Love seems to be the main topic in today's society -- on the radio, in the cinema, and on the TV screen -- but at first glance, the world always seems to focus on the romantic side of love. And why not? Romance makes things fun; it keeps us on our toes; it is something that everyone strives for, and it sells. But romance is not all there is to love... and this is why a second glance is so important: without it, we may miss things like Ira Sachs' new film, LOVE IS STRANGE, which is not just about romantic love, but about familial and neighborly love: the comfort you feel when in its presence, and the loneliness you feel when you are apart from it.
Alfred Molina and John Lithgow play Ben and George, longtime partners in Manhattan who after 39 years, have finally gotten married. What seems like a happy occasion quickly takes a sharp turn for the worst: though the Catholic school for which George worked as a choir director has known his situation for years, he is now being fired from his job after "officially" coming out. With their lives now depending on Ben's pension and the handful of music lessons that George gives, they decide to sell their apartment and look for cheaper rent, asking their family and friends if they can stay with them temporarily. Unfortunately, this is Manhattan, and the size of the apartments prevent anyone from being able to host both of them together, so the two are separated: George stays with their old neighbors, Ted and Roberto (Cheyenne Jackson and Manny Perez), a young, extroverted couple who work for the NYPD; and Ben stays with his hardworking nephew, Elliot (Darren E. Burrows), his novel-writing wife, Kate (Marisa Tomei), and their son, Joey (Charlie Tahan).
Though we can see both George and Ben's disorientation in their new living situations, feeling the constant absence of their partner, the majority of the film focuses on the constant clash between Ben and his hosts as his stay in their home begins to feel less and less temporary. Elliot and Kate's relationship is already strained as the demands of Elliot's job keep him away from home; and as Kate sets to work on her next novel, we find such a natural and true-to-life interaction as Ben unwittingly interrupts her work to make small talk. Joey takes up the role of the hostile teenager, always looking for privacy and spending inordinate amounts of time with his new friend, Vlad.
Meanwhile, George struggles to have some time to himself, as Ted and Roberto constantly invite people over for parties. Though engulfed in a sea of new faces, George feels isolated, further driving home the point that Ben and George feel a void when they are not with each other.
Sachs his cast wisely. Molina and Lithgow have excellent chemistry, and not for a moment will you believe they are anything but an old couple... not just in their chemistry, but in the little moments on screen. They don't flaunt their togetherness with overacted affection, but are completely comfortable with each other, as if... well, as if they've been together for 39 years.
The only complaint I had with this film was that it couldn't seem to make up its mind about whose perspective the story was coming from. For the first half of the movie, it focused on Ben's perspective. Then it briefly switched to George's. Then at the end, you were suddenly placed in Joey's shoes. Though the emotions of these last scenes are wonderful and poignant, the last shot, especially, detracts from the rest of the characters in the film.
However, don't let this detail keep you from enjoying LOVE IS STRANGE, and the idea that it presents... and I'm sure you've guessed by now what this idea is: "Love is strange... but it endures". Now playing at the Midtown Cinema... don't miss it!
Tuesday, September 30, 2014
Wednesday, September 24, 2014
Sam's Blog - Land Ho!
Ah, the era of the Travel Bug. People want to travel the world, and they will use their profession as a means to do it, if at all possible. This means that, in the case of the film industry, we keep seeing a multitude of films cropping up in which the filmmakers thinly veil a plot over their vacation, and sell the product. The problem is, they don't really try too hard -- 9 times out of 10, the plot is -- get this -- about two people going on vacation. And more often than not, that's literally all the plot boils down to.
This is exactly the case with LAND HO!, a film about two retirees who go on a trip to Iceland together. Mitch (Earl Lynn Nelson), with his Southern twang and overwhelmingly vulgar tongue, pays for the expenses, merely asking Colin (Paul Eenhoorn), his quiet-natured former brother-in-law, to accompany him. Throughout their vacation in the starkly beautiful Icelandic landscapes, they meet various characters -- new friends and old -- who punctuate their trip with oscillating demeanors. Some scenarios feel incredibly awkward, especially when laced with the vulgarity of Mitch's character, but some scenarios come across as sweet.
