Helen Hunt, Colin Firth, Bette Midler, Matthew Broderick, Ben Shenkman
Dir. Helen Hunt
Scr. Alice Arlen, Victor Levin & Helen Hunt
I have been seeing a lot of action movies of late, so welcomed the chance to catch an emotional chick-flick-ish dramedy. Well, that’s what I thought I was seeing. Then She Found Me is despairingly lacking in humour. I was a victim of a highly misleading trailer. But all is not bleak. This film has a shaky plot but some very good acting. It’s nicely shot – kudos to first time director Hunt. And, errrrrrrrrrrrrr, that’s about it. Not a great film, but not quite a train wreck either.
Then She Found Me is the story of April Epner (Hunt), a primary school teacher desperate for children of her own, who in the space of what seems like just a few minutes is left by her husband, has her adoptive mother pass away, develops a crush on the father of one of her pupils, and discovers the identity of her birth mother. There’s a lot going on. And even more to come. April finds out she is pregnant, her hopeless ex the father, and tries to juggle her new condition, her ex, her new suitor and a highly egotistical new mother. There are a variety of twists and turns in this film (none of which I will spoil), not all particularly realistic or welcomed, although we do get to see the characters in all sorts of dire straits.
What stayed with me after seeing this film was some of the highly unconvincing behaviour the writers imposed on these characters, and some just plain bad characterisation. Broderick, playing April’s ex Ben, was an unlikeable, unbelievable character. Firth, as April’s new love interest Frank, was (for the most part) completely too good to be true and at times very one-dimensional. Midler, April’s birth mother Bernice, for parts of the film was not much more than a caricature. Hunt herself had more to work with, but even the dour and depressing April was simply too much to bear at times.
I think the actors deserve a great deal of credit for drawing out of these badly written characters at least some humour, humanity and realism. Broderick simply didn’t have enough to do, but what he did do was solid. I pitied his character – so immature and emotionally stunted – and he managed this well. Midler was mostly on fine form, playing the bravado of Bernice with ease, and the more flawed side of her character with compassion. The interplay between Midler and Hunt took a while to get started but, when it did, they complemented each other quite well. Firth was in danger of slipping completely into the type-cast role he usually plays, but thanks to a couple of great scenes, really did surprise and impress. The scene in which he gives Hunt’s character a good telling off is perhaps the best I’ve ever seen from him. I’ve always suspected there was more to Firth than brooding good looks. Hunt’s performance is a mixed bag. She’s not a particularly likeable lead character, but this isn’t necessarily essential to a good film. More fatal is the fact that Hunt’s April didn’t always ring true as a person, even a highly flawed and confused one, and this annoyed me. Therefore, she annoyed me. Some slightly surreal casting resulted in Salman Rushdie playing Hunt’s gynaecologist which was, in a word, intriguing.
Then She Found Me wasn’t a terrible film, but it wasn’t great either. I don’t regret seeing it, but I don’t recommend it. If you want a real tear-jerker of a dramedy buy some tissues and rent Terms of Endearment or Beaches instead.
Sunday, September 7, 2008
Sunday, August 31, 2008
Hellboy II: The Golden Army
Ron Perlman, Selma Blair, Doug Jones, Jeffrey Tambor, Luke Goss, Anna Walton, John Hurt, Seth McFarlane (voice)
Dir & Scr. Guillermo del Toro
Well, del Toro has done it again – created a slew of visually exciting and wonderfully realised creatures in a fantasy world just on the edge of our own. Perhaps it isn’t as much of a feat in a superhero, comic book movie as it was in Pan’s Labyrinth, where we have come to expect a visual treat. Nevertheless, del Toro’s vision makes Hellboy a cut above most movies of this genre. Some clichéd dialogue and about 20 minutes too many doesn’t detract too much from this stunning, witty film.
Hellboy II picks up where the first film in the franchise left off. Hellboy, Abe Sapien and Liz Sherman are the key players at the Bureau for Paranormal Research and Defence, a secret organisation doing its best to keep the human world and the mythical world separated. When the prince of a magic elfin race starts a rebellion against humanity, and tries to unleash the Golden Army (thousands of indestructible soldiers) to gain power over Earth, Hellboy and company are called in. Along the way, Hellboy and Liz have some domestic troubles, Abe falls in love, we are introduced to a new member of the team (containment suit proportioned like a man holding pure ectoplasmic energy), and (predictably but reassuringly) the world is saved.
The film clips along at a satisfying pace, perhaps a little long (the end is especially drawn out). But I don’t begrudge getting to spend time with the likeable and visually interesting characters in Hellboy. The addition of Krauss (the man-shaped ectoplasm) brings some comic relief but his character is hugely clichéd and hard to connect with, understandably so. However the host of other characters we meet along the way are a treat. Del Toro has an imagination like no other writer/director working today. His creations are frightening and enchanting, other simultaneously. The Angel of Death is particularly breathtaking. You just never quite know what you’re going to see in a del Toro film.
