At Long Last, Movies
"Timer"
starring: Emma Caulfield, Scott Holroyd, Kali Rocha, Katherine Von Till, Ho-Kwan Tse, Lousie Claps, Gabrielle Dennis, Marques Ray, Susan Zieglar
written and directed by: Jac Shaeffer
First off, perhaps in an ode to Apple and its many, many products, I couldn't help but notice the lowercase "i" within the title of this sci-fi romantic comedy, and then also wonder how far are we from the actual premise of the movie. Here it is: a stopwatch-type device countdowns to meeting your soulmate. Sure, it seems far-fetched, but is it? How many of us would pay the price to halt the pains of dating if we could just know when to be on the lookout, as the stopwatch-implant counts down to 0:00? Isn't much like knowing when you are going to die? How many of us would like that information? But then, also, with either pieces of information how would we then live our lives... in the knowing??
I've always loved Emma Caulfield since she played Anya on my favorite television show of all time (re: Buffy the Vampire Slayer) where she played a supporting role, so it was nice to see her using her charm and wit and utter cuteness in a leading role, even for an indie film that was probably seen by few. She plays Oona, a 30-year-old orthodontist frustrated by her timer, frustrated by her parents, frustrated with her life.
True love is preordained, so what do you do with the time? If you're Oona's sister, you have one-night stands until you don't "need" to anymore. If you're Oona's teenage brother, you end up meeting your soulmate almost immediately.
Schaeffer's scenario is outlandish but nonetheless engagingly handled in the early going, during which time Oona falls for young musician Mikey (John Patrick Amedori), thanks to performances that earnestly and empathetically locate their characters’ emotional turmoil. Nonetheless, none are capable of elevating material locked into a languid fate-versus-free will path. Is life worth living—and is love something you can feel, or even recognize—if your romantic future is already set in stone? Isn’t mystery a vital part of conscious existence? Such questions loom large over Oona’s struggle over whether to enjoy her present with Mikey, patiently pine for her TiMER to power on, or have the distracting apparatus removed altogether.
I've always loved Emma Caulfield since she played Anya on my favorite television show of all time (re: Buffy the Vampire Slayer) where she played a supporting role, so it was nice to see her using her charm and wit and utter cuteness in a leading role, even for an indie film that was probably seen by few. She plays Oona, a 30-year-old orthodontist frustrated by her timer, frustrated by her parents, frustrated with her life.
True love is preordained, so what do you do with the time? If you're Oona's sister, you have one-night stands until you don't "need" to anymore. If you're Oona's teenage brother, you end up meeting your soulmate almost immediately.
Schaeffer's scenario is outlandish but nonetheless engagingly handled in the early going, during which time Oona falls for young musician Mikey (John Patrick Amedori), thanks to performances that earnestly and empathetically locate their characters’ emotional turmoil. Nonetheless, none are capable of elevating material locked into a languid fate-versus-free will path. Is life worth living—and is love something you can feel, or even recognize—if your romantic future is already set in stone? Isn’t mystery a vital part of conscious existence? Such questions loom large over Oona’s struggle over whether to enjoy her present with Mikey, patiently pine for her TiMER to power on, or have the distracting apparatus removed altogether.
Since the film is a romantic comedy, you can very easily predict the third act and the finale, even though the story is an interesting one, I wish it had not been explored through the avenue of a romantic comedy.
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"If You Don't, I Will"
starring: Emmauelle Devos, Mathieu Amalric, Anne Brochet, Josephine de la Baume, Julia Roy
written and directed by: Sophie Fillieres
I've watched quite a few French films thanks to Netflix and this blogging project, and Mathieu Amalric seems to appear in many of them (mostly romantic comedies or variations of).
