Beginners (Thursday, August 4, 2011) (63)

Beginners is a very intimate, funny, personal and sad movie by writer/director Mike Mills. It does sometimes boil over with sentimentality and cuteness (he is married to Queen of Cute Miranda July), but his enthusiasm is infectious and he communicates the difficulties of discourse brilliantly through montage, score and clever dialogue (sometimes from a dog).

As the film opens, Oliver (Ewan McGregor) tells us that his mother died five years ago and that his father, Hal (Christopher Plummer) has just passed away from cancer. Hal had just came out as gay after living as a straight married man since the 1950s; in his final years, he had a lover, Andy (Goran Visnjic) and began to open up to his son in ways that he had never done in the past.

The story is told simultaneously in the present and flashbacks at the past, sometimes at Oliver's childhood interacting with his off-beat mother and sometimes looking at the last years of his father'a life, but always from Oliver's point of view. He's a sad guy; now in his 40s, he is an artist living and working in LA and never totally connecting to anyone (including his friends). There is a suggestion from them that he used to be more "into it all," but he's gotten sadder and more quiet, either because of his father's death or exacerbated by that.

At any rate, he goes to a party with them where he meets Anna (Melanie Laurent) a French actress living in an LA hotel for some short period of time. The two immediately connect, probably they each see a similar dourness in the other, and they try to make it work together despite their individual distrust of humanity and Oliver's specific pain from losing his father, who had become a close friend in recent years.

I think that a well-crafted montage is one of the best and most interesting devices a director can use, and Mills employs them here wonderfully and rather unlike anything else I've ever seen. There is a refrain and a structure they all come back to. In a monotone voice-over we hear Oliver say, for instance "I was born in 1963. This is the President in 1963; this is what nature looked like; this is the sun; the stars." As we hear these things, we see advertising or publicity stills of the things being described. Yes, it's certainly a bit precious, but it's effective. This is how Oliver sees the world and this gets us into his literal frame of reference. He is not a very elaborate emotional person, rather he sees things in a binary way: happy/sad, pain/pleasure, good/bad, comfort/discomfort. These montages lead us into this understanding.

To say they are reminiscent of Hollis Frampton's seminal art film, (nostalgia), is an understatement, and perhaps strikingly naive. The disembodied voice feels close and uncomfortably clinical at the same time; the idea of images summing up emotions and acting as stand-ins for whole stories. Really what the connection comes down to is exactly the title, nostalgia - and more specifically sadness over things long ago (even things you didn't experience yourself).

As the film goes along, Oliver seems to be working on an art project about sadness, hand-drawn pictures that have some political message and some personal connection (they're about his father's suppression of his sexuality). Clearly Mills isn't subtle with his themes.

Back with Anna, they both have issues with their parents (she has an ongoing discussion with her father he wants to kill himself for reasons we never find out). They connect because they're both moving at the same slow pace experiencing everything, stopping to smell the roses, as it were. Oliver is clearly afraid of commitment, and ambivalent about "taking the next step" with her, for fear their relationship will evaporate (because things move toward nothingness, of course).

The connection they mutually feel is frightening to Oliver, who has connected to several people over the years. First we see his unconventional mother (who is a riot, played by Mary Page Keller), who seems to interact with the 10-year-old Oliver as if she is a 10-year-old. She does a silly dance in an art gallery, she has a game where she shoots him with her fingers as a gun and critiques his death-fall. It's clear that as a kid, he connected more to his mother. After she died, he clearly connected to his father and appreciated his joie de vivre and recognized his life-long struggles. After his father's death, he connects to his father's dog, Arthur, who doesn't speak, though we do see his glances subtitled several times (this is wonderful and very reminiscent of Miranda July's joyful eccentricity).

Oliver is worried that he might not be in an emotional position, at this moment, to properly give himself to Anna, and he wants to cut off the relationship before they get in too deep. Clearly this is a self-fulfilling action, as pushing her away for no good reason...well, it pushes her away. We feel bad for her, but also bad for him. He knows not what he does.

