Rental Queue:
Mamma Mia
A newer release, so a bit higher in price since it’s still ‘on the wall’ at Blockbuster, but worth it if you’re as big a fan of musicals as I am. Or… even slightly less of a fan, since I admit that I’m a bit obsessive in my adoration of the genre. Meryl Streep, Pierce Brosnan and Colin Firth are among the easily recognizable faces flexes their vocal cords in this upbeat romantic comedy. You don’t need to be an ABBA fan to get a kick out of the story, the characters, and the performances. Everything about it screams ‘fun’, and that’s exactly what you’ll have when you watch it.
The Devil Wears Prada
Another Meryl Streep movie, but a real winner. Here she plays a sharp, sarcastic, openly and unabashedly rude magazine editor and her performance alone, without any context of plot or any other characters, is more than enough of a reason to pick this one up. It’s even been on the television recently, in which care you’re ahead of the game if you watched it. It’s a hilarious film, and you really get to see Streep at her best when her character is tested and she softens up.
Charlie Wilson’s War
A good film that features both Philip Seymour Hoffman and Amy Adams. Tom Hanks leads the rest of the rather impressive cast as Charlie Wilson, a congressman from Texas who inserts himself in the war between rebels and the Soviets in Afghanistan. Adams plays his secretary/assistant/the girl I wished he would notice instead of Julia Roberts, and does so with quiet enthusiasm and a lot of heart. Hoffman plays a man from the CIA and, even in his first scene, is absolutely hilarious. He hijacks the film and does not give it back. Which is fine by me.
Cold Mountain
I caught this just recently on television. It’s long, but the story is interesting enough to justify it. Of course, my viewing was made even longer by the intermittent commercial breaks, so I can’t really judge it on that basis. Jude Law and Nicole Kidman play two relative strangers who, after only a brief relationship, are split apart by the civil war as Law’s character goes off to fight for the Confederates. Whoops. After he is wounded he goes on a long trek to reunite with his fleeting love, and alone the way he runs into a myriad of interesting characters. Seymour Philip Hoffman is among them, playing an often inebriated Reverend who is chased from his home after trying to kill a servant he had impregnated. Whoops again. An interesting counter point to the Priest he plays in Doubt.
Zodiac
David Fincher, the fascinating director responsible for films like Seven, Fight Club, and Panic Room (listed in decreasing awesomeness), is responsible for the Curious Case of Benjamin Button. He also directed one of my top crime thrillers, Zodiac. Starring the doe faced Jake Gyllenhaal, the plot evolves over a number of years as a young cartoonist with an eye for puzzles dedicates himself to finding the identity of an infamous serial killer, the Zodiac. Mark Ruffalo and Anthony Edwards make appearances, and Robert Downey Jr. is memorable as a reporter who helps Gyllenhaal in hopes of finding his one big story. It’s creepy and there are some amazing moments of sheer tension.
Saturday, January 10, 2009
Newspaper: Doubt Review
Doubt Review: B+
This movie is a finely crafted piece of art. Like with any such endeavor, like a stature cut from stone, or a hand made piece of furniture, there are imperfections and unique attributes that might not fit in something of a similar build, or appear in a similar piece, but they only serve to heighten the overall value in the end. Doubt is not perfect, but it is still beautiful and effective.
The story is set in the 1960’s, about a year after the Kennedy assassination according to one of the sermons, and focuses on a Catholic church and school. It begins innocently enough, with a sermon from Father Flynn (Seymour Philip Hoffman), the topic of which is the movie’s namesake. This alerts the suspicions of Sister Aloysius Beauvier (Meryl Streep), who tells her fellow Sisters to keep an eye on the kindly, vivacious Priest. When the idyllic young Sister James (Amy Adams) sees something she can’t explain, she begins a long battle of conscience and grit determination between Sister Aloysius and Father Flynn, the former crusading to prove the latter of an unsavory relationship with an Alter Boy without any proof to aid her. She is steadfast, and it seems nothing will satisfy her until Father Flynn is removed from the school.
