Review: "NEVER RARELY SOMETIMES ALWAYS" is Timely, Could Be Timeless

TRASH IN MY EYE No. 52 of 2021 (No. 1790) by Leroy Douresseaux

Never Rarely Sometimes Always (2020)
Running time: 91 minutes (1 hour, 31 minutes)
MPAA – PG-13 for disturbing/mature thematic content, language, some sexual references and teen drinking
WRITER-DIRECTOR:  Eliza Hittman
PRODUCERS:  Adele Romanski and Sara Murphy
CINEMATOGRAPHER:  Hélène Louvart
EDITOR:  Scott Cummings
COMPOSER:  Julia Holter

DRAMA

Starring:  Sidney Flanigan, Talia Ryder, and Théodore Pellerin

[The Texas six-week abortion ban, SB8, went into effect today, as I write this (Wed., September 1, 2021), and that makes Eliza Hittman's acclaimed film, “Never Rarely Sometimes Always,” timely 20 months after its debut at the 2020 Sundance Film Festival.]

Never Rarely Sometimes Always is a 2020 British-American drama from writer-director Eliza Hittman.  The film focuses on a rural Pennsylvania teenager who, seeking an abortion, embarks on a fraught journey to New York City in order to get one.  Oscar-winning filmmaker, Barry Jenkins (Moonlight), is one of the film's executive producers.

Never Rarely Sometimes Always introduces 17-year-old Autumn Callahan (Sidney Flanigan), who lives with her family in rural Ellensboro, Pennsylvania.  Autumn suspects that she is pregnant and goes to the Ellensboro Women's Clinic.  There, she takes a test that confirms that she is pregnant – 10 weeks pregnant according to a woman who works at the clinic.

After learning that she is unable to get an abortion in Pennsylvania without parental consent, Autumn confides in her cousin, Skylar (Talia Ryder), that she is pregnant.  Autumn and Skylar buy two bus tickets and travel to New York City where Autumn can have an abortion with parental consent.   The journey, however, is fraught with complications, including the fact that the girls have little cash and have no place to stay in the city.  And getting an abortion is not as easy, nor will it be as quick, as Autumn thought.

Roe v. Wade (1973) is a landmark United States Supreme Court decision.  The Court ruled that the Constitution of the United States protects a pregnant woman's liberty to choose to have an abortion without excessive government restriction, and, in the process, struck down many U.S. federal and state abortion laws.  However, beginning with Webster v. Reproductive Health Services (1989), the Supreme Court essentially began allowing states to impose restrictions and regulations on a woman's right to have an abortion.  In the ensuing four decades, some of the restrictions placed by states can rightly be called “excessive,” to one extent or another.

That is the context in which Never Rarely Sometimes Always exists.  Autumn and Skylar embark on a fraught journey from small town Pennsylvania to New York City, knowing no one, not having a place to stay, and lacking adequate money so that Autumn can have an abortion.  And Autumn must face having this serious medical procedure as a minor, unsure of what support that she would get from her mother and (apparent) stepfather.

What hangs over this powerful drama is that Autumn is exposing herself and Skylar to danger because the state in which she lives, Pennsylvania, can place multiple restrictions on what is supposed to be a Constitutionally guaranteed right.  In theory, Autumn should have relatively easy access to safe medical care in her home state, yet what she does have in her home town is access to medical care, in which the facility's agenda takes priority over her health and well being and her choices.

In Never Rarely Sometimes Always, writer-director Eliza Hittman is advocating for abortion rights and access, yet she does all her preaching in a film that essentially has two parts.  The first is the story of a teenage girl facing a crisis, and the second part is a kind of dark New York adventure in which the young heroes must, by hook or crook, stay safe in order to enjoy a triumph – even if they cannot really celebrate such a triumph – Autumn getting her abortion.

Never Rarely Sometimes Always takes its title from the multiple choice answers that Autumn can give to a series of questions about her sex life asked by an abortion counselor.  It is in that moment, when Autumn struggles to answer, that Hittman depicts the reality that there is complexity behind a woman or girl's decision to seek an abortion.  It isn't simply about having an “abortion-on-demand.”

Suddenly, Never Rarely Sometimes Always is not so much an argument between anti-choice and pro-choice, nor is it simply about the states and their varying degrees of access to a safe and legal abortion.  Never Rarely Sometimes Always is, at that moment, a story about a teenage girl who faces alone the trouble she did not create by herself.

