List: Top 30 Films of 2011 (#30-16)

17 Jan 2012 1 Comment

by Catherine in 2011, 2011 List, List Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

More than halfway through January, I give you my 30 favorite films of the year. The final 15 will be up on Thursday. These are my favorites; not a list of the ‘best’ of the year, although it goes without saying I believe these are all excellent films. The idea of a restricting Top 10 sort of irritates me; I’ve always been someone who likes to broaden the field and point out a variety of different films that stuck out to me. Margaret, Into the Abyss, Love Exposure and The Mysteries of Lisbon are examples of gaping holes in my film viewing for this year. But I did get to a total of 136 films seen from 2011 and I feel like I saw the vast majority of what I had meant to. I’m thrilled with the group of films that stuck out for me this year. The films that just missed out on a spot were Super 8, The Sleeping Beauty, Tabloid, Rango, Kung Fu Panda 2, The Descendants, Love Crime, Weekend, 50/50, 13 Assassins, Meek’s Cutoff and Crazy, Stupid, Love. I’d love to come up with an introduction to this list that covered the year in film but so much has already been written in ways that go far beyond what I would have been capable to coming up with. I took snippets from my reviews for the films I reviewed here at some point this year, with links provided for the full reviews if anyone is interested. Without further ado…30-16!


30. Bridesmaids (Feig)

It looks like Bridesmaids actually has a semblance of chance for a slot in the Best Picture race this year. Whether it happens or not is almost irrelevant; it is the mere chance that surprises. This notion brings with it much backlash. Between that and the constant references to the shitting in the sink scene (which at this point feels like it is the only scene in the film based on how often it gets brought up), it is easy to forget just how funny and surprisingly layered the film really is.

That the film is only ever put into the context of ‘see, women can be funny too’ proves just how sad the state of female-driven comedies is. Wiig and Annie Mumolo did not set out to prove anything here, but everyone acts as if they did. We should be past the point where an ensemble female comedy is a revelation, but based on the constant contextual discussions of Bridesmaids, it is clear we are not. It does not help that it was advertised using the idea of females doing comedy essentially as a gimmick.

After all is said and done though, it is about the flawed Annie (Kristen Wiig) who has reached a point in her life where nothing has worked out the way she planned. Her only stable focal point is her friendship with Lillian (Maya Rudolph). When Lillian’s wedding plans are taken over by Rose Byrne’s wealthy stylish woman who threatens to replace her as best friend (in Annie’s insecure eyes), she fights fire with fire by being petty and selfish, much to the amusement of the audience. But the film is about her realizing how she handles those situations, seeing her come to terms with that and being ready to rebuild her life. Annie’s character struck a chord with me;  this along with Wiig’s performance is why I was so impressed with Bridesmaids as a whole. Is it too long? Yes. Does every joke hit its mark? No. Yet this is one of my favorite comedies to come along in a good long while. Really truly good comedies are infrequent these days (case in point; only three comedies are on this list). This is one of the good ones.

29. Moneyball (Miller)

There are going to be several films on this list that really took me by surprise and the first is Moneyball. I had really no interest in seeing this; in fact it took about 3 months and a rerelease for me to drag myself to the theater to see it. Sports films are generally not a genre I gravitate towards. What is so striking about 2011 is that four sports films made my list of favorites this year; an unprecedented number. Moneyball is mostly a behind-the-scenes look at baseball and how one person tries to change the deeply embedded system using unheard of strategies. It is the classic underdog tale, told with soul, drive, and a spirit of infectious perseverance headlined by Brad Pitt’s performance, which highlights Beane’s hasty insistence and inner detachment when he seals himself off from others. We know how the story ends, but the film earns the audience’s reservations as to how triumph could possibly reign supreme. Moneyball lifted me up and left me feeling roused and inspired.

28. The Trip (Winterbottom)
Full Review Link: http://cinenthusiast.wordpress.com/2011/05/03/review-the-trip-winterbottom-2011-iffboston2011/

The Trip boasts an unusual combination of dialogue-heavy comedy, of scenic travelogue complete with a focus on high-end food and finally a somber self-reflexive experiment. While these are occasionally at odds with each other, The Trip is hilarious from start-to-finish and ultimately insightful because of the persistent and atypical way it goes about making its point.

Their conversations are thoroughly escapist, with a strong air of competition. They throw themselves into moments, songs, melodies and impressions. They are constantly trying to one-up each other, whether by seeing who does the better Michael Caine impression or by testing how many octaves each can sing in.  Steve may say to others on the phone that Rob is a ‘pain in the ass’, but he clearly gets something out of his hesitant friendship with Rob; the irreverence between the two and their conversations. Each knows what to expect from the other. Steve knows he can vent his frustrations by taking jabs at Rob’s career. He knows their friendship is based on nonsensical conversations. This allows a safety net of irreverence to form for Steve.

Underneath all of the improvised hilarity, The Trip is about understanding Steve and Rob’s friendship, where it comes from, how the film is using their repeatedly competitive conversations and what it all means. Some will see it as a film that goes nowhere. This is precisely the point; it is a story about fame and emptiness, which has been addressed in many recent films, but told in an uproarious, refreshing and unconventional way.

27. Win Win (McCarthy)

As I began watching Win Win on a plane destined for Korea (the TV’s reset themselves several times, forcing me to watch this over the course of four hours), at first I was not enjoying it. It felt like the kind of middle-of-the-road indie that tries really hard to garner some chuckles with some predictable music that evokes that delightfully amused small-town sound that so many films have. Once Alex Shaffer’s Kyle entered and got the story rolling, I found myself increasingly involved. By the last half hour I was glued to the screen, only several inches away from the small TV on the backseat. All of the characters feel dimensional by the end, and it sets up a complicated dilemma that has no easy answers. It is sweet and endearing without ever feeling slight. Tom McCarthy’s writing underlines the place that wrestling has in the characters’ lives, so that when it falls to the wayside for a domestically dramatic scenario to settle in, the sport always feels thematically front and center. Not to mention that Alex Shaffer’s real-life wrestling skills which make his sport-centered scenes a treat.

26. Warrior (O’Connor)
Short Review Link: http://cinenthusiast.wordpress.com/2011/12/04/short-review-warrior-2011-oconnor/

Sometimes it is the films that surprise us that become the most rewarding film experiences. They make us realize that so many films come with high expectations impossible to meet. What a breath of fresh air it is to go into a film with very low expectations, with no sign of the dreaded hype machine in tow, and to be completely won over to the point where my emotions were running as high as they could.

Steeped in the throes of Greek tragedy, Warrior takes chamber-piece family drama to the arena of MMA. Knowingly playing with clichés and being able to deliver on familiar grounds can be just as difficult to execute properly. It is no small task, but the film is able to deliver. The first hour is a lot of set-up. It is transparent where almost all of these scenes are going, but it conveys them with an unexpectedly quiet meditation. This gives the actors and the circumstances they have to play a refreshing amount of room to breathe. By the end, proportions of such raw physical intensity are reached that you can actually feel the decades of family dynamics being brought into the arena. The result is a well-earned cathartic finale as powerful as anything I have seen this year.

P.S – Make this a double bill with South Korea’s equally impressive 2005 boxing drama Crying Fist; you will not be sorry.

25. Jane Eyre (Fukunaga)
Full Review Link: http://cinenthusiast.wordpress.com/2011/03/24/review-jane-eyre-2011-fukunaga/

Jane Eyre succeeds because what it does take on is executed with memorable specificity as well as containing some of the best chemistry between two romantic leads in years. For those who are sick of the kinds of romance films that come put today, whether comedy, drama or fantasy, Jane Eyre provides an opportunity to revisit a classic.

Many period films, especially those depicting the Victorian era, unsurprisingly and understandably tend to have the same look and feel. Fukunaga and cinematographer Adriano Goldman create a very precise atmosphere, making full use of the many conventions of the Gothic romance. The film feels naturally lit throughout, creating an often dark and gloomy look with muted grey and brown tones. The barren landscapes, wind and rain and foreboding manors are just a few conventions employed here with stunning effect. Dario Marianelli’s score fills the soundtrack with emotive violins that express the suppressed passion that Jane and Rochester keep below the surface.

