The Mirror Has Two Faces

Tags

1990's, Barbra Streisand, Comedy, Drama, George Segal, Jeff Bridges, Lauren Bacall, Mimi Rogers, Pierce Brosnan, Romantic Comedy, The Mirror Has Two Faces

Film Title

The Mirror Has Two Faces

Director

Barbra Streisand

Starring

• Barbra Streisand as Rose Morgan
• Jeff Bridges as Gregory Larkin
• Lauren Bacall as Hannah Morgan
• Mimi Rogers as Claire Morgan
• George Segal as Henry Fine
• Pierce Brosnan as Alex

A romantic comedy-drama that has a feeling for old-fashioned films of the genre yet infused with something modern, The Mirror Has Two Faces has humour and heart to be taken from it. The middle part is slow and overindulged in a couple of missteps, but the overall package of the film, under the clear command of both director and star Barbra Streisand crafts an often touching and funny tale of relationships.

Rose Morgan is a dowdy, middle-aged professor of English Literature at Columbia University who often talks about grand romance and passion. The irony is that Rose has neither of them but really would like them, she just hasn’t had any luck in relationships. Living at home with her overbearing and vain mother Hannah is no help either as her mother is a woman who always feels the need to do her daughter down. And to top it off, Rose’s pretty sister Claire has just got married to the hunky Alex, who Rose has carried a torch for since the moment they met. Gregory Larkin also teaches at Columbia University though he is in the maths department and doesn’t quite have the ability to connect with his class that Rose does. He has come to the conclusion that he can’t function if in any sort of romantic or sexual relationship as he appears to lose his head. He puts and ad in the paper for a relationship that is intellectual rather than lustful. Through the intervention of Claire, Rose and Gregory meet and somehow hit it off. She impresses him with her self-deprecating wit and intellect, while she likes that he has taken an interest in her as no one in the past really has this much and no one quite as dashing either. After a few mix ups, the two pursue a platonic union that seems to work for both of them as it provides stimulating company and both of them can be themselves around the other. A few months into this, Gregory proposes much to the surprise of Rose, who knows that the marriage would be one without physical intimacy. Perhaps out of fear that she’ll be left on the shelf forever, Rose accepts his offer and the two marry. As time goes on, Rose begins to develop deep romantic affections for Gregory and this puts a strain on what is supposed to be a chaste meeting of minds rather than bodies. When she attempts to seduce him, Gregory rejects her as he doesn’t want sex to complicate what has become a pleasing companionship and goes on a teaching tour around Europe. Rose is then left to choose whether she should still pursue a potential reunion with Gregory or make some sort of change.

Taking the director’s seat, Barbra Streisand shows of yet more of her talent by giving perceptive and inviting direction to The Mirror Has Two Faces. She covers themes of self-worth and beauty in it, and while during the middle section where Rose has a makeover she jeopardizes some of what she’s been getting across, she brings it all back together for a lovely home stretch as Rose and Gregory have to acknowledge their feelings. Having starred herself in many romantic comedies in the past, the genre has obviously rubbed off on her and the result is a film constructed with attention and care for the genre it is in. Some will dismiss the film as a vanity project and simply just The Streisand Show, but dig deeper and there’s genuine emotion to be found there as well as a crackling script of funny characters. Streisand shows her confidence behind the camera as well as in front and makes the procedure both humorous and delightful. The Mirror Has Two Faces succeeds due to its throwback nature and moments that bring to mind 50’s romantic comedies. Scenes like the awkward meeting of the two are her attempt at a seduction have a feeling of yesteryear to them, but also benefit from modern values too. The film loses steam in the middle section and gets a bit bogged down in an abundance of gloss, at least it regains footing near the end and doesn’t do too much damage to a well-crafted flick. A lush sweeping score harks from Marvin Hamlisch harks back to the glory days of the romance picture with strings and woodwind as the perfect backdrop for this throwback picture.

As well as sitting in the director’s chair(and doing a fine job in that department), Barbra Streisand also contributes an amusing yet sympathetic performance as the lovelorn Rose, entering into a platonic marriage yet secretly desiring grand passion. Streisand breathes life into a woman who has a low self-esteem yet a good sense of humour that hides insecurity. Exuding kooky mannerisms and an articulate mind, Barbra Streisand marvellously makes Rose a character to root for and be charmed by along the way. Jeff Bridges provides superb humour as the somewhat bumbling and talkative Gregory, who believes that his theory of a union without the complication of sexual feelings or romance will work, but is challenged when Rose wants more than just companionship. Bridges has a real knack for laughs that is apparent here and by giving the part fastidious tendencies as well as awkwardness, he is a joy to watch. It must be said that the way that Streisand and Bridges bounce off each other is quite something and has that snap that old romantic comedies of the 40’s and 50’s had. Lauren Bacall flat-out steals The Mirror Has Two Faces however, with a sharp turn as Rose’s disagreeable and looks obsessed mother Hannah. With acerbic drawl, Bacall marvellously plays this matriarchal diva as something of a vain Medusa with all the best lines and withering put downs. Yet I have to give credit to Bacall for also injecting touches of vulnerability to the part that show that Hannah is not as bitchy or as harsh as her exterior would suggest. It’s a true supporting turn that is great to behold whenever Bacall takes the screen. Mimi Rogers is fine as the foxy glamour puss sister, while although only seen briefly, George Segal is a hoot as a friend of Gregory’s with a roving eye. The only person to not really make an impact is Pierce Brosnan as Rose’s brother-in-law, though the blame can’t be put at the door of Brosnan because the character is lazily written.

