Category Archives: Movies

Movies, Theatre

From the archives: Equus in London, March 2007

Intending to write a commentary about Daniel Radcliffe’s recent film What If, I instead found myself recalling when I saw him perform live onstage at the Gielgud Theatre in London, in a role that drew significant media attention. Thankfully, I wrote about the performance on LiveJournal a few days later…

This production lives up to the hype, in nearly all elements. Coming into the Gielgud Theatre with a significantly better seat than when I saw Frost/Nixon, I was immediately struck by the scope of the set. A plain proscenium stage had been turned into an almost theatre-in-the-round style area, with a central elevated level that could be turned if needed surrounded by openings off stage, symbolizing stable doors, and also, perhaps, different tracks of life from which Alan and Dysart could proceed onto when the show concluded. There were also audience members seated above the stage in a semi-circle to continue the effect of observation. Lighting design stood out from the beginning, as the show opened with Radcliffe proceeding centre stage with one of the horses (actually a performer in costume with a large head of a horse) and being symbolically isolated from all, just a kid and his horse.

Richard Griffiths came onstage as soon as the play began and almost never went off, requiring great concentration on his and the audiences parts. But he succeeded in so many ways, stepping in front of Radcliffe’s press-attention (as other reviewers have noted) to deliver a complex portrayal of Martin Dysart, sympathetic psychotherapist. In Griffiths’ hands, Dysart became a warm filter, or magnifying glass, through which the audience could observe and comment on the actions of the play. He also conveyed Dysart’s shifting motivations and impassions over the course of the story. Initially he was eager to take on a new client and thought that he could relatively easily break through to Alan, leaving the job done and the Strang family reunited together again. But in the reality of the narrative, Dysart only continues to be more and more buried in his work, developing more and more distance from what little home life he has and throwing himself into talking with his clients. This predicament was both noble and tragic, and Griffiths’ slightly remorseful line inflictions highlighted his character’s personal challenges throughout the show.

Daniel Radcliffe deserves enormous kudos for being bold enough to step out of the Harry Potter typecasting into a role so different from what his fans (and critics) are accustomed to seeing him in. He almost completely pulled off the part, in my opinion. I’m sure that he could project from experience in the early scenes of Alan demonstrating his jaded-teenagerdom life and his disdain for his family and friends. However, the characterization often seemed to end there. When Alan was supposed to be younger, or more intimate with his friends and family, Radcliffe continued to speak in a forceful tone (not quite a monotone, more of a vocal strain) that showed his built up anguish, but not his scared-ness beneath that anxiety. I wanted to see him dive deeper into the psychological problems that Alan faces. However, I suspect (or hope) that his character investigations might continue as the show’s run goes along. He remained completely committed and in the moment with the stage actions, especially in the scenes that are causing the most controversy. Also, the relationship between him and Richard Griffiths was strongly balance – counterbalanced in their scenes together. At the curtain call it was clear that they are dependent on each other but enjoying the process, as they preceded centre-stage with their arms around each other, like a grandparent-grandson relationship might be.

The rest of the cast was somewhat victimized by the thinly-drawn nature of the supporting characters in the script. However, Jenny Auggiter (as the magistrate), Joanna Christie (as Alan’s girlfriend), and Jonathan Cullen (Alan’s dad) all invested meaningful levels of psychological realism in their portrayals. All three of them carefully balanced a level of character inquiry and being in the moment with a full awareness that in reality there would not be a clear, immediate resolution to the plot.

In conclusion, this version of Equus is a compelling evening of theatre. Although it’s not quite as good as the hype machine may have lead you to believe, it certainly lives up to the publicity, and Griffiths’ and Radcliffe’s double-act stands high as a professional theatre example of actorly collaboration and rich investment in full dramatic art.

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Movies, Theatre

The music brings me back to the Playhouse

As part of an extended stay back on my family homeland of Martha’s Vineyard, I was excited to attend a show at the Vineyard Playhouse, the island’s resident professional theatre, for the first time in several years.

playhouse

This show, Search: Paul Clayton, took a historical docudrama look at an individual who was involved with Bob Dylan’s early career and genesis as a musician. Sadly, Clayton committed suicide in 1967 at the age of 36. He had humble beginnings here in Massachusetts (New Bedford) and then developed an affinity for the state of Virginia after attending school in the Charlottesville area. Later, he migrated for New York City and the early days of the folk music movement, where he remained until his untimely death.

