Big Thoughts from a Small Mind

Blow Out the Candles: Josh Brolin

2012-02-12T10:00:00.010-05:00

Josh Brolin
Born February 12, 1968

Since I featured his wife in last month’s birthday post, I thought it was only fitting to celebrate Josh Brolin’s birthday in February. He’s been on a roll since 2007, appearing in several different genres of film and portraying vastly different characters. George W. Bush, Jonah Hex, Llewelyn Moss, Dan White, Tom Chaney. He’s managed to do what other actors of his generation – Brad Pitt, Johnny Depp and George Clooney – haven’t been able to; make great films without the Hollywood pararazzi-assault. He could not care less about movie stardom. His career has been rejuvenated in the last several years because of his choices and because of his work. He’s turned down as many great roles as he’s accepted, and his selectivity has paid off in spades as many of the projects he’s undertaken during this upswing in his career have become landmark films.

Brolin’s career has had an interesting evolution. In his major film debut, he played the head-band wearing, jock older brother who ends up embroiled in a search for One-Eyed Willy’s hidden treasure in the iconic 80s film, The Goonies. Man, is that film ever great. It’s one of my favourite movies and it was a great starring vehicle for young Brolin. But he didn’t delve into other film roles after that success. Rather, Brolin followed it up with several stints in television with varying degrees of success. He lost the lead role in 21 Jump Street to Johnny Depp.

When Brolin next appeared in a film, he took on a role unlike any other he’d ever played – a bisexual fetishist cop in Flirting with Disaster, and was dubbed the “one to watch.” Once again, he followed this memorable role with forgettable character parts in less than stellar films. Early in his career, Brolin was a bit of a journeyman; his stock rising and falling as he made some questionable choices and spent years hardly working at all. It’s interesting that his wife, Diane Lane, followed a similar path where after signs of a promising career, she had mediocre success and quit acting for awhile.

After spending some time away from making movies, Brolin burst back on the scene when he appeared in Robert Rodriguez’s segment of the horror double bill Grindhouse as the sinister Dr. William Block. He played evil again in a small part as an evil narc in the drug dealer epic American Gangster. Then he starred in what is for me, Brolin’s most memorable and impressive role – a West Texas cowboy who goes on the run after stumbling upon $2 million in drug money in No Country for Old Men. The cat-and-mouse game that ensues between Llewelyn Moss (Josh Brolin) and hitman Anton Chigurh (Javier Bardem) is my favourite part of the film. When Moss was killed and Brolin was no longer on screen, I found myself deeply disappointed by his absence. Bardem was frightening, captivating and exceptional in the film, but Brolin is the film’s obvious star to me.

Other notable roles include Brolin’s top-billed performance in the titular role of George W. Bush in Oliver Stone’s W. He nailed Bush’s traits and succeeded in capturing the essence of the real man rather than merely doing an impersonation or a caricature of him. Next came Brolin’s Oscar-nominated role in Gus Van Sant’s Milk, where he gave a strong, understated performance as Dan While, the city supervisor who assassinated gay rights activist and politician Harvey Milk. Brolin succeeds in portraying the character as two-dimensional; pitiable at times and then enigmatically evil.

James Brolin has become a fine actor in recent years, donning many hats in the roles he’s played while maintaining solely focused on his art rather than on the glitz and glamour of Hollywood. Now that his career is no longer in revival mode, it looks like another hiatus from the movie biz is unlikely as Brolin’s got three films slated for release this year. It seems he’s realized his worth, and at the rate his career is going, is poised for more great things.

What are your favourite Josh Brolin films? Let us know in the comments section.

Sharing the Blogging Love

2012-02-11T09:00:00.007-05:00

Wondering what bloggers have been chatting about this week?

Here is Your Reading and Listening Schedule for Today:

9 am: Episode73 of the Frankly, My Dear podcast offers up a recap of the Sundance Film Festival.

10 am: In Episode 102 of Lee and Dan’s Midnight Movie Club, Lee and Dan discuss Eddie Murphy’s 80’s flick, The Golden Child.

11 am I recently took part in the fifth edition of Wide Screen World’s Freeze Frame: Roundtable series. This time we discussed: film piracy, the effects blogs/social media have on traditional film critics, and the Academy Award nominations.

12 pm: Simon reviews Michelangelo Antonioni’s Blow-Up.

1 pm: Alex has a great piece on the career of Willian Fichtner.

2 pm: John takes a look at the exploitation flick Mandinga.

3 pm: Dan gets his superhero fix in with Chronicle.

4 pm: Jose spends time with Martha Marcy May Marlene.

5 pm: DanfromAus did not find Tim Burton’s Charlie and the Chocolate Factory all that sweet.

6 pm Mylera shares some thoughts on The Debt.

Bonus: Pete looks at why 2012 will be a big year for Bruce Willis.

The Innkeepers Offer More than Fresh Towels

2012-02-10T10:00:00.009-05:00

There was a time when horror films did not have to rely on elaborate death scenes to get a reaction out an audience. All it took was a few creaky doors, some strange whispers, and possibly a couple of well placed cats rustling about, to keep the viewers on edge. As with all cycles in film, the horror genre seems to be slowly reverting back to that era when creativity and not excessive gore was at the heart of a good chilling tale. The best modern day example is the successful Paranormal Activity franchise. Now director Ti West’s latest film, The Innkeepers, looks to join the fold with its own unique take on the paranormal lore.

Set within the Yankee Pedlar Inn, two employees, Claire (Sara Paxton) and Luke (Pat Healy), are left in charge of the hotel while the owner is vacationing in the Caribbean. As the inn is set to close its doors for good, business is rather slow. Bored out of their minds, and with no real sense of direction for what they want do with their lives once the hotel closes, Claire and Luke pass their time by looking for signs of ghost activity in the old establishment. The Yankee Pedlar Inn is rumoured to be haunted by the ghost of Madeline O’ Malley, a woman who hung herself in one of the rooms after being left at the altar. Determined to find proof that the ghost of O’Malley still roams the halls, Claire sets out with Luke’s recording equipment to document the strange occurrences that are happening in the inn. What starts out as a fun pastime soon turns into a nightmare that Clair will never forget.

Though an enjoyable film, The Innkeepers is a film that is bound to divide audiences. It is a horror film that will play extremely well to the casual horror fan. However, hardcore fans of the horror genre, more specifically those who love excessive gore, will be greatly disappointed. The film not only stakes it allegiance to the classic ghost stories, but it also dances to its own beat from beginning to end. The fact that it takes 70 minutes of the film’s 101 minute running time for the scares to start shows that West is playing by his own rules.

The bulk of the film of plays more like a comedy than a straight fright flick. Ti West spends a lot of time establishing Clair and Luke’s friendship, as well as their interactions with the few customers at the hotel. The fun thing about this is that it is easy to forget that The Innkeepers is a horror film at all. Claire and Luke are so charming that this film would be just as entertaining if the horror aspect was not even a part of the film. The chemistry between Sara Paxton and Pat Healy really elevates the film above others in its genre. Paxton in particular gives a strong performance as Claire. She creates a character who is filled with curiosity in all things paranormal, but is unable to find any direction or real meaning in her day-to-day life.

Ti West’s choice to have such a long build up is a bit of a blessing and a curse. On one hand, when the scares ramp up it comes as a bit of a shock to the viewer. The abrupt change in pacing is effective in catching, and keeping, the audience off guard for the remainder of the film. The only downside to this is that the film will be a test of patience for those simply looking for fast and quick scares. Still, when the scares come, West manages to achieve maximum effect through minimal tactics. Just the image of a ghostly character at the end of the hallway is more chilling than having that same ghost chase characters from room to room. Although The Innkeepers may not follow all the conventions that modern horror fans would like, the film offers up solid entertainment that should play well on repeat viewing.

Which is Better?

2012-02-09T10:00:00.005-05:00

Jack Nicholson

10 sample films:

Chinatown
A Few Good Men
Reds
The Departed
Terms of Endearment
Mars Attacks
The Shining
About Schmidt
Batman
One Flew Over the Cuckoo’s Nest

Robert De Niro

10 sample films:

Taxi Driver
A Bronx Tale
Wag the Dog
Brazil
The King of Comedy
Stardust
The Deer Hunter
Heat
Meet the Parents
The Godfather Part II

Which do you prefer? Let us know in the comments section

The Descendants is what it is and what it is is overrated

2012-02-08T10:00:00.011-05:00

I finally watched The Descendants. After hearing and reading so many rave reviews and considering the boatload of awards and nominations it’s racked up so far this season, I was expecting, well, a helluva good movie. What I got, however, was disappointment. When it comes to movies, sometimes expectations are a terrible thing. Don’t get me wrong, the movie is worth seeing and I’m glad I saw it, but it left me feeling like there should have been more. It’s got all of the potential and the grain of a better film in its premise, but it doesn’t quite pull it together to pull it off.

For me, it was hard to discern exactly what the film was trying to be. It’s called a dramatic comedy, but the drama was weak and the laughs just weren’t there. The film also explores two separate stories without any real connection. The film tells the story of Matt King (George Clooney), a father in the middle of a grave crisis: his wife, Elizabeth, lies comatose following a speed-boat accident and Matt is now forced to become the primary parent to his two daughters, Alex and Scottie, with whom he isn’t very close. Ten-year-old Scottie (Amara Miller) is having a hard time coping with her mother’s hospitalization and is acting out at school and insulting other girls in her class. Seventeen-year-old Alex (Shailene Woodley) has been away at boarding school thanks to her reckless ways with boys and drugs, and she’s boiling over with anger and confusion because she knows that her mother was having an affair. And it also tells the story of Matt King, the primary trustee of vast acres of family-owned prime land in Kauai that’s been passed down through several generations and his family’s decision about what to do with it.

With these two competing storylines, the film seemed splintered to me – dealing with one storyline and then the other, and the progression and pacing seemed off. If the essential story is of Matt King trying to reconnect with his daughters, then the story gets lost as it shifts focus from Matt and his daughters to the land sale to a third plotline – finding the man Elizabeth had an affair with.

While the film shifts across storylines, it introduces issues, but doesn’t follow through with them. The emotional pain at the heart of the film’s premise seems to vanish. The girls’ emotional and behavioral problems and their issues with their father seem to melt away when they all embark on a road trip to find Elizabeth’s lover. Alex’s drinking and rebelliousness cease to be a problem and she becomes like a Nancy Drew figure on an investigation. She also brings a friend along on the trip – a boy named Sid who’s dopey and abrupt and unnecessary to the story.

Then in an earlier scene, Matt and Scottie visit the girl whom Scottie insulted at school to apologize, and the story flips to that of the land. The girl’s mother, a native Hawaiian, tells Matt that many people hope that he will make the right decision about what to do with the land. There, the film touches upon the significance of the land to its people and about the serious implications that Matt’s decision to keep the land unspoiled or to sell it to developers yields. We hear this heartfelt sentiment from the woman, and then the issue isn’t raised again until Matt decides not to sell the land, an important decision that’s cancelled out all too smoothly and suddenly.

