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

TED (2012)

July 1, 2012

 Greetings again from the darkness. Upon watching the trailer, it would be easy and understandable to simply write off this movie as a ridiculous piece of junk produced merely to capitalize on the popularity of Seth MacFarlane (“Family Guy” creator). That would be a mistake. While much of what Ted has to say will burn your ears, the insight that goes into his lines is often unmistakeably brilliant.

The movie opens with terrific narration from Patrick Stewart. It’s done in A Christmas Story style, only with a caustic and deadpan irreverence that will jolt you before the opening credits have even rolled. We learn the story of 9 year old John Bennett, a social outcast who receives a teddy bear for Christmas. First, what parent buys their 9 year old a teddy bear??? Anyway, that night, under the covers, young John wishes that he and Ted could be lifelong friends. In the morning, he awakes to find a sweet, lively teddy who startles everyone.

 The talking bear becomes an instant celebrity and is even booked on the Johnny Carson show … the first of many 1980’s pop culture references. As in the case of Corey Feldman (pointed out by the narrator), celebrity often fades. Flash forward 25 years and John (Mark Wahlberg) and Ted are living together with John’s girlfriend (Mila Kunis). The boys spend most of their time smoking pot and watching TV re-runs and worshiping the 1980 Flash Gordon cult movie. It’s a typical man-child existence except that one of them is a vile, 4 letter-word spewing teddy bear, and there is no logical reason that the beautiful Kunis hasn’t walked away from the four year relationship with the hapless floater John.

 Mr. MacFarlane’s true talent lies in laughing at our societal norms and encouraging us to laugh at ourselves. He does this through Brian, the pet dog on “Family Guy“, and now here with a talking teddy bear. He holds little back in ripping our obsession with celebrity, our near-clinical anxiety towards all things Politically Correct, and the villainous ways of entitled corporate types (played here by Joel McHale). Luckily the same rules don’t apply for talking teddies, so we hear things that we aren’t even allowed to think. Because he can, MacFarlane mixes in his love of the 80’s with numerous references and we even get odd cameos from Tom Skerritt, Nora Jones and Ryan Reynolds. The most bizarre reference takes up a substantial part of the movie … Sam Jones, the star of Flash Gordon, appears as an aged party animal, teaching the boys some new tricks. Most of this will be dead time to those unfamiliar with the 1980 movie … and evidently few of us have been impacted by it like MacFarlane.

 Ted is a mash-up of John Waters, Bad Santa, Jackass and just about every stereotypical slacker-buddy movie from the past 25 years. It’s all of that and none of that at the same time. Depending on your viewpoint, Ted is either a crass, irreverent, totally inappropriate waste of movie time, or it’s a comical, insightful observation on where we are as a society right now. Only you can decide … just please don’t take your kids.

SEE THIS MOVIE IF: you always wished your teddy bear would come alive OR you have a freakish attraction to Flash Gordon

SKIP THIS MOVIE IF: your preference in comedy leans towards the sweet and innocent (two words that have no place near this movie)

watch the trailer:

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Posted by David Ferguson

NORA EPHRON remembered (1941-2012)

June 27, 2012

 Nora Ephron passed away yesterday from complications related to Leukemia.  She was 71.  Ms. Ephron will be mostly remembered for her success in the Romantic Comedy genre thanks to the brilliant When Harry Met Sally … (1989), and others like Sleepless in Seattle (1993), and You’ve Got Mail (1998).  That description would be selling her talents short.

Born to two screenwriter parents, Ephron’s career included time spent as a reporter, essayist, novelist, screenwriter, playwright, and film director.  She was a famed humorist and described by her friends as very generous with her time and advice, and clearly a confident person as she succeeded in a male-dominated industry.  She was thrice-married: to novelist/screenwriter Dan Greenburg, to Watergate investigative reporter Carl Bernstein, and for the past 20 years to writer Nicholas Pileggi (pictured left, known for Goodfellas, Casino).  It was well known within the film industry that Ephron was often asked to help fine tune scripts … and she always refused screen credit.  She was especially likely to offer career guidance and assistance to women trying to make it in the business.  Katie Goodman wrote a blog entry just yesterday discussing Ephron’s recent generosity to her.

