After some misgivings caused by the previous three films then appearing at cinemas much closer to me after I’d driven a modest distance to see them, I decided to resume my filmgoing geohopping this weekend in Royal Oak and Clinton. After all, it’s a nearly 20 year habit for me to go to the film (and not wait for it to come to me) – so it’s unlikely that it will slow down anytime soon.
First up was the Main Art Theatre in Royal Oak, which is always a pleasure to visit at night thanks to its dramatic and classically lit up marquee. I also appreciate how they publicly advertise their upcoming films and events, not just for the next week, but for the next month or two.
New film Complete Unknown is another tour de force for actress Rachel Weisz, who has recently become one of my favorite actresses to watch. (Not that I did not like her before; she’s just become even more watchable with a mastery of technique, inflection and presence.) In this story she takes on the role of Alice (not her real name) – a woman who has shape-shifted her way through at least nine different guises over a span of 15-20 years, because … what? The story doesn’t really tell us why Alice chooses to live such a transient and challenging life, and at times it was hard to suspend the disbelief and buy into the narrative. Weisz sells it strongly by mostly underplaying the whole thing; she’s not there to be an avenger or superwoman, she just wants to blend in.
An awkward framing device introduces us to Michael Shannon’s character, Tom, who is soon revealed to be an old connection of Alice’s. It’s a minor spoiler to say that she has arranged the whole encounter so that she can see him again after a 15 year gap. Incidentally the underplaying was at its best in their first one on one encounter, when Tom frustratedly wonders how and why Alice has even sought him out again. Instead of matching his intensity, Weisz goes the other way with the characterization into a cool and composed slight aloofness that keeps the narrative going and allows more questions to rise. However, the plot point that they hadn’t seen each other “in 15 years” really ought to have been raised up to 25 years, since both actors are obviously in their mid 40s and it strained credibility to think they’d last encountered each other when they were around 30, especially as the dialogue touched on high school and hometowns.
A fun transition sequence in a New York City nightclub, set to the strands of the Chemical Brothers, allows the two leads to leave the club on their own and the story to boil down to just the two of them. This is where the story ought to have started all along. The film takes on an air of momentary unpredictability as they head off on their own … only to encounter veteran actress Kathy Bates, who cameos in a sequence that feels more like an outtake, but keeps up the fun of the story. It is soon revealed that she is married to none other than Danny Glover, and the experienced elders have some fun with their small roles before Tom and Alice go off on their own again.
At this point the film becomes very reminiscent of Certified Copy from several years ago, as the viewer is left to question how far the characters might go with their renewed connection, and the action is intercut with a few brief dream-like sequences that question whether they are being imagined or not. While the eventual ending may be seen as unsatisfying, it does continue with the ambiguity and not tying things up neatly.
It’s good to see Shannon, known for his intensity, loosening up a bit here in more of an “everyman” role. And Weisz carries the film along with a mix of gestures and emotions and feelings, always aware of what she is doing and also the cost of her actions.
This commentary got longer than I expected (I must have enjoyed engaging in the material … so I’ll save this weekend’s second film for a separate post.)
A Most Violent Year finally arrived in wide release yesterday, following its initial Oscar-qualifying release in select cities on December 31st. So I caught the late show at AMC’s John R 15, in a screening room that had been surprisingly renovated into having recliner seats, rather than standard seating.
The film is the third feature written and directed by rising star JC Chandor, whose previous releases, All Is Lost (which I described here) and Margin Call (one of my favorite films of 2011), received wide acclaim. This time Chandor paired with actors Oscar Isaac, Jessica Chastain, David Oyelowo and Albert Brooks, along with a wide range of supporting characters, to deliver a complex period piece about a violent time in New York City’s history and one family empire’s role in a competitive business.
While all the performances were uniformly strong, I felt that Isaac didn’t offer particularly new shadings from previous roles. Interestingly, the film may or may not have deliberately made several winks to his role in Drive, where he played a character called Standard, involved with a shady organization led by Albert Brooks. And here he led the Standard Oil Company, which may or may not have come from questionable roots, and Albert Brooks appears as his principle advisor. Meanwhile, Chastain offered a slow burning performance that masterfully builds from demure to aggressive, with a key turning point happening when she and Isaac are out for an evening drive that suddenly turns a bit more violent. However, her character seemed to disappear from the last third of the narrative, perhaps as a reflection of Isaac’s independence from her interference.
The film delights in its ambiguity, although that made for a problematic viewing experience at times, as in trying to figure what was exactly driving the character motivations. The production worked hard to recreate NYC’s look of over 30 years ago, and a recurring theme of snow on the ground is an apt metaphor for the light and darkness of the story.
My Rating: ***1/2
Foxcatcher finally reached the Detroit area sometime just after the new year. I’d had a chance to see this film at Thanksgiving and again at Christmas in the Delaware area, not far from where the real life events took place, but held off until last week back at the Main Art Theatre.
Steve Carrell and Mark Ruffalo have received acclaim and Academy Award nominations for their work in this film, but Channing Tatum has been curiously overlooked and offers an arguably more impressive performance as he turns his easygoing screen persona inside out and works hard to portray a conflicted series of life events for real-life former wrestler Mark Schultz.
It was hard to shake the cold, alienating feel of this film, although it was also certainly well-made and very carefully put together by filmmaker Bennett Miller and his team. It was not hard to understand why the actors have been quoted as saying it was a difficult set to work on and they didn’t want to do much of anything after the day’s shooting.
I’ll close by saying that Miller’s nomination for Best Director seems particularly well-deserved here, and it would be a very different film if he hadn’t guided the story into a unique dark and thoughtful place.
My Rating: ***