CLOUD ATLAS

CLOUD ATLAS
Written and Directed by Andy Wachowski, Lana Wachowski and Tom Tykwer
Starring Tom Hanks, Halle Berry, Jim Broadbent, Hugh Grant, Hugo Weaving, Jim Sturgess, Ben Wishaw, Xun Zhou and Susan Sarandon.

Vyvyan Ayrs: What is a critic other than one who reads quickly, arrogantly but never wisely?

I must be missing the deeper meaning in CLOUD ATLAS, a film so massive in scope that it required three of the most visually innovative directors working today to tackle it properly. I watched six separate stories span centuries and unfold in spectacular fashion before my eyes, and understood pretty early on into its gargantuan 164 minute running time, that all of these stories, although seemingly completely unrelated, were in fact all connected. I’m sure there has to be so much more symbolically going on underneath all the heavy handed imagery and crushing weight of all the prosthetics used in this film, but if there was, it never surfaced to the movie I was watching. CLOUD ATLAS is surprisingly engaging, and at times extremely satisfying, but it insists you invest in it with every fiber of your being at all times, so it can also be exhausting to get through. And by the time I reached the end of this epic journey, I did not find the revelations to be all that worth the effort.

Where to begin when talking about a story that is meant to demonstrate that all stories are connected throughout time? Honestly, I don’t know and thinking about it is making my head hurt. This is my job though so I must attempt this, no matter how convoluted the directorial team, made up of the Wachowski siblings and Tom Tykwer, try to make it for me. A man (Jim Sturgess) takes a stand against slavery and is unknowingly poisoned while on a ship at sea, circa 1850. Another man (Ben Wishaw) writes a sextet that no one will ever hear in 1931. A woman (Halle Berry) tries to take down a nuclear company up to no good in the 70’s. An older gentlemen (Jim Broadbent, the film’s shining star) is tricked into a nursing home prematurely in present day. A genetically engineered woman, known as a fabricant (Xun Zhou), serves food and wonders if there is anything more to life in a dystopian near future (in what I found to be the most compelling of the stories). And finally an old man (Tom Hanks) tells a campfire story in the far away future about when he was young and what it was like to live just after humanity fell. All of this is tied together by the suggestion that each of these stories contains a character that once lived in another time, in another one of these stories.

From what I hear, the book which CLOUD ATLAS was based upon, written by David Mitchell, is even more dense. From what I hear, it also does a better job at showing how cyclical all of our history and connectedness truly is. Having not read it, I cannot confirm this, but a novel does provide a better foundation with which to base this elaborate and ambitious undertaking. The visual adaptation here is more a spectacle than an emotional or meaningful exchange. Even the interconnectedness of it all has to be spelled out to us by having all the actors play several different parts (with varied results). While the three directors are all on the same page visually, seamlessly jumping back and forth between the Wachowski’s future and Tykwer’s past and present, they are all amiss when it comes to tying together the actual feelings that humanize us all throughout time. When they are in the moment, they often get it right, but CLOUD ATLAS, isn’t about just one moment; it is about them all and this is just too big a picture to behold all at once.

THE COMPANY YOU KEEP

THE COMPANY YOU KEEP
Written by Lem Dobbs
Directed by Robert Redford
Starring Shia LaBeouf, Robert Redford and Julie Christie

Sharon Solarz: The past 30 years in one sentence. Must be nice to see the world so clearly.

For those who are perhaps not familiar with the Weather Underground, they were an American radical organization that employed violence against their own government in protest of the Vietnam War. In Robert Redford’s latest film, THE COMPANY YOU KEEP, Redford imagines what it would be like for some members of the group to still be alive and hiding in America today. They were once ardent protesters, who were branded terrorists, and now, the few that remain, are soccer mom’s or local lawyers in small towns. Their lives have slowed and unfortunately, they brought the pace of the movie with them.

At the onset of the film, a mother (Susan Sarandon) sends her kids off to school and sets out to turn herself in to the FBI for crimes she committed while she was a member of The Weathermen, as they were also known. This event triggers newfound interest in the case and the few others who remain hidden are suddenly being actively hunted again. The primary target is Jim Grant (Redford), a single father just trying to keep his daughter (Jackie Evancho) happy after the passing of her mother a year prior. He is uncovered by a local journalist (Shia LaBoeuf) and from that moment on, he runs. Subsequently, we follow and wait to find out if the man who has been running for 30 years can continue to do so successfully.

