I’m writing this as I lounge in my cozy condo in Park City, Utah. It’s the first official day of the 25th Annual Sundance Film Festival and my movie count is at three films. My first shift starts in four hours and I’m running on about four hours of sleep.
Last night we were treated to volunteer screenings of Prom Night in Mississippi and Lymelife, while this afternoon’s theatre adventure was to see HumpDay.
Given my tired/relaxed/overly hot-tubbed frame of mind, these will be short and sweet.
Prom Night in Mississippi is a documentary from Canadian filmmaker Paul Saltzman (yay Canada!). It follows the senior high school students of 2,100 population Charleston, Mississippi as they plan for their first integrated prom. Despite the fact that the US government abolished segregation in 1954, and the high schools became integrated in the early 1970’s, the non-progressive parents of Charleston still insisted on segregated proms – the “white” prom and the “black” prom. Given that the students interact and attend classes together on a daily basis, it’s almost absurd to think that such a situation could still be in existence. It all comes to a change when Morgan Freeman revamps his offer, originally made in 1998, to sponsor the first integrated prom.
The film takes an honest and sometimes heart wrenching look at racism, inter-generational relationships and parent/teen control issues while still capturing the fun of the teenagers and excitement leading up to their prom. It proves that issues such as racism can be overcome, and challenges both the film’s participants and viewers to try and make that change in our generation.
One of the most central interviews in the film is with the racist father of a teen who is in an inter-racial relationship. He admits to his point of view, shows no reason to change it while at the same time showing a level of remorse for this opinion being ingrained into him. But he loves his daughter and will stand by her even if he disagrees with her relationship choices. To me this shows the triumph of love and tolerance over hatred and self-righteousness. A heavy film to start the festival with perhaps - but an important film that everyone should see. The premiere of the film is Saturday January 17th at my theatre, and I look forward to hearing the Q&A if I have the chance!
Lymelife premiered at the Toronto International Film Festival last fall, but was developed through the Sundance Institute. The film follows Scott Bartlett, a 15 year old growing up in 1970s Long Island, as he copes with the dysfunction of his parents’ marriage, his crush on next door neighbour Adrianna, all with the backdrop of a Lyme disease breakout that has already claimed the sanity of Adrianna’s father.
Featuring strong performances by Timothy Hutton, Alec Baldwin, Jill Hennessy and the Culkin brothers, the only weak point in the acting is from Cynthia Nixon. However, this set aside, the film is quirky and wonderful, as is the soundtrack provided by The Spaceship Martini (a band belonging to Steven Martini, the director’s brother and also the film’s editor, composer and co-writer). The audience of Sundance volunteers seemed to unanimously agree that this film deserves the award for best worst first sex experience. Here’s hoping the rest of the festival will enjoy the charm of this film, shot in only 22 days on a $1.5 million budget.
After trying (and failing) to get into a screening of The Killing Room, we made a last minute dash to the Eccles theatre to catch the premiere of HumpDay. And I must say, I was pleasantly surprised! Let’s start with the premise for this one – two recently reunited friends decide to make porn featuring the two of them having gay sex, despite the fact that they’re completely straight, and one of them is married.
At the core of HumpDay is a certain awkwardness and honesty that is rarely seen on the screen these days. Filmed largely with improvisation from actors Mark Duplass and Joshua Leonard, director Lynn Shelton tackles the male ego in a funny and unique way. While some scenes feel a bit long, the editing and drawn out scenes add to the audience’s reaction to what they are watching – the camera is a mere observer, lending a realism to the story that often isn’t found with flashy quick edits – you have the sense that you’re getting every painstaking second of the story, and it’s worth it.
So I guess that means so far I’m 3/3 for movies!
Prom Night in Mississippi - 4 stars
Lymelife - 3 ½ stars
HumpDay – 3 ½ stars
Friday, January 16, 2009
Revolutionary Road, The House Bunny, and Gran Turino
Revolutionary Road
For several days after watching Revolutionary Road, the main thought running through my mind was “what did I learn from this film?”
