Normally when a film about a historical figure finds its way into “awards watch” season you expect a certain level of intrigue from its content.So My Week With Marilyn should by all accounts deliver a little bite. Marilyn Monroe is a staple of American culture. We all know her face her voice her classic lines her wardrobe “malfunctions ” her tumultuous relationship history her power over men and of course that ugly little truth we like to brush under the carpet: the pill addiction that eventually cost her her life. This film purports to give us a look at the “real” Marilyn – the one the millions of representations of her haven’t already shown us. The problem is that by the time the film attempts to explore the darker corners of Monroe’s (Michelle Williams) existence we like our protagonist Colin Clark (Eddie Redmayne) are already under her spell. Just as we start to condemn her or look at her problems without the biased nostalgic eye most of us are afflicted with the film waves its magic Marilyn wand and quickly abolishes those less glamous notions. The result is a splendid yet decidely indecisive journey with a very complicated and often misunderstood woman
We meet plucky young Colin as he embarks on his first foray into feature films. It’s his dream and thanks to a connection to Sir Lawrence Olivier (Kenneth Branagh) he’s got a shot at working on a film. But it’s not just any movie; it’s The Prince and Showgirl a marriage of American and English sensibilities starring Olivier and Monroe. When Colin arrives he’s just a third assistant director to Olivier – essentially a go-fer – and can do little but admire Marilyn without hope. He takes up with a wardrobe girl named Lucy (Emma Watson) and goes about his duties. Of course things don’t stay this simple. His newness lends itself to a bit more flexibility so when Olivier’s rigid practices clash with Marilyn’s laissez-faire style and the production begins to slow to a glacial pace Colin is a natural fit to become Marilyn’s willing ally. Their friendship grows as Olivier’s temper comes to a boiling point and the result makes Marilyn a film tinged with a choice number of harsh realities – but as soon as they rear their ugly heads Monroe’s ever-present spell casts itself over them.
Of course this isn’t so much a criticism of the film as it is criticism of the weight given to the content. My Week With Marilyn is beautifully shot allowing the nostalgic air of London and Monroe in the 50s to take the lead with a few contemporary flairs to help keep us along for the ride. Every detail is impeccable from the music to the settings to the dialog. There isn’t a single weak link in the cast. Redmayne displays all the youth and earnest vigor demanded by his young character. Though her character teeters between a layered enigma and the girl the entire world knows Williams handles each angle as easily as Marilyn handles the men around her. Supporting cast members Julia Ormond (as Vivien Leigh) Judi Dench (as Dame Sybil Thorndike) and Branagh put their wealth of experience to tremendous use. Lesser known actors like Dougray Scott and Dominic Cooper take on American accents with minimal issues and handle their supporting characters with ease – and Watson delivers her usual (but welcome) lovely precocious act.
There’s really nothing wrong with My Week With Marilyn. It’s lovely. It’s smart. It’s extremely well-crafted. It’s a good film. But it does little to excite a reaction beyond that. And when you’re dealing with someone we know as well as most of the world knows Marilyn I doubt I’m the only one who expect a little more…va va voom.
Douglas McGrath’s new movie I Don’t Know How She Does It is based off of Allison Pearson’s wildly successful novel of the same name that was on The New York Times’ hardcover bestseller list for 23 weeks. Both mediums focus on the complicated life of Kate Reddy (played by an I'll admit it enjoyably perky Sarah Jessica Parker in the movie) who is the woman all working mothers want to be: smart determined and fiercely passionate about doing everything she can to balance her family with her high profile job at an investment banking firm. She’s the mom who’s thoughtful enough to try and distort a store-bought cherry pie with a rolling pin so it looks more homemade for her daughter’s bake sale and the one who finds joy in searching for a clean blouse that doesn’t have the marshmallows from her son’s Rice Krispies Treats soaked into it. Of course Kate dreads leaving her children each day but she loves her job very much and allows herself to part ways with them by concentrating on the belief that one day they’ll understand how much she genuinely wanted to go to work. And while it’s clear the movie’s goal is to humorously depict the lives of women who work and have families it shockingly shies away from ending the still-popular belief that women are best "pregnant barefoot and in the kitchen."
