20 minutes ago
Monday, 15 October 2012
The idea is that a young nerdy-looking writer, after producing a hugely successful first novel, gets writer's block. He starts to dream about a 'perfect' young lady (the eponym of the film's title) which he befriends in these dreams - and he then decides to make her the subject of his next book. Soon after he starts writing about her she suddenly materialises in physical form, as someone already living with him as partner. After his initial astonishment he soon discovers that whatever qualities he writes about her she then manifests. There would have been scope here for sexual exploitation of her by his using imagination when anything he wants comes true. But though there certainly is exploitation (which is really the heart of the story), that's not quite the way it develops.
It's a good, original film (at least I hadn't met this situation before) and it has a pleasingly sharp script. There are a couple of mushy sentimental moments but they aren't lingered over, apart from the very end with a weak 'tidy-up' epilogue which, for me, diminished a bit of what had gone before.
The cast was good - with a number of bonuses I hadn't expected. I hadn't realised that the wonderful Annette Bening would have a modest part as the writer's mother. Antonia Banderas, as the father sporting a grizzled beard, looked hotter as a 'Daddy' than I've ever seen him. In fact I didn't realise it was him until I got back home to record my vote on IMDb site and I saw the cast list. But even hotter still, Chris Messina, who looked only slightly familiar to me, playing the film's third major character as the writer's (unlikely) married brother with a 'playboy' mentality. Two more dissimilar-looking bros it would be hard to find - he replete with sizzling male sexiness, his brother writer with all the forceful appeal of the colour beige.
I did enjoy this film and award it a worthy........7/10
Sunday, 14 October 2012
Yes, I'm clickety-click today!
Two pictures to represent my life so far. One taken recently, one a bit further back in my past. Now the question is - can you tell which is which?
|Okay, this is the answer. This one was taken yesterday...|
|........and this was NOT taken yesterday.|
Tuesday, 9 October 2012
The consensus among the critics I read was that one shouldn't question the scenario about this story's basic concept (travelling back in time in order to change the past and hence to alter the future), but just to go open-minded and prepare to be entertained. So that was the frame of mind I took along.
Well, first of all, the initial half of this tale is taken up with setting the scene (yes, I get it - now move along, please!) and for me it only seems to acquire purpose and direction after nearly an hour when Emily Blunt appears - steely, sassy and with gun in hand - more than a match for any man! (Watch out, fellas, 'cos if you go on upsetting her she's gonna blast your balls off!)
Well, you know that when said Blunt has a fiery and envenomed first encounter with Joseph Gordon-Levitt, it won't be long before they're in bed together, bonking merrily away to appropriately smoochy musical strains, and leaving me cringeing in my seat. But that was only one of the two major irritations which came about simultaneously. The other one being that there's also a young kid (let's just call him her 'son' for practical purposes) - and there are few things that rile me more on the cinema screen than a child talking with a wisdom and maturity way beyond his or her years. (It could be argued that in this case there was justification for this, but it still makes me wince.)
Then things get even weirder with telekinesis thrown into the already curious mix. Bruce Willis gets the film's star billing but he doesn't really have all that much to do - both in terms of screen time and acting, either enigmatically subdued or explosively angry, as he stalks his younger self (in the J.G-L in character) and goes little boy-hunting.
I gave up on this film long before the end - and was looking at my watch more than I usually do, seriously considering walking out before it was over, but I did stay up to the final credits.
It's a film that's doing well in the U.K. so I accept that it's probably yet another that reveals me as being well outside the range of its target audience. But I can only talk of my own personal reaction -
- which is to give 'Looper' an unimpressive score of.......3.5/10.
Sunday, 30 September 2012
I loved this film!
Let's get a couple of things out of the way first.
It was actually completed in 2011 and is only now being given limited release in selected cinemas. Pity, because for me it was a tonic, and really deserves to have had a wider distribution.
.....and, yes, it features Rupert Everett - not exactly flavour of the month in the light of his recent comments opposing equal marriage. For that reason his fairly significant role here had, for me, a jarring effect which, I hope, will fade in time. (But only if he retracts and apologises).
