Jackie

Tags

2010's, Billy Crudup, Biographical Drama, Drama, Greta Gerwig, Jackie, John Hurt, Natalie Portman, Pablo Larraín, Peter Sarsgaard

A rather revealing and surprising drama centred on Jackie Kennedy in the days following her husband’s startling assassination, Jackie boasts a strange intimacy courtesy of splendidly immersive direction from and an impeccable performance from Natalie Portman.

A week after President John F. Kennedy’s assassination, his wife and First Lady Jackie(Natalie Portman) reflects on the days from before and after her husband’s murder to an Unnamed Journalist(Billy Crudup) . She goes through a varying range of emotions following such a trauma; like the fact that her whole life is now changed, how to cope and how she is to be perceived by the shocked general public . The main thing that weighs on her mind is that her husband won’t be remembered and will be forgotten in history. She makes it her mission to ensure his legacy and uphold a sense of tradition, while dealing with the huge emotional fallout of losing her husband. Jackie finds some comfort in the presence of a Priest(John Hurt) and secretary Nancy Tuckerman(Greta Gerwig), plus some conflict with her almost broken up brother in law Robert(Peter Sarsgaard). Plus there is also the government who have their own views on how best to do Kennedy’s funeral, which don’t run in line with Jackie’s. Along the way, she reveals herself to be a lot more than just the glamorous wife of the President and a woman who could be a truly powerful force. The Reporter who interviews gets a lot more than he bargained for as Jackie is a lot more complex than he ever thought she could be.

Pablo Larraín jumps straight into the sorrow of grief and the impact of it; clearly not afraid to go to the dark places of such an event. He pulls no punches with how deep he plunges us into one woman’s mind and his direction is striking in its close proximity. A swirling camera that penetrates with slow, uncompromising close ups of The First Lady and places us firmly in the kaleidoscope of grief and chaos that hits with full force. I also appreciate the cinematography that goes from dark to highly lit and has moments of old news grain to make it authentic. Things like this always impress a review such as myself and I think it adds to the experience of Jackie as a whole. I think what Jackie really accomplishes the most is shedding light on a particularly famous figure and making us see them in A mournful and deeply moving score from Mica Levi fits the film exquisitely; capturing the upheaval of grief and the vacillating personality of its titular subject with a sense of grandeur and palpable intimacy.

Front and centre of Jackie is a truly astonishing and totally believable performance from the always committed Natalie Portman . She plays Jackie as a lady who knows that every eye is on her and has grown to know when to put on a smile and when to behave. Portman delves into all facets of this icon; from the grace and decorum to the anger and steel that are rarely glimpsed by the general public. A lot of it is in the eyes that showcase such deep feeling in this time of confusion and the on point voice that is truly a marvel to hear with its hushed refinement and low sense of authority that slowly comes through . It’s a truly complete performance that sheds new light on an iconic figure. All of the impact is all down to the fine work of Natalie Portman, who delivers one of her finest roles. Peter Sarsgaard is effective as the devastated Robert Kennedy whose mood changes in mercurial fashion and look out for Greta Gerwig as a secretary who provides support to the grieving titular lady. John Hurt, in one of his last performances before his passing, brings out a stately yet approachable quality as a priest . With his authoritative voice, he is a confidante to Jackie and though he can’t provide any absolute answers on the quickness of life and harshness of death , he provides an authentic and warmly sage rumination to the grieving widow at the centre of the film. Hurt was always an impeccable performer and his turn here may be small, but it packs an impact. Billy Crudup provides the eyes and ears of the piece as the journalist getting a lot more than he expected from his interview. The supporting cast is well assembled with talent but Jackie is truly Natalie Portman’s show and she more than rises to the occasion.

A striking and impactful drama that studies grief, tradition and one of the most famous women to grace the planet, Jackie is extremely fascinating filmmaking from Pablo Larraín with a stunning central turn from Natalie Portman.

Heat

Tags

1990's, Action, Al Pacino, Amy Brenneman, Ashley Judd, Crime, Danny Trejo, Dennis Haysbert, Diane Venora, Heat, Heist Film, Jon Voight, Kevin Gage, Michael Mann, Mykelti Williamson, Natalie Portman, Robert De Niro, Ted Levine, Thriller, Tom Noonan, Tom Sizemore, Val Kilmer, Wes Studi, William Fichtner

The delightful Gabriela asked me to take part in a blogtahon about Al Pacino. As he’s one of my favourite actors, I couldn’t refuse. So here’s my late entry with a review of Heat.

