Year: 2011
Director: Jonathan Levine
Screenplay: Will Reiser
Starring: Joseph Gordon-Levitt, Seth Rogen and Anna Kendrick
Synopsis is here
There's always a chance that the something like 50/50 could have played out terribly. While I rather enjoyed Funny People I could easily see so many people viewing it as another typical Adam Sandler flick and avoid it like the plague. Sandler, Seth Rogan and Cancer? Not a what many are looking for in terms of films me thinks. While I did have a good time with that particular movie; the films humour being the most appealing to me, the characters were not as lucky. The film flip flopped in tone and there was an issue with length that should have been addressed.
50/50 has been labelled in certain areas as the "cancer comedy" in a similar, almost derogatory way that The Social Network was labelled "the facebook film". Such laziness explain the film in the most base manner and seem to actually do more to turn people off than get them to watch. It'll be a shame if people avoid 50/50 due to such simplistic descriptions (or a second appearance of Seth Rogan in a similar film) because the film's view of cancer is a sensitive one. It appears that a character (Rogan's) has a particularly vulgar attitude towards the whole thing and yet that ignoring his character arc due to taking everything he says at face value. A small but telling moment involving Rogan's Kyle says all you need to know abut his behaviour. While the role is slightly typecast, it is played out without some of the odd tonal shifts and expectations that some of the characters in Funny People. 50/50 works better as a comedy drama because it gets the balance right. When the film is funny (maybe save the trippy first chemo sequence) it's very funny. It notices the awkwardness of how we act in certain situations and grounds the humour well. It doesn't "go dark" for the sake of it, instead finding laughs in the people we see.
The smaller moments stand out in 50/50 a lot more than some of the more grand ones. A sequence involving a revel in a relationship is played out for awkward laughs and it does work (as do the various pop culture references within the film) but doesn't hit the same heights as the more intimate moment involving a fellow cancer sufferer (Matt "Max Headroom" Frewer no doubt) and his wife sharing a small kiss. It's not much, but there's a sincerity within those moments that seems to stem from a true place. Writer Will Reiser (the true story the film is inspired by) has a screenplay which features such slight observations that if one wasn't paying attention you could miss how they build the story. The film shows illness as what can be, a state of humdrum and limbo. A short montage of people asking those typical, basic questions and tending to the topic on eggshells is captured in perfect awkwardness. An unfortunate side plot involving Bryce Dallas Howard's Rachael (who seems to be getting some bitchy roles as of late) and Levitt's Adam character works not because Rachael is pompous and self centred (although there's more than a hint that she could be) but because when it comes to those tough moments where her role has to make more of a stand than is usually asked for, her age, emotions and reluctance appear to stem more from the difficulty of the situation above all else.
That the film suffers from the character of Adam being a tad too "fine" with everything, is an unfortunate aspect. When Levitt has to show true anguish, he does so well but the character at times feels quite laid back and the film itself feels slightly disjointed. While of course learning that one has cancer could perhaps give such a feeling, the film sometimes has the effect of small vignette's than a whole. I must also state that the feel nearly wastes the brilliance of the likes of Phillip Baker Hall and Anjelica Huston who light the screen with their small but perfectly formed performances.
Hollywood is an industry that loves to concentrate on youth. It's no surprise that we get films that seem to connect with the main target audience are ones such as Twilight (topping the charts as we speak). 50/50 asks us to stop and look at the briefness of our own mortality even at such a young age. That the film manages to do this well and provide some solids laughs without being truly offensive is a plus.
Showing posts with label Funny. Show all posts
Showing posts with label Funny. Show all posts
Wednesday, 30 November 2011
Wednesday, 4 February 2009
Christain Bale is insane...and I LOVE IT!
More evidence that Christian Bale has lost his mind came up this week. After allegedly assaulting his mother last year, a four minute taped rant surfaced of Bales "antics" towards director of photography Shane Hurlbut during the filming of Terminator: Salvation. The rants has been said to have taken places a few days before his 2008 arrest. This says to me Bale was under a a shit load of stress. No excuse for chewing out the film crew...but hey....he's the goddamn Batman.
Anyway....
The reason why I love the fact that Bale is slowly going batshit insane is due to the fact that THE BEST ACTORS DO! From Brando to Kinski, all the great actors are mental, intense nutcases who are one coin flip away from killing someone. I expect that from actors, if your not...your not doing it right.
In fact in listening to the rant (until near the end where Christian is just fucking harsh) I understand what Bale is getting at. As angry as he is, the scene should have been finished before anything needs to be done. Also...alot of filming is waiting so long did the scene take to set up?How many takes were there before? How long were the actors waiting before the scene was ready? What time of day was it? While Bale and his rant was hilariously unprofessional, as an method actor who fully takes his role into himself (note he speaks in an American accent, he's welsh) so if he's in the zone and is hitting the right notes in the scene, I could see that being really annoying.
