The Messenger From the Watercooler With Love
I tentatively ventured out to the multiplex this weekend for the first time in a few weeks. I had big plans to catch a number of movies, but the scheduling monkey blew it and I could only swing From Paris With Love. All I wanted was an unassuming and uncomplicated bit of action with a fun, scenery chewing performance from John Travolta, but I had the same expectations with Tony Scott’s awful remake of The Taking of Pelham 1 2 3 last summer and they were hopelessly dashed. Luckily, Pierre Morel and Luc Besson came through. Paris isn’t ground breaking action, but it’s a solid 95 minutes that doesn’t try too hard to cover up its B picture roots.
Jonathan Rhys Meyers was kind of terrible as the reluctant CIA hero who is teamed up with a loose cannon to track down terrorists in the City of Light, but Travolta brought enough energy (as said loose cannon) for the both of them. He was actually a little more relaxed here than in some of his other recent high-Travoltage paycheck gigs and it was all for the better.
I will have quickly forgotten From Paris With Love by the next Watercooler, but for now it was exactly what I was in the mood for.
A little more impactful (aggh, that’s one of those phony business-speak words…like “efforting”) was Oren Moverman’s The Messenger starring Ben Foster and Woody Harrelson and which I finally caught up to. Foster plays a wounded Iraq war veteran who is assigned to the Casualty Notification Office in the final months of his enlistment. A terrific Woody Harrelson shows him the ropes (and was nominated for an Oscar for his troubles) while Samantha Morton gives another complex performance as the wife of a dead soldier Foster becomes interested in. There was enough power in The Messenger just within the scenes where Foster and Harrelson are breaking the bad news to next of kin that it’s too bad Moverman and his co-writer Allesandro Camon had to try a little too hard to make their point about the cost of war. A lighter touch would’ve been just as moving. Nevertheless, The Messenger is powerful stuff and I’m glad I saw it.
That’s all I’ve got. Your turn.
Filed under: Watercooler
Two thumbs up to The Messenger. One of my top five U.S. releases of 2009.
I saw The Book of Eli last night…and didn’t hate it. A jaded young friend of mine said that if you took the best parts of Eli and The Road and put them together, you’d actually have a good movie. (He also said, “Enough with the desaturated post-apocalyptic landscapes.”) Although I get his point, I wouldn’t touch The Road, as it is also in my 2009 top five.
And I saw Edge of Darkness on Friday. Wasn’t crazy about it at all, but it did remind me why Gibson (like Washington) has been one of the biggest film actors since the ’80s. Star quality, baby.
The Messenger is one of my top 5, and like most I’m sad that Morton got no Oscar love but the biggest snub is that Ben Foster got no love: FROM ANYONE! Horrible.
I was deeply moved by The Messenger in ways that few other movies grabbed me this year… but I felt there were a few instances where it was a bit heavy handed. The bit in the mall with the recruiters for example. Not terribly damaging, but I would’ve preferred a bit more restraint.
Agree that it’s too bad about Foster. Honestly, I would’ve given the nom to him over Jeff Bridges. I love Bridges, but Crazy Heart wasn’t his best performance and the movie itself was nothing to write home about.
I wouldn’t touch The Road either, but I get what your friend probably means in terms of improving Eli. Plus I’m also a bit tired of the bleak apocalypse cinematography.
Edge of Darkness was on my list along with Paris, but as I said above I blew the scheduling and came out of one movie with like 2 hours until the next one and there was no way I was going to cool my heels in Burbank for that long.
One of these days Ben Foster is going to break big. I hope. He’s too talented not to get noticed. I remember how impressed with him I was in 3:10 to Yuma–both for that performance, and for how 180 degrees different it was from the character he played on Six Feet Under. The parts of The Messenger that dragged a bit for me were the carousing weekend near the end. I loved loved most of the depictions of delivering the terrible message to the survivors. The reactions from the deceased’s loved ones felt true and unforced. I particularly felt moved by the scene with the girl and her angry dad.
I saw In the Loop and Flame & Citron. Both were excellent, and lived up to the hype. Not sure if they break my top 10 or not. Will have to think about that.
Why didn’t more people get smitten with Flame & Citron? It just disappeared from the conversation this year. Not that Danish period films are ever THAT much in the conversation. But still.
