HOW TO BUILD A GIRL (2020)

May 7, 2020

 Greetings again from the darkness. British writer Caitlin Moran has adapted her own 2014 semi-autobiographical novel-memoir for the screen, because who better to write about the coming-of-age of a talented outcast than that talented outcast herself? Given the profusion of coming-of-age movies that hit the screen every year, it’s a welcome change when one takes a different approach. And this one does just that.

Beanie Feldstein (BOOKSMART, and Jonah Hill’s sister) stars as Johanna Morrigan, replete with British accent. Johanna is a dreamer, and as she sits in her usual spot at the library, she fantasizes about Mr. Darcy riding in to save her from this mundane life. We quickly learn that Johanna is bright, and treated as quite the misfit at school. Even her English teacher asks her to scale back her writing assignments. See, in addition to being a world class dreamer, Johanna is a very talented writer … and she sees that as her only means to escape Wolverhampton.

At home, Johanna has a “Wall of Gods” featuring photographs of her literary and historical heroes, including: Sylvia Plath (Lucy Punch), Elizabeth Taylor (Lily Allen), Bronte sisters, Sig Freud (Michael Sheen), and Maria von Trapp (Gemma Arterton). Johanna speaks to these photos, and they answer her. Johanna’s family hustles to stay just above poverty. Her dad’s (Paddy Considine) dream of rock stardom has passed, and now he breeds black market Border Collies while remaining optimistic about life. Her mother (Sarah Solemani) suffers from post-partem depression after giving birth to twins (kids number 3 and 4).

Johanna shares a small bedroom space (divided by “the Berlin wall”) with her cool brother Krissi (Laurie Kynaston). We know he’s cool, because he hangs out in the cool room at school – a room to which Johanna has never been invited. After embarrassing herself on a televised poetry reading show (hosted by Chris O’Dowd), Johanna is encouraged by brother Krissi to apply for a music critic job at a local publication. Her heartfelt submission on “Annie” the musical causes guffawing among the ultra-cool writing staff at the magazine; yet her writing skill and persistence land her a shot. It’s at this point that things change for Johanna.

An unusual interview with popular and earnest singer John Kite (Alfie Allen, brother of singer Lily Allen and son of actor Keith Allen) results in a connection and teenage crush, leading to a sappy article rejected by her employer. Given a second chance by the magazine, Johanna’s alter-ego Dolly Wilde does in fact turn wild. Her ‘bad girl’ image and mean spirited critiques of bands gain her a cult following – a type of notoriety. The pen may be mightier than the sword, but when the pen is used as a sword, the damage is severe. What follows, of course, are the inevitable hard (and painful) life lessons.

Director Coky Giedroyc has spent most of her career on TV shows, but she has a feel for this material. However, it’s mostly the no-holds-barred performance of Beanie Feldstein that makes this work – both the comedy and drama. We’ve seen the outsider with talent many times before, and because of that, expectations are a bit low going in. This time, a different twist and passionate filmmakers and actors turn this into quite an entertaining 100 minutes.

IFC Films will release the film on VOD on Friday, May 8, 2020

watch the trailer:

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Posted by David Ferguson

BRAD’S STATUS (2017)

September 21, 2017

 Greetings again from the darkness. Mid-life crisis has long been a popular movie topic. A list of the best would include: Fellini’s 8 ½, Blake Edwards’ 10, AMERICAN BEAUTY, CRAZY STUPID LOVE, SCENES FROM A MARRIAGE, THE BRIDGES OF MADISON COUNTY, THE SEVEN YEAR ITCH, and THELMA & LOUISE. Some of these are outright comedies, while others are turbulent dramas. With the label ‘white male privilege’ being applied so broadly these days, it’s impressive how writer/director Mike White (THE GOOD GIRL, SCHOOL OF ROCK, creator of TV’s “Enlightened”) so expertly and gracefully takes on the familiar topic.