Its main message can get jumbled amid the gloss and the latter stages could have had some trimming to make them slightly tighter, yet The Mirror Has Two Faces brims with such beaming love, awkward romance and surprisingly moving moments that it’s flaws can be passed over because of how well it all turns out. And the well assembled cast and illustrious director/star of Barbra Streisand are even more reason to seek this film out.

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It Started in Naples

Tags

1960's, Clark Gable, It Started in Naples, Marietto, Melville Shavelson, Romantic Comedy, Sophia Loren, Vittorio De Sica

Film Title

It Started in Naples

Director

Melville Shavelson

Starring

• Clark Gable as Michael Hamilton
• Sophia Loren as Lucia Curcio
• Vittorio De Sica as Mario Vitale
• Marietto as Nando

A somewhat mixed romantic comedy, It Started in Naples is thankfully enlivened by the star pairing of Clark Gable and Sophia Loren as well as an amiable enough story and the lovely scenery of Italy.

Michael Hamilton is a respected Philadelphia lawyer who travels to Naples after being informed of his estranged brother’s death in a boating accident. Michael is an upright man who has no time for any other culture and wants business to be taken care of quickly. Naturally this doesn’t happen for him on his arrival. What he also discovers thanks to Mario Vitale, an Italian lawyer who knew his brother, informs Michael that his brother had an illegitimate child named Nando who is currently being raised by his Aunt Lucia Curcio. Journeying to the beautiful nearby island of Capri, he finds that Lucia is an uninhibited and beautiful woman of modest means who gets by from dancing at a local nightclub. Young Nando is a charming ragamuffin who smokes, skips school and stays up late, much to the shock of Michael who doesn’t think this environment that Lucia provides is beneficial for the child. Michael finds himself growing fond of Nando and thinking that the young boy should be in a place of some opportunity instead of what he considers squalor, decides to fight for custody for the young boy, with the intention of bringing the boy back to America. But Lucia has other ideas and uses her considerable assets in an attempt to remain with custody of Nando. So while both Michael and Lucia play tug of war to gain custody of the impish Nando, they both find romantic feelings growing between them, due in no small part thanks to lawyer Vitale who meddles in their unspoken emotions and brings them out amusingly.

Melville Shavelson competently directs this light film with knowledge for both romance and comedy. He may take a little too long with exposition, but once the romance and comedy aspects are present his direction is free and easy, helped by a dose of irony. It Started in Naples mainly suffers somewhat from a by the numbers story and the fact that it runs too long. From the beginning, we can see where the plot is going and it makes the film both predictable yet somehow enjoyable. The film is essentially a one-joke movie of Michael experiencing a culture clash that leads to romance with Lucia, but at least the other spots of humour have a warm and pleasing quality. Overall with It Started in Naples, the positives outweigh the negatives as the energy of the film is sustained by the direction and glamorous romantic pairing of Loren and Gable. And deserving a special mention are the luscious visuals that fill the settings of Naples and Capri with shiny exuberance and colours of romance. It paints a breathtaking picture of these places that seriously have you wanting to book a flight there as soon as possible. A lively music score is utilized to great effect here, including a couple of songs. The highlight of these is a cheeky and sexy number performed by Lucia in a nightclub that represents one of the best and most energetic parts of the movie.

In one of his last roles before his death, Clark Gable still shows his considerable authority and charm that made him an iconic star. He brings out Michael’s cynical and intolerant attitudes that are eventually worm down by the surroundings. Despite the character being an uptight individual, Gable showcases that roguish charm that we all know and love. He wasn’t known as ‘The King’ for nothing. Providing a comical and sexy foil is Sophia Loren in a delightful performance as the earthy and voluptuous Lucia. Fun-loving, sensual and scheming on occasion, Loren displays her skills with comedy here and is stunning to watch, as well as boasting one of the most infectious laughs you’re ever likely to here. And despite the obvious age gap between the stars, they do have a wonderful chemistry with each other that can be felt. Vittorio De Sica emerges as a real scene-stealer here as the skirt-chasing lawyer who isn’t exactly the best person to be representing Michael but whose in turn leads to romantic feelings blossoming for them outside of court. The youthful presence of Marietto is charming when he’s playing Nando, who thinks he’s a lot older than he is but his childlike actions betray this sense of maturity he believes he has making him an engaging child.

It could have been a better film than how it turned out, but It Started in Naples has enough humour and chemistry( plus the beautiful backdrop of Italy) to make it a pleasantly light film to watch. It has its share of flaws, but a serene charm shines through the mixed proceedings that will surely leave with you with a smile on your face.

The X-Files Season 9

Tags

2000's, Annabeth Gish, Burt Reynolds, Cary Elwes, David Duchovny, Gillian Anderson, Lucy Lawless, Mitch Pileggi, Robert Patrick, The X-Files, The X-Files Season 9

I thought it was about time I got back into my X-Files reviews again after a hiatus. So here is my review of last season of the original run. At this point in the show, it was running out of steam and becoming a bit stale. Season 8 was redeemed by an emotional finale, but I could sense that the show was running a bit low. With Season 9, there are obvious flaws here, but it still has moments that shine. Spoilers will be following in this review so be warned.