To add to this the reason I love it the most is.....Bale will more than likely deliver a kick ass performance because despite being mental he's that damn good. Also if he didn't go apeshit we wouldn't have been able to get this:
But as a counter point: Really? Leaving a film because a guy screwed up a couple of times? Get off your high horse you fucking diva, intense you may be but you ain't got no Oscars yet buddy, the guys just doing his job, i'm sure when you flubb a line people get pissed. Fucking prima donna.
Bet none of this shit happened on The Prestige:
Pictured above: A troubled man, happy with lights.
Anyway....
The reason why I love the fact that Bale is slowly going batshit insane is due to the fact that THE BEST ACTORS DO! From Brando to Kinski, all the great actors are mental, intense nutcases who are one coin flip away from killing someone. I expect that from actors, if your not...your not doing it right.
In fact in listening to the rant (until near the end where Christian is just fucking harsh) I understand what Bale is getting at. As angry as he is, the scene should have been finished before anything needs to be done. Also...alot of filming is waiting so long did the scene take to set up?How many takes were there before? How long were the actors waiting before the scene was ready? What time of day was it? While Bale and his rant was hilariously unprofessional, as an method actor who fully takes his role into himself (note he speaks in an American accent, he's welsh) so if he's in the zone and is hitting the right notes in the scene, I could see that being really annoying.
To add to this the reason I love it the most is.....Bale will more than likely deliver a kick ass performance because despite being mental he's that damn good. Also if he didn't go apeshit we wouldn't have been able to get this:
But as a counter point: Really? Leaving a film because a guy screwed up a couple of times? Get off your high horse you fucking diva, intense you may be but you ain't got no Oscars yet buddy, the guys just doing his job, i'm sure when you flubb a line people get pissed. Fucking prima donna.
Bet none of this shit happened on The Prestige:
Pictured above: A troubled man, happy with lights.
Thursday, 8 May 2008
Review: In Bruges
Year: 2008
Director: Martin McDonagh
Screenwriter: Martin McDonagh
Cast: Colin Farrell, Brendan Gleeson, Ralph Fiennes, Clémence Poésy, Jordan Prentice, Thekla Reuten
Three great central performances, captured in a beautiful city (trust me I've been) combined with a deviously dark wit and a well paced story (until some messy plot issues at the end) make up Martin McDonagh's In Bruges. The film took me by surprise owing more to No Country for old men than say Lock Stock or Snatch. McDonagh's film demonstrates that the bad guys become even more interesting when they have a crisis of fate.
After an a botched assassination hit, Ray (Farrell) has headed to Bruges with a fellow hitman named Ken, to hide out. The grumpy Ray ponders his fate while the gentler Ken spends his time sightseeing and tiring to reassure his younger assassin that everything will be fine. Unfortunately Harry (Fiennes), the boss that ordered the hit has other ideas.
While No Country for Old Men took an old school Mcguffin and turn that aspect of plot into a grand epic revisionist western. In Burges is more introspective keeping the focus purely on it's leads. When the film wasn't hitting me with punchy dialogue and one liners, there are brief moments of poignancy that stayed with me longer than the comedy. McDonagh develops his characters well, allowing them to stew in their situation bring forth characteristics slowly and allowing the chance for the characters to evolve into well rounded individuals. Ray and Ken feel like an Irish odd couple during the first half of the film, the banter comes in thick and fast, and you get to know them as they evolve and shift roles. At one point the two feel like an old married couple, two scenes later a spoilt brat and mother. The interaction is feels almost like a buddy cop movie, In Bruges comes across as Lethal Weapon for the other side.
The two leads give off two very different but effective performances. Farrell, in his most mature performance in ages, is brilliant. His comic timing and visual tics are hilairious and his acting range throughout the film is broad and engaging throughout. Glesson on the other hand uses his screen prescene to mass effect. His performance is gentle and fatherly, two things he's done before with ease but not with this much resonance. It's great to watch, as the two role complement each other so well it's constantly engrossing. You can't wait to see what the next guy is going to say next.
To round it off we are given brute energy of Ralph Fiennes as a fiendishly loutish cherry on top of the main duo. Fiennes role is like a tornado, with chaos happening everywhere he goes. Be it at home with the family (delightfully awkward Xmas moment) or when he finally appears in Bruges. Not only has he some of the best lines in the movie, his delivery gives them more punch and humor. A character that can easily be forgotten is given a wonderfully animated touch. The support range from the thankless (Clemence Poesy) to the memorable (Jordan Prentice)
The screenplay written by McDonagh (who is also theatre playwright) is one full of cracking one liners and amusing, un-p.c moments. These moments are forced to meld with moments of poignancy. However McDonagh clearly understands context, these are despicable characters and their moments of offensiveness only illustrate and highlight their phobias and isolation (expect for Fiennes who is clearly just an 'orrible cunt). The story overdoes it's ending, in particular a death which goes on for too long and ends with a very unconvincing plot moment. But up until that point the story moves at a steady pace and redeems itself after a few missteps.
