Showing posts with label Marian Cotillard. Show all posts
Showing posts with label Marian Cotillard. Show all posts

Tuesday, November 15, 2011

Contagion

Contagion

What if a super virus swept across the world, wiping out millions of people?  Hollywood has played with this idea before, but the result is usually a zombie movie or an action flick where Dustin Hoffman darts across the country looking for a diseased monkey, both of which are equally unrealistic to me.

So kudos to Steven Soderbergh's Contagion, which tries to depict what would really happen if the world was struck by a killer virus.  The movie does not necessarily tell a story in a traditional narrative sense - instead it throws in almost a dozen characters dealing with the virus in their own ways, which allows the audience to trace the growth of the MEV-1 virus and the ways it starts to rip society apart at the seams.  And the cast that Soderbergh has gathered for these different perspectives is superb - look at this: Laurence Fishburne, Matt Damon, Gwyneth Paltrow, Kate Winslet, Elliot Gould, Jude Law, Jennifer Ehle, Marion Cotillard, Bryan Cranston, John Hawkes, Sanaa Lathan.  It's quite a cast.

In some ways, this scattered narrative is the weakness in the film, preventing us from fully understanding the stories of some of the characters.  For example, Marion Cotillard's storyline starts as perhaps the most interesting - she is sent to Hong Kong to find the origin of the virus - but then her story takes a strange turn.  While I understand it from an intellectual level, I don't buy how it occurs in the movie.  It just feels like she is missing one or two key scenes to make her character work.   The same thing is true with Jude Law, who plays a blogger who rages about conspiracy theories and ends up contributing to the panic sweeping across the globe.  I had trouble understanding the ins and outs of what he was doing; I just knew he was not a good guy (of course, they make sure we know he's not a good buy by giving Jude Law a weird prosthetic tooth.  Only bad guys have weird teeth like that.  Unfortunately, this makeup decision backfires.  I probably missed important plot details because I couldn't pay attention to anything except that damn tooth!).

Then again, in some other ways, this fractured storyline is also a strength because it prevents the movie from falling into a Hollywood formula and keeps the whole crisis realistic and grounded.  Presenting the story this way makes it clear that this could happen to us someday.  The true horror of Contagion is seeing how easily this virus could spread, by shaking hands, by breathing on a casino chip for good luck, by simply holding onto a handrail on the bus.  These small moments are given great importance in Contagion because they are the mundane actions that would kill us if a super virus really did strike.  And that makes Contagion more scary than all the Saw movies combined.

I have to give the movie big props in one other way.  All too often, science is portrayed as either nerdy or dangerous in movies.  Contagion makes science cool.  It's rare to see the government in a positive light in the film, it is even more rare to see the government scientists as the real heroes.  I thought that was awesome and it was nice to see.

So all in all, Contagion is a solid film, not without some serious problems, but still a really good piece of work.  It is well-written, superbly acted, and thought provoking.  I feel with a little more work and a little less fake teeth, it could truly have been great.

BEST LINE:
Dr. Cheever: "We don't need to weaponize the bird flu.  The birds are doing that."

MVP: SPOILER ALERT!  The storyline that hit me the most was that of Dr. Erin Miers, played by Kate Winslet.  Miers is sent to Minnesota, where the virus seems to have entered the United States.  She has a tough job, tracking down the possible carriers, setting a triage for the inevitable deluge of infected, and all while dealing with a narrow-minded city council that doesn't want to stress out the town during the holidays.   But Miers goes through with her work, carefully and efficiently.  So imagine her surprise when she wakes up in the middle of the night, hacking and running a high fever.  Here is an example of what should be most frightening to all of us: someone who did everything right, who should not have gotten sick, and yet she still got hit with the virus.  And out of all of the characters in Contagion, it was Miers' fate that I was most concerned about.  The question of whether Miers would live or die had me hooked for the whole movie.  I give much of the credit to a low key, simple, but superb performance from Winslet.  In a movie full of great actors, she stood out.  So she wins the MVP!


Tuesday, August 24, 2010

Thoughts on the Ending of Inception

Thoughts on Inception's Ending

SPOILERS!

I think I've already been clear about this being one of the better movies I've seen in the last year. In this post, I want to talk about the ending. What the hell does happen at the end??

