The Bourne Legacy

Some fans were skeptical about the fourth film in the Bourne series, The Bourne Legacy, as it didn’t feature Matt Damon as Jason Bourne. Instead it starred Jeremy Renner as Aaron Cross, another in a line of men recruited into the clandestine program that began with Jason. The Bourne Legacy is rated PG-13 for violence and action sequences.

The program called Outcome has evolved into biological engineering to create men with exceptional skills. Aaron is in training in the frigid wilds of the Arctic when he realizes he needs more of the pills he is being given as part of the program. When a drone attempts to kill him, he makes his way back to Virginia to the clinic that has always provided him with the drugs.

Dr. Marta Shearing (Rachel Weisz) is a physician dedicated to science, and when a coworker goes ballistic, she is drawn into the chaos. Aaron finds her and the two flee together, being tracked and pursued by the usual types of characters. Eric Byer (Edward Norton) wants to find both of them as they are attempting to shut down the operation by killing anyone who knows about it.

Aaron is a bit different from Bourne in that he has come to rely on the drug to sustain his superior physical and intellectual powers. Bourne was the first and they didn’t give him the pills. His intelligence would then appear to be innate. References are made to Bourne in this film, and Aaron becomes aware of his existence while holed up in a cabin in the woods with another operative. Aaron’s curiosity serves him well; always asking questions, he sets a good example in questioning authority.

Marta shows herself to be a compassionate woman, ultimately helping Aaron get the care he needs to thrive once again. Their globetrotting is exciting to watch, and the fight scenes and hot pursuit up and down narrow alleyways in Manila and on the streets leading to the sea are phenomenal.

I found it disturbing to watch Aaron and Marta referred to as targets, and equally disturbing to hear an assassin referred to as an asset. When someone dehumanizes, it is easier to kill, and that’s part of the training in the program.

Biological engineering is not some science fiction idea; it’s now reality what with GMOs and manipulation of genomes becoming all too commonplace. Tracking and surveillance of citizens is chilling to watch and again a reality. That’s why strong safeguards must be in place to protect average people.

Who knows what the military does to those select few who join elite forces. Do you really think that Navy Seals or other soldiers are just exceptional? With athletes taking steroids and other drugs to improve performance, I wouldn’t doubt that soldiers are given those types of drugs too, as a common practice.

I highly recommend this fourth Bourne film. Matt Damon as Jason Bourne will be back tomorrow! And I’ll be back in a couple of days with my review of it.

The Bourne Ultimatum

Jason is back, and the bad guys are after him in The Bourne Ultimatum. He discovers that an investigative journalist, Simon Ross (Paddy Considine), has uncovered the story of him and Marie. This is very unsettling to him and he seeks out the man in London to find out who his source for the story was.

The NSA is hunting for this journalist due to his asking around about the covert operation Blackbriar. Jason is soon involved in the cat and mouse chase, which globe trots us from London to Morocco and finally to New York City.

Pamela Landy (Joan Allen) with the CIA is asked to head up the search for Jason since she knows something of his movements, and what he’s likely to do. She is a skilled leader, and doesn’t ever give up on Jason. Jason is always one step ahead of the corrupt leaders who long to capture him and silence him forever.

Noah Vosen (Michael Strathairn) is an NSA chief intent on destroying anyone that gets in the way of keeping Blackbriar secret.  Since this film was released in 2007, it has some establishing scenes close to the beginning so as to remind us of what Jason has been going through. It also would make it easier if you happened upon this film without having seen the first two. A wise choice.

Jason is having troubling flashbacks about his initiation into the world of espionage and assassination. It’s troubling to the viewer also as he is essentially tortured until his mind breaks and he becomes the soldier they envisioned. Jason was the first it is proclaimed.

Jason runs into Nicky (Julia Stiles) while in Madrid and she soon reveals her soft spot for Jason, every bit of the accomplice that Marie was, minus Jason’s love that seems to be only for Marie.

The requisite car chases and a really stunning pursuit on foot in the alleyways and buildings of Morocco involving Nicky, Jason and an assassin really take center stage for what seems like an eternity. That any of them could realistically do what these scenes depict is of course incredible; suspension of disbelief required. Jason certainly is capable of everything from hot-wiring a vehicle to using technology to his advantage. He must have a really high IQ.

Jason truly is regaining who he is, a man of conscience and someone who works for no one, only himself and what he believes to be good and right. This was a great third Bourne movie, and we are left wondering what Jason will do next.

This film won Academy Awards for Best Achievements in film editing, sound mixing, and sound editing, all well deserved. It is rated PG-13 for violence and intense sequences of action.

The following Bourne film did not feature Matt Damon as Jason, but brought us into the life of another trainee, played by Jeremy Renner. Come back tomorrow for a glimpse of the film that follows in the footsteps of Jason Bourne.

The Bourne Supremacy

The second Jason Bourne movie, The Bourne Supremacy, came out in 2004. This is a good sequel with Jason (Matt Damon) still being pursued by Treadstone, or what remains of it. The film is rated PG-13 for violence and intense action and for brief language.