Frank and April Wheeler are a couple who have fallen through the trap door into a suburban life that they never knew they wanted, don’t really want, but don’t know how to escape from. Frank takes comfort in other women to compensate for his suburban misery and inability to satisfy April. April on the other hand, has the courage to realize the need to break free from the mundane routine that their lives have become by convincing Frank they should up and move with their children to Paris, France.
So, for a brief time I felt inspired to see a couple who has the strength to realize that the life they’re leading isn’t the one they want, that they have the power to change it, and that all that matters is that they have each other.
The plan to move to France dissolves quickly when April becomes pregnant and Frank is lured into a promotion at work that more firmly entrenches them into American suburbia. It seems that both are on opposite sides of the fence here. Frank is willing to play along with the American dream, thinking there’s no reason they can’t be happy if they just work at it and try to force themselves into a social mould that just doesn’t fit. April, by contrast sees that the mould doesn’t fit and just wants to find a new one.
Of course, it all ends badly and you walk out of the theatre just feeling a hint of the “hopeless emptiness” that the film alludes to – ironically enough, stated by the sanest ‘insane’ man in the entire film.
What did I learn?
1. If you want to move to Paris, France with your husband, use birth control.
2. If you don’t like how your life is establishing itself, fight to change it into the life you want – don’t be complacent.
3. Sam Mendes either hates, or is obsessed with suburbia.
House Bunny
Well, I’m willing to admit that I watched this movie. And that I laughed – more than once. But that’s about as far as I’m willing to go! Maybe if I was a guy I’d appreciate it more – I’m sure looking at a scantily clad Anna Ferris doing a next generation Legally Blonde act is lots of fun to some out there. Definitely glad this was a rental.
Gran Turino
Having not seen many classic Clint Eastwood movies in the past, there may have been a certain Dirty Harry frame of reference missing for me when watching Gran Turino. And yet – I still loved it. Eastwood is spot on in his role as Walt Kowalski, a bigoted Vietnam War veteran living in a neighbourhood with rapidly changing demographics. His performance certainly compensates for that of his weaker-chopped counterparts. And yet, the fresh new faces on the screen make the subject matter and acting all the more realistic, so Eastwood is to be applauded for taking on a film with a truly independent spirit.
Wednesday, January 7, 2009
Marley and Me (and everyone else in the theatre)
Everyone knows that beloved pets have a limited life span. So, going into the film Marley & Me, as a member of the audience you’re aware that on some level, tragedy is going to hit when Marley reaches the end of his life span. This doesn’t make the need for tissues any less. Being in the theatre at the end of Marley & Me was like being in a hospital walk-in clinic during cold season – everyone was sniffling. I’m quite sure that Kleenex or Royale could have made a killing doing a promotional give away to everyone going into the theatre.
But enough about being sad. That’s just how it all ends up. The journey from beginning to end of Marley & Me is a pretty funny one, with better-than-average performances from Jennifer Aniston and Owen Wilson. I wonder what John Grogan though of having Owen Wilson play him – not sure I *quite* see the similarities – see google for a photo.
Based on the real-life articles and life of columnist/report John Grogan, Marley & Me follows the Grogans’ from their wedding day through the growth of their family, careers and other life changing events. Their family starts when they adopt Marley – a cute, twelve pound yellow Labrador, who in no time at all, grows into a 100-pound steamroller of unbridled energy that turns the Grogan home into a disaster area. Flunking obedience school, chewing dry-wall, pillows, flowers and pretty much anything in site, Marley quickly is dubbed "the world's worst dog." However, love being unconditional, in the end they realize how Marley brought out the best in them.
Anyone with a pet, who wants a pet, or has ever had a pet would probably enjoy this film even with all its emotional ups and downs.
The end of a life (and this film) is inevitable, but still heartwrenching. For me (and it’s rare that I’ll admit it) – I even had the full lower-lip tremble going on. One of my mom’s only film rules is that she refuses to watch something in public will make her cry. So mom, this one’s not for you – at least not until it comes out on DVD. But if a good communal laugh and cry is what you’re looking for, catch this one while it’s in theatres.