I had an extraordinarily busy weekend culturally, managing a marathon HD simulcast of the Met’s production of Verdi’s Simon Boccanegra, with Placido Domingo in the titular baritone role, beginning at 1:00 P.M. on Saturday afternoon at the Edgewater multiplex; an off-Broadway production at the Theatre 80 St. Marks of “When Joey Married Bobby” which featured an introduction by the playright William Wyatt and a performance by the “legendary” Lady Bunny, the ’sister’ of Chelsea icon Hedda Lettuce. The Verdi opera, a carry over production (which I’ve seen before) was impressively staged and performed, and again the assets of the simulcast were evident in the fascinating back stage interviews moderated by Rene Fleming, and an interesting look at the frenzied work of the set carpenters. A rare interview with conductor James Levine was a special bonus. Meanwhile, down at the former residence of The Pearl Opera Company on Saturday evening at 8:00 P.M., opening night of this often uproarious – but often tedious as well – look at a dysfunctional family preparing for a same sex marriage involving the brood’s son. Wyatt’s writing incorporates some recent political references, much of which are funny, but the audience, largely comprised of friends of the cast and crew on opening night, overeacted with their continuous laughter.
I saw three movies in the theatres, in what turned out to be a terrific and surprising movie weekend in the Big Apple:
Terribly Happy **** 1/2 Denmark (Angelika Film Center) Sunday
Eyes Wide Open **** 1/2 Israel (Cinema Village) Friday Night
Anjami **** Israeli/Palistinian (Film Forum) Thursday night
The Danish film, TERRIBLY HAPPY was an exceedingly entertaining thriller about a rather twisted town with some deranged characters, that qualifies as a modern noir, with a sure sprikling of the sensibilities of the Coens and David Lynch. Directed by Henrik Ruben Genz, this captivating drama boasts striking claustrophobic lensing by Jorgen Johansson.
The Israeli drama, EYES WIDE OPEN is an autere and deeply moving tale of a married -with four children- Israeli butcher, who falls for a younger job hunter, causing severe repercussions in this strict Hasedic community. This is a sensitive, acute-observed and tightly paced story, that says as much with its silences as it does with it’s spare dialogue, and it employs depressed Jerusalem locales to powerful effect. The film goes far beyond the target audiences of Jews and gays, and delivers a film of universal resonance, negotiating as it does how oppression dominates in a segregated society. Both th ebutcher, Zohar Shtrauss and the transient, opular Isreali television actor Ran Danker give exceptionally piercing performances.
Nominated for Best Foreign Language Film in this year’s Oscars, the co-Palistinian-Israeli production, ANJAMI is a complex drama with a number of dissecting sub-plots, and it’s the kind of film that you really need to see more than once to fully understand and connect with, but even on first viewing it’s riveting and powerful, and it’s fiction is really a mirror of what is happening on the streets today in the war-torn zones, and it recalls the lawlessness of City of God among others.
I liked THE MESSENGER too, and like Paul, I did NOT hate THE BOOK OF ELI, which surprised me.
Yet to see The Messenger, but I loved F&C and it made my top ten. Sam, you make those three new art house films sound terrific.
Finally caught The Fantastic Mr Fox and A Serious Man.
Fox was a perfect fit for Wes Anderson’s distinctive style and skill with cinematic assemblages, and I enjoyed the contributions of the voice actors, including his troupe of regulars.
I was entertained by ASM and enjoyed its showcasing of the Coens’ craft, wit, and smarts. It didn’t quite hit the ball out of the park for me but a fine film nonetheless.
Just received my UK Amazon gift voucher for winning Craig’s oscar competition. Quite a prize! I’m thinking the Red Riding Trilogy and a few other goodies will be soon winging their way to a very happy kiwi camper. Yay!
A lighter touch [in The Messenger] would’ve been just as moving.
Actually, I think a lighter touch would have made it better. I hate to grouse about a film with good intentions and fine qualities, but The Messenger was a little too didactic for me. Like jennybee, I’m waiting for Ben Foster to break through with the right role in the right film at the right time, and I also hope that Samantha Morton continues to do what she’s doing so well.
The Road and Flame and Citron are two films I wish had caught on more with filmgoers and critics. Still haven’t seen In the Loop.
Sam, looks like you’re forging ahead as usual on newfound adventures.
As for me, I saw That Evening Sun. It’s a good little film, especially for a first-time director/screenwriter. I particularly loved the performances of Holbrook and Ray McKinnon and am sad the film’s distribution has been so mousey.
Also, I saw Seraphine and was quite impressed by it. “Magical” is the word that comes to mind when I think of it, especially the performance of Yolande Moreau. Her male costar was quite good, as well.
