A Serious Man

Watch out for Falling Rock! This was the punch line of a shaggy dog story my dad once told me. Whenever we were on a car trip my father would tell these long rambling stories with intricate plot points and meandering details. My brother and I would hang on every word in anticipation of a delightful payoff. But sometimes the punch line would be so enigmatic that we would groan in disbelief, “That’s it? We waited for this?” That’s how I felt at the conclusion of A Serious Man.

When the movie came to an end, I laughed at myself, like someone who was the victim of a practical joke. The film is a conundrum, a puzzle. I came away mystified, perplexed, yet strangely I was intrigued. I watched the movie with interest, studying the characters, looking for clues, filing away details, but all to no avail. If you asked me to explain this Coen brothers movie I’m not sure that I can. It is a film that I’ll be thinking about for a very long time and I throughly enjoyed the journey.

Like Job in the Bible, Michael Stulbarg plays Larry Gopnik, whose life is falling down all around him. He doesn’t understand why, he hasn’t done anything wrong, so he asks the question, “Why God? Why Me?” In his search for illumination he sees his doctor, consults rabbis, talks with neighbors, he even accepts words of wisdom from the man having an affair with his wife. He is looking for answers, and like us, he’ll find none. It is an exercise in futility. So, if you are going to watch this movie, all I can say is watch out for falling rock. Don’t view this movie looking for answers, watch it for the questions. The questions are much more interesting.

Rating: First Run A Coen Brothers puzzler

Old Dogs

Old Dogs is an over-the-top, broad, slapstick comedy starring Robin Williams and John Travolta. Having reached, that certain age, they are both still mining for comedic gold, and in this family film, they hit pay dirt. Robin Williams plays a man who falls apart after his divorce. His best friend and business partner, Travolta, kidnaps him and takes him on a wild, drunken spree in Miami in order to jolt his friend back into the land of the living. While there, they meet Kelly Preston and Rita Wilson. And in an act of inebriated spontaneity, Robin Williams’ character marries Kelly Preston, only to have the marriage annulled the next day.

Eight years later, he still regrets his impulsive marriage; not that it happened, but that he let her get away. A heartfelt letter follows, which leads to contact, and the stunning news that he is the father of seven-year-old twins. Being a family style comedy, I don’t need to tell you what happens next. These old dogs must now adapt to a life that includes children. But you can expect a lot of grandpa jokes, bumbling parental attempts, friendships being tested, and really cute kids.

What I like about this film is the tone and the way it balances heart with humor. This vehicle is the perfect frame for Robin Williams’ manic talents. And John Travolta is hilarious as a handsome ladies’ man that is coming to grips with his imminent old age. The comedy is broad, silly, and full of belly laughs, including the scene where a giant Silverback Gorilla is cradling Seth Green like a baby. There are also a lot of good lines, which any person over the age of 40 can really identify with. Old Dogs is an excellent family film as long as you like your comedy big and your slapstick bigger. With an outstanding supporting cast, this is a film that the whole family will love.

Rating: First Run Growing Old has never been funnier

An Education

In 1960s London, women had few educational opportunities. But for Jenny (Carey Mulligan) who was intelligent, gifted and pretty, Oxford was a distinct possibility, if only she could get past Latin. Her father (Alfred Molina) wants Jenny to have a better life than he did, so he watches her diligently, keeping her focused and on track for her final exams. Jenny doesn’t mind though, she wants to go to Oxford. She loves literature and excels in school. She longs to leave her pedestrian suburban life behind and live in Paris where she can listen to French music and smoke cigarettes in outdoor cafes. Jenny is in love with music, art and the bohemian lifestyle. She can’t wait for university and the education it will bring her.

One day after music rehearsal, Jenny meets a mysterious man while waiting at a bus stop. He offers to get her and her cello out of the rain, but she is reluctant. The man goes out his way to make her feel safe and to prove to her that as a music lover, his intentions are honorable. He is just worried about the state of her cello. Soon he has her instrument in his car and after a few charming words, Jenny as well. She arrives home safely, but the seduction has begun. Jenny is in for an education that she never dreamed of.

