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Tag Archives: Marisa Tomei

The Handmaid’s Tale Season 2

03 Monday Sep 2018

Posted by vinnieh in Television Reviews

≈ 17 Comments

Tags

2010's, Alexis Bledel, Ann Dowd, Cherry Jones, Elisabeth Moss, John Carroll Lynch, Joseph Fiennes, Madeline Brewer, Marisa Tomei, Max Minghella, O.T. Fagbenle, Samira Wiley, Sydney Sweeney, The Handmaid's Tale, The Handmaid’s Tale Season 2, Yvonne Strahovski

Expanding on from Margaret Atwood’s novel and opening up the universe created in Season 1, the second season of The Handmaid’s Tale provides immensely disturbing viewing for us. It’s gruelling but so hard to tear your eyes away from it. Caution, spoilers may well follow.

We pick up where Season 1 left off, with a pregnant Offred( Elisabeth Moss)being placed in a van and heading for an uncertain future. As it opens, she along with the other Handmaid’s who refused to stone one of their own, are taken to Fenway Park. They believe they will be hanged, but it’s a cruel act of manipulation by the powers that be. Thrown into gruelling torture by Aunt Lydia(Ann Dowd), it looks as if it’s more cruelty for all of them. More defiant than ever, Offred takes on the regime with attitude and stays it out in the hope that help will appear. Eventually, Offred is spared as Aunt Lydia discovers she is with child and exempt from punishment. With help from Nick( Max Minghella) , who is the father of her child, and the resistance, she manages to escape from her captivity. Shedding her Handmaid’s life and proclaiming herself as June, she has to contend with knowing that in order to properly escape she may have to leave the daughter she had taken from her.

June may attempt escape to the border, but it’s short lived and she is forced back into becoming the Handmaid Offred. Nick tries to help her but is sidelined by being “gifted” a wife named Eden(Sydney Sweeney). She’s a pious girl and seemingly a true believer for what Gilead stands for, but also sets up events in a tragic way. There Serena Joy(Yvonne Strahovski) is starting to scoff ever so slightly at the regime herself, but is very unpredictable in her attitudes towards Offred/June. Commander Fred( Joseph Fiennes) is his usual hypocritical self and putting on his show of self-righteousness for all to see. Meanwhile, Emily( Alexis Bledel), formerly Ofglen is in The Colonies for her disobedience. Here she must work day and night among contaminating waste with death always a shadow over her shoulder. She is joined by disturbed Janine(Madeline Brewer), who doesn’t quite understand the situation at hand after everything that’s been done to her. We also catch up with June’s husband Luke(O.T. Fagbenle) and best friend Moira(Samira Wiley), who escaped to Canada and are grappling with their own demons and survivor’s guilt. June may be broken along the way, but her desire to fight comes back gradually as she is once more asked to contend with surviving the regime and. Things take many turns as she approaches her due date.

The first season covered the novel, so with this sophomore effort, the producers and writers are going beyond the source material in different ways. And they pay off very well, though I’m sure many where unsure of whether it would pan out successfully. Certain parts from the novel that were absent from the debut season are present, but Season 2 is largely its own beast that takes the story in different directions. Thematically, Season 2 delves into guilt and the price of rebellion. June must contend with her actions having consequences on others and the devastation that fighting for what is just can bring. Duality features heavily, most prominently with June/Offred and the constant struggle of the two. It’s like a constant battle of which side will win out as the regime digs its claws into her and forces her to make a choice. Once more, the visuals are strongly composed and extremely evocative. Particularly striking are the oranges and burnt golds of The Colonies; a barren landscape almost in a permanent dusk where those who oppose Gilead are enslaved and made to work among toxic waste. It’s so cinematic and disturbing. Plus the ever-increasing close-ups provide the uncomfortable ferocity and horror of Gilead and how much of a toll it takes on the characters. Flashbacks detail the rise of Gilead and expand on the characters as they reflect on life before the takeover. June’s voice over may be limited a bit more this season, but whenever it’s there, it sure as hell does the job at capturing her inner feelings.

Just like the debut season, this second season is chock full of shocking moments. There are plenty that truly stick with you for their brutality, disturbing nature and power. The mock execution scene where the Handmaid’s are rounded up like cattle, have their mouths covered with muzzles and have nooses placed around their necks in what they believe to be their last moments is a stark and traumatising opening. Set to the sound of Kate Bush’s ‘This Woman’s Work’, it’s hard not to hold your breath. A ceremony where the Guardians of Gilead are awarded with wives who are a lot younger and basically children is chilling and totally horrifying.  One of the biggest moments of sadness and emotion is June being reunited with her daughter briefly, before she is ripped from her arms once more. It’s a gut punch to the system. And in another shocking moment, never have the repeated words “We’ve been sent good weather” been so devastating and alarmingly creepy. If anything, Season 2 ups the ante on violence and suffering. Many have criticised the increase in violence but I think The Handmaid’s Tale isn’t doing it for exploitation value, but for a cutting and harsh impact on the viewer. It’s an undoubtedly tough series to endure but it’s ultimately worth it.

