Way late review: Atonement

Having recently finished watching seasons 1 and 2 of Downton Abbey, I’ve been spoiled by a well done serial drama (i.e. soap opera) set around World War I and centered on an aristocratic family and their servants. That’s not to say it’s the greatest but it’s tough to beat the first season. Atonement would seem to be more of the same, minus the serial aspect. Except Joe Wright’s film is unique in almost every way except the one that matters most – expert storytelling.

Briony (Saoirse Ronan) is a young teenager in a wealthy English family. One day Briony sees her older sister Cecilia (Keira Knightley) and Robbie (James McAvoy), a servant’s son whose education was paid for by the man of the house, get into a strange entanglement. From Briony’s point of view it appears as though Robbie is forcing Cecilia to take off her dress and jump into the large fountain in the backyard. In reality, Cecilia decides to take off her dress, remaining in only her slip, and jump into the fountain in order to rescue a piece of a family heirloom that was broken off accidentally by Robbie and sat at the bottom of the fountain. Both Cecilia and Robbie feel foolish for what took place. Meanwhile Briony is certain her sister has been assaulted in some way. Later that day Robbie struggles to write an apology. He’s conflicted between feelings of guilt and lust. One letter expresses remorse for the earlier incident while another crudely puts to words Robbie’s desires for Cecilia. Grabbing the wrong letter and handing it to Briony was Robbie’s first mistake. The next being his encounter with Cecilia before dinner. Rather than being turned off by Robbie’s explicit note, Cecilia seems turned on and before we know it the two are unbuckling belts and popping off buttons. Briony walks in and cuts things short. The evening goes from awkward to vengeful as Briony finds a way to get back at Robbie, who she sees as a predator. Briony pins a violent crime on Robbie and the servant’s son finds himself in prison. Cecilia is heart broken. Briony is satisfied. Justice was served in her mind, even if it meant lying about the perpetrator.

Robbie eventually finds himself in France fighting in the war. He could serve in the war instead of in a prison cell. That should have been a clear message about how brutal the war was. Robbie roams the fields looking for a way back home as he and a couple other men lost their troop in the thick of battle. Along the way the men see the horrors of WWI. Cecilia becomes a nurse, as does Briony. Cecilia won’t speak to her younger sibling as she hopes to one day reunite with the man her sister put in prison with a false testimony.

The story is rather simple and, likely as a result, is told in a broken time shifted manner. Sometimes scenes are replayed from a different perspective or the year is fast forwarded or rewound abruptly. This broken narrative doesn’t resolve the bloat in the film. For every creative use of a typewriter mixed with a symphony serving as the soundtrack or interesting shots of everyday life, there are long shots and scenes that overstay their welcome; contributing little to character development or story progression. Beautifully shot and far more experimental than most period pieces (even the expertly shot Downton Abbey), the pacing is off and no amount of time shifting can cover that up.

As the title of the film more than hints at, the story revolves around atonement. Briony’s misguided and jealousy driven action to pin a crime on an innocent man leads to unintended consequences. Or did it? Didn’t Briony know she was dooming this servant’s son, whom her father must have loved as he paid for his schooling and her sister loved too, to a life in prison or worse? While Briony feels much remorse, she never repents. Almost as a way of self punishment, she becomes a nurse who has to do the dirtiest jobs and the toughest emotional assignments. And the way the film ends, I’m not sure if we’re supposed to admire Briony’s “gift” to Cecelia and Robbie or if we’re to shake our heads in disbelief of the arrogance. I know which side I fell on.

An interesting visual take on a period piece, Atonement achieves its heights when the actors are allowed to interact with one another and not contend with a desire to extend the story beyond its capabilities by employing time shifting and other similar narrative trickery. Based on the epic nature of the filmmaking and the title itself, Atonement feels like it wants to say something more than it does. An interesting film with a lot to admire but also reaches a bit too far in certain aspects as to render it less potent.

[xrr rating=3.5/5 label=” “]

This post is part of my Way late reviews. Read more reviews here.

