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Larry_L_Peel
Reviews
The Quiet Place (2007)
Realistic, Haunting, Beautiful - _The Quiet Place_ Brings Life to Stills
Sometimes 20 frames per second just can't give the impact necessary to tell a story. In Jason Christ's _The Quiet Place_, the director achieves a far more compelling story by producing the entire film using still photographs brilliantly edited with a haunting voice over. The tale, based on Rebecca Kennebeck's poem "Her Soul Flies Free", chronicles the emotional and physical torment of Hope (Julie Farrar) as she struggles with the loss of a friend and her addiction to heroin.
Though the voice over brings to mind the eerie voice of "Jigsaw" from the Saw trilogy, it adds too the sadness and misery faced by Hope and she eventually loses hers, withdrawing farther and farther into her own "Quiet Place". Julie Farrar gives a believable performance, certainly not an easy task considering the filming technique. Christ's venture into cinema de art comes off without a hitch. Hauntingly beautiful, the short is a worthy watch.
China White Serpentine (2003)
Sometimes You Just Have to Know When to Stop
The baseline story behind China White Serpentine that of 2 addicts trapped by their own addictions and a sadistic dealer/porn queen is a brilliant plot and superbly played out. That is where the film should have stopped. I understand that Eric Stanze (Savage Harvest 2, Ice From the Sun, Scrapbook), is known for his horror genre work, but this time he could have pulled off a stellar erotic drama and had a far better film.
The true horror in the base plot lies not in the secondary horror concept, but in the more dramatic and true-life horror of junkies bent on maintaining their fix of sex and drugs. Amanda Booth's performance in the dual roles worked well, but Robin Garrels skill as an actor was by far the most impressive and believable of the cast.
All in all the film works for what it is, a B-movie. I believe that had Stanze and Garrels limited themselves to a more adult drama, the film may have garnered them mainstream attention, certainly a Festival invitation.
The Departed (2006)
Scorsese Oscar Just Cumulative?
When you combine A-List Hollywood draw, a proved storyline, and an Academy Award winning director? Normally the answer would be an instant classic. Unfortunately Martin Scorsese's latest venture The Departed seems to only be departing with his reputation. The premise was impressive, put Leonardo DiCaprio, Jack Nicholson, Matt Damon, Alec Baldwin, Martin Sheen and other top stars together with a dramatic and thrilling plot. Somewhere though the film departed with it's dignity.
Based on the Hong Kong movie 'WuJianDao', the story follows two men from opposite sides of the law who are undercover within both the Massachusetts State Police and the Irish mafia, but violence and bloodshed boil when discoveries are made, and the moles are dispatched to find out their enemy's identities. Scorsese fans will adore the cinematography; Nicholson and DiCaprio give stellar performances. The actors perform exceptionally well despite the often-stereotypical race and locality jokes, and Scorsese's strange insistence on emphasizing the distinct dialect of the Boston area. Viewers in the northeast will feel appeased by the dialect; however, it is more likely that the typical viewer will simply find the trait comedic. The film begins with a crawl, intertwining the stories of Frances Costello (Nicholson), the Irish mafia kingpin; Billy Costigan, an undercover mole for the State Police; and Collin Sullivan (Damon), also a State trooper, but with a decidedly more checkered lifestyle. As the three cross paths, at first unknowingly, then finding themselves more and more deeply involved with each other's lives, the suspense and drama builds to explosive levels. The films promise seeks to force its way out despite its drawbacks.
Scorsese delivers to his fans the expected cinematic artistry, but somewhere between production and presentation, things went horribly wrong. The films soundtrack is choppy, though utilizing his trademark rock score; the songs lack the appropriate fade in and out of the scenes that they are supposed to solidify. The drastic changes break the bond between the film and the audience, a decidedly non-Scorsese trait. Thelma Shoomaker, Scorsese's film editor for most of his career, seems to be losing her touch. Not only were the score cuts distracting, but shoddy editing also encumbered what should have been incredible action scenes. Explosions were improperly cut, once freezing mid-shot and completely ruining the effect.
