UK trailer for "London Boulevard"

While I expected the trailer to have a much darker feel (the music is a little on the "happy" side), I'm excited for this. Monahan's screenplay for The Departed was one that film's stronger elements, so I'm looking forward to seeing what he comes up with as both writer and director. It's also nice to see Colin Farrell in another major leading role; here's hoping the career comeback kickstarted by In Bruges continues. And then there's Keira Knightley, who's always refreshing to see in something that isn't a period piece, even if her role might not be all that large or substantial.

"Rabbit Hole" trailer

Very interesting, which is good considering the length of the trailer and the heavy subject matter. What also surprises me is the the subdued yet somehow still intriguing use of "real life" colors. Funny, because the two clips released last month seemed so limited and almost drab in their color scheme. Regardless, Kidman, Eckhart, and Wiest all look really strong, and it will be exciting to see how this film factors into awards season. The big question mark will be whether Kidman can break into the crowded best actress field after such a long absence. AMPAS does love a "comeback" performance, even though Kidman was never really gone...

"Tree of Life" finds a release date (no, seriously this time)

Yes, it's true; Terrence Malick's long-awaited epic The Tree of Life has found a release date, and it's surprisingly early. In addition to festivals like Sundance and, of course, Cannes battling to host the world premiere, the folks at IndieWire are reporting that Malick's latest has been scheduled for limited release starting on May 27, 2011. I know some will bemoan the fact that this could potentially kill the film's Oscar chances, but I'm not really bothered for two reasons. First, Malick's work has only been heavily embraced by AMPAS once, and it was for a war film, albeit a rather meditative one. Second? Um, hello, we get to see the damn this earlier than expected. Awards recognition is always great, especially when it's for a film/director/performance that you think is great, but the whole point of movies isn't awards; it's to see and experience them, and the sooner something as reportedly amazing (and constantly delayed) comes out, the better.

Official US trailer for "Biutiful" [Will update when available in smaller format]

Very different than the first trailer which came out last month, but still very compelling. The beginning almost feels like it should be at the end, what with the rapidly increasing music and action-oriented cuts. Still, I'm excited to see this for Bardem; I can't recall the last time I saw him in a movie where he was a definitive, stand alone leading man, and that's a shame. Inarritu's films (at least those written by Guillermo Arriaga; this one is not) have an iffy track record with me, but the man does know how to create captivatingly gritty images and get often staggering performances out of his actors. And without any converging-story-lines BS like Babel, focusing on a single story will hopefully make this tale of an increasingly distressed police officer even more compelling.

On a side note, can we please have a moratorium on trailers using critics quotes that directly reference Oscar season? Just gives us blurbs about the quality, not its awards potential; we all know how political AMPAS can be.

"Mad Men" Season 4 - The good-bye and the long, long wait

Unfortunately it's that time again; time to start the excruciating countdown until Don Draper and everyone else return in late July/early August. I'm still processing the season finale, "Tomorrowland," which I was only able to watch a few hours ago, but here are some overall thoughts on the past 13 episodes.

I made a post after the season premiere about how glad I was that the show was back, and that I loved the new energy the series had acquired. Season 3 spent the bulk of its episodes chronicling the agency's oppression under its new British owners (as well as the collapse of Don and Betty's marriage). By contrast, season 4 was all about the excitement so perfectly set up in season 3's finale, and the energy carried over into these past 13 episodes without losing steam. I wouldn't have been surprised if the season 4 premiere had been written very shortly after the completion of season 3; that's how well the energy transferred over. The episodes, though never frenetic, were generally crisper in their pacing and used more dialogue as opposed to season 3's reliance on quiet moments and smoldering stares and glares.

But season 4 was about something other than a newfound energy. It was about transitions, some of which spanned the season, and some of which only came to a head in the latter half. Chief among them, and perhaps my favorite, was Don Draper's shift, roughly split along the halfway point. Still reeling from the effects of his divorce and his new, much less luxurious living space, Don spent the first six or seven episodes in a continued downward spiral. And then, after the death of his first wife (sort of) Anna, we were able to witness a rebirth of sorts. Don started swimming and began drinking less (although I don't think anyone on this show will ever be depicted as completely sober...ever). He had to deal with Anna's death, but at the same time, he had to take care of himself and move forward.

And helping him move forward was one of my favorite new characters of the season: Dr. Faye Miller, played by Cara Buono. A sharp, career-driven woman who knows how to play the business game, Faye wasn't perfect and obviously had some baggage (alluded to in a scene in a phone booth where she yells at whoever is on the line), but she was in many ways good for Don, and didn't simply recoil and whimper in response to his flaws. Of course, there are reasons why Don makes the choice he made in the finale, but we'll save that for later. Now it's time to touch on the rest of the people who make Mad Men so endlessly fascinating.

