“If you do not care about this class, then neither do I”

Larry Crowne: directed by Tom Hanks; written Tom Hanks and Nia Vardolos

I pay so little attention to general critical consensus that it was mere happenstance which led me to the Rotten Tomatoes page of Larry Crowne where I saw what a critical tongue lashing it had taken. And, in a way, I think that Larry Crowne is one of those films which exposes all that is wrong with the mob psychology tendencies that tend to overtake film criticism at times. For the record, I’d hardly intimate that it’s an excellent film but what’s interesting about Larry Crowne is that despite its cast of generally big names from Tom Hanks to Julia Roberts to Taraji P. Henson to Bryan Cranston and son on, the film is comfortable being a commendable dramedy about a man – somewhat tritely – finding “himself”. Hanks and Roberts are stars of such great megawatts that by default one demands that a film of theirs be an unbridled success, anything less is an unmitigated failure. And, Larry Crowne is far from a massive successive but I curse the black-and-white world where because it’s not a success it means that it’s a failure.

I would guess that much of the trouble comes in the way that it was advertised. The scant bits of ads I paid attention to seemed to pitch the film as some sort of zeitgeist film looking at how unemployment is affecting the middle class. And, true, the film begins with Larry getting fired but it’s as much about unemployment as Hanna is about hunting animals. It’s a showcase for Tom Hanks to play his good natured good guy as he tries to fit into college. And the film rolls ago in that sometimes too comfortable way, but it is surprisingly unwilling to pander to the most obvious of stereotypes. True, Larry will meet a group of madcap students (somewhat) and he’ll fall in love but the way in which everything comes off as not the least bit clichéd is particularly impressive, even if Hanks is nothing special.

For me, the film is about Julia Roberts. She plays an unrelentingly bitter professor and she’s not quite the leading lady, even if she’s not quite supporting and as the object of Larry’s affection she’s a bit wasted but the film cares about her (as it does about most of its characters). More importantly, she’s fun in the role. She approaches with a winning gusto and say what you will about Julia – she’s fun to watch. There’s a scene where she enters a classroom she doesn’t want to be in and for a few seconds feels she might have the luck to not have to teach them. The myriad of emotions that runs through her face at not having to have human contact is interesting to watch, and even though her trajectory from bitter to smitten is a bit too “la-de-da” – the film tries to approach it with so much honesty, I can’t hate it too much.

It would seem that my grade subverts everything I’ve said so far, but I don’t consider the actual grade a particularly bad one. It’s a passable summation, as is the entire film. Larry Crowne is nowhere bad as it’s being made out to be. True, on occasion it might approach its protagonist with a significant amount of blandness but never mistake the sometimes pervading treacly feeling for a lack of caring. Perhaps I would have liked for it to have a bit more gumption in its cabals but in the long-run it perseveres as – mostly – honest look at a middle-aged man at a turning point. Hardly riveting, but certainly not abysmal.


C+

Mirror Image

It's not overly pronounced, but the two of these always remind me of the other - not in terms of acting, of course. but facially. Am I the only one?

Flashback: Stepmom

Having grown up with my mother, from a young age, I harboured a potent hatred for Lifetime Television and their – usually – heinous attempts at made-for-television movies. Occasionally, they would augment their barrage of banal man-hating films with similarly banal man-hating feature films, and I suppose it was in this vein that Stepmom became a staple in their line-up for sometime in the early 00s, playing once a month for some time. Yet, I responded to Stepmom not with my knee-jerk defensive male stance. Despite a deliberately manipulative screenplay from Gigi Levangie, I readily admit to being a legitimate fan of Stepmom.

 True, I’d admit that there’s something vaguely disappointing about getting three fine actors like Ed Harris, Julia Roberts and Ed Harris together and ending up with Stepmom as the result. Considering that each of these actors were at their peak in the late nineties you’d expect something stratospheric - Stepmom, though, thrives on its simplicity. At times it even takes comfort in some of the most mundane of cinematic clichés. There’s only the slightest hint that Julia –an actor who is rarely indicative of physical transformations – must represent the latent materialism of Isabel by her imprecisely blonde hair. And, Sarandon – so comfortable in the role of pervading sensibility – wears her hair in those sensible ponytails, making the juxtaposition between practicality and flamboyance all too obvious, and I’ll admit occasionally humorous.

As fine an actor as Harris is though, he struggles in Stepmom with a character that’s a sounding board for the women and their issues. I find it odd that in an ensemble much more permeated by women (The Hours) he manages to come off so excellently, but it’s probably proof of Stepmom and its insularity, something I don’t particularly fault it for. It’s a film about women’s issues, and at its strongest moments there’s a striking amount of self-awareness – regardless of how garish – that makes for some great moments between Julia and Susan. Susan, usually conveying a much warmer temperate in these maternal roles (Little Women, Lorenzo’s Oil), seems to be at odds with Jackie’s harshness in the first half – especially in those arguments with Isabel, where Julia, so naturally winsome, seems so charming I can’t see why anyone wouldn’t love her. It’s a situation somewhat hampered by Jena Malone, in her youth here, who approaches her troubled teen role with that prototypical, very literal, characterisations of child-actors with this role. She oftentimes turns Anna into such a cliché that Liam Aiken’s Ben is a welcome distraction. He manages to be equally strong opposite Roberts and Sarandon.

Of course, though, it’s all about Julia and Susan, and that scene in the café where they both admit to their greatest fears is always poignant to watch – emotionally manipulative or not. As much as I love Julia, I can’t deny that it’s Susan who takes the reins there. But, the nature of Stepmom is such that by the time the film ends a comparison of the two women is furthest from the viewers’ mind. We realise that each woman buttresses the others performances – both lacking what the other has. Julia’s natural cadence with her physicality is in opposite to Susan who exudes a quiet intensity without movement, and that final shot – so very deliberate – of the two always makes me nostalgic, somewhat. And I think, even though Lifetime continues to be awful when it comes to original films I still like to think of them fondly for showing features like Stepmom. It’s one of those films deprecatingly given the “chick-flick” moniker, but it avoids melodrama (albeit by an inch), and I can’t deny I think of it fondly, then and now.

