Tag Archives: george clooney

O Brother Where Art Thou?

Did you know that O Brother Where Art Thou? is an homage to/rip off of Homer’s Odyssey?  Probably.  Did you know that neither of the Coen brothers read the Odyssey before writing this movie?  Probably not.  Having not read the Odyssey myself, I can’t say how accurate the movie is, but when the songs are so toe-tappingly great (in a depression-era sort of way), any lingering concerns about literary accuracy quickly fade.

If you read our site even a little bit, you probably know we are big fans of the Coens.  O Brother is the third Coen brothers film I ever saw (Barton Fink was the first, thoroughly confusing ao-brother-where-art-thound terrifying me at age 14, and Fargo was the second, and at age 20 I was not quite ready to embrace the weird mix of funny accents and wood-chipper gore).  I remember finding O Brother much less creepy than Barton Fink and much easier to digest than Fargo (while also noticing that funny accents were featured in all three).  In fact, I would give this movie most of the credit for making me track down other Coen brothers movies instead of writing them off as more of the same from the guys who were responsible for John Goodman and Peter Stormare stalking me in my nightmares.  So thanks, O Brother, for being my gateway drug to The Big Lebowski, No Country for Old Men, Inside Llewyn Davis, Hail Caesar, and so many more!

Basically, if you haven’t seen O Brother, you should.  It’s not necessarily a classic, and for my money it’s lingering somewhere in the o-brothermiddle of the pack for the Coens, but it’s a great appetizer for their other stuff.  It’s also a fun standalone movie that has a fantastic soundtrack and a bunch of crazy characters doing strange things.  And if you have seen it, why not see it again, if only to notice for the first time (like I just did) that frequent Coen collaborator John Turturro is one of O Brother’s main characters.  Either way, you can’t lose!

O Brother gets a score of eight soggy bottoms out of ten.

 

Hail, Coen Brothers!

Joel and Ethan Coen are at it again – the two wacky guys who brought us Fargo, The Big Lebowski, and No Country for Old Men have a new insta-classic to add to the list and it’s called Hail, Caesar!

The Coens are brilliant. I have no qualms about using that word, and I think their resume speaks for itself. Their names are already on this year’s Oscar ballot for having written the stirring screenplay for Bridge of Spies, an underrated but totally worthy movie that feels nothing like a Coen Brothers film, and isn’t one. They wrote it, and can write anything, but when they’re sitting in the director’s seat, they seem to prefer larger than life stories they can have a little fun with.

The Coens don’t chase box office success, but they do make the kind of movie that film buffs love to obsess over. I’m already obsessing over this one, which has been deemed by lesser souls to be of “limited appeal,” but dollars to donuts (yes I’m using that wrong and no I don’t know what it means) it’s the most fun I’ve had in a movie theatre in a good long while. This was at the expense of my fellow movie goers since I’m perennially sick and every fit of giggles dissolved into a fit of coughing. Coughing is the new clapping. That’s my story and I’m sticking to it. There was lots of coughing. I mean lots of laughing!

The plot: Edward Mannix (Josh Brolin) is a honcho at the Capitol Pictures movie studio. He’s a fixer. He doesn’t own the place, but he does make it run. We follow him for about 27 hours, a day in the life as it were, and there are no less than 4 movies being shot on the studio back lot: the first, their blockbuster Hail, Caesar!, starring Baird Whitlock (George Clooney) as a Roman soldier who encounters Jesus Christ; the second, a movie musical currently shooting its aquatic spectacle with its newly and scandalously pregnant star (Scarlett Johansson); the third, a drama period piece set to star a spaghetti western crossover, Hobie Doyle (Alden Hail-Caesar-(2016)-posterEhrenreich) much to the consternation of finicky director Laurence Laurentz (Ralph Fiennes); and the fourth, a comedy starring sprightly song and dance man Burt Gurney (Channing Tatum). Poor Eddie has a lot to contend with – fixing stars up on dates, rescuing starlets from French postcard situations, making good on his promise to his wife to quit smoking, and fending off twin sisters and rival gossip columnists, both played by Tilda Swinton – and that’s before he realizes that his biggest star, Baird Whitlock, has been kidnapped!

