The Huntsman: Winter's War

April 25, 2016

I may have over-promised a tad when I referred to the upcoming release of "The Huntsman: Winter's War" as 'surely to be the greatest movie ever.' Sadly, it is not. 

Through no fault of the lead actors, might I add; specifically the lovely Charlize Theron and the even lovelier Jessica Chastain, who light up the screen with every appearance. I read that Ms. Chastain "had fun" making this picture, which is reason enough for its existence for THIS (admittedly biased) film critic.

In Charlize's case, it is an all-too-brief appearance: the one (and ONLY) original idea in this big studio mish-mash is that it is both a prequel AND a sequel ... I will pause while you digest that concept.

That means that Theron's evil queen Ravenna is featured in the prologue, and after the filmmakers dispense with the entire original Snow White story, "The Huntsman," with a lame "Seven Years Later" inter-title, Ravenna gets to come back at the end to inject some life into the moribund story. [I'm too tired to explain how this is possible, since she died in the original.] In another first in movie history, I can proclaim that a movie suffers from not having Kristen Stewart in it!

For the intervening 90 minutes, the audience must sit through a pastiche of ideas stolen from "The Lord of the Rings" "Game of Thrones" "The Golden Compass" and every recent live-action Disney movie. Does it want to be a comedy? A fantasy? A comedy-fantasy, with sex? I'll let the director and the army of screenwriters fight over that, since they obviously have yet to reach a consensus.

(However, when you are stealing ideas from "The Golden Compass," you are obviously bereft of ideas, and should consider another line of work).

As for the dialogue coaches, I will give them an A for effort. I will not go so far as New York Times critic A.O. Scott, who described the accents as "straight from the Groundskeeper Willie Academy of Dialect Sciences" (burn), but they do go in and out like the waves on the Firth of Forth. Again, I must cite to a superior TV series--in this case "Outlander"--and wonder why this $100 million+ budgeted movie pales in comparison to what I can see on the small screen?

Oh yeah, Chris Hemsworth is in it, too.

The Disappearance of Eleanor Rigby

"Her/Him"

"Him/Her"

"Them"

(it is all so confusing!)

Directed by Ned Benson

Starring: Jessica Chastain, James McAvoy

Originally conceived as two movies relating a relationship break-up from two opposing perspectives -- that of Eleanor and Conor in an always romantic Manhattan -- the inevitable studio pressure (i.e., Harvey Weinstein) led to the commercial release of a 'condensed' version of the story. I waited to see the original intent of the director: two movies, back-to-back, totalling 3 hours and 10 minutes of my time. As much as I hate to admit it, Harvey may have been right on this one: Rashomon, this is not!

Intrepid movie-goers (in New York, LA, and Houston) had the choice of watching one of three versions: the first version is the story from Eleanor's perspective, followed immediately by Conor's version (no intermission; my bladder objected!). Or, you could see His version first, followed by Hers (I can't imagine that being as effective as in the order I saw them). Or you can give in to Harvey and watch the "commercial" condensed version, clocking-in at a tolerable 123 minutes. (As far as I can tell, none of these options attracted large crowds)..

If all of this sounds very high-concept, it is: but does the story warrant this multi-layered treatment? In my humbe opinion, No. Neither film is completely satisfying. Given the running time, you see very little of what drew these two people together in the first place. So the story of their post-break-up relationship doesn't carry the weight it should: the viewer has never become invested in their relationship to begin with. Sure, by the end of Part Two, the story has reached a cumulative emotional power, but three hours?

The dramatic pacing was oddly flat throughout both films: the fault for this lies either with the Writer or the Director. That makes it easy, because they are the same person! Ned Benson. A surer directorial hand could have made something of this conceit. Benson got in over his head, pure and simple.

The actors do their best with the material. I was especially struck by the supporting performances of Viola Davis, as Eleanor's professor at the New School, and Ciaran Hinds as Conor's Dad. But the best scene in all of these movies involves William Hurt, as Eleanor's Dad, who delivers a heart-breaking monologue towards the end of "Her" that makes you wish the entire movie contained the emotional weight of that scene. Alas, it does not.

P.S. For die-hard Jessica Chastain fans (like moi), spending three-plus hours in her company is never a chore! (here she is playing with her dog Chaplin).

Broadway!

"Look, it’s me on Broadway! Tonight is my 4th preview in front of an audience. Working with this group has been so inspiring. I love meeting people from the audience at the stage door after the show, everyone has been very kind and supportive." (October 2012).

"Look, it’s ME on Broadway! Picking up my tickets to "The Heiress" starring the lovely Jessica Chastain on November 20, 2012."

