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Waiting for Intermission: Review of “Nebraska”

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Not too long ago, I reviewed the film “August: Osage County”. It examined the darker elements of one dysfunctional family, its members hopelessly intertwined within its own drama. Although the film offers an accurate portrayal of a dysfunctional family, it is certainly not the only depiction. What happens to families whose members have successfully broken out of the dynamic? How can poignant moments arise from a larger dysfunction?

Director Alexander Payne explores these themes in his film “Nebraska”. Senile Woody Grant (Bruce Dern) believes that he has won a million dollars through a publishing clearing house contest. Though his family warns him of the scam, his youngest son David (Will Forte) takes him down to collect his winnings. During this trip, they spend a weekend in Woody’s hometown of Hawthrone, Nebraska. Payne creates a beautiful film that is both family memoir and travel narrative. Technical nuances and surprising acting performances combine to make a compelling story.

At first, “Nebraska” reveals the deceptively simple plot of a half-crazed man trying to secure imaginary winnings. Aggressive family members surrounding him provide the inevitable obstacle of reality. The introduction of David adds more to the mystery behind this film.

Seeing Will Forte in a semi-serious role is rather strange for this “Saturday Night Live” veteran. When David and Woody embark on their journey toward Nebraska, the pacing of the film appears incredibly quick. It draws question of how long the plot can be stretched as the film nears its destination. This mood changes quickly once Woody and David go to Hawthorne. Here, the beauty lies in the details.

The residents carry the small town feel right down to their tailored accents. Though some critics believe these characters to be mocking caricatures, they do not acknowledge Payne’s poignant realism. The provincial accents, newspaper offices run by one person, and hero treatment toward Woody encapsulates the nature of the rustic town. The black and white coloring of the film highlights Hawthorne’s nostalgic and pastoral nature, stranding the town in time. Even Lincoln, Nebraska’s urban center and Woody’s destination, feels otherworldly with its gleaming buildings blurred from the distance.

At one point, David becomes a vessel for audiences to view Woody and the people of Hawthorne. This transition occurs when David sits down with Woody and his brothers to watch the football game. The brothers sit uniformly while David sits noticeably off to the side, the dark color of his flannel contrasting with the brothers’ white clothing. Suddenly, audiences receive participant status in the film.

Audiences engage with Woody’s past, often with humorous anecdotes. The best of these scenes involves David and his brother Ross (Bob Odenkirk) attempting to steal back an air compressor for their father, only to find out they robbed the wrong house.

The overlapping provincial dialogue and wonderful moments of tension give this movie the feel of a travel memoir with David getting to know his father through the culture of Hawthorne. Soon, the film transcends the simple collection of winnings. It analyzes the beautiful disarray of the family dynamic, along with the construction of social realities. Hawthorne acts as both a deindustrialized graveyard of memories and a chance at personal redemption.

The film provides a complexity in its mystery behind Woody Grant. Audiences receive only snippets of Woody’s life, but, like David, we play with this information to understand what goes on behind his seemingly lifeless eyes. It may not pack the same emotional punch of “August”, but it is a punch nonetheless.

Rating: 4.5 out of 5.

Waiting for Intermission: Review of “Labor Day”

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Physical space in film functions as a tool of emotional manipulation. These spaces allow the characters to express themselves independent of reinforced societal boundaries. Success of these spaces relies on the film’s ability to enclose audiences within that space and have them experience the same emotional tumult as that of the characters. Director Jason Reitman attempts this with his new film “Labor Day”.

Lonely teenager Henry (Gattlin Griffith) lives with his newly divorced mother, Adele (Kate Winslett) at the edge of a suburban town. Their isolated lives become shaken when escaped convict Frank (Josh Brolin) hides out at their house to avoid the police. As Henry watches love blossom between Adele and Frank, he learns the importance of sex, family, and passion. Despite beginning effort, disjointed narrative elements weaken the power of the space, causing problematic moments in the film. The so-called ‘happy ending’ reigns dominant in the discussion of space.

Reitman establishes space within the first few minutes of the film. Tracking shots lead audiences out of a suburban town and down a long stretch of road, dragging as the houses increasingly become further apart and more dilapidated. These shots slowly transform into tight shots focusing on a house.

The narration of an adult Henry invites audiences into that house, and into the primary space of the film. Henry’s narration demonstrates an incredible vulnerability, drawing in audiences through his poignant observations on his mother’s state of mind following her divorce. This isolation extends into the suburban town. With its central square and grocery store, the town seems to have been taken straight from Updike’s short story “A&P”. The town employs a pastoral feel, making Adele and Henry contagions in this constructed society. By establishing the space, Reitman creates the circumstances necessary for Frank’s entrance.

