Another THOR-Mulaic Marvel Movie, But That’s Okay, I Guess

Opening tonight at every multiplex in the multiverse:

THOR: LOVE AND THUNDER

(Dir. Taika Waititi, 2022)

This fourth THOR film, the 29th movie in the MCU (Marvel Cinematic Universe), checks off all the expected boxes with its air-borne battles, callbacks, cameos, catchphrases, and spectacle-filled set-pieces. It’s the Marvel movie that fans know they’re going to get from before they ever saw the trailer. It’s the big summer superhero blockbuster we all feel like we’ve seen a million times. But I’ve come here to appraise the return of Chris Evans’ Norse god, not just toss off a jaded dismissal, so I’ll say that the film pops with enough laughs, and likable character activity for me to be okay with it.

Director and co-writer Taika Waititi, who also appears via motion capture as the Thing-like Korg, follows his previous turn, THOR: RAGNAROK, with a less weightier story about Thor saving the children of New Asgard from Gorr the God Butcher, intensely portrayed by a Nosferatu-esque Christin Bale (easily the most compelling thing on screen in the entire film). That’s the THUNDER.

The LOVE in the title comes from the rekindled romance with Natalie Portman reprising her role as Dr. Jane Foster, who wasn’t in the third film. Deemed worthy by the Mjoinir Hammer (whatever), Portman’s Dr. Foster joins the action as her own version of Thor dressed in likewise garb (Evans: “And that’s my look”), but her real fight is with cancer, an element that Waititi and co-screenwriter, Jennifer Kaytin Robinson, fail to give much emotional power.

Still, Evans and Portman do conjure up some cute charm together, and, after such performances in the strained sci-fi of ANNIHILATION and LUCY IN THE SKY, it’s nice to be reminded that Portman can be an effective comic actress.

Alongside Thor and Mrs. Thor (She-Thor? Lady-Thor? I’m not looking it up), we’ve got the always welcome Tessa Thompson as Asgardian warrior, Valkyrie; Jamie Alexander as Lady Sif, the aforementioned Waititi’s soft-spoken Korg, and a glorified cameo by the Guardians of the Galaxy (Chris Pratt, Dave Bautista, Karen Gillan, Vin Diesel, and Bradley Cooper), who aren’t given much to do – they aren’t even accompanied by some ‘70s K-Tel hit on the soundtrack.

One amusing factor is that the premise is packaged in a Guns N Roses theme with several of the band’s ‘80s anthems and power ballads blaring throughout, and even a character who wants to be called Axl. GNR’s tuneage even flows through Michael Giacchino’s orchestral score – I still have the instrumental strains of “Sweet Child o’ Mine” bouncing around in my head hole days later.

What’s both good and bad about THOR’s fourth can be summed up in the centerpiece sequence of the film, which features Thor ‘n friends traveling to Ominpresent City (whatever) to seek out the help of Russell Crowe (appearing have a blast as the chubby, smarmy deity) as the god, Zeus, in his lavish gold palace. It plays out as an attempt to merge the movie’s mythology with Mel Brooks by way of dick jokes, and that results in a bunch of hit or miss back and forth one-liner.

Working better are such running gags as Portman’s brain-storming of catchphrases, Matt Damon, Sam Neill, and Luke Hemsworth reprising their roles from RAGNAROK as Asgardian acting troupe versions of Loki, Odin and Thor; and a pair of giant screaming goats, Toothgnasher and Toothgrinder. Hey, these gags do actually work better than they sound, but I’m not claiming it’s all primo material.

As summer sequels go, THOR: LOVE AND THUNDER is a typical offering that should basically satisfy superhero fans or just folks looking for a couple hours of air-conditioned entertainment. These movies feel more and more disposable the more they make, but it feels so futile and useless to be cynical about them.

So if you like Marvel movies, Evans, Bale, Waititi, Portman, GNR, and/or screaming goats, you’ll most likely go for this round of more THOR. If you don’t care for those things, I’m not sure why you read this far.

