Remote Access

with George

Tag: film

Films of the Year So Far Roundtable

Today, I sit down at the ole virtual roundtable to discuss the films that have come out so far this year. The participants are all very knowledgeable, and I suggest you check out their own blogs/websites after reading this insightful post.

 

What are your favorite films of the year so far?

 

George (me), Remote Access: I’m counting A Separation, Tomboy, and The Interrupters as 2012, and they’re all at the top of my list right now, and they’re probably on the list to stay.

Jennifer, jenkakio.com: My favorite films so far are The Dark Knight Rises, The Avengers, The Raid: Redemption, Jiro Dreams of Sushi and Moonrise Kingdom.

Charles, Cinematic: If I had to pick my three favorite films of the year thus far, they’d be Moonrise KingdomThe Dark Knight Rises, and Beasts of the Southern Wild.  All of them are fantastic films that are likely to make my 10 Best list for 2012.

Andy, andywatchesmovies.com: Moonrise Kingdom is the top, followed closely by Beasts of the Southern Wild. Both films are incredibly touching stories (I was not expecting to cry during Beasts of the Southern Wild) but Moonrise Kingdom is just so much fun, it’s almost impossible not to watch the movie with a straight face. Rounding out the top five would be The Dark Knight Rises, Cabin in the Woods, and The Avengers which are all great summer movies.

 

What are some of the best performances you’ve seen so far?

 

George: Basically everyone from A Separation was amazing. Zoe Heran‘s performance in Tomboy was a revelation. I also quite liked Jack Black, an actor I’m usually not that fond of, in Bernie. And call me in love, but Charlize Theron is on a roll with Young Adult last year and Prometheus this year.

Jennifer: I can’t get over Tom Hardy‘s performance as Bane (The Dark Knight Rises).  His eyes are so expressive and the way he stands with his hands resting on his vest.  Super powerful.

Charles: This one is tough. I loved both Bill Murray and Edward Norton in Moonrise Kingdom. I was also really impressed by Quvenhané Wallis in Beasts of the Southern Wild, who felt believable in her role, something uncommon in most child actors these days.

Andy: Again, it’s going to be the leads in Moonrise Kingdom and Beasts of the Southern Wild. I’ve always been a huge fan of using non-actors in films because they can often give tremendously realistic performances.

 

Which films are you most looking forward to viewing that you’ve missed so far?

 

George: Beasts of the Southern WildMoonrise Kingdom, and oh… I don’t know… maybe Brave? Even though I haven’t seen a Pixar film in the theater since Up, and I still haven’t seen Cars 2. Jiro Dreams of Sushi, now that Jen mentions it.

JenniferMarley (Bob Marley Documentary), Safety Not Guaranteed, and The Hunger Games.

Charles: I missed A Separation in theaters, though it technically came out in 2011. I already pre-ordered in on Amazon so I should watch that soon.

Andy: I’m sad that I haven’t seen Brave yet and now it seems I’ve missed my chance to see it on the big screen, but I don’t mind picking it up on blu-ray when the time comes. Same with Amazing Spider-Man but I’m not all that excited for it, I just feel like I need to see it. Even though I’ve already seen it, I want to see The Dark Knight Rises again on the IMAX, which I expect to be a vastly different experience… Does that count?

 

Which films are you most looking forward to viewing that have yet to come out?

 

George: The Master (Mr. Maya Rudolph’s new film), Django Unchained (Tarantino’s latest), and because I found the ads during the Olympics completely adorable, The Odd Life of Timothy Green. If it’s anything even remotely close to my #2 film of last year, Hugo, then I’ll love it. And it looks like it might be… it looks magical.

Jennifer: The Hobbit, Skyfall, and Django Unchained.

Charles: If I had to pick three, it’d be LincolnLife of Pi, and Django Unchained (I’d really like to put The Master on my list).

