Tag Archives: Billy Crudup

After The Wedding

Isabel (Michelle Williams) helps manage an orphanage in India that is very strapped for cash. There’s a possibility of funding, but the investor stipulates that Isabel must come to New York in person, and Isabel isn’t keen to leave her little oasis or the children she loves dearly. But with serious money on the line and so many more children in need, she also can’t resist.

Her posh NYC accommodations are a stark contrast to the life she’s lived in India. Uncomfortable, she’s eager to get back, but the investor, Theresa (Julianne Moore), is adamant that she extend her stay. She even invites Isabel to her daughter’s wedding. Having promised not to return without “a suitcase full of money,” Isabel doesn’t want to disappoint her host, but it’s starting to feel as though Theresa has ulterior motives.

She does.

This is an American remake of a very good 2006 Danish film by Susanne Bier starring Mads Mikkelsen. This one isn’t bad, but it naturally suffers by comparison. This film, directed by Moore’s husband Bart Freundlich, swaps the genders of the leads and breaths a little bit of new life into the script because of it, but the only true reason to see this one at all is for restrained performances by its two formidable leading ladies (Billy Crudup, rounding out the cast, is at a disadvantage).

After the wedding is a very slight meditation on loss and regret but doesn’t quite pack the emotional punch of its predecessor. It’s definitely a quiet film about inner conflict, Williams suffering in near silence, Moore indulging in quite a fantastic display. If you watch it, watch it for them. But this film didn’t need to be remade. The first was so achingly perfect and less neatly resolved, its frayed edges lending it an authenticity that this highly-polished one lacks.

 

Where’d You Go, Bernadette

Richard Linklater managed to get his hands on best-selling source material (the book, by Maria Semple, spent a year on the New York Times bestseller list) and systematically removed everything that was good and charming and unique about the novel to produce a bland and facile piece of film.

In the book, Bernadette is a reclusive but loving mother who suddenly disappears. Her husband and daughter believe her to be dead. Her teenage daughter Bee more or less narrates the story, mostly told through uncovered documents of her mother’s, piecing together her mother’s life, and discovering hidden depths and wells of sorrow. In the film, Bernadette’s whereabouts are never in question – we witness her escape and follow her on her adventure and see things through her eyes. You can hardly blame Linklater for this transition; with Cate Blanchett in the role, it would feel almost sacrilegious not to. But it does change the nature and structure of the story significantly, not to mention negates the mystery completely.

But that’s hardly the film’s only problem. I mean, the characters are just not likable. Bernadette, of course, is not meant to be likable – she has retreated from society, she burned out on humanity and doesn’t suffer fools, or many non-fools either. But her husband (Billy Crudup) is a workaholic, disloyal asshole. Her neighbour (Kristen Wiig) is an entitled twat. Her assistant is a scam artist. His assistant is a homewrecker and a gossip. Their therapist (Judy Greer) is an unprofessional over-stepper. It’s an unrelenting parade of unappealing characters, the only bright spot daughter Bee (Emma Nelson) and we’ve already discussed how Linklater chose to shine the spotlight elsewhere. Oof. But only a few of these characters are without sympathy. Mostly the problem is that Linklater never takes a stance. His indecision is stamped all over this movie. He clearly wasn’t up to making the book spark on screen so he neutered it, shot it very conventionally, and then acted surprised when no one was overly impressed by his mess.

Where’d You Go, Bernadette is actually about what happens to a creative genius when she stops creating. That’s the core theme in the book: Bernadette lost her creative outlet and just started wilting. But in the movie, she just comes off as a crazy lady who has a mental breakdown and then flees to Antarctica on some hair-brained mission. And her husband makes so many poor decisions you just wish someone would throw him overboard and give the narwhals a hearty lunch.

The only thing that remotely saves the movie is Cate Blanchett, who is luminous and quirky and vibrant, doing much of the heavy lifting that realistically, both Linklater and a solid script should have done for her (and frankly, for us). She is a delight to watch but you never shake the feeling that this film should be so much more than it is – and that’s true even if you haven’t read the book and you aren’t watching it next to me, a person who is loudly bemoaning the very substandard adaptation. Where’d You Go, Bernadette is sadly lost in translation.

