WALL STREET Money Never Sleeps

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When I was in 5th grade, Lee Dumas, obviously a candidate for stronger & smarter than the average 5th grader, had already hit some sort of pubescent phase and had registered an all time low in vocal tones. But being bigger and louder, and redheaded to boot, only encouraged him to talk gleefully and incessantly. Talking got him in trouble, and in trouble meant missing a much needed recess. My mom used to say, “I think he’s misunderstood. His voice is lower and it carries. I like him.” “I like that Lee Dumas,” she’d repeat. I liked him too. So often I wondered what would become of him. I heard that he went to work on Wall Street – that he’d put that carrying voice to work.
Carrying voices or not, we all want to be heard, to be noticed. We all seek after dreams and success in some way or another. Stanislavski (famed for creating his now commonly used acting methods) called  this the “golden key,” a questioning in which actors ascertain what a character wants and therefore what moves them forward. This movie, directed by Oliver Stone, shows tragic individuals vying and gambling in view of their own golden keys. All gifted in business, but out for self…”for number one,” as they say.
Before we attempt to scrape the speck from Shia LeBouf’s eye, let’s consider his performance the most endearing and his ability to cry on cue confirmed. Wow – such waterworks.
The writing works, the cast is incredible, the filming meaningful, but the visual motifs are heavy-laden. The bubble metaphor waxes pretentious, not eye-opening. The characters we are meant to cry for and over (not to mention WITH) are not loveable -or even really likable. I wish that Stone had spent more time developing these characters and less panning over jewels, wine glasses, and skylines. Carrie Mulligan’s tormented daughter routine, for instance, sadly shows only one dimension as every close-up face shot portrays the one desire for a present father figure. She wanted this as a little girl and she wants it now. And the Father? THE Michael Douglas plays too wicked a Faustus to buy back his soul in the end. Brolin deals in and out, proving the formidable player of the big game. Perhaps, in the end, we are all a lot like that kid, Lee Dumas, fighting for attention and hoping to be noticed for our strengths and dreams as much as our weaknesses.
Unfortunately, this film drags and ebbs proving again the tide of the self-seeking and money-driven to be none other than LONELY. Shocker.

ADJUSTMENT BUREAU (2011)

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Church and state rise to a whole new level in the newest Matt Damon offering. But is it heaven? Turn the knob in the other direction and the door opens to lies, voyeurism, angels in Mob suits and fedoras who carry out the “plans” of the Chairman/woman. This film ventures into the classic debate: free will vs. puppeteering. The argument becomes most problematic when we assume that it’s God’s plan that only supports certain power-wielding individuals in their quests to become famous. “Leave with her and she loses her dreams of becoming the most famous choreographer in America and becomes a dance teacher for 6 year olds.” Loathsome profession, eh? Shame on them. So, LOVE proves to be the only alternate and inescapable plan-changing force that can get in the way and undermine the plan while gaining the respect of the so-called “Chairman,” played by BBC’s own Jennifer Ehle (Pride & Prejudice 1995). Arguable theology, yes, but captivating stuff which memorable film plots are made of? No.

Matt in his opening sequence is brilliant and oh-so loveable as the “honest” politician. Lost you yet? His scene with Emily Blunt stops time. Then we wait. We wait and we wait for movement, for color, for fun, for a kick that wakes us up from this, another in the Matrices of attempted fate talk. We wanted him to see through “them” in the end, but they weakly let us have what we think we want at the end. The film feels forced far too often. I loved certain scenes, but unfortunately the idea that “true love conquers all”…even the subversive plans of a Zeus-esque diety don’t hold water. Speaking of water… In this film could water mean Chaos? Freedom? Free will? The fluidity of choice within the concrete structured grid lines of governmental, forced compliance? Perhaps. Stop running, Matt. Just stop.
(Ironically, the picture below contained two film titles cut together into one shot. An accident?  …C’mon.)

AN EDUCATION (2009)

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“The effect of education, I suppose,” quoth Fanny Price as she relayed tales of Mansfield with an air of guilt over the scandalous nature of her gossip. Fanny learns lessons as she lives juxtaposed to the rest of the family. She is intelligent, witty, diligent, and strong of heart but born out of privilege.