Based on the Lynn Barber memoir, An Education explores the meaning of feminine success and the value of further education. Peter Sarsgaard plays the beguiling David who not only seduces Jenny, but her parents as well. There is a sense of foreboding that hovers over this entire film as you are waiting for the other shoe to drop. I loved the unpredictability of the story. You knew that it had to go wrong, you just didn’t know when or how. But don’t count Jenny out; this is a true story after all. Just sit back, turn off your protective instincts and watch a beautiful girl come in to her own. Carey Mulligan gives a brilliant performance and she just might be doing a little seducing herself. This young lady is a charmer.

Rating: First Run An engaging story of a young girl’s education

2012

A few months ago I attended a program at the Academy of Motion Picture Arts and Sciences. It was entitled When Worlds Collide: the Science of Movies and the moderator was a Physics teacher named Adam Weiner. In the program he would show a scene from a movie and then we would do the math and see if it was physically possible. Afterwards we would discuss the challenges with a stunt coordinator or an effects artist, and then they would describe how the scene was actually done. The evening was a lot of fun as we trashed some movies and applauded others. But after seeing 2012, I can’t help but think how much fun we would have had with this one. It would have gotten a bigger laugh than Armageddon.

2012 has got to be one of the most ridiculous movies I’ve seen in a very long time. It had all the depth of a theme park ride. Forget all the bad science in the film; let’s talk probability. What would the probability be of having a clear road always before you? Throughout the entire movie, the land was constantly disintegrating in the rearview mirror, but never once did the road crumble in front of our hero. What are the odds of that?

The other thing that I thought was completely nonsensical is how the United States took turns falling apart, California first, then the middle of the country, saving Washington DC for last. Washington DC is a coastal locale built in a swampy area with lots of water. I’m not a geologist, but that area seems pretty unstable to me. It was nice of Mother Nature to give them time to evacuate.

This movie contained so many absurdities that I don’t even know where to begin. But if I could get past the bad science, this movie’s only saving grave is some good performances. Chiwetel Ejiofor and Thandie Newton succeeded in rising above the material. At least the actors were playing it real. They committed to a realistic, natural performance, or as realistic as possible considering the implausibility of the premises. Woody Harrelson was also amusing as a doomsday alarmists.

If I was able to turn off my brain for a little bit, I do have to admit that it was fun identifying Los Angeles landmarks and watch them be blown away. There is something psycololgically satisisfying about that. Seeing it happen and knowing it's not real, like a child knocking down blocks. Maybe that's the director Roland Emmerich's mind-set. He never grew past the love of that childhood sensation of knocking down blocks. But whatever his motives, at the price of today’s movies, I expect a little more for my money like plot or character development. So I have to say for this movie, take a pass. Go to a science museum instead.

Rating:Don't Bother Seriously?

The Blind Side

The Blind Side is a movie about courage, the courage to open your heart and your home to a young man in need, instead of writing a check. It’s about taking a boy in a hopeless situation and offering him security, encouragement and the chance to thrive. And it’s about being so rewarded and changed by the experience that you begin to question your motives and ask yourself, who is being blessed more? The Blind Side is a movie about love, and it’s also a movie about football. And in the south, the two are interchangeable.

Based on the book The Blind Side: Evolution of a Game by Michael Lewis and the true life story of Michael Oher, first round draft pick of the NFL’s Baltimore Ravens, The Blind Side tells the story of the Touhy family who took in Michael Oher when it came to their attention that he was homeless. Seeing that Michael was coming from a unstable home life, the Touhy family used their wealth and influence to keep Michael in school, get him a tutor to improve his academics, and provide him with the family support he needed to overcome his past and go on to college.