Blood Ties

I’m flipping through what Amazon Prime has deemed “top movies,” most of which I’ve seen before, many of which I’d disagree are “top” (some vehemently!), some I’d even disagree are “movies” but there are a couple I haven’t seen, so I take a gamble and click And Did They Listen? The truth is: I myself could not quite bring myself to listen. It’s a documentary that, in THEIR words mind you, is about “history’s only scientifically verified encounter with alien life.” Although the world alien may be misleading – although they appear to have visited in one of those tin-can UFOs that little boys in the 1950s might have dreamed up, they are actually human beings simply from another star universe. And for some reason, though they are touted as highly intelligent beings, they’ve decided to make sole contact with earth through a little boy, who grows up to be quite a crackpot with lots of vague predictions, some of which can’t help but come true. The documentary was so shoddily made and contained so much horseshit I gave up within minutes (and you know what kind of crap I’ll sit through in the name of a review!) – I think you might be better served just looking him up on Wikipedia and calling it a day.

So my second choice was Blood Ties, a 2013 film featuring the likes of Clive Owen, MV5BMjExNzk2OTUxNl5BMl5BanBnXkFtZTgwODMyNzA4MDE@._V1_SX1500_CR0,0,1500,999_AL_Marion Cotillard, Zoe Saladana, Billy Crudup, and James Caan, that I’d somehow never seen. In it, Chris (Owen) is newly released from prison, and goes to live with his brother Frank (Crudup), a cop in 1970s Brooklyn. They did not live happily ever after. Instead, they draw lines, one on each side of the law, and they pull whomever they can down with them. But the whole family thing is just too hard to shake, and like it or not, their fates are pretty much intertwined. Which is a nice way of saying they’re fucked.

Ultimately, Blood Ties is good because it boasts a strong cast. But it flails almost everywhere else. The downward spiral is predicable, and while a movie like this should be about the descent, and not the outcome, the descent is hard to keep track of because there are a few too many subplots to keep score of, and not enough help with our scorecards. In other words: it becomes a chore. And like most chores, it keeps going until well past the point you’d want it to. But it was still preferable to the crazy man who invented a religion based on the spaceships he made out of trash can lids. So there’s that.

1 Mile To You

1 Mile To You is apparently just a nickname; you might find Life At These Speeds on its birth certificate. A movie by any other name would still be just as cruddy though.

The film is about a high school athlete named Kevin. He wins a major race at an event but then loses his entire track and field team (plus his girlfriend) to a bus crash that he’s MV5BMTU2Mjk5MjQ3NF5BMl5BanBnXkFtZTgwMTA1ODg2MTI@._V1_SY1000_CR0,0,666,1000_AL_only spared from because he’d promised his parents to ride home with them. The grief is crushing of course, and he decides the only thing he can do is outrun it. Suddenly he’s even better than he was before, obliterating track records, leaving all his opponents in the dust. He attracts a lot of attention from the very best coaches and schools but none of it makes him happy because running just makes him remember. Grief is a complicated animal but thanks to an attentive coach (Billy Crudup), running becomes a coping mechanism rather than an escape, and we actually see young Kevin grow and develop, not just as an athlete, but as a young man coming to grips with a painful past. Can grief be a motivator? Can it be conquered? Can it be fuel?

They’re interesting questions in a not very interesting movie. Inner turmoil is difficult to show on screen I suppose, made more difficult by cheesy directing and the limitations of a young (though decidedly not young enough to play a high school student) actor. The film is inconsistent, and sometimes confusing. It has trouble deciding which characters are important, with certain members of the cast popping up at random times, as if it’s not so much a movie about grief and running as a curious game of whack-a-mole. Don’t worry though, there’s not enough character development to go around, so you won’t really care.

Top 10 Actors Who Play Assholes

Kevin Spacey: Se7en, Swimming With Sharks, The Usual Suspects, Glengarry Glen Ross, American Beauty, Superman Returns for fuck’s sake. Or Nine Lives for that matter, and tenor.gifBaby Driver and Horrible Bosses. The man played Richard Nixon! No one plays mischievous evildoer as well as Spacey, but even his good guys tend to be smug bastards at best. His dialogue comes out razor-sharp, often coated with either sarcasm or condescension, and likely both.

