The Descendants

Descendants Clooney and WoodleyAlthough this movie might not be suitable for all ages because of language and some adult situations, it is nonetheless a family movie.  It deals with the issues people face, both as parents and as children, and ultimately it addresses the responsibility of generations to their family.

When Elizabeth King (Patricia Hastie) falls into a coma as a result of a boating accident, her husband, Honolulu attorney Matt King (George Clooney), is forced to grapple with the problems his youngest daughter, 10 year old Scottie (Amara Miller) has developed in her mother’s absence.  Scottie has begun to act out her own insecurities by sending offensive texts, bullying her fellow students, and posting pictures of her comatose mother.  The time comes when Matt is informed by their doctor that there is no longer any hope that Elizabeth will recover, and, per her living will, will be removed from the machines that keep her alive.

Matt and Scottie fly to Kauai to pick up his oldest daughter, 17 year old Alex (Shailene Woodley) who attends a private school.  Alex is drunk when they get there, but she comes home with them.  As they argue, Alex reveals that her mother has been having an affair, so Matt sets out to find out who the man is.  Alex insists that her friend, Sid (Nick Krause) accompany them on this journey.  They must tell Elizabeth’s parents about the decision of the doctors.  Her father, Scott (Robert Forster), is a bitter man who is trying to deal with his wife’s Alzheimer’s disease.  When Sid laughs at her behavior, Scott punches him in frustration.

They discover that the man Elizabeth was having an affair with is Brian Speer ((Matthew Lillard), a wealthy real estate agent.  They discover that Brian has taken his wife Julie (Judy Greer) on a vacation to Kauai, so they follow.

All of this very personal action takes place against Matt’s family background.  He is the sole trustee of a family trust dating back to the last Hawaiian kings that includes 25,000 acres of prime land on the island of Kauai.  This trust is set to expire in seven years due to Hawaiian law and Matt’s cousins, who have squandered their inheritance are pressuring him to sell the land now so they can all cash in.  It is a matter of some concern to the Hawaiian people, as the developers who have bid on the land want to turn it into another resort.

Director Alexander Payne (Sideways, Nebraska) adapted the Academy Award winning screenplay along with Nat Faxon and Jim Rash from a novel of the same name by Kaui Hart Hemmings, who served as a consultant on the movie.  His style is characterized by simplicity so that what you see is pretty much what you get.  None of the camera work or lighting ever imposes itself on the action and that is sometimes a very good thing.

George Clooney is terrific as Matt, driving the film from beginning to end with a restrained and thoughtful performance.  Alongside him, Shailene Woodley and Amara Miller are absolutely perfect as his daughters.  Wonderful performances by Judy Greer and Beau Bridges (as Matt’s cousin Hugh) add to the dramatically powerful, yet sometimes comedic story.

The movie is engaging, heartwarming, and flawlessly beautiful.  With the landscape of Hawaii constantly dominating the action, the eye is never disappointed.  In addition, the soundtrack of Hawaiian songs, befitting all of the moods of the story, is an absolutely perfect addition to the storytelling.  In spite of the subject matter, it will leave you feeling very good, comfortable, and content with the world.

In an industry that thrives on thrill-a-minute action, larger than life special effects, and a blaring soundtrack, more movies with the passion, power, and humor of The Descendants are desperately needed.  I highly recommend this film!

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The Silence of the Lambs

Silence Lambs 01When a serial killer dumps the bodies of several young women into various rivers between Ohio and Pennsylvania, with parts of their bodies skinned, newspapers anoint the unknown assailant as “Buffalo Bill.”  The head of Behavioral Sciences at the FBI recruits a beautiful young agent-trainee, who is earmarked for his division, to help him out by interviewing one of the most notorious serial killers of all: Hannibal Lecter, a cannibal.

The following review contains a detailed analysis of the plot, so be forewarned.

Jack Crawford (Scott Glenn) recruits Agent Clarice Starling (Jodie Foster) for this job without telling her why: he wants to get Lecter (Anthony Hopkins) to help them profile Buffalo Bill so they can catch the killer before he acts again.  Even before she can leave Quantico for Baltimore, they are already too late.  Buffalo Bill (Ted Levine) lures young Catharine Martin (Brooke Smith) into his van and abducts her, putting her down in an empty well in his basement and forcing her to use lotion to soften her skin while his little toy poodle Precious looks on.  Sitting at a sewing machine, surrounded by rare moths, he sews his collected skin together.

Silence Lambs 03In Baltimore, Clarice meets Lecter’s prison psychiatrist, Dr. Chilton (Anthony Heald), who has taken to using subtle torture to try to make a name from Lecter, who was at one time himself a brilliant psychologist.  Given the antagonism between the two, she requests to see Lecter alone.  As she walks up the corridor to the special cell, one of the other inmates, Miggs, whispers obscene things to her.  In his cell, protected by glass, he is prohibited from contact with anything that might be used as a weapon or to escape, even pens, although he is allowed pencils to complete intricate drawings.  Clarice asks him about an especially detailed drawing of Venice and he remarks that it is his only way of having a view of the outside world.  Fascinated by her, he picks out her perfume and tries to get inside her mind without revealing anything of himself.  Frustrated, he dismisses her, but on the way out, Miggs throws a ball of come at her and this upsets Lecter who yells at her to come back.  He tells her to find an old patient of his, giving a few verbal hints and a fake name.

Clarice unravels his clues and follows them to a self storage garage outside Baltimore with an old car that contains a mannequin and a jar containing the head of Lecter’s former patient.  She revisits Lecter and he reveals that he did not kill the man, but that it is the world of a serial killer in the making.  Using a quid pro quo dialogue, he reveals bits and pieces while learning of Clarice’s youth, including the death of her father and her brief time on a sheep ranch in Montana staying with cousins afterward.

Another body is found and Clarice accompanies Crawford to examine the body.  Although he appears to be playing psychological games with her, Clarice stands up for herself and earns the fair treatment she deserves.  While examining the body, they find the pupa of moth wedged inside the girl’s mouth.  The investigation leads Clarice to university specialists who tell her that the pupa is a rare species of Asian moth.

Back in Quantico, she sees a television report that Senator Ruth Martin’s (Diane Baker) daughter has been kidnapped by Buffalo Bill.  Martin attempts to humanize her daughter to the killer by showing pictures of the girl growing up and referring to her over and over by her name: Catherine.  Oblivious to the broadcast, Bill continues to sew the skin of his victims together.

