LOVE, ROSIE (2014)

March 8, 2015

Love, Rosie Greetings again from the darkness. More Romantic-Drama than Romantic-Comedy, the story spans 12 years – a necessary change of structure from the 45 year saga of Cecilia Ahern’s novel and source material “Where Rainbows End”. It’s a familiar theme of boy-girl friendship muddled by quasi-romantic interludes of frustration, confusion, missed signals, and misplaced pride.

Rosie (Lily Collins) and Alex (Sam Clafin) have been friends since they were 5 years old, and their bond means they discuss everything from Alex’s weird dreams to leaving England together. Well, everything except what they really think of each other. On Rosie’s 18th birthday, a poorly executed, drunken spin atop a barstool, leads to the proverbial fork in the romantic road … and off to the dance go Rosie and Alex with other partners. One cringe-inducing condom mishap later and Alex is headed off to school in the U.S., while Rosie stays behind to tend to other responsibilities.

In the mode of One Day, or Four Weddings and A Funeral, we track the separate lives of Rosie and Alex. Though connected mostly through texts, the next dozen years bring more than enough opportunity for these two to right a wrong, but predictably bad timing is always their worst enemy. The adapted screenplay from Juliette Towhidi (Calendar Girls) and the direction of Christian Ditter allow us to really understand Rosie and care for her, while the supermodel dalliances of Alex keep him at arm’s length.

The film’s best scenes and most interesting sequences are those centered on Rosie. Lily Collins (Phil’s daughter) really steps up her game here and shows some promise for things to come in her career. Most enjoyable are her scenes with the more streetwise Ruby (played by Jaime Winston, daughter of the very cool Ray). The film’s weakest moments involve the attempts at slapstick humor. The two worst: a scene involving handcuffs and a headboard and an elementary school; and another scene with the group awkwardly scurrying through an airport. Both seem out of place with the almost pensive nature of so many other moments in the film.

In an attempt to lighten the mood and ensure the viewers are on track, numerous songs are utilized and act almost as a narrator for the dramatic turns. Most of these are a bit overbearing rather than serving as a complement to the story. Despite the shortcomings, the message of friendship and dreams is one worth delivering … even if the presentation may be a bit cheesy except for the most hopeless of romantics amongst us.

watch the trailer:

 

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Posted by David Ferguson

MAGIC IN THE MOONLIGHT (2014)

August 3, 2014

magic Greetings again from the darkness. One of the most prolific writer/directors since the end of the studio era, Woody Allen cranks out a script and film every year. A few are great, while the others fall somewhere between highly entertaining and watchable. None would be considered a true dud. His latest is a bit fluffy and falls comfortably into the watchable category … with nary a glint of anything more ambitious.

The line of actors maneuvering for a role in Mr. Allen’s films stretches around the proverbial casting couch.  The list of those involved with this one is again quite impressive: Colin Firth, Emma Stone, Marcia Gay Harden, Jacki Weaver, Eileen Atkins, Simon McBurney, Catherine McCormack, and Hamish Linklater. They each perform admirably, yet aren’t enough to elevate a somewhat lackluster script. Ms. Stone and Ms. Atkins are especially enjoyable.

Woody mixes his love of magic with his cynical religious views, and blends those with his too frequent older man/younger woman sub-plot.  The scenes with Firth and Stone are fine, but their onscreen banter would have been better served as Uncle and Niece than awkward rom-com aspirants. Despite this flaw, there remain some excellent lines and moments, plus some staggering shots of the south of France locale. The wardrobe and cars are beautiful … the film is set in 1928.

