I haven't read Stieg Larsson's worldwide bestseller on which this film, and a 2009 Swedish version, were based. But I have seen the Swedish version, and given the mysterious nature of this film, already knowing the resolution (or at least part of it; I had forgotten one or two of the major reveals at the end) probably dampened my enjoyment of this film some. Also, I may have just set my expectations too high. But when David Fincher, director of "The Social Network"--a film I consider to be very close to a modern masterpiece--tackles a film of this nature, you can't help but have high expectations. The fact that Fincher has also done so well with similarly dark material in films like "Seven," "Fight Club," and "Zodiac" just raised my expectations more. But unfortunately, while this film is flawlessly executed from a technical standpoint, and contains a searingly brilliant lead performance from Rooney Mara, the story simply didn't grab me all that much.
For those unfamiliar with the source material, the film is a murder investigation set in Sweden. Journalist Mikael Blomkvist (Daniel Craig) has just been convicted of libel for trying to expose a crooked businessman and is out of a job and most of his life savings as a result. He agrees to journey to and island in northern Sweden, home of the wealthy and powerful Vanger family, at the bequest of patriarch Henrik Vanger (Christopher Plummer). Blomkvist's task is to investigate the disappearance of Henrik's niece Harriet, which occurred some forty years earlier. Intercut with the early stages of Blomkvist's investigation is the introduction of Lisbeth Salander (Rooney Mara), a 23-year-old antisocial computer hacker who has been investigating Blomkvist on behalf of the Vanger family. When Blomkvist decides that he needs a research assistant to help him in his investigation, Henrik's lawyer (Steven Berkoff) recommends Lisbeth.
As I said above, the story here didn't grab me all that much, probably because I already knew how it would play out. This is also a long film (for today's standards anyway) at nearly two hours and forty minutes, and while it never drags it never really flies by either; rather it simply moves along and by the time you reach the rather protracted ending, you definitely feel like you've watched a 158 minute film. I love long films when there's a lot of action or a great, compelling story (or both) to help move the plot along, and while those who don't know the resolution will likely be more taken in, it felt a tad long to me. That being said, I really don't know that there's much that could be cut; this is simply a long and complex story.
With those negatives out of the way, I do want to focus on the positives as the story of Lisbeth certainly is compelling and involving; it's just the mystery aspect that didn't grab me. But Lisbeth is a fascinating character, appearing as everything from a lost and lonely young woman to a veritable angel of death. Her backstory isn't fully revealed here (there are two more books in Larsson's Millenium Trilogy), but we do realize that she has has been treated horribly throughout her life, and has a deep-seeded distrust of absolutely everyone she meets, men in particular. But she's also clearly brilliantly intelligent and very confident in her abilities. She's really a fascinating character, and Rooney Mara transforms completely into her in an utterly captivating performance. Craig's Blomkvist is the calm and resolute center of the film, while Lisbeth is an absolute firecracker...or perhaps a bomb waiting to explode. You simply never take your eyes off of her when she's on screen; she's that compelling of a character and Mara is that good in the role. The film's best individual moments--and there are quite a few--all involve Lisbeth. For those who are familiar with the material, you know which moments those are, and rest assured, they are all here. All the acting is quite good actually, with Plummer, Stellan Skarsgard, and Yorick van Wageningen standing out in particular.
The film is brilliantly executed from a technical standpoint as well. Fincher's direction is excellent, the wintry cinematography from Jeff Cronenweth is beautuful, and the editing from Kirk Baxter and Angus Wall (Oscar winners for "The Social Network") is crisp, particularly during the frequently intercut first hour. There is also some excellent sound design that makes great use of the various environments in the film, whether the snowy woodlands on the island or a vibrant, pulsating club in Stockholm. In fact, the club scene here is probably as well-executed as the one in "The Social Network," though not nearly as long. Finally, Trent Reznor and Atticus Ross (also Oscar winners for "The Social Network") once again contribute an edgy, electronic-infused score, though it does lack the more memorable musical themes that score had.
