Tag Archives: Fox Searchlight Pictures

The Ice Storm (1997, Ang Lee)

When I was a wee lad, I loved Ang Lee. I loved him only for The Ice Storm, never having seen Sense and Sensibility or his Chinese language films. I avoided Ride With the Devil after the reviews (both professional and from peers) and Hidden Tiger, Crouching Dragon was a truly sleep-inducing experience. I gave up my Lee love after that one, though, and when I came across The Ice Storm on Netflix, I realized I’d forgotten it. I hadn’t forgotten the book, of course, since I started reading Rick Moody about the same time I stopped seeing Ang Lee films. After reading the book, I recognized the differences, but now, watching the movie again, I can’t specifically remember them. The novel is a novel and the film is a film. The Ice Storm is the best example of a great book being adapted into a great film that I can think of….

Maybe what Lee needs is a subject as confining as The Ice Storm. Most of the shots are inside and his work there is amazing. I can’t remember a film where the focus effected me as much as this one. The story moves between 8 characters and–sometimes, not always–Lee uses the focus to signify which character’s POV we’re in. There’s a lot of juxtaposing and rhyming, but the film maintains a lyric sense about it. The music is used in an interesting way, because sometimes it does something, other times it does something similar, but entirely different. Half of the film takes place during the titular ice storm, but the film manages not to de-emphasize the first hour. The pacing makes the second hour feel like a (somewhat longer) third act, which it isn’t.

All of the acting is good, with Jamey Sheridan probably turning in the most unexpectedly excellent performance. Elijah Wood is really good too. But, it’s just such a dreary film, it’s hard enough to experience without talking about. The film–with its sudden exterior shots, just as encroaching and constrictive as its interior ones–is probably drearier than the novel even. There’s maybe five of these exterior shots–wooded path, daytime, but they resonate so strongly. They do work that the written medium cannot do, which is a hell of compliment.

4/4★★★★

CREDITS

Directed by Ang Lee; screenplay by James Schamus, based on the novel by Rick Moody; director of photography, Frederick Elmes; edited by Tim Squyres; music by Mychael Danna; production designer, Mark Friedberg; produced by Ted Hope, Schamus and Lee; released by Fox Searchlight Pictures.

Starring Kevin Kline (Ben Hood), Joan Allen (Elena Hood), Sigourney Weaver (Janey Carver), Henry Czerny (George Clair), Tobey Maguire (Paul Hood), Christina Ricci (Wendy Hood), Elijah Wood (Mikey Carver), Adam Hann-Byrd (Sandy Carver), David Krumholtz (Francis Davenport), Jamey Sheridan (Jim Carver) and Katie Holmes (Libbets Casey).


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28 Days Later (2002, Danny Boyle)

Why is Hollywood making Cillian Murphy the bad guy? He’s got to be the best everyman Hollywood’s seen since–who, Roy Scheider or something, except a better actor? No offense to Roy, I love Roy, but Roy’s a little bit of a movie star. Cillian Murphy’s not a movie star….

It’s impossible to really talk about 28 Days Later without talking about the ending. I could give a shit about the three alternate endings, by the way. I figure, a DVD release, Boyle could have thrown one in and labeled it director’s preferred and been done with it. So we’re talking about the one that’s on the DVD. It’s the only ending the film could have had for me to give it the four too. That last shot, that last breath. It’s a beautiful moment in an unexpected place.

A friend compared 28 Days to Winterbottom’s Wonderland while talking about digital video. 28 Days doesn’t even look like video. It looks like film with really neat rain effects (which are probably only possible with video). Incidentally, Wonderland doesn’t look like video, it looks like a hi-res 16 millimeter.

I can’t explain how happy I am following this film, how elated. It’s under two hours, takes place over a handful of days, and it manages to have six distinct parts to it. Six distinct “stories.” Well, no, five distinct stories. The last two are rather linked… though wouldn’t necessarily need to be.

Unfortunately, the same thing that happened after the last time I watched Trainspotting is happening again. I’m falling in love with Danny Boyle’s filmmaking. It won’t last, of course, all I need for a cure is Shallow Grave or, ugh, A Life Less Ordinary, but I still haven’t seen The Beach, though I have been warned… Maybe Millions. Boyle’s not a young Turk, either. I think he was at least in his forties when he made Trainspotting, so he’s probably in his fifties now. (Miramax always seemed to present Trainspotting as a young Turk film). Trainspotting is better, I suppose, though Boyle’s a better filmmaker now than he was then. He’s less reliant on dialogue to move things, much more comfortable with the effect of his visuals.