All four lead actors here are non-Americans (and then the fifth is a dog) and only Laurent is playing a foreigner. I found McGregor's American accent difficult throughout, as much as I tried to ignore and just chalk it off to a silly LA affectation. Really, Plummer, Visnjic and McGregor all struggle with their accents, though they all give very nice heart-felt performances. I guess Laurent's performance feels the most honest (possibly because she's playing a French woman who speaks with a French accent), because she doesn't seem to be reaching as far for the emotional connections to Anna's actions. (I'm very upset that I'm not dating Melanie. She's beautiful and talented... and Jewish... .)

Perhaps Mills relies too much on his montages. I think they would have been even more effective than they are if there had only been three or four of them rather than the six or seven we see. He's certainly a bit too blunt about the theme of sadness. Clearly the actors' accents are distracting too, but Mills gets great performances out of them all. He also uses technical stuff, like a wonderful, sad piano score by Roger Neil, Dave Palmer and Brian Reitzell to convey the darkness of the film, despite it's very funny writing. This is a movie that I expected to hate for being too sweet and too on-the-nose about child-parent emotions. It's much better than that and is a very nice work.

Stars: 3 of 4

THE DOUBLE HOUR: The Film Babble Blog Review

This Italian thriller that more than lives up to its tagline ("Nothing is what it seems") is now playing  in Raleigh at the Colony Theater:



THE DOUBLE HOUR (Dir. Giuseppe Capotondi, 2009)

I didn’t know anything about this film going in and for that I'm grateful as I'm sure seeing a trailer or even a cursory look at a plot description would've ruined some of the suspense.



That said, I'll try my best in my summary not to spoil this film's at times confusing yet fascinating twists and turns.



Here goes: Ksenia Rappoport is a hotel maid in Turin who meets former cop turned security guard Filippo Timi at a speed dating event. Romance is in the air, but on a date at the villa he guards, armed masked men assault the couple and tie them up during the theft of tons of priceless paintings.



A scuffle ensues and Rappoport wakes up to find out Filippo was killed.



In a tramatic state she tries to go about her daily routines, but she's haunted by Filippo who she sees on a monitor at work and in the darkness of her apartment.



To say anything more than that would be a crime as THE DOUBLE HOUR (which means the time of day when the hour and minute are the same like 11:11) is full of wonderfully unpredicatable moments.



It's a keep guessing what's what experience, sensitively shot, with ace acting by the two leads, especially Rappoport whose frazzled tormented demeanor carries the film.



In his directorial debut, Capotondi, who's well experienced in the world of music videos, shows that he really knows how to create an effective engrossing mood. I was caught up in this film's aura from start to finish and was very satisfied by the ending, even if I was reminded a bit of the cold cutting conclusion of BODY HEAT.



Wait, was that a spoiler? I so tried not to do that.



More later...

Beats, Rhymes & Life:The Travels of a Tribe Called Quest (Sunday, July 31, 2011) (62)

Actor Michael Rapaport directs Beats Rhymes & Life: The Travels of a Tribe Called Quest, a documentary about the history of the hip hop group and their current struggles to stay together. It's a documentary with a similar feeling to Metallica: Some Kind of Monster, that is not only about the biographical look at the band, but also an evaluation of a beef between two leaders that they're having a hard time settling.

Q-Tip and Phife Dawg, the two MCs of the group were childhood best friends, but always had a different view of their craft. For Tip it was always a serious job that demanded the most accurate attention. His passion has always laid in finding amazing music to sample on each track and knowing exactly how the layers of sounds would would perfectly together. For Phife (aka, the Funky Diabetic), he was always more interested in amazing rhymes and the more poetic aspects of the art. This always worked well for them, as they made six albums in about 12 years, including The Low End Theory, one of the best rap/hip hop albums of all time.

By the late 1990s, however, they were fighting more and more and seemed less interested in keeping the group together. They had already lost one of the original members, Jarobi, who seemed to be less into the touring thing than the others, and their DJ, Ali Shaheed Muhammad, seemed to not be interested in fighting the two titans he worked with. The band melted away, but they remained friendly. Sort of.

Phife was always upset that Tip became known as the "leader" of the band and didn't like how he would run things; Tip didn't like that Phife was never as serious about the work as he felt it necessary to be. When they got together for a reunion in 2008 at the Rock the Bells show (to help Phife pay for medical issues relating to his juvenile diabetes), they ended up fighting constantly and not speaking to one another by the end.