Andy: Since I loved Coraline, I’m really hoping that Paranorman is a hit, I think it looks like a great time. The Master looks like it’s going to blow my mind, and Paul Thomas Anderson hasn’t let me down yet. Finally, Wreck-It Ralph combines my favorite things, video games and Disney. I’m actually going to be in Disney World around the time of its release, so that’s extra awesome.

 

Which films would you suggest to avoid this year?

 

George: I didn’t like Chronicle, but I wouldn’t discourage anyone from seeing it. Anyone who doesn’t like to cry at the movies should probably avoid the brilliant documentary Being Elmo: A Puppeteer’s Journey, though.

JenniferTotal Recall (remake) and Haywire.

Charles: I suggest missing John Carter.  Though the film got more criticism than it deserved just because it flopped in the box office, it doesn’t make it excusable for having an aimless story and bad acting.

Andy: I actually haven’t seen any films yet this year that I would say to avoid. I thought Ted would be a dud, but it was pretty good!

 

Any other thoughts?

 

George: I was taken aback by how good 21 Jump Street was, considering how sophomoric the jokes they put trailer were. Never judge a book by its cover, I guess! Otherwise, please seek out Grandma, A Thousand Times. It’s a charming little documentary that might just melt your heart.

Jennifer: I didn’t realize how much I love action movies so much. I haven’t seen any horror movies, which is my number one favorite genre.

Charles: Yes  I only saw a bit of To Rome with Love in the movie theater, and actually enjoyed it quite a bit.  I can’t say that the criticism was invalid because I didn’t see the entire movie, but I now am a little surprised about the negative reviews.

Andy: It will be interesting to see if the lower-budget films of the year can overtake the blockbuster beasts. The Hunger Games will likely get a lot of nominations but I thought it was just OK.

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The Diary of Anne Frank/Mid-August Lunch (2009)

As with most of the films in the 2009 revisit so far, I had very little idea of what Mid-August Lunch would be about. I might have read the one-sentence Netflix descriptor, but I was basing my inclusion of it almost entirely on title, poster, and the fact I knew it was Italian.

Why then, would I tag that movie along with The Diary of Anne Frank, a film I not only already knew about, but a film that I had seen most of a few years ago (when it aired on PBS in the US)? It was mostly random, I suppose, and I figured that if I had no reason to discuss them together, I could always review them separately. Fortunately for my viewing experience, there was a connection. Don’t you love it when that happens?

Anne Frank, for those of you who don’t know, was a 13-year-old when she went into hiding with her family in 1940s Amsterdam. She hid because she was Jewish. Her life, which was already set to change because she was entering adolescence, was about to be flipped upside down by Hitler and war. During these teenage years in which most people learn life isn’t fair, the lesson would be even harsher for her.

Neither film is particularly plot-heavy. The majority of The Diary of Anne Frank takes place in one location, and for better or worse, the film is much more focused on characters and the interplay therein. Asked to describe what Mid-August Lunch is about, I would say, “food, money, and old people,” and I would be 100% correct. A man takes in three old ladies as favors he owes for not being able to pay rent or bills. And that’s all that happens, really.

The major link between these two films is that they’re both about loneliness.

The teenage angst in The Diary of Anne Frank is often obvious and overdone, and the tension is occasionally forced. Sometimes, it fails to be anything but a scope-less portrait of a growing girl. But it tells a human story, and it does it well for the most part. This isn’t a thriller reenactment or a war epic. It’s an adaptation of the actual diary of Anne Frank, and therefore relies completely on the small things, and whether or not you’ll buy and appreciate them.

Anne (played exceptionally well by Ellie Kendrick) is lonely. She claims no one understands her. These are basic youth complaints, but the fact that it is set against the dreadful background of World War II is what made her writings artifacts, and what makes her special.

The old ladies in Mid-August Lunch are lonely, if not completely alone, as well. Their families neither need nor want them. Gianni takes them in because he’s being forced to, but by the time comes for them to leave, he’ll only let them go if he’s forced to.

