Tortured suburbia: Revolutionary Road

Well made, thought provoking film. I’ve heard it called screechy, but that isn’t quite fair; a lot of arguing goes on but there are light hearted and quiet moments. Set in 1955, it’s the story of April and Frank Wheeler (played by Kate Winslet and Leo DiCaprio), a young couple at a tipping point. They live on Revolutionary Road, ironically named since the only thing that rebels in this quiet New York suburb is the recalcitrant grass at the end of April’s driveway. (The local real estate agent helpfully brings her some nice ground cover to fill in that stubborn spot.) April longs for something more than her predictable existence; Frank is also restless, but he seems to enjoy his Don Draper lifestyle: dapper New York businessman by day (with those astonishing martini soaked lunches), steadfast suburban husband by night. Winslet is ferocious in the big dramatic scenes, but her most memorable moments are the subtle ones, when she deliberately wipes her hands on her apron, or leans seductively against a door jamb and waves carelessly at her besotted neighbor. Towards the end of the film she calmly asks DiCaprio if he would like his eggs scrambled, or fried, and you feel a chill up your spine. DiCaprio gives a great performance; so does Kathy Bates as the busybody realtor. And Oscar nominated Michael Shannon is terrific as John Givings, a mentally unstable young man who sees the truth: You want to play house you got to have a job. You want to play nice house, very sweet house, you got to have a job you don't like.

People you would never meet in your regular life: The Wrestler

This is all about Mickey Rourke’s formidable performance. He plays Randy “The Ram” Robinson, a washed up professional wrestler with little going for him except past glories. Randy has a small, devoted bunch of fans, but he’s broke most of the time, works at a grocery store, hangs out at a strip club, leads a sleazy underbelly kind of life. But you root for this guy anyway; Rourke finds his way into the humanity of the character without pulling heart strings or asking for pity. Co-stars Evan Rachel Wood, who does fine work as Randy’s estranged daughter, and Marisa Tomei, excellent as his stripper friend who is trying to find her way to a “normal” life for herself and her kid. See this one for the performances: the film itself is a tough sell, unless you are a wrestling fan: some of the bouts are brutal, a few people walked out of the show I saw. Fortunately those moments are short lived, and mostly this is a satisfying, if sad, story of struggle and redemption.

Oscar!

I love the Oscars, but then I also collect snow globes; I like American kitsch. However, even though I got up at the crack of dawn to watch the nominations in real time (5:30 AM on the west coast) I don’t actually think that the films and actors and actresses and screenplays and what not that got nominated are necessarily the best, or the most interesting, but it’s kind of fun to see who made the cut. The cool thing about watching the nominations live is you get to hear the gasps. Like, when Michael Shannon was nominated for Revolutionary Road. Big gasp.

So let’s talk about Oscar.

I learned today that while Meryl Streep has the most nominations of anybody (15) she has only won twice, which doesn’t seem fair. On the other hand she is Meryl Streep. I would like to see Melissa Leo win Best Actress, because Frozen River was such a complex, intense little film and she comes at it without reserve – I completely believed that she was a broke single mom longing to move up to a double wide. However Kate Winslet will very likely take home the award, and she deserves it – for Revolutionary Road, not The Reader, but that is the strange power of Harvey Weinstein. (Weinstein is the powerhouse Hollywood producer famous for propelling his films into Oscar contention; this time around he is pushing The Reader.) For Best Actor, I just love it that Richard Jenkins got a nod but while his performance in The Visitor was understated and moving, it didn’t require the kind of risk and full throttle commitment that Mickey Rourke brought to The Wrestler. I’m going with Rourke on this one. I’m a big Mickey Rourke fan – if you’re not sure what I mean, Netflix Diner. Or Year of the Dragon. Or Barfly. Skip Wild Orchid, that one is just weird.

Best Picture –well, I can’t get real excited about any of these films. It would have been fun to root for Dark Knight; it seems to me that Hollywood should give a nod to blockbusters now and then. I know people who have a real soft spot for Benjamin Button, but, much as I admire David Fincher I thought the film could have done with some editing. I really enjoyed Slumdog but I am getting tired of all the hype, and that leaves Frost/Nixon, Milk and The Reader; of the three I would probably go with Milk but, if the early odds makers are right (and it is early) Slumdog is the favorite. Damn Brits.