The story focuses on Clayton’s music and some personal entanglements in a manner reminiscent of the recent film Inside Llewyn Davis. However, this story is ultimately told in a more upbeat way, in spite of Clayton’s personal difficulties and challenging social relationships. We meet his parents, briefly, a few of his New York acquaintances, and most importantly, the young singer Bob Dylan, played with winsome charm by Jared Weiss. Peter Oyloe as Clayton shifts back and forth between a narrator role and embodying Clayton. The show also includes a nod to the digital media age (I assume that’s how it was intended) in an early sequence using computer projected images and a digitized voice. The projection elements contribute to the story for about three-quarters of the show, most notably in a back projected road trip sequence.

While I sometimes have mixed opinions about musicals, this one moved right along, for the most part, and was carried by the commitment of its actors and uniqueness of the staging, with minimal props and a simple proscenium stage. It seems to be an excellent way for the recently renovated Playhouse to show off their new capabilities and facilities following a renovation.

I might have enjoyed it more if the songs all contributed to the advancement of the story (some did and some didn’t) and if the script chose to end at the downbeat suicidal moment, which is portrayed on stage. The ensemble demonstrates a tight cohesion in their musical performances, and some members slip in and out of different characters, which was entertaining if not always clear. Special credit must be given to Jaime Babbitt for a gusto-filled performance which she wasn’t shy of enlivening with a classic New York accent.

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Music was also a central theme of the late – summer blockbuster Guardians of the Galaxy, which I caught with a friend in Maine at the beginning of this week. The film followed a familiar template origin story for its ragtag band of heroes, and it’s inevitable that a sequel will soon appear for the team. However, I’m not sure I’ve ever seen a big studio film that took such an unusual approach to incorporating music into its plot, and I’m sure that will stand out the most in my memory of the film.

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Movies

Boyhood – a tribute to and exploration of life

I was very pleased to catch Boyhood on its opening day (Friday) at the Michigan Theater in an “exclusive Ann Arbor area engagement.” It’s amazing and impressive that a film like this stayed under the radar for so long (at least to the general public) until its release was confirmed sometime late last year or earlier this year.

The genesis behind the movie is now well – known, and so I won’t recap it here. I will add that the storyline achieves its goal of serving as a narrative time capsule of the past 10 – 12 years. Somehow director Richard Linklater had the foresight to offer lingering shots on various cultural objects – whether a Game Boy, older model car, Harry Potter release party, a bulky cordless landline phone, hit song from a particular year, etc – that the audience can recognize and relate to, or in some cases laugh at and be like “wow, I can’t believe I used that, or that thing was so common back then.”

From the very first shot of the movie, we are right there with the development and growth of Mason, played by Ellar Coltrane. The film tracks the journey of, but never feels like a spectator in, Mason and his family’s growth over the next 12 years. We meet his older sister Samantha (Lorelei Linklater), his mother (Patricia Arquette) and his distant father (Ethan Hawke). The parents are divorced with the mother taking primary custody, and her career and life path initially dictates the geographical range of the film as they move across Texas, the kids’ father comes in and out of their life, As Mason matures, he moves into the more direct focus of the narrative, and the last third or so of the film focuses on his own development in claiming an artistic life and stepping off on his own – into interpersonal relationships, career development, and a new life in college.

This was easily the most humane movie I’ve seen since Toy Story 3, with its tear-jerker of an ending, back in 2010. And this film touches the heart in a similar and different way, showing that life is relatable in its small, poignant, important moments, and drawing emotional truth, recognition and reflection from those same narrative themes.

On an industry – watcher note, it’s fascinating to see known actors Arquette and Hawke age on-screen; we can chart their growth in individual films over the years, of course, but never before in the same movie. Meanwhile, Coltrane and the younger Linklater mature into thoughtful young people, with a reflective poignancy present in their earlier in life scenes. Several actors move in and out of the narrative, and I wondered what that must have been like to come back to a project after a gap, or leave it after a year or two of working on it.