In this tragic film, starring the lovely Carrie Mulligan, we see a young girl living a bit as I believe Fanny would have if she’d lived in the 60’s. She’s intelligent, a fighter, with whimsy and a sudden doorway into the privileged life of the playboys of London. They rob from the rich to feed themselves. They rob from the young to feed their lusts. He is no Robin Hood. And she, strong spirited and mature for her age, must learn the lessons which her parents are unable or unwilling to teach: honor, dignity, wisdom, responsibility, integrity, and morality. I am sad for her. I weep for the immoral masses without mentors. I am determined all the more to teach these principles as an educator, all the while knowing that I can only go so far. I felt oddly kindred with Emma Thompson’s character to a point, but grateful in the end for the other teacher, Miss Stubbs. Tragic name, but hopeful character on a journey of her own. All she lacked was joy in conviction. The two can coincide. Unfortunately, this film did not allow for that.
“Let other pens dwell on guilt and misery. I quit such odious subjects as soon as I can, impatient to restore everybody, not greatly in fault themselves, to tolerable comfort, and to have done with all the rest.” ~ Jane Austen’s Mansfield Park, chapter 48

TRON…imax 3D…2010

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Visually stunning throwback to the Tron that my Great Uncle marveled at so many years ago. I didn’t get it as a kid, but today I’m grateful for the memory, for the fondness for which Tron was spoken then. It is beautiful.
The Science Center in Seattle houses an incredible experience – in what looks like an in-house death star, you walk around and below it in Star Tours fashion, claiming 3D goggles, a unique and total experience. It’s worth it, and it costs even less than the Imax experience offered at the local Regal. Beyond this, the movie itself was simple, chic, tasteful, and oh so 80’s. I’ll admit, however, that the animation of Clu’s face was far too Polar Express and that the Imax simply could not provide the clarity between shots that the non Imax 3D did. I’ll also admit, that as far as films go, I placed it very purposefully into the “forgettable” category. It’s one that I’ll promote as clean fun and made-for-the-big-screen 3D.

GREEN HORNET…2011

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After an extensive Google search, a facetious few clicks, I found a Seth Rogen quote that works, “As an irresistible idiot, I’m quite good.” At least he admits it, and hits it in this one quote. As the star, screenwriter, and producer, Seth Rogen must have something going on beyond his half-baked persona. No, yes, that was a question. I’m wondering.

The hero of this film, if not the car, is the Sam-wiser kickbutt sidekick Jay Chou, a real life pop star. He gave much of the dimension to this easy-to-swallow piece. Most of the writing felt all-boy, like when you overhear Grandmas discussing how little boys just love to drop and kick and crush things. I think I counted 5 deaths via dropped heavy objects, like tractors. So, to the little boys who wrote, starred in, and directed this silly film, thanks for a few hearty laughs and as many grimaces, for an evening away purely for entertainment, and for proving that you don’t really need your brain to create or watch blockbusters. Once again, to quote the mastermind behind The Green Hornet revival, Seth Rogen, “But, I’m very stupid.”

So, to sum this up I’ll give you a basic conversation that I’m hearing as I write this at a coffee shop in Seattle (sidebar – I love that anywhere I go, people are talking film. Powerful.) Two guys nearby:
“I really like Seth Rogan. He’s pretty funny. It’s just that the 3D is so bad. We even did Imax 3D. This was like… there were scenes where I was like, ‘Are you kidding me?’ The jerking of the camera through scenes is just really bad. The 3D is just really bad. The story was entertaining…”

AUSTRALIA (2008) movie review

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On a sick day, one needs a movie movie to snuggle in to.
Australia is just such a film. It was a 3 hour commitment in theaters. Call me crazy, but I’m a sucker for a good story. I cared about the characters. I wanted the best for each one.
In this film, I’m transported, and I imagine myself in the midst of such dire entanglements.
I carry aspects of this film in my pocket – the inner-connective Wizard of Oz story, the Aboriginal heritage, the journey, the war, the struggle. But mostly, I carry the vivid color and surging life of this film. It is a survival story. It is a love story. It is my favorite of Baz Luhrmann’s colorful collection, despite my utmost respect for his Romeo + Juliet, which I couldn’t teach English without. For you and for me, on our Meg Ryan-esque (You’ve Got Mail) sick days. Enjoy.