Yet for all the hurt and anguish heaped upon us, hope is mixed in there in doses. The last shot hints at searing determination and immense changes to come for the characters and story. And boy did I dig it, though it will definitely divide many. My only little gripes are that some of the latter stages feel a tad rushed in the scheme of things and some things don’t go anywhere. But this is a tiny flaw in what is otherwise an arresting and disturbing series.

Elisabeth Moss is once more on powerful form; bringing out the sadness, rebellion, grief, guilt and survivor of June/Offred. The character is very much in two halves here and the strong Moss plays both of them wonderfully and with skill. There’s the fighter side of June that scoffs and will do anything to escape and then there’s Offred, the subservient vessel. Again Moss and her eyes are marvels at telegraphing varying emotions almost simultaneously. Yvonne Strahovski also continues to excellently convey the complex Serena Joy, who is by turns despicable bitch and perturbed woman realising her role in her own unhappiness. It’s a balancing act that she walks exquisitely. A slithering nastiness covers Joseph Fiennes and his interpretation of Commander Fred, who is not above abusing his power for his own benefit and spouts lies at every turn. He really becomes very vile and hateful this season and Fiennes is very adept at playing to that. Ann Dowd is once again a big standout, essaying the part of Aunt Lydia. While still brutal and very vicious, the chinks of humanity begin to come through and you see that she does have a care for the Handmaid’s, even if her treatment of them is abhorrent. Dowd is just so endlessly watchable in the role. Max Minghella is quietly conflicted as Nick, who must contend with his love for June and staying alive in the heat of the regime.

Alexis Bledel is seen a lot more than last season and capitalises on it with a stunning performance. Those blue eyes of hers are deployed in forms of rage, resistance and tragedy as we see the impact Gilead has had on her mind. She’s still a fighter at the end of the day and Bledel plays to that strength spectacularly. Madeline Brewer also returns as the haunted Janine; her wild eyes and strange mannerisms are all in order and successful. One of the season’s best weapons is the appearance of the youthful Sydney Sweeney. She plays the seemingly pious and brainwashed wife of Nick, whose naivety and sincerity is worrying but sets in motion different and irrevocable things. Sweeney is fascinating to watch as she registers that there is more to Eden than meets the eye. Although their capacities are reduced this season, both O.T. Fagbenle and Samira Wiley give great account of survivors guilt and the process of change. I just wished I saw a bit more of them. In cameo parts, Marisa Tomei as a punished Wife, John Carroll Lynch as a man persecuted for his sexuality and Cherry Jones as June’s fighting mother make their impacts felt. I must say the entire cast where at the top of their game here.

A searing, brutal and memorable series, the second season of The Handmaid’s Tale is alarmingly addictive even when it’s unsettling the hell out of you. You just want to know what happens next in the twisted world it so strikingly presents to us.

Crazy, Stupid, Love

22 Sunday Jan 2017

Posted by vinnieh in Movie Reviews

≈ 63 Comments

Tags

2010's, Analeigh Tipton, Comedy, Crazy Stupid Love, Drama, Emma Stone, Glenn Ficarra, John Requa, Jonah Bobo, Julianne Moore, Kevin Bacon, Marisa Tomei, Romantic Comedy, Ryan Gosling, Steve Carell

Film Title

Crazy, Stupid, Love

Directors

Glenn Ficarra and John Requa

Starring

  • Steve Carell as Cal Weaver
  • Ryan Gosling as Jacob Palmer
  • Julianne Moore as Emily Weaver
  • Emma Stone as Hannah
  • Kevin Bacon as David Lindhagen
  • Marisa Tomei as Kate
  • Jonah Bobo as Robbie Weaver
  • Analeigh Tipton as Jessica

A very disarming romantic comedy, that brings in touching drama effectively, Crazy, Stupid, Love guarantees laughs and sympathy with a big heart and fabulous cast. This is for my money, one of the better romantic comedies in years.

