F.I.L.M. of the Week (January 8, 2010)

8 01 2010

This week’s “F.I.L.M.” is one of my most unconventional picks yet.  It is not independent, but it is most assuredly first-rate and little-known (at least relatively forgotten).

As soon as I finished my last grueling final in December, I plopped my behind on the couch and began watching a movie.  Scrolling down past HBO, Cinemax, Showtime, TMC, I finally found exactly what I needed as catharsis from the exams.

The movie was “Cats Don’t Dance,” a fun-loving musical that was a staple of my childhood.  I remember how much I loved it when I first saw it at the age of 5, and that passion has not faded a bit as I watched it for the first time in years.

The movie is a celebration of dreams as Danny, the singing cat from Kokomo, heads to Hollywood to light the world on fire.  But things are not what he imagined, and he soon finds that life isn’t easy for an animal actor – especially when his co-star is a tyrannical child actor who refuses to be upstaged. He refuses to be crushed, keeping his optimism while bringing together a large group of animals to recapture their dreams. There are some hilarious characters, including a hippo voiced by Jennifer Tilly and a surly goat voiced by Hal Holbrook, as well as some rousing musical numbers (thankfully all are easily found on YouTube).

It may be a movie for kids, but I think it has one of the most profound quotes I have ever heard in a movie of this style: “They can smash your cookie, but they can never take your fortune.” It’s a great helping of nostalgia for me, but I think anyone can enjoy “Cats Don’t Dance.” It really is that disarming.


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F.I.L.M. of the Week (January 1, 2010)

1 01 2010

The first “F.I.L.M.” of the new decade is Todd Haynes’ “Far from Heaven,” a well-crafted examination of 1950s outlooks on sexuality and race.  The movie draws a great deal of strength from two fine-tuned performances by Julianne Moore, recognized by the Academy Awards as one of 2002’s finest, and Dennis Quaid, criminally ignored.  But in my mind, the movie’s real strength is Haynes’ original screenplay, which makes melodrama bearable.

Moore plays Cathy Whitaker, who leads a seemingly perfect li(f)e.  She has a husband moving up in the corporate world, two beautiful children, an exquisite home, and a high standing in the social sphere of Hartford, Connecticut.  Yet this charmed existence is about to come crumbling down at an unprecedented rate.  She discovers her husband (Quaid) engaging in acts that, if discovered by the judgmental town, would be social suicide.  In order to vent some of her stress, Cathy often strikes up conversations with her African-American gardener Raymond (Dennis Haysbert).  But once again, the town looks upon any sort of kind interaction between the two races as shameful.  As disdain mounts against her, Cathy must decide what she values most: social approval or the satisfaction of following her heart.

Moore is a staggering force as she tries to maintain a facade of proper decorum while her life falls apart.  She plays the sweet, submissive wife with such grace that the contrast is incredibly stark when she loses control of her emotions.  However, this is no surprise from an actress who consistently delivers hard-hitting performances.  The real revelation is Dennis Quaid.  I have never particularly thought him a strong actor, but he shows more raw emotion here than all his other movies combined.  The friction of his desires is played with a gripping intensity that grabs your attention.  “Far From Heaven” is quite melancholy, but Moore, Quaid, and Haynes pull it off with such finesse that it is hard to feel depressed after they release you from their rapturous hold.

(Sorry about the trailer, but it’s the only one on YouTube! The music you are supposed to hear is Elmer Bernstein’s mesmerizing score, which earned him an Oscar nomination.)


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F.I.L.M. of the Week (December 25, 2009)

25 12 2009

As you are hopefully enjoying Christmas day with your family, watch the “F.I.L.M.” of the week, Wes Anderson’s “The Darjeeling Limited,” and be thankful that you are not like this family.  Distant and dysfunctional, the movie follows three brothers (Owen Wilson, Adrien Brody, Jason Schwartzman) on a spiritual journey across India.  However, the trip becomes about more than religion; it brings to the surface many feelings of dissent simmering between the brothers. But this isn’t an unnerving family drama.  It is a Wes Anderson movie, and he manages to delve into our deepest feelings using humor and panache.  “The Darjeeling Limited” is easily his most uproarious and poignant.

