Just about every year, it seems that there is one movie that I
anticipate above all others. While 2011 had many promising candidates –
including my beloved Winnie the Pooh and Harry Potter facing off against
each other in the middle of summer – there was one film that had me
aquiver with excitement from the time I first heard rumors of its
release. Of course, it helped that it had the cleverest, most persistent
ad campaign of any movie I can recall, expertly spoofing multiple
genres while demonstrating its ability to appeal to a broad audience.
I’m speaking, naturally, of The Muppets, the James Bobin-directed
movie that launches Kermit the Frog and all his felt friends onto the
big screen for the first time in more than a decade. While television
specials and viral videos have helped them maintain a presence in recent
years, The Muppets feels like a joyous return to the glory days of those madcap mischief-makers whose merriment brought mirth to millions.
It takes a special kind of person to get the Muppets in such a visceral
way as to be able to revive them for a cynical generation. When I heard
that Jason Segel was not just starring but actually co-writing the
screenplay, I thought, “You know, this could be a very good thing.”
While some of his recent projects have had a decidedly off-color streak,
I will always recall Segel first as sweetly goofy aspiring drummer Nick
Andopolis on the sadly short-lived high school dramedy Freaks and Geeks,
and the endearing idealism he brought to that character seems a perfect
fit for Jim Henson’s relentlessly positive creations. Together with
Nicholas Stoller, he crafted a screenplay as innocent as it is exuberant
– a movie that dares to demonstrate that there is room in this world
for hope, togetherness and splashy musical numbers… and maybe an
ill-timed explosion or two.
Segel plays Gary, a lovable
grown-up kid who still shares a house with his little brother, his best
friend. The brotherly affection between Gary and Walter, earnestly
voiced by Peter Linz, is so genuine that it never feels weird that one
is a man and one is a Muppet. In fact, it hearkens back to the peculiar
brotherhood between Kermit and Fozzie Bear in The Great Muppet Caper.
These are characters who have always transcended the traditional
boundaries of family. Still, living in a tiny town surrounded by humans,
Walter feels out of place, even with the world’s most supportive big
brother looking out for him. His discovery of the Muppets as a child
quickly bloomed into an obsession, a dream of a different destiny. Now,
years later, Walter is childlike as ever and about to achieve a lifelong
dream. But what kind of growing up will be required for him to take
that all-important step?
Walter is truly the heart of the
movie, a representation of those devoted fans for whom the luster of the
Muppets has never dimmed. Like Kermit in The Muppet Movie, he is a dreamer in search of a connection, but because The Muppet Show
pointed the way for him, he knows just where to find it. It’s a story
of self-discovery, of letting go and reconnecting, and all those who
ever laughed until they cried over Gonzo’s cannon-shot chickens and
Fozzie’s groan-worthy jokes will understand the euphoria emblazoned on
Walter’s flexible face as his heroes gradually gather for a raucous
reunion.
These are the viewers who will best appreciate all of
the in-jokes and the cameos from lesser-known Muppets, to say nothing
of the wistfully funny situations in which the main players find
themselves. The newly initiated, meanwhile, can have fun pointing out
all the human celebrities, from contemporary child stars Selena Gomez
and Modern Family’s Rico Rodriguez to elder statesmen Mickey
Rooney and Alan Arkin. Jack Black gets more screen time than most as
Animal’s disgruntled anger management sponsor, and I’m sure I’m not the
only one who geeked out over the revelation of who Walter would look
like if he were human.
Then, of course, a menacing Chris
Cooper is the oil baron darkly commiserating with his paltry band of
sycophants as the fate of the Muppet Studio Theatre hangs in balance,
while Amy Adams brings her usual brand of sunshine with a spritzer of
vulnerability to Mary, a hands-on teacher so beloved by her students
they dread spring break but unable to secure a commitment from the man
she’s dated for a decade. Like Segel, she seems a perfect fit for the
Muppets’ harmonious mayhem.
Speaking of harmonies, there are
some great ones in this movie that features several original songs
written by Bret McKenzie, one-half of the brilliantly batty New Zealand
folk-comedy duo Flight of the Conchords.
His style meshes marvelously with the Muppets’ fine fusion of silliness
and warmth, with the two standouts the soul-searching duet between the
brothers and the lavish group number we hear at both the beginning and
end of the movie. Beyond that, we get classic Muppet fare like Rainbow Connection and Mahna Mahna
with a new twist or two, along with a few regular radio hits. If I’d
had any lingering doubt as to whether they were going to pull this off, I
would have relinquished it in sheer delight over the opening montage
set to the sprightly strains of a song Paul Simon once performed on Sesame Street.
However, even before the movie started I was grinning over the Toy Story short Small Fry,
which pokes fun at poorly conceived kids’ meal toys at fast food
restaurants. On a trip to a medieval-themed chicken joint, Buzz
Lightyear falls prey to a nefarious plot by a miniature Buzz who has
languished too long in the display case. After a romp in the ball pit,
Little Buzz makes his way into Bonnie’s backpack to hobnob with Woody
and the gang while the real Buzz wanders into a group therapy session
for discarded toys led by a militant mermaid voiced by Jane Lynch. Askew
versions of beloved characters and a bunch of oddballs finding solace
in each other appropriately foreshadows what’s to come in the movie
proper.
More than 15 years ago, Pixar established itself as a
studio capable of bringing that rare blend of sly wit and wholesome fun
that, coupled with a compelling story, makes an ideal family film. The
Jim Henson Company has always offered that type of entertainment, so The Muppets
is truly a joy from pre-start to finish. While reflecting upon the
wonders of the rainbow, a famous frog has postulated, “We know that it’s
probably magic.” If we’re talking about the rainbow of marvelous
misfits that make up the Muppets, there’s no “probably” about it.
Showing posts with label Amy Adams. Show all posts
Showing posts with label Amy Adams. Show all posts
Monday, November 28, 2011
Wednesday, August 4, 2010
Amy Adams Finds Whirlwind Romance in Ireland in Leap Year
I’m a sucker for any movie involving Ireland, and Amy Adams has become
one of my favorite actresses in recent years, so I was intrigued by Leap Year
as soon as I began seeing previews. I finally got around to seeing it
this week, and while it’s a thoroughly predictable romantic comedy, I
found it enjoyable.
Written by Deborah Kaplan and Harry Elfont and directed by Anand Tucker, Leap Year stars Adams as Anna Brady, an upper-class woman who prepares homes for open houses. She likes her job, and she’s quite contented with her boyfriend Jeremy (Adam Scott) except that she wishes he would hurry up and propose to her already. When that doesn’t seem likely to happen any time soon, she decides to take matters into her own hands by following the example of her grandmother and proposing to her man herself. The catch: It has to be in Ireland, and it has to be on February 29th.