9 of 10
A+

Wednesday, September 1, 2021


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Fathom Events Announces Third Date for "They Shall Not Grow Old"

Peter Jackson’s “They Shall Not Grow Old” to Have a Third Date from Fathom Events

The Acclaimed Documentary to Screen at More Than 1,000 Locations on Monday, January 21, 2019

BURBANK, Calif.--(BUSINESS WIRE)--On the heels of its already record-breaking release, and in response to popular demand, a third Fathom Events date has been added for Warner Bros. Pictures’ much-heralded WWI documentary “They Shall Not Grow Old,” from Oscar-winning filmmaker Peter Jackson. The film will be screened at more than 1,000 locations in the U.S. and Canada on Monday, January 21, 2019, taking advantage of the holiday weekend. The announcement was made today by Jeff Goldstein, President, Domestic Distribution, Warner Bros. Pictures, and Ray Nutt, CEO of Fathom Events.

    “We are honored to give audiences another chance to experience this groundbreaking documentary as it should be seen—in 3D and on the big screen.”

“They Shall Not Grow Old” debuted in North America at 1,122 locations on December 17, 2018, taking in an impressive $2.327 million. As anticipation grew for the second Fathom Events release date, on December 27, several locations were sold out more than a week in advance. Playing on 1,007 screens, the film earned an astounding $3.375 million for a record-shattering two-day total of $5.702 million. It is the highest-grossing U.S. cinema event to date, for both Fathom Events and the event-cinema industry.

In making the announcement, Goldstein stated, “The response to ‘They Shall Not Grow Old’ has been overwhelming. Peter Jackson’s documentary is a towering achievement of film restoration that has conquered the ravages of time and stands as a fitting tribute to all those who fought and died in what was then called ‘The War to End All Wars.’ We are so proud to be part of bringing this film to audiences across the U.S. and Canada.”

“This project has been a historic and record-setting journey for Fathom, Warner Bros., our exhibitor partners and the event-cinema industry,” said Fathom Events CEO Ray Nutt. “We are honored to give audiences another chance to experience this groundbreaking documentary as it should be seen—in 3D and on the big screen.”

Tickets will be available soon at www.FathomEvents.com and participating theater box offices.

From Academy Award-winning filmmaker Peter Jackson (“The Lord of the Rings” Trilogy, “The Hobbit” Trilogy) comes the groundbreaking documentary “They Shall Not Grow Old,” presented on the centenary of the end of the First World War.

Applying state-of-the-art restoration, colorization and 3D technologies to century-old footage—carefully chosen from hundreds of hours of original Great War film held in the archives of the Imperial War Museum (IWM)—Jackson has created an intensely gripping, immersive and authentic cinematic experience. The only narration comes from Great War veterans themselves, selected from over 600 hours of BBC and IWM archive interviews, resulting in a gripping account of “The War to End All Wars,” told by the soldiers who experienced it.

By restoring the original footage to a standard never seen before, the human face of WWI emerges with vivid clarity through the fog of time. Jackson captures the day-to-day experience of its soldiers and reveals the reality of war for those on the front line: their attitudes about the conflict; their camaraderie and their need for humor amidst the horror; the functions of daily life in the trenches; and what their lives were like during periods of rest. Using cutting-edge techniques to transform the images of a century ago into footage that could have been shot today, Jackson both remembers and honors a generation changed forever by a global war.

“They Shall Not Grow Old” was directed by Peter Jackson and produced by Clare Olssen and Jackson, with Ken Kamins, Tessa Ross, Di Lees and Jenny Waldman serving as executive producers. The film was edited by Jabez Olssen. The music is by David Donaldson, Janet Roddick & Steve Roche.

Warner Bros. Pictures presents a Wingnut Films Production, co‐commissioned by 14‐18 NOW and Imperial War Museum in association with BBC. This film has been rated R for disturbing war images.

Theyshallnotgrowold.movie

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Amazon Announces Miniseries Based on "Good Omens" Novel

Amazon Studios Greenlights Comedic Apocalyptic Limited Series Good Omens

The six-part adaptation of Neil Gaiman’s and Terry Pratchett’s novel about a battle to stop the apocalypse will debut in 2018 on Prime Video in more than 200 countries and territories

SEATTLE--(BUSINESS WIRE)--(NASDAQ: AMZN)—Amazon Studios announced it has greenlit Good Omens, an hour-long limited comedy series based on Neil Gaiman’s (American Gods) and Terry Pratchett’s (Colour of Magic) acclaimed novel of the same name. Set to debut in 2018 on Prime Video, Good Omens is a six-part series that has been entirely written by Gaiman, who will also serve as Showrunner. BBC Studios is co-producing the series with Narrativia and The Blank Corporation and in association with BBC Worldwide for Amazon Prime Video and the BBC.

