tag:blogger.com,1999:blog-61704433082509835812024-03-04T20:15:39.462-08:00City Lights: A Film BlogLaurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.comBlogger201125tag:blogger.com,1999:blog-6170443308250983581.post-86921765273490388402013-06-06T05:45:00.001-07:002013-06-06T05:45:09.374-07:00Creating a new blog<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiROv51sCYeo69iyJcAKCS7LBmPFOEJ2cTgjjn3od9reC8ac8jSz_skXf9MjB4aqDcuRS_H3OEWlhPDBnL5aXkHuvxzgklkJn3LRok0FH-MH2USXMdMGM7OISoCCYpwt1N8jECJ5-2yGvrg/s1600/MarilynMonroe.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiROv51sCYeo69iyJcAKCS7LBmPFOEJ2cTgjjn3od9reC8ac8jSz_skXf9MjB4aqDcuRS_H3OEWlhPDBnL5aXkHuvxzgklkJn3LRok0FH-MH2USXMdMGM7OISoCCYpwt1N8jECJ5-2yGvrg/s320/MarilynMonroe.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Marilyn Monroe</b></td></tr>
</tbody></table>
Hey everyone!<br />
<br />
I'm currently working on a brand new blog that will focus primarily on classic film and film book reviews. I plan on pulling classic film content I currently have existing on this site and bring it over to my new one, along with creating new content along the way.<br />
<br />
I'm really excited about this new project.<br />
<br />
As much as I enjoy reviewing the latest movies in theatres, I find my real passion lies with classic film and I think that creating a new blog that focuses solely on movies prior to 1975 will enable me to watch even <i>more</i> of the stuff that I'm truly interested in.<br />
<br />
I've had this little blog since 2009 and some of you have been following me for all four years that I've had this thing up and running -- which I greatly, greatly appreciate.<br />
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I'll keep you posted on the launch of my new blog. In the meantime, it's unlikely that I will be updating this one anymore. My energy will be focused solely on the new blog and deciding which content to bring over from here.<br />
<br />
However, I'm currently a twice-weekly contributor at <a href="http://prettycleverfilms.com/">Pretty Clever Films</a> and an occasional volunteer film critic at <a href="http://nextprojection.com/">Next Projection</a>. So I may bump into you over there! <br />
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I will still continue to keep myself updated on everything the rest of you are writing about and I look forward to catching up again in the near future!<br />
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Thanks again, everyone!<br />
LauraLaurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com2tag:blogger.com,1999:blog-6170443308250983581.post-75616703908991583222013-05-17T08:25:00.000-07:002013-05-17T08:33:52.229-07:00Movie Review: Star Trek Into Darkness<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCmLHJ0jHoIo84p7WwXySTGCo53C_3y086NQXBtX93c68HcgA01eZl5kPfIQ_hcJwPRRZ0fvPXkHhgV-E_tDN1saucTaaDRZb1Httwe8zdDyQuVLzGsl86hYZD11INdm4YvMN55QiEmGw5/s1600/star-trek-into-darkness-picture-kirk-spock.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCmLHJ0jHoIo84p7WwXySTGCo53C_3y086NQXBtX93c68HcgA01eZl5kPfIQ_hcJwPRRZ0fvPXkHhgV-E_tDN1saucTaaDRZb1Httwe8zdDyQuVLzGsl86hYZD11INdm4YvMN55QiEmGw5/s320/star-trek-into-darkness-picture-kirk-spock.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Zachary Quinto and Chris Pine</b></td></tr>
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<i><b>Star Trek Into Darkness</b></i><br />
<b>Directed by: </b>J.J. Abrams<br />
<b>Starring:</b> Chris Pine, Zachary Quinto, Benedict Cumberbatch and Zoe Saldana<br />
<br />
Back in 2009, <a href="http://www.imdb.com/name/nm0009190/?ref_=tt_ov_dr">J.J. Abrams</a> (aka. the current Master of Geek Pop Culture) reinvigorated a once-tired franchise with a cast of relative unknowns. A risky venture, to be sure, but new audiences and long-time fans benefited greatly. Like <i>The Dark Knight </i>before it, <i>Star Trek </i>is considered a prime example of how to rebrand a flagging franchise, injecting new life into something that had grown stale over the years.<br />
<br />
Now, four years after his first foray into deep space became a box office smash, Abrams once again returns to the <i>Star Trek </i>universe as producer/director. <br />
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Abrams, with the help of new head writer <a href="http://www.imdb.com/name/nm0511541/?ref_=sr_1">Damon Lindelof</a>, continues to tweak the <i>Star Trek </i>canon, yet still manages to appease both the majority of diehard fans and newcomers to the series. And, while <a href="http://www.imdb.com/title/tt1408101/?ref_=sr_1"><i>Star Trek Into Darkness</i></a> lacks the excitement and freshness of its predecessor, it's still the type of rousing blockbuster you look for around this time of year.<br />
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The latest installment is set approximately one year after the events of the first film. Captain James T. Kirk (<a href="http://www.imdb.com/name/nm1517976/?ref_=tt_cl_t1">Chris Pine</a>) is tenuously hanging onto his control of the <i>USS Enterprise</i> after angering his higher ups during a botched mission on a primitive planet. However, Admiral Marcus (the overly campy <a href="http://www.imdb.com/name/nm0000693/?ref_=sr_1">Peter Weller</a>) is willing to brush off Kirk's rookie errors when a new threat reveals itself in the form of embittered former Starfleet crewman, John Harrison (<a href="http://www.imdb.com/name/nm1212722/?ref_=sr_1">Benedict Cumberbatch</a>). Harrison's attacks are grand in scale, meant to draw attention to his true motivations -- all of which is gradually revealed as the film progresses (although, as is so often the case with blockbuster super-villains, his plan is elaborately and unnecessarily complex). With Spock (<a href="http://www.imdb.com/name/nm0704270/?ref_=sr_1">Zachary Quinto</a>) by Kirk's side, as his usual logical and truthful self, the young captain gathers together his crew and sets out to eliminate this latest universal threat.<br />
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There's some interesting commentary on terrorism and the use of weaponry to achieve a certain outcome brimming just beneath the surface. Unfortunately, the script only lightly touches on these themes and, while Kirk and Spock occasionally spar over codes of ethics and the role of vengeance, their conversations quickly dissolve into yet another CGI-laden action sequence. But, in the end, isn't that all we really want?<br />
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Just as was the case with the first film, <i>Into Darkness </i>boasts an entertaining and likeable cast. All returning characters are on top of their game, including the disappointingly underused Dr. "Bones" McCoy. How <a href="http://www.imdb.com/name/nm0881631/?ref_=sr_1">Karl Urban</a> manages to make his incarnation so memorable despite very little screentime is a credit to his comedic chops. The rest of the cast from <a href="http://www.imdb.com/name/nm0757855/?ref_=sr_1">Zoe Saldana</a>'s Uhura to <a href="http://www.imdb.com/name/nm0158626/?ref_=sr_1">John Cho</a>'s Sulu make due with significantly reduced screentime.<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimpbnhTuToYfq_ZSn3SOPwCTawiAJpMeTtvwEDPY50oJArfHmJri495zxSB5bQ3eebJvYVNzLGDWUoFEX0Si7QesZYDzgiApFYtE7ZVJ7bE2L6NoTQ9MLxIAJ1nbLG6CAORjJRUNhihCfT/s1600/2855020-benedict_cumberbatch_star_trek_into_darkness_2.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="167" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimpbnhTuToYfq_ZSn3SOPwCTawiAJpMeTtvwEDPY50oJArfHmJri495zxSB5bQ3eebJvYVNzLGDWUoFEX0Si7QesZYDzgiApFYtE7ZVJ7bE2L6NoTQ9MLxIAJ1nbLG6CAORjJRUNhihCfT/s320/2855020-benedict_cumberbatch_star_trek_into_darkness_2.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Benedict Cumberbatch</b></td></tr>
</tbody></table>
<br />
It's Kirk and Spock, and their complex relationship, that is the heart at the centre of <i>Into Darkness.</i> Quinto, in particular, has really matured into the role, ably conveying Spock's conflicting nature -- does he give in to his human side and reveal his true emotions or does he remain the stoic Vulcan that everyone (sometimes grudgingly) respects? It's ultimately his friendship with Kirk that leaves Spock grappling with how to react to the chain of events occurring around him, and audiences will appreciate his blossoming relationship with Kirk. Pine, although not as strong an actor as Quinto or even Cumberbatch (more on him in a minute), embodies the role of Kirk with a balance of gusto and arrogance. While he's still quick with a one-liner, his Kirk has evolved from the pretty, swaggering playboy he portrayed in the first film. He's more world-weary, with the weight of his new role as captain resting heavily on his shoulders.<br />
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As John Harrison, Cumberbatch uses his British baritone to full effect, slowly spitting out his evil intentions with a snarl and a gleam in his eye. A talented actor, Cumberbatch clearly relishes his new role as a villain after two seasons as the anti-social anti-hero on the wildly successful BBC series, <i>Sherlock</i>. Yet, despite Cumberbatch's best efforts, Harrison doesn't quite live up expectations. Perhaps its the dedicated fanbase that built up anticipation around Cumberbatch or the months of speculation as to his characters' true identity, but John Harrison isn't given enough screentime to completely solidify him as one of the greatest threats the crew of the <i>Enterprise</i> ever faced.<br />
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That being said, <i>Star Trek Into Darkness </i>boasts a dazzling array of CGI battles and chases, which should serve to satisfy most moviegoers. It's a fast, entertaining adventure. It's just a shame that the final script is somewhat of a muddled puzzle in spots. <br />
<b><br /></b>
<b>FINAL GRADE: B</b>Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com0tag:blogger.com,1999:blog-6170443308250983581.post-72849447364389490072013-05-08T11:51:00.001-07:002013-05-09T11:13:14.954-07:00Book Review: Songs My Mother Taught Me <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXn73Lpet8qHWamgUAkNaT2qCVyLsrqD5GAB0CuHS9qfw64VKngXm_fc7iROAWi_WIlxcEGpyV8Vyv7S06De2faLZ1PpMG9c73Ss4a0_6tMyVgqtszk42cPB951wl80YS3debuVwxjCj93/s1600/376580.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXn73Lpet8qHWamgUAkNaT2qCVyLsrqD5GAB0CuHS9qfw64VKngXm_fc7iROAWi_WIlxcEGpyV8Vyv7S06De2faLZ1PpMG9c73Ss4a0_6tMyVgqtszk42cPB951wl80YS3debuVwxjCj93/s320/376580.jpg" width="206" /></a></div>
<i>"I can draw no conclusions from my life because it is a continually evolving and unfolding process." </i><br />
<i><b>- </b></i><b>Marlon Brando, </b><i>Songs My Mother Taught Me </i><br />
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It seems strange that, back in 1994, Marlon Brando agreed to reconstruct his own life into book form (albeit co-written by <i>New York Times </i>columnist Robert Lindsey). Seventy years old at the time it was published, Brando only agreed to the project if he was excused from making any mention of his three former wives or 10 children -- he was adamant that the privacy and protection of his loved ones remain intact. As a result, <i>Songs My Mother Taught Me</i> is the rare celebrity autobiography that doesn't make detailed mentions of torrid romances or resort to name-dropping.<br />
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The famously private and reclusive actor often shied away from the spotlight, preferring to wile away his hours on Teti'aroa, his private Tahitian island, or within the confines of his gated Hollywood mansion -- unless, that is, it concerned his political beliefs or a group of people he believed needed to be defended in public.<br />
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In the introduction of his autobiography, <i>Songs My Mother Taught Me</i>, Brando makes a point of stating his real reason for agreeing to the book (published by Random House): he wanted the profits to go towards one of the numerous causes close to his heart, namely the American Indian Movement (AIM). Brando wanted to use his celebrity for good -- and made sure his readers were aware of that fact.<br />
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It's hard to envision someone like Brando sitting at a computer, typing away his many adventures and misadventures. For anyone who has followed the actor's career closely, it just doesn't seem like his style. Although Brando never admits it, I find it likely that he related his stories to Lindsey orally, while the journalist culled together a cohesive narrative from his various anecdotes. The end result is an often compelling, sometimes frustratingly vague, account of a life that involved a broken home, a career in film, multiple failed marriages and a passion for political causes -- including a (controversial) stint with the Black Panther Party.<br />
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I was initially skeptical about Brando's sincerity when, early on in the book, he starts casually brushing off the accolades he received over the years as an actor -- or when he claims that men like Shakespeare and Beethoven were true artists, unlike actors who mug for the cameras for money and business tactics. Yes, Hollywood is a business. However, I find it hard to believe that Brando can be so flippant about how he made his bread and butter considering he quite often took acting very, <i>very</i> seriously -- by introducing the Method to North America (with the help of the legendary Stella Adler) and virtually disappearing into roles like Terry Malloy and Vito Corleone.<br />
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However, as you get further into <i>Songs</i> you begin to realize that Brando remained true to his word -- he says very little about Hollywood, instead focusing on his later years on Teti'aroa, his role with the American Indian Movement and his musings on the Vietnam War. It takes the reader about 50 pages to understand where Brando's true interests and passions lie -- and that his seemingly false modesty is really a form of brutal honesty. He truly appreciates that he was able to make a lot of money in his chosen profession, yet he always made the conscience decision not to let it rule his life.<br />
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In <i>Songs </i>Brando is at his most candid when talking about himself -- he openly displays both his inflated ego and the events that have left him humbled.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcrIg_rADJxPkW21VB9jqGgzDSMcixv0HfcIwiQJ-XXqbjCt1V9vsfM-VqGI-0ibTIvi7rYUfk4bTUChyvgprJWMCj3r9Cz0aiQWe5WaSTFm0elQdT6O-_4UG39N4PKQRw-HBunDSWOq8l/s1600/Marlon+Brando+and+James+Dean.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcrIg_rADJxPkW21VB9jqGgzDSMcixv0HfcIwiQJ-XXqbjCt1V9vsfM-VqGI-0ibTIvi7rYUfk4bTUChyvgprJWMCj3r9Cz0aiQWe5WaSTFm0elQdT6O-_4UG39N4PKQRw-HBunDSWOq8l/s320/Marlon+Brando+and+James+Dean.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Brando with his biggest fan, James Dean.</b></td></tr>
</tbody></table>
And while Brando takes the high road when it comes to discussing intimate family and friends by refusing to even mention them by name out of respect for their privacy (a classy move reminiscent of loyal Hollywood friend Elizabeth Taylor), he does offer tantalizing tidbits on legends like James Dean and Marilyn Monroe.<br />
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He acknowledges Dean's borderline-obsessive fascination with him and his acting abilities. Brando admits to being uncomfortable at Dean's middle-of-the-night phone calls and his constant mimicking of Brando's lifestyle. <br />
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On Dean: <i>"He was tortured by his insecurities, the origin of which I never determined... once he showed up at a party and I saw him take off his jacket, roll it into a ball and throw it on the floor. It struck me that he was imitating something I had done..." </i>(p. 224).<br />
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Brando reveals very little about conversations that took place between him and Dean. He alludes to one particular late night chat that revealed much about Dean's personality, but pulls back from sharing too much. Whatever was said between the two, Brando took it with him to the grave. He was true to his word about not revealing salacious details about family and colleagues, even the ones as long-deceased as Dean.<br />
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He offers even less information about his brief romance and friendship with Monroe, saying only that he was one of the last people to talk to her before she died in 1962 and that he firmly believes she was murdered -- stopping just short of directly pointing his finger at the Kennedy clan.<br />
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<i>Songs </i>is somewhat chronological, but it's mostly a narrative of loose thoughts stitched together. What I didn't expect was how much Brando would reveal about his political colours and how willing he was to open up about a childhood spent with alcoholic parents. His memories from his youth are particularly compelling as they are random snippets of childhood, both beautiful and sad, that feel so genuine and relatable.<br />