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Natalie Portman's Performance As JACKIE Is Second Oscar Worthy

Now playing at an indie art house theater near me:

JACKIE (Dir. Pablo Larraín, 2016)

The Kennedy assassination has been cinematically examined many, many times before, but Pablo Larraín’s JACKIE looks at what’s considered one of the most tragic and world-changing events in American history from the most intimate angle.

That would be through the eyes of JFK’s First Lady, Jacqueline Kennedy, who was sitting next to her husband in the Presidential Limousine on that fatal day in Dallas when he was slain by a sniper.

Written by Noah Oppenheim (THE MAZE RUNNER, ALLEGIANT), the film concerns Mrs. Kennedy, beautifully portrayed by Natalie Portman, being interviewed by noted journalist Theodore H. White (Billy Crudup) for Life Magazine at the Kennedy’s family compound in Hyannis Port, Massachusetts shortly after the death of her husband in late ’63.

Through flashbacks we are taken through Jackie’s recollections of the aftermath of the assassination, and the making of her 1962 CBS television special A Tour of the White House with Mrs. John F. Kennedy (Mad Men fans may remember the episode in which several characters were watching this special).

The tone between the former First Lady and writer White is tense as she reminds him that she’ll be editing their conversation in case she doesn’t say exactly what she means, and she says curtly, right after taking a puff on her cigarette, that she doesn’t smoke.

Peter Sarsgaard puts in a solid turn as JFK’s brother Robert Kennedy, who despite being in a state of shock, does what he can to assist his sister-in-law with the funeral arrangements while newly sworn-in President Lyndon B. Johnson (John Carroll Lynch) prepares to move into the White House. Johnson’s staff includes future Motion Picture Association of America President Jack Valenti, played with assholish arrogance by Max Casella.

Former indie it girl Greta Gerwig is on helpful hand as Mrs. Kennedy’s Social Secretary, Richard E. Grant (WITHNAIL & I) plays abstract painter/Kennedy confidante William Walton, and JFK dead ringer Caspar Phillipson puts in brief appearances as the iconic Commander in Chief in flashbacks. But perhaps the best supporting role here is that of John Hurt as Father Richard McSorley, who Jackie confers with about her despair. Hurt is somehow comforting when he tells Mrs. Kennedy that there are no answers, and that every soul alive wonders whether this is all that there is. Not your typical “everything happens for a reason” b.s. for sure.

Portman’s Jackie may not be picture perfect, but she’s got the voice and mannerisms down and almost immediately I was buying her in the role. She obviously studied the White House tour film, and probably just about every recording of the legendary woman that she could find, but her performance comes off as a lot more than a studied impression. It’s a lived-in piece of fine acting that captures the emotional rollercoaster of mourning. 

The feelings of grief, confusion, anger, and loss of faith that Jackie wrestles with all swirl together in such moments as when Lady Bird Johnson (Beth Grant) suggests that Jackie should change out of her blood-covered pink Chanel suit and pillbox hat on the plane ride back from Dallas as there will be press and cameras ready for her when they land, and Mrs. Kennedy sternly remarks: “There were wanted posters everywhere for Jack - with Jack’s face on them. Let them see what they’ve done.”

When Kennedy’s alleged assassin, Lee Harvey Oswalt, is shot by Jack Ruby on live TV, RFK decides to shield Jackie from the news, but when she learns about it she still isn’t deterred from arranging the elaborate funeral procession in which she walked in black veil slowly behind her husband’s casket for eight-blocks through Washington D.C. to St. Matthews Cathedral.

While much of the film is speculation about Jackie’s state of mind, and, like with any dramatization of history there are bound to be inaccuracies, Larraín and Portman’s depiction of this elegant lady feels authentically faithful to its subject. I was unaware that the entire notion of JFK’s being likened to Camelot originated from Mrs. Kennedy’s interview with White.

Jackie recalls that her husband used to play side two of the Original Cast Recording of Camelot before turning in at night, and that he loved the lyric “Don’t let it be forgot, that once there was a spot, for one brief shining moment that was known as Camelot.”

