WWQTW?: Diner

Sorry for the delay. This is my review for January's WWQTW? Movie Club. I started a new job at the new year, and it's taking me a bit longer than I anticipated to get back into the groove of blogging. Oh well, better late than never!

***** (5 stars)

Last night was our first meeting of the WWQTW? Movie Club. I really thought we needed a comedy a) because we have never had one yet and b) because now was the time for some laughs. What better way to start the new year than on a high? There were lots of yummy treats including hummus, fresh fruit, chips and dip, mint pea crostini (my creations by way of Jamie Oliver), King Cake (god bless Mardi Gras season), peanut butter pie, cookies, and more wine than we knew what to do with. Needless to say, my liver and stomach where very happy, then very sad with me.

This month's movie was Barry Levinson's "Diner" about a group of twenty-somethings in Baltimore during the '50s. The movie introduced the world to the acting talents of: Mickey Rourke, Kevin Bacon, Steve Guttenberg, Paul Reiser, Daniel Stern, Ellen Barkin, and Tim Daly. That's a seriously impressive cast, many of whom hadn't really worked much before. This was also Levinson's first film. He would go on to helm "The Natural", "Good Morning, Vietnam", "Rain Man" (AA- Best Director), "Avalon" (AA nominated), "Sleepers", "Bugsy" (AA nominated), and "Wag the Dog".

Modell (Reiser):  "We all know most marriages depend on a firm grasp of football trivia."

"Diner" is an hilarious movie about becoming an adult, finding love, keeping friends, and just living life. The movie was filmed chronologically for the most part with the diner scenes filmed at the end. Levinson wanted the cast to really feel like friends and many of the best lines were ad libbed as a result. The Popcorn Scene is one of the most famous in the film and has cropped up in pop culture ever since. Rourke bets the guys he can get the dream girl to feel him up at the movies. He takes the bet mostly because he's in a bad way over some gambling losses, but it's also a pretty telling moment for her character. Once in the theater, he unbuttons his pants and puts his penis up through the bottom of the popcorn box. When his date reaches in, she gets the shock of her life and Rourke losses the bet on a technicality. So funny!

Tim (Bacon): "All I did was I parked the car on a nice lonely road, I looked at her, and I said fuck or fight."

"Diner" is one of those movies your parents love because they were living that time and feel nostalgic, but it holds up. Not just since it's release in 1982, but as a movie about the past. Everyone can identify with the problems and humor that each character faces. We all know the cocky guy, the shy guy, the sports nut, the juvenile, the married guy, the funny one, etc. Because we can identify, we fall in love with the characters easily and stay in love even though we ourselves grow up and move from one label to the next. It is a great movie (with equally great soundtrack) that should be on every one's list.

High Tension

***** (5 stars)

Modern France isn't really known for its horror movies. Sure, Polanski turned out some creepy hits in the 70s, but since then it's been pretty hit or miss. According to Netflix, the only foreign horror comes from Italy and Asia. Thankfully, there must be something in the water over there because the rest of Europe is slowing catching the fever. My love for Scandinavian horror has been well documented, so I'm focusing on my first love in the foreign language market- The French. Martyrs, In My Skin, Malefique, Le Pacts des Loups, The Pack, Frontiers, Inside, and others are working to change that perception. Enter "High Tension" (Haute Tension), one of the best horror films I've ever seen period. The seemingly simple story takes an unexpected twist that will remain in your subconscious forever.

Friends Marie (Cécile de France, "Hereafter", "L'auberge espagnole") and Alex (Maïwenn, "The Fifth Element") escape to the family farm to focus on studying for exams. No sooner are they tucked in for the night than a crazed man enters the home and kills the whole family, taking Alex hostage. Now, it is up to Marie to save her friend before the unthinkable happens.

Writer/Director Alexandre Aja has a bit of a hit or miss resume with this, his second feature, the somewhat high point. After its success, he went on to direct "The Hills Have Eyes" remake, "Mirrors" and "Piranha". He also wrote the forgettable "P2". His strong point is certainly style and the ability to overcome budget restraints, but he needs to work on polishing his writing skills and developing projects that will push his career forward. His relationship with writing partner and art director Gregory Levasseur blurs the line between director and crew. Who was in charge of this thing?

While trying desperately not to give anything away, the biggest complaint I've heard about this film is the twist. You either love it or hate it. Personally, I thought it elevated the film past cheap gore and into the psychological realm I enjoy so much. POSSIBLE SPOILER ALERT (roll over to see): You must remember that the story we are originally told is from the mind of Marie. By revisiting the opening scene of her in the hospital at the end, we can see how her mental break shaped the story we saw and are left to wonder what elements are true and what was imagined. Aja hints at this himself in the bonus features when he talks of casting Philippe Nahon as the killer. How would you imagine a serial killer to look like?

The casting is impeccable. de France is one of my favorite young actresses in Europe right now. She has the ability to exude both fragility and strength, often in the same breath. Maiween is an actress I am less familiar with but who has an especially difficult scene towards the end that kept my hand clasped over my mouth the whole time. Philippe Nahon is a genius who has starred in over 150 films and TV. His resume reads like a who's who of French cinema. He has worked with everyone! Check him out in "I Stand Alone", "Le Pacts des Loups", and "Calvaire". He plays the killer very close to the chest, with holding any sings of motivation  or insanity. Instead, he is the face of death only- solid, stoic, fucking creepy!

Depending on your tolerance level, "High Tension" will either scare the bejeezus out of you or simple amuse you. My best friend warned that she still has nightmares over the movie and found it difficult to get to sleep after seeing it. Call me intrigued! Unfortunately, I did not have that reaction. Truth be told, this movie served as a palette cleanser after I watched a documentary about animal rights. That was far more disturbing! Still, I appreciated the lack of pretense this movie offered. There was no long story drawn out before the real horror begins. Our heroine Marie is also a pretty smart cookie. Unlike other women in horror films, she doesn't fall down a lot, she doesn't cry in the corner, she doesn't run away. She is smart and methodical. In the moments after the killer has broken in, I was impressed to see how she handled herself and thought,  "That's what I would do!".

The movie is to be seen to be believed, and it should be seen by everyone with the stomach for it!

