Showing posts with label Richard Linklater. Show all posts
Showing posts with label Richard Linklater. Show all posts

Tuesday, April 12, 2016

EVERYBODY WANTS SOME!! Brilliantly Captures What it is to be Young and Free and Ready to Party



EVERYBODY WANTS SOME!! Review:

- Richard Linklater is one of our greatest filmmakers because he so expertly captures moments that are small, yet in their own way, monumental. Boyhood was, perhaps, his masterpiece - an epic yet intimate look at one boy's journey across the years. But EVERYBODY WANTS SOME (which, in its official title, includes double exclamation points) goes back to the days of Linklater's breakout Dazed & Confused - instead of taking place over a sprawling timeline, it's a hyper-focused look at a single weekend. The movie looks at a perfectly-crystalized moment in time: 1980, Texas, the first weekend of arrival at college and the last weekend before class starts. A moment of parties, rock n' roll, identity crisis, and total - blissful! - freedom. A time when the 'staches were unironic, the shorts were short, and kids were free to be kids. It's the last weekend of summer and the first weekend of the rest of these characters' lives. And yet ... this often hilarious (but surprisingly poignant) pre-college party film has more in common with a movie like Boyhood than you might think. Because like Boyhood - and like so much of the Linklater filmography - EVERYBODY WANTS SOME is, really, about how small moments shape us and make us who we are. And nobody captures those moments like Linklater.

The movie sort of drops you into this world makes you feel less so like you're watching a movie, and more like you're hanging out with these characters for two hours. It helps that the characters here are so great. Some we feel like we know well. Some we feel like we only get a sense for. But they are all defined and shaped in the way that real people you've just met might be. They are all, every one, distinct and memorable. Jake is our entry-point character - and, as played by Blake Jenner, he's a classic Linklater protagonist. Jake was a standout high school baseball player who's now finds himself one of several rookies on a college team with championship hopes. The team members live together in an off-campus house provided by the school - a ramshackle party pad where girls are supposedly banned from being present upstairs, but where many girls will spend a lot of time upstairs. The team is a mix of colorful characters - they may all be baseball players, but the group is an eclectic mix of swaggering jocks, philosophical stoners, would-be ladies men, awkward dorks, dorky rednecks, and the prerequisite might-be-a-psycho loose cannon.

Jake, meanwhile, is a natural talent, but he's also quiet and introspective, a music collector, and a bit of a chameleon. Throughout the film, Jake is the catalyst that guides his less-adaptable baseball teammates into all kinds of corners of the 1980 college scene. We see Jake and his new pals go to a punk rock concert, a theater-kid party (after Jake falls for an aspiring actress), a disco, and a cowboy bar. So yes, this is a movie about baseball players. But it's also a movie about the universal college experience - trying out different scenes, figuring out where you fit in and where you don't. Beverly, the theater major who Jake falls for (played, in a great performance, by Zoey Deutch) is essentially living in her own movie running parallel to Jake's. She's new at school, coming from a place where she was the star of school plays, now thrown in with a bunch of others who were, each of them, the stars of *their* school plays. It's a testament to how naturally fleshed-out Linklater's world feels that you could easily imagine, at any point, his cameras shifting focus to Beverly - with a whole new movie growing organically out of this one. But that's the magic of EVERYBODY WANTS SOME. It's a very specific story that is also incredibly universal.

The cast here is mostly unknowns. But just as the cast of Dazed and Confused turned out to be made up of future stars, there is that some sort of potential here. Every actor brings something a little different to the table, and they all do a remarkably great job of playing to Linklater's naturalistic style. Blake Jenner is very good as Jake, but he's also sort of the POV character - so it's the others who get the really weird/funny/standout moments. The best, I think, is Glenn Powell - who was hilarious on the series Scream Queens. We all know a guy like his character, Finnegan - a smart-mouthed amateur philosopher who freely dispenses sage advice on everything from college clique pecking orders to the best (often highly out-of-the-box) ways to pick up women. Of course, the all-knowing Finnegan is, in his own way, as confused and clueless as everyone else. Another standout is Wyatt Russell - who is really becoming a great comic actor. Here, he plays Willoughby - the quintessential stoner hippie - a California-raised zen-guru whose preternatural calm is a marked contrast to the unchecked male aggression of many of his teammates. There's also a great twist around his character that I won't spoil here - except to say that, ultimately, he becomes sort of the living embodiment of everything this movie is about. I know - heavy stuff, man.