[youtube width=”640″ height=”360″]http://www.youtube.com/watch?v=rkVQwwPrr4c[/youtube]

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Way late review: Dial M for Murder


Having been scarred by seeing the most terrifying scenes of The Birds at a young age, I’ve mostly avoided Alfred Hitchcock’s films. Nothing personal, it’s just the thought of those feathered killers that kept me away. After many years I think I’ve finally recovered and am able to take in the renowned filmmaker’s archive. Since it was on Netflix streaming, I decided to watch Dial M for Murder.

Tony (Ray Milland) is a former tennis star whose wealthy wife, Margot (Grace Kelly) is cheating on him with an American crime writer Mark (Robert Cummings). Tony finds this out and decides he’s going to kill his unfaithful wife. The deceit within deceit proceeds with no shortage of twists for which even I, a Hitchcock newbie, am aware are a hallmark of the prolific director.

Everything takes place in one setting which means it is heavily dependent on the acting. Fortunately, the acting is top notch, not annoying as this period of films (really anything before the late 60’s) tends to encourage. Annoying only because the times change, not because it was terrible acting. If we could take back some of today’s best performances and show them to those in the ’50s the audience there would probably wonder if our men and women in front of the camera are even attempting to perform.

Not being the biggest crime and mystery film fan on the planet, I found the constant twists and turns to be a bit tiring towards the end. That’s me, but my eleven year old and seven year old children were fascinated by it all. Even though they struggled to keep up with the fast talking English accents, they were glued to the screen. In fact, my daughter asked me if she could watch the first part of the movie she missed. Who knew that Hitchcock films would appeal to grade schoolers in the year 2012?

Dial M for Murder feels more like a play than a film due to its single setting. Nonetheless, it holds up with compelling performances and a story that begs you to hang on until the very end. Plus, there are no killer birds stalking people in this one. That’s a bonus for my fragile psyche.

[xrr rating=3.5/5 label=” “]

This post is part of my Way late reviews. Read more reviews here.

[youtube width=”640″ height=”360″]http://www.youtube.com/watch?v=WoPceh_qiP0[/youtube]

Way late review: Damsels in Distress


Whit Stillman makes movies you either love or hate. His fascination with telling stories about yuppies tends to have that reaction. I generally enjoy his films. They portray characters and a world very few do. Twelve years later, Stillman makes a new film Damsels in Distress, and while the characters speak the instantly identifiable Stillman dialogue, something has changed. Something funny. Pure satire in a world unlike those the director has created in past films.

Violet (Greta Gerwig) and her two friends, Rose (Megalyn Echikunwoke) and Heather (Carrie MacLemore), at Seven Oaks college are out to save the world. OK, maybe not the world, but definitely their boorish male counterparts and those deemed suicidal risks. Violet immediately targets Lily (Analeigh Tipton) as a new student in need of intervention. Lily isn’t a freshman as Violet guessed. She’s a sophomore transfer. She, unlike Violet’s entourage, doesn’t completely buy into the mission the trio is on. When the new foursome walks around the campus together for the first time the original trio nearly pass out from the supposed stench produced by a group of guys who walk by. Rose looks as though she may regurgitate her last meal. Lily is perplexed. Violet explains that Rose is especially sensitive to odors and the boys from a certain house are particularly odorous. In pity, Violet condescendingly sees it as her duty to reform these boys. No handsome and winsome young men for these young ladies. They’ll take the dufus who has yet learned his primary colors, thank you very much. And they’ll do this all in the name of saving a lower class; pulling them up from the depths to the heights of at least middling acceptably. The exaggerated attitude and actions pokes fun at both liberals doing more harm than good while they save the poor they wouldn’t want near their precious suburban homes or Evangelical Christians who have a disdain for the heathens they attempt to clean up and save from a life of sin.

There is little to no narrative holding Damsels together. Lily’s first year at Seven Oaks is filled with odds and ends. She provides a dose of reality in most scenes lacking everything but reality. Yet even Lily isn’t completely exempt from serving as a prop in Whitman’s satirical take on life at one of the oddest colleges in cinema history. She finds the wrong guys. Instead of dumb brutes she dates men of higher intellect who are anything but honorable. One is an eight year student posing as a successful young professional while another is an international student whose religion supposedly holds to a sexual “purity” that is anything but.

