There’s something about Eddie Redmayne that just crushes your soul. I’m not saying that it’s a bad thing — he’s a beautiful soul-crusher — but man, I feel like every time I sit down to a Redmayne movie, I’m going to leave feeling any one of, or a combination of, three things: 1) uncomfortably mortal, 2) disastrously under-accomplished, or 3) questioning my sexual identity.
The Danish Girl is no exception to this inevitability, though in this case, it is perhaps a bit more of a forced conclusion than in some of Redmayne’s other roles. In fact, all three of these reactions are obviously sought by the end of the film, with the lead dying – “Shit, I’m so mortal!” – the two leads both being successful, talented artists – “Shit, I’m so bad at doing stuff good!” – and of course, the main character transitioning in order to become his true self – “Shit, what even is a ‘true self’?”
However, the real issue I take with this film, aside from the generally predictable feel of the method-acting made-for-Redmayne award-seeking plot, is that it isn’t actually accurate at all to the life of the person it is supposedly based off of, Lili Elbe (Elvenes), and her relationship with Gerda Wegener, played by the stunning and Oscar award-winning Alicia Vikander — but we’ll get to her later.
Continue reading The Danish Girl (2015)
- The Aussies cleaned up at the 88th Academy Awards last night, taking home a grand total of six for Mad Max: Fury Road. The Revenant and Spotlight won the bigger trophies, though, as did Brie Larson for Room and Mark Rylance for Bridge of Spies.
- Major respect to Alicia Vikander for taking home a well-deserved Supporting Actress Oscar, considering she was pivotal not only in The Danish Girl but also the supremely under-appreciated Ex Machina and the summer’s best popcorn flick The Man from U.N.C.L.E., all of which are from 2015. 2016 better watch out.
- We somehow failed to recognize that the great Douglas Slocombe had passed away this year until the In Memoriam section of the Oscars rolled out. Slocombe is the man who lensed the likes of The Lavender Hill Mob and Raiders of the Lost Ark and had immense influence on how major motion pictures look today.
- Best quote of the night goes to Oscar winner Charlize Theron, responding on the subject of the best part of the Academy Awards by simply saying “the hamburgers.” Also, Best Human Ever also goes to Charlize.
Continue reading Film & TV News: February 29
It’s fairly easy to spot a Guy Ritchie flick, and in his most recent movie The Man from U.N.C.L.E. a few of his trademark flourishes find their best use yet. Henry Cavill and Armie Hammer fill the suits first worn by Robert Vaughn and David McCallum in the ’60s television show and globetrot around the Mediterranean attempting to out-spy one another. There are three or four plots going on at once — one’s a crusade to stop a maniacal heiress from obtaining a nuclear weapon, one’s a love story, one’s a hopeful reunification of father and daughter —and so Ritchie’s penchant for hand-holding and retreading ground we’ve already covered is actually quite useful at times.
Mostly, though, the moderately bogged-down plot is just kind of there; the style, the mood, the unending suaveness of the two leads — that’s really what counts in Ritchie’s Man from U.N.C.L.E. There are some slick sequences that don’t make you forget the plot but make you simply not care about it, sequences that lose you, purposefully and gleefully, in the zippy catchiness of it all. There are some slow bits and, again, the retreading of information gets tedious as it does in other habitual instances throughout Ritchie’s filmography. But mostly this movie is all about the flow, and even if the scene-by-scene progression isn’t flawless the pacing within the scenes themselves is fantastic.
Continue reading The Man from U.N.C.L.E. (2015)
- The jury at the 2015 Cannes Film Festival (which included the Coen Brothers, Jake Gyllenhaal, Sienna Miller, Guillermo del Toro, Xavier Dolan and a few more) selected champions yesterday as the festival comes to a close. The Palme d’Or went to Dheepan, the Grand Prize went to the Holocaust drama Son of Saul, acting awards went to Rooney Mara and the fantastic Vincent Lindon, and the best screenplay award went to Michel Franco for Chronic. Whew!
- Ex Machina‘s Alicia Vikander is rumored to be in talks for both Assassin’s Creed and the next installment of the Bourne franchise. If she doesn’t get either role, we’ll be more than content to just watch Ex Machina again.
- Empire has released the first pictures from Ridley Scott’s The Martian, starring Matt Damon and everyone else who’s in every movie these days. From the looks of the photo above, The Martian may touch on the theme of man’s singular place in the vast and unknowable universe. Shocking.
Continue reading Film & TV News: May 25