Café Society

'Cafe Society' movie poster

Release: Friday, July 15, 2016 (limited)

[Theater]

Written by: Woody Allen

Directed by: Woody Allen

I think I’ve cashed in the last of my goodwill towards all things Woody Allen by checking out Café Society, yet another movie about New York, being Jewish and being young, dumb and hopelessly lovesick. The weight of Allen’s neuroticism has become crushing in the present tense. The novelty of his vaguely pervy sentimentality wore off years ago, and while we may find ourselves surrounded by familiar scenery here, the days of Manhattan and Annie Hall have all but disappeared in the rearview.

It’s not that I have ignored that unwritten rule of avoiding a film you know you’re not going to like from the word ‘go;’ I have for the most part enjoyed spending time in Allen’s hyper-self-conscious little fantasies but it’s apparent now that fantasy is all the man is and will ever be about, be it his directorial touch or his shady real-life persona. Semantics, really. Some just leave it at ‘pervert’ or ‘creep’ and if I ended up feeling uncomfortable for Kristen Stewart that must mean I agree to some extent with those labels as well. I mean, it’s Kristen Stewart.

I am, however, disappointed I ignored a personal rule: Stay away from anything Woody Allen that looks suspect, regardless of whom he has talked into working with him. The problem with Café Society isn’t one of objective quality. The film is stunning to behold, set in two of America’s most famous cities and lensed with a certain verve you’d be hard-pressed to find elsewhere. Vittorio Storaro’s seductive soft focus and brilliant color palette perpetuate Allen’s love for The Big Apple and the effervescent glow makes Los Angeles look like a place we would all like to live someday. That’s an impressive feat.

The cast is equally effective in seducing: beyond the gimmick of casting Adventureland‘s stoned-in-love Jesse Eisenberg and the aforementioned Stewart, we get a stuffy Steve Carell as an obnoxious L.A. agent named Phil Stern. He so happens to be the uncle of Bobby Dorfman (Eisenberg) who is looking to get his foot in the door in 1930s Hollywood. Corey Stoll plays Bobby’s brother Ben, a New York gangster with an affinity for burying his enemies in fresh concrete (that’s actually pretty funny). Blake Lively is lovely as Veronica, Bobby’s bride-to-be, while Ken Stott and Jeannie Berlin revel in their roles as the quintessentially bickering, old-country Jewish couple. Oy vey, they’re so cliché.

There’s little to complain about when it comes to the film’s technical aspects. Instead Café Society‘s simple themes — finding a partner who will complement you in every aspect of life; being unable to escape your past — suffers from having lived a life thrice. There’s nothing to experience here that you haven’t in countless entries into Allen’s extensive filmography, which is to say that we have probably seen this movie in various incarnations no fewer than 20 times. No filmmaker can be that prolific and that consistently groundbreaking. Not even visionaries like Georges Méliès, who belongs to that oh-so-prestigious club of directors with 200+ titles to their name.

I know, I know. It’s a little extreme to be associating a pioneer like Méliès with someone like Allen but bear with me. The point is, his harping on budding romance has become passé and his creative funk continues in this latest excuse to pad a résumé. Eisenberg is a fresh-faced youngster in Hollywood who has taken up an off-the-cuff offer from his uncle to do odd jobs for him in exchange for the opportunity to make valuable connections. Along the way he falls for the cute secretary, Vonnie (Stewart) and is smitten by her lack of pretense. Trouble is, she’s currently seeing another, much older man and things are both serious and seriously complicated.

Heartbroken and disillusioned, he heads back to New York where he helps his older thug brother run a high-class nightclub that attracts many a wealthy douchebag politician and various nameless sycophants. It is here Bobby is introduced to Lively’s Veronica, with whom he casually jokes about having the same name as his ex. Well, joking is a strong word in a Woody Allen movie. It’s more like, he lusts after her because of the similarity. They soon marry and even have a child. But is life with Veronica (Vonnie 2.0) everything Bobby wants? The past comes back to haunt him when Vonnie 1.0 stumbles into his club one random evening. Of all the night clubs on all the city blocks in Manhattan, why did she have to choose this one?

Very little of Café Society feels like it’s designed to burrow in the longterm memory.  This is particularly offensive when we’ve had stronger characters and more compelling plot lines to follow in Allen’s back catalogue alone. Modern Allen is a flaccid Allen. He seems to get off on repeating himself. ‘Café Society’ is both a term used to describe the crowds that gather at various trendy clubs as well as the name of a specific club started up by Barney Josephson in 1938 in the New York neighborhood of Greenwich Village, today infamous for being one of the most expensive places to live in the States.

