'Doubt' is a movie rife with stunningly skilled actors demonstrating their prowess (Phillip Seymour Hoffman, Amy Adams, Meryl Streep), and is a strong film, but is ultimately unable to distinguish itself from its theater source; it is merely a play on film, rather than on stage. You almost expect a curtain to draw over the last scene, only to open to the main trio taking a bow, accepting bouquets.
It is worth seeing, but the film will never be remembered as a separate entity from the play.
Amy Adams makes for an adorable nun. Does not everyone have a little crush on her?
Showing posts with label review. Show all posts
Showing posts with label review. Show all posts
Saturday, January 03, 2009
Tuesday, December 30, 2008
The Curious Case of Benjamin Button
Watching The Curious Case of Benjamin Button feels like sipping a warm cup of tea in the cold, early morning, warming your hands while you review the night’s dreams--- one of those dreams so oft had and never remembered, stored in that part of your memory where you can’t reach what had just played out in your mind’s eye.
David Fincher and writer Eric Roth, with source material by F. Scott Fitzgerald, took it upon themselves to convey one of those dreams. Fitzgerald wrote over a hundred twenty short stories and only a handful of them, maybe two or three, had any sort of magical element. Benjamin Button is of course one of those. In short, the protagonist ages in reverse: Benjamin is born old and becomes younger as the years go by.
I think the studio wanted it to be perceived as a straight sentimental romance movie, and viewers expecting that, expecting some kind of nice comfortable love story, will be disappointed. It isn’t one of those. It is instead a biography about death and aging, loss and longing, and living life. There’s something commendable in this: the story just happens, life just happens to Benjamin, without a by-the-book Hollywood plot. Not one of those hard three-act hook, line, and sinker plots.
Some will criticize the film for this. It just is. It just happens. The love story between Benjamin and Daisy threads the movie together but is not always the conflict at hand. It is more a meandering bildungsroman novel, following a character though life as he develops, than it is a short story about a central conflict. The 2 hour 48 minute running time seems necessary; to tell the truth, I don’t recall a single scene that could easily be cut. Some people will disagree. In fact a few people left the theater before the film finished. It boggles the mind.
Well, the framing could have been cut--- the story is told by Daisy on her deathbed, with her daughter reading through Benjamin’s diary. That in itself works fine, but they are sitting in a hospital while Hurricane Katrina approaches. Why? Placing the story in New Orleans added a compelling, tone-appropriate layer of history and fantasy, but the impending shadow of Katrina is nebulous in its purpose. The name distracts from the story at hand--- Benjamin’s story.
Nonetheless, the magical realism of the film uniquely treads upon the universality of human experience: we are all young and learning, we are all old and dying, and in between you better appreciate your minutes, regardless of which direction you might be going.
David Fincher and writer Eric Roth, with source material by F. Scott Fitzgerald, took it upon themselves to convey one of those dreams. Fitzgerald wrote over a hundred twenty short stories and only a handful of them, maybe two or three, had any sort of magical element. Benjamin Button is of course one of those. In short, the protagonist ages in reverse: Benjamin is born old and becomes younger as the years go by.
I think the studio wanted it to be perceived as a straight sentimental romance movie, and viewers expecting that, expecting some kind of nice comfortable love story, will be disappointed. It isn’t one of those. It is instead a biography about death and aging, loss and longing, and living life. There’s something commendable in this: the story just happens, life just happens to Benjamin, without a by-the-book Hollywood plot. Not one of those hard three-act hook, line, and sinker plots.
Some will criticize the film for this. It just is. It just happens. The love story between Benjamin and Daisy threads the movie together but is not always the conflict at hand. It is more a meandering bildungsroman novel, following a character though life as he develops, than it is a short story about a central conflict. The 2 hour 48 minute running time seems necessary; to tell the truth, I don’t recall a single scene that could easily be cut. Some people will disagree. In fact a few people left the theater before the film finished. It boggles the mind.
Well, the framing could have been cut--- the story is told by Daisy on her deathbed, with her daughter reading through Benjamin’s diary. That in itself works fine, but they are sitting in a hospital while Hurricane Katrina approaches. Why? Placing the story in New Orleans added a compelling, tone-appropriate layer of history and fantasy, but the impending shadow of Katrina is nebulous in its purpose. The name distracts from the story at hand--- Benjamin’s story.
