Tag Archives: movies about seniors and aging

Unfinished Business

I usually have quite a high tolerance for Vince Vaughn, but man was this the most unnecessary piece of filmmaking I’ve seen since RIPD.

And I may have kept quiet except for what they did to poor Tom Wilkinson. The dude was in three (3!) of my favourite movies last year – Selma, The Grand Budapest Hotel, and Belle. And this is his follow-up?

I mean, this is a movie where even Vince Vaughn was misused. And what they did to Nick Frost was criminal. But Tom Wilkinson might have a human rights complaint. It’s a goddamn travesty and I feel worse about myself for having seen it.

Movies Based on Graphic Novels\Comics (No Superheroes, Sean!)

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We’re always glad when another Thursday rolls around because our dear friend Wanderer over at Wondering Through The Shelves has provided us with yet another opportunity to rip each other’s heads off. Agreeing or disagreeing never seems to matter because we do both so vehemently you can hardly tell the difference! This week we’re talking about movies based on graphic novels or comics – but they CAN’T be about superheroes, which is a caveat that is no doubt making Sean break out into cold sweats. “No superheroes?”, he’s probably thinking, “Then what’s the point?”

Jay

Wrinkles (Arrugas) – This is originally a Spanish movie, an animated one actually, but there’s a dubbed English version featuring the voice work of Martin Sheen and Matthew Modine. It’s based on the comic book Arrugas by Paco Roca. I hadn’t heard of this movie until someone from this very blogging community reviewed it on her site and it sent my little radar to sniffing. Imagine a comic book about old people, if you will, some of them shuffling around with the whiff of Alzheimer’s infusing their comings and goings in a retirement residence where not everyone is pleased to be confined. It’s at times very sad, but never sentimental. It’s very smartly done and the dedication that comes at the end – to all the old people of today, and of tomorrow – is a subtle elbow to the ribs.

Snowpiercer – This one’s based on a French graphic novel called Le Transperceneige by Jacques Lob. I came across mention of this movie in a magazine and got Sean all hopped up about this crazy movie that’s about a perpetually-moving train filled with feuding classes of people. Raw, brutal, stabby: just the kind of movie that gives him a chubby. But then the movie never opened. We searched high and low, and the movie just never came because Evil Lord Weinstein decided that suppressing a movie with vision and ambition would be a nifty way to wield his power and remind people that dumb Americans need his help to watch and interpret movies.

Old Boy – I’m watching the Spike Lee 2013 version starring Josh Brolin because I’d seen the Korean one a million years ago but never this one (I was still recovering) – in any case, they’re both obviously based on the Japanese manga of the same name by Nobuaki Minegishi and Garon Tsuchiya. So this guy gets kidnapped and imprisoned for twenty years in some hotel room. He has no idea why, or who, but one day he’s suddenly released and given 82 hours to figure out who’s been behind the whole thing. It’s a bloody movie. Like, if you think Drive is a little much, well, it’s actually a sunny stroll in the park compared to this. It’s fucking twisted. The American remake is a little soulless, comparatively, but it gets the job done and will make you want to seek out the source material, in which case, well – good luck with that.

Sean

Blade – sometimes vampires are also supervilllains, or very rarely, superheroes. But in the interest of including this movie in my picks this week, let’s just agree that Blade is pretty much a regular guy with no superpowers except being the near-invincible Daywalker hybrid. Kind of like how Superman is just a regular guy on Krypton so when you get right down to it, he has no special powers, he’s just not human. Which obviously doesn’t help out my argument at all. Anyway, Blade is a very good movie that more or less inspired Marvel to make lots and lots of superhero movies. Which again does not help out my argument but it’s still a great movie.

Men in Black – sometimes regular people get put in situations that call for a superhero. And either they get eaten by a giant bug or they get creative. Or both. Men in Black is a ton of fun and so tongue-in-cheek it hurts (in a good way). This is your chance to see Will Smith, in his prime, in his best role (with sincere apologies to Mike Lowry), and the pairing of Mr. Smith and Mr. Jones is as good as it gets. The two of them make it up as they go along and somehow make it work, saving the world along the way. The best part is K’s attitude about it all: the world is always in danger, so keep doing your job but make sure to keep it down so we can go about our business. Thanks, Men in Black, for keeping Earth safe.