Originally written for the stage, playwright John Patrick Shanley adapted his script for the screen and pulled together a cast of strong faces and reputations to direct. He handles them with skill, their performances adding to his powerful script and making the transition from stage to screen appear almost effortless. The story feels at home on film, projected over an audience, which is frequently a difficult thing to accomplish when translating a performance piece that relies so heavily on its words to something so much more visual and nuanced.
While the writing is strong, quick, and potent, it really is the performances that bring this movie to its full potential. Of course, it’s hard to imagine anything less happening when Oscar winning names like Philip Seymour Hoffman and Meryl Streep are put in a room together. Amy Adams also provides a stunning performance, and holds her own ground against the heavyweights around her. The complimentary cast, including the young students of the school, are excellently cast. It would be a difficult task to find a weak performance here.
Philip Seymour Hoffman is undeniably complicated and troubled, yet endearing and as loveable as they come. He’s funny, carries himself lightly, and has this intensity about him that shows his devotion to his vows, even though that conviction is never directly spoken about in the movie. It’s questioned, and he’s clearly struggling, with quiet shots of his face falling, his eyes wandering, his body tensing or relaxing whenever Sister Aloysius comes near or moves away. His is a subtle technique, and his usually powerful and resonating voice is pulled back to reveal this kind, genuine character that the audience simply cannot trust. It’s subtle, and extremely potent.
Meryl Streep plays Sister Aloysius with zeal and a fair amount of human. Her deliveries are so natural, with lines being muttered or stepped on by other people speaking. With a character as specific as Aloysius, it’s difficult not to play a type. After all, this isn’t the first ‘mean’ character she has ever played. Yet, I found the Sister to be compassionate, albeit it bullheaded and extremely determined. She was devoted to this idea of guilt with such conviction, she pursued it with every ounce of her being, even if it meant stepping back from her vows. It was a fascinating journey for her, because her heart wasn’t made of steel. She wasn’t evil or cruel. She was old fashioned and a bit jaded, her views outdated and threatened by the changing times. Still, she had a good heart, and the film made sure to let it be seen with subtle moments between herself and an aging Sister who was in danger of being taken out of the church.
Of them all, I think Amy Adams had the most commanding role. Not because of the importance she held to the plot or how difficult her scenes were, but because of the changes her character was undergoing through the film. She began as this young, bright eyed Sister who saw good in everyone and tried to bring it out, playing nice and teaching her classes with an honest passion and a rather lenient style. She never knew which side of the battle to be on, once she inadvertently got it rolling, and was affected with each interaction she had with Father Flynn and Sister Aloysius. She is malleable, and her struggle to choose what to believe is very much akin to what the director wants of his audience.
There are a few very odd camera angels and other weird moments of directing that keep the piece from being as cohesive as it needed to be. Stark cuts, tilted cameras and veiled imagery that are difficult to decipher in one viewing seem out of place and too few and far between to dictate any real necessity. Still, the performances and writing truly carry the movie. There are also some great moments of music within the relatively quiet scenes, which almost creates another character in its own right, perhaps in the visual presence of the wind that changes and blows throughout the piece.
Doubt it a powerful, thought provoking piece that highlights what characters, writing, and actors are capable of. It is an interesting film, well paced, and in the end, does nothing to clear up that for which it was named. And that’s the best part.
This movie is a finely crafted piece of art. Like with any such endeavor, like a stature cut from stone, or a hand made piece of furniture, there are imperfections and unique attributes that might not fit in something of a similar build, or appear in a similar piece, but they only serve to heighten the overall value in the end. Doubt is not perfect, but it is still beautiful and effective.
The story is set in the 1960’s, about a year after the Kennedy assassination according to one of the sermons, and focuses on a Catholic church and school. It begins innocently enough, with a sermon from Father Flynn (Seymour Philip Hoffman), the topic of which is the movie’s namesake. This alerts the suspicions of Sister Aloysius Beauvier (Meryl Streep), who tells her fellow Sisters to keep an eye on the kindly, vivacious Priest. When the idyllic young Sister James (Amy Adams) sees something she can’t explain, she begins a long battle of conscience and grit determination between Sister Aloysius and Father Flynn, the former crusading to prove the latter of an unsavory relationship with an Alter Boy without any proof to aid her. She is steadfast, and it seems nothing will satisfy her until Father Flynn is removed from the school.