Jason and Marie (Franka Potente) have been on the run, most recently settling in Goa, India. A great thing about these films is the ground covered, literally, as we go continent hopping with Jason.

Pamela Landy (Joan Allen) is a higher level CIA staff who stumbles across Bourne’s existence and ruffles feathers at Langley when she insists on seeing classified information about Treadstone and Jason.

Jason is not one to be underestimated, as Nicky (Julia Stiles) warns the team of CIA operatives. Jason is fed up with being pursued and targeted for assassination, and is always one step ahead of those pursuing him.

Jason still struggles with headaches and his amnesia, while staying in shape and being aware of his surroundings. He is plagued by flashbacks of things that have happened in his past, dark secrets he almost doesn’t want to uncover. Is he really this cold blooded killer inside, coexisting with the man who loves Marie so completely, the man who can fight with trained assassins and win, the man who won’t pull the trigger, who has a conscience?

Jason is anything but simple. He is a complicated man trying to find his way, protecting himself and Marie as best he can, trying to find the way out from under government surveillance.

Pamela is a sharp woman, stopping at nothing to solve this mystery. She seems to respect Jason ultimately, just as Nicky does. What Jason does at the end of the film is touching and shows the true nature of the man inside, the part of him that couldn’t be shaped and molded by the military.

This is another good Bourne episode, one with the requisite action packed fighting sequences and high speed chases that one has come to expect from films with espionage and intrigue. They are just over the top crazy sequences; almost makes Jason seem superhuman at times. But that’s entertainment for you.

Why I keep watching this is because Jason is a complicated character, human, someone who has been used by the military with no regard for his own life or for human life. It’s a theme that is relevant today when soldiers are used and then sent home damaged, unable to function in society, depressed, suicidal, with PTSD and a lot to deal with. The average soldier though is not the almost superhuman Jason Bourne and has no resources to deal with the damage that’s been inflicted on him.

So there’s my plea for funding of programs for returning veterans. If they’re going to be used that way for the purposes of empire and the selfish wants of global corporations, the least we can do as fellow citizens is help them return and heal.

Stay tuned for the next Bourne review.

The Bourne Identity

Many years ago, I read a couple of novels by Robert Ludlum, The Bourne Identity being one of them. I never forgot about this excellent story. It was a good read, so when the film came out in 2002, I was excited to be seeing it. Especially as it starred Matt Damon, one of my favorite actors.

The Bourne Identity does not disappoint. I decided to watch it again on DVD, as I heard a new Bourne movie would be coming out July 29^th. So as a treat to myself and to you my reader, I am going to be reviewing all four Bourne movies prior to the new release.

I enjoyed this first film as much as I did when it first came out. Technology no doubt has advanced a bit since then, but any outdated parts to the script don’t at all detract from the story.

Jason Bourne (Matt Damon) finds himself wounded aboard a fishing vessel off the coast of France. He has no memory of who he is. So begins his quest. As he finds the clues to what he’s been doing, he discovers hidden instinctual skills and talents. Jason is intelligent, rational, and physically skilled, with his body a trained weapon.

He encounters Marie (Franka Potente) in Switzerland and pays her to give him a ride to Paris. This is another thing that I liked about this film. The travel through Europe is shown to us as it is to Jason. Once in Paris, Jason finds not just himself, but Marie, has been placed in danger. After her initial shell shock, she becomes a willing accomplice in Jason’s quest to find himself and to end the hunt for him that unknown attackers seem bent on.

I won’t say anything more, as you should see this film or watch it again. It sets the stage for all the subsequent films. The Bourne films never skimp on action sequences, whether it’s hand-to-hand combat, car chases or simply drawing out the suspense.

There is one particularly quiet moment between Jason and Marie when they are at the Hotel de la Paix in Paris. Watch for it. Beautifully filmed, it is their own place of peace for a brief time in the frantic running from their pursuers.

The other thing that is not to be underrated is the deception of the government in how Bourne is set up. This is not a film that champions the CIA, quite the contrary. Government clandestine affairs are the bad guy. You figure this out very early on. Operatives include Conklin (Chris Cooper), Nicolette “Nicky” (Julia Stiles), with Clive Owen as an assassin.

The film is rated PG-13 for violence and some language. Matt Damon didn’t have long after his early Academy Award win for Good Will Hunting before he hit pay dirt in this franchise. Extremely capable and believable as Jason Bourne, he wins us over with his earnestness, and especially for the sensitivity he shows Marie.

Living is Easy with Eyes Closed

Any fan of John Lennon will embrace this unassuming little film from 2013, Living is Easy with Eyes Closed. I happened upon it by chance, looking for some light entertainment one evening. It turned out to be a Spanish film, taking place in southern Spain in 1966, when John Lennon was there filming How I Won the War. The film is said to be inspired by a true story. David Trueba wrote the screenplay and directed this engaging movie. It is not rated, although I’d place it at about PG-13 content.