Forgotten Characters 3:5 (2010 in Review)

We all know those types of movies, the one where the one actor mugs the camera for 120 minutes and no one gets a chance to get a significant scene in edgewise. Sometimes it works because some actors can actually make than 120 minutes splendid – Julia Roberts, case in point. The thing about Julia, though, is that it doesn’t really seem like she’s mugging. She’s just doing what she does best, being luminous for the camera. Even when the film seems made for her only she’s always bound to have that important connection with her scene partners which is a reason I feel the need to remember a performance like this:

                   

Viola Davis in Eat Pray Love

 as Delia Shiraz

Eat – Pray – Love, those are the three parts of the story that we’re told about, but what about the part before in New York? Which incidentally happens to be the strongest arc of the film? It’s weird – well not really, Gilbert’s “plight” is not really that. She just seems like an unsatisfied woman, and there’s no shame in that. And that chemistry that Viola and Julia create early in the film is the sort of thing you wish we could have an entire film on, my review. Viola has a bulk of scenes opposite Mike O’Malley (charming as ever) and the two manage to create that sort of off-kilter New York relationship that’s both traditional and unusual. The thing about Viola is that she’s so naturally charismatic, that her sometimes effusive charm is often used for the niche roles in films – the austere government official, the intrusive wife, the secretly evil agent, etc. So, it’s nice to just see her relax and not play anything particularly overwhelming. She doesn’t have to carry the brunt of any exposition on her shoulder, just exist in conjunction with Julia – and she does.

                                                         

It’s like that fairly funny moment when she takes out the “box” from under her bed to show how much she’s been waiting for marriage and motherhood. What’s always struck me for Viola – and the way she’s managed to grow on me after all these years, is how full of her characters she seems. Not in an annoying way, but she always seems so in touch with them and what I love about her relationship with Delia is how she doesn’t decide to trivialise her and her estimations. A lesser actress might have tried to amplify the tension by turning her into a best friend with vaguely jealous inclinations – but Viola doesn’t even care to do that. But she doesn’t care to turn her into that crazy carefree stereotype either – you know the type I’m talking of. True, the New York chapter works because there are SO many actors doing good work in small bits – O’Malley, Crudup, Franco all work better with Julia than most of the cast. But it’s Viola I single out because she’s so good with her protagonist. I’d love to see her and Julia team up again, but done right this time with her actually having a real role to play.

                       

Eat Pray Love was undoubtedly the Julia show, but could you spare any love for Viola’s Delia?

                    

Previously Forgotten in 2010

Cillian Murphy in Inception

Yaya DaCosta in The Kids Are All Right

Crispin Glover in Alice in Wonderland

Tammy Blanchard in Rabbit Hole

Ruminations on Eat, Pray Love (Film, Literature, Julia Roberts and Ryan Murphy)

Because I’m an uninhibited fan of literature I have a slight affinity for adaptations. The thing is, some books just shouldn’t be adapted to film. It’s not the case of a Doctor Zhivago or The English Patient where adapting is a chore. Film is a visual medium, literature is not –Eat, Pray, Love, from what I’ve gleaned from it, is a vaguely nonfictional work about a woman’s journey to self-fulfilment. It sounds woefully tawdry, and not to knock at Elizabeth Gilbert’s journey (who me? never) it probably is. I’ll take a wild guess and assume that Ryan Murphy’s adaptation is mostly meticulous – and that’s the essential problem of Eat, Pray, Love. Elizabeth’s journey is itself a bildungsroman (of sorts), and try as Murphy might there’s little connectivity from New York to Rome to India to Bali. The only connection we have is Julia’s Elizabeth and truth be told, Julia Robert is kind of brilliant. She wouldn’t make my list of 25 favourite actresses, although I do enjoy her acting. I didn’t realise that I’d been missing a good Julia Roberts romp until earlier this year at the Golden Globes when she was just so delightfully caustic all the while being so well-meant when some ridiculous EW reporter asked her if she passed over the lead role in The Blind Side. I sort of loathed The Blind Side, but even if her talents are doubted more often than not Julia has the power to turn muck into some feasible. Granted, Eat, Pray, Love but the four divergent stories only get a semblance of fluidity because Julia’s general resplendence makes it one.

Ryan Murphy has a knack for episodic writing (Nip/Tuck first season is still excellent in retrospect) and that becomes an issue with these four divergent storylines. He’s smart enough to weave masses of exposition in interesting (mildly at least) dialogue but that’s a problem. We keep meeting these characters, we get interested and it’s as if we’re waiting for the second episode of the pilot – and it never comes. True to form, Murphy loves to wow us in the beginning, the New York chapter of the tale opens organically and the fact that’s gifted with the likes of Viola Davis, Mike O’Malley, Billy Crudup and James Franco makes it all the better. No matter how interesting Italy is, a follow-up to that can’t help but be disappointing. It’s easy to feel that Liz is just a rich woman with too much that she doesn’t know what to do. There’s just that slight feeling that her journey’s just a bit too self-centred to make an entire film about – film doesn’t get the chance to be as personal as literature. But Julia has a knack for turning harsh characters into softer hues (re Closer, My Best Friend’s Wedding) and she manages to accomplish the same for the most part – but the entire film can’t help but feel a little limp, because at the end of the day we’re left there wondering “what’s the point?”. Why are we supposed to care about this woman’s journey when everyone around her seems more interesting than she does? At the end of the day, Julia’s the reason we care. Elizabeth’s experiences seem decidedly ephemeral; Julia’s performance is a little more worthwhile.