So as the film movingly reveals, Jackie Kennedy herself polished the legend of JFK’s era that still shines today. Here, Portman channels that shine into a powerful and poignant performance that is absolutely second Oscar worthy (she had previously won for BLACK SWAN).

JACKIE, one of two historical dramas that director Larraín has made this year (the other being NERUDA about Nobel Prize-winning Chilean poet Pablo Neruda), may be an overly respectful and romanticized portrait (but not too romanticized that we don’t get a graphic assassination scene, gory head wound and all), but it feels profoundly righteous as it completely earns its gravitas. It’s a gripping experience to see one of our countries most beloved political figures being embodied by one of the most beloved actresses of our day in this haunting tale about finding grace in the face of tragedy.

This film also stirs up emotions about dealing with the difficult transition involving power changing hands next month. The Obama administration was as close to Kennedy’s Camelot as I fear we’re going get again in my lifetime. Such a movie as this is a must see in these scary times as it reminds us that America has gotten through dark times before and will again. This movie makes me want to believe that, despite the scariness of what’s on the rapidly approaching horizon, Camelot lives!

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THOR: THE DARK WORLD: A Marvel Mess Of A Sorry Super Hero Sequel

Now playing at multiplexes in all of the 9 realms:

THOR: THE DARK WORLD
(Dir. Alan Taylor, 2013)

One thing certainly hasn’t changed for me in this follow-up to both Kenneth Branaugh’s 2011 origin story, and Joss Whedon’s 2012 super hero ensemble smash THE AVENGERS:’s Thor, portrayed by Chris Hemsworth, remains my least favorite member of the Marvel Cinematic Universe.

However Hemsworth, who showed some decent chops in Ron Howard’s RUSH earlier this year, isn’t the one to blame. It’s the fault of screenwriters Christopher Yost, Christopher Markus and Stephen McFeely who fail to make the Norse God into much of a compelling character. They also don’t succeed in creating much excitement in their unwieldly plotline, which I struggled to follow through tons of nonsensical exposition and a bunch of boring set pieces.

This installment deals with Thor being forced to team up with Loki (Tom Hiddleston, reprising his villainous role from THOR and THE AVENGERS) in order to stop an ancient race of Dark Elves led by Malakith (Christoper Eccleston) from conquering the 9 realms, of which Earth is one. Threading through this is the threat of a floating red fluid life force called the Aether that infects Thor’s love interest, the returning Natalie Portman.

Also reprising their roles from the first one are Anthony Hopkins as Thor’s father, Idris Elba as Norse God Heimdall, Stellan Skarsgård as Dr. Erik Selvig, Rene Russo as Thor’s stepmother, and for comic relief there's Kat Dennings, taking a break from her trashy sitcom Two Broke Girls.

So there’s a likable cast caught up in all this mayhem, and fans of the formula will surely appreciate the surprise appearance from one of the other Avengers, the obligatory Stan Lee cameo, and the requisite after the credits stinger, (sadly Clark Gregg as Agent Coulson doesn't pop up as he’s busy with Agents of S.H.I.E.L.D. these days), but these elements just don't have their usual zing here.

No matter how high they try to make the stakes, what with the fate of the universe hanging in the balance, it never really seems like Thor or anybody or anything is in any danger. 

As you’ve probably seen in the trailers, Thor obliterates a ginormous rock monster into tiny boulder bits with just one swing of his mighty hammer and then casually tosses off a standard action hero one-liner: “Anyone else?” This got a big laugh at the screening I attended, but I groaned. The scene is intended for us to be impressed by the power of our protagonist, but for me it perfectly displays that the indestructible Thor is one smug douche. And people say Superman is boring.

Of course, we don’t trust Loki to begin with so none of the twists in their scenario have any impact, but there’s a little fun to be had with Hemsworth and Hiddleston’s bickering - a little. 

Unfortunately again there’s zero chemistry between Hemsworth and Portman, who acts like she’s an awkward lovesick character in a fluffy rom com, except when she’s in an alien space junk-induced trance in strained close-ups.