The run-ins with this multitude of characters begin to capture a small sliver of the joy of travel, portraying the diversity of the people you can meet and the beauty of the sights you can see. But there isn't much more that this film boasts... There is a very small attempt to cultivate Mitch and Colin's personalities and pasts into the plot, but it only goes so far, and while some of their conversations are endearing, it's nothing that you can't get from having a casual conversation with your grandfather.
I have no complaints for Nelson and Eenhoorn's performances, but in terms of story and characters, the film was more than a little disappointing. If you want a taste of the beauty of Iceland, you'll get that from LAND HO! But don't expect it to be anything more than that.
This is exactly the case with LAND HO!, a film about two retirees who go on a trip to Iceland together. Mitch (Earl Lynn Nelson), with his Southern twang and overwhelmingly vulgar tongue, pays for the expenses, merely asking Colin (Paul Eenhoorn), his quiet-natured former brother-in-law, to accompany him. Throughout their vacation in the starkly beautiful Icelandic landscapes, they meet various characters -- new friends and old -- who punctuate their trip with oscillating demeanors. Some scenarios feel incredibly awkward, especially when laced with the vulgarity of Mitch's character, but some scenarios come across as sweet.
The run-ins with this multitude of characters begin to capture a small sliver of the joy of travel, portraying the diversity of the people you can meet and the beauty of the sights you can see. But there isn't much more that this film boasts... There is a very small attempt to cultivate Mitch and Colin's personalities and pasts into the plot, but it only goes so far, and while some of their conversations are endearing, it's nothing that you can't get from having a casual conversation with your grandfather.
I have no complaints for Nelson and Eenhoorn's performances, but in terms of story and characters, the film was more than a little disappointing. If you want a taste of the beauty of Iceland, you'll get that from LAND HO! But don't expect it to be anything more than that.
Tuesday, September 23, 2014
Foner & Hood Review - My Old Lady
Check out Foner & Hood’s review for the upcoming film, MY OLD LADY, with our in-house critic, Sam!
Friday, September 19, 2014
Foner & Hood Review - The Trip to Italy
Check out Foner & Hood's review for the upcoming film, THE TRIP TO ITALY, with our in-house critic, Sam!
Wednesday, September 17, 2014
Sam's Blog - The Zero Theorem
Nearly twenty years after 12 MONKEYS, Terry Gilliam finally takes another trip to the future with THE ZERO THEOREM, a bizarre film about the meaning of life. Unfortunately, this new addition to Gilliam's belt of work comes nowhere near to its sci fi predecessor, just as epic in grandeur but not so much with content.
Qohen Leth (Christoph Waltz) is a reserved, quiet man who "crunches entities" for a corporation called Mancom, and refers to himself as "we". He desperately wants to work from home because he is waiting for a phone call which will tell him his destiny (a bit of a "Waiting For Godot" throwback). His supervisor, Joby (David Thewlis), pulls some strings, telling Qohen (who he calls Quinn) that if he shows up at his party, he will talk to Management -- the overseeing, mysterious boss played by Matt Damon -- about an at-home work request. This party manages to accomplish two things for Qohen: he meets feisty temptress, Baisley (Melanie Thierry), who flirts with him, much to his discomfort; and he does, in fact, get the chance to speak to Management, who takes his request to work at home one step further: he assigns Qohen to a special task, to work on the Zero Theroem, a mathematical equation that explains the meaning of life. This seems to be an impossible task, as Joby describes: people usually last a couple of weeks before burning out and returning to their normal position.
However, only after months of working endlessly on the Zero Theorem does Qohen begin to feel the pressure of the job, and Baisley begins to pull him from his work and into virtual reality, where he can forget his problems. Management sends Bob (Lucas Hedges), the laid-back child prodigy, to help him with his work... but Qohen may be lost forever in Baisley's spell.