Silence Lambs 02Promising Lecter a transfer away from Dr. Chilton, Clarice tells him that if he can help them find Buffalo Bill, he will even be allowed some time on a beach.  Recording the conversation, Dr. Chilton checks with Senator Martin and discovers that the FBI has lied to Lecter and no such deal is in place.  He reveals this to his patient and brokers his own deal with Martin.  During his conversation with Hannibal, who is restricted with a straight jacket and face plate, Chilton leaves his pen lying in the office, then leaves Lecter to his assistant with the instruction to clean him up and get him ready for transfer.  In Memphis, Tennessee, Lecter is taken off the plane, but when Chilton goes to sign his release, he can no longer find his pen.  Lecter watches him anxiously until a guard offers a pen instead.

Introduced to the Senator, Lecter gives her false information as to the identity of Catherine’s abductor and is then escorted to a special cell on an isolated floor of the courthouse.  Clarice comes to see him, even though it is no longer her case, to try to find out why he gave the Senator false information and to keep trying to get the real killer’s name.  Playing quid pro quo again, he gets her to reveal that the reason she ran away from the ranch in Montana was that she was awakened by screaming because the spring lambs were being slaughtered.  Appalled, she opened the pen to let them go, but they wouldn’t leave, so she took one lamb and ran away, getting caught several miles from the ranch.  Lecter gets her to admit that she sometimes still has nightmares about the screaming of the lambs.  As Chilton and the officers escort her out, Lecter gives her back her case file and tells her that all she needs to know is there.  When the guards deliver Lecter his dinner, they handcuff him to the bars of his cage, but using components from Chilton’s pen, he unlocks his cuff and kills the two guards, cleverly making his escape.

Silence Lambs 04Piecing together bits of what Lecter has given her, she realizes that the killer might live close to the first victim because in the beginning these killers covet those who are nearby, that they see every day.  With this knowledge, she goes to visit the family of the first victim and stumbles upon the killer.  I won’t revel the ending, even though it is very exciting.

Only the third film to win Academy Awards in all the top five categories, Best Picture, Best Actor, Best Actress, Best Director, and Adapted Screenplay, it is also the first horror film to be named Best Picture.  All five awards are richly deserved.

This 1991 film truly established Jonathan Demme as a master of the art of film directing and in The Silence of the Lambs he has created a masterpiece that even Alfred Hitchcock would have loved.  The airtight script by Ted Tally, based on the 1988 novel by Thomas Harris, melds several genres in a stew that is absolutely compelling.  A friend of Harris, Tally’s first draft was accepted by Demme and the film went into production with very little revision.  It is virtually unheard of in the film industry for a script to be so well written is taken on a first draft basis.

Murder mystery, detective story, horror, and psychological drama all work together under Demme’s expert hand.  Running just under two hours, the story is so gripping that it is extremely difficult to pull oneself away.  The music by Howard Shore feels invisible, yet it is coldly calculated to lead the viewer steadily and deeply into the grisly scenario.  Shore said of his score, “I tried to write in a way that goes right into the fabric of the movie.”  Bullseye.

Demme’s use of close-ups in the intense dialogue between Starling and Lecter, especially with the camera moving ever so slowly in tighter and tighter, creates such a feeling of intimacy and gripping suspense as to make it palpable.  In addition, the movie is a prime example of brilliant editing, each scene cut perfectly for the story.

The acting is pure gold.  This is by far Jodie Foster’s best performance in a long and distinguished career and she earned her Oscar by imbuing Clarice Starling with such a rich and subtle layering of character that she was completely believable and utterly compelling.  Opposite her, Anthony Hopkins plays Hannibal with such brilliance, both believably intelligent far beyond most people and yet eerily spooky in his madness, one moment perfect British manner, one moment biting someone’s nose off.  Whenever he is present, a scene is elevated to the deepest level of psychological complication.  Great acting!  The supporting cast all do their jobs, each actor invested in their little part of the tapestry.

I’ve now seen this movie six times and each time I still find every single moment of it to be utterly compelling.  It stands the test of time with no effort at all and must be considered deep within anyone’s list of the Top 100 films of all time.

Adults only, this is a must-see movie!!!

Midnight Cowboy

Midnight Cowboy 03This classic 1969 John Schlesinger film, adapted by Waldo Salt, from the novel by James Leo Herlihy, won three Academy Awards, for Best Picture, Best Director and Best Adapted Screenplay.  It is the only X-Rated film to ever win Best Picture.  Starring Jon Voight and Dustin Hoffman, in what many consider his signature role, the film is about what happens to our dreams when they are tested against harsh reality.

This review discusses the movie in full detail, so beware spoilers.

Midnight Cowboy 01Joe Buck (Voight) is a young Texan who quits his job as a dishwasher and hops a bus to New York City to become a “hustler,” to sell his body to rich old women and make a ton of money.  He wears a buckskin jacket, beautiful shiny boots, and a black cowboy hat.  As the bus travels north, flashbacks tell the story of how his beautiful young mother dumped him with his grandmother, Sally Buck (Ruth White), who raised him while having a series of affairs.  As a young man, he was involved with a girl named “Crazy Annie” (Jennifer Salt) who repeatedly told him “you’re the only one.”  A gang finds them making love in a car and while some of them hold Joe, the others rape Annie while he is forced to watch.

Midnight Cowboy 06When he arrives in New York, he takes a hotel room and wanders the streets trying to find some woman who needs his services.  A wealthy middle-aged woman (Sylvia Miles) takes him up to her apartment and they make love, but the next morning when he asks for money, she weeps and he actually ends up paying her, by giving her cab fare.

Midnight Cowboy 02He meets Enrico Salvatore Rizzo (Dustin Hoffman), a street con man that everyone calls “Ratso.”  They have a drink together and Ratso tells him that he knows a pimp who can get him lots of work.  He takes a fee of $20 for setting up a meeting with O’Daniel (John McGiver), then disappears.  O’Daniel tries to get Joe to go down on his knees with him and pray to a plastic Jesus mounted on the back of his bathroom door, but Joe freaks out and runs away.  When his money runs out, he takes to the street.  Seeing young homosexuals on the street dressed in cowboy gear, he agrees to oral sex with a young man (Bob Balaban) in a movie theater, but when the boy tells him he doesn’t have any money, Joe is forced to let him go.  Begging crackers in a diner, he watches a mother playing with her son by running a toy mouse over his face.

