Tag Archives: Isla Fisher

Tom Ford’s Nocturnal Animals

What’s the most malicious and deliriously satiating way you can think of getting revenge on an ex who betrayed you horribly? In Tom Ford’s Nocturnal Animals, novelist Edward Sheffield (Jake Gyllenhaal) gets pretty creative in his attempts to strike back at the girl (Amy Adams) who wronged him decades before. This is a film about darkness, secrets, hate, cruelty, long harboured hurt and how such things erupt into violence, both physical and that of the mind.

Adams is Susan, a wealthy gallery owner married to a hunky yet vacuous playboy (Armie Hammer), terminally unhappy yet cemented in an inability, or perhaps unwillingness to do anything about it. One day she receives a yet to be published book from her ex husband Edward (Gyllenhaal) dedicated to her in an eerily specific way. As she settles in to read it in her drafty, lonesome yuppie mansion while hubby flies around the country cheating on her, Ford treats us to a story within a story as we see the novel unfold. In the book, Gyllenhaal plays a family man driving his wife (Isla Fisher, who uncannily and perhaps deliberately resembles Adams) and daughter (Ellie Bamber) across a creepy, desolate stretch of rural Texas. When night falls, a pack of roving, predatory bumpkins led by Aaron Taylor Johnson howl out of the night like angry ghosts, terrorize the three of them relentlessly, then kidnap Fisher and their daughter without remorse. This leaves Gyllenhaal alone and desperate, his only friend being crusty lawman Bobby Andes (Michael Shannon), a gaunt force of righteous fury who serves as avatar to carry out some actions that the protagonist is perhaps too meek for. Together they trawl the southern night looking for clues and a sense of resolution, but one gets the sense that this is a hollow venture, already plagued by the acrid tendrils of tragedy from right off the bat. So, what do the contents of this novel have to do with what is going on up in the real world? Well… that’s the mystery, isn’t it. Pay close attention to every narrative beat and filter the distilled emotions of each plot point through an abstract lens, and then the author’s gist is painfully understood.

The interesting thing about this film is that we don’t even really have any contact with Gyllenhaal in the real world and present time outside of this story he’s written. Everything he has to say, every corner of anguish is laid bare and bounced off of Adams’s traumatized, depressed housewife with startling clarity and horror. She gives a fantastic performance, as does Jake as the lead character of the novel. Shannon makes brilliant work of a character who is essentially just an archetypal plot device, but the magnetic actor finds brittle humour, deadly resolve and animalistic menace in the role. Other solid work is provided by Andrea Riseborough, Karl Glusman, Robert Aramayo, Michael Sheen, Jena Malone and Laura Linney in a stinging cameo as Adams’s manipulative dragon of a mother. Ford shows incredible skill in not just telling a crisp, immersive and aesthetically pleasing visual story, but making those visuals count for something in terms of metaphor, foreshadowing, hidden clues and gorgeous colour palettes that mirror the stormy mental climates of these broken, flawed human beings. He also displays a mastery over directing performances out of the actors as well as editing and atmosphere that draws you right in from the unconventional opening credits (those fat chicks) to the striking, devastating final few frames that cap off the film with a darkly cathartic kick to the ribs. Add to that a wonderfully old school original score by Abel Korzeniowski and layered, concise cinematography from Seamus McGarvey and you have one hell of a package. A downbeat, mature drama that comes from the deep and complex well of human emotions and a film that uses the medium to reiterate the kind of raw, disarming power that art can have over our souls, both as a theme of its story and as a piece of work itself. Great film.

-Nate Hill

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Gore Verbinski’s Rango

Gore Verbinski’s Rango is a wonder among animated films. Naturally the colourful, larger than life medium lends itself to the eyes, ears and hearts of children, which is the direction most of them take. But Rango presents a mature, raunchy, surreal, absurd spectacle rife with a mischievous buzz and peppered with laughs just bordering on the inappropriate, even though they’d go right over their heads anyway. This film broke the record for how many times my jaw hit the floor seeing what they could do with the visuals. It’s detailed, meticulous, gorgeously rendered and beautifully crafted, not to mention speckled with subtle references to other films, literary works and themes that Verbinski no doubt holds dear and uses to amplify the story nicely. Johnny Depp gives wit, endearing naivety and a sense of childlike wonder to his creation of Rango, a little lizard in the big desert, violently thrown from a car wreck into the greatest adventure of his life, and the archetypal heroes journey. He wanders through the baking Mojave desert into the town of Dirt, inhabited by sassy, loveable creatures modelled after all our favourite western characters and carefully constructed from the biological blueprint of wildlife in that area. He blunders his way into becoming the sheriff, and leads the whole town on a quest to locate their most sought after resource: Aqua. Verbinski directs with a snappy, take no prisoners sense of humour, throwing joke after joke after one liner after tongue in cheek nod at us, until we feel so bombarded with fantastic imagery, brilliant voice acting and just plain fun, that we more than feel like we’re getting our money’s worth. Each animal is beautifully designed, from the evil Rattlesnake Jake (Bill Nighy having a ball with a mini gun tail and evil amber eyes), to Beans (a fellow lizard and love interest for our scaly hero), to the sleazy mayor (Ned Beatty, that old turtle), to a rampaging band of bank robbing moles led by a blind Harry Dean Stanton. The cast includes everyone from Timothy Olyphant to Stephen Root, Ray Winstone, Abigail Breslin, Isla Fisher, Lew Temple, Ian Abercrombie, Gil Birmingham and Verbinski himself in multiple roles. There’s just so much going on here visually, from a dusty cameo by The Good, The Bad & The Ugly’s Man With No Name to eerie trees that wander the desert searching for water, a cameo from Hunter S. Thompson’s Raoul Duke and Dr. Gonzo themselves and don’t even get me started on the batshit crazy aerial chase scene set to a mariachi version of Ride Of The Valkyries. The film is so full of detail, beauty and ambitious artistry that it has taken me at least three viewings to feel like I’ve noticed every character, one liner and cheekily brilliant little touch. It’s that good. Among the whacky antics there’s a theme of owning up to ones identity, becoming responsible for people you save, and finishing the work or task you set out to do, lest you leave your legacy unwritten. A classic.

