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.
For the past 11 years--his whole life--Evan (Freddie Highmore) has been an orphan but that’s about to change along with his name. Evan has "always heard the music " even when it’s not playing and one day he decides to follow it in hopes of finding the parents he’s never met and whose musical genes he has inherited. It takes him out of the orphanage he has always despised and into Manhattan where 11 years prior he was conceived. As we learn via flashback his parents both young musicians at the time were an unlikely match: Lyla (Keri Russell) was a shy dainty cellist while Louis (Jonathan Rhys Meyers) was a brash Irish rocker. Their mutual love for music ultimately brought them together on a rooftop for just one night of which Evan turned out to be the product. But when Evan is born prematurely Lyla’s father (William Sadler) does what he thinks is right for her career and gives the newborn up for adoption without her knowledge. Lyla and Louis have since reluctantly given up music but Evan is about to pick up where they left off in New York City. While there he is discovered by a seemingly well-intentioned "manager" named Wizard (Robin Williams) who renames the prodigy August Rush. Before long Wizard is booking gigs in hopes of capitalizing financially while August hopes to use his music for a slightly nobler purpose: tracking down and reuniting his parents. Highmore (Charlie and the Chocolate) is as much a child-actor prodigy as August Rush is a musician; he’s truly in a class of his own. It’s not just that the British youngster seamlessly ditches his accent to play an American—better and more undetectably than many of his elders are able to do might I add—or that he’s able to pull off the musical aspect (he reportedly mastered the guitar and conducting for further authenticity) but rather that he advances the never-dormant story every step of the way. And it’s not every day that a teenager can handle being the centerpiece of a big Hollywood movie (see The Seeker et al.) but Highmore makes it a non-issue. Russell and Rhys Meyers meanwhile add a classy touch of adult to the story with their opposites-attract arc. Russell borders on too pristine and precious at times and Rhys Meyers is written as the stereotype of Irishmen but they make you believe in the commonality of music as a matchmaker. Williams however misfires with his portrayal of the somewhat ambiguous Wizard. It is unclear whether he is a reincarnated pirate or just a well-traveled New Yorker and Williams plays him with that lack of clarity but kids will laugh nonetheless when the actor gets loud and hyper. Terrence Howard as a concerned social worker and Mykelti Williamson as a pastor turn in solid supporting performances while young Jamia Simone Nash may incite standing ovations with her singing. The concept of August Rush is most certainly aimed towards those too young to discern between realism and fantasy but at least director Kirsten Sheridan (Jim’s daughter) doesn’t patronize kid viewers the way most preteen movies do. While the young director doesn’t exactly steer clear of clichés and sap she makes a concerted effort to place the film’s music and sheer energy at the forefront. Sheridan also does the best with what she’s given which is a highly predictable occasionally preachy script—with a tendency to give Highmore cringe-worthy voiceovers (i.e. “Open yourself up to the music around you”)—written by Nick Castle (Hook which August Rush often resembles) James V. Hart (The Last Mimzy) and Paul Castro. Just as impressive as the film’s omnipresent music—both “found” (basketball dribbles etc.) and orchestrated—is the look of a somewhat magical Manhattan that is as fun for kids as it is mildly scary. All in all Sheridan’s first big movie is a different if slightly uneven kind of kids flick but not so different that the target audience won’t dance along.