Despite dismal reviews Jack and I enjoyed this documentary by comedian/actor Kevin Pollak, his film directing debut, starring a host of comedians and actors talking about their craft. Just look at this cast list! I sometimes listen to comedian Marc Maron's podcasts (entitled WTF with Marc Maron) and happened to hear him discussing this movie with Pollak so was glad it came to town for a short run two weeks ago.
Ben Folds' and Alicia Witt's (she played the daughter on Cybill and many other parts) names are in the credits for the music (I think they used to be an item) but only his is on imdb.
You can stream the movie right now on iTunes, amazon, google play, and vudu, if you choose, as we did, to ignore Rotten Tomatoes (critics 29%, audiences 47).
Sunday, May 17, 2015
Amreeka (2009)
I quite liked this drama of a single mother and her teenage son who move from their native Palestine to a small town in Illinois. It was on my netflix list after a win at Cannes, and Independent Spirit Award and Gotham Award nominations, and director/writer Cherien Dabis, born in Omaha to a Palestinian father and Jordanian mother, was one of Variety's 10 directors to watch in 2009. Nisreen Faour is delightful as the mom Mouna, as is Melkar Muallem as her son Fadi (pronounced in his language fa-DEE, and by his clueless American teacher as fatty, much to the delight of the school bully). The one face I did know was Alia Shawkat (last blogged in The Oranges) as Fadi's cousin and American schoolmate.
When my cable was out for several days in late March I watched it on a DVD. You can buy it here or stream it on iTunes or amazon.
When my cable was out for several days in late March I watched it on a DVD. You can buy it here or stream it on iTunes or amazon.
Rotten Tomatoes critics come in at 87 and audiences at 75. Worth seeing some day.
Far from the Madding Crowd (2015)
Jack and I liked a lot this beautiful drama about a strong young woman, a feminist ahead of her Victorian England time, and the life she carves out for herself despite three suitors trying to tie her down. Carey Mulligan, as leading lady Bathsheba Everdene, smiles much more than she did in Inside Llewyn Davis and Matthias Schoenaerts, as shepherd Mr. Oak, smolders just as he did in Rust and Bone. Michael Sheen's Mr. Boldwood bears less resemblance to Tina's Fey's wishy-washy boyfriend, whom he played in Admission, and more to the deep and conflicted William Masters in the excellent Showtime series Masters of Sex. Tom Sturridge (last blogged in On the Road) is also good as shifty Sergeant Troy.
Danish director Thomas Vinterberg, acclaimed for The Celebration (Festen - 1998), creates a magnificent world with the help of screenwriter David Nicholls (most recently adapted his own novel into One Day), who adapted Thomas Hardy's 1874 novel, and cinematographer Charlotte Bruus Christensen. Two-thirds of the movie is shot outdoors in magnificent English settings.
The lovely music by Craig Armstrong (Ray (2004), Moulin Rouge! (2001), The Magdalene Sisters (2002), Elizabeth: The Golden Age (2007), Wall Street: Money Never Sleeps, The Great Gatsby) can be streamed in its entirety on this link. Mulligan sings in the movie and over the credits with a sweet, clear alto.
I did see the original 1967 version with Julie Christie, Alan Bates, Peter Finch, and Terence Stamp, but I don't remember it. What I do remember is that it was my first and only date with a family friend (dating would have been a bad idea but he remains a good friend to this day) and something bad had happened to him that day--maybe a grandparent in the hospital? I'll have to ask him.
You don't need to take our word for it--Rotten Tomatoes' critics are averaging 85% and its audiences 78. Do see it on the big screen while you can. Many scenes in low light would be muddy on your home televisions.
Danish director Thomas Vinterberg, acclaimed for The Celebration (Festen - 1998), creates a magnificent world with the help of screenwriter David Nicholls (most recently adapted his own novel into One Day), who adapted Thomas Hardy's 1874 novel, and cinematographer Charlotte Bruus Christensen. Two-thirds of the movie is shot outdoors in magnificent English settings.
