‘Go back to China, bitch?’ No, chut the fuck up.
English teacher Karen Pomeroy (Drew Barrymore) shakes hands with, as my judgmental friend says, a kiddie fiddler (Patrick Swayze). Guess which one gets fired in the school first. Tears for Fears plays.
Hey, it’s Lucy from “The Office UK“/”Studio 60″/”Ugly Betty.”I don’t know which one of those shows that she had a character named Lucy but I’m gonna call her Lucy anyway. And a guy who plays Poppy’s (Sally Hawkins) brother-in-law in Happy Go Lucky. I swear casts in British films are so incestuous, although they never mix the ‘rich’ ones with the ‘poor’ ones. The one on the middle is Simon Pegg and the one who’s back is facing the audience is a zombie.
His name is Eddie…Paulson? Fact! The first time I saw this film was at Daylight Savings Time at Much More Music. Technically the movie went on for an hour. I also can’t remember how it ends. I’ve always been afraid to watch the movie on the big screen because apparently if you mess up the words, you get stripped in front of everyone. Anyway, Meat Loaf is telling off that boy something fierce. Also, why does every ‘bad’ movie between 1967 to 1980 need a muscle-y blonde man bimbo? That rule still exists today, a muscle-y blonde man bimbo appears as a character in Xavier Dolan’s Heartbeats.
Was Alfred Molina ever this skinny? Is my question too generous? Although I’ve only seen it enough to get the gist of it, I have the DVD here and my rusty French translates the title to Nights of the Devil or Diabolical Nights or something.
Ohh, Gaad! Anyway, I’ve always thought of Mr. Blonde (Michael Madsen) as Quentin Tarantino‘s on-screen double. Also, Coconut is so the best song in this movie.
Note to Americans: only the gay Canadians have the ‘beady little eyes.’ And fine, it’s funny hearing Anne Murray being called a bitch.
If I was a Congressman, I’d make America F**k Yeah the national anthem. Although best part of this film involves its parody of Susan Sarandon. And I usually hate homophobia in film, but seeing Tim Robbins and Sean Penn be called F.A.G.’s seemed really funny. Well, mostly because I hate Sean Penn.
After the Team America clip, we have this, and for a split second the curtains and the wallpaper made me think of the balcony space in ‘The Muppets.’ But no, this is a real person from Blue Velvet‘s wacky world. There’s always interludes of 1960’s American songs, and we thank David Lynch for seeing something dark in that decade. Speaking of the 60’s, I wonder what would happen if David Lynch directed an episode of “Mad Men.” Oh wait, that already happened.
Sookie! When I yelled that at the screen, the hipsters in front of me laughed. Funny thing is I don’t even watch “True Blood.” And again, I didn’t even know she was in this movie, especially since I loved Anna Paquin as a child. I previously blogged about how I hate Kate Hudson, but I kinda like her again here. Here her face still looks like that of an awkward teenager’s, and it’s still mesmerizing to watch her sing. I declare an Almost Famous curse, because the cast members except Billy Crudup ended up doing bad movies. Well, Paquin did have 25th Hour, and she’s better than doppelgänger Claire Danes can aspire to be.
I’m so ashamed to not know the lyrics to this song, because my dad is like the biggest Tears for Fears fan and I listened to this stuff in high school. My dad thinks the members of Tears for Fears met in a mental ward. Anyway, my favourite movie in high school, and one that needs revisiting stat! Also, when Donnie (Jake Gyllenhaal) and Gretchen (Jena Malone) kiss. Joy Division has never been better used in a soundtrack.
Joseph Gordon Levitt for mayor! Although Joe Levitt would sound like he’s running in the South.
Dance, white boy, dance!
‘Singin’ in the Dark’ programmer Shawn Hitchins says that this is what it’s gonna be like if Rob Ford gets elected for mayor. Best film criticism I’ve heard all year.
Courtney Love auditioned for the role of Nancy in… Sid and Nancy, but the casting agents considered her too young and it went to Chloe Webb. Love thanks the gods for not giving her the role because British TV called Chloe Webb ugly. I agree. And was Gary Oldman ever that young?
And we end this ding along with blasphemy. This is both optimistic and cynical. The Eric Idle character tries to comfort us, but they all end up alone and deserted, no one venerating them for their deaths. Yet.
