Celebrity Creepin'

I have decided that I am just either a skilled celebrity stalker or maybe a fake paparazzo, and no I do not mean those rude idiots racing around outside the gates pushing us out of the way while we are begging for tickets.  These rich people are never going to go online and look at the pictures you took of them!  Sure, it might be shallow and not important to many people, but you can’t tell me you were not excited to see at least one famous person while at Cannes.

So to begin, I had no idea that press conferences even happened when I started going to the festival.  This little gem was discovered by Nicole, and I am so happy she found it.  The very first time I went to the press conference, I could not believe I had waited so long to venture to this piece of heaven on the third level of the Palais.  The idea that all these famous people were walking around in the open and I was not there to see them nearly killed me. 

I first went on the day of the Madagascar 3 premiere.  Not long after we took our spots behind all the other people there with cameras we saw Ben Stiller, Chris Rock, David Schwimmer, and Martin Short as they were leaving the press conference.  I immediately knew, however, that my view was not as good as it could be.  From then on, I arrived extra early.  Also, none of these other people are any more important than I am, right?  I mean, wouldn’t they be inside the press conference if they actually mattered?  Maybe not.  I vowed to be early and pushy.  Again, not like those fake paparazzi though. 

I returned later that afternoon just to see what was what only to discover that I was staring right at Sean Penn.  Yeah, I am so going back!  Sadly, however, this press conference had apparently been later in the afternoon than most and I was fooled.  I returned the next day around the same time to learn that the press conference had been over for several hours.  What?!  I learned that I should then arrive by noon to see the end of the conferences after that day. 

I continued with this pattern for 2 more days.  I managed to see Tom Hardy and the rest of the Lawless cast (except Shia Labeouf) that afternoon, but I was still being harassed by all the non-press in front of me.  Are they press?  Yep, I’ve got to arrive even earlier.  The next day was the premiere of One the Road and I still did not arrive early enough.  I managed to see Garrett Hedlund from a distance, and I got somewhat of a glimpse of Kristen Stewart, though I did not really care much about that.  She basically just sprinted to the gigantic elevator without paying any attention to anyone.  Who does she thinks he is?  I also got to see Kirsten Dunst, but that was also not as exciting as it could have been since I had already seen her in The Majestic a few nights prior.

After this, I finally learned that I needed to arrive before the press conference even started.  This would ensure front row “seats” and an autograph.  I proudly scored both the next three times that I tried.  I was more than happy to get up at 7 in the morning to catch the 8:30 train (assuming it was running).  I was in place right at the front of the line at 9 am to see the casts of The Paperboy, Cosmopolis, and Mud.  I could not believe it!  The first two days I got there so early that the brown suits had not even set up the line for us to stand behind.  Once they did, though, I almost ran to my spot.  The brown suits got onto me on several occasions for crossing the line.  Oh come on!  They are not even here yet and I’m just really excited.  I got pictures and autographs of Zac Efron, Nicole Kidman, John Cusack, Robert Pattinson, Matthew McConaughey, Reese Witherspoon, Tye Sheridan, and Sarah Gadon.  I also got to see Paul Giamatti, though he was not signing autographs.  This is becoming unreal!  I got to touch Zac Efron and actually talk to Matthew McConaughey at the Mud press conference!  This was actually the third time I saw Matthew; I had already seen him at The Paperboy press conference and in the Majestic.  I was genuinely surprised by how nice all of these people were.  Sure the movies were awesome, but I will definitely remember doing this forever.

Mini Review #4: Amour (Love)

Amour (Love), a French film with a ton of critical acclaim and buzz, is one that might have worked better in theater as opposed to a film.  Of course, the film is hopelessly sad and extraordinarily acted, but there is virtually no action.  A wife has two strokes and her wellbeing is left to her almost emotionless husband.  We only learn about what is going on in these subtle actions or sit-down dialogue.  The film is well made, and if you are not bothered by moments of dialogue with boring camera angles and scenes with just two elderly people stumbling around, then this film is for you. 

Directed by: Michael Haneke                       

Written by: Michael Haneke                       

Produced by: Stefan Amdt, Margaret Ménégoz           

Cast: Jean-Louis Trintignant, Emmanuelle Riva, Isabelle Huppert, Alexandre Tharaud           

Running time: 125 minutes

Review #4: Struck by Lightning

             Struck by Lightning, directed by Brian Dannelly, is a sad, hilarious, and genuine coming of age tale that sheds light on the hell that is high school in ways other high school based films do not.  Written by and starring Glee’s multi-talented Chris Colfer, the film offers a true look into the woes of a determined 18 year old trying to navigate his way through his senior year.  His only wish is to be successful in the real world, but he finds that hard to accomplish when surrounded by other students who treat high school like the best days of their lives.