What Redford is hoping for here is that we see all of the ideals that The Weathermen stood for also running and hiding in today’s contemporary setting. Instead, what we get is a thriller where an older, yet surprisingly spry, gentlemen, runs as fast as he can, without realizing that isn’t really that fast at all. Contrasting yesterday’s conviction with today’s lack thereof is nothing revelatory though, which leaves THE COMPANY YOU KEEP feeling a tad gummy when it’s meant to be biting.

ROBOT AND FRANK

ROBOT AND FRANK
Written by Christopher D. Ford
Directed by Jake Schreier
Starring Frank Langella, James Marsden, Liv Tyler, Susan Sarandon and Peter Sarsgaard

Robot: Hi Frank. It’s a pleasure to meet you.
Frank: How do you know?

As I understand it, aging can be an isolating and confusing time for many, especially when it seems that life has forgotten you and left you to finish out your years alone. When you are retired from work and your family has moved on to families of their own, purpose can be difficult to find. Frank (played by Frank Langella) knows this better than most. He was once a loving husband and father to two vibrant children. He was also once a jewel thief but even jewel thieves eventually get too old to break into homes in the middle of the night.  Fortunately, loneliness, one of mankind’s oldest afflictions, has finally found a solution thanks to the unlikeliest of places - modern technology.

ROBOT AND FRANK, the directorial debut by Jake Schreier, takes place in what appears to be the not-so-distant future. Life is pretty much recognizable in Frank’s world but slight differences pop up here and there so we know it isn’t quite the world you and I know today. The biggest of these tiny nuances would definitely have to be the robots. Frank has just gotten his from his son (James Marsden) to assist with his daily needs. Living all on his own, Frank neglects to clean up after himself or eat properly. The robot, voiced with tranquility and patience by Peter Sarsgaard, is not only there so that his son doesn’t have to make the long trek up from the city each week to make sure Frank is taking care of himself, but also to keep Frank company. Naturally, Frank resists the robot at first, but once he sees how the robot can help him get back to his thieving ways, the two become fast friends.

At the end of the day, a robot is incapable of being someone’s friend but Frank will take what he can get. The people in his life, including his daughter (Liv Tyler) and a librarian in town (Susan Sarandon) do what they can for him, but they all have their own lives too. And as Frank loses a little more of his memory with each day, he learns to rely more and more on the robot, blurring the lines between reality and artificial intelligence. ROBOT AND FRANK is a little movie with big ideas, led by yet another endearing and layered performance by Langella, an actor who constantly disproves the idea that there aren’t any good parts for older actors. And while the film may not be revelatory on any level, it has plenty of charm to please the viewer. In the end , I learned that we can all get by with a little help from a friend, even if that friend is made of metal.

The Final Conclusion - Best Actress 1995

1995

 

So the much anticipated ranking is:

5. Emma Thompson in Sense and Sensibility

I was quite impressed by Emma Thompson's work and I feel she richly deserved the Oscar - for writing. Her contributions to the movie as a screenwriter are much significant than what she gave here as an actress. However, it would be clearly unfair from me not to emphasise how much I liked her acting as well and how connected I felt to her character. She didn't get the showiest part, that's for sure, but her talent shines even with such circumstances. 

 

4. Meryl Streep in The Bridges of Madison County

I don't see the brilliance that many others do but I see the effort and can completely understand why many people are in love with this work. Although she definitely makes Francesca an extremely realistic woman that you can easily relate to, it's just something that wasn't too hard for the marvelous Meryl Streep. Nevertheless, I cannot deny the fact that she really elevates her movie that would just dragging along without her.  

 

3. Susan Sarandon in Dead Man Walking

I can conclude that Susan Sarandon gives a fantastic performance as Helen Prejean. She hits all the right notes, she displays dignity, grace and faith like nobody else. Her subtle, emotional work stays with you long after movie and is actually the most important reason to see the film. Although this part may not have been too difficult to play for an actress of Susan's calibre, it's still outstanding, brave and gutwrenching work given by a wonderful actress.