Mia Wasikowska, destined for an exciting lifetime of impressive performances, captures the essence of Jane Eyre. Her dignity, guardedness and centered unwavering morals are all perfectly portrayed. She is understated and powerful, conveying subtle transitions in her face at every turn. It might just be the perfect incarnation of the heroine.

It is a rare thing when the two romantic leads have the chemistry the story demands them to have; these two do. The film is most engaging when the two are onscreen together, not just from of the power their scenes have, but because of the way they portray the evolution of their relationship. Buffini makes sure that different circumstances surround each scene they have together, making every single interaction between the two unique.

The film may heavily dilute several themes from the book in a disappointing way, but Wasikowska infuses her performance with what is missing. Was yet another adaptation necessary? Probably not, but it is hard to imagine anyone complaining about it after seeing Fukunaga and Buffini’s splendid interpretation.

24. The Last Circus (Iglesia)

The most utterly berserk and unbridled film from this year, The Last Circus is a nutzoid accomplishment plagued with political undertones (and in-your-face purpose; hello opening credits) from the Franco regime of the 1970’s. A love triangle between two clowns and an acrobat (who is the definition of the self-destructive male fantasy woman), the film inhabits a heightened predicament where love, suffering, violence and insanity all inhabit the same space and become interchangeable. Most films have a set trajectory, where you have some sense of where it will go, even if you do not know how it will get there. The Last Circus reaches what I assumed would be its climactic scene before the halfway point and I realized I had absolutely no idea where it was headed next. It was an unfamiliar and exhilarating realization and I watched as the film darted off into entirely wacky and surreal territory. The last scene which gives off a feeling of finality, hopelessness and defeat is a singular moment in the film. The Last Circus is unforgettable.

23. Midnight in Paris (Allen)

Had it not been for Rachel McAdams’ increasingly shrill caricature, this would be even higher on my list. Considering how much love I have for this film, and seeing it in the 23 slot, it becomes clear just how necessary I feel it is to move beyond the idea of a Top 10. Indeed, this is one of my favorites from Allen, carrying that same magical air as The Purple Rose of Cairo (my absolute favorite from him). Leaving the theater with a giant gleaming smile on my face, Midnight in Paris wins people over for its literalized and fantastical look at the idea of nostalgia and yearning for a time past. And using 1920’s Paris for that is probably the most idealized time and place there is.  Owen Wilson proves to be the perfect Allen avatar, neurosis and rationalizing take precedence with him. To see him this enthralled with all the artistic figures of the past is contagious. The romantic and rational sides of Allen interact here and come to several different conclusions. It’s a vicarious dream come true.

22. Shame (McQueen)
Full Review Link: http://cinenthusiast.wordpress.com/2011/12/11/review-shame-2011-mcqueen/

McQueen has the confidence of a veteran; his vision is clear and he presents it with poise. Between this and Hunger, it is obvious that long takes are his strong suit. One more film from him and they will be a fully-fledged trademark. He risks distracting the audience but he does not; his lengthy observations make us more attentive, more aware of the physical space and of body language. They allow us to get a fuller sense of the performances and they enhance the notion of the audience observing Brandon through the glass-plate walls; he is a test subject. McQueen distances us with the sterile environment and cagey glass. He puts us up close when it counts, and when it becomes important to unsettle the audience. Fassbender and Mulligan are astounding.

McQueen uses Brandon as cornerstone representative for addiction with a sibling dynamic ripe for rich exploration. Brandon’s surprisingly conventional, but no less powerful, arc towards disintegration is tinted with more hope than one would expect. Shame is arresting cinema that loyally follows its self-loathing protagonist wherever he may go.

21. Senna (Kapadia)
Full Review Link: http://cinenthusiast.wordpress.com/2011/09/07/review-senna-2011-kapadia/

Senna plays more like a narrative feature than any documentary in recent memory. Gripping from the start and refusing to let go, this immersive story will enthrall the viewer regardless of their ignorance of Formula One racing and/or three time Grand Prix world champion, Brazilian driver Ayrton Senna. Entirely comprised of archival footage, Senna offers a rare privilege of access for a documentary, resulting in a wholly distinct experience. It does not feel like you are watching something that has already happened; instead it largely unfolds as if for the first time.

I was the only one in my theater when I saw Senna, and I was allowed to have an emotional reaction with a freedom rarely afforded within the theater-going experience. By the end, I felt an overwhelming sense of sadness and loss. Interestingly enough, the two documentaries on this list spurred a stronger emotive response than anything else I saw this year.


20. Poetry (Lee)

Lee Chang-dong has a knack for staying a couple of steps away from melodrama with his unadorned camera and plots that never feel like plots. In some ways, he is the opposite of melodrama, but he somehow always gives off a sense of it without it defining or even distracting from his pictures. On the one hand, the film is a gentle tale of an elderly woman creeping up on Alzheimer’s who strives to understand how poetry works, looking everywhere for inspiration in order to write a poem. If this sounds nauseating, do not make the mistake of judging Poetry; it has none of the sentiment or predictability the story suggests.On the other hand, there is the tale of a horrific family crime committed, how Mi-ja copes with it as she deals with the aftermath of forced interaction for all parties involved and their differing motivations.

Lee mixes plot elements in ways that are unfamiliar and new, without ever having it feel like something is conventionally unfolding. His two films made after his time as Korea’s Minister of Culture and Tourism heavily deal with coping, the unforeseen circumstances surrounding tragedy and the various ways people try to coexist with their personal tragedies. It is simultaneously heartbreaking and uplifting.

19. Tyrannosaur (Considine)

Actor Paddy Considine’s directorial debut sticks us with some pretty miserable folk. That Peter Mullan’s train-wreck of a protagonist, unable to keep himself contained for a moment, is the one that comes to be Hannah’s (Olivia Colman) only support system says it all. Tyrannosaur works because of the central relationship where mutually affectionate moments are able to burst through the defense mechanisms, secrets and stubbornness of the characters and the relentlessly bleak and violent nature of the film.

This is one of those ‘what do I do with myself now’ films that send one off into the world with a fuzzy haze of hopelessness. Some may not think it is worth it or that it does not justify being this depressing. But I appreciate Considine’s insistence on showing us two complicated people with no easy explanations to their predicaments or personalities. It is the matter-of-factness of it that I admire. Mullan has more rage than all the ‘angry young men’ characters of British cinema combined. He’s like the middle-aged present day result of those guys. Colman is in the most horrifically abusive marriage imaginable and has reached the point where excuses and suffering have seemingly buried escape.

18. Martha Marcy May Marlene (Durkin)

That Martha Marcy May Marlene held my spot at number 1 for a time after I saw it indicates that we have approached an even more intense level of appreciation for the films left on this list. Martha Marcy May Marlene disturbingly displays the susceptible nature of the mind and what mankind is capable of subverting through mutual groupthink. It is a complicated character study about a young woman unable to assimilate herself in any environment, and is left with heaps of traumas, sadly stubborn lingering ideologies and zero sense of self. She is a nearly broken being. Sean Durkin wrote and executed this story with staggering maturity. Some broad supporting characterization and some overstated dialogue only mildly hinder the experience. The complex characterization headlined by Olsen and the tension that instills the audience makes for a fearless film from a debut filmmaker.

17. Incendies (Villeneuve)

It has been many many months since I watched Incendies; almost a year. If I saw it again, it may even garner a higher spot on this list.  After Biutiful and In a Better World left me underwhelmed (and with the former, downright annoyed), this is the other foreign language film nominee from last year’s Oscars that left an impact on me (the other is Dogtooth, which was my third favorite film of 2010, only to become my favorite after a rewatch taking over from Black Swan). It seems redundant to say that Incendies is involving, especially since I have been describing a number of films on this list as such. However, where some films involve me so much because I did not expect them to, for its thematic content or for filmmaking aspects more than anything else visceral or otherwise, Incendies involved me on a level of pure storytelling. There is no other film that involved me more this year (although several match it) on a storytelling level.

Remarkably devastating, the film balances political strife with the intensely personal and wraps it up in a disturbing familial central mystery. Several sequences are riveting, led by the wonderful Lubna Azabal. The film never feels small, with all of its war-torn setting, the unstoppable presence of politics and war and the linking of past and present using a flashback structure. Incendies leaves an indelible and powerful mark.


