Rosemary’s Baby (1968)

Roman Polanski – Director, Screenplay

Ira Levin - Novel

Mia Farrow

I have known my fair share of demon children. I have a little sister and more young cousins that I can frankly keep track of. However, when I say “demon children”, I mean more along the lines of, “Oh Jenny, you chose the minute I picked you up to puke on my new silk jacket. What a delight. What’s that? You wanted to draw and used all my new lipsticks and eyeliners to paint a seascape on my wall? Well, isn’t that creative. ” When Roman Polanski says “demon children”, he means “force-you-to-eat-raw-liver-and-hallucinate-sex-with-the-devil-from-inside-the-womb” evil.

Such is the case of his blissfully, yet dangerously naive protagonist (Farrow) in the quintessential horror film, Rosemary’s Baby. The film opens to a beautiful young couple as they embark on their new life together; searching for the perfect house to start a family in. When the ideal apartment suddenly becomes available, Guy and Rosemary Woodhouse find even more good fortune when they meet the gregarious and helpful older couple next door, Roman and Minnie Castevet (Ruth Gordon won an Oscar for her role.) Despite the mysterious death of a woman staying with them, the Castevets’ charm and warmth win them over. Meeting them seems practically fortuitous when Rosemary becomes pregnant;  they go out of their way to set her up with a brilliant and coveted surgeon completely gratis, prepare daily herbal drinks to aid her pregnancy, and even offer her a beautiful and exotic pendent for good luck. However, things quickly go awry when Rosemary’s friend who questions the Castevets’ motives suddenly falls gravely ill and Guy quickly, and adamantly, dismisses any and all of Rosemary’s growing suspicions. As the clues pile up, it becomes no longer a question of someone wanting to hurt the baby, but something wanting it for its own.

Watching this 1968 movie in 2011 is something of a mixed experience. Does is have the special effects, blood and gore of today’s horror movies that we are so accustomed to seeing? No. Is it starring a bunch of sexy teenagers and/ or a 30 million dollar monster destroying a town, city, etc? No. Is it utterly and completely disturbing and more suspenseful than you are at all comfortable with? Absolutely. What I love about earlier horrors movies is that they don’t have to rely on CGI special effects or gross-out makeup to scare the living daylights out of you. Perfectly placed creepy music, terrifying close-up shots of the protagonist as she realizes the horror of her situation, and long drawn out scenes, your heart pounding in your chest as you follow our ill fated heroine through twisting hallways, can have an even better effect.

Some of the best scenes and effects in Rosemary’s Baby may actually seem quite familiar to the close follower of horror films: childlike music over the opening credits to set the tone, dream sequences foreshadowing doom to come, and the embodiment of evil residing in the most innocuous of characters, in this case, a helpless old couple. If you are looking for a film that is going to feature lots of close-ups of a woman’s face half torn off or a horrific looking monster wandering around, this might not be for you. If however, you find yourself drawn to the more subtle, hidden terror (the early Amityville Horror, Orphan, The Omen) this is definitely one to add to your repertoire.

Don’t Be A Fool, Stay in School!

The other day I found myself in a dire situation that I haven’t experienced in years: I ran out of pens. After experimenting with crayons, Sharpies and the nub of a golf pencil that I found under the couch, I decided to bite the bullet and take myself to Staples (yea they got those.) Walking through the mechanical sliding doors and into the cool refreshing tingle of recycled air conditioning, I was met with a barrage of Back to School! items. It was at once a thrilling experience, conjuring up the smell of fresh pencils and the nervous excitement of a new school year, and a terror of “Oh God! The summer’s over! I have to get up early and do work for the next 9 months!” Whether you dreaded the approach of the Yellow Bus of Doom or was one of those rare breeds that truly enjoyed high school, that time of year is again upon us. Check out the Hollywood treatment of juvenile education and see if you relate….or not.

Clueless (1995): If you’re like me, then you took the majority of your fashion cues from this movie, boggling your mother as to why her 12 year old daughter had suddenly taken a shine to white knee high socks and furry backpacks (they were “totally faux!”) Alicia Silverstone stars as the quintessential blonde, vapid, Beverly Hills 16 year old looking for love in a sea of total Barneys. Spawning a thousand quotes and even more stars (hello, Paul Rudd, Britney Murphy, Donald Faison), Clueless stands as a smart yet completely shallow, classic but also utterly pop culture, romantic comedy about love but mostly just sex, or…. whatever.  Also See: Dazed and Confused, Can’t Hardly Wait

The Breakfast Club (1985): Turns out high school movies are cinematic gold when you take 5 different stereotypes (nerds, bad boys, prom queens, weirdoes, jocks) and toss them in a room together. What? The Bad Boy’s got a heart of gold? The perfect Prom Queen’s got a freaky streak? The Weird Girl from the wrong side of the tracks turns out to be gorgeous? I never would have guessed.  Talk about a blueprint for movies. Molly Ringwald, Anthony Michael Hall and Emilio Estevez star in the prototypical 80’s coming of age tale about love and friendship…in detention. Wish I had had sexy hookups in the janitor’s closet. Also see: Pretty In Pink, Ferris Buellers Day’s Off

She’s All That (1999): Honestly, it’s basically a crap movie. However, it pretty much sets the tone for every other movie about high school that was to come in the next decade. You’ve got 4-6 gorgeous 25 year olds playing 16 year olds. You’ve got a “high school” that looks better than many tropical resorts. You’ve got the party where “S*** Goes Down”.  And, of course, you have the great event that will change everything, the best moment in these people’s young lives, the moment when the strong will rise and crush the weak. Yes, friends, I’m talking about… The Prom. You’ll laugh, you’ll cry, you’ll wonder why your prom experience was more, holding your date’s water bottle of vodka while he pukes and dirty dancing in heinous taffeta and less, being crowned prom queen and landing the perfect man while befriending the odd girl. Also see: 10 Things I Hate About You, Mean Girls (stereotypical but at least aware of it), Never Been Kissed

Billy Madison (1995): Do I really need to even tell you to watch this? Basic premise: Billy Madison is the lazy son of a billionaire who must return to school and complete a grade every 2 weeks if he is to take over the family company. Mixed with “Hot For Teacher.” Even if you missed it when it first came out, you must have spotted it on a TBS rerun. Don’t have a TV? I’m sure you’ve heard someone (or everyone) quote it. Still not ringing any bells? It is now become more and more likely that you might have spent the past several decades trapped in an isolated cabin somewhere in the far northern reaches of Canada. Or you are my grandmother who still seems to think Lawrence Welk is still relevant (10 points if you know who Lawrence Welk is.) Regardless, welcome to mainstream cinematic culture. Please meet my friend, Adam Sandler. Also see: Fast Times at Ridgemont High

Time to Kick Back and Unwind…It’s Summertime!

Let’s be honest here, people. Is there anyone who doesn’t get stuck in a bit of a time warp over the summer? Suddenly, it’s Weds when you could have sworn you had another 2 days to turn in that presentation. Looking at your bank statement Monday morning finds you woefully missing 200 dollars and only the smell of your cubemate’s mint flavored gum brings you back to those 5 lost hours imbibing mojitos on the roof. So in the spirit of understanding and enjoying the outdoors (yes, I consider a potted palm tree next to a rooftop air vent “outdoors”), I hope I shall be forgiven for ignoring you, my fearless readers for the past few months. I give you now an entirely incomprehensive list of summer films I have been working on for that entire time (and certainly did not bust out just in time for Labor Day Weekend) ….

Wet Hot American Summer (2001): This is one for any hapless soul who ever had to spend their summers trapped at a camp making sure kids didn’t kill themselves while, at the same time, mostly trying to hook up with the Hot Swim Instructor. Literally everyone from Bradley Cooper to Paul Rudd and Elizabeth Banks to Christopher Meloni star as mostly distracted camp counselors at Camp Firewood. Between a talking can of soup and an innocent trip to town that goes awry, Wet Hot American Summer is the cult classic that makes you long for the smell of lake water and bug spray. Also see: Caddyshack, Meatballs, Dirty Dancing (a more serious tone but still pretty hilarious. Come on… Patrick Swazye busting out “Love is Strange”? Yes, please!)