EVERYBODY WANTS SOME is often uproariously funny. It's you-are-there authenticity only makes some of the characters that much funnier. Even the broader characters - like Coma, a man-beast prone to rage-filled outbursts - feel like guys we've all seen before. Certainly, they feel like guys Linklater has seen before. The director seems to be mining his own memories of college (he also played college baseball) and of this particular time and place - to great effect. He really captures the way that these guys hang out, goof off, and shoot the $%&#. In general, Linklater captures an essential guy-ness - showing guys being guys in a way that both extols the fun of being a young dude in your prime and also gently critiques how maleness can be toxic when it goes too far. A lot of what Jake and his teammates discover is the line between being cool and being a jerk. And so, while this is a funny and very fun look at the halcyon days of college - set in a nostalgia-tinged, pre-internet era of sex and rock n' roll - there is also a subtext here about how, even in this carefree, responsibility-free environment, these boys are starting to learn what it means to be men.

Make no mistake, EVERYBODY WANTS SOME is a great - maybe even essential - college movie and party movie. Seeing it will make you want to go grab a posse and find a party to crash. But what separates this from your average bro-friendly college comedy are the many layers that Linklater's ever-observant eye adds to the film. It's nostalgia tinged with sadness, celebration tinged with regret. It's a look at what it means to be young and free, but also what it means to be an adult who evolves and adapts and becomes more accepting and empathetic of others. This is a movie about universal experience - and it's an oddly hopeful one. It is, in some ways, about these various tribes coming together - the athletes, the punks, the stoners, the drama kids - and creating this melting pot of people who - surprise! - share common worries and wants and dreams. It's all pretty utopian actually - but EVERYBODY WANTS SOME captures a certain sense of us all being in this together - even as it hits us with dick jokes and pratfalls. Not many directors could pull something like that off, but Linklater makes it seem effortless.

My Grade: A-

Sunday, February 22, 2015

OSCAR 2015 - Pre-Show Thoughts & Predictions & Rants



OSCARS 2015 Thoughts and Predictions:

Oscar time, once again. The Oscars have gotten a lot of flack this year, but hey, I give 'em flack every year. The fact is, the Academy Awards rarely seem to really reflect the year's best films. And this year is no exception. From the complete lack of major awards love for the masterpiece that is Nightcrawler, to the stunning omission of deserving directors like Selma's Ava DuVernay, this year's Oscars seem to have dropped the proverbial ball in multiple ways. That said, what's often worse than the Oscar omissions is the unfounded backlash against deserving films that actually do get nominations. This year, there is tons of hate being thrown in the direction of movies like Boyhood. Wake-up call, people. Maybe it's not to everyone's tastes, but Boyhood is a landmark movie from a director who is both one of our best and one of our most historically under-appreciated. I have to shake my head at the same people who long griped about Richard Linklater not getting his due who now claim that perhaps his greatest work is overrated Oscar-bait (as if ... to work on a quirky side project for twelve years with the intention of it being Oscar-bait would be flat-out insane). In any case, while there are some clear omissions this year from the Oscar race, and some nominated films that to me are mere B+ players, there are also some fantastic movies in the mix that, should they win, would be more than deserving of Oscar gold.

To kick things off though, here are my Top 10 OSCAR SNUBS of 2015:

1.) Best Actor - Jake Gyllenhaal in Nightcrawler

- WTF. This was a performance for the ages, a De Niro in Taxi Driver-esque turn that was both mesmerizing and nightmare-inducing. This omission is flat-out embarrassing for the Oscars, because this is one that will be talked about for a long, long time.

2.) Best Picture - Nightcrawler

- Again, WTF. A clear top-tier film of 2015, it's shocking to me that this one was omitted at the expense of the good-but-not-even-Wes-Anderson's-best Grand Budapest Hotel and the overrated Birdman.

3.) Best Animated Feature - The LEGO Movie

- Once again - are you freaking kidding me? The LEGO Movie was one of the best animated films in YEARS, not even just of 2015. It was hilarious, poignant, and smartly self-aware. Crazy that it wasn't nominated.

4.) Best Director - Ava DuVernay - Selma

- It got a Best Picture nom, and yet the director of the masterfully-directed Selma got no nomination? But the director of Foxcatcher did? Say it ain't so.