            At the start of the film, we see Carson Phillips (Colfer) walking to his car and being suddenly struck by lightning and killed, as papers fly all around him.  This is somewhat jolting to the viewer, but it appropriately sets the stage for the rest of the film.  High school sucks, but sometimes extreme measures must be taken to survive.

            Colfer, who originally wrote the screenplay when he was only 18, provides us with a solid and well-written story.  He also provides us with a solid performance that proves he can be more than a flamboyant musical theater kid.  The character he wrote for himself must deal with his parents’ divorce, getting into college, ignoring the petty mentalities of other students, and rising above the incompetent staff that dictate which activities students are allowed to participate. The lazy staff members like the painfully inept guidance counselor, portrayed by Angela Kinsey, and a stoned principal, are mastered by their respective actors.

Ambitious Carson wants to create a school literary magazine so that he can have that one extra something on his resume for college.  He has applied to Northwestern University, but is left wondering whether or not he has done enough to be accepted.  With the help of his ever-entertaining friend Malerie, played brilliantly by Rebel Wilson, he is able to blackmail the leaders of every stereotypical social group into being involved with the magazine.  The goal is that other students around the school will want to read the magazine because it contains work by all the “important” kids, at least in their respective cliques.

Allison Janney portrays my favorite character of the film.  As Carson’s mother, Sheryl Phillips, she has sunk down into the deepest hole following her split from Carson’s dad, Neal Phillips (Dermot Mulroney).  She must also deal with her ailing mother.  Janney really took her role and ran with it.  She offers both comedy and drama, and brings to life a very real character with more flaws than imaginable.  If nothing else, the makeup and wardrobe department had a field day making Janney look like the epitome of lazy trash.  This attention to detail helps give the film its already very authentic feel.  I never found myself wanting more from any of the major characters.  Colfer did a stellar job at giving the Phillips family depth and emotion.

Some aspects of the film can come off as a bit silly, however.  The whole idea that someone could just be spontaneously struck by lightning and die might be overboard for some films, but it works for this one.  The film is not meant to tell a true or even realistic story.  The whole purpose is just to bring light to the issues that plague regular people: fitting in and finding your own place in the world.  The concept of blackmailing other students into submission also seems rather juvenile, but again, it works.  I found it to be a perfect addition to the story.  The whole student culture of high school with cliques and social strata is silly anyway, so an even sillier exaggeration just seems to work.

I take the film seriously, despite the blackmailing and somewhat insane death scene.  Colfer understood the story he was telling.  This film does not hide behind sappy love stories, potty humor, and forced sarcasm.  It is serious with smart dialogue and natural comedy.  A major comedic force in the film is Rebel Wilson.  Her one-liners steal the show and had me laughing all the way through.  The film is not meant to be overly dramatic or artistic.  The whole point is to get the major message across clearly: try to defy social pressures to make the most out of life because it could end in an instant.  Though this seems like such a simple message, in the context of this film, it really speaks to the everyday issues faced by so many, not just those suffering through high school.

           

Directed by: Brian Dannelly

Written by: Chris Colfer

Produced by: Rob Aguire, Mia Chang, David Permut

Cast: Chris Colfer, Christina Hendricks, Sarah Hyland, Dermot Mulroney, Rebel Wilson, Allison Janney, Matt Prokop, Allie Grant, Carter Jenkins, Polly Bergen

Running time: 90 minutes

Review #3: The Paperboy

            Director Lee Daniels delivers a gritty film with an all-star cast in The Paperboy.  In the summer of 1969, journalist Ward James (Matthew McConaughey) and his writing partner Yardley Acheman (David Oyelowo) return to Ward’s hometown of Lately, Florida.  They have returned as investigators to free supposedly innocent convict Hillary Van Wetter (John Cusack) from jail.  They are trying to prove he did not kill a police officer, though Hillary does not seem to care much for cooperation.  All of this is done as a request by Charlotte Bless (Nicole Kidman), an over sexed life sized Barbie who has kept up regular correspondence with Hillary, her fiancée, even though they have never met.  Ward’s younger brother Jack (Zac Efron) also joins in on the investigation process, and falls madly in love with the older Charlotte along the way.  While this may seem like a traditional approach to a not so original story set in the 1960s, I found the film to be far from traditional.  The film incorporates graphic depictions of life that show the true nature of those times and part of the world.  The actors also each deliver solid performances, with Kidman and Cusack standing out.

