The Curious Case of Benjamin Button

Posted on May 12, 2009 at 8:00 am

Brad Pitt is a very fine actor (see “Twelve Monkeys” and “True Romance”) but in this epic fantasy his diligent and thoughtful performance contributes less to the film than his appearance, about two-thirds of the way through. I mean appearance in the broadest sense. It is not until that point that we feel that the Pitt we have been waiting for shows up on screen. And it is at that moment that Pitt’s appearance, meaning his golden movie star beauty, provides the essential jolt that propels the story forward into its final, heart-wrenching conclusion.

It takes its title from a story by F. Scott Fitzgerald about a man who lives his life backwards, born as an old man and getting younger every day. The movie begins with both of its main characters very, very old. One is Daisy (Cate Blanchett), dying in a hospital, with her daughter standing vigil. Daisy asks her daughter to read aloud from an old diary and we go back to the Armistice, the end of World War I. A baby is born and his mother dies in childbirth. The father is horrified by the child and leaves him on the doorstep of a home for the elderly where he is adopted by Queenie (the marvelous Taraji P. Henson), who works at the home. At first he seems like an exceptionally ugly baby. And then as he gets older he seems to be disabled. A nursing home is a perfect environment for young Benjamin Button. He’s just another person who needs help. He is raised in an atmosphere of unconditional love and acceptance and grows up to have a gentle and observant nature.

One day a little girl comes to visit her grandmother. It is Daisy. Benjamin looks like a very old man but he is really a little boy and he wants to play with her. As she grows up, he gets younger, but there are still decades between them. Benjamin leaves the nursing home to work on a ship and writes to Daisy from around the world.

The digital effects are very well done and by this time Pitt starts to become more recognizable, so almost-familiar that we almost believe that this is the way he looks now, that he’s getting a little older like the rest of us. And then, all of a sudden, there he is, the wind brushing his hair, a burnished glow on, around, and coming from him, the very personification of youth and promise and every possible kind of yes. Our hearts ache with the bittersweet longing for what he has that no one ever will, the look and energy of youth with the wisdom and experience of age. And then they ache again with what he shares with us and every human, the awareness of how brief it all really is and the need for connection to transcend life’s limits.

This is a film with the scope and reach of almost a century but its power comes from the smallest gestures and the simplest moments. And its ultimate conclusion is one of the most powerful and moving of the year.

Last Chance Harvey

Posted on May 5, 2009 at 8:00 am

It’s wonderful to watch young people falling in love for the first time. That’s why we get to see it so often in the movies. But it is even more wonderful to see people falling in love for the last time, and that is one of the three great pleasures of this touching grown-up love story.

It’s always romantic to see first love because we can share with them — just for a moment — the belief that happily ever after means that there will never be an argument or disappointment or loss. But it is even more romantic to see older people fall in love because they know there will be all of that and they go ahead anyway. That is the story of “Last Chance Harvey,” a man who has lost his job and whose daughter asks her step-father to give her away at her wedding because she feels closer to him. Which is what gives him a chance to think about what he really wants for the rest of his life — and then he sees Kate.

Not much more happens. They walk around. They dance at the daughter’s wedding reception. They think about whether they really want to take the risk of sharing themselves knowing in a way that young people cannot what it really means. And yet in those moments, everything happens, and we know it and they know it.

The other two pleasures of the film are Dustin Hoffman as Harvey and Emma Thompson as Kate. These two actors, so perfectly at home with themselves, fearlessly give us two people who are complicated, difficult, and very, very protective of their bruised hearts. And then they let us see them bloom, not all at once, more of a two steps forward, one step back opening up of their hearts to each other. And that leaves our hearts just a little more open, too.

Is Anybody There?

Posted on April 30, 2009 at 6:00 pm

Lowest Recommended Age:	High School
Profanity:	Some crude language
Alcohol/ Drugs:	Drinking, smoking
Violence/ Scariness:	Elderly characters are disabled, characters die, accidents with some graphic wounds, some macabre images
Diversity Issues:	A theme of the movie
Date Released to Theaters:	May 1, 2009

A boy whose parents turn their house into a nursing home can be expected to develop an interest in death. Ten year old Edward (“Son of Rambow’s” Bill Milner) is more than interested. He is fascinated. And that is in part because he is terrified. He hides his tape recorder under the bed of a dying resident to see if he can actually hear the sound of the spirit escaping the body and he avidly watches a television show about ghosts to see how he can communicate with the souls of the departed. He is more interested in the dead than he is in the living.