THOR INTO DARKNESS, sorry, THOR: THE DARK WORLD doesn’t even try to be bigger and better than the first one. It’s just another big ass CGI-saturated sequel outfitted in useless 3D – seriously, I can’t recall a single instance of the imagery being helped by the tediously trendy device.

The only real surprise for me was the odd bit of casting of Chris O’Dowd, the Irish comic actor who comedy fans know as Kristen Wiig's love interest in BRIDESMAIDS and Roy in the British sitcom The IT Crowd, as a guy who goes on a blind date with Portman early on in the movie before Thor returns to earth.

O’Dowd is only in two scenes: the date scene which gets interrupted by Dennings, and a later bit in which O’Dowd phones Portman for a second date, and his signal somehow helps her and Thor reconnect to another realm or something, I can’t remember exactly how.

O’Dowd is on the sidelines disconnected from all the chaotic events, with no character being straight with him, or caring that he has no idea what’s going on. In the mist of this Marvel mess, I so know how he felt.

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Upcoming Blockbuster Wannabes (With Trailers!)

I went to see THE GREAT GATSBY 3D, which wasn’t that great, last weekend and like usual when I go to the multiplex I get exhausted before the main attraction even starts because of the bombastic noisy trailers for upcoming blockbuster wannabes. 

At least the theater, the Raleigh Grande, didn’t pile too many on like some others do. The bombast started with SUPERMAN RESTARTS, sorry, MAN OF STEEL, the new Superman reboot starring Henry Cavill and directed by Zack Snyder (300, WATCHMEN, SUCKER PUNCH) coming out on June 14th.

The epic trailer looked incredibly promising, albeit Christopher Nolan-ized (Nolan executive-produced), and I like the idea of Russell Crowe as Superman’s biological father Jor El from Krypton, Kevin Costner as his Earth father, and especially Michael Shannon as General Zod. Here’s hoping that it at least strikes a more successful chord than Bryan Singer’s SUPERMAN RETURNS. Check out the trailer:

The following trailer, for THOR: INTO DARKNESS, sorry, THOR: THE DARK WORLD, due out November 8th, really suffered by comparison to the MAN OF STEEL one. 

Alan Taylor takes over on directing duties from Kenneth Branagh for the sequel to the 2011 Marvel Universe entry, in which Chris Hemsworth reprises his role as the Asgardian warrior for the third time (the second was in last year’s smash THE AVENGERS). Natalie Portman also returns in this CGI-saturated super hero flick that has Thor battling…uh, I’m not sure. Actually I couldn’t get a sense of the plot, except that Portman goes to Thor’s dimension or whatever you call it, from the roughly 2 minute trailer, which you can see below, but looks like there’s lots of action and stylized violence just like you’d expect. 

Lastly, one of the most anticipated movies of the summer, Marc Forster’s WORLD WAR Z, based on the book by Mel Brooks’ son Max Brooks, was advertised in a trailer also filled with quick cuts of thunderous action. Brad Pitt stars in the film (the trailer doesn’t make his occupation clear, but it's some kind of government job) that consists of swarming zombies (they move much much quicker than in The Walking Dead) overtaking the earth. The film has a budget of over $200 million and from the looks of this preview, it looks like it’s all up on the screen. Check it out the trailer for WORLD WAR Z, opening the week after MAN OF STEEL on June 21st in IMAX 3D and plain ole 2D:

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THOR: The Film Babble Blog Review

THOR (Dir. Kenneth Branaugh, 2011)

(Warning: This review may contain Spoilers!)

Summer doesn't officially begin until late June, but the summer movie season began last week with the opening of the franchise front-runner FAST FIVE. However the season doesn't really feel like it's underway until a big-ass superhero flick swoops in, so today we get us the latest addition to the Marvel Cinematic Universe: THOR.

Thor (Chris Hemsworth) is a cocky (and somewhat douchey) Norse God who lives in the splendiforic golden CGI-ed city of Asgard off in the heavens above, in another realm, or something.

Thor's father, the King of their realm, played with his patented gravely gravitas by Anthony Hopkins, is ready to let his son take the throne, but an attack by a gang of scaly skinned creepy creatures called Frost Giants throws that plan out of whack.