They Say You've Got True Grit

***** (5 stars)

I'm not sure the Cohen brothers could do wrong if they tried. Sure, they had a bit of a bobble in the early 2000s with "Intolerable Cruelty" and "The Man Who Wasn't There", but it seemed more for them to prove to themselves whether or not they could step outside their comfort zone. They could not. Since their first film "Blood Simple", I have been a fan, and with their latest effort, they tackle the classic Western and a classic film at that.

"True Grit" is based more on the book by Charles Portis than the 1978 John Wayne classic (the only Oscar win for the actor). It tells the story of Mattie Ross (newcomer Hailee Steinfeld), a precocious 14-year old set on avenging the death of her father at the hands of infamous criminal and dim wit Tom Chaney (Josh Brolin). To aid in her quest, she hires washed up drunkard Reuben "Rooster" Cogburn (Jeff Bridges), a U.S. Marshal with the titular aplomb. Wandering in and out of the hunt is Texas Ranger LaBoeuf (pronounced LaBeef) who's been tracking Chancey through several states, played by the impressively moustachioed Matt Damon. Through Mattie's determination and hard will, and Rooster's knowledge of the underworld of Arkansas, the two will embark on a treacherous and often funny adventure towards revenge and redemption.

The film is a casting agents wet dream. Steinfeld is a revelation. I may use that word too often, but her performance is really something to see. She is truly deserving of her SAG nomination and in any other year would have surely garnered a Golden Globe nod as well. How someone so young (she was 14 when shooting the picture) could deliver a performance that is so confident and assured amidst Titans of the industry is impressive. That she does it with humour as well left me gobsmacked.

Jeff Bridges is competing against himself this weekend (see my review of "Tron:Legacy" here). He channels his inner Dude (a figure in many ways most resembling him in the real world) and infuses his Rooster with a sense of humour about himself and an inner desire to do good even though he would rather be drinking and sleeping. The verbal tet-a-tete's between him and Damon are some of the best acting scenes in recent memory. He is at the top of his game and stands a chance of becoming the 4th male to win back to back acting Oscars (Spencer Tracy, Jason Robards, and Tom Hanks before him). He missed out on the Globe, but they can be a fickle bunch. Perhaps they didn't like that this was a remake of sorts. Who knows! I'm keeping my fingers crossed he gets nominated.

Damon comes off with the kind of chutzpah that first attracted us to him in "Good Will Hunting". He is the underdog amongst underdogs. Whether being bested by a young girl and a drunken old man or the criminal that is constantly alluding him, he has a strong determination to see this quest through and collect the reward he has been chasing for months. We aren't sure if we are supposed to like LaBoeuf or if he is a sort of anti-villain; someone to get in the way of Mattie's ultimate goal. Through his actions, we find that he is a man of honor and true grit as well.

In the final showdown between good and evil, Chancy has met up with a gang of petty criminals and thieves led by Lucky Ned Pepper (a hardly recognizable Barry Pepper). [side note: Where the heck has Barry Pepper been and what is up with directors making attractive men so much less so?] It is a moment that is both climactic and reserved. The point is not in the action but in what said action sequences represent. It is a defining moment for each character. 

Long time collaborator Roger Deakins brings together both the expanse of unsettled early America and the intimacy between characters with his cinematography. Can we get this guy an Oscar for Pete's sake?!

I was weary about this movie, the original being one of my favorite Westerns of all time; but in the ever capable hands of the Cohen brothers it is a thing of beauty. My father remarked that it is much more in keeping with the novel than the earlier film. I haven't read the book but I will take his word on it. What is evident is that this movie stands alone and outside comparison with the Wayne version. They are almost different entities and are completely different films. I hope this movie does well and we can usher back an age of the Western, the undoubtedly American genre of film that I thought "3:10 to Yuma" would have done in 2007. Of course, that was also a remake so maybe the point is we need new Westerns. Someone call Clint Eastwood and tell him to quit making his political films and get back to business!

The Birth of the Black Swan

***** (5 stars)

I’ve been starring at this page for twenty minutes. How do you review a movie that begs you to keep its secret? What can I say that won’t give anything away? That will preserve the purity and excitement of seeing it for the first time in a darkened theatre? I can tell you that my Best of 2010 list just got a lot more complicated.

Provocative director Darren Aronofsky’s 5^th feature is “Black Swan” , a psychological drama set in the world of classical ballet (don't let that dissuade you guys, there's plenty for you as well).  Nina (Natalie Portman) is a rising star in the City Ballet company dreaming of being cast in a lead role, determined towards perfection, but with the timidness usually found in children and not in the cut throat world of professional dance.  When a new dancer enters the company (Mila Kunis), Nina's already fragile mind is threatened. Is she going mad or is her paranoia real?

After learning of this movie last year, I read very little about it, avoided all trailers, and only visited the viral companion site once (It’s pretty cool and doesn’t give much away. Hint: Type in the names of characters to reveal more information). It was a total media blackout on my end and I couldn’t have been happier! This movie should just happen to you. I’ve tried my best to avoid spoilers or, for that matter, any real information on story below. However, I do discuss the film (isn’t that why I’m here?) so proceed at your own risk.

Comparisons to Dario Argento’s “Suspiria” have been well publicized but I think a bit misplaced. Besides ballet and the occasional horrific moment in “Black Swan”, the two films are night and day. Instead, I think this film owes more to “Carrie” and the early work of Roman Polanski, especially “Repulsion”. Is it scary? At times, but it’s more haunting. The little nuances of each character, of the art direction (check out the background of almost any scene for additional insight to the character), the use of sound and editing, all create an atmosphere that pulls the audience into the twisted vision of both the director and characters. Cinematographer Matthew Libatique has worked on all of Aronofsky’s films, as well as “Gothika”, “Iron Man 1 & 2”, “Inside Man”, and “The Number 23”. Here he references 70s exploitation flicks with his use of low level lighting and close ups. In fact, the majority of the film is shot in close up and mid shots; keeping the audience inside the mind of Nina. The bustle of the camera advances our anxiety and nervousness. We are given an experience, a film that will crawl inside our minds and infect our brains. It is impossible to shake off.