Screwball comedies are clearly a favorite for Mr. Allen to write, but his directing leans more towards the leisurely pace found in more traditional rom-coms. The mixed genres don’t always fit together, even when stacked with a superior cast. Still, it must be noted, that even at his least brilliant, Mr. Allen delivers films that are pleasant and watchable. As movie lovers, we can live with that as we await his next masterpiece … or at least his next movie in one year.

watch the trailer:

 

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Posted by David Ferguson

OBVIOUS CHILD (2014)

June 14, 2014

obvious Greetings again from the darkness. One of my movie review rules is about to be broken. Typically I don’t judge movies based on the filmmaker’s gender, but there is a good reason to do so this time. Writer/director Gillian Robespierre delivers an extraordinary film that avoids the extremes we have come to expect: the “shock for shock’s sake” of HBO’s “Girls” and the fantasy world of glamour and shoes of Sex and the City. Instead we get an authentic look at a lead character that seems like a woman we might actually know.

Based on Ms. Robespierre’s popular 2009 short film of the same name, this one features a brilliant collaboration with Jenny Slate whom many will recognize from “Saturday Night Live“. Ms. Slate brings a grounded, believable quality to both the stand-up sequences and the struggling Brooklyn 30-ish woman’s clunky transition into adulthood. This story works because we like Donna (Slate’s character), we empathize with Donna, and we root for Donna.

You may have heard this referred to as “the abortion comedy”. While it’s common to apply simple labels to movies, this seems to be a case of mistaken identity. Absolutely there is humor present – Donna’s hobby is stand-up comedy. And yes, the decision to have an abortion is a key element in the script … but there is also a strong Rom-Com element, a study in friendship, a look at relationships, a peek at the bond between adult kids and their parents, and the ever-present struggle between independence and the hope for true love. Much is happening here, and most of it is handled exceptionally well.

The film kicks off with an uncomfortable foul-mouthed stand-up segment from Donna. While I have never been a fan of fart-poop-pee humor, it’s our introduction to her thought process and how she uses her own life as subject matter, creating a kind of self-therapy. Soon thereafter, we witness a most unorthodox break-up between Donna and her boyfriend. This is followed by lots of wine consumption, blind support from her friend Nellie (played by Gaby Hoffmann – all grown up since her time as the young daughter in Field of Dreams), and a drunken fling with ultra nice guy Max (Jake Lacy from TV’s “The Office“). Their “date” includes pretty much everything except a condom, which leads to the abortion story line.

Handled with dignity and frankness, Donna’s decision is one faced by many women. It’s a part of life and receives straightforward treatment (save one questionable joke). The real joy here is not just how the story focuses on a female character, but that it’s told from the female perspective … two rarely seen approaches from Hollywood. The dialogue rings true and the clichés are minimal. There is even a nice guy to offset the big jerk!

The closest comparison I can come up with is Knocked Up, which was much more concerned with generating laughs, and treated abortion as a taboo topic, rather than a real life decision. Donna’s parents are played by Richard Kind and Polly Draper, and both add an element of realism and love that rings true. David Cross and Gabe Liedman have interesting and funny support roles as well. But understand that this movie belongs to Jenny Slate and especially director Gillian Robespierre, two very strong and talented women who just upped the standard for filmmaking … not just female filmmaking.

**NOTE: yes that is Paul Simon‘s 1991 song “The Obvious Child” that plays during the Donna and Max “date”

SEE THIS MOVIE IF: you need proof that a women’s perspective on screen can be interesting and ring true OR you want to see the works of two up-and-coming voices in Jenny Slate and Gillian Robespierre

SKIP THIS MOVIE IF: you are looking for some massive political diatribe on the abortion topic

watch the trailer:

 

 

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Posted by David Ferguson

THE LUNCHBOX (Dabba, India, 2013)

April 26, 2014

lunchbox Greetings again from the darkness. What a terrific first feature film from writer/director Ritesh Batra. Don’t mistake this for the typical Bollywood release in the U.S. There are no song and dance numbers here. Instead it’s a very intimate portrait of how two people awaken to their own situations by connecting with each other through notes in a lunchbox.

