Movie Loner

Toni Collette is one of those actresses who seems to perpetually fly under the radar. Even after playing a major role in The Sixth Sense back in 1999 – which earned her an Oscar nomination – she never really became a household name. Much of this is probably of her own doing. Staying out of the spotlight does have its advantages. However, after delivering strong performances in films like Little Miss Sunshine, The Night Listener and The Dead Girl, Collette is deserving of more recognition. I dislike throwing around words like “brave” to describe actors, but it’s an appropriate word to describe Collette’s style and choices. One of her best, and my personal favorite, was in the little seen Japanese Story.

Collette plays Sandy, an Australian geologist with a gruff personality. So, when she’s pegged to chaperon a Japanese businessman named Hiromitsu around the outback, she’s none too pleased. The language barrier is the least of their problems. Hiromitsu’s penchant to ignore her while dragging her across the expansive desert snapping photos, rubs Sandy the wrong way. After their jeep bogs down, the tension between the two increases. Yelling and screaming gives way to them working together to free their trapped vehicle. What ensues is a fascinating explorations into an unlikely relationship. Friendship gradually morphs into romance, as Sandy and Hiromitsu discover that loneliness is one trait that bonds us all.

Director Sue Brooks and writer Alison Tilson weave together a poetic and powerful story. What begins as a standard opposites attract story becomes something very different. The emotions are pure as both characters come to to realize they can learn much from each other. The script could have easily taken a wrong turn on many occasions, but it stays the course throughout. Preconceived prejudices and notions about women and Japanese culture are blown wide open. The evolution of Sandy and Hiromitsu’s coupling may appear illogical on the surface, but upon closer examination, it’s very natural. Removed from the hectic pressures of their daily lives allows them to do what has been lacking most. To relax, laugh and appreciate all the beauty nature has to offer.

Collette gives the performance of her career as Sandy. She fully commits to the role and never misses a beat. Watching her succumb to passion in a gentle, caring way is a wonder. In addition, Gotaro Tsunashima holds his own in his portrayal of Hiromitsu. A quiet, reserved persona who closely checks his emotions isn’t easy to play. They are normally positioned to be unlikable and therefore come across as one note and vapid. Credit Alison Tilson for crafting a multi-leveled character and Tsunashima for being able to garner empathy and sympathy. Japanese Story is a precisely paced, unpredictable narrative. If you’re not familiar with Toni Collette’s career, this film would provide a fine introduction to her talents.

No Comments »

The older I get the more I can appreciate teen angst movies. It would be easy to dismiss them as being whiny, melodramatic bore-fests, but that would be unfair to those that get it right. When a filmmaker chooses young love as his/her subject, they are immediately opening themselves up to severe criticism. The finger wagging reviewers will crawl out from under their judgmental covers eager to dissect a weak or tiresome plot.

The ’80s set the standard for the teen love story genre. Movies such as Say Anything, Pretty in Pink and Some Kind of Wonderful separated themselves from a large pack of lesser films. If you’re going to venture into this territory, you better have something original to say or at the very least offer a new perspective on a subject that has been attacked from every possible angle. Writer/Director Todd Kessler rolled the dice last year and came up seven with Keith, a nuanced high school romance that manages to surprise.

17-year-old Natalie (Elisabeth Harnois) is on the fast track to college. She’s smart, popular, excels at tennis and just landed a dreamy new boyfriend from South America. She’s got it all. That is until her new chemistry lab partner, Keith, turns her world upside down. Keith isn’t part of Natalie’s clique. He’s the quintessential loner with a yellow truck as his only friend. His eccentric behavior intrigues Natalie. Her feelings for him deepen the more time they spend together. But Keith isn’t Mr. Perfect. He suffers erratic mood swings and goes MIA from school for days on end. His strange ways send Natalie into an emotional tizzy, one that threatens her by-the-books lifestyle. Keith is hiding something from Natalie. Will the truth destroy their relationship?

The survival of any film in this genre is dependent on the performances of the two leads. Both Elisabeth Harnois and Jesse McCartney stand out. Harnois, in particular, is quite convincing. Her transformation from stable do-gooder to rebellious wreck is the film’s strongest attribute. McCartney sells the Jesse character well. It’s not easy to figure him out, which is precisely why Natalie is drawn to him. Unlike everything else in her life, Keith is unpredictable. He represents something lacking in Natalie’s safe little world. Mystery. For once, she follows her heart and embraces the direction it takes her, no matter how painful it might be.