The suicide prevention center Violet heads up gives donuts to those in need of help. Don’t dare take a donut if you are not a candidate though. Donuts are for suicidal risks only. Violet promised the company providing the donuts that all the donations would go to those needing them, not those simply out to get a free pastry. Things get stranger. The preferred method of therapy is dancing. In fact, it’s the only thing resembling therapy of any sort. All other displays of help are in the form of interrogating potential “patients”, ensuring they are worthy of free doughnuts and dance sessions. If this sounds ridiculous and silly, it is. It is also very funny, as long as you don’t completely hate the characters and the world they inhibit. The arrogant, obnoxious girls and the dumb boys they seek to refine require buy-in or else Damsels will feel like a slog.

Debbie: You think I’m going to kill myself and make you look bad?
Violet: I’m worried that you’ll kill yourself and make yourself look bad.

Title cards split up the movie into sections not unlike a silent film or an episode of Frasier. The technique mostly works until the end when the movie overruns its optimal time and the title cards serve as reminders that the credits should be rolling. All good things must come to an end, some should come a little earlier than others.

Whit Stillman makes a welcome return after nearly a dozen years since his last film. Damsels in Distress is a witty comedy with commentary on a variety of topics but never heavy handed. The laughs come along with a satirical backdrop and characters to match. Not everyone’s cup of tea but possibly a surprise for those who haven’t enjoyed Stillman’s past films. Damsels was a pleasant surprise for me.

[xrr rating=4/5 label=” “]

This post is part of my Way late reviews. Read more reviews here.

[youtube width=”640″ height=”360″]http://www.youtube.com/watch?v=J0RrTl3tA1w[/youtube]

Way late review: The Grey


Based on how some (many?) would describe The Grey, it was all about Liam Neeson punching some wolves in the face. When did Liam Neeson become 80’s circa Sylvester Stallone? I remember him most for his roles in Schindler’s List, Michael Collins, and Rob Roy. Certainly it’s the 2000’s where Neeson’s name becomes associated with big action with little brains. The Grey is a little more intelligent and nuanced than his action films of late. In other words, there is more to it than awesome action set pieces and our favorite Irish tough guy bashing in the brains of monster wolves.

Some rough and tumble guys make a living drilling for oil in Alaska. John Ottway (Liam Neeson) has the honor of protecting them from wolves. He uses a rifle to pick off the predators before the canines pick off the men. The team sets off for a new job on a flight. The ride goes from rough to tragic and crashes into the Alaskan wilderness. Seven men survive only to find themselves in a new battle for their lives. They’re being hunted by a pack of wolves whose territory they’ve intruded on. To call these animals “wolves” is like calling a T-Rex “Barney”. These wolves are on the Barry Bonds training program. In fact, Barry Bonds would likely advise these wolves to lay off the PEDs.

Ottway is the leader. While most of the others either suffer from trauma or varying degrees of immaturity, Ottway rounds up the troops and provides direction. One slight problem. Ottway was only moments away from ending his own life before making this trip. He is haunted by the loss of his wife. Now, thrust in the midst of a near death experience, the wolf hunter finds himself fighting for life – his and those around him.

Jump scares are plentiful. The sounds of wolf attacks are as brutal as anything actually shown. The dire situation makes for a non-stop survival thriller. And yet, in the quieter moments the thoughts about nearing death seeps in. The quip that there are no atheists in a fox hole doesn’t play out in The Grey. We don’t get to know the men alongside Ottway all that well, but we find that most cling to what they see and experience. There are moments where faith in a creator are displayed or called into question – or both at the same time; but the bulk of the men come back clinging to the observation made in the very book most of them mock: eat, drink and be merry. Of course, there is little to be merry about while ravenous wolves track your every footstep. There is no rest for these men. Death is inevitable for all, but for these men it feels inevitably close.

More than a wilderness survival thriller, The Grey takes the sub-genre and contemplates the biggest moment in all our lives – the end. There are no answers provided, no sermons preached. The men examine what matters most to them and often come up with little. Their fight against the odds is compelling. And, yes, you get to see Liam Neeson punch a wolf in the face.

