Jon Favreau wanted his Christmas comedy Elf to become a Christmas classic.
Actually I’m kind of surprised it hasn’t yet. It has all the elements needed to
establish it firmly in the canon. The reason I say Favreau wanted that is
because it looks like he went out of his way to give it the look and feel of
other classic holiday fare from both film and television. In this unusual and
often uproarious story of a human raised by North Pole elves who goes to New
York City seeking out his real father, Favreau’s direction keeps the comedy
coming at consistent intervals while also injecting the right amount of
sentiment. He never pushes the sappy stuff too hard, but it’s strong enough to
give you a good feeling. David Berenbaum’s screenplay deserves credit for the
straightforward plotting, some damn good jokes and an appropriate level of
holiday spiritedness.
A blog mostly dedicated to cinema (including both new and old film reviews; commentary; and as the URL suggests - movie lists, although it has been lacking in this area to be honest), but on occasion touching on other areas of personal interest to me.
Showing posts with label Mary Steenburgen. Show all posts
Showing posts with label Mary Steenburgen. Show all posts
Saturday, December 24, 2011
Wednesday, May 26, 2010
Classic Movie Review: Woody Allen's A Midsummer Night's Sex Comedy
“The course of true love never did run smooth.” – Lysander in William Shakespeare’s A Midsummer Night’s Dream.
And nor does this film.
Woody Allen’s 1982 film A Midsummer Night’s Sex Comedy is one of the lesser films in the Allen oeuvre. It carries through most of the major themese that have captured his attention throughout his career: marriage; love; infidelity; the inexplicability of attraction and lust. But this time they are manifested in a rather unique approach.
The usual pantheon of Allen characters is represented, to be sure. Allen himself plays Andrew, another version of the nebbish; Mia Farrow (making her first of 11 appearances in a Woody Allen film) is Ariel, the highly desirable woman; Mary Steenburgen is Adrian, the potentially jilted wife; Tony Roberts is Max, the lecherous best friend; Julie Haggerty is Dulcy, the nymphet; and the great José Ferrer is Leopold (such a bold name for a bold part), the pragmatic intellectual. But what’s unique is the setting of a country house in the late 20th century and the adhesion to metaphysics and mystical happenings.
And nor does this film.
Woody Allen’s 1982 film A Midsummer Night’s Sex Comedy is one of the lesser films in the Allen oeuvre. It carries through most of the major themese that have captured his attention throughout his career: marriage; love; infidelity; the inexplicability of attraction and lust. But this time they are manifested in a rather unique approach.
The usual pantheon of Allen characters is represented, to be sure. Allen himself plays Andrew, another version of the nebbish; Mia Farrow (making her first of 11 appearances in a Woody Allen film) is Ariel, the highly desirable woman; Mary Steenburgen is Adrian, the potentially jilted wife; Tony Roberts is Max, the lecherous best friend; Julie Haggerty is Dulcy, the nymphet; and the great José Ferrer is Leopold (such a bold name for a bold part), the pragmatic intellectual. But what’s unique is the setting of a country house in the late 20th century and the adhesion to metaphysics and mystical happenings.
Subscribe to:
Posts (Atom)
97th Academy Awards nomination predictions
Best Picture Anora The Brutalist A Complete Unknown Conclave Dune: Part Two Emilia Pérez A Real Pain Sing Sing The Substance Wicked Best Dir...
-
This film will open commercially in the United States on 22 April 2011. Immediately after being born, an infant child is tattooed ...
-
The financial crisis that started in 2008 is far too complicated to explain in one 2 hour dramatic film. The experts on the subject can h...
-
Wes Anderson’s filmmaking style has evolved over the years to such extremes of whimsical fantasy that to revisit his second feature, 1998...