AICN,
Uncle B(ukkake) here with reviews of the remaining flicks I watched at this year's festival:
"The Spectacular Now" is a terrific meditation on adolescence and all of the uncertainty, fear, bravado, and pain that accompany youth. This film is from the director of "Smashed" and the writers of "500 Days of Summer" - both excellent films which made this a "must see" for me at the festival. I was initially disappointed that this film centered around Sutter Keely (played quite effectively by Miles Teller), who is completely self-absorbed and jerky. Director James Ponsoldt expects this initial reaction from the audience and uses it to his advantage. Once Sutter meets Aimee Finicky (an amazing Shailene Woodley) - in a memorable introduction - we recognize that there are deeper (albeit torn) layers to Sutter that were not immediately apparent. Although the audience is as skeptical of Sutter's intentions with Aimee as their respective friends (and there is reason for this apprehension), they do successfully act as a necessary catalyst for each other. Their misadventures include an extended sequence with Sutter's father that is ultimately transcendent. Another exceptional scene involves Sutter's boss, played by the always dependable Bob Odenkirk, which is so simple in execution but revelatory of Sutter's growth. Shailene Woodley has the less showy role, but emerges as a major talent (following "The Descendants"). Her blind devotion to Sutter is heartbreaking - particularly during a great scene following her prom. Shailene's final shot in the movie is reminiscent of the closing shot in "The Graduate" and will divide audiences as to its ultimate intention (although I think the physical gestures give it away). James Ponsoldt is the real deal - a director I will be following.
"Don Jon's Addiction" is the first time feature from actor Joseph Gordon-Levitt, who also plays the lead, Jon Martello. Similar to Sutter's introduction, Jon is initially portrayed as nothing more than an arrogant simpleton. Jon is a Jersey boy, hitting up clubs, chasing girls, and watching an unhealthy (is there such a thing?) amount of online pornography. The script, also from Gordon-Levitt, surprisingly manages to mine lots of comedy from this premise, and Gordon-Levitt shows definite promise as both a writer and director. Gordon-Levitt is clearly fascinated with how society and media influence/shape our personalities, actions, and mannerisms. I laughed quite a bit during this movie, especially during Jon's family dinners (Tony Danza, as Jon's father, is terrific). Esther (Julianne Moore, always interesting) is key to Jon's transformation, but the final act is just not as powerful as the "punch" delivered by "The Spectacular Now." "Don Jon's Addiction" will be a difficult sell to mainstream audiences (given the subject matter), not to mention the ratings board, but Gordon-Levitt has a unique and honest voice behind the camera. Uncle B approves.
Speaking of "The Descendants," "The Way, Way Back" is an uneven comedy from two of the three writers of that movie. This "coming of age" flick concentrates on Duncan (Liam James), a teenager dealing with divorce and a miserable summer vacation with his mom (Toni Collette, underutilized) and "new dad" (Steve Carrell, playing a completely underdeveloped and nasty character). This movie felt fragmented from the outset. The family sequences are melodramatic and predictable. By contrast, the water park scenes, wherein Duncan escapes the aforementioned family drama, are whimsical, clever, and (most importantly) very entertaining - especially once Duncan meets Owen (a never better Sam Rockwell). Liam James has far less screen charisma than Miles Teller, but his interactions with Sam Rockwell are worth the price of admission. Sam Rockwell needs to be in many more movies.
"Sweetwater" is a revenge tale set in the Old West. Sarah (January Jones, as dry and wooden as ever) plays a newlywed seeking revenge when her new husband is murdered by the town's "prophet," Josiah (Jason Isaacs, who wonderfully chews up every scene he inhabits). There is nothing memorable about this movie other than the supporting role from Ed Harris, who plays Sheriff Jackson with a "tongue and cheek" gusto as he pieces together the numerous murder mysteries that plague this town.
