Beyond the Sea

Okay, okay, okay - I'll be right upfront and admit that I adore Kevin Spacey. There's not anything he can't do - from scary, evil villain (think Seven) to ridiculous, deadpan comedy (The Ref.) He's proven his ever so serious acting skills over and over (American Beauty, The Usual Suspects etc. etc. etc.) You're getting the adoration, here? I love him in a 'wanna take him home and keep him' sort of way. But everyone has his limits, right? And a musical? How many decent musicals have been made since... I dunno... 1956?

I'm here to tell you that - to date - Kevin hasn't found any limits. Not only can he sing, and dance(!) but this little musical is charming. Simply charming. Beyond the Sea is, of course, the Bobby Darrin story - which in and of itself is so Hollywood a tale as to out Hollywood Hollywood. Poor boy, raised by his Mama, nearly dies of rheumatic fever, not supposed to live very long - goes on to fame, fortune and Sandra Dee. Does it get any sweeter? Bobby defined the lounge singer better than any of the Rat Pack - in point of fact, Sammy Davis Jr. once opined that he would never be willing to follow Bobby Darin. And to give it the proper Hollywood ending, he did indeed die relatively young.

Spacey is delightful, and manages to look much younger than he should. Add an amazing cast who more than carry their own - Kate Bosworth as Sandra, John Goodman, Bob Hoskins!!! Holy cow! We have a winner! Pop some popcorn and be entertained.
See the lousy (can't have everything,) website here.

The Air I Breathe

Here I go again. It's good that no one will sue me for having eclectic taste; perhaps I'm just looking for something that the typical film 'critic' isn't... because usually the films that make my socks go up and down are thought provoking. That's the big criteria. Does it get me thinking... does it linger in the back room of my mind for days... do I find myself returning to a scene... and most importantly, does it make me glimpse yet another facet of the ever fascinating human condition? The Air I Breathe did just those things... so I'm unmoved that virtually every paid critic hated it. I found it thought provoking.

Four main characters, representing the four emotional cornerstones of human existence, Happiness, Pleasure, Sorrow and Love, are linked together by luck? destiny? and a really evil crime boss who goes by the name of Fingers (Andy Garcia.) The characters have no names - a fact that only registered with me after it was over - they are archetypes. Happiness (Forest Whitaker) risks everything in an effort to simply have something extraordinary happen. Life is a burden to Pleasure (Brendan Fraser) until his gift of precognition desserts him. Sorrow (Sarah Michelle Gellar) is a sad victim of circumstance who discovers the strength to finally live when Love (Kevin Bacon) offers her the chance to save a life. Their stories are woven together (think Babel or Crash,) and presented in vignettes that are chronologically uneven, but you'll get the point. Two will make it. Two won't.

You'll figure out how an unknown director got this cast in a minute - this is an actors film and they all do a fine job. Andy Garcia is chilling, Whitaker and Gellar take fear and pain to new levels and Fraser stays complicated. It's a violent story well done without going over the top, and I personally enjoyed the fact that the observer is asked to read between the obvious lines. Is the outcome predictable? Perhaps. Was it thought provoking? Definitely. See the (not so great) website here.

Paranoid Park

Gus Van Sant is a weird dude. Okay, that's unfair - he's just not a Hollywood dude and I should add that I don't think that is a bad thing. He just refuses to be categorized. Big time Director with a capital D - sure - think Good Will Hunting, To Die For, Milk. Independent film maker with an eye for teen angst - you bet - My Own Private Idaho, Elephant and Paranoid Park. Likes to thumb his nose at studios and Big Money - well let's remake Psycho... exactly like the original, cheesy dialogue and all but in color. hmmmm.

Paranoid Park is based on a novel by Blake Nelson and is set in a real skatepark in Van Sant's native Portland. Perhaps that is what drew him to the material. The story revolves around Alex (Gabe Nevins) who's disaffection draws him methodically through his days, until the accidental death of a security guard seems to give him a reason to breathe. The skaters, the oblivious adults and the urban blight seem to coalesce into... not much. It's hard not to watch though, lovingly filmed and framed - and Nevins is so pretty.

Sooo, I don't know. Verdict is still out on how Van Sant keeps getting money (even small amounts) to make these sort of ego driven visual cotton candy movies. All shiny and no substance? I have to admit that his fascination with his star is founded (Nevins is a natural, most of the other teens in the film are stilted) if a little creepy in its dedication. But long moments of the camera lingering hungrily on Nevins walking, or skating, or taking off his shirt??? hmmm. Another review here.

Reservation Road

Terry George displayed a gift for handling difficult subject matter with Hotel Rwanda. That was a big story with big implications and Reservation Road is a more subtle thing. Again, with the difficult subject matter, but this time George endeavors to show us both sides of the story - walking a careful line and reserving judgement for the viewer. It is both deft and heartbreaking, and aided (as was Hotel) by some incredibly talented actors.