Todd Kessler – known for kiddie fare like Blues Clues – treads some serious ground and does so with care. It’s important in teen love tales to never forget the voice of your characters. They aren’t 25 or 30, they’re 17. Their actions and behavior should reflect that of a teenager ill-equipped to handle feelings foreign to them. Too often writers make the mistake of writing in an older voice, which is a surefire way to ruin a movie. Watching actors act appropriately immature is evidence the writing and directing are on point. Kessler gets this and it’s the main reason why Keith works. The story doesn’t break any new ground, but it’s a credible departure from the glut of teen dramedies that fail to capture true emotions.

No Comments »

Whatever happened to the good old fashioned mystery? It’s a genre that has been severely lacking in recent years. Movies like Eagle Eye and Deja Vu masquerade as mysteries, but ultimately they fail to achieve the standards of a true whodunit. I guess they deserve credit for trying, although being loud and intense can’t substitute for a well-written script and clever plotting. When I think of quality mysteries, films like All the President’s Men and The Conversation come to mind. It seems no one is willing or capable of producing intelligent, high quality stories on the same level as those seminal masterpieces. Well, at least not in Hollywood. The best mystery I’ve seen in years comes from France. It’s called Tell No One and it takes you on one helluva ride.

Eight years ago, Alexandre Beck’s wife Margot was murdered near a lake in the woods. Alexandre has never fully recovered from the tragedy, so when he receives an anonymous email from who be believes is Margot, his suspicions are raised. The discovery of two bodies buried near where Margot was found dead further enhances Alexandre’s assertion Margot may still be alive. The police re-open the case, but just like eight years before, their leading suspect is Alexandre. While attempting to clear his name and uncover the truth, Alexandre is framed for murder and pursued by an unknown group who have a keen interest in whether or not Margot is in fact dead. What follows is a complex game of cat and mouse that will open a vault filled with secrets, lies and betrayal.

Writer/Director Guillaume Canet unravels a detailed plot that will keep you guessing throughout. He puts the audience directly in the shoes of Alexandre. We know what he knows. There is no spoon-feeding of clues or misplaced hints along the way. Alexandre must learn to adapt on the fly and improvise during several perilous situations. The mild-mannered pediatrician is forced to get his hands dirty in order to save himself. His actions may seem unrealistic at points, but they are completely justifiable when the magnitude of the conspiracy is taken into account. The survival instinct takes control when backed into a corner. Canet gives his protagonist an appropriate amount of leeway to find the answers he seeks. This vivid exploration into man’s capabilities when properly pushed is what makes the film resonate.

The pacing resembles The Fugitive. Canet accelerates the action with a heart-pounding foot chase sequence that rivals those from The Firm and Casino Royale. The violence is sharp and brutal but isn’t glorified or celebrated. Canet’s camera is a steady observer; it has a story to tell, but only through the eyes of Alexandre. It captures the bucolic countryside and congested streets from a distance, never venturing too close, reminding us their is something hidden we cannot yet see. Be it an empty wooden dock or a crowded public park, the feeling that someone else is watching is impossible to shake. It adds discomfort to an already unnerving film.

Music proves integral as well. U2’s “With or Without You” serves as a critical plot device, and a beautiful montage set to Jeff Buckley’s haunting cover of “Lilac Wine” provides a glimpse into Alexandre’s tortured soul. An excellent cast is anchored by Francois Cluzet and Kristen Scott Thomas. Cluzet plays Alexandre as angry and confused; it’s difficult not to root for a character who must endure such feats. Scott Thomas is stalwart as usual as Helene, Alexandre’s sole friend and confidante. My only quibble with Tell No One is the lengthy end scene that explains all. It came off as slightly pedantic and too convenient for such an enigmatic story. However, it’s nowhere near enough to spoil a truly great mystery. I suggest you tell everyone about Tell No One.

No Comments »

In 1993, Writer/Director Victor Nunez made a film called Ruby in Paradise. The movie put a young actress named Ashley Judd on the Hollywood map and resurrected Nunez from his nine year absence from filmmaking. Judd gave a wonderfully nuanced performance in playing a young woman looking to find her way after leaving an abusive relationship. It was one of the first films I can remember with a female protagonist not involving prostitution or gunplay. To see a woman struggling with her own insecurities and attempting to define herself without a man in her life was a revelation for me. Nunez crafted a memorable character to tell a very intimate story. I was reminded of Ruby in Paradise while watching Somersault, a little seen Australian movie with a similar plot.