Sandra Bullock is a tour de force in her portrayal of Leigh Anne Touhy. It was her idea to take Michael in and with the fierceness of a mother lion she is ready to protect her new cub. She righteously stands up to criticism, prejudice, and the stings of gossip and she is so willing to embrace this young man that she even ventures into the projects to see his environment and learn more about his upbringing and past. There is one really touching scene in this film when Mrs Touhy tracks down Michael’s drug addicted mother. Instead of reproaching or rebuking the mother, Mrs. Touhy offers compassion and charity by taking her hand and just sitting with her. Sandra’s pitch perfect performance plays all the right notes and I believe that this is her best role by far.

Also in the cast is Country Music’s Tim McGraw. He was completely believable as the loving husband who knows when to pick his battles and knows when to give in. His sweet spirit and benevolent nature really shines through in this performance. He is the perfect partner to the fiery Leigh Anne and Tim McGraw really does this part justice.

Quinton Aaron is also very evoking as Michael Oher. This bear of a boy is quiet and repressed, tamping down a powder keg of emotions. When is he befriended and adopted by his little brother S.J. (Jae Head), he begins to come out of his shell and when we see him smile for the first time, it is truly a beautiful thing. Jae Head is a charming, precocious little firecracker. He adds a spark to the film in every scene he's in. He is warm, funny and delightful to watch. The two of them together make an endearing pair.

I loved this movie from the beginning to the end. It was well written, sensitively directed and I really appreciated the opening sequence where Sandra Bullock is explaining a pivotal point in football history. It draws us into the story very nicely and also lets us know that this without question is a Southern football family. By the time we are introduced to Big Mike, we are able to embrace this loving family and understand the Touhy dynamic.

I liked that this movie was touching without being sentimental and dramatic without being daunting. It showed us a reflection of Michael’s broken family life, without having our faces rubbed in it. We saw glimpses, so we knew that Michael’s life was tragic, but we got to spend our time seeing him lifted up, instead of beaten down. This makes the film accessible to all and family friendly as well. In fact, this is the perfect family film for the season. It has football for the dads, fashion for the moms, humor for the kids and a universal message of charity and love. This is a wonderful film; enjoy it with your loved ones. I highly recommend it.

Rating: Must See Faith, love, football and the delightful Miss Bullock

Me And Orson Welles

Orson Welles is considered one of the greatest directors of all time and his film Citizen Kane usually tops any best film list. But before his acclaim in movies and television, he was a maverick theatre director and regularly produced compelling radio programs to great critical success. His genius was so apparent that John Houseman hired him to direct plays as part of the Federal Theater Project, a Franklin Roosevelt WPA program used to employ out of work actors during the Great Depression.

Orson Welles made bold, dramatic choices and was completely hands-on in every artistic decision being made. But if we are to believe his portrayal in Me and Orson Welles, he was also an egomaniac, a womanizer, and loath to taking any criticism whatsoever. He was a creative tyrant and artistic dictator. Only someone that brilliant could get away with his appalling behavior.

Christian McKay, a lucky find by director Richard Linklater, embodies the persona of Orson Welles. The Me in the title refers to Zac Efron, who plays a young theatre enthusiasts who crosses paths with Orson Welles and winds up being cast in the Mercury Theater production of Caesar. Through the eyes of young Zac, we are given a glimpse of Welles at work, and the impact that he had on those around him.

Zac Efron seems a little too cool and put together for a high school student. But I liked the innocence and embarrassment he showed when he was about to be seduced by an older woman. I also liked his bravado as he was trying desperately to fit in with the other men and hold his own in the play. However, when Orson Welles turns on him, his reaction seemed a little too petulant and whiny. But I could easily see him as a young man totally in love with the theater. It’s nice seeing him try to do something more than High School Musical.

The 1930s was an exiting time in theatre, when old traditional formats were being reinvented and a new more realistic in your face style of theatre was being born. Orson Welles was a visionary, but few really understood what he was trying to do. Even those in his plays were confused by his work methods. It took a strong ego and a determined leader to keep the cast together and pull off a production that people are still talking about today. Orson Welles is a dramatic icon and this film strives to give us an insight to the man, warts and all.

