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Showing posts with label Kristen Stewart. Show all posts
Showing posts with label Kristen Stewart. Show all posts

ON THE ROAD

Friday, December 28, 2012

ON THE ROAD
Written by Jose Rivera
Directed by Walter Salles
Starring Sam Riley, Garrett Hedlund and Kristen Stewart

Dean Moriarty: Marylou, spread those knees and let’s smoke some weed.

Jack Kerouac’s ON THE ROAD is considered to be the defining novel of what is known as the “beat” generation. These were post-WWII young people who identified themselves through poetry, jazz, drugs and sexual exploration. These identities took time to establish and that meant there was never really any time for work or responsibility. In many regards, they remind of today’s hipsters. As I don’t care for them, you can imagine how I feel about their forefathers.

I’ve not read the Kerouac novel and I’m certain from seeing the film that it is incredibly detailed and likely highly insightful but that doesn't mean it translates well. On screen, ON THE ROAD, amounts to a fairly aimless road trip with nothing but unlikable characters to spend the time with. Sal Paradise (Sam Riley) is disenchanted with life when we meet him in 1947 in New York City. He wants to be a writer but he cannot commit to a single word, at least in type. Enter Dean Moriarty (Garrett Hedlund). Dean is the epitome of cool and everyone follows him around, like the lost little puppies they are. The trouble is that Dean is more lost than any of them.


Dean and Sal fight against growing up and taking responsibility for their lives and choices. Along their trip, they meet many folks who reinforce this lesson with varying degrees of subtlety. Putting life on hold to figure out who you are and to enjoy what life offers certainly has its merits but to watch this experience on film, no matter how well Brazilian director, Walter Salles, paints the picture, is just self-indulgent really.


322. Snow White and the Huntsman

Monday, December 24, 2012

322. (23 Dec) Snow White and the Huntsman (2012, Rupert Sanders) 41



A too ambitious retelling of the familiar tale, Snow White and the Huntsman is at least some fun when playing into its fantasy elements, like a brief scene where the duo fend off a troll. Otherwise, iconic elements like the poisoned apple become mere blips to make room for countless throwaway sequences. Kristen Stewart and Chris Hemsworth have no discernible chemistry, leaving all of the heavy lifting for a very over-the-top Charlize Theron. Dour though it may be, the costumes and visual effects offer at least some intrigue. But no one should be asking for a sequel.

231. On the Road

Tuesday, October 2, 2012

231. (01 Oct) On the Road (2012, Walter Salles)* 44



Where Kerouac's writing is vibrant and rhythmic, Walter Salles' filmmaking style is the opposite. The structure is episodic and the aesthetic uninspired. Occasionally a scene is amusing or provocative, but not one offers insight or excitement. How odd that some of the most iconic characters in 20th century literature are impossible to engage with on-screen, the issue being that the leads are uniformly bland. Kirsten Dunst and Elisabeth Moss shine in supporting roles.

ON THE ROAD

Thursday, September 6, 2012

ON THE ROAD
Written by Jose Rivera
Directed by Walter Salles
Starring Sam Riley, Garrett Hedlund and Kristen Stewart

Dean Moriarty: Marylou, spread those knees and let’s smoke some weed.

Jack Kerouac’s ON THE ROAD is considered to be the defining novel of what is known as the “beat” generation. These were post-WWII young people who identified themselves through poetry, jazz, drugs and sexual exploration. These identities took time to establish and that meant there was never really any time for work or responsibility. In many regards, they remind of today’s hipsters. As I don’t care for them, you can imagine how I feel about their forefathers.

I’ve not read the Kerouac novel and I’m certain from seeing the film that it is incredibly detailed and likely highly insightful but that doesn't mean it translates well. On screen, ON THE ROAD, amounts to a fairly aimless road trip with nothing but unlikable characters to spend the time with. Sal Paradise (Sam Riley) is disenchanted with life when we meet him in 1947 in New York City. He wants to be a writer but he cannot commit to a single word, at least in type. Enter Dean Moriarty (Garrett Hedlund). Dean is the epitome of cool and everyone follows him around, like the lost little puppies they are. The trouble is that Dean is more lost than any of them.


Dean and Sal fight against growing up and taking responsibility for their lives and choices. Along their trip, they meet many folks who reinforce this lesson with varying degrees of subtlety. Putting life on hold to figure out who you are and to enjoy what life offers certainly has its merits but to watch this experience on film, no matter how well Brazilian director, Walter Salles, paints the picture, is just self-indulgent really.


