“I’m seven but I look much older” Benjamin Button (Brad Pitt) says in his early old age upon meeting somebody new. He is, of course, not kidding. He was born a wrinkled wizened man in his 80’s, albeit the size of a tiny baby, so his curious case is that he is aging backwards. His tale is told through the recollections via his letters and writings from the deathbed of a former lover (Cate Blanchett) to her daughter (Julia Ormond) while the hard winds and rain of Hurricane Katrina pound her hospital window. He appears through the help of seamless CGI with the face of Pitt grafted on a child’s (or little person or such) body as he is brought up by New Orleans nursing home caretakers (Taraji P. Henson and Mahershalalhashbaz Ali) after being abandoned by his ashamed wealthy father (Jason Flemying).
Adapted from F. Scott Fitzgerald’s 1921 short story, the tale has a familiar FORREST GUMP-esque sweep which isn’t surprising being that it was co-written by the same screenwriter – Eric Roth. As Button grows younger he falls for Daisy, first played by Elle Fanning (Dakota’s sister), whose grandmother lives in the nursing home. He goes to sea working on a tugboat (again GUMP) under the wing of crusty Captain Mike (Jared Harris) writing his love at home from every possible port. He has an affair with Tilda Swinton as a married British woman in Russia, fights in World War II, and inherits his father’s fortune all while still pining for Daisy who has grown up to be an elegant Cate Blanchett. Their relationship is obviously doomed or at least destined for extreme sadness but they still give it a go.
The narrative is handled so delicately that it’s as if it might break. As our hero gets younger the film seems to lose its already fragile grasp on the character. A sense of whimsy flows through that’s so light and airy that the film feels at times like it might float away. Also the digital trickery can often distract. The early scenes with Button largely crafted by CGI effect, while flawless executed, are hard to embrace because the gimmick overwhelms the emotional response. When Button appears to Daisy as a younger than he is in real life Brad Pitt by way of the marvels of modern make-up, she tells him “you look perfect” which is true but again the scene barely registers as anything but a pretty picture.
THE CURIOUS CASE OF BENJAMIN BUTTON is a lavish over-sized coffee table book of a movie. The accompanying text may be sorely lacking but it’s a visual feast and much to its credit it doesn’t feel like it’s just shy of 3 hours long. Being a fan of much of Fincher’s previous work (especially FIGHT CLUB and ZODIAC) I found this to be his most blatant exercise of style over substance and I’m not forgetting PANIC ROOM. From the first frame that depicts the Paramount logo rendered in shirt buttons to the fleeting final shots, there is much to admire about this movie if not fully love. Still, TCCOBB is a worthwhile watch even as a technical triumph over an emotional one and it’s definitely got a few deserved awards in its near future. I did actually get emotional a few times for it but I yearned for more joy to be involved; a poignant pathos seemed to be all it was going for. Though, in these troubled times that we all are desperately trying to outgrow, maybe that’s just about right.
Ron Howard’s adaptation of the Tony Award winning stage play moves briskly as it opens with a montage of early '70s archival footage and period news reports of the Watergate break-in leading to the first impeachment of a sitting President in history.
Seemingly derived from the sweeping intro to Oliver Stone’s JFK, this capsule of video and sound bites gives newcomers to this material ample back story while plunging those who lived through it back into the feeling and tone of the era.
Once that is established, it is summer 1977 - Ex President Richard M. Nixon, disgraced and in self imposed exile in his beach house in San Clemente, CA is approached by ambitious British broadcaster David Frost to make an expensive deal for a series of extended television interviews.
Nixon, portrayed grandly by Frank Langella, sees this as an opportunity to redeem himself in the public’s eye while Frost, given a quirky but still suave demeanor by Michael Sheen, sees opportunity of a different sort – a career breaking, star making spectacle sort, to be exact.
Though it contains nothing but men (and a few women) talking in hotel rooms, cars, and the living room set where the interviews were conducted, this is compelling stuff from start to finish.
Paced like many boxing movies with back and forth training sessions up to the final round in the ring, the momentum never lags. Frost struggles to finance the endeavor, insulted by those who blow him off as a “talk show host” while still allowing time for a new love interest – Rebecca Hall (Vicky from Woody Allen’s VICKY CRISTINA BARCELONA) who doesn’t have much to do except sit on the sidelines looking pretty.
