Tag Archives: adaptation

iBoy

Every story is allowed one really big lie. I’ve said it before, but it is really necessary to restate for this movie because it has one really big leap you have to make in order for it all to happen. Happily, once it does, it is actually a reasonable tale of teenage heroics and recognition that the world, very often, just sucks.

Director Adam Randall’s sophomore outing of writer, Joe Barton’s (Humans) adaptation is definitely aimed at a younger audience, but is willing to (lightly) tackle some tougher subjects.

Bill Milner (Broken) carries the film well. We watch him come into his own as a young man, though not quite adult. His story, as a physical metaphor for adolescence, is actually pretty good. Silly at times, but good. In the other young lead, Maisie Williams (Doctor Who)  continues to broaden her cv away from Game of Thrones. Her performance here is compelling, but is certainly held back by the material from exploring all aspects and reactions to her situation. But, again, this is for a younger audience, so I gave her a pass on that.

Thrown into this mix of young folks surviving the projects are two main adults: Miranda Richardson and Rory Kinnear (Man Up). Without them, the story would have ended up feeling  like a comic book. They add just enough from the real world to make the story feel almost possible.

For a fun distraction with action, humor, and a some fanciful leaps of faith, it really is a good distraction by some solid talent.

Miranda Richardson in iBOY

Cardinal

Apparently, the new Norwegian substitute is Northern Canada. In this case, north of Toronto. Like Bellevue, Cardinal is a serial murder procedural in the thinly populated, icy north of Canada. Billy Campbell (Helix) and Karine Vanasse (Revenge) deliver nicely conflicted detectives in the introductory series (based on Forty Words for Sorrow) to what could be a good run of stories to come.

It is a dark tale, and a tad graphic, but all in service to understanding the characters. A good part of that darkness, and its effectiveness, is down to Brendan Fletcher (The Revenant), who has a ridiculously long cv for his career. Along with Allie MacDonald (Stories We Tell), the two are a twisted pair who we can’t help but want to watch, even if we don’t root for them.

Originally aired on CBC, it appears to be difficult to find, so the best I can say is watch for it when it airs elsewhere (and it will).

Cardinal Poster

My Life as a Zucchini (Ma vie de Courgette)

Animation is so often seen as a children’s medium. Zucchini turns this on its head by making the kids the subject of the film. And not just any kids, this bit of stop-motion (an oddly poetic medium for this tale) focuses on the broken, abused, and ignored children of society. It isn’t a maudlin tale, it is, in fact, hopeful and sweet, but it doesn’t ignore the harder truths in life.

The voice work (French and English) is interesting and subtly effective. By design, it feels almost documentary-like in its delivery. The approach and sound quality, however, also leaves it oddly distancing. Perhaps that is a good thing given some of the emotions. We get to hover above it all and enjoy the successes rather than struggle with the realities.

As his first feature, director and co-writer Claude Barras adaptation of this challenging tale is impressive and even snagged an Oscar nomination as well as other nods. There is even a delightfully weird short animation on the disc to enjoy (The Genie in the Ravioli) that exposes his odd sense of wonder and design even more. I imagine we’ll be seeing more of Barras and his crew in years to come.

Even if it isn’t overly brilliant animation (which isn’t to say it isn’t good), make time for this if you haven’t already. It is pretty unique in its tale and is definitely worth the 70 mins you’d need to invest.

My Life as a Zucchini

A Dog’s Purpose

Sometimes you just hate a movie for making you like it. This film is in that category. It is a near bullet-proof collection of puppies, romance, comedy, and life lessons. It isn’t a great movie, but it knows how to pull heart-strings. I have a love/hate relationship with being emotionally manipulated by a flick in that way. Sometimes it is just what I’m looking for, but I always feel dirty afterwards.

The primary success of this tale is down to a very few actors. K.J. Apa (Riverdale) and Britt Robertson (Space Between Us) in the primary section make a great couple. [For the record, this confluence of Robertson movies was  unintended and unexpected and there is still one more to come.] Robertson makes her moments seem almost improvised. Her naturalness and charisma are necessary to make the whole movie make sense. She has to become a true “love of his life” so that Dennis Quaid’s (The Words) resolution of the tale makes sense. And I also give props to Quaid for capturing some of Apa’s mannerisms to let us feel he is the older version.

And, of course, the voice of the various dogs by Josh Gad (Angry Birds Movie) creates the entire emotional level-set of the piece. Gad is kept at a very even energy, allowing the situations to speak mostly for themselves. He never goes to his extremes, which keeps it all at just the right sensibility with a loving and slightly baffled dog viewing the world through a very narrow lens and a pretty small brain.

Director Lasse Hallström (Hundred Foot Journey) is very comfortable in this arena and he keeps the script moving along. He lingers on the darker moments just long enough to allow another dive into the comforting light of reincarnation, which keeps him from having to keep raising those stakes past credibility.  I will admit that the handling of the transitions between segments was handled pretty well on those lines. The cadre of 5 writers on the script managed to merge their voices to something cohesive, but not something overly memorable. There were also some definite gaps in research on their part around K-9 dogs and police procedure.