 

2. Sharon Stone in Casino

Sharon Stone gives a brutal, chaotic and disturbing performance as Ginger in Casino. She gets rid of all her vanity, glamour and sexiness in the process of creating a living piece of junk. Although the downfall of this woman is very hard to watch, Sharon makes it a wonderful experience, thanks to her wonderful talent, her intelligence and confidence. Excellent work.

 

1. Elisabeth Shue in Leaving Las Vegas

What an easy call! Elisabeth Shue kills the rest of her competition with her brilliant performance that I consider one of the greatest ones ever given. If you surrender to her, it's going to be a wonderful experience for you. She makes Sera such an interesting, heartbreaking character without seeming forced for a second. It all seems to come from her so naturally: she clearly identified with this character.

 So I can proudly announce

that the winner is...

Elisabeth Shue 

in 

Leaving Las Vegas
 

Don't worry Elisabeth! You got the important one! :) 

Final thoughts: Wow, a very strong year. I've had better but it was still a treat. Elisabeth was an easy winner, the rest of the ranking, however, took some time to decide. How weird: I drew the order of the reviews, which eventually turned out to be my ranking. So strange. :) In the end, I'm quite confident about this ranking. I'm kind of disappointed that Meryl didn't win three in a row (OK, I admit that I wanted it to happen...badly) and you, of course, didn't expect it not to happen plus I think Sharon's #2 ranking is also a shocker to you. I guess I prefer prostitutes to nuns and hopeless lovers. :) It was really Elisabeth's time shine and I hope she will one day get on the podium as an Oscar winner. Anyway, I'm glad Susan Sarandon has an Oscar. 

Omissions:

• Kathy Bates in Dolores Claibourne
• Julianne Moore in Safe

The next year: 

• Intriguing, eating babies, befriending animals... :-) 

What do you think? Any thoughts on your mind?

Bad news: I'm going to really slow down. I've had some free time now, but it's only gonna be worse until 18th June. After that, however... I'm going to catch up. :) I have to focus on my studies now. :) I'm not giving this up, don't worry, I don't have writer's block, I'm full of creative energy, I just don't have time.

"IT'S JUST TILL JUNE!"

Susan Sarandon in Dead Man Walking

I guess we're all quite familiar with the so-called "ovedue" wins. They usually happen when a performer or a filmmaker had already received several nomination without winning a single award. Therefore sentiment really works in that particular person's favor and it's no wonder why some feel quite bitter when the win takes places.  It happened most notably to Martin Scorsese, Shirley MacLaine and Kate Winslet. They are people whose worthiness of an Oscar is undeniable and yet many disagree with their wins. Susan Sarandon's overdue win for Dead Man Walking, however, seems to be a win that is also popular because of the popularity of her performance. People do love her. Susan Sarandon was, I think, a lock for the Academy Award though I don't think she won by a landslide. All the other ladies were pretty much threatening her.  

About Dead Man Walking, let me just emphasise how thought-provoking that movie is. Although it has its flaws, I admired its passion and the fact that it's really up to the viewer to decide what they think about capital punishment. Naturally, Robbins makes his opinion clear (along with Sister Helen) but I don't think that he's as obvious as some might accuse him. That being said, the performances really elevate the film. Sean Penn is truly great in his limited screentime, using all the opportunities, he's only shaky a few times otherwise I think he was worthy of an Oscar win. I must also undeline the unfairly ignored supporting cast, especially the works of Raymond J. Barry and Celia Weston as parents losing their children (though R. Lee Ermey who plays Weston's husband is also great). It's also nice to see Margo Martindale, her performances supporting Sarandon are always so great (though Lorenzo's Oil remains my favorite).

And here we get to Susan Sarandon, fantastic, intelligent actress who constantly gifts us with wonderful subtle performances. She had her prime in the 90s so it was only fitting that she won back then. What I love the most about her is that the way she's able to keep control over her character and inject much of her personality into them while still keeping on acting. Her dedication and passion as an actress and an activist shine through  every material brilliantly. I just keep being amazed by the wide variety of characters she plays: once a rebelling waitress trying to break out of her circumstances, then a dedicated mother who's desperate to save her child's life and eventually, the anti-death penalty activist nun, Sister Helen Prejean. 

