Gravity

This whole problem could have been solved if you had a Time Lord...

Directed by: Alfonso Cuarón
Released: 2013
Rated: PG-13
Staring: Sandra Bullock & George Clooney
Times Viewed: 1

  But all Doctor Who jokes aside, Gravity reiterates a fact embraced by many a Whovian...Space is AWESOME. Not since Kubrick has a director translated the terrifying desolation and beauty that is Space onto the silver screen so spectacularly. Alfonso Cuarón utilizes Space like no other, continuously flirting with varying levels of depth of field as well as sound. The scope of Gravity, at first glimpse, appears vast and daunting but Cuarón brings this epic down to human reaches by interjecting immense cinematography with tight, extreme close-ups of it's leading lady. The director plays with reflections in space suit helmets, POV shots, and even drops nod to Kubrick if you're a cool enough cat to catch it. Alfonso Cuarón's variety, sharpness, and seamless blending of film and CGI creates an irrefutable Sci-Fi classic. The great this about Gravity thought is that it's hardly Sci-Fi at all..no aliens, no laser guns, just real space and real people. 

   Sandra Bullock, who wouldn't have been my (nor I believe the directors) first choice for the role, can be a bit distracting at times...a kinder word than annoying. Bullock was not the worst actress to be cast in a role such as this and did demonstrate great command over her body, hours of trainer where evident in her physical being, but when it came to a vocal presence she's not one I appreciated. She gives literal life to the phrase "Ah, Ahh, Ahhh." This being said, the Academy Award Winner brings a human "real life" presence to the role.

  Opposite Sandra Bullcock, the ever charming George Clooney does what he does best...charms his way through the film. George Clooney plays George Clooney, and the first 10 minutes of the film try so unbelievably hard to establish a (charming) character for Clooney it's somewhat painful. On the verge of cliché, his veteran Matt Kowalski (charmingly) reflects on past missions, mishaps, and memories with Huston as he takes his final walk throughout space, alluding to retirement and lamenting that he'll never surpass the record for most time spent wondering the heavens above.  

  Does anyone remember Michael Clayton? An angry, passionate George Clooney, that's what I'd love to see again...he's a talented actor but I feel he choses roles that too closely reflect him as a person. In that perspective Gravity was a perfect match, but I'd love to see him take a real, unforgiving RISK.

But perhaps I pick on the leads too much...I've yet to decide if my reservations about each actor was due to the performances or a sub-par script; my conscious tells me it's the later. 

  Unfortunately the script (mind you not the story) proved to be the film's weakest attribute. Majority of the film belongs to Bullock who, again, wouldn't have been my first choice for a role like this but my overall impression was she carried many of the scenes well enough. The attempts to build an emotional back story for her character Ryan Stone failed,  transforming from bone dry to down right cliché. Creating back story for a character is important so the audience can develop that emotional connection and, ESPECIALLY in a film like Gravity feel the character's tension, anxieties, fear ex. as they push forward to the climax and an undeterminable end. Again, this was more the writers fault than Bullock's. I do appreciate we didn't get any cheesy flash backs of Stone on earth with her beloved daughter, the accident, and Stone's sedated life afterwards. In the hands of another director, poorly plotted flash backs such as these could have ruined the entire film; thankfully Cuarón keeps us in the now, in the space, and in what's important. Any return to Earth before the finale would have broken the atmosphere and caused utter disaster. For keeping such consistency, I must say bravo Caurón on a bold decision.

  Sound, or the absence of sound surrounds Gravity but doesn't let itself become the most memorable thing about the film...although it does make a sizable impact. Explosions are witnessed in almost complete silence with nothing but Steven Price's haunting and inspiring score to accompany them.

Check it out here!

  

  While the character development and back story may be predictable, the film itself is not. Visually unique, one cannot help but return to Kubrick's game changer 2001: A Space Odyssey and remember the impact it had on audiences and film makers alike. Just consider what Gravity means for this generation? With Star Trek and Star Wars with their own come backs underway, Gravity has certainly forced the sequels to up their game. The CGI is flawless and the use of the 3D is the BEST I've ever seen. The cinematography is unbelievable . Simply unbelievable. I would attempt to describe it but in Gravity's case, the pictures really are worth a thousand words. 

    There's not much else I can or will tell you about Gravity other than GO SEE IT! Go see it in Theaters in 3D. It is without a doubt THEE film to watching this fall season. It's an experience unlike any other that you've had at the theater. Tension, anxiety, and frustration are all felt and shared by the audience. Visually impeccable and emotionally heightened, Gravity simply cannot be missed. 

Anna Karenina (2012)

  A revolutionary vision that stops mid revolution. 