First and foremost is Peggy Olsen (Elisabeth Moss), who came more and more into her own (as did Pete Campell). Now firmly in a strong position as a copywriter, Peggy was bolder and much, much less timid. Whether it was as simple as going to a bohemian party with the mysterious Joyce, or intimidating an obnoxious new employee by stripping off her clothes to get some work done (it sounds weird, but the moment is great in context and I'm not doing it justice at all), Peggy more and more became a career woman, much like Dr. Miller, someone quite obviously aspired to be like. Having the season close out with Peggy almost single-handedly saving Sterling Cooper Draper Pryce was just the cherry on top of Peggy's character arc.

Meanwhile, Joan, always so fun to watch, went through a number of transitions. Now living the married life, Joan was suddenly forced to deal with her husband's decision to go to Vietnam, and as was shown several times early in the season, it's the last thing she wants. And despite her one-night-stand/reconnection with Roger, she refuses to allow things to go back to the way they were, even upon discovering that she is pregnant with a child who couldn't be her husband's.

Even Lane, whose personal life was never given that much focus, had his moment to shine. Most notable was his even out with his father, who was so insistent that Lane return to London that he punches him, sending his grown son to the floor. For a character who initially began his run on the show as the enemy, Lane's part has evolved into yet another of the show's signature brand of immensely flawed-yet-talented protagonists.

But moving away from the workplace, there's also the issue of Don's other side; his ex-wife Betty, her new husband Henry, and of course the three children. While always important, no one from this side of the show's story impressed or fascinated me more than Don's daughter Sally (Kiernan Shipka), who became such a wonderfully complex character played with great skill by such a young actress. Though the character is perhaps too young to be totally swept up in the revolution(s) of the 60s, I'm thrilled with the direction the writers are taking Sally as she continues to butt heads with Betty, who becomes increasingly bitchy and cold with each appearance.

And speaking of Betty, even with a drastic reduction in appearances (only 4 episodes this season...maybe 5), she continues to fascinate with her downward spiral. While not as overly destructive as Don's, Betty's path puts her on an interesting track that makes me wonder if her marriage to Henry will simply be a cliff-notes version of her marriage to Don. This is highlighted in the season finale, both in her angry interaction with Henry, and with her sudden flaring anger that causes her to lash out (and subsequently fire) Carla. Even when pushed to supporting status, Betty's world of dissatisfaction continues to intrigue, even if her interactions with Don are now limited mostly to phone calls.

As for the season overall, it reached its high point at the middle with "The Suitcase." Set almost entirely in the offices and featuring only a handful of supporting characters, this one-long-night look at Don and Peggy's lives as affected by their work was a highlight, featuring absolutely stellar acting from both Hamm and Moss. Emmy voters, please, let the be the season the show finally earns at least one acting award; you've waited too long, and this is too good of an opportunity to pass up. Amid all of the great acting on the show this year, from Joan's heartbreak to Pete's frustration over the conflicts in his work and personal lives, to Roger's coping with failure, it's "The Suitcase," an episode that only focuses on two characters, that represents the show in its finest.

As for the increasingly divisive finale? Well, that's a bit of a mystery. After the punch of season 3 heading off into bold new territory, season 4 was significantly less forward moving in the work place. However, it's hard to miss the big announcement: Don's proposal to secretary Megan. I think Peggy's reaction upon hearing the news is perhaps how most people felt during it all. As happy as Don seemed, we were caught totally off guard, and somewhat iffy. It wasn't an inherently satisfying ending to what had been such a knock out season, but upon reflection it makes sense. Don's decision to pick Megan over someone like Faye may not be something joyous for us as an audience, but it does make sense in a depressing sort of way. As Faye bluntly puts it when Don tells her of his proposal, Don is only interested in the beginnings of things. He sees a woman who is basically what Betty should have been in his mind, and he jumps, seeking a relationship that will restore things to the way they once were: happy, married, and with children. And as indicated in the final shot, which shows Megan happily asleep but Don looking on edge and awake, light seeping in through his dingy window, there could be plenty of trouble ahead for the newly engaged couple. Lots and lots of trouble.

So where does season 4 rank in the series so far? For me it's easily up there with season 3, and I think it makes a great companion piece as far as tone and story progression goes. The characters remain compelling as ever, and even if the show didn't end with its best foot, this season as a whole represents TV at its finest: well-written, beautifully acted, incisive, and always intriguing enough to keep you waiting desperately to see what will happen next.

Grade: A

The Month in Review: September 2010

Even with school starting, I'm happy that I'll be able to pull this installment off for one more month before winter break affords me enough time to make December and January work. I know I'm almost two weeks late, but better late than never, because I was able to see some strong films and performances in September both on DVD and in the theater.

