THE GREEN HORNET

Written by Seth Rogen and Evan Goldberg

Directed by Michel Gondry

Starring Seth Rogen, Jay Chou, Cameron Diaz, Tom Wilkinson and Christoph Waltz

Britt Reid: That is the balls.

I’ve got to give it up for Seth Rogen. The man has gone from full on geek to perpetual stoner to slimmed down, unexpected superhero in Michel Gondry’s most indisputable attempt to penetrate the mainstream, THE GREEN HORNET, a big budget 3D adaptation of the popular 1930’s radio series. Rogen’s transformation is admirable but ultimately not as successful as it needed to be to irradicate the image of the affable teddy bear character we’ve all come to know, love and get slightly tired of in recent years. Subsequently, THE GREEN HORNET plays like a laid back stoner flick without the actual weed, and Rogen, without the haze of smoke surrounding him, is just not as funny as he is when he’s high. That said, he could have been high throughout the entire production for all I know. It just isn’t written in this time.

Rogen co-wrote the script to THE GREEN HORNET with SUPERBAD co-writer, Evan Goldberg. Under Gondry’s somewhat scattered direction, their screenplay becomes a surprisingly well-woven send-up of many superhero clichés, while remaining reasonably grounded in a realistic place, with the exception of random misplaced bursts of Gondry’s hyperactive imagination. Rogen plays Britt Reid, the only heir to his father’s (Tom Wilkinson) newspaper fortune. Britt lost his mother when he was just a boy and his relationship with his father has always been strained, living in that vastly cast shadow. His life is one party after another until his father dies suddenly. Unable to resolve the public admiration for a man who never seemed to care about him, Britt decides he is going to save the world his way – in a green mask and hat, one bad guy at a time.

Of course, Britt can’t do this alone so he enlists the help of his super genius buddy, Kato (Jay Chou), to be his alter ego, The Green Hornet’s sidekick. He also takes Cameron Diaz into his fold but she just looks confused as to when her career became about playing such superfluous secondary characters the whole time. Together Britt and Kato form something much stronger than your everyday bromance; each of them now orphaned, they actually become brothers. It is their relationship, uneven and influenced by class and status yet still devoted, that makes THE GREEN HORNET so relatable and real, which is a lot to say about a movie where guys can stop time in their mind. This is the age of the every man superhero after all. The trouble with regular guys though is that they are often nowhere near as funny as they think they are.

ANOTHER YEAR

Written and Directed by Mike Leigh

Starring Jim Broadbent, Ruth Sheen and Lesley Manville

Gerri: Change is hard, isn't it?

Janet: Nothing changes.

Aging is one of those human experiences that, if we’re fortunate enough to get up there that is, is essentially universal in theory. In practice though, some of us age much more gracefully than others. Some of us age while our dreams come true around us, while others do so while watching each of their dreams fall victim to time. Unfortunately, we don’t always get to choose how well life works out for us, so when the years continue to pass, each one has the potential to reinforce what we do or don’t have in our lives. ANOTHER YEAR is British filmmaker, Mike Leigh’s, specific look at one of these years and, in its delightful and touching execution, it contemplates the cruel little imbalances life has to offer.

There is a lot of eating in ANOTHER YEAR and all the glasses at the table are quite distinctly either half empty of half full. The table itself belongs to Tom and Gerri (Jim Broadbent and Ruth Sheen), a couple who have been together for more than 30 years, who are still just as adorable with each other today as the combination of their names suggests they should be. They are joined more often than not at their table by old friends like Mary (a heartbreaking Lesley Manville), who tells herself she is happy alone but drinks to forget she is actually alone whenever she can, and Ken (Peter Wright), who cannot fathom retiring because then he truly won’t have anything at all to do with his time. Sometimes their son, Joe (Oliver Maltman) stops by too. At 30, he hasn’t met anyone special yet and with such a great example of long lasting love to live up to, you know he knows he is missing out. The dinner conversation is never boring and, thanks to the incredible ensemble, always fascinating and enlightening.

Tom and Gerri garden together. ANOTHER YEAR follows their planting cycle from the planting itself to the period of growth, through the harvesting in the fall and finally the inevitable death in the winter. They have been planting in this garden for years, just as Leigh has been making movies for years. And if the relaxed, subtly aware tone of Leigh’s latest work tells me anything, it is that he too knows that all you can do is plant the seed and hope it grows to be strong, tall and surrounded by flowers.

