The Dry Land

Some stories bear repeating. In fact, people love to retell a tale and this simple fact has spawned the tradition of travelling troubadours, of fairy tales and oral histories, of myths and legends. Some tales are retold in remembrance of great deeds or great heroes; some tales are moral warnings - designed to teach us or at the least arm us against our human failings. We repeat stories because we need to hear them again. The Dry Land is a story you've heard before. It bears repeating.

James (Ryan O'Nan) returns from Iraq to a small town in Texas and not much has changed there. He comes home to his wife (America Ferrara,) his ailing mother (Melissa Leo,) the only work available and beers after with the boys. But James has changed a great deal and as he finds himself less and less able to cope, he becomes more and more obsessed with remembering what happened to him. So he hooks up with an army buddy (Wilmer Valderrama) and heads off to Walter Reed ... and answers he may not want to hear.

It is estimated that about 20% of combat veterans will develop Post Traumatic Stress Disorder. Written and directed by Ryan Piers Williams, The Dry Land is a admirable attempt to bring to light their suffering. Ryan O'Nan delivers a powerful, heart wrenching performance as a man in flux - struggling to put into perspective experiences that are unthinkable. The National Alliance for Mental Illness put their seal of approval on this film for it's accuracy in portraying PTSD. I'll admit it was painful to watch (and give a warning to animal lovers that there is a pretty nasty scene involving the butcher of a cow,) but it's a story worth watching. Again.

Website here. More info on PTSD here. Another telling of the tale here.

Whip It

Some movies are just for fun. Really fun movies are those where you know just by watching that the whole damn cast was having the time of their lives making this movie. Would have done it for free. That much fun. Whip It is that kind of movie. I sort of imagine that casting this film was like picking teams for kickball in junior high - with half the females in Hollywood (of a certain age,) bouncing up and down and screaming "Pick me!" This was Drew Barrymore's baby - she produced, directed and played a supporting role. Drew had an awful lot of fun.

Bliss (Ellen Page) is seventeen and being a good girl for Momma (Marcia Gay-Harding,) doing the teen pageant circuit, getting good grades, working at the local BBQ joint. But a sneaky night out with her bestie finds her at the Austin roller derby and Bliss is smitten by the whole idea. On a dare she lies about her age and tries out for the Hurl Scouts, and emerges as Babe Ruthless who must gain the respect of her team, the trust of her coach and the eye of the fella while hiding who she really is from everybody. By now you know where this is going.... to the Championship or the Blue Bonnet Pageant? Lose the Boy or her best friend? Live her mothers dream or her own?

Predictable? You betcha. But ooodles and gobs of fun. Page is that rare young actress who can appear both worldly and cluelessly naive at the same time. And who else is on roller skates? Drew, of course, and Eve and Kristen Wiig AND Juliette Lewis! The coach - Andrew Wilson (the other brother of Owen and Luke!) Can you say cat fights? Can you say FOOD fights? Can you say FUN!? I knew you could. Website here.

An Education

So sometimes a film will sit in my queue forever and by the time it pops up in the mailbox, I've quite forgotten why I stuck it in line in the first place. An Education was a little sleeper that sort of shocked everyone by getting a trio of Oscar nominations including Best Picture a couple of years ago despite the fact that almost no one had apparently seen it. No one went to see it because nothing blows up in it. That said, I loved it. Want to watch a smartly written, smoothly acted period piece that perfectly captures 1961 (albeit in Europe,) from the clothes to the cars to the feminist angst? This is your film.

Jenny (Carey Mulligan) is 16 and like all 16 year olds before and since - itching to get on with her life. Her father (Alfred Molina) dreams that she will attend Oxford where she might catch herself a suitable husband to assure her future, and all things bend to this singular goal. Bored with the drudgery of school and the simplicity of the average adolescent boy, Jenny finds herself enamored with the sophisticated David (Peter Sarsgaard,) a MUCH older rogue who gives her a ride home one rainy day. David is the bearer of a different life - of clubs, concerts and art galleries - all the things she's been waiting for. To stay the course or leap, to gain the education of books or of life? What 16 year old is up to that decision?

Carey Mulligan was nominated for Best Actress deservedly. Her Jenny is whip smart and yet sooo naive - it was a brilliant balancing act. Sarsgaard was deliciously slimy. And then you have Molina AND Emma Thompson in fine supporting roles. Director Lone Scherfig perfectly captures the era. But the real star of this film was Nick Hornby's screenplay. I can't remember when I've enjoyed dialogue this much. See the fine website here.

The Kids are All Right

All the rage at Sundance, nominated for Best Picture and Best Actress, said actress being the wonderful Annette Bening, with Julianne Moore AND Mark Ruffalo, so somehow I was expecting something. Hmmmm. Fairly early on in The Kids Are All Right one of our 'excellent at the communicating' lesbians attempts to explain a bit of pornography that one of the kids has discovered in Mom's sock drawer. Kid asks mom why not watch woman on woman stuff? Mom's reply: those films usually have two straight women pretending... and it lacks authenticity. BINGO!

Synopsis: Jules (Julianne Moore) and Nic (Annette Bening) are raising their two kids in suburban marital bliss when younger male child decides that he needs to discover his biological father and talks older female child into making that happen. Enter bio-dad (Mark Ruffalo) to disrupt marital bliss. He's an honorable bohemian and there is much good advice, and food and wine and all is peachy right until he beds one of the lesbians. That about covers it.