Multitude of thanks to Hitchins for giving me the list of movies he chose for his sing along “Singin’ in the Dark” as part of this year’s Nuit Blanche, which is like the only event in my calendar. Photos courtesy of Universal (Shaun of the Dead, Blues Brothers) 20th Century Fox (Rocky Horror Picture Show), Alliance Atlantis (Boogie Nights) Miramax (Reservoir Dogs), Paramount (South Park: Bigger, Longer and Uncut), Pandora Films (Donnie Darko), MGM (Blue Velvet, Sid and Nancy), Fox Searchlight (500 Days of Summer) Warner Brothers’ Pictures (A Clockwork Orange), HandMade Films (Life of Brian).
(Another “I remember in Art History” post. Sorry?)
Watching parts of A Knight’s Tale reminded me of this essay I wrote about Medieval costume and jewellery. My professor wanted to use that essay as an example to future students, and I’ve coasted ever since. It’s been three years, and after that have been coffee table books about the history of fashion as well as late nights watching Trashopolis. So take half of what I say with a grain of salt, including the part that the a certain percentage of production of clothing in that time had a trickle down system and that some of the clothes worn by the serfs are hand-me-downs from the royals, accounting for how ratty some of the clothes looked. I can’t even imagine living back then with that garbled factoid in my head.
The language of clothing is pretty interesting here with William Thatcher/Ulrich von Liechtenstein (Heath Ledger) and Jocelyn Shannyn Sossamon) wearing thin, loose, flexible fabrics, exuding the lightheartedness and youth of the film. We’re reminded of that young innovation when Kate the blacksmith gives Will a thinner but stronger armor. Or when William plays with a red rose in a short sleeved tunic.
I remember other Medieval flicks having thicker fabrics with bolder colours. A servant boy had a greener tunic than Ulrich, but the latter’s tunic had better detailing. But the darker, thicker and more layered the clothes, the more serious the character’s business is. For example, bellowing Geoffrey Chaucer (Paul Bettany) always wears a jacket and Adhemar’s (Rufus Sewell) is darker and more broody.
Of course, Jocelyn’s costumes are more anachronistic than the rest. She dyes her hair punk red and the tunics hang more like South Asian costume. There’s even one part of the movie where she wears a Regency looking hat and a Turandot-esque headdress.
Films like this try to ease its audience in its anachronisms and it works in this case. I like the clothes and the music, I’m just observing. I also like the colour-blind casting of Sossamon, and despite her emotional limits, who else can play a slender punky noblewoman other than her? If anything, the most fatal flaw would be how needy Jocelyn got in her relationship with Ulrich.
Costume designer Caroline Harris is also responsible for the costumes in Othello ’95, making it into my list of movies I will see one of these days.
Also, this is my primary resource for my medieval costume essay.
Two themes support Attenberg, the first is its portrayal of awkward human interactions. We see protagonist Marina, a 23 year-old girl with an extremely low sex drive, learning how to French kiss from her sexually experienced Charlotte Gainsbourg lookalike of a best friend, Bella. She can talk to her architect father about taboo sexual issues in their native Greek, French and animal. She’s a chauffeur for a little company, driving around a visitor who she’s going sleep with. She describes every little thing she does to try to arouse him. I’m serious.
All of this happens in decay, in a small Greek city with ample infrastructure – hospitals and tennis courts. Yet there only seems to be a handful of people enjoying these things. The movie spends most of its time capturing Marina and Bella’s walks together, showing that boredom is quirky’s workshop. It’s only until their third or fourth walk together that the film shows people other than the main characters. They sing a Brigitte Bardot song ironically, the sidewalk near the tennis court isn’t ripe with the men or women of their sexual fantasies.
Attenberg doesn’t have a good start pacing-wise but it has a lot of good ideas. It keeps the audience laughing and thinking and has a different approach in human behaviour in an isolated and limited world. Labed perfectly captures the boredom, confusion and pain so subtly in a role that won a best actress award in Venice. And a good indie rock soundtrack always helps.