Here we have a display of a relationship/marriage gone cold, the romance having dissipated years ago and the two people have certainly learned how to pick and pick and pick at each other. Is this what marriage and/or long-term relationships become?? Is it all an ironic sign of affection or the symptom of a rut? There are many examples of potential breakdowns throughout the beginning of the film which lead to the decision by Devos' character to stay alone in the woods, hiking and camping, surviving on her own, proving to herself and to her husband that she can. With escaping into the woods, into nature, it is clear that the message is she is trying to get in touch with herself and perhaps discover things about herself. Nature and escapism is often used as this vehicle of self-discovery in films. But, the filmmaker doesn't necessarily go that route, successfully.
Time and again, director Sophie Fillières wisely plays against the audience’s expectations of the romantic-dramedy genre by allowing Pierre and Pomme’s altercations to be authentically painful rather than cute. Though our sympathies initially favor Pomme for the open, less complicated universality of her sense of heartbreak, we gradually come to see that Pierre’s callousness masks a similar kind of baffled longing. Amalric, in a tricky performance, allows us to understand that Pierre attacks out of a feeling of continual emotional blockage that’s really confusion. The actors play off one another beautifully, but If You Don’t, I Will bottoms out just as it’s getting warmed up.
Here we have a display of a relationship/marriage gone cold, the romance having dissipated years ago and the two people have certainly learned how to pick and pick and pick at each other. Is this what marriage and/or long-term relationships become?? Is it all an ironic sign of affection or the symptom of a rut? There are many examples of potential breakdowns throughout the beginning of the film which lead to the decision by Devos' character to stay alone in the woods, hiking and camping, surviving on her own, proving to herself and to her husband that she can. With escaping into the woods, into nature, it is clear that the message is she is trying to get in touch with herself and perhaps discover things about herself. Nature and escapism is often used as this vehicle of self-discovery in films. But, the filmmaker doesn't necessarily go that route, successfully.
Time and again, director Sophie Fillières wisely plays against the audience’s expectations of the romantic-dramedy genre by allowing Pierre and Pomme’s altercations to be authentically painful rather than cute. Though our sympathies initially favor Pomme for the open, less complicated universality of her sense of heartbreak, we gradually come to see that Pierre’s callousness masks a similar kind of baffled longing. Amalric, in a tricky performance, allows us to understand that Pierre attacks out of a feeling of continual emotional blockage that’s really confusion. The actors play off one another beautifully, but If You Don’t, I Will bottoms out just as it’s getting warmed up.
Unfortunately, the two main characters appear to be as superficial as they were written and you never really cheer for them to change, to see that things are better together, that happiness is only real when shared, etc. But, you also can't help but say, they deserve each other.
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"Glengarry Glen Ross"
starring: Al Pacino, Jack Lemmon, Alec Baldwin, Alan Arkin, Ed Harris, Kevin Spacey, Jonathan Pryce, Bruce Altman, Jude Ciccolella
written by: David Mamet
directed by: James Foley
Don't fault me for having never seen this film (which came out in 1992, hey, I was only 11 years old back then) until now. It was recently on Netflix (having since been removed, to make space for newer films most likely), so I watched it. I've always really enjoyed films that were plays originally. David Mamet is one hell of a playwright. His words resonate. His words stand against time. I mean, it helps that we recently went through a market bubble burst to make the words in the film and the premise of the film a bit more relevant, too.
The real estate office we are presented in this story is a smaller-scale than what the real estate market has become nowadays. It would almost be considered a mom-and-pop shop, by today's standards. There are two parts to the office: 1) where the manager resides and 2) where the minions/salesmen do all the business, where all the action takes place, where they make phone call after phone call and try to sound rich and confident, but we can see they are on the verge of despair as their livelihoods and jobs are put on the line.
"The Impossible"
starring: Naomi Watts, Ewen McGregor, Tom Holland, Samuel Joslin, Oaklee Pendergast, Marta Etura, Sonke Mohring, Geraldine Chaplin
written by: Sergio A. Sanchez and Maria Belon
directed by: J.A. Bayona
There's been one film prior to this drama to explore the devastating tsunami that destroyed the Pacific Basin of Thailand in 2004, still standing as the worst natural disaster in history. Clint Eastwood attacked the subject matter with his film "Hereafter" in 2010.
