The Year That Was: 2014 in Film

Check out ALL of the PDC end of year lists!

Review: Ava DuVernay's 'Selma'

Starring David Oyelowo

Review: Rob Marshall's 'Into The Woods'

Starring Meryl Streep, Emily Blunt, and Anna Kendrick

Tim Burton's 'Big Eyes'

Starring Christoph Waltz and Amy Adams

Showing posts with label gabourey sidibe. Show all posts
Showing posts with label gabourey sidibe. Show all posts

Thursday, December 4, 2014

Review: 'Life Partners' starring Leighton Meester and Gillian Jacobs


We've seen so many comedies about co-dependent female BFFs (Do guys call one another BFFs? Never.) dealing with the realities of adulthood that they've become a genre unto themselves. The festival circuit loves them, and they have found a niche in the indie market where they are practically unavoidable. Many of them follow the same peaks and valleys, the same romantic entanglements, the same life responsibilities intruding on an unbreakable bond. So when a film like Life Partners comes along that tries to go in a somewhat different direction than the norm, a direction grounded in emotional truth, it's worth giving notice to.

Seeing the benefit of two terrific leads in Leighton Meester and Gillian Jacobs, the film always feels like we're being let in on the private conversations of two people living in their own little world. Maybe that's because director and co-writer Susanna Fogel wrote the script with her best buddy, Jodi Lefkowitz, basing it on their experiences together. So the inside jokes and relationship quirks have a personal, lived-in quality that is consistently engaging, even when the demands of plot steer into familiar territory.

Paige (Jacobs) is the grown up of the duo, or seemingly so. She's the one with the career and a life trajectory headed upwards, while unmotivated Sasha (Meester) has dreams of being a musician but finds herself stuck in a dead-end receptionist job. The two are basically kindred spirits; they've been together so long that they finish one another's sentences, laugh at the same stupid jokes, watch the same bad reality TV, and share the same friends. Of course, being so tied to one person tends to be a hurdle for building healthy relationships with others, and when the two women begin pursuing romantic relationships with others, the results are understandably hit-or-miss.

What thankfully doesn't become an issue, at least not an overtly stated one, is that of Sasha's sexuality. She's a lesbian with a veritable army of histrionic gay friends and past sexual conquests, but at no point does Fogel take us down the "does she secretly love Paige" route that simpler comedies would have. Instead, we see their friendship tested by common concerns faced by all close-knit friends at some point. Paige hooks up with Tim (Adam Brody) and despite his being pretty milquetoast, she begins to fall for him. As she falls deeper into her relationship with Tim, Sasha is left on her own to deal with bad dates, cranky exes, and to wallow in her personal misery. The wedge grows between them as Paige contemplates marriage and a completely new life with Tim, while Sasha is stuck acting like she's 20 rather than nearing 30.

Familiar, right? Sure it is, and while Fogel may paint the supporting characters in broad strokes she doesn't with Paige and Sasha. Neither woman is perfectly happy, and they have their share of hang-ups. Paige may be the more responsible of the two on the surface, but she's also got a petty streak which we see play out in a legal dispute with a neighbor. Sasha is like a lot of people lost in trying to discover who they were truly meant to be, and fearful that it may never happen. The best scenes in the film are when the Paige and Sasha are together cracking jokes to deflect from their problems. If Meester and Jacobs aren't friends in reality you could have fooled me; they get along like pals straight from the womb. On the other hand, Adam Brody continues to be damage nearly every film he's in. Partly it's the characters he plays, who are always that Hollywood kind of "geeky cool" that doesn't actually exist. This has been an issue ever since The O.C. and Brody never grew out of it. Here, he plays a character whose defining traits are that he loves The Big Lebowski and wears t-shirts with messages on them.

With a great cast and witty script, Life Partners delivers with a personal touch a universal story of friendship and growing up.

 Rating: 3.5 out of 5

Tuesday, October 21, 2014

Review: Gregg Araki's 'White Bird in a Blizzard' starring Shailene Woodley and Eva Green



NOTE: This is a reprint of my review from the Sundance Film Festival. White Bird in a Blizzard is available now On Demand.