Overall, "The Girl With the Dragon Tattoo" is a masterfully executed film with a rather pedestrian story. Lisbeth Salander is a fascinating character and Rooney Mara is utterly brilliant in the role, but the murder mystery simply wasn't all that compelling for me. It's definitely worth seeing, whether you know the story or not, but those who don't--and possibly those who are rabid fans--are the ones who will probably get the most out of this film.
"The Girl With the Dragon Tattoo" is rated R for brutal violent content including rape and torture, strong sexuality, graphic nudity, and language.
Running time: 158 minutes.
Released domestically on December 21, 2011, by Columbia Pictures.
3 stars out of 4.
Tuesday, December 20, 2011
Sunday, December 18, 2011
Film Review: "Young Adult"
"Young Adult" is the story of that girl we all knew in high school: the impossibly beautiful, utterly snobby, prom queen brat who thinks she is entitled to everything. At least that's how Mavis Gary (Charlize Theron) is presented in this film from director Jason Reitman ("Thank You For Smoking," "Juno," "Up in the Air"), and screenwriter Diablo Cody ("Juno"). But the film takes that character and fast forwards her life twenty years as Mavis is now in her mid-thirties and is a moderately successful ghost writer of a young adult book series. Unfortunately for her...and everyone around her...Mavis has never really grown up, and with that high school mentality still intact she heads back to her hometown of Mercury, Minnesota, to try and win back her high school boyfriend Buddy (Patrick Wilson). The fact that Buddy is married and has a newborn doesn't matter one bit to her.
"Young Adult" is an absolutely biting black comedy. There is plenty of laugh-out-loud humor, but there are also plenty of scenes that are almost painful to watch (in the comedic sense) as Mavis has absolutely no regard to social norms, at least with respect to her pursuit of a married man. This is probably one of the year's best screenplays, and as far as I'm concerned, this is the film that announces Diablo Cody as a serious screenwriting talent in Hollywood, not the horribly overrated "Juno." Yes, Cody won an Oscar for her script for that film, but it was so filled with cheesy one-liners and pop culture references that it became nauseating. This is a completely mature script that is far more funny because it isn't trying too hard with endless dialogue that says "Hey, look at me!" "Juno" became a film that was more about the dialogue than the characters, but this film is absolutely about the characters, which is great, because Mavis Gary is an instantly memorable character and Theron absolutely hurls herself into the role. She is literally in every scene in the film, and while her wild abandon in her interactions with other people is fun to watch, the scenes where Mavis is alone are almost more impressive as these are the instances where we as the audience get to see a side of her that the people in her life never do. Mavis is clearly insecure, she clearly has emotional problems, and she is likely an alcoholic as she wakes up hung over every morning. Theron is brilliant in these scenes because she can say more with a simple facial expression than many actors can with a whole script. The juxtaposition of these two sides of Mavis is fascinating to watch, and Theron captures her flawlessly.
I should also mention Patton Oswalt, who has received some Oscar buzz for his role Matt, a high school acquaintance of Mavis's who at first serves as a sounding board for her, but their relationship becomes a bit deeper as the film progresses. Oswalt is quite good in the role, especially for a guy who's probably best known for his supporting role in "The King of Queens."
"Young Adult" is an absolutely excellent black comedy with one of the year's best characters and one of its best performances. One thing that drags it down a hair for me is the ending, as I wasn't really sure how much, if at all, Mavis has changed or learned from her experiences. But overall this is simply a great film that's definitely worth a look.
"Young Adult" is rated R for language and some sexual content.
Running time: 94 minutes.
Released domestically on December 9, 2011, by Paramount Pictures.
3.5 stars out of 4.