I’d like to think I’m fairly up on Irish traditions, but I’ve never heard of this one, and neither had most of the people in the movie, which makes me wonder if it’s not so much a tradition as something this character’s grandmother just happened to do. Certainly, it seems silly for her to be so set on this date and location when her boyfriend is probably unaware of the significance. However, it gives her journey more urgency, even if it is a bit artificial.
Adams isn’t at her most charming here, but she’s mostly likable despite some irritating tendencies. Mostly, she’s a bit of a diva, and when complications ensue as she tries to surprise Jeremy by meeting him in Dublin, where he’s away at a conference, she does a little more complaining than is called for. Then again, she does have one heck of a trying trip - but, of course, it turns out to be the most rewarding adventure of her life.
I enjoyed the verbal jousting of Anna and Declan (Matthew Goode), the pub owner who agrees to shuttle her to Dublin from the Irish tiny town where she winds up. Goode has an appealing rugged charm to him, and Declan comes across as down-to-earth, friendly but unwilling to be bullied. Their animosity blooming into respect and then affection reminded me of Far and Away, except in that movie, the relationship develops over the course of several months. Here, it all happens in a couple of days, which makes the whole thing seem considerably less realistic.
I was also a little bothered by the fact that we’re obviously supposed to dislike Jeremy, but he’s really not a bad guy. He’s just preoccupied - which I imagine has to do with the fact that he is a cardiologist - and a bit insensitive. Mostly, though, he just doesn’t make much of an impression; he barely shows up in the movie, which allows viewers not to be too troubled by the idea that he could lose his girlfriend to this cheeky Irishman.
My favorite aspect of the movie was the setting, with its green expanses and cozy cottages, and the most entertaining bits to me were those involving elderly pub regulars bickering over the specifics of various Irish proverbs. I also got a kick out of John Lithgow as Anna’s eccentric father, who unwittingly puts the Leap Year idea into her head.
While the premise is rather hokey, Leap Year is a light-hearted and inoffensive romantic comedy. A PG rating is rare for live-action films these days, but it perfectly suits this movie, which is geared at adults but appropriate for children. If Irish landscapes and frothy romance are your thing, don’t wait until the next February 29th to check out this little gem.
Written by Deborah Kaplan and Harry Elfont and directed by Anand Tucker, Leap Year stars Adams as Anna Brady, an upper-class woman who prepares homes for open houses. She likes her job, and she’s quite contented with her boyfriend Jeremy (Adam Scott) except that she wishes he would hurry up and propose to her already. When that doesn’t seem likely to happen any time soon, she decides to take matters into her own hands by following the example of her grandmother and proposing to her man herself. The catch: It has to be in Ireland, and it has to be on February 29th.
I’d like to think I’m fairly up on Irish traditions, but I’ve never heard of this one, and neither had most of the people in the movie, which makes me wonder if it’s not so much a tradition as something this character’s grandmother just happened to do. Certainly, it seems silly for her to be so set on this date and location when her boyfriend is probably unaware of the significance. However, it gives her journey more urgency, even if it is a bit artificial.
Adams isn’t at her most charming here, but she’s mostly likable despite some irritating tendencies. Mostly, she’s a bit of a diva, and when complications ensue as she tries to surprise Jeremy by meeting him in Dublin, where he’s away at a conference, she does a little more complaining than is called for. Then again, she does have one heck of a trying trip - but, of course, it turns out to be the most rewarding adventure of her life.
I enjoyed the verbal jousting of Anna and Declan (Matthew Goode), the pub owner who agrees to shuttle her to Dublin from the Irish tiny town where she winds up. Goode has an appealing rugged charm to him, and Declan comes across as down-to-earth, friendly but unwilling to be bullied. Their animosity blooming into respect and then affection reminded me of Far and Away, except in that movie, the relationship develops over the course of several months. Here, it all happens in a couple of days, which makes the whole thing seem considerably less realistic.
I was also a little bothered by the fact that we’re obviously supposed to dislike Jeremy, but he’s really not a bad guy. He’s just preoccupied - which I imagine has to do with the fact that he is a cardiologist - and a bit insensitive. Mostly, though, he just doesn’t make much of an impression; he barely shows up in the movie, which allows viewers not to be too troubled by the idea that he could lose his girlfriend to this cheeky Irishman.
My favorite aspect of the movie was the setting, with its green expanses and cozy cottages, and the most entertaining bits to me were those involving elderly pub regulars bickering over the specifics of various Irish proverbs. I also got a kick out of John Lithgow as Anna’s eccentric father, who unwittingly puts the Leap Year idea into her head.
While the premise is rather hokey, Leap Year is a light-hearted and inoffensive romantic comedy. A PG rating is rare for live-action films these days, but it perfectly suits this movie, which is geared at adults but appropriate for children. If Irish landscapes and frothy romance are your thing, don’t wait until the next February 29th to check out this little gem.
Friday, March 5, 2010
Get Inspired By Two Dream-Chasers in Julie and Julia
The Oscars are right around the corner. I find myself woefully
unprepared this year, but a couple weeks ago I managed to cross one more
contender off my list. It’s a movie that I suspect will inspire many a
delicious delicacy at Oscar parties across the country: Julie and Julia.
This film, written and directed by Nora Ephron and based on the book by Julie Powell, tracks the journeys of two women from frustrated obscurity to culinary greatness. Julie (Amy Adams) is an aspiring writer who spends her days as a receptionist fielding angry phone calls from New Yorkers still reeling from 9-11. She longs to do something different, something that will inflame her passions and give her something to look forward to after a difficult day. The solution? A blog.
The subject of the blog? Cooking her way through Mastering the Art of French Cooking, the magnum opus of kitchen virtuoso Julia Child (Meryl Streep). As Julie embraces this project, eventually winning oodles of followers and becoming so caught up in it that it begins to put stresses on her marriage, we see the struggles Julia herself went through as she took up French cooking and embarked on her cookbook project with two friends. This portion of the movie is based on her memoir My Life in France.
I’ve found Adams endearing in nearly every role she’s taken on, and while she doesn’t quite have the charm here that she does in such films as Enchanted and Miss Pettigrew Lives for a Day, she seems like a likable enough young woman, and I can certainly relate to the desire to make a name for oneself as a writer through online efforts. At the same time, Julie has some negative characteristics, such as a tendency toward egotism, that are amplified by her endeavor, which makes her jocular husband Eric (Chris Messina) all the more appealing. A light-hearted and very supportive man, he truly is the glue holding Julie’s life together.
But even he pales in comparison to the gentlemanly, erudite, utterly devoted Paul Child, portrayed by the magnificent Stanley Tucci. This was a man with an impressive career of his own who never sought to keep his wife in the shadows, who always encouraged her to pursue her dreams. This was also a man with great integrity whose diplomatic views earned him one doozy of an interrogation by Senator Joseph McCarthy’s ilk. It’s easy to understand how Julia would have blossomed so brilliantly when sharing a life with such a remarkable fellow.