The story involves three people: A school teacher obsessed with the Beatles and John Lennon in particular; a young lady fleeing her residence at a girls’ home; and a boy escaping his family, hitchhiking to nowhere in particular it seems.

Antonio (Javier Camara) teaches English to schoolboys by way of Beatles' poetry, and borrows a car to make the trip to Almeria on his quest to actually meet John Lennon while he is there filming.

He picks up first Belen (Natalia de Molina) at a gas station, and then Juanjo (Francesc Colomer) joins the two, thus beginning this road trip. It was fascinating to see Spain depicted during the 60’s, the barren hills leading down to the sea, the landscape of the coastal town, the simple life of the townspeople. The story pulled me along, just as enchanting to me as the poetry of John Lennon still is.

Belen is mature for her age, and yet so vulnerable. Juanjo is just learning to assert himself and has challenges to overcome, as the world then was as full of bullies as it is today. He wants to copy the Beatles’ hairstyles just like the boys in America did. Music was everything in the 60’s, and the musicians our role models for peace and love.

Antonio wants the lyrics printed on the Beatles' albums so he can better teach English to his students, and wishes to speak to John about this. He basically stalks him on the movie set. Meanwhile, the two young people must make decisions about their life direction, something that Antonio ostensibly helps them do.

There have been other films inspired by alleged encounters with famous people, and this one fascinates just as much. Pat Metheny composed the pleasing acoustic score and Charlie Haden is another featured composer.

This Spanish movie has the feel of an independent film, something I discussed in my last post on Frances Ha. You might classify it as an art house film, something I will blog about in a future post. You get both a foreign, and an independent film if you watch this one (unless of course you live in Spain).

Please feel free to comment on any of my blog posts. I know I have readers, the stats show it, and so I encourage some dialogue. If you have any films or genres you’d like to suggest, do that too. Until next time, here is the trailer for the enchanting film Living is Easy with Eyes Closed.

Frances Ha

Frances Ha is a black and white indie film from 2012. I had heard about it when Greta Gerwig, who plays the main character of Frances, was nominated for Best Actress at the Golden Globes. Although she lost to Amy Adams for American Hustle that year, I remembered how intrigued I was by the trailer about a young woman looking to make it as a dancer in New York City. I enjoy all things dance, so when it came to streaming Netflix, I decided that now was the time to watch.

Frances (Greta Gerwig) lives with her BFF Sophie (Mickey Sumner) in New York City. Frances is struggling. With finances, relationships, with her dance career. Not quite as talented as, for example, Rachel (Grace Gummer), another dancer in her company, Frances is passed over and not given the roles in significant productions that she used to dance. She is, however, a great teacher to little kids learning how to plie and pirouette in ballet class. She seems to have a knack for choreography as well.

Impulsive to a fault, she charges a very short trip to Paris, and finds herself without many resources available to her when she returns. She spends time with her family in Sacramento, a brief interlude I enjoyed. The scenes of her family celebrating at a Unitarian Universalist (UU) church were especially fun to watch as they are my chosen spiritual community, and I have never seen a UU church depicted on screen. I found it refreshing and a good fit with the character and her passions. (Greta was raised Unitarian Universalist, so that explains the inclusion of the affirming and uplifting scenes in church with her spiritual community.)

Adam Driver appears as Lev, one of Frances’ roommates, but other than Adam, I didn’t recognize anyone else in the ensemble cast. The story is all about Frances coming to terms with her strengths and weaknesses, making some choices, and ultimately coming through to a better place than she was when we met her at her first address.

The screenplay was written by director Noah Baumbach and Greta Gerwig, whom I read are a couple. Noah and Greta developed a really engaging film in Frances Ha.

The film has a Woody Allen-ish feel to it due to the black and white cinematography, and the quickly fired dialogue, reminding me of Woody’s Manhattan. The dialogue was great, very witty, and natural at the same time. The story feels real, almost like it could be a documentary following the moves and travels of Frances as she attempts to navigate her life. 

I like indie films; they don’t subscribe to the Hollywood formulas as much, have more of a real feel to them, and often use up and coming talent. An indie film is simply original and creative story-telling by independent filmmakers. For a closer look at indie films, read this article: What exactly is an independent film? And then go spend 90 minutes or so with Frances Ha.

The Nanny Diaries

In search of some light entertainment, I hit upon The Nanny Diaries from back in 2007. The film stars Scarlett Johansson as a smart young woman taking some time off from her life post college to work as a nanny for a family in Manhattan.

I was intrigued by the opening, which featured scenes ostensibly taken from the American Museum of Natural History. Various life size dioramas show families throughout history. This sets the scene for a comedy right off the bat. Annie Braddock (Scarlett Johansson) majored in anthropology, and sees this stint as a nanny as research, or at least that is how the movie progresses, her reflections as an anthropologist peppering the story line.

Mrs. X (Laura Linney) and Mr. X (Paul Giamatti) are a couple clearly not suited to each other. They have one son, Grayer (Nicholas Art), whom Annie quickly becomes attached to as she works day in and day out as his nanny. There is a little romance for Annie in the person of a young man referred to as Harvard Hottie (Chris Evans), who is a tenant in the building where Annie works.