An engrossing action thriller with a sheen of depth and sense of character to it, Heat, with the talented Michael Mann at the helm, takes the heist film and fashions something breathtaking, surprisingly intelligent and always riveting.

In Los Angeles, Vincent Hanna(Al Pacino) is an overly dedicated, arrogant cop. His obsessed work rate has strained his third marriage to the tired Justine( Diane Venora) and made sure he can’t connect with his troubled stepdaughter Lauren( Natalie Portman) . He becomes aware of skilled thief Neil McCauley( Robert De Niro) when he and his team, consisting of talented but troubled Chris Shiherlis(Val Kilmer), edgy and pumped Michael Cheritto( Tom Sizemore) and new member crazed Waingro(Kevin Gage) steal bearer bonds from an armoured car. Things escalate when loose canon Waingro shoots a guard, causing two others to be killed to avoid being a witness. Neil is furious as he wanted a smooth operation and now they are wanted for felony murder. Mainly, Neil wants a way out of crime and lives by a code that says he can walk away from absolutely anything when he feels the heat coming from the law. This has largely made him a loner and someone who doesn’t form personal attachments. But things change when he falls for pretty and endearing Eady( Amy Brenneman). His right hand man Chris is good at the criminal job but can’t kick a gambling habit, which has estranged him from his understandably angry wife Charlene(Ashley Judd). Meanwhile, Hanna starts putting the dots together and unearths more plans of Neil’s to stage more heists, culminating in one last big score . Both men will collide and discover a strange parallel with the other, though they can easily take the other down if either encounters the other along the way. The game of cat and mouse gets more dangerous as the film progresses, also showing that  both men are people who live by their own code that has directed them in life

Michael Mann is firing on all cylinders with Heat; conjuring a story of cops and robbers with more on his mind than just action. Not that Heat ever shortchanges is on action, but the dedication to plot and the little details that form are simply sublime touches. I especially enjoyed how Heat opens; setting up the characters and revealing just enough to set the appetite then discovering how it’s all linked. It’s a little thing, but it really cements your attention on the film. Back to action and Heat delivers it in spades, with particular praise being reserved for the running shootout on the streets. With quick cutting, pulse pounding imagery and a general feel of genuine danger, it’s one of the finest set pieces put on film as bullets fly and bodies fall. On the point of how Heat looks, the moody colour palette and danger with which Los Angeles is depicted with is second to none. The setting becomes just as important as the characters in the story with Los Angeles appearing as dark, unforgiving and melancholy. And for a movie that is almost three hours long, the time flies as we are that engrossed by the film that we are witnessing. Sure it might seem an excessive run time and a few minor bits ramble, but every frame feels warranted as does the enviable attention to detail that I live for. It’s one of the most action packed but inventively detailed and I enjoyed how it weaved the characters and their lives together so it fitted. It’s hard to find fault with Heat, with only a few minor parts that ramble a bit. Apart from those very small things , it’s simply masterful as a film and I can recommend Heat enough.

Where Heat truly shines and rises above many a generic action thriller or heist/ crime flick, is in its unusual dedication to giving the characters substance and a sense of having lived life. We truly get a chance to know these people and watch how their lives unravel as violence, dedication and duality collide. The relationships at the core of the film, Vincent and his wife Justine , the chance of love for Neil and Eady and Chris’ damaged union with Charlene, all add something and are explored with rare insight .Credit is down to Michael Mann for fleshing these parts out and allowing us to go between who we want to succeed. It’s most unusual to watch as our sympathies and sense of loyalty swings like a large pendulum. They are two sides of the same coin and we get to see it in full bloom in the now famous coffee shop scene. We finally see two iconic actors meet on film( they were both in The Godfather Part II but never shared scenes) and the results are sublime. Everything comes together beautifully as two men bare their souls and find an unexpected sense of respect with the other, despite their current opposition. Elliot Goldenthal is the composer and his music is sublime at matching the varying moods on screen, with a certain percussive shimmer and drums taking a large part of things. Plus adding strings brings out a certain feeling of sadness as the main men find that their lives and have morphed into stubborn ways from which each tries to escape. It’s atmospheric and action packed all at once, without forgetting human emotion.

