Showing posts with label annette bening. Show all posts
Showing posts with label annette bening. Show all posts

Tuesday, March 6, 2012

The American President (1995) Review

The American President (1995)
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Everyone knows this is a terrific movie! Those of us who are also DVD fans have waited a couple of years for this to appear on DVD. What a let down!! Rob, where are you man!!!
This a poor transfer with lots of artifacts and someone trying too hard to sharpen the image. To make matters worse this disc has very limited extras. Ok, it's out so let's move to the "collector's edition" so Warner can get a few more bucks and we can get a disc more worthy of this great movie!!

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The world's most powerful man has met his match! Michael Douglas is the widower President wooing environmental lobbyist Annette Bening in this romantic hit by Rob Reiner.DVD Features:Interactive MenusProduction NotesScene AccessTheatrical Trailer


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Wednesday, January 25, 2012

Cyrus (2010) Review

Cyrus (2010)
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Cyrus is a "Romantic" Comedy film from the Duplass brothers starring Jonah Hill, John C Reilly and Marisa Tomei. It's a film I had been looking forward to seeing after enjoying the trailer and being intrigued by what appeared to be a brilliant cast in an original idea. But does it deliver?
Still single seven years after the collapse of his marriage, John (Reilly) has given up on romance. Forced by his ex-wife and now best friend to attend a party, he surprises everyone by meeting Molly (Tomei) and the instant chemistry leads to what seems a perfect partner for the lonesome John. That is until he meets Molly's son, Cyrus (Hill), whose relationship with his mother is a touch unconventional and he is definitely not ready to share her with anyone.
Before seeing Cyrus I was on the back of two rom-com screenings of The Switch and Going the Distance, both slightly different tales of relationships and both films I enjoyed with different levels of appreciation. I was kind of expecting a third rom-com scenario in Cyrus but actually found a film where romance and comedy were never really the dominating genre as character and relationship took centre stage and it took me by surprise. It's positively brilliant.Jonah Hill is so good is this film, it's by far his best performance and he keeps growing as an actor as well as a comedic presence. He comes across as a few notches short of being a serial killer but having a surreal childlike calmness to his evil which works so well and is at times hilarious, especially his performance playing his new song to John when they first meet or his long vacant stares at John which just say "I want to kill you", Creepy is not the word.
Marisa Tomei is wonderful, I've not seen her in anything since My Cousin Vinny and she plays the difficult role of the over caring mother and wanting lover so well, it feels natural and believable and worked perfectly. Her chemistry and wonderfully flowing dialogue with John C Reilly helps the film succeed, feel natural and through almost the entire film, not a single line felt scripted, greatly adding to the appeal of the film. Reilly is also in his element, I can't remember a film where he has been this good, offering genuine laughs and an wonderful emotional rivalry with Jonah Hill which must have been so funny to film.Not only is Cyrus darkly funny and incredibly well made, it has a very strong story at its centre, surrounded by excellent and well rounded characters that you will completely invest in, it's a joy and a complete triumph. Cyrus is a film which feels fresh, filmed using the "Mumblecore" style of low budget, improvised script, digital cameras and a lot of talk about relationships, Cyrus benefits from the style as it feels unpredictable and genuine. The Duplass brothers have created a visually interesting film with creative camera movements and sharp focusing on people's expressions that set it apart from any romantic comedy movie I've seen. I'm now looking through the Duplass back catalogue as a new fan.
Cyrus is not going to be to everyone's taste and I'm sure people are going to find it tedious and not full of "gags" like they expected from that big guy from Superbad and the `Shrek' looking guy from Step Brothers. I hope people can understand this is not a quirky rom-com, this is not full of gross out jokes, this is not a vehicle for a pretty actor and a pretty actress to ride the roller coaster of relationships. This is a film about a messed up young adult in a single parent family who has had a very strange upbringing and how mother and son fail at letting new people into their family. It's a film which favours relationships and character examination over a deluge of gags, and it's all the better for it.
I highly recommend Cyrus, more than many films I've seen this year. Gary Phillips
Marisa Tomei: Core & Curves
My Cousin Vinny
In the Bedroom
Step Brothers (Single-Disc Unrated Edition)
Superbad (Unrated Widescreen Edition)
Happy Accidents
The Perez Family

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John C. Reilly, Jonah Hill and Oscar® Winner Marisa Tomei star in this quirky, hilarious story about love, family and cutting the cord. Not-so-recently divorced John (Reilly) thinks he’s finally found the perfect woman when he meets the sweet and sexy Molly (Tomei). There’s just one problem – Molly’s son Cyrus (Hill) clings to his mom like lint on a T-shirt, and he’s not about to let another man come between them. It’s one hysterically awkward moment after another as John and Cyrus fight for the right to be Molly’s #1 man.