Anderson’s characters are always a little quirky and off-beat, but here they are much less bizarre than his other movies (such as “The Royal Tenenbaums”) and hence more relatable.  Each brother is stricken by some sort of painful feeling.  The eldest, Francis (Wilson), has been in a terrible motorcycle accident, forcing him to don an arsenal of bandages.  The middle, Peter (Brody) is still struggling to get over his grief from the death of his father.  The youngest, Jack (Schwartzman), is reeling from a break-up with his girlfriend, obsessively listening to messages left by her.  After a year separated from each other, they unite at Francis’ request on a train called the Darjeeling Limited that runs through India.  He hopes that some sort of grand spiritual experience will unite them again, but factionalism begins to develop among the brothers.  Francis and Jack are angry that Peter can’t seem to let go of his father; Francis and Peter are reviled by Jack’s pathetic handling of his break-up; Peter and Jack are constantly questioning the true motives of Francis and the trip.  Ultimately, it is really the lingering agony at their father’s death and their disgust with the absence and neglect of their mother (Anjelica Huston) that brings them back together.

“The Darjeeling Limited” stands out from Anderson’s other movies not only because it is notably funnier, but also because it is a story told with a great deal of compassion and introspection.  In less than 90 minutes, Anderson unravels the three main characters completely, getting to the core of what brings families together and tear them apart.  The movie’s success is not a solely a triumph of Anderson’s direction and writing (technically speaking, the script was a collaboration with Schwartzman and Roman Coppola).  Its success is due largely in part to the three leading men, constantly adjusting their emotions to fit the overall tone of the movie.  These incredibly aware performances are at times comical, at others somber, and often both.  Wilson, Brody, and Schwartzman are completely believable as brothers, and they are the perfect people to lead us on Anderson’s journey.


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F.I.L.M. of the Week (December 18, 2009)

18 12 2009

This week’s “F.I.L.M.” is “Sherrybaby,” a gritty tale of a former drug addict trying to turn her life around after her release from jail.  The titular character is played with great emotional intensity (hence a disclaimer is necessary) by Maggie Gyllenhaal, and her performance earned a much-deserved Golden Globe nomination.  Unfortunately, she could not propel the movie to financial success, as shown by its $200,000 gross and widest release of 13 theaters.  But nevertheless, “Sherrybaby” is still worth the 90 minutes of your time because of its unsparingly bleak portrayal of a flawed woman forced to confront the consequences of her actions in a decidedly unforgiving world.

After being sprung from the slammer, Sherry has many issues to deal with, but first and foremost to her is to be a good mother to her daughter, who has been living with her brother and his wife.  However, a rift develops over where the true parenting duties lie between the two parties, and Sherry’s distress distracts from the other improvements she has to make in her life.  You know, like steering clear of drugs, getting a job, and staying within the confines of her parole.  As the struggle continues, stability becomes harder to maintain, and Sherry begins to crave what she has forsaken.

In 2006, the year “Sherrybaby” was released, Helen Mirren won Best Actress for her role in “The Queen” that I felt was played completely in cruise control.  Gyllenhaal, on the contrary, is at full-throttle intensity from start to finish.  Her performance is devastatingly raw and wholeheartedly convincing.  She goes all out to make this character real, willing to bear it all (meant quite literally…multiple times) and risk it all.  Her mettle pays its dividends, and Sherry is a remarkable achievement of acting.  The character is somewhat erratic and out of control, but we never doubt that Gyllenhaal is in full control.  As her star shines brighter among mainstream actresses, perhaps she will return to independent film and infuse another role with the same potency she displayed here.


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F.I.L.M. of the Week (December 11, 2009)

11 12 2009

This week’s “F.I.L.M.” (First-Class, Independent Little-Known Movie for those that need a refresher) is George Clooney’s “Good Night, and Good Luck.”  The movie follows newscaster Edward R. Murrow’s stand against Senator Joseph McCarthy’s Communist witch hunt in the 1950s.  But Clooney, the movie’s writer/director, makes the movie more than just a chronicle of events.  The movie isn’t about Murrow or McCarthy, nor is it about the Red Scare.  “Good Night, and Good Luck” is about standing up for what is right even if you are the only one.  Clooney understands the importance of these themes still today and makes a film that will be forever relevant.