There is much (too much) to say about this film. First off, the cast was excellent. Of course it was excellent. The Coens have been in the biz an awfully long time and they’ve got a george-clooney-gets-kidnappedlaundry list of Hollywood A-listers who beg to be in their films. George Clooney, for example, has worked with them three times before – Brother, Where Art Thou, Intolerable Cruelty, and Burn After Reading – all movies that I like, though I confess a particular burning love for Intolerable Cruelty especially. The Coens have great faith in Clooney’s comedic timing and treat us to a whole reel of his best reaction shots. It’s down right gluttonous – almost as sinful as that Roman costume they’ve got him strutting around in, showing off leg like you’ve never seen from him before. And my they’re nice legs. In fact, is there a human being on this planet who’s not a little in love with George Clooney?

Josh Brolin continues to ride this incredible surge in his career and proves a worthy choice. This is Brolin’s third Coen movie (after No Country for Old Men and True Grit) and he pulls this one together so tightly, so adroitly, you know he’ll be around for more. New comer Alden Ehrenreich impressed me immensely. IMDB assures me I’ve seen him before (in hail-caesar-featurette-the-cowbo-810x456Blue Jasmin) but this is the first that I’ve noticed him – and he almost stole the show! Tilda Swinton, who is great in everything, is great again here, only doubly so since she’s handling twin duties and it’s uproarious. Heather Goldenhersh, as Mannix’s hard-working secretary, is pivotal and delightful, and I must say, this woman deserves to be fucking famous already. But even small roles are peppered with famous faces – the study group alone, from Fisher Stevens to my beloved David Krumholtz, is worthy of its own spin-off. And no Coen Brothers movie would be complete without at least a brief appearance by my spirit animal, the fabulous Frances McDormand. The reigning Coen Queen, this is her 8th film of theirs, although it’s not exactly a fair fight as she’s married to Joel (not that her oodles of talent require any nepotism). Her role is brief but watch for it, it’s a scene stealer.

So: the Coens know how to write. And they sure as hell know how to cast. And bringing back cinematographer Roger Deakins and convincing him to shoot in film again (as img5opposed to his preferred medium, digital) was exactly the right thing for this ode to old Hollywood. Even though your eyes see Channing Tatum in a sailor suit, your mind is steeped in 1950s glamour (which is actually much grimier than the usual coating of nostalgic veneer would have us remember). As usual with the Coens, what you see is only half of what you get. There’s a lot of layers to this seemingly lighter fare, from God and Commies, to pop culture and hydrogen bombs. I was charmed and tickled from start to finish and I’m going to find it awfully hard to buy tickets to Deadpool when what I’d really like to do is see this one again. And again. And probably again.

 

A Very Murray Christmas

AVeryMurrayChristmas_posterLet’s get one thing straight: this isn’t Scrooged, the redux. It’s a plotless variety show without a lot of variety, but it’s got Bill Goddamned Fucking Murray, so what else do you want?

It’s Christmas Eve and Murray is contractually obligated to put on a Christmas special live from the Carlyle Hotel in Manhattan. He’s in no position to be doing such a thing and the show is doomed to hell, but so what? His piano accompanist is Paul Shaffer, for crying out loud. How bad could it be?

Well, as Amy Poehler and Julie White come bustling into his room to assuage his pre-show jitters\brow-beat him into meeting his obligations, it would seem that they are worried too. There’s a blizzard blanketing NYC, and none of the celebrity guests have shown up. No guests at all, actually, except for Michael Cera, playing a slimy talent agent desperate to sign Murray (who is famous in real life from being unrepresented).

