Much like the somber melodies that float throughout its 105-minute runtime, Inside Llewyn Davis will remain lodged in your head weeks after you and the film first meet. With Oscar Isaac's "Fare thee we-e-ell..." ringing daintily in your ears, you'll shuffle out from the grasp of the Coen Brothers' wonderland of gray, but you won't soon be able to relieve yourself of what is arguable the pair's best film yet. Llewyn's is a story so outstandingly simple — he's a man who's s**t out of luck, and not especially deserving of any. He wakes up, loses his friend's cat, plays some music, and wishes things were better. And yet his is the Coens' most invigorating and deftly human tale yet.
Llewyn Davis makes the bold, but practical, choice of never insisting that we love its hero. He's effectively a jackass, justifying all the waste he has incurred with the rudeness he showers on the majority of those in his acquaintance. But Llewyn Davis isn't the villain here, either. The villain is the industry, and all the uphill battles inherent to its machinations. The villain isn't Llewyn's substantially more successful contacts — an old pal Jim (Justin Timberlake) and new fellow couch-surfer Troy (Stark Sands), but the listening public that prefers their saccharine pop to his dreary drips of misery. The villain isn't Llewyn's resentful old flame Jean (Carey Mulligan), no matter how many volatile admonitions she might shoot his way, but the act of God surrounding their unwitting adherence to one another. And it's not even the cantankerous and foul Roland Turner (a delightfully hammy John Goodman), but the endless, frigid open road of which each man is a prisoner (if the film has one flaw, it's that this segment carries on just a bit too long, but that might very well be the point). The villain is the cold.
Call it all a raw deal. But the real dynamism isn't in the challenges that happen outside Llewyn Davis, but in the determined toxicity brewing inside as he meets each and every one.
But this isn't the Coen Brothers' Murphy's Law comedy A Serious Man — we don't watch a chaotic pileup of every imaginable trick that the devil can manage to pull. Llewyn is steady throughout, not burying Llewyn deeper but keeping him on the ground, with the fruit-bearing branches forever out of his reach. In its narrative, Llewyn Davis is as close to natural life as any of the filmmakers' works to date. Perfectly exhibited in a late scene involving a trip to Akron, Llewyn isn't a cinematic construct, but the sort of person we know, so painfully, that we are very likely to be... on our bad days.
Still, working in such a terrific harmony with the grounded feel of Llewyn himself, we have that Coen whimsy in their delivery of 1960s New York City — rather, a magic kingdom painted in the stellar form of a 1960s New York City. And not the New York City we're given by the likes of Martin Scorsese or Woody Allen. Closer, maybe, to Spike Lee or Sydney Lumet, but still a terrain unique to moviegoers. A New York that's always recovering from a hostile rain, and always promising another 'round the bend. One that flickers like a dying bulb, with its million odd beleaguered moths buzzing around it against the pull of logic. There is something so incredibly alive about the Coens' crying city; this hazy dream world's partnership with half-dead, anchored-to-earth portrait like Llewyn is the product of such sophisticated imagination at play.
And to cap this review of one of the best features 2013 has given us, it's only appropriate to return to the element in which its identity is really cemented: the music. Without the tunes bobbing through the story, we'd still likely find something terrific in Llewyn Davis. But the music, as beautiful as it is, is the reason for the story. As we watch Isaac's hopeless sad sack drag himself through Manhattan's winter, past the helping hands of friends and into the grimaces of strangers, as we struggle with our own handfuls of nihilistic skepticism that any of this yarn is worth the agony (or that our attention to its meandering nature is worth the price of a ticket), we are given the rare treat of an answer. Of course it's all for something. Of course it's all about something. It's about that beautiful, beautiful music.
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Beyonce, Kings of Leon and Taylor Swift were the toast of the music world on Sunday night after taking home the 52nd annual Grammy Awards' biggest prizes.
Beyonce was the Los Angeles event's biggest winner, claiming six of the 10 honors for which she was nominated.
These included Song of the Year, Best R&B Song and Best Female R&B Vocal Performance awards for "Single Ladies (Put a Ring on It)."