Finally, I caught Scorsese’s “remake” of Cape Fear, something I hadn’t seen since its original release. I liked it better and appreciated it much more this time around.
And sartre, why squander your free Criterion voucher on the Red Riding Trilogy when you can hold out for The Blind Side?
Craig & other “The Messenger” viewers: The film seems to be divisive to say the least. I haven’t seen it, but Ben Foster was shockingly good in 3:10 to Yuma (almost stealing the show) and Morton is typically fantastic in almost everything she’s in. If nothing else, The Messenger promises to be a telling exercise in Acting 101.
Craig again: You love all movies indiscriminately or are you a more discerning moviegoer? I just don’t have the money or energy to see everything released, especially as most of it is not up to scratch.
Jennybee: Second your thoughts on Ben Foster. That man has a bright future. Just a matter of the right role at the right time, I’d say. I’m interested in In the Loop & Flame and Citron. The trailers intrigued me immensely.
Sam: What a busy man you are! What is your profession if you don’t mind me asking? Something in the theatre industry I’d glean, from your comments here and from looking at your blog. Terribly Happy, Eyes Wide Open and Ajami (no “N” I believe) would make a terrific triple foreign header. Terribly Happy has me the most interested though. The combination of Lynch and Coen is definitely irresistible.
Pierre: Cool name! (is it real?) Is that Blind Side comment a dig or a genuine question? I can’t tell I’m afraid. I don’t know whether to laugh or be surprised.
I saw Reprise, which is a nice debut for director Joachim Trier. It has inventive cinematography, a remarkable fluidity and desire to experiment but I found it a little emotionally impenetrable and a bit drawn out.
Thanks for the acknowldgement, Andy, sartre and Pierre on this stellar triple header I managed over the weekend.
Andy, though I am a big opera, theatre and music fan, my profession isn’t in any of those areas. I teach literature and creative writing in a grammar/Jr. High School in my home town. My wife Lucille is a principal in one of the schools, where my five kinds are students, ranging from grade 8 down to grade 2. I live just minutes from Manhattan in northern New Jersey, so acessing the city is easy. Thanks again!
Andy, that was definitely a jest from Pierre. I’d put good money on “Pierre de Plume” being a “nom de plume” as well.
And I’d bet that many of us, not just Craig, enjoying going to all manner of movies. Sometimes an albeit average genre film or populist blockbuster is just the ticket, a cinematic palate cleanser, good for re-setting those critical faculties we employ in processing the more sophisticated arthouse fare. And heck, sometimes a popcorn flick is just plain fun. Sometimes all I want from a movie is to be entertained, highfalutin artistry and elevated themes be damned.
Though when I was younger, say early 20s, I was a lot more elitist about both films and books. The more knowledgable a cinephile I’ve become, the more appreciative I am of the whole spectrum, particularly of genre films.
OK, not the whole spectrum. You’ll still never find me at one of those Madea movies. I have limits. :)
I’m THRILLED you got to see That Evening Sun and saw the greatness in Holbrook’s and McKinnon’s performances, Pierre. They were among my very favorite of 2009. It seems to finally be getting into a few more theaters. What a mucked up roll-out of that film. The little indie studios and distributors had no money to promote it, and I think Hal got the short shrift from critics, with no money for a proper Oscar campaign. I feel very strongly that had this been released by a bigger studio, the Best Actor race would be a lot closer.
Pierre: Cool name! (is it real?)
Of course it’s real, Andy! (It’s one of at least 3 names I keep handy for use as appropriate.)
Is that Blind Side comment a dig or a genuine question?
Pierre eats satire (but not sartre) for breakfast. More to the point, though, I was surprisingly moved by The Blind Side — despite its many weaknesses and pedestrian excesses.
Though awards aren’t the pinnacle of life, I am a little disappointed about Holbrook’s performance going largely unnoticed. But it’s not like this is the first time such a thing has happened in the weird world of Hollywood. It’s rather pointless to speculate where the Oscar race would be if Holbrook were in it, but I suspect you’re right, jennybee, that he and Bridges would be in a tighter race. Still, I really liked what Bridges did in those so-called smaller, largely wordless moments that really show what an expert he is at conveying feeling as clearly as a bell.
No theater for me this weekend, but I did watch two movies at home: American Psycho and then Luis Buñuel’s masterful and brilliantly hilarious The Discreet Charm of the Bourgeoisie.
I’m not sure when I’ll be able to get out to the movies, as I’m still tied up with family stuff, but I do plan to try to see The Messenger when I can, especially given all the great feedback from Craig and the other LiCers.