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On his mother: <i>"My mother was always unconventional. Sometimes when it rained, she wore a shopping bag over her head with a little visor she had torn at the corners; it was absurd, but she thought it was funny. I was always embarrassed by it, though if she did it today, I'd be gasping with laughter." </i>(pp. 4-5).<br />
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In the end, Brando's autobiography is not your traditional celebrity tell-all. There are many questions left unanswered, specifically when related to his career and personal relationships. But he more than makes up for the gaping holes by taking genuine pleasure in sharing with readers his love for Tahitian culture, his passion for the American Indian Movement and his affection for his (long deceased) pet raccoon. <br />
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What you walk away with after reading <i>Songs My Mother Taught Me</i> is the sense that Brando, despite all his wealth and talent, really was just an average boy from Omaha, Nebraska who tried to lead a good life, yet made many very human mistakes along the way. He doesn't hide behind his errors in judgment (like the time early in his career when he slept with one of his stalkers) nor does he apologize for the person he is, and that just makes him so normal -- and it's also what makes his autobiography so refreshing to read.<br />
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<b>NOTE: <i>Songs My Mother Taught Me</i> is now out of print. I purchased my copy at a Toronto film memorabilia store, <a href="http://www.hcanteen.com/">The Hollywood Canteen</a>. You can also buy it from sellers on <a href="http://www.amazon.ca/Brando-Songs-My-Mother-Taught/dp/0679410139">Amazon</a>.</b>Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com2tag:blogger.com,1999:blog-6170443308250983581.post-72469819290707617942013-04-26T12:45:00.002-07:002013-04-26T12:54:52.758-07:00Classic Film Review: Meet Me In St. Louis <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLmAnr_mTWEV8EJfBNChmAPDyDRBykuWTe7hcULBNBMrDeJLfgT1PtHkbf764549KxMSY4Mkwx6jenzPUAi5ctFe-jRbkABDtQ5jszi4FPGwgCKSfLZol63w7_1IpBDnvfZmTCxQXnnu9p/s1600/st+louis.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLmAnr_mTWEV8EJfBNChmAPDyDRBykuWTe7hcULBNBMrDeJLfgT1PtHkbf764549KxMSY4Mkwx6jenzPUAi5ctFe-jRbkABDtQ5jszi4FPGwgCKSfLZol63w7_1IpBDnvfZmTCxQXnnu9p/s320/st+louis.jpg" width="216" /></a></div>
<b><i>Meet Me in St. Louis</i> (1944)</b><br />
<b>Directed by:</b> Vincente Minnelli<br />
<b>Starring:</b> Judy Garland, Margaret O'Brien and Mary Astor<br />
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<a href="http://www.imdb.com/title/tt0037059/?ref_=sr_1"><i>Meet Me in St. Louis</i></a> -- one of those big, bold musicals from MGM that, to this day, remain a classic example of how to incorporate song and dance when weaving together a story.<br />
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The picture itself is a slice of life -- one year in the life, to be exact, of the Smith family (the last name chosen, presumably, to imply normalcy. This is your everyday, average, relatable family).<br />
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For the Smith clan, music is a part of everyday life. When someone breaks into song, they are actually doing it -- and everyone either gathers around to listen or joins in with their own lyrics. Unlike some musicals, where the songs are simply an expression of emotion that doesn't necessarily mean the characters are actually singing within the context of the narrative, the Smith's in <i>Meet Me in St. Louis</i> are similar to the von Trapps in <i>The Sound of Music</i> -- all aspects of life, whether good or bad, are worth singing about. And isn't life just grand?<br />
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The opening number, named after the film's title, starts with the sounds of a little girl humming as she walks upstairs in preparation for her afternoon bath. When she eventually breaks into song, her Grandpa chims in, before the song carries out the front window and continues with <a href="http://www.imdb.com/name/nm0000023/?ref_=tt_cl_t1">Judy Garland</a> pulling up to the house in horse and buggy.<br />
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Set in 1903, the narrative follows the highs and lows of the Smith family -- from falling in love, to dangerous Halloween stunts to Christmas miracles. The simplicity of the story is ultimately made extraordinary by its catchy musical numbers. And, really, can anyone else sing like the legendary Judy Garland?<br />
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As Esther Smith, second eldest daughter to Alonzo (<a href="http://www.imdb.com/name/nm0000748/?ref_=tt_cl_t5">Leon Ames</a>) and Anna (<a href="http://www.imdb.com/name/nm0000802/?ref_=tt_cl_t3">Mary Astor</a>), Garland is a revelation. Not only does her voice carry the emotional weight necessary for the role, but her natural interactions with her co-stars make you forget you are watching a big star and not just some regular girl from down the street. And that's a high compliment.<br />
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Whether she's longingly singing about her (at first) unrequited love for John Truett (<a href="http://www.imdb.com/name/nm0237025/?ref_=tt_cl_t6">Tom Drake</a>) in "The Boy Next Door" or simply horsing around with her sisters Rose (<a href="http://www.imdb.com/name/nm0107082/?ref_=tt_cl_t4">Lucille Bremer</a>) and little Tootie (the always adorable <a href="http://www.imdb.com/name/nm0639684/?ref_=tt_cl_t2">Margaret O'Brien</a>), Garland infuses each scene with her contagious energy and charisma. You can't create that kind of natural talent and Garland has it in spades.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR0vfCj_GmKJIqRInRm3NZQ1cSrdk6961lHbeE5aiqblldxvpuCODJcBHEWBXag4Ubt4O5DL6KmVmd265VYBK80zQ16CGXdRiSmsFsbjTbIbdp6q7ydwgr6-e2SCvgPEk3IBuokvi0pEHk/s1600/Meet_Me_in_St__Louis_MO_JG.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR0vfCj_GmKJIqRInRm3NZQ1cSrdk6961lHbeE5aiqblldxvpuCODJcBHEWBXag4Ubt4O5DL6KmVmd265VYBK80zQ16CGXdRiSmsFsbjTbIbdp6q7ydwgr6-e2SCvgPEk3IBuokvi0pEHk/s320/Meet_Me_in_St__Louis_MO_JG.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Margaret O'Brien (left) and Judy Garland</b></td></tr>
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<i>Meet Me in St. Louis</i> is the rare female-centric musical where the boys are secondary and take a backseat to sisterly bonds and rebellious feminine spirit. In Hollywood, where male characters tend to be more well written than females (a problem we still see to this day), it's refreshing to see John, the main romantic lead, come off as an underdeveloped drip in comparison to Esther and the other lady Smiths. And even though Esther pines over John (although we are never quite sure what she sees in him), she makes him really work for her affection, even taking a bite out of his arm in anger at one point.<br />
<br />
The songs are all upbeat and catchy -- specifically "The Trolley Song" -- and director <a href="http://www.imdb.com/name/nm0591486/?ref_=sr_1">Vincente Minnelli</a> expertly lenses all the beautiful costumes and choreography. It's one of the most strikingly vivid films you are likely to see.<br />
<br />
However, much of the pleasure viewers will derive from <i>Meet Me in St. Louis</i> is its charming central family. One scene, early on, subtly provides insight into their familial closeness when the entire Smith clan tries to calmly eat dinner even though they know full-well that Rose is expecting a long-distance phone call from a male admirer who may or may not propose to her (and on the newest advancement in technology, to boot!). Their excited and nervous energy around the dinner table -- and their honest-to-goodness happiness when the young suitor finally phones Rose -- illustrates that bond with very little fuss. <br />
<br />
It's this attention to the little details where Minnelli excels. It's all about the small moments in life and Minnelli takes great care to illustrate the love that binds the Smith's together. Regardless of what is happening in the great world outside their borders, their relationships, built on solid foundation, is what keeps them going everyday. <br />
<br />
As Tootie remarks, <i>"Wasn't I lucky to be born in my favourite city?" </i><br />
<br />
That kind of innocence and the pleasure the Smith's take in their safe little existence provides this rousing musical with a beating heart at its core.<br />
<br />
<b>FINAL GRADE: B+</b>Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com0tag:blogger.com,1999:blog-6170443308250983581.post-19645429827056807142013-04-08T14:18:00.002-07:002013-04-08T14:25:39.404-07:00Classic Film Review: Julia Misbehaves<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzDZBMAVQ9Y5n0eDcz4R-FgHDApicIR5LuXdJtbUhFy1psFF5d-wae3q5iRe4oXfd1aEuQ8rtZ_I0zs1R8XxqqZRJ7by2pWMFza4ZxzQmajpjYXpZrk_j1_73jQ8Zm4dWizwqdneOT6QYJ/s1600/julia_misbehaves.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzDZBMAVQ9Y5n0eDcz4R-FgHDApicIR5LuXdJtbUhFy1psFF5d-wae3q5iRe4oXfd1aEuQ8rtZ_I0zs1R8XxqqZRJ7by2pWMFza4ZxzQmajpjYXpZrk_j1_73jQ8Zm4dWizwqdneOT6QYJ/s320/julia_misbehaves.jpg" width="210" /></a></div>
<b><i>Julia Misbehaves</i> (1948)</b><br />
<b>Directed by:</b> Jack Conway<br />
<b>Starring:</b> Greer Garson, Walter Pidgeon, Peter Lawford and Elizabeth Taylor<br />
<br />
It was the rare Hollywood film that featured a female lead that abandoned her husband and baby to pursue a career as a music hall performer. But thus is the premise of the MGM comedy, <i><a href="http://www.imdb.com/title/tt0040498/?ref_=sr_1">Julia Misbehaves</a>.</i><br />
<br />
After completing a series heavy dramas, British star <a href="http://www.imdb.com/name/nm0002093/?ref_=tt_ov_st">Greer Garson</a> turned her talents to performing in a light comedy -- one that sees her sing, dance and throw around zingers like the best in the business.<br />
<i></i><br />
Julia Packett (Garson) hasn't seen her estranged husband (<a href="http://www.imdb.com/name/nm0682074/?ref_=tt_cl_t2">Walter Pidgeon</a>) or daughter Susan (<a href="http://www.imdb.com/name/nm0000072/?ref_=tt_cl_t4">Elizabeth Taylor</a>, only 16 years old at the time) in nearly 20 years. While William raises Susan in Paris as a single parent, Julia traipses around the world, basking in the glow of the spotlight and her most ardent fans. When she unexpectedly receives an invitation to her daughter's impending nuptials, Julia is both shocked and touched by this act of kindness and familiarity. As she barters her way to secure passage on a steerage ship -- and vows to win enough money gambling to buy Susan Christmas presents for every year that she's missed since her birth -- Julia finds herself firmly embedded in everyone's lives the minute she lands in Paris. Her constant meddling leaves William on the verge of madness, especially when Julia gently nudges Susan away from her betrothed and into the direction of Ritchie (<a href="http://www.imdb.com/name/nm0492444/?ref_=tt_ov_st">Peter Lawford</a>), a young artist who not-so-secretly pines over Susan. And, despite her brash nature and matchmaking schemes, William can't help but fall back in love with the woman who left him all those years ago.<br />
<br />
<i>Julia Misbehaves </i>is part screwball comedy and part family drama, with a dash of romance thrown in for good measure. It's the type of crowd-pleasing concoction that made MGM a household name. Although the audience knows that the film will inevitably have a happy ending -- not only for Julia and William but Susan and Ritchie, as well -- you take pleasure in watching all the loose threads come together.<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_ng3c-DGt33bu8uYs5Jn9Czo8WuF34SzSubr60BNDEpq-TgoA_3UKHi6z5BUD6WkmfVA5CHpV3eGAuihhqrCefco9xjaWDkBupOPf0C2sSrZ17OBnBQg4rN6BjRCqPupHtPHTyEyfwFZs/s1600/JuliaMisbehaves006.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_ng3c-DGt33bu8uYs5Jn9Czo8WuF34SzSubr60BNDEpq-TgoA_3UKHi6z5BUD6WkmfVA5CHpV3eGAuihhqrCefco9xjaWDkBupOPf0C2sSrZ17OBnBQg4rN6BjRCqPupHtPHTyEyfwFZs/s320/JuliaMisbehaves006.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>(Left to right): Lawford, Taylor, Pidgeon and Garson.</b></td></tr>
</tbody></table>
Garson, in particular, exhibits an innate ability to convey a multitude of emotions in a single glance. Witness her fragility in the scene where she is reunited with Susan for the first time since the girl was a newborn baby. Swathed in a white dress, Julia has abandoned any semblence to her former life as an entertainer. And, despite the fact that she ran off all those years ago, a natural maternal instinct kicks into gear when she locks eyes with Susan and she can't help but reach out to the young woman and desire a close mother-daughter bond.<br />
<br />
And while it takes nearly 45 minutes before Garson and Pidgeon unite on screen, watching them navigate through the awkwardness of being married to a complete stranger is a delight to watch. Their relationship -- what little of it once existed -- is gradually revealed through their blossoming friendship. When Julia and William sing together at the piano it's as though they haven't spent nearly 20 years apart.<br />
<br />
And while you watch the film for Garson and Pidgeon, you also stay for Taylor and Lawford. With two romantic plotlines, <i>Julia Misbehaves </i>nearly topples under the weight of too many story threads and stolen glances, but it's a joy to watch four young actors pair off and fall in love. And kudos to whoever crafted the idea that Ritchie take Susan on a picnic and lure a bear to follow them so that he can act the part as her saviour and protector. That's a new one! And Taylor and Lawford are charming in the scene.<br />
<br />
In the end, <i>Julia Misbehaves </i>suffers from a meandering script (with multiple plotlines that involve a fake fiance for Julia, an extended stage sequence that drags on for far too long and a couple of false endings), yet manages to stay afloat thanks in large part to Garson and her charming costars.<br />
<br />
A fun, if unremarkable, little comedy.<br />
<b><br /></b>
<b>FINAL GRADE: B-</b>Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com0tag:blogger.com,1999:blog-6170443308250983581.post-35398323669553754432013-04-03T07:17:00.001-07:002013-04-03T07:23:35.539-07:00Celebrity Birthday: Marlon Brando (1924-2004)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlmiAGnDpkEzfq0ES3YKCgM6Zm0q-qsFR2mC1LDcCH8pZ_SgrreqSPgcTjq19GZxsJ4gzCYsouqzAPy4N0auxjpTvgN2KU_YLzLifR-M580kYiUII64tm9_s4LnnQEujbl5rgNCLb8wV8a/s1600/Marlon-Brando-marlon-brando-4409719-1024-768.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlmiAGnDpkEzfq0ES3YKCgM6Zm0q-qsFR2mC1LDcCH8pZ_SgrreqSPgcTjq19GZxsJ4gzCYsouqzAPy4N0auxjpTvgN2KU_YLzLifR-M580kYiUII64tm9_s4LnnQEujbl5rgNCLb8wV8a/s320/Marlon-Brando-marlon-brando-4409719-1024-768.jpg" width="320" /></a></div>
<i>"To the end of his life, <a href="http://www.blogger.com/goog_889919282">Marlon Brando</a> insisted that he had done nothing special. In his view acting was a
trade like plumbing or baking. The only difference was that he played
characters instead of unclogging drains or kneading loaves of bread.
This was not false modesty; he believed what he said. But what he
believed was untrue."</i><br />
<b>~Stefan Kanfer (opening passage from <a href="http://www.chapters.indigo.ca/books/Somebody-Reckless-Life-Remarkable-Career-STEFAN-KANFER/9781400042890-item.html?ikwid=marlon+brando&ikwsec=Books"><span style="font-style: italic;">Somebody: The Reckless Life and Remarkable Career of Marlon Brando</span></a></b>) <br />
<br />
Today would have marked Marlon Brando's 89th birthday. And, in my biased opinion, he was the greatest film actor. Ever. And that warrants a blog post, me thinks. <br />
<br />
Unfortunately, for a large handful of people, Brando has been reduced to a mumbling, fumbling actor whose eventual reclusive lifestyle resulted in a variety of perceived eccentricities and ballooning weight gain. And, yes, while Brando wasn't your average film star, he deserves more credit than he is often given by newer generations just discovering his work for the first time.<br />
<br />
As I wrote last year: after reading <a href="http://lauragrandefilm.blogspot.ca/2010/04/book-review-somebody-reckless-life-and.html">Stefan Kanfer's biography in 2008</a>,
I realized that Brando was so much more interesting than even his
craziest character incarnations. He used the Method when performing,
well before it was mainstream. He was an activist at heart, battling
racial segregation in America in the 1960s and providing a public voice
for struggling First Nations actors. He remained loyal to family and
friends who stuck by him through thick and thin, including maintaining
long-term friendships with neighbours <a href="http://www.imdb.com/name/nm0000197/">Jack Nicholson</a> and <a href="http://www.imdb.com/name/nm0001391/">Michael Jackson</a>. He had plenty of Hollywood rivals, including an ongoing feud with <a href="http://www.imdb.com/name/nm0000069/">Frank Sinatra</a>.