The incomparable Streep, who starred in Doubt with Adams last year and The Devil Wears Prada with Tucci in 2006, has been getting plenty of raves for her performance, all of them well-deserved, as she completely immerses herself in the role, to the extent that I almost forget who the actress is behind the portrayal. Her voice, mannerisms, inflections, body language... All of it makes her a thoroughly convincing version of the famous chef, and because she is such a distinct character, there’s a lot of humor to be mined from her story. Julia’s joie de vivre comes across perfectly, and more often than not, her escapades bring a big smile to the face.
This is a beautifully shot film that makes one want to go to France and to attempt cooking French cuisine oneself. Rarely has a movie taken such care to make food look so enticing, so that one can almost smell it as it sits simmering on the table. Of course, there are a few disasters too, and a very funny scene involving an unfortunate excess of onions. But whatever is on the menu, Julie and Julia serves up a treat.
This film, written and directed by Nora Ephron and based on the book by Julie Powell, tracks the journeys of two women from frustrated obscurity to culinary greatness. Julie (Amy Adams) is an aspiring writer who spends her days as a receptionist fielding angry phone calls from New Yorkers still reeling from 9-11. She longs to do something different, something that will inflame her passions and give her something to look forward to after a difficult day. The solution? A blog.
The subject of the blog? Cooking her way through Mastering the Art of French Cooking, the magnum opus of kitchen virtuoso Julia Child (Meryl Streep). As Julie embraces this project, eventually winning oodles of followers and becoming so caught up in it that it begins to put stresses on her marriage, we see the struggles Julia herself went through as she took up French cooking and embarked on her cookbook project with two friends. This portion of the movie is based on her memoir My Life in France.
I’ve found Adams endearing in nearly every role she’s taken on, and while she doesn’t quite have the charm here that she does in such films as Enchanted and Miss Pettigrew Lives for a Day, she seems like a likable enough young woman, and I can certainly relate to the desire to make a name for oneself as a writer through online efforts. At the same time, Julie has some negative characteristics, such as a tendency toward egotism, that are amplified by her endeavor, which makes her jocular husband Eric (Chris Messina) all the more appealing. A light-hearted and very supportive man, he truly is the glue holding Julie’s life together.
But even he pales in comparison to the gentlemanly, erudite, utterly devoted Paul Child, portrayed by the magnificent Stanley Tucci. This was a man with an impressive career of his own who never sought to keep his wife in the shadows, who always encouraged her to pursue her dreams. This was also a man with great integrity whose diplomatic views earned him one doozy of an interrogation by Senator Joseph McCarthy’s ilk. It’s easy to understand how Julia would have blossomed so brilliantly when sharing a life with such a remarkable fellow.
The incomparable Streep, who starred in Doubt with Adams last year and The Devil Wears Prada with Tucci in 2006, has been getting plenty of raves for her performance, all of them well-deserved, as she completely immerses herself in the role, to the extent that I almost forget who the actress is behind the portrayal. Her voice, mannerisms, inflections, body language... All of it makes her a thoroughly convincing version of the famous chef, and because she is such a distinct character, there’s a lot of humor to be mined from her story. Julia’s joie de vivre comes across perfectly, and more often than not, her escapades bring a big smile to the face.
This is a beautifully shot film that makes one want to go to France and to attempt cooking French cuisine oneself. Rarely has a movie taken such care to make food look so enticing, so that one can almost smell it as it sits simmering on the table. Of course, there are a few disasters too, and a very funny scene involving an unfortunate excess of onions. But whatever is on the menu, Julie and Julia serves up a treat.
Wednesday, August 19, 2009
2008's Group of Films Is Dark But Ultimately Uplifting
After watching so many movies in 2007, I lost a bit of momentum in 2008,
but I've still seen more than 20 of last year's movies and was pretty
impressed with most of what I saw. I was disappointed at having to wait
until 2009 for the sixth Harry Potter installment, but the return to
Narnia and further Pixar and Indiana Jones adventures helped make up for
it.
Prince Caspian - One of my most-anticipated moves of the year, this second Chronicle of Narnia transports the Pevensie children to a point more than a thousand years removed from the moment of their departure from Narnia. Their kingdom is in ruins, and few remain who believe the old stories. One of the skeptics is Trumpkin, the dwarf who serves as their guide in this semi-familiar landscape. While I have issues with some of the changes made to plot and character - particular Peter and Caspian - and wish Aslan had been more central, Peter Dinklage's performance as Trumpkin is magnificent, and the cinematography is spectacular.
Indiana Jones and the Kingdom of the Crystal Skull - Indy rides again! Despite being forever traumatized by Indiana Jones and the Temple of Doom, I was looking forward to the chance to see Harrison Ford don the fedora on the big screen, and it sure was fun to whoop and holler along with the opening night crowd as he wriggled out of all sorts of life-threatening situations, scarcely any less spry than he was in the '80s. While it would have been neat if Sean Connery had agreed to reprise his role as Indy's dad, Shia LeBoeuf made a great sidekick. On a shelf in my room, I still have a couple of commemorative Dr Pepper cans with scenes from the movie staring out at me, and they always make me smile. If Harrison wanted to come back for one more, I wouldn't complain.
Miss Pettigrew Lives for a Day - I've been a fan of Frances McDormand since Almost Famous, and Amy Adams has won me over immediately in every film role I've seen her in since Catch Me If You Can, so when I saw that the two were starring together in a period dramedy about a frumpy English nanny who finds herself in the employ of an elegant American actress, I was immediately intrigued. Throw in the adorable Lee Pace from Pushing Daisies and a glowing recommendation from a friend who tends to be ruthless in his film criticism, and it all adds up to a movie for which I had huge expectations. Happily, this utterly charming film fulfilled them all. Definitely one of the best of the year.
Penelope - This fun, visually appealing modern-day fairy tale boasts a terrific cast that includes Christina Ricci, James McAvoy, Reese Witherspoon and Peter Dinklage. Some of it is a bit over-the-top, but on the whole, this tale of a girl with the snout of a pig hits the right notes, particularly as a family film. Its message about the importance of education and independence is a good one, and even the characters who start out antagonistic end up sympathetic.
Secret Life of Bees - Dakota Fanning, on the verge of no longer being a child actress, portrays a young teen desperate to get away from her borderline abusive father and learn something about the mother she accidentally killed years before. With her is a feisty black housekeeper played by Jennifer Hudson. Before long, they come to stay at a home run by three black sisters, from whom the runaway learns a lot about life, love, prejudice and what home ought to feel like. A sweet romance and a powerful performance by Sophie Okonedo and the anchoring serenity of Queen Latifah help make this coming-of-age story a great movie.
Swing Vote - The election was on everybody's mind in 2008, so this was a very timely movie. Kevin Costner stars as a hapless guy who is more or less being raised by his precocious pre-teen daughter, played by Madeline Carroll. I was excited to see her, as she previously played Annie, Ben Linus's childhood best friend on LOST, and I found her pretty likable, albeit a tad self-righteous, in this role. The movie is far-fetched, as it revolves around the idea that due to a voting glitch, the next President of the United States will be determined by this everyman, but it's an interesting concept. While the two candidates and their advisors do their best to win him over, he eventually comes to appreciate what an important task he has. Fun performances, especially by Kelsey Grammer and Stanley Tucci, make this thought-provoking family film even more likable.
