The Rental Rack: No Country for Old Men

No Country for Old Men
Running Time: 122 minutes



The best picture of 2007 (at least so far as the Academy is concerned) wasn't the throat-slashing mayhem of "Sweeney Todd" or the mock princess story of "Enchanted." No, last year's top honors went to a gritty psychological thriller/western hybrid. Chock-full of Mexicans, shotguns, cowboy boots and southern drawl, "No Country for Old Men" took home an astounding 87 awards, including four oscars. But what exactly is this anti-senior land all about?

It begins innocently enough. Llewelyn Moss (Josh Brolin) is out in the sandy midwest, rifle in hand, attempting to take down a pronghorn. His shot doesn't quite hit the mark, and as he comes down to investigate the blood trail he notices another one. He follows it until coming across a circle of seemingly abandoned trucks. Dead people and animals litter the area, and inside one truck he discovers a tremendous quantity of drugs and a case filled with cash. He also finds a man in the truck, slowly bleeding and begging for water (which of course Moss doesn't have).

That night in bed Moss gets a sting of conscience and gets out of bed to see if the guy is still alive and in need of water. Unfortunately for him, not only is his Mexican friend dead, but his pals have returned; with guns. One shootout later and Moss has gone from being in the right place and the right time to, well, the opposite. Not only are the Mexicans after their drug money, but unbeknownst to him they've hired a hit-man named Chigurh (Javier Bardem) to take him down.

And Chigurh is not your traditional assassin. He possesses a cool, calm mannerism and yet behaves in a seemingly erratic way. If you get in his way--indeed, if you see him--you will die. Unless of course he decides to let the flip of a coin decide your faith, in which case you may live. For the unlucky ones, however, it is likely that you'll be having a rendezvous with Chigurh's peculiar weapons, either his silenced shotgun or the captive bolt pistol, the latter of which is also commonly used to break into homes and hotel rooms.

Meanwhile, called in to investigate the same empty trucks and dead bodies is officer Ed Bell (Tommy Lee Jones). And so begins a warped game of cat-and-mouse wherein it's nigh impossible to tell exactly who the mice are and who the cats are. One thing's for sure: Chigurh will stop at nothing to get what he wants, and (it would seem) nothing can stop Chirgurh.

One of the most striking features of the Coen Brothers' latest venture is its stunning visuals. The Texan landscape is crisply captured in a way that is simultaneously gritty and polished. Stylistically, there is never too much concentration on the gore, though enough to convince the viewer that Chigurh is a truly heinous person.

The only really questionable aspect is what message "No Country for Old Men" wants to get across to its viewers. In light of the title and the way in which the film ends, it is likely a commentary on the degradation of American society, particularly in the areas of increased violence and decreased capacity to prevent it. If this is the case, Chigurh is certainly a good representation of the theme. His origins are obscure, but what he is now is unavoidable. He has no choice but to do as he does. "They always say the same thing," he taunts one character. " 'You don't have to do this.' "

This is the question we must ask ourselves. Is the violence really necessary? Can it be stopped? And, if so...

How?



Links:
~No Country for Old Men on IMDb
~No Country for Old Men official site

The Rental Rack: Double Feature

If you are (as i am) a member of the Blockbuster Rewards Program, you have a special opportunity every Monday, Wednesday, and Friday. That is to say, for every film you rent you get a non-new release rental for free. And so, keeping in mind the raving reviews for Wes Anderson's new release, "The Darjeeling Limited," i elected to deviate from the norm and review two films from the same director: the aforementioned, and his previous venture, "The Life Aquatic with Steve Zissou."

The Life Aquatic with Steve Zissou
Running Time: 119 minutes



Marine biologist Steve Zissou (Bill Murray) is having a rough year. His career is tanking like an ocean liner that just hit an iceberg, his best friend was just killed by a rare species of shark, and his wife is about to run off with her ex--a man Steve suspects of being gay. And then, for the first time, he meets his son Ned (Owen Wilson).

Somewhat excited to actually have someone look up to him, Steve convinces Ned to join him and his crew on what may, if the trend continues, be his final expedition. His goal, despite what the law may say, is to slay the creature that killed his friend.