16. Mission: Impossible – Ghost Protocol (Bird)

This is the most fun I had at the movies this year; by far the most satisfying action film I have seen since 2006’s Casino Royale. Brad Bird’s live-action debut proves that he has a knack for creating increasingly complicated set-pieces, never losing the high levels of energy, fun and genuine excitement he sets up for himself. There is literally no depth to this film at all and we are all the better for it.

This is what escapist cinema is all about. Seeing Tom Cruise reliably bringing his irreplaceable screen presence to the non-character that is Ethan Hunt is all we need. His penchant for doing as much of his own stunts as he can culminates in the stunning sequence atop the tallest skyscraper in the world; Dubai’s Burj Khalifa. There are no green-screen effects here; the cameras are filming onsite and Cruise really is leaping around and climbing on the outside. It is indescribably thrilling and revitalizing to see an action film pull out all the stops and give us onsite set-pieces that are a much-needed antidote to the typical green-screen action scene. Filmed in IMAX, it feels like we are up there with him; and this is only one scene. Each sequence would be a memorable standout of any other film; Ghost Protocol just gives us one after the other, constantly matching itself. The entire film keeps up this level of entertainment. To put it simply; I did not want this film to end.

Complete List of Films Seen in 2011: 13 Assassins, 50/50, A Better Life, A Dangerous Method, Albert Nobbs, American Grindhouse, Another Earth, Attack the Block, Beastly, Beginners, Being Elmo, Bellflower, Bill Cunningham, New York, Biutiful, Black Death, Bobby Fischer Against the World, Bridesmaids, Buck, Cameraman: the Life and Work of Jack Cardiff, Captain America: The First Avenger, Carnage, Cars 2, Caterpillar, Cave of Forgotten Dreams, Cedar Rapids, Certified Copy, Cold Fish, Cold Weather, Conan O’Brien Can’t Stop, Contagion,, Cracks, Crazy, Stupid, Love, Detective Dee and the Mystery of the Phantom Flame, Dream Home, Drive, Edge of Dreaming, Hanna, Harry Potter and the Deathly Hallows Part 2, Hesher, Hobo with a Shotgun, Horrible Bosses, Hugo, I Saw the Devil, If a Tree Falls: A Story of the Earth Liberation Front, In a Better World, In Time, Incendies, Insidious, J. Edgar, Jane Eyre, Kung Fu Panda 2, Last Night, Le Quattro Volte, Love Crime, Margin Call, Martha Marcy May Marlene, Meek’s Cutoff, Melancholia, Midnight in Paris, Mildred Pierce, Mission: Impossible – Ghost Protocol, Moneyball, My Week with Marilyn, Of Gods and Men, Outrage, Page One: Inside the New York Times, Passion Play, Pirates of the Caribbean: On Stranger Tides, Poetry, Project Nim, Rampart, Rango, Red Riding Hood, Red State, Redline, Retreat, Rise of the Planet of the Apes, Rubber, Scream 4, Senna, Shame, Sleeping Beauty, Source Code, Submarine, Sucker Punch, Super, Super 8, Tabloid, Take Shelter, Terri, The Adventures of Tintin, The Arbor, The Artist, The Debt,The Descendants, The Devil’s Double, The Double Hour, The Future, The Girl with the Dragon Tattoo, The Green Hornet, The Help, The Housemaid, The Ides of March, The Last Circus, The Lincoln Lawyer, The Mill and the Cross, The Muppets, The Rite, The Roommate, A Separation, The Skin I Live In, The Sleeping Beauty, The Thing, The Tree of Life, The Trip, The Ward, The Woman, Thor, Tinker Tailor Soldier Spy, TrollHunter, Tucker and Dale vs. Evil, Tyrannosaur, Uncle Boonmee Who Can Recall His Past Lives, Unknown, War Horse, Warrior, We Need to Talk About Kevin, Weekend, Win Win, Winnie the Pooh, X-Men: First Class, Young Adult, Your Highness, Yves Saint-Laurent: L’Amour Fou

List: Top 50 Favorite Modern Actresses

04 Jan 2012 2 Comments

by Catherine in List, Uncategorized Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

I just went through this rant in my intro to my ‘Top 50 Favorite Modern Actors’. So that post will give a general idea for what went into the list.


50. Christina Hendricks
Seen in 2 TV Shows, 2 films: “Mad Men”, 4 seasons, “Firefly”, 2 episodes, Life as We Know It, Drive


49. Kelly Macdonald
Seen in 9 films, 1 TV Show: Trainspotting, Elizabeth, Gosford Park, Intermission, Finding Neverland. The Hitchhiker’s Guide to the Galaxy, No Country for Old Men, Choke, Harry Potter and the Deathly Hallows: Part 2, “Boardwalk Empire”, 2 seasons


48. Katherine Moennig
Seen in 1 film, 1 TV show: “The L Word”, 5 seasons, The Lincoln Lawyer


47. Helena Bonham Carter
Seen in 20 films: A Room with a View, Hamlet, Howards End, Mary Shelley’s Frankenstein, The Wings of the Dove, Merlin, Fight Club, Planet of the Apes, The Heart of Me, Big Fish, The Corpse Bride (voice), Wallace and Gromit: Curse of the Were-Rabbit (voice), Charlie and the Chocolate Factory, Harry Potter and the Order of the Phoenix, Sweeney Todd, Harry Potter and the Half-Blood Prince, Alice in Wonderland, Harry Potter and the Deathly Hallows: Part 1, The King’s Speech, Harry Potter and the Deathly Hallows: Part 2


46. Marion Cotillard
Seen in 7 films: Big Fish, La Vie en Rose, Public Enemies, Nine, Inception, Midnight in Paris, Contagion


45. Katee Sackhoff
Seen in 2 TV shows, 1 TV movie: “Battlestar Galactica”, 4 seasons, Battlestar Galactica: Razor, “24″, 1 season


44. Michelle Pfieffer
Seen in: Grease 2, Scarface, Dangerous Liaisons, Batman Returns, The Age of Innocence, Dangerous Minds, One Fine Day, A Midsummer Night’s Dream, What Lies Beneath, Stardust, Hairspray


43. Summer Glau
Seen in 1 movie, 3 TV shows: “Firefly”, 1 season, “Dollhouse”, 4 episodes, Serenity, “Angel”, 1 episode


42. Thora Birch
Seen in 9 films: All I Want for Christmas, Hocus Pocus, Monkey Trouble, Now and Then, Alaska, American Beauty, The Hole, Ghost World, The Pregnancy Pact


41. Catherine Keener
Seen in 11 films: Living in Oblivion, Being John Malkovich, Death to Smoochy, The Interpreter, The 40-Year-Old Virgin, Capote, Hamlet 2, Synecdoche New York, Where the Wild Things Are, Please Give, Cyrus


40. Jessica Hynes
Seen in 2 TV shows, 4 films: “Spaced”, 2 seasons, “Doctor Who”, 3 episodes, Swing Kids, Bridget Jones: The Edge of Reason, Shaun of the Dead, Confetti


39. Meryl Streep
Seen in 18 films: The Deer Hunter, Manhattan, Kramer vs. Kramer, Sophie’s Choice, Out of Africa, She-Devil, The River Wild, Death Becomes Her, A.I Artificial Intelligence (voice), Adaptation, The Hours, The Manchurian Candidate, Lemony Snicket’s A Series of Unfortunate Events, A Prairie Home Companion, The Devil Wears Prada, Doubt, Julie and Julia, Fantastic Mr. Fox (voice)


38. Michelle Forbes
Seen in 5 TV shows, 3 films: Just Looking, Dandelion, “24″, 1 season, “Battlestar Galactica”, 3 episodes, Battlestar Galactica: Razor, “In Treatment”, 1 season, “True Blood”, 1 season, “The Killing”, 1 season


37. Moon So-ri
Seen in 3 films: Peppermint Candy, Oasis, A Good Lawyer’s Wife


36. Jennifer Jason Leigh
Seen in 10 films: Fast Times at Ridgemont High, Single White Female, Short Cuts, eXistenZ, The Anniversary Party, The Road to Perdition, The Jacket, Margot at the Wedding, Synecdoche New York, Greenberg, “Weeds”, 3 episodes