Swift took home her first four Grammys, including the coveted Album of the Year award, and Kings of Leon's anthem "Use Somebody" earned the rockers prizes for Record of the Year, Best Rock Song and Best Rock Performance by a Duo or Group with Vocals.
The Black Eyed Peas and Jay-Z were also triple winners at the Grammys, as was the San Francisco Symphony, thanks to its album Mahler: Symphony No. 8; Adagio from Symphony No. 10.
The event's winners were overshadowed by a clutch of terrific performances from acts like Green Day, Pink, Dave Matthews Band, Beyonce and the Black Eyed Peas.
Elton John and Lady Gaga collaborated to open the show, and there were further mash-ups for Jamie Foxx, T-Pain and Slash, Mary J. Blige and Andrea Bocelli, Eminem, Drake and Lil Wayne, and Taylor Swift and Fleetwood Mac star Stevie Nicks.
But the event's highlight was a star-studded tribute to Michael Jackson; Celine Dion, Jennifer Hudson, Usher, Smokey Robinson and Carrie Underwood teamed up to perform the King of Pop's "Earth Song."
The stunning collaboration was accompanied by a 3-D version of the "Earth Song" video Jackson planned to use as a backdrop during his This Is It concerts last summer.
Stars like Beyonce, Rihanna and will.i.am were among the audience members who donned special 3-D glasses to fully appreciate the spectacular musical moment.
They ended the song with their backs to the crowd, staring at images of Jackson, which were flashed onto the big screen behind them, as the audience rose to its feet to applaud the performance, which presenter Lionel Richie called "unbelievable."
Following the showstopper, Jackson's children Prince and Paris took the Staples Center stage to honor their father, a recipient of one of the night's Lifetime Achievement Awards.
In his first public speaking appearance, Prince thanked God for "watching over us these past seven months" and "our grandma and grandpa for their love and support."
Both Jackson children ended their brief acceptance speeches with the words "We love you daddy".
The big winners of the 2010 Grammys are:
Record Of The Year: Use Somebody - Kings of Leon
Song Of The Year: Single Ladies (Put A Ring On It) - Beyonce
Best New Artist: Zak Brown Band
Album Of The Year: Fearless - Taylor Swift
Best Female Pop Vocal Performance: Halo - Beyonce
Best Male Pop Vocal Performance: Make It Mine - Jason Mraz
Best Pop Performance By A Duo Or Group With Vocals: I Gotta Feeling - The Black Eyed Peas
Best Pop Collaboration With Vocals: Lucky - Jason Mraz & Colbie Caillat
Best Pop Instrumental Performance: Throw Down Your Heart - Bela Fleck
Best Pop Instrumental Album: Potato Hole - Booker T. Jones
Best Pop Vocal Album: The E.N.D. - The Black Eyed Peas
Best Dance Recording: Poker Face - Lady Gaga
Best Electronic/Dance Album: The Fame - Lady Gaga
Best Traditional Pop Vocal Album: Michael Buble Meets Madison Square Garden - Michael Buble
Best Solo Rock Vocal Performance: Working On A Dream - Bruce Springsteen
Best Rock Performance By A Duo Or Group With Vocals: Use Somebody - Kings of Leon
Best Hard Rock Performance: War Machine - AC/DC
Best Metal Performance: Dissident Aggressor - Judas Priest
Best Rock Instrumental Performance: A Day In The Life - Jeff Beck
Best Rock Song: Use Somebody - Kings of Leon
Best Rock Album: 21st Century Breakdown - Green Day
Best Alternative Music Album: Wolfgang Amadeus Phoenix - Phoenix
Best Female R&B Vocal Performance: Single Ladies (Put A Ring On It) - Beyonce
Best Male R&B Vocal Performance: Pretty Wings - Maxwell
Best R&B Performance By A Duo Or Group With Vocals: Blame It - Jamie Foxx & T-Pain
Best Traditional R&B Vocal Performance: At Last - Beyonce
Best Urban/Alternative Performance: Pearls - India.Arie & Dobet Gnahore
Best R&B Song: Single Ladies (Put A Ring On It) - Beyonce
Best R&B Album: Blacksummers' Night - Maxwell
Best Contemporary R&B Album: I Am... Sasha Fierce - Beyonce
Best Rap Solo Performance: D.O.A. (Death Of Auto-Tune) - Jay-Z
Best Rap Performance By A Duo Or Group: Crack A Bottle - Eminem, Dr. Dre & 50 Cent
Best Rap/Sung Collaboration: Run This Town - Jay-Z, Rihanna & Kanye West
Best Rap Song: Run This Town - Jay-Z, Rihanna & Kanye West
Best Rap Album: Relapse - Eminem
Best Female Country Vocal Performance: White Horse - Taylor Swift
Best Male Country Vocal Performance: Sweet Thing - Keith Urban
Best Country Performance By A Duo Or Group With Vocals: I Run To You - Lady Antebellum
Best Country Collaboration With Vocals: I Told You So - Carrie Underwood & Randy Travis