Originally written for the stage, playwright John Patrick Shanley adapted his script for the screen and pulled together a cast of strong faces and reputations to direct. He handles them with skill, their performances adding to his powerful script and making the transition from stage to screen appear almost effortless. The story feels at home on film, projected over an audience, which is frequently a difficult thing to accomplish when translating a performance piece that relies so heavily on its words to something so much more visual and nuanced.
While the writing is strong, quick, and potent, it really is the performances that bring this movie to its full potential. Of course, it’s hard to imagine anything less happening when Oscar winning names like Philip Seymour Hoffman and Meryl Streep are put in a room together. Amy Adams also provides a stunning performance, and holds her own ground against the heavyweights around her. The complimentary cast, including the young students of the school, are excellently cast. It would be a difficult task to find a weak performance here.
Philip Seymour Hoffman is undeniably complicated and troubled, yet endearing and as loveable as they come. He’s funny, carries himself lightly, and has this intensity about him that shows his devotion to his vows, even though that conviction is never directly spoken about in the movie. It’s questioned, and he’s clearly struggling, with quiet shots of his face falling, his eyes wandering, his body tensing or relaxing whenever Sister Aloysius comes near or moves away. His is a subtle technique, and his usually powerful and resonating voice is pulled back to reveal this kind, genuine character that the audience simply cannot trust. It’s subtle, and extremely potent.
Meryl Streep plays Sister Aloysius with zeal and a fair amount of human. Her deliveries are so natural, with lines being muttered or stepped on by other people speaking. With a character as specific as Aloysius, it’s difficult not to play a type. After all, this isn’t the first ‘mean’ character she has ever played. Yet, I found the Sister to be compassionate, albeit it bullheaded and extremely determined. She was devoted to this idea of guilt with such conviction, she pursued it with every ounce of her being, even if it meant stepping back from her vows. It was a fascinating journey for her, because her heart wasn’t made of steel. She wasn’t evil or cruel. She was old fashioned and a bit jaded, her views outdated and threatened by the changing times. Still, she had a good heart, and the film made sure to let it be seen with subtle moments between herself and an aging Sister who was in danger of being taken out of the church.
Of them all, I think Amy Adams had the most commanding role. Not because of the importance she held to the plot or how difficult her scenes were, but because of the changes her character was undergoing through the film. She began as this young, bright eyed Sister who saw good in everyone and tried to bring it out, playing nice and teaching her classes with an honest passion and a rather lenient style. She never knew which side of the battle to be on, once she inadvertently got it rolling, and was affected with each interaction she had with Father Flynn and Sister Aloysius. She is malleable, and her struggle to choose what to believe is very much akin to what the director wants of his audience.
There are a few very odd camera angels and other weird moments of directing that keep the piece from being as cohesive as it needed to be. Stark cuts, tilted cameras and veiled imagery that are difficult to decipher in one viewing seem out of place and too few and far between to dictate any real necessity. Still, the performances and writing truly carry the movie. There are also some great moments of music within the relatively quiet scenes, which almost creates another character in its own right, perhaps in the visual presence of the wind that changes and blows throughout the piece.
Doubt it a powerful, thought provoking piece that highlights what characters, writing, and actors are capable of. It is an interesting film, well paced, and in the end, does nothing to clear up that for which it was named. And that’s the best part.
Newspaper: Winter Break Movie Catch Up
Winter Break Movie Catch Up
I admit I didn’t get to the movies quite as often as I would have liked to over winter break, but here’s a peek at the few that I did manage to catch.
Yes Man: A-
I admit, I was charmed the moment I saw a trailer for this film. I thought it looked light, funny, and stupid. Just another addition to Jim Carrey’s long list of comedic movie credits. And it was exactly that, mostly. It managed to surprise me, however, with how engaging and inspiring it was, and there were some truly laugh out loud moments that nearly had my side splitting. The most surprising thing was it did not rely solely on Carrey’s penchant for goofy faces, or his ability to contort his lanky frame in fantastical ways. In fact, it was rather subdued in all that, focusing instead on the story and the interactions to build its comedy.
