Archive for category Film
RIP Heath Ledger [1979-2008]
Posted by Amy Steele in Film on January 23, 2008
Oh Heath, what happened? You were just starting your career. It doesn’t sound like an accident but how could it not be? I just don’t know. I enjoyed your performances in Brokeback Mountain, Cassanova, 10 Things I Hate About You and Lords of Dogtown. Lovely Heath Ledger dead at 28.
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RIP Brad Renfro [1982-2008]
Posted by Amy Steele in Film on January 16, 2008
Sad news that actor Brad Renfro is dead at 25. Another talented young actor with a sad life. TMZ reports that no cause has been reported though the site mentions his drug history.
I had a little crush on him too. So wonderful in Apt Pupil, The Client, Tom and Huck and Ghost World. 
Born in Tennessee, Brad’s first role was in The Client with Susan Sarandon and Tommy Lee Jones at 12-years-old. He’s had trouble with heroin use. During a police sting two years ago, Brad was caught trying to procure heroin. In 1997, he got two years probation for trying to steal a yacht.
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film review: The Savages
Posted by Amy Steele in Film on December 29, 2007
We’re taking better care of the old man than he did of us.
In this remarkable film, two siblings, short of their goals, come together to take care of their father who suffers from dementia. Wendy [Laura Linney] is an aspiring playwright/temp who’s having an affair with a married guy [I have an MFA! This is ridiculous] and keeps applying for fellowships to support her creative endeavors [fellowships that she’s unqualified for, nor will ever receive]. Her brother, Jon [Philip Seymour Hoffman], lives in Buffalo and teaches philosophy and is an expert on Bertolt Brecht. For years, he has been tolling away on a book about the dramatist. After four years, his Polish girlfriend’s visa has run out and instead of helping her or committing to her, he just drives her to the airport. He cries when she cooks him eggs, but isn’t sure if it could work out between them.
This is another role in which Hoffman can stretch. After his turns as a smarmy, conniving brother in Before the Devil Knows You’re Dead and as a sarcastic, anti-Bond CIA agent in Charlie Wilson’s War, you could say Hoffman has had quite the year in cinema. I first noticed Linney [and loved her] in the Tales of the City miniseries. Linney [The Nanny Diaries, Breach] chooses unique, layered roles and has been consistently good through the years. Both actors are from New York and are theatrically trained. And both are super talented in basically un-flashy supporting roles or leading roles in independent films that are rarely seen [like this one]. Linney graduated from Brown and then Julliard. Hoffman from New York University. As brother and sister, it’s a joy to watch these pros play off each other. The siblings nearly balance each other out: messy Jon has a laissez-faire attitude; neatnik Wendy constantly stresses.
The stellar screenplay is poignant, biting, smart, and honest. Writer/director Tamara Jenkins [The Slums of Beverly Hills] has a deft eye for the nuances of human frailties, shortcomings and she’s got a lot of the details in there: the “happy” decorations at the rehab facility/nursing home, the lucid moments inter-mixed with confusion, a child’s need to ignore reality and the final acceptance. Some parts were hard for me for two reasons: one, my grandmother had dementia and died in April and two, I worked at a nursing home, where one week someone would be fine and the next not eating or on oxygen. I appreciate that Jenkins could combine humor [an uncomfortable screening of The Jazz Singer] with heartfelt moments [Wendy brings in a lava lamp to spruce up her father’s room]. There’s a purity and humanity to her outlook. Yes, these are pill-popping, dysfunctional and in many ways unlikeable adults but many of their choices and their experiences are relatable. The Savages covers thorny subject matter with originality.
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film review: Le Scaphandre and le Papillon [The Diving Bell and the Butterfly]
Posted by Amy Steele in Film on December 28, 2007
In Le Scaphandre and le Papillon, filmmaker Julian Schnabel uses an artisan’s eye in adapting this true story of former French Elle magazine editor Jean-Dominque Bauby [Mathieu Amalric]. It’s the rare inspirational and imaginative film about relinquishing the fight and striving for more. Using his deft eye and expressive palette, Schnabel makes a film that is both impressive avant-garde film making and a striking story. One or the other should appeal to most.
