It’s super boring to talk about Christopher Nolan‘s Inception, the favourite movie of people born yesterday, but despite of the flaws we know about it’s a movie we like revisiting. Or it likes revisiting us. Like every (lax) fan boy I was obsessed with Hans Zimmer‘s bombastic soundtrack, half of the songs deserving to be a ballet that needs to happen, especially the track “The Dream is Collapsing,” it’s suggestions of violent and volatile movement. I then had to look up and remember which scene it corresponds and it couldn’t have been a better one, starting with the appropriately named Mal (Marion Cotillard) ruining her living husband Dom Cobb’s (Leonardo DiCaprio) extraction. Being in a dream within a dream Dom’s collaborators try to wake up him up to salvage the mission. On the first dream level it just looks like the old architect (Lukas Haas) pushing his boss down a tub and ruining the latter’s not so young face and white suit which, in hindsight looks ridiculously over-played. But we see that the first level infiltrates the second. This isn’t necessarily rain as the blogathon requires but it, like an act of God, comes out of the sky and into the palace’s rooftops. Dom eventually watches this artificial world’s destruction, being brought back to the fiery troubles of the first level and the real world itself. It’s a beautiful event in itself.
This is part of The All Wet Blog-A-Thon via Andrew Kendall.
Andy Hart from FandangoGroovers sent us an e-mail asking us what our best movie years are and instead just blurting out what years I chose, I opted for introducing my reasoning behind the chosen years.
Because I’m suicidal.
There have been other posts like this obviously, citing the year that saw the height noir as a style in 1941. It’s easy to assume that the year before, 1940, might be a weaker year but I don’t think so (what were you thinking, Paolo?). I already said that 1941 was the year of the noir and it was the beginning of stylistic achievements that will be influential for the next forty years. But no one wants to peak young Those arguments, I admit, are me trying to put both years under investigation before I declare them as banner years).
What 1940 has is diversity. What other year could boast an animated movie that has different yet complementary aesthetics and another movie that successfully convinces us that the all-American Jimmy Stewart is European and/or a man of class? What year will we find such comedy greats like Charlie Chaplin, Cary Grant and Rosalind Russell? It was also a great actressing year that followed 1939. Joan Fontaine being the light anchor in only Alfred Hitchcock movie that won an Oscar for Best Picture. Katharine Hepburn returns and makes the studios realize that her sense of comic timing can crowd the movie theatres. And Vivien Leigh simply haunts us. The movies: Fantasia, The Shop Around the Corner, Rebecca, The Philadelphia Story, Waterloo Bridge.
Because it was the year of (forgotten) classics.
1955 saw three movies so breathtaking that it almost makes me want to say ‘Revisionist Western,’ although it would be too anachronistic to use that phrase. But those movies subverts North American ideas of villainy, race and It was also the year of the blond.
Doing away with her Academy Award-winning de-glam, Grace Kelly has a career-best performance in another Hitchcock movie as a smart golden-locked woman. Shelley Winters plays victim to Robert Mitchum, too charming to be good, but she might not necessarily be dumb. Marilyn Monroe almost steals Evelyn Keyes’ husband and makes us think differently about the hot air on street vents. Julie Harris, a honey blond, steers the lost James Dean, in his best performance, into sanity and domesticity. But the brunettes represented too, James Dean also finding love in a hopeful teenager Natalie Wood. Jean Simmons making Marlon Brando fly her to Cuba and she still won’t give him the love that he doesn’t deserve yet. And Martine Carol, overshadowed by younger French actresses, gives us a 19th cnetury circus act that we should never forget. The movies: The Night of the Hunter, East of Eden, Bad Day at Black Rock, To Catch a Thief, Lola Montes.
Because I might be suicidal after all.
1974 saw most movies come back to the streets. Walter Matthau deals with a subway train gets high jacked in Manhattan, New York City by good for nothing British terrorists. Los Angeles saw its share of impersonators, near impossible water shortages and crazy ladies chasing for their children riding in school buses. In San Francisco, Gene Hackman and John Cazale do their job as many lovely yet suspicious conversations under wiretap. And the past catches up with the present as Michael Corleone does his best to escape chaos and brotherly betrayal in Havana, Cuba. But that doesn’t mean that the rural areas didn’t get some love, as a singer travels to find a job and a college student finds a crazy family.
When it comes to the Oscars, Martin Scorsese directs a melodrama (he needs to do another one and if you say Hugo I swear I’ll…). Francis Ford Coppola created a kinetic magnum opus and lost Best Picture against himself. A frazzled married woman played by Gena Rowlands and a tough woman with a tougher lawyer in Faye Dunaway lose to determined single mother brought to life by Ellen Burstyn. The movies: The Conversation, The Godfather Part II, The Texas Chainsaw Massacre, Alice Doesn’t Live Here Anymore, A Woman Under the Influence.
Because I’m a hopeless romantic.
2010 was the year I started blogging, the year culminating the plurality that independent cinema has worked for in the past forty years. Indie masters like David Fincher, Darren Aronofsky and Edgar Wright made movies with actors who will become Hollywood’s future and made hundreds of millions of dollars with them. I’m going to try to stop overusing the word ‘indie’ no, although I used it one last time to a movie so good that it doesn’t even need to be finished.
But in 2010, I surprisingly found sympathy within mopey characters aimlessly wandering the streets of Los Angeles. Or it could be London, where a reluctant king impersonates an Emperor penguin for the young daughters who themselves will make history. Boston also has its share of competitive brothers, both brothers and their entertainingly abrasive mother, sisters and wives. A brother and sister explore what we assume is Lebanon and learn a heart wrenching through, out of all things, mathematics. The fashionable Milan has a shy, Russian housewife learning what love is in its primal states, throwing her life away from him. And I learned how to love an overrated director since he created characters who can make the Parisian streets of their dreams shake and bend. The movies: Greenberg, I am Love, Meek’s Cutoff, Scott Pilgrim Vs. The World, The Fighter.
Other years under further investigation: 1927 – the year when the Academy started getting it wrong (Sunrise, Metropolis), 1939 – the height of the studios (The Wizard of Oz, Gone with the Wind), 1966 – the year when we said terrible things to each other a lot (Who’s Afraid of Virginia Woolf, Persona), 1988 – when he loved and hated the Germans (Der Himmel Uber Berlin, Die Hard), 1991 – genre versus genre (Silence of the Lambs, Terminator 2: Judgment Day) and 2001 – weirdest sexiest year ever (Mulholland Drive, Y Tu Mama Tambien).
…’Movie’ Dance! Michael Mirasol posted this on his Twitter feed.
1. I want to learn to Bande A Part dance because it looks fun and not difficult.
2. I can talk about the video’s omissions all hour, but the biggest is Mao’s Last Dancer, which features Chinese folk, ballet and contemporary.
4. I’d rather the montage also show Nina’s killer pirouettes or something from the fourth act of “Swan Lake.” And reminiscing from my cheerleader days, I tried doing some arabesques and toe touches. I sucked and I didn’t suck.
Since the titular institution in Frederick Wiseman‘s Boxing Gym runs for 24 hours, it would be right for the film to have, structurally, a cyclical and impressionistic feel instead of having an arc. We see the Austin-based gym owner interviewing new applicants. Yes, the gym has its share of professionals and attractive ones – which might motivate someone like me to keep going to a gym, honestly – but the most captivating ones are the amateurs. The owner talks about how the more braggart newbies are the kind that never stays, tell a young mother that her newborn is safe in his environment and ask a young. He also asks a college age applicant whether the latter is joining just to beat up a man he doesn’t like.
From his applicants we see that the owner is pretty hands on by training some of the members are running some creative strength and cardio classes himself. In one scene, a mother, while binding and gloving her son’s hands before training, shares how the owner has helped her in her boxing stance. Another scene showing one of the cardio classes is the most visual in the film. Start just after sunrise, the yellow-brown bricks making up the buildings of Austin depicted like a de Chirico painting, the class running up and down a grey multi-story parking lot closer to the downtown core.
Wiseman captures these people learn to box on their own. The film closes up on the members’ backs while throwing punches in the air or their feet while a timer intermittently goes off in the background, latently providing the film’s rhythm. Some of these scenes and be considered as endurance tests for say, a five-minute long scene just showing a member’s sneakers. It’s reminiscent of what Jake Cole said in review of Darren Aronofsky’s Black Swan, especially with watching Nina Sayers practice her multiple spins without Tchaikovsky’s piano music nor a partner. It feels awkward watching these boxers in a private dance in their own heads, although most of the time there’s some spiritual and communal connection to the space even when these people are alone.
MacGruber! It’s screening at the Underground, the critics are defending it, MacGruber! It’s tonight at seven, they are serious film critics, MacGruber! ‘s in this movie, MacGruber!
