Rooney Mara

A Ghost Story

First Hit:  Long languished scenes and little dialogue lead to waiting, just like the ghost.

Do not expect to be led into and through this film. The audience must work and carefully watch this film to be able to understand it and I use "understand" very loosely. The basis of this film is to explore love, loss and existence beyond the physical realm.

C (Casey Affleck) and M (Rooney Mara) are talking about moving from this simple home in suburban America. Then, as they sleep, they hear a bang on the piano in the living room. They explore and find nothing.

C is killed near the home in an automobile accident. M goes to the hospital looks at C lying on the table and pull the sheet up over his head. In what seems like an eternity, after she has left the morgue, the camera focuses on the body lying on the gurney. Then C sits up and gets off the gurney with the sheet over his entire body. When faced with a opening in a wall to walk into the light, the ghost C, turns left and walks down the hall.

Walking in his home, C stands there and watches M live her life, alone, and sad. There is a scene where a neighbor brings a pie over to M’s house and leaves it on the table. M comes home and ends up sitting on the floor of the kitchen, back against the sink cabinet and practically eats the entire pie, runs to the bathroom and throws up. This is a very telling and powerful scene.

The minimal dialogue adds to both the intrigue and patience forcing. At one point M moves away from the home and C is left there alone. He tries to get a small note M has stuffed into the door jamb but because he’s a ghost, he can barely make a more on the door jamb’s paint. Wandering into the bedroom, C looks across at another house and sees another ghost wearing a patterned sheet. They wave and communicate by telepathy, the words appearing as sub-titles on the bottom of the screen. Other people come and go living in the house while he’s still present.

They the film shifts time and takes us both into the future of the land where his home stands and the goes into past of the same land. The ghost simply stands on the property in these time shifts.

Eventually hes witnesses and watches when he and M come to live in the house for the first time. Here is where we see the first smiles from both C and M. It was a reflection of their happier times together. The rest of the film is about re-seeing the beginning of the story again but from a different view.

Affleck is difficult to review because he spends 97% of the film under the sheet. I can imagine that it wasn’t an easy part to fulfill, but it does work. Mara is, as always, an enigma. She is fantastic at being haunting and creating the sense that you want to know what is going on inside of her. She gives few signals but they are the right signals. David Lowery both wrote and directed this effort. I sense he has a lot to share about the flow of life, life after death, and evolution of life and this was a reasonable effort at sharing these ideas.

Overall:  If you go see this film, be patient and you may end up learning something about yourself and how you think about life.

Song to Song

First Hit:  Although I’m generally a fan of Director Terrence Malik’s work, especially the visualizations, this film felt lifeless and unmoving all the way through. A Malik film like Knight of Cups, touched me deeply and at that moment, I think I’m aligned with Malik’s vision. However, other films he does I might end up liking the pictures and the theme is lost on me.

In this film, few of the pictures were good and I wondered what the point was. Could it have been that if one takes a bite of the apple (signed to a music record deal) then the world opens up. However it only seemed to opened up with increased opportunities for sexual encounters? If so, then I was left thinking; so what. If the point of the film was viewing how the music life in Austin (Malik went to school in Austin) exists and the people in it are just intimately experimenting with others, and they seem to live in a Song to Song way, then so what. I didn't get the point of the film.

Ryan Gosling plays BV who is a musician who gets signed to a record label run by Cook (Michael Fassbender) who is living the big life, filled with things, women, and connections with bands and rock stars. He's pulling the strings, at least around Austin. One of the women he’s linked with is Faye (Rooney Mara).

Faye meets BV at one of Cook’s parties and they begin to have a relationship. However, because they don’t tell each other the truth and they mostly live through their sexuality and what they can feel, the relationship gets convoluted. Faye still has sex with Cook and BV spends time with his old girlfriends Lykke (Lykke Li) and Amanda (Cate Blanchett).

Cook marries Rhonda (Natalie Portman) but has sex with Faye and Faye has sex with Zoey (Berenice Marlohe). There is a lot more of this that goes on in the film, but because it is a Malik film, it is very stylized, virtually no conversational dialogue, and it jumps from place and scene to a different place and scene frequently.

The pictures around Austin were nice and, to me, better than the actual place as I found it more Texan than shown here.

