I'm just a sucker for those X-Men, so on opening weekend I'm uncharacteristically off to a big budget, F/X heavy chapter in the ongoing mutant saga. The delectable Hugh Jackman stars as Wolverine, one of the most appealing mutants of the series. We encounter him this time as Logan, before those infamous shiny steel claws became part of his persona. Unfortunately there's nothing especially original about this story. We have an evil government man (played with relish by Danny Huston) performing secret, nasty experiments on imprisoned mutants; a lovely, loyal, boring love interest (Lynn Collins) for Wolverine; a creepy nemesis named Sabretooth (Liev Schreiber); mutant-on-mutant slashing. Although the story reveals the origin of Wolverine's talons and his history of fighting off various enemies, it remains a bit of a mystery how he really started out in life or how his mutant state has effected him.
There's an interesting cast of characters who keep the action moving, including Ryan Reynolds (having a lot of fun with the wise cracking, chatterbox Wade Wilson), Dominic Monaghan as Bolt, Will i Am as John Wraith and Kevin Durand as The Blob. Taylor Kitsch is also a good addition as Remy LeBeau, a nefarious but charming New Orleans gambler I would expect to make another appearance in a later X-Men movie. Director Gavin Hood gets good performances from his eclectic mix of actors but it's pretty challenging to really bring much to these parts except cartoon level portrayals. It's not quite enough to make the movie thrilling or involving in the way the first X-Men film was for me, but it's just enough to make things entertaining. Wolverine does a lot of roaring and knashing of his teeth and claws, maybe a little too much, but he sure looks good doing it. The big reveal about Wolverine's origins was somewhat of a disappointment with a so-so ending.
Things to love about this movie: Hugh Jackman is terrific; some cool F/X
Things to hate about this movie: The movie is mostly action with very little time spent getting to know any of the mutants
Pleasant surprises: Wolverine running around buck naked in one scene (though I'm sure it's a body double)
Unpleasant surprises: A supporting character I enjoyed was killed off earlier than I expected
Monday, May 11, 2009
Monday, April 27, 2009
Movie Review - The Informers
Opening with a sudden accidental death, "The Informers" lures its audience into a 1980s world full of vapid, beautiful blonde boys and girls leading lives of empty decadence as they move through a glittering Los Angeles landscape where drinking, smoking, drug taking and vaguely kinky sex are the sum total of existence. Welcome to Bret Easton Ellis at his nihilistic best. Even a spinning overhead shot of the famous Hollywood sign reveals graffiti at the base of the letters. It's real time L.A. stuff. If you're not a fan of Ellis' writing this movie might not be for you since these characters typically have no social redeeming value whatsoever and are zombie-like at times -- in fact, at most times. Co-screenwriter Ellis (based on his own book of the same name) brings us two triangles, young and old versions. The young version is Graham (Jon Foster), Christie (Amber Heard) and Martin (Austin Nichols) while the older version features William (Billy Bob Thornton), his wife Laura (Kim Basinger) and a newscaster named Cheryl Laine (Winona Ryder). The youngsters pretty much hang out in bed together (yes, occasionally all three at once), go to raucous, inebriated parties or lounge languidly poolside. The older folks are more traditional with William trying yet another reconciliation with wife Laura while still carrying a very obvious torch for Cheryl. Then there's the father/son team of Les and Tim Price (played by Chris Isaak and Lou Taylor Pucci) along with Mickey Rourke as Peter, who offers up another dark side of L.A. as a sleazy loser who kidnaps a young boy. And don't forget an almost unrecognizable Brad Renfro in his last screen role as Jack, a rather pathetic doorman who's desperate to connect with celebrity. Wait, there's even more: Mel Raido plays Bryan Metro, lead singer of a band called The Informers (title alert!) who enjoys punching high priced call girls in the face without once changing expression.
