It’s Complicated

Posted on April 27, 2010 at 8:00 am

Forget the accents. Forget the anguish, the steely resolve, the iambic pentameter. All hail Meryl Streep for what she is best at — comedy. She spins screenplay straw into movie gold, turning yet another fungible Nancy Meyers saga about a beautiful and accomplished middle-aged woman triumphing over a womanizing man into a miracle of warmth, heart, and wisdom just from the power of sheer acting genius and being the truly and deeply glorious person that she is.

Meyers does have a talent for, in the words of one of her movie titles “What Women Want.” She knows that there is an eager audience for a story about a middle-aged woman who is so universally adored that even her ex-husband, the hound who left her for a gorgeous young woman (cue the slo-mo stroll in the midriff-revealing sarong) can’t get enough of her and admits that he was crazy to let her go. What could be more satisfying than that?

One of the wisest and most entertaining books ever written about movies is Stanley Cavell’s Pursuits of Happiness: The Hollywood Comedy of Remarriage, where he discusses the power of movie romances that bring estranged couples back together. As beguiling as it is to think of the freshness of first falling in love and the pleasures of learning everything about one another, there is something even more deeply satisfying about the idea of falling in love with someone with whom there are no illusions, and especially having that someone fall in love with you. Anyone can fall in love with what we think we know or with someone we’ve seen at his or her best. But when it’s someone we’ve seen at his or her worst; that’s got to be love for sure.

Or, it can be something satisfying in a different way — payback.

Streep plays Jane (as in plain?), divorced for ten years from Jake (Alec Baldwin, perfecting the art of the appealing but infuriating male) finds herself in bed with him following a tipsy dinner when they are in New York together for their son’s graduation. She can’t resist the chance to feel pursued, validated, desired. The spark they once had is still there. And she would be inhuman if she did not feel a little triumphant about his preferring her to his beautiful young wife.

But there are (grown-up) children to consider. Being back together frees Jane to admit that she was not blameless in their break-up. It allows her to allow Jake to see her (literally) as she is, not as he remembers. And it opens her heart to some other possibilities, including the shy architect working on the addition to her house — including the dream kitchen to replace a kitchen already pretty darn dreamy.

Meyers, astutely profiled by Daphne Merkin in the New York Times Magazine, seems to be the only person in Hollywood today interested in and capable of connecting deeply to an audience of women who want more from a movie than frothy rom-coms or sex and shopping. Rare in the world of chick flicks, there are no trying-on-clothes montages or makeovers. Her movies feature capable women with good friends and loving families. The most preposterous fantasy in her films may not be the gorgeously decorated settings or even the swains in pursuit but the unequivocally devoted friends and especially children and even the prospective son-in-law — take another look at the way Jude Law’s little girls fall into instant love with Cameron Diaz in “The Holiday.” Like Jane in this film, who considers and then rejects the idea of a little cosmetic surgery, Meyers’ women start out fine with who they are and then get even more so.

Streep is what Meyers’ women want to be — supremely warm and nurturing (watch the way she keeps feeding everyone exquisite but apparently completely non-fattening meals), self-aware, and able with a little adorable struggle, to impose some boundaries in a very familiar way. She fills in what Meyers’s slightly calculating formula leaves out and makes this movie as guilty a pleasure as those chocolate croissants she whips up that make her date fall for her as we already have.

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Crazy Heart

Posted on April 20, 2010 at 10:00 am

Jeff Bridges does not portray Bad Blake, a broken-down, once-successful country singer; he inhabits the role, showing us not just what is happening to the man on screen but everything, every success and every failure, every love and every loss that the man has had in his 57 years.

Blake once played arenas and was a mentor to Tommy Sweet (Colin Farrell), who is now a huge star. He once had money, and his own band. Now he is lucky to get a one-night gig at a bowling alley, with a pick-up band for back-up.

Bridges makes us feel that Blake is someone we have known and listened to all our lives, as though just last week, driving in the car, one of his old songs came on and we said, “You know, I really used to like that guy. Whatever happened to him?”

Like the songs Blake sings (from Stephen Bruton and T-Bone Burnett), the story feels completely authentic and fully lived. We know at the very beginning, as soon as Blake pulls up to the bowling alley parking lot that he is destined to disappoint everyone, and that he knows it, too. And yet, he still has the power to surprise us, to beguile us, to make us think, against our better judgment, that things might be different next time.

