Uncle Boonmee recalls vivid, sensual past lives

In Uncle Boonmee Who Can Recall His Past Lives, a dying man recalls his other lives in mystical reflection. Apichatpong Weerasethakul directs.

Top prize at Cannes

The Thai fantasy won top prize, the Palme d’Or, at the Cannes Film Festival 2010.

More experience than movie, this film doesn’t offer much plot or character development. It requires surrender to a very slow pace and the play of alternate realities.

Death approaches

Suffering from kidney disease, Boonmee (Thanapat Saisaymar, who is not a professional actor) has moved to an isolated home in the jungle where he runs a tamarind orchard.

Boonmee knows death is near because he is able to see his other lives clearly. His deceased wife Huay (Natthakarn Aphaiwonk) appears at the dinner table one night, sensing that he will make his transition soon.

Living in mystery

What’s striking is that Boonmee’s elderly sister-in-law Jen (Jenjira Pongpas) and his nephew Tong (Sakda Kaewbuadee) can see and talk with the ghost too.  There is an acceptance of mystery as magic, spirituality and everyday reality coexist.

Huay tells Boonmee, “Heaven is overrated. There is nothing there.” Existence is a journey with many wanderers.

Son returns, transformed

Boonmee’s son Boonsong (Geerasak Kulhong) arrives next to explain his disappearance years ago. Following a ghost monkey with his camera, he was transfixed by the silent, black, Big Foot-like creature with glowing red eyes.

When he mated with one he became a ghost monkey himself. The group is alarmed by Boonsong’s appearance at first, but gradually accepts him. Boonmee is grateful to reconnect with his family.

Meditative journey

Very slow and meditative, the film unfolds scenes from Boonmee’s animal lives. Each is a folk tale in itself.

When an aging princess sees her youthful reflection in a forest pool, a catfish (Boonmee), who she calls The Lord of Water, assures her of her worth and beauty. Their sexual encounter is extraordinary, a mystical union of nature and humanity.

Gifted director Weerasethakul, who asks Western interviewers to call him “Joe,” conveys a reflective and mischievous, Buddhist-inspired vision where all life is sacred and transitory.

Director interviewed

“Cinema is a man’s way to create an alternate universe,” he says. His signature blend of surreal and ordinary mark his art house features Blissfully YoursTropical Malady and Syndromes and a Century.

In an interview with The Globe and Mail, Weerasethakul said that meditation for him is “like taking a shower for my mind. I had notes for Uncle Boonmee for years, but I couldn’t complete it.”

“I went to a temple near my home for 10 days straight and did nothing but meditate,” he said. “When I finished, my mind was clear, and I sat down and wrote the script.”

Regrets and gratitude

Boonmee regrets that he killed so many insects in this lifetime. During a walk in the forest, he shows Jen how to eat honey out of a hive. He offers to leave her his home and land. Jen refuses, dwelling on her distrust of the immigrant workers Boonmee employs.

Progress is measured over centuries, like stalactites on cave ceilings. A visit to a cave with ghosts past and present reminds Boonmee of the safety of a womb. Glittering bits of mica shimmer on a cave wall. Slowly the scene transforms into a night sky.

Mystical mood

Uncle Boonmee is both simultaneous and linear. Weerasethakul often films in dim light, creating a semi-mournful, plodding mood.

Cinematographers Sayombhu Mukdeeprom, Yukontorn Mingmongkon and Charin Pengpanich render seamless stylistic shifts amidst the gorgeous jungles of northeastern Thailand. Lush soundscapes of birdsong and crickets provide uplift.

A brief depiction of young Thai soldiers killing a communist seems to reflect Boonmee’s anxiety that he broke with his belief in non-violence during a lifetime in the Sixties.

Love life

What is the nature of life? Uncle Boonmee ends in meditative paradox. Jen is transfixed by images on a black and white television screen. She doesn’t want to go out, she tells Tong (who is now a monk with a cell phone).

Other Jens who dance and sing are alive too. Love life, the director suggests. (4 out of 5 stars)

If you like Uncle Boonmee, you might enjoy: Biutiful; Nora’s Will.

 

Uncle Boonmee Who Can Recall His Past Lives  2010  /  NR  /  1 hour, 53 min

Cast Overview:  Thanapat Saisaymar, Jenjira Pongpas, Sakda kaewbuadee, Natthakarn Aphaiwonk, Geerasak Kulhong, Kanokporn Thongaram, Samud Kugasang, Wallapa Mongkolprasert, Sumit Suebsee, Vien Pimdee

Director:  Apichatpong Weerasethakul

Genre:  Drama, Fantasy

Language: Thai with English subtitles

The Trip: Coogan, Brydon battle, trade barbs over dinner

British comedians Steve Coogan and Rob Brydon battle on a road trip through northern England in The Trip. Michael Winterbottom’s comedy is a lighthearted adventure that meditates on family, career and what really matters.