Heat scores highly for its impressively extensive cast, headed by man of the hour Al Pacino and fellow acting Titan Robert De Niro. Al Pacino is excellently convincing as the  strutting, obsessed cop who has all but destroyed what’s left of his personal life. With Pacino in the part you get the showmanship of a man who’s good at what he does and knows, tempered with underlying regret at how he’s obliterated anything close to him. It’s a fine showcase for the great man and layered too, displaying some of Pacino’s finest work. Matching him as the criminal counterpart is Robert De Niro as the master thief. Possessing a steely look, ruthless intelligence and a hidden gentleness, De Niro breathes life into the part of criminal with a code who finds it changing in never expected ways. Put simply, he’s electric in a subdued but powerful way. And whenever he and a Pacino meet, it’s simply extraordinary. Val Kilmer brings forth a weariness to his part of a skilled thief but hopeless gambling addict. For Kilmer it’s all in the eyes, which exude alternating strength, action and vulnerability throughout. Tom Sizemore has the dangerous persona and sense of inducing fear, particularly skilled when it comes to the action that erupts.

Though the film is largely composed of men, the women of Heat hold their own and are pretty integral to the story. Amy Brenneman, with her fresh faced charm and sense of kindness is the main woman in Neil’s life and though she doesn’t realise it, she starts to change his way of thinking. Ashley Judd, with a combination of grit and sadness, essays the part of a wife fed up with her husband’s inability to change. The part could have been a throwaway and thankless one, but Judd gives it dimension. The same can be said for Diane Venora, who is also a wife who wants more from her husband. She’s fierce and not afraid to confront him on it which I like. A young Natalie Portman, though only seen in a brief few scenes, still stands out as a troubled youngster struggling with life and not feeling like anyone is listening. Although seen for only a short time, Portman is pivotal to a later part of the story that impacts on Hanna.

The rest of the supporting cast is a regular who’s who of familiar faces who give life to the characters surrounding those at the centre. Standing out is William Fichtner as a slippery man in too deep and not knowing it and Kevin Gage as a very creepy guy who is part of the reason the team feels the heat from the cops. Then you have Jon Voight as the fence who you know has been doing the job as long as anyone can remember and Dennis Haysbert as a former criminal trying to do good but finding it tempting to slip back into a life of wrong. Plus that’s not forgetting Ted Levine, Wes Studi, Mykelti Williamson, Tom Noonan and a memorably pivotal Danny Trejo. It’s a stacked cast, but it’s Pacino and De Niro who are the centre and boy do they make Heat soar.

A dazzling, stylish yet unexpectedly human crime/ action thriller, Michael Mann’s Heat is a film that always gets your attention in nearly every department. Simply put, it’s unmissable.

Closer

Tags

2000's, Clive Owen, Closer, Drama, Jude Law, Julia Roberts, Mike Nichols, Natalie Portman

Film Title

Closer

Director

Mike Nichols

Starring

• Julia Roberts as Anna
• Jude Law as Dan
• Natalie Portman as Alice
• Clive Owen as Larry

Based on a play, Closer, as directed by Mike Nichols, brutally tears apart the cruelty and manipulative nature of people when it comes to relationships. It’s not cosy watching, but a bruising and frank exposure of betrayal and hurt, aided by the fine direction and four performances at the centre of it all.

Closer begins with obituary writer Dan catching the eye of pretty, spiky haired American Alice on the streets of London. After exchanging glances, Alice is hit by a car but is not seriously injured. Following this, Dan and Alice become romantically involved with each other. Dan is an aspiring writer who speaks of the greatness and depth of love, while Alice is a stripper who doesn’t reveal a lot about herself though seems to be a largely naive young lady looking for something. Later, Dan has written his book( which he has based partly on what Alice has told him about her life) and has his picture taken by the distant photographer Anna, who he can’t help but feel attracted to. She resists his advances and he decides to get even. Frequenting a naughty dating site, he pretends to be Anna and talks with Larry, an alpha-male dermatologist. Dan sets the two up, yet after the initial awkwardness of what they discover was Dan’s doing, Anna and Larry begin to hit it off. It is here that events begin to snowball for everyone as crossed wires and brutal betrayals plague the group and start an unending run of misery for all. Throughout the film, the four people in this love square swap and wreak havoc on their lives as they toy with feelings and the very fabric of attraction.

