The term “abortion comedy” has been used to describe Obvious Child, but that narrows the scope of all that the movie really is. Yes, it most definitely is a hilarious film wherein a woman has an abortion. But I think of it more as a great feminist romantic comedy.
[Review: Obvious Child | Slackerwood]
The opening credits sequence of a mother and child running through a field of bluebonnets leaves no doubt about the Texas setting of The Trip to Bountiful, and the costuming and set design perfectly reflect the time period. Page has a frumpy and careless appearance about her in the role to represent Mrs. Watts’ single mindedness. All she wants to do is go home… but unfortunately just returning to a place can’t bring back past people or events.
(via Lone Star Cinema: The Trip to Bountiful | Slackerwood)
The chemistry between Bell and Dohring’s characters still flares up, although their attraction seems to have cooled a smidge over the years. The relationship between Veronica and her PI dad (Enrico Colantoni), however, seems as tight as ever. As one expects from the mind behind the show (Thomas co-wrote the screenplay with show producer Diane Ruggiero), the wit and smartassery are aplenty.
(via Review: Veronica Mars | Slackerwood
Written amidst the other films I’ve seen this week. I’m so tired.
It seems strange to select such a New York City-centric film as Spike Lee’s 25th Hour for Lone Star Cinema, but the epilogue for the movie was filmed in our state. So, here we are.
(via Lone Star Cinema: 25th Hour | Slackerwood)
British actor Elba speaks with a sort of closed-teeth diction to emulate Mandela’s speech pattern in Mandela: Long Walk to Freedom. While his strange pronunciation can be slightly distracting, he plays Mandela as dashing, determined and convinced of his right cause. Surprisingly though, it’s Harris who impresses the most here. Her Winnie is fierce and beautiful, discovering her grit and her own skill for leadership as her husband is held for decades on Robben Island. Harris shows immense talent and range in her supporting role.
[Review: Mandela: Long Walk to Freedom | Slackerwood]
One can’t really view this film as “based on a true story,” because it isn’t. Certainly these characters are based on real people who had real dealings together (well, Disney and Travers anyway). But as perfectly as Thompson plays this version of Travers, the author in Saving Mr. Banks seems a flimsy copy of the real thing. As I watched the film, I recalled a New Yorker article I had read some years ago about Travers and her thoughts on Disney’s musical (get it while it’s free!). We are told nothing here of the author’s adult relationships, and the character demurs when asked about children. The grumpy Travers of the film, we are led to believe, was formed and inspired by the events of her childhood — never mind the years afterward.
[Review: Saving Mr. Banks | Slackerwood]