Rapaport talks to most of the important rappers whose styles either were influenced by Tribe or developed at the same time. Interviews include members of De La Soul, The Jungle Brothers, Monie Love, Prince Paul, Common, Questlove, Black Thought and Pharrell Williams, to say nothing of appearances by Mary J. Blige, Busta Rhymes and Mos Def. They all talk about how important Tribe's music was to them. Common has what is probably the most important comment that they all had access to the old vinyl that Tribe found their beats and samples from, but Tribe were the first guys to actually listen to those albums and use them.

Rapaport, as passionate as he clearly is about Tribe, is not a great documentarian and the film loses some power with a very sloppy style and inconsistent pace. There are some frustrating transitions and at least two albums (of the six they released) are barely discussed at all.

This is a good documentary from the point of view of telling a story of a band and getting a generally good understanding about their history. Unfortunately the issue of Phife and Tip not liking one another is not really dug into very deeply. Rapaport presents the fight they're having in it's basic terms, but doesn't really get deep into why they are fighting (unlike how Berlinger and Sinofsky handled a similar event in Some Kind of Monster). This is not a very deep movie, but it does have great music... which Rapaport can't take credit for, of course.

Stars: 2.5 of 4

Another Earth (Sunday, July 31, 2011) (61)

As Another Earth opens, the young Rhoda (co-writer Brit Marling) is partying in her Connecticut town before she goes off to college at M.I.T. She drives home and hears on the radio that a new planet has entered the solar system and is now visible with the naked eye. Transfixed by this tiny blue dot in the night sky, she does not pay attention to where she's driving and crashes head-on into another car with young family inside.

When Rhoda gets out of jail (a four-year stint for manslaughter), she seems to be a changed person. Sober now in every sense, she realizes that she was reckless as she tries to re-start her life in a much more modest way. During the the four years that have passed, that blue dot in the sky has come closer and closer to Earth and scientists have studied it and have come to understand it as an Earth clone, Earth II, which seems to have the exact the same land masses, cities and people that we have on our planet. That is to say there is a likelihood that each person has a double on Earth II.

What is wonderful about Another Earth is that while this very challenging string-theory-multiple-Earths story line is going on, what we experience from scene to scene is really just a very down-to-earth tale of Rhoda coming to terms with killing two people and trying to make right with the man who survived the accident, John (William Mapother). In order to do this, she becomes his house cleaner, trying desperately to help him through his depression and trying to find the right moment to reveal her identity to him. It is clear that such an existential change as Earth II affects everyone in dramatic ways, but this is much more of a melancholy drama than it is a sci-fi movie (the way Moon, District 9 or 2001: A Space Odyssey are really just dramas set in a sci-fi genre).

I really like the moody, gray-green look to the film. That it takes place in winter, gives everything a cold and wet look, which is very important to creating an interesting atmosphere. We're constantly reminded of how mediocre life is for most and the outside world works as a nice objective correlative for the internal struggles of both Rhoda and John.

As the film moves along, there's a lovely idea that Earth II represents a mulligan, a do-over, for people on Earth (I). Clearly Rhoda and John are in need of such a do-over, though as much in an existential sense as a literal one. This is a lovely device, if a bit heavy-handed. (In fact it's perhaps that it's so unapologetically heavy-handed that it works so well. Co-writer/director Mike Cahill and Marling never flinch from the inherent silliness of the story and never stop to answer questions, like "won't this new Earth crash into our Earth?" Nobody ever blinks about this construction and it works because it's so earnest.)

Marling is really amazing in this movie, particularly for a new actress I've never seen in any major role before. OK, first, she's objectively beautiful, sorta a grown-up looking Jennifer Lawrence or blond Jessica Chastain. But she brings with that a self-effacing honesty and an elemental naturalness that's refreshing and particularly rare for actors of her age. She feels like a mumblecore star with a legitimate script and real makeup. Rhoda is ashamed of what she did and feels obliged to suffer now that she's out of jail and "free," but also is a bit of a mouthy 22-year-0ld whose first-instinct sometimes is to talk back.