Her film career is what made her famous and When Harry Met Sally … was her crowning achievement.  The script is brilliant and insightfully captured the male/female struggle with friendship vs. relationship.  She worked closely with director Rob Reiner and the actors Billy Crystal and Meg Ryan to ensure we could relate to the ongoing struggles of these two everyday people. The script was one of the three Oscar nominations she received.

 Ephron wrote the screenplay for Silkwood (1983) and it remains one of her most underrated efforts. Based on a powerful, true story, it’s a film I highly recommend almost 30 years later and is another example of how she was attracted to strong women – both real and imagined.  I have always had a bit of a problem with Ephron’s next two biggest hits.  Sleepless in Seattle was really an updated version of An Affair to Remember (1957) and You’ve Got Mail was a re-working of The Shop Around the Corner (1940). Proper credit was never really given to the original works.  Her directing career never really matched her writing success, but her final film Julie & Julia (2009) was well made and captured Ephron’s lifelong love of food … which she often wrote about in her essays.

So when you hear the name Nora Ephron, remember that she was more than queen of the Rom-Com.  She was a multi-talented, creative and generous woman who influenced the life and career of many others.

In what may be her best written sequence – the last 5 minutes of When Harry Met Sally … – she captures the essence of male and female psyche.  If you have never seen the film, make a point to.  If you have seen it, re-visit those glorious last 5 minutes:

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Posted by David Ferguson

COOL HAND LUKE (1967) revisited

June 21, 2012

 Greetings again from the darkness. Entirely too many years have passed since I last saw this movie, so when Cinemark included it in the summer classic film series, I was in my seat nice and early. Mention this movie and the first thing people do is quote one of the most famous lines in movie history: “What we’ve got here – is failure to communicate.” No question that’s a great line. But there is so much more to this movie and it holds up beautifully 45 years after release.

Based on the novel by Donn Pearce, who spent two years on a chain-gang, this is the story of Luke (Paul Newman) who just can’t bring himself to conform to the rules, regardless whether those be the rules of the military, society, prison, or self-imposed by his fellow convicts. We are introduced to Luke as he drunkenly cuts off the top of parking meters on main street of a small town. Later, in a throw away line, we learn he was gaining revenge on someone. It’s the clear indication that while he doesn’t always want to fit in, Luke clearly knows right from wrong.

 There are so many terrific scenes in this film, that it’s not possible to discuss each. Every scene with the prison warden, played by Strother Martin, is intense. Each of the Boss guards are frightening, especially Morgan Woodward as the sharpshooter behind the mirrored shades. There are numerous impactful scenes featuring the group of convicts. Even though we learn little about the individuals, we realize the fragile male psyche is on full display. Despite the power of all of these characters and scenes, the real strength of the film is the relationship between Luke and Dragline (George Kennedy). Watching the early cat and mouse game, and the subsequent transfer of power, we realize this is two amazing actors at the top of their game.

 George Kennedy rightfully won the Best Supporting Actor award and continued on to become one of the most successful and prolific character actors of the 70’s and 80’s, and his career culminated with his iconic role in the Naked Gun series. As for Paul Newman, this is one of his best performance in a long line of standout performances. This one is in the middle stage of his career and he exuded manliness with a touch of sensitivity. He and Strother Martin would meet again in one of the best sequences of Butch Cassidy and the Sundance Kid.

 Watching Luke win over all the convicts, including the previous leader played by Kennedy is stunning, yet gut-wrenching when offset by the scenes with the guards who are hell bent on getting Luke to understand his place. They understand the risk he poses to the systematic rhythms of the prison.  What no one seems to understand is Luke’s odd need for misery … he allows himself only moments of joy before lapsing back into some odd form of sacrifice. Study the famous egg scene.  50 eggs. 50 inmates.  The pain he endures and the scene ends with a crucifix pose. Now take that to the final few scenes that take place in the church. Luke is asking the questions, but he refuses to hear the answer.