The lovely music by Craig Armstrong (Ray (2004), Moulin Rouge! (2001), The Magdalene Sisters (2002), Elizabeth: The Golden Age (2007), Wall Street: Money Never Sleeps, The Great Gatsby) can be streamed in its entirety on this link. Mulligan sings in the movie and over the credits with a sweet, clear alto.
I did see the original 1967 version with Julie Christie, Alan Bates, Peter Finch, and Terence Stamp, but I don't remember it. What I do remember is that it was my first and only date with a family friend (dating would have been a bad idea but he remains a good friend to this day) and something bad had happened to him that day--maybe a grandparent in the hospital? I'll have to ask him.
You don't need to take our word for it--Rotten Tomatoes' critics are averaging 85% and its audiences 78. Do see it on the big screen while you can. Many scenes in low light would be muddy on your home televisions.
Tuesday, May 12, 2015
Clouds of Sils Maria (2014)
What a visual feast! Magnificent photography of Sils Maria in Austria and other alpine locations is matched by the beauty of Juliette Binoche and Kristen Stewart, who play a 40-something actress dealing with aging and her 20-something personal assistant. The plot centers on Binoche's (last blogged in Words and Pictures) Maria preparing a remake of the play that made her famous, only now she will play the older woman and a new starlet, played by Chloe Grace Moretz (most recently in Laggies), will be the ingenue, originally Maria's part, in the play-within-the-movie. Moretz's Jo-Ann doesn't show up until about halfway through, but the relationship of Maria and Stewart's (last in Still Alice) Valentine is central.
Apparently Binoche suggested the plot to director/writer Olivier Assayas (most recently blogged for Summer Hours, which also featured Binoche) and he immediately wrote the script.
Cinematographer Yorick Le Saux (I Am Love, as well as Arbitrage, though I failed to mention him in the latter) was nominated for a César (French equivalent of Oscar) and, if the movie is eligible for our Oscars, I imagine he'll be recognized here as well.
No soundtrack is available, but here's an abbreviated list, mostly classical.
Critics on Rotten Tomatoes are averaging 91% to audience's 71. Jack and I are somewhere in the middle. Though gorgeous, this is not for the impatient. Slow down, relax, but hurry to see it on the big screen before it closes Thursday.
Apparently Binoche suggested the plot to director/writer Olivier Assayas (most recently blogged for Summer Hours, which also featured Binoche) and he immediately wrote the script.
Cinematographer Yorick Le Saux (I Am Love, as well as Arbitrage, though I failed to mention him in the latter) was nominated for a César (French equivalent of Oscar) and, if the movie is eligible for our Oscars, I imagine he'll be recognized here as well.
No soundtrack is available, but here's an abbreviated list, mostly classical.
Critics on Rotten Tomatoes are averaging 91% to audience's 71. Jack and I are somewhere in the middle. Though gorgeous, this is not for the impatient. Slow down, relax, but hurry to see it on the big screen before it closes Thursday.
Tuesday, May 5, 2015
Monkey Kingdom (2015)
As usual, the latest Disneynature documentary is magnificent, about Maya, a Toque Macaque monkey living at the fringes of a socialized troop in Sri Lanka, not far from civilization. There's a definite plot, which is as compelling as if it had been scripted just for these anthropomorphic creatures. Tina Fey's (last blogged for This Is Where I Leave You) narration sounds like she wrote it, but no writing credit is given, so I can't be sure.
Even before last year's Disneynature documentary Bears (this year's is the eighth), we learned that no special effects are employed. It's all extraordinary camera work and the mind-boggling patience of the filmmakers, who shoot for over a year and whittle it down to less than 90 minutes so your kids have a chance of staying in their seats. It's rated G and there's no mating on screen.
I don't think it's a spoiler to tell you that the movie opens with a new recording of Hey, Hey, We're the Monkees by its composer Michael Nesmith (listen here). It's totally charming. There's another old song used to humorous effect, which I think you should discover for yourself, and a wonderful soundtrack by Harry Gregson-Williams (profiled in Cowboys & Aliens). Here's one track for your enjoyment.
