• Review: “The Great Gatsby”
  • Review: “Mud”
  • Review: “The Place Beyond the Pines”
  • Review: “Ginger & Rosa”
  • Review: “Stoker”
  • Review: “Side Effects”
  • Review: “Mama”
  • Review: “Zero Dark Thirty”
  • Review: “Gangster Squad”
  • Review: “Les Misérables”
  • Review: “This Is 40”
  • Review: “Any Day Now”
  • Review: “Anna Karenina”
  • Review: “Silver Linings Playbook”
  • Review: “Hitchcock”
  • Review: “Lincoln”
  • Review: “Life of Pi”
  • Review: “Flight”
  • Review: “Skyfall”
  • Review: “Argo”
  • Review: “The Perks of Being a Wallflower”
  • Review: “Looper”
  • Reviews: “Arbitrage” and “The Master”
  • Review: “The Words”
  • Review: “Celeste and Jesse Forever”
  • Review: “Lawless”
  • Review: “The Campaign”
  • Review: “Total Recall”
  • Review: “To Rome with Love”
  • Review: “The Dark Knight Rises”
  • Review: “Moonrise Kingdom”
  • Review: “Magic Mike”
  • Review: “The Amazing Spider-Man”
  • Review: “Brave”
  • Review: “Abraham Lincoln: Vampire Hunter”
  • Review: “Prometheus”
  • Review: “Snow White and the Huntsman”
  • Review: “Bernie”
  • Review: “The Dictator”
  • Review: “The Raven”
  • Reviews: “Salmon Fishing in the Yemen” and “Jiro Dreams of Sushi”
  • Review: “Chimpanzee”
  • Review: “The Cabin in the Woods”
  • Review: “American Reunion”
  • Review: “Detachment”
  • Review: “The Hunger Games”
  • Review: “Casablanca” (In Re-Release; 1 Night Only)
  • Review: “Silent House”
  • Review: “Wanderlust”
  • Review: “This Means War”
  • Review: “Safe House”
  • Review: “The Woman In Black”
  • Review: “The Grey”
  • Review: “Extremely Loud & Incredibly Close”
  • Review: “Contraband”
  • Review: “Shame” and “Young Adult”
  • Review: “War Horse”
  • Review: “The Girl with the Dragon Tattoo”
  • Review: “Like Crazy”
  • Review: “Hugo”
  • Review: “The Descendants”
  • Review: “My Week with Marilyn”
  • Review: “J. Edgar”
  • Review: “In Time”
  • Review: “Take Shelter”
  • Review: “The Thing”
  • Review: “The Ides of March”
  • Review: “Dream House”
  • Review: “50/50”
  • Review: “Moneyball”
  • Review: “Abduction”
  • Review: “Drive”
  • Review: “Contagion”
  • Review: “The Debt”
  • Review: “Our Idiot Brother”
  • Review: “The Help”
  • Review: “Fright Night”
  • Review: “Beginners”
  • Review: “Crazy Stupid Love”
  • Review: “Rise of the Planet of the Apes”

Colin Carman

~ Jane Austen Scholar & Culture Vulture

Colin Carman

Monthly Archives: December 2012

Review: “This Is 40”

22 Saturday Dec 2012

Posted by colincarman in Film Reviews

≈ 14 Comments

Tags

albert brooks, charlotte apatow, comedy, john lithgow, judd apatow, knocked up, leslie mann, maude apatow, megan fox, paul rudd, the 40 year old virgin, this is 40

21FORTY-articleLarge

“Happy Babies”

Grade: A- (SEE IT)

THE LATEST FROM Judd Apatow, the kinky king of comedy, is “This Is 40.”  As romantic comedies go, this is funny and his best work since “Knocked Up” of 2005. The indefatigable Paul Rudd plays Pete, a struggling record label owner, and Leslie Mann plays Debbie, a devoted mom.  She’s turning forty, or is she?  Even Debbie’s physician scolds her for fudging her birth-date on her paperwork.  The tone of this comedy is this-is-40-movie-posterlight; Apatow has clearly matured since the bathroom humor of “The 40-Year-Old Virgin” though we haven’t left the bathroom entirely: Pete is prone to retreat there for a little peace and quiet.  But Debbie will abruptly draw back the door, asking who sits on the toilet for such a long period of time. It’s a relief to see that Pete and Debbie aren’t going for each other’s throats.  Their quarreling is not of the catastrophic kind – “This is 40” opens with Debbie horrified to learn that Pete has taken a Viagra to turn him “turbo,” as he puts it – but a kind of banal back-and-forth and the doe-eyed Mann is an expert at looking comically confounded.  “Why do we even fight?” she asks during a getaway in which Pete brings pot cookies and clowns around the hotel room.  It’s a question that all couples have asked themselves, especially when things are going smoothly. Just give it ten minutes for the mood to change.

