Day 122: Minions (July, 9 - again)

Do you remember the happy meeting with old and dear friends on day 121? Two of them are young nieces that invited me to the movies. We had first planned to see Paper Towns, but at the last minute they chose the Minions' movie. I've already have seen it, but it didn't matter actually. Their company was the protagonist here :)

In a too crowded cinema, I could confirm my first impression about this film: the first scenes are good (but my friends didn't laugh as I thought they would... while I was cracking without any shame), the development is boring, and the scene with a Beatles song at the very last moment after the final credits is cute. I could also see some details that passed unnoticed at the first time. I don't mind see a movie more than one time, even one that I didn't appreciate much, like Minions. Nevertheless, it was a fun screening, with two dear friends, in a noisy and crowded cinema in July. 

Since last time, Minions' collection has increased

Minions. Directed by Kyle Balda, Pierre Coffin. With: Pierre Coffin, Sandra
Bullock, John Hamm. Writer: Brian Lynch. US,  2015, 91 min., Datasat/
SDDS/Dolby Digital/Dolby Atmos, Color, Animation (Cinema).

Day 121: The Maze Runner (July, 8)

A busy day, a happy night meeting old and dear friends, coming home late... And still no movie in this day. Two nieces by heart told me about The Maze Runner, and I decided to see it then. 

I've read the first pages of the book, and knew nothing about it except that a boy arrives at a place inside a metal box and doesn't remember anything about his life. And this way, despite being sleepy and tired, in a super cold night, I was very interested in what I was seeing.

That's new for me, I usually know about the story in a book adaptation to movies. It was a novelty not knowing what would come next. The action is good, jumpy... the characters are not the best I've seen, but I could relate to them. I wanted to know what was going to happen, and that's essential in a story too. The ending is not over original, some of it we could expect by its similarity to other current dystopian stories, but it was not infamous as many. The usual elements are there, but on the first hour I was asking myself how they could present the expected love interest in here... soon came my answer. Probably, what will come next will be even more recognizable, but I'm looking forward to it.  This way, at the end of the night, the beginning of a new day actually, it was nice reaching this film in a day that I wouldn't be able to see nothing too serious. 

I want to end this post saying that it is a tricky thing be a teenager in present days, specially on fiction. I love dystopian narratives, and most of it nowadays aims young readers. So we see more and more unfortunate brave and creative teens facing terrible obstacles in order to lessen the injustice in the world. Not so fictional after all. 

The Maze Runner. Directed by Wess Ball. With: Dulan O'Brien, Kaya
Scodelario, Will Poulter. Writers: Noah Oppenheim et al. from the book
by James Dashner. US, 2014, 113 min., Dolby/Dolby Digital/Datasat/Dolby
Atmos/Auro 11.1, Color (DVD). 

Day 120: Inside Out (July, 7)

Last month, I saw an interview in which Amy Poehler talked about the subject on Pixar/Disney animation Inside Out. According to her, it talks about how every feeling is a part of us, and that we should embrace it, even if it is something that is difficult to admit. I was immediately interested by this movie, because I think - and feel - exactly like that. 

I see all around me people that sneer to the sadness, irritation, anger of others. Specially sad, like it is a disease. We usually fight against feelings that are not welcome socially or even by ourselves. We can struggle with guilty, desperation, loneliness while dealing with those feelings. But something that I though at the movies today was how the suicide group on yesterday's On the Edge would be smaller if we were used to embrace what we're actually feeling, looking it in the eye instead of turning our backs to it, pretending it is not there, inside us. 

Something that I realise along years and years of struggle, is that when we accept what we're feeling, we finally reach a resolution. A peace o mind, a quiet heart. Fighting our feelings is for sure a sure way to go deeper into what we are avoiding. It is odd, isn't it? But it feels true to me. And maybe for the people that wrote Inside Out.

Sadness is an unwanted part of the main character here. She doesn't fit the others feelings, specially Joy, so up and hopeful all the time. She is not seen by her peers, she is not acknowledged... but she is there, a true part of Riley. A precious part. What we'll realise is that she holds the answers for some difficult changes in the girl's life. 

Riley is 11 years old, almost 12. My niece, near me in the cinema, is the same age. I was able to identify so many similarities between the two that I saw myself smiling in many moments. The loss of some of the "Islands of Personality" while Riley changes is heartbreaking, but pictures so beautifully what growing up is. I'm witnessing it in my beloved and smart girl, and it is sad and amazing at the same time.  

