the genre or even screen writing at large – nothing is indicated, nothing is too obvious – and the decisions she makes in terms structure and thematic elements are felt on a subliminal level, right up until the final shot. By defying expectations of the genre and her film becomes all the more engrossing.
This is quite a simple story about people with simple customs and practical needs – driven by a need to fulfill their 'Manifest Destiny' – the inherent right they feel to colonize this new land. Setting off on the journey, Meek himself tries to enforce his high status, telling the youngsters cautionary tales of bears and brutes and emitting a seemingly affable macho persona. For the rest of the group, there is a sense of communal obligation and not too much time for soul-searching or camaraderie. Reichardt does not draw attention to anything - whether it be the name actors she has playing these very pared down roles or the multitude of themes and messages running beneath the surface.
Among the eclectic ensemble of actors in the film is Michelle Williams, Reichardt's muse previously on Wendy and Lucy – who continues to go from strength to strength in proving her versatility and conviction as an actress. Here she plays Emily Tethero – a young mother on this trek, and eventual moral compass for the audience. She's invisible in the role - in the best sense; there is no big announcement or introductory close-up of her arrival on screen as 'Two-Time Academy Award®-nominee Michelle Williams', now playing dress-up in the desert – the blatant heroine of the piece. No, Reichardt is smart and knows how to treat the audience with intelligence, she does not indicate anything. However, as the narrative unfolds, Emily's increasing speculation over their route, her concerns about water and private ideas of gender roles makes her an adversary for Meek.
These tensions come to a head however when they encounter a Native American Indian. From the moment this happens – Williams' character immediately decides to take very practical action to the threat. But soon enough this Cherokee man becomes a possession for the group, an entity they fear so intensely yet cannot let go of – they interrogate him to find out the route, to know of any more like him who may attempt to destroy. The fear of the Other is palpable and the ultimate intent of the film is revealed.
However, Emily Tethero is the one who listens to him – she hears him praying despite not understanding his words, she also repairs his shoe. She begins to become more lenient with him, despite her upbringing and societal beliefs. As the group's situation begins to become more desperate - these various gestures and allowances enrage Meek – with a turbulent dynamic beginning to form and some consequence and yet it never descends into hysterics.
If the job of the artist is to deepen the mystery - then Kelly Reichardt has succeeded. By the end of this film there are no clear answers. There is no sense of the world being set to rights by this story, the film does not presume that what it is has to say about race relations (still relevant in 2011 and beyond) is closing the book on the topic, not for the characters, nor the audience. The film is not about these people's ultimate destination because the sense of closure and satisfaction felt at the end of most movies is an illusion - an entertaining one, which we can suspend our disbelief to enjoy, but an illusion nonetheless. Here that kind of compromise is not necessary, and to witness this on screen is like a window into the past.
Kelly Reichardt has been an intriguing presence on the independent scene for several years now. While sparse and potentially esoteric, her previous films Old Joy and Wendy and Lucy felt very unique, rich in atmosphere and subtext. This one, shot in the 4:3 aspect ratio – this is clearly not about gorgeous panoramic Western vistas, but an arid environment and sense of isolation, constriction and fear that the characters can't escape. The cinematography is enveloping – every image and sound has clarity of intent and authenticity that's impressive, but not mechanical, there's a level of artistry here that's seamless.
Reichardt has done a remarkable job. The way in which we first encounter this group has an almost voyeuristic dimension. We observe them bringing their belongings across the river, cages and basket across, a woman pregnant. The classic wagon vehicle. We see the necessity they feel to wade through and continue on their journey no matter what. Reichardt's not interested in fulfilling the conventions of the genre or even screen writing at large – nothing is indicated, nothing is too obvious – and the decisions she makes in terms structure and thematic elements are felt on a subliminal level, right up until the final shot. By defying expectations of the genre and her film becomes all the more engrossing.
This is quite a simple story about people with simple customs and practical needs – driven by a need to fulfill their 'Manifest Destiny' – the inherent right they feel to colonize this new land. Setting off on the journey, Meek himself tries to enforce his high status, telling the youngsters cautionary tales of bears and brutes and emitting a seemingly affable macho persona. For the rest of the group, there is a sense of communal obligation and not too much time for soul-searching or camaraderie. Reichardt does not draw attention to anything - whether it be the name actors she has playing these very pared down roles or the multitude of themes and messages running beneath the surface.
Among the eclectic ensemble of actors in the film is Michelle Williams, Reichardt's muse previously on Wendy and Lucy – who continues to go from strength to strength in proving her versatility and conviction as an actress. Here she plays Emily Tethero – a young mother on this trek, and eventual moral compass for the audience. She's invisible in the role - in the best sense; there is no big announcement or introductory close-up of her arrival on screen as 'Two-Time Academy Award®-nominee Michelle Williams', now playing dress-up in the desert – the blatant heroine of the piece. No, Reichardt is smart and knows how to treat the audience with intelligence, she does not indicate anything. However, as the narrative unfolds, Emily's increasing speculation over their route, her concerns about water and private ideas of gender roles makes her an adversary for Meek.