5.) Best Actor - David Oyelowo - Selma

- Similarly ... are you serious, bro?! David Oyelowo kills it as MLK Jr., and brings humanity and dimensionality to an impossibly tricky role - and yet no nom? Completely crazy.

6.) Best Supporting Actress - Rene Russo - Nightcrawler

- Meryl Streep is nominated for Into. The. Woods?! But Rene Russo's incendiary turn in Nightcrawler is snubbed? Oscar, what hath thou become?

7.) Interstellar ... for anything.

- I suppose some of the backlash to this film kept it out of the Oscar race. But to me it was on par with Inception and other top-tier Nolan films. Nolan should have been nominated. McConaughey should have been nominated. And Jessica Chastain.

8.) Best Actor - Philip Seymour Hoffman - A Most Wanted Man

- One of the best ever gives you one final performance for the ages ... and no Oscar love? Guess it's fitting, as Hoffman was the kind of actor so good that he was sort of too good for the Oscars, anyways.

9.) Best Actor - Tom Hardy - Locke

- Tom Hardy destroys in Locke. He's the only actor on-camera the entire movie. And the whole thing takes place in the dude's car! And it's totally riveting. If that doesn't spell Oscar-worthy, then the Academy is on crack.

10.) Funny Women

- 2014 was a landmark year for women in comedy. Jenny Slate in Obvious Child. Kristin Wiig in Skeleton Twins. Amy Poehler in They Came Together. But as per usual, comedy is completely ignored by the Oscars unless it contains Wes Anderson quirk or whatever it is that Birdman has. Lame. Oscars, get a sense of humor.

2015 OSCAR PICKS AND PREDICTIONS:

BEST PICTURE:

Should Win: Boyhood or Whiplash

- Boyhood was, to me, a masterpiece. A flat-out modern classic in a year that produced few of them. Hate on it if you will, but I think this is the ultimate Richard Linklater film. Meanwhile, Whiplash for me was a very close second. A movie so intense that it's practically a horror movie. JK Simmons was *the man* in this film and his is a performance for the ages.

Will Win: Boyhood

- Despite some eleventh-hour backlash, I think there is some degree of consensus that Boyhood is the film to beat this year. Linklater's moment is now, and it's time that the rebel-slacker indie darling gets his moment in the sun.

BEST ACTOR:

Should Win: Eh ...

- I don't absolutely love any of the actual nominees this year. Eddie Redmayne was pretty amazing in The Theory of Everything, but it's also not a role that produced any super-memorable moments. Benedict Cumberbatch was fantastic in The Imitation Game as well, but again, not sure if there was truly a huge, classic, Oscar-worthy moment in the film. Gyllenhaal and Hardy should have been nominated here.

Will Win: Michael Keaton

- It seems like the momentum is in his favor. And who doesn't love Michael Keaton? But the fact is, he's great in Birdman, but the movie itself is a jumble of ideas and concepts that doesn't really amount to a fulyl cohesive statement. Plus, to me it was actually Emma Stone who stole the movie.

BEST ACTRESS:

Should Win: Rosamund Poke

- Pike killed it in Gone Girl, giving us the perfect balance of pulpiness and legit-disturbing psycho-killer creepiness. Without her, Gone Girl would not have worked as well as it did, and she deserves the gold.

Will Win: Julianne Moore

- I have yet to see Still Alice, but the movie just seems like the sort of dour prestige pic that the Oscars love. And Moore is a great actress long overdue for a win. I'm not opposed, but I'm not all that enthused either.

BEST SUPPORTING ACTOR:

Should and Will Win: J.K. Simmons

- If there's one sure thing this year, it's Simmons - no question. Bet on it. Sometimes a performance is so damn awesome that there's no choice but to give it all of the awards. And Simmons' work in Whiplash is just such a performance. Not quite your tempo? If that's the case, I seriously question your movie taste, dude.

BEST SUPPORTING ACTRESS:

Should and Will Win: Patricia Arquette

- I liked all of the actresses in this category (save Meryl Streep in the messy Into the Woods). But Arquette was legendarily good in Boyhood - funny, heartbreaking, and pretty much awesome. She made it as much her story as anyone's (which makes you wonder why she's not in the Lead Actress category, but whatever). But Arquette - long an underrated actress - deserves awards for killin' it in Boyhood.