 The supporting cast is downright incredible. This was the feature film debut for: Ralph Waite (4 years later he became the beloved paternal figure of TV’s “The Waltons”); Joe Don Baker (Buford Pusser from Walking Tall); James Gammon (later the crusty manager in Major League); and Anthony Zerbe, another iconic character actor of the 70’s and 80’s. Also featured are Dennis Hopper, Harry Dean Stanton (singing a few songs), Wayne Rogers (from “MASH”), Richard Davalos (James Dean’s brother Aron in East of Eden), and Rance Howard (Ron’s dad as the sheriff). In a brief, but truly great scene, Jo Van Fleet (also from East of Eden), appears as Arletta, and we quickly understand Luke’s background and inability to find himself.

Often overlooked by film historians, “Lucille” putting on a show for the convicts as she washes her car, is a scene that is meant for more than titillation. As she creatively buffs the windows, the reaction of the convicts reminds us that these are still men and no amount of humiliation and degradation can change that. One of my friends (Big E) argues that Joy Harmon was clearly cheated out of an Oscar for this scene.

The score is the handy work of Lalo Schifrin and expertly captures the moment … especially in the black tar scene. Director Stuart Rosenberg (working here with the great Conrad Hall) was known only for his TV work when he got this script. He went on to direct another prison movie in 1980 called Brubaker. Starring Newman’s Butch Cassidy co-star Robert Redford, the film was a decent prison drama, but not at the level of Cool Hand Luke … which by the way, was installed into the National Film Registry in 2005.

 

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Posted by David Ferguson

SAFETY NOT GUARANTEED (2012)

June 20, 2012

 Greetings again from the darkness. This one showed promise to deliver the rare, offbeat, genuine indie genius that those of us who spend entirely too much time in dark theatres live for. How many romantic-dramadies combine caustic comedy, elements of sci-fi, and are inspired by a real life newspaper ad? Not very darn many.

The set-up for the story is that Jeff (Jake Johnson), a Seattle magazine writer, suggests to his editor that the newspaper ad would make an interesting investigative report. To get a feel for the movie, reading the ad is essential:

WANTED: Someone to go back in time with me. This is not a joke. You’ll be paid after we get back. Must bring your own weapons. I have only done this once before. SAFETY NOT GUARANTEED.

 Jeff takes two interns on assignment with him: Darius (Aubrey Plaza, pictured left) and Arneau (Karan Soni). Darius is a sarcastic loner and recent college grad. Arneau is a virgin nerd who skates ever so close to an Indian stereotype. He is actually quite funny and easy to root for. Unknown to the interns, Jeff has ulterior motives for taking this job, and the bulk of the work will fall to them.

 Darius quickly tracks down and connects with Kenneth (Mark Duplass, pictured left). He seems quite committed to the time travel cause and is a bit skeptical of Darius. The Kenneth character can best be described as a NICE Dwight from “The Office”. He veers from the “normal” line, but has a heart of gold. Once Kenneth and Darius confess their reasons for going back in time, it’s clear to the viewers that these two share a rare DNA strand. Humor kicks in during their training sessions … of course, you need martial arts skills and the ability to shoot straight if you plan to time travel.

 The comedy and romance elements are complimented by undertones of regret, paranoia, loneliness and the desire to connect. These same tones play right into Jeff’s sub-plot. When he finds his high school crush (Jessica Bergere), she asks him about his life. His answer is limited to “Escalade and Condo”. She soon has him considering what else life can offer. Kenneth and Darius discover that trust is not a four letter word. Even Arneau finds out that human interaction can be better than a blazing fast laptop.

