Review: "Lianna" is a Great and Groundbreaking Film That Should Not Be Lost (Happy B'day, John Sayles)

TRASH IN MY EYE No. 44 (of 2004) by Leroy Douresseaux

Lianna (1983)
Running time: 110 minutes (1 hour, 50 minutes)
MPAA – R
EDITOR/WRITER/DIRECTOR: John Sayles
PRODUCERS: Jeffrey Nelson and Maggie Renzi
CINEMATOGRAPHER: Austin De Besche
COMPOSER: Mason Daring

DRAMA

Starring: Linda Griffiths, Jane Hallaren, Jon DeVries, Jo Henderson, Jessica Wight MacDonald, Jesse Solomon, John Sayles, Stephen Mendillo, Betsy Julia Robinson, Nancy Mette, and Maggie Renzi

Lianna was acclaimed independent filmmaker John Sayles second feature directorial effort. It’s the story of Lianna (Linda Griffiths), a wife and mother of two children who falls in love with another woman. Her marriage to Dick (Jon DeVries), an English professor, isn’t a happy one since Dick is mostly arrogant towards her and cheats on Lianna with his female students. Lianna eventually falls in love with her professor Ruth (Jane Hallaren). The relationship is not only a revelation for Lianna, but it’s also an awakening of long dormant feelings she’s had since she was in her early teens.

Lianna leaves her marriage for Ruth, and that throws her life into a kind of tailspin. The philandering Dick feels sexually betrayed, while Lianna’s children, Spencer (Jesse Solomon) and Theda (Jessica Wight MacDonald), are curious, hurt, and confused. Lianna’s friends and associates are not hostile to her because of the change, but they’re either distant or ambivalent. Things get a little hairy when Ruth starts to take up a prior lesbian relationship that still has life in it. That drives a wedge between her and Lianna, who often succumbs to bouts of loneliness.

The performances are wonderful and rich, though they seem a bit stiff early in the film. I give most of the credit to Sayles, who has a knack for getting us in close to the characters, giving us an intimate view of their lives. His method, although unobtrusive, is actually kind of controlling. He has an intense focus on being true to the writing and letting the actors play out what they pick up from the written page. This is his way of making us focus on the drama. His filmmaking is free of eye candy and pyrotechnics, so he leaves the audience only the bare bones of drama, which is quite a meal in itself.

Another great thing about his films is that they seem so real. It’s as if a John Sayles picture is actually a peak into the lives of real characters. There is no phoniness in his films, and the questions raised by each film have no easy or obvious answers. Still, Sayles has way of making us glue ourselves to the picture, and Liana is one of his best efforts. It’s also a non-sensational and rather matter-of-fact look at a straight married woman in the throes of a burgeoning attraction to the same sex.

Lianna is scandalous without the noise, and it’s passionate without being tawdry. Most of all, it is human and real while still being drama. I wish that Sayles would have given us a deeper look at the impact of Lianna’s affair with another woman on her children, but what Sayles does give us is quality work.

9 of 10

A+

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Felicity Huffman Moves "Transamerica"

TRASH IN MY EYE No. 128 (of 2006) by Leroy Douresseaux

Transamerica (2005)
Running time: 103 minutes (1 hour, 43 minutes)
MPAA – R for sexual content, nudity, language, and drug use
WRITER/DIRECTOR: Duncan Tucker
PRODUCERS: René Bastian, Sebastian Dungan, and Linda Moran
CINEMATOGRAPHER: Stephen Kazmierski (with Tom Camarda)
EDITOR: Pam Wise
Academy Award nominee

DRAMA

Starring: Felicity Huffman, Kevin Zegers, Elizabeth Peña, Fionnula Flanagan, Graham Greene, Burt Young, and Carrie Preston

Sabrina Osbourne or as she likes to be called, “Bree” (Felicity Huffman) is a pre-operative male-to-female transsexual woman who passes herself off as “G.G.,” meaning “genuine girl.” She lives in a poor section of Los Angeles, where she works two jobs (as a dishwasher at a small Mexican restaurant and as telemarketer from home) to make enough money so that she can afford the final sexual reassignment surgery that will make her wholly a woman. An unexpected complication in her plans arrives via a phone call from New York City.

Apparently, in her old life as a man named Stanley Schupack, she fathered a son, Toby (Kevin Zegers), a street hustler whom the police picked up for dealing drugs. Toby, who never met his father, is hoping that his dad will bail him out of jail. Forced by her therapist, Margaret (Elizabeth Peña), to confront her old past and tie up loose ends, Bree flies to New York and rescues the 17-year old Toby, but doesn’t tell the teen that she is his father and pretends to be a Christian missionary concerned about his well being. Toby begs Bree to follow her back to L.A. in hopes of becoming an actor in the adult entertainment industry and perhaps finding his father. Bree reluctantly agrees and buys a car so that the two can journey back to the West Coast. However, Bree is plotting to dump Toby off along the way, but circumstances have a way of helping them discover one another.

At its heart, Transamerica is an indie road movie, and like most road movies, it is a character-driven film in which (usually) two people from different worlds discover a common bond. The twist or hook in this case is that one of the travelers is one is a transgender and the other is the son. One would think that with a concept like this, writer/director, Duncan Tucker, would take the opportunity to make some potent and cogent observations about human nature, yet Tucker’s film spends most of its first half meandering, listlessly trying to find its way – a sure sign of a mediocre road movie. It isn’t until Bree visits the home of another transgender, who is entertaining like guests that the film takes off, allowing an eclectic mixture of characters to shine and give this film a pungent, but inviting flavor.