Kit Kittredge: An American Girl - Speaking of Tucci, he has a supporting role in this movie as well, along with several other big names, including Joan Cusack and the always-hilarious Wallace Shawn. Abigail Breslin plays the intrepid would-be reporter who seeks a great story to sell to the newspaper. This Depression-era story feels very timely, with enough excitement and plenty of colorful characters to keep children engaged. This was the first American Girl movie to make it to the big screen, and it feels like the sort of wholesome flick that belongs on The Wonderful World of Disney. A winner all around.
Doubt - This quietly unsettling movie is anchored by three powerful performances, with a fourth that packs an incredible whallop despite the actress's short time on screen. Amy Adams is the naive young nun who thinks she may have seen something fishy; Philip Seymour Hoffman is the forward-thinking priest who stands accused. Both are compelling, but most riveting of all is Meryl Streep as the school's formidable principal, a sister who has long suspected the priest of wrongdoing and is determined to bring him down. By the end of the movie, there's still no clear statement of exactly what happened, and viewers are left to contemplate for themselves which person's testimony is the most gripping.
WALL-E - Pixar just keeps cranking out amazing movies, so it's become pretty much guaranteed that each new year will bring a fantastic new computer-animated film, probably during the summer. I'd been looking forward to this one in particular for quite some time, as my brother had shown me a preview the previous year. Given my love of Short Circuit, I immediately took to the little roving robot with the enormous eyes. I wasn't entirely sure what to expect when I went into this one opening night, as the robot of the title was practically the only character I'd seen mentioned. Would there be any humans? How many other robots would we meet? By the time people did show up, I was startled. The second portion of the film is more action-oriented, providing most of the plot momentum for the movie. But the beginning is absolutely gorgeous and devastating at the same time, a slice of near-silent film in which one stoic little piece of machinery collects bits of beauty in a discarded world. It's a darn shame this didn't score a Best Picture nomination.
In Bruges - It's fairly uncommon for me to list R-rated movies among my favorites - and this one earns its rating more than most - but I couldn't help being amused and profoundly moved by this movie about a pair of hit-men taking a very strange holiday together in Belgium. Brendan Gleeson is the gleeful mentor, Colin Farrell the brooding apprentice, Ralph Fiennes the harsh boss who doesn't turn up until late in the movie. There are scenes of explosive violence, and scarcely a sentence goes by without profanity, yet I think the movie's screenplay nomination was well-deserved, and it has stuck with me more than most of the movies I've seen in the past year.
Interestingly, most of my favorite movies of 2008 had a dark element, but most also left me feeling very positive about the resilience of the human spirit. In times of adversity, that's a very encouraging message to find in the theater.
Prince Caspian - One of my most-anticipated moves of the year, this second Chronicle of Narnia transports the Pevensie children to a point more than a thousand years removed from the moment of their departure from Narnia. Their kingdom is in ruins, and few remain who believe the old stories. One of the skeptics is Trumpkin, the dwarf who serves as their guide in this semi-familiar landscape. While I have issues with some of the changes made to plot and character - particular Peter and Caspian - and wish Aslan had been more central, Peter Dinklage's performance as Trumpkin is magnificent, and the cinematography is spectacular.
Indiana Jones and the Kingdom of the Crystal Skull - Indy rides again! Despite being forever traumatized by Indiana Jones and the Temple of Doom, I was looking forward to the chance to see Harrison Ford don the fedora on the big screen, and it sure was fun to whoop and holler along with the opening night crowd as he wriggled out of all sorts of life-threatening situations, scarcely any less spry than he was in the '80s. While it would have been neat if Sean Connery had agreed to reprise his role as Indy's dad, Shia LeBoeuf made a great sidekick. On a shelf in my room, I still have a couple of commemorative Dr Pepper cans with scenes from the movie staring out at me, and they always make me smile. If Harrison wanted to come back for one more, I wouldn't complain.
Miss Pettigrew Lives for a Day - I've been a fan of Frances McDormand since Almost Famous, and Amy Adams has won me over immediately in every film role I've seen her in since Catch Me If You Can, so when I saw that the two were starring together in a period dramedy about a frumpy English nanny who finds herself in the employ of an elegant American actress, I was immediately intrigued. Throw in the adorable Lee Pace from Pushing Daisies and a glowing recommendation from a friend who tends to be ruthless in his film criticism, and it all adds up to a movie for which I had huge expectations. Happily, this utterly charming film fulfilled them all. Definitely one of the best of the year.
Penelope - This fun, visually appealing modern-day fairy tale boasts a terrific cast that includes Christina Ricci, James McAvoy, Reese Witherspoon and Peter Dinklage. Some of it is a bit over-the-top, but on the whole, this tale of a girl with the snout of a pig hits the right notes, particularly as a family film. Its message about the importance of education and independence is a good one, and even the characters who start out antagonistic end up sympathetic.
Secret Life of Bees - Dakota Fanning, on the verge of no longer being a child actress, portrays a young teen desperate to get away from her borderline abusive father and learn something about the mother she accidentally killed years before. With her is a feisty black housekeeper played by Jennifer Hudson. Before long, they come to stay at a home run by three black sisters, from whom the runaway learns a lot about life, love, prejudice and what home ought to feel like. A sweet romance and a powerful performance by Sophie Okonedo and the anchoring serenity of Queen Latifah help make this coming-of-age story a great movie.
Swing Vote - The election was on everybody's mind in 2008, so this was a very timely movie. Kevin Costner stars as a hapless guy who is more or less being raised by his precocious pre-teen daughter, played by Madeline Carroll. I was excited to see her, as she previously played Annie, Ben Linus's childhood best friend on LOST, and I found her pretty likable, albeit a tad self-righteous, in this role. The movie is far-fetched, as it revolves around the idea that due to a voting glitch, the next President of the United States will be determined by this everyman, but it's an interesting concept. While the two candidates and their advisors do their best to win him over, he eventually comes to appreciate what an important task he has. Fun performances, especially by Kelsey Grammer and Stanley Tucci, make this thought-provoking family film even more likable.
Kit Kittredge: An American Girl - Speaking of Tucci, he has a supporting role in this movie as well, along with several other big names, including Joan Cusack and the always-hilarious Wallace Shawn. Abigail Breslin plays the intrepid would-be reporter who seeks a great story to sell to the newspaper. This Depression-era story feels very timely, with enough excitement and plenty of colorful characters to keep children engaged. This was the first American Girl movie to make it to the big screen, and it feels like the sort of wholesome flick that belongs on The Wonderful World of Disney. A winner all around.
