By: Matt Duncan
Coastal View News
Both mysterious and tragic, Benjamin Button was born old and died
young. "The Curious Case of Benjamin Button," starring Brad Pitt and
Cate Blanchett, apes the dancing historical plot of "Forrest Gump" but
lacks nearly all of Gump's heart, sympathy and profundity. Star power
could not rescue this mundane three-hour marathon, making Pitt's
caked-on makeup the most interesting aspect of the film.
The unfortunate Benjamin Button (Brad Pitt) was born in New Orleans
amidst cries of victory after the close of World War I. Like a normal
baby, Button possessed a meager stature and fragile frame. However,
the weakness shrouding Button's body was not the softness of youth but
instead was the worn muscles and calcified bones of old age. Instead
of smooth, delicate skin, Button's baby face looked more like an old
catcher's mitt.
With his mother dead and his father unwilling to raise him, Button is
appropriately abandoned on the doorstep of an old folks' home. The
owner, Mrs. Baker (Faune Chambers), and the aging residents of the
home take to the abnormal child as if he were one of their own.
Although the residents do not realize Button is younger than most of
their grandchildren, those who come into contact with him cannot help
but recognize that something is different. Instead of growing older
with time, Button ages in reverse. Instead of taking his first steps
away from a crib or stroller, he walks away from a wheelchair. Instead
of training wheels, Button uses canes to steady himself.
With the body of an old man but the curiosity of a young boy, Button
sets out to see the world. He finds his way aboard a tug boat, and
lets the currents take him where they may. He goes to Russia and
England, and even plays a role in World War II. Along the way he meets
strange women and has new experiences. He takes his first drink when
he looks to be 70 and is with a woman for the first time only shortly
thereafter.
Amidst these salty adventures, Button longs for Daisy (Cate
Blanchett), a girl he knew and loved while growing up in New Orleans.
Button knows Daisy as a young girl and Daisy knows Button as an old
man, yet the pair keeps in touch while they each chart their own
paths. Eventually Button and Daisy find their way back to each other
and fall in love. For several years (but merely ten or so minutes of
the film), Button and Daisy embark upon their adventures together with
rigorous passion, seemingly unaware of the implications of time.
Both Button and Daisy age, move inevitably through time, but in
opposite directions. While Daisy deals with wrinkles and joint pain,
Button gets stronger, sharper, but further away from the woman he
loves. When the time-accosted lovers learn they are to have a child,
Button must decide to stay or leave. Although Button and Daisy meet in
the middle for a few beautiful years, Benjamin Button ages just like
any other person. The true tragedy is not the in inevitability of
change, but in the peculiar current that continually pushes Button
further and further away from those he loves.
"The Curious Case of Benjamin Button" is intriguing at first, but
whatever scaffolding is meant to buttress the audience's curiosity is
none too interesting. Just like Forrest Gump, Benjamin Button is an
out-of-place Southerner who experiences only brief and often painful
encounters with the woman he loves while he is simultaneously
embarking on great historical adventures. But Gump is loving, kind,
loyal—unknowingly remarkable. Gump fits seamlessly into history and
the audience gets it. Button, on the other hand, is flat and static.
His character does not change—neither matures nor becomes more
immature—and the most vivacity we see from him is while he rides a
motorcycle. Instead of showing the passage of time through the
characters' relationship to historical events, "The Curious Case of
Benjamin Button" pointlessly augments its scope with a slapdash
assortment of events that go nowhere and have no significance to the
story.
This film has interest built in, and some may argue that Button's
humanity is realistic and thus a virtue of the film. However, it seems
to me that "The Curious Case of Benjamin Button" is remarkably
unremarkable.
"The Curious Case of Benjamin Button" is rated PG-13 for brief war
violence, sexual content, language and smoking.
Saturday, January 10, 2009
"Milk"
By: Matt Duncan
Coastal View News
“My name is Harvey Milk, and I am here to recruit you.” At a time when passionate disagreement over ideology continues to rend many parts of the country, “Milk” is a stirring, thought-provoking and worthy film.