As a lover of theatre and film, I really enjoyed this movie and I feel that Christian McKay’s performance was genuine and real. But as much as I liked this movie I constantly had a feeling that something was off. I’m not sure where the disconnect was, whether it was the look of the film, or the dialogue, or even the color palette. But something subconsciously kept taking me out of the film. It could have been Claire Danes’ portrayal of a modern woman who had no qualms about sleeping her way to the top, or it could have been Orson Welles philandering which was a little too blatant and out in the open for 1930’s America. But whatever it was that didn’t ring true to me historically, it wasn’t enough to prevent me from enjoying the film. I loved spending time with this group of actors, hanging out and waiting for Orson Welles to arrive. He was the magician, the genius, there, to give everyone purpose and meaning. This film gave us a simplified version of a complicated man. My only regret is that we didn’t get to know him any better.

Rating: Second Run A simplified look at a complicated man

Skin

In 1955 when Sandra Laing was born, it said white on her birth certificate. This was not unusual because her father was white, her mother was white and her older brother was white. But Sandra Laing was different, her skin was a beautiful, creamy tan.

Sandy grew up perfectly happy in a small South African town where her parents ran a country store for the local black population. Everything was fine until Sandra entered boarding school at the age of 10 during 1960s Apartheid. Here among the white Afrikaner students, Sandra stood out with her tawny skin and tightly wound black curls. After many student and parental complaints, the principal of the school rejected Sandra’s admission and took legal steps to have her reclassified as black. Under current Apartheid laws, this meant that Sandra was forced to leave school.

Incensed by his daughter’s rejection, Sandra’s father begins a legal battle to reclaim Sandra’s white status. Her very public court battle put Sandra in the middle of a media frenzy as politicians and reformists used Sandra as a human example of the injustices of Apartheid. In the papers, Sandra was a symbol, but in reality she was an intelligent little girl who just wanted to go to school. Skin tells the story of Sandra Liangs’ lifelong ordeal and her unjust personal circumstances.

Given the facts, this story should have been very moving, but somehow my heartstrings were left un-strummed. The performances were adequate and the film boasted a strong cast including Sam Neil as the father, Alice Krige as the mother and Sophie Okonedo as Sandra Laing. But somehow the film felt heavy handed with an overbearing musical score. I was intrigued, but not moved.

In the deepest recesses of my memory I have a vague recollection of discussing this topic with my classmates. How could two white parents give birth to a black child? Most likely Sandra’s case made the international news and the sensationalism of the idea made its way to the playground. In a way Sandra’s life gave me an interest in biology and genetics that stayed with me through college. But due to my young age at the time, I did not grasp the social implications of what was happening. Skin brings up some very interesting ideas and concepts, but failed in reminding us that this was a real woman who suffered immensely because of a ridiculous prejudicial law. The law was eventually changed and Apartheid fell, but it was too late for Sandra Liang and that in itself is the true crime of this situation. Sandra is still a symbol, but now she represents resilience. I wish I could have written her a happier ending.

Rating: Second Run Does the color of our skin define us?

Pirate Radio (The Boat That Rocked)

Great music, good friends, plenty of recreational activities, Pirate Rock was the ultimate party cruise and I didn’t want it to end. Written about a time when Rock and Roll was new and considered vulgar, immoral and a scourge on society, it was not played on sanctioned British radio, so unlicensed radio broadcasts occurred and many of these stations took to the high seas to avoid governmental regulations. Radio Rock was such a station helmed by Quentin (Bill Nighy). He felt it was more criminal to ignore the riches of Rock and Roll music coming out of 60’s Britain, so he assembled a group of eccentric DJs who loved the music enough to live on a boat without women for long stretches of time and concentrate all their energies on sharing their beloved music with a repressed and starving nation.

On shore, Radio Rock had an enemy in government bureaucrat Sir Alistair Dormandy (Kenneth Branagh). He was determined to find a way to shut down these offensive broadcasts so he enlists the help of an ambitious young Twatt (Jack Davenport) who is willing to do his dirty work for him. He then boasts to his colleagues that pirate radio will be shut down by New Years.

