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Bobby

Bobby is a period ensemble picture that tries hard to feel heartfelt, but instead comes off as anemic. Directed by Emilio Estevez, who even shows up a few times on-screen, Bobby tells the tale of the final day of RFK, but through the eyes of a few dozen other folks. Lindsay Lohan and Elijah Wood played my favorite pair of characters- Lilo plays a young girl who wants to marry a classmate of hers, despite the wishes of her family, to save his life from the draft of Vietnam. Elijah can tell that his bride to be may not love him, but she convinces him otherwise, which does lead to them embracing the fate and even experiencing some infatuation- I liked these two so much, I'd like to see a whole film about their characters.

Sharon Stone's role as a middle-aged hairdresser in The Ambassador Hotel (where this whole picture takes place) is her best role in a long, long time- she's not allowed to spread her legs, but instead find out that her Hotel Manager husband (William H. Macy, who phones in his performance) is having an affair with Switchboard operator Heather Graham (nothing notable here). Add Anthony Hopkins, Lawrence Fishburne, a worn out, slightly depressive couple played by Helen Hunt and Martin Sheen, Freddy Rodriguez, Demi Moore, Joshua Jackson (Charlie from 'Ducks', supporting Coach Bombay), Shia LeBouf, and a bunch of other actors, and you still don't have a stellar picture- Bobby feels like PT Anderson's Magnolia, but really wants to be Altman's Nashville- the sincerity and intent of the picture is completely lost until the final scene where the known tragic event happens. Only then do we really care about the well-being of all these fragmented people, and it's a bit too late for our sake nearly two hours down the line.

With a better script, Bobby could have been something other than a multiple segment feature for all these groups of characters, giving them 15 minutes spread through the film to spew their quotations that signify the times and the parallells to the present. It doesn't feel trite, but it becomes all too clear half-way through the film that this is Estevez' format. In the hands of a better director, this picture could have worked with the false script, but if RFK had never been shot, who knows what this world would be like. That is what the film is trying to convey and let us in on, as if you couldn't tell from the beginning.

Posted by madamczyk at 07:17 PM | Comments (0)

Stranger Than Fiction

Stranger Than Fiction is a story within a film about a man named Harold Crick (Will Ferrell). Crick himself has a simple life, as well a bare, slightly beige apartment. He works for the IRS, can calculate any equation in his head, and has a single friend named Dave (Tony Hale), who happens to be a fellow coworker. One morning while brushing his teeth, Harold finds that there is a narrator for his life. This narrator knows what sound the IRS files brushing together reminds Harold of, as well as his many aspirations despite his actions paired with his exterior. The narrator is actually the author named Karen Eiffel (Emma Thompson), who is writing a fictional tale of Harold's life... except there is nothing but nonfiction in her story. Harold soon finds out from Karen herself what her intentions are for his life, which causes him to search for her to determine how they can meet- and hopefully change his doomed fate.

Although Harold is played by one of the funniest mainstream actors working today, Stranger Than Fiction is not truly a comedy. It's more of a dramatic examination of a simple man, paired with some slightly unbelievable yet heartfelt romance. Harold encounters Ana (Maggie Gyllenhaal), who he declares an anarchist when she decides to only pay about 78% of her taxes for specific reasons. Her rage and hatred of what Harold has come to audit her for only makes him more infatuated with Ana's aura. Although we are supposed to believe that Harold has strong feelings for her as a human being and a desirable mate, he probably has those sort of thoughts about any woman who yells at him and is slightly attractive at the same time. But of course, since Karen Eiffel is writing about Ana and not any other women in Harold's life, we are given the confirmation of Harold's infatuation with Anarchist Ana.

To assist Harold with his quest to resolve the situation, he meets up with Professor Jules Hilbert (Dustin Hoffman). Even though I was excited to see both actors interact with each other, Hoffman's character is ultimately disappointing, and I was frequently bored with his and Harold's interactions to solve the source of the narrative. Queen Latifah is also quite dull as the assistant named Penny, who is sent in by Karen Eiffel's publisher to cure Karen of writer's block. Director Marc Forster does an okay job balancing the reality of both Harold’s world and the sudden changes he must make to live his life. However, he just isn’t strong enough as a director to really put his stamp on this piece of work, as well as really bring what's on the screen to another level of depth for us to feel and experience. Also, quirky digi-art qualities, no matter how neat they make the footage of the film seem, do not make a movie.