There’s something adorable about a writer-director casting all the women in his life inThis-Is-40_02 his films. Mann is Apatow’s wife off-screen and, on-screen, Pete and Debbie’s daughters, Sadie and Charlotte, are played by Maude and Charlotte Apatow, respectively. The fact that they’re a Hollywood family doesn’t mean they feel fake.  Maude is 14 and accosts her folks for limiting her cell-phone and iPad use; Sadie, still their little girl, stands back and snarks that her big sister was nicer before her “body got weird.” Maude and Paul butt heads over the merits of TV shows like “Lost” and “Mad Men” while Debbie harasses one of Maude’s classmates for dissing her daughter’s looks on Facebook.  The boy’s mother is played by the marvelous Melissa McCarthy of “Bridesmaids.” Stick around for the outtakes, which are often funnier than anything in preceding 155 minutes.  Yes, “This is 40” runs a bit long, but it’s one lengthy salvo of jokes, jokes that work. (The film was pegged as “This Is 40 Minutes Too Long” by insiders prior to release.)  Pete’s father Larry (Albert Brooks) is on his second family with blond triplets; he’s always hitting his son up for cash.  Debbie’s father Oliver (John Lithgow) meets his granddaughters for the first time at a party; it’s an interaction Charlotte can only describe as “awkward.” Apatow’s film affirms family life but without any piety; this family feels ferociously real.

this_is_40_a_lIf you’ve ever taken a yoga class, you have probably been put in happy baby pose. That’s the one where you lie on your back and grab the soles of your feet like some blissed-out toddler.  “This is 40” features Pete and Debbie in their own adult versions of happy baby pose: Debbie discovers her husband on his back, legs up, asking her to examine his anus for him.  Again, she’s horrified and looking quickly, says “It’s a hemorrhoid” before running for her life.  Debbie, too, finds herself at the gynecologist in a similar pose as two nurses and the doctor breeze in, prattling away as she’s trapped with her legs up and open.  A yoga teacher of mine once described happy baby as “a vulnerable position,” and that’s an apt metaphor for where Apatow likes to position his characters and his audience.  “This is 40” makes happy babies of us all.

Review: “Any Day Now”

20 Thursday Dec 2012

Posted by colincarman in Film Reviews

≈ 2 Comments

Tags

alan cumming, drama, frances fisher, garret dillahunt, gay, isaac leyva, raising hope

Any Day Now

“My Two Dads”
Review: C+ (RENT IT)

D-DAY WILL likely take home the Best Actor Oscar (again) for playing the president on the penny, but don’t count Alan Cumming out.  Sure, the Scottish actor’s singing is ghastly in “Any Day Now,” but he gives it all he’s got and “Any Day Now” is better for it.  Directed by Travis Fine, the narrative centers on a male couple fighting for custody of a teenage boy with Down Syndrome.  Meet Marco (played by first-timer Isaac Leyva); he lives on a steady diet of donuts as his junkie mom turns tricks just out-of-view.  He wanders the City of Angels, clutching his doll and gazing up at a metropolis terrifying indifferent to whether he lives or dies.

7262904006_fb0ef51a57Thankfully, Alan Cumming steps in as Marco’s guardian angel.  As the tough-as-nails Rudy, Cumming is a drag performer and Marco’s neighbor inside a grimy apartment building.  Once Marco’s mom is carted off to the slammer, Rudy begins to care for the boy and soon turns to his new boyfriend Paul to help him gain custody.  Paul is played by a rather bland Garret Dillahunt (“Raising Hope”); his wig is even worse than Cumming’s, especially in the scene where he shoots hoops with his lawyer boss and it begins to peel off his head like road-kill.  Frances Fisher is a somewhat sympathetic judge who upbraids Rudy and Paul for lying to the court and masquerading as “friends” to keep Marco.  But that’s where this film’s strength truly lies: it’s a reminder that things haven’t changed all that much since the 1970s in terms of gay parents and their rights.  Paul is canned for not staying in the closet; Rudy is routinely harassed by cops and strangers on the street.  “That’s discrimination,” Rudy protests. “That’s not discrimination,” says Paul, “that’s reality.”