35. Claire Danes
Seen in 15 films, 2 TV shows: “My So-Called Life”, 1 season, “Homeland”, 1 season, Little Women, How to Make an American Quilt, I Love You, I Love You Not, Romeo + Juliet, Princess Mononoke (voice), Brokedown Palace, Igby Goes Down, The Hours, Shopgirl, The Family Stone, Stardust, Me and Orson Welles, Temple Grandin


34. Gong Li
Seen in 4 films: Raise the Red Lantern, Farewell My Concubine, To Live, 2046


33. Naomi Watts
Seen in 13 films: Flirting, Tank Girl, Mulholland Drive, The Ring, 21 Grams, I Heart Huckabees, Assassination of Richard Nixon, Stay, King Kong, The Painted Veil, Eastern Promises, Mother and Child, J. Edgar


32. Saoirse Ronan
Seen in 4 films: Atonement, The Lovely Bones, City of Ember, Hanna


31. Mia Wasikowska
Seen in 4 films, 1 TV show: “In Treatment”, 1 season, Alice in Wonderland, The Kids Are All Right, Jane Eyre, Albert Nobbs


30. Hanna Schygulla
Seen in 3 films: The Bitter Tears of Petra von Kant, The Marriage of Maria Braun, Edge of Heaven


29. Angela Bettis
Seen in 4 films, 1 TV show: Girl, Interrupted, Bless the Child, May, The Woman, “Dexter”, 2 episodes


28. Maggie Smith
Seen in 17 films, 1 TV show: Murder by Death, A Room with a View, Hook, Sister Act, Sister Act 2: Back in the Habit, The Secret Garden, The First Wives Club, Gosford Park, Divine Secrets of the Ya-Ya Sisterhood, Harry Potter and the Sorcerer’s Stone, Harry Potter and the Chamber of Secrets, Harry Potter and the Prisoner of Azkaban, Harry Potter and the Goblet of Fire, Harry Potter and the Order of the Phoenix, Harry Potter and the Half-Blood Prince, Harry Potter and the Deathly Hallows: Part 1, Harry Potter and the Deathly Hallows: Part 2, “Downton Abbey”, 2 seasons


27. Charlotte Rampling
Seen in 10 films: The Night Porter, The Verdict, The Wings of the Dove, Swimming Pool, Deception, The Duchess, Life During Wartime, Never Let Me Go, Melancholia, The Mill and the Cross


26. Keira Knightley
Seen in 16 films: Star Wars Episode I: The Phantom Menace, The Hole, Pirates of the Caribbean: Curse of the Black Pearl, Love Actually, King Arthur, The Jacket, Domino, Pride and Prejudice, Pirates of the Caribbean: Dead Man’s Chest, Pirates of the Caribbean: At World’s End, Atonement, The Edge of Love, The Duchess, Never Let Me Go, Last Night, A Dangerous Method


25. Emma Stone
Seen in 5 films: Superbad, Zombieland, Easy A, Crazy, Stupid, Love, The Help


24. Ludivine Sagnier
Seen in 9 films: Water Drops on Burning Rocks, 8 Women, Swimming Pool, Peter Pan, Paris je t’aime, A Secret, Mesrine: Public Enemy Number 1, Love Crime, The Devil’s Double


23. Michelle Williams
Seen in 15 films: Species, Halloween: H20, Dick, If These Walls Could Talk 2, Prozac Nation, Brokeback Mountain, I’m Not There, Deception, Synecdoche, New York, Wendy and Lucy, Shutter Island, Mammoth, Blue Valentine, Meek’s Cutoff, My Week with Marilyn


22. Emma Thompson
Seen in 14 films: Howards End, Much Ado About Nothing, Remains of the Day, In the Name of the Father, Junior, Sense and Sensibility, Love Actually, Harry Potter and the Prisoner of Azkaban, Stranger than Fiction, Harry Potter and the Order of the Phoenix, I Am Legend, An Education, Harry Potter and the Deathly Hallows: Part 2


21. Liv Ullman
Seen in 4 films: Persona, Hour of the Wolf, Cries and Whispers, Autumn Sonata


20. Helen Mirren
Seen in 12 films: The Long Good Friday, The Cook, the Thief, his Wife & Her Lover, The Madness of King George, Gosford Park, Calendar Girls, The Clearing, The Hitchhiker’s Guide to the Galaxy, The Queen, Inkheart, State of Play, RED, The Debt


19. Shirley Henderson
Seen in 11 films, 1 TV show: Trainspotting, Topsy-Turvy, Bridget Jones’s Diary, Harry Potter and the Chamber of Secrets, 24 Hour Party People, Intermission, Bridget Jones: The Edge of Reason, Marie Antoinette, Harry Potter and the Goblet of Fire, Life During Wartime, Meek’s Cutoff, “Doctor Who”, 1 episode


18. Vera Farmiga
Seen in 8 films: Return to Paradise, The Manchurian Candidate, The Departed, Joshua, Quid Pro Quo, Nothing but the Truth, Orphan, Source Code


17. Laura Linney
Seen in 10 films: Primal Fear, The Truman Show, The House of Mirth, The Mothman Prophecies, Mystic River, Love Actually, Kinsey, The Exorcism of Emily Rose, The Squid and the Whale, The Savages


16. Jeon Do-yeon
Seen in 2 Films: Secret Sunshine, The Housemaid


15. Christina Ricci
Seen in 21 films: Mermaids, The Addams Family, Addams Family Values, Caspar, Now and Then, Gold Diggers: Secret of Bear Mountain, That Darn Cat, The Ice Storm, The Opposite of Sex, Small Soldiers (voice), 200 Cigarettes, Sleepy Hollow, Bless the Child, The Man who Cried, Prozac Nation, Monster, Cursed, Black Snake Moan, Penelope, Speed Racer, AfterLife, “Grey’s Anatomy”, 2 episodes


14. Ellen Page
Seen in 8 films: Hard Candy, X-Men: The Last Stand, Juno, Smart People, Whip It, Peacock, Inception, Super


13. Maggie Cheung
Seen in 5 Films: Centre Stage, Irma Vep, In the Mood for Love, Hero, 2046


12. Olivia Williams
Seen in 7 films, 1 TV show: Rushmore, The Sixth Sense, The Heart of Me, Peter Pan, An Education, The Ghost Writer, Hanna, “Dollhouse”, 2 seasons


11. Winona Ryder
Seen in 17 films: Beetlejuice, 1969, Mermaids, Edward Scissorhands, Night on Earth, Bram Stoker’s Dracula, The Age of Innocence, Reality Bites, Little Women, How to Make an American Quilt, The Crucible, Girl, Interrupted, Mr. Deeds, The Ten, The Private Lives of Pippa Lee, Star Trek, Black Swan


10. Carey Mulligan
Seen in 9 films, 1 TV show: Pride and Prejudice, Northanger Abbey, Public Enemies, An Education, Brothers, Never Let Me Go, Wall Street: Money Never Sleeps, Drive, Shame, “Doctor Who”, one episode


9. Nicole Kidman
Seen in 22 films: Dead Calm, Days of Thunder, Flirting, Far and Away, My Life, To Die For, Batman Forever, Practical Magic, Eyes Wide Shut, Moulin Rouge!, The Others, The Hours, Dogville, Cold Mountain, The Stepford Wives, Bewitched, Birth, The Interpreter, The Golden Compass, Margot at the Wedding, Nine, Rabbit Hole


8. Bae Doona
Seen in 4 films: Barking Dogs Never Bite, Take Care of My Cat, Sympathy for Mr. Vengeance, The Host


7. Kate Winslet
Seen in 14 films, 1 TV show: Heavenly Creatures, Sense and Sensibility, Hamlet, Titanic, Quills, Eternal Sunshine of the Spotless Mind, Finding Neverland, Little Children, The Holiday, The Reader, Revolutionary Road, Mildred Pierce, Contagion, Carnage, “Extras”, 1 episode


