Coco Before Chanel (2009) – Review

Coco Before Chanel is a story of a woman finding her place in the world – orphan to icon. The film focuses on the life of Coco from her life singing in a bar by night, seamstress by day, to her strange relationship with what could be called her benefactor to her brief first love affair, all steps leading to her discovery of self, that she had it within to be strong and different and succeed. It is the story of an independent woman that took charge, when in France at the time, it was not common. However, the main flaw that hampers the film greatly is a poor script. One cannot help but feel that what happens next in Coco’s life, as the credits roll, would be a far more interesting story than the one just seen. While there are certainly elements necessary to telling the story of her growth are present, the film, as is, would work much better as chapter one in a miniseries than a standalone film. The film’s most engaging moments involve the discovery of fashion by Coco (her style evolving), best exemplified in the scene of her dancing in the casino in her stunning black dress surrounded by a sea of white lace and soon to be outdated extravagance. Despite the hardships she faced within the story, she does not overcome meaningful obstacles, and thus there is never a strong connection formed with the audience. The film works better as a lecture of the early years than as a dialog between film and audience allowing for the audience to be engaged and take stock in the characters and outcomes. What seems to be the gravest obstacle in Coco’s life concludes the film, glazed over with little emphasis, the audience does not see the triumph rather it is inferred with what Coco goes on to become. But the audience needs to see the triumph, separating history channel special and potent cinematic drama. Director Anne Fontaine shot the film to be quite dreary, maybe as a reflection of the inner turmoil within Coco, there is no much color at times, and the lighting (or lack thereof) leaves the film feeling dark. Her camera is clunky and awkward at times too. And yet, at other times, again looking at the casino scene, she masterfully engages with her camera. She also has a talent for capturing the subtleties of a performance, which was particularly important in this film as the three main actors gave very real, restrained performances living in subtext – most of the honest dialog was unspoken. Audrey Tautou continues with every performance to be the center of the screen; she draws attention with her eyes and smile. Here, she keeps a lot inside, and yet the audience can feel for her. In a script with not too much to do, she still stands out and delivers a fine performance. Benoit Poelvoorde and Alessandro Nivola are also both good in their respective roles. With Tautou’s performance, the film is also highlighted by a moving score from Alexandre Desplat. His piece over the final scene is very beautiful and one of the best of the year. Coco Before Chanel works well in its telling of the cultivation and eventual proliferation of an icon, though it works more as a biography than compelling cinema. 6/10

Sugarshock (2009) – Review

Sugarshock is very funny, completely random and just plain fun. The characters exist perfectly in their world and within the story (especially Dandelion). It is best to approach this story with no information, fresh to experience it. Joss Whedon forges on with another wonderfully written script ripe with humor, drama and witty absurdity that makes his stuff a joy to read (and watch). Fabio Moon’s art captures the spirit of the characters and story well, while also infusing style into the piece. With such great characters, hopefully Whedon and Moon will again venture into the world of Sugarshock. 8/10
The one-shot comic first appeared as part of the online anthology MySpace Dark Horse Presents. 

Movie of the Week - The 39 Steps

This week’s movie is The 39 Steps.

Alfred Hitchcock’s first masterpiece, The 39 Steps is a thriller adapted by famous British mystery screen and playwright Charles Bennett. The film is considered the fourth best British film of all time by the British Film Institute. What makes it so great is that Hitchcock is able to make a compelling thriller, but also a romantic comedy, if not a screwball comedy, in the same film. It is also an early sound era film, yet Hitchcock uses sound masterfully in the picture (there is a great sound bridge in the film involving a train), while still having a fluid camera, not common among early-sound pictures. Hitchcock, as he had done with a few of his early British films, remade The 39 Steps as North by Northwest. The film stars Robert Donat and Madeleine Carroll.

The 39 Steps (Criterion Collection) [DVD]

Bill Murray – Movies Spotlight – November 2009

Bill Murray, 62, is known for his wacky humor, dry wit, and deadpan delivery – and as one of the comic geniuses to emerge out of the early days of SNL. He continues to be not only one of the funniest but also one of the best actors working today. This month he is featured in the supporting voice role of Badger in the upcoming new film from Wes Anderson, Fantastic Mr. Fox.