Murray starts off singing dejectedly but can’t even finish his first song. NEN1NCNECeZIRU_1_bThe special’s a disaster! But wait! Who’s that sight for sore eyes revolving through the door? Why it’s none other than Chris Rock, here mistakenly, but here nonetheless, and despite his vehement refusals, he gets emotionally manipulating into joining the live broadcast. Singing ‘Do You Hear What I Hear?’ as a duet, Murray and Rock are one of the highlights of the show. In a special that’s not even an hour long, Chris Rock proves he may not be a singer but he is indeed an actor; the reluctance to join in spackled across his slowly turns into Christmas cheer as the joy of the song spreads to his heart…until the power goes out, and he takes the opportunity to make his escape.

“Force Majeure!” cry his cheeky producers. The contract taken care of by an act of god, White and Poehler hoof it out of there too, leaving Murray to mope around a nearly-deserted hotel where he comes across a sobbing bride (Rashida Jones) and her wobbly wedding cake. Dream wedding ruined, no guests in sight, no preacher to marry them, and a 90bunch of lobsters going bad, she and her groom (Jason Schwartzman) have fought.

Never fear: when not hosting Christmas specials, Bill Murray also proffers marital counselling, and so in he goes to save the day, and spark up some more “impromptu” holiday tunes. Jenny Lewis playing a waitress is on hand to do the lady part of ‘Baby It’s Cold Outside’, everyone’s favourite date-rape carol, and the band Phoenix is conveniently on hand pretending to be kitchen staff to back up several more ditties, so that Jason Schwartzman can prove there is a worse singer in this thing than Chris Rock.

And then Maya Rudolph shows up playing a washed up lounge singer, and holy hell, she just puts them all to shame. She belts out a ‘Christmas (Baby Please Come Home)’ so good that even Darlene Love would approve (she sang that song on Letterman every Christmas since 1986 except for the writer’s strike in 2007 – this will be her first year without, since Dave is retired). It’s not surprising that Rudolph is amazing: she is, after all, daughter to soul singer Minnie Riperton and composer-songwriter Richard Rudolph. Oh, and granddaughter of Teena Marie. She’s got chops, plus extra credentials for often impersonating Beyonce on SNL, and for playing in a Prince cover band called Princess. And I’ve got a huge crush on her.

Then the action mysteriously leaves the Carlyle Hotel for a decked-out maxresdefaultsoundstage in New Jersey, where two new guest stars join the festivities: Miley Cyrus, cheating on her own cameo in The Night Before, and George Clooney to mix the martinis. An unlikely pair? If you say so!

I wish I could find something to be grumpy about with Miley’s performance, but the truth is, she sounds good. Perched atop Shaffer’s bill-murray-miley-cyrus-george-clooney-netflix-christmas-specialpiano, Silent Night is rendered faithfully, although there’s probably a little too much leg for the holy parts. The real surprise, and delight, is when Clooney pipes up during ‘Santa Claus Wants Some Lovin.’ Is the world ready for this side of George Clooney? Unfortunately he flashes a lot less leg, but he does look awfully dapper in his suit.

Anyway, director Sofia Coppola did quite a job of rounding up a slew of stars and dipping them in Christmas coating. You can play a real game of celebrity bingo, as you’ll see in the comments. There’s no plot, no story, no moral: just a lot of the ever-charming Bill Murray. It’s available on Netflix and it’s the kind of thing you can easily just put on in the background while you do some holiday baking or cleaning or wrapping, or better yet – some imbibing.

Cheers.

 

 

 

Animated movies!

TMP

Well, it’s Thursday again. It’s not even 8 am yet and I’m at work when I’d much rather still be sleeping and I’ve already had to resolve one office IT issue and I don’t even work in IT. So I’m feeling a little uninspired this morning. Normally I strive for a little more variety in my picks and try to avoid the obvious choices whenever possible but I love these three films so much that I just can’t help but choose them.