"The Impossible" is a searing film of human tragedy, with a family of five at the heart of the disaster and tragedy. This family is lost in the flood, engulfed by it, damned by it. Seemingly.
As “The Impossible” begins, all is quiet at a peaceful resort beach in Thailand. Seconds later, victims are swept up like matchsticks. The film is dominated by human figures: a young British couple, Maria and Henry Bennett (Naomi Watts and Ewan McGregor), and their three young sons, Lucas, Simon and Thomas (Tom Holland, Oaklee Pendergast and Samuel Joslin). All five fear they will never see their loved ones again.
Side note- It's a little hard to believe that Tom Holland is now the new Spiderman superhero in "The Amazing Spiderman" movie that just came out.
Much like the opening scene in "Saving Private Ryan" when Spielberg puts you on the front lines of war where the sounds and actions seem so damn life-like that you feel like you are actually there, filmmaker J.A. Bayona really gives the audience here the sense of being swept away, dragged underwater, tangled up in the debris and fighting/struggling for breath.
The film is a remarkable visual achievement, made more affecting by the depth the actors bring to their characters. The go-for-broke intensity and emotional layering Watts brings to her role is an acting triumph. And McGregor matches her in a performance of ferocity and feeling. The surprise is young Holland, who shows how the terror and anger in Lucas grow into courage. He gives this powerhouse film its grieving heart.
As Lucas, Tom Holland really shows his acting chops at such a young age. Noami Watts was nominated for an Oscar with this performance, but I feel like the Academy missed a chance to nominate the young actor, because let's face it, we all know Watts is a damn good actress, one of the bests of this "new" generation, which started with "Mulholland Drive."
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"1 Night"
starring: Anna Camp, Justin Chatwin, Isabelle Fuhrman, Kyle Allen, Kelli Berglund, Roshon Fegan
directed and written by: Minhal Baig
There's no star power or budget for this indie romantic film. Instead, it thrives on relying on the ups and downs of two different relationships with a heavy emphasis on the unknown. It's more of a mystery than a romance unfolding, and the director works a bit too hard to get to the finish line. The journey to the finish line is supposed to be compelling, though, and unfortunately the dialogue is just too difficult and forced.
So let's look at the two relationships at play here:
It’s prom night for Bea (Isabelle Fuhrman), who’s arrived at the big celebration with boyfriend Dave (Evan Hofer), a hostile jerk who’s not the most welcoming escort. Andy (Kyle Allen) is Bea’s childhood friend, a young man interested in photojournalism tasked with taking pictures of the arriving couples. Andy’s in love with Bea but doesn’t know how to express his feelings, remaining in the shadows. He finds help from Drew (Justin Chatwin), a thirtysomething stranger with surprisingly accurate advice for the situation, urging Andy to approach Bea and stand up for himself. Drew has his own troubles with estranged wife Elizabeth (Anna Camp), who’s looking for a reason to divorce, having lost trust long ago. Elizabeth finds time to advise Bea during her moments of confusion, hoping to inspire some self-worth and clarity. Setting out into the night, Drew tries to engage with Elizabeth, hoping to inspire a reconciliation, but communication proves difficult, while Bea and Andy commence their own evening of connection, newly empowered by seemingly random encounters.
Anna Camp's Elizabeth talks about love and opportunity, as well as going back in time to relive one evening in your life, as she very clearly wants to do. All the characters are struggling with internalized feelings they find hard to communicate.
Given the one central location and the dialogue between two characters, mostly, at one time throughout the whole film, it comes across like a play, perhaps better fit for the stage than as a film. There are a lot of themes touched upon in the short span of the running time of the film- feelings of fear and regret, the damage of past mistakes and the healing powers of sincerity, but are the characters sincere? The chemistry between the two couples does not seem sincere or real, which makes it hard to cheer for them each to survive this 1 night.
