Music Film... and more
"Begin Again"
starring: Keira Knightley, James Corden, Mark Ruffalo, Hailee Steinfeld, Adam Levine, Yasiin Bey, Catherine Keener, Mary Catherine Garrison
written by and directed by: John Carney
John Carney has found his niche- films about music- and he does them so perfectly that you cannot help but love each one. "Begin Again" is the second of his, what I've dubbed, "trilogy" that started with "Once" and bookended with "Sing Street."
For writer/director John Carney, at least one story is tried and true: A pair of unlikely partners are drawn together by the promise of making music. In the case of his perfectly romantic Once, this resulted in an Oscar win (for Best Original Song), an acclaimed Broadway adaptation, and an actual relationship between its two leads, Glen Hansard and Markéta Irglová.
If that film was raw sugar, then Begin Again – which sees scorned songwriter Gretta (Knightley) and washed-up record company exec Dan (Ruffalo) reluctantly collaborating – is Splenda in comparison. With the increase in star power and a move from the streets of Dublin to New York City, there has come a proportional increase in agreeable phoniness regarding each character’s motivations and the will-they-or-won’t-they tensions that ensue.
You could even make the argument that this is Carney's "Jerry Maguire" film for the music industry. Ruffalo plays Dan, an aged music industry guy, who has just lost his job at the hip-hop label that he co-founded because he has failed to bring in any new clients and thus produce any hits. he doesn't seem to know what's "hip" in the music world anymore, and he wants to stick with what's worked for him in the past. That's why, in my opinion, Carney seems to focus and continually go back to the open mic scene as the vehicle for which the narrative goes on from. It's the place/scene where both Dan and Gretta in a sense "begin again." Gretta has just left her budding music star boyfriend, Dave (played by Maroon 5 lead singer Adam Levine), even though she moved to New York City with him in order to hopefully become music stars together (even if she is famous behind-the-scenes as the writer of his music).
In the same vein as the music industry being interested in remix-happy tendencies, Carney uses his film as a way to remix the characters' lives as he throws caution to the wind and doesn't bother with a consistent timeline, offering up the story in different fragments.
This is Carney's love song for the pop-song-focused generation. It says something, but you have to want to hear it and/or read between the lines. It is certainly not his masterpiece "Once," but I don't think he set his sights on making a sequel to that one. He had something different to say with this film.
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"The Exorcism of Molly Hartley"
starring: Sarah Lind, Devon Sawa, Gina Holden, Peter MacNeill, Daina Leitold, Julia Arkos, Tom McLaren
written by: Matt Venne
directed by: Steven R. Monroe
A couple of questions come to mind when watching this film: 1) did we really need another "exorcism" film? Isn't that subgenre played out by now?? and 2) was a sequel to the less than memorable "The Haunting of Molly Hartley" (from 2008, a long 8 years before this one) necessary? Does anyone care?
The end. If you were wondering what happened to Devon Sawa since his '90s lead roles in films like the original "Final Destination" and "Idle Hands" then go ahead and watch this one.
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"Happy Anniversary"
starring: Noel Wells, Ben Schwartz, Rahul Kohli, Joe Pantoliano, Annie Potts, Kristin Bauer van Straten, David Walton, Leonardo Nam, Kate Berlant, Sanchita Malik
written and directed by: Jared Stern
Noel Wells is the latest in a long list of my film crushes, thanks in large part to her stint on the first season of "Master of None" in which she played the ever-present Manic Pixie Dream Girl (of my dreams- thanks Natalie Portman via "Garden State"). She has since made two films now that I've watched that still fit that category (re: Mr. Roosevelt and now, this relationship dissection film).
Mollie (Noel Wells) and Sam (Ben Schwartz) are about to celebrate their anniversary, having maintained a relationship for the last three years. They live together, are parents to dog Donny, and they’re trying to keep the fires lit while they work through some interpersonal problems. Mollie is unhappy, missing the romantic guy she began dating long ago, wrestling with her control issues as she also cares for her father, Aldo (Joe Pantoliano), who’s going through chemotherapy treatments. Sam is tired of Mollie’s particular needs, enjoying the routine with his love, but his focus his pulled toward a possible business connection for a t-shirt design business he runs with pal Ed (Rahul Kohli). It’s a busy day for the pair, who inch toward a possible break-up, with both Mollie and Sam filing through memories from their time together, trying to understand what sparked their chemistry in the first place.