What do you get when you combine a proved storyline, Academy Award winning Directing and a stellar cast? You get the potential for a mega-hit along the lines of Aviator, but like the Spruce Goose, The Departed just couldn't take flight. See you in 2008, Mr. Scorsese.
Bridge to Terabithia (2007)
Bridge to Terabithia Leads to Movie Magic
Gabor Csupo, the Hungarian born animation wizard, brings his immense talent to the screen once again in his latest project Bridge to Terabithia, the big screen adaptation of Katherine Patterson's 1977 book. Csupo manages to do what few directors have managed in trying to adapt a classic book to film; he maintains the vision and the magic of the text. Bridge to Terabithia is a wonderful jaunt into the magic and mystery of the imagination of children, and an excellent family experience.
In this Walden/Disney cooperative, Fifth grader Jesse Aaron's (Josh Hutcherson) hopes of becoming the fastest runner in his class are dashed when new girl Leslie Burke (AnnaSophia Robb) outruns everybody, including him. However, Jess and Leslie soon begin a friendship, and discover a magical kingdom in the forest, where the two of them reign together as king and queen. Both bullies and their parents, which are transformed within the magical kingdom that they create for themselves, embattle the pair.
Through the artistic creativity of Weta Digital, the world of Leslie and Jess comes to life in ways that Patterson's book could not possibly have conjured. Brilliant creatures, an incredible tapestry of settings, and superb acting on the part of the young stars bring the story from the page to the screen in an immensely entertaining fashion. Csupo retained the intent that Patterson seemed to have had in her book; that friendship, not magic is the key to the tale. Csupo also makes sure to portray the fact that Jess in intimately in tune with and concerned about, his family's finances. This is a feeling that many in the films target demographic, 7-13 year-olds, can relate to in modern society.
Following the tradition now firmly established by Narnia, Csupo strives for, and succeeds in, capturing the legacy, vision, and morality of the original tale. Csupo has long been involved in the behind the scenes magic of nearly two-dozen animated films and television series. Josh Hutcherson is no newcomer to the industry either with a nearly equal number of roles as his director has credits. In fact Josh is set to lead another family friendly contender this Spring with Firehouse Dog, set to open in March. AnnaSophia may be most familiar to audiences as the gum-smacking Violet Beauregarde in 2005's Charlie & the Chocolate Factory. Robb too has been busy in the industry, with 7 credits now behind her and 5 more completed or in post production.
Disney has finally begun returning to its roots, revitalizing the 1960's family friendly, live action film. This film may appear to be a second rate Narnia copy, but it certainly has its own merits, and is well worth taking the kids or a date to.
Hannibal Rising (2007)
Can Hannibal rise to the level of Silence of the Lambs?
The problem that besets any sequel (or in this case prequel), is that the audience already knows the grander story and how the story will resolve itself. That being said, Hannibal Rising is a rare find in the Hollywood Franchise Machine. Gaspard Ulliel superbly embodies the creature that would eventual come to torture Jodie Foster and the rest of us in his later years. "Hannibal Rising" is a mind twisting head-trip that will surely entice the followers of the series, and may even bring a bit of new meat to the table.
In Eastern Europe, near the end of World War II, a young boy watches his parents violently die, and then sees his younger sister gruesomely murdered by marauding soldiers. What he witnesses will change him forever, and the memory will haunt him through the years as he travels from a Soviet orphanage to the streets of Paris, always plagued by nightmares. And when his aptitude for science gets him accepted into medical school, he begins to hone the skills that will allow him to exact revenge upon those whom destroyed his family. Meet the young Dr. Hannibal Lecter in Hannibal Rising, the new film based on the best-selling novel by Thomas Harris (who also penned the screenplay).
The plot is exactly as we would expect from Harris, with deep psychological ploys and a tendency to almost feel sorry for the young Hannibal. The major problem with this venture is that there is so much time issuing flashbacks and scene wraps, and not nearly enough time fleshing out Hannibal. The story strains at times to avoid the normal happenings that befall criminals in reality, as well as to try to blend in the horrors of German war crimes. Aside from Ulliel's superb portrayal of the mastermind of human delicacy, Gong Li gives an impressive performance as Hannibal's aunt, Lady Murasaki Shikibu. With nearly 30 films in her native country of Japan, Li's American debut borders on insulting to the highly acclaimed Asian actress. The plot stretches to give power and knowledge to a female lead whom, in historical context, could simply not exist. Li however, works with what she has, and brings to the screen a tension and power that helps drive the film and keep the story alive. Ulliel, an avant-garde veteran of the French prime program, also makes his American debut, but has a far better storyline obviously to work with than his constituent.