Mulder(David Duchovny) has gone into hiding after bring tipped off by Kirsch about the fact that he’s in danger. Meanwhile, Scully(Gillian Anderson) is taking care of her son William and is on maternity leave for the beginning of the season feeling she must protect her son from the possible dangers her work poses, before coming back slowly to work. Determined Doggett(Robert Patrick) is investigating Kirsch as he believes he has links to the conspiracy of creating super soldiers that has been referenced by many for a while. It turns out that Kirsch actually despite his own terse and shifty persona has been helping all the agents present even though those above him have been manipulating him. Doggett and good friend Monica Reyes(Annabeth Gish) continue investigating the X-Files and experience more strange cases, later being joined by Scully and often Skinner(Mitch Pileggi). There is also another new Assistant Director, Brad Follmer(Cary Elwes), who has history with Reyes and is something of an ambivalent character who you’re never quite sure what to make of. More evidence is discovered of the covert experiments to create indestructible beings within the darkness of the government. Scully’s baby begins exhibiting signs of powers far beyond logical explanation, that leads all the agents down into the conspiracy and how it holds links to baby William and the dangers that are posed to him. The main danger begins with a UFO cult who believe that William will lead the Super Soldiers and resort to kidnapping the child. Thankfully, Scully and Reyes manage to rescue him, but the experience leaves Scully having to make an important and painful decision.When Mulder comes out of hiding, more danger is sure to follow. So what will become of everyone in the story?

By this point in the scope of The X-Files, I believe it was obvious to many that the show had run its course. The absence of Mulder poses one of the biggest problems in Season 9. Season 8 can be forgiven because Mulder reappeared again in the middle and remained, but here his presence is limited greatly bringing incoherence and inconsistency to the mix. A lot of it has that disjointed feeling again that continues. Some Monster of the Week installments are good, but then there are those that start to feel dated and stale later. The various story lines vary in quality, with some very good and some sinking ships. The William story line was one of the better stories as it had some genuine emotion present. Plus, it led to some of the best episodes of this up and down season so it’s something to be grateful for. The Super Soldiers part of the story is good enough, but it never quite makes an indelible work where it really should have.

Despite mounting weaknesses and diminishing results, some shining moments of note can at least be gleaned. The two-part season opener has an excellent air of mystery and intrigue to it, that starts what becomes a very flawed season off very well. ‘Trust No 1’ in which a mysterious man who is in fact a Super Soldier plays on Scully desire to see Mulder in order to draw him out of hiding again is a nail-biting episode. This is an episode that really plays upon the fear of being observed without knowing it through black and white integration of camera footage prowling around the characters. It has a real flavour of The X-Files of old. Emotions run high in both ‘Provenance’ and ‘Providence’ as William is kidnapped and Scully is prepared to do whatever it takes to get her son back from the hands of the cult. It showcases Scully as a fierce matriarch going the distance and fighting with all she’s got to save her son. A comical highlight has to be ‘Improbable’ which guest stars Burt Reynolds as a most mysterious man whose card playing and numerology somehow chimes in with cases of murder revolving around the number three(luck, chance and fate play a large part too). Some of the situations in the episode are hilariously done with Reyes and Scully both having to play checkers with him before discovering something important. Reynolds has a blast in his part and steals the episode away from everyone with his amusing yet mysterious personality. ‘William’ provides sadness as Scully has to decide to give her son up for adoption as the powers of evil will never stop searching for him as long as he is with her. And I have to talk about the final two episodes ‘The Truth’ in which Mulder surfaces again after being accused of killing a military man, who was in fact a Super Soldier. A trial ensues with Skinner representing Mulder and a whole array of characters past and present being seen in various forms. An exciting getaway for Mulder and Scully is helped by those closest, where they must now ponder a unnerving future.  The use of flashbacks and past characters is a good touch to have as well as Mulder’s return. Yet while the finale answers some burning questions, it gives even more of them more convolution.  I just really wanted a bit more closure than anything in the finale, but as it was, the finale was pretty good albeit ambiguous.

Season 9 may be something of a nadir, but at least there is excellent acting to be found. Gillian Anderson once more provides the show’s emotional anchor as Scully and is as adept as ever portraying her as a maternal figure of determination. By this point, Anderson has fully embodied the character to such a degree that we believe every move she makes because we’ve been along on the same journey as she has over the course of nine seasons. David Duchovny is shortchanged this time around as Mulder, as he appears only twice and it is the finale. He’s still exemplary as Mulder, no one else could have played the character, but I just wanted more of him this season considering it was to tie up loose ends. Robert Patrick impresses as Doggett, whose skepticism brings out the stern yet sarcastic side to his character, even as he begins to come around to the idea of the paranormal. Doggett is a very by the book guy and Patrick captures this excellently, while revealing a vulnerability beneath his tough guy image. Partnering him is Annabeth Gish, who comes into her own as Reyes. Balancing logic with a curiosity towards things that defy natural laws, Gish plays Reyes as a determined yet caring agent. Doggett and Reyes are no Mulder and Scully, but then again I don’t believe there were meant to be. Mitch Pileggi is resolute as always playing Skinner, who finally added to the main cast. I liked seeing this touch as Skinner has proved a very good and purposeful ally to the show and the characters. Cary Elwes is a shifty presence as Follmer, whose loyalties are very much called into question during his time on the show. An underused Lucy Lawless manages to be intriguing and alluring as a renegade super soldier who passes on information to Doggett. The problem is I would have liked to have seen more of her character than what the show had.