The film is often entertaining enough, with occasional flashes of excellence and it succeeds on some levels just as it underwhelms. The cinematography is stunning because we get the stripped down, lived-in Hawaii and not the picture-perfect postcard version, and it suits the film perfectly. There are some terrific acting moments, mostly from Shailene Woodley who’s dynamic and captivating in every scene. Supporting players Beau Bridges, Robert Forster and Judy Greer are memorable because they make the most of their minor roles. And George Clooney, well, he’s good too. The problem I have with George is not really his fault. It’s often hard for me when I watch him in a film to separate the character he’s portraying from George Clooney the movie star. It’s hard to see him as anything else. That said there are beautiful and believable expressions that allowed me at times to separate George Clooney from Matt King. The shock, pain and heartache he feels when his friends confirm that Elizabeth was having an affair and had planned to leave him felt so real and so true, it was tangible. The closure is the continuation of life itself, and that, I thought, was the film’s most effective part.

Scene Stealer: Little Shop of Horrors

2012-02-07T10:00:00.006-05:00

Oddly enough, I was inspired to write this scene stealer piece after my recent trip to the dentist. My visit was pretty routine and painless, nothing at all like Bill Murray’s dental visit in the musical, sci-if horror film Little Shop of Horrors. It was after my dentist mentioned that his previous patient prefers to have his dental work administered without freezing that I recalled the over-the-top dental scene in the film.

For me, Steve Martin steals the show as Orin Scrivello, a leather-jacketed, Elvis impersonating, sadistic dentist and abusive boyfriend. The scene in which he performs a torturous root canal on Arthur Denton, an insanely masochistic dental patient, played by Bill Murray, is twisted and funny.

When you first see Arthur, he’s waiting in Orin’s waiting room, fidgety with glee and excitement at the sound of another patient’s agonized screams. Once in the dentist’s chair himself, he doesn’t wait for the dentist to begin working on him; he starts shoving cotton rolls into his own mouth. As Orin pulls out one shiny, silver and scary-looking implement after another, Arthur becomes increasingly excited. When Orin asks Arthur to say “Ahh,” he opens wide and ecstatically belts it out. Orin shoves tool after tool into Arthur’s mouth, while he delightedly yells, “oh yeah” and asks for more. The dentist becomes increasingly frustrated as his inflictions produce pleasure rather than pain. When Orin begins to drill Arthur’s teeth, he moans and groans like he’s having an orgasm and yells, “Yes! Yes!” with utter delight. Pissed off, Orin tells Arthur to get out.

I was completely captivated the first time I saw the movie. I don’t remember how old I was, but I remember being drawn in by the music, the kooky characters, the absurdity and the dark overtones. Its PG rating was perhaps a little relaxed for the more adult elements and violent scenes in the film. With its Motown-inspired numbers, incredible cast, and rather unusual premise, Little Shop is pure fun and entertainment.

In Conversation: The Girl with the Dragon Tattoo

2012-02-06T10:00:00.000-05:00

A few nights back my wife (aka Dragon D) and I took some time from our usually busy schedules to catch David Fincher’s adaptation of The Girl with the Dragon Tattoo. As we both read the source material, the film seemed like the perfect choice to discuss for our latest “In Conversation” piece. Though we both read the first book in Stieg Larsson’s trilogy, our overall experience with the trilogy has been vastly different. I have read the first book and watched the first two Swedish films (Tattoo and The Girl Who Played with Fire). My wife, on the other hand, has read all three books in the trilogy, but has only seen one of the original Swedish films, The Girl Who Played with Fire.

CS: As always I would like to start by getting your initial reactions to the film?

Dragon D: My very first thought was that they skipped over several things that took up a large chunk of time in the book. Such as Blomkvist going to jail. I guess, thinking about it, that was not really essential to the plot. However, it is felt odd that something which took up a good chunk of the book was completely left out.

CS: I had actually had the opposite reaction. I will try my best not to compare this version to the Swedish film, which I thought was very good in its own right, but I actually thought this was a better adaptation of the book. Fincher delved into many aspects of the book that I found interesting. I could care less about the jail subplot but I loved the stuff about Millennium magazine. I also liked that the film took time to really explore the dynamics of the Vanger family. The original Swedish film tried so hard to condense things that the interactions between the Vanger clan felt rushed. It was like characters just popped up said a line and were gone. Whereas in this film, they not only introduce you to the character, but you also got a shot of their houses in relation to where Blomkvist is staying.

Dragon D: I actually agree with that point, I really liked how they guided you through all the members of the family. I believe in the beginning of that book there is actually a character chart because there are so many people you need to keep track of. I even liked how they used the various visuals, especially the layouts on the wall, to show how Blomkvist goes about solving the mystery.

CS: You made reference to the photos on the wall, following along those lines, I really enjoyed how the film handled the flashbacks. Not just the flashbacks to what happened at the parade and the stuff on the bridge, but you actually see elements of the police search for Harriet. Little details like that worked for me.

Dragon D: They did a great job incorporating details in general. Normally a film of this scope would not include minute details that the book would have explored in depth.

CS: Even some of the little quirks characters had manage to standout. I do not know if you noticed this, but the killer takes a second to use hand sanitizer before commencing his routine.

Dragon D: I thought that was great. It emphasized how killing was a clean business to the killer. Everything had its order.

CS: Elements like that pleasantly caught me off guard. What did you think of Daniel Craig and Rooney Mara in the roles of Mikael Blomkvist and Lisbeth Salander respectively?

Dragon D: It was a little odd at first, but I quickly got wrapped up in the story and was able to buy in. As is the case whenever we discuss a film based on a novel, it takes me a while to adjust to the fact that the characters look different to what I envisioned in my head. Though Rooney Mara was pretty close to what I had envisioned the character should be. Even Craig was not that far off either, at no point did I think “oh there is James Bond.”

CS: Well the opening credits came pretty close to the film feeling like a James Bond film.

Dragon D: True, but I did not like the opening credits, that would probably be my one complaint with the film. I was just too much! It was a neat concept with the computer cables, and such but it just went on forever.

CS: Getting back to the performances, I thought both Craig and Mara did a great job. For me the difficultly was not comparing their performances to the images I already had in my head from the Swedish film. Regardless, I thought both managed to offer their own unique take on the film. Rooney Mara in particular really delivered in a role that would be tough for any actress to play. Essentially she had to be both tough and vulnerable, while still showing her feminine and overall humanistic side. I will say that the performances, and overall detail in the film, really has me excited to see The Girl Who Played with Fire. This actually says quite a lot considering I was rather disappoint with Swedish film version of the second book.

Dragon D: I am interest to see how they adapt the next book. They had me hooked by the end of this one. One thing The Girl with the Dragon Tattoo film reminded me about was just how much Blomkvist and Salander are apart in the novel. Half of the book, and film for that matter, is them off doing their own thing. I liked the juxtaposition of their lives throughout the film. You go from the infamous rape scene to Blomkvist chilling on the couch listening to music.

CS: I noticed that as well. In the event that ultimately leads up to the rape scene, there is a shot of Salander scrubbing out her mouth, and puking, in disgust. Then Fincher cuts to a scene where Blomkvist is happily squirting breath freshener as he is about to go into a party. It was such an interesting contrast that links up their lives quiet well. I will say that, because of what the characters go through, The Girl with the Dragon Tattoo is not an easy film to sell to the masses.

Dragon D: Not only do you have the rape scene, but also the revenge scene which is as equally tough to watch. However the book was like that too, both the film and the book did a good job of taking you through these disturbing moments while still making you excited to see the next film.

CS: What grade would you give the film overall?

Dragon D: You know, I really like this film so I think I will give it an “A”. They stayed true to the book and I just thought it was really well done. I am very interested to see the next one. How about you?

CS: I am actually going to give it an “A” as well for pretty much all the reason you stated. The performances where good, I liked all the little details Fincher included, and I really like the way the film explored both the Millennium aspect as well as the Vanger clan. It is essentially the version of the book that I wanted to see on the big screen.

Small Bites: The Greatest Movie Ever Sold, In Time

2012-02-05T10:00:00.015-05:00

The Greatest Movie Ever Sold

Advertisement has become such a big part of our everyday life that we have become oblivious to just how often companies are selling us things. In his latest documentary, The Greatest Movie Ever Sold, director Morgan Spurlock specifically looks at how advertisers are using movies to sell their products. Spurlock has really mastered the art of making his documentaries both informative and amusing. He offers good insight into the negotiation process that occurs between advertisers and the film industry. While it was eye opening to see many of the conditions companies place on studios when their product is featured in a film, The Greatest Movie Ever Sold really reaches its height when Spurlock is interviewing those who specialize in product placement. The problem with the film is that following Spurlock as he attempts to get advertisers on board with his film, is not as interesting as the moments when he is talking to people about advertising in general. Although entertaining overall, it would have been better had it been a straight film about advertising instead of a film about Spurlock attempting to make a film about advertising. Spurlock being front and center worked well for Super Size Me, but a little less Spurlock would have worked better for this film.

In Time

The career of Andrew Niccol can best be summed up as one filled with fascinating concepts, but misguide execution. Of his directorial efforts, which include S1m0ne and The Lord of War, only Gattaca worked well from beginning to end. It was good, but not a film I have ever felt the need to revisit. The frustrating thing about In Time is that it has all the makings of a great science fiction film, but continually gets tripped up by its own logic. The idea of time as currency, especially as an allegory to the modern day class structure is brilliant, but the film never seems to figure out how to keep the story moving forward without breaking all the rules it establishes. There is a point, just past the halfway mark, where Will (Justin Timberlake) and Sylvia (Amanada Seyfried) are beginning to embrace their Robin Hood-esque Bonnie and Clyde lifestyle and their own personal time no longer has any value from a plot standpoint. One would assume if they have stolen so much time they should give themselves enough to achieve, or at least attempt to achieve, their goal. However Niccol’s tries to reintroduce the fact that time is running out in order to create tension which is no longer there. The inclusion of Fortis (Alex Pettyfer), the mobster boss of the Minutemen, seemed rather pointless as he does not really impact the plot. It felt like Niccol needed a villain but was not sure who in fact the real enemy is. If anything, Forist takes away much needed screen time between Will and Timekeeper cop Raymond (Cillian Murphy). Their dynamics, which is emphasizes the battle between blindly maintain the status quo and trying to make change, is actually the most interesting aspect to In Time. Unfortunately, Niccol tries to throw too many unnecessary ingredients, such as Fortis and silly plot turn, into the pot and ultimately ends up destroying what could have been a great watch.

Sharing the Blogging Love

2012-02-04T09:00:00.006-05:00

Wondering what bloggers have been chatting about this week?

Here is Your Reading and Listening Schedule for Today:

9 am: Episode 27 of the KL5-Film podcast looks back at that 90s with the film Reality Bites.

10 am: Episode 32 of The Demented Podcast talk about the modern noir flicks L.A. Confidential and Kiss Kiss Bang Bang.

11 am Anthony list the Top 10 undervalued Woody Allen films.