“Holy smokes, MacGruber! There’s no way out!”
“That’s not our only problem, MacGruber — your movie’s gonna bomb in fifteen seconds!”
“Alright, everyone keep it together! Okay, if we’re gonna get out of here — and we ARE gonna get out of here — we need to focus up!”
“TEN seconds! What do we do, MacGruber!”
“You got it, MacGruber!”
“Paulette! I need exactly FOUR ounces of defender Adam Nayman from Eye Weekly!”
“On the way, MacGruber!”
“Sasha! Hand me that Norman Wilner from Bear magazine.”
“Okay! Has anybody seen any giveaways for free passes for a secret movie?”
“MacGruber, are those critics drunk?”
(Sorry to write this seriouser part, but Criticize this via Andrew Parker tweeted that part of your $10 admission fee for this screening go to the Red Cross. We were able to raise $500ish dollars (Andrew knows the real numbers) from the (In)Defensible screening this month. I can’t come because I have a shift at the cheese factory but I will be there in spirit and please, if you’re in Toronto, watch this movie, help the Red Cross, have some fun.)
- MacGruber Review (screenrant.com)
Doing this post on a whim. Much more actresses have one or two great movies a year, but due to realizing that the great Claudia Cardinale has been in three great movies in 1963, I decided to do some time-wasting and find out which other women have had the same luck.
Yes, I’ll admit that I’ve only seen Cardinale and Williams’ full list while the rest are below because I’ve seen one or two of each actress’ movies. Many of the women on the list are also here because of their supporting roles. It’s hard to carry a great film. Can you imagine trying to do the same for three?
Also, I know nothing about the silent era but I’m sure that I’ll eventually learn that the likes of Lillian Gish and Janet Gaynor have hat tricks under their CV’s, the latter winning the first Best Actress Oscar for three performances. It’s also harder to get names of actresses and movies belonging to world cinema. If I could only double myself and extend the hours of a day.
And yes, Williams is here because as much as I hate parts of Shutter Island, I know a lot of you love it. Although I’m sure her 2011 is looking better than her 2010. Here goes the list.
Olivia de Haviland – 1939 – (Gone with the Wind, Dodge City, The Private Lives of Elizabeth of Essex)
Barbara Stanwyck – 1941 – (The Lady Eve, Meet John Doe, Ball of Fire)
Grace Kelly – 1954 – (Dial M for Murder, Rear Window, The Country Girl)
Claudia Cardinale – 1963 – (8 1/2, The Leopard, The Pink Panther)
Faye Dunaway – 1974 – (Chinatown, The Towering Inferno, Four Musketeers)
Patricia Clarkson – 2003 (Dogville, The Station Agent, All the Real Girls)
Michelle Williams – 2010 – (Shutter Island, Blue Valentine, Meek’s Cutoff)
A factor in making this list involved representing each decade, one actress per decade to be more frank. I chose de Haviland over Bette Davis’s movies in the same year, Kelly over Marilyn Monroe‘s 1953 (it hurt me to do that), Driver over Kirsten Dunst (Driver might be disqualified since her involvement in Mononoke only came through 1998/1999, when Miramax released the film stateside, but Dunst 1999 films are guilty pleasures that I can’t admit to the public yet) or Clarkson over Maggie Gyllenhaal’s 2002. Besides, this post is a picture overload already, as is most of my posts in this blog.
Correct me if I’m wrong, but there’s no actress in the list that has an 80′s hat trick. Great roles and movie seemed spread out generously among the Meryl Streep generation and the Brat Pack girls.
Lastly, I’ll make a list for the boys and the directors, or make hat trick lists for consecutive years or movies, but only if you ask nicely. Or better yet, if you could do the rest
- Princess Mononoke – Japanese Anime (8thumbsup.wordpress.com)
I stole this idea from Nathaniel Rogers. These are screen caps of the twentieth minute and tenth second of movies.
Boring story, the screen caps in this post are from movies from my hard drive. This hard drive used to be in my first laptop until, distracted from Pabst Blue Ribbon, I accidentally poured beer on it. I watched these movies are from my college years, when I learned how much I love movies and that I chose the wrong major. (No not really. Are you kidding? I’d rather have hung out with nerdy English majors and rich Art History majors than snobby film majors.)
Their decontextualized oppression linked to IBM, possible from the World War II era.
After telling someone tha smooking is not Islamic, he looks for someone in a maze.
“Happy.” “So happy.” They open the door, joining the crowd of the upper class, waiting.
“Goodbye, little yellow bird…”
He tries to brush her off. “Alcohol rub. Cologne.”
“You’re lying. I can always tell.”
It’s hard doing damage control for a rogue employee “I don’t have all the information yet.”
After the car explosion. “Go on.” “What do you mean…”
We can hear his wife groan. He reads the book to research his new client, for tourism.
After a flashback of bile spreading through a body. “But we’re gonna do this without firin’…”
“They can always get somebody else.” Machines roar.
This series for me turned into a context of which movie collection of mine is cooler. I might have given this post an unfair advantage by being nostalgic, but it’s your call.
So this guy Mark Hogencamp of Kingston, NY get ‘queer-bashed,’ leaving him brain-damaged, but comes out of it with the best revenge – better artistic skills and penmanship than me? I’m not saying with schadenfreude that his skills as an artist should be as stalled as mine, but not fair, world.
Hogencamp is as multifaceted as the aesthetic of the fictional town he has created with his two hands, Marwencol, a portmanteau of his name and the two most important women in her life, Mark, Wendy and Colleen. The film, as much as it is dedicated towards his fictional world, also focuses on the man who has created it. He talks normally except for stressing the words ‘angry’ and ‘drink,’ two of his past vices. He’s honest about the porno tape that an old VCR has eaten up or other revelations about his views and practices on sexuality as revealed through the real world and his fictional one. The film lets us watch the man evolve.
Significant portions of the film is devoted to showing storyboard stills of Mark’s stills of the WWII dolls placed in both the town he’s physically constructed, both within 1/6th scale, and seamlessly within natural settings. I’m gonna nitpick and say the the zippers seem larger than scale, but that’s about it. His friends say that he expresses his anger through the dolls, an admirable action because of how he does it. He carefully paints the scars and bullet holes into the body of these dolls instead of attacking them. At first this feels like he’s staining those dolls until we see the effect he successfully conveys, making the violence look like the dolls have inflicted them on each other, as certain plot points of Marwencol’s story go.
Those stills are more colorful than the less glamourous people like Mark and certain townspeople of Kingston, NY from whom some of the characters in Marwencol are based on. No human Barbie dolls and war hunks in Mark’s real world, which make them more special since the film lets us see the beauty that Mark sees in them. These people are interviewed one by one, their reactions to his art as unabashedly honest as the fiction Mark creates. His best friend says that he’s ‘partaken in battles and come out on top,’ Marwencol then becoming a balance between communal fantasy and a symbol for the wars Mark endures to be healed.
The first scene involves dried blood in Janusz’s (Jim Sturgess) face. His interrogators bring out the witness against him – his own teary-eyed wife – with the same viscera, and I remember the only bone that the Academy has thrown towards this movie. There’s more of that as we follow Janusz’s story as he gets in and escapes from a Siberian prison camp, taking six other men with him, most of whom have invited themselves to the grueling journey. There are these male movie stars efficiently worn down and their skin dried from the cold weather to mix with and placed behind the extras playing prisoners.
The make-up goes with the harsh conditions the men meet when they do escape, the snow on their beards while crossing the snows of Siberia and the Himalayas, the bites of cheeks in their stop at a mosquito-plagued lake or the sores on their faces as they walk the desert. The back and forth between the rugged terrain and the rougher faces and bodies of the characters make a balance between the two aspects of the film. The frozen and mummified corpse of a blind boy who escapes with them but doesn’t even get out of the Siberian forests, flaky skin and chapped lips a la Sergio Leone, swollen feet when they try to cross the Gobi. The effects are realistic, seamless but not too gruesome. Even if it is make-up, it complements the pathos that the characters face during this epic journey.
The film actually begins with title cards indicating three people making it to India. Not having read the source material, which other three won’t make it? You’d think the top billed cast members would, but it’s more complicated than that. I also like how the film handles its ‘Survivor’ like inevitability, as some who do not make it get elegies and close-ups, some just get a cross and are left, and one person, afraid, just chooses not to move on.