"Young Adult" is an absolutely biting black comedy. There is plenty of laugh-out-loud humor, but there are also plenty of scenes that are almost painful to watch (in the comedic sense) as Mavis has absolutely no regard to social norms, at least with respect to her pursuit of a married man. This is probably one of the year's best screenplays, and as far as I'm concerned, this is the film that announces Diablo Cody as a serious screenwriting talent in Hollywood, not the horribly overrated "Juno." Yes, Cody won an Oscar for her script for that film, but it was so filled with cheesy one-liners and pop culture references that it became nauseating. This is a completely mature script that is far more funny because it isn't trying too hard with endless dialogue that says "Hey, look at me!" "Juno" became a film that was more about the dialogue than the characters, but this film is absolutely about the characters, which is great, because Mavis Gary is an instantly memorable character and Theron absolutely hurls herself into the role. She is literally in every scene in the film, and while her wild abandon in her interactions with other people is fun to watch, the scenes where Mavis is alone are almost more impressive as these are the instances where we as the audience get to see a side of her that the people in her life never do. Mavis is clearly insecure, she clearly has emotional problems, and she is likely an alcoholic as she wakes up hung over every morning. Theron is brilliant in these scenes because she can say more with a simple facial expression than many actors can with a whole script. The juxtaposition of these two sides of Mavis is fascinating to watch, and Theron captures her flawlessly.
I should also mention Patton Oswalt, who has received some Oscar buzz for his role Matt, a high school acquaintance of Mavis's who at first serves as a sounding board for her, but their relationship becomes a bit deeper as the film progresses. Oswalt is quite good in the role, especially for a guy who's probably best known for his supporting role in "The King of Queens."
"Young Adult" is an absolutely excellent black comedy with one of the year's best characters and one of its best performances. One thing that drags it down a hair for me is the ending, as I wasn't really sure how much, if at all, Mavis has changed or learned from her experiences. But overall this is simply a great film that's definitely worth a look.
"Young Adult" is rated R for language and some sexual content.
Running time: 94 minutes.
Released domestically on December 9, 2011, by Paramount Pictures.
3.5 stars out of 4.
Film Review: "My Week With Marilyn"
"My Week With Marilyn" is based on two books written by Colin Clark, a young man who was able to spend time with Marilyn Monroe during the filming of Laurence Olivier's "The Prince and the Showgirl." The film attempts to present a side of Marilyn Monroe that the world never knew, showing her as a very insecure and lost woman desperately trying to find her way in the world of Hollywood, despite being much less talented of an actress than those around her. The problem, though, is that once the film establishes Monroe in this way, there really isn't much more to the story. It essentially becomes a young love romance as Colin (Eddie Redmayne) falls in love with Marilyn (Michelle Williams) during their brief time together, despite warnings from everyone involved on the production of "The Prince and the Showgirl" to stay away from the starlet.
While I didn't find the story particularly compelling, this film does contain some fantastic performances. Williams is absolutely brilliant as Marilyn, though as I said she isn't presented as a very compelling character. But Williams does an absolutely wonderful job with what she's given and captures the essence of the character perfectly. Kenneth Branagh is a scene-stealer as Olivier, a married man who all but openly states his intentions of romancing Monroe...only to become hopelessly frustrated with her when she can't deliver a competent performance in front of the camera. As in all movies about Hollywood, several well-known movie stars appear as characters in the film, which for me is always fun to see. Olivier's wife Vivien Leigh (played by Julia Ormond) makes an appearance, as does Dame Sybil Thorndike (Judi Dence in another scene-stealing role). Monroe's husband-at-the-time Arthur Miller also shows up, though I absolutely did not recognize Dougray Scott in the role.
While it doesn't present a particularly compelling story, "My Week With Marilyn" does have some great performances, and it's a fun enough look back at old Hollywood. It's an entertaining enough diversion, but it's not a film that's going to make any great waves over time.
"My Week With Marilyn" is rated R for some language.
Running time: 99 minutes.
Released domestically on November 23, 2011, by The Weinstein Company.
2.5 stars out of 4.
