Movie Review Film Stars Don't Die in Liverpool

Film Stars Don't Die in Liverpool (2017) 

Directed by Paul McGuigan

Written by Matt Greenhalgh

Starring Annette Bening, Jamie Bell, Vanessa Redgrave, Julie Walters, Stephen Graham

Release Date November 16th, 2017

I fell in love with Gloria Grahame, as so many movie fans did, in her pitch perfect performance in In a Lonely Place, one of my all-time favorite films. Grahame plays one of those self-possessed, take-no-crap dames that always seemed to play opposite Bogart. He loved strong women, breaking down their defenses was what made him a screen icon, and them the envy of women everywhere. Grahame stood out, however, as she allowed herself just a little more vulnerability than the others, a note of extra sadness to go with the sass.

Gloria Grahame was rushed out of Hollywood before we truly got to know her. Her crime? Growing older and refusing to play along with Hollywood executives eager to capitalize on her beauty without respecting her talent. Screenwriter Frank Cottrell Boyce recalled in a piece he wrote about the movie Film Stars Don’t Die in Liverpool, how Grahame lost the iconic role of a gangster’s moll turned lady in Born Yesterday when she refused to ride alone in a limo with producer Howard Hughes. That’s Gloria Grahame in a nutshell, beautiful and uncompromising.

Annette Bening stars as Gloria Grahame in Film Stars Don’t Die in Liverpool and she nails the beautiful and uncompromising parts of Gloria Grahame while also exploring that vulnerability and sadness that marked the Grahame I remember from In a Lonely Place. Jamie Bell co-stars in the film as Peter Turner, an aspiring Liverpool stage actor who lived in the same rundown tenement building as Grahame while she starred in one of the few stage productions in the world that would have her.

The two met and forged a relationship that might seem icky from the outside, a May-December romance that one might assume was about an older woman’s desire and a young man’s egotistical notion of ladder climbing. That’s not this story. That’s not this couple. In the hands of director Paul McGuigan and writer Matt Greenhalgh, there appears to be little age difference at all, but rather a meeting of twin spirits, genuinely excited to find one another.

Find my full length review in the Geeks Community on Vocal. 

Movie Review Letters to Juliet

Letters to Juliet (2010) 

Directed by Gary Winick 

Written by Jose Rivera, Tim Sullivan 

Starring Amanda Seyfried, Christopher Egan, Gael Garcia Bernal, Vanessa Redgrave

Release Date May 14th, 2010

Published May 15th, 2010

“Letters to Juliet” could be a very good movie. The premise is engaging and unique and the star, Amanda Seyfried, is so cute that I suspect kittens want to hold her. Sadly, as directed by Gary Winick, “Letters to Juliet” is a wit free wannabe weepy that adheres so closely to formula that one wonders if Winick was threatened with execution if he attempted any innovation.

”Letters to Juliet” stars Amanda Seyfried as Sophie, an American girl traveling to Verona Italy with her restaurateur fiancée (Gael Garcia Bernal) for a little romance and a lot of his business. While the fiancée runs off to collect high end wines and learn new recipes, Sophie heads for the tourist traps beginning with the legendary home of Juliet Capulet.

Shakespeare's “Romeo and Juliet” was set in Verona and the townspeople with a good eye for tourist capturing, have an ancient house with just the right kind of balcony to stand in for Juliet's home. Year after year heartbroken women leave their romantic wishes on the wall.

Over time another group of women have voluntarily gathered the letters to Juliet and set about answering them. Sophie witnesses the gathering of the letters and meets Juliet's secretaries. A writer herself, Sophie accepts an invitation to answer some letters while the fiancée continues his business.

While collecting the letters to Juliet, Sophie finds one that had not been found in nearly 50 years. The letter is from a 15 year old girl named Claire who met the man of her dreams in Verona but has succumbed to family pressures to leave him and return to England. She wants to know if she did the right thing or whether she should return to Italy. 

Sophie writes back and her romantic notions inspire the now 65 year old Claire (Vanessa Redgrave) to return and find out what happened to her lover Lorenzo Bartolini (Franco Nero). Along for the ride, tsk tsk-ing all the way, is Claire's grandson Charlie (Christopher Egan) who opposes the trip and holds special enmity for Sophie for inspiring the journey.