"Glengarry Glen Ross"
starring: Al Pacino, Jack Lemmon, Alec Baldwin, Alan Arkin, Ed Harris, Kevin Spacey, Jonathan Pryce, Bruce Altman, Jude Ciccolella
written by: David Mamet
directed by: James Foley
Don't fault me for having never seen this film (which came out in 1992, hey, I was only 11 years old back then) until now. It was recently on Netflix (having since been removed, to make space for newer films most likely), so I watched it. I've always really enjoyed films that were plays originally. David Mamet is one hell of a playwright. His words resonate. His words stand against time. I mean, it helps that we recently went through a market bubble burst to make the words in the film and the premise of the film a bit more relevant, too.
The real estate office we are presented in this story is a smaller-scale than what the real estate market has become nowadays. It would almost be considered a mom-and-pop shop, by today's standards. There are two parts to the office: 1) where the manager resides and 2) where the minions/salesmen do all the business, where all the action takes place, where they make phone call after phone call and try to sound rich and confident, but we can see they are on the verge of despair as their livelihoods and jobs are put on the line.
Hour after hour, they make calls to sell real estate that no one wants to buy. They are making no money. It is worse than that.
They are about to lose their jobs. Blake (Alec Baldwin), the slick hotshot from downtown, arrives to give them a chalk-talk and a warning. There is a new sales contest. First prize is a Cadillac.
Second prize, a set of steak knives. Third prize is, you're fired: "Hit the bricks, pal, and beat it, 'cause you are going OUT!" The movie is based on a play by David Mamet, who once briefly worked in such a boiler room. He knows the way these people talk, and turns their jargon into a version of his own personal language, in which the routine obscenities and despair of everyday speech are transcribed into a sad music. Their struggle takes on a kind of nobility.
The characters really make or break a play/film like this, and Mamet writes some great ones. And I mean, you couldn't ask for better actors to portray these characters. All great for their own reasons, but then once put together, it's almost scary how good they are.
Look at Shelley (the Machine) Levene, for example. Played by Jack Lemmon, he was once a hotshot salesman, winning the office sweepstakes month after month. Now he is making no sales at all, and his wife is in the hospital, and it's heartbreaking to hear his lies, about how he would feel wrong, not sharing this "marvelous opportunity." Lemmon has a scene in this movie that represents the best work he has ever done. He makes a house call on a man who does not want to buy real estate. The man knows it, we know it, Lemmon knows it - but Lemmon keeps trying, not registering the man's growing impatience to have him out of his house. There is a fine line in this scene between deception and breakdown, between Lemmon's false jolity and the possibility that he may collapse right on the man's rug, surrendering all hope.
The other salesmen are assembled in a well-balanced cast that rehearsed Mamet's dialogue for weeks, getting to know the music of the words while working on the characters. Kevin Spacey is the office manager, unblinking and cold, playing by the rules. The salesmen are played by Al Pacino, Ed Harris, Alan Arkin and Lemmon. They are all in various stages of breakdown. There is a duet between Harris and Arkin that is one of the best things Mamet has written. They speculate about the near-legendary "good leads" that Spacey allegedly has locked in his office. What if someone broke into the office and stole the leads? Harris and Arkin discuss it, neither one quite saying out loud what's on his mind.
Let us remember that in "Death of a Salesman" Arthur Miller made the salesman into a symbol for the failure of the American dream. In "Glengarry Glen Ross" we have a modern day version of that failure. And it works.
............................................................................................."The Impossible"
starring: Naomi Watts, Ewen McGregor, Tom Holland, Samuel Joslin, Oaklee Pendergast, Marta Etura, Sonke Mohring, Geraldine Chaplin
written by: Sergio A. Sanchez and Maria Belon
directed by: J.A. Bayona
There's been one film prior to this drama to explore the devastating tsunami that destroyed the Pacific Basin of Thailand in 2004, still standing as the worst natural disaster in history. Clint Eastwood attacked the subject matter with his film "Hereafter" in 2010.
