Gravity

As I watched the opening scene in Gravity, I was in awe.  Right away, just seeing these astronauts float around on a routine space walk, the film was beautiful and thrilling.  A few minutes in, a couple behind me in the theater remarked with a sneer, “Where are all the satellites and shit?”  Their sarcastic question was more than answered and they didn’t make a peep the rest of the movie.  I believe the whole audience was absolutely spellbound.

In Gravity Ryan Stone (Sandra Bullock) is a medical engineer turned relatively inexperienced astronaut.  As she and more experience astronaut, Matt Kowalski (George Clooney) work together, we understand that space is not her element, but perhaps an escape from her troubles on Earth.  During the opening space walk, satellite debris comes crashing at the astronauts, destroying much of the space station around them.  It’s a horrifyingly beautiful sight to see and clearly sets up the fear and danger of being stranded floating in space.  After the danger has passed, and Ryan and Matt are harnessed together, they realize their only chance of survival is to get to another space station, which means drifting through space in the right direction without running out of oxygen.

Many of the scenes are one continuous longshot.  In fact, the opening scene is over twelve minutes without a single break.  Granted, it is digitally edited from multiple takes to seamlessly flow into one continuous image, but still, my God their effect is amazing.  Hitchcock might have been green with envy of all the suspense they produce.

One thing that seemed to damper the film when it was first released was how many scientific inaccuracies could be spotted throughout the film.  For some people, that ruined it, if it’s not accurate then why care?  Personally, I don’t find the inaccuracies to be a problem, let it be fiction and if it’s good enough, I’ll believe what I want to.  However, when Ryan does nothing to stop those little bits of fire floating around the Russian space station, I got a little more ticked than concerned.  Floating fire does not seem like something a trained astronaut would ignore.

At ten nominations, Gravity is tied for the most nominated film of 2013 with American Hustle.  While American Hustle racked up the acting nominations, Gravity got its boost from more technical awards, including visual effects, cinematography, sound editing and sound mixing.  It is also nominated for Best Picture, production design, original score, film editing.  Alfonso Cuarón received his first Oscar nomination for best director and Sandra Bullock received her second nomination as lead actress.

Overall, Gravity is a captivating thrill ride of a film that clearly deserves all this Oscar love. From the moment those wayward satellites crashed in, to the very end, I was on the edge of my seat, nervous, excited and enjoying every minute.

“Because either way, it’s going to be one hell of a ride!  I’m ready.”

O Brother, Where Art Thou?

Over my time in school, I studied Homer’s Illiad and Odyssey on about six different occasions. When I first discovered O Brother Where Art Thou? in high school, Homer and I had already been well acquainted.  To set the story of Odysseus’ long journey home in the depression stricken south was an odd stroke of genius that really works, because in some ways, the old south is as gone and mythical as ancient Greece.

The story follows Everett (George Clooney), a man who is often too smart for his own good.  He escapes from a chain gang, still attached to two other men, Pete (John Turturro) and Delmar (Tim Blake Nelson).  Everett needs to get home to stop his wife from marrying another man.  Instead of the truth, he tells Pete and Delmar that he needs to get the money he stole that landed him in jail before the land is flooded, promising each man a share.  The three are set on a long, dangerous journey filled with interesting characters, misadventures and close calls comparable to scenes in The Odyssey.  There’s an old soothsayer, treacherous sirens along the river and even a cyclops.

Much in the same way Homer depicts Greece having a change in cultural values, the Coen brothers show a shift as the deep south emerges from the depression.  The embrace of radio as mass communication is slowly connecting the rural south.  Another level of connectivity is on the way, electricity.  And the KKK seems to be losing its power and influence, especially after Everett and the gang crash a meeting.

The music is one of my favorite things about this film.  The old timey soundtrack send us back to a simpler time.  Growing up on country music, I find this soundtrack perfect and T Bone  Burnett’s finest work.  I am a Man of Constant Sorrow is one of my favorite songs and you can regularly find me rocking out to it in my car.