While I didn't find the story particularly compelling, this film does contain some fantastic performances. Williams is absolutely brilliant as Marilyn, though as I said she isn't presented as a very compelling character. But Williams does an absolutely wonderful job with what she's given and captures the essence of the character perfectly. Kenneth Branagh is a scene-stealer as Olivier, a married man who all but openly states his intentions of romancing Monroe...only to become hopelessly frustrated with her when she can't deliver a competent performance in front of the camera. As in all movies about Hollywood, several well-known movie stars appear as characters in the film, which for me is always fun to see. Olivier's wife Vivien Leigh (played by Julia Ormond) makes an appearance, as does Dame Sybil Thorndike (Judi Dence in another scene-stealing role). Monroe's husband-at-the-time Arthur Miller also shows up, though I absolutely did not recognize Dougray Scott in the role.
While it doesn't present a particularly compelling story, "My Week With Marilyn" does have some great performances, and it's a fun enough look back at old Hollywood. It's an entertaining enough diversion, but it's not a film that's going to make any great waves over time.
"My Week With Marilyn" is rated R for some language.
Running time: 99 minutes.
Released domestically on November 23, 2011, by The Weinstein Company.
2.5 stars out of 4.
Film Review: "Martha Marcy May Marlene"
"Martha Marcy May Marlene" is an excellent art house psychological thriller. From first-time writer / director Sean Durkin, the film is the story of Martha (Elizabeth Olsen), a young woman who, as the film opens, has just escaped from a cult in upstate New York. Martha gets in touch with her sister Lucy (Sarah Paulson), who takes her in, but it quickly becomes apparent that Martha's mental state has been seriously damaged. The film alternates between Martha trying to adjust to life with Lucy and her husband Ted (Hugh Dancy) and flashbacks to Martha's time living with the cult led by the enigmatic but terrifying Patrick (John Hawkes). As the film progresses the line between what is real and what is imagined in Martha's mind is increasingly blurred.
"Martha Marcy May Marlene" is absolutely an actors' film. There is of course a message to be taken about the effects of brainwashing and what despicable people will do with power...in the case of Patrick, a power that he has given himself by starting this cult. Durkin paces the film well, which is essential in such a minimalist picture as this one...there is no action whatsoever, and there are plenty of moments of silence to go along with the dialogue. But the real showcase is the performances, lead by Elizabeth Olsen. This is Olsen's first major film role, and she is a revelation. Most of her scenes, whether spoken or silent, are quietly introspective as Martha is a woman who clearly has lost her way in life, and Olsen captures this essence of Martha's character perfectly. But Durkin's script also gives her a couple of showstoppingly dramatic scenes, and she never veers into overacting as much as these are just the times when Martha is completely broken down and can't handle her situation any longer. This is an absolute star-making performance, much like the one Jennifer Lawrence turned in in last year's similarly atmospheric art house drama "Winter's Bone." Hawkes is also utterly terrific as Patrick. Between this performance and his turn as the meth-addicted Teardrop in "Winter's Bone," Hawkes has brought to life two of the most terrifying screen characters of the last two years. What makes Patrick terrifying though isn't just the things that he does, which are horrible, but his demeanor throughout. Only once does he even raise his voice, but clearly this is an evil, despicable man who simply does what he wants because he enjoys it, and because he has all his young followers enslaved to his presence.
"Martha Marcy May Marlene" is a film that will almost assuredly benefit from repeat viewings, as the film takes a few twists and turns in what ultimately becomes an explosive third act. The lines between reality and fear-induced paranoia in Martha's mind are so blurred by the end that even I as an audience member wasn't entirely sure whether a few instances near the end were real or not. Perhaps there is no right answer and we're means to be as confused as Martha is. But I don't view this as a weakness as much as a thought-provoking climax to an excellent drama.
"Martha Marcy May Marlene" is rated R for disturbing violent and sexual content, nudity, and language.
