201-203: Sister, Moonrise, Flynn

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201: Your Sister’s Sister

Mark Duplass is on a roll lately. After directing the excellent drama Jeff, Who Lives at Home and starring in Safety Not Guaranteed he also played one of the leads in Your Sister’s Sister, Lynn Shelton’s newest feature. Duplass again creates a very likable guy, Jack, who has some serious issues to deal with. He decides to retreat to a cabin in the woods owned by his best friend, Iris (Emily Blunt). What he doesn’t know is that the sister of his friend, Hannah (Rosemarie DeWitt), is also there to work out her own problems. Hannah and Jack strike up a relationship that culminates in a situation that is extremely uncomfortable for all involved. Your Sister’s Sister is, however, a sweet drama about recognizing each other’s flaws and forgiving them for it, however selfish their behavior might be. Highly recommended if you want a small drama about real people with real feelings.

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202: Moonrise Kingdom

Wes Anderson is a very divisive director. Ever since his first feature, Bottle Rocket, people have been debating whether his movies are works of art of just exercises in art direction. Anderson’s movies are often clinical manifestations of a very exacting brain. They present delightful worlds in which the characters are allowed to play to their heart’s content. His newest entry, Moonrise Kingdom, is no different and this time Anderson invented an entire island for his characters to play in. Everything revolves around two kids who run away from home to start a new life elsewhere. This puts the entire island on high alert, which results in funny situations and poignant drama. I liked Moonrise Kingdom a lot, but I also felt that it was really hard to get through the highly polished look of the film. Anderson is always a meticulous filmmaker, but this time he has taken his control of, in particular, camera movements to another level and that made the movie feel very artificial in many places. I didn’t get that feeling at all while watching his, in my opinion, best movies The Royal Tenenbaums and The Darjeeling Limited. I still recommend people seeing Moonrise Kingdom, if only for the top-notch performances of the cast.

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203: Being Flynn

Robert De Niro’s career has in the last decade not been what it once was, but you don’t need me to tell you that. So it is nice to see that once in a while he wants to step outside his safety zone and take on a role that takes a little more effort than Meet the Parents or Analyze This. In Being Flynn he plays Jonathan Flynn, a self-proclaimed genius writer, but in reality nothing more than a con man who has neglected his family. The real main character, however, is Nick Flynn (played by Paul Dano), his son, who he has not seen in years. Nick also wants to be a writer, but struggles with the notion that he is not cut out for the job. One day Jonathan reaches out to Nick, which throws Nick for a loop. Does he want his father in his life, or does he want him to leave him alone. This predicament only worsens when Jonathan shows up at the homeless shelter where Nick works sometimes. Being Flynn is a movie about a very dysfunctional relationship between a father and a son with De Niro playing one of the biggest assholes in his career. Being Flynn could have been a very powerful movie, but it lacks the drive to make us connect more with the main character. Dano is fin as Nick, but the problem is that Nick is not somebody you want to root for. You want to give him a swift kick in the butt to get him to pick up his life and stop whining. While the performances are fine all-round, this casts such a large shadow over it all that just can’t be overcome.

098: Kingdom of Heaven (Director’s Cut)

This is the eighteenth movie in my Ridley Scott retrospective.

Kingdom of Heaven disappointed me greatly when it was first released. I saw it in a press screening and had very little positive to say about it when I had to write my review. The movie was overlong, boring, devoid of logic and ammunition for the gun that was pointed at Ridley Scott’s head for not making those masterpieces we were used to seeing from him.

I dismissed Kingdom of Heaven completely and vowed never to spend another minute on it. To my huge surprise, a friend of mine, whose judgement I totally trust and who was not a fan of the Theatrical Cut, told me to check out the Director’s Cut. Of course I hesitated, because how could a movie that was already too long get better in an even longer form. Well, Mr. Scott managed to do it.

Scott has been known to go back to his movies and tinker with them. Sometimes with great success—like Blade Runner—and more often with dubious results—like Alien, Gladiator— although those last two were more marketing vehicles than visions of the director. Scott has said so himself. And on top of that there have been so many useless Director’s Cuts, Unrated Cuts and so forth in recent years that my misgivings were justified, I think. But with the endorsement from my friend in the back of my head I reluctantly decided to scrunch up a copy of Kingdom of Heaven, the Director’s Cut.

And I am so glad I did, because the Director’s Cut is so much better than the original. At more than three hours it is approximately forty-five minutes longer than the original release. Entire sequences are returned to the movie and several scenes are expanded on by inserting more dialogue to create a more complete picture of the motivations that drive these characters. It is truly stunning to see how different the two versions are from each other. The entire movie flows much better and is far more intelligent than what we saw before. It goes to show that sometimes the auteur really knows what’s better for his movie than the executive who stares at demographics and scorecards all day.

Scott is a director who doesn’t stick his doubts about religion and the trouble that can come from it under the table. In the Theatrical Cut of Kingdom of Heaven this sentiment was swept under the rug to create a movie that more resembled Gladiator, a movie that was more about a personal journey than the big picture. In the Director’s Cut Scott’s beef with religion and the juxtaposition with science is much more prevalent. Scott’s oecumenical approach to religion is one I can certainly ascribe to. I am myself of no faith, but I do not condemn others for having faith in a higher power. That is what Scott wants to convey with this movie. Love thy neighbor, as the Bible says. Another thing that returns a lot in Scott’s movies is the fanatical approach to religion and the way in which this has ruined so many lives. As the hospitaler says, played by David Thewlis, “I have seen religion in the eyes of too many murderers.” A very timely theme.

Kingdom of Heaven is now one of my favorite movies. I don’t watch it all that much, but when I do I get totally swept up in it, even though Orlando Bloom may not be the best actor out there, this is one of his better performances. The enormous congregation of fine actors, such as Edward Norton, Brendan Gleeson, Liam Neeson, Jeremy Irons, Eva Green, Ulrich Thomsen, Alexander Siddig and so many others also don’t hurt Kingdom of Heaven one bit.

> IMDb