On the high seas Quentin is trying to manage his wayward DJs while trying not to make things worse with the government. But his attempts to keep them reigned in reminded me of the ineffectual leadership of Henry Blake in M*A*S*H, and like that show, the inmates have taken over the asylum. When Quentin’s young Godson Carl (Tom Sturridge) is sent to join them on the boat after getting kicked out of school, he quickly becomes one of the gang and shares in their juvenile antics.

I loved these guys. They were so much fun to hang out with. We have The Count, the American DJ, played by Philip Semour Hoffman. He was the number one DJ until Britain's greatest is recruited in the guise of the hysterically cool, Rhys Ifans. They develop a rivalry that becomes intense when Gavin betrays another DJ. On the boat we also have Bawdy Dave (Nick Frost), Thick Kevin (Tom Brooke), Angus (Rhys Darby), Midnight Mark (Tom Wisdom), Smooth Bob (Ralph Brown), Simple Simon (Chris O’Dowd) and the token lesbian cook, the only female on board, Felicity (Katherine Parkinson).

The joy of this movie is sharing in their camaraderie while listening to a fantastic score full of Britain’s greatest rock music supplied by the Beatles, The Who, The Rolling Stones and various other artists. These men eat, live and breath Rock and Roll and they are willing to go to jail, or die, for their music. This movie is a love story between them, the music, and their fans listening covertly on the main land. This movie is a delight. It’s a little naughty, a lot of fun, and gives you the feeling of sneaking a sugary snack when you should be on a diet. It may not be good for you, but it is so delicious, it’s worth it.

Rating: Must See Book me for their next cruise, I want to ride again

Fantastic Mr. Fox

Sly, witty, focused, on a mission, this description could fit George Clooney in the Fantastic Mr. Fox, or its director Wes Anderson. Either way, this quirky movie is entertaining and a lot of fun. Using the classic technique of stop-motion animation, Wes Anderson creates a world with its own unique personal style, bringing to life the community of the Fox family as seen in Roald Dahl’s book, Fantastic Mr. Fox.

From the very beginning, you know you are in for a treat when the film opens to Mr. Fox warming up in a field and exercising to the Ballad of Davy Crocket. His movements are bizarre, unconventional, and strangely delightful, as you find yourself intrigued and entranced, eager to learn more about this fantastic creature.

Wes Anderson has taken the form of stop-motion animation and has pushed it beyond its traditional limits. Filmed liked a live action film with interesting lighting, long tracking shots, multiple sets and a documentary style voice track with all the actors recording their dialogue together. This choice created some interesting ambient sounds and unusual dramatic pauses, but it also added a connection between the characters that is seldom seen in animated film. When Meryl Streep and George Clooney act together, you feel the relationship, which is amazing when you consider that the movie has been filmed with puppets, shooting one frame at a time.

Many of Wes Anderson’s friends are found in this film. Jason Schwartzman (Rushmore) plays the Fox son, Ash. Bill Murray (The Life Aquatic with Steve Zissou) plays the Badger and Eric Chase Anderson (The Royal Tenenbaums) plays Kristofferson, a visiting Fox cousin. Simpsons writer and producer, Wallace Wolodarsky plays Kylie, an opossum friend of the family, and Owen Wilson, an Anderson favorite, plays Coach Skip. Also seen in the cast is Willem Dafoe (Spiderman)as a rat, and Michael Gambon (Harry Potter) as one of the menacing Farmers.

This film is tremendous fun and very clever, but it’s also different which makes it fresh. In a very strong year for animated film, this one is a welcome addition. Even in voice-over, George Clooney exudes charm. He certainly is a fantastic fox and this is one fantastic film.

Rating: First Run George Clooney is a fox.

Love Hurts

Once upon a time there was a very content man. He was married to his high school sweetheart, he had a thriving, lucrative medical practice, and he had a popular, low maintenance son. But one day, when he wasn’t paying attention, his wife left him, moved in with her best friend, and started getting chummy with a gardener. This was a wake up call for Ben, played by Richard E. Grant.