While it is true that the characters in THE ZERO THEOREM are fun and interesting, it is the story that brings down this sci fi flick. The plot is a little too convoluted and heavy-laden with theoretical ideas to ever reach true satisfaction for the audience. And as Gilliam continues to cram every scene with Easter egg-like interactions and set constructions, it is hard to focus on the main plot... though these distractions are worth it.
In fact, it is Gilliam's trademark attention to mise en scene that truly makes this film. Each shot is brilliant and beautiful, a masterpiece in itself, and transports you into this odd, futuristic but strangely-representative-of-present-day world... The party scene will give you a glimpse, however laughable, of what parties might be like in the next 50 years.
Ultimately, this is a fun movie for fans of Terry Gilliam, but don't expect to leave the theater entirely satisfied. It's meant to be good fun, despite its heavily theoretical content, and it's a theme park for the eyes. Now playing at the Midtown Cinema.
Qohen Leth (Christoph Waltz) is a reserved, quiet man who "crunches entities" for a corporation called Mancom, and refers to himself as "we". He desperately wants to work from home because he is waiting for a phone call which will tell him his destiny (a bit of a "Waiting For Godot" throwback). His supervisor, Joby (David Thewlis), pulls some strings, telling Qohen (who he calls Quinn) that if he shows up at his party, he will talk to Management -- the overseeing, mysterious boss played by Matt Damon -- about an at-home work request. This party manages to accomplish two things for Qohen: he meets feisty temptress, Baisley (Melanie Thierry), who flirts with him, much to his discomfort; and he does, in fact, get the chance to speak to Management, who takes his request to work at home one step further: he assigns Qohen to a special task, to work on the Zero Theroem, a mathematical equation that explains the meaning of life. This seems to be an impossible task, as Joby describes: people usually last a couple of weeks before burning out and returning to their normal position.
However, only after months of working endlessly on the Zero Theorem does Qohen begin to feel the pressure of the job, and Baisley begins to pull him from his work and into virtual reality, where he can forget his problems. Management sends Bob (Lucas Hedges), the laid-back child prodigy, to help him with his work... but Qohen may be lost forever in Baisley's spell.
While it is true that the characters in THE ZERO THEOREM are fun and interesting, it is the story that brings down this sci fi flick. The plot is a little too convoluted and heavy-laden with theoretical ideas to ever reach true satisfaction for the audience. And as Gilliam continues to cram every scene with Easter egg-like interactions and set constructions, it is hard to focus on the main plot... though these distractions are worth it.
In fact, it is Gilliam's trademark attention to mise en scene that truly makes this film. Each shot is brilliant and beautiful, a masterpiece in itself, and transports you into this odd, futuristic but strangely-representative-of-present-day world... The party scene will give you a glimpse, however laughable, of what parties might be like in the next 50 years.
Ultimately, this is a fun movie for fans of Terry Gilliam, but don't expect to leave the theater entirely satisfied. It's meant to be good fun, despite its heavily theoretical content, and it's a theme park for the eyes. Now playing at the Midtown Cinema.
Wednesday, September 10, 2014
Sam's Blog - Frank
Director Lenny Abrahamson presents a funny, unusual, and ultimately surprising film that balances music with mental illness.
Domnhall Gleason plays Jon, a shy, wannabe musician who trudges along with his 9-5 cubicle work while desperately trying (and failing) to write his own music. In a completely chance encounter, when a touring band called Soronprfbs (your guess for the pronunciation is as good as any) asks him to replace its suicidal keyboard player, Jon jumps at the opportunity and is thrust into the midst of a surreal experience: the members of the band are an eccentric bunch, and play to please no one but themselves.
Don (Scoot McNairy), the band's manager, often speaks of his time in a mental institution and his mannequin fetish, and laughs at odd moments. Clara (Maggie Gyllenhaal), chic and stoic and clearly unstable, is the glue of the group in a controlling, overly-protective sort of way. Baraque and Nana are perhaps the most "normal" of the group, Baraque preferring to speak French, and Nana preferring not to speak much at all. But the crown jewel of the band is the frontman (Michael Fassbender), whose musical genius is slightly overshadowed by the large papier-mâché head that he wears over his own at all times. ALL times. This man's name is Frank.