See this with someone you care about or when you just need a sugary drink to raise your spirits. Or see it for Robertson, if you’re following her career. Or see it if you’re a dog freak and love pretending you know what’s going on in their furry brains. There is entertainment to be had here… not a lot to return to, but enough to snack on once.

A Dog

The Secret in Their Eyes (El secreto de sus ojos)

Sometimes you just miss a great movie when it comes out and have to play catch-up. In 2009, Juan José Campanella (Underdogs) broke out of his TV mold for a brief moment to deliver this quietly intense mystery/suspense romance that swept up awards worldwide. It is a highly complex story, playing with layers of fiction and reality across two time periods in a group of people’s lives. But it all comes together seamlessly and beautifully allowing each aspect of the story room to breath.

The tale is driven primarily by four players: Ricardo Darín (XXY), Soledad Villamil, Pablo Rago (Underdogs), and Guillermo Francella. One of the truely brilliant aspects of the film is watching the characters between the two time frames. They mature as well as visibly change in wonderfully subtle ways. The make-up is pretty amazing, but it is the actors and director that sell the shift. 

If you missed this, like I had, make time for it. It is really a solid film and story. If you are familiar with Argentine or Italian police procedurals, it will help (there are some significant differences with the US), but it isn’t required. This is primarily about the characters who are swept up in a decades-spanning case that haunts each of their lives in different ways.

The Secret in Their Eyes

Guardians of the Galaxy Vol. 2

Oh yeah, summer is here! James Gunn (Super) gave it a heck of a kick-off with GOTG Vol 2. If it isn’t quite as surprising as his first, it is still one crazy roller-coaster of a tale, retaining its unabashed and unapologetic sense of fun. The original movie was the origin of the team. This second go round is about fixing all the relationships and tying up the loose ends as we head into the Infinity War. In many ways it is what Fast & Furious wants to be, but has never had the writing and acting to match.

From the moment the movie starts you are set up to understand that the action will always be secondary to the characters and the fun this round. While not nearly as perfect as the opening to Deadpool, it comes close in its intention for setting the first frame. Admittedly, the rest of the movie tries just a bit too hard on all counts, but I suspect it will even out with rewatching. And, yes, I will be back watching this again.

In an effort to keep my promise and avoid spoilers, I can’t really go into much. I will say there are a couple fun cameos, such as Ben Browder (Farscape) who pop up. And Elizabeth Debicki (The Night Manager) did  a very credible Tilda Swinton/Cate Blanchette as one of the many challenges the Guardians face this round.

However, I will say, nay beg, Gunn to get rid of the Howard the Duck references. They are really jarring at this point and, frankly, pull me out of the movie every time. I get it is an 80s nod, but who really cares anymore?

Start your summer off right. I have no idea how the rest will go, but I’m glad it began with the crazy, psychedelic joy that is the Guardians. Sure it is sugar for the brain, but sometimes, that’s just fine!

Guardians of the Galaxy Vol. 2

Anne (Anne with an E)

When I was probably the right age to be reading Anne of Green Gables, my nose was, instead, buried in books like Stranger in a Strange Land. Which is to say, I missed this literary series growing up. And, in truth, given its sensibility, it wasn’t high on my radar, which is why this CBC production surprised me so much. I had no intention of watching the 8-part broadcast. But the lead, Amybeth McNulty (Morgan), was so engaging and the writing so clever at times, that I found myself sucked in. In fact, there was only one episode I cringed through (the 4th, as I recall).

There is quite the ensemble that support McNulty and pull together this series. They are primarily led by her adopted parents, Geraldine James (45 Years), and R.H. Thomson (Jesus Henry Christ). In addition, Lucas Jade Zumann (20th Century Women) fills an important smaller role. Like McNulty, his character feels out of time on the Island and in that period. He was a bit more jarring in his portrayal, but his character was very accessible. 

As I said, I haven’t read the books so I had no expectations around the tale. From those that do know the books, I’ve heard there are some big changes. Not all of those changes are being happily embraced, though some are. Like any classic series, there is risk when adapting it. I can say that as an outsider, I didn’t find any of the choices objectionable given the genre of the story.

Though it was aired originally on Canadian TV, it turns out this will soon stream on Netflix under the new moniker, “Anne with an E”. Give it a shot, you may may be as surprised as I was. Do bear in mind that it is set up for a second series (whether that matches the books, I have no idea, but I doubt there is a correlation). It isn’t overly cliff-hangery, but there are definitely some purposefully loose threads. I will admit, however, that the set up for going forward is less intriguing to me than I’d like it to be given this inaugural season.

Anne

Arrival (redux x2)

I haven’t written up a rewatch in a long time. In part because there just hasn’t been a reason. However, last night I rewatched Arrival for the 3rd time, and I’m still finding little moments and lines in it that I missed. The script and direction continue to impress me, as does Amy Adams’s performance.