Fifteen-year old Heidi runs away from home after being caught making a move on her mother’s boyfriend. Without a plan, she hops a bus to the Snowy River ski resort. A brief interlude with a random guy leads nowhere, so she decides to look for a job. She lands a gig at a local convenience store and begins dating a soft-spoken fella named Joe. Making friends proves difficult for Heidi. Her people skills leave something to be desired, as do her capabilities to handle grown-up emotions such as love. Not to be outdone, Joe is struggling with an identity crisis which causes him to rethink his relationship with Heidi. Facing rejection, Heidi resorts to some dangerous behavior that will threaten her future in Snowy River.

Twenty-six year old Writer/Director Cate Shortland made her feature-length debut with this intelligent coming-of-age story. She steers clear of melodrama and instead sticks to a script devoid of cliches. To be honest, I was waiting for a suicide attempt or some type of horrific accident that would have screamed daytime soap opera. Thankfully, Shortland keeps her characters grounded and their actions age appropriate. Sure they do some stupid things, but not in a self-destructive manner. Ultimately, Heidi and Joe are in search of happiness. To achieve maturity one must make mistakes; Shortland reflects this truism in her polished writing. She also keeps her camera close to capture the coy smiles and tears of loneliness.

Abbie Cornish is convincing in her portrayal of Heidi. Her external innocence masks an impending sexual awakening. Watching her clumsily practice her feminine wiles on the opposite sex is very comical. Sam Worthington’s performance as Joe is equally good. The range of emotions he must cover is vast and complex. The typical “boyfriend” character is often underwritten, but Shortland deserves extra praise for allowing Joe to take on a significant role. Shortland has been quiet since Somersault, but her talents are undeniable. Securing funding for independent foreign filmmakers can be an arduous process. Here’s hoping she finds a windfall and gets back behind the camera sooner rather than later.

No Comments »

I’ve been a Richard Jenkins fan since 1996’s Flirting With Disaster. He played a gay FBI agent in David O. Russell’s oddball comedy, and with assistance from Josh Brolin, stole the movie. The quintessential character actor, Jenkins landed perhaps his meatiest role in HBO’s Six Feet Under, playing the dead patriarch of the Fisher family. It doesn’t seem like Jenkins has trouble finding work; IMDB lists five upcoming films over the next two years. Most movie-goers likely didn’t learn about him until his Best Actor Oscar nomination for The Visitor. His compelling performance isn’t the only reason to see this little seen gem from 2007.

Jenkins plays Professor Walter Vale, a lonely widower teaching at a Connecticut University. Set in his ways, Walter isn’t too fond of venturing outside his comfort zone. This all changes after he’s sent to New York City to present a paper he co-authored. Upon arriving at his seldom used Big Apple apartment, he discovers the place has been rented to an illegal immigrant young couple, Tarek and Zainab. Once the situation is cleared up, Tarek and Zainab pack their bags and bolt. Feeling guilty for giving them the boot, Walter invites them back to stay until they find other arrangements.

Walter and Tarek soon form an unlikely bond, as Tarek teaches Walter to play the drums. The good times come to an abrupt end once Tarek is incarcerated by Immigration and held in a Brooklyn detention center. Tarek’s mother Mouna arrives to help her imprisoned son. Walter takes an immediate liking to her as they attempt to free Tarek before he’s deported to Syria. His romantic feelings for Mouna contrast with his growing rage over the treatment of his friend. Helpless to do anything, Walter must come to terms with the real injustices of life.

Writer/Director Tom McCarthy creates a nuanced story chock-full of real emotion. Walter has been sleepwalking all his days until he comes face-to-face with friendship and love. The suddenness in which life can change is the real lesson here. The paths of McCarthy’s characters are altered significantly throughout the film. His choices for Walter, Tarek and Mouna all ring true as he wisely eschews the standard conventions of Hollywood drama. McCarthy could have gone several different directions with the plot. He chose the one that makes the most sense. It may not include the happy ending audiences seek, but it is the correct conclusion to a very sad, yet enlightening movie.

