The Bridges of Madison County

Tags

1990's, Annie Corley, Clint Eastwood, Drama, Meryl Streep, Romance, The Bridges of Madison County, Victor Slezak

Film Title

The Bridges of Madison County

Director

Clint Eastwood

Starring

• Clint Eastwood as Robert Kincaid
• Meryl Streep as Francesca Johnson
• Annie Corley as Carolyn Johnson
• Victor Slezak as Michael Johnson

A tender and beautifully realised romantic drama directed by Clint Eastwood and containing great performances from the man himself and Meryl Streep, The Bridges of Madison County is a satisfying and mature film that will touch you.

The year is 1965 and Francesca Johnson is an Italian war bride married to farmer Richard and living in Madison County. Although very much a loving wife and mother, Francesca is discontented with life and bored. Her husband and two teenage children go the fair for four days and this is where the crux of her story comes in. While they are away, she encounters photographer for National Geographic Robert Kincaid. He is there to photograph the many bridges of the area and first meets lonely Francesca when he loses his way. Soon enough, the two become friendly with each and the travelling Robert with his charming demeanor helps Francesca open up. What starts as friendship between the pair soon becomes love and for the four days that her family are away, she and Robert conduct their brief affair, not realising how much it will impact both of them. As the four days wear on, it is up to Francesca to decide whether to be with Robert who has made her feel alive once more or stay with her husband and children. The movie is structured around siblings Carolyn and Michael Johnson who have come back to the Iowa farmhouse that they grew up in after Francesca’s death. While sorting out the land arrangements and thoroughly being baffled by their mother’s wishes to be cremated, they come across a number of diaries that she left to them. Curious about them, the siblings begin to read their now deceased mother’s story and are surprised to learn about how deeply the affair with Robert affected her and how they never knew this side to their mother until now.

As director of the film, Clint Eastwood displays masterful observations and subtle indications of the love that grows between Robert and Francesca in the brief time they spend together. He never resorts to sentimentality, instead giving The Bridges of Madison County a natural depth and passion that can’t be ignored. Eastwood doesn’t feel the need to rush the story either, he employs a carefully structured pace that helps the friendship that blooms between the couple eventually turn to deep love. We see them genuinely fall in love through little things; a slight brush of the hand or a gaze are highly effective at bringing out the love that each begins to feel for the other. Some may wonder how the film could have a deliberate pace when the main story takes place over the course of just four days, but Eastwood lets events unfold in a very mature and beautiful way that compliments the story. Yes there are some lulls in the narrative, mainly when it goes back to the son and daughter, but for the most part it is very handled and exceptional romantic drama with both time zones corresponding. A building score of mainly piano and string gives voice to the passions growing between Francesca and Robert. And no discussion of this movie would be complete without giving a shout out to the simply gorgeous cinematography that envelops the movie in a hues of gold and twilight that burn into the memory.

What gives The Bridges of Madison County a whole heft of emotion is the cast. Clint Eastwood on acting duties is suitably fine as the wandering Robert, who brings out a new side to Francesca with his devil-may-care attitude and genuine clarity. I don’t think I’ve ever seen Clint Eastwood play such a sensitive character before, but he pulls it off admirably. Matching him every step of the way is the wonderful Meryl Streep. Combining a homely warmth, guarded passion and grace, she is wonderful at showing Francesca emerging into a totally different woman in the arms of someone who makes her feel like she’s been given another chance to live. The chemistry shared between them is tentative and filled with earnest desire, and it is really nice to see it be a love story concerning mature adults instead of the generic young lovers scenario. Annie Corley and Victor Slezak are fine as the children learning about their mother after her death, but the movie truly belongs to Clint Eastwood and Meryl Streep who give it a moving and haunting quality.

Heartfelt, filled with lovely cinematography and capable of bringing you to genuine tears, The Bridges of Madison County is a sublime movie that tenderly looks at how love can change us and stay with us forever.

Blue Jasmine

Tags

2010's, Alec Baldwin, Andrew Dice Clay, Blue Jasmine, Bobby Cannavale, Cate Blanchett, Drama, Louis C.K., Peter Sarsgaard, Sally Hawkins, Woody Allen

Film Title

Blue Jasmine

Director

Woody Allen

Starring

• Cate Blanchett as Jasmine
• Sally Hawkins as Ginger
• Alec Baldwin as Hal
• Bobby Cannavale as Chili
• Andrew Dice Clay as Augie
• Louis C.K. as Al
• Peter Sarsgaard as Dwight

A strong drama/tragedy from the pen and direction of Woody Allen populated with acerbic dialogue and an exceptional cast headed by an award-winning Cate Blanchett, Blue Jasmine emerges as one of his most scathing and seriously darker films.

