WHAT’S IT ABOUT?
Julie & Julia melds the analogous stories of cooking legend Julia Child’s life in 1950s France with the modern-day tale of writer Julie Powell’s real-life quest to prepare all 524 recipes in Child’s classic tome Mastering the Art of French Cooking. The film neatly covers Child’s life in post-World War II Paris with her foreign diplomat husband Paul her foray into and eventual mastery of French cooking and the difficulties she encountered while trying to publish her groundbreaking cookbook. Intercut with Child's story is Powell’s decision to shake up her life as an unfulfilled government employee in post-9/11 New York by challenging herself to cook and blog. Her inevitable trials (she burns an important meal gets in trouble at work and pisses off her husband) and victories (a perfectly poached egg a write-up in the New York Times) are all included.
WHO’S IN IT?
Ever lovely Amy Adams plays endearingly bedraggled Julie with hopeful conviction and Chris Messina is cute and convincing as her sweetly supportive husband. It is of course Meryl Streep who steals the show with her joyful high-energy portrayal of the 6-foot-2 master chef. Streep as she is apt to do turns in a nuanced humanizing and wholly hilarious portrayal of a cultural icon many associate with Dan Akroyd's impressions on Saturday Night Live.
Stanley Tucci proves a savvy charismatic match for Streep as Paul Child Julia’s affectionate charming and unflinchingly supportive husband. Jane Lynch momentarily steals Streep’s spotlight as Julia’s equally tall equally whirling dervishy sister Dorothy.
Julie’s life in Queens is populated by Mary Lynn Rajskub who plays her pragmatic friend and Casey Wilson and Vanessa Ferlito who make memorable cameos as Julie’s condescending corporate ladder-climbing carb-avoiding frenemies.
All of it. Nora Ephron’s script elegantly weaves the story of Child in Paris and Powell in Queens portraying both locales as the prettiest freshest versions of themselves. The film is a joy to look at not only for the sumptuous shots of Powell’s many creations and Child’s rich French fare but also for the pristine recreation of the style and fashion of 1950s Paris. It will make you want to drink champagne cocktails wear chiffon and eat chocolate cake. And beef. And bruschetta. And anything else available.
The film is superbly acted and manages to be funny inspiring and poignant without falling into schlocky chick-flick territory. The story is refreshing in its depiction of two happy drama-free marriages. The true romance here is with all the gorgeous food which Streep Tucci Adams and especially Messina consume with joyful gusto.
At just over two hours the film runs a bit long especially for a comedy. Although it never slows or bores several scenes about publishing the cookbook could have been shortened or cut completely to pick up the pace. While the ending is lovely the film then wraps up a bit hastily.
Julia first learning her cookbook might be published and frenetically rushing into the house screaming “Paul! Paul Paul Paul!” while nearly tripping over herself has just a slight advantage over the scene in which Julie confronts her moral dilemma about killing lobsters and is subsequently traumatized while boiling them alive.
Finely crafted from start to finish Meryl and the food take the cake so to speak in terms of star power. The movie is lighthearted fare for anyone desiring inspiration in the kitchen — or any other life department for that matter.
Luke (Steven Strait) and Brier (Pell James) first cross paths on a New York City subway before the doors shut on their instant attraction to one another. Of course it is immediately and abundantly clear that they will naturally meet up again before long but where and how? The answers: L.A. and well it's complicated. Each having forgotten about the other Brier a top model in NYC decides she needs a change of scenery and tells her agent (Carrie Fisher clearly in it for the paycheck) she's heading out to L.A. to pursue acting while Luke and his brother Euan (Kip Pardue) decide to move to the West Coast as well. Once there Brier befriends Clea (Ashlee Simpson) and on her first night in town takes Brier to a local dive bar where Luke works as a struggling "musician." Wow that's some coincidence. There is an instant re-connection between Luke and Brier but she refuses to get involved with musicians since her rock-star ex mistreated her. Instead she shifts her focus on generating buzz for Luke. Eventually Luke gets the big recording contract becomes the rock-star jerk he'd swore he'd never become and loses it all. But all is well when Brier decides she can no longer resist Luke's ballads and Metallica-guitarist-circa-'85 hair.