[side note: I did enjoy the use of the “Suspiria” theme song in the trailers for “Black Swan”, but I think it was more a wink than a nod]

The film is belongs to Natalie Portman and it is hers to lose. Everyone else is a supporting player to her tour de force performance.  Portman can cry. She’s pretty good at it too. What’s really impressive is her transformation in this film. She looks like a ballerina (she studied dance until age 12), her body long and sinewy. Every thought and feeling reads on her face, at times making the audience uncomfortable. I love her. She seems like someone I would want to be friends with. We could chat about books or politics over yummy vegan fare and gossip about boys. There have been some baubles along the way (“Anywhere but Here”, “Star Wars”- don’t send your letters, those movies never needed to be made) but the highlights far outweigh. Must viewing:  “Leon/The Professional” (get the European version, “Leon”, if you can), “Beautiful Girls”, “Closer” (a double feature of this with “Black Swan” is sure to lead to heavy drinking), “V for Vendetta”, “Brothers”. I have high hopes for “Your Highness” and “Hesher” (both out next year I believe), but am worried about “Thor”. Dear god, please don’t let that movie hurt her.

The biggest surprise though may be Mila Kunis and Barbara Hershey. Kunis has always been a comedic actress and one I don’t pay a lot of attention to. She’s talented; I loved her in “That ‘70s Show” and “Forgetting Sarah Marshall”, but was unprepared for what she was capable of. By contrast, Hershey is a seasoned actress with multiple awards and nominations under her belt. Here, she is truthfully frightening. Vincent Casell is the perfect smarmy, talented ballet director and I expect him to be brilliant.

“Black Swan” is another example of when working with the same people pays off instead of hindering the project. From the DP, to the editor (Andrew Weisblum), to the composer (Clint Mansell- someone give this guy an Oscar nomination already), have all worked with Aronofsky before. New to the crew, Art Director David Stein should be praised as well.

A must see in the theatre. Perhaps I’ll see you there when I go again on Friday!

WWQTW?: Orlando

Friday night was the last meeting of WWQTW? for 2010. I am so thankful to lead this club and love all the great discussions we've had over the last few months. I am working on some really cool movies and surprises for next year, but until then you're on your own! Check out my list of movies everyone should have seen (and the basis for what we watch in the club) here, or just click on the "wwqtw" label at the bottom to fill your days during the holiday season.

Back to Friday! We had a great turn out and even better eats! I'm going to have to start taking pictures of the spread: stuffed phyllo assorted bites, stuffed brie, crab dip, pizza rolls, Olive Garden salad (love!), and French silk pie to finish. My Sausage Tempeh Puff Pastries were a big hit as well and I will post the recipe on my food blog this week. I wanted to continue along the same themes as last meeting where we spoke about gender and identity from the perspective of "Queer Cinema", but this time I wanted to focus on female/feminist film.

"Orlando" (1992) was written and directed by Sally Potter and based on the book by Virginia Woolf. The novel itself was a love letter to Woolf's mistress Vita Sackville-West, herself an accomplished poet. The film begins in 1500 with the young Orlando (Tilda Swinton) becoming the confidant (and lover?) of Queen Elizabeth I. It is Elizabeth that urges Orlando to "...not whither, do not fade". Here the theme of immortality is introduced in the film. After the deaths of the Queen and Orlando's parents, he falls a sleep for some time and awakens in 1610 ("Love") and begins an affair with Sascha, a Russian noble woman. Later, in 1650, he begins a poem ("The Oak Tree") about his love and hatred of Sascha and women in general. In 1700 ("Politics"), Orlando is made the liaison to Constantinople and remains there until war forces him to rethink his priorities. When we next meet Orlando ("Society"), he is now a she. "The same person, no difference at all, just a different sex". The Lady Orlando now makes her way in the world of upper-crust society as a woman. The limits to her freedom and privilege as a woman are all the more harsh as she still thinks of herself as a man, or if not male than as equal to men. In 1850 ("Sex") she has a brief affair with Shelmerdine (Billy Zane) that ends when she is forced from her estate for being an unmarried woman. Now in the section named "Birth", we see Orlando as a successful mother who is only now able to live the life she always dreamt and be the person she always wanted to be.

The main themes of Orlando are love, immortality, and gender roles. When Orlando is a young man, he is a hopeless romantic more interested in love that station. It is not until he is in love that he recognizes the "treachery of women" and the pain that comes with pleasure. "I can find only three words to describe the female sex. None of which is worth expressing". He is happy then to live a quiet life, alone at home, meditating in the far East, or sitting in a salon (though now as a woman his opinion is worth less). Love comes knocking again in the guess of an American adventurer whom she proposes to upon first meeting. He, however, recognizes her spark and refuses. They have a wonderful conversation about what it means to be a "real man" or a "real woman". When he leaves, she has the exact conversation with him as she did with Sascha, only now Orlando speaks the woman's part and Shelmerdine speaks Orlando's. It is useful to note that the two loves of Orlando's life are both tied to the weather- Sascha must leave when the ice cracks and her ship can sail, while Shelmerdine must leave when the wind changes direction. It is a not so subtle metaphor, yet one that works.

Immortality is another theme of the film. Orlando lives over 300 years and sees and experiences the world in a unique way. He falls in love, breaks his heart, goes abroad, changes gender, falls in love, breaks his heart, loses his home, and generally looks for the meaning in all of it. It is finally in modern times that she is "no longer trapped by destiny" and can live as a free spirit.

Gender is obviously a theme here. Orlando lives multiple lives as both a man and a woman, but it is the female gender that he eventually sticks to and seems to have been working towards his whole life. It is as a woman that he can express himself more freely and avoid the things he finds distasteful. A woman can speak of love, avoid war and conflict, be the mistress of her own home, and an independent person. It is fascinating to see the history of the world played out over one persons lifetime. The way each subtle changes hits Orlando plays across his face. He winks, knowingly toward the camera.

Potter is known for her avant-garde film making style. Her films often seem to follow no discernible plot, characters break the forth wall, and the fantasy of the mind becomes reality. She is also regarded as a feminist filmmaker, though I don't hear her male counterparts labeled as misogynist filmmakers like a badge of honor. Her first film starred Julie Christie as a movie star who tries to understand her roots. It has no real plot and the script is a bit weak. She spent 9 years working on the "Orlando" script, trying to show her detractors that she was capable of a good script. She succeeds here and makes one of my favorite, little appreciated movies here. She followed it up with "The Tango Lesson" in which she also stars. It's better than "The Gold Diggers" but her refusal to write in the Hollywood standard of 3-arch narration may turn many viewers off. Truth be told, the only other movie of hers I liked was "The Man Who Cried" starring Johnny Deep and Christina Ricci. It tells the story of a Russian Jew (Ricci) who is separated from her family as a child. As an adult, she becomes a professional singer, falls in love with a gypsy (Deep), and searches for her father as the Nazi's invade France. Her most recent film, "Rage", is the story of a murder at a fashion party told through the interviews a blogger conducts on the scene. There is no set, only a plain brightly coloured backdrop and the actors speak directly into the camera. While it is an interesting concept, it quickly becomes tiresome and boring.