Of course, Jim Carrey was hilarious. He did ride a motorbike in a hospital gown, with his bare backside open to the wind, and he did fall down more than a couple of times. He did wrap his face in tape and do a few strange voices. He also played a man who was struggling with his lot in life, and allowed the audience to go with him as he embarked on a quest to turn it all around.
By agreeing to say ‘yes’ to everything, instead of his usual ‘no’, Carrey’s character Carl encountered experiences that were wonderful, sad, and everything he needed. He also found the lovable Allison, played by Zooey Deschanel. Zooey literally lit up the screen with her effervescent smile and brilliant eyes, and provided Carrey with a charming talent to act off of. Together they created a chemistry that not only kept the audience laughing, but invested in this new, strange relationship.
One of the most hilarious moments involves Carl, a guitar, a suicidal man, a window ledge, and a chorus of onlookers down below. Yes. A chorus. The scene can be viewed online, but it is truly at its funniest in the context of the film. That scene, alone, is enough for me to go see it again.
The Tale of Despereaux: B
A dark, but interesting animated movie about rats and mice. There are chefs and soup and misunderstandings, but I’m not one to buy in to the dire need of comparing it to Ratatouille. In fact, that will be the last time I mention it.
Despereaux, the mouse himself, is a strange little creature with a big heart and a need for adventure, devoting himself to ideals of truth and honor he gleaned for a story book he was supposed to be eating. He gets himself banished from his home in Mouseworld and finds himself in Ratworld instead, where he meets the kind hearted Roscuro and their interwoven, yet separate, journeys unfold.
The plot is a bit convoluted, with side stories for a number of characters, but it all weaves together in the end. There is something profoundly interesting in the plot, and I shamelessly never found myself bored as I watched. Of course, it was far from perfect. A bit clunky, the scenes don’t flow as effortlessly as might be required for fairy tale story telling such as this.
Matthew Broderick has a strange way of delivering his lines, playing the voice of Despereaux, that leave the little mouse seeming constantly confused rather than interested and passionate. Dustin Hoffman makes up for it, providing a charming and thoroughly endearing voice for Roscuro the rat. In fact, the story opens and closes with Roscuro, making the film’s title almost deceptive when you think about who the main character really is.
Seven Pounds: C
Seven Pounds focuses on the story of a man with a tragic past, devoted to the goal of changing the lives of seven strangers for the better.
Will Smith stars in this movie that wants to be as potent as The Pursuit of Happyness, but falls short. Ultimately, it just comes off as self serving, which is more than a little irritating. The fact that this isn’t an aftertaste that the viewer is left with at the credits says a lot. Oh no, this feeling of haughty, “I’m making a point here” pretension is prevalent in every scene of the movie, courtesy of Smith’s constant mugging. His facial expression caught me a little of guard, considering I’ve considered him a pretty natural actor for a while now. Here, however, he seems plagued by this Chaplin-esque need to paint his feelings so clearly on his face, it seems almost amateurish.
Rosario Dawson, on the other hand, has a charming and endearing smile, and gives off a truly lovable attitude. When the two are sharing scenes it becomes much more of a love story than the outlandish plot enveloping it allows. Too bad the scenes have to shift to other parts of the plot. Woody Harrelson is surprisingly effective in what little he is given to do, playing a blind man that Smith’s character has decided to help. He and Dawson are saving graces, and Smith is at his best when playing against him.
The movie loses track of itself by the end, and the final plot twist is so absurd, and yet at the same time completely predictable, that it considerable weakens what might have been a good film. In the end, it’s just another forgettable endeavor that did not quite meet the high bar it had set for itself.
I admit I didn’t get to the movies quite as often as I would have liked to over winter break, but here’s a peek at the few that I did manage to catch.
