It's been almost a week since the very sad news about Heath Ledger's passing and I have grown quite disgusted with the endless prattle about how and why, covered ad nauseam on every entertainment news program. So I was quite relieved to hear some tasteful and honest tributes to the actor over the last few days. At Sunday evening's SAG awards, upon winning Best Actor, Daniel Day-Lewis said a few touching words about Ledger, viewable here, and also dedicated the award to his memory. And just this evening I discovered an article written by Christopher Nolan, the director of The Dark Knight, detailing his memories and sadness about Ledger's recent death. Both of these testimonials were far more prudent and sincere than the onslaught of gossip about the details surrounding his demise, and both honored the actor in a respectful and humbled way.
I've also written two reviews about films I've recently seen, both available on DVD.
Away From Her : Julie Christie has Alzheimers. Sounds like a melodramatic Lifetime movie, doesn't it? But Sarah Polley's directorial debut (adapted from Alice Munro's short story, "The Bear Came Over the Mountain") does not go for cheap sentimentality in telling a very emotional story. Fiona (Julie Christie) and Grant (Gordon Pinsent) have been married for some 40+ years when Fiona begins to develop Alzheimers. She determines to live in a facility, unwilling to make Grant her full-time caregiver. The film is edited in a lyrical style, alternating between the time Fiona's warning signs became apparent, brief glimpses into their history together, and a time in the future where Grant has difficult choices to make about Fiona's condition. Interestingly, in this story, it is Grant who lives in denial, unable to accept the reality that his wife is fading, and Fiona who faces her diagnosis with clear-headed wisdom, lacking those overemotional histrionic reactions that have become so common in films about illness. The story develops more or less predictably (anyone who know anything about Alzheimers can guess what will happen as Fiona's condition worsens), but the film's surprises and successes come in it's approach. Christie gives a very subtle performance, reacting softly and sweetly to each horrible eventuality, emotion reflected in every expression and gesture, without becoming caricature. She has already received accolades aplenty for her performance (winning the SAG award on Sunday) and is the likely front-runner for Best Actress at next month's Academy Awards. He co-star, Gordon Pinsent, has not been mentioned as frequently, but has the more difficult job. We have to believe his character has been a good husband, despite past indiscretions, and Pinsent does a superb job of reining in his emotions, allowing us to feel them without always showing them. Grant is an intellectual and watching his attempts to reason the correct course of action are agonizing, especially as his heart is always pulling him in another direction. The film was made in Canada and seems set during an endless winter. The locations are always cold, barren, and lonely, which only further distinguishes them from the happy memories that seem to materialize from a brighter and warmer past. This is a well-made film, but given it's subject matter, it cannot be a happy one. It takes a cruel illness and follows it's development to a logical conclusion. The performances are lovely, the film is powerful, but if you're looking for something light, this is not a film you will enjoy.
Stardust : Stardust is a film with elements of The Princess Bride, Lord of the Rings, and Pirates of the Caribbean all re-worked into a mish-mash of a story. It is a fantasy with witches and pirates galore, but certain scenes contain an ironic and bawdy wit. The story concerns a secret realm hidden within a large field, protected by a stone wall, and guarded by a single old man. We follow Dunstan, who sneaks into the hidden realm, meets a nice slave girl and finds himself a single father. His son, Tristan (Charlie Cox), grows up with the same impulse to pass behind the wall, but only to retrieve a fallen star. The star has materialized into a girl named Yvaine (Claire Danes), and she wears a necklace containing the crest of the future king. And we're not even done yet! What if I told you that the story also involved several princes in deadly pursuit of the necklace, the ghosts of several other dead princes providing amusing commentary, an evil witch (Michelle Pfeiffer) who needs the heart of the star to stay young, and an old pirate (Robert DeNiro) with a fey sense of style. That the resolution to the plot also involves Tristan's father, long lost mother and girlfriend (Sienna Miller), seems impossible in such a cram-packed film. By the conclusion, when all the disparate plot strands had finally found cohesion, I became genuinely interested in these characters. I also found that I had, for the most part, enjoyed their adventurous and clever journey. However, the beginning of the film takes too long to gain momentum as countless characters and story-arcs are introduced. I was not fully engaged until the 45-minute mark, and that is never a good sign. Pfeiffer has great fun playing the youth-obsessed crone, DeNiro plays against expectation with comical results, and the film contains a hilarious fight with a dead body that had me rolling. Overall, the film eventually gelled for me, providing enough moments of inventive folly to make it worthwhile. However, if you're not a fan of this genre or are not willing to wait for the surprises, I doubt it will suit your fancy.
10 - The Bitch-Slap, "Traveling Salesmen" : Not an actual prank, but the look on Dwight's face after Jim unexpectedly slaps him (in the middle of his tirade about being more vulnerable from behind) is priceless. And Jim's impish glee as he walks away is equally satisfying.
9 - Stabbing the "Fitness Orb", Performance Review : Jim's weariness as Dwight disturbingly gyrates on the orb, the careful consideration as he decides $25 is a worthy expenditure, and the quick, aggressive stab of the scissors. Again, not really a prank, but watching Dwight disappear behind his desk as he speedily falls to the ground is always a big laugh.
8 - The Gaydar Machine, "Gay Witch Hunt" : Even from Stamford, Jim manages to pull a doozy on Dwight, first lying about a Gaydar Machine over the phone, as he looks up the nonexistent item up on the Sharper Image homepage. Then he mails Dwight what is obviously a metal detector with "Homo" and "Hetero" decals placed on the ends. Ingenious.
7 - Dwight's stuff in the vending machine, "The Booze Cruise" : When he finds all of his desk supplies inside the break room vending machine, Dwight goes from frustration to anger to pathetic acceptance, ultimately using a bag of nickels, provided by Jim, to BUY BACK his own stuff, Jim looking on, calmly eating his chips. The real kicker is his indignation when Pam buys his pencil cup.
6 - Stapler in Jello, "The Pilot" :An oldie, but a goodie. Dwight's over the top reaction proves this has happened MANY times before, Michael and the Temp play along, and Jim can barely keep from laughing as he smashes his cheek into his hand in a strained effort. When he asks, "What makes you think it was me?" he is awesomely EATING red jello.
5 - Dwight Spying on other "teams," "The Alliance" : This is really an episode-long prank, as it includes the very first, "Absolutely, I do," Dwight's Survivor-like understanding of office politics, Jim enthusiastically taping Dwight into a box (Dwight tipping the box over is my favorite part), and concluding with a superior, and yet still-duped, Dwight having dyed his hair platinum blonde.
4 - Locking Dwight in his "Work Space," "Health Care" : After a very amusing argument about the fake diseases Jim has written down (Count Choculitis and Hot Dog Fingers!), Jim lazily picks up Dwight's own keys, walks out and locks Dwight inside, then casually tosses the keys across the room where not even Stanley cares. Jim is theatrically chirpy when Dwight calls him on the phone, demanding to be let out, an order he breezily ignores. Bonus points for throwing an Eskimo Pie at the window and hitting the glass directly over Dwight's peevish face.