        

C+/B- (Julia: B+)

2009 in Review: The End (s)

Good God, this is late...even for me. In March, while recapping 2009 I listed my favourite beginnings, my favourite scenes and was supposed to list my favourite endings...well never too late - here they are.
                    
The last few minutes of a film can completely change our feelings of it. A fair film can be changed by a surprise ending and a good film can be destroyed by a poor one. Surprise endings have a better chance to be remembered, but sometimes an ending can be equally satisfying without being a shock. In 2008 there was an embarrassment of richest when it came to endings. There were the subtly surprising like Revolutionary Road and Burn After Reading. Both took secondary characters and made them the focal point for arresting and startling conclusions. There were the tense like Doubt and even In Bruges to an extent. As much as I am reiticent about Streep’s work in the former, she excels in the end. And In Bruges endings is not the copout many claim it to be. There were important closing shots of our protagonists like in The Wrestler and Changeling but my favourite was the sweetness that was The Curious Case of Benjamin Button – episodic, I know, but a lovely ending.

              

Now, on to 2009…Here are the ten closings that were memorable, the top 5 in particular made their films all the better for it. Ummm, spoilers ahead. Obviously. (Couldn't find pictures for the exact scenes in all, apologies), click on the links for my reviews.

        

Runners Up: A Single Man, Three Blind Mice, Bright Star, Avatar, The Road

#10: 500 Days of Summer: “A New Season”

I liked 500 Days of Summer, even if I was a bit disappointed. Nevertheless, the ending with all the pithiness that I love was just the right amount of tongue-in-cheek. After Tom finally reaches the 500th day of Summer he meets a girl at a job interview. She doesn’t seem interested, but eventually she acquiesces. Her name? Autumn.You have to love that sort of self awareness in comedies...

       

#9: Brothers: “A Confession”

I know some weren’t too fond of Brothers, but I was. Tobey MaGuire did make my list of favourite actors and though his breakdown scenes are what many remember it is this confession to Portman that sticks with me (not pictured above). Sheridan knows when to tone it down, and it’s the moment we’ve been waiting for. As Sam tells Grace about his role in the death of his friends and as the tears roll down his eyes while U2’s 'Winter' plays in the background, I couldn’t help but be impressed.

      

#8: Moon: “The Journey”

As Rockwell launches himself to earth amidst the voices of news reporters speaking of his appearance on earth I realised that Duncan Jones had done something brilliant with Moon. It wasn’t my favourite film of the year or anything but it sure was a formidable debut and the way that a clichéd theme like cloning could seem so original impressed me.

          

#7: Inglourious Basterds: “The Twist”

I’m mixed about the ending of Inglourious Basterds. On one hand it lends an irreverence to the piece that’s notably good, but for some reason it doesn’t make my praise turn into anything particularly voluble – it’s probably the school boyish insolence of that final line. Still, as Landa is outmanoeuvred by the unassuming (or at least boorish) Basterds a sense of significance is felt. I won’t say it’s iconic, but it sure is memorable.

           

#6: Drag Me To Hell: “The Button”

Drag Me To Hell is one of the better films of its genre and that depends – to a large extent – on the brilliance of Alison Lohman. As Justin Long takes out that envelope I already get that foreboding sense – though I know I can’t stop what’s coming. It’s a brilliant script decision and it’s so perfectly executed. What came before was good, but it’s the ending of this film that makes it worth it.

                     

#5: The Fantastic Mr. Fox: “Success”

The Fantastic Mr. Fox is so much fun, it should be illegal. When Fox carries his family, and best friend, up to the supermarket he’s found there’s a sense of ease that I love. Sure, George Clooney is voicing him, but on rare occasion he doesn’t annoy me – and this is one of them. With the imminent baby and the ensuing speech it only gets better, but what really cinches the brilliance is when the camera pans out and we see the owner of the supermarket that will soon be raided -  Pure brilliance.

               

#4: Duplicity: “Together At Last”

 

In some ways Duplicity depended on having this twisty ending. Gilroy's script (though excellent) sometimes tried to do too much, so the audience expected something ludicrous to be the end-all – and it was. The solution for the mystery was satisfying and irreverent all at once. And our protagonists do end up together, although Julia’s Claire isn’t too thrilled at the prospect.

             

#3: In The Loop: “Credits”

Unlike the others the genius in In The Loop’s ending comes form the incongruity of it all, as the credits roll  (not pictured above) and we see the fate of some of our characters. We see Toby leaving the office, Simon after being demoted; and I love Kennedy’s lines to the young (and voracious) up and coming politician as they sit and play Facebook chess.

            

#2: Nine: “Curtain Call”

When people say that Rob Marshall’s unoriginality in Nine was obvious I often wonder if they saw the ending. Sure, he wasn’t as inventive as he was in Chicago but as the melody from "Be Italian" and "Folies Bergeres" play and as I watch Guido’s imaginary world merge with his reality it’s easy to see where Marshall was heading, and I can’t help but respect the guy. Seeing Saraghina putting on her makeup next to a priest and watching Claudia and Stephanie having a conversation all combine and we watch him he actually sit down to make the movie we’ve just seen. It’s an ingenious idea and Marshall doesn’t always succeed, but it works here and concocts a truly memorable ending.

             

#1: Chéri: “A Face in the Mirror”

Bright Star wasn’t the only period piece unfairly ignored last season; at least it got an Oscar nomination. Pfeiffer’s face in the mirror has become an important shot but what makes Chéri work so brilliantly is the cold narration of Stephen Frears as he tells us of the suicide of the eponymous Chéri It throws the audience, but it’s not just for show. It’s an excellent bit of filmmaking and my favourite ending of the year.