Jasmine was not so long ago a wealthy socialite with everything she could ask for. That is until it was revealed that her husband Hal was a fraudster and who was subsequently arrested for his shady dealings. Now penniless and recovering from a nervous breakdown, Jasmine heads to San Francisco to stay with her adopted sister Ginger. Ginger is less well off than Jasmine, but is hard-working and never bemoans it. Yet while she is doing Jasmine a favour by putting her up, she may have wished she hadn’t . You see Jasmine is not an easy or at all pleasant person to be around. The once rich society princess has a sense of entitlement that causes her to sneer at Ginger’s choices in lifestyle and men, like her latest boyfriend grease monkey Chili. In between popping pills, wittering on to herself about the old glories and hitting the booze whenever she can get her hands on it, Jasmine completely starts to unravels emotionally as her bubble bursts. Jasmine alienates those around her and people like Ginger’s ex husband Augie, who was ripped off by Jasmine’s husband are far from happy to see her swanning back into town as if nothing has happened. Through flashbacks, we begin to get a picture of her life before that she clings to with alarmingly delusional flights of fancy that are leading her down the dangerous path to another nervous breakdown.

The dark drama within Blue Jasmine unfolds very well, courtesy of fantastic and withering direction from Woody Allen. I especially liked the way he cut the flashbacks with the present. It isn’t anything complicated or flashy, it is events shown when a certain topic is brought up about Jasmine and we get answers from it.  There is a reminiscent quality about the structure of the flashbacks, which is very apt seeing as Jasmine is still completely in the past and refusing to step out of it. While Woody Allen is a master of comedy, he is also pretty adept at crafting drama. If you want a drama from him, look no further than Blue Jasmine. Humour may have a part in the movie, but like the dark tone of it, the humour comprises of scalding one-liners, biting indictments of the rich and watching Jasmine continue to delude herself that her life is still flashy and amazing. I’m liking seeing Woody Allen direct drama as he has a definite flair for this dark type of drama, tinged with bits of black comedy and vicious wit. Sure at times the narrative can flounder a little, but that is a very minor flaw in what is a very successful movie. A bright visual style showcasing San Francisco is laced with a biting irony at the darkness of the story as Jasmine heads towards the razor’s edge of insanity. A soundtrack of blues and jazz underpins the dark, tragic and pathetic nature of Jasmine’s plight, which is in one way done by her own hand.

What really dominates Blue Jasmine is the bravura performance from Cate Blanchett, that garnered her a well deserved Oscar. The character of Jasmine must have been difficult to play because of how much her emotions veer from one to the other, but Blanchett effortlessly turns in a performance that doesn’t hit a false note. The character of Jasmine is not likable; she’s bitchy, snotty and holds contempt for those who she judges to be beneath her station. Yet with Blanchett in the role, she invests it with not so much a sympathy but a reason that Jasmine is a victim of her own selfishness who simply can’t let go of her past riches and is pathetic, strangely tragic and emotionally ruined to say the least. You simply can’t take your eyes off Blanchett in her portrayal of the slowly disintegrating Jasmine and it stands as one of her best performances. Sally Hawkins provides a great foil to Blanchett’s bitchy Jasmine in the form of down to earth Ginger. She gives her part a genuine niceness tempered with a quiet strength that is soon unleashed as she grows weary of her sister’s behaviour and disapproving attitude. Ginger is a character that you can relate to more because she is rational and while not exactly thrilled at her social standing, works hard enough and sacrifices to make ends meet. Alec Baldwin, shown in flashback is the charming shark who lead Jasmine right up the garden path. Baldwin portrays the smooth operator with a smug and scheming personality with relish. Bobby Cannavale, boasting a blue-collar attitude and big heart is very good as Chili, whose temper is ignited by the way Jasmine looks down upon him. Andrew Dice Clay is well cast as Augie, who was duped by one of Hal’s schemes and came off a lot worse, while Louis C.K. is good as another possible love interest for Ginger. Rounding out the proceedings is Peter Sarsgaard as a wannabe politician who indulges Jasmine’s delusions of grandeur.

With a biting, tart wit and deft direction, Woody Allen conjures up one of his strongest films of late, that is jet-black in terms of humour and is more akin to a tragedy. And with Cate Blanchett on absolutely stellar form as the socialite fallen on hard times and slowly adrift in a sea of delusions, what more could you ask for?

The Purple Rose of Cairo

Tags

1980's, Comedy, Danny Aiello, Fantasy, Jeff Daniels, Mia Farrow, Romance, The Purple Rose of Cairo, Woody Allen

Film Title

The Purple Rose of Cairo

Director

Woody Allen

Starring

• Mia Farrow as Cecilia
• Jeff Daniels as Tom Baxter/ Gil Shepherd
• Danny Aiello as Monk

A comical, bittersweet movie about the magic of cinema and the line between reality and illusion, Woody Allen’s The Purple Rose of Cairo is tinted with a heartwarming yet poignant charm and own sort of magic that makes it a lovely film.

