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.

 

The Illusionist

Tags

2000's, Edward Norton, Fantasy, Jessica Biel, Mystery, Neil Burger, Paul Giamatti, Romance, Rufus Sewell, The Illusionist

Film Title

The Illusionist

Director

Neil Burger

Starring

• Edward Norton as Eisenheim
• Paul Giamatti as Chief Inspector Uhl
• Jessica Biel as Duchess Sophie Von Teschen
• Rufus Sewell as Crown Prince Leopold

An intriguing blend of mystery, romance and hints of fantasy, The Illusionist like its protagonist casts a spell on you from beginning to end. Handsomely directed and visually arresting, it burns itself into the memory with its sleight of hand events and effective performances.

In turn of the century Vienna, the magician Eisenheim thrills audiences with his performances that seem to defy the odds and point at possible supernatural talents. As a child, Eisenheim came from a poor family and he became interested in magic tricks and similar things. He also fell in love with Sophie, a young duchess from a prominent family. Their relationship was forbidden when discovered because of the difference in social standing. As a result, a teenage Eisenheim traveled the world, honing his craft with the art of magic. Now back in Vienna, he is the centre of attention for his audience. During one specific performance, the Crown Prince Leopold attends with a now grown up Sophie, who he is engaged to. During the performance, Eisenheim requires a volunteer and finds one in Sophie. Both recognize each other immediately and remember how their love was thwarted. An obvious candle still burns between them after meeting again. But the Crown Prince is not one to be competed with, as he exercises strict and sadistic control over the people around him, mainly Sophie who sees more as a possession than as a lover. Eisenheim also gives a private performance for the Crown Prince in which he humiliates him. Angered by what he sees as an attack on his authority, the Prince tasks his Chief Inspector Uhl to investigate Eisenheim and prove he is nothing but a money-making fraud. But Uhl, while loyal to the Prince and his job, begins to respect Eisenheim and his act, becoming very curious about how he does it. As Eisenheim and independently minded Sophie secretly start their relationship again due to the thwarted passion that separated them, a battle of wills ensues between the magician and the prince, leading to shocking consequences. But in this game of trickery and love, all is not as it seems.

From the opening frames of mist and golden curtains, you just know that The Illusionist is going to draw you in. And so it does with its plot and execution. Writer and director Neil Burger conjures up a mysterious atmosphere of stifled emotions and repressed romance eventually breaking through with aplomb. Burger successfully keeps the audience on their toes regarding the mystery over Eisenheim and his talents. Is he really channeling something not of this world or not? That is where the effectiveness of this movie lies, in the intriguing mystery surrounding the eponymous magician. A huge highlight of The Illusionist has to be the sumptuous cinematography. It cloaks the movie in hues of burnt gold and shadows, enhancing the magical aura that Eisenheim brings and also the lavish but restricted lives of those in power. You couldn’t have asked for better cinematography for a film like this, it is that awe-inspiring to view as you feel like you’ve stepped back in time to turn of the century Vienna. A swirling score from Philip Glass gives romance to The Illusionist, while effectively giving us many pieces that enhance the overall mystery that hangs over Eisenheim.

In terms of acting, The Illusionist succeeds thanks to a talented cast giving their all to their roles. Heading the proceedings is the ever intense Edward Norton portraying the elusive Eisenheim. Filled with intelligence, passion and glints of mystery, Edward Norton has fun with the part that doesn’t reveal too much but just enough to keep us curious over whether Eisenheim is supernaturally talented or merely just a clever conjurer fooling his audience. The always reliable Paul Giamatti contributes nervous energy and a sense of conflicted loyalty as his character feels obliged to do the Prince’s bidding but is very curious about Eisenheim as well. Giamatti successfully blends those two components to make a great performance. I’ve spoken in the past about how Jessica Biel for a while didn’t do much for me as an actress. I always found she was in loads of action movies and not given enough to do. It’s then I realized that it wasn’t Biel I had the problem with, it was the films she was lumbered with. When given the right material she really flourishes and that’s exactly what she does in this movie. Luscious, composed and filled with an  imprisoned desire, Biel makes quite an impression as Sophie; the object of affection who still carries a deep love for her childhood friend. Rounding out the impressive quartet of performers is Rufus Sewell as the sadistic and cruel Prince. Sewell emits this immediately slimy quality that makes the audience feel revulsion towards and he does it well.