Early Career:

Bill Murray got his start on SNL in 1977 as one of the troupe’s stars. In 1979, he made the jump to his feature lead debut in Meatballs and quickly parlayed that into breakthrough supporting roles in Caddyshack and Tootsie, both of which are generally considered to be movie stealing outings by Murray.

In Caddyshack, Murray’s antics are pitted against many of the top comedians of the late 70s and early 80s including Rodney Dangerfield and Chevy Chase, and yet it was Murray that made the biggest impression and garnered adoring fans. It is also with Caddyshack that Murray first worked with future multi-collaborator Harold Ramis, who was directing.

Tootsie was nominated for multiple Oscars in 1983, though Murray’s supporting role was not recognized with a nomination, but in retrospect, his performance is considered the highlight of the film.

Collaborations with Ivan Reitman:

However, it was Murray’s collaborations with Ivan Reitman that made him a star. First, getting his feature break in Reitman’s Meatballs, and then in Stripes. It was the director and actor’s third film together that propelled Murray to international fame – Ghostbusters. Reteaming with SNL buddy Dan Aykroyd and Harold Ramis, Ghostbusters perfectly brought together comedy, special effects and adventure the make it one of the biggest blockbusters of the 80s, spawning the next collaborations between Reitman and Murray, Ghostbusters II and the upcoming Ghostbusters III (assuming it ever actually happens).

Personal Projects:

With the success of Stripes, Tootsie and Caddyshack, Murray had his choice of any project. It was in his best interest to continue make bigger releases like Ghostbusters. So he made a few forgettable comedies like Scrooged and Ghostbusters II, and took a supporting role in Little Shop of Horrors to round out the 80s.

However, he then turned his attention to a more personal project in The Razor’s Edge, a film that he got Columbia Pictures to finance for doing Ghostbusters, an idea he got from Aykroyd, not being able to find a studio to make the film. Here, Murray took a role to grow as an actor, which features his unique quirkiness but also the film has a lot of sadness to it. The film is about a man who serves as a stretcher-barrier during WWI. He is not quite able to recover from the tragedies that he experiences in the war, and so upon his return stateside, he is unable to be with the women he loves and moves to France. The film deals with his journey to find enlightenment and love. The film was not well received at the time, as most people wanted Murray to be funny as opposed to a serious actor, but the film is quite good and deserves another look.

Murray next tried his hand at directing, as he (actor/producer) and Howard Franklin (writer) could not agree on a new director with Jonathan Demme dropping out, with Quick Change, a bank heist comedy co-starring Randy Quaid and Geena Davis; this would be the only time that Murray would be in the director’s chair, again the film was not well received.

1990s, Some Good, Most bad:

The early to mid-90s saw Murray make a hit, and couple cult favorites, and a few not so good movies. 

Murray decided to collaborate again with Harold Ramis, a partnership that had blossomed both critical and commercial successes for the pair. Groundhog Day is the highlight of this part of Murray’s career. It perfectly mixes his brand of comedy with philosophical questions about humanity. However, Murray and Ramis often argued about the tone of the film (Murray wanted it to be more philosophical, while Ramis wanted it to be a comedy) and they had a falling out and have yet to work together again.

Murray then took supporting parts in Tim Burton's Ed Wood and The Farrelly Brothers' Kingpin, in both of which he delivers scene-stealing performances. The rest of this time was spent toiling around in subpar films, highlighted by the absurd Wild Things and the awful Larger Than Life.

Rebirth, Collaborations with Wes Anderson and Jim Jarmusch/Lost in Translation:

Starting in 1998 with Rushmore, Murray reinvented himself as hip once again, whether it was by his project choices, or the new directors that he started working with, he became popular again for a new generation (and a new audience). He transformed himself as the go-to comedian for the independent scene.

Wes Anderson, coming off the indie success of Bottle Rocket, cast Murray as the co-lead in his film Rushmore, which sees Murray battle Jason Schwartzman for the affections of a school teacher. Murray’s performance is wonderful, mixing dry humor, sadness, and hope. There is a sense that their budding friendship saves each of the characters’ lives.

Anderson would continue to work with Murray in some capacity on all his future projects, seeing Murray in supporting roles in The Royale Tenenbaums and upcoming Fantastic Mr. Fox, a cameo in The Darjeeling Limited, and starring in The Life Aquatic with Steve Zissou, another film in which Murray is able to show his great capacity for emotion with almost effortless style, blending dryness and sadness. Murray also kills in a supporting role in Anderson’s latest film Moonrise Kingdom.