Best Country Instrumental Performance: Producer's Medley - Steve Wariner
Best Country Song: White Horse - Taylor Swift
Best Country Album: Fearless - Taylor Swift
Best Spoken Word Album: Always Looking Up - Michael J. Fox
Best Comedy Album: A Colbert Christmas: The Greatest Gift Of All! - Stephen Colbert
Best Compilation Soundtrack Album For Motion Picture, Television Or Other Visual Media: Slumdog Millionaire - Various Artists
Best Score Soundtrack Album For Motion Picture, Television Or Other Visual Media: Up - Michael Giacchino
Best Song Written For Motion Picture, Television Or Other Visual Media: Jai Ho (From Slumdog Millionaire) - Gulzar, A.R. Rahman & Tanvi Shah, songwriters
Lifetime Achievement Award: Leonard Cohen
Lifetime Achievement Award: Michael Jackson
Lifetime Achievement Award: Loretta Lynn
Lifetime Achievement Award: Bobby Darin
Lifetime Achievement Award: Clark Terry
Lifetime Achievement Award: David 'Honeyboy' Edwards
Lifetime Achievement Award: Andre Previn
Trustees Award: Walter C. Miller
Trustees Award: Florence Greenberg
Trustees Award: Harold Bradley
Presidents Merit Award: Doug Morris
Presidents Merit Award: Placido Domingo
Presidents Merit Award: Ken Ehrlich
MusiCares Person of the Year: Neil Young
(c) 2009 WORLD ENTERTAINMENT NEWS NETWORK LTD. All global rights reserved. No unauthorized copying or re-distributing permitted.
In other words The Holiday probably falls under the “guilty pleasure” category. Its not a classic romantic comedy by any standards but darn it it still makes you smile more often than you want to admit. The story centers on two women: Iris (Kate Winslet) a British newspaper columnist hopelessly in love with a man about to marry someone else and Amanda (Cameron Diaz) a highly successful L.A. career woman who just broke up with her latest cheating boyfriend. Being at the right place at the right time these two gals meet online at a home exchange website and impulsively switch homes for the holiday. Shortly after arriving at their destinations both women find the last thing either wants or expects: A new romance. Amanda is charmed by Iris' handsome brother Graham (Jude Law) and Iris with inspiration provided by legendary screenwriter Arthur (Eli Wallach) mends her heart when she meets film composer Miles (Jack Black). Oh just go ahead and take a big gooey bite. It’s good for the soul. The biggest problem in The Holiday is unfortunately the casting—which is real shame because you really want the chemistry to zing. They get it right with Winslet and Law who are both trying something a little different as romantic leads. Winslet in fact admitted to Reuters this was one of the more nerve-wracking parts she’s ever played because she couldn’t hide behind an American accent or a costume playing someone closer to well herself. But you would think these two Oscar-nominees had been making these type movies all along especially the insanely gorgeous Law who should have every woman swooning with his sensitivity. Where they get it wrong is with the Americans as the Brits just act giant circles around them. Black is clearly out of place. Although being very charming and funny looking like he made Winslet laugh a LOT (and who wouldn’t with that guy around?) their connection on screen is somewhat amiss. Diaz comes off looking even worse. Even though she’s the veteran of the romantic comedy (There's Something About Mary My Best Friend's Wedding) her screechy neurotic klutzy Amanda is in no way appealing. You have to scratch your head wondering why Law’s Graham would fall so hard for her. What does make The Holiday work however is writer/director Nancy Meyers. She’s proven herself quite adept at the genre with films such as What Women Want and Something's Gotta Give under her belt. With The Holiday Meyers skillfully crafts individual moments of refreshing comedy as well as heartening scenes of blossoming romance. The initial seduction scene between Amanda and Graham is particularly sweet and quirky with the crisp dialogue flying at a nice clip. And isn’t it comforting to see a holiday movie minus feuding neighbors commerciality or any sort of mean-spiritedness? But Meyers has the tendency to go more for the superficial rather than dig deep with her characters. The Holiday has a one of those glossy rosy glows whose only aim is to make you feel good. True the film will mostly speak volumes to the women in the audience (that’s a polite way of saying its a “chick flick”) but oh well. It’s fluff may be a nice reprieve during the hustle and bustle of the season.