Tilda Swinton is one of my favorite actresses in history, hands down. She (finally) won an Oscar in 2008 for "Michael Clayton", and has been nominated for several awards for her work in "Curious Case of Benjamin Buttons", "Burn After Reading", "Young Adam", and "The Deep End". I also love her as the angel Gabriel in "Constantine". She is a fearless actress and great talent. The whole club was in agreement that we could not think of any other actor to play the role of Orlando. Her voice subtly shifts up a register when she becomes a woman, and the knowing looks she gives the camera take on a whole new meaning. She would have to be sympathetic for the film to be successful and she is.

The film was nominated for two Academy Awards in Costume design and Art Direction. It is amazing to think this film was made for roughly the equivalent of $8 million. Costume designer Sandy Powell would go on to win 3 Oscars for her work in "Shakespeare in Love", "The Aviator", and "The Young Victoria". It truly is a beautiful film to watch, though the DVD transfer is sometimes a bit sketchy. Maybe it was just my copy. The transitions between decades/chapters was often done on screen and followed by a title card instead of the other way around. This seemed to confuse some of the club (While running through a hedge labyrinth and going from 1750 to 1850: "Where did she find a change of clothes?" -"There was a hedge of requirement?").

Further viewing: The Gold Diggers, The Man Who Cried, Mrs. Dalloway, Thelma & Louise (the male perspective to feminist film), Hedwig & The Angry Inch, Transamerica, The Fountain, Looking for Mr Goodbar, Frida, Lovely & Amazing, The Piano, The Virgin Suicides, The Namesake, Gas Food Lodging, Personal Velocity, Brief Crossing,

Under the Boardwalk

Under the Boardwalk

If you have HBO or if, like me, you have a lovely friend with it who allows you to come over and stare at the TV for a couple hours; then I hope to god you are watching "Boardwalk Empire". Created by Martin Scorsese and Terrence Winter ("The Sopranos"), it's a sweeping epic about the birth of the American gangster and the struggle and sometimes luxury of Atlantic City at the dawn of Prohibition. Whatever you think you know about smuggling and gangsters, this show will school you. It's also nice to see the way "the other half" lived life then. We never see or hear about the average Joe or Jane just trying to make ends meat and succeed where their parents failed.

At the heart of the show is Steve Buscemi's "Nucky" Thompson, AC's greedy and nasty county treasurer. If it's illegal, he's got his thumb in it. As one of the characters said, "He doesn't just have his thumb in it, he's got his whole hand messy". It should come as no surprise that Buscemi lends a depth to Thompson that could not have been found on the page. He is at once vile, greedy, mean spirited, loving, caring, naive, dis-enchanted, and strong. His main concern is looking out for #1, and why shouldn't it be? In a town where anyone can get gotten to, it's important to limit your friendships and keep your eyes peeled.

The antithesis to Nucky is Kelly MacDonald's Margaret Schroeder, an Irish immigrant married to a lush of a man and stuck raising 2 kids on pennies a day. She meets and forms a relationship with Thompson that is still not fully explained. What is it about "that Schroeder woman" that get all the men riled up?

Great performances and writing abound. The cast of secondary characters reads like a who's who of Hollywood and independent cinema: Michael Shannon ("Revolutionary Road") is the Prohibition Agent with as many secrets as the bad guys, Michael Stuhlbarg ("A Serious Man") is an up and comer in the New York crime syndicate,  Paz de la Huerta is Nucky's main squeeze and former 2-bit dance hall girl, Aleksa Palladino ("Find Me Guilty", "Manny & Lo") is Michael Pitt's common law wife (see rant below), Shea Whigham ("Tigerland", "Wristcutters: A Love Story") is Nucky's brother and chief of police (a job he hoped would get him more respect), Vincent Piazza ("Rescue Me" TV) is young Lucky Luciano before the name meant anything, and in a hopefully Emmy and Golden Globe winning performance is Stephen Graham ("Public Enemies") as Al Capone. He is scary to watch.

I only hope HBO doesn't lose their stomach and realize just how much this might be costing them as they did with "Rome" and "Deadwood". Hopefully with producers like Scorsese, Winters, and Mark Wahlberg (yep, Marky Mark); they can hold out to tell an amazing story that needs telling.

What's made me a bit obsessed is Michael Pitt as Jimmy Darmody, a war vet and aspiring thug who was protected by Nucky until he went too far. Now, he's hanging out in Chicago with Capone (not a good idea) and getting himself further and further into a life of crime. He is simply mesmerizing and it reminded me of all the amazing performances he has turned in over what is already a full career at 29. A few of my favorites:

The Dreamers (2003)

Bernardo Bertolucci's films always have a sense of realism to them as opposed to fantasy. The camera angles, the lighting, the sets. Even when the language is "classic", the feelings evoked are true to any you or I might feel in a lifetime. An American studying in Paris (Michael Pitt), meets and falls in love with a bohemian brother sister duo (Louis Garrel and Eva Green). The Dreamers doesn't set out to shock, if anything the casual attitude toward nudity and the taboo seem almost normal. I particularly love a scene where Matthew (Pitt) is embarrassed to change clothes in front of Theo (Garrel). It is the turning point to the movie: the naive American intrigued and embarrassed by the mature French. All too soon, the roles will reverse and the film will come full circle. In the "making of" doc, Bertolucci talks about bringing the modern to the past. Inter-cutting clips of the original film clips the trio were impersonating such as Godard's "Jules et Jim", as well as the news reels with shots of demonstrations showing the speakers who are now playing themselves in the movie is genius! This movie is NC-17 for full frontal male and female nudity. If that upsets you, don't rent (and buck up!). If you're not bothered, this is one to add to the queue.