It would be easy for the acting to take to back seat in this film, but there are some very solid performances in Hellboy. Doug Jones is again brilliant as Abe Sapien. For me, Selma Blair (playing Liz) is always a little wooden, and the same is true in Hellboy. Luke Goss (of Bros fame) gives an outstanding performance as Prince Nuada, and Walton’s performance (playing the Prince’s sister, Nuala) is equally compelling. But the star of the show is Hellboy himself, and Ron Perlman looks to be having the time of his life in this role.
Many will enjoy Hellboy, not just your usual set of graphic novel junkies. This film is truly a visual treat. It will help if you’ve seen the first Hellboy movie, but it’s not fatal if you haven’t. I happily recommend this film.
-------------------------------------------
Hellboy: You're in love. Have a beer.
Abe Sapien: Oh, my body's a temple.
Hellboy: Now it's an amusement park.
Dir & Scr. Guillermo del Toro
Well, del Toro has done it again – created a slew of visually exciting and wonderfully realised creatures in a fantasy world just on the edge of our own. Perhaps it isn’t as much of a feat in a superhero, comic book movie as it was in Pan’s Labyrinth, where we have come to expect a visual treat. Nevertheless, del Toro’s vision makes Hellboy a cut above most movies of this genre. Some clichéd dialogue and about 20 minutes too many doesn’t detract too much from this stunning, witty film.
Hellboy II picks up where the first film in the franchise left off. Hellboy, Abe Sapien and Liz Sherman are the key players at the Bureau for Paranormal Research and Defence, a secret organisation doing its best to keep the human world and the mythical world separated. When the prince of a magic elfin race starts a rebellion against humanity, and tries to unleash the Golden Army (thousands of indestructible soldiers) to gain power over Earth, Hellboy and company are called in. Along the way, Hellboy and Liz have some domestic troubles, Abe falls in love, we are introduced to a new member of the team (containment suit proportioned like a man holding pure ectoplasmic energy), and (predictably but reassuringly) the world is saved.
The film clips along at a satisfying pace, perhaps a little long (the end is especially drawn out). But I don’t begrudge getting to spend time with the likeable and visually interesting characters in Hellboy. The addition of Krauss (the man-shaped ectoplasm) brings some comic relief but his character is hugely clichéd and hard to connect with, understandably so. However the host of other characters we meet along the way are a treat. Del Toro has an imagination like no other writer/director working today. His creations are frightening and enchanting, other simultaneously. The Angel of Death is particularly breathtaking. You just never quite know what you’re going to see in a del Toro film.
It would be easy for the acting to take to back seat in this film, but there are some very solid performances in Hellboy. Doug Jones is again brilliant as Abe Sapien. For me, Selma Blair (playing Liz) is always a little wooden, and the same is true in Hellboy. Luke Goss (of Bros fame) gives an outstanding performance as Prince Nuada, and Walton’s performance (playing the Prince’s sister, Nuala) is equally compelling. But the star of the show is Hellboy himself, and Ron Perlman looks to be having the time of his life in this role.
Many will enjoy Hellboy, not just your usual set of graphic novel junkies. This film is truly a visual treat. It will help if you’ve seen the first Hellboy movie, but it’s not fatal if you haven’t. I happily recommend this film.
-------------------------------------------
Hellboy: You're in love. Have a beer.
Abe Sapien: Oh, my body's a temple.
Hellboy: Now it's an amusement park.
Monday, August 25, 2008
Wanted
James McAvoy, Morgan Freeman, Angelina Jolie, Terence Stamp, Thomas Kretschmann
Dir. Timur Bekmambetov
Scr. Michael Brandt, Derek Haas & Chris Morgan (based on the graphic novel series of the same name)
I was very excited by the Wanted trailer – it made me go “whoa” in Keanu Reeves fashion. Stellar cast (well, mostly; I would have put up with Jolie), great special effects, morally dubious premise – fantastic! And while I was thoroughly entertained by Wanted, to be so requires you to check all common sense, ethics and reality at the door. This is great when you’re in the mood for a Friday night action outing; not so good if you want something of substance. But substance can be highly overrated in my opinion – this movie is a ball to watch and I recommend it.
Wanted tells the story of Wesley Gibson (McAvoy), a man completely sleep-walking through his life. His girlfriend is cheating on him with his best friend. His boss is a bully. His job is a bore. He has no money and isn’t special. Or so he assumes, until the day The Fraternity show up in his life and convince him he is. The Fraternity is a 1000-year old organisation of assassins, who have tasked themselves with keeping world order by taking out bad guys. Who decides, you might be asking? Well, I won’t spoil the utter ridiculousness of how victims are chosen, so let’s just say fate decides. The Fraternity convince Wesley to join to avenge the death of his recently murdered father, a Fraternity member, and much action ensues. And, boy, it’s some top-notch action.
Although the script is full of holes and unintentional hilarity, it fires along at a satisfyingly brisk pace and has some cracker dialogue, mostly courtesy of Wesley. The film looks great too, surely due to the influence of Russian director Bekmambetov. Wanted is Bekmambetov’s first American film – he is best known for the highly successful Russian vampire franchise Night Watch. Wanted is dark and dirty and brooding, not afraid to visually surprise the viewer. The effects, reminiscent at times of The Matrix, are a pleasure to watch, despite how ridiculous they might be. NO ONE would survive that train wreck – sheesh! And everyone is undeniably cool, even Wesley by the end. And how could you not be with names like Sloan, Fox, Cross, The Repairman, The Butcher and The Exterminator.
