The Holiday (2004)

Home is where you want to be during the holidays spending time with family and loved ones. For Amanda (Cameron Diaz) and Iris (Kate Winslet), that's certainly not the case. Desiring to separate themselves from their previous, heartbreaking relationship, Amanda discovers Iris' home on an home exchange website. Temporarily switching residences for the holidays, Amanda settles down in Iris' cottage in London, and Iris jettisons to a Hollywood mansion.

A California-girl to the inth degree, Amanda is a movie trailer editor who "chases" away her selfish boyfriend to cheat by her work ambitions and seemingly inability to cry. In her middle-of-nowhere cottage, attraction knocks in the middle of the night in the handsome, bookish form of Graham (Jude Law). Her manless vacation quickly turns into an exciting and emotional romp without all the drama she's used to in Hollywood. Hopeless romantic Iris takes advantage of her sweet Beverly Hills digs by befriending a legendary Hollywood writer living next door, and a music composer friend of Amanda's. She's not looking for love, and this home-away-home allows gives her time to become the leading lady of her own life.

With the movie split into two different stories linked by one common scenario, The Holiday does sadly feel a little like two different movies; an endearing, consistent tale of a woman discovering to be the leading lady in her own life (Iris), and two awkward people sorta talking themselves into constant sex, and perhaps, love (Amanda). Director and writer Nancy Meyer's delivers a pairing that by films' end is quite adorable overall, but the story division between for her leading lady doesn't split equally.

Though cute and comedic in her own way, Diaz's story doesn't necessarily flow. Her potential relationship with Iris's brother Graham feels more like the entire production is convincing themselves and us that their romp will work rather than letting it breathe naturally. The dialogue itself, her relationship with Graham beings as an awkward, drunk-feuled romp, and as fine-looking individuals as they are, we can never really shake out the image of Law and Diaz not really exuding chemistry.

Having been more known for dramatic roles, Winslet truly shines as Iris; a woman trying to find the gumption to be her own person, develop friendships out of the love spotlight, and tell off the guy who doesn't appreciate her at all. Like her co-stars Jack Black and Eli Wallach, she is funny, endearing, and steals the show. All aspects of her story transition smoothly and doesn't feel forced, and it's so refreshing to see her as a lovable, contemporary character (not that she doesn't earn empathy in more dramatic roles) who lets love flow naturally into life rather than dragging herself into another unwanted relationship.

The heart of the movie, and Iris' story, is what's most attractive about The Holiday. When you change your scenery, you may increase the odds of transforming yourself, widening your circle of friends, and your chance of falling in love with someone you probably would've have never met. Without the miserly scrooges, or tempting fate to see what life would be like without you, Meyers takes two leading ladies and opens their characters up to the possibility of what life can be like elsewhere during the most joyous time of year. It's filled with a lot of Christmas charm, and Winslet's performance is enough to cause merriment for days afterwards. Though entirely not up-to-par with the scripts' cohesiveness, it instills enough entertainment to make me want to revisit it again....next year.

Stars I Love: Jenna Coleman

From television shows like The Vampire Diaries to mega-blockbusters like Divergent and The Hunger Games, a collection of eccentric, beautiful, and talented leading ladies has been born out of Hollywood. While a lot of attention focuses on U.S. stars like Shailene Woodley, Nina Dobrev, Kristen Stewart, Jennifer Lawrence - and the list goes on, one of my favorite stars happens to be from across the pond: Jenna Coleman.

Born Blackpool, London, Coleman participated in dance during her childhood. Eventually her love of performing transitioned into acting at a local school theater during her early teens. At only nineteen years old, she won her first major role for a British soap opera Emmerdale. During her three-hundred episode arc, she had planned to finish university but performing would lead her elsewhere. Her career may have just been starting out but already she was garnering awards for the heartfelt performance she was producing. Following some three hundred episodes later playing one-half of a normal lesbian couple (a breakthrough portrayal for daytime television), the eager starlet soon moved on to other television series like Waterloo Road and Room at the Top. There was always room to go back to school, but Coleman was destined to go down a different road; one that spanned across time and space.

A Fitting Bon Voyage to A Late Late Night King

Last night was the final episode of The Late Late Show with Craig Ferguson. I really couldn't believe his announcement earlier this year to leave his late night talk show came so quickly. Luckily, thankfully, and surprisingly, it was not a departure that I thought I would struggle hard over - so far.

Watching his interviews on YouTube all the time really helped - it sorta feels like he hasn't really left.
Of all the late night talk show hosts, Ferguson is top of the shelf. For so long, he did his best hosting a show in the basement of CBS Studios. He didn't have a voice-over announcer, sidekick, or band.

Even in his last days, he didn't have a real band or any of the fancy things other sketches or games that other hosts have the ability to implement. He did it all on his own: interviewing celebrities on the fly, without the weight of a publicists list of demands of questions to avoid or promote. His monologues were always cold opens. And, for the past six years, he made a comedy duo with a gay, talking robot and two interns in a fake horse costume.

