Movies

Gloria: resiliency, thy name is woman

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GLORIA
GLORIA

In the Chilean gem Gloria, we meet a 58-year-old woman who has been divorced for ten years.  This ain’t An Unmarried Woman where a woman must learn to adapt and become independent.  She supports herself with an office job, and she gets along with her adult kids, but they have their own lives.  She doesn’t stay cooped up in her apartment, she tries out yoga and laugh therapy and cruises a certain Santiago disco – a meat market for the over 50 set.  She already is plenty independent, and she knows what she wants – some adult companionship and a little nookie.

On one outing to the disco, she meets a distinguished and sweet-tempered gentleman who is a great dancer and who absolutely adores her.  Of course, he also has some flaws, to be discovered later.  Gloria eagerly embraces the good things that happen to her, and when there are bumps in her road, she refuses to wilt.

Gloria was a big hit at last year’s Berlin Film Festival.  Part of Gloria’s appeal to some audiences is, no doubt, an unusual amount of nudity and sex for a film about people in their late 50s and 60s.  But I think the best part about Gloria is the resiliency of the main character – she takes her lumps for sure but refuses to withdraw into victimhood.

Paulina Garcia is extraordinarily good as Gloria – her performance carries the movie.  She has the ability to suffer an indignity without becoming pathetic.  Sergio Hernandez is very, very good as Gloria’s new flame, as is Alejandro Goic as her ex.  Gloria is a crowd pleaser.

Dallas Buyers Club: worth it for Jared Leto

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Jared Leto and Matthew McConaughey in DALLAS BUYERS CLUB
Jared Leto and Matthew McConaughey in DALLAS BUYERS CLUB

Dallas Buyers Club is a well-paced us-against-bureaucracy drama.  It’s yet another fine acting performance by its star, Matthew McConaughey, who – in a superb second career phase – has turned in a remarkable spate of winning performances in the past three years (Killer Joe, The Paperboy, Mud, Magic Mike, The Wolf of Wall Street, True Detective).  Set in the early panicky days of the AIDS epidemic, it’s the based-on-fact story of a homophobic Texas cowboy who contracts AIDS and wages a guerrilla war against the FDA, Big Pharma and the medical establishment to distribute non-approved but effective medications.  Dallas Buyers Club has been nominated for the Best Picture Oscar but I found it too formulaic to be THAT good.

The best reason to see Dallas Buyers Club is the supporting performance by Jared Leto as a drag queen.  I am generally skeptical about performances that get a lot of buzz because the roles require the actor to take on a handicap or another gender, to age many years or some other flashy crap  – but Leto is the real deal here, and he deserves his Academy Award nomination – and I would be pleased if he won the Oscar. He goes beyond the wise cracking queen to plumb many layers of charisma, addiction, self-expression and family rejection. It’s a profoundly affecting and ultimately  heartbreaking performance.  (And, in a couple early scenes, he’s actually prettier than the female lead Jennifer Garner.)

Drinking Buddies: an unusually genuine romantic comedy

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Drinking Buddies

In Drinking Buddies, Olivia Wilde plays the only female employee of an urban craft brewery.  She and her co-worker best buddy (Jake Johnson) eat their lunches together every day, kid around on the job and join the crew for beers after work.  They really connect and share trust with each other, and the two have achieved an enviable level of interpersonal comfort.  If this were the typical idiot Hollywood romantic comedy, we could stop watching now, because we would know that they would dump their current significant others (Anna Kendrick and Ron Livingston) in the third act because THEY ARE MEANT FOR EACH OTHER.

But, instead, writer-director Joe Swanberg surprises us with an unusually genuine romantic comedy.  The characters act and react – not in the way we’ve come to expect rom com characters to act – but as unpredictably as would real people.  Real people can be complex.  Real people can make choices out of short-term self-gratification – or they can make sacrifices for the greater good – you don’t always know what’s coming.  Swanberg trusts that the audience isn’t demanding a tired formula – and it pays off for him and for us.