            The film opens with the James’ family maid Anita (Macy Gray) talking about that summer in 1969 from a time assumed to be the 1980s.  The screen is black and we only hear her voice.  This gives off the impression that Anita is a major player in the film, though this is not really the case.  The beginning sequence did not really flow with the rest of the film.  I feel the introduction could have been done differently so as to not confuse and mislead the audience.  Gray, however, delivers a surprisingly emotional and honest performance.  The interaction between Gray and Efron in one of the opening scenes is one of my favorites from the film.  It shows the versatility of the actors, and introduces some comedy into an otherwise rather dark film. 

Kidman offers quite possibly her best performance in a while as a woman who embodies all that it means to be white trash.  Charlotte is in what can only be described as a very strange relationship with Hillary.  Upon visiting him in prison, Charlotte is forced to do a strip tease and have mental sex with Hillary from across the room.  Though disturbing, Kidman is a first class performer.  She plays off the perfectly set blonde wig and pounds of makeup with flawless ease and never wavers in her portrayal of this troubled, desperate, and lonely woman.  Cusack does a remarkable job at portraying a lower-than-dirt insanity case.

McConaughey’s portrayal of Ward, though well done and perfectly believable, left me wanting a deeper emotional connection.  We never learn much about Ward until the explicit scene that reveals his sexuality.  This scene was one of several that comes off a bit silly and too overdone.  There were already other issues being dealt with (race, gender), that the addition of a gay storyline was not needed.  Though it tied together the rest of the story in the end with how Yardley and Ward became writing partners, the connection between the two could have been explained in a more reasonable way.  There was just a little too much going on once this was introduced.  Similarly, a particularly potent scene involving Kidman urinating on Efron’s face was somewhat unnecessary.  While it was not as bothersome to me as it was to others, I did cringe as it was happening.  It seems Daniels was trying to accomplish too much in the way of artsy.    

            Zac Efron also delivers a solid performance, finally proving his worth on the big screen.  Though he spends a large portion of the film in his underwear or close to it, he manages to captivate and convince.  He convinces the audience that he is actually a directionless 20-year-old former swimmer searching for something more in life.  His “love affair” with Charlotte actually adds some sweetness to certain parts of the film, particularly the dancing in the rain scene.  There is also, however, an intensity to the relationship, particularly after the two engage in sex for the first time.

The film shows a darkness not explored in many other films.  We see nasty and muggy swamplands tucked deep into the woods.  We get a glimpse at the people inhabiting this area: half-naked, filthy, impoverished, and inbred.  These people are the family members of Hillary, and we are first introduced to this nasty crowd as Ward and Jack attempt to ask Hillary’s uncle a few questions about the sheriff’s murder.  There was by no means a welcome reception for them, and McConaughey and Efron effectively give off an air of fear and discomfort.  If you can see past some of the ridiculous plot points and focus on the extraordinary performances by the whole cast, the film should not disappoint.  I was entertained throughout.

Directed by: Lee Daniels

Written by: Lee Daniels, Peter Dexter

Novel by: Peter Dexter

Produced by: Ed Cathell III, Lee Daniels, Cassian Elwes, Hilary Shor

Cast: Zac Efron, Matthew McConaughey, Nicole Kidman, John Cusack, Macy Gray, David Oyelowo, Scott Glenn

Running time: 101 minutes

Mini Review #3: 8:46

                 Though it seems wrong to criticize any work about 9/11, 8:46 does not deliver the intended heart and depth.  The idea seems simple enough: follow fictional families around their daily lives the day before and the morning of the tragedy.  The point is to show the pain and anguish experienced by all who were affected directly, but the acting performances were almost laughable.  I found myself desperate for one person to come on screen and convince me, but to no avail.  The film should have worked.  The stories were very true and honest, and the real news coverage used made an emotional impact, but neither was able to save this embarrassing display.

Directed by: Jennifer Gargano

Written by: Jennifer Gargano           

Produced by: Jennifer Gargano

Cast: Mike Digiacinto, Elizabeth Eggers, Laurie Dawn, Buzz Roddy, Shelly Shenoy, Roland Sands, Todd Lewis, Yoshi Amao, Wesley Tunison, Jzaneen Damji, Amar Srivastava

Running time: 56 minutes

Film Review #2: Detachment

Detachment is a film that hits home, and it hits hard. Though it is set in high school, this is not a high school movie. It extends much further than petty teenage problems. The real issues are very basic ones of love, kindness, affection, and personal human attachment.

