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Recently added to the Express and DVD collections:
P.S. I Love You For those who believe true love lasts beyond this physical plane, P.S. I Love You is a jewel in the romantic-movie crown. With elements of Ghost, Heaven Can Wait, and My Life, the film is an unabashed valentine to the notion of lasting (everlasting?) love. Hilary Swank is Holly, a deeply happy lass married to the most impossibly adorable Irishman on the planet, Gerry (Gerard Butler). When an illness takes him from her, Holly spirals into depression. Then, as if from beyond the grave, communications, gifts, and remembrances from Gerry begin to appear--gestures he'd planned knowing his death was coming. The "communications" with her dead husband could threatened to keep Holly in past, yet they begin to pave a path into her future. Swank, not a traditional romantic actress, is quite moving as Holly, whose grief and confusion is palpable. Butler will win new continents of fans, largely female, as the yummiest honey one could wish for. Special kudos to the supporting cast, including Lisa Kudrow as a Holly pal, and James Marsters and Kathy Bates, always breaths of fresh air onscreen. Under the sure hand of director-writer Richard LaGravenese, P.S. I Love You is touching, sad (have tissues on hand), and heartbreakingly lovely.
27 Dresses Katherine Heigl is delightful as Jane, a self-effacing Gal Friday so addicted to organizing weddings in her off time, that 27 Dresses opens with her character juggling two nuptials on the same night. A perpetual bridesmaid, Jane’s hobby is discovered by a matrimony reporter named Kevin (James Marsden), who hides a romantic side behind his wall of cynicism. While Kevin gradually develops feelings for Jane, the latter’s superficial sister, Tess (Malin Akerman), pursues George (Edward Burns), Jane’s boss and the object of her love. This romantic circle could go on forever, except that Jane is unexpectedly moved by Kevin despite her general irritation with him and without knowing that he’s on the verge of sandbagging her with a ridiculing article in his newspaper. The situation is absurd, but the emotions are not. Heigl is very good, rooted in a long tradition of comely comediennes playing characters who fly under the radar of life. She makes Jane’s pain palpable and conveys her character’s inability to say no without making her look unappealing or weak. Marsden perfectly captures the part of a rumpled, underdressed writer with repressed passions, Akerman is as convincingly shrewish here as she was in The Heartbreak Kid, and Burns is fine as one of those guys so busy saving the world he barely pays attention to the people in his life. The script by Aline Brosh McKenna (The Devil Wears Prada) is fun if predictable, and Anne Fletcher’s direction is vibrant.
Juno Somewhere between the sharp satire of Election and the rich human comedy of You Can Count On Me lies Juno, a sardonic but ultimately compassionate story of a pregnant teenage girl who wants to give her baby up for adoption. Social misfit Juno (Ellen Page, Hard Candy, X-Men: The Last Stand) protects herself with a caustic wit, but when she gets pregnant by her friend Paulie (Michael Cera, Superbad), Juno finds herself unwilling to terminate the pregnancy. When she chooses a couple who place a classified ad looking to adopt, Juno gets drawn further into their lives than she anticipated. But Juno is much more than its plot; the stylized dialogue (by screenwriter Diablo Cody) seems forced at first, but soon creates a richly textured world, greatly aided by superb performances by Page, Cera, Jennifer Garner and Jason Bateman as the prospective parents, and J.K. Simmons (Spider-Man) and Allison Janney as Juno's father and stepmother. Director Jason Reitman (Thank You For Smoking) deftly keeps the movie from slipping into easy, shallow sarcasm or foundering in sentimentality. The result is smarter and funnier than you might expect from the subject matter, and warmer and more touching than you might expect from the cocky attitude. Page's performance is deceptively simple; she never asks the audience to love her, yet she effortlessly carries a movie in which she's in almost every scene. That's star power.
I'm Not There Unapologetically audacious, I'm Not There is more post-modern puzzle than by-the-numbers biopic. A title card sets the scene: "Inspired by the music and many lives of Bob Dylan." Yet the film features no figure by that name. Instead, writer/director Todd Haynes presents six characters, each incarnating different stages in the artist's career. Perfume's Ben Whishaw, a black-clad poet, serves as a slippery sort of narrator. The action begins with the wanderings of an 11-year-old black runaway named "Woody Guthrie" (Marcus Carl Franklin)--his raucous duet with Richie Havens on "Tombstone Blues" is a highlight--and ends with a silver-haired Billy the Kid (Richard Gere) watching the Old West die before his eyes. In the interim, there's the folk singer-turned-preacher (Christian Bale), the actor (Heath Ledger), and the rock star (Cate Blanchett, who has Don't Look Back Dylan down to a science). The chronology is purposefully non-linear, and editor Jay Rabinowitz cuts rapidly, Jean-Luc Godard-style, between cinéma vérité black-and-white and saturated color, Richard Lester-like slapstick and Fellini-inspired surrealism (Ed Lachman served as cinematographer). What makes the picture fun for Dylan fans--and potentially frustrating for neophytes--is that every album and movie bears an alternate title. Ledger's Robbie, for instance, stars in "Grain of Sand," actually a reference to the Pete Seeger song. As in Haynes' glam rock reverie Velvet Goldmine, the trickery involves the entire cast. While Julianne Moore plays former lover Alice, a dead ringer for Joan Baez; Michelle Williams embodies elusive scenester Coco, i.e. Edie Sedgwick. If I'm Not There is less affecting than Control, the year's other big music film, it rewards repeat viewings like few biographical features. The soundtrack mixes originals with covers, like Jim James's heartfelt "Goin' to Acapulco."