Emma McLaughlin and Nicola Kraus, both former nannies, wrote the novel The Nanny Diaries that I have not read. It must be a scathing tale on the escapades of the very rich who farm out their kids to other people to raise.

I never could understand why a woman would choose to have a baby and then just turn it over to someone else to raise. Lots of cultures apparently do this, some out of necessity, as the mother needs to work outside the home for income, but others because they apparently have “better” things to do with their time than mind their own children.

Mrs. X is the latter, and it is not flattering. Paul Giamatti as her husband has nothing redeeming about him physically, or as husband material. The only one who seems to have it together is Annie. A caring, smart woman, who becomes so attached to Grayer that she cannot quit even when she finds that her life is no longer her own.

The Nanny Diaries reminded me of The Help in some ways. They are both peeks into two different cultures that give their children to others to be cared for. The Help was excellent in portraying the culture of African-American nannies caring for white children in the Deep South, who were probably even more taken for granted and underpaid than Annie appears to be.

I wonder about the book the screenplay was based on, and may look it up. I hope it is in the same format, kind of like a thesis on the phenomenon of child rearing among the upper class.

The film is rated PG-13 for language. And goes along with lots of comedy in between some really touching moments between Annie and Grayer. It’s a good film for some evening when you just want to relax, laugh, and not think about anything too serious.

Yes Man

Recently I watched Yes Man, a 2008 comedy starring Jim Carrey. I am a fan of Jim’s; I love the way he can screw up his face in so many truly bizarre ways. His antics always make me laugh. This film was no exception. Yes Man is rated PG-13 for crude sexual humor, language and brief nudity. Sometimes I don’t agree with the ratings, but I do for this one. It has adult content in it, but not enough to warrant an R rating.

Carl Allen (Jim Carrey) is a depressed divorced guy who works as a loan officer in a bank. His friends, including Peter (Bradley Cooper), try to get him out of being in a funk, to no avail. Carl turns himself around though when he goes with a friend to a motivational lecture by a guru like teacher, Terrence (Terrence Stamp). Terrence publicly confronts Carl during his talk, and challenges him to say yes to everything presented to him. Carl begins to follow this directive. It got me thinking about another film of Jim’s, Liar Liar, where the main character cannot tell a lie. Both involve rigid ways of relating in the world, seemingly impossible to carry out.

But Carl keeps saying yes, and the results are surprising, kind of crazy (watch out for his neighbor lady), and ultimately results in his meeting the breath of springtime air he longs for in the free spirit of Allison (Zooey Deschanel). Their age difference is a bit much, 18 years to be exact (they share the same birthday), but somehow the love interest between them works. Allison is a singer in a funky band and has her own quirky way of approaching the world that Carl finds attractive.

Eventually, as might be expected, saying yes to everything without weighing the consequences can bring trouble, and it does. I really applaud the creativity of the screenwriters for their inventiveness in the situations that Carl finds himself in. I recommend this film. It kept me laughing all the way through.

I enjoyed seeing Zooey Deschanel in Yes Man, having seen her previously in Elf and in (500) Days of Summer. She is lovely, good at playing offbeat characters, and has a very nice singing voice.

Jim won two Best Actor Golden Globes for his performances in The Truman Show and Man on the Moon. I recall his acceptance speech for the second one where he commented that now he’s the Tom Hanks of the Golden Globes (Tom won two Oscars for best actor for Philadelphia and Forrest Gump).

My favorite Jim Carrey film, however, is The Majestic. If you haven’t seen it, you may be amazed at how good he is at playing it straight. His career is known for his physical comedy and outrageous faces, but in The Majestic, he shines as a fictional screenwriter in Hollywood during the McCarthy era. An inspiring, and touching film, I highly recommend it, along with the other films I mentioned in this review.

Room

Brie Larson was the best actress winner in the 2016 Academy Award race for her performance in Room.  She also won a Golden Globe, among other awards, for her greatly nuanced performance. Room was based on the best selling novel by Emma Donoghue. She also penned the screenplay.

I was a bit worried about what I’d have to endure in watching this film. It was rated R (turns out just for language), and I knew it was about a teen that was abducted, raped and gave birth to a son while in captivity. I also knew they had escaped. Other than that, I didn’t know much.

Thankfully, the gruesome details of what Joy (Brie Larson) endured when first kidnapped were not in the film. The perpetrator, referred to as Old Nick (Sean Bridgers), shows up briefly to give us hints about what Joy’s life was like during the seven or so years she was locked up in his shed, but the film focuses much more on Joy and her son Jack (Jacob Tremblay). Jack, now five years old, is old enough now that Joy believes they can successfully execute an escape. She sets into motion occurrences that ultimately lead to their release from captivity.

Once back in her childhood home, it’s not just mother and child that must adjust to the world, it’s also Joy’s parents (Joan Allen and William H. Macy) who have to come to terms with what happened to their little girl stolen from them at the age of 17. Joy and Jack get the therapy they need to recover, and her parents do better, and worse, with the sudden return of not just their daughter, but a grandson too. Not just any grandson, but one conceived by rape.