“Milk” is the story of Harvey Milk, the first openly homosexual man to be elected to major office in America. When this story begins, Milk is a simple and private man looking for the same kind of happiness enjoyed by many Americans. Milk runs away to San Francisco with his lover (James Franco) in order to live a simple, fulfilling life. However, when Milk and Smith decide to open up a camera supply store they are confronted with the harsh reality of prejudice. In response to the lack of acceptance experienced by those wishing to put Milk and Smith out of business, Milk decides to fight back.
The once reserved businessman organizes the gay population of San Francisco to form a powerful network of mutual support, ironically leading to financial demise of those who once promised to deliver a similar fate to Milk. With the homosexual community behind him, Milk gradually becomes more active and outspoken about the injustices experienced by the gay community.
Much to the chagrin of the pacifistic Smith, Milk decides to run for local supervisor. After several defeats and methodological refinements, Milk is finally elected to office. Yet, for Milk, winning is not what is most important. What is most important is getting the word out, making an impression, and raising questions and doubts in the minds of others. Milk discovers that it was not he who was running for office; it was a cause that was really on the ballot.
Once in office, Milk continues to fight for the equal treatment for homosexuals. Milk faces fierce prejudice in addition to the normal political wrenching, the latter facilitated by fellow supervisor Dan White (Josh Brolin). Milk makes gay rights a national issue by combating the likes of Anita Bryant and Senator John Briggs, who are both campaigning to repeal laws that make it illegal to discriminate in matters of business and education on the basis of sexual orientation. Bryant and Briggs cite the law of God as reason to root out and eliminate homosexuality in America. Just as two massive currents pour inevitably onward toward each other, Briggs and Milk face off in an iconic battle over what it means to say “all men are created equal.”
As with many stories, the story of Harvey Milk is not so much about the beginning and the end as it is about the in-between. Milk, once a shy and guarded businessman, became the voice of a passionate movement for equality. Milk, looking for peace, love and happiness, was struck down in his prime. These are the givens of the story—the aspects known to the audience from the outset. What is not necessarily known, and what really matters, is the humanity behind the movement. Milk may have been running on an issue, but it is Milk the man who brings the issue to the hearts and minds of the nation. For better or worse, “Milk” blurs the line between a person and an ideology.
Sean Penn is positively dazzling in this film—he is the undeniable highlight. No other actor or actress lags too far behind, but Penn’s performance will bring tears to your eyes just as much as it will bring ideas to your mind. Writer Dustin Lance Black and director Gus van Sant do a fine job developing what it means to be normal and accepted by comparing Milk’s private life with his public life; his desire for peace with his desire for change. The supposed tragic flaw of the hero in this tale is precisely what makes him happy and gives him hope. Milk chooses to hope and fight rather than be told who to be.
This movie is touching, funny, and raises issues worth grappling with. The score and cadence of plot progression contribute keep the viewer involved and interested. “Milk” reminds us that there are real people behind even the most polarizing of issues, and although wise people differ ideologically, the wisest find a way to love and respect each other.
“Milk” is rated R for language, some sexual content and brief violence.
--Originally Printing in Coastal View News--
Coastal View News
“My name is Harvey Milk, and I am here to recruit you.” At a time when passionate disagreement over ideology continues to rend many parts of the country, “Milk” is a stirring, thought-provoking and worthy film.
“Milk” is the story of Harvey Milk, the first openly homosexual man to be elected to major office in America. When this story begins, Milk is a simple and private man looking for the same kind of happiness enjoyed by many Americans. Milk runs away to San Francisco with his lover (James Franco) in order to live a simple, fulfilling life. However, when Milk and Smith decide to open up a camera supply store they are confronted with the harsh reality of prejudice. In response to the lack of acceptance experienced by those wishing to put Milk and Smith out of business, Milk decides to fight back.
The once reserved businessman organizes the gay population of San Francisco to form a powerful network of mutual support, ironically leading to financial demise of those who once promised to deliver a similar fate to Milk. With the homosexual community behind him, Milk gradually becomes more active and outspoken about the injustices experienced by the gay community.
Much to the chagrin of the pacifistic Smith, Milk decides to run for local supervisor. After several defeats and methodological refinements, Milk is finally elected to office. Yet, for Milk, winning is not what is most important. What is most important is getting the word out, making an impression, and raising questions and doubts in the minds of others. Milk discovers that it was not he who was running for office; it was a cause that was really on the ballot.