We’re meant to root for Rudy, Paul, Marco as an island for misfit toys and the directorMV5BMjE0MDI5MjAyMF5BMl5BanBnXkFtZTcwOTIyNjQ4OA@@._V1._SX640_SY457_ does a fine job at eschewing sentimentality; still, “Any Day Now” feels a bit like a movie-of-the-week with predictable courtroom scenes to play out. Yet Cumming commands your attention and he’s a diamond in an otherwise rough little picture. A smart, activist film still needs to be made about gay adoptive parents and their struggles but this isn’t it.  Maybe not “Any Day Now” but it’s coming – one can hope – someday soon.

Review: “Anna Karenina”

19 Wednesday Dec 2012

Posted by colincarman in Film Reviews

≈ 7 Comments

Tags

aaron taylor johnson, alicia vikander, anna karenina, atonement, dario marianelli, drama, joe wright, jude law, kelly macdonald, kiera knightley, matthew macfadyen, olivia williams, sarah greenwood, tolstoy, tom stoppard

Anna Karenina

“To Russia with Love”

Grade: A- (SEE IT)

IN 2011, THE WORST movie on the experience of shame was “Shame,” a prurient and pathetic mess of a film on the putative perils of sex addiction.  In 2012, the best film on the psycho-sexual nature of shame is “Anna Karenina,” Joe Wright’s third adaptation of a literary gem (after “Pride and Prejudice” and “Atonement”) with an exquisite Kiera Knightley again front and center.  If you liked Jennifer Lawrence as Tiffany in “Silver Linings Playbook” and her feminist refusal to feel ashamed of her hyper-sexuality, check out her literary antecedent: Anna Arkadyevna Karenina, the Mary Magdalene of St. Petersburg. In her new book, Quiet: The Power of Introverts in a World That Can’t Stop Talking, Susan Cain writes that shame can be socially useful.  In one study, participants looked more kindly upon those visibly embarrassed by driving away from a car accident or spilling coffee on someone.  Shame signifies a concern for others.

Anna Karenina_004-001.rBut shame can be socially disastrous as well.  “I’m not ashamed of what I have done,” Anna tells her lover Vronsky, having left her husband for the dashing young Count, “Are you ashamed for me?” The Count, dressed ironically in white throughout the film, is played Aaron Taylor-Johnson. He has seductively large, wet eyes and a handle-bar mustache; he’s under the thumb of his imperious and unkind mother (Olivia Williams).  Tolstoy tells us that a “hot blush of shame spread all over [Anna’s] face” for “she knew what had stopped her, knew she had been ashamed.”  The cuckolded Karenin, meanwhile, is a repressed fellow who surprisingly never rages against his wife for her adulterous passion.  He’s played by Jude Law in collars appropriately buttoned up to the chin.  Tolstoy writes that Karenin refuses to feel jealousy because of its shamefulness: “Now, through his conviction that jealousy is a shameful feeling, and that one ought to have confidence, had not been destroyed, he felt that he was face to face with something illogical and stupid, and he did not know what to do.”  But that’s precisely Karenin’s problem and why he’s so undesirable to his wife: he refuses to feel anything.

For those of you who skipped Russian Lit., Tolstoy’s tome from 1877 is aAaron-Taylor-Johnson-and-Alicia-Vikander-in-Anna-Karenina-2 behemoth of a novel on a whole range of topics: love, disgrace, faith, forgiveness, capitalism, Christianity.  Did I leave anything out?  Levin (played by Domhnall Gleeson) occupies a parallel plot in the novel; he’s Tolstoy’s ideal Russian man who, in the novel, says things like “You know that capitalism oppresses the workers. Our workmen the peasants bear the whole burden of labour, but are so placed that, work as they may, they cannot escape from their degrading condition […] And this system must be changed.”  He pursues Kitty (Alicia Vikander) with an open heart, which contrasts Anna’s brother Oblonsky (Matthew Macfadyen) who betrays his wife Dolly (Kelly Macdonald) with the governess.  At the film’s start, Anna travels to her brother’s home to console her sister-in-law and implores Dolly to forgive her brother.  It’s a foreshadowing of Anna’s own affair with Vronsky and the forgiveness she will seek from her husband and Russian high-society.

AnnaKareninaTitleThe screenplay, which is an exercise in compression, is from playwright Tom Stoppard who had distilled Leo Tolstoy’s novel to the bare essentials. (He’s on sacred ground here: Dostoevsky, Nobokov, and Faulkner all regarded Anna Karenina as a flawless work of fiction.)   The production design is by Sarah Greenwood who hinges all of the action on a stage.  This is a wise move and in creative keeping with the theatricality of Tolstoy’s novel.  It also highlights the performative nature of shame and that as Anna succumbs to her adulterous passions in public, all eyes are on her and her inevitable demise. Dario Marianelli, whose ingenious music for “Atonement” relied on ticking typewriters and pianos, provides another stunning score. Everything should add up here, but this “Anna Karenina” stands, like the stage, at a distance. It’s lovely to look at but somehow doesn’t engage us as emotionally as one might hope.