One day, walking past a coffee shop, he spots Ratso and tries to get his $20 back, but all Ratso has is some change.  However, he offers to share his room with Joe, a flat in a condemned building that still has running water.  Joe comes back with him and the two of them begin a strange, shaky friendship.  Ratso, whose dream is to one day move to Florida and get healthy, helps Joe to clean up and they try to hijack a male escort service job, but Joe blows it and they are back where they started.

Midnight Cowboy 07Winter arrives and with it an intense cold wave.  Stuck in their flat with no heat and no money, Joe and Ratso barely get by, but things take a turn for the worse when Ratso gets sick.  Sitting in a diner one day, they are approached by a strange pair, who take Joe’s picture and give him an invitation to a party at their flat.  This odd couple show up at a Warholesque scene involving pulsing music and film, decked out art scene celebrities (including Viva, Ultra-Violet, and other Andy Warhol actors).  Joe smokes a joint and then is given a pill, while Ratso fills up his coat pockets with salami from the ample spread provided.  Wandering into a room filled with red light, Joe becomes entangled with Shirley (Brenda Vaccaro), a wealthy woman who agrees to take him home and pay him $20 for sex.  Ratso, who is now covered in sweat most of the time, falls down a flight of stairs.  Although he has always been crippled, he is now having difficulty walking.

Midnight Cowboy 04Initially, Joe finds he can’t perform with Shirley, but when she taunts him with being gay, he comes on very aggressively, then is surprised by the aggression she displays, clawing up his back with her fingernails.  Nevertheless, she gives him a referral to one of her friends and Joe thinks he’s finally on the way to becoming a stud.

When he gets back to their flat, however, Ratso is even more sick, so he goes back out and hooks up with a homosexual salesman, Towny (Barnard Hughes).  Worried about Ratso, he tries to get money from Towny, but when the man resists, he beats him and steals the money to buy two bus tickets to Miami for he and Ratso, who can no longer walk.

Ratso wets himself in the bus, so Joe goes to buy them light clothing for the warm weather.  He gets Ratso a Hawaiian shirt with palm trees on it and he throws away his buckskin jacket, boots and cowboy hat.  As the bus nears Miami, Ratso dies in his seat.

There really aren’t enough good things to say about this movie, which today remains one of the best films ever made.  Obviously, it’s for Adults Only, even though the X-Rating was later downgraded to an R.  In spite of the nudity, the thing that really concerned censors at the time was the abundance of homosexuality in the movie, which no longer carries the stigma it once did.  No sex is graphically shown in the film.

Midnight Cowboy 08I think most credit for the success of this movie is the vision of director John Schlesinger whose use of color, unique camera shots, and creative editing creates a look that is almost one of a kind.  Because dreams are so important, the camera itself has a very dreamy quality, whether it is in the flashbacks to Joe’s childhood or Ratso’s dream of a life in Florida.  The dark blue quality Schlesinger gives to New York City makes it a fully separate world, always fearful and eerie and on the edge of society.  At times, he allows the film to move into black and white and then back into color.  In this film, the city itself functions as dream world and that becomes fully apparent when the sun strikes the two friends on their way to Miami.  They have emerged from the darkness into the light.

The cast is full of terrific actors, which I never realized when I first saw it in a theater so many years ago.  You see it now and can only wonder at stalwarts like John McGiver playing a plastic Jesus loony and Barnard Hughes as a simpering fag.  Bob Balaban was virtually unknown at the time, but Sylvia Miles and Brenda Vaccaro were well-respected actors throughout the industry.  Jon Voight is terrific as Joe Buck and he carries a little boy optimism throughout his terrible experiences, but Dustin Hoffman steals the movie with his fully realized Ratso Rizzo.  Even at the time, it had to be considered one of the best performances of all time, but now it clearly shines and withstands the test of time.  He is simply brilliant.

The song that launches the movie, “Everybody’s Talking,” written by Fred Neil and sung by Harry Nilsson, truly gets under your skin and it sets the tone for the movie in the same way that “Sound of Silence” sets the tone for “The Graduate.”  You won’t be able to get it out of your head and that’s not a bad thing.  The entire score is amazing.  John Barry supervised the music and won a Grammy for Best Instrumental Theme, a haunting melody carried by a harmonica.

Obviously, I recommend this movie strictly for adults, but it must be considered one of the best films ever made, if not in the Top 10, then very, very close.  Brilliant filmmaking!

The First Time

First TimeThe very sweet teen romance written and directed by Jon Kasdan (son of filmmaker Lawrence Kasdan) is disarmingly honest, with characters that feel so real there isn’t the hint of artifice.  Centered around two teens who meet by accident, become friends, and each decide to give up their virginity to the other, this film will leave you with a warm, gooey feeling that makes it a worthwhile viewing experience.

Aubrey Miller (Britt Robertson) is a junior in high school.  Leaving a party, she sees Dave Hodgman (Dylan O’Brien), a senior at a different high school, rehearsing a declaration of love for his longtime friend, Jane (Victoria Justice).  In spite of herself, she coaches him on how to do it right, explaining several times that she has a boyfriend and that she hates public displays of affection.  When the party gets busted, he walks Aubrey home and they talk about themselves and what they want to do with their lives.  At the door, she invites him inside and he is blown away by the collages that fill her bedroom.  They have some wine and end up falling alseep on the floor curled up together.

The next morning, they are awakened by a knock on her door.  Panicked, Dave spills a wine glass on his way out the window.  Her parents (Joshua Malina and Christine Taylor) lecture her about drinking, but Aubrey convinces them that its better for her to be drinking at home than at a party or driving.  Through friends, Dave is able to get her home phone number and calls her up, wanting to see her again.  She tells him that she’s going to see a movie with her boyfriend, Ronny (James Frecheville), an older guy who is rather obnoxious.  After the movie, one of their friends invites them to a party at her parents’ house and they all go.