In that movie, people find each other and they do live happily-ever-after. In The Diary of Anne Frank, however, things a little more complicated. People find each other, then drift apart, then get angry at each other, then make up and do it all again, because they’re living together in a confined space that wasn’t really meant for living.

But the beautiful tragic truth of the whole film is that they are lucky, as a few characters exclaim with surprising hope throughout the film. They’re lucky not only to still have each other, but also the not be dead yet. And even though their case is special and much more dire, the same goes for the characters in Mid-August Lunch and for us all.

The Diary of Anne Frank: It is at its best when it reaches beyond the trite melodrama and lets Anne be flawed and hit real emotion. Great performances from Kendrick, Iain Glen as Otto Frank, and Tim Dantay as Mr. Kugler. I take or leave Geoff Breton as Peter. 3/4.

Mid-August Lunch: A fun, lively, but modestly paced slice-of-life film that explores people’s need to be needed. Lead actor/director/screenwriter Gianni Di Gregorio seems to be talented in all his roles. 3/4.

Fish Tank (2009)

Mia is reckless. She picks fights with girls without justification. When she sees a nice horse, she tries to steal it. Her life has no direction. Is it nature or nuture? Her mother, who is perhaps more reckless and less sympathetic, says “it’s like she came out looking for trouble.”

That’s just the thing Mia’s mother (Kierston Wareing) would say. She’s an abusive single parent (living in a housing complex) who likes to party and rarely has an intelligent thought. She begins seeing a security guard at a home improvement store, Connor, but there are no scenes between them that say they’ll last. There is no connection.

Meanwhile, Mia (newcomer Katie Jarvis), a teen, has taken up hip-hop dance, after seeing a skank she hates do it poorly. The first scene in which she dances doesn’t really flatter her limited skills. But she tries again, in front of the TV (tuned to a Ja Rule music video) one morning, in her pajamas. That’s when she meets her mother’s boyfriend.

Her mother acts differently around Connor (Michael Fassbender) than she does around her daughters, Mia and Tyler (Jarvis and Rebecca Griffiths, respectively); she’s much less abusive.

During one of her mother’s parties, and while her nine-year-old sister was upstairs drinking and smoking with a friend, Mia gets overly intoxicated and passes out in her mother’s room. (Her mother only cares because she’s in her room.) It’s Connor who picks her up, takes her to her room, and covers her with a blanket. It’s a simple act of kindness, but it might have been the first kind thing anyone has done for Mia in a long time.

One day, Connor takes Mia and Tyler along with their mother on one of their long drives (to the dismay of Mia’s mother). They drive to a pond, where Connor takes his shoes off and announces he’ll be entering the water to catch a fish. Mia’s mother and sister ridicule him, but Mia joins him. And while Mia and Connor try (and succeed) to catch a fish, Mia’s mother and sister continue to call them names. Their comments do nothing but try to put them down. Connor occasionally teases Mia over the course of the film, but his comments are never meant to hurt her.

There is a clear lack of ambition among the residents of the complex, including the three women at the heart of the story. Connor even asks the girls what animal they would want to come back as in a future life. Each of them chooses an animal that stays on the ground, while he says he would want to be a bald eagle. “Wouldn’t you want to fly?” he asks.

[Spoilers begin here.]

But Mia can change. We see that she’s an observer. The scene with the dancing skank, spying on her mother and Connor, the horse (whose owner she develops a relationship with), Connor’s yard and house… director Andrea Arnold makes it clear that she’s not just a poor, dumb girl who wasn’t taught any better.

It becomes apparent, at one point, after Connor does many kind things in a row for her, that she’s falling for him. And him for her. Even though they’re both immature in their own ways, they have some brains. Arnold shows us Mia dancing once again, this time in front of Connor and with his favorite song (which is turning into her favorite song). Arnold likes to put her characters in dimly lit places, and perhaps it was just the late evening lighting, but Mia actually looked like a good dancer. She looked like she was in a stylish music video, living the dream.

