The Grand Budapest Hotel (2014) – Review

Review: The Grand Budapest Hotel is a delightful adventure comedy/drama that encompasses all the intricacies and indulgences of (its writer, director, and producer) Wes Anderson’s style and puts them to their best use, creating a film that feels utterly joyous to behold. The film is about Zero Moustafa, the owner of The Grand Budapest Hotel and former Lobby Boy for the very same hotel. Now retired, Zero recounts his adventures with the hotel’s extraordinary concierge M. Gustave to an inquiring writer who is staying at the now rundown hotel. Their adventures took place during the early 1930s as Europe was about to be once again engulfed in war.

The narrative structure of the film is multilayered (reminding me of The Hours a bit – for those who have not seen the film, it takes place in three different time periods, all centered around Virginia Woolf’s Mrs. Dalloway; the first sees Woolf struggling to write the novel in the 1920s, the second features a melancholic suburban wife reading the novel in the 1950s, and the third revolves around a woman who very much encompasses the character and story of Mrs. Dalloway set in the present). The prologue and epilogue that bookend the film feature a young woman in present day paying her respects to the statue of a famous author, carrying a book entitled The Grand Budapest Hotel. The next layer sees the author in the 1980s making a recording of how he came upon the story of The Grand Budapest Hotel, leading to the next layer in which the author, now much younger, is having a conversation with Zero. The final layer sees Zero as a young man working as a Lobby Boy in the hotel. There are also two narrators, as there are essentially two perspectives: the first being the author’s and the second Zero’s. This all sounds complicated and very easily could have ended up a confusing mess, the narrative jumping around in time; yet, writer-director Wes Anderson skillfully manages the narrative and his use of two distinct narrators enables the audience to follow the story with ease.

The differences in time period are also expressed in a cool artistic/aesthetic manner. The aspect ratio changes depending on the time period, which does create some pretty striking cuts between time periods. That said, the change in aspect ratio is probably something that is only “cool” to students of film (I am curious if average moviegoers even notice the change). Anderson also uses special effects (miniature models, rear projection, and other older techniques) to give the film a feel similar to films from the 1930s. All in all, the whole thing looks and feels a bit like it takes place in an elaborate children’s book, but with a sharp edginess, startling violence, and cursing.

Like Anderson’s other films, The Grand Budapest Hotel is a treat of brilliant and colorful aesthetics. Anderson has created a quirky romantically nostalgic world – a world that maybe only ever existed in the imagination/memory of those classic films from the 1930s. While Anderson does borrow from others (the film has elements from Jean Renoir’s La Grande Illusion, Alfred Hitchcock’s Vertigo/Bernardo Bertolucci’s The Conformist, Ernst Lubitsch’s Trouble in Paradise, and Yasujiro Ozu, among others), he makes it all his own. The film has a unifying style that is very evident and specific.

Often in the past, critics of Anderson’s work have called his specific style alienating, as if he were merely creating pretty lifeless dioramas. With The Grand Budapest Hotel, Anderson’s style is again in full swing, but the film seems to have a broader appeal than his past works. Is this due to the momentum building off the breakout success of Fantastic Mr. Fox and Moonrise Kingdom (which both also saw general moviegoers take a bigger interest)? Is it the film’s fantastical world that just glistens with Golden Age nostalgia (something that worked well in Woody Allen’s Midnight in Paris)? Or, is it the film’s overall jovial feel, mixed with elements of adventure, mystery, and romance/friendship? Probably all three. The film, too, resembles Anderson’s own work, particularly The Life Aquatic with Steve Zissou and The Darjeeling Limited (other examples of Wes Anderson style adventure films); yet, those two were not nearly as well received (however, I do love them both and count them among my favorite films). The Grand Budapest Hotel, however, feels a bit more accessible than those two.

In many ways, The Grand Budapest Hotel feels like a grand film: almost like a tall tale of larger than life characters leading extraordinary lives (other modern examples would be The Curious Case of Benjamin Button and The Life of Pi). Anderson does a fabulous job mixing biting humor and absurdist humor with a tone that is light and creates a fun experience for the audience, but also has an undercurrent of sadness to it. Much in the way we look back at fond memories. They were happy times, but they have come and gone and we can never go back.

The set of eccentric characters that is featured in the film is also a lot of fun. M. Gustave is just electrically dynamic. It is hard not to be pulled in by his charisma. Meanwhile, Zero makes for a great straight man and in for the audience. Although the characters are all a bit off, Anderson still makes them relatable, because the themes of the film and the desires of the characters are all very much relatable. The audience is dazzled by the aesthetics, charmed by the humor, but left satisfied by the development of the central characters and their relationships with each other.