With Jim Jarmusch, Murray delves deeper into the indie scene starring first in a film involving a series of conversations in cafes, Coffee and Cigarettes, and then in Broken Flowers, about a man in search of his son, who is in turn looking for him. Murray is also featured in a supporting role in Jarmusch’s latest, The Limits of Control.

Sticking with the indie scene, Murray also made Tim Robbins's fantastic ensemble musical about the turmoil of the 1930s New York, Cradle Will Rock, playing an aging relic (aka a vaudevillian ventriloquist). He then took a chance in a supporting role in Ethan Hawke's reimaging of Hamlet, following it with Andy Garcia's passion project about Havana The Lost City.

In Sofia Coppola's wonderful Lost in Translation, a role that would earn him his first and only Oscar nomination (which he sadly did not win), Murray is brilliant, turning in possibly the best work of his career.

With the critical success of Rushmore and Lost in Translation, along with his masterfully perfect performances in each, Murray has reestablished himself as not only a top comedian, but more importantly as a top actor. However, a purely independent career does not pay the bills (at least not the bills of a movie star), nor does it get an actor the exposure to a broad audience.

Other Films:

So, Murray also took many Hollywood roles during his time reimagining himself. Most supporting parts, Murray notably co-starred in Charlie’s Angels, Osmosis Jones and the lead voice role in the two Garfield films.

Lately, Murray has taken roles in Gil Kenan's follow-up to Monster House, the underrated City of Ember, the indie crime drama Get Low, and he plays FDR in Hyde Park on Hudson.

Cameos:

For those who remember Space Jam from the 90s, know that Murray can be excellent in cameo appearances, and that still continues today. Murray has featured in a few films through memorable cameos in recent years. Some of which work, his cameo in The Darjeeling Limited as a man trying to catch his train at the beginning of the film is likely the best opening to a Wes Anderson film to date. Some of which do not, his cameo in Get Smart, like the movie, is not very good or funny. And some of which steal the movie, his cameo in Zombieland is the highlight of the film as he reenacts a scene from Ghostbusters and pretends to be a zombie.

Future Projects:

Upcoming, Murray is set to feature in both George Clooney’s new film The Monuments Men and Wes Anderson’s seventh feature The Grand Budapest Hotel – both due in late 2013

The Monuments Men is about a crew of art historians who set out on a mission to rescue and recover renowned works of art stolen by the Nazis, before Hitler destroys them. In addition to Clooney and Murray, the film also features Matt Damon, Cate Blanchett, Hugh Bonneville, Jean Dujardin, and John Goodman.

As impressive as the cast Clooney has assembled is, Anderson has him beat with The Grand Budapest Hotel. It stars (in addition to Murray) Ralph Fiennes, Saoirse Ronan, Jude Law, Adrien Brody, Edward Norton, Owen Wilson, Tilda Swinton, Willem Dafoe, Jeff Goldblum, Jason Schwartzman, Harvey Keitel, F. Murray Abraham, and Mathieu Amalric. The film takes place is the 1930s and 1960s and is about Mr. Gustave, the hotel’s concierge, as he deals with the guests while trying to train his protégé.

Career Highlights:

1)      SNL (1977-1980) – main cast member (DVD, Streaming)

2)      Meatballs (1979) – lead (Blu-ray, Streaming, Trailer)

3)      Caddyshack (1980) – supporting (Blu-ray, Streaming, Trailer)

4)      Stripes (1981) – lead (Blu-ray, Streaming, Trailer)

5)      Tootsie (1982) – supporting (DVD, Streaming, Trailer)

6)      Ghostbusters (1984)* – lead (Blu-ray, Streaming, Trailer)

7)      The Razor’s Edge (1984) – writer, lead (DVD, Trailer)

8)      Little Shop of Horrors (1986) – supporting (Blu-ray, Streaming, Trailer)

9)      Groundhog Day (1993)* – lead (Blu-ray, Streaming, Trailer)

10)   Ed Wood (1994) – supporting (Blu-ray, Streaming, Trailer)

11)   Kingpin (1996) – supporting (DVD, Trailer)

12)   Rushmore (1998)* – lead (Blu-ray, Trailer)