The film offers a fuller view of Texas than is usually seen on screen. Linklater directs with a steady hand, never letting a particular moment or theme overwhelm the narrative, or the story to be taken over by sentimentality or something that isn’t rooted in realism.

Best film of my year so far. I’m sure it will be hard to top. I almost don’t want to see another film this year after seeing this one.

boyhood cast

The cast and director as seen at the recent New York premiere.

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Movies

A most missed man

most wanted manEarlier this week I returned to the State Theatre to catch current release A Most Wanted Man, which is notable, in an unfortunate and unforeseen (of course) way, for offering the last starring role of Philip Seymour Hoffman. The stars promoted the film at Sundance earlier this year, just a few short weeks before Hoffman’s sad and widely – covered in the media death. The film proceeded with its release, though it’s unclear to me how large of a rollout it will get.

The movie is not the action packed drama teased in the trailer, but instead takes a more thoughtful and process – oriented approach to its storyline. Eventually the events proceed in a manner similar to, but not quite as stylistically pleasing as, the adaption of Tinker Tailor Soldier Spy, written by the same author. This film lacks a compelling narrative structure that has made some of the author’s other works, most notably The Constant Gardener, more memorable in their cinematic adaptations.

Nonetheless, the story remains timely and topical. Hoffman takes the central role as Günther Bachmann, head of a Hamburg, Germany based spying agency. Bachmann and his associates, which include character actor Daniel Bruhl, are charged with monitoring a Chechen immigrant who has recently arrived in Germany via illegal means. The immigrant, Issa, has business he wants to attend to with a local banker (Willem Defoe) while his situation attracts the attention of a young lawyer played by Rachel McAdams. Meanwhile, Gunther deals with increasing tensions between himself and fellow CIA/Stasi-type operatives, including an American representative played by Robin Wright. While it’s great that Wright’s involvement with House of Cards has given her a reinvigorated career profile, her role here seems too similar to that show, and it feels like her distracting brunette bob was an afterthought attempt by the producers to further differentiate her character. The “and” credit before her name is a further giveaway that her role will not be central to the plot but will come in at a few key scenes.

As for the rest of the cast, the marquee names acquit themselves well. Dafoe offers a tonal opposite from his role in The Grand Budapest Hotel earlier this year, and where he’s someone I often think of as playing villainous or “heavy” type characters, this role’s emphasis on uncertainty and more emotional angles seemed to be a refreshing change of pace. McAdams doesn’t seem to have aged at all since her initial breakthrough roles 10 years ago (!) and presents a mostly-convincing German accent for her scenes. Her infectious smile and good humor, widely used in other films, are rarely seen here.

Hoffman performs his role in German – accented English and displays the same unrivaled intensity that made him so renowned and acclaimed in the business. His absence hangs over the film like a melancholic cloud from the beginning, although I found myself getting immersed in the story and forgetting, for a bit, about the outside circumstances around him. The evocative final shot of the film is a fitting finale for his cinematic presence. (He will return, however, in the upcoming Hunger Games continuing chapters.)

The film’s problem lies in its lack of a compelling storyline. And while Issa ultimately becomes the central character, the “most wanted man,” the character is seen almost completely in solemn, very serious scenes, and given little room to grow or develop empathy with the viewer, which may be a joint fault between the writer and the performer. The situation with Issa is established with urgency, and there is a strong opening sequence establishing the character’s arrival in Hamburg, the security presence in the city, and why the characters might be interested in following Issa. But things slow waaaay down after that, and it’s difficult to sustain interest in what the story holds for the characters. However, some twists and turns involving the lawyer, and who knows what in relation to whom, ultimately manage to keep things interesting.

The film is drenched in ominous colors of grey, black and steel. As I noted above, the characters rarely break a smile. There is an intriguing balance of power constantly shifting and changing gears in the story. But the film as a whole has to be one that you are in the mood for, with lots of gloom and seriousness and definitely not a choice for a light night out.