Like Ellis' books, this movie should never work and might, in fact, turn an audience off to the point of leaving the theater. Since I happen to like his particular brand of human horror I found myself strangely mesmerized by these pointless characters. There's not a hero to cheer for anywhere and that's fine with me. When Tim continues to be upset by the tragedy of the accidental death of a friend featured in the beginning of the film, his other friends are annoyed. After all, it's been a week already, time to move on. Aussie director Gregor Jordan creates just the right tone of flat, bright L.A. enui, striking a delicate balance between meaningless and desperation as these disturbing people play out their little dramas. It's not that we necessarily care about these characters and yet there's something terribly sad in watching them casually self destruct. The final stark image in the film -- a black fly on a bone white bare leg -- says it all as the spectre of AIDS closes in on the hedonistic '80s.
Things to love about this movie: Mickey Rourke is great (as always); a terrific soundtrack; the young cast is classic Easton Ellis as well as pitch perfect L.A.
Things to hate about this movie: Brad Renfro doesn't look healthy & it's sad knowing that he probably wasn't
Pleasant surprises: Chris Isaak is surprisingly effective as Tim's nasty, smarmy dad
Unpleasant surprises: Billy Bob Thornton (a wonderful actor) didn't quite work for me in a very atypical role
Like Ellis' books, this movie should never work and might, in fact, turn an audience off to the point of leaving the theater. Since I happen to like his particular brand of human horror I found myself strangely mesmerized by these pointless characters. There's not a hero to cheer for anywhere and that's fine with me. When Tim continues to be upset by the tragedy of the accidental death of a friend featured in the beginning of the film, his other friends are annoyed. After all, it's been a week already, time to move on. Aussie director Gregor Jordan creates just the right tone of flat, bright L.A. enui, striking a delicate balance between meaningless and desperation as these disturbing people play out their little dramas. It's not that we necessarily care about these characters and yet there's something terribly sad in watching them casually self destruct. The final stark image in the film -- a black fly on a bone white bare leg -- says it all as the spectre of AIDS closes in on the hedonistic '80s.
Things to love about this movie: Mickey Rourke is great (as always); a terrific soundtrack; the young cast is classic Easton Ellis as well as pitch perfect L.A.
Things to hate about this movie: Brad Renfro doesn't look healthy & it's sad knowing that he probably wasn't
Pleasant surprises: Chris Isaak is surprisingly effective as Tim's nasty, smarmy dad
Unpleasant surprises: Billy Bob Thornton (a wonderful actor) didn't quite work for me in a very atypical role
Sunday, April 19, 2009
Movie Review - State of Play
Suspense thrillers aren't always my cup of tea, but with Russell Crowe as a rumpled, world weary journalist on the trail of a political scandal involving infidelity, shadow organizations and possible murder, what's not to like. Cal McAffrey (Crowe) has been assigned to cover the seemingly random shooting of a small time thief for his newspaper as the story opens, but soon there are much bigger fish to fry when the political aide to Cal's old college roommate Congressman Stephen Collins (Ben Affleck) steps in front of a subway train. Or was she pushed? Collins, as one of the key members on a panel investigating a private corporation called Point Corp, becomes the center of attention when he breaks down publicly while announcing the death of his aide. Suddenly speculation shifts to the possibility of an affair between the dead aide Sonia Baker (Maria Thayer) and the Congressman. Complicating matters further is a past connection between Cal and Collins' wife Anne (Robin Wright Penn) along with Cal's difficult position as he covers a story that could mean the downfall of his friend. There's also an interesting, lively dynamic between Cal and an ambitious blogger on his paper named Della Frye (Rachel McAdams) who wants in on the Collins story.
It all sounds a bit like a soap opera, but with a cast this good and some fun twists and turns all the drama is more or less believable. Based on a British TV series and co-written by Tony Gilroy ("Michael Clayton"), this is a more sophisticated brand of political intrigue than your average thriller, although the storyline involving Point Corp and the Congressional investigation were a little confusing for me. Director Kevin McDonald keeps things zipping along and there's enough character development to make the plot a little more than just suspense.