SNOW WHITE & THE HUNSTMAN

Thursday, May 31, 2012


SNOW WHITE & THE HUNSTMAN
Written by Evan Daugherty, John Lee Hancock and Hossein Amini
Directed by Rupert Sanders
Starring Kristen Stewart, Chris Hemsworth and Charlize Theron


Ravenna: I feel that you and I are bound.

The Grimm fairy tale best known as “Snow White” dates back to the beginning of the 19th century. It is a cautionary tale of sorts to young women everywhere that beauty is only skin deep and that true beauty, the kind that either commands respect and admiration or say the attention of a handsome prince, is to only be found on the inside. On many levels, it not only warns the reader but rather sets up the expectation that one day our prince will come and make all of our woes disappear. It is a timeless tale but it contains elements that don’t necessarily translate to today’s contemporary princess. Of course, minor issues like these would never deter Hollywood from trying to bleed it dry. And while you can put Snow White in pants, she still needs to be kissed by a prince at some point.

The trick then becomes how to modernize Snow White for today’s audience while not losing the story’s key factors. SNOW WHITE & THE HUNSTMAN tries to do so by keeping the fable set during the period (which is done masterfully) but by making it into an epic battle between the two fairest women in the land, Snow White (Kristen Stewart) and her evil stepmother and Queen, Ravenna (Charlize Theron). Their beauty is supposedly unmatched - and I say unmatched because you can never convince me that Stewart could ever look better than Theron, even on Stewart’s best day and Theron’s worst - but Snow White’s is internal and Ravenna’s is merely on the surface. Yes, they ride horses and wear armor and wield swords but beauty is each their greatest weapon. First time director, Rupert Sanders, strives to give the fairy tale a realistic edge visually but he fails to make these women into real people. Perhaps it is his lack of filmmaking experience or perhaps it is a lack of understanding when it comes to women.



SNOW WHITE AND THE HUNTSMAN spends most of its time with its title characters (Chris Hemsworth plays the hunstman) as they journey aimlessly through the land to reunite Snow White with her former subjects in exile. They barely speak (which in Stewart’s case is always best) but yet this is their love story. The film is only ever truly interesting when Theron is on screen. She is the only true evil queen (sorry, Julia!) and her obsession with beauty fuels her every move. She fears becoming old and being replaced by youth, a very real plight for many women today, especially actresses, and one that gives her character an edge I never saw in her before. This goes nowhere though and we are only left waiting for Stewart’s inner beauty to shine through and lead the people to victory. Stewart, with all her youthful vigor, never allows us to see what’s inside, leaving us with exactly the same beauty she is supposed to be fighting against. Sadly, this makes the movie itself only pretty on the outside too.

480. Breaking Dawn: Part 1

Monday, November 28, 2011

480. (26 Nov) Breaking Dawn: Part 1 (2011, Bill Condon)* 42



Certainly one of the funniest films of the year, it's almost astonishing that Breaking Dawn can take itself as seriously as it does. There are telepathic wolves, blood smoothies, and the least subtle abortion debate in cinematic history. All of them make this outrageously campy and too fun for words, but it's almost astonishing that something as dreary and dreadful as this film series has such a massive and devoted fanbase.

Strangest of all is how utterly devoid of romance it is despite starting with an endless wedding which leads into the wackiest honeymoon ever. Stewart and Pattinson lack more chemistry together than ever. When she loses her virginity, it's a comic scene on a grand scale. Then the next day they uncomfortably discuss how it was the greatest sex imaginable, but only after it's revealed Stewart was severely bruised in the process. Seriously. How are teenage girls allowed to obsess over this? Don't they have parents?

Adventureland

Thursday, April 9, 2009


“Adventureland” is my favorite film of the year so far, a wise and winning look at the awkwardness and yearning of first love, and the struggle to carve an identity for oneself while navigating those roadblocks life throws at you.

It’s a rich, bittersweet and touching movie, quite different from the advertising campaign which makes it out to be a rowdy comedy. It’s not, and the film is better for it.

Set in 1987, James Brennan (Jesse Eisenberg) thinks he’s going to graduate school in New York in the fall following a summer sojourn to Europe. Reality sets in when his family faces a financial crisis, and his trip to Europe is scuttled. Without his parent’s financial help for grad school, James is forced to take a job over the summer at Adventureland, a nearby amusement park, to earn money

The park is run by an odd married couple played by Bill Hader and Kristin Wiig, both from “Saturday Night Live.” Hader is a hilarious, wigged out amusement park owner, and is nicely complemented by Wiig, an equally spaced-out wife. Reality rarely seeps into their hermetically-sealed, amusement park-centered world.