The film switches languages, although the story justifies it. Ed Harris‘ Mr. Smith is American so he doesn’t have to hide, even if he does speak some Russian to Mongolian horsemen they meet in the desert, but the film’s top billed stars are Anglophones who sometimes speak a Slavic language. I wonder if the language aspect of the film will be more constant if , say, Bela Tarr directed it. Colin Farrell‘s Valka does the most heavy lifting with the accent work, making the language bullying and threatening. He stabs a prisoner in the stomach for not giving him the latter’s sweater. Saoirse Ronan‘s mysterious Irena is the weakest link with her accent, at first sounding like a mix between Teutonic and her native Irish. However, she saves it by singing in Russian with Valka, finally her secret as a street urchin revealed. Other cast members are known in their homelands, the film’s casting then serves as a way to introduce world-class talent and faces outside Hollywood.
The film shows the vast, almost impenetrable landscapes, even if they’re sometimes bordered by the figures of the people escaping. Nature is depicted as a hardship, sometimes unknowingly marked by political forces. The group crosses Mongolia only to find a big hammer and sickle on a free-standing structure, and now they have to change their plans, asking each other, as Irena does, whether other faraway countries like India are ‘free.’ The visuals of the landscapes are accompanied with bombastic and percussion-y music, making the audience feel like these men just want to get through without meditating nature’s beauty.
The beauty they see instead is in each other, as Tomasz the artist (Alexandru Potocean), draws his companions. The other members get ahold of these drawings and take time to complement its resemblance to photography. They remember, for instance, if he has captured Irena’s smile. Zoran (Dragos Bucur) promises to get them published. The film’s editing and structure consist of landscape, expository dialogue, cut to different landscape, the edges between scenes aren’t smooth.
The characters don’t seem to want to know about each other. During the first half hour, the prisoners are divided into cliques and are discouraged from talking to each other, a trait they have learned to practice during their escape. That’s until Irena comes along to ask them questions about themselves. In doing this Irena treads troubled waters, as she helps the audience find out which one still has allegiances to the Party that imprisons him, which innocent looking face has killed someone, or why in general did they get to Eastern Europe and therefore prison. There are signs on the ravaged areas they pass that inevitably remind them of their pasts.
Their character developments aren’t on the surface neither. Janusz, whose kindness Smith calls a weakness, makes him unlikely to become the leader of a group of men tougher and sometimes older than him. However, his kindness goes hand in hand with his perseverance that helps, through words and actions, him and the others go on walking. Zoran, who doesn’t cook nor hunt, eventually becomes useful as he tries to help build camps, but this evolution isn’t screamed out on the script and neither are their differences. Their search for freedom reveals their intelligence and the survival skills they’ve gained during and before their escape. Nonetheless, this film isn’t devoid of clear humane actions. Kindness finds ways into little actions, leading to Voss (Gustaf Skarsgård) carrying Irena even if she slows them down. Their histories full of betrayal and cruelty would not allow them to leave anyone behind until their last breath.
The film’s ending, just like the way it begins, with what seems like unnecessary exposition and feels flat and unfeeling, Janusz’ feet going halfway across the screen as it plays a montage of the dates of the rise and fall of Communism. I’d call this film impressionistic if it wasn’t glossy and beautiful. 3.5/5
The film’s first scene intercuts between polar opposite people within a city we can assume is Montreal. It isn’t long until drug dealing Anglo-American Henry Welles (Zach Braff) is driving drunk into the posh neighborhood’s narrow streets and pregnant French Canadian Nathalie Beauchamp (Isabelle Blais) is trying to get to the hospital by herself that we know that he’s going to run her over and their lives will forever change. He tries to find out through his friend who she is, if she’s all right, his conscience suddenly appearing.
She impulsively leaves her husband and moves in with him. His successful attempts in accommodating her and her willingness to befriend a stranger shows how malleable these characters are written. It’s part of the urban condition for them to find each other, as many movies have told before. Nathalie discovers Henry’s version of her city before his secret is revealed. The story’s recycled, but Deboarh Chow extracts raw performances from the leads, reminding us that Braff is a capable actor, and now I have to watch his CV.
- Photos: The best of Canadian cinema in 2010 (thestar.com)
Original idea from Nathaniel Rogers and The Film Experience, I’ll screen cap the twentieth minute and tenth second of random movies. ‘But shouldn’t it be 20:11?’ Shut up. Also, these films are from my laptop.
The couple looks at each other. This is the most human Vincent Gallo will look.
[The image that should be between these two contains nudity and will not be posted.]
“Make yourself at home.” She fakes a smile, the start of a grueling proecess.
‘Closer,’ the magician implores and successfully gets the child’s attention.
Looking behind him. He knows he’s being followed, putting his brother in danger.
After she gets bad news. Her oblivious daughter watches the television. She keeps silent.
‘As a side note…’
Her daughter looking for old records of mommy’…A girl for you, a boy for me…’
A woman tells them to take off their clothes and hat. “He’s doing well, eh, Itzhak?”
‘Terrible.’ As she enters, feeling the constraints of costume.
‘Thanks, Cooter.’ She kisses the man on the lips.
Telling her plan to the other girls, fitting in with the unionized workers.
Background – Passes for Casino Jack came with the package I bought at TIFF. I skipped it for Modra, a Canadian film with hip reviews and hipper people giving out flyers for it. I felt bad about missing Casino Jack since director George Hickenlooper‘s untimely death. My intuition failed, choosing a movie that came to theatres four days before this one, thinking this had better distribution chances. I’m watching Casino Jack in January instead of The Mechanic, ditching a friend in the process . I’m a Metacritic slave I so might never see The Mechanic.
On Casino Jack. I have faint recollections of people belonging to the footnotes of history, and the film’s subject, Jack Abramoff (Kevin Spacey), is supposedly a monstrous figure. Instead we get an ex-movie producer quoting movies a lot, with delusions of grandeur and a warped perception of competitive capitalism. The film’s first scene shows him claiming, in front of a mirror, that he works hard so that his family doesn’t have to walk or ride the subway, juxtaposed by him getting stuck in traffic with his daughter, hearing bad news from his partner Michael Scanlon (Barry Pepper), hiding from FBI for frauding left and right. Affluence doesn’t mean convenience, especially if your means are illegitimate.
Jack tries to convince us that he’s in the right while the film tries to convince us that he’s either deluded or caught up. He says that his job, lobbying helps congressmen to decide the laws for America. The film knows that it’s audience is smart enough to know that if congressmen wanted to write effective laws, they’d visit their constituents. Almost every character tainted hands in this fictional yet probably accurate portrayal of Washington. Jack uses his laundered money to build restaurants or Jewish schools, our devil’s advocate. We see the embarrassment of riches that he and these usurpers dip themselves into, the trinkets they need to feel accomplished, taking down enemies without knowing the consequences.
Nothing interesting visually in this film. Most of the camera work hides, for example, the blue sky, photoshopping the CN Tower between or behind those condos in ‘Florida’ that I’ve been in, hiding Senator ‘John McCain’ between those Manchurian Candidate-esque TV screens. There’s Spacey transforming himself into Jack in the photos of him, his skin droopier. There are also low angle shots of Jack as he’s being fired and/or interrogated.
Spacey’s never convinced me as a lead actor, and it takes a while for Pepper to settle within a suit-and-tie role, but they’re wonderful to watch in quieter scenes. They’re also a great part of an ensemble, illuminating a script full of pas de deux between characters. Michael’s girlfriend is played by Rachelle Lefevre, making memorable entrances and exits, doing wordplay as efficiently as the men, the film’s Cressida. Adam Kidan is played by Jon Lovitz, complementing the film through ccomic timing. These four are worth a matinée, including Jack’s description of Imelda Marcos, the strangest one I’ve heard.
I stole this idea from Nathaniel Rogers. These are screen caps of the twentieth minute and tenth second of movies, many of which I can’t really expand on as he eloquently does. But really, this is posted because My VLC shuffle played The Kids are All Right and Shutter Island, which are already taken. [ETA; Also, I have not and will not put the names of the movies where these screen capscome from, for guessing reasons]
A rival painter observes, praises master yet talking behind the protagonist’s back.
“Excusez moi, numero two!” “HEY!”
“What happened?” “Oh, you didn’t hear…”
It’s not high school anymore. Friends dirty dancing in public…
He feels the pains of ‘adult sizing’ in a self-aware amusement park.
“…children, heaven bless them, they will look up to me and mind me…”
Los Angeles, night-time. The vandals rise and fall.
Traffic. No dialogue, obviously.
“Yeah, well, where is he? How come he takes a lousy stinkin’ job?”
At 3AM, a careless nursemaid tells the truth to a budding actor.
Somewhere is an interesting look at movie star Johnny’s Marco’s (Stephen Dorff) busy schedule. He’s promoting his latest movie while being the target of snide remarks from his costar (Michelle Monaghan), getting a make and make-up for his next role as an older man, going to Milan where he’s revered and where we learn that his CV includes Pacino and Streep films. With the good comes the bad, breaking his arm at the Cheateau Marmont while wasting his money renting a hotel room there, his many exploits, looking like crap – impractical yet fabulous taste in footwear aside – and not even dressing properly at press conferences and photo shoots. In other words, looking at an actor’s precarious career and lifestyle.