Transamerica has a lot of wonderful supporting performances, especially Kevin Zegers as the son, Toby. Zegers is spot on a wayward teenager who can’t right his ship, and he juggling numerous options for his future – most of which are simply flights of fancy. Zegers makes Toby a drug addict who is at least able to retain some sense of balance; his addictions don’t entirely ruin his ability to relate well to other people. Fionnula Flanagan (who played the murdered mother in Four Brothers) gives a nice turn as Bree’s frantically disappointed mother, Elizabeth, and Burt Young gives an unusual twist to Bree’s father, Murray, a patient and jovial, if not entirely understanding parent.

Of course, the showcase, the gem of this film, is Felicity Huffman as Bree. She worked on this film before her career received a huge boost from playing “Lynette Scavo,” one member of the star quartet on ABC’s hit comedy/drama TV series, “Desperate Housewives.” Huffman, a woman playing a man who wants to be a woman, gives a transcendent performance as Bree and seems to have absorbed the part in mind, body, and soul. Everything about Huffman as Bree rings with truth and honesty. She makes you believe that Bree knows she is a woman, but when Bree struggles with her past as a man, it’s fun to watch Huffman make the fight to right herself so real. Transamerica may not be anywhere near being a great movie, but Felicity Huffman’s performance is indeed great.

7 of 10
B+

NOTES:
2006 Academy Awards: 2 nominations: “Best Performance by an Actress in a Leading Role” (Felicity Huffman) and “Best Achievement in Music Written for Motion Pictures, Original Song” (“Travelin’ Thru” by Dolly Parton)

2006 Golden Globes: 1 win: “Best Performance by an Actress in a Motion Picture – Drama” (Felicity Huffman); 1 nomination: “Best Original Song - Motion Picture” (Dolly Parton for the song “Travelin’ Thru”)

Saturday, June 10, 2006

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Review: Star and Director Go Strong in "Monster" (Happy B'day, Charlize Theron)

TRASH IN MY EYE No. 89 (of 2004) by Leroy Douresseaux

Monster (2003)
Running time: 109 minutes (1 hour, 49 minutes)
MPAA – R for strong violence and sexual content, and for pervasive language
WRITER/DIRECTOR: Patty Jenkins
PRODUCERS: Mark Damon, Donald Kushner, Clark Peterson, Charlize Theron, and Brad Wyman
CINEMATOGRAPHER: Steven Bernstein (D.o.P.)
EDITORS: Arthur Coburn and Jane Kurson
COMPOSER: BT
Academy Award winner

DRAMA/ROMANCE/CRIME with elements of a thriller

Starring: Charlize Theron, Christina Ricci, Bruce Dern, Lee Tergesen, Annie Corley, Pruitt Taylor Vince, Brett Rice, Kaitlin Riley, Cree Ivey, and Rus Blackwell

Charlize Theron won the “Best Actress in a Leading Role” Oscar® for her performance in the film, Monster. Directed by indie filmmaker Petty Jenkins, Monster is a biopic about Aileen Carol Wuornos (Charlize Theron), a highway prostitute whom the state of Florida executed in 2002 for murdering several men.

An abused child who had become a prostitute and pregnant by the time she was 13, Wuornos left her home in Michigan and moved to Florida where she continued to hook, servicing mainly truck drivers. After being beaten and raped by a client, she goes on a killing spree, killing any “John” she believed would rape her. The film focuses on the nine-month period from 1989 to 1990 when Aileen began murdering her clientele and also began a disturbing and peculiar romance with a woman named Shelby (Christina Ricci), a closet lesbian from a strict, religious family.

The film is brutal and unflinching, and ultimately hard to watch. It has very little entertainment value, similar to a film like Nil by Mouth, but not as bad as Oprah Winfrey’s Beloved. It’s great filmmaking, but ultimately “too real.” Tragic stories are fine, but such tales, that are too much like an exact copy of something from everyday life, are unpleasing. In the end, that’s what keeps Monster from being one of those “best ever” films.

One reason to definitely not miss this film is Ms. Theron’s virtuoso performance as Aileen. It’s one of the best film performances I’ve ever seen; in fact, I’d have to go back to Meryl Streep in Sophie’s Choice to find something so complex, so layered, so deep. Ms. Theron literally becomes someone else, totally alien to her public persona and prior performances. As good as Ms. Ricci is, Ms. Theron (an actress in whom I had very little interest) is a supernova, and though Monster isn’t one of the greatest, her performance is.