In the end, so much of the film feels awfully cute and calm, especially in dealing with Harold and his life, but so much of it is still a let down. Even Emma Thompson feels strangely bland on-screen, especially acting as the somewhat neurotic but mostly hyper chain-smoking Eiffel. Stranger Than Fiction could have been an obscure comedy, even romance, but it just feels like a big 105 minute blob of mush by the end. Although the film feels strangely frustrating and boring in its realm, it did make me tear up at the finale, which is somewhat acceptable as a conclusion, but only in a bored-on-a-rainy-day kind of way.

Posted by madamczyk at 09:20 PM | Comments (0)

Question and Statement

I will be seeing Stranger than Fiction soon... how could I not?
It was only shot in my adopted city of Chicago... plus it has my favorite actor of all time...
that's right- Dustin Hoffman. The review will be up soon.

Okay, first off, I have a question to those who are registered readers :
(I say this because I know there are some who view and do not comment)-

Should I add ratings to my reviews?
I've strayed from doing so because I sometimes feel like I cannot chose a specific numerical/star/alphabetical, etc, ratings system that I'm comfortable with.
But if you feel it's something I should do, a bit of input will be enough to persuade me.

Also, what is WITH this rash of spam comments?!
Mostly, they're silly entertainment news, but there are the abstract adfnaudkfnasudf versions.

Anyways, give me some input if you like... and take care of yourself, since it's almost the Holidays and life can be chaotic this time of year. Enjoy life -and go see a good movie or two between the turkey and the gift-giving.

--- Mallory

Posted by madamczyk at 02:33 AM | Comments (0)

Borat

You may be aware of this little movie about a character named Borat, fresh out of the mind of English comedic extraordinaire Sacha Baron Cohen. Cohen is famous in Europe for his television show, which generally focuses on his other character Ali G, as well as another named Bruno. Back in 2002, I was exposed to the English version of Cohen's program and wasn't enticed. But now I can safely say that my sense of humor is more apt to his game. Borat the film itself is about the character by the same name, who has been sent to New York City to explore the glorious nation of America with his friend Azamat (played by Kenneth Davitian), all for their even more glorious nation of Kazakhstan. The Kazakhstan which Borat calls home is one laced with racism, sexism, crude attributes and otherwise. Only a fool would take what Borat says about his home as the truth of the nation. And only Cohen could get away with the constant Jew bashing that Borat and his friends partake in. After all, Cohen himself is a Jew - you'd have to have a pole up your ass (or otherwise) to view the activities that Borat enjoys, like The Running of the Jews (heh yes), as significant signs of racism.

From New York, where does Borat go? What can he see and find out about this strange country, where a plantation dinner goes awry, and a Virginian rodeo results in Borat being booed by the audience that previously cheered him for his support of the war "against" terror? A simple mockumentary it is, as Borat's quest of discovery turns into the road where his lust drives him, as he seeks to go across the country to California, to marry his new love Pamela Anderson. Nudity, crudeness, and frank behavior encompass in every single moment of the film, which often feels like a Jackass movie with a plotline. But you know what? I like the Jackass movies- and the plot and development of the character Borat and his discoveries are far from boring. The movie is not for the faint of heart or the easily offended, while it is not for the closed-minded either. Borat is a worthwhile mirror laced with hilarity and observances, most that so often we forget are part of the perception of our own nation.

Posted by madamczyk at 08:29 PM | Comments (0)

Little Children

Yes, I did see this movie called Little Children, and while I did enjoy it very much so, it's kind of hard for me to make a general statement about it, since I didn't come to realize its true meaning until I had come home an hour after viewing the picture. It's one of those films that, if you watch it straight without thinking much at all, you'll think its simplistic, probably dull, and pointless. But if you watch it taking all factors into mind, you might just see something else.