McAvoy is fantastic in this film, again showing his versatility. He is arguably the most watchable actor working today. His timing is wonderful, and you equally buy him as a nerdy no-hoper and a world-class assassin. Jolie, as assassin Fox, is not as objectionable as I thought she might be. In fact, her character is likable and has a warped integrity that I admired. Nice job. Freeman happily hams it up as Sloan, head of The Fraternity. It’s refreshing to see Freeman play a morally reprehensible character.
It’s not the best action movie ever, but I liked Wanted. You will know straight away whether you are part of this film’s target audience or not, and I certainly was. It’s like watching a normal action movie that’s consumed three too many energy drinks – great stuff. Yes, there are certainly some niggling ethical questions that you might ponder over on the way home, but don’t let that stop you enjoying the Wanted ride.
-------------------------------------
Sloan: Welcome... to the Fraternity. This gun you're holding belonged to your father; he could conduct a symphony orchestra with it.
Dir. Timur Bekmambetov
Scr. Michael Brandt, Derek Haas & Chris Morgan (based on the graphic novel series of the same name)
I was very excited by the Wanted trailer – it made me go “whoa” in Keanu Reeves fashion. Stellar cast (well, mostly; I would have put up with Jolie), great special effects, morally dubious premise – fantastic! And while I was thoroughly entertained by Wanted, to be so requires you to check all common sense, ethics and reality at the door. This is great when you’re in the mood for a Friday night action outing; not so good if you want something of substance. But substance can be highly overrated in my opinion – this movie is a ball to watch and I recommend it.
Wanted tells the story of Wesley Gibson (McAvoy), a man completely sleep-walking through his life. His girlfriend is cheating on him with his best friend. His boss is a bully. His job is a bore. He has no money and isn’t special. Or so he assumes, until the day The Fraternity show up in his life and convince him he is. The Fraternity is a 1000-year old organisation of assassins, who have tasked themselves with keeping world order by taking out bad guys. Who decides, you might be asking? Well, I won’t spoil the utter ridiculousness of how victims are chosen, so let’s just say fate decides. The Fraternity convince Wesley to join to avenge the death of his recently murdered father, a Fraternity member, and much action ensues. And, boy, it’s some top-notch action.
Although the script is full of holes and unintentional hilarity, it fires along at a satisfyingly brisk pace and has some cracker dialogue, mostly courtesy of Wesley. The film looks great too, surely due to the influence of Russian director Bekmambetov. Wanted is Bekmambetov’s first American film – he is best known for the highly successful Russian vampire franchise Night Watch. Wanted is dark and dirty and brooding, not afraid to visually surprise the viewer. The effects, reminiscent at times of The Matrix, are a pleasure to watch, despite how ridiculous they might be. NO ONE would survive that train wreck – sheesh! And everyone is undeniably cool, even Wesley by the end. And how could you not be with names like Sloan, Fox, Cross, The Repairman, The Butcher and The Exterminator.
McAvoy is fantastic in this film, again showing his versatility. He is arguably the most watchable actor working today. His timing is wonderful, and you equally buy him as a nerdy no-hoper and a world-class assassin. Jolie, as assassin Fox, is not as objectionable as I thought she might be. In fact, her character is likable and has a warped integrity that I admired. Nice job. Freeman happily hams it up as Sloan, head of The Fraternity. It’s refreshing to see Freeman play a morally reprehensible character.
It’s not the best action movie ever, but I liked Wanted. You will know straight away whether you are part of this film’s target audience or not, and I certainly was. It’s like watching a normal action movie that’s consumed three too many energy drinks – great stuff. Yes, there are certainly some niggling ethical questions that you might ponder over on the way home, but don’t let that stop you enjoying the Wanted ride.
-------------------------------------
Sloan: Welcome... to the Fraternity. This gun you're holding belonged to your father; he could conduct a symphony orchestra with it.
Sunday, August 24, 2008
Tropic Thunder
Ben Stiller, Robert Downey Jr, Jack Black, Nick Nolte, Matthew McConaughey, Tom Cruise, Steve Coogan, Jay Baruchel, Brandon T Jackson
Dir. Ben Stiller
Scr. Ben Stiller, Justin Theroux & Etan Cohen
This movie is funny, gross, uncomfortable, tasteless, politically incorrect, self indulgent, satirical in spades … the list just goes on and on. And while it doesn’t hit the mark 100% of the time, it does so enough to keep you amused and glued to the screen. The acting is top notch – nothing is more wonderful to see than a bunch of actors refusing to take themselves seriously. I’m not the world’s biggest Ben Stiller fan by a long shot, but he does a solid job with Tropic Thunder. Mostly, one suspects, because he has enough movie star friends who want to lark about as much as he does.