All things considered, Hannibal Rising does manage to rise to the level of its predecessors. The cinematography is excellent, the locations are believable, and to watch Hannibal's humanity slowly die is worth the price of admission. A new legend has completed his saga. Dr. Hannibal Lecter is now fully amassed.
The Hitcher (2007)
Hitcher is a ride worth taking
With the most demented movie monster since Hannibal Lecter, Dave Meyer's Meyer's The Hitcher is the most terrifying slasher pic of the last few years. Buckle up and pray.
Collegiate couple Grace Andrews (Sophia Bush) and Jim Halsey (Zachary Knighton) hit the road in a 1970 Oldsmobile 442, en route to spring break, but their pleasure trip soon turns into a waking nightmare after encountering the mysterious hitchhiker John Ryder, a.k.a. The Hitcher (Sean Bean). The initial encounters with Ryder are increasingly off-putting for Grace and Jim, and they bravely fight back when he ambushes them. But they are truly blindsided when he implicates them in a horrific slaying and continues to shadow them. The open road becomes a battleground of blood and metal as, in trying to elude not only Ryder but also New Mexico State Police Lieutenant Esteridge's (Neal McDonough) officers, Grace and Jim must fight for their lives and face their fears head-on.
Meyer's, in his feature film debut, draws heavily from his nearly 100 music videos, giving The Hitcher a fast paced, no holds barred energy that can only come from the MTV generation. From the opening scene (reminiscent of Oliver Stones Natural Born Killers), to the shockingly gruesome final moments; Meyer's grabs viewers by the throat and drags them, kicking and screaming, through the 83-minute combination of horror, thriller and action flicks. The short run time helps to insure that the audience is kept on the edge of their seats while still allowing a connection with the characters that is the key to a gripping ride.
A remake of Eric Red's 1986 film of the same name, The Hitcher breaks free of the typical remake curse by infusing a memorable soundtrack with enough action and common sense to appeal to viewers of both genders, though the film is decidedly turned toward the male 18-24 demographic. The characters in general are utterly believable, avoiding the stereotypical plot foibles that curse the generic horror flick. The plot line has a few kinks, and there are enough directorial flubs to keep film buffs giggling, but overall the film serves its purpose as an in-your-face slash-fest infused with a healthy does of explosions and car crashes. In traditional horror formula, there is a last girl, and to coin a phrase from SAW
oh yes, there will be blood.
Fah talai jone (2000)
Cult Classic/Spaghetti Tribute
The spaghetti western, once home on the range to actors like Rex Harrison and Lex Barker, nearly wasn't until they met Clint. In 1963 a burgeoning director named Sergio Leone was given $200,000, a load of old stock footage, and told to make a western. The result is branded in the annals of film history - Per un Pugno di Dollari -- A Fistful of Dollars. Soon every investor from Europe to the back lots was clamoring to revitalize the western. The horse was put to pasture by the mid-1970's, but it wasn't until 2005 and Brokeback Mountain that the horse was believed finally shot. Enter writer/director Wisit Sasanatieng, riding high in the saddle to revise the old style. "Fah talai jone Tears of the Black Tiger". The Thai film was an instant cult hit, riding into the market like "Shanghai Noon" on acid. Sasanatieng shows homage to the greats that came before him with the flair of Leone and the violence of Sam Raimi.