Good Omens will be a global release and available exclusively on Amazon Prime Video for members to watch via the Prime Video app for popular smart TVs, Fire TV, Fire Tablets and Android and iOS phones and tablets. The show will also be available on PrimeVideo.com for Prime Video members in more than 200 countries and territories. The show will also broadcast on the BBC in the UK, following its premiere on Prime Video.

Good Omens takes place in 2018 when the Apocalypse is near and Final Judgment is set to descend upon humanity. According to The Nice and Accurate Prophecies of Agnes Nutter Witch (the world’s only completely accurate book of prophecies), the world will end on a Saturday. Next Saturday, in fact. Just before dinner.

So the armies of Good and Evil are amassing, Atlantis is rising, and tempers are flaring. Everything appears to be going according to Divine Plan. Except Aziraphale, a somewhat fussy angel, and Crowley, a fast-living demon—both of whom have lived amongst Earth’s mortals since The Beginning and have grown rather fond of the lifestyle—are not actually looking forward to the coming war. And…someone seems to have misplaced the Antichrist.

“Spanning not only the universe but also the entirety of time, Neil Gaiman has created a story that may be the largest ever told on television,” said Joe Lewis, Head of Comedy and Drama, Amazon Studios. “We’re excited to be working with BBC Studios to bring Neil’s and Terry Pratchett’s incredible book to life and to Prime members everywhere.”

Neil Gaiman, writer, said: “Almost thirty years ago, Terry Pratchett and I wrote the funniest novel we could about the end of the world, populated with angels and demons, not to mention an eleven-year-old Antichrist, witchfinders and the four horsepeople of the Apocalypse. It became many people’s favourite book. Three decades later, it’s going to make it to the screen. I can’t think of anyone we’d rather make it with than BBC Studios, and I just wish Sir Terry were alive to see it.”

Chris Sussman, Head of Comedy, BBC Studios, said: “Good Omens has always been one of my favourite books, and it’s hugely exciting not just to be able to bring it to life, but to do so with scripts from Neil Gaiman himself. It feels like a good time to be making a comedy about an impending global apocalypse.”

Executive Producers of the series are Neil Gaiman, Caroline Skinner (Doctor Who), and Chris Sussman (Fleabag) for BBC Studios, Rob Wilkins (Choosing to Die) and Rod Brown (Going Postal) for Narrativia. Gaiman will adapt the novel for the screen.


About Amazon Video
Amazon Video is a premium on-demand entertainment service that offers customers the greatest choice in what to watch, and how to watch it. Amazon Video is the only service that provides all of the following:

•     Prime Video: Thousands of movies and TV shows, including popular licensed content plus critically-acclaimed and award-winning Amazon Original Series and Movies from Amazon Studios like Transparent, The Man in the High Castle, Love & Friendship and kids series Tumble Leaf, available for unlimited streaming as part of an Amazon Prime membership. Prime Video is also now available to customers in more than 200 countries and territories around the globe at www.primevideo.com.
•     Amazon Channels: Over 100 channel subscriptions that Prime members can add to their membership, including HBO, SHOWTIME, STARZ, Cinemax, PBS KIDS, Acorn TV and more, plus Anime Strike–the first curated on-demand subscription by Amazon Channels. To view the full list of channels available, visit www.amazon.com/channels
•     Rent or Own: Hundreds of thousands of titles, including new-release movies and current TV shows available for on-demand rental or purchase for all Amazon customers
•     Instant Access: Instantly watch anytime, anywhere through the Amazon Video app on TVs, mobile devices, Amazon Fire TV, Fire TV Stick, and Fire tablets, or online. For a list of all compatible devices visit www.amazon.com/howtostream
•     Premium Features: Top features like 4K Ultra HD, High Dynamic Range (HDR) and mobile downloads for offline viewing of select content

In addition to Prime Video, the Prime membership includes unlimited fast free shipping options across all categories available on Amazon, more than two million songs and thousands of playlists and stations with Prime Music, secure photo storage with Prime Photos, unlimited reading with Prime Reading, unlimited access to a digital audiobook catalogue with Audible Channels for Prime, a rotating selection of free digital games and in-game loot with Twitch Prime, early access to select Lightning Deals, exclusive access and discounts to select items, and more. To sign-up for Prime or to find out more visit: www.amazon.com/prime.

About Amazon
Amazon is guided by four principles: customer obsession rather than competitor focus, passion for invention, commitment to operational excellence, and long-term thinking. Customer reviews, 1-Click shopping, personalized recommendations, Prime, Fulfillment by Amazon, AWS, Kindle Direct Publishing, Kindle, Fire tablets, Fire TV, Amazon Echo, and Alexa are some of the products and services pioneered by Amazon. For more information, visit www.amazon.com/about.

