movie gourmet

Movies to See Right Now

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TAKE THIS WALTZ

The romantic character study Take This Waltz stars the great Michele Williams in an exploration of attraction and fulfillment from a woman’s perspective.  Take This Waltz is only going to be widely available for one more week – so see it now! The brilliantly made Louisiana swamp fable Beasts of the Southern Wild opens this weekend and more widely next weekend.  Both are on my list of Best Movies of 2012 – So Far.

The wistfully sweet and visually singular Moonrise Kingdom is another must see. Adults will enjoy Brave, Pixar’s much anticipated fable of a Scottish princess, and it’s a must see for kids.  

The story of aged Brits seeking a low-budget retirement in India, The Best Exotic Marigold Hotel, is much more than a fish-out-of-water comedy. Men In Black 3 is delightfully entertaining, as Will Smith time travels back to 1969 and meets the young Tommy Lee Jones (nailed by Josh Brolin).

To Rome with Love is an amusing Woody Allen comedy, but not one of Woody’s masterpieces. Prometheus is a striking and well-acted sci fi adventure with a horror film tinge; I recommend it for sci fi fans.

Abraham Lincoln: Vampire Hunter has blood-sucking, irony and not enough of either to justify watching it.  Your Sister’s Sister wastes a promising premise and a superb performance.

You can read descriptions and view trailers of upcoming films at Movies I’m Looking Forward To.

My DVD pick this week is the hockey comedy Goon.

Coming up on TV: Night and the City

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Richard Widmark running out of luck in THE NIGHT AND THE CITY

On July 15, Turner Classic Movies is showing the under appreciated film noir classic Night in the City (1950). Richard Widmark is superb as a loser who tries to corner the pro wrestling business in post-war London – and, as in any noir classic, it doesn’t end well for the sap.

The American director Jules Dassin had just made the noir classics The Naked City and Thieves’ Highway when he shot Night and the City in the UK. He was blackballed in the McCarthy Era and never moved back to the US.

At the request of a studio exec, Dassin created a role in Night and the City for the stunningly beautiful but emotionally fragile Gene Tierney. The cast also includes real life wrestlers Stanislaus Zbyszko and Mike Mazurki.

Night in the City (along with The Wrestler) represents wrestling on my list of Best Sports Movies, and there’s a clip of an extended wrestling scene from the movie on that page. (Also, Dassin’s Brute Force makes my list of Best Prison Movies.)

The Year of the Child Actor

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Quvenzhane Wallis in BEASTS OF THE SOUTHERN WILD

Beasts of the Southern Wild is a special film, and its star Quvenzhane Wallis carries the movie.   Although this is her first film and she was only six years old during the filming, I would not be surprised if she is nominated for the Best Actress Oscar. That’s how stirring her performance is.

As I wrote in my comments on Beasts, writer-director Benh Zeitlin was specially audacious to bet his movie on the performance of a six year old.  But we’ve seen some remarkable performance by child actors this year – and in many of my Best Movies of 2012 – So Far.

In my current pick for the top film of the year, the Dardennes brothers’ The Kid with the Bike , the story revolves around the 12-year old first time actor Thomas Doret. Doret pulls it off, delivering a performance of gripping intensity.

Although Mohammed Fellag is the lead in Monsieur Lazhar, there wouldn’t be a film without the performances by the kids, Sophie Nelisse and Emilien Neron.

Similarly, Wes Anderson’s delightful Moonrise Kingdom  is carried by newcomers Jared Gilman and Kara Hayman.  Moonrise Kingdom is their movie; even Bruce Willis, Edward Norton, Frances McDormand and Bill Murray are just along for the ride.

And in Asghar Farhadi’s A Separation, the key point of view is that of the ever watchful teenage daughter.  She desperately wants her parents back together, views everything through this prism and is powerless to make it happen.  She is played by Farhadi’s real life daughter Sarina.

Overall, it’s an uncommonly impressive year for child actors.

DVD of the Week: Goon (no, really)

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Doug Glatt is not very smart and he knows it. He struggles to find the right word in every situation. Because his only talent is the ability to knock others unconscious, he is only in demand as a bar bouncer. But Doug is not a brute – he is goodhearted and loyal, and yearns to be part of something. By chance, Doug gets hired by a minor league hockey team to become its thuggish enforcer – despite his inability to ice skate.

We get lots of funny hockey violence a la the Hanson Brothers in Slap Shot. It’s very funny when Doug mangles his every attempt at cogent conversation. The comedy also comes from Doug’s innocent fish out of water in the cynical, sleazy and cutthroat world of minor league hockey. (He’s even reverential about the team logo on the locker room floor.)

There are lots of nice comic touches. For example, when Doug becomes a sensation, one of his fans in the stands holds up a sign reading “Doug 3:69” (Doug wears jersey number 69); we glimpse the sign for only a second, but I appreciate the filmmakers planting such nuggets in the movie. Doug is also that rarity – a Jewish hockey goon, with parents horrified that he isn’t following his brother to med school.

