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 »

I know I’m old when the ’90s start getting the nostalgic treatment on film. The 1990s, really? Ah, it was bound to happen. Since the first decade of the 21st century is coming to a quick end, I guess this is as good a time as any to begin looking back at the last decade of the 20th century. The nineties were a groundswell for pop culture. Music, television, movies and the Internet broke loads of new ground. Hip-hop slid into the mainstream, grunge came and went, Tarantino became a household name and the war between PCs and Apple kicked off. Time to take a trip back to 1994, when Biggie was alive and heavy metal was dead. Let’s experience The Wackness.

It’s the summer of ‘94 in New York City. Recent high school grad Luke Shapiro has no friends, but he does have a profitable marijuana selling business. He also gets free therapy from Dr. Jeff Squires (Ben Kingsley) in exchange for some of his stash. Dr. Jeff attempts to help Luke with his problems, in particular, those of the female variety. Luke’s crush happens to be Jeff’s stepdaughter Stephanie, who has Luke locked in the friend zone. Poor Luke can’t help himself though. His obsession with Stephanie heightens once the two start hanging out together. A bored Stephanie gives in to Luke’s desires, which results in him mistaking a summer fling for true love. As the summer winds down, Luke must pick up the pieces of his crumbling life.

The months between the end of high school and the next phase of life has always been common fodder for screenwriters and filmmakers. Writer/Director Jonathan Levine accurately captures the freedom and fear of this time. Luke is symbolic of all teens in that he is about to embark on his personal journey, but lacks the social skills required to handle life on his own. He has no understanding of love and friendship, nor should he at age 18. By contrast, Jeff is an adult who never really grew up. He can’t identify with his wife, which is why their marriage is failing. His relationship with Luke is his most stable, although it could be construed as somewhat pathetic that a 50-year-old hippie is pals with an 18-year-old loner.

Kingsley is amazing in his portrayal of Squires. Watching the guy who played Gandhi take bong hits and screw a young girl in a phone booth is quite a departure, but Kingsley pulls it off with gusto. I find it refreshing to see an actor having fun with a role and Kingsley clearly seems to be enjoying himself throughout. Josh Peck isn’t in the league of Kingsley, but he holds his own as Luke. His misguided romantic endeavors are something all guys who’ve ever had their heart stomped on can relate to. The Wackness slipped in and out of theaters briskly last year. It deserves a watch, especially if you’re a thirty-something like me who remembers the ’90s fondly.

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 »