The Grand Budapest Hotel is wonderfully compelling not just because of its visuals, tone, characters, or ambitious narrative but because Wes Anderson weaves all these elements together, creating what feels like a magical world; yet, one filled with relatable characters (even though they are all a bit fantastical) and emotions. It is probably not too early to call it a strong contender (if not lock) to be among 2014’s ten best films (it is that good).

Technical, aesthetic & acting achievements: Wes Anderson has now made eight feature films; each film seemingly becoming more and more steeped in Anderson’s all-consuming style (a style that is part French New Wave and part Ozu with a few other things thrown in too). It is a style that I really enjoy because it is clear that Anderson cares about and is very much in tune with every aspect of his narrative, actor performances, visuals, and accompanying music. Every detail is specifically designed. This is a trait of only the truly great filmmakers, whom I consider Anderson among. I also love Anderson’s sense of humor, a dry crisply edgy wit. Upon one viewing it is difficult to name The Grand Budapest Hotel as his best film as a few have (for me, at present, it probably stands number four); however, it is so rich and spectacular that I can see it only blossoming with even more radiance with each additional viewing (there is also apparently a George Clooney cameo I missed – though this is unconfirmed).

Wes Anderson is known for his aesthetic, but he is a very collaborative filmmaker. He often works with the same people over and over (both actors and other technical crew members). Composer Alexandre Desplat scores the film – his third collaboration with Anderson – turning in his best score with Anderson to date. It is a wonderful mix of infectiously festive/lighthearted pieces, rousing adventurous pieces, and somber dramatic pieces, all with a very Prussian feel (while also seemingly somewhat building off his score for Moonrise Kingdom). His score sets the tone for the film very well and perfectly accompanies the visuals – and it needed to more than past Anderson films, as this film only sparingly uses found music (and they are all classical pieces). Robert D. Yeoman returns as Anderson director of photography, their seventh collaboration. As always, the look of the film is perfect – from the lighting to the framing and camera moves. Here, however, Yeoman has to create a film that feels both classic and modern in its visual approach, and he pulls it off splendidly. Production designer Adam Stockhausen, working with Anderson for the third time (second as production designer), does his best work to date with the filmmaker as well. Some of the credit does go to the beautiful locations that the film takes advantage of, but for the most part it is Stockhausen, working with Anderson and his art department, who creates the magnificent sets and mise en scene. The film is a visual splendor.

The film is also stuffed with fun performances from a stellar cast (most appearing in brief roles). The highlights among the small roles include: Tilda Swinton who is quite remarkable as the elderly Madame D. (can you be nominated for an Oscar for less than five minutes of screen time?), Edward Norton who is funny and endearing as Henckels, Tom Wilkinson who is just right as the older version of the author, Jude Law who is great as the young version of the author, Mathieu Amalric who is sniveling as Madame D.’s head servant Serge X., Adrien Brody who is wonderfully snide as Madame D.’s awful son Dmitri, Willem Dafoe who is the embodiment of a classic henchman as Jopling, F. Murray Abraham who is touching and mannered as the older version of Zero, and of course Bill Murray who is a lot of fun as the concierge of another grand hotel. Saoirse Ronan plays Agatha, a local cake baker and candy maker, who gets wrapped up in the adventures of Zero and M. Gustave after she falls in love with Zero. Ronan plays Agatha to be a little more pragmatic than the other characters in the film, not as quick to just jump in; but, she is very brave and very lovely. Ronan’s strong performance is a crucial element in fully pulling the audience into the narrative on an emotional level. Tony Revolori gives what could be a breakthrough performance as the younger version of Zero, and arguably the film’s main character (though he is not as flashy as M. Gustave). Revolori acts almost as a wall, allowing the other characters (primarily M. Gustave) to bounce off him. He grounds the film and gives the audience a way into the world. It is very good work.  And then there is Ralph Fiennes who is completely and wonderfully brilliant as M. Gustave, giving one of his best performances to date (up there with his characters Amon Goeth, Charles Van Doren, Count Laszlo de Almasy, and Lord Voldemort). M. Gustave is played to be exceedingly charming, always pulling all focus towards himself. He is the biggest and loudest presence in a position in which most might consider small and quiet. It is certainly to be among this year’s best performances.