It is the Great Depression and in New Jersey the poor, put upon waitress Cecilia is trying make ends meet as best as she can. She is trapped in a loveless marriage to the abusive and lazy Monk, who is unemployed but has no intention of getting a job as he is too busy drinking and gambling. To escape her humdrum and miserable life, Cecilia takes refuge in going to the cinema and becoming lost in the movies she watches. Her latest favourite movie is entitled The Purple Rose of Cairo and she has developed a liking of the explorer character Tom. While watching the movie for yet another time, something truly remarkable happens. Tom breaks the fourth wall and literally leaps off-screen, desperate to know the meek Cecilia. Astonished by this, she finds herself swept off her feet by the good-hearted Tom and finds herself growing attached to him, despite the fact that he is a fictional character who has entered reality. The actions of Tom leaving the film sends a wave of pandemonium through the cinema as Tom’s co-stars have no idea what to do without him in the scene, audience members become disgruntled that the movie is changed and even the studio producing the movie begins to panic about what will happen in the fall out. Meanwhile, Cecilia experiences adventures and love with the heroic Tom, who begins to realise that real life is a whole lot different from the glitz of movies. However, another surprise is on the way for Cecilia. The studio behind the movie has contacted Gil Shepherd, the actor who essayed the role of Tom and have sent him to New Jersey to see if he can repair any damage done. In contrast to the gentle and brave Tom, the man behind it is obsessed with keeping his career up and a little full of himself. But upon arrival, he begins to become enchanted with Cecilia too. Now it is up to Cecilia to decide whether to choose either the charming Tom or slightly arrogant Gil or return to the doldrums of her life.

Woody Allen displays masterful direction and writing throughout this bittersweet gem. He lovingly delves into the way that cinema has an impact on people and how it can provide literal and emotional escape from life’s troubles. He peppers events with humour, but it is underpinned by a poignancy that makes The Purple Rose of Cairo very moving. The film is full of delightful highlights from the sight of the movie stars on the screen bickering with discontented customers who want their money back to Tom and Gil confronting each other in amusing fashion, it is hard to fault The Purple Rose of Cairo in terms of ambition and clarity. Allen clearly knows that the audience can each view themselves like Cecilia, and with his beautiful direction and criss cross between comedy, drama and touching romantic fantasy, the results will definitely move you. The cinematography crafts the atmosphere outside as grim and troubled but employs brighter shades when Tom burst off-screen and lights up Cecilia’s life that has been in darkness for too long. A very good jazz score underlines the developing romance of the movie and brings both joy and sadness to the proceedings.

Mia Farrow turns in a beautifully touching performance as the downtrodden Cecilia. We immediately feel sympathy for her and her circumstances and we’d all love to just reach through the screen and comfort her. Farrow’s performance is so nuanced and filled with little things that make it work; the way her face lights up when viewing the eponymous movie, her silent tears as she realises her position in the world and the giddy sense of delight she feels as Tom courts her. All of this and more is found in a lovely performance from Mia Farrow. Jeff Daniels adroitly portrays two very different characters and delineates their opposing personalities and characteristics. Tom on one hand is the ideal guy with affable charm, whereas Gil is a cynical man more concerned with having nothing ruin his career. Daniels, who I always think can be underrated by many as an actor, shows exceptional talent here by embodying the two characters very well and helping form the emotional core of the movie, along with Mia Farrow. As Cecilia’s boorish husband who berates her at every turn, Danny Aiello is well cast.

Beautifully written, directed and acted, with true depth to the story as well as humour, The Purple Rose of Cairo is a purely magical film making from Woody Allen that delivers warmth and pathos to the story of escaping life with the powers of celluloid.

The X-Files Season 4

Tags

1990's, David Duchovny, Gillian Anderson, Laurie Holden, Mitch Pileggi, Nicholas Lea, The X-Files, The X-Files Season 4, William B. Davis

The last season of The X-Files was my favourite of the show so far, so I was wondering how Season 4 would turn out. Thankfully, I can happily report that Season 4 is just as good as Season 3 and is full of emotion, horror and mystery that continues to grow. Be warned readers, spoilers will follow in my overview of the fourth season.

We begin where Season 3 left off as Mulder(David Duchovny) is trying to protect the healer Jeremiah Smith from the Alien Bounty Hunter. Jeremiah manages to get some information to Mulder about the Syndicate’s motives, which somehow links to the idea of alien colonization. Mulder is also shown various clones of his sister rekindles his determination and is also relieved when his mother begins to recover from her stroke. Jeremiah eventually runs away and escapes from the bounty hunter, but his bits of information have made an impact on Mulder in a big way. Meanwhile Scully(Gillian Anderson) has her own difficulties to contend with. She is diagnosed with terminal cancer, which Mulder comes to believe is due to her abduction in Season 2. With her health in the balance and her future uncertain, Scully continues with her work not knowing how long she will be able to. The Syndicate becomes aware of X’s betrayal and he is subsequently killed, but not before managing to point Mulder in the direction of a new informant. The new informant is Marita Covarrubias(Laurie Holden), who supplies Mulder with necessary information but keeps a distance. The Cigarette Smoking Man(William B. Davis) is still looming large with his own plans, as well as the slimy Krycek(Nicholas Lea) who pulls Mulder into one of his dangerous schemes. With more avenues of answers beginning to open regarding the alien conspiracy and many twists that get very personal for all of those involved, it’s up to Mulder and Scully to continue the search for the elusive truth, aided by the helpful Skinner(Mitch Pileggi) that could be closer than any of them think and will lead to a whole lot of danger.