8 of 10
A

NOTES:
2004 Academy Awards: 1 win: “Best Actress in a Leading Role” (Charlize Theron)

2005 BAFTA Awards: 1 nomination: “Best Performance by an Actress in a Leading Role” (Charlize Theron)

2004 Golden Globes: 1 win: “Best Performance by an Actress in a Motion Picture – Drama” (Charlize Theron)

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Review: Ejiofor Wears "Kinky Boots" Quite Well (Happy B'day, Chiwetel Ejiofor)

TRASH IN MY EYE No. 195 (of 2006) by Leroy Douresseaux

Kinky Boots (2005)
Running time: 107 minutes (1 hour, 47 minutes)
MPAA – PG-13 for thematic material involving sexuality and for language
DIRECTOR: Julian Jarrold
WRITERS: Geoff Deane and Tim Firth
PRODUCERS: Nick Barton, Peter Ettedgui, and Suzanne Mackie
CINEMATOGRAPHER: Eigil Bryld
EDITOR: Emma E. Hickox

COMEDY/DRAMA/MUSIC

Starring: Joel Edgerton, Chiwetel Ejiofor, Sarah-Jane Potts, Nick Frost, Linda Bassett, Jemima Rooper, Robert Pugh, Ewan Hooper, and Stephen Marcus

After inheriting the family business, Charlie Price (Joel Edgerton) becomes the fourth generation head of Price and Sons, Ltd., a shoe making company in Northhampton, England. Charlie had other plans – primarily working in London and marrying his fiancé, Nicola Marsden (Jemima Rooper). However, he feels obligated to keep the factory running, but his late father left the business financially insecure. It doesn’t help that the current English footwear market is dominated by cheap imports from Eastern Europe and elsewhere.

When he meets Lola (Chiwetel Ejiofor), a cabaret singer and drag queen in London, Charlie gets the idea of turning Price and Sons into a factory that produces women’s boots that men can wear – kinky boots, and he hires the sassy Lola to design this racy line of boots. However, Lola finds both the factory and Northhampton a difficult fit for him. And on the eve of their trip to Italy for the Milan Shoe Fair, everything starts to fall apart for Charlie.

Inspired by the true story of a traditional men’s footwear factory in Northhamptonshire that turned to making kinky boots for transvestites, Kinky Boots is the kind of British movie in the vein of The Full Monty or Billy Elliot – British indie films that occasionally capture the fancy of American audiences, even the kinds of audiences that normally don’t bother with American independent films. Mixing comedy and drama or pathos and joy, Kinky Boots is basically a feel good movie. The direction isn’t distinctive, but it’s good, and the writing nicely dramatizes what must have been a long, drawn out, and occasionally painful process in real life. None of the characters or actors really stand out… except one.

Since his first leading role in 2002’s Dirty Pretty Things (released in the U.S. in 2003), Chiwetel Ejiofor has worked steadily, proving that he is a gifted actor, in a number of diverse roles and for an eclectic list of directors including Woody Allen (Melinda and Melinda) and Spike Lee (Inside Man). As the drag queen Lola, Ejiofor takes a character that has in recent times become a feel good flick stereotype – the drag queen. He tosses out the drag queen’s cinematic baggage and ignores what other actors have done and goes directly to the character. Ejiofor shows us who Lola truly is, even if it takes us a while to get it, and he does it singing up a storm with joy and gusto.

In one pivotal scene near the end of the film, Edgerton’s Price makes the kind of speech to Lola that, had it been in another film, was meant to change Lola. However, it is Price who needs to prove his mettle, Lola knows who she is because Ejiofor makes it that way. Kinky Boots may not be great, but Ejiofor gives a great performance – the kind that words alone fail to describe. You have to see the man.

6 of 10
B

Saturday, September 9, 2006

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Review: "Set It Off" (Happy B'day, Queen Latifah)

TRASH IN MY EYE No. 63 (of 2003) by Leroy Douresseaux

Set It Off (1996)
Running time: 123 minutes (2 hours, 3 minutes)
MPAA – R for strong graphic violence, pervasive language, some sex and drug use
DIRECTOR: F. Gary Gray
WRITERS: Takashi Buford and Kate Lanier; from a story by Takashi Buford
PRODUCERS: Oren Koules and Dale Pollock
CINEMATOGRAPHER: Marc Reshovsky (D.o.P.)
EDITOR: John Carter
Image Award nominee

DRAMA/ACTION/CRIME

Starring: Jada Pinkett, Queen Latifah, Vivica A. Fox, Kimberly Elise, Blair Underwood, John C. McGinley, Thomas Jefferson Byrd, Ella Joyce, Dr. Dre and Anna Marie Horsford

Set If Off, the second film from music video director F. Gary Gray, was almost the best film ever made about the plight of impoverished African-American women at the turn of the century. Instead, the filmmakers settled on making a film that is a decent drama and a cathartic action movie. Part western and part girl movie, Set If Off resonates with the pain of these female characters although the film only scratches the surface of who the characters are.

After some neighborhood acquaintances of Francesca “Frankie” Sutton’s (Vivica A. Fox) rob the bank where she works and kill a few people, her supervisors at the bank fire her because they find the fact that she knew the culprits disturbing. Her diligence and hard work (only a day prior, she’d counted $240,000 by hand to help one of her bosses) don’t matter one bit. Detective Strode (John C. McGinley), the lead detective in the case, also considers her to be in cahoots with the robbers.

Lida “Stony” Newson (Jada Pinkett) has been plans for her brother Stevie (Chaz Lamar Shepard) to attend UCLA. Stevie is a friend of one of the bank robbers. He visits him after the robbery, and a pack of cowardly, punk cops murders Stevie when they mistake him for the bank robber. Thinking Stevie has a gun, they shoot him down like a dog, only to discover that he was trying to show them that all he had in his jacket was a bottle of champagne a friend had given him for his birthday.

Tired of being on the beating end of the stick, Stony and Frankie join two other downtrodden friends, Cleopatra “Cleo” Sims (Queen Latifah) and Tisean “T.T.” Williams (Kimberly Elise, in a sparkling debut), as bank robbers themselves, to make a little money to get ahead in life and to stick it to the evil, white tyrants who go out of their way to oppress a sister.

