Two Great Films ("Greenberg" and "The Spectacular Now") and Another Show

Friday night, I saw myself at another concert. Fall is quickly turning into a continuation of the great time I had at shows in the summer. This time around it was Yellowcard, celebrating the 10th  anniversary (?!) of their debut album "Ocean Ave." Now, I was never really a big fan of theirs when they first came out and I haven't really followed their career. They were going to play their first album, in its entirety, acoustically, which intrigued me, so I wanted to see their set. But, the main reason why I went to this show was for the opener: Geoff Rickly, the singer of one of my favorite bands, Thursday, who are now on an indefinite hiatus, which has left the door open for Rickly to explore different musical avenues. And so, what has he been up to lately? He's been recording his own, solo adventures and releasing them for free to fans. His set was acoustic and included some of these songs, but also relied on some of the more obscure Thursday songs, reimagined by Rickly on the acoustic guitar. Oh, he also played  Flaming Lips and Brand New covers. He talked a lot in between songs, and this environment just seemed slightly more intimate than a Thursday show. (FYI- I've also seen Thursday about 4 times, including one show on their "Farewell" tour a couple years ago.) Now listen for a few minutes as I stand atop my soapbox. Thursday is hands down one of the greatest bands who never was allowed to make it big, perhaps for one specific reason: far more poppier emo music became too popular and their sound was never accepted by the mainstream masses, even though it evokes far more emotion than the now-cookie-cutter-esque emo from 10 years ago that is perhaps no longer even relevant, but Thursday had continued to make music and records that mattered (in my opinion), after bucking the trend of major label hops (perhaps because they attempted being on a major label, Island/Def Jam, which quickly turned into a disaster thanks to not really being promoted effectively or fairly). The band refused to make "radio-friendly" pop-laced songs. They were quickly dropped from their major label and then made albums at their own pace, with their own creative input. And they ended, as a band, on a high note. I remember them as one of those bands that I discovered on my own, after seeing the video for their song "Understanding" on MTV2 (you know, back when they were the MTV channel to play music videos). Soon after, I bought their album "Full Collapse" (and then discovered they had an earlier first album, whose sound is more minimal and the production isn't as decent. "Full Collapse" was released on Victory Records- one of if not the essential "underground" hardcore/emo record label of the time period. After listening to "Full Collapse" they quickly became one of my favorite bands. They were the definition of "screamo" but also post-hardcore in the same vein as another favorite band of mine, Fugazi, as well as Sunny Day Real Estate. They were also heavily influenced by Joy Division, which is heard easily in their first album "Waiting." When they jumped ship for a major label, I was kind of disappointed, because I felt connected to them and I felt like I owned them, having discovered them on my own. You know, that ownership you take to a band before they break through. But then, at the same time, I wanted more people to hear their music because it was great. It was an internal struggle. Then, their major label adventure happened to be a flop, because they refused to give in and lose their artistic vision and creativity, perhaps. And they continued to make great music and I continued to be devoted to them. "Common Existence" is one of my favorite albums in their catalogue and it took me a few listens to really, genuinely, appreciate their final, swan song, album "No Devolucion." 

And so, I went to the House of Blues in Boston with the expectation of seeing a great opening set from Geoff Rickly and he didn't disappoint. Yet again, though, I don't think enough people appreciated who and what they were listening to.

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Film 251
"Greenberg"
starring: Ben Stiller, Greta Gerwig, Rhys Ifans, Chris Messina, Susan Traylor, Brie Larson, Juno Temple, Jennifer Jason Leigh (I also spotted Zozia Mamet from "Girls")
directed by: Noah Baumbach
written by Noah Baumbach and Jennifer Jason Leigh

I think by now I've made my adoration for all films Noah Baumbach has done rather apparent. He has mastered the art of giving his characters enough of a background story that is only briefly and sporadically hinted at throughout the film so that you get a sense of who they are and why they are the way they are (in terms of their behavior, psyche, etc.). His storytelling is subtle and subdued just enough to make you feel like you could know the characters and perhaps be their friends. I absolutely love his style of writing.

And Greta Gerwig (his real life partner) has quickly risen in my ranks of actresses I have a crush on. Why? Because there's just something, a quality (qualities) about her characters that make me fall for her every time. She seems quite attainable, while being all naturally beautiful, in the truest girl-next-door aspect. She seems very approachable, with an inviting, yet shy smile. She never really seems to have her life figured out, but that doesn't deter you from wanting to be with her while she figures things out. She wants to have a good time, but she questions herself. She is the penultimate film-version of all the girls I think I've had major crushes on in real life.

I'd wanted to see this one when it first came out in theaters a few years ago, but for whatever asinine reason, I missed it. Too bad. Thankfully, it just came to Netflix.