Like with the visuals of Season 3, Season 4 is amazing in capturing a real sense of atmosphere and emotion that is closely tied to the stories told. There is real sharpness to the cinematography that generates some striking images and haunting ambience. Creepiness and dangerous events abound in this season, and the ante is upped to a higher level which is always good for a show like this. The scripts are top-notch. Aside from the paranoia and science fiction, there is welcome drama that is handled well and elicits strong emotions. Mordant humour can also be found in many episodes, showing how the writers, producers and directors know how to blend all these elements together to create quality television. And I can’t forget the continuing brilliance of composer Mark Snow, whose music is spellbinding and spine chilling.

One of the central highlight episodes from this season is the extremely disturbing ‘Home’. No discussion of Season 4 would be complete without covering this episode. It truly is one of the best episodes of the show so far and really lingers long in the memory. In the episode, Mulder and Scully are called into a quiet small town in Pennsylvania to investigate the unearthing of a baby that was buried alive and sported multitudes of birth defects. The trace for answers leads to the Peacock family; three brothers who live in a house without modern amenities and are shut ins. The episode gets a whole lot more disturbing as it is revealed that the brothers are the products of incest and inbreeding. And to make matters even more horrifying, their amputee mother is the one who has been impregnated many times by her sons. Violent imagery like the booby-trapped residence of the brothers, unnerving contrasts between light and dark and a lot of themes, chief among them the startling dismantlement of the American Dream, ‘Home’ is a brutal hour of television that once seen will never leave you. ‘Home’ may be the main highlight but there are a whole lot of other episodes that are of excellent quality. The haunting and gory ‘Sanguinarium’ examines the horrors of cosmetic surgery tinged with sorcery and magic. A dark mordant humour and unreliable narrator is effectively used in ‘Musings of a Cigarette Smoking Man’ as the past of the villain is revealed, or is it? The tense two parts of ‘Tunguska’ and ‘Terma’ boast striking visuals and intriguing stories about the reappearance of Black Oil, along with Krycek dragging Mulder into his own revenge plan. A lot of credit must go to the chilling ‘Paper Hearts’ in which Mulder confronts an imprisoned serial killer who claims that his sister was one of his victims many years before. We watch as Mulder is drawn into the mind games of this man and how he is left to figure out what exactly did happen to his sister. It’s a spooky and atmospheric episode that does well at tapping into the psyche of Mulder and how haunting the disappearance of his sister is for him. There is the emotional ‘Memento Mori’ when Scully is diagnosed and we watch her process this information, try to remain strong but in the end be devastated and then inspired to fight it, with Mulder doing everything he can to draw lines between her abduction and her cancer. On the other end of the spectrum of emotions is humour found in ‘Small Potatoes’ in which a shape shifting man causes havoc by impersonating different men, including Mulder. This episode really shows how funny the show can be.

David Duchovny and Gillian Anderson are really allowed to strut their emotional stuff this season and they do it excellently. Duchovny excels at projecting the torments of Mulder and how his desire for the truth puts him in danger that he often doesn’t stop to think about. We relate to Mulder’s quest because he is so dedicated to it, yet we like Scully, can see that it can cloud his judgement. Mulder can be a flawed character who won’t listen to reason, but Duchovny makes him an excellent character to watch as he unfolds and is put through an emotional tailspin. Gillian Anderson is no less impressive as Scully, who goes through the wringer of feelings here. We sympathise with Scully and her devastating news and get to see her let her guard down and be human. Scully always prides herself on always having the answers, but when something is this close to her, Anderson reveals Scully’s fears and insecurities and makes them palpable. Mulder and Scully have continued to grow as a pair over the past three seasons, and it is here in Season 4 when we see how really close they are. The chemistry is there but there is a deep connection formed that compliments the other and reveals how each would do anything for the other, even in the most dire circumstances. It’s wonderful to see Skinner develop more as he becomes more involved. Mitch Pileggi excellently exudes authority and graveness as he is forced to make many deals with the devil to ensure the safety of Mulder and Scully. He has truly become a very valuable ally to the duo’s quest. I enjoyed the expansion on Cigarette Smoking Man, who is played with evil relish by William B. Davis. He just has that wicked presence that you can’t help but feel unnerved by. You couldn’t have asked for a better person to portray the character because no one could come close to Davis. Nicholas Lea is back as the slithering Krycek, out for himself and no one else as he plots his own revenge against The Syndicate. New to the cast is Laurie Holden as the new contact for Mulder. While she is quite good at playing Marita as mysterious, helpful and a little distant, she doesn’t quite have the snap of Deep Throat or X. It’s not that she’s bad, she just can’t measure up to the stature of Mulder’s past informants.

1. Herrenvolk – A
2. Home – A+
3. Teliko – B-
4. Unruhe – B+
5. The Field Where I Died – D-
6. Sanguinarium – A
7. Musings of a Cigarette Smoking Man – A+
8. Tunguska – A
9. Terma – B+
10. Paper Hearts – A+
11. El Mundo Gira – D
12. Leonard Betts – A
13. Never Again – B
14. Memento Mori – A
15. Kaddish – C+
16. Unrequited – C
17. Tempus Fugit – B+
18. Max – B+
19. Synchrony – C
20. Small Potatoes – A+
21. Zero Sum – B+
22. Elegy – A
23. Demons – B+
24. Gethsemane – A

Season 4 is an emotional and excellent season of The X-Files that is very much on par with Season 3 in terms of quality, mystery and depth.

