Emma_Stewart
Feb. 2011 ist beigetreten
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It's not hard to guess why critics and audiences might be turned off by Cake. For the first half, Jennifer Aniston's Claire is snarky with a comeback for everything, manipulates and abuses everyone around her, and indulges in a constant, expensive pity party, and we aren't told why. Once the meat of the story reveals itself, however, Cake is astonishingly clever, delicate, and emotional.
Claire Bennett is the apparent victim of an unexplained accident that left her with chronic pain, a bad attitude, and a trail of broken relationships. After a woman in her pain support group commits suicide, Claire tracks down the woman's husband in a curiously misguided search for answers.
It's not the most unique premise, but screenwriter Patrick Tobin takes the story in unexpected directions, avoiding clichés and handling the subject matter with surprising grace. Director Daniel Barnz could have used some more time in the editing room -- certain side characters and subplots get either more or less time and background than they deserve; why Anna Kendrick's character made it past a rough cut is beyond me -- but in his hands a wordy screenplay becomes visually interesting, moves along at a comfortable pace and is backed by a reflective, unobtrusive score. His direction, and so the movie, really won me over at the climax, where after an hour and a half of sarcasm and one-liners Claire shuts up for once and finally lets the pain in. It's a beautiful, heartrending scene, and the decision to rest Cake on Jennifer Aniston's shoulders was absolutely the right one.
I never thought much of Adriana Barraza in Babel and have only seen her in a couple of other movies but she adds so many personal touches to the role of Claire's maid/cook/home health aide/best friend, she has a real talent for empathy and nuance. Jennifer Aniston, though, is the standout. She clearly reveled in the chance to break away from Rachel and she aced it. There's a tiny moment where Sam Worthington's character tells her she's messed up, and she plays the reaction shot so completely differently from anything she's done in the past - that's when I really started believing her in the role and she only got better from there. She nails her character's dry sense of humor and selfishness, and knows exactly how much charm to give her to make her watchable if not likable. It's a seriously committed, seamless, career-defining performance and she'd be my pick for this year's Oscar.
Verdict: watch it for Jennifer Aniston, walk away pleasantly surprised.
Claire Bennett is the apparent victim of an unexplained accident that left her with chronic pain, a bad attitude, and a trail of broken relationships. After a woman in her pain support group commits suicide, Claire tracks down the woman's husband in a curiously misguided search for answers.
It's not the most unique premise, but screenwriter Patrick Tobin takes the story in unexpected directions, avoiding clichés and handling the subject matter with surprising grace. Director Daniel Barnz could have used some more time in the editing room -- certain side characters and subplots get either more or less time and background than they deserve; why Anna Kendrick's character made it past a rough cut is beyond me -- but in his hands a wordy screenplay becomes visually interesting, moves along at a comfortable pace and is backed by a reflective, unobtrusive score. His direction, and so the movie, really won me over at the climax, where after an hour and a half of sarcasm and one-liners Claire shuts up for once and finally lets the pain in. It's a beautiful, heartrending scene, and the decision to rest Cake on Jennifer Aniston's shoulders was absolutely the right one.
I never thought much of Adriana Barraza in Babel and have only seen her in a couple of other movies but she adds so many personal touches to the role of Claire's maid/cook/home health aide/best friend, she has a real talent for empathy and nuance. Jennifer Aniston, though, is the standout. She clearly reveled in the chance to break away from Rachel and she aced it. There's a tiny moment where Sam Worthington's character tells her she's messed up, and she plays the reaction shot so completely differently from anything she's done in the past - that's when I really started believing her in the role and she only got better from there. She nails her character's dry sense of humor and selfishness, and knows exactly how much charm to give her to make her watchable if not likable. It's a seriously committed, seamless, career-defining performance and she'd be my pick for this year's Oscar.
Verdict: watch it for Jennifer Aniston, walk away pleasantly surprised.
Short Term 12 opens with a story that lets us know immediately how irrational and threatening the charges at the titular care facility can be, how scary the job is, and how bleak prospects are for children upon leaving the facility. It sets itself up perfectly to be a Hilary Swank save-the-kids vehicle filled to the brim with plenty of crying scenes, lives changing for the better, and other assorted white savior nonsense. But instead, the film unfolds delicately and organically, never playing up the drama or belittling its characters or ingratiating the audience; director Destin Cretton has crafted a marvelously intimate and observant masterpiece that reaffirms what a powerfully emotional and cathartic medium cinema can be when filmmakers eschew cheap tricks in favor of intelligent, realistic and heartfelt storytelling.
First-day employee Nate (Rami Malek) is our window into the isolated, fascinating world of Short Term 12, a home where at-risk adolescents can stay for up to a year - though some, like soon to be released Marcus (Keith Stanfield), have been there much longer. Jessica (Stephanie Beatriz) and secret couple Grace and Mason (Brie Larson and John Gallagher, Jr.) round out the line staff, who are instructed not to play the role of therapist but merely to maintain a safe environment for their charges and keep them in check. A new arrival (Kaitlyn Dever) shakes things up both at the facility and in Grace's personal life as her familiar battle scars threaten to dredge up events in Grace's past that she would rather not confront.
Larson is unrecognizable here. She comes across much older than her 23 years, weighed down by the weary maturity of a girl who grew up too fast. As compassionate and sisterly as Grace is with her charges, Larson's deadened eyes and perennial half-smile suggest hidden darkness and pain that she slowly and surgically reveals at exactly the right moments.