Summary & score: The Grand Budapest Hotel encompasses everything fans of Wes Anderson love about his films, while incorporating just enough nostalgia, humor, and positive buzz to attract the masses as well. This very well could be Anderson’s biggest critical and commercial hit to date. 9/10

LeapBackBlog 2011 Film Awards – Part 4: Leading Performances

Film in 2011 saw many very good films. Deciding what made the lists and what did not was very difficult this year, and there are more than a few great films, performances and technical achievements that I had to leave off. The LeapBackBlog Film Awards are comprised of what I think were the best and most interesting films, the strongest performances (taking into consideration who the actor is and what else they have done, and 2011 again features a lot of amazing breakthrough performances), the narrative style that drew me in (best directing), and exquisite craftsmanship (best technical achievements). But really, these are lists of my favorites from the year.

Part 1: Technical Achievements

Part 2: Supporting Performances

Part 3: Directors

Part 5: Films

Leading Performances:

George Clooney – The Descendants

The Descendants is built on its fantastic performances headlined by standout work from newcomer Shailene Woodley and George Clooney. He had a very good 2011 with this film and co-starring, co-writing and directing The Ides of March. In the last few years, Clooney has been making a name for himself as an acting heavyweight with performances in Syriana, Michael Clayton, Up in the Air, and The American. However with The Descendants, he does the best work of his career. There is still signs of his swagger that he brings to his work, but he is also very vulnerable and seems completely at a lose and out of his depth, which is perfect for his character Matt King a parent having to take sole responsibility for his two daughters for the first time while also being saddled with unwanted outside family pressures.

Viola Davis – The Help

Viola Davis is a pillar of strength in The Help. It is easy to say the film is about perseverance and that her character Aibileen embodies all the qualities that come which the heroine of such a narrative, as that is true. But, The Help and Aibileen strive for more. Davis triumphs because of the depth and humanity she brings to the role. Yes, she is a strong woman as her character, but there is also a real fear as well. Without this fear, her story and actions would not resonate and mean as much as they do. The Help is one of the year’s best films because of the work of Davis and the other great actresses. Otherwise, it might have turned out to be another thinly veiled morally self-aggrandizing hollow film like Crash (one of the most overrated films of the last decade).

Kirsten Dunst – Melancholia

Winning the 2011 Cannes Film Festival Best Actress award for her performance in Melancholia, Kirsten Dunst does the best work of her career. Her character Justine has such an interesting arc – going from seemingly happy in the opening moments to being completely incapacitated by depression, only to find strength and purpose within herself when the world is about to end. She does not fear it, unlike all the other characters in the film. The range that the performance demands would be difficult for even great actresses, but Dunst seems to make it her own bringing such beauty and sadness to Justine. It is such a nuanced and subtle piece of work that I can only expect great thing from her in the future (as this is probably my favorite female performance of the year).

Michael Fassbender – Shame

No one had a better 2011 than Michael Fassbender. He starred in four films (Jane Eyre, X-Men: First Class, A Dangerous Method, and Shame), giving brilliant performances in each (all of which could have probably made this list). However, it is with Shame that he does his most interesting work. As sex addict Brandon, Fassbender gives a haunting performance in which he seems to degrade himself into something subhuman. He completely gives himself over to the character (which must have been hard to deal with when the cameras were not rolling – the pain, anger and bleakness of it). Carey Mulligan gives another great supporting performance (in addition to Drive) and Fassbender plays off her very well. It is phenomenal work and one of the bravest performances of the 2011.

Rooney Mara – The Girl with the Dragon Tattoo

What is so incredible about Rooney Mara’s work in The Girl with the Dragon Tattoo is that her role was played ironically by Noomi Rapace in 2009 (2010 for U.S. audiences), and yet Mara brings so much to the role and is just as iconic (different, but equally as good, if not better). For those that have not seen her in Tanner Hall or the brilliant small supporting part she plays in The Social Network, her work here is the breakout performance of the year, as Mara is now a star and one of Hollywood’s most sought-after actresses. Mara plays Lisbeth Salander to be confident in troubling situations, but awkward and vulnerable when it comes to more personal relationships. She is mesmerizing, the audience misses her when she is not onscreen and anticipates her return (which can be said of the best performances).

