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.

Yes is the New No

In his latest film, Yes Man, Jim Carrey returns to the screen in his crazy antic self, although this time he is a little older, a little more subdued, but just as funny. Carrey plays the role of Carl Allen, a bank loan officer who finds his constant declines at work have filtered into his personal life since his wife of six months left him over two years ago. Still bitter, Carl is forever ignoring friends requests to go out or do anything more than checking out videos at the local Blockbuster.

That all changes when he is coerced into attending a "Say Yes!" seminar by his friend Nick (the hilarious John Michael Higgins). Inspired by the guru Terrence (Terence Stamp), Carl now decides that he will say yes to every opportunity that comes his way. Of course, informing others of his new philosophy leads him into situations that at first seem inopportune, but in movie magic fashion, end up being the best thing for him.

Digging his free spirit ways is Allison (Zooey Deschanel), Carl's love interest that he meets the first night of his new found ways. Deschanel plays the adorable quirky girl role that is familiar to her, and she does so brilliantly, though the age difference between the two actors (they are exactly 18 years apart) might be a bit too much for some moviegoers to make a convincing love story.

There are also some elements that will undoubtedly remind the audience of Jim Carrey's 1997 hit Liar, Liar. The comparisons are not helped by the screenwriters' decision to make Carl afraid of what will happen if he changes his response to a negative one; it's a little too close to Liar Liar's magically induced truth telling. However, this film is a fun escape from a world that makes it all too easy to be isolated and negative.

While it may not make you compelled to say yes to everything that comes your way, it may make you think before giving an automatic no at your next opportunity. Check it out at the matinee show or wait for a rainy day rental.

Golden Globe Nominations

Here are the list of nominations for the Golden Globes, airing on January 11th. Last years awards were announced by press conference, due to the Writer's Strike. Let's hope the current negotiations with actors runs smoothly so the show does go on this year.

Drama: "The Curious Case of Benjamin Button," "Frost/Nixon," "The Reader," "Revolutionary Road" and "Slumdog Millionaire."

Comedy or musical: "Burn After Reading," "Happy-Go-Lucky," "In Bruges," "Mamma Mia!" and "Vicky Christina Barcelona."

Director: Danny Boyle ("Slumdog Millionaire"), Stephen Daldry ("The Reader"), David Fincher ("The Curious Case of Benjamin Button"), Ron Howard ("Frost/Nixon") and Sam Mendes ("Revolutionary Road").

Actor in a drama: Leonardo DiCaprio ("Revolutionary Road"), Frank Langella ("Frost/Nixon"), Sean Penn ("Milk"), Brad Pitt ("The Curious Case of Benjamin Button") and Mickey Rourke ("The Wrestler").

Actress in a drama: Anne Hathaway ("Rachel Getting Married"), Angelina Jolie ("Changeling"), Meryl Streep ("Doubt"), Kristin Scott Thomas ("I've Loved You Too Long") and Kate Winslet ("Revolutionary Road").

Actor in a comedy or musical: Javier Bardem ("Vicky Christina Barcelona"), Colin Farrell ("In Bruges"), James Franco ("Pineapple Express"), Brendan Gleeson ("In Bruges") and Dustin Hoffman ("Last Chance Harvey").

Actress in a comedy or musical: Rebecca Hall ("Vicky Christina Barcelona"), Sally Hawkins ("Happy-Go-Lucky"), Frances McDormand ("Burn After Reading"), Meryl Streep ("Mamma Mia!") and Emma Thompson ("Last Chance Harvey").

Supporting actor: Tom Cruise ("Tropic Thunder"), Robert Downey Jr. ("Tropic Thunder"), Ralph Fiennes ("The Duchess"), Philip Seymour Hoffman ("Doubt") and Heath Ledger ("The Dark Knight").

Supporting actress: Amy Adams ("Doubt"), Penelope Cruz ("Vicky Christina Barcelona"), Viola Davis ("Doubt"), Marisa Tomei ("The Wrestler") and Kate Winslet ("The Reader").

Animated film: "Bolt," "Kung Fu Panda" and "Wall-E."