Friendship put to the test

The Trip is irresistible as divorcee Steve convinces family man Rob to join him for a week-long road trip to visit England’s best restaurants in Yorkshire and The Lake District. Steve is writing celebrity restaurant reviews for The Observer, who will pick up their tab.

Coogan and Brydon (who also matched wits in Tristram Shandy: A Cock and Bull Story) share great chemistry. Before we know it we’re hooked on where they’re going, what they’re eating and which actor they’ll send up next.

This film engages your imagination despite a bare-bones plot (Steve has a decision to make).

Conversation, culture and laughs

Laugh-out-loud adventurous and easygoing, this is a thoughtful comedy more sophisticated than the average mockumentary.

It’s all improv, originally shot as a BBC mini-series. Winterbottom and editors Mags Arnold and Paul Monaghan earn high praise for adapting it to the big screen.

Real life rivalry

Fame is fickle for the friendly rivals, who compete in real life. Coogan (24 Hour Party People) has pursued Hollywood roles (Around the World in 80 Days) with less acclaim.

Brydon enjoys great popularity in England. He’s renowned for one routine seen here: “Help me! I’m a small man stuck in a box!”

Coogan fusses and fumes. He’s pulled in several directions as he phones his elusive girlfriend Mischa (Margo Stilley), his American agent (Kerry Shale) and his wayward son. Hurting, he mimics Brydon’s “small man” in the mirror.

Brydon booming

Meanwhile Brydon coasts along, confident. The banter turns philosophical as they sing and play “what if.” Coogan drives. The Trip is fanciful and endearing when compared with darker, moodier Sideways (2004).

Scrumptious and beautifully designed cuisine becomes the focal point as the insults roll. We glimpse behind-the-scenes food preparation in some of England’s best restaurants. Scallops, duck, pigeon and micro greens are served. The two visit Hipping Hall, L’Enclume and The Yorke Arms.

Dueling impersonations

At their most side-splitting, Coogan and Brydon compete with dueling impressions of famous Brits like Michael Caine, Sean Connery, Anthony Hopkins and Richard Burton. Woody Allen, Robert De Niro and Al Pacino are mimicked.

Observing Best Actor Colin Firth’s success, the two ponder just how far they would go to win an Oscar.

Home of a literary great

The funnymen meet literary tradition when they visit Dove Cottage where William Wordsworth lived. Touring Samuel Coleridge’s home nearby, they recall his opium addiction. “I’d rather have moments of genius than a lifetime of mediocrity,” Brydon declares.

Beautiful Northern England mirrors the travelers’ psyches with rolling hills, meadows and ancient limestone outcroppings. Man’s eternal quest ranges from primordial to modern days.

There’s a quiet, reflective moment when Coogan arrives at a limestone bluff. He savors a breathtaking landscape and its natural sounds.

That moment is like a deep breath. That intimacy between man and nature is rarely captured on film.

Chasing the ladies

Coogan seduces several ladies during their overnight stays. He calls himself a British Don Quixote. “Women are my windmills. I tilt at them,” he quips.

At an old cemetery Coogan delivers Brydon’s eulogy, but quickly leaves before his friend can reciprocate. On their way home, they visit Coogan’s parents.

Taking life lightly

Life can be funny, sad, frustrating and sometimes transcendent. The Trip is an allegory that honors England and creative artists everywhere.

Coogan and Brydon take life – and themselves – lightly. (4.5 out of 5 stars)

If you like The Trip, you might enjoy: Barney’s Version; Round Ireland with a Fridge.

 

The Trip     2010  /  NR  /  1 hour, 51 min

Cast Overview:  Steve Coogan, Rob Brydon, Claire Keelan, Margo Stilley, Rebecca Johnson, Dolya Gavanski, Kerry Shale

Director:  Michael Winterbottom

Genre:  Mockumentary, Comedy

Round Ireland with a Fridge: Hawks’ excellent adventure

Round Ireland with a Fridge stars British comedian Tony Hawks, and is based on his bestseller. Comedy director Ed Bye’s film delivers a tart answer to tough times.

The film is on DVD and now streaming at its website.

Comedian’s career sinks

When Hawks’ career tanks, a pal bets him 100 pounds that he can’t tote a refrigerator around Ireland within one month. The light-hearted film starts slowly but gains momentum.

Hawks can’t find his groove. Audiences only laugh at his old jokes and sight gags (like tapping a golf ball aloft 20 times in a row).

The trip begins

The Englishman surrenders and goes with the flow as he hitchhikes around the Emerald Isle. Beginning in Dublin, he visits Donegal, Galway, Kerry, Cork and Wexford.

The film sends up Irish stereotypes as Hawks trudges along the countryside, visiting pubs and boarding houses.

A friendly salesman (Sean Hughes) gives Tony a lift, and alerts national radio host Dylan Dale (uproarious Irish comedian Ed Byrne).