He had volatile relationships with women, marrying three times and
fathering (at least) 10 children. He never abused drugs or alcohol, yet
often fell prey to his weakness for food.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMZd52mJAuwobTUGsvOX9TpDQMnL8asM2g7pN9YXcHBanuR6Kie4eXr4Ph-Hw8r3PgByAG6UpHKcIq3VOUFA-uC5Yop5oAB8ljja_EyE3w8QIV2q1BV-DYIt0UVPmXAjTFEkREIAI5-iq5/s1600/893979_10151595092000962_1515982644_o.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMZd52mJAuwobTUGsvOX9TpDQMnL8asM2g7pN9YXcHBanuR6Kie4eXr4Ph-Hw8r3PgByAG6UpHKcIq3VOUFA-uC5Yop5oAB8ljja_EyE3w8QIV2q1BV-DYIt0UVPmXAjTFEkREIAI5-iq5/s320/893979_10151595092000962_1515982644_o.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Brando's autobiography amongst my other loot.</b></td></tr>
</tbody></table>
Last week, I finally managed to track down a copy of his out-of-print autobiography, <i>Songs My Mother Taught Me</i>, and I look forward to reading about his life from his own perspective.<br />
<br />
(FYI, for all you Toronto readers: Check out <a href="http://www.hcanteen.com/">The Hollywood Canteen</a> near Honest Ed's for rare, hard-to-track-down film collectibles. It's where I was finally able to locate a copy of his autobiography).<br />
<br />
While Brando may not have the enduring iconic status of Marilyn Monroe (a former lover) or the near-rabid fanbase of James Dean, the mark he left on cinema has its own special lasting effect. While Monroe and Dean were both talented, beautiful performers, neither could inhibit a role quite so effortlessly as Brando.<br />
<br />
Without Brando there would be no Robert DeNiro (well, 70s-era Robert DeNiro anyway) or Daniel Day-Lewis. He continues to inspire and influence -- often imitated but never duplicated. And that, in part, is the sign of a true talent.Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com0tag:blogger.com,1999:blog-6170443308250983581.post-88474198743725106292013-03-26T14:53:00.001-07:002013-03-26T14:54:00.293-07:00Classic Film Review: Desire Me<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpht9EphZCW7xeiciXSPIhyphenhyphenFwZmAiwXKdY5WgOs8lWvlRKIdGyWdOZbmEwX9qPMmdD2lxhcuZkrpStDUcFSSTcoPhWccOxEeKFWH4b11Qr9rJfCWhoOzehzuI-j806Ft8pe3vmVhGAwFZa/s1600/l_39312_3f40aaf1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpht9EphZCW7xeiciXSPIhyphenhyphenFwZmAiwXKdY5WgOs8lWvlRKIdGyWdOZbmEwX9qPMmdD2lxhcuZkrpStDUcFSSTcoPhWccOxEeKFWH4b11Qr9rJfCWhoOzehzuI-j806Ft8pe3vmVhGAwFZa/s320/l_39312_3f40aaf1.jpg" width="208" /></a><b><i>Desire Me</i> (1947)</b><br />
<b>Directed by:</b> No director's credit<br />
<b>Starring:</b> Greer Garson, Richard Hart and Robert Mitchum<br />
<br />
It's pretty safe to say that, well before the end of production on <a href="http://www.imdb.com/title/tt0039312/?ref_=sr_1"><i>Desire Me</i></a>, no one wanted to have anything to do with this oft-overlooked picture.<br />
<br />
The specialty channel <a href="http://www.tcm.com/">TCM</a> aired the film last week, with host Robert Osborne detailing the multiple cast changes, script rewrites and revolving door of high-profile directors that all culminated in the film's ultimate plummet at the box office. Few remember the film today. This is not the picture that <a href="http://www.imdb.com/name/nm0002093/?ref_=tt_cl_t1">Greer Garson</a> or <a href="http://www.imdb.com/name/nm0000053/?ref_=tt_cl_t2">Robert Mitchum</a> are remembered for, thankfully.<br />
<br />
In fact, the most intriguing thing about <i>Desire Me</i> is the fact that it was the first MGM film to be released without a director's name attached. <a href="http://www.imdb.com/name/nm0176699/?ref_=fn_al_nm_1">Jack Conway</a>, <a href="http://www.imdb.com/name/nm0002030/?ref_=fn_al_nm_1">George Cukor</a>,<a href="http://www.imdb.com/name/nm0503777/?ref_=fn_al_nm_1"> Mervyn LeRoy</a> and <a href="http://www.imdb.com/name/nm0767701/?ref_=fn_al_nm_1">Victor Saville</a> all took a stab at helming the project, but ultimately left for a myriad of reasons -- namely the lack of artistic freedom and Garson's allegedly difficult personality on set.<br />
<br />
It was LeRoy who finished the picture in the end, however, none of the directors wanted their names attached to the film so the studio went ahead and released it without crediting anyone.<br />
<br />
<i>Desire Me</i> begins with an isolated house set upon the cliffs in Brittany. With a setting more suited to a film adaptation of <i>Wuthering Heights</i>, we discover that it belongs to Marise Aubert (Garson), a woman who is led to believe that her husband, Paul (Mitchum), has died in the field during the Second World War. When a man appears by the name of Jean Renaud (<a href="http://www.imdb.com/name/nm0366489/?ref_=tt_cl_t3">Richard Hart</a>) he claims that he was her husband's closest companion during the war and that he witnessed Paul's death. Marise finds herself drawn to this personable stranger and sets out to lead a life with him as though he were a replacement for her dead husband. Marise and Jean's friendship is frowned upon by the gossipy villagers -- how could two unmarried strangers live together under one roof? As we learn via flashback, Jean is more than content with this living situation, having fallen in love with Marise based on a photo of her and Paul's stories about his loving wife.<br />
<br />
As Jean himself claims in one particularly eerie moment: <i>"I wanted to know what it was like to come home to my own house. My own wife."</i><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS3P-cJytLOfO1ZPHBrzGRdJBrGCDgojpH1KeIPh2AkfazZf6NmOQFDTGbGPrK4ymFArx-kDHOptoN2E3c2x-xaF2PLr5P-NDXNZmbJSxfveKMt1DT0TNt8ZjvtE_Mx1xedBQJA_bgkV6t/s1600/tumblr_l60rgzQO8D1qblg3ho1_500.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS3P-cJytLOfO1ZPHBrzGRdJBrGCDgojpH1KeIPh2AkfazZf6NmOQFDTGbGPrK4ymFArx-kDHOptoN2E3c2x-xaF2PLr5P-NDXNZmbJSxfveKMt1DT0TNt8ZjvtE_Mx1xedBQJA_bgkV6t/s320/tumblr_l60rgzQO8D1qblg3ho1_500.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Garson and Mitchum</b></td></tr>
</tbody></table>
<br />
While the audience has their guard up and can sense the emotional instability of Jean, he gradually crosses the line from lonely to creepy, with Marise a little slow on the uptake.<br />
<br />
The acting, disappointingly, isn't particularly note-worthy. We've all seen Garson and Mitchum in far more engrossing and challenging roles. Granted, both are gifted actors and make due with what little is given to them in the script -- but it just isn't enough to truly rise above the material. Buried deep beneath this half-wartime love story, half-psychological thriller, <i>Desire Me</i> has a better movie waiting to come out. <br />
<br />
The cinematography from <a href="http://www.imdb.com/name/nm0005853/?ref_=fn_al_nm_1">Joseph Ruttenberg</a> is gorgeous, lending the film a foreboding sense of danger through his keen eye. His visuals, combined with a lack of soundtrack in the climactic finale, briefly helps <i>Desire Me</i> rise above its scattered script. Eyes meeting through the mist, voices echoing along the cliffs, gunshots ringing out in the night, Ruttenberg's work is stunning. His cinematography allows for a sense of consistency in a film that is a narrative mess.<br />
<br />
<i>Desire Me</i> is one of those forgotten classic films that you catch on TV late one night and are reminded as to why it has been forgotten in the first place. While there are stylistic elements that are certainly impressive, <i>Desire Me</i> will ultimately leave you cold.<br />
<b><br /></b>
<b>FINAL GRADE: C+</b>Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com0tag:blogger.com,1999:blog-6170443308250983581.post-80788124999781615572013-03-22T14:18:00.000-07:002013-03-22T14:18:41.224-07:00Movie Review: Teenage Mutant Ninja Turtles<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHIeIHOB88NHufouezmgkQA44A-siUfMIKTz5FHFe5s22MHCavbj8gJOCmEtzBf8hKACsjnCpkzwqhHcUZ9MQhpWZZqgNdEh6LdzTaROEFFOHAA9SRvhd3zawcyNiUc9V6ixlsYLRRmSQe/s1600/Screen-Shot-2013-03-21-at-4.05.48-PM.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHIeIHOB88NHufouezmgkQA44A-siUfMIKTz5FHFe5s22MHCavbj8gJOCmEtzBf8hKACsjnCpkzwqhHcUZ9MQhpWZZqgNdEh6LdzTaROEFFOHAA9SRvhd3zawcyNiUc9V6ixlsYLRRmSQe/s320/Screen-Shot-2013-03-21-at-4.05.48-PM.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>The heroes in a half shell.</b></td></tr>
</tbody></table>
<b><i>Teenage Mutant Ninja Turtles</i> (1990)</b><br />
<b>Directed by:</b> Steve Barron<br />
<br />
<b>I reviewed this movie for</b> <a href="http://nextprojection.com/2013/03/21/tiff-comic-book-hero-series-review-teenage-mutant-ninja-turtles-the-movie-1990/">Next Projection</a>. <br />
<br />
Most children of the 80s and 90s grew up on a steady TV diet of their
favourite heroes in a half shell. Whether you preferred Michelangelo's
surfer dude attitude or Raphael's lone wolf angst, there was no denying
the allure of that turtle power.<br />
<br />
Loosely based on the Mirage Studios comics, the animated series debuted
in 1987 and centred on the adventures of four turtle siblings and their
wise master, Splinter. While the series captured the imagination of kids
throughout North America, it diverged from the original source — opting
instead to change key character elements for the sake of simplicity.<br />
<br />
In 1990, New Line Cinema decided to capitalize on this animated
success story by distributing a live action adaptation that would
ideally appeal to both kids and teens, alike. The end result is not so
much a cult classic as a fondly remembered retro rewind — a nostalgic
look back at our childhood, a childhood where we once watched a movie
about walking, talking turtles who struggled to emulate the wisdom
expounded by a life-size rat.
<br />
<br />
While <em><a href="http://www.imdb.com/title/tt0100758/?ref_=sr_3">Teenage Mutant Ninja Turtles: The Movie</a> </em>lacked the mass appeal that enabled films like <em>The Rocky Horror Picture Show</em> — or to a lesser extent, <em>The Goonies</em> — to reach cult status, it still carries a special place in film lore for many of its now-adult fans.<br />
<br />
Unlike it's more cartoonish and increasingly ridiculous sequels, <em>The Secret of the Ooze</em> and <em>Teenage Mutant Ninja Turtles III</em>,
the first installment in the franchise is surprisingly dark for what
essentially amounts to kiddie entertainment — it's stylistically
reminiscent of Tim Burton's original <i>Batman</i>, which was released the previous year in 1989.<br />
<br />
The premise (as if you didn't already know!) features a quartet of
genetically mutated turtles who are regularly trained in martial arts by
their mentor, Splinter (voiced by <a href="http://www.imdb.com/name/nm0165159/?ref_=tt_cl_t11">Kevin Clash</a>). The teens must learn to
work together as a team in order to defeat Shredder (<a href="http://www.imdb.com/name/nm0756839/?ref_=tt_cl_t12">James Saito</a>) and
his violent ninja gang, the Foot Clan. Along the way the turtles form
close bonds with an investigative journalist named April O'Neil (<a href="http://www.imdb.com/name/nm0387432/?ref_=tt_cl_t8">Judith Hoag</a>) and a cricket bat-wielding street thug named Casey Jones (<a href="http://www.imdb.com/name/nm0000480/?ref_=tt_cl_t9">Elias Koteas</a>).<br />
<br />
With its bleak outlook on city living and gang culture, <em>Teenage Mutant Ninja Turtles</em> comes off as more of a <em>film noir</em> for kids — complete with its own version of a <em>femme fatale</em> and the casual (if sometimes grating) use of the term “babe” to describe attractive women.<br />
<br />
Yet, despite everything going against it — being a inconsequential live
action film that included men dressed in turtle suits and
remote-controlled Jim Henson puppets — <em>Teenage Mutant Ninja Turtles</em> isn't half as bad as you'd think. (Side note: It's thankfully no <em>Garbage Pail Kids</em>, that's for certain; with it's disgusting characters and uncomfortably lame one-liners).<br />
<br />
Each turtle are each unique individuals, allowing kids in the audience
to pick and choose which hero they can best identify with. There's
Donatello (voiced by <a href="http://www.imdb.com/name/nm0000397/?ref_=sr_1">Corey Feldman</a>) who is often depicted as the
intellectual brother due to his aptitude for science and his knack for
technological gadgets. There's Leonardo (voiced by <a href="http://www.imdb.com/name/nm0865058/?ref_=fn_al_nm_1">Brian Tochi</a>), the
unofficial leader of the pack who exhibits both patience and discipline.
Or how about Michelangelo (voiced by <a href="http://www.imdb.com/name/nm0728411/?ref_=fn_al_nm_1">Robbie Rist</a>), the fun-loving
prankster who adores pizza as much as his nun-chucks. Or, finally, my
personal childhood favourite, Raphael (voiced by <a href="http://www.imdb.com/name/nm0656929/?ref_=fn_al_nm_1">Josh Pais</a>), the lone
wolf who exhibits extreme bouts teen angst more than any of his brothers
— and struggles to come to terms with it.<br />
<br />
It's dark, <i>noirish </i>elements give children the illusion that they
are watching an exciting, dangerous adult film. I recall feeling a rush
of exhilaration when watching <em>TMNT</em> simply because it looked and
felt like grown up movies my parents would enjoy. Credit is due to
production designer <a href="http://www.imdb.com/name/nm0809826/?ref_=fn_al_nm_1">Roy Forge Smith</a> for cashing in on the success of
Burton's bleak <em>Batman</em> while still maintaining his own unique vision of a world inhabited by human-sized turtles and their various nemeses.<br />
<br />
For all intents and purposes, <em>Teenage Mutant Ninja Turtles </em>is a
hybrid movie: part martial arts action flick, part cartoon-ish
adventure and part romance. You could argue that it has a little
something for everyone — including adults should they decide to revisit
this childhood favourite with their own kids. And why wouldn't they?
After all, <em>Teenage Mutant Ninja Turtles</em> is more than just a
kid's flick — it illustrates the importance of familial bonds and
working together as a team to help the ones you love. And that's total
turtle power!<br />
<br />
While surprisingly better than one may expect, <em>Teenage Mutant Ninja Turtles</em> is still bogged down by a silly, often scattered, script — yet still manages to be a nice trip down memory lane. <br />
<b><br /></b>
<b>FINAL GRADE: C+</b>Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com0tag:blogger.com,1999:blog-6170443308250983581.post-77897837503744529072013-03-13T13:23:00.000-07:002013-03-14T11:50:35.116-07:00Movie Review: A Royal Affair (En Kongelig Affaere)<!--[if gte mso 9]><xml>
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<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAjsvBWeZGLhpkY7on98ZqjFTFXrKFxwJt9JnoqUbn79B0d0xxe63KtatPNvojX8br_QBLsxT2lrhIOkgF-5o4SiIaNVYtAYWk-KAvOg0I09EUB7TtTmDXLASMbm3jsKgizvyEimfGmn5q/s1600/A-Royal-Affair-Movie-Stills-6-1024x576.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAjsvBWeZGLhpkY7on98ZqjFTFXrKFxwJt9JnoqUbn79B0d0xxe63KtatPNvojX8br_QBLsxT2lrhIOkgF-5o4SiIaNVYtAYWk-KAvOg0I09EUB7TtTmDXLASMbm3jsKgizvyEimfGmn5q/s320/A-Royal-Affair-Movie-Stills-6-1024x576.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Mads Mikkelsen, Mikkel Folsgaard & Alicia Vikander</b></td></tr>
</tbody></table>
<br />
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<b><i>A Royal Affair</i> (2012)</b></div>
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<b>Directed by: </b>Nikolaj Arcel</div>
<div style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;">
<b>Starring:</b> Alicia Vikander, Mads Mikkelsen and Mikkel Boe Folsgaard</div>
<div style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;">
<br /></div>
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<i><a href="http://www.imdb.com/title/tt1276419/?ref_=sr_1">A Royal Affair</a></i> (Or: How the European Enlightenment Came to Denmark) narrows in on
the illict relationship between a German-born doctor and the British-born queen
of the Danes. How these two came to fall passionately in love -- at great risk to themselves -- is at the heart
of director <a href="http://www.imdb.com/name/nm1064048/?ref_=sr_3">Nikolaj Arcel</a>'s moving historical drama, a Best Foreign Language
Film nominee at the recent Oscars ceremony.</div>
<div style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;">
<br /></div>
<div style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;">
The
film opens with a voiceover from Caroline Mathilde (<a href="http://www.imdb.com/name/nm2539953/?ref_=tt_ov_st">Alicia Vikander</a>), younger sister to England's King George III. Caroline's narration comes in
the form of a revealing letter written to her two estranged children back in
1775, in the midst of her rapid fall from power. Caroline details how she came
to be the new queen of Denmark -- as a 15-year-old princess married to King
Christian VII (<a href="http://www.imdb.com/name/nm3140538/?ref_=tt_ov_st">Mikkel
Boe Folsgaard</a>), a man who at first glance appears to be so emotionally
unstable to the point of outright madness. Just as Caroline resigns herself to her
fate as a sidelined queen overpowered by a dominant, wild husband, the tides
start to shift in her favour. When the king's council seeks a doctor to
properly diagnose and address Christian's mental instability, they recruit a
small-town German-born doctor named Johann Struensee (<a href="http://www.imdb.com/name/nm0586568/?ref_=tt_ov_st">Mads Mikkelsen</a>).