                    

So with the endings I close on all things 2009. And it's about time, really. Which ending pierced you the most and made you see the movie with new eyes?

June Weddings: Steel Magnolias

I was supposed get this done since earlier in the week, but I'm always being distracted. Movie weddings are always interesting, they're usually quite over the top and when it comes to over the top weddings few come close to Shelby's peptobismol spectacular in Steel Magnolias. We spend a good deal of the first act waiting for the wedding to materialise, and that it does. The thing is, as over the top as it is the wedding works for the movie, only Shelby would have a spectacle as a wedding...

Because it's a small town Southern film, of course the church is packed. Can you spot Shirley MacLaine's head there? She's least interested, and really who can blame her. Isn't the church always the most boring part of weddings?

Sure, Julia was not the best in show but I have no issues with her nomination and she is so personable as Shelby. Olympia Dukakis is so sweet, too. Though I like the film, proof, I wonder how it would have played out if Bette Davis had gotten her wish and played Ouiser opposite Katharine Hepburn as Clairee.

Ick! Call it pink, call it pepto bismol or call it blush and bashful the decor is still godawful. A streak of pink, pink and more pink. I'm not too knowledgeable of fashion, but those have got to be the most hideous bridesmaid dresses.

But that does look cute...

That wink is meant for MacLaine's Ouiser.

McDermott is a little bland, but I'm not the one marrying him. Still, he's giving me a slight David Schwimmer vibe in that picture. Look closer at those bridesmaid dresses, ladies would you be caught dead in that? The ceremony finishes just after, but there's still the reception...

Pink again.

Darryl is probably the weakest of the six for me, but I like this movie and she plays her part well. She's overdoing Annelle's weirdness just a little, but I'm fine with it.

This shot works best in motion, but I still find it funny.

         

The scene eventually switches to the bridal home as the happy couple prepare to go off on their honey moon. I like the way that Sally Field's M'Lynn looks just a little sad, of course she's the Overprotective mother bear, so she can’t help but be wistful as her eldest departs.

Julia looks so innocent...she's not a Pretty Woman yet....
           
I fear if you've not seen this, some of my ranting may go over your head. Were you there for Shelby's wedding or does the sestet of women in Steel Magnolias make you wary?

Performances of the Decade (Male)

Sometimes – often I should say – I doubt my credibility when it comes to making these best of lists. Yeah, yeah it’s all subjective and whatnot but some actors just work for me more than others but then again maybe I’m just being paranoid. The whole point of making this list is to highlight those performances that have impressed me the most, so it would be remiss of me not to have this on the list...even if no one agrees.

             
#8 Jude Law in Closer (2004)

Not to regress, but when I spoke about The Messenger (one of my favourite films last year) I remarked that I couldn’t quite understand who all the critics could remember Harrelson’s (admittedly good) performance and ignore Foster’s brilliant one. It’s one of the many things I don’t understand about awards. You can’t notice one good thing about a film while being oblivious to the rest. The same thing happened in 2004. Natalie Portman and Clive Owen picked up accolades left and right for their performances in Closer but Julia Roberts and Jude Law earned few. The thing is, I was particularly angry since Jude’s Dan continually emerges as the best performance of the film for me and nothing short of excellent.

Jude Law’s most memorable performance is probably The Talented Mr. Ripley and Dan is different and yet similar to Dickie, though the two do have the same face. Dan is a struggling writer slumming it as an obituary writer at a newspaper. He meets the irrepressible Alice and after a traffic accident he takes her to the hospital. Closer is a play, and though it’s no Who’s Afraid of Virginia Woolf (another Nichols’ piece) it depends on its dialogue, and Jude sells it. His first conversation with Portman in the hospital is perfectly executed and it’s nice to see him turn on his charm (albeit a boorish one) for her. There’s a hint of slyness about him and you notice his eyes seem to be taking in more than just the obvious, but he’s not suave. I remember the scene where Portman tells him she was a stripper, his knee-jerk response as his eyes widen is perfect. But like all the characters in Closer Jude is no angel.

As we flash forward to his first meeting with Julia I wonder why he’s less nervous now. Is it Alice? His novel? But there is a pep in his step now and he flirts with Anna his charm is undeniable. As cute as he and Natalie look together I remain convinced by the relationship between he and Julia here, even before it begins. The two work brilliantly together, and as they drift into their banter it’s a delight to watch. It’s obvious what’s coming next, or is it? I, surely, wasn’t expecting Dan’s chat-room liaison with Larry. But it’s the appearance at the Julia’s party where Jude has another brilliant moment. Most recall Portman and Owen’s scene but it’s the adjacent scene between Roberts and Law that impresses me. The attraction between the two is palpable and the resulting confession Dan gives to Alice is no surprise. It’s memorable as being Portman’s moment but the sincerity of Jude here is worth remembering. “I want someone who doesn’t need me” is what he tells her. Dan is selfish, perhaps the most selfish of the story, but Jude is careful not to make him unredeemable and that’s an important quality of his because even though he’s the most selfish he’s also the most sympathetic.

His final scene with Julia always saddens me a little. It’s the lone moment of happiness the two share, and they’re soooo comfortable together it’s a pity they couldn’t remain thus. That solitary moment in the bathroom when he realises what has happened is superb. It’s a talent Jude has of showing his emotions with the slightest movement. If I have to single out a moment it’s his breakdown to Clive Owen. It’s pathetic and shameful and Jude sells it completely. It’s difficult not to pity this poor fool – and it’s really downhill from there, relationship-wise. The romance with Portman isn’t as authentic anymore and that defining moment (the “slap”) is unfortunate. I know that many feel Dan gets what he deserves but as Julia and Clive return to each other and Natalie returns to herself I feel badly for Dan as he remains there and learns in the most pitiable of ways who Alice Ayres really was. It’s right, I guess, that the last moment of him features him using his excellent facial expressions again.