O Brother was rightly nominated for the Oscar for best cinematography.  The film has a near sepia tone, old and as if the colors had faded into the dustbowl, that suits the setting perfectly.  Most shots aren’t too artistic, but focus perfectly on our actors.  Really, it’s simple, honest, and faultless.  Plus, that underwater moment is really unforgettable, hound dog and all.

Best of all, this film is really funny.  Most jokes are a little deadpan and need an outside audience to get them.  Seeing Clooney in a hair net repeating, “Damn, we’re in a tight spot,” is hilarious.  Delmar’s love for animals, to the point of mistaken identity gets me every time.  Many times the dialogue is spot on with bits of quick humor.  One of my favorite scenes is when Everett is reunited with three of his daughters: “Kablooey. Nothin’ left but a grease spot on the L&N.” “Damn it, I wasn’t hit by any train!”

O Brother Where Art Thou? is easily my favorite film by the Coen brothers (thus far).  The fact that it was only nominated for two Oscars (adapted screenplay and cinematography) breaks my heart.  I recommend it to everyone, but a few people especially.  If you love The Odyssey or just want to see a different version of it, you have got to see this.  If you grew up with tall tales of life in the old south, you may find a few details from your elders.  And if you enjoy classic country or bluegrass music, you’ll at least be hooked by the soundtrack.

“You shall see thangs, wonderful to tell.  You shall see a… a cow… on the roof of a cotton house, ha.  And, oh, so many startlements.”

The Descendants

Right away in The Descendants, Matt (George Clooney) tells us how annoyed his is that people always assume that just because he lives in Hawaii, everything must feel like a vacation.  Matt’s life is anything but paradise right now.  He and his cousins have to make a major decision on whether to sell a large piece of untouched Hawaiian land that their family has owned since the 1800s.  The whole state is waiting for the outcome, and legally, it rests solely on Matt.  On top of that, his wife is in a coma from a boating accident.  She is not going to live and Matt has to tell all her friends and family.  His 10 and 17 year old daughters, who he’s not especially close with, have their ways of acting out during this family crisis.  And to add insult to injury, it turns out his wife was cheating on him.

Surprisingly, with all this drama, the film feels wonderfully light and comical at times.  Much of this has to to with the dynamics of the family.  The daughters, Alex (Shailene Woodley) and Scottie (Amara Miller), are hilariously crass and sarcastic with their father at times.  It’s their cursing that gives the film an R rating, and while it’s juvenile, it is also wonderfully revealing to how these girls interact socially.  And Alex’s friend Sid (Nick Krause) is a riot of the dumb-ass teenager variety.

What runs this film and makes it memorable is Clooney’s portrayal of Matt.  When we first meet Matt, he is clueless and always plays it safe.  He assumes his wife will be just fine, that what his cousins want with the land is a good idea, that Alex is being responsible at her private school and that Scottie will be better behaved after some ice cream.  Best of all, he was completely blind to the fact that his wife was having an affair.  His reaction is perfect.

As Matt’s eyes become more aware that everything around him is not as tidy as he thought, it prompts him to be more daring.  With his oldest daughter as his main support, he attempts to find the man his wife was having an affair with.  What Matt will do if and when he finds him, he has no idea.  A lot of fun and tension comes from watching Matt figure this out in the moment.

While the main journey of the film is watching Matt deal with everything that has been dumped on him, he reconnects with his daughters.  Matt knows he is “the back-up parent” and toward the beginning of the film, he describes his family as a chain of islands, always together but drifting apart.  First saying it, he seems alright with that idea.  But to get through losing the matriarch of the family, Matt and the girls have to get closer if they want to stay together.  They ways they achieve this are not always sweet, but it is never cheesy.  It feels realistic.

Altogether, The Descendants has received five Oscar nominations: Best Picture, Adapted Screenplay, Film Editing,  Alexander Payne for Best Director and George Clooney for Best Lead Actor.

I would recommend The Descendants to everyone who can stand a little profanity.  The drama is mixed with enough comedy to not make it feel daunting, but it never loses that strong pull that comes with tragedy.  The cast all works so well together, eventually they become a fun ensemble.  And Clooney is rightfully nominated for this role.

