In a blanketed statement Luke Greenfield’s Something Borrowed attempts to explore lifelong friendships and the circumstances responsible for their ends. It’s billed as a romantic comedy which would be true if one choreographed dance to Salt N Pepa’s “Push It” and one instance where someone breaks their nose during a game of backgammon were the genre’s qualifiers. But deeper than that lies a message along the lines of “never defer to others ” or even one that’s more like “never give other people the opportunity to take what’s yours because they will.” However those morals get so completely muddled along the way that ultimately the film is downgraded to a chronicle of two best friends in love with the same man.
The film is told from the point of view of Rachel (Ginnifer Goodwin) who’s described as a successful lawyer at a top law firm (so “top ” in fact it’s never named). She is single mostly keeps to herself and is preoccupied with other people’s happiness but is lucky enough to have a very good friend in Darcy (Kate Hudson) who never misses a chance to talk about herself or steal the attention of an entire party by showing up in a pink boa. We learn Rachel and Darcy's friendship spans decades through a slide show that Darcy puts together for Rachel’s “surprise” 30th birthday party and during Darcy's toast to her best friend she talks about how excited she is to marry Dex (Colin Egglesfield) and how thankful she is to Rachel for introducing the two of them. However the truth is Rachel didn’t introduce them – what really happened was Darcy crashed Rachel and Dex’s date that was in honor of all the hard work they did together to prepare for a law school test. Rachel is saddened by the combination of turning 30 and listening to Darcy's excitement over her upcoming marriage to a man she doesn't deserve and after seeing the birthday girl's pout Dex suggests the fellow lawyers go get another drink together. Rachel casually admits to Dex that she’s had a crush on him since law school (which he claims to have never known) and during a shared cab ride to their separate apartments Dex kisses Rachel because it turns out he has had feelings for her all this time too. Thus begins the affair between Dex and Rachel even though Dex’s wedding to Darcy is only weeks away. Eventually Dex and Rachel both realize they love each other and Dex has to make a decision as to which woman is right for him.
Because the story is told from Rachel The Downtrodden's POV the filmmakers attempted to make Darcy the villain as she’s the opposite of Rachel and is someone who gets everything she wants without having to put forth any effort. In actuality Darcy is pretty easy to despise because she always talks about how she’s good-looking and the only obligations she has are towards partying and making incessant demands to Rachel about her wedding to a man she only halfheartedly loves. I suspect Greenfield decided to highlight the tremendous differences between Darcy and Rachel so as to emphasize the fervor and resilience of their bond (which would in turn make the affair between Rachel and Dex a bigger and more dangerous conflict). But it ends up being a disservice to the overall project because the characters themselves are so fundamentally flawed. The notion that one woman would WILLINGLY endure such bullying from someone who’s supposed to be her best friend is terribly unrealistic and so because the movie virtually revolves around this dysfunctional friendship between these two women means everything is painful to watch. There’s even a point where Rachel’s character becomes as unlikeable as Darcy in the way her utter obedience to Darcy makes her weak-minded a terrible heroine and essentially not worthy of our respect either. And what kind of a romantic comedy has us trying to figure out which woman we hate the most? (Exactly.)
John Krasinski saves the movie from being intolerable. He plays Ethan Rachel’s other best friend and (unlike Darcy) he genuinely cares about Rachel’s well-being. Rachel confides in him and he offers her advice and encouragement and Ethan does not like Darcy at all because he sees the way she treats Rachel and the way Rachel’s life halts every time Darcy has a demand. But his character is way more important than it appears to be because he’s the one who points out that both Rachel AND Darcy are flawed characters and he validates the audience’s disgust with both women. He does this by openly criticizing Darcy’s narcissism (which the audience notices within the first few minutes of the film) and also makes Rachel aware of how pathetic it is that she’s been at Darcy’s beck and call for 30 years. Ethan is arguably the only sane character in this movie and strategically he functions as its voice of reason. Even though Krasinski does not play a main character he’s so responsible for the humor that he is a true delight. Ginnifer Goodwin also does an excellent job playing the character who thinks she’s too ugly to ever get a handsome husband and Kate Hudson also deserves some recognition for embodying someone so self-righteous.