As Ben is reading his Dear John letter, he is shaky with disbelieve. He begins to hyperventilate when his son (Johnny Pacar) enters the room and hands him a paper bag, “Mom said you’d probably need this.” Then the reality hits him. He is out of touch. Somehow over the years his wife (Carrie-Anne Moss) became a woman he no longer knows, and in front of him was his son, a total stranger. He goes off the deep end in a full, romantic-comedy style depression and becomes a mess.

The next thing that happens is equally “Rom-Com”; Justin, the son, takes pity on his father and tries to get him back into the dating world. But, after a resounding success, and a bevy of sexy women, he realizes that his dad still loves his mom, so he tries to help him win her back. On the other side, Ben makes an effort to help his son bridge the gap from teenage lothario, to serious relationship material when his son falls for a beautiful Russian ballerina. Meanwhile, the wife is being protected by her earth-mother best friend (Camryn Manheim) while she sorts out her feelings and tries to decide if there is anything left in her marriage worth keeping. This is all stuff we’ve seen before, it’s just in a bright, new, shiny package.

This movie did not work for me, although there were others around me laughing heartily. I guess I was just expecting more. I found Carrie-Anne Moss very interesting, but her character was shoved in the background while the story focused on the father and son. I also thought that the stable of comedic actresses such as Jenna Elfman, Janeane Garofalo, and Rita Rudner, were fun, but cast in throw away parts and deserved better. There were some really nice moments in the film, but most of it was too formulaic for my tastes. If I wanted to see sit-com style acting, I could have stayed home and watched TV. I was looking for something with a little more depth and understanding.

Rating: Rent It Watch it on TV where it belongs

The Fourth Kind

Alien abductions? Mental illness? Coincidence? Scam? The Fourth Kind is the coolest, most chilling movie I’ve seen in ages. It combines session video tape and police recordings, inter-spliced with dramatized footage with actors, to tell the story of Abigail Tyler, a psychologist, who discovered a common link between her patients who were all being treated for sleep disorders. All these patients made reference to a white owl that was watching them outside of their window. When Dr. Tyler hypnotizes one of them, he becomes so unnerved and terrified that he literally jumps out of his seat in fright. Seeing the session video tape side by side with the Hollywood reenactment creates an eerie sense of anticipation and fascination as the details of the mystery unfold.

Milla Jovovich represents Dr. Tyler in the film and she recreates all the scenes that were not captured in videotape or on the other voice recordings. Sometimes we have footage from an interview revealing the real Dr. Tyler and at other times we have Milla Jovovich playing the part. The scenes are edited in a way where we go from video to reenactment and sometimes both at the same time. It is a very effective mode of story telling that causes you to pay attention and question your belief system the entire time.

When leaving the theatre, many of the kids were laughing and joking around that the videotape was fake, and that the doctor did not exist. But even if that were true, it doesn’t matter. This is a really entertaining film. The video tape may of been faked like the Blair Witch project, but even if it was, the facts remain. The FBI have been to Nome, Alaska a disproportionate amount of times and Nome’s record for disappearances is well above the national average. Something is going on in Alaska, why not alien abduction? At least the film makers had the courtesy of giving us a polished Hollywood reenactment instead of the shaky hand-held camera work of other similar films. I spent most of The Blair Witch Project and Cloverfield staring at my shoes instead of the screen trying not to loose my cookies. At least this film I could watch.

Whether or not you believe in aliens is a question that you must decide. This film only lays out the facts and statistics and asks you to make up your own mind. Like one of those TV mystery shows we are asked to look at the evidence and then ponder the possibility, and like Agent Mulder, I want to believe. This film is very cool.

Rating: First Run I want to believe

Jim Carrey And The Heart Of Ebenezer Scrooge

When Jim Carrey was prepping for his performance as the Grinch, in The Grinch Who Stole Christmas, little did he know that nine years later he would be playing the original Grinch, Ebenezer Scrooge, in Disney’s A Christmas Carol. Charles Dickens’ Ebenezer Scrooge has inspired countless imitators over the years including Dr. Suess’ Grinch. Scrooge is a man who is bitter and miserly and only through a Christmas miracle is he able to find redemption. Jim Carrey was asked to share his insights into the famous Dickens character.