This movie could have been so much more than it ended up being, maybe an intense urban drama about what these young women go through and the ends they meet when they finally lash out (perhaps blindly and unwisely) at the world for their pain. However, I will review this movie for what it is. The drama is about average. I caught on to what the story was about; I felt the sisters’ pain. Still, other than Stony, the film mostly relegates the characters to being ciphers, and the script only skims the surface of Stony’s character, for that matter. The filmmakers feel compelled to spend much of the film’s time detailing the intricacies and violence of bank robbery, and they do that quite well. As robbers, the four women are clumsy, but they’re raw and eager. Their crimes are swift and abrupt, and Gray presents it all in a bracing fashion in which the camera lovingly follows the ladies’ every move.

I wanted this film to be more, but, honestly, I really enjoyed what I got. The drama, as mishandled as it was, it still touching and visceral, and the action had me cheering my girls every step of the way. As things fall apart for them, I couldn’t help but feel the emotions and bond they shared, both strong enough to make them sacrifice for one another.

The acting is also quite good. This was a breakthrough role for Queen Latifah, who is full of snarling and barely checked rage; the camera loves her. Ms. Pinkett easily revealed the depth of her talent as a strong dramatic actress, but this performance didn’t earn her lots of new roles, being of the jigaboo persuasion. Ms. Fox’s character barely registers, but that’s the fault of the script. This was a good start for Ms. Elise; her large expressive eyes make her a film natural in her ability to convey feelings.

For all its shortcomings, Set It Off is a very good film, and we need more like it, albeit of a higher quality, that detail the hard lives of poor people and their willingness to fight back when they need to. See this film, and then watch it again.

7 of 10
A-

NOTES:
1997 Image Awards: 3 nominations: “Outstanding Lead Actress in a Motion Picture” (Jada Pinkett Smith), “Outstanding Lead Actress in a Motion Picture” (Queen Latifah) and “Outstanding Supporting Actor in a Motion Picture” (Blair Underwood)

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Review: "The Kids Are All Right" is Alright

TRASH IN MY EYE No. 4 (of 2011) by Leroy Douresseaux

The Kids Are All Right (2010)
Running time: 106 minutes (1 hour, 46 minutes)
MPAA – R for strong sexual content, nudity, language and some teen drug and alcohol use
DIRECTOR: Lisa Cholodenko
WRITERS: Lisa Cholodenko and Stuart Blumberg
PRODUCERS: Gary Gilbert, Philippe Hellmann, Jordan Horowitz, Jeffrey Levy-Hinte, Celine Rattray, and Daniela Taplin Lundberg
CINEMATOGRAPHER: Igor Jadue-Lillo (D.o.P.)
EDITOR: Jeffrey M. Werner
COMPOSER: Carter Burwell

DRAMA/COMEDY

Starring: Annette Bening, Julianne Moore, Mark Ruffalo, Mia Wasikowska, Josh Hutcherson, Yaya DaCosta, Kunal Sharma, Eddie Hassell, Zosia Mamet, and Joaquin Garrido

The Kids Are All Right is a domestic drama, but isn’t like other dramas about the American nuclear family. Directed by Lisa Cholodenko, the film focuses on a family lead by sax-sex parents who discover that their children have found their biological father.

Jules (Julianne Moore) and Nic (Annette Bening) are a lesbian couple living in California. Each gave birth to a child via the same anonymous sperm donor. As she prepares to leave for college, 18-year-old Joni (Mia Wasikowska) acquiesces to a request by her brother, 15-year-old Laser (Josh Hutcherson), to discover the identity of their sperm donor dad. What they find is a small businessman living a bohemian lifestyle, and soon this person by the name of Paul (Mark Ruffalo) is part of the family. But how will he fit in, if he should fit in at all?

In some ways, The Kids Are All Right is sly. With its depictions of affairs, couples squabbling, marital sex, sullen teens, and assorted household dynamics and relationship dysfunction, the film seems to be the average family melodrama. However, the family at the heart of this film is not a normal family, as we generally think of what a normal family should be. Perhaps, the film’s writers, Stuart Blumber and director Lisa Cholodenko, tell this story in the way they do to show that a family headed by a same-sex couple will pretty much have the same ups and downs of a family headed by a man and his wife. This may be their sly and clever way of saying that gay couples are the same as straight couples. Well, they’re not, and that’s just fine.

In an attempt to create an average family drama around a same-sex couple, this film often seems contrived and even a little melodramatic. The Kids Are All Right is certainly a good film, with many fine performances. Annette Bening, who gives a layered and textured performance, however, stands out as genuine, real, and gritty in a film that seems too pat. Bening seems to embody the narrative’s urge to be more than just another indie drama, one with a need to be a carbon copy family dramedy with the straight parents swapped out for a gay couple.

In fact, The Kids Are All Right is really not about the children, which is disappointing because they are such good characters. Mia Wasikowska and Josh Hutcherson also give the kind of performances as Joni and Laser, respectively, that makes you really want to get to know them much more than you do.

This is not to say that the film is glaringly deficient. One of the things that makes it so attractive is that both the story and the characters seem to be searching for something more or something that is missing. Its charm is the same-sex nuclear family masquerading as straights, but the writers seem reticent about tearing off the masks and showing something different and really new. The Kids Are All Right, but everything could have been so much more.