 

1. Nothing Important Happened Today – B
2. Nothing Important Happened Today II – B+
3. Dæmonicus – C-
4. 4-D – D
5. Lord of the Flies – C-
6. Trust No 1 – A+
7. John Doe – B+
8. Hellbound – B
9. Provenance – A
10. Providence – A
11. Audrey Pauley – D
12. Underneath – C-
13. Improbable – A
14. Scary Monsters – C-
15. Jump the Shark – C
16. William – B+
17. Release – C-
18. Sunshine Days – D-
19. The Truth Part 1 – B+
20. The Truth Part 2 – B+

So the original run of The X-Files is a definite mixed bag, that sometimes over complicates itself. Still, there is some respite to be found, even though the show could have ended on a somewhat better note.

Though I must say I’ve enjoyed delving into the show and going to the beginning to full experience it after hearing so much about the show. I have found the show to be excellent and can see why it is so iconic, even if the quality slowly ebbs away as it goes on. And fear not, I will continue charting my X-Files watching with a review of the second movie and the six-part series from earlier this year.

Twister

Tags

1990's, Action, Adventure, Bill Paxton, Cary Elwes, Disaster Film, Helen Hunt, Jami Gertz, Jan de Bont, Philip Seymour Hoffman, Twister

Film Title

Twister

Director

Jan de Bont

Starring

• Bill Paxton as Bill Harding
• Helen Hunt as Jo Harding
• Jami Gertz as Melissa Reeves
• Cary Elwes as Dr. Jonas Miller
• Philip Seymour Hoffman as Dusty

A tense, special effects laden disaster flick, Twister is big on the thrills that never let up and make it an extremely entertaining wild and windy flick. Simple in plot and characterizations it may be, but no one is going to watch this film for outstanding characters so just surrender to the white knuckle ride.

Bill Harding is a former storm chaser and weather researcher who has decided to settle down as he plans to marry his girlfriend Melissa and has recently become a television weather man. The problem is Bill’s estranged wife Jo(herself a meteorologist and fellow storm chaser) hasn’t signed the divorce papers yet after they separated some time before. Travelling with Melissa, he seeks out Jo, who is with a group of scientists in Oklahoma. The exceedingly driven Jo has managed to perfect a series of devices by the name of DOROTHY, which Bill had worked on when they were together. The devices function by releasing thousands of sensors into a tornado and getting important information( the catch being that you have to be very close to a tornado to enable it). With this knowledge they could glean from the device, they may be able to help create a more advanced storm warning system, resulting in less damage if people are informed much earlier. Yet his timing is just as a series of very destructive tornadoes are headed their way which Jo plans to tackle so that she can put the creation to good use. Soon, Bill’s wild desire to be a storm chaser again returns and he joins Jo on her mission to execute DOROTHY, much to the opposition of Melissa. The group also has to contend with and race against Dr. Jonas Miller, a slimy guy who ripped off their ideas and has created a similar device, though he’s had all the corporate sponsors and funding and is only in it for the money. Yet with each tornado becoming more destructive than the last, just how far are Jo and Bill willing to venture in the name of both science and adventure?

Jan de Bont is an exceptional director of action and his skill set can be viewed in various exciting ways during Twister. Utilizing swirling cameras and a lightning pace, de Bont never stops for breath once the tornadoes getting going. We are quite literally thrust into the terrifying but exhilarating path of the destructive tornadoes and what a blast it is. Through the use of special effects that still hold up remarkably well, the spectacle of each intense twister is marvellously executed. Standout scenes abound, especially the big finale tornado that finds Jo and Bill ducking for cover in a barn as it is ripped from around them until there’s nothing left. As I previously stated, character development and seriousness is not the order of the day here. Yet this doesn’t do detriment to Twister’s impact as it never sets up to be character driven or literate, instead opting for an extravaganza of action and danger. Sound design and effects are equally as excellent when it comes to simulating the intensity of Mother Nature and the destructive forces she can conjure up on an unsuspecting people. By far the biggest stars of this film are the tornadoes themselves, as they make for very memorable visions of destruction and terror. A rousing musical score from Mark Mancina mixed in with rock songs from Van Halen is very effective and furthers the feeling of action and tension that the team encounters along the dangerous journey.

While the characters are somewhat thinly drawn, the cast is mostly impressive. Playing the estranged couple and fellow storm chasers, Bill Paxton and Helen Hunt are very good; bringing out more character than was probably written on the page. Both get across the collective desires and obsession to put their device into use and how these aspirations are what leads them both into the harmful path of near death in the cross-hairs of oncoming storms. A weak spot in the generally good acting is Jami Gertz as Bill’s terrified and annoying fiancée. She is only required in the film to berate and shriek as loud as she can and the sole purpose of her is so that Bill will visit Jo. Cary Elwes does the slime ball shtick very well as the villainous opposition who wants to use the storms as a way to make money. The rest of the science team have roles that generally all blend together, which lets the excellent Philip Seymour Hoffman stand out as the hyperactive Dusty, who lives for the thrill like no other.

So while character development is clearly on the back burner, Twister is all about the danger and destruction and in both aspects it succeeds with sensational results. Don’t look for any logic here, just sit back, fetch some popcorn and enjoy this roller coaster of a film.