TRUE GRIT…2010

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The Coen brothers take on a muscular script with ease in this classic western. Yes, a remake, but the Coens could never simply re-make, they must re-create! The acting rides as phenomenally over the gorgeous terrain as it does the haunting and trustworthy repeated hymn “Leaning on the Everlasting Arms.” There is a sensitivity to story that I respect, despite the ending. I’m glad that I’ve been well warned about the gore in Coen films, as they like to show the severed hand… In True Grit, however, their words (from a recent appearance on Charlie Rose) were something to the degree of, “Since our main character is a fourteen year old girl, we wanted fourteen year old girls to be able to – to want to see it.” So they tame it quite a bit. The characters are entirely loveable. Even old “Bear Claw” from Jeremiah Johnson seems to make a classy a cameo in his bear head hat. Almost as classy as Coen’s own cameo. (Watch for the man posted at the river). The film is very funny, but carries the heaviness of a raw burden for revenge.  This mingles into tension throughout. Anne Shirley would say that the humor is “almost pace for the thud.”

“What have I to dread, what have i to fear, leaning on the everlasting arms. What a blessed peace, with my Lord so near, leaning on the everlasting arms.

Leaning, leaning, safe and secure from all alarms, Leaning, leaning, leaning on the everlasting arms.” – Hoffman & Showalter

THE KING’S SPEECH…Firth, Carter, Rush, Ehle, Pearce!…2010

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Magnificent! This film is art and beauty. It’s raw, unabashed lack of pretension from the Monarchy of all places. I was pleased and delighted by every frame. The “R” rating is in place for language – oddly using those rare gems as a tactic for curing the King’s stammer. Firth and Rush compliment each other masterfully, as true artists of their crafts. I loved this film for its redemption story, for its hope, for the proof that true friendship exists in this world when allowed enough time and patience. See it before it leaves the theaters, or “the mystery box” as J.J. Abrams calls the experience.  Also, listen for the perfect classical piece gently tucked into the film’s soundtrack: Beethoven’s Symphony No.7 in A Major. It’s perfect. And, The King’s Speech is lovely.

NARNIA…VOYAGE OF THE DAWN TREADER..2010

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Long for adventure.

Battle evil.

Resist temptation.

Be of good courage.

To Lucy – Believe that you are loved, desirable, and a world changer.

To Edmond – Trust that you have what it takes to succeed and that the you have already defeated the evil one.

To Caspian – Know that you can and must be King. To whom much is given, much is required.

To Eustace Scrubb – Trust that even a dragon can be made new.

Joy waits beyond in Aslan’s  country. Lewis loads his children’s fiction with applicable life lessons, and the films do not fall short. This 3rd installment in the series beautifully captures the crux of a most beautiful story. Head full sail into the unknown to rescue the lost Lords of old. It stirs my heart to dream, along with Reepicheap, of tasting the sweet water and moving “further up and further in!”

Get to know His face. Learn to hear His voice.

Long. Battle. Resist. Be.

Merry Christmas.

P.S. See more of Will Poulter, the actor who played Eustace, in the odd-duck indie Son of Rambow, (2007)

MORNING GLORY…2010

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Message. Films relay messages. This film, by director Roger Michell (Notting Hill), offers insight into a dream attained at the cost of living. It’s that classic idea that life worth living is not lived for work.  Our star example, Rachel McAdams (The Notebook, Time Traveler’s Wife) runs on little sleep, a passion for news, a coffee iv, and high-heeled dashes that would give Andy Sachs a run for her money.  Her initiative rivals Streisand (circa The Way We Were), but to what end? Harrison Ford too easily stepped into the role of overpaid, cantankerous aging reporter, high-maintenance and full of pride. Yet, he her mentor, antagonist, priest, and father figure, arrives at and delivers the conclusions that time spent with people is more important than any award, position, or dream fulfilled. Lovely message.

However, the delivery of that message came in what looked like a glorified pizza box. Characters, though well-acted and incredibly likable, were also equally forgettable.  Rough language detracted from otherwise insightfully written lines. Amoral centerpieces make for a tasteless meal. It’s as though the filmmaker took a dose of his own advice as he made this film and decided that time with his family was more important than making a beautiful film of renown.  Bad Robot (J.J. Abrams) produced this piece, but I would have preferred to see more of his direction in the film. Perhaps he could have worked harder to deliver the message with a moral twist and thereby creating a memorable and more palpable film.