13)   Cradle Will Rock (1999) – supporting (DVD, Trailer)

14)   The Royal Tenenbaums (2001) – supporting (Blu-ray, Streaming, Trailer)

15)   Lost in Translation (2003)* – lead (Blu-ray, Streaming, Trailer)

16)   The Life Aquatic with Steve Zissou (2004)* – lead (DVD, Streaming, Trailer)

17)   Broken Flowers (2005) – lead (DVD, Streaming, Trailer)

18)   The Darjeeling Limited (2007) – cameo (Blu-ray, Streaming, Trailer)

19)   Fantastic Mr. Fox (2009) – supporting (Blu-ray, Streaming, Trailer)

20)   Moonrise Kingdom (2012) – supporting (Blu-ray, Streaming, Trailer)

*Editor’s picks

At the Movies – November 2009

Must See in Theatres:

1. Fantastic Mr. Fox (Dir. Wes Anderson) – Animation – Nov 13

Wes Anderson’s maiden effort into the world of animation finds its form in the adaptation of Roald Dahl’s book about a sly fox that tries to get rid of angry farmers infringing on his home. The film features stop-motion animation; and while it is Anderson’s first animated project, the filmmakers style is very much apparent. Anderson also worked with Henry Selick (Coraline and The Nightmare Before Christmas) on the initial animation ideas. The film boasts a fantastic voice cast including: George Clooney, Bill Murray, Meryl Streep, Jason Schwartzman, and Adrien Brody.

Worth Checking Out (if not in theatres then at home):

1. The Box (Dir. Richard Kelly) – Thriller – Nov 6

Richard Kelly’s anticipated return to cinema, following the poorly received Southland Tales, materializes itself as a thriller involving a small box, push the button and you become instantly wealthy, at only the cost of a random human life that you do not know; would you do it? The film features the wonderful Frank Langella and also stars Cameron Diaz and James Marsden.

2. The Men Who Stare at Goats (Dir. Grant Heslov) – Comedy – Nov 6

Actor Grant Heslov makes his feature debut with a twist on the consent stream of Iraqi War films. Based on a “true” story, the comedy is about psychic soldiers, warriors that kill with their minds!, as told through the perspective of a reporter following one of said telepathic fighting persons around. The film is headlined by George Clooney, Ewan McGregor, Jeff Bridges, and Kevin Spacey.

3. The Damned United (Dir. Tom Hooper) – Sports – Nov 13

After his work on the John Adams HBO mini-series, Tom Hooper returns to features with his sports biography of Brian Clough’s 44 days as manager of Leeds United football club, and his competition both with prominent manager Don Revie and within. The film was written by busy English screenwriter Peter Morgan (Frost/Nixon and The Queen) and stars Michael Sheen, Colm Meaney and Timothy Spall.

4. The Road (Dir. John Hillcoat) – Thriller – Nov 27

John Hillcoat’s look at post-apocalyptic America is the setting for a family’s journey to find a warmer climate and a better home. On the journey, father and son must do all in their means to survive any and everything that awaits them. The film is based on Cormac McCarthy’s (No Country for Old Men) novel. The film features a standout cast including: Viggo Mortensen, Charlize Theron, Guy Pearce, Robert Duvall, and the always good Garret Dillahunt.

Good for Dates:

1. The Fourth Kind (Dir. Olatunde Osunsanmi) – Thriller – Nov 6

Milla Jovovich stars in a thriller about a town in Alaska that has the largest amount of unexplained unsolved disappearances over the last 40 years in the United State. Jovovich plays the Chapman University professor that goes to investigate. The film is Olatunde Osunsanmi’s second effort. For those couples looking for a good fright-night, look no further in November.

Fun Movies:

1. Gentlemen Broncos (Dir. Jared Hess) – Comedy – Nov 20

The third film from Napoleon Dynamite writer/director Jared Hess, Gentlemen Broncos is about a young fantasy writer, played by Michael Angarano, who discovers that his best story idea has been stole by famed fanboy writer Chevalier, Flight of the Conchords’ Jemaine Clement. While the film will likely not be good, in the classical sense, those that enjoy fun light comedies should be entertained.