Ben Stiller stars as Brad Sloan, a married man raising a teenage son and running a Non-Profit Organization in middle-class Sacramento. As Brad and his son Troy (Austin Abrams, PAPER TOWNS) embark on an elite northeast college visitation trip, we get the sense that Brad is only now waking up to his son’s rapid approach to adulthood and remarkable talent as a student and musical prodigy. This happens congruently to Brad’s mid-life realization that his own college buddies are richer and more famous than he. Self-loathing, insecurities and concern over the jealousy he feels towards his own son are the focus of Brad’s inner thoughts, which we hear courtesy of his narration.

Brad’s college friends who are unknowingly driving his defeatist attitude include: Jemaine Clement as Billy Wearsiter who retired in Hawaii at age 40 after selling his tech company; Mike White (the film’s director) as successful movie director Nick Pascale whose house is featured in Architecture Digest; Luke Wilson as hedge fund manager Jason Hatfield who married into money; and Michael Sheen as Craig Fisher, a best -selling author and frequently seen on TV political commentator. In comparison, and by today’s societal levels of achievement, Brad views himself as a failure – a man whose early idealism didn’t change the world, and instead prevented him from reaching the capitalistic heights of his friends.

There are a couple of elements that allow the film to work. First, Ben Stiller softens his usual snark, making him more relatable than his usual woe-is-me character. Next, the film isn’t as harsh on the white man as we’ve come to expect. There is no feeling sorry for Brad, but there is at least compassion … space for him to explore what he’s feeling and take stock in his life. The difference maker is Mr. White’s script. The underside of human nature is explored with a deft comedic touch and incisive societal observations.

Stiller’s tightly wound Brad contrasts with Troy’s easy-confidence leading to some unusual father-son scenes. When Troy questions whether his dad is having a breakdown, we understand that the existential crisis is actually fairly common. We certainly enjoy watching as Troy’s Harvard friend, and fellow musician Ananya (Shazi Raja) listens patiently before slapping Brad with the dose of reality he so desperately needs. Ananya’s beyond-her-years wisdom leads Brad to a moment of self-awakening during her concert of Dvorak’s “Humoresque”. Ms. Raja’s role is given much more weight than that of Jenna Fischer as Brad’s wife/Troy’s mother, who inexplicably only appears about every 20 minutes as a check-in during the boys’ trip.

Keeping up with the Jones is a no-win approach to life, and if a Hollywood film can help a few more people understand this, then it’s a beneficial way to spend a couple of hours. The Mark Mothersbaugh score has a sharpness to it that mirrors Brad’s tarnished idealism and search for self. We are reminded that normal insecurities can blow up if we focus too much on what others have, and not enough on what we do.

watch the trailer:

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Posted by David Ferguson

HOME AGAIN (2017)

September 6, 2017

 Greetings again from the darkness. Let’s just get this out of the way upfront. There is a proven and established market for mindless fluff designed to allow women to laugh at the messes created by “real life” relationships, careers, and parenting. In fact, first time writer-director Hallie Meyers-Shyer is merely continuing the traditions set by her bloodline. She is the daughter of filmmakers Nancy Meyers and Charles Shyer who shared an Oscar screenwriting nomination for PRIVATE BENJAMIN (1980), and collaborated on other Romantic-Comedies such as FATHER OF THE BRIDE (I and II), and BABY BOOM (1987). Rom-Coms exist to bring some balance to the universe of Comic Book film adaptations for fan boys. It is possible to have quality filmmaking on both sides … no matter how rare it seems.

Oscar winner Reese Witherspoon stars as Alice Kinney. It’s her 40th birthday, and she’s a chipper lady recently separated from her music industry husband (Michael Sheen) and moved with their two daughters (Lola Flanery, Eden Grace Redfield) from New York to Los Angeles. Alice is in full “starting over” mode, including kicking off a new home decorating business. During a drunken birthday celebration with her friends, Alice hooks up with a younger man. The next morning, Alice’s mom (Candice Bergen) invites Harry (the young man played by Pico Anderson) and his two buddies (Nat Wolff, Jon Rudnitsky – all 3 are budding filmmakers) to move into Alice’s house. What follows is a maybe/maybe not romance between Harry and Alice, a bonding between the fellows and Alice’s daughters, new business struggles for Alice, the sudden return to the scene of Alice’s husband, and an endless stream of movie-making meetings for the 3 guys.