A host of new friends

Dale roasts Tony publicly as he tracks his progress. Soon, Tony is hailed by strangers and new friends.

Hawks meets a pretty, wisecracking reporter Roisin (Valerie O’Connor, with snarky-good delivery). Although he makes a disastrous first impression, she is still attracted to the amiable bumbler.

Talking it out

Roisin is convinced that her being a single mom will turn Tony off. Fulfilling her own prophecy, she snubs him before he can reject her. Winning Roisin’s heart becomes his quest.

When life looks bleak, Tony talks to his fridge. Round Ireland with a Fridge becomes an existential gem, a heartfelt response to loneliness.

Fridge is revered

Hawks dubs the fridge Saoirse, the Gaelic word for freedom. She is autographed by well-wishers, becoming a work of art. In some of the funniest scenes, Saoirse goes surfing, and is “christened” by a couple of nuns.

Round Ireland with a Fridge reminds me of Steve Coogan and Rob Brydon’s impromptu comedyThe Trip.

The Tao of hitchhiking

“Hitchhiking is a rather noble pursuit,” the “Fridge Man” tells Roisin. “You set your ego to one side, plop yourself by the side of the road and wait for someone to come along and help you. And you know what? People do. ‘Cause they’re quite nice.”

Bye captures the feeling of a safe and trusting world for 90 minutes. Genuine human connection, warmth, and jolly mayhem prevail.

Hawks’ upcoming projects

Hawks will star in the 2012 dramedy Playing the Moldovans at Tennis, which he also wrote, co-directed and produced.

Hawks lists The Power of Now by Eckhart Tolle as “the book he would take with him to a desert island,” according to Wikipedia. (5 out of 5 stars)

If you like Round Ireland with a Fridge, you might enjoy: Cedar Rapids; The Trip.

 

Round Ireland with a Fridge     2010  /  NR  /  1 hour, 30 min

Cast Overview:  Tony Hawks, Ed Byrne, Josie Lawence, Sean Hughes, Valerie O’Connor, John Burke

Director: Ed Bye

Genre:  Comedy

Midnight in Paris: Woody Allen’s love letter to Paris, literature

Woody Allen’s magic returns in Midnight in Paris. A charming, erudite frolic through Paris and the heart of an idealistic Hollywood screenwriter, the film lightheartedly explores past and present.

Woody Allen’s best work yet

Midnight in Paris savors life and literature in the City of Light. Allen’s newest film looks and feels like Woody at his eternally searching, meditative best. Opening with shots of Paris by day and night, in sun and rain, he romances the vibrant hub of culture and romance.

Allen serves a visual and emotional feast as he did in Manhattan. He incorporates a hint of his legendary zaniness (Bananas, Sleeper) with mellow, “what if” curiosity.

Zany and less nervous

The director, 76, watches these characters fuss and fight with less anxiety and more insight, as if he’s been there, done that. He reimagines his best, creative work here.

As characters struggle inwardly and with one another, Midnight in Paris echoes The Purple Rose of Cairo with a nod to literature buffs.

Allen seems less neurotic and more trusting in his latest film, a delightful culmination of his prolific career so far. Allen has written and directed a movie a year for over 40 years.

Midnight shenanigans

Delightful surprises after the clock strikes twelve are best left for viewers to discover. Owen Wilson is Allen’s on-screen persona Gil Pender, a shambling, successful screenwriter who daydreams about finishing his novel, fleeing Malibu and moving to Paris.

“Paris in the spring in the rain!” is Gil’s refrain. “You’re in love with a fantasy,” carps his gold digger fiancée Inez (Rachel McAdams).

Inez throws a fit

Inez and her parents (Kurt Fuller and Mimi Kennedy) become more agitated as Gil grows more enchanted with Paris’ Golden Age, where “every street, every boulevard is its own art form.”

Marion Cotillard is perfect as earnest femme fatale Adriana who loves Paris as much as Gil does.

Gil follows his heart

It’s a career-changing role for Wilson (Wedding Crashers; The Royal Tenenbaums), who as artistic everyman is writing a novel set in a nostalgia shop. Gil explores the charisma of the past as he seeks to satisfy inner yearnings.

Meanwhile McAdams (The Notebook, Morning Glory) plays to the Woody Allen type of a shrill, controlling female.

Nostalgia examined

Know-it-all intellectual Paul (Michael Sheen) flirts with Inez as he basks in her admiration. “Nostalgia is denial of a painful present,” he tells Gil.

The windbag has the gall to confront a museum guide (beautifully played by France’s first lady Carla Bruni) over Rodin’s love life.

Gems of performance

Fascinating actors contribute gems of performance as the story unfolds. Kathy Bates, Adrien Brody, Tom Hiddleston, Alison Pill and Corey Stoll add delight.

Filled with memorable Allenisms, the film’s best one-liners include: “No subject is terrible if the story is true and if the prose is clean and honest.” “You’ll never write well if you fear dying.”

