Mismatched Connetions

Up in the Air (2009). D: Jason Reitman. DP: Eric Steelberg. W: Reitman & Sheldon Turner. Starring: George Clooney/Vera Farmiga/Anna Kendrick/Jason Bateman/Amy Morton/Melanie Lynskey/J.K. Simmons/Danny McBride/Zach Galifianakis. (NOTE: Based on the novel by Walter Kim).

Although marketing as the searring new comedy by Reitman, responsible for Thank You For Smoking (2005) and Juno (2007), Up in the Air is anything, but what it appears to be.

Reitman immediately sets the tone with his film by introducing George Clooney’s Ryan Bringham. His swift, habitual behavior as he lives out his airport to airport existence amidst pit stops to fire people at other companies, Clooney clearly handles every aspect of Ryan’s pace and persona. And it is this persona that finds instant and electric kinship with Vera Farmiga’s Alex. In a cute scene where they first meet, Farmiga and Clooney whip out all their airline cards and exclusive airport club. Their chemistry is palpable, with their relationship being the best out of the bunch in the film.

As primarily Reitman’s film is about relationships. The ones we rely on, the one’s we let go, and the ones we deny ourselves. Clooney’s lifestyle of isolation and minimal human connection ultimately infuriates the new addition in his life. As his company evolves to attempt to become more efficient Clooney’s boss, Craig (Jason Bateman), hires Natalie (Anna Kendrick). Pert and persistent, Kendrick is forced to tag along with Clooney in order for her to get a grasp on the field of firing people.

Most of the humor of this film is confined to their relationship and Clooney’s airport know-how. As although the film is acted very well, ultimately Up in the Air is not a comedy. In fact, it is a very serious film not only about relationships, but about the alienation in business, the necessity of human connection and feeling, and the direction of modern life. All very topical and great for discussions, but not humorous or engrossing.

Since by the end of Reitman’s stylized, quick-paced film, no one is satisfied. The audience is flummoxed and the characters seem to have unraveled only to right themselves again, but for what? Nothing has changed, rather people have just moved on. So although Up in the Air might run away with a few awards this season, and already has, the film really begs the question of worth? What is the film actually being awarded for? Of course, more questions, which is all this film will leave you with.

When it Rains in Hollywood

The Golden Globes Awards (2010). Host: Ricky Gervais.

The annual dinner party thrown by the Foreign Press Association, began with a steady downpour of rain that provided an entertaining red carpet experience. Working under umbrellas and limited visibility, Hollywood’s hot list dealt with the rain with a fluff of pink and an attempt at humility.

Ricky Gervais handled this 67th annual event by sipping a pint of beer throughout the show, and giving his audience, both at home and in front of him, a couple of silly laughs. Gervais started out the night summing up the true value of stardom. Declaring that “actors are loved because they are recognizable,” he actually taps into modern notions of celebrity and an age of new media that over-satiates actors importance in modern society and culture. Although, odds are this was not his attention, Gervais humorous comments highlights his insight and true talent as a comedian. And amidst the roses and the chandeliers Gervais would go on to say some rather funny jokes, but never completely look in command of his role as host.

Of course this could have been due to the immediate and constant reminders of George Clooney’s upcoming telethon ‘Hope for Haiti’ and the need for donations for the wrecked country. A somber note, but one that felt sincere, even if a bit pseudo at points.

Starting out the evening on an emotional and significant note was a win for the film Precious with Mo’nique picking up a globe for best supporting actress in a drama. A raw speech made her moment memorable and helped to start out the evening on a nice beat. Beginning the television wins was Toni Collette winning best actress for a a television series (comedy or musical) for HBO’s The United States of Tara. John Lithgow went on to win a globe for Showtime’s Dexter for best supporting actor in a series, mini-series or motion picture made for television.

The night continued with a nice pace with Paul McCartney announcing that animated films are not just for children, but also for “adults who take drugs.” Pixar’s UP went on to take the award for best motion picture (animated). Following that was the normal speech by the president as Philip Berk, president of the Foreign Press Association ’said some brief sentences’ about his organization.

Continuing with television, Michael C. Hall (Showtime’s Dexter) accepted his globe for best actor in a series, mini-series or motion picture made for television, which marks his fourth nomination. The awards kept rolling with Juliana Margulies winning for CBS’s  The Good Wife in the best actress in a television series drama category. Breaking from television, best original song (motion picture) went to The Weary Heart from Crazy Heart (Ryan Bingham & T-bone Burnett). A movie with very fine original music and score, Crazy Heart was the only in its category really worth the notice. And although best original score (motion picture) went to Michael Giachinno  for UP, by the end of the night the music awards seemed one of the categories the foreign press association got right.