James befriends and falls in love with co-worker Em (Kristen Stewart), who has a relationship with the much older married maintenance worker Mike (Ryan Reynolds). Em comes from a troubled home but is a good person and is trying to find herself and her place.

The park’s workers are an interesting bunch. Everyone smokes pot and gets high a lot and there’s lots of sexual activity, both real and imagined.

I especially liked Joel (Martin Starr), a most likeable sad sack type who is perpetually stoned to make it through the drudgery of working at Adventureland (and, one suspects, life itself). He also utters my favorite movie line in a long time, where he and equally stoned Sue (Paige Howard) find themselves making out in a car one night.

I didn’t know who the actress was playing Sue until the end credits, and saw her name was Paige Howard. Since she was a redhead I guessed she was Ron Howard’s daughter and sister of Bryce Dallas Howard and I was right. She has a bright future ahead of her, but then I’m partial to redheads.

Many painful truths and lessons are learned before the movie is over. Writer/Director Greg Mottola obviously likes these characters, despite the damage they do to themselves and others. I also liked the fact that Terry Stacey’s cinematography is kind of grimy, looking like a film made in 1987, and not given the digital sheen typical of many movies today.

Good acting is on display all around, especially by Eisenberg and Stewart. These two characters are made for each other if they only they were wise enough to realize it.

I also liked Ryan Reynolds’ performance quite a bit. He takes a philandering character preying on impressionable young girls and makes us understand him and yes, even like him. He’s not the stock bad guy. Reynolds is one of those actors that I don’t think gets the credit he should. He makes it look so easy. Hopefully this will change, as this is some of his best work.

Much has been written by others about the smart use of songs in the movie. I’ll take their word for it. Though I was 25 in 1987, I rarely listened to the radio and was completely out of the loop when it came to contemporary music. I was more concerned with wondering when the next Jerry Goldsmith-scored movie was coming out. So I guess songs by the likes of Crowded House work just fine; indeed this is the type of movie that cries for a song-based score, so I’ll the word of the rock experts that the right songs were chosen.

I never had a summer job like working at a place like Adventureland, but I did work for two years of high school and almost four years of college at a small, local grocery store, so there was much in “Adventureland” I related to. A lot of us really didn’t like the job, or the low pay, but we liked each other and would often go to each other’s houses for parties or go bowling or have outings of some kind.

“Adventureland” has several scenes of the workers visiting with each other in the parking lot after their shifts are over. I remember those times. Many a summer night was spent hanging in the parking lot visiting with each other after work. There was strong camaraderie and because many of us were roughly the same age, there were lots of flirtations and rivalries for the guys with the new cashier or the girls with the new stockboy/bagger.

One memory came at me full force while watching “Adventureland”, a memory I hadn’t thought of in a long time. For a period of time I worked the Friday night shift and one of the cashiers was a cute girl named Gail. One summer weekend a small Jaycees-sponsored carnival set up in the parking lot of the local community college. The store closed on Fridays at 9 p.m. and the carnival was open until 11:00. Several of us decided to carpool it to the carnival that night, but by the time we closed up the store, counted the money, swept the store and prepared it for opening the next morning, it was close to 9:30. A drive to the carnival meant we had only about an hour to spend there. Gail and I broke away from the others and went wandering and found ourselves in the ride section. We stood in front of one of those machines where the seats, shaped like Tilt-o-Whirl seats, flies up in the air and down again. Nothing too strenuous like a roller-coaster, so we decided to check it out, especially since there was no waiting in line. The carnival had started to shut down but we thought we could squeeze a ride in. We went up to the operator, a young kid just a little older than ourselves, to see about going on the ride, but he said, “Sorry, we’re all done for the night.”

Indeed the carnival was shutting down and the other rides were going dark one by one. People had started to stream out to the parking lot.

We must have looked really disappointed, because he looked at us, looked up and down the midway as if looking for his boss and then said, “Get on.” He refused to take our tickets. He proceeded to give us a private ride, just the two of us, with the lights from the ride flashing brightly and the music blaring full blast in an otherwise quiet carnival. I think we were the only activity in the carnival at that time. It was the best carnival ride I was ever on. We thanked him profusely when we got off and he looked at us and said, “No, no, glad to do it.”

I have a feeling the workers in “Adventureland” would have done something similar. Behind the insults, drinking, swearing and pot use beat the hearts of hopeless romantics.

Rating for “Adventureland”: Three and a half stars.
 

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