Frost’s team includes Sam Rockwell as passionate anti-Nixon author James Reston Jr. and Oliver Platt as journalist Bob Zelnick who together provide considerable comic relief. Nixon’s corner is dominated by Kevin Bacon as Nixon’s fiercely over-protective post Presidential chief of staff, who both turns in one of his best performances while narrowing down the number degrees of separation between him and everybody else in show business.
“Even Richard Nixon has got soul”, Neil Young once sang and the final third of this movie seems to suggest just that. First presented as a shady money grubbing player disguised as an elder statesman, Langella’s Nixon betrays hidden levels of dark conscience in his home stretch showdown with Frost which would make even Hunter S. Thompson tear up for the man.
If Langella isn’t nominated for a Best Actor Academy Award I’ll be royally shocked. Howard thankfully retained both Langella and Sheen, from the 2006 stage play written by Peter Morgan. Sheen, who had played British Prime Minister Tony Blair in THE QUEEN (also written by Morgan), has the definitive “deer caught in the headlights” look when first sitting down with Tricky Dick but over time assumes the prize fighter Rocky’s “eye of the tiger” – to bring the boxing analogy back into it.
FROST/NIXON is a tightly focused and deeply pleasing film, certainly one of Ron Howard’s best as director. Whether or not Nixon was redeemable or remorseful doesn’t matter; layered reflective takes on history like this make for the best art regardless (see Shakespeare).
Every holiday season at the theater where I work part-time a flurry of large standees fill the lobby. In the years past they’ve been elaborate structures with plastic panels and sometimes electric lights that brighten the promotional pictures and titles. This season however the standees we got were much less extravagant. They were just flat cardboard pieces that had the same image as the poster and a few reprinted in large a glowing review of the movie. I’m not sure if that’s a reflection of the economy or what but it wasn’t the only cheap concession on display.
This standee (left) for Darren Aronofsky’s THE WRESTLER (which isn’t coming to my area for a few weeks yet to my chagrin) featured Peter Travers’ rave review from Rolling Stone. The review alone was annoying enough with its repetition – “Mickey Rourke gets everything right” and “Rourke doesn't make a single false move” but it has an error which, while minor, I still can’t get past:
That’s right – they misspelled the title of the movie! Sure, it’s just a typo but a pretty noticeable embarrassing one. Once you see it you’ll never miss it. I surely don’t every time I walk past the damn thing. Maybe though, just maybe, it was a subtle Christmas message – no ‘L’, get it? Noelle? Oh, nevermind.
Though this blog is called “Film” Babble Blog I’ve written about TV shows from time to time because the worlds obviously overlap (Simpsons, SNL, X-Files, etc.). Since this season many folks will be giving and receiving multi-disc box sets of popular programs (most likely of one or more of those listed below), I thought it would be fun to sum up 10 series by repeated lines, both comical and ominous, and sometimes said by more than one character. Oh yeah - these are all from the last 10 years because you know, shows like Seinfeld (“Not that there's anything wrong with that!”), Friends (“We were on a break!”), back to ancient Happy Days (“Sit on it!”) reruns and other Nick At Night fare have been pretty covered already on the internets. So here goes:
1. “I’ve made a huge mistake” – Arrested Development(2003-2006) This is said by nearly every character in nearly every episode. The stated self realization coming usually in a moment of panicked frenzy defines the rampant disfunction on heavy display. There are a few other choice lines like: There are a few other choice lines like Maebe’s “Marry me”, Michael Bluth’s (Jason Bateman) disapproval of George Michael’s (Michael Cera) plain girlfriend Ann – “Her?”, and my personal pick - Gob’s (Will Arnett) mouthy cover-up of a failed magic trick: “Where did the lighter fluid come from?!!?”
2.“This is the business we’ve chosen.” – The Sopranos(1999-2007) Actually this is a quote from THE GODFATHER: PART II. It is repeated in a few variations (“the life we’ve chosen”) by Tony Soprano (James Gandofini) and numerous other mobster buddies and foes. They all worship Coppola’s gangster classics so the quote is both a reference and affirmation of the crew’s code. Honorable mention goes to “all due respect” which is an episode title *. I had originally thought of Tony’s (and others) angry “this is how you fuckin' repay me?” line but couldn’t find as many examples.