That’s a recap of the story, but it doesn’t address the real issue. For years, we have been hearing that the good-old-boy Hollywood network needed to back more female-centric projects: movies about women, movies directed by women, movies written by women, movies produced by women. Well this one has ALL of that, and yet I can only imagine the outrage if a man had written/directed/produced this exact film. Let’s discuss.

Alice is positioned as a “brave” and “strong” woman for moving her kids across the country and starting over. What allows this woman to be so courageous? Well see, she is the daughter of a deceased filmmaker who had a successful career and left her a multi-million dollar California estate … conveniently, one with a guest house for the three young men to live in. And who in their right mind, and with two young daughters, would invite three total strangers to move in – especially the night after – even if one of them looks to be yanked right out of an Abercrombie ad? There is also Alice’s interaction with her first client (played by Lake Bell). Despite despicable treatment from the rich lady, Alice doesn’t stand her ground until yet another drunken bout of liquid courage occurs. The two daughters are smart and cute, but there is an obvious shortage of daily parenting happening here – the daughters seem to show up only when a dose of precociousness is required. The scenes with Alice and her estranged husband are appropriately awkward, but the communication seems hokey … at least until we witness true hokeyness in the cartoonish exchanges between the (now) four gentlemen. In fact, all male characters are written as cartoons, which we might view as “getting even” with the many times female characters were poorly written; however, since the female lead here is just as unreal, that theory doesn’t hold.

The paint-by-numbers approach carries through as we check all the boxes: cute kids, a pet dog, apologetic ex, hunky new suitor, no financial hardships, loads of delightful dialogue, Ms. Witherspoon flashing more facial contortions than Jim Carrey at his peak, at least two cheesy musical montages, a mad dash to the kid’s play/recital/game, and even the cherry on top … a Carole King song at the end. In a year with so many wonderful female-centric films, this one is difficult to comprehend – except that maybe, given who her parents are, perhaps Ms. Meyers-Shyer is actually the beneficiary of that good old boy network of which we’ve heard tell.

watch the trailer:

 

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Posted by David Ferguson

NORMAN (2017)

May 4, 2017

 Greetings again from the darkness. With the subtitle, ‘The Moderate Rise and Rapid Fall of a New York Fixer’, writer/director Joseph Cedar removes one layer of the mystery that otherwise envelops the lead character Norman Oppenheimer. We find ourselves somewhat sympathetic for the obviously lonely guy, while also accepting this as Cedar’s commentary on today’s real world obsession with networking. “It’s who you know” is the call of the business world, and few stake claim to more contacts that Norman.

Richard Gere stars as Norman, and we immediately notice his usual on screen air of superiority is missing, replaced instead by a fast-talking sense of desperation … in fact, Norman reeks of desperation. Cedar divides the film into four Acts: A Foot in the Door, The Right Horse, The Anonymous Donor, and The Price of Peace. These acts begin with Norman stalking/meeting an Israeli Deputy Minister after a conference, buying him an $1100 pair of Lanvin shoes, and then tracking their relationship over the next few years as Micha Eshel (Lior Ashkenazi) ultimately becomes Prime Minister of Israel, and is embroiled in a scandal that directly impacts Norman.

It’s a terrific script with exceptional performances from both Mr. Gere and Mr. Ashkenazi (who also starred in director Cedar’s excellent Oscar nominated Footnote, 2011). Their awkward initial connection seems grounded in reality – despite the expensive gift. These are two men who dream big, but go about things in quite different ways. Other terrific actors show up throughout, including: Michael Sheen as Norman’s lawyer nephew; Steve Buscemi as a Rabbi; Dan Stevens, Harris Yulin and Josh Charles as businessmen; Isaach De Bankole as the shoe salesman; Hank Azaria as Norman’s mirror-image from the streets; and Charlotte Gainsbourg as a disconcertingly quiet and calm Israeli investigator.