Jenkins is perfectly cast as Walter. As staid as he appears, it is his willingness and eagerness to broaden his horizons that make him so appealing. Character evolution is vital in personal dramas and Walter’s evolution is one to behold and admire. Haaz Sleiman as Tarek and Hiam Abbass as Mouna provide excellent support. Watching the free-spirited Tarek unravel behind bars is frustrating and uncomfortable. Abbass plays Mouna as a reserved, together woman who will sacrifice herself completely for her son. The unconditional love she displays is incredibly endearing. The Visitor is another exceptional film that eluded audiences two years ago. Make right a wrong and see this powerful story of love and loss.

No Comments »

Horror movies – for the most part – are unoriginal. It’s not that filmmakers don’t make an effort to put a different spin on the genre, it’s just a chore to invent a new way to tell the same story. This is especially true when it comes to vampire flicks. You can make them young, like Twilight, or ancient, like Interview With the Vampire. You could go old school an repackage Bram Stoker, or new school like the Underworld movies. Making matters worse is the unbelievable popularity of vampire films. It’s great for box office, but challenging for writers searching for a fresh way to sell a bloodsucker script. 30 Days of Night is far from obscure, but it did slip out of theaters sooner than it should have. It stands out from the average vampire tale by taking advantage of a clever premise.

Welcome to Barrow, Alaska. A tiny northern hamlet located on the Arctic Circle. A month of darkness is descending on the town, forcing most of the residents to relocate. Before Sheriff Eben Oleson and his estranged wife Stella can leave, a stranger arrives, warning them someone is coming. As night falls, odd occurrences begin to plague the remaining townspeople. Dogs are killed and the power is cutoff. Someone has indeed arrived. That someone is a clan of blood hungry vampires. Let the feast commence! Eben, Stella and a small group of survivors seek shelter inside the attic of a house. Meanwhile, the remaining folk are slaughtered and eaten by the merciless gang of vamps. After weeks in hiding, the survivors venture outside to gather supplies. The blood suckers eagerly await a fresh meal. What follows is a human versus undead showdown that will leave few standing.

Sure, it’s another Night of the Living Dead clone, but the unique concept keeps things entertaining. Director David Slade doesn’t get cute. The amount of be-headings and gore will satisfy the most critical vampire aficionado. The movie isn’t particularly scary, but it does feature a fair share of suspense. Will anyone get out alive? Can they hold on until the sun rises? The twist ending fits well within the context of the story and seems plausible considering the nature of the genre. The vamps aren’t given much of a personality: they speak in a foreign tongue and their origin is a mystery. Where did they come from? How did they find out about the 30 days of darkness? It doesn’t really matter, but it would have made the story more interesting. As is, it’s your typical “vampires are here to destroy the world” plotline.

Josh Hartnett and Melissa George play the leads. They share some chemistry but not knowing the background of their marital difficulties makes them somewhat unsympathetic. I’d like to care more about them and their plight, but the characters are a little thin. But most of us don’t watch these kinds of films for in-depth characterizations. It’s all about action and blood. 30 Days of Night scores a bulls-eye in those departments. So, if you’ve been craving a good vampire movie with a different spin, 30 Days of Night should quell your longings.

The trailer for 30 Days of Night:

No Comments »

Does the name Jamie Bell sound familiar? If it doesn’t, it will very soon. Bell – at the tender age of 22 – has begun to carve a niche for himself in acting circles. His big screen debut was the Oscar nominated feel-good movie Billy Elliot, which provided a great showcase for the then teen actor to display his obvious talent. I first noticed Bell in 2004’s Undertow and a year later in the surprisingly good, albeit oddly titled, The Chumscrubber. His range of emotion and ability to dominate scenes was impressive. Recently Bell has tried his hat at mainstream fare such as King Kong and Jumper. The latter film was made watchable by his presence alone. One of the best performances of his young career was in the seldom seen Mister Foe, a nifty little thriller about letting go of adolescence.

Bell plays Hallam Foe, a Scottish teen living in self-imposed isolation since his mother’s suicide two years earlier. Hallam spends most of days in his wooded tree-house, obsessing over his mother and spying on everything and everyone. His most frequent spy subject is his stepmother Verity (Claire Forlani), who he believes killed his mother. Hallam has no desire to vacate his estate home, but a close encounter with Verity forces his hand. The odd youth moves his voyeuristic games to the big city where he takes to following Kate (Sophia Myles), a human resources worker who happens to be a dead-ringer for his deceased mother. After charming Kate into giving him a dishwasher job, Hallam makes her the new object of his affections and weirdness. A friendship develops as Kate declares her fondness for “creepy guys.” Hallam soon finds himself embroiled in an Oedipal relationship with the alluring Kate, which opens a vein of emotions and feelings never felt before.

