Sony Pictures Classics presents The Wackness, a new comedy by writer/director Jonathan Levine.
The Wackness brings us all the way back to...1994, to a New York City undergoing an identity change with the arrival of street-sweeping mayor Rudolph Giuliani. Writer/Director Jonathan Levine, who graduated from high school that summer, frames his story around 18 year-old Luke Shapiro (Josh Peck), a dope-dealing dreamer whose closest confidant is a shrink, Dr. Squires (Ben Kingsley), who's not only Luke's most loyal customer, but also the father of Luke's crush, Stephanie (Olivia Thirlby). The film is a dark coming-of-age comedy with one of the hottest soundtracks we've heard in recent years, featuring A Tribe Called Quest, The Notorious B.I.G., Method Man, Raekwon, KRS-One, and more.
Writes Levine on the official website for The Wackness: "Rap music, like New York itself, was at a very different place in '94. For me, that's what is so interesting about setting the movie 13 short years ago assessing those similarities and differences. When we take stock of this recent past, we have a more fully-realized understanding of the present."
Uh...yeah, whatever. Maybe I missed the philosophical underpinnings of the film, but I nonetheless understand why The Wackness won the Audience Award at Sundance 2008 earlier this year.
Pictured here with Peck, Thirlby (Snow Angels, Juno) and Kingsley are Mary-Kate Olsen, Method Man, and Aaron Yoo (recently in 21). Yes, this is the film in which Olsen and Kingsley infamously make out, and yes, this is the same Josh Peck who used to play characters called "Fat Boy" earlier in his career.
Check back here for my full review of The Wackness when it opens July 3rd.
Background: It seems like well over a year ago that I first saw a trailer for Young @ Heart, the new documentary by British director Stephen Walker. It didn't immediately grab me (in fact I was little put off by laughing at the elderly), but some early buzz caught my ear before Young @ Heart thrilled moviegoers at the recent 2008 Minneapolis/St. Paul International Film Festival, receiving the highest viewer rating out of over 150 films. If this is all you know about it or you've only seen the annoying trailer, maybe hold off here until you actually see the film. I don't have major spoilers in here this time, but (as always, but especially here) I think it's in your best interest to go into this one as blind as possible.
Synopsis : In Northhampton, MA, we meet the Young @ Heart chorus: 24 men and women (with an average age of 80 years old) who perform stirring renditions of pop/rock/punk classics around the world. The film follows the group as they prepare for a new show in just seven weeks, which will be held at their "home" venue, the Academy Theater, as a kick-off to their next tour. As the group members learn the music, we learn about them - their families, their marriages, their health problems, their hobbies, and, in at least one case, their sex lives. Interspersed between interviews and rehearsal footage are staged music videos of the group singing some of their classics. The chorus is directed by Bob Cilman, a 50-odd year-old guy who astonishingly founded Young @ Heart when he was in his 20's. Bob is a bit of a nervous wreck as the gig date nears and the group continues to struggle with the music, but despite his occasionally harsh attitude with several soloists, it's clear he truly cares about them and loves what he's been doing for so long. By the time the curtain goes up for the big show, you can't help but marvel at how far this group has come in such a short period.
I Loved:
+ "Stayin' Alive"
+ The group's rousing performance at the Academy Theater.
+ The unbelievable resilience demonstrated by so many members of Young @ Heart.
I Liked:
+ The performance at the prison.
+ The other music videos, especially "I Wanna Be Sedated" and "Road to Nowhere."
I Disliked:
- The occasional feeling that Bob Cilman was being a total jerk during rehearsals. Tough love, though - how can you criticize that guy?
I Hated:
- The headache I had upon leaving the theater, likely the result of dehydration from crying so much.
Grade:
Writing - N/A
Acting - N/A
Production - 10
Emotional Impact - 10
Music - 5
Significance - 5
Total: 30/30 = 100% = A+
Last Word (expanded): "It's got a lot of life. That's what we have. A lot of life," says Young @ Heart member Steve Martin as the group learns Allen Toussaint's "Yes We Can Can." With those simple words, Martin perfectly captures the soul of Young @ Heart, an instant Oscar favorite and the first film that I've bestowed with an "A+" in this space. The fact is, this intensely moving documentary is simultaneously the most devastatingly tragic and the most life-affirming, uplifting film of the year. I'm hesitant to say it's for everyone, but if you can't squeeze a tear out during this film, donate your body to science. Granted, I'm already a moderate crier at the movies, and the right music during a scene will put me over the edge. As such, when two group members crooned Coldplay's "Fix You," it was a surreal experience as the tears literally were "streaming down my face"; I was a sniveling, sobbing mess, not just then but for at least half of the film's running time.