Swanberg has also made the first Mumblecore movie that I’ve liked.    I was on the verge of writing off the entire cinematic genre because I don’t like to watch self-involved twits obsess over their own avoidable, First World problems.  Although Swanberg’s male characters have the Mumblecore bedhead, he makes this movie about a situation that could happen to any of us – discovering a potential soul mate outside our existing relationship.  And the characters don’t wring their hands and kvetch – they struggle through the untidy challenge and move on.

The cast is solid, and the glammed-down Olivia Wilde is especially very good here.

Drinking Buddies is available on DVD from Netlix and Redbox and streaming from Amazon, iTunes, Vudu, YouTube, GooglePlay and XBOX Live.

Gravity: woman against nature – an infinitely vast nature

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Having been nominated for a Best Picture Oscar, Gravity has been re-released in theaters in 3D.  Gripping and visually spectacular, Gravity is less a sci-fi film than it is a basic Man Against Nature (mostly Woman Against Nature) survival tale set in space. A catastrophe strikes a space station, and it’s in doubt whether the two survivors (Sandra Bullock and George Clooney) will be able to make it back to Earth or be forever lost in space.

The skeleton of the story may be simple, but Gravity is an exceptional experience because writer-director Alfonso Cuarón, in a triumph of special effects, captures both the messy nuts and bolts of space travel and the potential lethality of the space environment. I’ve seen my share of space movies, but I’ve never experienced a better sense of the terrifying dark and silent vastness of space. A human in space is suspended in an infinity in which, without a man-made propulsion device, he/she can only helplessly drift. Space is not so much hostile to humans as it is indifferent to our tiny existences.

The technical marvels of manned space missions have dulled us to the reality that space-walking astronauts are just one broken tether or one lost grip from floating away and becoming lifeless space lint. Cuarón brings his audience into that reality, and keeps our tension acute during Ms. Bullock’s Wild Ride.

The Mexico City-born Cuarón will certainly receive an Academy Award nomination for directing. Now Cuarón is an amazingly gifted filmmaker – he also wrote and directed Children of Men, my #2 movie of 2006 and Y Tu Mama Tambien, my #1 movie of 2002. Along the way, he also directed one of the best Harry Potter movies – Harry Potter & The Prisoner of Azbakan (the one with the Dementors, Sirius Black and the werewolf).

There are essentially only two characters on the screen, and Cuarón benefits from two instantly sympathetic movie stars, Sandra Bullock and George Clooney. Clooney, of course, can do anything on the screen, and he nails the less complex role of a The Right Stuff style space jock. (In a wonderful nod to Apollo 13 and The Right Stuff, Ed Harris voices the earth-based NASA control chief.)

I’m generally not a huge fan of Bullock but acknowledge her ability to sometimes excel in comedy (The Heat) and to bring something extra to action (Speed). But I’ve gotta say that she’s never been better than she is in Gravity. Here she plays the Everyman role of a person with ordinary skills thrust into overwhelming peril – the kind of cinematic part that made icons out of James Stewart and Tom Hanks. There isn’t a false moment in Bullock’s performance, and she keeps us rooting for her on whole wild ride.

Gravity currently has an unbelievably high 96 Metacritic rating because critics are rightly acknowledging Cuarón’s achievements in directing and special effects. Gravity is without flaws, and it’s damn entertaining, but I’m not going to rate it as the year’s best; I think that some indies and foreign films are more emotionally compelling and have more textured stories. But Gravity is definitely the one of the best Hollywood films of the year and deserves its Oscar nod.

Her: boy meets operating system

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her1Her, the latest from writer-director Spike Jonze is about as inventive at his Being John Malkovitch – and that’s really saying something.  Joaquin Phoenix stars as a lonely guy fascinated by his breathtakingly intuitive new computer operating system (voiced by Scarlett Johannson).  This new operating system is SO intuitive that it molds itself to please him, constantly fine tuning itself into the image of his ideal companion – and he falls in love.

