La mia adorabile nemica

Natile Portman and Susan Sarandon play off of each other like a symphony in this coming of age story about a young girl, who is sentenced to life as the daughter of one of the nuttest women you will ever encounter. Sarandon has this ability, call it talent if you will, to play some of the most off-beat characters and bring their humanity to forefront of any film she makes. As the mother of this obviously brilliant and muture beyond her years young girl, Sarandon alternates between being the mom and being the child with the ease of a ballet dancer. More importantly she does it with strength and flare without stomping all over Portman's portrayal of the daughter. The question is always asked when we deconstruct the film plot, who changes? This film is certainly about the daughter, but if you look close at the dreams and sacrifices that Mom makes you come to understand that she changes in step with her daughter. I am willing to bet this makes all of us in the audience change also. The hallmark of fine drama

I picked this movie up because I was curious to see Natalie Portman in something that was pre Star Wars. I liked this movie. Natalie and Susan were wonderful as mother and daughter. Susan Sarandon is such an outstanding actor. Better and better with every movie she does.

Wayne Wang's direction may be the ingredient which made this film much more impressive to me than "Slums of Beverly Hills", which covers remarkably similar ground. The interplay between Susan Sarandon and Natalie Portman is riveting. Real chemistry there. This film succeeded in bringing me inside the dysfunctional life of these two women without dragging me down into depressed frustration. Susan Sarandon's character hammers at all the nerves which a narcissistic parent is capable of touching in an insecure adolescent. She amazingly manages to do this without coming across as floridly insane or intentionally sadistic. And, Natalie Portman deflects each attack on her character's ego with the resigned grace of an intelligent codependent child, untainted by the smug cynicism of the Natasha Lyonne character in "Slums of Beverly Hills". Portman's character is an adolescent with dignity under stress, an unusual creature in modern films. The film reaches a very satisfying resolution without trying too hard. I highly recommend this film to the viewer who wants to be challenged and entertained.

Anywhere But Here

The mother-daughter genre of film is one that is usually laced with caustic wit (POSTCARDS FROM THE EDGE) or draining melodrama (TERMS OF ENDEARMENT). ANYWHERE BUT HERE is the latest entry into this undernourished genre. Falling somewhere in between the two examples above, ANYWHERE is a passable, but strangely distant film. One that for every unsuitable move it makes, it has Natalie Portman and Susan Sarandon to make the wrongs seem so very right.

Abruptly leaving her husband and family behind in Wisconsin, Adele August (Sarandon) takes her teenage daughter Ann (Portman) across the country to live the good and free life in Los Angeles. Having freshly minted a tumultuous relationship with this sudden move, the two find themselves in the strange position of having to rely on themselves and each other in the big bad city. Adele is flighty, irresponsible, and refuses to settle into her role as the parent. Ann is lonesome, homesick, and not sure about the love she has within for her mother. Over the years we watch as struggle after struggle continually opposes the family, with each battle reinforcing the love the two share. Told from Ann's perspective, ANYWHERE is essentially a film about trying to understand the people related to us. The bonds we share with our parents, and how those bonds always seem to work against us.

Based on a novel by Mona Simpson and a screenplay by crisis legend Alvin Sargent (ORDINARY PEOPLE), ANYWHERE is the kind of tragic-comic filmmaking that I usually crave. Unfortunately, ANYWHERE is far from touching. Directed by Wayne Wang, the film isn't nearly as resonate as Wang's earlier multigenerational epic THE JOY LUCK CLUB. Watching Adele and Ann struggle with their growing relationship is more tiring than emotionally satisfying. The flow of the drama fluctuates so much, by the end you're just glad the filmmakers didn't throw in one last argument for good measure. At 120 minutes, ANYWHERE is about six crisis over the limit.

It's the acting in ANYWHERE that takes the film to another level. We all know Susan Sarandon can spin gold with her acting, yet each new film she's been involved with recently (save the September vanity project ILLUMINATA) has shown more and more how commanding an actress she truly is. In ANYWHERE, only Sarandon could give Adele the most annoying characteristics yet ground the performance in love and warmth. Adele really does care for her daughter, she just desperately wants to maintain her own identity for once in her life. Bursting out onto the screen like some kind of Southern California Pokemon, her performance is grand and inviting.

But where does that leave Natalie Portman? After shimmying up into films with should-be-legend performances in THE PROFESSIONAL and the locally shot BEAUTIFUL GIRLS, Portman is like no other teenage actress working today. It's a testament to her sensibilities that we haven't seen her in the latest SCREAM variation or this next wave of AMERICAN PIE type comedies. Portman carries ANYWHERE with grace and dignity. Director Wang should be given the Oscar alone for his choice to just linger on Portman's face for extended times. As expressive as her acting can be, Portman can live a million lives in one glance. With Sarandon, the two create a complex and agreeable mother-daughter relationship for their characters. They share overwhelming chemistry and I hope this won't be the last time the two decide to work together.

Shot with a sparkling color palette by Roger Deakins, Wang captures both the frail beauty of Los Angeles and it's hard realities. I also give Wang credit for properly using dim-bulb actor Shawn Hatosy(OUTSIDE PROVIDENCE). In a small role as Ann's beloved cousin, Hatosy finally shows some talent and charisma. Unfortunately, the film is scored on autopilot by the self-looting Danny Elfman and features the second most aggressive soundtrack push of the year. The songs rarely fit in with the drama and scream "Buy me on sale at Sam Goody!" too blatantly.

Just like the characters in the film, it's hard to hate ANYWHERE BUT HERE as much as it is hard to love. Had Wang left open the emotion door a little more the film might have made a lasting impact. Too many scenes do not pay off the way they should and not enough texture is given to the characters. I would recommend ANYWHERE BUT HERE, only for the opportunity to bask in the glow of two actresses on the top of their game. -----7/10

Natalie Portman and Susan Sarandon play off each other beautifully in this easy going mother/ daughter drama that pulls a switcheroo on the traditional roles.

Sarandon stars as Adele, a fairly wild, out of control dreamer, who decides to leave Bay City, Wisconsin with her daughter Anne, a grounded realist, in order to try and get a teaching job in Beverly Hills.

If one was to summarize the script to this film in one word, it would be under developed. I mean, it's all there, a mother-daughter relationship with a role reversal, a love interest for both, a struggle between the two with a resolution, but this film just seems to happen and then end.

You'll find yourself wondering what any of the side characters are doing in this story apart from making up numbers. The big strength is the performances from Sarandon and Portman and the way they relate to each other. The two play off each other beautifully, with Sarandon giving a fearless performance as an irresponsible, out of control, immature mother that allows Portman to make the most of her role as a responsible, careful young woman growing up and maturing with considerable dignity. This film earned Portman her first Golden Globe nomination, and is an interesting watch for any of her fans. The highlight in the film of the two together is the scene where Portman has to comfort her mother after a painful break-up with the realization written all over her face that this is an absurd reversal of the natural order.

Most of the supporting cast are wasted, with Hart Bochner a particularly grievous waste. So big is Sarandon's performance and so arresting is Portman these characters would have dissolved into the background anyway, but it is frustrating that the script doesn't put the time into developing the side characters. While the film explores sex, death and small town boredom, we don't really know any of the characters these issues are effecting.

Anywhere but Here is worth watching for the excellent performances from the leads, and its easy going tone. Probably not one to go out of your way to track down, but certainly worth watching on cable.