Saving the best for last...

As I sit here on New Year’s Eve awaiting the Marx Brothers marathon, I can’t help but reflect on the films that I’ve seen this year. Most of them were mediocre, a few were horrible, and a few were spectacular. I have hoarded one of the best for the last post of the year – Darren Anorofsky’s masterpiece “Black Swan”.

I found it rather odd that in a year of such mediocrity, my two favorite films of the year (this one and Chris Nolan’s brilliant “Inception”) both require multiple viewings. I’m not one for multiple viewings, especially in theaters. It’s expensive enough to go once, much less twice. But these two are so far above everything else I’ve seen that I’d gladly pay.

It’s hard to talk about “Black Swan” without giving things away. Suffice it to say that the film is about a young ballerina’s dream of starring in “Swan Lake”, the lengths she goes to achieving her dream, and the consequences of her desires. It is the film that should award Natalie Portman an Oscar hands down, and the one that may break the Oscar rule by giving Anorofsky one for Best Director. (Other acting awards are also likely, but I’m not sure which actor I would nominate.)

It’s a film that isn’t just viewed – it’s a film that is experienced. This is especially true of the last third of the film, which is really just the ballet itself. Ballet has never been something I’ve been interested in; I’ve always thought of it like opera – FAR too rich for my blood. But you get drawn into the world of the company and the ballet in spite of yourself.

There’s also the quintessential Oscar moment – a shot of Portman so perfect, so beautiful, that you almost hold your breath. As my other half informed me, when Fox Searchlight does ads for DVDs twenty years into the future, that shot will be included in all montages. And deservedly so.

And as with any great film, it works on a literal level, but also a metaphorical one (again, similar to “Inception”). Viewers could debate for days what is seen in flashes; what is real as opposed to imagined. But it’s also extremely subjective – another hallmark of a great film. I’ve said repeatedly through the years that it’s a gifted director that leaves his story in the hands of the viewer, not the writer.

Unfortunately, though, I still have to say that the best film of 2010 for me is “Inception”. But I can’t really articulate why. I’ve called it this generation’s “Citizen Kane” – the film that should change how films are created and shot. If that is true, than runner up “Black Swan” should represent how a classic story should be re-imagined. In light of the plethora of sequels, prequels, and reboots, it would be lovely if all of Hollywood took notice of how to do it right. And both films qualify as that.

The Fighter Lacks a Knockout Punch

About a week ago, I decided on a whim I felt well enough to go to the movies. These days I need to go while the cinematic iron is hot, so off I went. I chose a local cinema I infrequently attend. This particular theater is usually empty, which I find helpful. Sometimes you accidently talk to the screen, and it’s much better if there’s no one else to hear.

The film I chose was “The Fighter”, a Best Picture favorite. I expected a well-written, well-acted character study. I wasn’t far off the mark; it is all of those things. But the thing I didn’t know was that it’s also well-tread. This is cinematic ground I’ve walked on before, and although it’s a solid film, it’s not Best Picture caliber.

“The Fighter” is based upon a true story (translate as part fact and part dramatic license) about the relationship between Dickie (Christian Bale) and Micky (Mark Wahlberg) Ward, two Boston brothers dreaming of boxing glory. Dickie had his shot and has since fallen into drug addiction. Micky is on his way up the ranks but needs a fresh start and a clean break. The girlfriend/catalyst is Charlene (Amy Adams), who forces Micky to examine his family and his life.

However, the film lacks a certain focus. The protagonist switches between the two brothers, and that makes it a bit convoluted. For me, the highlights of the film are the scenes with Wahlberg and Adams. Adams is an outstanding supporting actress, and I’m sure she’ll be nominated for her performance. But I can’t say either Wahlberg or Bale is really the lead. As far as Bale goes, he’s serviceable, but I’ve seen Bale already undergo a massive weight loss in order to play a role. He looks and sounds like an addict, but at times he’s just annoying.

And speaking of annoying, let me add a small rant about Melissa Leo. I saw Leo in “Frozen River” and thought she was nothing special. Here I just want to smack her through the entire film. I know she’s supposed to be Boston in the 80s, but to me she seems like cliched Jersey – too much hair and not enough substance. I felt nothing for her. I just wanted her (and the rest of the “family”) to go away – their presence detracts from the main story so greatly that the film would have been served by leaving most of those scenes on the cutting room floor. The sisters are even worse.