Gosling was good in many sections but the lack of story direction seemed to make him more lost than usual. Mara was one the better parts of this film. Her face and looks are so filled with questions, depth, and searching energy that it fit well in this film. Fassbender was good as the guy who liked money, power, and the things it allowed him to do. Portman was interesting as her intelligence and darkness shined through her scenes. Marlohe was OK as the attractive woman who seduced Faye. Blanchett was OK as this role didn’t really take advantage of her conversational abilities. Holly Hunter as Rhonda’s mom was intense. Malik did the screenplay and it would be interesting to see what it was and how he scripted the scenes. His direction was muddied if what he wanted was the audience to feel something.

Overall:  This film just didn’t work well for me and I found myself sitting there wondering when it would be over.

Lion

First Hit:  A very dramatic and heartfelt story about a young man finding his original home and family.

This was almost like watching two films, each with their own engagement. The first film is about a young Indian boy Saroo (Sunny Pawar) whose life of poverty is documented here by how he helps his mom Kamla (Priyanka Bose) carry rocks, or stealing coal from a train with his older brother Guddu (Abhishek Bharate), or by carrying watermelons for a town vendor. They live in a small one room place in a small-town many hundred miles west of Calcutta.

One night he gets separated from his brother, falls asleep on a train and wakes up in Calcutta. Lost without food or water and the inability to speak the main language of Calcutta, Bengali; he finds himself living on the street. A woman who speaks Hindi finds him and realizes that this boy has no idea where he is and that his family probably won’t find him. This engagement teaches him to trust his inner guide as she ends up not being as trustworthy as she appeared to be.

This part of the film has a particular flow and feeling of wonder and impoverishment, even when he’s adopted by John and Sue Brierley (David Wenham and Nicole Kidman respectively), a couple from Tasmania, Australia.

The second half of the film has Saroo (Dev Patel), now age twenty, being well ensconced in his life with his adoptive caring parents. He heads off to hotel management school where he meets Lucy (Rooney Mara). At a gathering of their mutual friends, he begins to share what he knows of his past after which he begins to have visions of his past life as a small boy in India.

This part of the film has a very different feeling. It’s a feeling of having questions, creating a quest, and finding answers. The wonder of young innocence is gone. It isn’t that this isn’t good, however it requires the audience to tie the two films together.

There are really wonderful scenes in both sections, but I found the scene with Saroo and Sue, when she tells him why she adopted him to be the most powerful. Kidman shows why she’s had such an amazing career. The impact of this scene was closely followed by the impact of a couple other scenes when the adult Saroo goes back to India to find his past.

Pawar was amazing as young Saroo. His wonder while holding his fear in check was amazing. Bose was really good as Saroo’s natural mother. Wenham was OK as Saroo’s adoptive father. I would have liked a stronger role for him as a male mentor. Kidman was amazing. The scene where she tells her story as to why she wanted to adopt Saroo was sublime. Patel as the older Saroo was very good and cements him as adult actor in a major role with the ability to carry a film. Mara was very good in this supportive role. Luke Davies wrote an effective screen play from the real Saroo Brierley book called “A Long Way Home”. Garth Davis did an excellent job of showing the communities in India in all it amazingness. Having traveled quite a bit on the trains of India, I really loved the scene in Calcutta when Saroo wanted off the train and throngs of riders were attempting to get on board.

Overall:  This was an engaging story although the two different sections of film require the audience to make the shift to stay engaged.

Academy Awards - The Oscars

OK, here we are again celebrating another year of film going. Some strong films this year, films that broke box office records, and films that failed. Here are my choices for the following awards and some thoughts around some of them.