Once in office, Milk continues to fight for the equal treatment for homosexuals. Milk faces fierce prejudice in addition to the normal political wrenching, the latter facilitated by fellow supervisor Dan White (Josh Brolin). Milk makes gay rights a national issue by combating the likes of Anita Bryant and Senator John Briggs, who are both campaigning to repeal laws that make it illegal to discriminate in matters of business and education on the basis of sexual orientation. Bryant and Briggs cite the law of God as reason to root out and eliminate homosexuality in America. Just as two massive currents pour inevitably onward toward each other, Briggs and Milk face off in an iconic battle over what it means to say “all men are created equal.”
As with many stories, the story of Harvey Milk is not so much about the beginning and the end as it is about the in-between. Milk, once a shy and guarded businessman, became the voice of a passionate movement for equality. Milk, looking for peace, love and happiness, was struck down in his prime. These are the givens of the story—the aspects known to the audience from the outset. What is not necessarily known, and what really matters, is the humanity behind the movement. Milk may have been running on an issue, but it is Milk the man who brings the issue to the hearts and minds of the nation. For better or worse, “Milk” blurs the line between a person and an ideology.
Sean Penn is positively dazzling in this film—he is the undeniable highlight. No other actor or actress lags too far behind, but Penn’s performance will bring tears to your eyes just as much as it will bring ideas to your mind. Writer Dustin Lance Black and director Gus van Sant do a fine job developing what it means to be normal and accepted by comparing Milk’s private life with his public life; his desire for peace with his desire for change. The supposed tragic flaw of the hero in this tale is precisely what makes him happy and gives him hope. Milk chooses to hope and fight rather than be told who to be.
This movie is touching, funny, and raises issues worth grappling with. The score and cadence of plot progression contribute keep the viewer involved and interested. “Milk” reminds us that there are real people behind even the most polarizing of issues, and although wise people differ ideologically, the wisest find a way to love and respect each other.
“Milk” is rated R for language, some sexual content and brief violence.
--Originally Printing in Coastal View News--
"Quantum of Solace"
By: Matt Duncan
Coastal View News
Innumerable vanquished villains, countless wild and romantic love affairs, decades of swanky cinema and just one man behind it all: James Bond. Bond has gotten tougher, meaner and still cleverer in the past few years, with the help of the new blonde Bond, Daniel Craig. With Craig came more substance and a reason to suspend disbelief. “Quantum of Solace” cashes in some of the substance but none of the style accrued in “Casino Royale” for more guns, explosions, sweat and blood. “Quantum of Solace” is plenty entertaining, but well shy of inspiring.
In “Quantum of Solace” the once imperturbable James Bond (Daniel Craig) is fighting not only for God, queen and country, but also for revenge. Still beleaguered by questions and regrets after having lost Vesper Lynd (Eva Green)—the one woman for whom Bond was willing to sacrifice everything—the only stable aspect of Bond’s return to MI6 is his ruthless ability. Bond has a duty to follow orders, but a desire to avenge his loss. On the one hand is a covert organization called “Quantum” implicated in the plot that resulted in the death of Lynd. On the other hand is Dominic Greene (Mathieu Amalric), a very wealthy, very shrewd and very well-connected environmentalist businessman.
When Bond travels to Haiti to investigate Quantum, he runs across the scheming and nefarious Greene. Bond discovers that Greene is attempting to grab economic power in South America by toppling the current government and replacing it with the corrupt General Madrano (Joaquin Cosio). The only thing Greene appears to be seeking in return is the deed to an arid, useless portion of South American desert. Of course, unbeknownst to the general, the land is rich with valuable oil and water. Bond smells a rat and ignores M’s (Judi Dench) insistence that he stay on task. While investigating Greene, Bond is drawn into a relationship with Camille (Olga Kurylenko), who is attempting to exact her own revenge against general Medrano (Joaquin Cosio) for killing her family in cold blood.
The plot thickens as more is discovered about Greene’s intentions, and as the American government is drawn into a business relationship with Greene. Bond, who always plays by his own rules, becomes increasingly unpopular as he dodges bullets from eco-terrorists, corrupt Americans, and the fed-up MI6 leadership. The seemingly disparate plots begin to tangle and cohere, and Bond is left to sort it all out.