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Thursday, October 13, 2011

The Women (2008) Review

The Women (2008)
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The original version of this story remains a film classic, with memorable writing, direction and legendary performances by Norma Shearer, Roz Russell, Mary Boland, Joan Fontaine, Virginia Weidler (at one point Doris Day's sister-in-law), Paulette Goddard and most notably Joan Crawford. That version was witty, wise, bitchy, mean and sympathetic, fast-paced, fun and sophisticated. This version is appalling. This a story which relies on chemistry among the actors above all in this remake the chemistry is zero. Everyone seems to be reciting the script self-consciously, there is not a moment when there's any sense we are watching real life, everything seems calculated and over-rehearsed. It's like a bad community production. How all this happened given the talents of Diane English and everyone else involved is beyond me. Even foolproof Bette Midler and Candace Bergen seem to be repeating themselves with no spark. Only Cloris Leachman emerges unscathed. Actually, there seems to be no movie here, just a parade of scenes on movie sets. Thank God Hedda Hopper will never see it.

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Mothers, daughters, wives, friends: These are the women of The Women. Based on Clare Boothe Luce's Broadway success and the hit 1939 movie, this sparkling update (from Murphy Brown creator Diane English) set in Manhattan and featuring an all-star, all-female cast says a lot about what it means to be today's woman and all of it's funny! The story starts with beautiful, smart, accomplished Mary Haines (Meg Ryan) discovering her husband is cheating on her. It's a time when friends are needed, so Mary's gal pals (Annette Bening, Jada Pinkett Smith and Debra Messing) and mother (Candice Bergen) rally round with advice, cocktails and shopping. The Wife vs. the Other Woman (Eva Mendes): Sharpen your claws for a timeless and wonderfully witty battle.

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Wednesday, June 22, 2011

Open Range (2003) Review

Open Range (2003)
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For those viewers who fondly remember, and miss, Robert Duvall's role as Augustus McCrae in the 1989 TV miniseries LONESOME DOVE, take heart. Duvall is back in the saddle again as "Boss" Spearman in OPEN RANGE. It's been way too long.
The lead role in this western actually belongs to Kevin Costner, who plays Spearman's trail partner and employee, Charlie Waite. Boss is a cattleman that practices free-range grazing, i.e. driving his herd from place to place, only staying long enough for the animals to deplete the available food supply. But it's 1882, ranchers are beginning to fence in the West, and freegrazers are an endangered species. So, its no surprise when Charlie and Boss are ordered to take their beeves and get out of Dodge, so to speak, by big time rancher Baxter (Michael Gambon), who also owns the local town and its sheriff. Waite and Spearman are soon backed into a corner when the latter's two other hired hands, Mose (Abraham Benrubi) and Button (Diego Luna), run seriously afoul of Baxter's thugs.
It would be hard to choose between the better performance - Costner or Duvall - both playing characters so strong, self-reliant and silent that neither knows the other's full name. And they've been riding the West together for ten years! Nor does Boss know Charlie's violent history, which included being a Civil War raider, and then a hired gun much like the ones now working for Baxter. When Charlie falls in love with Sue (Annette Bening), the spinster sister of the local sawbones, his guilt over his rough-edged past is a self-imposed handicap that Sue, who sees Waite's inner goodness, must overcome.
Moviegoers accustomed to a steady diet of mindless, FX-laden action thrillers may find the first three-quarters of OPEN RANGE slow going. It's called "character and plot development", an intelligent change of pace. And when the final shoot-out comes, it's perhaps the best ever filmed. While most such western confrontations seem like a choreographed ballet, this one shows them for what they were: relatively short, extremely violent, chaotic, and lacking in fancy gunplay and sharpshooting finesse.
Big Screen westerns are such a rarity nowadays that it's hard to compare this one with any other in recent memory. Though perhaps not as memorable as DANCES WITH WOLVES, this Old West morality play is certainly the best since UNFORGIVEN. Admittedly, we've seen similar plots before: the small homesteader/Big Ranching feud in the classic SHANE, and Big Mining vs. the small prospector in PALE RIDER, Clint Eastwood's transparent re-scripting of the former. However, the acting, cinematography and costuming of OPEN RANGE are excellent. Duvall surely deserves a Best Supporting Actor nomination, and the production as a whole may merit a Best Picture nod. My only complaint lies with the editing, which left in one too many leave-takings between Charlie and Sue, the last being completely superfluous. That said, however, this is a five-star tribute to loyalty, rugged individualism, integrity, and simply doing what's right. I think, sometimes, that Hollywood has forgotten what those qualities are all about.