6. Sally Hawkins
Seen in 10 films: Tipping the Velvet, Vera Drake, Layer Cake, Fingersmith, Cassandra’s Dream, Happy-Go-Lucky, An Education, Never Let Me Go, Submarine, Jane Eyre


5. Juliette Binoche
Seen in 9 films: Damage, Three Colors: Blue, The English Patient, Chocolat, Cache, Paris je t’aime, Flight of the Red Balloon, Summer Hours, Certified Copy


4. Cate Blanchett
Seen in 22 films: Elizabeth, The Talented Mr. Ripley, An Ideal Husband, The Gift, The Man who Cried, Lord of the Rings: The Fellowship of the Ring, Bandits, Lord of the Rings: The Two Towers, Lord of the Rings: Return of the King, Coffee and Cigarettes, Veronica Guerin, The Life Aquatic with Steve Zissou, The Aviator, Babel, The Good German, Notes on a Scandal, Hot Fuzz, I’m Not There, Indiana Jones and the Kingdom of the Crystal Skull, The Curious Case of Benjamin Button, Hanna


3. Tilda Swinton
Seen in 12 films: Vanilla Sky, Adaptation, Chronicles of Narnia: The Lion, The Witch and the Wardrobe, Thumbsucker, Stephanie Daley, Michael Clayton, Julia, Chronicles of Narnia: Prince Caspian, Burn After Reading, The Curious Case of Benjamin Button, I Am Love, We Need to Talk About Kevin


2. Catherine Deneuve
Seen in 12 films: The Umbrellas of Cherbourg, Repulsion, The Young Girls of Rochefort, Belle de Jour, Donkey Skin, The Last Metro, The Hunger, Dancer in the Dark, 8 Women, Persepolis (voice), A Christmas Tale, The Girl on the Train


1. Isabelle Huppert
Seen in 10 films: Violette Noziere, Story of Women, La Ceremonie, Sentimental Destinies, Merci Pour le Chocolat, The Piano Teacher, 8 Women, Time of the Wolf, I Heart Huckabees, White Material

List: 10 Cinematic Heterosexual Chemistries that Scorched the Screen

08 Jul 2011 1 Comment

by Catherine in List Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Like last week’s LGBT list, this installment will look at the chemistry between couples in film; this time heterosexual. Criteria demands that definitive romantic interest be found by at least one character. Like all of my lists, this is personal preference. Two actors may have fabulous chemistry together, like say, John C. Reilly and Melora Walters in Magnolia, but they were never considered for this list, despite being one of my favorite cinematic couples. Why? Great chemistry is not enough. Palpable is again the word of choice, (also scorching, as is used in the list title) but beyond that, a certain secret ingredient must be present. What that is I could not say; I will attempt to reason through it via my explanations. We all have our own reasons for being particularly drawn towards certain romantic interactions between two characters.

There will undoubtedly be a couple of choices on here that will elicit a “Hmm…I would not think of these two for a list like this”. But that is precisely what makes a list like this so great; everyone’s would likely be drastically different. Sexual interaction between couples on this list has an extremely wide range from wildly intense relationships to a chaste boy-meets-girl romp. There is a nice mix of films here, recent and old, a few from other countries. There are many different kinds of love stories, allowing a wide range of circumstance to be present. Also interesting is that none of the actors on this list appears more than once.

A lot of this is treading the same introductory ground as the LGBT chemistry list, I realize. But I hate posting lists without intros or reasons. As frustrating as it can be, as I always confront my limitations as a film blogger head-on, it is important for me to work through it and never simply plop down a list and click on ‘publish’.

I sincerely invite you to list some of your own choices for this list in the comments section. I would love to read them.

Beware: There are some spoilers in the mix.

10. Humphrey Bogart as Phillip Marlowe and Lauren Bacall as Vivian Rutledge in The Big Sleep (1946)

Choosing between To Have and Have Not and The Big Sleep was difficult, but I went with the latter, mainly because I happen to love the film a lot more. Bogart and Bacall as an onscreen pair muster up intimidating hype, seemingly impossible to live up to. That it does is a feat. That it goes further and surpasses the hype is difficult to fathom. Bogart and Bacall transfer their lifelong romance to the screen which continues to incite wonder today. They are backed by a screenplay co-written by Faulkner (yes, that Faulkner) that memorably sacrifices coherence for an addictively broad tone of consistent intrigue. Furthermore, the exchanges (chockfull of risqué innuendo and wordplay) between Marlowe and Vivian reveal a playfulness; a constant testing of the minds. Yes, Bogart fares equally well with Martha Vickers and Dorothy Malone (it is understandable that the producers were worried about just how good Vickers is, resulting in her performance being chopped up). That does not dim our appreciation of the famous couple’s work here.

9. Tippi Hedren as Marnie Edgar and Sean Connery as Mark Rutland in Marnie (1964)

There is nothing really romantic about this pairing and it may seem like an odd choice to some. Hitchcockian perversity hits an all-time high here in a forced relationship rife with trauma and sometimes laughably dated ‘Intro to Psych’ character work. Mark sees Marnie through his own arrogance; as an impenetrable pet project. Marnie allows Hitchcock to visually display the inner psyche in an even more outwardly purposeful way than ever before. The director is just as fascinated by Marnie (and Hedren for that matter) as Mark is. The film is short on plot (rare for the director) and is instead entirely about Marnie’s inner demons. As Mark tries to figure her out, so do the filmmaker and the audience. Countless time could be spent looking at this film with a feminist perspective, likely finding the film more problematic and reductive than anything else.  As for the chemistry, many think the opposite and feel something is lacking between the two. I give them, and the film, more credit; the two have a ton to work with and their oddly successful coupling owes more to the material than anything else. These two are on the list primarily because of their unique circumstances, and that each scene carries with it an obsessive desire to penetrate one woman’s mind, creating uncommon tension.


8. Ralph Fiennes as Count László Ede Almásy and Kristin Scott Thomas as Katherine Clifton in The English Patient

Components of The Big Sleep and Marnie include crackling dialogue and situational captivation, but The English Patient’s inclusion on this list is entirely based on the pure unadulterated passion between Fiennes and Thomas. Their scenes are all-consuming; the definition of romance. It does not even feel like acting. The lacing of love affair and tragedy makes for all-the-more heavy impact.

7. Monica Vitti as Vittoria and Alain Delon as Piero in L’Eclisse (1962)

Antonioni’s third in a trilogy on alienation amongst the young and beautiful further proves why Vitti was the perfect cipher for the director’s examination of ennui and lack of communication. But for this list, we can forget about all of that. With Alain Delon thrown into the mix, we have arguably the two most beautiful people of their time period in a film together; Alain Delon and Monica Vitti. The mere prospect of the pairing turns my brain to rot. In practice it is a dream come true. While the characters are a means to justify the end for Antonioni’s grander vision, it does not lessen the impression these two leave with the viewer. He is an enthusiastic stockbroker and she is an unsure young woman who doesn’t know what she wants. Moving beyond physical attraction becomes a problem between the two. The struggle between wanting something more, and being unable to coalesce into anything substantial, leaves them at a standstill. Still, their physical attraction is something to behold. The scene featuring the two kissing between glass is a lengthy poetic dance, and it might be the sexiest scene from any of the couples featured here.


6. Maggie Cheung as Su Li-zhen and Tony Leung as Chow Mo-wan in In the Mood for Love (2000)

Who says a couple needs to get physical in order to have smoldering chemistry? Nary can a kiss be found in Wong Kar-wai’s seminal and sumptuous period film. It is because the two never consummate their feelings for one another that make the interactions between Tony Leung and Maggie Cheung so special. While countless other hackneyed films about affairs exist (and many good ones), In the Mood for Love is all about not acting on ones feelings for another. How often do you see a story like this? Leung and Cheung are magical together. Cheung is decked out in some of the most beautiful period costumes known to film. Wong regular Christopher Doyle unforgettably captures the actors and creates atmosphere with his camera. And Shigeru Umebayashi’s famous score captures the yearning between Mo-wan and Li-zhen. This may sound like a beautiful film with nothing much going on underneath, but the opposite is true. Every scene between Leung and Cheung is riddled with layers and the film is beautifully acted with innumerable subtlety. They have motives for acting on their feelings because they believe their spouses are cheating; and yet they do not. You will not find unconsummated passion that matches this film.