Ghost World – sometimes I enjoy movies that don’t have a hint of superhero and have no explosions or car chases. It’s rare but it happens, and Ghost World is one such movie. It’s a strange movie, no doubt about it, but it’s strange in the right ways. It reminds me a little of Mad Max: Fury Road in that regard. Both take us to worlds that are different than ours that have their own logic, and that we come to understand as we meander through them with our leads. Both draw us in right from the start, make us want to keep watching and see this through to the end, and while the endings serve up good payoffs, in both movies the journey is its own reward.

Jay: Sean, wow. Just fucking wow. Mad Max? Really? You’re either really brilliant, or…you know, you’re really brilliant. Well done sir.

Matt

I love comics. It may have started with Batman for me but, as much as I love badass costumes and bone-crunching violence, I’;m always so proud of them when they aim higher. This week we pay tribute to graphic novel adaptations that helped show the world what the medium can really accomplish without relying on comic book logic.

Regardless of its subject, the key to any good comic book is to create a world of its own that is both distinctive and relatable. I thought of this in the shower this mroning and was surprised to read that Sean had a similar thought about Ghost World (2001), a movie that I’ve been dying to mention for months now. There’s nothing remotely supernatural about Ghost World but it seems to exist in its own universe. Strange, given how many characters I can recognize from my own life. Both a little surreal and painfully real, this movie is filled with uncomfortable moments that my friend and I used to cringe over and then immediately rewind and watch again.

Comics can address politics in the real world too. In Persepolis (2007) , a young girl grows up during the Islamic Revolution in Iran and, like Enid in Ghost World, finds solace in punk music as everything around her seems to be changing. Apart from the black and white animation and the fact that I was completely blown away by it, that’s about all I cacn remember. I so wanted to rewatch it this week but wasn’t able to track it down in time for Thursday.

Blue is the Warmest Color (2013), on the other hand, is fresh in my mind and will likely remain so for some time. I finally got around to watching it last night and was delighted- and surprised- to learn that it was based on a graphic novel so that I would have an excuse to check it out. I can’t picture this story as a comic at all and honestly have no idea what the source material could have looked like. I will probably have to check it out. All I know is that the story is simple, even if the feelings aren’t. What I found most impressive about this film was that, even though it is prepared to address homophoibia and how scary it can be to come out, this is really a story about how exciting it is to find love and how painful it is to watch it fade away and eventually burn out. The fact that they’re gay is almost incidental.

The Second Best Exotic Marigold Hotel

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“Why die here when I can die there?” – a dubious tagline is ever there was one.

I can’t pretend that even the first one was a complete pleasure for me, but I am ever so charmed by the golden oldies in the cast and that was excuse enough, more than enough, to give it a watch.

The second one has mostly the same cast of Britain’s finest senior citizens. Bill Nighy, a particular favourite of mine, does his brilliant little grimace right off the bat, and I am gratified: almost worth the price of admission. Maggie Smith and Penelope Wilton are at their cattiest, delightfully. Judi Dench is as strong and charismatic as ever. But this movie tries so hard to recreate the first one’s magic by basically just regurgitating it when in fact what it needed most was some fresh blood. Richard Gere, you say? Yes, he makes an appearance, but it stinks. He makes his grand entrance, grey hair flopping boyishly away, bringing with him the ugly whiff of American romcom. He’s like a virus, infecting what was already a perfect cast, a full complement of the world’s best that didn’t need or want improving upon. And Gere doesn’t – no fault of his. He just stuck out like a sore thumb.

The elderly each have their own romantic subplots, but the story’s meat is that Sonny (Dev Patel) is looking to take on a second property to expand his hotel “empire” while neglecting his wedding plans. Actually, the wedding bits were probably the most dazzling – the colours, the flowers, the brightly lit lanterns, the beautiful saris. But I didn’t remember Dev Patel being such an awkward, borderline racist caricature. A bit of a buffoon maybe, but now he’s a downright fool. His florid, over the top communications wore me out quickly. And the constant “jokes” about death – (I hesitate to call them that though I do believe that’s the spirit in which they were intended) – painful. Not a single one landed with the audience, most of them there on a discounted senior’s ticket. Crickets.

Even the title tells us this will be the second best, but it doesn’t suggest just how far from the first it has fallen. Second rate is more like it.

