Tag Archives: Anna Kendrick

Jonathan Levine’s 50/50

If you’re going to make a film about something as heavy, upsetting and uncomfortable as cancer, you have to make it lighthearted and uplifting enough to contrast such a horrific phase of someone’s life, no matter the outcome of it. But you damn well better not make it too schmaltzy, syrupy or saccharine either because your audience will see right through it and tear your film to shreds. Honest, heartfelt, upfront and simple is the way to go and 50/50 hits the sweet spot squarely. It doesn’t hurt that it’s very closely based on a true story either, the script feels achingly authentic on both comedic and dramatic terms, both of which interplay with each other seamlessly and organically in the central relationship between Seth Rogen and Joseph Gordon Levitt, the latter of which is saddled with a rare and very scary cancer diagnosis at an age where no one should have to hear such news. The film explores the many relationships in his life beyond best friend, confidante and personal court jester Rogen. There’s his overwhelmed mother (Anjelica Huston) who he has a hard time loving or letting in, his intern therapist (Anna Kendrick, is there a lovelier girl on this planet?), his cold sociopathic girlfriend (Bryce Dallas Howard), two elderly buddies (Phillip Baker Hall & Matt Frewer) he gets quite close with during rounds of chemo and ultimately his relationship with himself, which might sound a tad cliche but during such an intense process one would have no choice but to look inward, evaluate one’s beliefs, feelings and augment perception accordingly. Levitt handles this expertly in a beautiful performance of love, righteous anger, kindness and refusal to give up, even when it seems like the easiest option. There are a few heart wrenching moments of brutal emotional honesty from the actors here and one gets a sense that no one, on either side of the camera, was willing to compromise this story to make it more ‘Hollywood accessible.’ Rogen is obviously the bawdy comic relief and is intermittently hilarious, but he finds a slow revealing emotional centre and gravity here I’ve never seen elsewhere in his work, he’s phenomenal. Kendrick is the sweetest girl in the world on camera and fills every frame she’s in with genuine charisma, mellow empathy and just a touch of adorable awkwardness, her and Levitt have chemistry that borders on transcendent. One doesn’t usually group ‘feel good films’ and ‘cancer films’ into the same category but this one is both for me, a life affirming, down to earth, honest piece that rings true with every rewatch.

-Nate Hill

Laika’s ParaNorman

ParaNorman is a film that’s just about as close to perfect as you can get. Released by a low profile studio called Laika that specializes in gorgeously crafted stop motion animation adventures, this one has the irresistible flavour of retro Universal Studios monster movies put to use in a smart, engaging story full of well written characters, maturely imparted themes and wonderful pathos. Young Norman (Kodi Smit McPhee) can see, hear and converse with ghosts, and that generally makes him a bit of an outsider in his town. When the spirit of a deceased relative warns him of some vague impending doom encroaching on the region, it’s up to him and his merry gang including best buddy Neil (Tucker Albrizzi) his ditzy sister (Anna Kendrick), and Neil’s hilarious jock brother (Casey Affleck) to solve the spooky mystery of a centuries old witch who has risen the dead. It’s a brilliantly told story with boundless animation, a sharp script full of subtle, off the cuff humour, heartrending sadness at the core of its narrative and some of the most dazzling animation this side of Burton/Selick. The voice cast is peppered with carefully chosen talent like Jeff Garlin, Bernard Hill, John Goodman, Christopher Mintz Plasse, Leslie Mann, Elaine Stritch, Alex Borstein and more. Jodelle Ferland voices Aggie the witch as a tragic character with the same haunted complexity she brought to the role of Alessa in Silent Hill. Laika studios is also responsible for gems like Coraline, The Boxtrolls, Corpse Bride and last years Kubo & The Two Strings, they are a brilliant bunch who are trailblazing storytelling in exciting new ways. ParaNorman has to be my favourite though, it’s an enthusiastic love letter to golden age horror and an emotionally mature study of what it means to be different, how people react and the damage that can be done simply by not accepting someone for who they are. Trust an animated film to inject themes like that and explore them thoroughly while still having a blast of a fun time. I can’t say enough good things about this film.