About the authors
Neil Gaiman is the award-winning author of books, graphic novels, short stories, and films for all ages, including the Oscar-nominated Coraline. Some of his most notable titles include the groundbreaking Sandman comics series, The Graveyard Book (the only book ever to win both the Newbery and Carnegie medals), and The Ocean at the End of the Lane, the UK’s National Book Award 2013 Book of the Year. The film adaptation of his short story How to Talk to Girls at Parties and the television adaptation of his novel American Gods will be released in 2017. Born in the UK, he now lives in the United States.

Terry Pratchett was the acclaimed creator of the global bestselling Discworld series, the first of which—The Colour of Magic—was published in 1983. As a young journalist, Neil Gaiman was the first person ever to interview him. Terry’s books have been widely adapted for stage and screen, and he was the winner of multiple prizes, including the Carnegie Medal, as well as being awarded a knighthood for literature. He died in March 2015.

About BBC Studios
BBC Studios is the BBC’s main TV production arm, producing bold, British, creative content for audiences in the UK and around the world, across drama, comedy, entertainment, music, events and factual, as well as radio and digital output. From Strictly Come Dancing, Planet Earth II and Doctor Who, to War and Peace, Top Gear and David Bowie: The Last Five Years, their programmes are renowned for their quality and loved by viewers. With bases across the nations and regions of the UK, BBC Studios reflects and represents diverse voices and creative talent from all around the country. BBC Studios is set to launch as a wholly-owned subsidiary in 2017.

About Narrativia
Narrativia is an independent production company, launched in 2012 by Sir Terry Pratchett. The company owns and controls the exclusive multimedia and merchandising rights to all of Sir Terry’s works, including his Discworld characters and creations. With more than 85 million books sold worldwide, Pratchett’s writing has created a literary phenomenon across the globe and Narrativia protects and unites the management and development of this brand. The Executive Team, headed by Managing Director and BAFTA winning producer Rod Brown, is based in London, where he works closely with co-directors, celebrated writer Rhianna Pratchett and Terry Pratchett’s Business Manager, Rob Wilkins, who all jointly own and control Narrativia. www.Narrativia.com

About BBC Worldwide
BBC Worldwide will distribute first-run rights to Good Omens in territories where there is no Prime Video and second-run rights internationally.

BBC Worldwide is the main commercial arm and a wholly-owned subsidiary of the British Broadcasting Corporation (BBC). Its vision is to build the BBC’s brands, audiences, commercial returns and reputation across the world. This is achieved through investing in, commercialising and showcasing content from the BBC around the world, in a way that is consistent with BBC standards and values. The business also champions British creativity globally.

In 2015/16 BBC Worldwide generated headline profits of £133.8m and headline sales of £1,029.4m and returned £222.2m to the BBC.

For more detailed performance information please see our Annual Review webpage: bbcworldwide.com/annual-review/.

bbcworldwide.com
twitter.com/bbcwpress

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Review: "Mr. Holmes" Shows that Ian McKellan is as Sharp as Ever

TRASH IN MY EYE No. 4 (of 2016) by Leroy Douresseaux

[A version of this review originally appeared in Patreon.]

Mr. Holmes (2015)
Running time:  104 minutes (1 hour, 54 minutes)
MPAA – PG
DIRECTOR:  Bill Condon
WRITER:  Jeffrey Hatcher (based on the novel, A Slight Trick of the Mind, by Mitch Cullin)
PRODUCERS:  Iain Canning, Anne Carey, and Emile Sherman
CINEMATOGRAPHER:  Tobias A. Schliessler
EDITOR:  Virginia Katz
COMPOSER:  Carter Burwell

DRAMA with elements of a mystery

Starring:  Ian McKellen, Laura Linney, Milo Parker, Hiroyuki Sanada, Hattie Morahan, Patrick Kennedy, Frances de la Tour, Roger Allam, and John Sessions

Mr. Holmes is a 2015 British-American drama from director Bill Condon and writer Jeffrey Hatcher.  The film is based on the 2005 novel, A Slight Trick of the Mind, from author Mitch Cullin.  Mr. Holmes the movie focuses on an aged and retired Sherlock Holmes, who struggles with early dementia as he tries to remember his final case, which haunts him.

Mr. Holmes opens in 1947.  The long-retired Sherlock Holmes (Ian McKellen) returns from abroad and travels to Headley House, his farmhouse in Sussex.  He shares his home with Mrs. Munro (Laura Linney), his housekeeper and a war widow, and Roger (Milo Parker), her young son.  Holmes is suffering from early dementia or “senility.”  His trip abroad was to Japan, specifically Hiroshima, where he hoped to find the prickly ash plant, as he believes a “jelly” made from the plant can act as an elixir and help his failing memory.