Which Celebrity Has the Best Ass?

Tags

Best Asses, Tom Hiddleston

I saw today that Tom Hiddleston was bestowed with the ‘rear of the year’ award after showing his peach on TV(which you can see in the image above, I did try to get the best image I could). And it got me thinking about what other people think about certain bottoms belonging to celebrities. So I ask you all, which celebrity in your eyes has the best bottom? Do you agree with the choice of Hiddleston? Whoever the peachy person is, be sure to let me know.

Mystic Pizza

Tags

1980's, Adam Storke, Annabeth Gish, Coming-of-Age, Conchata Ferrell, Donald Petrie, Julia Roberts, Lili Taylor, Mystic Pizza, Vincent D'Onofrio, William R. Moses

Film Title

Mystic Pizza

Director

Donald Petrie

Starring

• Annabeth Gish as Kat Arujo
• Julia Roberts as Daisy Arujo
• Lili Taylor as Jojo Barbosa
• Vincent D’Onofrio as Bill Montijo
• William R. Moses as Tim Travers
• Adam Storke as Charlie Gordon Windsor, Jr.
• Conchata Ferrell as Leona

An enchanting slice of coming of age drama, Mystic Pizza is delightfully directed and acted, crafting an entertaining and quite moving story of three girls growing up and learning about the unpredictability of life.

In the seaside town of Mystic, Connecticut that has a largely Portuguese-American population, three working-class young ladies are fresh out of high school. These girls are sisters Kat and Daisy Arujo and best friend Jojo Barbosa. All three of them work as waitresses at the eponymous pizza parlor that is run by Leona, who watches over the girls with a sagacious eye. Kat is the studious one, who has been accepted to Yale but is saving the money up to pay for it. She is seen by many as the sensible girl of the three. To help pay for university, the bright Kat(whose main passion is astrology) takes another job babysitting for Tim Travers and his young daughter. Soon enough, Kat falls hard for her employer as they bond over subjects and each other’s company, despite knowing that he has a wife and he is significantly older. Kat’s sister Daisy is the complete opposite; brassy, loose and wild. As much as the sisters are close, there is rivalry between them as Kat is held in high regard by her mother for her drive, while the feisty Daisy is chided for her lack of direction and immoral behaviour. Daisy catches the attentions of preppy Charlie Gordon Windsor, Jr, a recent law school dropout who is something of the black sheep in his affluent family.  Yet Daisy begins to wonder whether Charlie is really into their union or is just trying to rebel against his family by dating her. Completing the troika is Jojo, who is the wise-cracking kooky one. She was supposed to marry rugged and big-hearted fisherman Bill at the beginning of the film but couldn’t go through with it. She’s still seeing Bill, though he now doesn’t want to have sex until the two are married. This poses a problem for Jojo as she wants adventure, sex and to live life before settling down. Over the course of the film, the three girls will learn about life, love and friendship as each contemplates the future.

Donald Petrie directs with a real flavour for the material, bestowing Mystic Pizza with amusing anecdotes and sensitively observed lessons in love and growth. He knows when to use humour and when to imbue the film with poignancy as each of the three girls navigates changes and feelings that affect them deeply. It’s the keen insight into their journeys that makes Mystic Pizza a heartening experience as we grow to like these three ladies just on the cusp of womanhood. We relate to them and share their hopes, dreams and fears of what could lie ahead, both for their lives and their hearts. It helps that the script defines these characters as individuals and brings out all their idiosyncrasies in delightfully warm fashion, making them very well-defined. Sure some of it gets a bit mawkish on occasion, but Mystic Pizza is so heartwarming and arresting that this can be seen as a really minor flaw in what is a very well made and excellent story. A lilting score, infused with a Portuguese tint to establish the atmosphere of the town is beautifully rendered.

Annabeth Gish is engaging and subtle as Kat, a girl with a clear set of goals but not immune to the longings of the heart which she comes to realise. Gish imbues the part with a straight arrow intelligence and slight naivety as her character unexpectedly develops feelings for her much older employer. As the feisty and sassy Daisy, who wants to do anything to get out of Mystic and finds her love life changing and being challenged, Julia Roberts showcases star charisma, sensitivity and big personality which would all help her to become of the biggest stars on the planet in the ensuing years after the release of this film. Lili Taylor rounds out the female circle of leads with an eccentric performance as the free-spirited and slightly oddball Jojo, who is caught between settling down on experimenting with life before it. A real feeling of camaraderie can be seen in the work of the three main actresses and this chemistry is what makes the film work so well as we believe their bonds of friendship that they share deeply with one another. And while it’s the ladies that dominate the film, the men do well too, albeit in less interesting roles. Vincent D’Onofrio stars as the amusingly good-hearted gentle giant who wants to marry Jojo because he is so in love with her and continues to pursue her. William R. Moses plays the object of Kat’s affections good enough while Adam Storke portrays the blue-blooded guy attracted to Daisy, but constantly at the behest of his family who he tries to impress. In a sharp supporting turn, Conchata Ferrell is motherly and firm as the owner of the pizza place, who guards her secret recipe tightly, much to the girl’s annoyance as they attempt various ways to get her to spill.

Well played by the cast and observed with emotional clarity, Mystic Pizza is a feel-good movie that touches the heart, yet never forgets to shed light on the often difficult lessons we all must learn as we grow up and must make important decisions.