“What is it that makes the women in my life destroy themselves?”

If the Academy is looking to award a family drama that stays as mellow as it’s setting, The Descendants will win the Oscar for Best Picture.

Fantastic Mr. Fox

Based of the children’s book by Roald Dahl and directed by Wes Anderson, Fantastic Mr. Fox is unlike any animated film I have ever seen.  Using stop-motion animation, the realistic details, especially on the characters, are extremely vivid.  You get an amazing sense of depth and texture here, probably because of the sophisticated high resolution camera used for filming.  The only other film that has made me feel like I could reach out and touch everything on screen was seeing The Nightmare Before Christmas in 3D.

Unlike many movies aimed at children, Fantastic Mr. Fox is very subdued and surprisingly mature.  The laughs aren’t really jokes, but a quiet quirky moment we are witness to.  And the character voices, which boasts some big name actors, do not sound like they were given an extra shot of espresso before their recording.  It’s a different kind of energy, more sophisticated than you’re likely to find in an animated film.  I doubt kids will find a catch-phrase to squeal after watching this film.

Mr. Fox (George Clooney) is a wild animal who does what comes naturally, stealing from the local farmers, but it’s dangerous work.  When he learns that Mrs. Fox (Meryl Streep) is expecting a cub, she makes him promise to find safer work.  After about two years of being a responsible family fox, (we are told that that equals about twelve fox years), Mr. Fox gets restless and moves his family to a big tree.  There, he can see three farmers, Boggis, Bunce and Bean (Robin Hurlstone, Hugo Guinness and Michael Gambon), who are so different in looks, but nonetheless equally mean.  Mr. Fox can’t resist pulling one last heist on these three.  With the help of Badger (Bill Murry), raiding goes well for a while.  However, when things turn ugly, he endangers all his animal friends and will need their help.

The Fox family is quite interesting.  Mrs. Fox seems like a very down to earth, no nonsense mama.  A struggle to control her wild, thrill seeking husband is inevitable.  Their son, Ash (Jason Schwartzman), is wonderfully sullen in his early adolescence.  From the way he dresses, his tendency to spit on the floor, we love the way he is an odd kid with a quietly bad attitude.  When cousin Kristofferson (Eric Chase Anderson) comes to visit, it only makes Ash feel like a loser, causing a perfect tension.  Poor Ash, not only is Kristofferson taller, younger, better at school and sports, but he is also the nicest kid you could ever meet.  And when Mr. Fox recruits Kristofferson for a raid, instead of Ash, the rivalry starts to sting.

The film has a wonderfully quirky feel most of the time.  The music choices help aid that, from The Ballad of Davy Crockett, to a plucky bluegrass feel and a short campfire song explaining the situation the farmers are facing.  The Oscar nomination for Best Original Score was well deserved, just as much as its nomination for Best Animated Feature.  To push the quirkiness further, simulated swearing is slipped into the dialogue now and then.  The natural sense of urgency is still there, but not dumbed down with kiddie words, “You scared the cuss out of us!”  It takes just a moment to get used to this.

While animated films are often considered to be for kids, I would not recommend Fantastic Mr. Fox for the smallest of children.  I imagine they could get bored trying to keep up with the dry, witty dialogue and could be slightly frightened by how realistic Mr. Fox can be in a closeup.  A good gage would be, if the child is old enough to read Dahl’s Fantastic Mr. Fox on their own, then try the film out for size.  For adults, especially those who grew up on Dahl’s books, this is a wonderful film that you don’t need kids around to enjoy.

“That was pure wild animal craziness.”

Up in the Air

In mid 2009, a professor would ask my entire graphic design class every week up to graduation if anyone had found a real job yet.  Every week, all we could do was laugh.  No one was hiring anyone in any field, much less us hopeful artists and budding writers.  People were losing their jobs left and right and by the release of Up in the Air the only person in my immediate family with employment was my husband.  Three months later, this blog was born out of a need to connect and be a productive citizen again.  Part of what made Up in the Air worthy of Oscar nomination was it’s recognition of the downward economic conditions; the other part was its ideas on isolation.