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Movies

First films of my 30s

After a birthday-related filmgoing and local hiatus, I returned to Southeast Michigan on Thursday evening, ready to resume my summer filmgoing in what’s become the season of the anti-blockbuster, both for me and, somewhat, for the national box office.

I suddenly remembered that Garden State was the first film I’d seen of my 20s, back at the good ol Embassy Cinema in Waltham, MA, and so it seemed natural that Zach Braff’s new release, Wish I Was Here, take the honor of the first film of my 30s.

On a side note, I later saw Garden State again at the Odeon West End in London on its UK premiere later in 2004, with Braff and Natalie Portman in attendance, and members of the band Zero 7 sitting in the same row as me. I recall enjoying the sensation of already knowing the film was memorable and on its way to being a cult classic.

I’m not sure Wish I Was Here will enjoy that same reputation. I haven’t followed Braff’s career closely in the last 10 years, but he seems to have had some natural ups and downs, and his decision to Kickstart the film may also haunt him.

I struggled if and how to summarize the film, having originally began this review on Friday, but will plow ahead now on Monday afternoon.

hudson braff

Braff stars as Aidan, a down on his luck actor in the Los Angeles suburbs who is getting by on the patient goodwill of his wife (Kate Hudson) and financial support from his father (Mandy Patinkin) to make sure his two children proceed with their education at a local Jewish school. But, in an inciting event, Aidan learns his father has developed a terminal illness, thus forcing Aidan and Sarah to find new ways to support their family. This quickly leads to a new arrangement where Aidan takes over as homeschool teacher of the children, while trying to navigate the tricky emotional ground accompanying his father’s illness and a tense relationship with his underachieving brother, played by Josh Gad.

The movie is an overstuffed mixed bag, with several well – filmed vistas of Los Angeles and surrounding Southern California areas giving way to an overly complicated plot that ought to have been run through a simplification machine. While some reports suggest that Braff sought his Kickstarter funding in order to make the movie “he wanted,” I agree with other claims suggesting that he should have proceeded with additional edits, particularly around an unnecessary thread that has his character reimagined as a valiant superhero. Those sequences loosely tie in with an additional plot thread for Gad’s character to attend Comic Con and demonstrate extreme nerdness. Such inclusions fade into somewhat awkwardly placed, though heartfelt, family sequences, concerning Patinkin’s character, Hudson’s job and the educational plight of the children. Braff and Hudson are allowed two scenes as a couple that are refreshingly simple and intimate; both are highlights of the film.

Only Hudson rises above the material, in a surprising comeback-worthy performance showing sympathy, empathy and grace, seemingly many distances away from her earlier romantic comedy work. I found myself initially irritated by Patinkin’s monotone-type performance, but have appreciated its subtleties in thinking about the film as a whole.

The anticipation surrounding the film reminds me of similar circumstances surrounding Braff’s 2006 vehicle The Last Kiss, also awaited with anticipation and received tepidly following its release that fall. I never saw the movie, but they both make clear that filmmakers face steep challenges in living up to an acclaimed early work.

Returning to the Ann Arbor 20 earlier today for this weekend’s top film helped me to find the motivation to complete the earlier musings. My friend Gabe also posted comments on the same film today.

scarlett lucy

 

Scarlett Johansson headlines Lucy, a both simple and high-concept tale from director Luc Besson treading some of Besson’s favorite narrative themes (see La Femme Nikita, The Professional, The Fifth Element, et al) and some other recent films exploring the power of the human mind including 2011’s Limitless, along with action-heroine films such as Johansson’s own Avengers contributions and others like Saoirse Ronan’s Hanna.

For Johansson the role continues an impressive series of recent performances that really ought to be linked in their thematic and character similarities. (In this film, the phrase “under the skin” is even included within one of her lines.) The actress has capably shown that she’s ready and willing to step beyond her sex symbol image and move into a new phase of her career where she opens a film on her name alone and carries the content energetically from starting reel to closing scene.