The dexterous Mike Nichols is on great form with this relationship drama, delving into the darkness with a withering eye and complex touch. Nichols has successfully charted the destructive essence of flawed people in Who’s Afraid of Virginia Woolf? and succeeds again with how he dives into a harsh and relentlessly honest confrontation of the urban relationships and the harsh betrayals the four pull on each other. He refuses to sweeten anything for the audience, which deserves applause for not being cowed or overly smooth. The mess that Anna, Dan, Alice and Larry is all by their own actions and we never forget that. Even the moments of humour have barbed and caustic sting to them, mocking how these people may not even know what love is considering the way they hurt and inflict harm on each other. Now even those who don’t know that Closer is based on a play will be sure to guess as soon as the quartet open their mouths. There is something literate yet strangely intimate about the dialogue, which goes for the jugular with progressively raw and savage language. Closer sports some of the most adult and brazenly sexual dialogue you are ever likely to hear in a movie. And the fact that Closer feels very much like a play on film will either turn you off or on. Some of it does feel not very cinematic, though in part that is probably largely the point of it. For me, I found the structure and unusual intimacy compelling and uncompromising. Closer jumps forward in time without the easy use of giving us title cards, letting the script fill in some of what has transpired off-screen and leaving the rest up to you. I found myself quite riveted by this approach as it refused to give any respite and truthfully exhibits the easiness with which this group hops in and out of bed and affections with each other. Closer may deal with the themes of love and adultery, but it is far from a raunchy film. It goes under the microscope of attraction to pull out the ugliness in humans when it comes to the heart and sex. Even a scene of Alice stripping and teasing Larry is turned far away from pornographic fantasy into a battle of wills, with Alice getting the upper hand and ironically exposing very little. The limited use of music, save for a few instances of opera or background melodies in club settings, makes it possible for the harsh and piercing core of the film to really surface and linger.

With this kind of film the acting has to be something to form a deep impression, thankfully the four actors of the piece are more than up to that task. Julia Roberts, who is known for being smiley and charming in movies, turns it right down to star as the aloof Anna. I liked how Roberts wasn’t afraid to play this type of character, whose completely spineless and ambivalent actions are just one of many instances of callous behaviour shared by everyone. Jude Law is good casting as the descriptive but smug Dan, who believes he knows everything yet is far from being a figure of model actions. Law has that ability to really show the ugliness and loathing of a character, that is finely tuned to the part of Dan. Natalie Portman is spectacular in one of her best roles. It’s her understanding of Alice’s many contradictions and mystery that makes the role so memorable. Sifting through the layers of the character, from innocent and vulnerable to cold and seductive, Portman doesn’t miss a beat. It’s truly a credit to her that we think we know Alice for a lot of the film and then we are surprised by the little suggestions that she may not be the most angelic member of this quartet, even though it largely seemed to be that way. It’s a daring and naughty part that calls for Portman to show some skin but not reveal a lot outwardly, a challenge that she rises to and delivers a hypnotic piece of work. Filling the last angle of this love square is a ferocious turn from Clive Owen. He essays Larry as a man who is very charming and frequently the dominant person, but little by little the brute force of him comes pouring out in an explosive way. His anguish and brutal mouth are palpably played by Owen and made all the more shocking due to the intensity of his delivery. All of the principal actors are at the top of their respective games, with Natalie Portman and Clive Owen really burning into the mind.

A cutting examination of modern relationships and the tangled parts that result in anguish, Closer retains a theatrical air that can get a bit heavy-handed, yet that should not detract from the sterling quartet of actors and the acute eye of Mike Nichols behind the camera. Definitely a film that won’t be for everyone, but for those who want an adult drama that doesn’t beat around the bush, Closer offers more than enough to satisfy.

V for Vendetta

Tags

2000's, Action, Hugo Weaving, James McTeigue, John Hurt, Natalie Portman, Political Thriller, Stephen Fry, Stephen Rea, Thriller, V for Vendetta

Film Title

V for Vendetta

Director

James McTeigue

Starring

• Hugo Weaving as V
• Natalie Portman as Evey Hammond
• Stephen Rea as Eric Finch
• Stephen Fry as Gordon Deitrich
• John Hurt as Adam Sutler

A provocative and very arresting political/action thriller based on a comic, V for Vendetta is a confronting movie that tackles a lot of controversial topics and ideas with a sense of style and a brain that is sometimes lacking from films usually on this nature.