After a myocardial infarction, Bauby is completely paralyzed except for his right eye. He finds himself in a rehabilitation facility on the French coast. With the help of a speech therapist and physical therapist he makes some progress. Those around him want him to communicate and with a slow careful process he does. One day, Bauby decides he is not longer going to sulk in self-pity. Bauby says: “I have not lost two things: my imagination and my memory.” In these, he can subsist for quite some time. Many of us don’t possess such enviable, colorful ones that he can peruse in his mind.
With the help of a patient transcriber, by blinking his eye he writes a book about his experience. During flashbacks, we see the effervescent editor at work, at play and with his children. At forty, with two small children and an impressive career as editor for one of the top magazines in France and around the world, Bauby was living life as fast as his designer sport car. Le Scaphandre and le Papillon is the title of the book he ends of writing and as he pens the book in his mind, we journey with him through past experiences with his father [a small act of shaving his father brings out many layers in patriarchal relationships], his lover [we never really see her face and this is so effective; she’s a dream within a dream] and his family [the children admire their father so much]. In present day, his children visit and understandably don’t quite know how to react, especially his son, but do their best as small children will.
Much of the film is in Bauby’s one-eyed viewpoint which allows viewers to really get into his experience and heart. Schnabel creatively translates the written word to the screen. With the use of colors, innovative camera angles and unusual marking and editing, this is a visual treat unlike anything else out there in theatres right now. It’s only on a few small screens but it’s worth seeking it out. The title is clunky, Le Scaphandre and le Papillon, but is the title from Bauby’s memoir. The scaphandre [diving bell] represents being trapped inside a container and also relying on other sources beyond oneself to survive. The papillon [butterfly] is more obvious as a means to relinquish the ties that bind and to transform oneself from something unsightly to something beautiful and free.
Schnabel never allows the Le Scaphandre and le Papillon to become a sob story but instead provides empathetic moments. This is a pure, lovely film about humanity, bravery and overcoming the most unimaginable obstacle to accomplish one’s goals. Truly amazing and real. When I have a bad day, I need to pull up these uplifting images.
STEELE RECOMMENDATION: SEE IT IN THE THEATRE!
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film review: Atonement
Posted by Amy Steele in Film on December 17, 2007
I read Ian McEwan’s lovely, wistful and contemplative novel Atonement a few months ago, mainly in preparation for this film [I did the same with The Other Boleyn Sister—though I may have found the books in another manner]. Going into this film, I anticipated waves of beauty and grace and longing. I wanted to leave the theatre with tears in my eyes. Director Joe Wright did such a brilliant job with Keira Knightley on Pride and Prejudice, so another period piece with the duo should be a serious hit [and the Golden Globes agree with seven nominations]. On reflection, this last year has been fairly weak film-wise.
So I brought my mom to the film [we see something together once a month and I feel if I don’t pick well, I am a bad entertainment critic]. She had seen the preview when we saw The Jane Austen Book Club and said, “I’d like to see that,” so I felt a bit off the hook. It turns out that Atonement is a very, very good, solid film but not outstanding. The Notebook has more romantic and memorable scenes, as we girls who recognize these sorts of things already know.
Atonement is the story of a young girl, Briony, who has a crush on an older guy, her family’s housekeeper’s son [rakishly, boyishly handsome James McAvoy]. Briony also has a vivid imagination. She pens plays for her cousins to act out and she writes fantasies about love conquering all. As it goes for any 13-year-old privileged British lass, her accomplished, Cambridge-educated sister has taken a fancy to said crush. Cecilia [Knightley] has done a remarkable job in hemming in her feelings for Robbie [McAvoy]. He also attended Cambridge and she all but ignored him as they ran in different circles, or something of the sort. The family loves Robbie and the father is paying for his education, including medical school which he plans to attend in the fall. One evening, Robbie is invited to dinner at the main house. Earlier, Briony witnesses what she believes is some sort of argument between her sister and Robbie. Later, she misinterprets something that occurs between Robbie] and older sister Cecilia [Knightley]. She accuses Robbie of a despicable crime. A destructive, irreversible aftermath follows. No one, including Briony, will ever be the same.