When Dum, a young peasant boy, falls in love with Rampoey, they vow that, whatever happens, they will one day be together. Ten years on Dum (voice over by Philip Hersh), is the notorious gang-member 'Sua Dum - Black Tiger' (Chartchai Ngamsan). When he is commanded to execute police captain Kumjorn (Arawat Ruangvuth) who has one last request that Dum explain to his fiancé how he died. Dum realizes that Kumjorn's fiancé is, in fact, Rumpoey. Will love win through? Or will the heavens strike the heart of the Thief one final time? The film is billed as a musical western, and on that it delivers, in spades. The costuming is over the top with color that deliberately sets it apart from its forefathers in American and Italian cinema, but the musical numbers are rousing and enjoyable. The film plays with Leone style, plodding through the standardized plot of a B-western, but suddenly switches gears to a Raimi-esquire blood and guts show. The cowboys carry 'might powerful weapons', including ready rocket launchers. Sasanatieng obviously places his tongue firmly in his cheek with this project, but the influence of, and reference to, western films is unmistakable.
"Tears" is Sasanatieng's first attempt at helming, originally released in 2000, and is to date his only award nominated/winning project. It was nominated for 3 Grand Prix awards and appropriately won the Dragons and Tigers Award at Vancouver. Following "Tears", the director took a few years off before coming back with "Citizen Dog" and "The Unseeable" in 2004 and 2006 respectively. He is currently working on a project in Singapore entitled "Armful", which is in pre-production.
Favela Rising (2005)
Social Commentary 'Rises' in 'Favela Rising'
Rio de Janeiro, the home of Carnivál, sun drenched beaches, and one of the most famous statues in the world is also the home of one of the most violent neighborhoods in the world. Jeff Zimbalist and Matt Mochary delve deeply into the war zone that is Vigario Geral in Favela Rising a powerful and moving documentary which displays both the lowest levels of humanity and the ability to rise from the depth to empowerment.
Favela Rising documents a man and a movement, a city divided and a favela (Brazilian squatter settlement) united. Haunted by the murders of his family and many of his friends, Anderson Sá is a former drug-trafficker who turns social revolutionary in Rio de Janeiro's most feared slum. Through hip-hop music, the rhythms of the street, and Afro-Brazilian dance he rallies his community to counteract the violent oppression enforced by teenage drug armies and sustained by corrupt police. At the dawn of liberation, just as collective mobility is overcoming all odds and Anderson's grassroots Afro Reggae movement is at the height of its success, a tragic accident threatens to silence the movement forever.
Mochary and Zimbalist utilize gritty and deliberately off focus cinematography as well as archival footage from some of the most violent events in the history of the favela in sparing none the grisly truth of life in the streets, the massacre of the innocent and the police corruption the film portrays. The film's bleached out look, along with the decidedly videoesque film style lead to the credibility of the project. Zimbalist, a former instructor at the New York Film Academy and his student Mochary, were told on more than one occasion during filming that their lives were in danger. The film's use of performance footage from the Banda AfroReggae succeeds in breaking the downward spiral that the film would otherwise evoke. The music is hypnotic and energetic, the lyrics socially conscious. The directors allowed children of the neighborhood to participate in the project by providing them with cameras during the concerts to capture the essence of the group. Anderson's interview is dramatically portrayed despite the subtitles and sometimes overzealous use of echo effect.
The films definitive political agenda draws a wary eye to the documentary's editing choices, and in fact the directors discuss the films evolution in the bonus section. Initially the project was to cover 4 people from each "district" of Rio, the affluent and the poor, but Anderson was severely injured and the directors chose to completely redo the film despite 3 months of work. Following a fractured neck, Anderson receives a "miracle healing" which allows him to return from a paralyzed state. The effect of this change on Anderson inspired the filmmakers not only to change the course of the film, but also inspired the title. Anderson's rise to his feet following a horrific injury is mirrored in the change the favela itself found following the AfroReggae movement. The finished project is decidedly moving, telling the tale of a third world region that is striving to regain its identity and dignity; however, the images do not always coincide with the tale being told. During the film there are scenes from Military Police training facilities in which the police are portrayed as preparing for "guerilla" warfare with the citizens of the favela. It is not until the bonus features that it is learned the police have joined forces with AfroReggae and begun working with the group. The cooperation is possibly the key that allowed the filming inside the training camp, though the initial film misleads that point.