Jeremy Piven: This guy is just insufferable. You can crown him King of Pricks based on his role in Entourage alone, but his screen credits offer further proof: Old School, Sin City, Very Bad Things. The guy even plays sleezy cartoon characters in both Cars and The Pirates! Band of Misfits. His deadpan delivery is infuriating and he has the kind of shit-eating grin that just begs to be slapped. Hard.

Christopher McDonald: I wondered if I was just holding a grudge from Thelma & Louise shooter.gif(he played the shitty husband) but no, he followed that up playing Shooter McGavin in Happy Gilmore, and what a fantastically smarmy role that is. He even plays the guy who wants to steal flubber from poor Robin Williams. He has the kind of arched eyebrow that makes me wonder: is he perpetually typecast as a dick, or do characters turn into dicks once played by him? Chicken or egg?

John C McGinley: If you see this guy on screen, you know you’re in trouble. He’s often thetumblr_mhfd5iDNow1qgqpr6o1_400.gif socially awkward dad who gets under everyone’s skin. You just want to snap his unironic suspenders to deflate his pomposity for just a moment. Platoon, Wall Street, Office Space: Hollywood seems to agree that this guy just oozes jerk.

Richard Dreyfuss: He played conceited in Dillinger, self-involved in American Graffiti, self-important in Close Encounters of the Third Kind, egotistical in The Goodbye Girl, pretentious and selfish in Mr. Holland’s Opus, and arrogant in Red. Come to think of it, is he even capable of pretending to be nice? At least he’s a bit sympathetic in Whose Life Is It Anyway; yeah he’s a real jerk to pretty much everyone around him, but the dude’s paralyzed and you cut him some slack. In everything else, you just kind of hate him.

Sam Rockwell: I kind of love Sam Rockwell, but there’s something weaselly about him. tumblr_inline_n66089BWPG1sn461n.gifHe seems to get stuck playing the douchebag an awful lot, but to his credit, he has a certain charm that makes the douchebaggery slightly lovable. Except in Iron Man 2: in that one, he’s downright evil, but I think if you’re in a movie with Robert Downey, Jr who plays the lovable scoundrel card pretty hard, you have to go big or go home.

Jason Bateman: you pair that chubby, boyish face with the condescending hot garbage that comes out of his mouth, and you’ve got a goldmine of narcissistic characters on your IMDB page. He’s obnoxious in Bad Words, manipulative in Horrible Bosses, irresponsible in Juno, patronizing in This Is Where I Leave You, bullying in Central Intelligence, a swindler in Zootopia, and downright infuriating in The Ex. This guy plays to his strengths!

Bradley Cooper: He may play a rapscallion, but he’s an irresistible rapscallion. Those dimples let him get away with murder, and sometimes his characters come pretty close. tumblr_lnzkidiQ4a1qix5n3o1_500.gifHe played the lying, cheating husband in He’s Just Not That Into You, the lying, cheating fiance in Wedding Crashers, an amoral arms dealer in War Dogs, a diva in Burnt, a shit-don’t-stick-to-me arse in The Hangover, a corrupt cop in The Place Beyond the Pines, and a reckless raccoon in Guardians of the Galaxy. Does his devilish grin suit him? It does. And Cooper knows it.

Billy Crudup: He didn’t have time for his dying dad in Big Fish. He didn’t have time for his band or for child prodigy journalists or devoted fans in Almost Famous. He puts the nails to a grieving widow in Jackie. He leads people astray in Alien: Covenant. He terrorizes kids in The Stanford Prison Experiment. His characters are not often likeable, even if they aren’t bad. What does it say about Crudup that he’s so good at that?

Jason Schwartzman: This is the guy we love to hate. He’s an angry bear in Listen Up tumblr_o1qjdbWn651ujfksmo1_500.gifPhilip, an insecure uppity asshole in Scott Pilgrim Vs The World, a conceited actor in Funny People, and as┬áLouis XVI (in Marie Antoinette), he was the very symbol of tyranny – and that’s without mentioning every smug arsehole he’s played in every Wes Anderson film. He embodies neuroses and self-loathing. Even when he’s playing earnest, he’s coming off overearnest and cloying. He just can’t win, which is why he always plays an asshole.