But the greatest strength of her performance is the way she executes her explosive arc flawlessly while never stealing attention away from her costars. John Gallagher, Jr., Keith Stanfield and Kaitlyn Dever are assigned the stock roles of nice guy, rebellious black kid and sultry goth girl but all do so much to add layer upon layer to their characters until they are as complex and well-defined as Grace is. Stanfield and Dever in particular are revelations, delivering the film's most heartbreaking moments in the form of a violently angry rap and a disturbingly metaphoric children's story. Larson is at the center of all this, but the beauty of her performance is that no matter how much Grace is struggling in these scenes, she never draws the focus to herself and blends quietly and perfectly into the ensemble.
There are plenty of high-emotion and high-volume scenes like Dever and Stanfield's respective breakdowns, but Cretton weaves the film with a steady hand and a level head - it never gets overwhelming and in spite of some questionable plot developments in the third act he maintains a measured state of earthy normalcy. His even direction, coupled with the natural performances and a shrewd, quiet sense of humor in the writing about the characters' hysterics and interactions, take what could have been overcooked to the point of after-school special melodrama and make it play out like a regular day in the life of these characters. Montages of the kids' day-to-day activities, throwaway shots of people sitting or playing together, wards looking at their birthday cards or redecorating their bedrooms - it's the simple things that carry the most meaning, and that cumulatively make Short Term 12 feel very much like home.
First-day employee Nate (Rami Malek) is our window into the isolated, fascinating world of Short Term 12, a home where at-risk adolescents can stay for up to a year - though some, like soon to be released Marcus (Keith Stanfield), have been there much longer. Jessica (Stephanie Beatriz) and secret couple Grace and Mason (Brie Larson and John Gallagher, Jr.) round out the line staff, who are instructed not to play the role of therapist but merely to maintain a safe environment for their charges and keep them in check. A new arrival (Kaitlyn Dever) shakes things up both at the facility and in Grace's personal life as her familiar battle scars threaten to dredge up events in Grace's past that she would rather not confront.
Larson is unrecognizable here. She comes across much older than her 23 years, weighed down by the weary maturity of a girl who grew up too fast. As compassionate and sisterly as Grace is with her charges, Larson's deadened eyes and perennial half-smile suggest hidden darkness and pain that she slowly and surgically reveals at exactly the right moments.
But the greatest strength of her performance is the way she executes her explosive arc flawlessly while never stealing attention away from her costars. John Gallagher, Jr., Keith Stanfield and Kaitlyn Dever are assigned the stock roles of nice guy, rebellious black kid and sultry goth girl but all do so much to add layer upon layer to their characters until they are as complex and well-defined as Grace is. Stanfield and Dever in particular are revelations, delivering the film's most heartbreaking moments in the form of a violently angry rap and a disturbingly metaphoric children's story. Larson is at the center of all this, but the beauty of her performance is that no matter how much Grace is struggling in these scenes, she never draws the focus to herself and blends quietly and perfectly into the ensemble.
There are plenty of high-emotion and high-volume scenes like Dever and Stanfield's respective breakdowns, but Cretton weaves the film with a steady hand and a level head - it never gets overwhelming and in spite of some questionable plot developments in the third act he maintains a measured state of earthy normalcy. His even direction, coupled with the natural performances and a shrewd, quiet sense of humor in the writing about the characters' hysterics and interactions, take what could have been overcooked to the point of after-school special melodrama and make it play out like a regular day in the life of these characters. Montages of the kids' day-to-day activities, throwaway shots of people sitting or playing together, wards looking at their birthday cards or redecorating their bedrooms - it's the simple things that carry the most meaning, and that cumulatively make Short Term 12 feel very much like home.
There's a scene in Long Walk to Freedom, just after Mandela is finally released from prison, where hundreds of people crowd his car and cheer and dance for him, and my immediate thought was "but he hasn't done anything." And that about sums up the movie: in spite of its 150-minute runtime it really gives no insight into who Nelson Mandela was or why he was important. There are hints of a great movie in there, but it probably should have been a mini-series instead; the runtime constricts it so much it feels like more like a highlight reel than a biography. There's no arc, no momentum, and no aspect of Mandela's life is prioritized enough to leave a mark. Dramatic things just happen with no context, no significance, no direction.
Naomie Harris though is extraordinary as the ferocious Winnie. Her anger and passion are so raw and pure; she is the heart and fire of the film and it's at its best when she's on screen (which unfortunately is not often). Idris Elba nails the accent and physicality but, amazingly, isn't given much else to do. His scenes mostly lie on the same emotional plane and all that's asked of him is to look poised and deliver speeches. Nelson Mandela was a fascinating and controversial man and deserves better than the run-of-the-mill, dramatically inert snooze that is Long Walk to Freedom.
Highlights: - Idris Elba's old man dance - Naomie Harris' authoritative, vigorous performance - A gorgeous wedding scene
Grade: - Not even good enough for a middle school history class
Naomie Harris though is extraordinary as the ferocious Winnie. Her anger and passion are so raw and pure; she is the heart and fire of the film and it's at its best when she's on screen (which unfortunately is not often). Idris Elba nails the accent and physicality but, amazingly, isn't given much else to do. His scenes mostly lie on the same emotional plane and all that's asked of him is to look poised and deliver speeches. Nelson Mandela was a fascinating and controversial man and deserves better than the run-of-the-mill, dramatically inert snooze that is Long Walk to Freedom.
Highlights: - Idris Elba's old man dance - Naomie Harris' authoritative, vigorous performance - A gorgeous wedding scene
Grade: - Not even good enough for a middle school history class
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