The trailer for The Kids are All Right shows Manohla Dargis calling it a ‘near note-perfect portrait of a modern family,’ in a way that it shows complex implications to the words ‘biological’ and ‘parent,’ there are clashes, affairs, dinners with people who are having affairs, cathartic speeches of redemption. It’s a typical formula if not for the slow pacing, the script, tick-y acting from the major players and the hand-held cam close-ups in group scenes, all giving the impression of a balance between improvisation and direct delivery.
Basically, two teenagers from lesbian parents look for the sperm donor, and whatever ensues, ensues.
Annette Bening as Nic is the best in show without trying. I’ve only seen her in crazy parts (American Beauty, Running With Scissors). Other reviews have tried to sell her as the stable one in the relationship, and she is that. She can also be ‘not my real self,’ be acidic, be the embarrassing drunk one, be the one who has to deal with the headaches just like a parent. Her first line at the first dinner conversation about Jules’ (Julianne Moore) truck makes the audience follow her more. Her calm reaction to a shocking revelation proves that Bening’s performance becomes the greatest one within greatest performances.
I’m ambivalent about Laser (Josh Hutcherson) as a character. It was his idea to contact their sperm donor Paul (Mark Ruffalo). A little selling point for the movie and his character that he might or might not be ‘too close to his loser friend Clay,’ that subplot being really hilarious. He also doesn’t know how to talk to Paul, being directly hostile about Paul’s opinions about little things, this approach somehow different from his sister, college age Joni (Mia Wasikowska) just smiling at him. Despite of those things, I don’t feel like I got to know the guy. He must have had female friends, unless that’s what ticked off Nice and Jules. I think Laser just fades into the background after the scene with the talk.
O hai, HaySpayTu. Tanya (Yaya da Costa) is a bit Earth Mother Archetype to me, just like a grown-up version of the real Yaya da Costa we know.
And hai, Peggy’s lesbian wooer (Zosia Mamet) from “Mad Men!”
I also wanna talk about the Susan G. Cole critiques to this movie. A) Mark Ruffalo doesn’t even act like a stoner in this movie and the last time he did that was in Eternal Sunshine of the Spotless Mind. I think he actually does his best to defend his character – a lesser actor would have just laid there and portray Paul as the dirt bag that he is on the script. B) Bisexuality exists. I’ll concede that the film uses a Degrassi: TNG storyline, and that she’s not alone in thinking that the Jules and Paul thins is BS, but a plausibly realistic one. But then I’m not a lesbian so I don’t know how strong their fortitude is against Mark Ruffalo. Mine isn’t.
Now that that’s all out, time to download the rest of the soundtrack!
In between watching movies from the Wright Stuff series and watching Scott Pilgrim, I watched another hipster romance movie – Marie Antoinette. Before I get to the meat of this post, I just wanna say that I have to discuss the traces of what I have read or heard about the woman whose life this movie is depicting, and how true this movie is to the life of said murdered queen – if I used the word executed it means she deserved it, which she partly didn’t. Some people believe that the dead are fair game, but then we’re talking about one of the most slandered women in history, so every time Coppola or the film trips, we deduct a point.
I remember the pre-blogging glory days of trying to defend this movie while calling out the royalists who trolled the Marie Antoinette forum on iMDb. That was where I read someone who compared the movie to a series of paintings. And probably where I read someone mistake Marie Antoinette’s (Kirsten Dunst) alleged Swedish boy toy Count Axel von Fersen (Jamie Dornan) as Napoleon. And/or make a comparison between Madame du Barry (Asia Argento) as a Disney evil queen – she did NOT look like that nor act like she was depicted in the film, by the way. There are other directors who make a collage of pop culture references in their work. Those anonymous readings, however, show that Coppola isn’t able to mold those separate images and/or incorporate them into what should be a believable and seamless biopic. I don’t fully believe that it would have been a better decision to invent her own images of these people instead recycling old/different/inaccurate ones, but I’d imagine there’s some who watched this movie who would choose the former over the latter.The movie has always felt like ‘This is what I imagine her life to be,’ which has driven a lot of history nuts crazy.
Need to remind you guys that Coppola’s direction of the character Marie Antoinette evoked Paris Hilton. And being inundated by that comparison by the media, oh my God. Which leads us to Coppola’s apparent aim of turning Marie Antoinette’s story as a satire of the nepotism – biting the hand – and decadence of the government and celebrity culture of Bush-era US. Which is great, but why can’t Marie Antoinette simply be Marie Antoinette?