Tropic Thunder is about a trio of hugely successfully actors trying to make the best war movie ever – Tugg Speedman (Stiller), the action hero who has done one too many sequels and is searching for credibility; Jeff Portnoy (Black), the bad boy, bad taste comic who is the king of the fart joke; and Kirk Lazarus (Downey Jr), the multiple-Oscar award winning Aussie actor who takes method acting a little too far. Unable to handle his all-star cast and an out-of-control budget, director Damien Cockburn (Coogan) decides to drop this bunch of overpaid, spoilt actors in the deepest, darkest jungle and truly make a great movie. Convinced their every move is being filmed, the actors are oblivious to the real dangers lying in the jungle. And, well, hilarity ensues. Sometimes.
Tropic Thunder does suffer from some truly unfunny, broad humour. But, in this cinema-goers opinion, there are two things that truly save this film from becoming unbearable. The first is the spot-on piss-take of the film industry. The comic star who plays every character in a film. An actor taking “the method” to extremes by becoming black. The aging, failing action star who dumbs himself down in an attempt to win an Oscar. The omnipotent producer. The “he’s-so-hot-right-now” rapper trying his hand at acting. The war movie to top all war movies. These caricatures are so funny because they are so very true. And who better to play them than the likes of Stiller, Black, Downey Jr, McConaughey, Cruise and so on.
Which brings me nicely to reason number two that Tropic Thunder didn’t suck: that miraculous cast list. Stiller sure has friends in high places and friends that don’t mind being the butt of the joke. The stand-outs, by far, are Downey Jr and Cruise. Downey Jr has the most difficult acting job of the movie – playing a dude “playing a dude pretending to be another dude.” And it’s damn funny, especially the scenes between Lazarus and Alpa Chino (the black rapper played wonderfully by Brandon T Jackson), and the memorable sage words of an extreme method actor (“I don't read the script. The script reads me.”) And Cruise, well, what a wonderfully disgusting, disturbing performance he gives as the aptly named producer Les Grossman. He looks to be truly having a ball.
Tropic Thunder will definitely not be everyone’s idea of a good night out. I truly disliked parts of it. But there was certainly enough to keep me giggling and I applaud Stiller’s satirical skills and the whole cast’s willingness to truly ridicule themselves and their industry.
---------------------------------------
Tyra Banks: You're not married, you're on the wrong side of 40, and child-less. Somebody close to you said: One more flop, and it's over.
Tugg Speedman: [pause] Somebody said they were close to me?
Dir. Ben Stiller
Scr. Ben Stiller, Justin Theroux & Etan Cohen
This movie is funny, gross, uncomfortable, tasteless, politically incorrect, self indulgent, satirical in spades … the list just goes on and on. And while it doesn’t hit the mark 100% of the time, it does so enough to keep you amused and glued to the screen. The acting is top notch – nothing is more wonderful to see than a bunch of actors refusing to take themselves seriously. I’m not the world’s biggest Ben Stiller fan by a long shot, but he does a solid job with Tropic Thunder. Mostly, one suspects, because he has enough movie star friends who want to lark about as much as he does.
Tropic Thunder is about a trio of hugely successfully actors trying to make the best war movie ever – Tugg Speedman (Stiller), the action hero who has done one too many sequels and is searching for credibility; Jeff Portnoy (Black), the bad boy, bad taste comic who is the king of the fart joke; and Kirk Lazarus (Downey Jr), the multiple-Oscar award winning Aussie actor who takes method acting a little too far. Unable to handle his all-star cast and an out-of-control budget, director Damien Cockburn (Coogan) decides to drop this bunch of overpaid, spoilt actors in the deepest, darkest jungle and truly make a great movie. Convinced their every move is being filmed, the actors are oblivious to the real dangers lying in the jungle. And, well, hilarity ensues. Sometimes.
Tropic Thunder does suffer from some truly unfunny, broad humour. But, in this cinema-goers opinion, there are two things that truly save this film from becoming unbearable. The first is the spot-on piss-take of the film industry. The comic star who plays every character in a film. An actor taking “the method” to extremes by becoming black. The aging, failing action star who dumbs himself down in an attempt to win an Oscar. The omnipotent producer. The “he’s-so-hot-right-now” rapper trying his hand at acting. The war movie to top all war movies. These caricatures are so funny because they are so very true. And who better to play them than the likes of Stiller, Black, Downey Jr, McConaughey, Cruise and so on.
Which brings me nicely to reason number two that Tropic Thunder didn’t suck: that miraculous cast list. Stiller sure has friends in high places and friends that don’t mind being the butt of the joke. The stand-outs, by far, are Downey Jr and Cruise. Downey Jr has the most difficult acting job of the movie – playing a dude “playing a dude pretending to be another dude.” And it’s damn funny, especially the scenes between Lazarus and Alpa Chino (the black rapper played wonderfully by Brandon T Jackson), and the memorable sage words of an extreme method actor (“I don't read the script. The script reads me.”) And Cruise, well, what a wonderfully disgusting, disturbing performance he gives as the aptly named producer Les Grossman. He looks to be truly having a ball.
