Celebrated the Fourth of July with a mini-movie marathon--and all were corkers.
First up is the Pixar sequel to the TOY STORY films, TOY STORY 3, which in spite of the fact that it is showing in 3-D, it was not necessary to see it that way. In fact, I'm coming to the conclusion that the only reason for 3-D in most cases is to bilk an extra $3 from the film-going public. 3-D for me is hard to watch--most of the theatres are not projecting the film in strong enough light, so you end up squinting and getting a headache or strained eyes. And the glasses don't fit over regular glasses very well, so it is uncomfortable to wear them. In this case, the story and script are strong enough that the few swooping 3-D effects weren't that necessary or interesting anyway. The film made us all (four adults) cry at the end, and when was the last time an animated feature made you do that? (CHARLOTTE'S WEB 1973 and RATATOUILLE 2007 spring to mind.) A simple, logical story carries all of life's emotions (joy, laughter, sadness, hatred, love, friendship) and in a most unusual and potentially frightening scene, the acceptance of death by fire (hell?) is explored with graphic and powerful imagery. This is another smart, thoughtful masterpiece of animation. GRADE----- A
Director Nicole Holofcener has directed four very definitive films featuring strong women
and intelligent dialogue and wry contemporary story lines, and all of them have featured Catherine Keener. Interestingly enough, she looks a lot like Keener, too.
Her first film is the cult favorite WALKING AND TALKING (1996) with Anne Heche, followed by LOVELY AND AMAZING (2001) with the memorable Brenda Blythen, FRIENDS WITH MONEY (2006) with the amazing Frances McDormand and Jennifer Aniston, and now her new film called PLEASE GIVE which also features a strong cast including Oliver Platt, Rebecca Hall, and Amanda Peet. But it is Catherine Keener's film, and she gives the most un-neurotic performance of her career. She's a bleeding heart liberal embarrassed by her successful chic furniture store--the film is character driven, so we see her interact with her neighbors and clients and daughter and husband. See also her Oscar nominated performances BEING JOHN MALKOVICH (1999) and CAPOTE (2005). PLEASE GIVE is a smart, intelligent comedy drama with strong uses of the streets and attitudes of New York City (Holofcener also directed some episodes of TV's SEX IN THE CITY.) GRADE------- A-
THE CITY OF YOUR FINAL DESTINATION is the latest from James Ivory, and it is a low-key, subtle story set mostly in Uruguay of a young professor who visits the family of a dead author to get permission to write his biography, but meets some resistance from the widow (a tightly clenched Laura Linney) and the gay brother (Anthony Hopkins) and the mistress with whom the author had had a child. The plot is secondary to the leisurely mood, the flavor of the characters, the boredom of living in so much seclusion, and the pleasure of watching the relationships between the characters change and develop. For serious film-goers it is a thoughtful, unique treat. GRADE------- A-
The surprise winner of this year's Best Foreign Language film, THE SECRET IN THEIR EYES is still playing a long (but limited) run. I can see what was so attractive for Academy voters. This Spanish film plays like a murder mystery (think TV's COLD CASE). A now retired law clerk investigator is troubled by a 25 year old murder and does some research to settle his mind about the ambiguities of the case, and in so doing reopens his love interest in his old boss with whom he almost had a relationship, but she got married when they had a miscommunication long ago. There are a couple of surprise twists, although the final shocker I guessed correctly about 10 minutes before it is revealed. Well made and engrossing thriller. GRADE------ B+
It plays exactly like you think it will play, but that is enough, because the cast is so likable in the new comedy CYRUS. John C. Riley is in check, and a very charming actor this go-around. As he states early on, he's a SHREK, so when he meets and clicks with the lovely Marisa Tomei (MY COUSIN VINNY, THE WRESTLER) he can't believe it. Then he meets her son Jonah Hill (who is so funny in GET HIM TO THE GREEK) who has a possessive thing for mama, and the conflict leads to ---well, it leads to exactly where you think it will lead. GRADE------B
Watched a DVD of one of the top SIFF documentaries TOPP TWINS : UNTOUCHABLE GIRLS that I purchased at SIFF and it is still a funny and informative story of their lives up to now. What struck me this time is the humor each has towards their career and lives, and how their personal story is so involved in the history of New Zealand and Kiwi politics. U.S. politics seems like a shadow when it comes to be compared with New Zealand's social politics--dealing with indigenous land rights, gay rights, women rights, nuclear proliferation and other issues, New Zealand is much more progressive. Hopefully this will have a theatrical run--or watch for this on DVD soon. GRADE------ A-
I'd never heard of DAISY KENYON (1947) but my wife caught part of it on TV and ordered it through Net Flix. This is a very smart and adult love triangle story, directed by the notoriously fine Otto Preminger just before he started to explore his big themes in the late 50's like drug addiction, homosexuality, interracial love, etc. , and the cast is top notch. Independent Joan Crawford, who may have been a bit old for this part but still engages our sympathies, is mistress to an arrogant married lawyer (Dana Andrews, who of course promises to divorce his wife Ruth Warrick when the time is right...) but then she becomes attracted to Henry Fonda, just back from the war and an odd, emotional wreck. The film really plays with our sympathies and keeps us guessing which guy she will end up with, but also includes subplots of child abuse, Japanese internment during WW2, and infidelity. And I kept wondering--these are the only choices Joan has?!? This is filmed like a moody film noir, with characters going into and out of shadows, and music and direction suggesting suspense and tension, but it really keeps you on your toes, and has some great lines. This could be the lost classic of the year, so definitely look for it. GRADE----- A-
Bottom of the barrel this week was the recent version of THE TAKING OF PELHAM 123 (2009) which takes the sly, cynical, humorous mood and plot of the original 1974 film with Walter Matthau and Robert Shaw and turns up the volume 100%, but to diminishing results. The camera work is herky jerky, the sound is deafening, and the subtlety is gone. In an effort to update the plot, they make Washington's character a suspected white collar criminal (!?!) and Travolta's character a cruel revenge seeking psychopath. In today's world I don't think they could do the things the 1974 version got away with. I did enjoy the efforts of Denzel Washington to bring some depth to an awkwardly written role, but mostly I was just glad when it was finally over. I plan on watching the original classic again soon so make sure to order the original from 1974 when you request it on DVD. GRADE------ C-
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