2011. Dir: Alexander Payne. Starring: George Clooney, Shailene Woodley, Amara Miller, Robert Forster and Nick Krause. ●●●●○
I need to see Alexander Payne Hawaiian dramedy The Descendants again. This is not just because the story is insightful and the performances compelling - although they are - nor is it because I need to see it again to fully appreciate the complexities of the parallels between the two priorities pulling at Clooney's Matt King - although I probably have to. No, the reason I need to see the movie again is simple. At my screening Gorgeous George and the even more gorgeous vistas were upstaged by Mus musculus*, a brave example whose relentless search for abandoned popcorn led him up and down the aisle where I was sitting and in and out of the rows in front and behind.
Therefore please take this review with the tiniest pinch of salt. I may come back to it in October, watching the film again, and update, but for now even being distracted I thought it was a fine dissection of modern morality and the process for dealing with the complex emotional response to grief.
There are two main plot strands concerning our protagonist property lawyer Matt King, an expert performance from George Clooney, on the one hand his wife is in a coma, on the other the vast swathes of Hawaiian land his family have held in trust is reaching the end of it's legal tenure and a decision needs to be made on it's future. If that wasn't tough enough Clooney finds out, in the first half hour it's no spoiler, that his wife had been having an affair and the film develops a mini-mystery aspect as he identifies the man and finds a way to confront him.
Clooney once again proves he is one of the best actors of his generation building on his recent performance in Up in the Air he is the consummate everyman star, easily slipping into roles where you can forget he's one of the most famous (and attractive) Hollywood exports. Once of the most amazing things about the performance is how subtle it is on the dramatic stretches, quiet, still everything happening behind the eyes, a lesser actor would burst through the tough scenes with his daughters (Shailene Woodley and Amara Miller) or play the emotions when facing his wife's adulterous other half. At the same time he's unafraid of the comedy, the slapstick running and hedge scene are played to all they're worth.
The rest of the cast also do a fine job, Shailene Woodley as the elder daughter, conspiring with her father whilst constantly breaking boundaries has garnered the best feedback, as well as the mighty Robert Forster who came the closest to eliciting an emotional response during his wordless hospital visit. I'd also like to give a shout out to Mary Birdsong who as friend Kai has a couple of big moments with Clooney both and in and out of the hospital.
The land sale half of the plot, whilst latterly surprisingly connected to the infidelity, is a touch underdeveloped and the resolution is predictable and pat. It almost feels as if Payne was rushing that aspect of the screenplay in order to it the relevant marks for Clooney's personal growth, perhaps teasing it out a little more and allowing the final decision to feel more organic and less reactionary might have felt more natural.
As a writer Alexander Payne has always been able to dissect relateable even within extraordinary circumstances and Matt King is no exception, indeed the family unit as presented is more realistic in it's depiction than the majority of his previous characters, less obtuse than Miles and Jack from Sideways and less obsessive than the protagonists of Election or About Schmidt, they slowly seep into your subconscious, like Clooney's King you feel the turmoil of emotions when saying goodbye to the woman you love. At the same time there's a resultant lack of tension, King's reaction to the situation is how we all like to think we'd react, this safeness takes the edge off the piece.
Payne is most interesting as a writer than a director, and whilst this film is competently put together there's little of interest in terms of the filming styles, early use of voice over and Indiana Jones style flight paths aside. The pacing is good though and it's virtually unique seeing Hawaii as just a beautiful place with the same family troubles as everywhere else.
I think I can recommend the film, as gentle and predictable as it is, for being an interesting slice of life drama, although I do reserve the right to change my opinion later in the year.
*Note I am not going to reveal which mouse infested cinema I went to as they very kindly gave me a free Premier IMAX ticket to say sorry, which I'm going to save for The Dark Knight Rises in 6 months.
Wednesday, 1 February 2012
The Descendants
Saturday, 28 January 2012
Reflecting on what you didn't know (Out this week - 27/01/12)
So it's been Oscar nomination week, and as usual there have been a number of films that I thought were excellent that haven't come close to a nod, likewise quite a few I disliked that the Academy have swooned over. That said the 9 films listed as the best of the year seem like a good bunch even if there were some notable snubs elsewhere in the pack. Here in the UK we are still working through the big contenders as they arrive in cinemas, and one long considered favourite opens this weekend and naturally takes my top spot. Elsewhere we see wolves, monsters and doomed romances. Last week, to my surprise, Haywire was the biggest new release just beating Underworld: Awakening but missing out on the top spot to the second week of release from Spielberg's horse epic. I'm learning from my mistakes and given the imbalance in screens and it's likeable, kid friendly trailer I predict Monster in Paris will be the chart topper, although almost certainly second overall. The Runs like a Gay film of the week remains less commercial, but it should pick up some strong audience numbers, it's The Descendants
Descendants
Gorgeous George has just picked up his fourth acting Oscar nomination, although Shailene Woodley as his daughter noticeably missed out, for this Hawaii set dramedy about a father coming to terms with the death of his unfaithful wife. Alexander Payne directs for the first time in 7 years, getting an Oscar nod for his efforts, and brings his caustic, unemotional gaze to family dynamics. Robert Forster also stars.