5. Mia Wasikowska as Jane Eyre and Michael Fassbender as Rochester in Jane Eyre (2011)

From my initial review of this year’s adaptation of Jane Eyre; “It is when the two actors are brought together that the magic happens. It is a rare thing when the romantic leads have the chemistry the story demands them to have; these two do. The film is most engaging when the two are onscreen together, not just from of the power their scenes have, but because of the way they portray the evolution of their relationship. Buffini makes sure that different circumstances surround each scene they have together, making every single interaction between the two unique.”


4. Cary Elwes as Wesley and Robin Wright as Buttercup in The Princess Bride (1987)

The reason The Princess Bride has remained ever so strongly within our hearts is because it is pitch-perfect on all counts. This also goes Robin Wright and Cary Elwes as Buttercup and Wesley. They have chemistry to spare but it is because there are several kinds of tension apparent. In the beginning, they display the sweet and pure simplicity of love. When she is unknowingly kidnapped by him, a hateful banter forms that presents an oppositional romance. There are times when intensity takes hold not present in those first few scenes. By the end, we are back where we started with the innocence of the beginning, as they share the only kiss the two shares in the film.

3. Jimmy Stewart as Alfred Kralik and Margaret Sullavan as Clara Novak in The Shop Around the Corner (1940)

If I can get The Shop Around the Corner on any list of mine, you better be damn sure I’ll try. Don’t get me wrong; this absolutely deserves to be here without a doubt; there was no sacrificial lamb to get this cherished treasure on the list. Jimmy Stewart and Margaret Sullavan were one of the first couples that came to mind when brainstorming for this. First, they don’t really care for each other. Then, he discovers that she is the pen pal he has fallen in love with. He has an advantage, and their interactions change. Indeed, she disdains him all the more, never withholding harsh criticism when possible, while he sees her in a new light entirely. While the film classifies as romantic comedy, their conversations go far past the depended-upon witty banter. There is something truly special, and indeed indescribable, at least to me that these two bring on the screen together. There are times where they speak and it is as if there is nobody else in the world. I also recommend seeing their other onscreen pairing in The Mortal Storm, a much more serious film that does not get the recognition it deserves.


2. Maggie Gyllenhaal as Lee Holloway and James Spader as E. Edward Grey in Secretary (2002)

Sadomasochistic relationships are so very rarely, if ever and certainly not in the US, portrayed with any kind of seriousness, matter-of-fact storytelling or examination. I consider Secretary to be an important film. Yes, this topic had been broached before, but the kind of exposure this film received, makes this a remarkable feat. The characters Gyllenhaal and Spader play are developed; the film rightly never looks down on them, displaying a kind of exhilarated acceptance that truly is ‘scorching’. Spader and Gyllenhaal are outstanding together. They give the film the mandatory feeling of desperate and uncontrollable need. They also give their characters the proper dimensions required of them and are able to throw themselves into every scene and moment. I also love that Gyllenhaal is our protagonist and that the audience enters his world via her character as opposed to the opposite. And to top it off, the film has a happy ending. Spader and Gyllenhaal have never been better.


1. Emmanuelle Devos as Carla and Vincent Cassel as Paul in Read My Lips (2001)

The moment I started brainstorming this list, I knew my number one, even though it was a film I had only seen several months ago for the first time. Describing it is a daunting task, but here it goes. Cassel and Devos share something together here that I have never seen before and their dynamic is mesmerizing. It manages to balance a passionate undertone, but at the same time, contain a quietness and subtlety that is stunning to witness. Also, the film is told from the female perspective; she is the voyeur here, the one captivated by Cassel. She hires him as an assistant, knowing he is an ex-con, but he is attractive and her work environment is such a miserable place for her; why not? In the workplace, she is in control of him. He works for her. He is not very interested in her, but once he learns she can read lips due to significant deafness, he becomes interested in what she can do for him. For every element of control she has, he exploits her for his own criminal purposes. Yet, she willingly jumps into this scenario, knowingly allowing herself to be used. And he does care for her; kind of. It’s a very quiet streak of kindness, not threatening his motives, but still ever-so-present. She is dowdy, mocked by co-workers, feeling ugly and useless. The attention Cassel give her may have ulterior motives, but it is attention nonetheless. She is needed by someone, and she is willing to subject herself to this for that need from him and from those all-too quick moments of appreciation before he goes back to taking her for granted again. As you can see, there is so much going on here between these two, and it is incredible to see Cassel and Devos play this so sexily and subtly together.

Wish List: 15 Dream Director/Actor Collaborations

28 Jun 2011 Leave a Comment

by Catherine in 2011, List, Wish List Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Do you ever think about which actor and director pairings would get you the most psyched? You wake up and go online to read confirmation that so-and-so signed on to star in so-and-so’s next production and you find yourself eagerly anticipating it more than most other projects solely because of the pairing? Well, here is a list of collaborations I would love to happen. These are not the pairings I want more than any other. Honestly, with all the actors and directors out there, grouping certain people above all others as definitive perfection is a little foolish. I am sure someone else could come up with a list like this and I would be just as excited about their picks. Hence the list being unordered. I would really love to hear what your dream collaborations would be. Be sure to comment and list some of yours!

Fatih Akin and Franka Potente – Sibel Kekilli’s role in 2004′s Head-On is my reference point for this. While Akin’s last film was the mediocre comedy Soul Kitchen, his Head-On and The Edge of Heaven are very heavy dramas that demand equally intense performances from all involved. Seeing Potente take on material involving his trademark exploration into German-Turkish relations would be so undoubtedly rewarding.

Woody Allen and Tom Hollander – Tom Hollander has been one of my favorite actors for several years now, and he got to show his comedic chops in 2009′s brilliant political satire In the Loop. Allen’s recent globe-trotting tendencies make it somewhat common for British actors to pop up in his films as of late. Hollander would fit in perfectly in a strong supporting role as part of an ensemble in an Allen film. He excels at villainous roles (Pirates of the Carribean 2 & 3, Hanna), but I hope he gets more opportunities to be as funny as he is in In the Loop. “A walrus? I’m not fat, I don’t even have a moustache. Fuck, they’ve given me tusks.”

Bong Joon-ho and Lee Byung-hun – This one is honestly bound to happen at some point. Lee is a superstar and Bong represents economic prosperity for South Korea’s film industry. It is just a matter of time. The reason this pairing would be exciting is because of what Bong could bring out of Lee. Lee is a fantastic actor and he has a strong ‘soap opera’ acting ability that works so well for him. Bong’s films are known for being so tonally distinct, often switching moods within the same scene or balancing many different varied genres at the same time. I have said it so many times, but again, he does something with his films that nobody else in cinema does. Seeing Lee function within this atmosphere would surely bring something different out of him. The potential here is endless.

Jane Campion and Claire Danes – While I kind of wish this collaboration had taken place in the 90′s as opposed to now, this would still be a pairing I would kill to see. Danes is exceptionally talented and seeing her in a Campion period piece would be a refreshing role for the actress to take. Additionally, she would be up to the challenges demanded of a lead actress in a Campion film.

The Coen Brothers and Peter Dinklage – How has this not happened yet? I kept having to double check and make sure this collaboration has yet to occur. Yes, Dinklage has been on my mind and in my dreams quite a lot lately what with “Game of Thrones” and all. Dinklage is commonly placed in roles that showcase his epically sardonic line delivery. His performance in his debut film Living in Oblivion really exemplifies how well he can be used in a comedy. The kind of humor the Coens excel at would be perfectly matched with how Dinklage fits into his comedic roles. In short; this needs to happen.

Sofia Coppola and Mia Wasikowska – It is not hard to see why I think this pairing would work. I am thinking mainly of the pose-heavy way Coppola frames and shoots her characters and how naturally Wasikowska would fit into the look of her films. My shallow reasoning is that the woman shoots beautiful people prettily. Pretty, pretty, pretty like a painting. While I want her to eventually focus on older actors (her work with Bill Murray is the best work she has gotten from anyone), for now, if this happened, I would be ecstatic.