This story follows the travails of Lucy, an American tourist in Taiwan who finds herself thrust into murky circumstances around drug smuggling and modest espionage in the country. She’s selected against her will, along with three hapless men, for inclusion in a drug testing program stretching the limits of the human brain to use 100% of its potential. After some initial awkward adjustments to her enhanced capabilities, Lucy embraces her powers with a mixture of assertiveness, curiosity and dread, but the smugglers are still on her trail as she hooks up with some French would-be Interpol agents.

Morgan Freeman co-stars (in a somewhat thankless role) as a brain scientist whom Lucy identifies as the one she wants to interact with and present her case to. Eventually all roads lead to Freeman and associates’ laboratory, conveniently in Paris.

The film is augmented by a light sense of fanaticism, as seen in Besson’s inclusion of multiple stock footage excerpts focusing on human evolution, and a sequence near the end of the film where Lucy bends the narratives of space and time. As well, the scenes are interrupted to show Lucy’s progression towards using 100% of her brain capabilities in a total comic-book style design.

While not a super weighty nor completely original cinematic work, this film is worth noting for Besson “returning to form” and embracing his cinematic roots, a keen sense of design and enthusiasm in the work, and, as I noted above, Johansson continuing to develop a new assertiveness in her performances that will undoubtedly serve her well in the future.

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Movies

Third Person Drama

My series of weekend late shows at the State Theatre continued last night with the new release Third Person.

The film is begin sold as “from the writer/director of Crash” and shares many similarities with that 2005 opus, which I found interesting on first (and possibly only) viewing, but is definitely a film that has not aged well.

Liam Neeson takes the central role as an accomplished writer, Michel, who is working hard on his latest novel, but is also working through some changes in his personal life, having decamped to Paris for an extended rendezvous with a  younger flame (Olivia Wilde) and left his wife (Kim Basinger) behind in the USA. We are introduced to several secondary characters as parallel story lines quickly take shape.

In New York City, an estranged couple (Mila Kunis and James Franco) engage in a custody battle over their young son, with the support of a lawyer (Maria Bello) and several additional characters. Meanwhile, in Italy, an American businessman (Adrian Brody) meets a mysterious local woman (Moran Atlas) and is drawn into her current predicament that eventually takes them to several places across Italy.

The stories intercut with each other and with the continued development of Neeson and Wilde’s storyline, so that you know they will eventually be linked in some way, and that connection is revealed at the very end of the film.

Only problem was I guessed the connection about a third of the way into the film – and it becomes increasingly clear if you pay attention to various visual clues.

Haggis displays a similar heavy-handed approach here as seen in his earlier films, which I feel might have been initially appreciated but now are greeted with less enthusiasm. I felt that most of the actors struggled to commit to their roles, with Kunis being a particularly glaring example of trying to give A Serious Performance … and not convincing me. (In contrast, her subtle, intense dramatic role in Black Swan continues to stand out in my memory.) I felt that Brody showed the most commitment to the material, which is interesting as his storyline initially seems the most tangential, but becomes the most endearing of the three.

On a related note, WHERE HAS KIM BASINGER BEEN? Her appearance here is criminally brief, but serves as a sharp reminder of her talents. I felt that she and Neeson should have spun themselves off into a separate movie focused on an age-appropriate romance or adventure. On the opposite side, JAMES FRANCO CONTINUES TO BE EVERYWHERE and strained credibility in his role as an accomplished New York painter, with his usual smirk lurking below his serious expressions.

Neeson acquits himself well, but suffers from a contrived role. It’s refreshing to see him stepping back into adult dramas after (what feels like) several years of only focusing on action movie work. I hope that other audiences will be reminded of his earlier work – and potential for future roles – with this performance. I felt that Kunis and Wilde ought to have switched roles, where the actresses’ strengths might have been more visible in their opposite parts. As it is, Wilde enjoys several sharp – tongued script moments but suffers from an overabundance of gratuitous girlfriend scenes, with accompanying nudity.

Curiously, one of the film’s best scenes sees Wilde and Neeson visit a Parisian dance club, where they briefly interact with some locals and express their intimacy through dance and silence, accompanied by a new track from Moby. The scene shows an easy comfort with simplicity, and what’s said and isn’t said, that the rest of the movie, with its overwrought and heavy – handed exposition, sorely lacks.