Now and Then (1995): Ok so this one is mostly for the girls. Starring the coming-of-age-in-the-90’s trifecta of Christina Ricci, Thora Birch and Devon Sawa (swoon!) plus mom’s favorites including Demi Moore and Rosie O’Donnell, it’s another one chock-a-block of famous faces. Taking place in the summer of 1970, 4 best friends uncover a local murder mystery as they face first love, a barrage of family problems and the “power of friendship.”  Also see: Stand By Me (basically, the male equivalent), My Girl

Blue Crush (2002): Though perhaps not one of the most critically acclaimed cinematic experiences of all time, you are lying to yourself if you didn’t at least seriously contemplate picking up and moving to Hawaii. Kate Bosworth stars as a badass surf girl trying to get ready for a major surf completion while also trying to juggle the hot NFL player she’s landed – cause yea, that’s a real problem for all of us. Though perhaps not a summer movie per se, still an awesome motivator to get that bikini body in shape and hit the beach! Also see: Jaws (not exactly the same sentiment)

Heavyweights (1995): One of my absolutely all time favorites, Heavyweights is a true David and Goliath tale of overweight campers fighting for the right to bbq's, GoKarts and just some good ol’ fashioned R-E-S-P-E-C-T. Starring Ben Stiller as the tyrannical head counselor with a serious case of roid rage, get ready to feel a sudden and immediate need for an inappropriately large plate of ribs and an afternoon on “The Blob.” Also see: The Sandlot

Friday the 13^th (1980): Ok so maybe this one doesn’t quite make you long for hamburgers from the canteen or solo hiking adventures in the woods quite as much as, you know, hiding inside and steering clear of psychopathic, ax wielding mama’s boys. Still, what would the summer be without a couple of sexually provocative camp counselors being chopped to pieces? The one that started it all, Jason  gets his first big break in the classic film franchise that would go on to span approximately 1,847,305 sequels (really 11 and a tv show) and scare the living daylight out of millions of camp goers. An excellent one to show at Camp Movie Night if you want to keep the kiddies in their cabins and finally track down that Hot Swim Instructor. Also see: Sleepaway Camp (I’ve actually never seen this although I have heard it is terrifying/ hilarious. Want to see something really scary…. Watch I Know What You Did Last Summer. It terrifies me that at 1 time this was a really popular and “good” movie)

Exit through the Gift Shop (2010)

Bansky – Director

Banksy, Thierry Guetta, Space Invader, Shepard Fairey

If you are like me, then pretty much everything you watch makes you want to utterly throw down your current preoccupations and become… a doctor! An FBI criminal investigator! A down on his luck sandwich shop owner! Ultimately though, the moment of hysterical enthusiasm passes, you realize that embarking on a multi-year, costly expedition to become a real life Secret Agent might not be in the cards, and you return to the daily march of your job, your relationship, your life, content to watch well paid actors live those lives for you. However, if you are like Thierry Guetta, your moment of hysterical enthusiasm does not pass. In fact it never passes, rather snowballing into a perpetual fantasy world of stardom and the endless pursuit of passion and art.

Exit through the Gift Shop is a purported narrative of the world of Street Art, a growing counterculture movement of guerilla artists who make the streets both their canvas and their subject. Drawing from pop culture, political and international events, and a generally stark look at reality, these artists entrance the public by bombarding them with bizarre, sometimes unintelligible images. What it is in reality, is the tale of a, eccentric would be Street Art documentarian who just can’t seem to keep his attention centered. Flitting from an obsession to filming his life running an LA clothing store, to an obsession with meeting and filming street artists in their habitat to an obsession with becoming one himself, Thierry records it all in boxes and boxes of raw tape.

Though filmed almost in its entirety by Guetta, it took internationally renowned (and also ironically completely unknown) street artist, Bansky, to turn it into the finished product you see today. Interspersed with interviews with Bansky, Shepard Fairey (the paintbrush behind the iconic Obama “Hope” posters), and Guetta himself, the film leads you through the secretive world of this urban art form, all behind the lens of perhaps the least secretive street artist in the world. Whether intentionally or not, Guetta manages to utterly commercialize and, in doing so, perhaps bastardize an art form meant initially to be a completely uncommercial, subversive satire. 

Exit is a thoroughly hilarious, wild romp, exposing the very insides of the movement: both its serious, activism side, as well as the often hilarious characters and situations behind it. That a complete nobody French shopkeeper should manage to film some of the most famous faces in the business, is a true testament to Guetta’s sheer passion and, yea let’s admit it, lunacy. Absolutely not one to miss, Exit through the Gift Shop will give you a look at the most hipster art out there and how no one can really take themselves that seriously…even if they want to.

The Hitchhiker’s Guide to the Galaxy (2005)

Garth Jennings - Director

Douglas Adams – Writer (books)

Martin Freeman, Sam Rockwell, Mos Def, Zooey Deschanel

It has always been a bit of a mystery as to how a day can be officially declared a holiday, and for that matter, who is given the lofty responsibility of making these vital decisions. For example, the city of San Francisco recently declared May 18th a holiday to honor her highness, the “Princess of Pop”, Britney Spears. Now I am all for celebrating and remembering those most significant in our culture and I am especially for a day off from school or work. And really, if ol’ MLK and Lincoln and Washington can have their days, why not Britney! But, back to the issue at hand. In the tradition of key days of remembrance and celebration, most recently, May 25^th was declared National Towel Day in honor of brilliant author, creative genius and slightly strange duck, Douglas Adams. So in my own personal tribute to the late writer, let me introduce (or reintroduce) one of his most celebrated works, The Hitchhiker’s Guide to the Galaxy, or rather, its stunningly imaginative film adaptation.

The Hitchhiker’s Guide follows hapless earthling, Arthur Dent (Freeman), as his world is suddenly and irrevocably shifted when his home planet is unceremoniously destroyed to make way for an intergalactic interstate byway. Rescued by his best friend, Ford Prefect, a researcher for The Guide who became stranded on earth (brilliantly portrayed by Mos Def), the two set off on cross (well, zigzag more like)-galaxy voyage as they search for the Meaning of Life, The Universe, and Everything. Along the way, the two encounter the most varied array of life forms imaginable, including the foul and vicious Vogon bureaucrats, beautiful and brilliant Trillian (Deschanel), the charismatic Galactic President (Rockwell), Marvin, his loyal but manic depressive robot, and the smartest, and most underestimated, creatures in the universe.

Directed by Garth Jennings, it fully realizes the tone of its literary ancestor and incorporates the most essential plot points, yet is not a slave to simply making images and sounds out of words. Perhaps the first clue that the film would take some liberties with the book is the opening musical number, fully crafted out of a mere reference by Adams. “So Long, And Thanks For All The Fish” sets the tone at once for the fantastical and extraordinary adventures to come while also creating an almost relatable atmosphere. Almost. Rather that perhaps a “space move” that keeps its audience at an arm’s distance, Arthur’s longing for his lost home, Ford and Beeblebrox’s insatiable need for adventure and really cool things, and even Marvin’s perpetual state of apathy at his own wasted talents seem relatable. Not to mention hilarious.

With an all star cast including Alan Rickman as Marvin, the Paranoid Android, and Bill Nighy as a genius planetary architect, the film is a fantastic romp through the space, time, and the utterly improbable. And for all those literary snobs who say a movie can never live up to a book, prepare to be blown away.

Burlesque (2010)

Steve Antin – Director/ Writer

Christina Aguilera, Cher, Stanley Tucci

There is a little known formula in the Hollywood industry that I think I’m going to crack here. In this blog. To you guys. Get ready Entertainment Weekly, stand back Variety. I’ve got you pegged. Step 1: Take a major diva celebrity at the height of their career who is looking at their work thus far and saying to themselves, “My God, I’m good. Is there anything I can’t do?” Step 2: Give them a couple bucks for budget and say, “Hey, go get ‘em.” Step 3: Get a few good actors together in a room. Give them a couple of cocktails and say “Anyone want to make a quick million for a laugh?” Someone will say yes. Step 4: Watch aforementioned diva make a “Diamond in the Rough Singer Made Good” movie based loosely on a character that is based loosely on them and on their lives and featured songs sung exclusively by them under some loosely conceived pretense (everything is loosely constructed and executed in these movies.) Step 5: Watch diva’s reputation as a legitimate celebrity crumble.

So is the tale of Glitter, The Spice Girls Movie, and, most recently to the table, Burlesque. Christina, you had a fantastic voice and legitimate singing career, Cher, you were a legend. Why, why, why do  you feel that this, in any way, is going to a) catapult you to greater stardom and or b) kick start your comeback? Ladies, stick with what you’re good at, belting it out onstage and wearing fun, sparkly and revealing outfits.

