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The Descendants (2011)
Bad...
The Descendants Starring: George Clooney Directed by: Alexander Payne
2 out of 5 stars
Myles Herod Entertainment Editor
From beginning to end, everything that happens in The Descendants feels forced.
I'll let you in on a little secret: the unspoken danger of a film as well-reviewed as Alexander Payne's newest is that it can rarely live up to its hype.
An Oscar frontrunner, the familial dramedy imposed here is just as manipulative as it is manufactured, pulling at our heartstrings with forceful tugs and false tears.
The story follows Honolulu lawyer Matt King (George Clooney), the prosperous offspring of a Hawaiian family who is dealt a hand of personal blows.
"Paradise can go f*** itself," he aptly bemoans in voice-over.
Turns out that a waterskiing mishap has landed Matt's wife, Elizabeth (Patricia Hastie), in a coma. His two daughters, the precious tween Scottie (Amara Miller) and hard-living teen Alexandra (Shailene Woodley), are beyond his authority, with Alexandra in possession of potentially devastating news. "Dad, Mom was cheating on you!" she vents in a heated exchange, conveniently setting the film, and Clooney, on a mission to discover the identity of his wife's lover.
The awkward script, penned by four co-writers (which may account for the film's uneven tone), manages to be simultaneously superficial, simple, mawkish and cliché.
It's a shame, and a shock, for a man like Payne – so talented, so biting in his previous Election and About Schmidt from years past – that he would wait seven to fashion such a banal dud.
Try as it might, the film's attempt at humour is largely entrusted to dad jokes, or cheap laughs, like Alexandra's stoner boyfriend Sid (Nick Krause), a character of great irritation and inexplicability.
Truth be told, his presence and stilted delivery nearly ruins every scene he's in, making portions of the film's scenic beauty undercut by Payne's unwillingness to let up on Sid's idiotic quips. No family in their right mind would allow a doofus like him to tag along when dealing with personal betrayal. It's simply poor writing.
Aside from that agony, the film finds Matt unfairly belittled by his surly, hard-nosed father- in-law (Robert Forster), a man who blames him for Elizabeth's accident.
Adding to Matt's responsibilities is the decision (as head of the King family trust) to sell or bequest a large plane of unspoiled Hawaiian property, inherited from ancestors.
The two narrative strands cross when Matt discovers that his wife's lover (Matthew Lillard), a yuppie realtor, is miraculously vacationing with his wife (Judy Greer) and kids adjacent to the rendezvous where Matt is meeting with family, most memorably his breezy cousin (Beau Bridges), to finalize their soon-to-be fortunes. Coincidence or contrivance?
Despite the talented cast put together by Payne, The Descendants boils down to mediocrity of the highest order. My suspicion is that the film hit me wrong, but, perhaps, will hit some just right. Look no further than its seemingly universal acclaim.
I have liked other Payne movies about middle-aged men on journeys of self-discovery, but I couldn't buy the convenient storytelling and erratic tone that litter this one.
Clooney, always the affable star, gives the film's best performance, establishing a soft- spoken and refreshingly weary look, decked out in high-waisted slacks and floral-printed shirts.
In terms of real acting, however, it's nothing new for the man, who relies on his expressive eyes and constantly pursed mouth, so common in better films like Up In The Air and The American.
Having seen it at TIFF in September, where it premiered to upbeat enthusiasm, The Descendants has gone on to reap praise for its enlightened sensitivity.
Best Picture predictions abound; this film, not unlike Slumdog Millionaire, encourages audiences and studios to feel good about themselves.
Not me. Save for Clooney's solos with his comatose wife, the film's pathos left me cold and certain. In five years, The Descendants will be forgotten.
The Girl with the Dragon Tattoo (2011)
Fincher extends his style and mood from The Social Network. Rooney Mara dazzles.
A little more than a year after gaining critical acclaim for The Social Network, David Fincher is at it again, adapting another well-loved story for the big screen
In The Girl With The Dragon Tattoo, Fincher seems to have extended stylistic leftovers from his previous outing and supplanted them into his newest effort with much aplomb.
Keep in mind, this is a remake – disaster could have prevailed. Luckily, the modern day auteur (seemingly unaffected by Hollywood execs) is incapable of making a bad film.
