Writer/director/producer Sarah Polley must love the shot of Michelle… MoreWriter/director/producer Sarah Polley must love the shot of Michelle Williams riding the indoor amusement park ride the Scrabbler. With its romantic sparkling lights and way it gradually pushes two people together it is kind of a nice visualization for the themes of the film. Michelle Williams as Margot also rides it alone as a woman who struggles between her fidelity for her husband and her passion for a new attractive neighbor. In an effect similar to the Scrabbler shots a lengthy montage of the life of the new affair is shot continuously circling around a wide-open loft apartment. Comedians Seth Rogen as Margot's husband Lou and Sarah Silverman as Lou's sister do well in this more dramatic story although they are each fairly one-dimensional. Luke Kirby as the rustic artist next door is also one-dimensional as the object of desire. Margot's marriage seems really unhealthy the way she babytalks in their most intimate moments or they joke about killing each other. No wonder a new relationship that starts when the couple is not so young and inexperienced is appealing. In the end, this film contains the simple lesson that a relationship based on adventurous sex and not years of common experiences will settle into monotonousness too. At least it is from the female perspective and not the so often repeated story of the man who is stuck between two women.
A companion piece to the book Teenage: The Creation of Youth Culture,… MoreA companion piece to the book Teenage: The Creation of Youth Culture, 1875-1945. As the title states we're exploring the development of youth culture from 1875 to 1945. So, this film does not venture into teen culture of the 1950s, 1960s, or beyond. This was the most disappointing part, that the doc did not draw any connections between this time period and the decades to come. The young actors styled to look like teens of various times and places with journal entries narrated to tell their specific stories worked well. However, it is all the archival materials that bring the formation of the term teenagers to life.
Some creative visual live-action flourishes, but Dr. Seuss's work is… MoreSome creative visual live-action flourishes, but Dr. Seuss's work is better illustrated or animated. Contains what might be the oddest musical number ever, The Dungeon Song, with actors/dancers in badly painted green body paint playing Dr. Seuss style nonsensical instruments. The filmmakers attempt a Fantasia sort of extravaganza but the budget serious holds the production back. None of the other musical numbers became hits either. Dr. T (Conreid) plays a flamboyant piano teacher who forces 500 boys to rehearse. Bart (Tommy Rettig), in particular, would rather be outside playing with his dog. Rettig is amusing in breaking the fourth wall and talking to the audience. Most of the movie exists in Bart's mind as a fantasy nightmare. The movie would be unbearable if Rettig were not the lead. Real life couple Hayes and Healy play a kindly janitor and Bart's mom, respectively. Bart hopes his mom will choose the caring janitor rather than the dictatorial piano teacher. Unfortunately, all three adult leads leave a lot to be desired as they prance around this technicolor set. They simply never completely fill the massively open and empty sets with their voices or dancing.
I saw the Final Cut version at a Cleveland Cinemas midnight screening… MoreI saw the Final Cut version at a Cleveland Cinemas midnight screening this year (2015). This is the only cut of this sci-fi classic that I have seen. Visually stunning with its techy, neo noir style, but bizarre. I didn't really enjoy the goofy love scenes between Harrison Ford and Sean Young. Daryl Hannah's escaped, surviving replicant, Pris, was full of surprises. But it was Rutger Hauer's Roy, the second of two surviving, escaped replicants that really stands out. It is scary how persistent and unstoppable Roy is in chasing Deckard when Detective Deckard thinks he has the androids cornered. Roy is a bit of a Frankenstein's monster and I ended up feeling more for his plight than Ford's detective hero. Roy is developing emotions, building memories, and fighting for survival against humans who find his existence too threatening. I haven't read Philip K. Dick's novel yet and I haven't read much about audience theories for this movie online, but I didn't find myself asking a lot of questions or wanting to know more about the symbols and twisty plot. So, unless something or someone excites my interest for more Blade Runner, this may be truly the Final Cut for me.
This is in the same class of film as Jenny Slate's Obvious Child. Both… MoreThis is in the same class of film as Jenny Slate's Obvious Child. Both are very funny and deal with relationship woes. Shirin played by writer/director Desiree Akhavan is trying to define her identity. She has spent her life moving further and further away from the expectations of her Persian family. She struggles, but makes the best of a new daycare teaching job, and yet it is not a career that defines her either. She claims to be bi-sexual, but is devastated when she loses a long-term girlfriend. She fumbles trying to get involved in a three-way, which is where the poster image comes from, when she ignores the husband and gives all her attention to the wife. Sadly, it is as if she is claiming the bi-sexual label just to hold on to some remnant of what her family would deem appropriate behavior instead of embracing her true and frightening feelings for her girlfriend Maxine (Henderson). In flashbacks we see their relationship develop, though jealousy and fear of total commitment break them apart. As the plot jumps around in time Shirin must weigh if she should get back together with Maxine or move on with her life whether her family will approve or not.