I’ve debated vociferously with folks since last year about the quality of this film. The more I watch it, the more I stand behind my feeling that it was ripped off at the Oscars. It is one of the tightest, most intelligent scripts I’ve seen in a very long time. It certainly was better than anything else up for the awards. The more often I see it the more I am seeing in it from a craft point of view. And, more importantly, it never seems to get boring. The pacing and the emotional run remain compelling on every watch. Joe Walker’s editing drives a  pace and energy that cannot be ignored.

Denis Villenuve may have created his masterpiece with this film, though I am hopeful it is just the beginning of his efforts that were already impressive. Similarly, I’m hoping the script by Eric Heisserer is a beginning rather than a peak (especially if you look at what he did before). 

If you haven’t seen this flick yet, for whatever reason, get it in your queue. Forget the genre, that isn’t the focus. I’ve watched it with folks who normally walk out of the room the second they see a spaceship or have a whiff of science fiction; even they were impressed with the movie. If you have read the original story and weren’t overly taken with it, ignore that and see how this adaptation takes that tale to a whole new level (a rarity in film, to be sure).

Yes, I’m badgering you. You know who you are. See this film… see it more than once and you’ll understand my comments even better.

Vanya on 42nd Street

If you’re even the least bit interested in this film, it helps if you love live performance, Anton Chekov plays, and/or Louis Malle. This final film of Malle’s captures André Gregory’s (My Dinner with André) run at directing Uncle Vanya with the definitive idea of it being about the human condition. Not about plot, or characters, but solely about the “meaning of life” for lack of a better phrase; basically a discourse with character.

Certainly, I’d agree that Chekov reflects on life. However, where I think this Vanya misses is that Chekov is also funny. Dark funny, but funny. The performance is based on David Mamet’s (Redbelt) adaptation of Chekov’s play. Gregory further adapted it for this screen version. The resulting script is beautifully written and full of wonderful moments and monologues. But even the script seems to have missed some of the poking of fun at the characters and the audience. How much of that is Mamet and how much Gregory’s surgery, I can’t say as I don’t have the source material to compare.

The challenge of filming a play is that the heightened aspect of the script almost always feels forced. In addition, this film captures only one version of the play. It had been work-shopped for 5 years and performed privately only 12 times prior to capturing it on film. Each of these performances was done with the audience very much as the onlookers are in the film itself. And each performance was reportedly markedly different, by design.

Louis Malle chose to tackle this tale and capture it for posterity after seeing several of the very limited live performances that Gregory’s group put together. His direction is practically invisible, allowing us to live in the play/rehearsal the way it was conceived to be performed live, inches from the actors. By the end of the production, it feels real, nearly natural.

The cast are all equally powerful, starting with Wallace Shawn (A Master Builder) in the title role. Along with him, Julianne Moore (Freeheld), Brooke Smith (Bates Motel), and Larry Pine (House of Cards) really drive the bulk of the story.

This isn’t really a play, nor is it a film. It is a hybrid of sorts. The “making of” documentary on the disc can explain that better than I in this short space. It certainly provided some confirmations for me about the interpretations as well. You don’t get to see performances like this often, which makes this a great experience. Whether the play and message will resonate I imagine will depend on many things for each individual watching.

Vanya on 42nd Street

Men, Women, Children

Despite its feel, director Jason Reitman’s (Labor Day) latest examination of society is less satire and more truthsaying, though the delightful narrative line by Emma Thompson (Bridget Jones’s Baby) might confuse you on that point. The result is an entertaining, but somewhat harrowing view of the world of digital communication across both gender and generational lines.

Reitman co-wrote the film with  Erin Cressida Wilson (Girl on the Train), both of whom have juggled complex storylines in their work. This story is no exception, but despite the scope attacked in this film it is all kept clear and relate-able. It works, in large part, thanks to the solid performances of the ensemble.

  • Adam Sandler (Hotel Transylvania) and Rosemary Dewitt (La La Land) struggle with marriage.
  • Judy Greer (Grandma) and Dean Norris (Remember) are focused more on how much to intercede in their children’s digital lives. While Greer’s onscreen daughter, Olivia Crocicchia (Rescue Me), must face the realities of what and how much to reveal; the line between fame and loss of self.
  • Elena Kampouris (Cobbler) battles victimhood of her self-identity. 
  • Ansel Elgort (Allegiant) and Kaitlyn Dever (Laggies) attempt to find safe harbor during existential crises. These two, of the younger cast, had the most interesting and layered characters and became the central spine of the movie.
  • Around them all spins Jennifer Garner (Nine Lives) in the disturbing role of trying to control all of the above. Their are consequences, positive and negative, for that effort.

Finally, there is also a narrative line that follows the Voyager satellite, narrated hysterically and with appropriate gravitas by Emma Thompson. While an interesting and poetic layer to add to the rest of the story, it may have been an element too far. Thompson’s narration could have existed without it, though it would have had less reason to drive the tale. The story of the various people stood on its own well enough, and the journey of Voyager didn’t quite click for me as a parallel nor as the message Reitman hoped for.

Overall, this is an effective and philosophical movie. And while that may not sound entertaining, it is. You’ll find hooks that you can relate to in at least one of the threads and Thompson’s commentary alone is riot.

Men, Women & Children