The story starts with two families wrapping up their weekends. Ethan and Grace (Joaquin Phoenix and Jennifer Connelly) are driving the kids home from a lakeside concert. Dwight (Mark Ruffalo) is racing home late from taking his son to the ball game - an extra innings, angry ex-wife sort of desperation about him. Dwight bolts in fear from the accident that leaves Ethan's son dead on the side of the road. What follows is a sort of descent into hell - Ethan from grief and Dwight from guilt.

This could have been another overdone vigilante film, but it isn't. Ruffalo brings such human vulnerability to Dwight, showing a depth of pain and desperation that easily matches the anger and frustration of Phoenix. The two men show a range of emotion often alien from films with men as protagonists, and the women of the film get to demonstrate some rarely seen female rationality. The ending is just about pitch perfect. Worth the watch... see another review here.

Fugitive Pieces

It is the rare film that stays with you. You know what I mean. The type of thing that haunts your head with images and words that linger and slide past your defenses; snapshots that stick around and crop up in unexpected places. Fugitive Pieces is such a film, so lyrical and lovely and ripe with human experience that I found myself thinking of it as poetry. This is my favorite type of film - one that takes you to another facet of our humanity - and takes you there with all your senses.

Told largely in the fragmentary flashbacks of memory, this is the story of Jakob (Stephen Dillane)who at seven years old watches in terror as his parents are murdered by Nazis in occupied Poland. Jakob escapes to the woods where he is rescued by Athos (Rade Serbedzija)who successfully smuggles him out of Poland to Greece. Jakob is haunted by images of his sister being dragged away, but the war comes to an end and Athos packs them off to live in Canada - far from memories. Despite the love and dedication of his 'godfather' Jakob grows into a brilliant writer but a deeply lonely man as "living with ghosts requires solitude." But through the love of friends, themselves all in some ways victims of the war, Jakob finally makes peace with his ghosts and learns to love, and live, again.

Jeremy Podeswa delivers a masterful adaptation of Anne Michael's novel - beautifully framed and lovingly filmed. The acting is superb and subtle as well; I was particularly smitten with Serbedzija and his expressive eyes. This lovely film may well break your heart, but it demonstrates the ever remarkable ability of the human heart to heal. See more here.

In Bruges

Have you ever been to Bruges? Me neither. Apparently it is an amazingly beautiful little city in Belgium, complete with canals and spectacular medieval architecture. Who knew? Anyhooter, Bruges is the fabulously picturesque setting of this black little comedy... and it has a part to play, so to speak. As anyone who has been stuck for any significant length of time in a tourist trap can attest, a gorgeous backdrop can be remarkably tedious and more than a little sad.

So what happens In Bruges, is that Ray (Colin Farrell) and Ken (Brendan Gleeson) are stuck hiding out in a cozy little hotel room for two after a poorly dispatched assassination. Crime boss Harry (Ralph Fiennes) is rather adamant that they stay in Bruges, see the sights and lay low. Ray is having a hard time of playing tourist and having an even harder time of dealing with his new profession. Ken is trying to enjoy the vacation. There are lots of very odd and funny bits about tourists (American and obese) and dwarfs. There are lots of odd and funny bits about honor and responsibility regarding killing people. There is a fair amount of blood.

In the end, I would say that this was a moderately clever, mostly entertaining bit of blackness with some fine actors having a bit of fun. Fiennes does a splendid job as the psychotic Harry, hamming up the accent and the f-word. Colin does his vulnerability shtick and Gleeson is solid as the ever-faithful regular-guy sort of killer for hire. You end up sort of liking them all in a vaguely disturbing kind of way. Charming and offensive all at once. And Bruges is really gorgeous. See another review here.

Rails & Ties

Contrary to popular belief, I can be as sentimental as the next gal. True, I am unforgiving of the sort of trite sentimentality that seems to be prerequisite of the 'chick flick,' and I am unrepentant in my avoidance of anything that might qualify. Rails and Ties snuck in under my radar; probably because I don't think of Kevin Bacon as the sort of actor who would choose to be in one. My bad. This is definitely a chick flick, and it is achingly sentimental - heck, my husband cried. What it isn't is trite - although the story is fantastical and no, Virginia, life rarely works out in quite this tidy a fashion.

Tom (Bacon) is a train engineer who is having a lot of trouble dealing with the fact that his wife, Megan (Marcia Gay Harden) is dying of cancer; he's having so much trouble dealing with it that she is near to leaving him... determined to make the most of the time she has left. Then Tom makes a judgement call in a train vs. car situation that results in the death of a young woman, and makes an orphan of her 13 year old son (convincing newcomer Miles Heizer.) When Davey eludes Child Protection and shows up at their doorstep to confront Tom, Megan is smitten and unable to turn him away.

This is the first feature film directed by Alison Eastwood, (yep, that would be Clint's daughter) and she seems to have the family gift for drawing out memorable performances. Harden is blessed with looks that seem to meld into Everywoman- she is remarkably real and beautiful while trying to look plain and simple. Her Megan is glorious in her pain and vulnerability. The ending may be fairy stuff, but the journey seems genuine in its exploration of grief and healing. See the website here, and don't give me any chick flick crap....