7 of 10
B+

Tuesday, January 11, 2011

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Review: "I Now Pronounce You Chuck and Larry" Dumb and Eloquent

TRASH IN MY EYE No. 144 (of 2007) by Leroy Douresseaux

I Now Pronounce You Chuck and Larry (2007)
Running time: 110 minutes (1 hour, 50 minutes)
MPAA – PG-13 for crude sexual content throughout, nudity, language, and drug references
DIRECTOR: Dennis Dugan
WRITERS: Barry Fanaro and Alexander Payne and Jim Taylor; from a treatment by Lew Gallo
PRODUCERS: Michael Bostick, James D. Brubaker, Jack Giarraputo, Adam Sandler, and Tom Shadyac
CINEMATOGRAPHER: Dean Semler
EDITOR: Jeff Gourson

COMEDY

Starring: Adam Sandler, Kevin James, Jessica Biel, Dan Aykroyd, Ving Rhames, Steve Buscemi, Nicholas Turturro, Nick Swardson, Blake Clark, Mary Pat Gleason, Cole Morgan, Shelby Adamowsky, and Robert Smigel; also Rob Schneider and David Spade

In I Now Pronounce You Chuck and Larry, two guys’ guys pose as gay lovers in order for one of the men to make sure his children get his insurance benefits.

New York City firemen Chuck Levine (Adam Sandler) and Larry Valentine (Kevin James) are the pride of their fire station. Loyal to the core, they’ll do anything for each other, but after Larry saves Chuck’s life, Chuck is about to find out just how much owing his buddy will cost him. When widower Larry realizes that civil service red tape might keep his children, Eric (Cole Morgan) and Tori (Shelby Adamowsky), from getting his life insurance benefits, he knows that one of the ways to insure his children’s financial future is to get married.

Still deeply mourning his late wife, Larry hasn’t dated since her death or really moved on from that tragedy. A newspaper article gives him a crazy idea – domestic partnership benefits for same-sex couples, so he asks Chuck to pose as his live-in gay lover. Chuck, however, has a vigorous sex life as a heterosexual and often entertains several women at a time, and wants no part of Larry’s plan. But he owes Larry. After the friends start posing as love-struck newlyweds, nosey city bureaucrat, Clinton Fitzer (Steve Buscemi), starts to investigate the alleged relationship, so the buddies are forced to present a genuine picture of domestic bliss. After the boys hire a lawyer that specializes in their situation, Chuck falls hard for their sexy attorney, Alex McDonough (Jessica Biel), and his lust just might reveal his and Larry’s secret.

I Now Pronounce You Chuck and Larry is a somewhat badly made, broad comedy, but it sure is funny. The writers seem to have written a flimsy script that simply plays up to the numerous possibilities for comic misunderstanding this concept offers. It’s not lacking in cleverness so much as it is overly abundant in crassness and gross-out humor. That crudeness is actually personified more in Ving Rhames’ Fred G. Duncan, a sort of Mandingo as giant, threatening homo, than it is in Adam Sandler’s Chuck, who is a self-admitted “whore.” In fact, neither Sandler nor Kevin James is anywhere near doing his best work. As for Biel, her body is still a wonderland, and we get to see quite a bit of it.

Although this movie comes across as a rutting goat, where I Now Pronounce You Chuck and Larry actually beats the low expectations that many had for it is in the film’s not-too-preachy attitude about acceptance of gays and the gay lifestyle. The filmmakers and their stars, Sandler and Kevin, vigorously assault anti-gay sentiment, gay-bashing, and gay slurs wherever they find it. The film also offers generous samples of gay clubs, drag queens, and flashy dancing.

On the other hand, the film does offer several brief scenes that reveal the not-fun-side of being a gay couple. Quite frankly, it’s uncomfortable and embarrassing to watch Chuck and Larry’s friends and colleagues suddenly become quite skittish about their old friends once they discover that the duo is a gay couple. Even worse is to watch the people that Larry knows from his children’s school, sports leagues, and the Boy Scouts suddenly remove his name from participation lists. It’s almost as if he died.

How this mixture of raunch and gross can have positive messages about family and acceptance of others is a mystery. That the filmmakers made a bad movie so funny and entertaining is an even deeper mystery.

6 of 10
B

Friday, December 28, 2007

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Review: "Saved!" is Heavenly

TRASH IN MY EYE No. 202 (of 2004) by Leroy Douresseaux

Saved! (2004)
Running time: 92 minutes (1 hour, 32 minutes)
MPAA – PG-13 for strong thematic issues involving teens – sexual content, pregnancy, smoking, and language
DIRECTOR: Brian Dannelly
WRITERS: Michael Urban and Brian Dannelly
PRODUCERS: Michael Ohoven, Sandy Stern, Michael Stipe, and William Vince
CINEMATOGRAPHER: Bobby Buckowski
EDITOR: Pamela Martin

COMEDY/DRAMA

Starring: Jena Malone, Mandy Moore, Macaulay Culkin, Patrick Fugit, Heather Matarazzo, Eva Amurri, Chad Faust, Elizabeth Thai, Martin Donovan, and Mary-Louise Parker

Mary (Jena Malone) is a devout senior at American Eagle Christian High School who believes that Jesus protects her and guides her every action. She’s also part of a group of devout, young women who lead kind of a campus crusade discouraging other students from backsliding (sinning and going away from their Christian faith), and Jean really follows of the example of group leader Hilary Faye (Mandy Moore), a perky, holier-than-thou, and sanctimonious campus crusader.