In an interview with LA Weekly, Allen spoke about some dialogue he wrote for this film, that the artist’s job is “to find an antidote for the emptiness of existence.”

Woody speaks

“I don’t know if I believe that myself,” Allen said. “One could make a case for that – that the job of the artist is to show why life, despite all its horror and brutality, is worth living and is a valuable thing.”

You might argue that “it’s not the job of the artist to do anything at all — just to make the best art that he can, because art gives pleasure and pleasure gives distraction, and distraction is the only thing that gets us by, really,” he added.

Cinematographer Darius Khondji captures Paris’ romantic beauty. The finale unfolds on a stately bridge between past and present. (5 out of 5 stars)

If you like Midnight in Paris, you might enjoy:  Barney’s Version.

 

Midnight in Paris     2011  /  PG-13  /  1 hour, 34 min

Cast Overview:  Kathy Bates, Adrien Brody, Carla Bruni, Marion Cotillard, Rachel McAdams, Michael Sheen, Owen Wilson, Tom Hiddleston, Alison Pill, Marcial Di Fonzo Bo, Corey Stoll, Kurt Fuller, Mimi Kennedy, Lea Seydoux

Director:  Woody Allen

Genre:  Romantic Comedy, Romance

Music Never Stopped: father, son reunite as rockers

The Music Never Stopped is a father-son reunion tale set to the songs of The Grateful Dead and other classic rockers.

Music therapy

Jim Kohlberg’s directorial debut is an ode to music, memory and healing. It’s a moving, timely exploration of how the human brain affects our lives and experiences.

With a tiny budget, Kohlberg captures the essence of a man emerging from a severe neurological handicap.

Memories erased

Living in the now is the only option for Gabriel Sawyer (Lou Taylor Pucci), a young man whose brain tumor leaves him in a coma in 1986. When he wakes after surgery, his memories are erased.

Music is the key to engaging Gabriel, but not just any tune will do. Music therapist Dianne Daly (Julia Ormond) discovers that only 1960s rock rouses him.

Music revives patient

Every song unlocks a different piece of Gabriel’s past. With brio he walks, talks and gestures. As soon as a song ends Gabriel withdraws into his usual silence, his expression mask-like.

Pucci (Carriers; The Horsemen) is edgy and sweet, more like Robert De Niro’s guru-ish Leonard Lowe than Daniel Day Lewis’ smoldering Christy Brown.

Over time Gabriel is able to engage with others and even flirt with lovely cafeteria worker Celia (Mia Maestro). Hearing the music of his favorite band The Grateful Dead brings tears of joy and wonderment.

Oliver Sacks inspires

Based on Oliver Sacks’ essay The Last Hippie, the film is pensive, exuberant and occasionally cliche.  Neurologist-author Sacks drew on real-life case studies in his writing, which also inspired the film Awakenings (1990) starring De Niro and Robin Williams.

Henry and Helen Sawyer (J.K. Simmons and Cara Seymour) visit the sleeping man who is their little boy. They haven’t seen him in 20 years.

When Gabriel wakes up, Henry learns that his son fears him as a cruel authoritarian. Henry must face his shadow and take responsibility for his part in their estrangement.

Simmons’ stubborn dad

Master character actor Simmons (Spider-ManJunoThe Closer) plays a cranky square who can’t understand why Gabriel doesn’t revere the big bands. Now he wishes that new memories could be created in his son’s mind. That’s impossible, Daly tells him.

Henry grows forgetful and disengaged. When he’s fired from his engineering job, he can’t avoid visiting Gabriel and becoming involved in his rehab. The two gradually connect.

There’s a renewal of Henry’s mental clarity and zest. Scenes where he temporarily rebels against Gabriel’s musical preferences stumble.

Meeting over music

Seymour is refreshing as open minded, matter-of-fact Helen. Becoming the family breadwinner doesn’t diminish her empathy for son and husband alike.

Gabriel yearns to attend his first Dead concert. Henry exchanges his records for modern ones, letting Gabriel teach him to appreciate a new generation’s vibes.

Grateful Dead concert

When Henry wins Dead concert tickets, father and son don love beads and tie died t-shirts for the event.  The concert scene is awkwardly beautiful and moving despite clumsy staging.

“A Grateful Dead concert had a way of setting you up with a koan or an aphorism and then opening up an improvisational musical space in which to ponder it,” writes author David Gans. “Lives were changed at Dead shows; decisions were made; creativity was inspired.” (4 out of 5 stars)

If you like The Music Never Stopped, you might enjoy: The Soloist; Janie Jones.

 

The Music Never Stopped   2010  /  PG  /  1 hour, 45 min

Cast Overview:   J.K. Simmons, Lou Taylor Pucci, Cara Seymour, Julia Ormond, Tammy Blanchard, Mia Maestro, Scott Adsit, James Urbaniak

Director:  Jim Kohlberg

Genre:  Indie Drama, Drama Based on Real Life, Music

 

Miral: Freida Pinto’s schoolgirl flirts with terror, love

The controversial drama Miral shows a schoolgirl fall into terrorism and love.