The results of the time travel plan aren’t really important, though it does play a role in the final act. As with the best movies, what really matters are the people. These are people we can relate to because they come across as real … not perfect, but real. As likable as the characters are, there still seemed to be something missing that prevented this film from reaching the next level. Maybe it has to do with first feature film director Colin Trevorrow or his writer Derek Connolly. The missing link is not easily identifiable, but it doesn’t prevent enjoyment.

SEE THIS MOVIE IF: you are a fan of quirky, offbeat indies OR you want to see rising stars Mark Duplass and Aubrey Plaza

SKIP THIS MOVIE IF: your idea of a time travel movie is more in line with Hot Tub Time Machine than a thoughtful indie flick

watch the trailer:

 

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Posted by David Ferguson

ROCK OF AGES (2012)

June 17, 2012

 Greetings again from the darkness. A few upfront disclosures are in order: I spent quite a few evenings on the Sunset Strip during the era of this story; I had no idea who Diego Boneta was and only vague name recognition of Julianne Hough when I walked in; and I never saw the hit Broadway production. These points may help explain my reaction to the movie.

The opening sequence immediately informs us that we are in for something different. Aspiring singer Sherrie Christian (Ms. Hough) is running from her backwoods Oklahoma life to the bright lights of fame offered by Hollywood. While on the bus, we get the first of an endless stream of staged karaoke routines … “Sister Christian” (get it??). Once on Sunset Boulevard, she is quickly mugged and then comforted by Drew (Mr. Boneta), an aspiring singer and current barhop at The Bourbon, an obvious nod to such hallowed rock ground as Whisky A Go Go and Roxy.

 No need to spend much time discussing plot. There is a muddled love story filled with teenager dreams and miscommunication, and a financial crisis at The Bourbon, thanks to back taxes owed by manager Dennis Dupree (Alec Baldwin), and a political backlash against the club thanks to the Mayor’s wife (Catherine Zeta-Jones), who has a not so secret desire for revenge. The only way to save the club is for rock idol Stacee Jaxx (Tom Cruise) to play a gig. The only way to save the love story is to write it out of the film all together. The political agenda is simply an excuse to add two more excruciating karaoke numbers.

 What little fun there is in the movie is thanks to Cruise, Baldwin and Russell Brand, who plays Baldin’s sidekick and confidant. Cruise jumps into the Jaxx role with both feet and seems to understand that a parody should be fun. Being a rock idol isn’t far removed from being the biggest movie star on the planet, so Cruise blends Axl Rose and Bret Michaels to create Jaxx … throw in a pet baboon, two He-men bodyguards, an endless train of groupies, and a dragon codpiece … and you get Stacee Jaxx, legendary rock star and savior to The Bourbon.

 If one is going to make a rock ‘n roll movie, it either needs to be played straight (Almost Famous) or as a head-on parody (This is Spinal Tap). What it can’t do is celebrate the dead zone of lameness: lame music covered by lame singers playing lame characters. No amount of star power actors can overcome material that doesn’t capture the power and passion of the music. And we aren’t even talking real rock n roll here … this is glam rock, stadium rock, big hair bands. Yet, the movie still falls incredibly short of making a statement or providing insight or even entertainment. This one has quite a bit in common with Burlesque (except Christina Aguilera is a terrific singer).

 Cruise’s performance generates some laughs, as do Baldwin and Brand. However, Hough and Boneta aren’t even cringe-worthy. They have zero screen presence and neither belong in a rock movie. The sub-standard singing becomes quite apparent when Mary J Blige belts out her first song.  That is a real voice on a real singer. Maybe the real problem is that most of the songs in the movie have survived these 25 years despite mediocrity … they can easily be sung while intoxicated. Evidently that’s not enough for a decent movie.  I have long been a fan of movie musicals. The ones that work feature good singers with acting ability singing good songs in a way that advances the story.  Rock of Ages misses on all of those points.

note: check for cameos by Eli Roth, Sebastian Bach, Debbie Gibson, Kevin Cronin, and a Lita Ford poster