During the party, Ronny tells Dave that he is going to have sex with Aubrey later that night and Dave is depressed that her first time should be with such a putz.  He gets some time alone with Jane, but finds that he is no longer interested in her.  Driving around on his own, he gets a call from Aubrey, who has broken up with Ronnie.  He picks her up and they each reveal that they have feelings for the other.  At her door, they kiss passionately.  The next morning, they go out with his little sister, Stella (Maggie Elizabeth Jones), who approves of their relationship.

Aubrey finds out that her parents will be out for the evening, so she invites Dave over.  Although they are passionate at first, when Aubrey gets a condom for him, everything slows down and they both become extremely nervous about having sex for the first time, which leads to an unfortunate experience.  Afterwards, they are both depressed and when he leaves, she tells him that she will call, but they both have the feeling that it is over.  Each waiting for the other call, they obsess about their feelings for each other.

Eventually, as she prepares to leave for school, Dave shows up.  Once again, he’s been rehearsing what he wants to say to her, but it comes out simply: he likes talking to her and he wants to keep talking to her and maybe they can figure out what happens next along the way.  She asks him for a ride to school and they talk about maybe doing everything better in the future.  In spite of her hatred of public displays of emotion, she says to hell with it and kisses him passionately outside her school.

There are several reasons why the movie is successful.

One of them is Kasdan’s script, which is so incredibly simple that it really tugs at the viewer’s heart.  Many script writers of teen romances try to complicate the story by throwing in all kinds of unnecessary complications, but Kasdan relies on being a teenager as all the complication required and it works amazingly well.  His direction is also simple, very clean, with lots of long two-shots where the actors are allowed to carry the story without any gimmicks.

The other reason for the movie’s success is the performance of its two leads.  Dylan O’Brien gives us a character who is incredibly innocent, who wants so much to be in love that he targets his best friend, without realizing how different they are.  Britt Robertson creates a character in Aubrey who sees the world through cynical eyes, but ultimately wants nothing more than to be with someone who cares about her.  They are both rock-solid performances, completely believable, and ultimately very likeable, creating terrific chemistry together.

This film is short, simple, very well-made, and very heartfelt, with just enough comedy to offset the deeper emotions that it evokes.

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waitress adrienne shellyWaitress

Funny, touching, tough: three words that truly describe this vastly underrated 2007 comedy-drama, written and directed by the late Adrienne Shelly.  Starring Keri Russell as a pie baker in a terrible marriage, this film is really about standing up for yourself and what is important in your life.


WARM-BODIES_510x317Warm Bodies

There are few films that boast a truly original premise, but Warm Bodies is one of them.  What genre is it?  Well, it’s the only zombie romantic comedy I’ve ever seen.  Written and directed by Jonathon Levine, it stars Nicholas Hoult as a zombie boy who falls in love with a human girl, played by Theresa Palmer.  Great fun!


we_bought_a_zoo_pWe Bought a Zoo!

We Bought A Zoo! is a friendly little movie released in 2011, based on the memoirs of the same title by Benjamin Mee, who bought his own zoo in England.  Starring Matt Damon and Scarlet Johansson as Benjamin and his Zookeeper, the movie features an amazingly cute performance by Maggie Elizabeth Jones as Benjamin’s daughter Rosie.


Words and Pictures Juliette BinocheWords and Pictures

Which is more important: words or pictures?

This is at the core of this powerful 2013 film about education and artistic expression.  The script by Gerald DiPego is extremely well written and the direction by Fred Schepisi is outstanding, but the real reason for this movie’s success is in the two great performances by Clive Owen and Juliette Binoche as the two teachers who inspire their students to understand and to achieve more than mere talent can produce.


Sense and Sensibility (2008)

Sense-and-Sensibility-2008 Elinor MarianneThis 2008 adaptation of Jane Austen’s first published novel stands out as the best so far, not because it is utterly faithful to the novel, although it is the most faithful of all adaptations over the last twenty-five years, but because it really penetrates the emotional heart of the novel.

This version begins by revealing the two actions that fuel the story.  The first is only alluded to in the novel: the seduction of Eliza Williams by John Willoughby (Dominic Cooper).  It is shown in close-ups lit with the bright red of a fireplace, so it isn’t possible to truly identify either the seducer or seduced.  The second action is the true beginning of the novel: the death of Mr. Henry Dashwood.  On his deathbed, surrounded by his second wife, Mrs. Dashwood (Janet McTeer), and her daughters, Elinor (Hattie Morahan), Marianne (Charity Wakefield), and Margaret (Lucy Boynton), he entreats his son John (Mark Gatiss), from his first marriage, to make sure they are adequately taken care of, given that the English system of inheritance will exclude them from all but a paltry yearly stipend.

John inherits Norland Park and his wife, Fanny (Claire Skinner), immediately wants to move in and convinces him that his promise to his father certainly wouldn’t any kind of financial security.  When the Dashwoods arrive, Marianne is quite upset.  She feels the mansion should be rightfully theirs, but Elinor, the more sensible of the two reminds her that the house is not legally theirs.  Fanny is unbearable.  They decide to look for a new place to live, but Mrs. Dashwood simply has no idea of how little money they have.  Elinor suggests that they will only be able to afford a cottage.

Fanny’s brother, Edward Ferrars (Dan Stevens), the oldest son in their moneyed family, comes to visit and he and Elinor are deeply attracted to one another.  Just the opposite of Fanny, he is nice to Margaret and makes friends with Marianne.  Fanny, seeing the attachment between Elinor and Edward, counsels Mrs. Dashwood that Edward is destined to marry a very wealthy, well-placed society woman.  Shortly after that, Mrs. Dashwood receives an invitation from her cousin, Sir John Middleton (Mark Williams), to let a cottage on his estate at Barton Park in Devonshire and she immediately accepts.

Sense-and-Sensibility-2008 CharityThe family relocates to a beautiful cottage by the seaside, surrounded by rolling hills and the rough rocky cliffs of the shoreline.  Sir John and his mother-in-law, Mrs. Jennings (Linda Bassett), immediately set about trying to find husbands for them.  They introduce Colonel Brandon (David Morrissey), a wealthy former military man of thirty-five.  He falls in love with Marianne, but she thinks he is too old and lacks passion.  In an attempt to evade him, she takes a fall in the hills and is rescued by Willoughby, who is visiting his aunt at nearby Allenham.  Thinking him very romantic, Marianne falls in love with him, not realizing that he has already seduced Eliza Williams.  Brandon, confronts Willoughby, but the latter proclaims that his intentions toward Marianne are honorable. 