Closer was underrated upon its release, but do you remember it? More importantly, did you appreciate Jude’s performance?

Performances of the Decade (Female)

The biopic is a good way for a woman to get recognised, there are a few on my list. I’d probably single out 2002 and 2000 as the years with the strongest Oscar Best Actress lineup, and incidentally on both turns the winners was the woman in the biopic. Incidentally, both of these performances have suffered backlash like a number of winners but none more than the next performance I will cover. Of course, it doesn’t faze me. I am continually enchanted by this performance.

        

#14 Julia Roberts in Erin Brockovich

"They're called boobs, Ed."

Even if Steven Soderbergh decides to retire he will always have 2000 standing as a testimony of his talents. The one double whammy of Erin Brockovich and Traffic remains as two formidable examples of his talents, and all in one year. I’ve already singled out the former as a favourite film of mine and Julia’s eclectic performance stands as driving force behind that love. Erin Brockovich is an excellent film, whether or not it is admitted and yet of the last decade no Best Actress winner – not even Theron’s Monster or Mirren’s The Queen depends as completely on their leading lady as much as Erin Brockovich depends on Julia.

                      

The opening scenes of Erin Brockovich are a perfect showcase for Julia featuring two great scenes running almost one after the other. The first is the opening interview as Erin interviews for a job. It’s a job that she probably doesn’t want, but for the money, and you can tell that her heart isn’t completely in it, but Julia sells it completely, including that wry sidelong look as she realises there’s no chance of her getting hired. After her car accident we switch to another quasi-monologue as she’s examined at her trial. We watch Erin/Julia as she feigns virtue and we watch as slowly the true Erin – hard as nails and sharp as ever – slowly comes forth. What makes these images of harshness from Erin so much more powerful is the scene immediately after the trial where we switch to her and her sick daughter. Her deception at the store to get that cough medicine is comical and sad all at once, and it’s a testimony to Julia’s talent that not only does she make it work, she makes it resound.

The running loop throughout the narrative is Erin’s devotion to her children and regardless of how far out she goes in her quest we never doubt this unwavering devotion. It’s this devotion to her children that makes George so attractive to her, and it’s a key part of Julia’s brilliance in the role. The film is the David and Goliath story and it’s the rare person that cannot relate to the candour and sheer enthusiasm of Erin. But Erin is not perfection; and Julia is not afraid to show us that. We watch, sometimes cringing, as Erin (sometimes impassively) crushes everyone in her way. It’s not exactly that she has a mean streak, but she’s resolute in her quest and she doesn’t allow for comprises. Julia doesn’t sugar coat this.

From start to finish Julia impresses as Erin. Is the role tailor made for her? Possibly. Could anyone have done it as well? I doubt. Before and since Julia has contributed some great roles to film, but Erin Brockovich is that rare gem of a role that comes along that defines (and redefines) an actors’ career. It’s Kate’s Tracy Lords, it’s Julie’s Maria Von Trapp, it’s Jane’s Bree Daniels. Julia’s Erin is in no way better (or worse) than these. It’s the role I remember her most for, it’s the role I remember most steadfastly from 2000, and without inhibition I regard it as one of the great treasures of the last decade.

        

Has time made you think otherwise, or do you still appreciate Julia’s Erin?

           

Previously...

Rachel Weisz in The Constant Gardener

Steel Magnolias

It opens with a wedding. Cinema is amok with weddings, some good and some disastrous and Shelby our young ingénue of sorts is determined to have her wedding. A justifiably precocious Julia Roberts plays her with that tinge of Southern drawl that’s both charming and irritating as she tells us about her wedding. “My colours are blush and bashful” to which her careworn mother asides “Her colours are pink and pink.” They are in Truvy’s beauty shop preparing for the big day. Truvy is played by Dolly Parton, who underappreciated as an actress, bringing just the right amount of quasi-humour to the part. Darryl Hannah’s Annelle and Olympia Dukakis Clairee round out the lot. They will soon be joined by Shirley MacLine Ouisa – an eccentric, cantankerous old woman with a heart of gold. Steel Magnolias is a story about these six women. Sure most of them have men who drift in and out, since unlike Harling’s  actualy play it doesn’t take place in the one setting with these six women for the duration. Still, there is no denying that they are the heart, soul, brain and face of Steel Magnolias.

             

Julia Roberts earned an Oscar nomination for her performance and it’s not difficult to see what’s in her favour. She is the youngest of the lot and so we see her age the most as she goes through marriage and motherhood and voters love a martyr and an ingénue so her character is all but irresistible. Don’t get me wrong. I adore Julia Roberts and she is everything that Shelby needs to be, but (save for Hannah) she is surrounded by four exceptionally talented who cannot help but outshine her. I persist that Dolly Parton gives her greatest performance here, possibly one that fits her good-natured self to a T, but excellent nonetheless. Harling gives her some of the best quips in the script and she goes about it being so irrepressibly charming that you can’t help but be impressed with her at the end. The same goes for Sally Field’s M’Lynn. Sally and Julia make a believable mother and daughter pair and Sally has never been one to hold back on scenery chewing. There is a scene that occurs with fifteen minutes to spare at a funeral which is really a monologue. It’s the best scene of the film and Sally Field is excellent here. It’s a wonder she didn’t go on to an Oscar nod (the Globes recognised). The film is a light-hearted one but Sally puts so much emotion into that scene that she could make tears come from a rock.