The shit hits the fan when Mary discovers that her boyfriend, Dean (Chad Faust), is gay. She prays deeply and comes to believe that Jesus want her to sacrifice her virginity to have sex with Dean to cure him of his homosexuality. Not only does she not cure him, she ends up pregnant. When she learns of her condition and that God won’t restore her…cherry…or wholeness, she begins to look at her peers and faith in an entirely different light. She leaves Hilary and her holy girls and strikes up a friendship with Hilary’s wheelchair-bound brother, Roland (Macaulay Culkin), and the school’s lone Jewish student, a rebellious girl named Cassandra (Eva Amurri). She also falls for Patrick (Patrick Fugit), the son of the self-righteous school principal Pastor Skip (Martin Donovan).

Co-produced by R.E.M. lead singer Michael Stipe, director/co-writer Brian Dannelly’s Saved! is a dark coming of age story, and Dannelly came to bust up on the white American Christian subculture. The film isn’t mean-spirited; actually, Saved! has a far more generous Christian tone than many Christian media personalities and a certain “passionate” film. The satire is sharp, but it’s aimed at a message of tolerance and forgiveness. Saved! doesn’t “poo-poo” sin; it simply asks that people be more mature about how they regard sin. It’s as if Dannelly and co-screenwriter Michael Urban are encourage self-examination, forgiveness, and self-awareness of what Jesus’ message really means to people. They aim the satire and poke fun at intolerance, self-righteousness, and those who see the splinter in the eye of another, but not the logs in their own eyes.

The acting really sells the movie. Mandy Moore surprised me by how energetically she embraced her role. She makes Hilary Faye villainous rather than a villain, so that Hilary can get the same chance at redemption that she denies others. Of course, there’s the added delight of seeing Macaulay Culkin, who is a good (but not a stand out) actor, and who has the kind of screen chemistry that makes him a star. Truthfully, every scene in which he appears, the camera seems to center on him. His pull is like the tug of a cinematic dwarf star.

I only had issues with the somewhat puff piece ending, and how Saved! softly served the way fanatics under duress tend to act, but the film made its point. And no satire of Christians was ever so…Christian.

9 of 10
A+

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Review: Well, at Least I Liked "Connie and Carla" (Happy B'day, Toni Collette)

TRASH IN MY EYE No. 198 (of 2004) by Leroy Douresseaux

Connie and Carla (2004)
Running time: 98 minutes (1 hour, 38 minutes)
MPAA – PG-13 for thematic elements, sexual humor, and drug references
DIRECTOR: Michael Lembeck
WRITER: Nia Vardalos
PRODUCERS: Gary Barber, Roger Birnbaum, Jonathan Glickman, Tom Hanks, and Rita Wilson
CINEMATOGRAPHER: Roger Greatrex
EDITOR: David Finfer

COMEDY/MUSIC

Starring: Nia Vardalos, Toni Collette, David Duchovny, Stephen Spinella, Alec Mapa, Christopher Logan, Robert Kaiser, Ian Gomez, Nick Sandow, Dash Mihok, Robert John Burke, and Boris McGiver with Debbie Reynolds

Connie and Carla was a box office dud, but I wanted to see the movie the first time I saw a commercial for it. Having finally seen the comedy/faux musical, I enjoyed it as much as I thought I would. It’s a good old fashion fish-out-of-water and mistaken identity comedy, and it has two exceptional leads in Nia Vardalos and Toni Collette.

In the film, Connie (Nia Vardalos) and Carla (Toni Collette) are two struggling Chicago dinner theatre performers, making a living where they can, in this case, at an airport bar. They witness their boss’ murder at the hands of Rudy (Robert John Burke), a Russian mobster. Unfortunately, when their boss knew he was in trouble, he slipped a kilo of cocaine that belonged to Rudy in Carla’s bag. Now, Rudy wants his coke and the girls dead, so Connie and Carla head out to the place no one would think of looking for them because it has no dinner theatre, Los Angeles.

After unsuccessfully hunting for work, they pretend to be drag queens and begin a drag musical act that is so popular, it lifts the status of the club where they perform. The local drag queens and the straight community embrace them, and they turn their new boss, Stanley’s (Ian Gomez), bar into a very hot dinner theatre club. Connie also falls for Jeff (David Duchovny), the straight brother of one of the drag queens, but Jeff thinks Connie is a man, much to her chagrin. However, they left Connie’s dumb boyfriend, Al (Nick Sandow), and Carla’s equal dumb squeeze, Mikey (Dash Mihok), behind in Chicago. Before long Al and Mikey and Rudy and his musical theatre-loving henchman, Tibor (Boris McGiver) come looking for the girls. Can they save their own lives and keep the fact that they’re women pretending to be men pretending to be women secret?

Nia Vardalos’s script combines the best elements of films like Sister Act, Some Like it Hot, and Victor/Victoria, and director Michael Lembeck puts together a comedy that mixes slap stick and poignant political correctness into entertainment. It’s the most feel-good drag queen movie from a major Hollywood studio that I’ve seen, mainly because it treats it subject matter in a glossy way. The film assumes that if you’re a good guy, you accept drag queens even if you’re not 100% OK with their culture and lifestyle.

