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The Revenant is, perhaps, one of the most visceral movies you will see in some time. Everybody involved, from the technicians to the designers to the screenwriters (Mark L. Smith and Alejandro Gonzales Inarritu from a novel by Michael Punka), to the director (Inarritu) seemed to have gone out of their way to give the movie a feeling of verisimilitude that can be matched by few films.
The dirty bodies and clothes and rotting teeth (you can almost smell the bad breath); the zip of an arrow through a man’s throat; the blood flowing from wounds made by knifes, bullets and hatchets; and the never ending harsh environment of snow and icy rivers (I almost caught the flu) are all paraded proudly for public consumption.
This is probably best demonstrated with what may now be the infamous bear attack scene in which our hero (Hugh Glass, played very bravely and stoically by Leonardo DiCaprio) is mauled, bitten and strewn all over the place by a mama grizzly fearing for her cubs. It’s an amazing bit of filmmaking and in many ways deserves all the praise it has earned.
And it goes on for a very long time. Read the rest of this entry »
MAN ON THE VERGE OF A NERVOUS BREAKDOWN: Movie review of Birdman (or the Unexpected Virtue of Ignorance)Posted: November 6, 2014 | Author: Donald | Filed under: Uncategorized | Tags: Alejandro Gonazalez Iñárrritu, Alexander Dinelaris, Antonio Sanchez, Armando Bo, Benjamin Kanes, Birdman, Edward Norton, Emma Stone, Emmanuel Lubezki, Lindsay Duncan, Michael Keaton, Naomi Watts, Nicolás Giacobone, Zach Galifianakis | Leave a comment »
First, a word from our sponsors. Ever wonder what a reader for a contest or agency thinks when he reads your screenplay? Check out my new e-book published on Amazon: Rantings and Ravings of a Screenplay Reader, including my series of essays, What I Learned Reading for Contests This Year, and my film reviews of 2013. Only $2.99. http://ow.ly/xN31r
Michael Keaton’s career has been what I would call somewhat unusual. He hit his stride early with the movie Beetlejuice and Clean and Sober and then was cast as Batman (and today is still many people’s favorite wing man). He looked like an actor on the rise.
Then after that? Well, I’m not sure how to describe it, but he seemed to do whatever he could to not go the way of fellow thespians like Jim Carrey and Adam Sandler, constantly required to star in the same kind of over the top, often obnoxious comedies that made fortunes at the box office (at least for a time) while trying to make more “meaningful” films on the side.
Instead, Keaton seemed to flee iconic roles and try to define himself as a more serious performer. But in the years since those early parts, it felt more like he was trying to find characters to play that would define him as an actor, rather than succeeding in actually reinventing himself.
The results generally fell into two categories: leads in such films as The Paper, Desperate Measures and Speechless, movies that either flopped or no one remembers; and supporting parts in such movies as Much Ado About Nothing, Jackie Brown and Out of Sight, where, for me, he never felt quite comfortable. Read the rest of this entry »
In the House, the new film from writer/director François Ozon, is a movie where you wait an hour and forty-five minutes for the other shoe to drop…and it never does.
The basic premise revolves around Germain, a somewhat bitter high school teacher, who assigns his literature class an essay about what they did over the weekend. The results are depressingly high schoolish until he reads one from student Claude who writes about his attempts to insinuate himself into the household of a fellow student who has an ideal, Andy Hardy/Donna Reed middle class home. The essay is condescending and laced with wry observations, but it shows talent. It also ends with “(to be continued)”. As the film goes on, Claude gets inside that household and writes more and more (to be continued) essays until Germain is so hooked that he not only spends extra time with Claude, he also helps him in ways that will come back to bite him in the ass.
The movie starts out well and even makes your mouth water at the possibilities here. Just what is this Claude up to? And why is he involving Germain? But alas, these are the shoes that never drop. And as the story continues, often backed by a thrilling music score by Philippe Rombi that makes you think something exciting is transpiring on screen even when it isn’t, the more and more puzzling the whole thing becomes. Not only do we never find out exactly what is going on, it kind of ends with the idea that nothing was ever going on at all in the first place. But if so, then what was the point of it all?
Equally puzzling, and I think one of the major problems with the movie, is that as Claude continues on with his soap operic observations of this family, the better Germain (as well as his wife who also starts reading the essays) thinks Claude’s writing and story is becoming, when in actuality, the less and less interesting, the more banal, boring and clichéd, it turns out to be. Let’s face it, Claude was never going to be mistaken for Proust, but still it’s just difficult to believe that Germain continues to have such a high opinion of his student the more he reads. Even more puzzling is that as the essays pile up, the more obvious it is that Claude is at times just making things up (if he’s not, then he’s even a worse writer than he appears). But this never seems to dawn on Germain, perhaps the most unbelievable aspect of the film.