                

Whereas Sally offers the more dramatic moments of the film, Dukakis and MacLaine offer comic relief as two old friends always at it. It’s a beauty to watch these two Oscar winners doing what they do best. Sure Shirley’s Ouisa may seem over the top but it’s not as by the book as it seems it’s so endearing to see her and Olympia walk around hand in hand. Darryl Hannah rounds out the set playing Annelle, a bashful hairdresser to be that Truvy takes in. It’s easy to forget her in the lot and even resent her semi-annoying character tics but she really does grow as the film progresses and her few words to Sally Field at the end are so poignant (and ridiculous) and she completely sells them.

               

The men don’t have that much time - Dylan McDermott and Tom Skerrit have the most screen time and the latter is especially hilarious when he must fight it out with Shirley MacLaine. Kevin J. O'Connor plays Truvy’s son and much is asked of him, the same goes for Sam Shepherd who has few lines as her husband – but he has a few potent lines at the end that are played just right that are as moving to the audience as they are for Dolly.

           

When I see films like Steel Magnolia I always wonder why there aren’t more films like this about men, although I suppose that is too much to ask. I’m not sure what to classify Steel Magnolias as. It’s a comedy; it’s a drama; it’s romance; it’s a family story. You’ll laugh, you’ll cry and above all else you’ll be entertained. Steel Magnolias is a rarity I believe, it’s been relegated to unimportance but it’s a good film. It is one of the films in my top 100 I am aware is not as good as I believe, but what is the internet for if not highlighting your misguided opinions?  It's my #58.

2000: Year In Review

It’s no surprise that the most distant year of the last decade is also the most distant year in my memory. I probably have to do much catching up on the films released that year, so I’m going back to my original format for reviewing the years instead of drawing it out.

                   

Supporting Actress

The Nominees

Judi Dench in Chocolat 
...for taking what could be the ultimate sleepwalking performance and turning it into something that’s as funny as it is fulfilling. I know I’m alone on this one, but I find her glorious here.

                      

Marcia Gay Harden in Pollock  
...for taking the passionate artist and turning her into something pretty fantastic. Steals the show from Ed Harris? You bet. And that’s not easy.

                        

Julie Walters in Billy Elliot  
...for making her teacher role into something completely human and enjoyable. And just because she’s Julie Walters.

                

Kate Winslet in Quills 
... for doing more with her eyes than many do with multitudinous lines of dialogue.

                         

Catherine Zeta-Jones in Traffic  
...for standing by her man in true Latina fashion, and for showing the world than she could be more than Zorro’s wife.

Runners Up: Kate Hudson in Almost Famous, Lena Olin in Chocolat

Supporting Actor

The Nominees

Don Cheadle in Traffic
...for managing to stay in my memory even though the part isn’t that “big”, but mostly for that last scene of his.

Benicio Del Toro in Traffic
...for every scene he’s in. Yeah, he’s that good.

Willem Defoe in Shadow of a Vampire
...for turning in his best work and for being typical Oscar bait at its best while still breaking all the rules.

Albert Finney in Erin Brockovich
...for reacting to Erin just as we would and for making his Ed a true person.

       

Joaquin Phoenix in Quills  
...for doing this the same year as Gladiator and for making this character into something that wasn’t annoying.

Runners Up: Aaron Eckhart in Erin Brockovich Michael Douglas in Traffic, Alfred Molina in Chocolat, Joaquin Phoenix in Gladiator

          

Leading Actress

The Nominees

Joan Allen in The Contender

Juliette Binoche in Chocolat

Ellen Burstyn in Requiem for a Dream

Laura Linney in You Can Count On Me

Julia Roberts in Erin Brockovich

Runners Up: Jennifer Lopez in The Cell

          

What can I write about these five, they fight with 2003 for having the most distinguished set of women nominated and they got it right by my judgement.

         

Leading Actor

Javier Bardem in Before Night Falls

Russell Crow in Gladiator

Ed Harris in Pollock

Mark Ruffalo in You Can Count On Me

Geoffrey Rush in Quills

Runners Up: Christian Bale in American Psycho, Jamie Bell in Billy Elliot

         

In such a good year for men it’s a pity that Bale, Bell and Ruffalo saw no love.

          

Directors

Daldry for Billy Elliot
...he earns point for this fulfilling debut and the start of an illustrious career.

          

Scott for Gladiator
...he directs it like the true epic that it is, faults and all

                      

Schanbel for Before Night Falls
...just because this could have been a generic thing...and it isn't...

            

Soderbergh for Erin Brockovich

...for making a biopic enjoyable, interesting and even laugh out loud funny. And for directing Julia to greatness.

          

Soderbergh for Traffic 

...he manages to make each part interesting and good and the audience never gets bogged down by all the information.

Runners Up: Lasse Hallestrome for Chocolat, Kenneth Longergan for You Can Count On Me,  Ang Lee for Crouching Tiger, Hidden Dragon

          

Pictures

Billy Elliot 
...because it’s pure fun. The end.

      

Chocolat

....because I love it to excess and because it’s a fairy tale that’s still believable even when it shouldn’t be.

             

Erin Brockovich

...for the fact that it’s the kind of biopic I can get behind but mostly because it knows what to do with its cast.

       

Traffic 
...because it used to the ensemble cast to its fullest before it became the “in” thing to do.
           
You Can Count On Me
...because having a sibling can be both wonderful and horrible. 

