New York Film Festival 2010

  

Oh, oh, oh, it's magic: Mirren conjures up a storm in The Tempest

The Tempest--By far, this is one of the messiest films of the year. Julie Taymor, a gifted director when given the right material to work with, infuses her fantastical style into Shakespeare's last play that does no justice to the source material and only comes off as hyper-active exercise in overacting and bad special effects. Helen Mirren leads the cast as Prospera (the female version of the male protagonist; an interesting concept that's poorly executed), a sorceress who conjures up her own magic and lures people from her past to her island. The film is shot beautifully, as the cinematography gorgeously captures the Hawaiian landscape on screen. However, that's where the pleasures stop. The imagery looks as if it has come straight out of a Dali painting but sets no stable tone other than to cement the chaos ensuing. The performances range from mediocre to wooden (even Mirren seems to be working at only one layer of intensity), with miscasts and under-usage (is that you, David Strathairn?) abundant. The problem with the film is that it doesn't have a niche for Taymor's overflowing style--it just invades Shakespeare's story and makes it both unintentionally laughable and insufferably boring. It worked with "Titus" and "Frida", where the aesthetics were subservient to the narrative and played a much more subtle role while still creating a unique and beautiful atmosphere. But here, the main emphasis is on the acid-trip images as they parade the screen while, ironically, making the film lifeless--the characters and ideas are tossed around just to make the film look psychedelic. Let's hope Taymor tones it down next time.

Grade: D+

Mind if I sit here?: Manville as the destructive and fragile Mary.

Another Year--I guess the saying "As one door closes, another one opens" rings true, because a few nights later I saw the best film of 2010 (so far). Mike Leigh returns from a gleeful study of a chirpy woman to an emotional pastiche of characters in Another Year. The film tells the story of Tom and Gerri (ha-ha), an older British couple whose encounters with their troubled friends (Mary, played by Lesley Manville, for instance) are documented in hilarious and heartbreaking ways. It's funny--as low-key and subtle as this film is, it was immensely more vivacious than the kinetic film above. This was an absolute joy of a film--funny, sad, moving, and mature in exactly tangible and relatable ways. These are some of the deepest characters I've seen on film in quite a while. With all the credit and respect to Leigh's writing, they wouldn't be brought alive without the cast. Jim Broadbent and Ruth Sheen are endlessly endearing and sweet, as their tender performances anchor the film in a warmness that doesn't come across ever as maudlin or overly sentimental. Imelda Staunton has a memorable cameo and Oliver Maltman is very effective, but then there's Lesley Manville as the alcoholic and desperate Mary. In probably the best female role *and* performance of the year, Manville absolutely kills it. In a milli-second you can see the array of emotions her character feels. She's self-consciously funny, depressing, vibrant, and tense--it's a package of a performance that Manville flawlessly delivers. She flat-out deserves whichever Oscar category she campaigns for. Altogether, Another Year is such a treat of a film that only Mike Leigh could craft, and this is quite possibly his best--it's already the best film of the year, so what more could you ask for? Such an excellent film.

Grade: A

Something wild: Williams delivers just one of the strong performances in Reichardt's third film. 

Meek's Cutoff--Kelly Reichardt has made a name for herself in both the independent film world and as a director fascinated with American stories depicting nature's role in society. Her latest film, Meek's Cutoff, is her first period piece, as it's set during the rough times of the Oregon Trail as it chronicles the journey of three families out in the west. Reichardt's affinity for natural lighting and colors only helps display the rural Oregon countryside, as we witness the characters deal with daily hardships (getting the delicate wagons across rivers, coping with intense thirst, etc.) as they follow the overly confident Meek, played by Bruce Greenwood. The cast is excellent--Michelle Williams impresses in the lead role as the main voice of doubt in Meek's intentions and abilities, while Greenwood matches her with quirk and intensity as the questionable title character. Paul Dano, Zoe Kazan, and Shirley Henderson are quiet but effective in their supporting roles, but the most impressive asset is the film itself. Shot in tight 1.33:1 aspect ratio (basically a box-like screen), a corrosive claustrophobic and confining feeling is sensed as the film builds quiet tension throughout. Reichardt's direction is very Malick-ian as she captures the adversity of these doubtful passengers with beautiful imagery and darker, deeper meaning that lurks within. Meek's Cutoff is an unconventional take on the American dream, for it's one that haunts and stays in your head--even with its quiet nature, Reichardt's film is infectious. 

Grade: A-