It’s interesting to see Cleo (Elle Fanning) behave towards his Johnny. She gets visitation rights with him during weekends, he doesn’t know that she has been ice skating for three years (although that could be mom’s fault), she has to tell him what “Twilight” is, he sneaks girls into his hotel suite in Milan even if she’s sleeping in the suite’s bedroom. Later on, in a teary scene, we discover that Cleo’s mom is going away and the latter hasn’t revealed when she’s coming back. Her parental situation and upbringing is just as precarious as Johnny’s career, thus the film’s title, Somewhere.
Let’s go back to Milan scene, shall we, as it develops to the morning after Johnny’s tryst with the Italian woman. The woman tries to open up to Cleo, asking her questions about boyfriends and telling Cleo stories about her young love with a scooter. Johnny finally joins the two on a breakfast table, Cleo darting looks of anger towards her father. That one moment is the angriest she gets because she doesn’t seem to harbour ill will against him for the rest of the movie. Well, he does hang out with her a lot. The film also makes it seem that despite the lack of time normally spent between the two, they don’t seem the need to reacquaint each other of their new activities. They communicate instead through playing Guitar Hero or playing tea-time at the bottom of the Marmont swimming pool, the two then having an esoteric language to themselves. Her treatment of him is a mature decision for an 11-year-old to make.
The film brags cameos from actors like Louis Garrel and Benicio del Toro, but I’m more interested in the models. Erin Wasson, Angela Lindvall, Maryna Linchuk, Meghan Collison, Jessica Miller (who?) Nicole Trunfio (the brunette woman with the red biniki staying below his Marmont suite). I couldn’t recognize them until looking at iMDb, and it’s sad that I haven’t been connected to the fashion model world.
This is getting…somewhere. The first half of the film especially shows writer/director Sofia Coppola channel the male gaze through Johnny in his (spatial) relationship with these women. There are exceptions to the gaze and gender divide, when Johnny watches a documentary about Gandhi without feeling a slight tinge of empathy towards the great man. Nonetheless, he lights up like a little boy when he watches the twin strippers’ second number (I didn’t know the Foo Fighters and Amerie were stripping music. I also didn’t know that Coppola’s taste in music got more populist/terrible and I do like Amerie). He ignores the three models with black couture gowns, the models then like ghosts in the Marmont hallway. Someone ‘sexy’ pops by now and then while Cleo’s around and we as an audience is anxious that he’ll be seduced away from his daughter’s attention. He watches Cleo’s ice skate routine as an obligation, but marvels at her classic, fragile beauty when she comes out in the gown for the Italian awards event.
Watching him enact the male gaze is interesting since he is an actor, and his job description means people looking at him. He worries when the gaze is shifted back towards him, asking his daughter to watch out for black SUV’s – she tells him that there are lots of those cars in LA, which is weird because as an actor, he’s supposed to know those things. At a party, a younger actor asks him for advice while only half of the girls there give him any attention. He goes on stage in Milan for the awards event but is quickly pushed out to make way for a dance number led by the Italian girlfriend.
Somewhere is like watching someone who doesn’t feel comfortable with the spotlight, which come to think of it, is a recurring theme in Sofia Coppola’s films. Bill Murray’s character in Lost in Translation, Kirsten Dunst’s titular Marie Antoinette and Johnny are similar in this respect, where the gaze goes both ways between protagonist in a distinct civilization and said civilization’s distant and hostile habitants.
Hostile, however, seems to strong of a word to associate with Sofia Coppola’s slow pace and minimalist narration. The characters, even with Cleo’s warm influence, still feel cold and distant. It also feels laughable, because of the film’s content, that Somewhere‘s getting comparisons to other auteurs. The themes aren’t deep enough or are engendered too literally in the film, but I’ll feel obtuse if I ignored these themes since they take a bit to ferment and talk about. 3/5.
I saw this film at the Varsity, where two of the films are sold out for the later screening times and for the 7 PM screening times, all the movies were sold out with the exception of The King’s Speech. And shut up, I liked The King’s Speech.
The news about Jonathan Franzen was picked up locally – he and his new novel “Freedom” had moved around for a book tour with a stop at Toronto two months earlier and meant everything to the city now – because of his appearances at the IFOA. According to very flattering reviews in the city’s alternative weeklies, Franzen made an epic splash tackling both the professional and private lives of the fictional Berglund family whose story spanned from St. Paul to Washington. While the blogger was wallowing with self-pity because of being unable to pay for tickets to see someone who was practically a living literary genius, the blogger contended with reading the 500 plus page tome by himself months later, and realized that the first thing he was thinking about was who would play the characters in a movie version which MAKES HIM A PRIME SUSPECT RIGHT? Then again, a film version would be in the spirit of the ambition in this book, and regardless the parts that were in Joey’s perspective, which is practically Franzen channeling Bret Easton Ellis, and even if certain plot points are revealed twice, the book can compel and break the hearts of the readers each time.
The blogger kept thinking about what it would have been like if this movie was set in the late 1980′s with a cast like Danner-Redford-Goldblum, or Kristine Sutherland (Buffy’s mom)-Kline-Goldblum, or a mid 1950′s cast consisting of Taylor-Hudson-Dean. But what is done is done. The blogger will give a set of names that also depends on which director the movie version would make the film, and how ambitious and cool-headed this director is.
JESSICA BERGLUND. Walter and Patty’s intelligent, ethically sound older daughter. She’s daddy’s girl but their relationship isn’t as poisonous as Patty and her brother Joey’s.
My choice. Emma Roberts. It’s weird casting a younger actor who’s only more than ten years younger than the actors playing his parents. The only thing I’ve seen her in is the trailer for It’s Kind of a Funny Story. Hope my instincts aren’t off.
CONNIE MONAGHAN. The girl next door to the Monaghans. She’s an outsider from the neighborhood and Joey’s girlfriend.
My choice. Kristen Stewart. This girl’s probably going to be too cool for school after On the Road is released or when, by lucky stars, she gets the role of Kate for the new East of Eden. But as much as I liked her in The Runaways, when you read about a character that’s feral and sexual and has no ideas of her own, who else could I have thought of?
LALITHA. The young woman of Indian descent who has two passions – anti-overpopulation and her boss, Walter Berglund.
My choice Freida Pinto. The book describes Lalitha as having round features like Aishwarya Rai, who isn’t on the age range as the character. There’s a calming sense to her performance in Slumdog Millionaire, and the sexual element is obviously in there as well.
JOEY BERGLUND. The wonder boy who’s rebelling from his parents through sexual relations with Connie Monaghan and through Republicanism.
My choice. Anton Yelchin. This’ll be a jump from Yelchin, whose foray into science fiction films make him seem benevolent and dorky. But young minds can absorb. Plus he can still pretend to be in high school, depending on what the film wants him to be. The only questions are how he’s going to look with blonde hair and a little beer weight?
RICHARD KATZ. Truncated from the hardcover’s leaflet thingy, he’s an outre rocker and Walter Berglund’s best friend and rival. But what is he still doing in the picture?
My choice: Unknown This is a cop-out, but every source material has a role that’s hard to cast. It’s better for a casting director to scour the earth and find someone out of a thousand people other than saying Depp or Bale or Leo. Colin Farrell might do if he looked the part.
WALTER BERGLUND. As a nature lover, working for Big Coal becomes the career move that gets him in the New York Times. Has Freudian rivalry issues with his best friend, his son, his father and brothers.
My choice: Paul Rudd. Ageless Paul Rudd. We need someone sincere to open up to Patty as he talks about how mean her best friend Eliza is Sure he hasn’t done drama since The Object of My Affection, but you can’t lose that kind of training. His comic side might help reduce tensions in many scenes while arguing with Joey or his wife Patty and will help him while thinking about overpopulation statistics and going ballistic on a pill-addled speech that goes viral, pre-Youtube days. Thinking about Paul Rudd made me realize what a funny character Walter is.
PATTY BERGLUND nee EMERSON. The basketball star turned perfect housewife to bored, drinking housewife who wallows in self-pity and writes her autobiography for therapy.
My choice: Michelle Monaghan. ‘I’m 34. I’m a baby,’ Monaghan says in Kiss Kiss Bang Bang five and a half years ago. Although she looks more mature in Somewhere, the blogger is sure she can still fit in as a young blonde girl in a college basketball team and eventually transform herself into an older Washington housewife. She has the hardness in her voice to nail ‘Did Walter ever tell you I slashed Blake’s snow tires?’ and humour and goodwill to bring Patty to our sympathies.