* Also a title of an episode of The Wire funnily enough.
3.“It’s a gift…and a curse.” - Monk(2002-present) In the “memorable quotes” section of the IMDb’s entry on this obsessive compulsive disorder detective show every quote is a repeated line including: “Here’s what happened”, “You’ll thank me later”, and “Unless I'm wrong, which, you know, I'm not...” All of which are pretty representative, don’t you think?
4.“You of all people should know that.” – Six Feet Under(2000-2005)This line usually spoken by Nate Fisher (Peter Krause) comes in handy when admonishing somebody’s misguided attitude even if it comes off as holier than thou itself. It can also be used as a grounding reminder as when guest star Mena Suvari tells Claire (Lauren Ambrose) “None of us may be here tomorrow. I mean, you of all people should know that.”
5. “And just like that…” – Sex In The City(1998-2004) As newspaper sex columnist (bet in todays ecomony that’s not a job that’s very secure) Carrie Bradshaw, Sarah Jessica Parker in voice-over often uses this short-cut to describe an abrupt change as in: “And just like that she was a woman again”. It’s even used in the movie released last summer (yes, I saw the damn movie!).
6. “Everybody lies.” – House M.D.(2004-present) Pretty much says it all for Dr. Gregory House’s (Hugh Laurie) world view and the show’s thematic thrust, huh? Like Monk there are a handful of repeated lines: “You need a lawyer”, “We’re missing something”, and the odd but handy prognosis: “It’s not Lupus.”
7.“Pretty good. Pret-ty pret-ty pret-ty good.” – Curb Your Enthusiasm(2000-present) Larry David is rarely doing “pret-ty good” in the farcical follies that make up his hilarious HBO hand-held camera comedy and when he is it’s as extremely short-lived experience but the line persists nevertheless. “Hey, let me ask you something” is also often said but itdoesn’t bring the voice of David to mind like the “pret-ty good” line. His long suffering wife Cheryl (Cheryl Hines) has her own repeated query: “Why would you do that?” That question seems to be asked every episode as well.
8.“So, this is how it ends.” – Dexter (2006-present) Since this show was just renewed for 2 more seasons the ending isn’t coming anytime soon for blood splatter analyst/serial killer Dexter Morgan (Michael C. Hall), but with the myriad of close calls and sticky situations he gets trapped in, it’s sure to make more appearances in his voice-over inner monologues. Possible Spoiler! - It was spoken out loud by one of his victims in season 1, Sgt. Doakes (Erik King) incidentally.
9. “That’s what *she* said!” – The Office(2005-present) Yeah, this joke has been around way before this American adaptation of the British work place sitcom made it Michael Scott’s (Steve Carrell) go-to tag-on comeback, but you’ve got to admit that now it is both owned by the show and it says everything you need to know about its delusional lead character.
10.“Ya happy now, bitch?” – The Wire(2002-present) I’m only just a recent convert to this gripping gritty cop drama but I’ve come to the understanding this line which was in the first episode of season 1 is Detective Bunk Moreland’s (Wendell Pierce) crusty catch phrase always said to partner James McNulty (Dominic West). Seems to show up on every message board as many fans’ favorite lines so I’m sure as I make my way through the DVDs I’ll soon see why.
Well, that’s that. A lot of shows don’t have definitive repeated lines – unless I missed it my favorite show of the last year, Mad Men, hasn’t had any catch phrases yet and may not as the show moves forward through the 60’s. Anyway, it’s the holidays and I got a Freaks And Geeks DVD boxset as well as more The Wire discs from Netflix a-callin’ me.
So as Krusty the Clown would say: “So have a Merry Christmas, a Happy Chanukah, a Krazy Kwanzaa, a Tip Top Tet, and a solemn, eventful Ramadan.”
The buzz has been a-blazing on this film way before it made the news when Roger Ebert got smacked down (literally) by a fellow critic at a screening in Toronto last September. Right now it is topping many Critics’ Award lists for 2008, getting multiple Golden Globe nominations, and gaining massive word of mouth as it gets a wider release. What’s more impressive is that this film deserves every accolade and award and then some. It is a “feel good” movie in the least cynical use of that well worn publicity phrase with its inventive story-telling and rich palette of visual splendor, simply amazing considering its squalor-filled settings. So how can depictions such as poverty, child abuse, and even the sight of somebody drenched in feces be in a film that adds up to an overwhelmingly happy and heart-warming experience? I dunno, but this film pulled it off magnificently - echoing the power and grandeur of CITY OF GOD crossed with the clever charm of Boyle’s own MILLIONS, and it’s done with wit and grit to spare.