SEE THIS MOVIE IF: your musical tastes lean towards late 80’s rock OR you want to see Tom Cruise mega-movie star evolve into Stacee Jaxx mega-rock star

SKIP THIS MOVIE IF: you relate a night at the karoke bar to a dentist appointment

watch the trailer:

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Posted by David Ferguson

GRAND ILLUSION (La Grande Illusion, Fr, 1937)

June 15, 2012

 Greetings again from the darkness. Often cited as one of the all-time great films, I was fortunate enough to catch this one again in a limited theatrical release … a staggeringly beautiful and crisp print. The picture is so clear it looks new, and the updated subtitles make sense and are easy to read. As amazing as it looks, the real value is in the film itself.

Directed by the great Jean Renoir, the story takes place during WWI and shows a much different viewpoint than what we would normally expect from a war movie. But then, this is not really a war movie … or a POW movie … or a Political statement. The real core of this story is the respect and gentlemanly nature exhibited by the men from opposing sides of the war. It is a reminder that war itself is the grand illusion. We also see the results of class differences. When German pilot von Rauffenstein shoots down a couple of French planes, he tells the recovery team to “invite them to lunch” if they are officers. And then we see the similarities of the aristocratic officers as von Rauffenstein and Captain de Boeldieu discover their common bonds.

 The influence of this film is quite obvious in two scenes. The digging of the escape tunnel and subsequent emptying of pockets on the prison grounds were “borrowed” in The Great Escape. Also, the singing of “La Marseilles” to annoy the Germans was used quite effectively in Casablanca. We also see a quite daring bedside death scene with the pure admiration between opposing officers who decide dying in war is “a good way out” for their types. Powerful stuff. There is also much commentary on differences: aristocrats, working class, Jewish, Germans, and career soldiers. We even see cross-dressing (with a purpose) in a couple of scenes, one of which provides an unforgettable visual as the soldiers sing “It’s a Long Way to Tipperary”.

 As great as the movie is, the backstory is almost as fascinating. Released as WWII was brewing, it was one of the first things Goebbels seized when the Germans took France. The original negative was shipped to Berlin and presumed destroyed. However, it ended up in Russian archives and was re-discovered in the 1990’s. This was after Renoir (pictured left) had personally restored the film in the 1960’s from what was thought to be the best available copy. Unfortunately, he did not live to see this most recent restoration that brought the film back to it’s original glory. Renoir’s camera work is something to behold – subtle movements for extended shots. By the way, Jean Renoir is the son of the famous French Impressionist Pierre-Auguste Renoir. I believe they call that good genes.

 Silent film director Erich von Stroheim’s iconic turn as von Rauffenstein is truly movie magic. You will recognize von Stroheim as the man servant in Sunset Boulevard. Boeldieu is played by Pierre Fresnay, Marechal is played by Jean Gabin, and Rosenthal by Marcel Dalio. Marechal and Rosenthal have a remarkable segment at Elsa’s farm house. Elsa is played by the stunning Dita Parlo. This sequence provides a nice contrast to the POW portions of the film.

This work of art is now 75 years old. It is highly recommended that you see it at least once. Also, check out Renoir’s other masterpiece The Rules of the Game.

rather than the trailer, here is video of Jean Renoir himself introducing the first re-release:

 

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Posted by David Ferguson

PROMETHEUS (2012)

June 9, 2012

 Greetings again from the darkness. Director Ridley Scott bounds back into the sci-fi genre 30 plus years after his two classics: Alien (1979) and Blade Runner (1982). Since then, he has avoided sci-fi and had some ups (Gladiator, American Gangster) and some downs (too many to list). Of course, in the film world, one need only create a single masterpiece to be forever worshiped … and the Alien lovers have always held out hope their master would return. Despite the sly marketing approach, Mr. Scott has delivered a prequel that should keep the geeks happy, while also having the “wow” factor to generate multiple viewings.