                      

EVERYTHING I SAW: [Alphabetically]

102 Dalmatians [D+], Almost Famous [B], American Psycho [B], Bait [D], Bedazzled [D], Before Night Falls [B+], Big Momma’s House [F], Billy Elliot [B+], Bring It On [B], Cast Away [C+], The Cell [B-], Charlie’s Angels [B-], Chocolat [A-], The Contender [B-], Coyote Ugly [C], Crouching Tiger, Hidden Dragon [B], Emperor’s New Groove [D+], Erin Brockovich [A-], The Family Man [C], Gladiator [B], Gone In Sixty Seconds [D+], Hollow Man [D-], How the Grinch Stole Christmas [C+], The Kid [D+], Love & Basketball [D+], Me, Myself & Irene [C+], Meet the Parents [C], Miss Congeniality [C+], Mission Impossible [B-], Nurse Betty [C+], The Nutty Professor II [D-], O Brother Where Art Thou [C], Pollock [B], Quills [B], Remember The Titans [C], Requiem for a Dream [B], Return to Me [C+], The Road to El Dorado [C-], Romeo Must Die [B-], Scary Movie [D], Shadow of a Vampire [B-], Shaft [D+], Perfect Storm [C], Traffic [B+], What Lies Beneath [C], What Women Want [C+], The Whole Nine Yards [B], X Men [B-], You Can Count On Me [B+]

Erin Brockovich

In my youth when I saw the Steven Soderbergh’s enviable double feature of Traffic and Erin Brockovich I cannot deny that the latter was the one that was more enjoyable. However, I was at that strange time when I believed commonness was equated with enjoyment and thus I heavily believed that Traffic was the superior of the two. Years later, I still cannot be certain if Traffic is not the better of the two – but I realise that the ostensible enjoyment one derives from Erin Brockovich belies a smart and elegant interior.

                

Erin Brockovich is a film that has become equated with Julia Roberts – one of the greatest stars of her time. Of course her Oscar win has become somewhat maligned today but I will not deny that as much as it seems to be a role of pure stardom Julia’s Erin is one of the strongest and most enjoyable female characters of the decade and her line-readings are more than just line readings for the sake of it. Erin is the type of character who we admire all the while noticing her lesser qualities. She’s not perfect, definitely no angel as she prances around in those stiletto heels destroying everything in her path. It’s the sort of rare character that demands a leading lady with an exceptionally strong screen presence and Julia delivers on all counts. But even though the title suggests otherwise, the film is more than just a showcase for Julia and Julia alone. You’d think that the supporting players are relegated to mere caricatures in the presence of such a woman, but you’d be wrong.

Albert Finney’s Oscar nod for his supporting turn is both baffling and satisfying. It’s a performance that is without airs and completely realistic and as Julia’s boss we leave the film with as clear an understanding of Ed as we do of Erin. Aaron Eckhart has the unenviable task of playing “wife” to Julia’s role-reversed heroine. It’s a thankless role, but he holds his own with Julia in that final scene of his reminding us that even though Erin is a hero she is far from a paragon of goodness.

                      

Erin Brockovich is a film that has become exceedingly underrated. The script is witty without being grandiose, casted to perfection with a nice little performance by the wonderful Cherry Jones, and edited fittingly it’s an incredibly enjoyable. It doesn’t fit into our usual thoughts of a biopic, but it’s a credit to its genre. It entertains as much as it edifies and though many look back and criticise its success; it deserved the recognition it attained, including that Best Picture nomination. Here it is at #81 on my list of favourites.              
Starting this week I'll be looking at 2000 in review.

Anticipating 2010: Part 1

We’ve had lists of five, and we’ve had lists of ten. People are looking forward to what’s new in 2010. So, I’ve joined the conversation and am unveiling the films that I’m most looking forward to in this year. There are a couple that could have made the list, seeing that it’s so huge and all. Why not fifty right? But even though The Mad Hatter does have Kick-Ass in his five, I’m not really here or there on that. And you’d think I’d be anticipating Toy Story 3, but at the moment: nothing. I do hope that Hoodwinked 2 does better than its predecessor in terms of audience love, since the original was subtly funny, if flawed. I almost had Green Zone here, I do like Matt Damon and Amy Ryan, but something's telling me no. So, none are on my list. Take a look at the first ten.

          

#40 Wuthering Heights

This will most likely not be completed, but I’m including it just in case. Charlotte Bronte’s novel is one of the better pieces of its time, and even though it’s had a few incarnations on screen I’ve not seen any, and now’s as good a time to do a film version as ever. I always harboured hopes that Joaquin Phoenix and Kate Winslet would star in an Ang Lee directed version of this, but I suppose that’s down the drain – and they are too old. I remember Westick back from when I cared about Gossip Girl, and he does have potential. This could be good. Maybe.

       

#39 The Solitary Man

Michael Douglas and Susan Sarandon are the draws here, obviously. This hasn’t been released here, and as far as I know it hasn’t been released in the US either.I'm not sure if it veers more into comedy or drama but it concerns the protagonist coming to grips with the crap he's done in his life. Not exactly riveting stuff, but still. It's Douglas. Honestly, I'm not too hot on him but the added presence of Susan Sarandon and Mary Louise Parker does help..

           

#38 Nanny McPhee & th Big Bang

I was not a big fan of the last Nanny McPhee fan but it is Emma Thomspon and it at least warrants a place in the top 40. And with Ralph Fiennes and Maggie Smith, it may be lightweight but it's going to be good. I have a feeling it will be better than the first, which doesn't say much...but still. Maggie Gylenhaal also stars who has been coasting along for some time with me. I'm still looking for her to wow me, this probably will not be it. Still, we'll see.

#37 Repo Men

Well, it's Jude f***ing Law. What do you expect? Repo Men is a science fiction film about a man who buys a heart in the near future who is unable to finish making payments. He thus goes on the run before it's taken. Obviously Jude is the draw here, but I'm getting some Gattaca flashbacks which would be cool because I love that movie. Forrest Whitaker is always cool when he plays the sidekick, which he looks like here, so his involvement doesn't hurt.
                       

