The Tree of Life (2011, U.S.)

I just don't know what to say. At all. Because what just happened? At first I thought I was going to love it. I mean, visually it was one of the most beautiful movies I've ever seen. The score was completely out of this world, like a best of the eerie sounding classics. (Hard to describe the subset of music I'm talking about exactly, but it is a type of music I enjoy a lot. I would love to own this soundtrack.) Then there was original music composed by one of my all time favorite composers, Alexandre Desplat. Brad Pitt wasn't bad, but this wasn't my favorite performance of his. I thought Jessica Chastain was the real star of this film, which was unfortunate because she often seemed so peripheral. Overall, it was visually and aurally stunning, and the seed of the plot was good.

But. But but but. It just tried so hard to be artsy and impressionistic that it seemed silly instead. There were dinosaurs, for crying out loud. The sound mixing was not the best, so the score often overpowered whispered lines. I found myself having to turn on subtitles a lot. The part about adult Jack could have added a lot, but I don't think it was made clear enough. Plus, Sean Penn reminded me why I never liked Sean Penn (until Milk made me want to give him a second chance).

It could have been really great, but it just tried too hard and was too self aware. So instead of brilliance and beauty, I was left with a lot of annoyance and exhaustion.

Rating: 1.5

Beginners (2010, U.S.)

This was just a lovely, thought-provoking, touching indie film. From the previews, you'd think it's a comedy about a grown man whose 75-year-old father suddenly comes out. That's kind of what it is, but it is so much more than that.

Following his father Hal's death, Oliver's primary relationship seems to be with his father's dog Arthur (an adorable Jack Russell whose thoughts sometimes appear to the audience via subtitles). He projects his own feelings onto Arthur, using the dog as an excuse to stay in seclusion. His work as a graphic artist, his friendships, and his mental health are all obviously suffering. When his friends force him to attend a costume party, he meets Anna, a French actress in town for work, and they seem to have an immediate connection. However, he struggles with the budding relationship. In flashbacks, we can see that this may stem from his mother's unconventional parenting, his parents' passionless marriage, and his continuing struggle to come to terms with father's sexuality and, more specifically, his jealousy of Hal's much younger lover.

I offer this brief plot summary because I don't think the previews do the film justice at all. I'd hate to think of people blowing this film off as another comedy that uses the gay lifestyle as easy material and missing out on a really special work. Watching Hal come alive as he embraces his true nature and finds companionship not just with a lover but with a large network of friends is just beautiful. (I especially love the scene when he has his hospital room packed with friends drinking a toast to him and they get in trouble with the nurse for having alcohol.) He's coming alive while coming to terms with his death, and then his son has to do the same thing. Oliver has to choose whether to cling to his grief or to take a chance on love, which is even harder for him because he has no example to follow.

I'm doing an awful job of explaining this, but clearly it was a complex film, though in a simple, very human way. Of course Christopher Plummer was great, a scene stealer in almost all of his scenes. Ewan McGregor's character was very different from anything I've seen him play before, both innocent and mature at once. And I thought Mélanie Laurent was perfect in her role. She almost seemed a blend of the French actress and struggling actress sterotypes—impoverished, bohemian, classy, sexy, spontaneous, shy yet sociable. The writing for this film was so good that almost any actors would have made it good, but these three made it great. (*edit: Christopher Plummer's Academy Award? Totally deserved and one of the few categories I had an opinion on and was rooting for! Also, oldest every winner... Go him!)

Anyway, I'll stop now. In summary, it's really worth seeing, whether you're interested in the parent/child aspect, the coming out aspect, the figuring out how love works aspect, the dealing with death aspect, or even the dog with thoughts aspect. A true gem.

Rating: 4.5

Easy Living (1937, U.S.)

This is precisely what you'd expect of a mistaken identity comedy of the 1930s. In other words, very sweet and very enjoyable.

When J.P. Ball, a wealthy financier, gets sick of his wife's spending habits and throws her sable coat out the window, it lands on struggling single gal Mary Smith. This sets off a chain of events that causes her to get fired from her job, convinces hotel manager Louis Louis to think she's Ball's mistress, and leads her to meet Ball's son, who's also out looking for work to get out from under his father's control.

If this was one of those screwball comedies starring Katharine Hepburn and Cary Grant, it would be a lot different. I don't know if "sexier" is the word, considering we're talking about the 1930s. "Smarter" may be the word, both in the sense of "hipper" and "cleverer." One should avoid comparisons though, because as I said, this one was very sweet. I do love the sassy ones, but I liked this one too—it's nice to have a little variety.

Rating: 3.5

Love Story (1970, U.S.)

Yes, I finally saw it. Was I impressed? Not so much. Perhaps it's one of those movies that just has so much hype (hello, half the girls born after 1970 are named Jennifer!) that there's no way it can live up. Or perhaps it's cheap melodrama.

Look, it has some positive points. For instance, there was obvious chemistry between O'Neal and MacGraw. I loved all their witty banter in the beginning. The part of the story when they were falling in love was much better than the part about their marriage and aftermath.

And the (Oscar-winning) score was lovely. But redundant. Seriously, there were shots that seemed to last for five minutes with the same few bars playing over and over again. The score was just repetitive, and the use of long shots was not effective. Combined... yikes.

If you're looking for some romance that ends happily until the tragically-ever-after, you're better off watching a movie based on Sparks—Message in a Bottle, The Notebook, A Walk to Remember, even the not-so-great Nights in Rodanthe might be better than this one.

Sorry, all you ladies who were my age in 1970. I just don't see how it became a classic.

Rating: 2.5

Smoke Signals (1998, U.S.)

Sherman Alexie is an author I've really gotten into recently. (His YA book The Absolutely True Diary of a Part Time Indian is the best YA book I've ever read, I think.) I was in Spokane for a job interview, and he's a Spokane/Couer d'Alene Indian. So what better movie to watch in the Spokane airport on my laptop?

I think I didn't appreciate it as much as I could have because I had heard it was a comedy and was expecting it to be a comedy. It's much more serious than that. It's a coming of age story about two native boys who are unsure about their places in the world. One is a sheltered orphan, the other is much more worldly and has issues with his father. It was a really beautiful film about self-discovery on many levels.

I would definitely recommend this film. The characters are very real, and you feel as if you can relate to them on some level (even though their problems are so different). The scenery is beautiful. The writing is great. And it will make you think. Good film.

Rating: 3.5