Running time: 102 minutes.
Released domestically on October 21, 2011, by Fox Searchlight Pictures.
3 stars out of 4.
"Martha Marcy May Marlene" is absolutely an actors' film. There is of course a message to be taken about the effects of brainwashing and what despicable people will do with power...in the case of Patrick, a power that he has given himself by starting this cult. Durkin paces the film well, which is essential in such a minimalist picture as this one...there is no action whatsoever, and there are plenty of moments of silence to go along with the dialogue. But the real showcase is the performances, lead by Elizabeth Olsen. This is Olsen's first major film role, and she is a revelation. Most of her scenes, whether spoken or silent, are quietly introspective as Martha is a woman who clearly has lost her way in life, and Olsen captures this essence of Martha's character perfectly. But Durkin's script also gives her a couple of showstoppingly dramatic scenes, and she never veers into overacting as much as these are just the times when Martha is completely broken down and can't handle her situation any longer. This is an absolute star-making performance, much like the one Jennifer Lawrence turned in in last year's similarly atmospheric art house drama "Winter's Bone." Hawkes is also utterly terrific as Patrick. Between this performance and his turn as the meth-addicted Teardrop in "Winter's Bone," Hawkes has brought to life two of the most terrifying screen characters of the last two years. What makes Patrick terrifying though isn't just the things that he does, which are horrible, but his demeanor throughout. Only once does he even raise his voice, but clearly this is an evil, despicable man who simply does what he wants because he enjoys it, and because he has all his young followers enslaved to his presence.
"Martha Marcy May Marlene" is a film that will almost assuredly benefit from repeat viewings, as the film takes a few twists and turns in what ultimately becomes an explosive third act. The lines between reality and fear-induced paranoia in Martha's mind are so blurred by the end that even I as an audience member wasn't entirely sure whether a few instances near the end were real or not. Perhaps there is no right answer and we're means to be as confused as Martha is. But I don't view this as a weakness as much as a thought-provoking climax to an excellent drama.
"Martha Marcy May Marlene" is rated R for disturbing violent and sexual content, nudity, and language.
Running time: 102 minutes.
Released domestically on October 21, 2011, by Fox Searchlight Pictures.
3 stars out of 4.
Tuesday, December 6, 2011
Film Review: "Shame"
"Shame" is an absolutely devastating portrait of a man living with a sexual addiction. It's not a film for the faint of heart and it's not easy to stomach, but it's a very artistic piece of filmmaking that showcases a lead actor and director at their absolute best, and it's a film that has stuck with me more than most others released this year.
The film centers on Brandon (Michael Fassbender), a white-collar New Yorker with a very controlled outward lifestyle. However, as the opening moments of the film clearly reveal, Brandon uses this well-put-together facade to hide a massive addiction to sex in any form. When Brandon's younger sister Sissy (Carey Mulligan) shows up unannounced at his apartment with the intention of staying there indefinitely, he is forced to curtail his behavior, which leads to an increasing buildup of frustration that ultimately leads to the film's devastating climax.
A brief word of caution: "Shame" is a very artistic film; in fact it's one of the most purely artistic films I've seen all year. But it is a film about sex, specifically sexual addiction. It's not pornographic by any means, nor is the sex titillating--or meant to be so--in any way. But director Steve McQueen does not shy away from anything in terms of his display of Brandon's addiction, and the film is absolutely deserving of the NC-17 rating it has received.