What I actually found in common with the ‘best’ performances I’ve seen in movies since my earlier, iffier list in July is that these actors who play their characters as either scary or scared. I thought that was gonna make my list repetitive but it’s a pretty general conflict within a character anyway. Also, as much I loved a few performances released this year, this list mainly focus on my self-education (Although I didn’t major nor specialize, I took film classes in college, I’m not one of those) about films from the beginning of ever (but really 1947) up to the past year, for which I make a space to include an FYC or two for performances this year. again, I also wanna be a contrarian and ‘instructive’ – the more obscure and diverse a performance is, the better.
The film complements Emily Watson’s well-praised debut performance as Bess McNeil with Skarsgard, who makes the pest performance of a ‘crippld’ man since Jimmy Stewart. He finds the balance of sincerity and good intention despite the manipulative nature of what he says, and this the centre of the misogyny that other bloggers have accused von Trier about in this film. Thing is, he airs his requests to Bess with neither overt meanness nor longing. His disability is also reflected before and after it literally sets him in the film’s plot. Let me explain. Skarsgard’s performance makes his character, Jan Nyman, very jaded and justly so. He treats the Bess’ Calvinist enclave with disgust but as an outsider, is aware that he cannot change it, letting everyone else do the moralizing. He tries to give Bess the redemption he deserves and doesn’t oversell it, showing us his awareness of the reality of his loss.
Liv Ullman, Autumn Sonata (Ingmar Bergman, 1978)
It’s a hard task stealing the show from Ingrid Bergman, and we almost think it wouldn’t happen with the woman’s piano skills. Eventually this film becomes Ullman’s, playing Bergman’s daughter. I thought she was in her twenties when she took on this role, and her braids and glasses might have had something to do with that. But Ullmann in her forties captures the youthful vulnerability of someone well, half her age. A character who hasn’t learned how to be an adult because of her mother’s tampering and image of superiority. What follows is an unforgettable primal scream, revealing that anything a mother can do to love her child might be engendering the opposite message. The film ends with her trying to get her mother back, but in just as repetitive as she’s learned. Never had a peace-offering been so poisonous, as Ullmann carefully hides a rage that we can still see.
Ryan Reynolds, Buried (Rodrigo Cortes, 2010)
The success of this film has been partly attributed to Reynolds’ comic timing, which yes, adds a flexibility to the role in a horror/thriller film. Other critics have also talked about how he conveys Paul Conroy’s lack of intelligence, but lack of sunlight and mobility, I can assume, with take away 1 or 61 of anyone’s IQ points. However, he also exhibits a physicality, a difficult attribute to convey in a claustrophobic film.We follow his every little move, like trying to get a signal from a Blackberry set in Arabic or working flashlights. He also bring is the emotional heft the film needs, outstandingly connecting with the offscreen characters. And yes, I admit, a reason Reynolds is on this list is because he renders the best reading of the sentence ‘You stupid fucking cunt!’ in the history of cinema.
Any Ryan, Gone Baby Gone (Ben Affleck, 2007)
Supporting actress schmupporting actress – Amy Ryan takes the reins in this movie. Ryan’s character is faced by many hurdles, the missing daughter who probably hasn’t been fed by her captors (really the latter is fine), the good cops and the bad cops who are convinced she’s involved in the crime despite her unbreakable shell. She’s also intelligent enough to add levels of moral judgment about her character, saying things that she believes is right but making the words clear enough to question her. She gets the ending she wants and becomes a scary form of human being impervious to change even in times of almost complete disaster. I try my best not to be one of those bloggers who have grievances when it comes to the choices the Academy makes, and who am I to judge Tilda Swinton’s performance that I’ve yet to see. Nonetheless, Team Amy.
Catherine Deneuve, Repulsion (Roman Polanski, 1965)
Blankness hasn’t been this scary in a woman or in any character until this film arrived. We might also wanna thank Polanski in this aspect of her performance, but she looks capably fashionable even as she’s as we say mentally breaking through the seams. That and the raving beauty is humble enough to look plain in comparison the her sister (Yvonne Furneaux). Not only do we see the rabbit head inside her purse and the unkept conditions of her and her sister’s apartment after the latter’s vacation do the vacuous stares make sense. Her bravery’s also commendable as she takes on the dream rape scenes, as she approaches them not with tears but with defenselessness and startled reactions, conveying how her character struggles against her body. She portrays a young woman with grievances against societal pressures about her sister’s boyfriend and her own oblivious boyfriend, but sadly didn’t learn how to scream out.
I considered it a personal achievement to have finished watching the film the past year, since Deborah Kerr as Sister Clodagh puts heart in what could be a cold, detached and stern female protagonist in Black Narcissus. Powell and Pressburger are known for their magical Technicolor visuals in their films, but the most delightful image it has is watching Kerr light up when she reminisces, romanticizing the decaying past that she was happy and content with. There’s also a bit of pain in her eyes as the film transforms her from context a to b, with the knowledge that her life in the British Isles won’t be the same. She’s not, however, necessarily a helpless young female, as she considers herself a mother and leader to the other nuns in the Indian mission, specifically looking out for Sister Ruth, sincerely caring about hers and everyone else’s health. And she’s got a little sense of humour as well, brought on by Mr. Dean.
Tatsuya Nakadai, Kagemusha (Akira Kurosawa, 1980)
Hey look, another double role! But really the titular Kagemusha gets invaded by his alter ego, Shingen Takeda, the medieval Japanese war lord whose life is surprisingly more precarious than the lower class man who’s supposed to impersonate him. Nakadai evinces the haunted feeling of being followed by the ghost – only appearing once in a dream – of a supposedly great man, who’s also chagrined by the warlord’s son. He somehow convinces us of a closer connection between the two disparate characters, of the integrity that has to be preserved in the old ways that oppress Kagemusha. When the thief becomes the warlord, he doesn’t put a dumb show. He even shows warmth while bonding with the warlord’s grandson. The actor perfectly captures the composed, arrogant ways of a noble man and the dishevelled thief who he was in the film’s beginning and end.
Joan Allen, The Ice Storm (Ang Lee, 1997)
Ang Lee’s more subtle than other directors who have made films about the suburbs. It is then a gift to have Joan Allen’s as Elena in his film to keep the trajectory from quietness to histrionics more interesting, like the different movements of mood within a real person within two days’ time. To a pastor, she talks about her daughter Wendy’s (Christina Ricci) freedom with such adult control. Her performance has many great moments, like the what-the-eff moment when she smells a different ‘aftershave’ from Elena’s husband Ben (Kevin Kline) as she tries hard to calm herself and the absolute fury as she throws her husband’s car keys to Allison Janney, vindictively including themselves to a ‘key party’ – look it up, kids. This movie reintroduced and made me love someone revered as ‘the greatest American actress after Meryl.’
Johnny Depp, Before Night Falls (Julian Schnabel, 2000)
When you start talking about a film, writing ‘Remember when Johnny Depp was still good?’ It’s totally ok to do that. Anyway, Depp, obviously a superstar by the early 90′s, in this film is given not one but two supporting roles as Bon Bon and Lieutenant Victor, and arguably Victor is two roles in itself, the compassionate stud of Reinaldo Arenas’ (Javier Bardem) fantasy and the homophobic oppressor in the film’s reality. The two bit parts are symbolic of the opinion of homosexuality in Cuba – either as a counter-revolutionary sore or an underground movement to be preserved. Depp uses subservience and camp, and embracing his characters as mirror images of the conflict within Arenas himself as well as the latter’s conflicts against authority. I also couldn’t recognize who Bon Bon was until I took a good look at her for 13 seconds, a feat in itself for an actor who’s in costume for more than half his career.
Christian Bale , Laurel Canyon (Lisa Cholodenko, 2002)
I’m probably the only monstrous human beings who see flaws within Christian Bale’s acting, the way he gets angry and yells like a hound and all. He does that here in this movie too, mind you. It’s refreshing nonetheless, that he spends 99% of the film being his most ordinary. That, however, doesn’t mean he’s not interesting as we watch him effortlessly confess his desires to make love to his coworker/extramarital love interest with sadness and other emotions and nuances I can’t put into words. He approaches lust and therefore sin with such gentleness and no violence, creating a character contemplating the sorrow of limitations. One of the film’s plots cover his character temporarily staying with his music producer of a mother (Frances McDormand) and her rocker boyfriend-of-the-year (Alessandro Nivola), giving us the impression that he’s always had to be the adult in whatever household he’s in, and it consistently shows.