Before I get into that, though, I want to give a special nod to Joseph Gordon Levitt and what I call his Fred Astaire fight. I didn't want to spoil the moment for people who hadn't seen the movie, so I left it out of my last review. But this might have been my favorite moment in the movie - Levitt fighting a security guard while the building is rotating around him. This scene is proof that you don't need crazy special effects and CGI to make an awesome visual statement. This was shot on a rotating set using pretty much the same technique that allowed Fred Astaire to famously and magically tap dance on a ceiling 60 years ago. Sometimes you just need to use an old trick in a new way.

Okay - now to the ending. Once again, I want to warn away anyone who hasn't seen the movie!

What does happen at the end? The finale begins with Cobb landing at the airport. He is met by his father, played by Michael Caine, who takes him home to see his kids. At the house, Cobb quickly spins his totem to make sure he is in reality, but his kids call his name before he sees if the totem falls or not. Finally seeing his children's faces, Cobb runs to embrace them, no longer waiting to see if the totem stops spinning. It doesn't. So what does that mean?

Here are our options.

1) It is a Dream

Right off the bat, there is some strangeness happening. The structure of the ending is certainly more dreamlike, with longer shots, and scene fragments as opposed to whole scenes. Why is Cobb's father at the airport? Wasn't he just in Paris? That's weird. And why are his kids in the exact same position and wearing the exact same clothes as they were in all of Cobb's memories? Because they are only memories. And the whole scene is still in Cobb's deep, deep subconscious - his own personal Limbo. And that totem never stops spinning...


2) It is Real

But then again, the totem is clearly wobbling. It looks like it could fall any minute. Also, about his children - while they look the same and are wearing the same clothes, they are played by different actors who are slightly older than the children in Cobb's dreams. Supposedly, their shoes are different, too. Hmmm....How about the dad? How did he get to Los Angeles? Well, Cobb could have just called his dad and asked that he meet him in Los Angeles. It's filmed strangely, but the Michael Caine's presence at the airport is not impossible.

But the biggest piece of evidence for me goes back to the rules established for the dream world in the beginning - that dreams always start in the middle. The finale clearly has a stark beginning - Cobb waking up on the plane after rescuing Saito from Limbo.

Want another piece of evidence? In the dream world, Cobb is always wearing his wedding ring. In reality, he isn't. Clearly, this is a sign of how he can't let go of Mal (in his subconscious) even though he's been forced to move on with his life in the real world. In the end, as Cobb comes home, he is NOT wearing his wedding ring.


3) Mal was right. The whole movie is a dream.

Now, this one is interesting. What if Cobb's wife, Mal, was right? What if this whole thing is a dream? As she tries to explain to him in the movie on more than one occasion - how realistic is it that Cobb is some sort of James Bond of the Dreamscape, hunting and being hunted by faceless goons with kickbutt weaponry? Sounds pretty far-fetched. And how about the fact that the movie clearly doesn't have a beginning? It starts at the end, and then quickly jumps to the middle with Cobb in mid-heist in Saito's mind. But there is never a beginning. We also have the fact that they are darting all over the world, to varied locations as far away as Paris and Mombasa. There is no explanation as to how they are getting places. The characters just kind of appear there. Another point is that a lot of characters repeat very similar lines throughout the film. Is it a coincidence that Cobb and Saito both talk about making leaps of faith and that these are Mal's last words before killing herself?

Let's not forget the escape scene in Mombasa, where Cobb has to force his way between two walls that are rapidly squeezing in on him; this is a classic paranoid dream.

What about the wedding ring point from # 2 above? Well, that's easy. His subconscious is what was holding onto Mal. Once he let her go in the dream world, he was able to sever that dependence and the ring was no longer necessary as a symbol. That was the past. All that matters now is his children.

4) Nolan

Damn you, Nolan. What are you thinking about? The last possibility is that this whole movie is Nolan's dream - a nice little puzzle box that he has placed the audience into. I would laugh this off, except this is the type of thing Nolan would do. DiCaprio has gone on record saying that he based a lot of his Cobb performance on Nolan. Hmmm...


5) So what do you think, James?

Actually, I think the answer is kind of simple. I know its a cop out, but I don't think Nolan knows. I think he put strong arguments on every side of the issue, to spark debate so he can laugh maniacally at us. What is remarkable about that ending is that you cannot firmly and completely prove one argument over another. And I think that is on purpose.