Jewish American director Julian Schnabel (Before Night FallsThe Diving Bell and the Butterfly) directs this film from a Palestinian perspective.

Benefactor aids orphans

Miral follows four generations of Jerusalem-born Muslim women beginning in 1948, before Israel was formed. Hiam Abbass (The Visitor; Lemon Tree) plays Hind Husseini, an affluent woman who converts her father’s estate into an orphanage for war refugees.

Graceful Abbass conveys matter-of-fact compassion, especially in a scene where she finds children, huddled and dirty, abandoned on a street.

The character of Hind is based on the real social activist who founded the Dar El-Tifl El-Arabi orphanage and school. Hind meets quirky, charming Col. Edward Smith (Willem Dafoe) at a holiday party. The two sparkle together, but she chooses to devote her life to displaced Arab youth.

Vanessa Redgrave shines in a very brief appearance.

Generations of violence

The film also depicts the life of Miral’s mother Nadia (Yasmine al Massri). Nadia flees home after a rape by her father.

Nadia flees home. Later, we see Nadia’s belly in slow motion, dreamlike, as she performs at a club. By the time Nadia gives birth to Miral, she is full of self-hate and drowns herself in the ocean.

Thrown into prison for punching a heckler on a bus, Nadia meets her compassionate cellmate Fatima (Ruba Blal), a nurse who helped a Palestinian prisoner escape from a hospital, and later left a bomb in a crowded theater.

Miral enters orphanage

Miral moves into Hind’s orphanage, but is allowed to visit her father Jamal (Alexander Siddig) every weekend. Siddig (Syriana) is wonderful as a devout Muslim.

Indian actress Freida Pinto (Slumdog Millionaire) brings depth and complexity to the role of Miral. Following the Intifada in 1987, Miral is asked to teach Palestinian children in a refugee camp. She becomes radicalized and begins to fall in love with revolutionary Hani (Omar Metwally).

Political dangers

Miral is detained for 24 hours, questioned and whipped. After the girl is released, Hind urges Miral not to get involved in politics, for it might endanger the orphanage.

Jamal forbids Miral to hang out with Hani and his crowd. She screams at him, “You just don’t understand anything!”

Jamal sends Miral away to her aunt’s home in Haifa, where she meets her cousin’s Jewish Israeli girlfriend Lisa (played by Schnabel’s daughter Stella). As the friendship unfolds, Miral asks, “How can you love an Arab man?” He is a good man who “kisses like an angel,” Lisa says.

Change of heart

Miral comes full circle by the end of the film. Metwally (Munich; The City of Your Final Destination) is convincing as his idealism ultimately leads him in the direction of peace.

This moving study of personal transformation set in geopolitical turmoil is worth seeing despite its flaws. Marring the film are occasional preachiness, weak dialogue, uneven editing, odd musical score, and poor makeup to simulate Hind’s aging.

Miral’s screenplay was adapted by journalist Rula Jebreal from her own semi-autobiographical novel. (3.5 out of 5 stars)

If you like Miral, you might enjoy:  Lemon Tree; Incendies.

 

Miral  2010  /  PG-13  /  1 hour, 52 min

Cast Overview:  Hiam Abbass, Freida Pinto, Alexander Siddig, Omar Metwally, Yasmine Al Massri, Ruba Blal, Willem Dafoe, Vanessa Redgrave, Stella Schnabel

Director:  Julian Schnabel

Genre:  Drama, Foreign, Drama Based on the Book

Language: Arabic and English with English subtitles

Jane Eyre: Wasikowska strong as classic Bronte heroine

Mia Wasikowska updates classic heroine Jane Eyre with passion and aplomb in Cary Fukunaga’s remake of the Charlotte Bronte novel.

Wasikowska impressive

This is Wasikowska’s breakout role. Her talent and screen presence have attracted notice lately in The Kids Are All Right, In Treatment and Alice in Wonderland.

The Australian-born actor lends intelligent yearning to “poor, obscure” Jane. Gazing out a window at horizons she may never cross, she conveys inner strength and a vast spirit despite her humble circumstances as a governess.

Delightfully sassy with impertinent wit, Jane speaks out to her cruel aunt Mrs. Reed (Sally Hawkins) and to heartless headmaster Mr. Brocklehurst (Simon McBurney).  Amelia Clarkson plays young Jane.

Setting her own course

Wasikowska does Bronte proud, revealing an advocate for women’s rights before such ideas had a name. This Jane stands in time alongside the heroine rendered by Samantha Morton (1997), Charlotte Gainsbourg (1996) and Joan Fontaine (1944).

Michael Fassbender embodies pain and sarcasm as Edward Rochester. What comes through is the character’s loneliness. One senses the isolation of Jane, Mr. Rochester and Mrs. Fairfax (Judi Dench), each turning to the other to meet their needs in some way.