And so the motley crew sets off, including some rather prominent characters: Klaus (Willem Defoe), the faithful companion to Zissou and (it would seem) second-in-command; Jane (Cate Blanchett), the reporter who promises a cover story to make Zissou big again yet whose motives are somewhat unclear; Bill (Bud Cort), the "stooge" sent to ensure Zissou does nothing illegal or expensive; and Pelé (Seu Jorge), whose Portuguese renditions of David Bowie provide the majority of the music throughout the film. Other characters include Steve's wife Eleanor (Anjelica Huston) and his arch-nemesis Alistair Hennessey (Jeff Goldblum), as well as his advisor Oseary Drakoulias (Michael Gambon, most recognizable as Dumbledore in the Harry Potter films).

What follows is an unpredictable rampage through the ocean chock-full of laughs, pirates, rivalry, self-discovery, and romance. The last of these is provided by the rather complicated character of Jane, five months pregnant with the child of a married man--married to someone else. Despite the extra 'baggage,' Jane seems to have plenty of time to behave like the stereotypical seafaring woman: although never depicted she is evidently sleeping with Ned, and at one point takes a swig of Zissou's liquor, prompting the response: "You really think it's cool for you to hit the sauce with a bun in the oven? "

The laughs delivered by "The Life Aquatic" are rivaled only, it seems, by the profanities. Although there are occasional views of one (female) crew member topless, the real reason this film received an 'R' from the MPAA is the approximately hundred vulgar words used, running the gauntlet from d**n to f**k, including references to homosexuality and prostitution. For a film that takes place at sea, director Wes Anderson has certainly filled his ship with sailors.

If you like the indie movement, or if you want to see a bunch of a-list actors doing something refreshingly different, then "The Life Aquatic with Steve Zissou" is probably the film for you. If, however, you want a night of clean entertainment, you might try finding something with a bit less ocean spray in the air.


Links:
~The Life Aquatic on IMDb


The Darjeeling Limited: Hotel Chevalier
Running Time: 13 minutes



"The Darjeeling Limited" is preceded, as per the director's request, by a thirteen-minute short film entitled "Hotel Chevalier." It takes place in Room 403 of said Hotel, in Paris, and finds Jack Whitman (Jason Schwartzman) lying on a gaudy bed ordering grilled cheese and a chocolate milk for room service. Soon he receives a call from whom we assume is his girlfriend (Natalie Portman); she is in fact never given a name.

But that doesn't mean we get nothing from Portman's character. Indeed, it's not long before she shows up at Jack's door. There is some small talk between the two, revealing that Jack has come to Paris to get away from the troubles in his life--including, presumably, his girlfriend--and has been living out of this hotel room for several weeks. Room service arrives, Jack asks for a Bloody Mary--better make that two--and then the real purpose of this short film begins.

That is to say, the couple is breaking up, and to commemorate the occasion they're going to put the hotel box-spring to the test. And although there are a few profanities tossed between the two--actually, almost exclusively from Ms. Portman--the real reason this short has garnered an 'R' rating is the sex. Although very little of the activity is actually shown, we do see Jack removing panties from his girlfriend, followed by her removal of her own top. And when the couple goes to the window to see the view of the city, we see Portman skillfully positioned in a leaning position that technically covers the necessary areas but still feels remarkably graphic.

Although there is a tie-in to this short film right by the conclusion of the main feature, "Hotel Chevalier" seems really like an unnecessary guilty pleasure for viewers. It's a shame, especially coming from a girl who spent most of her early years in the spotlight saying nudity was not for her.

The Darjeeling Limited
Running Time: 91 minutes



Thankfully, "The Darjeeling Limited" is far more uplifting (and far less perverse) than its prologue might lead one to believe. It is the tale of three brothers who haven't spoken to one another for a year, coming together at the behest of the eldest. Francis Whitman (Owen Wilson) has arranged an itinerary (with the help of his friend Brendan) that will, if all goes well, help he and his brothers rekindle their faith in themselves and each other, and perhaps bring his long-lost mother back home. The plan?

A month-long excursion across India on a train called The Darjeeling Limited.

