JohnDeSando
Iscritto in data ott 2001
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Valutazione di JohnDeSando
"I'm going to do to Kletzki what Auschwitz couldn't." Marty Mauser (Timothee Chalamet)
Marty Supreme is just as disrespectful as that quote but just as outrageously engaging as we watch Timothee Chalamet do another star turn, this time as the titular table-tennis champ (based on champ Marty Reisman) working his way in 1952 to the world championship. To the above quote he adds, "It's alright. I'm Jewish, I can say that").
As Chalamet did with Dylan in A Complete Unknown, he becomes his character-brash, ambitious, reckless-a Jewish cultural rocket in the spirit of director Josh Safdie's magnificent Uncut Gems (with his brother, Benny) starring Adam Sandler.
Audiences will enjoy a Jewish upstart from the Lower East Side (think Budd Schulberg's What make Sammy Run in a more bruising way) pushing past corporate dinosaurs and resistant family to win the affections of middle-aged Hollywood star Kay (Gwyneth Paltrow), married girlfriend Rachel (Odessa A'Zion), and a Japanese audience that delights seeing him table-tennis tortured by their own hero, Koto Endo (Koto Kawaguchi-a real champ).
Marty is a brilliant American ambition machine winning and losing but carrying the US torch of reckless bravado that won a war and saved cultures world-wide. It takes only a sequence with an aggressive dog to realize the dogs of that world will not let him win completely. Like America, he will continue to offer our youthful zest and bravery to a globe yearning for peace and affection.
Announcing that he is Hitler's worst enemy, Marty says, "Look at me. I'm here." Marty Supreme promotes the blessed nature of immigrant ambition and the salutary effect of love. Along with an unusual sports motif, it is a surefire delight that offers the excitements of competition and the blessings of caring. Watch for this estimable dramedy at Oscar time.
Marty Supreme is just as disrespectful as that quote but just as outrageously engaging as we watch Timothee Chalamet do another star turn, this time as the titular table-tennis champ (based on champ Marty Reisman) working his way in 1952 to the world championship. To the above quote he adds, "It's alright. I'm Jewish, I can say that").
As Chalamet did with Dylan in A Complete Unknown, he becomes his character-brash, ambitious, reckless-a Jewish cultural rocket in the spirit of director Josh Safdie's magnificent Uncut Gems (with his brother, Benny) starring Adam Sandler.
Audiences will enjoy a Jewish upstart from the Lower East Side (think Budd Schulberg's What make Sammy Run in a more bruising way) pushing past corporate dinosaurs and resistant family to win the affections of middle-aged Hollywood star Kay (Gwyneth Paltrow), married girlfriend Rachel (Odessa A'Zion), and a Japanese audience that delights seeing him table-tennis tortured by their own hero, Koto Endo (Koto Kawaguchi-a real champ).
Marty is a brilliant American ambition machine winning and losing but carrying the US torch of reckless bravado that won a war and saved cultures world-wide. It takes only a sequence with an aggressive dog to realize the dogs of that world will not let him win completely. Like America, he will continue to offer our youthful zest and bravery to a globe yearning for peace and affection.
Announcing that he is Hitler's worst enemy, Marty says, "Look at me. I'm here." Marty Supreme promotes the blessed nature of immigrant ambition and the salutary effect of love. Along with an unusual sports motif, it is a surefire delight that offers the excitements of competition and the blessings of caring. Watch for this estimable dramedy at Oscar time.
"We're all just waiting to see what we've been kept here for." Claire (Kerry Condon)
Robert Granier (Joel Edgerton) waits patiently at the turn of the 20th century for the beauty he quietly experiences in the Pacific Northwest. He's a loner logging and railroading until he meets his love, Gladys (Felicity Jones), builds a cabin, and has a baby.
Train Dreams (Netflix) is a quiet treatise on the dreams of a rugged, poetic loner dealing with the changes brought to the wilderness and the tragedies that accompany any life robust enough to look Nature in the eye, accept its beauty, and deal with its harsh reality either from bad men or capricious life. More than once he exclaims to his wife and child about the beauty of life while he accepts the horrors that come inevitably in raw nature and the dangerous luxury of living away from civilization.
As a rail worker he witnesses malevolence of rogue workers murdering helpless immigrants as well as the indiscriminate horror of unchecked wild fires. His urge to be with his family is itself checked by the demands of the burgeoning forestry industry and the link he shares with everyone else clamoring to get on board with progress symbolized by the train and the dreams it foments and the evils it ushers.
After being untethered from his family, he experiences life as director Terence Malik would depict it-at one with Nature and its beautiful and dangerous caprices. Robert asks nothing of Nature other than allowing him to partner with it as civilization careens into the future with chainsaws and mighty bridges.
