It feels that too much time has passed and too many movies have been seen, a blog post is required. The biggest change since my last post is the painful loss of the inimitable Roger Ebert. Perhaps the elegiacal reminders of what a smart, funny, brilliant cinephile he is and the exceptional contributions he has made to the form. Who doesn't want a good review from Ebert? I only hope my standards are both as high, well-informed, and honest.
Another deeply felt loss is that of a great theatre director, with whom I had the great pleasure of working: Patricia M. Troxel. During my one year at the Pacific Conservatory for the Performing Arts, I was lucky enough to have been assistant director on her graceful and gorgeous production of A Midsummer Night's Dream. I learned so much on that production - about believing in myself, about observing from others, about dedication. To have been diagnosed with cancer and go through chemo the year after - just as Patricia had done - felt more like a rite of passage, like a good omen of the incredible artist whom I had hoped to emulate. Her strength and dedication, the passion and intellect, all unbelievably durable, remain as an inspiration to me. This - from someone who hardly worked with her as closely as most of the PCPA students, not nearly as closely, or as long. And I never got to tell her about seeing Ciaran Hinds in New York City. She loved him.
Of course, films are one of the great mediums through which we learn to cope. Whether it's a comedy to remind us how to laugh, a thriller that distracts us from reality, or a tragedy that makes us cry, a catharsis; there is no denying that film has been a predominant element of my ability to cope, for as long as I can remember. What follows is a brief catch-me-up on the films I have seen in the last few weeks.
ParaNorman
Nominated for an Academy Award (2013), I was truly surprised by how unmemorable it was. Clever, certainly, but not nearly as funny as the trailer would have you believe - even the things that made me laugh in the trailer left me bored with the film. Sharp, angular animation is effective, if not especially inventive. I wanted to like it much more - hoping that even after the award had been doled out, I would have imagined it as more competition for Brave and Wreck-It Ralph. No, I'm not surprised. Not surprised at all. The creepy tree reminded me of Ferngully, which frightened me as a child. (Redbox)
Abraham Lincoln Vampire Hunter
I want to laugh out loud about this film, and yet, I don't. My primary interests were trivial - knowing the film was shot in and around New Orleans (one of my all-time-favorite places), and that a former colleague of mine worked on the film - but any connection to a film will generally discredit any bias against it. While I'm unsure about Benjamin Walker as Lincoln - the Abraham Lincoln - though he certainly is tall enough, I'm not sure I bought any of the 'rousing speech' scenes. Whether that has to do with the actor or the editor, I can't be sure. As Mary Todd Lincoln, Mary Elizabeth Winstead is virtually unrecognizable. This is the girl Scott Pilgrim obsessed over? Wow! She's lovely, beautifully genuine, and impassioned. Her scenes with Walker/Lincoln are among the strongest. (Redbox)
The Last Enemy
By far, the piece that has had the greatest impact for me is this miniseries from BBC's Masterpiece Contemporary. Starring personal favorites Robert Carlyle (Rumplestiltskin on ABC's Once Upon a Time) and Benedict Cumberbatch (BBC's perfect Sherlock), The Last Enemy is set in London, in the near future, as the government tries even harder to advance toward a less penetrable society, a safer place for its citizens, with Parliament proposing to implement TIA - Total Information Awareness. Such a system would require Londoners to carry ID badges, having their every move tracked, their entire life contained in a single database, trackable by 'the right people.' I could do a whole separate blog entry about this piece - my roommate says I promote it like it's my job to do so - but the most important thing for you to take away from whatever I write about it is this: see it. See The Last Enemy. The implications are frightening, and not so far off as to be unrealistic. Plus, you get to watch Cumberbatch and Carlyle, both of whom are incredible performers. Carlyle, especially, is one to enjoy in this series. I've been talking about it for weeks. Someone please see it (available on Netflix and Hulu), if only so we can talk about it! **Recommended
Playing for Keeps
A soccer movie! Bend It Like Beckham, for the rom-com crowd. Um - more like Bend It for Butler. Yes, he's pretty, and I respect a woman who knows what she wants, but damn. At first, it was difficult for me to tell whether or not Butler's character was truly in pursuit of a relationship with his son, or even his ex, but depression can do that to a person. I've never understood the Jessica Biel obsession, but she does well as a woman who puts her child first, whose world is turned upside down by the return of her ex. There are so many strings to this story that it's difficult to care how it's woven together. Mind you, it is woven together, just not in a satisfying way. Dennis Quaid is disturbingly creepy as Uma Thurman's husband, a wealthy, manipulative, jealous, vindictive soccer dad. Also: how did Uma Thurman end up in this film? Why? Weird. If you needed any additional proof that Catherine Zeta Jones is still unbelievably gorgeous, this might help. Though I'm not sure I'd turn down Zeta Jones for Biel... if I was a dude. (Redbox)
Red Dawn
In the near-future, North Korea invades Spokane, WA. Good thing Chris Helmsworth is there! Still, the entire premise hit too close to home for my blood, and I spent most of the film (from Redbox) painting my nails. Something too real about an attack by North Korea. I have doubts about my ability to survive a battle zone. It's a pretty formulaic remake of the Patrick Swayze/Charlie Sheen film, though the places and enemies have been updated to current threats. Nothing remarkable about the performances or production, and having not paid attention at the beginning, I had no idea what the significance of "Wolverines" was. (It's the school mascot.) Plus, people making stupid decisions makes me angry.