Susan obviously approached this real-life character with gallons of respect and grace, her admiration really comes off: she portrays Sister Helen as really noble, wonderful woman who has her own doubts about herself and yet she has her faith as a firm base. Susan wonderfully displayed the sister's integrity. She's far from the concept of nuns in movies: she's neither the strict, conservative Mother Superior from Sister Act (who secretly has a heart of gold) or the singing nun shown in sixties' sugary musicals. In fact, Sister Helen seems nothing like a nun, it's really her strong faith and grace that shows how dedicated she is to the people and God. She has the pure faith of Jennifer Jones St. Bernadette, but Sister Helen is much less naive and more realistic. Susan excellently displayed the fear and doubt on her journey with a man sentenced to death. 

Susan doesn't have the loud, over-the-top moments that some of her fellow nominees had though this is a typical subtle baity role: she has those whispered Oscar clip lines and everything but it still feels really decent and honest. Susan is not begging for laurels in her performance. She mostly uses her face and eyes to express the emotions required from the movie. She has a damn difficult job considering the lots of close-ups. As a result, we get incredibly close to Sister Helen and it's easier for us to identify with her problems.

It was very important for Susan to properly show the inexperience of Sister Helen. That's what makes her meetings with Sean Penn's character, Matthew so intense and haunting. The two of them worked so wonderfully together, not trying to outact each other (though I saw the efforts on Sean Penn's part to be the best, it didn't work, I liked Susan more). Susan with her subtlety and grace is an excellent contrast to Sean Penn's more raging and angry work. Matthew is full of anger and hate and then there's Sister Helen with her calm behaviour, her tolerance and acceptance of Matt. Susan gets something really straight: Sister Helen is not trying to prove that Matthew is innocent and is not attempting to help him get away from taking responsibility for his actions. In fact, she's aware what a terrible thing he has done and tries to make him reveal the truth to her but more importantly, to himself and God. 

Susan had the really difficult task of serving as a moral compass for the viewer: it's up to her to make this film as objective and unbiased as it can be. She succeeds of course, mostly thanks to her previously praised intelligence and dedication. She doesn't overemote or moralise too much. She shows nothing more than Sister Helen's reaction. In a way, Matthew becomes an accessory to the development of Sister Helen (very much like in the case of Elisabeth Shue and Leaving Las Vegas).

Susan is especially strong and effective when we see her listening to the stories of the parents whose children were brutally murdered. We can mostly see her reacting, she's only playing with her face and is wondefully expressive. She shows the conflicts going on inside Sister Helen. She indeed gets terrified by what Matthew has done and yet never even considers giving up on him. Susan excellently displays this integrity and bravery of Sister Helen and also kind of a stubbornness.

The execution of Matthew is terrifying not exclusively because of Sean Penn's acting, but because of Susan's quiet reactions. Her Oscar clip when she says she'll be there with him when it happens, is just excellent, it's everything a scene should be: quietly emotional and effective, hitting you right in your guts. Susan's face is just so haunting when we see her behind the glass reassuring Matthew of her love. Unforgettable moment with honesty rarely displayed on the big screen.

In the end, I can conclude that Susan Sarandon gives a fantastic performance as Helen Prejean. She hits all the right notes, she displays dignity, grace and faith like nobody else. Her subtle, emotional work stays with you long after movie and is actually the most important reason to see the film. Although this part may not have been too difficult to play for an actress of Susan's calibre, it's still outstanding, brave and gutwrenching work given by a wonderful actress. 

 

What do you think?