Does this make Young @ Heart a great film? Of course not. What makes it a great film - arguably a perfect documentary - is that it's as honest as its own material. Stephen Walker doesn't manipulate us, and, more importantly, he doesn't manipulate his subjects (I won't accuse Bob Cilman of that, either). They don't shy away from exposing their broken bodies, and Walker doesn't shy away from showing us the difficulties of life in its ninth decade. But the film's subjects are beyond all of this, hence the name of the group. They shrug off the possibilities of their own deaths and laugh at minor inconveniences - like kidney stones and blood transfusions. Indeed, the octogenarian members of Young @ Heart are, impossibly, wise beyond their years.
At some point in here I need to admit that I've been a singer throughout my life, in some form or another. Not a big deal, but for me personally, that fact fully illuminated so much of the power of Young @ Heart. For starters, singing in a group is very different than doing so many other things in a group. A perfect harmony forms some kind of unique, primitive bond that can't be achieved through any other human interaction. Choral music is universal to almost every culture on Earth, and even beyond that, you only have to look at various animal species that communicate in song; mates are found and territories are marked. The close personal connections of the members of Young @ Heart are, in my opinion, primarily a result of the time they've spent making music together.
Aside from the healthy relationships on display, another important aspect of the Young @ Heart chorus is the raw power of the music. It was easy to tap into the joy the group members experienced while singing on a stage in front of a packed theater, which really is a lot of fun after you get past the first few lines. Making music, even just vocally, can be such an incredible rush. If you've ever played the video game Rock Band you can probably relate, or even if you've messed around with GarageBand on a Macintosh or, like Walter Vale in The Visitor, just banged on a drum to release yourself, to cope, to heal. The members of Young @ Heart live to sing, but perhaps more literally, they sing to live.
That all of this is captured on film so well is an incredible achievement on the part of director Stephen Walker. I didn't grow up with grandparents, so my exposure to this world is somewhat limited, but I don't know that I've ever seen life at 80-something portrayed with such humor, grace, respect, and insight. By the final performance, I felt like I was cheering on my close friends. Maybe it was because it was an empty theater on a late weeknight, but I was plugged in - completely in - like I haven't been in a long time. I wanted to cry, clap, sing, stomp my feet, and, after it was all over, splash my face with cold water.Young @ Heart isn't going to change your life, but it should at least make you appreciate it. No wonder the group members are wearing sunglasses in the poster - they've made the future look a lot brighter for all of us.
Mike Tyson Film Takes a Swing at His Old Image
Boxing legend Mike Tyson is the subject of a new documentary, Tyson, highlighted in yesterday's New York Times before the film's premiere at the Cannes Film Festival later this month. I'm more of a "big fight" fan of boxing than am I of the sport itself, but Tyson probably drew my interest more than any other boxer in the last 20 years. As a fan of documentaries, all seems well. Reading the article, however, I had a sinking feeling that the timing isn't right. Sure, I'm curious as to what life outside of the ring is like for this guy, but I hope it's not mainly focused on his post-boxing problems. The real story should be about a troubled kid's rise to success, not about a troubled boxer's fall from glory. Maybe it will be both, but I expect the latter. The guy's only 41 years old. I say hold off 10-15 years for some perspective, especially if he cleans himself up enough to be around that long.
Is Anchorman 2 Coming?
Sounds like there's some "late-breaking news" about our favorite news anchor Ron Burgundy. Doing a little research, I found that IGN first buzzed about an Anchorman sequel almost two years ago. Then Film School Rejects and Slashfilm picked it up two months ago. Now, Collider.com offers recorded evidence that yes, Adam Mckay & Co. would like to make an Anchorman 2. Well, if I read it on the internet in four places then it must be true, right? Maybe not, but there's no reason to think this wouldn't happen, especially with the DVD success the original has had over the last few years. I think the real question isn't whether it will happen, but whether it should happen. Yes, I think Anchorman is one of the funniest movies of the decade so far - which is precisely why I'm nervous for a subpar sequel. Ferrell still has it in him, but producer Judd Apatow's track record is in a fair decline over the course of the last 10 months. It would probably be best if he didn't lord over the production.