Hitchcock
NAILED IT! Anthony Hopkins is spot on creepy, insecure, and proud as the master of suspense. Knowing his predilection for a blonde in a grey suit, I never gave much thought to Mrs. Hitchcock. Turns out Alfred was married to feisty Alma Reville. Reville's an immensely talented screenwriter and editor in her own right, though her uncredited collaborations with Hitch eclipsed any of her independent successes. Helen Mirren is as spellbinding as ever, easily shouldering her half of the film. The scenes with Hitch and/or Reville are the strongest, most fascinating, though insight to the most famous of the Hitchcock films is always interesting. One could hardly expect Johanssen (Psycho lead Janet Leigh) or Biel (Psycho actress Vera Miles) to draw any focus from either Hopkins or Mirren. The recreation/behind-the-scenes portions of the film are sufficient - James D'Arcy makes a perfect Anthony Perkins - but the more intimate views into Hitch's life are far more interesting. Definitely worth a see (available from Redbox), and I might even look into some of the books written about either the production or the history of the Hitchcock blonde. **Recommended
Blancanieves
This is the type of movie I had hoped to promote or perpetuate interest in when I started my blog. I first stumbled across the trailer on IMDB, intrigued by the crisp black and white images, perhaps another throwback success, like The Artist. For those of you unfamiliar with the Spanish language, the title of the film refers to Snow White. Set in 1920s Seville, shot in the silent film style, complete with title cards and a riveting score by Alfonso de Vilallonga, Carmenita is the daughter of a flamenco dancer and a nationally revered bullfighter, whose 'evil stepmother' is the cold-hearted nurse tending to the bullfighter when he is injured and subsequently paralyzed. Maribel Verdú (instantly recognizable from Pan's Labyrinth) plays Encarna, the wicked nurse-turned-stepmother, taking over the father's fortune and casting out the daughter. Fleeing her hunter in the woods, Carmenita enters a river, where she is held underwater and left for dead. Rescued by Rafita (an immensely handsome Sergio Dorado), she is moved to a caravan, where she wakes up in the company of seven traveling, bullfighting dwarfs. Unable to remember her name, they call her Blancanieves, and she accompanies them to their first bullfighting gig. When Grumpy (I'm so sorry, I don't recall the Spanish names, except for Josefa and Rafita) is violently attacked by a bull, Carmenita showcases the skills she learned from her father; her considerable talent makes her, and her compatriots, famous. No magic mirror here - instead, Encarna's cover story is usurped when Carmenita is featured on the cover of a fashion magazine. Intent on destruction, Encarna attends the massive bullfight only to destroy the threat.
Frankly, if I ran with seven dwarfs and went by the name of Snow White, I wouldn't eat apples given to me by strangers. Ever. Still, the film's conclusion is not what you might expect, but is profoundly evocative, even provocative, and painfully moving. Absolutely worth a viewing, for something remarkably different, less self-aware than The Artist, a little more magical, and just as beautiful. Try and catch it before it leaves theaters! **Recommended
No comments:
Post a Comment