Even his worst film, Alien³, is actually so well crafted and unique in vision, that for all its problems, it manages to avoid pitfalls of a picture obviously sabotaged by producers.
On the basis of my viewing experience, the Americanized version of The Girl With the Dragon Tattoo is a stark and grittier product than its Swedish counterpart. That's right, it's a superior remake.
Both director, and writer (Steven Zaillian) do an intelligent job of keeping, adapting and removing various parts of the novel to benefit the film's flow. The dialogue is natural and terse, allowing characters to consciously step on each other's lines to add a sense of authenticity.
One of Fincher's most undervalued talents is his attention to character nuance – avoiding clichés of stilted performances, which in essence builds the unique universes he's so revered for.
The film follows journalist Mikael Blomkvist (Daniel Craig) and his experiences in Sweeden during the investigation of a 40-year-old murder. Hired by the wealthy Vanger family to uncover clues to the murder, Blomkvist ends up using the assistance of an accomplished but socially awkward investigator Salander (a equally sultry and scary performance by Rooney Mara).
The bulk of the two and a half hour film consists of observing Blomkvist and Salander as they unravel the lurid mystery from the isolated Wanger Island.
By building both characters up front, the audience is compelled and completely indebted to the investigation. Fincher uses his great eye for imagery and pacing to really sell the picture – particularly in scenes that could have fallen to contrivance, or dullness.
For instance, one set piece shows the two characters in separate locations compiling research and fitting final clues together. About ten minutes into this sequence it dawned that there had been almost no meaningful dialogue. Instead, the entirety of its structure was just a series of pictures, computer screens, printed words and reaction shots. It was also one of the most intense and suspenseful sequences of any film from 2011. Saying it's impressive would be an understatement. This is Fincher working on all cylinders.
Mara is a revelation as Lisbeth Salander. Both physically and emotionally, she goes all-in with her portrayal. From the multiple piercings to the detailed tattoos and punk aesthetic, it's hard to believe that it's the same sweet girl who opened The Social Network as Mark Zuckerberg's girlfriend.
One cannot discount Craig's performance either – a fine partner to Mara's bold interpretation. In addition to the two stellar lead performances, Fincher gets great acting out of Christopher Plummer, Stellan Skarsgard and Joley Richardson.
Fincher does not hold back in portraying adult material here. From two horrific rapes scenes to the depths of torture and mutilation, the film confronts uncomfortable visuals in bleak whites and murky shadows. These scenes are necessary, though, as the audience ends up feeling empathy for the characters, which, in turn, helps ramp up tension.
Overall, this is masterfully crafted 'action' film – one that makes you think as you recoil or guffaw at its sinister subject matter, or streaks of black humour imbued throughout. Fincher, again, has proved himself a master, elevating his clout amongst Hollywood's most intriguing talents. You can call it a remake, but I prefer to think of tit as a superb continuation of his style and mood so effectively refined in 2010's The Social Network. Heck, he even got Trent Reznor to come back and do the score.
The Curious Case of Benjamin Button (2008)
Classic storytelling. Pitt proves that he's an understated actor and Blanchett makes you fall in love with her.
Benjamin Button is an epic film from start to finish. Sweeping in its approach, clocking just under two hours and fifty minutes. It really only felt like an hour, honestly. Films of this elegance do not come around often. There is a rare sense of old Hollywood in this picture. It is grand, vibrant, and full of life in every possible way. The process of watching a man live an entire life on screen, one can't help thinking of his own, reevaluating past memories and forgotten faces. The sheer exuberance leaves a life affirming reassurance as the end credits roll by.
Many have probably seen the previews on television and have gotten a basic concept. Brad Pitt stars as Benjamin, a child born old to grow young. Abandoned by his parents, taken in by a black women, he lives a childhood within an old age home. The ironic twist here is that he was born old, so the residences don't mind his company; he's just like them. His life is changed when one of the tenants has her granddaughter visit for the weekend. Her name is Daisy, a precocious redhead; her and Benjamin instantly connect. She will later become the driving force of his life.