One part Showgirls, one part Moulin Rouge (with less nudity than one and far less talent than the other), Burlesque tells the tale of a hot young waitress coming to make it in the big city and finding her calling at the Burlesque Club owned by an aging but still legendary performer in her own right. I can pretty much sum up in a nutshell what the script writing session sounded like…. Christina: “I want to play a gorgeous girl with an amazing voice who is better than everyone and everyone is jealous of me… I mean her. Oh, and I want a hot guy to kiss. Oh and I want to sing all the songs.” Cher: “Yea I want to be a hot girl too….” Christina: “Not hotter than me!” Cher: “Ok we’re equally hot. And I want to play a totally still relevant and not at all has-been actress slash singer.” And the director said, “um…ok.”

Ok, so I suppose that I might not be being entirely fair. I’m sure that a lot of hard work and money went into the production (around 55 mil in fact.) Mostly in false eyelashes and glitter. Stanley Tucci, for reasons absolutely unknown to me (perhaps he’s a big Cher fan), appears as the only comic relief in a rather predictable, endlessly cheesy vehicle for the two stars to belt it out. Granted, some of the songs are catchy, the costumes are cheerfully flashy and the dance numbers make you feel understandably out of shape. Probably not likely to end up on the Criterion Collection but, in a pinch, not the worst ever.

The Fighter (2010)

David O. Russell – Director

Scott Silver, Paul Tamasy, Eric Johnson - Screenplay

Mark Walberg, Christian Bale, Melissa Leo, Amy Adams

In a world of 3D, high def, blue ray, flat screen, wide screen, and just all around badassery of cinema viewing, there is one medium that simply trumps them all. Take a 4 by 6 inch screen, place it approximately 1.5 feet immediately in front of your face, and cover it with thin lines running vertically and horizontally through it. Make sure to never move your head more than an inch or 2 to either side, less you lose the ability to see the movie and, if the screen suddenly and inexplicably comes jolting towards your face, often upending the drink placed precariously on a conveniently located drink stand directly below it, simply rearrange as necessary. Be prepared for a variety of film interruptions most often giving you information that you neither required nor understood. Did I mention the sodium laden mid movie snack often provided, absolutely free of charge? Ah yes, the joys of enjoying cinema from a moving aircraft.  

Despite these initial and various setbacks, the 9 hour flight finally prompted me to delve into the wide world of British Airways cinema selection. Knowing that I was already starting out behind the 8 Ball, I selected a movie that even an in-flight viewing could not destroy. I was not disappointed.

To anyone who has not been living under a rock for the past year, The Fighter is the utter definition of what an excellent film should be – seamless screenplay, relatable and effortlessly believable casting, and perhaps above all, a hell of a David and Goliath story. Set in the mean streets of Boston, Micky (Walberg) plays the up and coming boxer trying to make it out of his older brother Dicky’s (Bale) massive and looming former champion shadow. Despite his teeny little problem staying off the crack, charismatic Dicky remains the apple of his mother’s (Leo) eye, living in a perpetual fantasy where he is having his big comeback and his younger brother is just along for the ride. Though Micky seems content to let Dicky command the spotlight, being constantly overlooked in favor of his clearly past-his-prime brother finally catches up with him.

Let’s be honest, the Academy can’t always be trusted in their rulings of “Best of the Year” but in this case, they got it more right than wrong. Who wasn’t nominated in this movie? Bale blew it out of the water, throwing himself into the role of crackhead former champ Dicky (seriously, would anyone suspect he was an upstanding Brit?), and proves he has what it takes to become one of the true greats. Leo and Adams both shine as opposing forces on Walberg’s Micky, daring the audience to even suggest that they were born and raised just a stone’s throw from Lynn.  

Utterly relatable, the defeat of Shea Neary by “Irish” Micky Ward for the WBU Welterweight title, wound up being cake after the triumph over the family that didn’t support him. While not everyone has been within spitting distance from a professional boxing title, everyone has had sibling rivalry, a girlfriend or boyfriend at odds with the parents or even just the ol’ Black Sheep of the Family. Definitely a true story to check out that will leave you inspired and also maybe feel better about your own family’s dysfunction.

Cat on a Hot Tin Roof (1958)

Richard Brooks – Director, Screenplay

James Poe - Screenplay

Elizabeth Taylor, Paul Newman

As you may have noticed, had you opened a paper, turned on the tv, perused the internet or found yourself in an impromptu discussion of Hollywood Movie Starlets, Elizabeth Taylor died last week. Yes, she of the infamous violet eyes complete with double row of lashes (a genetic mutation, I’m not joking, look it up) finally succumbed at the ripe old age of 79 after a lengthy battle with various illnesses and more divorces that one can really be expected to keep track of. For many of the younger generation, she is known primarily for her widely publicized marriages and ensuing divorces, and, secondly, for her vast array of stunning jewels (um… the Taylor-Burton Diamond? Anyone?) However, for anyone who bothered to take even a fleeting glance at cinema prior to 1970, Elizabeth Taylor was a prominent figure in many of Hollywood’s most celebrated films, winning 2 Academy Awards for Best Actress as well as countless other recognitions, including A Lifetime Achievement Award.

So in honor of her legacy, I decided to take a look at one of her most quintessential works, Cat on a Hot Tin Roof. In a role that seems nearly tailored (get it?) for her, Liz plays Maggie “The Cat”, the sultry wife of an alcoholic former football player who could not be less interested in her (truth be told, he seems infinitely more interested in romanticizing a relationship with his now dead former best friend.) At the birthday party of his wealthy landowning father (Burl Ives), Maggie finds herself torn between desperately vying for the affections of her frigid husband, Brick (Newman), and fighting his brother, Gooper’s (Jack Carson), family for a stake in Big Daddy’s fortune. Rife with family dysfunction and a boiling undercurrent of sexual tension, this film adaptation of Tennessee Williams’ play is the perfect portrayal of human baser instincts against the backdrop of 50’s Mississippi where everyone’s societal position was well known and absolute. In a world where a woman’s role was to support her husband and provide a family, Maggie’s obviously tumultuous marriage and lack of children provides the perfect weapon for her more, shall we say, fertile and money hungry sister-in-law.

In an industry where extraordinary beauty and sexuality is often little other than a way to score prime roles, Taylor practically casts hers as a character in its own right, playing the dual roles of an advantageous means to capture Big Daddy’s attention, and an unwitting characteristic that scares her already reticent husband.  Though it is arguably difficult to tear your eyes off Taylor, Cat on a Hot Tin Roof is awash with theatrical legends. While Liz smolders with sexuality, Paul Newman tempers his to mere embers, shining as a former star athlete hounded by personal demons. Often recognized for their musical and stage performances, Burl Ives and Madeline Sherwood also both take a star turn as two dominating forces in this adaptation (Sherwood reprises the role she first played on stage.)

A study in 50’s era Hollywood, where dramatic speeches take place as much to the center of rooms and various windows as they do to other characters, and where no kiss is complete without a slow camera pan to the curtains, Cat on a Hot Tin Roof is a refreshing to revert to Classical Cinema. Like they say, they just don’t make ‘em like they used to.

Pan’s Labyrinth (2006)

Guillermo del Toro – Director, Writer

Ivana Baquero, Doug Jones, Sergi López i Ayats, Maribel Verdú

To many a moviegoer, the word “subtitles” is synonymous with “dreadfully dull and boring”, conjuring images of historical snooze-fests one was forced to watch (and read!) in their school-going youth. For many, they really spoiled the joy of Friday Movie Day in class. This often understandable presumption likely turned many off to this gem of a film, though for those who dared to brave it (or didn’t know it was subtitled in the first place) there were yet more surprises in store.

When I first heard of Pan’s Labyrinth, I was all set for a fantasy tale of fairies, magical forest creatures, and monsters that lurk in the dark. What I was not all set for was a gory close-up look at Franco’s Spain in the aftermath of the Spanish Civil War and more cringe-worthy moments than you could shake a stick at. Not even close to anything resembling a children’s tale, our heroine, Ofelia (Baquero), takes us on a voyage trapped somewhere between what is reality and what is dream, with tragedy and horror abounding in both. We meet Ofelia and her pregnant mother journeying to live with her cruel new stepfather, the Capitan (López i Ayats), as he battles the last resisting rebels forces. In this harsh new life, her sole ally is a kind servant, Mercedes (Verdú), who becomes a type of mother figure. Mirroring reality, she likewise befriends a Faun (Jones) who offers an escape by engulfing Ofelia in a land of fantasy where she is a princess and must carry out a series of tasks in order to return to her kingdom.

