I’ve thought on and off, for weeks, about writing about my mental illness and posting about it here. Part of me wants to get it out. Another part, the self-deprecating part, tells me that nobody cares about my craziness. That it will make me look needy and stupid or, worse, people who are thinking about giving me a job will look me up and see this, and they won’t want to hire me anymore. But I’ve decided I want to write about it. There is so much to say; I have suffered from mental illness since I was five, but I’m going to focus today on the recent issues, particularly my latest hospital stay. Continue reading My Depression Post
Rating: B-/ Fame offers a thrill more potent than any drug, but like a drug, it can also consume your life completely. This is the dilemma faced by Noni (Gugu Mbatha-Raw,) a beautiful mixed-race pop star pushed beyond endurance by her domineering white mother (Minnie Driver,.) Noni is famous primarily for making trashy pop-rap music videos with her musical partner/ sort of boyfriend Kid Culprit (Machine Gun Kelly,) where the unlikely duo sings about booty and twerking while Noni leaves very little of her scantily clad body to the imagination. Continue reading Movie Review: Beyond the Lights (2014)
You know how some movies feel so real it’s like you’re watching a documentary? Well, this is one of those films. It’s not for everybody, because it’s sllooww, and by slow I mean straight-up kitchen sink realism with virtually no frills. But what I really like about Two Days, One Night is how close it hit to home for me. I grew up with a sporadically depressed mother with very low self-esteem and I started suffering from severe Obsessive-Compulsive Disorder when I was five, and was put on medication for clinical depression in my early teens.
This movie understands the effects of depression on people suffering from the illness as well as their loved ones. Marion Cotillard plays Sandra, an often infuriating but utterly plausible character. Sandra has just been fired from her job at the factory and prepares to sink back into the abyss of depression, taking long afternoon naps and gobbling Xanax like a hardcore druggie.
Sandra is depressed because without her job to sustain her, she will have have nothing to distract her from hopeless sadness and she will be on the dole, but mostly because the majority of her co-workers voted against her in favor of a substantial raise. Shortly after her lay-off, it comes to light that the foreman at the factory, Jean-Marc (Oliver Gourmet,) most likely intimidated the other workers into screwing Sandra over. Now, she has two days to convince the employees to give up their raise so she can return to her job at the company.
Sandra has a devoted husband (Fabrizio Rongione) and two beautiful kids (Pili Groine and Simon Caudry, ) but she is deeply unhappy and endlessly self-defeating. She also undermines her husband’s support at every turn. Even more concerning than her depression and suicidality is her casual abuse of prescription medication. Both her misuse of drugs and her unhappiness is the proverbial elephant in the room. We can tell immediately something is not right in this household, her husband Manu comes home from work and runs upstairs when she doesn’t immediately respond to his shouted greetings as if her half-expects to find her hanging from the ceiling.
Marion Cotillard owns this role. She superbly portrays the exhaustion and resignation of being clinically depressed, when everything, well… sucks, and nothing is good enough or fulfilling enough to make you laugh or even smile. The plot of this film is absurdly simple. but Cotillard and every other performance across the board makes it feel incredibly real. Sandra will piss you the fuck off half the time (even, or maybe even especially, if you see some of yourself in her) but you can feel her anguish like a flame burning the back of your hand.
Withholding spoilers, I was really surprised and pleased at how this movie ended. It’s not a conclusion you see coming but when the credits roll you realize it was the perfect way to wrap up the film. Thinking back on the plight of Sandra’s co-workers, I honestly don’t know what I would do if someone gave me that ultimatum on whether to keep a kind but slightly ineffectual co-worker on the team or earn a substantial raise. I would like to think I would pull through for Sandra, but then again who knows?
It wasn’t like these people were living in exorbitant wealth. They had kids to put through college, rooms to paint and renovate, bills to pay and food to put on the table. It’s hard to judge them, but at the same time, it’s hard not to, especially when you see how vulnerable Sandra is and how much she needs to keep her job. That’s the great thing about this movie; it doesn’t judge. The majority of these people aren’t sneering, bullying fat cats sitting on top of a massive fortune; they’re struggling to get by and support their blue collar families. In fact, they’re hardly mean at all, with the the marked exception of an older co-worker’s teenaged son, who’s a piece of work, and Jean-Marc, who’s just a total dick. But that’s realistic too. Not every one can be convivial and nice, just like not everybody is the equivalent of the high school bully who pantses you during gym.