In all honesty, I don't think the answer really matters to Nolan. In the end, Cobb is reunited with his children. Whether it is real or not, he is happy. That is what matters. The true character arc for Cobb is that in the beginning of the movie, he is paranoid and doubts his existence at every turn. At the end of the movie, he doesn't care. He doesn't wait for the totem to stop spinning. All that matters is that he is with his children again, in whatever way he can be with them. That emotional catharsis is Nolan's happy ending. Does it matter if it is real or not?

But I really want to know what all of you think! Please give me comments below. I want to spark a discussion!!! Do you think the end is real or not???

Monday, August 23, 2010

Inception

Inception

Wow. What a puzzle. What a brilliant puzzle.

It's also a puzzle how I can review this movie without giving away anything. Seriously, the less you know the better. I can give a very basic summary, but will make sure not to reveal anything that is not in the first five minutes of the movie.

Leonardo DiCaprio and his team are a group of corporate thieves, only instead of breaking into your office, they actually break into your dreams.

There you go. I've said too much already! The treat of this movie is not knowing where it is taking you. Writer-director Christoper Nolan (Dark Knight) has created one hell of a wild ride, a labyrinthine movie about dreams and reality. He populates his world with entertaining characters all played brilliantly by a superb cast. Seriously, Leonardo DiCaprio, Ken Watanabe, Joseph Gordon Levitt, Tom Hardy, Ellen Page, Marion Cotillard, Michael Caine, Dileep Rao, Cillian Murphy, Lukas Haas, Tom Berenger, there is not a single weak link among them. Seamless special effects, a solid score, beautiful production design, exciting stunt work...

Unless there is some sort of monster Oscar-bait movie on the horizon that I don't know about, look for Inception to be a front runner come Academy Awards time.

UPDATE: Okay, so in hindsight, it wasn't the front runner, thanks to The King's Speech and Social Network, but it still had a solid chance!!

Okay, so this is my spoiler free review.   For those of you who have seen the movie, check back either tomorrow or Wednesday for some detailed, spoiler-heavy comments (Click here). Mostly, I want to talk about the ending and see what everyone else thinks, too!

MVP: Christopher Nolan, without a doubt. What I like most about Nolan is that he proves that you can be artsy and deep and still create a studio film that is full of the Hollywood thrills. Every single one of his films has been challenging. And three of them (Memento, The Prestige, and this) have been tightly-wound and dense puzzles that you have to concentrate hard on to unravel. But these puzzles are never at the expense of the audience and never to the detriment of those who simply want enjoy a movie. Art and entertainment do not need to be mutually exclusive. That's Nolan's brilliance. Studios should take note - you don't need to keep depending on folks like Michael Bay for your blockbusters!

BEST LINE: "Don't be afraid to dream a little bigger, darling."

TRIVIA: Apparently the studio tried to convince Nolan to convert the film to 3-D, since it is all the rage now. Nolan did attempt a few tests, but decided that 3-D was stupid and was actually detracting from the experience. Go Nolan!

OSCARS: Best Cinematography, Sound Editing, Sound Mixing, Visual Effects

OSCAR NOMINATIONS: Best Picture, Original Screenplay, Art Direction, Original Score

Monday, January 4, 2010

Nine

Nine

What a pity. If ever there was a movie that proves unequal to the sum of its parts, it's Nine. Just look at the talent involved: the director is Rob Marshall, who breathed new life into musicals with the excellent Chicago, the screenplay was adapted by pros Michael Tolkin (The Player) and Anthony Minghella (the late writer-director of English Patient). The film features one of the best All-Star casts in recent cinema, with Daniel Day-Lewis, Penelope Cruz, Kate Hudson, Sophia Loren, Marion Cotillard, Judi Dench, Nicole Kidman, and Fergie. Look at that - there are SIX Oscar winners in the film. The lighting, the sets, the cinematography, everything is done by the best professionals.