#36 Get Low

Robert Duvall, Bill Murray and particularly Sissy Spaceck are the draws here. It's a film based in the 1930s about a man who threw his own funeral. Interesting enough. I'm not sure if it's more drama or comedy, but with this cast and the somewhat dubious premise my interests are peaked. It's been a while since Sissy wowed us in In the Bedroom. Let's see what she has up her sleeves next.         

              

#35 Your Highness 

The film stars James Franco and Natalie Portman, too young up and comers I'm actually quite keen on. It's a fantasy comedy from medieval times centring on a lazy and arrogant prince who must go on a quest toe save his father's kingdom. The plot sounds less than riveting, but I suppose the dialogue will be snazzy. The presence of Zooey Deschanel doesn't hurt any either. Hopefully, it doesn't disappoint. 

         

#34 Morning Glory

A comedy with Diane Keaton and Rachel McAdams. Joy. I don't know, I'm really hoping that this turns out to be good because Diane deserves a good role. I'm not too fond of Rachel McAdams. The film centres on two feuding TV anchors [Harisson Ford and Keaton] and the aspiring producer who tries to salvage the situation [McAdams]. Patrick Wilson and Jeff Goldblum costar. I'm worried. It could be good, it could be bad...but Harisson Ford seems weird at the moment. Maybe, just maybe, it could be good.

            

#33 The Whistleblower

A true story. Rachel Weisz stars as a woman who uncovered a scandal in post-war Bosnia involving The United Nations and America. It's generic, I know, and I hated North Country which sounded vaguely similar. But Rachel Weisz has a charm which cannot be manufactured, so hopefully she'll elevate the material  and perhaps the film may even surprise. The presence of Monica Belucci and the legendary Vanessa Redgrave only makes this that more interesting

            

#32 Eat, Pray, Love

And another true story. Julia Roberts stars as a woman who decides to get more out of her life. It sounds oddly schmaltzy, but it's Julia. In fact, it's more than just Julia. Throw in Javier Bardem, Viola Davis, James Franco and Billy Crudup, and you've got a party. I expect to be entertained at least, and who knows maybe it could turn into something really poignant. I have complete faith in Ms. Roberts.

      

#31 Last Night [Tell Me]

This could go horribly wrong. It stars Keira Knightley, Sam Worthingotn and Eva Mendes. I'm not sure which title they're going with. It is the story of a married couple [Knightley, Worthington] who spend a night apart trying to resist temptation. I read the script which seemed good the first time, but the second time felt a little too heavy handed. I'm not sure, I should give it a third read. It has potential, but Mendes and Worthington to a degree are giving me doubts. We'll see...

                                                                     

Stay tuned for 30-21 and my thoughts on Up In the Air!!!

Soderbergh Blog-a-Thon Day Two: Ocean’s Twelve

 There's a blogathon going on over at LAMB. Luckily I had these few words on my computer, so I was able to participate.

              

Steven Soderbergh is a man I like. It’s strange, as a director I can probably only pick out a handful of his films that I believe to be particularly good. However, all things being equal I think the man is talented, and for the most part is films if not great are always original. When Soderbergh released Ocean’s Eleven in 2001 it was a financial success, and although it was not as critically successful as it should have been, it was still significantly well received. The 2004 sequel didn’t fare as well. The critics were lukewarm, and even though it made money – it wasn’t as much as was anticipated. The movie is faulty. That much is obvious, but for all its incongruity, its indulgency and its downright silliness Ocean’s Twelve is still a nice good romp. And if I’m going to watch a director wallow in his indulgency, Soderbergh is not a bad one to pick.

As with its predecessor Ocean’s Twelve centres on a heist, gone wrong [and perhaps delightfully right] and with heightened use of running gags and some ridiculous [and might I add effective] allusions, Soderbergh manages to get his story across. Critics of the film have claimed that the movie seems to be a giant reason for some A-list celebrities to get together and have a good time. I agree, and the people who criticise that are completely missing the point. 2004 was a generally good year in film, but no other film [not even the delightfully idiosyncratic Eternal Sunshine of the Spotless Mind; or the spotty, but well meant Sideways] boasts a cast of actors enjoying themselves as much as they do in Ocean’s Twelve. It’s pointless to ridicule Tess [Julia Roberts] meeting with Bruce Willis as pandering. Sure, if you haven’t seen The Sixth Sense, or don’t know of the two’s history you may be a little lost, but if you don’t you’re probably not the film’s target audience.

                  

Only a director completely assured of his talents would have that Julia Roberts/Tess scene and in the realm of the Ocean's world it works. Boy does it work. Sure, we wonder how exactly is it that Yen is able to understand the others in the group and vice versa, but we don't care. And Matt Damon who is usually woefully underrated as a comedian is even better in this than in the original. That scene where he gets extradited is a favourite of mine. It's completely inconsequential, but that tongue-in-cheek way is Soderbergh's relaity in Ocean's Twelve.

              

In a way Ocean’s Twelve reminds me of old cinema. Not in it’s story, or its direction per se. But it gets a group of actors together and makes a film centring on their natural personalities. Julia Roberts is always comfortable playing the zany girl, Zeta-Jones is always effective playing moody and angry, Clooney’s biggest successes are always as the well intentioned bad boy and the list goes on. To say that Ocean’s Twelve doesn’t take itself seriously is an understatement of the ages. There’s nothing in the movie to be taken seriously. Perhaps you didn’t go see it because you have better things to do that give money to a host of already rich celebrities, but I like to think that Ocean’s Twelve is better than that. I’d even like to think that even if they thought no one would show up, these actors would still make the movie. Ocean’s Twelve isn’t The Hours, or In the Bedroom or even Soderbergh’s Traffic; but it is an actors’ flick in the more irreverent use of the phrase. It’s indulgent and silly, but it’s also a whole lot of fun. And any film that gives Cherry Jones a few lines gets my approval.