No Moore Tears

Possibly the only thing more beautiful than Julianne Moore winning her long overdue Oscar would be Julianne Moore crying over yet another loss. But thankfully she can save those (Amber) waves of tears for her next powerhouse performance.

Thank you Julianne for TWO of the year's finest turns as Alice Howland (Still Alice) and Havana Segrand (Maps to the Stars).  If my memory serves me (and not my early onset Alzheimers) you should have at least three statues by now (let's hear it for my depressive homegirls Carol White and Cathy Whitaker!), but this win feels just as deserving, with no discussions of career longevity necessary.

And thank you Academy for finally bowing down to the ginger goddess after years and years of blasphemy. Maybe now you'll stop worshiping false idols like Amy Adams.

Top to Bottom: The Hours / Assassins / Shelter / The Forgotten / Hannibal / Blindness / Laws of Attraction / Vanya on 42nd Street / Safe / Map of the World / Freedomland / The Prize Winner of Defiance, Ohio / Carrie / Maps to the Stars / Chloe / Crazy Stupid Love / Surviving Picasso / Magnolia / The Lost World: Jurassic Park / The Kids Are All Right / The Shipping News / Trust the Man / Still Alice / The End of the Affair / Savage Grace / Far From Heaven / The Hours

Virgin Viewings: Chloe (2010)

Catherine (Julianne Moore) suspects her husband (Liam Neeson) is cheating and hires the charm-talking, chameleon-like prostitute Chloe (Amanda Seyfried) to get confirmation. Chloe's sordid tales escalate, breaking down Catherine's marriage while opening her up to unexpected desires.

How to stalk Julianne Moore in this modern age...

I love a tawdry thriller you turn past on Cinemax as much as the next tasteless person, so I was titillated to see Atom Egoyan's Chloe -- a pretentious cousin to the Poison Ivy franchise if there ever was one. It could very well be part of the series if it were underscored by saxophone and Chloe's name had been replaced with some kind of orchid. Amanda Seyfried's in the Drew Barrymore/Alyssa Milano/Forgotten Blonde temptress role, and Julianne Moore has the life and body she desires. The difference here is the baffling talents of someone like Julianne Moore, and an acclaimed arthouse director providing thematic weight to the plentiful tit shots.

Moore's exquisite as ever playing to her strengths of the repressed housewife and forlorn mother figure. Also true to form, she's no stranger to going topless for her art (even strictly bottomless in Short Cuts). Even when the film takes a southern route toward being a more conventional femme stalker flick in the vein of Notes on a Scandal or Single White Female, Moore fleshes out her character long before she gets her flesh out. Also typical of her career, she's awkward when thrust into the high-stakes thriller mold, but give her a sparse line of dialogue or welling of tears and it's masterfully dimensional work.

Moore's character Catherine is stifled by a lack of communication in every aspect of her life. Through the simple of act of talking, each sensuous detail offered by Chloe stirs something dormant in Catherine. Their "business transaction" becomes a strange renewal for both women, while something much darker brews beneath. For the majority of the runtime and the build up to Catherine's revelations about Chloe and her husband, it's beautifully shot, skillfully orchestrated smut with substance.

The turns aren't exactly surprising, nor is director Atom Egoyan's repetitious use of mirrors as symbols, but there's a resonance to the film's themes -- although attached to a rather uninspired finale that underhands much of the emotional restraint. The ending is lifted note for note from the more exploitative Poison Ivy -- surpassing it only in its lack of a naked and thrusting Tom Skerritt. That film likewise has the subtext to support its more sordid elements, with Ivy serving as the symbolic sexuality and mother figure lacking for its repressed main character.

Chloe, too, is the personification of Catherine's repressed desires, for better and for worse. Chloe's profession is to be whoever anyone wants her to be, and as reflected through Catherine, there's intensely untapped desire and yearning for connection. Egoyan wants us look deeper into Chloe as she looks directly into us -- another of the film's many symbolic moments of reflection.

Chloe will be written off by many as trash, given its tired outcome and faint echoes of Shannon Tweed. The elegance surrounding it though is undeniable. Meditations on the modern breakdown of communication and repressive relationships with just a smidgen of softcore. No doubt you'll turn past it on late night cable, drawn in by the flash of flesh whilst channel surfing, or bored whilst awaiting the arrival of your own hooker. Given Egoyan's artful attachment and the confusingly commercial slant, it's one of the more flawed but curious films of the year. It's one worth talking about, and one worth the reflection.

Mass for Cinephile Shut Ins: Part Two

Let us commune over all this vague pre-publicity so as to garner faith and hope for a bright cinematic future. Let us also pass invalid judgment.