12 pm: Steven spent the weekend looking at the Paradise Lost Trilogy, a series I still need to see, here are his thoughts on Paradise Lost, Paradise Lost 2, and Paradise Lost 3.

1 pm: Colin was not as taken with The Descendants like many others were.

2 pm: Anna was rather fond of David Fincher’s The Game.

3 pm: Eric has mini reviews for Butch Cassidy and the Sundance Kid, Slacker and much more.

4 pm: Mike gives Pina a very positive review.

5 pm: Edgar takes on The Rocketeer.

6 pm: Brian is ranking the past 20 Best Picture winners, here are #20 - #11.

Bonus: Mette looks at David Fincher’s version of The Girl with the Dragon Tattoo. I will have my own thoughts on film posted within the next few days.

Catherine the Great

2012-02-03T10:00:00.001-05:00

I was thinking about Catherine Keener the other day and about the films that I’d seen her in before The 40-Year-Old Virgin, and I drew a blank. Then I kicked myself for having temporarily forgotten her unforgettable (ironic, eh?) role in Being John Malkovich and her fine work in Lovely and Amazing. Then I drew another blank trying to recall any films I’d seen her in before those.

When I looked up her filmography, I saw that Keener had made a slew of films before her Oscar nominated turn in 1999’s Being John Malkovich, and I’d actually seen a few – The Real Blonde, Out of Sight and 8MM. Given how little I remember of her actual roles in those films, I’d wager that they were either minor roles or roles that didn’t allow her to shine. Keener was also, throughout the 1990s, the queen of American independent cinema and appeared in smaller films that weren’t distributed widely or seen by larger audiences, including myself. For me, Keener burst onto the scene in a big way and impressed me so much in the unlikeliest of vehicles – The 40-Year-Old Virgin.

It’s one of my favourite Judd Apatow films because it’s not merely a crude sex comedy. It’s well written and surprisingly smart, insightful and sincere. On the surface, the film could easily be labeled a raunchy buddy comedy, but it delves so much deeper and offers so much heart and humanity amidst the sex talk and crude humour. But the best reason the movie works so well is because of the incredible chemistry between Steve Carell and Catherine Keener. They both have such a deep understanding of their characters and thus create between them a believable bond and a relationship that we care about. Keener is natural as Trish, and never for one moment do we question the authenticity or sincerity of the things she says or does – she’s a vivacious, single-mother and she really likes Andy. She doesn’t get lost or overshadowed amidst all of the testosterone in the film, but delivers perfectly-punctuated punchlines with glee, adds class to the film, and bookends both with her authentic and endearing laughter. In Virgin, she displays her versatility as an actress and her gift as a great comedienne.

Keener has appeared in 14 films since 2005, among them Capote and Into the Wild, two fantastic films. She’s a versatile character actress, who brought to the roles of literary icon Harper Lee in Capote and hippie Jan Burres in Into the Wild, what she succeeds in bringing to every character she portrays – freshness and a faceted characterization that creates engrossing appeal. Consider how different the roles of Trish, Harper Lee and Jan Burres are and how successfully Keener sets each apart from the other. I’ve never been able to simply say, oh, it’s Catherine Keener in another movie, but rather, Harper Lee is played brilliantly by Catherine Keener or, in Trish, Catherine Keener has created such a cool chick. The character always comes first because Keener gets lost completely in every role she plays. She’s among my favourite actresses because she’s so captivating and exciting, and because she always makes me think when I see her name attached to a film, “Awesome, Catherine Keener’s in this!”

What are your favourite Catherine Keener films? Let us know in the comments section.

Which is Better?

2012-02-02T10:00:00.005-05:00

Tommy Lee Jones

10 sample films:

The Fugitive
The Company Men
JFK
Men in Black
The Client
Natural Born Killers
Blue Sky
Under Siege
No Country for Old Men
Space Cowboys

Jeff Bridges

10 sample films:

The Fabulous Baker Boys
The Big Lebowski
Fearless
Tron
Crazy Heart
The Last Picture Show
Blown Away
True Grit
The Vanishing
Iron Man

Which do you prefer? Let us know in the comments section

Tyrannosaur Only Fears Itself

2012-02-01T10:00:00.024-05:00

To say watching Tyrannosaur was the equivalent of being punched in the stomach repeatedly would be an understatement. In fact being hit in the gut would probably have been more joyful. Despite being put through the emotional ringer, I would not hesitate for a second to recommend this film. There is an inherent beauty to the bleakness of the world in which the characters exist.

In a fit of blind rage, a widower, Jospeh (Peter Mullan) ends up accidently killing his dog. Determined to try and change his self-destructive ways, he strikes up a friendship with a thrift store worker, Hannah (Olivia Colman). As a woman of faith Hannah offers to pray for Joseph’s soul. Though strong in her faith, Hannah has problems of her own and they are even more destructive than Joseph could ever imagine.

Though the film will leave you feeling as battered emotionally as Hannah’s face in one jarring scene, Tyrannosaur is a film that is tough to turn away from. It is a bold and confident directorial debut from actor-turned-director Paddy Considine. At no point does Considine try to sugar coat the issues raised in the film nor does he seem particularly interested in providing any real statement. Considine merely offers up a realistic portrayal of the rage that can boil up from within when there are no more tears to be shed.

A perfect example of this comes when Hannah is trying to console her apologetic abusive husband after an incident. Despite being the victim, Hannah finds herself trying to sooth her crying husband and let him know that everything will be okay. However you can see that Hannah is seething inside. She struggles to conceal her disgust as she forces herself to spew soothing words that feel like bile to her.

Olivia Colman gives a star-making performance as Hannah. This is quite a feat considering she must hold her own against the likes of Peter Mullan and Eddie Marsan. Colman has a tough task being both the spiritual heart of the film and the personification of Joesph in a seemingly God-less world. It is not an easy job by any means, but Colman manages to pull it off with grace. As I mentioned before, Colman manages to hold her own against Mullan and Marsan who are in top form as usual. Marsan is especially strong as Hannah’s weasel of a husband, James. On the surface, James seems to be the most together of the three main characters. However, it is not long before it becomes apparent just how short his fuse is.

Mullan is electric as Joseph, a man who is so blinded by his rage that he inadvertently destroys the only thing that gave his life meaning in recent years. He longs to connect with people, but he is constantly caught within an internal struggle to hold on to the last bit of humanity he has left. This helps to bring a unique dynamic to the friendship between Joseph and Hannah. When one is on the upswing the other is on decline, rarely do they meet in the middle.

A startling and, at times, depressing film, Tyrannosaur is a film that will not leave you in the best of spirits. However you will be glad to have gone on such an emotionally jarring journey by time the final credits role. It is easily one of the best films of the year.

Blind Spot: Black Narcissus

2012-01-31T10:00:00.016-05:00

It is very rare that a film gets added to my all-time favourite list after just one viewing, but this is exactly where Black Narcissus ended up. I purposely waited a few weeks before watching it again to see if my initial reaction still held up. Needless to say, the film was even more glorious on repeat viewing. There is not a wrong note in the entire film. Directed by Michael Powell and Emeric Pressburger, famously known as The Archers, Black Narcissus is a tour de force in both storytelling and acting.

Based on the novel by Rumer Godden, Black Narcissus is a drama that explores how an isolated land in the Himalayas has an unexpected effect on five nuns. Charged with establishing a convent that will serve as both a school and hospital, Sister Clodagh (Deborah Kerr) struggles to adapt to her new role as Sister Superior while trying to navigate a foreign land. Perched upon a mountain top, the newly formed convent is situated within the walls of a palace formerly known for its sinful exploits. The presence of a local British agent, Dean (David Farrar), only complicates matter as both Sister Clodagh and the mentally unstable Sister Ruth (Kathleen Byron) both seem drawn to Dean’s charisma. As the altitude beings to impact the unaware nuns, memories of their lives prior to joining the nunnery start to re-surface. Blinded by their ambitions to re-shape the world around them, the nuns do not realize that some things are best left alone.

Black Narcissus is a film that is ultimately a cautionary tale about how easily routine and status can cause a person to lose sight of their true nature. Sister Clodagh is a perfect example of this as she goes from being overly prideful to longing for a love from her past. Although she is trying to teach the locals the ways of the church, Sister Clodagh seems to have forgotten what true faith is all about. At times the rougish Dean better embodies the true spirit of Christianity. In one particular scene Sister Clodagh tells a young general (Sabu) that he should not speak about Jesus in such everyday language. Dean, who shows up drunk for Christmas mass, is quick to rebuke this by telling Sister Clodagh that people should speaking the Lord’s name in common language. Implying that those who only speak of Jesus in a higher from of speech lose sight of what Jesus’ message is actually about.

Sister Clodagh and Dean are both solitary figures who clearly have feelings for one another, but neither is in a position to act on it. Once you throw the unstable Sister Ruth into the mix you have the makings of a brilliant love triangle. Unlike the frequently misguided love triangle in The Archers’ film The Red Shoes, the one Black Narcissus is executed flawlessly. Sister Clodagh and Sister Ruth represent everything the other secretly wishes they were. There is a wonderful scene where Sister Clodagh and Sister Ruth are having a discussion that quickly turns from pleasant to tense the minute Dean’s name is mentioned. The camera slowly moves from Sister Clodagh’s hands across the table and moves up to Sister Ruth’s angered eyes. Though a brief scene, it perfectly establishes the conflict that will arise between the two women as the film progresses.

Deborah Kerr and Kathleen Byron are outstanding as Sister Clodagh and Sister Ruth, Byron in particular really steals the show. She presents Sister Ruth as a woman who is tired of being viewed as both crazy and inferior compared to the other nuns. However, this is in fact what she turns out to be. Though it may deem sacrilege to say, it would be interesting to see Black Narcissus remade today. Not because the film needs a reboot per say, but it is very rare to see a predominantly female driven film with characters so well defined. Even David Farrar’s Dean, who is an important character in his own right, always manages to ensure that he does not overshadow the female performances.

The only thing more breathtaking than the performances is the cinematography. From the sweeping landscapes that played a major role in Sister Clodagh’s pre-nun life to the perilous mountain top where she now resides, there is no shortage of wonderful images in the film. The beauty of the film is not just relegated to landscapes, but also how the characters utilize the spaces they inhabit. In one memorable scene a 17 year-old temptress, Kanchi (Jean Simmons), strategically uses a mirror, handkerchief, and even hides under a table to draw the attention of the young unaware general. Breathtaking in regards to visual scope and storytelling, Black Narcissus knocked me over in a way I did not expect. It is a shame more modern day films are not this glorious.

Black Narcissus is also part of our "The Must See List" series. The film was recommended by Bob

A little nostalgic for Stand By Me

2012-01-30T10:00:00.005-05:00

“I never had any friends later on like the ones I had when I was 12. Jesus, does anyone?”