So why doesn't it work? I don't know. But maybe I should back up a minute first, and describe the plot. Based on the musical that is in turn based on Fellini's classic 8 1/2 that is in turn based on Fellini's own personal life, Nine tells the story of Guido Contini (Day-Lewis), a famous Italian director who is about to start production on his new film in just few days. The problem is, he has no script, no story, and no clue what to do. He can't concentrate because he is wracked with guilt and obsession with the various women in his life - his wife (Cotillard), his lover (Cruz), his leading lady (Kidman), his mother (Loren), memories of the prostitute that danced for him when he was a child (Fergie), and the hot reporter who wants to jump into his bed (Hudson). Only his costume designer (Dench) seems to have any sort of calming influence over him. But he just can't stop thinking about these other ladies!

So what's the problem? I have never seen the Broadway show on which it is based, but that might be the root for what's wrong here - for a musical, all the music seems, well, uninteresting and simply going through the motions. And it seems like Marshall realizes this because the musical sequences are mostly blah, blah, same old same old. I don't want to accuse Marshall of not caring, but it really does seem like he went through the film like, "oh, is it time for a song again? Okay, let's put some pink lights up. That worked in Chicago."

This is a shame because the non-musical parts of the movie are actually pretty good - well filmed, very well-written (go Tolkin and Minghella!), witty, entertaining and featuring a wonderful recreation of 1960s Italy. But alas, it is a musical and to the bad musical numbers we return to. This is probably blasphemy for fans of the Broadway show, but the songs just aren't really that good. They are for the most part completely unmemorable, with no decent melodies or hummable themes. There are a few exceptions, as always - Sophia Loren sings a cute, little lullaby, Kate Hudson's 'Cinema Italiano' is a fun little sequence (it's not a very good song, but at least that scene has terrific energy), and then there is the one show stopper, "Be Italian," the big cue that also happens to be the only song in the film with a good hook. This sequence, sung with power and gusto with Fergie, is what the rest of the film should have been.

I want to make this clear - my complaints about the movie do not in any way extend to the actors themselves. From what I've read, they poured blood, sweat and tears into their roles and they truly do earn their paychecks. There is not a weak link in the bunch. Every single one of the All-Star cast brings their game, and if they pick up some awards for their work, I think that is terrific. I also award bonus points to Daniel Day-Lewis for being able to keep his Italian accent while singing. That was impressive. Shame the songs and Rob Marshall's staging let the actors down...

I know this sounds like a bad review and as a musical, "Nine" really does fail. But I did not regret seeing it because the non-musical scenes are really pretty solid. I would almost recommend seeing the film on the strength of those scenes. There is also the matter of Marion Cotillard, who you will read more about in my MVP!

MVP: Marion Cotillard (Public Enemies) almost saves the movie. Her performance is so heartfelt and so real, you cannot help but love her in this film. She takes what could have been the mopey one-dimensional wronged wife and gives her humor, grace, wit, passion, and anger. She creates a fully realized human being. Despite everything I said above about the songs not being great, I didn't mention hers because it is a stunner in its own way. "My Husband Makes Movies" is all about her loneliness. She sings it in her head, ironically while surrounded by her husband and friends. What is so brilliant is that she does not sing the song, she ACTS it. Her voice cracks, it goes weak, it strengthens as she strengthens and then wilts as her loneliness crowds in on her again, suffocating her. It is an astonishing performance and for me - a grumpy rat bastard who never cries at anything...well, I wasn't sobbing. But I'd be lying if I didn't say I was getting a bit misty-eyed. Cotillard might pick up a nomination, but she won't win even if she deserves to. For me, it wasn't just the best performance of the movie. It was the best performance of the year.


TRIVIA: I'll give this to Rob Marshall - he can pick a cast. This movie is full of brilliant actors, and they weren't even all his first choices! Renee Zellweger was supposed to play the mistress that Cruz ended up playing, Catherine Zeta-Jones was cast as the actress before she backed out over the script and was replaced by Kidman, and Javier Bardem was to be Guido Contini but changed his mind early on. I like the cast Marshall ended up with, but it's interesting to see who almost got the parts...


BEST LINE: Back to Cotillard - during one of their arguments, you get this stunner of a line from wife Luisa Contini:

"You're just an appetite, and if you stop being greedy you'd die...you take everything, and I'm empty."

OSCAR NOMINATIONS: Best Supporting Actress, (Cruz), Best Art Direction, Costume Design, and Original Song ("Take It All")


Also, there is a review of the soundtrack CD at http://www.soundtrackdb.com/soundtrack/12070/nine-soundtrack