Train Dreams is a poem about the vagaries and beauties of modern life just as, say Jeremiah Johnson and Grizzly might have witnessed it. The connection of the living and the dead is apparent in every image of director Clint Bentley: "The dead tree is as important as the living one." (Claire)
Robert Granier is all of us wondering at the beauties of life and acceptance of the costs progress demands. One of the best movies of the year and a classic in the loner genre.
Joel Edgerton deserves the nominations that will be pouring in.
Robert Granier (Joel Edgerton) waits patiently at the turn of the 20th century for the beauty he quietly experiences in the Pacific Northwest. He's a loner logging and railroading until he meets his love, Gladys (Felicity Jones), builds a cabin, and has a baby.
Train Dreams (Netflix) is a quiet treatise on the dreams of a rugged, poetic loner dealing with the changes brought to the wilderness and the tragedies that accompany any life robust enough to look Nature in the eye, accept its beauty, and deal with its harsh reality either from bad men or capricious life. More than once he exclaims to his wife and child about the beauty of life while he accepts the horrors that come inevitably in raw nature and the dangerous luxury of living away from civilization.
As a rail worker he witnesses malevolence of rogue workers murdering helpless immigrants as well as the indiscriminate horror of unchecked wild fires. His urge to be with his family is itself checked by the demands of the burgeoning forestry industry and the link he shares with everyone else clamoring to get on board with progress symbolized by the train and the dreams it foments and the evils it ushers.
After being untethered from his family, he experiences life as director Terence Malik would depict it-at one with Nature and its beautiful and dangerous caprices. Robert asks nothing of Nature other than allowing him to partner with it as civilization careens into the future with chainsaws and mighty bridges.
Train Dreams is a poem about the vagaries and beauties of modern life just as, say Jeremiah Johnson and Grizzly might have witnessed it. The connection of the living and the dead is apparent in every image of director Clint Bentley: "The dead tree is as important as the living one." (Claire)
Robert Granier is all of us wondering at the beauties of life and acceptance of the costs progress demands. One of the best movies of the year and a classic in the loner genre.
Joel Edgerton deserves the nominations that will be pouring in.
As an actor, Brendan Fraser is a contradiction-this large man looks like he can barely handle his loneliness much less his height and weight. Yet, as he showed in his Oscar-winning The Whale, his loneliness resonates with all of us, big and small.
In Rental Family he plays an ex-pat actor, Phillip, trying to revive his career by seeking work in Tokyo. Not as easy as it seems, for hiring out, for instance, as a bereaving American at a funeral proves he has much to learn about the authenticity of those at the wake, many of them having been hired, even the corpse. He has found work as part of the titular Rental Family.
While the job may seem surface and even heartless, a sensitive actor like Phillip can't help but connect with the needy families, to the extent he may endanger his employer and even the families. However, the more he interacts with them, the more he satisfies their need to connect with a stranger who brings them unity and charity and he with second families fulfilling their need for resolution of current problems to be alleviated by his unique bonding talent.
Co-writer/director, Hikari, deftly navigates between the players to make even disparate situations seem to connect, largely due to the universal sympathy they all evoke. Shannon Mahina and Akira Emoto are also exceptional as Mia and Kiko, respectively. For instance, young Mia (Shannon Mahina) accepts Phillipe as her absent dad, nurturing their union until he must deal with his imposter pose yet accept his loving humanity despite the lie.
The cliched, even sometimes, maudlin Rental Family is neutralized by the entire cast's good cheer, as if they understood the human need for connection regardless of the circumstance. The major good will comes from Fraser's ability to evoke empathy. You may not need to rent your own surrogate-you'll find the real you in LA or Tokyo, and find it you will in Rental Family.
In Rental Family he plays an ex-pat actor, Phillip, trying to revive his career by seeking work in Tokyo. Not as easy as it seems, for hiring out, for instance, as a bereaving American at a funeral proves he has much to learn about the authenticity of those at the wake, many of them having been hired, even the corpse. He has found work as part of the titular Rental Family.
While the job may seem surface and even heartless, a sensitive actor like Phillip can't help but connect with the needy families, to the extent he may endanger his employer and even the families. However, the more he interacts with them, the more he satisfies their need to connect with a stranger who brings them unity and charity and he with second families fulfilling their need for resolution of current problems to be alleviated by his unique bonding talent.
Co-writer/director, Hikari, deftly navigates between the players to make even disparate situations seem to connect, largely due to the universal sympathy they all evoke. Shannon Mahina and Akira Emoto are also exceptional as Mia and Kiko, respectively. For instance, young Mia (Shannon Mahina) accepts Phillipe as her absent dad, nurturing their union until he must deal with his imposter pose yet accept his loving humanity despite the lie.
The cliched, even sometimes, maudlin Rental Family is neutralized by the entire cast's good cheer, as if they understood the human need for connection regardless of the circumstance. The major good will comes from Fraser's ability to evoke empathy. You may not need to rent your own surrogate-you'll find the real you in LA or Tokyo, and find it you will in Rental Family.