Holmes is trying to recall his last case, which occurred over 30 years prior.  A suspicious husband, Thomas Kelmot (Patrick Kennedy), had asked Holmes to investigate his wife, Ann (Hattie Morahan).  Something happened, leaving the case unfinished and causing Holmes to retire.  Unhappy with his ex-partner, Dr. John Watson's account of the case, Holmes hopes to write his own account.  However, he has trouble recalling the details, but young Roger's curiosity drives the legendary detective to close a troubled chapter in his famed career.

Sherlock Holmes first appeared in the 1887 detective novel, A Study in Scarlet, which was written by British author, Arthur Conan Doyle.  Just over a decade later, the Holmes character began appearing in films, and after a little more than a century, Holmes has appeared in over 200 films (according to the British newspaper, The Telegraph).

Although I am a fan of Sherlock Holmes, I would be surprised if I have seen even 30 of those films.  I am certainly happy to have experienced Mr. Holmes.  It is one of the best Sherlock Holmes films that I have ever seen, primarily because of Ian McKellen's tenderly-wrought and alluring turn as Holmes.

As the 93-year-old Holmes, McKellen fashions a vulnerable man, who doggedly fights a losing battle with his health.  Still, he maintains his dignity and learns to change and to acknowledge his errors and misjudgments, both in the past and in the present.  As the Holmes seen in this film's flashbacks, who is in his late 50s or early 60s (which is somewhat unclear), McKellen presents a Holmes who is clearly a man of some age, but who is also clearly still a detective in full.  It is a testament to McKellen's skills and talent as a thespian that he can make two versions of “old-man Holmes” that are distinct from one another and are of different states of mind and intellect.

Laura Linney is potent and fiery as Mrs. Munro, although the script mostly keeps her restrained, even silently suffering.  Once again, a consummate actor takes what is given to her and makes it more than an actor of lesser skills could.  Young Milo Parker steals the movie as the brash Roger, who is on the cusp of young manhood and whose curiosity is a torch that brings light to what could have been a dark and moody film.

I recommend Mr. Holmes without reservations to fans of Sherlock Holmes movies and to fans of director Bill Condon.  He seems always to deliver interesting films that grab the audience with their unique way of being film narratives.  I think that there must simply be at least a few film award nominations in its future because Mr. Holmes does Sherlock Holmes so differently and so delightfully.

8 of 10
A

Saturday, November 21, 2015


The text is copyright © 2015 Leroy Douresseaux. All Rights Reserved. Contact this site for reprint and syndication rights and fees.

PBS Announces Summer 2015 Programming

POLDARK Drama and Unprecedented Look at Sea Life in BIG BLUE LIVE Spark PBS’ 2015 Summer Season

– Highlights Include New Dramas, Atomic Bomb 70 Years Later, Indie Films and Fresh Lineup of Science, Nature and History Programs –

ARLINGTON, Va.--(BUSINESS WIRE)--PBS’ 2015 wide-ranging summer season lineup launches with the premiere of a new version of the romantic saga POLDARK ON MASTERPIECE (watch a clip here) and culminates with BIG BLUE LIVE, a first-time, live-event co-production with the BBC documenting the late-summer confluence of whales, and other sea life, as it is happening in Monterey Bay, California. This summer marks the third season of the award-winning LAST TANGO IN HALIFAX, season two of the British comedy VICIOUS with Ian McKellen and Derek Jacobi, and two new science and nature miniseries in PBS’ “Think Wednesday” programming block: FIRST PEOPLES (watch a clip here), which chronicles how Homo sapiens became the dominant human species, and LIFE ON THE REEF (watch a clip here), which dives deep into the inner world of Australia’s Great Barrier Reef. And, as the country marks the 150th anniversary of Abraham Lincoln’s assassination and the end of the Civil War, PBS announced that THE CIVIL WAR, the award-winning film produced and directed by Ken Burns, will be rebroadcast over five consecutive nights in September 2015. The broadcast, coinciding with the 25th anniversary of the original broadcast of THE CIVIL WAR in September 1990, will present a newly restored high-definition version.

New thought-provoking specials THE BOMB and URANIUM – TWISTING THE DRAGON’S TAIL provide fascinating insights into the first detonation of the atomic bomb on its 70th anniversary and the lasting impacts of the nuclear age; four years after one of history’s worst nuclear accidents, NOVA “Fukushima” (w.t.) reveals the minute-by-minute story of Japan’s nuclear energy crisis and its ongoing aftermath. POV returns with engrossing documentaries from the world’s best independent filmmakers telling intimate stories and exploring current issues in such films as “Out in the Night,” “Tough Love” and “The Overnighters.” Also back this summer is the popular Independence Day celebration A CAPITOL FOURTH (performers to be announced), as well as Friday night arts programming and new episodes of FRONTLINE on Tuesdays.

