Ain't Them Bodies Saints

David Lowery, 2013

IMDB

2/5

On paper the idea of a southern rom-dram starring Casey Affleck and Rooney Mara is interesting. The two, both accomplished actors, have been part of some of the best films to come out within the past twenty years. Affleck himself has played the criminal on the run before, in the very much under-rated The Assassination of Jesse James by the Coward Robert Ford. He's certainly playing a cousin of his Robert Ford character, an elusive untrustworthy soft-speaking figure that has hints of innocence behind obvious youthful naivete. But there is a vast difference between Ain't them Bodies and Jesse James. Bodies is basically a game of cat and mouse with a ticking clock. Bob Muldoon (Affleck), after many attempts of escaping prison, has finally managed to escape and very predictably is planning reuniting with his love Ruth (Mara). Their early moments spent together on screen were the two of them participating in a very Bonnie & Clyde-like excursion. One that left one of their partners in crime dead and an officer shot. Pregnant Ruth is spared prosecution while Bob takes the fall and gets the book thrown at him. The people around Ruth figure that having the child and being separated from Bob will be a good opportunity for her to have a normal life that doesn't involve criminal acts. Standing in between the pairs fateful reunion is father figure / neighbor Skerritt (Keith Carradine) and local cop Patrick Wheeler (Ben Foster).

It's a story that doesn't feel all that gripping or even original for that matter. It feels like a dull whispery drama that could have been something better. The Bob character doesn't really feel like a character worth getting behind. Their love together never really feels like much more than a lot of young body rubbing that inadvertently created a little daughter. Mara, who probably provides the most compelling performance in the film, is not much more than a woman that is mired in indecision on whether or not to be the reformed mother or continue to like the bad boys. The dim lighting, the cold aluminum siding, the shadow-ridden barn that Bob hides in, are all failed attempts at creating any visual impressions. Bodies is a forgettable picture that doesn't hide it's admiration for Bonnie and Clyde but completely lacks the greatness of it.

Stuck in Love

Josh Boone, 2012

Can I Stream It?

4/5

Novelist Bill Borgens (Greg Kinnear) has put his writing on hold after separating from his wife Erica (Jennifer Connelly). Instead he spends most of his days reading alone at his beachfront house, and nights in the company of his two kids Samantha (Lily Collins) and Rusty (Nat Wolff) who also happen to be writers themselves.

In a sense, Stuck in Love is the kind of film that sneaks up on you. At first glance, it could be simply discarded as another unconvincing romance piece about a lonely father writer still licking his wounds from his divorce. Not really venturing on any new ground there. When you see Greg Kinnear's name in the opening credits, your skepticism likely elevates. It's not because Kinnear is a bad performer by any means, but sometimes he can be a bit over-exaggerated (*cough* As Good as it Gets).

But if you give this a chance you soon realize that its actually a quite endearing piece by Boone that nails the love thing on many angles. Boone has a lot to say about love, at times the film comes off almost like a literary piece. Powered by a good script and sustained by good performances, by the time that you hear the Bon Iver song playing in the background you're on board with it. Boone really has a good sense of the whole love thing. The introduction with your guard up. Meeting the person who comes on strong, who seems too good to be true. The many attempts to discount the possibility of organic romance and just telling yourself to be a realist. The film also captures some true familial dynamics as well. Sitting with the younger brother on the rooftop, giving advice over a bowl of weed. Boone also effectively captures that very real moment of multiple conflicts colliding between a family as they are about to be stuck in a vehicle together.

Not to say that there aren't annoying aspects though. To be fair, Samantha's complete coldness upon meeting the persistent but genuine Louis (the under-rated young actor Logan Lerman from the similar(ish) picture Perks of Being a Wallflower) is frustrating. Also, when the parents come to Rusty's aid when dealing with a relapsed addict girlfriend it comes off completely like a bad Lifetime channel after-school special piece. But it hits the right beats and should get you out of whatever head-space you happen to be in momentarily. It will hopefully put you that old but familiar state of naive, scary, exciting, heart-beating twenty-something love for a little bit. Or it may remind you of some of the inner-family conflicts of your younger years, which may not be as inviting but at least it's identifiable.

Don Jon

Joseph Gordon-Levitt, 2013

Can I Stream It?

