The Proposal

I made the mistake of hearing another critic's take on this film before watching it. Because of that, I was waiting to be disappointed. Surprisingly, I was not. Sure, a lot of cliche romantic comedy scenes are inserted throughout. The story is certainly not new -- the loathe to love story has been around since the beginning of the genre; and has been far better told in films like When Harry Met Sally and Pride and Prejudice. But Sandra Bullock and Ryan Reynolds are good enough actors that the worn out story may not feel fresh, but will be a couple of hours of welcome relief from the summer heat.

Bullock portrays Margaret, a no nonsense New York book editor that is about to be deported back to Canada after not taking care of her work visa. That is until she coerces her assistant, Andrew (Reynolds) into marrying her. In return, Andrew will get the chance to move beyond his 3 year stint as her go-to guy and get to do the job he really left his hometown of Sitka, Alaska to pursue; that of book editor and author.

So off to Sitka the "happy" couple go to attend the 90th birthday party of Andrew's "Gammy" (scene stealer Betty White). It is here that Margaret begins to get to know anything beyond the office about Andrew. While it would have been interesting to see how their co-workers would react to the "witch" of the office marrying her younger assistant, it is in the placing of Margaret far outside her element and of Andrew's chance to be in a higher position that the relationship has a place to grow.

Like Sandra Bullock's former film, While You Were Sleeping, her character is without a family of her own, and begins to fall in love not only with her male partner, but with his entire family. The similarities continue with a fear of a grandmother having a heart attack once the truth is revealed, and that revelation coming out at the altar (no I'm not spoiling anything. You will see it coming a mile away). Perhaps even the swapping of a groom is the same, at least in a metaphorical way. Margaret doesn't fall in love with Andrew's brother (lucky for him, he's an only child), but in love with a different Andrew than the one that drinks the same kind of coffee as her, just in case he spills hers and doesn't want to deal with an un-Starbucked boss.

Timing is an issue with this story. It seems completely implausible that the couple is able to fly across the country, convince his family, attend pre-wedding festivities, try to deter a determined immigration officer, and be back in New York by 9 am Monday. But timing is also a strong suit for both Bullock and Reynolds. Reynolds in particular, is the king of timing in both glances and one-liners, that has the audience completely swept up in the moment, regardless of the absurdity of it. Having that delivery to play against is what makes Bullock's fish-out-of-water story more believable than others, Renee Zellweger's in New in Town for example.

No, this film is not for everyone. But if you are looking for some light romantic comedy fun, this is one to see. Consider it the Transformers 2 of chick flicks; not the best or most realistic movie you will ever see, but entertaining for entertainment's sake. And at the beginning of summer, what more could you ask for?

Away We Go

A movie starring The Office heartthrob John Krasinski and SNL alum Maya Rudolph might evoke images of slapstick comedy. To be sure, there are a lot of comedic moments throughout the film; however, an extended improv sketch this film is not. Instead, this is a story about a couple trying to find the right place to raise their daughter while trying their best not to be total screw-ups.

When Burt's (Krasinski) parents tell the expectant couple that they are moving to Belgium a month before the baby's due date, the couple decide to find a place that will be close to people they know that can help them wade through the fear of being completely responsible for a child's life and well-being. Thus begins their cross-country journey to family and friends stretched out across the States and even up into Canada, in search for a new place to call home.

Each visit brings a cast of characters that show just how screwed up everybody is, regardless of how "normal" they come across thousands of miles away. The supporting cast, including Allison Janney and Jim Gaffigan bring a lot of humor to the adventure, but Maggie Gyllenhaal takes dysfunctional to a whole new level with her character "LN"; a hippie professor from family money who feels the need to share her kooky observations on parenting and her breastmilk with any child willing. Bringing a heavier hand to the plot are old college friends Tom (Chris Messina) and Munch (Melanie Lynskey) Garnett who seem like the ideal family with their many adopted kids, until disclosing a heartbreaking series of miscarriages have kept them from having a biological child.

Director Sam Mendes does a great job of mixing humor and honesty throughout. Like most road trip stories, the ending is not the destination; the heart lies within the journey it takes to get there. Overall this is an independent film that feels like one; it doesn't try to live in a mainstream world of quick fixes and cheap laughs. It is a realistic portrayal of a grown-up love story; a snippet in time where everything is uncertain except the love that is shared.