At last, I'm truly happy to say that my Goofball Island is still standing, for sure :)

Inside Out. Directed by Pete Docter, Ronaldo Del Carmen. With: Amy
Poehler, Bill Hader, Lewis Black. Writers: Pete Docter et al. US, 2015,
94 min., Dolby Digital/Datasata/Dolby Atmos, Color/Animation (Cinema).

Day 119: On the Edge (July, 6)

On the Edge is a 2001 Irish movie by John Carney, a beloved filmmaker (the same of Once and Begin Again - I adore both). I don't know how I let it pass by me for so long.

What a movie. My heart wasn't able to fit my chest during and after it. 

It is so kind, beautiful, heartbreaking, sad, joyful... I was absolutely in love while watching it. The unbelievable Cillian Murphy had a big part in this, he is outstanding. The whole cast is  actually - Stephen Rea is also solid in here. During the whole film, I couldn't believe how lucky I was for seeing it.

After the final credits, I told a friend by sms that I've just watched a movie with Cillian Murphy and the he was amazing - she is a big fan. She asked me about the story and I said: It's about suicide - to tell  a long story short, because it is mainly about people per se in fact. And she was kind of disappointed. The point is, difficult subjects are perfect in movies. If there's a place to debate things that we are a taboo socially is a film. Art is the place. And, for me, cinema is ideal for difficult talks about life. 

Don't let the subject keep you away from this movie. It is John Carney, after all. His characters are deep, intense, cute, lovable, strong, sad, with many layers. His movies are small, but his stories has a lot of depth, in his singular and simple way of telling it. I was so sad, and still a sense of enchantment took hold of me. And if sometimes Cillian Murphy seems too much for me, in On the Edge he is the heart and soul that holds together this heartfelt story about being lost and not able to find a place in the world for our own overwhelming sadness. 

These two are unbelievable good together on scene. It was like the screen would
explode at any moment.
On the Edge. Directed by John Carney. With: Cillian Murphy, Tricia Verssey,
Martin Carney, Stephen Rea.  Writers: Daniel James, John Carney. Ireland,
2001,  85 min., DTD/Dolby Digital, Color (DVD).

Day 118: The Best of Me (July, 5)

After an exhausting day, all I wanted was a not so good movie to watch. No way I could be worthy of a smart story in this day. So, I went to Netflix and looked for what would look an inoffensive production.

Netflix and me, we're building a spooky supernatural relationship. It gets my wish with precision every time. 

I only was aware that The Best of Me is a Nicholas Spark's book adaptation on the title sequence. I got a bit worried, maybe I was going to far in my pursuit of a simple movie, but I went ahead. And for the first hour, it was surprising even. Yes, all usual elements were there: present confronted to a troubled past, two crossed-stars lovers, a bench in a garden near a lake... Each element familiar on a Sparks story. 

Despite the stereotyped elements, though, this fist half has a somber tone about it that gets our attention. The four main actors are solid on their roles, coherent even if the younger Dawson is 5 cm higher than his older counterpart. At least Amanda, his romantic interest, maintains with the same height. It does seem a dumb thing to worry about, but it really bothers me this kind of lack of care to coherency in productions that present characters in different times of their lives. So, it seems silly to worry about that, but even if Luke Bracey is good, he and James Marsden are very different, what gets in the way of the storytelling. But the story is good in this first half, and I was enjoying it, wanting to know what would come next. 

Be aware of what you wish.

The doom came at last, and I could finally recognize this movie as a Sparks story. The troubled and quiet Dawson and the lively and strong Amanda melt into a bunch of tears and cheesiness, becoming other characters entirely. The ending is so "I cannot believe it", that all the point of how Amanda and Dawson are deeply connect is moot. It was too much, way too much. Two tones down, and this story would have been beautiful actually. 

After a nail biting suspense just about a man, in a car, struggling with his decisions, I couldn't spare the thought that there is no  need for a lot of twists and evil characters to tell a troubled love story. Ok, circumstances get in the way, life happens, as Dawson says in the beginning, but the way this story was conducted was almost sensationalist, worthy of a tabloid's first page.