“Lunchbox” takes on a life of it’s own when referring to the dabbawallahs – the infamous lunch delivery men in Mumbai. The opening credits provide us a ride-along with the key lunchbox as it takes multiple forms of transportation prior to arriving at its destination. Only this time, a rare mistake occurs. The lunchbox from Ila lands on the busy desk of Saajan, rather than her husband. See, Ila is trying to re-capture the attention of her distracted husband. Instead, she finds a soul mate in Saajan via note exchange and tasty dishes.

While Ila is a desperate and frustrated housewife, Saajan is a melancholy widower who is headed to retirement in hopes that it helps him forget all that he now tries to cover up through his cigarette habit and retreat from society. The real magic here stems from the slow process of self-realization that occurs for the two characters. There is humor and emotion aplenty, yet both performances of Irrfan Khan (Saajan) and Nimrat Kaur (Ila, and her extremely expressive eyes) are remarkably understated and believable and touching. We immediately care for both.

Nawazuddin Siddiqui offers support as the very interesting and entertaining Shaikh … a character that could easily support his own film. We also see Lillete Dubey as Ila’s mother. Ms. Dubey also appeared in the terrific Monsoon Wedding (2001). Equally impressive is the city view of Mumbai. The overcrowded streets, trains and buses leave us understanding how difficult daily life is for these folks.

Not since Lost in Translation has a platonic relationship been so effectively told on screen. This story and these characters remind us just how important human connection is … letting someone share your dreams is a rewarding step.

watch the trailer:

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Posted by David Ferguson

THAT AWKWARD MOMENT (2014)

February 1, 2014

awkward Greetings again from the darkness. Writing about lousy movies is no fun, but if I can save even one person from wasting $10 and two hours on this garbage, it’s worth it. The only way this got the green light is because of the success of The Hangover movies, Sex and the City, and HBO’s “Girls“. The difference is that all of those projects had a sense of humor and style, while writer/director Tom Gormican somehow finds it creative to end numerous scenes with someone calling someone else either ‘a f***ing idiot’ or ‘an A-hole’.

Mr.Gormican’s only other listed credit is as Producer for the gross out Movie 43. Let’s just say he is now 0-for-2, and here’s hoping he never gets a shot at number 3. This is such a waste of a talented group of up and coming actors. Zac Efron loses whatever credibility he has built up since High School Musical by playing Jason the Jerk. OK, I added the Jerk part, but it’s true. Jason is best friends and co-worker with Daniel, played by Miles Teller, who was so good in The Spectacular Now. Daniel is a simple-minded misogynist with a razor sharp tongue. They are both friends with Mikey, a young doctor whose wife dumps him. Mikey is played by Michael B Jordan, a standout in last year’s Fruitvale Station. These twenty-somethings make a drunken pact to stay single and build their roster of casual sex partners, thereby avoiding the awkward moment of “So … where is this relationship headed?”

The guys live like frat boys, guzzling booze while spouting “jokes” on such thought-provoking topics as poop, penis, masturbation, homosexuality, and Viagra. To add even more insult to humanity, there are four female roles that could set back women’s advancement by 100 years … should anyone actually see this pile of junk. Imogene Poots, Jessica Lucas, Addison Timlin and MacKenzie Davis each play smart, beautiful women who somehow associate with these dunces. For the record, Jordan’s character is not as classless as the others, but guilt by association cannot be ignored.

Miles Teller still has the potential to be the next John Cusack, and Michael B. Jordan clearly has a future if he avoids projects like this, and Zac Efron will probably take his perfect face and go back to sweet romantic comedies. The four key actresses should all bounce back soon with far superior projects … movies that don’t denigrate men, women and movie soundtracks (it may be the worst since the 1980’s).