Gary Oldman – Tinker Tailor Soldier Spy

In what is one of the most subtly and subdued performances of the year, Gary Oldman is absolutely phenomenal as George Smiley in Tinker Tailor Soldier Spy. Smiley is such a difficult role to portray cinematically, as he is so boxed up emotionally. But, Oldman is able to give the audience just enough to make Smiley relatable allowing the audience to feel what he feels, while still being true to the character. He is one of the best character actors working today. I am not sure a lesser actor could have pulled this performance off. It is not flashy, but easily one of the most intricate and best performances of 2011. Oldman also has a very good small part in the Deathly Hallows: Part 2.

Elizabeth Olsen – Martha Marcy May Marlene

Elizabeth Olsen’s performance in Martha Marcy May Marlene is another of 2011’s many wonderful breakthroughs. Martha is also yet another difficult character to play, as so much of it needed to be shown subtlety so that her episodes dealing with constant fear and dread can come off feeling real (whether it actually is or not). The narrative structure of the film juxtaposes Martha on the compound with after she escapes and is staying with her sister (seemingly now a wreck). Olsen’s complete change in demeanor in each is remarkable. She also plays off fantastic character actor John Hawkes, who plays the cult leader, very well – and this being her first real dramatic performance.

Brad Pitt – Moneyball

Like good friend George Clooney, Brad Pitt has established himself as one of the best actors working right now (with recent performances in The Assassination of Jesse James by the Coward Robert Ford and The Curious Case of Benjamin Button, among others). Pitt had a good 2011 as an actor as well with very good work in The Tree of Life and Moneyball. In Moneyball, Pitt plays maverick baseball GM Billy Beane – struggling to produce a good team without any money and also struggling with his own sense of self worth. Pitt plays it as if Beane is a loner, outside the system – a bit like a stoic cowboy out on the range. He has become a fabulous actor and I look forward to his future work.

Saoirse Ronan – Hanna

With the role of Hanna in Hanna, I cannot imagine anyone else playing it (let alone as well) other than Saoirse Ronan. Physically, this is an extremely challenging role, as Ronan needed to both hit all the right dramatic notes in the coming-of-age story and all the action beats in the thriller aspect. She is completely believable as an action star, handling the fight sequences with grace and confidence. But, she is an even better dramatic actress. Hanna is a character completely virgin to the world, raised in solitude, and Ronan brings wonder be it guarded to the role. Building on her excellent breakthrough performance in Atonement, Ronan is one of the best young actresses right now.

Michael Shannon – Take Shelter

Ever since Michael Shannon’s performance in Revolutionary Road, he has been an actor to watch. With his performance as Curtis in Take Shelter, Shannon captures the sheer panic of someone who feels like they are losing their mind. He does a lot of the dramatic work with his face and eyes, gradually letting the feelings of desperation, alarm and agitation take hold. This seems to be one of the forgotten performances of 2011, but it is certainly one of the best. Almost the whole narrative is predicated on Shannon’s work, and he is brilliant.

Movie of the Week - Atonement

This week’s movie is Atonement (2007).

The romance drama is about Robbie Turner, a man whose mother works for a rich family in England, Cecilia Tallis, the eldest daughter of the rich family who Robbie falls in love with, and Briony Tallis, her younger sister who does not understand their relationship, and a lie that devastates their lives (based on Ian McEwan’s novel). The film is split into three parts – part one takes place at the family’s home in 1935, while parts 2 and 3 take place during the early days of WWII (1940). Director Joe Wright does a wonderful job with the film, as the narrative jumps around in time yet is still very coherent. Of his four films, this one has more of a poetic tone and visual composition to it. The narrative exists more so on the feelings the audience gets from the visuals and performances than the dialog. Aesthetically, the film is marvelous as well. Composer Dario Marianelli does excellent work on the film (winning an Oscar), while cinematographer Seamus McGarvey (there are a few long takes that are great – specifically one on the beach at Dunkirk, France involving soldiers waiting to be evacuated that is a story onto itself), production designer Sarah Greenwood, and costume designer Jacqueline Durran (whose green dress that Knightley's character wears, is considered the best dress in film history) provide a beautiful visual experience (all in all, the film was nominated for seven Oscars, winning one for its score, but won the BAFTA for Best Film). The cast is also magnificent, highlighted by its principal actors: James McAvoy, Keira Knightley, Romola Garai, and Saoirse Ronan. There are also good smaller supporting performances from Juno Temple, Benedict Cumberbatch, and Vanessa Redgrave. What makes the film great is its overall aesthetic style, which mixed with the very good performances throughout creates a beautiful yet tragic love story. It is a must for fans of exquisite cinematography, directing and film scoring, as well as those that enjoy heartbreaking romances. Check out the trailer.