Directed by: Joe Wright
Released: 2012
Staring: Keira Knightly, Jude Law, Aaron Taylor-Johnson, Matthew Macfadyen, Domhnall Gleeson, Alicia Vikander, Michelle Dockery, Kelly Macdonald, & Emily Watson.
Rated: R
Times Viewed: 1

  If you know me, you know THIS is my kind of film. Victorian bustles, lace, taffeta and tool. Hats and feathers. Jewels and dramatic silouhettes. Yes, I'll admit I'm a costume whore. Periodical costume whore. Victorian periodical costume whore to be specific. I love theater and fireworks, magic and romance. Needless to say, when this trailer was released I was a tad bit excited. Not only did it star the lovely and talented Keira Knightly along with Jude Law, but was being directed by Joe Wright; master of the modern day romantic period piece. This makes sense yes? Yes. For those of my readers who are not up on the know who of directors, Joe Wright directed Atonement and Pride & Prejudice.  With an academy acclaimed director and killer ensemble of actors, check out that list above, I had this one pegged to beg a big contender at this year's academy awards. Come awards season though, the film seemed to be all but forgotten about in every category save Costume Design, Art Direction, and Cinematography & Score. This leaves the viewer believing this was solely a visually accomplished film and nothing else. So what happened? After FINALLY tracking down a copy of the film I think I have an idea.

While visually striking, the vast scale and grandeur of Joe Wright's Anna Karenina sometimes engulfs the actors; swallowing performances and the well developed production.

Now, I'm not going to lie, I've never read the entire novel. It was one of those HUGE pieces of classic literature I picked up in 8th grade thinking I could finish it and soon discovered it was not meant to be. From 8th grade, I felt I simply didn't have the time to finish the lengthy book, so Anna Karenina has never made it's way from my "Want to read" to "Read." shelf....I tell you all this to reiterate that this review will not be a comparison of book and film (screen play) adaptation. I will be reviewing visual aspects of the film along with acting/character progression in relation to THIS FILM.

Set, cinematography, and an unique approach to a classic

  The visual/cinematographic aspects without a doubt, are what drive this film to existing apart from other period, costume dramas. The revolutionary idea behind the spectacle is setting all scenes in St. Petersburg on (a) stage and transitioning the scenes as a play transitions sets. I wish I could find a clip of the opening scene because it's that scene that establishes to the audience the new and unique road that Wright has chosen to take. The bustling, "fake", acting, world of city life in St. Petersburg is contrasted by natural, organic, sweat and blood "reality" of life in the country. The transformation between the staged city and the natural city, while absolutely brilliant, lost me at times In various shots it seemed as though there should be even MORE over exaggeration or at least transitional method from stage to field. On several occasions I wondered if the actors really had left the set of the city or whether it was just an abrupt stop of the set changing motif the film carried. I honestly thought the revolutionary vision had stopped mid revolution. This was until I realized that the stage was the city and the large, open fields were the "real world" of the country...but this realization didn't happen until the film was almost over! As the film progressed, I though they had just forgotten the set changes; using them simply as a lure to gain the audiences attention for the first hour and a quarter...but that would be an amateur mistake. While the set metamorphosis IS used LESS as the film advances, it's not completely abandoned.

At work in the fields 

  This being said, I truly loved the concept of the set transitions and wish they would have used it to the extent they did in the opening and establishing scenes. The form is so unique to film, the viewer CAN NOT stop watching. It's an engaging technique that reminded me quite a bit of Kenneth Branagh's Hamlet from 1996. *One of my favorite films* While Branagh used cuts in his film, in many scenes servants are seen moving certain set pieces and working in the back, transitioning the scene from one location to another. 

The films even bare similar posters as well as several artistic shots and set design.

As Jude Law throws torn pieces of a letter into the air, the shreds turn into falling snow. Beautiful

This action is reminiscent of the wedding scene at the beginning of Ken Branagh's Hamlet (1996)

The "Play" of Anna Karenina's life in St. Petersburg is set within the "Play" of the stage.

"The play's the thing, wherein I'll catch the conscience of the king!"

Hamlet also deals with plays inside plays, who's acting, who's catching who, what is real and what is for show ect. ect. Branagh's adaptation deals heartily with the young Prince putting on a show for his Uncle the King. The film features an abundance of rich gold tassels and fringe along with velvety red curtains. Anna Karenina utilized many of the same decorations.

Anna Karenina

Hamlet

   The sets designs were amazing and it's a shame Sarah Greenwood & Katie Spencer didn't win the Oscar for Production Design or Seamus McGarvey for Cinematography. Sadly though, I feel like the design and over designed approach out weighed the story and performances. This film went from a beautiful retelling of classic in a unique way, to a film who's main focus is it's design and distinct staging. I believe Branagh's Hamlet could handle the lush furnishings because the performances were just as bold. Not say the acting in Anna Karenina isn't fantastic, because it is, I just feel the story was told more through visuals and less through acting/performances/words.
       Now for me this wasn't a horrible thing, I enjoy spectacle/pomp/avant-garde, it's just a fact to keep in mind if you're wondering why you the viewer didn't see more of Anna Karenina during awards season.