The movie takes us back to a much simpler time in television.  Murrow (David Strathairn) is more than just a reporter; he is an orator with well thought-out speeches and firm opinions.  In the era where the Red Scare is at its height and blacklisting is a very present fear, Murrow dared to stand up and call out Joseph McCarthy when no one else would, knowing that he very well could become the Senator’s next victim.  Many people were not willing to take this risk with him; even more bet against him.  But Murrow was unyielding and uncompromising, and he used the power that his voice had to convey to Americans that it is not acceptable to live in a climate where we fear one another.  His forceful discourse indirectly led to the end of McCarthyism and, in this writer’s opinion, will become immortalized in the annals of American history at a level near that of Lincoln’s Gettysburg Adress.

“Good Night, and Good Luck” is for television journalism what “All The President’s Men” is for print journalism, a classic story of ethics.  But the former is packed with an extra punch: a cautionary moral tale.  A speech by Murrow in the late ’50s shown at the close of the movie is particularly haunting as he elaborates about the tremendous power of television and how we must use it to inform people, not merely to entertain and amuse.  Murrow passed away over four decades ago, but Clooney sure wants us to ponder what he would think if he turned on the cable box today.  Would he be proud of the uproars when millions of people miss “Grey’s Anatomy” so ABC can show President Obama’s speech?  Would he be proud of the fact that our news channels are so concerned with political correctness that they become lambs rather than the lions of his day, willing to call out wrong behavior with confidence?  Would he be proud to see dozens more movie channels than news channels on most televisions?  Clooney’s double gut-punch of virtue is a wake-up call that does not go out to just politicians and news anchors.  It retains meaning for people dealing with even the smallest of dishonorable conduct.  Now that is something that would make Murrow proud.


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F.I.L.M. of the Week (December 4, 2009)

4 12 2009

In honor of Jason Reitman’s third feature, “Up in the Air,” opening today, I wanted to use the “F.I.L.M. of the Week” for the first time in correlation with the release of a movie in theaters.  This week’s “F.I.L.M.” is Reitman’s first feature, “Thank You for Smoking.”  A satire that bites with the sharpness of piranha’s teeth, this look at the lobbying industry is absolutely brilliant.  I have come to expect nothing less from Reitman, but he exhibits the deftness of an old pro as a newcomer.

Nick Naylor (Aaron Eckhart) has the gift of oratory and the art of spin, making him the perfect person to argue on behalf of the tobacco industry.  He never tries to justify himself or tobacco; he simply uses the rationale that by proving the other person wrong, you must be right.  Affectionately titled a “Merchant of Death,” he often meets for lunch with his respective counterparts in the alcohol and firearms industry (Maria Bello, David Koechner).  The film follows Nick after the announcement of a proposed Congressional measure to put a “POISON” label on all boxes of cigarettes by a peevish Vermont senator (William H. Macy).  However, Nick’s main struggle is not the label that threatens to destroy the product he promotes, but rather the struggle to balance the job he does with his requirement to be a good father to Joey, his budding adolescent son.  The film is at its best when the contrast between the two is evident: Joey has very black-and-white morals and can’t seem to understand why Nick has such grey ones in lobbying for an industry that kills millions of people each year.

Reitman also penned the screenplay, which is packed to the brim with piquant wit and exciting characters.  He also gets the best out of his actors, and the performance on celluloid matches their panache on the page.  Especially exciting to watch is Aaron Eckhart as he really gets to the core of Nick Naylor.  We really see what makes him tick, and as the story progresses, Eckhart really wrestles with his demons.  He gives us one of the most full and electrifying characters that comedy has ever seen, a true sensation.  “Thank You for Smoking” would be a crown jewel for an accomplished director, but as a first feature, Jason Reitman has set the bar extremely high for his masterpiece.  And if “Up in the Air” is as good as I hear, that bar is up in the atmosphere.


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F.I.L.M. of the Week (November 27, 2009)

27 11 2009

Before I went to see “Fantastic Mr. Fox,” I wanted to get a taste of Wes Anderson’s distinct style.  So I took a friend’s recommendation and watched “The Royal Tenenbaums,” which is this week’s “F.I.L.M.” (First-Class, Independent Little-Known Movie).  I am now officially smitten by the quirky, off-beat humor that people love about Anderson.  He has a very cultish, niche audience, but “The Royal Tenenbaums” managed to make a blip on the mainstream radar.  It made a respectable $52 million (attendance comparable to “The Final Destination”), won a Golden Globe for Gene Hackman’s performance, and was nominated for the Academy Award for Best Original Screenplay.  But for a large group of moviegoers who haven’t experienced Wes Anderson, might I suggest renting this?  You’re really missing out if you haven’t.