3/5

Joseph Gordon-Levitt (Looper, The Dark Knight Rises, 500 Days of Summer) makes his directorial debut showcases him as gym-rat Jon, a serial one night stander who finally meets a girl he falls for. Unfortunately she quickly interrupts his long-going online porn addiction.

Levitt is typically seen playing the innocent type with more of a reticent charm. Here he is much more outgoing, basically playing someone straight of Jersey Shore central casting. A man of much routine. His life ultimately consists of little variation from going to the gym, to the club with the same friends, home with a random girl he meets at the club, and then to church every Sunday to scrub his conscience clean in the confession booth so he can later "enjoy" family dinner with his father (Tony Danza) screaming at him.

While MTV's Jersey Shore showed the world that there are actually people out there like the ones parodied in the film, Levitt's cast are ultimately caricatures of neo-italian New Jerseyians who hang their cultural pride high, they help to examine the concept of sexuality in our culture. The types who have that mythical family member who is "connected" that they threaten each other with over the dinner table while fighting over the last piece of Lasagna. Empty threats that are shouted underneath cheap-cloth Italian flags that they hang wherever necessary. 

The film examines the sex sells marketing concept and the outright hypocrisy that exists in the American culture. It's okay for the girls to watch the improbable, sappy romantic flicks but it's taboo for the men to watch pornography. The film also touches on the idea of the male population becoming less masculine and more metro-sexual. His examination largely works because he keeps it simple. Jon is so addicted to his streaming video in front of him because one, he is an enormous control freak. But more importantly, his impulses had been largely self serving for much of his adult life. And its sort of a collective approach by everyone hitting the bars at night. They are all basically feeding their inflated egos. When they go home with someone they met, its another knotch on their belt, not likely their future wife. As soon as Jon realizes that there is more of a partnership to true lovemaking, it all changes. Levitt could have easily tried to prove himself to the film-making community by biting off more than he could chew. He could have confused his freshman project with too many story threads, too much abstraction, or could have gone in heavy-handed. But he didn't. And the final product felt more confident because of it. Good for him. 

Before Sunset

Richard Linklater, 2004

Can I Stream It?

4/5

The sequel to Before Sunrise and the second in Linklater's Before Trilogy, the film is a continuation of the romance between American Jesse (Ethan Hawke) and French Celine (Julie Delpy). This film follows the pair in Paris as Jesse is on a tour promoting his book about their life changing night together in Vienna.

Warning: You may not want to read on if you haven't already seen Before Sunrise. It's difficult to examine this picture without revealing some important details, which going into it blindly certainly enriches the whole experience.

About Time

Richard Curtis, 2013

Can I Stream It?

4/5

Tim (Domhnall Gleeson) is informed by his father (Bill Nighy) on his 21st birthday that he has inherited the ability to go back in time. He can go back to any moment that he has lived as long as he goes into a dark place, and clinches his fists and thinks about where he wants to go. Constantly feeling disappointed with himself over his inability to find a good girl, he decides to use his special power to find that special someone.

Richard Curtis puts together a heartwarming story that combines time travel with the unlikely romance theme, sort of like if Groundhog Day and Say Anything had a baby. The English backdrop adds a distinct charm to the film, fueled by rich & witty dialogue. It takes the sentimental tone of Curtis' popular Love Actually and makes it much more personal. You are introduced to Tim's fun-loving family very early on in the picture, and when Tim is pulled into the den to be told of his ability by his father, you get a clear sense that they are always having fun with each other. Tim initially assumes he's joking about the multi-generational family secret. He soon finds he is not, and wants to immediately travel back to clear up some social missteps that he had made that have been haunting him ever since. Tim possesses a certain charisma to him, which draws sympathy early on. His early social mishaps are painful to watch (like awkwardly avoiding the kiss at his family's New Years party), especially because he's a genuinely nice guy who simply lacks the moxie. His father asks him what he wants to use his ability for. There's an endless amount of morally questionable things he could do, but he simply wants the girl. He meets Mary (Rachel McAdams), who is insecure yet delightful. McAdams continues to prove that she's one of Hollywood's sweethearts, and really lights up this picture. And so the film plays out like a highlight reel of happiness with instant replay. The ability to correct life's worst moments, and possibly turn them into the greatest. And of course it's flawed; isn't EVERY time travel film flawed in one way or another? You have to let the imperfections go, and that's easy to do with this picture.