The chemistry between Brie and Jacob is great. I can’t imagine anyone else playing the inquisitive and brave Jack. The nuances of their relationship were believable, as was Joy’s meltdown after her escape. The strangeness of the world for Jack is artfully filmed, and their existence in a tin shed, how they interact and what they do daily, just serves to lay the groundwork for their eventual escape.

The media descended upon the two like the vultures they are, and I was reminded of the notorious instance of abduction and captivity of three young girls in Cleveland not that long ago. I wondered if the author got the idea for her fictional book from that incident. If so, she did a good job keeping the story focused on just enough details to let us see snippets of their life together in room, and then with Joy’s mother. Not too much detail, just enough to show us how they healed.

I recommend this film to anyone interested in the resiliency of the human spirit. Don’t worry about having to watch horrible scenes of abuse. This film instead focuses on the relationship between mother and child, the love that sustained them, and that sees them through to the other side of Room.

My Big Fat Greek Wedding 2

It’s been a long time coming. Finally, a sequel to the ever-popular breakout film My Big Fat Greek Wedding written by Nia Vardalos. This film that came out in 2002 was a little sleeper that was not really expected to be a big money maker. Much to the delight I’m sure of the famous couple of Tom Hanks and Rita Wilson, who were two of the producers of the film, it did very well, grossing over $222,000,000 by the end of the year it was released! Proving that a quality story and good actors can make a classic film for all time, and that word of mouth really works to draw people into the theater.

Nia Vardalos is a comedienne who wrote a great screenplay about her Greek family. Also starring in the film with Nia is easy on the eyes John Corbett (Northern Exposure, Sex and the City), and these two ended the first film in wedded bliss.

I like that Nia did not immediately do a sequel. She let time pass and developed a really great screenplay in My Big Fat Greek Wedding 2. Toula (Nia Vardalos) and Ian (John Corbett) have a 17-year old daughter, Paris (Elena Kampouris), and she hates all things Greek, which is primarily her embarrassing extended family. She’s on the verge of leaving the nest empty for her parents when she goes away to college.

Meanwhile, Toula’s parents, played by Michael Constantine and Lainie Kazan, discover they were never officially married, and this causes much distress for them, leading to another wedding to be planned and executed. Lainie Kazan is perfect as Toula’s vibrant mother Maria, and her Aunt Voula (Andrea Martin) is back, never mincing words whether she’s advising Toula, Ian or Maria on the ways of love.

While the world may have changed in 17 years, some things about being Greek apparently never do. Is Gus really descended from Alexander the Great? Does everything in the modern world really stem from early beginnings in Greece?

We get to look in on Toula and Ian’s marriage as they navigate “middle-age” together. The sweet Ian remains tolerant of his Greek in-laws, as well as Toula’s over-protective focus on their daughter. There’s just enough memories and call backs to the first film to make it memorable all over again, although I think if you hadn’t seen the first, you’d still enjoy this film. It could stand very well on its own.

My Big Fat Greek Wedding II is rated PG-13 for some suggestive material. I thought it would be just another chick flick, but there was lots of laughter from the other people in the theater, and one man present was really guffawing. It is a feel good movie about the connections we make between family, spouses, and even friends. There should be more films made like this one.

I discovered that Nia Vardalos also co-wrote the screenplay for Larry Crowne with Tom Hanks, a cute little film you should check out if you haven’t already.

Purple Rain

Prince Rogers Nelson passed away on 4/21/16 at age 57, and I mourned along with the world. As therapy perhaps, I just had to watch Purple Rain again. Immediately after seeing it in the theater back in 1984, I bought the album, and later, after selling all my albums, I replaced it with a CD. Prince and the Revolution, Purple Rain, will always be in my collection of music.

The film is rated R for sexuality, some nudity, language, and some violent content. The film is said to be quasi-biographical about Prince, who plays a musician named simply “The Kid”.

I liked Purple Rain then and I liked watching it now. I enjoyed seeing Prince perform again. His raw energy astounds me; the passion with which he delivers his songs is just intense. The era that the film was made was one of changing identities for men and women in the music scene. It is visually stunning in terms of sets and makeup. The story moves along fairly well too. A nice mix of intense drama and sometimes ridiculous comedy, often supplied by Morris Day and the Time, a rival band to Prince’s crew.

One of the film’s subplots deals with domestic violence. The Kid’s parents have an abusive relationship, and his father is played by Clarence Williams III of Mod Squad fame, who’s had a long career in film. The Kid’s father has broken dreams, never got a break in life where his creativity would be recognized, and when The Kid realizes this, it changes him. He has an awakening and transforms. It’s a very satisfying story in that sense.

Some criticisms of the film from other reviewers included that Apollonia and the girl group Morris Day set her up in were horrible. I agree that the song they performed, Sex Shooter, was awful. In fact, that song was nominated for a Razzie award for worst original song that year. But I would argue that Prince wrote it to be awful. (You’ll notice Sex Shooter is not on the Purple Rain CD, for good reason.)