SEE THIS MOVIE IF: you are related to director Tom Gormican and he has promised you a role if somehow someone asks him to make another movie

SKIP THIS MOVIE IF: you have an ounce of decency or even a minor reason to spend your days doing something worthwhile

watch the trailer … and then forget about this one:

https://www.youtube.com/watch?v=JE_bE_kswEw

 

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Posted by David Ferguson

ENOUGH SAID (2013)

September 29, 2013

enough said Greetings again from the darkness. A Rom-Com for the 50-ish crowd is pretty darn rare. But then, writer/director Nicole Holofcener doesn’t deliver the typical rom-com filled with lame punchlines and actors with perfectly scultped bodies. Instead, James Gandolfini and Julia Louis-Dreyfus come across as real people with the expected defense mode and vulnerabilities as they try to find intimacy and a personal connection.

Albert (Gandolfini) and Eva (Louis-Dreyfus) meet at a party and subtle sparks fly as both claim they aren’t attracted to anyone at the party. While at the party, Eva, a massage therapist, also meets Marianne (Holofcener regular Catherine Keener), a charming poet who wants to hire Eva to help ease her shoulder pain. Albert and Eva begin dating, and Eva slowly comes around on Albert’s grounded and funny personality. Sure he’s a bit overweight and somewhat slobby, but he treats her well and adores her. Meanwhile, Eva’s massage work on Marianne exposes her to Marianne’s incessant complaining about her overweight and somewhat slobby ex-husband. Yep. This causes quite the dilemma for Eva because she likes Albert and she envies Marianne’s cool lifestyle. Oh and both Eva and Albert have teenage daughters getting ready to go off to college, so the couple also share parent-child separation anxiety.

enough said2 The story clearly centers around Eva, and it’s nice to see Louis-Dreyfus throttle back a little and avoid some of her sitcom standard moves. We are able to relate to Eva and though we see the corner she is backing herself in to, we also understand how quickly a little bit of poor judgment can spin out of control. Although this is Eva’s story, the real heart of the film is delivered by Gandolfini’s performance. This is no Tony Soprano … this is a real guy … a nice guy … yes, even a sweet guy.

Ms. Holofcener has set her precedent with snippy banter from intelligent characters with her previous films Please Give (2010) and Friends With Money (2006), the former I liked very much and the latter I cared little for. This time, all of her characters and their dialogue ring true and are relatable. Eva’s married friends are played by Toni Collette and Ben Falcone (married in real life to Melissa McCarthy) and they have the only hollow sub-plot with their “should we or should we not fire the maid” dilemma. The two teenage daughters are played by Tracey Fairaway and Eve Hewson (Bono‘s enough said3daughter) and both have scenes that really strike a chord and ring true.

Mr. Gandolfini passed away earlier this year and there was the thought that this would be his final released film. However, it’s been decided that Animal Rescue will be finalized and released in 2014. It’s difficult to watch him and not think what could have been over the next few years, though his legacy is quite secure. His range was much greater than many give him credit for, and I would recommend watching him in both True Romance (1993) and Welcome to the Rileys (2010).

SEE THIS MOVIE IF: you want to see a well made rom-com featuring those around 50 instead of those pushing 30 OR you want further proof of just how talented James Gandolfini was

SKIP THIS MOVIE IF: you prefer your rom-coms to be filled with mindless slapstick and cast with actors who could model for Abercrombie

watch the trailer:

http://www.youtube.com/watch?v=nEEJaIjF_Lo

5 Comments | Drama, Rom-Com | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

ADMISSION (2013)

March 24, 2013

admission1 Greetings again from the darkness. Though it’s billed as a comedy, you would be best prepared walking into expect a dramatic rom-com. The mere presence of Tina Fey and Paul Rudd (their first collaboration) could lead you to assume that it’s a slapstick comedy.  Even though it isn’t, these two would elevate most any script and movie. They are inherently likable and talented, and that’s a lucky thing for director Paul Weitz (About a Boy).