-Nate Hill

Scott Frank’s The Lookout


Scott Frank’s The Lookout is a film where every turn of plot, exchange of dialogue, set piece and stylistic choice just seems to mesh flawlessly, resulting in a package that’s nearly as perfect as you can get. Part psychological character study, part crime thriller, sewn together lovingly by threads of brilliantly written, intelligent interpersonal drama that seems lived in, the writer never uses the pen to pander nor patronize, but provides well drawn, realistic human beings who sound like actual people and not archetypes dwelling within the pages, never fully realized. Joseph Gordon Levitt plays Chris Pratt (not actual Chris Pratt lol) a young hotshot who becomes the victim of his own cocky, self destructive behaviour. After a horrific car accident that was entirely his fault, his girlfriend is left maimed and he a busted up shell of his former self, saddled with bushels of brain damage and the inability to cohesively live his day to day life the way he did before. It’s some sort of synapse frying neurological scarring that’s never fully explained, but the symptoms are clearly and fascinatingly outlined in a way that no other film has really tried before. He’s left somewhat adrift in life, naively attracted to his foxy psychiatrist (Carla Gugino), misunderstood by his parents (Bruce McGill & Alberta Watson), and cared for by his eccentric, blind and motor-mouthed roommate (Jeff Daniels, a standout as always). He happens to be from a small midwestern town though, and in movie land these burgs are almost always filled with schemes, heists, double crosses and feed store robberies. ‘Bro seduced’ by an equally suave and shady dude (Matthew Goode, whose work here lives up to that surname and then some), Chris is shanghaied into assisting in the hold up of the very bank he works at, and soon the kind of hell that would make the Coen brothers applaud breaks loose. Everything makes sense though, the jigsaw pieces of the narrative nestling flush against one another, not a beat feeling out of place or in danger of derailing the whole thing. That’s not the easiest thing to achieve, especially in a taught running time that clocks in under two hours and still manages to feel substantial. Levitt is terrific, a guy who used to be in control, used to be revered as the alpha who takes care of things, his condition worsened by the knowledge that people know full well how broken he is. The stakes are inherently high when someone that set back by life must navigate their way through the complex ins and outs of pulling off a bank heist. One hell of a film.  

-Nate Hill

THE LOOKOUT – A REVIEW BY J.D. LAFRANCE

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With his adaptation of Elmore Leonard’s novel, Out of Sight, Scott Frank demonstrated a knack for crime thrillers with plenty of plot twists and double crosses. He finally got the chance to direct his own film and the result was The Lookout (2007), a neo-noir that evokes other crime movies like Charley Varrick (1973) and Fargo (1996).

Chris Pratt (Joseph Gordon-Levitt) is a young hockey player with a promising career that is snuffed out in an instant thanks to a car accident that he caused. Four years later, he’s working as a night janitor at a local Midwestern bank located out in the middle of nowhere and dealing with a head injury from the accident. He has to write down everything that he does to get ready every day. His old life is gone and his new one is one mundane day after another. Chris now lives with Lewis (Jeff Daniels), his blind roommate who helps the young man out with things around their apartment.

Chris meets Gary (Matthew Goode) at a bar one night. He’s a genial guy who befriends the young man over beers. Chris also meets a beautiful young woman named Luvlee (Isla Fisher) who is friends with Gary. They quickly go to work on Chris, Gary appealing to his brain and Luvlee to his heart. They make him feel like he belongs, which is important to him because his family doesn’t know how to relate to him anymore. Pretty soon Gary tells Chris about a bank heist he plans to pull with his buddies. The bank that they are targeting just happens to be the one that Chris works at. Gary dangles the proverbial carrot in front of Chris with the promise of money and the power that comes with it. He is very persuasive and knows exactly which buttons to push. Like most heist films, things do not go according to plan and the rest of the film deals with the aftershocks.

Joseph Gordon-Levitt continues his knack for offbeat roles. He does a great job portraying someone with neurological damage and the frustration that comes from not being able to do simple things like opening a can of food or remembering someone’s name. He also conveys the guilt his character feels over the car accident that cost two of his friends their lives and robbed him of a promising future. We see how he tries to hide his disorder and the frustration of not being able to do basic things. It’s a performance grounded in realism that is in contrast to this stylized noir world. It doesn’t hurt that he is surrounded by cold, detached characters, and this makes him very sympathetic as well.

Jeff Daniels steals pretty much every scene he’s in as Chris’ genial roommate. The actor displays a dry sense of humor that is very funny to see in action. He and Gordon-Levitt’s character make for very unlikely roommates to say the least but the two actors make it work thanks to the excellent chemistry they have together. Along with The Squid in the Whale (2005) and Good Night, and Good Luck (2005), Daniels is turning out to be quite an excellent character actor appearing in several well-made independent films.

Frank has a keen visual sense, adopting a predominantly dark color scheme in keeping with the neo-noir tradition. He has crafted a clever little thriller with a fascinating protagonist at its center. What could have easily been a forgettable film is anchored by yet another riveting performance by Gordon-Levitt.