3 - Faxes from Future Dwight, "Branch Closing" : Dwight desperately tries to save Stanley from the "poisoned" coffee after receiving a fax from his future-self. It is of course Jim, again, easily tripping Dwight up all the way from Stamford, his knowledge of what Dwight will fall for is so vast. The delivery of Jim's, "I'm sending him faxes....from himself....from the future," is what really sells it to me.2 - Jim's Dwight Impression, "Women's Appreciation Day" : Watching Dwight's confusion transform to outrage when Jim comes to work dressed, walking, and talking EXACTLY like Dwight, is just about the funniest thing I have ever seen. Dwight's helpless claims of identity fraud are shuffled aside for Jim's perfect delivery of, "Bears, Beets, Battlestar Galactica." And the fact that it ends with Dwight's pathetic, but equally hilarious, impression of Jim's camera mugging makes it all the more impressive.
1 - Jim's Permanent File, "Conflict Resolution" : Not technically a prank, but the description of these prior offenses is so wonderful, we don't even need to see them to be in hysterics. The list of pranks, read aloud to Dwight's disapproval and Jim's false innocence, culminates in "Today I hit myself in the head with my phone," the most excellent and least obvious prank I have ever imagined, bringing a joyfully proud smile to Jim's face. He has a TH saying, "You know, these really don't sound that funny, one after the other." As the excellent TWoP recapper said, "He has never been more wrong."
"Sports Night" is another of those tragic tales of a critically acclaimed, excellently acted show that fell through the cracks and was canceled far before its time. It was created and mainly written by Aaron Sorkin, the guy responsible for The American President (if you haven't seen that, leave your house immediately and go rent it), "The West Wing," and most recently the film Charlie Wilson's War. It follows the exploits of six characters who work for "Sports Night," a cable sports show, very similar to ESPN's "Sports Center." That there are lots of sports references should go without saying. However, what does bear repeating is that this is one of the best cast, best acted, most likable set of characters I've ever come across.
Casey (Peter Krause, "Six Feet Under") and Dan (Josh Charles, Dead Poets Society) are best friends and co-anchors of "Sports Night." They spend most of the work day affably butting their noses into other people's business but still manage to write all their own material. On air, Dan and Casey never achieve the kind of spontaneity we're used to on "Sports Center," but remain clever and adorable. Their executive producer is the neurotic Dana (Felicity Huffman, "Desperate Housewives"), assisted by the even more neurotic, if not peppier, Natalie (Sabrina Lloyd). Jeremy (Joshua Malina) is the production assistant, a weather expert, and annoyingly, always right. The boss of all is director Issac (Robert Guillaume, "Benson"), the veteran journalist with a wry sense of humor.
In the midst of all the love triangles (Casey likes Dana, Natalie likes Jeremy, and so on), between the clever puns and sports discussion, the show actually manages to tackle some pretty interesting issues, affecting both the sports world and the personal lives of our characters: Who should have the final say about on-air content; the network or the producers? Should one reveal a competitor's indiscretion if it helps our own romantic cause? Has the increasing crime and immorality amongst athletes decreased our affection for the game? Should your relationship take priority over your career? These, and so many other topics are given due consideration on each episode while remaining light and fun to watch. And how awesome is it that the executive producer of a sports program is a woman?!?
The tone of the show can be best described as congenial. These characters populate a warm world and function more like a family than co-workers. Real world problems rear their ugly head, but never dampen the spirit of the show. Personally, I love Dan and Issac the most - they never rub me the wrong way. Dan is a fierce friend, the kind of guy who tells you when you're wrong, but doesn't hold it over your head. The fact that he's played by Josh Charles, who was Knox Overstreet, my favorite character in Dead Poets Society, doesn't hurt. Issac is the kind of boss we should all be so lucky to have, acting as father, teaching without scolding. This show is quick, chipper, intelligent and doesn't have to work hard to make me like it. It's not as painfully funny as "The Office," but it's also not as painfully awkward either. And it's soundtrack was smart enough to include "Sloop John B," "Afternoon Delight," "Eli's Coming," "The Shoop Shoop Song, " and "The Weight". Do give it a chance.
TOP FIVE FAVORITE EPISODES
5 - "The Sword of Orion" (Sn. 1, Ep. 18) Jeremy comes back from visiting his divorcing parents, obsessed with figuring out how a yacht named the "Sword of Orion" lost a big race. It's a stretch as far as metaphors go, but it still guts me a little. Dan is also obsessed, with getting Rebecca to watch a baseball game with him, and as usual is effortlessly winning. Also, "Sloop John B," my favorite Beach Boys song, plays over the end.
4 - "The Apology" (Sn. 1, Ep. 2) : After they do an interview for a magazine, Casey worries that Dan is cooler than him (he's right), and Dan is forced to do an on-air apology for his statements about legalizing marijuana. What Dan ends up apologizing for is surprising and sad, and (yay, continuity!) will come back to haunt him in Season Two. Plus this is the episode that features "Afternoon Delight"!
3 - "The Cut Man Cometh" (Sn. 2, Ep. 11) : Casey and Dana's tentative "relationship" comes to a painful head, but the tension is eased as Dan and Casey are forced to fill 3 hours of air time when a live boxing match lasts only seven seconds, and their correspondent is a drunken idiot. We learn lots of unnecessary (and queasy) facts about boxing, and see an argument about how many states are in the union.
2 - "Dana and the Deep Blue Sea" (Sn. 1, Ep. 15) : Dan adorably pursues Rebecca, who tries to remain indifferent to his charm, even as he makes awesome speeches, proving he's the coolest character on the show. Dana thinks Gordon is going to break up with her, making Casey think he has a chance, and leading to Dana trying to overcome her "fear of fish." Yeah, not making that up.
1 - "The Six Southern Gentlemen of Tennessee" (Sn. 1, Ep. 11) : Casey offends the wardrobe ladies during an appearence on "The View," the crew debate about "Play of the Year," and Issac kicks ass when he delivers an editorial about a race-relations issue. It's the Christmas episode too, which means the cheese factor automatically revs to 20.
First things first, the "Who'd Win in a Fight?" poll officially closed yesterday and a last minute vote put John McClane in the sole lead. Apparently, the majority of my readership (37.5%, wow!) has decreed him the winner. I personally didn't vote for him, and my reasoning is this: admittedly, the man is a badass, and like I said, a cockroach - he will survive! But I think both Riggs and Bourne would outmatch him in a fight. And between those two, Bourne undoubtedly has the more impressive combat skills, but he fights dispassionately. There is a coolness there that I think could be his undoing if he came up against a worthy opponent. Riggs has enough of that crazy edge to beat him under the right circumstances. Nine times outta ten, I think Bourne will win, but watch out for Riggs in that final round: if Bourne doesn't care enough, Riggs will pull it out. But, no one really cares about my reasoning - THE PEOPLE HAVE SPOKEN! Congratulations, John McClane, you have been declared the winner of this imaginary, hypothetical, unnecessarily violent, extremely criteria-laden fight! Wear the honor proudly into the annals of history!