Apollonia was selling herself short joining that little trio, and that horrible song fit in perfectly with the plot. As did all of his other exceptional songs in the film. If you look at what a good musical should project in its musical numbers, every song should tell a story and move the action along.

Prince received an Academy Award for Best Original Song Score, the last award given out in this category (no films have met the qualifications to even be nominated in the category since then).

Here is a link to the announcement of Prince’s win at the Academy Awards, and his brief acceptance speech with Wendy and Lisa accompanying him:  Prince accepts Academy Award

Watch Purple Rain again if you haven’t seen it in years, and if you’ve never seen it, watch it for the classic film it now is, and to see Prince’s musical genius. You will always be missed, Prince.

The Out-of-Towners

The Out-of-Towners is a remake of the 1970 Neil Simon comedy that originally starred Jack Lemmon and Sandy Dennis. This remake from 1999 stars Steve Martin and Goldie Hawn as two empty nesters searching for a way to redefine their relationship. The film is rated PG-13 for some sex and drug-related humor.

Henry and Nancy Clark (Steve Martin and Goldie Hawn) live in relatively small town Ohio, and are definitely not big city types. Their home now bereft of children, when Henry gets a job interview in New York City, Nancy follows him. Her presence leads from one comical situation to another as their trip to the Big Apple unravels.

Steve and Goldie are such fine comedic actors that there are many, many laugh out loud moments in this film. Plus, you get to see New York through their eyes as they experience it for better or worse. Some scenes are pure slapstick, and the film is timeless in that any empty nester could relate to the thoughts and feelings they’re having as they redefine their lives without their children.

At one point they stumble in on a group therapy meeting by accident, and none other than Cynthia Nixon, of Sex and the City fame, plays one of the group members. In her short time on screen, she plays the sultry, sexual woman that she embodied so well as Miranda Hobbs in SATC. I could see exactly why she was selected for one of the best HBO series of all time.

One of the reasons for enjoying this film so much is Steve Martin. He is one of my favorite comedians. His facial expressions are so expressive, his smile spreading like the Cheshire cat. He is especially funny when he accidently gets high, much to his wife’s chagrin. Goldie is beautiful and plays off of Steve’s shenanigans in her unique style. Goldie justifiably won an Academy Award for Best Supporting Actress in 1969 for her role in Cactus Flower. And as for Steve Martin, his career achievements are just too many to list, but my personal favorite is All of Me with Lily Tomlin.

Goldie’s real life son, Oliver Hudson, has a small role playing the Clarks’ son Alan. John Cleese appears as Mr. Mersault, a pompous hotel manager I couldn’t see being played by anyone else.

Neil Simon has written an honest portrayal of a couple going through big changes and how overcoming adversity serves to bring them together again. The craziness that the couple encounters in their travels in NYC are nonstop, and I can only imagine what fun he had writing the screenplay. He is an accomplished and awarded writer, in television (The Odd Couple), on Broadway (Biloxi Blues) and in films (The Goodbye Girl), not to mention having won the Pulitzer Prize for Lost in Yonkers.  

I came across this film on streaming Netflix one night, and was glad we chose it. If you’re looking for a light, funny, classic comedy, this would be a good choice.

Where to Invade Next

I’ve been following Michael Moore’s career since 1989 when he released his breakout documentary, Roger & Me, which incidentally was one of film critic Roger Ebert’s favorites. Michael Moore won an Academy Award for Best Documentary Feature in 2002 for Bowling for Columbine. He’s an accomplished writer, director, and producer, and someone conservatives love to hate.

We’ve waited six years for this, his most recent film, Where to Invade Next. It is rated R for language, some violent images, drug use and brief graphic nudity.

Michael has created another strong documentary feature, this time “invading” other countries to see what Americans can learn from them. I found this concept refreshing, as it focused on what other individuals and governments on the planet are doing right. It’s ultimately a hopeful film.

He utilizes his trademark humor much of the time. He had to use humor to balance out certain segments that were downright heartbreaking.

He admits early on that he is looking to pick the flowers, not the weeds, the things that are working and which set an example for excellence. Some critics have skewered him for this, saying it’s complicated; he’s ignoring the things that aren’t working, blah, blah, blah. Again, he said very clearly that he’s picking the flowers! Save the criticism for some other time. A film is not going to work or be cohesive if it’s not focused. Michael is focused.

And the examples he shows are astounding! He visits Europe, Scandinavia, and Africa, interviewing businessmen and women, political leaders, government officials and regular people. Children too.

You will see how Italy treats its employees, what France serves schoolchildren for lunch, and how Finland has the best educational system in the world.

Portugal was noted for decriminalization of drugs, Norway for the unique way they treat their prisoners, and Germany for the way they heal from the sins of their fathers in the holocaust (truly tear jerking, that segment).

Slovenia provides free college education, not just to citizens, but to foreigners as well. Tunisia is a leader in women’s rights, as is Iceland, who actually prosecuted and sent to prison those responsible for the financial corruption of the banks.