One scene had me laughing uncontrollably for several minutes. Ask me if you want to know but I don't want to spoil the surprise for everyone.
These documentaries always show the "making-of" shots during the credits so don't run off. You'll see the camera people right there with the monkeys.
Rotten Tomatoes' critics come in at 93% and its audiences at 81. Sorry we couldn't get to see this until it left my neighborhood. But you should see it on a big screen unless you have a high quality home theatre (DVD release is estimated for August).
Even before last year's Disneynature documentary Bears (this year's is the eighth), we learned that no special effects are employed. It's all extraordinary camera work and the mind-boggling patience of the filmmakers, who shoot for over a year and whittle it down to less than 90 minutes so your kids have a chance of staying in their seats. It's rated G and there's no mating on screen.
I don't think it's a spoiler to tell you that the movie opens with a new recording of Hey, Hey, We're the Monkees by its composer Michael Nesmith (listen here). It's totally charming. There's another old song used to humorous effect, which I think you should discover for yourself, and a wonderful soundtrack by Harry Gregson-Williams (profiled in Cowboys & Aliens). Here's one track for your enjoyment.
One scene had me laughing uncontrollably for several minutes. Ask me if you want to know but I don't want to spoil the surprise for everyone.
These documentaries always show the "making-of" shots during the credits so don't run off. You'll see the camera people right there with the monkeys.
Rotten Tomatoes' critics come in at 93% and its audiences at 81. Sorry we couldn't get to see this until it left my neighborhood. But you should see it on a big screen unless you have a high quality home theatre (DVD release is estimated for August).
While We're Young (2014)
Jack and I are big fans of the cringe-y work of director/writer Noah Baumbach, and predictably enjoyed his latest, about a Manhattan couple in their 40s who befriend a 20-something hipster couple. Ben Stiller (last blogged in The Secret Life of Walter Mitty) and Naomi Watts (most recently in Birdman) are wonderful as the older ones, and Adam Driver (last in Tracks) and Amanda Seyfried (most recently in A Million Ways to Die in the West) are no slouches as the kids. Charles Grodin (my favorites of his work include Catch-22 (1970), The Heartbreak Kid (1972) which was remade in 2007 with Stiller in Grodin's role, King Kong (1976), Heaven Can Wait (1978), Real Life (1979), Sunburn (1979), It's My Turn (1980), Seems Like Old Times (1980), The Incredible Shrinking Woman (1981), The Woman in Red (1984), Ishtar (1987), Dave (1993), and a series arc on the series Louie) joins in the second act as Watts' character's father. Interesting supporting actors include former Beastie Boy Adam Horovitz, Dree Hemingway (née Crisman, daughter of Mariel), Peter Yarrow (sans Paul and Mary), and Peter Bogdanovich.
I last wrote about Baumbach in Frances Ha!, which also featured Driver. Included in the wardrobe were were a couple of T-shirts I just loved. One says "some crappy band" and the other, "some college I didn't go to."
You can stream some of the songs on this youtube playlist but I didn't find any recordings online of the soundtrack by James Murphy (the LCD Soundsystem lead singer also scored Greenberg for Baumbach).
We did rush to see this when it was first released here about three weeks ago, but I couldn't get around to writing about it until tonight. It's still playing on a few screens but would not suffer from being seen on DVD (release is estimated for next month). Rotten Tomatoes' critics average 84% and its audiences 61. It's not for everyone but we liked it a lot.
I last wrote about Baumbach in Frances Ha!, which also featured Driver. Included in the wardrobe were were a couple of T-shirts I just loved. One says "some crappy band" and the other, "some college I didn't go to."
You can stream some of the songs on this youtube playlist but I didn't find any recordings online of the soundtrack by James Murphy (the LCD Soundsystem lead singer also scored Greenberg for Baumbach).
We did rush to see this when it was first released here about three weeks ago, but I couldn't get around to writing about it until tonight. It's still playing on a few screens but would not suffer from being seen on DVD (release is estimated for next month). Rotten Tomatoes' critics average 84% and its audiences 61. It's not for everyone but we liked it a lot.