Mrs. Jennings’ nieces, Lucy (Anna Madeley) and Anne Steele (Daisy Haggard), come to visit and Lucy confides in Elinor that she has had a private four-year engagement to Edward.  It comes as a shock, but Lucy swears Elinor to secrecy.  Every time they meet thereafter, Lucy reminds Elinor that’s Edward is her lover.

As the whole group prepares to go on a picnic to Brandon’s estate, Delaford, but receives an urgent letter that causes him to cancel.  He rides off leaving the party confuses, but Willoughby takes advantage of the situation to take Marianne to show her Allenham, while his aunt is away.  Since he has taken a lock of her hair and seems to be completely in love with Marianne, Mrs. Dashwood and Elinor assume that they are privately engaged, but when it looks like Willoughby will make a formal proposal, he suddenly leaves for London at his aunt’s bidding.

Later, Mrs. Jennings decides to visit her home in London and takes the girls with her.  Expecting to see Willoughby, Marianne writes to him every day, but hears nothing.  Then, at an Assembly, she confronts him and he coldly turns his back on her.  Nearly fainting, she is rescued by Brandon.  He returns all of her letters to her, apologizing for giving the false impression that he may have cared for her.  Marianne is distraught.  Mrs. Jennings then discovers that Willoughby is engaged to a young woman of great fortune and Brandon reveals to Elinor that Willoughby seduced his young ward, fifteen year old Eliza Williams and left her with child.

Sense-and-Sensibility-2008 Elinor WeepingThe group goes to a gathering held by Fanny’s mother, Mrs. Ferrars (Jean Marsh), where Lucy Steele hopes to gain the good will of her future mother-in-law, but when Anne accidentally reveals the engagement, Mrs. Ferrars tells Edward that unless he breaks the engagement, she will cut him off from his fortune.  A man of honor, Edward sticks to his promise to Lucy.

Brandon escorts the family back to Devonshire, stopping at Delaford along the way.  Seized by her grief at losing Willoughby, Marianne gets lost in the rain and is found by Brandon.  She is put to bed, but develops a life-threatening fever.  Elinor waits at her bedside while Brandon brings their mother, but Marianne’s fever breaks and she recovers.  Realizing that Brandon loves her and seeing how he has cared for her, Marianne switches her affections to him and becomes engaged.

When Edward returns, everyone assumes that he is married to Lucy, but he reveals that Lucy has also switched her affections to his brother and has married him, leaving Edward free to marry Elinor.  Hearing this news, Elinor tries to cope with her feelings as Edward proposes.  A happy ending is thus concluded, with Marianne happy as the mistress of Delaford while Elinor marries poor Edward in his country parsonage, happier than she would have ever believed.

Sense and Sensibility Lucy BoyntonFans of the book will note that several changes have been made, but nothing truly drastic.  Many other versions of the story have managed to lose characters, such as little sister Margaret, who plays a great part in this version, and Anne Steele, who also plays a big part.  The script is written by Andrew Davies who did such a masterful job with the BBC adaptation of Pride and Prejudice, which is largely regarded as the best version of that masterpiece.  Even with the few changes that Davies has made, the script remains more faithful to the novel than any other version.  The characters of Elinor and Marianne are beautifully written and take their part at the heart of the story.  Marianne’s passion is appropriately tempered with Elinor’s restraint.

Casting is frequently the cause of either the success or failure of a novel adaptation and that is certainly the case here.  Hatty Morahan’s Elinor is staid, but always, beneath the surface, you see her emotions whirling.  This care to show us how much Elinor feels, while outwardly appearing in control, is simply a beautiful job of acting.  Charity Wakefield’s beauty certainly compliments her passionate view of life and the acting is superb.  These two bring us full circle as Marianne learns some of the restraint of her sister, while Elinor finally opens up her heart and allows us to see deeply inside.  The chemistry of these two as sisters is truly great.  Janet McTeer is marvelous as Mrs. Dashwood and the charming restraint of Lucy Boynton as Margaret is simply delightful.

All the technical aspects are very well done, the sets beautiful and especially landscape of Devonshire is a delight to the eye.  One great little detail is Margaret’s collection of sea shells which she strings together to make a visual motif that the camera repeatedly comes back to.  The beauty of the sea side is lovingly captured.

Sequenced into a three episode series, each episode lasting one hour, it comes out to three hours compared to the five hours of Pride and Prejudice, but compared other movie versions, constrained to a two-hour format, this covers the scope of the book very well indeed.  If watching the DVD, you may as well skip the self-congratulatory “Making of” featurette and go immediately to Disk 2, which has a movie length BBC production called “Miss Austen Regrets.”  This is a fictional biography of Jane Austen and is fairly well done.

I highly recommend this version of Sense and Sensibility and it would make a great addition to any Janite collection.

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 Save the Last DanceSave the Last Dance

Save the Last Dance is a surprisingly well-thought out film.  Although it is primarily concerned with dance, it also deals with some big issues.  Julia Stiles and Sean Patrick  Thomas are great as two dancers with completely different backgrounds who come together to merge classical and hiphop dance styles.  Lots of fun, great music, and some serious issues.


Viola and Shakespeare in bedShakespeare in Love

Written by Tom Stoppard (author of Rosencrantz and Guildenstern are Dead) and Marc Norman, this 1998 film is both a comedy and a romance–and it is very successful at both.  Great performances by Gwyneth Paltrow, Joseph Fiennes, Geoffrey Rush, and Judi Densch fuel this terrific comedy and unpredictable romance!


Silence Lambs 01The Silence of the Lambs

When a serial killer dumps the bodies of several young women into various rivers between Ohio and Pennsylvania, with parts of their bodies skinned, newspapers anoint the unknown assailant as “Buffalo Bill.”  The head of Behavioral Sciences at the FBI recruits a beautiful young agent-trainee, who is earmarked for his division, to help him out by interviewing one of the most notorious serial killers of all: Hannibal Lecter, a cannibal.


Cooper and Lawrence Silver Linings PlaybookSilver Linings Playbook

This delightful comedy/drama was written and directed by David O. Russell, adapted from the book The Silver Linings Playbook by Matthew Quick.  Centered around two quirky people, both at a crossroads in their lives, the film presents bi-polar disorder as a condition that can be overcome.  Jennifer Lawrence gives an Academy Award performance opposite Bradley Cooper, with Robert DeNiro, Jacki Weaver, and Chris Tucker.