Yes Man: A-
I admit, I was charmed the moment I saw a trailer for this film. I thought it looked light, funny, and stupid. Just another addition to Jim Carrey’s long list of comedic movie credits. And it was exactly that, mostly. It managed to surprise me, however, with how engaging and inspiring it was, and there were some truly laugh out loud moments that nearly had my side splitting. The most surprising thing was it did not rely solely on Carrey’s penchant for goofy faces, or his ability to contort his lanky frame in fantastical ways. In fact, it was rather subdued in all that, focusing instead on the story and the interactions to build its comedy.
Of course, Jim Carrey was hilarious. He did ride a motorbike in a hospital gown, with his bare backside open to the wind, and he did fall down more than a couple of times. He did wrap his face in tape and do a few strange voices. He also played a man who was struggling with his lot in life, and allowed the audience to go with him as he embarked on a quest to turn it all around.
By agreeing to say ‘yes’ to everything, instead of his usual ‘no’, Carrey’s character Carl encountered experiences that were wonderful, sad, and everything he needed. He also found the lovable Allison, played by Zooey Deschanel. Zooey literally lit up the screen with her effervescent smile and brilliant eyes, and provided Carrey with a charming talent to act off of. Together they created a chemistry that not only kept the audience laughing, but invested in this new, strange relationship.
One of the most hilarious moments involves Carl, a guitar, a suicidal man, a window ledge, and a chorus of onlookers down below. Yes. A chorus. The scene can be viewed online, but it is truly at its funniest in the context of the film. That scene, alone, is enough for me to go see it again.
The Tale of Despereaux: B
A dark, but interesting animated movie about rats and mice. There are chefs and soup and misunderstandings, but I’m not one to buy in to the dire need of comparing it to Ratatouille. In fact, that will be the last time I mention it.
Despereaux, the mouse himself, is a strange little creature with a big heart and a need for adventure, devoting himself to ideals of truth and honor he gleaned for a story book he was supposed to be eating. He gets himself banished from his home in Mouseworld and finds himself in Ratworld instead, where he meets the kind hearted Roscuro and their interwoven, yet separate, journeys unfold.
The plot is a bit convoluted, with side stories for a number of characters, but it all weaves together in the end. There is something profoundly interesting in the plot, and I shamelessly never found myself bored as I watched. Of course, it was far from perfect. A bit clunky, the scenes don’t flow as effortlessly as might be required for fairy tale story telling such as this.
Matthew Broderick has a strange way of delivering his lines, playing the voice of Despereaux, that leave the little mouse seeming constantly confused rather than interested and passionate. Dustin Hoffman makes up for it, providing a charming and thoroughly endearing voice for Roscuro the rat. In fact, the story opens and closes with Roscuro, making the film’s title almost deceptive when you think about who the main character really is.
Seven Pounds: C
Seven Pounds focuses on the story of a man with a tragic past, devoted to the goal of changing the lives of seven strangers for the better.
Will Smith stars in this movie that wants to be as potent as The Pursuit of Happyness, but falls short. Ultimately, it just comes off as self serving, which is more than a little irritating. The fact that this isn’t an aftertaste that the viewer is left with at the credits says a lot. Oh no, this feeling of haughty, “I’m making a point here” pretension is prevalent in every scene of the movie, courtesy of Smith’s constant mugging. His facial expression caught me a little of guard, considering I’ve considered him a pretty natural actor for a while now. Here, however, he seems plagued by this Chaplin-esque need to paint his feelings so clearly on his face, it seems almost amateurish.
Rosario Dawson, on the other hand, has a charming and endearing smile, and gives off a truly lovable attitude. When the two are sharing scenes it becomes much more of a love story than the outlandish plot enveloping it allows. Too bad the scenes have to shift to other parts of the plot. Woody Harrelson is surprisingly effective in what little he is given to do, playing a blind man that Smith’s character has decided to help. He and Dawson are saving graces, and Smith is at his best when playing against him.
The movie loses track of itself by the end, and the final plot twist is so absurd, and yet at the same time completely predictable, that it considerable weakens what might have been a good film. In the end, it’s just another forgettable endeavor that did not quite meet the high bar it had set for itself.
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