Best Film (Theaters): The Social Network

Yes, it's an October film, but because I was lucky enough to attend a screening in early September, it's in contention for last month. My initial skepticism and disappointment in David Fincher for this project was rapidly countered by intriguing trailers (a Belgian choir singing "Creep"?) and strong buzz. Finally I saw it, and I friggin' loved it. Regardless of how accurate this is, Fincher's film is a hugely entertaining tale of friendship and betrayal filled with solid work from its talented young cast, who are blessed with delivering dialogue from Aaron Sorkin at his finest. Trent Reznor and Atticus Ross' score and the editing are also highlights, and keep the 2 hour film so tight and intense that when it was over, I was really hoping that there was another half hour left. That's some damn good film making.

Best Film (DVD/Rental): The Best of Youth

At a grand total of 6 hours, Marco Tulio Giordana's sweeping, masterful family drama is one of the most beautifully well edited features I've seen in quite some time. Tracing the lives of two brothers, one uptight, the other laid back, as they go through loves, losses, marriages, children, friends, jobs, etc etc, Giordana's film is never dull, even if we've seen some of these scenes before. The characters are rich, and by the time it's over, you feel like you really know them. The first half (it comes on two discs) is somewhat misleading though, as I wasn't expecting to be so moved in part 2 based on my initial reactions to part 1. I was wrong, and I'm glad I was; the conclusion(s) are wonderfully handled, and that final shot is pure movie magic.

Best Director: Marco Tulio Giordana - The Best of Youth

There's not much else to say that hasn't been said, but to recap: Giordana's sprawling, epic family saga beautifully captures the intimate amidst a truly epic time span (from the 60s to the early 2000s) considering the subject matter. Giordana doesn't try to inflate his film by dropping historical elements to give a false sense of grandness, he simply lets the passage of time and the subtle changes on his actors faces do the work and the film is all the more brilliant because of it.

Best Male Performance: Edward Norton - American History X

Norton earned his second (veeeeery deserved) Oscar nomination for his turn as an ex-Neo Nazi in 1990s California who tries to keep his younger brother from going down the same path. The film itself has some problems, namely the scene in which Norton's character, obviously a bright young man, becomes a Neo Nazi after one conversation with his dad at breakfast. Still, Norton rises above the blips in the screenplay and turns in a mesmerizing performance that benefits from the actor getting to be both a vile skinhead and a heartfelt, caring brother all in one role.

Best Female Performance: Mia Farrow - Rosemary's Baby

I really love Roman Polanski, but somehow I hadn't seen this classic until a few weeks ago. Now that I have, I see why it's as acclaimed as it is. I wasn't as blown away as so many have been, but it's a perfectly unsettling piece of gore-free horror/thriller that benefits from both Polanski's direction and Farrow's magnetic portrayal at the center of it all. Granted, much of the performance is built on outward appearence (Rosemary's deterioration during her pregnancy), but Farrow, all high hollow cheek bones and big eyes is compelling to watch as a woman struggling to understand her new surroundings, and the intentions of everyone around her, even her husband. And that massive gasp she makes in the final scene? Over the top in the best sense of the word.

Best Screenplay: The Social Network by Aaron Sorkin

In adapting Ben Mezrich's novel "The Accidental Billionaires," famed TV writer Sorkin made the story of Facebook's creation a riveting, almost blindingly smart film built on his signature rapid fire dialogue. Though much of it is either smarminess or code talk, Sorkin does throw in the occasional funny moment, and it always works, never sticking out as a limp attempt to lighten the mood. And even though Sorkin prefers dialogue over story, he didn't exactly shirk his narrative duties. Instead, he wrote a tale filled with classic elements of betrayal, in a setting of educated people behaving badly. Perhaps it's Sorkin to whom the movies owes most credit for being so much more than "that Facebook movie."

Best Cinematography: Martin Ruhe - The American

Anton Corbijn may be a visual artist in his own right, but his collaboration with Ruhe is one of the film's soaring strengths. The beautiful use of earthy tones with the occasional splashes of neon reds and blues and a beautiful shot of golden light, help set the mood for this strikingly beautiful thriller-without-thrills.

Best Ensemble Cast: The Best of Youth

Picking up its third award of the month, it was hard for me to not pick the Carati family and their companions. From the striking yin and yang of central brothers Nicola and Matteo, to activist Giulia, to the shattered Giorgia, to the perfectly cast parents and brothers and children of all connections, each relationship feels worthy of its own film, but in combining them, Giordana assembled a brilliant cast to bring his epic vision to life.

The Unrewarded: Exit Through the Gift Shop, Catfish, The Town, 3 Women

"Blue Valentine" US theatrical trailer

There have been a few scattered clips here and now, but this totally blows all of that out of the water. I love the way the initial scene is used to frame the other silent clips detailing the ups and downs of the central relationship. Gosling and Williams are two wonderful actors and I'm excited to see both performances when the film arrives in late December, even if it did inexplicably earn an NC-17 rating (wha...).