Below

Tags

2000's, Below, Bruce Greenwood, David Twohy, Dexter Fletcher, Holt McCallany, Horror, Jason Flemyng, Matthew Davis, Olivia Williams, Scott Foley, Supernatural Horror, Zach Galifianakis

Film Title

Below

Director

David Twohy

Starring

• Bruce Greenwood as Lieutenant Brice
• Matthew Davis as Ensign Douglas Odell
• Olivia Williams as Claire Paige
• Holt McCallany as Lieutenant Paul Loomis
• Scott Foley as Lieutenant Steven Coors
• Zach Galifianakis as Wally
• Jason Flemyng as Stumbo
• Dexter Fletcher as Kingsley

Although it offers nothing really new to the supernatural horror genre, Below is a tense and claustrophobic film that at least makes an impact due to atmosphere and cast and doesn’t promise to be anything bigger than it is.

It is August 1943, during World War II. The US Tiger Shark is a Navy submarine on patrol in the Atlantic Ocean. The ship gets orders to rescue any possible survivors from a sunken British ship. The crew rescue three survivors, two injured men and a female medical doctor named Claire Paige. Her arrival makes the crew uneasy due to the belief that a woman on board is bad luck and the fact that they haven’t seen a women for so long. The officer in charge Lieutenant Brice calms the situation the best he can, but then spots a German warship which they flee from by going underwater. Once underwater is when strange events begin to unfold. In the close and confined space, secrets that link to the mysterious Brice and his right hand man Loomis lurk. The opinionated and far from submissive Claire becomes the one most curious as to what transpired before her arrival. Yet there is another bigger set of problems that begin to come into fruition as seemingly supernatural events begin to take hold, including visions people can’t deny. Soon enough, the ship is haunted by an unseen force. With paranoia rising and the submarine depleted from attack, who will make it out alive? What is plaguing the ship with all these chilling events and why? And is the ship really haunted or is there something more foul at play within the submarine?

Director David Twohy displays confident enough direction that induces chills and a claustrophobic impact as the ship becomes littered with death and deception. He could have gone a bit deeper into some aspects, but this is a minor thing as he shows flair for the material and creates many spine-tingling moments of horror. A dark visual style of muted blues is excellent at crafting the underwater atmosphere and sense of no escape in Below as the ship continues to move down and the horror begins to awaken. One main flaw with Below would have to be the script. While it is far from shambolic, it could have benefited from a fixer upper in terms of some character development. Some of the characters, mainly in the supporting category seem to appear and disappear without any real explanation. The supporting characters that are defined are very good, but the ones that aren’t just don’t cut it. At least the main set of characters are decent enough in their own ways. There is a nice sound design to Below that highlights the fact that the crew may not be alone on the ship and a superb score brims with claustrophobic tension and sudden jolts of terror.

Despite the often repetitive and B-movie style dialogue found within Below, the cast contributes great work that makes the characters more interesting than they could have been. Bruce Greenwood is suitably mysterious as the man in charge, who clearly isn’t cut out for the job yet listens to no one. He gives the role a slimy aura that is unmistakable. Matthew Davis plays the role of the curious and suspicious Odell, who knows something is going on but seems to be admonished when he tries to unearth it. As the sole woman in the film, Olivia Williams makes a mark as the no-nonsense nurse who won’t be spoken down to just because of her gender. In the hands of another actress the part would be nothing much, but in the capable hands of Williams, it gets a lot of credibility. The muscled authority and strength of Holt McCallany is on show in his performance as the right hand man to the acting officer. Some good support comes courtesy of Scott Foley, Zach Galifianakis, Jason Flemyng and Dexter Fletcher as other members of the crew and a wounded survivor respectably.

Below is not the best supernatural horror out there nor does it pretend to be, instead it is a very chilling and atmospheric movie that makes great use of the setting and tensions that begin to build.

Perfect Sense

Tags

2010's, David Mackenzie, Drama, Eva Green, Ewan McGregor, Perfect Sense, Science Fiction

Film Title

Perfect Sense

Director

David Mackenzie

Starring

• Ewan McGregor as Michael
• Eva Green as Susan

A haunting science fiction drama about two people who come together just as an epidemic begins, Perfect Sense is brooding, compelling and evocative.

In Glasgow, the happy-go-lucky Michael is a chef working in a restaurant. Living in the flat nearby is Susan, an epidemiologist who has been called in to determine the cause of a most unusual case. In the space of 24 hours and occurring around the world, many people have lost their sense of smell after experiencing outbursts of uncontrolled emotion. The case begins to baffle Susan and her fellow workers as it continues to spread. Meanwhile, Michael and Susan meet and there is an obvious attraction between the two, who begin seeing each other romantically. But the epidemic begins to get worse as another sense is robbed from people, continuing on and on without warning or knowledge. Susan and Michael’s relationship is threatened as the epidemic begins to rapidly take over and society falls into chaos around them. As the epidemic reaches a fever pitch, there is still no explanation of the cause and how it is spreading so quickly and insidiously. The question is, can anyone survive this epidemic before every sense is gone? And can Susan and Michael’s fledgling relationship continue as events get darker?