David Cronenberg and Johnny Depp – Oh Johnny. My feelings about Depp have been a rocky roller coaster of the years. The man is a great actor, but the only performance of his I got excited about over the last decade is his Sweeney Todd. Cronenberg is at a place in his career where his films are rooted in harsh realism, largely leaving his mind-fuck days of body horror behind. Depp would do nicely in both eras of the director’s work. Cronenberg’s films fully maintain that edge and fascination with human psychology and I would love to see Depp in the kind of roles that Viggo Mortensen gets from his memorable collaborations with the director.

Michael Haneke and Tilda Swinton – This one is so obvious, it barely needs explanation. Haneke’s cold and distant works have gotten brilliant work out of actress powerhouses Juliette Binoche and Isabelle Huppert. Swinton would be a natural fit within a Haneke work as she is capable of performing the hell out of any role as well as her ability to exude the trademark Haneke coldness to a tee.

Lee Chang-dong and Bae Doona – Lee’s films deal with some ugly situations presented in a natural and honest light. His characters go on an extended journey, for better or worse, and he asks a lot from his performers. Jeon Do-yeon was justifiably praised for her exhausting performance in Secret Sunshine, and for not wearing any makeup in the film, which is a bigger deal than it is here in the States (most South Korean actresses are not likely to take a role with this requirement). Bae Doona, my favorite South Korean actress, has an inherent willingness to take the kind of stripped down roles others might be hesitant to. Her presence and talent in a Lee Chang-dong film would be a dream of mine.

Terrence Malick and John Hawkes – Malick’s obsession with nature and that earthy quality of Hawkes would be a perfect fit. Can’t you just see Hawkes taking on some of that heavy ‘why are we here?’ voiceover? It is really hard to expand on this one; it is the first one that came to my head when brainstorming for this list. It just feels right.

Christopher Nolan and Will Smith – When Smith almost signed on for Django Unchained, I found myself a lot more excited than I expected to be. Then that fell through. Smith always takes huge projects, and while he exacts a Nazi-like control over every aspect of the films he appears in, I still like the actor. While characters might not be Nolan’s strong point as a writer/director, seeing Smith in a big-budget Nolan flick would likely give Smith a chance to really shine in a project that would give him a chance to make the most of some strong material a la I Am Legend.

Alexander Payne and Leonardo DiCaprio – DiCaprio is the rare actor who has never taken a comedic role. Ever. Not even a remotely comedic one. The more serious the material, the more drawn to it he is. Which is fine; the man has given some incredible performances and I always look forward to seeing him on screen. Yet at this point, I am yearning for him to do something different. His upcoming role in the new Tarantino is exactly the kind of project I am intrigued to see him in (is that officially happening? I’m cautious about believing casting announcements these days). He would be pushing himself in a different way. Will we buy him as a villain? I wonder. But I am ecstatic to see him try. While I want to see DiCaprio in a comedy (seriously…how surreal would that be at this point?), even seeing him try a dramedy would be radically different and even jarring. The kinds of films Payne makes are the exact kind of project I want DiCaprio to align himself with, as his upcoming The Descendants illustrates.

Todd Solondz and Ben Stiller – I am a Ben Stiller fan despite his love for big paydays over meaningful projects. Looking at his writer/director projects, it is obvious that he is drawn to darkly comic material. Some of the stuff on “The Ben Stiller Show” and in addition, The Cable Guy and Tropic Thunder, go to some pretty dark places. Solondz’s desire to sincerely explore the dark side of humanity in a very matter-of-fact way somehow materializes itself as black comedy. Given the chance for a role in a Solondz film, I am overly confident that Stiller would absolutely shine.

Quentin Tarantino and Choi Min-sik – The director is arguably more influenced (and takes the most from) by Asian cinema than anything else. Yes, I am lumping together many different national cinemas there, but the point remains. With Kill Bill Volume 1, he created Go-Go Yubari specifically for Chiaki Kuriyama, and she remains among my very favorite characters in any film. I hope he can create other roles for Asian actors that he admires and/or idolizes from time to time, and Choi Min-sik would be my first pick. The man can play any type of role thrown at him and Tarantino’s obsession with Oldboy, and very likely other Choi performances, would make him a perfect candidate for a specially created character by the filmmaker.

Lars von Trier and Winona Ryder – Quite honestly, this is the kind of role Ryder needs right now, if she can get it. Something tells me she would be drawn to being Trier’s emotionally drained puppet and for someone trying to get her career back, she needs a game-changing project to push her into difficult places. I am sure kissing Channing Tatum is nice, but The Dilemma ain’t gonna cut it. In the end, neither are bit parts in Star Trek and Black Swan, although it’s a start. Ryder is an actress that has been a consistent presence in my life whose earlier performances will remain with me. I am seriously rooting for this woman, (for a 5th grade biographical project, others picked to write about Lincoln and Washington; I picked Ryder) and von Trier is the kind of director I want her to get a project with.

Review: Jane Eyre (2011, Fukunaga)

24 Mar 2011 5 Comments

by Catherine in 2011, Film Review Tags: , , , , , , , , , , , , , , , , ,

The story of Jane Eyre shares several similarities with the phenomenon known as the teen romance, which has taken over young adult literature and film in recent years. A young inexperienced girl, a potentially dangerous and fiercely attractive male and a series of hurdles the two have to overcome before being together. Charlotte Brontë’s gothic novel was not written for teenagers, but many elements have been reconfigured in young adult stories. Cary Fukunaga’s new adaptation of an already much interpreted classic takes us back to basics, showing us how to really tell a romance with his compelling version of Jane Eyre.

Most people know Jane Eyre and her “tale of woe”, but here is a brief summary for those who are unfamiliar. Jane (Mia Wasikowska), an orphan whose childhood consisted of a cold aunt, an abusive nephew and an even more abusive education, is employed as a governess at Thornfield Hall by Edward Rochester (Michael Fassbender) for his ward Adele (Romy Settbon Moore). As her relations with Rochester progress, it becomes increasingly clear that there is a dark secret he desperately wants to keep hidden.

Those who know the story will be interested to know that the film takes Jane’s encounters with Rivers (Jamie Bell) and his sisters and shuffles events. The film begins with her arrival at Rivers and then flashes back and progressing through her story from there. This was a very smart move from screenwriter Moira Buffini. In addition to writing an outstanding adaptation, all potential pacing issues are solved by spreading out the important but uncharged interactions with Rivers as opposed to tackling it in an entirely separate segment, which might have brought the film to a definite halt.

Many period films, especially those depicting the Victorian era, unsurprisingly and understandably tend to have the same look and feel. Fukunaga and cinematographer Adriano Goldman create a very precise atmosphere, making full use of the many conventions of the Gothic romance. The film feels naturally lit throughout, creating an often dark and gloomy look with muted grey and brown tones. The barren landscapes, wind and rain and foreboding manors are just a few conventions employed here with stunning effect. Dario Marianelli’s score fills the soundtrack with emotive violins that express the suppressed passion that Jane and Rochester keep below the surface. Fukunaga has a clear vision which he executes with conviction, making it stand out from many adaptations of classic Victorian era literature.

Mia Wasikowska, destined for an exciting lifetime of impressive performances, captures the essence of Jane Eyre. Her dignity, guardedness and centered unwavering morals are all perfectly portrayed. She is understated and powerful, conveying subtle transitions in her face at every turn. It might just be the perfect incarnation of the heroine. Another newly risen star, Michael Fassbender, gives Rochester the appropriate coldness and inner torment, proving with his presence exactly why he is getting the attention he fully deserves. It is when the two actors are brought together that magic happens. It is a rare thing when the two romantic leads have the chemistry the story demands them to have; these two do. The film is most engaging when the two are onscreen together, not just from of the power their scenes have, but because of the way they portray the evolution of their relationship. Buffini makes sure that different circumstances surround each scene they have together, making every single interaction between the two unique.