In a futuristic version of London, chaos has blighted everything along with an oppressive government. Being not dutiful to the ruling power results in imprisonment and death. Activists, homosexuals, and people of different races are frequently targeted just for being different. A virus has claimed many lives in the United Kingdom and Europe. Most prominently is the government in power, run by Adam Sutler; who exercises cruel control over nearly every aspect of the population’s lives. Evey Hammond is a meek young woman who works in a broadcasting company( that churns out propaganda to the people to keep them in line) is caught one night out after enforced curfew. The secret police threaten her and attempt to attack her, but someone comes to her rescue. That someone is V, a masked vigilante in a Guy Fawkes mask, who is skilled in swordplay and fighting. After saving Evey, he demonstrates his real purpose of spurning the population into revolution by blowing up the Old Bailey. The fascist like government doesn’t take very kindly to V’s actions, particularly when he later uses the broadcasting company that Evey works at to display his message of rising up. Every is caught in the middle of all of this and must decide where her loyalties lie. Meanwhile, Chief of Police Eric Finch investigates any leads he can into V, yet finds that his loyalty to the government may very well have been misplaced and manipulated over the years. V’s plans gather a quickening pace as he takes on the corrupt powers that be, with Evey becoming something of an unlikely ally and then ultimately a strong supporter of his cause.

The director, James McTeigue does an inspired and button-pushing job with his directions. He allows the political nature of V for Vendetta to take the centre stage and all the questions that go with it, while never sacrificing action in the process. The film is very much a thinking person’s film and while there are fight scenes and action, it never becomes repetitive because the essence of the story is kept intact. V for Vendetta presents an uncomfortable and shocking possibility of a future that is ruled with an iron fist and with extreme prejudice. Racism, homophobia, the accountability of the powerful and the manipulative agendas of government all come under the spotlight and are never shied away from. This film raises many terrifying what if scenarios that tap into our fears of what the world could become, which isn’t outside the realm of possibility when you think about the countless changes that this world has endured. There is something even timely about the film as it deciphers how fear and panic can be spread and lead people to be threatened by those more powerful than them. Now there are those that will view V for Vendetta as a film that is propaganda or in some cases a dangerous film that advocates terrorism( which I have heard a number of people imply), but I wouldn’t say that the film goes really far with those things. Yes, the main character is someone who uses violence and devastation to make his point, but I think it is up to the individual person to form their own opinion on what the film is presenting and what message it puts across. That’s the way I view V for Vendetta, it can be read on a number of significant levels. Some won’t agree with what it has to say and others may take note, but in the end, isn’t a film supposed to get you thinking? Granted, it may bang the political drum a little too loudly at fleeting points, but the topics it brings up are definitely thought-provoking and stay with you for a long time afterwards. On the visual side, the colour scheme that largely features red, black and white is memorably hard-hitting yet oddly resplendent in execution; showing a world at its knees and the potential of change emerging with the presence of V from the shadows. And there is quite a lot of action going on in V for Vendetta, as the masked title character does brutal battle with other forces in strikingly shot fight scenes. A steady score rises in levels along with events, forming a somewhat rousing musical accompaniment to both V’s aims and Evey’s journey.

As the eponymous V and with only movement and voice to use, Hugo Weaving is masterful. His deep voice is utilized to maximum impact, investing the role of the masked V with an elegance and intelligence. He may be a character capable of lethal and fatal action, but there is something so immersive about him that you can’t help but watch. His graceful movements almost mirror those of a proficient dancer, as he glides with purpose and something deadly too. The part wouldn’t have been the same without someone of Hugo Weaving’s calibre in the role, he just completely embodies it. Natalie Portman is just as good in the role of Evey; whose encounters with V and the aftermath provide a lot of thrust of the narrative with Portman giving a range of feeling to the part that grows stronger and more pronounced as the film progresses. If you’re expecting the part of Evey to be someone who kicks ass and physically fights, you aren’t going to get that. And to think that misses the point that she is an ordinary woman thrust into difficult circumstances and forced to make a stand. Portman plays the journey of her subtly yet expressively, ensuring that there is a natural progression that is believable from scared girl to fearless woman ready to do something. Although her accent is a little shaky, that’s the only foible in the work from Natalie Portman( who memorably shaved her head for the part), who emerges with a strong performance of gathering gumption and depth. The excellent Stephen Rea is well-chosen for the role of the police chief, slowly peeling the layers of deceit back and going between being frightened of V and inspired by him. Solid support comes courtesy of Stephen Fry as a television host having to hide who he truly is and the late, great John Hurt as the imposing dictator with a whole lot of power.

