Ghostbuster Gals
March 8, 2016
One of the most talked about and anticipated films of the year, the new remake of Ghostbusters has landed. Remade with a female team the film has been directed by Paul Feig who directed Bridesmaids and, of course, created the gem tv series Freaks and Geeks. Starring Kristen Wiig, Melissa McCarthy, Leslie Jones, and my favorite SNL gal Kate McKinnon the trailer looks fun and I prefer to wait to judge it’s feminist quota until I have seen the whole thing.
Ghostbusters
Man on a Planet
October 6, 2015
The Martian (2015).
D: Ridley Scott. DP: Dariusz Wolski. W: Drew Goddard (Based on Andy Weir’s novel of the same name). Starring: Matt Damon/Jessica Chastain/Chiwetel Ejiofer/Jeff Daniels/Kristen Wiig/Kate Mara/Sebastian Stan/Michael Peña/Aksel Henne/Mackenzie Davis/Donald Glover/Sean Bean.
Ridley Scott’s newest venture has sky rocketed in the box office over the weekend. The Martian will probably put Scott back on the sci-fi map, which is a credit to its source material and its star, Matt Damon. Even at nearly forty-five, Damon’s boyish charm and Jason Bourne determination make him an enjoyable force on screen.
I skipped out on Scott’s directorial effort Exodus: Gods and Kings last year and feel confident in that decision. Yet I did make time to see 2012’s Prometheus and even 2010’s Robin Hood. For me Prometheus was a mixed bag, but the lore of the Alien franchise was not something I was deeply connected to. Here in The Martian Scott is free from any baggage and seems to have a clearer hold on the story he wants to tell.
Based on Andy Weir’s initially self-published novel, The Martian is the story of astronaut and botanist Mark Watney (Damon) who is stranded on Mars following an injury during an emergency planet evacuation with his fellow crew-members. Thought to be dead, the crew starts their return home and he wakes up to the daunting task of feeding himself until the next Mars crew arrives in four years. Back on earth NASA eventually figures out Watney is alive and how to communicate with him and the rescue mission plans begin. The novel is a science heavy survival story with loads of humor that thankfully makes it into the film.
A difficult adaptation, Drew Goddard’s script does well in trying to balance Watney’s computer diary with the real rescue plan at home. Goddard previously adapted World War Z for the screen and co-wrote with Joss Whedon the fabulous Cabin in the Woods. Goddard’s script cannot match the wit of the novel, but that is simply because we cannot have a two hour film of just Damon making jokes. The best stick around, but the conventionality or studio glossing as I see it comes in back on earth, especially in a silly coda ending. The momentum is lost with Dr. Kapoor (Chiwetel Ejiofer) and a lot of the tension between the higher ups is diluted to humor and actor Sean Bean being able to say the Lord of the Rings joke from the book. Same can be said about the Mars crew, they aren’t given a chance to shine really, acting more as a catalyst for Watney’s escape possibilities.
The Martian however overcomes this with a visual palette that reiterates why mankind is so obsessed with space travel. Mars and Watney’s gadgets are a great backdrop for Damon’s exploration into how to really survive on the planet. Ultimately that is the joy of the film and the book. To see this character really figure out all the technology and science he needs to try to make it home. The Martian will surely continue to do well and makes me hopeful that Scott’s next movie might be even better.
This is For All the Girls When They Have Grown
August 21, 2015
The Diary of a Teenage Girl (2015).
D/W: Marielle Heller. DP: Brandon Trost. Starring: Bel Powley, Alexander Skarsgard, Kristen Wiig, Christopher Meloni, Abby Wait, Madeleine Waters, Austin Lyon, Margarita Leveiva. Based on Phoebe Gloeckner’s 2002 novel The Diary of a Teenage Girl: An Account in Words and Pictures.
Another Sundance darling is making its transatlantic appearance in cinemas. The Diary of a Teenage Girl is not to be missed. Writer and director Marielle Heller first adapted Gloeckner’s novel into a stage play. A self declared labor of love, Heller handles the material deftly and presents a first feature that is nuanced, complex and hybrid, like its source material.
The film follows Minnie, played by British newcomer Bel Powley, as she handles being fifteen and losing her virginity to her mom’s boyfriend Monroe (Alexander Skarsgard). Telling her story into microphone set into a tape deck, she recounts her experiences while the film takes us forward with the events that transpire through the affair. Minnie is a budding cartoonist like Gloeckner, and the film incorporates animation and drawings like the novel. These sequences and additions work seamlessly and help visualize a story told through Minnie’s eyes.