Passionate and laced with enigmas, The Illusionist is well-crafted film making that gains power from striking visuals and stellar work from the cast.

 

Easy Virtue

Tags

2000's, Ben Barnes, Colin Firth, Easy Virtue, Jessica Biel, Kristin Scott Thomas, Period Comedy, Stephan Elliott

Film Title

Easy Virtue

Director

Stephan Elliott

Starring

• Jessica Biel as Larita Whittaker
• Ben Barnes as John Whittaker
• Colin Firth as Major Jim Whittaker
• Kristin Scott Thomas as Mrs. Veronica Whittaker

Based on the Noël Coward play and boasting a witty screenplay and fine performances, Easy Virtue is a period comedy that examines the clashing of cultures in the 1920’s revolving around a middle-class Englishman’s hasty marriage to a forthright American woman and the subsequent reactions of his stuffy family.

1920’s; John Whittaker is the only boy of a middle class family. Whilst vacationing in Monaco, he falls for the beautiful American racecar driver Larita, who is much older than him. After a brief courtship, they marry and John decides to take his bride back to the English countryside to meet his family who live in a large and grand house. Larita is greeted with an icy reception by John’s imperious mother Veronica; a steely, dragon like woman of order and stability and his two sisters. John’s father Jim, a former major in the war is a shadow of his former self and feels no love for Veronica. He does however come to appreciate the breath of fresh air that Larita brings to the dreary house. Although she attempts to get along with her in-laws and adapt to English culture, the free thinking and feisty Larita finds it difficult because of how different her upbringing is to the high-ranking family’s and the continuing opposition from Veronica. Can her marriage to John last with all the hostility around her? Cue vicious and caustic dialogue and a humorous insight into the machinations of the upper class in the 20’s as Easy Virtue unravels with hilarious and sizzling results.

Praise must to go to the period design which accentuates the glamorous era of the 20’s which is sometimes at odds with Veronica’s attempts at tradition. The manor in which the family lives is designed with a keen eye for period detail and really is a stunning sight to behold. The costume design is gorgeous, especially in the various gowns worn by the glamorous Larita that set pulses racing around the inner circle of the household. The jazzy score helps add to the period atmosphere, including a sultry rendition of “Mad about the boy” sang by Jessica Biel.

The witty screenplay captures the conflicting emotions that run high as a result of Larita’s arrival into the household. It humorously cuts through the facade of civility with a sword like wit that gives the audience room to laugh. Stephen Elliott directs with a brisk pace that keeps the one liners and scenes that mock society values coming thick and fast. Only occasionally does the film feel uneven when it tries to add some serious undertones. The cast of Easy Virtue are ideally chosen to flesh out this story of social disorder and how the life of one family is turned upside down by the eldest son’s marriage. In the role of Larita, Jessica Biel is vivacious, sexy and convincing. I’m not usually the biggest fan of Biel’s acting, but I can’t fault her work here. She conveys the forthright manner of Larita whilst showing us subtle insights into the depths of this woman with charm and sophistication. As the lovestruck John whose impulsive marriage disrupts the order of things, Ben Barnes is effectively wide-eyed and naive as his character begins to question the resentment thrown Larita’s way. Colin Firth is marvellous as the dishevelled father, he really shows us the crushed pride and happiness that were once within this man, which the war took from him. Kristin Scott Thomas flat-out nails the role of the stony Veronica, delivering her lines with mendacious wit and astonishment like a hornet protecting its nest.

A funny period film with style, wit and great performances, Easy Virtue is marvellous viewing for its satire on middle class values.