...So Goes the Nation (2006)
'So Goes the Nation' into 2008...with controversy
The film attempts to show the cutthroat decisiveness of one of the last vestiges of electoral battling in the 2004 Presidential race between Senator Kerry and the incumbent, President George W. Bush. The film follows the tales of three "characters": Miles Gerety-a carryover political activist from the 1960s movements, Evan-a 26 year old college student who believes that he can be a force of change in the political machine, and Leslie-a grass roots activist who takes the election to heart and gives the campaign everything she has. Miles and Evan have the majority of the screen time, and are both Democrats. The concept of the film is the reigning political philosophy that the heartland of America is the truest test of the fabric of the American public consciousness. The title of the movie is in fact, a variable of a political stance that exemplifies that theory
"As goes Ohio, so goes the nation." The filmmakers therefore follow the three campaigners across the state, from Cleveland to Cincinnati and even to the small, aptly named town of Middleburg, located in the heart of the state. Through documentary style footage, news footage and interviews, we are led through the tension and struggle that was the 2004 election. The film spans only 12 days prior to the election, yet traverses far more issues and miles in its travel. Stern and Deo attempt to work the documentary genre into an entertaining piece of work. The intention is to follow in the footsteps of the great political documentaries that came before them. Unfortunately however, the editing choice to attempt to bring the project to a level greater than the sum of its parts leaves the film feeling far more like a rallying cry for the Democrats than a non-partisan expose of the door to door and hand to hand politics of other film. Nation attempts to find the middle ground between the gritty realism of Street Fight with the intensity and drama of The War Room. There are indeed moments of rallies, door to door campaigning and even the occasional shouting match, but the overall effect of the editing is more Fahrenheit 911 than a true documentary. The fact that Michael Moore is featured speaking at a rally for the Democratic Party does nothing to dispel this notion. Much of the films actual campaign footage focuses on "guerrilla tactics" that the Republican Party used to entice those registered with their party to vote "appropriately". Those who fail to agree to vote with the party line are set up to be "revisited in a few days". The film is biased not only in its presentation of evidence regarding the electoral process of 2004, but even in the amount of time given to each party, or "character". While Miles and Evan's work receives lengthy screen time, Leslie's campaign activities on screen can literally be measured in seconds. The film is distinct, clear and focused
on its own agenda. Whether the filmmakers set out to make a rally cry for the Dems or simply made honest editing mistakes remains to be seen, but Hillary and Obama should certainly add this film to their volunteer packages for 2008.
Bobby (2006)
History Comes to Life in Estevez Project
In many respects it was the last great loss of a generation. June 6, 1968, the Ambassador Hotel, one lone gunman, one country pushed over the edge. Five years had seen the loss of John F. Kennedy, Martin Luther King, Jr., entry into an unpopular war, and finally the loss of the last hope the American people had. Emilio Estevez was barely 6 years old that night, but the impact held him through his life. Bobby is the actor's greatest step in the world of directing, and offers a riveting and brilliant glimpse into the last day of Robert Kennedy's life. The all-star ensemble cast could never have been gathered by anyone of fewer calibers. His and his family's experiences and knowledge of the world of Hollywood helped bring the story to life with warmth, excitement and believable portrayals. Like all historical dramas though, facts can get lost in plot. Bobby is no exception.
An incredibly personal venture from Estevez, the film took 3 years from concept to fruition, and attempts to capture the hope, anger, and confusion that gripped the U.S. in the late 1960s. Following the style of Robert Altman or Paul Thomas Anderson, Estevez penned the last day of Kennedy's life into a microcosm of the conflicts and turmoil that gripped the nation. The characters represent virtually every class and race, and offer glimpses into everything from racism to politics, free love to family values. African-American head chef Edward (Laurence Fishburne) presiding over a kitchen staffed primarily by Mexican Americans who are the victims of the racist restaurant manager, Timmons (Christian Slater). Timmons is reprimanded by hotel manager Paul Ebbers (William H. Macy), who is having an affair with a switchboard operator (Heather Graham) behind the back of his beautician wife (Sharon Stone). Meanwhile, a young Diane (Lindsay Lohan) prepares to marry her classmate, William (Elijah Wood), in order to save him from going to Vietnam, and two collegiate campaigners for Senator Kennedy remove their ties to take their first LSD trip, courtesy of a resident hippie drug dealer (Ashton Kutcher).