[xrr rating=4/5 label=” “]

This post is part of my Way late reviews. Read more reviews here.

[youtube width=”640″ height=”360″]http://www.youtube.com/watch?v=VRWF4cepn8U[/youtube]

Way late review: The Artist


Ladies and gentlemen, the 2012 Academy Awards best picture, The Artist. Spoiler alert. It won’t make my top 20 movies of 2011. I hesitated watching last year’s best picture for a while because the premise wasn’t all that appealing. I finally decided the time had come. I didn’t view it with drudgery nor with anticipation of seeing the best film of 2011. Enough time had passed since it was released that I felt like I was coming at it fresh. And without further ado, my review.

It's built on a gimmick.

George Valentin and Uggie

But not all gimmicks are created equal.

Movies based on gimmicks

It's full of fun and whimsy.

Bérénice Bejo holding herself

Except when it's not.

Jean Dujardin freaking out

The story is simple. Too simple for a 100 minute movie.

Dr. Seuss ABC, another simple story like The Artist

Kudos for trying something different.

Kudos to The Artist for trying something different.

Still a gimmick. (Like this review)

Wink. Wink. Even the actors know The Artist is built on a gimmick. A modern silent film.

[xrr rating=3/5 label=” “]

This post is part of my Way late reviews. Read more reviews here.

[youtube width=”640″ height=”360″]http://www.youtube.com/watch?v=O8K9AZcSQJE[/youtube]

Way late review: The Hunger Games


Young adult fiction is popular these days, for better or worse. The young adults who read it, obsess over it and turn out in mass for movies based on the source material aren’t always so young. The obsession over and popularity of a series like The Hunger Games makes it difficult to create a good flick. Fans these days tend to demand a faithfulness to the source or they’ll riot, digitally of course, but still. I’m in the envious position of never having read any of the three books. After all, my favorite novel is: I’ll wait for the movie. I consider this a blessing when taking in movies based on modern day popular books. I’m more interested in a good film than allegiance to the author’s writings.

The story behind the film is not completely original. I won’t mention other films which have used similar narratives before because it doesn’t matter. It’s not unlike those who bemoan the cycle of bands whose only purpose seems to be to reinvent what came before. The complaint is one of, why bother? What is missed is that it may have been done before but not for this audience, not by this set of artists. I view The Hunger Games in a similar manner. The story is an interesting one regardless of its originality or lack thereof.

The future is not looking bright. It’s dystopian outside and the select few with wealth and power lord it over the rest. The capitol city is bright, high gloss, wine and dine. The surrounding districts are dark and dingy. In celebration of society’s survival from a nuclear fallout there is a televised competition in which two kids from each district are randomly selected to compete. First prize is you live another day. Second prize is you’re dead. Fairly simple rules, if not the greatest way to commemorate mankind’s continued existence.

Long story short, Katniss (Jennifer Lawrence) volunteers to take the place of her younger sister who was picked. She and Peeta represent their district. They train and put on a show to win support of those watching. Viewers can provide help during the competition, though how this is done is not clear, it simply happens. The games begin and lots of kids are killed. For those disturbed by this tale being for a younger audience I will point out that fairy tales could be pretty gruesome as well. Granted, the deaths didn’t normally involved knives, swords, genetically modified dogs and insects, but there were plenty of children meeting their early demise in stories much older than The Hunger Games.

The vast difference of the world between those in the capitol city and those outside it are interesting. Those on the inside wear garish costumes while those on the outside are perfectly dressed for a Charles Dickens novel. The outside districts are about harvesting raw materials to keep those in the high tech city moving along. The dichotomy is intentional if not a little too on the nose. No matter, it’s made clear there are two classes in this society and one is there to work for the other. One class is so subservient it offers up its children to the world’s worst reality TV show.