Never mind – the most fun about the Oscars is the nominations, and then the actual show. Especially the pre-game. That can be hilarious. And with Hugh Jackman as host, well, he won’t be funny but he’ll be fun to watch.

You don't have to remember Watergate (Frost/Nixon)

This film is less about the Frost/Nixon interviews than about the complicated maneuvers that were required to make them happen. In 1977 David Frost was fast on his way to becoming a has-been, looking desperately for a way back into the limelight. Nixon, three years past Watergate and his humiliating resignation of the Presidency, wanted some kind of public redemption. As the two men plan their television encounter, it becomes evident that they are less business partners than adversaries, about to engage in a contest that one of them has to win. It’s kind of a thriller, without car chases and explosions, there are a lot of edge of your seat moments, mostly because David Frost seems woefully unprepared to handle an opponent as formidable as our most infamous President. Frank Langella is remarkable as Nixon; after a while you entirely forget you’re watching an actor play a part. Michael Sheen plays Frost with great humanity and vulnerability, so that you root for him even as you’re aware his cavalier attitude may well doom his most significant project. Great supporting contributions from Oliver Platt, Kevin Bacon, and Sam Rockwell, all playing real people. I saw this film with a bunch of teens, and they liked it, seeing parallels to current events….so don’t hesitate to bring the kids.

Yes, you do want to see a movie about nuns (Doubt)

Engaging, challenging, provocative, terrific film. I went with a group of eight people, all kinds of home-for-the-holidays ages, and everyone enjoyed it, in no small part because filmmaker/playwright John Patrick Shanley respects his audience; he assumes we know how to think. Doubt is played out on such an intimate level that it is sometimes uncomfortable (or “really intense” as our teen viewers observed); you feel as though you have inadvertently walked in on a very private conversation. But it is worth it. Meryl Streep is astounding as the nun who believes the priest in her parish (Philip Seymour Hoffman) is abusing children – she is by turns terrifying, heart breaking, and then, abruptly, a practical and practiced school administrator. Astonishing. Philip Seymour Hoffman is terrific, and Amy Adams pulls off yet another surprising and wonderful performance: at age 35 she has played a fairy princess, a knocked up teenager, and a nun. Who gets to do that? Final kudos to Viola Davis, as the mother of the possibly abused boy – she has a very short scene, but it’s with Meryl Streep, and she more than holds her own.

The Curious Case of the Missing Storyline (Benjamin Button)

I know two rational middle aged men who were moved and touched by this film. I wasn’t, but I liked it well enough, it’s beautifully made, and very detailed, as Fincher films tend to be. What troubles me about Benjamin Button is that it doesn’t have a smooth storyline; it is really a bunch of vignettes strung together, and oddly, this nearly makes the film’s intriguing premise – a man born old and growing younger - irrelevant. In the title role, Brad Pitt is understated to the point of blandness; Cate Blanchett is lovely but she has little to work with. Without question the highlights of the film are the scenes in the dingy Russian hotel with Tilda Swinton, and the ones with Jared Harris, the salty sea captain. Taraji P. Hensen, playing Bejamin's loving foster mother, is also terrific: when she takes in this monstrous, ugly baby, saying simply "He is still a child of God," you believe her.

Too many movies, too little time

Since the great pursuit of Oscar makes the studios release all their serious films at the end of the year, a lot of big buzz movies hit multiplexes in December. This makes things complicated: how do you choose between Meryl Streep and Kate Winslet and Anne Hathaway? (Wait, Anne Hathaway?) And do you go with Rob Howard’s Best Film Ever or Clint Eastwood’s latest gritty outing or maybe you really want to know how the guy who made Se7en handles a movie about a dude who is born old and keeps getting younger?

The Reelfan has a goal – see everything. It’s an almost impossible task but as Sean Penn says in Milk:”God knows we keep on trying.”

Happy New Year Reelfan fans!