P.S. I Love You For those who believe true love lasts beyond this physical plane, P.S. I Love You is a jewel in the romantic-movie crown. With elements of Ghost, Heaven Can Wait, and My Life, the film is an unabashed valentine to the notion of lasting (everlasting?) love. Hilary Swank is Holly, a deeply happy lass married to the most impossibly adorable Irishman on the planet, Gerry (Gerard Butler). When an illness takes him from her, Holly spirals into depression. Then, as if from beyond the grave, communications, gifts, and remembrances from Gerry begin to appear--gestures he'd planned knowing his death was coming. The "communications" with her dead husband could threatened to keep Holly in past, yet they begin to pave a path into her future. Swank, not a traditional romantic actress, is quite moving as Holly, whose grief and confusion is palpable. Butler will win new continents of fans, largely female, as the yummiest honey one could wish for. Special kudos to the supporting cast, including Lisa Kudrow as a Holly pal, and James Marsters and Kathy Bates, always breaths of fresh air onscreen. Under the sure hand of director-writer Richard LaGravenese, P.S. I Love You is touching, sad (have tissues on hand), and heartbreakingly lovely. 
27 Dresses Katherine Heigl is delightful as Jane, a self-effacing Gal Friday so addicted to organizing weddings in her off time, that 27 Dresses opens with her character juggling two nuptials on the same night. A perpetual bridesmaid, Jane’s hobby is discovered by a matrimony reporter named Kevin (James Marsden), who hides a romantic side behind his wall of cynicism. While Kevin gradually develops feelings for Jane, the latter’s superficial sister, Tess (Malin Akerman), pursues George (Edward Burns), Jane’s boss and the object of her love. This romantic circle could go on forever, except that Jane is unexpectedly moved by Kevin despite her general irritation with him and without knowing that he’s on the verge of sandbagging her with a ridiculing article in his newspaper. The situation is absurd, but the emotions are not. Heigl is very good, rooted in a long tradition of comely comediennes playing characters who fly under the radar of life. She makes Jane’s pain palpable and conveys her character’s inability to say no without making her look unappealing or weak. Marsden perfectly captures the part of a rumpled, underdressed writer with repressed passions, Akerman is as convincingly shrewish here as she was in The Heartbreak Kid, and Burns is fine as one of those guys so busy saving the world he barely pays attention to the people in his life. The script by Aline Brosh McKenna (The Devil Wears Prada) is fun if predictable, and Anne Fletcher’s direction is vibrant.
Juno Somewhere between the sharp satire of Election and the rich human comedy of You Can Count On Me lies Juno, a sardonic but ultimately compassionate story of a pregnant teenage girl who wants to give her baby up for adoption. Social misfit Juno (Ellen Page, Hard Candy, X-Men: The Last Stand) protects herself with a caustic wit, but when she gets pregnant by her friend Paulie (Michael Cera, Superbad), Juno finds herself unwilling to terminate the pregnancy. When she chooses a couple who place a classified ad looking to adopt, Juno gets drawn further into their lives than she anticipated. But Juno is much more than its plot; the stylized dialogue (by screenwriter Diablo Cody) seems forced at first, but soon creates a richly textured world, greatly aided by superb performances by Page, Cera, Jennifer Garner and Jason Bateman as the prospective parents, and J.K. Simmons (Spider-Man) and Allison Janney as Juno's father and stepmother. Director Jason Reitman (Thank You For Smoking) deftly keeps the movie from slipping into easy, shallow sarcasm or foundering in sentimentality. The result is smarter and funnier than you might expect from the subject matter, and warmer and more touching than you might expect from the cocky attitude. Page's performance is deceptively simple; she never asks the audience to love her, yet she effortlessly carries a movie in which she's in almost every scene. That's star power.
I'm Not There Unapologetically audacious, I'm Not There is more post-modern puzzle than by-the-numbers biopic. A title card sets the scene: "Inspired by the music and many lives of Bob Dylan." Yet the film features no figure by that name. Instead, writer/director Todd Haynes presents six characters, each incarnating different stages in the artist's career. Perfume's Ben Whishaw, a black-clad poet, serves as a slippery sort of narrator. The action begins with the wanderings of an 11-year-old black runaway named "Woody Guthrie" (Marcus Carl Franklin)--his raucous duet with Richie Havens on "Tombstone Blues" is a highlight--and ends with a silver-haired Billy the Kid (Richard Gere) watching the Old West die before his eyes. In the interim, there's the folk singer-turned-preacher (Christian Bale), the actor (Heath Ledger), and the rock star (Cate Blanchett, who has Don't Look Back Dylan down to a science). The chronology is purposefully non-linear, and editor Jay Rabinowitz cuts rapidly, Jean-Luc Godard-style, between cinéma vérité black-and-white and saturated color, Richard Lester-like slapstick and Fellini-inspired surrealism (Ed Lachman served as cinematographer). What makes the picture fun for Dylan fans--and potentially frustrating for neophytes--is that every album and movie bears an alternate title. Ledger's Robbie, for instance, stars in "Grain of Sand," actually a reference to the Pete Seeger song. As in Haynes' glam rock reverie Velvet Goldmine, the trickery involves the entire cast. While Julianne Moore plays former lover Alice, a dead ringer for Joan Baez; Michelle Williams embodies elusive scenester Coco, i.e. Edie Sedgwick. If I'm Not There is less affecting than Control, the year's other big music film, it rewards repeat viewings like few biographical features. The soundtrack mixes originals with covers, like Jim James's heartfelt "Goin' to Acapulco."
1 comments:
The reviews says: Under the sure hand of director-writer Richard LaGravenese, P.S. I Love You is touching, sad (have tissues on hand), and heartbreakingly lovely.
OH PLEASE! This is not a good movie
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