Nonetheless, the magical realism of the film uniquely treads upon the universality of human experience: we are all young and learning, we are all old and dying, and in between you better appreciate your minutes, regardless of which direction you might be going.
Saturday, July 26, 2008
Flash Movie Reviews!
Hellboy II:
Guillermo del Toro has injected his deep and tenacious imagination into the Hellboy world-- but this world-making has a dearth of storytelling. It's strange; the plot points are there, but they simply occur rather than unfold, and you know all along which characters are expendable and which are going to ride away into the sunset.
The Dark Knight:
It is usually hard to justify spending over $150 million on the production of fleeting entertainment memes, but I definitely have no such problem such a budget here. It is art, rather than pulp, executed in a grand way. All the success is deserved.
The Wackness:
A good coming-of-age story. The references to early 90s pop culture are a little much at times, played for unnecessary laughs, but that's okay. Successful universality.
The X-Files: I Want to Believe:
If you like this sort of thing, this is the sort of thing you'll like. This film plays like an extended episode of the series, but doesn't hinge on the murky mythology. A little sluggish at times, and a turn in the third act should have been foreshadowed just a little more, but its an altogether enjoyable return to the characters--- if you enjoyed the characters in the first place.
Bonus Older Movies!!
Eyes Wide Shut:
Stanley Kubrick makes his version of Woody Allen's Husbands and Wives, but with the addition of a mysterious orgy cult. How complicated human sexuality is, especially within the confines of monogamous marriage! says Stanley. Sure. Very interesting but ultimately not fully satisfying, because you become more interested in the cult than Kubrick wanted you to. I really like the lighting though (the blue light bathing the backdrops, contrasting with warmer interiors, and the omnipresent Christmas lights).
Empire of the Sun:
Helluva an epic movie, there's no question about it, but unfortunately it never adds to a satisfying sum. It suffers from the typical problems of big novel adaptions: episodic, in that years occasionally pass in blinks when you don't expect them to, with an ending that is a little surprising, a little unexpected, and not completely satisfying, but likely faithful to the source material. Nonetheless, absolutely worth watching. And 12-year-old Christian Bale is a hell of an actor.
Guillermo del Toro has injected his deep and tenacious imagination into the Hellboy world-- but this world-making has a dearth of storytelling. It's strange; the plot points are there, but they simply occur rather than unfold, and you know all along which characters are expendable and which are going to ride away into the sunset.
The Dark Knight:
It is usually hard to justify spending over $150 million on the production of fleeting entertainment memes, but I definitely have no such problem such a budget here. It is art, rather than pulp, executed in a grand way. All the success is deserved.
The Wackness:
A good coming-of-age story. The references to early 90s pop culture are a little much at times, played for unnecessary laughs, but that's okay. Successful universality.
The X-Files: I Want to Believe:
If you like this sort of thing, this is the sort of thing you'll like. This film plays like an extended episode of the series, but doesn't hinge on the murky mythology. A little sluggish at times, and a turn in the third act should have been foreshadowed just a little more, but its an altogether enjoyable return to the characters--- if you enjoyed the characters in the first place.
Bonus Older Movies!!
Eyes Wide Shut:
Stanley Kubrick makes his version of Woody Allen's Husbands and Wives, but with the addition of a mysterious orgy cult. How complicated human sexuality is, especially within the confines of monogamous marriage! says Stanley. Sure. Very interesting but ultimately not fully satisfying, because you become more interested in the cult than Kubrick wanted you to. I really like the lighting though (the blue light bathing the backdrops, contrasting with warmer interiors, and the omnipresent Christmas lights).
Empire of the Sun:
Helluva an epic movie, there's no question about it, but unfortunately it never adds to a satisfying sum. It suffers from the typical problems of big novel adaptions: episodic, in that years occasionally pass in blinks when you don't expect them to, with an ending that is a little surprising, a little unexpected, and not completely satisfying, but likely faithful to the source material. Nonetheless, absolutely worth watching. And 12-year-old Christian Bale is a hell of an actor.
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