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Colin Carman

~ Jane Austen Scholar & Culture Vulture

Colin Carman

Tag Archives: twilight

Review: “Like Crazy”

15 Thursday Dec 2011

Posted by colincarman in Film Reviews

≈ 2 Comments

Tags

alex kingston, anton yelchin, blue valentine, drake doremus, felicity jones, like crazy, oliver muirhead, twilight

“What We Talk About When We Talk About Love”

Review: “Like Crazy”

Grade: C+ (Rent It) 

THERE’S A REASON why the romance “Like Crazy,” from director Drake Doremus, has been hanging around the multiplex long after its October release: it’s artful and earnest, and while “The Twilight Saga: Breaking Dawn” fills two to three auditoriums a night, zombifying the nation, there’s a smaller, simpler love story just around the corner.  It’s from the young director who brought us “Spooner” in 2009 and “Douchebag” in 2010.  Doremus’s latest, “Like Crazy,” picked up the Grand Jury Prize for dramatic feature at this year’s Sundance Film Festival, and while it’s hardly a perfect film – nor is it very crazy – it does contain some tender moments.  What’s not to love about a girl who drinks whiskey, reads e.e. cummings, and a boy who shares her love of Paul Simon’s “Graceland” and gives a handmade chair as a gift (the inscription reading, underneath the seat, “LIKE CRAZY”)?

Sorry, Twi-hards, no bare-chested werewolves here: instead, Mr. Doremus, shooting in hand-held digital and without a script, gives us Jacob and Anna.  Anton Yelchin (“Fright Night”) plays Jacob, a furniture designer living in Santa Monica, and the fresh-faced Felicity Jones (“Brideshead Revisited,” “The Tempest”) plays his English idol.  The two meet at UCLA and during a class presentation, Anna discusses the history of journalism.  Talk of “alternative narratives” inside the classroom alerts us to the film’s interest in non-conventional storytelling.  Whole portions of the pair’s love affair are left out, along with actors who are sometimes shot out-of-view.  The trouble arises when Anna violates her student visa by staying the summer, an innocent mistake that creates a world of legal troubles for the couple.  She returns to London and the two are condemned to that agonizing oxymoron of an emotional state known as the “long-distance relationship.”

“Like Crazy” is preoccupied on every level by the relation between propinquity and distance, past and present.   When Jacob visits Anna and her parents (the charming Oliver Muirhead and Alex Kingston) in England, he feels the pressure of time since any long-distance affair is love on the clock.  Where Jacob and Anna eventually wind up, “Like Crazy” doesn’t ultimately tell us, and the lack of resolution after a final shower scene – reminiscent of a finer love story, similarly interested in alternative narratives, “Blue Valentine” – smacks of directionlessness.  Lacking a real ending, or even the suggestion of the couple’s fate, “Like Crazy” circles the drain in its final minutes, unsure of where it should flow.  Mr. Doremus’s romance is trying to break your heart, but it stymies more than it satisfies.

Review: “Abduction”

23 Friday Sep 2011

Posted by colincarman in Film Reviews

≈ 1 Comment

Tags

abduction, alfred molina, alien, avatar, boyz n the hood, cia, fast and furious, frida, jason isaacs, john singleton, lily collins, maria bellow, michael nyqvista, paris, phil collins, sigourney weaver, spiderman, taylor lautner, thriller, twilight

“Adventures in Baby-Snatching”

Film: “Abduction” (2011)

Grade: F (SKIP IT)


 

“TWILIGHT” STAR TAYLOR Lautner included, this flaccid timewaster of a “thriller” is full of shiny surfaces and zero substance.  BMWs, Apple Macbooks, even the pearly magic of Lautner’s dentistry are set before our eyes like glossy windup-toys headed right off the side of a cliff.   Putting the abs in “Abduction,” a toned but tonedeaf Lautner plays Nathan Price, a high school senior duped into thinking his parents (Maria Bello and Jason Isaacs) are his biological progenitors when instead, they’re undercover agents determined to arm and protect him from impending badguys.

Something’s fishy when your psychologist dissuades you from thinking too deeply about your dreams, especially that flashback of what could be your mother dead on a hotel floor in Paris.  Slumming it as Nathan’s psychiatrist, Sigourney Weaver plays Dr. Bennett, another adult actively involved in the cover-up of Nathan’s real origins.  (Are the “Avatar” and “Alien 1, 2, 3, 4” residuals really that paltry that Weaver needs “Abduction” for the moola because it can’t possibly be the script that called her great name?  The same goes for the equally distinguished Alfred Molina, of “Frida” and “Spiderman 2,” as a crooked CIA agent.)

Something’s even fishier when your dad picks you up from a ragin’ pool party – of course, a shirtless and hungover Nathan is strewn, alongside the obligatory red Dixie cups, on the lawn – only to bring you home and viciously defeat you in a kickboxing match.  “Drink like a man; fight like a man!” growls Isaacs as Nate’s dad.  It’s boot camp masquerading as tough love, and when danger finally comes a knockin’ – cue the Russian goon squad and the dead-eyed villain named Viktor Kazlow (Michael Nyqvist) who wants the encrypted information on Nathan’s cell phone – Nathan is ready to defend himself.  “Abduction” knows its demographic all too well for any real harm to come to its hero, and his haircut, and the film ends, improbably, with he and girlfriend (Lily Collins – Phil’s daughter) snuggling in an empty baseball stadium.  Hot dogs, get your hot dogs here!

If  director John Singleton (of “Boyz n the Hood” and “2 Fast 2 Furious”) musters little shock when Nathan eventually stumbles over his childhood photo on a missing persons’ database – I know my name is Steven! – it’s because Lautner too closely resembled the guy who misses quite a bit throughout his day: irony, algebra, carbohydrates.  Lautner isn’t so much an actor but the multiplex’s version of a chocolate Easter bunny: he may satiate your sweet tooth, but he’s all hollow inside.