There are many interesting elements in the film – some are small details, while others are quite impactful. Examples of these include the whimsical music from Japanese composer Jun Miyake, Norman’s questionable diet, the emphasis on “Unnamed US businessman”, the twist on a simple question “What do you need?”, the recurring shot of the shoes, and the creative use of split screen montage during multiple phone calls.

Most hustlers don’t generate a great deal of success, and Norman is often an annoying, even an unwelcome presence. However, it seems clear he is well-intentioned, and despite a proclivity for fabricating facts, his sincerity makes him a somewhat sympathetic figure … one that by the film’s end, has accomplished quite a few favors that should have delivered the recognition and influence he so craved. Norman’s “art of the deal” may not be textbook, but it makes for entertaining viewing.

watch the trailer:

 

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Posted by David Ferguson

NOCTURNAL ANIMALS (2016)

November 17, 2016

nocturnal-animals Greetings again from the darkness. First rule of Write Club … ABC. Always Bring Conflict. Alright, so I blended famous lines from a couple of movies there, but the point is a good script inevitably has conflict throughout. Director Tom Ford (A Single Man, 2009) adapted the screenplay from Austin Wright’s novel “Tony and Susan”, and while significant conflicts abound, it’s the multiple and vivid contrasts that take this one to the next level.

Director Ford jolts us with one of the most unique and unwelcome opening scenes ever as the credits flash by. A high gloss art gallery is the setting for a combination of video/performance art taking place that could only be appreciated by those with very specific tastes … those who favor obese naked dancing ladies. Extremely obese and absolutely naked. It’s not the last time we as viewers will be uncomfortable, but it is the last time we will chuckle (even if it is awkwardly).

The curator of the art gallery is Susan, played by the always excellent Amy Adams. She lives in a stunning, ultra-contemporary mansion with her picturesque husband played by Armie Hammer. Their relationship is apparently as cold as his business, resulting in an empty relationship and the need to maintain the façade with their friends while quietly selling off assets to buy time. On the day that he leaves on a “business trip”, she receives a package containing a galley of her ex-husband Edward’s (Jake Gyllenhaal) first novel … some interesting reading during her time alone.

A creative story structure has Susan reading the book (dedicated to her) in bed while we “see” what she’s reading/envisioning. The story starts out as just another road trip for a husband (Gyllenhaal in a dual role), wife (Isla Fisher) and their teenage daughter (Ellie Bamber). However, on the desolate back roads of west Texas things get intense – almost unbearably so. The young family is terrorized by a trio of rednecks led by sociopath Ray Marcus (played by Aaron Taylor-Johnson in what is head and shoulders above anything he’s done to date). What follows is the fear of every man … unable to protect his family, and every woman … being abducted.

Thanks to flashbacks and some simple inferences, we soon realize the novel is corresponding to Susan and Edward’s past relationship, as well as Susan’s current situation. The previously mentioned contrasts really kick into gear. It’s the past versus the present, west Texas tumbleweeds versus the sleek and glamorous art world, Susan’s first artsy husband versus her new ideal one, young Susan versus current Susan, the physical beauty of those in Susan’s world versus the grit and ugliness of the novel, and finally, reality vs what’s not real.

The revenge-thriller portion of the novel makes for fascinating story-telling, and we get drawn in fully once Michael Shannon (playing a west Texas detective) arrives on the screen. Always one to disappear into his role, this may be Mr. Shannon’s best yet. Though he doesn’t have significant screen time, we are mesmerized by him during his scenes. He and Gyllenhaal are terrific together. Also appearing in supporting roles are Michael Sheen, Andrea Riseborough, Jena Malone, and a chilling scene from Laura Linney as Susan’s high society mother.