Tropic Thunder will definitely not be everyone’s idea of a good night out. I truly disliked parts of it. But there was certainly enough to keep me giggling and I applaud Stiller’s satirical skills and the whole cast’s willingness to truly ridicule themselves and their industry.
---------------------------------------
Tyra Banks: You're not married, you're on the wrong side of 40, and child-less. Somebody close to you said: One more flop, and it's over.
Tugg Speedman: [pause] Somebody said they were close to me?
Sunday, July 20, 2008
Married Life
Chris Cooper, Pierce Brosnan, Patricia Clarkson, Rachel McAdams, David Richmond-Peck
Dir. Ira Sachs
Scr. Ira Sachs & Oren Moverman (based on the novel “Five Roundabouts to Heaven” by John Bingham)
Married Life is a smart, funny, well acted drama. The major moral dilemma we are asked to buy into might well be mildly far-fetched, if not fully-flung absurd. And while this movie is mostly compelling, its pace is sometimes lost. I guess it’s what you could call a slow-burner. In the end, the resolution is neat, believable and even heart-warming. But I couldn’t help feeling slightly ripped off at not being treated to a more chilling and thrilling conclusion. It had potential in spades.
Set in the 1940s, Married Life tells the story of married couple Harry and Pat, Harry’s best friend Rich, and Harry’s mistress Kay. Harry is a dependable sort of bloke who, despite falling in love with another woman, is hesitant to leave his wife because of the hurt and humiliation it will cause. Pat, a frank and cheery woman, has no idea Harry is cheating but, as you will discover, has secrets of her own. Rich is a player, as they say, and on meeting his best friend’s bit-on-the-side, is immediately infatuated with the lovely Kay. What unfolds could almost be a comedy, if it wasn’t so tragic. Harry, intent on both being with Kay and not breaking his wife’s heart, decides the most humane thing to do would be to kill Pat. Painlessly, of course.
The gist of the movie, as summarised in its tagline, is ‘do you know what really goes on in the mind of the person with whom you sleep?’ From the goings-on in this story, the answer is clearly no. It’s a disturbing thought. While no one is completely evil in this film (not even murderous Harry), each and every character would shock their lover with their thoughts and motivations. Wouldn’t we all?
I can’t fault the acting in Married Life. The cast is a director’s dream. Brosnan (as Rich) is on fine form and well suited to both the period and the character. McAdams (as Kay) does surprisingly well – I am not the biggest fan, but she plays this more-complex-than-meets-the-eye character well. Clarkson (as Pat) is a treat to watch – she truly is one the best actresses working today. But, as always, Cooper (as Harry) steals the show. Cooper is an amazing actor, possessed of a wonderfully lived-in face, whose emotional journey in this film is at times chilling, at times heart-breaking. In the end, it is the performances of these actors that keep you hooked on Married Life.
Visually, Married Life is fantastic. The tone is set with a wonderful opening title sequence. From there we are treated to authentic costumes and great sets. Married Life also treats us to a proper and formal way of speaking that harks back to a more restrictive time. But even within this formality, sex was still sex, and the frankness of the circumstances ensures the audience doesn’t feel too distant from characters of a bygone era.
Married Life might bore some. It’s not a thrill-a-minute, although at times it feels like it’s winding itself up to try to be. It’s certainly funny, and at times you will be laughing nervously. Ultimately, I thought the ending could have been stronger – less neat, more bloody! And while you don’t know what is going to happen to these characters in the long-run, you suspect it’ll all be okay. Married Life didn’t deliver 100% for me. But this is a well acted, mostly compelling, slightly odd film that I’m glad I saw.
Dir. Ira Sachs
Scr. Ira Sachs & Oren Moverman (based on the novel “Five Roundabouts to Heaven” by John Bingham)
Married Life is a smart, funny, well acted drama. The major moral dilemma we are asked to buy into might well be mildly far-fetched, if not fully-flung absurd. And while this movie is mostly compelling, its pace is sometimes lost. I guess it’s what you could call a slow-burner. In the end, the resolution is neat, believable and even heart-warming. But I couldn’t help feeling slightly ripped off at not being treated to a more chilling and thrilling conclusion. It had potential in spades.
Set in the 1940s, Married Life tells the story of married couple Harry and Pat, Harry’s best friend Rich, and Harry’s mistress Kay. Harry is a dependable sort of bloke who, despite falling in love with another woman, is hesitant to leave his wife because of the hurt and humiliation it will cause. Pat, a frank and cheery woman, has no idea Harry is cheating but, as you will discover, has secrets of her own. Rich is a player, as they say, and on meeting his best friend’s bit-on-the-side, is immediately infatuated with the lovely Kay. What unfolds could almost be a comedy, if it wasn’t so tragic. Harry, intent on both being with Kay and not breaking his wife’s heart, decides the most humane thing to do would be to kill Pat. Painlessly, of course.
The gist of the movie, as summarised in its tagline, is ‘do you know what really goes on in the mind of the person with whom you sleep?’ From the goings-on in this story, the answer is clearly no. It’s a disturbing thought. While no one is completely evil in this film (not even murderous Harry), each and every character would shock their lover with their thoughts and motivations. Wouldn’t we all?