Sadly the third act of this film is a complete mess, filled with sentimental, romantic garbage that feels contrary to the real dark story of angst and self-torture (although I'm sure it puts butts in seats, as they say). This sequence is much more typical of what you would expect from a Hollywood production than an independent one (though it's hard to begrudge the filmmakers for wanting to be able to sell their movie, I guess). I should say my favorite directing moment happens here, when an aleatory pants pulling gives a glimpse of unplanned reality. Sometimes the best moments in movies are unscripted.

This film really is good, even if the last 20 minutes are annoying. I like the way it's a movie about the effects of science, but not really about the science itself. I think as an atmosphere piece it is very effective and indelible. I look forward to seeing more of Brit Marling and more from Mike Cahill. Clearly they're talented and know how to do the things they do.

Stars: 3 of 4

The Devil's Double (Saturday, July 30, 2011) (60)

The Devil's Double, directed by Lee Tamahori, tells the story of Latif Yahia, an Iraqi man who became Uday Hussein's body double in the years just before the 1991 Persian Gulf War. The story does not get into the interesting stuff you would want it to get into like doppelgangers, doubles and loss of identity. It is basically an action movie with lots of tits and ass and no interesting narrative.

It seems that Latif knew Uday from some level of school, though it's not clear exactly when (maybe elementary school). At any rate the moment he returns from the battlefield of the Iran-Iraq war around 1989, he is called to meet with Uday, Saddam's oldest son. Latif and Uday look alike because they're both played by Dominic Cooper (just like Hayley Mills and Hayley Mills in The Parent Trap!). Latif is reluctant to become the double because he's not a Ba'athist and worries for his safety. He ends up taking the job and getting some plastic surgery to make him look more like his boss.

As he does stand-in appearances fro Uday, he meets all sorts of business and political contacts as well as hundreds of bikini-clad hot women. It seems that Uday's main squeeze is a prostitute named Sarrab, played by the magnificent Ludivine Sagnier (OK - she might not really be a prostitute as she really only works for Uday, but he does give her a lot of money for sex and there is a suggestion that she was a prostitute at some point in her life). Over time, Latif realizes that Uday is a psychopath who enjoys murder and chaos as much as fast cars and expensive champagne. Latif has to figure out a way to get out if his situation without dying.

The film has no particular flow, and we mostly just see a list of events from the period around 1989 through early 1991. There is no sense that the story moves in any particular way. Uday is always outrageous and turns up the craziness when he throws big parties: In one party he makes his guests, male and female, strip down naked and dance (sadly Sagnier does not join them); at anther party he literally guts one of his father's lackeys with a hunting knife for speaking back to him.

The most frustrating thing is how terrible basically all of the decorative aspects of the film, from the makeup and hair to the sets and decor look totally fake, as if they were being presented on afternoon television. The film opens with Latif riding in a car to Uday's palace and the rear-projection landscape that passes is laughable. Every close-up we see is terrible because all we can concentrate on is the caked-on makeup and prosthetic or teeth on Cooper. Even the furniture in Uday's palace looks fake and cheap.

It's really terrible that there couldn't have been a slightly deeper level to this story (even if it might have touched the line of cliche). There's no reason why we couldn't have learned about the psychology of Latif as he becomes a double for a monster (for the devil). Was he ever excited by the violence and power himself? Did he really not enjoy the whores and money that came with his job? Latif is so clean and Good and Uday is so dirty and Bad that the film becomes more of a comic book tale than a real interesting narrative. It's really just long and tedious... and even Sangier can't save it.

Stars: .5 of 4

COWBOYS AND ALIENS: The Film Babble Blog Review

COWBOYS AND ALIENS (Dir. Jon Favreau, 2011)

When I first heard about the summer movie concept of fuckin' James Bond and Indiana Jones (Daniel Craig and Harrison Ford respectively) fighting aliens in the Old West, I was all 'sign me up', especially since it was being helmed by IRON MAN's Jon Favreau. But less than halfway through this messy overly formulaic film, massive boredom set in.



It started out promisingly with Craig waking up in the desert with a strange piece of artillery clasped to his wrist.