The movie plays like a coming-of-age flick … not for the gaggle of high school students … but rather for Tina Fey’s character. She portrays a Princeton admissions officer named Portia Nathan, and it’s her job to weed through the files of thousands of over-achieving 18 year olds who are dreaming of attending the prestigious Ivy League school. Her serious approach to her work is complicated by a competition with her inner-office rival (Gloria Reuben) and by a going-nowhere relationship with boyfriend Michael Sheen (unrelated to their “30 Rock” relationship).

admission2 All of that sounds pretty straight-forward, so the story takes a left turn when Portia makes a campus visit to the Quest School, an experimental campus run by ultimate good guy John Pressman (Paul Rudd). Pressman is the guy who rebels against his privileged childhood and bounces from world-changing missions to life-altering experiences. His current stop as an administrator for a school filled with off-beat genius kids is focused on Jeremiah (Nat Wolff). Jeremiah is an autodidact (reads everything, self-taught) who was never understood by mainstream schools, but has his particular intelligence recognized at Quest.

So Paul Rudd approaches Tina Fey in hopes that she will take an interest in Jeremiah’s passion for learning and overlook his lack of satisfactory resume. There are also side-plots featuring a possible genetic link and a couple of strained maternal relationships admission3from both Rudd and Fey, the latter’s mom played with zeal by Lily Tomlin.

There are no real surprises here, but the movie benefits from Fey, Rudd, Tomlin and the always fun Wallace Shawn. The whole elitist college admissions process is fascinating, but really impacts only a very small segment of society. The over-bearing parent aspect could be further analyzed from either a comedic or dramatic approach.  Because of that, and the limited laughs offered by the script, it’s difficult to imagine the film gathering any real following … though here’s hoping Tina Fey and Paul Rudd work together again very soon.

SEE THIS MOVIE IF: you have been through the college admissions process OR you want to see Tina Fey and Paul Rudd wise-cracking as they share a shower

SKIP THIS MOVIE IF: you are in the mood for a slapstick comedy in the vein of Anchorman

watch the trailer:

http://www.youtube.com/watch?v=x6fp8KswbCE

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Posted by David Ferguson

WARM BODIES (2013)

February 3, 2013

warm2 Greetings again from the darkness. It’s been 45 years since George Romero introduced us to Night of the Living Dead, which he followed 10 years later with Dawn of the Dead. In 2004, humor was injected into the zombie genre by Shaun of the Dead, and then in 2009 Zombieland kept it alive, so to speak. Now, thanks to the success of “The Walking Dead”, zombies are the new vampires in Hollywood. Writer/director Jonathan Levine (50/50, The Wackness) turns Isaac Marion’s young adult novel into the first true Zombie Rom-Com … or Zom-Com, if you will.

Many of us were introduced to Nicholas Hoult a decade ago when he was the youngster alongside Hugh Grant in About a Boy. In his latest, Mr. Hoult plays “R”, a self-admitted conflicted zombie in a post-apocalyptic society. In this new world order, there are three distinct groups: Humans, Corpses, and Bonies. Humans are the paranoid types who build a wall and aggressively hunt down the two non-human groups. Corpses are the traditional zombie types who sniff and slog their way through warm3while trying to avoid deadly shots to the head. Bonies are those corpses who have given up all hope and now are indiscriminate in their search for meals.

So all of that sounds quite typical and expected, but what gives this movie its charm is the manner in which we as the viewer connect with R the zombie. His narration provides insight into his ever-present optimism, despite his need to feed on humans. In the film’s turning point, he actually rescues Julie (Teresa Palmer) during a corpse-human battle. Taking her back to his jet liner-condo, they communicate through simple gestures and R’s vintage vinyl collection.

A romantic comedy through the POV of a zombie is a bit unusual, and so is the wit and humor displayed by R. There is minimal warm4actual gore in the film, though you should be prepared for R’s keeping a brain-snack in his pocket in a manner not unlike Napoleon Dynamite’s tot stash. The tip of the cap to Shakespeare’s Romeo and Juliet is obvious in the character names, and the similarities to Twilight are inescapable. Still, there is quite a bit new here and most of it is quite enjoyable.