It's easy to dismiss White Bird in a Blizzard as Shailene Woodley's Havoc, the Anne Hathaway yawner that showed her frisky, naked side in an attempt to break The Princess Diaries stigma she was trapped in. While it may have worked for her, obviously it did, Woodley has always been mature beyond her years, and so as she flashes her nude bod and embraces her character's raw sexuality, it doesn't seem like such a wild step for her; more like a natural progression. It helps that the film is directed by Gregg Araki, whose films usually have more going on beneath the surface than just stories of teen angst and sexual yearning.

White Bird in a Blizzard is based on the novel by Laura Kasischke, adapted by Araki and spruced up with his penchant for the surreal and slightly dysfunctional. Part mystery, part languid coming-of-age story, the film is set in the 1980s, a period that seems to be a particular favorite for Araki, although his hold over the time is purely surface in this case. Vivacious high school student Kat Connors (Woodley) comes home one day to find her totally unhinged mother Eve (Eva Green, at her insane best) fully dressed and sleeping in her room, appearing totally unaware of her surroundings. There's tension between them, but not the normal tension between a parent and child. There's sadness and a touch of hatred on both sides; nothing like the outright venom Eve holds for Kat's father, Brock (Christopher Meloni, tightly coiled), a sad-sack pushover who doesn't seem to know how to handle a house full of strong-willed women. Within a few days, Eve has up and disappeared without a trace or a good-bye note.

The mystery of Eve's disappearance is never far from Araki's attentions, but it lurks in the background of a story that's mainly about Kat's angry steps into womanhood. The chain-smoking, skimpy outfit-wearing Kat knows what she wants, and has no problem going after it. She's literally dating the boy next door, a shirtless dunce (Shiloh Fernandez) who suddenly seems disinterested in sex. So Kat gets what she needs elsewhere, banging the studly cop (Thomas Jane) investigating Eve's disappearance. Kat has no problem going into the gory details of their carnal encounters, describing them in earnest to her best friends (Gabourey Sidibe and Mark Indelicato), a pair of outsiders who happily eat up her stories with a spoon.

We come to learn that Kat used to be overweight, but has shed the pounds and is only now coming to realize her powers over men. But as we watch her develop into a sexual vixen, flashbacks walk us through Eve's deteriorating mental state. Eve wants to be youthful and adventurous again, and sees Kat as a vampire sucking the life right out of her just as much as her boring marriage. As she becomes more erratic, it only becomes more suspicious that nobody seems to be all that concerned about her disappearance. With a slightly out-of-phase tone that's less his "Teenage Apocalypse" trilogy and more Mysterious Skin meets Twin Peaks(Laura Palmer herself, Sheryl Lee, makes an appearance), Araki explores ideas of body image and female identity with an unusual spin, backed by all of the director's favorite '80s pop hits. But Araki has a difficult time mustering up a lot of energy for the story at times, punctuated by pointless therapy sessions between Kat and her shrink (Angela Bassett). It takes forever for things to get moving, and even when they do it often doesn't seem to be going anywhere until Kat's past and present converge in a twist that David Lynch would be proud of, even if it comes out of nowhere.

Eva Green doesn't get a ton of screen time but she's a dominating presence even though her performance is pure camp in the Mommie Dearest mold. She'd tower over everyone if it wasn't for Woodley, again showing remarkable range from insecure teen to confident woman. It's a role that may turn off some of her fans, especially those who know her from the ABC Family days, but at least Woodley has chosen worthy material to make such a bold step. White Bird in a Blizzard lacks momentum as a tawdry mystery, but it's worth seeing for Woodley, Green, and Araki's intoxicating sense of mood.

 Rating: 3 out of 5

Sunday, February 2, 2014

Sundance Review: Gregg Araki's 'White Bird in a Blizzard' Starring Shailene Woodley



It's easy to dismiss White Bird in a Blizzard as Shailene Woodley's Havoc, the Anne Hathaway yawner that showed her frisky, naked side in an attempt to break The Princess Diaries stigma she was trapped in. While it may have worked for her, obviously it did, Woodley has always been mature beyond her years, and so as she flashes her nude bod and embraces her character's raw sexuality, it doesn't seem like such a wild step for her; more like a natural progression. It helps that the film is directed by Gregg Araki, whose films usually have more going on beneath the surface than just stories of teen angst and sexual yearning.