After writing my piece on Stephen King film adaptations, I happened upon one of my favourites, Stand By Me, on TV. The coming-of-age story about four young boys who go in search of a dead body is a film that has stood the test of time. It’s about friendship, strained relationships between fathers and sons, and the confusing, emotional and sometimes turbulent period of adolescence. The four boys played by Wil Wheaton, River Phoenix, Corey Feldman and Jerry O’Connell, are superb in their roles as Gordie, Chris, Teddy and Vern, respectively; so honest and real as youngsters on an adventure who along the way rib each other, sing songs and debate issues of the day, face bullies, outrun a train and open up emotional wounds in questioning who they are.

What I’ve come to appreciate most about the film is how the experience of watching it now as an adult has changed from when I first saw Stand By Me as a young teenager. I think I was 13 or 14 years old when I first saw the film and I remember thinking of it as an adventure film with four aimless boys looking for a little fun and danger to break up the monotony of living in a small town. Watching it as an adult, I can’t help but focus on the characters’ troubled lives and how the film lays bare all the emotions and heartache they’re feeling. Each wrestles with his own demons and each boy confronts his own fears.

Gordie (Wil Wheaton) doesn’t feel good about himself and is acutely aware that his father doesn’t love him. Gordie’s older brother was killed in a car accident and he’s since become the invisible boy at home, haunted by the realization that his parents feel like the wrong son was taken. Chris (River Phoenix) is a tough, cool and fiercely protective friend who comes from a loveless home and fears getting trapped in the small town he’s growing up in for the rest of his life. In one powerful scene, Chris has a breakdown because he thinks he’s worthless and fears he’ll never get the fresh start he so desperately hopes for. In only Phoenix’s second feature film, he showcased impressive vulnerability and an engaging onscreen presence that, when watching it today, is a reminder of his untimely death and the promising career that was cut tragically short.

Vern (Jerry O’Connell) is the youngest of the bunch; a chubby, cowardly and often irritating tag-along that the other boys pick on. Teddy (Corey Feldman) is perhaps the most intriguing of all the boys. He’s a disturbed kid who is physically abused by his mentally unstable father, yet cares so deeply for his dad. Say what you will about Corey Feldman and the career (or lack thereof) that he’s had as an adult (The Surreal Life, Blown Away), no one could have played the tortured Teddy Duchamp with as much raw emotion as he did.

Stand By Me is as effective today as it was when it was released in 1986 because the film is a rich tapestry of common themes that resonate with every generation - human emotion, growing up and self-discovery, the ties that bind friends together, emerging stronger after facing harsh realities, the fondness of bygone years, lessons about life and death and facing one’s own mortality – that will undoubtedly ensure the film’s relevance is never lost.

Scene Stealer: Say Anything

2012-01-29T10:00:00.004-05:00

Lloyd Dobler has got to be one of the most likeable, relatable film characters of all time. Lloyd’s “basic;” at least that’s what Diane Court tells him after their first date. He’s an underachiever without definitive goals or a plan for the future. He has a crush on Diane Court. She’s beautiful, sweet, smart, and according to most people, out of his league. But they go out. They fall in love. They make love in the back seat of his car. They face challenges. They break-up. They get back together because love won’t keep them apart. It’s all very basic as far as romantic comedies go, yet it’s a rare kind of movie.

John Cusack delivers one of the best performances of his career as Lloyd Dobler – so believable, so appealing, and so earnest. He thinks and talks like a real person. He fidgets and paces nervously when he calls Diane up for a date. He’s level-headed and uniquely insightful and perceptive. He says things like, “I’m looking for a dare to be great situation.” He doesn’t spout clichés. He wears his heart on his sleeve. He knows himself and he doesn’t fake anything or ever pretend to be someone he’s not. The film’s movie poster reads: “To know Lloyd Dobler is to love him,” and it’s true. Lloyd is, quite frankly, one of the best boyfriends in film and no scene proves it more than the iconic boom box serenade.

It’s the scene in the movie that gets the most attention because it’s one of the most memorable declarations of love in film. When Diane breaks up with Lloyd out of a combined fear of commitment and her father’s disapproval, he’s absolutely heartbroken. Lloyd does everything to win Diane back, and in the grandest, most romantic of gestures, he stands outside her bedroom window holding a boom box over his head as “In Your Eyes” by Peter Gabriel plays. It’s the song that played on the radio after their first time in Lloyd’s car. The look of resolute determination on Lloyd’s face as he hoists the boom box higher overhead, feet planted firmly on that spot outside Diane’s window, defiantly pleading with her to take him back, has become one of the most enduring and iconic images in 80s film.

The Best of Stephen King on Film

2012-01-28T10:00:00.002-05:00

The works of Stephen King, the literary master of horror, have been made into some pretty great films. Of course, there are some adaptations that were better left unmade, but the adaptations that worked, worked really well. The page-to-screen successes were helmed by directors up to the material, like Kubrick, Carpenter and Cronenberg, featuring formidable actors like Jack Nicholson, Sissy Spacek, Christopher Walken and Kathy Bates, and adapted from brilliant original works. The gems aren’t gems simply because they’re faithful to the works they’re adapted from because that alone doesn’t a gem make. Rather, they’re films that succeed on the basis of their own merits.

The total number of adapted works is pretty astounding at well over fifty adaptations if you include TV movies and sequels. With such a vast number of film adaptations spanning Stephen King’s long career, it’s no surprise that there’s a lot of drivel in the bunch. Sometimes the source material isn’t that good to begin with. Love him or loathe him, it cannot be denied that he’s a master storyteller who’s dreamt up concepts touched by greatness, and that his fertile imagination has given Hollywood some fun, fascinating and superb films.

Without further ado, here are my favourite Stephen King film adaptations.

10. It

9. Pet Sematary

8. The Running Man

7. Dead Zone

6. Carrie

5. Misery

4. The Green Mile

3. The Shining

2. Stand By Me

1. Shawshank Redemption

What are your favourite Stephen King film adaptations? Let us know in the comments section.

Sharing the Blogging Love

2012-01-27T09:00:00.010-05:00

Wondering what bloggers have been chatting about this week?

Here is Your Reading and Listening Schedule for Today:

9 am: Episode 83 of the French Toast Sunday podcast list some movies you need to give a second chance.

10 am: Over at the CriticalMassCast podcast, the gang talk about the best and worst films to be released this past December.

11 am Andrew comments on five vaguely vexing issues about this year’s Oscar nominations.

12 pm: Sebastian is taking in the Sundance Film Festival, here are his thoughts on the film California Solo.

1 pm: Emil has a great piece explaining why, as a Swede, The Girl with the Dragon Tattoo is strange to him.

2 pm: Jessica give The Kid with a Bike a positive review.

3 pm: Joel reveals his best films of 2011 list and Fast Five makes the cut.

4 pm: Paolo plays the Movie Association Game with the Oscar nominated film Pina.

5 pm: Chip Lary celebrates his 300th post by sharing some observations on the Oscar nominations.

6 pm: Ruth examines how space is depicted on film.

bonus: John names the top 10 stuck-in-one-spot movies.

Which is Better?

2012-01-26T10:00:00.008-05:00

70’s Best Picture Winners

10 sample films:

Patton
The French Connection
The Godfather
The Sting
The Godfather Part II
One Flew Over the Cuckoo’s Nest
Rocky
Annie Hall
The Deer Hunter
Kramer vs. Kramer

Post 70’s Best Picture Winners

10 sample films:

No Country for Old Men
Amadeus
American Beauty
Titanic
The Silence of the Lambs
Platoon
The Lord of the Rings: The Return of the King
Schindler’s List
The Hurt Locker
Braveheart

Which do you prefer? Let us know in the comments section

“Killin' generals could get to be a habit with me.”

2012-01-25T10:00:00.003-05:00

The Dirty Dozen (1967)

I recently watched a trailer for The Expendables 2 and was happy to learn Chuck Norris had joined the all star cast, led by Sylvester Stallone, Jason Statham, Jet Li, Dolph Lundgren, Bruce Willis and Arnold Schwarzenegger. Although Norris is better known these days for the satirical Chuck Norris Facts, he parlayed his tough guy image into a long and successful career in film and television. Which brings me back to the film; I am anticipating The Expendables 2 because it’s an old-school action film with old-school action stars. Plural. More than one. What I like about the first film is it harks back to a time when the “men on a mission” action/war film was on every teen boy’s movie list. There have been a few recently; Inglourious Basterds (2009) and Saving Private Ryan (1998) as well as The Expendables (2010) and this year’s sequel, but I think it’s fair to say the genre (or sub-genre) had its heyday in the 1960s and ‘70s with a dab or two in the ‘80s. And I’m talking about well-known big pictures, such as The Guns of Navarone (1961), The Great Escape (1963), Where Eagles Dare (1968), Kelly’s Heroes (1970), Force 10 from Navarone (1978), The Inglorious Bastards (1978), and The Big Red One (1980). All are good (Force 10 and Big Red are dubious, but have the “mission” factor) but my favourite of them all, the one that certainly inspired Quentin Tarantino’s Basterds, is The Dirty Dozen (1967), directed by Robert Aldrich.

In the spring of 1944, Allied forces are preparing for the D-Day invasion. Major General Worden (Ernest Borgnine) assigns Major John Reisman (Lee Marvin) an unusual and top-secret pre-invasion mission: train twelve soldiers convicted of felony offenses (either serving lengthy sentences or condemned to death) and as a unit infiltrate a château in north-western France to kill all senior German officers, who use the place as a retreat, the day before the invasion. Clearly this is a suicide mission and the men expendable, but if they survive the mission they will receive full pardons. After witnessing a hanging, Reisman meets the twelve: Franko (John Cassavetes), Jefferson (Jim Brown), Wladislaw, (Charles Bronson), Posey (Clint Walker), Maggott (Telly Savalas), Pinkley (Donald Sutherland), Jiminez (Trini Lopez). Bravos (Al Mancini), Vladek (Tom Busby), Gilpin (Ben Carruthers), Sawyer (Colin Maitland), and Lever (Stuart Cooper). Reisman, with Sergeant Bowren (Richard Jaeckel), takes the men to their secret training ground.

The bulk of the film’s running time is dedicated to the Dozen building their own compound and training, which highlights the interpersonal conflicts between the men. Some see this as an opportunity for redemption, while others see it as a chance for escape. Slowly but surely they being to work together, but the men and the mission are put in jeopardy when Reisman crosses paths with Colonel Breed (Robert Ryan), his former commander. There is no love lost between these two; the domineering and Regular Army Breed relishes at every opportunity to knock the rugged individualist Reisman a few rungs down the ladder. When Reisman breaks a series of military regulations, Breed becomes involved and proves these two can’t play nice in the sandbox together, and it forces General Worden, at Breed’s urging, to have the men prove their worth as a fighting unit in divisional war game maneuvers in the English countryside.

The third act is a great action sequence detailing the attack on the chateau. What, did you think the boys wouldn’t show what they’re made of? Gunfights and explosions make up the soundtrack for the finale, and it wouldn’t be a great action film if the mission were easy. There are several complications that threaten the mission that need to be overcome and the words spoken at the beginning ring true; not everyone is going to make it.