Put off by the unconventional doctor at first, Caroline soon falls in love with the educated, free-thinking Struensee. The two embark on creating a series of social reforms, persistently bringing the European Enlightenment to Denmark -- a country that
Caroline insists is still living in the "dark ages." They enact their
reforms through the vulnerable Christian VII, who affectionately refers to his
wife as "mother" and idolizes Dr. Struensee like a child to a
parental figure. This strange love triangle (of sorts) scandalizes the court,
causing the king's devoutly religious and conservative-minded council and his
conniving stepmother, Juliane (<a href="http://www.imdb.com/name/nm0245988/?ref_=tt_cl_t4">Trine Dyrholm</a>) to
take extreme measures to bring about the utter disgrace of both Struensee and Caroline.</div>
<div style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;">
<br /></div>
<div style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;">
<i>A Royal Affair </i>benefits greatly from that fact that this historical event, and its bloody and tragic outcome, remains largely unknown to North Americans, in general. As a result, audiences are better able to envelope themselves in a world and situation that is unfamiliar to them -- this doesn't feel like your usual historical costume drama re-hash. </div>
<div style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;">
<br /></div>
<div style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;">
Arcel's film also manages to breath life into its three central characters -- all are equally sympathetic in their own way. You yearn for each to find their own personal happiness, yet there's a shadow that hangs over each of their fates. It's rare to see historical figures painted in such a light -- none of the three lead figures are perfect, far from. Nothing about their situation is black or white and, as a result, each character reveals their own grey areas: Is Caroline right to use her mentally unstable husband as a puppet king, much like his own council? Is it arrogant of Struensee to think he can change the minds of an entire nation in one fell swoop? And is Christian VII really a devious fiend as first portrayed, or is he really a lost young man not fit to be king and yearning for true friendship?</div>
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<tr><td class="tr-caption" style="text-align: center;"><b>Vikander and Mikkelsen</b></td></tr>
</tbody></table>
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<br /></div>
<div style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;">
With its lush cinematography (you'll want to book a flight to Denmark ASAP) and exquisite costumes, <i>A Royal Affair </i>may look like many other period pieces you've seen before, but where it truly excels is in its revelatory casting.</div>
<div style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;">
<br /></div>
<div style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;">
As Caroline, Vikander portrays the young queen as a strong-willed woman who follows her heart and bides her time before she can truly blossom into a prominent political figure. She's highly educated and is up-to-date on the latest news about Voltaire and Europe's Enlightenment. How refreshing to see such a strong central female figure and Vikander is lovely in the role. </div>
<div style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;">
<br /></div>
<div style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;">
Mikkelsen is the brash and opinionated Struensee, a man who thinks his way is the right way -- other opinions be damned. He's drawn not only to Caroline's beauty, but her mind and strength of character. A man of the Enlightenment, Struensee strives to bring Denmark into a new world -- albeit while neglecting to realize the consequences of his actions in a country that largely doesn't identify with the European movement.</div>
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<br /></div>
<div style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;">
And, finally, there's Folsgaard as the irascible, yet strangely sympathetic, King Christian VII. Within the opening frames of the film you'd be hard pressed to find positive thing to say about the king. His attitude towards his young wife is appalling and his inability to effectively rule his own people is an embarrassment to Denmark. But, stick around long enough, and you see more of the person beneath the hot-headed exterior. Thanks to Folsgaard's fantastic performance, Christian goes from foul-mouthed brat to a frightened, lonely man trapped within an occupation at which he is incompetent. His reliance on Caroline and Struensee for comfort and entertainment invites a tragic element to the character of Christian and its all perfectly rendered by Folsgaard in his first film role (winner of the Best Actor award at the Berlin Film Festival, the Oscars missed out on nominating Folsgaard for Best Supporting Actor).</div>
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<br /></div>
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<i>A Royal Affair </i>is a beautifully lensed, powerful historical drama. And while its history is absolutely fascinating, it's the characters that will make you want to stay for the long haul.</div>
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<br /></div>
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<b>FINAL GRADE: A-</b></div>
<!--EndFragment-->Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com0tag:blogger.com,1999:blog-6170443308250983581.post-62628803190040640702013-03-07T13:01:00.000-08:002013-03-07T13:09:13.465-08:00Classic Film Review: Good News<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvzesNwqUsqEYCmeB45GTGv0MxxV4KoImKMaXUBLOJE2RRBzsQV0nx-8hsuYnVdJEaFI7R9Exsy_1Q5V5i4uTqxPHhrNwIcAPq3Y0Zr0yZbtMqR5BQlBxAWjk6gKYi3vPC_aaGFb-SvHbl/s1600/good-news-movie-poster-1947-1020427171.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvzesNwqUsqEYCmeB45GTGv0MxxV4KoImKMaXUBLOJE2RRBzsQV0nx-8hsuYnVdJEaFI7R9Exsy_1Q5V5i4uTqxPHhrNwIcAPq3Y0Zr0yZbtMqR5BQlBxAWjk6gKYi3vPC_aaGFb-SvHbl/s320/good-news-movie-poster-1947-1020427171.jpg" width="226" /></a></div>
<b><i>Good News</i> (1947)</b><br />
<b>Directed by:</b> Charles Walters<br />
<b>Based on the play by:</b> Lew Brown et al.<br />
<b>Starring:</b> June Allyson and Peter Lawford<br />
<br />
Chances are, if you are looking for a good old-fashioned musical from the 40s and 50s, your first stop would be MGM -- the major studio that produced <i>Singin' in the Rain, The Wizard of Oz, West Side Story, Meet Me in St. Louis </i>and <i>Showboat</i>, among others.<br />
<br />
For every Gene Kelly pirouette and Judy Garland solo, there are those lesser-known gems from MGM that would otherwise be completely forgotten if not for specialty channels like <a href="http://www.tcm.com/">TCM</a>. <br />
<br />
And, considering the DVD is next to impossible to track down, TCM may be the only way classic film buffs can view (and own) director <a href="http://www.imdb.com/name/nm0910199/?ref_=tt_ov_dr">Charles Walters</a>' thoroughly enjoyable adaptation of the college-set musical, <a href="http://www.imdb.com/title/tt0039431/?ref_=fn_al_tt_1"><i>Good News</i></a>.<br />
<br />
It's a familiar premise, one we've seen in countless musicals and romantic comedies over the decades: A college football captain named Tommy Marlowe (<a href="http://www.imdb.com/name/nm0492444/?ref_=tt_cl_t2">Peter Lawford</a>) falls head-over-heels for the campus' beautiful, wealthy "it" girl, Pat McClellan (<a href="http://www.imdb.com/name/nm0551091/?ref_=tt_cl_t3">Patricia Marshall</a>). When Pat rejects Tommy's advances, he discovers her passion for the French language and vows to become fluent himself in an attempt to woo her. He enlists the help of brainiac Connie Lane (<a href="http://www.imdb.com/name/nm0000742/?ref_=tt_cl_t1">June Allyson</a>), and she sets aside time from her busy schedule to tutor him in French. And then, wouldn't you know it, Connie finds herself smitten with the star athlete. It's your standard tale of (seemingly) unrequited love set to bouncy music, vivid technicolour and show-stopping dance numbers.<br />
<br />
All musicals require a suspension of disbelief, arguably even moreso than any other genre. People, often complete strangers, are liable to break out into a perfectly synchronized song and dance routine -- only to resume their everyday activities the moment the song reaches its concluding notes. <br />
<br />
However, <i>Good News </i>unintentionally requires its viewers to suspend their disbelief even further with one particular gaping plot hole and a couple of contrived situations that strain plausibility. <br />
<br />
The gaping plot hole? Well, that would be the fact that the film claims it's set in the 20s when, in actual fact, all the costumes and hair-styles are very clearly contemporary (i.e. circa 1947). And the plot contrivances? It would be too long-winded to list here but, in a nutshell, Tommy finds himself torn between winning the final football game of the season and proposing to Pat after the victory or losing the game on purpose to win over the affections of the bookish Connie.<br />
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<tr><td class="tr-caption" style="text-align: center;"><b>Peter Lawford and June Allyson</b></td></tr>
</tbody></table>
<br />
Regardless of these quibbles, it's hard not enjoy this rousing musical. The songs are surprisingly catchy considering the film has fallen off the radar when people talk about movie musicals. You'll find yourself humming "Lucky in Love" well after the end credits. And, while "The Best Things in Life are Free" is no doubt viewed as the film's romantic highlight, keep an eye out for the amusing exchange between the charming Allyson and Lawford when they duet on "The French Lesson."<br />
<br />
In terms of genuine show-stoppers, however, there's only one that comes to mind: <a href="http://www.youtube.com/watch?v=9_6CzxyWGj4">"Pass the Peace Pipe"</a>, an infectious song-and-dance number led by <a href="http://www.imdb.com/name/nm0566845/?ref_=tt_cl_t4">Joan McCracken</a> (professional dancer and ex-wife of Bob Fosse). <br />
<br />
But what it all comes down to in the end is the two charming leads. While Allyson and Lawford both have their detractors, I'm not one of them -- they are both a joy to watch. While they may not have the greatest singing voices they try their darndest to really belt it out. Where they do both excel is in their onscreen presence and overall likeability -- and both are fully capable of burning up the dance floor as they prove in the closing number, "The Varsity Drag."<br />
<br />
For pure, unadulterated musical entertainment, <i>Good News </i>proves to be just that.<br />
<b><br /></b>
<b>FINAL GRADE: B+</b>Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com2tag:blogger.com,1999:blog-6170443308250983581.post-10773680970132802432013-02-21T12:21:00.002-08:002013-02-22T12:18:16.609-08:00Movie Review: Amour <div style="font-family: inherit;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHllgdm2WFRB4veKu9KMNYuKpGAkEonE92bXQdqZYEs-7_ckXEwuSgNPFT0XbSWr9KIOCdYW-BaHA-a4NHIk5bENaQvfOTTyM7CDIFA5iUAJejKkVEWHDBUxURlWOt6ai8x4swFHtcetHp/s1600/Amour.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHllgdm2WFRB4veKu9KMNYuKpGAkEonE92bXQdqZYEs-7_ckXEwuSgNPFT0XbSWr9KIOCdYW-BaHA-a4NHIk5bENaQvfOTTyM7CDIFA5iUAJejKkVEWHDBUxURlWOt6ai8x4swFHtcetHp/s320/Amour.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Emmanuelle Riva</b></td></tr>
</tbody></table>
<b><i>Amour</i> (2012)</b><br />
<b>Written & Directed by:</b> Michael Haneke<br />
<b>Starring: </b>Jean-Louis Trintignant and Emmanuelle Riva <br />
<br />
An elderly couple returns from a
classical music concert to find that someone had attempted to break into
their beautiful apartment while they were away. Little do they know,
something far more sinister than some petty thief is about to come along
and shatter their comfortable lifestyle.<br />
<br />
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<br />
So begins German-born Austrian filmmaker <a href="http://www.imdb.com/name/nm0359734/?ref_=tt_ov_wr">Michael Haneke</a>'s quietly devastating portrait of old age and unconditional love.<br />
<br />
This French-language gem avoids all the melodrama usually associated with films centred on old age and the loss of a loved one. Anyone who has witnessed the cruel ravages of dementia or Alzheimer's -- or old age, in general -- can attest to the raw authenticity in which Haneke captures the decline of this elderly French couple.<br />
<br />
Anne (<a href="http://www.imdb.com/name/nm0728938/?ref_=tt_ov_st">Emmanuelle Riva</a>) and Georges
(<a href="http://www.imdb.com/name/nm0004462/?ref_=tt_ov_st">Jean-Louis Trintignant</a>) have been married for more than 50 years. Their
past -- and their familiarity with one another as longtime companions
-- is slowly revealed to us through the little stories they share with
one another and the little affectionate gestures with which they
communicate. Whether Anne is flipping through an old photo album,
commenting on the beauty of life, or Georges is recounting a film that
moved him to tears as a child, their marriage and comfortable
companionship is a testament to their love for one another. Despite the
passage of time, you can see glimpses of the young lovers they once
were.<br />
<br />
But then Anne suffers a stroke as a
result of a blocked carotid artery and the unsuccessful resulting
surgery leads to her eventual rapid decline. Georges struggles to care
for his wife, resolutely refusing to hand her off to a nursing home.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiipCzMsbjPecf8vfg4q1fYnSuRt_2n66Nzx74pTnoNwkElnzZGjtskWuXYu1XFfZE3rviJX4eLlj1zdGhvDELHAk3H7grx87OEHp1JPy1tzfpGhGoMfVA_40Z88EBB5F9dsoWNesI6GxBj/s1600/amour_review.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiipCzMsbjPecf8vfg4q1fYnSuRt_2n66Nzx74pTnoNwkElnzZGjtskWuXYu1XFfZE3rviJX4eLlj1zdGhvDELHAk3H7grx87OEHp1JPy1tzfpGhGoMfVA_40Z88EBB5F9dsoWNesI6GxBj/s320/amour_review.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Jean-Louis Trintignant</b></td></tr>
</tbody></table>
Anne
suffers the indignities of aging as gracefully as can be expected under
such circumstances. She lightly teases her husband as he hovers next to
her bed, watching her read a book -- yet, her voice can be quick to
sharpen if she feels he's doting on her too much and infringing on her
own capabilities.<br />
<br />
To watch Georges grapple with
decisions and question his actions is equally as heartbreaking to watch
as witnessing Anne's slow deterioration and suffering. It's enough to
emotionally shatter even the most cynical viewer.<br />
<br />
Haneke,
as both screenwriter and director, is at the helm of what is arguably
the most realistic portrayal of old age ever captured on film. His
assured, confident direction and touching dialogue allows his two lead
actors to shine. Riva and Trintignant, both acting legends in their
native France, are absolute powerhouses here. Riva is absolutely
devastating to watch, while Trintignant's subtly nuanced performance as
the struggling spouse is just so full of truth that you can literally
feel the gravity of his situation. They are beautiful performances,
both.<br />
<br />
While the film presents you with things you'll fear
later in life, it also provides hope that we'll all experience the same
unconditional love and support from a spouse, friend or relative that
will guide us through advanced age's crueler moments.<br />
<br />
Beneath
the tragedy of watching a loved one slip away, <a href="http://www.imdb.com/title/tt1602620/?ref_=sr_1"><i>Amour</i></a> is an intimate,
powerful look at advanced age -- but it's ultimately, above all, a love
story.<br />
<br />
<b>FINAL GRADE: A </b></div>
Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com2tag:blogger.com,1999:blog-6170443308250983581.post-86156853665171361722013-02-07T12:38:00.001-08:002013-02-13T05:32:59.358-08:00What my dream Oscars would look like... <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG-YUktlV_ROB2HQDZ5vy5aYqOS6QdECGNCiOvq__XBbd0L37soIkV0mTT1hSpmxyALMHvDaf0FoSTqPYqHsCg_KW3uQJR2dau_dhsCPlWX6MEs8NeN29crXsGgYHs9ALia1a2VhNacUWr/s1600/Academy-Awards-snub-original-scores.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG-YUktlV_ROB2HQDZ5vy5aYqOS6QdECGNCiOvq__XBbd0L37soIkV0mTT1hSpmxyALMHvDaf0FoSTqPYqHsCg_KW3uQJR2dau_dhsCPlWX6MEs8NeN29crXsGgYHs9ALia1a2VhNacUWr/s1600/Academy-Awards-snub-original-scores.jpg" /></a></div>
We all do it: Compile a list -- in our minds or on paper -- of our favourite films of the year and decide which movies and performances we'd like to see nominated at the Academy Awards.<br />
<br />
Overall, 2012 wasn't my favourite year for film (Will any of the 2000's ever be as good as 2007?). However, there were some notable films and beautiful performances -- many of them recognized by the Academy, others sadly overlooked.<br />
<br />
Here's how my Oscars would have played out (based on what I've seen)...<br />
<br />
<b><u>Best Picture</u></b><br />
<i>Amour</i><br />
<i>A Royal Affair </i><br />
<i>Beasts of the Southern Wild</i><br />
<i>Django Unchained</i><br />
<i>Life of Pi</i><br />
<i>The Master</i><br />
<i>Moonrise Kingdom</i><br />
<i>Zero Dark Thirty</i><br />
<i><br /></i>
<b><u>Best Director</u></b><br />
Paul Thomas Anderson for <i>The Master</i><br />
Kathryn Bigelow for <i>Zero Dark Thirty</i><br />
Michael Haneke for <i>Amour</i><br />
Ang Lee for <i>Life of Pi</i><br />
Quentin Tarantino for <i>Django Unchained</i><br />