Our hero is 18 year old Jamal (Dev Patel along with Tanay Cheda and Ayush Mahesh Khedekar as Jamal at younger intervals) who is being interrogated by police, USUAL SUSPECTS-style, about his suspiciously improbable winnings from appearing on the Hindi version of the modern classic quiz game show Who Wants To Be A Millionaire?. His answers involve engaging and sometimes disturbing flashback sequences that are handled deftly and definitely more fluidly than in many other recent broken narratives. From an early age, Jamal made a couple of connections that would deeply affect his current predicament – his love for Latika (Freida Pinto with Tanvi Ganesh Lonkar, and Rubiana Ali as younger incarnations) and his stormy clashes with fellow slum kid Salim (Madhur Mittal, Ashutosh Lobo Gajiwala, and Azharuddin Mohammed Ismail – whew!) All of these talents, tested (especially Anil Kapoor as the unctuous game show host) and untested are up to the task at hand here.
A end credits dance sequence (that can’t possibly be a Spoiler!, can it?) is the only thing Bollywood about this Indian movie made by Brits but that works as well and as entertainingly as everything else here. Despite a fair amount of subtitled dialogue (which is pretty stylized as it goes for subtitles) 80-90% of it is spoken in English and it’s instantly accessible so it’s sure to pick up even more acclaim and box office in the weeks to come. SLUMDOG MILLIONAIRE is one of the best movies of the year for sure and will endure to be much more than a winner this awards season – I feel that for years to come it’s going to be a favorite of the same folks who can love AMELIE and an edgier work like GOODFELLAS equally. It has plenty of pure stultifying competition (got MILK?) out there in what’s shaping up to be a precedent setting prestige motion picture season, but from what I’ve seen so far this has the “fun factor” on its side in spades.
The purpose and passion contained in this portrait of the first openly gay politician has gathered such critical and box office buzz that the oft repeated thesis that the vote on Proposition 8 may have turned out differently had MILK been released before the election is far from mere hype. In Gus Vant Sant’s best film since MY OWN PRIVATE IDAHO, Sean Penn completely and compellingly absorbs the plucky persona of an ambitious and enthusiastic San Franciscan business man who after a few failed attempts was voted a city supervisor. With the support of the homosexual community and many sympathetic liberals Harvey Milk fought a fierce battle to defeat Proposition 6 which, if passed, would have discriminated against California public schools hiring gay employees.
The film is framed by a neat natural feeling narration in which Milk records an audiotape relating the story of his political career and a few devastating personal relationships on the side. Much real life footage is used including footage from news reports of the era and photographs that make up an opening montage showing police harassment of gay bar patrons. We are introduced to Milk as he introduces himself to an easy going hippy played by James Franco who quickly becomes his lover. They move from New York to California together and the enterprising Milk opens a camera store in a pre-dominantly gay neighborhood. Gay activism helps Milk’s mojo but turns off his companion at the same time he forms heavy alliances including student and later S.F. AIDS Foundation founder Cleve Jones (Emile Hirsch with a frizzy fro oddly making him look like a skinny Jack Black).
There is not a wasted moment in MILK as the momentum flows evenly through to our protagonist’s later days. Josh Brolin, obviously now approaching the A-list after lauded turns in NO COUNTRY FOR OLD MEN and W., has an effective restless role as Dan White – a fellow Supervisor who assassinates Milk and Mayor George Moscone (Victor Garber). This last bit is no Spoiler mind you, the film gives us this info up front and I doubt anybody reading this will be unaware of Milk’s fate. With its use of much archival footage seemlessly blended in and touching display of campaign comaraderie it’s a nice companion piece to Rob Epstein’s 1984 documentary THE TIMES OF HARVEY MILK.
