What I've Been Watching...

Liberal Arts: Directed by "How I Met Your Mother"'s Josh Radnor, this movie tells the exact experience of college I always wish I had had, but never did. While there were moments of extraordinary learning and occasional inspiration, I was far too shy and afraid to develop real relationships with my teachers and hang out talking about literature and film after class. And I was too busy almost all of my college years working a full-time job to really get involved in extra-curriculars or the college social scene. In fact, the only friends I made, and kept, were younger than me and worked with me at the mall. That was where I truly bonded: with other menial slaves. abused by mall patrons who assumed we were idiots. But this film is full of the joy and security that comes from a great college experience. Radnor's character is a stunted adult, failed by the grind of the real world, who finds solace in the company of college student Zibby, played beguilingly by Elizabeth Olsen. They engage in the kind of effortless rapport we all wish for, and have one amazing disagreement about the viability of "that vampire book" and whether enjoying it means you have no taste. As someone who considers themself able to judge between good and bad, the fact that I in no uncertain terms really liked the "Twilight" franchise was quite disturbing for me. This film finds a suitable compromise for the debate between art and entertainment. Radnor and Olsen are solid and winsome in their roles and the films has room for fun supporting performances from the always great Richard Jenkins and Allison Janney, as well as John Magaro and, surprisingly, Zac Efron. As the title might suggest, this film appeals to the kind of student who chose courses based on their enjoyment, and found encouragement from imaginary characters. This is not about the kind of education meant to further a career. But that is perhaps the reason it appealed so to me; one could never accuse me of being in any way ambitious, or having any career aims other than to occasionally talk about movies in a manner that wouldn't cause embarrassment.

 

The Amazing Spider-Man: I'm a little late to the party on this one considering the trailer for the sequel is already making the rounds. I have adored Andrew Garfield since The Social Network and he doesn't disappoint as young Peter Parker, a role he seems better suited for than Tobey Maguire (who was perfectly acceptable in the role). Garfield is long and wiry, somewhat awkward and quick witted. Despite being almost exactly the same age when they took the role (Maguire was 27, Garfield - believe it or not - was 28, which makes him 30 now!) Garfield seems so much more comfortable playing a high schooler. He convincingly taps into all that angst and unease. He is ably matched by Emma Stone as love interest Gwen Stacy, and she is predictably charming and lovable. A couple in real life, Stone and Garfield have ample chemistry and their first kiss is really good for a superhero movie - playful and intense. The storyline is mostly engaging, especially how Peter develops his powers (he designs his own web-slingers, has a lot of fun taunting both hoodlums and the police, and is believable as an undercover genius), and I really liked that they included the origins of Peter's parents and how that informs his decisions and knowledge of the world. Rhys Ifans is a great actor and had the potential to be a great villain, but on the downside are the mediocre special effects employed when he transforms into "The Lizard." (And truthfully, I'm never really sure what his motivations are once he has changed; does he want to turn everyone into a lizard? Is he merely threatened by the end of his research? I don't think it is adequately explained why a genius scientist with noble motives suddenly starts killing innocent people.) Despite it flaws, and based primarily on the chemistry of its leads, consider me on the hook for the sequel.

 