Take a long look at that screenshot I happened across. It's somehow blurry and clear at the same time, and the detail is so rich as to be an academic study for art students. The same can be said about Speed Racer, the long overdue adaptation of the popular anime-inspired cartoon, and the newest visionary film by the Wachowski Brothers, the enigmatic filmmaking duo that gave us the Matrix trilogy. Bringing your favorite characters to life are Emile Hirsch (Into the Wild), John Goodman (Evan Almighty), Christina Ricci (Penelope), Susan Sarandon (Enchanted), and Roger Allam (V for Vendetta, also written by the Wachowskis). Don't get caught up in the story, as it's somewhat unnecessary and far less important than the real heart of this movie: the spectacular races. I think I read that no actual cars were used in the filming of the races, which is not surprising in this age of green screen/CGI effects, but still mind-boggling when you consider the incredible energy pumping through these scenes. It's everything George Lucas failed to do with the pod races in The Phantom Menace, and it's evidence that the Wachowskis are, again, way ahead of the curve when it comes to innovative special effects.
Though it's tempting to only focus on the adrenaline-filled racing sequences, Speed Racer offers some additional eye candy in the use of frame wiping and, in almost every scene, enough colors to spend a lifetime naming (I wouldn't be surprised to learn if some assistant director was tasked with making sure 30 different colors are visible in each frame). There are some decent moments of physical comedy as well, and at least one line from John Goodman that had me laughing out loud. It would be easy to come down hard on Speed Racer for its misguided and distracting attempt at wrapping a touching family drama into an indictment of corporate greed, but those moments didn't annoy me so much as they bored me. This race would have been a lot more fun without these pit stops, but when the pedals were on the floor it was a pretty wild ride.
(Because I love passionate reviews, I have to direct you to Evan Derrick's at MovieZeal, even though I don't fully share his enthusiasm for this particular film. Get ready to ride...)
Background: Though it was an audience favorite at the 2007 Sundance Film Festival well over a year ago, Son of Rambow didn't appear on my radar until Craig Kennedy at Living in Cinema started buzzing about it a few months ago. Apparently the film's use of actual scenes from the first Rambo film, First Blood, caused some legal issues that delayed its release. Son of Rambow is the writing debut of director Garth Jennings (The Hitchhiker's Guide to the Galaxy) and stars first-time actors Bill Milner and Will Poulter. Find Craig's report from a roundtable interview with the filmmakers ("Hammer & Tongs" = Jennings and producer Nick Goldsmith) here.
Synopsis : It's the early 80's in rural England, and First Blood is the violent new movie all the cool kids are seeing. Young Will Proudfoot (Milner) is not one of the cool kids - in fact he's standing outside the movie theater, reading aloud from the Bible with his religious brethren. Will is the type of kid who calls other kids by their full names, and, under the same roof as his mother, grandmother, and little sister, he lives a sheltered life devoid of television, music and other potentially immoral influences. We know from Will's imaginative drawings, however, that his life is anything but boring. When he suddenly finds himself in the company of Lee Carter (Poulter), the local "Dennis the Menace" who introduces Will to First Blood, Will's fantasies become playfully violent and, in fact, playfully real. Lee is an amateur filmmaker and he's indentured Will as his stuntman, a task Will takes with the utmost sincerity, even to the point of optioning his drawings as the storyboards for the film, now known as "Son of Rambow." The unlikely friends grow close while making the film, but Will struggles with the disapproval of his behavior from his mother and the religious community. The circumstances become even more complicated when the rest of the kids at Will and Lee's school want to become involved with the film, including an uber-hip French foreign exchange student. Tensions rise as the production gets away from Will and especially Lee's original vision, and the two friends have it out with each other more than once. Meanwhile, Will's mother is facing condemnation and potential expulsion from the religious community, much to Will's quiet delight. These numerous plot threads culminate in a terrible accident that temporarily shuts down the production of the film. Just when you think all hope is gone, you remember this is a movie, and movies don't end like that. Our first and only viewing of the boys' "Son of Rambow" is a touching finale.