Katniss is a teenage girl capable of taking care of herself. Early on we see how she moves fluently through the forest hunting food for family. She is convinced no one is looking out for her good. She probably has a point. Every year she lines up waiting to hear her name called for the honor to battle other kids to the death on television. When she discovers one of the keys to surviving and winning the game is to win the hearts of those in the audience, it’s as if she’s already lost. She is no nonsense; and pretending to enjoy the experience of being thrown into the lion’s den for entertainment purposes tips the nonsense scale. She and Peeta have advisors who guide them through the process. They attempt to make Katniss and Peeta as different and as winsome as any two competitors have ever been.

Once the games begin the excitement is less than one might expect considering the setup. The action set pieces are mostly not there. The moral dilemmas presented by the competition and the way the (mostly) reluctant participants go about it are often side stepped with quick and easy solutions. Since the focus is mostly on Katniss the other characters seem almost inconsequential, even as they die painful deaths. Thankfully there is enough cat and mouse action to hold interest. And while some have made a big deal about the shaky cam technique being awful, I thought it fit in nicely with the tight focus on Katniss’ story. Then again, I liked Cloverfield. Nothing goes too far off the rails until there are, inexplicably, miraculously created obstacles which appear out of nowhere on command from central control. Apparently we’re in a world where there is still a need for coal and other natural materials, but the ability to create fireballs and monster dogs out of thin air is easy peasy.

There is an unevenness to The Hunger Games, which is at least partially due to there being two more books to cover. The story is good and the execution is solid if not spectacular. Our reluctant heroine holds interest throughout, even in those moments when the parts don’t make a cohesive whole. There is enough here to serve as a good launching point for the next films. Of course, if we’re to read the tea leaves set forth by its predecessors (Harry Potter, Twilight), we’ll likely see more than two films follow this one. For better or worse.

[xrr rating=3.5/5 label=” “]

This post is part of my Way late reviews. Read more reviews here.

[youtube width=”640″ height=”360″]http://www.youtube.com/watch?v=mfmrPu43DF8[/youtube]

Way late review: Footnote


When a son walks in his father’s footsteps it can be a point of pride or sadness for the father. Depending on whether the father is satisfied with his own life dictates his reaction to his son following in his footsteps. But what about the father who is proud of his accomplishments and has a son who not only follows in his footsteps but eclipses his accomplishments? And what happens to their relationship when all of a sudden the father receives an award the son covets? Enter Footnote.

Eliezer Shkolnik (Shlomo Bar Aba) researches the Talmud. Scratch that. He picks through every version and copy he can get his hands in an obsessive compulsive manner in the name of scholarship. He dives into the minutia of ancient texts and rarely comes up for air. His son, Uriel (Lior Ashkenazi), is a professor at the same university in Jerusalem but his studies are more popular, well received, and recognized. Eliezer is bitter of his son’s fame and respect by the community they’re both a part of. He even goes as far as to ridicule their academic community as a way to make himself feel better about never receiving the accolades he feels he’s earned. Uriel does his best to placate his dad by giving him credit at acceptance speeches and elsewhere. This only embitters Eliezer all the more. He doesn’t like being patronized.

A bitter father and son relationship does not sound like comedy gold yet the story is told with much wit. The music sets the tone early as a classical comedic soundtrack. Even the sour faces Eliezer makes are funny as everyone around him celebrates his son’s accomplishments. His disheveled look among the well dressed awards crowd is meant for laughs, as Eliezer is denied access back into the event while numerous other more finely dressed participants stroll through the door. Not even security is buying Elizer as anything but an old man who wants to cause trouble.

The one sided bitterness changes quickly once Eliezer gets a call telling him he’s being awarded the Israel Prize, the one prize alluding Eliezer for the past twenty years. He finally obtains it and in a moment the tables are turned. The son is back at the footstool of the father. The same father who would only begrudgingly acknowledge his son’s work, let alone achievements. If this was the entire story it would be an entertaining look at how the relationship evolves between these two men whose lives revolve around a religious text neither appears to have fully grasped. However, there is a major twist which causes awkward conversations and difficult decisions. Once this twist occurs, the film shifts suddenly from light comedic fodder to a darker introspective piece. It’s as if two films were smashed together, both very good but also very different.