It's hard to criticize producers or a studio about what's wrong with a movie that was originally a book because neither the producers nor the studio are responsible for the story's fundamentals -- the author is. At the same time it’s impossible to hold an author responsible for how well his or her book was adapted into a film. That means both the filmmaker and the author must share credit for Something Borrowed but I have a feeling that in a few years neither party will want any.
Matt Reeves' magnificent Let Me In is an Americanized adaptation of Let the Right One In a Swedish horror film which itself is based on an acclaimed novel by John Ajvide Lindqvist (also Swedish). As such its setting has been moved from frigid Scandinavia to the more familiar but no less frigid Los Alamos New Mexico a town depicted as so bleak and uninviting as to provoke a lawsuit from the state’s tourism commission. Its atmosphere is particularly inhospitable to timid loners like 12-year-old Owen (Kodi Smit-McPhee) a spindly late-bloomer who suffers regular humiliations at school courtesy of a trio of pubescent sadists.
Owen’s home life isn’t much better: Dad’s gone for good pending a divorce from mom who’s an aspiring wino and something of a religious nut. He seeks refuge nightly in the solitary confines of his apartment complex courtyard where he meets and befriends Abby (Chloe Moretz) a new neighbor and apparent kindred spirit whose quirks include a penchant for walking barefoot through the snow. That along with her professed inability to recall her exact age provides Owen with the first clues that his new friend may not be entirely normal.
She is in fact a vampire. And like any vampire Abby requires blood for sustenance. But since the sight of a little girl chomping on the necks of locals is certain to raise eyebrows at Child Protective Services she entrusts the duty of procuring nourishment to her haggard elder companion (Richard Jenkins). First believed to be Abby’s father but later revealed as otherwise he (his name is never stated) trots out wearily on occasion to find a fresh young body to drain of its blood. His skills appear to be slipping in his old age (like Owen he is a mere mortal) and his sloppiness soon attracts the attention of a grizzled local cop (Elias Koteas) who has no idea how far in over his head he is. (The film is set in 1983 when the vampire-detection tools available to law enforcement officials were woefully inadequate.)
Meanwhile Abby and Owen’s relationship blossoms and notwithstanding the inevitable complications that arise in every human-vampire relationship they develop a profound and sweetly innocent bond. Still lurking in the back of our minds is the knowledge that Abby at her core is a remorseless bloodsucker and one significantly older than her pre-teen visage would have us believe. Is her affection for Owen sincere or is she merely grooming him to assume the role of her caretaker once her current one exceeds his usefulness?
There’s a great deal of manipulation at work in Let Me In both on the part of Abby and director Reeves who alternates between tugging on our heart-strings and butchering them. Abby is one of the truly great horror villains — so great in fact that I suspect many audience members won’t view her as one even as her list of mutilated victims grows. Reeves does well to preserve an element of ambiguity resisting the urge to proffer a Usual Suspects-esque denouement inviting us instead to connect the story’s dots ourselves. The film’s unique and affecting juxtaposition of tenderness and savagery combined with a slew of stellar performances makes for an experience unlike any other in recent horror-movie memory one whose effects will linger long after the closing credits have rolled.