Naturally, Sophie offers to join the search for Lorenzo and thus begins a romantic journey across Italy. Or at least, that was the idea.

”Letters to Juliet” sadly is so forced and predictable that it becomes impossible to enjoy even the minor pleasures it has. Amanda Seyfried is an actress who is easy to enjoy. She has a great smile and most notably those great big eyes. It’s hard not to  root for her in a romantic situation and yet “Letters to Juliet” somehow fails to capture that. 

Director Gary Winick adheres to such a dull formula that even the most forgiving audience will have a hard time not deconstructing what doesn't work about it. Worst of the lot is poor Gael Garcia Bernal as the straw man fiancée. Placed as a roadblock to Sophie being with Charlie, Bernal's character is never formidable and instead exists to be awful and irritating enough that we don't mind seeing him cuckolded.

Spoiler alert, Sophie and Charlie are made for each other. They hate each other at first sight. They are forced together on a road trip. They have important things in common. Not for one moment is there an inkling of tension over whether Sophie and Charlie will be together and thus the movie meanders pointlessly toward its predicted conclusion. 

The same lack of tension, drama or humor exists in Claire's search for Lorenzo. The same scene repeats several times as Claire meets a man named Lorenzo, quickly figures out that this colorful weirdo is not her Lorenzo and back in the car we go. We know from the trailer that she finds him and since the film is about Sophie and Charlie, the romantic reunion and its aftermath are an afterthought. 

It's hard to hate a movie set in Italy. The wonderful landscapes and colorful people make for fantastic movie scenery. Oftentimes in “Letters to Juliet” you will notice that Cinematographer Marco Pontecorvo gets as lost as we do in the scenery, letting his stars slip into the background as he loses himself in the glories of the setting.

Pontecorvo's occasional distraction makes for some fun, unintentional comedy, but that is really the lone pleasure one can take from “Letters to Juliet.”

Yes, I realize punishing a romantic comedy for being predictable is like punishing a horror film for too much killing but Letters to Juliet really is lazier than most other romances in the ways it adheres to formula. Add that to the assets that the film wastes, including Seyfried's cuteness and Vanessa Redgrave's grace, and the whole thing becomes worse than just being lazy and formulaic.

Movie Review: Evening

Evening (2007) 

Directed by Lajos Koltai

Written by Susan Minot, Michael Cunningham 

Starring Toni Collette, Claire Danes, Meryl Streep, Vanessa Redgrave, Patrick Wilson, Hugh Dancy, Mamie Gummer, Glenn Close 

Release Date June 29th, 2007

Published June 30th, 2007

Some films just look like Oscar movies. They carry a certain weight of subject matter and location that gives the film the pretense of quality. That pretense accompanies the movie Evening which features an all star cast, including Claire Danes, Vanessa Redgrave, Meryl Streep and Toni Collette, a gorgeous seaside location that films like a travelogue, and the subject of life, death and regret, the ingredients of a deep dramatic story.

With all of that quality in place all that is needed is a story to tie it together. Sadly, a good story is exactly what is missing from Evening. What is in place of a good story is a melodrama ranking somewhere between Lifetime movie and WB network teen drama.

Lying in her deathbed, Ann (Vanessa Redgrave) is flashing in and out of conscousness and flashing back to the night that changed her life forever. Fifty years earlier Ann (Claire Danes) was a bright eyed bohemian with dreams of becoming a famous singer. For now she is visiting the Newport home of her best friend Lila (Mamie Gummer) who is about to be married.

Whether Lila really wants to marry Carl (Timothy Kiefer) is in question, but she will marry him. This will happen despite the drunken protest of her brother Buddy (Hugh Dancy) who implores Ann to try and stop his sister from marrying without love. Buddy himself is holding on to a love that can never be, a confused attraction to both Ann and a handsome man from his and Lila's past named Harris (Patrick Wilson).

Harris arrives at the wedding as the guest everyone is watching. Lila and he had a brief flirtation when she was just a girl and then there are Buddy's complicated feelings. Things get even murkier when Harris falls for Ann and the two spend a torrid night together that ends in tragedy when one of the other main characters suffers a major injury.