Often the sheer volume of characters, and A-list celebs portraying them, is overwhelming. The plots and subplots Estevez included as a means to dramatize the grander mission of the film often serve only to muddy the waters. Taken as a whole however, and limiting the historical accuracy perspective, the film is brilliant in its delivery of drama, integration of newsreel footage with the modern actors, and the depth of the characters and story lines the director pulls off. Fortunately, Bobby is not as stiff as a strictly historic docudrama, but also never stoops to the level of an Oliver Stone conspiracy fest like JFK. By focusing on those around the Senator instead of the candidate himself, the film breaks away from possible relation to other political genre films such as Primary, Street Fight, or
So Goes the Nation.
The film was a critical success, garnering a nod for Best Picture and Best Original Song from the Golden Globes, as well as winning the Best Ensemble Cast at the Hollywood Film Festival. The film also gathered 5 other nominations for its cast, director and score. The critical acclaim didn't translate as well into the box-office, running only 8 weeks in wide release and earning only $11 million.
Savage Harvest 2: October Blood (2006)
SH2 Pays Homage to Genre Greats
With the edgy look of Tobe Hooper, the imaginative writing style of Clive Barker, and the in-your-face intensity of the young George A. Romero, emerging director Jason Christ seems poised to make his mark in the horror genre as well as the industry as a whole. His feature length directorial debut for Wicked Pixel Cinema, Savage Harvest 2: October Blood teases with a deeply intelligent plot, plenty of gore, and a nightmarish twist on the Hollywood formula. Savage Harvest 2: October Blood rips through the screen to grab the beating heart of the audience and rip it out.
The well-written storyline follows Tyge Murdock (Benjamin Gaa), who had garnered success as a low-budget horror film director as he returns home following the death of an actor on the set of his most recent production. In typical genre fashion however, the nightmares simply follow him to his hometown. The town still reels from a vicious mass murder 10 years prior. The sole survivor of the carnage was Mikki Lomack (Lisa A. Morrison), the older sister of Tyge's high school sweetheart Ashley (Emily Haack). Ashley and Tyge meet back up while he is in town, Ashley receives a strange tape featuring her sister, and soon the couple and their friends are trapped in a gore-splattered night of demonic awakenings as they struggle to solve the mystery of the tape and numerous inscribed runes before it's too late.
Christ pays homage to all the greats that came before him in the screenplay which he penned the directing, and the cinematography. His keen visual style makes up for the sadly lackluster performances given by his cast. The sole exception is Emily Haack, whose portrayal of Ashley was not only believable, but conveyed the true intensity of the scenes she was assigned. Gaa and Morrison seemed to be struggling along and trying too hard to work the scenes. The script was sharp and vibrant, with enough subtle references and visual artistry to carry the film, but the core group of actors apparently part of a standing troupe for the production team simply need more experience. Some had no previous experience and a large group has less than half-a-dozen credits to their names.
Christ himself has nearly a dozen producer credits, as well as several documentary helmings and scriptings. His early work for "The Severed Head Network" in 2000, garnered him a Student Emmy and a Telle for the short Curveball: Pile of Junk. By utilizing the techniques and styles of the masters of horror that have gone before him, Christ looks to become not only a major player in the B-movie horror class, but perhaps could eventually shake the underbelly of the beast with future projects.
Savage Harvest 2: October Blood is a fun filled scream-fest with enough gory story to keep even the most skeptical fan locked in. Watch for the references to classics such as Night of the Living Dead, Texas Chainsaw Massacre, and others. Watch for Emily Haack to be the first to follow Christ out of the Indie film and find her niche in the mainstream, but give the others time to learn.
Reds (1981)
25 Years Later, 'Reds' Still Brings History to Life
In the midst of the Cold War, Warren Beatty set out to bring history to life with an epic tale of the Russian Revolution and the rise of the American Left. After an introduction at this year's 44th New York Film Festival, Beatty's Oscar gold shines through on REDS Silver Anniversary DVD.