The two parts of the film play off each other like Brian DePalma against Sergio Leone. Slick against dusty … but of course, there is misery and disappointment and deceit in each. The cinematography (2 time Oscar nominee Seamus McGarvey) and editing (Joan Sobel) are superb and complemented by a spot on score from composer Abel Korzeniowski (a mixture of Bernard Hermann and Basic Instinct). The ending may frustrate some (not me) and though it may not find a huge audience, a loyal fan base is quite likely.

watch the trailer:

 

 

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Posted by David Ferguson

FAR FROM THE MADDING CROWD (2015)

May 8, 2015

far from Greetings again from the darkness. If you have read Thomas Hardy’s 1874 novel or seen director John Schlesinger’s 1967 (and far more energetic) screen adaption starring Julie Christie, or even if you are a High School Literature student with the novel on your summer reading list, you will probably be interested in this more modern-day thinking approach from director Thomas Vinterberg (The Hunt). It’s more modern not in look, but rather in the feminist perspective of Bathsheba Everdene (one of my favorite literary character names).

Carey Mulligan plays Ms. Everdene, and she is exceedingly independent and ambitious for the time period, while simultaneously being attractive in a more timeless manner. This rare combination results in three quite different suitors. She first meets sheep farmer Gabriel Oak (Matthias Schoenaerts, Rust and Bone), who is smitten with her spunk, and he proposes by offering her way out of poverty. She declines and the next time they cross paths, the tables have turned as she has inherited a farm and he has lost everything due to an untrained sheep dog. Next up is a proposal from a socially awkward, but highly successful neighborhood farmer. Michael Sheen plays William Boldwood, who is clueless in his courting skills, but understands that combining their farms would be a make-sense partnership. The third gent is Sergeant Francis Troy (Tom Sturridge), a master of seduction by sword. She is sucked in by Troy’s element of danger, unaware of his recent wedding gone awry to local gal Fanny Robbin (Juno Temple).

As with most literary classics … and in fact, most books … the screen adaptation loses the detail and character development that make the book version so enjoyable. Still, we understand the essence of the main characters, and the actors each bring their own flavor to these roles. The story has always been first and foremost a study in persistence, and now director Vinterberg and Mulligan explore the modern day challenges faced by women in selecting a mate: slow and steady, financially set, or exciting and on edge. In simpler language, should she follow her head, wallet or heart?

watch the trailer:

 

 

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Posted by David Ferguson

KILL THE MESSENGER (2014)

October 13, 2014

kill the mesenger Greetings again from the darkness. This is one of those true stories that probably works better as a drama than as a documentary. Jeremy Renner brings passion and believability to his role as infamous journalist Gary Webb. This allows us to gain insight into Mr. Webb as a father, husband and man, rather than only as a fiery investigative reporter.

You likely recall Webb’s published story (San Jose Mercury News) from 1996, when his research uncovered the likelihood that cocaine imported into the US was sold as crack cocaine and the profits had funded arms for the Contra rebels in Nicaragua in the prior decade. The kicker being that the CIA was well aware of these activities.

The film presents Webb as an idealist, too naive to comprehend that the story would have ramifications to his employer, his family and his self. The use of actual news footage adds a dose of reality, as does the inclusion of Ronald Reagan, Oliver North, John Kerry … and even the role Bill Clinton and Monica Lewinsky played in outshining the ultimate redemption of Webb’s work.

The underlying message here … beyond the governmental cover-up … is the lack of a truly free press. Of course, the issue remains front and center today, but in this particular instance, it’s surprising to see the influence and pressure applied by outside forces. It’s further proof that any hope for checks and balances from our news outlets was snuffed out many years ago.

The movie is based on two books: Gary Webb’s own “Dark Alliance” and Nick Shou’s “Kill the Messenger”. The frustration as a viewer is derived from the fragmented presentation brought on by steady stream of new characters who mostly appear in only one or maybe two scenes. The list of known actors is impressive: Rosemary DeWitt, Oliver Platt, Robert Patrick, Tim Blake Nelson, Michael Sheen, Mary Elizabeth Winstead, Paz Vega, Barry Pepper, Michael Kenneth Williams, Andy Garcia, Gil Bellows, Lucas Hedges, Richard Schiff, and Ray Liotta. That should help explain what I mean by fragmented.