Sociology aside, the lead actresses make this film. Ms. Vardalos is just plain funny; she has a face and personality made for broad, goofy, dumb, obvious comedies. If it’s a farce or a tale about different cultures and groups thrown together, she can milk it for lots of yucks. Ms. Vardalos is also blessed with an excellent co-star in Toni Collette. Although many remember her as the put upon mother in The Sixth Sense, Ms. Collette is a fine actress who is an exceptionally good comedic character actress; she’s a pleasure to watch.

If one isn’t uptight about drag queens or gays, if one is secure with one’s sexual orientation, and if one isn’t a religious bigot, Connie and Carla is light-hearted fun. It’s not the smartest movie, but between the music, show tunes, dance routines, and broad drag queen humor, it’s darn funny.

7 of 10
B+

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Review: "Brokeback Mountain" is Broke in the Middle (Happy Birthday, Ang Lee)

TRASH IN MY EYE No. 21 (of 2006) by Leroy Douresseaux

Brokeback Mountain (2005)
Running time: 134 minutes (2 hours, 14 minutes)
MPAA – R for sexuality, nudity, language, and some violence
DIRECTOR: Ang Lee
WRITERS: Larry McMurtry & Diana Ossana (based upon the short story by Annie Proulx)
PRODUCERS: Diana Ossana and James Schamus
CINEMATOGRAPHER: Rodrigo Prieto, A.S.C.
EDITORS: Geraldine Peroni and Dylan Tichenor, A.C.E.
Academy Award winner

DRAMA/ROMANCE

Starring: Heath Ledger, Jake Gyllenhaal, Linda Cardellini, Anna Faris, Anne Hathaway, Michelle Williams, and Randy Quaid

Two young men: Ennis Del Mar (Heath Ledger), a ranch hand, and Jack Twist (Jake Gyllenhaal), a rodeo cowboy, meet in the summer of 1963 while shepherding sheep on Brokeback Mountain in Wyoming. They unexpectedly fall in love and form a lifelong connection. At the end of the summer, they part ways. Ennis remains in Wyoming and marries his girlfriend, Alma (Michelle Williams), and they have two daughters. Jack returns to Texas to ride bulls in the rodeo where he falls in love with and marries a cowgirl, Lureen Newsome (Anne Hathaway), and they have a son. However, for the next 20 years, Ennis and Jack meet a few times a year for a fishing trip where they can freely express their love for one another, both emotionally and physically. The film shows the toll hiding their forbidden love takes on them and their relationships outside their romance.

Brokeback Mountain has the burden of history on its shoulders, being a movie about a love between cowboys, and the fact that it is the first film distributed by a big Hollywood studio (Focus Features, a division of Universal) and getting a wide release that directly focuses on a gay love affair between men. While the film can take a lot of credit for being a landmark in American cinematic history, the contents of the film aren’t as great. Mainly it is a combination of faulty direction and a flawed script. Like director Ang Lee’s previous film, 2003’s The Hulk, Brokeback Mountain is choppy, clumsy, and often dull. Add the fact that this film is alternately dry and cold, and you don’t have the makings of a great romance film. Sometimes The Hulk had moments that were quite novel, really clever, or simply brilliant filmmaking choices, and Brokeback Mountain is that way. However, dross sometimes weighs down the clever cinema. As for the script, an adaptation of an E. Anne Proulx story by Diana Ossana and Pulitzer Prize-winning novelist Larry McMurtry (Lonesome Dove), it does indeed seem like a short story padded with a sagging and problematic middle to make a longer story.

That shakiness carries over to the acting. Heath Ledger is superb, often rising above the material and sometimes dragging the material up to his heights. His performance rings true; he certainly comes across as a dirt-poor cowboy, trouble and conflicted about all his personal relationships. His eyes are so expressive, and his facial expressions are riveting and absorbing. On the other hand, Jake Gyllenhaal really isn’t that good, and except for a moment here and there, his performance seems forced… phony even. That especially puts a damper on the screen chemistry between the leads. The supporting performances are good, though the parts are too small. Randy Quaid is menacing as the surly rancher who discovers Ennis and Jake’s secret. Michelle Williams is also quite good as Ennis’ long-suffering wife, Alma, and there are moments when she lights a fire that is as good as anything else in this film.

Certainly there are moments in Brokeback Mountain that completely impressed me. The opening act of the film, which reveals the origin of the cowboy’s love, is truly, truly expert filmmaking. The ending is heart-rending and poignant, with Ledger giving a performance in the last act that is good enough to save the entirety of another film. It’s the vast, clunky wasteland in the middle of Brokeback Mountain that keeps it from meeting its promise greatness.

6 of 10
B

Sunday, January 29, 2006

NOTES:
2006 Academy Awards: 3 wins: “Best Achievement in Directing” (Ang Lee), “Best Achievement in Music Written for Motion Pictures, Original Score” (Gustavo Santaolalla), and “Best Writing, Adapted Screenplay” (Larry McMurtry and Diana Ossana); 5 nominations: “Best Motion Picture of the Year” (Diana Ossana and James Schamus), “Best Achievement in Cinematography” (Rodrigo Prieto), “Best Performance by an Actor in a Leading Role” (Heath Ledger), “Best Performance by an Actor in a Supporting Role” (Jake Gyllenhaal) and “Best Performance by an Actress in a Supporting Role” (Michelle Williams)

