Saturday, March 14, 2009

American Movie (1999)

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The Jist
American Movie is a film about a film. Filmed in small-town Wisconsin in the mid 90s, it is a documentary that follows Mark Borchardt, an amateur film-maker, as he tries to make his film Coven with the help of his friends and family. The camera tracks the making of Coven from pre-production through filming and includes confessional style interviews with the main characters.

What's Good
While most widely-distributed documentaries tackle broad subjects involving politics or well-known events, American Movie tracks small-town nobodies trying to do big things. When the film was made in the mid and late 90s, America was a different place than it is now. The economy was booming, there was a sense of prosperity, and things in general seemed to be on the rise. American Movie captures the can-do American spirit in unemployed landscaper/writer/director Mark Borchardt, but also reminds that even during one of the richest times in the country's history, there was still a large group of people struggling to pay the bills and achieve the American dream. Director Chris Smith does a good job presenting both the struggle to live and create and the forces behind the struggle. All documentaries strive to compress multitudes of footage into a watchable film, and at 107 minutes American Movie is just long enough to tell Borchardt's story of humor, drama, information, and tragedy, but mostly humor. American Movie is thoroughly entertaining. To see strange, small-town people speak honestly to the camera about their bizarre friend/director, and then follow their comments with something equally ridiculous, illustrates the flaws and desires in the people we live with and walk past everyday.


What's Bad
Although the film is a documentary in every sense, American Movie is so outrageous, at times it seems unbelievable that the subjects weren't prompted to say or do the things that happen. Some of the situations seem just too good to be true, and aside from the first-person interviews, no one ever notices the camera following them. For people who seem so astonishingly simple-minded, it is hard to believe they didn't have trouble looking into the lens constantly following them, especially characters that appear only once or out of the blue.

What's Memorable
The subjects of American Movie are characters more than people, and show that at times life is more entertaining than art. Anyone who grew up in a small town knows someone like Mark Borchardt; the guy who has great intentions and big dreams but seemingly no concept of reality. Despite his flaws which include drinking too much, an inability to hold a job, and a tremendous lack of focus, Borchardt is essentially the definition of a struggling artist trying to bring his vision to life. All future film-makers should watch American Movie, as director Smith captures the frustrating process of creation and the continual journey toward the satisfaction of making something from nothing. If you think Borchardt is strange, his friends and family are another story. His ancient Uncle Bill, Borchardt's source of financing, somehow gets caught up in the action and a handful of memorable scenes involve the slow-moving old man doing something completely out of place for someone who can barely walk or see. Borchardt's best friend Mike Schank says some outrageously ridiculous things that could be quoted for days, and some of his stories and one-liners are funnier than anything a screenwriter could come up with. There is no shortage of memorable lines and situations, and American Movie is laugh out loud funny. What makes American Movie relevant is the eccentricity of the characters; they are real people doing real things. The film has just as much to say about filmmaking as it does about small-town America. Borchardt may be delusional, but he knows film, and to see him both in command and way over his head is incredibly entertaining but also informative. American Movie captures the creative spirit and shows a glimpse into America in the 1990s; a time when even the down-trodden believed the route to happiness was very tangible and just around the corner.

Good for: film-makers, documentary fans, anyone who lives or lived in a small-town

Bad for: someone with no sense of humor, snobs

The Gallery
The Writer * * * * *

Tuesday, March 10, 2009

The Wrestler (2008)

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The Jist
The Wrestler chronicles Randy "The Ram" Robinson, a former champion wrestler, as he struggles with the reality of his career coming to a close. The battles he faces outside the ring weigh heavier than those in the squared-circle as he tries to mend broken relationships and make ends meet.