The same can be said for the home’s newest resident, Clarence (Michael Caine), a former magician, who moves into the room previously occupied by the most recent departed, and previously before that by Edward himself. Clarence is reluctant to stay but Edward’s mother (Anne-Marie Duff), out of her kind nature and her desperation to get the 50 quid a week, persuades him to give them a try. Clarence is bitter and bereft and has no interest in making new friends.

These two lonely guys are clearly move-made for each other, but to its credit, this film allows them to be more complicated and less cuddly than the usual feel-good comfort movie. Milner continues to be one of the movie’s most appealing young actors and Caine delivers capably. Their scenes together are nicely acerbic. Director John Crowley allows the story to take its time for most of the film and then seems to speed everything up for the last few scenes, which seem hurried and cluttered and for the first time falls into formulaic patterns. But like Clarence, the movie still has a few tricks up its sleeve.

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Hotel for Dogs

Posted on April 28, 2009 at 8:00 am

Cute kids + cuter dogs = one doggone cute movie.

Emma Roberts (niece of Julia) stars in the movie based on the popular book by Lois Duncan about an orphaned brother and sister who rescue stray dogs.

Andi (Roberts) and Bruce (Jake T. Austin) have bounced around from foster home to foster home since their parents died. No one wants them because they insist on staying together. They are currently living with nasty would-be rock stars (Lisa Kudrow and Kevin Dillon), who padlock the kitchen cupboards, as their sympathetic social worker Bernie (a terrific Don Cheadle) tries to find them a better situation. They do their best to take care of their beloved dog Friday, even if it means lying, cheating, and stealing.

When Friday runs into an abandoned hotel and meets up with some stray dogs, the kids decide to turn it into doggie heaven. Bruce, a mechanical whiz, rigs up machines to handle the dogs’ needs (eating, exercise, and going to the bathroom) and their fondest desires (racing to see who’s at the door, riding in cars, howling at the moon). With the help of some new friends from the pet store and the neighborhood, they round up all of the local strays, creating their own family of humans and canines. And that is when things start to get out of hand.

It goes on a little too long, but the kids are appealing, the contraptions are very funny, the dogs are adorable, and the affection, loyalty, and resilience of the characters is touching and inspiring. It’s a family treat.

Bride Wars

Posted on April 28, 2009 at 8:00 am

Movies thrive on smackdowns. “Clash of the Titans.” “Alien vs. Predator.” “Freddy vs. Jason.” “Kramer vs. Kramer.” Rocky vs. Apollo Creed. And now, Bridezilla vs. Bridezilla. Kate Hudson (who co-produced) and Anne Hathaway play BFFs who are sweetly supportive of each other for two decades, linked in part by their shared obsession with the perfect wedding, until they both get engaged. At first, they are delighted and agree to be each other’s maids of honor. But when the only available spots at their dream location of The Plaza are at the same time, their brief attempt to resolve the conflict quickly escalates to armed combat.

Hudson plays a lawyer named Liv, a hard-charging, keep-it-all-together type with severe bangs and black-rimmed eyes that are supposed to make her look severe but just look raccoon-ish. Hathaway is Emma, a sweet-natured teacher who gets pushed around by everyone. But when it comes to her wedding, she decides to push back.

The promising premise and surface gloss are entertaining and Hudson and Hathaway just about own the adorable category these days. But this story has a sour taste and a hollow heart. The men in the story are disposable accessories, never consulted or considered, barely remembered. Not only is there no suggestion that they or their families might have some role to play in planning the wedding, there is almost no suggestion that they might have some reason for being there after the honeymoon. Weddings are like some huge supermarket sweep of frantic me-me-me events. Both women have to shanghai substitute maids of honor. They engage in an embarrassing dance-off at the bachelorette party to see who is sexier. Co-screenwriter Casey Wilson (of “Saturday Night Live”) shows up as another bride and the regal Candace Bergen appears as the most sought-after wedding planner but here is not one woman in the story who shows any consideration or affection for a man. A friend of Kate’s and Liv’s who gets married at the beginning of the film is already planning her next wedding by the end. The only love story that matters here is the one between Kate and Liv. No one ever asks if any of this madness serves any purpose other than one-upmanship. This is not a story about people getting married — this is a movie version of playing with Barbies.

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