These tensions come to a head however when they encounter a Native American Indian. From the moment this happens – Williams' character immediately decides to take very practical action to the threat. But soon enough this Cherokee man becomes a possession for the group, an entity they fear so intensely yet cannot let go of – they interrogate him to find out the route, to know of any more like him who may attempt to destroy. The fear of the Other is palpable and the ultimate intent of the film is revealed.
However, Emily Tethero is the one who listens to him – she hears him praying despite not understanding his words, she also repairs his shoe. She begins to become more lenient with him, despite her upbringing and societal beliefs. As the group's situation begins to become more desperate - these various gestures and allowances enrage Meek – with a turbulent dynamic beginning to form and some consequence and yet it never descends into hysterics.
If the job of the artist is to deepen the mystery - then Kelly Reichardt has succeeded. By the end of this film there are no clear answers. There is no sense of the world being set to rights by this story, the film does not presume that what it is has to say about race relations (still relevant in 2011 and beyond) is closing the book on the topic, not for the characters, nor the audience. The film is not about these people's ultimate destination because the sense of closure and satisfaction felt at the end of most movies is an illusion - an entertaining one, which we can suspend our disbelief to enjoy, but an illusion nonetheless. Here that kind of compromise is not necessary, and to witness this on screen is like a window into the past.
127 Hours
(2010)
Ouch! My arm!
19 January 2011
Everyone who watches 127 Hours goes into the movie knowing that the guy cuts off his arm in the end
but what you might not expect is the wide spectrum of emotions and imagery that his journey to get there encompasses. The sense of discomfort waiting for *that* scene is palpable in an audience throughout the running time, but there's also the sense of discovery and life-affirming joy that the film's fantastic direction evokes.
Danny Boyle brings the same kinetic energy to the material as he did with the likes of Trainspotting and Slumdog Millionaire - there's always been a confidence about his filmmaking that can either come off exhilarating or obnoxious, luckily here he strikes the former. From the opening scenes of Ralston setting off for his journey (without telling anyone where he's going I might add) Boyle employs split-screen visuals and a pumping tune to bring the audience along for the ride, as he takes with him only a few supplies and a handycam to record his trip to the desert near Moab, Utah.
Franco's spirited portrayal of a thrill-seeking adventurer brings to mind the same carefree energy of Into the Wild's Christopher McCandless - another ill-fated young explorer, played by Emile Hirsch. Tearing through the desert on his bike, Ralston falls to the ground and without pausing snaps a shot of himself smiling on the ground. There are some really dynamic camera tricks, like placing the camera inside the straw as he takes a sip of water. He encounters two rather irritating girls, novice climbers for whom he serves as guide for an afternoon, taking a plunge into the rock pool with them and then going on his way.
"We probably didn't even figure in his day" the girls quip as he walks off. However, before too long Ralston is shouting their names from the fault line into which he has fallen. The moment the rock hits and he gets painfully wedged between it and the wall, bam - the title card "127 Hours" - a good 15 minutes into the film, a very sly move on Boyle's part. After much grunting and cursing, Ralston realises the severity of his situation, and so lays out his inventory - trying to formulate some kind of plan.
He begins by trying to chip away at the rock with the blade of the cheap multi-tool he has with him. There is a moment early on when he drops the knife somewhere quite out of reach - and the audience, knowing what's coming, secretly hope that he can never pick it up. But alas, he does - and in fact attempts to sever his arm with the dull blade far earlier than you might expect, but to no avail.
Ralston soon settles into a routine - recording his thoughts on the handycam every day - observing a raven that flies overhead each morning, the sunlight as it shines down into his fault line for fifteen minutes a day, and the few blissful moments he can bathe his ankle in it. Some music choices almost seem too upbeat and undercut the seriousness of the situation, Danny Boyle often (as he has in the past) places the need to keep an audience superficially entertained over the need to honour the grim reality of story.
Ralston becomes resourceful in his fight for survival, constructing an elaborate pulley with ropes and connecting devices, trying with all his might to pull the rock out, but failing. On the Tuesday morning, he tapes himself hosting a kind of light-hearted TV chat show - interviewing himself about his current predicament. Entertaining as this enthusiastic schizo-dialogue might be, it stretches belief that he'd have so much energy after that many hours of dehydration.
He begins to have dreams, remembering times with the French girl-that-got-away, played by the alluring Clémence Poésy, and also experiences hallucinations - including a rain shower that turns into flash flood - a spectacular sequence that sees Ralston floating to freedom as the rock comes loose in the rush of water, defying audience expectation before returning to him in his actual circumstance. Some of the flashbacks and illusions are a little heavy handed, as to be expected with Danny Boyle - but for the most part serve the movie well to take us out of the confined setting.