Runs like a Gay Excitometer: ●●●●●●●●●○
Grey
It's Liam Neeson versus the wolves, as the Ulsterman's later career as a kick-ass action hero continues into even weirder directions. The basic premise of a bunch of oil workers getting picked off by the man eating artic residents sounds fairly watchable, even if the whispered oscar campaign for Neeson next year seems strangely optimistic.
Runs like a Gay Excitometer: ●●●●●○○○○○
Intruders
More Spanish horror, although with a geographical twist whereby we spend equal time in London as in Spain, following two families united by a teenage child with a monster in the cupboard. Clive Owen is the doubting father in the British section.
Runs like a Gay Excitometer: ●●●●○○○○○○
Like Crazy
Highly buzzed Sundance title from 2011 with Felicity Jones and Anton Yelchin entering into a doomed, mostly improvised romance bound to get caught up with VISA difficulties and enforced seperations. Jennifer Lawrence has a minor role.
Runs like a Gay Excitometer: ●●●●○○○○○○
Monster in Paris
Fun looking French (no kidding) animation involving a radioactive flea with a remarkable ability to play guitar and a series of slapstick chases. It's been re-dubbed into L'Anglais and should do well in these kiddy unfriendly months of winter.
Runs like a Gay Excitometer: ●●●●○○○○○○
Agneepath
Popular Bollywood adventure, which opened one day early to capitalise on it's pre-release buzz. Saying that the plot, which follows the standard rise to criminal kingpin then return to village story, seems fairly soapy and the trailer did nothing for me.
Runs like a Gay Excitometer: ●●●○○○○○○○
Alls well ends Well 2011
Not quite the Bard update it seems like in the title, this Cantonese rom-com has been released to coincide with Chinese New Year. Not quite as barmy as last weeks sex shop romp.
Runs like a Gay Excitometer: ●●●○○○○○○○
Berlin Kaplani
Turkish-German film collaboration (Berlin has a huge Turkish community in case you weren't aware) with a surprisingly chubby pugilistic protagonist looking for that miracle fight to propel him into the big time.
Runs like a Gay Excitometer: ●●●○○○○○○○
House of Tolerance
Don't take your kids to this French movie by mistake, it's laborious, nostalgic look at the working of a turns of the century Parisien brothel may make for an awkward car ride home. Apparently the leopard steals the show.
Runs like a Gay Excitometer: ●●●○○○○○○○
Polish Roulette
It's like a UN meeting at cinemas this week, with this Eastern European gangster comedy, sometimes known as Sztos 2, being the eighth state contributing to cinema this weekend. I've not seen Sztos 1 but the alternative title suggests that may not be completely necessary.
Runs like a Gay Excitometer: ●●●○○○○○○○
Spanish Masala
Fish out of water Mayalaman comedy, like a reverse version of Like Crazy with an Indian national stuck, VISA less in Spain unable to return home. Only for a Spanish daughter of an Ambassador to rescue him and set him up as a chef.
Runs like a Gay Excitometer: ●●●○○○○○○○
Acts of Godfrey
Odd British drama, with a distinctly unusual delivery style. Yes the entire screenplay has been written in rhyming couplets. As an exercise it appears to work quite well, however countless reviews indicate the story isn't compelling enough to make the film worth watching.
Runs like a Gay Excitometer: ●●○○○○○○○○
Wednesday, 13 July 2011
Robert Forster
Happy Birthday to
Robert Forster
70 today
Former matinee idol turned Quentin Tarantino success story Forster has been working solidly since the late 60's seemingly trying just about every script that comes his way. Luckily the next film looks good, in a strong (just look at that right hook) supporting role to George Clooney in The Descendents.
Monday, 13 July 2009
Robert Forster
Happy Birthday to
Robert Forster
68 today
Forster boths confirms and shatters the Quentin Tarantino effect. In 1997 Tarantino rescued him from career obscurity with a plum role in Jackie Brown. The performance was enough to garner a Academy Award nod. However rather than a revival into the mainstream Forster has managed to pick poor project after another, proving why his career was where it was in the first place. I think he'd better give Quentin a quick call.
