2016 Blind Spot Series: Sophie's Choice

August: Osage County

Directed by John Wells.

2013. Rated R, 121 minutes.

Cast:

Meryl Streep

Julia Roberts

Ewan McGregor

Benedict Cumberbatch

Chris Cooper

Abigail Breslin

Juliette Lewis

Margo Martindale

Dermot Mulroney

Julianne Nicholson

Sam Shepard

Misty Upham

Beverly (Shepard) is a man at the end of his wits. He's been married to Violet (Streep) forever and ever. She's a mean old biddy who has been stricken with mouth cancer, but keeps sucking down cigarettes. She medicates herself with as many pain killers as she can get her hands on. He prefers to drink away his pain. One day, Beverly goes out and doesn't come home. After a few days, Violet calls everyone in the family she can get a hold of to help her solve the mystery and the whole dysfunctional clan shows up. Her daughter Ivy (Nicholson) appears first, since she lives in the area. Then, in some order I can't exactly recall, the house fills up with up with people. There's daughter Barbara (Roberts), along with her husband Bill (McGregor), and their daughter Jean (Breslin). Daughter Karen (Lewis) arrives with "this year's man," Steve (Mulroney). Violet's loud sister Mattie Fae (Martindale) rumbles in, dragging her hubby Charles (Casper) with her. At some point, later on, Mattie Fae's and Charles' son Little Charles (Cumberbatch) joins the fray. Every one of these people has serious issues with themselves and each other. You know what that means. Oscar baiting ensues.

In seemingly trying to garner accolades for its cast, August: Osage County comes off more as a collection of clips worthy of awards ceremonies than the gripping drama it impersonates. The actors take turns showcasing their chops. More accurately, headliners Meryl Streep and Julia Roberts take lots of turns while the others get a scene or two apiece. Luckily, it's an amazing cast. Just about everyone is at their fiery best. Every line is delivered with passion and conviction.

Playing our main protagonist, Streep inhabits her role so fully, it's scary. She makes the cigarette between her fingers and the cloud of smoke swirling around her head while puffs of it punctuate her speech integral parts of Violet's persona. She's clearly a fire-breathing dragon once she gets riled up. While Streep is constantly on the attack, Roberts is busy counter-punching. A strong presence in her own right, she never withers beneath her co-star's massive light. Instead, she fires back in verbally violent fashion, commanding the screen as she does.

As stated, the rest of the players all knock it out the park when they step up to the plate. Margo Martindale provides the thunder to Streep's lightning. she is appropriately loud and angry. The difference is where Streep is sinking her fangs into everyone in sight, Martindale is usually trying to make someone do something. As her husband, Cooper fares best amongst the men in the cast. It's not that anyone is bad. Even the weakest links in the cast, either Nicholson or Breslin, are both very good. Ladies and gentlemen, when the masters decide to chew scenery, this is how they do it.

That I've spent most of my review to this point gushing over the acting begs the question 'why don't I love this movie?' The answer lies in something I snuck in a little earlier. It plays like a collection of clips. Due to the talent on display, they are immensely watchable. However, what links them just feels like a writer purposely throwing fuel on various fires to create melodrama. Between every rant, another problem is added to the mix until it all becomes too much for the movie to bear. Eventually, I just rolled my eyes as the next thing always and inevitably happens. In that way, it's very Tyler Perry-esque. We get one earth-shattering revelation after another until the film collapses beneath its own weight. What we're left with is a movie that is much less than the sum of its parts.

Pointless Lists: Top 10 Portrayals of Real Women

In my last post I reviewed the 2002 film Frida (here) which is a biopic about the late Mexican artist Frida Kahlo. I gushed about how amazing Salma Hayek was in the title role. This got me to thinking about a number of other great performances of real women that have graced our screens. Of course, my next thought was where does Hayek’s rank, if at all. This is no definitive list as it is only based on movies I have seen. Still, these are my…

Top 10 Portrayals of Real Women

Honorable Mentions: 

(alphabetically by actress’ last name)

Hope Davis as Joyce Pekar in American Splendor

Faye Dunaway as Bonnie Parker in Bonnie and Clyde

Mariel Hemingway as Dorothy Stratten in Star ‘80

Lynn Whitfield as Josephine Baker in The Josephine Baker Story

10. Helen Mirren as Queen Elizabeth II

In

The Queen

(2006)

As the iconic monarch Helen Mirren brings tremendous grace and dignity to the screen. Watching her really feels like we are looking at Queen Elizabeth II wrestle with the idea of how to address her nation about the passing of Princess Diana whom she is known have her differences with. Mirren was also outstanding as Alma Reville, the wife of The Master of Suspense in 2012’s largely lackluster Hitchcock.

