The name Chanel has long been synonymous with simple elegance; this film tells, who she is and how she came to be, as comic origins stories like to put it. We first see little Gabrielle, or Coco, as she's being dropped off at an orphanage by her widowed father. Dad never even looks back at her, and she seems to realize at that moment that she'll never be able to truly rely on any man for emotional support. The film quickly moves forward, and before you can say Amelie, Coco has turned into Audrey Tautou. She's now singing in a cabaret at night, while working as a seamstress by day. She's introduced into upper crust society by Balsan, her wealthy lover at whose estate she stays. Here, she begins designing simple hats as a response to what she sees as the overly ostentatious and burdensome fashion of the society ladies she mingles with, but, is never a part of. Coco is a well told story of the subject and of the times. It portrays a determined and independent woman of the early twentieth century, who succeeded on her own; when she could have enjoyed a life of leisure and luxury if she so chose. See it, to learn about the woman behind the perfume.
Rating - 3 Stars
Couples Retreat is a high concept Vince Vaughn vehicle that should satisfy his numerous fans. He's teamed with regular partner Jon Favreau, and if you've seen their other films together you know exactly what to expect: dialogue that's both sarcastic, neurotic, and generally amusing. The premise is thus: four couples travel to a tropical island paradise for mandatory couples counseling, and none of the other fun stuff that you would normally expect to do on such a trip. Jason Bateman is the one who organizes the adventure, and he plays the overly sincere, earnest character that he's perfected in his films of late. He, along with his wife, played by Kristen Bell are really the only ones who take the whole thing seriously, as the others just want to enjoy their tropical paradise. By the way, Kristen Bell's last big hit was Forgetting Sarah Marshall, and like this film she spent much of it in a bikini; if it's a coincidence, well, it's happy one. In short, the film is basically a forgettable diversion that I did find amusing. If you enjoy the Vince Vaughn persona, then see it.
Rating - 3 Stars (Light)
Michael Peterson is, as this film lets us know, the most famous prisoner in the United Kingdom. His fame is largely due to his propensity for unprovoked violent attacks on anyone who annoys him, or, doesn't for that matter. Since he has spent most of his adult life incarcerated, most of his violent outbursts are directed against prison guards, seemingly, for the sheer fun of it. During a brief period of freedom between prison stretches, he earns money in some underground fights: using as his professional name, Charles Bronson. This film is packed with excellent performances across the board; unfortunately though, it's not enough. The narrative is choppy and uneven, and uses the pointless and annoying device of having the lead character address a live audience in order to "explain things". This isn't rocket science, and the conceit is both unnecessary and gimmicky. The film doesn't spend any time trying to explain his violent urges, although Bronson does claim on more than one occasion that he wants to be famous. We know it's not prison that did it to him since we see him pre-prison, pummeling a classmate at school. This guy is angry and after 90 minutes we never find out why. He eventually begins to explore his artistic side, and will soon become accomplished in this field: in addition to becoming a published writer. These facts are barely touched on in the film, and I have no idea why. A number of reviews have said that Bronson is some sort of modern A Clockwork Orange. A greater disservice to that outstanding film could not have been done. If the subject matter of this film interests you, you'd be much better off watching the endless stream of cable shows on prison life. Everyone I've ever seen has been more entertaining and illuminating than this one.
Rating - 1 Star
Drew Barrymore has been a successful and appealing actress for almost thirty years. Now, with Whip It, her directorial debut, she has shown that her skills extend to behind the camera as well. Ellen Page is Bliss Cavendar, stuck in a small Texas town, and pushed into local beauty pageants by her overbearing and determined mom (an excellent Marcia Gay Harden). Bliss wants something more, and, on an outing to nearby Austin she finds it; yes, you guessed it, Roller Derby. Actually the slight, fragile Ms. Page is the last person you would ever associate with this intensely physical sport, but, due to her skill in presenting her character, it all works quite well. This film is all about following your dreams and being your own person, and although these themes are common in many films, Whip It makes it seem as fresh as right now. This is all due to an engaging script, along with fine direction and acting. I might also add that it's great to see a film where women are the main characters, and where those characters are so appealing. Also, Jimmy Fallon as the arena's announcer provides some excellent comic relief to what is basically a serious film. Could this film predicate a Roller Derby revival? Of course not, but give this fine film a fling.
Rating - 3 Stars
Zombieland supposes a world where Mad Cow disease has mutated to the point where most of humanity has been turned into a bunch of rotting, incoherent, flesh craving creatures. If this sounds like fun, well, it is. Woody Harrelson plays a good ole' boy zombie killer, who hooks up with Jessie Eisenberg, essentially playing his same character from Adventureland, except for the zombie killer part. He packs a shotgun, and a whole series of rules that he follows in order to stay alive. One rule that's especially prescient: keep those extra pounds off, you'll need to run fast. These two mismatched killers eventually meet up with Abigail Breslin and Emma Stone, two con artists, and they decide to travel together to LA to an amusement park that they've heard is a zombie free zone. Someone here must like like the "Vacation" movies. Woody's character is also looking for what could be the last box of Twinkies, and Jesse is just looking for some familial attachment, which he never felt from his real family. Along the way there's plenty of killing and destruction: and one amazing cameo. Zombieland, although not quite as good as Shaun of the Dead, still makes for a fine spoof, with a few genuine thrills thrown in.
Rating - 3 Stars
Bright Star, the new film directed by Jane Campion, details the brief romance between poet John Keats, and girl next door, Fanny Brawne. In spite of some good acting by all of the principals, including Abbie Cornish as Fanny and Ben Whishaw as Keats, the film simply moves along at a snails pace. Initially, Fanny is unimpressed by Keats' poetic efforts, but they eventually grow close, and Fanny asks him to teach her about poetry and literature. Things get a little hotter, but since the film is rated PG, and Mr. Keats is not well for much of the film, much of their romantic activity consists of flowery verses and long looks. Okay, I'm not much of a poetry fan, and maybe that has tinged my critique to some degree, but frankly, this film just does not engage one enough to be truly worthwhile. This film is basically just a prestige production; without enough entertainment value.
Rating - 1 1/2 Stars
In a world where many people use Facebook, email and Twitter to relate to their fellow earth inhabitants, it's not so much of a leap to assume that one day we would have little use for our own physical bodies. In Surrogates, such a world exists, where people go about their daily lives via their android selves, which they control safely from home via an electronic hook-up. These remote stations resemble high-tech lounging chairs, that people rarely have to move from. The android selves are perfect versions of their masters, or, look nothing like them at all; in fact, they can even look like Bruce Willis with blond hair. Surrogates is an example of a great idea, with mediocre execution. Instead of seriously addressing issues that such a technology would naturally raise, the film quickly turns into nothing more than a routine police procedural with cardboard characters; there are some twists, but nothing all that surprising or exciting. Too bad, since this area has a lot of potential for some interesting film making.
Rating - 2 Stars