The original Seuss story is a wonderful--albeit simple
--children's tale about two bored kids left alone in their house on a cold wet day. They're visited by a six-foot-tall talking adventure-seeking feline who's looking for a little fun (OK maybe a lot of fun). Against the warnings of the children's seriously repressed pet goldfish the Cat (with the help of a couple of troll doll look-a-likes called Thing One and Thing Two) turns the house upside down then puts it all right-side-up again before the kids' mother gets home. The question for Hollywood is how to turn a story like this one that's left an indelible impression on millions of readers young and old since 1957 into a major motion picture? While the film thankfully keeps to this original's plot talking fish and all it obviously tries to flesh things out adding some new characters and tacking on a few life lessons. The kids now have very distinct personalities: Wild older brother Conrad (Spencer Breslin) plays fast and loose with the rules while sister Sally (Dakota Fanning) an uptight control freak has driven all her friends away with her rigidity. Their mother Joan (Kelly Preston) works at the town's real estate office run by the anal retentive Mr. Humberfloob (Sean Hayes) and she's dating the guy next door Quinn (Alec Baldwin) a superficial scumbag who wants to send Conrad to military school. On the particular cold wet day in question Joan leaves instructions not to mess up the house since she's having an important business meet-and-greet there later that night. When the Cat (Mike Myers) arrives he quickly assures Sally and Conrad they can have all the fun they want and nothing bad will happen. Ignoring vocal opposition from the Fish (voiced by Hayes) the Cat quickly puts into motion a series of events that will a) prove his point b) destroy the house and c) teach the kids a sugary-sweet but valuable lesson about being responsible while living life to the fullest.
Just as Jim Carrey immortalized the Grinch Mike Myers seems born to play the Cat in the oversized red-and-white striped hat--he has the sly slightly sarcastic wholly anarchistic thing down cold. Myers' impersonations of a redneck Cat mechanic (with requisite visible butt crack) an infomercial Cat host and a zany British Cat chef are outrageous as are the hilarious little asides he spouts although they'll probably go over kids' heads: "Well sure [the Fish] can talk but is he really saying anything? No not really." But even though Myers has some fun moments he just isn't the Barney type and when he turns on the come-on-kids-let's-have-fun charm and adopts a dopey laugh he seems uncomfortable. As for the kids Fanning and Breslin (Disney's The Kid) do a fine job reacting to the wackiness the Cat surrounds them with although Fanning basically plays the same uptight character she created in the recent Uptown Girls. Of the supporting players Baldwin has the most fun as the villainous Quinn a bad-guy role that while a little superfluous gives Baldwin plenty of opportunities to chew the scenery. Hayes is also good in his dual role; he stamps Humberfloob indelibly on our brains then kicks butt as the voice of the beleaguered Fish.