FPA went on with the evening to give their best mini-series or motion picture made for television golden globe to HBO’s Grey Gardens. An obvious choice given the nominees, but the next one proved to be even more obvious. Competing against herself, Meryl Streep accepted the best actress (comedy or musical) golden globe for Julie & Julia. Beginning her speech saying that she wants to change her name to T-bone, could mark the actress’ desire for anonymity or her exhaustion in competing with herself. A heart felt and wandering speech about her mother, Streep can of course do no wrong and does Julia Child justice off and on screen.

The awards switched back to television as the best actor for a mini-series or motion picture made for television was given to Kevin Bacon for HBO’s Taking Chance. Out shining him in his speech and glow was Miss Drew Barrymore who was next to win best actress for a mini-series or motion picture made for television for her role in HBO’s Grey Gardens. Flustered, sincere, and beaming Barrymore thanked everyone in the room as she grew up in the limelight of Hollywood’s 1980s scene. Reminding everyone of the luck of opportunity, Barrymore set a nice tone for a night that lacked laughter.

Jason Reitman and Sheldon Turner went on to win the globe for best screen play (motion picture) for their collaboration on Up in the Air. Not the choice I would make, but as their film has proved to be topical and popular, it was not a surprising win. Alec Baldwin was announced as a winner for NBC’s 30 Rock for best actor in a television series comedy. Thankfully he wasn’t present to accept and the audience could happily move on to the best foreign language film, Germany’s The White Ribbon. However, no one could escape the constant reminders of the tragic situation in Haiti and the contributions that are in dire need. Never ending through out the night, various actors took the stage and reminded audience members at home and out that night to donate.

At moments, the night was able to escape the shadow of Haiti. One moment, was the the cast of AMC’s Mad Men’s win for best television series (drama) with creator Matthew Wiener at the helm for the speech. The first series to win this award twice, no one will argue of the quality of Mad Men’s characters, costumes and story. Following, well, ripping her dress on those footsteps was Chloe Sevigny winning the globe for best supporting actress in a series, mini-series or motion picture made for television for her role on HBO’s Big Love. Following her dress debacle was Christoph Waltz and his circumventing speech while accepting the globe for the best supporting actor in a motion picture for his part in Inglorious Basterds.

However, the most impression speech of the night was Martin Scorsese’s for his Cecil B. DeMille award. Flanked by Leonardo DiCaprio and Robert DeNiro, Scorsese seemed humbled, happy, and articulate in his passion for film preservation. Although there are surely many of his predecessors, filmmakers who influenced him who deserve this award, it’s hard to deny his significance in the modern age of cinema. Yet although he was eloquent, the next director up on stage was not. James Cameron’s  best director acceptance speech for Avatar was the underwhelming moment of the night. Not only did he tell millions of viewers and the people in the room that he needed to hit the men’s room, but he proceeded to somehow remind people how brilliant he is at doing things that don’t involve public speaking.

Rounding out the television awards, was a nice fresh win in the best series (comedy or musical) category. An exuberant cast and creator accepted the globe for Fox’s newest success, Glee. Missing out on it’s acting awards, Glee’s win was joyous, well deserving, and revived the lackluster tone of the evening. Some might view the win as a surprise, but not as much of one as the win for best film (comedy or musical) that went to The Hangover. The FPA sadly looked over the delightful (500) Days of Summer, and gave the award to a crass comedy that will only receive attention tonight.

And tonight was also all about Sandra Bullock. Winning the best actress in a motion picture (drama)for The Blind Side, Bullock was emotional and grateful for the spotlight. She beat out two British actresses and two newcomers who represented independent filmmaking, whereas Bullock’s was obviously studio funded. She’s had an amazing year and one can only hope that this pushes her career in new directions and challenges.

But. sporting the most entertaining acceptance speech of the night, Robert Downey Jr. surprising ran off with the best actor in a motion picture (comedy or musical )for his role in Sherlock Holmes. It is difficult not to like Downey Jr. as he yaps about who he doesn’t want to thank, but there is no hiding that the Hollywood Foreign Press missed a beat here. Not only were the other roles far more captivating, but the films themselves of better quality.