A movie with a lot to say and the balls to go forth with it, V for Vendetta is a film that elicits discussion from many, due to the things it addresses and the ultimate message. For me, it is an engrossing film that while it has required action, puts the story first and packs a punch with its refusal to lessen the blow of what it covers.

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.

Happy Birthday Natalie Portman

Tags

Birthday, Happy Birthday, Natalie Portman

The wonderfully talented and beautiful Natalie Portman turns 35 today and I want to wish her a happy birthday. There is something about Natalie Portman that is hard to not like; she just has a lot of charisma and a hell of a lot of talent. Bursting onto the scene at the age of 12 with her role in Leon, Portman showcased a startling maturity. This depth has translated well to her later roles and is one of the reasons I love her so much as an actress. She really gets into the character and can say so much without the use of dialogue, her dark eyes can convey more than many can in a long monologue. She has truly grown before our eyes into a fully-fledged star, who chooses her films wisely and is always up for a challenge or two. With Natalie Portman, I just know she will deliver a fine performance and looking through her credits she most certainly does. What an amazing actress she truly is!

Leon

Tags

1990's, Crime, Danny Aiello, Gary Oldman, Jean Reno, Leon, Luc Besson, Natalie Portman, Thriller

Film Title

Leon

Director

Luc Besson

Starring

• Jean Reno as Leon
• Natalie Portman as Mathilda
• Gary Oldman as Norman Stansfield
• Danny Aiello as Tony

A stylish but most unusual crime thriller, Leon burns into the memory with explosive set pieces and an attention to the characters that is sometimes rare in the genre. Featuring some off the wall visual tricks and violence a plenty, it’s a thriller that does things a little differently but with panache.

Leon is a solitary hit man living in Little Italy who is emotionally shut off and very efficient at his job of killing others. When he isn’t dispatching of people for mafioso and good friend Tony, he is quite different from the average hit man. This is evidenced in his love of old movies, consumption of milk and dedicated to tending to his plant. In essence, Leon is only in the job to make ends meet. His distance from everyone else is what makes him so good at the job as he never really forms emotional attachments to anyone. That is until he encounters Mathilda; a twelve-year-old girl who comes from a dysfunctional and abusive family and lives down the hall from him. Mathilda’s father, who regularly gives her a black eye, has been stashing cocaine in his apartment for corrupt DEA agents, headed by the crazed and depraved Norman Stansfield. When Stansfield finds out that her father has been cutting the cocaine to keep for himself, Stansfield sends his men around and they kill Mathilda’s father, mother, step-sister and four-year-old brother. Mathilda managed to avoid the carnage as she was out shopping. Seeing what has happened, the scared Mathilda knocks on Leon’s door begging for a safe haven. He has doubts at first, but something within him lets the terrified young girl in. Mathilda is a troubled girl who has had to grow up fast in an unjust world of violence, yet underneath she is still a frightened and innocent little girl. Leon is skeptical about sheltering Mathilda as he is shut off emotionally and doesn’t quite know how to express his feelings. When Mathilda discovers Leon’s job, she asks him to train her in the art of killing, secretly hoping to gain retribution for the killing of her younger brother, who was the only person in her family that she felt close to. Although he is extremely reluctant about this because he knows the dangers, at her behest he trains her and she becomes a quick learner of the art. Slowly, Leon and Mathilda form an unlikely bond with each other as he grows into the role of her protector and opens up emotionally while she emerges as his protégée. Yet Stansfield has realized that he didn’t kill the whole family and sets out to find Mathilda, who herself is learning how to kill and plans to get revenge on him for the slaying of her brother. Leon finds that his job is becoming in danger like never before as Stansfield closes in and Mathilda wants vengeance.