9. Michelle Williams as Marilyn Monroe

In

My Week with Marilyn

(2011)

Williams captures Marilyn’s fragility and the manner in which she wields her sexuality as the only weapon she feels comfortable using. It’s remarkable work that threatens to reduce Monroe to a caricature but manages enough humanity to make her a sympathetic figure. (Review)

8. Meryl Streep as Margaret Thatcher

In

The Iron Lady

(2011)

As usual, Meryl Streep keeps us engaged. She again demonstrates her ability to get lost within the character and draw out both their despair and their dignity. Like a number of others on this list, she also breathed life into another historic figure. In her case, she was delightful as culinary legend Julia Child in 2009’s Julie & Julia. (The Iron Lady Review)

7. Cathy Moriarty as Vicki La Motta

In

Raging Bull

(1980)

Moriarty quite literally came from nowhere to earn an Oscar nomination for playing the wife of boxing great Jake La Motta opposite Robert De Niro. It was a fiery performance nearly as raw and visceral as her iconic co-star.

6. Jennifer Lopez as Selena Quintanilla

In

Selena

(1997)

Lopez is simply phenomenal as the Mexican-American singer who achieved superstar status in Mexico and appeared to be on the verge of a breakthrough in the United States before being gunned down by the president of her fan club. She brings an abundance of energy to her role and makes us love her. This is still her best work.

5. Reese Witherspoon as June Carter

In

Walk the Line

(2005)

It takes a tough woman to handle The Man in Black. In Walk the Line, Witherspoon gives us that plus a whole lot more. She was ridiculous feisty and perfect all the way through. By the way, give her extra kudos for doing all of her own singing.

4. Salma Hayek as Frida Kahlo

In

Frida

(2002)

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.

3. Hilary Swank as Brandon Teena

In

Boys Don’t Cry

(1999)

Swank’s role is, in my mind, the second most challenging on this list. After all, she’s playing a woman who isn’t sure she was really meant to be one. Swank does a masterful job making us feel empathy for a person whose actions eventually cause pain in others. Ten years later, Swank would also play famed aviator Amelia Earhart. (Review)

2. Angela Bassett as Tina Turner

In

What’s Love Got to Do with It

(1993)

Right before our eyes, Angela Bassett morphs from being a shy country girl from Nutbush, Tennessee to one of the most iconic women in the history of American music who also happens to be desperately trying to figure out how not to be a punching bag for the husband that made her a star. It’s a powerhouse performance if ever there was one and I will go to my grave saying Bassett was robbed of the Oscar for Best Actress in 1993. In a quieter role just one year earlier, she was also excellent as Betty Shabazz, the wife of slain Civil Rights leader Malcolm X.

1. Charlize Theron as Aileen Wuornos

In

Monster

(2003)

The one role on this list more inherently challenging than Swank’s in Boys Don’t Cry is Theron’s, here. Physically, she literally transformed herself. Always the glamorous sort with classic Hollywood beauty, she was just about unrecognizable. For the role, she gained thirty pounds and shaved her eyebrows. And that’s before all the makeup and prosthetics were applied to her. But that was only the beginning. She still had to sell us on the idea that she was a serial killer. Theron certainly managed to do just that with a flat-out disturbing performance.

I’m sure I have missed one or a dozen. Let me know some of your faves.

Hope Springs

Directed by David Frankel.

2012. Rated PG-13, 100 minutes.

Cast:

Meryl Streep

Tommy Lee Jones

Steve Carell

Jean Smart

Elisabeth Shue

Ben Rappaport

Marin Ireland

Brett Rice

Mimi Rogers

Ann Harada

Kay (Streep) has been married to Arnold (Jones) for thirty-one years. For at least the last four, every day has been exactly the same. They eat a quick breakfast before going off to their separate jobs, and a quick dinner when they return home. He then proceeds to fall asleep watching The Golf Channel while she cleans the dishes. When she’s done, she wakes him and he retires to the guest room. She sleeps in the master bedroom. Needless to say, the sparks are no longer flying. In an effort to change this, Kay makes reservations for the two to spend a week in Maine where they will see Dr. Feld (Carell), a famous marriage counselor. Even though he doesn't see anything wrong with their relationship, Arnold reluctantly goes along. By the way, he is also a grumpy penny-pincher whose favorite activity is complaining. A very tough week for the couple ensues.

The best thing that can be said about Hope Springs is that Meryl Streep and Tommy Lee Jones really feel like two people who have been together for three plus decades. They each inhabit their characters fully and let us understand who these people are. We get to know them as thoroughly as they should know each other, but don’t. It helps that we have all known couple like this. They have been together so long, they don’t know anything else. Some of us are that couple. In them, we recognize our own hopes and fears of what marriage will be like once the nest empties.

Right away, Kay is established as the more sympathetic figure. It is easy to see that her frustrations are not only born of her husband’s cluelessness, but of his comfortableness with the way things are. For him, sleeping in separate beds and barely talking to his wife beyond greetings and salutations are merely facts of life. That’s simply the way it is. Of course she desires a deeper connection, both physically and emotionally. She just needs help communicating this. We feel her pain.

To the movie’s credit, it doesn't just attack the problem from one angle. Eventually, we get into why things have gotten this way from Arnold’s point of view. It’s fitting that it takes a good portion of the movie to get to this because he is not a guy given to expressing any feelings that make him appear vulnerable. He’s the proverbial turnip we’re trying to draw blood from. This works wonderfully as we begin to sympathize with him more and more as the film progresses.