In Ofelia and Mercedes, del Toro creates a parallel image of two people battling their demons. Whereas Ofelia, as the young, innocent child experiences the terror of her fantasy monsters and finds the bravery to try to save her mother and return to her kingdom, Mercedes knows all too well the true horrors that exist and risks her life to fight and undermine the sadistic Capitan. While the visuals are an obvious selling point – I mean who didn’t get a little seduced just watching the trailer - the soundtrack absolutely holds its own, setting a dreamlike, almost eerie atmosphere that contrasts beautifully with the film’s horrific imagery.

A nearly universal success, Pan’s Labyrinth is a study in perfection of what a great film (foreign or not) should be – entertaining, thought provoking, beautifully executed. Need I even mention that a 10 year old steals the show with acting that could put even the most seasoned veterans to shame? Between the stunning visuals and the perfectly seamless screenplay, if you haven’t already, this is definitely one worth checking out.

Something’s Gotta Give (2003)

Nancy Meyers – Writer, Director
Diane Keaton, Jack Nicholson

Let’s all be honest with ourselves, there is something distinctly unsexy about a couple of old people getting in on. Yes, they can be cute when they hold hands. When they put their arms around each other at the movies. I’ll even go so far as to admit I’ve teared at a stolen kiss at a Golden Anniversary Party. But no one wants to see Nana mounting Grandpa in the heat of passion; I don’t care how cute they are. So it may be reasonable that one’s initial reaction to a romantic comedy starring Diane Keaton and Jack Nicholson would be one of utter horror.               

The movie opens with Harry Sanborn (Nicholson) a playboy music exec , notorious for dating exclusively Pretty Young Things. On a weekend romp to the Hamptons (where else!) with one such young lady (Amanda Peet), he happens upon her mother, the divorced and somewhat bitter playwright Erica Barry (Keaton.) Despite an initial dislike, after Harry becomes stranded in Erica’s sprawling beach house the two come to a new understanding and respect for each other. Throw in a few hilarious wrenches attempting to pull these two budding lovebirds apart and an awkward naked encounter or two, and you are set for romance. As with all rom-coms, the plot might be a wee bit farfetched. But, after all, what is the genre without at least a modicum of cheese.

60+ set or not, this movie is adorable, romantic, hilarious and, yes, a little sexy.  In a bold break from your more mainstream romantic comedies, the ones packed shoulder to shoulder with sexy 20-somethings and where every day at the office requires a skin tight miniskirt and 4 inch heels, Ms. Meyers offers a refreshing alternative. Perhaps due to the lack of a scantily clad cast, she pumps up the comedy and gives the audience a more relatable romance. Whereas not all of us may have experienced that exquisitely timed run in at the coffee shop and the ensuing witty banter, everyone has had that awkward post coital tug of war, “is he going to sleep over? Should I ask him to? What should I say in the morning?” Like Harry and Erica vulnerably fumbling as they settle into their first sleepover, the audience harkens back to that moment of themselves somewhat self consciously sharing the night with a new bedfellow. It also helps that both actors are sublimely talented and funny (a concept lost on many of the genre.)

Now I might be alone on this, but I still think Jack Nicholson is sexy whether he’s in his 30’s in One Flew Over The Cuckoo’s Nest or 65, and Diane Keaton is frankly one of those rare breeds who seem to get even more beautiful with age. Though there is perhaps a scene that might make even the most hardened of us blush, Meyers keeps the audiences laughing and rooting for these two in this truly great movie only disguised as a cheesy chick flick.

Battle: Los Angeles (2011)

Jonathan Liebesman – Director
Christopher Bertolini - Writer
Aaron Eckhart, Michelle Rodriquez, Bridget Moynahan

Do you know what I have always found comforting about the impending doom of alien invasion? That they look so incredibly similar to us, the very beings they are attempting to colonize. Between the roughly 5’10” frame, consisting of a cylindrical trunk enclosing vital organs with 2 lateral arms extending perpendicularly off the uppermost region and a roundish head with anterior sensory features, the only apparent distinction is a quantity and length of leg-like appendages. But really, what are a few extra limbs among friends? Due to our obvious physical resemblance, it stands to reason that if you shoot them or blow them up, they will react in a similar fashion -how convenient! What with the universe being such a magnificent and diverse entity, one would think that beings from other planets might look and act a tad different. Apparently not.

Such is the case with Battle Los Angeles. Although in this instance, the human form is not the only resemblance to be found. To the untrained eye, you might find yourself wondering where Will Smith is, since you apparently stumbled into a revival of Independence Day. To the trained eye however, you would realize the distinct difference. You actually stumbled into a Glee like mash up of Black Hawk Down, Alien, War of the Worlds, Signs, as well as Independence Day. Between the same tired characters (the smart-talking, trigger-happy lieutenant, the commander with the heart of gold, the brave civilian ready to give his life), the giant metal space ship that rises out of the ground, the invasion that is first explained as a freak meteorological phenomenon, and a bit of a hang up on the ol’ H2O, there is nothing original about this retelling. But wait there’s more! Did I just hear a sampling of the Inception score? Is that the bus from Speed?

If you are looking for a basic non-stop battle scene, knock yourself out.  The script is just one bad line after another (“I won’t leave another man behind!”) and nowhere past the first 15 minutes is there any semblance of meaningful dialogue or break from the shoot-em-up action that lasts more than 5 minutes. Yes, there are a few poignant moment (of course someone must always sacrifice themselves for the cause) but where is the humor? Where is the heart or personality in any of these characters? You can tell Aaron Eckhart is doing what he can with the lines he was dealt but not even he can connect to the audience.

Overall, it serves its purpose; though don’t expect any good alien details a-la District 9 or War of the Worlds. There are some good special effects of LA in ruins and the score is better than some (though I still maintain Liebesman sampled Inception) but really people, can’t anyone come up with an original plot anymore?

“I Just Want to Express Myself Through The Art of Dance”

As an admittedly bad singer, I believe I have always been slightly offended by musical theatre. Perhaps I harbor a secret fear that at any moment, in any innocuous location, people around me might burst into song and dance, dragging me into a horror of my own making. And I, knowing neither the words nor the moves, nor having the vocal wherewithal to pull it off, am relegated to a mere observatory role. However, personal terrors aside, I have grown to appreciate a few of the more melodious films.

Singing in the Rain (1952): An American musical classic, I first viewed it in an Italian hotel room with my sister as there was nothing else available beyond local telenovelas and some of the more, shall we say, colorful films. Ears pressed to the speakers so as not to wake our parents, we were taken aback by its spontaneous bursts of song and oddly placed segues that seemed to serve little purpose beyond yet another silver platter opportunity to bust out a dance number.  We loved it. Far and away my favorite musical, it is a delightful romp through a 20’s era love story, unapologetically ridiculous and thoroughly over-the-top. It doesn’t try to force the songs to act as dialogue, or to move the story forward or frankly even to fit into the plot. The story weaves a nice yarn, but it is the songs themselves that carry the movie, turning back the clock to yesteryear, before reality ruled and the Kardashians were king.

Grease (1978):  I don’t think there is a girl (or musically inclined gentleman) alive who has missed this one. Or frankly, who doesn’t own the soundtrack and has been known to faux-reluctantly belt one out at a local karaoke club. Yea, we all have. While I must admit, I do enjoy the bevy of sing-along tunes that make up the bread and butter of this one, I think it is the characters and the story that solidify my interest. I mean really, who can resist a blond-wig clad Stockard Channing parading around the room in mock portrayal of chaste Sandra Dee? Or the love triangles and sexual standoffs between Danny, Sandy, Rizzo, Kenickie and, ever the wallflower, Cha Cha DiGregorio at the school dance? Definitely a well deserved, if endlessly cheesy, staple of the musical genre.  