In the year 2089 we witness an archaeologist played by Noomi Rapace (The Girl with the Dragon Tattoo) discover an ancient cave gallactic map. With remarkable efficiency found only in the private sector, four years later, the Prometheus space ship is landing on the moon depicted in the drawings. It’s lofty mission is to discover the origin of life. The crew make-up is almost identical to the crew in Alien, only this time we get an ice queen corporate director, played by Charlize Theron, to emphasize corporate greed and lust for power, and the lack of love for science.

Once the ship lands, we pretty much know what the search crew will find. That doesn’t ruin the impact of the images. The strength of the movie comes from the visuals and effects. We never doubt that we are in a far away galaxy or that the aliens are real. This is one of the RARE times that the 3D version is recommended. Despite the dulled images caused by the glasses, this one was actually filmed in 3D and some of the effects really pop.

There will be much debate over this film because it looks effectively creepy and fascinating … downright phenomenal. However, it has too many of what I call “stupid movie character moments”. You know, those times when a character does or says something that just makes no sense – other than to create an opportunity for the filmmaker? There are plenty of those present here. The script is co-written by Jon Spaihts and “Lost” guru Damon Lindelof. The overall idea is brilliant and worth pursuing, however, the details and gaps are quite disappointing. We know there will be minor characters sacrificed in the name of creating fear in the survivors, but couldn’t we have more than one strong character? The Noomi Rapace character has much in common with Sigourney Weaver‘s Ripley, but the others here are pretty generic.

 Idris Elba plays the ship’s captain, Guy Pearce plays Peter Weyland, the old man funding the mission and seeking immortality, and Logan Marshall-Green plays Rapace’s partner and lover. The only other character of interest is Michael Fassbender‘s android David. He models himself after Peter O’Toole in Lawrence of Arabia, right down to the golden locks. Android technology has come a long way since Alien and David can be quite a wry smart-ass.

In the end, the sci-fi geeks will decide if this one deserves to live on, but for me, despite the breath-taking technological effects, it’s not worthy of the “classic” label. It was kind of humorous to hear a score that bears an uncanny resemblance at times to the iconic score of Inception. It seems that film’s impact is nothing short of never-ending.

SEE THIS MOVIE IF: you are a fan of Alien OR you are fan of sci-fi and special effects

SKIP THIS MOVIE IF: you prefer a coherent story line and strong characters

watch the trailer:

 

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Posted by David Ferguson

MOONRISE KINGDOM (2012)

June 5, 2012

 Greetings again from the darkness. Not many people think like Wes Anderson. That’s probably a good thing in real life. It’s definitely a good thing for movies. He is a creative and distinct filmmaker, though not one with mass appeal. My two personal favorites of his are The Royal Tenenbaums and Rushmore. His previous film, Fantastic Mr Fox, was a solid hit and critically lauded. Now he delivers one that will probably only click with his core fans. It’s a thing of beauty … if you keep in mind that beauty is in the eye of the beholder.

Set on the fictional New Penzance Island off the coast of New England in 1965, the movie opens with terrific visuals of the Bishop family’s lighthouse/home. Our tour is conducted as if the home were a dollhouse, and our eyes struggle to keep up with the detailed decor. We are struck by the color palette of tans, greens and splashes of red. This will continue throughout the movie.

The story centers around two 12 year old misfits: Sam and Suzy. Sam is an orphan and outcast in his Khaki Scouts troop, and Suzy is misunderstood and ignored by her selfish parents, who communicate with a bullhorn and through legalese at bedtime (they are both lawyers). Sam and Suzy are attracted to each other’s misery and decide to run away together (yes, they are on an island). This ignites a flurry of activity on this quiet island and showcases two first time actors with remarkable screen presence: Jared Gilman (Sam) and Kara Hayward (Suzy).