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Packed with epic action, OPEN RANGE is a powerfully gripping story that's never been told until now, and stars Academy Award(R) winners Robert Duvall (1983 Best Actor, TENDER MERCIES) and Kevin Costner (1991 Best Director, DANCES WITH WOLVES), and Academy Award(R) nominee Annette Bening (1999 Best Actress, AMERICAN BEAUTY). A group of free grazers, four men trying to escape their past, are driving cattle and living off the land on the open range -- a place where nature makes the only laws. When a ruthless, evil rancher tries to run them out of town, the men's peaceful existence takes a tumultuous turn and ends in the grittiest, most explosive gunfight on film as two men battle a town for honor, justice, and a way of life that's quickly disappearing.

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Friday, April 29, 2011

Mother and Child (2010) Review

Mother and Child (2010)
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Three children, one not yet born. Three lives that are obscurely linked. Rodrigo Garcia has made his career with films sympathetic to the feelings of women, and his "Mother and Child" is so emotionally affecting because it is concerned only with their feelings. The storylines coil and eventually join, but that's just a narrative device. If these characters had no connection, their lives would be equally evocative.
The film is founded on three performances by Annette Bening, Kerry Washington and Naomi Watts. All have rarely been better. Bening plays Karen, a caregiver at work, where she's a physical therapist, and at home, where she cares for her mother (Eileen Ryan). There will be no one to care for her: When she was 14, she gave up a child for adoption, and now she yearns to have that child back. This is not a film about the wisdom of adoption, however, but about Karen's desire for her child.
Kerry Washington plays Lucy, happily married, childless, trying to adopt a child. She finds one she loves, but the baby's birth mother, Ray (Shareeka Epps), is a piece of work. She considers it a seller's market and is fiercely determined that her unborn baby will find a good home with worthy parents. She's more exacting than an adoption agency. Epps is very good, very focused, here.
Naomi Watts is Elizabeth, a lawyer who is concentrated not so much on her career but on her power, and how her sexuality can be a part of that. She goes to work for a Los Angeles law firm and makes it her business to have an affair with Paul, one of the partners (Samuel L. Jackson). She calls the shots, perhaps because she never knew her own parents, and fears a feeling of abandonment.Samuel L. Jackson and Naomi Watts.(Enlarge Image)A quiet, nurturing person at the intersection of these lives is Sister Joanne (Cherry Jones), a nun at a church adoption bureau. She is childless, of course, but content; she accepts her state as part of her service to God and is devoted to her clients. The nun is one of several important supporting characters who give "Mother and Child" richness. In this large cast, the actors are gifted and well-cast down to the smaller roles, and each one is important to the development of the story -- not just added for diversion or variety.
These include Sofia (Elpidia Carrillo), Karen's maid, who has a daughter who sometimes comes to work with her, and embodies some of Karen's regrets. Paul has daughters of his own, as does Paco (Jimmy Smits), Karen's friend at work. They have what she doesn't. Lucy's mother (S. Epatha Merkerson) is a nurturing parent, unlike her mother-in-law, who is cruel about the absence of a grandchild.
Garcia, whose credits include "Things You Can Tell Just by Looking at Her" (2000) and "Nine Lives" (2005), has created an interwoven plot not just for the purpose of being clever. Each facet revolves to illuminate the others. The characters reflect aspects of the central dilemma of the childless mothers. It doesn't argue that all mothers require children, and indeed the nun may be the happiest woman here. It simply argues that these mothers believe that they do.
Of all the performances, Samuel L. Jackson's is the most surprising. It sometimes appears that the busy Jackson will take almost any role to stay working. (Remember "Black Snake Moan"?) This film provides a reminder of his subtlety. He is a powerful, successful man, relatively helpless with a demanding and sexually skilled woman like Elizabeth. They like the sex, there is no love, she does not want to be involved in his personal life, and there is something there that disturbs him.
Bening, Watts and Washington create three distinct beings with three distinct lives. They don't all "share the same problem," but they believe they share the same solution. Garcia embeds their needs in the details of their lives, so we don't emerge with ideas about them, but feelings.