Thankfully, The Diary of a Teenage Girl deals with its subject and illegal underage affair deftly and tenderly. Powley is able to play a spunky fifteen whose body language literally straddles the world of children and adulthood. Her voice-over avoids sugary saturation and rather fluctuates with the intensities of first sexual experiences. Skarsgard handles Monroe well, not letting the relationship sink into predator land. Rather Skarsgard, who’s best performance yet is 2012’s What Maise Knew, gives sexuality and life to a man clearly at odds with himself. He is matched well with Kristen Wiig as Minnie’s mom. More a figure and sometimes an event than an active parent, Wiig’s vain Charlotte balances the adolescent wanderings of her daughter. She seems to not have grown up yet either.
The Diary of a Teenage Girl is set in 1976 San Francisco, which provides a specific moment in American history with drugs, fashion, and more. The film has a terrific sense of place, and Jonah Markowitz’s production design is layered and alive. The use of color is fabulous; it’s hard to forget the crushed velvet mustard colored blanket on Monroe’s bed. For a first time costume director, who is Heller’s sister-in-law, Carmen Grande is on point without pastiche. The look of the film is topical, not a bad moment for its marketing.
Here in the UK, the film is rated 18 and over. A fascinating contradiction to the fact it is told by a fifteen year old. Somehow ‘strong sex,’ which is listed as the only reason for the rating, prevents teenagers from actually seeing the film; whereas violence is nearly thrown at children in films rated PG. Compared to typical teen genre films, The Diary of a Teenage Girl actually works towards communicating the complexities of any teenage experience, especially a sexual one. (I think Perks of Being a Wallflower handled this well too). Certain things are universal yes, but certain films deal with characters, not archetypes, who make mistakes like we all do–blood stains and all.
Why Women Will Always Have the Last Laugh
July 5, 2011
Bridesmaids (2011).
D: Paul Feig. DP: Robert D. Yoeman. W: Kristen Wiig & Annie Mumolo. Starring: Kristen Wiig/Maya Rudolph/Melissa McCarthy/Rose Byrne/Ellie Kemper/Wendi McLendon-Covey/Chris O’Dowd/Matt Lucas/Rebel Wilson/Ben Falcone/Jill Clayburgh.
Now surpassing 2007’s Knocked Up as the most monetarily successful Judd Apatow produced film, Paul Feig’s Bridesmaids if not the most memorable, will be the most talked about comedy of the year.
Right off the bat, prior to its release, Bridesmaids was heating up blogs and industry mixers as people placed their bets of the success of the film. Success that despite being produced and directed by already very successful and funny men, and also being written and starred in by successful and funny women, was somehow under contention. Why? Because since it stars mostly women, it must a: not be THAT funny, b: only attract female audiences, and c: not make money as it is not generically defined as a “chick flick.” Hmm, whose laughing now?
However, Bridesmaids doesn’t need much of an introduction. It is what it claims to be and you’ll love it for it. Yes it is about women who are bridesmaids, but thankfully it it is less about picking out dresses and throwing parties and more about actual friendships and the romantic entanglements we all experience. Taking center stage is SNL actress Kristen Wiig, who co-wrote the screenplay. Wiig’s Annie is immediately likeable and lovable as she weasels through life sulking about what she’s lost, while being artfully self-deprecating about it. It is only when her best friend, Rudolph’s Lillian gets engaged that things changes, as does her perspective. And although the film doesn’t give the gals much time to showcase their friendship prior to the engagement crazies, the rest of the film makes up for that.
As, thankfully, the movie’s main storyline is not about Wiig having the best or worst maid of honor skills, but about proving to herself and her friend that friendship can evolve with life. This couldn’t have been clearer that the glamorous Rose Byrne sashaying in as Rudolph’s new friend Helen. One can only root against Byrne as she is not only good at rocking the boat, but also reminding audiences how wonderful it is when the movie is not about the beautiful, self-centered, snobby girl. Even better is the juxtaposition of Byrne and Melissa McCarthy who steals almost every scene from Wigg as Rudolph’s new sister-in-law, Megan. Rough and tumble, yet shooting the truth out, McCarthy has too many great scenes to list, but is able to really showcase the film’s director Feig and screenplay at its best.
Bridesmaids squeezes in some other great additional characters, Jon Hamm’s small role opens the film with a ton of guffaws, but winning in the end is dopey doe-eyed Chris O’Dowd as Officer Nathan Rhodes. Not only does he have darling chemistry with Wiig, but somehow manages to pull off being realistic yet marginally romantic at the same time. Unlike other films that tackle romantic comedy (cough, cough, Something Borrowed) O’Dowd stud is three-dimensional and comedic. Yet this could also be attributed to the fact that Bridesmaids never tries to be anything other than a comedy, yes one starring mostly women, but in the end it’s still a comedy. No other adjectives invovled.
But who will be involved? Men. Of all ages and status flocked and will continue to flock to see the movie. Proving to other men that women can be funny too, even if male dominated Hollywood didn’t believe it until the clickers counted and the money was in the bank. Get it girl! Oh, wait, she already had it.