Secondly, for you "American Idol" fans out there (I know you exist), I came across a really funny article on Television Without Pity the other day, dissing the Top 10 Most Insane Performances in Idol history. I don't know if they are truly the worst, but the descriptions alone had me busting a gut, so here's the link: Top 10 AI Worst. These pages are pretty slow loaders, so beware. Also, most of them are decently easy to find on You Tube, if you feel the need to refresh your memory while reading.
Also, for you "Office" fans, a funny passage from the recap of "Michael's Birthday": Jim and Pam return to the office and Dwight asks Jim where he's been. "And don't say the bathroom, because I kicked in all the stalls." Without missing a beat, Jim gets ready to tell Michael about Dwight's invasion of privacy, and suddenly Dwight owes Jim for covering for him. There has to be some kind of name for the martial art that Jim has perfected in which he consistently turns Dwight's uptight officiousness around on him. Schrute-o? And from "Drug Testing": When Jim's turn comes, he turns it around on Dwight, saying that pot is a memory loss drug. "Now how much pot did you smoke?" Jim demands. There he goes again. Maybe Schrute-o isn't what Jim does. Maybe it's more like Schrute-jitsu. That cracked me up. The writers at TWoP are geniuses.
GONE BABY GONE:
I've watched a lot of episodes of "Law and Order: Special Victims Unit." I wouldn't call myself an avid fan, but I like to watch those marathons on USA when nothing else is on. The cops on that show are always talking about how seeing a constant stream of these horrific crimes changes the way they do their job. They stop giving people the benefit of the doubt; they don't trust the legal system to put the right people away or keep their victims safe because that trust has been proven wrong too many times before. That doubt is at the heart of Ben Affleck's directorial debut, Gone Baby Gone.
The story was adapted from the novel by Dennis Lehane, the same mind behind Mystic River, another story of crime and sins of the past set in a tight Boston community. The film has obviously benefited from Affleck's own experiences growing up in Boston; most of the characters in this film feel authentic, and in their appearance, approaches and dialogue seem organically lifted from the actual locations. Casey Affleck opens the film with a monologue that sets up some of the fundamental codes and belief systems in this neighborhood: "I always believed that it was the things you don't choose that make you who you are...your city, your neighborhood, your family." Casey Affleck plays Patrick Kenzie, a local P.I. that understands this community, was raised in it, and knows how to operate within it. But in the course of the film, he is thrown into a quandry, and like the best of Lehane stories, has to make decisions tainted in moral ambiguity. This small domain is set into an uproar when four-year-old Amanda is kidnapped from her home. She's been missing for 3 days. Her mother Helene (Amy Ryan) is white trash and seems less than despondent about the girl's disappearance. Helene's brother, Lionel (Titus Welliver), and his wife Bea (Amy Madigan) come to Patrick and his partner/live-in girlfriend Angie (Michelle Monaghan), desperate for assistance in locating their niece. The P.I.'s uneasily agree (they don't want the horror of finding a dead child to disrupt their otherwise pleasantexistence) and meet with Captain Jack Doyle (Morgan Freeman) about their involvement. Doyle reluctantly agrees to let them shadow the lead investigators, partly because he legally must, but also because he lost his own daughter to kidnapping and murder and knows too well that the circumstances in this case are edging towards failure. While Patrick and Angie begin investigating the actions of Helene the night Amanda disappeared, they meet up with Detectives Remy Bressant (Ed Harris) and Nick Poole (John Ashton), two hard-boiled cops, long-since jaded by their years of service in the Child Crimes division. This may seem like a lot of unnecessary backstory, but the histories of these characters play integral roles in the development of the case and in the influence of their decisions. I won't describe details of the plot because it is best to watch the investigation unfold, without being influenced by previous discovery; you need to see it from Patrick's point of view. And what a point of view it is. Casey Affleck, long in his older brother's shadow, has emerged this year as an actor of incredible talent (he was just nominated for Best Supporting Actor by the Academy for his impressive turn in The Assassination of Jesse James...). His boyish looks serve him well as his character's naivete gradually hardens, continuously challenged by a more complex moral code. He has a number of scenes where he questions residents of the neighborhood and has to appear nonthreatening, but also acquire information from characters who don't like to talk. The way these people speak is hard and full of profanity, but it is realistic to this time and place. Imagine the boys from Good Will Hunting growing up meaner, with about twenty times the menace to back it up, and that is the world Patrick and Angie have to navigate. (There are no amusing anecdotes or "Double Burger" jokes in this film. "Morgan" has grown up and advanced to the big boys table.) Affleck does a tremendous job of being affable, but intimidating, all the while still projecting an innocence. It is a very fine line he has to walk.
Affleck is supported by an all-star cast, not the least of which is Amy Ryan, recently nominated for Best Supporting Actress for her work as Helene. Her work in this role has garnered much attention for not seeming like acting. Helene is instantly recognizable as white trash, a drug addict, a person without motivation in life. Her appearance, her way of speaking, even the change in her mood is all perfectly calibrated. If I hadn't just looked her up on the Internet Movie Database and learned that her career has been long and diverse, I would have assumed that this was her first film role and that she was cast from real life. Ed Harris has the most difficult role in the film, making the audience believe in his code and what he would sacrifice for it. We don't even find out all his character is until the end of the film. Morgan Freeman has a scene near the end of the film where he has to sell the audience on a line of thinking; the desperation in his voice is menacing, and were it any one other than Morgan Freeman, we may not believe him.
This film is not perfect. It lacks the headlong enthusiasm of The Departed and doesn't present the blurred morality as concisely as Mystic River, but it is effective. Somewhere in the middle, it gets a little bogged down and seems hesitant. However, the ending of the film is majestic in its complexity. We realize that every moment in this film has been preparing us for this conclusion. Each decision, each character's code has lead us to this moment, and lesser parts of the film become recognizable. I checked into a board with fans discussing the film's ending, and it was full of intelligent debate: good vs. evil, right vs. wrong, the "greater good," all the film's intricacies debated with enthusiasm, divisive opinion, and smart reasoning. Ben Affleck has made a very good film, especially if it can inspire such compelling discourse.
I'm sure most of you have heard this by now, but Heath Ledger was found dead in his apartment this afternoon. Police are not sure of the exact cause of death, though most evidence points to a sleeping-pill related overdose, but whether it was accidental or intentional is not clear. I am really saddened by this development. Heath Ledger has been one of my favorite actors for a while now, especially after his awesome performance in Brokeback Mountain, and I was really looking forward to seeing him in the upcoming Batman-sequel, The Dark Knight. It's just so unfortunate; he was really talented and seemed like a decent human being as well. All my love and sympathy to his family and friends.
In regard to this morning's Oscar nominations, I just have to say I am unexpectedly satisfied. Much to my surprise, Atonement did get nominations for Picture and supporting actress Saoirse Ronan - I was doubting that it actually would! It also got totally deserved nods in adapted screenplay, cinematography, costume design, art direction and score. Yay! Supporting actor was exactly as I hoped, and the only change to my supporting actress list was Ruby Dee from American Gangster replacing Kelly MacDonald. And both Best Actor and Best Actress are, again, mostly as I hoped, but Johnny Depp (Sweeney Todd) and Cate Blanchett (Elizabeth: The Golden Age) replaced James McAvoy and Keri Russell (which is not unexpected). The only change to my list of Best Picture nominees is There Will Be Blood replacing Once, although Once did get a nomination for Best Song, "Falling Slowly" - YAY!