The movie begins as Peter Whitman (Adrien Brody) narrowly catches the train and meets up with Jack and Francis in their shared cabin. It doesn't take long for two things to become evident to the viewer: 1. the Whitman brothers are quite dysfunctional, and have trust issues with each other, and 2. they're probably going to run into a lot of trouble.

Between the illegal prescription drugs, the pepper spray, and the poisonous snake, getting kicked off the train was an exercise in inevitability, though not before Jack can have a fling with the stewardess. That said, the antics on the train are quite amusing and do a good job of introducing the different characters.

The road to "rebirth" is a rocky one, rife with serious arguments, injuries, and death. "The Darjeeling Limited" is more of an emotional roller-coaster than a train-ride, though it never truly loses its indie polish and cynical edge. Each of the brothers is jaded in his own way, something clearly picked up from their mother (who we meet near the conclusion of the film), but this proves an obstacle that can be overcome by brotherly affection.

There's a trend in Hollywood these days to avoid making classifiable films, a trend "The Darjeeling Limited" is all-too-happy to embrace. It's comedic, but more than a comedy. It's sad at times, but not a tragedy. Ultimately, it's simply a good look at life. What it does, how we see it, and why we should change the way we look at it.

Sadly, the inclusion of "Hotel Chevalier" makes it difficult to recommend the entire film experience. Unlike a Pixar film, where the short could simply be considered an extra, Wes Anderson seems adamant that the short film be considered intrinsic to the complete work, deeming it "part one" of "The Darjeeling Limited." This coupled with the profanity that is scattered about and the occasionally dragging plot progression make this a train that you really don't need to worry about missing.



Links:
~Hotel Chevalier on IMDb
~The Darjeeling Limited on IMDb
~The Darjeeling Limited official site

The Rental Rack: Marie Antoinette

Marie Antoinette
Running Time: 123 minutes



Admittedly, it was a snippet of Peter Shaffer's comedy "Lettice and Lovage" that reminded me of the famous French queen, known throughout the world for her eccentric behavior and flippant disregard for the starving masses of her country. And so, with her ultimate fate in mind, i popped the DVD into my drive and dove into a daring recreation of the life of Marie Antoinette.

From the start, it's rather apparent that "Marie Antoinette" is not your typical period film. The brash soundtrack, inescapably modern, clashes greatly with the eighteenth-century dress and look appropriate to Marie's story. But keeping in revolutionary France is evidently not director Sofia Coppola's goal: anachronisms litter the film, including incandescent bulbs and converse shoes. If the mock episode of the MTV hit show "Cribs" with Louis XVI is any indication, this rendition of the tragic monarch's story has a rather clear target in mind: Generation Y.

Coppola's style is certainly not without its merits, however. The stuffy lifestyle most likely occupied by the majority of Marie's peers (granted, her own is supposed to be the exception) would probably have led to a rather boorish film. Replaced, however, with the upbeat mile-a-minute tempo of the film, Versailles 1776 quickly becomes quite the engaging world.

For those not quite up-to-par on their history, Marie Antoinette (Kirsten Dunst) was born into the privileged class of Austria. At the tender age of fourteen she was married to the then Dauphin of France, who would upon the present king's death be pronounced Louis XVI (Jason Shwartzman). Marie has been remembered by history as a woman characterized by excess in all she did: eating, drinking, dressing, and particularly her outrageous hairstyles. Her lavish lifestyle and naive entry into royalty contributed to a sort of laissez-faire attitude toward the masses, resulting in the now immortal response to the peasant starvation, "Let them eat cake."

For a girl whose previous roles have included many bubbly lovers, including Spiderman's Mary Jane, Kirsten Dunst is probably the ideal pick for the imposing role of Marie. Cute but often cloyingly ignorant, Dunst's Marie brings happiness to everyone she meets and yet concern to everyone in her counsel. As Henry reminds the viewer in his short prayer upon receiving word of the monarch's death, the young couple is not prepared to take the reins of France.

Ultimately, "Marie Antoinette" is a playful romp through an outrageous situation in history, but this is perhaps its greatest flaw. If Marie is truly as careless and naive as she is depicted, it's very little wonder that the peasantry of France sought (and gained) her head from the guillotine. The innocence that one is expected to derive sympathy from is simply a cheap facade for what Marie clearly was: her tryst with a visiting soldier seems without consequence, and we might imagine it is not the only time the queen was unfaithful to a mostly neglecting husband. And so, as torches and pitchforks surround the Versailles estate, it is impossible to muster more than the faintest of pity for the condition most likely brought about by Marie's own outrageous spending habits and poor interaction with the common people.