This is Part Two.

Mark Walhberg survives the ring

and director David O. Russell.

The Fighter

directed by: David O. Russell

written by: Paul Attanasio, Lewis Colick

starring: Mark Wahlberg, Christian Bale, Amy Adams, Melissa Leo

Basically: An Irish boxer tries for the title of world lightweight champion by using his half-brother, a fighter and criminal, to underperform him in matches.

And We Should Care Because: Other than the bountiful possibilities for behind-the-scenes bouts between Bale and O. Russell? Well it's a notable difference in material from O. Russell's last success, I Heart Huckabees, but could find itself more in the vein of his genre-melding Three Kings. While Mark Wahlberg may have struggled with the dramatic punch of The Lovely Bones, hopefully he has no trouble punching the lovely bones of Christian Bale for this drama. The sideline female stars are also worth the attention, as was this project once being attached to director Darren Aronofsky, who would still find his success in the ring with The Wrestler.

Status: Mild Intrigue

Tony Leung for the block.

The Grand Master

directed and written by: Wong Kar Wai

starring: Tony Leung, Gong Li, Zhang Ziyi, Chen Chang, Brigitte Lin

Basically: The life and times of Bruce Lee.

And We Should Care Because: One should never doubt this auteur's potential for arresting output, even after being slightly soured by My Blueberry Nights. Wong Kar Wai also doesn't seem to be a filmmaker who'd be easily swayed by the conventions that the biopic genre so often favors. Instead it leaves plenty of room for the on-the-spot innovation and character play that have served the director's most distinctive works (Chungking Express, In the Mood for Love). Along with many of his favorite collaborators and legends of Chinese cinema (as actors and inspiration), we can hope it has the force of As Tears Go By with the flourish of 2046. If anyone can make ass kicking look sumptuous and sexy, it's Wong Kar Wai and a smokin' (probably chain smokin' ) Tony Leung.

Status: Can't Miss

Ben Stiller flirts with disaster and Greta Gerwig.

Greenberg

directed and written by: Noah Baumbach

starring: Ben Stiller, Greta Gerwig, Jennifer Jason Leigh, Chris Messina, Rhys Ifans

Basically: Aimless Roger Greenberg housesits for his brother and soon finds inspiration and direction in his brother's assistant.

And We Should Care Because: Noah Baumbach's scaldingly funny scripts often seem an acquired taste, but the attachment of Ben Stiller should bring about a different crowd to his wonderfully acidic wit. Greta Gerwig, who has been charming under-the-radar in films like Baghead and The House of the Devil, stars as Stiller's love interest, and she has the realistic deadpan quality that Baumbach seems to look for. Also on board is the immensely underrated Jennifer Jason Leigh, who resonated remarkably in her husband's last feature, the likewise underrated Margot at the Wedding. See the trailer here.

Status: Curious

Sylvain Chomet has something up his sleeve.

The Illusionist

directed by: Sylvain Chomet

written by: Sylvain Chomet, Jacques Tati

Basically: A traveling illusionist must conjure and come clean about his tricks to a young, adoring fan.

And We Should Care Because: Animated marvel The Triplets of Belleville was Sylvain Chomet's last effort, and should prepare us for the more literal magic this time around. The aim to craft a film of such charm and mesmerizing atmosphere without the aid of dialogue seems to be in keeping with this new project. Look forward to something funny, feeling and unapologetically French.

Status: Can't Miss

Christopher Nolan defies expectation and gravity.

Inception

directed and written by: Christopher Nolan

starring: Leonardo DiCaprio, Joseph Gordon-Levitt, Marion Cotillard, Ellen Page

Basically: A story of a CEO's blackmail and the architecture of the mind.

And We Should Care Because: Remember Sammy Jankis? Well we should all remember that Christopher Nolan's a champ at creating thrillers with scale that don't forsake character and some sort of emotional crux. The hush hush nature of the script seems justified by the advanced footage, which displays a gravity distorting thriller akin to The Matrix, full of stunts and surreal spectacle. With the scope of The Dark Knight and the mindplay of Memento, Nolan looks to do fanboys proud.

Status: Can't Miss

Pass on the chips. And your seed.

The Kids Are All Right

directed by: Lisa Cholodenko

written by: Stuart Blumberg, Lisa Cholodenko

starring: Julianne Moore, Mark Ruffalo, Annette Benning

Basically: Lesbian parents struggle with their biological sperm donor when their child turns 18.