“I’m a bad woman,” says Anna at one point in the film and we’re not sure whether to pity or praise her.  It all ends tragically, of course, but that’s Anna’s particular cross to bear.  She’s as daring as she is doomed.  Now ain’t that a shame?

Review: “Silver Linings Playbook”

16 Sunday Dec 2012

Posted by colincarman in Film Reviews

≈ 6 Comments

Tags

anupam kher, bradley cooper, chris tucker, comedy, david o. russell, jennifer lawrence, julia stiles, philadelphia eagles, robert de niro, romantic, stevie wonder, the hangover

silver-linings-playbook-poster-header

“One Flew Into the Cuckoo’s Nest”

Grade: B- (RENT IT)

FOR A GOOD while at least, “Silver Linings Playbook” is a film that is proudly off its meds and taking no prisoners.  Its opening has all the panicked pacing of a jailbreak and very nearly resembles one: Pat (Bradley Cooper) is being released from a court-ordered stay at a Baltimore mental health facility and he takes his friend and fellow patient (Chris Tucker) along for the ride.  Eight months earlier, Pat savagely beat his wife’s boyfriend after discovering the two in a shower with his wedding song – Stevie Wonder’s “My Cherie Amour” – wafting in the steamy air.  Hearing even three seconds of the love song will set him off and set him back on his road to recovery.  We want to see him well and when Cooper, who has a vulpine face, steadies his closely set blue eyes, he has a scrappy-boy look of desperation that cries out for his mother or at for a prescription refill. In terms of mental illness, “Silver Linings Playbook” endorses a dangerous diagnosis, as simple-minded as the eponymous Beatles song: all you really need is love.

Silver-Linings-Playbook-2Back in Philadelphia, Pat’s homecoming is met by his worried mother (Jacki Weaver) and Pat Sr. (Robert De Niro), an obsessive fan of the Eagles and sports bookie who has no other way of communicating with his wife and son except through professional football.  He keeps his remote controllers in a tidy row and thumbs a lucky handkerchief as he watches every game on the edge of his seat.  Apparently, madness runs in the family.  There’s also mental illness just around the corner, in the form of Tiffany (Jennifer Lawrence), a policeman’s widow already popular with the local pervs for putting out.  Pat and Tiffany appear to be a match made in Halcyon and when the two cross paths at a dinner party hosted by Tiffany’s older sister Veronica (Julia Stiles), it’s a contest to see who can say the most outlandish thing or do the most impulsive thing to shatter any sense of civility and calm. They trade their experiences on different anti-psychotics as if they were vacation towns they’ve visited and walking Tiffany to the end of her driveway, Pat is invited inside for casual sex and slapped across the face in quick succession.  Both find that the other is useful in some way: Tiffany can help Pat get to his ex-wife, Nikki, who has placed a restraining order against him, and Pat can help Tiffany win a local dancing competition. To that end, she has converted her parents’ garage into a dance studio and once he agrees to train as her partner, she insists on daily dancing lessons.  This allows for the film’s pas de deux to take literal shape and pulling Pat in close, Tiffany brings her nose to his. “You feel that?” she asks of Pat. “That’s emotion.”

It’s sad to think that movie-goers born after 1988 only know Robert De Niro as theSilver Linings Playbook 2 paranoid patriarch in “Meet the Parents” and “Silver Linings Playbook” restores the actor to the realm of serious and sensitive cinema.  These same youngsters only know Bradley Cooper as the playboy ringleader in “The Hangover” and after such misfires as “Limitless” and “The Words,” he has finally found his mojo as a leading man. Yet “Silver Linings” runs off the rails in its last reel; it wants a happy ending and its lovers to ride off into the sunset when, in reality, people like Pat and Tiffany are missing the gene for Hollywood-like happiness.  There is no way that Pat’s therapist Dr. Patel (Anupam Kher) would attend an Eagles game with his face painted, nor come to Pat’s home like he’s one of the family, and the swanky Philadelphia hotel in which the dancing competition takes place is not the sort of place Pat Sr. would visit without criticizing his son for trading in his football jersey for a pair of dancing shoes.