"The Look of Love" is a curious biopic of Paul Raymond, who created the first "gentleman's club" in England in the late 1950's. I am a fan of Steve Coogan's prior work. However, his portrayal of Paul Raymond is puzzling in that he never seems to delve below the surface of Paul's obsessions with sex, fame, and wealth. Even the sequences between Paul and his daughter (who appears to be the only person that consistently remained in his life) are less moving than I expected. Paul Raymond is not particularly interesting as a character study, and this type of material has already been handled far more effectively in "The People v. Larry Flynt." A definite disappointment.
I was also not impressed with the latest features from two Sundance "darlings" - Lynn Shelton ("Touchy Feely") and Drake Doremus ("Breathe In"). "Touchy Feely" is a character study of a brother, Paul (a dentist played by Josh Pais) and sister, Abby (a massage therapist played by Rosemarie DeWitt). Abby, the free spirit, loses the desire for bodily contact, while Paul develops the ability to heal his patients of various ailments. Lynn Shelton's apparent exploration of "identity crisis" was lost on me, but the movie does include a strong supporting performance from Ellen Page (playing Paul's daughter), who suffers a crisis of her own that is far more compelling and believable than either lead character. I had a slightly more positive reaction to "Breathe In," but the subject matter (Guy Pearce suffers a midlife crisis and falls for Felicity Jones, a British exchange student who is staying with his family for a semester) was a major turnoff and proved tedious after the first act. There is no question that Drake Doremus is a talented director but this script was far too concerned with the prurient details of the aforementioned indiscretions than any rationale for the behavior.
Which brings us to "Upstream Color," the technically accomplished but narratively obtuse film from director Shane Carruth. His last film, "Primer" won the grand jury prize at Sundance, but his latest flick is sure to polarize audiences. There is no denying that Shane Carruth is an artist. His new film attempts to explore memory and mind control, as well as the various ways that memory can be manipulated, stolen, repressed, or lost. However, this film left me utterly frustrated and with more questions than answers (which was perhaps the point). That said, there are enough inspired sequences and powerful images throughout this mind bender for me to ultimately recommend this film. Moreover, lead actress, Amy Seimetz (playing Kris) is a revelation. Even when Shane Carruth has the audience scratching its collective head, Amy Seimetz's performance is captivating. This is a film I will revisit.
-Uncle B
Sunday, January 27, 2013
Saturday, January 26, 2013
Look of Love
Review to be completed, enjoy the official synopsis for now:
2013, 105 minutes, color & b/w, United Kingdom
Welcome to the scandalous world of Paul Raymond, entrepreneur, impresario, and the “king of Soho.” Seeing mediocrity in the smutty sex parlors of London, Raymond unveils his first “gentlemen’s club” in 1958 and gradually builds an empire of clubs and erotic magazines that brings him vast wealth while affronting British sexual mores. It also brings a litany of obscenity charges, a failed marriage, troubled children, and personal tragedy.
From a layered script by Matt Greenhalgh, Michael Winterbottom’s creative approach is energetic and inspired. Starting in black and white, the film’s aesthetic transforms over time, mirroring the cinema styles of each period (with a soundtrack that follows suit).
After struggling for years to bring Raymond’s story to the screen, Steve Coogan delivers a remarkable performance in a dramatic role sure to reframe his career. Was the man who railed against social hypocrisies simply a hypocrite himself? Coogan fully inhabits this complicated and contradictory man who seems almost tragic, invoking Oscar Wilde’s remark, “We are all in the gutter, but some of us are looking at the stars.”