Although this movie doesn’t have a whole lot of rewatch value in my opinion, it’s definitely worth watching once if you like kitchen sink realism and nuanced drama. Some people might be frustrated with the lack of empowerment of Cotillard’s character, but not every woman can be a superheroine. Sometimes, it’s enough just to survive. Again, Two Days, One Night is not a movie for everyone, but Cotillard’s performance is a genuine revelation, and even significant among the barrage of great performances we’ve seen lately, and are likely to see again.
Will Henry (Jemaine Clement) is a socially awkward graphic novelist and a native New Zealander living in New York whose world caves in the day of his twin daughters (Audria and Gia Gadsby)’s fifth birthday parties, when he heads upstairs during the festivities and catches his longtime girlfriend Charlie (Stephanie Allyne) banging her pudgy, affable lover Gary (Michael Chernus)
One year to the day, and Will is still feeling majorly bluesey in the wake of his big break-up. Reluctantly allowed to see his girls on weekends, Will is teaching graphic art at a local college but really doesn’t have his heart in it, preferring instead to immaturely lecture his students on why life, and people in general, totally sucks. Kat (Jessica Williams,) a blunt but good-natured student introduces the lonely Will to her attractive divorcee mother Diane (Regina Hall,) and after a rocky start sparks begin to fly.
However, Will still has feelings for his moody, fickle, and completely exasperating ex, who’s having doubts about her marriage to the girlfriend-stealing Gary, and Will must choose to get over his bitterness and self-doubt and find out how to best serve the interests of not only him, but also his daughters, and ultimately move on.
“People Places Things” is one of those little movies that has completely flown under the radar, and unless, of course, you have a soft spot for the Kiwi funnyman Jemaine Clement, you’re likely to go your whole life without hearing about it. This is a shame, because “People Places Things” is good and true in a way that few American films aspire to be. Will is a very believable character, sometimes delightful, sometimes infuriating, I found myself dubbing him a ‘loser’ over his immaturity and unprofessionalism and at the same time admiring his undeniable love for his kids and his creative spark.
This movie should be called ‘When Nerdy College Professors With Too Much Knowledge and Not Enough People Skills Fall in Love.’ The humor in “People Places Things” is not as much of the ‘laugh-til-you-cry’ variety and more wry, subtle, and oddly relatable, there are no huge happenings in this film and we don’t hold that against it in the least. There is a refreshing lack grand comic misunderstandings in the arguments between Will and his love interest, Diane, they are all messy disagreements that not only very often happen in the real world, they do, every day.
When Will and Diane first have dinner together, Diane callously dismisses graphic novels as an art form. This understandably miffs Will, it is important in a developing relationship for someone to care about the things we’re passionate about, or at least try to understand why we like them. They part on less-than-friendly terms, and the viewer patiently waits for their lives to converge again, because, hey, maybe these two could have something here. After all, the majority of movie lovers start out on relatively shaky grounds.
The actors do an outstanding job with the material they’re given, and that includes the two child actresses, whose performances are smooth and unforced. They share a genuine comfortableness with Clement, a naturalism that makes us believe they are kin. Jemaine Clement plays a man for whom social skills do not come naturally without the over-the-top ‘geek’ theatrics of popular television programs like The Big Bang Theory and Chuck. He played a similarly awkward protagonist in Eagle Vs. Shark, but his Will is infinitely more relatable and more sympathetic than Eagle…‘s creepy, maladjusted Jarrod.
People Places Things is one of the relatively ‘small’ films that get ignored yearly in favor of bigger, more robust productions. For a bit of wry real-life observational humor, don’t let this charming little comedy pass you by.’
In a weird way, the premise of “Inside Out” is kind of unnerving. Beings inside your mind that click on the control panel to trigger your emotions? Whatever happened to good old free will? It’s kind of a psychological dystopia for tweens (though in a universe where my emotions were living creatures who controlled most aspects of myself, they’d probably be doing a better job than I’m doing now- how’s that for unnerving?)
Take away the disturbing social and psychological implications of this deconstruction of free will (!), and you’ve got a typically delightful, touching Pixar film. The basic plot centers around Riley (voiced by Kaitlyn Dias,) an eleven-year-old daughter of supportive, hockey-crazy parents (Diane Lane and Kyle MacLachlan) who is going through some tough life changes.
Her dad is having ever-present but obliquely mentioned financial problems, and her parents move her from her much-loved home in Minnesota to a small, shabby San Francisco pad. Luckily (?), the celebrity-voiced personifications of Riley’s feelings are there to help. Joy (Amy Poehler) runs the show, and under her watchful eye everything is mostly fun and pleasant, though when Sadness (Phyllis Smith) interferes Riley’s mood transitions, predictably, from sunny to gloomy.