Reagan just took the White House, the hostages had just come home from Iran, the Berlin Wall still stood strong, and America had grown tired of the shallow and often gloomy films of the 1970's. The stage was set for a subtle political epic that would pave the way for such films as Gandhi and Chariots of Fire (which beat REDS for the title Best Picture). REDS took the critics by storm and garnered 3 Academy Awards in the process. Twenty-five years later, the film still carries a powerful message of the determination of love, and the dangers of fear.
With the Cold War still raging full strength and America still nursing wounds from the Vietnam Era, Warren Beatty's epic historical drama of the rise of Communism in America may have been a gamble, but with a stellar cast and riding the wave of the success of Heaven Can Wait, the Academy Award winning director brought his dream to life. Beatty co-wrote, produced, directed and starred in the film that not only showcases his political beliefs that the American public unreasonably feared Communism, but also gave voice to his vision and talent as both actor and director. The film garnered more Academy Award nominations twelve than any other film in the previous 15 years.
Based on actual events, the film tells the story of John Reed (Beatty), American Communist, activist and journalist, who falls for feminist/writer Louise Bryant (Diane Keaton). Their love affair grows as the world around them unravels in the midst of World War I, the Russian Revolution and Congressional inquests into the American Communist Party. Bryant's love is put to the test when Reed is arrested trying to return to the United States from Russia and she embarks on a treacherous journey to be reunited with him. As the only American entombed in the Kremlin, Reeds impact on both the American Communist movement and the Russian Revolution itself are chronicled in the film. The film deftly utilizes personal interviews with those who actually knew Reed and Bryant, along with a steady pace of drama and romance to completely immerse its audience in the story. Beatty utilizes historic re-enactments and poignant deliveries from his stars including Maureen Stapleton, who won Best Supporting Actress gold for her role to create a bond with the characters and hope for their fates.
Confusions of an Unmarried Couple (2007)
'Confusions' Clearly a Winner
The latest Butler Bros. Brew, Confusions of an Unmarried Couple is a treat likened to finding the last brewsky in the ice chest, or enough roaches in the ashtray to make one last doob. A woman who doesn't know what she wants, a man who knows what he wants but can't have it, two ingenious brothers from Toronto who know exactly what they want, what we want, and how to pass it to us without a bogey. Brett and Jason lead us into a searing and hysterical foray through the functions of a dysfunctional couple who are on the precipice of either marriage or disaster (is there a difference?), blending a unique twist on breaking up into a mash of self-discovery and self-absorbency.
Lisa and Dan were a happy couple experiencing the life of love and laughter until Dan proposed. Lisa was so happy that she had to share the news with her old friend Jill who just happened to call. As often does, excitement of the heart led to excitement of the body and Jill happened to be available. Dan came home to what could have been a manly fantasy, but disturbed him beyond reason. Several months of video rehab with his brother, a few pranks and a lot of beer later, Dan confronts Lisa, and the match is on. The interaction of the couple is reflective of the post breakup meet ups of scores of people through the years, the dysfunction undeniably real. Dan's brother provides "documentary" evidence of the meeting along with flashbacks and running commentary by each party.
Working without a Hollywood budget means working because you love the work. That sensibility is evident in each Butler Brew, and 'Confusions of an Unmarried Couple' is no exception. Yes, there is profanity. Deal with it. The reality of relationships is that emotions get going and grammar is gone. The reality on steroids is what makes the film such a fun jaunt. Dan (Brett Butler), torn between his love for Lisa (Naomi Johnson) and his moral stance that cheating is cheating despite male fantasy, is portrayed believably and with true emotion; the keyword here being believably. Sure we could have had Vince Vaughn do the dialogue in a typical west coast format, but then we would lose the essence and have an entirely different movie.
I have heard the arguments that "this is a story about messed up relationships is old territory covered many, many times", and I have to ask myself the question, "Is there anything TRULY new coming out of Hollywood?" No. Formulas work and have for 90 years. Again, deal with it.
For anyone seeking a good laugh at a painful subject which nearly all of us have experienced at one time or another, 'Confusions' is a smart, witty ride that will leave you grateful that the indie isn't dead.
Pass me a cold one, and kill the lights.