Best Director included category favorites Joel and Ethan Coen (No Country for Old Men) and Paul Thomas Anderson (There Will Be Blood), both films which led the nominations with 8 each, but Julian Schnabel (The Diving Bell and the Butterfly), Tony Gilroy (Michael Clayton) and surprise! Jason Reitman (Juno) were also nominated. There are lots of other great choices in nominations in the technical categories as well. The awards most surprising snub, to me, appears to be Into the Wild, a critics favorite that didn't get Sean Penn a directing nod (or best song/score), however it did garner supporting actor and film editing nominations. If you want a full list of the nominees, just search Academy Awards 2008, and your computer will be falling all over itself trying to give you a link! I am immensely pleased with this year's selections!
So, in other news........
It's been about about two months since we got a new episode of "The Office," and I've been going through a few minor withdrawals. I know that none of you are as psychotic as I am and don't spend hours watching shipper videos on youtube, but in light of our collective pining, I decided to post my absolute favorite Pam/Jim video ever. (Seriously, really well-edited; hits all the right notes.) If you only watch the show for the comedy and Michael, sorry, but this is not likely to soothe your pain. But for those of you who, like me, were on tenderhooks throughout their agonizing courtship, this is the video for you! It's from Pam's POV, dealing with the ramifications of turning Jim down in the season 2 finale, and completely schmaltzy! Makes me inexplicably happy every time I see it!
You probably knew this was coming from the second I started raving about him in my Atonement review! But please give me a little credit - I haven't plastered my bedroom wall with photos and there are currently no plans to travel to Scotland and stalk him. Progress! Truth is, I genuinely like the guy, and am continually impressed by the breadth and talent of his work. So, today you're gonna get a mini-gush and a few limited insights of my own.
I had never heard of him until he got a rather well-publicized role in Chronicles of Narnia: The Lion, the Witch and the Wardrobe as Mr. Tumnus, the fawn who befriends Lucy. The first time I saw the film, I remember being struck by a particular line reading; when Lucy introduces herself, she puts out her hand and Tumnus looks on, bewildered. Lucy says, "Oh, you shake it." Tumnus replies with a, "Why?" I couldn't possibly explain what was so entertaining about the way McAvoy said that "Why," but perhaps it stayed with me because it was not delivered the way one would expect a mythical creature in a children's movie to say it. It sounded dryly amused, chiding and playful, the kind of interaction had between adults, not the innocent, wide-eyed wonder usually found in almost all performances in a children's story. I'm sure if you check out that scene, you'll wonder what I'm going on about. It probably won't be as striking to you, especially after all of my hype. But it's there, and it's moments like that which really make me like the guy and look forward to his films.
Since then, I've seen him in three other films, most notably playing second-fiddle to Forest Whitaker's Oscar-winning role in The Last King of Scotland. In that film, McAvoy was a reckless, impetuous charmer and did a really great job. Unfortunately for him, most of the acclaim for that film was heaped on Whitaker's awesome performance. This summer I saw Becoming Jane, where he played a cocky romantic foil, a kind of combination of Mssrs. Willoughby, Darcy, and Knightley from Jane Austen's work. Then he was in Atonement, which, as you know, I've already raved about. In that film he dons a stiff upper-crust accent and has a lot of small moments (a burst of sheepish laughter, a grin tugging at the corner of his mouth, a helpless expression of grief) that really make the character real to me, and more than just a wronged man in a period picture. I've seen clips of some of his earlier work, and I'm eager to see those films all the way through. He'll be in the upcoming Penelopeand Wanted, both in which he'll have an American accent.I'm actually pretty impressed with his propensity for accents; he's played a lot of characters with ones different than his own, which is heavy Scottish, doing variations of British (1930's upper-crust, working-class, regional distinctions) as well as American, and Irish, and they've all been done well.
In addition to being impressed with his acting, I really like the guy in interviews. He did a series of them with Georgie Henley, the little girl who played Lucy in Narnia, and it was great to see how at ease he was with her and how he made her comfortable in the process. He's generally quick to laugh, tells great stories and anecdotes, and takes his work seriously. I also enjoyed one interview I saw where the interviewer tried to joke a bit nastily and McAvoy dished it right back at him. I really love how genuinely humble he is, and how he just doesn't talk about his marriage. You can tell he really respects their privacy. And from what I've seen, he usually speaks with great intelligence, insight and personality. Whether this is all a public ruse, I guess I can't say for sure, but if it is, he's got me sold, cause I would just love to hang out with him and pick his brain for an afternoon.
So, thanks for indulging me and my crush-of-the-moment. Below I've included a clip from one of his interviews; I found it hilarious and charming. Good luck with the accent!
With Academy Awards nominations being announced next Tuesday (Jan. 22) it got me thinking about what I really want to get nominated. I hate it when the same films are nominated for everything and I hate it when the Academy nominates the same actors year after year, without acknowledging new talent. However, I am also a biased individual with my own favorites, who knows that the Oscars are rarely fair, and that the most deserving candidate does not always win. So here is my wishlist, generally trying to nominate the best applicants, but also trying to include a diverse set of nominees (because in the face of such a great film season, there should be nominees from a lot of different films).
BEST PICTURE: - "Michael Clayton" - "Atonement" - "Once" - "Juno" - "No Country for Old Men"
BEST DIRECTOR: - Sean Pean, "Into the Wild" - Tim Burton, "Sweeney Todd" - Ethan and Joel Coen, "No Country for Old Men" - Julian Schnabel, "The Diving Bell and the Butterfly" - Paul Thomas Anderson, "There Will Be Blood"
The truth is, there are about 15 films that could all get a Best Picture nomination and deserve it. In certain drafts of my list, both Into the Wild and Sweeney Todd were nominated, and I know There Will Be Blood is likely to get the nod in real life. But I really felt like Once was a worthy candidate (and the kind of film that rarely gets the kind of credit is deserves) and Juno is a fresh comedy, full of flawless performances. So instead, I nominated certain films in the Best Director category, where I felt the vision of the director had the most impact on the film's success - Sean Penn, Julian Schnabel, Paul Thomas Anderson, Tim Burton - although all their work would be justified in the Best Picture race as well. Even though I snubbed them here, Joe Wright (Atonement), Tony Gilroy (Michael Clayton), Sidney Lumet (Before the Devil Knows You're Dead) and David Cronenburg (Eastern Promises) would all be great choices in the directing category as well. BEST ACTOR: -Viggo Mortenson, "Eastern Promises" - George Clooney, "Michael Clayton" - Tommy Lee Jones, "In the Valley of Elah" - James McAvoy, "Atonement" - Daniel Day-Lewis, "There Will Be Blood"
The Best Actor category was definitely the hardest. I included veteran actors I felt really deserved the nomination, but also wanted to include some new faces, like Viggo Mortenson and James McAvoy. In reality, the list of deserved nominees could also include: Russell Crowe for 3:10 to Yuma, Philip Seymour Hoffman for The Savages or Before the Devil Knows You're Dead, Denzel Washington for The Great Debaters or American Gangster, Ryan Gosling for Lars and the Real Girl, Christian Bale for Rescue Dawn, Frank Langella for Starting Out in the Evening, Johnny Depp for Sweeney Todd, Josh Brolin for No Country for Old Men, and Emile Hirsch for Into the Wild. As you can see, quite the hefty and talented list and I really don't know exactly how its gonna pan out. They may not all be the Best Actor of the year, but they do all deserve recognition as nominees and it's just not possible. BEST ACTRESS: -Julie Christie, "Away From Her" - Ellen Page, "Juno" - Laura Linney, "The Savages" - Marion Cotillard, "La Vie en Rose" - Keri Russell, "Waitress"
Best Actress was, as usual, the weakest acting category. I included award-favorites Julie Christie and Marion Cotillard. But my other three nominees are all from comedies, doing superior work in a genre that the Academy rarely recognizes in the lead acting categories. Laura Linney is always dependable, and much has been said about the fine balancing act of Ellen Page in Juno. But Keri Russell has been overlooked by all of the other awards shows and her work in Waitress really deserves a second look - she hits notes I didn't know she was capable of.