Anger (Lewis Black) fumes and rages while flames literally leap from his crimson head while Fear (Bill Hader) timidly and neurotically weighs the possible risk in any given situation. Disgust (Mindy Kaling) is kind of the queen bee of the group, adding a dose of much-needed snark.
Riley’s feelings are kind of a dysfunctional little family held together by the same circumstances (i.e. they inhabit the same brain,) but Joy fails to recognize that melancholy can a valuable, even healthy part of the spectrum that makes up the self until she and Sadness are inadvertently cast into the outskirts of the mind and Riley suffers a kind of an emotional shut-down.
Tender and funny, “Inside Out” didn’t hit me in the feels as much as “Up,” an earlier effort and a personal favorite of mine, but it is an enjoyably creative adventure through an eleven-year-old girl’s mind. If the visuals of the dreamscape that Riley’s emotions inhabit was half as fun to create as they were to watch, then they must not have felt much like work at all as much as a veritable artist’s playground.
Aesthetically, Pixar studios has done it again. “Inside Out” looks gorgeous, both within Riley’s mind and out on the streets, school, and hockey rink she inhabits. “Inside Out”‘s success both visually and in terms of storytelling and pathos prove that filmmaker Pete Docter’s mastery of the craft in “Up” was not a fluke. There’s a lot of psychological jokes that most kids (and maybe certain adults) won’t get but there’s a distinct lack of the thinly veiled sexual humor that Dreamworks flaunts like a Harvard degree.
“Inside Out” has a pensive, melancholic quality that captures the insecurity and fragile uncertainty of adolescence which might go right over little kids’ heads, but they’ll be sure to enjoy the bright visuals and buoyant humor. Parents are likely to empathize with Riley’s parents’ financial and familial struggles without their woes overwhelming the picture.
A few parts of the film seem to drag along a little longer than they should, such as the abstraction sequence, but overall “Inside Out”is an outstanding film the young at heart or those who remember being young, when setbacks felt like crushing failures that seemed like they couldn’t be assuaged or mended with time, and life was made up by the highest of highs and the lowest of lows. This juxtaposition of jubilation and misery, through a child’s innocent eyes, is what makes “Inside Out” a truly singular experience.
They say “Everyone’s a critic,” and this seems to be especially true for film fans. What fan-boys and -girls of all ages often seem to forget is that the movie star is a person just like us, with feelings and faults- they eat, drink, shit, screw, and breathe just like us, they are not above being selfish and rude upon occasion (therefore I urge you not to take it personally if they decline an autograph,) and they feel hate and rejection from the audience like a regular person being criticized for they manner in which they do what they love.
However, the internet seems not to take a middle ground on celebrities- either they can do no wrong in the fanboys’ eyes or he cuts them down to size with the ruthless efficiency of a horror-film slasher. And in a society where well-liked actors are respected more than law enforcement officers, men fighting for our country, humanitarians and hospital personnel, the margin for error is small. People cannot believe it when an actor says something unbecoming or adverse to the ‘image’ they are trying to build (consider when Jennifer Aniston used the ‘R’ word and the ensuing backlash.)
When a actor has a certain squeaky-clean persona, people believe in that persona even if that performer seems to be less than who they appear to be. When Bill Cosby was accused of multiple counts of rape, no one would believe it; suddenly the victims were attention seeking ‘hos whereas it might have been considered differently if the accused was Joe-Bob across the street. Certainly some women have been known to lie about rape, but at what point is the evidence just too incriminating?
On the other hand, actors that have been considered to be ‘flops’ can’t catch a break- attacks on celebrities, particularly female celebrities whose figures and faces have been deemed unpleasing to the eye by the masses, often get extremely personal. Actors get defined by that one role that made them famous, look at poor ‘Chandler’ and the rest of the “Friends” alumni (except for a select few that have been able to stake out roles of consequence in other movies.)
Riggan Thomsen (Michael Keaton) is Birdman. That is the role he is certainly known for; nobody remembers him in anything else, and no one certainly cares to. For Riggan, a mentally disturbed has-been with delusions of grandeur featuring an incarnation of his iconic character, life is a constant struggle to prove that he is capable of diversifying- that he can, and will, rise above his 90’s role that people have learned to love and hate him for.
With an estranged ex (Amy Ryan) and a mouthy daughter fresh out of rehab (Emma Stone,) Riggan’s life is definitely not easy. But while writing, directing, and starring in his own adaptation of a Raymond Carver story, he believes he can rise above what people expect of him. When his costar (Jeremy Shamos) suffers an injury onstage, the pretty starlet (Naomi Watts) offers her narcissistic, impotent douchebag boyfriend, Mike, (Edward Norton) the man’s role.