Paralleling Henry and Adele, society quarantines Frank by having thrown him in prison for the murder of his wife. His isolation is institutional as opposed to the self-isolation of Adele and Henry. The home space allows Frank and Adele to seek solace in their individual isolation. Audiences can develop sympathy for Frank, an acceptance of their love despite literal and metaphorical imprisonment.

Except this sympathy never takes place. The home space falls apart through technical and structural weaknesses of the film. Random plot points arrive but are then never fleshed out. One of these points concerns Henry’s almost Oedipal relationship with his mother. Henry explains through narration that, although he can complete most tasks a husband does for his wife, he could never provide the intimacy his mother ‘required’ in marriage. A follow-up scene later in the film shows a flashback with Adele teaching Henry the emotional power behind making love. Her lascivious pose on the hammock while talking to her son is problematic in its own right, but the movie nevertheless does not resolve this moment.

Another unresolved plot point surrounds Frank’s innocence. Evidence never arises toward his vindication. A moment occurs in the film implying another murder, but the scene quickly jumps forward and is never referred to again. The film expects us to believe in his patriarchal charm. His relationship with Adele demonstrates a ‘sexual awakening’ moment characterizing more conservative gender roles.

Pacing further weakens the film by rushing the ending past these unresolved plot holes. Reitman destroys the original message of his film so Frank and Adele can walk arm and arm into the sunset. The illusion of space disappears in the film and unfortunately never returns.

If you really want to watch films on Stockholm Syndrome, it’s best to stick with the classic. I’m pretty sure “Beauty and the Beast” is on Netflix.

Rating: 2.5 out of 5.

Waiting for Intermission: Review of “Ride Along”

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Some films are emotional game changers. Audiences react powerfully to these films, develop a new perception on the nature of human existence, and then cheer when these films sweep awards season.

Then there are other films designated solely for consumption. They fill ninety minutes, lower the brain a few IQ points, and are quickly disposable upon leaving the theater. Despite the critical description, audiences sometimes need movies from this latter category. Tim Story’s newest film “Ride Along” performs a decent job being the so-called ‘distraction film.’

The film follows Ben (Kevin Hart), a security guard trying to secure a marriage blessing from his girlfriend’s overprotective brother James, a police officer for the Atlanta Police Department (Ice Cube). This journey entails a police ride along, soon turning into a hunt for a notorious weapons dealer. “Ride Along” will never land a spot on AFI’s list on top 100 comedies, but it has just enough moments of good acting and general hilarity to offer a viable distraction from the outside world.

For the first half of the film, “Ride Along” appeared to only be as good as its trailer. The trailer centered around three main jokes, all focusing on Kevin Hart’s height. These repeated cheap jokes form the backbone of the first half and are told within a half hour. Other jokes become extensions of the original trailer or are unnecessarily excessive. The humor can be a slight disappointment from the deliciously raunchy comedy packed in Hart’s repertoire.

Moving from the humor, lack of plot consistency weakens the overall pacing of the film. One such moment occurs with Hart lecturing a student about skipping school. The scene is set up to showcase Hart’s strength in lieu of physical prowess, but then loses importance after that scene. The film attempts to make some references to this earlier scene, but they are not direct enough to suggest continuity. In addition, random cinematography choices, such as relaying unimportant texts on screen, further stilt the pacing in the film. The movie stretches itself out to accommodate for a predictable plot structure.

Surprisingly, the film manages to find its footing. Underneath the shallow moments of humor are the chemistry displayed between actors in the film. Ice Cube and Tika Sumpter, who plays Ben’s fiancé in the film, create a sibling dynamic both funny and easily relatable. The dynamic between Ben and James also creates some natural moments of hilarity, often funnier than the jokes manufactured for the film.

Other acting performances by John Leguizamo and Laurence Fishburne nicely round out the genuinely funny cast of characters. By the end of the film, the jokes become crisper and the plot inconsistencies are largely smoothed over. These last-minute strengths do not erase the stagnation of the first half, but it is enough to keep audiences from checking their phones in the theater. No matter how much natural humor, manufactured jokes show the holes of a thin plot.

Don’t go see the film if you’re planning on paying for it at the theaters. Find it when it comes to HBO or FX. It will at least be an alternative to the eighteenth screening of “X-Men”.

Rating: 2.5 out of 5.

Waiting for Intermission: Review of “August: Osage County”

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Anyone having suffered through holiday dinners understands the chaotic family dynamic. The stories coming from these events become the subject of bragging contests, outdoing friends and peers in terms of ridiculousness. What these stories neglect to mention are how the actions of this dynamic shape individual characteristics.