Happy Birthday Jennifer Lopez

Tags

Birthday, Jennifer Lopez

It’s probably no surprise to anyone who regularly reads my blog that I’m doing this post. After all I have reviewed many movies starring Jennifer Lopez and spoke about how gorgeous she is. So it seemed right to do a post wishing her a happy birthday. She was one of the first crushes I ever had and that continues to this day. Jennifer Lopez turns 47 today and is going as strong as ever with both her music and movie career. Happy Birthday Jennifer Lopez.

No Strings Attached

Tags

2010's, Ashton Kutcher, Comedy, Greta Gerwig, Ivan Reitman, Jake Johnson, Kevin Kline, Lake Bell, Ludacris, Natalie Portman, No Strings Attached, Romantic Comedy

Film Title

No Strings Attached

Director

Ivan Reitman

Starring

• Natalie Portman as Emma Kurtzman
• Ashton Kutcher as Adam Franklin
• Kevin Kline as Alvin Franklin
• Greta Gerwig as Patrice
• Jake Johnson as Eli
• Ludacris as Wallace
• Lake Bell as Lucy

A somewhat spicy romantic comedy, No Strings Attached is a film that surprised me as I didn’t expect to enjoy it as much as I did. It’s thoroughly predictable, but a bit of added naughtiness than most films of the genre and good chemistry from the leads marks it as an entertaining and raunchy comedy.

Emma Kurtzman and Adam Franklin have known each other since they met at summer camp as teenagers and struck up something of a friendship. Over the following years, they encounter each other a few times but each is busy. Emma becomes a busy doctor and Adam a production assistant for a TV show. They finally run into each other again under amusing circumstances when Adam gets very drunk(after discovering his seedy dad has been bedding his ex-girlfriend) and passes out in Emma’s apartment. After helping him get himself together, Emma sees that there is a spark between them and the two have sex. Although they felt a spark, Emma is reluctant to pursue any relationship as she is not good at getting close to others, her work keeps her almost always busy and she has a fear of becoming deeply involved with someone else. Emma then comes up with an idea that could work out for the both of them; they will have a purely sexual relationship that doesn’t have the intrusion of emotions. They can each see other people without feeling jealous or expecting anything deeper from the pact. It starts out well enough, with the promise of lusty encounters with no guilt thrilling. But inevitably, both Emma and Adam begin to develop romantic inclinations towards each other, which causes all manner of confusion as it goes against their initial agreement to not have emotional intimacy.

Ivan Reitman contributes unfussy and observant direction that takes a funny examination of love and sex and doesn’t feel the need to pander to a  cloying demographic by sugar-coating any of the naughtiness that is featured. A winning script is an excellent inclusion to No Strings Attached as it delves into sex and romance with a frankness that is different to most romantic comedies that are overly cute and saccharine. Some of it doesn’t escape the predictable formula of the genre and it can try to be a bit overly lewd, but for the majority it stays on the right side of ribald. I must say that there were so many parts of the film that had me laughing out loud due to the awkwardness and ensuing complications of Emma and Adam realising that there is more to their union than just sex. All manner of hilarity presents itself in No Strings Attached as their relationship deepens unexpectedly, culminating in quite a few rib-tickling sequences.

Natalie Portman further cements her versatility as an actress by showing off some excellent comic timing. She plays Emma as brittle, self-assured yet with a guarded quality that shows quite a lot of depth as the character must confront love for possibly the first time. The depth, humour and honesty Portman brings adds a refreshing dimension to the film as she isn’t just the typical girl who is usually found in a romantic comedy. Ashton Kutcher has the part of Adam, and he has the necessary goofiness and decency to play the part and make the character likable. The two stars have very believable chemistry that retains a slightly awkward but delightfully endearing heart to it and leads to all sorts of naughty mischief and unexpected consequences. An amusing array of supporting characters are played well by the rest of the cast. Kevin Kline had me howling laughing as the irresponsible dad, trying to be young again by working out and doing drugs so he can be a cool dude. A sassy Greta Gerwig is good as Emma’s roommate who can see that the arrangement between the two principal characters will not work out well. Side-splitting humour is provided by Jake Johnson and Ludacris as Adam’s mates, whose advice on love and sex are both ribald and hysterical. Lake Bell is quite funny as a co-worker of Adam’s who obviously likes him, but is prone to incessant chatter that over analyzes things too much. The part is funny, though slightly grating in the scheme of things.

You’ll probably the guess the outcome of the film long before it ends and some of the vulgarity can be a bit overused, yet No Strings Attached presents an amusing look at the complexities of trying to separate sexual relations from those of the heart. Honestly, this movie genuinely did a number on me and exceeded my expectations I had going into it.

On a Clear Day You Can See Forever

Tags

1970's, Barbra Streisand, Fantasy, Jack Nicholson, Larry Blyden, Musical, On a Clear Day You Can See Forever, Romance, Vincente Minnelli, Yves Montand

Film Title

On a Clear Day You Can See Forever

Director

Vincente Minnelli

Starring

• Barbra Streisand as Daisy Gamble/ Lady Melinda Tentrees
• Yves Montand as Dr. Marc Chabot
• Larry Blyden as Warren
• Jack Nicholson as Tad

An unusual and visually opulent musical/ romantic fantasy, On a Clear Day You Can See Forever is an oddity, but a visually entrancing one that has a dream like effect and Barbra Streisand to boot.