Great performances and an intriguing story of a father-son relationship carry Footnote through a first half which provides many laughs and a second half which expresses the deep hurt a long and painful father and son journey inevitably delivers. An original film told in an originally, if not jarring manner. Refreshing.

[xrr rating=4/5 label=” “]

This post is part of my Way late reviews. Read more reviews here.

[youtube width=”640″ height=”360″]http://www.youtube.com/watch?v=8dwe7GR9kO4[/youtube]

Way late review: We Bought a Zoo

I’ve seen about half a dozen Cameron Crowe films. One thing they all share in common is they tend to be easy watches. Even when I’m not in love with the film, there is something soothing about Crowe’s approach. We Bought a Zoo is a fairly harmless film that wears its heart on its sleeve. Perfect material for Crowe to throw his personally curated soundtrack at, assemble an all-star cast, and churn out a likable, if somewhat forgettable, film.

Benjamin (Matt Damon) lost his wife about six months ago. He has a young daughter, Rosie, who reminds him of his wife and a teenage son, Dylan, who reminds Benjamin of himself. Dylan is angry and hurt over the loss of his mom. His behavior at school results in expulsion and puts the pressure on Benjamin to find a new school for his suddenly troubled teen to attend. House hunting time. The search for a new home leads Benjamin to a perfect house out in the Southern California country side. There is one catch. The sale of the home is contingent on the new owner taking care of the zoo that sits on the home’s property. That gotcha clause doesn’t deter Rosie from falling in love with the animals as they walk the grounds. Dad is an adventurer at heart, wants to make his daughter happy, and thinks his son may enjoy the change of pace. He buys a zoo and the challenges of funding and running the venture ensue along with the on-going struggle to come to grips with life after losing a wife and mother.

The plot may seem eye rolling, but no one can blame Crowe or anyone else involved for making up the core premise. We Bought a Zoo is based on the memoir by Benjamin Mee. I have my doubts that Tom Petty, Neil Young and Bob Dylan tunes accompanied the real life story. I also doubt the zoo keeper was a gorgeous blonde with a raspy voice like Scarlett Johansson. The facts have all changed right from the start with the true story set in the UK while this one is in Southern California. None of this matters. What does matter is the characters are engaging enough and the story moves along at a steady pace as to forget the trite scenes of emotional tug-of-war the premise nearly demands. The soundtrack doesn’t hurt either.

We Bought a Zoo is one of those films I could probably pop in and pickup at any random point. There is nothing outstanding about it. The cast is enjoyable, the pacing is good, there are some humorous scenes and not too many cringe worthy ones. The music is hand picked from the past and sometimes a little too spot on. In other words, it’s a Cameron Crowe film. And that tends to mean I like it more than I thought I would.

[xrr rating=3.5/5 label=” “]

This post is part of my Way late reviews. Read more reviews here.

[youtube width=”640″ height=”360″]http://www.youtube.com/watch?v=zUdX47LtXpw[/youtube]

Way late review: Gremlins

A classic. Gremlins is so much fun that even when there is an (odd) quiet moment of contemplation it is filled with a dark sense of humor:

Kate: Now I have another reason to hate Christmas.
Billy: What are you talking about?
Kate: The worst thing that ever happened to me was on Christmas. It was so horrible. It was Christmas Eve. I was 9 years old. Me and Mom were decorating the tree, waiting for Dad to come home from work. A couple hours went by. Dad wasn’t home. So Mom called the office. No answer. Christmas Day came and went, and still nothing. So the police began a search. Four or five days went by. Neither one of us could eat or sleep. Everything was falling apart. It was snowing outside. The house was freezing, so I went to try to light up the fire. That’s when I noticed the smell. The firemen came and broke through the chimney top. And me and Mom were expecting them to pull out a dead cat or a bird. And instead they pulled out my father. He was dressed in a Santa Claus suit. He’d been climbing down the chimney…his arms loaded with presents. He was gonna surprise us. He slipped and broke his neck. He died instantly. And that’s how I found out there was no Santa Claus.

I’m still not sure if writer Chris Columbus was trying to add a somber moment or one of the more slyly written pieces of comedy. I tend to think the latter. It’s become my favorite scene not starring a gremlin or Gizmo in the 80’s icon.