Aside from the excellent writing and directing of this film, "Greenberg" really belongs to Ben Stiller (whom I've always appreciated more for his dramatic roles than his tired comedic roles). Stiller is Roger Greenberg, and I mean, he owns the role, from everything to the guy's internal struggle to his physical appearance (he often looks physically defeated, by himself and by the world, of which Greenberg thinks is constantly out to screw him). Greenberg is a guy who lives in his head, perhaps slightly veering into the past as well. Here's what we know about his past, which Baumbach only occasionally alludes to: Greenberg used to be in a rock band, but he walked away from his bandmates and his potential career as a musician just upon the brink of a breakthrough and success (which pissed off his bandmates, even his longtime friend, Ivan, who confesses to Greenberg that he felt betrayed by him, but he remained a devoted friend all these years). Greenberg is also coming off a brief (?) stint in a mental institution as he is squatting in his much more successful than him brother's house in L.A., which he is returning to after a many years hiatus, opting for New York instead, to pursue his newfound career as a carpenter. Greenberg takes prescription pills. And he is pissed off at the world, often opting to air his grievances about anything that confronts his mentally ideal picture of his life through letters to the companies or people that he is grieving against. Perhaps that's a decent outlet for his anger, but he also explodes face-to-face with people, too (Florence Marr, his brother's nanny and hosuekeeper, played magnificently by Greta Gerwig, gets the brunt of one tirade during the film). Greenberg is clearly struggling and it seems like he is going to use this time in L.A. to reconnect with himself and hopefully reality. But, the thing is, people like Greenberg (who live their lives all in their heads) never really change. So, in order to stay connected with this film, you have to suspend belief that Greenberg will have any sort of life-altering epiphany (and Baumbach knows this and ends the film in a perfect haze of vagueness that makes you question the true outcome).

Greenberg calls on Florence because he needs a little help, from time to time, with the ins and outs of his brother's house, and because maybe he enjoys someone being at his beck-and-call, but you can also tell that he is really craving some attention. But, when they are together, Greenberg treats her like shit. He yells at her. He diminishes her choice of music and/or drinks. He belittles her choices. Perhaps Greenberg is slightly autistic, because he clearly has no sense of his effect on the people he comes in contact with, and unfortunately, Florence is the first person to really show an interest in perhaps the guy he could be if he'd just let go of some of his anger. Their "relationship" throughout the film is what's important here. They represent polar opposites: she is healthy and filled with an abundance of energy for all things related to life and living, even though she doesn't really have any true direction in life, she seems content serving others. And just when you think Greenberg will be happy, it's almost like he recognizes that small glimmer of hope and change in himself, he gets jealous of himself and ruins it, purposefully. He is unique in his miserable existence. It's almost like he has created this version of himself that he would feel like he's betraying if he suddenly became happy. Leaving us to wonder: what the hell is wrong with him?

This is a great film, like other Baumbach films. And I hope that Greta Gerwig breaks away from the indie film world, because her talent and screen presences deserves way more recognition!

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Film 252
"The Spectacular Now"
starring: Miles Teller, Shailene Woodley, Brie Larson, Kyle Chandler, Jennifer Jason Leigh
directed by: James Ponsoldt

"The Spectacular Now" is in my Top 3 favorite/best movies of the year. It is an insightful, perfectly paced story of a flawed young man as the protagonist driving the story. This young man's name is Sutter Keely (played by Miles Teller). He is fighting against many of life's forces at the same time. He is struggling to make it through school, geometry in particular. He is clearly a budding alcoholic. He has been dumped by his gorgeous, blonde, popular girlfriend, Cassidy (Brie Larson), at the onset of the film and he very much so holds a candle up to her and never exactly gets over her (doesn't really allow himself to get over her, and doesn't really want to). He goes on a drinking bender after trying to get her back (because apparently there's been a pattern of fighting and breaking up and making up) but failing. He ends up asleep on some stranger's lawn. That's when his life should change. He should wake up and realize things. But that's just the beginning of the film, which means he is meant for bigger things. In fact, his life does change in that moment, because he is woken up by a wallflower of a girl, Aimee Finecky (played with precision by Shailene Woodley, who is destined to become a great actress as she ages- she's a mere 21 years of age).

You know what comes next. Aimee, being the sort of bookworm and self-described nerd that she appears to be, falls quickly and head over heels for Sutter when he returns her gaze on that lawn and then helps her with her paper route. These two teenagers need each other. He asks her to tutor him in geometry so that he can graduate. He also needs to be wanted, after being dumped. He looks at her as a charity case at first, constantly telling his best friend that he is strictly helping her out. She needs his help, apparently. She needs his help in being able to stand up for herself (especially to her mother) and also in standing up firmly for what she wants (to go away to college in Philadelphia. He also teaches her how to drink. They drink together. A lot. She helps him, too, though. But, ultimately she sticks by his side no matter what he does or says. There's an amazing, surprising scene towards the end that makes you question if this poor girl is just clouded in the fog/haze of first-time, teenage love, or if she truly knows what love means. You can't help but think that Sutter is not good for this girl, especially with all the drinking he/they do. She clearly has potential. Will he ruin that in her? Or will she help him see his own potential? He does not have any aspirations past high school. He firmly believes in living for "the now" with his minimum wage job at a men's clothing store, a flask, and his car. Those are his only essentials.

The trouble is in who he could become if he continues down this path. His mother sees it: his father (played by Kyle Chandler, although briefly still stunningly), who left the family and opted for drinking his way through life and living in the moment. Sutter doesn't see his inevitable path until he pleads with his sister (played by a well-made-up Mary Elizabeth Winstead) to have his father's phone number so that he can talk to the man who made him.

When Sutter meets and spends time with his father, all the while, Aimee has never left his side and actually accompanies him on this trip, the film's themes really come out: the difficulty of breaking a familial mold (we are our parents), towing the fine, thin line between temporary/teenage-youthful behavior and habits, as well as the fleeting nature of youth, in general. The drama of this coming-of-age story plays out drastically but not necessarily too in-your-face. It packs a heavy punch and yet stays true to itself and remains real enough to have an effect on the viewer. Everything that transpires in the film seems to happen quite naturally between the actors, especially the intimate sex scene between Sutter and Aimee.

It's a film about the bittersweet moment when someone realizes childhood has officially ended and they need to grow up. The drama builds quietly, which helps you appreciate every moment leading up to the final scene, even if you can sense it coming.