<b>Who I'd choose:</b> Ang Lee<br />
<br />
<b><u>Best Actor</u></b><br />
Daniel Day-Lewis for <i>Lincoln</i><br />
<i> </i>John Hawkes for <i>The Sessions</i><br />
<i></i>Dwight Henry for <i>Beasts of the Southern Wild</i> <br />
Joaquin Phoenix for <i>The Master</i><br />
Jean-Louis Trintignant for <i>Amour</i><br />
<b>Who I'd choose:</b> Joaquin Phoenix<br />
<br />
<b><u>Best Actress</u></b><br />
Jessica Chastain for <i>Zero Dark Thirty</i><br />
Jennifer Lawrence for <i>Silver Linings Playbook</i><br />
Emmanuelle Riva for <i>Amour</i><br />
Quvenzhane Wallis for <i>Beasts of the Southern Wild </i><br />
Rachel Weisz for <i>The Deep Blue Sea</i><br />
<b>Who I'd choose</b>: Emmanuelle Riva<br />
<br />
<b><u>Best Supporting Actor</u></b><br />
Mikkel Boe Folsgaard for <i>A Royal Affair</i><i> </i><br />
Samuel L. Jackson for <i>Django Unchained</i><br />
Tommy Lee Jones for <i>Lincoln</i><br />
Philip Seymour Hoffman for <i>The Master</i><br />
<i></i>Christoph Waltz for <i>Django Unchained</i><br />
<b>Who I'd choose: </b>Mikkel Boe Folsgaard<br />
<br />
<b><u>Best Supporting Actress</u></b><br />
Amy Adams for <i>The Master</i><br />
Sally Field for <i>Lincoln</i><br />
Kara Hayward for <i>Moonrise Kingdom</i><br />
Helen Hunt for <i>The Sessions</i><br />
Isabelle Huppert for <i>Amour</i><br />
<b>Who I'd choose:</b> Helen HuntLaurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com0tag:blogger.com,1999:blog-6170443308250983581.post-1121573769936868832013-01-26T10:46:00.002-08:002013-01-26T10:46:38.635-08:00Movie Review: Zero Dark Thirty<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWxU0B91ppqoRs9BMvin0r_Orpm922jeupoWYEihaCuWaKihhbqCo2scw-3BWnJvXs3fd8XJrJceAu1ri4ntIJVJgOU56BXVLpCW-QJCEDXF2H5juUNsHv7t-7xTKZbbfHUreN29juMggD/s1600/zero-dark-thirty-2012-02-e1345055712771.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWxU0B91ppqoRs9BMvin0r_Orpm922jeupoWYEihaCuWaKihhbqCo2scw-3BWnJvXs3fd8XJrJceAu1ri4ntIJVJgOU56BXVLpCW-QJCEDXF2H5juUNsHv7t-7xTKZbbfHUreN29juMggD/s320/zero-dark-thirty-2012-02-e1345055712771.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Jessica Chastain</b></td></tr>
</tbody></table>
<b><i>Zero Dark Thirty</i> (2012)</b><br />
<b>Directed by:</b> Kathryn Bigelow<br />
<b>Starring:</b> Jessica Chastain, Kyle Chandler, Joel Edgerton, Jennifer Ehle and Jason Clarke<br />
<br />
Right from the earliest scenes of her latest political thriller, director <a href="http://www.imdb.com/name/nm0000941/">Kathryn Bigelow</a> proves her skill at displaying raw human emotion in even the most heart-pounding sequences.<br />
<br />
Working again with screenwriter <a href="http://www.imdb.com/name/nm1676793/">Mark Boal</a>, who penned the script of her Oscar-winning <i>The Hurt Locker</i>, Bigelow has crafted one of the finest cinematic experiences of 2012.<br />
<br />
Despite the swirl of controversy over the torture sequences -- an issue that hangs over the film like a wet blanket -- <i><a href="http://www.imdb.com/title/tt1790885/?ref_=sr_1">Zero Dark Thirty</a> </i>combines an investigative political thriller with a complex character study.<br />
<br />
The film slowly unfurls over a span of 10 years; the length of time the in-depth manhunt for the whereabouts of Osama bin Laden took to reach its conclusion. While the subject is obviously derived from a true story, many will question its accuracy considering the shroud of secrecy that cloaked the government reports. However, although Bigelow and Boal insist they interviewed pivotal figures involved in bin Laden's death, the debate over whether or not the film is entirely based on reality is ultimately irrelevant.<br />
<br />
What Bigelow has created is a plausible scenario that has scenes of action, interrogation and government verbal battles that all brim with complex decisions made by people who are neither good nor evil. Nothing is black and white in <i>Zero Dark Thirty</i> and every action can be called into question.<br />
<br />
At the centre of the investigation is Maya (<a href="http://www.imdb.com/name/nm1567113/">Jessica Chastain</a>), a new CIA recruit sent to close in on bin Laden and bring the world's most wanted man to justice. Along the way she is faced with government suits (led by <a href="http://www.imdb.com/name/nm0151419/">Kyle Chandler</a> as U.S. Embassy chief in Pakistan, Joseph Bradley) who shoot down her theories and suppositions on the whereabouts of bin Laden. Her frustration is palpable at times, but her steely resolve pushes her through to the end.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiC2tHRGKuK-z0sGHmAB_cN9bjpY0PBiUrJQ4SK_bC2bUQ-ydorn5TYIy3oIbjdRp7AuYxEHVtLGCCrxMjCDCa111NELwT8d-XiAo6he9RYtFvnqDy-EMKo2j5vHJYATuVc2K6xf1i7HJu/s1600/zero-dark-thirty-2012-pic05.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiC2tHRGKuK-z0sGHmAB_cN9bjpY0PBiUrJQ4SK_bC2bUQ-ydorn5TYIy3oIbjdRp7AuYxEHVtLGCCrxMjCDCa111NELwT8d-XiAo6he9RYtFvnqDy-EMKo2j5vHJYATuVc2K6xf1i7HJu/s320/zero-dark-thirty-2012-pic05.jpg" width="320" /></a></div>
As played by Chastain, Maya displays a remarkable composure that only falters a few times. Her perseverance and insistence on acquiring intelligence through investigative techniques -- her face displays her open revulsion at torture tactics -- forces others to follow her direction. Chastain gives one of the years best performances, subtly conveying each and every emotion that Maya struggles with -- whether it's the death of a close colleague or her frustration at the lack of support from her higher-ups.<br />
<br />
<i>Zero Dark Thirty </i>plays out like a documentary, all of which is told from Maya's point of view. While we do eventually meet the Navy SEAL team that ultimately take down bin Laden, it's all through shadows and night-vision goggles.<br />
<br />
Whether or not <i>Zero Dark Thirty </i>walks away from the Oscars as a big winner still remains to be seen, but there's no denying its smart script and note-worthy performances, all of which speaks to various important issues we confront in our news on a daily basis.<br />
<br />
<b>FINAL GRADE: A</b>Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com3tag:blogger.com,1999:blog-6170443308250983581.post-72978560090270011282013-01-15T16:34:00.000-08:002013-01-15T16:35:12.786-08:00Movie Review: Life of Pi<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidOOElX95CugUhsBiw92hKeSWZOlcQ72g_Y5AK2HDlhcFL9v_Le-ZEgVyUMs3BZgjv40yMujnQom0hmPJHNVsW5KTGMz-6hXtURaq_2cIisN-AwhLgLtgI33afv1-PoWKVYFLsd1S6Zril/s1600/121121_MOV_LifeofPi.jpg.CROP.rectangle3-large.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidOOElX95CugUhsBiw92hKeSWZOlcQ72g_Y5AK2HDlhcFL9v_Le-ZEgVyUMs3BZgjv40yMujnQom0hmPJHNVsW5KTGMz-6hXtURaq_2cIisN-AwhLgLtgI33afv1-PoWKVYFLsd1S6Zril/s320/121121_MOV_LifeofPi.jpg.CROP.rectangle3-large.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Suraj Sharma</b></td></tr>
</tbody></table>
<b><i>Life of P </i>(2012)</b><br />
<b>Directed by: </b>Ang Lee<br />
<b>Starring: </b>Suraj Sharma, Irrfan Khan, Adil Hussain and Tabu<br />
<br />
<i>"I suppose in the end the whole of life becomes an act of letting go, but what always hurts the most is not taking a moment to say goodbye."</i><br />
<br />
<i><a href="http://www.imdb.com/title/tt0454876/">Life of Pi</a></i> is a visual feast, and the power of oral tradition is alive and well in <a href="http://www.imdb.com/name/nm0000487/">Ang Lee</a>'s masterful Oscar contender<i>.</i><br />
<i><br /></i>
Based on the novel by <a href="http://www.imdb.com/name/nm1674631/">Yann Martel</a>, and adapted for the screen by <a href="http://www.imdb.com/name/nm1341735/">David Magee</a>, Lee has culled together all the difficult narrative threads from the original source and crafted a beautiful film from a novel that was once deemed unfilmable.<br />
<br />
<i>Life of Pi</i> opens in Montreal where an older Pi Patel (<a href="http://www.imdb.com/name/nm0451234/">Irrfan Khan</a>) meets with a young writer (<a href="http://www.imdb.com/name/nm1245863/">Rafe Spall</a>) interested in hearing his life story. In flashbacks, we are taken back in time to young Pi's youth in India. Born a Hindu, Pi's insatiable desire for knowledge and understanding leads him to take a deep interest in Catholicism and Islam. Armed with a complete faith in all three religions, Pi confronts his father (<a href="http://www.imdb.com/name/nm1300009/">Adil Hussain</a>), a man of science who rejects tradition and openly embraces a new India. <i>"If you believe in everything, you end up not believing in nothing at all," </i>his father cautions. When a teenage Pi (<a href="http://www.imdb.com/name/nm4139037/">Suraj Sharma</a>) is forced to leave India along with his family at his father's request, the youth struggles to come to terms with an event that he has no doubt will change his life forever. While packed on a Japanese cargo ship headed for Canada where Pi's father and mother (<a href="http://www.imdb.com/name/nm0007102/">Tabu</a>) hope to start a new life in Winnipeg, a torrential storm upends the ship, leaving Pi stranded in the middle of the Pacific Ocean with a zebra, hyena, orangutan and a tiger named Richard Parker. Lost at sea for an astonishing 227 days, Pi is forced to reevaluate his earlier notions of fate and the universe as his faith is put to the ultimate test.<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj85BXuEtJdCiEU0deCQupEbtlK20b8FsHiaFzKZRE7mnrQjoEZwmP0HNBXiYxBT6jxZacuB_N1hVhcxbGcX_iC1KElGZQZBhx9dL5-CG2E8Sfj6qx5oNQ5yHFk_tuHOF-4bjtUXz1TZAyS/s1600/lifeofpibanner.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj85BXuEtJdCiEU0deCQupEbtlK20b8FsHiaFzKZRE7mnrQjoEZwmP0HNBXiYxBT6jxZacuB_N1hVhcxbGcX_iC1KElGZQZBhx9dL5-CG2E8Sfj6qx5oNQ5yHFk_tuHOF-4bjtUXz1TZAyS/s320/lifeofpibanner.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Suraj Sharma</b></td></tr>
</tbody></table>
The meandering plot could easily have alienated viewers in the hands of a lesser director. Lucky for us, Lee has a knack for making even the quietest moments resonate with an emotional power. <i>Life of Pi </i>stays afloat thanks to lead actor Suraj Sharma, who carries the entire weight of the film on his young shoulders. It's a career-making performance that will undoubtedly put Sharma on the map.<br />
<br />
Who knew that watching a teen boy grapple with religion, contemplate the meaning of life and bond with a vicious tiger could result in one of the finest film experiences of 2012?<br />
<br />
<i>Life of Pi</i> is a fable, a film that revels in the art of storytelling. Through a combination of Magee's deft adaptation of a complex novel and Lee's lush visuals, <i>Life of Pi</i> is the kind of spectacle that proves even big-budget films with blockbuster-level CGI can be a thought-provoking work of art at it's very core.<br />
<br />
<b>FINAL GRADE: A </b>Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com0tag:blogger.com,1999:blog-6170443308250983581.post-32967711026861476142013-01-07T17:17:00.001-08:002013-01-07T17:17:57.851-08:00Movie Review: Django Unchained<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0AdvvfFtU4q0GnM9K5vMET3Aylxey52HoWKut7yrlqf134UnuJWFGeR9CQSq6Zu7ua27bjkrgi1ntnPFVLIZT6jMyySFZBbUUwG8QAUrcOM8KU4a_3PJv05xuDBxekCo9pUzqtgIb88YU/s1600/django-sdcc-panel-header.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0AdvvfFtU4q0GnM9K5vMET3Aylxey52HoWKut7yrlqf134UnuJWFGeR9CQSq6Zu7ua27bjkrgi1ntnPFVLIZT6jMyySFZBbUUwG8QAUrcOM8KU4a_3PJv05xuDBxekCo9pUzqtgIb88YU/s320/django-sdcc-panel-header.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Christoph Waltz and Jamie Foxx</b></td></tr>
</tbody></table>
<b><i>Django Unchained</i> (2012)</b><br />
<b>Written and Directed by:</b> Quentin Tarantino<br />
<b>Starring:</b> Christoph Waltz, Jamie Foxx, Leonardo DiCaprio, Kerry Washington and Samuel L. Jackson<br />
<br />
Revenge is a dish best served cold and, when it comes to revenge, no one doles it out quite like <a href="http://www.imdb.com/name/nm0000233/">Quentin Tarantino</a>.<br />
<br />
In recent years, Tarantino has endowed his central characters with ample opportunities to get even in instances where they have been painfully wronged -- whether it's The Bride exacting revenge on the man who tried to kill her or a group of Basterds on the hunt for Nazis.<br />
<br />
Tarantino, with his almost unnatural ability to understand the plight of those who were once downtrodden and his evident love for the world of cinema, has crafted his maturest film to date with <a href="http://www.imdb.com/title/tt1853728/?ref_=fn_al_tt_1"><i>Django Unchained</i>.</a><br />
<br />
Riding high on the coattails of the much-lauded <i>Inglorious Basterds </i>(2009), Tarantino's latest blood-soaked tale sets its sights on the years leading up to the American Civil War. When we first meet a chained Django (<a href="http://www.imdb.com/name/nm0004937">Jamie Foxx</a>) he's a recently purchased slave who is unexpectedly freed by a personable German bounty hunter by the name of Dr. King Schultz (<a href="http://www.imdb.com/name/nm0910607/">Christoph Waltz</a>). Schultz makes plain his motivation to a thoroughly stunned Django -- he's on the hunt for Django's previous owners and requires his help in pointing out their faces in a crowd. However, as with all Tarantino films, the opening 40 minutes merely scratches the surface of the plot.<br />
<br />
The real draw is in Django's search for his wife, Broomhilda (<a href="http://www.imdb.com/name/nm0913488/">Kerry Washington</a>), now under the ownership of the brutal Calvin Candie (<a href="http://www.imdb.com/name/nm0000138/">Leonardo DiCaprio</a>) -- a man so villainous that he forces slaves to battle one another to the death in what he calls "mandingo fighting."<br />
<br />
Schultz and Django devise a way to work their way into Calvin's good graces, earning a place at his dinner table under the guise of slave traders wanting to offer him money for some of his "mandingo" fighters.<br />
<br />
With a nearly three-hour run-time, <i>Django</i> is on par with Tarantino's previous films with regards to longevity and plot twists. However, those coming into <i>Django </i>expecting the usual clever, dialogue-heavy flair that has become the director's staple will be surprised that such extended scenes of jabber are lacking this time around. But that's not necessarily a bad thing. And that's not to say that Tarantino's dialogue has lost its bite. As amusing and scathing as Tarantino's conversations can be, <i>Django</i> involves far more character development and explosive (not to mention extremely violent) action sequences.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUsRdhkAdgDp9d7dL0LgB9VLCBgWR4Gc5CmdhotNwwEmLwKxFMEJpEPv0qMgyeFKljlg6Zd1UZN36j2N5C1XRwZztsFKSPCh7ySScH4EvFMYV2KXMX3JBvACyKcf2BXiKoGjpmi0bZLbEC/s1600/leonardi-dicaprio-django-unchained.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUsRdhkAdgDp9d7dL0LgB9VLCBgWR4Gc5CmdhotNwwEmLwKxFMEJpEPv0qMgyeFKljlg6Zd1UZN36j2N5C1XRwZztsFKSPCh7ySScH4EvFMYV2KXMX3JBvACyKcf2BXiKoGjpmi0bZLbEC/s320/leonardi-dicaprio-django-unchained.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Leonardo DiCaprio</b></td></tr>
</tbody></table>
And while Tarantino, as writer-director, is a draw in his own right, his bang-on casting choices are always guaranteed to pack the threatres.<br />
<br />
As the titular anti-hero, Foxx has the right intensity -- his anger on slow-burn, brimming just beneath the surface before it erupts in spectacular fashion. It's undeniable that Foxx fits comfortably in Tarantino's universe. While Django is less showy than some of Tarantino's previous creations, Foxx excels in the role with a quiet, subtle and touching performance.<br />
<br />
However, it's Waltz as Dr. King Schultz, DiCaprio as the vicious Calvin Candie and <a href="http://www.imdb.com/name/nm0000168/">Samuel L. Jackson</a> as Candie's loyal house slave, Stephen, that all vie with each other to steal the show. In a smaller supporting role, Jackson gives arguably his best performance in years. As Calvin, DiCaprio is genuinely terrifying, shattering any remaining comparisons he may still encounter with his earlier roles in <i>Titanic </i>or <i>Romeo + Juliet. </i>He's all fire and brimstone and some of his best exchanges occur alongside the equally wonderful Jackson.<br />
<br />
But it's Waltz, once again, who nearly steals the film right out from under his co-stars. As he did with <i>Basterds</i>, Waltz savours Tarantino's dialogue, using his unique cadences to give his director's words even more meaning and intensity. He's so suited for Tarantino's hyper, ultra-violent homages that the two will undoubtedly continue to work together for years down the road. His Schultz is the perfect mentor to Django and, part of why the film excels, is because of their palpable chemistry.<br />
<br />
<i>Django </i>is a whole new venture for Tarantino; more mature, violent and controversial than any of his previous films. But there's no denying that this auteur still has the goods and his work packs a punch few other American directors can get away with -- or would even risk trying. <br />
<br />
Once again Tarantino goes big and delivers -- his critics be damned.<br />
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<b>FINAL GRADE: A</b>Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com4tag:blogger.com,1999:blog-6170443308250983581.post-11655534660376955682012-12-14T17:10:00.002-08:002012-12-14T17:10:53.578-08:00Movie Review: The Hobbit: An Unexpected Journey<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4pV3L9J_I2ymm6t8jlbfneIgSKah0Wt67_4iNnYcZucUIzIhsWCfEasL-wlByjirWjRnoVQIQVbiHK41MOEdsr6pTdjYhpMLsdlv_vM6CrzEBHHo2O5_HKR3jD5Ah6OGhmvB3LUhibFi2/s1600/The-Hobbit-An-Unexpected--010.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4pV3L9J_I2ymm6t8jlbfneIgSKah0Wt67_4iNnYcZucUIzIhsWCfEasL-wlByjirWjRnoVQIQVbiHK41MOEdsr6pTdjYhpMLsdlv_vM6CrzEBHHo2O5_HKR3jD5Ah6OGhmvB3LUhibFi2/s320/The-Hobbit-An-Unexpected--010.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Martin Freeman</b></td></tr>