But back to the film.
London - late 19th century. A doctor (the ever-admirable Jonathan Pryce, who always raises the standard of anything he appears in, be it on stage or on screen) runs a practice which helps its wealthy and mature lady clients (all middle-aged or more) to overcome and release their peculiarly female(!) condition of 'hysteria' due, so the theory goes, to the insufficient and too infrequent stimulation of the uterine tract. He personally employs his own manual method until, because of its popularity and with his services so much in demand, he takes on a young doctor as assistant.
With the help of his friend (Everett), the young doctor (Hugh Dancy - a bit of a hottie!) accidentally hits on the idea of turning the former's invention of an electrically-powered feather duster into (shhhhh! whisper it!) - a VIBRATOR! The effect on the ladies is.....well, dramatic!
The undoubted star of the film is Maggie Gyllenhall (who provides, later on, a romantic interest) as a teacher of working-class children who is also the wilful, energetic, feminist daughter of the elder doctor. Her English accent is remarkable - upper class without being distractingly cut-glass. She holds her own with honours among a fine cast of stalwart British actors and actresses.
The whole film is handsomely shot - and with a noticeably superior screenplay, to which I principally mean the vocabulary employed. It was a pleasure to listen to.
The film reminded me quite a bit of the 1994 Anthony Hopkins/Matthew Broderick film 'The Road to Wellville', also under-rated, I thought. (Broderick, in that, looking never hotter, before or since, with his whiskers!)
'Hysteria' encapsulates a lot of the attitudes towards women in the Victorian era (and later - even present-day), summarised neatly in a big speech by Dancy in a courtroom scene towards the end. But there were also more than a few LOL moments.
Here's just one:-
The Jonathan Pryce character is berating his young assistant about complaints he's been getting from the ladies about the latter's digital technique falling below the expected standard (due to over-use). Before actually giving him the push, he sternly admonishes him with the information.......
".....and Mrs Parsons has stopped coming altogether!"
I'm happy to award 'Hysteria' a score of..............8/10.
Friday, 28 September 2012
That was one of two reasons I wanted to see this. The other one being was that the premise seemed fascinatingly imaginative and bizarre.
This French language film features a Monsieur Oscar being driven around Paris in a stretch limousine, mostly during the course of one night. Every so often his elegantly but severely be-suited, more-than-middle-aged chauffeuse tells him of his next 'appointment' - at which he changes his identity with the help of all the make-up paraphernalia at hand in the vehicle - and he drops into the middle of each of a sequence of nine or ten stories. One doesn't know the whys and wherefores which led up to the situation as it is when he joins the story, all of which are also left unresolved. The stories are of varying length, one or two having a few, but not too many, chuckles - and most with a touch or rather more than a touch of the surreal. After a while I just decided to sit back and go with the flow - and to stop my mind asking questions.
Some segments worked quite well for me while others were less successful. One that stays in my mind is when Eva Mendes (wordless) is featured in a kind of 'Beauty and the Beast' story-let - and it's every bit as puzzling as the others.
Kylie appears about 2/3 through in one of the more substantial segments, lasting about 15 mins, speaking in French - except for a very downbeat song in English. It's a rather grim little tale.
I'd like to be kinder to the film. While I do like the bizarre and for that reason will often be keen to see such films twice in order to understand a bit more which I didn't get the first time round (e.g. the films of David Lynch), I have to say that this film as a whole didn't endear itself to me so much that I'd be eager to sit through it again.
Btw: We get to know at the end that the film's title refers to the name of the company owning a whole fleet of these limousines - presumably each one containing identity-changing passengers? Maybe, maybe not.
Although my instinct tells me that many film aficianados may well have a much higher opinion of this film than I have, the score it receives on my blog is a just-about-thumbs-up..............................6/10
Thursday, 27 September 2012
It's 'odd' because it's a very 'talky' film. High-density dialogue making it seem longer than its 97 mins.