Fast-forward to WWII. Robbie is in service and Cecilia is a nurse. They have a few isolated moments together. Many occur only in Briony’s imagination. She too has become a nurse, but she is also a novelist [later in life to great acclaim]. Her most special and final work is a thinly veiled, autobiographical in nature, about the worst thing she has ever done: betray her sister and destroy her beloved sister’s chance for romance and happiness with a devoted, honest man. The war scenes drag and detract from film’s true potential to be an epic love story. Star-crossed lovers. Rich girl and the help. In the novel, McEwan pieces together every scene with intricate details that you find it difficult to extricate yourself from the setting. The film version needs more bridges to close the gaps. It jumps a bit too much. What works really well? The film shows crucial scenes from Briony’s and Cecilia’s viewpoints: effective, stirring visual interpretations. Atonement‘s a banquet for the eyes: rich colors, lush landscapes, long lenses to capture the important moments, meaningful glances and Knightley’s lithe bare back revealed by a glam green dress.
The final scene falls flat. I know that often great books do not translate well on the screen and Atonement needs a bit of tweaking here and there. In the end, I enjoyed Atonement, I did. I’m just a bit disappointed because I had such high expectations with the collaboration, the story, the cast. Atonement lacks true substance and character, but it’s quite lovely to gaze at like a pretty painting.I just wanted it to be dripping with regret, loss and forgiveness. Isn’t that what holiday and potential award-winning films are all about?
STEELE RECOMMENDATION: SEE IT IN THE THEATRE
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film review: August Rush
Posted by Amy Steele in Film on November 15, 2007
Where I’ve grown up, they try to keep me from hearing the music but when I’m alone it builds up inside me.
Once I got over the clichéd, unbelievable romantic encounter of cellist Lyla [Keri Russell] and rocker Lewis [Jonathan Rhys Myers]—the love-at-first-sight and then girl gets pregnant thing– I settled in with the complete fairytale of August Rush despite some ridiculous moments.
August Rush has all the elements one seeks in a fairytale: the princess [Lyla], the prince [Lewis], the evil guardsman [her father], the tower [her father’s protectiveness], lost love, lost dreams and the chance for reunion and redemption.
While performing in New York, Lyla hooks up with the lead singer in a band on the roof of a Manhattan apartment, during a party. Apparently, the evening is completely memorable and life changing for both parties. Lyla’s overprotective father keeps her from meeting her paramour the next day. Lewis quits his band. Lyla finds herself pregnant [no condoms in paradise]. All are haunted by the past. Lewis is obsessed with memories of Lyla and that one night so long ago. Lyla thought her baby died. She was so young her father made a choice regarding her musical career.
11 years later: everything’s magical.
The boy literally hears music in everything and is, quite predictably, a child prodigy like his mother. Meanwhile in Chicago, Lyla, as her friend ironically states, is a “music teacher who doesn’t play music anymore.” In San Francisco, Lewis works in finance and is no longer in a band. Lyla’s father confesses what he did. Lyla goes on a frantic search for her son.
Suddenly both parents want to play music again. Lyla picks up her cello; Lewis contacts his band, winning them over with his Lyla-influenced love song. Lyla decides to play a concert in Central Park, while Lewis and the band book a gig at Irving Plaza in Manhattan. And he happens to be getting ready for his concert debut. In Central Park. And we all know that New York is the ultimate destination for dreams to come true.
I believe in music the way some people believe in fairytales.