The film follows a dysfunctional family that has fallen apart, mainly due to the large egos of the three extremely bright children.  Chas (Ben Stiller) is a successful enterpreneur by his early teens, Margot (Gwyneth Paltrow) is a skilled playwright who is published by high school, and Ritchie (Luke Wilson) finds great success with the game of tennis.  But for different reasons, they all wind up miserable.  Surprisingly, it is their estranged father, Royal Tenebaum (Gene Hackman) who ends this unhappy spell.  With his eccentric and often manipulative ways, he often infuriates them.  But he has a certain charm that has the power to ease the pain of disappointment and fill the gap he has left in their lives with his absence.

One thing that I particularly enjoyed about “The Royal Tenenbaums” is that I could sense Wes Anderson had as much fun making this movie as I did watching it.  He ornately concocts these bizarre characters that seem so far-fetched, yet they hit home in unexpected and delightful ways.  Anderson makes his presence felt throughout the entire movie.  You can feel it in the cinematography, consisting of deliberately framed geometric shots.  You can feel it in the soundtrack, a mix of folk and rock that really sets the atmosphere for his quirky work.  You can even feel it in the font he uses for the titles.  If you were like me, questioning what could possibly make Wes Anderson so special, watch “The Royal Tenenbaums” to be silenced and completely won over.


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F.I.L.M. of the Week (November 20, 2009)

20 11 2009

If you wonder why Marion Cotillard has risen to fame so meteorically, going from a no-name to marquis name in two short years, look no further than the “F.I.L.M. of the Week,” “La Vie en Rose.”  Cotillard envelops herself in the persona of Edith Piaf, France’s greatest popular singer, and the Academy wisely took notice and bestowed the Best Actress statue on her in 2007.  Even if the movie isn’t your cup of tea, the performance will absolutely floor you.  She engrosses herself in Piaf from head to toe; every movement radiates her complete confidence and comfort in the role.

The film chronicles the life of Piaf from her deplorable days on the streets of France up to her last breaths and all the breathtaking highs and tragic lows that occur between.  It presents the events as a broken narrative, mainly presenting the events as memories from an older Piaf.  However, there are three distinct timelines running through “La Vie En Rose.”  The first follows Piaf from her days being fostered by a caring prostitute at a brothel near the end of the Great War to her final performance, the second from the beginnings of her morphine addiction to the collapse of her health, the third from her days feebly eking out the energy to live to her death.  The timelines often overlapped, resulting in some sequential confusion, but Cotillard wows with such finesse that the missteps can be easily overlooked.

A decision I found interesting in the film was the omission of subtitles during Piaf’s songs.  But if you don’t realize it before the thrilling climax, Cotillard’s acting tells you everything you need to know.  Her eyes, her face, her hands, and her body get the feeling across perfectly.  And in the film’s final scene, when she sings “Non, je ne regrette rien” in a decrepit state, you feel every emotion in those two minutes that you have felt throughout the whole movie.  All the happiness, fame, sadness, and tragedy of Piaf’s life pours out poignantly because Cotillard makes them palpable.  I later learned that the title literally means, “No, I Have No Regrets,” and the lyrics express overcoming the grief and sorrow and turning it into strength.  The song is a compelling and prodigiously moving way to cap off a ravishing performance by Cotillard.  This is easily the best female performance of this decade, and it will undeniably remembered for decades to come as a mammoth achievement of acting.


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F.I.L.M. of the Week (November 13, 2009)

13 11 2009

The “F.I.L.M. of the Week” is Gus Van Sant’s “Paranoid Park,” a multi-layered movie that serves as both a crime drama and a portrait of a scared teenager.  The film serves as a testament to the prowess of Van Sant (Academy Award nominated director of “Milk” and “Good Will Hunting”), who not only helmed the movie, but wrote and edited it.  He excels at doing what I love to see filmmakers do: taking a simple premise and using the power of moviemaking to turn it into something extravagant.

Alex (Gabe Nevins) is a teenage skateboarder who makes a split-second decision that turns out to be a big mistake with life-changing ramifications.  The film follows the effect of the event on his life as he, apprehensive, attempts to hide the truth and escape the consequences.  The movie begins with an aura of mystery surrounding what is happening, but in just 80 minutes, Van Sant strips it all away and gets to the core of an insecure and distraught teenager.

