WHAT IT’S ABOUT?
Set against the background of 1920s Spain where repression and political upheaval enveloped a nation on the verge of civil war Little Ashes focuses on the emergence of three young artists Salvador Dali Luis Bunuel and Federico Garcia Lorca. When Dali arrives fresh-faced at the University at the age of 18 Bunuel and Lorca welcome him into their decadent group and the trio become fast friends. Their budding friendship is soon threatened however when Dali and Lorca develop a special bond in which their sexual and artistic explorations collide with personal ambition love of country and their own passion for each other.
WHO’S IN IT?
In a performance shot before Twilight made him an international star that women swoon over Robert Pattinson may surprise fans with his spot-on portrayal of the sexually confused over-the-top artist Salvador Dali. With his signature handlebar mustache and a serviceable Spanish accent Pattinson captures the essence of the young Dali convincing in his depiction of the artistic tirades bisexual encounters and egotistical conceit that informed the great painter’s early years. As the object of Dali’s early affections newcomer Javier Beltran is intriguing as the fatalistic and seductive playwright and poet Federico Garcia Lorca while Matthew McNulty is quite fine as Bunuel who himself would go on to become one of Spain’s - and the world’s - most important film directors. As Magdalena and Gala the women who try to tame these artists Marina Gatell and Arly Jover are beautiful and effective even though their roles are really sideshows to the film’s true focus and intentions.
Despite the low budget Madrid in the '20s is nicely suggested and meticulously recreated. Director Paul Morrison has a nice feel for the period and a good eye for casting these tricky roles.
The film tries to bite off more than it can chew covering too much of the era and coming off as a mere overview of these times and key relationships. The idea of seeing the artists as young men is good but not enough time is taken to really show what they are made of. The artistic fire and sexual freedom that must have been prevalent then is glossed over and not totally convincing. This probably would have worked better as a TV mini-series.
BUT SHOULD TWILIGHT FANS LINE UP?
As his first film post-Twilight it won’t matter. Robert Pattinson may be de-fanged here but this independent art-house item won’t be around long enough to become a blip on his new fandom’s radar.
NETFLIX OR MULTIPLEX?
This small flick probably won’t find its way to the local mall. Considering the hard “R” nature of the material Pattinson’s adoring young flock will probably have to wait to see it on DVD anyway.
Don’t let the previews fool you—Terabithia isn’t anything like Chronicles of Narnia. Based on the Newbery-Award winning children’s novel by Katharine Paterson the story is more about childhood friendships and the way imagination can quite literally open new worlds. Jess Aarons (Josh Hutcherson) sees himself as an outsider at school—and at home. He really only feels himself when he’s drawing. Then he meets the new kid Leslie Burke (AnnaSophia Robb) who has just moved from the big city. Despite their differences—she’s rich he’s poor—they become fast friends. Leslie who likes to spin magical stories opens Jess’ eyes to the possibilities and together they create the secret kingdom of Terabithia a mystical place accessible by swinging on an old rope over a stream in the woods near their homes. Interacting with the Terabithian denizens they’ve imagined both evil and good Jess and Leslie learn to deal with the pressures of their young pre-adolescent lives—and learn what the power of real friendship truly means. The young fresh cast really make Bridge to Terabithia work. Robb and Hutcherson are already veteran kid actors: Robb is best known for stealing hearts in Because of Winn-Dixie (another kid novel adaptation) and popping chewing gum as Violet in Charlie and the Chocolate Factory while Hutcherson played the tough older brother in Zathura as well as Robin Williams’ kid in R.V. Their acting experience clearly shows as they make the friendship between Jess and Leslie both genuine and heartfelt. There isn’t a false moment in their performances especially from Hutcherson who at first sends off an I-could-care-less vibe but through his soulful eyes becomes more attached to Leslie and their secret place. And as Jess’ little sister 7 year-old Bailee Madison plays the moppet without any cutesy affectations. As far as the adults are concerned stand outs include Robert Patrick as Jess’ stern dad just trying to make ends meet for his family and Zooey Deschanel as the kids’ music teacher who Jess has a crush on. In 1978 author Katharine Paterson wrote Bridge to Terabithia for her then 11 year-old son David Paterson about a special friendship he had. It was an instant hit. Now David all grown up is able to bring his mom’s touching story to life as one of the writers. Talk about a family effort backed by Walden Media--the geniuses behind Holes and Chronicles of Narnia. Directed by Rugrats creator Gabor Csupo Terabithia truly captures the essence of childhood imagination even I dare say more so than Narnia. Maybe it’s because the idea of Terabithia comes from the minds’ of very real children who are going through very real emotions as they enter into adolescence. Csupo keeps the imagery simple allowing audiences to create a fantasy world filled with mythical creatures right along with the film’s main characters. And if you haven’t read the book you might be surprised by the story’s poignancy. In a saturated field of animated duds and kid films better suited as after-school TV specials Bridge to Terabithia stands out as a one of the better family movies to come around in a long time.