Benjamin is subjected to things as an old man. He learns of death through the old age home. He can drink under age and frequent the whorehouse whenever he pleases. Yet he grows younger, curiosity fuels his sense for adventure. One day he meets a sailor who is looking for an extra hand on ship. Benjamin is quick to join. They sail and explore. Stationed over in England, he meets a married woman lonely for companionship. They soon begin an affair, meeting in the hotel lobby every night. World War II then breaks. Benjamin and the crew are enlisted to fight. They set off to sea once again.
If this film has one major disadvantage, it is that Forrest Gump bares a striking resemblance, structurally. Written by the same man, Benjamin grows up in the south, handicapped, yet loved by his mother unconditionally. He befriends a girl who will become his main love interest throughout and then goes off to fight in war. There are other similarities, but why discourage potential viewers. This is a wonderful film.
Adapted from a story by F. Scott Fitzgerald, David Fincher centres the story on Benjamin, what he sees in life and how aging backgrounds has it benefits, but also tragic consequences. Think about it, one with the same condition would be lonely all their life. You could never grow old with someone, never watch your children grow up. These are factors that excel the film from mere fantasy to a timeless drama. Furthermore, with a running time of almost three hours characters and situations are fleshed out, room is allowed for growth. As said before, a man's life is lived right before one's eyes, it is a truly remarkable theatre experience.
CGI in this film is used not only to an advantage but as a whole other life form. Brad Pitt as a man dealing with an incurable fate is acted with a subtle shyness, always listening, rarely speaking. Pitt is not only good in the film; he's never been better. The supporting cast is top notch as well. Taraji P. Henson, Benjamin's adopted mother, Queenie, cares for him no matter what. A strong character actress in recent years, she leaves a lasting impression. Cate Balncett as Daisy is also worth mentioning. The love of Benjamin's life, she exudes a sophisticated presence one can't look away from. In one particular scene, Daisy performs a dance for him under the moonlit night. It is perhaps the sexiest scene of the year. No sex or nudity, just the seductive movement of an actress channeling flawless beauty.
This film must be seen on the big screen. It demands full attention and involvement. Photography is not talked about enough when it comes to film-making. Shot in New Orleans, it is homage to a once beautiful destination ravaged by an infamous hurricane. Katrina and weather are a reoccurring theme throughout. Forget the Forrest Gump similarities that are ever so predominant. This is a classical fable, make sure you see this with someone you love.
The Squid and the Whale (2005)
Woody Allen for the 21st Century.
Divorce is never easy, and yet Hollywood, with its penchant for melodrama, has made very few films that encapsulate the true humanization of the subject. One could go as far back to "Kramer vs. Kramer" from 1979. A best picture winner beating out such heavy hitters as Apocalypse Now, it pitted Dustin Hoffman against Meryl Streep as two parents fighting for the custody of their only child. With that film aside, The Squid and the Whale is one of the finest portrayals of family in turmoil and its after effects.
This is a sad, though at times, very funny look at what divorce does to one family. In 1980's New York, Jeff Daniels plays father matriarch Bernard, a pompous, arrogant writer whose feelings of commercial failure cause him to act intellectually superior to everyone he meets. Laura Linney plays mother and wife Joan, blamed for the break up of the marriage by her husband due to a string of affairs she carries on. The divorce occurs early in the film, bringing about reactions of grief and anger from the children. The father, Bernard, moves into a rundown, ramshackle home and the arrangement is an awkward joint custody, with the children spending alternating days with different parents, both of whom are attempting to embark on their lives without one another. Bernard's arrogance becomes all the more sad and contemptible when his eldest son, Frank played by Jesse Eisenberg, is seen emulating his father's ideals on topics as diverse as literature and women. Like his father, Frank only appreciates high art, carelessly dismissing anything that his father does not deem worthy despite having no formal knowledge of the topics his freely praises.
The marriage seems to silently affect the youngest son, Walt, who is just entering his teens. With Frank constantly feeding his father's ego, Walt is almost useless to Bernard, leaving him to his own devices. With little supervision or guidance, Walt feels his way through most situations, often making decisions that alienate him from society, making him reclusive and withdrawn while all the while naively participating in increasingly more destructive behavior. While some have been offended by the situations this young actor, Owen Kline, endures through the film, it carefully approaches it subject mater unbiased, rendering realistic intentions tastefully enough.