Speak-Movie-kristen-stewart-7224892-960-540Speak

Here’s a 2004 film that really went under the radar.  It was screened at Sundance and aired on Showtime and Lifetime, but I’d never heard of it.  Based on the novel by Laurie Halse Anderson, it tells the story of a high school freshman, Melinda Sordino, who is brutally raped at a party by a senior boy.  Starring Kristin Stewart in a wonderful performance.


Shailine Woodley int The Spectacular NowThe Spectacular Now

The Spectacular Now aims much higher than any run-of-the-mill teen romance and its success in achieving a film that goes beyond the limits of genre is to be highly commended, yet there are problems in the movie and it would make the film an excellent study for any film theory class.


amy adams emily blunt sunshine cleaningSunshine Cleaning

Sunshine Cleaning is a delightful comedy and drama, with a great cast, a strong script by Megan Holley and crisp, clean direction by Christine Jeffs.  Although it hasn’t gotten the attention it deserves, the two performances at the center of it by Amy Adams and Emily Blunt really propelled the two actresses to the acclaim they so richly deserve.

The Hunger Games by Suzanne Collins

Hunger GamesThe struggle of right against wrong is probably the oldest theme in entertainment.  When Suzanne Collins wrote her novel, The Hunger Games, it was foremost in her thinking.  However,  society itself molds what is considered right and wrong according to the times, rewriting history and ideals to conform to current thinking.

The Hunger Games, like many excellent novels, moves that conflict to another time and place so that we can clearly see right and wrong for what it is and react accordingly, without prejudice.  This iconic Young Adult dystopian novel, written in First Person Present, certainly brought the entire genre a gigantic step forward, pitching it into the general public as a phenomenon.  Although wildly popular among teens, it has also been a crossover hit with adults, partly because it explores the parameters of right and wrong without prejudice.

In District 12 of the country of Panem, a nation formed from the ruins of the old United States, Katniss Everdeen struggles to feed her family.  Since the death of her father, a coal miner, her mother has become distant and Katniss takes care of her younger sister, Primrose.  Every year, two young people are selected from each district to participate in a fight to the death in a special arena created for them by a game master.  Called the Hunger Games, this event is televised throughout Panem, using special cameras that are hidden all over the arena.  When Prim’s name is unexpectedly chosen, by a representative of the Capitol named Effie Trinket, Katniss volunteers to take her place.  She travels to the Capitol with the male tribute from her district, Peeta Mellark, the son of their local baker.  She remembers that he once threw her a burned loaf of bread when her family was starving.  Accompanied by drunken Haymitch Abernathy, the lone District 12 winner in the history of the games, she learns more about getting sponsors by being likable.

A sytlist named Cinna gives her an appealing appearance and the tributes are all interviewed by television personality Caesar Flickerman.  During his interview, Peeta reveals that he has always had a crush on her, but Katniss suspects he is only saying it to gain sponsors.  Half of the tributes are killed during the first few minutes of the Hunger Games as they try to gain the weapons held in a Cornucopia.  Katniss, Peeta, and a few others run away and the remaining tributes, mostly those from the wealthiest districts who have been professionally trained, join forces to kill them off.  Their leader is a bully named Cato.  While hiding in the woods, she discovers that Peeta has joined forces with them.  She forms an alliance with a young girl, Rue, from District 11, but that is cut short when Rue is killed.  Katniss kills her assassin, then mourns Rue by singing to her and surrounding her body with flowers, an action that elicits much sympathy among the viewers of the event.  Styled as “the star-crossed lovers,” the game master takes advantage of viewer support to change the rules so they can both win if they survive.

Katniss goes looking for Peeta and finds him badly wounded, hiding covered with mud near the river.  She cleans him up and nurses him as best she can, cleaning out a deep wound, and creates a makeshift shelter.  Finally, she kisses him to enhance the story line of “star-crossed lovers” and is rewarded with some broth for Peeta.  Determined to put on a good show and perhaps get some salve for Peeta’s leg, Katniss kisses him again.

Only six tributes remain alive at this point, but they are killed off until only Cato remains.  Forced to the Cornucopia by wild dogs, a struggle ensues until Cato is dead, but the game master changes the rules again, stating that only one of them can be victor.  Katniss brings out deadly berries and they decide to suicide together, but then the game is stopped and they are declared mutual winners.

Haymitch warns Katniss that her act of defiance may have severe repercussions from the government.  At the end, Peeta realizes that she’s been playing a game with his affections to get sponsors and they return to District 12, but Katniss is herself unsure of her feelings.

The book is very economically written, nearly perfect in its concentration on the action, yet through Katniss’ thoughts, we gain all kinds of inside into who she is and we see her arc from someone who just wants to survive into someone who is beginning to understand that a revolution will be necessary.

It moves so quickly that it is tempting to finish the book in one read and then return to it with leisure to savor all of the good writing that makes it a potent novel.

The ideas are not necessarily new, but the style makes it very special.  One of the most difficult things for a writer to create is naming characters and Collins has done a masterful job in giving us names that are unique and resonate.  That carried over so well into the movie where the actors were able to develop their characters based on a name and a very little deep information.

Another triumph of this novel is how well Collins uses the First Person Present perspective.  It is not easy to write, yet in Collins’ hand, it seems effortless.  Moving so quickly, it seems amazingly natural.

An iconic book, The Hunger Games seems destined to be a Young Adult novel that will have many, many years of shelf life, partly because it can be read again and again with deepening enjoyment.

I highly recommend this novel not just for teens, but for all readers.


Hunger Games 03Please read my review of the movie The Hunger Games!

The Hunger Games

Hunger Games 01The Hunger Games, by Suzanne Collins, was already a huge success when producers began bidding on the film rights.  Clamor for the movie was both strong and at the same time a bit dubious.  It is a great story, but would some director muck it up by “making it his own” or changing things so dramatically that the original work lost its integrity?  Unfortunately, this has happened so many times that films of beloved novels must be met with some skepticism.