For the film, director Jason Reitman interviewed many individuals who had recently lost their jobs, asking them to reiterate what they felt and said in the moment of bad news.  We get this footage in three smartly edited scenes.  Their comments range from outrage, worry, some depressing very thoughts and finally the ideas of new beginnings.  To think about Ryan (George Clooney) bearing witness to all these reactions day after day, I can understand his need to keep isolated.  It’s easiest to keep unemotional when you carry no attachments.

Ryan Bingham is a man who loves living most of his life alone on the road and flies across the country to fire people, when their bosses don’t have the balls.  Business is booming.  He also does some motivational speaking where he encourages people to live life free of commitments.  To preach any idea, one has to practice them and believe in them.  Ryan is just the man to encourage us to unload our backpacks.

Back at his company’s office in Omaha, newly graduated Natalie (Anna Kendrick) has innovated a new idea that will be more efficient and save money on travel, firing people over a web-cam.  In an attempt to keep his life on the road, Ryan takes Natalie out criss-crossing the country to show her the ropes of his job and how such a personal blow should be done face-to-face.  We’re not lost on the irony of this coming from the unattached man with an empty backpack speech.

Along the way, they meet Alex (Vera Farmiga), Ryan’s mutual hookup whenever their path’s cross.  Young and idealistic Natalie cannot bring herself to comprehend this relationship with no future, especially after a cold breakup via text message.  It seems Natalie spouting her ideas on at least not being alone gets to Ryan as he asks Alex to be his date for his sister’s wedding.

Some people may think that Ryan leads the perfect bachelor life, until they see him with his family.  Though there is still love, Ryan has been so unattached he is an outsider to his own sisters.  There are uncomfortably silent moments between the three siblings and it seems bringing Alex was a good idea for just having something new to talk about.  The happiest moments of this film are Ryan with his family, they’re also the most bittersweet.

Visually, Up in the Air is very simple but subtly convey meaning.  Notice the poster with Ryan and the two female silhouettes in front of the terminal window.  Each individual is separated in the grid structure and none seem to be acknowledging one another.  We find the same separation and grid structure in the opening credits showing all the aerial shots of the ground below.  And throughout the film, you’ll notice times where Ryan is alone and framed within something.  The camera feels most organic during the wedding scene, where the isolating structure is broken, the lighting is warmer and Ryan is surrounded by the people he shares mutual love with.  It looks simple and sweet here, like a home movie.

This day and age we can all be very isolated without really realizing it.  Between all the modes of social networking and everything our phones can do, it seems we can always be connected.  While postcards, text messages and web-cams make communication quick and easy, they can be cold and sterile, lacking in humanity and are not appropriate for all occasions.  Especially firing or a break-up.  Running your life from a screen isn’t much more connection than living on the road.  And for many of us today who haven’t found jobs or settled in one location, our lives are still up in the air with so much uncertainty and hope.

“Anybody who ever built an empire, or changed the world, sat where you are now.  And it’s because they sat there that they were able to do it.”

Michael Clayton

Michael Clayton (George Clooney) is a fixer.  He’s the lawyer you call when everything has gone to shit.  He’s the guy you buy.  Some call him a miracle worker and get pissed if he’s anything less.  But it’s going to take a man gone crazy off his pills to get Clayton to realize that those who call him dad and brother matter most.

The opening of the film is actually closer to the end, then it backs up four days earlier to show how it got to that point.  Keeping that in mind and realizing that the voice we hear in that opening, intriguing monologue on Michael’s voicemail is Arthur’s are key pieces that are essential for understanding the plot.

Arthur (Tom Wilkinson) is a lawyer working for UNorth, a crooked agrochemical company that poses as environmentally friendly.  For the past six years he’s been working on a three billion dollar lawsuit and trying to cover up the fact that UNorth’s chemicals are toxic.  He has a nervous breakdown where he starts ranting and strips naked in the middle of a meeting.  It’s caught on tape.  UNorth hires Clayton to fix the damage that Arthur has done to their company, but maybe it wasn’t just a nervous breakdown, but a rebirth of morality.