Funny Games (2007)- Michael Haneke's English adaptation of his own film hit American audiences hard and left a lasting impression on those who saw the film. Whether you liked it or not, you were going to talk about it. While on vacation at their lake house, a young family (Tim Roth- always love, Naomi Watts- please keep doing stuff like this) and their sun are taken hostage by the young guests of their neighbor. Pitt and Brady Corbet (also amazing in Gregg Araki's "Mysterious Skin") are the young tormentors who want to play a game with the family- Can they survive until morning? Sadistic and horrifying, the young tormentors represent not only an American fear of strangers and reluctance towards kindness but a world fear. The original Austrian film is the same almost frame by frame. Why then did I love this remake when the shot for shot Gus Van Sant remake of "Psycho" had me calling for blood (pun definitely intended)? Because here Haneke has his say, making his film, his way, with the twist of making it more commercial for American audiences. The themes and technique of the film warrant a wider audience and I think he was smart to tackle it himself. Better the original writer and director than some punk from Hollywood.

Not for the faint of heart. Stephen King named it his 5th favorite film of the year, and regardless of how you feel about his books or movies; the man knows pop culture.

Last Days (2005)- I hated this movie. Seriously want to punch Gus Van Sant in the throat. His work has become a caricature of what it once was and the man who so brilliantly represented young adult hood is now middle aged and out of touch. It's that I can see the work that makes me angry; it is not longer effortless. Still, Pitts performance as Kurt Cobain in a fictionalized account of his final days is riveting. He commands the silence and offers a natural performance in a movie that wants desperately to be art.

Murder by Numbers (2002)- This was on TV the other day and I totally forgot how much I liked it despite the fact that I own it! Barbet Schroeder ("Single White Female", "Barfly") directs Sandra Bullock is a tough as nails detective who must match wits with a pair of genius, young psychopaths. Ryan Gossling (straight off his tour de force performance in "The Believer") is the mastermind behind the perfect crime who enlists Pitt as his sidekick. Another film about violence for violence sake, it reserves judgement for the audience to make. Any fan of "Law & Order", "CSI", or forensics will see the brilliance in the duos attempt at committing the perfect crime. Is it possible? What elements must be present to achieve it? Can a depressed detective and her new partner (Ben Chapman- Where has he been?) gather the evidence they need to arrest the wealthy kids thumbing their nose at authority?

Hedwig and the Angry Inch (2001)-  Hansel falls in love with American GI Luther and they want to get married. Problem is, gay marriage is not recognized in communist Germany so Hansel becomes Hedwig but the surgery is botched and she is left alone. Pitt stars as Tommy Gnosis, a quiet Christian teen, who befriends Hedwig and forms a band. Eventually he leaves her, as everyone does, to become a star in his own right with the songs he's stolen from Hedwig. I'm beginning to sense a pattern here. The songs are fun and if you get the chance to attend a midnight screening, I highly recommend it.

Never Let Me Go

***** 5 stars

Based on the Man Booker Prize nominated book and bestseller of the same name, Mark Romanek's adaptation of Kashu Ishiguro's novel may be one of the best movies to come out this year.

Many reviewers have quibbled over the revelation of the "twist" that comes much sooner in the movie than the book, but I think that's nonsense. What works in a novel would often appear slow and dull in a movie. If anything, I think it helps engage those viewers who come into the film with a naivete not unlike the characters in the film. That being said, I'm not about to ruin the surprise for anyone!

"Never Let Me Go" is the story of Kathy (Carey Mulligan); or really the story of how she grew up at a boarding school, Hailsham, and the close friends who share her journey in both body and soul. Ruth (Keira Knightly) has been her best friend since they were children, however she is an unusually spoiled girl who takes advantage of Kathy's kindness. In the middle of all this is Tommy (Andrew Garfield) who goes with Ruth while secretly longing for Kathy. The story is entirely from Kathy's perspective though we at no point doubt the sincerity of her narration. Separated for years, she reunites with Tommy, but is it too late?

The beauty of the book, and indeed the movie as well, is that while the subject matter may be science-fiction the actions are incredibly realistic. Book shelves and movie houses view sci-fi as something involving aliens or supernatural powers (clearly fantasy). It seems most of what you find is now Fantasy, with Science Ficiton going the way of the buffalo (or a Philip K Dick novela). Wikipedia defines science fiction as "dealing with the impact of imagined innovations in science or technology, often in a futuristic setting. It differs from fantasy in that, within the context of the story, its imaginary elements are largely possible within scientifically established ... laws of nature". It is in this truest sense of the word that "Never Let Me Go" resides. I can't imagine seeing it in video stores sharing the same space as "2001: A Space Odyssey" or "Star Trek". Instead, it focuses on the reality and questionable humanity of science and human beings.

Mark Romanek's primary art is music video and it is with that knowledge that he captures the subtle emotions that his actor's give him. Where other director's may be more comfortable with quick cuts or master shots, Romanek lingers. He creates truly unsettling images of nothing more than a face, albeit a face in pain. The soundtrack is sparse and subtly supports the loneliness our characters feel.

Mulligan and Garfield give subtle and pained performances that are certainly deserving of nominations come award season. In a particularly brilliant scene, the trio embark on a road trip to see an old ship stranded on the beach. Tommy has never lost the curiosity of his youth and runs to the ship while Kathy and Ruth watch. He crawls over the bow all gangly arms and legs; pausing only to catch his breath, grinning from ear to ear. In the context of the film, the scene becomes even more haunting as the inevitability of their situation bares down on both them and the viewer.

Although I had read the book and therefore knew what the outcome of the story would be, I found myself close to bawling towards the end of the film. I can't remember the last night a movie effected me on such a primal level. In particular, I think I began to lose it when Kathy and Tommy, now together, search for a way to maintain their relationship in the face of certain desolation. It's impossible not to be moved. I loved this movie, but I'm afraid to watch it again. The next time I won't be in a packed movie theatre with the shame and embarrassment of actually crying out loud to keep me in check. It's a pain that feels so good yet is scary as hell. On the path to "completion", what is our purpose?

I would recommend this movie to any and everyone. It is a landmark in cinema as the book was to the publishing world. Dealing with universal themes of growing up, falling in and out of love, living up to responsibilities, and the acceptance of fate; it is sure to cause a cavalcade of emotion in any view. Bring a tissue. Actually, make that three or four.

The Extra Man

***** (5 stars)

Last night word-of-the-day Jennie and I went to an advanced screening of "The Extra Man" starring Kevin Kline and Paul Dano. There is nothing more exciting than a free movie, except when that movie isn't even out yet or if the theatre has Coke Icee's. Yum...Icee...

Anyway, the movie is hilarious! Not only were we laughing (pretty par for the course regardless of what movie we're seeing), but the whole theatre was laughing as well. At a few points it was almost annoying as the laughter drowned out the dialogue. Better that than stunned silence though, I always say.