I can’t fault the acting in Married Life. The cast is a director’s dream. Brosnan (as Rich) is on fine form and well suited to both the period and the character. McAdams (as Kay) does surprisingly well – I am not the biggest fan, but she plays this more-complex-than-meets-the-eye character well. Clarkson (as Pat) is a treat to watch – she truly is one the best actresses working today. But, as always, Cooper (as Harry) steals the show. Cooper is an amazing actor, possessed of a wonderfully lived-in face, whose emotional journey in this film is at times chilling, at times heart-breaking. In the end, it is the performances of these actors that keep you hooked on Married Life.
Visually, Married Life is fantastic. The tone is set with a wonderful opening title sequence. From there we are treated to authentic costumes and great sets. Married Life also treats us to a proper and formal way of speaking that harks back to a more restrictive time. But even within this formality, sex was still sex, and the frankness of the circumstances ensures the audience doesn’t feel too distant from characters of a bygone era.
Married Life might bore some. It’s not a thrill-a-minute, although at times it feels like it’s winding itself up to try to be. It’s certainly funny, and at times you will be laughing nervously. Ultimately, I thought the ending could have been stronger – less neat, more bloody! And while you don’t know what is going to happen to these characters in the long-run, you suspect it’ll all be okay. Married Life didn’t deliver 100% for me. But this is a well acted, mostly compelling, slightly odd film that I’m glad I saw.
Sunday, July 13, 2008
Mamma Mia!
Meryl Streep, Pierce Brosnan, Colin Firth, Stellan Skarsgard, Julie Walters, Christine Baranski, Amanda Seyfried, Dominic Cooper
Dir. Phyllida Lloyd
Scr. Catherine Johnson
What fun! Mammia Mia is a movie for musical-lovers – for people who don’t cringe when characters burst into song, for people not concerned too much with realism, for cinema-goers who like to leave the theatre with a grin on their faces. Someone like me, in other words. And while I’m not the hugest ABBA fan, it’s always a comfort and a treat to know the songs being belted out on screen. This film isn’t perfect by any means, but it might just be the most fun you’ll have on a rainy Saturday afternoon.
Mamma Mia is based on the hugely popular stage musical of the same name, which uses the songs of ABBA to tell the story of soon-to-be-wed Sophie, who lives with her mother, Donna, on a small Greek island. After finding her mother’s diary from the year before she was born, Sophie figures out that her father is one of three men. So, desperate to know who her father is, Sophie invites all three to the wedding, sure that she will know “him” when she sees him. When all three possible fathers actually turn up – Sam the architect, Harry the banker, Bill the adventure writer – chaos and hilarity ensues.
This film is a visual treat. Some of the filming was done on the Greek Islands of Skopelos and Skiathos. But, I was surprised to find out that most of the movie was filmed on the 007 stage at Pinewood Studios. You certainly can’t tell – this film will make you want to move to a Greek island, or at least plan your next vacation there. And while the plot is more than a little ludicrous, you’ll easily forgive an outrageous story because this film looks simply gorgeous. And, least we forget, it’s a musical – the most surreal and ridiculous genre to have ever been conceived. And often the most pleasurable.
The youngsters in Mamma Mia are great. Seyfried (who plays fatherless Sophie) possesses a wonderful, pure voice and has a lovely chemistry with her onscreen mother (Streep) – it’s no stretch of the imagination that they are mother and daughter. Cooper (Sky, the fiancé), is likeable and cute and has a strong voice. It’s clear the young half of the ensemble were cast at least partly for their musical talent. The older set, well, they are more of a mixed bag. But I have to give them all an ‘A’ for effort. Brosnan (as Sam, possible father #1) looks slightly terrified when he is singing. His voice isn’t strong, but it is sweet and he’s a good enough actor to inject emotion into the tune and make it moving. And he’s absolutely dishy, which helps. Firth (as Harry, possible father #2) and Skarsgard (as Bill, possible father #3) have weaker voices and, wisely, aren’t given a lot of solo singing to do. But, again, these men are experienced, fine actors and they admirably manage to fake it. Firth is, as usual, gorgeous and very funny indeed. Skarsgard has a wonderful twinkle in his eye which lets you know he is having a ball. Even Benny and Bjorn make cameo appearances, alongside their Executive Producer and Composer credits.
The older women in the cast more than make up for any lack of musical talent from Brosnan, Firth and Skarsgard. Walters and Baranski (as Donna’s best friends Rosie and Tanya) are simply wonderful. Their characters are like chalk and cheese, and this plays out with much humour. And, man, that Baranski can belt out a tune. Walters is not as strong, but she makes up for any weakness in her voice with her great comic ability. Much, much, much credit, however, must go to Meryl Streep (as Donna) in this film. Her acting is spot on. And her singing, well, it blew me away. When she sings “The Winner Takes It All” to Brosnan, I swear I had goose-bumps. Casting her in this film was inspired.