Finding Nemo

Finding Nemo (2003)- When I was 18, my dad chased me down on a road trip for over an hour just because I’d forgot my Lactaid pills. Once we’d made the exchange and my dad drove away, my driver watched him leave and remarked “Now THAT’S a father”. I think of that comment every time I watch Finding Nemo and, since Father’s Day is just three days away, I might as well dedicate this entry to mine. I cry pretty much through this whole movie and am always filled with gratitude for my own family every time I watch this desperate father conquer his own fears of pretty much everything to take on the entire ocean in search of his son, prompting Nigel to remark “What a father!”

Wall-E

Wall-E (2008)- “Computer, define “dancing” made my list of 10 Movie Moments That Took My Breath Away. What I neglected to mention at the time was that this whole movie takes my breath away. Pixar has pushed the envelope so many times and in so many ways but Wall-E, I think, reamins their most ambitious work to date, trusting its audience to stay engaged through the first forty minutes or so where there is virtually no dialogue. Wall-E is entertaining from start to finish while managing to say a lot about how many of us treat our bodies and our planet, even more effectively than those annoying e-mails from Green Peace that I’m always getting.

Fantastic Mr Fox

Fantastic Mr. Fox (2009)- Now let’s take a moment to be thankful for Wes Anderson. Anderson is clearly having fun with the stop-motion animation and the family movie format (“Clustercuss”!!!!). Like everything he does, Fantastic Mr. Fox is quirky, outrageous, hilarious, sweet, unmistakeably Anderson. It remains one of my favourites in the Wes canon. Besidies, this is the only film to date to feature the inspired collaboration of Wes Anderson and George Clooney.

Tomorrowland

I was expecting a lot more from Tomorrowland. Brad Bird has been involved in so many good movies in the past, all of which have had fantastical or futuristic elements. Damon Lindelof gave us an amazing first season of Lost (though it was downhill from there as the layers were peeled away). George Clooney is an A-lister who is super reliable and who usually picks his projects well. All the parts seemed to be here for a great movie, or at the very least an interesting one.

But instead of being something memorable, Tomorrowland is entirely forgettable. I really don’t understand how things went so wrong but for a movie about possibilities, there was a distinct lack of imagination or innovation involved in Tomorrowland. It is totally formulaic and by-the-numbers. Which doesn’t make it a bad movie, and it’s not a bad movie, but it left me feeling that an opportunity was missed here.

Going in, I thought the premise was solid one but the way it was handled left me not only wanting more but wanting something entirely different, something closer to what I thought this movie would be after having seen the trailer many, many times in the last six months. I don’t want to spoil things so I can’t really be more specific than to say that Tomorrowland was not at all what we saw in the trailer. And that would have been okay if handled differently but the end result here is that we only end up spending a very small amount of screen time in Tomorrowland when all is said and done, but the scenes of Tomorrowland in the trailer were what I wanted to see lots and lots of.

That’s why the way it played out was so disappointing.  It left me feeling a lot like Lost did, now that I think about it.

Tomorrowland gets a rating of 6 child-sized jetpacks out of ten.

Workplace Movies

TMPThursday Movie Picks, sponsored as ever by Wandering Through the Shelves, is brought to us this week by the letter W – for movies set in the workplace.

Matt

Office gossip can be addictive. Most people wind up spending most of their time talking about work when they spend time with their colleagues outside the office. Actually, three of the Assholes work in the same place and- when we’re not arguing about movies we’re often reminiscing (or ranting) about work. Even people who claim to hate their job tend to find the comedy and drama of any workday pretty interesting. All you need to do is capture that environment in a relatable way and you’ve got a pretty good movie.