As Ralston situation becomes more dire and he seems to be facing into death, his body is drained, becoming so dehydrated that he resorts to drinking his own urine, that same camera inside the straw now rising with a yellow liquid. "It's no Slurpee" Franco observes " it's like a bag of p*ss" Pushed to his physical and psychological limits, he makes the decision to sever his arm. He begins to have heart palpitations, and stabs himself in the arm out of frustration. Once again Boyle cuts to one of his novelty internal camera angle - this time we see the point of the blade hitting the bone. He begins breaking these bones, and it's out with the blade again - slitting skin, ripping tendons, blood everywhere - the soundtrack underscoring the pain.
Despite how graphic the scene is, he's taking the necessary action to break free and it is truly a cathartic moment after so many scenes of struggle and hopelessness. Eventually, he emerges with only a red stump remaining - climbing out into the sunlight, having lost one arm - but gaining immeasurable wisdom from his experience. The struggle is over and has felt real thanks Franco's commitment to the character's plight and Danny Boyle's inventive direction. 127 Hours is an uncomfortable ride, but one worth taking, as long as you're not too squeamish.
Danny Boyle brings the same kinetic energy to the material as he did with the likes of Trainspotting and Slumdog Millionaire - there's always been a confidence about his filmmaking that can either come off exhilarating or obnoxious, luckily here he strikes the former. From the opening scenes of Ralston setting off for his journey (without telling anyone where he's going I might add) Boyle employs split-screen visuals and a pumping tune to bring the audience along for the ride, as he takes with him only a few supplies and a handycam to record his trip to the desert near Moab, Utah.
Franco's spirited portrayal of a thrill-seeking adventurer brings to mind the same carefree energy of Into the Wild's Christopher McCandless - another ill-fated young explorer, played by Emile Hirsch. Tearing through the desert on his bike, Ralston falls to the ground and without pausing snaps a shot of himself smiling on the ground. There are some really dynamic camera tricks, like placing the camera inside the straw as he takes a sip of water. He encounters two rather irritating girls, novice climbers for whom he serves as guide for an afternoon, taking a plunge into the rock pool with them and then going on his way.
"We probably didn't even figure in his day" the girls quip as he walks off. However, before too long Ralston is shouting their names from the fault line into which he has fallen. The moment the rock hits and he gets painfully wedged between it and the wall, bam - the title card "127 Hours" - a good 15 minutes into the film, a very sly move on Boyle's part. After much grunting and cursing, Ralston realises the severity of his situation, and so lays out his inventory - trying to formulate some kind of plan.
He begins by trying to chip away at the rock with the blade of the cheap multi-tool he has with him. There is a moment early on when he drops the knife somewhere quite out of reach - and the audience, knowing what's coming, secretly hope that he can never pick it up. But alas, he does - and in fact attempts to sever his arm with the dull blade far earlier than you might expect, but to no avail.
Ralston soon settles into a routine - recording his thoughts on the handycam every day - observing a raven that flies overhead each morning, the sunlight as it shines down into his fault line for fifteen minutes a day, and the few blissful moments he can bathe his ankle in it. Some music choices almost seem too upbeat and undercut the seriousness of the situation, Danny Boyle often (as he has in the past) places the need to keep an audience superficially entertained over the need to honour the grim reality of story.
Ralston becomes resourceful in his fight for survival, constructing an elaborate pulley with ropes and connecting devices, trying with all his might to pull the rock out, but failing. On the Tuesday morning, he tapes himself hosting a kind of light-hearted TV chat show - interviewing himself about his current predicament. Entertaining as this enthusiastic schizo-dialogue might be, it stretches belief that he'd have so much energy after that many hours of dehydration.
He begins to have dreams, remembering times with the French girl-that-got-away, played by the alluring Clémence Poésy, and also experiences hallucinations - including a rain shower that turns into flash flood - a spectacular sequence that sees Ralston floating to freedom as the rock comes loose in the rush of water, defying audience expectation before returning to him in his actual circumstance. Some of the flashbacks and illusions are a little heavy handed, as to be expected with Danny Boyle - but for the most part serve the movie well to take us out of the confined setting.
As Ralston situation becomes more dire and he seems to be facing into death, his body is drained, becoming so dehydrated that he resorts to drinking his own urine, that same camera inside the straw now rising with a yellow liquid. "It's no Slurpee" Franco observes " it's like a bag of p*ss" Pushed to his physical and psychological limits, he makes the decision to sever his arm. He begins to have heart palpitations, and stabs himself in the arm out of frustration. Once again Boyle cuts to one of his novelty internal camera angle - this time we see the point of the blade hitting the bone. He begins breaking these bones, and it's out with the blade again - slitting skin, ripping tendons, blood everywhere - the soundtrack underscoring the pain.
Despite how graphic the scene is, he's taking the necessary action to break free and it is truly a cathartic moment after so many scenes of struggle and hopelessness. Eventually, he emerges with only a red stump remaining - climbing out into the sunlight, having lost one arm - but gaining immeasurable wisdom from his experience. The struggle is over and has felt real thanks Franco's commitment to the character's plight and Danny Boyle's inventive direction. 127 Hours is an uncomfortable ride, but one worth taking, as long as you're not too squeamish.