From what I’ve read when Perfect Sense was released back in 2011, it was met with somewhat ambivalent reviews. I really can’t see why this is because the movie is fascinating on so many levels. While it has elements you can attribute to the science fiction genre, there is something achingly human about it. David Mackenzie successfully delves into the themes of what happens when something we rely so much on is gone and the way something that can’t be explained can impact on society. There are no real easy answers in Perfect Sense, nor should there be as Mackenzie crafts a melancholy examination of human endurance when a situation looks dire and the sense of loss that comes along as each sense is robbed from the population. The biggest question of all is ‘If the epidemic is related to emotions, how are we as humans meant to survive?’ There is a haunted quality to Perfect Sense that is perfectly embodied by the grey cinematography. Right from the beginning, there is a feeling of unease and darkness as the muted colours and scenery are rendered into a dour picture of uncertainty and sadness. And refreshingly though there is a romantic connection between the main characters, it doesn’t feel tacked on or needless. It actually lends the movie that something else that sets it apart from other science fiction movies. The morose narration reflects on the way that we take for granted what we have and is highly evocative in scenes shown around the world as the senses are taken from the unsuspecting. A trickling music score gives quiet voice to the encroaching panic that the epidemic spawns and the implications it has for Susan and Michael.

Heading the film is the excellent work of Ewan McGregor and Eva Green. Both are at their best playing these characters who are ordinary people caught in this time of horror that we can relate to. The characters are flawed just like everyone is and the performances really let both of them show off their skills. Embodying extreme emotions with subtlety and grace, McGregor and Green are nothing short of fantastic at investing Perfect Sense with a humanity and pathos that compliments the haunting tone of the film.

A foreboding film with a definite human heart, Perfect Sense is unusual but highly intriguing viewing as it explores so many avenues of possibilities, but refuses to pander to the audience that in turn leaves a feeling of mystery.

Posts You Should Check Out Part 4

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Posts You Should Check Out

It’s been a while since I concocted one of these posts, so I thought it was about time to get back to it and share some wonderful posts from other bloggers.

Miss Kymmie, a fabulous and lovely blogger posted about her own experiences with relationships and contributed her thoughts to what makes a happy one. There is something so nice and lovely about her post, showing that the little things in a relationship can be the nicest and most special.

Good blogging buddy Tom has started a great feature on his blog, taking a look at the roles of the versatile Paul Giamatti. I love the actor and his collection of work and these posts from Tom do a whole lot of justice to the guy.

Vicky Cristina Barcelona

Tags

2000's, Chris Messina, Christopher Evan Welch, Comedy, Drama, Javier Bardem, Patricia Clarkson, Penélope Cruz, Rebecca Hall, Romance, Scarlett Johansson, Vicky Cristina Barcelona, Woody Allen

Film Title

Vicky Cristina Barcelona

Director

Woody Allen

Starring

• Rebecca Hall as Vicky
• Scarlett Johansson as Cristina
• Javier Bardem as Juan Antonio
• Penélope Cruz as Maria Elena
• Patricia Clarkson as Judy
• Chris Messina as Doug
• Christopher Evan Welch as Narrator

Witty, sexy yet tinged with a longing and pervading melancholy, Woody Allen’s Vicky Cristina Barcelona is an ambivalent examination of love, sex and discovery that is dappled in sun and filled with engaging work from the cast.

Best friends Vicky and Cristina decide to vacation for the summer in Barcelona and stay her distant relative Judy, who has agreed to put them up. For the straight-laced and cautious Vicky, who is engaged to be married to dull Doug, it is a trip to conduct her research on Catalan culture. Yet for the restless and searching Cristina, it is somewhere to explore and find a way to express herself and love, which so far she has found hard to do so. The two young ladies soon catch the eye of handsome artist Juan Antonio when at a party. The seductive painter was once in a stormy relationship with a fiery woman that ended in near death. The seductive painter approaches both ladies with a brazen request to spend the weekend with him, where he hopes they will enjoy dinner, see the sights and eventually fall into bed with each other. The spontaneous Cristina is immediately won over as the hint of a little naughtiness entices her, while Vicky is skeptical but tags along to keep tabs on Cristina. As the weekend progresses both women become attracted to Juan Antonio, culminating in the engaged Vicky surrendering to a highly charged encounter with him. Although Vicky attempts to forget her night of passion, she simply can’t deny being enamoured with Juan Antonio and attempts to stifle her guilt at cheating on her fiancée. Meanwhile Cristina grows closer to the artist and vice versa, leading her to quickly move in with him. Yet trouble and upheaval is just around the corner as Maria Elena, Juan Antonio’s ex-wife arrives back on the scene setting in motion a conflicting love triangle. Or should that be love quadrangle?