Two major departures from all the talk - the first an extremely violent and extended beating-up, the second a shooting in balletic ultra slow-motion looking, actually, quite beautiful - set to the strains of Ketty Lester's excellent 'Love Letters' .(At least they didn't choose the far inferior and unimaginative attempt by Elvis, a few years later, to carbon-copy it. In fact all the songs used as soundtrack to this film, set around the time of Obama's inauguration, are anachronistic with ironic effect)
The Brad P. character has, especially at the film's end, some very unflattering things to say about the new President's vision of America. I suppose that Brad the person put that down to 'playing against expectations'.
Much has already been said by critics about the misogynistic dismissal of women as their being no more than sex objects - all of them off-screen apart from the James Gandolfini character's hooker, who is likewise disdainfully dismissed in a scene where she is permitted to utter a few less-than-weighty lines.
I did, however, think the build-up and maintaining of tension through most of the film was successful, with all acting of a high order.
In terms of my own personal experience and enjoyment (if any) I award 'Killing Them Softly' an equivocal........5/10
Wednesday, 19 September 2012
Around 16-17 attending with none younger than, I'd guess, around 50 - and all very cheerful, with many laughs throughout, which I suppose is a reaction against thinking about a condition which, if neglected to control, has the potential to develop into something really serious.
I don't think there's a great chance of that happening with me as I've already altered my lifestyle in certain positive ways and will now take further steps.
Talk got round to related conditions and their knock-on dangers, one of which is high blood pressure which I also have, and several of those attending also suffer from. Relating to this there was long discussion about food and diet - and what one should avoid.
One thing I've always done is, although giving up sugar about 30 years ago, as well as refraining from putting salt on my food once it's on the plate (but with the single exception of fried potatoes), when I boil vegetables I've always added salt to the water - quite a lot of it, in fact. I was brought up to believe that adding salt at this stage helps to bring out the flavour of the vegetable. Now I learn from at least two members of the group that not adding salt to the water actually enhances the flavour. Furthermore, both the nurses who were running the class say that they gave up salt entirely years ago and one of them says that it now tastes foul to her. Seems that, like doing without sugar, it's a matter of acclimatising oneself to it. When I first gave up taking sugar in tea and coffee it took perhaps a fortnight of the beverage tasting odd and insipid until my tongue adjusted to it. But after that was over, and since then, I've never had a yearning for sugar again. So I imagine the same thing will happen if I give up adding salt when preparing veg. (As everyone knows, there's usually more than enough of both salt and sugar already in the ingredients of bought foodstuffs anyway to fulfil the body's needs. It's even excessive to an unhealthy extent in many cases).
I do tend to find it easier than some people do to alter life habits so I don't expect any relapses in this direction either.
So from now, even on chips (fried potatoes), salt is henceforward O-U-T!
Sunday, 16 September 2012
It said in a review I read this morning that her acting was 'mannered'. I disagree. There are certainly moments when full-on high emotion is required, though she is still always credible to me. Outside these occasions her acting is as highly and subtly nuanced as it ever is.
Very much a three-person film, which would work admirably as a stage play, this is what we used to dismiss, pejoratively, as a "lady's film", meaning that there are no big-set action sequences and that the story is, essentially, grounded on a story of the 'love emotion'. There's lots of conversation, and the entire 'plot-line' has a trajectory where one can predict the destination, though not without a number of delights and laughs on the way.
Streep and Tommy Lee Jones, are in a congealedly-cold 31-year marriage which she wants to re-ignite with a spark through the services of marriage counsellor Steve Carell. And such is the entire denouement.
Both Jones and Carell are first-rate - the former, playing an unwillingly dragged-along sour-puss, I don't think I've ever seen in any domestic situation film before.
My only real carp is that there are a few shocking lapses of continuity, though I have seen a lot worse. I think it's one of the negatives of seeing a lot of films. One becomes more observant of such errors, wondering why none of the team took the trouble to notice it and have the scene re-shot - or was that just too much trouble? Or were they hoping that no one would pick up on it? However within the totality of things it's not worth dwelling on.
For close to a couple of hours of pleasing entertainment, I score 'Hope Springs'.........7/10.