That being said, the filmmaking execution on all levels is brilliant, though certainly not flawless. The film's opening moments introduce us to Brandon and his compulsion, but as the film moves along more and more layers of this character are revealed. There is a clear juxtaposition between Brandon and his boss David (James Badge Dale), a man who also seems outwardly sex-obsessed. While David is constantly flirting with women during business outings, Brandon is always calm, cool, and collected. But there's no evidence to suggest that David has any type of serious compulsion, while Brandon, once he gets one of David's would-be conquests alone, is clearly revealed to be the man with the more serious problem. He is also incapable of carrying on any kind of normal romantic relationship, as we see during an awkward dinner date scene and his even more awkward handling of the aftermath. And it's not just that Brandon would rather have sex with high-priced prostitutes than with a woman who clearly has feelings for him, it's that he literally can't bring himself to have any kind of intimate relationship with her. The film's most complex relationship, though, is the one between Brandon and Sissy. These are two siblings who clearly share a very painful past, one which is never fully revealed. There's one particular interpretation which is easy to arrive at, and while it's a simple explanation I almost think it should be discounted just because this is not at all a simple film. The point between these two is that they have both experienced something very painful, and they are both clearly longing for reconciliation. Unfortunately for Brandon, his sexual behavior has become so compulsive that he has become unable to maintain normal human contact, and this clearly pains him all the more as the film progresses.
Clearly Brandon is a complex character, and Fassbender absolutely nails him. His is probably the most fearless performance I've ever seen on film, but there is so much more depth to Brandon than the depth of his depravity. Fassbender captures every nuance perfectly, from the calm, confident man out at a club looking for women to complete and utter anguish and everything in between. It's an absolutely brilliant and compelling performance. Mulligan is also very, very good, though she doesn't have nearly as much to work with as Fassbender does. I've seen Mulligan in a few films now I've always been impressed with her, but this is the first time I've really seen her cut loose emotionally, and she continues to show how incredibly talented she is.
Finally, director and co-writer Steve McQueen must be commended for the sheer audacity it must have taken to pull a film like this off...and also for refusing to cut a single frame of the finished product to make it more palatable to audiences. The film is quite intense, though it does lull for a bit in the middle as Brandon tries to cultivate a more normal life. But the length and awkwardness of some parts of the second act are really appropriate as they mimic the situation the characters are in as Brandon clearly does not know how to have a normal romantic life. But the intensity builds once again towards the film's end, ultimately leading to one of the more devastating climaxes I've seen in recent years.
"Shame" isn't really a film I can recommend, given its very serious subject matter. Film buffs will certainly appreciate the artistry on screen, but no matter how you view it, this is a difficult film to watch. Psychologists may have a whole different view as far as how the film portrays sexual addiction. I can't speak to that end of things, but I can say that "Shame" is an artistically brilliant film that deals with a very difficult subject that is probably far more present in our culture that we might think.
"Shame" is rated NC-17 for some explicit sexual content.
Running time: 101 minutes.
Released domestically on December 2, 2011, by Fox Searchlight Pictures.
3 stars out of 4.
The film centers on Brandon (Michael Fassbender), a white-collar New Yorker with a very controlled outward lifestyle. However, as the opening moments of the film clearly reveal, Brandon uses this well-put-together facade to hide a massive addiction to sex in any form. When Brandon's younger sister Sissy (Carey Mulligan) shows up unannounced at his apartment with the intention of staying there indefinitely, he is forced to curtail his behavior, which leads to an increasing buildup of frustration that ultimately leads to the film's devastating climax.
A brief word of caution: "Shame" is a very artistic film; in fact it's one of the most purely artistic films I've seen all year. But it is a film about sex, specifically sexual addiction. It's not pornographic by any means, nor is the sex titillating--or meant to be so--in any way. But director Steve McQueen does not shy away from anything in terms of his display of Brandon's addiction, and the film is absolutely deserving of the NC-17 rating it has received.