Couch Time with Sheldon

I don't want to brag but I had a lot of time off during the holidays. Clearly, I was still posting here but I was not tending to my day job. As I did not flee the country for somewhere warmer, and as the universe decided I should get sick just after the new year started, I spent a fair amount of time on my couch during my break. Fortunately, a slew of movies had arrived at my door at the time so I was never without something to watch. Here are a couple of the films I caught ...

ANIMAL KINGDOM

I love my family. Having spent an extended period of time with them during the holidays was a bit taxing at times but they are all saints compared to the Cody family in David Michod's Australian export, ANIMAL KINGDOM. Josh, played by newcomer James Frecheville, goes to stay with his grandmother (Jacki Weaver) after his mother overdoses and, before long, he falls in with his uncles and their sordid ways. Ben Mendelsohn plays the ring leader of this pack with such an intensely creepy presence that I almost had to leave the room at times when he was on screen. And it is easy to see why Weaver would be getting awards recognition for her role as the family matriarch. She has nothing but love for her family and will do anything .. and I do mean anything .. to protect them. (eOne)

JOAN RIVERS: A PIECE OF WORK

Joan Rivers works very hard and she wants you all to know it in the new documentary based on the later years of her career, JOAN RIVERS: A PIECE OF WORK, directed by Ricki Stern. Back when Rivers was on "The Tonight Show" as Jonny Carson's permanent stand-in, America loved her. She had a whip-smart tongue and she was a pioneer for female comediennes. The years were not kind though and public opinion of Rivers has been reduced to a joke, most often of the plastic surgery variety. Despite her mask, Rivers cannot hide from Stern's cameras and this touching documentary, while still somewhat self serving, is also a testament to how hard it is to be a living legend. (eOne)

Both films are available to rent or own now on both Blu-ray and DVD from eOne films.

Tis the Season: The Guilds

(Scroll over any film title for the full Black Sheep review.)

The Screen Actors Guild made their announcements before the year ended and now it is time for the three other major factions of the film voting community to weigh in with their choices for best film achievements of 2010. They are the Producers Guild of America, the Writers Guild of America and the Directors Guild of America. The producers and directors nominations are ordinarily strong indicators of what to expect when the Oscars are announced on January 25 but the writers have come under a fair amount of flack this year. Major Oscar contenders like THE KING'S SPEECH and TOY STORY 3 were not eligible because they were not affiliated with the guild during production. It is difficult to give much credit to a group that would not consider the screenplays for WINTER'S BONE, BLUE VALENTINE or ANOTHER YEAR when they are all serious Oscar contenders in their respective screenplay categories. Especially when they don't fill those voids with films like RABBIT HOLE. Meanwhile, the PGA Top 10 is another variation on the same 11 films that are being tossed around in the Best Picture race this year, with WINTER'S BONE not making the cut this time out. And the DGA favoured newcomers to the Best Direction race, Darren Aronofsky (BLACK SWAN) and David O. Russell (THE FIGHTER) over past winners, Joel Coen and Ethan Coen for TRUE GRIT.

The PGA will announce its winners on January 22, in a ceremony hosted by Judd Apatow. The WGA will announce its winners on February 5, in simultaneous ceremonies in Los Angeles and New York City to cater to both the Eastern and Western divisions of the guild. The DGA will announce its winner on January 29, at its 75th anniversary edition of the ceremony.

Here are the major nominees from each of the guilds ...

THE WRITERS GUILD OF AMERICA

ORIGINAL SCREENPLAY

BLACK SWAN

Screenplay by Mark Heyman and Andres Heinz and John McLaughlin; Story by Andres Heinz

THE FIGHTER

Screenplay by Scott Silver and Paul Tamasy & Eric Johnson; Story by Keith Dorrington & Paul Tamasy & Eric Johnson

INCEPTION

Written by Christopher Nolan

THE KIDS ARE ALL RIGHT

Written by Lisa Cholodenko and Stuart Blumberg

PLEASE GIVE

Written by Nicole Holofcener

ADAPTED SCREENPLAY

127 HOURS

Screenplay by Danny Boyle & Simon Beaufoy; Based on the book Between a Rock and a Hard Place by Aron Ralston