It must have been a no-brainer for producer Brian Grazer to do another Dr. Seuss adaptation after all the fun magic and profits the 2000 hit How the Grinch Stole Christmas generated. With Cat in the Hat however he didn't collaborate with his usual directing partner the Grinch's Ron Howard. Instead Grazer took a chance on first-time director Bo Welch who previously served as production designer on Tim Burton's Beetlejuice and Edward Scissorhands and has three Oscar nods to his credit for production design on other films. Welch certainly takes his quirky cue from Burton when it comes to the look of Cat in the Hat especially Sally and Conrad's suburban Southern California neighborhood with its lilac frames and blue roofs. The gadgets are cool too from the Cat's Super Luxurious Omnidirectional Whatchamajigger or S.L.O.W vehicle to the Dynamic Industrial Renovating Tractormajigger or D.I.R.T. mobile for cleaning up the house. When we enter the Cat's bizarre world though the film's Seussian look starts to have problems possibly because there's nothing of this place in the original book. Hidden within the feline's magical crate the Cat's world can produce "the mother of all messes " and in keeping with that purpose there's some effort at making it look like a fragmented Cubist painting. But it's more plastic than Picasso and in the end it's about as interesting as a Universal Theme Park ride (a fact the movie actually mentions).
The premise to Old School sounds a bit cringe-worthy when you first hear it--visions of sexist frat house humor wild parties buxom babes and beer bongs dance through your head. OK maybe there's a little of that going on in Old School but the heart of the film is surprisingly more centered than your average balls-out comedy. A trio of twentysomething friends have found themselves at a crossroads in their lives. Mitch (Luke Wilson) a promising real estate lawyer unfortunately catches his girlfriend (Juliette Lewis) in a compromising position. Frank (Will Ferrell) a lovable doof marries the sweet Marissa (Perrey Reeves) before realizing he made a big mistake and Beanie (Vince Vaughn) the owner of a successful chain of stereo stores refuses to believe he is the only true family man of the three. When Mitch rents a house near their old alma mater Beanie sees it as a chance to recapture some of that fun-filled college exuberance and turns the house into a fraternity which accepts not just students but any guys out there who want to escape adulthood's travails. The film's antagonist comes in the form of an uptight university dean Pritchard (Jeremy Piven) who bears an old grudge against our intrepid trio and does everything he can to shut the house down. But true brotherhood prevails.
Old School works far better than it should thanks to the chemistry of the three leads. Each has his own particular brand of comedy and the combination keeps you rolling in the aisles. Providing physical comedy Ferrell's Frank a goofy college wild man tamed by matrimony is wonderfully outrageous (but someone should tell him to keep his clothes on). Ferrell also shows a dramatic flair especially when dealing with his troubled marriage. Who would have thought this Saturday Night Live alum could act? Vaughn shows his infinite skill at zingin' out quick-witted one-liners (as he does so well in Swingers). Yet his smarmy Beanie also hints that he loves his life as a stable dad more than he cares to admit. Then there's the likable straight man Mitch a character the easygoing Wilson has perfected to a tee ever since his debut in Bottle Rocket opposite wacky brother Owen. Piven who usually plays wild men in films such as PCU and Very Bad Things gets to try on a different hat as Pritchard the nerd who grew up to be the dean of the school--and it looks like he had fun.
Writer/director Todd Phillips obviously enjoyed his college years. His first studio-released film the 2000 Road Trip offered a raucous yet refreshing look at college life that didn't necessarily go for the gross-out humor at every turn (although some turns were certainly made especially given star Tom Green). With Old School Phillips has matured--a little. Thankfully the film doesn't go for the joke for the joke's sake but remains rooted in how these three men are dealing with the pressures of adult responsibilities coming up with their somewhat misguided remedy to those pressures. But it's still a comedy about aging frat boys. You know going in there's going to be a wild party or two some contemptible drunken behavior perhaps even a hazing scene where new recruits have cinder blocks tied to their nether regions. It happens. Phillips also feels the need to incorporate a clichéd romantic twist around Mitch and a girl he had a crush on in high school. A sweet gesture but not nearly as entertaining as watching three grown men slosh around in K-Y jelly in a female wrestling match.