Shot in a nervous intrusive style Rachel Getting Married is a blistering portrait of a family during a tension-filled wedding weekend. The long-simmering conflicts come to the surface at an event that’s supposed to be about good times. Actually the title is a bit of a misnomer since although it is indeed Rachel (Rosemarie DeWitt) getting hitched the plot really revolves around her troubled sister Kym (Hathaway) who comes straight from a stint in rehab to the family gathering. In attending the wedding she brings a boatload of personal issues--sibling and parental resentments and a whole host of other problems guaranteed to make everyone in the room uncomfortable. This all comes to a head early on at the pre-wedding dinner at which she makes an awkward piercing toast that puts the entire place on edge. It doesn’t help that her father (Bill Irwin) is rather weak and overprotective and her mother (Debra Winger) is now remarried and has moved on to a different kind of life--disconnected from her daughters emotionally. The wedding a Hindu ceremony becomes a catalyst for personal confrontations that finally break out into the open. The ensemble cast assembled by director Jonathan Demme is simply unbeatable--led by a breakthrough performance from Hathaway. Her wry ironic humor internal self-loathing seething conflicts and heartbreaking emotional vulnerability are all the by-products of a young woman who desperately needs to be embraced. This is a major acting turn and those who only think of Hathaway from Ella Enchanted and The Princess Diaries are going to be surprised to see the emergence of an actress who is the real thing. As her sister Rachel DeWitt who also was impressive as the mistress in season one of Mad Men doesn’t get to take center stage but has several strong moments. Watch out for this one. Irwin and Winger prove the meaning of the word “pro” in their limited screen time. In just a couple of big scenes Winger totally nails the mother and her need to distance her relationship with her own family. You only wish the part was fleshed out a little more especially since great roles for Winger seem to be few and far between these days. Irwin is equally impressive likeable but clueless as far as the real drama playing out between his daughters. This Tony-winning Broadway veteran gives us a lifetime of information about his character in just a few scattered moments. The Oscar-winning Demme (Silence of the Lambs Philadelphia) has spent the last few years doing documentaries and concert films so it’s nice to report he’s got his mojo back with his first narrative film since 2004’s The Manchurian Candidate remake. Actually Rachel seems influenced by some of his recent non-fictional work with a documentary style approach to screenwriter Jenny Lumet’s somewhat conventional scripting. The use of hand-held cameras is pervasive and has the intended effect of bringing out raw emotions in the kind of cinema verite Robert Altman often employed. In a nod to the obvious inspiration the late Altman is thanked in the end credits. Demme’s in-your-face filmmaking might be oft-putting to some members of the audience but it effectively heightens the reality of the piece separating Rachel from the pack. Ultimately this is a performance piece and Demme has brought out the best of his cast of fine actors gaining award-worthy turns.
Based on Chris Van Allsburg's enchanting award winning children's book the story begins on a snowy Christmas Eve where a doubting young boy lies in his bed waiting to hear the sound he doesn't know if he believes in anymore: the tinkle of Santa's sleigh bells. What he hears instead however is the thunderous roar of an approaching train where no train should be: it's the Polar Express. Rushing outside in only a robe and slippers the incredulous boy meets the train's conductor who urges him to come onboard. Suddenly the boy finds himself embarking on an extraordinary journey to the North Pole with a number of other children--including a girl who has the tools to be a good leader but lacks confidence; a know-it-all boy who lacks humility; and a lonely boy who just needs to have a little faith in other people to make his dreams come true. Together the children discover that the wonder of Christmas never fades for those who believe. As the conductor wisely advises "It doesn't matter where the train is going. What matters is deciding to get on." Gives ya goose bumps doesn't it?
Talk about a vanity project for Tom Hanks. He portrays several of the characters in the film--the conductor the hobo who mysteriously appears and disappears on the Polar Express the boy's father. Wait isn't that Hanks playing Santa Claus as well? But if anyone can pull off some cheesy dialogue about the spirit of Christmas this Oscar-winning actor can. Interestingly the film also incorporates adults to play the children (none of the characters have names actually) with Hanks as the Hero Boy; Hanks' Bosom Buddies pal Peter Scolari as the Lonely Boy; The Matrix Revolutions Nona Gaye as the Hero Girl; and veteran voice actor Eddie Deezen as the Know-It-All Boy. Everyone does a good job but trying to make CGI-created people seem real is a difficult undertaking. With
The Polar Express director Robert Zemeckis has created an entirely new way to do computer animation called "performance capture." "[It's a process that] offers a vivid rendering of the Van Allsburg world while infusing a sense of heightened realism into the performances. It's like putting the soul of a live person into a virtual character " visual effects wizard and longtime Zemeckis collaborator Ken Ralston explains. Oh is that all? Problem is no matter how hard they try it doesn't work--not completely. Similar to flaws in the 2001 Final Fantasy: The Spirits Within virtual characters just can't convey human emotion as well as real-life actors plain and simple. And with a touching story like Polar Express that real-life connection is missed at times.
