Movie Loner

I very rarely use the word “beautiful” to describe a film. Perhaps I’ve seen too many movies in my 36 years. Maybe I’ve become jaded after enduring a glut of disappointments and disasters. Well, once in a while I am completely taken by surprise and see a movie that reaffirms my belief in the medium I love so much. All it takes is a little ingenuity and a lot of heart. You can tell when a filmmaker is passionate about his/her project and not just going through the motions to land a fat paycheck. Writer/Director Sean Ellis turned his 2004 short Cashback into a feature in 2006. In doing so, he created a beautiful film with a beautiful sentiment.

Art School dropout Ben Willis just dumped his girlfriend Suzy. The fact that Suzy moves on so quickly isn’t sitting well with Ben. He has contracted a severe case of insomnia. His inability to fall asleep leads to a nightshift job at a local supermarket. The clock moves slow in the wee hours of the night, but Ben has a unique way of dealing with it: He freezes time. This odd trick of the imagination allows him to study the female form up close and personal. His latest object of desire is a sweet checkout girl named Sharon, who dreams of traveling to foreign lands. She and Ben form an immediate bond. Ben’s initial fascination leads to a crush. He wishes to bring Sharon into his frozen world and share the artistry that only he can see. However, a surprise encounter with ex-girl Suzy could ruin his relationship with Sharon before it gets started.

I’ve seen more than my share of movies about young love. Most fall somewhere between awful and tedious. Cashback separates itself from the rest by being original and offbeat. Sean Ellis conducts a symphony of sumptuous images aided by an ethereal soundtrack. Watching Ben navigate his static existence in silence, save his poetic narration, is spellbinding. It might appear gimmicky at first glance, but Ellis wisely limits the sessions, which adds to their effectiveness. Ben is not your typical lovelorn sap pining away for some unattainable goddess. He is circumspect and mature; a true romantic who appreciates everything about women – especially their innate beauty.

Sharon’s significance to Ben is twofold: she is the target of his affections, but also a muse for his art. Ben sees her completely. He imagines her in a sexual fantasy, but admires her ambition to travel to South America. She is the definition of a “true love” type figure and therefore represents something that none of the women from Ben’s past has. His feelings for her are a departure from the control he possesses within his frozen world. There, he can position his models as he sees fit, as if pieces on a chess board. In the real world, this is an impossibility. Fear, insecurity and jealousy dominate reality. These emotions cannot be halted or eradicated. Life and love cannot be put on pause. But if we take the time to notice the beauty that surrounds us, life can be much more pleasurable.

Sean Biggerstaff’s portrayal of Ben is quite compelling. He brings a natural charm to the character. one could label label Ben as a creep, but Biggerstaff sells him as an eccentric who marches to his own beat. A colorful cast of supermarket co-workers provide plenty of laughs to an otherwise serious story. Stuart Goodwin is especially memorable playing Ben’s lascivious boss, Mr. Jenkins. As I stated before, movies detailing the angst of young love are a dime a dozen. Most inevitably fall short of capturing the real emotion all of us have encountered. Count Cashback among the select few that get it right. Also be on the lookout for Sean Ellis, a gifted filmmaker with a promising future.

The trailer for Cashback:

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I’m always amazed at the subjects that make for interesting documentaries. On first thought, an expose on a video game popularized during the 1980s wouldn’t seem to be compelling fodder for a film. Sure, video games have become a permanent part of the pop culture lexicon, but watching introverted nerds play with their joysticks isn’t my idea of fun. That being said, I’m glad I’m not a closed-minded person unwilling to sample movies outside my wheelhouse, because Seth Gordon’s The King of Kong is one helluva documentary. It has drama, intrigue, humor and yes, I’m not joking, a villain. You don’t have to know anything about video games to enjoy this award-winning movie.