2006 BAFTA Awards: 4 wins: “Best Film” (Diana Ossana and James Schamus), “Best Performance by an Actor in a Supporting Role” (Jake Gyllenhaal), “Best Screenplay – Adapted” (Larry McMurtry and Diana Ossana), and David Lean Award for Direction” (Ang Lee); 5 nominations: “Anthony Asquith Award for Film Music” (Gustavo Santaolalla), “Best Cinematography” (Rodrigo Prieto), “Best Editing” (Geraldine Peroni and Dylan Tichenor), “Best Performance by an Actor in a Leading Role” (Heath Ledger), and “Best Performance by an Actress in a Supporting Role” (Michelle Williams)

2006 Golden Globes: 4 wins: “Best Motion Picture – Drama,” “Best Director - Motion Picture: (Ang Lee), “Best Original Song - Motion Picture” (Gustavo Santaolalla-music and Bernie Taupin-lyrics for the song “A Love That Will Never Grow Old”), and “Best Screenplay - Motion Picture” (Larry McMurtry and Diana Ossana); 3 nominations: “Best Original Score - Motion Picture” (Gustavo Santaolalla), “Best Performance by an Actor in a Motion Picture – Drama” (Heath Ledger) and “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Michelle Williams)

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Review: "Another Gay Movie" Not Just Another Teen Movie

TRASH IN MY EYE No. 245 (of 2006) by Leroy Douresseaux

Another Gay Movie (2006)
Running time: 94 minutes; not rated by the MPAA
DIRECTOR: Todd Stephens
WRITERS: Todd Stephens, from a story by Tim Kaltenecker and Stephens
PRODUCERS: Jesse Adams, Karen Jaroneski, and Todd Stephens
CINEMATOGRAPHER: Carl Bartels
EDITOR: Jeremy Stulberg

COMEDY

Starring: Michael Carbonaro, Jonah Blechman, Jonathan Crane, Mitch Morris, Ashlie Atkinson, Scott Thompson, Graham Norton, Stephanie McVay, John Epperson, James Getzlaff, Darryl Stephens, and Richard Hatch

Innocent (but coy) Andy Wilson (Michael Carbonaro), flamboyant queen-in-training Nico (Jonah Blechman), jock Jarod (Jonathan Chase), and nerdy Griff (Mitch Morris) all want to lose their virginity, and they’re hoping to find the right guy for the job. Andy has a crush on his San Torum High School teacher, Mr. Puchov (Graham Norton), but he’s unsure of how to approach him. Jarod, Griff, and Nico aren’t getting anywhere, either. After numerous failed attempts, these gay teens decide to set a goal for themselves: lose their virginity before the Labor Day bash thrown by their bull dyke friend, Muffler (Ashlie Atkinson). They’ll take on the whole town if they have to in order to get laid, even if it means Nico might hop into bed with “Survivor” Season One winner, Richard Hatch (playing himself).

Todd Stephens’ Another Day Movie is a hilarious send-up of the teen comedy genre, but with a gay twist. However, the film isn’t solely a parody, nor is it a gay movie with a message or socially redeeming value. Another Gay Movie is rife with naughty gags, gross out scenes, gerbil jokes, and enough sloshing bodily fluids to make even the hardcore movie watcher blanch.

Stephens’ film takes as its template the late 90’s comedy hit, American Pie. However, as debauched as its filmmakers and fans would like to believe it to be, the American Pie franchise literally has nothing on Another Gay Movie when it comes to gross out humor. It’s queer and loudly so, and also comfortable with being queer. Raucous scenes of men humping and being humped are on display, as if nothing were wrong with gay sex (not that there’s anything wrong that). As a comedy, Another Gay Movie is also a proud gay in-joke filled with gags, sketches, and jokes involving S&M, sex in public restrooms, gerbils, masturbation, inserting objects in the rectum, etc.

Seeing this isn’t all that upsetting because of the soft pink haze that envelopes the film’s world. Stephens and his creative team present a world awash in shades of pink, with lavender and pastel chasers. Stephens has also set in his film in a kind of camp version of suburbia that recalls John Waters movies, and in spite of the dirty nature of the film’s comedy and low production budget, the neighborhoods of AGM seem surprisingly clean and upscale. In addition to the obvious Waters’ vibe, Another Gay Movie also references such teen comedy or teen-themed films as Bring It On, Carrie, Not Another Teen Movie, and Porky’s among others.

Still, to sell this movie, a filmmaker needs a willing cast, and he certainly has that. Everyone is gladly game for this outsider romp, whether it’s Jonah’s Bleckman’s Nico, the colorful club-kid or Ashlie Atkinson’s lesbian on steroids, Muffler. Scott Thompson of "Kids in the Hall" fame also makes a nice turn as Andy’s father, Mr. Wilson. Mitch Morris as the madly-in-love-with-his-friend Griff and Michael Carbonaro as the film’s central horn dog, Andy, are the standouts and would be good characters on their own.

Another Gay Movie was not rated by the MPAA, and with several scenes featuring genitals (both flaccid and engorged), nudity, and a host of sexual situations, there was no point submitting it to the august, but controversial ratings board. This is for movie lovers who aren’t offended by alternative lifestyles and methods of sexual pleasure. It’s outrageously funny, and the work of a director, cast, and crew who didn’t hold anything back. Another Gay Movie is the gay makeover for which the teen comedy has been waiting since Porky’s pretended to be entirely straight.

7 of 10
A-

Saturday, December 02, 2006

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