Haven't we all been in one of these relationships? That's what makes it relatable, as well as the characters. They are not necessarily annoying, but if they are, does that say more about ourselves than the actual characters? hmm.
Stern presents the couple with minimal mystery, meeting the pair as they experience a casual night with another couple, reflecting on their own worth while assessing the lives of others. Mollie and Sam celebrate their routine, sharing excitement when guessing the precise moment their driveway gate should be opened to facilitate a close shave arrival, and the morning brings an offering of breakfast from Sam, with Mollie spotting the minimal effort right away (picking a scone only he likes), trigger an admission of doubt when it comes to their longstanding connection.
The ensuing argument leads to a break, with Mollie and Sam going their separate ways for the day. The divide gives Stern a shot to inspect the union from two perspectives, with Sam sharing his frustrations with Ed while they prepare a presentation for website buyer Willa (Kristen Bauer van Straten), whom they stain with excess ink, adding to the stress of the afternoon. Mollie goes home to drive her father to the hospital, trying to drum up a little sympathy and wisdom from her mother, Diane (Annie Potts). Most of “Happy Anniversary” reaches into memory, with the pair recalling their first meeting at a bar where Sam was preparing to meet an internet date.
Perhaps it's because I just went through something similar, but I could really feel for these two characters and the story hit home a little too hard, but that didn't make me hate it. In fact, it was comforting finding solace, however briefly, in this film and with these two people.
....................................................................
"Leap Year"
starring: Amy Adams, Adam Scott, Matthew Goode, John Lithgow, Tony Rohr, Pat Laffan, Kaitlin Olson, Peter O'Meara, Dominique McElligott, Ian McElhinney
written by: Deborah Kaplan and Harry Elfont
directed by: Anand Tucker
The trouble with romantic comedies is the obvious predictability. The two characters will end up together and it is the filmmakers job to make the audience actually care about how they get to that point. It is very formulaic. Amy Adams is the obvious choice for the charming, lovable albeit goofy girl in the scenario of a rom-com, thanks perhaps in large part to Kate Hudson sort of unknowingly passing the torch.
Amy Adams and Matthew Goode have the charm necessary to float a romantic comedy like "Leap Year," and this is a story that needs their buoyancy. A sort of conspiracy forms between the audience and the screen: We know what has to happen, and the movie knows what has to happen, and the point is to keep us amused. "Leap Year" does better than that: It made me care. It does that by not being too obvious about what it is obviously trying to do.
starring: Keira Knightley, James Corden, Mark Ruffalo, Hailee Steinfeld, Adam Levine, Yasiin Bey, Catherine Keener, Mary Catherine Garrison
written by and directed by: John Carney
John Carney has found his niche- films about music- and he does them so perfectly that you cannot help but love each one. "Begin Again" is the second of his, what I've dubbed, "trilogy" that started with "Once" and bookended with "Sing Street."
For writer/director John Carney, at least one story is tried and true: A pair of unlikely partners are drawn together by the promise of making music. In the case of his perfectly romantic Once, this resulted in an Oscar win (for Best Original Song), an acclaimed Broadway adaptation, and an actual relationship between its two leads, Glen Hansard and Markéta Irglová.
If that film was raw sugar, then Begin Again – which sees scorned songwriter Gretta (Knightley) and washed-up record company exec Dan (Ruffalo) reluctantly collaborating – is Splenda in comparison. With the increase in star power and a move from the streets of Dublin to New York City, there has come a proportional increase in agreeable phoniness regarding each character’s motivations and the will-they-or-won’t-they tensions that ensue.