I'm not at all offended by a film normalizing same sex marriage and parenting. I am offended by said film using two straight actors with zero chemistry (zip) to play one dimensional gay stereotypes. That said I also find it vaguely offending that there is a great deal of sweaty adulterous heterosexual sex in a film that is supposed to be about a committed gay couple and their kids. And that the heterosexual guy is ultimately portrayed as the heavy, when pretty much everyone is behaving abysmally. Why, oh why, did this film get so much attention?
I guess because no one makes films about real gay people leading real lives. Skip this and watch Brokeback Mountain. Website here.

Black Swan

I usually don't read stuff written about a film before I write my little review, but I saw Black Swan in the theatre and that was quite a while ago. So I checked out the synopsis on the website... and then I checked out a couple of other sources, and I have to tell you that a lot has been written about this film and most of it is... well, misleading? at best. This isn't a psycho-thriller... it isn't a story about a dangerous friendship... or rivalry in the world of ballet. Black Swan is about mental illness and the descent into psychosis. That the protagonist just happens to be a ballerina contributes significantly to the surreal nature of that psychosis, to be sure. Oh, and sex. It's definitely a movie about sex.

Nina (Natalie Portman) is a talented ballerina striving for her first starring role. She's a cliche of sorts, dedicated to the point of having no life at all, living at home with her overbearing mother, childlike, naive and very, very needy. When her slightly sleazy director offers her the role of the Swan Queen, he maintains that he doubts she can handle the part of the Black Swan; she's far too virginal to play a seductress. To make matters worse, a new girl has joined the troupe, a sexpot named Lily (Mila Kunis) who seems interested in the starring role herself. As Nina is urged to explore her sexuality and to push her limits farther and farther, things start going ... odd. Is Lily out to destroy her or seduce her? What's with that rash? And can she really embody the guile and cunning of the Black Swan? Perfectly.

Natalie Portman portrays the fragile Nina perfectly indeed and earned every inch of that Oscar for Best Actress. Despite the fact that this story is deeply sexual, writer/director Darren Aronofsky (The Wrestler) manages to keep things hot without letting it slip toward porn via clever camera angles and minimal nudity (the infamous lesbian scene is mostly implied.) But more importantly the onset of a psychotic break from reality is really pretty accurate. Little hallucinations gradually lead to bigger and bigger delusions until Nina (and the audience) is not sure what is real and what is not. And like most people with mental illness, Nina is primarily dangerous only to herself. For that, I applaud Mr. Aronofsky. I will try to forgive him the prerequisite overbearing mother archetype. And whether you enjoy ballet or not, the final dance is quite possibly one of the most breathtaking scenes on film. Period. Website here.

Stone

Robert De Niro is surely one of the greatest actors of his generation (think Taxi Driver and Raging Bull and forgive him the paycheck for Little Fockers.) Edward Norton may be one of the most gifted actors of his generation (think Primal Fear and American History X and forgive him the paycheck of The Incredible Hulk.) So why hadn't I heard of a film with them both? My guess is that this indie film was royally screwed on distribution, because if you want to watch two great actors do what they do best - you're going to love Stone.

"Stone" Creeson (Norton) is a fast talking low life doing time for arson to cover up the murder of his grandparents and when he comes up for parole he has to convince hard-case parole officer Jack Mabry (De Niro) that he's a changed man. He enlists the considerable talents of his wife Lucetta (Milla Jovovich) to the cause of breaking Jack down. But Jack and Stone have more in common than a lust for Lucetta, and as events unfold, the true nature of each man comes into question. In the end, redemption is in the eye of the beholder....

Norton creates a stunning portrait in Stone - and how his character emerges is brilliant and heart wrenching. De Niro is in top form (just when I thought he was destined to follow Nicholson and Pacino down the comedic road to the seventh level of acting hell.) But the real surprise was Milla Jovovich who held her own here and then some. Who knew that thirteen years after the band aid costume and orange hair of The Fifth Element, she'd become an actress? Sad that this film got lost in the process... see the website here. Interesting footnote here.

127 Hours

There are films that will change you. There are films that will entertain you or educate you or amuse, to be sure, and a great many that will cure your insomnia. But occasionally a film is made that has the power to do more - a film that sort of lifts us out of the ordinary and makes us very, very aware of what it means to be human. Danny Boyle is the kind of director who tries to make those kinds of films. Last year he earned an Oscar for Slumdog Millionaire. This year he offers 127 Hours.

This is the accounting of five days in the life of Aron Ralston - a rugged self sufficient sort of fella - who in 2003 took off for a weekend of fun in the canyons of Utah and staggered out 127 hours later missing his arm. Perhaps you remember the headlines? Not only did Aron endure the elements, dehydration and blood loss, he cut off his arm that was trapped by a fallen boulder, rappelled down a cliff face and walked eight miles to be rescued. Just try to make this stuff up.

So how do you make a feature film around one guy? You get James Franco. Ninety four minutes of essentially one guy? Yep. James Franco. Of course he was nominated. This guy may be a complete douche for all I know, and there are rumors to that effect, but he sure can act. So he gives us an Aron that is all that and a bag of chips - so cocksure of himself that he takes off without telling a soul - and then shows us what real life, and mortality, brings to us all. It's a freak accident. And then denial. And then fear. And then survival. It's an amazing true story of the human spirit. Did it seem long? From the standpoint of chewing off my fingernails, maybe a little. But it wasn't slow. Was it grisly? Briefly and appropriately. Did it change me?
I think I'm a little more appreciative today, a little less hurried. And I'll NEVER give my kid a knockoff Leatherman for Christmas.... website here.