Run All Night: An Ode to Aging Action Stars

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It’s not going to take a whole post to tell you I didn’t like Run All Night. I mean, it’s fine. It’s exactly what you expect. It’s a movie capitalizing on Liam Neeson’s strange turn as an elderly action star. It doesn’t bother to be particularly good, not even as good as Taken or The Grey, which didn’t set the bar high to begin with. Liam Neeson plays a retired goon who gets pulled back into the biz when threats to his estranged son force him to kill his best friend’s (and ex-boss’s) son. Father and son “run all night” to avoid the bullets they both know are coming.

Now, I’m not one to talk shit about Liam Neeson. That man’s just got sex appeal (Liam agrees, by the way – “I never did think of myself as handsome–terribly attractive, yes, but not handsome.”) Plus, I’d be worried he’d tape shards of tiny bottles of liquor to his hands and wake me up from sleep with his heavy breathing. Once upon a time, he was known as a “serious” actor, garnering an Oscar nomination for his role in Schindler’s List, and a couple of Tony nominations as well. Steven Spielberg was anxious to re-team with him for the Lincoln biopic but after several delays of the project, Neeson felt he was getting too old for the part and let it go to Daniel Day-Lewis. Apparently he’s not too old to run around the streets of New York, shooting cops and robbers though. He’ll be 63 this summer, and has somehow been rebranded the thinking man’s action hero (note to Liam: another movie like this, and we’re retracting the thinking part). He’s almost as surprised by this turn of events as we are: “I thought it was going to be a straight-to-video release (he’s talking about Taken). That is actually one of the reasons I did it, to be honest. I felt like spending three months in Paris, I’d get to do all this physical stuff that no one would think of me for, and that the film would go straight to video. Then it became this big success. I was a tiny bit embarrassed by it, a tiny bit, but then people started sending me action scripts.”

I bet he’s not so embarrassed now. He earned a nice 5 million dollar paycheque for Taken, but for Taken 2 he demanded 15, and he got 20M for Taken 3. So he’s not just a bankable action star, he’s making serious bank doing it. Liam Neeson is only the latest incarnation of the aged action hero, he’s not the first and I have a feeling he’s not the last. For some reason we have an obsession with old, grizzled action stars and The Expendables series is all over it like a donkey on a waffle.

There is no young hot new action star. There just isn’t. A young man’s action movie has been taken over by the super heroes and that’s created a vacuum where the old guys have been allowed to stick around, and in fact, have been brought back, resurrected. These are action movies for Baby Boomers, the generation THAT WILL NOT RETIRE. Arnold Scharzenegger (67) has a new Terminator movie in the works. Sylvester Stallone (68) has a new Rocky movie. Bruce Willis (turns 60 later this month) is working all kind of action franchises, Die Hard certainly, and Red, and has even more in the works. You cannot kill these men, or the characters they originated before I was born.

Speaking of invincibility: the most pervasive action star is Tom Cruise. He’s “only” 52, a young man in this crowd, but this ageless wonder has somehow kept his body in vintage form. It’s very possible that he sleeps in a large pickle jar and only comes out to run very, very fast on camera, pumping his little arms in a $2000 wind breaker, or else to flash his whitewhite teeth on the red carpet. And I’m sure he pays handsomely for a crack team of Scientology “doctors” to pull very , very hard on his strings to keep everything where it should be: a fine specimen. No wonder he’s in better shape than he has any right to be. In the next few months we’ll see him in Mission Impossible 5, Top Gun 2, and Jack Reacher 2. It’s guys like Cruise who make guys like Colin Firth (54) think they should give it a chance too – hit the gym, do your own stunts, the works, which Mr. Darcy does rather well in Kingsman.

Hollywood is bending over backwards to tell boomers what they want to hear: you’re not irrelevant! We still need you! You’re still capable! “Retirement is for sissies!” as one of Sly’s posters for The Last Stand so succinctly put it. Not only are we reassuring boomers that they’ve still got it, the narrative is that they’re actually better than the young men trying to push them out of the way. In Taken, and in Red, and in countless others, the opponent is much younger (almost as young as the action star’s wife – gross!). In The Expendables 2 (SPOILER ALERT!) there’s only one young guy on the team, and he’s the one who dies. Because boomers are so much better than everyone. Because they have all this valuable life experience, and even if their bodies are a bit droopier, and their reflexes a bit duller and their instincts a bit slower they can still magically make the young dudes disappear. As always in life, the old white man is king.