Available on Blu-ray, DVD and to Rent

Hanna (2011) – Review

Hanna is a very good action thriller made excellent by a great coming-of-age story at its core. Director Joe Wright uses his kinetic style of filmmaking to create a full visceral experience visually for the audience, while also incorporating a wonderful booming score from The Chemical Brothers to accentuate both what is happening on screen and how the viewer interacts with it. He uses long takes, multiple contrasting and interesting locations and beautiful photography to pull the viewer in and set the film apart from just any old action thriller. The fights are choreographed and shot to be seen and felt, rather than impact and quick cuts, jumping around giving a sense of a fight. Here, the audience is treated to a much more personal experience, letting the action play out as if the viewer is there – the sequences telling a story. This is forwarded even more by how much affection the film has for its main character, Hanna. She is shot with such wonder: feeling music, friendship, color, and many other things for the first time. Her discovery of a world outside her relationship with her father, which is built mainly on his preparing her for what lies ahead – constant training and survival skills (but we also feel that they do love each other, which makes their relationship, and the film, all the more powerful) – play like a coming-of-age story. It is completely relatable to the audience, as she uncovers new sights, sounds and feelings – whereas if the story had only focused on her as an assassin hunting down her target, she would not resonate with the viewer to the same extent as a character, and the film would not be as vital. The viewer cares about Hanna, and that is extremely important or the film would just be another shallow entertaining action piece. Aesthetically and narratively, Wright creates the film to play as a fairytale, with many references (most notably to the Brothers Grimm). This works quite well to the film’s advantage, as there is playfulness to the tone (amidst brutal violence and serious implications), allowing for moments of pleasure and humor (which are needed to break up the action). It also affords quirkiness to the characters, making them even more interesting and memorable. The structure is circular, which some critics complained about in addition to the ending being fairly abrupt and open-ended. But, as the film is a fairytale, the ending works quite well, as the audience can decide for themselves. Too often in modern films everything is spelt out entirely, removing imagination and audience participation. This film leaves the audience with a feeling of content (as Hanna’s story is told), but also allows them to decide what will become of her now that the tale is done (which I like, and think it works much better that way). Hanna is not just another action film; it is aesthetically brilliant with great performances and emotional clout – engaging and wonderful.

Technical and acting achievements: Joe Wright is one of the most exciting directors working today. With his fourth film, he has shown that he processes both a mastery of storytelling and performances, but also a unique and aesthetically interesting style (his long takes, especially the subway fight and container park chase, are a treat). Tom Rowlands and Ed Simons (The Chemical Brothers) deliver such an impressive score (and their first) that fits the tone of the film so well (check out this track off it, container park). Alwin H. Kuchler’s cinematographer is wonderful and beautiful. The use of light and color projects so much character. It will be among the best work this year. Sarah Greenwood’s production design is also astoundingly good, and fitting. Her sets for Grimm’s House (and its surrounding area) and the Moroccan base were brilliant. Overall this is just a special film from a composition point of view (probably the best aesthetics wise I have seen this year, along with Jane Eyre, to date). The cast is just right across the board. Tom Hollander and Jessica Barden are marvelous in their supporting roles (Hollander’s appearance and way made me giggle every time he was on screen, just great performance work). Eric Bana plays his role well. With limited screen time, he coveys his relationship with Hanna very well. Cate Blanchett makes such an amazing villain. She is ruthless, cruel and yet sort of venerable (the performance is a little polarizing, but I contend that it is great). Saoirse Ronan shows that she is a star with her performance in the film. It is a difficult role, but the viewer forgets that they are even watching a character in a film. Ronan is Hanna, completely.

Hanna is a unique film, built on lustrous aesthetics, perfect performances and thrilling action. 9/10

Stars to Watch: Part 4 – Movies Spotlight – April 2011

Cinema constantly has new talent each and every year, making good films and opening audiences’ eyes to new characters, stories and worlds. April offers three more exciting performers to watch.