It’s set in a technologically not-so-distant future (but far enough in the future that everyone in LA lives and works in highrises and takes transit, even to the beach).  Along with the absurd premise, Jonze sprinkles in some brilliantly funny touches.  There’s a blind date with a knockout (Olivia Wilde) that spirals out of control with stunning suddenness.  There’s an inspired bit with a waitperson interrupting the diners with “How’s everything?” (one of my personal pet peeves) at precisely the most awkward moment possible.  A video game figure is cuddly looking but shockingly abusive.  Here’s one more sly touch – a future male fashion of awkwardly high-waisted pants.  Lots of smart laughs.

Her is one of the more thought-provoking films of the year – why did the main character’s most recent relationship fail?  Does he really know what he wants and needs? Can he give enough to make a reciprocal relationship work?

Joaquin Phoenix is very good, as are Wilde, Kirsten Wiig, Chris Pratt, Rooney Mara and Amy Adams.  Scarlett Johannson, however, is a revelation; equipped only with her husky voice, she dominates the film.  It’s an extraordinary performance.

All this being said, Her is not a perfect film – it drags in places.   But between Johannson’s performance and Jonze’s wacky but thought-provoking story, Her is a winner – and on my Best Movies of 2013.

Touchy Feely: just watch the trailer instead

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Josh Pais and Rosemarie DeWitt in TOUCHY FEELY

OK, maybe I just shouldn’t keep expecting writer-director Lynn Shelton to make the first mumblecore movie that I will like.  Touchy Feely begins with a promising premise – a massage therapist (Rosemarie DeWitt)  suddenly develops an aversion to touching the human body, which understandably threatens both her career and her relationship with her boyfriend.  Unfortunately, Shelton takes both the premise and the excellent cast and crashes them into a crater of boredom.

Shelton made last year’s Your Sister’s Sister (also with DeWitt), which was really good for about 58 minutes, until it petered out in a senseless musical interlude and a montage of rainy bike riding.  In Touchy Feely, the massage therapist addresses her affliction by moping and yakking and encountering Ron Livingston and moping and yakking some more.  There’s a fun thread about her quirky uncle’s dental practice, but that’s entirely disconnected from the protagonist’s story.

DeWitt was exceptional in Your Sister’s Sister and uniformly excellent in Rachel Getting Married, Promised Land and Margaret – and Touchy Feely is not DeWitt’s fault.  The fine actors Ellen Page, Scoot McNairy (Argo), Alison Janney and Josh Pais are similarly wasted.

Now I tend to like character-driven, talky movies.  But I don’t like to watch self-involved twits obsess over their own avoidable, First World problems.  That pretty much describes the mumblecore genre, especially when the male characters have bedhead.  (This movie could have been even worse – the Gigli, Ishtar or Moment by Moment of mumblecore – had Greta Gerwig played Alison Janney’s role.)

There’s one really funny scene in Touchy Feely – where Alison Janney introduces the painfully awkward Josh Pais to Reiki.  Other than that, just watch the trailer – it’s much better than the movie and it will cost you less than three minutes of your remaining lifetime.

Touchy Feely is available on DVD from Netflix and streaming on Netflix Instant, Amazon, iTunes, Vudu, Google Play and XBOX Video.

The Past: how life resists our desire to make everything tidy

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bejo In the French movie The Past, a French woman has requested that her estranged husband return from Iran to expedite their divorce; he obliges and walks into a family life that gets messier by the minute.  Why does she suddenly want the divorce right now? Can she marry her current boyfriend?  Who are the fathers of all of her kids?  What happened to her current boyfriend’s wife – and why?  As the answers are revealed one-by-one, our understanding of the events and characters evolve.

This shifting viewpoint is similar that into writer-director Asghar Farhadi’s Oscar-winning Iranian film A Separation, which I summarized as “brilliant film/tough to watch”.  Farhadi’s art reflects life at its messiness – especially how life resists our desire to make everything tidy and symmetrical.  It all makes for a compelling drama – we care about each character and what’s going to happen.  Each development further complicates the story – all the way up to the movies final shot, which adds another pivotal complication.

The Artist’s Berenice Bejo won Best Actress at Cannes for playing the woman completely overstressed by the pressures that her own choices have brought upon her; (her careworn character is just about 180 degrees from Peppy Miller in The Artist).  The acting is uniformly excellent, and especially by the child actors.