“I think Scrooge is abandoned. He is a child abandoned. I think that the only thing that we have to be aware of in this world is the unloved. And that’s where it all comes from. So, Scrooge started out there. And trying desperately for a long time to cling to whatever is good, and his sister, the things that he cares about, but slowly being disappointed by life over and over again.”

“There was a transition, when we have a break-up scene with Belle, where it’s a different person, you know? And even when he was a child, as children do, they try to think positively about their situation. Try to make the best of it. And I think, that by the time he’s thirty-five, he’s about done with making the best of it. And that void can’t be filled anymore unless he goes really inside himself. And the ghosts are his opportunity to see himself. So he’s introduced to himself, and I think everybody, given the facts, if they could see the whole picture, would have that catharsis. What Scrooge learned is that he is worthy of love.”

When Jim was asked why he wanted to play Scrooge in an animated feature he replied, “It’s the whole picture. It’s a dream of every actor to have the greatest material in the world, the greatest talent in the world to play with, and a top flight director. We have all that. I’m completely honored to be part of this cast and part of this whole experience. It’s really a high point.”

When asked what his favorite Scrooge has been over the years he replied, “Alister Simms was my favorite from when I was a little kid. I watched Alister Simms every year. But that’s a man whose face was born to play that part. His whole being had an acid-reflux bitterness to it that was just splendid to watch. And I kind of wanted to have that feeling, that deep feeling that causes rheumatism that will eventually eat you alive from inside, you know? Really, I based the character from the get-go on the lies we believe about ourselves. And this person obviously believed that he was unworthy of love, so why should love exist for anybody? I think that is where most of our dysfunction comes from. A feeling of worthlessness”

During the interview Jim was eager to share a connection between his acting partner Cary Elwes (Princess Bride) and the original inspiration for Scrooge. “Scrooge was based on one of his great, great, great uncles named John Elwes. He was actually a template for the character. He was a member of Parliament and he as so cheap that he would wear the same clothes all the time until they were in tatters. He wore a wig that he found in the garbage, and he wouldn’t eat or buy any new game until the meat he had, even if it was rancid, was finished. He was the character Dickens based his story on.”

Jim was asked why he played all the Christmas Ghosts and he responded, “Every spirit was an aspect of Scrooge’s personality, basically, and that was how Bob (Robert Zemeckis) was approaching it.” When asked what the hardest part was he replied, “You have to create the ambiance and the belief in your surroundings in you head.” When the physicality of the role was mentioned, Jim shared, “It’s a dream come true for that. I mean it quite honestly. It’s just absolutely challenging in every way. You can use everything you’ve got. Your fingers turn into these long spindly, wonderful things and it’s great. It’s like puppeteering in a way.”

Jim Carrey strongly believes that this is a story that needs to be told again and that it is very appropriate for our times. “Scrooge was like the original corporate raider.” When he was asked about what he thought about the final product he said, “I think that Bob Zemeckis has created the best version so far.”

A Christmas Carol

For a film about a miserly man, Disney’s A Christmas Carol is mighty rich. This lavish holiday spectacular is so well executed and lovingly reproduced that I found myself getting goosebumps on more than one occasion. When the first ghost appears to Ebenezer Scrooge, I actually held my breath with him as the ghost of his friend Jacob Marley approaches the locked door. You hear him before you see him, and the anticipation is so great that when he finally bursts through the door, it is truly frightening.

When Charles Dickens wrote A Christmas Carol, it was so popular that he did an American concert tour where he stood on stage next to a red velvet podium and read out loud from the book. He loved acting out the parts and creating different voices. He was an cognoscente performer and even acted for a time. This book was written to be performed.