The new song’s video doubles as an extended informercial for the film:

You'd be drawn to a film with a cast like that, right?! (photo from IMDB)

You’d be drawn to a film with a cast like that, right?! (photo from IMDB)

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Movies

Midyear 2014: top 5 films

Inspired by my friend Gabe Valdez’s recent chronicles of top films for 2014 so far, I thought I would offer a brief summary of my own opinion.

JANUARY – JUNE 2014 – saw 21 films that were released in 2014, plus several holdovers from 2013 and a few revivals/special screenings of older films.

TOP FIVE FILMS

1. Chef
“Everything is told in such a warm – hearted and also exuberant style, including an emphasis on colors in the frame, tantalizing shots of food onscreen, and the family relationships of the characters pushed to the front of the story, that this became one of the most appealing and satisfying films I have seen in some time.”

2. Blue Ruin
“The film offers a tense yet understated look at the “revenge thriller”, which one article about the film pointed out used to be much more common in Hollywood films (think late 90′s/early 00′s films often starring Ashley Judd) but is now less common. In this case, the minimalism is apparent right from the start when the first 20 minutes or so have nearly no dialogue, but are carried along by a crackerjack music score, character activity, and intriguing, immediate curiosity over the motivations and history of the main character.”

3. Under the Skin
“Scarlett Johansson adds to an impressive recent repertoire of roles with this performance, The actress strips away (quite literally at times) her aura of Sex Symbolness and Appeal, taking us back to an earlier era somewhere around ten years ago when she was more known just for her performances and less for her off-screen activities.” I’m looking forward to re-visiting this film when it comes to home media, as it is deserving of a second viewing and might be helped by knowing the plot, where the initial viewing in the theater was an unsettling, though memorable, experience.

4. In Secret
“…An impressive lead performance from Elizabeth Olsen and nuanced support from Oscar Isaac (doing a quick turnaround from Llewyn Davis and seemingly enjoying a chance to show some dramatic range), Tom Felton (leaving Draco Malfoy behind with a sense of earnest joy) and Jessica Lange (chewing the scenery in style). The performances were really the showcase of the film… I also want to mention British character actress Shirley Henderson, who popped up as a neighbor knowing more than she lets on.”

5. Enemy
“Gyllenhaal masters a dual role, giving one of his finest screen performances in the last several years… Villeneuve masters elements of mood and style here, letting an omnipotent Bernard Hermann-esque music score racket up the tension in key moments, alongside cinematography of metro Toronto seen in hazes and sepia tones.”

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Movies

Can’t/Must Stop the Train

 

Film poster courtesy IMDB

Film poster courtesy IMDB

Snowpiercer has arrived as curious anomaly or antidote to the summer movie season. Its cold, dark winter setting makes it seem more appropriate for a holiday season release, and a pointedly grim atmosphere clashes with the sunshine currently widely present outside movie theaters. But a relatively star-studded cast, with at least two Oscar winners and three Oscar nominees, plus two current popcorn-movie leading men, lends some credence to the summer release plan.

Set in the not-too-distant future, with references to an inciting event said to take place right here in 2014, the film tells the story of the last survivors on Earth who have been hauled together on an endless train ride, following a failed attempt to balance out the planet’s climate problems. The train is a microcosm of what’s left of humanity, but also shows the lingering tensions and anxieties of such relationships.

We’re introduced to the lower-class members of the train who are forbidden from moving forward thanks to on-train law enforcement. Occasionally they are addressed by Mason (Tilda Swinton) – a warden of sorts who tries to be somewhat humane to them at times, and maybe has a conflict between what she is doing and what actually happens to the lower-class individuals.

The first scene makes it clear that Curtis (Chris Evans – doing a total 180 from his “Captain America” life) is the ringleader of the rear-class citizens. He and a few friends including Edgar (Jamie Bell) are working to determine a way to get to the front of the train, aided by some assistance from Gilliam (John Hurt) – an older passenger who helped construct the train. A community of families is also evident in the group, with Tanya (Octavia Spencer) and Andrew (Ewan Bremmer) emerging as key representatives from that section of the population.

