The credits for Stoker, the new Chan-Wook Park movie that debuted at Sundance Sunday night, run backwards. Yes, instead of blooming up from the bottom of the screen and traveling up, they pour down from the top in a slow cascade. You'd think this wouldn't make that much of a difference, but it is extremely unsettling, seeing something you're so used to seeing but going in the opposite direction.
Likewise, in this world where spoiling the ending of a movie for someone is tantamount to cutting off one of their digits, I shouldn't be starting a review of a movie with the end, but I think that Stoker deserves it. When Park, who directed the brutal Oldboy, was introducing the movie, he said it is meant to be a dream or a fairy tale, but it is more like a waking nightmare. Everything is slightly off in the movie. Everything is either too large, too small, too modern, too old fashioned, too fast, too slow, too dirty, or too cleanly. It is our world, but tremendously askew, kiltering in one direction and then another, like trying to walk in a straight line after rolling down a hill.
The style only serves the story of India (Mia Wasikowska) who tells us at the beginning of the film that she has super powers: she can see far-away things clearly and hear sounds that no one else can hear. The morose teen gets even sadder when her beloved father dies in an accident and she is left in the care of her cold mother (Nicole Kidman) and her father's brother (Matthew Goode), who appears mysteriously after being absent for decades. The story unspools in unexpected ways as India starts to get interested in boys and discovers her sexuality thanks to the proximity of her handsome uncle. There are also several mysteries to unravel, each one leading to a new one with unexpected, horrible violence leading to even more violence until a shocking conclusion.
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The performances are all stellar with Wasikowska telegraphing ever-shifiting emotion without barely saying a word. Kidman, who speaks much more, is at her finest as a disinterested mother. She shows fear and disdain in the most subtle ways, never overplaying a character that could turn into a campy arch villain with just the tiniest bit of scene-chewing. And Goode is the most menacing of all, the malevolent force that hides behind the facade not only of normalcy but of something attractive that you know is incredibly dangerous.
As for the meaning, I'm not sure what screenwriter Wentworth Miller (yes, the same guy who wore all those tattoos for seasons on Prison Break) is going for. Can this fairy tale teach us anything about humanity or sexuality? The ending leads it in a direction that would take some of the more outrageous elements and turn them into a farce. It also makes the story more central to Wasikowska's character when the thing up until that point had been an exercise in showing us all how messed up our teen years can be.
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But this isn't a farce, it is a fairy tale, complete with a girl in peril who has to fight to save herself. There's running through the woods, magical intervention, and everything we've come to expect for the 13 Snow White movies that came out last year. Still this is like a more chilling version of Beetlejuice, except this gothic fun house has none of the whimsy of Tim Burton. Here every strange perspective is meant to make you uncomfortable. Some of the elements of the story are so outrageous to be unbelievable and many will probably find this film to be groanworthy and insane in a bad way. Still it is unlike anything you've ever seen and will stick in your mind like a spider crawling across your skull. Love it or hate it, you'll be transfixed from beginning to end – when the credits start to roll backwards, making even your final moments with this film particularly off-putting.
Follow Brian Moylan on Twitter @BrianJMoylan
September 22, 2010 12:10pm EST
On the hit television show The Secret Life of the American Teenager protagonist Amy Juergens has to deal with high school drama boy troubles the needs of her young child and more making her days at Ulysses S. Grant High School far from ideal. In reality the lives of youngsters are even more complicated as all of the above in addition to peer pressure academic competition and the age-old quest to be cool can overwhelm the most focused individual.
Writers-directors Anna Boden and Ryan Fleck (Half Nelson) both dramatize and make light of the plight of pubescents in their sweet new film It’s Kind of a Funny Story. Based on Ned Vizzini’s novel which chronicles a lonesome teen’s brief stay at an adult psychiatric ward it is a very funny story but the filmmakers keep it levelheaded with melancholy supporting characters and a message about the affliction of our society’s medicated youth.