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<b><i>The Hobbit: An Unexpected Journey </i>(2012)</b><br />
<b>Directed by:</b> Peter Jackson<br />
<b>Starring:</b> Martin Freeman, Ian McKellan, Richard Armitage and Andy Serkis<br />
<br />
<b>I reviewed this film for <a href="http://nextprojection.com/2012/12/14/review-the-hobbit-an-unexpected-journey-2012-2/">Next Projection</a>.</b><br />
<br />
<i>"In a hole in the ground there lived a hobbit".</i> So goes one of the most recognizable openings in English literature. Back in 1937, when J.R.R. Tolkien first put pen to paper to create his sprawling fantasy universe, little did he know that it would spawn one of the biggest film franchises of all time.<br />
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Now, 11 years after first introducing audiences to his interpretation of Tolkien's world with <i>The Lord of the Rings</i>, director <a href="http://www.imdb.com/name/nm0001392/">Peter Jackson</a> returns to helm the prequel to his epic trilogy.<br />
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<i><a href="http://www.imdb.com/title/tt0903624/">The Hobbit: An Unexpected Journey</a></i> is a solid and enjoyable outing, albeit one that struggles to recreate the magic of the original trilogy. Those films -- like catching lightning in a bottle -- were a pop culture phenom that captured the imagination of filmgoers from around the globe for three years. And, with his assured direction, Jackson makes <i>The Hobbit</i> work, for the most part.<br />
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Set 60 years before the events of <i>The Lord of the Rings, </i>we first meet Bilbo Baggins (<a href="http://www.imdb.com/name/nm0293509/">Martin Freeman</a>) leading a solitary life in his small burrow in The Shire. When the wizard Gandalf (<a href="http://www.imdb.com/name/nm0005212/">Ian McKellan</a>) appears requesting that he join him on an adventure, Bilbo is hesitant -- and rightfully so. Gandalf wants Bilbo to act as a burglar for a group of 13 dwarves fighting to reclaim their home, the kingdom of Erebor. Hobbits, being fleet of foot, are able to move about sight unseen, sound unheard -- making young Bilbo the ideal candidate for such a dangerous venture.<br />
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Having faced a ruthless invasion at the hands of the fearsome dragon Smaug, the dwarves were run out of their kingdom and left homeless. While Smaug lords over Erebor and the dwarf treasure, a plot is set in motion to reclaim their territory by any means necessary. Although riddled with anxiety, Bilbo agrees to leave his idyllic settings for unchartered terrain with a band of bloodthirsty, yet charmingly brash, dwarves.<br />
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Freeman is a natural fit for the lead role. He instills Bilbo with a nervous charisma that is as amusing as it is moving. Riding in on the coattails of the immensely popular BBC series, <i>Sherlock</i>, Freeman's fanbase will undoubtedly grow exponentially thanks to his spot-on characterization of one of literature's most popular heroes.<br />
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Returning in the role of Gandalf, McKellan manages to make his wise wizard feel younger and more spry than he appeared in <i>The Lord of the Rings. </i>He gives a thoughtful performance with a character he's already perfected.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7qsbGBTLSiZzCP_FgPxv7B9dv6qaOAECC3zAEumzHaSUnvTvzGF7S7LmW0QDcmeIEX-Tc6rUR2OLvstsX-dLQ0X4mNtmZKXtN7DQQzrs-_1Ffa4odiJ-R7hkjzxfWpGfyznw1FqtR0oqU/s1600/2012_the_hobbit_an_unexpected_journey_003.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7qsbGBTLSiZzCP_FgPxv7B9dv6qaOAECC3zAEumzHaSUnvTvzGF7S7LmW0QDcmeIEX-Tc6rUR2OLvstsX-dLQ0X4mNtmZKXtN7DQQzrs-_1Ffa4odiJ-R7hkjzxfWpGfyznw1FqtR0oqU/s320/2012_the_hobbit_an_unexpected_journey_003.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Ian McKellan</b></td></tr>
</tbody></table>
Considering Jackson's knack for coming across talented actors who are not yet household names, the supporting cast are all top notch. It's not only a pleasure to watch the return of <a href="http://www.imdb.com/name/nm0000949/">Cate Blanchett</a> as Galadriel, <a href="http://www.imdb.com/name/nm0915989/">Hugo Weaving</a> as Elrond and a never-better <a href="http://www.imdb.com/name/nm0785227/">Andy Serkis</a> as Gollum, but the new faces are a delight as well. <a href="http://www.imdb.com/name/nm0035514/">Richard Armitage</a> as dwarf leader Thorin Oakenshield, in particular, is a standout.<br />
<br />
Adept at capturing even the tiniest details of Middle Earth, it seems only natural that Jackson would return after original director Guillermo del Toro bowed out due to scheduling conflicts. For the sake of continuity and the overall look and feel, it's fitting that Jackson complete all six films himself. However, the decision to stretch a tiny children's book into three feature films is being called into question.<br />
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By the time all the expository information is laid out in the first two acts of <i>An Unexpected Journey</i>, the material has started to stretch a little thin. The meandering plot will likely keep true Tolkien devotees satisfied but may alienate general audiences. The film gains some traction in the third act when much of the action focuses on Gollum and then the epic battle between dwarves and orcs -- but by then the film is nearly over.<br />
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However, for all its spectacle and excellent performances, <i>An Unexpected Journey </i>is gaining a fair bit of buzz for the medium in which Jackson chose to film his trilogy.<br />
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Jackson made the controversial decision to film his latest Middle Earth outing with a high projection rate of 48 frames per second, which adds up to about twice the normal speed. It's akin to watching the clarity of a high-definition TV show. It will astound as many viewers as it will anger and disappoint. While there are those who will gripe about the 48 frames, there's no denying the often glorious effect it has on specific scenes in the film.<br />
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<i>An Unexpected Journey </i>is an enjoyable piece of cinema and you'll be happy that you've returned to Middle Earth -- even if it isn't quite as magical as the first time around.<br />
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<b>FINAL GRADE: B+</b>Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com2tag:blogger.com,1999:blog-6170443308250983581.post-48278411528900329802012-12-11T17:54:00.000-08:002012-12-11T17:54:28.183-08:00Movie Review: Silver Linings Playbook<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoeJTskkQuzwBf4NoaTjoFeYW0zc-3RcLVpoTXVr2S-lSr6mY1ReXFodH11ClytRWO8bS6JJua4yVQ2TPJLDX8WCWqtWBMPdIbZg2Avp2p6IVdr9FXt0gP93G6tvoAGz0ODFylSetA9A2E/s1600/SilverLiningsPlaybook_620x350.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoeJTskkQuzwBf4NoaTjoFeYW0zc-3RcLVpoTXVr2S-lSr6mY1ReXFodH11ClytRWO8bS6JJua4yVQ2TPJLDX8WCWqtWBMPdIbZg2Avp2p6IVdr9FXt0gP93G6tvoAGz0ODFylSetA9A2E/s320/SilverLiningsPlaybook_620x350.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Bradley Cooper and Jennifer Lawrence</b></td></tr>
</tbody></table>
<b><i>Silver Linings Playbook </i>(2012)</b><br />
<b>Written and directed by: </b>David O. Russell<br />
<b>Starring: </b>Bradley Cooper, Jennifer Lawrence, Robert DeNiro and Jacki Weaver<br />
<br />
Like the screwball films of the 1930s -- after which <i>Silver Linings Playbook</i> is styled -- the jam-packed script of director David O. Russell's latest oddity is rife with loose narrative threads that all ultimately tie together neatly in the end.<br />
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A festival darling, winning the People's Choice Award at this years Toronto International Film Festival, <i>Silver Linings Playbook </i>has received overwhelming support in critics circles. Applauded for its unique quirkiness, the film is based on a novel by Matthew Quick and manages to balance its darker themes with moments of levity.<br />
<br />
When Pat Solitano (Bradley Cooper) is released from a mental health facility he returns to his childhood home to live with his parents (Robert DeNiro and Jacki Weaver). Diagnosed as bipolar, Pat was hospitalized after discovering his wife in the shower with a work colleague and nearly beating the man to death. After countless therapy sessions, Pat has learned to rein in his mood swings and bouts of violent rages -- for the most part. Pat wants to be reunited with his now-ex-wife and vows that nothing will stand in his way, including a pesky restraining order. He believes a reconciliation with his wife is his "shot at a silver lining", as he often says. When his old friends (John Ortiz and Julia Stiles) invite him over for dinner one night to celebrate his homecoming Pat is introduced to Tiffany (Jennifer Lawrence), a young widow with personal issues of her own. As the two bond over medications and moments of depression, the two recognize a spark and embark on a rocky friendship that involves Pat trying to win back his ex-wife and a high-stakes ballroom dance competition.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWyF7DfENoaS2e13gpQyb0vD7bZg4fvnDLZDeyxJ0_BqIg6yidQM_6mpGHbvSAiEaRi-WfjQ0zp8oKt0jZKGfeNsg5mashjxXgCjE8Ku3wTjZX4CMpgCavJiWJu-zgt7d4nUcABa-gWn1N/s1600/Silver+Linings+Playbook+Jennifer+Lawrenece.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWyF7DfENoaS2e13gpQyb0vD7bZg4fvnDLZDeyxJ0_BqIg6yidQM_6mpGHbvSAiEaRi-WfjQ0zp8oKt0jZKGfeNsg5mashjxXgCjE8Ku3wTjZX4CMpgCavJiWJu-zgt7d4nUcABa-gWn1N/s320/Silver+Linings+Playbook+Jennifer+Lawrenece.jpg" width="320" /></a></div>
In a rare dramatic lead role, Cooper has established himself as a fine actor and more than just another pretty Hollywood face. His mature performance as Pat carries a large portion of the emotional heft in the film. He even works through the melodramatic bits to create full-fledged character living on the brink; a man trying to thread his life together.<br />
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However, as solid as Cooper is in the lead role, the film greatly benefits from the standout performance of Lawrence as the grieving widow. Playing a character much older than her actual 22 years, Lawrence instills Tiffany with complex emotions that are just brimming beneath the surface. She's liable to just go off at any moment, but Lawrence brings a touching fragility to her sharp-tongued incarnation of Tiffany. She's just as lost, in not more so, than Pat. If there is one thing you'll remember after watching <i>Silver Linings Playbook</i>, it's her bold performance.<br />
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In a supporting role, Robert DeNiro is back in top form, portraying Pat's football-loving father who suffers from obsessive compulsive disorders but who loves his family, no matter how dysfunctional. And Jacki Weaver gives a lovely performance as the family matriarch who just wants her loved ones to be alright.<br />
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Where the film suffers at times is in its meandering plot. There are moments when the narrative struggles to stay afloat on a very thin premise. But, thanks to a cathartic, albeit cliched, ballroom dance finale, Russell's film manages to straddle multiple genres while telling an intriguing, emotional story. Despite some issues with the script, <i>Silver Linings Playbook </i>is an actors film, one that allows them room to breath and create unique characters that pull you into the story.<br />
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<b>FINAL GRADE: B+</b>Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com1tag:blogger.com,1999:blog-6170443308250983581.post-1383777556112618812012-12-03T18:06:00.002-08:002012-12-03T18:06:26.673-08:00Movie review: The Sessions<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Yxff-8zyo2z_4MQd9zciJ1jMT5FwBdNSqv0nLAAdyMUa54yK3vxDCARgznyuE_Er1Q0DicP3yYKuevgQQvgQJ8U1vmIw_Q-8Hk3qCmuoj2M4JHws18U88x_soiE18aHlD_mGQyS_zvg2/s1600/121018_MOV_TheSessions.jpg.CROP.rectangle3-large.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Yxff-8zyo2z_4MQd9zciJ1jMT5FwBdNSqv0nLAAdyMUa54yK3vxDCARgznyuE_Er1Q0DicP3yYKuevgQQvgQJ8U1vmIw_Q-8Hk3qCmuoj2M4JHws18U88x_soiE18aHlD_mGQyS_zvg2/s320/121018_MOV_TheSessions.jpg.CROP.rectangle3-large.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Helen Hunt and John Hawkes</b></td></tr>
</tbody></table>
<b><i>The Sessions </i>(2012)</b><br />
<b>Written and directed by: </b>Ben Lewin<br />
<b>Starring </b>John Hawkes, Helen Hunt and William H. Macy<br />
<br />
Based on a true story. That sentence, so often found flashing across movie trailers and posters, usually signifies an inspiring tearjerker that will tug at your heartstrings as it works its way up the red carpet to the Academy Awards.<br />
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However, while <i>The Sessions </i>does have moments that will leave you reaching for the tissues, it's also a gentle comedy that touchingly delves into the most basic of human desires.<br />
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Mark O'Brien (John Hawkes) was diagnosed with polio at the age of six and, as a result, must spend the majority of his days enclosed in an iron lung. For those few blissful hours where he is allowed to leave his prison, he's wheeled around town by a string of caretakers. However, Mark, who went on to become a successful essayist and poet, desired a sort of physical contact that many often take for granted.<br />
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The film, based on a 1990 article Mark wrote titled "On Seeing a Sex Surrogate", focuses on his quest to lose his virginity at the age of 38. A devout Christian, Mark grapples with his religious conscience and his desire for a physical act that is deemed a mortal sin. In an attempt to come to terms with his inner turmoil, Mark regularly visits a local priest (William H. Macy) to unburden himself. After several meetings, Mark admits his desire for sexual fulfillment and his priest, in one of the standout moments in <i>The Sessions</i>, gives his blessing to Mark with a simple, <i>"In my heart, I feel He will give you a free pass on this one. Go for it."</i><br />
<i><br /></i>
And go for it he does. He hires Cheryl (Helen Hunt), a sex surrogate who is assigned to six sessions with Mark. Her goal: To not only help him in his quest to lose his virginity but to help him find comfort with his own body and sexuality. Quick to brush off any association with prostitution, Cheryl is a sex therapist who also happens to take off her clothes in order to help heal her clients. The restriction to six sessions is to prevent therapist and client from becoming too involved with one another. It's a quick and effective way to cut the strings.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn02d9gPKIRLkJxFAnbnR2INizdTvvR8-GPAxjtbaw0L-MMhY1Et1ykLAkPB6XMy0STY98gP_69B_kyOa6PhRXUFcCAXn8gv7TglBUslvXIf2xTnnwobhpmTBnFgH_ARnsw6CX2Y9wUNqF/s1600/The-Sessions-2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn02d9gPKIRLkJxFAnbnR2INizdTvvR8-GPAxjtbaw0L-MMhY1Et1ykLAkPB6XMy0STY98gP_69B_kyOa6PhRXUFcCAXn8gv7TglBUslvXIf2xTnnwobhpmTBnFgH_ARnsw6CX2Y9wUNqF/s320/The-Sessions-2.jpg" width="320" /></a></div>
If nothing else, <i>The Sessions </i>is a film of performances, and great ones at that. Hawkes and Hunt carry the emotional weight on their shoulders, weathering their characters' personal ups and downs with gentle humour and touching maturity. Despite its premise, the film isn't about sex; it's about those basic human desires we all harbour and how we each work to achieve them.<br />
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Hawkes is a likely Best Actor nominee shoo-in at the Oscars this year. Speaking in a higher voice and contorting his body, Hawkes is only able to use his face to convey his emotions. A versatile actor who has really come into his own in the last five years, the Oscar nominee gives arguably his finest performance to date. Hawkes doesn't make Mark a character to be pitied -- he's to be admired for his strength of character, minus the cliched trappings of many films that revolve around a person living with a disability.<br />
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Hunt returns to the silver screen after a self-imposed hiatus and she's back in full force -- just as likable and charming as ever. One of the flaws of <i>The Sessions </i>is the manner in which it glosses over Cheryl's life. It stands back from her rocky marriage and forces the audience to watch from a distance. How does her career choice affect her marriage? And why does she fall so hard for Mark? What is it that is missing from her life? All of these questions, and more, are left unanswered yet, thanks to Hunt's quietly commanding performance, you're still drawn into Cheryl's story.<br />
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The screenplay, written by director Ben Lewin, is a little all over the map -- changing narrative point-of-views that leave the film feeling like detached fragments and vignettes. However, <i>The Sessions </i>is ultimately buoyed by the two standout lead performances. You only wish you had more sessions in which to spend with them.<br />