"The Impossible" is a searing film of human tragedy, with a family of five at the heart of the disaster and tragedy. This family is lost in the flood, engulfed by it, damned by it. Seemingly.
As “The Impossible” begins, all is quiet at a peaceful resort beach in Thailand. Seconds later, victims are swept up like matchsticks. The film is dominated by human figures: a young British couple, Maria and Henry Bennett (Naomi Watts and Ewan McGregor), and their three young sons, Lucas, Simon and Thomas (Tom Holland, Oaklee Pendergast and Samuel Joslin). All five fear they will never see their loved ones again.
Side note- It's a little hard to believe that Tom Holland is now the new Spiderman superhero in "The Amazing Spiderman" movie that just came out.
Much like the opening scene in "Saving Private Ryan" when Spielberg puts you on the front lines of war where the sounds and actions seem so damn life-like that you feel like you are actually there, filmmaker J.A. Bayona really gives the audience here the sense of being swept away, dragged underwater, tangled up in the debris and fighting/struggling for breath.
The film is a remarkable visual achievement, made more affecting by the depth the actors bring to their characters. The go-for-broke intensity and emotional layering Watts brings to her role is an acting triumph. And McGregor matches her in a performance of ferocity and feeling. The surprise is young Holland, who shows how the terror and anger in Lucas grow into courage. He gives this powerhouse film its grieving heart.
As Lucas, Tom Holland really shows his acting chops at such a young age. Noami Watts was nominated for an Oscar with this performance, but I feel like the Academy missed a chance to nominate the young actor, because let's face it, we all know Watts is a damn good actress, one of the bests of this "new" generation, which started with "Mulholland Drive."
..............................................................................................
"1 Night"
starring: Anna Camp, Justin Chatwin, Isabelle Fuhrman, Kyle Allen, Kelli Berglund, Roshon Fegan
directed and written by: Minhal Baig
There's no star power or budget for this indie romantic film. Instead, it thrives on relying on the ups and downs of two different relationships with a heavy emphasis on the unknown. It's more of a mystery than a romance unfolding, and the director works a bit too hard to get to the finish line. The journey to the finish line is supposed to be compelling, though, and unfortunately the dialogue is just too difficult and forced.
So let's look at the two relationships at play here:
It’s prom night for Bea (Isabelle Fuhrman), who’s arrived at the big celebration with boyfriend Dave (Evan Hofer), a hostile jerk who’s not the most welcoming escort. Andy (Kyle Allen) is Bea’s childhood friend, a young man interested in photojournalism tasked with taking pictures of the arriving couples. Andy’s in love with Bea but doesn’t know how to express his feelings, remaining in the shadows. He finds help from Drew (Justin Chatwin), a thirtysomething stranger with surprisingly accurate advice for the situation, urging Andy to approach Bea and stand up for himself. Drew has his own troubles with estranged wife Elizabeth (Anna Camp), who’s looking for a reason to divorce, having lost trust long ago. Elizabeth finds time to advise Bea during her moments of confusion, hoping to inspire some self-worth and clarity. Setting out into the night, Drew tries to engage with Elizabeth, hoping to inspire a reconciliation, but communication proves difficult, while Bea and Andy commence their own evening of connection, newly empowered by seemingly random encounters.
Anna Camp's Elizabeth talks about love and opportunity, as well as going back in time to relive one evening in your life, as she very clearly wants to do. All the characters are struggling with internalized feelings they find hard to communicate.
Given the one central location and the dialogue between two characters, mostly, at one time throughout the whole film, it comes across like a play, perhaps better fit for the stage than as a film. There are a lot of themes touched upon in the short span of the running time of the film- feelings of fear and regret, the damage of past mistakes and the healing powers of sincerity, but are the characters sincere? The chemistry between the two couples does not seem sincere or real, which makes it hard to cheer for them each to survive this 1 night.
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