High School Musical (2006): A favorite of the tween set (and a certain unnamed college roommate of mine), HSM, as it is affectionately referred to by those in the know, is one of those musicals that makes a valiant effort to incorporate all the songs in a seamless  and totally-not-weird-that-a-roomful-of-highschool-students-burst-into-song kind of way. But yea, it’s weird. Case in point: Zac Efron, the quintessential blonde basketball playing heart throb gets into a fight and storms back to school in the dead of night where, to get a handle on his feelings, bursts into an apparently spontaneous song and dance number, the dénouement of which features him falling to his knees in front of a 2 story poster of himself playing basketball. I mean, I know my high school had giant posters of all our jocks. I will say, the songs are pretty catchy but yea, just own up to being a ridiculous musical.  Don’t try to sell me that a random school in New Mexico is just full to the rafters with Disney trained starlets. You are fooling no one.   

So alright, maybe I like musicals a bit more than I initially let on. Did I cry at Rent? Of course. Did I find myself breaking into spontaneous dance moves during Moulin Rouge? You know it. Did I grin awkwardly all by myself during White Christmas? Unfortunately and embarrassingly, yes. While I’m still not a good singer and should probably leave soundtracks to the professionals, at the end of the day, the inside of my car doesn’t talk.

A Serious Man (2009)

Joel & Ethan Coen: Directors, Writers

Michael Stuhlbarg, Sari Lennick , Richard Kind, Fred Melamed

If you’re like me, than there has been an occasion or 2 where you have had a bit of a mental breakdown. I mean an irrational, throw-something, stamp-your-feet-like-a 4-year-old, possibly toss-out-a-couple-of-choice-phrases, freak-out. Whether it was a ludicrously unfair grade, a fight with your mother, or frankly someone cutting you off in traffic, we’ve all been there…. Well, all of us except for the down-on-his-luck protagonist of A Serious Man. Though not for a lack of cause.

Larry Gopnik (Stuhlbarg), a morally conscientious Jewish professor, just can’t catch a break in this 1960’s dramady. Between his utterly unappreciative family - complete with a son more interested in getting high than in learning the Torah, a nose job obsessed daughter and a brother who can’t seem to clear up that massive cyst  - anyone would justifiably lose it. Add into that a delightfully corrupt Korean student trying to bribe him and a wife who calmly informs him of her plan to leave him, and you’ve got the perfect recipe for a nervous wreck. And yet, Larry takes it in relative stride, responding to every crisis with merely panic stricken be-spectacled eyes and brief stuttering responses which nearly always get shouted down.

The Coen brothers really beat up on poor Mr. Gopnik, almost to the point where it’s painful to watch. You find yourself thinking “ok this has got to be it, he’s going to snap.” Then the next crisis. “This has got to be it.” When he interrupts his $150 an hour session with the divorce lawyer only to find that his son’s impending crisis is, yet again, that his favorite television show is blurry, your heart breaks for the poor, hard working father who is stuck playing the punching bag. You’re cheering for him to start an affair with the sexy next door neighbor, to take the bribe, to tell off his domineering wife. By hour 2, you’re about ready for someone to find ol’ Larry strung up in the bathroom.

The characters, though you kind of want to punch them, are exceptionally crafted, as is the screenplay which rolls effortless between a series of personal nightmares. From a Fort Knox of spiritual guidance to his wife’s infuriatingly patronizing would-be lover, the Coen brothers create vignette after vignette that has the audience reeling, relating and empathizing with Larry. I mean honestly, who hasn’t tried to calmly explain something during a fight and had their words twisted and turned until they find themselves agreeing, inexplicably with the counterargument? So is the plight of Mr. Gopnik. 

I cannot truly say that I came away from this film feeling a terrific sense of enlightenment or with a new take of the destiny of mankind. Funny, heartbreaking, bleak and, in a word, odd, it starts out with a Jewish family in the early 20^th century inviting in a dybbuk (a Hebrew name for a spirit inhabiting a dead person) in for soup then stabbing him with an ice pick. Perhaps setting the theme for the search for meaning that pervades the film, the audience is left wondering, “What did that meant? Are they going to explain it? Who were those people?” And…. they do not. Then, in a full circle maneuver, the film ends abruptly, once again leaving the audience searching for significance, something to grasp on to and take home with them. If you feel like taking in a head scratcher and you don’t mind leaving a theatre feeling depressed and perhaps a little disoriented, this former Best Original Screenplay and Best Picture nominee is right up your alley.

Little Nemo: Adventures in Slumberland (1989)

Masami Hata, William Hurtz – Director

Winsor McCay – Comic Strip (concept)

Gabriel Damon, Mickey Rooney, Rene Auberjonois

So the other day, I walk into my boyfriend’s apartment and he and his 26 year old roommate are engrossed in Fern Gully. I am thrilled because I too love delightfully animated movies chock full of positive messages about saving the rainforest, a bevy of musical numbers and a villainous Tim Curry. Quickly the discussion turns to our favorite animated movies growing up and the usuals are put on the table – Beauty and the Beast, The Lion King, The Sword and the Stone, something about Pippy Longstocking being a childhood staple – and I offer out Little Nemo aka Adventures in Slumberland (to those in the know) and am met with blank stares. They ask, with some judgment that I would consider my youth apparently extending into the latter years of high school, “Do I mean Finding Nemo?” No, no I do not. I try to explain and am still met with utter disbelief as though, in my childhood of make believe friends and basements that inexplicably transformed into darkened lairs in which I would often lure and terrify my little sister, I concocted a full blown motion picture - complete with plot points and character backgrounds - in my head. I’m sorry but that is a tad too much skill even for a child of my imaginary prowess.

And thusly, here is a tribute to my own personal animated movie staple. While it is a fantastic film, Finding Nemo, it is not. It is dark and strange and features some of the trippiest characters knows to the drawing board outside of the Blue Meanies. It is basically about a young boy, Nemo, and his pet flying squirrel, Icarus, who get invited to Slumberland, a sort of never ending circus, where he befriends the King, his lovely daughter, Camille, and, unfortunately, a scamp of a clown named Flip. At Flip’s suggestion the two open the Forbidden “Dragon” Door and release the Nightmare King. Finally released, the Nightmare King, a terrifying black swirling cloud of red lightning, takes revenge, capturing the King. Vowing to save him, Nemo, Camille, and Flip take off to Nightmareland, on the way picking up 5 Oomps (goblins who can change form and assemble to create a tree like creature) and losing the rest of the his company to the dangerous guards that haunt Nightmareland. Eventually, Nemo comes face to face with the Nightmare King in a battle to save his friends and re-imprison his nemesis.

It is a doozy of a movie and frankly someone really ought to take my mother aside and have her head examined for letting me and my sister watch a truly terrifying movie about Nightmares and goblins and what not. However, it is great and I watched it again not too long ago and it is still awesome. It has pretty much zero aspects of Disney in it. I think there may be a song or two but even those parts are strange with the main characters flying around on giant birds and turning into lollipops – did I mention there is an entire montage of a bed sprouting legs, kidnapping Nemo, and running through the streets of what appears to be downtown Hartford, CT? The storyline is an adventure through and through and it is beautifully hand drawn with a variety of settings and characters. If you like your movies a little on the bizarre side, this is definitely not your Grandmother’s animated classic.

And the Oscar goes to....

Another year has come and gone. All of our favorites and not so favorites have done their little turn on the catwalk, sauntered down the proverbial carpet and been met with either gleeful vindication in their craft or felt the devastating sting of defeat. Ah, rejection, she is a cold, cold mistress. This year was no different. We laughed, we cried, we were taken aback by the occasional drop of an f-bomb.

While in years past, I have occasionally been surprised by a winner (Chicago for Best Picture and Best Supporting Actress in 2003? Guess it was a lighthearted year,) this year the surprises were few and far between. I suppose if you had wildly overlooked all of this year’s previous award shows and or lived in a state of film deprivation, you would not have foreseen The King’s Speech sweeping the major awards (Best Picture, Best Director (Tom Hooper), and Best Actor) and Natalie Portman waddling up to mock surprisingly accept her Best Actress. You also might have missed Melissa Leo finally lose it when she got her Best Supporting Actress for her role in The Fighter. I’ll give her a by though because, despite having also won a Golden Globe and a SAG Award, I think she’s boggled she actually pulled it off (closest she got previously was a few noms for 2008’s Frozen River.) Not shocked that Toy Story 3 got Best Animated and thoroughly not shocked that Inception swept the technicals (Sound Editing, Sound Mixing, Visual Effects, Cinematography.) However, what would a show be without a few surprises?