Of course like the images in the book it's still an exceptionally beautiful film to watch. Zemeckis enjoys being a filmmaking innovator. He charmed audiences with a lively blend of live action and manic animation in the 1988 classic action comedy Who Framed
Roger Rabbit? and then wowed them with the 1994 Oscar-winning Forrest Gump blending authentic archival footage of historic figures with the actors. Now with The Polar Express it's this performance capture which gives Zemeckis unlimited freedom in creating the world he wants. And boy does he make use of it. True the story is a classic but the director knows he has to make The Polar Express exciting for the tykes-- simply riding around in a train to North Pole without any thrills certainly wouldn't be enough for the ADD world we live in. To accomplish this the film is padded with exhilarating scenes such as the train going on a giant roller coaster ride through the mountains and across frozen lakes (too bad Warner Bros. doesn't have a theme park) and the boy's race across the top of the snowy Polar Express. Even the North Pole is a booming magical Mecca filled with some pretty boisterous (and weird looking) elves who like to send Santa off in style Christmas Eve--watch out for Aerosmith's Steven Tyler making a cameo as a jammin' elf. Ho-ho-ho!
It's graduation day for Scotty (Scott Mechlowicz) but the celebration comes to an abrupt end when his girlfriend Fiona (Kristin Kreuk) dumps him by blatantly announcing she has been unfaithful to him--over and over again. At a graduation party that night Fiona makes her point by jumping on stage during rockers Lustra's performance of "Scotty Doesn't Know " which goes something like this: "Scotty doesn't know that Fiona and me do it in my van every Sunday..." Dumbfounded Scotty gets drunk and goes home to confide in his Berlin-based computer pen pal Mieke (Jessica Boerhs) who suggests coming to America for a "rendezvous." Scott rudely rebuffs him (and that's putting it mildly) not aware that Mieke is not a guy but actually a really hot high school girl. He tries to make amends but Mieke won't read his e-mails so his pal Cooper (Jacob Pitts) convinces him to go to Berlin and meet her face-to-face. Short on cash they take a cheap courier flight to London where they meet up with twin pals Jenny (Michelle Trachtenberg) and Jamie (Travis Wester) before hopscotching to Amsterdam Bratislava Rome Vatican City and finally Berlin. Of course the chase is always better than the kill and Eurotrip is no different: Whether Scotty gets Mieke is beside the point; the amusement is all in the journey there. Who knew for example that you could spend the night in a five star hotel and partake in a night of clubbing in Eastern Europe on $1.87 U.S.-and still have 27 cents left over when it's all over?
Newcomer Mechlowicz is perfectly cast as the lead here playing a character that is simple-minded daring sympathetic and charming. But it's Mechlowicz's personal spin--his bewildered expressions--that really nails the role for him whether he is witnessing the twins accidentally making out on the dance floor in a drunken stupor or waking up to find a strange passenger cozying up to him on a train. As his buddy Cooper Pitts (K-19: The Widowmaker) plays the wisecracker of the bunch and although he doesn't go over the top with the crassness there is a little too much David Spade influence in his delivery (and the similar haircuts don't help the matter either). Like the rest of the cast Wester is careful not to typecast his character Jamie a meticulous planner who can't travel without Frommer's by loosening him up slightly. Jamie for example knows when it's time do drop the book and experiment even if it means nude sunbathing. Trachtenberg (Buffy: The Vampire Slayer) also infuses her twin character Jenny with the perfect blend of sexuality and innocence. The result is a cast of mishmash characters that are just so darn likeable. Look for a surprise cameo from Matt Damon as well as small but hilarious performances from Vinnie Jones as Mad Maynard a Manchester United soccer hooligan; Lucy Lawless as S&M mistress Madame Vandersexxx; and Saturday Night Live's Fred Armisen credited as "the creepy Italian guy."
Jeff Schaffer makes his directorial debut here from a screenplay co-written with his longtime partners scribes Alec Berg and David Mandel. And ads touting it as a comedy "from producers of Road Trip and Old School " may be exactly what Eurotrip a comedy starring relative unknowns needs to draw the coveted teen crowd. After all Ivan Reitman the producer responsible for catapulting low budget comedies into box-office gold territory has secured quite a following--and fans won't be let down with this latest offering. Unlike its predecessors Eurotrip isn't afraid to be crass and while the characters are sweet the storyline is anything but. In this Euro-centric tale writing trio Schaffer Berg and Mandel proudly embrace every stereotype imaginable but do so at the expense of the inexperienced foursome which makes the material funny rather than offensive. Nude beaches the young Americans discover aren't necessarily packed with hot gorgeous women and Amsterdam's sex industry isn't exactly the stuff young male fantasies are made of. With one hilarious gag after another as well as funky map graphics with dotted lines that transport viewers from city to city the film maintains its fast-moving pace throughout. Surprisingly the film was shot entirely on location in the Czech Republic with Prague doubling as London Paris Berlin Amsterdam Rome Vatican City Bratislava--and even Hudson Ohio with landmarks such as the Eiffel Tower the Coliseum and Big Ben added using CGI. Accompanied by an awesome soundtrack featuring Lutsra's "Scotty Doesn't Know " Chapeaumelon's "My Generation" and The Salads "Get Loose " this film succeeds on all levels.