Blue Valentine
(2010)
Not a date movie.
4 January 2011
Derek Cianfrance's sophomoric feature explores the complex and often painful relationship between Dean and Cindy (Ryan Gosling and Michelle Williams) - a young couple in Brooklyn who meet, fall in love, get married, and then five years later fall apart.
It begins with their daughter, shouting for the missing family dog, something that seems to symbolize the loss of everything familiar and good about their relationship. We meet these characters at a point where things are beginning to crumble - Cindy works as a nurse, and seems to be the only adult in the house, as she is unable to the break through the play-acting daddy-daughter dynamic that Dean has created, that is when he isn't off painting houses or getting drunk. Her sense of disillusionment and obligation is palpable.
Intimately shot with a gritty blue color palette and conspicuous focus pulls, this film is definitely from the same ilk as the leading duo's other indie flicks Half-Nelson and Wendy and Lucy. The film has a rather loose narrative, switching between the breakdown of the marriage and the first few weeks of their relationship, which is an effective storytelling decision. The shifts are easy to keep track of thanks to Gosling's receding hairline and Williams putting on a few pounds - and the pair have super chemistry that makes the sense of time feel authentic.
After the dog is found dead, Dean suggests getting out of the house, getting drunk and making love. And so they check into the "Future room" of a sleazy themed sex motel, and a good portion of the film takes place in this strange neon-soaked location. The two of them get busy in the bedroom more often than perhaps is necessary to show - but while these depictions of sex do have a degree of realism you won't find in most mainstream movies, there was nothing here to warrant the MPAA's initial kiss-of-death NC-17 rating.
After a rather muddled first act, the film does pick up - especially when it explores the couple's first encounter. Dean gets a job at a moving company and sees Cindy across the hall in an old folks home where she's visiting her grandmother and he is moving a war veteran's belongings. The connection is instant and a tentative romance is formed. However, back in the present day the sense of disconnect between becomes more pronounced, and awkward confrontations soon arise. There is a visceral quality to these scenes, so well-acted and shot as to take on a voyeuristic dimension. But as the relationship disintegrates and the arguments become more intense, one wonders what the value of witnessing these painful exchanges really is.
Ryan Gosling performance is kind of a conundrum. I've never been that impressed with his acting but the merit of his work in this film is harder to judge due to the character itself being so grating. Dean is an extremely insecure man who makes a habit of being stubborn and obtuse, and his childish antics do become rather head-wrecking to watch after a while.
He nails the character's defensive and destructive nature, but it's not a performance you can warm to - there are a few flickers of charm in the early stages of his relationship with Cindy, however his irritating somewhat creeping nature does make you wonder why she would fall for him in the first place. Gosling's mannerisms here are identical to most other characters I've seen him play, ruminating with his hectic masculine energy, there's more than a hint of self-consciousness about it.
On the other hand Michelle Williams is flat-out excellent as Cindy. Her gift for conveying raw emotions on screen is put to good use as she reveals the character's scars, her sense of sadness and ultimately suffocation. Late in the film there is a pivotal scene in which her character makes a decision that will change course of her life, and the fear and release of that moment is truly affecting - her best performance yet.
For the most part, Blue Valentine is quite an unpleasant film, fixated with the misery of a relationship - with only a few fleeting moments of beauty or romance. As the conflict between them reaches fever pitch there are a series of climactic scenes that will command your attention - but a little more of what they're fighting for might have made the experience a richer one. Still, what the film says about who we choose to love, and how we treat them when we do is powerful.
It begins with their daughter, shouting for the missing family dog, something that seems to symbolize the loss of everything familiar and good about their relationship. We meet these characters at a point where things are beginning to crumble - Cindy works as a nurse, and seems to be the only adult in the house, as she is unable to the break through the play-acting daddy-daughter dynamic that Dean has created, that is when he isn't off painting houses or getting drunk. Her sense of disillusionment and obligation is palpable.
Intimately shot with a gritty blue color palette and conspicuous focus pulls, this film is definitely from the same ilk as the leading duo's other indie flicks Half-Nelson and Wendy and Lucy. The film has a rather loose narrative, switching between the breakdown of the marriage and the first few weeks of their relationship, which is an effective storytelling decision. The shifts are easy to keep track of thanks to Gosling's receding hairline and Williams putting on a few pounds - and the pair have super chemistry that makes the sense of time feel authentic.
After the dog is found dead, Dean suggests getting out of the house, getting drunk and making love. And so they check into the "Future room" of a sleazy themed sex motel, and a good portion of the film takes place in this strange neon-soaked location. The two of them get busy in the bedroom more often than perhaps is necessary to show - but while these depictions of sex do have a degree of realism you won't find in most mainstream movies, there was nothing here to warrant the MPAA's initial kiss-of-death NC-17 rating.