As Soronprfbs retreats deep into the woods of Ireland to record its next album, trying to push any and every musical boundary, Jon gives updates of their progress to the online world, all the while slowly becoming attached to Frank's work and enigmatic nature. But Jon's ambition begins shoving its way into the picture, causing friction within the band as he tries to get them to perform for a bigger audience.
FRANK borrows from the real life story of Chris Sievey, a musician and comedian who performed under the name of Frank Sidebottom, wearing a similarly ridiculous head. Jon Ronson, FRANK's screenwriter, played the keyboard for Frank Sidebottom's band, so it is clear where he got his inspiration from. But FRANK is fictionalized, turning the head into less of an alter ego and more a sign of psychological struggle.
FRANK gives a really interesting glimpse into the world of the mentally ill. As more and more information is revealed about Frank's strange condition, we begin to see him more and more as a person instead of as an oddity. The story allows for a really unique study on identity, social anxiety, and a sense of belonging... it keeps you enraptured for the entire length of its 95-minute screen time.
The entire cast gives a magnificent performance (there's a lot of chemistry between these actors), but Fassbender deserves a particular nod, as Frank's head forced him to act without falling back on facial expressions. It is fascinating to see his character unfold onscreen... Even without the laughs laced throughout the film, FRANK is a must-see for the characters. Check it out this week at the Midtown Cinema!
Domnhall Gleason plays Jon, a shy, wannabe musician who trudges along with his 9-5 cubicle work while desperately trying (and failing) to write his own music. In a completely chance encounter, when a touring band called Soronprfbs (your guess for the pronunciation is as good as any) asks him to replace its suicidal keyboard player, Jon jumps at the opportunity and is thrust into the midst of a surreal experience: the members of the band are an eccentric bunch, and play to please no one but themselves.
Don (Scoot McNairy), the band's manager, often speaks of his time in a mental institution and his mannequin fetish, and laughs at odd moments. Clara (Maggie Gyllenhaal), chic and stoic and clearly unstable, is the glue of the group in a controlling, overly-protective sort of way. Baraque and Nana are perhaps the most "normal" of the group, Baraque preferring to speak French, and Nana preferring not to speak much at all. But the crown jewel of the band is the frontman (Michael Fassbender), whose musical genius is slightly overshadowed by the large papier-mâché head that he wears over his own at all times. ALL times. This man's name is Frank.
As Soronprfbs retreats deep into the woods of Ireland to record its next album, trying to push any and every musical boundary, Jon gives updates of their progress to the online world, all the while slowly becoming attached to Frank's work and enigmatic nature. But Jon's ambition begins shoving its way into the picture, causing friction within the band as he tries to get them to perform for a bigger audience.
FRANK borrows from the real life story of Chris Sievey, a musician and comedian who performed under the name of Frank Sidebottom, wearing a similarly ridiculous head. Jon Ronson, FRANK's screenwriter, played the keyboard for Frank Sidebottom's band, so it is clear where he got his inspiration from. But FRANK is fictionalized, turning the head into less of an alter ego and more a sign of psychological struggle.
FRANK gives a really interesting glimpse into the world of the mentally ill. As more and more information is revealed about Frank's strange condition, we begin to see him more and more as a person instead of as an oddity. The story allows for a really unique study on identity, social anxiety, and a sense of belonging... it keeps you enraptured for the entire length of its 95-minute screen time.
The entire cast gives a magnificent performance (there's a lot of chemistry between these actors), but Fassbender deserves a particular nod, as Frank's head forced him to act without falling back on facial expressions. It is fascinating to see his character unfold onscreen... Even without the laughs laced throughout the film, FRANK is a must-see for the characters. Check it out this week at the Midtown Cinema!
Saturday, September 6, 2014
Foner & Hood Fall Preview
Check out the indie fall preview from Foner & Hood and our in-house critic, Sam!
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