As both writer and director, Woody Allen’s witty dialogue and confidentially fluid direction makes Vicky Cristina Barcelona go along at a lively place, much like the electricity that sparks between the four characters. Allen has a lot to say about modern relationships and the complexities of the heart and he adroitly examines these subjects with both a passion, longing and wit. I liked how for a move that on the surface seems warm and breezy, there are touches of darkness and unearthed desires looming large over it. I thought this added another layer of engaging quality to the story blending laughs with some pathos. Visually, Vicky Cristina Barcelona is sublime and gorgeous. Wrapped in gold hues that invite you in and paint a sexy atmosphere, the cinematography is breathtakingly lovely and at times look downright delectable with its honeyed tint. Now there is one point of contention that lies within Vicky Cristina Barcelona and that is the narration. Not that it isn’t good, it is just something of a double-edged sword. It does well in setting up and closing the story, but for most of the time it is a little superfluous. That being said the voice of Christopher Evan Welch is engaging enough, it is just overused. Still this shouldn’t put you off because the movie is witty and engaging nonetheless. A sizzling soundtrack of Spanish guitars, quick drums and passion filled voices is an excellent companion to the various switches of romance and the clash of the heart and head when sensuality enters the picture.

Woody Allen assembles a very impressive cast who fill his words and characters with verve and talent. Rebecca Hall makes quite an impression playing Vicky, who is the more traditional and serious of the two best friends. We glimpse through her movements and facial expressions the suppression of desires and how it rises within Vicky as something she can’t keep control of as the vacation goes on. Scarlett Johansson is natural and footloose as the free spirit that is Cristina, who also has her own conflicts over her opinion of herself and wants to find her meaning. There is a real vibrancy and playfulness to the performance from Johansson that is hard to ignore and a real subtle beauty too. Then we have Javier Bardem who has all the necessary charm and seductive presence to burn as Juan Antonio. Yet what is really good about his performance is the way he injects it with a humour and soulfulness that in the hands of any other actor wouldn’t have worked. It is however Penélope Cruz that makes the largest impact in a role that garnered her a deserved Best Supporting Actress Oscar. Playing the unstable spitfire Maria Elena as a whirling dervish of emotion, Cruz captures the mercurial temperament, sensuality and all-consuming passion of this woman. From the moment she appears on screen, you just know that Penélope Cruz is going to own the role with her talent and unique way You simply can’t take your eyes of Cruz as she completely steals the show with a performance of both tragic and comic dimensions that threatens to ignite the screen with its fiery presence. Patricia Clarkson has a neat supporting role as the philandering wife who pushes Vicky to act with her heart and Chris Messina has the distracted dullness that makes you see why Vicky would consider a dalliance with another.

A fine romantic comedy/drama from Woody Allen, Vicky Cristina Barcelona is a movie that is as lush and as sumptuous as the scenery, but unpredictable and stormy as the heart itself.

Playing by Heart

Tags

1990's, Angelina Jolie, Anthony Edwards, Comedy, Dennis Quaid, Drama, Ellen Burstyn, Gena Rowlands, Gillian Anderson, Jay Mohr, Jon Stewart, Madeleine Stowe, Playing by Heart, Ryan Phillippe, Sean Connery, Willard Carroll

Film Title

Playing by Heart

Director

Willard Carroll

Starring

• Sean Connery as Paul
• Gena Rowlands as Hannah
• Angelina Jolie as Joan
• Ryan Phillippe as Keenan
• Gillian Anderson as Meredith
• Jon Stewart as Trent
• Ellen Burstyn as Mildred
• Jay Mohr as Mark
• Madeleine Stowe as Gracie
• Anthony Edwards as Roger
• Dennis Quaid as Hugh

A drama of relationships peppered with comedy, excellent writing and an all-star cast, Playing by Heart brims with emotional clarity, great dialogue and touching but witty insights into the various facets of love.

Playing by Heart focuses on the various kinds of loves, heart breaks and relationships of a seemingly disparate group of people living in Los Angeles. There is older married couple Paul and Hannah, who are approaching forty years of marriage and renewing their vows. There is the matter of Paul being diagnosed with a brain tumor, but this doesn’t dampen his spirit though it worries his wife. They must also deal with a present from the past as Hannah finds evidence that suggests that Paul may have been unfaithful during their marriage. Wildly dressed extrovert and wannabe actress Joan is found in the land of night clubs, living life to the absolute maximum. One night after dumping her boyfriend, she meets handsome but standoffish loner Keenan. Joan likes the guy, but he is cold and distant from her, which puzzles her. Sure enough, she begins to break through the barriers he has put up with her charisma and exuberance. Theatre director Meredith has all but given up on love after being hurt do many times and chooses to remain single. Yet this doesn’t stop affable architect Trent from pursuing her in a genuinely romantic way. Organised Mildred is forced to come to terms with the fact that her gay son Mark is dying of AIDS and attempts to mend their fractured relationship before it is too late by being honest with him for once in her life. Gracie, a married woman who is bored, is having an affair with Roger, who wants more out of the relationship than just sex. And finally there is the mournful Hugh, who travels from bar to bar, reeling off his tragic stories to women that will listen. Yet, his tales seem to change rapidly from night to night. Little by little, we begin to see the way that each seemingly separate story is connected in some way or another.