One more thing – in writing and directing the part of the teenage daughter, Farhadi shows that he has a superb understanding of teenage girls.  He captures the mix of self-absorption, volatile unpredictability and the paradoxical yearning for both independence and parental protection, while avoiding turning the character into a sitcom brat.  Indeed, he’s done it before, having directed his own teenage daughter to an excellent performance in A Separation.  This is one of his most notable gifts as a filmmaker.

The realism of The Past may cause some viewers to reflect on their own family drama, so not everyone will find it enjoyable.  Nevertheless, it’s an admirable and thought-provoking story told so very well – right up to that final shot.

All Is Lost: resilience meets hopelessness

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all is lostJ.C. Chandor’s All Is Lost begins with Robert Redford reading a farewell letter to an unidentified someone.  Then it flashes back to a boating mishap eight days earlier. For the rest of the film there is only one character and there are only three more lines.  Redford plays a solo yachtsman, adrift in the middle of the vast Indian Ocean, who must deal with a disabled (and then shipwrecked) boat, storms and other calamities.  All alone. With his survival at stake.

The protagonist is unusually resourceful but his resilience is tested by each catastrophe and the increasing hopelessness of his situation.  The entire time, we’re watching only Redford, and gauging his thoughts and feelings from his expression and his actions.  It’s a powerful experience.

Chandor showed a lot of promise with last year’s Wall Street thriller Margin Call, and he has another winner with All Is Lost.

White Reindeer: wickedly deadpan for the Holidays

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white reindeer“Autumn is my stripper name.  My real name is Fantasia.”

I think that’s pretty funny. If you think so, too, you should watch White Reindeer on VOD. In this dark and subversive comedy, we meet a comfortable suburbanite who enjoys going overboard at Christmastime; suddenly, her husband is killed and she plunges into shock, grief and various manifestations of depression. Believe it or not, this is a comedy, and what makes it so funny is her deadpan reaction to each of the secondary indignities she undergoes. As she tries to cope with her loss, she learns some unexpected things about her late husband and winds up partying with strippers, dabbling in shoplifting and visiting a neighbors’ creepy swingers mixer. It’s all subversively funny.

White Reindeer is available streaming on Amazon, iTunes, Sundance Now, GooglePlay and XBOX.

Me and You: looking for solitude, finding adventure

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ME AND YOU

In the Italian coming of age dramedy Me and You, we meet fourteen-year-old Lorenzo with his pimply face, see through mustache and bad attitude.  Lorenzo lives with his mom in a comfortable Rome apartment and yearns for some low-pressure solitude. Telling his mom that he’s off to a weeklong ski holiday with schoolmates, he instead hides out in their apartment’s basement storage unit.  He has stocked the basement with his favorite foods, it has a bathroom and he can listen to his tunes on headphones.  It’s all looking up for him until his heroin-addicted older half-sister Olivia intrudes, looking for a place to go cold turkey.

Lorenzo resents the intrusion, but Olivia threatens to tell his mom.  It turns out that the two don’t really know each other. (Lorenzo’s dad had left Olivia’s mom for his mom – and the two mothers don’t communicate.)  The siblings bicker.  As any 14-year-old would be, Lorenzo is fascinated by this young woman.  Still immature herself, she has already lived a life – and there’s much Lorenzo can learn about the adult world from Olivia.  Perhaps they can even bond for the first time as brother and sister…Lorenzo isn’t going to get his solitude, but he may get an unforgettable adventure instead.

There’s a lot of humor in Me and You, primarily stemming from the ski trip ruse and the sibling interactions.  Me and You also contains a very realistic and unvarnished depiction of detox and relapse.

This is 72-year-old Italian director Bernardo Bertolucci’s first film since The Dreamers in 2003 (my choice for the best film of that year).  Bertolucci, of course, is the writer-director of Last Tango in Paris (which I don’t think holds up well today) and The Conformist, 1900, The Last Emperor and The Sheltering Sky (which still stand up as excellent films).  With The Dreamers and Me and You, Bertolucci seems to be matching his finest work.

I saw Me and You at the San Francisco International Film Festival; it is still waiting for a US theatrical release.