The story is an important one and the film is worth seeing. Director Michael Cuesta’s approach makes it impossible to not think of All the President’s Men while watching. The Granddaddy of crusading journalism continues to produce heirs … those that are a black eye for the newspaper industry and our government.

watch the trailer:

 

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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

MIDNIGHT IN PARIS

June 8, 2011

 Greetings again from the darkness. Not so many years ago, Woody Allen was thought of (along with Martin Scorcese) as the quintessential New York City filmmaker. He understood that and even poked fun at himself in his most popular film Annie Hall. At age 75, Mr. Allen remains an incredibly prolific filmmaker cranking out an original script and film every year. With his recent work, he has ventured outside of NYC and into England, Spain and now France. Clearly these new locales have re-ignited his creativity.

The script for Midnight in Paris is some of his best writing in years, and he explores our (and his) love of nostalgia without sacrificing the customary relationship struggles. While I hold steadfast to my rule of providing no spoilers, a quick glance at the character names gives you all the clues you need to put the basic idea in place.

 Owen Wilson plays Gil, a financially successful Hollywood hack screenwriter who longs to be a serious novelist in the vein of his literary heroes from 1920’s Paris. Gil goes on vacation to Paris with his fiancé Inez (Rachel McAdams) and her parents (Kurt Fuller and Mimi Kennedy). Of course the parents don’t like Gil and it doesn’t take long (maybe one scene) for us to figure out that Gil and Inez are misfits as a couple.

In an attempt to escape the disrespect from Inez and the yammering of her know-it-all friend played by Michael Sheen, Gil goes wandering the nighttime streets of Paris. What happens next is either science-fiction or the culmination of Gil’s dreams. The bell tolls midnight and Gil is whisked away via a classic Peugeot to the world of literary giants he so worships.

As a viewer, half the fun in this one is staying alert to pick up the clues to the references: Zelda and F Scott Fitzgerald, Josephine Baker, Juan Belmonte, Alice B Toklas, Djuna Barnes, TS Eliot, Matisse, Leo Stein, Toulouse-Lautrec, Gaugin, Degas, Cole Porter and Picasso. Kathy Bates spikes the film with her lively turn as Gertrude Stein. Corey Stoll makes a ferociously direct Ernest Hemingway. Adrien Brody offers up a slightly off-center Salvador Dali – good for a laugh.  Marion Cotillard brings elegance and beauty to her role of the ultimate art groupie.  Of course, suspension of reality must occur if we are to buy off on her character choosing Gil (Wilson) over the bombastic Hemingway and fiery Picasso!

 This movie plays kind of like an all-star game. A chance to see all the names and players that you have heard about … all under one roof. For film lovers, there is a great little exchange between Owen Wilson’s character and Luis Bunuel. Woody has created a 90 minute tribute to all of us (like Gil) who have yearned to work with and live among the artistic giants. I would love to see Mr. Allen’s notes as he put this idea together. We can only imagine what didn’t make the film! Despite all the fun of inside jokes, the romantic idea of nostalgia and wishing for a better time is discussed and analyzed. Mr. Allen tells us that EVERYONE, no matter their era, has a romantic vision of some previous time which they believe would better suit their style and creative force. The story is balanced by having Gil’s novel based in a nostalgia store, and he ends up meeting an intriguing young lady (Lea Seydoux) at a Paris store that sells old records and books.

 Owen Wilson in the lead role is probably the only mistake Mr. Allen made.  Though his puppy dog excitement and innocence is played full tilt in the classic world he discovers, he just can’t hold up his end in scenes with Cotillard or Bates.  Despite this, I found the ideas and excitement of the setting to outweigh the distraction of Wilson.