Bourne's Retirement Plan

If you thought Indiana Jones was getting too up there in years for much action, don't tell Liam Neeson's character Bryan Mills in the action flick Taken. Looking like Jason Bourne with a memory and a few more years of expertise, Bryan spends most of the movie taking down guys a third his age while hardly breaking a sweat.

This movie is mostly action, and that is where the solid performances occur. Don't sweat the uber cheesy beginning and disappointing end; the rest of the film makes up for them in a blaze of punches and bullets. The lame attempts at capturing a father/daughter bond are unbelievable and trying to create tension in the relationship makes Bryan's daughter Kim (Maggie Grace) act out like a 12 year old rather than a 17 year old. But once the story moves out of America and into Paris, the pace is fresher and faster and leaves you in your seat for the remaining hour.

What starts out as a trip through Europe for Kim and her friend Amanda (Katie Cassidy), turns into a race for Bryan to find them before they are lost in a sinister underground world. The slow pace of the beginning gives way to nonstop action by the time Bryan braces Kim for what is about to occur with the terrifying announcement, "They are going to take you."

Bryan then gives the kidnappers a solid warning that if his daughter is not released, he will find them and kill them. They should have taken heed. Unleashed, Bryan is a lethal weapon. We know that he was a former spy, but much more is uncovered about his former job by the sheer expanse of knowledge he has about such things as impromptu IV's and a good dozen different ways to torture and kill.

It is a violent movie, with a lot of uncomfortable scenarios. However, even someone as anti-violence as myself found enjoyment in Bryan's methods of saving the day. It is not always easy to find a movie of pure action escapism in the droll winter months. Do yourself a favor and check this one out.

What's in a Name Anyway?

Don't let the strange title fool you. Slumdog Millionaire deserves all the awards season hype that has come its way. It is not your typical multiplex feature, to be sure, but it is not so far down the independent trail that the average movie goer will be disappointed.

The story begins with Jamal Malik, an illiterate teen from the slums of Mumbai, being accused of cheating on India's version of Who Wants to be a Millionaire? Through each question that comes up, a flashback to Jamal's troubled childhood with his brother Salim and a fellow orphan, Latika, shows how possible it is for someone so outside of the mainstream world to know the answers.

Having seen the Oscar nominated film Water a few years ago, I was surprised that this film was able to shoot in India, as it does not portray the country in a particularly pleasant light. However, the authenticity of the location lends itself beautifully to the telling of the story. Danny Boyle's (Trainspotting) fast action shots throughout the slums is done masterfully, making full use of the chaos of living in such a place, without jolting the camera too much.

While there is a lot of humor throughout, there is a heaviness to this film, due to the harsh lifestyle the main characters have had to endure. However, the heart of each character shines through, regardless of whatever despicable act they need to perform in order to survive.

The storyline of destiny is weaved intricately throughout, leaving no doubt that what occurs is what is meant to be for each character. In the end, it is a sweet love story full of hope that will resonate with most audience members during these difficult times. At a time when most Oscar contenders are on the downtrodden and somber side, Slumdog Millionaire gives a refreshing note of optimism to lift your spirits and brighten your outlook. Give yourself a boost and seek it out in theaters while you still can.

And the nominees are...

http://www.oscar.com/nominees/?pn=nominees

Should Second Chances Always Be Given?

Last Chance Harvey suffers greatly from a script that feels like it follows Romantic Comedies 101. If this had been for a younger generation, a la Before Sunrise, it might have been more passable as realistic. Unfortunately for the plot but fortunate for the audience, the characters in this film are older, wiser, and played with brilliant subtlety by two of the most talented actors around.

Dustin Hoffman plays Harvey Shine, a slightly past middle-age musician, who finds his original compositions being turned into television jingles. Frustrated by threats of losing his job to a younger generation, Harvey takes off for an weekend trip to London to see his daughter married. It is at Heathrow that he meets Kate Walker (Thompson), a census taker that has had one bad date too many and spends most of her time on the phone with her eccentric mother (Eileen Atkins).

In a spiral of bad luck, Harvey loses his position of giving the bride away, his job, and his plane seat. Drowning his sorrows in the airport bar, he runs into Kate once again, and tries to strike up an awkward conversation. This is where the magic acting capabilities of these two screen legends truly begins. If Hoffman is ever hurting for work, he would make the worlds best used car salesman; Harvey is able to weave his way into Kate's world in a way that makes it plausible that two complete strangers, that shy away from most of life's awkward moments, would find companionship with each other in the span of an afternoon.