I know (to quote Melissa McCarthy from Bridesmaids) it's coming out of me like lava but I have some free time now and I want to enjoy it. :) Meryl comes tomorrow. :) Maybe even Emma. :) 

JEFF, WHO LIVES AT HOME

JEFF, WHO LIVES AT HOME
Written and Directed by Jay Duplass and Mark Duplass
Starring Jason Segel, Ed Helms and Susan Sarandon

JEFF, WHO LIVES AT HOME is a movie about brothers, made by the same brothers who scored last time out with the indie hit, CYRUS. This time around, the Duplass brothers have enlisted two of today’s greatest comic actors, Jason Segel and Ed Helms, to embody their special brand of misunderstood losers. Jeff (Segel), who incidentally lives at home if you had not already heard, is as lost as one would expect a 30-year-old living in his parent’s basement to be. As he looks for a sign to show him the way, he finds his brother, Pat (Helms), who doesn’t live at home but is just as lost. They find each other while we find quiet and endearing laughter.

This review was originally published in Hour Community.

The Next Year

1995

So the nominees were:

• Susan Sarandon in Dead Man Walking
• Elisabeth Shue in Leaving Las Vegas
• Sharon Stone in Casino
• Meryl Streep in The Bridges of Madison County
• Emma Thompson in Sense and Sensibiliy

Thank God this year has become very timely, thanks to the well-deserved and very much anticipated third win of Meryl. :) Can you think of celebrating in a better way? She might even become my first four-time winner and the only one to gain three wins in a row (I will be completely impartial, don't worry)!

What do you think? Who's your pick? What's your prediction for my ranking? :) 

The Final Conclusion - Best Actress 1992

1992

So the much anticipated ranking is:

5. Michelle Pfeiffer in Love Field

I'm a bit clueless about how I felt about this performance. I mean, I really liked it and it was surely very entertaining as I was watching it but it was not something that really blew my socks off. Michelle is very good as Lurene, making her a very likeable person despite the fact that we shouldn't really like her. I appreciate the effort, it just didn't blow me away. But there's something about her that makes me really like her.

4. Susan Sarandon in Lorenzo's Oil

Just like her whole performance, as Susan Sarandon is really memorable and moving as Michaela Odone, a woman who refuses to give up on her son's life. Although she's nothing truly mindblowing, she works extremely well with the characters and shows her emotions exceptionally. Really great work.

3. Emma Thompson in Howards End

Although Margaret Schlegel is a sort of unspectacular character, the performance of Emma Thompson in Howards End is nothing short of spectacular. Despite the little bit slow beginning, I found this work of hers fantastic and I was totally taken by her. It's a true testament to her greatness that the performance is still growing on me and I think so much about it.

2. Catherine Deneuve in Indochine

Sorry haters, I'm not one of you as I was totally taken by Catherine Deneuve's wonderful performance in Indochine. Catherine put on an incredibly subtle but extremely haunting performance that is unforgettable for me. She got everything right and despite the screentime issues she really amazed me.

1. Mary McDonnell in Passion Fish

This is a wonderful performance that I loved from the beginning to the end. Although it's not a mindblowing piece of work, it's still exceptional and should be much more often talked about. Mary McDonnell created a very memorable and much more layered character than one would expect. She excellently shows this character's pain plus she's a real treat to watch.

So I can proudly announce

the winner is...

Mary McDonnell

in

Passion Fish

This one was very close.

Final thoughts: This year was way better than I expected. Surprising outcome, even for me. I thought Emma would be a shoo-in (and I thought only Catherine could upset). Although none of these performances was an amazing achievement, they were all impressive. Ranking the Deneuve-McDonnell-Sarandon-Thompson qurtett was incredibly difficult. Then it came down to Catherine vs. Mary and it was even harder. I really did not know how to decide but I hope I made the right decision. In the end, I went with Mary's adorably bitchy and heartbreaking performance as the daytime actress. Somehow she stayed in my mind the longest. Michelle was really good though I found her a bit lacking, many are criticising Catherine in Indochine but I loved her. The other ladies were all wonderful.

Omissions:

• Whoopi Goldberg in Sister Act 
• Michelle Pfeiffer in Batman Returns
• Tilda Swinton in Orlando
• Alfre Woodard in Passion Fish  *My Pick*

The ranking of the reviewed years:

1. 1969
2. 1944
3. 1974
4. 1961
5. 1989
6. 2001
7. 1959
8. 2006
9. 1978
10. 2010
11. 1996
12. 1964
13. 1939
14. 1977
15. 1992
16. 1997
17. 2009
18. 1980
19. 1941
20. 1972
21. 1963
22. 1966
23. 1973
24. 1983
25. 1986
26. 1937
27. 1990
28. 1954
29. 1958
30. 1948
31. 2002
32. 1957
33. 2003
34. 1940
35. 1998
36. 1975

About the next year: It's no secret that it will be 1962. :)

What do you think?