Screenplay: Simon Beaufoy ("Slumdog Millionaire"), David Hare ("The Reader"), Peter Morgan ("Frost/Nixon"), Eric Roth ("The Curious Case of Benjamin Button") and John Patrick Shanley ("Doubt").

Foreign-language film: "Gomorrah," "I've Loved You So Long," "Waltz with Bashir," "The Baader Meinhof Complex,: and "Everlasting Moments."

Original score: James Newton Howard ("Defiance"), Alexandre Desplat ("The Curious Case of Benjamin Button"), A. R. Rahman ("Slumdog Millionaire"), Hans Zimmer ("Frost/Nixon") and Clint Eastwood ("Changeling").

Original song: "Down to Earth" from "Wall-E," "Gran Torino" from "Gran Torino," "I Thought I'd Lost You" from "Bolt," "Once in a Lifetime" from "Cadillac Records" and "The Wrestler" from "The Wrestler."

Television

Best TV comedy series: "30 Rock," "Californication," "Entourage," "The Office" and "Weeds."

Best TV drama series: "Dexter," "House," "In Treatment," "Mad Men" and "True Blood."

Longing for the Dark

While being one of the few females I know who was not completely enthralled with Stephenie Meyer's human/vampire love story, Twilight, I had high hopes that the movie based on the international best seller would fare better. Instead, it was on level with the book; a good premise lost in teen angst and unsophisticated production.

Those few souls that have not been swept up in the hype, here is the story in a nutshell: lonely, clumsy, new girl in town falls for lonely brooding boy of the undead variety.

Bella Swan (Kristen Stewart) moves from Phoenix to Forks, Washington towards the end of her Junior year. Completely awkward and shy, she makes quick friends in high school, invariably due to nothing new and exciting happening in town for ages. The one group that doesn't race to secure her friendship is the Cullen clan, a group of "teenagers" that were adopted by the local doctor and his wife and who keep to their brooding selves.

Being rejected obviously makes Bella want to befriend the Cullens even more, especially the hottie of the group, Edward (Robert Pattinson). Edward's desire to have nothing to do with Bella both infuriates and intoxicates her, and it isn't long before they are thrown into life and death situations that leave Edward forced to befriend his prey.

That's right, Edward and the rest of the Cullen gang are vampires. Although they are vampire lite, or as they like to call themselves, "vegetarian vampires" because they only try to survive on the blood of animals and not humans. This helps them stay in one place for a while, long enough for the younger looking to graduate from high school again, and again, and again. And you thought your high school classes were boring!

While it is dangerous for Edward and Bella to fall in love, they can't help it and give in to their mutual obsession. Unfortunately for Bella, not every vampire is of the "Save a human, eat a deer" mentality and it isn't long before a group of more traditional vampires (if you can call any of Meyer's creations traditional) comes along seeking Bella for more than chaste companionship.

This movie was obviously made for fans of the novels, as those that have not read the novels will find themselves sometimes confused by what seems like the unnecessary introduction to a bevy of new characters that go nowhere and strange plot points, like the need for the Cullen family to wait until a thunderstorm to play baseball. While I can put up with Meyer's changing the more popular theories regarding vampires for the most part, don't even get me started on the idea of vampires avoiding the sun because they sparkle.

I don't envy director Catherine Hardwicke and screenwriter Melissa Rosenberg's roles of adapting the story to film. Twilighters (crazy obsessed fans of the book) are meticulous when it comes to the characters being just as they imagined. Whether or not they are the most talented of actors, Stewart and Pattinson do their best to make the sometimes downright awful dialogue work and always place themselves fully and confidently into their roles. The unintentional giggles that broke out during my screening at some of the attempted serious scenes was more the fault of the material (and the horrible make-up job on the vampires) than the performance.

Despite all the film's flaws, the massive mob of fans that flooded the movie theaters opening weekend has guaranteed that Meyer's second novel in the series, New Moon, will be coming to the multiplex near you sometime this winter. Hardwicke's unexpected replacement at the director's chair, Chris Weitz (The Golden Compass) will hopefully either have a higher budget for special effects or nix them altogether. Afterall, if the film is really made for the true Twilight fan, the violence could be left out completely. As long as Edward still struggles to resist holding Bella's hand in Science lab, the fans will be more than satisfied.