This film is one of the best Michael Moore has done. I attended the movie with three others and afterwards over dinner we asked each other, “If there was one idea from another country that we would like to see initiated in America, what would it be?” We each selected a different country’s example, showing that we are individuals with unique concerns for the welfare of individuals in our country. That was encouraging.

Because if everyone who saw this film asked themselves, “What is the one thing that spoke to me?” and then told others, started a discussion of what could be, and what steps would need to be taken to create this change, our country would be going in a positive direction.

I especially ask WOMEN to see this film. You’ll see why. Be inspired.

Mamma Mia! The Movie

Mamma Mia! I haven’t had the pleasure of seeing this musical on stage yet and have always wanted to. I know it’s still playing around the country in live theaters. When my sister said let’s watch the movie, I said yes! The music is all ABBA, a great Swedish group from the 1970’s. It stars Meryl Streep as Donna, the woman who had trysts with three different men one summer resulting in daughter Sophie (Amanda Seyfried). In the film Pierce Brosnan, Colin Firth and Stellan Skarsgard play her past loves. The film is rated PG-13 for some sex-related comments.

Sophie wants to know who her father is and after finding an old diary of her mother’s, sends letters inviting each of the suspects to her wedding, signing the letters as from Donna.

This makes for good comedy. Also in attendance are Sophie’s two best friends, and Donna’s BFFs as well. This is a high-energy film, not in the way of car chases and crash scenes, but in dancing and lots of movement. I found myself thinking about how every movement is exaggerated on stage in a musical. In the theater, this is vital as the actors are projecting to a large audience, some of whom are not going to be able to see them that well. In the film, it’s just annoying. Subtlety plays well in a film, probably because facial expressions can be seen clearly and so exaggeration is not necessary.

On the one hand, I enjoyed the setting, it being Greece, the blue ocean, the sun, the sand, lots of opportunity for water sports, swimsuits and fun. But I found myself thinking I’d rather see this performed on stage. The most recent live performance I attended was Legally Blonde:  The Musical. The film Legally Blonde (2001) is one of my favorites, and so when I heard this was a production at the Albuquerque Little Theater, I jumped on it. Two of my friends accompanied me, and we had a fantastic time. The important thing I found through attending that show, and now reflecting on Mamma Mia! The Movie is that a musical is meant to be on stage, and not shown as a movie. Legally Blonde: The Musical was created in 2007, after the non-musical film had endeared Elle Woods to us all. Unlike Mamma Mia! which was I assume filmed directly as how it would progress on stage.

I recommend you see the musical Mamma Mia! as live theater. I don’t recommend this movie. Maybe I’d feel differently about it if I had already seen the live production, but I think it would have played better if the film had just dropped the music altogether and become a comedy.

I recommend another film featuring ABBA’s music, Muriel’s Wedding. It stars Toni Collette and Rachel Griffiths. And a more recent film I have reviewed on this blog is Love Is All You Need. Also starring Pierce Brosnan, it has a wedding theme, and takes place on the beautiful coast of Italy.

Frozen

Let It Go

It appears I am reviewing films having a theme of music lately. This is a bit of an accident, although a happy one.

This review is of Frozen, a Disney produced film from 2013 that won the Academy Award for Best Animated feature film. The screenplay is based on the Danish writer Hans Christian Andersen’s tale of The Snow Queen. I enjoy animation and the amazing fantasy and images it can create. I heard that the fjords of Scandinavia served as inspiration for the setting of Frozen, and intrigued, popped it in my DVD player.

Initially I thought the story would be about Queen Elsa (voice of Idina Menzel) who has a power that she has not yet learned to control; everything she touches turns to ice. But the story turned out to be more about her younger sister Anna (voice of Kristen Bell). It’s more a story about sisters than a romance, although there are a couple of love interests.

The visual imagery of the snow, ice and snowflakes is what really makes this film stunning. Frozen also won an Academy Award for Best Original Song, Let It Go. Queen Elsa sings this song after she flees the kingdom of Arendelle, unable to control her powers. She likes the cold and snow. I like snow. I miss it here in Albuquerque. We may live in the shadow of the Sandia Mountains, but this is also desert, and the desert climate often wins out over the mountain snow.

So I really enjoyed seeing the beautiful, wintry, snowy landscapes that Elsa creates. As she matured, she continued to hide her powers from the world until she could no longer do so. I noted that at a crucial turning point, her icy powers made the world winter, and this only occurred when acting out of fear.

Her sister Anna is a young, naïve girl. They have both lived locked up in a castle for most of their lives, and she does not remember that her older sister has powers. After Elsa runs off, Anna goes searching for her and encounters along the way a young man named Kristoff and his reindeer Sven. They team up on Anna’s mission to find Elsa, and meet a snowman, Olaf. Meanwhile, her suitor back at the castle waits for her return.

All is not what it seems, and by the end of the film, both women have had a transformation. I liked the message that is sent to young fans of the film that love is what is important, and that it is a power that cannot be stopped. Elsa overcomes her fear, finally bringing under control her special gift through the power of love.