Mysterious madwoman

Rochester’s stealthy handling of the madwoman in the attic bristles even while Fassbender reveals a sympathetic, conflicted man.

Jamie Bell plays pious and ultimately domineering St. John Rivers. Holliday Grainger and Tamzin Merchant shine as the supportive, nurturing Rivers sisters.

Fassbender excels

Jane Eyre fans will enjoy this film while remembering the over-the-top frenzy of Rochesters past (Orson Welles in 1944; Ciaran Hinds in 1997). They might miss more screen time for the violent madwoman (played briefly by Valentina Cervia), and a more dramatized fire scene in the master’s bedroom.

Chronology is confused with early cross-cutting. In the stirring opening, Jane flees Thornfield and is rescued by St. John Rivers. Next we see a brief review of her orphan days at the family’s Gateshead estate, and later at the Lowood Institution.

Fukunaga (Sin Nombre) finally settles the tale into its natural dramatic arc with Jane’s arrival at Thornfield and her tutelage of Mr. Rochester’s charge Adele (Romy Settbon Moore).

Beautifully written, acted

Spare, powerful writing by Moira Buffini and impassioned delivery give Jane Eyre its ringing, memorable lines. “Children, I exhort you to with hold the hand of friendship to Jane Eyre.” “Mr. Rochester’s visits are always unexpected.” “You transfix me, quite.”

Cinematographer Adriano Goldman captures action in beautiful shades of pewter, contrasted with bright outdoor vistas.

Dench’s Mrs. Fairfax perfect

Judi Dench is masterful as Mrs. Fairfax, opinionated, warm and manipulative. As head housekeeper, she rivals her master (and distant relative) Mr. Rochester even while pooh-poohing her status.

We see less merrymaking by elite Blanche Ingram (Imogen Poots) and her entourage. Poots adds interest with a Blanche who is more threatened by Jane from the start.

Quiet beauty

The heroine receives an inheritance, adding more power late in the drama.  A return to Edward would not be Jane’s only option.

The final reunion scene lacks the outward fire of previous Jane Eyre films, yet it leaves much to the imagination in quiet beauty. (5 out of 5 stars)

If you like Jane Eyre, you might enjoy: The Young Victoria; Restless.

 

Jane Eyre     2011  /  PG-13  /  2 hours, 1 min

Cast Overview: Mia Wasikowska, Michael Fassbender, Jamie Bell, Amelia Clarkson, Sally Hawkins, Freya Parks, Holliday Grainger, Tamzin Merchant, Imogen Poots, Valentina Cervi, Judi Dench

Director:  Cary Fukunaga

Genre:  Drama, Romance, Period Piece, Drama Based on the Book

 

Love & Other Drugs: wild abandon marks uneven dramedy

Love & Other Drugs is a zany, thought-provoking dramedy about romance, mortality and Big Pharma. Jake Gyllenhaal and Anne Hathaway star as a couple falling into lust and love.

Big Pharma career begins

Youth, good luck and ambition rule as Jamie Randall (Gyllenhaal) embarks on a new career in pharmaceutical sales. “It’s the only entry level job where you start at $100K,” his software millionaire brother Josh (Josh Gad) marvels.

Jamie meets sarcastic, sexy Maggie Murdock (Hathaway) while he’s shadowing Dr. Knight (Hank Azaria) during rounds. She bares her breast as he looks on. She has early onset Parkinson’s disease.

Salesman seeks romance

When Bohemian artist Maggie discovers that Jamie is a salesman and not an intern, she decks him in the parking lot.  The two won’t admit it, but it’s love at first fight.

Ravenous sex and manic energy give way to melodrama in the film’s second half.  Sex is the drug, an escape from life for both Jamie and Maggie. This becomes an uneven seesaw of tragedy and everyday triumphs.

Geeky Josh adds smutty gags after a breakup with his girlfriend forces him to camp out on Jamie’s couch.

Drama and slapstick don’t mix

Director Edward Zwick fails to stretch rom-com into medical drama.  In Big Pharma’s world, disease is the focus, not the patient.  Zwick raises awareness, but zaniness no longer fits.

Jamie loves Maggie much to his terror. He’s never told a woman he loves her before.  Does Maggie love Jamie?  Jamie meets the husband of a stage four Parkinson’s victim.  Does he really want to stay with Maggie?

It’s 1998, the age of Big Pharma and medical miracles. Viagra is about to be released. Jamie is poised for super success. The little blue pill is the drug everyone wants!

Seeking Parkinson’s cure

Oliver Platt is super as Jamie’s company mentor who dreams of topping sales records so he can settle down with his family in Chicago.

Maggie gives up. Jamie has dragged her to lectures around the country. Progress and even cures are documented with chelation therapy and other approaches.  Maggie insists there is no cure. She only believes in drugs.