What I respect most about Ferguson was despite how wacky and non-sensical his humor was, and he took it to the extremes of what the censors would let him get away with, Ferguson is a class act. He didn't speak out of line of where his voice didn't need to be lended on politics or late-night wars. He always approached sensitive subjects with charm and self-awareness. His wisdom and the challenges he faced in his life like drug addiction and his triumph of becoming an American citizen were great avenues of seeing a serious, considerate man behind the zany, off-beat talent he has a comedian.

His last show this past Friday was truly wonderful - a considerate, easy transition of a man stepping away from the desk without it having to be dramatic or morose. Opening with all of his friends banging on some drums, thanking the fans in his opening monologue, and then continuing the show with his regular schtick of tweets and emails, and an interview with his final guest Jay Leno. It didn't make us feel like this was the last time we were ever going to see him, Ferguson was conscientious of letting his final show be exactly as he ever was: funny and hopeful. It took us out of what's going on into the world and let us sit back and enjoy the ride; which is pretty much the last ten years was. Just sitting back, chilling out, not feeling like we were being promoted movies/tv shows/albums and letting the chips of insanity fall where they may.

Thanks for the ride, CraigyFerg. Can't wait to see what you do next, as always. Keep on banging your drums, man. Tomorrow's just your future yesterday

Magic in The Moonlight (2014)

Photo Credit: Magic in the Moonlight / Sony Pictures Classics

Skeptic Englishman Stanley Crawford (Colin Firth) is the world's greatest illusionist, known for his transcendent work on stage as Chinese conjurer Wei Ling Soo. He knows all the tricks of this world and the next, which he is convinced doesn't exist.  An alluring American clairvoyant Sophie Baker (Emma Stone) and her mother charm their way into the heart of a rich matriarch wishing to make contact with her late husband. When a lifelong friend of Crawford offers an opportunity to debunk her talent, Crawford is eager to expose her as a fraud.

At first glance, Magic in the Moonlight is so easy to fall in love with. Crawford's dalliance and stern refusal of optimism or any suspension of disbelief is palpable. He makes us convinced there is always a master pulling the puppet strings of life. Baker's charm and magnetism allow us and Crawford to fall head over heels for her powers while simultaneously guessing if she is for real. Portrayed by Firth and Stone, they deliver a blossoming friendship that challenges each other's beliefs and grows into something more.

Their character's relationship is so much like the process of film-making and what a movie needs to be believable. Like the magician who rehearses his tricks to perfection, the director must successfully emote what is on the page into a production that is believable and successful. It takes a fair bit of open-mindedness on the audience to accept the invitation to fully escape from their own lives and follow the story that lies ahead. The exceptional cast, whimsical production, dreamy setting of 1930s France, and drool-worthy costumes makes it hard not to swoon.

Director Woody Allen's earlier work centered on relationships & life in Manhattan is a favorite among film fans more than his recent movies - though I'm not so conflicted about his study of love, lies, nostalgia, and deception by dipping into the past and jaunting to dreamy European destinations. From his recent filmography of the past few years, Midnight in Paris is one of my favorites of all time. Whimsical, light-hearted, and wonderfully cathartic, the cast and production weave a story about a Hollywood writer who escapes the present moment by indulging into the 1920s. Bringing back his love of France, history, and the idea of rationality versus fantasy, Magic in the Moonlight could've been a repeat successful story if it didn't seem so rushed.

Even though the effort of production and the intention of fantasy must condense together smoothly to pull off, the work behind the magic becomes more obvious than it should.  As believable as Firth is as the ultimate skeptic turned believer, at times he looks lost in terms of fitting into a scene. Stone becomes the more majestic presence turning in an intoxicating and charming performance. Primarily, Crawford's defiance of seeing is knowing, and vice versa gradually loses its luster towards the third act, where the script drags itself to the finish line rather than leaving us on an ethereal note.

On the note of the age difference between Firth and Stone, and the possibility of a brewing romance between them, there isn't anything to write home about. Their chemistry is light-hearted and doesn't detract from the story. What undermines the movie moreso than the debate of the leading stars' ages is how their relationship loses its ease; sometimes it feels like Crawford is talking himself into a relationship rather than letting his feelings form naturally. This is not the prized way - at least in my eyes - of winning any woman's affection. But, this is a Hollywood fantasy after all.

The questions that kept presenting itself to me though was: does a movie have to blow our socks off in order to be considered worth our time? Can we like something that is imperfect, and not brilliant, and not consider it a guilty pleasure, but just a movie with faults that we still like?  Reason versus love is how I'd describe my affair with Magic in the Moonlight. I felt I should dislike this movie because other reviewers did, even with agreed acknowledgement of its pros and cons. With the awareness of knowing the movie's shortcomings, I wondered in the grand scheme of how we bloggers rate films, if it was still okay to like something that isn't mind-blowing, and sorta rested on simple, brief examinations of two character's beliefs that didn't try to wow us with epiphanies or emotional catharsis.

Allen's latest film is not perfect. Its third act and script could have used polishing. What is redeeming about the movie is that the stars are worth their weight in gold. Firth pushes us to believe the universe and its grandeur is a menacing machine of hard work and tears, while Stone enchants us to dip our feet into the unknown. Even if somewhere along the way, the idea of the story falls a bit short, it's enjoyable for the most parts. Magic in the Moonlight could've used a bigger leap of faith into the unknown instead of clinging to the cliffs of logic.