Within the first minute of the movie the fourth wall is broken -- and continues to break throughout the movie -- and several of Kate’s colleagues and friends verify that Kate is an outstanding mother and a supremely productive member of the work force (which was pretty unnecessary considering how we were just going to see all of Kate's talents anyway). Her friend Allison (played by Christina Hendricks) opens up a bit more than the others and unveils that even though Kate's totally great she really wasn't doing very well with her responsibilities last winter. Then we flash back three months and watch as Kate goes from being an unnoticed employee at her Boston firm to writing a proposal and catching the interest of Jack Abelhammer (Pierce Brosnan) at the branch’s New York office. Jack is enthusiastic about Kate’s ideas and decides he wants to take the proposal and present it to a major client which excites Kate because it would be great for her career. However the problem is the proposal needs a lot of work before it can be shown to anybody and Jack is careful to ask if Kate is comfortable traveling between Boston and New York and working day and night for two months until the whole thing is finished. In the back of her mind she knows she should be spending heaps more time with her family instead of agreeing to take on more responsibilities at work but she decides to do it anyway because as the saying goes “if it ain’t hard it ain’t worth it.”
So Kate and her assistant Momo (played by a finally enjoyable Olivia Munn) begin working overtime. She spends three days a week in New York and the other four days glued to her computer in Boston. When she does make plans with her kids to do something like build a snowman she ends up flaking out because something happens at the last minute regarding the proposal and she needs to drop everything to go work on it with Jack in New York. As angry as the kids are with their mom Kate’s husband Richard (Greg Kinnear) is even angrier because since his wife is away and working all the time he becomes the caregiver by default.
Now here’s where things get a little dicey: Richard is an unemployed architect and so I was surprised to watch him give his wife so much grief for working to keep their cute children fed. However the audience is supposed to understand where he’s coming from: we’re supposed to applaud Richard’s courage to make Kate feel guilty for being with Abelhammer instead of with her kids and we’re supposed to take his side as he repeatedly tries to convince her that she should be ashamed of putting her work ahead of her family. We're supposed to figure out that Richard feels bad for not working and understand that when he's screaming at Kate for having a job he's really just venting about how frustrated he is that he's unemployed. And here’s where the movie has the opportunity to open up and blossom and be symbolic of how a woman should never have to apologize for having a career. Exactly here is where the movie should have stretched out its wings and showed Kate yelling from the top of her lungs about how unfair it is that women are frowned upon for having a job and a family whereas it’s completely fine for men to have both. But instead of defending herself like that Kate responded to her husband’s grievances by bowing her head down and acknowledging that she’s wrong for working so hard for being away from her children for making bad choices and for making her husband’s life harder. But the thing is that she hasn’t made bad choices! She’s made all the right ones because her husband doesn’t work! The point is McGrath had the opportunity to really emphasize how men with families and women with families are treated differently in the workplace -- but he ended up depicting how dangerous it is to be a woman with a job because it means that one day her husband might resent her and make her apologize for it. And so instead of significantly expanding upon Pearson's efforts to level the ground for women with children in the workplace McGrath (rather confusingly) stopped just short of following her lead.
WHAT'S IT ABOUT?
Jennifer Check and Anita "Needy" Lesnicky are lifelong best friends and high school students in tiny Devil's Kettle Minnesota. Needy is the practical bookish counterpart to small-town sexpot cheerleader Jennifer who controls most everyone around her — Needy included — with knowing relish using her hypnotic good looks. After Jennifer and Needy escape a grisly fire at the local dive bar Jennifer is whisked away in a creeper van by the band that was playing there despite Needy's pleas not to. In a "sell your soul for rock and roll"-style move the fame-hungry indie rockers Low Shoulder kill Jennifer in an occult virgin sacrifice ceremony which goes awry because Jennifer isn't one. After being left for dead Jennifer shows up at Needy's house covered in blood spewing black bile and grinning wickedly.