An aspect of Jane Eyre that disappoints is the dilution of several key themes of the novel, making this adaptation a bit more simplistic than it ultimately should be. In regards of Jane’s character, the novel makes it explicitly clear throughout that she has a fear of losing her freedom. Being locked in the Red Room is a literal example. Her romance with Rochester is a continual inner struggle because she fears losing her identity through marriage. She needs to be in control of her own freedom and identity and this aspect of her character is not explored enough. This specific gender issue would have been refreshing to examine, considering so few romance stories bother to do so. Thankfully, Wasikowska captures the rest of her character so perfectly, that one can only complain about this up to a point.

Similarly, Bertha Mason ceases to be relevant in any way whereas she is probably the most analyzed aspect of Brontë’s novel. Granted, she is in such a small portion of the book, it is hard to expect much. Here though, she is never given the chance to have a purpose, much less a symbol. Lastly, Jane and Rochester’s romance is more conventionally structured here. Their mutual affection for each other makes itself known sooner and in a more straightforward and obvious manner than the novel does. Whether this is a flaw is unclear. On the one hand, I admired the complexities of the novel more but on the other hand, I was more taken in by their romance in this film.

In the end though, the film should be taken as its own work. A film adaptation of Charlotte Brontë’s Jane Eyre is impossible to discuss without addressing the source material, particularly when taking into account how many times this story has been adapted to the screen. Jane Eyre succeeds because what it does take on is executed with memorable specificity as well as containing some of the best chemistry between two romantic leads in years. For those who are sick of the kinds of romance films that come put today, whether comedy, drama or fantasy, Jane Eyre provides an opportunity to revisit a classic. Was yet another adaptation necessary? Probably not, but it is hard to imagine anyone complaining about it after seeing Fukunaga and Buffini’s splendid interpretation.

Review: Alice in Wonderland (2010, Burton)

01 Nov 2010 2 Comments

by Catherine in Film Review, Uncategorized Tags: , , , , , , , , , ,

Alice in Wonderland (Burton, 2010)
2/10

Tim Burton’s adaptation of the musical Sweeney Todd signaled a possible return to form for the director whose work has become intermittently successful. The 2000’s were a very uneven decade for him. Starting out with his worst film to date Planet of the Apes, then moving on to the refreshing personal work that was Big Fish and then on to the mediocre Corpse Bride and the horrid Charlie and the Chocolate Factory finally moving to the fantastic Sweeney Todd. Will this decade be better for Burton? He certainly is not getting off to a good start with Alice in Wonderland, a film in the same league of misfire as his first film of the 2000’s, Planet of the Apes.

While Burton adapting Lewis Carroll seems like a match made in heaven in concept, it isn’t when Disney is thrown into the mix along with Burton’s visually exploratory ambition missing in action. Disney, who requested that Burton direct their planned live action adaptation, takes out any elements of Carroll and instead puts in elements of other works that don’t belong in the author’s created world. The nonsense, pointlessness, narcissism, exploratory structure, satire and humor are gone. Also gone, with the decision to have Alice be 19, is the journey of a child’s acceptance into the world she is part of. This change would have been interesting if the film had replaced the themes of the original with something worthwhile. Instead Wonderland, or as it has been transformed in the film, Underland, is a place filled with purpose and seriousness with underwritten characters galore who are far too humanized and underdeveloped to justify the decision to change the basic characteristics of nearly everyone.

The main plot involves Alice played by Mia Wasikowska, now 19 with no memory of having gone to Wonderland as a young girl. On the day that she unknowingly attends her engagement party and flees a marriage proposal in front of everyone, she finds herself going own the rabbit hole once again and seeing Underland, a deadened version of Wonderland due to the Red Queen (Helena Bonham-Carter) taking over the land from her sister the White Queen (Anne Hathaway). With help from The Mad Hatter and others, Alice sets out on her task to fulfill her destiny. She is now a chosen one, with a mission to carry out which involves slaying the Jabberwocky because it is foretold in an oracle in the form of a scroll…or something.

One of the main problems with the plot, bad on nearly all counts in its execution, is that 20 minutes into the film it is revealed exactly where the climax is headed and what will take place within it. While we can safely assume that the film will end happily that does not give screenwriter Woolverton the right to insert the exact circumstances of where Alice’s journey will end. That greatly decreases story involvement right off the bat and diffuses any sustained interest. In the film, Wonderland is a place where things actually happen; where events take place followed by consequences and long term effects are felt by Wonderland’s inhabitants. This grounds the world with a purpose and tangibility which takes away Carroll’s intentions on every level. Again, doing something this critical to the author’s intention needs to be justified by the quality of the storytelling but Disney, Burton and Woolverton do nothing to justify their bastardization. Luckily though, the first 10 minutes of the film, the last 2 minutes and probably 9 minutes in the midst of the wasteland that is the rest of the film are well done. At least it starts and ends on a good note.

Surely the contrivances can be made up for by the visuals? No. Burton feels like he is sleepwalking through this endeavor. Not only is there very little creativity gone into making a unique world filled with surprises but the effects themselves are consistently self conscious and mediocre. The idea of Underland should have brought a lot of interesting concepts to the table. How do you make Wonderland look and feel broken down? Dead? Ravished and decayed? Apparently you don’t do much. The world neither popped or amazed; in fact it was boring. There should have been a level of fascinating discovery and unpredictability to the visuals but instead Underland becomes mere background. Something needs to fill the screen, right?

Add to all of this the weak characterization and the making of a truly bad film begin to emerge. The White Rabbit has gone from fidgety and impatient to….nothing. He has no character at all. The Caterpillar retains his sense of frustration and wisdom but his wisdom is placed in a context making him merely a storytelling prop. The White Queen has not one line of characterization and Anne Hathaway, severely miscast is left to theatrical mannerisms and delivery in order to infuse some sense of character into someone who on the page could be anybody. Tweedledee and Tweedledum quibble a bit and represent more indifference. The Cheshire Cat is kind of sly and clever but floats around with lines that don’t assert his character to the extent they should.

Johnny Depp as the Mad Hatter is the biggest misfire of all. His Hatter is all about changing accents and mumbling his words so nobody can understand them. This performance is another bag of eccentricities and accents combined with an extreme appearance but it does not work this time. He is uninteresting to watch and annoying at times. While the concept behind humanizing him is interesting, the execution of it is wishy-washy. If the performance itself had been different, maybe this aspect of the film would have been more successful. Depp’s incomprehensible rabble is so forced and uninteresting that he buries most of the character’s intentions with his eccentricity overload. And wait till you get to his dance move because it could be the most quintessential jump the shark moment in a film in recent memory.

There were a few characters that did work. The March Hare was pure insanity with humor to boot but is used far too little. Bayard was mildly interesting and Stayne (Crispin Glover) was underwhelming but was acceptable in comparison to other characterizations the film had to offer.

The only truly successful aspect of the entire film is Helena Bonham-Carter’s performance as The Red Queen. While her lines are questionable, Bonham-Carter not only makes the dialogue work to her advantage but she actually manages to be consistently funny and entertaining, creating a very memorable character and performance. She actually creates something and works with what she is given in a way that helped her instead of drowning her in poor writing ala Hathaway. Her scenes are entertaining and her presence livens up the film every time she appears. Not only is she great but she looks fantastic managing to be the only visually satisfying character.

Mia Wasikowska carries the film as Alice. Without her, this would have been unwatchable. She does a really nice job, managing to keep the film somewhat interesting with her stunning presence. Her fabulous work on the first season of “In Treatment” revealed her as a young actress to watch and judging by her upcoming projects, she is about to make a stamp in the ingénue world.

Between the thin and contrived plot, the absence of wonder and unpredictability and visual creativity and the underwritten and uninteresting characters (outside of the Red Queen), Tim Burton’s Alice in Wonderland is no more than a snoozefest; a visual bore surrounded by a bad script makes for a weak retelling of Carroll’s story that lacks his spirit and misses the point of the author’s lack of purpose. Maybe if this had not been a Disney film but a project that was allowed to go to dark places maybe something could have come of it. Maybe. However, the success of Harry Potter and the Half Blood Prince, a PG film reeking of danger, paranoia and oncoming dread managed to be impressively moody and dark, rendering Alice in Wonderland’s family friendly PG rating a weak excuse for the film’s failure. Basically; go watch Jan Svankmajer’s version.

Large Association of Movie Blogs
Follow

Get every new post delivered to your Inbox.

Join 1,096 other followers