BEST DIRECTOR:

Should and Will Win: Richard Linklater

- This is a tough one to call, but again, I think this is the year Linklater get his due. I could see Alejandro Inarritu with an outside chance, but I'm guessing enough people agree with me that Birdman's single-take style was more gimmicky than great to keep him from taking the top prize. I don't think you can underrate Linklater's achievement with Boyhood. To weave twelve years' worth of story into a compelling and moving narrative is no easy feat.

BEST ORIGINAL SCREENPLAY:

Should Win: Nightcrawler

- Seriously, what an innovative, dark, funny, satirical, crackling screenplay. But given its omission from every other major category, I'd be shocked if the deserving Nightcrawler and Dan Gilroy won here.

Will Win: Birdman

- Deserving? Not really? There are some great little monologues in the movie (Emma Stone's kills it), but thematically and tonally, this one is all over the map. Still, the combo of quirky and meta and commenting on Hollywood (we know how Hollywood loves that!) will give it a victory.

BEST ADAPTED SCREENPLAY:

Should Win and Will Win: Whiplash

- I've got to think that Whiplash will take this one. I mean, it's by far the most quotable movie of this Oscar season, with J.K. Simmons' "Not my tempo!" now in the pop-culture lexicon. Maybe The Imitation Game plays spoiler, but I think Whiplash gets the edge.

BEST ANIMATED FEATURE:

Should and Will Win: Big Hero 6

- Disney's film was action-packed, stylish, smart, and had an awesome pro-science message. In LEGO Movie's absence, it's my pick. I also loved Book of Life, so wouldn't be upset to see it with an upset. I will caveat by saying that the Japanese films Song of the Sea and The Tale of Princess Kayuga could also play spoiler. I haven't seen these, but both have received rave reviews. So it's a tough one to call, no question.

BEST VISUAL EFFECTS:

Should and Will Win: Dawn of the Planet of the Apes

- There is room, I suppose, for an upset here. But come on, APES for the win. I mean, the movie made me care, a lot, about warring armies of intelligent apes. And Ceaser and Koba were the best hero/villain rivals of 2014 - and again, they were mo-capped monkeys! (er, apes). No monkey business, Oscar!

BEST FILM EDITING:

- Should and Will Win: Whiplash

BEST CINEMATOGRAPHY:

- Should Win: The Grand Budapest Hotel
- Will Win: Birdman

BEST PRODUCTION DESIGN:

- Should and Will Win: The Grand Budapest Hotel

BEST ANIMATED FILM SHORT:

- Should and Will Win: Feast

BEST DOCUMENTARY:

- Should and Will Win: Citizenfour

BEST DOCUMENTARY SHORT:

- Should Win: ?
- Will Win: Joanna

BEST LIVE ACTION SHORT:

- Should Win: ?
- Will Win: The Phone Call

BEST FOREIGN LANGUAGE FILM:

- Should Win: ?
- Will Win: Ida

BEST COSTUME DESIGN:

- Should and Will Win: The Grand Budapest Hotel

BEST MAKEUP AND HAIRSTYLING:

- Should and Will Win: Guardians of the Galaxy

BEST SOUND MIXING:

- Should and Will Win: Whiplash

BEST SOUND EDITING:

- Should and Will Win: American Sniper

BEST ORIGINAL SCORE:

- Should and Will Win: Interstellar

BEST ORIGINAL SONG:

Should and Will Win: "Glory" from Selma

And there you have it. As I always do, I urge everyone to enjoy the Oscars but also not pay them too much attention. 2014 was an amazing year for movies - but a lot of the year's best were films that the Oscars simply doesn't and won't recognize. I'm talking about action films like The Raid 2 and Snowpiercer, blockbusters like Edge of Tomorrow and Dawn of the Planet of the Apes and Guardians of the Galaxy, horror like The Babadook, thrillers like The Guest, and comedies like Obvious Child, Top Five, and They Came Together. Remember, the Oscars are just one narrow slice of the movie universe. Be sure to explore it.