Hoult and Palmer’s on screen dynamics are key to the story, and there is excellent support work from Rob Corddry, John Malkovich and Analeigh Tipton. It would be easy to give away too much here, but instead let’s say that it is surprisingly clever, funny, witty, sweet and entertaining … especially for a Zom-Com that features tunes from Springsteen and Dylan.

**NOTE: despite my surprisingly favorable reaction to this movie, I was a bit shocked by the poor CGI on the Bonies. It’s probably due to budget constraints, but special effects that look outmoded by two decades are tough to overlook.

SEE THIS MOVIE IF: you don’t mind a surprisingly entertaining romantic comedy half populated by zombies.

SKIP THIS MOVIE IF: suspension of disbelief is not your strong suit.

watch the trailer:

http://www.youtube.com/watch?v=07s-cNFffDM

 

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Posted by David Ferguson

SILVER LININGS PLAYBOOK (2012)

November 24, 2012

 Greetings again from the darkness. The film is exactly what you would expect from a screwball romantic comedy steeped in drama based on bipolar disorder, depression, OCD, Philadelphia Eagles fanatics, a ballroom dancing contest, adultery, Hemingway, and a lead character who jogs while wearing a trash bag. Maybe not exactly what you would expect, but likely much more.

If you were told instead that the story is based on two damaged souls who help heal each other through dancing, you would have every reason to skip this one. However, as written and directed by David O Russell (The Fighter) and based on Matthew Quick‘s novel, this story is a frenetic, emotional roller coaster ride that provides a glimmer of hope for the two damaged lead characters, while reminding that each of us may be a bit off-center in some way. Now add in the best young actress working today (Jennifer Lawrence just turned 22), a rare performance from Robert DeNiro where he seems fully engaged, a pulling back the curtain on Bradley Cooper as much more than a pretty face, and one of the best and most pointed soundtracks in recent history …and  you have one of the best films of the year.

What you notice very early on is that what could be considered a trite story line, is instead pounding you with sharp, witty dialogue that pulls no punches in directness. The many aspects of family and emotional support are given time thanks to Pat (Bradley Cooper) being released after 8 months in a mental institution. He was sent there when he snapped after finding his wife in a compromising position with another man. Perfectly understandable if you ask me, but clearly he is the explosive one despite his claims to the contrary. An uncomfortable dinner party introduces him to Tiffany (Ms. Lawrence) whose husband has recently died and her coping skills have been shared with most of those in her workplace. This odd couple spark immediately and the wild ride begins.

Pat’s wife Nikki (Brea Bee) has issued a restraining order and his strategy to win her back consists of a positive attitude and maintaining control of his emotions. His supporters include his mother (Jacki Weaver, who was so great in Animal Kingdom), his OCD father (DeNiro) who so wants to re-connect with his son, his friend (John Ortiz) whose own marriage (to icy Julia Stiles) is a messy mess, his buddy from the asylum (a funny and not over the top Chris Tucker), and of course, Tiffany. The only real problem is that each of these supporters are teetering in their own way – just like Pat.

 The brilliance of this movie is the balance struck between the near violent emotional outbursts and the sharp, exacting words spouted by each of the characters. Director Russell once again shows his flair for working class northeasterners. He understands these tough as nails people who wear their emotions on their sleeves. These people are as likely to punch you as hug you … both being acts of love.

The soundtrack deserves special mention. It is very unique and varied, with each song serving an exact purpose. Especially keen are Stevie Wonder’s “My Cherie Amour”, Led Zeppelin’s “What is and What Should Be”, and “The Girl from the North Country” a Bob Dylan and Johnny Cash duet. When the music strikes a harmony with the scene, the movie is all the stronger. Rarely do we get the perfect storm of script, direction, acting, music and relevance.