All in all, The Dirty Dozen is an excellent war/action film with a stellar cast; John Cassavetes steals the show as Franko and even earned himself an Academy Award nomination for Best Supporting Actor. Lee Marvin is perfect as Reisman; hard to believe John Wayne was originally offered the role. Fortunately he turned it down and went to make The Green Berets instead. Bronson is no stranger to men on a mission films; he was also in The Magnificent Seven and The Great Escape and here he doesn’t disappoint. Even Jim Brown (who retired from the Cleveland Browns in the middle of filming) gives a good performance in only his second film. Sutherland was an actor resident in the UK at the time and the film promoted him into Hollywood, especially after his turn in M*A*S*H, and would play proto-hippie Oddball in the more relaxed men on a mission film, Kelly’s Heroes with Telly Savalas who, in The Dirty Dozen, is exceptionally sinister as the woman hating, religious fanatic Maggott.

What I admire about The Dirty Dozen is that it is one of the first to depict American solider as less than clean-cut, which is natural of the times the film was made; Vietnam was a few years in and anti-war sentiment was gaining popularity. This was also a time in Hollywood where genre conventions were going through a revision; war films and westerns were especially turned over and presented as darker and grittier where the heroes are not so clearly defined. People can do heroic things and not necessarily be considered a hero; and the presentation of the Dozen as murders, psychopaths and misfits is a clear contrast to the All-American, battle-happy Joes from Company B. In fact, John Wayne turned down the role because of the depiction of American soldiers as military criminals and death-row prisoners. While there is violence and might present some anti-authoritarian, anti-military, anti-establishment, anti-everything, the film is not as bleak as it sounds; Aldrich tempers the nihilism with enough cynical humour to suggest the whole thing is a game, an inside joke only those in the situation can possibly get.

12 Random Thoughts on the 2012 Academy Award Nominations

2012-01-24T09:29:00.002-05:00

The Academy Award nominees have been announced! Here are my initial thoughts:

1. Nine Best Picture nominees! I had predicted it would be seven films.

2. I was hoping Sailcloth would get nominated in the Short Film (Live Action) category but no such luck. Very curious to check out the films that made the cut this year.

3. Did not expect to see J.C. Chandor get nominated in the Original Screenplay category for Margin Call. Super excited about this nomination.

4. I really need to see The Descendants, Extremely Loud and Incredibly Close, and War Horse in the next few weeks.

5. Nice to see Octavia Spencer and Viola Davis receive nominations for their work in The Help. Although Jessica Chastain was excellent in both Tree of Life and The Help, I thought she would be nominated for Tree of Life

6. The supporting acting categories are once again the most exciting race to watch. Melissa McCarthy could be the dark horse winner for the Supporting Actress award.

7. Only two Original Songs nominated this year? Also, how does neither Hanna nor Drive get nominated in the Original Score category?

8. No nominations for Elizabeth Olsen, Michael Shannon or Michael Fassbender? Wow! I was sure they would be locks.

9. While a good movie, I still do not see Moneyball as a worthy Best Picture contender.

10. Since The Adventures of Tintin is out of the picture, I cannot see any of the other animated films knocking out Rango.

11. Always nice to see a Canadian film, in this case Monsieur Lazhar, nominated in the Foreign Language category. Two years in a row no less!

12. Transformers: Dark of the Moon…an Academy Award nominee! Is it this year's The Wolfman?

What are your thoughts on the 2012 Academy Award nominations?

Haywire Gives Confusion the Boot

2012-01-23T10:00:00.015-05:00

It is rather peculiar that a film of Haywire’s quality would be released so early in the year. January has been notoriously known as the dumping ground for many studios. It is usually time of year when films that the studios have very little faith in are released in order to make a few quick bucks. In 2012 studios really seem to be going after fans of the action and horror genres with the release of films like The Devil Inside, Contraband, Underworld: Awakening, and the aforementioned Haywire. While I cannot speak on the other films, I can say if you are looking for an entertaining way to kill an hour and a half then Haywire is the film for you.

Haywire focuses on Malloy Kane (Gina Carano), a covert operative who is sent to Barcelona to facilitate a hostage rescue mission. Before she can relish in the success of a job well done, Mallory’s boss, Kenneth (Ewan McGregor), informs her that she is to immediately go to Dublin and connect with an MI6 agent (Michael Fassbender) for her next assignment. When things take a turn for the worst, Mallory finds herself on the run as a international manhunt for her commences. Determined to uncover who double crossed her, Mallory will stop at nothing to get answers. Even if this means literally fighting her way through fellow operatives, such as Aaron (Channing Tatum), local law enforcement, and whoever else dares to stand in her way.

In many ways Haywire finds director Steven Soderbergh back in the playful mode of his Ocean’s Eleven series. He sprinkles in elements of his previous films, most notably The Limey, throughout. Haywire is a film that does not offer much in the way of plot, as it plays more like a series of set ups more than anything else. However the action sequences and the overall style frequently ensure that the actual payoff always delivers at the level you expect.

One of great things about Soderbergh’s direction of Haywire is the little nuances he adds to a scene. In one scene, Mallory is unpacking boxes and placing items on a bookshelf while Kenneth is explaining the details of the mission. The camera is placed in a way that every time Kenneth explains a new, and more complicated, aspect of the mission, the camera follows Mallory as she places a new item on a lower level of the shelf. By time she reaches the third shelf all the components of her mission are revealed. Another subtle, and playful, moment from Soderbergh comes when Mallory takes a meeting with a high ranking government official, Coblenz (Michael Douglas), in airfield hangar. As Coblenz and Mallory size each other up in a verbal tête-à-tête, Soderbergh has a piece of tumbleweed roll by in the background to emphasize the old west style standoff Douglas and Carano are having.

In her first starring role, Gina Carano is electric as Mallory. The fact that she was a former mixed material arts fighter is a huge advantage over other films featuring a female lead. The fight scenes in this film feel authentic and plausible for each situation. Even when Carano adds a few “how did she do that moves?” to her repertoire, it still feels natural. When a character gets his head rammed into a bar stool or Mallory gets thrown into a wall, it feels as if the actors, and not stunt people, are taking every lump. One of the best things about Carano is that she knows how to play up her strengths and shortcomings. The film playful insinuates that looking at Mallory as a women is a grave mistake. Even Mallory herself comments on not being the girly girl. However, Carano manages to show that it is possible to be a strong individual while still being comfortable in her own skin. Caron feels like a natural successor to the Angelina Jolie throne as the next female action star.

While the plot could have been a little deeper, Haywire succeeds in delivering solid action at brisk pacing. There is enough of Steven Soderbergh’s stylistic touches to please his fans, while still managing to entertain hardcore action fans. Featuring stellar choreography and a star making turn by Carano, Haywire is every bit as entertaining as one could hope it would be.

Blow Out the Candles: Diane Lane

2012-01-22T10:00:00.013-05:00

Diane Lane

Born January 22, 1965

I feel like Diane Lane has either suffered some bad luck or made some unfortunate choices in her career. Lane has mostly had lead roles in lousy movies or supporting roles in great films. Her lead roles of the last few years have been in good but not great films, such as Under the Tuscan Sun, Must Love Dogs and Untraceable. To me, a rare highlight on her resume is a film that I feel aptly showcased her great acting ability, commanding onscreen presence and smolder as a beautiful leading lady: Unfaithful. The film wasn’t the best film but it was good, and Lane acted her heart out and sold every bit of lust, uncertainty, regret, passion, fear and anger that her character, Connie Sumner, experienced with such tangibility and honesty. I remember the moment in the film when she was on the train thinking about the affair she had just had, and shook and shuddered at the memory of her lover’s touch. The passion and excitement her character felt from the memory practically leapt off the screen.

Lane got her start in movies at the tender age of 13 when she was cast in A Little Romance opposite Sir Laurence Olivier. The film wasn’t a commercial success, but Lane was praised by Olivier who called her the next Grace Kelly. Her film debut earned Lane serious attention and she graced the cover of Time Magazine with the headline “new young acting sensation.” Lane seemed poised for greatness.

Touched by Love, Cattle Annie and Little Britches, Ladies and Gentlemen, the Fabulous Stains and Six Pack were critical and financial flops that failed to boost her career. After stints in TV movies, things took a turn for the better in 1983 when Francis Ford Coppola took notice of Lane and cast her in two “youth” films that went on to become cult classics – Rumble Fish and The Outsiders. Lane was on the right track again and seemed destined to fulfill the promise expected of her.

However, her next three choices had the adverse effect. She turned down the lead role in Splash, which was a surprise hit for Daryl Hannah, and instead accepted parts in two critical and commercial bombs – Streets of Fire and The Cotton Club. Lane had established a fan base and a loyal following after the success of her youth films in the early 80s, but it seemed this wasn’t enough to urge her forward to vie for better roles. Rather, she “retired” from acting at age 19, unhappy with the direction her career had taken. Her retirement lasted three years after which she returned to the film industry to begin the slow and gradual process of rebuilding her career.

Her rebuilding phase was marked with great variety. She suffered obscure and dismal showings with a straight-to-video release called Lady Beware, a thriller about a married man who stalks Lane’s character. She achieved critical success with the well-reviewed yet little seen film The Big Town, in which she played an embittered stripper wife who cooks up a revenge scheme. After that, Lane turned to TV and starred in a hugely popular Western series called Lonesome Dove. Her role as a “whore with a heart” earned her an Emmy nomination, and the success of the show generated interest by film producers who began offering Lane supporting parts in films like Chaplin and Indian Summer.

In 2000, Lane starred in the biggest film of her career; the blockbuster hit The Perfect Storm, which grossed $330-million worldwide. Lane was in demand after the success of that film and appeared in a no less than three lead roles following it, the last of which proved to be the greatest critical and commercial success of her career, the aforementioned – Unfaithful. Her role earned her an Academy Award nomination for best actress. After the major success of the film, however, she followed the familiar pattern of following success with mediocre films like Hollywoodland, Jumper and Nights in Rodanthe.

Lane’s career, like many actors in Hollywood, has had its share of highs and lows. She’s a wonderfully versatile actress with immense talent who deserves better roles in better films. It’s hard to say whether it’s Lane’s choice of roles that needs more discernment, or if it is the kind of roles she’s been offered that is the cause of her career inconsistencies. Her last film, Secretariat, was no Seabiscuit, but it was an entertaining, feel good, family film that did moderately well at the box office. Next up for Lane is the Superman reboot – Man of Steel – a highly anticipated blockbuster that I hope will set Lane on the right track because she deserves it.

What is your favourite Diane Lane performance? Let us know in the comments section.

Scene Stealer: Back to the Future

2012-01-21T10:00:00.004-05:00

When Doc Brown reveals the souped up time traveling Delorean with the licence plate "OUTATIME," the suspense and excitement is palpable. Still after dozens of screenings, Back to the Future excites, amuses and delights. It's a brilliant film where no scene is wasted or unnecessary. Every scene succeeds in advancing the story and every little detail matters because it's been thoroughly thought through.