The ApartmentThe Apartment (1960)- This has been one of my most significant Blind Spots until this week and it was worth the wait. Jack Lemmon plays an accountant at a big firm who’s just trying to get noticed. Once his superiors find out that he has a modest but nice apartment conveniently located on the Upper West Side, he becomes their go-to guy as they start borrowing his key so they can discreetly cheat on their wives. Director Billy Wilder has a lot to say about the compromises people make in the name of ambition and manages to make a movie that is still funny after all these years while he’s saying it. Lemmon and Shirley MacLaine are as charming as can be too.

Office Space (1999)- Turning an animated short into a live action feature-length film could have Office Spacebeen a disaster but Beavis and Butt-head creator Mike Judge turned any old boring day into the office into one of the funniest comedies of the 90s. Re-watching it this week, I laughed loudest when Gary Cole’s Bill Lumbergh- in an effort to pacify the troops- announces that Friday will be Hawaiian Shirt Day. Around our office, they charge us two dollars to wear jeans on Friday. I couldn’t help feeling bad for poor old Milton though.

MargMargin Callin Call (2011)- Yet another movie that I’m thankful to Wanderer for giving me an excuse to finally check out this week. Zachary Quinto, Stanley Tucci, Jeremy Irons, and Kevin Spacey (making my list two weeks in a row) play investment bankers who see the writing on the wall leading up to the 2008 Financial crisis and sit around wondering what to do about it. Director J. C. Chandor (A Most Violent Year) knows how to set the mood and the performances are all stellar.

Jay

Up In The Air – Poor Ryan Bingham is so afraid of real life that he’s made sure his job keeps him in constant motion. His office may be at a cruising altitude of 32 000 feet but he spends a lot of George-Clooney-Whattime visiting other people’s workplaces to tell them they’re no longer employed. This is such a tough job that cash-strapped businesses are still willing to pay big bucks during a recession for him to do it in their place. He sees offices at their very worst, smells the fear and senses the instability, and is the receptacle for sometimes 20 years’ worth of pain and frustration. Our identities can be so wrapped up in our work, and in many ways, Ryan (George Clooney) is the prime example of this. Director Jason Reitman bravely tackles those creeping workplace notions of downsizing and obsolescence and asks some tough questions of the aging American workforce.

The Social Network – I love how you see the growth of the company here, the “offices” originally facebookin a Harvard dorm room, and then graduating quite quickly to the impressive work space that was eventually needed. The movie recounts a very modern invention (hello, Facebook) but its workplace themes are as old as the first profession – loyalty, jealousy, theft, power, the complicated ownership of ideas. Whether friends or enemies, friended or unfriended, colleagues or competition, this project is always work, and everybody wants to get paid.

Brokeback Mountain – The classic office romance. They meet by the photocopier, lock eyes over the  on, thwater cooler, exchange business cards in the elevator…or, you know, not. Don’t you wish your office looked like this? The scenery is breathtaking but mabrokebackke no mistake: these two cowboys meet at work, doing a job that’s not altogether welcoming to “their kind.” When their boss gets an inkling of what’s going on, the work dries up and the two spend the rest of their lives stealing secret moments and steeling themselves with memories of the best job they ever had. monsters

Bonus pick: Monsters, Inc. Sully and Mike are about as close as two colleagues can be. Mike is the more ambitious of the two, but it’s Sully’s talent and skill that make them so successful. The workplace is originally competitive, and tinged with the fear of contamination (they do bio-hazardous work with children). It may be a cartoon about fuzzy monsters, but any joke about paperwork in triplicate is likely to land huge with adult audiences.

Sean:

Since Matt took Office Space and Jay took Up in the Air, I am sticking to familiar territory and making my section an all-lawyer-movie workplace bonanza!

Philadelphia – a great movie about a lawyer getting kicked out of his workplace, and then going to his other workplace, the court, to try to make things right.  Tom Hanks and Denzel Washington absolutely own this movie.  I actually did not see this until last year and I should have seen it way sooner, because it’s excellent.

