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While We’re Young

While We're Young film posterSynopsis

Noah Baumbach’s comedy about Josh (Ben Stiller) and Cornelia (Naomi Watts) in their 40s trying to relive their younger years. They are befriended by Jamie (Adam Driver) and Darby (Amanda Seyfried).  Cornelia gets into hip hop and Josh collaborates with Jamie in a documentary. Cornelia is childless but wants a child.  Josh and Jamie discuss the nature of film.  The two couples want rejuvenation through peyote-induced therapy techniques.  There is confrontation between James and Josh at the end.

Review

This is very Woody Allen (yuk).  Middle aged and middle class averagely insane narcissists worried about the direction of their lives.  I certainly didn’t sympathize with their plight, I just wish they’d grow up less embarrassingly.   It’s like all those productions in which the younger people are often more mature than the silly middle aged.  Cornelia gets involved with Mum-set types and wants a child (this is the usual Hollywood lecture, that having kids is the ultimate in life).  Josh and Cornelia want to get back to their lives before they used Google and Twitter.  They want to revive the romanticism of their first meeting.  Josh tells Cornelia it’s idiotic to text or phone each other first date wise when they’re (erm) living in the same room.  It’s Bob Ted Carol and Alice in reverse, not married couples experimenting with sexual drugs but getting back to basics.  Naturally Jamie and Darby listen to vinyl records, and to tapes, and use typewriters, and these are the things that Josh and Cornelia discarded.  Darby makes ice cream, how quirkily hip my dear!  Josh and Jamie agonise about documentary film and the nature of truth, which of course reflects the endless search for authenticity in their personal lives.  Jamie is not the seeker of truth he seems to be but can be coldly manipulative and career orientated, more than his idealistic pose would have Josh believe.  Josh has a problem with this but shouldn’t he look deeper into his art? There is guilt ridden theorising about it. The ayahuesca sessions are reminiscent of those obligatory visits to such places as the Esden Centre that middle aged hippies used to visit.  Irritating!!!!

 
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Posted by on May 26, 2015 in At the cinema, Film Reviews

 

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Les Misérables

Les Misérables

Synopsis

As nearly everyone on this planet knows, this is a globally successfull musical based on Victor Hugo’s Les Misérables.  It’s about Jean Valjean (Hugh Jackman) persecuted by his obsessive pursuer Javert (Russell Crowe).  Valjean becomes a thief and uses his loot to become a respectable mayor.  He takes the persecuted waif Fantine (Anne Hathaway) under his wing, she dies and he looks after her daughter Cosette who grows up to be played by Amanda Seyfried.  It’s French revolutionary time in the 1830s.  Cosette becomes romantically involved with Marius (Eddie  Redmayne) who is romantically pursued by Eponine (Samantha Banks). Helena Bonham Carter and Sacha Baron Cohen play a pair of crooked innkeepers.  The barricades go up, Valjean and Javert meet again, and will Cosette learn the truth and find happiness?

 

Review

I’m not usually an aficionado of filmed musicals, their plots are crudely simple and characters are embarrassing as they mime their way through sentimentalized absurdities.  I was prepared for more of this in Les Misérables, however in spite of the usually forgettable music, in spite of Russell Crowe’s singing (sounding like a wounded cow ), and in spite of relentlessly sung dialogue, this film is quite enjoyable.  I actually wanted to sing as I left the cinema.  Les Misérables is energetic and passionate, a lot of the time it seemed more like sung acting than characters simply singing songs.  The actors sing as they perform, there is no miming from dubbed recordings and this is quite impressive.  Anne Hathaway held her notes and our attention through the “Dream” song.  Samantha Barks reprised her Nancy role, as she was equally impressive.  The acting always seems sincere and passionate and unselfconsciously often melodramatic.  The sets are amazingly detailed like the prints of Gustave Dore summoned in gloomy colours.  The revolutionaries strike poses as if for a David painting.  Paris in Les Misérables looks like a stage set for an opera and this is surely apt, the plaster elephant like an opera sentinel against the stacked furniture of the barricades.  The unrealistic absurdity of piled up furniture against gunpowder and infantry emphasizes the staginess, as does the impossibility of the Paris streets bursting into song!  Sacha Baron Cohen and Helena Bonham Carter as the Thenardiers are hilarious as they provide Oliver Twist comic colour (they remind me of Fagin and the Artful Dodger).  Helena Bonham Carter also reprised her Sweeny Todd role but she should be careful.  In Les Misérables she wears bad make up and a fright wig, in Alice in Wonderland she wears bad make up and a fright wig, she does the same in Sweeny Todd and Great Expectations.  She really must get away from this predictable casting, maybe it’s Tim Burton’s influence.  Anyway, Les Misérables shows that you don’t have to have a good singing voice, just join in the fun.

 
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Posted by on February 10, 2013 in At the cinema, Film Reviews

 

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