That being said, the filmmaking execution on all levels is brilliant, though certainly not flawless. The film's opening moments introduce us to Brandon and his compulsion, but as the film moves along more and more layers of this character are revealed. There is a clear juxtaposition between Brandon and his boss David (James Badge Dale), a man who also seems outwardly sex-obsessed. While David is constantly flirting with women during business outings, Brandon is always calm, cool, and collected. But there's no evidence to suggest that David has any type of serious compulsion, while Brandon, once he gets one of David's would-be conquests alone, is clearly revealed to be the man with the more serious problem. He is also incapable of carrying on any kind of normal romantic relationship, as we see during an awkward dinner date scene and his even more awkward handling of the aftermath. And it's not just that Brandon would rather have sex with high-priced prostitutes than with a woman who clearly has feelings for him, it's that he literally can't bring himself to have any kind of intimate relationship with her. The film's most complex relationship, though, is the one between Brandon and Sissy. These are two siblings who clearly share a very painful past, one which is never fully revealed. There's one particular interpretation which is easy to arrive at, and while it's a simple explanation I almost think it should be discounted just because this is not at all a simple film. The point between these two is that they have both experienced something very painful, and they are both clearly longing for reconciliation. Unfortunately for Brandon, his sexual behavior has become so compulsive that he has become unable to maintain normal human contact, and this clearly pains him all the more as the film progresses.
Clearly Brandon is a complex character, and Fassbender absolutely nails him. His is probably the most fearless performance I've ever seen on film, but there is so much more depth to Brandon than the depth of his depravity. Fassbender captures every nuance perfectly, from the calm, confident man out at a club looking for women to complete and utter anguish and everything in between. It's an absolutely brilliant and compelling performance. Mulligan is also very, very good, though she doesn't have nearly as much to work with as Fassbender does. I've seen Mulligan in a few films now I've always been impressed with her, but this is the first time I've really seen her cut loose emotionally, and she continues to show how incredibly talented she is.
Finally, director and co-writer Steve McQueen must be commended for the sheer audacity it must have taken to pull a film like this off...and also for refusing to cut a single frame of the finished product to make it more palatable to audiences. The film is quite intense, though it does lull for a bit in the middle as Brandon tries to cultivate a more normal life. But the length and awkwardness of some parts of the second act are really appropriate as they mimic the situation the characters are in as Brandon clearly does not know how to have a normal romantic life. But the intensity builds once again towards the film's end, ultimately leading to one of the more devastating climaxes I've seen in recent years.
"Shame" isn't really a film I can recommend, given its very serious subject matter. Film buffs will certainly appreciate the artistry on screen, but no matter how you view it, this is a difficult film to watch. Psychologists may have a whole different view as far as how the film portrays sexual addiction. I can't speak to that end of things, but I can say that "Shame" is an artistically brilliant film that deals with a very difficult subject that is probably far more present in our culture that we might think.
"Shame" is rated NC-17 for some explicit sexual content.
Running time: 101 minutes.
Released domestically on December 2, 2011, by Fox Searchlight Pictures.
3 stars out of 4.
Sunday, December 4, 2011
Film Review: "The Descendents"
"The Descendents" is the first film in seven years from writer / director Alexander Payne, best known for the excellent comedy / drama "Sideways." That's quite a gap between two films, but the two films together show that Payne is one of the best in the business at creating fleshed-out, well-developed characters that feel absolutely real. As far as "The Descendents" goes, it's one of the year's best films, and though it's far more drama than comedy it contains two of the year's most outstanding performances.
"The Descendents" revolves around the King family, specifically Matt King (George Clooney) and his two daughters, Alex (Shailene Woodley) and Scottie (Amara Miller). Matt is a Hawaiian real estate baron who has tried to instill a strict sense of work ethic in his kids, despite the fact that their family has an abundance of wealth and lives in paradise. But he's also never really connected with his daughters, and he's forced to come to grips with that when his wife is involved in a boating accident and falls into a coma. This event causes the Kings to have to deal with increasingly painful revelations, all while Matt is forced to decide whether to sell a large tract of unspoiled Hawaiian land that belongs to his extended family.