Gyllenhaal and Hathaway needed better direction here. Nude scenes for both actors and plenty of foul language add to the bumpy ride.

Maggie becomes health advocate

Maggie is lovely and wary (with abundant close-ups of Hathaway’s radiant grin). Later she becomes a health advocate for the elderly.  It’s a big stretch for wisecracking Maggie.

Fine supporting roles are delivered by George Segal as Jamie’s successful doctor dad, and the late Jill Clayburgh as his radiant mom.

The film is loosely based on Hard Sell, a memoir by former Viagra sales rep Jamie Reidy. (3 out of 5 stars)

If you like Love and Other Drugs, you might enjoy:  50/50; Restless.

Love and Other Drugs   2010  /  R  /  1 hour, 53 min

Cast:  Jake Gyllenhaal, Anne Hathaway, Oliver Platt, Hank Azaria, Josh Gad, Gabriel Macht, Jill Clayburgh, George Segal

Director:  Edward Zwick

Genre:  Romantic Comedy, Dramedy

Wall Street: Money Never Sleeps as Gekko repents

In Oliver Stone’s Wall Street: Money Never Sleeps, Gordon Gekko becomes the conscience of Wall Street.  Michael Douglas reprises his role as the financial district’s greedy king.

Shia LaBeouf plays Jake Moore, the whip-smart trader who’s about to marry Gekko’s daughter.

A daughter lost

Douglas’ fiery Gekko has acquired some wisdom during his eight years in prison.  His one major regret: the chasm between him and his daughter Winnie (understated shooting star Carey Mulligan), who blames him for her brother’s death by overdose and almost everything else.

Winnie is the CEO of a small, progressive internet page that leaks big news stories.  The inheritance she keeps mum about, $100 million in a Swiss bank account, becomes key later on in this story.

As Gekko hawks his book Is Greed Good?, he speaks to an eager audience at Fordham University. The gem of this film’s excellent dialogue is Gekko’s speech, part of which follows:

Greed becomes legal

“I once said, ‘Greed is good.’ Now it seems it’s legal. It’s greed that makes the country cut the interest rates to one percent after 9/11 so we could all go shopping again. And we got all these fancy names for trillions of dollars of credit. . . . I’ll tell you what they are. They’re WMDs, weapons of mass destruction.”

“When I was away it seemed like greed got greedier, with a little bit of envy mixed in.  . . . Mr. Banker, he starts leveraging his interests up to 40, 50 to one. With your money, not his. Because he could. You’re supposed to be borrowing, not them.  And the beauty of the deal, no one is responsible.  Because everyone’s drinking the same Kool-aid.”

“Last year ladies and gentlemen, 40 percent of all American corporate profits came from financial services. Not production, not anything remotely to do with the needs of the American public. The truth is, we’re all part of it now. . . . We take a buck, we shoot it full of steroids, and we call it ‘leverage.’ I call it ‘steroid banking.’”

Speculation as evil

“It’s clear as a bell to those that pay attention. The mother of all evil is speculation. Leveraged debt. Bottom line. It’s borrowing to the hilt. And I hate to tell you this, but it’s a bankrupt business model. It won’t work. It’s systemic, malignant, and it’s global. Like cancer. It’s a disease, and we got to fight back.”

Gekko wraps up his dramatic insights (one of Douglas’ finest deliveries, reminiscent of his American President soliloquy) with a plug for his book. “Prices and profits work,” he shouts to the applauding group of young traders and business students.

Young upstart arrives

Soon Gekko meets Moore, an idealist specializing in clean energy technology. (“That’s smart. That’s the next bubble,” he quips.)  The problem is that Moore faces major hurdles lining up financing for a small, promising fusion start-up company.

Gekko gives ten minutes to his future son-in-law, dispensing more advice: “Money’s a bitch. She lies there in bed at night with you, looking at you, one eye open. Money’s a bitch that never sleeps.”

Moore has been shaken by the suicide of his Wall Street mentor Lou (Frank Langella) and fears his own impending layoff.

Insider gossip

As the 2008 financial meltdown proceeds, he goes to work for the street’s newest kingpin, Bretton James (Josh Brolin). Over time Gekko shares insider gossip about James and his cronies:

“They knew this home loan fantasy was going to collapse the market. And when they did they got the Fed to bail out their bad insurance swaps 100 cents on the dollar. The system is insolvent.”

“No one knows what to do next except repeat the same insanity until the next bubble blows. Talk about an evil empire, this puts me to shame.  And I’m small time compared to these crooks.”

Victimless crime?

Gekko preaches about moral hazard when “someone takes your money and is not responsible for it.” He views his own past transgressions as a victimless crime.

The new father figure and young Moore make a trade. Gekko gives Moore a childhood photo of his daughter, and Moore promises to give him Winnie’s current photo and set up a dinner reunion with the conflicted beauty.

LaBeouf, Brolin stunning

With great acting and plot twists, the film includes a blunt confrontation between Moore and Gekko. LaBeouf gives a particularly stunning performance.