But as Micky has his final fight, I couldn’t help but cheer. It helps I didn’t know the story going in, so I honestly didn’t know if he won or not. Now I understand why people cheer for “Rocky” so much – a film I’ve always thought was overrated.

In spite of its faults, “The Fighter” is a good movie, just not a great one. And I still feel that Boston was better served by Ben Affleck’s “The Town”.

Making My Best Picture Oscar List...

It’s the most wonderful time of the year! (No, not Christmas) I mean the time when Hollywood takes off the gloves, opens the pocketbooks, and starts the official campaigns for the tall, bald, gold guy named Oscar.

I’m doing ok in OscarQuest 2010. Although my current health situation limits what I can and cannot get to see, I am still trying to stay enthused.

But I can’t get excited about the current state of all things cinematic, and the reasons why are below. Listed below are the major players for Best Picture, per awardsdaily.com in no particular order.

1. “The Social Network” – Ah, Oscar Hate just flows. Maybe I didn’t get it, but I know I hated it. Whiny college kids become whiny millionaires. The whole idea reinforces that people are self-centered and think everyone cares about their every moment. What news!

2. “The King’s Speech” – Usually I’d drive 45 minutes to Bethesda immediately, but I’m not really psyched. I love Colin Firth and would LOVE to see him win, but I just don’t think so. But it does follow the Oscar Rules with a protagonist on the English throne.

3. “The Fighter” – more on this later, but I did wonder what it would have been like with Ben behind the camera.

4. “The Kids are All Right” – And only all right. For the record, JULIANNE WAS BETTER!

5. “Black Swan” – My only must see. Due to my recent stomach bug, I have to wait on this for a week. I expect it to be fantastic, and I think it’s the only film that could knock “Inception” off as my top film of the year.

6. “Inception” – the modern day Citizen Kane. This should change the way movies are created and written. Brilliant. And in a rare feat, gets better every time. A Leo movie I love in spite of him. I think the director race comes down to Chris v Darren.

7. “True Grit” – I usually avoid westerns, but for the Coens, I’ll make an exception. But I am a bit tired of seeing Jeff Bridges.

8. “Toy Story 3” – Saw it. Checked it off. ‘Nuff said.

9. “127 Hours” – Even though I love Danny Boyle, and respect the heck out of Franco, I think I’m using my Oscar Pass here. In any other year, I’d be seeing it. But this year, I really don’t want to see a film about The Power of The Survival Instinct. I think I already understand that concept pretty fully.

10. “The Town” – Ben is no longer Affleckted. He brought together a great cast and made a masterful film. Loved every bleeping second of it. Renner is wonderful and I’ll be happy when he gets his nod.

I’m sure I’ll have much more to say as the race continues, especially as there are some entries I haven’t seen yet. For now, Happy Holidays! Let’s hope 2011 is better than 2010 – cinematic and otherwise.

Bright Lights and a Big Voice

I started treatment this Thursday. So on Wednesday I went with a friend to see a movie. Choice of film was important – couldn’t have anything too heavy or o depressing (which left out anything Oscar-worthy). We couldn’t have made a better choice than “Burlesque”.

“Burlesque” is an extremely fun film. By the time I left, I had a smile on my face, a bounce in my step, and the soundtrack in my hand twenty minutes later.
As this year’s annual holiday musical offering, “Burlesque” is much better than last year’s “Nine”. This film is light and airy, and borrows rather liberally from other films. I found obvious references to “Moulin Rouge”, “Chicago” and “All that Jazz”, all of which are excellent in their own right. There’s also a corollary to one of my guilty pleasure films – “Coyote Ugly”.

The showcase here isn’t the plot – it’s the music and the choreography and the dancing. Christina Aguilera couldn’t have picked a better launching vessel. She’s listed as the “music supervisor” and her stamp is clearly all over the musical numbers. I am a self-proclaimed Aguilera fan, and I really liked the fact that she hit her “Dirrty” side as well as an Etta James tribute that she just nails. As far as her acting goes, she’s not half bad. This film could easily have become “Glitter” or “Crossroads” or even “Showgirls”, but it stays to the right of its path every time. Aguilera has learning to do, but I think she has a solid groundwork.