In Burges doesn't have massive set pieces or the now familiar traits of the new wave Brit gangland movies. Howevcr its story is ten times stronger then most of the Guy Richie imitators/nick love films and for the most part the film is laugh out loud funny. I was almost embarrassed with how loud I laughed at some of the jokes. To add to this In Burge reminded me of how much I love small films when I get the chance to see them. The general jaded feel that can happen with some of Hollywood's bigger movies is lost when going into something like this. The laughs come naturally, the drama works well and the story is fulfilling. While it may not be remembered in those big books of blockbusting box office stats, In Burge is more likely to remain in the memory of those who were lucky to see it.
Director: Martin McDonagh
Screenwriter: Martin McDonagh
Cast: Colin Farrell, Brendan Gleeson, Ralph Fiennes, Clémence Poésy, Jordan Prentice, Thekla Reuten
Three great central performances, captured in a beautiful city (trust me I've been) combined with a deviously dark wit and a well paced story (until some messy plot issues at the end) make up Martin McDonagh's In Bruges. The film took me by surprise owing more to No Country for old men than say Lock Stock or Snatch. McDonagh's film demonstrates that the bad guys become even more interesting when they have a crisis of fate.
After an a botched assassination hit, Ray (Farrell) has headed to Bruges with a fellow hitman named Ken, to hide out. The grumpy Ray ponders his fate while the gentler Ken spends his time sightseeing and tiring to reassure his younger assassin that everything will be fine. Unfortunately Harry (Fiennes), the boss that ordered the hit has other ideas.
While No Country for Old Men took an old school Mcguffin and turn that aspect of plot into a grand epic revisionist western. In Burges is more introspective keeping the focus purely on it's leads. When the film wasn't hitting me with punchy dialogue and one liners, there are brief moments of poignancy that stayed with me longer than the comedy. McDonagh develops his characters well, allowing them to stew in their situation bring forth characteristics slowly and allowing the chance for the characters to evolve into well rounded individuals. Ray and Ken feel like an Irish odd couple during the first half of the film, the banter comes in thick and fast, and you get to know them as they evolve and shift roles. At one point the two feel like an old married couple, two scenes later a spoilt brat and mother. The interaction is feels almost like a buddy cop movie, In Bruges comes across as Lethal Weapon for the other side.
The two leads give off two very different but effective performances. Farrell, in his most mature performance in ages, is brilliant. His comic timing and visual tics are hilairious and his acting range throughout the film is broad and engaging throughout. Glesson on the other hand uses his screen prescene to mass effect. His performance is gentle and fatherly, two things he's done before with ease but not with this much resonance. It's great to watch, as the two role complement each other so well it's constantly engrossing. You can't wait to see what the next guy is going to say next.
To round it off we are given brute energy of Ralph Fiennes as a fiendishly loutish cherry on top of the main duo. Fiennes role is like a tornado, with chaos happening everywhere he goes. Be it at home with the family (delightfully awkward Xmas moment) or when he finally appears in Bruges. Not only has he some of the best lines in the movie, his delivery gives them more punch and humor. A character that can easily be forgotten is given a wonderfully animated touch. The support range from the thankless (Clemence Poesy) to the memorable (Jordan Prentice)
The screenplay written by McDonagh (who is also theatre playwright) is one full of cracking one liners and amusing, un-p.c moments. These moments are forced to meld with moments of poignancy. However McDonagh clearly understands context, these are despicable characters and their moments of offensiveness only illustrate and highlight their phobias and isolation (expect for Fiennes who is clearly just an 'orrible cunt). The story overdoes it's ending, in particular a death which goes on for too long and ends with a very unconvincing plot moment. But up until that point the story moves at a steady pace and redeems itself after a few missteps.
In Burges doesn't have massive set pieces or the now familiar traits of the new wave Brit gangland movies. Howevcr its story is ten times stronger then most of the Guy Richie imitators/nick love films and for the most part the film is laugh out loud funny. I was almost embarrassed with how loud I laughed at some of the jokes. To add to this In Burge reminded me of how much I love small films when I get the chance to see them. The general jaded feel that can happen with some of Hollywood's bigger movies is lost when going into something like this. The laughs come naturally, the drama works well and the story is fulfilling. While it may not be remembered in those big books of blockbusting box office stats, In Burge is more likely to remain in the memory of those who were lucky to see it.
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