Director Noah Baumbach is clearly making a heartfelt re-imagining to his own upbringing producing a bittersweet tale of family life. He has a keen touch with his actors – especially Daniels, who is brilliantly funny, touching and head-shaking aloof at the absurdity of his situation, at one point he says glibly with a touch of sadness, "that's my home which I used to live in
as you may know", to his son during one of their many car trips. Bernard genuinely cares for his family but is so arrogantly conceited by his own intellect that it is borderline heartbreaking.
Produced by Wes Anderson, The Squid and the Whale seems like the nonfiction inspiration for "The Royal Tenenbaums," with urbane siblings aspiring to be a writer and tennis pro. Baumbach has clearly studied Woody Allen, incorporating a wry sense of neurotic humour; he uses Brooklyn, specifically the Park Slope neighborhood, like Allen uses Manhattan, street by street. In a funny cameo that reoccurs throughout, Billy Baldwin (brother to Alec) plays a tennis coach, Ivan. Almost stealing each scene he's in, its not what he says, but how he interprets situations. With a goofy innocence and quotable presence, it may be a minor role, but it is also the best performance of his career.
The lesson to be learned with a film like The Squid and the Whale is that one need not create elaborate scenarios or effects in order to create compelling viewing. It will shock, offend, maybe even revolt at times, but its steady pace and realism create quite a memorable experience. The film may based on real experiences, but it could be about any family alienated by a society while struggling to make their transition as simply as possible. Put simply, anyone who has experienced anything like it will relate. This is a quiet masterpiece not to be missed.
Ski School 2 (1994)
What Dreams are made of....
Ski School 2 is quite possibly the mecca of anyone's movie watching experience. If it were not for this film I would not be living. Dean Cameron is the closet an actor has come to rival Brando(Marlon) for the title of worlds greatest actor. Bravo fine sir for your acting brings a tear to my eye with each viewing. Lush scenery only excels this for the recognition of the worlds most striking achievement put to celluloid. I stand on the top of a mountain a shout to the world that i love ski school 2 and i want everyone to know. Will Saso is also a standout, bringing everything to the table and proving to everyone( not just the philistine minded fox television mindset) he is here to stay. Say it loud and say it proud, this film cannot be put into words. Ski School 2 is my one true love and because of that it will never die in our hearts.
Spoorloos (1988)
One of the best films ever made.
It's a terrifying thought, having a loved one vanish without a trace. One moment you're together, and then you're not. You turn your head for just a second and she's gone. Panic sets in; you check everywhere, question everyone, go over every detail until your head hurts and still nothing makes sense. You feel nauseous and frustrated and then the fear settles in. It's getting dark-- now what do you do? File a missing person's report that eventually leads nowhere. Your significant other is reduced to a mere statistic. You wait and wait for closure, but it never comes. Three agonizing years pass. It is now an obsession, an obsession that consumes your entire life. There is no evidence, no pattern and no body. Your life is put on hold until you find the answer. The task seems daunting in that only by shear luck will you ever know the truth. Then one day your persistence pays off and you stumble upon a stranger, a stranger who knows something. Is he the murderer or just a lunatic? Do you take the chance? Is the risk worth knowing the truth? This unnerving dilemma besets the protagonist Rex in George Sluizer's 1988 cinematic masterpiece The Vanishing. What I found most intriguing and refreshing about this film was the seemingly benign approach it creates allowing the terror to build gradually. The central characters, a Dutch couple Rex and his girlfriend Saskia, are average looking and behave in unspectacular fashion, laughing, arguing as most couples do. They are traveling to France for a vacation.
The opening scenes establish the happy couple; an ominous turn ensues when they stop at a gas station and Saskia disappears. As Rex searches for her in panic, he learns that she was last seen leaving with another man. Three years pass and Rex is still searching. His obsession consumes him, sabotaging his relationship with another woman. Then everything switches gears, with the entire second half of the film focusing on Raymond Lemorne, the kidnapper. It seems an odd technique to use (showing the villain throughout) but it works extremely well as we examine his perspective. It is here that The Vanishing establishes itself as a thriller that will be unlike all the rest, as Raymond is presented as a frightening but complex villain. A successful teacher with a loving wife and two daughters, strange only in his dullness, his monstrous desires are nourished by the fact that he sees himself as a resident above suspicion and therefore undetectable. He's a chameleon, an everyday man, who looks like the guy next door. This is what makes this film so effective and disturbing. Here is a culprit who blends in so well he can never be caught. He is very intelligent, yet imperfect. There are scenes in this movie both comic and unsettling at the same time. We observe as Raymond acts out his kidnapping scheme, and then pitifully attempts to bait young women into his car without any luck. His plan constantly fails until he meets Saskia.