White Bird in a Blizzard is based on the novel by Laura Kasischke, adapted by Araki and spruced up with his penchant for the surreal and slightly dysfunctional. Part mystery, part languid coming-of-age story, the film is set in the 1980s, a period that seems to be a particular favorite for Araki, although his hold over the time is purely surface in this case. Vivacious high school student Kat Connors (Woodley) comes home one day to find her totally unhinged mother Eve (Eva Green, at her insane best) fully dressed and sleeping in her room, appearing totally unaware of her surroundings. There's tension between them, but not the normal tension between a parent and child. There's sadness and a touch of hatred on both sides. Nothing like the outright venom Eve holds for Kat's father, Brock (Christopher Meloni, tightly coiled), a sad-sack pushover who doesn't seem to know how to handle a house full of strong-willed women. Within a few days, Eve has up and disappeared without a trace or a good-bye note.

The mystery of Eve's disappearance is never far from Araki's attentions, but it lurks in the background of a story that's mainly about Kat's angry steps into womanhood. The chain-smoking, skimpy outfit-wearing Kat knows what she wants, and has no problem going after it. She's literally dating the boy next door, a shirtless dunce (Shiloh Fernandez) who suddenly seems disinterested in sex. So Kat gets what she needs elsewhere, banging the studly cop (Thomas Jane) investigating Eve's disappearance. Kat has no problem going into the gory details of their carnal encounters, describing them in earnest to her best friends (Gabourey Sidibe and Mark Indelicato), a pair of outsiders who happily eat up her stories with a spoon.

We come to learn that Kat used to be overweight, but has shed the pounds and is only now coming to realize her powers over men. But as we watch her develop into a sexual vixen, flashbacks walk us through Eve's deteriorating mental state. Eve wants to be youthful and adventurous again, and sees Kat as a vampire sucking the life right out of her just as much as her boring marriage. As she becomes more erratic, it only becomes more suspicious that nobody seems to be all that concerned about her disappearance. With a slightly out-of-phase tone that's less his "Teenage Apocalypse" trilogy and more MysteriousSkin meets Twin Peaks (Laura Palmer herself, Sheryl Lee, makes an appearance), Araki explores ideas of body image and female identity with an unusual spin, backed by all of the director's favorite '80s pop hits. But Araki has a difficult time mustering up a lot of energy for the story at times, punctuated by pointless therapy sessions between Kat and her shrink (Angela Bassett). It takes forever for things to get moving, and even when they do it often doesn't seem to be going anywhere until Kat's past and present converge in a twist that David Lynch would be proud of, even if it comes out of nowhere.

Eva Green doesn't get a ton of screen time but she's a dominating presence even though her performance is pure camp in the Mommie Dearest mold. She'd tower over everyone if it wasn't for Woodley, again showing remarkable range from insecure teen to confident woman. It's a role that may turn off some of her fans, especially those who know her from the ABC Family days, but at least Woodley has chosen worthy material to make such a bold step. White Bird in a Blizzard lacks momentum as a tawdry mystery, but it's worth seeing for Woodley, Green, and Araki's intoxicating sense of mood.




Friday, December 13, 2013

First Trailer for 'White Bird in a Blizzard' with Shailene Woodley and Eva Green


Now that Sundance has revealed its full festival slate of movies, there are a few that arrive with considerably more buzz than others. One that will surely open to jam-packed screenings is Gregg Araki's White Bird in a Blizzard, which has Shailene Woodley, Eva Green, Gabourey Sidibe, Thomas Jane, Christopher Meloni, and Shiloh Fernandez starring in the adaptation of Laura Kasischke's novel.

With its debut now only a couple of weeks ago, the first trailer has been released, suggesting this is Araki more in Mysterious Skin territory than Kaboom. Woodley plays Kat Connors, a young woman whose life is upended when her troubled mother (Green) sudden disappears. It's a little odd seeing the 33-year-old Green playing mom to the 22-year-old Woodley, but otherwise this looks extremely promising.