Whatever “Abduction” names as its ransom, don’t pay it.

Review: “Fright Night”

20 Saturday Aug 2011

Posted by colincarman in Film Reviews

≈ 3 Comments

Tags

alpha dog, anton yelchin, austin powers, bromance, christopher mintz plasse, colin farrell, craig gillespie, david tennant, dracula, edward scissorhands, fatal attraction, fright night, glenn close, horror, illusionist, imogen poots, las vegas, monsters, muriel's wedding, nosferatu, role models, russell brand, sexuality, summer blockbuster, terminator, tim burton, tom holland, toni collette, true blood, twilight, vampires

“Sucker Lunch”

GRADE: B (RENT IT)

GARLIC? CHECK. HOLY WATER? CHECK. Wooden stake?  Check.

The power to resist the black Irish wiles of actor Colin Farrell as the vampire-next-door?  Not so much.  Farrell is surprisingly well-suited to the role of Jerry, a seductive bloodsucker who, like the Las Vegas housing development in which he suddenly appears, drops out of the sky and into his neighbors’ necks.  As the film makes plain, Vegas is a regular Mecca for our fanged friends: it’s another City that doesn’t sleep and chockfull of transients.  The opening aerial shots of a colorless community of townhouses in the Nevada desert – think of the homogenous rows of homes in the Tim Burton classic “Edward Scissorhands” (1990) – immediately establishes a sense of vulnerability.  It’s only a matter of time before something dark and demonic turns this Pleasantville upside down.  Enter Colin Farrell stage-left, or is it stage-fright?

I’ve been thinking about Dracula’s eyebrows lately.  For an academic article I’m preparing on the hair of nineteenth-century literary monsters, I focused on this description from Bram Stoker’s genre-generating classic, Dracula (published on May 26, 1897):  “[Count Dracula’s] eyebrows were very massive, almost meeting over the nose, and with bushy hair that seemed to curl in its own profusion […] The general effect was one of extraordinary pallor.”  Farrell’s got the bloodless pallor and Groucho Marx brows to play the part perfectly.  He’s Nosferatu with a six-pack.

From northwestern Romania to Sin City, from the Count to an average-joe like Jerry whose sexy surface masks something truly sadistic underneath.  A bloodsucker with a quotidian name like Jerry is, of course, played for laughs in the teen-friendly “Fright Night,” but it’s Jerry’s kids (the kids of Hillcrest Bluffs, Nevada, that is) that make this horror-fest feel fresh and intermittently funny.  Principally, there’s Charley (played by Russian-born Anton Yelchin of “Terminator: Salvation” and “Alpha Dog”) who is pursuing a new friend group, and a new girlfriend named Amy (Imogen Poots), at his high school.  He’s finding his childhood friend Ed Lee (the perfectly cast Christopher Mintz-Plasse of “Role Models”) hard to shake, and like a gay teen version of Glenn Close in “Fatal Attraction,” he keeps showing up at inopportune times, threatening to expose his nerdy past if Charley won’t hunt vampires with him.  He seems to say: I won’t be ignored, Charley.

This is the endearing core of the script, and though Ed doesn’t last long (at least amongst the human realm), he is one half of a teenage bromance seldom seen on screen.  Ed’s sexuality may be an adolescent question mark, but when he succumbs to Jerry in a swimming pool, feebly holding a crucifix in the air as if that’s gonna save him, Farrell moves in, holds him in his arms, and says: “You were born for this.  It’s a gift.”  If you’re like me and can’t abide the “Twilight” series and its sentimentalization of virginity, try HBO’s hit series “True Blood” (now in its fourth season) on for size.  You’ll never look at vampire narratives, so ubiquitous these days, and not remember that vampires are thinly veiled metaphors for sexual otherness (gay, lesbian, trans, fill in the blank).  It unsurprising, then, that when Charley and Ed fight to the death later in “Fright Night,” Ed holds his former friend tight and says: “Is this good for you? I’m feeling pretty homo right about now.”

Every Hollywood cast should be so lucky as to have the amazing Toni Collette (as Charley’s mom, Jane) around for just-add-water credibility.  Sure, she went mainstream in “The Sixth Sense” after the camp classic, “Muriel’s Wedding” of 1994, but she returns to the undead themes that made her big back in 1999 and with winning results.  Charley and Amy stand back as she flirts unabashedly with Jerry (gardening in a Brando-esque tank top) and confesses “I’ve had man troubles.  I’m not getting suckered again.”   Another notable cast member is Scotsman David Tennant as a Midori-swilling Vegas illusionist named Peter Vincent.  His performance is an obvious satire of Russell Brand (aka Austin Powers 2.0) and it gives the movie some teeth.  Charley comes to Vincent for advice on how to kill vampires, saying “I know what you do is an illusion.”  Tennant replies: “By illusion, you mean bullshit.”  Pause.  “Fair enough.”

Based on the original 1985 film written by Tom Holland, the retooled “Fright Night” (directed by Craig Gillespie and re-written by Marti Noxon) will entertain you right up until its slightly limp last act.  The film peaks after a car chase with a terrified Charley, Jane, and Amy running from Jerry, but once Toni Collette is hospitalized, “Fright Night” flatlines.   It’s not Farrell’s fault, nor is it his numerous costars’.  The problem lies in the fact that, by 2011, we’ve seen it all before.  Vampires have never been more en vogue and that’s because, like the mafia (Hollywood’s other favorite preoccupation), they operate invisibly amongst us, recruiting and romping in blood.  By now, we hardly need to be told that what happens in Vegas decays in Vegas.

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