And We Should Care Because: Of course the kids are all right. Who better to be your lesbian moms than Julianne Moore and Annette Bening? Director Lisa Cholodenko (High Art, Laurel Canyon) always give her actresses room to delve (think Patricia Clarkson and Frances McDormand), and she's working with two masters of their craft. Advanced word at Sundance hailed its award-worthy performances and effortless emotional backing. Timing couldn't be better given the family-focused content and its relevance in the marriage equality debate. Also notable that Julianne Moore finally plays a decent mother to her kids after years of avoiding, abandoning and fucking them (Boogie Nights, Far From Heaven, The Hours, Savage Grace, etc.).

Status: Can't Miss

Part One here. Part Three SOON.

Mass for Cinephile Shut Ins: Part One

Far more exciting than any 'Best of' lists are those detailing movies any of us have yet to see -- feeding the deep-seated yearning to discover what's yet to come from our favorite directors, writers, and most beloved actors. With each new minuscule plot detail and late-in-the-game title change comes the potential for new surprises, new discoveries, new possibilities. They build our expectations and validate our eventual disappointment. Let us commune over all this vague pre-publicity so as to garner faith and hope for a bright cinematic future. And let us also pass invalid judgment.

This is Part One.

Lethal Weapon 5

Buddy comedy has never been this racially insensitive!

THE BEAVER

directed by: Jodie Foster

written by: Kyle Killen

starring: Mel Gibson, Jodie Foster

Basically: A CEO with a down-and-out family life turns a beaver puppet he recovers from the trash into a tool for of self-therapy.

And We Should Care Because: Jodie Foster returns to directing after 15 years since Home for the Holidays, another family-centric film steeped in neuroses. Knowing Jodie Foster's personal life gives extra immature chuckles to the film's title, The Beaver, while Mel Gibson takes advantage of his personal life in using a beaver puppet to spout his offenses. Jodie Foster also gives herself a long overdue central role as the wife, while Gibson will get to play up his comedic chops and gain forgiveness for his last attempt at such, 2000's What Women Want. Do beaver puppets breed dangerously indie quirk? Perhaps, but Jodie Foster's attachment and directorial return breed promise.

Status: Curious

Iñárritu enunciates the title of his new film, Biutiful.

BIUTIFUL

directed by: Alejandro González Iñárritu

written by: Alejandro González Iñárritu, Armando Bo, Nicolás Giacobone

starring: Javier Bardem, Blanca Portillo

Basically: A man involved in illegal dealing is reunited with a childhood friend, now a policeman.

And We Should Care Because: Iñárritu's mixing it up it would seem. He's not using his trademark style of separate stories as means of interconnectedness, nor an inexplicable accident to center the action, as was the case in Amores Perros, 21 Grams and Babel. Nevertheless he's holding strong his glimpse into human darkness and the power of cause and effect. Whatever your opinions on the approach, Iñárritu has a gift for creating intrigue and heightened drama with just the right blend of naturalism and visual flourish. He has also done right in stealing from Almodóvar's repertoire with the likes of Javier Bardem and Blanca Portillo. Chances are it will be a little bit miserablist and a whole lot biutiful.

Status: Curious

Natalie Portman really can work a pole (see: Closer).
Even when set to Swan Lake.

BLACK SWAN

directed by: Darren Aronofsky

written by: Darren Aronofsky, Mark Heyman

starring: Natalie Portman, Mila Kunis, Vincent Kassel, Winona Ryder, Barbara Hershey

Basically: A tale of psychological horror about a veteran ballerina's new rival, who could very well be a ghost or figment of her imagination.

And We Should Care Because: Darren Aronofsky is four for four, one of the great directorial talents working today. With a female-centric premise, dark psychological and sexual overtones (a rumored lesbian scene is getting most of the press), and a genuinely remarkable and underused cast, it looks to be another creative burst and change of tone for Aronofsky. Performance meets a psychological split -- could this be Aronofsky's Opening Night? Its ballet setting and moody underpinnings could make for a very stylish, surreal affair - all the more likely aided by cinematographer Matthew Libatique, and possibly another entranced score by Clint Mansell. Perhaps a blend of the low-key naturalism of The Wrestler with the dazzling headspace of The Fountain?

Status: Can't Miss

Are you 'avin a laugh?
Is anyone in this working-class town 'avin a laugh?

CEMETERY JUNCTION

directed and written by: Ricky Gervais, Stephen Merchant

starring: Ralph Fiennes, Ricky Gervais, Matthew Goode, Emily Watson

Basically: 1970's England serves as backdrop for this story of young working-class friends seeking a life change.