BEST SUPPORTING ACTOR: -Javier Bardem, "No Country for Old Men" - Hal Holbrook, "Into the Wild" - Casey Affleck, "The Assassination of Jesse James..." - Tom Wilkinson, "Michael Clayton" - Philip Seymour Hoffman, "Charlie Wilson's War"
BEST SUPPORTING ACTRESS: -Cate Blanchett, "I'm Not There" - Amy Ryan, "Gone Baby Gone" - Tilda Swinton, "Michael Clayton" - Saoirse Ronan, "Atonement" - Kelly MacDonald, "No Country for Old Men"
The Supporting Actor nominees were the easiest because they have been the most talked about supporting performances all awards season and each actor is doing some of the best work of his career. In Supporting Actress, I included category front-runners Cate Blanchett, Amy Ryan and Tilda Swinton, but added Saoirse Ronan and Kelly MacDonald, who have been largely overlooked thus far. BEST ORIGINAL SCREENPLAY: - Diablo Cody, "Juno" - Kelly Masterson, "Before the Devil Knows You're Dead" - Tony Gilroy, "Michael Clayton" - Nancy Oliver, "Lars and the Real Girl" - Todd Haynes, "I'm Not There"
BEST ADAPTED SCREENPLAY: - James Vanderbilt, "Zodiac" - Joel and Ethan Coen, "No Country for Old Men" - Christopher Hampton, "Atonement" - Ronald Harwood, "The Diving Bell and the Butterfly" - Paul Thomas Anderson, "There Will Be Blood"
In the Screenplay races, I tried to include scripts that were truly unique or had adapted particularly difficult work (Juno, Atonement, There Will Be Blood, and The Diving Bell and the Butterfly) as well as standouts No Country for Old Men and Michael Clayton. But I included worthy films that weren't nominated in many, or any, other categories, such as Before the Devil Knows You're Dead, Lars and the Real Girl, I'm Not There, and Zodiac.
I gave the most nods to No Country for Old Men and Michael Clayton because those films really deserved each and every nomination, and probably more. I tried to include the most deserving candidates in the acting categories, but did let my personal preferences remain (James McAvoy and Keri Russell). However, I feel like my list gives a little recognition to almost every great film that came out this season (sorry American Gangster and 3:10 to Yuma - I hope you get nods in other categories). There are some great articles about the nominations from Entertainment Weekly here if you want to read more. Otherwise I'll be back here to discuss my reaction to the nominations on January 22nd!
Once is that rare film that reminds you how effectively moving a simple narrative can be. I was charmed by the first few minutes, depicting a street singer (Glen Hansard) chasing down the bum who stole his money and guitar case. But I wasn't prepared for the depth of fascination I felt once our guy meets an immigrant girl (Marketa Irglova) who wants to know more about his music. She is insistent, asking probing questions he just isn't prepared to answer. He eventually admits he's a Hoover repairman by day. She is delighted; her vacuum is broken! When they meet the next day, what begins as lunch turns into an extended discussion about their passion for music and our guy discovers he has found a kindred spirit.
She takes him to a music store where the owner lets her play piano. It was at this point my fascination unexpectedly turned to joy. As he begins to play one of his original songs on guitar, she joins in, first on the piano, then gracefully adding harmony to his lyrics. Together, the tentative song finds footing as they each more confidently release their talent, gaining momentum (and volume), riffing and finding that perfect balance. How do you describe the magic of watching a modest song become full-bodied piece of art? I'm sure I don't know. All I know is this moment is transcendent, perfectly capturing a process and an experience, without bells and whistles, still leaving you transfixed. And in that moment of creation, they fall in love. It isn't declared, but the fact of it exists for the rest of the film, influencing their music and continually bringing the two together. I am reminded of Hugh Grant and Drew Barrymore's recent foray into songwriting in Music and Lyrics, a film I liked, but which pales in comparison to the simple truth expressed in this film. Music in Lyrics needed a lot of plot and jokes and quirks in order to get those characters together and have them write a song. In Once, two regular people who love music come together in the most basic way and drive the narrative, just by being honest to the material.
It was not surprising to learn that both the lead actors are actually musicians in real life. Glen Hansard is the lead singer of The Frames, a U.K. band that at one time also included writer/director John Carney. Marketa Irglova is only 19, originally from Czechoslovakia (whose language she speaks in the film), and has great talent as a singer and songwriter. She and Hansard wrote most of the material for the film themselves. You would think that their lack of acting experience would be apparent, given that they have to "spontaneously" write and create music in the film, but it never feels rehearsed. Each musical moment feels completely organic, as if it was serendipitiously captured by a traveling documentary crew. The jam and recording sessions look like they actually could have been lifted directly from a low-budget documentary about small-time musicians, which makes the acting and writing all the more impressive for seeming absolutely real.
Hansard and Irglova do an excellent job of making these characters ordinary, and yet still fascinating. Our Guy (neither lead character has a name, they are Guy and Girl in the credits) is wary when answering questions, but completely open when he sings. Just watch the way his face lights up and his body language changes when he realizes how amazing this woman is. Hansard imbues him with a noble vulnerability, even in the face of embarrassment. And Marketa Irglova plays her Girl as a woman who knows herself. She may not always know what direction her life is going, but she knows who she is and what choices she has to make. Her character is bold, unafraid to ask imposing and personal questions, and unwilling to let our Guy fall back and remain a street performer. He may be the creative thrust behind the music, but she is the force that inspires change, even acts as producer and bargains the budget. She is truly remarkable.
The film doesn't provide a cheap and easy solution. These are complicated people, both nursing bruised hearts. But we feel the magic that happens between them and we witness the effects of their passion for music. I suppose your enjoyment of the film largely depends on whether you like their style. But I think most will find it hard to deny the inherent enchantment that falls over this film when they sit down to create.