Rating: ★★☆
Have you seen Magic in the Moonlight? What did you think?

Nightcrawler (2014)

Photo Credit: Nightcrawler / Open Road Films

Blood sells in the world of the evening news, and at the foothills of Los Angeles, the sharks come out at night. Known as stringers or nightcrawlers, are videogoers; men and women who chase tragedy and package their footage of roadside crashes and neighborhood crimes to television stations.

One shark hungry for the entrepreneurial life is Louis Bloom (Jake Gyllenhaal), a desperate but ambitious young man who finds his calling in the supply and demand of voyeurism and violence. From thief to cameraman, Bloom studiously climbs his way up the ladder of a local station selling footage he captures of car accidents and jackings and robberies. Eventually a triple-homicide is a make-or-break venture that threatens to his video gathering production out of the water.

But Bloom isn't like other cutthroat videogoers converting tragedy into dollar-sign motivated adrenaline rushes. He's a shell of a person cashing in on bloodshed like a normal person orders a cup of coffee at Starbucks. Nothing startles him. His hand is always steady on the cam ready to cash in on the next tragedy and his mind is already onto the next crime scene. Nobody gets in the way of his brass ring.

With the rise of technology and how it permeates our lives to create fame monsters, out of nothing (the Kardashians) to stealing (The Bling Ring crew), is vastly becoming a favorite subject in film. Even with the gadgets used in the movie are a bit dated, it serves to entrap us into ravenous quest of what's sellable in evening news. Like it's predecessors that question how we approach the separation of what is being created in social media, on the news, and entertainment industry, Nightcrawler takes us on a real high-stakes job of feeding what society craves for - if it bleeds, it leads.

Produced by longtime writer, and now first-feature film director, Dan Gilroy doesn't as much impose a heavy-handed question of what type of world creates a person like Lou. Instead it presents a person like Lou who is moralistically removed from his job to chase what the news or entertainment world is asking of, what he's more than willing to fulfill, and the bargaining chips he systematically puts into place to keep the upper-hand on the streets and in business. The movie asks where the line is drawn in pursuit of ratings and media clips or stories we can't turn away from.

As a ghoulish and gaunt protagonist, Bloom is one of the scariest sweet-talkers of cinema; a parrot reciting entrepreneurial mantras with chilling and enigmatic persuasion. By day, he waters his plants and merely waits for the sun to set. Then he comes alive speeding through the sprawling city streets and freeways to be the first at a crime scene. Void of empathy, he who reels and deals in mayhem and is always hungry for taking more.

A performance like this may usually be considered as a cliche sociopath stereotype we can spot from a mile away, but Gyllenhaal doesn't give a typical performance. Instead it's the refreshing praise-worthy work of an actor who gives enough to display his range without going overboard and seeing the methodology of his performance. Over the past few years, the ever-changing actor has been consistently changing his role choices, and this time around he seems to slip into Bloom so easily, it's hard to recognize the actor of long ago.

Nightcrawler is the type of movie where it's easy to get carried away on the idea of its plot or a singular performance, and wonder if it's really the film you're excited about. Gilroy's flick is dramatic, action-packed, and refreshing. Nearly flawless in its performance by Gyllenhaal and his co-stars, the films' social commentary on the complicit nature of sensationalizing humanity's barbaric side subtly hooks you. From car chases to winded monologues, and Bloom's double-sided nature, we are taken on a gripping thrill ride and are also reminded of that gruesome cultural exploitation we all participate in.

Rating: ★★★

Have you seen Nightcrawler? What did you think?

Brilliant Acting Defined by One Look

Brittany at Rambling Film shared a great idea of Brilliant Acting Defined by One Look. Upon reading her awesome list, I was immediately excited to comb my favorite expressions that are unforgettable.

Sometimes during award show season it's easy to get caught up in the loudest performances; comedic actors who prove they are capable of being dramatic, actors who physically transform to the point of being unrecognizable, and life-changing themes that strike everyone's heartstrings. The most natural and memorable moments on film sometimes occur the most strongly when looks speak louder than words. I'm sure there are plenty more choices I could've added but I left this list at a solid ten picks. I hope you enjoy (thank you Brittany)!

Lucille Ball - I Love Lucy

Uh oh, Lucy is up to no good again. All Lucille Ball had to do was give a glimpse at her husband Ricky, or friends Ethel and Fred, for us to know she was up to something. This crazy redhead was able to distort her face into so many wildly comedic and expressive looks. I don't think there's another comedienne who'll live up to the same amount of physical comedy.

My Life (So Far) As Illustrated by Movie Characters

photograph by Alexei Izmaylov
Today is my birthday; I turned twenty-five. To be honest, my mind was entirely blank about how to commemorate the day on this blog.

Celebrating my birthday isn't really my thing, but as a person who is always reflecting on something, it's a great opportunity to focus on how events, people, time, and especially movies, change perspectives or made me grow. In the birthday post last year, my stroll down memory lane was about films thatshaped my movie-watching experiences so far.