The film is rated PG for some action and mild rude humor. It was a different sort of princess film than most. It was more about finding one’s own personal strength and gifts and less about finding the right man. This was refreshing and I recommend it for young and old alike.

Love & Mercy

Love & Mercy, a film from 2015, is the story of Brian Wilson, the gifted musician behind much of the Beach Boys best music. I was curious to know his story, having heard that a struggle with mental illness had impacted his life significantly. I had also heard that his father was severely abusive to his sons, and this fact was in the film as well, heart wrenching to watch. It is rated PG-13 for thematic elements, drug content, and language.

The story of Brian’s life is shown by transporting us back and forth between two significant periods in his life, during the 1980’s, and in the 1960’s. Two actors portray Brian in the film to show these time periods. John Cusack is Brian in the 80’s, and Paul Dano the younger Brian in the 60’s. Paul Dano has been featured in such films as Little Miss Sunshine, and There Will Be Blood, and he does a fantastic job; even his singing sounds like Brian’s and you forget it’s not really Brian. He was nominated for a Golden Globe for his performance in this film.

John Cusack (if you don’t know who he is, you must not watch many movies) is convincing as the older Brian who struggles with the voices in his head, the label of paranoid schizophrenic, and the loneliness that he lives with daily. Paul Giamatti (Sideways) plays the psychologist, Dr. Eugene Landy, who effectively isolated Brian from his family and any normalcy in his life, and he is one scary dude.

Brian meets Melinda Ledbetter (Elizabeth Banks) in a car dealership, and begins to have a relationship with her. This must have been destiny as Dr. Landy controls every aspect of his life, and interferes with their developing relationship. I felt that Melinda must have been one strong woman to see beneath the struggles of Brian to connect with the sensitive soul within, while enduring the constant intrusions of Dr. Landy.

I also really enjoyed the lengthy scenes of Brian with his studio musicians creating such innovative songs as Good Vibrations, probably their most well known hit. I was intrigued by the perseverance it took to record, the musicians never depicted as losing their cool with an eccentric and perfectionist Brian.

The features on the DVD offered behind the scenes looks into making the film and were quite fascinating. I enjoy seeing how a movie is made, and it shed even more light onto Brian and Melinda as they appeared in the interviews in the features section also.

I was reminded hearing these Beach Boys songs of how romantic many of them were. The way we get to see the songs take form serves to emphasize the lyrics. Brian is a very sensitive soul, and it really made me appreciate even more the magic of connection between lovers that he sung about.

I highly recommend this film. It’s a compassionate look at a genius with a touch of madness that gave us some deeply beautiful music.

Sing Street

Sing Street trailer

I’m a member of the Regal Crown Club, one of those many rewards programs where you get free movie tickets or popcorn after so many points accrued. Recently, they have been inviting me to attend special screenings of films a few days prior to their official release. So it was I went to see Sing Street last week, an Irish film by John Carney, the force behind the well loved movie Once.

The story takes place in the 1980’s, when the music was all about such innovators as Duran Duran, Ah-Ha and The Cure, along with the advent of the music video. I liked the music of the 80’s, when MTV was getting a foothold and video paired with music first caught on.

Prior to attending the movie, I played the trailer and was leery of the plot. A 15-year-old teen decides to form a band in order to impress a 16-year-old girl. This plot device is one I’ve seen in other films, most notably in Love Actually, and in a similar vein in About a Boy. So I was skeptical that this would be an old worn out plot.

But to my delight, this film rocked! It worked right from the beginning. The characters were well developed, the story engaging, and the music was fabulous. I especially liked the song Drive It Like You Stole It. The movie is often funny, a bit heart wrenching in places, and their tribute to prom night ala Back to the Future, that classic 80’s film, was great.

Synge Street is the name of a school in Dublin, thus the film’s name Sing Street. Cosmo (Ferdia Walsh-Peelo) is enamored with Raphina (Lucy Boynton), and when he asks her to be in a video, hastily goes about finding other boys to form a band. Cosmo’s older brother Brendan (Jack Reynor) schools him in contemporary music. Cosmo takes it all to heart, and they come up with a unique sound. The band members each add individual flavor to the film, and work well together. How Cosmo eventually deals with the school bully is ingenious, and shows just how much he’s grown.

Jack Reynor commands the screen every time he appears in a scene, and in some ways, even carries the movie, his character is so strongly and authentically portrayed. Ferdia Walsh-Peelo has a great voice and is believable as the love-struck teen who will stop at nothing to achieve his goals.

The film is rated PG-13 for thematic elements, including strong language and some bullying behavior, a suggestive image, drug material and teen smoking. Sing Street is a movie for all ages, primarily because it is more than just a “boy meets girl, gets girl” type of plot. It’s about going after your dreams, living up to your potential, taking risks, and all to a really great soundtrack.

I highly recommend Sing Street. The audience I viewed it with did too, given their laughter and comments about the film as we were filing out of the theater. Enjoy.