As my last entry was undoubtedly testosterone fueled, I thought I'd pander to those of the estrogen persuasion today. Here's my first, complete top ten list, and as romantic comedy is just about my favorite genre, at least the genre in which I like even the majority of the bad entries, I thought I'd start with that. Let it be known that these are my own personal favorites and not intended to make judgments on all the other excellent romantic comedies out there.
10 - Bridget Jones' Diary (2001): How can you not love Renee' Zellweger's adorable loser? She makes a continuous fool out of her self, often with drink and ciggy in hand, curses like a sailor and always says the most inappropriate things. Hopelessly flawed, but completely lovable. The story is loosely based on "Pride & Prejudice" (love!) and it didn't hurt having the BBC Mr. Darcy himself, Colin Firth, step into the role. Also gets big kudos for the most pathetically hilarious fight and for casting Hugh Grant in the first of his "charming cad" personas, a role he was born to play.
9 - Love, Actually (2003): As saccharinely sweet as films come, I love all these tales of people finding love at Christmastime. My favorites are Hugh Grant (again, and not for the last time) as the Prime Minister with a crush on his catering manager and a young boy who finds the "love of his life" just after his mother has died. He is seriously the cutest child I've ever seen and says things like, "Come on! Let's go get the shit kicked out of us by love!" Most of the tales end happily, with lots of charm and a lack of real problems, and only Emma Thompson's grievous discovery of her husband's infidelity saves the film from a total sugar-overdose.
8 - French Kiss (1995): One of my favorites for its dialogue - I was quoting this one for months afterward, still am! Kate (Meg Ryan) follows her erstwhile fiance' across the ocean after being dumped and takes up with Frenchman Luc (Kevin Kline, nails the accent and comedy). I love watching her uptight control-freak gradually relax under the influence of his sloppy, manipulative charmer. And it contains the sublimely amusing song that ends, "I hate Paris, because my love is there.....with his slut girlfriend."
7 - The Truth About Cats and Dogs (1996): This female-take on the Cyrano de Bergerac tale works because Uma Thurman and Janeane Garaffalo nail their respective roles. Garaffalo is the funny, cynical "ugly duckling" who uses Thurman's beautiful, air-headed "swan" to win the man of their dreams. But what really sells me is the friendship between these women: Garaffalo is vulnerable and easily hurt, while Thurman is grateful to have a friend who builds her up rather than tear her down.
6 - Keeping the Faith (2000): The unlikely tale of a priest (Edward Norton) and a rabbi (Ben Stiller) who are best friends, completely support each other's faiths, and both fall for the same fun-loving, corporate gal-pal (Jenna Elfman). I've never found Edward Norton funnier, Ben Stiller sexier, and Jenna Elfman just glows - seriously, she's luminous. I want to date her, or at the very least make her my best friend. And the movie allows our priest and rabbi to be flawed people while simultaneously taking their faith seriously.
5 - Two Weeks Notice (2002): Charming corporate stooge is taught life lessons by noble, rigid do-gooder, and whaddaya know, they fall in love. We've seen this story before, but what is comes down to is the chemistry between Hugh Grant and Sandra Bullock. Not only are they convincing as potential lovers, but they really sell me on their friendship. They complement each other completely - just watch them share a salad. Plus, it has this priceless exchange: "I've never seen you cry before. (pause) Well, except when Bush won." "Which one?"
4 - Never Been Kissed (1999): This was the year Drew Barrymore became a true movie star. She mastered physical comedy, wasn't afraid to look ugly and perfected that hopeful, childlike quality for which we love her. I really cared about her happiness in this movie and when she finally does get kissed, it's superbly scored with the Beach Boys "Don't Worry Baby."
3 - Four Weddings and a Funeral (1994): You know all those films where the hero has a large group of eccentric friends that act as his family? This is the film that started it all. Hugh Grant (last time on the list, I swear) broke into the big time as the stuttering, inarticulate hero, forever meeting the love of his life (Andie MacDowell) at weddings. But what hilarious weddings: being confronted by a table of exes at your reception table, stuck in a closet while the bride and groom noisily make love in the same room, and making horrendous wedding toasts - classic! And containing one of the saddest and most moving movie funerals I've ever seen.
2 - You've Got Mail (1998): While Sleepless in Seattle has the unabashed romanticism, I prefer Meg Ryan and Tom Hanks at their snarky best, hurling insults back and forth, all the while falling in love over the Internet. It features outstanding supporting performances from Greg Kinnear, Parker Posey, Dabney Coleman and a pre-fame Dave Chappelle. Hanks gets to have a mean streak and Ryan is perfectly manipulated into falling in love with him. And the scene where Ryan has to close her mother's bookstore forever always gets me crying.
1 - While You Were Sleeping (1995): Sandra Bullock plays her most endearing character, Lucy, a sweet romantic without any family, who falls in love with a guy in a coma. But his family! Yes, they're eccentric, but not unbelievably so, and they have so much love for one another and for Lucy. They embrace her wholeheartedly and watching her have the family she has so missed just makes the movie for me. It contains a fantastic family dinner sequence (a favorite scene in my family) and Bill Pullman is the perfect actor for Lucy to finally fall in real love with.
Go ahead and speak up with your favorite romantic comedies! Also, we haven't resolved our "Who'd Win in a Fight" discussion, at least not to my satisfaction, so go ahead and post your winners down there.
Over the Christmas Holiday, my dad and I got into a very important discussion about some action stars and their butt-kicking prowess. Several candidates were proposed, their merits debated, and we ultimately narrowed our list to the top three, but were unable to pick a winner. So, it got me thinking, who do you guys think is the biggest badass in film?
Now, before you answer, you should know the criteria that was considered and decided upon. First, pretty much no characters from before the 1900's, meaning no swords, axes, bows and arrows, etc. This means, no Aragorn from Lord of the Rings, no Maximus from Gladiator, and no William Wallace from Braveheart. We're talking hand-to-hand combat here. Second, no characters with extreme kung-fu or katate skills, which discounts Jet Li, Jackie Chan and, Uma Thurman's Bride in Kill Bill. Also, no characters who derived their fighting ability from a computer program (The Matrix), no characters who use lightsabers and the Force (Star Wars) and no characters that are actually machines (The Terminator).
I realize that many characters from the last 200 years would have access to guns, however, in our discussion, they do not factor into their fighting abilities: these characters have to be able to handle themselves admirably without a weapon, even if they do use a weapon at other times in their films. Also, their fighting abilities can't only be demonstrated in a professional sports capacity, such as Rocky or Russell Crowe in Cinderella Man.
Okay, now that we've got those guidelines out of the way, here are the top contenders my dad and I discussed:
Martin Riggs (Mel Gibson) in the Lethal Weapon series: Riggs is the renegade cop who handcuffs himself to an attempted suicide and forces him to jump. Put simply, Riggs is a little crazy. He is unafraid, able to survive the worst hits (like a chestful of bullets in Lethal Weapon 2), and shows plenty of hand-to-hand skill is his fight with Mr. Joshua at the end of the first installment.