Araki will be shopping for distributors when White Bird in a Blizzard plays at Park City next month.


White Bird In a Blizzard Trailer VO by Sébastien Boulogne

Monday, November 18, 2013

First Look at Shailene Woodley and Eva Green in Gregg Araki's 'White Bird in a Blizzard'



She may have already earned a Golden Globe nomination and won an Indie Spirit Award, but things are only just now starting to really blow up for Shailene Woodley. Now that the whole Spider-Man thing seems to be behind her (she's clearly not ever coming back), she has a potential Hunger Games-sized blockbuster in Divergent on the way. But at the same time she's also sticking to smaller indie projects that have helped cultivate a devoted audience, such as this year's The Spectacular Now and the upcoming adaptation of The Fault In Our Stars. One film that many seem to be overlooking is Gregg Araki's White Bird in a Blizzard, and we're getting our very first images from it.

Based on Laura Kasischke's novel, the film boasts a solid cast of Woodley, Eva Green, Chris Meloni, Gabourey Sidibe, Angela Bassett, and Shiloh Fernandez in the coming-of-age story of Kat Connors, who learns to deal with life after her mother suddenly disappears. As the images suggest, there's more going on here than just a simple "missing persons" case as Kat is haunted by vivid dreams of something terrible.  Not that we should ever expect Araki to make a "simple" movie about anything.

It's still a little early for a release date on this one, but if it premieres at Sundance like Araki's films usually do, expect a distributor to pick it up.





Wednesday, November 21, 2012

Christopher Meloni, Eva Green, and Gabourey Sidibe join Gregg Araki's 'White Bird In A Blizzard'


Say what you will about controversial west coast filmmaker Gregg Araki, but he's helped elevate a lot of young stars' careers to the next level. His "Teenage Apocalypse" trilogy featured early appearances by Rose McGowan, Ryan Phillippe, Heather Graham, Mena Suvari, and more, while he also gave Joseph Gordon-Levitt his first serious dramatic turn in 2004's Mysterious Skin. His next film, White Bird In a Blizzard, will star another fast-rising talent in Shailene Woodley(The Descendants), and he's building a great cast to go along with her.

Already co-starring Shiloh Fernandez, Araki has now added Eva Green(Dark Shadows), Gabourey Sidibe(Precious), and Christopher Meloni(Law & Order: SVU) to star in the film about a young woman who sees her life turned upside down when her mother disappears. Expect there to be a lot more to it than that considering this is an Araki flick.

Meloni has a couple of big films coming up, appearing in the Jackie Robinson biopic 42, and also in Zack Snyder's Man of Steel. Sidibe can be seen now in Seven Psychopaths, and Green will star in 300: Rise of an Empire. [Deadline]

Wednesday, October 20, 2010

Sure Shots: Alien prequel; Tower Heist; The Crow/Mark Wahlberg


Quickly, as I try to catch up on everything I missed from yesterday...

* Last week we learned that Natalie Portman was at the top of the wishlist(hey she's on mine too!) to join Ridley Scott's prequel to Alien. Now comes word that she might be joined by two more of Hollywood's young elite as James Franco(127 Hours) and Anne Hathaway(Bride Wars) are "interested" in signing on. If all three suit up this could turn into one epic star-studded affair.

* Brett Ratner's buddy action comedy, Tower Heist, has a better supporting cast than it has leads. Period. Joining the lousy pairing of Eddie Murphy and Ben Stiller will be none other than Gabourey Sidibe(Precious) and Michel Pena(The Lucky Ones). The Noah Baumbach(The Squid and the Whale) scripted comedy stars Murphy and Stiller as a pair looking to get revenge on the crook who swindled them by robbing his luxury highrise.

* Mark Wahlberg as the Crow? We've known that a relaunch of The Crow was in the works, reportedly written by Nick Cave(The Proposition, which you need to watch immediately if you haven't seen it) and directed by Stephen Norrington(The League of Extraordinary Gentlemen), with few details revealed since. Wahlberg seems like an odd choice, considering all of the past actors to handle the role have been mostly unknowns, but then again if you're going to jumpstart the franchise Wahlberg is a good guy to accomplish that with. Let's just hope there are no guns anywhere in the script.