Luc Besson, through striking visual style and interesting writing, creates a thriller that takes many different steps that one would thing. He craftily mixes personal drama and sharp bits of humour into Leon, with the main focus of the film being the relationship between the principal characters and not just the action and violence. This really struck me as something very unique in this kind of film as some thrillers and crimes movies can overlook their characters for flashy tricks. And while Leon does have rapid editing and a bright cinematography to highlight the dingy setting of the flick, complete with bloody violence to cap that off, it never loses us for a second and the scenes between Leon and Mathilda take on a more personal level. Some may find the relationship between Leon and Mathilda as uncomfortable due to overtones of Mathilda’s attraction towards Leon, but I saw it as she does love him, but as she is only a child it is an a way that is out of care and respect as she has never had a father figure like him before. An echoing score of pulsing beats gives electric immediacy to Leon, as well as taking the time to slow down and bring a poignant sense of emotion as Leon opens up as a human being in the presence of young Mathilda.

In the title role of the lonely hit man, Jean Reno is very well cast. His melancholy face is used to great effect as we watch how closed off he has been to anyone and how when he does let someone in, things start to get personal and very dangerous. Reno is the only actor I can think of playing the part, no other actor could have done the part of the hit man with a buried heart so well. Yet the biggest impression made in Leon is Natalie Portman in what was her debut role. Considering she was only twelve-years-old at the time of filming and it was her first movie, Natalie Portman showed how even at her young age she could be remarkably assured as she plays Mathilda with confidence and seeming ease. Some of the things the script calls for are daring for such a young actress to play as the character has had to toughen herself against an abusive home and the horrors of the world, but with an emotional core and sassy demeanor tempered with a troubled nature, Natalie Portman delivers a truly knockout performance. This is the kind of performance that stands as one of the best debuts in celluloid history for its striking maturity and memorability. As the gloriously corrupt and completely whacked out Stansfield, Gary Oldman is frightening and over the top in the extreme, but it fits the unpredictable character so well and makes him a dark villain. Danny Aiello succeeds in making his character of mafioso Tony who has loyalty to Leon, very good and a a good supporting character.

An audacious movie combining style, substance and occasional wit, Leon sets itself apart from many crime thrillers with its detail to characters and fresh approaches to things that make it quite unexpected.

My Dream Movie Cast

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Al Pacino, Judi Dench, Kevin Bacon, Monica Bellucci, My Dream Movie Cast, Natalie Portman

I was recently asked about who my dream cast for a movie would be and it really got me thinking. So for today’s post I’m going to list 5 actors and actresses who I would put in a movie if I could. Hope you all enjoy.

Al Pacino:

He has been one of my cinematic idols for years and is super talented. He may have not been in much recently, but his work still stands up so well. To have an actor like him on a set really raises the bar in terms of performances.

Judi Dench:

A national treasure of talent and wit, Judi Dench is a force to be reckoned with. With her iconic voice giving life to the words she speaks and a glint in her eye, Dench never fails to amaze me.

Kevin Bacon:

This man literally lights up the screen with his presence and versatility. From affable and charming to frightening and chilling, Bacon is an actor I hugely admire and would be happy to have in a cast.

Monica Bellucci:

The beautiful and talented Monica Bellucci has that ability to say so much without words and it really grips from the movies I’ve seen her in. None of her work ever feels forced or histrionic, it’s very calm but speaks volumes about the characters in the most expressive way.

Natalie Portman:

An intelligent performer of depth, Natalie Portman exudes a sense of confidence and maturity that is hard to resist. She takes risks in her work and is able to burrow into the character’s head with acute observations. It would be an honor to have Miss Portman in a movie.

So what does everyone think of my dream movie cast?

 

 

My Blueberry Nights

Tags

2000's, David Strathairn, Drama, Jude Law, My Blueberry Nights, Natalie Portman, Norah Jones, Rachel Weisz, Road Movie, Romance, Wong Kar-Wai

Film Title

My Blueberry Nights

Director

Wong Kar-Wai

Starring

• Norah Jones as Elizabeth
• Jude Law as Jeremy
• David Strathairn as Arnie
• Rachel Weisz as Sue Lynne
• Natalie Portman as Leslie

A soul-searching journey across America forms the basis of the romantic and strikingly shot My Blueberry Nights, the first film in the English language from Hong Kong film maker Wong Kar-Wai. There may be some flaws, but they can be put aside as you soak up this road movie of a young woman questioning love and herself.