2. Ninja Assassin (Dir. James McTeigue) – Action – Nov 25

James McTeigue (V for Vendetta) returns with an action film about a young ninja who turns his back on his clan and the ensuing multitude of (hopefully) awesome fight sequences.  The film features South Korean pop-star Rain and Naomie Harris. Ninja Assassins is likely best suited for fans of the genre.

Art-House Watch:

1. The Messenger (Dir. Oren Moverman) – Drama – Nov 13

Oren Moverman makes his directorial debut with a drama about two soldiers, state-side, whose duty it is to inform the next of kin of the passing of their loved-one. The film focuses on Ben Foster’s character, how he deals with interacting with the families, especially after being in combat himself. He becomes involved with a widow and must struggles with the ethical quandary that arises from the relationship.  The film also stars Woody Harrelson and Samantha Morton. 

Blu-ray/DVD Prudent Purchase List – November

Top New Releases:

1. Up (Four Disc Combo Pack) [Blu-ray/DVD] – Nov 10

2. Star Trek (Three-Disc) [Blu-ray/DVD] – Nov 17

3. Funny People [Blu-ray/DVD] – Nov 24

Top Blu-ray Updates:

1. North by Northwest (50th Anniversary Edition) [Blu-ray] – Nov 3

2. Heat [Blu-ray] – Nov 10

3. Amelie [Blu-ray] – Nov 10

4. Rome: The Complete Series [Blu-ray] – Nov 17

5. Fight Club [Blu-ray] – Nov 17

If you can only get one thing:

Must own of the month: Up (Four Disc Combo Pack) [Blu-ray/DVD] – Nov 10

An Education (2009) – Review

An Education begins a story of discover, in a sense, a journey of enlightenment, so it seems, and ultimately an awakening. The film is playful, witty, sparking off the charm of its young star, and yet there is an undercurrent, sort of a slimy, seedy, bottom belly wisp, not in plain site, but there, lurking (to which maybe can be solely attributed to the overall creepiness of Peter Sarsgaard – with no film hints necessary), playing a bit like Jane Eyre. The film runs into an interesting conundrum, seen often in literature (and horror films), with its third act, an act that is a bit of a let down, and really the only wrinkle on an otherwise unblemished film, said paradox being whether or not loose women should be punished (taken to mean that of your choosing) or let off (the dilemma arising as in: is it in bad form, old fashion and rather passé to delve out a fate befitting, in a prudish way, women that are less than intact with their choices, or rather to let them be unaffected, to let them off the hook and set a bad, if not wrong, example). The film addresses its position in such a way as to create obstacles, but manageable ones, speedily ramping up to a full recovery. The film which is primarily about growing up, questioning what is around you, seemingly ends with act two, now grown up, the film, facing maybe a far more interesting journey, chooses to not change tracks, almost as if the allotted time had expired, this ticket being only good for one jaunt (that of the audience, not character), and wraps everything up in a nice neat, and sadly clichéd, manner. For this is not a film about facing consequences, An Education is a film about wonder, exploration and proliferation (within). Director, Lone Scherfig, has excelled in capturing fine performances and uses blocking well. However, she at times is a bit carried away with tracking shots that create some awkwardness in the transition of the montage. Nick Hornby, know more as a novelist (About a Boy, High Fidelity and Fever Pitch) than a screenwriter, has done very well in creating fantastic dialog for the actors, and it is this language that allows the film, both in performance and tone, to enthrall and enchant. But again, both he and Scherfig might have restructured the film to not have a third act that does not play well (or not well enough for such a fine film). John de Borman, who previously has not had many projects to do great work (be it content or need), captures both the dreariness of England and the colour, much like the character, jumping out, as if it cannot wait to be free and shine. Lastly, from behind the camera, is the work of composer Paul Englishby, who supplies a fitting score (highlighted by a wonderfully playful opening number). In front of the camera, the cast is marvelous all around. Carey Mulligan breaks out in her performance as Jenny, the lead character; she is wonderful and plays upon the strengths of the script well. Sarsgaard is charming, but there is something uneven looming, which does work well. Oliva Williams, Dominic Cooper and Rosamund Pike (who deserves more films like this) supply perfectly pitched supporting performances. However, it is Alfred Molina that really comes out in the supporting cast. In a film built around the grandstand performance of Mulligan, it is Molina who indeed steals a few moments. An Education is a splendid film, while it could have structurally been sounder; it nonetheless works and leaves the audience happy. 8/10