REVIEW: Christine

18 10 2016

christineSundance Film Festival

If “Nightcrawler” had a spiritual prequel, Antonio Campos’ “Christine” might fit the bill. This true story of 1970s news anchor Christine Chubbuck, played with masterful precision by Rebecca Hall, hinges on the maddening descent of local television into the “if it bleeds, it leads” culture. The downward spiral of Christine’s profession matches her own personal crisis as internal demons wrest influence away from her sanity.

Rebecca Hall, most likely known to audiences for bit parts in films like “Iron Man 3” or her memorable supporting turn in “The Town,” finally gets to shine like the talent Woody Allen recognized when he cast her as the lead in 2008’s “Vicky Cristina Barcelona.” Though Christine’s notorious final on-air stunt has come to define her in the public memory, Hall’s performance finds her deep, troubled humanity and recreates it to devastating effect.

Christine tries to make a name for herself doing positive human interest stories with the verve of a true filmmaker, positioning herself against the grain of exploitative pulp. We know it’s a losing battle, and for the most part, so does she. Both the character and the audience alike are caught in a mutual death pact of dramatic irony, sensing the tragic end ahead but unable to turn away or turn the tide. Watching Christine’s unease mount in everything from an ill-fated romance with more successful co-anchor George Ryan (Michael C. Hall) to decaying relationship with the mother (J. Smith-Cameron) that still houses her provides the true motor of the film. Individual events matter less than the escalating paranoia, both real and imagined.

Director Antonio Campos resists easy sympathy for Christine, making her neither martyr, victim or antihero. She is a vividly realized person to us, but she is also someone whose narrative we experience through the moderation of a screen. As such, he often adds distance to her within the composition of a shot, photographing her through another video inside the frame. “Christine” treads this tricky line between sympathy and alienation with remarkable exactitude, just as it balances personal dissatisfaction against cultural sensationalism. A-3halfstars





REVIEW: Margaret

30 04 2013

MargaretIt’s hard to talk about authorial intent in “Margaret” when the studio interference on the project was so insane.  Long story short for those who don’t know: the movie was supposed to be released in 2007, but Kenneth Lonergan failed to lock in a cut to Fox Searchlight’s satisfaction.  Ultimately, they quietly dumped a version of “Margaret” into the theaters that was much shorter that Lonergan would have liked.

And indeed, what I saw in the theatrical cut (sorry, folks, did not drop the money to watch the director’s cut) was a little messy.  But for whatever reason, that didn’t bother me.  I was along for the ride with “Margaret” the whole way through, drawn in to the story by its imperfections.

There’s something very fascinating about knowing that a movie’s flaws are not something invented in your head.  And in such a realization, you can start to find the diamond in the rough by peeling away the layers of sloppiness you observe.  “Margaret” in its very journey to the screen is not about the drudgery of life but rather the painful process of art.  There’s a little bit of magic in getting to find your “Margaret” inside of what Fox Searchlight and Lonergan slapped together for us to avoid litigation.

My “Margaret” is a compelling drama of post-9/11 guilt and anger unfolding in New York City, told from the perspective of an ordinary girl, Anna Paquin’s Margaret.  On just any old day walking, she observes the death of innocence at the hands of a vast piece of machinery.  No, I’m not talking about the planes flying into the World Trade Center; I’m talking about a sweet old lady being struck and killed by a bus.

I don’t want to overload the allegory, though, but it’s impossible not to feel the legacy of the tragic day looming over all the proceedings.  On a human scale, it’s an affecting tale of a mother (J. Smith-Cameron’s powerfully acted Joan) and daughter, a teacher (Matt Damon’s earnest Mr. Aaron) and a student, as well as victims, perpetrators, and observers.  And that’s the beauty of watching the imperfect “Margaret” – doing your own internal rack focusing is not just encouraged.  It’s practically required to make sense of the events.  B+3stars