Bud White (Russell Crowe) in L.A. Confidential: Bud is a dogged protector of women, going after their abusers with a fierceness bordering on derangement. His technique is not the most refined of the group, but the relentless intensity behind it is usually enough to bring him out on top.
Indiana Jones (Harrison Ford) in the Indiana Jones series: I have a certain affection for this weary, beleaguered treasure-hunter. To be fair, I don't think his fighting skills are on par with the rest of our nominees, but he does have a way of surviving based on his intelligence and his feisty refusal to die.
Tyler Durden (Brad Pitt) in Fight Club: Whether he exists in Edward Norton's body or Brad Pitt's, this character is unafraid to lose and desires the pain. Again, a little nuttiness goes a long way and I know I wouldn't want to come up against this guy, especially when he's in Brad Pitt's extremely chiseled body.
Jason Bourne (Matt Damon) in the Bourne series: It almost seems unfair to put him on the list. He is a trained assassin and has an almost Pavlovian response to combat (unlike Riggs, who does have Special Forces training, but not at this level). Bourne can kill you with a magazine for God's sake! He is undoubtedly the best fighter, but I wonder whether it's unjust to put him on this list. Could the others' craziness even compete?
John McClane (Bruce Willis) in the Die Hard series: Well, firstly, he's played by Bruce Willis, the most badass actor on this list. Second, he manages to take down entire terrorist organizations while running around on bloody-pulped feet. McClane is just the scrappiest guy on this list and like a cockroach, I have no doubt he will always pull through. Plus, he has the coolest catch-phrase!
James Bond (Sean Connery or Daniel Craig) in Bond series: Connery suffers unfairly for the early fight coordinators, but he was always the most masculine James Bond. That is, until Daniel Craig came along. Craig has the requisite intensity and burliness as well as the fight pedigree. And any man that can survive the rope to the balls torture without breaking has got a little something special.
So there you have my list of contenders. Please post and lemme know what you think. Also, don't be afraid to speak up with options I may have forgotten or overlooked! I want the most comprehensive list possible, if we're gonna be fair. Please enjoy!
I went and had myself a good ol' fashioned movie day this week (thank you very much Heather) and saw two films I had been dying to see for over a month (Juno and Atonement), but which the cruel hierarchy had consistently denied me. There has got to be a better system for getting the movies to the people, some kind of due process, cause both of these movies were supposed to be out in early December, only to finally trickle down to the lowly Eugene theaters last weekend. What the hell! I think limited release is such a cop out - why make me suffer and send me trolling through the internet for spoilers, so desperate am I to just see your movie!!! Why make it so difficult for me, eh? I also saw Across the Universe, a film I already saw back in September, but wanted to refresh my memory and get the big screen treatment one more time - big, brash musicals always look better in a theater.
Across the Universe:This was easily one of the more divisive films of the year, spawning unadulterated hate in most critics, and yet garnering fierce affection from my critical hero, Roger Ebert, who even placed the film on his top 10 list. Truthfully, while I personally love the movie, I completely understand why so many loathe its very existence. Julie Taymor's ambitious musical is an ode to all things Beatle-esque, from the musical numbers and the time period they were written about, to character names and throwaway lines. The plot follows the adventures of Liverpool native Jude (Jim Sturgess), his true-love Lucy (Evan-Rachel Wood), her brother Max (Joe Anderson) and a few other '60's characters as they negotiate their way through flower power, Vietnam, psychedelics and social rebellion. None of the storylines are very original, but when filtered through the right song, I found the character emotions and situations more fulfilling than they would have been otherwise. I also discovered The Beatles music resonating in a way I had not grasped before; the passion they must have felt when they wrote such classic songs was suddenly more palpable than it had ever been. My favorite numbers included an emotional rendition of "If I Fell," the stylized graphics of "Strawberry Fields Forever," the energy behind "I've Just Seen A Face," and of course the slower, softer version of "I Wanna Hold Your Hand," which is usually an up-tempo number, but in this film surprises you with its tender sadness. Sturgess and Wood are fresh faces, well-suited to the material and with strong, sweet voices to match. Ultimately, I love the film for what it does right, but find myself wanting to write an essay on how it could be made better and more accessible to the audience. It's elemental mistake is its excess; it's too long by half an hour, one too many psychedelic sequences, an unnecessary character and too many Beatles references crammed in. I enjoy it, but I don't think anyone who reads my blog will - you have to wholly give in to its literal cheesiness if you have any hope of savoring this film.
Juno: Certainly one of the more charming and easily likable films of the year, Juno has the most solid cast, a group of people equal to performing - with conviction - highly stylized and often ridiculous dialogue. That isn't to say I didn't enjoy the way Diablo Cody wrote her script, but it does smack of self-indulgence every now and then. (But who am I to criticize or complain when the droll speech is so entertaining?) Sixteen year-old Juno (Ellen Page, in a staggeringly accomplished performance) finds herself pregnant after jumping her best friend Paulie Bleeker's (Michael Cera) bones. Unable to have an abortion (although one is considered) she decides to find adoptive parents in the local penny-saver, leading to the hilarious exclamation, "Desperately Seeking Spawn!" Juno settles on yuppie couple Mark and Vanessa (Jason Bateman and Jennifer Garner), lauding their picture-perfect lifestyle, even as her presence begins to expose cracks. Juno's relationship with Mark veers into sweet, but disturbing territory, and in wake of the self-imposed stagnancy of her relationship with Bleeker, she finds herself questioning the ability of relationships to provide sustenance. I appreciated the good-humored approach to her dad and step-mom, played by the incomparable character actors J.K. Simmons and Allison Janney, and I was bowled over by the subtlety and humor Jason Bateman brought to such a complex role. The heart of the film belongs to both Michael Cera and Jennifer Garner: Bleeker as he stands aside, willing Juno to appreciate his unceasing devotion, and Vanessa, the type-A personality who fervently wishes for a child of her own. Garner has a scene with Juno and her belly that brought unexpected tears to my eyes. And at the center is Ellen Page, steadily navigating the quirks of her character, but never losing grasp of Juno's heart.