The film plays at an easy pace and tries to make the most out of the London location. The problems with this film emerge when it tries too hard to be something it is not -- a comedy. The subplot of Kate's mother fearing her neighbor is smoking human bodies in his backyard barbeque feel awkward and misplaced. So does the frivolous montage of Kate trying on dresses.

As with all films of this genre, there is a boy loses girl moment, that almost makes you groan out loud when it comes -- it is just too obvious and completely unnecessary. Too much time is spent at the beginning showing Harvey as inconsiderate and somewhat of a jerk to make it crucial for him to get the girl at the end. It is only in the palpable loneliness of Kate that the audience hopes for a happier ending for her sake. Whether Harvey is able to ultimately help her find that happiness is up to the audience to decide.

If writer/director Joel Hopkins would have left these characters in the actors more than capable hands, it would have been such an invigorating thing to see where they end up. Instead, the subpar script leaves the film enjoyable enough for a Saturday night rental, but not creating enough waves for an older audience to strike out to the theaters to see it, even with a senior discount.

Cut the Cake Already...

Don't get me wrong, I'm actually a big fan of Anne Hathaway. I enjoyed the Princess Diaries, thought she was great in The Devil Wears Prada, and I even didn't throw a fit when she was chosen to portray my beloved Jane Austen in Becoming Jane. That said, I know that she is talented enough to be nominated for an Academy Award for playing a recovering drug addict in Rachel Getting Married. I just wish I wasn't invited to the wedding.

It's not that this wedding doesn't feel authentic. It does. Perhaps that is the problem. It does feel like you are taking part in a weekend of premarital preparation before watching two become one. Between the overextended wedding toasts to the excruciatingly long rehearsal dinner, you are there to partake in it all, whether you want to be or not. And I, for one, felt more like a prisoner than a guest.

There's not a bad performance in the bunch; this is truly a character study at it's heart. Hathaway plays Kym, sister of Rachel (Rosemarie DeWitt), who has been given a weekend pass from the rehabilitation center she has been attending for the past nine months, to see her big sister get married. Kym is obviously dealing with some tough issues, unable to forgive herself for things she has done in the past while high. This makes you feel slightly sympathetic towards her, though she tries her darnedest to make you hate her. Meanwhile, poor long-suffering Rachel just wants her wedding to be about her for once, instead of everything being about Kym. After spending half an hour with her family, it is no surprise that she is working on a PhD in psychology.

Director Jonathan Demme (The Silence of the Lambs) tries to bring so much authenticity to Jenny Lumet's screenplay, that a good portion of the movie is filmed with hand held cameras. It gives the feel of a home video of the celebrations, true to authentic form, but mostly downright boring. The film is just shy of two hours, but feels longer, due to the unnecessary and strangely placed scene between Rachel's father (Bill Irwin) and her fiancee (Tunde Adebimpe) trying to see who can load a dishwasher the best,and the music video length portrayals of the wedding musicians. Unlike a real wedding, where you can quietly escape once the cake is cut and the couple have their first dance, Rachel's wedding just went on and on and... well, you get the picture.

The best thing to come out of this film is that it finally emerged Hathaway into the world of adult roles. While I highly doubt she will be chosen for the Academy Award, she should feel right at home at the ceremony; not only because she is that level of an actress, but because the program tends to continue on long after the enthusiasm for it has worn off.

The Curious Case of Benjamin Button is at the top of the nomination list for the 81st Academy Awards, and with good reason. The special effects, make-up, and cinematography displayed feels lightyears away from any other recent film. Which is strange for a story that is about such human elements and doesn't involve spaceships or creatures from another planet. Then again, how would one be able to relate at all to science fiction, if there was not that essential element of truth and recognition involved?

The film is adapted from an F. Scott Fitzgerald short story, though despite the main idea, most everything else has been changed. The short story originally takes place in Baltimore and begins with the birth of an adult man well into his eighties who begins to get younger. The film takes full advantage of the latest in visual effects technology to make Benjamin a baby born wrinkled and arthritic like a man of eighty and growing into his body as his looks grow younger. The film also transfers the setting to New Orleans, making use of the post Hurricane Katrina filming discounts, and even using the hurricane as a subplot.

The story begins with Daisy (Cate Blanchett) dying in a New Orleans hospital as her daughter Caroline (Julia Ormond) reads to her from Benjamin's diary. We learn that after his mother dies in childbirth, Benjamin's father (Jason Flemying) is so distraught and disgusted by his mutant looking son, that he leaves him on the front steps of an old person's home, to be cared for by Queenie (Taraji P. Henson). Benjamin fits in here, at least looking the part, although he feels different from all the other tenants. He wants to explore, to play, to be the young child that he is inside, but his frail elderly body restricts him, as does his overprotective "mother."