Riggan and Mike clash immediately, sometimes to hilarious effect. But for the most part, “Birdman” is a dark, depressing (albeit sometimes comedic) look into one man’s delusional wreck of an existence. Most of the movie is filmed in one continuous shot, with the camera following the characters around the broken-down theater. There’s a vibe of intrusion and invasion of privacy, the cast of Riggan’s play packed together like sweaty, discontented sardines and constantly bursting into each others rooms without invitation. This contributes to the films message about the price of fame- suddenly, your life is everyone else’s.
To some extent, Michael Keaton and Edward Norton are playing extreme versions of themselves, or at least the public’s’ image of themselves. Keaton is a bit of a has-been (this movie might change that,) mostly remembered for the title role in “Batman,” playing the character that Christian Bale is now famous for. Norton is known as a bit of a prima donna who micromanages the film he’s performing in’s dialogue, and while hopefully he’s not as much of a major arsehole as his character is, it can’t be an accident that Mike pompously tries to dissect the script at the expense of Riggan’s vision.
“Birdman” has a great ensemble cast which also includes Merritt Wever and Zach Galfianakis (God only knows how to pronounce that man’s name,) as Riggan’s passive and deceitful lawyer. Overall it is a darkly funny yet sad and bleak commentary on entertainment Vs. art, pretension, and the nightmare who to some is family. However, director Alejandro González Iñárritu‘s 2006 film “Babel” is the much better movie and I think it should have gotten far more attention than it did, the whole thing (especially the plot thread about the deaf Japanese girl) was incredible. “Birdman” was, admittedly, the less compelling work.
Ah, “Leaving Las Vegas.” I’ve seen it once and I don’t think I could bear to see it again. This movie features the absolute worst humanity has to offer and creates a skin-crawlingly lurid world of pathetic drunken sadsacks, emotionally scarred hookers, sadistic pimps, developmentally disabled rapists, all in the backdrop of a godforsaken world that just doesn’t care.
The thing is this is our world, the one we live in rather than a yuckily fascinating fantasyland, but it is this side of life that the more privileged don’t want to look at. Also, this is considered the movie where Nicolas Cage was good. How’s that for a shocking twist? Joking. Actually, Nicolas Cage has been halfway decent in a select few other movies. I liked him in “Joe,” and “Matchstick Men,” and he was okay in “Kick-Ass” I guess, though the Moretz kid ran circles around him and all the other actors.
“Leaving Las Vegas” is about pain, pure and simple. It’s about the pain that comes with being one of society’s forgotten ones, and the pain that accompanies orchestrating your own destruction. The protagonist, Ben Sanderson (Cage,) is drinking himself to death. Why? He just doesn’t give a shit. He’s been laid off from his job as a screenwriter, his wife has left him and taken his son with her.
He’s a perpetually drunk alcoholic, consumed by ennui and self-loathing, who believes he has nothing to live for. After his dismissal from his job, Ben moves to Las Vegas, burns all of his screenplays, and prepares to slowly die of alcohol poisoning. When he meets Sera (Elisabeth Shue,) a beguiling prostitute abused by her pimp (Julian Sands,) Ben falls head over heels.
Not enough to change for her- no, Ben’s long past the point to chance for anybody. He is simply content to be in her company. People don’t generally hire these women for idle chit-chat, so Sera’s all too happy to accommodate her worn-out client, who soon morphs into a friend and later into a live-in boyfriend.
Sera pretends to be a hardened Dame, but like Ben, she’s vulnerable and desperate. But unlike Ben, she has some small degree of hope. She builds a strange family for Ben and her where she is the happy homemaker and the ultimate enabler. The resulting film is an interesting character piece, and I guess Nicolas Cage IS good, along with Shue.
And I didn’t find any of the ensuing horror show unnecessary, until the ending. Potential viewers, avert your eyes, because this is going to get a bit spoiler-y. *********************SPOILERS I was astounded by the climactic scene, where Shue gives Cages a pity-fuck while Cage is lying on his death bed, wheezing and hacking. I guess the tragedy that is supposed to be portrayed in this scene is that they were unable to express their love physically until this sad moment, with Cage in a truly pitiful state.
But all I could think was how lurid and gross, and yes, unnecessary the scene was. It was like watching your feeble cancer-ridden Grandpa receive a blow-job from a lithe hooker before your very eyes. If Nic Cage were your grandfather, that is. Meh. Give or take a few years. *********************END OF SPOILERS
The characters being unlikable was not a problem. Shue and Cage imbue their portrayals with more compassion than these sad people probably deserve. The film, as a whole, was well-made. Watch it to see Cage at his best, but be forewarned, it’s terribly sad.