There’s one other theme apparent, an age-old lamenting over how people change over time. I can’t get into the nitty-gritty of that without ruining the movie for those still waiting to take this all in, but suffice it to say I find that talking point ironic. The more things change the more they stay the same. It’s certainly true of a director who mistakes quantity for quality. There’s very little romantic about doing the same things over and over again for decades.

Kristen Stewart and Steve Carell in 'Cafe Society'

Recommendation: Tedious fluff piece. Café Society represents more of the same from Woody Allen: annoying characters complaining about their love lives all while trying to find an inspiration for changing themselves for the better. I can’t say this movie is generic but it probably will be for those who have an appreciation for earlier Allen. Jesse Eisenberg and Kristen Stewart prove they do have good chemistry together though, so at least there is that. And the movie is an absolute delight from a visual standpoint. 

Rated: PG-13

Running Time: 96 mins.

Quoted: “Life is a comedy written by a sadistic comedy director.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: http://www.impawards.com; http://www.imdb.com

The Shallows

'The Shallows' movie poster

Release: Friday, June 24, 2016

[Theater]

Written by: Anthony Jaswinski

Directed by: Jaume Collet-Serra 

Blake Lively vs. Huge Shark: The Movie is a pretty sweet little thriller, a self-contained enterprise that seeks to unnerve rather than terrify by tapping into human’s innate fear of deepwater-dwelling beasts like great whites (not to mention horrifyingly large jellyfish).

Jaume Collet-Serra’s tropical-set horror/thriller is a refreshingly slight film set adrift in a sea of complex, bombastic . . . well, I’m not gonna name names or genres but we all know where I’m going with this. The premise is simple, the cast is engaged and the cinematography transports us to ‘Paradise’ with Lively’s big-wave-seeking, medical-school-abandoning Nancy Adams who has been having a rough time since the passing of her mother. Nancy has seemingly inherited her mom’s love for surfing as she finds herself now on the sands of a secluded, nameless cove — apparently the very place her mom claimed as her favorite surf spot.

This really is Lively’s movie — okay, and the shark’s, yes how could I forget — because her interactions with others, including the local with whom she hitches a ride to the beach, are limited to a flurry of brief exchanges, most of which are designed to prove that Nancy doesn’t speak very good Spanish and the locals don’t speak good English. That particular communication barrier doesn’t really matter because no one speaks Shark and that’ll come in handy more than anything later.

The Shallows is indeed an intimate experience, reminiscent of Danny Boyle’s 2011 survival drama 127 Hours at least when it comes to the harrowing quasi-first person perspective. Serra’s vision is certainly fun and exciting, but it hardly effects the emotional and psychological involvement Boyle did when James Franco decided to throw down the performance of a lifetime. In fact, in spirit this shares more in common with the personal trials we endure with Reese Witherspoon as she attempts to reconnect with herself and her family by embarking on a bold solo hike in Wild.

As Cheryl Strayed, Witherspoon’s performance was informed by a mixture of guilt and bitterness as she continued along her journey, strong emotions that only fueled her to keep going. Lively’s Nancy isn’t so much bitter as she is guilt-ridden and still at a loss for words when it comes to talking about the past. We see it in the brief glimpses we get of her sister and father via FaceTime on her phone prior to her hitting the waves. She can barely hold a conversation with her father because the conversation about why she decided to drop out of med school inevitably surfaces.

It’s probably not worth delving into character development at any great depth since that’s pretty much the extent of it. Suffice it to say there’s enough here to actually make us feel something when Nancy finds herself, ironically much like Aron Ralston, stuck between (or in this case on) a rock and a hard place when the shark’s aggressive circling pins her to a small outcrop of rock that appears at low tide. She’s only 200 yards from shore but the shark is much too fast for that to be viable option. There’s a small metallic buoy about 15 yards from the rock she could swim to when high tide reclaims the rock.

Can Nancy out-smart her toothy predator?

Boobs. We’d love to find out the answer if the cameras weren’t constantly fixated on ogling Lively’s lovely beach bod. I had a lot of fun with The Shallows — the increasingly versatile Lively is certainly committed to the material and the movie looks glorious — but some part of me can’t shake the feeling this was kind of a pervy shoot. And that is a thought that somewhat diminishes the enjoyment I got out of a film that was never meant to be taken seriously.

blake lively in 'The Shallows'

Recommendation: More Deep Blue Sea than it is JawsThe Shallows manifests as a silly but ultimately fun bit of summer escapism, one shot confidently enough to ensure those who have a mortal fear of beaches will never go near one again. 

Rated: PG-13

Running Time: 87 mins.