Saoirse Ronan

What She’s Been In:

Ronan, 16, made her screen debut in 2003 on the Irish public service broadcaster RTE in the medical drama The Clinic and then later in the mini-series Proof. In 2007, she made her American debut in the film I Could Never Be Your Woman co-starring with Paul Rudd and Michelle Pfeiffer. While it is not the best film, though funny, she is great in it as Pfeiffer’s more grownup that her years would indicate daughter. She also appeared in two barely seen films before getting her breakthrough performance (see next paragraph). After her breakthrough, she starred in Gil Kenan’s adaptation of City of Ember, and was the best part of the film (along with Bill Murray). Her first big starring role came in 2009 with Peter Jackson’s The Lovely Bones. The film was an ambitious mess, but Ronan was quite brilliant in it (and one of my favorite performances of the year). In January 2011, she co-starred with Ed Harris, Jim Sturgess and Colin Farrell in Peter Weir’s The Way Back about Siberian gulag escapees who walk 400 miles to freedom in India.

Breakthrough:

Ronan’s big break came in 2007 with a supporting role in Joe Wright’s Atonement. She played the role of Briony Tallis (age 13). Jealous of her older sister’s relationship with Robbie, the handsome son of an employee of her parent’s house who she has a big crush on, she tells a lie that devastates their relationship. She spends the rest of her life trying to atone for her mistake. The film is brilliant, set during WWII in England. Ronan stars with James McAvoy and Keira Knightley, stealing the film a bit from these two very good actors. She is so good, in fact, that she was nominated for an Oscar in the Best Supporting Actress category. Her performance in the film got my attention, and I have been a fan ever since.

April Film:

In April, Ronan has her next great role – working again with Wright in the film Hanna. It is about a young girl who is trained by her father to be a cutthroat and unforgiving assassin all with the purpose of unleashing her on his rival, a ruthless CIA agent. Ronan stars as the title character. The film looks to be a great mix of action, thriller and drama genres in sort of a twisted coming-of-age story. It co-stars Eric Bana, Cate Blanchett, Olivia Williams, and Tom Hollander (who from the trailer looks to be awesome).

Upcoming:

Also in 2011, Ronan has another young assassin film – Violet & Daisy, about two teenage assassins who accept what they think will be an easy gig (but of course it is not). The film co-stars Alexis Bledel and Danny Trejo and is Geoffrey Fletcher’s directorial debut (he won a screenwriting Oscar for Precious). 2012 looks to be big year for her – she is up for roles in either The Hobbit: Part 1, directed by Peter Jackson, or Anne Karenina, directed by Joe Wright. It seems as though scheduling conflicts would keep her from doing both and some reports already have her as a confirmed cast member of The Hobbit (but either way, both are great opportunities, but I cannot help but be more excited for The Hobbit). With good working relationships with great directors like Jackson and Wright, there should be tons of wonderful projects in her future.

Career Highlights:

1.)    Atonement (2007) – supporting* [Blu-ray/DVD/Rent]

2.)    City of Ember (2008) – lead [DVD/Rent]

3.)    The Lovely Bones (2009) – lead [Blu-ray/DVD/Rent]

4.)    The Way Back (2011) – supporting [Blu-ray/DVD/Rent]

*Editor’s picks

Rory Culkin

What He’s Been In:

Culkin, 21, got his start in films alongside his older brothers, Macaulay and Kieran (often as their younger brother or version of their character), in the films The Good Son, Richie Rich and Igby Goes Down (in which he has a few good scenes with Bill Pullman). While he has had roles in Hollywood films as a more established actor (though, still young), like his supporting role in Signs, Culkin has found a good niche for himself in indy films, appearing in a number of good ones: The Chumscrubber, Lymelife (starring with his brother Kieran) and Twelve. He also had a role in Down in the Valley.

Breakthrough:

Culkin’s breakthrough came with his supporting work in 2000’s You Can Count on Me, about a single mother’s life that is thrown into turmoil when her troubled younger brother returns to town. Kenneth Lonergan’s film features strong scenes between Laura Linney and Culkin, which led to Culkin receiving a Young Artist Award for Supporting Actor and an Independent Spirit Award nomination for Best Newcomer. He got his first leading role in 2004’s Mean Creek, an excellent film about a teen bully who is lured into the woods with devious and tragic intentions. Jacob Aaron Estes’s film showcased fantastic performances from its young cast, especially Culkin and Carly Schroeder, garnering two Independent Spirit Awards – John Cassavetes Award and a Special Distinction Award for the ensemble cast.

April Film:

In April Culkin stars alongside Emma Roberts (another star to watch; it is also Culkin’s third film with Roberts), Hayden Panettiere, Erik Knudsen, and Lucy Hale among other young actors, veteran actors and returning cast members in Scream 4 (along with Culkin and Roberts, I am excited by Alison Brie and Kristen Bell being a part of the cast). The film is being positioned as a new generation take on the Scream franchise, but fans of the original trilogy will be happy as many cast members are returning (at least those still alive) and Wes Craven is directing. It should be a lot of fun for genre fans.