In the modern story, Toni Collette and Natasha Richardson play Ann's daughters. As they hover at their mother's bedside they represent the dual tracks of Ann's life. Collette's Nina is a boho chick with a rocker boyfriend and an ambivalence about marriage and commitment. Richardson's Connie is a typical soccer mom with the minivan and the 2.3 kids. Both are the lives that Ann lived and regretted in her time.

Director Lajos Koltai spent years as a Cinematographer on such well photographed films as Being Julia, The Emporer's Club and Sunshine and he brings that same painterly eye to the look of Evening. How unfortunate that he didn't bring the same attention to detail to the films confused plot and confusing characters.

Evening has the air, the pretension of a prestige picture. It has an all star cast and a well appointed location. It has a grand, sweeping timeline and the hint of depth given to any movie that deals so directly with death. This depth however, is never earned by the story but expected by it. We are just supposed to assume because the pieces are in place for great drama, that great drama is unfolding before us. That is simply not the case.

What unfolds before us is the kind of movie the Lifetime network might make if they had the budget for this kind of starpower. It's a film that is not without its charm and even a few moments of honest drama, most courtesy of the wonderful Toni Collette who overcomes an underwritten character and delivers the only moments close to true drama.

The rest of the film is a confusing melange of mixed motivations, confusing character twists and even more confused timelines. Then there is poor Vanessa Redgrave whose unassailable dignity is put to the test as she is subjected to a number of humiliating fever dream fantasies. These scenes are so embarrassing that you stop feeling for the character and start feeling for poor Ms. Redgrave as she shuffles about in her nightgown.

It's interesting to note that Mamie Gummer who plays the young Lila is the daughter of Meryl Streep who plays the older Lila in cameo late in the film. Similarly, Natasha Richardson plays one of Vanessa Redgrave's daughters in the film and of course happens to be Ms. Redgrave's real life daughter. I mention these tidbits because there is so little else of interest here.

The biggest obstacle to this film working, aside from the first time director with the mixed up script, is the wooden, sullen performance of Patrick Wilson as Harris. After a near Oscar level performance as Kate Winslet's eye candy in Little Children, Wilson returns to the form that made him a hammy punchline in Phantom of the Opera.

His Harris is supposed to be the man who inspires to different women's fantasies for the rest of their lives. However, I can't imagine any woman remembering this Harris long after he's walked out of a room, let alone for their rest of their life. Stuffy, stuck up and just a tad bit creepy, Harris couldn't inspire bad poetry, forget inspiring a lifetime of fantasy and regret.

Then there is Hugh Dancy as Buddy who goes the opposite way from Patrick Wilson. Buddy is the typical movie drunk always ready to make everyone uncomfortable with a few fumbling words or a tumble in the middle of the room. His love for both Harris and Ann is played as a side effect of his drunken stupor and does nothing to make him sympathetic, rather just simply pathetic.

Meanwhile Claire Danes, Mamie Gummer, Toni Collette and Natasha Richardson deliver performances that in a better movie would radiate great warmth, humor and charm. Each of these lovely actresses aquit themselves as well as they possibly can within the messy narrative of Evening with only Collette emerging as the punky younger, or was she older? One of the many miscues of the movie, I couldn't figure out if she was the younger or older sister of Ann's two daughters. Scenes point to two different conclusions.

Nevertheless, Collette's punky, spirited, sad performance is the one consistent source of honest drama in Evening.

The payoff of Evening is a scene that puts two of our greatest actresses together for one scene. As Vanessa Redgrave's Ann lay dying, in walks Meryl Streep as her former best friend Lila. The film has been building to this scene, the director has kept Streep offscreen to this moment so we could have this scene.

As we wait and watch as Lila arrives to relieve her friend of so many of the burdens she has been dreaming of throughout her convalescence we find that nothing really gets resolved. The scene devolves into a mutual fantasy of Harris, the man who could not inspire a bird to fly if he threw it off a cliff. Then the film simply ends. Ending with the abruptness of sudden death.

I'm not giving anything away here, the point of the film is a frank discussion of dying. There was not going to be any last minute reprieve for Ann who is old and frail and ready to die. However, we really aren't ready for her to go. We long for a little resolution, a mention of what the film was really about. Certainly we did not just waste two hours of our life watching this woman remember a wet blanket like Harris?

