Minions

Frida

Directed by Julie Taymor.

2002. Rated R, 123 minutes.

Cast:

Salma Hayek

Alfred Molina

Geoffrey Rush

Valeria Golino

Diego Luna

Antonio Banderas

Mía Maestro

Edward Norton

Saffron Burrows

Ashley Judd

The life and times of real life Mexican artist Frida Kahlo (Hayek). We meet her as a young woman spying on an extra-marital affair by Diego Rivera (Molina), her country’s most famous artist. A short while later, Frida is badly injured when the trolley she is riding in has an accident. Doctors tell her she may never walk again. Of course she does, and it indeed affects her the rest of her life, but this isn’t the story. The story actually begins with her discovering her passion and ability for painting while confined to her bed. Soon, she seeks the counsel of none other than Rivera whom, if you couldn’t tell, is as renowned for his womanizing as he is for his artwork. The two embark on a tumultuous lifelong love affair.

In the titular role, Salma Hayek is an unstoppable force of nature. She emanates an irresistible flame that torches the screen. Aided by a prominent unibrow, Hayek is simply impossible to look away from. It is a magnificent performance starting with the very first time we see her. Since one great turn deserves another, what Hayek accomplishes is certainly complemented, and might not be possible, without the work of Alfred Molina as Rivera. He is essentially the perfect trampoline for her to bounce off. Seemingly everything she does is in reaction to him, even when he is not in the scene. To his credit, Molina doesn’t wither in her storms. He plays Diego as a large man, both literally and figuratively, with enormous pride and appetites. This isn’t a guy who curls up fetally when his woman is on a tirade. He constantly reminds her, and us, that she knew who he was right from the start.

Along the way, director Julie Taymor adds some very nice touches that are nods to artists in general, and these two in particular. At times, characters themselves fade in or out of a painting. Other times, Frida’s work literally comes to life. On a few occasions, even less conventional things happen. It’s a wonderful way of adding layers to the film without endless exposition. Showing is more powerful than telling. The film does a great deal of showing this way and manages to do so without subtracting from the idea that we are watching a movie about real people.

One area where the movie doesn’t do enough showing or telling is in regards to how she came to be so important to the Mexican people. We’re told often how good her work is, but just piles up in a back room of her house. Diego often lets well connected people give it a look. Eventually, this lands her a gig in Paris. Next thing we know she’s suddenly an icon in her native land. We never see any growth in her status. We are just told it is.

Even if the movie could have done a better job at explaining the public side of her life, it so thoroughly and zestfully goes over the private side, we can’t help being enthralled. Here is a woman with so much passion it rubs off on everyone around her, including us in the audience. We lover her regardless of whether or not we are into art or agree with her politics. This is the towering achievement of Frida.

Pirates of the Caribbean: On Stranger Tides

Directed by Rob Marshall.

2011. Rated PG-13, 136 minutes.

Cast:

Johnny Depp

Penélope Cruz

Geoffrey Rush

Ian McShane

Kevin McNally

Astrid Bergès-Frisbey

Stephen Graham

Keith Richards

Richard Griffiths

Sam Claflin

Ava Acres

Cpt. Jack Sparrow (Depp) is back for another adventure on the high seas. This time he is in search of the original fountain of youth. More accurately, he’s a reluctant guide for Blackbeard (McShane) and his daughter Angelica (Cruz) who need to find it for selfish reasons. Cpt. Barbossa (Rush) is hot on their tail. He wants to catch up with Blackbeard to settle an old score. Lots of swashbuckling, wisecracking and Cpt. Sparrow prancing about ensues.

As usual, Depp and his cast mates have a grand time hamming it up. Nearly every role is merely an excuse to mug for the camera. Our performers willingly dive over the top. The movie, even the entire franchise is better for it. Played straight this would likely be a dreadful affair. Played as it is, with a wink and a smile, allows both the viewer and the movie itself to revel in its absurdities. Like the best moments of the series: On Stranger Tides functions as much like a vaguely risqué comedy as it does an adventure film about pirates.

Wisely, this fourth installment in the “PotC” series sticks with a few easy to follow storylines. This is a welcome regression from the hyper-convoluted abyss that is At World’s End. While that movie is an incoherent jumble of parts, On Stranger Tides is a cohesive unit that moves forward at a brisk pace without leaving us behind. For some the entire franchise has lost its luster and will want nothing to do with this movie. For me, it’s a gleeful return to what we love about the PotC world. That said, I wouldn’t mind if they didn’t make any more of these. The time has come for Cpt. Sparrow to flitter away. This would be going out on a solid note.

MY SCORE: 6.5/10

The King's Speech

Directed by Tom Hooper.
2010. Rated R, 118 minutes.
Cast:
Colin Firth
Geoffrey Rush
Helena Bonham Carter
Michael Gambon
Guy Pearce
Claire Bloom
Derek Jacobi
Eve Best
Timothy Spall

The Duke of York has a problem. Bertie (Firth), as he’s called by his family, has stammered all his life. On those occasions when he has to speak publicly he struggles mightily with disasterous results. Over the years, he’s tried numerous speech therapists to no avail. He’s given up hope. His only consolation is that as the younger son of King George V, it’s unlikely he’ll ever rise to the throne. He won’t be called upon to address the nation.

At the urging of his wife (Carter), Bertie tries one more therapist. Lonnie (Rush) was recommended to her by a friend and is known for his unconventional methods. After all the failures in this area of his life, Bertie is understandably reluctant and skeptical of the possibility he could be cured. Lonnie agrees to take the job, but only on his terms. The two men start an uneasy work relationship that over changing times and circumstances develops into a real friendship. Through some unforseen circumstances, Bertie does indeed become king, King George VI whom this movie is based on.

The King’s Speech takes two genres and mashes them together to create a triumphant inspirational film. The plot outline follows the template of a sports movie with our Duke in the underdog role and the therapist, his charismatic coach. This simply replaces the athletics with speech. What plays out amidst the machinations of the plot is pure bromance. The interesting dynamic is how Bertie keeps trying to distance himself from their relationship, yet keeps getting drawn back. It seems Lonnie is the only person he can confide in.

A movie where the title implies the climax will be made up of dialogue and not action has to be well written. This one is. It not only humanizes a member of British royalty, it makes him a sympathetic figure even though he’d much rather have us leave him alone than pity him. Remarkably, nothing feels as if its done for effect, at least for our purposes. For Lonnie’s purpose, most things are ploys designed to help or learn how to better assist his troubled pupil. This is why we root for Lonnie as much, if not more than Bertie. Bertie’s successes and failures are equally Lonnie’s. They will validate or invalidate him.

In these roles, both Colin Firth and Geoffrey Rush are superb. Firth’s performance runs the gamut of emotions. Yet, even at his most regal we sense his fragility. The show he puts on in public is easily seen through by those who know him. Firth lets us know him. He does this whil keeping his stammer from being ridiculous and causing inappropriate laughter. As Lonnie, Rush is a sturdy beam for Bertie to lean on. He’s full of genuine compassion, but also curiosity. He often approaches his student as a riddle to be solved. In a strange, but totally effective way, Lonnie carries himself more like a monarch than Bertie. We sense this quality has something to do with why Bertie is drawn to him.

When we get to the end, we’ve become vested in these men, their friendship and their quest. We’ve watched them struggle with one another over a period lasting many years and gone plenty of growing pains. Eventually Bertie, by now King George VI, finds out that as World War II threatens his nation, he has to make a speech to galvanize it. This is the big game. We want them to win.

MY SCORE: 8.5/10