Nicole Kidman, Rabbit Hole (John Cameron Micthell, 2010)
I’ve already talked about how Nicole Kidman as Becca Corbett does everything in this film except dance and stab. I also remember about her performance is that she could have brought down her character’s meanness, and in a way she does. What she offers is a defence mechanism and even a wry intelligence to the conventional ways of sorrow, and instead her Becca is looking for an alternative, learning how to suffer and cope on her own, allowing herself to feel other emotions to heal. Like when she goes back to Manhattan and try to get her job back at Sotheby’s, even if we just see her we sense how big she feels with the city and with the happiness she’s had and missed. Or allowing herself to be close to Jason Willette (Miles Teller), treating him so close like a son or nephew, letting us feel the waters she’s treading.
Oh hai, Mrs. Dursley (Fiona Shaw), staying in the car and not waving goodbye to her movie nephew Harry Potter (Daniel Radcliffe)! Oh hai, in this second to British acting royalty hanging on to this adventure for one more installment.
Since I already talked about the casting I might as well talk about how they performed. The good guys (Order?) are better actors than the bad guys (Death Eaters?). Maybe it’s because the Death Eaters are played by familiar faces from whom I expect more. Bellatrix (Helena Bohnam-Carter) and Voldemort (Raph Fiennes) behave so animalistically, like the snake crawling in the room, ending up in the wrong side of camp. Bellatrix is probably the most prominent Malfoy featured in this movie, since father (Jason Isaacs) and son (Tom Felton) only have a line or two, and that’s the conundrum of the rest of the supporting cast in their good or evil side. There are countless other actors listed on the iMDb page who didn’t even make an appearance in the movie.
The cameos for the good side include Neville Longbottom, telling the Death-Eaters who hijacked Hogwarts Express that he isn’t on the train. There’s Ron’s (Rupert Grint) mom (Julie Walters). Apparently we have to wait till July to hear her say the best line J.K. Rowling’s ever written. Brendan Gleeson also has a character here, except that he’s awesome – which is really code for I’m not tired of him yet. There’s nothing remarkable from the two male leads. But while hiding from Voldemort (Fiennes) and his fellow Death-Eaters, Emma Watson’s Hermione revisits her memories of urban and rural Britain without overdoing it. She’s just as busy freaking out over Harry’s safety, roaming the British countryside that’s better lit than it is in other movies. This backdrop also serves as the hiding places for the Horcruxes that they have to find and destroy before Voldemort finds them.
The big three also fight while they’re roaming the country, naturally as friends. It’s the most intense, ad hominem fight that they’ve ever participated on, but they’re gonna kiss and make up. As Ron says in one of the scenes in the beginning, the battle between Harry and Voldemort is bigger than just those two characters. The subtle script didn’t elaborate, thankfully. Harry is on the good side but, through the complex nature of his relationships with his friends, he isn’t virtue’s consummate symbol.
Norman Wilner called the film confident, explaining, like others who have written about the film, how it delves into the dark subject instead of looking into how quirky their magical world is. And the literally moving portraits that are the staple of the Hogwarts world and earlier films, but Dumbledore (Michael Gambon) and Harry are targets of these magical photographs. Dumbledore has to hide, closing some doors. While Harry, targeted under a new Ministry of Magic where Dolores Umbridge (Imelda Staunton) rules, is looking weary in a picture showing him as Public Enemy number one. There’s something sinister about magic now, or what it’s become.
Instead of the singular outlook that the earlier films have produced, this adaptation of Deathly Hallows tells the story through four lens at the most. There’s CGI-heavy artifice to show the spacious magical world, close-ups that feel handheld when the main characters are being emotional – the most memorable example is when Harry and Hermione do a little dance, darker shades showing flashbacks and a glossier cinematography when the three kids are chased into the forest. The transitions among these four aren’t jarring but they are distracting.
I’m the last person to see this movie, buying my ticket at the Carlton. Being almost late, I sat at the back, having to listen to the rickety projector that sounded like birds chirping. That fit well with the rural scenes. There was also a homeless drunk guy, who started banging his bags on the floor and yelling incoherently at the screen. The audience was relieved when he left.
The first look I’m gonna be talking about comes from my first movie in 2010, Martin Scorsese‘ Shutter Island. Yes, there’s Teddy Daniels’ (Leonardo di Caprio) wife (Michelle Williams) in yellow, but among many things we wonder why Chuck Aule (Mark Ruffalo) has a better suit than Teddy, his supposed superior. Then Chuck stands there, his fake benevolence makes him seem sinister, and he reveals to Teddy and to the audience a pulpy ending we don’t want.
There’s also the literally punk ethos generations later. There’s gonna be another movie on this list that covers the same time period, the style The Runaways being the more stereotypical if you have to compare the two. But say, younger Cherie Curie (Dakota Fanning) taking style cues from David Bowie makes us all reminisce even if we’ve never been there.
It’s been known that Tilda Swinton can do anything, including wearing Jil Sander dresses and not look like a clueless model wearing a box. I am Love focuses on Emma Recchi’s (Swinton) facade of womanhood, or how lovers try to hide and find each other through cities and nature. And when Emma puts up her hair in a bun, it reminds me of Madeleine Elster. Emma Recchi (Swinton) is allowed little bits of freedom, but is she willing to risk it all?
Now we move on to chunky sweaters! Such as the staple in Never Let Me Go. The youth from Hailsham and the other special schools get to wear browns and greys while the people they watch on television are more wild and colourful. But I actually like this, since it shows the Armaniesque minimalism that was just as prevalent in the 70′s and 80′s. If you look Cher in Moonstruck, both films take the same approach in costume.
I’ll probably get hanged if I didn’t talk about Rodarte’s textural touches in Black Swan‘s costumes both onstage and off, the outer layers that ballerina Nina Sayers (Natalie Portman) have to put on and peel off. I also like the scarves that both Nina and alternate Lilly (Mila Kunis) wear. Why are they dressing alike? What they wear outside reminds us that their season starts in winter, when hibernation (repression) is something that Nina can either adapt or rebel against.
One of the most painful cinematic experiences I’ve ever had is also one of my first in the newly erected Bell Lightbox. Fortunately, there’s the little moments of fashion in L.A. Zombie, and it helped that I knew that they were created by Bernard Wilhelm, one of the designers whose whole collections I wanna buy when I get rich enough. That and they’re worn by one fo the sexiest men to ever live, Francios Sagat. I hate this movie partly because of Catholic guilt. Are you happy I admitted that?
This year was the year of the blue dress, like the Balenciaga inspired ones in Attenberg and Amy Ryan’s ill-fitting yet fabulous dress in Jack Goes Boating, but the one that knocks it out of the park is Miriam’s (Rosamund Pike) in Barney’s Version. To be able to catch the eye of a just married man like the anti-hero Barney Panofsky (Paul Giamatti) and come out like an angel doesn’t always have something to do with what’s inside a person.
Hey look, another hot guy in a suit. The titular hero of Carlos (Edgar Ramirez) audaciously wears white or light coloured suits while motorcycling through the streets of Beirut and other cities in the Middle East. He is smooth, a conundrum, presenting himself as a terrorist while looking like he’s spending money on a Saturday night. The film will also show him in Speedos and his birthday suit if that’s your thing.
There’s young Mattie (Hailee Steinfeld) in a movie that might be the only one in this list to get an Oscar nomination for Best Costume, True Grit. Mattie chooses subtlety and fit, unlike the wild colours of the Ann Sheridan types or loose-fitting sloppiness of the men. She is the daughter of Frank Ross, a man of manageable wealth and assets. Although she dresses more ‘manly’ when she goes into Indian territory to find her dad’s murdered Tom Chaney (Josh Brolin).
Rosamund Pike reappears in this last entry but for another movie where her talent is better used – made in Dagenham. The red Biba dress that Sally Hawkins’ character is originally her characters’ anyway. The dress reminds me of how Britain had power in the garment industry before the Central Saint Martin school came along. And even female politicians will talk to each other about clothes. Make of that what you will.
Five of the movie couples here will appear ad nauseam in my other lists. I’m really worried and sorry about that, being derivative and all. I just have a compulsion to make these lists. Then in like, three days, I’ll tell you what I really think of the new Harry Potter movie. Not on this list.
Noah Baumbach creates two characters so real and on the surface, kinda boring. Florence and Greenberg (Greta Gerwig and Ben Stiller) are half a generation apart, and they come to blows sometimes with that. Florence sometimes talks and acts with irony that she doesn’t make a good impression on Greenberg. He’s an impulsive slacker but he blows his lid when her immature side pops up. Nonetheless they’re there for each other in times of need, belonging in Noah Baumbach’s world of under-dramatic characters. Thankfully, they don’t need speeches to reconcile neither!
The hero of Scott Pilgrim vs. the World (Michael Cera) and his heart eventually sets itself for the almost unattainable Ramona (Mary Elizabeth Winstead), but I really thought Scott and Knives (Ellen Wong) could have worked it out. They’d go to the arcade or Sonic Boom and it doesn’t even feel like she’s dragging him. Then peer pressure kicks in, understandably because it isn’t cool for a twenty year old to date high school girls. They end their relationship with Knives complementing Scott’s hair, a perfect Annie Hall ending. They can be good friends after all.