Mia, a 15-year-old, and Connor, a 30-year-old, become intimate.

The next day, Connor is gone. Mia’s mother is bawling, and Mia tries to find him.

She traces him to a suburban home a few miles from her town. And once Mia realizes that Connor has a wife/live-in girlfriend and a child, she turns into an animal… peeing on what she perceives as her property, taking her jealousy and frustration out on his little girl, who she kidnaps. The child even says “you’re starting to scare me now.” This innocent little girl is threatening this thing she likes, and what is her plan?

What is ever her plan? She tries to steal the pretty white horse twice, and fails both times. But what if she succeeded? What would she do with it?

After a water scene that contrasts beautifully with the scene back at the pond, Mia comes to her senses. It’s both devastating and reassuring. Finally, she’s doing a somewhat mature thing. There are no grand speeches, no lightbulbs. She gives the child back, and moves on.

The next day, she has an audition as an erotic dancer. Only she doesn’t know about the erotic part until she sees the girl before her. The tape on Mia’s audition is Connor’s favorite song, and half in retaliation toward him, and half because she doesn’t want to be an erotic dancer, she storms out. Two mature things in a row. The film could have ended right there.

Unfortunately, it doesn’t. A few more things happen, none of them effective or satisfying. Part of this is because we never got a good sense of the person who “rescues” her from the housing complex, the owner of the horse she tried to steal. The film patches up what had cracked, for no apparent reason but to have a happy ending.

3.5/4

Notes:

  • I wondered if Mia’s mother still talks to her parents.
  • Tyler acts differently around Connor, as well. Her foul mouth cleans up a bit.
  • How quickly Mia goes from the hunter (of “Kira”) to the hunted (by Connor), and from unhappy to happy to unhappy, again. At one point, Tyler gives the opinion that anything that can fly can be shot down easily.
  • Next week: Mid-August Lunch and The Diary of Anne Frank.

Mine (2009)

A narrative film’s opening images are important enough. But for the documentary, a medium that is completely reality-based (well, the F for Fakes and reenactment films aside), images are crucial. The 2009 documentary Mine knows this all too well. After all, what post-9/11 images of America are more powerful than the ones of Hurricane Katrina and its devastating aftermath?

Mine tells the tale of animals (specifically dogs) left behind immediately before Katrina hit New Orleans. It has typical general informational content, but Mine also chooses a few individual stories to focus on. It backs up the shots of tattered New Orleans with these stories about man and his best friend.

But Mine isn’t just about dogs and humans and their dependence on each other; it is also about how humans deal with other humans. In many of the vignettes, Katrina survivors and the people who have adopted or fostered these animals end up at odds because the new caretakers no longer want to give them back. We get to meet a couple who have adopted Joey, a dog whose name used to be Max, and now wish to keep him, even after his New Orleans owner has come forward. This isn’t a one-sided issue. I’ve lost two cats (who were originally my own) in the last 10 months. I’ve also adopted a third from my local animal shelter. How would I feel if I found out Chris or Izzy had a new home and their new owner intended to keep them? How would I feel if the old owner of Amy knocked on my door and demanded her back?

Mine is very emotional, but never manipulative. It’s a document, signed by real people, proven by their real emotions… which is what the form was made for. It might as well have been a soapy drama about people losing and finding each other after a hurricane, but it’s not. The director allows events and twists to flow naturally, and nothing feels rushed or pushed… not even a Canadian’s (mostly correct) observations on American prejudices. Everything is in its place, and its rewarding to see animals return to theirs, but just as emotional and heartbreaking to see some come up short.

My rating (out of four): ****

The 10 Best Films of the 1980s, in my opinion (and that I have seen)

Today, we continue counting down the decades. And we’re so close, too. Please note, though, that the order of picks 3-9 changes each time I think about it.