What's Good
It seems that redemption stories come and go in Hollywood week after week, but with his debut screenplay, Robert D. Siegel makes the unlikely choice of framing the redemption theme around the world of professional wrestling in the most creative screenplay of the year. Simply put, The Wrestler is a great story; great characters working through difficult situations that are unique but always understandable, and most importantly, real. The script contains so much attention to detail, both in terms of recreating the world of wrestling and the image of a flawed man. Siegel's creation of Randy "The Ram" will surely go down as his best character. The Ram is perfectly rounded, a flawed man and father, but a good friend, worker, and mentor. We see his nearly countless failures, but also just enough of his sense of humor and passion to make him an incredibly sympathetic character. With a story like this its nearly impossible to avoid cliche, but The Wrestler goes through them so honestly and brutally without over-dramatizing events that even when the audience sees something coming, it still reverberates with true intensity. Characters like Randy's daughter Stephanie, played by Evan Rachel Wood, seem destined to fall into mediocrity, but the script allows Wood to deliver a believable performance as a neglected child with a grudge without going over the top. Todd Barry's character Wayne, Randy's non-wrestling employer, personifies the indifference of the outside world, and his un-sentimental and restrained performance fuels Mickey Rourke's tour de force. The cast of bit parts played both by actors and real amateur wrestlers create a window into the wrestling community, and shows that the characters on screen and in the ring are real people with real problems.

What's Bad
Despite the Wrestler's strong plot, the dialogue, at times, is a bit dull. Some will find the writing to be honest without trying to glamorize the characters and situations, but others may get bored with the trudging conversations. A few of the situations begin to get repetitive, such as Randy's continual trips to the strip club, but none of the film's flaws take away from its brilliant direction and acting.

What's Memorable
Mickey Rourke's performance has been sensationalized beyond belief, and the idea of his life intersecting with art in the form of the title character will forever be associated with the film. But when true genius is exhibited, due praise is deserved, and there are few performances more deserving than the devastating, soul-bearing portrayal of Randy "The Ram" by Rourke. Rourke has created one of the most enduring characters in film history, a modern day Terry Malloy, inspired by all of the great down-and-out characters that have come before him. Watching Randy, the once great superstar of the ring, lower himself to community center events in small towns just to scrape together enough money to pay his trailer rent, all while trying to rekindle the relationship he never had with his daughter, reeks of pain and suffering, but we can't take our eyes off the screen because of Rourke. Randy "The Ram" is real, someone we've watched on Pay-Per-View, read about in the papers, and seen behind the deli counter, and Rourke totally becomes him. The performance is flawless; beyond intimate and inspiring, both beautiful in its subtlety and crushing in its honesty. The Wrestler is Mickey Rourke, but don't forget about Marisa Tomei. The role of Cassidy, a stripper and friend of Randy, was demanding physically and mentally, and Tomei brings a delicacy that softens the blow of Randy's failures. She complements Rourke's amazing performance without ever overshadowing it, half because of Rourke's overriding greatness and half because of Tomei's calculated acting. Lost in the Rourke hysteria, however, has been Darren Aronofsky. Known for his powerful, boundary-pushing films like Requiem for a Dream and the Fountain, The Wrestler is his most traditional and focused work to date. Whereas in the past Aronofsky's ambitions may have outweighed his decision making, The Wrestler shows him at his most constrained, which happens to coincide with his creative pinnacle. The film is great in its efficiency, not wasting one of the 110 minutes and not needing a single frame more to deliver the punch. The plot moves slowly, but at an appropriate pace for the sequence of events, and despite its dark overtones, the film has just enough style. The sound editing and handheld camera work give the situations authenticity, and the editing is spot-on, particularly the phenomenal conclusion. The Wrestler is the fusion of stunning acting and great directing, and a triumphant document of human failure and redemption from the opening sequence illustrating "The Ram's" zenith, to the heart-wrenching final scene.

Good for: all movie-goers, fans of drama, wrestling fans, actors

Bad for: overly emotional movie-watchers, the easily bored

The Gallery
The Surfer: * * * * *
The Writer * * * *

Monday, March 9, 2009

Doubt (2008)

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The Jist
Doubt is set in the 1960s, and centers around a nun (Meryl Streep) who suspects a priest (Philip Seymour Hoffman) of having a questionable relationship with a young male student at the Catholic school she oversees. A younger nun, played by Amy Adams, tries to maintain good will at the school while regarding the integrity of all parties involved in the questionable affairs.

