"You can make her do anything you want… For men everywhere tell me you're not going to let that go to waste."
It's a chilling turn of phrase that Chris Messina's character Henry utters when he meets the woman that his brother Calvin wrote into being. Calvin played by Paul Dano is a frustrated writer but more than that a writer who published to great acclaim at a young age who has yet to do anything since. He begins writing a character named Ruby Sparks and as he falls in love with his creation he can't stop writing. It's exhilarating and addictive. Played by Dano's real-life girlfriend Zoe Kazan Ruby Sparks is a one-dimensional male fantasy a cutesy young woman on roller skates… until she appears in his kitchen one morning. Calvin quickly learns that even though he can control her with a few taps on his typewriter Ruby has an ever-changing will of her own.
Ruby Sparks is written by Kazan with the sort of bite that a trailer can't be tied up with a neat little bow. There is gorgeous California sunshine an airy house in a hip part of Los Angeles the trendy Figaro café where Calvin finds out that other people can see Ruby and a delightful interlude with Calvin's hippie mother and stepfather played by Annette Bening and Antonio Banderas. As gorgeous and gleeful and wide-eyed as Ruby is and as much as Calvin adores her the relationship develops and changes even as he succumbs to the temptation to rewrite her. Calvin an essentially insecure man unravels and becomes more and more of a controlling jerk until he's faced with the truth of how far he's willing to go to keep Ruby from leaving him. It becomes sad and frankly disturbing with an admirably raw performance by Kazan that lingers.
While Ruby Sparks serves as an interesting commentary on wish fulfillment in fiction writing its juicy subtext is far more important. Under the surface the film delves into how we're culpable for the way we see our lovers and how we want to change them or make them something they're not. Eventually Calvin has to decide whether or not he wants to continue editing Ruby to fit his specifications; he has to face that that means about him as a person and as a man. It's Pygmalion with a feminist twist. We see plenty of dumb romantic comedies about women tricking men into changing but it seems like there's an endless parade of indie films written by men about loveably girly women whose only reason for being is to act as a catalyst for the man's emotional growth. While this is absolutely true in some ways for Ruby and Calvin there's a meat to the script and Kazan's performance that makes "Ruby" rise to the top. There are plenty of words (or that overused phrase) we can use to describe Ruby but in the end Calvin wrote those traits into her and these are details that Ruby shucks off as she grows. Similarly as women grow up we learn we can (and have to) stop performing tricks to become the person our significant other wants or sees in us.
Without revealing too much the end of Ruby Sparks could be read a number of ways. On one hand it is a bit of a misstep that undermines the general thrust of the story but it could also be seen as simply a happier more hopeful ending. Romantics will find it satisfying but those hoping for Ruby's full emancipation might find it lacking.
This is the first film for directors Jonathan Dayton and Valerie Faris since 2006's Little Miss Sunshine and although they have much in common — including Dano — Ruby is a darker unrulier movie. The idea of movie-goers being led in to see Ruby because of Faris and Dayton's names or because of the trailer is delightful because they're going to get a little bit of a different experience than they're prepared for.
[Full disclosure: I interviewed Zoe Kazan for a profile in the August/September issue of BUST magazine.]
Based on the prize-winning novel by Zoe Heller Notes on a Scandal is a case study in obsessive relationships. When Sheba Hart (Cate Blanchett) joins a London secondary school as the new art teacher fellow teacher Barbara Covett (Judi Dench) who rules her young charges with an iron fist senses a kindred spirit—and perhaps salvation to her lonely existence. But as Barbara notes in her acerbic diary she is not the only one drawn to the luminous Sheba. She soon begins an illicit affair with one of her high school students (Andrew Simpson) and Barbara suddenly becomes the keeper of Sheba’s secret. Barbara could expose Sheba to both her husband (Bill Nighy) and the world but instead Barbara manipulates it for her own nefarious and selfish reasons. And in playing this dangerously compulsive game Barbara’s own secrets come tumbling to the fore exposing the deceptions at the core of each of the women's lives. Dench and Blanchett give tour-de-force performances yet again. Blanchett’s natural effervescence provides the beacon for all the wanted—and unwanted—attention Sheba receives but it’s her fragile emotional state that draws you in. Played like a wounded butterfly Sheba is too weak to either stave off a dalliance with the young gent—played with convincing lustfulness by newcomer Simpson—or tell the stifling Barbara to bugger off despite the consequences. Then there’s Dench as Barbara representing the opposite end of the spectrum as Notes’ driving force. She’s a bull dog whose withering glares stop her students in their tracks and cutting remarks slice her fellow colleagues to bits all punctuated by her caustic running commentary. Still when Barbara turns madly obsessive with her soft underbelly eventually exposed she crumbles with the best of them. And the best part of Notes is watching these two brilliant actress go toe-to-toe for the first time on film. The underrated Nighy also does a fine job ditching his Pirates of the Caribbean’s tentacles to play Sheba’s down-to-earth yet hapless husband. A top-notch cast all around. Director Richard Eyre is no stranger to crafting intimate pro-actor dramas having helmed such films as Stage Beauty and the Oscar-nominated Iris. He understands where to move the camera to best frame his players as they pour their hearts out on screen. And with Notes on a Scandal Eyre knows that besides his two leading ladies the real star of the film is playwright/screenwriter Patrick Marber’s superb adaptation of Heller’s introspective novel. Voice-over narration is always a tricky film device but for Notes on a Scandal it’s absolutely essential and Marber faithfully captures the inner-workings of Barbara’s skewed thoughts which she fervently writes down in her diary in such delectable ways. Then he entwines the twisty events around these two women. Much like his other work including the exquisite Closer Marber hands in another true gem. Combined with all this is another haunting pulse-pounding score from Philip Glass (The Hours) who sets the tone so perfectly. Notes on a Scandal is definitely one for the Academy Awards’ books.
As a wife and mother Sarah (Shauna MacDonald) has a seemingly idyllic life until a sudden accident rips her family away from her. That sets in motion a kind of healing reunion a year later. Her feisty friend Juno (Natalie Mendoza) and Beth (Alex Reid) convince Sarah to join a few other friends on a caving expedition--including Holly (Nora-Jane Noone) a butch caver who impulsively does whatever she wants and Rebecca (Saskia Mulder) an overly-cautious climber who needs to map out everything they do. Thing is this thrill-seeking challenge turns out to much more than they expected especially when they are trapped and suddenly notice white shadows squirming around them. Not good. The mostly unknown actresses in this scare fest are all decent in their Descent--and although grappling with one-dimensional characters the women still manage to convey the suffocating feeling of being confined in small spaces. In the dark dripping wet environ they deliver realistic reactions to the horror unfolding around them which is about as chilling as anyone can imagine. MacDonald as the long-suffering widow is a particular treat as she changes from a pitiful whiner to a kick-ass survivor who exacts revenge in different ways. Originally released in England British director Neil Marshall has handed us an appropriately creepy film which taps into primal fears--dark claustrophobic spaces things that go bump in the night--situations we usually see men deal with. So it's quite refreshing to watch women handle it especially in the way Marshall unravels the female camaraderie as expertly as the climbers tie their ropes. The Descent displays squirm-inducing violence that's not at all white-washed just because there are ladies involved. It's gory and brutal. The scariest moments are often obscured by the dark and in some scenes the film resorts to a Blair Witch Project point of view by watching the action through a camcorder. Although this Americanized version has a different ending from the British version (apparently one not so morbid) it's still far better than last year's abysmal The Cave. The Descent will definitely get your heart rate up!