A Few Good Men – I saw this in theatres, I owned it on VHS, I own it on DVD, and one of my roommates in university recited the “You can’t handle the truth!” speech every time he had more than three drinks.  And I could watch it again tomorrow.  There are so many good lines and so many good characters in here that it remains enjoyable to this day.   And again there are a few workplaces in here, namely the courts and the Guantanamo Bay Naval Base.

The Firm – Tom Cruise is probably the best lawyer ever, at least if you go by his on-screen performances.  He almost got Dawson and Downey freed and in the Firm he somehow outmaneuvers a whole team of crooked lawyers and the mob while still adhering to his strict ethical code.  Plus he does a lot of really fast running in the Firm which is always the best part of any Tom Cruise performance.  This movie feels really long, because it is, but it’s still a good watch.

Anyone had an office love? Office hook up? Office BFFs?

Father-Daughter Movies

TMPFathers and daughters, a topic rife with the opportunity for Hallmark sap, hard to get right, but so rewarding when it strikes just the right chord. Thanks to Wandering Through the Shelves for hosting another great Thursday Movie Picks theme, from two guys who are neither fathers nor daughters, and one fatherless daughter…because who better to judge?

 

Sean:

lethalweaponLethal Weapon – awarded to the whole series as a body of work. These movies are up-and-down but they are fun stupid films that keep adding more and more extraneous characters as sequelitis sets in. Luckily for me this week, Murtagh has a daughter that factors into the secondary drama of almost every movie, from possible love interest for Riggs in the first one, condom ad star in one of the middle ones, and baby mama to Chris Rock in the last one! And possibly more that I have forgotten. So on the list they all go just to be safe.

Taken – Liam Neeson’s tough old guy shtick started right here as far as I can tell, as the tough old dad of a coed “taken” by European gangsters. And like Liam says in the most awesome phone call ever made to a kidnapper, he uses his skills to track down all involved and kill them good. Spoiler alert: it seems that except for saving his daughter’s life he really hasn’t been a good father, but luckily there are sequels where as far as I know he saves her again, or saves his wife, or something. As usual, they should have stopped after the first one but instead really ran this concept into the ground and made me not care at all anymore.

Star Wars – so we don’t actually know at this point that Leia is Darth Vader’s daughter, and I’m pretty sure George Lucas did not have that plan or even the idea at any point when making this movie. As far as I can remember, though, this movie is the only one of the original 3 films in which this father and daughter “team” share a few scenes, so that’s why it makes the list over Return of the Jedi (where Leia actually learns who’s her daddy). Plus it’s such a classic movie! Even the terrible prequels couldn’t ruin it for me. So it makes the list. Can you tell I struggled this week?

Matt

Guess Who’s Coming To Dinner- Back in December, I wrote a post describing Guess Who’s Coming to Dinner as Matt Drayton (Spencer Tracey)’s conflict with his own values. He raised his daughter (Katharine Houghton) right- no race is superior to another and anyone who thought they were was foolish and ignorant. Matt realizes he may have done a little too good a job when she brings home a charming black doctor played by the great Sidney Poitier whom she wants to marry. While this unexpected situatGuess who's Coming to Dinnerion may expose some hidden bigotry on Matt’s part, mostly he can’t help but admire his new son-in-law to be and mostly objects to the union because of the unimaginable challenges his daughter will surely be facing. Although he’d hate to look into those eyes and see an ounce of pain, he eventually learns to let go and trust his daughter to be strong enough to face the world. The movie can’t help but show its age a little nearly fifty years later but not in the ways that count.

American Beauty- Lester and Jane Burnham (Kevin Spacey and Thora Birch)  aren’t as close as they used to be. In fact, she asks her boyfriend to kill her father in the first scene. Lester’s a little too busy with his middle-aged angst and Jane with her adolescent angst for the two to really connect and Lester only starts taking interest in her life when he develops an obsessive crush on her best friend. He may not deserve a World’s Best Dad mug but I love that his dying thoughts are of her and happy that she thinks she’s in love. Tragically, his last words to her are “You’d better watch yourself or you’re going to become a real bitch just like your mother”.