What's Good
John Patrick Shanley has already received a Pulitzer Prize and Tony Award for the theatrical version of Doubt, and who better to enlist to ensure a strong big-screen adaptation than Streep and Hoffman in the lead roles. A great script draws great actors, and the casting was excellent. Streep is one of the best actresses of all-time, Hoffman may be the greatest character actor of his generation, and Amy Adams is a legitimate up and coming actress about to become a major figure. Not all plays work as films, but Shanley's efficient direction shows that he has a wide variety of talents beyond just writing. There are limited settings, as one would expect from a theatrical adaptation, but the dark cathedrals, ancient Catholic school classrooms, and quiet rectories work well on the big screen, providing just the right atmosphere for the characters to thrive in. The story moves at just the right pace, slow but steady, and from the opening frame to the credits the tension builds to a thought-provoking climax.

What's Bad
The script drives Doubt, and while most will be mesmerized by the dialogue, some may be bored by the lack of action. Along the same lines, Doubt feels like a play; so those bored with the dialogue will also grow tired of the repetitive scenery and long scenes. There are signs that Shanley is a first time director, but some of the questionable decisions in terms of plot and subtext were risks most first time directors wouldn't take. Overall, there isn't much wrong with this film.

What You'll Remember
As one would expect, the acting is phenomenal. Hoffman and Streep steal the show, and their scenes together are electric. Streep is a lightning rod and plays Sister Aloysius with a fervent intensity that will call to mind childhood memories for anyone who grew up in a Catholic school. Hoffman plays Father Flynn so sharply that no one knows whether he is a good-intentioned progressive priest or a deceiving fake, but just like the kids in his class, the audience will want him to come back for time and again. Amy Adams, a subordinate both in character and in practice to Hoffman and Streep, is great as Sister James. The part demanded both tender passivity and stark veracity, and although Streep and Hoffman's characters draw most of the attention, Adam's Sister Flynn is who the audience will relate to. The only other character with a significant role is Viola Davis as Ms. Miller, the mother of the boy in question with Father Flynn. Davis is only on-screen for nearly ten minutes, but she is unforgettable as a mother at a crossroads. A look at the awards this script has already won tells you all you need to know about it, but Shanley's writing propels the great performances, presents a thrilling plot, and is one of the most thought-proving films of the year. Amidst the mystery surrounding Father Flynn are overarching themes of faith, religion, and morality, and there are many questions left unanswered. The ambiguous nature of these fickle issues mirrors the way they are addressed in reality, and Doubt will likely tell the viewer just as much about him/herself as it does about the characters on the screen. In the end, Doubt brings so much to the table; it's a cautionary tale, a fable, and an ethical dilemma, all with driving intensity both in plot and in performance. It is the rare suspense film that asks hard questions, leaving the viewer to ponder them after the brilliant conclusion.

Good for: theater fans, actors, fans of sharp dialogue, suspense fans, philosphers

Bad for: the easily bored, someone not looking to think in the theater

Sunday, March 8, 2009

The Curious Case of Benjamin Button (2008)

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The Jist
Adapted from an F. Scott Fitzgerald short story, The Curious Case of Benjamin Button is the story of a boy born old, who from the time of his birth ages backwards from an elderly man to a young infant. His life is full of unexpected events, as he encounters people and situations from a unique perspective.

What's Good
David Fincher's mid-late nineties stretch of great films is ten years behind him, but with Benjamin Button, the man who adapted the mind-trap that was Fight Club has showed that he can also adapt an emotional, heart-wrenching tale. Benjamin Button is an epic in terms of length and vision, and with the help of veteran screenwriter Eric Roth, Fincher has created an enduring and enjoyable fable. Having the likes of Brad Pitt and Cate Blanchett as leads surely helps, and both deliver the performances audiences have come to expect. Pitt steps up to plate for the demanding role and plays the title character from old age to prepubescence with nuance and affection. Blanchett once again reminds us she is the best actress of her time by bringing much more to the role than the what was written on the page. Taraji P. Henson, as Benjamin's adoptive mother, steps into the limelight with an intimate, motherly performance well beyond her actual age in years and wisdom. The strength of Benjamin Button lies in the story, however, which is well crafted by Roth and will appeal to a broad audience.