Because some of the players, Curtis included, have been trapped in the back of the train for so long, they have some misgivings about actually going ahead with their attempt to go to the front of the train. But several incidents and plot developments arrive in quick succession, and so Curtis takes the lead of going off into their unknown. The group quickly learns that they will not have an easy journey and that the train is more complex than any of them could have imagined.

I am impressed that a film like this, which could be summarized as “The Matrix on a train,” attracted such a star-studded cast. While a few performers (John Hurt, Ed Harris) offer variations on similar roles in their past or archetypal roles, others such as Evans and Swinton offer distinctive portrayals very different from previous performances in their filmography. Character distinctions are further highlighted by all of the rear-class citizens having some form of grime and muck on their body, while those closer to the front of the train have flawless skin. This is most sharply realized in a surprise cameo from Allison Pill as a teacher who seems to have a heart of gold, in spite of the circumstances (but does she?)

Director Joon-ho Bong makes his English-language debut with this release, and his Korean roots are evident in the choreography of fight scenes and use of actor Kang-ho Song in a key role. However, several of those same fight scenes take the violent elements longer than American audiences might be used to, and certain plot elements that might be suggested are actually visually explored, thus making the film hard to watch at times. The greater plot element of a class system on a contained environment is notable, and continues to find relevance in the present era.

I felt that same artistry contributed to the success of the film at other times, as in several moody sequences through the lesser-known (to the lower class citizens) areas of the train where ambient noise and active visuals take the place of dialogue, a sudden left-turn moment in a classroom car on the train, and a climactic sequence with a well-known actor appearing as the mastermind behind it all. The dark train ride is occasionally supplemented by beautiful cinematography of an endlessly snow-covered landscape, and the pace of the film does not feel rushed or locked into a blockbuster-style showdown at the end of the story.

I can’t recommend this film with gusto due to the high violent content and several derivative plot elements, but I feel that it will sustain itself as a notable release from this year. It’s great to see the cast members committing to their parts – though Swinton is always memorable in her roles. I particularly hope that the movie continues to stand out on Evans’ filmography, as he capably turns away from the “American Hero” role he’s become known for, and shows more depth and commitment to the part than possibly any other role he has done before.

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Movies

An actress lightens up and the summer screens get tuneful

I often forget that British actress Keira Knighley is one year younger than me. She has more or less pigeon-holed herself into a dour screen persona that rarely expresses a happier state of mind, which also makes her seem older than her age. So when she does lighten up, as in the current release Begin Again, it’s a breath of fresh air.

I was pleased to catch an early screening of this film at Landmark’s Main Art Cinema in Royal Oak, which often gets first dibs on independent film releases in the Detroit area. Knightley gets top billing as Greta, a British ingenue who is making her way in New York City with her rapidly ascending rock star boyfriend, played by Adam Levine. One night, a series of circumstances leads her to a grungy club somewhere in the city, where her path intersects with Dan (Mark Ruffalo) – a down on his luck music executive who feels like her song could hit the big time.

The rest of the film follows their journey to get Greta’s record made, which takes several twists and turns as she does not want to sacrifice her own vision while Dan navigates a modest midlife crisis. They are joined by several memorable characters as the film unfolds, including James Corden as a friend of Greta’s, Mos Def as Dan’s business partner, Halle Steinfeld as Dan’s estranged daughter and Catherine Keener as Dan’s estranged wife.

The film is a cheery tale that is hard to be critical about… but I’ll try to make a few comments. It bears a number of similarities to the director’s previous film, Once, and could almost serve as a sequel to that project with Knightley taking the role of the female singer in the previous film. There are probably too many montages in the film, with most accompanied by songs from the soundtrack, as the story attempts to cover a large amount of narrative in a 90 – 100 minute time frame.

The storytelling does yield one interesting choice in the use of a “flash-forward/flash-back” structure to set up both Greta and Dan’s story lines. I always appreciate when films or plays choose that particular narrative, as it keeps the audience members guessing and anticipating, and sometimes creates some surprises along the way. As well, the film keeps the audience guessing if Greta and Dan will keep things platonic or get to know each other on a more intimate level.