The Frost Giants steal the source of Asgard's power "the Casket of Ancient Winters." Defying their father, Thor and his brother (Tom Hiddleston) go after their frigid foes into their icy realm, along with their gung-ho troop of hearty warriors (Tadanobu Asano, Joshua Davis, Ray Stevenson, and Jaimie Alexander).

A busy and bombarding battle goes down, which doesn't please Hopkins so he banishes his son to Earth, and throws his hammer of power down there with him.

It then becomes a bit of a fish out of water story with Thor meeting up with a trio of scientific researchers in a desert in New Mexico where he crash lands - Natalie Portman (much more animated than in YOUR HIGHNESS), a befuddled Stellan Skarsgård, and the wise-cracking Kat Dennings - who take him in as they just happen to be up on Nordic mythology.

Thor's predicament is that he has to fight through a military instillation that has surrounded his mighty hammer in the desert since, like the Arthurian legend, it can not be removed by just anyone.

The film gets bogged down in noisy fight scenes and impenetrable exposition that I couldn't follow recognize the weight of, but since I don't know the comic from which this is based, that stuff may mean a lot more to the hardcore. I mean, I get that Thor must fight his brother Hiddleston, who turns out to be half Frost Giant I guess, and take on a giant destructive robot in order to restore the kingdom of Asgard and awaken his father from some deep sparkling golden slumber, I think.

It was hard to follow or care about this because Hemsworth has little charisma or believability in the role, and his being paired with Portman is forced and fairly chemistry-less.

Those elements don't completely cripple THOR, because on the surface it's a serviceable super hero movie with plenty of fast paced action that folks just wanting mindless thrills will likely go for.

It's also fun to see how the Marvel movies are building what my fellow local entertainment writer friend Zack Smith calls an "uber continuity" with Clark Gregg reprising his role as Agent Coulson from IRON MAN 1 & 2, a cameo by Jeremy Renner as Clint Barton/Hawkeye, and an after the end-credits scene, which I won't spoil, but will just say that it foreshadows events to come in THE AVENGERS, so stay until the very end.

I was very surprised to see that this was directed by Kenneth Branaugh because in retrospect except for some nuanced acting from a few members of the cast, there is precious little in this assembly line formula that could be reasonably attributed to him.

While I normally avoid 3-D, I didn't have a choice with the advance screening I saw of this. I didn't get a headache, but apart from a few scattered arresting visuals, the 3-D added very little.

THOR is bombastic and in your face enough without such enhancement, but I bet kids of all ages will eat it up in whatever format.

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YOUR HIGHNESS: The Film Babble Blog Review

YOUR HIGHNESS (Dir. David Gordon Green, 2011)

Sometimes really funny people make really unfunny films.

The comic pedigree of the folks involved in this medieval mess is strong – director David Gordon Green, actor/co-writer Danny McBride, and actor James Franco were all key players in one of my favorite comedies of the last 5 years: PINEAPPLE EXPRESS, but this comes nowhere near the laughter level of that manic marijuana-tinged movie.

It sure tries to, with scores of drug, sex, and bloody slaughter gags, yet none of them elicited even as much as a slight giggle out of me.

Here’s the plot anyway: McBride is an oafish prince who reluctantly joins his heroic brother (Franco) on a quest to rescue Franco’s fiancée (a dim witted Zooey Deschanel) from the clutches of an evil wizard (Justin Theroux).

Along the way they encounter Natalie Portman as a warrior princess, and they travel together taking on a five headed serpent monster, treacherous knights working for Theroux, and every profane expression known to be ever spoken by man.

On the surface YOUR HIGHNESS has everything necessary for a fantasy action comedy set during the Dark Ages – it’s got tons of sword play, silly sorcery by way of not-bad CGI, a horse-drawn chariot chase, severed limbs, gratuitous forest nymph nudity, and gorgeous locations in Northern Ireland.

Everything that is, except for legitimate laughs.