Mamma Mia is an energetic and fun frolic on an island paradise with some quality actors and a whole lot of instantly recognisable songs – in other words, a jolly good film. Some of the singing might be shaky and the plot might be silly, but everyone is clearly having the time of their lives. As was I. Highly recommend if you’re a fan of the musical genre.
----------------------------------
Rosie: Typical, you wait 20 years for a father and then three show up at once.
Dir. Phyllida Lloyd
Scr. Catherine Johnson
What fun! Mammia Mia is a movie for musical-lovers – for people who don’t cringe when characters burst into song, for people not concerned too much with realism, for cinema-goers who like to leave the theatre with a grin on their faces. Someone like me, in other words. And while I’m not the hugest ABBA fan, it’s always a comfort and a treat to know the songs being belted out on screen. This film isn’t perfect by any means, but it might just be the most fun you’ll have on a rainy Saturday afternoon.
Mamma Mia is based on the hugely popular stage musical of the same name, which uses the songs of ABBA to tell the story of soon-to-be-wed Sophie, who lives with her mother, Donna, on a small Greek island. After finding her mother’s diary from the year before she was born, Sophie figures out that her father is one of three men. So, desperate to know who her father is, Sophie invites all three to the wedding, sure that she will know “him” when she sees him. When all three possible fathers actually turn up – Sam the architect, Harry the banker, Bill the adventure writer – chaos and hilarity ensues.
This film is a visual treat. Some of the filming was done on the Greek Islands of Skopelos and Skiathos. But, I was surprised to find out that most of the movie was filmed on the 007 stage at Pinewood Studios. You certainly can’t tell – this film will make you want to move to a Greek island, or at least plan your next vacation there. And while the plot is more than a little ludicrous, you’ll easily forgive an outrageous story because this film looks simply gorgeous. And, least we forget, it’s a musical – the most surreal and ridiculous genre to have ever been conceived. And often the most pleasurable.
The youngsters in Mamma Mia are great. Seyfried (who plays fatherless Sophie) possesses a wonderful, pure voice and has a lovely chemistry with her onscreen mother (Streep) – it’s no stretch of the imagination that they are mother and daughter. Cooper (Sky, the fiancé), is likeable and cute and has a strong voice. It’s clear the young half of the ensemble were cast at least partly for their musical talent. The older set, well, they are more of a mixed bag. But I have to give them all an ‘A’ for effort. Brosnan (as Sam, possible father #1) looks slightly terrified when he is singing. His voice isn’t strong, but it is sweet and he’s a good enough actor to inject emotion into the tune and make it moving. And he’s absolutely dishy, which helps. Firth (as Harry, possible father #2) and Skarsgard (as Bill, possible father #3) have weaker voices and, wisely, aren’t given a lot of solo singing to do. But, again, these men are experienced, fine actors and they admirably manage to fake it. Firth is, as usual, gorgeous and very funny indeed. Skarsgard has a wonderful twinkle in his eye which lets you know he is having a ball. Even Benny and Bjorn make cameo appearances, alongside their Executive Producer and Composer credits.
The older women in the cast more than make up for any lack of musical talent from Brosnan, Firth and Skarsgard. Walters and Baranski (as Donna’s best friends Rosie and Tanya) are simply wonderful. Their characters are like chalk and cheese, and this plays out with much humour. And, man, that Baranski can belt out a tune. Walters is not as strong, but she makes up for any weakness in her voice with her great comic ability. Much, much, much credit, however, must go to Meryl Streep (as Donna) in this film. Her acting is spot on. And her singing, well, it blew me away. When she sings “The Winner Takes It All” to Brosnan, I swear I had goose-bumps. Casting her in this film was inspired.
Mamma Mia is an energetic and fun frolic on an island paradise with some quality actors and a whole lot of instantly recognisable songs – in other words, a jolly good film. Some of the singing might be shaky and the plot might be silly, but everyone is clearly having the time of their lives. As was I. Highly recommend if you’re a fan of the musical genre.
----------------------------------
Rosie: Typical, you wait 20 years for a father and then three show up at once.
Sunday, July 6, 2008
Before the Devil Knows You’re Dead
Philip Seymour Hoffman, Ethan Hawke, Albert Finney, Marisa Tomei
Dir. Sidney Lumet
Scr. Kelly Masterson
This certainly isn’t a cheery film. And not one to take your grandma to see. But it’s a bloody good film – well crafted and paced, well acted, compelling. Sidney Lumet, obviously still going strong in his 80s, has assembled a stellar cast who deliver in spades. You might not “enjoy” this movie, but you’ll appreciate a fine director and cast at work.
Before the Devil Knows You’re Dead (the title taken from an old Irish saying – “May you be in heaven a full half hour before the devil knows you're dead”) tells the story of brothers Andy and Hank Hanson, who embark on a seemingly fool-proof plan to rob a jewelry store and solve their financial woes. Hank, a divorced, deadbeat dad, is way behind on child support payments; Andy is in a pickle at work and has a wife who likes to spend his money. The robbery goes terribly wrong – don’t they all? – and events and repercussions spiral out of the control. The tagline of this film – “No one was supposed to get hurt” – hints at the fact that everyone does. Big time.