Middle-aged Cal Weaver’s life looks like it’s going swimmingly; he’s long time been married to high school sweetheart, has two children and a good job. But this is about to take a sever nosedive as Emily reveals that she has cheated on him and now wants a divorce. Dejected and shocked, he drowns his sorrows at the bar. crazy-stupid-love-posterWhile there, resident Lothario Jacob Palmer takes sympathy on depressed Cal and offers to help him turn his life around. Cal accepts and smooth-talking Jacob soon has him growing more confident with a makeover and tips regarding the dating scene. Cal finds that after getting awkwardly to grips with dating, he can be quite a guy and a real charmer with the ladies. Yet while gaining confidence and his mojo back, Cal can’t help but feel that something is missing and that he may have to confront the feelings he still has for Emily. Meanwhile, Jacob finds himself falling for law student Hannah, who initially rebuffed him but wants some excitement in her life after feeling that her steady but dull boyfriend is not what she was looking for. Because he has always been the player, Jacob doesn’t know how to approach the possibility of love. Also feeling the pangs of love is Cal’s son Robbie, who has a hopeless crush on his pretty 17-year-old babysitter Jessica( who it transpires has feelings for Cal herself). Much hilarity and unexpected results abound as a result of love.

Directors Glenn Ficarra and John Requa really know what they’re doing with this kind of project and ensure that the laughs flow just as much as the drama of it all. By far the largest and best thing Crazy, Stupid, Love has in its artillery is a snappy script. There is a devilish and side-splitting back and forth there;particularly in regards to the Cal and Jacob parts of the movie( the makeover of Cal is a very hysterical part), as well as a good few cynical jabs at pop culture’s idea of romance. What set apart from many other film of the crowd, was that it let the characters be flawed yet likable. emma-stone-and-ryan-goslingWith too many comedies, it becomes a case of us always having to like the characters all the time. Crazy, Stupid, Love does things differently by equally making time for the humorous aspects of the players and blending with the touching insights we get to them, expressing their insecurities and desires. The movie never ceases to be hysterically funny and irreverent, but the added parts of drama give it a lot more impact and made it a better movie that what I expected it to be. And rather than be overly predictable, there are some extremely well-timed surprises along the way, bolstered by a genuine heart and sympathy. Love and relationships are depicted as funny, complex and unexplainable, but always there no matter what. A gentle and amiable score perfectly matches the events on screen in a very accomplished way that doesn’t overstate things. The only niggle I found was that the film was a tad too long, but honestly that was the only thing in a very funny and satisfying movie.

A winning cast is the proverbial cherry on top. Steve Carell is inspired casting as the hapless Cal, who doesn’t know what to do with his life after discovering the infidelity of his wife. cal-and-jacobThe required awkwardness, every man quality and emotion is glimpsed, but Carell succeeds the most at displaying his sense of humour once Cal gets a new lease of life. Some of his facial expressions are just so funny and equally touching, often in quick succession and it is hard not to want to reach through the screen and tell this guy that things will work out for him. Ryan Gosling plays remarkably well off the straight-laced and sympathetic Carell with his matinee idol image of a stud put to great use. Yet while his good looks and charisma are all there, he also gets the opportunity to reveal a bit more than just the standard role of the playboy wing man. Both men take up a lot of the story and have a blast doing so. The rapport between them is one of those winning combinations that benefits the other and ensures that the laughs and good nature of Crazy, Stupid, Love come percolating through. The distinctively emotional and expressive delivery of Julianne Moore is very well suited to the part of conflicted Emily. We witness how she begins to rue her decision to ask for divorce, despite being involved with someone else. As usual, Moore is terrific. Emma Stone is a vibrant flash of energy and has some sparkling chemistry with Ryan Gosling, alongside humour to burn. Laughs are also guaranteed courtesy of Marisa Tomei, playing the schoolteacher who sleeps with Cal and then becomes neurotic over him not bothering with her because of his new lifestyle. Her scenes are a real hoot and though the part is small, it’s well-played and memorable. Kevin Bacon has probably the least developed part of the man Emily cheated on Cal with, but has fun with it anyway in the way that he knows how. Jonah Bobo, despite his young years, comes off incredibly confident and mature when playing the young boy mooning over his babysitter crush, while also dispensing advice about love to grown ups. The lovely Analeigh Tipton sweetly portrays the longings of a girl near womanhood and the confusion of it all, very perceptively and honestly.

In fact, it must be stated that Crazy, Stupid, Love features such great chemistry from each cast member, it’s positively infectious.

A simply wonderful and warm slice of romantic comedy-drama, Crazy, Stupid, Love is the kind of the film that will leave you with a massive grin on your face.

Only You

30 Wednesday Nov 2016

Posted by vinnieh in Movie Reviews

≈ 58 Comments

Tags

1990's, Billy Zane, Bonnie Hunt, Comedy, Joaquim de Almeida, Marisa Tomei, Norman Jewison, Only You, Robert Downey Jr, Romantic Comedy

Film Title

Only You

Director

Norman Jewison

Starring

  • Marisa Tomei as Faith Corvatch
  • Robert Downey Jr. as Peter
  • Bonnie Hunt as Kate Corvatch
  • Joaquim de Almeida as Giovanni
  • Billy Zane as the False Damon Bradley

An effervescent and good-hearted romantic comedy that takes place largely in beautiful Italy, Only You makes for a divinely experience, watching as destiny and fate unravel in fun ways of the loving kind.