I LOVE YOU PHILLIP MORRIS

Written by John Requa & Glenn Ficarra; Based on the book by Steven McVicker

THE SOCIAL NETWORK

Screenplay by Aaron Sorkin; Based on the book The Accidental Billionaires by Ben Mezrich

THE TOWN

Screenplay by Peter Craig and Ben Affleck & Aaron Stockard; Based on the novel Prince of Thieves by Chuck Hogan

TRUE GRIT

Screenplay by Joel Coen & Ethan Coen; Based on the novel by Charles Portis

THE DIRECTORS GUILD OF AMERICA

Darren Aronofsky

BLACK SWAN

David Fincher

THE SOCIAL NETWORK

Tom Hooper

THE KING'S SPEECH

Christopher Nolan

INCEPTION

David O. Russell

THE FIGHTER

THE PRODUCERS GUILD OF AMERICA

127 HOURS

Producers: Danny Boyle, Christian Colson

BLACK SWAN

Producers: Scott Franklin, Mike Medavoy, Brian Oliver

INCEPTION

Producers: Christopher Nolan, Emma Thomas

THE FIGHTER

Producers: David Hoberman, Todd Lieberman, Mark Wahlberg

THE KIDS ARE ALL RIGHT

Producers: Gary Gilbert, Jeffrey Levy-Hinte, Celine Rattray

THE KING'S SPEECH

Producers: Iain Canning, Emile Sherman, Gareth Unwin

THE SOCIAL NETWORK

Producers: Dana Brunetti, Ceán Chaffin, Michael De Luca, Scott Rudin

THE TOWN

Producers: Basil Iwanyk, Graham King

TOY STORY 3

Producer: Darla K. Anderson

TRUE GRIT

Producers: Ethan Coen, Joel Coen, Scott Rudin

SOURCES:

THE WRITERS GUILD OF AMERICA

THE DIRECTORS GUILD OF AMERICA

THE PRODUCERS GUILD OF AMERICA

COUNTRY STRONG

Written and Directed by Shana Feste

Starring Gwyneth Paltrow, Tim McGraw, Garrett Hedlund and Leighton Meester

Kelly Canter: Well, I remember that day / when our eyes first met / You ran into the building to get out of the rain 'cause you were soaking wet / And when you held the door / you wanted to know my name / Timing is everything.

There isn’t anything sadder in the world than a good country tune, except for maybe the booze-soaked, sleep-deprived, emotionally impossible days and nights that are the inspiration behind these great songs. Writer/Director Shana Feste’s COUNTRY STRONG is one of those true tragedies. One of the genre’s biggest stars falls off a Dallas stage, five months pregnant and wasted, killing her child and her spirit at the same time. A year later, she is checking out of rehab earlier than she should to return to that same stage and reclaim her career as well her own self. People are fighting, cheating and both breaking and making up, but by the time its done, everyone is crying tears into their beers.

Gwyneth Paltrow is Kelly Canter, a Faith Hill type country superstar, except with a slew of public problems. While her troubles are all very adult, her demeanor is still that of a child. Paltrow plays Canter as a little girl, lost in a big world, who would much rather be tending to a baby bird she found in a field than performing in front of thousands of screaming fans. She isn’t sober for long once her husband checks her out of rehab, as it becomes painfully clear the public is not going to let her forget her own personal hardships. She loses herself in anything and everyone she can in order to avoid her own self, until that’s all she has left - and Paltrow’s got a mess of mascara on her face most of the time to prove it.

COUNTRY STRONG, which also boasts a surprisingly strong supporting cast, culminates into a somewhat simplified commentary about celebrity and people as products. Feste pulls out every country punch she can think of, but lucky for her, Paltrow knows how to roll those punches into something real so that you too can have a silent sob in your beverage.