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<b>FINAL GRADE: B+</b>Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com1tag:blogger.com,1999:blog-6170443308250983581.post-60700690356288655222012-11-19T17:45:00.000-08:002012-11-19T17:45:06.225-08:00Ranking the Films of Steven Spielberg<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyQhI-zrup01X1sRWf_X7cEdmjzQDqL9C-HgN3v9CAaUG4OpNDWlKtKriIuMk3fn97FX6VjqhBpBqpCRGFqqWVcDa8PZH49n94b4abZWRNuAd3Qekvn_KzZZy8GC8PKe39V0eKu-_bLq17/s1600/raiders-of-the-lost-ark-imax.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyQhI-zrup01X1sRWf_X7cEdmjzQDqL9C-HgN3v9CAaUG4OpNDWlKtKriIuMk3fn97FX6VjqhBpBqpCRGFqqWVcDa8PZH49n94b4abZWRNuAd3Qekvn_KzZZy8GC8PKe39V0eKu-_bLq17/s320/raiders-of-the-lost-ark-imax.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Raiders of the Lost Ark</b></td></tr>
</tbody></table>
Recently, <a href="http://www.vulture.com/2012/11/vulture-ranks-all-28-steven-spielberg-films-worst-best.html"><b>Vulture</b></a> ranked all 28 of Steven Spielberg's films. As bloggers Will Leitch and Tim Grierson wrote: <i>"Spielberg doesn't always receive his due, dismissed in some quarters as merely a 'commercial' moviemaker who lacks the soul of a true artist." </i><br />
<br />
The article did get me thinking, though: How would I rank Spielberg's films? So much of his filmography helped peak my interest in the cinema when I was a child. I still regard <i>Jurassic Park </i>as the best experience I've ever had in a theatre. I can still remember feeling my heart in my throat. Combine <i>Jurassic Park </i>with my love for <i>Raiders of the Lost Ark, Indiana Jones and the Last Crusade, Hook </i>and <i>E.T. </i>and Spielberg was easily the most influential film figure in my younger years. In my eyes, no made better movies. For those seeking both pure adrenaline and loveable characters, Spielberg is where you'd look.<br />
<br />
Granted, Spielberg has had his fair share of cinematic misfires, but there's no denying his ability to inspire new generations of filmmakers with his stylistic flair and ability to effortlessly take on any genre or subject.<br />
<br />
While I haven't seen everything in his oeuvre, here is how I'd rank the Spielberg films that I have seen:<br />
<br />
<b>20) <i>Indiana Jones and the Temple of Doom</i> (1984)</b><br />
<b>19)<i> The Lost World: Jurassic Park</i> (1997)</b><br />
<b>18)<i> Indiana Jones and the Kingdom of the Crystal Skull </i>(2008)</b><br />
<b>17) <i>A.I. Artificial Intelligence </i>(2001)</b><br />
<b>16) <i>The Terminal</i> (2004)</b><br />
<b>15) <i>The Color Purple</i> (1985)</b><br />
<b>14) <i>Saving Private Ryan</i> (1998)</b><br />
<b>13) <i>Empire of the Sun</i> (1987)</b><br />
<b>12) <i>War of the Worlds</i> (2005)</b><br />
<b>11) <i>Catch Me If You Can</i> (2002)</b><br />
<b>10) <i>Hook</i> (1991)</b><br />
<b>9) <i>Lincoln</i> (2012)</b><br />
<b>8) <i>Close Encounters of the Third Kind</i> (1977)</b><br />
<b>7) <i>Schindler's List</i> (1993)</b><br />
<b>6) <i>Minority Report</i> (2002)</b><br />
<b>4) <i>E.T. The Extra-Terrestrial</i> (1982)</b><br />
<b>3) <i>Indiana Jones and the Last Crusad</i>e (1989)</b><br />
<b>2) <i>Jurassic Park</i> (1993)</b><br />
<b>1) <i>Raiders of the Lost Ark</i> (1981)</b><br />
Perfection. Pure, unadulterated entertainment where we get to see Spielberg at his finest.Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com0tag:blogger.com,1999:blog-6170443308250983581.post-30579094986330171792012-11-12T08:36:00.000-08:002012-11-12T08:36:42.513-08:00Movie Review: Lincoln<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRiwlaTA8IqsvtqA7Y8FceukV0v6odxFja_dhKm3uyK7QKaHOTggnkc8hTZLggp53TkTVMkdBp0ljHErIeEidaxV9JHfwzmNyg-vEybNTTGk7VrJh6wbJT4hJ16NppaHLjy_rqtMFKM0Ac/s1600/daniel_day_lewis_lincoln_still_a_l.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRiwlaTA8IqsvtqA7Y8FceukV0v6odxFja_dhKm3uyK7QKaHOTggnkc8hTZLggp53TkTVMkdBp0ljHErIeEidaxV9JHfwzmNyg-vEybNTTGk7VrJh6wbJT4hJ16NppaHLjy_rqtMFKM0Ac/s320/daniel_day_lewis_lincoln_still_a_l.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Daniel Day-Lewis</b></td></tr>
</tbody></table>
<b>I reviewed this film for <a href="http://nextprojection.com/2012/11/08/review-lincoln-2012-2/">Next Projection</a>.</b><br />
<br />
Long-regarded as one of America's greatest leaders, Abraham Lincoln was many things: A shrewd politician, a hardworking family man and a vocal proponent of passing an anti-slavery bill. <br /><br />The gradual build-up to director <a href="http://www.imdb.com/name/nm0000229/">Steven Spielberg</a>'s opus has helped revive public discussions on Lincoln outside of the usual historical circles. Yet, few films have ever ventured to portray the much-revered president on the silver screen and, if anyone were to succeed in the role, it would be celebrated British actor <a href="http://www.imdb.com/name/nm0000358/">Daniel Day-Lewis</a>. And, while the always-reliable Day-Lewis commands the screen with his award-worthy performance, <a href="http://www.imdb.com/title/tt0443272/"><i>Lincoln</i></a> may ultimately leave some viewers scratching their heads.<br /><br />Spielberg's <i>Lincoln</i> chronicles the last four months of the titular hero's life, from January to April 1865. The action takes place in Washington, as the President struggles to bring an end the Civil War raging throughout the nation. Lincoln puts most of his time and energy into passing an amendment to abolish slavery, a contentious issue that proves divisive within the House of Representatives. <br /><br />In the moments where the script calls for levity, Lincoln enlists the help of three affable Republican "thugs" (<a href="http://www.imdb.com/name/nm0000652/">James Spader</a>, <a href="http://www.imdb.com/name/nm0370035/">John Hawkes</a> and <a href="http://www.imdb.com/name/nm0625789/">Tim Blake Nelson</a>, all excellent) to convince the remaining Democrats who are still on the fence over the anti-slavery act to come back with a verdict in support of the bill. <br /><br />However, considering the historic significance of America's 16th President of the United States, it's somewhat perplexing as to why Spielberg gets off to a slow start in the early going. The first hour is filled with awkward exposition as the script calls for too many heavy-handed conversations that quibble over the semantics of passing a bill. Periods of long, drawn-out speeches on constitutional law and negotiating peace slow the momentum to a standstill.<br /><br />The screenplay, by <a href="http://www.imdb.com/name/nm1065785/">Tony Kushner</a>, neglects to delve deeper into the man behind the iconic top hat and beard. There are even instances where, despite Day-Lewis' mesmerizing performance, Lincoln recedes into the background. When we do get glimpses of his private family life they are fleeting — especially frustrating considering certain scenes with his wife Mary (<a href="http://www.imdb.com/name/nm0000398/">Sally Field</a>) hint at a fascinating, albeit unhappy, marriage. Even a subplot involving his eldest son, Robert (<a href="http://www.imdb.com/name/nm0330687/">Joseph Gordon-Levitt</a>), is ultimately discarded in favour of the unending parade of secondary characters.<br /><br />But where <i>Lincoln</i> ultimately falls short is in its hazy narrative. Is this a biopic on the man behind the legend or a docudrama on the abolishment of slavery in the United States? <br /><br />Daniel Day-Lewis exudes a confidence in his craft rarely seen in actors working today. Although the passage of time prevents us from knowing exactly how Lincoln spoke and acted towards his colleagues and family, Day-Lewis imbues his metaphor-spouting Lincoln with a gentleness that defies his reputation as a commanding leader. Speaking in soft-spoken cadences that rarely rise above a whisper, Day-Lewis' Lincoln walks with shoulders so stooped that they appear to carry the entire weight of the world. He has the uncanny ability to transport you in time and make you believe that the person you are watching on the silver screen is the real person — as opposed to a carefully crafted reconstruction. It's a powerful — and beautifully subdued — performance from an artist who many would argue is a gift to acting. <br /><br />The supporting cast is a revolving door of familiar faces from <a href="http://www.imdb.com/name/nm0355097/">Jackie Earle Haley</a> (as Alexander Stephens) to <a href="http://www.imdb.com/name/nm0000657/">David Strathairn</a> (as Secretary of State William Seward). But it's <a href="http://www.imdb.com/name/nm0000169/">Tommy Lee Jones</a> as Pennsylvania rep Thaddeus Stevens that is the standout — and potentially one of the early contenders for a Best Supporting Actor nomination. Grizzled and peevish, Jones unleashes passionate pleas in defense of Lincoln's anti-slavery bill — much to the chagrin of Democratic pro-slavery speaker Fernando Wood (<a href="http://www.imdb.com/name/nm1195855/">Lee Pace</a>). <br /><br /><i>Lincoln</i> is not as epic or sentimental as one would come to expect from Spielberg — it's easily the director's most restrained work to date. <br /><br />While the film has its powerful moments — many of which take place in the House of Representatives — Lincoln, the man, ultimately gets lost within <i>Lincoln</i>.<br />
<br />
<b>FINAL GRADE: C+</b>Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com0tag:blogger.com,1999:blog-6170443308250983581.post-75250250794296889192012-11-06T18:15:00.000-08:002012-11-09T08:23:08.037-08:00Blu-ray Review: Sunset Blvd. (1950)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1NaLca6DHllbcMm6r0M5UMRRm03KYSjntuup58b1onMnHtLMHBFfcTQ4dXOzqmv81d7Dg4amdxgrw-QHk1ykRgkD2IG0AZRmGhibqiBtCTNMMtx2RHH8EfLNsn4aopX3Xh0D-qr0aRwGh/s1600/la-et-mn-sunset-boulevard-blu-ray-20121106.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1NaLca6DHllbcMm6r0M5UMRRm03KYSjntuup58b1onMnHtLMHBFfcTQ4dXOzqmv81d7Dg4amdxgrw-QHk1ykRgkD2IG0AZRmGhibqiBtCTNMMtx2RHH8EfLNsn4aopX3Xh0D-qr0aRwGh/s320/la-et-mn-sunset-boulevard-blu-ray-20121106.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Comparing the Blu-ray transfer to the DVD release.</b></td></tr>
</tbody></table>
<b>I reviewed this Blu-ray for<a href="http://nextprojection.com/2012/11/07/blu-review-sunset-blvd-1950/"> Next Projection.</a></b><br />
<b><br /></b>
<b>Cast:</b> Gloria Swanson, William Holden and Erich von Stroheim<br />
<b>Director:</b> Billy Wilder<br />
<b>Country:</b> U.S.<br />
<b>Genre:</b> Drama<br />
<b>Official Trailer:</b> YouTube<br />
<br />
<b><u>Video</u></b><br />
<b>Video Codec:</b> MPEG-4 AVC<br />
<b>Video resolution:</b> 1080 p<br />
<b>Aspect ratio:</b> 1.37:1<br />
<b>Original aspect ratio:</b> 1.37:1<br />
<br />
<b><u>Audio</u></b><br />
<b>English:</b> Dolby True HD Mono<br />
<b>French:</b> Dolby Digital Mono<br />
<b>Spanish:</b> Dolby Digital Mono<br />
<b>Portugese:</b> Dolby Digital Mono<br />
<b>Subtitles:</b> English, French, Spanish and Portugese<br />
<br />
<i><a href="http://www.imdb.com/title/tt0043014/">Sunset Blvd</a>. </i>finally gets its close-up on Blu-ray. As one of the most cynical glimpses of Hollywood to ever hit the silver screen, Billy Wilder's satiric masterpiece is classic cinema at its finest.<br />
<br />
Long revered as one of the finest films ever made, this seminal work marks a career high for Wilder who, at the time, was Hollywood's most celebrated director, having recently won the Oscars for Best Director and Best Screenplay for <i>The Lost Weekend</i> (1945).<br />
<br />
With its assortment of colourful characters both fictional and real, <i>Sunset Blvd. </i>delves into the dark side of movie-making -- from the desperation of those who seek a life in the spotlight to those jaded figures who work behind the scenes. It's a dirty business and Wilder wasn't afraid to shine a light on its dark corners.<br />
<br />
Struggling screenwriter Joe Gillis (William Holden) is down on his luck in Hollywood and, after a series of misadventures, finds himself in a ramshackle mansion on the outskirts of town. Once inside the oppressive house Joe meets Norma Desmond (Gloria Swanson), an aging former silent screen star, and her solumn German butler Max von Mayerling (Erich von Stroheim). When Norma shows Joe a script she plans to use as her "return" to the silver screen, she enlists him as her screenwriter in exchange for money to pay off his creditors. Lost in her delusions and exaggerated sense of self-worth, Norma showers Joe with money and jewellery -- lavishing the man she believes will be her gateway back to fame.<br />
<br />
<i>Sunset Blvd.</i>'s theme of opportunism and its consequences narrows in on what making movies does to people in the business.<br />
<br />
The transfer and digital reconstruction is gorgeous, capturing the luscious light and shadows in every shot. Paramount clearly appreciated the importance of preserving this classic and celebrating its place in film lore.<br />
<br />
There is a wealth of supplemental features, many of which were brought over from the DVD restoration that was released a decade ago. Featuring the likes of film historian Ed Sikov, actress Nancy Olson and film historian Andrew Sarris, the extras give tidbits on the behind-the-scenes issues in bringing this classic to the big screen.<br />
<br />
The only complaint is that, after clocking in at more than two and a half hours of extras, the information doled out in the interviews tends to get a bit repetitive. Perhaps had some of the smaller supplemental features been edited together into one longer finished product than viewers wouldn't suffer from a sense of <i>deja vu. </i><br />
<br />
<b>Extras</b><br />
This Blu-ray release includes featurettes on "<i>Sunset Blvd</i>.: The Beginning", "<i>Sunset Blvd.</i>: A Look Back", "The Noir Side of <i>Sunset Blvd</i>.", "Paramount in the 50s" and a deleted scene, among other bonus supplements.<br />
<br />
<b>Final grade: A </b>Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com0tag:blogger.com,1999:blog-6170443308250983581.post-64535145216592301892012-10-30T17:45:00.000-07:002012-10-30T17:54:26.632-07:00Scariest Movie Scenes<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHCcor78gnND5KTsy4guOLJBkcMSnpcEJ_eu22zm72qkfGxROEHaFdoe3tHamX20Uk8nBlbPNUR_TqDqXrOJR1Lhbk_YAIMciKrYfWIKtJoBC2impYsj3Sb_fbXzZWJqboGCnplcF8URmt/s1600/1_-_tina.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHCcor78gnND5KTsy4guOLJBkcMSnpcEJ_eu22zm72qkfGxROEHaFdoe3tHamX20Uk8nBlbPNUR_TqDqXrOJR1Lhbk_YAIMciKrYfWIKtJoBC2impYsj3Sb_fbXzZWJqboGCnplcF8URmt/s320/1_-_tina.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Tina's death in <i>A</i> <i>Nightmare on Elm Street</i></b></td></tr>
</tbody></table>
In honour of Halloween: The 13 movie scenes that, at one time or another, scared the living crap out of me.<br />
<br />
<b><i>A Nightmare on Elm Street</i></b> <b>(1984)</b><br />
<b>The premise:</b> A long-dead serial murderer haunts the dreams of the children whose parents were members of the lynch mob that hunted him down.<br />
<b>The scene:</b> Rod (Jsu Garcia) witnesses his girlfriend Tina (Amanda Wyss) meet a grisly end as she's dragged across the ceiling of her bedroom by an unseen force.<br />
<br />
<b><i>Lost Highway</i> (1997)</b><br />
<b>The premise:</b> A saxophonist is framed for the murder of his wife and sent to prison where he transforms into a young mechanic and starts his life afresh.<br />
<b>The scene:</b> The Mystery Man (Robert Blake) confronts Fred (Bill Pullman) at a party and convinces him to phone his own house. When Fred obliges he hears the voice of the Mystery Man pick up his home phone, even though he's standing right in front of him.<br />
<br />
<b><i>Nosferatu </i>(1922)</b><br />
<b>The premise:</b> This silent classic chronicles the strange life of the vampire Count Orlok.<br />
<b>The scene:</b> In a chilling example of German Expressionism at its finest, Count Orlok makes his way slowly up the staircase -- while the audience sees only his distorted shadow on the wall.<br />
<br />
<b><i>Silence of the Lambs</i> (1991)</b><br />
<b>The premise:</b> An FBI rookie must work with the infamous Hannibal Lecter in order to catch another killer on the loose.<br />
<b>The scene:</b> Clarice (Jodie Foster) confronts Jame Gumb (Ted Levine) in his basement -- only to find herself abandoned in pitch black darkness as Jame follows her around with night-vision goggles.<br />
<br />
<b><i>Scream</i> (1996)</b><br />
<b>The premise:</b> A group of teenagers discuss the "rules" of horror films as students at their high school are systematically killed off one-by-one by a masked killer known as Ghostface.<br />
<b>The scene:</b> The chilling opening sequence where Drew Barrymore receives harassing phone calls from an unknown assailant who quizzes her about her favourite horror films -- before brutally murdering her.<br />
<br />
<b><i>Halloween</i> (1978)</b><br />
<b>The premise:</b> A masked psychopath breaks out of an institution and stalks a teenage girl from his small hometown.<br />
<b>The scene:</b> After emerging victorious from a faceoff with Michael Myers (Tony Moran), Laurie (Jamie Lee Curtis) breathes a sigh of relief -- while the seemingly dead Michael slowly sits up behind Laurie's shoulder.<br />
<br />
<b><i>The Exorcist</i> (1973)</b><br />
<b>The premise: </b>When a twelve-year-old girl is possessed by the devil, her mother enlists the help of two priests.<br />
