Showing posts with label Emily Blunt. Show all posts
Showing posts with label Emily Blunt. Show all posts

Monday, August 27, 2018

Lasse Hallstrom marginally clears the mediocrity bar with Salmon Fishing in Yemen (2012)

Showroomworkstationorg.uk

It would be a little harsh to label Lasse Hallstrom the paragon of Oscarbait mediocrity but he's not too far off. His films often are overconfident in their ability to turn a hooky premise -- a free-spirited woman introducing chocolate to a repressed town, a drifter caring for a mentally ill brother, an engineer moving salmon to the desert, a young man raised by an abortion wizard -- into an uplifting narrative. With the exception of Cider Housr Rules, where all the elements came together to make a very solid film, a lot of his films feel overmanufacutred on sentimentality and manipulative with the musical score.

Salmon Fishing in Yemen is not as bad as the most saccharine of the director's offerings at its most predictable moments and its surprisingly pleasant on the whole.

Ewan McGregor plays a doctor, Alfred Jones, who is recruited by a shiekh's emissary (Emily Blunt) for a ridiculous task and McGregor is firmly against the idea. Blunt's character, Hillary, is a woman who comes prepared with the art of persuasion and she slowly wears him down. It's the kind of initial resistance one would see in a screw ball comedy but a nice feature of the film's first act is that Dr. Jones is firmly in the category of married man at the start of the film. It's a purely professional banter and it's a chemistry between two strong personalities that keeps the film interesting.

The film has some major twists in terms of the wants and needs of each of the two characters towards one another. Hillary deals with a tragedy and the film almost gets tonally jarring to the point of distraction but, with the exception of one scene (which carelessly throws around a possible mental illness on the part of Jones), it maintains course.

As the two begin to move past a relationship of colleaguedom and develop romantic feelings for each other, the film takes a slow pace with a development that feels organic. 

With such a strong relationship between the leads, the background can feel superfluous and it doesn't help that little of it is well-developed. There's a terrorist plot that's laughably underdeveloped and a Sheikh character (Amr Waked) who doesn't register on the whole. At least Kristin Scott Thomas makes a strong impression as a foil of sorts who's fast on her feet (although I honestly didn't understand the details of her plot on first viewing).

On the whole, McGregor and Blunt transcend the material and make this one of Hallstrom's  better outings.

