Martin's Musings

Harvey Shine is one of those sad sack characters we meet every now and then in the movies. Within the first third of Last Chance Harvey, he’s lost his job, he’s missed a flight, he’s belittled by his ex-wife, and he’s been told by his daughter on the eve of her wedding (that, by the way, he’s flown from New York to London to attend) that she considers her stepfather to be a more significant parent than Harvey was. He’s lost, sad, lonely, out of his element, and hopeless. And then … And then he meets Kate Walker in a bar, and wouldn’t you know it, Harvey gets a new outlook on life and is willing to take a chance on love again. So goes LCH, a charming little film that’s like a hybrid of Before Sunrise/Sunset and An Affair to Remember for people my parents’ age to enjoy.

Led by very likable performances by Dustin Hoffman and Emma Thompson, LCH doesn’t reinvent the romantic drama or push any boundaries. In fact, some of it is predictable and sort of silly (like an unnecessary subplot about Kate’s mother being scared of her neighbor). But no matter. Hoffman and Thompson transcend the material and make a very appealing, if a little unlikely, couple. This one won’t rock your world or anything, but it’s pleasant, sweet, and enjoyable, and the acting by the two stars makes LCH worth seeing. I’m giving it a strong B.

It’s the summer of 1955 and all is not what it seems deep in the New York suburbs.

The new film Revolutionary Road tells the story of Frank and Alice Wheeler (played by real-life BFFs Leonardo DiCaprio and Kate Winslet), a young couple who move to the titular address, where the neighbors all think they’re special and the perfect couple: They’re attractive, they’ve got two kids, a beautiful home, a blissfully happy marriage, the whole bit.

But the Wheelers are anything but happy, and from early on in the film, we know that beneath the surface, this is a couple that is far from in love. Continue reading →

Masculinity be damned, I went to see Marley & Me by myself, without any coaxing. And take my word for it when I tell you the movie is more entertaining and engaging than I ever expected it being. Yes, it has some cheeseball elements — like a soundtrack that includes R.E.M.’s “Shiny Happy People” — and it’s a little too long, but while Marley does tug on the heartstrings quite a bit and it does go for a couple of easy laughs, it certainly earns all the emotions. In short, I feel no embarrassment in telling y’all how much I enjoyed it.

Where does the credit for this lie? I give some to screenwriters Scott Frank and Don Roos, whose credits include Out of Sight and The Opposite of Sex. They’ve taken John Grogan’s book, which I haven’t read, and fashioned an earnest screenplay from what I can only assume is a highly sentimental book. Of course, additional credit has to go to director David Frankel, who also helmed the surprisingly enjoyable The Devil Wears Prada. But I think you have to give most of the kudos to Owen Wilson, who gives a charming and very likable performance. Heck, maybe the guy’s growing up. Whatever it is, he’s really great. Jennifer Aniston is also good, but it’s Wilson whose role is the stand-in for the audience and who has to do more heavy lifting, emotionally.

Let’s just get one thing clear, though, and this is where your SPOILER WARNING will come in. The trailer and the ads for Marley are selling it as a laugh-a-minute cutesy movie about a family and their dog. Don’t be fooled. You should know full well that the ending of this movie is very very sad. I don’t mind telling you I was crying a bit, and might have shed more tears if I didn’t work so hard to hold them in. I’m sure you can guess why it’s sad, and I can say I’ve had first-hand experience with a dog of my own (that’s Doc down below) meeting the same kind of fate, so that had something to do with my reaction. Thankfully, Frankel and co. do not overdo these parts. It’s all very real and honest, not cloying. You’ll be hard-pressed not to get caught up in the moment too, no matter how tough your exterior. Just be ready.

Yeah, call Marley & Me a real holiday surprise. You’ll laugh, you’ll cry, you’ll run the gamut of emotions. And you’ll be recommending this one to your friends, like I am doing right now. I’m giving Marley a strong B.

According to Philly.com, a guy in Philadelphia shot another man yesterday when he wouldn’t stop talking during a screening of The Curious Case of Benjamin Button. The movie’s not so good, so I’ll bet this made it a lot more exciting.

But seriously, folks, I think this kind of thing is pretty sad. Yes, talking during a movie — or sending text messages, or failing to turn off your cell phone, etc. — is a pretty big offense, but if it was me (and I don’t have any tolerance for this kind of thing), and it was that unbearable, I’d probably have walked out or something to get an usher, so the talker would be removed. (Actually, probably not. I would have stayed in my seat, not enjoyed the movie, and then gone home to passive-aggressively blog about it.)

I mean, I went to see Marley & Me this afternoon in Chestnut Hill and the audience there was pretty annoying, with folks getting up to go to the bathroom seemingly every five minutes. But it’s not like I stood up in the middle of the theater and yelled out, “HOLD IT IN, PEOPLE!! I’M TRYING TO WATCH A MOVIE HERE!!” (I was tempted — ha ha ha — but I didn’t do it.) Sometimes I guess you just have to know how much you can stand. You don’t get out a gun and shoot someone, though. Sigh.

(Thanks to Jeffrey Wells for the tip on this story.)

I thought about beginning this review at the end, with my grade, and working backwards from there … but that would imply that I liked The Curious Case of Benjamin Button more than I actually did and that it deserved such effort on my part. Instead, this film, based on a quirky and very short story by F. Scott Fitzgerald (one that I have actually read), is definitely one of the bigger disappointments of the year for me. And I really wanted to like it. Oh well.

It’s worth noting right at the start that the story and the movie have only one commonality: They both tell the tale of a man who is born old and grows younger. Other than that, they’re very different. The original story is funny and odd and, well, it’s short. The movie is very long (2:45), it takes itself way too seriously, and it’s almost too straight-forward. The movie is so conventional that it even employs one of the worst movie clichés out there: it’s told looking back as one of the characters lies on her death bed (during Hurricane Katrina). The whole thing is nearly devoid of humor — save for a random gag about a guy who was hit by lightning seven times — and feels like an “Oscar movie.” While I don’t fault the film’s creators (including writer Eric Roth and director David Fincher) for embellishing the source material and making Benjamin Button a grander and more romantic story (Cate Blanchett’s character is a totally new addition, for example, as is the fact that Benjamin is raised in a retirement home and not by his own father), they’ve overdone it, making the film feel totally bloated.

The effect of having Brad Pitt’s head on other people’s bodies in the early scenes works well, but when it’s all Pitt, he’s less exciting. It feels as if the role is entirely physical (as opposed to emotional) and that we’re supposed to take his handsomeness as “acting.” In addition, much of the dialogue is spoken in that slowed-down style that makes it overly dramatic, and, well, I could probably go on as long as the movie did with things that frustrated me. If I could live my life in reverse, I’d probably choose to see a different movie before I went to see this one. I’m giving Benjamin Button a very unfortunate C–.