Before Sunrise

Richard Linklater, 1995

Can I Stream It?

4/5

Jesse (Ethan Hawke) is aboard a train on it's way to Vienna, Austria. When an argument erupts between a couple on the other end of the cart, Celine (Julie Delpy) decides to relocate. She happens to sit across from Jesse, who strikes up conversation. They feel the immediate connection together, and Celine decides to get off in Vienna so that they can spend the night together.

Linklater's first installment in what would eventually become the first of other "Before" films is a beautiful dialogue-filled picture focusing on the origin of love between two strangers. Two people from opposite sides of the world who encounter each other by chance on a train. The discomfort of hearing another couple fighting places them right next to each other almost like magnetic force. And so it plays out, like you're witness to the best first date ever. Charming American Jesse, who is a curious traveler with abstract ideas about things like life and death and the universe meets the naturally beautiful and warm Parisian Celine. There is a bit of a complimentary dynamic between the two. They walk the cobblestone streets of Vienna, sharing stories of their past and ideas about the future. They are truly living in the moment, both unsure of the future but knowing that there is something organic happening - even if it's for that one solitary night in Austria. And Austria is a kind city to them, letting them indulge as they glide through the night like its their personal playground. Poetry, music, mysticism fills the night air. As the night lingers on, they can feel the impending separation and it only feels more and more difficult. But what can they do about it, with the distance between them? He lives in America, and she lives in France. And while the clock ticks, the attraction emanates. Linklater's romantic drama really works, because it feels really authentic between Jesse and Celine. 

Y Tu Mama Tambien

Alfonso Cuaron, 2001


4/5

Set in Mexico, privileged teens Julio (Gael Garcia Bernal) and Tenoch (Diego Luna) encounter a beautiful older woman named Luisa (Maribel Vernu) at a prominent family wedding. They attempt to impress her by telling her their plans to travel to a faraway beach. When she surprises them by showing interest in tagging along with them, they scramble to put the trip together. Little do they realize the impact this road trip will have on the rest of their lives.

Alfonso Cuaron's coming-of-age, hormone-driven road-trip film runs on a much traveled road (no pun intended) but certainly takes its own original path. At times very raw and offensive, but also very authentic and honest. To simply call it a road trip film would be unfair. It's about life experience. Growth. Love. Being young. Living in the moment. Indulgence. Change. Consequences of past actions. The barren, destitute Mexican towns and villages give way to serene coastal views. The abandoned road-sides give way to sand-floor Cantinas. The run down motels give way to a welcoming tent on the white beach. Julio and Tenoch, moderately wide eyed and innocent, give way to experience and life lessons. Their relentless sex-drive is quite evident early on. In a way it could be the most exaggerated feature of the film, but its clear that it reinforces the overall theme. At times they come off as selfish and lazy, but there are snippets of generosity and kindness here and there (they never turn away a beggar or anyone holding a cup out). They are loyal friends, for the most part. They are young, thrill-seeking, and unaccountable. And then enters Luisa. They ascend on her at the family wedding like hungry wolves. When she jumps at the idea of going to the ocean with them, they are surprised. Little do they know she has her own agenda. But regardless, she becomes instrumental in changing them forever. Maribel Verdu brings a lot of vulnerability and experience to her performance.

The film has a memorable visual elements but also has a fitting score along with interesting narration peppered in throughout. Although there are hints of danger and political unrest in the film, Cuaron's Mexico appears to be actually quite kind. When there's a breakdown on the side of the road, there are helpful hands that will help tow via tractor. When the group sit down for a meal during their travels, there's less of an emphasis on monetizing and more of an emphasis on community and enjoyment. There's an obvious disparity of wealth, but there's no judgement present. The film has a story that grows and goes. And who knows, by the end of the trip maybe you'll be changed too.

Behind the Candelabra

Steven Soderburgh, 2013


3/5

Soderburgh creates a glittery performance-driven picture, one that not only showcases the talent of Liberace the beloved American performer but also a figure who was very human - at times flawed and tempestuous. When the stage lights were on, the applause was loud. But when the curtains were closed, you see that the Liberace world was not all glamour. The qualities you see in Liberace's romantic life are qualities seen in any flawed relationship. Jealousy, manipulation, ego getting in the way. Unfortunately he lived in a place and time where he was bound to secrecy, fearing that if his sexuality was exposed it would be the end of his career. This of course would have elements that would spill into his relationships. His relationships would appear to be quite cyclical, when he's introduced to the new boy you can certainly see his past standing on the other side of the room.