In the great Dicksonian tradition, Jim Carrey, Gary Oldman, Bob Hoskins, Robin Wright Penn, and several other actors played multiple parts. It works because it is both traditional and inspired. When each ghostly apparition is really an extension of Ebenezer Scrooge’s persona, it is only makes sense that Jim Carrey would play all the parts, and he does it brilliantly. Director and producer Robert Zemeckis chose his actors for their versatility. And he chose this story because he felt that the new technologies of Motion Capture could tell the story in a new and exciting way. With all the many versions of Christmas Carol out there over the years, what really impressed me, were some of the innovations. I loved the flying room sequence and I also like the part when Scrooge was made really small. It added some comic relief which was sorely appreciated after all the scary ghosts.

If I have any criticism of this film, it’s that some of the supporting players were not as lovingly rendered as Ebenezer Scrooge. Scrooge is so detailed and so expressive that when he shares the screen with other characters you can tell the difference. But this minor slight is my only complaint. From the script by Robert Zemeckis, to the score by Alan Silvestri, and with delightful performances by an excellent cast, this Christmas Carol is a wonderful family film that everyone may enjoy. It is no mistake that Dicken’s story is popular and has been adapted so many times. It is a classic redemption story that carries a universal message of good will. This version is faithful to the source and put me in the holiday mood with enough substance to carry me through the New Year. It is truly a wonderful cinematic gift and will be treasured for a long time to come.

Rating: Must See A wonderful addition to the legacy of Dickens

Precious

A teacher stands at the front of a room full of girls. She tells them that they are going to get up, say their name, where they are from, their favorite color, and something that they do well. The first girl gives her answer, but does not stand up. She is ridiculed by a classmate. The second girl won’t participate because she says it’s stupid. Precious, asks to be excused, and the next girl gives her answers in a bubbly effervescent manner. Precious reconsiders and asks if she can give her answers now, but she leaves off the part that tells what she does best. When she is asked again, “Precious, what are you good at?” She replies, “Nothing.” The teacher starts to correct her, but something in Precious’ face makes her stop. Then Precious adds, “I’ve never spoken up in class before.” The teacher responds, “How does it make you feel?” Precious replies, “Here. It makes me feel like I’m here.”

Precious is about the invisible people. If you saw Precious walking down the street you would see a large obese girl, with very dark skin, and her chin jutting out as if she was daring you to take a swing. In the classroom she does nothing to attract attention. Instead she retreats into a fantasy world where she is loved, admired and respected. A world she has never known in her young life.

When Precious, at 16, becomes pregnant with her second child, she is kicked out of school and sent to an alternative program. Here, her abusive life and circumstances are revealed, and for the first time she finds compassion and self-worth. She discovers that she is, indeed, precious.

This film is based on the book Push, written by Sapphire. It became a festival favorite and won several audience awards, but it wasn’t until it received the endorsement of Oprah Winfrey and Tyler Perry, that is has been granted a theatrical release. Although the film deals with a very heavy subject matter, the tone of the film has many colors. The home life scenes are gut wrenching, but the fantasy sequences give us another Precious. They show us potential, they show us spirit, they show us a Precious as she could be. This film is about the inner life of those people that we write off, it is also a nod to the men and women of education and social services who refuse to stop trying to reach the unreachable.

There are some extraordinary performances in this film. Mariah Carey is almost unrecognizable as Mrs. Weiss, a social worker, and Lenny Kravitz has a small effective role as a male nurse. Paula Patton is the caring, perceptive, and ferocious teacher who champions Precious and turns her life around. But the most notable performance that everyone is talking about is Mo’Nique as Mary, Precious’ abusive mother. Mo’Nique throws all vanity aside to play this despicable parasite of the Welfare system. It is only her raw, multi-layered performance that keeps her from being totally unsympathetic. You’ll still hate her, but with a little understanding.

I can’t call Precious an entertaining, fun night out at the cinema. But it would be an evening well spent, drudging up lots of emotions and topics for conversation. The humor in the film keeps it from being unbearable, and the performances keep it from being maudlin. This is a well written film that is finely directed and deserves the attention it is receiving. I highly recommend it.

Rating: First Run A look inside the neglected and abused