And quality of performance was definitely on their minds as the foreign press awarded the best actor in a motion picture (drama) to Jeff Bridges for Crazy Heart. Thanking both his entertainment business parents, Bridges was humble enough and, of course, has begun the buzz of Oscar speculation. Falling in lie with that buzz is the win for team Avatar as they also walked away with the globe for best motion picture (drama). With an equally underwhelming speech, Cameron rounded out the night on a rather blah and brisk moment that reminded audiences of the shadow over the event and the lack of palpable enjoyment and excitement.

And as the award season continues, it will be a fascinating time to watch this business be self-conscious and self-aware of it’s role in our modern society. So stay tuned…

What to do When Song & Dance Fail? Should we be Italian?

Nine (2009). D: Rob Marshall. DP: Dion Beebe. W: Michael Tolkin & Anthony Mingella. Starring: Daniel Day-Lewis/Nicole Kidman/Judi Dench/Sophia Loren/Penélope Cruz/Marion Cotillard/Kate Hudson/Stacy Ferguson (Fergie)/Ricky Tognazzi (NOTE: Based on the Tony awarding winning Broadway musical of the same name by Arthur Kopit & Maury Yeston).

Yes, it might be fun to be Italian, but no one will be in line for a new passport after sitting through Rob Marshall’s new musical.

Nine serves as a classic example of how an amazing cast cannot salvage a poor film. Starting with Day-Lewis, who looks startlingly Italian, the audience is given Guido Contini. Guido, Guido, Guido, well hes a man who makes movies, but can’t seem to make his new one! Beyond writer’s block , Day-Lewis’ Guido is unraveling mentally and physically. But, of course, still makes time for extra-marital rendezvouses and a swig of a good drink. Played with captivating subtle command by Day-Lewis, Guido is however not a strong enough character to be the center of the film. So that, regardless of his below par singing voice (which can be legitimized by the fact that in the diegesis he is a filmmaker not a star), Day-Lewis blends into the entire film and cannot hold up Nine.

Surrounding Day-Lewis is a plethora of women, women who sing, women who act, women who dance, yet none who really pull off all three. And although it is refreshing to see a female dominated cast, for the most part the women seem to lack true agency as they are almost all defined by their sexuality and role within Guido’s life. Yet, the best here is Marion Cotillard as Guido’s wife, Luisa. Given lousy songs that either have her being the conservative wife or stripping for attention, Cotillard is still able to give Luisa her moments of breakthrough and raw emotion that make her coupling with Day-Lewis watchable.

Of course, Penélope Cruz’s Carla is just as watchable. As sexy as ever Cruz delights in her few scenes as Guido’s mistress, but it’s nothing less than what is expected. Falling in line as well is Kate Hudson as Vogue reporter Stephanie who has little to do, but pump Guido’s ego. An ego that is supported by star Claudia (Nicole Kidman) who merely has to look statuesque, sing a tune and she has him transfixed. Other than that Sophia Loren merely stands around as Guido’s mother while Judi Dench seems to have taken her role of Lilli, Guido’s costumer, to merely have a little fun.

Joining in on this fun is Stephanie Ferguson or Fergie as she’s popularly known from the band The Black Eyed Peas. Playing Saraghina, a ‘loose’ woman from Guido’s childhood memories, Fergie truly doesn’t have any purpose in Nine other than performing one number. The most memorable song from the musical, maybe partly because it was used in all of the trailers, Fergie sings ‘Be Italian.’ Full of tambourines, chairs and flexible women, the number is what the rest of the film should be, engaging.  Although improperly staged and shot, number will be the one audiences remember as the numbers as a whole disappoint, but more on that later.

Visually Marshall works wonders here. As in Chicago, the screen is rich with deliberate use of color, dramatic lighting, and a beautiful contrast between the windy lush Italian countryside and the stark empty sound stage on the film lot. He clearly (unlike myself) has seen Federico Fellinni’s 1963 film 8 1/2 and uses that film to influence the musical. The use of black and white, episodes of Guido’s consciousness and struggle illustrate a knowledge of creative block and frustration. These elements do provide a nice contrast to the musical elements of the film, but are not enough.

Unfortunately, the numbers (the very crux of the musical) tend to fall flat as they are all choreographed and staged with a clear front of stage in mind. Therefore, instead of the camera moving and giving life to the song and dance, the camera merely captures performances that are confined to a proscenium arch. One could interpret this as representing the studio era in which Day-Lewis’ Guido grew up and subsequently might be how he would shoot the numbers. Yet, that argument does not support the numbers that he does not see or imagine. So although the singing, choreography, and costuming is beautiful and entertaining, the film does not bring anything new to the modern musical genre. But instead Nine falters as its numbers are not memorable enough to sustain its story or audience interest.

