Big Little Lies

Tags

2010's, Adam Scott, Alexander Skarsgård, Big Little Lies, James Tupper, Jean-Marc Vallée, Jeffrey Nordling, Laura Dern, Nicole Kidman, Reese Witherspoon, Shailene Woodley, Zoë Kravitz

A suspenseful, occasionally darkly funny and very addictive series, Big Little Lies tackles the myth of perfection in a seemingly ideal place that unravels with a deep-seated mystery. Bolstered by superb work from the cast, primarily the ladies, Big Little lies pulls you in with its story and visuals. This review will contain some spoilers, but I promise not to ruin the big mystery.

In Monterey, California, a murder occurs. But we are not privy to who the victim is and why it ended with the taking of life. Flashing back to the start, we build a series of events within the picturesque surroundings that are dark and enigmatic. It all begins with the arrival of Jane Chapman(Shailene Woodley), a single mother  who enters the community with her son Ziggy at the beginning of the school year. She is befriended by the fierce Madeline Martha Mackenzie(Reese Witherspoon); a resident queen bee who prides herself on knowing everything and everyone. Jane also meets the elegant Celeste Wright(Nicole Kidman), a former lawyer who gave up her career to raise twin boys. All three are linked by children in the first grade and everything starts to happen on orientation day. Ziggy is accused of assaulting Amabella, the daughter of the highly strung business mum Renata(Laura Dern). This drives a wedge between people and Madeline draws a line in the sand as she’s never liked Renata and lets it be known. From that moment, things start to unravel for the women of the area. The lives of these women appear to be ideal, but scratching beneath the surface unearths another story.They all have their secrets that they attempt to keep under wraps, such as something dark in Jane’s past that she’s running away from, Madeline’s feelings that her daughter is slipping away from her( plus a past affair) and Celeste being in a volatile marriage where she is frequently abused by her husband Perry( Alexander Skarsgård )but can’t seem to leave him. With us knowing that someone is going to end up dead, things get darker and more revealing as the facade of perfection slips and the various events culminate in death for someone.

The first thing that gets your attention about Big Little Lies is the script. It’s both bitingly funny when focusing on society’s image of perfection and alternately darker in the next breath. Having the framing device of a gossiping Greek chorus of supporting characters giving their views on events provides much in the way of intrigue and humour. We go from zingers, bitching at the schoolyard, secrets hidden behind the closed doors of seeming bliss and female bonds are just some of the areas Big Little Lies goes into with its blend of wit, mystery and entertainment. From a stylistic point of view, this show is intoxicating. With the talented Jean-Marc Vallée on direction duties, it’s not surprising that Big Little Lies is such a hit. The vistas of the sea and the fabulous houses that the characters reside in provide much in the way of eye candy. And the editing and direction of the whole thing is very on point. Often, scenes blur into each other and the past bleeds with the present in unique ways that you get more accustomed to as the story gathers momentum. Montage and scenes cut to specific music abound and entice in how they connect the women and display just what’s really going on inside this bubble of supposed domestic paradise.

One of the biggest draws of Big Little Lies is how the mystery stems from the fact that we aren’t told who the murder victim is. Instead, the series flashes back to what lead to the act, excellently drip feeding us with occasional information about it. Most shows would have established who it is that was deceased, but Big Little Lies has other things on its mind to blow the big enigma straight away. Never mind whodunnit, it’s more like a who did it to who in the best possible way. And one shouldn’t forget that Big Little Lies goes to some disturbing places that put jolts into the action and are frequently shocking. Blending both humour and uncomfortable issues, it’s a show that in a sure-footed manner straddles each aspect with an eye for unearthing what sinister and pressure filled things are lurking beneath society’s obsession with paradise. And the succession of strong and rounded female characters is yet another praise worthy part of Big Little Lies. Whether lying, helping each other or trying to deal with life struggles, the vision of women is one that is excellently executed. And the last scenes of female solidarity are some of the best in the show and proudly showcase the excellence at hand here.