In flashback, we are introduced to Faith Corvatch, a young girl who is playing around with a Ouija board with her brother Larry. only-you-movie-posterShe asks who her soul mate will be and strangely enough, the board spells out the name Damon Bradley. Her belief that this person will be her true love is given greater anticipation and growing power by a trip to the carnival where a fortune-teller informs her of the name she got from the board. This causes Faith to become all dreamy about the soul mate she hopes to meet in the future. Cut to present day and Faith is now a teacher, who still believes in fate but hasn’t found any clue about the signs from her childhood. At the current minute, she is engaged to podiatrist Dwayne, who is often more busy with work than her . Out of the blue, Faith receives a phone call from the alleged Damon Bradley who is in Italy. Throwing caution to the wind as her destiny could finally come into fruition, she abandons plans of her wedding and takes a plane to Italy. Joining her is Kate, her best friend and sister-in-law, who is currently going through the motions of her marriage to Faith’s brother and considering what to do. Kate is reluctant to come along as she is the more pragmatic one, but Faith wins her over and the two head off on a journey into the unknown. marisa-tomei-only-youWhile searching for the alleged man of her dreams, Faith encounters Peter Wright, a witty shoe salesman who appropriately enough meets Faith when she loses one of her stilettos. Hearing her mention the name of her beloved, he pretends to be Damon Bradley as he is immediately love struck by the kooky girl he sees. Though when it comes out that he isn’t Bradley, Faith is annoyed and begins to question the prophecy. The subsequent events lead to consequences that she never saw coming as she attempts to deny growing attraction to Peter. Can Faith make sense of the mystical signs or actually open her eyes to the possibility of Peter as a match?

Norman Jewison directs with an ease and light touch, which makes Only You pleasing to the eye and heart. At times, it may seem like he is riffing on the success of his previous romantic venture of Moonstruck, but his graceful and fun hold on events has a marked difference and more of a mystical tone than the aforementioned film to set them apart, but with both still being wonderful flicks. The best way to summarise Only You is to say that it is an old-fashioned romantic comedy in a contemporary setting, with a few surprises. Cynics will no doubt groan at something like this, but it is supposed to be something of a fairy tale so the leap of faith and magic are to be expected and to be honest, they are difficult to resist once they get a grip on you. faith-and-kate-only-youOnly You isn’t the sort of film that requires a real depth of thought to it as it is light and frothy, though it has moments of bittersweet emotion that help bring substance to the fairy tale side of it. I’m sure everyone has a bit of romance within them that they can see in this film. I mean, you have Italy looking suitably sublime and glowing with magic that is a classy touch(as lensed by the great Sven Nykvist). And there is a genuine unpredictability to Only You, as the wild goose chase takes in numerous comic events and switches as the search for Damon Bradley doesn’t go in the way Faith expected. If you don’t get a laugh or chuckle out of his movie, you really have no feeling of humour as Only You is delightfully written with spirited glee. A gliding and archaic score from Rachel Portman fits the bill of being lusciously composed and amusingly romantic in the tradition of Old Hollywood love stories.

Marisa Tomei exudes a doe-eyed and earnest appeal, that is as playful as a pixie. The character that she plays with her flighty and offbeat qualities could have become an annoyance quickly in the hands of a lesser actress, but not to worry as Tomei is a gifted girl who makes Faith’s eccentricities and actions warm and winning from the very start. marisa-tomei-and-robert-downey-jrAnd you can’t talk about Tomei in this film without mentioning how adorably sweet and innocent she is, which suits Only You down to the ground. Robert Downey Jr. has a good time as the man who isn’t the one supposedly destined for Faith, but willing to do what it takes to win her heart. Watching as his puppy dog eyes and sleight of hand antics attempt to win her over, plus Downey Jr. has a real physical sense of comedy to him like particularly in his priceless facial expressions. Bonnie Hunt is another standout performer in this film, lighting up the screen as the downtrodden and realistic woman, who finds that a certain suave gentleman takes an interest in her. Hunt has a real way with droll one liners that register many laughs while backing things up with a sensitive showing of uncertainty within the character. Joaquim de Almeida works well with the part of the businessman intent on wooing Kate, and though the part doesn’t call for any great shakes on the acting front, he brings more to it than others could have. Billy Zane is on hand to provide another twist in the story in a very amusing part.

harks back to the romance and comedy of old with a lively confection of a film bound to make you laugh and swoon.

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