Namely, I was somewhat surprised that Social Network took home so many. I mean sure, it was a good movie and definitely well done but, with so many other heavy hitters in there, I’m a little shocked and, to be true, a little perturbed. Original Score over Inception? Over The King’s Speech? It was good but nothing particularly out of the ordinary. Best Editing over Black Swan? Ok maybe the two were equal but, see, I’m a lady who errs towards the more dramatic. I’m sure many will disagree with me but I probably would have awarded it Best Writing – Adapted Screenplay… and frankly that was only because The King’s Speech was in the Original category (didn’t he say it was from a play? The mysteries never cease.) Also, what happened to True Grit? I kind of can see how Winter’s Bone got overlooked but really, a John Wayne remake? 10 nominations and not a single win. Sad. Just sad.

Couple of side mentions: loved Alice In Wonderland so I’m glad it got Best Art Direction and Best Costumes (for all you purists, yea I know. The first one was a gem and a half but you know what, let us open our minds. Let us embrace the unfamiliar -ok well no one who has spotted a Tim Burton would really call it unfamiliar- and let us go forth into the darkness to give credit where credit is due. It was beautifully done.) I was somewhat disappointed to not see Geoffrey Rush get Best Supporting Actor. Christian Bale was excellent to be sure, but, c’mon, Geoffrey Rush is a classic.

I’m sorry I don’t have much to say in the way of the shorts or documentaries. Maybe next year (if there were any particularly amazing ones, let me know and I’ll make a note.) I can however comment on The Wolfman. I’m sorry, ok the makeup was good but is turning Benicio del Toro into a burly aggressive man-wolf really that much of a stretch?


PS: Do I need to address my thoughts on the hosts? I think I'll leave that to the pros.... as perhaps some other people should have.

Oscar Worthy

With the Oscars just around the corner, and me being a rabid fan of the awards - and no, not just for the dresses… – I wanted to put together a little list of some of my faves (by no means is this all the ones I like or have seen but rather a, shall we say, smattering of a few standouts.)

No Country for Old Men (Best Picture 2008) I love Javier Bardem in this. He is creepy and his haircut is reminiscent of something my mother may or may not have forced me into from the ages of 2 to 6. So let’s just say I relate. And also that kindergarten was a tough year. I especially love him because, while he has been absolutely amazing in Spanish films like Los lunes al sol (Mondays in the Sun) and Mar adentro (The Sea Inside), No Country for Old Men solidified him a star in the US as well.

A Beautiful Mind (2002) Ok, if you know anything about me, you know that I have a particular penchant for a good psychological movie. I’ll take your One Flew Over the Cuckoo’s Nest’s (1975) and your Girl, Interrupted ’s , but where I really get involved is one where you’re not entirely positive which parts of the story are reality and which ones aren’t.  It’s kind of like where you wake up and you realize that you actually forgot to show up for entire year of Dr. Cron’s Calc class and you didn’t graduate and have to take the whole year over. And while you’re in the shower panicking as to how on earth you’re going to commute between work and finishing up that damn Calc course, you have a thought…. “Was that real? No wait, probably a dream.” And you feel better. It was scary but ultimately you come out alright. Plus, Russell Crowe is excellent.  You know what, just rewind the ol’ time machine and watch him again in Gladiator (2001). Less shirts being worn, more being mauled by tigers.

The Silence of the Lambs (1992) As my roommates, and my mother, and my boyfriend, can attest to, I really like Criminal Minds. Well, Silence of the Lambs was Criminal Minds way before it was cool. It’s got serial killers on the loose, it’s got dead bodies, it’s got mystery and suspense, and it’s got Anthony Hopkins. Based on the novels by Thomas Harris (which are also excellent by the way!), the series is definitely one of my absolute favorites.

The Sting (1974) It’s the 1930’s and Robert Redford is a professional grifter who pulls off the con of a lifetime with the help of Paul Newman to get revenge for his murdered partner. The screenplay is amazing, keeping you right on the edge of your seat until the last minute, and with more twists and turns than a double topsy mulletron (if you don’t know, don’t ask). One of the Oscar Best Picture winners that was also a major commercial success  - no shock there, it stars Hollywood powerhouses Robert Redford, Paul Newman, Robert Shaw and Robert Earl Jones (ok maybe I’m attributing most of his fame to his son, James.) Definitely a gem that might be a little under the radar to today’s audiences, but amazing nonetheless.

Gigi (1959). I’m sorry, but by no means in this one of my favorites, it just amazes me. Frankly it is utterly absurd and I think there is a very distinct possibility that, not only was the academy high out of their trees when they voted for it, but also Maurice Chevalier when he thought to himself, “You know what will solidify my career? Belting out ‘Thank Heaven for Little Girls’ and touching small children on the heads completely unsolicited, not unlike an elderly pederast, slightly drunk Santa.” I’m not saying it’s bad, rather, I’m sure that there are people the world over who number this among their personal Criterion Collection. But my god, the top hats, the dancing, the choreographed singing….

Rebecca (1940) Hitchcock’s first American project under the insane, iron clad production fist of David O. Selznick. Pretty much a template for every future horror movie to come – haunted house on the hill, ghostly presence, creepy servants, pretty girl almost getting killed, you name it, he’s got it in there. It’s beautiful in black and white and the scenery, plot twists and music are perfect. Definitely a classic and the only one of his films to ever win a Best Picture.

All Stars: American Beauty (2000) Schindler’s List (1994) The Godfather Parts 1 &2 (1973 & 1975) Casablana (1944) Gone With the Wind (1940). Please see this list. Do not attempt to use the but-I-don’t-have-a-DVD-player-and-still-consider-VCRs-a-valid-form-of-technology excuse. Do not fear, I will loan you my tapes.

Yes, I realize that I left off Driving Miss Daisy (1990). I’m sorry, alright! I love Morgan Freeman in a hat just as much as the next person but, you know what? It didn’t make the cut. Neither did Lawrence of Arabia (1963).

Spotlight: James Frain

Now I don’t know how much of a Natalie Portman fan you are but a few years ago you could not turn on the TV without half the channels bombarding you with her latest film, Where the Heart Is. It features Natalie Portman, Ashley Judd and Stockard Channing (so basically the trifecta of chick flick stars.) It also includes a quiet, unassuming man as Natalie Portman’s love interest. Though by no means the star of the film, he brings a quiet controlled, slightly disturbed presence to the film, both endearing him to you immediately and making you think that there might be something just a tad off about ol’ Forney.

So, he didn’t do much for me right off the bat. Good actor but I haven’t really seen heads or tails of him since then. Then, like a lightning bolt from the sky, here comes a little show called True Blood and I, like the rest of the country, am entranced. Alright, maybe my attention is waning a bit towards the end (I mean, fairies? What now?) but then they pull out the big guns and here comes charmingly schizophrenic, murderous Franklin and he is instantly my favorite character.

So today I’m doing a little perusing of Hulu and I decide to give NBC’s The Cape a chance. I find myself strangely drawn to the debonair British billionaire moonlighting as the masked villain, Chess. But wait! Who’s this? I’ve seen this face before. Turns out it's none other than both Franklin and Fourney. A brief perusal of IMDB later and turns out, if you’re watching TV, you’re watching James Frain.

Frain was first spotted by Sir Richard Attenborough (Planet Earth? Anyone?) while studying acting in London and was immediately cast alongside Anthony Hopkins in Shadowlands (1993). So, I’m not really sure where you go after a David Attenborough, Anthony Hopkins vehicle but….. Since then, he has been steadily working, appearing in everything from Californication to Law and Order, and CSI to Tales from the Crypt (a personal favorite.) Ever the chameleon, he has also starred in a number of movies, including the Count of Monte Cristo with Guy Pearce and James Caviezel and, that legend of cinema, Into the Blue. However, most will likely recognize him from his roles in The Tudors from 2007 to 2009 and most recently, last year’s Tron: Legacy. 

So what’s up next for this versatile actor? Well, if you can tear your eyes away from Robert Pattinson for the briefest of moments, Frain will be starring as Rosie’s caretaker in Water for Elephants, the most pachyderm centric movie since Dumbo.  Whether he’s starring as a deranged murderer, sneaking into your mother’s prime time crime dramas, or just lounging in a chick flick, he’s definitely one to keep an eye out for.