And We Should Care Because: The genius duo behind TV's The Office and Extras reunite for their first big-screen collaboration, and their gift for mining painfully funny truths out of everyday misery seems to bode well for this personalized period piece. Ricky's first feature, The Invention of Lying, may have suffered a forced ending, but its anti-religious satire and high-wire farce served the screen well. Also keep in mind that episodes of The Office were miraculously adept at mixing powerful laughs with unexpected poignancy, likely the tone this film is gearing toward. Picture Slough in the 1970's, populated this time by the stifled passions of youth. Bonus points: A Karl Pilkington cameo!

"I could eat a knob at night."

Status: Can't Miss

Arthouse Egoyan meets the Poison Ivy franchise?

CHLOE

directed by: Atom Egoyan

written by: Erin Cressida Wilson

starring: Julianne Moore, Amanda Seyfried, Liam Neeson

Basically: A wife suspecting of her husband's infidelities hires an escort, Chloe, to test his faithfulness. She soon finds herself orchestrating their sordid, escalating encounters, and rediscovering her own sensuality.

And We Should Care Because: Atom Egoyan makes arthouse fare that's seductive and devastating, both of which are encapsulated in this film's enticing premise. Erin Cressida Wilson also wrote the script for Secretary, and this one promises even more erotic (and explicit) encounters. Julianne Moore continues to marvel in edgy material, remarkably still drawn to sexually ambiguous extremes (2008's Savage Grace) and innovative auteurs.

Status: Can't Miss

Jason Alexander, Joe Pesci, Mickey Rourke, John C. Reilly...
Marisa Tomei is THE dreamy woman for not-so-dreamy men.

CYRUS

directed and written by: Jay and Mark Duplass

starring: Marisa Tomei, Jonah Hill, Catherine Keener, John C. Reilly

Basically: Divorced boy meets girl... meets her attached son.

And We Should Care Because: Mumblecore innovators Jay and Mark Duplass crafted The Puffy Chair and Baghead, as well as being involved in the 2009 surprise Humpday, all of which earned their charms from their no frills attitude and devotion to character. Things have changed drastically, and yet not really at all. Where once were the faces of complete unknowns now reside Oscar winners and box-office champs. The dynamite talents of Marisa Tomei and Catherine Keener in particular still seem in keeping with the indie world, but promise to garner the film and its makers a lot more attention upon its release.

Status: Can't Miss

Eat, pray, love. But only after getting approval from Oprah.

EAT, PRAY, LOVE

directed by: Ryan Murphy

written by: Ryan Murphy, Jennifer Salt, Elizabeth Gilbert (memoir)

starring: Julia Roberts, Richard Jenkins, Javier Bardem, James Franco, Billy Crudup, Viola Davis

Basically: A woman with a seemingly complete life decides to divorce her husband and set out on a personal journey around the world.

And We Should Care Because: Julia Roberts gets another deserved showcase despite the film's seemingly disposable summary, title, and ties to Oprah's Book Club. Not since Erin Brockovich has Roberts been given such a spotlight, and with a startling supporting cast, it's enticing to think the film will blend her comic and dramatic chops together with enough awards-charged gusto. Ryan Murphy's cinematic prowess only extends to one other memoir adaptation, the disappointingly received Running with Scissors, but then he's also the mind behind uneven but admirable TV hits Nip/Tuck and Glee. Still holding out hope that Julia can hit Sandra Bullock in her Blind Side and steal back her title as box office queen.

Status: Mild Intrigue

What happens in Tokyo stays in Tokyo.
Especially if you're dead.

ENTER THE VOID

directed and written by: Gaspar Noé

starring: Nathaniel Brown, Paz de la Huerta, Emily Alyn Lind, Cyril Roy

Basically: A man caught in a hallucinatory afterlife observes the effects of his own demise after a drug deal goes awry in a Tokyo bar.

And We Should Care Because: Unlike Peter Jackson's The Lovely Bones, which imagines the afterlife to be a vibrant desktop screensaver, Gaspar Noé's film imagines it as a psychedelic headtrip to rival 2001: A Space Odyssey. The film's lengthy runtime of nearly three hours promises a full on cinematic immersion, rumored to include plenty of the arty and extreme sex and violence that's Noé's specialty. After notorious shockers I Stand Alone and Irréversible, Noé's rep is to combine innovative technique with mindblowing, and possibly mind-scarring, moments. Early reviews criticize it as overlong and containing of a few underwhelming performances, but quickly counter that by commending the film's bold visual and auditory scope, and all-encompassing experience to be welcomed alongside stoner classics such as 2001 and Fantasia.

Status: Can't Miss

Two teasers for the film here: Floating and Strobing. They're not for the easily disoriented, those prone to seizures or, god forbid, anyone who's sober.


Part Two soon.