The Best of Me. Directed by Michael Hoffman. With: James Marsden,
Michelle Monaghan, Luke Bracey, Liana Liberato. Writers: J. MIlls
Goodloe, Will Fetters from the book by Nicholas Sparks. US, 2014, 114 min.,
Dolby Digital, Color (Netflix).

PS: Fragment: Sense8, season 1, episode 9 (again:).

PPS: For about 3 or 4 years, every Christmas I re-read Dash & Lily's Book of Dares - it begins at December, 21 and goes until January, 1st. This movie remind me a funny dialogue in the book by David Levithan and Rachel Cohn, page 185 (I love all three of their collaboration):

(Lily's voice):
We stood at the door to a special storage room in the basement of the Strand.
 “Do you want to guess what’s in here?” I asked Dash.
 “I think I’ve got it figured out already. There’s a new supply of red notebooks in there, and you want us to fill them in with clues about the works of, say, Nicholas Sparks.”
 “Who?” I asked. Please, no more broody poets. I couldn’t keep up.
 “You don’t know who Nicholas Sparks is?” Dash asked.
 I shook my head.

 “Please don’t ever find out,” he said.

Day 117: While We're Young (July, 4)

It frightens me how we still see stories highlighting the differences while talking about human relations. Sorry, maybe I should say it better: while talking about people connecting to each other, it is common to highlight the differences, the gap between them, and not what got them together. Course, there are productions that focus exactly on this gap, but I don't think it was the case here.

I'm not sure it is a better way to say it, but that's it. 

While We're Young presents a 40 something couple that becomes friends with two 25 married youngest couple. Both man are documentary filmmakers, one more experienced, the other trying to produce his own film. They have many things in common. However,  the focus here is not their connection, but the hidden agenda behind all the characters for such friendship.

My friends don't fit on a formula. They can be 25 years younger or 40 years older than me. It really doesn't matter. The person matters. My connection with them matters. Of course, there are some particularities by the age, and recognizing this, the rest is only love. They are the best friends one could ask for, and that's enough. So, if you want to tell me that the only way different people can relate is to fulfil and previous agenda, your argument will be moot. Sorry again. 

This movie presents two main reasons for those couples to stay friends: one, as said, is a hidden agenda by one of them... relations as a way to capitalize, very ordinary practice in current time. The other, is the how we can project our own desires and frustration in other people. Another very common way to interact. Both are futile and not a human connection at all. Just a way to get things done. 

I don't know that was the focus on this movie. We are aware that the (in)famous intention of an author can not be the focus in a discussion about a movie. It is impossible to achieve that, and it is not the point actually. For me, human relations were moot here. They are not people, but just means to sustain an opinion. It is so easy to fall on this trap while writing a story, I understand. But it is still a shame that a good plot could be missed among such messed up ideas. I've said here before: defend a thesis in a story is not a good way to present a narrative.

Josh and Cordelia don't fit in any group anymore. Most of their friends are having kids, they aren't.  It is one point of inadequacy, but there are others. And they don't fit with their new younger friends, because, duh, they're much younger - that's what the movie says, and I heartily disagree with that. That argument only are not enough for me. And what follows is even worse. I suggest a more careful observation of life and people next time.

Sorry once again if I'm being over acidic, but it really annoys me such hushed development of a good story. Those are experienced filmmakers, they are not perfect, but should have known better than to fall for such a cliche (Joe reminded me to be kind with it, that any film is a miracle for getting out of the paper, but I guess I'm not there yet). 

One thing caught me, though: the bits about cinema theory and documentaries. Some lines were so good, I don't understand. The script act on the opposite way of what the story want to tell. Such a waste. But this happens, and it is an easy mistake. To tell a story without fall on the alluring traps is really difficult, and only skillful storytellers can make it. We are lucky that there are many of them still around.  

An afterthought: Yesterday, I was a bit angry with this movie... I think you was able to notice that :) Today, I remembered something that called my attention: on a scene, the highlight in how the youngest are seeking old analogic technology more often - typewriters, records, tapes - at the same time that they deal with all digital technologies, while my generation is moving from old tecs and increasingly more digitalized. This scene is curious, a bit stereotyped as the rest, but an interesting contrast (until the ending, with a baby and a cel phone, in another cliched point in the movie). 