The triumph of “Paranoid Park” is not the story, but the storytelling.  Van Sant brings a distinctively different style to this than he did to a movie like “Milk.”  He employs a non-linear story line to replicate the events running together in Alex’s mind.  Alex is a very passive figure in the movie, and we witness the tearing apart of his mind not in his dialogue, but mostly from drawn-out shots of him.  These shots provide such a clear insight into the character thanks to Van Sant allowing the cinematography to shine.  Throw in a soundtrack eclectic enough to rival a Tarantino movie, and you get one great movie to watch.


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F.I.L.M. of the Week (November 6, 2009)

6 11 2009

This week’s “F.I.L.M.” (First-Class, Independent Little-Known Movie) is one that I fully believe has the power to change the world.  “The Constant Gardener” is so emotionally compelling that it can force you to question every opinion you have about helping those in poverty.  I have seen firsthand the poorest people in our hemisphere during a mission trip to Nicaragua this summer, but this movie hit me at nearly the same level.  Director Fernando Mierelles (“City of God“) doesn’t treat their indigence as some sort of spectacle.  He treats them with humanity, willing to feature them as real people with hearts and feelings just like the diplomat played by Ralph Fiennes.  Mierelles almost does for the poor in movies what Dickens did for the poor with literature.

“The Constant Gardener” gained some prestige from Rachel Weisz’s Oscar win for Best Supporting Actress, an award that she unquestionably deserved.  But don’t be fooled by the word “supporting.”  She may not have a great deal of screen time, but the character Tessa, who she plays with brilliance and compassion, is the dominant focus of the movie.  Tessa is a crusader for justice investigating a pharmaceutical company using the destitute in Africa as guinea pigs but possibly treating them like flies, unafraid to alter results of their tests for the betterment of their company.  Her inquiry into the potentially corrupt dealings of the corporations leads her into dangerous territory, unwittingly drawing her husband, Justin (Fiennes), into the fray.  What ensues is a startling portrayal of the consequences of one man trying to do the right thing for the people who don’t have aren’t given a voice.

While “The Constant Gardener” may not exhibit Mierelles’ directorial prowess quite like “City of God,” it is still a breathtaking achievement.  It is unlike most political thrillers, which are usually entangled in plot twists, and conveys a simple story with huge moral implications.  The movie will make you cry for its content, but on a grander level, it will make you weep for the people that Justin and Tessa try to defend.  How much is one life worth?  How far would you go to save a life?  Should help be given to the individual or the group?  “The Constant Gardener” grapples with those questions, but ultimately leaves you to ponder how you feel about the issues.


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F.I.L.M. of the Week (October 30, 2009)

30 10 2009

Squid and WhaleThe honor of being “F.I.L.M. of the Week” is now officially bestowed upon “The Squid and the Whale.”  It is perhaps one of the most brazen movies I have ever seen, and I loved every minute of it.  I should have known by reading the movie’s tagline, “Joint Custody Blows.”  The movie is based on events from the life of writer/director Noah Baumbach (a frequent collaborator with director Wes Anderson), a fact that only enhances the experience.  Chronicling the events following the separation his parents in the 1980s and the chaos that ensues, “The Squid and the Whale” joins “Revolutionary Road” as one of the few domestic dramas that I buy completely.  The believability is a result of Baumbach’s clever dialogue, which got him an Academy Award nomination for Best Original Screenplay, and two powerful performances from Laura Linney and Jeff Daniels that deserved to be lauded much more than they were.

The film is a masterful piece overall, but it is particularly deft at showing the psychological effects of the divorce on all involved.  16-year-old Walt (Jesse Eisenberg) becomes a prime example of how we all become our parents whether we like it or not as he uncertainly navigates a relationship while pondering other options.  On a similar note, 12-year-old Frank (Owen Kline) begins to probe into the sordid secrets of the world of drugs and sexuality with potentially harmful consequences.  And the harm doesn’t stop at the kids.  Both Bernard and Joan, played respectively by Daniels and Linney, have to deal with the breaking of the fragile joint custody agreement.  Their personalities lead to split alliances between the kids; Walt sides with his father while Frank sides with his mother.  And Bernard and Joan only deepen the divisions as poor decisions are made and new romantic relationships are formed.