 

Who’s on your list?

 

Alien: Covenant

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You always know better than the idiots in horror movies. Don’t go to an uncharted planet streaming John Denver songs to the universe. Hell, don’t go into space period! When you get to the planet, don’t trust its lone inhabitant who lives in a graveyard and conducts science experiments in a drippy cave. Especially when the results of those science experiments look suspiciously like the creepy little things that just blew up your only ride off the planet. But if not for those dumb decisions, there wouldn’t be much of a movie here, and certainly not one about Aliens with a capital A.

As the SXSW Sneak Peek hinted, the idiots in Alien: Covenant are more tolerable than most, because every bad decision leads us to a place we want to go. Ridley Scott’s playful approach here elevates Alien: Covenant above every entry in this franchise since Aliens. The bad decisions aren’t infuriating, they’re chess moves, most of which lead to another piece getting ripped apart into gooey chunks by space monsters.

Everything in this movie services the Aliens, including the speedy pace at which they burst out of people (taking only as long as needed to cause maximum carnage). Alien: Covenant felt like a Star Wars prequel in that respect, as the technology (in this case, the creatures produced by those previously mentioned science experiments) behind the Aliens seems better in the “past” than in the “future”. I suppose that’s inevitable when prequels are made 30 years later, and I was a lot more forgiving of it here that I was with Star Wars. I think that’s because in Alien: Covenant, the changes from the original rules make the movie more entertaining, while the changes in Star Wars made the movies into a CGI tutorial mixed with a boring political drama.

Above all else, Alien: Covenant is fun, and that’s because Ridley Scott and his cast (led by stellar performances by Michael Fassbender (x2) and Katherine Waterston channeling Ripley and kicking Alien ass just like Sigourney Weaver did) deliver everything this franchise’s fans could possibly have asked for. No unnecessary exposition, no extraneous plot points, just Aliens mowing down idiot after idiot.

For that, Alien: Covenant gets a score of eight chest-bursting xenomorphs out of ten.

20th Century Women

1979: three women. Dorothea (Annette Bening) is an older single mother of a teenaged son who she fears is missing out on some seminal influences, so she enlists his precocious friend Julie (Elle Fanning) and her free spirit\punk photographer tenant Abbie (Greta Gerwig) to “it takes a village” him.

If 20th Century Women isn’t as concerned with being an accurate reflection of the times, it’s a fucking brilliant portraiture. The characters, expertly drawn by writer-director Mike 20th-century-women-annette-benningMills, feel very much like real people because their problems are so distinct. The women don’t bleed into each other; they are each accorded with specific neuroses, anxieties, passions, and influences. We know a little about how they were born, and how they will die, but mostly we know how they are living. 20th Century Women is not plot-driven; nothing “happens” except truth is revealed through meticulous character study.

It helps, of course, to have Annette Bening on board. She’s the reason we’re watching. Her performance was nominated for a Golden Globe. I have been rooting all awards-season long for Natalie Portman in Jackie but having seen this, it will be difficult to go back. Bening treats this movie like a masterclass in acting. Nothing is showy or extraneous. In fact, some of her most brilliant times on screen are in perfect silence, with just the wrinkle of her brow or the droop of her shoulder or some awkward middle-aged dancing communicating all we need to know. Fanning and Gerwig are really quite good as well, but I only know that from the scenes which Bening sits out. If she’s onscreen, my eyes are glued to her. She’s always been this watchable, it’s just been a while since she’s had a role that was equal to her.

Mills’ affection for his characters is evident in their quirkiness. 20th Century Women is funnier than it has to be. Since I’m a strict non-talker at the movies, I tend to communicate approval through hand squeezes. I felt like I’d done a lot of squeezing by the end of the movie, even a little eye-catching and eyebrow lifting, which is probably moot in a dark theatre, but I was feeling magnanimous! ┬áSean concurred, which I think is an even thumbnail_25085better endorsement for a film that couldn’t be further from his own experience. And that’s what’s so remarkable. Though its genius is in the details, the specificity of the characters, it’s all somehow very relatable. And any movie that’s also a mirror is definitely worth its salt.