Doubt - This quietly unsettling movie is anchored by three powerful performances, with a fourth that packs an incredible whallop despite the actress's short time on screen. Amy Adams is the naive young nun who thinks she may have seen something fishy; Philip Seymour Hoffman is the forward-thinking priest who stands accused. Both are compelling, but most riveting of all is Meryl Streep as the school's formidable principal, a sister who has long suspected the priest of wrongdoing and is determined to bring him down. By the end of the movie, there's still no clear statement of exactly what happened, and viewers are left to contemplate for themselves which person's testimony is the most gripping.
WALL-E - Pixar just keeps cranking out amazing movies, so it's become pretty much guaranteed that each new year will bring a fantastic new computer-animated film, probably during the summer. I'd been looking forward to this one in particular for quite some time, as my brother had shown me a preview the previous year. Given my love of Short Circuit, I immediately took to the little roving robot with the enormous eyes. I wasn't entirely sure what to expect when I went into this one opening night, as the robot of the title was practically the only character I'd seen mentioned. Would there be any humans? How many other robots would we meet? By the time people did show up, I was startled. The second portion of the film is more action-oriented, providing most of the plot momentum for the movie. But the beginning is absolutely gorgeous and devastating at the same time, a slice of near-silent film in which one stoic little piece of machinery collects bits of beauty in a discarded world. It's a darn shame this didn't score a Best Picture nomination.
In Bruges - It's fairly uncommon for me to list R-rated movies among my favorites - and this one earns its rating more than most - but I couldn't help being amused and profoundly moved by this movie about a pair of hit-men taking a very strange holiday together in Belgium. Brendan Gleeson is the gleeful mentor, Colin Farrell the brooding apprentice, Ralph Fiennes the harsh boss who doesn't turn up until late in the movie. There are scenes of explosive violence, and scarcely a sentence goes by without profanity, yet I think the movie's screenplay nomination was well-deserved, and it has stuck with me more than most of the movies I've seen in the past year.
Interestingly, most of my favorite movies of 2008 had a dark element, but most also left me feeling very positive about the resilience of the human spirit. In times of adversity, that's a very encouraging message to find in the theater.
Sunday, August 16, 2009
Lars and the Real Girl Leads a Stellar Pack in 2007
The year 2007 was a very significant one for me in terms of pop culture,
though not so much because of movies. It was in 2007 that I finally was
able to start watching LOST in prime time, and even more notably, it was in 2007 that the final installment of the Harry Potter
series - which I can honestly say was the most highly anticipated book
of my life - hit bookshelves. Nonetheless, 2007 also marked the
year-long return of my friend Dan, an aspiring screenwriter, and he saw
to it that I would be more prepared for the Oscars
in 2008 than I ever had been before. It was also the year my friend
Beth send me a trial subscription to Netflix and got me hooked.
Consequently, I have, to date, seen more than 40 movies that were
released in 2007. It was a good year for movies. These were my ten
favorites.
Music and Lyrics - This one came out on Valentine's Day, and my friend Libbie and I had planned to see it opening day, then head home in time for a joint viewing of LOST, which turned out to be one of the most romantic episodes in the show's history. But a blizzard kept us from doing either, so on the 15th we headed out to see whether this Hugh Grant / Drew Barrymore flick would be as endearing as the commercials suggested. We ended up liking it even better than we'd hoped. It was sweet, funny and romantic. It inspired the aspiring songwriter within me. And Libbie and I still randomly burst into Pop! Goes My Heart sometimes; that cheesy mock-'80s video that starts the film is worth the rental price all by itself.
Bridge to Terabithia - I'd been looking forward to this one for a while, as the book had been a favorite ever since I first read it at the age of ten or so. My cousin and I were so inspired by it that we spent several family get-togethers plotting a theatrical adaptation of it, a project that eventually fell apart when we realized we couldn't really do it justice with only two actors. Thankfully, Walden Media had plenty of actors at its disposal, and all performed admirably. I was a little worried about how faithful this would be to the book, since the previews made it look more like a fantasy epic, but ultimately I was very impressed with the results.
Spider-Man 3 - I saw three "part three" movies in the month of May, all on opening night, as I'd decided that it was my duty as a movie reviewer to see as many blockbusters as I could, as early as possible. Pirates of the Caribbean was fun but convoluted, while Shrek the Third was mostly disappointing, but I found I really liked Spider-Man 3. I think it helped that I was pretty much unfamiliar with the comics; I understand Sam Raimi played fast and loose with canon here. In any case, I got caught up in the humor and adrenaline of the movie, and the enthusiastic audience helped make it one of my most enjoyable opening-night experiences.
Harry Potter and the Order of the Phoenix - The fifth movie was, of course, just an appetizer before the long-awaited meal of the seventh book. Nonetheless, I was excited about it, in part because it was the first film in the franchise I actually managed to see in the theater. While I wish the running time hadn't been quite so slim, I loved the creative use of montages and newspaper headlines to convey a lot of information at once, often in a humorous manner. And the introduction of Luna, possibly my favorite female character in the series, was fantastic.
Hot Fuzz - When I saw a preview for this one, I suspected it would be my kind of movie, at least mostly; I'm not big on violence, but it looked like this murder mystery would keep most of the mayhem off-screen. It was my brother, who'd never heard of the movie before, who wound up seeing it first; he liked it so much he bought it as soon as it came out on DVD, and I watched it with him and spent half the movie doubled over with laughter. Simon Pegg is hilarious as the uptight cop sent to Nowheresville, England because the rest of the London force is getting tired of him one-upping them. But it was Nick Frost who really won me over as his dim-witted, gold-hearted deputy. Definitely a winning team.
Enchanted - The return of the Disney movie musical! This felt like a throwback to the likes of Mary Poppins and Pete's Dragon, not to mention the fully animated princess tales it so joyfully spoofs. Amy Adams is radiant as the naive, sugary-sweet princess yanked from her animated world into the mean streets of New York. The movie really hinges on her performance, as well as the wonderful songs that simultaneously honor and parody Disney classics like Be Our Guest and Whistle While You Work.
Ratatouille - Somehow, I never managed to catch this one in theaters, which surprised me given my great love for Pixar. But my brother Nathan received it for Christmas, so I ended up ringing in the New Year with a rat named Remy. This is a more adult-oriented film than most Pixar flicks; with all the references to fine cuisine and French culture, I wouldn't be surprised if some kids tuned out before the movie was over. Nonetheless, the animation is beautiful, the story is inspiring, and the expertly written and delivered dialogue of Anton Ego is as delicious as the dish he so lovingly describes.
No Country for Old Men - If you'd given me a primer on this movie before it came out and asked me whether I thought I would like it, I'm sure my answer would have been no. I don't know how it is that I failed to have any idea what it was about before I saw it, but when my dad and brother whisked me off to watch it with them, I only knew it had gotten Oscar buzz. I soon discovered why. Yes, it's horribly violent. One of the most violent movies I've ever seen. Yet it's also extremely funny, and brimming with humanity, in large part due to the reflective sheriff so perfectly portrayed by Tommy Lee Jones. I was rooting for this one to get the Best Picture Oscar and was most gratified when it succeeded.