SEE THIS MOVIE IF: complex relationships between characters facing life’s daily battles carries a certain artistic symmetry for you OR you just want to see acting of the highest quality led by a fabulous Jennifer Lawrence, a resurgent Robert DeNiro and a surprisingly talented Bradley Cooper

SKIP THIS MOVIE IF: you prefer your Rom-Com’s to be lightweight and light-hearted for easy laughs

watch the trailer:

http://www.youtube.com/watch?v=Lj5_FhLaaQQ

5 Comments | Comedy, Drama, Rom-Com | Tagged: , , , , , , , , , , | Permalink
Posted by David Ferguson

SEEKING A FRIEND FOR THE END OF THE WORLD (2012)

July 2, 2012

Greetings again from the darkness. First time director Lorene Scafaria is best known for her wonderful script for Nick and Nora’s Infinite Playlist. Directing her own script here, we are left wondering if the gaps are in the writing or directing, but it’s clear Ms. Scafaria loves long titles. Matilda, a giant asteroid, is headed towards Earth and life will cease to exist in 3 weeks. Upon hearing this news, Dodge’s wife Linda (played by Steve Carell‘s real-life wife) takes off running away from him and supposedly into the arms of her secret love affair partner.

Dodge (Carell) has little reaction to the bailing of his wife or even to the impending Armageddon. In fact, he strikes us as the guy who has had little reaction to much in life and has no idea who he really is. While he does have some acquaintances and a predictably boring job at an insurance company, Dodge shows no inclination to join in the festivities of excess (drugs, sex, religion, riots) enjoyed by others, and instead offers up a lame, sure-to-fail suicide attempt to go with his droopy demeanor and overall lethargy.

It takes little time for Dodge to be saddled with an abandoned dog named Sorry and a crying neighbor named Penny (Keira Knightley). This part of the film is actually its best feature. We get the forced partnership of this odd couple and a road trip that allows for some interaction with others. The others include standout scenes with William Peterson, Bob Stephenson and TJ Miller (below, left, the host at Friendsy’s, a TGIF themed diner that devolves into a lovefest that neither Dodge nor Penny care to partake.

 The road trip does have the outline of a purpose. Dodge wants to re-connect with his high school sweetheart and Penny wants to get home to England in time to say goodbye to her parents. However, it’s pretty clear that the main reason for the road trip is to allow Dodge and Penny to fall in love. Just another apocalyptic rom-com.

I totally get the “opposites attract” approach, but I found Knightley to be far beyond quirky (John Cale and Leonard Cohen vinyl) and closer to her mentally unstable character in the first hour of A Dangerous Method. As for Dodge, he may be the nice guy that Penny sees, but mostly his life force hovers just above zero, while wearing sweaters that would fit right into Mr. Rodgers’ neighborhood. It’s not until he visits his estranged dad (Martin Sheen) that he shows signs of a pulse.  It’s kind of interesting to pay attention to the names in the film.  Dodge is ironic given what’s headed toward Earth.  Penny may or may not be lucky depending on your interpretation.  A survivalist named Speck, who doesn’t get that his preparations make no difference.  And, of course, a dog named Sorry.

2011 brought us two fascinating end-of-the world films in Melancholia and Another Earth.  This one avoids the manic depression of one or the science fiction of the other. While I never really bought into the heightened attraction of these two who miraculously become kindred spirits thanks to the time constraints, their relationship does provide fodder for thought. What would you do if you knew things were ending in 3 weeks? Would your true self finally make an appearance? If so, what are you waiting for? The message really is … our time is limited so don’t waste it.

SEE THIS MOVIE IF: you wouldn’t mind a little Herb Alpert with your apocalypse OR you need a primer in the greatness of vinyl records, even if the knowledge won’t help once the asteroid hits

SKIP THIS MOVIE IF: a hyper, twisted-faced Keira Knightley is not your ideal partner at the end regardless of the pristine condition of her John Cale and Leonard Cohen albums

watch the trailer:

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Posted by David Ferguson

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