Monday, December 19, 2016

10 Best Ensembles of 2015


1.       The Martian: Matt Damon, Jessica Chastain, Jeff Daniels, Chiwetel Ejiofor, Sean Bean, Kate Mara, Michael Pena, Sebastian Stan, Kristen Wiig, McKenzie Davis, Donald Glover, Bodinger Wong
An excellent group of actors with a few names you don’t normally see in television (Davis and Glover) all acting with that same walk-and-talk urgency that keeps the mood of the film tense but leaves room for comic levity. Matt Damon had the most overtly comic performance but Sean Bean and Kristen Wiig deserve a bit of credit in that department as well
2.       Spotlight: Liev Schreiber, Michael Keaton, Mark Ruffalo, Brian D’Arcy James, Rachel McAdams, John Slattery, Stanley Tucci, Billy Cudrup
Another film with strong actors all on the same page in terms of the requisite intensity needed to carry the film. While Mark Ruffalo ended up the only male actor getting a nomination, it would not have looked out of place to see Keaton, Scheiber or Brian D’Arcy James pop up on Oscar nomination day. Each of the five leads provided a different energy even though their character descriptions  (serious-minded journalist battling evil) must have looked exactly the same on paper to form a five-man band of sorts.
3.       Trumbo: Bryan Cranston, Diane Lane, Elle Fanning, Alan Tyduk, Louis C.K., Helen Mirren, Michael Stuhlbarg, Richard Portnow,  John Goodman, Stephen Root, David James Elliott
In my opinion, Cranston was a bit too broad and caricatured to merit an Oscar nomination in his category, but he certainly fit the serio-comic tone within the context of his film well. The portrayals of Hollywood icons untethered from the baggage of their on-screen personas like Eddie G Robinson (Stuhlbarg) and John Wayne (Elliott) were particularly interesting performances and Helen Mirren had a lot of staying power as the vindictive columnist Hedda Hopper. Perhaps the biggest surprises were Louis C.K.’s tender performance as fellow troublemaker Arlen Hinds and Elle Fanning’s mature performance as Trumbo’s faithful-yet-frustrated daughter.
4.       Brooklyn: Saoisre Ronan, Emory Cohen, Domhnall Gleeson, Emily Bett-Rickards, Eileen O’Higgins, Jenn Murray, Jim Broadbent
A relatively generic love story doesn’t just n
ab a Best Picture nomination in a competitive race like 2015 without solid acting from its leads and background cast. This was Ronan’s first role as a mature grown-up, Cohen’s beak-out, and a cementing of Gleeson’s filmography as someone with range and an ability to melt hearts.
5.       Love and Mercy: John Cusack, Paul Dano, Elizabeth Banks, Paul Giamatti, Bill Camp, Jake Abel, Erin Drake
Any sort of forced awkwardness in the adult love story (would he really merit a second date in those circumstances?) was smoothed over by the chemistry between Banks (whose impressively coiffed hair contrasted well with her ability to see inner beauty) and Cusack. Paul Giamatti plays a memorable villain in his overbearing guardian capable of terrifying tirades when threatened and Bill Camp’s soulless father provides a parallel in the past timeline. Credit also goes to the four actors who doubled the Beach Boys and one of the best performances of the year in Paul Dano’s tortured genius portrayal of a young Brian Wilson.
6.       Big Short: Steve Carrell, Christian Bale, Ryan Gosling, Hamish Linklater, John Magaro, Brad Pitt, Marissa Tomei, Melissa Leo, Finn Whitrock, Rafe Spall, Karen Gillan
The sheer amount of talent and the way it is used puts this up there. Bale, ordinarily paying intense and ready for violent, is a new kind of revelation here as an unconventional genius who plays heavy metal drums during the workday and likely resides on the spectrum. Carrell has been showing range and talent for a while (particularly under the direction of Adam McKay) so he’s not that much of a surprise here but it’s still a fine performance. If there’s a reason this falls just short of the top five, it seems Brad Pitt is just shoe-horned in for star power and it might have been nice to see a treasure like Melissa Leo in an expanded capacity.
7.       Hateful Eight: Kurt Russell, Samuel L. Jackson, Jennifer Jason Leigh, Walton Goggins, Demian Birchir, Tim Roth, Michael Madsen, Channing Tatum, Bruce Dern
Whether a Tarantino film hits you the right way or not, it’s hard to deny how masterful he is at casting. His films have relaunched many a career (even John Travolta counts here), engineered many breakout performances (Christophe Waltz stands out but don’t forget Daniel Bruhl, Melanie Laurent or Diane Kruger from that same movie), and maintained a stable of repertory players (Tim and Eli Roth, Michael Madsen, Samuel L Jackson, etc) that add to the trademark of each film. 
8.       Straight Outta Compton:  Corey Hawkins, O’Shea Jackson Jr., Paul Giamatti, Aldis Hodge, Keith Stanfield, Jason Mitchell, Neil Brown Jr.
It’s not particularly easy to get cast recognition for a group of actors this unknown (except Paul Giamatti, whose name sticks out there like a sore thumb) and there are extra points there for mimicking each of the rappers.
9.       Youth: Harvey Keitel, Michael Caine, Jane Fonda, Rachel Weisz, Paul Dano
A film that has offered the meatiest film roles Jane Fonda and Harvey Keitel have received in decades and Michael Caine isn’t too shabby in it either. The film didn’t live up to its potential on the awards circuit but not for lack of its acting.
10.   Sicario: Emily Blunt, Benicio Del Toro, Josh Brolin, Victor Garber, Jon Bernthal, Daniel Kaluuya
Emily Blunt’s raw performance is the stuff of an action heroine. Think Jessica Chastain in “Zero Dark Thirty” but directly in the line of fire. On top of that, Benicio Del Toro had a good run on the awards circuit, Jon Bernthal  (who would land a role in “Daredevil” a year later) steals a scene or two  and many of the minor players (the Mexican crime lord and family) provide for a solid multi-cultural cast.

Monday, October 30, 2006

Summer Movie Awards

Best Picture-
Little Miss Sunshine-One of the few movies in which the phrase, "You'll cry, you'll laugh, you'll jump for joy" isn't just a movie cliche. Coming from Sundance Film Festival, the movie opened at 1.4 million dollars but broke into the top 10 two weekends later and stayed there for 7 weeks for a reason: it's just that good and word got around. Within the structure of a typical road trip movie, Little Miss Sunshine is an emotionally resonant film that contains some very dark moments en route to higher highs.

Runner-Up: Prairie Home Companion-The biggest misconception about Prairie Home Companion was that it was a film about Garrison Kiellor, but that's also it's greatest strength. Those familiar with the director know that Rob Altman uses the film as a springboard for meditations on art, life, and death. On top of a great soundtrack, humor and color come from all sorts of colorful characters (Maya Rudolph as the frustrated stagehand, Kevin Kline as the bumbling private eye or Meryl Streep and Lilly Tomlin and the chatty Johnson sisters, etc.) within a great ensemble

Best Pure Comedy: Talladega Nights-From the comedic team that bought us Anchorman (writer/director Adam McKay and Will Ferrell) comes a solid follow-up that certainly has its funny moments. The primary thing that distinguishes Anchorman: The Legend of Ron Burgundy and Talladega Nights: The Ballad of Ricky Bobby from regular comedic outings of the frat pack is assembling a great cast of comedic talent that can surround Will Ferrell and keep up with him line-for-line as he veers off what's written in the script (if there's one at all). Might have been a little less funny than Anchorman but it makes up for it with heart in the endearing father-son relationship between Ferrell and Gary Cole.