I have to admit I felt a little like Pat who, earlier in the film, flies off the handle when he reaches the unhappy ending of Ernest Hemingway’s A Farewell to Arms.  Enraged, he throws the paperback out an upstairs window, breaking it, and wakes his parents in the middle of the night to blast the novel for its depressing but decidedly realistic ending.  If only director David O. Russell (“Spanking the Monkey,” “The Fighter”) had taken a page from Hemingway’s playbook and not Hollywood’s.

Review: “Hitchcock”

09 Sunday Dec 2012

Posted by colincarman in Film Reviews

≈ 8 Comments

Tags

anthony hopkins, danny huston, drama, ed gein, helen mirren, hitchcock, jessica biel, michael wincott, psycho, sacha gervasi, scarlett johansson, the birds, tippi hedren

Anthony-Hopkins-as-Alfred-Hitchcock-on-the-set-of-HITCHCOCK

“Devious Genius”

Grade: B (RENT IT)

2012 HAS NOT been kind to Mr. Hitchcock.  Thirty-two years after his death at eighty, the so-called Master of Suspense has suffered the wrath of HBO’s “The Girl,” based upon actress Tippi Hedren’s spiteful recollections of working for him on the set of 1963’s “The Birds.”  Hedren remembers the man who made her career as little more than a sadistic Svengali who couldn’t keep his hands to himself.  The famous telephone booth scene in which the birds of Bodega Bay bear down on her character Melanie Daniels like kamikaze pilots was, according to Hedren, an opportunity for Alfred Hitchcock to traumatize and bloody her.  But who can say for sure?  A he-said-she-said is far from fair when one of the disputants is dead and gone.  Hedren is not alone in decrying Hitchcock’s treatment of his actors – he infamously treated them like cattle – but she hasn’t just bit the hand that fed her; she chewed it off.

425px-Hitchcock,_Alfred_02That’s precisely the problem with another act of revenge: Sacha Gervasi’s “Hitchcock,” a behind-the-scenes take on the making of 1960’s “Psycho” and the marriage between Alfred (Anthony Hopkins) and Alma Reville Hitchcock (Helen Mirren). It’s as cruel to its subject as last year’s “Iron Lady,” in which another British icon was reduced to a demented old bat, and “Hitchcock” renews the allegations of “The Girl” involving the director’s obsessive control over his leading ladies, his marital aloofness, and dipsomaniacal perversity. As an earlier incarnation of Hedren, Janet Leigh is played – or very nearly mimicked – by Scarlett Johansson who nails the actress’s pursed lips and demure tilts of the head.  Jessica Biel, as Vera Miles, is one of Hitchcock’s discarded muses who warns Leigh that Hitchcock will attempt to direct her on and off the sound-stage.  If Hitchcock found himself fixated on the blond likes of Leigh, Grace Kelley, and later, Hedren, he also found himself possessed by the 1959 pulp novel by Robert Bloch and basis for “Psycho.”  He wakes wife Alma in the middle of the night to make her read a hair-raising passage and, forced to finance the film himself, appears willing to stake his long and illustrious career on making his most shocking film yet. He certainly reaped the rewards: we watch Hitch watch an audience watch the indelible shower scene and scream with horror.  Laura Mulvey, eat your heart out. Hopkins, in a prosthetic nose and tumescent waist-line, is superb in the role, and like “Lincoln,” “Hitchcock” is a less than perfect biopic that stays afloat only because of its actors and one-liners.

Unfortunately, Gervasi’s film hardly goes off without a hitch.  Scenes in which1352307244_jessica-biel-scarlett-johansson-james-darcy-lg Hitchcock imagines Ed Gein (Michael Wincott), the real-life basis for Norman Bates, as an imaginary friend (or foe) are preposterous and irresolved.  Even Anthony Perkins isn’t safe; he’s caricatured as a closet homosexual, which, of course, he was, but his importance is squandered when he’s represented, on Hitchcock’s casting couch, as a gay cliché.  As Lady Hitchcock, the director’s confidante and collaborator, Mirren is also superb, but we don’t get a real sense of her motivation nor what she wants from a dalliance with fellows screenwriter Whitfield Cook (Danny Huston). All dolled up, she asks Hitchcock, unflatteringly squeezed in a bathtub with a wine glass in hand, how she looks and he replies only with “Presentable.”  We get that she is unfulfilled romantically – the pair sleep in separate beds – but beyond that, we don’t really know why the Hitchcocks stay together and the film weirdly leaves out the fact that the couple had a daughter and that Sir Hitchcock was, based on his granddaughter’s account, a loving family man and not the schizophrenic control-freak this film portrays him to be.

Watch out Spielberg, Scorsese, Coppola, Allen, and all ye who enter the Hollywood walk of directorial fame: they’re coming for you and your little wives too.

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