Sexy, strange and warped best describe this dark but humorous story. Hallam’s lack of normalcy makes him a compelling lead character. His unpredictable behavioral patterns keeps a thin plot interesting, if not always believable. Myles is convincing as the wounded Kate, but the lack of glimpses into her past makes her character somewhat frustrating. Why is she drawn to Hallam? What in her history allows her to relate to Hallam’s peculiarities? Director David Mackenzie goes for shock value without providing adequate explanation. A few scenes of exposition would have gone a long way to better understanding the characters’ actions and motivations. That being said, Mackenzie’s fearless style fits the film perfectly as does his ability to capture sentiment. Extracting empathy from an audience can be a chore, but Mackenzie pulls it off without resorting to cliches.

Back to Bell. He brings a level of likability to weirdo Hallam. It would have been easy to dismiss the character after the twenty minutes, but Bell adds humor and charisma. Hallam’s issues are serious, however, it’s difficult not to root for the kid. It’s also refreshing to see Forlani play a femme fatale-ish type; she’s normally reserved to more demure, romantic roles. Myles is quite the find as well. She possesses a natural beauty that is rare in movies today. I’ve never seen her before, but I will look for her in the future. Lastly, a modern Euro soundtrack featuring “Hood,” “Sons and Daughters,” “Clinic,” and “U.N.P.O.C.”, complements the proceedings very effectively. Mister Foe isn’t without flaws, but it is intriguing and unusual. That should be enough to pique your interest.

The trailer for Mister Foe:

No Comments »

Often times the simplest of stories make the best movies. You don’t need layers of subtext or elaborate plot devices to construct a moving or memorable film. All it takes is a little humanity and some very sound acting to create an enjoyable experience. It’s sometimes easy to forget among all the special effects and big budgets, that movies – for the most part – have always been about people and the trials and tribulations they face on a daily basis. When it comes right down to it, the movies that have affected me are the ones that provoke me to think about myself, but more importantly, others. My Best Friend is a simple story about something we all have a tendency to take for granted: Friendship.

Francois Coste (Daniel Auteuil) is a successful antique dealer with zero friends. His selfish attitude and abrasive social skills aren’t very attractive qualities. Francois insists he has many friends but his business partner Catherine refuses to believe him, so she wagers Francois that he cannot produce a “best friend” in the next ten days. The stubborn Francois accepts the challenge and embarks on a mission to locate a companion, any companion. Helping him in his search is Bruno (Dany Boon), a good-natured taxi driver obsessed with trivia. Bruno attempts to instruct the oblivious Francois in the art of meeting people, but Francois fails to grasp the concept. As their time together increases, a friendship begins to form. But Francois’ determination to win his wager with Catherine threatens his budding relationship with Bruno. Francois soon learns that using someone for personal gain is no way to treat a friend.

The entire film has A Christmas Carol feel to it with Francois as Scrooge and Bruno playing the role of Bob Cratchit. Catherine could be considered a Jacob Marley type figure, warning Francois that he needs to change his ways or risk being alone. Unlike ol’ Ebenezer, Francois isn’t mean, he’s just indifferent. Material things are his real “friends,” but he seems painfully naive to this truth. Bruno shares not only his time but also his trust. However, the notion of giving something other than money to another person is lost on Francois. His stunted social graces make him both sad and comical. His own daughter’s refusal to acknowledge him as her father sounds an alarm, but he has no idea how to respond. In his journey to find another, he must also find himself. For Francois, redemption can only come from within.

Writer/Director Patrice Leconte hands the reigns of this endearing story over to his actors. Daniel Auteuil and Dany Boon both deliver strong performances. Auteuil, one of France’s best actors, continues to display an uncanny versatility: I’ve seen him play a ruthless con-artist, a paranoid family man and now a likable ass. He plays a perfect comic foil to Dany Boon’s straight man. Speaking of Boon, he shines in his portrayal of the lonely Bruno, a decent man with a melancholy past. My Best Friend is the exact type of movie that is easily overlooked by mainstream audiences. It doesn’t have big stars or a headline grabbing hook, which is probably why I enjoyed it so much. Seek it out if you’re a fan of little films with big hearts.

The trailer for My Best Friend:

No Comments »