Reese Witherspoon heads the cast with energy as the local watcher of all things around her and someone you don’t  want to cross. Madeline as a character has a lot of layers and is not just the overprotective and domineering woman of the one-dimensional variety. Witherspoon and her natural perkiness are on show mixed with something more bitchy and flamboyant, yet tempered by hidden fears and insecurity. Nicole Kidman is riveting as the quiet and seemingly calm Celeste, whose life is so much more complicated than it seems to others. With Nicole Kidman essaying mystery and a very complex set of turmoil through nuances, you can’t help but be in awe of her talent. Her eyes are always searching for an answer to her future and are subtly but movingly expressive. Kidman’s ability to register so many emotions in a restrained manner is simply marvellous to watch as she covers such a wide array of feelings within the character of Celeste. Shailene Woodley portrays the youngest mother in Jane, who is something of an outsider in the community. She’s our vantage point into this world of mothers, children and image and one that is terrified yet determined to build a new life for herself and her son. Woodley suggests inner suffering and a deep love for her son in many excellent ways that are explored by her skill and ease in the part. Stealing a lot of scenes with intense and fierce action is Laura Dern. She stars as the pushy, overprotective and snotty mother who lauds her businesswoman acumen over everyone yet can’t cope when things don’t go her way. She manages to be both aggressive and funny within minutes of each other. Zoë Kravitz has the right free spirit and bohemian charm for the role of Bonnie; who is married to Madeline’s former husband and not exactly popular with Madeline who sees her as being too perfect.

The rest of the characters are fleshed out by an array of fine actors. Alexander Skarsgård exudes menace as a weak man whose insecurities are exposed when he beats his wife and feels like he has some power. A loathsome character, Skarsgård plays his to a tee. Adam Scott showcases his nice, average guy persona but colours it with areas of resentment that make him interesting to watch. James Tupper is childish and up for an argument playing Madeline’s former husband who can’t resist confrontation with Adam Scott’s character. And then there is the relaxed and chilled out Jeffrey Nordling, who compliments Dern’s manic behaviour with his no cares attitude. The men are great in Big Little Lies, but the show belongs to the women of the cast who turn in exemplary work.

A highly addictive series that is funny, dramatic and mystery, Big Little Lies is hard to resist, especially with a cast like this and direction this good. And if you haven’t seen it yet, here’s the opening titles to entice you.

Happy Birthday Reese Witherspoon

Tags

Birthday, Reese Witherspoon

Today the delightful Reese Witherspoon turns 42. Over the years, her vivacious personality and talents have been on our screens. And she’s carved out a glorious career of multiple highlights. So Happy Birthday Reese Witherspoon, you are a great performer who continues to deliver.

Wild

Tags

2010's, Based on a true story, Drama, Jean-Marc Vallée, Kevin Rankin, Laura Dern, Michiel Huisman, Reese Witherspoon, Thomas Sadoski, Wild

Film Title

Wild

Director

Jean-Marc Vallée

Starring

• Reese Witherspoon as Cheryl Stayed
• Laura Dern as Bobbi Grey
• Thomas Sadoski as Paul
• Michiel Huisman as Jonathan
• Kevin Rankin as Greg

Based on the true story of Cheryl Strayed, who embarked upon a self-reflective journey to get her life back on track, Wild is a quietly stirring film that unfolds quite beautifully and gains excellence from a physically enduring performance from Reese Witherspoon.

We pick up with one Cheryl Strayed in 1995; a young woman hiking 1,100 miles of the Pacific Crest Trail from the Mojave Desert to the Washington-Oregon border. Through flashbacks, we get to glimpse Cheryl’s life up to this point and what drove her to embark on this journey. The biggest event is the death of her beloved mother Bobbi, who always retained a positive outlook on life even when the odds were stacked against her. Her death subsequently left a hole in Cheryl’s life that she tried to fill with drug abuse and promiscuity. This had a knock on effect on her marriage to Paul, which ultimately ended in divorce when he couldn’t get through to her. Now on the journey, despite a lack of experience in hiking, Cheryl is attempting to forgive herself and come to terms with what her life has become after it fell completely apart. The journey she takes is one of both mental and physical anguish; her shoes are too small, she doesn’t have all the right materials and being a novice at hiking is not exactly helpful to her in the arduous voyage. Though she considers at various stops giving up because of how harsh and painful the journey is, something ultimately pulls her back and with the people she encounters, Cheryl grows stronger and finally begins to take stock of everything she has been through and the ways in which her travel will change her.