Things to love about this movie: Great chemistry between Crowe and McAdams; doesn't overdo the car chases; a terrific opening scene that sets up the murder/suicide of the aide perfectly
Things to hate about this movie: Creepy, out of control organziations seem to always turn up in these thrillers (not too original); Cal's moral dilemma about investigating Collins would work better if more of a relationship was developed between him and Collins
Pleasant surprises: The supporting characters and actors are dynamite, including a charismatic, stand-out performance by Jason Bateman, Michael Berresse as one of the scariest assassins ever, Harry Lennix as the detective on the Collins case, Viola Davis as a doctor in the morgue and the always reliable Jeff Daniels as a creepy Representative
Unpleasant surprises: The marvelous Helen Mirren was a bit underused as Cal's tough as nails boss at the paper, as was Penn as the typical stand-by-your-man political wife
It all sounds a bit like a soap opera, but with a cast this good and some fun twists and turns all the drama is more or less believable. Based on a British TV series and co-written by Tony Gilroy ("Michael Clayton"), this is a more sophisticated brand of political intrigue than your average thriller, although the storyline involving Point Corp and the Congressional investigation were a little confusing for me. Director Kevin McDonald keeps things zipping along and there's enough character development to make the plot a little more than just suspense.
Things to love about this movie: Great chemistry between Crowe and McAdams; doesn't overdo the car chases; a terrific opening scene that sets up the murder/suicide of the aide perfectly
Things to hate about this movie: Creepy, out of control organziations seem to always turn up in these thrillers (not too original); Cal's moral dilemma about investigating Collins would work better if more of a relationship was developed between him and Collins
Pleasant surprises: The supporting characters and actors are dynamite, including a charismatic, stand-out performance by Jason Bateman, Michael Berresse as one of the scariest assassins ever, Harry Lennix as the detective on the Collins case, Viola Davis as a doctor in the morgue and the always reliable Jeff Daniels as a creepy Representative
Unpleasant surprises: The marvelous Helen Mirren was a bit underused as Cal's tough as nails boss at the paper, as was Penn as the typical stand-by-your-man political wife
Sunday, March 29, 2009
Movie Review - Crossing Over
Like the Oscar-winning Best Picture "Crash", this movie is based in Los Angeles, has a lot on its mind, a truckload of characters/storylines to juggle and a rather heavy handed approach in making its points. Harrison Ford stars as Max Brogan, a weary but compassionate immigration officer who's clearly overdue for retirement. He's surrounded with an impressive cast, including Ray Liotta as Cole Frankel, a corrupt immigration worker who demands sexual favors in exchange for green card status for a desparate Aussie actress (Alice Eve); Ashley Judd as Denise Frankel, Cole's clueless but noble wife who works with immigrant children; Jim Sturgess as Gavin Kossef, a British Jew trying to make it as a singer; Summer Bishil, a Middle Eastern girl whose provcative school presentation on the 9/11 terrorists lands her family in trouble; Justin Chon as Yong Kim, a kid who falls in with the typical gangbangers and Cliff Curtis as Hamid Baraheri, Brogan's partner who's an Iranian American with a murdered sister and sinister secrets. And that's just a partial cast/character list. Some of the storylines work, some don't but there's melodrama to spare with extreme situations that overload the audience's involvement level.
Writer/director Wayne Kramer obviously means well in trying to bring multiple immigrant issues to light and casting a wide spectrum of ethnic actors for pivotal roles. I wish he'd put as much effort into his script, however, and whittled the character list down to a minimum with more focus and depth. There are too many predictable elements, too many tragic events, too much of everything, resulting in a dizzying kaleidescope that's almost numbing. One scene towards the end of the film really stretches credibility when a character is exposed for criminal acts during a large naturalization ceremony attended by many of the leading characters. Gimme a break. Though "Crossing Over" has its heart in the right place, its approach is all over the map, causing even the best elements in the story to be crushed under the weightiness of it all.
Things to hate about this movie: A repetitious series of raids on factories employing illegal immigrants becomes almost as wearying for the audience as it is for Brogan; too many characters without enough depth; Alice Eve's limited acting ability; the sad but completely predictable ending
Pleasant surprises: Brogan has a pet cat! Los Angeles looks real and gritty
Unpleasant surprises: Jim Sturgess, an interesting actor and singer, seems miscast here
Writer/director Wayne Kramer obviously means well in trying to bring multiple immigrant issues to light and casting a wide spectrum of ethnic actors for pivotal roles. I wish he'd put as much effort into his script, however, and whittled the character list down to a minimum with more focus and depth. There are too many predictable elements, too many tragic events, too much of everything, resulting in a dizzying kaleidescope that's almost numbing. One scene towards the end of the film really stretches credibility when a character is exposed for criminal acts during a large naturalization ceremony attended by many of the leading characters. Gimme a break. Though "Crossing Over" has its heart in the right place, its approach is all over the map, causing even the best elements in the story to be crushed under the weightiness of it all.