"And here I am finally meeting my favorite actress of all time, after her riveting performance as Catherine Sloper in "The Heiress." She was as beautiful, gracious and friendly as I expected she would be. Thanks, Jess!"

LAWLESS

Lawless

Directed by John Hillcoat

Starring Tom Hardy, Shia LeBeouf, Guy Pearce, Gary Oldman, and the lovely Jessica Chastain

I have to get this poster!!

"Boardwalk Empire" for Hillbillies -- that is not the movie's tagline, but it could well have been used the pitch meeting for this gritty, violent, but beautifully-shot movie. Set in the hills of Franklin County, Virginia during the Depression (but filmed in Georgia), the film is loaded with moonshiners, evil lawmen, even more evil Chicago gangsters, and, of course two love interests for the two main characters (LaBeouf and Hardy): one a pure and innocent preacher's daughter (Mia Wasikawska, who makes the most of this under-written role) and the other a former stripper from Chicago named Maggie (played sympathetically by Ms. Chastain). How she ended up in this backwater is a bit improbable, but I for one am glad she did.

At the time, Franklin County was called "The Wettest County in the World" for all the illegal stills in operation. And the three Bondurant brothers (real characters) were notorious for flouting the corrupt authorities who tried to control their operations. I'm not sure what official role Guy Pearce's slick, big-city (Chicago again) "Special Deputy" played in all this, but he is the main villain on the law's side, and he (and his hair) make a compelling presence. Kudos to the hairstylist for giving all the male actors striking and severe haircuts. 

Tom Hardy dominates the movie as the leader of the family, and he gives a daring, barely audible performance (he conveys a lot by a look and a well-placed grunt). Poor Maggie has to enter his bedroom stark naked to get a reaction out of him (and I for one am glad she did). Hardy pulled off an even bigger acting challenge as the villain Bane in "The Dark Knight Rises" (acting with that contraption over his mouth), making a name for himself with these unconventional performances -- let's hope he doesn't descend into caricature like Nicolas Cage did!

The soundtrack and musical selections (by Nick Cave, who also wrote the screenplay!) mesh with the time-period, reminiscent of the great work done by T. Bone Burnett for "Oh Brother, Where Art Thou?" I admire (but do not love) Boardwalk Empire for its attention to details like this, so I enjoyed this equally blood-splattered tale of America in the Twenties. 

Now filming on the streets of New York . . .

"The Disappearance of Eleanor Rigby"

(for those of you in the NYC area)

A haircut hasn't received this much attention since "Felicity" was on TV ! (Who remembers that show? Keri Russell? Season two haircut? Anyone?)

NEWS: JC to prepare for Broadway debut in September

Jessica Chastain talks about "The Heiress" at the TONY Awards

I will have my flight booked for an October 7th premiere (see how this anonymous Hollywood Reporter tries to jinx poor Jessica at the end).  Also starring David Straithairn and Dan Stevens -- for all you Downton Abbey fanatics, he plays heartthrob Matthew Crawley.

Jessica Chastain is a great actress with chameleon-like prowess and enormous emotional intelligence; I think she's one of the best actresses of her generation. I'm thrilled to be  working with her on "The Heiress." 

- - Moisés Kaufman

You-know-who's triumphant return to Cannes

(The lovely) Jessica Chastain continues her red carpet domination at the Cannes Film Festival by attending the Lawless premiere (one night after the Madagascar 3 premiere). One challenge with viewing the much-buzzed about Lawless -- Chastain has a very prominent nude scene which she will have to watch with hundreds of other viewers at the film's premiere. "It's going to be interesting to see this film in a huge theater," says Chastain, speaking at the Euphoria-Calvin Klein party on Thursday night. "Because I am, you know, more exposed." 

"It will be totally embarrassing," she adds, breaking into peels of giggles. "I am going to be bright red. I'll have to cover my eyes during that scene."

Chastain said a controversy about the lack of female directors in the line-up for the Palme d'Or was pointless. "I think it's silly," she told AFP in an interview. "I think a film should be judged on the film and not on the sex of the person who directed the film." 
>>Tell it like it is, JC! (ffg)


(More than a thousand women film-makers and others have signed a US petition in support of French feminists protesting the lack of female directors in the line-up for the Palme d'Or top prize at Cannes. There are no female film-makers among the 22 competing for the Palme, which will be awarded on May 27, and just two among the 17 in its new talent section).