Tis the Season: The CAST Awards

Yesterday, the Online Film Critics Society announced THE SOCIAL NETWORK as Best Picture of 2010. Seeing as how I have asked to be a part of that society for essentially every year I've been online and and every year they reject me, I've decided not to bother reporting about them this year. (No offense to the members I actually know.) Instead, I bring you today a year end list from a group that is happy to have me - the CAST Awards. CAST stands for Cinema Appreciation Society of Toronto and the society consists of a good chunk of Toronto film bloggers who meet monthly to talk about what they love most, film. These good people, myself included, voted in two rounds and collectively have voted INCEPTION as the Best Picture of 2010. The full Top 25 is listed below and the participants are then listed below that. You can click on any links to go to their sites and/or follow them on Twitter. Thanks to James McNally of Toronto Screen Shots for organizing and compiling the whole affair.

FILM TITLE	POINTS	MENTIONS
1. Inception	411	22
2. Toy Story 3	311	20
3. Black Swan	307	16
4. Shutter Island	297	19
5. The Social Network	261	17
6. Scott Pilgrim	254	17
7. The Girl with the Dragon Tattoo	231	16
8. Winter’s Bone	180	11
9. I Am Love	165	9
10.The King’s Speech	149	11
11. Rubber	149	9
12. Never Let Me Go	147	11
13. Trigger	140	9
14. Fish Tank	134	9
15. Buried	134	9
16. The White Ribbon	130	7
17. True Grit	127	9
18. Chloe	124	8
19. Easy A	121	10
20. Marwencol	117	7
21. 127 Hours	115	9
22. A Prophet	114	8
23. Rabbit Hole	112	7
24. Blue Valentine	110	8
25. Heartbeats	110	7

Participants:

• Joseph Belanger (@blacksheeprevs)
• Robert Bell
• Jay Clarke (@Horror_Section)
• Polly Esther
• Katarina Gligorijevic (@katarinag
• Sarah Gopaul (@)
• Kurt Halfyard (@triflic)
• Philip Hamilton
• Robert Harding
• Leora Heilbronn (@leoraheilbronn)
• Rick Iwasa (@tifftalk)
• Sasha James (@finalgirlproj)
• Jay Kerr (@bombippy)
• Mike Lippert
• Chris Magee
• James McNally (@toscreenshots)
• Ryan McNeil
• Andrew Parker (@andrewjparker)
• Elliott Pen (@tootighttoque)
• Matthew Price (@mattmovies)
• Kiva Reardon (@kiva_jane)
• Shannon Ridler
• Shelagh Rowan-Legg (@dorkshelf)
• Marc Saint-Cyr
• Courtney Small
• Brooke Smith
• Ian Stuart
• Bob Turnbull
• Donna @TOfilmfest (@TOfilmfest)
• Greg @TOfilmfest (@TOfilmfest)
• Jeff Wright (@jeffreyjeffrey)

Source: Toronto Screen Shots

Black Sheep's Top 10 of 2010!

(Scroll over any film title to read the full length Black Sheep review.)

It is the first day day of the new year and I'm happy. I'm happy to put certain aspects of the last year behind me, happy to look ahead toward what waits for me and happy to look back at my most celebrated moments as a film critic in 2010 as well. There are three in particular that come to mind ...

I've been published before but never in high gloss colour. My interview with the Academy Award winning documentary filmmaker, Louis Psihoyos, about his first feature, THE COVE, was published in Movie Entertainment magazine, the magazine of The Movie Network in Canada. It was a thrill to see my name in print like that and to know that possibly tens of thousands of film lovers across Canada would be reading my work. Movie Entertainment still publishes my monthly column on their website, letting people know what to watch on TMN that month, and intends to publish my interview with Ryan Reynolds, for his film BURIED, this summer.

If you read Black Sheep at all regularly, you would know that this year I was a fully accredited member of the press at the 2010 edition of the Toronto International Film Festival for the first time. I saw 30 films, met tons of great people, interviewed a variety of filmmakers that I never dreamed I would ever meet and I even worked my first red carpet, for Woody Allen no less. My coverage of the festival on Black Sheep brought in the highest readership numbers I've seen in the five years the site has been around and led to my being published on other great sites, like Toronto Film Scene and The Mark News. I hope TIFF invites me back to the party again next year because I'm not sure I can go back after feeling the power of the press pass.

The third thing is perhaps the most important. I've only lived in Toronto for a year and a half now and I haven't had the easiest of times making friends. In January of this year, I took my first real steps towards changing that when I met a group of local film bloggers for their monthly meeting. It isn't so much a meeting though as it is a bunch of film geeks getting together, drinking and shooting the shit about movies really. And while it may not sound like much to some, it has allowed me the possibility to meet people that make me feel a lot more like I belong here. A big shout out to James McNally of Toronto Screen Shots for the original invite!