At first this film does not portray itself as suspenseful, but develops tension so calmly that by the time it is over, you're left exhausted. George Sluizer's genius direction comes from the idea of playing with the audience's nerves, letting anxiety build as we learn what ultimately happened to Saskia. Yet when the reality sets in, and the truth is revealed we almost wish the movie hadn't told us, just like Rex, who had his life destroyed by Saskia's unsolved vanishing, comes to the realization that maybe he would have been better off not knowing either. Similar to the pieces of a puzzle, the story gradually connects. It stays riveting from start to finish, psychologically absorbing the whole audience. When Raymond offers a chance for Rex to see Saskia again, he must first experience what she went through, and you're left wondering "Where the hell is this going to take us next?" The movie moves so subtly towards its shocking conclusion, that when it comes, we believe it. Unlike the usual "conventional" twist ending, The Vanishing pulls off the extremely complex act of seeming both shocking and inevitable, leaving you with a finale that will genuinely leave you numb for days.
-Myles
Stark Raving Mad (1981)
Badlands revisited.
After watching this film i was taken back on how much it bothered me. Although it is an almost direct copy of the 1973 classic "Badlands" staring Martin Sheen, I found "Stark Raving Mad" had the more effective ending, leaving the viewer hanging- questions going unanswered. Where "Badlands" had the budget and the actors backing it, "Stark Raving Mad" truly excels due it's ultra low budget and non-actors- giving it an almost ultra realism quality. There's one great scene involving the killer after he's been caught and a reporter, I feel it basically sums up the numb, unapologetic feeling the movie leaves long after you've watched it.
the Killer: I wanna go back
Reporter: You wanna go back where?
the Killer: Go back to Nebraska
Reporter: And why is that, Killer?
the Killer: Cause they hang you in Wyoming...and...hahaha...I don't like ropes.
I must say i really enjoyed this movie and it was all by accident. I went to my local video store and went to the horror section, i saw the cover of this film and thought i looked interesting, so i rented it. If you ever have a chance to view this film i suggest you take a look, especially for the brilliant last two minutes, it sent chills down my spine.
P.S.- This message is for the cast and crew of this film. If anyone from this film ever happens to read this i just want to let you know that you did a great job, even if you borrowed a lot off of "Badlands" I think the last few minutes of this film are brilliant. Well Done.
Don't Go in the Woods (1981)
Awesome!
A terrifying spectacle that will teach you an important lesson in survival: DON"T GO IN THE WOODS!
Let me first start off by saying this movie is a true cult classic. I first picked this bad boy at some video store where they had a wide VHS horror selection. While me being a fan of the low-budget horror genre, i was like a kid in a candy store. I took my time browsing at each video till i came across this one, it was actually the cover that caught my attention at first. The rural backdrop, the girl bleeding from the mouth, and the sign saying Don't go in the woods with a knife sticking out, I just couldn't resist when i saw it. So I bring it home and pop it in my VCR and after about 20 minutes of watching i realize since the film's acting, plot and worst of all the music are beyond belief there's nothing to do here but enjoy the gore. It's hilarious watching this film(if you even want to call it that)set in the wilderness of Utah, where characters are slaughtered one after the other by a primitive killer. One scene in particular i love is when the guy in the wheelchair is struggling to make his way up the steep trail, he finally makes it to the top only to have his head chopped off -I was laughing for days.
This movie isn't meant to be taken seriously, I mean how can you, the song played over the end credits(yes, you heard correctly)sounds like it came from a thirty-year old guy who still lives with his mom, and recorded it in her basement. But what can i say i love this movie, and if you can find it(it's been out of print for awhile) I suggest you pick it up if your into bad horror movies or just looking for a good laugh.
P.S.- If you liked this movie you should check out a film called "Rituals". It's set in the wilderness, but unlike "Don't go in the Woods" it actually effective in capturing the real sense of horror out in the woods.