 The “grown-ups” on the island include Suzy’s parents played by Bill Murray (a Wes Anderson regular) and Frances McDormand. The island police chief is played Bruce Willis, who we soon figure out is also a social outcast. The Scoutmaster is played by Edward Norton with a regimented weirdness that will have you laughing in confoundment. For such serious topics, Mr. Anderson and co-writer Roman Coppola provide us many comedic moments – both through dialogue and site gags.

During the search, other colorful supporting characters get involved. Social Services is pursuing Sam. Tilda Swinton plays Social Services. In one of the few gags I’ll give away, Swinton’s character only introduces herself as Social Services. This is a gut punch to a system that is often under-staffed and forgetful of it’s true mission. We also get Jason Schwartzman as a very helpful, though slightly seedy, Cousin Ben. Harvey Keitel plays the senior Scoutmaster who is unhappy with Norton for losing a scout. Bob Balaban makes periodic appearances as a narrator … either for a documentary or for the movie, depending on the moment’s need.

The script does a wonderful job of capturing how the 12 year old brain works. Some of the scenes with Sam and Suzy are almost like looking a photo album … exactly the way our childhood memory works. Flashes of moments. The Alexandre Desplat score is heavy on percussion, but it works well with the minimalistic look of the film. It’s also interesting to note that this is one of the few movies where it makes sense to have a soundtrack with Benjamin Britten, Hank Williams and Mozart! If you go to this one, keep your eyes open and moving, and your ears receptive. The payoff is worth it.

SEE THIS MOVIE IF: you are a devoted fan of Wes Anderson OR you are ready for an example of what makes indie films so intriguing to those of us who crave them

SKIP THIS MOVIE IF:  your movie preferences lean towards straightforward entertainment rather than off-beat dialogue from disturbed characters

watch the trailer:

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Posted by David Ferguson

THE INTOUCHABLES (France, 2011)

June 5, 2012

 Greetings again from the darkness. Sometimes acting elevates material to a level far beyond what a film might have otherwise deserved. Such is the case with this based-on-a-true-story effort from co-writers and co-directors Olivier Nakache and Eric Toledano. Despite the elements of truth, the core material here is a sentimental tale that seems quite familiar. Francois Cluzet (from the excellent thriller Tell No One) as Philippe and Omar Sy as Driss turn it into an extremely entertaining story with characters we quickly connect with.

Philippe is a wealthy quadriplegic widower who is interviewing candidates for a caregiver. Driss is a recently released from jail street hustler who is just trying to qualify for state benefits by going on the required interviews. Philippe is struck by Driss’ direct approach and energy level, and chooses Driss over the room full of more qualified types.

The rest of the movie is really a buddy flick where the polar opposites bring much to the other. Philippe slyly gets Driss to use his sharp mind a bit more effectively, and Driss taps into Philippe’s hidden lust for life. Though the supporting cast is strong, the film’s best scenes are those featuring Philippe and Driss.

This is a film from France and much as been made of the filmmakers’ decision to change the caregiver from the real life Arab to a more cinema-friendly Black man. The Earth, Wind & Fire dance may be a bit too much, but I choose to believe the casting of Omar Sy was the deciding factor, not his race. He lights up the screen and draws us right into his world and his choices – some of which are better than others.

The film shares much with The Sea Inside, Scent of a Woman, and The Diving Bell and the Butterfly, but this one has much more humor and bonding than any of those. It doesn’t shy away from the melodramatic moments and isn’t above trying to generate tears in viewers. There will be a U.S. re-make of this one, but the two lead actors here (especially Mr. Sy) make this one worth seeing.

SEE THIS MOVIE IF: you thought all buddy movies were over-the-top laugh fests or cop flicks OR you appreciate the small scope of French films (that’s a compliment)

SKIP THIS MOVIE IF: a subtitled French film featuring a rich guy in a wheelchair trusting a street thug to drive his Maserati seems a bit far-fetched

watch the trailer:

1 Comment | Comedy, Drama, World Cinema/Foreign | Tagged: , , , , , | Permalink
Posted by David Ferguson

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