Love Is Strange

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Ben & George have been together forever but are newly married. Their wedding is small and joyous, and also the catalyst for George’s dismissal from the catholic school where he teaches music. They can’t afford their home on Ben’s pension alone, and the two suddenly find themselves homeless. Friends and family scramble to take them in but this being New York City, where no apartment is bigger than a breadbox, Ben and George are separated. This is a love story that shows us how patient and enduring love must be. With no prospects in sight, people who were happy to toast them at their wedding are less happy to share their homes. There’s chafing on both ends (Ben clashes with his nephew’s wife, played by Marisa Tomei, when they’re both trying to work from a cramped home every day). They feel displaced and disoriented; their hosts feel increasingly put-upon. It’s sad and sweet and melodic – the soundtrack is divinely full of Chopin.

Director Ira Sachs is slow and meandering. It’s painful to watch the tenderness and the intimacy decline into homelessness and despondency. Just when they’ve vowed to share their lives with each other, they can no long afford to share so much as a bed. This is a pretty bittersweet movie, more universal than you may think. The husbands grapple with their emotional health, and aging, and navigating the strange and complicated NY housing market, which is what finally made me realize how mis-titled this movie is. Their love is a lot of things, but it is never strange.

The Judge

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When his mother dies, a successful big city lawyer returns his the small town to which he swore he’d never return. Despite vowing to leave first thing the next morning, his stay gets extended when his father (a respected judge in his community) is charged with murder. Father and son haven’t spoken in years and neither one likes the idea of working together very much but the judge is going to need the best lawyer her can find to keep from going to jail.

Both the prodigal son and the courtroom drama are pretty played out so I wasn’t expecting anything great but when the father and son are played by Robert Duvall and Robert Downey Jr, I didn’t see how it could be bad.

Unfortunately, not much in The Judge feels real. The town doesn’t feel like a real place. The family doesn’t feel like a real family. The court case doesn’t play out like a real trial, with the family drama even playing out on the witness stand in a scene that I couldn’t believe I was watching.

More importantly though, nothing really satisfies. We have to wait until the end of the movie to find out what really happened, both between father and son and the night of the murder. And we should have to wait. All the best payoffs come that way. Our patience doesn’t pay off here though, neither with the family drama or the trial. Even Downey, the king of outalking someone, cross examing witnesses isn’t as much of a treat as it really should be.

The good news is that it’s not all bad. Robert Duvall is a nominee for this year’s academy award for Best Supporting Actor partly because he’s gotten pretty old and it’s been awhile since his last nomination but also because he is just pretty awesome. The best scenes in the movie are all his. His shower scene with Downey manages to be heart-wrenching, tender, and funny and I nearly cried in another scene where he meets his granddaughter. And even if Downey’s return home isn’t as compelling as I would like it to be, his return to real movies is more than welcome. He’s pretty much played no one but Iron Man or Sherlock Holmes for the last five years so even a drama as trite as The Judge is a nice change.

Last Love

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This movie is kind of a chore. Supposedly it’s about going on with life after the death of a loved one, but 3 years after Matthew Morgan (Michael Caine) loses his wife, he’s still puttering around Paris like a lost puppy dog and it’s uncomfortable to watch and also kinda boring.

“There’s a crack in everything, that’s how the light gets in” – and just like that, a young lady appears in the picture, the lovely Clémence Poésy as Pauline, and is either the crack or the light. Repeat a vaunted Leonard Cohen lyric enough and I’ll almost start to believe this movie doesn’t suck. Almost.

Michael Caine just can’t keep his shit together. His American accent is a joke. He’s a dick who keeps correcting the french when they make attempts to communicate with him, yet hasn’t bothered, in all his time in Paris, to even learn basic vocabulary in their language. In the middle of mopey, maudlin crap you cringe and laugh at his unintentionally funny stumbles through languages, both pigeon french and his supposedly-native English. And since he can’t really commit to his lines, there’s just no point here. His kids sweep in, Gillian Anderson and Justin Kirk, and do absolutely nothing to revive the film. Nothing can save it. It’s painful.