After a rather muddled first act, the film does pick up - especially when it explores the couple's first encounter. Dean gets a job at a moving company and sees Cindy across the hall in an old folks home where she's visiting her grandmother and he is moving a war veteran's belongings. The connection is instant and a tentative romance is formed. However, back in the present day the sense of disconnect between becomes more pronounced, and awkward confrontations soon arise. There is a visceral quality to these scenes, so well-acted and shot as to take on a voyeuristic dimension. But as the relationship disintegrates and the arguments become more intense, one wonders what the value of witnessing these painful exchanges really is.
Ryan Gosling performance is kind of a conundrum. I've never been that impressed with his acting but the merit of his work in this film is harder to judge due to the character itself being so grating. Dean is an extremely insecure man who makes a habit of being stubborn and obtuse, and his childish antics do become rather head-wrecking to watch after a while.
He nails the character's defensive and destructive nature, but it's not a performance you can warm to - there are a few flickers of charm in the early stages of his relationship with Cindy, however his irritating somewhat creeping nature does make you wonder why she would fall for him in the first place. Gosling's mannerisms here are identical to most other characters I've seen him play, ruminating with his hectic masculine energy, there's more than a hint of self-consciousness about it.
On the other hand Michelle Williams is flat-out excellent as Cindy. Her gift for conveying raw emotions on screen is put to good use as she reveals the character's scars, her sense of sadness and ultimately suffocation. Late in the film there is a pivotal scene in which her character makes a decision that will change course of her life, and the fear and release of that moment is truly affecting - her best performance yet.
For the most part, Blue Valentine is quite an unpleasant film, fixated with the misery of a relationship - with only a few fleeting moments of beauty or romance. As the conflict between them reaches fever pitch there are a series of climactic scenes that will command your attention - but a little more of what they're fighting for might have made the experience a richer one. Still, what the film says about who we choose to love, and how we treat them when we do is powerful.
The Way Back
(I) (2010)
When Irish actors go all Polski
2 January 2011
Peter Weir's first film in seven years is another exercise in sturdy direction with strong social themes running through it - recalling many of his previous works in style and content. It follows a group of escaped prisoners from a Siberian gulag in 1940 as they brave the treacherous wilderness of Asia for freedom from the Soviet regime. It's tough viewing for the most part but there is a surprising amount of comic relief along the way, provided chiefly by Colin Farrell's salty character. The group scavenge for food, even fighting off wolves for the carcass of an animal at one point - but the constant bickering and relentless doom and gloom does begin to wear. The film picks up however once Saoirse Ronan enters the picture and her youthful feminine presence brings an interesting dynamic. Emoting with a flawless Polish accent (almost like a mini-Streep) her character is one of the more compelling and layered and gives this emerging young actress a chance to display her skills. The cinematography is serviceable but hardly spectacular - capturing a harsh, arid landscape as opposed to Malick-like celebration of nature.
As the film wears on, the struggle to survive intensifies, particular when they reach the Ghobi desert - the scenes are very well done but viewing becomes quite grueling. Harris bring a certain integrity to his role in a rather unshowy performance with not much character introspection (I can see why his Oscar buzz has disappeared). In fact character development across the board is quite lacking, and watching the plot unfold, with the knowledge of the outcome of the story already provided in the opening titles - the narrative becomes quite arbitrary and the story doesn't always sustain interest. The final leg of the journey through the Himalayas almost seems rushed compared to the bloated second act. Still, it's a very well-made film with good acting and visuals - just don't expect to be inspired.
As the film wears on, the struggle to survive intensifies, particular when they reach the Ghobi desert - the scenes are very well done but viewing becomes quite grueling. Harris bring a certain integrity to his role in a rather unshowy performance with not much character introspection (I can see why his Oscar buzz has disappeared). In fact character development across the board is quite lacking, and watching the plot unfold, with the knowledge of the outcome of the story already provided in the opening titles - the narrative becomes quite arbitrary and the story doesn't always sustain interest. The final leg of the journey through the Himalayas almost seems rushed compared to the bloated second act. Still, it's a very well-made film with good acting and visuals - just don't expect to be inspired.
Rabbit Hole
(2010)
One of Kidman's best performances.
9 December 2010
Following on from his first two audacious features in the niche of queer cinema, John Cameron Mitchell now enters relatively mainstream waters to bring us Rabbit Hole, adapted by David Lindsay-Abaire from his own Pulitzer Prize-winning play. It's a quiet, contemplative film, brimming with sadness and humor, and lead by a wonderful central performance.
Nicole Kidman returns to the theme that first brought her to international attention - that of a mother grieving the loss of a child, and the emotional aftermath that such a trauma entails. Of course in the two decades since Dead Calm was released, Kidman has explored of multitude roles and worked with some of the finest directors in the industry. She has gained such an authority on screen - yet somehow, here, she manages to strip away all of our preconceptions so that we are left with something as raw and natural as she was opposite Sam Neil at the age of 21. This is her most fully-rounded character and detailed performance in years - nimble, layered and completely magnetic.