But, go, decide for yourself, do you want to be Italian?

Blue Skies & Sunshine…& Frogs?!?

The Princess & The Frog (2009). D: Ron Clements & John Musker. W: Clements, Musker & Rob Edwards. Starring (voice): Anika Noni Rose/Bruno Campos/Keith David/Jenifer Lewis/Jennifer Cody/Michael-Leon Wooley/Terrence Howard/John Goodman/Oprah Winfrey/Jim Cummings/Peter Bartlett. (NOTE: Loosely based/inspired by the Grimm brother’s fairy tale, The Frog Prince.)

Returning to the original Disney hand drawn animation format in 2-D, Clements and Musker truly embrace the history of Walt Disney’s Animation Studios for their newest feature. Responsible for both The Little Mermaid (1989) and Aladdin (1992), this team is able to keep the look of traditional Disney hand drawn work, while putting their fairy tale into a enjoyable modern context.

Set in the 1920s, The Princess & The Frog bursts to life in the American Jazz Age that most noticeably established the musical importance of the city of New Orleans. Like other port cities, New Orleans provides an excellent backdrop for a story that houses many different types of people. Historically this ebb and flow of goods from America and all across the world has allowed New Orleans to develop its own unique food, architecture, sound, and history. Acting like another character in itself, the city gives its lead Tiana (Rose) all the color, rhythm, and drive she needs to try to open her own restaurant.

Of course, Rose is wonderful here as motivated Tiana, lending her Broadway lungs to Randy Newman’s tunes. The only pity here is that she isn’t given more to sing, her and Campos’ don’t even have a song for the two of them. But, Campos makes up for it with his hybrid high-brow accent that allows words like ‘mucus’ sound even more hilarious. And rounding out the top billers is David’s Dr. Facilier, the Shadow Man who does is voodoo in the alleys of the quarter on minds who want the wrong sort of thing. Reminiscent of Jafar in Aladdin, Dr. Facilier is ghastly and creepy as the perfect villain amidst a fairy tale of frogs.

Other than the leads, the film is riddled with voice talent. Mostly Jennifer Cody’s Charlotte steals the show as she scampers around trying to find a man to be her prince, literally and metaphorically. You can almost feel the energy radiating from the screen as her Southern Belle sugarcoated obnoxiousness oozes right into your heart. A heart that is ready and willing for Jim Cumming’s lightning bug, Ray, to steal it clean away.

And that he does with a special rare moment for a Disney film, without giving it away be prepared for what this loveable bug can do. Of course, all of these voices and visuals combined make the Disney package. With a rolling streetcar, scenic swamp, and even a Mardi Gras presence, The Princess & The Frog captures the beauty, heart, and rhythm of one of America’s most amazing cities.

Such that, although the film does have moments where it teeters on the edge of political incorrectness or social stereotypes, it is obvious that the filmmakers attempted to get it right. Yet, frankly, it is somewhat silly that it has taken this long for Disney to mainstream an African-American character. I’m sure that Miss Oprah Winfrey, who contributes her voice to the film as Tiana’s mother, would agree.

But enough with the gripes. Enjoy The Princess & The Frog as we all know these films only come once in awhile. And if you really love Disney get pumped for their 2010 release of Rapunzel, throw in some Alan Menken music and you’ll be thoroughly ready for a countdown to more Disney magic!

A Victorian Way of Love

The Young Victoria (2009). D: Jean-Marc Vallée. DP: Hagen Bogdanski. W: Julian Fellowes. Starring: Emily Blunt/Rupert Friend/Miranda Richardson/Paul Bettany/Mark Strong/Jim Broadbent/Thomas Kretschmann/Jeanette Hain/Harriet Walter.

Another year. Another biopic. Another Victorian love affair. But don’t despair, as although sporting hapless taglines such as ‘Love Rules All’ or ‘Her country. Her heart. Her majesty,’ The Young Victoria is anything, but hapless.

In classic biopic form, The Young Victoria gallops ahead to the time in Victoria’s life where she is itching for her independence, genuine authority, and an actual social association to the crown she might inherit. As history has it, as the only legitimate surviving heir to the British crown in the early 1800s, Emily Blunt’s Victoria was famously brought up in isolation. Being sequestered away from outside hazards, court, and her uncle William IV (Broadbent), from an early age Blunt’s Victoria was well aware of her price as heir to the empire. And keeping her cooped up in the Kensington Palace was her mother, senior Victoria (Richardson), of Saxe-Coburg-Saalfeld (a German noble family) and her personal secretary, Sir John Conroy (Strong).