I Loved:
+ The great pair of Bill Milner and Will Poulter, both of whom seem familiar from other movies. I'm sure we'll get to know them well if they continue acting.
+ When the flying dog resurfaced in the teacher's lounge.
I Liked:
+ That there was no love interest forced into the story. Boys really are boys at that age, and it's natural to assume they would be more interested in guns than girls.
+ Seeing the final cut of the film.
I Disliked:
- Being unable to hear all of the dialogue due to the actors' mumbling and muttering. Their accents didn't help the situation.
I Hated:
- That the songs from the trailer ("Over and Done With" by The Proclaimers and "Rebel, Rebel" by David Bowie) weren't actually in the film. I had a feeling that would be the case and I was disappointed to be proven right.
Grade:
Writing - 7
Acting - 10
Production - 9
Emotional Impact - 8
Music - 5
Significance - 5
Total: 44/50= 88% = B+
Last Word: While it unfortunately doesn't elicit the number of laughs that you might expect from the trailer, Son of Rambow is charming and whimsical enough to make it worth your while. Bill Milner and Will Poulter are phenomenal in their acting debuts, though Garth Jennings' script unfortunately doesn't match up to his direction of the production. The first hour or so showed great potential, but the development of multiple stories (the friendship, the brethren, the film contest, the brother, the other students) proves too much, and in fact makes this film a lot more serious than it should have been. A coming-of-age film about staying true to yourself and staying loyal to your friends doesn't necessarily need such dramatic effect, and the funniest parts of Son of Rambow are unfortunately shrouded in my mind by accidents and arguments. Nevertheless, the film's underlying celebration of childhood and the joy of filmmaking (and film watching) is something we probably don't see enough of these days. Seriously - give me less Rambo, more Son of Rambow.
Audrey Tautou is all grown up. Gone is the flighty, naive, occasionally desperate young girl from Amélie, Dirty Pretty Things, and A Very Long Engagement. Now, seven years after she charmed American audiences as Ms. Poulain, we see a woman very much acting her age (31) in Hors de Prix (Priceless), a wickedly funny French send-up of Breakfast at Tiffany's. From its terrific opening title sequence to its fun-loving final scene, Priceless is an entertaining, if not totally fulfilling, story of two people scandalizing with the wrong people for all the wrong reasons (well, maybe that last bit is a matter of preference - I don't consider money a "right" reason). Written and directed by Pierre Salvadori (Après vous), Priceless also stars Moroccan Gad Elmaleh (The Valet), an accidental charmer who at different times reminded me of both Peter Sellers and Rowan Atkinson. As Jean, an overworked hotel employee on the French riviera, Elmaleh is pitch-perfect (should I regret skipping The Valet?). When Jean sees an opening to romance the manipulative gold-digger Irène (Tautou), he takes full advantage of his position - mixing drinks at the bar and bringing Irène up to the hotel's presidential suite. When she embarrassingly discovers that he's in fact the one who makes the beds and not the one who sleeps in them, she's off to the next potential sugar daddy. But Jean is already in too deep - he'll do whatever it takes to win her back, even tracking her down in Monte Carlo and, in a matter of hours, tragically spend his life savings, investments, and pension plan in order to show Irène that he can support her sickening habits. Alas, he can't, and she ditches him after he's spent his last Euro. What follows is the real meat of the film - Jean trying to beat Irène at her own game. There are some hilarious comedic moments (my favorite was Jean at breakfast for the first time with his new "friend"), but not enough to make Priceless as good as it could have been. Without knowing anything about these characters, it was difficult to buy into the film's second half, notably the deep lessons Irène is supposed to learn about life and love. Nonetheless, Priceless doesn't take itself too seriously, and actually maintains a decent sense of unpredictability throughout. If any part of what I've said appeals to you, it might be worth your while. Don't expect to feel good about humanity, but do expect to have a few laughs.