One of the other good things is that this film didn’t really try to hard – except in one or two spots. During the Cher ballad (it’s so bad I can’t remember the name or bother to look it up), I leaned over to my friend to say this was where they were trying to get the Best Original Song nod with yet ANTHER Diane Warren malady. The other serious misstep is the casting of Eric Dane. He seems so out of place, trying to be the smarmy developer out to take the club. All he needs was a mustache to twirl.

But where this film really paid attention was that it didn’t make people step too far outside their comfort zones. It doesn’t make actors sing and it doesn’t make singers act (too much or too badly). I think this is where “Nine” and “Mama Mia” fell WAY short. They even state that the girls are lip synching. Supporting players Kristen Bell (who gets props for her dance) and Stanley Tucci (who gets comedic props) know their roles well.

“Burlesque” is a fun romp and a nice little holiday diversion. When I buy the DVD (and I’m sure I will), I’ll create my own director’s cut – skipping through Cher and Dane to make a much more interesting film. The soundtrack, however, will be on repeat for awhile.

Snuggling in for a List!

These days I’m all about comfort. My company has casual dress until January. As soon as I get home, I change into my yoga pants and t-shirt or a pair of pajamas. I’m even watching comfort TV, - cooking shows, reality programs, wrestling, and old dramas I missed twenty years ago.

It then logically follows that I also want my comfort movies. What’s a comfort movie? It’s like comfort food – something that just makes you happy inside. It’s like a bowl of chili topped with cheese and sour cream on a cold day, or a cup of Twinings English Breakfast Tea while you have your morning bagel.

My comfort film list is pretty diverse. It shouldn’t come as a shock to ANY of you (and if it does, you have no business reading my weekly diatribes) that my ultimate comfort film is “Breakfast at Tiffany’s”. It’s like Audrey says – nothing bad can happen to me while I’m there. But some of these other films might sound a bit off. This list has a disclaimer that my sanity could, indeed, be called into question at any point.

“Bringing Up Baby” – the best comedy ever made. Period. It’s got my other favorite Hepburn, along with the most suave actor ever to grace the screen, Cary Grant. It’s got geeks and it’s got animals. More importantly, it’s got lots and lots of laughs.
I’ll also throw “Duck Soup” in here. I came to the Marx Brothers late in life, and can’t imagine why it took me so long. Modern comedians wish they could be this funny. For a bad day at work, try “Office Space”, but most people already knew that.

Not all comfort films are comedies, though. If I need a good cry, I might go over to Paul Thomas Anderson’s magnificent “Magnolia”, which makes me cry every time I see it. For a strong drama, I’m liable to put in “The Godfather Part II”. I guess it’s the Italian thing, but it never gets old. To feel pretty, I’ve been known to put on “Coyote Ugly” or “The Fabulous Baker Boys” (and someday I WILL look like that in that dress, even if it takes me another life).

To feel like a kid, try “The Princess Diaries”. To feel grown up, I try “Desk Set”. To sing, try “Grease” or “Xanadu” or “Moulin Rouge” (Spectacular, Spectacular!). For a good scare, there’s nothing like Kubrick’s “The Shining” with the scariest ending shot EVER in modern cinema. I even have a Christmas comfort film – “Love Actually”.

But the oddest comfort film is the most recent, and certainly the most ironic. (No, it is not “Gladiator”, nor does it involve Nic Cage.) The other night I simply couldn’t fall asleep for anything, so I turned on a random channel. They just HAPPENED to be running “The Empire Strikes Back”. I kept it on, and was asleep in about ten minutes. I’ve always said that Lucas-affiliated dialogue could put me straight to sleep!

To Clutter, with Love

I am a natural born clutterer. I have a coffee table in my living room that is my catch-all. I make it a point on Saturday mornings to go through everything that has amassed on my table and then act on it. Sometimes this is paying a bill or throwing out an advertisement or putting coupons in my purse. This past week, buried at the bottom of the pile, was a red envelope from Netflix.