<b>The scene:</b> After stabbing herself in the crotch with a crucifix, Regan (Linda Blair) faces the audience by enabling her head to do a 360-degree spin.<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBV9NSd7FC1qPdSKq4mJEFZoP8Rm-x4OLR5E2SBxwceKd1cOPIDTRlBLZYv-GO8JSHH5Pkah4ob0F38Lc6auF1zcQzw9lNlorg343cT6d5qLhRqiMKNJa3KoVEBvVyaA2wehruQwRZQ5Ju/s1600/ishot-950.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBV9NSd7FC1qPdSKq4mJEFZoP8Rm-x4OLR5E2SBxwceKd1cOPIDTRlBLZYv-GO8JSHH5Pkah4ob0F38Lc6auF1zcQzw9lNlorg343cT6d5qLhRqiMKNJa3KoVEBvVyaA2wehruQwRZQ5Ju/s320/ishot-950.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><i>The Exorcist III</i></b></td></tr>
</tbody></table>
<b><i>The Exorcist III </i>(1990)</b><br />
<b>The premise: </b>A police officer respectfully acknowledges the anniversary of a priests death while, at the same time, trying to track down a vicious serial killer.<br />
<b>The scene: </b>A nurse in a hospital checks a couple of rooms during a night shift when, in a genuine jump-out-of-your-skin moment, she's followed out of a room by a white-shrouded intruder.<br />
<div style="text-align: left;">
</div>
<b><i><br /></i></b>
<b><i>The Thing</i> (1982)</b><br />
<b>The premise:</b> Scientists in the Antarctic discover a shape-shifting alien that takes on the appearance of its victims.<br />
<b>The scene: </b>The alien, in human form, fakes a heart attack and, while the scientists scramble to save who they assume is their comrade, they are confronted with "the thing" itself in a shocking, terrifying, pre-CGI sequence.<br />
<br />
<b><i>The Shining</i> (1980)</b><br />
<b>The premise:</b> A family agrees to watch over a hotel that is closed for the winter season when an unseen force influences the father, pushing him to the edge of insanity.<br />
<b>The scene: </b>While most would cite the twins in the hallway as the scariest sequence, there's also the simplistic slow zoom-in on Jack Nicholson's face looking out the hotel window as he slowly dissolves into madness.<br />
<br />
<b><i>Psycho</i> (1960)</b><br />
<b>The premise:</b> A young woman on the run stays at the isolated Bates Motel and meets the mother-fearing, socially inept owner.<br />
<b>The scene:</b> No, not the shower sequence although that's terrifying in its own right. Lila Crane (Vera Miles) searches the Bates house for her missing sister (Janet Leigh), only to be confronted by the corpse of Mrs. Bates -- right before Norman (Anthony Perkins) bursts in to the room wearing a woman's wig and dress.<br />
<br />
<b><i>Jurassic Park</i></b> <b>(1993)</b><br />
<b>The premise:</b> An ambitious millionaire creates a dinosaur theme park and, during a preview tour, a massive power outtage enables the prehistoric animals to rule the island.<br />
<b>The scene:</b> A thunderstorm. A glass of water, trembling with each footstep. A T-Rex bites through an electrical fence and proceeds to attack the tourist cars.<br />
<br />
<b><i>Whatever Happened to Baby Jane?</i> (1962)</b><br />
<b>The premise:</b> A former child star jealously guards her more-famous older sister in a rundown mansion.<br />
<b>The scene: </b>When wheelchair-bound Blanche (Joan Crawford) crawls her way to the telephone to make an emergency call, Jane (Bette Davis) discovers her calling for help and violently kicks her around the room.Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com2tag:blogger.com,1999:blog-6170443308250983581.post-40950328583948465392012-10-14T09:33:00.000-07:002012-10-14T09:37:55.962-07:00Revisiting the Classics: Alfred Hitchcock's Psycho<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4IOcINYAq7vgzEA0hlRjcP3xbnD0ATyhcV9BFRsZwFVcL_5UG2yglurWb3vVIeB-Z6w6q61wQYp8TTOlJlK2tVyiD7DBXpqG7qznYIVOMdnPj-BuzSx6M8FVwuMAgpV8QqDVy5wtoRWKe/s1600/Psycho+1960+Alfred+Hitchcock+Anthony+Perkins+pic+4.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4IOcINYAq7vgzEA0hlRjcP3xbnD0ATyhcV9BFRsZwFVcL_5UG2yglurWb3vVIeB-Z6w6q61wQYp8TTOlJlK2tVyiD7DBXpqG7qznYIVOMdnPj-BuzSx6M8FVwuMAgpV8QqDVy5wtoRWKe/s320/Psycho+1960+Alfred+Hitchcock+Anthony+Perkins+pic+4.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Anthony Perkins as Norman Bates</b></td></tr>
</tbody></table>
<i>"We all go a little mad sometimes." </i><br />
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On Thursday night my friend suggested we check out a screening of <a href="http://www.imdb.com/name/nm0000033/">Alfred Hitchcock</a>'s 1960 horror classic, <i><a href="http://www.imdb.com/title/tt0054215/">Psycho</a></i>, which was playing at a local theatre.<br />
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It had been awhile since I'd last visited the Bates Motel and its man-with-severe-mother-issues owner, Norman.<br />
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I actually can't recall the last time I'd seen <i>Psycho </i>which makes me think it has been at least five years, if not longer. So, watching it in glorious black and white on the big screen made it feel as though I were watching it for the first time. I'd forgotten about a couple of little twists and the fact that the script (based on the novel by <a href="http://www.imdb.com/name/nm0088645/">Robert Bloch</a>) was chock-full of great dialogue and slow, engaging character revelations. It truly is a masterpiece of suspense and thrills. And, regardless of how many times you've seen the film, its final twist and closing shot (see photo above) is still as mesmerizing and shocking as it undoubtedly was back in 1960.<br />
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A complex psychological thriller, <i>Psycho </i>is celebrated in film circles as one of Hitchcock's finest -- if not his greatest -- achievements (and whether or not you think that <i><a href="http://www.imdb.com/title/tt0052357/">Vertigo</a> </i>is technically the better film is a debate worthy of a whole separate blog post). At the age of 61, Hitchcock cobbled together his now-classic shocker on a tiny budget in a matter of weeks. With Hitchcock's knack for building tension and influential stylistic flare, <i>Psycho </i>is as unsettling in its premise as it is a technical marvel -- what with all those unique camera angles, intimate close-ups of his cast and that famous image of Mama Bates' skull superimposed over the crazed face of Norman as the film closes.<br />
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But one of the true revelations in <i>Psycho </i>is <a href="http://www.imdb.com/name/nm0000578/">Anthony Perkins</a> in the lead role. I'd never fully appreciated his performance until this recent viewing. He commanded the screen with a charismatically awkward performance that, on the surface, made him appear as likeable as a young boy eager to please his friends or parents. <i>"I think I must have one of those faces you can't help believing," </i>he tells Marion Crane (<a href="http://www.imdb.com/name/nm0001463/">Janet Leigh</a>) early on in the film. And you, as the audience, totally fall for it too, just like Marion. Even though you know Norman has the capability to kill, he lulls you into feeling sympathy for him -- you may even catch yourself wishing he'll get the help he so obviously needs.<br />
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The role of Norman Bates could have easily been nothing more than a stock horror character. A villain without personality. Someone lurking in the shadows who ultimately leaves no lasting impression once the credits roll. But where Perkins excels is in his ability to make you realize that Norman Bates could be anyone. Literally. He could be the man sitting next to you on the subway, or the woman walking her dog down the street. He's not some <a href="http://lauragrandefilm.blogspot.ca/2011/10/favourite-halloween-movies-nightmare-on.html">Freddy Krueger</a>-type fantasy-villain who would stick out like a sore thumb if you saw him in a crowd of people from across the street. Perkins, with his average-joe features and shy nature, totally inhabits the character of Norman Bates.<br />
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It's an all-around fantastic performance in an already perfect psychological thriller.Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com1tag:blogger.com,1999:blog-6170443308250983581.post-64584787418937601692012-10-05T11:38:00.000-07:002012-10-05T11:38:48.830-07:00Movie Review: Frankenweenie<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9MY2Bdmt3mKCisHFjYiGihRj9u4FlrvbimCDx4UnTlBDCAsUwv_Xbb-LuDMFWF6lvcklVODQllzFzMPAyQEyAgsu1sd9mFt2EEKon22fd7vBez8WfBho2M-hEvXlxFOAyU7Hewhz38YT0/s1600/frankenweenie-image01.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9MY2Bdmt3mKCisHFjYiGihRj9u4FlrvbimCDx4UnTlBDCAsUwv_Xbb-LuDMFWF6lvcklVODQllzFzMPAyQEyAgsu1sd9mFt2EEKon22fd7vBez8WfBho2M-hEvXlxFOAyU7Hewhz38YT0/s320/frankenweenie-image01.jpg" width="320" /></a></div>
<b><i>Frankenweenie </i>(2012)</b><br />
<b>Directed by: </b>Tim Burton<br />
<b>Starring: </b>Martin Short, Catherine O'Hara, Winona Ryder, Martin Landau and Charlie Tahan<br />
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<b>I reviewed this film for <a href="http://nextprojection.com/2012/10/05/review-frankenweenie-2012/">Next Projection</a>.</b><br />
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<a href="http://www.imdb.com/name/nm0000318/">Tim Burton</a>'s latest animated oddity heralds a return to form for the director. Although he distracted himself with big-budget remakes over the years -- many of which failed to resonate with viewers -- <i><a href="http://www.imdb.com/title/tt1142977/">Frankenweenie</a> </i>is a welcome return to the Burton of old.<br />
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Expanding on a concept conceived back in 1984, <i>Frankenweenie </i>has gone from a 30-minute project to a feature-length film lensed in glorious black and white -- an homage to the horror influences of his childhood.<br />
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Victor Frankenstein (<a href="http://www.imdb.com/name/nm2253071/">Charlie Tahan</a>) is devastated when his beloved dog, Sparky, is killed in a tragic road accident. However, when a grieving Victor learns about the effects of electricity while in his science class he concocts a plan to bring his dog back to life. But, in order to avoid detection, he must outsmart his parents (<a href="http://www.imdb.com/name/nm0001573/">Catherine O'Hara</a> and <a href="http://www.imdb.com/name/nm0001737/">Martin Short</a>), science teacher Mr. Rzykruski (<a href="http://www.imdb.com/name/nm0001445/">Martin Landau</a>) and his nosy classmates. Although Victor's experiment initially proves to be a success, he is ultimately forced to confront the consequences of his actions when other people get their hands on the science behind bringing the dead back to life.<br />
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Influenced by the aesthetics and techniques used in the German Expressionist films that were prevalent in the 1920s, <i>Frankenweenie </i>also contains a memorable cast of eccentric outsiders -- all familiar features in Burton's oeuvre.<br />
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The craftsmanship is a wonder to behold. <i>Frankenweenie </i>is arguably Burton's most visually stunning work in years. Making the bold decision to release a family feature in black and white, the characters and their little town of New Holland are so vivid they appear to pop off the screen. To understand the painstaking process involved in creating a stop-motion feature, is to realize that <i>Frankenweenie </i>is a genuine labour of love for its director.<br />
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While the plot fondly borrows from films and literature of the past, it's the characters that keeps the action moving forward. The premise may not be original but the memorable cast of characters is all Burton's own creation. His signature long-legged, saucer-eyed characters tend to resemble grotesque marionettes but their personalities carry a lot of heart.<br />
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Despite all the impressively eerie visuals and classic film references, <i>Frankenweenie </i>is ultimately just a touching story about a young boy and his dog; the rare family feature that will appeal to both children and adults alike.<br />
<br />
Burton's affection for his now-28-year-old story is undeniable as <i>Frankenweenie </i>proves to be the director's most successful outing in years.<br />
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<b>FINAL GRADE: B+</b>Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com0tag:blogger.com,1999:blog-6170443308250983581.post-9060830343392832502012-09-30T18:44:00.003-07:002012-09-30T18:44:58.790-07:00Movie Review: The Master<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht1m2OaDKrPcbrPHIhA8J6cmeM2OhG2_f_FDje97i4dh318x6iXaFq2xGkTRZXu0unhs_028mY9PpW9zCgAHVQ28T8IqhDwkytIm5SigBcatTsxsvKllWnmcWyvONa9PjHHkkBfXG5uPxC/s1600/the-master-paul-thomas-anderson-joquin-phoenix-skip-cropr.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht1m2OaDKrPcbrPHIhA8J6cmeM2OhG2_f_FDje97i4dh318x6iXaFq2xGkTRZXu0unhs_028mY9PpW9zCgAHVQ28T8IqhDwkytIm5SigBcatTsxsvKllWnmcWyvONa9PjHHkkBfXG5uPxC/s320/the-master-paul-thomas-anderson-joquin-phoenix-skip-cropr.jpg" width="320" /></a></div>
<b><i>The Master </i>(2012)</b><br />
<b>Directed by: </b>Paul Thomas Anderson<br />
<b>Starring: </b>Joaquin Phoenix, Philip Seymour Hoffman and Amy Adams<br />
<br />
<b>I reviewed this film for <a href="http://www.thehollywoodnews.com/2012/09/30/the-master-review/">The Hollywood News</a>.</b><br />
<br />
<a href="http://www.imdb.com/name/nm0000759/">Paul Thomas Anderson</a>’s ambitious follow-up to his 2007
masterpiece <i>There Will Be Blood</i> has received a lot of ink touting it as the
origin tale of Scientology. And, while aspects of The Cause (the cult at the
heart of Anderson’s narrative) often mirrors certain methods promoted by Scientology,
to simply categorize <i><a href="http://www.imdb.com/title/tt1560747/">The Master</a></i> as a loosely-based look at L. Ron Hubbard is to
do it a great disservice.<br />
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The idea of a Scientology-like “religion” is used only as a
narrative framing device — the film itself poses much more thought-provoking
questions. Why are we susceptible to mind control and manipulation? What does
it ultimately say about the human condition? Just how fragile are we?<o:p></o:p></div>
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Discharged US Navy officer and alcoholic Freddie Quell (<a href="http://www.imdb.com/name/nm0001618/">Joaquin Phoenix</a>) falls under the influence of the charismatic Lancaster Dodd (<a href="http://www.imdb.com/name/nm0000450/">Philip Seymour Hoffman</a>), taking to his cult group The Cause in a desperate attempt to tame his animalistic nature and put an end to his own rootlessness.</div>
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However, <i>The Master</i> is an intricate character study, first
and foremost. It chronicles the lives of two very different men carrying their
own unique emotional baggage. When the two collide and, for a brief time,
appear to understand one another, it becomes apparent that their only real
difference is how they each choose to handle their inner torment. Where Dodd
went on to become The Master to the followers of The Cause, Freddie wallowed in
his misery, constantly conjuring images of his violent past and the love of his
life that he let slip away.<o:p></o:p></div>
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As Freddie Quell, Phoenix gives what is arguably the finest
performance of his career to date. From his physical transformation to his
fierce intensity, his full commitment to the role is palpable. His Freddie is a
lost soul so damaged that he seems beyond repair. You don’t doubt that his
admiration for Lancaster Dodd is genuine, although he appears to simultaneously
love and loathe the only man who has ever given him the time of day. He’s
teetering on the edge of insanity and Phoenix’s shocking performance is
absolutely mesmerizing to watch.</div>
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With Lancaster Dodd, Hoffman is equally compelling as he goes
from a charismatic father figure to launching a tirade of abuse against anyone
who dares question his theories on life. Dodd thrives on the admiration of
others and, beneath his jovial exterior, masks an ego that constantly needs
nourishing.<o:p></o:p></div>
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In these early stages of the awards season, Phoenix and
Hoffman are two clear frontrunners.<o:p></o:p></div>
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To enhance an already vivid experience, Anderson used 70 mm
cinematography from director of photography, <a href="http://www.imdb.com/name/nm1893246/">Mihai Malaimare Jr</a>. The end result
is a series of gloriously lensed, razor-sharp images that pop off the screen
and lend the performances — specifically Phoenix’s haunted Freddie — an added
layer of realism. You can see every line on his furrowed brow.<o:p></o:p></div>
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<i>The Master</i> is one of those films that will undoubtedly
benefit from multiple viewings. While it may appear that the script only
scratches the surface of its deeper questions and philosophies, Anderson’s
latest entry does not judge his characters or their actions and does what any
great film should — generate discussion, not only about film but life in
general.<o:p></o:p></div>
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<b>FINAL GRADE: A-</b></div>
Laurahttp://www.blogger.com/profile/08400880202232098855noreply@blogger.com2