Anyone who knows me know that my respect and admiration for Amy Adams runs deep. So it is perhaps unsurprising that I adored Sunshine Cleaning. However, before you assume that I'm just a fan girl with no critical eye, let's examine the criticism leveled against this film.
A.O. Scott (who, for once, I totally disagree with) writes, "I’m thinking of a movie. Wait, don’t tell me, it’s on the tip of my tongue. It takes place in Albuquerque. There’s a beat-up old van, a lot of family dysfunction, a cute kid, a get-rich-quick scheme that doesn’t quite work out as planned. Alan Arkin is the grandpa. The title? Something about 'Sunshine.' No, not that one. 'Little Miss Sunshine' came out in 2006. Why on earth would I be reviewing it now? I’m wondering that myself. A better title for the movie I am supposed to review — for the record, it’s 'Sunshine Cleaning,' directed by Christine Jeffs from a script by Megan Holley — would be 'Sundance Recycling,' since the picture is less a free-standing independent film than a scrap-metal robot built after a shopping spree at the Park City Indie Parts and Salvage Warehouse."
First, there are many movies out there that recycle BAD scripts and BAD actors and yet continue to draw large audiences and fans. I'm thinking specifically of movies made by the Wayans Brothers or Aaron Seltzer (Scary Movie 1 through 3289673, Date Movie, Epic Movie, Dance Movie, etc, etc...). I would much rather we recycle Sunshine than crap.
Second, nothing about Sunshine Cleaning was forced or manipulated. There is a joy in the way the girls manage to stand up for themselves while learning to trust others. Case in point, two main characters (whose names I will not disclose to avoid writing "SPOILER ALERT") aren't romantically linked at the end of the movie. I was pleasantly surprised with how simply and naturally the story unfolded. Sunshine Cleaning lacks a lot of the intentional quirkiness of Little Miss Sunshine in favor of the mundane. The van in Sunshine Cleaning doesn't break down or cause any hilarious antics, it's just a run-down crappy van that Rose is forced to drive for her business. But the van does play an important role in the Lorkowski's life nonetheless, as cars are want to do.
Finally, a shout out to the Kimball Theatre for bringing Sunshine Cleaning to Williamsburg. I thought I would have to wait until it's DVD release. So glad that I didn't have to.
Tuesday, May 19, 2009
Angels & Demons
For all of those DaVinci Code haters out there, let me offer a brief disclaimer: when it comes to The DaVinci Code, my personal opinion is that the book was just okay and the movie was not. Dan Brown writes good Scooby Doo-esque art mystery novels - a race across Paris! a race across Rome! What is there not to love about that? Unfortunately, he sprinkles in a bit of his pseudo-religious, pseudo-academic, fiction meets fact craziness. The DaVinci Code film adaptation reminds me of the 4th Indiana Jones movie - both made me think, "who thought that plot sounded sane?" Audrey Tatou as the last descendant of Christ? Really? The saving grace of the movie is that they were allowed to film in the Louvre. That's pretty cool! However, Jumper got permission to film at the Coliseum and that didn't stop the movie from being total crap. I fear that The DaVinci Code likewise wasted what was a golden opportunity. And finally, what was going on with Tom Hanks' hair?!? Who thought that was a good look?
In Angels and Demons, Hanks' Robert Langdon gets a hair cut. Director Ron Howard also cuts out the fat from Dan Brown's novel. The novel of Angels and Demons is roughly 400 pages: 300 pages of Robert Langdon's cheesy genius as he searches for the four altars across (a cross) Rome. The last 100 pages, however, taking a running leap off the deep end of the pool. In the case of Angels and Demons, Ron Howard adapted the novel to film in almost the opposite style as his adaptation of The DaVinci Code. In The DaVinci Code, Ron Howard cut a lot of the cheesy art drama in favor of ramping up the religiosity. In Angels and Demons, he scaled back the craziness of the last 100 pages and the character of the Carmelengo had fewer layers to explore (who knew that was a good thing!). Ron Howard, I thank you. As a result of those decisions, Angels and Demons was fun! It's not going to shake anyone's faith in science or G-d and it clearly wasn't meant to. The pacing was solid and the characters were compelling. And, thanks in no small part to that hair cut, the character of Robert Langdon was truly a-dork-able.
A.O. Scott (who, let's face it, I almost always agree with) summed it up best when he said, "The utter silliness of 'Angels & Demons' is either its fatal flaw or its saving grace, and in the spirit of compassion I suppose I’d be inclined to go with the second option. The movie all but begs for such treatment. 'When you write about us,' an erstwhile nemesis says to Langdon near the end, 'and you will write about us, do so gently.' It was as if he were looking right into my soul. And how could I refuse such a humble, earnest petition? Go in peace."
Yes, indeed.
In Angels and Demons, Hanks' Robert Langdon gets a hair cut. Director Ron Howard also cuts out the fat from Dan Brown's novel. The novel of Angels and Demons is roughly 400 pages: 300 pages of Robert Langdon's cheesy genius as he searches for the four altars across (a cross) Rome. The last 100 pages, however, taking a running leap off the deep end of the pool. In the case of Angels and Demons, Ron Howard adapted the novel to film in almost the opposite style as his adaptation of The DaVinci Code. In The DaVinci Code, Ron Howard cut a lot of the cheesy art drama in favor of ramping up the religiosity. In Angels and Demons, he scaled back the craziness of the last 100 pages and the character of the Carmelengo had fewer layers to explore (who knew that was a good thing!). Ron Howard, I thank you. As a result of those decisions, Angels and Demons was fun! It's not going to shake anyone's faith in science or G-d and it clearly wasn't meant to. The pacing was solid and the characters were compelling. And, thanks in no small part to that hair cut, the character of Robert Langdon was truly a-dork-able.
A.O. Scott (who, let's face it, I almost always agree with) summed it up best when he said, "The utter silliness of 'Angels & Demons' is either its fatal flaw or its saving grace, and in the spirit of compassion I suppose I’d be inclined to go with the second option. The movie all but begs for such treatment. 'When you write about us,' an erstwhile nemesis says to Langdon near the end, 'and you will write about us, do so gently.' It was as if he were looking right into my soul. And how could I refuse such a humble, earnest petition? Go in peace."
Yes, indeed.
Monday, May 4, 2009
Foreign Relations Film Festival
Two bloggers for Foreign Policy, Stephen Walt and Daniel Drezner, drew up lists of what they regard as the best movies ever made about international relations. Let me tell you it's barely worth looking at the original two lists when you could read this insightful response instead.
In case you do actually want to read the original lists, here they are: Walt's and Drezner's.
My favorite part of the original lists is when Walt gives an honorable mention credit to The Interpreter saying, "The Interpreter (not that good a movie, but how many films take place at the UN?)" That's my kind of logic, buddy. My husband, James, is a big fan of the UN with many Model UN conferences under his belt and the only other UN-related movie that he could think of was Winning London (Mary Kate and Ashley Olsen at a Model UN conference that makes The Interpreter look like Citizen Kane of UN movies). That being said, The Interpreter was not a good movie ...
In case you do actually want to read the original lists, here they are: Walt's and Drezner's.
My favorite part of the original lists is when Walt gives an honorable mention credit to The Interpreter saying, "The Interpreter (not that good a movie, but how many films take place at the UN?)" That's my kind of logic, buddy. My husband, James, is a big fan of the UN with many Model UN conferences under his belt and the only other UN-related movie that he could think of was Winning London (Mary Kate and Ashley Olsen at a Model UN conference that makes The Interpreter look like Citizen Kane of UN movies). That being said, The Interpreter was not a good movie ...
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