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com

The Age of Adaline

age-of-adaline-poster

Release: Friday, April 24, 2015

[Theater]

Written by: J. Mills Goodloe; Salvador Paskowitz

Directed by: Lee Toland Krieger

I’m a sucker for romance done right. Call me old-fashioned, laugh at my sentimentality, but The Age of Adaline fits the description, bookmarking itself as one of the first true surprises of the year.

At first glance Lee Toland Krieger’s premise promises not much beyond a good-looking actress adorned by a thick coat of hokum. Adaline Bowman (Blake Lively), who survives a most unusual car accident and is rendered unable to age beyond 29 — because, lightning and ice cold water and stuff — discovers that perpetual youth is indeed a curse. Doomed to look beautiful for the rest of her days (woe as her), there actually are practical considerations, and thanks to solid writing and terrific performances, such complications garner our sympathy.

Not only will Adaline be unable to maintain a relationship with anyone as no one is likely to share her gift of presumed immortality, but she fears that her condition will make her a target of scientific experiments. It’s a fear that’s not unfounded as one evening she is forced into a car by FBI agents that she manages to escape from quickly. From here on out she vows to take her life on the road, avoiding commitment to others and even her own identify for longer than a decade. Oh, ageless Adaline, I feel like there ought to be a song dedicated to your predicament.

Or at least your wardrobe.

A valid argument could be made in dismissing all of this as an excuse to dress up the star in a variety of get-ups dating back to the early days of the 20th Century. Seriously, the woman evolves from flapper fashionista to ’50s bombshell, perpetually enticing the camera to her stunning natural beauty revitalized by costume designer Angus Strathie’s exquisite sense of style and time. Vanity would be a legitimate complaint if this were all Krieger et al cared about, but glamour belies their calculated, collective effort.

At the heart of the film is a sublime performance from Lively who effortlessly exudes charm and loneliness. Her ability to transcend time may be due in part to the work done behind the curtains but she is equally responsible for convincing us Adaline is a woman shackled by circumstances rather than liberated by them. When she meets a dapper gentleman named Ellis Jones (Michael Huisman) at a New Year’s party Adaline rejects his many advances with a nonchalance only a woman on her way to gaining 107 years’ worth of life experience can afford. It’s one in a series of moments where Lively’s having fun with the role is palpable.

Heisman introduces a vulnerability to a story that perhaps doesn’t need any more. And despite herself, Adaline can’t help but be drawn to his genuineness. There is of course an air of predictability and sentimentality to the developments but that doesn’t detract from the overriding sense of relief we feel. Added to the supporting cast we are treated to another limited albeit touching Ellen Burstyn performance as Adaline’s daughter; Harrison Ford chimes in with a pivotal role late in the third act, giving The Age of Adaline a needed dose of gravitas. In a period where the film was starting to run out of steam, the unification feels less natural as it does necessary, but even still the moment serves as a testament to how deeply empathetic this cast, these characters are.

At the risk of sensationalizing my experience, The Age of Adaline compares favorably to the likes of David Fincher’s The Curious Case of Benjamin Button. In that way, both films absorb through the virtue of their length, more so the latter than the former; disarming in their lead performances (though, again, Brad Pitt perhaps being more the heartbreaker not just because of his looks); both films transporting audiences to times we can now only visit in cinema or for some in their memories. The Age of Adaline won’t be an Oscar contender for much outside its costume design and if it’s lucky a nod to production design, but that’s no small feat for a film hailing from a genre that time and again fails to produce something as rich and rewarding as Krieger’s multiple-period piece.

blake-lively-michael-huisman-kathy-baker-and-harrison-ford-in-the-age-of-adaline

3-5Recommendation: Blake Lively turns in her best work to date in the titular role of Adaline Bowman. This is a character and a performer who is difficult not to like, even despite Lively’s past role choices being. . .eh. . .less than stellar. In fact the only thing I can personally recall enjoying her in was 2006’s Accepted. That’s a film far removed from this in terms of enjoyment and maturity. It’s nice to see her rise to the occasion. And as far as romantic dramas go, you can do so much worse than the admittedly schmaltzy and scientifically questionable The Age of Adaline. A very nice surprise.

Rated: PG-13

Running Time: 112 mins.

Quoted: “Let go.” 

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com 

TBT: Accepted (2006)

new-tbt-logo

Well today, I went from this to that, and that to this and that to that and finally from this to this. It’s been a struggle. While all this dilly-dallying is going on, there are kids going back to school. Or college students preparing to do so. For those people I spare no sympathies because I too was once there. I was once lugging around unreasonably weighty backpacks filled with textbooks I barely cracked all semester. I was once a freshman, riddled with pimples (ew). I was once a senior slowly but surely accepting that all of this — this façade that had come to define who I was for this part of my life — was no longer my reality. Here’s a throwback that actually still manages to recall some of those feelings. This isn’t by any means a technically accomplished movie, but it’s still 

Today’s food for thought: Accepted.

key_art_accepted

Release: August 18, 2006

[DVD]

Ladies and gentlemen, meet Bartleby “B” Gaines (Justin Long), a high school graduate falling perilously short of not only his own standards of who he ought to be (or — and how’s this for nursing those cliché withdrawals — who he is destined to become) but those of his parents as well. Bartleby is kind of falling behind as compared to his graduating classmates, and it probably doesn’t help much that he’s named Bartleby.