There are many Dickensian elements in August Rush. Shades of Oliver Twist. First, August [Freddie Highmore] has been languishing at a boy’s school for the unwanted. [There is nothing wrong with him and he would have been adopted as a baby or small infant, surely. But I let that go.] He runs away to Times Square amidst the symphony of musical city sounds. The cacophony of millions of people, clashes, grinding, and motors aplenty makes the music for him. After coming under the spells of an Artful Dodger –type [in the form of a cute street musician], August meets a Fagin-type known as Wizard [Robin Williams channeling Bono’s performance and look from this summer’s Across the Universe]. Wizard gets possessive, violent and sees cash in the boy. Wizard tricks August into thinking that no one else will treat him any better. But, August wises up and escapes to a church; sneaks around and plays the organ. Of course his talents cannot be kept hidden and he soon is at Julliard being properly taught.
Highmore [Finding Neverland, Charlie and the Chocolate Factory] takes a soft spoken, serious approach which suits this type of film perfectly. The kid must be really centered, having appeared in so many fantastical films. He vacillates from dismal moments with pooled tears in his eyes to complete bright eyed excitement. Russell excels at the complete despair package: red-eyed crying, anguish and disgust. She also marvelously and expresses the yearning she has for what is lost [both physically and emotionally]. She needs to find her son and reclaim her music for her own well-being. It shows in every expression.
Russell is a superb talent as evidenced by her turn in this summer’s sweet, charming Waitress, in her small role in The Upside of Anger, as well as her lead role on television’s Felicity.
This film must have been cast for eyes—all piercing, emotive, beautiful eyes. Gentle, lovely Terrence Howard plays a caring child services representative.
August Rush has a dreamy, ethereal feel.
Director Kirsten Sheridan [daughter of acclaimed director Jim Sheridan] deftly creates this magical atmosphere which takes viewers on an improbable journey. The film connects a series of fortunate circumstances and chance encounters. August Rush is sweet and hopeful in its overtones; I fell for it– at least for one night.
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film review: Control
Posted by Amy Steele in Film on November 4, 2007
How can you turn the tragic story of influential singer/songwriter Ian Curtis into a showcase of a talented musician’s unfinished life?
Not an easy task for a music video director to do on his first feature film. Will Control be seen by masses of people? Director Anton Corbijn does an impressive job in telling the story of the lead singer of Joy Division, who committed suicide the night before his band’s first U.S. tour, at 23-years-old. Everyone knows that singers, writers and artists often are misfits; tortured souls who strive to fit in to society, carve out a niche of success and be happy in some way. In doing so, they live excessively, self-medicate and lean toward self-destructive behaviors.
The truth probably is that few people in the states know about Joy Division or the singer/songwriter who brought a new sound and era to the music scene in the UK—notably the Manchester music scene. This might keep people from seeing the film. That would be a shame as this is a moving, accurate biopic. Even I, a self-proclaimed anglophile and Britpop fan, never did that much research on a band that pre-dated my musical interests—I love the song “Love Will Tear Us Apart.” The three remaining Joy Division members regrouped for New Order, which had amazing success [one of my favorite 80s bands]. My gal pal Karen, a singer in the band The Freeways, suggested we see the film and told me to watch a performance by Curtis of “Transmission” that she finds spellbinding and has seen over and over again.
This darkly charismatic film shot in black and white proves to effectively draw in the viewers.
In the mid 70s, influenced by the Sex Pistols and David Bowie, Joy Division formed. Joy Division attracts power player Tony Wilson [depicted by Steve Coogan in Michael Winterbottom’s 24-Hour Party People]. Control focuses on the meteoric rise to fame of Curtis. Though married as teenagers, Curtis loves his wife but becomes conflicted by all the goodies being in a band brings. With the attention and choices and plans and possibilities available for Joy Division, he seemed to freak out a bit. He also suffered from epilepsy, a condition that the de-rigueur of a band [little sleep, partying, performing under bright lights] exhaust. The heart of the film is Samantha Morton [Elizabeth: The Golden Age, Longford] as the long-suffering wife. Her brilliant turn as his wife is heartbreaking and determined. A realistic portrayal of the dynamic enigma Curtis by Sam Riley makes Control a riveting tour-de-force. It’s all in the eyes: searing pain and bewilderment and loss of control. Control depicts the dead end Manchester scene quite well. As I’ve been told by The Charlatans UK and Damon Albarn [Blur and Gorillaz]: you either work in a factory or form a band. Ian Curtis, like Kurt Cobain, just couldn’t manage the pressures.