Just like all the rest of you, I’m becoming one of those people that watches almost everything through streaming. I watch Netflix streaming constantly and I even watch most of my television shows through Hulu or casttv.com.

After looking at the label on the DVD and examining the short run time of just over 90 minutes, I put the DVD in my BluRay player and watched the numerous outdated trailers before the main feature. The film was “From Paris with Love”, and I’m very glad that I popped it in. It’s packed full of action, sharp dialogue, nice performances and more than a few laughs – all of which I enjoyed whole heartedly.

The film pairs Jonathan Rhys Meyers and John Travolta teaming up for an espionage-filled buddy flick. Travolta basically channels his “Pulp Fiction” comeback performance, complete with the language and the over-the-top-violence, and an obvious reference. Meyers more than holds his own – taking what could have been essentially the straight man role and adding more depth and dimension to it. It’s nice to see him as something other than King Henry and it’s nice to see him clothed.

The filmmakers know their craft. The story comes from Luc Besson, who wrote “The Professional”. That means he knows how to draft a story. And as bad as his “Transporter” movies are, you can’t deny that they’re full of preposterous action that you simply can’t help but watch (if you actually are forced to watch them). The director, Pierre Morel, also did “Taken” which means that he knows how to consolidate a story and tell it convincingly (although I thought this film was a step up from that one).

Even the plot is a little better than expected. There are some significant twists and turns, and this isn’t the typical spy movie where you can tell what’s coming 20 minutes before seeing it onscreen. Even the run time helps – anything longer would have been too much. There’s just enough time to tell the story, show the scenery, shoot MANY people, and blow a bunch of stuff up.

It might not be highbrow entertainment, but sometimes you just want to get out of
your head for a bit. It’s refreshing to see that an action film can actually have some thought into it. Now I’ll send it back, and goodness knows what’ll come in that next red envelope. Because in addition to being a clutterer, I’m REALLY bad at organizing my Netflix queue.

The Kids are All Right - and So Am I

I’m finding these days that films aren’t really holding my interest. I’m not sure if my mind is going in too many directions, or I’m simply not up to following plots.
But some films are worth exceptions. One of these was “The Kids Are All Right”, which I’d been waiting for months to see and has finally come out on DVD. I simply refused to miss it.

It’s actually ironic that I picked this film for this time. I originally chose it because it’s an Oscar contender, which makes it an obvious choice. But once I saw it, I realized that it suited me better for a whole other reason. On some level, it was a disappointment. On another, I think it was just what I needed.

This is an indie film in the best sense. It talks about Relationships and How They Come About and Evolve. (Proper nouns used for a reason.) There are Oscar-worthy performance both from Annette Benning and my girl Julianne Moore. Love the rest of the cast as well. But the drawback with the film is the sub-par writing. There were several times when I actually thought to myself “Who talks like that?”
Certainly no one I know. I have a reputation for using an odd vocabulary myself, and it’s still not things I would say. Combine that with the thematic elements present, and the obvious subplots, and the film becomes I slight disappointment (emphasis on slight).

But there’s a reason why I stuck with the film, and actually finished it in one setting. Bear with me here, because I’m about to segue into something important. The film is familiar. It reminds me of the films that I would trek miles to see just because they WERE independent films – out to Towson Commons or to the Charles and now to Bow Tie in Annapolis. Of course, being a Focus Film helps.

As I write this piece, it is Thanksgiving. My other half is miles away, because he works retail and has to work tomorrow’s Black Friday Crunch. I miss him greatly, but will see him this weekend. I’ll be spending a few hours with my family. That’s why people watch films about families – it’s therapeutic to compare. Plus, it always makes you feel better to realize that you aren’t as screwed up as you think.

I’ve realized in the last two weeks that my family and my life are certainly dysfunctional. But guess what? So is everyone else’s. Everyone has trials and tribulations. Mine might be a bit much, but it’ll all turn out right in the end – eventually. I’ve also realized my inner circle isn’t quite as small as I originally thought, which I’m EXTREMELY thankful for. I have a boatload of people who love and support me , making me pretty blessed.

So basically, I’ve spent about 500 words to say that not only are the Kids all right, I am too. Or I will be. Eventually.