"The Extra Man" is about nebish and sexually confused Lewis Ives (Dano)- English Literature teacher and wayward loner. After losing his job, he moves to New York to pursue his passion for writing and ends up renting a room from fellow teacher Henry Harrison (Kline), who may or may not be insane. Harrison fancies himself a gentleman in the fashion of an F. Scott novel and offers his services as an extra man. Not to be confused with a gigolo ("Don't be crass"), an extra man provides wit, charm, and companionship in return for invitations to society parties, trips to Florida, and nice meals.

The dynamic between the two actors is undeniably entertaining. Dano looks like he may implode at any moment, his frail frame carrying the weight of the world on his shoulders. His awkwardness is almost painful to watch. By contrast Kline is a proud, stand up straight, sort of guy. He never pretends to be less than a bit unstable and particular, but it's always in an oddly charming sort of way. Watch for John C. Reilly as the (if possible) more eccentric downstairs neighbor and Tony Award winning actress Marian Seldes (fun trivia- she taught Kevin Kline while at Julliard) as billionairess Vivian Cudlip.

The only weak link for me is Katie Holmes, a fellow writer and proud vegan at the green journal where Lewis takes a job. Who dressed her? I mean, it's nice to see someone wear the same outfit twice in a movie (it's refreshing actually), but she is so stereotypically kookie New York it's painful. She appears to only have two emotions- wide-eyed surprise and wide-eyed confusion. What's worse is you know what she was trying to attain, a sort of innocence and ingenue status, but she never quite delivers. She doesn't just chew the scenery, she chomps down.

I don't want to give too much away. There are twists that must be seen to believe. I will say it is a must watch for fans of comedy, idiosyncratic behaviour, and cleverly intriguing story lines. You will not be disappointed!

WWQTW?: American Werewolf in London

Last night was our first WWQTW (What would Quentin Tarantino watch?) on a Friday night and I think it went pretty well. In honor of it being Friday the 13th, I decided we should watch something scary or at least in the horror vein of things. My choice? "An American Werewolf in London". I love this movie!

Released in 1981, "Werewolf" is directed by John Landis (Love!) and stars David Naughton, Griffin Dunne, and Jenny Agutter. Landis first wrote the script in 1969 but had to shelve it when no one would give a "nobody" money for a horror pic. [side note: Thank god he didn't go to Roger Corman. No offense, I love Corman pictures, but they would not have done this film right] After making "Kentucky Fried Movie" and "The Blues Brothers" he was able to dust off the script and give it a go. Naughton was most notably known as the Dr Pepper guy and went on to appear in TV ("My Sister Sam"). Dunne has had a more illustrious career, appearing regularly in TV and film ("Johnny Dangerously", "My Girl", "Quiz Show").

While backpacking through England, friends David and Jake find themselves lost in the moors. They stop into a local pub to escape the cold but are quickly sent away as outsiders. Out on the moors, something attacks them killing Jake and injuring David. When David awakes, he finds he is to become a werewolf and his friend is forced to walk the earth as a ghost until the wolves bloodline is severed. Agutter plays the nurse who takes a shine to David and invites him into her home.

"Werewolf" is an important film for several reasons. First, the make up artistry of Rick Baker is genius. Films like this (utilizing practical make up and appliances) will always hold up to their CG brethren. Baker was the first recipient of the Academy Award for Best Make up (many say the category was created to honor him), and would go on to win 5 more. His other works included "Star Wars", "Videodrome", "Thriller" music video, "Batman Forever", "Men in Black", and "Hellboy". It's safe to say I have a bit of a crush. When I was younger, there was a travelling show of movie FX that came through Dallas. It was amazing! We got to see the alien queen from "Alien", the grandmother from "Psycho", and the werewolf head from this film. Up close it was just as impressive as on screen.

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Second, the writing and direction of Landis is smart, funny, and never panders. It sets the tone for comedy in a horror setting that has become popular with more modern filmmakers. I love the recognition that in fear comes comedy. Landis utilizes medium and full shots, saving the close ups for David's transition and close ups of the werewolf only. It's smart and the British mentality perfectly captured.

Third, I love anything from John Landis because he always gives a wink to the audience. I always thought if I ever made movies I would insert little homages to films and people I love. Most of his films feature the tag "See you next Wednesday" (from a "Dr Strangelove" quote), popular music that relates to the film (in "Werewolf" all the songs featured the moon in it's lyrics), and cameos from other people in the industry (look for Frank Oz, the voice of Miss Piggy, in several of his films). They go unnoticed to most people, but these built in Easter eggs are the bread and butter of movie fans the world over.

The film is rated "R" and even taking into account the way films were rated 30 years ago (I mean, "Jaws" is PG people), it remains an "R" rated film for some nudity, sexual situations, language, horror violence, and gore. That being said, I must have been 13 or younger when I saw it and look how I turned out!

Dream Is But A Dream: Inception

***** (5 stars)

On immediately exiting the theatre, I sent the following text:

"Inception is one of the greatest films of all time"

Now, this may be an oversight, but in reality I think it is just another piece of evidence that Christopher Nolan is the new Hitchcock. A man well poised to become the face and name of this generation of film making. Even his lesser works (I'm looking at you "Insomnia") offer something more than the usual Hollywood blockbuster. That he was able to resurrect the Batman franchise with a nod most notably to Tim Burton's original vision as well as the direction the comic has taken under the Frank Miller titles, is nothing short of genius. Basically, if I ever met Mr. Nolan on the street, I would slap him in the face and yell, "Fuck you Christopher Nolan! You've mind fucked me for the last time!" However, unlike when I do the same thing to M. Night Shymalan, I won't actually mean it. Nolan can do anything he wants to my mind and I will happily pay for it.

It's hard to talk about "Inception" without giving anything away. I started hearing about this movie over a year ago, got super excite, watched the first teaser trailer, then instituted a media blackout in the hopes I would not spoil the movie. It worked, but I understand that may not be everyone's cup of tea. With that in mind, if you would like to go into this movie fresh faced and scrubbed clean of any incriminating information, please skip the next paragraph. If you are one of the many who was frustrated by the lack of information given on the plot, keep reading.