Daisy Gamble is a scatterbrained, kooky New Yorker who seems to possess strange gifts. For example, she can tell when a phone is about to ring and can cause flowers to grow wildly. Though because she is more than a bit absent-minded, she puts these powers down to nothing and doesn’t give them much thought. While Daisy is slightly zany, she has a priggish fiancée named Warren who always wants to make an impression and chides Daisy for some of her behaviour, particularly her chain-smoking. He suggests she find someone to help curb her habit before an important party they must attend. One day she wanders into a lecture on hypnosis by Dr. Marc Chabot and is herself briefly put under it. Chabot grows curious about Daisy and is interested when she comes to him to help with her habit. He organizes to see Daisy but what he finds while she in under hypnosis is more than he bargained for. Daisy regresses back to what appears to be a past life of hers; Lady Melinda Tentrees, a coquette in 18th Century England who used her charms to climb the ladder and was later put on trial for her supposed misdeeds. At first, Marc thinks that these talks of a past life are fabricated, but soon begins to come around to the idea. Marc doesn’t tell her about what she has said and due to his skill with hypnosis makes sure she doesn’t know about her talks of this past life. Could Daisy genuinely be a reincarnation of Melinda? And what about the complicated feelings that both Marc and Daisy develop? These emotions are given added strangeness by the fact that has been bewitched by Melinda and Daisy becoming attracted to.

Vincente Minnelli exudes his customary and exceptional meticulousness in the director’s chair, particularly when it comes to the dreamlike fantasy aspects of this movie. He’s a director whose work comes alive with colourful plushness from every angle. Minnelli excels best in the regression sequences, accentuating colour with expressive camerawork and eye-catching movements. It’s impossible not to watch open-mouthed at the decorative splendour, embodied through luscious lighting and  beautiful costume design. One special costume deserves considerable mention; a lovely bejeweled gown with a matching headdress that is captured in splendid beauty by the cameras and direction. And the film is given a boost by the fact that Minnelli having had experience in musicals before, is a natural when it comes to the music numbers, which are done with pleasing panache. The standouts are the title song played over psychedelic visuals, the alluring ‘Love With all the Trimmings’ sung by Streisand in her marvellous voice and ‘Come Back to Me’ which Marc sings when he finds his worlds merging with Daisy’s and her past lives. On a Clear Day You Can See Forever has its fair share of flaws though. Some of the techniques used seriously date the film and become jarring as it progresses. The film could have been could a bit more coherent and sharper as the second half gets very bogged down with explanations, too much finery and needless scenes that fail to give a grasp to the blooming romances. Also, the sub plot of Marc’s talks with Daisy getting public notice and provoking controversy is a pretty needless avenue to go down. Despite these flaws, On a Clear Day has enough unusualness and style to appreciate it and forgive the sometimes wayward editing and choppy pacing that show the film’s age .

Barbra Streisand showcases her talents for both singing and acting here, and boy does she know how to put a show on. In this film, she really displays her gifts for entertaining with a set of performances that are funny, charming and kooky. And the fact that Streisand plays two distinctly different characters( a free-spirited and strangely dressed young woman and an elegant, beguiling flirt who rose through English society) so well, is a big sign of her undeniable talents as a performer and actress. Streisand is one of On a Clear Day’s biggest attributes and she is hard to forget. Yves Montand has the necessary bewilderment and curiosity for his role as he finds his views on reincarnation altered drastically. Yet Larry Blyden is introduced to late as Daisy’s pushy fiancée to really make a mark on the story. Movie buffs should look out for a young Jack Nicholson as Daisy’s laid-back step brother. It’s a small role, but any Jack Nicholson is better than none.

Flaws aside regarding the pacing and slow second half, On a Clear Day You Can See Forever has plenty of flourishes from director Vincente Minnelli and delightful energy from the indomitable Barbra Streisand to make it a strange but intoxicating musical fantasy.

Valentine’s Day

Tags

2010's, Anne Hathaway, Ashton Kutcher, Bradley Cooper, Bryce Robinson, Carter Jenkins, Emma Roberts, Eric Dane, Garry Marshall, George Lopez, Hector Elizondo, Jamie Foxx, Jennifer Garner, Jessica Alba, Jessica Biel, Julia Roberts, Kathy Bates, Patrick Dempsey, Queen Latifah, Romantic Comedy, Shirley MacLaine, Taylor Lautner, Taylor Swift, Topher Grace, Valentine's Day

Film Title

Valentine’s Day

Director

Garry Marshall

Starring

• Jessica Alba as Morley Clarkson
• Kathy Bates as Susan Moralez
• Jessica Biel as Kara Monahan
• Bradley Cooper as Holden Wilson
• Eric Dane as Sean Jackson
• Patrick Dempsey as Dr. Harrison Copeland
• Hector Elizondo as Edgar Paddington
• Jamie Foxx as Kelvin Moore
• Jennifer Garner as Julia Fitzpatrick
• Topher Grace as Jason Morris
• Anne Hathaway as Liz Curran
• Carter Jenkins as Alex
• Ashton Kutcher as Reed Bennett
• Queen Latifah as Paula Thomas
• Taylor Lautner as Willy Harrington
• George Lopez as Alphonso Rodriguez
• Shirley MacLaine as Estelle Paddington
• Emma Roberts as Grace Smart
• Julia Roberts as Capt. Kate Hazeltine
• Bryce Robinson as Edison
• Taylor Swift as Felicia

I was saddened yesterday to read of Garry Marshall’s death. He was a prolific director, producer and writer, who had a long and interesting career. One area he really succeeded in was directing romantic comedies and that is why I am going to review the all-star Valentine’s Day. I was planning to review this film anyway, but I will dedicate it to Garry Marshall now due to his passing. Anyway, back to the review.