Films where characters go on journeys of self-discovery and change can often come off as saccharine and clichéd. Wild is thankfully not one of those films as it retains a natural quality that keeps it rooted in emotion and feeling throughout, without needing to go for big scenes of drama. Jean-Marc Vallée gives deep drops of intimacy to the proceedings through expressive close-ups and having Cheryl’s experience link to her past. He also isn’t afraid to show the darkness of Cheryl’s life in detail, where other films would shy away from doing so in order to keep something of a nice vibe. We are given the chance to witness Cheryl’s life, warts and all, and can really understand why she would want to just get away from all of it. Wild in itself is something of a contained story, which might seem strange as it is about a long trek, but what I mean is that the story is largely Cheryl’s and how events have impacted on her and her growth along the way. The film eschews bellowing histrionics for rumination and nuance( thanks to the assured direction of Jean-Marc Vallée and sensitive Nick Hornby script-which brings sprinkles of heart and small bits of humour to the film), which stand Wild in good stead as we gain a significant understanding of Cheryl through the flashbacks presented. And talking of flashbacks, the way they are placed within the narrative is seamlessly done and never becomes confusing as to which time frame we are in. From a visual standpoint, Wild is a lovely looking film, particularly at showing both the beauty and harshness of nature in the wilderness that can be very unpredictable. There are those out there who will sniff at Wild and say that not a lot happens within the story and that it isn’t anything particularly new. This is to miss the subtlety at work as everything is rooted in something of a realness that grows on you as the film continues. Quite a lot happens within the film, it just transpires in small vignettes of triumphs and tests that Cheryl must go through and endure to fully get herself together again. There are a few niggles in the narrative that slow it a bit, yet these are few and far between, as Wild stays on a relatively equal and level footing thanks to the talent both behind and in front of the camera. Music is used in a most complimentary fashion that joins together moments from the past with the present in Cheryl’s reveries.

Wild’s ace in the pack is Reese Witherspoon in a revealing performance that carries a large chunk of the film on her shoulders. She keeps Cheryl grounded in the long run of the story but also delves with nuances, into the wealth of emotional turmoil that still haunts her. I admired the way that Reese Witherspoon showed off a very different side to herself in this film; she really made the part feel organic and natural from the very first moment we glimpse her. She gives an authentic, raw and fearless energy to the part that displays Cheryl as flawed but still relatable to the audience as we understand her sadness and want her to succeed. It has to stand as one of her best performances, as it is mightily impressive watching her reflect and react to the things that have been thrown her way, both mentally and physically. Supporting Witherspoon is the lovely work from Laura Dern as her mother, largely seen in flashback. Dern projects such a ray of sunshine to the film that you can see why Cheryl would go into a real tailspin as her lifeline of happiness is gone. Thomas Sadoski is well cast as Cheryl’s ex who still tries to be of help to her, even after their divorce. Michiel Huisman and Kevin Rankin each play people Cheryl meets a long the way, and who each give her something to spur her on.

The odd wandering bit of film can be forgiven as Wild wisely retains a modesty and reflection that makes for a subtle yet moving film, headed by a commanding and committed Reese Witherspoon, in one of her best roles.

Just Like Heaven

Tags

2000's, Dina Spybey, Donal Logue, Fantasy, Jon Heder, Just Like Heaven, Mark Ruffalo, Mark Waters, Reese Witherspoon, Romantic Comedy

Film Title

Just Like Heaven

Director

Mark Waters

Starring

• Reese Witherspoon as Dr. Elizabeth Masterson
• Mark Ruffalo as David Abbott
• Jon Heder as Darryl
• Donal Logue as Jack
• Dina Spybey as Abby

As predictable as some of it gets, Just Like Heaven at least distinguishes itself from other romantic comedies by having a fantasy element and being able to earn our sympathies as a metaphysical relationship is sweetly but movingly played out.