Kick-Ass- I have serious reservations about Big Daddy (Nicolas Cage)’s parenting style but, unlike Lester, at least he never forgets to tell his daughter (Chloe Moretz) that he loves her. It helps to have common interests. In this case, taking down the D’Amico family and enjoy the sweet taste of bloody revenge with their hot chocolate. Big DKick-Assaddy has turned Hit Girl into one foul-mouthed ass-kicking 11 year-old who knows how to take a shot to the chest.  Marcus may feel that Big Daddy owed his father a childhood but at least he died leaving his daughter the two most important things: the ability to take care of herself and the knowledge that her Daddy loves her.

Jay

The Descendants – This movie is so emotionally loaded and frought, it shreds me to pieces to watch it. Matt’s wife has just been fatally injured in a boat accident. She’s in a coma, waiting to die, while Matt runs around picking up all the pieces. Two really big pieces are his darling daughters who Matt bewilderingly tries to care for though he identifies only as the “back-up parent, the understudy”. The older daughter initially seems to be pretty hostile toward her father, but we soon see she’s really just covering for a secret she’s keeping from him. Turns out coma wife has been unfaithful. So Matt’s already confused and complicated relationships with his daughters become even more so, leaning on the elder for support and understanding, while trying desperately to shield the younger from the ugly truth about her mother as they all struggle to say goodbye amid the complications of anger and blame. Meanwhile, there’s another father-daughter relationship at play: that of coma wife, and her own dear dad, who copes with grief by putting his daughter on a pedestal and lashing out at all others, blaming not just Matt, but his own granddaughters, for his daughter’s not-quite-perfect life. It’s frustrating for we, the viewers, who know that his daughter is far from blameless, and even more difficult for Matt and the oldest daughter who manage to keep the truth to themselves in a show of compassion, allowing him to kiss his little girl goodbye with only the tenderest of feelings.

Crash – You may remember there are a kajillion intersecting plot lines in this movie, most involving some kind of racial prejudice, but I’ll always be thankful to this movie for introducing me to Michael Pena. He plays Daniel, a locksmith who gets cut absolutely no slack by any of his customers because he’s Hispanic, and this makes the white folk (like Sandra Bullock) jumpy. Even the Persian shop owner gives him hell, misunderstanding a bit about a broken door that needs to be replaced, assuming that the locksmith is trying to screw him over. After a hard day’s work, he goes home to a rough neighbourhood where his crazy-cute daughter is hiding under her bed, frightened by the gunfire overheard. He soothes her with a story about an invisible, impenetrable cloak that will keep her safe. When the Persian shop is re-vandalized, the owner gets himself a gun and blames the guy on the work order. He shows up at Daniel’s house and opens fire – just as the little girl jumps into her father’s arms. For a very long moment we – and they – fear that the girl has been shot, but actually, she has saved the day with her heroic magic cape. Okay, not actually true. The real saving grace? Another daughter – the Persian’s – who protected her father the only way she knew how – by loading his gun with blanks.

Beasts of the Southern Wild – Not a straight forward relationship by any means, it’s still clear that father Wink and daughter Hushpuppy have a relationship central to this story. His treatment of her sometimes seems neglectful, even brutal, but is actually pretty typical within the context of their fictional community where children are encouraged to roam free among the livestock and wildlife. In fact, her father’s occasional disappearances seem to be related to his ill-health more than his disinterest. His ways are rough, but he’s really just preparing her for a time when he’s no longer around, and she seeks his approval by being strong and independant – at the tender age of 6. When the big storm comes, he’s there, with a pair of water wings and a shotgun that he fires at the clouds, trying to chase them away and make his daughter feel better. When Wink’s time is almost up, he tries to find her a safe place to go, but she insists on returning to his side, witnessing his remaining heartbeats.

My father-daughter picks IN OUTER SPACE can be found here.