Traveling 30 years back in time, Marty McFly encounters his parents as teenagers, when his mother was a naïve, love-struck girl and his father was a timid geek bullied by an obnoxious oaf named Biff. Marty's got his hands full in the future as he has to deal with the teenage version of his mother who's got the hots for him, and trying to run interference for his father who's being bullied mercilessly and simply takes it.

After witnessing his father take it on the chin yet again by Biff, Marty intervenes by first tripping Biff and then punching him out. Marty then hightails it out of the diner to escape the wrath of Biff and his gang who are in mad pursuit. What ensues is one of the most memorable moments in this definitive 80s classic - the skateboard chase scene.

The scene is exciting and very funny thanks to sight gags and clever one-liners. Marty creates a makeshift skateboard from a young boy's scooter to evade Biff and his gang who start by chasing him on foot. Biff et al wind up pursuing Marty in their car after Marty hangs off the back of a pickup truck. With sparks flying out from beneath the skateboard's wheels, Marty avoids crashing into open car doors, jumps over curbs and flies right smack into pedestrians on the sidewalk. Even though I know the scene by heart, it isn't any less thrilling, and the payoff remains as funny as ever.

Marty winds up holding on to the front of Biff’s car as it careens towards a manure truck parked at the end of the road. In a great manoever, Marty jumps up onto the car’s hood, climbs over Biff and his gang, and jumps off the back of the car and onto the skateboard which rolled under the car and through to the other side. So stunned is Biff that, with his neck craned to watch Marty, he slams straight into the manure truck. “Shit!” they all scream, as the load topples and covers them whole. It’s a hilarious moment and it’s the perfect line uttered at just the right moment since they’re now covered in it. It also establishes the rivalry between Marty/his father and Biff, which is the source of many more fantastic and funny scenes throughout the rest of the series. This scene, itself, is referenced again in the next two installments of the series, but with a twist. Remember the hover board?

Crashing the Illusion

2012-01-20T10:00:00.004-05:00

I hate when real-life changes the film going experience. To clarify I do not mean that I dislike films that deal with real issues or real people. What I am talking about is when events in my own life alter the magical illusion that film creates. Normally it works the other way around. Even if the disturbance is only temporary, it ultimately keeps me away from watching particular films I usually enjoy. Such is currently the case with films that feature memorable car crashes.

Toward the end of December, a day before New Year’s Eve in fact, I was involved in a multi-car accident on the way to work. Though traffic was light due to the fact many were still on vacation, the roads were icy which made the trek to work take longer than usual. While traveling on the highway the car to left of me lost control and slammed into the front driver’s side of my vehicle. The impact of the collision, coupled with the icy roads, knocked my car into the next lane on my right where I was eventually hit by a second car. While the incident feels like it played out over a lengthy period of time in my mind, the truth is it all happened in the blink of an eye. Though my car received the most damage of all the cars involved, the fact that no one was injured is a blessing.

Besides still being a little shaken, which is to be expected, I have noticed that I do not enjoy the spectacular scenes of car destruction the way I use to. This is especially noticeable when watching action films, a genre I usually love to revel in. The best example of this came when trying to watch The Matrix Reloaded on television. While I have comfortably convinced myself that the sequels to The Matrix were all horrible figments of our collective imaginations, I will admit that the only thing I liked about Reloaded was the epic highway chase scene. Everything from the various fights to the numerous car collisions works wonderfully. However, viewing the sequence again the thrill was gone. I could not bring myself to take glee in the sensory overload.

I had the same reaction when I tried to watch Death Proof, a film I usually have no problems revisiting. The memorable collision at the end of the first half of the film, where Quentin Tarantino replays the event from each of the four women’s perspective, is one of the many highlights from the film. While still eye-popping from a technical standpoint, I actually had to stop the film at as I found myself not enjoying the experience. I know I will watch Death Proof again in a few months, hopefully sooner depending on how long it takes me to shake this, but for now the sight of cars colliding just takes me out of the film instead of drawing me in further. My mind cannot help but go back to that fateful icy morning.

If this is my reaction to the big budget action films, then I know there will be some “smaller” films that I will not be watching again for at least a few weeks. Crashes in independent films are often more visceral as they strive to be both realistic and unexpected. I always remember that shocking flashback scene in Adaptation where you learn more about Chris Cooper’s John Laroche character. One of my favourite images in Magnolia is that brief scene where an unconscious Linda Partridge (Julianne Moore) lies in an ambulance as it flips on his side during the films climax. Sadly these films, along with numerous others, will have to be shelved for the time being. While I am sure this phase will pass, I will admit that it has taken away my ability to truly immerse myself in a film the way I would like to.

Have you ever had a real-life experience that hindered the way you looked at particular films for a period of time? Feel free to add your experiences in the comment section.

Which is Better?

2012-01-19T10:00:00.009-05:00

Kristin Scott Thomas

10 sample films:

The English Patient
Gosford Park
I’ve Loved You So Long
Richard III
The Horse Whisperer
Nowhere Boy
The Other Boleyn Girl
Mission: Impossible
Easy Virtue
Bitter Moon

Juliette Binoche

10 sample films:

Chocolat
Certified Copy
Dan in Real Life
Summer Hours
Caché
Breaking and Entering
Damage
The Unbearable Lightness of Being
Bee Season
Three Colours: Blue

Which do you prefer? Let us know in the comments section

And the award goes to…overkill or can’t get enough?

2012-01-18T10:00:00.001-05:00

Awards season is well underway. With the People’s Choice Awards, the Critics Choice Awards, the Golden Globe Awards, and several other awards’ events already in the bag, there’ve been no shortage of red carpets and acceptance speeches, and there’s still more to come. I know people who despise this time in film because award shows dominate the airwaves at the start of the year, and can become redundant, predictable and boring. Some, like the People’s Choice Awards, are viewed as bubble gum awards. I’ve heard some say that the focus on fashion detracts from the focus on film. And others argue that it’s more about politics than the films, filmmakers and actors. It becomes an exercise in which studio campaigns the hardest to amplify the attention surrounding its film. There are major marketing pushes, lavish cocktail parties and luncheons, and publicists racing to get their contenders out in front of the impressionable, vote-casting industry masses. The awards season is a veritable circus where great lengths are reached in order to win because winning amounts to money, acclaim and, well, winning. Still, for all the strikes against it, I quite enjoy the awards-giving time of year.

Awards season is a time when the industry is abuzz about film with a heightened sense of fervor and excitement. It’s a time when movies are lauded and when little known indies are shown more love and appreciation than major studio films. It’s a time when those behind the scenes, like writers, get well-deserved recognition, and when films that have been showing in limited release garner a lot of attention on the biggest stage of all. This is the main reason why I enjoy this time of year in film. Awards season can give small films and unknown actors a major boost and make little and fantastic films known to wider audiences. I think about The Wrestler, The Visitor and Boys Don’t Cry, three great indies that generated serious buzz from awards season and got audiences of all kinds – not just cinephiles – curious, interested and clamouring to see them. When an indie film gets attention, its acting talent usually does too, and I just love comeback stories like that of Mickey Rourke who, with The Wrestler, re-emerged from the has-been forest to deliver a stellar performance for Darren Aronofsky in an incredible film.

For unknown actors who’ve been working in relative anonymity for years, the impact is even greater. With one Golden Globe or Oscar nominated role, they and their work can be seen by millions. The exposure that awards season gives to little films and lesser known actors is remarkable. Unfortunately, awards season is exclusive in recognizing only a select group of films to the exclusion of many others. The same films usually remain in the rotation and are nominated repeatedly throughout awards season (although a one-off nomination has been known to happen), but when an indie film or an unknown actor grabs the gold, I think it’s a triumph for independent cinema as a whole. It’s a reminder that great cinema doesn’t just exist on a mainstream level backed by huge studios, padded by large budgets and casted with big names. It proves that modest filmmaking, marketed by word-of-mouth, featuring great up and coming talent is happening out there and the results are good films deserving of our time and attention.

Another aspect that I appreciate about awards season is that it gets people talking about all things film. The debates, the analyses, the articles, the blogs - it all amps up with a unique kind of passion and interest and, whether you love or despise awards season, it's difficult to not have an opinion either way about it. So with that said, tell me, how do you feel about awards season?

32 Genie Awards Nominations Announced

2012-01-17T14:53:00.000-05:00

The 32nd annual Genie Awards nominations were announced today. The Genie Awards are the Canadian equivalent of the Academy Awards. I am really happy to see both Beauty Day and Wiebo’s War received nominations in the Best Feature Length Documentary category. The awards will be handed out on Thursday, March 8, 2012.

Here is the full list of nominations:

Best Motion Picture
A Dangerous Method – Martin Katz, Marco Mehlitz, Jeremy Thomas
Café De Flore – Pierre Even, Marie-Claude Poulin, Jean-Marc Vallée
Monsieur Lazhar – Luc Déry, Kim Mccraw
Starbuck – André Rouleau
The Whistleblower – Christina Piovesan, Celine Rattray

Achievement In Direction
David Cronenberg – A Dangerous Method
Steven Silver – The Bang Bang Club
Jean-Marc Vallée – Café De Flore
Philippe Falardeau – Monsieur Lazhar
Larysa Kondracki – The Whistleblower

Performance By An Actor In A Leading Role
Fellag – Monsieur Lazhar
Garret Dillahunt – Oliver Sherman
Michael Fassbender – A Dangerous Method
Patrick Huard – Starbuck
Scott Speedman – Edwin Boyd: Citizen Gangster

Performance By An Actor In A Supporting Role
Antoine Bertrand – Starbuck
Kevin Durand – Edwin Boyd: Citizen Gangster
Marin Gerrier – Café De Flore
Taylor Kitsch – The Bang Bang Club
Viggo Mortensen – A Dangerous Method

Performance By An Actress In A Leading Role
Catherine De Léan – Nuit #1
Pascale Montpetit – The Girl In The White Coat
Vanessa Paradis – Café De Flore
Rachel Weisz – The Whistleblower
Michelle Williams – Take This Waltz

Performance By An Actress In A Supporting Role
Roxana Condurache – The Whistleblower
Hélène Florent – Café De Flore
Julie Lebreton – Starbuck
Sophie Nélisse – Monsieur Lazhar
Charlotte Sullivan – Edwin Boyd: Citizen Gangster

Achievement In Art Direction/Production Design
Jean Bécotte – Funkytown
Aidan Leroux, Rob Hepburn – Edwin Boyd: Citizen Gangster
James Mcateer – A Dangerous Method
Patrice Vermette – Café De Flore
Emelia Weavind – The Bang Bang Club

Achievement In Cinematography
Miroslaw Baszak, C.S.C. – The Bang Bang Club
Pierre Cottereau – Café De Flore
Jon Joffin – Daydream Nation
Jean-François Lord – Snow & Ashes
Ronald Plante – Monsieur Lazhar

Achievement In Costume Design
Denise Cronenberg – A Dangerous Method
Farnaz Khaki-Sadigh – Afghan Luke
Ginette Magny, Emmanuelle Youchnovski – Café De Flore
Heather Neale – Keyhole
Marie-Chantale Vaillancourt – Funkytown