The obligatory LGBT couple could have either been Cherie and Joan, Eames and Arthur (I can see you write the gay fan fiction now, LJ) or the ployamorous relationships in Heartbeats or FUBAR, but it goes to Nic and Jules (Annette Bening and Julianne Moore) from the Kids are All Right. Marriage is hard, as Jules says. Despite some flaws in the film, writer/director Lisa Cholodenko creates people, not symbolic entities, who have their own quirks and desires. Sleeping under a big comforter, ridiculous in LA standards, you can feel them snuggle in. Please adopt me!
They’re on this list because I felt really bad omitting Rabbit Hole on my top ten – the ‘revelation scene’ was kinda weird – but Becca and Howie (Nicole Kidman and Aaron Eckhart) make for a great couple. Yes, most of the film equally captures Becca’s relationship with her family, and Howie’s questionable friendships, but underneath that grief, anger and resentment is repressed passion and a will to reintroduce themselves into the Yonkers community where they normally belong. They help each other move on despite of the tragedy that kills the other marriages in the movie.
Representing puppy love are Lina and Leco from Modra, where the first time actors improvise their way into Lina’s titular home town in Slovakia. Instead of barraging each other with questions, they walk around the bucolic town. Leco jumps on top of Lina at least once. They find out the nice and not so nice things about them. Will this summer decide if they’re gonna stay together, even if the town elders bet that they will? This is showing at the Lightbox as the better parts of the apparently stupid best Canadian movie list. This movie’s so cool and obscure, it doesn’t have an IMDb page!
Some of you might think that the least conflicted part of Easy A is Olive (Emma Stone) getting swept off her feet by a Prince Woodchuck (Penn Badgely), which is true. So we’ll go for the bets parents ever (Patricia Clarkson and Stanley Tucci), and I remind myself that they were part of the me generation, as the mother intimately reveals, which is why they can give such great advice for their own daughter coming to terms with her sexuality. Again, Clarkson and Tucci have such great chemistry and humour, making jokes when they’re actually worried about their children’s well-being.
Here comes another odd, unattractive couple from another indie movie. It’s mean, I know. Jack and Connie (Philip Seymour Hoffman and Amy Ryan) in Jack Goes Boating decide to embark on love despite of cynicism they receive from their married friends. They’re learning the physical taps of love, not lust, as Connie tells him to overpower her without sound like she’s over-directing. In the end, while Fleet Foxes’ pastoral folk music is playing strangely on a New York City backdrop, the only thing more fitting is to see these two put their arms on each other’s shoulders.
I’d be sadistic enough if I put Barney Panofsky (Paul Giamatti) on this list with either of his first two wives (Rachelle LeFevre and Minnie Driver), but author Mordecai Richler is sadistic enough to let Barney meet his third wife Miriam (Rosamund Pike) in his first wedding. In Barney’s Version, he tries to work it out with this Myrna Loy-esque image of perfection they try to work it out and do for almost twenty years, then he cheats on her. He tries to win her back, prankster that he is, by giving her new husband (Bruce Greenwood) a heart attack. But they’ve remained good friends.
‘You’re used to getting women drunk, aren’t you?’ Carlos and Madga (Edgar Ramirez and Nora von Waldstatten) are the definition of the sexy couple. In their first meeting, both test each other and that goes for the rest of their relationship when they have children and both have to go on terrorist missions. Nonetheless, they get on each other’s nerves, she does everything for him while he calls her a ‘petit bourgeoisie’ to his mistress. Like most of the women in the miniseries, she’s attracted to the man who makes things explode, but she can’t love the man who loves himself.
The reason this list even exists is because of Micky Ward and Charlene (Mark Wahlberg and Amy Adams) from The Fighter. From their first date you can hear the rhythm of their banter already, might as well sounding like a couple twice their age. Micky admits later that they’re going in a nice part of town to hide, but only will he show this uptown side of his with a girl he really trusts. Director David O. Russell helps create that picture, showing Micky’s new support system as both, with little good reputation under their names, try something new and something with a great payoff.
Lists like this for me happens in accident, or two years later when the movie comes up on TV and say ‘Hey, that was crap.’ I trust critics. If I read a terrible review, it means I won’t pay 12 bucks for it. There are exceptions. Seven or so of these were movies selected by film festivals in either 2009 or 2010. Making fun of festival movies is like kicking a dead dog, but sometimes I have no choice. Sorry for the grumpiness.
Alice in Wonderland
Les Amours Imaginaires
Enter the Void
I’m not even properly doing this list, while just writing about the first ten awesome films off the top of my head. [ETA: Because of distribution randomness, movies like The Conspirator won't come out so I can't really make a proper list until April this year. Nonetheless, here I am.]
I wanna commend the naturalism of Noah Baumbach‘s latest film Greenberg. I’m not sure if I can really call this mumblecore because I feel the emotions are just as explosive as it would in a typical drama. The characters of this film underact their deliveries of empty threats and misunderstandings, but they have to come back together eventually.
It wasn’t until now that I realized that I am Love echoes Hitchcock in portraying quiet eroticism, obsession and guilt within the elegant trophy wife Emma Recchi (Tilda Swinton). The editing is snappy yet buttery from, for example, close-ups of nature scenes to close-ups of Emma’s body perfectly captures the impressionistic waves of her emotions.
The obligatory animated film spot goes to How to Train Your Dragon, again, with its rousing music score that helps portray the fantasy within Hiccup (Jay Baruchel) as he befriends a slick dragon. It’s interesting to see an animated film convey such human intimacy and freedom, its modest ambitions captivating its audiences.
A tidbit in this month’s GQ described Inception as a heist version of an Alain Resnais film, and my love for this film makes sense by reading that. The film’s intricate structure messes with your head without seeming deranged. It’s an enveloping experience combining narrative, visuals and sound. Most importantly, it’s got style.
Edgar Wright’s Scott Pilgrim vs. the World is a marvelous achievement in editing that translates the comic book into film. I really felt like I was flipping through the book itself. The eye-popping graphics are also lovely, making the film an esoteric experience, going hand in hand with Scott Pilgrim’s (Michael Cera)’s energy level, kicking ass.
I’ve referred to the influences that Meek’s Cutoff, illuminating its audiences with colour while presenting the Oregon Trail’s dangers in quietness. Director Kelly Reichardt shows how much she’s mastered the art of composition, where every skirted, persevering woman or tree or rock looks like artwork. I can’t wait to get the film’s DVD to screencap it.
As I’ve said in my review of this film, I’ve given mercy fives but the one movie that truly blew me away this TIFF is Confessions, which, as I’ve said earlier, is a mixture of elegy and revenge as a genre. It also exposes a society where children do the unthinkable. people don’t stop learning but don’t evolve as mature human beings neither.
Debra Granik’s Winter’s Bone takes us with the tough Ree Dolly (Jennifer Lawrence) go head to head with her enemies who just happen to be on her extended family, like her uncle Teardrop (John Hawkes) and the matriarch (Dale Dickey). Despite the survivalist and drug-addled reputation it may give, this haunting tale put the Ozarks on the map.
I probably like The King’s Speech mostly for the quotes. Does anyone else think that the future King George VI’s (Colin Firth) words as adorable? Obviously the story about him and his unlikely mirror, Lionel Logue (Geoffrey Rush), both of whom show their inadequacies and hurdles. People who call this ‘Oscar bait’ are amateurs.
Another Oscar bait ‘guilty pleasure’ is The Fighter, a movie capturing the rustic, rupturing cadence of a working class family in Lowell Massachusets as they stick to their own mythologies through boxer and comeback hero Micky Ward (Mark Wahlberg). This movie has a male protagonist surrounded by strong women and is the definition of the ensemble cast.
- Top Ten Movies of 2010 — Aaron Peck Edition (seattlepi.com)
Hey, it’s a trend! Besides, I promised Norman Wilner over Twitter to make a bazillion stupid lists for 2010 before they stop being cool. This was the dumbest, most shallow and most sexist idea I could come up with, second to ‘Greatest uses of the word ‘fuck’ and other curses in movies in 2010.’ Not that he’ll remember any of this. Anyway, all the women are listed by when the first time I saw them on-screen. All women also get the January Jones/Betty Draper Award nomination for the most violent female character in 2010. You decide the winner.
Lisbeth Salander (Noomi Rapace), for redefining vengeance and investigating those who hate women. May your shoes be filled well.
Jenny the Great White Buffalo (Lyndsy Fonseca) stabs Adam (John Cusack) with a plastic fork. That’s what he gets for telling a girl she’s fat.