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From writer-director Rodrigo Garcia (TV'S Big Love, Nine Lives) and executive producer Alejandro Gonzalez Inarritu (Babel) comes the moving story of three women and the power of the unbreakable bond between mother and child. Three women's lives share a common core: the have all been profoundly affected by adoption. Karen (Annette Bening) placed a baby for adoption at age 14 and has been haunted ever since by the daughter she never knew. Elizabeth (Naomi Watts) grew up as an adopted child; she's a bright and ambitious lawyer, but a flinty loner in her personal life. Lucy (Kerry Washington) and her husband are just embarking on the adoption odyssey, hoping for the opportunity to become parents.

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Monday, March 14, 2011

The Kids Are All Right (2010) Review

The Kids Are All Right (2010)
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The Kids Are All Right is a thoroughly entertaining slice-of-life domestic drama about two kids who look up their sperm-donor father, causing cataclysmic changes in the family dynamic. Not a unique premise save that the parents of the kids happen to be lesbians.
The entire cause célèbre for this film is to show straight America how "normal" gay families are and that they shouldn't be afraid of "gay marriage" or "gay parenting," thus it doesn't delve too deep or wander too far off topic. Political film making is a tricky business. You'll remember the Tom Hanks drama Philadelphia was maligned by the LGBT activist fringe for all the issues it didn't address; to which my answer has always been: it's a two hour film, if you add too many spicy issues you're left with an unpalatable polemic.
The script and direction by Lisa Cholodenko (High Art) are tight, well focused and only occasionally heavy-handed. Her characters are fresh, while being stereotypically familiar to pre-conditioned movie-goers. These are folks we know, people we work with and/or live in our neighborhood: "normal" people. Is it perfect? No; there an almost fatally flawed plot contrivance that seems only there to provide the filmmaker an all too easy source of conflict.
What elevates the film above the run-of-mill movie-of-the-week domestic drama is the acting. Annette Benning is staggeringly good as the head of her household - the alpha female in this case. Her performance is embarrassingly rich; she presents a myriad of conflicting emotions, each one immediately recognizable, true and never over played. Julianne Moore turns in a lovely portrait of the less-successful, less self-assured partner. Mark Ruffalo is a revelation as a forty-something man finally approaching adulthood; a free-spirit, still capable of making disastrously foolish decisions in his pursuit to find personal fulfillment. Mia Wasikowska and Josh Hutcherson are always on target as the kids, conveying the perfect blend of angst and innocence.

Just as they did with Juno and Little Miss Sunshine, the film community is falling all over themselves hyping this. Like those films, The Kids Are All Right is an entertaining, socially relevant effort and deserving of quantified praise; but don't be mislead, it's not Citizen Kane.

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Academy Award® nominees Annette Bening and Julianne Moore star in this funny, smart and vibrant portrait of a modern American family. Nic (Bening) and Jules (Moore) are your average suburban couple raising their two teens, Joni (Mia Wasikowska) and Laser (Josh Hutcherson), in Southern California. But when the kids secretly trackdown their “donor dad,” Paul (Mark Ruffalo), an unexpected new chapter begins for everyone as family ties are defined, re-defined and then re-re-defined. Fall in love with the big-hearted comedy that critics are calling “one of the best films of the year!”(Michael Phillips, At the Movies)

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