I predict that MILK will dominate the upcoming awards season and deservedly so; very few supposed “event” movies, especially of the historic biopic ilk live up to their billing but nothing here falls short - the acting, the screenplay by Dustin Lance Black, the focused film-making, and the choice of era music - even the overused Sly and the Family Stone song “Everyday People” feels right. The best performance of Sean Penn’s career in the most accomplished and powerful project that Gus Van Sant has ever delivered is so much more than must see cinema. It’s such a supremely entertaining and essential endeavor that it should be classified a mandatory movie.
Okay, so it didn’t take as long as Guns ‘N Roses’ “Chinese Democracy” but Flaming Lips front man Wayne Coyne has been plugging the release of CHRISTMAS ON MARS since the dawn of this decade. After some festival screenings here and there, the film finally just dropped on DVD and it proves to be every bit the space oddity the Oklahoman art rockers have been promising. What wasn’t expected though was that the film has no vocal pop songs on its soundtrack, just reams of ambient embellishments that mostly serve as incidental music. So don’t expect a Beatles-eque romp unless the idea of watching MAGICAL MYSTERY TOUR with the songs edited out appeals to you.
In a scenario reminiscent of sci-fi staples like ALIEN, 2001, and the lesser known John Carpenter cult curio DARK STAR, a team of astronauts work to colonize Mars in the near future (2052?) while a baby is being birthed by extremely unconventional means which inspire qrotesque fetus hallucinations (think ERASERHEAD). This is mostly presented in grainy black and white shot on 16 MM film on makeshift sets making it resemble an art school project. Bright color sometimes blurry, sometimes jarringly vivid, does come into it in pointed places making it also resemble home movies of an acid test. The birth is timed for Christmas eve so the colonists which include Lips members Stephen Drozd (pictured left - presumably the protagonist), Michael Ivins, and Kliph Scurlock plan an impromptu pageant to mark the event.A Martian playedby Coyne painted green with antennas (described by one character as looking like something “that crawled out of Godzilla’s ass”) appears and is recruited to don a Santa Clause suit. Dialogue consists of ponderings such as:
“Humans aren’t meant to live in outer space; it destroys your internal beliefs…makes you think about ‘where is Heaven when you’re in outer space?'”
“I’ve got such a bad feeling that it should make you have a bad feeling.”
“Space is cold, unfeeling, and mean. It crushes all the little things like a moth on a window sill.”
The rising conflict through all this psycho-babble occurs with a capacitor malfunction that threatens their oxygen supply. But with Coyne’s E.T.-esque chest light you can expect a Martian Christmas miracle! None of the Flaming Lips members are good actors (Coyne conquers this by not speaking at all) but there are a few talented thespian folks who ostensibly as fan favors lend a hand. Adam Goldberg (DAZED AND CONFUSED, 2 DAYS IN PARIS) as “Mars psychologist” has a great scene describing a Lynchian dream about a marching band that all had heads of human genitals, and SNL’s Fred Armison has a nice casual cameo credited as “Philosophical and Hymn-Singing Astronaut”.
Emulating the Russian sci-fi of the 60’s (the likes of which Francis Ford Coppola was enlisted by Roger Corman to rework for American audeinces - NEBO ZOVYOT which became BATTLE BEYOND THE SUN), and distilling dystopian elements down to lazy shoe-gazing isn’t quite the space pop opera cinema that I anticipated. Artists though should constantly thwart expectations and dive into different mediums with different ideas not caring about consequences so it’s hard, or downright impossible, for me to dismiss or dislike this effort. CHRISTMAS ON MARS may gain cool credit as a ironic holiday late night movie to put on after feasts of food and other altering substances are consumed in seasons to come but for now I can’t get past that it’s just weird for weirdness-sake.
Adapted from F. Scott Fitzgerald’s 1921 short story, the tale has a 
The narrative is handled so delicately that it’s as if it might break. As our hero gets younger the film seems to lose its already fragile grasp on the character. A sense of whimsy flows through that’s so light and airy that the film feels at times like it might float away. Also the digital trickery can often distract. The early scenes with Button largely crafted by CGI effect, while flawless executed, are hard to embrace because the gimmick overwhelms the emotional response. When Button appears to Daisy as a younger than he is in real life Brad Pitt by way of the marvels of modern make-up, she tells him “you look perfect” which is true but again the scene barely registers as anything but a pretty picture.