In the early ’80s, Billy Mitchell set what seemed an insurmountable record on the video game “Donkey Kong.” Mitchell held the record for nearly 25 years and parlayed his “fame” into icon status in the realm of gaming. Flash forward to 2006. Recently laid off teacher Steve Wiebe decides to dedicate himself to toppling Mitchell’s record. Upon purchasing a Donkey Kong arcade machine for his garage, Wiebe masters the game on his way to becoming the undisputed champ. Or so he thinks. What ensues is a fascinating and perturbing journey into the incestuous, corrupt world of professional video gaming. A world where Wiebe is viewed as an outsider. He soon learns that Billy Mitchell will do whatever it takes to keep his spot on top.

What an excellent film. Director Seth Gordon weaves an intricate tale of one man’s reach for greatness, and another man’s refusal to relinquish the last vestiges of fame. Finding interesting subjects based in reality is not easy, but Gordon struck gold when he found this bunch. Led by the mullet-haired Mitchell, we are introduced to a traveling circus of characters whose dogged pursuit of perfection and glory tests their sanity. Sympathizing with Wiebe is easy after witnessing the blockades he must endure just to break a stupid record. His tears of frustration are genuine. Meanwhile, the arrogant Mitchell and his band of spineless cronies bring new meaning to the term “pricks.”

Gordon deftly builds suspense throughout. Will Wiebe gain respect? Is Mitchell as big a fool as he appears? Will the two go head-to-head to claim the Donkey Kong crown? Films like this provide telling evidence to what dishonest assholes we as human beings can be. These guys aren’t acting; what you see is who they are. I’ve always wondered if people watch themselves after being interviewed for a documentary and realize how idiotic they sound. Do they not hear what they’re saying when the cameras are rolling? Do they even care? Watch The King of Kong and you’ll know what I’m talking about. This is a film definitely worth your time.

The trailer for The King of Kong:

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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:

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Sean Penn is a great actor. I doubt you’ll get much of an argument from most people on that declaration. However, his ability as a Writer/Director is debatable. Penn’s first three films as Director -The Indian Runner, The Crossing Guard and The Pledge – all had moments of greatness, but on the whole they failed to be complete narratives. They were dark, maudlin stories that tip-toed the line of self-indulgent melodrama. Penn has concentrated on his stellar acting career in recent years having not donned the Directing cap since 2001. That was until last year, when Penn chose to adapt Jon Krakauer’s best-selling novel Into the Wild. It is easily Penn’s best film behind the camera and one of 2007’s top movies.

In 1990, Christopher McCandless graduates from college and does something totally out of the ordinary. He donates his life savings to charity, rips-up his social security card, burns his loose cash and sets-off on a solitary journey of self-discovery. Telling no one – including his family – Christopher rejects a life of boardroom meetings and material obsession. Instead, he wanders off the grid to become one with nature. After assuming the name “Alexander Supertramp,” his travels take him west where he meets a host of memorable characters: hippie-couple Jan and Rainey, who play the role of surrogate parents; legally-challenged vagabond farmer Wayne Westberberg, who plays big-brother to Alex; lonely leather engraver Ron Franz, who willingly accepts a grandfatherly role.

Alex swims the Pacific, kayaks the Colorado River, rides the Southern California rails and climbs the hills around the Salton Sea. He leaves all his relationships behind, believing he needs only his books and wits to survive the Alaskan Wilderness. Alex settles in an abandoned school bus and makes a home for himself. The harsh and often cruel realities of nature prove difficult for Alex. Permanent solitude does not equate to happiness. However, this realization comes too late for Alex. His desperation to survive leads to carelessness, which brings a tragic end to Alex’s courageous exit from modern society.

Sean Penn hit this story out of the park. It is one of the most original character studies I have ever seen. Penn jumps back-and-forth in time, utilizing pinpoint flashbacks, to unfold a multi-layered narrative. It would be easy to define McCandless as a crazy anti-establishment rich kid, but there was much more to his character. He was an intelligent, caring and fearless young man who lived his life his way. Penn refuses to judge McCandless for his choices. To do so would be irresponsible and unfair. Instead, the Writer/Director presents the truth of his protagonist’s existence, and allows the audience to formulate their own opinion.