At the start, the film introduces insolent students and parents yelling at administrators, an angry group of students brutally murdering a cat, and a whole cast of lonely staff members just trying to make it through the day. Henry Barthes (Adrien Brody) is a high school substitute teacher new to the school who manages to find some semblance of solid ground in this solitary inner-city school. With many of his own issues to deal with on a daily basis, Henry has chosen to be a long-term substitute teacher. It allows him to pick up and move on after a designated period of time, and never have to worry about being attached to anyone or anything. His house is even plain and undecorated. Brody does a spectacular job at creating this troubled character who so desperately wants to escape his own demons. He is haunted by visions of his dead mother and the delusions of his terminally ill grandfather. He takes to offering blunt and profound life advice to his temporary students to help ease his own pain. 

We are also introduced to several other adults around the school as asides to further demonstrate this loneliness. With characters portrayed with such authenticity by Marcia Gay Harden, James Caan, and Lucy Liu, we see how the loneliness extends beyond the students. These people each have wrecked home and work lives. When another teacher, Mr. Wiatt (Tim Blake Nelson), is seen grasping the fence and looking up to the sky, I felt lost. I was not confused. I felt his pain with being lost in the world. He was a nobody at school as a teacher and his family could not care less about him either. One particularly striking scene is when Henry finally acknowledges Mr. Wiatt’s presence at the fence. Mr. Wiatt’s mundane response is “You see me? You mean I’m not invisible?” He then just walks away. Why are these souls so destroyed?

For a man who is self proclaimed to be “inhuman” and detached from all other people, Henry shows a surprisingly large amount of affection for others. He didn't plan on it, but Henry eventually must put down roots both at school and at home.  He takes in and cares for Erica (Sami Gayle), a teenaged prostitute. After removing the roughness, all Erica is looking for is a family. As it turns out, that is not so far from the truth for Henry either. Henry also cares for his ill and forgetful grandfather (Louis Zorich).

The only issue I have with the film is this random appearance of Erica. Though Gayle does a good job portraying the troubled teen, I could not help but wonder if she had any purpose other than to show some more of Henry's humanity. The same goes for Meredith (Betty Kaye, director Tony Kaye's daughter), a suicidal teen who looks to Henry for comfort, even though he is not prepared to offer her any. Though Henry's last meeting with Meredith is brutal and misunderstood by fellow teacher (Christina Hendricks), his actions are understandable to anyone watching the film, though the fatal results are painful to see.

Stylistically, Kaye has created a haunting and visually appealing film. Not only do we watch Henry navigate his way through this school everyday, but we also hear his opinions on people, especially kids, today. He expresses these opinions in a dark, talking-head interview that suggests the presence of a documentary camera crew. He shares his extreme distaste for the idea that a person must be pretty, or fashionable, or rich to be happy. Brody's performance in these dark interviews reveals his talent for grittiness and depth.

Kaye also includes small chalkboard-drawing animated vignettes that help set the tone for the film. At one point, there is a depiction of a simple curtain closing. However, the intensity of certain situations throughout is revealed with such animations as a head being severed from a body and blood splattering the chalkboard. If the superb acting was not enough to demonstrate the anger and frustration in the film, these drawings help.

The film takes us on an emotional roller coaster by forcing us to think about our own lives and the people we see everyday around us. Brody proves himself to be a master of portraying isolation and discomfort.

Directed by: Tony Kaye

Written by: Carl Lund

Produced by: Bingo Gubelmann, Carl Lund, Chris Papavasiliou, Greg Shapiro, Austin Stark, Benji Kohn

Cast: Adrien Brody, Marcia Gay Harden, James Caan, Christina Hendricks, Lucy Liu, Blythe Danner, Tim Blake Nelson, Bryan Cranston, William Petersen, Sami Gayle, Betty Kaye, Louis Zorich

Running time: 100 minutes

Mini Review #2: Fondi '91

In Fondi ’91, a team of teenaged boys travels to Italy to play soccer, and anything happening after that is anyone's guess. The abysmal acting by almost everyone involved leads to stale chattering between characters. I could see in my mind someone off camera shouting every piece of direction. The film as a whole resembles a sixth grade production of Shakespeare: monotonous, stiff, and boring. I found myself wondering why people were crying, or mad, or beating up someone else. The characters are neither developed nor given any real introduction.  The audience is left with no emotion, having not been moved to feel anything.

Direected by: Dev Khanna

Written by: André Bharti, Lenny Foreht, Dev Khanna, A. Sinha

Produced by: Dev Khanna

Cast: Raymond Ablack, Mylène St-Sauveur, Serena Iansiti, Chris Pereira, Kyle Kirkpatrick, Thomas Wesson, Mirko Bruno, Forlenzo Massarone, Fabio Fusco, Remo Girone

Running time: 79 minutes