The next day amidst the fire tragedy aftermath Devil's Kettle's star football player is found disemboweled and half-eaten in the woods adjacent to the school. Jennifer of course did it and after the vixen kills a sweet emo boy she confesses to Needy (after a too-brief girl-on-girl makeout session complete with heavy tongue close-ups) that the botched sacrifice turned her into a demon and that she becomes happier and more beautiful — and thus deadlier — after she feasts on the blood of horny high school boys. Needy does some research in the occult section of the high school library and discovers her best friend is indeed a pawn of the devil. Needy warns her boyfriend Chip to watch out for Jennifer and consequently finds herself covered in bile with Chip dead in her arms at the prom because he doesn't. Then she seeks revenge.
WHO'S IN IT?
The ever enjoyable Amanda Seyfried takes the lead as plain jane Needy and Johnny Simmons is her sweet doting boyfriend Chip. Adam Brody doing a spot-on Brandon Flowers impression is the killer front man of Low Shoulder. Amy Sedaris makes a too-brief cameo as Needy's mom and Juno's dad J.K. Simmons is a high school teacher with an unexplained hook for a hand. Megan Fox is in it too.
Diablo Cody's script is smart funny and infinitely more interesting than the typical teen slasher swill. The movie revels in its gory moments without being gratuitous and employs a healthy amount of sex without coming off like it's pandering to horny teens. Rather Jennifer's Body is the perfect template for the incomparably hot Megan Fox to use her looks as a plot-forwarding mechanism. This is a professionally signficant departure from her eye candy turns in the Transformers movies and lets Fox prove that she can actually act. There's no one else in Hollywood right now better suited to this role. Fox's performance is unhinged and charming and she makes good use of all the Diablo Cody-isms ("You need a mani bad. You should find a Chinese chick to buff your situation.") that devil-may-care Jennifer gets to utter. The love/hate best friend relationship is interesting and there's a load of good-girl-gone-wrong catharsis in Seyfried's revenge-fueled rampage. Cody and director Karyn Kusama are adept in skillfully if a bit condescendingly creating a convincing depiction of a small Midwestern town which serves as the perfect ultra-real backdrop for the story.
Cody's unique style adds the perfect quirk factor to what could otherwise be run-of-the-mill cinematic garbage.The Cody-isms however sometimes come off as cloying when they aren't being uttered by Fox. Also hopeful Fox worshippers might be disappointed that the sexually radiant actress despite her character's penchant for using sex to lure her victims doesn't actually bare anything that necessitates the film's R-rating.
With its surprising plot twists a snarky bff vs. bff subplot and Cody's flair for linguistics Jennifer's Body is a smart horror flick for anyone who enjoys jolly gore or Megan Fox in a mini-skirt.
Supermom Claire (Michelle Pfeiffer) and her geneticist husband Norman (Harrison Ford) are adapting to their only daughter's departure to college when Claire begins sensing an unearthly presence in the couple's lakeside Vermont dream home. Is she losing her marbles or is that the spirit of a beautiful young woman she keeps glimpsing? To say any more (as the too-explicit ad campaign does) would spoil some delicious twists.
The toplining Ford is his usual solid self in a role that plays cleverly on his familiar persona but the picture is Pfeiffer's from beginning to end. She delivers one of her most pleasing performances nicely disarming audience doubts about the story's supernatural elements with some judicious eye-rolling and embarrassed frowning -- her character is so painfully aware that what she's saying sounds crazy how can we possibly doubt her? Among the low-key supporting cast Joe Morton ("Terminator 2") stands out as an amiably down-to-earth psychiatrist.
Robert Zemeckis ("Forrest Gump") takes Clark Gregg's highly derivative haunted house script and pours on the Hitchcockian visual flourishes unapologetically pilfering from the Master's "Rear Window" and "Psycho " among others. His extended homage results in scene after scene of almost unbearable tension as the audience waits for the next shock. There's some clunky storytelling in the first section but the all-suspense second half more than makes up for it with some classic work including what seems destined to go down in movie history as "the bathtub scene."