Things to love about this movie: Harrison Ford manages to create an interesting character despite the mediocre script; a pleasure to see little known performers like Summer Bishil and Justin Chon given considerable screen time; good to have Ray Liotta back in a drama, even if his character is over the top
Things to hate about this movie: A repetitious series of raids on factories employing illegal immigrants becomes almost as wearying for the audience as it is for Brogan; too many characters without enough depth; Alice Eve's limited acting ability; the sad but completely predictable ending
Pleasant surprises: Brogan has a pet cat! Los Angeles looks real and gritty
Unpleasant surprises: Jim Sturgess, an interesting actor and singer, seems miscast here
Monday, March 9, 2009
Movie Review: The Class ("Entre les murs")
Here is a classroom drama for the 21st century, complete with disenfranchised students, frustrated teachers and a system that's failing everyone on every level. Francois Marin (Francois Begaudeau) has been teaching French at an inner city Parisian school for 4 years with an obvious passion for his subject, yet only a small handful of his 14-15 year old pupils has any interest whatsoever in learning. Talking and bickering during class, displaying little respect for their teacher and completing assignments with half hearted efforts, this group of racially mixed kids seems almost unreachable. As the film progresses, however, a fascinating dynamic develops among students, teacher and the school system. Marin begins to discover just how irrelevant to the lives of these students his curriculum seems and how fine a line must be drawn between confronting disciplinary problems and offending his pupils. His classroom is full of interesting characters: Wei (Wei Huang), a refreshingly studious and well behaved Chinese student; Khoumba (Rachel Regulier), a smart, confrontational black student; Esmeralda (Esmeralda Ouertani), a complicated and quirky Arab student; and the disruptive Souleymane (Franck Keita) from Mali, whose tragic lack of confidence causes him to act out in ways which earn him numerous disciplinary hearings.
Unpleasant surprises: The betrayal of teacher by students and vice versa
Begaudeau, who wrote the screenplay and the book on which the film is based, is an appealing actor who appears to be playing a semi-autobiographical role, bringing out the many conflicting emotions of this teacher in a compelling way. The young actors playing the kids, many of whom share the same names as their characters, are uniformly excellent and authentic. This biting, involving and disturbing movie is a welcome relief from the usual "Hollywood" version of school drama where solutions are found, lives are turned around, teachers rewarded and students enlightened. Perhaps the most provocative thing about "The Class" is that, despite bad behavior and poor attitdues from the kids, we're left with the feeling that the teachers and the school system have somehow let these students down, rather than the other way around.
Things to love about this movie: A heartbreaking scene in which Marin praises Souleymane for the wonderful photographs he's taken for an assignment while the usually surly student can barely contain his delight yet at the same time cannot accept the compliments as valid; interesting teacher conferences during which many concerns and frustrations are aired; the many subtle ways in which students and teacher impact each others' lives; an amazing cast with wonderful faces and exuberance
Things to hate about this movie: The outcome for Souleymane (though it is neither unexpected nor unrealistic)
Pleasant surprises: No easy solutions or relationships; awareness of the many complications for immigrant students trying to fit into a very Caucasian school systemUnpleasant surprises: The betrayal of teacher by students and vice versa
Friday, February 20, 2009
Santa Barbara International Film Festival 2009: Recap
The SBIFF was a treat this year with high quality films and plenty of variety to keep me wishing I could take the whole 2 weeks off work and attend as many movies as possible. I managed to grab 6 films without a dud in the bunch. Here's a quick recap:
(Latino Cinemedia sidebar-Mexico) "Tear This Heart Out" ("Arrancame La Vida"):
An absolutely wonderful film starring Daniel Gimenez Cacho, the exquisitely beautiful Ana Claudia Talancon and Jose Maria de Tavira in the story of a love triangle with fatal consequences. Powerful general Cacho marries Talancon when she's only 16, takes her to his sumptuous home and attempts to dictate every facet of her life. When she meets handsome young orchestra conductor and revolutionary Tavira all bets are off as she discovers the passion and romace which have always been missing from her marriage. A gorgeous looking movie with fabulous sets and costumes, a fascinating female character at its center, murder, romance, beauty -- who could ask for more?