  • Best Actor - Nominees are:  Bryan Cranston (Trumbo), Matt Damon (The Martin), Leonardo DiCaprio (The Revenant), Michael Fassbender (Steve Jobs) and Eddie Redmayne (The Danish Girl). This is not as strong a field as it was last year. The obvious missing actors are Tom Hanks (Bridge of Spies) maybe because he made it look so easy, and Steve Carell who was so quirky and interesting you just wanted to see what he was going to do next. Both of these were strong performances, yet not in my top two of this listing. Although Cranston's  performance was good, I didn't like the character nor the interpretation. Fassbender was very good, however this role had been done too many times in the last two years. I did not see The Danish Girl therefore I don't have an opinion. However, Damon and DiCapiro's performances were fantastic - beyond amazing. I loved each of them. My guess is that DiCaprio will win the Oscar.
  • Best Actress  - Nominees are:  Cate Blanchett (Carol), Brie Larson (Room), Jennifer Lawrence (Joy), Charlotte Rampling (45 Years), and Saoirse Ronan (Brooklyn). This is a strong category although I didn't see 45 Years, the others were great. I also see a missing person from this list and that would be Rooney Mara in Carol as well. Between Cate and Rooney I would have picked Mara because I felt as though her evolution through the film was a more powerful statement. However, she is in the Supporting Actress listing. Out of the nominated list, it comes down to two outstanding performances: Ronan and Blanchett. Lawrence's performance was really good and I was fully engaged with her character, however it did not have the power of Ronan or Blanchett's. Larson was also very strong, however so much of her performance is linked to Jacob Tremblay the young boy that it took away from her own performance. For me I'd like Ronan to get this Oscar in an amazing performance in a  wonderful film.
  • Best Supporting Actress  - Nominees are:  Jennifer Jason Leigh (The Hateful Eight), Rooney Mara (Carol), Rachel McAdams (Spotlight), Alicia Vikander (The Danish Girl), and Kate Winslet (Steve Jobs). As I mentioned earlier I think Mara's performance belongs in the Best Actress category. I didn't see The Danish Girl so I'm making my pick without full knowledge of the selections. However, without Mara I think the most interesting and performance is Leigh's. It was so hidden and yet over the top that I was mesmerized each time she opened her mouth and/or the camera focused on her. These are the top two and in my view either probably deserves the Oscar.
  • Best Supporting Actor  - Nominees are:  Christian Bale (The Big Short), Tom Hardy (The Revenant), Mark Ruffalo (Spotlight), Mark Rylance (Bridge of Spies), and Sylvester Stallone (Creed). The missing performance is Jacob Tremblay's in Room. He was phenomenal. But this is probably one of the strongest fields in years, so someone had to be left off the list. They were all great and my favorites out of this list are Rylance and Stallone. Rylance had such a small role yet it was so much impact on the film that it was unforgettable. However Stallone will get it for both this performance and his body of work as Rocky Balboa.
  • Best Cinematography  - Nominees are:  Ed Lachman (Carol), Robert Richardson (The Hateful Eight), John Seale (Mad Max: Fury Road), Emmaual Lubezki (The Revenant), and Roger Deakins (Sicario). Although Mad Max: Fury Road was big it did not grab me because I thought the film was more on the mindless side. Carol was elegantly shot and fully deserves the nomination. However, The Hateful Eight and The Revenant are over the top amazingly beautiful and powerful. The Hateful Eight deserves a lot of credit for doing so much in one room, while The Revenant wins this award for how shots were made and the perspective by which they were made. The winner - pick.
  • Best Adapted Screenplay  - Nominees are:  Charles Randolph and Adam McKay (The Big Short), Nick Hornby (Brooklyn), Phyllis Nagy (Carol), Drew Goddard (The Martian), and Emma Donoghue (Room). Wow, what a list. All great picks. Any one of these could win in any given year. However, my final two would be Randolf and McKay for The Big Short and Hornby for Brooklyn. In the end I'm picking Nick Hornby for Brooklyn because it was a great screenplay and a wonderful film to watch.   
  • Best Original Screenplay  - Nominees are:  Matt Charman and Ethan & Joel Coen (Bridge of Spies), Alex Garland (Ex Machina), Pete Docter, Meg LeFauve, and Josh Cooley (Inside Out), Josh Singer and Tom McCarthy (Spotlight), and Jonathan Herman and Andrea Berloff (Straight Outta Compton). Another strong set of contenders. All very different films. In the end I think I like Ex Machina and Spotlight as powerful screen plays for very different reasons. One reflects a horrible set of acts by Catholic Priests and the other about the obsessiveness and controlling nature of technology. In the end I select Josh Singer and Tom McCarthy for Spotlight.
  • Best Director  - Nominees are:  Adam McKay (The Big Short), George Miller (Mad Max: Fury Road), Alejandro Gonzalez Inarritu (The Revenant), Lenny Abrahamson (Room), and Tom McCarthy (Spotlight). Missing are:  Ridley Scott (The Martian), J.J. Abrams (Star Wars: The Force Awakens), Todd Haynes (Carol), Quentin Tarantino (The Hateful Eight) and John Crowley (Brooklyn). To me this is the most messed up nominee listing. How is Max: Fury Road better directed than all my exceptions? It isn't and doesn't hold a candle to them. Also given my exceptions, I think Abrahamson's delivery is not quite there. Anyway, from the nominee list, I would say it is between McKay, Inarritu, and McCarthy. In the end I'd select McKay (with McCarthy a very close second) because he did the most to keep the film on track. Inarritu had too many long wistful shots. However this listing of nominees is really flawed.
  • Best Picture  - Nominees are:   The Big Short, Bridge of Spies, Brooklyn, Mad Max: Fury Road, The Martian, The Revenant, Room, and Spotlight. Missing here is Carol and The Hateful Eight. Mad Max: Fury Road is nowhere in the league as these other nominees and, in my opinion, doesn't deserve to be listed. I simply was board stiff by the one long chase film filled with foolish philosophy. It is hard for me to pick as I loved "Brooklyn" as being a wonderfully executed nostalgic story. I thought "The Big Short" told a compelling story of how our economy tanked. "The Martian" was beautifully delivered and Damon made it happen. "Bridge of Spies" and "Spotlight" are both amazing stories about something that really happened. I was totally engaged and felt they delivered in all ways; education and story. The only thing I didn't like about "The Revenant" was that there were too many long scenic only shots which took away from the story.  In the end, of the listed I'd like to see "The Martian" win but can also see the others winning except Mad Max.