In spite of the formulaic approach, the actors seem to be having fun with their process, with Ruffalo taking on a familiar character (in the context of his previous roles) but showing more humanity and older mentor-style energy than before. Keener only gets a few notable scenes, but continues to maintain her strong screen presence and mature character persona. Steinfeld leads the rest of the cast, and while more emphasis is placed on her character in the first half than the rest of the film, she continues to show strong command of her roles and great potential for future opportunities.

I’m sure this film will take its seat as the Summer Indie Crowd Pleaser of 2014.

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Movies, Theatre

Saturday Night Doubleheader

It felt like my old days of Bay Area arts-going as I enjoyed a live performance followed by a film in close proximity to each other (and walking distance from my apartment!) in downtown Ann Arbor this evening.

First up was an Ann Arbor Summer Festival kick-off appearance from Ms. Lily Tomlin – a Michigan native and (obviously) esteemed performer who does not act or present like the stereotypical/imagined 74 year old. Tomlin seemed to relish being onstage, frequently walking around with her hands outstretched like a very dedicated power walker, and easily slipping in, vocally and physically, to various characterizations from her catalogue. She also incorporated several video segments into her monologue, mixing a bit of older excerpts with some material that may have been conceived especially for this show. Perhaps most impressively, she delivered her whole 90 minute set as an extended monologue, barely pausing for breath on a handful of occasions and never needing to look at a card or any sort of prompt.

While I enjoyed the opportunity to see a legend like Ms. Tomlin onstage, I didn’t feel 100% connected to her material and felt that I might not be in the intended age range and/or demographic that she is gearing towards. I don’t hold that against her at all and am grateful for the chance to see her live, as she always has projected intelligence, fun and good humor in the various television and film projects I have seen her in over the years.

On my way back towards my apartment from Hill Auditorium, I noticed that my erstwhile favorite art house, The State, had some new films on the lineup, including Cold in July, which happened to be starting its late show right when I was in front of the cinema. So I ventured inside.

cold in julyThis film oozes Texas character, and at times seems like a sibling to No Country for Old Men as it tracks another trio of Lone Star State characters seeking vengeance for mysterious – and not clear until the final reel – acts. It is also based on a book, though I had not heard of the title.

Subtlety is the name of the game as the plot unspools, with Michael C. Hall in the central role projecting resoluteness alternating with uncertainty. He is strongly supported by older veterans Sam Shepard, who needs no introduction but really shines here after window-dressing in his August: Osage County cameo appearance, and an initially unrecognizable Don Johnson poking fun at his suave reputation, and then going deeper as the story goes on. Up and coming celebrity progeny Wyatt Russell makes an appearance late in the film as a key character, and isn’t given much to do or say, but projects strong screen presence. Character actress Vinessa Shaw gets the major female role, and while unfortunately she isn’t given much to do, she continues to demonstrate an intelligent screen presence that I first noticed way back in Hocus Pocus.

The familiar plot concerns the ricochet effects that happen to Hall and Shaw and their son after Hall suddenly shoots an intruder in their home late one night. The first quarter of the film covers standard police procedural territory, and then things turn more interesting after that, leading to a predictable, though well thought out explosive finish. The story doesn’t really tie up all of its initial loose ends, but it seems to be more concerned with the mood and impact of the violence. I guess that means more realism, and some of the scenes – and Hall’s remorse and uncertainty alternating with resolve – recall the recent Blue Ruin.

Technical elements of the film are solid if not outstanding, with the most detail seemingly on the 1989 period setting. Fitting in with the subtlety, and possibly low budget, I liked that most of the elements were suggested rather than fully realized, such as old cars tooting around the dusty Texas town, a night drive to the Houston area with only a distant highway sign giving a sense of place, and the finale initially beginning offscreen, but audible, and the main character moving into the forefront of the action. I could have done without, or preferred a different, music score from the at times heavy-handed cues that were used, emphasizing classical music and speaking for some of the character motivations in place of dialogue. I appreciated the act by act structure of the plot, in that it was well defined, and again feel that morality tales such as these are great fits for late shows on a Friday or Saturday night.

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