That’s a stellar line-up Sam and three films I look forward to seeing when they hit LA sooner or later.
Is it just me, or has Denmark been cranking out some great cinema lately? Terribly Happy looks to continue the trend.
Speaking of the Danes, I’m glad you liked Flame & Citron Jennybee. It was also an LiC top 10 as you know. I think the main reason it didn’t get more play is that it was released by IFC (or one of the other tiny guys) and there just wasn’t much marketing muscle behind it. Compound the problem with slacker bloggers like me who didn’t even review it even though they loved it…
Sartre, relieved you enjoyed Fox. That and ASM were two more LiC top 10 favs from 2009. I agree that it’s perfect material for Anderson’s sensibilities and I think it was a refreshing break from the admittedly insular and a bit claustrophobic live action style he’s been dealing (and I say that as someone who still loves that style).
Pierre, I agree, but was giving The Messenger some kindness for doing the things ti did well. It would’ve been a better film if they’d dialed some stuff back a notch, but it was still very moving and powerful.
Andy, if you like Foster, you’ll probably go for The Messenger. He gave a quieter, more brooding performance, but there was still that element of maniacal danger under the surface.
As for my taste in movies…. well, I try to take in a wider variety of things than I would if I wasn’t blogging and I do my best to judge things on their own terms. I tend to prefer indie and foreign movies to most US major releases, but I like to keep up on what’s going on and what people are seeing and enjoying.
Alison, nothing like a little Bunuel to shake up a weekend! Also glad to have you stopping by even if your movie consumption is low and your attention has been on more important things.
And let’s not forget the women of That Evening Sun, who also made the film very special (top ten) to me: Carrie Preston, supporting actress par excellence (she was on my ballot), and Mia Wasikowska.
Aw, I didn’t know you fell for the film, Paul. I thought the women were great, too. Carrie Preston continues to impress me in both dramatic and comedic roles.
I think it’s coming in at #4 in my top 10, but I have a few more I’m trying to see.
Sam: No wonder your writing is parfait. Keep on going with those cinematic adventures. You put me to shame.
Jennybee: What “nom de Plume” mean exactly? I’m working on my French but it’s not accomplished or anything. “Nom” is name and “de” indicates ownership (a “possessive”) so I’m guessing its Plume’s (Pierre’s) name?
You’re right about the elitism. I’m still like that I suppose, but I’m not even in my 20s, so I have room to broaden out a bit.
I did here Holbrook was a little one-note in the role. It seemed as if people were trying to position this as Holbrook’s big Oscar break on the back of the Into the Wild nomination. But not every role for such a seasoned performer as Holbrook magicallty strikes Oscar’s favour. Just my two cents.
Pierre’s got the right idea though – it’s semi-redundant to imagine what-ifs with all the real “what-ifs” during awards season.
Craig: I’m with you on that front. Indie and foreign films are my favoured type of film, but I’ll try to be more open-minded. I greatly enjoyed The Dark Knight for example, but felt it had a few structural problems that the (perhaps deliberate) jagged editing did not lessen.
Glad you liked TERRIBLY HAPPY Sam. It’s one of my early favorites this year.
Craig: “There was enough power in The Messenger just within the scenes where Foster and Harrelson are breaking the bad news to next of kin that it’s too bad Moverman and his co-writer Allesandro Camon had to try a little too hard to make their point about the cost of war.” Nice. The first scene in which they break the news to the girlfriend and mom probably should have made my Top 10 scene list, but outside of those moments and the “Training Day”-ish relationship between Harrelson and Foster, I was left a little wanting. Like that engagement party scene, and the fishing, eh. Still, the performances alone and some understated touches (no music that I remember) made it much better than most other recent war films.
I saw The September Issue and Samson & Delilah, though nothing in theaters. The documentary was interesting, I suppose, but I just found myself nodding my head with Anna Wintour’s daughter about there “being more to life than fashion”. To say the least, in my opinion, though certainly somebody could say that about my passions as well – music, sports, film, what have you.
Samson & Delilah was a little uneven but danged if I wasn’t riveted throughout. I think part of it is my cultural interest and the staggering lack of Australian/Aboriginal films, but for a first time director and mostly first time actors, wow, solid stuff.
Would still like to see That Evening Sun before it leaves on Friday. Fingers crossed…
Andy,
“nom de plume = (Literary & Literary Critical Terms) another term for pen name”
Thanks, jennybee, for kindly describing the origins of the de Plume line. And thanks, Andy, for inquiring.