Like my personal life, 2010 was a bit of a rocky year for film as well ... or at least I thought it was at the time. I griped all year about how there were no good movies coming out but when it came time to actually narrow down the 120+ films I saw all year to a list of 10, I had a very difficult time doing so. Difficult is relative here as how hard is it really to sit down and think about movies you like? I managed to get her done though and I am ready to share this list with you today.

(insert drum roll here)

Here is Black Sheep Reviews' Top 10 of 2010 ...

(in alphabetical order)

BLACK SWAN

Directed by Darren Aronofsky

I love when I am truly excited for a film and it does not disappoint. BLACK SWAN is that experience for me. The moment it ended, I wanted to watch it again and again. I still do. It effects all who see it, regardless of how much they enjoyed the film. It just crawls under your skin and stays there until you start to sprout feathers of your own.

THE FIGHTER

Directed by David O. Russell

I knew after five minutes of watching THE FIGHTER that I was about to see one of the best pictures of the year. The film has an energy that really gets you in the mood for a good wallop. The entire ensemble knocks the movie out of the ring and Russell finishes by making the best film of his career.

I AM LOVE

Directed by Luca Guadagnino

Every once in a while, I go to the movies just to go. I don't take notes; I don't write about it afterward. I just sit back and enjoy the experience. I saw I AM LOVE like this and it was like heaven. It is beautiful in every regard it can be - from picture and sound to performance and dialog. I too was love when it was done.

INCEPTION

Directed by Christopher Nolan

When I saw INCEPTION in theatres, I was disappointed. I wanted it to be more emotional, to be more revealing about humanity and our collective subconscious. When I watched it again at home, I realized I wanted it to be something it just wasn't. And what it is, is pretty freaking awesome.

THE KIDS ARE ALL RIGHT

Directed by Lisa Cholodenko

Some will say that indie film director, Lisa Cholodenko, sold out when she made THE KIDS ARE ALL RIGHT but I commend her for making the marginalized, accessible. The incredibly talented cast is so earnest in their love for each other as a family that you can't help but feel it too. This is what a family looks like.

THE KING'S SPEECH

Directed by Tom Hooper

I am very happy to see that THE KING'S SPEECH family is the buzz of awards season this year. Director Tom Hooper's emerging career is so promising and his work here is seemingly effortless. And with Colin Firth on the throne, it wouldn't surprise me to see the film crowned king come Oscar time.

SHUTTER ISLAND

Directed by Martin Scorcese

Martin Scorcese's psychological thriller, SHUTTER ISLAND, was the first truly great picture of 2010. It is not without its flaws but it presents itself and its ambitious agenda with great confidence, so much so that you feel as if you too are thrown right onto the island with everybody else, at the center of an elaborate mind game that you may not survive.

THE SOCIAL NETWORK

Directed by David Fincher

THE SOCIAL NETWORK is something like a perfect picture. Every element comes together to provide both entertainment and insight in a way that is as astonishing as it is unexpected. People scoffed at the idea of a Facebook movie (I may have done some scoffing myself) but how could we ever have known that this is what they would do?

TOY STORY 3

Directed by Lee Unkrich

For the second year in a row, the Pixar people have made me cry like a baby at the movies. TOY STORY 3 seemed like unnecessary pandering in concept but its execution is so daring and delightful, that it is easily the best of the three. The fact that some of the most tense and emotional film moments of 2010 came from an animated feature is a great feat for many.

WINTER'S BONE

Directed by Debra Granik

Debra Granik's chilling thriller, WINTER'S BONE, was one of the year's most unexpected surprises for me. It is an incredible testament to the human spirit and it showed me a side of people in a little corner of the world that I had never imagined. Jennifer Lawrence gives the breakthrough performance of 2010 in this film.