"Inception" refers to the act of planting a piece of information or an idea deep into a person's subconscious. The government has developed a formula that allows people to dream share and step into one another's subconscious. This technology has been misappropriated by thieves hoping to gain access to your inner most secrets and thoughts. Leonardo DiCaprio leads a team of misfits into the mind of Cillian Murphy, hoping not to steal company secrets, but instead to perform inception and plant the seed of knowledge that will eventually blossom into an idea the mark will assume he had all along. DiCaprio is blackmailed into the employ of Ken Watanabe (I love him. Where has he been?) along with his right-hand man, Joseph Gordon-Levitt (One of the most talented actors of this generation). He is my secret, well not so much anymore, movie crush). Rounding out the gang is: a forger who can mimic and impersonate the dreamers projections (Tom Hardy), a chemist who creates the cocktail they use to enter the mind (Dileep Rao), and an architect who designs the dreams (Ellen Page). The dream becomes the dream becomes the dream and we are left wondering, along with the characters, what is real and what is fantasy?

The film has a lot of things going for it. It is beautifully shot, the FX blend seamlessly (check out the scene in Paris with DiCaprio and Page), the scoring pulls you further into the film instead of trying to overtake your concentration, and it is wonderfully written. I laughed, I cringed, my hands were held up below my chin on more than one occasion. I must have whispered, "That is so cool" at least three times. Many have made Page's narration of events into a negative, but we must realize this always happens in a heist film. Sometimes it's at the end like a "who-done-it?" (see: Scooby Doo) or "how'd-he-do-it?" (see: any Bond Movie), but it happens in the middle, and sometimes it happens throughout (see: any Guy Richie film). Page is the audience; her inexperience lends itself beautifully to our own. I don't think he ever over explained things. There were certainly times when he chose to show you rather than tell you, and I think that is the beauty of the filmmaker- to vary his own style within the film.

There are a lot of dream truths in the film as well, as I call them. Have you ever tried to over take your dream and re-shape it? You wake up right? Have you ever had that sense you were falling only to wake up right before you hit bottom? Of course you have. The reality element to the dream is purposeful when you are trying to get the mark to not know he is dreaming. Otherwise, the dream collapses.

The acting in the film is really good, with DiCaprio, Gordon-Levitt, Watanabe, and Marion Cotillard (playing DiCaprio's wife Mal and saboteur) leading the pack. DiCaprio plays a similar character in "Shutter Island", not so much in the architecture as the tone. I cannot for the life of me understand why every guy I know hates him. I have my ideas (jealousy, inadequacy, latent homosexuality) but nothing concrete. For me, the actor before us shows the history of this life ("Growing Pains", "What's Eating Gilbert Grape") while forever reminding us that he is a grown man, an adult, and actor ("Aviator", "The Departed"). His portrait of the tortured artist is understated, raw only when it needs to be, and in control (the major departure from what he did in "Shutter Island"). I cannot say enough things about Gordon-Levitt except to say I hope he continues to make the same interesting, bold, and challenging choices that he has in the past 5 years. I heart him. Watanabe gives good face, as I like to say. Perhaps it is because he got his start in Japanese television, but the man can just stare and you think he's looking through the screen and at you. He is understated, calm, and perfect. I first saw Cotillard in 2003s "Love Me If You Dare/Jeux d'Enfants", a kind of cat and mouse game between two long time friends, though she has been very active in her native France. She then rose to international attention with her amazing turn as Edith Piaf in "Ma Vie en Rose" (seriously, Netflix it). Her Mal is one of the most well drawn characters in the film- at times manic, repressed, funny, scorned, bitter, loved. No one can cry as beautifully or as on queue as Cotillard.

[side note: What's up Pete Postlethwaite!!]

Leaving the theatre, I was quiet and pensive. "I liked it." "I liked it a lot" "It may be the best movie ever" "Say something!" (This last part to word of the day Jennie). I found myself wanting to talk about it but being unable; the ideas where too big or too close to my own personal truth. It's a movie that is staying with me and I cannot wait to see it again, maybe in a couple weeks, and really watch it again as if for the first time.

WWQTW?: Vivre sa Vie

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Last night was the 3rd meeting of my intro to film/movie club WWQTW? (You can check out previous installments by clicking on the tag below). I was SO excited about this meeting as we were going to watch what may in fact be my favorite film of all time. Usually, when asked what my favorite movie is, I demure and say I'm not sure. This is a lie. Sometimes, I say the name of a movie I think they would like or appreciate me saying is my favorite. This happens rarely. Usually, I pick one of two pre-set answers based on the person asking the question: "Heavy" or "Pulp Fiction". Now, I love these two films. "Pulp Fiction" was the first time I fully understood the film making process and what it meant to be a director. I can vividly recall the night I saw it at Collin Creek Mall. It was a Saturday... "Heavy" is my go to film with other film buffs. It's the first feature from James Mangold (Girl, Interrupted; Copland) and stars Live Tyler and Pruitt Taylor Vince. I can't watch the trailer for this movie with welling up with tears- and I never cry!

All this being said, my favorite movie is probably "Vivre sa Vie" or "My Life to Live (A Film in 12 Scenes)". I never mentioned it because it was out of print until this year and very difficult to find. It took me almost a year of searching online to find a legitimate print to order. It always seemes mean to say your favorite movie was one that no one could see; like wearing amazing boots you got from a trip to Tokyo just so you could say, "Oh them? Their Japanese". Now, thanks to Criterion, everyone can see this lost gem by Jean-Luc Godard.

Nana: "I forget I'm responsible, but I am."

Released in 1962, "Vivre sa Vie" tells the story of Nana (Anna Karina- Godard's wife at the time), a young woman who abandons her husband and son to try to make it as an actress. Instead, she falls into a life of prostitution (coincidentally called "the life" in France) and self analysis. I chose this film not only because I love it, but also because I believe it best expresses the mission and aesthetic of the Nouvelle Vague movement. The French New Wave created one of the most influential movements in cinema of all time: The idea of director as "auteur", the alienation of the audience, the subtle winks at the knowledge that what you were watching is fictional, the lightweight movement of the camera and free flow of sound that makes you believe it may in fact be documentary (see: cinéma vérité). The New Wave strived to show real life in cinema, while never forgetting you are watching a movie.

[side note: When I grow up, I want to be Anna Karina. Just saying.]