This headline got my attention:

Cannes 2012: Jane Fonda, Jessica Chastain, Naomi Watts Vie for Top Gown at 'Madagascar 3' Premiere 

TOP TEN MOVIES of 2011

I have finally seen all the 2011 releases I care to see, and up until last Sunday I was worried that I wouldn't have enough films to make an even ten. I wouldn't characterize 2011 as a BAD year for movies, more of a year of hits and misses, with the real gems ever-harder to find in the crowded movie marketplace.

Happily, the one discernible theme in the movies released at the end of the year is: "Movies Rediscover Their Past." That theme produced two wonderful films (see below), and Steven Spielberg's "War Horse" -- a Disney-esque throwback that positively wallowed in one-dimensionality.

This year your response to the titles below might be a collective "Huh?" (more so than usual!). I plan to link many of these films to a more expansive review. With that in mind, here are TEN BEST MOVIES of the YEAR:

1. THE ARTIST
2. The Mill and the Cross
3. Hugo
4. Midnight in Paris
5. The Descendants
6. Tinker Tailor Soldier Spy (UK)
7. Martha Marcy May Marlene
8. Meek's Cutoff
9. Tree of Life*
10. Weekend (UK) 

Honorable mention (alpha order)
The Adventures of Tin Tin
Contagion
The Debt*
Mission Impossible 4 ("Ghost Protocol")
Moneyball
Take Shelter*

"Saw & enjoyed" (a category reserved for good/not great movies):
Drive
The Girl with the Dragon Tattoo
The Help*
My Week With Marilyn
Puss in Boots
Texas Killing Fields*

And one suggestion for a new category for the Oscars: BEST OPENING CREDIT SEQUENCE:
This year produced two clear favorites:
RUNNER-UP: Girl with the Dragon Tattoo (oily!)
WINNER: Mission Impossible: Ghost Protocol (excellent!)

* these five films all featured the lovely Jessica Chastain. And they all made the cut! Go figure...

Oscar Snubs - 2012 edition

The nominees are out, and I really don't have any major snubs to be outraged about this year. Except for the Supporting Acting categories (see below), I think the Academy followed the crowd, i.e., other awards shows, in filling out its ballot. When they did divert from the norm, it was a pleasant surprise -- 3 nominations for "Tree of Life" and a nod for Gary Oldman's under-appreciated role in "Tinker, Tailor, Soldier, Spy."

The one trend the Academy is proving to be way behind the curve on is motion capture technology. Andy Serkis will get his due one day in an acting category, but the Oscars will be the last to do it. How they could ignore the best animated movie of the year ("The Adventures of Tin Tin") in favor of  two obscure foreign imports (!) is beyond my comprehension. It is obvious they do not 'get it.'

Shailene Woodley ("The Descendants") has good cause to be bummed that she was left off the final five for her fine supporting performance. I don't expect the Oscars to ever add categories, but since the Screen Actors Guild recently filled the Oscar void by awarding stunt work in film and tv, SAG should consider a "Best Young Performer" category.

The wealth of outstanding male supporting performances this year made these omissions disappointing, but understandable: Albert Brooks, "Drive"; Armie Hammer, "J. Edgar"; Viggo Mortensen, "A Dangerous Method." I stopped trying to figure out the arcane rules for nominating Documentary Features, but yet again, they passed over some of the best in 2011: "Buck", "Bill Cunningham: New York", and "Project Nim."

This is the spot reserved for my Annual anti-John Williams Rant:

Funny, I was prepared to give him his due this year for his nomination-worthy work in "Tin Tin": it was an engaging, fun score, without unduly calling attention to itself. The Academy left me no choice, however, by ALSO nominating that overblown, overproduced, overbearing and over-everything (it really was a wall of sound!) score for "War Horse." Spielberg obviously gave him free reign, and he used every second of it!  That bloated catastrophe of a score makes a nice contrast with the two absolute BEST scores this year: Howard Shore's work in "Hugo," and especially the deft touch of Ludovic Bource in "The Artist" -- he really did have to fill (almost) every second with music, and he did it in the grand tradition of silent movies: with variety, cleverness, and an unerring sense of mood (the use of a Bernard Hermann tune for a key scene was a stroke of brilliance!)

End of rant (the tradition continues).

It is no secret who I will be pulling for on Feb. 26th. An actress who could have filled the Supporting Actress category all by herself this year:

Jessica Chastain's official Awards Show victory pose 
(get used to it!)

My blog's Re-Dedication

Goodbye Naomi ... hello Jessica!

Are you like me? Have you watched all five of the lovely actress Jessica Chastain's movies that have been released this calendar year, and you still can't get enough of her? Well, this posting is for YOU!