What is different between 18th century Versailles and 21st century America is the treatment of children’s sexuality. Adults both blue and red-blooded obsessed over Marie Antoinette as a sexual being. It’s tragic how her mother, Maria Theresa (Marianne Faithful) has fought for and keep the crown of the Holy Roman Empire as a woman and became the most powerful woman in Europe after Catherine the Great, only for her daughter to be trampled so easily. Coppola gets it right in this movie by actually showing the ‘people of France’s’ real problem with Marie Antoinette – that it dragged on before she was able to produce an heir. And how full the operating room was when Marie gave birth to, unfortunately, Therese. Also consider the hypocrisy of spying on adolescents’ bedroom action and the Christian notion of not talking about sex and not teaching the poor couple how to have sex.
Marie eventually becomes corrupted by this oversexualized society, having knowledge of her grandfather-in-law King Louis XIV’s (Rip Torn) affair with Du Barry. Marie then derides this fake aristocrat. In Coppola’s film, she unknowingly she becomes just like Du Barry, carrying out her own affair with the Swede.
Today, a 14 year old’s responsibility is his or her homework and some household chore. Marie, turning 14 when she did, has had a quick transition between childhood and adulthood, just like that insufficient carriage ride to the French border. At least two years into adulthood in that day’s standards, she has a responsibility that reminds her that she is still a second class citizen under Salic law. No wonder, as Coppola shows in the film, Marie regresses.
Flaw – The scene when Marie walks with Austrian Ambassador Mercy (Steve Coogan) and Therese in the gardens. The Princess du Lamballe (Mary Nighy) runs to the three and informs them of the Austrian Empress’s death. How did the Austrian ambassador not know that first?
In Roger Ebert‘s review of this film, his second point called Kirsten Dunst as Marie Antoinette as ‘pitch-perfect casting.’ It’s not Interview with a Vampire, or to compare it to the other performances that year, she’s no Penelope Cruz. It’s wonderful watching Dunst’s face react to her husband King Louis XVI (Jason Schwartzman) wolf down his food, or how her face reaches us through that infamous zoom out, saying a lot while standing still. Having to go across the palace to a private room where she could cry or fawn – a measured release of emotion from one place to another. Worn down after the deaths in her family. Her poised diplomatic voice as she talks to her husband’s cabinet and even to her own brother, the Holy Roman Emperor (Danny Huston). As some blog I used to read has said in defense of her performance, Dunst was obedient to Coppola’s vision.
I love how every stoner posits him or herself as a medical or legal expert, such as Melanie Ralston (Bridget Fonda) in Jackie Brown. You’ve had one of those in your social circle.
Coughing’s good! It opens up the capillaries. You know, when you cough you’re pulling in air, or in this case – smoke, into parts of the lungs that don’t normally get used. So, coughing’s good, it gets you higher.
I mean, she’s white. She must have gone to college or something. And Fonda never hesitates nor clings on a word and just lets them fly out of her mouth with such certainty and security. While depicting drug addicts or questionables or damaged an actress can either go shrew or 33 variations of victim, and thankfully she’s neither.
For some reason, everybody watched Jackie Brown last Tuesday or Thursday nights when it was on at CBC at one in the morning. I only caught the last two hours of it, but I remember past viewings when Samuel L. Jackson shoots Chris Tucker. And by watching the rest, I guess I get the picture. I just love Bridget Fonda’s performance and character here so much. I’m not alone. She’s well-traveled, liberated, subversive. I had to blog her.
Quentin Tarantino is a great director in a technical side, deftly showing his audience the shot-counter shot relationship through Melanie, such as shot.
Stop hating, Jackie.
Melanie the character also has one of the greatest swan song in movies. Melanie started this precedent of women dying awesome in Tarantino’s oeuvre. O-Ren Ishii’s (Lucy Liu) decapitation, Elle Driver (Darryl Hannah) losing an eye, Bridget von Hammersmarck (Diane Kruger) getting strangled. For Melanie it all started with ‘Louisss…Lou-isss…’
And she gets shot. The end!