Making a shot empty of people matter is difficult. It puts a lot of weight on the fellow going through the whole experience. Vanilla Sky doesn’t really count as an example and The Pianist failed miserably (I was terrified when I started 28 Days Later, fearful it would be a zombie movie like The Pianist, the lead going around, running, exploring ruins, all without any real emotional impact, hiding behind a calamity). So, now’s when I could rain praise on Murphy, who’ll maybe someday find a good role in Hollywood, but until then I need to track down that friggin’ one of his Nicheflix carries. I don’t know the female lead’s name, but she’s really good. So’s the girl. So’s Christopher Eccleston, which surprised me, especially since he was so bad in Shallow Grave.

28 Days Later, while definitely delivering a good “horror” film, a good “zombie” film, one ups even Romero’s best. While his Dawn of the Dead was about people and their struggles in a situation created by zombies, Boyle and screenwriter Alex Garland (do I have to see Halo now?) tell a story about some guy. (Romero tends to let his commentary overwhelm the story, no matter how effective the story–or commentary–might be, Martin for example). So now The Stop Button is all about 28 Days Later and Danny Boyle and Cillian Murphy and shit….

At least until I see The Beach.

4/4★★★★

CREDITS

Directed by Danny Boyle; written by Alex Garland; director of photography, Anthony Dod Mantle; edited by Chris Gill; music by John Murphy; production designer, Mark Tildesley; produced by Andrew MacDonald; released by Fox Searchlight Pictures.

Starring Cillian Murphy (Jim), Naomie Harris (Selena), Christopher Eccleston (Maj. Henry West), Megan Burns (Hannah) and Brendan Gleeson (Frank).


Melinda and Melinda (2004, Woody Allen)

Woody Allen has written around thirty films, probably thirty-four. Ten of these films are some of the finest in the last thirty years, give or take. But he tries something new in Melinda and Melinda and it doesn’t work.

Of his recent work, his post-Miramax period, Melinda is the second strongest–Curse of the Jade Scorpion holding the title. His work hasn’t been astounding, but it’s still good work. Melinda and Melinda had the potential, the writing, and the cast to be his best film in twelve years or so. Wait, I forgot about Sweet and Lowdown. Anyway, when I said Woody tried something new, he screwed up his narrative and ruined the film’s effectiveness.

Melinda and Melinda has three concurrent stories. The reality one: two playwrights, one comedic, one dramatic, at dinner and then each playwright’s story of the titular Melinda. Since neither of these stories is real, but are told with lovely care for their characters, the effect is something annoying (unlike the similarly afflicted, but unmoving The Usual Suspects).

And it’s too bad, because Woody’s got his best cast in years in this film. A bunch of people who, shockingly in some cases, turn in great performances. Chloë Sevigny is great, but we all know that–but Jonny Lee Miller? I had no idea. Amanda Peet continues to impress (her turn in What Women Want starting this run) and Chiwetel Ejiofor, who I’ve never seen in anything much less heard the name, is quite good too. Will Ferrell does a couple too many Woody impressions but is fine otherwise. Touching, even, in some parts.

As the eponymous Melinda, Rhada Mitchell occasionally loses her American accent, but is rather good. Melinda isn’t the protagonist, however. Ferrell is in one story, Sevigny in the other. Melinda isn’t the subject either, instead, Woody uses her as the catalyst, which would work great if the stories had weight. Worse, one story ends before the other, jarring the viewer into realizing the uselessness of his or her investment in the film.

Still, the film is beautifully directed, with amazing Vilmos Zsigmond cinematography, and is still quite good overall. I haven’t seen a Woody Allen film in about a year and watching one always produces a nice feeling. A feeling that the world isn’t empty of art. (Except maybe Bullets Over Broadway or Another Woman).

Narrative device warts and all, he’s just so damn good.

3/4★★★

CREDITS

Written and directed by Woody Allen; director of photography, Vilmos Zsigmond; edited by Alisa Lepselter; production designer, Santo Loquasto; produced by Letty Aronson; released by Fox Searchlight Pictures.

Starring Radha Mitchell (Melinda), Chloë Sevigny (Laurel), Jonny Lee Miller (Lee), Will Ferrell (Hobie), Amanda Peet (Susan), Chiwetel Ejiofor (Ellis), Wallace Shawn (Sy) and Josh Brolin (Greg).