Tuesday, July 22, 2014

BOYHOOD is Richard Linklater's Must-See Magnum Opus


 BOYHOOD Review:

- It's the eternal paradox of storytelling: the most specific stories are also the most universal. Such is BOYHOOD, a stone-cold masterpiece of a film from Richard Linklater. This is the story of one boy and his family, but in this story is all of our stories. In this film is cut-to-the-core truth, the kind that only great art can give us. Throughout his storied career as a filmmaker, Linklater has always sought to capture the moments-between-moments, the small moments in life that, in truth, are the big moments. But rarely - if ever? - has a film so artfully and jaw-droppingly captured the journey from child to adult on-screen. And Linklater doesn't stop there. This is as much a story about the adult characters as it is its central protagonist. We see this boy, Mason, played over the course of twelve formative years by the same actor, as he slowly becomes a man. At the same time, we see those around him grow, mature, and find themselves. Mostly, this doesn't happen through any major revelation or melodramatic moment. It just happens, as it does to all of us. The evolution that we see onscreen here is almost hard to describe, because it's so naturalistic. BOYHOOD is a collection of small moments. But it's also an insanely ambitious, game-changing epic - a twelve-years-in-the-making odyssey that shows us how we become the people we grow up to be. This film is a flat-out stunning achievement from Linklater and his cast and crew. It's funny, inspiring, heartbreaking, awkward, and like no other film I've ever seen before. It is, no question, an early candidate for movie of the year.

For those unfamiliar, Linklater began filming Boyhood over a decade ago, and continually filmed new scenes each year thereafter. The unique process behind the film's creation has several interesting effects. The most obvious is seeing the actors change and age on-screen right before our eyes. This is especially dramatic when it comes to the movie's lead, actor Ellar Coltrane. Coltrane plays our protagonist, Mason, and we first meet him as a round-faced, big-eyed six-year-old. We follow Mason through the years - we see him as a young kid, as an awkward preteen, and, eventually, as an almost-fully-formed young adult. It's mesmerizing and jarring and captivating to to watch this metamorphosis take place. And the same goes for that of actress Lorelei Linklater - the director's own daughter - who, as Mason's sister Samantha, goes through a similar on-screen change. However, it's not only the kids growing up that proves mesmerizing. While the changes in the adult actors may be more subtle in increments, over time it's astonishing to watch actors like Ethan Hawke and Patricia Arquette grow older in front of us. No special effect can replicate the subtle, year-by-year changes that take place in these actors. Aside from the actors aging though, Linklater's process lends itself to the sort of loose, slice-of-life feel the movie strives to capture. Just as the director checked back in with these actors every year to film new material, so too does it feel like we're checking back in with these characters - repeatedly dropping in on their lives to see what's become of them. The film's structure lets us fill in on a lot of gaps. But the effect is that of watching life itself play out before us in miniature. All of these little vignettes - no matter how seemingly insignificant in and of themselves - are part of this incredible tapestry. 

So often, movies that follow one person's life over an extended period place all of their emphasis on traditional "big" moments. But Boyhood wisely eschews that tried-and-true tactic for glimpses at moments that are small, but also affecting, and in their own way crucial. The kinds of moments that may not be on one's personal greatest-hits list, but that comprise the sorts of seared-in-the-brain memories that resurface over and over. Conversations that stick with you. Childhood traumas. Parental wisdom. Parental stupidity. The kindnesses and cruelties of others. We see Mason go through these moments and we see him forming, being shaped, into the person he eventually becomes. Some are funny and small but capture some quintessential moment of childhood - like a young Mason innocently asking his dad if the sorts of magic characters he reads about in the Harry Potter books are real. Some are genuinely horrific and life-changing, as when Mason's latest step-dad - a drunk - lashes out at Mason in a violent incident that finally opens his mother's eyes to her husband's true nature.

What's so powerful about watching this unique journey play out is that over the course of the movie, we develop a sort of weirdly affectionate bond with Mason that's unlike anything I've really experienced in a film before. After all, we've "known" him since he was a six-year-old kid. And like anyone we've watched grow from that age, we really root for this kid. We see bad things happen and we cringe. We see good things happen and we feel pride. We want this kid to be okay. And so, every time Mason is exposed to one of life's horrible realities - whether it's an angry-drunk step-dad or a bunch of obnoxious teens who try to peer-pressure Mason into doing something stupid - we hope and pray that Mason will get through this, that he'll still be the good kid we've seen him be and know he can be. 

