Tribeca Film via Everett Collection
Palo Alto bleeds aimlessness in a lot of good ways. In the tradition of Dazed and Confused and The Last Picture Show, Gia Coppola's directorial debut lands us knee deep in the ennui of a self-contained society of small town teens, daring us to dive right into a neon cesspool vacant of hope or self-actualization. Keeping in step with the mentioned films, Palo Alto is far less interested in telling a story than it is in painting a picture. The spectacle that results is beautiful, piercing, and — quite definitely — Coppolian. But it hits some difficulty when it tries to move beyond its frame.
Adapted from the short stories of at-least-he's-always-interesting James Franco (who is featured in the movie as a sneakily lecherous soccer coach), Palo Alto tags us to the corroded souls of a gaggle of misguided high schoolers in suburban Central California. Emma Roberts is the ostensible lead; her April is a sullen young woman whose chief character trait is sympathetic disillusionment. Her paths cross here and there with Mr. B (Franco) and likewise wayfaring classmate Teddy (Jack Kilmer — son of Val, who has a brief part in the film as the space cadet stepfather to Roberts), who is lightyears away from appreciating the gravity in his drunk driving episode and subsequent community service.
Tribeca Film via Everett Collection
The highlight of the bunch is Teddy's pal Fred, a compulsively obnoxious clown who The Naked Brothers Band's Nat Wolff stuffs with palpable agony and confusion. Buried inside of him, April, Teddy, and the scattered secondary players who work to identify the core of the proper main character — Palo Alto itself — lives our story, never progressing in any direction thereon out. The film is a snapshot of the pangs, frustrations, misgivings, malfeasances, and so on of the kids, adults, and neighborhood in question. In this form, it glows.
But Palo Alto tries to drive its story forward, yanking April, Teddy, and Fred out from the stronghold of their communal desperation and throwing them into the beyond. It's this forward motion that brings our attention to the delicate seams of the film, its unpreparedness in handling the story as much more than a lasting glimpse. We feel the elements slipping away from Coppola as she attempts to set them on a motive course for the first time in the third act, and so we have a tough time staying adhered as we once were to the characters — the falter is doubled by the fact that this emancipation comes at the intended peak of their emotional journeys.
Although the film might leave off dabbling in undeveloped turns — feeling frayed, uneven, and incomplete (I suppose it's hard to insist that such qualities are inappropriate for the story at hand) — it spends the lion's share of its time in a remarkable establishment: a portrait as lifelike as it is dreamy and as funny as it is haunting. It might lose its balance when it grabs for agency, but it offers an image very much worthy of our eyes.
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Actor Chris Noth is calling for a review of a controversial investigation into the death of Mark Fisher as he prepares to play a Brooklyn district attorney involved in the case. Fisher was found shot dead in New York in 2003 after visiting the city alone for the first time, and two men - John Giuca and Antonio Russo - were found guilty of the murder two years later (05).
The trial sparked controversy as Giuca was convicted despite a lack of forensic evidence, and his mother Doreen Giuliano accused a juror of misconduct after going undercover in an attempt to prove the panel member had a prior connection to the case.
Sex and the City actor Noth is now set to star in an independent film based on the case, in which he will play former Brooklyn District Attorney Charles Hynes, and the actor has urged the current District Attorney to review the investigation based on new evidence.
He tells the New York Daily News, "It makes of a real damn good drama."
Enigmatic and deliberate Tinker Tailor Soldier Spy makes no reservations while unraveling its heady spy story for better or worse. The film based on the bestselling novel by John Le Carre is purposefully perplexing effectively mirroring the central character George Smiley's (Gary Oldman) own mind-bending investigation of the British MI6's mole problem. But the slow burn pacing clinical shooting style and air of intrigue only go so far—Tinker Tailor Soldier Spy sports an incredible cast that can't dramatically translate the movie's impenetrable narrative. Almost from the get go the movie collapses under its own weight.
After a botched mission in Hungary that saw his colleague Jim (Mark Strong) gunned down in the streets Smiley and his boss Control (John Hurt) are released from the "Circus" (codename for England's Secret Intelligence Service). But soon after Smiley is brought back on board as an impartial observer tasked to uncover the possible infiltration of the organization. The former agent already dealing with the crippling of his own marriage attempts to sift through the history and current goings on of the Circus narrowing his hunt down to four colleagues: Percy aka "Tinker" (Toby Jones) Bill aka "Tailor" (Colin Firth) Roy aka "Soldier" (Ciaran Hinds) and Toy aka "Poor Man" (David Dencik). Working with Peter (Benedict Cumberbatch) a conflicted younger member of the service and Ricki (Tom Hardy) a rogue agent who has information of his own Smiley slowly uncovers the muddled truth—occasionally breaking in to his own work place and crossing his own friends to do so.
Describing Tinker Tailor Soldier Spy as dense doesn't seem complicated enough. The first hour of the monster mystery moves at a sloth's pace trickling out information like the tedious drips of a leaky faucet. The talent on display is undeniable but the characters Smiley included are so cold that a connection can never be made. TTSS sporadically jumps around from past to present timelines without any indication: a tactic that proves especially confusing when scenes play out in reoccurring locations. It's not until halfway through that the movie decides to kick into high gear Smiley's search for a culprit finally becoming clear enough to thrill. A film that takes its time is one thing but Tinker Tailor Soldier Spy does so without any edge or hook.
What the movie lacks in coherency it makes up for in style and thespian gravitas. Director Tomas Alfredson has assembled some of the finest British performers working today and they turn the script's inaccessible spy jargon into poetry. Firth stands out as the group's suave slimeball a departure from his usual nice guy roles. Hardy assures us he's the next big thing once again as the agency's resident moppet a lover who breaks down after a romantic fling uncovers horrifying truth. Oldman is given the most difficult task of the bunch turning the reserved contemplative Smiley into a real human. He half succeeds—his observational slant in the beginning feels like an extension of the movie's bigger problems but once gets going in the second half of the film he's quite a bit of fun.
Alfredson constructs Tinker Tailor Soldier Spy like a cinematic architect each frame dripping with perfectly kitschy '70s production design and camera angles that make the spine tingle. He creates paranoia through framing similar to the Coppola's terrifying The Conversation but unlike that film TTSS doesn't have the characters or story to match. The movie strives to withhold information and succeeds—too much so. Tinker Tailor Soldier Spy wants us to solve a mystery with George Smiley but it never clues us in to exactly why we should want to.