Becca's journey with her husband Howie (Aaron Eckhart), eight months after the tragic accident that killed their son, is beautifully captured by Cameron Mitchell's lens. Despite the film's stage origins, the story never feels too talky or confined, shots are simple yet beautifully composed, the editing and pace have a fluid rhythm. The couple's facade of normalcy - making dinners, attending pious bereavement groups and keeping up appearances with friends and neighbors, begins to crack as the mementos of their son's life disappear. Becca gives his clothes to goodwill and takes his paintings off the fridge, she accidentally deletes a video of him playing on a swing - causing a distraught reaction in Howie. The difference in the way this couple deals with the loss is compelling, and the friction between them palpable outside of the few explosive scenes.
Their disconnect becomes more and more apparent, and Eckhart plays it with a wounded humanity that's really effective. Howie wishes they could "get back on track" and perhaps try for another baby, something which Becca is not prepared to do. Instead he starts hanging out with Gabby, a woman from their bereavement group, played by the always reliable Sandra Oh. Meanwhile prickly moments between Becca and her irresponsible sister Izzy (Tammy Blanchard) are very well played and Dianne Wiest provides a lot of warmth and wisdom as Becca's mother, but doesn't really get a defining moment. Becca both yearns to escape the reminders of her grief and seeks closure and solace in her pursuit of Jason, the young man who accidentally ran over her son. This strand of the story, exploring the idea of parallel universes and fate, gives the story a unique edge and Miles Teller is easily the stand out of the supporting cast.
Ultimately what gives this film its power is that Mitchell's focus is always fiercely rooted in the reality of the situation, side-stepping the potential sentimentality of the subject - biting humor undercuts the sorrow and there certain moments of confrontation between Becca, Howie and Jason that strike quite a visceral chord. The scenes on the bench between Kidman and Teller contain moments of such purity and depth as to be heartbreaking - and to me, the final montage is one of the most sublime and emotionally resonant endings of the past decade. I can't recommend the film enough, and if there's any justice in the world Kidman will finally be recognized again by the Academy.
Nicole Kidman returns to the theme that first brought her to international attention - that of a mother grieving the loss of a child, and the emotional aftermath that such a trauma entails. Of course in the two decades since Dead Calm was released, Kidman has explored of multitude roles and worked with some of the finest directors in the industry. She has gained such an authority on screen - yet somehow, here, she manages to strip away all of our preconceptions so that we are left with something as raw and natural as she was opposite Sam Neil at the age of 21. This is her most fully-rounded character and detailed performance in years - nimble, layered and completely magnetic.
Becca's journey with her husband Howie (Aaron Eckhart), eight months after the tragic accident that killed their son, is beautifully captured by Cameron Mitchell's lens. Despite the film's stage origins, the story never feels too talky or confined, shots are simple yet beautifully composed, the editing and pace have a fluid rhythm. The couple's facade of normalcy - making dinners, attending pious bereavement groups and keeping up appearances with friends and neighbors, begins to crack as the mementos of their son's life disappear. Becca gives his clothes to goodwill and takes his paintings off the fridge, she accidentally deletes a video of him playing on a swing - causing a distraught reaction in Howie. The difference in the way this couple deals with the loss is compelling, and the friction between them palpable outside of the few explosive scenes.
Their disconnect becomes more and more apparent, and Eckhart plays it with a wounded humanity that's really effective. Howie wishes they could "get back on track" and perhaps try for another baby, something which Becca is not prepared to do. Instead he starts hanging out with Gabby, a woman from their bereavement group, played by the always reliable Sandra Oh. Meanwhile prickly moments between Becca and her irresponsible sister Izzy (Tammy Blanchard) are very well played and Dianne Wiest provides a lot of warmth and wisdom as Becca's mother, but doesn't really get a defining moment. Becca both yearns to escape the reminders of her grief and seeks closure and solace in her pursuit of Jason, the young man who accidentally ran over her son. This strand of the story, exploring the idea of parallel universes and fate, gives the story a unique edge and Miles Teller is easily the stand out of the supporting cast.
Ultimately what gives this film its power is that Mitchell's focus is always fiercely rooted in the reality of the situation, side-stepping the potential sentimentality of the subject - biting humor undercuts the sorrow and there certain moments of confrontation between Becca, Howie and Jason that strike quite a visceral chord. The scenes on the bench between Kidman and Teller contain moments of such purity and depth as to be heartbreaking - and to me, the final montage is one of the most sublime and emotionally resonant endings of the past decade. I can't recommend the film enough, and if there's any justice in the world Kidman will finally be recognized again by the Academy.