Writer/director Willard Carroll fashions a multi-stranded mosaic on the topic of love and the different ways it is expressed between people. Love is a subject that is more than well covered on films, but Carroll manages to give something to it with the multiple stories and characters. His script mixes tragedy, comic moments and blossoming romance with excellent results. It’s great to listen to his witty dialogue that captures the changing fortunes of the very different characters going through various kinds of love. Playing by Heart may not offer much in the way of being the most original movie, but that doesn’t make it any less good or accomplished. With a nice visual style of night-time Los Angeles, we feel the longings, passions and losses of these people. This is further given strength by a minimal but impactful score of trickling piano, tinged with jazz from the legendary John Barry. Playing by Heart is a well paced movie where something is always happening. Some of the middle half drags due to one uninvolving story thread, but the breadth of the other tales brings it back to greatness. There is something so natural about the way this movie explores relationships, I can’t explain it but it just feels so well done. I really liked watching how all the stories eventually connected, it was really orchestrated well through little things.

The marvellous ensemble cast is a real treat and adds significant amounts of talent to their respective parts. Sean Connery and Gena Rowlands have a winning chemistry as an older couple overcoming the hurdles that present themselves. These two actors are such pros and you see the twinkling in the eye of Connery and the warmth of Rowlands in every scene. Stealing the show throughout the movie is Angelina Jolie as the energetic and wild Joan. Imbuing the character with chatty verve, unusual dress sense and a quick, over the top humour, she is utterly delightful in the part that could have become annoying, but becomes instead lovable due to the presence of Jolie. Ryan Phillippe contributes some of his best work as the emotionally shut off Keenan, who gradually comes out of his shell because his attracted to Joan. There is Gillian Anderson who marvellously conveys the feelings of distrust in relationship that begin to wither when someone genuine takes an interest. Jon Stewart is that someone and he has a real madcap sense of humour to add to the mix. The always talented Ellen Burstyn is an emotional marvel as the mother trying to reconnect with her son and her scenes with Jay Mohr are really emotional highlights of the film as they are both able to be frank with one another. The one story that I didn’t find that involving was the one featuring Madeleine Stowe and Anthony Edwards having an affair. This isn’t the fault of the actors who are both well cast, it’s just that their story is a bit stale. Thankfully, Dennis Quaid makes up for that with his strange turn as the drunken Hugh, who switches his stories every night. It is a great showcase for Dennis Quaid as an actor.

Warm-hearted, funny and moving at many times, Playing by Heart brings a talented cast, colorfully drawn characters and exceptional dialogue together with care and sense of depth.

Perfect Stranger

Tags

2000's, Bruce Willis, Giovanni Ribisi, Halle Berry, James Foley, Perfect Stranger, Thriller

Film Title

Perfect Stranger

Director

James Foley

Starring

• Halle Berry as Rowena Price
• Bruce Willis as Harrison Hill
• Giovanni Ribisi as Miles Haley

A frankly boring, ridiculous and not at all intriguing techno thriller, Perfect Stranger is a film best described as a real mess, despite having the talents of Halle Berry and Bruce Willis.

Rowena Price is a hard-nosed reporter, writing under a pseudonym, who knows how to get a story. With the help of her technologically skilled friend Miles Haley, she is currently on to a major scoop on a senator. Yet her tireless investigation is quashed by her editor after it turns out he is good friends with the senator in question. The end to her investigation makes Rowena angry and she quits her job. Not long after she runs into Grace, a childhood friend who has a potentially damning story to spill. She has been conducting an affair with prominent advertisement businessman Harrison Hill, who has subsequently broke it off after Grace threatened to expose him. She asks Rowena to look into it and see whether it could make a story, yet Rowena dismisses it at first, still angry about her scoop that she had and lost. A few days later, Grace is founded murdered which propels Rowena into finally looking into Hill. Employing her talents for discretion and enlisting Miles, she goes undercover in Hill’s workplace to see if she can find out whether Hill was responsible for Grace’s murder. As well as this, she tracks Hill on-line to a communications site, and subsequently lures him in under a false name. She hopes to trap him in both capacities. But soon enough, Rowena finds herself in over her head and with identities changing like rapid fire, who can she trust in a dangerous game of cat and mouse?

Now I must say that as a director James Foley is very talented, but even his expertise can’t save this shipwreck of a movie. It’s what you would call a losing battle, no director could bring such a film credibility or thrills. A convoluted and frankly nonsensical script is the main thing to blame for the failures of Perfect Stranger. Littered with embarrassingly bad dialogue and too many twists, it is a real car crash. And when everything leads up to the twist ending, it just becomes worse because none of it makes a lot if sense and emerges as just a complete waste of time. A glossy visual style can’t even compensate for these flaws because mostly it resembles so many other films and the technological approach has been done to death on CSI. There is also copious product placement here that just becomes boring and not at all useful with trying to bring at least something of worth from such a bad film as Perfect Stranger. The provided score aims for thrills and tension, yet can’t muster up either of them.

The talented cast assembled for Perfect Stranger can’t even make the movie worth watching. Halle Berry and Bruce Willis are talented stars, but even their best efforts are ruined by the abysmal plotting and execution. The same goes Giovanni Ribisi who provides crazy off the wall mannerisms to his character but because of the film he’s trapped in make it at all memorable. It is always a shame to see talented actors wasted in a movie like this that gives them frankly nothing to do and no decipherable characters to play.

Poorly scripted, mind-numbingly dull and with no life whatsoever, Perfect Stranger is a film to avoid with a capital A.