While We're young. Directed and written by Noah Baumbach. With: Naomi
Watts, Ben Stiller, Adam Driver, Amanda Seyfried. US, 2014, 97 min.
Dolby Digital, Color (Cinema).

PS: I thought a lot about Away we Go after this movie, on my way home. They're about a couple that don't feel that they fit or are able to go through a pregnancy by themselves, so they reach for their family and friends in pursuit of a good life for their unborn kid. It is so sweet, so endearing... we can relate to them. But, again, they are people... Cordelia and Josh are just stereotypes... there's not much to relate to then (Ok, if I bite my tongue today I'll probably be poisoned...).

PPS: Fragment: Locke, again. I was sitll in that car with Ivan, so...

Day 116: Locke (July, 3)

Joe, my dear filmmaker friend, told me about Locke on Thursday, and I couldn't wait to see it. According to him, it was a suspenseful movie with only one character inside his car during a long drive. The main point was that, despite this simple setting, he couldn't get his eyes from the screen until the end. Of course that I was curious, then. 

My heart was pounding so fast in the film's 85 minutes that I thought I would have a heart attack before the ending, along with Ivan Locke, magisterially played by Tom Hardy. And the odd thing is that what is so nerve-wracking is nothing more than the ordinary predicament of a men has to choose what it is better to do. There's no explosions, aliens, super powers, evil spirits, bandits or anything else. It is just he and life, and how it seems to enclosure us sometimes.

A man alone with his own choices in front of the world trapped in a car with no other option (made by himself) than to go straight ahead until his destination, even if it is frightfully uncertain. About this matter, I resented a little some of the wide shots of the highway, that took me out from that cloister. I understand this choice, in order to make the film more bearable maybe. But I'd rather stay with Locke in that claustrophobic feeling of loneliness and having no way out. 

The external glimpses from inside the car are something else: like happens to the driver, somethings call our attention, others passed by without noticing. It is one of the smartest things on this movie, and there's many others. 

A long time ago, someone told me that we usually deal with our family's background in two ways: by following the familiar script or denying it. Both, at the end, are the same, because we spend our lives trapped in something from which we desperately try to run away. Locke struggles to do what he considers as the right thing is a way to go against his familiar grain, but he gets deeper and deeper into it instead. 

Even so, I couldn't agree more with him. We can not be nothing else than true to ourselves, it is the only possible way to be, I think. And what is ironic here is that, by doing what he thinks is rightful, he seems to loose everything he has. He sees himself in a perfect life, but what his decisions will show him is that it was also a trap, and that the changes, in spite of its scary features, are necessary to him, and will lead Locke to find himself. Or I hope he will. ]

I was so scared for him, my heart almost exploding. Tom Hardy is amazing here, and we are not able to leave his side for one minute. His Ivan Locke is strong, determined, so sure, frail, pained,  lonely... He can speak in reassurance to others while his own life is falling apart. In doing that, he is always alone, even if surrounded by people that seems to care. What he discovers is that some of them don't. And I would tell him: good riddance. But it is painful, I know. And at the end, what stays strong is what matters most. 

Realising that our heart is finally able to go back to normal, we can finally leave Locke's car quietly, certain that everything will be all right with him, even if dark times are coming for awhile. 

Locke. Directed and written by Steven Knight. With: Tom Hardy, Olivia
Colman, Ruth Wilson (But wasn't just one person on screen? Wait and see :).
UK/US, 2013, 85 min., Datasat/Dolby Digital, Color (Netflix).

PS: Filmmakers are always trying to tell a story in peculiar ways in order to capture the human aspects of their characters and narratives. Some are sheer aesthetic, others are heartfelt, both trying to get closer to life. Locke is like that, and another one that I remember now is Rain (Lluvia, 2001), shot in its majority inside a car, with two characters meeting in weird circumstances. 

PPS: On the comments below, Joe talks about the imdb.com interviews with Steven Knight and Tom Hardy about the process of telling this story. Here I present the link to watch them - it's remarkable how Tom Hardy is different in it from his character, something that only good actors are able to achieve (ok, and a good make-up artist...but it is not the case here). 

http://www.imdb.com/video/imdb/vi3771116825?ref_=ttvi_vi_imdb_5

http://www.imdb.com/video/imdb/vi3787894041?ref_=ttvi_vi_imdb_3