The Secret Lives of Dentists
(2002)
An illuminating little film
28 March 2010
A highly unusual little art-house piece boasting terrific performances by Campbell Scott and Hope Davis. The premise is quite simple, a dentist who begins to have suspicions that his wife is being adulterous - but it's the execution that's fascinating. Stylistically the film is very fluid...shifting from reality to fantasy, and really mining the psyches of these characters as the ordered domestic world they've tried to sustain begins to unravel. It's really unlike almost film I've seen, though for some reason it reminded me of The Sweet Hereafter...it has the same kind of cold minimalism that makes you think. Perhaps some of the dialogue is a little theatrical, but it can never be said that it's clichéd. There's a reality to Scott and Davis' exchanges that I did enjoy. After watching this I'm now keen to explore some more of Alan Rudolph's work, he's one to watch.
Capitalism: A Love Story
(2009)
Desperate times
28 March 2010
Another Michael Moore flick loaded with info and attitude. As usual he develops a down-to-earth rapport with his audience, weaving an accessible yet comprehensive argument. And...as usual with Michael Moore, he is sort of preaching to his choir of liberal movie fans who were likely only introduced to the new wave of politically-aware theatrical documentaries thanks his name.
However I do think Moore does a commendable job in deconstructing exactly how we've got ourselves into such a hopeless mess and illuminates the frightening truth of how corporate America treats the regular citizen. Moore brings a real humanity to his film in exploring the sense of despair and uncertainty that comes the foreclosure situation and the ramifications for small businesses in America today. Hardly groundbreaking stuff but I would rank it among his better documentaries and did found it to be an entertaining and illuminating experience.
However I do think Moore does a commendable job in deconstructing exactly how we've got ourselves into such a hopeless mess and illuminates the frightening truth of how corporate America treats the regular citizen. Moore brings a real humanity to his film in exploring the sense of despair and uncertainty that comes the foreclosure situation and the ramifications for small businesses in America today. Hardly groundbreaking stuff but I would rank it among his better documentaries and did found it to be an entertaining and illuminating experience.
The Station Agent
(2003)
A quiet gem
28 March 2010
Gorgeous scenery, warm and realistic writing, very good characterisations. This is just one of numerous brilliant offerings from Patricia Clarkson in 2003 - and one of her best performances period. Bobby Carnivale is also wonderful and natural, as is Peter Dinklage in the central role. I also love Michelle Williams' brief performance - the film is a nice companion piece to Wendy and Lucy I think - the same sense of nature and feel of indie minimalism. My only real qualm would be that the third act is lacking in power and closure, I've always found the ending quite abrupt, like there is one element missing...I can't quite put my finger on it. Anyway it's a lovely little journey, very intimate and absorbing without a trace of pretension.
Nanny McPhee Returns
(2010)
Lots of fun
22 March 2010
Emma Thompson once again pens and stars in the candy-coloured film adaptation of the children's' books by Christianna Brand, following a very strict and very ugly nanny who brings order and manners to a household full of naughty children. This outing sees the titular character nursing a farmhouse family whose father is off at war. The mother, played by Maggie Gyllenhaal is obliged the sell the land to her nasty brother (Rhys Ifans), a slimy character who will not rest till he gets his way. Meanwhile the children's' vile London cousins come to stay - two little brats who bawk at the state of the earthy farm abode.
Enter Nanny McPhee - an otherworldly being who appears when a family needs her most - squashed-nosed and snaggle-toothed, she calmly teaches the children five important lessons, though when things get out of hand she must employ the same supernatural technique of setting down her walking stick as she did in her previous adventure, and to spectacular effect. Nanny McPhee attempts to set the household to rights using these very methods, while the family struggle on with their visitors and hope against hope that their father will return.
Thanks to Emma Thompson's involvement, the film boasts a impressive array of British thespians including Maggie Smith, Ewan McGregor and Ralph Fiennes as a senior WW2 army officer. Though characterisation is hardly profound in a story such as this, each actor has their moment to shine - and Gyllenhaal, as the young mother, sports a flawless British accent and conveys her trademark maternal emotion when needs be. Production values are stellar, with all the period details on display. The film whisks along at a nice pace and never gets bogged down in one place - Thompson's adaptation is wrought with real warmth and wit, and once again she works wonders on-screen under layers of prosthetics, with every wry glance and raise of the eyebrow worthy of a laugh.
Setting the story of against the backdrop of World War II is very smart move - the 'big bang' in the title referring to the imminent threat of bombings during this time period. This gives the film a foundation of realism that the previous movie lacked....however, there's little room left for war time misery in the thematic threads of this story - you're more like to find a group of piglets doing synchronised swimming than any sign of a swastika.
Ultimately this is a family film, written for children - talking to them, not at them and carrying a very sensitive message at its heart. There are no double-entendres for the adults the snigger at, this is harmless entertainment at its best. It may not be a new classic but it's nice to see something like this making its way to our screens during the Easter break.
Enter Nanny McPhee - an otherworldly being who appears when a family needs her most - squashed-nosed and snaggle-toothed, she calmly teaches the children five important lessons, though when things get out of hand she must employ the same supernatural technique of setting down her walking stick as she did in her previous adventure, and to spectacular effect. Nanny McPhee attempts to set the household to rights using these very methods, while the family struggle on with their visitors and hope against hope that their father will return.