I’ll take the nostalgia hit on this one and keep on going. The film holds up, as my seven year old daughter and eleven year old son can testify. They both love and hate this film. They hate the scary hatching of the gremlins after the multiplied Mogwai eat some nasty looking fried chicken after midnight. The scene with the mom discovering she’s in a house full of green devils scares them every time but they also find themselves laughing and cheering as mom disposes of each one in her own determined and creative manner. For each moment my daughter hides her eyes, she can’t help but peek, lest she miss the next funny, action packed sequence. My son yells at the characters for foolishly not realizing their demise is only footsteps away; footsteps the characters take because curiosity is not just for cats but also for the bulk of comedy/horror film casts. Of course, we all cheer when Gizmo finally gets his chance to mimic Clark Gable in To Please a Lady and takes the Barbie mobile for a spin in order to hunt down the leader of the pack, Stripe.

The numerous gags and references to past films makes Gremlins feel like a bit of an homage to cinema all while being an action packed comedy. Director Joe Dante’s love letter to cinema is a lot different than say Martin Scorsese’s with Hugo. Call me silly, but I much prefer the antics of Dante’s Gremlins. They just don’t make movies like Gremlins anymore, which is a shame.

[xrr rating=5/5 label=” “]

This post is part of my Way late reviews. Read more reviews here.

[youtube width=”640″ height=”360″]http://www.youtube.com/watch?v=zoK0BzYUTrU[/youtube]

Way late review: The Notebook

Romantic tales of years ago are not ones that I actively seek out. I don’t have to, my wife fills that void. I have seen The Notebook twice now. I think I should have stopped at the first viewing. I recalled it being a harmless and mildly enjoyable romantic drama with a somewhat interesting twist. This time around I was nearly in tears…from boredom.

Duke (James Garner), an elderly man reads a romance novel in the form of a notebook to an elderly woman (Gena Rowlands) in a nursing home. The story is about a country boy with a free spirit, Noah (Ryan Gosling) and the rich southern belle, Allie. Boy pursues girl out of his social rank. Girl rejects his advances. Boy doesn’t give up. Girl gives in. They fall madly in love. The girl’s parents disapprove and do their best to ensure the two don’t become anything more than a summer fling. Girl and boy eventually beat the odds and get back together – or do they? My description may seem to short change the emotion, the romance, the setting, the acting, the loving embraces and longing looks, but I only describe it in a way the director Nick Cassavetes portrays it on screen. It’s as if scenes are only there to lead to the rip your heart out and slam it back in final act.

Ryan Gosling is an actor I find maddeningly inconsistent. Here he is supposed to be a charming, ah-shucks southern guy with a sneaky charisma. The role isn’t right, as the melancholy loner seems to fit his onscreen persona much better, like Lars and The Real Girl and Drive. He does his best but the result is uneven at best.

For a film that seems like it can’t wait to get to the end it is dreadfully slow. I’m all for slowly paced films. I’m a big fan of Lost in Translation, a film no one would accuse of being briskly paced. Films that feel slow though? That is a problem and it is a problem The Notebook suffers from. There is little if any memorable dialogue. Romantic scenes feel forced and drawn out. Time passes in the narrative in odd ways. Noah goes to war after Allie leaves him for college in New York City. He loses a best friend on the battlefield and she gains a fiancee. Neither seem of great consequence. It’s as if both events are mere mile markers on the highway to the modern day with the elderly man and woman at the nursing home. Mind you, it’s a highway with a lot of toll booths that turn a speedy drive into a painfully slow trek.

Competently made but dull overall, The Notebook desires to be more than just another romantic drama by mixing past and present story lines with a bit of a curveball. In its exuberance to surprise in the end, the story moves from scene to scene in an almost obligatory manner, devoid of much character and memorable moments.

[xrr rating=2/5 label=” “]

This post is part of my Way late reviews. Read more reviews here.

[youtube width=”640″ height=”360″]http://www.youtube.com/watch?v=3OV_B1y5IZw[/youtube]