Adding depth are Brolin in his super-villainous role, and Susan Sarandon as Jake’s needy mother.

Stone succeeds with a sweeping, moral drama that comes close to capturing the complexities of the ongoing financial mess sweeping America and the world. Rodrigo Prieto beautifully captures Manhattan in full, glittering splendor as Stone delivers a wry wink to greed and honor.

Thrill of the game

Gekko’s thrill has never been about the money. “It’s about the game,” he says, “the game between people.” (4 out of 5 stars)

If you like Wall Street: Money Never Sleeps, you might enjoy: Solitary Man; Margin Call.

Wall Street: Money Never Sleeps  2010  /  PG-13  /  2 hours, 18 min

Cast Overview:  Michael Douglas, Shia LaBeouf, Josh Brolin, Carey Mulligan, Eli Wallach, Susan Sarandon, Frank Langella, Austin Pendleton, John Bedford Lloyd

Director:  Oliver Stone

Genres:  Drama

Mother and Child: Watts, Bening star in adoption drama

Mother and Child, an emotional drama about women’s lives and legacies, centers on adoption. It investigates whether women can find genuine fulfillment by adopting.

Love a challenge

Love between mother and child is ever-changing, a circle of devotion and resentment, dependence and independence, respect and scorn. Courage is needed to endure.

Naomi Watts and Samuel L. Jackson were nominated for Spirit Awards for their roles here.

With a stellar ensemble cast, Mother and Child is redeemed somewhat from a Crash-inspired screenplay filled with too many coincidences and tearjerker scenes. Rodrigo Garcia (Six Feet Under; Things You Can Tell Just By Looking at Her) directs.

Yearning for lost daughter

As 50-year-old Karen, Annette Bening plays a tight-lipped ice queen filled with pain and distrust.  She is caring as a physical therapist, but quickly turns prickly when Paco (Jimmy Smits), another therapist, dares to approach her with a friendly word.

At home Karen is a competent caregiver to her dying mother Nora (Eileen Ryan), but there’s little warmth between them.  Nora is fond of their cleaning woman Sofia (Elpidia Carrillo) and her cute young daughter Cristi (Simone Lopez).

Karen is extremely uncomfortable around Cristi, and can’t stand that her mother confides more in the hired help than in her own daughter.

Karen’s biggest regret is that she gave up her own daughter for adoption at age 14 at her mother’s insistence.  Bitterness eats away at her.

Karen begins to heal

Unmarried Karen writes letters to her lost daughter. She looks for her face in every crowd. She is sure she would recognize her daughter immediately.

How Karen finally mellows is engrossing. Miraculously, Paco hangs around and is the one person Karen turns to after her mother dies. When he urges Karen to seek out her adult daughter, she is skeptical at first.

Elizabeth seeks motherhood

Elizabeth (Watts) is a sleek, conniving attorney.  She tells her firm’s widowed partner Paul (Jackson) that she is adopted, prefers to work alone and wants to report to a man. Watts develops Elizabeth as a ruthless personality with some real humanity hidden within.

When Elizabeth discovers that she is pregnant, she moves away, wanting to savor the experience and become a mother on her own terms. Amy Brenneman appears briefly as Elizabeth’s doctor.

Elizabeth’s friendship with a blind girl (Brittany Robertson) at her new apartment building provides a beautiful prelude to giving birth. It is Violet who senses and loves Elizabeth for who she really is.

Adoption offers hope

Lucy (Kerry Washington) ardently seeks motherhood although she and her husband Joseph (David Ramsey) have not been able to conceive.  Making her case before Sister Joanne (Cherry Jones) at the adoption agency, she declares that they will love an adopted child just as much as they would their own.  Joseph clings to the dream of fathering his own child.

When Lucy finally does bring a baby home, she soon becomes overwhelmed. S. Epatha Merkerson savors her character Ada, an opinionated new grandmother with a heart of gold.

Giving up baby

Shareeka Epps gives a complex, arresting performance as Ray, an angry young pregnant woman with very specific standards for her baby’s adoptive mother. Ray’s relationship with Lucy is a sensitive balancing act from start to finish.

Male characters are less fully realized here, although Jackson, Smits and Ramsey shine. David Morse also appears.

Catholic nuns suggest the sanctity of motherhood, serving as gatekeepers for mothers and adoptees. (3.5 out of 5 stars)

If you like Mother and Child, you might enjoy: Rabbit Hole; The Other Woman.

Mother and Child   2009  /  R  /  2 hours, 7 min

Cast Overview:   Naomi Watts, Annette Bening, Kerry Washington, Jimmy Smits, Shareeka Epps, Eileen Ryan, Cherry Jones, S. Epatha Merkerson, Samuel L. Jackson, David Ramsey, Elpidia Carrillo, David Morse

Director:  Rodrigo Garcia

Genres:  Drama, Romance