As I said in my opening, Payne is one of the absolute best filmmakers at creating realistic characters. The situations in this film are real situations that real people face every day...including people who live in the veritable paradise of Hawaii. As Matt says in an opening monologue, living in paradise doesn't make everyone's problems easier, and he quickly finds out that having a lot of money doesn't help much either...at least not with the painful situations that he and his daughters are forced to face. George Clooney perfectly captures every emotion that Matt goes through, from despair to anger to rage to frustration to hopelessness. This is absolutely his finest performance, one that is sure to garner him an Oscar nomination for Best Actor and may well earn him his second Academy Award. As good as Clooney is, Shailene Woodley goes toe-to-toe with him every step of the way in one of the year's biggest breakout performances. Known mainly for her role on "The Secret Life of the American Teenager," Woodley has just as much of a range of emotional moments as Clooney, and she captures them just as well. It's not a star-making performance necessarily, but it definitely makes her an actress to keep an eye on for the next few years.
Payne is excellent at moving seamlessly between comedy and drama, as he showed in "Sideways." While that film is more comedic, "The Descendents" is much more serious, though it certainly has its funny moments. The situations the characters are in generally aren't funny, but sometimes the only way to deal with something is in comedic fashion, or at least in a fashion that looks comedic to a casual observer. That's the way much of the comedy plays out here, and the tonal shifts are seamless.
Overall, "The Descendents" is simply an excellent film, with some of the year's best and most realistic characters. The Hawaiian setting provides a gorgeous backdrop for this story that provides a nice escape, even if the situations the characters face are faced by real people every day.
"The Descendents" is rated R for language including some sexual references.
Running time: 115 minutes.
Released domestically on November 16, 2011, by Fox Searchlight Pictures.
3.5 stars out of 4.
"The Descendents" revolves around the King family, specifically Matt King (George Clooney) and his two daughters, Alex (Shailene Woodley) and Scottie (Amara Miller). Matt is a Hawaiian real estate baron who has tried to instill a strict sense of work ethic in his kids, despite the fact that their family has an abundance of wealth and lives in paradise. But he's also never really connected with his daughters, and he's forced to come to grips with that when his wife is involved in a boating accident and falls into a coma. This event causes the Kings to have to deal with increasingly painful revelations, all while Matt is forced to decide whether to sell a large tract of unspoiled Hawaiian land that belongs to his extended family.
As I said in my opening, Payne is one of the absolute best filmmakers at creating realistic characters. The situations in this film are real situations that real people face every day...including people who live in the veritable paradise of Hawaii. As Matt says in an opening monologue, living in paradise doesn't make everyone's problems easier, and he quickly finds out that having a lot of money doesn't help much either...at least not with the painful situations that he and his daughters are forced to face. George Clooney perfectly captures every emotion that Matt goes through, from despair to anger to rage to frustration to hopelessness. This is absolutely his finest performance, one that is sure to garner him an Oscar nomination for Best Actor and may well earn him his second Academy Award. As good as Clooney is, Shailene Woodley goes toe-to-toe with him every step of the way in one of the year's biggest breakout performances. Known mainly for her role on "The Secret Life of the American Teenager," Woodley has just as much of a range of emotional moments as Clooney, and she captures them just as well. It's not a star-making performance necessarily, but it definitely makes her an actress to keep an eye on for the next few years.
Payne is excellent at moving seamlessly between comedy and drama, as he showed in "Sideways." While that film is more comedic, "The Descendents" is much more serious, though it certainly has its funny moments. The situations the characters are in generally aren't funny, but sometimes the only way to deal with something is in comedic fashion, or at least in a fashion that looks comedic to a casual observer. That's the way much of the comedy plays out here, and the tonal shifts are seamless.
Overall, "The Descendents" is simply an excellent film, with some of the year's best and most realistic characters. The Hawaiian setting provides a gorgeous backdrop for this story that provides a nice escape, even if the situations the characters face are faced by real people every day.
"The Descendents" is rated R for language including some sexual references.
Running time: 115 minutes.
Released domestically on November 16, 2011, by Fox Searchlight Pictures.
3.5 stars out of 4.
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