Although plenty raunchy, Goon is a rung above the normal gross-out guy comedy because Doug is such a fundamentally good and well-meaning person. As Doug, Seann William Scott (Stifler in American Pie) plays a naive simpleton, but one fiercely committed to his core values. It’s got to be hard to play that combination, and Scott’s performance is special.

The cast is excellent. Co-writer Jay Baruchel plays Doug’s sophomoric friend. Alison Pill (Milk, Midnight in Paris) is the troubled smart girl who can’t figure out why she’s attracted to a word-fumbling hockey goon. Liev Schreiber, excellent as always, dons a Fu Manchu and a mullet to play the league’s toughest goon. Kim Coates, who almost stole A Little Help as the personal injury attorney, plays the coach.

Goon has earned the #21 spot on Wikipedia’s “Films that most frequently use the word “f**k” with its 231 f-bombs.

I Am a Ghost: a smart genre-bender, not for everybody

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I Am a Ghost is a singular ghost story about a young woman who has haunted her Victorian home since her death a century ago.  First she ambles about the house, repeating the most ordinary chores – sweeping the hall, frying eggs and the like.  Then she communicates with a medium hired to rid the house of the ghost; neither can see the other.  The medium is having a tough time because, in her life, the young woman suffered from Multiple Personality Disorder (so there are multiple personalities to guide to the Other Side).   The movie climaxes with some jolting scares.

It’s a change of pace for writer H.P. Mendoza, whose previous films have been contemporary musical comedies, including the hilarious Colma: The Musical (available on Netflix streaming).  At the screening I attended, Mendoza said that I Am a Ghost is neither low-budget, very low-budget or micro-budget – he directed it on no budget (financed on his credit cards).  Yet it looks better than some Hollywood films and is a whole lot smarter.

Besides the creepiness and the frights, the story is about memory.  The ghost thinks she is having new experiences, but she is merely reliving her past experiences, most of which are banal.  Mendoza doesn’t explain this until the audience has endured about 35 minutes of repetitive household tasks.

I Am a Ghost is only 74 minutes long.  If you go with the memory idea, it works.  If you don’t have the patience, you’ll find the first half of the film to be very tedious.

The dialogue between ghost and medium evokes a session between patient and therapist, with both becoming increasingly frustrated.  This interchange is funny and is the highlight of the film.  I Am a Ghost is a good choice for ghost story aficionados who are open to a genre-bender.

Movies to See Right Now

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Seth Rogen and Michelle Williams in TAKE THIS WALTZ

I’ve seen both Take This Waltz and Beasts of the Southern Wild.  They are special movies and each is worth the effort to see as soon as you can.  It’s easy to find Waltz right now, and Beasts opens more widely next weekend.

The wistfully sweet and visually singular Moonrise Kingdom is another must see. Adults will enjoy Brave, Pixar’s much anticipated fable of a Scottish princess, and it’s a must see for kids.   Turn Me On, Dammit! is a wise, sympathetic and funny Norwegian coming of age comedy.

The story of aged Brits seeking a low-budget retirement in India, The Best Exotic Marigold Hotel, is much more than a fish-out-of-water comedy. Men In Black 3 is delightfully entertaining, as Will Smith time travels back to 1969 and meets the young Tommy Lee Jones (nailed by Josh Brolin).

To Rome with Love is an amusing Woody Allen comedy, but not one of Wody’s masterpieces.  Prometheus is a striking and well-acted sci fi adventure with a horror film tinge; I recommend it for sci fi fans. 

Abraham Lincoln: Vampire Hunter has blood-sucking, irony and not enough of either to justify watching it.  Your Sister’s Sister wastes a promising premise and a superb performance.

You can read descriptions and view trailers of upcoming films at Movies I’m Looking Forward To.

My DVD pick last week was the recent Oscar Winner for Best Picture, the magical almost-silent romance The Artist.

Beasts of the Southern Wild: a child’s indomitable spirit, brilliantly depicted

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Here’s a great movie unlike any you have seen before.  A small girl and her dad live off the grid in a tiny hamlet on a Southern Louisiana tidal bayou.  Responsible for their day-by-day survival by fishing and gathering, the dad is stressed, self-medicating and ailing.   Then a killer hurricane threatens to obliterate their home, their way of life and them.

The story is told from the child’s point of view. The audience experiences both her reality as she understands it and, when she switches off reality, her imagination.  In her mind, threats can take the form of prehistoric beasts called aurochs.  Writer-director Benh Zeitlin shot the film from child height with a handheld camera, and used an entirely untrained cast.  The result is a boisterous panoply that celebrates the indomitable human spirit.

In her first role, Quvenzhane Wallis carries the movie. She is on screen at least 70% of the time, and her performance is stirring.  Zeitlin audaciously bet his debut feature on the performance of a six-year-old.  He went all in and won the jackpot.

Beasts of the Southern Wild is a special film, and one of my Best Movies of 2012 – So Far.  Universally critically acclaimed, it won the Grand Jury Prize at Sundance and the first film award at Cannes.  You can find it in some theaters this weekend, but it will be more widely available on July 13.