There you have it, folks. My 10 favourite films of 2010. Stay tuned for some very big changes around here and, of course, the announcements of the 2010 Mouton d'Or Awards coming later this month. In the meantime, here are my 2010 honourable mentions:

BIUTIFUL

Directed by Alejandro Gonzalez Inarritu

CATFISH

Directed by Henry Joost and Ariel Schulman

EXIT THROUGH THE GIFT SHOP

Directed by Banksy

HEARTBEATS (Les Amours Imaginaires)

Directed by Xavier Dolan

A PROPHET

Directed by Jacques Audiard

BLUE VALENTINE

Written by Derek Cianfrance, Joey Curtis and Cami Delavigne

Directed by Derek Cianfrance

Starring Ryan Gosling and Michelle Williams

Cindy: How do you trust your feelings when they can just disappear like that?

Gramma: I think the only way to find out is to have those feelings.

When they say, “For better of for worse,” in wedding vows, I believe they are referring to BLUE VALENTINE in regards to the worse part. Novice feature filmmaker, Derek Cianfrance’s latest is a very particular snapshot of a very specific place in a relationship that far too many people know far too well. And only few of those people live to tell the tale with their wits still about them. In reality, this space is an incredibly difficult test of the mind, the spirit and the heart and every effort is usually made to avoid getting there. It is one of the darkest stages a relationship can reach but Cianfrance is not the least bit afraid of the dark.

Ryan Gosling and Michelle Williams, an indie dream couple if I’ve ever heard one before, are Dean and Cindy, a young couple with a little girl, living their married life in rural Pennsylvania. They have been together for six years but those years have been far from kind. At the moment we meet them, Dean is feeding his daughter breakfast while Cindy is getting ready for work – an ordinary morning for many a couple, I’m sure. The difference here is that this kitchen is weighted down with a crushing tension that is evident in every look given and every word spoken. She seems appalled by his every action and influence over their daughter and he seems to know it. The room is rotten with the stench of hatred.

Dean and Cindy know they don’t have much time left and decide to get a room at a cheap motel in New York City for the night in hopes of working through their issues and rekindling their romance. Their intentions are sincere but the fight is so insurmountable at times, they each struggle with their resolve. Gosling, while somewhat overwrought in his character’s intensity, must be commended for the amount of evident effort he made to make Dean real and not just a bad husband. That said, Williams is heartbreaking every moment she is on screen. Even the manner in which she clasps her fists during one of the film’s many sexual moments is emotionally devastating. Together, they genuinely feel like two people who have been oscillating between love and hate for years, so much so that it can be too much to take at times.

Cianfrance is a brave man for going to as many places of despair in BLUE VALENTINE as he does but he’s not stupid. He knows that an audience needs to breathe so he tells the entire story of their relationship in moments so that we can see that there once was a time when these two knew happiness, that there is another reason other than their daughter that they are fighting to stay together. The device is somewhat manipulative at times as its obvious point is to make us feel even worse that their relationship doesn’t seem to be salvageable. BLUE VALENTINE did make me feel pretty bad. I had been in some variation of that relationship in my life and it was hard enough to deal with then so, as fantastic as the film is in its most candid moments, I’m not sure everyone is ready to go back there again.

SOMEWHERE

Written and Directed by Sofia Coppola

Starring Stephen Dorff and Elle Fanning

Johnny Marco: I'm fucking nothing. I'm not even a person.

We are all somewhere. Even nowhere is another form of somewhere, which is good because there is an awful lot of nowhere and nothing going on in Sofia Coppola’s latest attempt at exploring just how mundane life can be, called SOMEWHERE. I’m not sure how Coppola, the Academy Award winning writer/director of LOST IN TRANSLATION and THE VIRGIN SUICIDES manages to get out of bed every morning if this is her view of the world, but at least I can say she knows how to capture that particular feeling of numbness better than most. The trouble is, even that shtick is starting to get boring now.

Stephen Dorff plays an aging movie star named Johnny Marco. It is never really clear just how bright his personal star shines – he is still making movies and he has some international notoriety – but he is stumbling through the motions of success his fame has afforded him. He lives in a hotel, where the party is seemingly never over, and has the same set of stripper twins visit him on a regular basis. These things might seem exciting to some but its all pretty much second hat for Johnny. Coppola uses static shots and repetition to reinforce just how slow everything is moving and how much of it is the same again and again. She makes her point as strongly as she can but I’m not clear how she feels that life being boring is revelatory at this stage. And painting the picture with a celebrity backdrop doesn’t make it any more original.