Even though a comparison was drawn earlier to the heavy “Revolutionary Road,” “The Squid and the Whale” is much different.  It provides plenty of laughs, many from the profuse profanity from Daniels and the young Kline, but equally from some biting, witty dialogue from Baumbach.  His knack for finding the lighter side of the bitter dissolution of a marriage that makes “The Squid and the Whale” such a marvelous film.  And did I mention that it runs only 80 minutes long?


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F.I.L.M. of the Week (October 23, 2009)

23 10 2009

The “F.I.L.M.” (First-Rate, Independent Little-Known Movie) of the Week was unknown to me just a few short months ago.  I was looking at one of my moviegoing companion’s favorite flicks on Facebook and saw there was a movie that I did not recognize.  I, of course, had to ask her what this movie was.  The next day, she lent me her copy, telling me that she couldn’t believe I hadn’t seen it, much less never heard of it.  The movie was “Heathers,” and I quickly realized how criminal it was that I hadn’t seen it.  An absolutely brilliant satire of teenage angst, the movie has a more vintage ’80s high school feel than a John Hughes movie, yet it still retains its significance 20 years later.

Veronica Sawyer (Winona Ryder) has managed to infiltrate the clique of girls who rule the school, all of whom are named Heather.  But Veronica is not like the Heathers; she has qualms about participating in the degradation of other students and about the licentious behavior of the Heathers.  The divide only grows with the arrival of J.D. (Christian Slater), a mysterious, edgy boy that instantly attracts Veronica’s attention.  He shows her what life could be without the practically despotic rule of the Heathers, and she likes his vision.  Together, they begin picking off those who ruin the lives of others.  To clear the air, they do exactly what that last sentence sounds like: killing the tyrannical and making it look like suicide.  But they fail to realize that what they find poetic justice is seen by society as the latest fad among teenagers.  Suicide becomes viewed as an attitude, no different than the “Valley Girl” craze.

“Heathers” is a better version of “Mean Girls” with the guts to make a statement about the true nature of teenagers.  Don’t get me wrong, I love Tina Fey’s writing, but the characters here are fully realized and very real.  It is designed to really make you think, especially teens like me.  The movie calls upon you to wonder how seriously we should be taken.


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F.I.L.M. of the Week (October 16, 2009)

16 10 2009

The “F.I.L.M.” (First-Class, Independent Little-Known Movie) of this week does not precisely fit its billing.  It is not independent (in fact, it’s a studio movie), but unfortunately it is little-known.  Released just last September, “Ghost Town” is one of 2008’s hidden jewels.  It is a witty and wry comedy with a simple yet fantastical premise.  While undergoing a surgical procedure, Bertram Pincus (Ricky Gervais) dies for seven minutes.  He walks out of the operation with a strange side effect – he can see and communicate with the souls of the dead.  While our natural inclination as skeptical moviegoers is to assume that we know the plot just by hearing the premise, “Ghost Town” defies the clichés.  The result is a sentimental movie that tickles the funny bone but warms the heart (and potentially rupturing the tear ducts).

As mentioned earlier, Pincus is unwillingly able to talk to dead people.  One such soul, Frank Herlihy (Greg Kinnear), takes a special interest in Pincus.  Frank wants to use Pincus to tie up some loose ends from his former life.  His widow, the gorgeous paleontologist Gwen (Tea Leoni), is engaged to a man who doesn’t deserve her.  However, the misanthropic Pincus is hardly an ideal wooer, and it will take all that is in him to unleash something resembling charm.  As he grows to know Gwen, patches of sensitivity are revealed beneath his Scrooge-like coating.  But even more unexpectedly, through the ghost that follow him and bark demands incessantly, Pincus begins to discover what a tremendous impact his life could have on everyone around him.

I love a movie with a message, yet it is nearly impossible to find one that has good values without being overly preachy.  “Ghost Town” strikes just the right cord, pushing its message but not getting in your face with it.  The lessons that Pincus learns are applicable to our everyday lives, and they can be summed up in a quote from Albert Einstein: “Only a life lived for others is worth living.”

I implore you to give “Ghost Town” a view sometime soon.  It plays all the time on HBO, so there’s no reason not to watch; resist the temptation to watch some other mindless movie.  If you want some light entertainment with a soul, this is your movie.