The King’s Speech (2010)

Tom Hooper – Director

David Seidler – Screenplay

Colin Firth, Geoffrey Rush, Helena Bonham Carter

If you’re like me, there was a decent period of your life when you quite literally thought that if you could just scrape some pennies together, get yourself a plane ticket to London, conveniently stumble into some sort of charity opening where *gasp* the Queen is making a speech, charm her, and be invited back to tea to meet the royal family, you could absolutely marry a future king. Because you know, the plane ticket was holding you back. Well, even if that wasn’t your particular fantasy, I think everyone harbors a bit of a secret fascination with royalty. I mean US Weekly certainly does lately. So who am I to pass up a delightful period piece- biopic about the current Queen’s father, King George VI, also known, in the inner circles, as Bertie.

The King’s Speech, based on the novel by Mark Logue and Peter Conradi, tells the tale of a reluctant prince’s rise to lead his country, overcoming a personal aversion to the spotlight and a bit of a temper control problem. Oh, and a devastating stammer. Lionel Logue (Rush) is as brazen as Bertie (Firth) is reserved, forcing him, effectively kicking and screaming, into lowering his shield of propriety and royal arrogance enough to begin to see a future not only without a stutter, but as a public prince. And with the threat of his older brother, the heir to the throne, making a, shall we say, bold choice by pursuing a twice married American divorcée, the crown is heading alarmingly towards his court. Helped along by his practical and outspoken wife (Carter), Bertie comes to value and respect Logue and finds the strength to become a public figure.

Let’s be honest, it’s a who’s who of wonderful actors. Colin Firth is as ever the quintessential British gentleman and Geoffrey Rush, out of the pirate garb, is charming and hilarious as his deadpan voice coach. Add in a surprise guest appearance by Michael Gambon as the dying King George V – which frankly I could have used a little more of – and Guy Pierce as the slightly slutty King Edward “David” VIII. It seems kind of silly to say they were “good”, kind of like I was suggesting that they might not have been. Like, “wow! Geoffrey Rush pulled it off, whew!” So. Instead, I’m going to talk about Helena Bohman Carter who I love and have loved forever. However, while she also is “good” in her numerous roles –, Fight Club’s Marla Singer, Sweeney Todd’s Mrs. Lovett, The Red Queen and, of course, Bellatrix Lestrange– she is effortlessly perfect as the King’s partner, often expressing what her husband clearly does not have the voice to say.

Now I am of the opinion that music can absolutely make a movie. It can be just a perfect song at the right time or a whole score that sets the tone for the film. This can be especially true in a period piece where the audience needs to be transported through time.  The King’s Speech is definitely of the latter category with French composer, Alexandre Desplat, creating the perfect ambiance. Overall, definitely one worth seeing. Not solely because it is up for several Oscars and no one likes to be the sad sally sitting in the corner going, “oh, what? No I didn’t see that. Who are those people?” 


*Colin Firth is likely a shoo-in for Best Actor. The real money is on who will win Best Supporting: Geoffrey Rush or Helena Bonham Carter. Maybe both?

Let’s Kiss and Make Up. It’s Valentine’s Day!

Ok, let’s not beat around the bush. It’s Valentine’s Day. Whether you love it or hate it (resent it more like?), it’s the time of year to celebrate the love, unrequited or otherwise. So, in honor of long forgotten Christian martyrs named St. Valentine, here’ s a list of films that have gotten me through a few of the most alternately beloved and dreaded holidays.

Just Friends: Name of the game here is, as yet, unrequited love. Guy loves girl and girl is blissfully unaware of what’s right in front of her despite his constant and fruitless attempts to woo her.  And it’s a comedy so you won’t cry but instead get that sappy sort of smile and then, when everyone (ehem, your boyfriend) turns to you with disgust in their eyes, make sure to shrilly proclaim “Aww no, I thought it was cute! Ok it was a little dumb but it wasn’t that bad.” But secretly you love it. We all do. No judgment. Also see such gems as Made of Honor, My Best Friend’s Wedding, pretty much the entire series of The Office or, well, anything with Sandra Bullock.

The Notebook: Yea, you’ve seen it. You cried the first time. You’ve cried every time since. If you believe (or are looking to believe) in True Love and Soulmates, you are ready to go. Just see this one with your girlfriends. And if you’re a heterosexual lady and your man shows actual, genuine interest in this, you may want to do a little reconsidering.  Or maybe he’s just a sensitive soul. Or maybe he just figures he’ll get some nice post movie sex afterwards.

Baz Luhrmann’s Romeo and Juliet:  So ok, it’s not The Notebook but you’ll probably have the same reaction. You’ve got the very best part of the True Love movies and then suddenly when no one’s looking, they pull the rug out from under you. Get a visual of yourself gripping a handful of soggy tissues and whispering “… but…. Why? Why? Why didn’t they just wait a second longer? Why!!??” Also see City of Angels (several songs by Peter Gabriel, come on people), Sweet November or Nights in Rodanthe.

Annie Hall: If you fancy yourself an intellectual who counts among their interests discussing world religions over sips of non dairy lattes while resting your Peruvian hand-knit mittens on the corner table at your local organic NY coffee shop, get ready to pick this one apart. Woody Allen takes us on an interspersed chronicle of his relationship with Diane Keaton. Not your classic chick-flick, rom-com, Woody charms us as only he can. Check out Up In The Air for an interesting slash possibly depressing takes on romance.

Sabrina: A classic. Just lovely, start to finish. The original is a pairing of Audrey Hepburn and Humphrey Bogart as the classic “hate each other, like each other, true love.” And, though I am loathe to admit this, the remake starring Harrison Ford and Julia Ormond is wonderful as well. Also check out, Pride and Prejudice or When Harry Met Sally (same vibe, different periods).

Valentine: A slasher flick starring Denise Richards in a red bikini. If you feel like showing your boyfriend a little mercy this holiday season, it’s…not horrible. Also check out Fatal Attraction, Sleeping with the Enemy, What Lies Beneath or Unfaithful (if, you know, murderous, obsessive relationships are your sort of romance.)

The French Connection (1971)

William Friedkin – Director

Ernest Tidyman – Screenplay (based on the book by Robin Moore)

Gene Hackman, Fernando Rey

Not sure why, but I’ve been on kind of a 70’s action movie kick lately. What can you do? But c’mon, let’s be honest, like their style, music, and drug consumption, when it comes to a 70’s action flick, it’s go big or go home. And The French Connection, a true story based on the beginning of the drug explosion into the US, definitely does not disappoint.

Opening onto the mean streets of New York, tough cops Jimmy “Popeye” Doyle (Hackman) and Det. Buddy “Cloudy” Russo (Roy Scheider), are just trying to do their part to clean up the city and stay one step ahead of the mobs and the drugs. After a lucky spot at an after duty bar, they walk into the collar of a lifetime, finding themselves in the thick of a massive heroin shipment from France. Trailing them proves difficult as they attempt to keep track of the go-between delivery man, Sal Boca (Tony Lo Bianco), his mob connections, a hapless French celebrity just trying to make a fast buck, and an elderly and distinguished, Alain Chanier (Spanish screen legend Fernando Rey), the kingpin of oversees heroin smuggling. After a series of dramatic chases through the streets of Manhattan and Brooklyn, Popeye finally comes face to face with Charnier at a warehouse shootout. Now, I can’t spoil an ending (though it’s a true story so I guess you could just look it up) but it’s one that fiction couldn’t have created any better.

In my days as a moviegoer, I have seen some good car chases. Usually they involve some squealing wheels and perhaps an ignition backfire or two as the car rounds the corner on two wheels. It flies down the highway, snaking at breakneck speed between passing buses, usually filled with awestruck schoolchildren and or elderly tourists taking pictures. Finally, it executes a perfect 180 and continues, without daring to slow, in hot pursuit before squealing to a halt whereupon our hero leaps out, guns blazing, to confront our once dangerous, now obviously and woefully outmatched criminal. Well, The French Connection has all of those factors with the added creative bonus of a camera in the driver’s seat. So as Popeye flies beneath the Brooklyn tracks, occasionally glancing skyward to trace the train carrying the rogue would-be assassin, as does the camera. And not just in a few shots that could be taken individually and edited together, but rather 5, 6 seconds shots showing full sequential blocks and a series of passing buses filled with elderly tourists.