Reportedly much of the film was improvised, which makes sense because the dialogue is awful without any lines worth quoting.

McBride is simply doing his predictable slimeball schtick that he does on the HBO series East Bound And Down, and it wears thin really fast in this set-up.

All of McBride’s characteristics come off as clunky as the armor he wears.

Franco and Portman are both slumming it after their loftier turns in 127 HOURS and BLACK SWAN respectively, and it’s obvious they did this because they thought it would be fun, and I’m not doubting they had fun on set, but on screen they sadly look like they are wasting a lot of energy on extremely moronic material.

Deschanel seems detached from it all, maybe a result of certain substances that no doubt were passed around by the cast and crew.

As for the rest of the supporting players like Rasmus Hardiker, Toby Jones, and Charles Dance, I’ll let them off the hook – it’s bad enough for them to be in this film.

YOUR HIGHNESS is a crude cringe-inducing crap-fest devoid of wit and invention. I doubt even teenage stoners will laugh at it. I’m seriously surprised McBride, Franco, and Green think it would be funny, because they are capable of so much more comically.

“This quest sucks!” McBride complains at one point. I heartily agree.

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Hey Kids - Funtime Oscar Picks 2011!

It's that time of year again - the Oscars are Sunday so I've got to make my annual predictions. If you've followed this blog in previous years you'll know I'm no expert - I usually do okay with the major categories, but come up short in my picks for the smaller awards.

Still here's what I got:

1. BEST PICTURE: THE SOCIAL NETWORK

Yes, many are saying THE KING'S SPEECH will win this, having won many previous awards, and boasting the most nominations, but I am so feeling the Facebook film to go home with the gold. 2. BEST DIRECTOR: David Fincher for THE SOCIAL NETWORK. Yep, likewise. 3. BEST ACTOR: Colin Firth for THE KING'S SPEECH. I'd prefer James Franco for 127 HOURS but Firth seems like a shoe-in for his stammer-perfect part as George VI.

4. BEST ACTRESS: Natalie Portman for BLACK SWAN. Seeing the young Portman again recently at a revival screening of THE PROFESSIONAL (1994) reminded me how far she's come - I expect this to confirm that.

5. BEST SUPPORTING ACTOR:
Christian Bale for THE FIGHTER. None of the other actors nominated have that unhinged intensity that Bale brought to his role as a boxer gone to seed - or crack.

6. BEST SUPPORTING ACTRESS: Hailee Steinfeld for TRUE GRIT.

Seems about time for such a young actress to win this - also seems time because Steinfeld was so good holding her own up to Jeff Bridges, Matt Damon, and Josh Brolin in this instant Western classic.

And the rest:

7. ART DIRECTION: ALICE IN WONDERLAND

8. CINEMATOGRAPHY: Roger Deakins for TRUE GRIT

9. COSTUME DESIGN: ALICE IN WONDERLAND

10. DOCUMENTARY FEATURE: EXIT THROUGH THE GIFT SHOP. Go Banksy!

11. DOCUMENTARY SHORT: KILLING IN THE NAME

12. FILM EDITING: THE SOCIAL NETWORK

13. MAKEUP: THE WOLFMAN (Rick Baker, Dave Elsey)

14. VISUAL EFFECTS: INCEPTION

15. ORIGINAL SCORE: Alexander Desplat for THE KING'S SPEECH

16. ORIGINAL SONG: "If I Rise" (A. R. Rahman, Dido) from 127 HOURS

17. ANIMATED SHORT: THE GRUFFALO

18. LIVE ACTION SHORT: THE CONFESSION

19. SOUND EDITING: INCEPTION

20. SOUND MIXING: INCEPTION

21. ORIGINAL SCREENPLAY: THE KING'S SPEECH

22. ADAPTED SCREENPLAY: THE SOCIAL NETWORK

23. ANIMATED FEATURE FILM: TOY STORY 3

24. BEST FOREIGN FILM: INCEDIES

We'll see how many I get wrong on Sunday night. 