What does give SOMEWHERE some purpose and heart, albeit strained, is Johnny’s relationship with his 11-year-old girl, Cloe, played with strength and ease by Elle Fanning. Cloe has found herself abandoned by her mother for the summer and has to spend a great deal more time with her father than she is used to. Coppola is smart to allow their relationship to soar in its shared simplicity, whether that be through ice cream indulgence or video game wars, rather than have them just combust in their forced close quarters. Cloe’s increased presence in Johnny’s life is what prompts him to see it for the shallow existence that it is, and even though I did feel a little bad for the guy, I still don’t see why his story mattered any more than any other lonely existence out there.

RABBIT HOLE

Written by David Lindsay-Abaire

Directed by John Cameron Mitchell

Starring Nicole Kidman, Aaron Eckhart, Dianne Wiest and Sandra Oh

Becca: I like that thought. Somewhere out there, I'm having a good time.

There are times in our lives where we all find ourselves falling down a hole we didn’t see coming. We are just merrily making our way through the world we know when suddenly, and when we’re not necessarily paying attention, we find ourselves plummeting. While falling alone can be horrifying enough, tumbling down the same hole with your partner can be incredibly difficult and alienating. Nicole Kidman and Aaron Eckhart play parents who have recently lost their young son, Danny, to a car accident, in the delicate drama, RABBIT HOLE. Fortunately for them, director John Cameron Mitchell is there to catch them before they hit the ground.

Mitchell made a name for himself when he first wrote, directed and starred in the film adaptation of his own Off-Broadway show, HEDWIG AND THE ANGRY INCH (click title for review). His exploration of the marginally sexual not only continued its prevalence in his second feature, SHORTBUS, but it would go places most would never dare. In his third and decidedly most accessible work to date, RABBIT HOLE, Mitchell almost abandons sexuality entirely and turns his focus on grief and loss. I use the word, “accessible” loosely, as there is nothing easy about going down this particular hole. David Lindsay-Abaire’s adaptation of his Pulitzer Prize-winning stage play, looks at a couple suffering the unbearable loss of their only child, a story that we have seen a number of times before, and makes it feel like the individual experience it has to be.

Joining Kidman and Eckhart along their journey towards catharsis feels like a privilege, like we don’t really have the right to be there. Each of their experiences is so separate from the other’s, but you can always feel that they are fighting somewhere deep underneath their own hardship to find their way back to each other. Eckhart is strong as a husband who is struggling with doing everything he can not to forget but Kidman is just plain unforgettable. She is doing everything she can to heal, including reaching out to the young boy who was driving the car that killed her son, but she can’t tell if anything is actually working. After all, what level of sadness is needed to let go and see the world the way it once was? That’s the thing about rabbit holes though, both in metaphoric terms and in regards to this film, you’re not the same for having gone down them.

TRUE GRIT

Written and Directed by Joel Coen and Ethan Coen

Starring Jeff Bridges, Hailee Steinfeld, Matt Damon and Josh Brolin

Rooster Cogburn: I'm a foolish man who has been dragged into a goose chase by a girl in trousers and a nincompoop.

To have grit, one should have an indomitable spirit. For that grit to be true, one would need to subscribe to the theory that grit can achieve some sort of altruistic state of constant existence but that’s just not how grit goes, far as I see it. From where I’m standing, grit is something that, for those fortunate enough to have it inside, shows itself when life requires it, in those situations when you suddenly find yourself needing to get through something you can’t imagine getting through. In TRUE GRIT, directors Joel Coen and Ethan Coen exhibit a whole whack of grit getting through their first “remake” but I’m not convinced they ever reached any real truth along their journey.

TRUE GRIT is said to be an adaptation of the Charles Portis novel and not the 1969 Henry Hathaway film that starred John Wayne and won him an Academy Award for his performance as Rooster Cogburn. The role has now been appropriated by another Oscar winner, Jeff Bridges, and, while I cannot comment on the how the performances differ having not seen the original film, I can say that Bridges definitely lays down the law as a dirty boozer of a U.S. Marshall who has agreed to help one feisty, young lady (Hailee Steinfeld) find the man who killed her father, so that she can have him brought to justice. Matt Damon plays a bounty hunter who is also looking for the same man and so the three reluctantly embark on their mission. This is a western though so the pace of this mission is much more trot than gallop, leaving a lot of time to talk about the weather. The performances drive the film but not fast enough to have kept my interest in achieving the goal.