Take This Waltz: a women’s movie, in the best possible sense

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Take This Waltz is a woman’s movie, but in the best possible way.  It’s not a shallow chick flick and there’s no wedding scene.  Instead, it’s an exploration of attraction and fulfillment from a woman’s perspective.

Margot (Michelle Williams) and Lou (Seth Rogen) have been happily married for five years.  They are affectionate and playful with each other, but they have hit a patch where it’s easy for one to kill the other’s buzz and for a romantic moment to misfire.  But Lou is a fundamentally good guy who loves Margot, and he is definitely not driving her into the arms of another man.

But Margot meets Daniel (Luke Kirby) and is fascinated by him. He is completely attentive – not in a chocolates and flowers kind of way, but by observing her deeply and pointing out things about her personality that she hasn’t recognized herself.  Daniel exhilarates her, and she can’t keep herself from engaging with him.

Michelle Williams is once more transcendent.  She is our best actress.  We know that Rogen can play a goodhearted, ambling guy, but when his character is profoundly hurt, he delivers a tour de force.  Sarah Silverman co-stars as Margot’s sister-in-law, a recovering alcoholic whose relapse sparks a fierce moment of truth telling.

Take This Waltz could not have been made by a man.  In particular, there is a remarkable shower scene in which women of a variety of ages and body types have the type of frank conversation that women share with each other.  Although they are all naked and fully visible, the scene is shot as to be devoid of any eroticism or exploitation.  All that is there is the content of the conversation and the female bonding.

33-year-old Canadian actress Sarah Polley wrote and directed;  Polley’s debut feature was Away From Her, my pick for best movie of 2006.

Take This Waltz is a beautifully shot film, but generally not in a showy way.  The film opens with Williams backlit as she prepares a batch of muffins; it’s a simple kitchen scene, but Polley showcases Williams as Margot reflects on her choices and their consequences.

In one extraordinary scene, the camera swirls with Margot and Daniel on an amusement park ride blaring “Video Killed the Radio Star”.  Their faces show fun, then an urge to kiss, then regret that they can’t kiss, then fun again and, finally, disappointment when the music and the ride end way too harshly.

Later, Polley reprises the muffin baking scene, paired with “Video Killed the Radio Star” in an unexpectedly rich way.  After just two features, Sarah Polley is established as one of today’s top filmmakers. Take This Waltz makes my list of Best Movies of 2012 – So Far.

Andy Griffith: much more than cornpone

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Today we remember a great TV star who left us with one of the great performances in movie history – Andy Griffith.

During every year of the 1960s, Griffith entered the living rooms of most Baby Boomers as Sheriff Andy Taylor on The Andy Griffith Show and in guest appearances on Mayberry R.F.D.   Younger folks knew him from another ten seasons on television starring as Matlock.

But, in his very first feature film, Griffith shed the likeability and decency that made him a TV megastar and became a searingly unforgettable villain.  In the 1957 Elia Kazan classic A Face in the Crowd, Griffith plays Lonesome Rhodes, a failed country guitar picker who is hauled out of an Arkansas drunk tank by talent scout Marcia Jeffries (Patricia Neal).  It turns out that he has a folksy charm that is dynamite in the new medium of television.  He quickly rises in the infotainment universe until he is an A List celeb and a political power broker. To Jeffries’ horror, Rhodes reveals himself to be an evil, power hungry megalomaniac. Jeffries made him – can she break him?  The seduction of a gullible public by a good timin’ charmer predicts the careers of Ronald Reagan and George W. Bush, although Lonesome Rhodes is meaner than Reagan and less ideological than Bush.

Amazingly, A Face in the Crowd did not garner even a nomination for an Academy Award for Griffith – or for any of the other filmmakers.  Today, it is well-regarded, having been added to the library of Congress’ preservation list in the US National Film Registry and rating 91% in critical reviews tallied by Rotten Tomatoes.  It is one of the greatest political films.

Thanks, Andy.

Turn Me On, Dammit!: wise, sympathetic and funny

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Alma is pushing 16 and lives in rural Norway, in a tiny community so remote that her mom works in a turnip factory.  Her hormones have been unleashed, and she can think of nothing but sex.  She spends her free time having poignantly innocent (and incomplete) sexual fantasies, masturbating and running up phone sex bills.  Her schoolmates misinterpret her encounter with a boy and ostracize her as the village slut.  So begins this wise, sympathetic and funny Norwegian coming of age comedy.

The humor comes from the film’s knowing view of human nature and, especially, of teenagers.  One of Alma’s pals aspires to move to Texas and end capital punishment by raising awareness.  For another, no amount of lip gloss can be enough.  None of them can figure out how to pilot their budding urges without embarrassing awkwardness.  And all the while, Alma’s beleaguered mom tries to figure out what to do with her.

The laughs are mostly chuckles instead of guffaws.  Turn Me On, Dammit! is only 76 minutes of long, which is just the right length for this story.  It’s a good-hearted and funny movie.