Mal (Marion Cotilliard), who shoots and stabs you in your subconscious.
Knives Chau, the toughest Canadian. Don’t mess with us Asians, especially actress Ellen Wong with a breakthrough performance.
Beth MacIntyre (Winona Ryder) who, after being dethroned as the prima ballerina, stabs herself in the face screaming ‘I’m perfect!’ ‘I’m perfect!’ ‘I’m perfect!’
Rachel Singer (Jessica Chastain), a Mossad Agent sparring with her partners, trying to find the Surgeon of Birkenau (Jasper Christensen).
Abby, in this remake, with a soulful protrayal by young Chloe Moretz, still hungry for her daily subsistence.
Mattie Ross (Hailee Steinfeld), who will tell you that you’re employed by her and she will capture and kill Tom Chaney (Josh Brolin).
Charlene (Amy Adams), who will rip your hair out if you call her a skank. You’re crazy.
Bellatrix (Helena Bonham-Carter), who makes Hermione (Emma Watson) scream for her oblviated parents.
Now Sally, go play.
Director Nigel Cole’s Made in Dagenham owes John de Borman’s creamy, pastel cinematography and balanced lighting that eases the transition from the fictional film to the 1960′s newsreel-like footage in both colour and black and white.
The first scene shows protagonist Rita O’Grady (Sally Hawkins) riding a bicycle to her job at the Ford factory in Dagenham, England. I remember those bicycle scenes when an American senior at Ford threatens labour minister Barbara Castle (Miranda Richardson) to withdraw, I recall 40,000 jobs that Ford gives to the United Kingdom. The only character I remember having a car is upper-class Lisa Hopkins (Rosamund Pike). Rita’s coworker Brenda (Andrea Riseborough) also as a quick scene in a Ford, although the car’s ownership isn’t explicitly revealed. I assumed that the company at the time wouldn’t give cars to their workers either for free or for cheaper like they would in Detroit. The company has thus treated the British more as labourers than consumers, and I wonder whether Barbara has caught into this. That or the English and just weird and prefer bikes. The cars don’t fit within the housing apartments in the London suburb anyway.
Hawkins, Riseborough and the other actresses make for good activists. I expect some of the audience to wonder how a meek wife like Hawkins’ Rita to become a loud mouthed expert demagogue. From experience, having a working class job and pointing their eyes and ears in the right directions turn these women from just workers to masters of knowing union rights. The film portray these women at the tail end of their patience, rapidly having the courage to demand equal pay. Rita beautifully portrays the workers’ voice, a character who has experience at the factory and years of pent-up personal anger – e.g. having to deal with her son’s condescending school teacher – to be able to speak up to union presidents and even Barbara without hesitating.
Another way of looking at this feminist courage is looking at the actresses’ CV’s, both Hawkins being busy playing another woman going against the grain and Pike playing another not-your-average perfect wife. How do they do the same things, fail in other movies yet excel here? Is this because the constraints of ‘unique’ storytelling from the other films isn’t found here, surprisingly freeing both actresses to do more? Or because they’re in the driver’s seat, letting the audience see the characters react from one situation to another instead of male actors reacting to them?
Hearing the word ‘feminist’ in describing a film might turn audiences away, fearing that a movie like this will be about the female characters against the men. The men are mostly ‘icky,’ but there are defectors from both sides. There’s Rita’s husband (Daniel Mays) who needed a little convincing and Lisa who was suspected of fighting with her husband, who happens to be a superior at Ford. Thankfully, the characterizations are more subtle and they don’t behave like they have jerseys or labels behind their backs.
The Fighter‘s first sequence places the camera behind Micky Ward (Mark Wahlberg), as his brother Dicky Eklund (Christian Bale) throws fake punches behind him. They play fight as Dicky welcomes a documentary crew to his hood at Lowell, Massachusetts. You see the brothers, the crew, the neighbors yet the neighborhood feels uninhabited and thus, artificial. The rest of the film feels that way, the small city, both depicted with interior and exterior space, feels sunny bot not vibrant. The camera then zooms out with the same speedy feel as director David O. Russell’s earlier work Three Kings or the opposite yet reminiscent of, dare I blaspheme, a shot in Orson Welles’ Touch of Evil.
Lowell, Massachusetts, where everyone wears a size too small except for Dicky, who, despite revealing musculature later in the film, has an emaciated face floating above ratty oversize t-shirts, and for a while, Micky, better dressed than his brother, who tries to hide that he’s getting fat for lack of exercise. When they’re physically in shape, Micky and his girlfriend Charlene (Amy Adams) would have their enviable three percent body fat sticking out on top of their boxing shorts or cutoff jeans.
The movie also makes Micky look short (in reality Wahlberg is 5’9″), since no one that jacked could weigh 145 pounds. I’m not saying that the clothing nor the physicality does all the characterization – I’ll have a lot to say later about those aspects of the movie. I just like those details within the costume or mise-en-scene popping up once in a while.
I’ve previously said that I can’t relate to trashy characters. How many times do I have to say that I hung out with a bad crowd in high school or work with the working class now before it sounds like I’m appropriating something that isn’t mine culturally? I don’t feel comfortable in saying that I can relate to the characters and the situations they get into. It has already thrown and turned off some audiences against the film. But I feel like I can relate to these characters.
The playacting violence that for some reason is associated with both fun and survivalist thinking more than performed working-class masculinity. Their gestures. Dysfunctional families and in-laws. Women who are tough and foul-mouthed. Trouble with the law. Characters who are oblivious to the self-serving nature of their actions. I especially like scene when Dicky realizes that he’s hours late to train his brother. Of course he’s late. I can assume, consuming drugs in his level, that if he starts a session at 8 o’ clock, he’ll be lucky to realize that he had to get out.
Or like mother Alice (Melissa Leo) booking Micky into one badly matched HBO fight after losing another, not realizing she’s hurting and exploiting a son who may not wanna continue into this career. Expecting different results. O. Russell shows how poverty can induce insanity without harshly labeling these characters as insane. If any of us does the latter, then that’s our fault.
Harsh verbal and physical confrontations. Terrible ideas of trying to unsuccessfully scam people out of their money. Any of these things can be a subject for one movie. And it all feels real coming from these actors.
Like movies with trashy characters, we see a substantial amount of physical antics, bad decisions and yelling here, but none of those three things take the forefront in the film. Or at least we aren’t welcomed into the storm, as the film’s continues that with the family explaining which of their members are Eklunds and which are Wards, treating this fact of their lives matter-of-factly and without shame. And then two bar fights happen, one between Micky and another guy and another between two women. O. Russell knows how to stir the pot at the right time.
Another instance showing the character of the Eklund-Wards is when they’re watching a documentary about Dicky’s crack addiction – they’re bravely confronting the reality of their situations. The only time they’re hesitant about the material is when Alice tells Dicky’s son to stay upstairs or when Dicky, now in jail, unplugs the big TV set to stop the schadenfreude from the other inmates. If anything they’re prouder to watch this than to watch the first rounds of Micky’s fights. While that doc is playing on HBO, Micky’s college dropout girlfriend Charlene (Amy Adams), instead of avoiding ‘white trash,’ knocks at his door and slowly, like a human being, reaches for his hand.
It also helps that Charlene has the best lines of the film and steals the show. From contending with pretentious film patrons on a better side of town while on a date with Micky as well as confronting his family members, she sure knows how to stand her ground. A scene with her in the lions’ den of Micky’s sisters and another when Dicky makes an impromptu visit to her house make her an integral part of the best ensemble acting this year. Even in a scene when Alice tries to explain to her why he’s not sitting on a stool. Yes, that was Alice’s moment but it says a lot about her character that they have made peace that way.
There are negative effects and connotations to the film’s ‘team effort’ feel. From the first sound of the film – hearing Dicky’s voice as he talks both about his career and his brother’s, the audience knows that this isn’t Micky’s film. Charlene and Alice dissuade Micky from giving up, which would be encouraged even by a different peer group within the town. Micky’s dependence towards other characters shows how weakly written his character is, and that can be said about the rest of the characters too. The script then, despite its wonderful cadence, serves to be a impressionistic work on characters grinding against each other’s nerves. The characters then, have to have these fights and verbal exchanges a hundred times to grow as human beings.
So is this movie trying to say that what happens about the characters are more important within the characters? And it is true that it takes a long time for people to grow, and that evolution gets slowed down by poverty, lack of education and drugs. Although those things allow perseverance.
I didn’t have those questions while watching the movie. If you sat in the same theatre as me, you’d think I was watching the best movie ever. 4/5 rating because of the arguably shabby script, but it created characters I’ll love and cherish until another charismatic ‘hillbilly’ comes along.