Director: Michael Winterbottom
Screenwriter: Matt Greenhalgh
Executive Producers: Andrew Eaton, Jenny Borgars, Katherine Butler, Norman Merry, Danny Perkins, Piers Wenger
Producer: Melissa Parmenter
Cinematographer: Hubert Taczanowski
Editor: Mags Arnold
Production Designer: Jacqueline Abrahams
Composers: Antony Genn, Mark Slattery
Principal Cast: Steve Coogan, Anna Friel, Imogen Poots, Tamsin Egerton
2013, 105 minutes, color & b/w, United Kingdom
Welcome to the scandalous world of Paul Raymond, entrepreneur, impresario, and the “king of Soho.” Seeing mediocrity in the smutty sex parlors of London, Raymond unveils his first “gentlemen’s club” in 1958 and gradually builds an empire of clubs and erotic magazines that brings him vast wealth while affronting British sexual mores. It also brings a litany of obscenity charges, a failed marriage, troubled children, and personal tragedy.
From a layered script by Matt Greenhalgh, Michael Winterbottom’s creative approach is energetic and inspired. Starting in black and white, the film’s aesthetic transforms over time, mirroring the cinema styles of each period (with a soundtrack that follows suit).
After struggling for years to bring Raymond’s story to the screen, Steve Coogan delivers a remarkable performance in a dramatic role sure to reframe his career. Was the man who railed against social hypocrisies simply a hypocrite himself? Coogan fully inhabits this complicated and contradictory man who seems almost tragic, invoking Oscar Wilde’s remark, “We are all in the gutter, but some of us are looking at the stars.”
Director: Michael Winterbottom
Screenwriter: Matt Greenhalgh
Executive Producers: Andrew Eaton, Jenny Borgars, Katherine Butler, Norman Merry, Danny Perkins, Piers Wenger
Producer: Melissa Parmenter
Cinematographer: Hubert Taczanowski
Editor: Mags Arnold
Production Designer: Jacqueline Abrahams
Composers: Antony Genn, Mark Slattery
Principal Cast: Steve Coogan, Anna Friel, Imogen Poots, Tamsin Egerton
Uncle B Approves - The Spectacular Now and Don Jon's Addiction
AICN,
Uncle B(ukkake) here with reviews of two flicks that each concern polarizing lead characters.
"The Spectacular Now" is a terrific meditation on adolescence and all of the uncertainty, fear, bravado, and pain that accompany youth. This film is from the director of "Smashed" and the writers of "500 Days of Summer" - both excellent films which made this a "must see" for me at the festival. I was initially disappointed that this film centered around Sutter Keely (played quite effectively by Miles Teller), who is completely self-absorbed and jerky. Director James Ponsoldt expects this initial reaction from the audience and uses it to his advantage. Once Sutter meets Aimee Finicky (an amazing Shailene Woodley) - in a memorable introduction - we recognize that there are deeper (albeit torn) layers to Sutter that were not immediately apparent. Although the audience is as skeptical of Sutter's intentions with Aimee as their respective friends (and there is reason for this apprehension), they do successfully act as a necessary catalyst for each other. Their misadventures include an extended sequence with Sutter's father that is ultimately transcendent. Another exceptional scene involves Sutter's boss, played by the always dependable Bob Odenkirk, which is so simple in execution but revelatory of Sutter's growth. Shailene Woodley has the less showy role, but emerges as a major talent (following "The Descendants"). Her blind devotion to Sutter is heartbreaking - particularly during a great scene following her prom. Shailene's final shot in the movie is reminiscent of the closing shot in "The Graduate" and will divide audiences as to its ultimate intention (although I think the physical gestures give it away). James Ponsoldt is the real deal - a director I will be following.
"Don Jon's Addiction" is the first time feature from actor Joseph Gordon-Levitt, who also plays the lead, Jon Martello. Similar to Sutter's introduction, Jon is initially portrayed as nothing more than an arrogant simpleton. Jon is a Jersey boy, hitting up clubs, chasing girls, and watching an unhealthy (is there such a thing?) amount of online pornography. The script, also from Gordon-Levitt, surprisingly manages to mine lots of comedy from this premise, and Gordon-Levitt shows definite promise as both a writer and director. Gordon-Levitt is clearly fascinated with how societal/media influences shape our personalities, actions, and mannerisms. I laughed quite a bit during this movie, especially during Jon's family dinners (Tony Danza, as Jon's father, is terrific). The character played by Julianne Moore (always great) is key to Jon's transformation, but the final act is just not as powerful as the "punch" delivered by "The Spectacular Now." "Don Jon's Addiction" will be a difficult sell to mainstream audiences (given the subject matter), not to mention the ratings board, but Gordon-Levitt has a unique and honest voice behind the camera. Uncle B approves.