Upcoming:

In 2012, Culkin co-stars in Hick with a great cast: Chloe Grace Moretz (another star to watch), Blake Lively, Juliette Lewis, Alec Baldwin, and Eddie Redmayne. Reuniting with his Lymelife director Derick Martini, the film is about a Nebraska teen (played by Moretz) who decides to set out to Las Vegas. Once there, she releases that the city is more than just bright lights but dangerously uncharted for a young girl. Scream 4 being his first big Hollywood film since Signs, its success could see Culkin land more mainstream fare going forward.

Career Highlights:

1.)    Igby Goes Down (2002) – supporting* [DVD/Rent]

2.)    Signs (2002) – supporting [Blu-ray/DVD/Rent]

3.)    Mean Creek (2004) – lead* [DVD/Rent]

4.)    The Chumscrubber (2005) – supporting [DVD/Rent]

5.)    Lymelife (2008) – lead [Blu-ray/DVD/Rent]

6.)    Twelve (2010) – supporting [Blu-ray/DVD/Rent]

*Editor’s picks

Greta Gerwig

What She’s Been In:

Gerwig, 27, wanted to be a playwright as she studied English and philosophy at Barnard College, but got into acting too when she took a minor role in Joe Swanberg’s LOL in 2006 while still in school. She also starred in his next two films Hannah Takes the Stairs and Nights and Weekends (both of which she co-wrote). Starring with Mark Dunlap in Hannah Takes the Stairs, she got a role in his next directed film with his brother Jay – Baghead. While still a very indy film, it did get some notoriety for the directing brothers and Gerwig. She also got a supporting role in the well-received indy horror film The House of the Devil. Early this year, she starred as Natalie Portman’s best friend in the romantic comedy No Strings Attached (her first Hollywood movie). While the film is entertaining but not great, there is a lot of funny material and moments highlighted by Gerwig’s performance, which is wonderful (she steals the film with not much screen time).

Breakthrough:

Gerwig’s more mainstream (but not totally) breakthrough came last year in Noah Baumbauch’s Greenberg, co-starring Ben Stiller. The film is about a New Yorker who moves to Los Angeles to figure out his life. He housesits for his brother and falls for his brother’s assistant (played by Gerwig). The film has fantastic performances from Stiller and Gerwig, and will probably best be remembered for launching her career into bigger roles (film critic A.O. Scott said she “may well be the definitive screen actress of her generation” based on her performance in the film) – and just like that, a star was born (at least for those that watch more indyish fare).

April Film:

In April Gerwig co-stars with Russell Brand in Arthur, a remake of the 1981 Dudley Moore film, about a man-child who stands to lose his very wealth inheritance when he falls for a woman his mother does not like. She suggests a more suitable arrangement. Thus, Arthur must decide if he wants to give up his life of luxury to take a chance on love. Gerwig plays his love interest, while Helen Mirren, Jennifer Garner, Nick Nolte, and Luis Guzman feature in supporting roles. The film looks like it could be potentially funny and entertaining (but probably not good), and at the least worth renting for Gerwig’s performance.

Upcoming:

Hopefully coming soon to DVD, Gerwig has Northern Comfort, about two strangers that cross paths on their way to Canada. She stars and co-wrote this indy film. Later this year, she stars in Damsels in Distress (taking a break from Hollywood comedies) by writer-director Whit Stillman (who is known for his very good film Metropolitan), about three girls who take it upon themselves to revolutionize life at a grungy East Coast university. The film co-stars Megalyn Echikunwoke and Carrie MacLemore, featuring supporting work from Analeigh Tipton, Adam Brody, Alia Shawkat, and Aubrey Plaza (from Parks and Recreation). While Gerwig has a good place for herself in indy films currently, I hope she finds a few good big projects in the future.

Career Highlights:

1.)    Baghead (2008) – lead [DVD/Rent]

2.)    The House of the Devil (2009) – supporting [Blu-ray/DVD/Rent]

3.)    Greenberg (2010) – supporting [Blu-ray/DVD/Rent]

4.)    No Strings Attached (2011) – supporting [Blu-ray/DVD/Rent]

*Editor’s picks

Joe Wright – Movies Spotlight – April 2011

British director Joe Wright is best known for his engaging period dramas. Making his first feature film in 2005, he has since established himself as part of the new generation of auteur filmmakers with fantastic style and narrative command. This month his new film Hanna opens starring Saoirse Ronan, Eric Bana and Cate Blanchett. It looks to be a wonderfully kinetic film combining action and thriller aspects with a coming-of-age story (plus a great score from The Chemical Brothers).

