From My Collection: Brokeback Mountain Movie Review

I read “The New Yorker” magazine with some regularity. Each issue has a short story included that I usually start, but don’t finish. They rarely grab hold of me. But I went back and took a look at E. Annie Proulx’s “Brokeback Mountain” which first appeared in October 1997. It is an absolutely brilliant example of economy of story and character development. She squeezes more information into a single line of dialogue than other writers can get onto a page and fifty times the words. She won an O. Henry award for the story.

Oz the Great and Powerful Movie Review

Remember when the great advance in film technology was having animated characters interact with human actors? From the simplistic designs of Mary Poppins to the sophisticated effects of Who Framed Roger Rabbit the union of live action and animation was a marvel used sparingly. Today we have Oz the Great and Powerful which is a demonstration of what happens when that technology runs amok.

Take This Waltz Movie Review

“New things get old.” So says an older woman to a group of younger women in Sarah Polley’s second directorial feature, Take This Waltz. The scene has three younger women showering, their bodies in full view of the camera, alongside a group of older women for whom time has quite clearly caught up with their bodies, wrinkled and sagging as they are. Yes, new things get old, whether we’re talking about the supple physical beauty of youth or a husband after five years of marriage. One of those young women needs to keep this refrain in mind as she considers an affair with a neighbor.

My Week With Marilyn Movie Review

Has there ever been a movie star like Marilyn Monroe? My lifetime doesn’t come anywhere close to any time that she was alive so it’s hard to fully understand the attention that she drew and the madness of her celebrity. All I know is what’s been written about those times and what little I’ve seen of documentary footage of her in crowds. Is it anything like the fervor exhibited over a sighting of Leo, George or Brad? I think there’s a great difference between the way we viewed celebrities then and now. The rarity of bearing witness to something in the private life of a celebrity then is nothing compared to the ubiquity of celebrity gossip, sightings, paparazzi photos and such today. We didn’t know (or feel like we know) celebrities then like we do now. Marilyn’s popularity, however, was about much more than public interest in a movie star. She had qualities most women would have died for: she was beautiful, voluptuous, dazzling, sexy and sultry. She was a true classic star, a fact that Simon Curtis’s debut feature My Week With Marilyn is acutely aware of.

Blue Valentine Movie Review: Scenes from a Marriage

Derek Cianfrance’s indie film Blue Valentine is a portrait of a disintegrating relationship. It has scenes of great emotional devastation anchored by two outstanding performances by Michelle Williams (recently Oscar nominated for her role) and Ryan Gosling as Cindy and Dean, a young married couple who have lost a bit of passion, to put it mildly.

The film alternates between two time periods. There is the present day period in which Cindy and Dean have a 5-year-old daughter, Frankie, and Cindy seems to barely tolerate Dean, who appears to be walking a very thin line between antagonizing his wife and simply trying to figure out how to live with a crumbling marriage. The other period is the beginning of their relationship, from their meeting to their wedding (which is hastily arranged and takes place within weeks of their meeting).

Martin Scorsese's Shutter Island Movie Review

It’s hard to avoid seeing the parallels between Shutter Island and Inception, Leonardo DiCaprio’s two films from this year. Both deal heavily with illusion versus reality and the way we perceive the world. They both deal with madness, the former more than the latter. In both films the driving force behind DiCaprio’s characters’ actions is the tragic loss of his wife. And the soundtracks of both films are characterized by the droning sound of low horns in the orchestra, which in this film is a reminder of a ship’s foghorn. Although the two films have similarities in their subject matter, they could hardly be more different in terms of tone and directorial approach.

Mammoth Movie Review

Swedish director Lukas Moodysson makes films about the ways people need each other. His newest film, Mammoth, is more specifically about the ways children and parents need each other. Here is a director who is comfortable with vastly different tones while maintaining a similar approach and style. This isn’t as joyous and celebratory as Together and certainly not the depressing nihilism of Lilya 4-Ever, but it falls somewhere in between.

There is something of an Alejandro González Iñárritu influence here, with interconnected action that takes place in three places around the world (New York, Thailand, The Philippines). The casting of Gael García Bernal (star of Iñárritu’s Amores Perros) is perhaps an homage to that influence. Mammoth doesn’t have the heavy-handed serendipity found in the films of Iñárritu, but deals with the interconnectedness of the characters in a more restrained and natural way.