You could even make the argument that this is Carney's "Jerry Maguire" film for the music industry. Ruffalo plays Dan, an aged music industry guy, who has just lost his job at the hip-hop label that he co-founded because he has failed to bring in any new clients and thus produce any hits. he doesn't seem to know what's "hip" in the music world anymore, and he wants to stick with what's worked for him in the past. That's why, in my opinion, Carney seems to focus and continually go back to the open mic scene as the vehicle for which the narrative goes on from. It's the place/scene where both Dan and Gretta in a sense "begin again." Gretta has just left her budding music star boyfriend, Dave (played by Maroon 5 lead singer Adam Levine), even though she moved to New York City with him in order to hopefully become music stars together (even if she is famous behind-the-scenes as the writer of his music).
In the same vein as the music industry being interested in remix-happy tendencies, Carney uses his film as a way to remix the characters' lives as he throws caution to the wind and doesn't bother with a consistent timeline, offering up the story in different fragments.
This is Carney's love song for the pop-song-focused generation. It says something, but you have to want to hear it and/or read between the lines. It is certainly not his masterpiece "Once," but I don't think he set his sights on making a sequel to that one. He had something different to say with this film.
................................................................
"The Exorcism of Molly Hartley"
starring: Sarah Lind, Devon Sawa, Gina Holden, Peter MacNeill, Daina Leitold, Julia Arkos, Tom McLaren
written by: Matt Venne
directed by: Steven R. Monroe
A couple of questions come to mind when watching this film: 1) did we really need another "exorcism" film? Isn't that subgenre played out by now?? and 2) was a sequel to the less than memorable "The Haunting of Molly Hartley" (from 2008, a long 8 years before this one) necessary? Does anyone care?
Two priests try to perform an exorcism on a pregnant woman. She convinces the dumb, young priest, Father Barrow (Devon Sawa) to untie her. Rookie mistake. She flies up off the bed, grabs the other priest, and goes flying out the window with him. Barrow is blamed for the murders and is sent to a nuthouse soon after.
Meanwhile, hottie Molly Hartley (Sarah Lind from True Justice) is celebrating her birthday/promotion by going to the club, getting high on E., and having a three-way back at her pad. Of course, when some cops find the couple slaughtered and soaking in Molly’s tub, it can only mean one thing… party’s over. And that she’s possessed by the devil. So… that’s two things I guess.
Anyway, she gets sent to the loony bin, which just so happens to be the same one Father Barrow is in. Medical science fails to drive the devil out of Molly, so her doctor (Gina Holden) turns to Father Barrow for help. Naturally, he’s looking for a shot at redemption and agrees to a rematch against Satan.
................................................................
"Happy Anniversary"
starring: Noel Wells, Ben Schwartz, Rahul Kohli, Joe Pantoliano, Annie Potts, Kristin Bauer van Straten, David Walton, Leonardo Nam, Kate Berlant, Sanchita Malik
written and directed by: Jared Stern
Noel Wells is the latest in a long list of my film crushes, thanks in large part to her stint on the first season of "Master of None" in which she played the ever-present Manic Pixie Dream Girl (of my dreams- thanks Natalie Portman via "Garden State"). She has since made two films now that I've watched that still fit that category (re: Mr. Roosevelt and now, this relationship dissection film).
Mollie (Noel Wells) and Sam (Ben Schwartz) are about to celebrate their anniversary, having maintained a relationship for the last three years. They live together, are parents to dog Donny, and they’re trying to keep the fires lit while they work through some interpersonal problems. Mollie is unhappy, missing the romantic guy she began dating long ago, wrestling with her control issues as she also cares for her father, Aldo (Joe Pantoliano), who’s going through chemotherapy treatments. Sam is tired of Mollie’s particular needs, enjoying the routine with his love, but his focus his pulled toward a possible business connection for a t-shirt design business he runs with pal Ed (Rahul Kohli). It’s a busy day for the pair, who inch toward a possible break-up, with both Mollie and Sam filing through memories from their time together, trying to understand what sparked their chemistry in the first place.
Haven't we all been in one of these relationships? That's what makes it relatable, as well as the characters. They are not necessarily annoying, but if they are, does that say more about ourselves than the actual characters? hmm.