STEELE RECOMMENDATION: SEE IT IN THE THEATRE.
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DVD Review: Broken English
Posted by Amy Steele in DVD, Film on August 27, 2007
See this!!
It is the story of Nora [formidable, immensely talented Indie Queen Parker Posey], a 35-year-old who seems stuck in a rut—both personally and professionally. Nora has become complacent and settled at her hotel job. She is beginning to delve into the Bell Jar after years of seeming to know what she wanted and now being at the age where she feels she should already be there. Date after date leads to further frustration until she meets a French man, Julien [Melvil Poupaud]. He might really like her or just be another guy leading her on. Is it a merely a charming façade or is he being honest with Nora?
Posey turns out a tour-de-force performance under the direction of Zoe Cassavetes. At times darkly reminiscent of Looking for Mr. Goodbar and steps above Sex and the City type single girl stories, Broken English does not look through rose-colored glasses but tackles Nora’s issues head-on. Her best friend Audrey [a solid performance by Drea de Matteo] is happily married and is supportive, understanding and concerned about her friend. Their conversations and connection are aptly real. Nora’s chemistry with Julien is palpable, enviable and genuine. The film does not gloss over anything from Nora’s morning-after bed head hair to her depressive, insecure moments. Nora and Audrey travel to Paris in hopes of finding Julien and Nora discovers herself, as cliché as that may sound. She lost his number.
In one scene, she is sitting with the French guy who she has spent a few days with and suddenly a look of intense fear washes over her eyes as the color drains from her face and she looks like she’s going to cry, shake and/or explode. It is a heart-pounding portrayal of that wave of anxiety that starts to erupt inside. She bolts out of the café and into her nearby apartment and lunges for the bottle of pills in her medicine cabinet, downs a few and then gets in bed. “I’m okay. I’m not going to kill myself or anything,” Nora says to this guy who has followed her back, confused.
Brilliant actress. She’s one of my favorites. The film is raw, real and honest. Cassavetes’s spot on, direct, honest script captures this woman’s fears, disappointments and frustrations.
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film review: 2 Days in Paris
Posted by Amy Steele in Film on August 11, 2007
It’s not easy being in a relationship, much less to truly know the other one and accept them as they are with all their flaws and baggage.
2 Days in Paris is a refreshing, layered, truthful depiction of relationships. The film makes shrewd observations on how a relationship influences the human heart, soul and mind. The coupling without losing the individual. Sometimes you get blinded, often you are insecure and eventually, you might get it right. This chatty, extremely funny and insightful romantic comedy finds talented actress Julie Delpy directing her own script. She co-stars with ex-boyfriend Adam Goldberg, her own parents and even her cat makes a cameo appearance.
This sharp film reveals the minutiae and varied aspects of a relationship. Marion [Delpy] is a 35-year-old French woman who lives in New York. She’s a photographer and has been with her serious, brooding, introspective boyfriend, Jack [Goldberg], an interior designer, for two years. After a trip to Venice, the couple stops in Paris to see her parents. During those 48-hours, Marion runs into several ex-boyfriends, throwing him into an insecure spiral and he starts to question her commitment. It’s a turning point for them as the relationship will either wither or bloom in the City of Love.
Delpy attacks Parisian stereotypes in a way only someone French can really do. She shows the real, gritty parts of Paris; the political undertones, the racism, the immigrants and the less-romantic side– the dark underbelly. 2 Days in Paris simultaneously evokes Delpy’s love of the city and her distain for its politics and hypocrisy. And the best part is that Delpy is hysterical. The film is a winning romantic comedy full of surprising moments.
2 Days in Paris is thoughtful, genuine and amusing in its reflections on love and self-identity for a career-oriented woman in her 30s. She’s independent, has had many loves and relationships in her past. In this refreshing film, the focus is a career-oriented woman who does not want children, has slept with more than a dozen men and is neither regretful nor apologetic and loves her cat and boyfriend equally.