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F.I.L.M. of the Week (October 9, 2009)

9 10 2009

“Girl, Interrupted” has the illustrious honor of being featured as this week’s F.I.L.M. (First-Rate, Independent Little-Known Movie).  The movie has gained some notoriety for establishing the star of Angelina Jolie, winner of the Oscar for Best Supporting Actress for her performance.  The movie made a small sum at the box office, but it has now been relatively forgotten.  I have seen it sitting in a bargain bin at Blockbuster a fair few times.  But I decided to watch it on HBO during the summer, and the movie definitely does not deserve to be buried in a cardboard box with several installments of “Saw.”  It is a well-thought, provocative study of a woman and the society that may have been the push off the cliff of sanity.  Virtually every element of director James Mangold’s movie is fully realized, unfortunately uncommon among movies nowadays.

The film begins with Susanna Kaysen (Winona Ryder) narrating: “Have you ever confused a dream with life? Or stolen something when you have the cash? Have you ever been blue? Or thought your train moving while sitting still? Maybe I was just crazy. Maybe it was the 60’s. Or maybe I was just a girl… interrupted.”

Her epigraph sets the tone for the whole movie as she is coaxed into entering an asylum with borderline personality disorder.  There, she meets compulsive liar Georgina, anorexic and self-destructive Daisy (Brittany Murphy), the loner and occasional transvestite Cynthia, burn victim Polly A.K.A. “Torch,” and the queen bee, possibly sociopathic Lisa (Jolie).  Susanna’s friendships define her stay at the hospital, especially the alluring Lisa.  As they swap pills, defy authority, gossip, abuse, and betray, Susanna is definitely affected.  But the more time she spends in the hospital, does the pendulum swing towards sanity or insanity?

As far as similar movies go, “Girl, Interrupted” is not a classic in the vein of “One Flew Over The Cuckoo’s Nest.”  But there is definitely some great stuff at work in this film.  Mangold manages to find humanity and happiness in a place as dark and dreary as an asylum.  The movie, while tough to digest at times, provides some very tender and touching moments as well.  I found my heart completely captured by a scene outside of the solitary confinement room where Lisa and Susanna sing Petula Clark’s “Downtown” to one of their friends to raise her spirits.  But the movie is more than just moments; the whole work gets the brain racing.  Don’t be surprised if the definition of insanity becomes a little hazier for you or if you start to wonder if the “millennial” decade has taken a toll on you.


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Categories : F.I.L.M. of the Week, Movie Reviews

F.I.L.M. of the Week (October 2, 2009)

2 10 2009

“Notes on a Scandal” is this week’s F.I.L.M (First-Class, Independent Little-Known Movie).  The movie opened in 2006, and it barely received a wide release.  It didn’t exactly light the box office on fire, but the right people took notice and nominated it for 4 Oscars, including Best Score, Best Adapted Screenplay, Best Supporting Actress (Cate Blanchett), and Best Actress (Judi Dench).

I watched “Notes on a Scandal” with very little knowledge of the plot, but little did I know that a shockingly provocative movie was awaiting me.  The movie revolves around the themes of passion, jealousy, and greed, but it uses pedophilia, lesbianism, and adultery to highlight them (yet another movie I recommend with discretion).  The script is practically immaculate, but the movie soars to great heights mostly because of its incredible performances.  Dench takes the lead and creates a character that you can really loathe, yet she infuses the crotchety old hag with enough warmth to make you feel the tiniest bit of sympathy.  Blanchett reminds us why she is one of the most respected actresses in Hollywood with an absolutely dynamite performance.

The movie will undoubtedly remind you of “Doubt,” but replace doubt with certainty.  Barbara Covett (Dench) catches her fellow teacher Sheba Hart (Blanchett) involved in a sexual act with one of her teenage students.  Rather than report the relationship, Barbara decides to befriend Sheba and help her.  Sheba reveals all to her colleague, and her deplorable rationale will assuredly lead you to hate her.  But as events continue to unfold, Barbara’s true motives begin to surface, exposing her to be practically The Joker with wrinkled skin.  Unfortunately, Sheba is so distraught that she falls right into Barbara’s web of deceit.  But as the film draws to a conclusion, we are never sure who is the hero or villain, much less who is doing the right thing.

“Notes on a Scandal” is a movie that will remind you of Hollywood’s dearth of thought-provoking films.  Guaranteed to get your mind racing and your heart pumping, it provides an intimate portrait of emotions that we so often try to hide.  At a slim 92 minutes, it is a good rental if you want to watch a movie that you can still be pondering next week.


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