Benjamin goes on all kinds of adventures that he just happens to fall upon. Regardless, never far from his thoughts is Daisy, who he met as a child when she visited her grandmother at the old folk's home, and who he keeps intertwined with throughout his life. It is a strange and mostly implausible love story, but isn't that almost always the case? Certainly in Eric Roth's screenplays, most notably similar is Forrest Gump. There is no denying that there are A LOT of similarities between Benjamin and Forrest. Most of them I could look past; the use of a humming bird in place of Forrest's feather motif, I could not.

Besides all the CGI effects, the period costumes and look of the locations makes the films almost three hour long time frame bearable. Not to say that the film could not have used more help in the editing department. It is simply too long, and there are several scenes that could have been shortened, if not omitted altogether. One scene in particular that tried to convey a message, but just seemed to relentlessly drag on is one that deals with an accident and all the factors that had to have taken place in order for the accident to happen. Yes, the story would have been different, had it not occurred, but the Groundhog Day stylization of it halfway through the movie was tedious and unnecessary.

There are moments of this film that fill poignant and memorable. The look of the film is beautiful. However, there is a coldness within the story, perhaps due to the director's other works (Se7en, Zodiac), that lacks the warmth this story needs to be a true epic. Instead of learning a new lesson regarding human life and relationships, the film sometimes feels like a discomposure of the message it is trying to portray. Still, for the picturesque qualities displayed, it is worth seeing at the discount theater or on a big screen TV.

"Believe those seeking the truth. Doubt those that find it."

There is no doubt that Doubt will be a heavyweight when it comes to this year's awards season. The film, directed by the author of the play it is based on, John Patrick Shanley, is the telling of life within the cloistered walls of a Catholic school in the 1960's and what happens when a priest is accused of giving "special" attention to the school's only African-American student.

Meryl Streep proves to once again be the queen of accents as Sister Aloysius, the no nonsense principal of the school. She is the kind of nun that gives shudders to those brought up in the parochial schools of yesteryear. Her counterpart, Sister James (Amy Adams), is young, intimidated more than intimidating, and more than willing to ease up on the ancient rules and allow some of the secular culture of the times inside.

That world comes through soon enough when Father Flynn (Philip Seymour Hoffman) is noticed giving special attention to altar boy Donald Miller (Joseph Foster II). What follows is Sister Aloysius's one nun crusade to have Father Flynn removed from the school, regardless of her lack of evidence as to the exact nature of the relationship between priest and student. In a conversational scene between Sister Aloysius and Donald's mother, Viola Davis proves that when it comes to Oscar nominated performances, sometimes it is not the amount of screen time you have, but what you do with it. It is one of the most powerful and heartrending scenes I've ever encountered on the big screen.

That said, this is a hard movie to digest and recommend. It is not only the uncomfortableness of the subject matter, but the way in which it is presented. No clear answers are given, one is able to make their own judgements, and undoubtedly will. There is a reason Shanley's play won the Pulitzer Prize; it is thought provoking, engaging, and highly well written. While the look and design of the film help bring the decade it represents to life, it is more for the performances that makes this a film worthy of watching.

And They Called it Puppy Love...

Who could say no to that face? The advertising executives for the new film Marley & Me are banking on not too many. Based on the international best selling book by columnist John Grogan, Marley & Me tells the story of the "world's worst dog." Of course, many of those in the audience or who have read the book could tell you horror stories about their own claims to that title, but Marley does his best to live up to his claim to fame.

The movie tells the story of John (Owen Wilson) and his wife Jennifer (Jennifer Anniston) and their relationship with their dog Marley throughout his entire life. That's right his entire life; meaning be prepared for a three hankie ending. The movie is rated PG but will probably resonate more with an older audience, especially those who have sent their own dogs to that big farm in the sky. Making it even less entertaining for the young tot set are the adult issues throughout the film; starting a family, career struggles, and the balancing act between the two.

There are cute and funny moments scattered throughout; but you have probably seen most of those in the commercials, so feel free to leave the kids at home. If you get overly emotional when it comes to dogs you might want to stay at home as well; better to wait for video so you can avoid the ugly cry in public. However, if you do decide to see it in a theater, rest assured you will not be the only sniffler in the room.