Uncle B(ukkake) here with reviews of two flicks that each concern polarizing lead characters.
"The Spectacular Now" is a terrific meditation on adolescence and all of the uncertainty, fear, bravado, and pain that accompany youth. This film is from the director of "Smashed" and the writers of "500 Days of Summer" - both excellent films which made this a "must see" for me at the festival. I was initially disappointed that this film centered around Sutter Keely (played quite effectively by Miles Teller), who is completely self-absorbed and jerky. Director James Ponsoldt expects this initial reaction from the audience and uses it to his advantage. Once Sutter meets Aimee Finicky (an amazing Shailene Woodley) - in a memorable introduction - we recognize that there are deeper (albeit torn) layers to Sutter that were not immediately apparent. Although the audience is as skeptical of Sutter's intentions with Aimee as their respective friends (and there is reason for this apprehension), they do successfully act as a necessary catalyst for each other. Their misadventures include an extended sequence with Sutter's father that is ultimately transcendent. Another exceptional scene involves Sutter's boss, played by the always dependable Bob Odenkirk, which is so simple in execution but revelatory of Sutter's growth. Shailene Woodley has the less showy role, but emerges as a major talent (following "The Descendants"). Her blind devotion to Sutter is heartbreaking - particularly during a great scene following her prom. Shailene's final shot in the movie is reminiscent of the closing shot in "The Graduate" and will divide audiences as to its ultimate intention (although I think the physical gestures give it away). James Ponsoldt is the real deal - a director I will be following.
"Don Jon's Addiction" is the first time feature from actor Joseph Gordon-Levitt, who also plays the lead, Jon Martello. Similar to Sutter's introduction, Jon is initially portrayed as nothing more than an arrogant simpleton. Jon is a Jersey boy, hitting up clubs, chasing girls, and watching an unhealthy (is there such a thing?) amount of online pornography. The script, also from Gordon-Levitt, surprisingly manages to mine lots of comedy from this premise, and Gordon-Levitt shows definite promise as both a writer and director. Gordon-Levitt is clearly fascinated with how societal/media influences shape our personalities, actions, and mannerisms. I laughed quite a bit during this movie, especially during Jon's family dinners (Tony Danza, as Jon's father, is terrific). The character played by Julianne Moore (always great) is key to Jon's transformation, but the final act is just not as powerful as the "punch" delivered by "The Spectacular Now." "Don Jon's Addiction" will be a difficult sell to mainstream audiences (given the subject matter), not to mention the ratings board, but Gordon-Levitt has a unique and honest voice behind the camera. Uncle B approves.
Way, Way Back
Review to be completed, enjoy the official synopsis for now:
2013, 96 minutes, color, U.S.A.
The Way, Way Back tells the story of 14-year-old Duncan’s awkward, funny, and sometimes painful summer vacation with his mother, Pam, her overbearing boyfriend, Trent, and his daughter, Steph. Although Duncan has a tough time fitting in and finding his place, he does find an unlikely ally and mentor in Owen, a carefree employee at the local water park where Duncan gets a job. Over the course of the summer, as his mother drifts further away, Duncan—with encouragement from Owen—begins to open up and come into his own.