The theme of Undiscovered could apply to its cast. Each of the four leads are on the cusp of being on the cusp and certainly they hope this movie will take them one step closer. For James that might happen. She is a natural on screen and gives a breakthrough performance as the comely Brier. Strait is also a relative newcomer. After turning his debut performance in this summer's Sky High he holds his own in Undiscovered but seems to be relegated to taking his shirt off to make the teenyboppers swoon. Finally there's Simpson who is also making her major-role debut. It's awkward to see her on-screen and yes subconsciously you wait for her to make a noticeable mistake (or butcher a voice-over due to acid reflux). Of course it doesn't happen; she moves along pretty smoothly but is at times subjected to dialogue that seems beyond her especially when she has to words big words such as "banter." And certainly it's not her fault when she describes Luke--a musician best left struggling--as "a cross between Jeff Buckley and Elvis Costello." That's just someone else's words she reciting.
Prolific music-video director Meiert Avis is making his feature film directorial debut with Undiscovered--and his obvious greenness shows. At times the film is more like a music video surrounded by a weak storyline than a cohesive film. His expertise in the rather linear realm of music videos doesn't exactly qualify him for the complexities of a 90-minute film contrived and straightforward as his debut may be. Avis tries to employ every possible clichéd obstacle for the characters to overcome--which reeks of inexperience but could also be the screenwriter's fault. No doubt Avis feels at home with newcomers such as Strait and Simpson who--for all intents and purposes--sing and act but the plethora of singing scenes feel forced. That is forced into the script to showcase the soundtrack when the movie goes undiscovered at the box office.
From the creators of the TNT miniseries Gettysburg including executive producer Ted Turner and writer/director Ronald F. Maxwell Gods chronicles the Civil War from its beginnings when the South rises up. Confederate General Robert E. Lee (Robert Duvall) a distinguished military man but also a loyal native Virginian chooses to fight for his home rather than his country while Thomas "Stonewall" Jackson (Stephen Lang) a devoutly religious man becomes Lee's most trusted lieutenant. On the other side we have Colonel Joshua Chamberlain (Jeff Daniels) a professor from Maine who ends up one of the Union's finest military leaders. In between there are glimpses of the wives and families left behind. Stories of this magnitude with their dramatic bloody battles and tragic endings usually leave you numb or crying for those lives lost and destroyed. Instead Gods and Generals holds no resonance whatsoever meticulously plotting out the details and making this decisive moment in American history interminable at three and a half hours. It's like wading through a textbook--or worse watching Civil War fanatics carefully reenact the famous battle scenes on the very ground they were fought over and over again--while the players stand around quoting long-winded verse from the Bible or Shakespeare's Julius Caesar. Blech.
The actors in Gods and Generals must have honestly thought they were making something important when they signed up. Main players Lang (who played Major Gen. George Pickett in Gettysburg) and Daniels (who reprises his Gettysburg role as Chamberlain) have their moments but after hearing them recite one speech after another especially Lang's Jackson who says more prayers to God than anything else you start to wonder if they ever realized they made a mistake. (Or have we for sitting through it?) One of the more superfluous scenes is when Jackson and his black cook Jim played by Frankie Faison are standing outside in the freezing cold night for about 15 minutes both looking up at the stars and praying to God. It seems like the actors are trying to make such sermonizing poignant meaningful but all this pontification simply drags the movie further down. These speeches aren't just Lang's and Daniels' territory--Mira Sorvino as Chamberlain's wife and Kali Rocha as Jackson's wife get their own personal moments in the sun too. If you count the cast of thousands each with their own things to say well you get the point. Thankfully Duvall who is the only good thing about the movie gets to keep the talking to a minimum.
If you want to see a Civil War melodrama at its best where watching the heroes race through a sacked city makes you hold your breath and witnessing horrific hospital scenes makes you squirm then watch Gone With the Wind. If you want gut-wrenching Civil War battles or more understanding of how slaves truly felt then watch Glory. If you want a heartening history lesson about the Civil War that not only teaches you about the era's political machinations but also shares the insights and thoughts of the men and women who experienced it then watch Ken Burns' documentary series The Civil War. Gods and Generals offers none of that in its dry textbook version of the Civil War which uses the same shots are used over and over again (how many times does the camera pan up to the night sky or show the panoramic view of Fredericksburg Virginia? I lost count) features more actors waxing prophetic than real drama and actually makes you yawn during what should be intense battle scenes.