Of course, this isn't only Mason's story. This is the story of his parents, played in career-defining turns from Ethan Hawke and Patricia Arquette. When the movie opens, they are already separated. Arquette does her best to start again, to raise her two kids with a father figure, and to give herself the means to find a better career. Hawke is the absentee but beloved dad - a guy off finding himself, trying to start a band, who pops in every so often for a fun day with his adoring kids. Just as remarkable as Mason's journey is that of his mom and dad. It's amazing to see Hawke slowly begin to mature and settle down and accept his responsibilities, even as Arquette's life repeatedly implodes, leading to a vicious cycle of self-destructiveness. 

Both lead adult actors are phenomenal. Especially when you consider the span of time over which the movie was shot, the consistency of the characters (even as they grow and evolve) is amazing. Despite these two being established, recognizable actors, the characters they play here feel utterly real. They never devolve into cliche, and there's no one "good" parent or "bad" parent. Both have moments of ugliness, both have moments of warmth. Both, ultimately, are struggling to figure it all out alongside their son. They too are on a journey. I can only imagine that both Hawke and Arquette will be Oscar-nominated for their work here. It absolutely runs the gamut from low-key and funny to nakedly emotional. A scene towards the end of the film, in which Arquette breaks down in front of her off-to-college son, is so raw and powerful that it's a true punch to the gut. What floored me is how in that moment, we utterly relate to this soon-to-be-empty-nester mom. Over the course of the movie, all of us viewers have become like a surrogate parent to Mason, and in that instant, we share Arquette's emotion.

As for Coltrane's work as Mason, he's almost operating on a different level than most actors. It's hard to say how much of this is Coltrane, and how much is Linklater and his naturalistic filming style. But the veil separating Coltrane from Mason feels almost nonexistent in this film. We're watching both the actor and the character grow up, and it's difficult to separate the two. But what is easy to see is that Coltrane does indeed evolve into a genuine talent. He carries his later scenes with a real presence. In fact, by the time he's a teen, he feels like a classic Linklater protagonist - a modern-day version of the Linklater archetype. Like I said, it can be really jarring. I never would have expected the precocious young boy we saw at the film's beginning to become this artsy-cool punk-rock kid that Mason grows into. But there's also a real sort of awesomeness in this transformation. The kid's gonna be okay. He took the pain and turned it into something positive. He's going to do alright.

The movie operates on so many levels that it's almost daunting to write about. Essays will be written about Boyhood for many years to come. Putting aside the deeper-level stuff for a second though, there's just a weird sort of joy in seeing Mason go through all of the classic moments of modern-day boyhood. I couldn't help but smile as each new era of his life was, at least in small part, defined by whichever new videogame system Mason was playing at the time (what suburban boy's life doesn't have videogames as a marker of eras?). And man, for those watching this whose actual age parallels Mason, reliving their life through his is going to be a real trip. By that same token, this is a Linklater movie, so expect all sorts of political and pop-cultural ephemera to populate the dialogue - a lot of it really amusing. Hawke's liberal dad rants hilariously to his kids about George W. Bush and the Iraq War. There's a great, hindsight-is-20/20 conversation between a pre-teen Mason and his dad, post Star Wars Episode III, about whether or not they'll ever make more Star Wars movies. There's also a scene of kid Mason and his friends lining up for a midnight release of the final Harry Potter book that is pretty much cuteness overload. Towards the start of the film, Mason's sister annoys her younger brother with an endless rendition of Britney Spears' "Oops I Did It Again," in a way that will make anyone with siblings crack a knowing smile.

But then there is the way that Boyhood reflects universal truths through Mason's journey. Linklater's film could have just been a nostalgia trip, an amusing collection of scenes-in-the-life of a boy - but as great as each scene is as a standalone mini-story, the sum is even greater than the individual parts. BOYHOOD is a film with a lot to say about how we become who we are. It's about how we overcome adversity thanks to the resilience of childhood, and how we take from our parents and teachers and friends, but ultimately have to find our own way. It's about how the forces for good in one's life can overpower the forces that are destructive, and how in turn there can be an outwardly-spreading cycle of positivity. So many films show us how the sins of the father inevitably come back to haunt the son. In BOYHOOD, Linklater shows us how the boy marches on through adversity, finds his own unique identiy, and how he, ultimately, makes his parents into better people. Mason is no saint, and for all we know his life in college and beyond takes a downward tumble. He still has plenty of challenge and adversity and heartbreak in front of him. But he makes it through Phase 1. And man, that's pretty crazy and commendable and inspiring.