Juno - I didn't see this until my birthday, which is nearly halfway through February; it was one of the last notches on my Oscar readiness belt. Easily the most uplifting of the five Best Picture nominees, this tale of a plucky teen negotiating unexpected pregnancy resulting from a single fling with her endearingly awkward best friend won me over quickly. I loved the clever dialogue, the compassionate relationships, the quirky soundtrack. A cheerful gem of a film.
Lars and the Real Girl - I've listed the rest of my top 10 in the order in which I saw them, but I'm stepping out of order for this one, which I never would have seen if Dan hadn't dragged Libbie and me to the theater with him. I'd read a blurb in Entertainment Weekly, but it left me with the impression that this was some sort of raunchy futuristic comedy, and I wasn't exactly reeled in. So imagine my surprise when I found myself unable to stop smiling practically from the moment the movie started! This gentle, Capra-esque film about a socially inept, emotionally damaged young man who learns to interact with the world with some help from a life-size doll and an understanding community is one of the funniest, most tender films I've ever watched. While it's hard to begrudge Diablo Cody's win with Juno, I really would have loved to see this one take home top honors for its unique, life-affirming screenplay.
A good year for movies, to be sure. I recommend them all. But most of all, I recommend Lars and the Real Girl, which didn't get nearly enough attention. For me, it was the sweetest movie surprise of the year.
Music and Lyrics - This one came out on Valentine's Day, and my friend Libbie and I had planned to see it opening day, then head home in time for a joint viewing of LOST, which turned out to be one of the most romantic episodes in the show's history. But a blizzard kept us from doing either, so on the 15th we headed out to see whether this Hugh Grant / Drew Barrymore flick would be as endearing as the commercials suggested. We ended up liking it even better than we'd hoped. It was sweet, funny and romantic. It inspired the aspiring songwriter within me. And Libbie and I still randomly burst into Pop! Goes My Heart sometimes; that cheesy mock-'80s video that starts the film is worth the rental price all by itself.
Bridge to Terabithia - I'd been looking forward to this one for a while, as the book had been a favorite ever since I first read it at the age of ten or so. My cousin and I were so inspired by it that we spent several family get-togethers plotting a theatrical adaptation of it, a project that eventually fell apart when we realized we couldn't really do it justice with only two actors. Thankfully, Walden Media had plenty of actors at its disposal, and all performed admirably. I was a little worried about how faithful this would be to the book, since the previews made it look more like a fantasy epic, but ultimately I was very impressed with the results.
Spider-Man 3 - I saw three "part three" movies in the month of May, all on opening night, as I'd decided that it was my duty as a movie reviewer to see as many blockbusters as I could, as early as possible. Pirates of the Caribbean was fun but convoluted, while Shrek the Third was mostly disappointing, but I found I really liked Spider-Man 3. I think it helped that I was pretty much unfamiliar with the comics; I understand Sam Raimi played fast and loose with canon here. In any case, I got caught up in the humor and adrenaline of the movie, and the enthusiastic audience helped make it one of my most enjoyable opening-night experiences.
Harry Potter and the Order of the Phoenix - The fifth movie was, of course, just an appetizer before the long-awaited meal of the seventh book. Nonetheless, I was excited about it, in part because it was the first film in the franchise I actually managed to see in the theater. While I wish the running time hadn't been quite so slim, I loved the creative use of montages and newspaper headlines to convey a lot of information at once, often in a humorous manner. And the introduction of Luna, possibly my favorite female character in the series, was fantastic.
Hot Fuzz - When I saw a preview for this one, I suspected it would be my kind of movie, at least mostly; I'm not big on violence, but it looked like this murder mystery would keep most of the mayhem off-screen. It was my brother, who'd never heard of the movie before, who wound up seeing it first; he liked it so much he bought it as soon as it came out on DVD, and I watched it with him and spent half the movie doubled over with laughter. Simon Pegg is hilarious as the uptight cop sent to Nowheresville, England because the rest of the London force is getting tired of him one-upping them. But it was Nick Frost who really won me over as his dim-witted, gold-hearted deputy. Definitely a winning team.
Enchanted - The return of the Disney movie musical! This felt like a throwback to the likes of Mary Poppins and Pete's Dragon, not to mention the fully animated princess tales it so joyfully spoofs. Amy Adams is radiant as the naive, sugary-sweet princess yanked from her animated world into the mean streets of New York. The movie really hinges on her performance, as well as the wonderful songs that simultaneously honor and parody Disney classics like Be Our Guest and Whistle While You Work.
Ratatouille - Somehow, I never managed to catch this one in theaters, which surprised me given my great love for Pixar. But my brother Nathan received it for Christmas, so I ended up ringing in the New Year with a rat named Remy. This is a more adult-oriented film than most Pixar flicks; with all the references to fine cuisine and French culture, I wouldn't be surprised if some kids tuned out before the movie was over. Nonetheless, the animation is beautiful, the story is inspiring, and the expertly written and delivered dialogue of Anton Ego is as delicious as the dish he so lovingly describes.
No Country for Old Men - If you'd given me a primer on this movie before it came out and asked me whether I thought I would like it, I'm sure my answer would have been no. I don't know how it is that I failed to have any idea what it was about before I saw it, but when my dad and brother whisked me off to watch it with them, I only knew it had gotten Oscar buzz. I soon discovered why. Yes, it's horribly violent. One of the most violent movies I've ever seen. Yet it's also extremely funny, and brimming with humanity, in large part due to the reflective sheriff so perfectly portrayed by Tommy Lee Jones. I was rooting for this one to get the Best Picture Oscar and was most gratified when it succeeded.
Juno - I didn't see this until my birthday, which is nearly halfway through February; it was one of the last notches on my Oscar readiness belt. Easily the most uplifting of the five Best Picture nominees, this tale of a plucky teen negotiating unexpected pregnancy resulting from a single fling with her endearingly awkward best friend won me over quickly. I loved the clever dialogue, the compassionate relationships, the quirky soundtrack. A cheerful gem of a film.
Lars and the Real Girl - I've listed the rest of my top 10 in the order in which I saw them, but I'm stepping out of order for this one, which I never would have seen if Dan hadn't dragged Libbie and me to the theater with him. I'd read a blurb in Entertainment Weekly, but it left me with the impression that this was some sort of raunchy futuristic comedy, and I wasn't exactly reeled in. So imagine my surprise when I found myself unable to stop smiling practically from the moment the movie started! This gentle, Capra-esque film about a socially inept, emotionally damaged young man who learns to interact with the world with some help from a life-size doll and an understanding community is one of the funniest, most tender films I've ever watched. While it's hard to begrudge Diablo Cody's win with Juno, I really would have loved to see this one take home top honors for its unique, life-affirming screenplay.