STEELE RECCOMENDATION: SEE IT IN THE THEATRE
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STEELE INTERVIEWS: Claire Danes
Posted by Amy Steele in Film, Interview on August 10, 2007
Youth, beauty, it all seems so meaningless now.
–Lamia [Michelle Pfeiffer]
“Hi Guys! Are you freezing? It’s so cold in here,” Claire Danes exclaims as she wraps her vintage jacket about her lithe frame. The jacket is tan which complements her long, honey blonde hair and it has cool orange swirls on it that gives it flair. Not that Ms. Danes needs any. She wears jeans, a gray shift and great clunky stone rings on her fingers. Actually, I take note of three on one finger.
She wraps her legs under her and sits down, bending forward, with a smile, to speak
about her latest film, Stardust, at a local Boston hotel a few weeks ago. Known for her roles in Romeo and Juliet, the summer’s very moving Evening, Shopgirl, The Family Stone, Les Miserables and forever as Angela Chase from television’s My So-Called Life, Danes will makes her Broadway debut in Pygmalion this fall.
Stardust is a wonderful, if sometimes goof-ball, fantasy film. It’s often Shakespearean in tone: think Midsummer Night’s Dream meets Princess Bride. This delightful escape relishes in clever and witty dialogue, off-beat, quirky, layered characters, unexpected moments and thrilling, dream-like sequences. Danes finds herself in good company: Michelle Pfeiffer, as an unattractive, deliciously wicked witch with piercing eyes who seeks everlasting beauty and youth brings an exuberance and fervor to her character. Robert DeNiro, in really not that much of stretch considering the Meet the Parent films, plays a cross-dressing pirate. Adding to the fun: British actors Jason Flemyng, Sienna Miller [nearly unrecognizable] and Charlie Cox. Danes plays a star, Yvaine, who fell to the ground and wants to go home. Who wouldn’t love this film and this role? A star personified! And Evie is happy but also a bit pensive being a star. You’d think she would be conceited and powerful but she’s at times insecure and very sweet. An endearing, bright-eyed gentleman named Tristam [Cox] travels across the barrier to this “forbidden” but special and magical land and finds Evie. Together they go on an amazing journey which, naturally, becomes one of self-discovery. Stardust really charms, remaining unique while it addresses: age/youth, beauty, love, and destiny with all the magic, intrigue, adventure and humor of any smart film.
What did you like about this project?
Claire Danes: “I loved the story. It’s charming and engaging. The dialogue is witty and wry and Evie has a trajectory. She changes which is appealing. She is knowing and wise because she’s ancient but unbelievably naïve.”
What do you like best about acting?
CD: Laughing: “The costumes are fun. I really like the challenge of imagining what it is to be another person and exercising empathy and stretching the imagination.”
What do you do for fun?
CD: walk my dog, draw [takes life drawing classes in down time], dance
Do you think you will always live in New York?
CD: “NY is home to me. I travel constantly for work.”
What is the best part of working on this film?
CD: “The rewarding part of this movie is working with Charlie [Cox]. He’s a special guy—appealing, honest, expressive and great person.”
What attracts you to a role?
CD: “exploring new territory and new genres. Characters with dimension and complexity and who undergo change. And grow and transform. Usually women exist to facilitate change and growth in male characters.”
What are some of your favorite films?
CD: “Waiting for Guffman, Sophie’s Choice, and I know everyone says it but, Citizen Kane.”
What are some favorite films of your own?
CD: “Romeo and Juliet, Stealing Beauty, Shopgirl and Brokedown Palace.”
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About Me
covering mostly music and books. focus on alternative/indie and women in music, literature and the arts. feminist. vegan. mostly alternative, a bit bohemian. Masters in journalism from Boston University. BA from Simmons College.
Entertainment Realm by Amy Steele is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License.
Based on a work at entertainmentrealm.comCopyright © 2009. All writing, unless otherwise noted, by Amy Steele.
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