Without delving into a history lessons (I’ll leave that to your own research time) it’s safe to say that the film, like any historical film, keeps you on your toes as to who is who and what is what. Thankfully, the politics and history don’t overshadow the love story or Blunt’s personal perseverance to reign her country with knowledge and grace.

In the film, Blunt’s isolation from her country and relatives inspires an independent and eager spirit in the young monarch to-be. Characteristics that would be ultimately associated with her sixty-three year and seven month reign of the United Kingdom. Of course, this is where Blunt is her, excuse the pun, bluntest. The film gives Blunt moments where her controlled authority and command of spirit speak well beyond her years on screen and Victoria’s years in fervent captivity. Yet it is also Victoria’s historical passion for her people that Blunt is able to embrace and deliver, a passion that is equally given towards her husband.

Prince Albert of Saxe-Coburg and Gotha, Victoria’s first cousin through her mother’s side, sashes into her majesty’s life and on screen as fast as his carriage can take him. Rupert Friend is poised, slender, and delightfully tender during his courtship with his queen-to-be. Handling his German role smoothly, both he and Blunt appear conscious of their place within this period film.

Of course, despite some historical errors and goofs that history buffs will likely scoff at, the film embraces the humdrum boredom of Kensington Palace and the stifling responsibility of running a country as one’s born duty. German cinematographer Bogdanski embraces the claustrophobia of space in the film, shying away from the English countryside and tangential outdoors shots. Not only does this allow The Young Victoria to not feel like a heritage film, but also provides a clear juxtaposition of captivity and freedom in Blunt’s world.

Yet regardless of history or heritage, The Young Victoria is ultimately a love story. One that will remind audiences of times when there was not technology, woman’s liberation, a dominant sense of sexual freedom, and the list continues. So that although the film reminds audiences of a great, truly amazing monarch, it also reminds us of the human aspect in everyone’s lives, flaws and all. And love at any stage, period, history or time is a blessing.

As Always, it is Better to Escape the Detective’s Notice

Sherlock Holmes (2009). D: Guy Ritchie. DP: Philippe Rousselot. W: Micheal Robert Johnson, Anthony Peckham & Simon Kinberg. Starring: Robert Downey Jr./Jude Law/Rachel McAdams/Mark Strong/Eddie Marsan/Kelly Reilly/William Houston/William Hope/Hans Matheson.

Starting out with literal clipitty-clops, Sherlock Holmes, the newest mass market Warner Brothers release, sadly hits its desired mark. Asking one of the literary world’s most famous detectives to solve a silly story that might ‘end the world.’ The film firmly reiterates the studio’s belief that most movie goers have zero brain capacity.

But don’t despair too much as at least Mr. Downey Jr. proves his own brain capacity and witty repertoire. He falls deftly into Holmes famous shoes while adding his own half grin and calculating physicality to the role. So that despite his ruggish charm and command of the camera he never ceases to commit to his nineteenth century bachelor’s mystique.

Trailing him is an uptight Law as physician Watson who, as popular culture remembers, is the practical side kick to the experimental and oftentimes extremist Holmes. Law and Downey Jr. clearly work well together, and Law’s desire to leave their detective practice is a nice slant on the story. Yet Law is unable to bring anything new to Watson’s role. Forcing him to match the rest of the Warner package of holiday entertainment.

Entertainment that is also, sadly, poorly written. Sporting lines such as “we need your help” this is “the end of the world” repeatedly suggests the three screen writers felt as silly as their story. Stupid dialogue sticks out amidst the action and rich set, especially for the villains of the film. Forcing their characters to feel vastly one-dimensional. Although, at least  the better lines are saved for Downey Jr. and Law. With Downey Jr. given plenty of time to explain every solved mystery or crime. A device that gets rather tiresome after a few rounds. But ultimately, the story comes down to a secret society, a spell book, and magic tricks. Nothing but disappointing.

Another disappointment is McAdams. She is unfortunately underdeveloped here, sashaying through most of her scenes in hot pink satin. A color and fabric normally designated to prostitutes in this era and an oddly unexplained wardrobe choice for her. Those continue throughout the film as she occasionally cross-dresses in men’s clothing without any reference to how transgressive that was for the time. Obviously her role as a female thief/detective is transgressive in itself, but there is a point where standards and codes of conduct (and class) cannot be ignored as they are entrenched in British society. So although she’s pretty and pert, McAdams is wasted here and does the film a disservice.