What's Not
The most obvious fault of Benjamin Button is its length. Roth and Fincher popped off the delete key to take Fitzgerald's short story and turn it into a nearly three hour long epic. Its hard to say which scenes shouldn't have made the final cut, but its clear that the story wouldn't have lost too much with about thirty minutes less material. Comparisons have been made to Roth's past screenplay, Forrest Gump, and the similarities are legitimate. Substitute a mentally challenged lead with a reverse-aging man, and most of the themes and even circumstances are very similar. Although the story is engaging, Fincher rounded off the sharp edges that can be found all over his past work. Chances were taken from a technical aspect, but thematically and artistically, Benjamin Button is pretty conservative and looks like a safely made film meant to make some money.

What You'll Remember
Movie-goers have become accustomed to outrageous special effects, but the costume and design team for Benjamin Button pulled off one the most unique and challenging tasks in a non-action film to date. Thanks to incredible prostheses and costume design, the star-power of Brad Pitt fades away into a geriatric man, and a mere two hours later, Pitt, who is in his 40s, looks not a day older than 16. The combination of Pitt's believable performance and the stunning make-up job make Benjamin Button a very memorable character. The best part of the film, though, is the source material. Fitzgerald's fable, even if extended hundreds of pages beyond the original, will resonate with nearly everyone, and the idea of celebrating life rather than destroying it is one not often found in popular cinema. Even if Fincher and Roth played it close to the belt, the story and moral behind Benjamin Button is one most viewers won't soon forget.

Good for: the average movie fan, Pitt fans, someone down on their luck

Bad for: people who don't like long films, people who cry at movies

The Gallery
The Surfer: * * *

Rachel Getting Married (2008)

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The Jist
Rachel Getting Married is not so much the story of Rachel, but the story of her drug and tragedy addled sister Kym, played by Anne Hathaway. Kym is home from rehab for the first time in years for her sister's wedding and confronts her past mistakes as she tries to recapture a sense of normal life. The nature of coping, forgiveness, and the structure of family relationships are explored as a dysfunctional family is reunited for a weekend.

What's Good
Directed by Jonathan Demme, best known for Silence of the Lambs, Rachel Getting Married may be the most honest film of the year. The events of a weekend wedding, from rehearsal dinner to reception, aren't sugar coated or dramatized whatsoever, but presented as they really occur, for better or worse. The "take it as it is" approach Demme utilizes allows his cast to disappear into their characters which yields several solid performances. Bill Irwin, as Kym's dad Paul, turns in a strong performance as a not so in-touch father always trying to look at the bright side of things, and Tunde Adebimpe (of TV on the Radio) is surprisingly good among veteran actors as Rachel's husband-to-be. The script, by debut screenwriter Jenny Lumet, is blunt and dark but also has a few light-hearted moments, just like the dysfunctional family it involves. The situations are real and believable, and the direction, script, and performances allow the viewer to feel as if they are within the scenes.

What's Not so Good
At times, Demme's "home video" filming style leads to scene's dragging on way beyond their welcome, at times minutes longer than the audience would expect or desire. The rehearsal dinner, which has its share of crucial moments for the film, feels like literally the entire rehearsal dinner. And just like the real thing, where the toast speeches start to run dry after the second or third one, the stories begin to grow old fast and by the time Kym delivers her powerful speech, it has been tainted by all the unnecessary footage that came before it. Almost every main scene drags on as the camera continues to follow the action well beyond what would be necessary to advance the plot in order to deliver the "window into reality" perspective. The film easily could have been 15-20 minutes shorter, and would have been a much tighter, more fierce portrayal of the weekend, even if some of the intimacy of the moment was lost.

What You'll Remember
This film is Anne Hathaway's announcement to the world that she is the real deal. She was a major figure in Brokeback Mountain, but until now, Hathaway was just the girl from Princess Diaries. But with this performance as Kym, likely the best of the year by any actress, she has proven that she can bring depth and range to a role. Kym is high strung but burnt out, desperate to change but stuck in a rut, apologetic but bitter, hopeful but defeated, and Hathaway delivers the full spectrum with great intensity in nearly every scene. Her performance is up against the odds of tedium, but a great role and a solid supporting cast provide the perfect recipe for her career-best effort.

Good for: fans of dysfunctional family films, Hathaway fans, filmmakers, addicts

Bad for: people who sleep through movies

The Gallery
The Surfer: * * * *