With frustration and pressure mounting — his parents nagging him at every second, begging and imploring him to get into a “good school” (as all loving and devoted parents ought) and his miss Smarty Pants sister egging on his fears about never getting into college — B finds very little comfort in the fact his other friends are off on a good foot, many of them getting into the first college they applied to. Left in the dust, B comes up with an off-the-cuff plan to establish a fictitious school, one in which walk-ins can sign up for any class as if it were a public health clinic. Classes they so desire in order to set foot on a path that is uniquely their own, and one constructed for their own individual brands of success. How quaint!

That Accepted is plastered with sentimentality and dick jokes — a really weird mix, bro (kind of like vodka and cat food. . .trust me, don’t try it at home) — won’t surprise anyone who happens upon the title and then chooses to embrace its contents. Everything about the process of Bartleby accruing a group of unlikelies for a common cause screams cliched and unoriginal. And that’s precisely what this is. But we aren’t meant to use our heads for this hysterical interpretation of the drafting of high schoolers into institutions of higher education. We’re meant to sit back, laugh and enjoy time going by. That’s a task made easier by certain presences in this film, in particular Lewis Black. And a task also made more difficult by director Steve Pink’s incredibly low ambitions. What could have been a film devoted to revealing the painful truth about the realities of colleges accepting more applications than they have spaces to fill, instead devolves into a raunch-fest filled with overhyped sex, drugs and rock-and-roll jokes.

I wish I were just being cute with that last line. Unfortunately all three of those boxes get ticked with no degree of shame, with a Steve Buscemi-look-a-like fulfilling the rock-star student quota (random). Accepted is a terribly lazy movie, a rehash of several other similar films whose perception of the world may not be any more healthy but are certainly more well formed than this. For the very definition of contrived is now spelt S.H.I.T. (South Harmon Institute of Technology, the fictitious community college B drafts up in an effort to show his parents he is actually attending school and not just. . .yeah, making them up off the top of his head).

Accepted gets high off of making a mockery of the college application process. It features a group of mis-fits — they are unsympathetic in this way as none of our central characters are particularly charming or even likable —  that includes Long’s “B;” (chubby) Jonah Hill’s Sherman Shrader; Maria Thayer’s Rory Thayer (hey, she used her last name!); Columbus Short’s ‘Hands’ (which isn’t nearly as perverse as it may sound); and of course, the token stoner dude, Glen (Adam Herschmann). . . who is conceived of as the dumbest person possibly on this campus. What is his major malfunction? Inhaling too many pot leaves, apparently.

This is a comedy that caters to the lowest-common IQ level and has no qualms with sticking it to ‘the man.’ The man in this case, being whoever decided that four-year degrees are the only ones worth pursuing. Steve Pink actually wisely selected Lewis Black as the mouthpiece for this particular viewpoint. His character, Ben Lewis (who happens to be Shrader’s uncle) can’t help but let his mouth overflow geyser-esque on the subject of educating America’s youth today. He always has an opinion and always has to share it loudly with the rest of us. I’m game for that, but not for the fact that no one seems to take notice of his impassioned gimmickry. Every note that Black hits is loud, but rings false. He couldn’t give a shit either. The script dictates that he should at least try.

Yeah, I can’t (and won’t) be the judge here, despite how much this movie annoys me. Extending one’s own educational background, be it for an extra semester or the pursuit of another doctoral degree, is a noble investment of one’s personal time and the film’s core message highlights the importance of staying in school and improving upon one’s self.

That’s good. That’s actually healthy. Unfortunately what Steve Pink et al chooses to do with his material is not. Rather than portraying a rather mature landscape of alternative-education avenues, his film marginalizes the individual seeking an alternative scholastic path as someone who must have something inherently wrong with them. On top of this film being an amateur production, I disagree with this film on principle. It sends all the wrong kinds of messages and for that reason, this film is bothersome.

Film Title: Accepted

“Oh man, something stinks!” (Yeah, it’s the script!)

2-5Recommendation: Don’t watch this film unless in the mood for some inane comedy, comedy that works much better in other more fully-developed films of the same ilk. 

Rated: R

Running Time: 93 mins.

Quoted: “. . .I got fired for making a shrimp slushy.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.imdb.com