Did this happen because he drinks too much or does he drink too much because it happened? Probably both. Substance abusers, even those who have some self-awareness, maintain their denial by compartmentalizing so they can reassure themselves that there is some part of their life they are not messing up. We see what’s left of that with Blake when he is on stage. He may spend the rest of his life hiding from others and even himself how much of his energy goes into obtaining and drinking booze and recovering from drinking booze. But he holds onto what was precious to him. He may skip rehearsal and duck off stage to throw up in the middle of a big number, but he will do everything in his still-considerable power to deliver to the audience. He can still muster some grace on and off stage.

Jean (Maggie Gyllenhaal), a single mother and aspiring journalist, interviews Blake for an article. There is a strong attraction between them, her for what he has been and him for what he sees of himself in her eyes. An unexpected setback gives them a break to explore what they might be to each other, and Blake’s genuine connection to her son makes Jean even more vulnerable. But anyone who’s ever listened to a country song knows why Blake’s first name is Bad.

And anyone who sees this movie will know why Bridges’ first name should be Good. One of our finest actors has been given one of his finest roles, and that makes this a very good film to see.

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Drama Musical Romance

The Greatest

Posted on April 15, 2010 at 7:47 pm

B-

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for sexual content, some language, and drug use
Profanity:	Strong language
Alcohol/ Drugs:	Drinking, drug abuse by a teenager
Violence/ Scariness:	Shocking fatal car accident, sad death, themes of grief and loss, character in coma
Diversity Issues:	Diverse characters
Date Released to Theaters:	April 16, 2010

Two gifted young women whose best work will be in other films are the reason to see this one. Carey Mulligan, so enchanting in last year’s An Education, plays a pregnant teenager in “The Greatest,” written and directed by newcomer Shana Feste. Both show a great deal of promise in this sincere but uneven film.

Mulligan plays Rose, who has one perfect moment with Bennett (Aaron Johnson) before he is killed in a car accident. They were both seniors in high school who had watched each other and waited for glimpses of each other but hardly even spoken until the last day of school when finally they work up the nerve to speak to one another. And then, suddenly he is gone, and she is pregnant.

Bennett’s parents, already dealing with a lot of dysfunction, are devastated by the loss and driven apart by it, too. Allen (PIerce Brosnan), a professor of mathematics, is rational and keeps his feelings inside. Grace (Susan Sarandon), is emotional. In one shattering scene, she is in the bathtub and he hands her a bell to ring when she misses her son. She rings it immediately, insistently, harshly, making it clear that her pain is deep and permanent and cannot be confined. She is obsessed with the 17 minutes between the crash and his death. What was he thinking? What did he say? Did he suffer? But the only one who knows is the man from the other car, who is in a coma. Grace visits him, reading aloud, monitoring his care.

Rose, who has nowhere else to go, moves in with Bennett’s family. But it takes a while for each of them, grieving separately, to find a way to reconnect as a family.

Surprisingly, Feste is best with the older generation in the film. Brosnan and Sarandon are the real center of the story and their characters are the best defined and the most compelling. Johnny Simmons (“Jennifer’s Body”) and Mulligan do their best with roles that are both under- and over-written. Simmons is the younger brother, a recovering drug addict, whose primary job in the movie is to remind his parents every day that they are left with the troubled son instead of the one they were proud of. But he is stuck with a distracting sub-plot about a relationship with a girl (Zoe Kravitz) from his support group. The problem with Mulligan’s character is Feste’s view that in the midst of terrible grieving and dysfunction, the repository of all wisdom and imperishable goodness resides in a pregnant teenager with a disastrous home life but an adorable dimple. This leaves a blank space that unbalances an already-unwieldy story but leave us looking forward to seeing how Feste learns from this film do to better next time.

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Drama Family Issues Movies -- format

The Perfect Game

Posted on April 15, 2010 at 7:15 pm

B-

Lowest Recommended Age:	4th - 6th Grades
MPAA Rating:	Rated PG for some thematic elements
Profanity:	Some mild language
Alcohol/ Drugs:	Character gets drunk in response to stress
Violence/ Scariness:	Sad offscreen death of a child, themes of grief and loss
Diversity Issues:	A theme of the movie, some racist remarks and behavior
Date Released to Theaters:	April 16, 2010

Think of it as the “Good News Bears.” This sweet, sometimes sugary film is based on a real-life Little League team from Monterrey, Mexico who came to the United States to play in the Little League World Series of 1957 and not only won every match but, well, you saw the title.