(Russia) "The Ghost" ("Domovoy"):
Reminiscent of "Memento" as a mind bending thriller, this film mixes writer's block with the world of a professional hit man and comes up with a fun concoction that keeps the audience guessing until its final frame. Even the final frame is a zinger. Successful but currently blocked writer Anton (Konstantin Khabensky) is approached by a stranger (Vladimir Mashkov) at a book signing who asks "Have you ever killed a man?" From that point forward we, like the startled writer, are hooked and off on a wild, disturbing adventure in which research on how to write a really thrilling book goes terribly awry. It seems that Anton is willing to strike a Faustian bargain with this stranger (who turns out to be a hit man) in order to reinvigorate his creative juices, but at what price? Great stuff.
(Canada/Japan) "Dim Sum Funeral":
Despite an excellent cast, this English language film about a dysfunctional Japanese family has some serious flaws, though it's still entertaining enough to enjoy. As three sisters and a brother gather in Seattle following their mother's death, secrets are revealed, old wounds are exposed, complicated relationships explode. Issues of tradition, family ties and forgiveness are explored, though not in a particularly fresh way. A surprise ending, for both the movie's characters and its audience, didn't completely work for me. Bai Ling is a stand-out as the punky, flamboyant girlfriend of one of the sisters, along with Russell Wong as the bitter brother in the family.
(Canada/Inuit) "Before Tomorrow" ("Le Jour Avant Le Lendemain"):
This was my favorite film in the festival, a simple story with a devastating emotional impact. An Inuit grandmother (Madeline Ivalu) and her young grandson (Paul-Dylan Ivalu) courageously and quietly struggle to survive a harsh winter alone on the tundra after their entire tribe is wiped out by exposure to a disease brought to their isolated location by white men. Full of magical moments, wonderful music and images, the movie is simply heart breaking as the strong, touching love between its two characters is slowly revealed and the grandmother prepares her beloved grandson for the possibility of life on his own. If you can find this movie on DVD try to see it, but be prepared to be blown away.
(Czech Republic) "The Country Teacher":
Teacher Petr (Pavel Liska) moves from the city to a small country town, but his new life proves to be much more complicated than he'd bargained for. A hard working local woman (Zuzana Bydzovska) who runs her own dairy farm is attracted to the quiet teacher, while he is more interested in her rebellious teenage son (Ladislav Sedivy). This movie has a lovely setting and a good sense of life in the country, as well as a wise understanding for its muti-layered, flawed characters who manage to connect in unexpected ways. Two calf births are shown at pivotal times during the film -- a bit much, although very effectively used. A "happy" ending is tempered by the painful history leading up to it and therefore seems much more meaningful than the typical Hollywood happy ending. Excellent performances and a moving, valuable message about tolerating each others' differences.
(Netherlands) "Tiramisu":
This delightful film features the unlikely pairing of a sensible accountant with a flamboyant stage actress to create a surprising result when the lives of both are subtly changed for the better. When the accountant (Jacob Derwig) arrives to audit the expenses of the hard living, high spending actress (Anneke Blok), he discovers debts that could cause the foreclosure of Blok's houseboat yet becomes determined to prevent such a devastating event. Dutch writer/director Paula van der Oest has an excellent feel for the life of an actress, creating an interesting dynamic with the homespun accountant's exposure to the many colorful and raucous stage characters who populate the actress' world. As Derwig struggles to find ways of overcoming the hopeless situation and becomes increasingly fond of the housboat, Blok slowly realizes it may be time for her to move on. Good performances and some nice scenes of Amsterdam.