Stories We Tell: Sarah Polley's ascension as a filmmaker has been pretty extraordinary. A former child actor, known to me as Sarah Stanley on Disney's "Avonlea," Polley grew up to give natural, crisp performances in Go, Dawn of the Dead, and My Life Without Me. Her first directorial effort was Away From Her, a devastating adaptation of Alice Munro's short story "The Bear Came Over the Mountain." That film was bleakly brillant, insightful and tinged with the knowledge of someone who had actually experienced such turmoil. The film garnered lead actress Julie Christie several Best Actress nominations and awards. 2011's Take This Waltz was another indie gem, featured for months  on Netflix's instant watch list. It told the story of an emotional affair between a happily married 20-something (Michelle Williams) and an elusive artist (Luke Kirby). Lush colors, great musical choices, and original visual compositions highlighted a difficult story in which to retain sympathy for the leading lady, but the story always felt creative and true. And now comes Stories We Tell, a documentary about Polley's own family and the story of her conception and childhood. As her own sister says near the beginning of the film, "Who cares about our fucked up family?" But we do care about this fucked-up family - because they are so colorful and candid? because we can see ourselves in these relationships? because the way they talk about their family history is so familiar? I can't say - and it is a testament to the strength of Polley's script and editing choices that I was tearing up within the first 15 minutes. The film embellishes on certain truths about the way we think of our own lives - they are vitally interesting to us even when we think they're are boring, and how they inform how we think of ourselves - while also acknowledging that we don't always recognize the stories as they are happening. The narrator (who also happens to be Polley's dad, a former actor) states: "When you're in the middle of a story, it isn't a story at all but rather a confusion...It's only afterwards that it becomes anything like a story at all, when you're telling it to yourself or someone else." And although I can't relate to these questions of paternity and adultery, the grace and lack of embarrassment in divulging these details makes me feel as though I was there too. That is the magic of a good film - as I think Roger Ebert put it, the more specific the detail, the more relatable the story. Somehow specifics lend themselves to a greater community of shared experience than generic tales that try to appeal to everyone. General platitudes are not inspiring; it is in the details that we find camaraderie. Polley also employs an ingenious framing device that I didn't even realize was faked until the credits rolled: all of the old family movies, used to illustrate and animate the mother's life, were filmed in the here and now with actors and astonishing attention to period detail. I should be angry that I was so duped, but the ruse is so effective I can't say I really mind.

This movie is so good, I'm including the trailer hoping it will persuade you.

The Mortal Instruments:City of Bones: I don't know which books were written first, but this film is clearly another studio attempt to match the success of Twilight. We have vampires, werewolves, warlocks and witches, demons and half-angel shadowhunters all engaged in a secret power struggle. Teenager Clary (Lily Collins) is suddenly thrust into this world when she sees Jace (Jaime Campbell Bower), a Shadowhunter who should be invisible to other "mundanes," which apparently Clary is not as she witnesses him slaying a demon. From here on the plot is mad scramble including the kidnapping of her best friend Simon (Robert Sheehan) by vampires, the disappearance of her mother, a renowned Shadowhunter, the location of the mythical Mortal Cup, Clary trying to retrieve memories that have been magically blocked, unknown paternity issues and a love triangle involving Jace and Simon. Some of this is interesting (the runes Shadowhunters tattoo on their skin to protect themselves and perform enchantments) but much of it is not (evil Valentine's plot to control demons, the torn loyalties of mentor Hodge, the constant whining of Simon, the shallowly managed anger of  fellow Shadowhunter Alec, etc.).  I did enjoy most of Clary's arc (her complaints about having to dress like a hooker to be taken seriously are valid), and the development of her magical abilities, Jace's very dry sense of humor made me chuckle more than once, and the final twist, no matter how drawn out and badly handled, is intriguing. Basically, this is exactly the kind of movie I like to watch when I don't want to be challenged or to think. For what that's worth.



ALSO SEEN:

The Sessions: Great performances from Helen Hunt and John Hawkes (who is finally coming into his own as a renowned character actor) as well as the most sympathetic Catholic priest you will ever seen played by the affable William H. Macy. Sometimes uncomfortable - both emotionally and physically - but very humbling.

Only God Forgives: Beautiful colors and compositions, an eerily still environment, and a wonderful score make this dream-like film interesting. A little short on story for my taste, but worth it for the more experimental film buff. Beware of a few scenes of graphic violence.

This is the End: Yes, Seth Rogen is essentially playing himself, but James Franco, Jonah Hill and Michael Cera give spot-on parodies of themselves (some more rooted in reality than others) and the underused Jay Baruchel (another member of the Rogen/Apatow crew) is finally given a part in which to shine. Very funny, but also a little self-indulgent and crazy.