Atonement: Thirteen year-old Briony Tallis (Saoirse Ronan) is a writer. Just on the cusp of entering the adult world, her imaginative mind spins wildly dramatic stories, desperate to be congratulated by her family and peers. Unfortunately, one hot, summer day in 1935, Briony witnesses an odd encounter between her older sister, Cecelia (Keira Knightly) and Robbie Turner (James McAvoy), the son of their housekeeper. Over the course of the day, a series of misunderstandings and tragic coincidences lead her to believe Robbie is a sex maniac, dangerously close to attacking her beloved Cecelia. What her young mind is unable to grasp is that Cecelia and Robbie are in the early stages of young love, and the nuances and contradictions apparent in their behavior are beyond Briony's understanding. When her visiting cousin Lola is attacked and raped, Briony, as the only witness, and blinded by her misguided intimations, accuses Robbie of the crime. The consequences of this untruth determine the rest of the film. Joe Wright's brilliant Atonement, meditates not only on the destruction flung upon these three people, but also on what it means to atone for one's sin. As the film finds our characters immersed in WWII, Keira Knightly and James McAvoy have heartbreaking scenes as they attempt to put right the relationship they had almost begun on that fateful night. And Briony, consumed by guilt, makes attempts to understand her crime and seek forgiveness. The complexities of the narrative are endlessly fascinating, as they not only tell an involving story, but ruminate on the nature of what it is to be a writer and the whether the ability to fix such a tragic mistake exists. The cinematography in this film is gorgeous, most notably the continuous, uncut scene on the beaches of Dunkirk during the war. The score is inventive, utilizing the sound of a typewriter, re-enforcing the concept of Briony's imagination as "creator" of our narrative, both literally and figuratively. And the film culminates in a scene of such power that it causes you to rethink everything you have just seen. What an elaborate and beautiful film. James McAvoy, steadily rivaling my love for Leonardo DiCaprio, gives a finely-layered performance, rich in emotional detail. Keira Knightly does subtle, refined work, again proving she has skills far surpassing the Pirates of the Caribbean franchise. Saoirse Ronan, as young Briony, is in full control of her clipped voice, intense gaze and rigid body - just look at the way Briony walks! This is a performance of great maturity and talent. The film is an adaptation of the novel of the same name, written by Ian McEwan. The novel is intricate and offers greater internal insight to our characters, but Christopher Hampton has done an admirable job of adapting such a visually complicated narrative. This is one of my favorite films of the year.
Another ongoing feature, "Check This Out" will showcase films that you may have never heard of, or don't know much about, but I think you should see. Obviously not every film I recommend will please everyone. (I recall a disastrous incident last year when I told Heather I liked all the Best Picture nominees, and on that recommendation she and Zeb rented Babel and subsequently, he will never trust another suggestion I make. Ever Again! I should have clarified that while I thought it was a great film, it was not a film everyone (i.e. Zeb) would enjoy.) So I will bear in mind that some films I like, you will not, and I will make it a point to describe the genre and plot accurately so that you can more adequately decide whether it's a film you will like. That disclaimer aside, here's today's choice:
BRICK (2006)
Brick is the unlikely film noir set in high school. Brendan (Joseph Gordon-Levitt) is a jaded loner trying to unearth the whereabouts of ex-girlfriend Emily (Emilie de Ravin). When she turns up dead, Brendan is plunged into the shady underworld of her new crowd. There's Laura (Nora Zehetner), the popular queen bee and possible femme-fatale, Dode (Noah Segan), a druggie who had a thing for Emily and knows more than he's saying, and Tug (Noah Fleiss), the tough, silent thug with connections to the infamous Pin (Lukas Haas). Who can he trust? With the help of the Brain (Matt O'Leary), Brendan tries to gain access to the inner world of each of these characters in order to determine why Emily died and who killed her.
If you're saying to yourself, this doesn't sound like my high school experience, you'd be absolutely right. This story belongs in the 1940's with Humphrey Bogart as the lead, dirty cops, crooked deals and every frame cloaked in shadow. But this film isn't trying to be realistic; it's taken the bare bones of a film noir story and transplanted it into a modern day high school. It shouldn't work, but it does because the characters take it seriously, as if this world is reality. And once you accept this, the story begins to work on an unexpected and nuanced level. As Brendan delves further into this complex clique he discovers hidden connections, complicated motivations and the essential story forms a unique and fresh tale. It contains quirky details like a coded piece of paper, an unusually low ceiling in a wood-paneled office, a man with a cane and the sheer oddness of Brendan's favorite shoes. The dialogue is also inventive, mixing film noir slang with a new set of words and phrases that occasionally defy meaning. I suggest watching wordy scenes with the subtitles on, in order to fully grasp the rhythm and style of the characters' peculiar vocal form.
In a film full of odd and eccentric characters, Brendan is the anchor. You may remember Joseph Gordon-Levitt from his comedic turns on "3rd Rock From the Sun" and 10 Things I Hate About You. In Brick, he brings a here-to-fore unseen gravitas to his doggedly determined anti-hero. He rarely smiles, but attacks information with weary gusto and burrows within his thin jacket like it's a coat of armor. He is intelligent, has a good poker face, and, in rare physical encounters, is resourceful and tenacious. We want him to succeed in his quest.
This film impresses me more every time I see it. It has a moody, evocative score, a bold story and seems filmed endlessly in early dawn, blue-tinged light that substitutes for the noir shadows. It may not work for everyone, but the story intrigues me and the performances support its audacity. If only more films were this willing to take chances.
accept the reality that his wife is fading, and Fiona who faces her diagnosis with clear-headed wisdom, lacking those overemotional histrionic reactions that have become so common in films about illness. The story develops more or less predictably (anyone who know anything about Alzheimers can guess what will happen as Fiona's condition worsens), but the film's surprises and successes come in it's approach. Christie gives a very subtle performance, reacting softly and sweetly to each horrible eventuality, emotion reflected in every expression and gesture, without becoming caricature. She has already received accolades aplenty for her performance (winning the SAG award on Sunday) and is the likely front-runner for Best Actress at next month's Academy Awards. He co-star, Gordon Pinsent, has not been mentioned as frequently, but has the more difficult job. We have to believe his character has been a good husband, despite past indiscretions, and Pinsent does a superb job of reining in his emotions, allowing us to feel them without always showing them. Grant is an intellectual and watching his attempts to reason the correct course of action are agonizing, especially as his heart is always pulling him in another direction. The film was made in Canada and seems set during an endless winter. The locations are always cold, barren, and lonely, which only further distinguishes them from the happy memories that seem to materialize from a brighter and warmer past. This is a well-made film, but given it's subject matter, it cannot be a happy one. It takes a cruel illness and follows it's development to a logical conclusion. The performances are lovely, the film is powerful, but if you're looking for something light, this is not a film you will enjoy.
star has materialized into a girl named Yvaine (Claire Danes), and she wears a necklace containing the crest of the future king. And we're not even done yet! What if I told you that the story also involved several princes in deadly pursuit of the necklace, the ghosts of several other dead princes providing amusing commentary, an evil witch (Michelle Pfeiffer) who needs the heart of the star to stay young, and an old pirate (Robert DeNiro) with a fey sense of style. That the resolution to the plot also involves Tristan's father, long lost mother and girlfriend (Sienna Miller), seems impossible in such a cram-packed film. By the conclusion, when all the disparate plot strands had finally found cohesion, I became genuinely interested in these characters. I also found that I had, for the most part, enjoyed their adventurous and clever journey. However, the beginning of the film takes too long to gain momentum as countless characters and story-arcs are introduced. I was not fully engaged until the 45-minute mark, and that is never a good sign. Pfeiffer has great fun playing the youth-obsessed crone, DeNiro plays against expectation with comical results, and the film contains a hilarious fight with a dead body that had me rolling. Overall, the film eventually gelled for me, providing enough moments of inventive folly to make it worthwhile. However, if you're not a fan of this genre or are not willing to wait for the surprises, I doubt it will suit your fancy.