Before the Devil is non-linear – we jump from character to character, from days before the robbery, to days after. This certainly isn’t a new cinematic device, especially in this genre, and can often be both annoying and confusing. But it is handled deftly in this film and the tension builds wonderfully.
This film is an insight into several disturbing facets of personality. You won’t necessarily like the characters in this film – they are hugely flawed and sometimes downright horrid – but they are very believable. Hank is weak. Andy is unforgiving. Gina (Andy’s wife) is never satisfied. Charles (Hank and Andy’s father) is cruel. These characters don’t redeem themselves, they don’t suddenly come good. It’s a bleak picture of modern life. Some may find it hard to watch, but it is tragedy as its best.
The cast of this film is very good indeed. Hoffman, as Andy, is the stand-out. He is an actor that simply doesn’t disappoint. And he is especially good as the flawed and unlikeable man. The scene in the car after his mother’s funeral is quite gut-wrenching. Hawke – on the face of it, an unexpected casting choice – is wonderful as the weak, hopeless younger brother Hank. Talked into anything, you simply want to slap him and tell him to get a backbone. Finney, as their father Charles, is on fine form. Having ignored his older son and smothered his younger son, Charles could in fact be held responsible for all that transpires in this story. And, in the end, he makes a choice that will have you questioning the assumption that parental love overcomes all. Tomei, as Andy’s wife Gina, is pretty good. I found her character hugely unlikeable and so found it hard to like Tomei in this film. So, I have to concede, well done on her part.
I recommend this film. It’s not an easy watch. And the very graphic opening scene might put some off. But this is a finely crafted, compelling, superbly acted film about the worst in all of us.
-----------------------------------------
Andy Hanson: The thing about real estate accounting is that you can add down the page or across the page and everything works out. Everyday, everything adds up. The total is always the sum of its parts. It's, uh, clean. It's clear. Neat, absolute. But my life, it, uh, it doesn't add up. It, uh... Nothing connects to anything else. It's, uh... I'm not, I'm not the sum of my parts. All my parts don't add up to one... to one me, I guess.
Dir. Sidney Lumet
Scr. Kelly Masterson
This certainly isn’t a cheery film. And not one to take your grandma to see. But it’s a bloody good film – well crafted and paced, well acted, compelling. Sidney Lumet, obviously still going strong in his 80s, has assembled a stellar cast who deliver in spades. You might not “enjoy” this movie, but you’ll appreciate a fine director and cast at work.
Before the Devil Knows You’re Dead (the title taken from an old Irish saying – “May you be in heaven a full half hour before the devil knows you're dead”) tells the story of brothers Andy and Hank Hanson, who embark on a seemingly fool-proof plan to rob a jewelry store and solve their financial woes. Hank, a divorced, deadbeat dad, is way behind on child support payments; Andy is in a pickle at work and has a wife who likes to spend his money. The robbery goes terribly wrong – don’t they all? – and events and repercussions spiral out of the control. The tagline of this film – “No one was supposed to get hurt” – hints at the fact that everyone does. Big time.
Before the Devil is non-linear – we jump from character to character, from days before the robbery, to days after. This certainly isn’t a new cinematic device, especially in this genre, and can often be both annoying and confusing. But it is handled deftly in this film and the tension builds wonderfully.
This film is an insight into several disturbing facets of personality. You won’t necessarily like the characters in this film – they are hugely flawed and sometimes downright horrid – but they are very believable. Hank is weak. Andy is unforgiving. Gina (Andy’s wife) is never satisfied. Charles (Hank and Andy’s father) is cruel. These characters don’t redeem themselves, they don’t suddenly come good. It’s a bleak picture of modern life. Some may find it hard to watch, but it is tragedy as its best.
The cast of this film is very good indeed. Hoffman, as Andy, is the stand-out. He is an actor that simply doesn’t disappoint. And he is especially good as the flawed and unlikeable man. The scene in the car after his mother’s funeral is quite gut-wrenching. Hawke – on the face of it, an unexpected casting choice – is wonderful as the weak, hopeless younger brother Hank. Talked into anything, you simply want to slap him and tell him to get a backbone. Finney, as their father Charles, is on fine form. Having ignored his older son and smothered his younger son, Charles could in fact be held responsible for all that transpires in this story. And, in the end, he makes a choice that will have you questioning the assumption that parental love overcomes all. Tomei, as Andy’s wife Gina, is pretty good. I found her character hugely unlikeable and so found it hard to like Tomei in this film. So, I have to concede, well done on her part.
I recommend this film. It’s not an easy watch. And the very graphic opening scene might put some off. But this is a finely crafted, compelling, superbly acted film about the worst in all of us.
-----------------------------------------
Andy Hanson: The thing about real estate accounting is that you can add down the page or across the page and everything works out. Everyday, everything adds up. The total is always the sum of its parts. It's, uh, clean. It's clear. Neat, absolute. But my life, it, uh, it doesn't add up. It, uh... Nothing connects to anything else. It's, uh... I'm not, I'm not the sum of my parts. All my parts don't add up to one... to one me, I guess.
Subscribe to:
Posts (Atom)