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BLACK SWAN: The Film Babble Blog Review

BLACK SWAN (Dir. Darren Aronofsky, 2010)




Last weekend the Carolina Theater in Durham as part of their "Retrofantasma" revival film series presented a double feature of what they dubbed "Prestigious Horror Movies": Brian De Palma's DRESSED TO KILL (1980) and Ed Bianchi's THE FAN (1981). 


 I predict that one day Darren Aronofsky's BLACK SWAN will be included under that banner - it's an extremely classy psycho sexual piece of prestigious horror if there ever was one. In his follow-up to THE WRESTLER, Aronofsky focuses on the vastly different world of ballet. He recently told an interviewer: "Wrestling some consider the lowest art - if they would even call it art - and ballet some people consider the highest art. 


But what was amazing to me was how similar the performers in both of these worlds are. They both make incredible use of their bodies to express themselves." As a dancer in the New York City Ballet Company, a stressed out Natalie Portman is told by her director (a sharply abrasive Vincent Cassell) that for his stripped down production of "Swan Lake" that she is perfect for the role of the White Swan - not so much for the part of the Black Swan.

Since it's a dual role for one dancer, this is a bit of a dilemma for the beleaguered ballerina. Cassell: "I knew the White Swan wouldn't be a problem. The real work will be your metamorphosis into her evil twin." 


 Portman sees a less skilled yet more passionate dancer, Mila Kunis, as competition, but Kunis appears aloof at the prospect and appears to be offering friendship and congratulations when Portman gets the duel lead. Meanwhile Cassell's former star (and former flame) Winona Ryder is on her way out of the company because of her age and clashes with Portman as she is being made her successor. 


 Back in their narrow NY apartment Portman's mother - a well cast Barbara Hershey - also a former ballerina, pushes her daughter to work harder to perfect her craft. Perfection is exactly what Portman craves, but little things like nightmarish hallucinations start getting in the way. Portman gets majorly freaked out by scratches and abrasions on her back which she can't explain and keeps seeing herself in the face of Kunis. 


There also seems to always be taunting laughter coming from the shadows or under the surface of the tormented terrain Portman is desperately trying to navigate through. To her mother's disapproval, Portman goes out for a night of drinks, drugs, and debauchery with Kunis. "Ah, ballerinas. No wonder you two look alike" says one of 2 guys at the club attempting to hit on them. It's an apt comment that Aronofsky runs with. 


Portman is constantly tortured by her own visage - obviously because she's becoming her own evil twin just as "Swan Lake" dictates and Kunis is the unknowing recipient of Portman's image. Except for a number of behind the back of the protagonist's head shots as she approaches a scene, BLACK SWAN bares little resemblance to THE WRESTLER especially as it embraces startling surreality. THE WRESTLER had gritty white trash grounding; "Black Swan" wants to soar in a higher class with a deliriously scary blend of art and life. 


 Although it has its share of horror or suspense movie clichés including mirror scares and fake-out dream sequences, BLACK SWAN is an incredibly immersive experience. Aronofsky thoroughly gets inside of Portman's emotional and professional obsession as the actress delivers a career best performance. Kunis puts in some of her finest work as well with a loose uninhibited demeanor that effectively balances with Portman's plague. It may disturb some audiences, but with its vigor and justified vanity BLACK SWAN is a towering achievement. 


It may not be the perfection that Portman desires, yet its ambition coupled with its sweeping visual style makes for one of the most intense and intriguing films of the year. Expect to hear about it over and over during the upcoming awards season.


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Oscar Postpartum 2009

I did considerably better this time with my Oscar picks than the several years. I got 18 out of 24. Instead of listing all the categories like last year (and of course because they are listed on my last post as well as everywhere else online), I decided to just look at the ones I got wrong:

BEST ACTOR: My pick: Mickey Rourke for THE WRESTLER. Who won: Sean Penn for MILK. I can’t say I was completely taken aback – I knew it was a tight race and I knew Penn had a slight edge. Still, I loved the underdog comeback story of both the movie and Rourke’s real life back story so I can’t say I’m not disappointed either. Penn did however acknowledge Rourke nicely in his acceptance speech: “Mickey Rourke rises again...and he is my brother.”