“Quantum of Solace” begins and ends with reference to “Casino Royale,” and in the meantime fails to create its own, powerful narrative. All films in a series connect in various ways to prequels and sequels, but all good films in a series also tell their own unique portion of the tale in a coherent manner. Unfortunately the story behind “Quantum of Solace” is somehow lost in the shuffle. It is up for debate whether the true currency of James Bond films is plot or action, brains or brawn. “Casino Royale” revived the series with an exceptionally brawny Daniel Craig, but perhaps even more importantly, with a clever script. In “Quantum of Solace” Craig is brawnier than ever, but at the expense of the intellectual intrigue that caught the eye of many viewers when Craig first came on. The result is a very exciting and entertaining film that lacks substance. Given the outrageously bad Bond films of the past two decades, it may be fair to note that beggars can’t be choosers. “Quantum of Solace” is still one of the better Bond films in recent decades.
“Quantum of Solace” is rated PG-13 for intense sequences of violence and action, and some sexual content.
Coastal View News
Innumerable vanquished villains, countless wild and romantic love affairs, decades of swanky cinema and just one man behind it all: James Bond. Bond has gotten tougher, meaner and still cleverer in the past few years, with the help of the new blonde Bond, Daniel Craig. With Craig came more substance and a reason to suspend disbelief. “Quantum of Solace” cashes in some of the substance but none of the style accrued in “Casino Royale” for more guns, explosions, sweat and blood. “Quantum of Solace” is plenty entertaining, but well shy of inspiring.
In “Quantum of Solace” the once imperturbable James Bond (Daniel Craig) is fighting not only for God, queen and country, but also for revenge. Still beleaguered by questions and regrets after having lost Vesper Lynd (Eva Green)—the one woman for whom Bond was willing to sacrifice everything—the only stable aspect of Bond’s return to MI6 is his ruthless ability. Bond has a duty to follow orders, but a desire to avenge his loss. On the one hand is a covert organization called “Quantum” implicated in the plot that resulted in the death of Lynd. On the other hand is Dominic Greene (Mathieu Amalric), a very wealthy, very shrewd and very well-connected environmentalist businessman.
When Bond travels to Haiti to investigate Quantum, he runs across the scheming and nefarious Greene. Bond discovers that Greene is attempting to grab economic power in South America by toppling the current government and replacing it with the corrupt General Madrano (Joaquin Cosio). The only thing Greene appears to be seeking in return is the deed to an arid, useless portion of South American desert. Of course, unbeknownst to the general, the land is rich with valuable oil and water. Bond smells a rat and ignores M’s (Judi Dench) insistence that he stay on task. While investigating Greene, Bond is drawn into a relationship with Camille (Olga Kurylenko), who is attempting to exact her own revenge against general Medrano (Joaquin Cosio) for killing her family in cold blood.
The plot thickens as more is discovered about Greene’s intentions, and as the American government is drawn into a business relationship with Greene. Bond, who always plays by his own rules, becomes increasingly unpopular as he dodges bullets from eco-terrorists, corrupt Americans, and the fed-up MI6 leadership. The seemingly disparate plots begin to tangle and cohere, and Bond is left to sort it all out.
“Quantum of Solace” begins and ends with reference to “Casino Royale,” and in the meantime fails to create its own, powerful narrative. All films in a series connect in various ways to prequels and sequels, but all good films in a series also tell their own unique portion of the tale in a coherent manner. Unfortunately the story behind “Quantum of Solace” is somehow lost in the shuffle. It is up for debate whether the true currency of James Bond films is plot or action, brains or brawn. “Casino Royale” revived the series with an exceptionally brawny Daniel Craig, but perhaps even more importantly, with a clever script. In “Quantum of Solace” Craig is brawnier than ever, but at the expense of the intellectual intrigue that caught the eye of many viewers when Craig first came on. The result is a very exciting and entertaining film that lacks substance. Given the outrageously bad Bond films of the past two decades, it may be fair to note that beggars can’t be choosers. “Quantum of Solace” is still one of the better Bond films in recent decades.
“Quantum of Solace” is rated PG-13 for intense sequences of violence and action, and some sexual content.
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