But at least she has a dynamic playground. Shot almost entirely in the U.K. (some elements were in New York City), Sherlock Holmes at least has the look and the grit of nineteenth century London. Ritchie, with help of production designer Sarah Greenwood and set decorator Katie Spencer, manages to create the look of his detective’s world despite some obvious historical embellishments.

But, where Ritchie truly shines is in the fight sequences, proving his prowess of action packed tight scenes that give resident Ritchie editor James Herbert plenty of challenging fun. This allows the film to move swiftly through its action and use the sequences to actually build the story and Downey Jr. and Law’s relationship. Throw in a score by Hans Zimmer and you’ve at least got some well tuned holiday entertainment.

And that’s what this is. The baseline for entertainment this season. A popcorn flick. Just hope you are in the mood for popcorn.

Crazy for Feeling so Lonesome…

Crazy Heart (2009). D: Scott Cooper. DP: Barry Markowitz. W: Starring: Jeff Bridges/Maggie Gyllenhaal/Colin Farrell/James Keane/Robert Duvall/ (NOTE: Based on Thomas Cobb’s novel of the same name).

Already abuzz with Oscar whispers, Jeff Bridges falls convincingly into Crazy Heart’s main man Bad Blake who drinks more than he sings. And as he continuously drinks the money out of his pockets, he drives around the country peeing in bottles and singing in dive bars. Oscar worthy?

Unfortunately for Bridges, Crazy Heart brings nothing new to the musical bio-pic genre (making note that Bad Blake is a fictional musician). All the songs are either sung on stage or in a private moment with his guitar. Making the film’s music completely woven into the film’s diegesis, and easing any audience member’s mind (even though this film is still technically a musical).

The story line is even easy. The washed up country man living in the past is not only a thin concept, but one that limits Bridges’ to a character whose only real journey is to sober land. A journey catalyzed by Miss Gyllenhaal’s Jean who lounges on screen as her usual interesting self, but remains so minimal to the story one must ask why bother?

Why bother too with Colin Farrell rolling in as Tommy Sweet, the novice star Bridges’ cultivated moons ago. As usual Farrell tilts his head and looks at everyone through thick dark eyebrows and seems a little lost within an American country film. Cooper seems a bit lost here as well. His obvious devotion the project (he wrote, produced and directed this piece) threw him into a story whose original content was nothing original.

Of course, the musical performances are great, with great original songs written by T-Bone Burnett and Stephen Bruton. With Bridges’ even showing off his own guitar skills and a droll of a country twang that authenticates his cowboy hat and greasy veneer. He hardly plays out a full song though, which actually works well here as the film centers more on Bridges’ mess of a life than mess of a career. Yet that messy life leads into random tangents that never fully sympathize the audience with him.

But in the end Bridges’ is never looking for sympathy, just a better road to go down than the one that lead him the last 57 years.  So maybe sit back, reflect, enjoy the New Mexico landscape and be thankful substances don’t run your life or ruin your talent.

For the Want of a Lovely Broken Thing

The Lovely Bones (2009). D: Peter Jackson. DP: Andrew Lesnie. W: Fran Walsh, Philippa Boyens & Jackson. Starring: Saorise Ronan/Mark Wahlberg/Rahcel Weisz/Susan Sarandon/Stanley Tucci/Rose McIver/Michael Imperioli/Reece Ritchie/Carolyn Dando/Nikki SooHoo/Christian Thomas Ashdale. (NOTE: Based on the 2002 novel by Alice Sebould)

One of the most highly anticipated film adaptations of this season has not only arrived, but in most aspects completely missed its mark. Is this what is to be expected for the rest of cinema’s richest season?

Alice Sebould’s sophomore novel, following her own rape memoir book Lucky (1999), The Lovely Bones starts with a jolt as the reader is immediately told two basic things. A girl’s name and the date of her rape/murder.  The same opening happens in Jackson’s film adaptation, yet somehow the voice over of these basic things does not carry as much weight. And Jackson’s reliance on voice over, a device that is necessary for this film, actually makes the story seem somehow more pseudo and dreamy rather than gut-wrenchingly existential.

Providing this voice over is Susie Salmon (Ronan) who tells her tale from her afterlife or ‘imbetween’ as her brother Buckwell (Ashdale) calls it. Ronan is the best of the bunch here providing enough temporal innocence to cover Susie’s youth while also establishing that her personality would not lead her astray.  McIver holds her own as well as Ronan’s sister Lindsay, but suffers as their relationship is not established prior to Ronan’s death.