As always, Mr. Allen has beautiful music accompanying his words and scenes. This time we are also treated to some breathtaking images of Paris, the Seine, and wonderful works of art (Rodin, Picasso, etc). Of course casting Carla Bruni, wife to the President of France (Nicolas Sarkozy) might have entitled him to film in Paris settings we don’t often see in movies. One gets the impression that this one was quite a bit of fun for Woody to assemble. If you enjoy art or literary history, you too will find this to be one jolly easter egg hunt!

SEE THIS MOVIE IF: you would enjoy a dreamlike trip to the artistic wonderland of Paris in the 20’s OR you thrive on discovering the hidden gems in Woody Allen films

SKIP THIS MOVIE IF: you still call them “freedom fries” OR you and your therapist are still working to overcome your anger at Owen Wilson for letting Marley die

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Posted by David Ferguson

TRON: LEGACY (2010)

December 26, 2010

 Greetings again from the darkness. My guess is that you either really want to see this movie or you have no interest at all. Either way, you are probably making the best decision. It’s been 28 years since Tron hit the big screen. It became kind of a geeky cult film and never totally fell off the face of those in movie land. Tron‘s special effects awed us and the story was a bit creepy … could a computer actually suck us into cyber-space (or whatever we called it then)? It was a time when computers were a bit mysterious. We knew they were powerful, but weren’t yet sure if the “experts” were good or bad. Maybe we still don’t know (hello Julian Assange)!

Usually sequels are met with lackadasical dread. Especially those 28 years later. However, the advancements in computer graphic technology gave this one a shot. The new film opens with Jeff Bridges‘ Kevin Flynn still lost on the grid, his old company in the hands of the greedy and not-so-nice, and his son living a bit of a reclusive, rebellious life.

 The other familiar face to return is that of Bruce Boxleitner (Tron/Alan Bradley in the original), who tracks down Flynn’s son Sam (Garrett Hedlund) to inform him that he received a page from his dad’s old shop. Of course, Sam checks it out and stumbles onto dad’s old secret office/lab. Next thing we know, Sam is right there on the grid being drawn into gladitorial games of digital death. He is a very bright kid and quickly draws the attention of the ringmaster – CLU. CLU is also from the original, but has turned to the dark side and now has his sights set on world domination … REAL world domination. And of course, CLU tricked Sam into finding him to open the portal back to the real world.

 Confused? None of that really matters. Not following the story details is almost expected. What really matters is the visuals! Light-cycles may be the coolest thing ever seen on screen. For all I know, this effect may have been the single driving force for the sequel. If that’s not enough, watching a 30 year old Jeff Bridges as CLU square off against a 60 year old Jeff Bridges as zen master Kevin Flynn certainly makes the film worthy of a couple of hours for me.

When Sam and Kevin are reunited, it’s thanks to Olivia Wilde as Quorra. She is not “real”, but Kevin has been her adopted parent so she is quite loyal and well schooled   on all things human – especially Jules Verne! The other performance worth noting is that of Michael Sheen (who some now mistake as the real Tony Blair). Sheen, as Castor and Zuse, runs the bar/hang-out for CLU. Sheen certainly leaves nothing in his bag and the best way to describe his character is a glam rock cross between David Bowie, Marc Bolan and Mick Jagger. He is Ziggy Stardust with a greedy side. Pretty funny and clever. Also fun to note, the DJ’s in Zuse bar are actually Daft Punk, who are responsible for the thumping electronic techno soundtrack that adds its own stamp to the film.

Typically I wouldn’t have much to do with a movie that provides so little substance to the story, but that’s just not what this one is about. It provides a nice bookend to the original and is a statement on just how far special effects have come and also a glimpse into where things are headed. My guess is the effects won’t play so well on the average living room TV screen, so if you have any interest in this one, it’s probably best to catch it during the theatrical release.

SEE THIS MOVIE IF: you saw the original Tron and somehow remember it OR you want to see how special effects might replace actors in future films

SKIP THIS MOVIE IF: True Grit has just the right amount of technology for your tastes OR you might get mad you didn’t ask Santa for a light-cycle

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Posted by David Ferguson