Some other thoughts about films this year:

  • "Star Wars: The Force Awakens" was amazingly edited.
  • "Ex Machina's" visual effects were very strong and so were scenes in "The Revenant".
  • "Anomalisa" and "Inside Out" were both amazing Animated Feature films.
  • "Carol" had perfectly detailed costumes and overall set design.
  • "Writings on the Wall" the song for "Spectre" was dreadful.

Note: I'll be England sitting in silence for 30 days starting late next week. I may be able to see one more film before I go, but otherwise I won't be seeing any films or posting any reviews until the first week of March.

Thank you for viewing my site.

Carol

First Hit:  One of the most lusciously beautiful well-acted films I’ve ever seen.

The detail in this film set in 1952 is beyond perfect. The storyline captures the mood and feel of the times while painting beauty, struggle, and joy with intentional and pointed elegance.

Unlike Point Break (the previously reviewed film) which didn’t have a real story to tell, this film was all story. That might have been enough but the director made every frame a piece of art. The wall-paper I recognized from my grandmother’s house. The painting of a ship at sea, I’d seen somewhere when I was a small boy. The attitudes of all the characters were perfectly aligned with the times. The delicious detail in each car all sitting on top of incredible dialogue.

The two main characters Carol Aird (Cate Blanchett) and Therese Belivet (Rooney Mara) were amazing in how they portrayed their roles. Carol, a wealthy beautiful woman who gets what she wants, is not romantically attracted to men and finds herself in the middle of a difficult divorce.

Although her husband loves her dearly, because of this lack, her husband sees this as a reflection of his manliness. Therese is somewhat naïve, enjoys being around men but not intimately, works in a large department store, and almost appears to be waiting for life to happen to her.

Very early in the film, these two meet while Carol is shopping for something for her daughter. The rest of the film is a beautiful patient unfolding of their discovery of each other and themselves. The end of the film is so strong and subtle that it was arrestingly remarkable.

Both of these women deserve to be nominated for best actress awards during awards season.

Blanchett is amazing as woman willing to do what she needs to fill the empty place in her heart. Her outfits, movements and the way she expressed herself were fearless and of wonder. Her portrayal as a caring mom while in difficulty of meeting society's standards was incredible.  One of her most powerful scenes, which displayed her love of her daughter and  her wanting a life of happiness transpired when she and her husband met at a lawyers office to discuss terms of their divorce. It showed her character in so many ways. Mara was sublime. Her look and expressions were so mesmerizing that I couldn’t take my eyes off her. To watch her unfold so slowly and beautifully was like a butterfly coming out of cocoon in real time. Watching her discover herself and what she wanted was almost voyeuristic in the most intimate beautiful way possible. It is rare we get to be this close with a character. Phyllis Nagy wrote a real women’s script that captured everything about the time, attitudes, and feelings. Todd Haynes directed these actors through this script with a touch of magic.

Overall:  An extraordinary film in all ways.

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