A death that sparked many a debate starting with Jackson’s decision to not shoot an actual murder/rape scene. This decision of course allowed The Lovely Bones to be given a PG-13 rating and garner a larger audience, but at the same time unearths questions of violence and its role in storytelling. As the violence and violation Ronan’s character experiences establishes so much of her journey it would be natural to expect it to be part of the film. However, on the other hand, these acts are never seen, heard or even completely learned about by her family or community. Such that the omission of violence puts the film in the opposite point of view and emphasizes the unknown. Regardless of one’s preference Jackson’s decision to leave out so much of the violence, there is hardly more than a yank down stairs, in this instance detracts from the dramatic punch of the film. Because of its other faults, this decision plays against Jackson’s film and not only begs questions about the use of violence onscreen, but also if this was the right project for the director.

Jackson rounds out The Lovely Bones with a heavy focus on Ronan’s relationships with her parents, especially with her father Jack (Wahlberg). Wahlberg obviously tries his hardest, but is nothing but straight edged and predictable as Jack. And as the film progresses his cop antics read more like acting confusion rather than a father genuinely unraveling at the loss of a child. Weisz’s Abigail unravels even less as her relationship with Ronan is hardly established so that even bringing crazy mother in law Grandma Lynn (Sarandon) reads more like a gag than an emotional relief. (Incidentally, Wahlberg apparently provided cast relief on this set as Ryan Gosling pulled out as Jack three days before shooting began sighting creative differences. Which begs a multitude of creative questions, so discuss!)

But what Jackson does do right here is capturing the color and style of the American 1970s while also exploring the solitude and plotting of Ronan’s murderer. Tucci’s George Harvey holds a quiet malevolence about him that exudes danger despite his harmless cardiganed veneer. His calculations and coverings are precise with Tucci giving himself a twang in his voice just as off kilter as what satiates his inhumane impulses. Tucci is clearly Lesnie’s richest subject and allows him to provide an excellent contrast to the vibrant and various sheen of Ronan’s ‘imbetween.’

And it is with this ‘imbetween’ world that Jackson truly stumbles. A difficult literary concept to adapt, Ronan’s ability to see her family and their life without her is not only a complex concept, but a complicated element to visualize. And despite the beauty of Jackson’s ‘imbetween’, its concept doesn’t seem to be thought out with Jabez Olssen’s editing appearing conflicted and scattered rather than concise and paced. There is hardly any rhythm or pulse to the editing, which allows the story to falter and frankly, drag.

A project like this one is an excellent reminder that a piece with a considerable cast, talented director, and well done original content can still become a misshapen mess. Yet by the end of The Lovely Bones one will not remain completely untouched. As its story of dismantled, dismembered, and destroyed innocence still resonates in modern society. Rape, murder, and violations occur every minute, every hour, and every day. And as always, sadly always, those lives and traumas are never returned or mended. Bones remain broken.

The Saga of the Next Generation?

The Twilight Saga: New Moon (2009). D: Chris Weitz. DP: Javier Aquirresarobe. W: Melissa Rosenberg (Based on the 2006 novel by Stephanie Meyer). Starring: Kristen Stewart/Robert Pattinson/Taylor Lautner/Ashley Greene/Billy Burke/Chaske Spencer/Peter Facinelli/Anna Kendrick/Michael Welch/Michael Sheen/Dakota Fanning/James Campbell Bower/Nikki Reed/Elizabeth Reaser/Kellan Lutz/Jackson Rathbone/Rachelle Lefevre.

So far, not only has this saga of a series broken box offices records, but it has broken and mended tweens hearts all across the globe. And so it begins…

New Moon immediately excels past its predecessor, Twilight, in mood, shot composition, and pacing. The film is concretely rooted in Bella’s (Stewart) point of view as she continues her romance with immortal teenage vampire Edward (Pattinson) and begins to itch for inclusion in that lifestyle. New Moon’s story line also benefits from actually being given acts and climactic moments that allow the over two hour film to not feel laborious. This credit must go to Weitz who inherits the project from Hardwicke who was sidelined for money reasons.

Weitz at least seems to have redeemed himself from his last directorial adventure, The Golden Compass (2007), that was clearly poorly adapted from its original novel. Here Weitz and Aquirresarobe are committed to a darker look in Forks and a more dynamic use of space than in the last film. That being said, Weitz creative use of 360 degree shots, one actually right after the other, will probably make most of the audience nauseous, if the film’s theme doesn’t already have them feeling that way.