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Review: "Match Point" Goes for the Fatal Attraction (Happy B'day, Woody Allen)

TRASH IN MY EYE No. 92 (of 2006) by Leroy Douresseaux


Match Point (2005)
Running time: 124 minutes (2 hours, 4 minutes)
MPAA – R for some sexuality
WRITER/DIRECTOR: Woody Allen
PRODUCERS: Letty Aronson, Lucy Darwin, and Gareth Wiley
CINEMATOGRAPHER: Remi Adefarasin
EDITOR: Alisa Lepselter
Academy Award nominee

DRAMA with elements of romance and thriller

Starring: Jonathan Rhys-Meyers, Scarlett Johansson, Emily Mortimer, Matthew Goode, Brian Cox, Penelope Wilton, and Colin Salmon

The subject of this review is Match Point, a 2005 dramatic thriller from director Woody Allen. The film was originally to be set in the Hamptons, but the setting was changed to London because the financing for the film came from sources based in the United Kingdom. Match Point follows a former tennis pro and his volatile relationship with a femme fatale.

Chris Wilton (Jonathan Rhys-Meyers), a tennis pro who recently left the professional ranks, takes a job as a tennis instructor at a high society social club near London. There, he meets and strikes up a friendship with Tom Hewett (Matthew Goode), the only son of a wealthy family from the British upper crust. Chris also meets Tom’s fiancé, Nola Rice (Scarlett Johansson), this movie’s femme fatale (so to speak) and an American actress struggling with her career in London. Chris also attracts the eye of Tom’s sister, Chloe (Emily Mortimer), who is immediately attracted to Chris. Chloe practically throws herself at Chris, but it has benefits. Tom and Chloe’s father, Alec Hewett (Brian Cox), a very wealthy and highly connected businessman, takes an immediate liking to Chris. Before long, Alec’s connections have landed Chris a cushy business job, and Chris social climbs his way to improved social status and finances, especially for a man who grew up a poor Irish boy. Chris marries Chloe. However, Chris is infatuated with Nola, and they have an affair that lasts even after Tom’s dumps her, and Nola is a very demanding woman. She wants Chris to leave Chloe for her, and Chris begins to wonder if violence is the only way out of his predicament.

Woody Allen earned his fourteenth Oscar nomination for screenwriting (more than anyone else and all of them “Written Directly for the Screen”) with his only film shot entirely in Great Britain, Match Point. Match Point, also his longest film, is almost the typical Woody Allen film except that this is a straight drama with no comedic elements (one of the few times he’s done that and the first time since the late 1980’s). As per usual, there is a philandering husband and a mistress, but the mistress Nola’s rage has an edge to it that a comic narrative would temper. There are class differences among the characters, except the disparity here between the pair of Chris and Nola and the Hewett’s is a chasm. There is an unhappy marriage, except in this film the husband is totally to blame and an idiot. Chloe is great to Chris, and she and her family throw wealth and privilege at him that could have easily gone to someone who was already in Chloe’s social set. Finally, Allen, as always, discusses philosophy in his movie, but in the case of Match Point’s drama, the philosophy isn’t meandering. Chris’ belief that luck is more important than hard work, as important as he believe hard work indeed is, defines this film. There’s no mock comic philosophizing here as there sometimes is in an Allen movie.

The acting is good, but not great. I’ve come to accept that Scarlett Johansson is beautiful (though not “classically” beautiful), and that while she looks good on the screen, she doesn’t have major acting chops. Her best acting is done with her face and not with her voice, in particularly delivering dialogue. She also has zero chemistry with Jonathan Rhys-Meyers in this flick, and their passion has a hollow ring – an almost fatal flaw in the film. Match Point, however, is predicated on some of Woody Allen’s strengths: intimate character drama and constructive dialogue that moves the narrative and reveals character and motivation.

For Woody Allen fans, this is a rare treat – a Woody drama. For everyone else, Match Point is Fatal Attraction with a bit more brains and less glossy exploitation, but it’s still full of tawdry fun.

7 of 10
A-

NOTES:
2006 Academy Awards: 1 nomination: “Best Writing, Original Screenplay” (Woody Allen)

2006 Golden Globes, USA: 4 nominations: “Best Motion Picture – Drama,” “Best Director - Motion Picture” (Woody Allen), “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Scarlett Johansson), “Best Screenplay - Motion Picture” (Woody Allen)

Thursday, May 4, 2006

Tom Hanks to Portray Walt Disney in "Saving Mr. Banks"

“Saving Mr. Banks” Begins Production in Los Angeles

LOS ANGELES--(BUSINESS WIRE)--Disney began production today on “Saving Mr. Banks,” the account of Walt Disney’s twenty-year pursuit of the film rights to P.L. Travers’ popular novel, Mary Poppins, and the testy partnership the upbeat filmmaker develops with the uptight author during the project’s pre-production in 1961.