-Nate Hill

Mr. Right: A Review by Nate Hill 

As I was watching Mr. Right, I started thinking to myself, this is stupid. It’s absurd and silly. So why does it work so well? The premise isn’t unique or original. Girl meets boy. Girl falls in love with boy. Boy turns out to be hitman/secret agent. Boy drags girl on mad escapade against some dastardly villains, the bond between them getting stronger in the process. It’s an ages old formula. It sorta kinda worked with Tom Cruise and Cameron Diaz, and elsewhere failed miserably with Katherine Heigl and Ashton Kutcher. So why then does it work so well with Sam Rockwell and Anna Kendrick? Well, exactly that: It’s Sam Rockwell and Anna Kendrick. The two are so suited for each other it’s adorable. The both of them are quirky, awkward, unconventionally attractive and very unpredictable in their work. Neither are what you’d call traditional romantic leads or action stars, and it’s in that sense that the film finds its groove. I’ve heard other critics bash on Max Landis’s script for being to busy or too stoked on itself, but in a studio system that tosses us garbage like the Kutcher/Heigl version, I’ll take anything I can get that puts in an admirable effort, flaws and all. Anna plays a jilted girl who is on a speeding rebound train that has a chance run in with Mr. Right (Sam Rockwell). He’s charming, super into her and the chemistry they have is obvious right off the bat. Soon they’re being appallingly cute and pretty much dating… that’s where the trouble begins. Rockwell is an infamous assassin on the run from several baddies including his former agency mentor (Tim Roth has even more fun with accents here than he did in The Hateful Eight) who has lost his marbles, and a trio of mafia brats played by a volatile Anson Mount, a hammy James Ransone and a wicked Michael Eklund as that nastiest of the bunch. The film tries hard to balance the two tones, and fpr the most part succeeds, blending them with the helpful notes of craziness from everyone. The violence is brutal, stylized and often darkly comical, the romance is sweet but never gushy with just a hint of mental instability from both parties (sounds weird, I know… it works). Rockwell adds shades of his off the rails work in Seven Psychopaths, albeit with less psychosis. Kendrick is endlessly cute, and endearingly klutzy. Throw in RZA as a hapless killer who can’t decide what side of the fence he’s on, and you’ve got a diverse little cast with enough collective and individual talent to make this a good time. It won’t be for everyone; I can picture many people I know big annoyed, or simply finding themselves unable to buy into it. But for fans of Rockwell and Kendrick (even if you’re not, there’s no scoffing at both their skills) it’s a charming blast of fun. 

Robert Redford’s The Company You Keep: A Review by Nate Hill

image

Robert Redford’s The Company You Keep is a powerful, smart, grounded drama revolving around the seriousness of one’s actions, the consequences they may make even decades down the road, and the lengths that some people will go to put things right. Redford has shown only improvement throughout his career, and has been really awesome as of late (All Is Lost was a favourite for me) and he directs here with as much confidence and empathy as he puts into his performance. He plays Nick Sloan, a former underground activist who was involved in a tragic accident as a result of his protesting, and branded a domestic terrorist. He went into hiding for nearly 30 years, until an intrepid journalist (Shia Lebeouf) uncovers traces of his tracks, and he’s forced to go on the run, leaving his young daughter with his brother (Chris Cooper). Lebeouf suspects his agenda is to do more than just hide, and indefinitely stay on the run. A federal agent (Terrence Howard) makes it his tunnel vision mission to find him. Sloan’s agenda only gradually becomes clear to us, as he navigates a tricky, treacherous web of former acquaintances, trying to locate his former lover and fellow activist (Julie Christie, phenomenal in a comeback of sorts). Old wounds are slashed open, the law closes in, and Nick wrestles with the notion that despite the good he tried to do in his idealistic youth, he is indirectly responsible for bloodshed. It’s enthralling to watch Redford play this man in his twilight years trying to put things right, waist deep in decades of acting experience, supported by an amazing script and a supporting cast that you couldn’t dream up . There’s memorable appearances from Stanley Tucci, Richard Jenkins, Brit Marling, Stephen Root, Susan Sarandon, Anna Kendrick, Brendan Gleeson, Sam Elliott, Susan Hogan and Nick Nolte, all in top form. For a thriller that takes itself seriously, takes its time building character and suspense, and sets itself in a realistic, believable tale that completely engrosses you, look no furthe