It must be said that though the actors never quite sell the premise and plot turns, their performances are still first rate. Frabrice Luchini, a character actor with a face that Walter Mathau would be proud of, plays Germain with a certain hang dog loopiness. Kirsten Scott Thomas plays his wife and it’s one of her sharpest performances. Ernst Umhauer is Claude with a smile just this side of Damien in The Omen. Also in a blink or you’ll miss it cameo is Yolando Moreau, proof that even in France, as over here, if you win the equivalent of the Oscar for Best Actress but don’t look like Catherine Deneuve, you’ll still be stuck having to play parts insultingly unworthy of you.
The conversation I had with my friends after seeing Mud, the new Matthew McConaughey vehicle by writer/director Jeff Nichols (who also gave us Take Shelter and Shotgun Stories), went something like this: Them: “What did you think”, Me: “I think it moved a little leisurely”, Them: “A little?”, Me: “All right. It was as slow as molasses”, Them: “Thank you”.
Yes, Mud is not the most forward momentum of movies. And in a way that’s rather surprising given the basic subject matter. Ellis, a young teen, and his best friend go look at a boat that has lodged in a tree after a recent flood, but discover that someone is living there, the title character Mud, who is in town to rescue the woman he loves and take her away before he is killed by the bounty hunters hired by the father of the woman’s boyfriend Mud killed after the boyfriend beat up the woman. Sounds pretty much like a ticking time bomb of a premise to me, but the movie tends to get diverted along the way with the teen’s problems with his parents who are drifting apart and his attempt to win the heart of a girl who is out of his league, until the tension all gets a bit waterlogged since Nichols just can’t get as much energy flowing for his other through lines as he does for the one concerning Mud.
But there’s also something else missing from the heart of this movie. One of the major leit motifs here is that Mud is constantly described as a liar and nothing remotely as he presents himself. The woman he loves says it; his substitute father figure says it; even Mud says it, until at one point even Ellis himself screams it at him. Yet, oddly enough, the one thing that Mud never does is lie. Everything he tells Ellis is pretty much exactly on the level with not one whiff of misrepresentation. Well, that’s not exactly accurate. Mud does tell a whopper once. When Ellis yells out at him that women aren’t worth loving, Mud tells him that’s not true. Except that within the context of the movie, Ellis is right and Mud is lying. All the women in the movie do nothing but declare their love for a man, then stab him in the back. I suppose that Nichols might be saying that the nobility of the male of the species resides in the tragedy of their continual decision to fall in love in spite of how unworthy their beloveds are. Still, it all seems a bit odd to me.
The point, though, is that this sort of throws Ellis’s journey off a bit. The audience is being set up for Ellis to learn some big secret about Mud, a lie that will change Ellis forever and help him on his journey to adulthood as is the wont of coming of age films. But there is no secret. It’s all a red herring. And Ellis learns something about life, but it has little to do with the title character.
The movie is lovely to look at with languorous vistas of sunsets and open waters and there’s a nice feel for small town life. It has a slam bang climax that’s not that believable, but is incredibly satisfying emotionally. The acting is solid, though it’s Sam Shepard as the father figure who gives the most interesting performance. Tye Sheridan as Ellis is capable. And McConaughey does his McConaughey thing, though this time he only strips down to his bare chest. Oh, yeah, uh, Reese Witherspoon and Michael Shannon are in it, too.
Tortuous. I’m sorry, but I don’t know how else to say it. Writer/director Terence Malick’s new film To the Wonder is…tortuous. Directed/filmed/edited in the same style employed for the central section of his last film The Tree of Life, a series of quick glimpses and expressionistic scenes, To the Wonder starts out somewhat hypnotically with gorgeous cinematography by Emmanuel Lubezki. But it’s not long before one quickly realizes that there ain’t a lot going on here and what there is, isn’t that original or interesting. In fact, the best way to summarize it might be to say that there seems to be some sort of story here, but Malick is desperately determined not to tell it. It concerns a man’s relationship with two woman, one a French citizen he brings to America with her child and whom he grows tired of, the second an old flame that he has a fling with and whom he grows tired of. As the film goes on it begins to resemble more and more a classical music video that one might find on a PBS station after its daily schedule is over. And the aesthetic approach, the snippets of scenes sewn together with a somewhat impressionistic, improvisational feel, seems as if it’s not there to bring more insight and depth to the relationships semi-dramatized in the movie, but chosen to cover up the idea that there’s really nothing of interest going on. The characters are played by Ben Affleck and Olga Kurylenko (who seem to spend much of their time quietly avoiding each other while living in a house they can never seem to finish and is filled with boxes and suitcases that are never fully unpacked—I think this is what is called symbolic), with Rachel McAdams as the old girlfriend and Javier Bardem as a rather unimpressive priest who does little but walk around in existential agony, though not in as much existential agony as I was in watching the movie.
Tell me what you think.