Early Career:

Wright got his start at a young age working for his parent’s puppet theatre. He had always had an interest in the arts: painting, making films with his Super 8 camera and spending time acting with a local drama club. Being dyslexic, he left school and decided to take classes at the Anna Scher Theatre School. From there, he acted professionally on stage and camera. He spent a year at Camberwell College of Arts before taking a degree in fine arts and film at Central St Martins where he received a scholarship from the BBC to make a short film, Crocodile Snap. It was nominated for a BAFTA for Best Short Film. On the success of his shorts, he was offered to direct the serial Nature Boy, which was also critically heralded. From there he worked on the well-received TV series Bob & Rose and Bodily Harm, culminating with his work on The Last King (aka Charles II: The Power & the Passion) which won the BAFTA for Best Drama Serial in 2004. With his success Wright was ready to tackle features.

Music Video Director:

However before working in TV and then film, Wright had a very successful career directing and producing music videos. During the 90s, he worked for Oil Factory a music video production company based in Kings Cross. Throughout his time there, he occupied a variety of roles. He also got the opportunity to direct a few of the videos himself, giving him early exposure to professional directing work, which helped him formulate his second short The End. He also created visuals for various electronic bands such as The Chemical Brothers and Underworld. Wright lists the aesthetic and emotion of the UK rave scene as an influence on his work.

Period Dramas:

After tons of success in TV, Wright made the jump to features with his adaptation of the Jane Austen novel Pride & Prejudice. The film stars Keira Knightley and Matthew Macfadyen, winning Knightley an Oscar Best Actress nomination as well as Wright a Most Promising Newcomer BAFTA. The film was universally praised by critics and showcased Wright’s wonderful aesthetic style, utilizing a fluid camera (with a few long takes, that have become a directing trademark), and an attention to character and narrative structure. One film in, and Wright was already a director to watch – Variety naming him one of their 10 directors to watch in 2006. For his next film, Wright tackled Ian McEwan’s esteemed novel Atonement. Working with essentially the same principal crew, he again cast Knightley to star (setting forth a continual working relationship including a series of Chanel commercials, here is the latest), James McAvoy, Vanessa Redgrave and Saoirse Ronan (star of his new film Hanna) round out the excellent cast. The film focuses on a relationship and the lie that devastates it, set in war-time England during WWII. The film features a particularly brilliant look at the British evacuation at Dunkirk (done with quite an astounding long take tracking shot). The film again shows off Wright’s directing skill and style, resulting in an Oscar win for Best Score, nomination for Best Picture and supporting actress for Ronan and winning a BAFTA for Best Film. These two films catapulted Wright into auteur status. Atonement opened the Venice Film Festival, making Wright the youngest director ever to have a film open the festival. But everyone has a hiccup now and then.

The Hiccup:

For his third film, Wright decided to leave England and not work again with Knightley instead making an American film with American stars. He took on the difficult story of a homeless Julliard-trained musician and cast Jamie Foxx and Robert Downey Jr. to star. The Soloist was initially scheduled to be released by Universal Pictures and DreamWorks in November of 2008. But after testing poorly, the studios realized that Wright had not delivered the Oscar bait that they had hoped. The film was delayed until April of 2009 and released by Paramount Pictures to mediocre reviews. The film is not bad; it is just very disappointing given Wright’s previous work.

Future Projects:

Wright returns to Europe and familiar cast members (Ronan and Tom Hollander who was also in Pride & Prejudice) with Hanna. Next up for Wright is his adaptation of Anna Karenina, which he will be again working with Knightley on (they were also briefly rumored to be working together on a new version of My Fair Lady, but it fell apart). It is scheduled for release in 2012. He is also attached to a project called Indian Summer and rumored to be making a live action version of The Little Mermaid.

Joe Wright’s Career Highlights:

1.)    The Last King (2003) – Director [DVD/Rent]

2.)    Pride & Prejudice (2005) – Director* [Blu-ray/DVD/Rent]

3.)    Atonement (2007) – Director* [Blu-ray/DVD/Rent]

*Editor’s Picks