Based on the best-selling book of the same name Fast Food Nation has three intertwined stories revolving around the fast food industry. Don Anderson (Greg Kinnear) is a corporate marketing guy assigned to put a positive spin on the bad news that fecal traces has been found in the meat. He goes to the meat factory to investigate and doesn’t like what he sees but no one offers him a viable solution. Then there’s Raul (Wilmer Valderrama) and Sylvia (Catalina Sandino Moreno) Mexican immigrants who cross the border illegally. The only job they can get is in the meat factory. She bears with demeaning sexual advances while he faces the unhealthy and dangerous conditions to try for the American Dream. Finally we meet Amber (Ashley Johnson) who works in a local franchise. She’s just a high school girl trying to pay for her car insurance. This isn’t her future but it dominates her present. The corporate story is a comedy about ineffective management and media spin. The immigrants’ story is a hard drama about a bad life. Amber’s story straddles both lines--a slacker teen comedy but also introspective about what the job is doing to her soul. It may be no secret these days but it’s still fascinating. There is plenty of juicy dialogue for actors to sink their teeth into (pun intended). Kinnear plays the corporate suit as lovably as possible. He’s the put-upon business cog similar to his characters in The Matador and Little Miss Sunshine but funnier because it’s the system that’s futile not his own dreams. Valderrama has a smaller part just supporting his wife going through a horrible life with noble determination. Moreno is as heartbreaking as she was in her Oscar-nominated performance in Maria Full of Grace. You sense so much potential in her and she’s stuck in the factory demeaned by sexual harassment and unable to save her sister from succumbing to it. She adds new colors of despair to the immigrant experience. Johnson is careful not to make her character too wise beyond her years. She really is just a normal kid. High school sucks so do counter jobs. It’s not about being unique just relatable. Cameos stand out too. Ethan Hawke plays the coolest uncle ever. He comes to town for two scenes spouts off his cool-uncle advice and then leaves. Even though he’s a self-confessed loser he’s convincing. And he buys her beer. Bruce Willis gives a speech on the meat industry with his David Addison smirk while chomping into a burger. We’re sold. Director Richard Linklater does a good job keeping the comedy and drama balanced. He cuts back and forth between stories at sensible intervals. Towards the end Greg Kinnear disappears for a long time but Ashley Johnson’s story beefs up to compensate. Showing the inner workings of the meat factory is pretty powerful. Cow guts falling out and bodies mangled by machinery are not fun things to watch but they are important to remember. It’s all up there on the screen but not gratuitous—and doesn’t have to ruin meat forever. Just think how all foods have processes that we don’t see and still taste good. There are plenty of scenes in which the characters are talking a real Linklater specialty (Before Sunset Before Sunrise for example). Whether they’re talking about meat or minimum wage jobs or life ambitions the conversations have a catchy flow. The satire of corporate America and slacker lifestyles juxtaposed against the drama of immigrant life makes Fast Food Nation both ridiculously funny and appropriately uncomfortable.