Reviews

Sofia Coppola is one of the most interesting and divisive filmmakers working today. It seems that with every new film she releases there's always a wide array of responses, both positive and negative. And that's very true with her new film, The Bling Ring. Some love it, and some loathe it. I personally enjoyed it very much, and the more I think about it, the more I like it and would maybe even see it again. It's an interesting and atmospheric look at American celebrity and media culture that bleakly shows how we can think being rich and famous can make us "happy."

The film is based on a Vanity Fair article about how in 2008, a group of Californian teenagers (4 girls & 1 boy) stole millions-of-dollars worth of clothing and jewelry and possessions from celebrities such as Paris Hilton, Orlando Bloom, Megan Fox, and others. It's a stranger-than- fiction kind of story that could lend itself to exploitation, satire, or even heavy-handed moralizing, but Coppola distances herself from the lurid material and simply displays it as a set of facts. It's a cold, deadpan film, but there's several fascinating moments of insight and darkly funny commentary that make it interesting. It's been compared to Harmony Korine's similar film "Spring Breakers," which also features several young girls trying to experience the media's view of what a fun Spring Break is. Whereas that film is knowingly repetitive in its dialogue and images and very violent and exploitative to get its point across, Coppola goes for a more restrained and almost documentary type of style. In fact, there's several instances where the main action is interrupted and we see scenes of the characters being interviewed after the events or TMZ-like celebrity news stories.

The Bling Ring is benefited by its central young actors who give strong, naturalistic performances that feel so live-in that they give an improvisational feel. The leaders of the Bling Ring are Marc (Israel Broussard) and Rebecca (Katie Chang). Marc is the quiet, insecure gay kid who soon is taken under the wing of Rebecca, who's troubled yet confident and cold-as-ice. Broussard is charming and subtly sympathetic and Chang is hyper-perceptive, smart, and cold but not without a conscience. There's Chloe (Claire Julien), the loud and outgoing one in the group. Then there's sisters Sam (Taissa Farmiga) and Nicki (Emma Watson). It's interesting seeing Watson in a supporting role since she's arguably the most famous out of the central gang, but it pays off because of Nicki's larger-than-life, self-absorbed Valley Girl personality. Watson is the scene-stealer of the film with her smart and satirical performance that never goes over-the-top and always feels real, which makes the character that much more misguided and tragic. It's early to say something like this, but it's a performance that deserves some Best Supporting Actress recognition. Also very good and inspired here is the always funny Leslie Mann, who plays the flighty mom of Sam and Nicki and teaches them the ever so spiritual teachings of "The Secret." There's a scene near the end of the film between Watson and Mann that is just pure, dark comedy gold.

The plot mostly consists of the gang clubbing, breaking into houses, driving around, and trying on clothes. It sounds repetitive, and well, technically it is. But Coppola distinguishes each break-in with its own tone and style and you can very subtly see how the characters change as they become more and more comfortable with invading the houses. For example, the break-in of Audrina Patridge's house is all done in one, long take from outside, across the street as Marc and Rebecca rummage through all her things and run from room-to-room and eventually leave. Another break-in finds Sam cluelessly waving around Megan Fox's pistol without a care in the world. And one of the film's most telling and haunting shots comes when the gang is inside Lindsay Lohan's house and Rebecca stares at the mirror and smiles so genuinely that it almost seems like that's the happiest she's ever been. It's a truly disturbing and haunting moment and the film is full of subtle images that let you into the characters' psyche and ego.

But the glue that holds the film together is the dynamic between Marc and Rebecca. There's several poignant and moving moments between the two characters that cut through the film like a knife and let you into the ultimately empty and sad feelings the two characters have. Their scenes and dialogue are so sharply drawn that it reminds you just how gifted of a writer Coppola is as well.

So this movie just worked for me. It's not a film that's trying to dig deep into it's subject, and it's not even really interested in telling you all of the details about this group of young robbers. It's ultimately this odd, off-kilter tone poem that's beautiful to look at and at times surprisingly poignant and hilarious. (And lastly I'd like to mention the great and legendary work of cinematographer Harris Savides, who, during shooting this film, passed away from brain cancer. The film is dedicated to him.)

'A Separation' is quite simply one of the best films I think I've ever seen. Its a film you can't think stop thinking about, and it seems to live with you afterwards.

The film opens with a married couple filing for divorce. Their names are Nader and Simin. Simin, the wife, wants to leave Iran to go to American with their daughter Termeh. She states that she doesn't want her daughter growing up in "the circumstances" of Iran. Nader, the husband, says he can't leave because his ill-father still lives with them in Iran. Right in the opening scene, we as the audience are already forced into a challenging moral dilemma. This is the one of many moral questions we are asked during 'A Separation.'