Hunger Games 02Fortunately, for this project, producers Nina Jacobson and Jon Kilik were already fans of the novel and they protected this film by making good, strong, and remarkable choices right from the beginning.  Veteran screenwriter Billy Ray was hired to do the first rendering and he produced a good script.  Next, they hired the amazing writer and director Gary Ross (“Big,” “Pleasantville,” “Dave,” and “Seabiscuit,” among others) to shepherd the production.  Ross brought his considerable writing skills to Ray’s script and began making it even better.  The author of the novel, Suzanne Collins, was brought into the process and joined Ross for several weeks working out many of the details of the transition from page to screen.  This respect for the original vision is almost unheard of in Hollywood, but the filmmakers were also fortunate in that Collins had written a very cinematic novel and she was open to making some changes to make it a good adaptation for the screen.

The following plot synopsis reveals information about the ending, so beware.

The Hunger Games deals with a future America in which 12 Districts exist under the brutal control of the Capitol, which is located in the Rocky Mountains of Colorado.  While those in the Districts work hard to provide for the Capitol, they do not enjoy its debauched luxury.  In fact, most of the Districts are on less than subsistence footing, with starvation and poverty the norm.  Nearly 75 years previous to the start of the story, a revolution occurred that the Capitol had to put down with force.  An original 13th District was utterly destroyed in that bloody fight and the Capitol created the Hunger Games as a way to remind their tributary Districts where the power lay.  Every year, a boy and girl, between the ages of 12 and 18 are randomly selected to represent their District in a fight to the death with representatives of all of the other Districts in a unique arena created for the occasion by a Game Master.

Hunger Games 03Katniss Everdeen (Jennifer Lawrence), an 18 year old girl from District 12, hunts illegally in the woods with bow and arrows just beyond the tatters of a fence designed to restrict movement.  Her friend, Gale (Liam Hemsworth), joins her on the morning of the Reaping for the 74th Hunger Games and after hunting, they go to trade their game.  Katniss finds a pin in the form of a circle with a Mockingjay inside.  These birds, hybrids between mockingbirds and jays, imitate sounds in the wild.  Her sister, Primrose (Willow Shields), who has just turned 12, worries that she may be selected, but Katniss reassures her.  At the Reaping, Effie Trinket (Elizabeth Banks), a powdered and wigged representative of the Capitol, pulls Prim’s name for the girl to represent District 12.  Katniss steps up and volunteers to go in her place and for that she honored by the others with a three fingered salute unique to their District.  The boy selected is Peeta Mellark (Josh Hutcherson).  On the train to the Capitol, they meet the only winner from District 12 in the entire history of the games, a drunk named Haymitch Abernathy (Woody Harrelson) who is supposed to be their mentor.  Initially, his only advice to them is to get ready to die, but on further probing he also tells them that they need to be likable so they can get sponsors.  He has already decided that Katniss will fail being likable.

Hunger Games 04At the Capitol, they are assigned a stylist, Cinna (Lenny Kravitz) and they are introduced to the citizens and President Snow (Donald Sutherland) in a parade of chariots.  Cinna has designed special costumes for them that leave a trail of fire as they blaze up a gigantic arena for the presentation.  Katniss gets her nickname “The Girl on Fire” from the Master of Ceremonies, Caesar Flickerman (Stanley Tucci).  They begin their physical training and meet the other participants.  Districts 1 and 2 are more affluent than the others and spend a great deal of time and effort training their young so they are more equipped to win the games.  Their representatives are Marvel (Jack Quaid), Glimmer (Leven Rambin), Cato (Alexander Ludwig), and Clove (Isabelle Fuhrman).  The strongest is Cato.  During their final demonstration before they are given grades, Katniss misses her target and finds herself ignored by the Game Master, Seneca Crane (Wes Bentley), and sponsors.  To get their attention, she fires an arrow into their midst, neatly skewering an apple from a roast pigs mouth and pinning it to the wall.  She receives an 11, the highest grade of all of the contestants.

Hunger Games 07During their final television interview with Caesar before the games begin, Katniss demonstrates fire again by swirling her red dress, designed by Cinna, the hem of which crackles with flames.  Peeta, that last to be interviewed, reveals that he has always had a crush on Katniss and Caesar renames them “the star-crossed lovers from District 12.”  Angry at Peeta for blindsiding her, Katniss confronts him, but Haymitch, who has now taken an interest in them tells her that it will probably be good for them in terms of sponsors and that she should act the part.  As she prepares to go to battle, Cinna pins the Mockingjay onto her shirt.

The Games take place in a woodland as each Tribute enters on a small, round elevator facing a Cornucopia of weapons and survival gear.  When the countdown reaches zero most of them run for the Cornucopia and a bloodbath ensues.  While Peeta turns and runs directly into the woods, Katniss grabs a backpack before she takes off.  Twelve of the tributes are killed in the initial fight and a small band of Tributes join together, led by Cato and the other Tributes from Districts 1 and 2.  Surprisingly, Peeta joins with them in hunting Katniss.  She wanders far enough away from the main site that the Game Master creates a fire to push her back toward the others and she injures her leg.  Scrambling to the river, she is discovered by the pack and chased into a tree.  On Peeta’s recommendation, they decide to wait her out.  Haymitch arranges for a sponsor to send her an ointment that she applies to her wound and when she awakes, it is completely healed.  In a neighboring tree, the very young female representative of District 11, Rue (Amandla Stenberg) points out a nest of tracker-jackers, which Caesar explains to the audience are genetically engineered wasps whose sting causes hallucinations and sometimes death.  Katniss climbs up to the branch and saws it off, but she gets stung in the process.  The nest lands in the midst of the sleeping tributes and the aroused tracker-jackers begin stinging at random, killing Glimmer in the process.  Hallucinating, Katniss grabs the bow and quiver of arrows from Glimmer’s body and runs blindly into the forest, eventually passing out.

Hunger Games 06When she awakes, her stings have been neutralized by medicinal leaves put there by Rue.  The two become friends and form their own alliance.  They plan to destroy the weapons that have been gathered together by the career Tributes.  While Rue sets fires to distract the others, Katniss shoots an arrow into a sack of apples that spill over the gathered weapons and trigger mines that have been implanted around it.  Katniss runs to find Rue, but finds her caught in a net.  After cutting her out, they are interrupted by Marvel, who throws a spear, killing Rue.  Katniss shoots him with an arrow, then arranges a bower of flowers around the body of Rue, weeping as she mourns the girl’s death.  Before leaving Rue’s body, Katniss finds the camera broadcasting her image and she raises a three-finger salute to Rue’s memory.