The Coen Brothers are indisputably two of the most talented contemporary film directors around and this is abundantly evident in TRUE GRIT. They take their craft very seriously and have clearly done their homework here. That said, the aimless nature of the western genre might have been too much for them as it seems to have exacerbated their philosophical tendencies to the point of meandering ramblings. The film can be gorgeous, thrilling and engaging but it took a little grit of my own to get through the leaner parts.

Black Sheep interviews Richard Lewis

Richard's Version

An interview with Richard Lewis,

director of BARNEY'S VERSION

Toronto born filmmaker, Richard Lewis’s written version of BARNEY’S VERSION, based on the 1997 Mordechai Richler novel of the same name, is not the version that made it on to the screen. Lewis doesn’t care though. He’s just happy it finally made it there.

The idea of turning Richler’s character piece about a man named Barney Panofsky, who can almost only see things his way, has been in existence since the book came out in 1997. Famed Hollywood producer, Robert Lantos, had bought the film rights but wanted nothing to do with Lewis, an unproven talent at the time. Whenever Lewis would approach Lantos about the film, Lantos would, “scoff at me and say something like, ‘Peter Weir is going to direct it,’” Lewis tells me over the phone from his home in Los Angeles.

Lewis’s plan worked; Lantos bought the script and hired Lewis to come on as director as well. That’s where things got messy. Another writer, by the name of Michael Konyves, came along with another version of BARNEY’S VERSION, which Lantos loved. Suddenly, Lewis’s script was out and Konyve’s was in. “At first, I was really shocked and pissed,” Lewis confides. “As soon as I read it though, I was elated because Michael’s draft was better.”

It wasn’t until 2006 that Lantos would finally start to take Lewis seriously. Lewis was involved heavily with a little TV show you might know called, “C.S.I.: Crime Scene Investigation” at the time, directing a little here, producing a little there. In his off hours, of which there were surely few, Lewis decided to write his own script for BARNEY’S VERSION and just make Lantos believe in his connection to the material.

Konyve’s draft focused on Barney, his great love and the smaller experiments with love that led to the great one. The novel’s murder mystery plot is downgraded to subplot in the film, which allows the message of love to flourish. “It was important for us to distill the book down to its essence and that lies really with the love story between Barney and Miriam.”

Barney and Miriam are played by Paul Giamatti and Rosamund Pike. The two meet at Barney’s wedding reception to his second wife (Minnie Driver) and he knows, without any question, that she should be the mother of his child. Meeting her a few hours earlier seems like it would have been much more practical but how often does life afford anyone that kind of convenience?

It isn’t easy to love a man who makes a play for one woman less than an hour after marrying another. Yet somehow, by the time BARNEY’S VERSION comes to a close, there is a great deal of understanding and compassion for the character that was not there before, that seemingly has very little to do with the circumstances Barney finds himself in. “Paul gave me a lot to work with,” Lewis states about his Golden Globe nominated lead actor. “One of the reasons we cast him is because he has a certain likability, even in his curmudgeon-ness, even in his disdain for the world, his variable lack of ease, he is still able to bring real genuineness. That authenticity is something we’re attracted to whether the character is ‘likable’ or not.” Lewis is certain to specify that he used air quotes on the word likable so I suppose the jury is ultimately still out on Barney Panofsky.

And while support for Panofsky himself may be slim, there is no shortage for the man playing him. In fact, Lewis attributes assembling his fantastic cast – from Dustin Hoffman and Rosamund Pike to Minnie Driver and Scott Speedman – simply to Giamatti’s presence, at least in part. “The script pulls the cast. You have a good script and you have one of the finest actors of our time attached to the project and actors seem to come from all directions to play with him."

An impressive cast, romantic locations (Montreal, New York, Rome) and cherished source material make BARNEY’S VERSION a delightful and surprising experience. They also make BARNEY’S VERSION an awards contender. Lewis is new to the game but he isn’t nervous. “If it doesn’t win any Oscars – and I think Paul is quite deserving – I still think it will be regarded as a good film. I’m happy with that.”

And after people see the film, I’m sure they will be happy too.

BARNEY'S VERSION is now playing in select Canadian cities.