Stern presents the couple with minimal mystery, meeting the pair as they experience a casual night with another couple, reflecting on their own worth while assessing the lives of others. Mollie and Sam celebrate their routine, sharing excitement when guessing the precise moment their driveway gate should be opened to facilitate a close shave arrival, and the morning brings an offering of breakfast from Sam, with Mollie spotting the minimal effort right away (picking a scone only he likes), trigger an admission of doubt when it comes to their longstanding connection.
The ensuing argument leads to a break, with Mollie and Sam going their separate ways for the day. The divide gives Stern a shot to inspect the union from two perspectives, with Sam sharing his frustrations with Ed while they prepare a presentation for website buyer Willa (Kristen Bauer van Straten), whom they stain with excess ink, adding to the stress of the afternoon. Mollie goes home to drive her father to the hospital, trying to drum up a little sympathy and wisdom from her mother, Diane (Annie Potts). Most of “Happy Anniversary” reaches into memory, with the pair recalling their first meeting at a bar where Sam was preparing to meet an internet date.
Perhaps it's because I just went through something similar, but I could really feel for these two characters and the story hit home a little too hard, but that didn't make me hate it. In fact, it was comforting finding solace, however briefly, in this film and with these two people.
....................................................................
"Leap Year"
starring: Amy Adams, Adam Scott, Matthew Goode, John Lithgow, Tony Rohr, Pat Laffan, Kaitlin Olson, Peter O'Meara, Dominique McElligott, Ian McElhinney
written by: Deborah Kaplan and Harry Elfont
directed by: Anand Tucker
The trouble with romantic comedies is the obvious predictability. The two characters will end up together and it is the filmmakers job to make the audience actually care about how they get to that point. It is very formulaic. Amy Adams is the obvious choice for the charming, lovable albeit goofy girl in the scenario of a rom-com, thanks perhaps in large part to Kate Hudson sort of unknowingly passing the torch.
Amy Adams and Matthew Goode have the charm necessary to float a romantic comedy like "Leap Year," and this is a story that needs their buoyancy. A sort of conspiracy forms between the audience and the screen: We know what has to happen, and the movie knows what has to happen, and the point is to keep us amused. "Leap Year" does better than that: It made me care. It does that by not being too obvious about what it is obviously trying to do.
Let's start off on the same page. A sweet but over-organized young woman named Anna (Amy Adams) has been dating a high-powered heart surgeon named Jeremy (Adam Scott) for four years. He's pleasant, attentive, presentable and shares her goal of buying a condo in the best building in Boston. He does nothing, absolutely nothing, wrong. For veteran filmgoers, he has one fatal flaw: He has a healthy head of hair, and every strand is perfectly in place. No modern movie hero can have his hair combed.
When, oh, when, will Jeremy ask Anna to marry her? After dashing her hopes yet again, he hurries off to Dublin for a cardiologists' convention, because as we all know, it's a professional necessity for cardiologists to meet in faraway places they're always wanting to go. Anna is told that in Ireland on Leap Day every four years, a woman can ask a man to marry her. Anna double-checks this on the Web, somehow not discovering that this is believed nearly everywhere, and if for instance a man on Denmark turned her down, he would have to buy her pairs of gloves.
Anna flies off to Ireland. The flight lasts only long enough for her to survive severe turbulence. The plane is diverted to Cardiff. Is anyone surprised that Anna doesn't arrive in Dublin on schedule? Despite canceled ferry boats, she makes her way to Ireland by hiring a tugboat. The skipper says they can't land at Cork but must head for Dingle. Dingle in Ireland is more or less as far as you can get from Wales (or Dublin), but never mind.
We all know what's coming, too. Anna meets Declan (the opposite of everything Jeremy is.
It stays firmly on course, and that Anna and Declan argue all the way to Dublin through adventures that, by law, must include get getting all muddy and them being forced to share a bedroom together. Therefore, the success of the film depends on the acting and direction.
Amy Adams and Matthew Goode sell it with great negative chemistry and appeal. Adams has an ability to make things seem fresh and new; everything seems to be happening to her for the first time, and she has a particularly innocent sincerity that's convincing.
It is rather boring, as a film/story. It fails to entertain and offer something new to the drowned out rom-com genre.
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