There must have been something richer and deeper than that. Sadly there isn't and that is the disaster of Evening.

Movie Review: Atonement

Atonement (2007) 

Directed by Joe Wright 

Written by Christopher Hampton 

Starring Keira Knightley, James McAvoy, Saorise Ronan, Romala Garai, Vanessa Redgrave

Release Date December 7th, 2007 

Published December 25th, 2007 

Everything about the toney new feature film Atonement screams LOVE ME to the film lover. It has that classy British setting, those classy English accents, and it arrives with more fawning praise than Mike Huckabee on a Fox News show. Critics absolutely adore Atonement with more than 86% positive notices on Rotten Tomatoes, the ultimate tracker of critical opinion. And yet, I'm unconvinced. Everything tells me I should love this picture and yet I don't. I watched it and I was unmoved. Atonement is remote, emotionally distant, and disconnected.

Atonement features highly self involved characters acting in their own self interest with little to no reason for us to care for them. It begins when one character, young Briony (played as a youngster by Saorise Ronan and later by Romala Garai and still later by Dame Vanessa Redgrave), mistakes a bit of unusual flirting between her sister Cecilia and the family gardener Robbie as some sort of violent encounter. Later, when Briony interrupts a private tryst between the two her suspicions become dangerous. Another incident, this one involving a female cousin, offers her just the opportunity to compound her misunderstandings into a criminal matter that finds Robbie off to prison accused of assault.

Avoiding a jail sentence by leaping into the war effort in France, Robbie and Cecilia remain in love as he fights to clear his name and survive having been left for dead on the French countryside. Meanwhile, Briony has grown up and come to understand her misunderstanding and all of the pain she caused. She attempts to ATONE, ho ho, for her sins by leaving the life of privilege's to follow Robbie and Cecilia into the war effort, Cecilia is an army nurse having shunned family and privilege's for the love of Robbie and a shabby flat in the city.

It's quite a story and writer director Joe Wright is quite a storyteller. The problems come too often from how the story is told. Multiple flashbacks taken from different characters points of view are meant to illustrate the many misunderstandings going on. However, as filmed these elements feel like the filmmakers way of fucking with the audience. Twists and turns basically jerk you around until finally you just don't care anymore, or at least I didn't care anymore. I can definitely see where some might not be as ticked off by the many plot machinations of Atonement, but I was irritated.

I was also irritated by these self involved characters. Whether lounging in the idyll of British upper class malaise or suffering in silence during the war these characters are so astonishingly self involved that one can't help but be turned off by them. First you have Briony who even after growing up and understanding her own foolishness. Even after willingly giving up everything to atone for her sins, she remains amazingly self involved. She doesn't give up everything to make it up to her sister and Robbie, it's all about relieving her own guilt. And she is the emotional center of the film!

As for McAvoy and Knightley, they craft a shabbily threadbare romantic pair. These two are also all about themselves with little care for each other or those around them. It's all about their sadness and their suffering. Even as war and death mount about them they show care only for their immediate self interest. How am I supposed to care about them when they care about themselves enough for all the rest of us. The supporting characters only make things worse, especially the young cousin played by Juno Temple and a sleezy family friend played by Paul Marshall.

What is truly unfortunate is that irritation was the only feeling I had throughout Atonement. For as opulent, lush and beautiful as Atonement is, it's also remote and emotionally distant. The characters emotions are mostly interior and self referential and we are outside with little ability to identify or care about these people. Given all of the big emotions in play, love, betrayal, heartache, desperation and hope, we should be invested here. But we are not.

Atonement is far from being a bad film. Joe Wright's skill as a director is well demonstrated with the gorgeous, sweeping cinematography and grand settings and costumes, Atonement  is one of the finest looking, well crafted pictures in this decade. It's the emotion and the style of storytelling that I fail to connect with.

In the end, if you are going to watch the Oscars in February you will want to have watched Atonement. Given that my detachment from the film was far from the consensus I am convinced the film will be a major contender. I however, will not be rooting for the film. I will observe any nominations with the same distant appreciation these characters seem to have for each and inspired within me as I watched their stories play out.