Such tensions play out in John Wells’ film “August: Osage County”. The film centers on matriarch Violet Weston (Meryl Streep) who invites her family over to her house following the disappearance of her husband (Sam Shepard). As the reunion dissolves, the film portrays character sketches of several family members, including the eldest child Barbara (Julia Roberts). Through cinematography, acting, and dialogue, “August” offers a perspective into the family dynamic that becomes both uncomfortable and familiar to watch.

“August” is based on a play written by playwright Tracy Letts. The play became known for its darkly realistic themes concerning family relationships and generational gaps. Letts returned to Osage County as a screenwriter for the film adaptation. As a result of her involvement, the film adapts theatrical characteristics.

One noticeable characteristic is its location. Like setting in a play, Osage County functions as an independent character. Its isolated and rustic nature parallels the larger fragmentation of the Weston family. Cinematography accentuates these parallels through the use of the tight and long shots.

When framing the Weston household, the film utilizes tight shots, which contain the audience in the claustrophobic space, leaving them vulnerable to the events revealed on screen. These shots also pay particular attention to the fence surrounding the house, quarantining the family within its mental and physical space. This containment reflects the predicament of the Weston family, most unable to break away from the barrier of Osage County.

Dialogue further exposes the theatrical background of “August”. Letts carefully laces her exposition through singular lines of dialogue, giving audiences as much information as needed to comprehend the underlying tension surrounding individual family members.

For a film based on growing tension, too much exposition would serve to drag the pacing. The most prominent example of this brilliant dialogue occurs during the dinner scene in the middle of the film. The fluid transition from hilarity to sorrow to rage remind audiences—perhaps too closely—of similar family dinners they have experienced.

Even the assembly of characters such as the naïve Karen (Juliette Lewis) or the disengaged Jean (Abigail Breslin) could be members of our own family. Streep’s stunning performance of a crazed mother using victimization to manipulate her children only adds to the relatable nature of the Weston family. Combined with the vulnerable cinematography, the violent end to the dinner scene seems both natural and disturbingly familiar.

There are moments where these theatrical characteristics slightly weaken the film. People who prefer action to tension will feel the film dragging in terms of pacing, especially without clear resolution. In addition, some characters appear not to be fleshed thoroughly, such as Jean or Johnna, the Native American caretaker for Violet. Their roles in key plot points suggest they had larger roles in the play, but were cut in the film adaptation.

And even though Meryl Streep delivers an extraordinary performance, the same cannot be said for other veteran actors. The one to point out would be Juliette Lewis, who seems out of place playing the child oblivious to her family’s drama.

Thankfully, these bumps do not ruin the emotional power of the film. Though snubbed for a Best Picture nomination, “August” is one of the better movies of last year. The film combines the fear and nostalgia of looking at a photo album, showing us how far we have come and where we still need to go.

Rating: 4 out of 5

Waiting for Intermission: Review of “Her”

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Audiences know director Spike Jonze for his bizarre films. Those who watched “Being John Malkovich” can attest to this fact. As a filmmaker, he takes themes from the postmodern world and brings it to a mind-blowing conclusion.

Jonze continues this strong tradition with the new film “Her”, centered on loner Theodore Twombly (Joaquin Phoenix). After separating from his ex-wife, he develops a relationship with an operating system Samantha (Scarlett Johansson). As the relationship evolves, Theodore learns about the intimate and emotional components of human nature. Complete with stunning cinematography and astounding acting, “Her” examines the anxieties and beautiful nuances forming the human connection.

Success of the film relies on its basis in a grounded reality. Emotional attachment can only be maintained if audiences can believe in the world being portrayed. Visual and contextual elements create this grounded future world.

Audiences notice sprawling shots of the city skyline, panoramic outside Theodore’s apartment. The metallic texture of the buildings reminds audiences of the standard future setting, gleaming and otherworldly. Yet these buildings do not stretch into the atmosphere, nor do hover cars or teleportation devices dominate the skyline. Subtle technological changes mark a natural progression into the future.

Jonze envisions a future our children and grandchildren could potentially inhabit. Even Theodore’s job of writing emotional letters for those who cannot express themselves are just the natural evolution of Hallmark cards. This realistic world offers a platform to understand and ultimately accept the love between Theodore and Samantha.

Audiences also view this transition through Theodore’s flexibility toward talking about Samantha to the public, leading to an inevitable double date with him and a human couple. Some scenes will cause some seat lurching, particularly Theodore and Samantha’s sex scene and their date using a human female surrogate. However, these scenes capture Jonze constant break from the reality of the film. He finds opportunities to break the fourth wall, particularly through the musical transitions between scenes.