Elizabeth Masterson is a supremely dedicated and caring San Francisco physician, who as events open is completing a marathon twenty-six hour shift. The hospital is Elizabeth’s whole life and she has little time for anything else. Her superiors tell her to go home and rest and after much resistance she does. Though on the way home where she is to go on a blind date set up by her sister, Elizabeth’s car collides with another in an accident. Three months later through happenstance, David Abbott; a landscape architect still grieving for the death of his wife two years prior moves into Elizabeth’s apartment. What he gets is a real surprise when Elizabeth appears and begins telling him that he is trespassing in her apartment. Bewildered and shocked by the fastidious woman telling him that the apartment isn’t his, David is in for even more of a surprise as he comes to see that Elizabeth is in fact a spirit who only he can see and seemingly communicate with. The pair is then at each other’s throats about this as confusion takes centre stage and David remains puzzled on how this apparently supernatural turn of events unfolds. On the other hand, fussy Elizabeth is convinced she is not a spirit of someone recently deceased even though there is a lot of evidence to suggest this( she can walk through walls and appear and disappear at will). She also has gaps in her memory and call only recall her name. David enlists the knowledge of Darryl, a young bookshop worker who has an unexpected gift of being able to sense cosmic and spiritual energy. Over time, Elizabeth and David’s animosity thaws as they grow closer and Elizabeth manages to get David to open his heart once more after keeping it guarded for so long following his wife’s death. Yet as they begin to warm up to one another romantically and assemble some of the fragmented pieces of why she is a spirit and only David can see her, unexpected circumstances threaten them. Can the growing love between them conquer an uncertain future for the unusual union?

Mark Waters makes proceedings a mixture of humorous and emotional, letting the two main characters work through their differences which are anything but ordinary. A sensitivity is generated throughout the film which sets it apart from most romantic comedies that often have no real depth to them. And yes Just Like Heaven has its amount of sugary moments that you’d probably expect, but the soul of the film permeates through with effervescence. The brisk pace makes the movie sprightly and full of moments of comedy; most of the humour stemming from situations in which David talks to Elizabeth, who often disagrees with him and other people think he’s either crazy or hallucinating about something. San Francisco shines in sun dappled glory, pervading the film with a loving sense of magic that comes from the two principal characters. It must be said that Just Like Heaven is in my view a very underrated film that not enough people talk about. If it’s a romantic comedy with a supernatural twist, this movie is the ticket and provides something a little different from the ordinary. A tender score accentuates the growing attraction of the two main characters and the subject of fate which seems to play a part.

Reese Witherspoon is engaging, funny and moving as the dedicated Elizabeth, whose predicament of whether she’s alive or dead takes centre stage. Witherspoon positively glows in an ethereal way in a part that displays her deft comedic timing and soulful emotions. Equally as good is Mark Ruffalo in the part of the grieving David, at first shocked at the appearance of Elizabeth and then slowly given parts of his life back as he develops romantic inclinations for her. Mark Ruffalo really shows a different side to his acting here, showing a gift for physical comedy underneath a veneer of wounded seriousness. In an exceptionally hilarious performance as the chilled out psychic Darryl, Jon Heder makes a marked impact on the film whenever he graces the screen in this engaging supporting turn. The guy is just hysterical because as helpful as the character is, he’s often so laid back he could fall over. Donal Logue as David’s concerned friend and Dina Spybey as Elizabeth’s sister help complete what is already a lovely film.

A funny but very touching romantic comedy/fantasy, Just Like Heaven is a heartwarming film, given a gentle core and an amusing top, along with lovely work from the two leads that bring a touch of magic to the underrated film.