(Latino Cinemedia sidebar-Mexico) "Tear This Heart Out" ("Arrancame La Vida"):
An absolutely wonderful film starring Daniel Gimenez Cacho, the exquisitely beautiful Ana Claudia Talancon and Jose Maria de Tavira in the story of a love triangle with fatal consequences. Powerful general Cacho marries Talancon when she's only 16, takes her to his sumptuous home and attempts to dictate every facet of her life. When she meets handsome young orchestra conductor and revolutionary Tavira all bets are off as she discovers the passion and romace which have always been missing from her marriage. A gorgeous looking movie with fabulous sets and costumes, a fascinating female character at its center, murder, romance, beauty -- who could ask for more?
(Russia) "The Ghost" ("Domovoy"):
Reminiscent of "Memento" as a mind bending thriller, this film mixes writer's block with the world of a professional hit man and comes up with a fun concoction that keeps the audience guessing until its final frame. Even the final frame is a zinger. Successful but currently blocked writer Anton (Konstantin Khabensky) is approached by a stranger (Vladimir Mashkov) at a book signing who asks "Have you ever killed a man?" From that point forward we, like the startled writer, are hooked and off on a wild, disturbing adventure in which research on how to write a really thrilling book goes terribly awry. It seems that Anton is willing to strike a Faustian bargain with this stranger (who turns out to be a hit man) in order to reinvigorate his creative juices, but at what price? Great stuff.
(Canada/Japan) "Dim Sum Funeral":
Despite an excellent cast, this English language film about a dysfunctional Japanese family has some serious flaws, though it's still entertaining enough to enjoy. As three sisters and a brother gather in Seattle following their mother's death, secrets are revealed, old wounds are exposed, complicated relationships explode. Issues of tradition, family ties and forgiveness are explored, though not in a particularly fresh way. A surprise ending, for both the movie's characters and its audience, didn't completely work for me. Bai Ling is a stand-out as the punky, flamboyant girlfriend of one of the sisters, along with Russell Wong as the bitter brother in the family.
(Canada/Inuit) "Before Tomorrow" ("Le Jour Avant Le Lendemain"):
This was my favorite film in the festival, a simple story with a devastating emotional impact. An Inuit grandmother (Madeline Ivalu) and her young grandson (Paul-Dylan Ivalu) courageously and quietly struggle to survive a harsh winter alone on the tundra after their entire tribe is wiped out by exposure to a disease brought to their isolated location by white men. Full of magical moments, wonderful music and images, the movie is simply heart breaking as the strong, touching love between its two characters is slowly revealed and the grandmother prepares her beloved grandson for the possibility of life on his own. If you can find this movie on DVD try to see it, but be prepared to be blown away.
(Czech Republic) "The Country Teacher":
Teacher Petr (Pavel Liska) moves from the city to a small country town, but his new life proves to be much more complicated than he'd bargained for. A hard working local woman (Zuzana Bydzovska) who runs her own dairy farm is attracted to the quiet teacher, while he is more interested in her rebellious teenage son (Ladislav Sedivy). This movie has a lovely setting and a good sense of life in the country, as well as a wise understanding for its muti-layered, flawed characters who manage to connect in unexpected ways. Two calf births are shown at pivotal times during the film -- a bit much, although very effectively used. A "happy" ending is tempered by the painful history leading up to it and therefore seems much more meaningful than the typical Hollywood happy ending. Excellent performances and a moving, valuable message about tolerating each others' differences.
(Netherlands) "Tiramisu":
This delightful film features the unlikely pairing of a sensible accountant with a flamboyant stage actress to create a surprising result when the lives of both are subtly changed for the better. When the accountant (Jacob Derwig) arrives to audit the expenses of the hard living, high spending actress (Anneke Blok), he discovers debts that could cause the foreclosure of Blok's houseboat yet becomes determined to prevent such a devastating event. Dutch writer/director Paula van der Oest has an excellent feel for the life of an actress, creating an interesting dynamic with the homespun accountant's exposure to the many colorful and raucous stage characters who populate the actress' world. As Derwig struggles to find ways of overcoming the hopeless situation and becomes increasingly fond of the housboat, Blok slowly realizes it may be time for her to move on. Good performances and some nice scenes of Amsterdam.