Scott Thorson (Matt Damon) clearly comes off as a sympathetic figure in the film. Having to endure a turbulent upbringing, he's introduced to Lee and basically forced into a relationship with him. He's promised wealth and security. He later finds that those benefits will come at a high price. He finds he's also living in a world where he's not alone with Lee. There are many people the periphery - from managers, to assistants, to house staff. Soderburgh does a good job in pacing the genesis and the inevitable decay of the relationship. The arch of Scott's character feels quite authentic from the innocent eager-to-please young boy to the paranoid cocaine addict. 

Douglas gives one of the best performances of his career. Hopefully this does not overshadow Damon's performance because that was probably AS good. The editing is quite impressive, given that you assume Michael Douglas cannot play piano that well. Luckily there were not any distracting close shots of a pair of hands clearly not his. At first it almost looked as if Douglas' head was unevenly placed on the actual piano player, but it soon dissolved. There are also some great performances by Rob Lowe (probably the funniest character he's played), Dan Akroyd and Bob Black. It's disappointing that Soderburgh could not get funding for the film from the major studios (they said it was "too gay"). HBO came to the rescue, but the struggle seemed to have pushed him into his much publicized film sabbatical with a bad taste in his mouth. It should ultimately prove once again that we are now in a world where big-budget theatrical distribution is not the only release channel and there are now many avenues where a film can still be seen by many.

Elizabethtown

Cameron Crowe, 2005

(REWATCHED)

3/5

Drew Baylor is a shoe designer who is feeling the guilt of a huge loss for his company. He assumes things can't get any worse for him, and then he receives a phone call from his sister telling him that his father died. He soon must travel to his father's hometown of Elizabethtown as the family comes together for the funeral. 

People over the years have horribly criticized Elizabethtown. And unfairly. Anyone who is a fan of Cameron Crowe's work can feel his presence in this. He's there. It's just that there's too much of him there. It's unfair to just completely dismiss Elizabethtown as a mess. It's not a mess. There's just TOO MUCH going on. Cameron Crowe obviously had a lot to say. But this should have been two movies. Maybe three. The story of losing his father, and returning home to Elizabeth. One film. And I know, Garden State. But Crowe would have executed that better than Zach Braff. Him meeting Claire on an airplane? It's a great story, it really is. But thats another film. Both stories were conflicting. They didn't blend well and didn't play nice with each other. It's a shame, because some of the scenes in this film feel so real. The late night phone conversation with Claire. The chaos of the cousins screaming in the tight house. The forced neurotic distractions by his mother. At times the characters in the film do feel like caricatures, but they are still placed in very real moments.

Too much teasing. By the time the funeral scene rolled around, Claire should have been pregnant. "I Like You" – they should have been and were in love at that point. Orlando Bloom is engaging, it's just a shame that Crowe over-used him. Transitional shots of him dancing on an iron bridge, aimlessly pacing through his hotel room. Let him play to his strengths. Let the story breathe. His character was complex, and a lot of the time you could just see it on his face.

The roadtrip scene in the final act is the dagger in the heart of Elizabethtown. The intended emotion to that chapter is lost because you are still feeling (or should be) the effects of the funeral. Instead of the film ending at the funeral, you now have to get in a car with Drew for 42 hours. In the end, it's probably a film that probably looked so good on paper. It has all of the qualities of a Cameron Crowe film. Great music, real love, real emotion. Unfortunately it was just scattered all over the place. Maybe the editor is to blame. Maybe its Crowe. Either way, there should have been meetings about this. There is the real possibility that Cameron Crowe could have had two great films here, instead he had one OKAY one.

Casablanca

Michael Curtiz, 1943

4/5

What is immediately evident in this film is the attention to detail in set design, lighting, sound & editing. Beautiful scenery such as the nightclub, or the opening scene in the Casablanca marketplace. The tricks they play with shadows is impressive, and of course the piano playing by Dooley Smith in the background greatly contributed to the romantic feel of the film. Humphrey Bogart is the epitome of cool. Ingrid Bergman is magnetic, and the love between them feels natural.