Background: Chinese Writer/Director Kar Wai Wong (heretofore known as Wong Kar-wai) has developed a devoted international fan base for his stylish films over the last 20 years, including the recent 2046, which I remember seeing listed by numerous critics as one of the top ten films of 2005. His first feature length English-language film, My Blueberry Nights, was selected to open the 2007 Cannes Film Festival, and is also notable as the acting debut for singer/songwriter Norah Jones - for whom the role was specifically written. Showing her the ropes are co-stars Jude Law (Breaking and Entering), Natalie Portman (The Other Boleyn Girl), David Strathairn (The Bourne Ultimatum), and Rachel Weisz (ouch - Fred Claus and P.S. I Love You).
Synopsis : In New York, Elizabeth (Jones) is seeking solace after having been just dumped by her boyfriend. She wanders into a nearby cafe and dramatically drops off the keys to her apartment, checking in every few days to see if her ex has reclaimed them on his way back to her. Instead, she strikes up a friendship with Jeremy (Law), the dreamy owner of the cafe who comforts her with blueberry pie and ice cream each night - all she can eat until she falls asleep on the counter. Before their relationship can go any further, Elizabeth takes off for parts unknown, working multiple jobs in order to buy a car and always sending postcards back to Jeremy in New York. In Memphis she works at a diner by day and a bar by night, in both places serving a local cop, Arnie (Strathairn), who's attempting to drink his way past the broken heart left by his cheating wife, Sue Lynne (Weisz). After her stint in Memphis, Elizabeth all of a sudden shows up in Nevada, where Leslie (Portman), a compulsive gambler with daddy issues, teaches her some life lessons by way of Texas Hold 'Em. Matured and gassed up with a car, Elizabeth heads back to New York, nearly a year after she first left. Has Jeremy been receiving her postcards? Is he still there? Don't look at the poster above...
I Loved:
+ Norah Jones. I've been a moderate fan of her music for some time, but didn't expect much here - especially not to be hypnotized by her beauty. I think she looks like my girlfriend. ;-)
+ Hearing Ryan Shaw's "We Got Love"! I called for this as part of last year's missing soundtrack. Different kind of scene than the one I mentioned, but I still a fantastic surprise.
+ David Strathairn's heart wrenching performance - as good as anything he's done, according to me.
I Liked:
+ Natalie Portman's role, but not until about an hour after seeing the movie. Her presence was a jolt in the film's momentum and I was initially put off, but then I realize that she played it perfectly.
+ The mix of filming styles - grainy, smooth, slow-mo, etc.
I Disliked:
- Rachel Weisz, which I didn't think was possible. Something didn't quite click for me.
I Hated:
- The jarring subway cars occasionally blowing by and totally disrupting the mood.
Grade:
Writing - 8
Acting - 10
Production - 9
Emotional Impact - 9
Music - 5
Significance - 4
Total: 45/50 = 90% = A-
Last Word: Not having seen any other Wong Kar-wai film, I really had no idea what to expect from My Blueberry Nights. Obviously I hadn't seen the trailer, nor did I have any idea what it was about (this is my goal with most movies). About all I did know was that it was Norah Jones' acting debut and it starred a handful of people that I usually like to watch. I say all of this because I feel my ignorance about all aspects of the film heavily influenced my impression of it - and wow, was I impressed. My Blueberry Nights is a completely refreshing, wholly artistic dream of a film; "romantic" describes every aspect of its production. Every scene is bathed in neon light and saturated with vivid color, perfectly complementing the subtle, sensual soundtrack that provides the heartbeat of the film - a film that's very much alive. The time and place of the story feel less linear than they actually are, which along with the quick editing and mixed film styles only adds to the dreamscape. Norah Jones is a captivating on-screen presence, and Wong Kar-wai is clearly some kind of prescient genius to have written the role of Elizabeth specifically for her. Unfortunately, the writing of the actual plot didn't do as much for me as the characters did. The key fishbowl was a little corny, and the sudden transition in and out of Nevada was too disjointed for me. Eventually, however, My Blueberry Nights regains its footing, and I found myself actually enjoying the saccharin-sweetened ending. My unfortunate ignorance prevents me from confronting the critics and die-hard fans who consider this Wong Kar-wai's worst film, but to anyone else I say this is evidence of a truly visionary filmmaker. If you're not tasting blueberry pie yourself by the end of this, I'm afraid you've missed something.