Legally Blonde

Tags

2000's, Ali Larter, Comedy, Jennifer Coolidge, Legally Blonde, Luke Wilson, Matthew Davis, Reese Witherspoon, Robert Luketic, Selma Blair, Victor Garber

Film Title

Legally Blonde

Director

Robert Luketic

Starring

• Reese Witherspoon as Elle Woods
• Luke Wilson as Emmett Richmond
• Selma Blair as Vivian Kensington
• Matthew Davis as Warner Huntington
• Victor Garber as Professor Callahan
• Jennifer Coolidge as Paulette
• Ali Larter as Brooke Taylor-Windham

A glossy comedy that like the main character is a lot more than it seems at first glance, Legally Blonde is a splendidly funny and endearing ode to proving people wrong and doing it with some serious style.

Elle Woods is the typical sorority queen; pretty, stylish and absorbed in a world of magazines and parties. She seems to have the ideal boyfriend in Warner Huntington( the rich son of a governor) and as the movie opens, she believes he is going to propose to her. Instead he dumps her because he is going off to Harvard and doesn’t see his future with her because he wants to be with a girl he considers smart and acceptable(as well as one his wealthy family would appreciate). Devastated, Elle is at a loss of what to do before she has an idea to win Warner back. As he’s going off to Harvard, Elle makes it her mission to get in and show him that she’s the one. With a mix of guile and surprising smarts, Elle is accepted to Harvard but it isn’t going to be plain sailing for her. She had to contend with ridicule and scorn aimed at her by her peers, particularly Warner’s snotty new girlfriend Vivian Kensington. Determined to prove everyone wrong, Elle gets her head down and buries herself in study. Surprisingly to everyone else, she begins to display an aptitude for law and begins to shine. When one of the professors is defending a client on a murder trial, he enlists the help of some of his students, one of them being a surprised Elle. With help from good-hearted Emmett Richmond, who sees potential in her and a slowly growing belief from within herself, Elle aims for success. But can Elle finally be taken seriously by those who have written her off?

Director Robert Luketic, in what was his directorial debut, excellently crafts this an amusing and quietly inspiring film. His direction makes the most of the story and adroitly displays Elle’s unexpected journey from Valley Girl to young woman who is taken seriously by the snotty elite. Visually and in story, Legally Blonde is fuzzy and light, yet this belies the funny fish out of water story and the theme of showing everyone you can achieve. Yes there are parts of the film that are routine and we’ve seen some instances of before, but you’ll be having too much fun to pick up on a few minor skirmishes on a frothy and fun movie. As much as Legally Blonde is a comedy, sympathy is generated for Elle because of writing that makes us relate to her and strive with her for acknowledgment from those who feel the need to be doubtful. Though Elle is not as dizzy as everyone makes out even in the beginning. She is a little naive but has smarts, though these mainly consist of fashion and style before giving way to more difficult subjects at Harvard where she slowly proves doubters and haters wrong. I enjoyed the way the script showed that Elle is not unintelligent, just has knowledge of more popular girly topics before rolling up her sleeves and deciding to subvert the stereotype everyone has of her. Another refreshing aspect is as the film goes on, Elle becomes less interested in winning Warner back and instead asserts her smarts in the court case. What could have just been a predictable part of the story turned into something else and I was happy to observe it take a different road for the better.

Reese Witherspoon is utterly delightful and winning as Elle Woods, making the character her own from the very first time we see her. She adeptly gets across the bubbly personality of Elle as well as making us root for her to succeed and prove doubters wrong. Witherspoon’s performance is one of kittenish enthusiasm, sparky quips and a growing intellect, that showcases how Elle may look out-of-place in Harvard at the start, but once settled and determined rises to the top. Reese Witherspoon is the biggest draw of Legally Blonde and it’s impossible to imagine anyone else playing Elle as well as her. I liked Luke Wilson in his role of the supportive Emmett; he plays him a genuinely nice guy who refuses to just see Elle as a Barbie doll like almost everyone else. Selma Blair is impressively snobby and bitchy as Warner’s new girlfriend, who is revealed to be quite insecure beneath the catty facade. As the douche bag boyfriend who because of his blue-blooded background dumps Elle, Matthew Davis is appropriately arrogant, until he sees that Elle is not as dumb as he initially thought. Victor Garber is well cast as a disapproving professor, while there is Jennifer Coolidge who is delightfully funny as an unlucky in love beautician benefiting from Elle’s sassy help. The only person who suffers is Ali Larter as the woman accused of murdering her husband. It’s not Larter’s fault, it’s that the character is introduced too late into the story to really feel anything towards her. Larter in fact does a good enough job, her role just could have used some embellishing.