A good year for movies, to be sure. I recommend them all. But most of all, I recommend Lars and the Real Girl, which didn't get nearly enough attention. For me, it was the sweetest movie surprise of the year.
Wednesday, January 7, 2009
Unsettling Doubt Encourages Self-Examination
During my family's Christmas travels, we watched Mamma Mia!,
which stars Meryl Streep as the free-spirited but world-weary mother of
a young bride-to-be. With that singing, dancing, emotional Streep fresh
in our minds, it was jarring to observe her in Doubt, the film
version of the acclaimed play adapted and directed by playwright John
Patrick Shanley. In this unsettling movie, she portrays Sister Aloysius,
the principal of a Catholic grade school in 1964. From our first
glimpse of her, dressed in a restrictive habit recalling the Puritans
and peering severely down at unruly students through small spectacles,
she seems the perfect picture of the stereotypical oppressive elementary
school nun. The pupils in her charge fear her, straightening up and
ceasing their chatter at the sight of her. She is a force to be reckoned
with.
While Streep makes the most striking figure in the film, equally important are Amy Adams as innocent, altruistic Sister James, who seems to be at least a generation younger than any of the church's other sisters, and Philip Seymour Hoffman as Father Flynn, an eloquent, charismatic preacher who may or may not be guilty of inappropriate contact with a vulnerable youngster. The boy in question is Donald (Joseph Foster), the school's first African-American student. He is shy and lonely, and Father Flynn appears to serve as his protector and confidante, a stabilizing force in a tumultuous environment. But when Sister James witnesses something that sets off alarms in her mind, Sister Aloysius seizes upon it and becomes determined to bring down this man who she fervently believes is a threat to her students' well-being.
Doubt is expertly written in such a way that audience members can legitimately draw one of two opposing conclusions. Perhaps Father Flynn is an innocent man whose hands-on approach and progressive ideas are distasteful to the conservative Sister Aloysius. While it's clear that she truly believes he is guilty, one wonders to what extent that opinion is formed by her own prejudices. On the other hand, he might be a pedophile with a history of victimizing children, making the principal's efforts laudable. Certainly there is evidence to suggest that this is a possibility, but the movie does not offer a definitive answer. Ultimately, whether you walk away from the film thinking he's guilty or innocent (or, like me, are equally torn between the two), it says as much about your personality and opinions as it does about the movie.
Each of the three leads does exceptional work. My favorite of the characters, and probably the one with whom we are meant to identify most, is wide-eyed, sweet-natured Sister James, who is torn between wanting to believe the best of people and desiring the welfare of her pupils. In her delicate performance, this conflict plays out strikingly. Hoffman plays his character as likable most of the time, having an easy rapport with students, cracking jokes and offering comfort. But as Sister Aloysius pursues his resignation, he grows increasingly agitated, to the point of explosive anger that could as easily be the result of frustration at false accusations as fear that a dark secret will be exposed. Streep's stern sister remains calm and cool in most scenes, but when her vulnerabilities seep through her steely demeanor, they threaten to unhinge her, particularly in her searing final lines. Her Puritanical garb accentuates the impression that she is on a witch hunt of sorts. Also compelling is Viola Davis as Donald's protective mother, who shares a powerful scene with Sister Aloysius midway through the movie.
The movie takes place at Christmastime, so the contrast between the warmth of joyful celebration within the church walls and the barren chill outside reflects the film's central struggle. Cinematographer Roger Deakins, who so hauntingly captured the bleak landscape of No Country For Old Men, is especially effective in showcasing windblown objects such as the once-vibrant leaves that echo the conflicted Sister James' loss of naivety. He makes frequent use of odd camera angles, giving us many close-ups and often tilting the camera so that the world we are watching feels topsy-turvy. It's a disorienting but very effective technique.
Doubt is not without its moments of levity, and the "thematic material" for which it is rated PG-13 is never addressed in any coarse detail. There's almost no objectionable language, and the presence of children in many of the scenes might be enough to sustain the interest of some youngsters. Still, this is definitely a film aimed primarily at adults, and it seeks to explore the nature of truth and the power of accusation. In its acknowledgment of uncertainty as an element of the human condition which it may not be possible or even healthy to deny, it encourages thoughtful self-examination and a possible admission that we, in the troubled words of one character, "have such doubts."
While Streep makes the most striking figure in the film, equally important are Amy Adams as innocent, altruistic Sister James, who seems to be at least a generation younger than any of the church's other sisters, and Philip Seymour Hoffman as Father Flynn, an eloquent, charismatic preacher who may or may not be guilty of inappropriate contact with a vulnerable youngster. The boy in question is Donald (Joseph Foster), the school's first African-American student. He is shy and lonely, and Father Flynn appears to serve as his protector and confidante, a stabilizing force in a tumultuous environment. But when Sister James witnesses something that sets off alarms in her mind, Sister Aloysius seizes upon it and becomes determined to bring down this man who she fervently believes is a threat to her students' well-being.
Doubt is expertly written in such a way that audience members can legitimately draw one of two opposing conclusions. Perhaps Father Flynn is an innocent man whose hands-on approach and progressive ideas are distasteful to the conservative Sister Aloysius. While it's clear that she truly believes he is guilty, one wonders to what extent that opinion is formed by her own prejudices. On the other hand, he might be a pedophile with a history of victimizing children, making the principal's efforts laudable. Certainly there is evidence to suggest that this is a possibility, but the movie does not offer a definitive answer. Ultimately, whether you walk away from the film thinking he's guilty or innocent (or, like me, are equally torn between the two), it says as much about your personality and opinions as it does about the movie.
Each of the three leads does exceptional work. My favorite of the characters, and probably the one with whom we are meant to identify most, is wide-eyed, sweet-natured Sister James, who is torn between wanting to believe the best of people and desiring the welfare of her pupils. In her delicate performance, this conflict plays out strikingly. Hoffman plays his character as likable most of the time, having an easy rapport with students, cracking jokes and offering comfort. But as Sister Aloysius pursues his resignation, he grows increasingly agitated, to the point of explosive anger that could as easily be the result of frustration at false accusations as fear that a dark secret will be exposed. Streep's stern sister remains calm and cool in most scenes, but when her vulnerabilities seep through her steely demeanor, they threaten to unhinge her, particularly in her searing final lines. Her Puritanical garb accentuates the impression that she is on a witch hunt of sorts. Also compelling is Viola Davis as Donald's protective mother, who shares a powerful scene with Sister Aloysius midway through the movie.
The movie takes place at Christmastime, so the contrast between the warmth of joyful celebration within the church walls and the barren chill outside reflects the film's central struggle. Cinematographer Roger Deakins, who so hauntingly captured the bleak landscape of No Country For Old Men, is especially effective in showcasing windblown objects such as the once-vibrant leaves that echo the conflicted Sister James' loss of naivety. He makes frequent use of odd camera angles, giving us many close-ups and often tilting the camera so that the world we are watching feels topsy-turvy. It's a disorienting but very effective technique.