On the surface Kevin Smith has crafted a clever concept a ragtag group attempts to make a porno film in order to get some quick cash. The underlying story is the platonic relationship between roommates Zack (Seth Rogen) and Miri (Elizabeth Banks) whose friendship goes to a whole new level once they find themselves out of cash and decide to cast themselves in their own triple XXX film. After meeting a gay adult film actor at a party Zack comes up with the get-rich quick idea to make a porn movie enlisting Miri’s help and convincing her that it will not affect their friendship. They set about casting the rest of the film with a disparate group of participants including the very self confident sex maniac Lester (Jason Mewes) superstud Barry (Ricky Mabe) gorgeous blonde bombshell Stacey (adult film icon Katie Morgan) and daring kinky Bubbles (legendary Traci Lords). What seemed like a simple proposition turns complicated when Zack and Miri in the heat of simulated lovemaking and in front of the whole crew discover they may be more than just friends. Even considering his great work in Knocked Up Zack is Rogen’s most accomplished character to date a lovable loser who uses last-ditch initiative to turn his life around and in the process discovers more than he ever bargained for. Chemistry is a tricky thing but Rogen certainly has it in spades with co-star Banks who takes what could have been a broadly sketched role and turns Miri into a three-dimensional woman who doesn’t even realize her true soul mate may be right under her nose --literally. You root for these two all the way. The wonderful supporting cast is unique to say the least including adult film star Katie Morgan making her mainstream debut as the ditzy Stacey. After some 200 “real” XXX films she graduates to the big leagues in style and shows she may have a future outside of her niche. Lords who made that leap some time ago niftily sends up her own former image and shows fine comic chops and a willingness to dress deliciously inappropriately. As for the guys Mabe is very funny but Jason Mewes (Jay of Jay and Silent Bob) lets loose with a hilarious and totally uninhibited portrayal of a sex addicted tattooed dude willing and able to do anything on camera. Also nearly stealing the show is The Office’s Craig Robinson a married crew member who is excited to help out buddy Zack because he wants to see “titties.” And in extended cameos Justin Long as a gay porn star and Superman Brandon Routh have a great time sending up their straight movie images playing bickering boyfriends. Kevin Smith has always gone for the jugular challenging the ratings boards and pushing the envelope in his films ever since the classic “dirty movie” Clerks made him famous. But not since his early films such as Chasing Amy has he showed such style and maturity as a filmmaker as he does in Zack and Miri his most outrageously hilarious and accomplished movie to date. Yes he does continue going for shock value (there’s a laugh-out-loud moment involving a certain bodily function natch) but his story is grounded in reality recognizably human and engaging. He milks this genius comic premise for all its worth but gives it an extra dimension that makes it different unexpected and finally memorable. Mostly though it’s just plain fun.
Misery loves the Savages--always has. Ever since they were kids Wendy (Laura Linney) and Jon Savage (Philip Seymour Hoffman) have been plagued by the blasé blues. Even though they went their separate ways the siblings have remained somewhat close geographically--she lives in Manhattan he in Buffalo--and in their discontentment. But what made them this way in the first place their father (Philip Bosco) is about to reunite them. After losing his mind to dementia and his longtime girlfriend (Rosemary Murphy) to well death the old man officially needs to be looked after and that’s where Jon and Wendy reluctantly come in. Despite having not seen their estranged father in ages they fly out to his Arizona senior-citizen-friendly community immediately upon word of his downfall. What they didn’t plan on however is staying more than a couple days. Ultimately they take him back to Buffalo and place him in a nursing home about which Wendy constantly feels guilty. Now forced to live together and look in the metaphorical mirror the siblings Savage learn about self-discovery mortality each other and how to revive a decades-old rivalry as though it had never gone away. Given the way Laura Linney and Philip Seymour Hoffman constantly one-up each other in The Savages you’d think there was a real sibling rivalry at play. Of course it’s merely two of today’s very best actors giving par-for-the-course flawless performances. In so doing they create something beyond chemistry: a relationship so fractured and imperfectly perfect that it could only exist between an aging brother and sister. Whether the scene calls for fireworks or subtlety solo or together Linney and Hoffman are always up to the task. Linney is especially wide-ranging as Wendy still fights her midlife crisis. The veteran actress is often heartbreaking because Wendy is often heartbroken even when she tries to convince herself otherwise but Linney still manages to leave the window of hope cracked open--for us and her character. She truly encompasses everything in this her best performance to date. Hoffman is slightly more of a supporting player here but no less impactful. The Oscar winner is apathetic through much of the film but his terse outbursts of anger and/or sadness are stark reminders of his awe-inspiring range as an actor. Perhaps the most savage Savage is the patriarch played with grace by longtime actor Bosco. But instead of vilifying Lenny or making him worthy of all your pity Bosco makes him a rollercoaster of emotion as per Lenny's dementia. It’s been nine years since writer-director Tamara Jenkins’ last--and only other--feature-length film the twisted coming-of-age tale Slums of Beverly Hills which has given her plenty of time to think grow older and think about growing older. She philosophizes aloud in The Savages a movie that addresses everything you don’t want to but with a sardonic edge to it; in fact maybe this is as much a coping mechanism for her as it is an artistic endeavor. While the movie is primarily about the title siblings it essentially explores the human condition under their guise. But Jenkins does so in a way that is never preachy never obnoxious never sappy and always astutely observed. It’s her naturalistic approach to moviemaking that will turn what is ultimately a sharp dramedy into too much of a downer to please casual moviegoers looking for lighthearted fare in wintertime--this is NOT Little Miss Sunshine--but those who go in looking for a drama will be moved occasionally to laughter. Because The Savages is that rare deep movie: heavy on symbolism and meaning light on pretense and contrivance.