As the movie opens in New York, a young and forlorn woman named Elizabeth has broken up with her boyfriend after discovering he was cheating on her. Stumbling into a local cafe at night, she finds the Mancunian owner Jeremy, who offers a sympathetic shoulder to cry on. After many of these late-night discussions and consuming of blueberry pie, in which Jeremy falls in love with Elizabeth, she leaves on an unexpected journey, but still keeps into touch via postcards. She wants to find something through her travels across America, mainly love and what she should do. Along the way, she encounters many offbeat characters whose own lives are very troubled and filled with drama. In Memphis, where she works a waitress to get the money to continue travelling, she witnesses the ravages of broken love in the case of alcoholic cop Arnie and his estranged wife Sue Lynne, who flaunts the fact she no longer cares for him. Events in this disharmony soon take a tragic turn. Moving onto Nevada, she meets brazen gambler Leslie, who has underlying pain of her own, and makes her a proposition. If Elizabeth stakes Leslie in a poker game which could be top draw, depending on the outcome Elizabeth could have a prized Jaguar to continue her travels and search for herself.

With the talent of Wong Kar-Wai behind the camera, My Blueberry Nights was bound to be a visually stunning movie. And though there are some shortcomings with the script, this is a movie that is all about mood. He uses the human face as a canvas of emotion and this repeats with Elizabeth’s winsome gaze and Jeremy’s longing eyes forming many beautifully constructed parts. As such, America is shown from an outsiders perspective throughout this film because of the director’s influence. The use of obstructing views such as lights, windows and blinds helps compliment the theme of wanting to understand something but not being able to fathom it. Eye popping colour abounds and creates a neon drenched atmosphere of unabashed romanticism and soul-searching among a host of cross-country events and searches. And I can’t think of a film in recent memory that made food look so passionate. As lashings of cream smother a blueberry pie, you can’t help but be sucked in by the romantic dreaminess at play. Occasionally, the languid pace can be a bit tiresome but it can be forgiven for that because of the sheer intoxicating dreamlike effect of My Blueberry Nights. The hypnotic soundtrack of clandestine jazz and soul grooves is an excellent addition to the atmosphere, tinting it with melancholy and the sense that hope could be near.

Musician Norah Jones makes her debut here and does quite a good job. She wisely gives Elizabeth that questioning winsome quality and soul that is required and despite her not being an experienced actress, she does very well in the part of the wanderer searching for meaning. Jude Law is his usual charming self as the affable and good-hearted Jeremy who falls deeply in love with Elizabeth. David Strathairn as the depressed and alcoholic cop Arnie who can’t let his wife go is very moving and you can’t help but feel sorry for the guy. Similarly, Rachel Weisz shows her emotive skills playing Sue Lynne, who parades around like she isn’t bothered but actually does. Both of these two bring emotional qualities to these characters. And rounding out this cast is the wonderful Natalie Portman. Portraying Leslie as a wildly dressed girl who lives for the thrill with bravado and charisma, Portman manages to tap into the deeper hurt behind the brassy shield the character puts up to those around her.

Flaws aside with the script and pace, My Blueberry Nights is still a magical film that is unabashedly romantic and lovely. This is really an underrated movie that I hope people will check out after reading my take on it.

More Gorgeous Ladies

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Andrew Lincoln, Cillian Murphy, Gorgeous Ladies, Keri Russell, Natalie Portman, Rachel Nichols, Scott Eastwood

This installment of the Ladies series is all about the suggestions from my fellow bloggers, as well as a few of my own choices. So prepare for one sexy post of stunning ladies and hunky dudes.

First up we have the gorgeous Natalie Portman, in a sexy shot especially for James.

Here we have the curly-haired and stunningly beautiful Keri Russell for Marcko Guy.

It’s clear to see why the smoldering sexuality of Rachel Nichols so captivates Eric.

And now some handsome lads for everyone.

Andrew Lincoln is on seductive display with his blue eyes and intense gaze for Zoe.

The dark hair, full lips and piercing eyes are all that Cillian Murphy needs to make him a crush for Emma.

The strength and macho virility of Scott Eastwood clearly make him someone who Fernando likes.