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One member of the crew who DID receive an Oscar for her work on Anna Karenina was the impecable Jaquline Durran. 

To the costumes....the costumes the costumes the costumes. Honestly I cannot begin to describe how GORGEOUS and detailed every character's costume is in this film...I can try my best and show you every screen shot, but it wouldn't begin to describe how wonderfully Jaquline Durran's pieces move and work on screen.  She is a beautifully gifted designer that believes in collaboration with the actors to help develop the character's they've created from the film...an invaluable characteristic to have while working in film.
  In interviews, Durran has stated that Joe Wright's original concept was to mix 50's couture with 1870's silhouettes. In an unimaginable way, these two time periods mesh together almost seamlessly. Many of the fabirics used in the late 1800s (taffeta, brocades, silks of course) were hugely popular in couture houses of the 1950s...specifically Dior and Balenciaga. Not only are similar fabrics and necklines used, but  the majority of hair accessories are HUGE nods to fashionable, rich women of the 50's....when I say hair accessories I mean feathers. The use of feathers ares dramatic and unique. Instead of featuring a single plume as many films of the late 1800's or Victorian era did, Durran bends, clips, and position the feathers into new and fascinating shapes that seem both old and new. She remains true to the respective period, alludes to the 50s, but keeps the whole film relevant without loosing the characters in heaps of fur, feathers, and tool.  Here's a great behind the scenes short with  interviews from Jaquline Durran and some of the main cast...

There is a reason she won the Oscar people....

Jaquline Durran with some costumes from Anna Karenina

A very 50's pill box hat.

Another pill box hat as well as swooping 50's neck line.

Touch ups and a gorgeous feather hair piece. 

FUR!

Breath taking!

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Acting

  Now I'm not going to touch much on the quality of the acting in the film because when you have Keira Knightly, Jude Law, Matthew Macfayden, and Michelle Dockery you can assume, quite correctly, that the performances are great. Not to contradict myself though, sometimes the lavish epicness of the film does swallow the actors a bit leaving the story telling up the visuals and "wow factor" versus the the pure talent of it's main cast.

Keira Knightly- As the leading lady she does fantastic as always, but in this role Knightly did something that I don't believe she's ever done before. She made me hate her character...this doesn't pop up till the very end, but after hours of her not making up her mind, going crazy and ultimately killing herself I didn't feel much pity for the character in the last 20 minutes or so. I feel this is a strong quality though...it shows the audience developing with the character. I went from liking this young, fashionable  lady, to feeling bad for her, and ultimately not shedding a tear when she dies...cold hearted am I? Perhaps, but any actor that can make me feel a strong emotion one way or the other towards a character  has already done their job.

Jude Law- I felt the same way towards his character as I did towards Knightly's only in reverse. Frist hate, then pity...an interesting character.

Aaron Taylor-Johnson- I can't really say much for the young, somewhat unknown who played Anna's lover Vronsky. He was fine, neither a nuisance nor an asset...simply a pretty face who delivers lines in an obsessed, gentlemanly like fashion.

Matthew Macfadyen- Oh my gosh MR. DARCY I LOVE YOU'RE MUSTACHE! I say this in all honestly that I bore the most ridiculous grin whenever Matthew Macfadyen's character Oblansky was on screen...and NOT just because he IS Mr. Darcy...it was because he was so NOT Mr. Darcy. Oblansky is a total social deviant; loud, smiling, having affairs and not really apologizing for any of it. I. loved. it. A great performance that shows Macfadyen's true range as an actor.

Reunited and it feels SO GOOD! 

Michelle Dockery- Although her role is somewhat small, Michelle Dockery leaves her stamp on the character to the point where you're not sure if it's Princess Myagkaya (uh...Russian names) or Lady Mary Crawley. So yes, she does play somewhat of the same crass yet truthful character, but she just does it so well! Dockery's character is one of the only one's to remain a true friend to Anna through out her adulterous troubles. Now come on, who WOULDN'T want to have Michelle Dockery as their best bitch friend ready to slash any haters down with her sassy wit and sharp tongue? Plus I really loved her dress...

Michelle Dockery is judging you and it is NOT a secret...

Watching out for her friends and looking lovely in lavender.

Alright and finally if you're not sold on the whole "epic love tragedy affair" nonsense, you can watch for the real love story and the character that I enjoyed most in the film, LEVIN! Freakin' most adorable man in this film. His love for Anna's friend Kitty represents a sincere pure love that Anna and her brother Oblansky will never know.

 

Thomas Hacker I give you exhibit B to our "No Male Gingers Are Attractive" discussion.

I want a rugged ginger, Russian Farmer!!!

So in loooove!

Find me that ginger, get me that ginger, I will MARRY that ginger.

Yeay for the tragic, love sick ginger! In a plum suits no less!

Uh...AND I just discovered that he played BILL WEASLEY in the HP films. It's done.