Emile Hirsch delivers a spot-on performance in the lead role. His ability to capture the essence of McCandless makes the film work. The success of Into the Wild depended largely on Hirsch’s portrayal of a very complex man. How Hirsch didn’t get an Oscar nod is puzzling. He carries the film on his shoulders, aided by Penn’s steady direction. Quality additional support comes from Hal Holbrook (in an Oscar nominated performance), Vince Vaughn, William Hurt, Marcia Gay Harden and the always-convincing Catherine Keener. Gorgeous cinematography and a dynamite soundtrack featuring songs from Eddie Vedder accentuate an expertly-structured screenplay. Into the Wild is a thought-provoking film that deserved many more accolades than it received last year.

The trailer for Into the Wild:

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Where have I been? Well, between moving to a new state and an increase in other writing duties, I have severely neglected the Movie Loner. Now that I’m settled I should be able to resume my reviews. I’m sure my tens of readers have been worried sick over my absence. Anyway, once Netflix confirms my change of address, I’ll be back in the game. Until then….

The Movie Loner

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What makes movies great? Good direction, creative writing, solid acting are all necessary attributes. But I would argue that interesting, original characters separate average films from those that stand out. A strong character can carry an otherwise ho-hum story to heights of grandeur. If a script is fortunate enough to contain more than one memorable character, then the sky is the limit. But all it takes is one dynamic role in the hands of a dedicated actor to make a film shine. Count The Beat That My Heart Skipped as a movie made special thanks to one great character and outstanding performance by its lead actor.

Thomas Seyr (Romain Duris) leads a double life. He works as an enforcer for a real-estate firm that specializes in shady and corrupt deals. But in his spare time he plays piano, a skill he shared with his deceased mother, who was a concert pianist. Thomas is charming, temperamental and sensitive. He loves his father deeply, but has grown tired of his scheming ways. He’s also in love with his partner’s wife, which further complicates his already hectic existence. When Thomas is given a chance to change his life he seizes it by dedicating himself to the piano. Soon his two worlds collide and he must choose between the path of his father or the one his mother took. Success means leaving his violent past behind. Failure means continuing down the road to self-destruction.

“Hands” are symbolic throughout the film. Thomas’ hands represent his personal dichotomy. The same hardened and scarred hands used to beat a scumbag debtor are also capable of creating beautiful music. Thomas struggles to calm his hands, to soften their touch, to transform them from fierce weapons to delicate instruments. By allowing music to guide him he is able to release the passion inside that yearns to escape after years of laying dormant. He quells his violent tendencies and exchanges the role of fighter for that of a lover, a romantic who feels compassion and desires companionship. However, the reality of the person he has been cannot be forgotten. Below the surface is a burning rage that will never die. Thomas’ greatest challenge is keeping the rage from regaining control over him.

Romain Duris is an absolute marvel to behold. His performance is unpredictable and evocative. He captures the intensity of the character precisely without a hint of reluctance. Rarely do you see an actor embody a role with such emotion, but Duris nails every facet of Thomas. It is an eye-opening portrayal for certain. Director Jacques Audiard paints a dark, almost dystopic canvas filled with foreboding shadows. You root for Thomas, but while doing so are painfully aware nothing comes easy for him. Audiard makes sure of that by planting well-placed pitfalls throughout the story which represent trials that Thomas must endure. They serve as a reminder that possessing the will to change one’s life is often not enough to ensure success. Everyone has a past and it has a way of revealing itself at the least opportune times. The Beat That My Heart Skipped is a unique film experience that proves great characters can equal great films.