Doubt is not without its moments of levity, and the "thematic material" for which it is rated PG-13 is never addressed in any coarse detail. There's almost no objectionable language, and the presence of children in many of the scenes might be enough to sustain the interest of some youngsters. Still, this is definitely a film aimed primarily at adults, and it seeks to explore the nature of truth and the power of accusation. In its acknowledgment of uncertainty as an element of the human condition which it may not be possible or even healthy to deny, it encourages thoughtful self-examination and a possible admission that we, in the troubled words of one character, "have such doubts."
Wednesday, January 26, 2005
DiCaprio Resurfaces as Con Man Extraordinaire
Poor Leonardo DiCaprio. It must be hard to go from the most popular guy
in Hollywood to the laughingstock is just months. Leo was a victim of
his own success, grinning out from king-size posters, whispering
fervently on that annoyingly spoilerific radio version of My Heart Will Go On
(which must have played about once an hour) and appearing in various
forms in the lockers and notebooks of millions of teenage girls across
the country. It was overkill, and for a while I wondered whether we’d
ever see him again. He seemed to drop almost entirely out of view. Then I
saw Catch Me If You Can.
It’s five or so years later, and Leo once again is cast as a teenager, just 15 at the earliest point in this movie’s chronology. The teen in question is Frank Abagnale, Jr., a sweet-natured kid who turns con man in order to evade the responsibility of choosing which parent to live with after their divorce. Once his ingenious schemes begin and he starts to make money, he becomes determined to earn enough to replace everything they lost when his father (Christopher Walken), a bit of a con man himself, got caught and had his assets seized.
I can’t help but be reminded a bit of Huck Finn with Frank Abagnale, even though the circumstances are entirely different. Both are kids who are absolutely brilliant when it comes to pulling off highly improbable schemes. Moreover, both start running because of their fathers, though Huck hates his Dad and Frank adores his. At any rate, there’s something very appealing about this young man. He’s very likable, and nothing he does has malicious intent. When Frank begs Carl Hanratty (Tom Hanks), the agent who has been chasing him, to call a truce, we wish he could just give up the game with no consequences.
DiCaprio does a fantastic job as Frank, giving us just the right combination of sweetheart and wise guy. It’s come to the point at which it seems silly to even entertain the suggestion that Tom Hanks could be lousy in a movie. His performance, complete with a heavy New York accent, certainly measures up to DiCaprio’s. While Hanratty is a bit harsher than most of the characters we are used to seeing Hanks play – as demonstrated in an amusing scene that may have been what earned the film its PG-13 rating – he is really a decent guy, and it becomes evident that as aggravated as he is by the fact that Frank keeps slipping through his fingers, he has come to care about the teenager.
Walken turns in a rather haunting performance as Frank Sr. We get the sense that his son is succeeding where his father failed. His father is proud and perhaps a bit jealous as well, and he doesn’t see surrender as a viable option. His son has the Feds on the run; that should be enough to make him happy. Amy Adams turns in a sweet performance as insecure Brenda Strong, a candy-striper to whom Frank becomes very attached during his tenure as a doctor. When she brings him home to meet her parents, he has to reckon with her father (Martin Sheen), who seems intimidating at first but turns out to be a big softie. I really enjoyed his scenes with this family and, as a Lutheran, found their devotion to that denomination charming.
There’s something vaguely campy about the style of this movie. It’s a drama, but it has almost equal parts comedy. As Frank runs the gamut of impersonations – substitute teacher, airline pilot, doctor, lawyer – he relies as much on his charisma as his impressive check-forging skills. There are many scenes demonstrating his remarkable quick thinking, and these are generally the most riotous in the film. His first encounter with Hanratty is especially hilarious.
Catch Me If You Can is a fun movie with a largely happy ending. Like The Terminal, it’s light-hearted enough that it probably won’t go down as a milestone in the careers of its main participants. But it’s an enjoyable couple of hours with little objectionable content, and it was what convinced me that DiCaprio’s career is far from over. Catch yourself watching Catch Me If You Can.
It’s five or so years later, and Leo once again is cast as a teenager, just 15 at the earliest point in this movie’s chronology. The teen in question is Frank Abagnale, Jr., a sweet-natured kid who turns con man in order to evade the responsibility of choosing which parent to live with after their divorce. Once his ingenious schemes begin and he starts to make money, he becomes determined to earn enough to replace everything they lost when his father (Christopher Walken), a bit of a con man himself, got caught and had his assets seized.
I can’t help but be reminded a bit of Huck Finn with Frank Abagnale, even though the circumstances are entirely different. Both are kids who are absolutely brilliant when it comes to pulling off highly improbable schemes. Moreover, both start running because of their fathers, though Huck hates his Dad and Frank adores his. At any rate, there’s something very appealing about this young man. He’s very likable, and nothing he does has malicious intent. When Frank begs Carl Hanratty (Tom Hanks), the agent who has been chasing him, to call a truce, we wish he could just give up the game with no consequences.
DiCaprio does a fantastic job as Frank, giving us just the right combination of sweetheart and wise guy. It’s come to the point at which it seems silly to even entertain the suggestion that Tom Hanks could be lousy in a movie. His performance, complete with a heavy New York accent, certainly measures up to DiCaprio’s. While Hanratty is a bit harsher than most of the characters we are used to seeing Hanks play – as demonstrated in an amusing scene that may have been what earned the film its PG-13 rating – he is really a decent guy, and it becomes evident that as aggravated as he is by the fact that Frank keeps slipping through his fingers, he has come to care about the teenager.
Walken turns in a rather haunting performance as Frank Sr. We get the sense that his son is succeeding where his father failed. His father is proud and perhaps a bit jealous as well, and he doesn’t see surrender as a viable option. His son has the Feds on the run; that should be enough to make him happy. Amy Adams turns in a sweet performance as insecure Brenda Strong, a candy-striper to whom Frank becomes very attached during his tenure as a doctor. When she brings him home to meet her parents, he has to reckon with her father (Martin Sheen), who seems intimidating at first but turns out to be a big softie. I really enjoyed his scenes with this family and, as a Lutheran, found their devotion to that denomination charming.
There’s something vaguely campy about the style of this movie. It’s a drama, but it has almost equal parts comedy. As Frank runs the gamut of impersonations – substitute teacher, airline pilot, doctor, lawyer – he relies as much on his charisma as his impressive check-forging skills. There are many scenes demonstrating his remarkable quick thinking, and these are generally the most riotous in the film. His first encounter with Hanratty is especially hilarious.
Catch Me If You Can is a fun movie with a largely happy ending. Like The Terminal, it’s light-hearted enough that it probably won’t go down as a milestone in the careers of its main participants. But it’s an enjoyable couple of hours with little objectionable content, and it was what convinced me that DiCaprio’s career is far from over. Catch yourself watching Catch Me If You Can.
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