Unfortunately for Michael, the Arthur situation isn’t the only thing he’s worried about.  He’s gambled so much that he owes a loan shark eighty grand to cover his alcoholic brother’s debts and his son (who thankfully seems pretty smart) needs a male figure to look up to.

Now, my husband saw this when it first came out and complained that he didn’t enjoy it.  I think he was looking for a movie to just veg out to for a while; that doesn’t work well for Michael Clayton.  I wouldn’t exactly call it a thinking movie, but it does contain more intelligence rather than cheap entertainment.  And like I said earlier, if you don’t process that opening, it’s easy to be lost for the rest of the movie.

Michael Clayton was nominated for about as many awards as it could be.  Pretty much all the big awards, except editing.  George Clooney and Tom Wilkinson are nominated as lead and supporting actor, but it is Tilda Swinton who takes home the film’s only Oscar for best supporting actress.  Her portrayal of Karen, the high stakes, corrupt business woman for UNorth is astounding, especially from that first unflattering shot of her profusely sweating in a bathroom stall.

Who would enjoy Michael Clayton?  If you’re a fan of George Clooney, Tom Wilkinson or Tilda Swinton, this should be on your list.  If you enjoy morality lawsuit movies, I encourage this.  But if you’re looking for something to kick back and let your mind turn to mush for a while, you won’t get anything out of this film.  Pick up The Men Who Stare at Goats instead.

“I am Shiva, the god of death.”

Good Night, and Good Luck

This is that odd little picture no one really heard of until it was nominated at the Academy Awards.  Everyone asked, why’s it in black and white?  What’s it about?   Isn’t George Clooney in it?  He directed it too?  Since when could he direct?

Of the five nominated films of 2005, I believe Good Night and Good Luck was seen the least by the public.  I don’t have any hard proof, but when I say Brokeback, Munich, Crash, or Capote at least multiple ears perk up.  When people list movies with Robert Downey Jr., they seem to skip Good Night, but always remember Iron Man.  But I understand.  This movie isn’t flashy, loud or an adrenaline rush.  It’s very quiet and tense.  The hectic word of early television could only be truly understood in a bold black and white.  And today, people really want to see pretty colors.

They story centers on a news crew at CBS.  Edward R. Murrow (David Strathairn) is the anchorman bringing stories that challenge Senator McCarthy, trying to expose him for the witch hunter he is.  He and his crew, consisting of George Clooney, Robert Downey Jr., Jeff Daniels and others, are proud to bring the truth to television when so many others are hiding from it.  But of course, airing such daring stories come with consequences.  The morning papers start accusing CBS of commie relations.  Soon McCarthy agrees to appear on Ed’s show claiming to clear the air.  Instead, he simply eloquently spouts more commie hate and accuses Ed of association.

These reporters do their homework and aren’t out for shock value and ratings.  They’re honest men putting heir jobs and lives on the line to show Americans McCarthy’s real agenda.  They’re like newsmen vigilantes, defenders of freedom in suits.

Today with so many of our political reporters just jabbering away saying one thing about our President or situations and turning around to say the opposite the next day, we’ve lost faith in our news.  So many news programs just turn into jokes the next day, any episode of The Daily Show will tell you that.  Good Night and Good Luck film brings us back to the days of real honest news by men who truly believed in what they were doing for the American people.  How refreshing.

Alright, the list of people who probably wouldn’t care for this film is a long one, but I’ll share some things that could turn you on.  The acting is great and if you’re a fan of George Clooney or Robert Downey Jr. this should be on your list.  Its’ not all news stuff, there’s a bit of secret romance going on since two employees at CBS cannot be married.  Of course, if you’re interested in how classic television or the McCarthy era, this will definitely interest you.  And for all of you afraid of the black and white, it’s really a beautiful film, black and white hasn’t looked this fresh and vibrant in a while.  Try it out, it might just grow on you.

“We will not walk in fear, one of another.”