Over the course of Valentine’s Day, the love lives of many residents is explored. Varying from newfound attraction to older couples, blinded love and pining, love seems to be everywhere in this set of interlocking stories. Good-hearted florist Reed Bennett proposes to his pretty girlfriend Morley, who accepts. The day seems to be going amazing for him, yet he soon sees that Morley is having doubts about marriage. His friends Alphonso and schoolteacher Julia stay quiet but aren’t surprised when Morley calls it off as they saw that the couple wasn’t ideally suited. Julia is having a relationship with the dashing Dr. Harrison Copeland, yet he is stringing her along because he is already married which Julia is unaware of. Reed discovers this and wants to help Julia, making him acknowledge that he has harboured feelings for his good friend for a while. Then we have Julia’s other friend publicist Kara, who despises the romantic day due to an unlucky history in love. Yet this could be changed by the equally cynical sports reporter Kelvin Moore, who has been coerced into doing a special on the importance of the day. Older couple Estelle and Edgar Paddington have been married for a long time, but something from the past is bothering Estelle as they contemplate renewing their vows. Kate Hazeltine, an army captain shares a flight with affable Holden and the two become friendly as she tells him that she is returning for one day to see someone special. And there are many more stories that are too many to document because this review would become extremely long-winded otherwise.

Garry Marshall brings his expertise to this sweet and fluffy film. This kind of movie was his bread and butter and his considerable love for the genre is very much apparent. I can’t really fault his direction here as it is well done, though other parts of the film aren’t as assured as Marshall’s direction. Each of these stories links to the next one in some strange way or another, some turning out not like you’d expect. Like with any movie containing an ensemble cast and multiple tales, certain stories are going to rise above others in terms of enjoyment. The best way to describe Valentine’s Day is as a big box of ribbon wrapped chocolates that is full to the brim with sweetness and delight, yet you remember some of the flavours more than others. The Taylor Swift/Taylor Lautner story could have been cut as it contributes nothing whatsoever to the story and the little boy trying to impress his sweetheart feels a bit too similar to one of the links in Love Actually. Then we have a nice story with Julia Roberts and Bradley Cooper talking on a flight back to Los Angeles that isn’t as clichéd as one would originally think. Anyone going into Valentine’s Day thinking it’s going to be something new will be mistaken because the formula of the film is familiar. Yet this isn’t to do the film down, it’s just how many romantic comedies have a story that is generic and been done before? It’s a genre that thrives on stories you’ve seen before and Valentine’s Day is no different in that respect. It’s a surprisingly sweet and funny experience actually and not as bad as many people have made the film out to be. I will admit I can be a sucker for romantic comedies sometimes so my opinion could be biased, but I enjoyed this film, even if the film is guilty of being over busy.

And following on about the film being busy, you have to say that the cast is one attractive bunch of stars. Be prepared readers, it may take some time talking about his massive cast. Ashton Kutcher is probably the person seen the most in Valentine’s Day and he has a real exuberance that shines through in an endearing way. A natural and sweet performance from Jennifer Garner is a nicely cast part, with plenty of humour and heart. Jessica Biel is particularly funny as a woman who holds a I hate Valentine’s Party, but secretly wants some romance in her life that has been elusive so far. Alongside Biel in the humour department there is an amusing Jamie Foxx. Old pros Shirley MacLaine and Hector Elizondo bring warmth and experience to their roles as an older couple having to deal with feelings they weren’t sure of. Anne Hathaway and Topher Grace have good chemistry as a new couple with a hitch, she moonlights as a phone sex operator to pay off bills. Leading to much confusion, the two stars have fun and spark off each other well as they navigate the challenges of love.

Julia Roberts, who is already adept at romantic comedy, is luminous along with Bradley Cooper, in an amiable and funny vignette. Eric Dane and George Lopez fare pretty well with the material they are given. Emma Roberts and Carter Jenkins make their tale funny and a little relatable as they play two students planning to have sex for the first time. Trouble is, it doesn’t go to plan leading to an amusing scene of Jenkins preparing to serenade his beloved wearing nothing but a guitar and being caught by her mother. Kathy Bates is unfortunately reduced to nothing but a cameo which is annoying considering how good Bates is as an actress. The same goes for Queen Latifah who is wasted and not given any opportunity to shine. On the negative side of casting we have Jessica Alba, who despite her beauty, is more than a little bland in her delivery. Young Bruce Robinson is endearing enough as the enamoured young boy wanting to impress a girl he has a crush on. The problem is the story is pretty much a non-starter that never comes to life. Patrick Dempsey plays a love rat with some smoothness that starts to vanish once he’s found out. Taylor Swift and Taylor Lautner are pretty poor as a love struck young couple and their story feels like it could have been left on the cutting room floor.

It’s not the best romantic comedy but it’s far from the worst, and Valentine’s Day displays the flair and entertainment value that Garry Marshall had for this sort of thing that will be missed within the genre. Rest in Peace Garry Marshall, may your great spirit live on through your wonderful work.