Let me give you my perspective- I didn't even know the main plot of this movie before I viewed it- I figured that the plot would revolve around parenting. These parents doing not-so-good things, but it was so much more than that. I find it so much more affective when, thanks to the trailer, not much is given away, yet so much is said. I also didn't know what the poster for this film looked like, thankfully, because that was a major spoiler, even after the fact.
Although I had wanted to see this movie for a while now, knew that it was based upon a novel, written originally by Tom Perrotta. and am very familiar with Director Todd Field, it was as if I myself was a child, experiencing this movie with fresh eyes, and open ears, taking in all the elements to examine them for myself. I almost don't want to spoil or even talk about it for the sake of others, since I know that the movie isn't playing currently in the NH Seacoast. In my opinion the best way to experience the subtle complexities of the film would be with fresh senses.

If you don't want to know anything about this film before you see it (I strongly suggest doing so), do not click below for the rest of my review.

Kate Winslet is Sarah, the mother to the little girl Lucy, who plays at the playground while her mother sits alone uncomfortably in the presence of the other mothers, who are all the same in theory- fantasizing about their lives outside of the home from their playground bench, and eyeing the "Prom King" they see one day, back after a four month absence. The arrival of the "Prom King" makes the women question what had happened to him, but they don't approach him. They never have. And with a simple bet, Sarah finds herself being acquainted with Brad (Patrick Wilson), since that is his name, through the interaction that their two children have together. She lets Brad in on the bet that the other mothers have set her up for, and instead of getting his number for the $5 that she will be awarded, Brad gives her a hug... and then a kiss, one that forever changes both Brad, Sarah, and the atmosphere of the playground. The simple emphasis that the film makes about the kiss between them is magnetic and amazing.

We learn about Brad, this father who stays at home with his son, while his wife Kathy (Jennifer Connelly) wears the pants. Kathy is perfect. Sarah is not. And yet Brad finds himself imagining the kiss between the two of them constantly.

Sarah strives to do her best in her awkward home situation, taking care of her daughter when she'd rather be power walking to escape her- her husband has a simple life and job, which leads him to fantasize about an internet sex object, who sends her a pair of underwear through the mail. He most likely does love Sarah, but just wants an escape, not to insult her but to instead fit his abstract needs that he wouldn't ask of her anyway.

After getting to know him better through their days at the local pool, Sarah finds something in Brad- a slight bit of tension paired with a longing attraction- but won't admit it to our faces. When Brad discovers a hint of her attraction for him after sifting through her belongings, he instigates and releases physically through her. Sarah cannot believe what is happening through their mutual affair, but believes it as much as Brad does, although never forgetting her life outside of their steamy afternoons.

And where does the conflict meet in the lives of these people? A convicted sex-offender named Ronald McGorvey (Jackie Earle Haley) has moved back into the neighborhood - Brad discovers this when an old buddy of his Larry, a former cop, begins posting signs around the town, allowing people to be aware of the creature now back from jail.

Kate Winslet and Patrick Wilson are fabulous together, both bringing strong complexities and erotic tension into their suburban exteriors. Their chemistry is awkward at first, much like their characters, but they make it believable. We want to see them together, not just as afternoon lovers. Winslet is often a great actress- she compliments Wilson, who is at the best of his career, perfectly. However, it is Jackie Earle Haley's performance as McGorvey that is to be seen, as it is possibly the best performance of the year so far. So often his character is in control of himself, and only through his simple admission of his problems are we let into his reality. Will this performance be remembered come Oscar season? I doubt it.

Writer/Director Todd Field

Little Children is not without faults, and surely isn't as impactful as you'd expect, but the embrace of satire, comedy, and drama, mixed with the magnificent work on and off screen elevate these flaws. The narration provided by Will Lyman could be seen as a negative for most, but I personally loved it. So often these characters have feelings, and while they can express them through movements without speaking, the thought process of what needs to be said without a character saying it still works quite well. Todd Field's direction is stellar, much like his previous picture In The Bedroom, and sets the film apart from any other dramatic release this year. I hope that Field continues to follow his masterful path set so far, but doesn't lose his fresh quality by subjecting his talent to what he isn't suited for in the future.

Posted by madamczyk at 03:52 AM | Comments (0)