Ex Machina (2015)
I loved this thriller about a computer programmer named Caleb, his boss Nathan, and the robot Ava, created by Nathan. Jack wasn't as blown away as I, but he did say it's "very good." This is one of those stories where you should avoid spoilers. I did not see that ending coming at all (and if anyone who has seen this movie wants to discuss the ending, which one contributor of imdb considered a "goof," email me for my theory). The cast is fantastic, with Domhnall Gleeson (last blogged in Calvary) as Caleb, Oscar Isaac (most recently in A Most Violent Year) as Nathan, and Alicia Vikander (last in Anna Karenina, which also featured Gleeson) as Ava.
This is the directing debut for screenwriter Alex Garland (profiled for Never Let Me Go, another Gleeson picture, though I failed to mention his supporting role when I wrote about it five years ago) and it's gripping. I must mention the spectacular production design, especially Nathan's residence, by Mark Digby (A Mighty Heart (2007), Never Let Me Go, and lauded for Slumdog Millionaire), as well as Rob Hardy's (The First Grader) cinematography.
Lucky for us all, the score, by Portishead's Geoff Barrow (most recently in these pages for Exit Through the Gift Shop) and Ben Salisbury, can be streamed from this link. It's appropriately trippy.
Rotten Tomatoes' critics are on the same page as I am, averaging 91%, as are its audiences at 89%. Do check this out at your neighborhood big screen.
This is the directing debut for screenwriter Alex Garland (profiled for Never Let Me Go, another Gleeson picture, though I failed to mention his supporting role when I wrote about it five years ago) and it's gripping. I must mention the spectacular production design, especially Nathan's residence, by Mark Digby (A Mighty Heart (2007), Never Let Me Go, and lauded for Slumdog Millionaire), as well as Rob Hardy's (The First Grader) cinematography.
Lucky for us all, the score, by Portishead's Geoff Barrow (most recently in these pages for Exit Through the Gift Shop) and Ben Salisbury, can be streamed from this link. It's appropriately trippy.
Rotten Tomatoes' critics are on the same page as I am, averaging 91%, as are its audiences at 89%. Do check this out at your neighborhood big screen.
Monday, May 4, 2015
Woman in Gold (2015)
Jack and I really liked this, based on the true story of a holocaust survivor who sued the Republic of Austria to get back the famous Gustav Klimt painting stolen from her family by the Nazis. Helen Mirren is wonderful as always as the lead and Ryan Reynolds continues to grow in his strongest dramatic role yet (lawyer Randol Schoenberg) after the mayhem of Ted, slapstick of The Change-Up and The Proposal, and posturing in the excellent Adventureland (Mirren was last blogged in The Hundred Foot Journey). Daniel Brühl (most recently in A Most Wanted Man) co-stars as their European ally, and I was happy to see Tatiana Maslany, the very talented star of the BBC-America series Orphan Black (in which she plays quite a few clones--each with different personalities, body language, and accents), as Mirren's character Maria Altmann as a young woman speaking German.
Director Simon Curtis (last blogged for My Week with Marilyn) directs from a script by actor and playwright Alexi Kaye Campbell, who adapted Altmann and Schoenberg's memoir and makes his screenwriting debut here.
Hans Zimmer (most recently scored Chappie) composed the soundtrack with Martin Phipps (new to me). Here's one song-- the album has not been released.
Once again the critics have it all wrong. Ignore their 53% on Rotten Tomatoes and instead heed the audiences' 86%...and us! See it on the big screen if possible.
Director Simon Curtis (last blogged for My Week with Marilyn) directs from a script by actor and playwright Alexi Kaye Campbell, who adapted Altmann and Schoenberg's memoir and makes his screenwriting debut here.
Hans Zimmer (most recently scored Chappie) composed the soundtrack with Martin Phipps (new to me). Here's one song-- the album has not been released.
Once again the critics have it all wrong. Ignore their 53% on Rotten Tomatoes and instead heed the audiences' 86%...and us! See it on the big screen if possible.
Subscribe to:
Posts (Atom)