What Richard Linklater has achieved with BOYHOOD is something truly unique and special. He's always been one of the best directors around, but I think that Boyhood is his crowning achievement, and the sum total of what he's been working towards for years. This, I think, is Linklater's masterpiece - and that's saying a lot for a director who's got classics like Dazed & Confused, Before Sunrise, Slacker, Bernie, Waking Life, School of Rock, and many more to his name. The film could have been a mere novelty, but Linklater elevates it to something more - this is a work of art and a hell of a story. And it's presented to us in a hyper-real yet dreamlike vision that, as cheesy as it sounds, is like watching memories play out before our eyes. So yeah, go see it. This is one we'll be talking about for a long time to come.

My Grade: A

Wednesday, December 26, 2012

BERNIE Is Clever Comic Satire


 BERNIE Review:

- Bernie is a really cool little movie from Richard Linklater, a director whose work I always admire and who never fails to take chances and dare to be different. With BERNIE, Linklater re-teams with his School of Rock star Jack Black, but this time, Black plays very much against type. Black is Bernie Tiede, a sweet, soft spoken, kindly, beloved pillar of his community - the tight-knit community of Carthage, Texas. This darkly comedic film - based on a true story - explores what happens when Bernie, Carthage's favorite son, is accused of murdering bitter, mean old Marjorie Nugent, its most hated woman. Linklater weaves a meticulously-crafted, pitch black, Southern-fried satire here - crafting a memorable morality play that also bursts at the seams with local flavor and detail.

Bernie is shot in a blend of styles. We see the action play out in a series of flashbacks to various points in Bernie's life in Carthage, but the entire narrative is framed with mockumentary-style talking heads, used as a Texas-sized Greek chorus of commentators. As the revolving cast of Carthage locals provide their recollections of Bernie, we'll flash to those moments and see them play out. What makes this work so well is just how authentic-seeming it all is. The characters are over-the-top and exaggerated, sure, but there's also a lovingly-specific quality to them that brought to mind the eccentrics of Christopher Guest's various mockumentary films. It doesn't hurt that all of the actors that portray the interview subjects are just fantastic. I'm not sure to what extent any of them are locals, but it sure feels like most of them are.

As for Black, he helps make Bernie into a fascinating character. Essentially, Bernie is this very odd, almost asexual guy who helps run the local funeral parlor. But he also leads church choir, directs and stars in local theater productions, and essentially devotes his life to improving the community. He's nice to everyone, and even if he's a little eccentric, everyone loves him and admires all the good that he does. Bernie even makes it a habit to visit the homes of the recently-widowed and present flowers and gift-baskets personally. It's in this way that he meets Marjorie - a mean, nasty woman who rejects Bernie's friendly gestures at first, but gradually warms up to his kindness and offers of companionship. Suddenly, the two become an unlikely pair of friends. But the friendship evolves into a weird, master-slave sort of relationship, as the ever-demanding and controlling Marjorie pushes the eager-to-please Bernie to his breaking point.

Back to Black though, he really is fantastic as Bernie. There's an amazing scene that opens the movie that really sums up the character, with Black demonstrating to a room full of students the proper way to dress a corpse for burial. Things that might gross out an ordinary person don't faze Bernie, and he meticulously attends to every detail of the dead body as if working on a painting for a gallery. Immediately, we realize that Bernie is sort of a strange fellow, but at the same time, you've got to admire his dedication to his craft. Soon, we begin to realize that that same dedication extends to everything that Bernie does.

A couple of other actors really stood out to me in this one. Aside from the amazing bit players who fill out the cast as interview subjects, a real highlight is Matthew McConaughey as Danny Buck, the smooth-talking lawyer who becomes a controversial figure when he becomes the man hired to prosecute Bernie. McConaughey is great here - and subtley hilarious. Buck, the alpha-male Texan, seems a bit baffled by Bernie's effeminate good-naturedness, and that makes him even more determined to see him put away. Meanwhile, as Marjorie, Shirley MacLaine is also excellent. Marjorie is a darkly comic character - just a horrible woman who only gets more horrible the nicer Bernie is to her.

Linklater crafts a quirky but very clever film here. So many movies are black-and-white moral exercises ... I found it fascinating to watch this story that poses the question - what if a man commits murder, but nobody could possibly blame him? Directed with a sharply satirical comic flair, and with a meticulous eye for detail, BERNIE is another fine film in Linklater's storied career.

My Grade: B+