But enough about being sad. That’s just how it all ends up. The journey from beginning to end of Marley & Me is a pretty funny one, with better-than-average performances from Jennifer Aniston and Owen Wilson. I wonder what John Grogan though of having Owen Wilson play him – not sure I *quite* see the similarities – see google for a photo.
Based on the real-life articles and life of columnist/report John Grogan, Marley & Me follows the Grogans’ from their wedding day through the growth of their family, careers and other life changing events. Their family starts when they adopt Marley – a cute, twelve pound yellow Labrador, who in no time at all, grows into a 100-pound steamroller of unbridled energy that turns the Grogan home into a disaster area. Flunking obedience school, chewing dry-wall, pillows, flowers and pretty much anything in site, Marley quickly is dubbed "the world's worst dog." However, love being unconditional, in the end they realize how Marley brought out the best in them.
Anyone with a pet, who wants a pet, or has ever had a pet would probably enjoy this film even with all its emotional ups and downs.
The end of a life (and this film) is inevitable, but still heartwrenching. For me (and it’s rare that I’ll admit it) – I even had the full lower-lip tremble going on. One of my mom’s only film rules is that she refuses to watch something in public will make her cry. So mom, this one’s not for you – at least not until it comes out on DVD. But if a good communal laugh and cry is what you’re looking for, catch this one while it’s in theatres.
Tuesday, January 6, 2009
Shallow Grave Holds Up Over Time
As part of my new year’s resolution to re-visit my dvd collection, I kicked things off by revisiting Danny Boyle’s Shallow Grave. I’m happy to report that in my mind, Boyle’s first film effort still holds up since it’s release in 1995.
With the atmospheric and eerie music from composer Simon Boswell, outstanding performances by a younger Ewan McGregor, Kerry Fox, and Christopher Eccleston, this film clearly shows the beginnings of what has become Boyle’s unique vision, humour and style. Recurring themes present in all of Boyle’s films – greed, friendship and trust – take root here.
My favourite scene visually is still the attic shots of recently-gone-psychotic roomie David (played with super-creepiness by Christopher Eccleston), spies on his other roommates through strategically drilled holes all over the floor of the loft/ceiling of the apartment. I’m not sure if this was the idea of Boyle himself or cinematographer Brian Tufano, but the result is both visually and metaphorically fantastic.
So, in summary: if you haven’t seen this film before, get thee to a video store. And if you have, it’s worth a second or third viewing.
With the atmospheric and eerie music from composer Simon Boswell, outstanding performances by a younger Ewan McGregor, Kerry Fox, and Christopher Eccleston, this film clearly shows the beginnings of what has become Boyle’s unique vision, humour and style. Recurring themes present in all of Boyle’s films – greed, friendship and trust – take root here.
My favourite scene visually is still the attic shots of recently-gone-psychotic roomie David (played with super-creepiness by Christopher Eccleston), spies on his other roommates through strategically drilled holes all over the floor of the loft/ceiling of the apartment. I’m not sure if this was the idea of Boyle himself or cinematographer Brian Tufano, but the result is both visually and metaphorically fantastic.
So, in summary: if you haven’t seen this film before, get thee to a video store. And if you have, it’s worth a second or third viewing.
Despereaux's Tale Falls Short
What’s most disappointing about The Tale of Despereaux is that while it had the potential to be a fun, light-hearted, animated feature with a strong moral message, it sadly fell as short as Despereaux himself. Even the all-star talented voice cast – including Matthew Broderick, Dustin Hoffman, Emma Watson, Tracey Ullman, Kevin Kline, William H. Macy, Stanley Tucci, Robbie Coltrane Richard Jenkins, Christopher Lloyd and Sigourney Weaver as the narrator – couldn’t make up for this animated feature’s short comings.