Thanks to Emma Thompson's involvement, the film boasts a impressive array of British thespians including Maggie Smith, Ewan McGregor and Ralph Fiennes as a senior WW2 army officer. Though characterisation is hardly profound in a story such as this, each actor has their moment to shine - and Gyllenhaal, as the young mother, sports a flawless British accent and conveys her trademark maternal emotion when needs be. Production values are stellar, with all the period details on display. The film whisks along at a nice pace and never gets bogged down in one place - Thompson's adaptation is wrought with real warmth and wit, and once again she works wonders on-screen under layers of prosthetics, with every wry glance and raise of the eyebrow worthy of a laugh.
Setting the story of against the backdrop of World War II is very smart move - the 'big bang' in the title referring to the imminent threat of bombings during this time period. This gives the film a foundation of realism that the previous movie lacked....however, there's little room left for war time misery in the thematic threads of this story - you're more like to find a group of piglets doing synchronised swimming than any sign of a swastika.
Ultimately this is a family film, written for children - talking to them, not at them and carrying a very sensitive message at its heart. There are no double-entendres for the adults the snigger at, this is harmless entertainment at its best. It may not be a new classic but it's nice to see something like this making its way to our screens during the Easter break.
Shutter Island
(2010)
You won't forget your stay at this particular island resort
14 March 2010
Not gonna lie, this movie scared the sh*t out of me. As once he did back in the 80s with the lesser known After Hours, Scorsese has ramped up the tension in a warped cinematic world of high tension, albeit in a very different location. From the ultra psychedelic dream visions to the blustery heart of the island itself, he uses eerier device possible to enrapture the audience in this camp Gothic hell. DiCaprio is on very good form, more vulnerable than in Revolutionary Road, more blistering than in The Departed - and he is ably supported by a stellar ensemble - featuring some great names...Kinglsey. Ruffalo. Clarkson. Williams...they all shine in their respective warped roles, not to mention Jackie Earle Haley and Emily Mortimor as two seemingly broken souls. For nothing is as it's seems on Shutter Island. This story, my god...the definition of a mindf!ck.
Scorsese doesn't let up for a minute throughout, there is no breathing space for the audience - you really spend the time there, from the beginning up until the bitter finale. I didn't know the secret, and was fully invested in finding the truth of it. If there are criticisms to made it surely would fall on the fact that some of the stylistic choice are a bit heavy handed, that Scorsese throws it at you gale force rather than mysterious draught...and to contextualise the story in post-war Communist paranoia, likening the practices of the institution to the death camps of the Holocaust - Scorsese is treading very dangerous water. But then there is nothing really safe Shutter Island - for the entire running time your at the mercy of a master filmmaker, and there are worse way to spend two hours or so. Go see it.
Scorsese doesn't let up for a minute throughout, there is no breathing space for the audience - you really spend the time there, from the beginning up until the bitter finale. I didn't know the secret, and was fully invested in finding the truth of it. If there are criticisms to made it surely would fall on the fact that some of the stylistic choice are a bit heavy handed, that Scorsese throws it at you gale force rather than mysterious draught...and to contextualise the story in post-war Communist paranoia, likening the practices of the institution to the death camps of the Holocaust - Scorsese is treading very dangerous water. But then there is nothing really safe Shutter Island - for the entire running time your at the mercy of a master filmmaker, and there are worse way to spend two hours or so. Go see it.
Crazy Heart
(2009)
A damn-near perfect movie
14 March 2010
Right from the start it engaged with me with those gorgeous southern vistas and neon soaked bars...the music, the emotional connection, the perfect picture of a frayed life on the brink of destruction. Maggie G is just sublime, ideally cast as a strong yet open-hearted woman yearning for something real. Her every emotion is palpable and chemistry with Bridges makes for genuine harmony.
Speaking of The Dude, I'm having a mighty hard time trying to choose between him and Firth as my favourite performance of the year. So dynamic and brazen, you feel the drain of every turn his life takes as the story unfolds. Well-deserved Oscar winner. The only thing I'd mark the movie down on is the appearance of Colin Farrell as Bad Blake's cocky protégé...maybe it's because I'm Irish but to me his performance stuck out like a sore thumb.
Other than that I can't recommend it enough, I really feel it should gotten more recognition than it did, I do think on the whole it, and the music, will stand the test of time though. It's that kind of movie.
Speaking of The Dude, I'm having a mighty hard time trying to choose between him and Firth as my favourite performance of the year. So dynamic and brazen, you feel the drain of every turn his life takes as the story unfolds. Well-deserved Oscar winner. The only thing I'd mark the movie down on is the appearance of Colin Farrell as Bad Blake's cocky protégé...maybe it's because I'm Irish but to me his performance stuck out like a sore thumb.
Other than that I can't recommend it enough, I really feel it should gotten more recognition than it did, I do think on the whole it, and the music, will stand the test of time though. It's that kind of movie.
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