Godard is considered by many to be the most provocative and extreme filmmakers in the genre. In "Vivre sa Vie" he uses title cards to separate the action ("Reminds me of a play," says Steph. We then digress into a discussion of the many versions of the bible!). The camera is kept in medium and close up shots with no real masters. At anytime in a conversation, it may wander/pan to the window, the street, the back of someones head. We are constantly put in the position of voyeur while being reminded that what we see is not real. At first, this camera movement was distracting (and somewhat nauseating) to many of last nights viewers. After a quick smoke break (Nana, as well as everyone in the film, smokes so frequently it's hard to refrain oneself), the movement was seen as another device created to capture the full attention of the audience. Even after repeated viewings, I find myself leaning to the right or left, attempting to see what is just out of frame. Godard also didn't believe in explaining his films to people. It is up to you as the audience to decide what they are about. In conjunction, the backgrounds of his characters are often omitted and we jump forward in time without warning or notice. Godard's refusal to explain the motivations of his characters creates the effect of alienating the audience, it "displaces you" (Word of the day Jennie). Yet, it is only in the coercion of the viewer to decide for themselves that he makes us an active participant in what is normally a passive experience.

Nana: "Escape is a pipe dream."
"Why"
Nana: "That's life."

Godard's ability to write for women should also not be overlooked. Just as in "Breathless", he creates a modern woman who elicits confusion, anger, sympathy, and recognition from the audience. We end up identifying with Nana, especially after Chapter 11 when she meets the philosopher in the cafe. In him she finds a kindred spirit, a good listener who is not interested in her for money or sex. She dreams of a bigger and better life, of the power of love and words, of the question of happiness and life itself. It is a decidedly human experience wrapped around a rather unusual circumstance. After her meeting with the philosopher, "it gave me more insight into her thoughts and feelings. Before, I didn't like her... Then she became a real person" (Steph Too). Much is said about the Edgar Allan Poe story read to Nana by her lover, but I saw little online that mentioned the story from "The Three Musketeers" that was told to her by the philosopher. While the Poe story ("The Oval Portrait") may convey the feelings of the auteur to his muse, it is in the Dumas story that we learn more about the muse. That everything that has happened before led us to this quite and short moment, that the final chapter of the story that follows sums it up; is testament to the power of words, the lack of them, and for keeping your cards close to your chest. The audience is stunned when the film ends, I know many of the club was, and it is only moments after it ends that the conversation starts flowing. Steph Too points out here that "in current American film, [knowing Nana's background] would have given us more closure. Here, that's not the point. That's not what I'm used to."

The Philosopher: "An instant of thought can only be grasped through words."

Suggested viewing:
also by Godard: "Breathless", "Weekend", "Pierre le Fou"
Francois Truffaut: "The 400 Blows", "Jules et Jim"
Alain Resnais: "Last Year at Marenbad"
Claude Chabrol: "Le Bonne Femmes"
Jacques Demy: "The Umbrellas of Cherbourg"
Spike Lee: "She's Gotta Have It"

Quentin Tarantino: "Reservoir Dogs" [side note: Tarantino's production company is called A Band Apart after Godard's film "Bande a Part" about a heist gone wrong.]
Bernardo Bertolucci: "The Dreamers" (NC-17)
Jean Cocteau: "Orphee", "la Belle et la Bete"
Jean-Pierre Juenet: "Amelie", "Delicatessan"

WWQTW?: Raging Bull

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Last night was the first meeting of WWQTW movie club and it was a complete success! We enjoyed an intimate movie watching experience with 5 (plus me) ladies. For future reference, planning a movie night so close to the St. Patrick's Day celebrations was probably not a great idea. Oh well, you live and learn! I couldn't be more pleased with how everything turned out. Everyone was enraptured by the movie and the dialogue following was insightful and revealing. "He makes you pay attention...[afraid you'll] miss something", says Word-of-the-Day Jennie.

If you haven't seen "Raging Bull", here's the 411:

Directed by Martin Scorsese and starring his frequent collaborator Robert DeNiro, it tells the true story of Jake LaMotta; rising boxing star from the Bronx. The movie co-stars Cathy Moriarty (her first film!) and Joe Pesci (his 2nd!). Shot in beautifully black and white by Michael Chapman (DP on over 45 movies) and edited by Thelma Shoonmaker (go lady! She has been Scorsese's editor ever since). It was nominated for 9 Academy Awards including Best Picture, Best Director, Best Cinematography, and best Supporting Actor and Actress. It won for Best Editing and Best Actor. It was nominated for 4 BAFTA's and won Best Editing and Outstanding Newcomer-Male for Pesci. It was nominated for 7 Golden Globes and won for Best Actor. At the time, no one would have predicted it would now be named the 4th most important film in history by AFI.

This acclaim surprised no one more than the director himself. Having come off a loss ("New York, New York" aslo with DeNiro), Scorsese believed this film might be his last. In reality, it cemented his legacy as a prolific American filmmaker, the visual style for which he would become known, and influenced generations to follow.

What I love most about the film, is the relationship between DeNiro and Pesci. Few could argue that their brotherly report is bordering on documentary. In particular, I direct you to a scene at the beginning of the movie when Pesci breaks up a fight between LaMotta and his then wife. Their conversation at the breakfast table is stable and even keeled, even as they get heated at each other. The scene closes with DeNiro ribbing Pesci into hitting him. It also draws a direct reference to "on the Waterfront", a movie quoted at the end of the film. My friend Steph Too said it best, "You want them to get their heads out of their asses! You're killing me!". This struck me as especially funny seeing as she is the only mother in our group.

As I mentioned earlier, the film is shot in black and white. There doesn't seem to be any concrete reason why, however there is speculation galore! Scorsese has been quoted as saying it was because he was not satisfied with the quality of color film stock at the time. This makes sense- just look at other films from the last 70's/early 80's. Many seem dated, while "Raging Bull" is timeless. Other's believe it was to separate the film from another recently released- "Rocky"(1976). Other's involved with the making of the film say it was in direct reference to boxing movies from the time (40's-50's). Steph Too also pointed out the transitional editing, particularly how "the scene opens fuzzy, then become very crisp". The camera shots and editing were revolutionary at the time, but seem so common place to us now. During fight scenes, the speed slows down when there is contact between boxers allowing us to see the fight in all it's sweaty and bloody glory. At other times it speeds up, shooting the action from below, their gloves raging over the lens- we can't escape the punches any more than the other boxer.

Suggested Viewing: "On the Waterfront", anything by Scorsese particularly "Taxi Driver" and "Casino", "Rocky", "Rocky Marciano", and documentary "Easy Riders and Raging Bulls"