Albert Markovski (Jason Schwartzman) a bleeding heart poet and staunch environmentalist is convinced a series of unexplained coincidences involving a tall African doorman somehow mean something leading him to married metaphysicians Bernard and Vivian Jaffe (Dustin Hoffman and Lily Tomlin)--otherwise known as the Existential Detectives. Instead of looking for other people this pair tirelessly investigates the mysteries of their clients' secret innermost lives--their "Beings " so to speak--to help them answer their questions. Immediately digging in Bernard and Vivian find out that Albert has a deep-seated hatred for Brad Stand (Jude Law) a golden-boy sales executive at the popular retail superstore chain Huckabees who at first sponsors Albert's Open Spaces Coalition to save a nearby marsh from commercial construction but who ends up taking over the coalition. The Existential Detectives believe Brad may be the key to cracking Albert's case but get sidetracked when Brad hires them for himself--leading them to explore Brad's ambitions hang-ups and his superficial relationship with Huckabees' hot blonde spokesmodel Dawn (Naomi Watts). Meanwhile Albert becomes disenfranchised with Bernard and Vivian and pairs up with another of the duo's clients--firefighter tough guy and uncompromising soul searcher Tommy (Mark Wahlberg). Together they join forces with the Jaffes' arch nemesis sexy French philosopher Caterine Vauban (Isabelle Huppert) whose life teachings revolve around "cruelty manipulation and meaninglessness." Now as Being intermixes with Nothingness Albert Tommy Brad Dawn Bernard Vivian and Caterine get all tangled up in one another as their wild romp through life's biggest questions brings them to some startling truths. Whew!
With such a clever script to back them up it isn't hard to see why the Huckabees wannabes turn in some cracking good performances. Schwartzman once again plays a nebbish sullen but lovable geek (similar to his side-splitting turn in Rushmore) bringing out the film's heart and soul especially with his environmental poetry ("You ROCK rock!"). Veterans Hoffman and Tomlin who are dead-on as the happily married Existential Detectives and Huppert as the deadpan French philosopher complement the proceedings beautifully. For the first time in a long time Hoffman doesn't overplay his part instead letting his quiet inner "Being" out taking his character's philosophies to heart ("Everything you ever desired or wanted to be you already have and are"). But who knew more serious actors--Mark Wahlberg Jude Law and Naomi Watts--could be so excruciatingly funny? Wahlberg's freethinking obstinate firefighter would rather ride a bike to a fire than get into a gas-guzzling fire truck while Watts' Dawn decides she doesn't need to be pretty and is fearless with overalls a bonnet and Oreo cookies stuck in her teeth. As the straight man Law actually has the most difficult part playing the handsome cad who thinks he doesn't believe in all that existential bullcrap but ever so slightly gets slammed with the reality of it anyway.
Writer/director David O. Russell is one fascinating guy. With a body of work including the really weird and wild Spanking the Monkey the hilarious slapsticky Flirting With Disaster and the intense Three Kings it's obvious he is capable of handling a wide variety of subjects. With Huckabees Russell gets into some serious deep thinking. He says he became "intrigued with the idea of a detective following someone around not for any criminal or personal intrigue but rather as part of a very serious investigation about existence itself " drawing concepts from several different strains of existentialism--from the non-dual interconnectedness theories of Eastern philosophy (Bernard and Vivian's take) to the Sartrean notions of a more meaningless universe that demands a profound individualism (Caterine's point of view). Huh? Don't worry your pretty little heads about it too much. Russell's bone-crushing sense of humor comes shining through--as does his unique vision as the camera is used in new and different ways (especially creative when Albert is trying to find his "Being")--to piece together a wondrous coherent albeit thought-provoking little gem. Oscar gold awaits.