Mining the caverns of human vulnerability for the humor necessary to make life bearable, first-time directors Nat Faxon and Jim Rash have transformed their terrific screenplay into a bittersweet comedy that is both charming and insightful. Boasting an extraordinary ensemble of some of the most revered actors working today, as well as a young actor destined to join their ranks, The Way, Way Back brims with nostalgia for the magical time of adolescence, as well as the great coming-of-age films of the 1980s that captured its wide-eyed confusion and wonder.
Directors: Nat Faxon, Jim Rash
Screenwriters: Nat Faxon, Jim Rash
Executive Producers: Ben Nearn, Gigi Pritzker, George Parra
Producers: Kevin J. Walsh, Tom Rice
Cinematographer: John Bailey
Editor: Tatiana S. Riegel
Production Designer: Mark Ricker
Costume Designers: Ann Roth, Michelle Matland
Principal Cast: Steve Carell, Toni Collette, Allison Janney, Sam Rockwell, Maya Rudolph, Liam James
2013, 96 minutes, color, U.S.A.
The Way, Way Back tells the story of 14-year-old Duncan’s awkward, funny, and sometimes painful summer vacation with his mother, Pam, her overbearing boyfriend, Trent, and his daughter, Steph. Although Duncan has a tough time fitting in and finding his place, he does find an unlikely ally and mentor in Owen, a carefree employee at the local water park where Duncan gets a job. Over the course of the summer, as his mother drifts further away, Duncan—with encouragement from Owen—begins to open up and come into his own.
Mining the caverns of human vulnerability for the humor necessary to make life bearable, first-time directors Nat Faxon and Jim Rash have transformed their terrific screenplay into a bittersweet comedy that is both charming and insightful. Boasting an extraordinary ensemble of some of the most revered actors working today, as well as a young actor destined to join their ranks, The Way, Way Back brims with nostalgia for the magical time of adolescence, as well as the great coming-of-age films of the 1980s that captured its wide-eyed confusion and wonder.
Directors: Nat Faxon, Jim Rash
Screenwriters: Nat Faxon, Jim Rash
Executive Producers: Ben Nearn, Gigi Pritzker, George Parra
Producers: Kevin J. Walsh, Tom Rice
Cinematographer: John Bailey
Editor: Tatiana S. Riegel
Production Designer: Mark Ricker
Costume Designers: Ann Roth, Michelle Matland
Principal Cast: Steve Carell, Toni Collette, Allison Janney, Sam Rockwell, Maya Rudolph, Liam James
Don Jon's Addiction
Don Jon's Addiction is written, directed by and stars Joseph Gordon-Levitt. This film depicts addiction, it's meaning and redemption through the use of pornography, light violence and comedy. Seems like a weird mix I know.
Gordon-Levitt plays Jon, a Jersey-ish character who can't seem to find a woman to satisfy himself mentally and physically like he gets watching pornography. Even when he brings home a supposed "10" played by Scarlett Johansen, he still needs the porn to feel satisfied. When confronted about this behavior Jon swears off the porn to keep Johansen's character from leaving him but simply changes tactic. Eventually she breaks up with him over it. In steps Julianne Moore as an older student and after a few missteps her character and Jon begin a meaningless affair. One day during their activities, she challenges him to give up porn. He tries to and has a hard time with it (pun). The catalyst comes from Moore who talks to him about why porn is a one-sided disconnected feeling. Additionally she indicates that Johansen's character had a similar mentality because she expected to be treated like a queen. I do not want to trivialize what happens but the redemption is apparent rather quickly with Jon realizing that in order to feel the way he expects he needs to loose himself in his partner which leads to a healthy relationship.
I give this film 4 thumbs up. Enjoy it in a theater when it comes out in July with some friends who can handle the concept of porn. This film was purchased for $4 million and has a $25 million marketing commitment. I wonder how the ratings board will rate this and if it gets as wide a release as Gordon-Levitt expects.
Official synopsis:
2013, 90 minutes, color, U.S.A.