Best Popcorn Movie: Da Vinci Code-The fact was that Ron Howard was in a damned-if-you-do damned-if-you-don't position in adapting the most popular book of the day, and all things considered, whether it was too close to or too far away from the book, it made for good entertainment if nothing else. Ian McKellan, Paul Bettany, and Jean Reno added interest to the movie with parts that support Tom Hanks, and considering how many well-liked French actresses there are to chose from, landing Audrey Tatou was a steal. Howard's picture works as a carefully-paced thriller and the controvoursey behind it all provided some good water cooler talk if nothing else
Runner-Up: X-Men 3-Another movie with high standards to live up to coming in, X-Men 3 was an admirable third leg of a very solid trilogy with the stakes of life and death being raised up a little (characters actually died, that's not supposed to happen in superhero movies?!), good special effects, and I liked the intergenerational theme of the new cast of characters (Iceman, Kitty Pride, etc.) having to step up when the time was right for them

Best Actor:
Paul Giamatti, Lady in the Water-Some people would insist on giving Giamatti the best actor award for everything he does and I'm not approaching the role from that angle. Still, with the stutter and everything, I actually thought Giamatti stuck out strongly as a beacon of well-constructed character acting amid a very bizarre world and cast of characters that M. Night Shamylan created.
Runners-Up:
Greg Kinnear, Little Miss Sunshine-All the actors in the movie were very good, but he has great comic instincts, look at the scene where Kinnear is about to be busted by a cop but saved by porn magazines for what i'm talking about
Jonny Depp, Pirates 2-The movie was mediocre but Depp might have been even more electric in this film than the first. His physical movements and control over his body is a throwback to the great silent comedians and he shines in every scene he's in.

Best Supporting Actor:
John C. Riley, Talladega Nights-It's hard to compare a pure comedy role to a dramatic role like Robbins but more props to him for keeping up with Ferrell laugh-for-laugh at making up his own lines. Besides, is there any truer definition of supporting than Riley's role?
Runners Up:
Ian McKellan and Paul Bettany, Da Vinci Code-Da Vinci Code worked for me, at least, on the strength of the supporting players. McKellan made a very nuanced and sophisticated villain that reminds me of someone who could easily fit into an Indiana Jones or James Bond movie. Despite the fact that he had to show his backside naked (something I could've done without), Bettany imbued the role with a little more of a fragile side than his counterpart in the book had.

Best Actress:
Toni Collette, Little Miss Sunshine-I saw Collette as the glue that held the whole dysfunctional family together. She played the straight woman to everyone else's comic hijinx and hopefully Little Miss Sunshine will get the neccessary exposure this talented actress deserves.

Best Supporting Actress:
Meryl Streep-Prairie Home Companion-Now this was a Meryl Streep performance I really, really liked. With her interactions with Garrison Kiellor, you felt like there was a lot more to her than was being shown, and you really grew to love her character in a sort of "I wish she was my mom, too" way. I loved her non-stop babblings with her sister and loved her singing even more.
Runner-Up: Emily Blunt, Devil Wears Prada-The attention has gone to Streep for the movie and she's even receiving early Oscar buzz but I personally thought that Blunt proved slightly more adept at the acerbic one-liners that the movie is most memorable for.

Best Special Effects:
X-Men 3-Superman saving a flaming plane from gravity and ability to deflect bullets is all well and good but it's hard to top the playground of possibilities special effects special effects you can have when playing with characters who can control ice, fire, metal, and the weather. Highlights include, Wolverine's rampage through the jungle, Jean Grey stopping an army of guns firing at her, and ice and pyro using their powers in a dead heat

Best Animated Film:
Cars-Cars was without a doubt better than....wait, it was the only animated film I saw this summer, but, hey, none of the other ones looked intriguing enough to watch (except Over the Hedge, I do regret seeing possibly the only time that Avril Lavigne, Steve Carrell, and William Shatner will star in the same movie together). Nevertheless, Cars was a fine picture with a relatively bold theme about the importance of community, taking the sceninc route and the need to preserve the finer things in life. Bonnie Hunt, Owen Wilson, and Larry the Cable Guy all had great chemistry with each other.

Best Movie I didn't see:
Unlike most critic wannabes, I am not ashamed to say that I did not see every movie that came out this summer. Akeelah and the Bee, about a talented young girl who is too afraid to show that she's smart for being unpopular and starring the usually underrated Lawrence Fishburne, sounded like a worthwhile film I will regret not seeing.

Best end credits:
Clerks II-As an usher in the movie theater, I did see the end credits of many movies while I was cleaning up and Clerks II never dissapointed. Kevin Smith thanks everyone he's ever met for all sorts of things (i.e. He thanks his parents for having sex) as well as people he's never met. He lists 10,000 of his myspace friends in the end credits. Finally, he has a disclaimer that he spends way too much time on the internet

Best Song:
Route 66, John Mayer-A great cover by John Mayer, who while having a reputation as a boy bandish pop singer, is actually a devoted student of past guitar greats and he pays ample tribute to Chuck Berry adding a little more spice along the way
Runner-Ups:
My Minnesota Home-Prairie Home Companion
Bad Jokes-Prairie Home Companion
This Land-Sujfan Stevens

Best Score:
Lady in the Water-The haunting score lingers in your memory long after the film does. M. Night Shamylan's last film picked up an oscar nod for best score, so it might be likely that Lady in the Water follows suit.