It may at the start look like a run of the mill exercise, but Legally Blonde greatly distinguishes itself from the crowd with its mix of laughs and lovable heroine that will win you over instantly.

Cruel Intentions

Tags

1990's, Cruel Intentions, Drama, Reese Witherspoon, Roger Kumble, Ryan Phillippe, Sarah Michelle Gellar, Selma Blair

Film Title

Cruel Intentions

Director

Roger Kumble

Starring

• Sarah Michelle Gellar as Kathryn Merteuil
• Ryan Phillippe as Sebastian Valmont
• Reese Witherspoon as Annette Hargrove
• Selma Blair as Cecile Caldwell

A 90’s retelling of Dangerous Liaisons, Cruel Intentions may be not as good as the 80’s movie but still has enough energy, sex appeal and darkness to enjoy with some good performances from a photogenic cast.

Kathryn Merteuil is a wealthy and popular girl who resides in New York’s Upper East Side. Despite her seemingly sunny personality around others, she is in fact a ruthlessly scheming bitch who thrives on the misery of others. Her stepbrother Sebastian Valmont is equally as devious and is prone to seducing girls for enjoyment. The two manipulative step siblings conspire to ruin the reputations of those they don’t like. Kathryn has a new conquest for Sebastian, the naive Cecile Caldwell. She wants to ruin Cecile because her former boyfriend dumped her for the impressionable girl. Initially bored with this, Kathryn then makes a wager with Sebastian that he can’t refuse. If he can seduce the virginal headmaster’s daughter Annette Hargrove, Kathryn will offer herself to him. If he loses, she will get her dirty hands on his prized Jaguar. At first, Sebastian relishes the chance to spoil the virtue of Annette, who is the epitome of chastity and goodness. But as time goes on and he gets to know her, he starts to fall deeply in love with her. This hitch in the plan leads to a glossy tale of jealousy and sex.

As I mentioned earlier I prefer Dangerous Liaisons to Cruel Intentions. Saying that, Cruel Intentions has many positives to it. The visual style and direction of Roger Kumble is amazing in showing the shallow lifestyle of wealth and how it leads to boredom and worse. The script although melodramatic at times, does have some very dark undertones and you can feel the perverse sexuality come through as the movie goes on as Sebastian struggles with his feelings for Annette, whilst Kathryn manipulates from the sidelines. A well-chosen soundtrack gives the film an edge, especially the use of “Bittersweet Symphony” at a key moment of the story.

While subtlety and restraint isn’t the film’s strong suit, it’s capable cast gloss over these flaws with their performances. Shedding her All American Girl image, Sarah Michelle Gellar is splendidly seductive, manipulative and twisted as Kathryn. Whether saucily kissing Cecile, flaunting her body for Sebastian or putting on her fake smile, Gellar is riveting to say the least. Ryan Phillippe is devilishly charming as the resident Lothario Sebastian, who doesn’t realise that he will finally experience love for the first time when trying to seduce Annette. He has great chemistry with Gellar that gives the film a twisted sexuality as we watch them try to get one up on the other in the machinations they devise. Reese Witherspoon injects intelligence and virtue into the character of Annette, who reluctantly falls for Sebastian despite her vow of chastity. Annette’s role is pivotal in changing Sebastian and Reese Witherspoon has enough sweetness and quiet strength to bring this role to life. In a supporting role, Selma Blair is suitably childlike and impressionable as a victim in the game of seduction.

Twisted, sexy and frothy, Cruel Intentions is not exactly a restrained examination of deceit and jealousy. But the cast and some excellent direction make it an interesting teenage version of Dangerous Liaisons.