DOCUMENTARY SHORT: My pick: THE CONSCIENCE OF NHEM EN. What won: SMILE PINKE. I really was just shooting in the dark here - I haven’t seen any of the nominees so I was going by internet research. I feel like even if I had seen them I’d still be taking a wild guess.

SOUND MIXING: My pick: THE DARK KNIGHT. What won: SLUMDOG MILLIONAIRE. I should have known not to vote for the same movie in both sound editing and mixing. Sigh.

FOREIGN LANGUAGE FILM: My pick: VALS IM BASHIR (English title: WALTZ FOR BASHIR. What won: OKURIBITO (English title: DEPARTURES). This was because I heard more buzz for BASHIR and neglected to really look into the others. I’ll rectify that by checking them all out in the very near future.

As for the 81st Academy Awards broadcast itself I enjoyed host Hugh Jackman though I thought his song and dance numbers went on too long as did the show itself but that, of course, is a given. The “In Memorium” segment was poorly done (give everybody the big screen treatment next time!) and the one presenter presents multiple awards deal seemed to even throw Will Smith when he had to step up to the task: “Yes, they still have me up here... I think Hugh is napping.” My favorite bit of the show was presenter Ben Stiller in fake beard and sunglasses in an obvious parody of Joaquin Phoenix’s now infamous Letterman appearance of a few weeks back.

To his awkard antics (or non-antics) and his declaration: “I just want to retire from being the funny guy”, co-presenter Natalie Portman remarked: “You look like you work at a Hasidic meth lab.”

Ah, another Oscars over. Now back to the daily grind.

More later…

The Darjeeling Prequel - Now Playing On My iPod Nano

"She's kind of like a movie everyone rushes to see, and no one understands it sittin' in their seats."
- The Replacements ("Achin' To Be" from Don't Tell A Soul, 1989)

So as every online film geek knows that the official "prequel" to the highly anticipated Wes Anderson joint THE DARJEELING LIMITED (well, anticipated in my area - I know it's already opened in other markets) was made available free though iTunes last week. It was filmed a year in advance of THE DARJEELING LIMITED and titled HOTEL CHEVALIER (the end credits list it as "PART 1 OF THE DARJEELING LIMITED").

Since I just got an iPod Nano and am really new to the world of podcasts and video downloads I thought it would be a good tryout to download and watch this 13 min. short. I know - I could easily blow it up on my computer screen but having heard the criticism of this new gadget as a valid visual medium I decided to view and review HOTEL CHEVALIER based on my iPod experience. So here goes :

Immediately I realize how silly this venture is because it's presented in widescreen which makes the picture much smaller than the screen provides and there's no way to zoom or enlarge in any way. A mustached Jason Schwartzman lounges in a Parisian hotel room ordering grilled cheese sandwiches and watching STALAG 17 on TV (I could barely see it on the iPod screen - thanks for the nerdspotting The Playlist!) until Natalie Portman calls up and wants to visit. She shows up shorthaired (I guess it still hasn't grown back from V FOR VENDETTA) and clingy. They exchange cryptic dialogue - Portman : "are you running away from me?" Schwartzman : "I thought I already did" and have a brief sex scene that is really not done justice on my iPod's postage stamp viewpoint.

This short film seems to completely be about the song "Where Do You Go To (My Lovely)" by Peter Sarstedt - the bulk of which is played twice. The lack of back story and any further insight into either Schwartzman or Portman's characters left me hanging and unsatisfied. Even though on my little screen it looked great - the colors and framing all held my attention and I loved the song but sadly the stylistic approach is the whole show - no real insight or memorable moments appear. The last tracking shot of the couple in question walking in slow motion is a Anderson trademark and it's provided in this short as the payoff which uh...well, let's just say it doesn't bode well for THE DARLEELING LIMITED. Despite that the full length follow-up PART 2 already getting pretty scathing reviews so far I'm gonna wait and see for myself how disappointing it will be - snap! Nah, nah...we'll just wait and see.

More later...