Keir Gilchrist (The United States of Tara) plays Craig a chronically depressed Brooklyn teen who checks in for treatment after contemplating suicide. An over-achiever caught up in the rat race that is the American Dream Craig’s pessimism and depression stem from neglectful parents more concerned with him gaining acceptance into an elite school than following his passions. His anxiety is aggravated by the dreadful current events of our time notably the wars and financial meltdown that have crippled the aspirations of much of our country’s youth. Though he is a bit over-dramatic Craig’s ailment does raise notable points about paternal priorities and an entire generation of disheartened dreamers.
But surrounded by the hospital’s eccentric group of patients including Emma Roberts’ damaged love interest Noelle and Zach Galifianakis’ emotionally guarded Bobby Craig makes a psychological breakthrough. Gilchrist is like the love child of Justin Long and Jay Baruchel but isn’t nearly as fun to watch as either of those hot-at-the-moment performers save for one Flight of the Conchords moment in the middle of the movie. It’s not that he’s unconvincing; he’s just dull. Luckily Galifianakis steals the show at every turn giving his first ever three-dimensional performance and earning all the attention he’s been getting lately.
Had its story been laid out ordinarily It’s Kind of a Funny Story wouldn’t have been nearly as affecting as it is. But a series of funky flashbacks quirky cut-scenes and animated sequences make the film’s otherwise predictable narrative abstract original and refreshing.
Spanning from WWI to the 21st century Eric Roth’s screenplay (based loosely on a 1922 short story by F. Scott Fitzgerald) tells the unique story of a man named Benjamin Button (Brad Pitt). He is born in New Orleans as a very old baby the equivalent of a man in his 80s who then ages backward into youth over the better part of a century. The film is told in flashback by a very old dying woman Daisy (Cate Blanchett) who recounts her tale to her daughter (Julia Ormond) from a hospital bed during Hurricane Katrina. Left on the doorstep of a retirement home one night by his father (Jason Flemyng) Benjamin is brought up by Queenie (Taraji P. Henson) who runs the place. While there he meets a young girl Daisy who will become a key figure -- romantically and otherwise -- in his life. Ben does have some grand adventures: He goes to work on a boat sees sea battles during WWII finds love with an older married woman (Tilda Swinton) -- and gets progressively younger as the decades fly by. It all manages to be alternately haunting romantic funny epic emotional and incredibly moving and will likely to stay with you a lifetime. Brad Pitt manages to deliver a thoughtful and subtle performance through all the special effects makeup and CGI. He does so much just by using his eyes. Cate Blanchett is equally fine as she plays Daisy from a teenager to an old woman and matches Pitt in bringing an entire lifetime skillfully to light. Her aging makeup is completely natural and she’s very moving in the hospital scenes opposite Ormond. Henson is just marvelous as Queenie a warm and understanding soul. Swinton is elegant and memorable in her few crucial encounters with Ben and plays beautifully off Pitt. Jared Harris (TV’s The Riches) as the colorful Captain Mike who hires Ben on his tug boat and Flemyng (The League of Extraordinary Gentlemen) as Ben’s father are also effective in their brief screen time. Interestingly Benjamin Button has been gestating for decades in the Hollywood firmament but needed time for the proper technology to catch up to it. Director David Fincher (Zodiac Fight Club) with his early background at George Lucas’ ILM proves to be the perfect choice to marry a compelling story with spectacular visual effects achievement. He did not want to do the film unless the technology allowed one actor to play the role throughout the course of the film. Remarkably they were able to achieve this superimposing Brad Pitt’s face and eyes into all the incarnations of Ben Button. In one sequence Pitt looks just like he did in Thelma and Louise. It’s an amazing feat. He has seamlessly created a unique universe without ever bringing attention to it advancing the art of screen storytelling leaps and bounds ahead of everything else that has come before. Benjamin Button is a plaintive and provocative meditation of life death and what we do while we are here. It’s the stuff of dreams.