Two-time Academy Award®-winner Tom Hanks (“Philadelphia,” “Forrest Gump”) will essay the role of the legendary Disney (the first time the entrepreneur has ever been depicted in a dramatic film) alongside fellow double Oscar®-winner Emma Thompson (“Howard’s End,” “Sense and Sensibility”) in the role of the prickly novelist. Before actually signing away the book’s rights, Travers’ demands for contractual script and character control circumvent not only Disney’s vision for the film adaptation, but also those of the creative team of screenwriter Don DaGradi and sibling composers Richard and Robert Sherman, whose original score and song (Chim-Chim-Cher-ee) would go on to win Oscars® at the 1965 ceremonies (the film won five awards of its thirteen nominations).

When Travers travels from London to Hollywood in 1961 to finally discuss Disney’s desire to bring her beloved character to the motion picture screen (a quest he began in the 1940s as a promise to his two daughters), Disney meets a prim, uncompromising sexagenarian not only suspect of the impresario’s concept for the film, but a woman struggling with her own past. During her stay in California, Travers’ reflects back on her childhood in 1906 Australia, a trying time for her family which not only molded her aspirations to write, but one that also inspired the characters in her 1934 book.

None more so than the one person whom she loved and admired more than any other — her caring father, Travers Goff, a tormented banker who, before his untimely death that same year, instills the youngster with both affection and enlightenment (and would be the muse for the story’s patriarch, Mr. Banks, the sole character that the famous nanny comes to aid). While reluctant to grant Disney the film rights, Travers comes to realize that the acclaimed Hollywood storyteller has his own motives for wanting to make the film — which, like the author, hints at the relationship he shared with his own father in the early 20th Century Midwest.

Colin Farrell (“Minority Report,” “Total Recall”) co-stars as Travers’ doting dad, Goff, along with British actress Ruth Wilson (the forthcoming films “The Lone Ranger” and “Anna Karenina”) as his long-suffering wife, Margaret; Oscar® and Emmy® nominee Rachel Griffiths (“Six Feet Under,” “Hilary and Jackie,” “The Rookie”) as Margaret’s sister, Aunt Ellie (who inspired the title character of Travers’ novel); and a screen newcomer — 11-year-old Aussie native Annie Buckley as the young, blossoming writer, nicknamed “Ginty” in the flashback sequences.

The cast also includes Emmy® winner Bradley Whitford (“The West Wing,” “The Cabin in the Woods”) as screenwriter Don DaGradi; Jason Schwartzman (“Rushmore,” “Moonrise Kingdom”) and B.J. Novak (“NBC’s “The Office,” “Inglourious Basterds”) as the songwriting Sherman Brothers (Richard and Robert, respectively); Oscar® nominee and Emmy winner Paul Giamatti (“Sideways,” “Cinderella Man,” HBO’s “John Adams”) as Ralph, the kindly limousine driver who escorts Travers during her two-week stay in Hollywood; and multi-Emmy winner Kathy Baker (“Picket Fences,” “Edward Scissorhands”) as Tommie, one of Disney’s trusted studio associates.

“Saving Mr. Banks” will be directed by John Lee Hancock (“The Blind Side,” “The Rookie”) based on a screenplay by Kelly Marcel (creator of FOX-TV’s “Terra Nova”), from a story by Sue Smith (“Brides of Christ,” “Bastard Boys”) and Kelly Marcel. The film is being produced by Alison Owen of Ruby Films (the Oscar®-nominated “Elizabeth,” HBO’s Emmy®-winning “Temple Grandin”), Ian Collie of Essential Media (the Aussie TV documentary “The Shadow of Mary Poppins,” DirecTV’s “Rake”) and longtime Hancock collaborator Philip Steuer (“The Rookie,” “The Chronicles of Narnia” trilogy). The film’s executive producers are Ruby Films’ Paul Trijbits (“Lay the Favorite,” “Jane Eyre”), Hopscotch Features’ Andrew Mason (“The Matrix” trilogy, “Dark City”) and Troy Lum (“Mao’s Last Dancer,” “I, Frankenstein”) and BBC Films’ Christine Langan (Oscar® nominee for “The Queen,” “We Need to Talk About Kevin”).