In the faraway kingdom of Dor, a soup-related accident resulted in the banning of rats and soup from the kingdom, leaving the townsfolk in despair without sunlight or hope. Desperaux comes along as the brave mouse who doesn’t know how to cower, who quickly finds himself banned to the rat dungeon for speaking with a human. A vengeful rat named Roscuro (voiced by Dustin Hoffman) has the princess of the kingdom kidnapped and it’s up to Desperaux to save her.
It all sounds simple enough to work well as a children’s tale. And, on its own the film does work. It’s in the audience that the problem lies. I’m not quite sure who Universal Pictures was targeting when they signed up “visionary filmmaker Gary Ross”, who here animates his first feature, but there’s definitely an audience identity crisis of sorts going on here, and sadly I feel this film falls into an audience void.
For children, it’s simply not really all that fun to watch. The front railing of the theatre I was in was vibrating from a restless six year old banging their feet in restless boredom against it. It’s also not really all that funny, with the exception of a few cute moments involving Desperaux as he’s growing up. Content-wise it’s a little bit frightening – you have your hero about to be eaten by a cat while the rats cheer on, and later rats racing and chomping at the bit to devour the kidnapped princess. Light and fluffy - definitely not.
As far as the adult audience-goers are concerned, they’re not having fun either. Bored with the lack of action and the constant overly-expositional narration, there are also very few higher-level ‘adult’ jokes to chuckle at.
Really, in the end the shame is that the morality of the story, regarding strength of character, forgiveness and breaking down prejudice is at too high of a level for children to grasp, and completely, unoriginally obvious if you’re an adult.
I wish I’d gone to see Bolt instead.
In the faraway kingdom of Dor, a soup-related accident resulted in the banning of rats and soup from the kingdom, leaving the townsfolk in despair without sunlight or hope. Desperaux comes along as the brave mouse who doesn’t know how to cower, who quickly finds himself banned to the rat dungeon for speaking with a human. A vengeful rat named Roscuro (voiced by Dustin Hoffman) has the princess of the kingdom kidnapped and it’s up to Desperaux to save her.
It all sounds simple enough to work well as a children’s tale. And, on its own the film does work. It’s in the audience that the problem lies. I’m not quite sure who Universal Pictures was targeting when they signed up “visionary filmmaker Gary Ross”, who here animates his first feature, but there’s definitely an audience identity crisis of sorts going on here, and sadly I feel this film falls into an audience void.
For children, it’s simply not really all that fun to watch. The front railing of the theatre I was in was vibrating from a restless six year old banging their feet in restless boredom against it. It’s also not really all that funny, with the exception of a few cute moments involving Desperaux as he’s growing up. Content-wise it’s a little bit frightening – you have your hero about to be eaten by a cat while the rats cheer on, and later rats racing and chomping at the bit to devour the kidnapped princess. Light and fluffy - definitely not.
As far as the adult audience-goers are concerned, they’re not having fun either. Bored with the lack of action and the constant overly-expositional narration, there are also very few higher-level ‘adult’ jokes to chuckle at.
Really, in the end the shame is that the morality of the story, regarding strength of character, forgiveness and breaking down prejudice is at too high of a level for children to grasp, and completely, unoriginally obvious if you’re an adult.
I wish I’d gone to see Bolt instead.
Numbers, numbers, numbers...
188 - Hours until I'm on a plane to Utah for the 2009 Sundance Film Festival.
95 - Films watched in theatres last year.
120 - Films I plan to watch in theatres THIS year.
6 - Days left at my current employer.
15 - New jobs applied for to-date.
Of interest to the general public? Not really. Merely a snapshot in time so I can remember where things were at the beginning of 2009. Oh, did you think this was about entertaining YOU?
95 - Films watched in theatres last year.
120 - Films I plan to watch in theatres THIS year.
6 - Days left at my current employer.
15 - New jobs applied for to-date.
Of interest to the general public? Not really. Merely a snapshot in time so I can remember where things were at the beginning of 2009. Oh, did you think this was about entertaining YOU?
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