The musical score of the film seamlessly transforms into Samantha’s compositions, which she says represent the scene’s events. Jonze wants us to remain enchanted while inhabiting his grounded reality.

The film not only examines the logistics behind a relationship, but also analyzes Theodore’s inability to connect emotionally with those around him. Joaquin Phoenix’s portrayal of a man fearing the lonely expanse of life is simply fantastic. His pained desire to give language to his feelings provides a vessel for audiences to analyze their own anxieties.

Use of silent flashbacks reinforces this anxiety, as it forces audiences to give language to the emotions displayed on screen. Despite Phoenix’s acting command, the character of Amy, played by Amy Adams, hits the message home. In the middle of the film, Amy talks to Theodore about how overthinking things sews the seeds of our own self-doubt. People need to accept our emotions and strive to give voice to these emotions; otherwise thoughts could potentially cripple us into silence. Aside from the fresh portrayal of a strong female character, her monologue speaks to the purity of the human experience. Being open to connection involves risk, but eventual happiness outweighs these fears.

“Her” is an incredibly intelligent film examining our detached society through a post-structural lens. The wonderful messages of this film will stick with you long after leaving the theater.

Rating: 4.5 out of 5

Waiting for Intermission: Review of “Thor: The Dark World”

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The library of Marvel films features a series of interconnecting storylines. As a result, some films are weaker than others. With the origin films having been made, successors must learn to be strong while maintaining the original storyline. Thankfully, “Thor: The Dark World” secures this balance.

“The Dark World” follows the legendary hero, Thor (Chris Hemsworth), in a mission to stop a race of night elves led by Malekith (Christopher Eccleston) from spreading a dark substance throughout the universe. To defeat him, Thor begrudgingly enlists the help of his brother Loki (Tom Hiddleston), who has his own schemes.

From strong writing to electric acting, “The Dark World” adds a strong chapter to the story of Thor. Of the slew of superhero sequels hitting theaters, this film is one of the strongest in the Marvel franchise.

 The crux of the film lies in the power of its fanbase. After the cataclysmic success of the “Avengers,” Marvel started to better tailor their films to the chaotic few who look for one longing glance as evidence behind their Thor and Loki fanfiction. The film caters to this fanbase in two ways: writing and acting. In terms of the writing, “The Dark World” offers a drastic improvement to its predecessor.

The first film showcased a mad dash to the finish line, trying to cram an entire origin story while getting ready for the “Avengers.” This sequel offers audiences a newfound freedom in the screenwriting, taking the time to flesh out key dynamics, such as the one between Odin and his sons. In addition, side characters are given more time in the spotlight, in particular the character Heimdall, played by the fantastic Idris Elba. By not rushing through these relationships, audiences have more time to immerse themselves into the world of Asgard.

Audiences can lose themselves in this technically stunning world, complete with starry canvasses and sprawling kingdoms. Understanding the individual dynamics provides a guide for audiences through the many twists of the film. Unlike the first film, audiences are not confused as to character motivations. The acting and chemistry between the actors have also improved dramatically since the last film.

In terms of acting, Tom Hiddleston completely steals the show as Loki. His snarky commentary throughout the film makes him as charismatic as he is devious. He provides the perfect balance to Thor’s stoic personality, creating a chemistry that is hilarious to watch. By the end, the film transcends above the desires of the fanbase, becoming enjoyable for the general audience as well.

 Despite starring Chris Hemsworth, who some would consider a god in his own right, the film is nowhere near perfect. Foreshadowing in the film is painfully ham-handed. Key scenes and bits of dialogue allow audiences to know what will happen fifteen minutes before it does. For a film peppered with plot twists, the pattern of reveal quickly becomes boring.

It does not help when the film drags on these plot twists, which end up stunting the overall pacing of the film. However, the character of Jane Foster, played by Natalie Portman, most undermines the strength of the film. Though she displays incredible intelligence, her character is inextricably tied to Thor as the love interest. Giggling and bumbling overshadow her stubborn and determined nature. The film also exploits her body as a vessel for Aether, the substance required to spread the darkness. Unlike Sif and Frigga, two strong Asgardian women, the film wants audiences to relate to Jane instead. This portrayal speaks volumes for Marvel’s representation of women throughout the film adaptations, struggling to achieve the balance between the independent woman and the love interest.

 “Thor: The Dark World” is a wonderful film to chase away the dreary November. If anything, Chris Hemsworth taking his shirt off should be a plus.

 Rating: 3.5 out of 5

[youtuber youtube=’http://www.youtube.com/watch?v=3bFZJ-3zNFg’]