Achievement In Editing
Jean-François Bergeron – The Year Dolly Parton Was My Mom
Michael Czarnecki – In Darkness
Patrick Demers – Jaloux
Stéphane Lafleur – Monsieur Lazhar
Ronald Sanders, C.C.E. A.C.E. – A Dangerous Method

Achievement In Make-Up
Christiane Fattori, Frédéric Marin – Café De Flore
Amber Makar – Amazon Falls
Virginie Paré – Bumrush
Tammy Lou Pate – Snow & Ashes
Leslie Ann Sebert, David R. Beecroft – Take This Waltz

Achievement In Music – Original Score
Ramachandra Borcar – Jaloux
Mychael Danna – The Whistleblower
Martin Léon – Monsieur Lazhar
Philip Miller – The Bang Bang Club
Howard Shore – A Dangerous Method

Achievement In Music – Original Song
Jay Brannan – Cloudburst – My Love My Love
Carole Facal – Starbuck – Quelque Part
Malajube – Good Neighbours – Oeil Pour Oeil
Steven Page – French Immersion – A Different Sort Of Solitude
Jean Robitaille, Steve Galluccio – Funkytown – Waiting For Your Touch

Achievement In Overall Sound
Stéphane Bergeron, Yann Cleary, Lise Wedlock – Marécages / Wetlands
Pierre Bertrand, Shaun Nicholas Gallagher, Bernard Gariépy Strobl – Monsieur
Lazhar
Jean Minondo, Jocelyn Caron, Gavin Fernandes, Louis Gignac – Café De Flore
Lou Solakofski, Stephan Carrier, Kirk Lynds – The Bang Bang Club
Orest Sushko, Christian Cooke – A Dangerous Method

Achievement In Sound Editing
Fred Brennan, James Bastable, Gabe Knox, John Sievert – You Are Here
Claude Beaugrand, Olivier Calvert, Natalie Fleurant, Francine Poirier –
Marécages / Wetlands
Wayne Griffin, Rob Bertola, Tony Currie, Andy Malcolm, Michael O’farrell – A
Dangerous Method
Martin Pinsonnault, Blaise Blanchier, Simon Meilleur, Mireille Morin,
Luc Raymond – Café De Flore
Jeremy Maclaverty, Daniel Pellerin, Geoff Raffan, Jan Rudy, John Sievert,
James Mark Stewart – In Darkness

Original Screenplay
Anne Émond – Nuit #1
Eilis Kirwan, Larysa Kondracki – The Whistleblower
Ken Scott, Martin Petit – Starbuck
Jean-Marc Vallée – Café De Flore
Ryan Ward, Matthew Heiti – Son Of The Sunshine

Adapted Screenplay
Philippe Falardeau – Monsieur Lazhar
Ryan Redford – Oliver Sherman
David Shamoon – In Darkness
Steven Silver – The Bang Bang Club

Achievement In Visual Effects
Dennis Berardi, Mathew Bornett, Mike Borrett, Wilson Cameron, Ovi Cinazin,
Jason Edwardh, Oliver Hearsey, Jim Price, Milan Schere, Wolciech Zielinski – A
Dangerous Method
Éve Brunet, Jacques Lévesque, Philippe Roberge – Snow & Ashes
Marc Côté, Stéphanie Broussaud, Gary Chuntz, Vincent Dudouet,
Cynthia Mourou, Eric Normandin, Martin Pensa, Luc Sanfaçon, Sylvain Théroux,
Nathalie Tremblay – Café De Flore
Geoffroy Lauzon – Bumrush
Tom Turnbull, Ian Britton, Robert Crowther, Tony Cybulski – Edwin Boyd: Citizen
Gangster

Best Feature Length Documentary
Beauty Day – Jay Cheel, Kristina Mclaughlin, Kevin Mcmahon, Roman Pizzacalla
Family Portrait In Black And White – Julia Ivanova, Boris Ivanov
The Guantanamo Trap – Thomas Wallner, Amit Breuer, Patrick Crowe
La Nuit, Elles Dansent / At Night, They Dance – Isabelle Lavigne, Stéphane Thibault,
Lucie Lambert
Wiebo’s War – David York, Nick Hector, C.C.E., Bryn Hughes, Bonnie Thompson

Best Short Documentary
75 Watts – John Cullen
Derailments – Chelsea Mcmullan
Sirmilik – Zacharias Kunuk, Joel Mcconvey, Kristina Mclaughlin, Kevin Mcmahon,
Michael Mcmahon, Geoff Morrison, Ryan J. Noth

Best Live Action Short Drama
Doubles With Slight Pepper – Ian Harnarine
Hope – Pedro Pires, Phoebe Greenberg, Penny Mancuso
Ora – René Chénier, Philippe Baylaucq
La Ronde – Élaine Hébert, Sophie Goyette

Best Animated Short
Choke – Michelle Latimer
La Cité Entre Les Murs / Inner City – Alain Fournier
Muybridge’s Strings – Koji Yamamura, Michael Fukushima, Shuzo John Shiota,
Keisuke Tsuchihashi
Romance – Georges Schwizgebel, René Chénier, Marc Bertrand
Wild Life – Amanda Forbis, Wendy Tilby, Marcy Page, Bonnie Thompson

Small Bites: Patton, The Red Shoes

2012-01-16T10:00:00.026-05:00

Patton

Patton is a film that I somehow avoided for many years despite seeing its iconic opening scene spoofed in numerous ways over the years. I had always heard that despite being a great film, the length of the film less than desirable. While I admit the film does feel even longer than it 170 minute running time, I was glad that I finally got around to seeing it. I loved the way George C. Scott portrays General Patton as both a brilliant strategist and as a man who may be slightly mad. Beside Scott’s performance, I thought Karl Malden was equally strong in his understated supporting role as General Omar Bradley. The rivalry between Patton and the British General Montgomery was interesting to watch unfold. However, the aspect of Patton’s life I found the most fascinating was the latter years when his outspoken ways cause the loss of his command. It must also be noted that the battle scenes in this film were quiet exceptional. Living in a time when it seems scenes of war have been documented on the big screen in every way possible, it is nice when a film, an older one at that, can still manage to grab your attention. Though Patton could have been trimmed down a tad, overall I was pleased.

Patton is part of our "The Must See List" series. The film was recommended by JBT’s husband Andrew

The Red Shoes

Over the course of one day I went from knowing nothing about the directing duo of Michael Powell and Emeric Pressburger to being completely enamoured with their films. After screening a double bill of Black Narcissus (which I will talk more about in my Blind Spot post for January) and The Red Shoes, I immediately added ‘I Know Where I’m Going!’ to my Netflix queue to watch at a later date. The centerpiece performance of the ballet The Red Shoes is quiet magical. I would recommend the film for this sequence alone. Even people who are not usually fond of the ballet, or do not like dance related films in general, cannot help but get swept away by the majesty of it all. Featuring lush sets and outstanding choreography, the directors skilfully use the ballet to foreshadow what Victoria Page will have to endure. Moira Shearer in particular was perfectly cast for the role of Victoria Page. Shearer really sells the conflict Page endures while trying to choose between her love for composer Julian Craster (Marius Goring) and her desire to dance for Boris Lermontov (Anton Walbrook). Unfortunately despite the strong performances, the cast cannot hide the predictability of the plot. This is especially noticeable in regards to the way love triangle is unfolds. Although The Red Shoes is a great film, it is not quite on the level of Black Narcissus. Granted, this is like saying a Ferrari FF is not as good as a Ferrari Spider...at the end of the day you are still driving a Ferrari when others are in a Buick. Those who enjoyed Black Swan should find The Red Shoes equally, if not more, rewarding.

Dear John: Keep up the good work

2012-01-15T10:00:00.006-05:00

From a porn star to a cop to Dewey Cox, John. C. Reilly has played some wildly different and interesting roles. He has emerged as a fine character actor and ensemble player with the ability to diversify when it comes to the roles he’s landed and the films he’s starred in. His filmography is full of unlikely turns and surprises. With his homely looks, lanky gait and curly hair, he might first appear fittest for quirky roles and silly comedies, but he’s proven with some unlikely roles that he’s capable of so much more.

Early on I often associated him with Will Ferrell. It doesn’t seem like such a ridiculous association, right? Just look at the poster for the film Step Brothers – the resemblance is uncanny. The two have also starred in a few movies together, done some writing collaborations, and have both become part of the Judd Apatow repertory. Where I think Reilly sets himself apart, though, is in his range as an actor and with his powerful onscreen presence.

Consider his performances in Walk Hard: The Dewey Cox Story and Chicago, for which he received an Academy Award nomination. He played very different characters and performed his own vocals. I think his roles in those two films are a testament to Reilly’s acting chops, and divergent performances like those have helped him avoid type-casting. He’s not just a comedic actor who’s tapped to play one outrageously funny character after another; he mixes it up and he doesn’t ever appear out of place in films that aren’t comedies. Reilly masterfully handles both emotional realism and absurd hilarity in serious dramas and in gross-out comedies.

One common denominator in Reilly’s repertoire of films is Paul Thomas Anderson. Reilly has starred in three of the director’s films, and two are among my favourite John C. Reilly performances. Boogie Nights was a vehicle that made every actor look good. It allowed Mark Wahlberg to shed the Marky Mark persona; it earned Burt Reynolds an Academy Award nomination; and it helped make Don Cheadle and William H. Macy household names. For Reilly, it helped him emerge as a formidable stand-out in an ensemble cast and sprung him from the supporting role cavern he had been in up to that point with roles in such films as Days of Thunder, The River Wild and What’s Eating Gilbert Grape.

Reilly made another indelible impression in P.T. Anderson’s Magnolia, in which he portrayed Officer Jim Kurring, a character born out of improv sessions Reilly did with Anderson. Reilly has said that he’s most proud of his collaborations with Anderson. I had seen Reilly in small parts in other films before Boogie Nights, but it wasn’t until, as Reed Rothchild, he proclaimed with conviction “People tell me I kinda look like Han Solo,” that I thought, he does look a little like Han Solo, and this guy is going places.

Reilly followed the ensemble gem, Magnolia, with another ensemble film, but of a very different sort. Reilly appeared in The Perfect Storm, a film based on a true story about a group of swordfisherman who vanish after their boat is caught in a violent storm. He also stole scenes in Gangs of New York and The Hours; once again playing two very different roles in films very dissimilar from each other. Reilly assumed darker personas as a corrupt city constable and an abusive husband, respectively, proving with those performances that he could shine in any role, and also that he was being tapped to play many different characters. His ability to diversify beyond comedy had been established.

He’s currently appearing alongside three Oscar winners – Jodie Foster, Kate Winslet and Christoph Waltz – in Roman Polanski’s Carnage. The controversial director specifically requested Reilly for the role. Next, he’ll switch it up again by co-starring opposite Sacha Baron Cohen in The Dictator, a comedy that is sure to be as outrageous and over-the-top as Borat. Reilly’s willingness to switch it up and his ability to do it successfully will undoubtedly help to fortify his longevity as an actor because he’s figured out what it takes to get noticed, to get parts and to stick around.