Friday, February 6, 2009
Movie Review - Revolutionary Road
Is director Sam Mendes in the midst of a trilogy on suburban angst? Perhaps. Judging from his previous film, the Oscar winner "American Beauty" and now "Revolutionary Road", it seems to be a recurring theme which he tackles with relish and just a touch of pretension. Based on a book from the 1960s by Richard Yates, this is the story of a young couple living in the fabulous fifties who seem to have it all yet long for something more and find themselves stifling in a suburban box full of the typical requirements: a nice house, a nice job, two kids, shallow friendship with the neighbors and nowhere to go but Paris. April and Frank Wheeler (Kate Winslet and Leonardo Di Caprio) are the golden couple of the neighborhood, admired by their busy body realtor Helen (Kathy Bates), envied by their best friends Shep and Milly (David Harbour and Kathryn Hahn) yet miserable and combative behind closed doors. This couple has a lot of fights. Frank hates his job in an office surrounded by lifers who have nothing in common with him. April despises the limitations of life as a wife and mother, longing to chuck it all and move to Paris where she and Frank might start over and somehow magically discover what they really wanted out of life.
Like the book, there's something distancing in the film about Frank and April as characters but something all too familiar about their plight and inexplicable unhappiness. Trapped in a prison of their own making they're chronically miserable people with dreams which have refused to die or to come true. April in particular begins to crack under the inability to change her predicament, while Frank dallies with one of the secretaries at work and their friend Shep secretly pines after April. There's a brief respite in the Wheelers' misery when Helen's son John (Michael Shannon), who's been institutionalized for mental problems, begins visiting the couple as a way of helping his socialization skills. John is refreshingly blunt and insightful about the suburban lifestyle he observes, as well as being quite intelligent and slightly dangerous. It's easy to see why Michael Shannon has been nominated for Best Supporting Actor by the Academy. He's mesmerizing in his few scenes and could have used more screen time with this strange and complicated character.
Things to love about this movie: An exhilarating scene in a roadside bar where April dances with Shep; amazing performances from Kate Winslet and Leonardo Di Caprio who still have plenty of chemistry; perfect period details; an effective soundtrack (love that opening song "The Gypsy" by the Inkspots); the suggestion that marriage and kids might not be enough for everyone and don't guarantee happiness
Things to hate about this movie: Frank and April's relentless quarreling becomes tiresome and not enough time is devoted to showing us the younger versions who were passionate about living life to the fullest
Pleasant surprises: The book's devastating ending is kept intact for the film; actor David Harbour is the perfect realization of the character Shep from the book
Unpleasant surprises: The movie could have used more of the book's character details and background to make Frank and April a bit more appealing; lack of an Oscar nomination for Winslet
Like the book, there's something distancing in the film about Frank and April as characters but something all too familiar about their plight and inexplicable unhappiness. Trapped in a prison of their own making they're chronically miserable people with dreams which have refused to die or to come true. April in particular begins to crack under the inability to change her predicament, while Frank dallies with one of the secretaries at work and their friend Shep secretly pines after April. There's a brief respite in the Wheelers' misery when Helen's son John (Michael Shannon), who's been institutionalized for mental problems, begins visiting the couple as a way of helping his socialization skills. John is refreshingly blunt and insightful about the suburban lifestyle he observes, as well as being quite intelligent and slightly dangerous. It's easy to see why Michael Shannon has been nominated for Best Supporting Actor by the Academy. He's mesmerizing in his few scenes and could have used more screen time with this strange and complicated character.
Things to love about this movie: An exhilarating scene in a roadside bar where April dances with Shep; amazing performances from Kate Winslet and Leonardo Di Caprio who still have plenty of chemistry; perfect period details; an effective soundtrack (love that opening song "The Gypsy" by the Inkspots); the suggestion that marriage and kids might not be enough for everyone and don't guarantee happiness
Things to hate about this movie: Frank and April's relentless quarreling becomes tiresome and not enough time is devoted to showing us the younger versions who were passionate about living life to the fullest
Pleasant surprises: The book's devastating ending is kept intact for the film; actor David Harbour is the perfect realization of the character Shep from the book
Unpleasant surprises: The movie could have used more of the book's character details and background to make Frank and April a bit more appealing; lack of an Oscar nomination for Winslet
Subscribe to:
Posts (Atom)