Jake T. Austin of “Wizards of Waverly Place” plays the baseball-mad Angel, who lives with his parents in a desperately poor community. He and his friends love to hear about pro games and players in America. They want to learn how to play but they do not even have a baseball, much less a playing field or a coach.

Angel finds a ball and then he finds a coach in Cesar Faz (Clifton Collins, Jr.), a factory worker who once worked with the St. Louis Cardinals. The boys make their own field. With the help of Coach Faz and inspiration from Padre Estaban (Cheech Marin, adding another to his list of screen roles as a priest), the boys become a team. When they get a chance to play in the Little League World Series, they each take only one change of underwear, carried in a brown paper bag. First, it’s all they have. But second, it never occurs to them that they will win, so they assume they will be home after the first game.

But they win. And they win again. A woman reporter (Emilie de Ravin, channeling all the girl reporter actresses of the 1930’s newspaper movies) reluctantly accepts the assignment, then is captivated by the courage and dedication of the team. As they rise through the ranks, they encounter racism, xenophobia, and just plain old hostility. But they hold on to their ideals — including refusing to play unless they can be led in prayer first (we find out why they are so partial to Psalm 108. They get help from some unexpected sources: a sympathetic diner owner (Frances Farmer), the reporter and a groundskeeper who once played in the Negro Leagues (a fine Louis Gossett, Jr.). And they keep winning.

It has a retro feel that has nothing to do with its 1957 setting, but like its pint-sized team (inches smaller and pounds lighter than its opponents), the movie has so much heart that it is easy to root for. Collins and Marin are engaging enough to give the predictable and light-weight script a little extra heft. If “The Perfect Game” is not the perfect movie, it is an enjoyable little fable that will be fun for Little Leaguers and their families.

The Men Who Stare At Goats

Posted on March 23, 2010 at 8:00 am

“More of this is true than you would believe,” “The Men Who Stare at Goats” cheekily informs us as it opens. And while its tone is high satire, even farce, the story it tells is not hard to believe at all. Military officials are portrayed as credulous, ineffectual, and petty. But they are also portrayed as candid, open-minded, and forthright. Much of what goes on in the military’s 20-plus-year exploration of what we used to call the “human potential movement” seems outlandish, but those were outlandish times. And one aspect rings especially true. According to this film, based on the non-fiction book by debunking Welsh journalist Jon Ronson, the real reason the US and the USSR entered into these “new age” programs was that each was convinced the other was doing it. So much for the efficacy of “remote viewing.”

That would be the power to see something mentally that could not be seen visually, either because it was too far away or on the other side of a wall. This division, led by Bill Django (Jeff Bridges), whose long, gray braid hangs down over his fatigues, experiments with all categories of extra-sensory perception including telekinesis (the ability to affect objects without touching them), clairvoyance (the ability to read minds), and precognition (the ability to predict the future).

Jeff Bridges, as a Viet Nam vet who explores the new age fads of the 1970’s, one hot tub at a time, conveys slightly seedy optimism in the early days of the program and shows us the consequences of too much mind-bending at the end. Kevin Spacey is the ambitious psychiatrist who guides the program as it mutates from exploring what our troops can do to exploring how what we have learned can take away from the humanity of the enemy troops we capture. George Clooney centers the film as the most gifted of the program’s subjects, a man who seeks some way to integrate his abilities and experiences to find some meaning in the effort. But Ewan McGregor never convinces us that he is a dumped husband, a reporter, or an American. The reference to Jedi warriors just reminds us of his role as Obi-Wan Kenobi in the “Star Wars” movies and makes his appearance seem like an in-joke.

The light-heartedness of the movie’s tone goes from pratfall humor to a wrenching depiction of the consequences of foolishness. It is smart enough not to be entirely dismissive of the idea that some or all people may have some uncharted capabilities we should try to understand and focus. But it is clear that none of that will do much good against a gun and that the efforts to pursue it may lead to extensive personal and organizational trauma. The main character is unhappy that his scoop is almost entirely ignored when it is published. The media picks up only on the side detail that Barney music was used to break the spirits of prisoners. The pernicious influence of that song appears to have been the only usable information produced by the program; something that any parent of a toddler could have conveyed with great enthusiasm. If this movie directs more attention to Ronson’s findings, that will be gratifying to him, but to us it should also be an important lesson about how one factor in allowing large organizations get out of control is that no one is paying attention.