The trailer for The Beat That My Heart Skipped:

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In 1978, Aldo Moro – leader of the Italian Christian Democratic Party – was kidnapped and later assassinated by a militant Communist faction called the Red Brigades. Moro was a staunch supporter of the Compromesso storico or Historic Compromise, which was supposed to unite the Christian Democrats and the Communist Party. Moro believed in a unified Italy, a country together, rather than one divided by political or socioeconomic  differences. He fought tirelessly to make his vision a reality, but his tragic death put an end to his idea. Good Morning, Night documents the last days of Moro, from the point of view of the lone female kidnapper.

Four members of the Red Brigades kidnapped Moro and held him captive in a cramped apartment for 55 days. Chiara, a young, impressionable woman, and three men take up residence to keep watch on the political prisoner. While Mariano – the Brigades leader – conducts detailed interrogations with Moro, Chiara goes to her job as a librarian, where she befriends a radical screenwriter named Enzo, who doesn’t share Chiara’s Communist beliefs. When she returns to the apartment, Chiara spends her time peering through the peephole in Moro’s cell. Her fascination with the larger-than-life figure conflicts with her political ideology. The longer she watches the crestfallen man the more sympathy she gains for him. Despite knowing his inevitable fate, Chiara begins to question her comrades if killing the statesman is the right action to take. Her reservations, of course, are ignored, but Chiara’s dreams tell a different story. A story that ends with Moro’s freedom.

Director Marco Bellocchio does an excellent job of maintaining suspense, even though the audience is aware of the outcome. By embedding the narrative inside the life of Chiara, he is able to reveal her complex psyche as well as her vivid dreams. We are shown Moro through her naive, curious gaze. She is too young to fully comprehend her actions nor the political motives that precipitated them. Unlike her Brigade brethren, she sees Moro as a man, not just a figure-head or symbol. The tears Chiara cries over Moro’s final letter of appeal are not tears of happiness, but rather tears of sympathy and regret. As much as she’d like to change Moro’s fate, she lacks the courage and conviction to martyr herself.

Several techniques are employed to heighten the drama. Pink Floyd’s masterful “The Great Gig in the Sky” provides a foreboding, eerie aura to the inevitable events depicted. The ethereal song also enhances Chiara’s intricate reveries. Also significant to the narrative is the omnipresent television which constantly blares in the background; it acts as an unofficial narrator by providing periodic updates to the story’s timeline. There are very few moments in the film when it fails to be heard.

Performance wise, the film belongs to Roberto Herlitzka as Moro, and Maya Sansa as Chiara. Herlitzka – who bears a striking resemblance to the real Moro – brings an admirable toughness to the character. Although visibly frustrated, he never loses composure, and keeps hold of his dignity and honor. Sansa is asked to carry the film and she succeeds. Her soft inner emotions betray a cold, indifferent exterior. She carries respect and feels compassion for Moro, which makes her performance that much more compelling. Good Morning, Night is another fantastic film that eluded American viewers a few years back. Do yourself a service and see this fine docudrama.

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This edition of great movie characters takes us to the East African hotbed of violence known as Somalia. Black Hawk Down, directed by Ridley Scott, earned well-deserved praise for its accurate depiction of 1993’s disastrous Army Ranger mission into the hostile city of Mogadishu. Several real-life soldiers are portrayed by a talented cast that includes Josh Hartnett, Ewan McGregor, Tom Sizemore, William Fichtner and Sam Shepard. However, one soldier stands out from the group – Hoot – a bad-ass special forces op played by Eric Bana.

Hoot is a seasoned vet with a calculated gaze and a smooth southern twang. A born soldier dedicated to his duty, Hoot doesn’t let emotion cloud his judgment. Bana brings a calm understanding to a character who kills for a living. Hoot operates without hesitation and without fear – traits that define a true warrior.

In the following scene, Hoot tells a beleaguered Sgt. Eversmann (Hartnett) why he’s willing to put himself in the line of fire. “It’s about the men next to you,” he says. Profound words from a man simply known as Hoot.

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