What are your favourite John C. Reilly films? Let us know in the comments section.

Sharing the Blogging Love

2012-01-14T09:00:00.004-05:00

Wondering what bloggers have been chatting about this week?

Here is Your Reading and Listening Schedule for Today:

9 am: Episode 241 of the Cinecast podcast offers up an extensive look at some of the upcoming films of 2012.

10 am: Over at Lee and Dan’s Midnight Movie Club, the guys end their epic look at the entire Star Trek franchise with J.J. Abrams’ Star Trek reboot.

11 am: Jordan has a great piece offering insight into the minds of Shame director Steve McQueen and Abi Morgan.

12 pm: Alan takes in the classic film Harvey.

1 pm: Jandy shares her top ten favourite films of 2011.

2 pm: Steve reviews Martin Scorsese’s Kundun.

3 pm: Ryan examines the record low theatre attendance and ponders if people still care about movies?

4 pm: Alex ranks her top five favourite films of 2011.

5 pm: Kid in the Front Row considers if online streaming is the future of film distribution?

6 pm: Branden takes in The Proposition.

What is best in life? To crush your enemies, see them driven before you, and to hear the lamentation of their women

2012-01-13T10:00:00.009-05:00

Conan the Barbarian (1982)

Okay, so I watched the 2011 remake of Conan the Barbarian recently and found myself reaching for the 1982 version in my DVD collection to cleanse my palate and feel better. I don’t want to sound like I’m slagging off remakes, but if Hollywood is going to produce one it should equal or exceed the original. In fact, there are a few films that succeeded; Ocean’s Eleven (2001) and The Departed (2006) are two good examples. Then there are some that should never be considered for a remake, such as The Empire Strikes Back (1980). That being said, I retreated to the safe confines of my TV area and popped in the original Conan the Barbarian (1982) to convince myself the remake never happened, or at least it was a dream (all of you Dallas fans can understand that).

Set in the fictitious Hyborean Age (40,000 B.C.) of author Robert E. Howard’s novels, thousands of years before modern civilization. Young Conan lives with his parents and other Cimmerians in their remote village. Conan helps his father (the village swordsmith) forge a sword; the two sit on a mountaintop as Conan’s father tells him about the Riddle of Steel, an aphorism on how important steel is to the Cimmerians.

Roger Ebert commented how this film is “a perfect fantasy for the alienated preadolescent.” The Cimmerians are massacred by marauding warriors led by Thulsa Doom (James Earl Jones), who kills Conan’s parents and takes his father’s sword. Conan and the other children are sold into slavery and chained to a large mill, the Wheel of Pain, where he goes around in circles endlessly (a metaphor for school?). Now an adult, Conan (Arnold Schwarzenegger) is a massively muscled man, having pushed the grindstone for years and is then trained as a gladiator. After countless victories, Conan is set free and teams up with Subotai (Gerry Lopez), the Best Pal trope, and Valeria (Sandahl Bergman), the Queen of Thieves and Conan’s love interest.

With Subotai and Valeria at his side, Conan seeks out Thulsa Doom to avenge his parents’ death and recover his father’s sword. This involves travel to Eastern lands unknown, with tower fortresses and mountain temples, where Doom has created a snake cult that blossoms in every major city. Here the themes of death and rebirth are used as effective motifs in the film; the first one occurs just after Conan, freed and chased by wild dogs, falls into a tomb where he finds a sword to cut his chains with his newfound power. The second occurs when Conan and company burgle the Tower of Serpents and battle a giant serpent to steal a large jewel and other valuables. They celebrate their success in a local inn and in a drunken stupor, find themselves arrested by the city guards. They are presented before King Osric (Max von Sydow), who requests they rescue his daughter who joined Thulsa Doom’s cult. Conan’s hatred leads to an assault on Doom’s Temple of Set and an eventual showdown with Doom and his henchmen, Rexor (former NFLer Ben Davidson) and Thorgrim (Sven Ole-Thorsen, bodybuilder and Tigris of Gaul from Gladiator). Helping our heroes is the Wizard of the Mounds (Mako), whose sorcery brings Conan back from the brink of death.

The film’s casting is solid; Schwarzenegger embodies the visualization of author Robert E. Howard’s creation, and his accent is a definite advantage; something he uses to further success in The Terminator and its sequels. It also didn’t hurt that he was already in great physical shape from his years as a champion bodybuilder; he actually slimmed down from 240 to 210 pounds. Now we read stories of how actors work out hard to put on twenty pounds of muscle for this role or that. Frankly, I cannot see how it can be done without some chemical assistance, just sayin’. Bergman had a career as a dancer, so her athletic and slim physique helped lend an authenticity to a physically demanding role. Schwarzenegger, Bergman and Lopez trained in sword fighting, horseback riding, martial arts and rope climbing to prepare for the film and performed their own stunts. James Earl Jones, a wonderful actor whose baritone voice made him famous as the voice of Darth Vader in the Star Wars series, brings conviction and power to the role of Thulsa Doom which is necessary; a hero is only as good as his adversary, and if the villain is a wee bit badder and slightly more powerful it makes for a great payoff when the hero triumphs. And even Max von Sydow’s scene carries weight; the film presents experienced and classically trained actors who provide a nice balance against Schwarzenegger, Bergman and Lopez, who were relatively new.

While the film strays from the source material, Conan the Barbarian was one of the few comic book adaptations to be a commercial success in the early 80s and was the standard against most sword and sorcery films were measured, arguably until the Lord of the Rings trilogy. Writer/director John Milius (with help from Oliver Stone) crafts a story that pulls no punches as a revenge piece; at the same time the central theme is the Riddle of Steel and the trust one must place in it and its power. However, we and Conan come to realize, in an allusion to Homer, the hero makes the sword rather than the sword makes the hero. Is it violent? Sure, but what do you expect? These are rough and tumble characters in a world with a pre-Judeo/Christian ethic, no loving thy neighbour here. Besides, the violence is a reality in the world we are watching and not there for the sake of violence. In fact, Arnie’s Conan might seem tame in today’s world with films in release that are described as “torture porn’. The violence fits because these are violent men and women living in violent times, but I suppose it doesn’t hurt there is also some nudity as well. All work and no play makes Conan a dull barbarian, after all.

Which is Better?

2012-01-12T10:00:00.017-05:00

Michael Fassbender

10 sample films:

Shame
Fish Tank
Jane Eyre
Jonah Hex
Hunger
A Dangerous Method
300
Inglourious Basterds
Centurion
X-Men: First Class

Christian Bale

10 sample films:

The Fighter
The Prestige
Reign of Fire
American Psycho
Equilibrium
Rescue Dawn
Velvet Goldmine
Terminator Salvation
Empire of the Sun
Batman Begins

Which do you prefer? Let us know in the comments section

Short Film Spotlight: Sailcloth

2012-01-11T10:00:00.013-05:00

Eighteen minutes can seem like an eternity for some and not enough time to others. In the world of film it can come and go in a blink. This is one of the reasons why director Elfar Adalsteins’ film Sailcloth is such a treat. Adalsteins not only use the brief time to tell a charming story, but also manages to do it with no dialogue whatsoever.

An elderly widower (John Hurt) decides to set in motion a series of events to disguise his escape from a local nursing home. Free for the first time in a long while, the man gathers a few supplies, including a bed sheet that he uses as a sail, aheads to the pier and sets out on a boat for one last great journey.

Sailcloth is currently one of ten short films that has made the Academy Award short list in the Live Action Short category. While it is never easy to predict which films will be nominated, Sailcloth is a film that has several things working in its favour. The most obvious element is the brilliant performance by John Hurt. Forced to rely on his physical attributes to convey a lifetime worth of emotions, Hurt utilizes even the smallest gestures to maximum effect. He brings out his characters’ playful side while slowly peeling back the layers to reveal a much more somber side.

Though it would be easy to draw comparisons to another dialogue free potential Academy Award nominee, The Artist, Adalsteins’ film is more akin to the opening segment of Pixar’s Up. While Sailcloth does not go into the whole history of the main character like Up, the film still manages to provide the same sense of an eternal love that cannot be forgotten. One of the best moments in the film comes when Adalsteins uses silhouettes on the sail to show a tender moment between Hurt’s character and his beloved.

Sailcloth is a film that is both delightful and bittersweet at the same time. Adalstiens manages to take his audience through a sea of emotions in such a short span of time. One of the most remarkable aspects of the film is how Adalstiens and Hurt get the audience to care so deeply about an unnamed man whom they know so little about. Sailcloth is a wonderfully moving film that will have the audience laughing one minute and tearing up the next.

Short Film Spotlight: The Sea Is All I Know

2012-01-10T10:00:00.013-05:00

There are many things in life that are tough to deal with. As a parent one of those things is the potential to outlive your child. Director Jordan Bayne explores this, and how illness in general can both tear a family apart and unite them, in her film The Sea Is All I Know.

Against the doctor’s advice of treating her terminally ill daughter Angelina (Kelly Hutchinson) in a hospital, Sara (Melissa Leo) decides to bring Angelina home to care for her there. Angelina’s arrival at home leads to the reemergence of her father, and Sara’s estranged husband, Sonny (Peter Gerety). When Angelina asks her parents to assist her in committing suicide, Sara and Sonny are forced to question how far they are willing to go for a loved one.

Although The Sea Is All I Know touches on the issue of euthanasia, Bayne does not take a stance on the topic. Instead the film turns its attention to the emotional strain that Sara and Sonny endure as a result. Despite unresolved issues in their marriage, together they must come to terms with questions they have about faith. Sonny, a fisherman, sees life in simple terms. He views working hard and taking care of family as the key to living a good life. He finds it extremely hard to understand why his family has been placed in this situation. Even Sara, who has a deeper grasp of faith than Sonny, starts to question her spiritual duties versus her duties as a parent.

In one fantastic scene, Sara talks about her daughter’s illness in regards to God’s request for a sacrifice. It is a powerful moment that not only causes the audience to ponder their own beliefs in relation to the unexplainable tragedies in this world, but it also showcases the wonderful performances in this film. Melissa Leo has made a career of portraying characters dealing with hardship, so it would have been easy for her to “phone in” this performance. However, Leo raises her game by providing an honest and gripping look at the anguish that Sara is feeling.

Though Melissa Leo’s name will bring many to The Sea Is All I Know, it should be noted that Peter Gerety is exceptional in the role of Sonny. Gerety hits every emotional beat needed to make Sonny a relatable character. Through his strong chemistry with Leo, Gerety helps to make The Sea Is All I Know not just a tale of illness, but one of a couple being united as a result of it. If there is one minor knock against the film it is that there is not enough time to truly get to know the character of Angelina. Leo and Gerety dominate the film so much that Hutchinson’s performance, which is strong in its own right, often gets overshadowed. Filled with great performances, and featuring an emotional punch that cannot be ignored, The Sea is All I Know is a short film that leaves a lasting impression.