I predict 2011 will go down in Hollywood history as the year of the "Jessica Chastain Harmonic Convergence." In case you've been under a cinematic rock these past 10 months (or watching the latest 3-D / comic-book summer-time nonsense that invades our screens every year), I have included at the end a brief rundown of her five break-though performances so far in 2011 (with more complete reviews to come).

In a quirk of filming schedules and studio politics, all five of these films have been released in quick succession, leading one to think this woman is a work-a-holic, and on every studio head's speed-dial. In fact, I understand The Debt was in the can for a year before the studio released it; Tree of Life director Terence Malick takes a notoriously long time to complete a film (Tree was shot in 2008, in Smithville, Texas mainly--with Sean Penn's work scenes filmed in the downtown Houston office building where FFG has his day job -- shout out to 1100 Louisiana!).

For that reason, she deserves the place of honor on my blog once reserved for the likes of Sandra Bullock and Naomi Watts.*

I'm basing my assessment of her star potential purely on her film work to date. All I know about her personally is the following (courtesy of imdb): Born: Jessica N. HowardMarch 29, 1981 in California, USA. She is obviously too busy filming to sit down for cover stories and fashion shoots, which no doubt will come in time. [I respectfully offer one bit of (self-interested) career advice: "Buy a house on Lake Travis in Austin -- just to get away from it all!" And ... don't hook-up with tatooed-biker bad-boys.]

I plan to post lots more glamour shots of her in the coming months -- I expect her to be a fixture on the red carpet during awards season (mark my words!) The question is not if she will get nominated, but how many!? I read a debate among people who predict Oscar nominations year-round (not an occupation to be proud of) concerning which one of her performances should be promoted in the two acting categories, since Academy rules now prevent multiple nominations for the same actress!

Here are her five best performances in 2011:

TREE OF LIFE

I'm still wrestling with this head-scratcher of a film (I need to see it again before reviewing it), but one thing is certain -- at the movie's center is the role of "Mother" -- and the film would not have worked if not for the unknown, angelic redhead whose performance was every bit the equal of Brad Pitt's "Father." A Star is Born.

THE DEBT

In the summer's best action movie, JC had to convincingly play a trained Israeli Mossad agent in WWII Berlin, whose mission is to capture and guard a Nazi war criminal, all while passing herself off as a German and a younger version of the great Helen Mirren. A piece of cake for JC.

THE HELP
I can think of numerous things this movie could have benefitted from, but here is the most-obvious one: MORE JESSICA CHASTAIN!
She is a delight as Celia Foote, the well-meaning, if ditzy, newlywed who is shunned by the society ladies of Oxford, Mississippi, and bonds with the maid who is also an outcast. While all the performers seem to be having fun with their roles, Jessica overcomes the screenplay's many broad brushes with dramedy and creates a sympathetic character you wish the movie had more time for.
Not that the movie needed to be longer.

  

TEXAS KILLING FIELDS
While Aussie Sam Worthington wrestles with his Texas accent (sometimes it is there, sometimes

 it does a disappearing act), his co-star from 'The Debt" (JC) breezes into her few scenes like a Texas Tornado -- all gun-toting attitude and gumption, playing a detective from a neighboring county working similar crimes, who is also his ex-wife, btw. Her accent? She nails it!

TAKE SHELTER
Another completely convincing performance as a young, Midwestern wife and mother dealing with the increasingly erratic behavior of her husband.

  

Not enough of a good thing, you say? Here is the good news: we have two more Jessica Chastain-starring films to look forward to by the end of the year!!

• CORIOLANUS - directed by Ralph Fiennes
• WILDE SALOME - directed by Al Pacino

 And a third is currently in post-production:

• THE WETTEST COUNTY (IN THE WORLD) -- A crime-drama centered on a family of Depression-era bootleggers in the American South

These are indeed heady times for Jessica Chastain -- and for this blog, too (I cannot wait for awards season!)

• * Poor Naomi has succumbed to the "Sandra Bullock curse": she made one-too-many bad movies for the foreignfilmguy to sit through. In Naomi's case, "Mother & Child" was her "Two Week's Notice" (that lame Hugh Grant rom-com was Sandy's undoing). I couldn't bring myself to sit through "Dream House" in spite of its all-star cast. It looked as bad as Sandy's pre-Oscar "All About Steve." On the bright side, now that I have shifted my allegiance, Naomi should be in line to pick up her first Academy Award (a la Sandy's "The Blind Side"). I hope for her sake Naomi doesn't follow it with that other curse: the "Best Actress winner break-up curse"! Yikes!
• You can still read an updated tribute to Naomi Watts' many excellent performances in an upcoming post.