Coppola seeks, in her pseudo-modern approach to the tale, to bring to life characters from the dusty annals of history. However, if Marie Antoinette is as coquettish and immature as she is portrayed, it is ultimately an unsolvable dilemma that she be the heroine of this, or any, film.




Links:
~Marie Antoinette on IMDb
~Marie Antoinette official site

At the Box Office: The Other Boleyn Girl

The Other Boleyn Girl
Running Time: 115 minutes




Once upon a time there was a king that loved his land and would do anything to prevent throwing it into turmoil. He knew that the only way to preserve order was to have a strong male heir to whom the kingdom could be passed down. Unfortunately, his wife the queen miscarried, and proved incapable of providing a son to the king. The queen's name was Katherine of Aragon. The king's name was Henry VIII.

So begins the pseudo-historical tale of "The Other Boleyn Girl," a tale that begins with the king's pressing dilemma and ends by acknowledging that Elizabeth, daughter of Anne Boleyn, would ultimately come to rule the nation as one of its most cherished monarchs, presiding over England for more than four decades.

It was the custom of royalty to take one or more mistresses in the day; young, beautiful women who, in exchange for sexual favors, would provide for themselves and their families a gateway into higher class. After all, when one pleases the king one expects the favor to be returned.

And so, when Katherine (Ana Torrent) proves unable to provide a male heir, word begins to leak out among the gentry that King Henry (Eric Bana) shall seek a mistress to provide what his wife cannot. Due to his position in court, the Duke of Norfolk (David Morrissey) is privy to this news before it has become widespread, and suggests to his brother, Sir Thomas Boleyn (Mark Rylance) that he offer his daughter Anne (Natalie Portman) to His Majesty. Though both Anne and her mother are cool to the idea, the Duke persists and finally Sir Thomas agrees to have the king come to his manor in the hopes that Anne may woo him during his short stay.

Meanwhile, Anne's sister Mary (Scarlett Johansson) has recently been married to a young man with plans to live in the countryside for the rest of their lives, and is thus out of the running for Henry's hand.

At least, she ought to be, but unfortunate circumstances lead to the king taking an affection for Mary, bringing the entire Boleyn estate to the royal court. She becomes pregnant before long (her husband is promoted and sent away from the court so as to remove any voice of dissent in the king's proceedings) and is shut away in isolation, as was the custom for pregnant women in England at the time.

Forced to abstain from sexual relations with Mary, Henry begins to take a fancy for Anne, newly returned from her French exile and grown much more sly in her absence. Thus grows the plot, like two twisted vines around a stake, each Boleyn sister taking the king's fancy at one time or another. One becomes queen; one gives birth to a son; one is considered treasonous; one is accused of incest.

Ultimately, two heads will roll from the headsman's block, and the heir to the throne proves to be a woman after all.

The story of Henry VIII's nightmarish attempts to preserve peace in his nation, including the separation of England from the Roman Catholic Church and the establishment of the Anglican order, is majestically interwoven with an intriguing romance that is, unless one is a Tudor scholar, impossible to distinguish from reality. The historical checkpoints in the film suggest accuracy even as the baffling final credits establish "The Other Boleyn Girl" as a work of fiction.

A dazzling score and beautiful setting contribute to the feel of authenticity throughout the film, and as usual Portman and Johansson put on a very enjoyable and convincing performance. Perhaps the finest acting is done by Mr. Bana, who manages the complexity of Henry's dilemma masterfully, at times impassioned and irrational and at other times cool and calculated.

"The Other Boleyn Girl" is probably not for everyone. The heavy historical context may make it difficult for younger viewers to swallow, though the film does manage to escape the boredom that is usually guaranteed by historical romance films. For those who consider themselves a bit more sophisticated--or those who are just looking for a great tragic drama--this one's for you.




Links:
~The Other Boleyn Girl on IMDb
~The Other Boleyn Girl trailer on Apple Trailers
~The Other Boleyn Girl official site