Susan Sarandon in Lorenzo's Oil

Susan Sarandon received her third Oscar nomination for playing Michaela Odone, a woman who's desperately fighting for the life of her son in the movie Lorenzo's Oil. If I really think about it, Susan Sarandon might have even been second to Emma Thompson in the voting. First of all, she was a previous nominee and many think she should have won the previous year for Thelma and Louise. Moreover, her role in Lorenzo's Oil is very sympathetic and I feel that the Academy must have been moved by this very simple story.

Lorenzo's Oil is a really good movie, in my opinion. It's way better than some say and I never felt it too long or boring. It's very well directed and written (though some say the opposite). Lorenzo's Oil really has a purpuse and I loved that it didn't just work for the tears. In fact, I felt it was really interesting from a point of view. Nick Nolte's performance is constantly bashed but I don't think that he was that terrible. Sure, the accent was overdone but apart from that, he wasn't that bad. I must underline Margo Martindale's performance which, in my opinion, should have been recognised some way. It's great that the world is realising how great she is.

Susan Sarandon is a very intelligent, interesting actress who was probably the greatest diva of the ninties. Sure, some might argue with that but I think that she's more than special. That being said, I had somewhat high expectations from this performance of hers in Lorenzo's Oil and she actually lived up to them much more than I would've thought. It's no wonder that she was asked to play Michaela after Michelle Pfeiffer dropped out (wonder if she had won the Oscar with this part). Sarandon has all the necessary qualities to play Michaela. Intelligence, subtlty and a very expressive face.

Michaela seems to be a cliché role and yet in Susan's interpretation she doesn't seem to be one. In fact, Susan added so many layers to her and totally inhabited her. The best thing about this work was that (just like the movie) Susan didn't do this for the tears. You can feel the commitment in her to play such a part. I felt that not only did she understand all the problems of this character but she also added a deeper meaning to her feelings. There's some kind of a universal nature in this part. Susan doesn't play only Michaela, she plays all the mothers in the world, shows their reactions and we also get to see her struggle.

Another thing that I love about her is that she never falls into the traps of such a role. She never becomes the mother in the corner whose teary eyes are visible and says uplifting monologues about her child. In fact, Susan makes her really hard to like. She shows all the meltdowns and dark moments of this woman who's haunted by her own demons. She becomes hysterical with the nurses and doctors and yet there's an incredible amount of love and tenderness in her when we see her talking to her child. This really sounds like a cliché but it isn't really. As I said, Susan always gives believable reactions.

I think she also works well with Nick Nolte. Although I don't think that Nolte is that terrible, he's still much weaker than Sarandon. However, Susan was able to find a perfect balance and that way it all worked. They (or at least Susan) really seemed to be very supportive of each other, never trying to outplay the other. I never noticed any selfishness in Sarandon's work.

There are some really emotional moments and Sarandon nailed them all. Her famous "Fly to Baby Jesus" moment is a really hearbreaking scene (despite its surprising shortness). However, I liked the ending more when she realises that there's still some hope for her son. She never becomes soappy at all, which is a pretty great achievement.

Just like her whole performance, as Susan Sarandon is really memorable and moving as Michaela Odone, a woman who refuses to give up on her son's life. Although she's nothing truly mindblowing, she works extremely well with the characters and shows her emotions exceptionally. Really great work.

What do you think?

The Next Year

1992

So the nominees were:

• Catherine Deneuve in Indochine
• Mary McDonnell in Passion Fish
• Michelle Pfeiffer in Love Field
• Susan Sarandon in Lorenzo's Oil
• Emma Thompson in Howards End

This one is said to be a weak year but to me all fields are interesting, so let's see how these great ladies will do.

What do you think? What's your ranking? What's your prediction for my ranking?