Craig is a man who can't remember his name, obviously because of an alien abduction as we see in quick fleeting light-filled flashbacks, and we follow him as he can takes out a crew of wranglers on the trail, on his way to the protypical wild west town of Absolution.



The town's sherrif (Keith Carradine) arrests Craig, along with the trouble-making gun toting brat Paul Dano the son of a ruthless cattleman (Ford) who acts like he owns the town, because he does.



Ford demands that his son be let free, but before they can sort anything out the town is under alien invasion, with a bunch of figher jet type spaceships laying waste to property and literally lassoing away various townsfolk.



007 and Dr. Jones, sorry Craig and Ford, form a posse to go after the aliens and get back their loved ones, and we get a long dull stretch full of old timey philophizing and poorly constructed character development.



When we finally see the aliens, like in a close-up shot stolen from ALIEN, it's disapointing how generic they are. They're the same green scaley disgusting man-creatures with hidden orifices and tons of teeth. Minus the multiple legs they look like the Skitters from the new show Falling Skies or from hundreds of other alien attack scenarios from T.V. and movies.



The profusely predictable plot concerns infiltrating the alien's headquarters, hidden in the picturesque terrain, which by the way is beautifully shot by Mathew Libatique (IRON MAN, BLACK SWAN), to save the abducted, with a ginormous battle climax in which cowboys join forces with Indians and outlaws to bring down the intruders from outer space.



It's not Craig or Ford's fault - nor love interest Olivia Wilde's, or Samuel Rockwell as a sensitive saloon owner - it's the undercooked treatment given to overdone material. The special effects are fine but far from mind blowing (they make the claim that the aliens don't see well except when it's dark so we get a lot of murkiness), and when the alien's motivation for world domination is revealed it's in one or two flimsy throwaway lines.



Craig's stoic beefiness matched with Ford doing his gruff old man routine to greater effect than his last few films, does make for some fanboy pleasing moments, but they aren't enough to make this anything more than a barely passable popcorn picture.



More later...

CRAZY, STUPID, LOVE: The Film Babble Blog Review

CRAZY, STUPID, LOVE (Dirs. Glenn Ficcara & John Requa, 2011)

At the beginning of this ensemble rom com, after an opening montage of the feet of restaurant patrons playing footsy, Steve Carrell is told by his wife of 25 years (Jullianne Moore) that she wants a divorce. This sets off a chain of vignettes that are more about clichéd silly lust than what the title wants us to think.



This is a simple-minded movie more concerned with setting up cheap gags than actual character connection. Like in the scenario where Carrell befriends a womanizing Ryan Gosling at a bar.



Gosling assigns himself as Carrell's wingman, so, of course, there's a shopping mall montage where Carrell gets new hip clothes and a snazzier haircut, and before you know it he's a success with the ladies. This kind of sequence should've been retired the second the '80s ended.



Meanwhile, Carrell and Moore's 13-year old son (Jonah Bobo) has a crush on their babysitter (Analeigh Tipton) who he's over-texting, Moore is fending off the further advances of a sleazy co-worker who she had an affair with (Kevin Bacon, who's really getting around this year), and a seemingly unconnected Emma Stone is pining for Josh Groban as a dorky lawyer.



There are 2 twists that are revealed in this material - one which you can see coming if you are paying attention, and the other is of the "oh, come on!" variety. I won't spoil what they are, but I will say that one of them involves Marisa Tomei as a squirmy, and completely unconvincing woman that Carrell has a one-night stand with.



The cast defintely has plenty of comic chops (as in EASY A, Stone has a way with one-liners), and there are some juicy jokes here and there in CRAZY, STUPID, LOVE, but I cringed much more than I laughed. It contains a lot of talk about soul mates, but that's just audience pandering talk. I never believed it ever really cared about matters of the heart.



In one scene, Carrell watches sadly as Moore drives off and it begins to rain. Carrell: "That is such a cliché." It sure is, yet at least in that moment the movie owns up. If only it did at its other dishonest cloying turns, then maybe it would be a movie with a soul instead of a big screen sitcom that might as well have a laugh track dubbed in.





More later...