Jon Martello objectifies everything in his life: his apartment, his car, his family, his church, and, of course, women. His buddies even call him Don Jon because of his ability to pull “10s” every weekend without fail. Yet even the finest flings don’t compare to the transcendent bliss he achieves alone in front of the computer watching pornography. Dissatisfied, he embarks on a journey to find a more gratifying sex life, but ends up learning larger lessons of life and love through relationships with two very different women.
Crass, funny, and startlingly sincere, Joseph Gordon-Levitt’s Don Jon’s Addiction resonates with its utterly authentic realization of people and place, transcending New Jersey stereotypes by infusing its characters with tantalizing complexities. Gordon-Levitt’s chemistry with costars Scarlett Johansson and Julianne Moore ignites the screen with heat and emotion. With abundant charm and formidable wit, Don Jon’s Addiction marks the evolution of an incredibly talented actor into a truly gifted writer/director.
Director: Joseph Gordon-Levitt
Screenwriter: Joseph Gordon-Levitt
Executive Producer: Nicolas Chartier
Producer: Ram Bergman
Cinematographer: Thomas Kloss
Editor: Lauren Zuckerman
Production Designer: Meghan C. Rogers
Composer: Nathan Johnson
Principal Cast: Joseph Gordon-Levitt, Scarlett Johansson, Julianne Moore, Tony Danza, Glenne Headly, Rob Brown
Gordon-Levitt plays Jon, a Jersey-ish character who can't seem to find a woman to satisfy himself mentally and physically like he gets watching pornography. Even when he brings home a supposed "10" played by Scarlett Johansen, he still needs the porn to feel satisfied. When confronted about this behavior Jon swears off the porn to keep Johansen's character from leaving him but simply changes tactic. Eventually she breaks up with him over it. In steps Julianne Moore as an older student and after a few missteps her character and Jon begin a meaningless affair. One day during their activities, she challenges him to give up porn. He tries to and has a hard time with it (pun). The catalyst comes from Moore who talks to him about why porn is a one-sided disconnected feeling. Additionally she indicates that Johansen's character had a similar mentality because she expected to be treated like a queen. I do not want to trivialize what happens but the redemption is apparent rather quickly with Jon realizing that in order to feel the way he expects he needs to loose himself in his partner which leads to a healthy relationship.
I give this film 4 thumbs up. Enjoy it in a theater when it comes out in July with some friends who can handle the concept of porn. This film was purchased for $4 million and has a $25 million marketing commitment. I wonder how the ratings board will rate this and if it gets as wide a release as Gordon-Levitt expects.
Official synopsis:
2013, 90 minutes, color, U.S.A.
Jon Martello objectifies everything in his life: his apartment, his car, his family, his church, and, of course, women. His buddies even call him Don Jon because of his ability to pull “10s” every weekend without fail. Yet even the finest flings don’t compare to the transcendent bliss he achieves alone in front of the computer watching pornography. Dissatisfied, he embarks on a journey to find a more gratifying sex life, but ends up learning larger lessons of life and love through relationships with two very different women.
Crass, funny, and startlingly sincere, Joseph Gordon-Levitt’s Don Jon’s Addiction resonates with its utterly authentic realization of people and place, transcending New Jersey stereotypes by infusing its characters with tantalizing complexities. Gordon-Levitt’s chemistry with costars Scarlett Johansson and Julianne Moore ignites the screen with heat and emotion. With abundant charm and formidable wit, Don Jon’s Addiction marks the evolution of an incredibly talented actor into a truly gifted writer/director.
Director: Joseph Gordon-Levitt
Screenwriter: Joseph Gordon-Levitt
Executive Producer: Nicolas Chartier
Producer: Ram Bergman
Cinematographer: Thomas Kloss
Editor: Lauren Zuckerman
Production Designer: Meghan C. Rogers
Composer: Nathan Johnson
Principal Cast: Joseph Gordon-Levitt, Scarlett Johansson, Julianne Moore, Tony Danza, Glenne Headly, Rob Brown
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