Twilight’s contentious “Edward vs. Jacob” debate was finally settled at the close of 2009‘s New Moon the second episode of Stephenie Meyers’ supernatural teen harlequin saga when plaintive emo hottie Bella Swan (Kristen Stewart) definitively rejected the advances of Taylor Lautner’s musclebound man-wolf in favor of Robert Pattinson’s brooding vampire.
Or so we thought. Twilight’s fateful love triangle is revived in earnest by Eclipse part three of the series and this time the implications are serious -- relatively speaking of course. Taking over the helm from New Moon director Chris Weitz is David Slade (30 Days of Night Hard Candy) who adds a hefty dose of action to Twilight’s trademark mix of soaring romance and manic melodrama making Eclipse the first film in the saga in which -- get this -- something actually happens.
Indeed action is a primary theme of Eclipse. Like most high school seniors Bella wants some; her pasty paramour Edward Cullen however remains stubbornly chaste and not just because the briefest exposure to his unbridled vampire lust would almost certainly kill his all-too-human sweetheart. You see chivalrous Edward hails “from a different era ” one in which the institution of marriage meant everything and a man took care to mount a proper courtship before marrying a girl nearly a century his junior. (He’s 109 years old.) He asks her to marry him; she agrees but only if he’ll turn her into a vampire first; he hesitates pondering the unalterable consequences; the matter is tabled and heavy petting resumes. (This exchange is repeated ad nauseam throughout the remainder of the film.)
The constant fawning and unwavering devotion from impossibly beautiful Edward aren’t enough to sate Bella’s thirst -- she needs validation like a vampire needs blood -- and so she uses the flimsiest of pretexts to re-insert herself into the life of Jacob Black the sensitive werewolf she previously shunned who dutifully plies her with his own declarations of undying love. (Jacob to his credit has developed enough game since we last saw him to qualify as a serious contender for Bella’s affections and is no longer the devoted doormat we saw in New Moon. He’s still a tool though.) Game on.
But Edward and Jacob aren’t the only ones with designs on Bella. (Seriously are there no other hot emo chicks in the greater Pacific Northwest?) A ginger-haired menace (Bryce Dallas Howard) has emerged one that will require Edward’s vampire clan and Jacob’s wolfpack tribe longtime enemies forever on the verge of a climactic battle (in which Bella will serve as the jeans-and-hoodie-clad Helen of Troy no doubt) to put aside their differences and unite against a common enemy. In order to ensure Bella’s safety Edward and Jacob must form an uneasy tag-team (no not that kind of tag team much as it would likely better serve to resolve matters) to keep Bella safe from harm.
With its amped-up action sharpened wit and darker horror flick-inspired atmospherics Eclipse boasts the broadest appeal of all the Twilight films thus far. But that doesn’t mean it’s good. Director Slade’s grasp of plot development borders on amateurish in this film; Eclipse often feels less like a movie than a weighty discourse on the pros and cons of vampiredom laid out in lengthy exhaustingly repetitive chunks of exposition and awkward campy flashbacks as just about every character in the film including Edward attempts to dissuade Bella from joining the ranks of the bloodsuckers.
But alas no force no matter how utterly rational its arguments will keep Bella from her destiny. Which obviously is Edward. Or is it? Eclipse goes to great pains to invent ways to perpetuate the film’s romantic rivalry inserting scenes like the one in which Bella on the verge of freezing to death in a tent high up in the mountains is saved when Jacob arrives to heroically spoon her body temperature back to its proper level. (Eclipse is being hyped as the first “guy-friendly” Twilight flick but no film which includes a climactic spooning scene can rightly claim such a distinction.) Edward meanwhile with his poor vampire circulation is powerless to help.
Who will win in the end? Will it be abs over eyes? Obviously it will take two more movies (at least!) to solve this kind of wrenching dilemma.
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.
Shot in a nervous intrusive style Rachel Getting Married is a blistering portrait of a family during a tension-filled wedding weekend. The long-simmering conflicts come to the surface at an event that’s supposed to be about good times. Actually the title is a bit of a misnomer since although it is indeed Rachel (Rosemarie DeWitt) getting hitched the plot really revolves around her troubled sister Kym (Hathaway) who comes straight from a stint in rehab to the family gathering. In attending the wedding she brings a boatload of personal issues--sibling and parental resentments and a whole host of other problems guaranteed to make everyone in the room uncomfortable. This all comes to a head early on at the pre-wedding dinner at which she makes an awkward piercing toast that puts the entire place on edge. It doesn’t help that her father (Bill Irwin) is rather weak and overprotective and her mother (Debra Winger) is now remarried and has moved on to a different kind of life--disconnected from her daughters emotionally. The wedding a Hindu ceremony becomes a catalyst for personal confrontations that finally break out into the open. The ensemble cast assembled by director Jonathan Demme is simply unbeatable--led by a breakthrough performance from Hathaway. Her wry ironic humor internal self-loathing seething conflicts and heartbreaking emotional vulnerability are all the by-products of a young woman who desperately needs to be embraced. This is a major acting turn and those who only think of Hathaway from Ella Enchanted and The Princess Diaries are going to be surprised to see the emergence of an actress who is the real thing. As her sister Rachel DeWitt who also was impressive as the mistress in season one of Mad Men doesn’t get to take center stage but has several strong moments. Watch out for this one. Irwin and Winger prove the meaning of the word “pro” in their limited screen time. In just a couple of big scenes Winger totally nails the mother and her need to distance her relationship with her own family. You only wish the part was fleshed out a little more especially since great roles for Winger seem to be few and far between these days. Irwin is equally impressive likeable but clueless as far as the real drama playing out between his daughters. This Tony-winning Broadway veteran gives us a lifetime of information about his character in just a few scattered moments. The Oscar-winning Demme (Silence of the Lambs Philadelphia) has spent the last few years doing documentaries and concert films so it’s nice to report he’s got his mojo back with his first narrative film since 2004’s The Manchurian Candidate remake. Actually Rachel seems influenced by some of his recent non-fictional work with a documentary style approach to screenwriter Jenny Lumet’s somewhat conventional scripting. The use of hand-held cameras is pervasive and has the intended effect of bringing out raw emotions in the kind of cinema verite Robert Altman often employed. In a nod to the obvious inspiration the late Altman is thanked in the end credits. Demme’s in-your-face filmmaking might be oft-putting to some members of the audience but it effectively heightens the reality of the piece separating Rachel from the pack. Ultimately this is a performance piece and Demme has brought out the best of his cast of fine actors gaining award-worthy turns.