While Hackman and Rey are obviously in their element, and the screenplay creates a perfect narrative of a convoluted and complicated history, the choreography steals the show. Between the epic car chases and shootouts, the on-foot chases are exactly as good, making a virtual ballet out of a shoot ‘em up cop movie. Definitely a guy’s movie, the ladies can definitely appreciate it as well. Plus it won the Best Picture Oscar in 1972, so I'm apparently not the only fan

Hancock (2008)

Peter Berg – Director

Vincent Ngo, Vince Gilligan - Writer

Will Smith, Charlize Theron, Jason Bateman

Last night as we were watching Hancock, my roommate, kind of off the cuff, put a question to the viewing populace. If you could have a superpower, what would you want? And without hesitation, I was ready to go with not one, not a “well I think that maybe, I might want… but on the other hand…”, but rather my top 5. In order.  Shapeshifting-Teleportation-Super speed-Mind reading-Fire Power. Bam. Done. I then went on to further explain that one should have this sort of knowledge at their fingertips for when (not if, I distinctly said when) someone offers you a power and you have 4 seconds to decide and you need to be prepared. And 5 seconds later, with everyone staring at me, mouths agape that I had, basically unsolicited, offered this information up for the world, I was embarrassed.

So. Now that that little revelation is out of the way…. Hancock. Basic premise is that an apparent homeless person (Smith) has superpowers and also apparently alcoholism and a bit of a temper control problem. So while he does save people, he also causes LA millions in damage in the process. In an effort to turn his image around and become the superhero the city needs, he accepts the help of a publicist, Ray (Bateman). In the process he meets Ray’s sexy wife (shocker!) Mary played by Charlize Theron and realizes that *gasp* she’s a superhero too!

Well I’m not going to lie, I can’t say this was my favorite of all time.  And this from someone who has been known to watch Syfy original movies not just in the commercial breaks from FX or TBS (Mega Python vs. Gatoroid? Anyone?) The plot is kind of ridiculous. Not that there’re some superheroes roaming around the city with anger management issues. That I can get behind. But rather the premise that, for some undisclosed reason, when 2 superheroes (Mary and Hancock) get close together, they lose their powers becoming vulnerable mortals. And the explanation of “we were built in twos” does little to clear up the mystery. While all of that might be forgiven for a good performance out of our cast, Smith disappoints, reverting somewhat back to his cocky Wild Wild West, Men in Black persona. I had, in recent years, gotten on board the Will-Smith-as-legitimate-actor train and I was a little disappointed to see that his few comic moments (in which he can clearly shine) are overshadowed by someone’s need for him to play the cocky jerk. You can tell Jason Bateman was cast to be the levity, the comic relief, and yet his role gets paired down to mere background noise.

All in all, not the worst “watch it if it’s on” movie, but I wouldn't waste your time on a rental. The special effects and set design are pretty good, but nice visuals alone can’t carry a movie. Sorry.

Groundhog Day (1993)

Harold Ramis – Director

Danny Rubin, Harold Ramis – Screenplay

Bill Murray, Andie McDowell

Everyone’s favorite time of year! That blessed time when we find out whether we are nearing the end of winter or whether (fingers crossed!) we get 6 more weeks of slogging through 2 foot high snow drifts as we battle our way to work, our lips chapped and noses dripping. Because really, who doesn’t love to slog. And while anyone can put out the odd Christmas or Halloween movie, it is the brave soul indeed who can stand up and declare to the world “I Love Groundhogs Day!” And make a 5 lb, rather timid rodent, its star.

Ok, well perhaps that is being a tiny bit facetious. What is true though however, is that this movie continues to over and over (not unlike the movie itself… get it?) be a perennial favorite. I believe the first time I saw this movie was on a middle school field trip. Perhaps to the family-friendly Pequot Museum to view the wigwams, conveniently adjacent to the Foxwoods Casinos. Since then I have seen it upwards to 5 times in various forms on TBS, TNT, or similar. And every time is gets better.  Though that could be affected by the fact that I have a bit of a love for Bill Murray.

The premise is that a self absorbed weatherman, Phil Connors (Murray), is forced to relive Groundhog Day, ostensibly to suggest that he has been doing a crap job of it so far and needs to make some major adjustments in order to move forward.  So while everyone, including his attractive new producer (the ever lovely McDowell), fails to notice the repeating days, Connors attempts makes the most of the situation by going all out on a hedonistic lifestyle, each day more carefully crafted to come out more perfectly than the last. Eventually tiring of this, he- shockingly!!- turns his attention to his producer, Rita, and finds that even knowing the answer to every question can’t necessarily make her love him.

Bill Murray, like in so many of his films, is in his element as an egomaniac blank who, through a series of romantic encounters, becomes a changed man understanding and appreciating the values of human emotion, connection, and blah blah blah. Seriously, the “man is hilarious” is an understatement. His cocky yet bored, dry sense of humor is nearly unmatched in today’s comedies. His timing is effortless and, coupled with the built in humor inherent in the situations of knowing every outcome before it happens, its comedy perfection. Director and co-writer Ramis (Egon in Ghostbusters) does amazing work with the script, writing scene after scene of gems. From freaking out the local elderly B&B owner by answering every question before she asks it, to robbing the bumbling armored car drivers, it’s the perfect (though regrettable) end to the duo’s work together (Ramis also worked with Murray in Meatballs (1979), Caddyshack (1980), Stripes (1981), Ghostbusters (1984).)  Andie McDowell plays the straight man (woman) to Murray, setting the stage for his perfect one- liners and over the top reactions. Though she, like many of his female costars, gets lost, bringing little to the table other than to be his romantic interest and backboard. Give the girls something to work with guys!

The Odessa File (1974)

Ronald Neame - Director

Kenneth Ross, George Markstein –Screenplay (based on the novel by Frederick Forsyth)

Andrew Lloyd Webber- Score

Jon Voight

Turns out Angelina’s not the only with action chops. Her father takes a star turn as a 70’s Jason Bourne, chasing down Nazis, changing identities, fightin’ the bad guys and being basically an all around 70’s bad ass.

The movie, set is picturesque Austria and Germany, sets the stage for an action drama with German crime journalist, Paul Miller (Voight), following a lead found in the diary of a Riga Concentration Camp victim after his recent suicide. The diary purports that sadistic former SS officer Eduard Roschmann, “The Butcher of Riga,” (Maximillian Schell) is still alive and well, despite being thought dead since the war’s end in 1945. Following his investigative instincts, Miller sets off on a cross continental journey to uncover Odessa, a group of former Nazis being protected by the government. With help from his girlfriend (a ditzy, classic 70’s archetype played by Mary Tamm) and an underground group of Israeli agents vowed to take down Nazi war criminals, he finds that Roschmann has more of a connection to him than he thought.

Yes, The Odessa File has elements of a James Bond-esque movie. Between chase scenes, gun fights, and suspenseful “will he be discovered?” moments, it is a mystery action through and through. But it also has the wonderful, and at the same time utterly ridiculous, 70’s aspects that are lost in today’s hi tech explosions and obsession with constant action. Throughout the film, Miller clumsily scales trees and trestle drawbridges, locates conveniently placed hidden entrances to castle basements, navigates ancient manors and underground basements full to capacity with twisted corridors and passageways as though he himself had designed them, and traverses a series of rickety staircases and heavy wooden doors without making nary a peep or being spotted by any of the apparently well trained former Nazi guards. Simply amazing. All accomplished while sporting an incredibly fetching array of matching turtleneck-leisure pant ensembles and hair coiffed to perfection (need I mention the ever popular 70's music?) Whereas a Bourne or Bond would be leaping off 35 ft high walls, dropping into an aikido roll and coming up perfectly positioned next to a gassed up and running Audi A6, Miller chooses to hide his Mercedes in a modest clump of trees, mere feet from the guard station, wander through bushes quite literally holding a branch in front of his face for camouflage before flattening himself against a wall in order not to be spotted by a passing guard –a maneuver I thought was reserved for the type of children who believed closing their eyes rendered themselves invisible.

The Odessa File has the wonderful classic throwback charm of the earlier Bonds and the added bonus of actually incorporating a number of true facts (Roschmann, “The Butcher of Riga” did exist and, after the exposure of the Odessa, was actually captured and arrested in Argentina.) For those looking for a cgi experience with trucks being blown to smithereens and whole cities coming down in ruins, you might be disappointed. But for anyone who can appreciate an action film, 70’s style, it’s definitely worth checking out.