10. Stand by Me

I’m not really sure what to write about Stand by Me. It’s an important film to me. It aims so high, but keeps most of the dialogue between the quartet of friends realistically small. Stand by Me is timeless and will always be a bittersweet slice of nostalgia. Honorable mentions: Airplane! and Rain Man.

9. Moonstruck

This isn’t a ‘chick-flick’ and it’s not a ‘rom-com’ either. It isn’t lightweight, but it doesn’t take itself too seriously. It’s not the funniest of movies, but it’s one of the best comedies of the 80s. And if you want to see Nicolas Cage act, rent Moonstruck now.

8. The Thin Blue Line

The Thin Blue Line actually changed the outcome of the events it displayed. Completely absorbing and easily one of the best documentaries of all-time. Errol Morris knows what he is doing.

7. Goodbye, Farewell and Amen (aka The M*A*S*H Finale)

Hmm… a TV movie? Sure, why not? It boasts all the most authentic, most dramatic, and (even though it is debatable) best, parts of the series. It hits love, friendship, community, loss, loyalty, and of course war. It’s hard not to watch and then not to cry when it appears on TV Land every few months.

6. Hannah and Her Sisters

Hannah and her sisters and her sisters’ spouses are just so interesting. It’s only 103 minutes long, but it feels so much longer… in a good way. Packed with so many carefully written characters and moments, Hannah and Her Sisters is a must for any Woody Allen fan.

5. E.T.

Ah, yes. My good childhood friend. I got to see it on the big screen when I was five years old. E.T. is, perhaps, the centerpiece in the Americana film collection, and is a huge rite of passage. I recently saw Super 8, and it helped me appreciate E.T. all the more.

4. The Gods Must Be Crazy

One of the first movies I’ve ever seen, The Gods Must Be Crazy is funny, charming, and heartwarming. Also, it’s extremely crazy and it sticks with you… like a pesky, devilish Coca-Cola bottle. The film spawned four sequels, including this little monster.

3. Raging Bull

The character-study biopic to end all character-study biopics, indeed. Robert De Niro has only been better once than as boxer Jake LaMotta in Raging Bull. The complicated life he leads is a fascinating one, but I don’t think the film would be considered the classic it is if a powerhouse actor weren’t playing him. There is a sequel to Raging Bull expected out in 2013, by the way. Won’t that be fun?

2. The Empire Strikes Back

The Empire Strikes Back is one that I just couldn’t talk myself out of including on the list. Decidedly better than any other installment of the Star Wars franchise, it is both visually glorious and emotionally arresting.

1. A Christmas Story

What can I say? I love A Christmas Story. It’s the only one I would salvage from the 80s if a movie eating monster made me choose only 10 films to live with and love forever. So, if you’ll allow it, I’d like to quote myself from January 30th, because I’ll always feel the same way:

But I don’t really think of it as a Christmas movie, even though it has the word Christmas in the title. A Christmas Story is just a family movie. I’ll always remember sitting on the couch, watching this with my family… no matter what the weather is like outside or if there’s a tree in the corner of the room.

The Films of 2009 Festival

Today, I would like to tell you what’s going to be happening over the next few months. Immediately after I finish with the Best of the Decades (and I will be doubling up, so they end in two weeks), I’ll start The Films of 2009 Festival.

What is ‘The Films of 2009 Festival’?

Each week, I’ll watch and review a film that was released in 2009. I’ll announce each week’s film on the previous week’s post. So far, I’ve only seen 28 films from that year, but I found a large number on Netflix Instant that I can view and you can follow along with. I’ll also look into acquiring all the Academy Award Best Picture nominees I haven’t seen yet. At the end (October, I’m thinking?), I’ll announce my choices for Best Picture, Actor, Actress, Director, etc. from among all the 2009 films I have seen at that point.

I really hope we all enjoy this, and some of you follow along. Thank you.