But what is New Moon’s theme? For a novel series that has come under various scrutiny and prompted many discussion on the direction of young adult fiction, it is difficult to color this film with even one palette. Rosenberg stays truer to Meyer’s story in this installment, embracing the darker complications of Stewart’s experiences and decisions. So that, although at the core of the series is romance, Rosenberg clearly attempts to unearth larger questions of reality, the supernatural, choices of lifestyles and paths we take. But will audiences really read all that into this film? Discussion point. So go discuss!

And while everyone is out delving into the ramifications of a Mormon novelist’s take on supernatural death defying love, New Moon’s cast of craziness still needs to be handled. Stewart leads the pack as the awkward and gutsy Bella who despite relationship defeat continues to breathe the whole movie. Stewart has progressed in this role and does service to Bella’s character’s contradiction of quietness yet ultimate gusto in her choice of love. Thankfully, rather than mope and weep, Stewart’s Bella screams and inverts into herself, truly manifesting the pain being caused.

The pain is of course being caused by none other than, hold back your screams ladies, Mr. Robert Pattinson’s Edward Cullen. Although hardly on screen in this film, Pattinson is just as sullen, pale, and statuesque as in Twilight. His Edward suffers from not being properly developed in the previous film, much like his acting skills. But he is better here and at least in this film a proper make-up team was hired so that him and his vampire family don’t merely look like a Halloween party.

And a party it is as Stewart’s birthday moment in the beginning of the film not only establishes the pace for the rest of the story, but exhibits Weitz amp up mentality. Which of course includes asking, now wolf pack member (given away by the trailer! Uggg), to step up his physical game. Thus making Lautner’s Jacob everything Pattinson’s Edward is not. He’s full of smiles, manly hobbies, and a physical warmth that is personified not only by his looks at Stewart, but his tanned body, athleticism, and wolf-pack mentality. Given the most screen time next to Stewart, Lautner pulls his weight as sensitive, strong Jacob, making Stewart’s decision even more nebulous for those out of the novel loop.

Holding down this cast is Burke as Stewart’s father, just as good of a choice as he was in the first film. The Cullens remain very limited in this film, a disappointment as their family dynamic will end up being so important to the story. Yet Miss Green continues to shine as Alice, a new face that will hopefully not get trapped within the midst of the Twilight craze. A craze that has at least resulted in this franchise receiving more money and these young actors being given better opportunities to do other projects, or so we hope.

Overall, the film is worth seeing. Yes, Weitz’s team has a few flubs, continuity errors, and unexplained moments, but will that matter? Sometimes it is worth it to see some mainstream entertainment now and then as, just like the Potter series, it is monopolizing the minds the developing generation. So keep in touch, these are the movers and shakers of tomorrow!

Don’t forget it doesn’t mean you have to like it.

Seasonal Overview: Fall 2009

As the world transitions from fall to winter the cinematic world moves from pre-Oscar season to Oscar season with a little holiday spirit drizzled in.

These past couple of months have already witnessed many a controversial conversation piece and stirred up dissent about what has been a success, what has not, and, of course, what the expansion of the Best Picture category will mean for this upcoming Oscar night. Now at ten nominations rather than five, Oscar night will not only highlight a greater breath of films, but also (*sigh) feel a bit more like the drunk dinner-fest known as the Golden Globes.

But, there are months still to go before that. On with our fall reflections…

This fall’s release that caused the most buzz would of course be Spike Jones’ live action adaptation of Where the Wild Things Are. Whether it lit you up or shut you out, there is not any denying that his visual palate and adamant abandonment of commercialized children’s filmmaking was a breath of fresh air. Another breath of fresh air was of course the little indie flick called Adam that reminded romantics everywhere that romantic comedies are not always the right date night remedy. (A fun note here is that Hugh Dancy, who played autistic Adam in this film is engaged to a Miss Claire Danes who is portraying the autistic scientist, Temple Grandin, in an upcoming television film. Coincidence? Bets are down as to who does it better. Get in on it!)

This fall’s films actually fell short on more than one occasion, story wise. Both 9 and Whip-It had far more visual punch than thematic or script success. With, of course, Tarantino’s Inglorious Basterds knocking August out of the park and truly embracing the strong visual style that makes this director a possible power-player for this year’s award season.

Rounding out this season’s line-up is of course Precious. No need to go into it, my review is below. But it is safe to say it is and will continue to be the marker into Oscar territory and the winter/holiday film season. One should be prepared for dark dramas, far too many movies too see and much anticipated new media to be explored. Overall, not a bad fall, but I have a feeling this winter is bound to be better.