Hancock’s filmmaking team includes a trio of artists with whom he worked on his 2009 Best Picture Oscar® nominee, “The Blind Side” — two-time Oscar® nominated production designer Michael Corenblith (“How The Grinch Stole Christmas,” “Apollo 13”), Emmy®-winning costume designer Daniel Orlandi (HBO’s “Game Change,” “Frost/Nixon”) and film editor Mark Livolsi, A.C.E. (“Wedding Crashers” “The Devil Wears Prada”). Hancock also reunites with Academy Award®-nominated cinematographer John Schwartzman (“Seabiscuit,” “Pearl Harbor”), with whom he first worked on his inspiring 2002 sports drama, “The Rookie.”

“Saving Mr. Banks” will film entirely in the Los Angeles area, with key locations to include Disneyland in Anaheim and the Disney Studios in Burbank. Filming will conclude around Thanksgiving, 2012, with no specific 2013 release date yet set.

Review: An Education

TRASH IN MY EYE No. 21 (of 2010) by Leroy Douresseaux


An Education (2009)
COUNTRY OF ORIGIN: UK
Running minutes: 100 minutes (1 hour, 40 minutes)
MPAA – PG-13 for mature thematic material involving sexual content, and for smoking
DIRECTOR: Lone Scherfig
WRITER: Nick Hornby (from the memoir by Lynn Barber)
PRODUCERS: Finola Dwyer and Amanda Posey
CINEMATOGRAPHER: John de Borman (D.o.P.)
EDITOR: Barney Pilling
Academy Award nominee

DRAMA/ROMANCE

Starring: Carey Mulligan, Peter Sarsgaard, Alfred Molina, Cara Seymour, Dominic Cooper, Rosamund Pike, Olivia Williams, Matthew Beard, and Emma Thompson

An Education is, at the very least, an exceptional coming-of-age film because it is exceptionally well-directed and well-written, and the actors give high-quality performances. However, it is Carey Mulligan’s star-making turn that anchors An Education.

Set in England in 1961, An Education focuses on Jenny Mellor (Carey Mulligan), a bright schoolgirl who is focused on taking and passing the A-levels, the exams that could help her get into Oxford. She meets David Goldman (Peter Sarsgaard), a charming, older Jewish man, and the two begin a relationship that steadily leads to romance. David even manages to charm Jenny’s protective parents, Jack played by Alfred Molina, giving his usually fine performance, and Marjorie (Cara Seymour).

David introduces Jenny to his fast lifestyle and to his friends, Danny (Dominic Cooper) and Danny’s girlfriend, Helen (Rosamund Pike, who is so radiantly beautiful that she steals practically every scene in which she appears). Jenny becomes torn between studying for a place at Oxford and enjoying the more exciting and fun alternative lifestyle that David offers, but then, she must also confront the darker side of David’s freewheeling lifestyle.

In creating Jenny Mellor, Carey Mulligan fashioned the kind of female character that carries a drama all the way to victory. Mulligan convincingly gives Jenny that cheeky arrogance which makes high school age teens believe they know how to live a much better life than any adult they know has ever lived. Jenny is a clever girl, and Mulligan makes sure her smarts shine through every time. This is a rich, multi-layered performance that absorbs everything that An Education is trying to convey to its audience and makes it crystal clear.

Mulligan’s wonderful turn almost eclipses the exceedingly fine performance by the underrated Peter Sarsgaard as David. Sarsgaard deftly keeps David’s secrets close to him, making David act as the perfect foil for Jenny’s haughty smarts, but Sarsgaard also gives David an edge that is somehow too sweet to resist. Sarsgaard’s wonderful contribution and Mulligan’s terrific performance make An Education a coming-of-age story that will work its magic through the ages.

8 of 10
A

NOTES:
2010 Academy Awards: 3 nominations: “Best Motion Picture of the Year” (Finola Dwyer and Amanda Posey), “Best Performance by an Actress in a Leading Role” (Carey Mulligan), and “Best Writing, Screenplay Based on Material Previously Produced or Published” (Nick Hornby)

2010 BAFTA Awards: 1 win: “Best Leading Actress” (Carey Mulligan); 7 nominations: “Best Costume Design” (Odile Dicks-Mireaux), “Best Director” (Lone Scherfig), “Best Film” (Amanda Posey and Finola Dwyer), “Best Make Up & Hair” (Elizabeth Yianni-Georgiou), “Best Screenplay – Adapted” (Nick Hornby), “Best Supporting Actor” (Alfred Molina), and “Outstanding British Film” (Amanda Posey, Finola Dwyer, Lone Scherfig, and Nick Hornby)

2010 Golden Globes: 1 nominations: “Best Performance by an Actress in a Motion Picture – Drama” (Carey Mulligan)

Tuesday, April 13, 2010