That action incites the residents of District 11 to riot, which the storm troopers from the Capitol quickly stop.  Seneca Crane considers killing Katniss for the action, but Haymitch speaks on her behalf, convincing Crane that they should capitalize on the crowd’s desire for hope by altering the rules of the game to allow two winners, but only if they come from the same District.  That will allow people to root for “the star-crossed lovers.”  The rioting, however, catches the eye of President Snow, who calls in Crane to advise him to control the situation.

An announcement is made to the Tributes letting them know about the rule change, so Katniss goes looking for Peeta.  She finds him seriously injured, hiding by the river.  They find a cave and she kisses him for the first time, on the cheek.  When they get a package from Haymitch, she expects to find more ointment, but only gets a cup of hot soup, with the message, “You call that a kiss?”  Another announcement is made that there will be gifts from the Capitol for those who need help the next morning at the Cornucopia.  Peeta begs Katniss not go and she gives him a real kiss.  Watching at home, Gale, who is now working in the mines, reacts jealously.  The next morning, when she runs to grab the ointment for Peeta, she is caught and pinned down by Clove.  Before killing Katniss, Clove boasts about killing Rue, but she is overheard by the other representative from District 11, Thresh (Dayo Okeniyi) who then kills her in retaliation and lets Katniss go.

As they hunt for food, Katniss finds Peeta picking deadly Nightlock berries that kill instantly and they discover the dead body of Foxface (Jacqueline Emerson), one of the last surviving tributes, who died from eating Nightlock.  They decide to bring berries along with them in case Cato is hungry.  To create a finale to the Games, Crane has his people create large, vicious dogs.  Katniss and Peeta listen as Thresh is attacked and killed, leaving only three survivors: them and Cato.  The dogs chase Katniss and Peeta to the Cornucopia.  Climbing on top, they encounter Cato as the dogs snarl below them.  Holding Peeta by knifepoint, Cato threatens to kill him.  Katniss gets off one arrow that hits Cato in the hand, then Peeta pushes him off the Cornucopia where he is attacked by the dogs.  Hearing Cato beg for mercy, Katniss puts an arrow into him, ending his misery.

Crane turns on the lights in the arena, then makes an announcement that the previous rule change has been rescinded.  Peeta volunteers to let Katniss kill him, but she insists that the eat the berries together, leaving the Capitol without a winner.  Before they can go through with their plan, Crane relents and they are declared mutual winners.

President Snow takes his revenge against Crane by forcing him to suicide by Nightlock berries.  Haymitch warns Katniss that she has shown up Snow and that she needs to watch her back.

The second great decision, beyond hiring Ross to direct, was his decision to cast brilliant young actress Jennifer Lawrence as Katniss.  The entire movie revolves around her and Lawrence’s performance carries it in every way.  She has a strength of personality far beyond her ephemeral beauty and incredible voice and is Katniss in ever way.  All of the young people cast around her perform extremely well and work together with a kind of chemistry that elevates the entire endeavor.  In addition, Ross’s decision to cast well-known, award winning actors in the mature supporting roles, such as Elizabeth Banks and Donald Sutherland, was absolutely perfect.  Banks is magnificent as Effie.

The production design, by Philip Messina is amazing, especially the architecture of the Capitol, using broad, open spaces, that smooth limestone feel to the buildings, almost as if we were in a throwback Nazi Germany, rather than years into the future.  The relationship of the playing field of the Games to the Game Room itself with its gigantic computer simulation, a half dome on a large round table, is extremely impressive and utterly believable.

Hunger Games 05Costumes by Judianna Makovsky range from the throwback, monochrome dresses worn by the women in District 12 to the beautifully understated and functional to battle gear of the Tributes in the arena to the absolutely outrageous outfits worn in the decadent Capitol.  They display and wide range of skills are brought to bear on this challenging project.  In addition, the make-up on the Capitol citizens, also byMakovsky, really adds a dimension to their flamboyant and debauched lifestyle.

Most of the cinematography, by Tom Stern, is done in a cinema verité, giving it a very kinetic feel.  Just as Katniss always seems to be running, so does the camera, jumping from intimate close-ups to quick pans to fast tracking shots.  Like everything else about the production, this was designed from the beginning by Gary Ross, who planned and storyboarded each and every shot in his shooting script.

The music, by James Newton Howard is very good.  Except for the martial sounds of the Capitol, it is fairly austere, never forcing itself on the action or calling attention to itself.  However, the short fanfare played when a Tribute dies, is extremely memorable.  The sound, created by Christopher Assells is truly amazing–and again, Gary Ross played a big role in the design–especially the use of silence during the initial bloodbath in the arena, the quick rush of sound out of silence, the cross-fading during the hallucinations, the gasping and breathing, the sharp sounds of battle.  It adds an element that really brings the action to life and at times even comments on it.

The editing, by Christopher S. Capp, Stephen Mirrione, and Juliette Welfling, under the supervision of Ross, really knits the movie together in very special ways.

The DVD also has two marvelous special features, “Game Maker: Suzanne Collins and The Hunger Games Phenomenon” and “The World is Watching: Making The Hunger Games.”  The first one isn’t very long, but it looks at the adaptation process, using interviews with the publisher, the producers, teachers, and teen readers to show how special the book is.

“The World is Watching: Making The Hunger Games” is a feature-length documentary that examines every facet of making the film, from the adaptation process to the finished print, featuring extensive interviews with the director, the producer, the cast, and the technicians.  Most of the time I don’t really find “making of” documentaries to be very enlightening, but this one, because of the length, the depth, the access to all of the movie makers, is truly remarkable and so entertaining in itself that it makes a great evening’s entertainment.

When Nina Jacobson, Jon Kilik, and Gary Ross first got to work on this project, I don’t think any fan of the book would have believed that a film could do such a fine novel justice, let alone actually improve on it in creating a new work of art, but these three, along with their cast and technical collaborators have succeeded.  Gary Ross deserves most of the credit for his work on the script and his powerful vision as a director, but truly this group works in harmony.

And the vision is so strong that it makes The Hunger Games a film that can be enjoyed over and over again, and probably makes it an instant classic.


Hunger GamesRead my review of the novel The Hunger Games by Suzanne Collins!