Soon Simin goes to live with her mother, and Nader and Termeh stay in their house. To look out for his father, Nader hires Razieh, a devout follower of Islam who belongs to a lower class. One day when Nader and Termeh come home, they find Nader's father on the ground tied to the bed. Soon Razieh returns to the house. Nader forces Razieh and her daughter out of his house.

Now it may clearly seem that Razieh is in the wrong. But there is still so much to learn about the characters and the mysteries revolving around this simple event. We learn that Razieh had a miscarriage, and Nader is accused of murdering her unborn child when he forced her out of the house. She claims Nader pushed her and she fell down the steps.

'A Separation' is a very character-driven film, but one thing special about it is its original narrative. We don't see all of what happens, and new pieces of information pop up organically and in inventive ways. 'A Separation' almost plays out as some sort of murder-mystery.

In this film, there are no heroes or villains. These are just flawed everyday people. Asghar Farhadi does a great job of bouncing sympathy between his characters. At one point in the film, you may feel strongly about one character, but when you learn something important about them, you feel a different way. Everything is grey. There's no simplicity. And that is why 'A Separation' is a complex masterpiece. Its a film that forces you to determine what you think what is right, and what is wrong.

Its a real shame that the very best shows that ever aired on television got canceled so soon. Shows such as 'Arrested Development' and 'Freaks and Geeks.' 'Party Down' is another one of those shows. So smart, funny, innovative, yet, gets yanked off the air because of low ratings. Sad.

'Party Down' revolves around a party-catering company. The structure of the show is very simple yet effective. Each episode takes place at a certain event with certain types of people. This gives each eccentric character a chance to interact with all of the party guests in so many awkward, unusual, and flat-out hilarious ways.

A major theme of 'Party Down' is young people trying to have breakthroughs and make it into the film industry. They want so badly to become noticed, yet, they work for others every week and have no satisfaction. This is one of the many genius pathos that drive this very thoughtful comedy.

As a whole, 'Party Down,' obviously, was very underrated. But something very underrated is the cast of the show. 'Party Down' has one of the very best comedic ensembles I've seen on TV. The main character is Henry, played by Adam Scott. Henry is a very hopeless and apathetic actor who made it somewhat big with a famous catch-phrase on a beer commercial. Now, though, he can't seem to find his breakthrough, so to get by, he works for the Party Down company as a bartender, but has no interest in it at all. Adam Scott is one of the very best young and comedic actors around. He plays the part very subtle and small, making the character really speak to us. He plays the 'straight-man' to all of the eccentric characters, yet he has this relaxed humor that doesn't come off as over-the-top. Scott's performance reminds me a lot of Jason Batmane's in 'Arrested Development.'

The supporting characters here are all so interesting and wonderfully weird. There's Casey, a character who's very similar to Henry. She's a comedian trying to strike it big and Lizzy Caplan plays the role very subtle but has a biting delivery as well. Her and Scott's chemistry is something so sweet and honest to watch. Ken Marino plays Ron, a character who's so cringe-worthy but yet so addictive and funny. Ron is the company's leader who we learn used to be into drugs. He becomes clean, and now parades around his coworkers making sure they know just how much of a good person he is. Ron is a good person, but he's so painfully honest and does everything for the best of his team, which takes the character into some hilarious situations. There's Roman played by Martin Starr. Roman is a character who reminds me of Dwight Schrute from 'The Office.' He's very nerdy, intense, but yet kind of driven. Roman is a science-fiction screenwriter hoping to get noticed. He's very eccentric and makes for some very funny moments. There's Kyle, played by Ryan Hansen. Kyle is your typical Hollywood pretty boy actor. An actor who may become famous just because of his long blonde hair and good looks. He thinks he has talent, but is so oblivious to what he really is. Then lastly there's Jane Lynch as Constance and Megan Mullally as Lydia. Both of these actresses and characters are very similar. They are very big comedic performances that offer some scene-stealing moments. These characters are the oldest ones of the group, and play as each young person's mentor. These actresses are obviously two hilarious and very talented women, and both of these characters are so wonderfully weird.

'Party Down' has a very quiet, subtle, and smart sense of humor. Its very character-driven, which is something you don't get quiet often. The situations and pathos in each episode are very true and seem so real. 'Party Down' is also filmed in a very interesting way for a comedy as well. Its basically a hand-held camera, but the filming techniques here simple and effective. The directors let each scene roll in a relaxed way so each actor/actress can really let loose with their lines and get really creative with their characters.

The complete series, which consists of only 20 episodes, is available on Netflix. If you're into intelligent comedy with real, interesting characters, 'Party Down' is something you should experience.