Though billed as a rom-com, Hope Springs is much more “dramedy” than anything else. There is lots of angst, some hurt feelings and tears shed. The focus is really on this authentic feeling marriage and whether it can be fixed, not on a succession of jokes. We do get some laughs. Most of them come from Arnold’s incessant grumbling. He is our dad, or grand-dad, and nothing is ever quite good enough or cheap enough for him. Kay is our mother, or grandmother. She’s sweet as pie and struggles to keep it together when she’s upset. We love her to death, but she rarely makes us laugh. The only other character of consequence is Dr. Feld. Steve Carell plays the role surprisingly straight.

This is a movie that hits a lot of right notes and has two marvelous performances. In the end, it comes across as more lightweight than it actually is. Therefore, almost no one will rank this among the best from either actor. That’s a shame because while I don’t think this is a truly great movie, I think they are both great in it. I also fear there is probably a clear line of demarcation separating those who will enjoy it and those who will not. I’d set that line at about age thirty-five and having been in at least one long-term monogamous relationship. In other words, use another Meryl Streep vehicle, It’s Complicated, as a guide. If that’s not your cup of tea, don’t sip from this one, either.

MY SCORE: 7/10

The Iron Lady

Directed by Phyllida Lloyd.

2011. Rated R, 105 minutes.

Cast:

Meryl Streep

Jim Broadbent

Alexandra Roach

Harry Lloyd

Olivia Colman

Iain Glen

Anthony Head

Nicholas Farrell

Richard E. Grant

Martin Wimbush

Roger Allam

John Sessions

Meryl Streep plays Great Britain’s first female prime minister, Margaret Thatcher. She’s aided in her portrayal by Alexandra Roach who plays the younger Margaret. Through the use of flashbacks, we follow the once most powerful woman in the world from the time shortly before she gets accepted to Oxford through the present. Those flashbacks reveal a vibrant woman with a passion for making things right, as she saw fit. We see her struggle and elbow her way into politics, essentially an all-boys club when she began. Naturally, she evolves into a hard-nosed leader who won’t take any guff from anyone. Throughout our time with her, she efforts to adjust to life out of office and without Denis (Broadbent), her beloved but deceased husband.

Some recent biopics about famous women have chosen to focus on the more tawdry details of their lives, love affairs and soap opera like melodrama, relegating what made them great to secondary status. Such is the case in both Coco Before Chanel and Amelia, both making their subjects the focal point in a love triangle more than anything else. Thankfully, The Iron Lady spares us the romance novel histrionics. Instead, we get to see the drive that made her into the Margaret Thatcher we’ve come to know. Her ascent to power and exertion of it are allowed ample breathing time. Whether we agree or disagree with her philosophies and decisions is irrelevant. What’s important is that she achieved much during her lifetime.

That’s not to say there isn’t a love story because there most certainly is. Without their courtship dominating the run-time we still get a clear understanding of how much they mean to each other. We also realize how tough her public life is on their family. Still, they are what could be described as soul mates. This gives us the current of sadness that runs through TIL. Much of the older Thatcher’s time, by extension much of Streep’s time, is spent within the lonely confines of her bedroom. She often speaks aloud to Denis, present only through her constant hallucinations. Here is where the movie almost loses us. It’s depressing watching a once-great figure stumble about her home talking to herself. She appears to struggle with the fact she’s no longer Prime Minister and wholly unable to cope with the reality that her husband has been dead some years.

As usual, Meryl Streep keeps us engaged. She again demonstrates her ability to get lost within the character and draw out both their despair and their dignity. If there is one trait most of her characters share, it’s regality. That’s certainly fitting for Thatcher. However, this is one instance where Streep didn’t do it alone. I’d be remiss if I didn’t commend Alexandra Roach. She does a very good job as the younger, more ambitious, less secure Margaret. The two performances mesh nicely. It helps that Roach bears a healthy resemblance to Streep.

Eventually, a triumphant finale is fashioned out of our hero’s post-political life. Still, it’s not as uplifting as it wants to be. It feels like a temporary victory or possibly a segue to other problems. The movie ends because it must. Some of you may cry because it is a touching moment. It just doesn’t leave us feeling particularly good about where Thatcher stands.

MY SCORE: 7.5/10

It's Complicated

Directed by Nancy Meyers.
Rated R, 120 minutes.
Cast:
Meryl Streep
Alec Baldwin
Steve Martin
John Krasinski
Lake Bell
Hunter Parish
Caitlin Fitzgerald
Zoe Kazan
Rita Wilson
Alexandra Wentworth

Jane Adler (Streep) is a divorcee going through a bit of “empty nest” syndrome as her youngest child is graduating college and about to leave her alone in her big, beautiful home. She hasn’t been dating but has taken an interest in Adam (Martin), the architect helping her with additions to the house. The complicated part: after a night of drinking and dancing she finds herself involved in an affair with her ex-husband Jake (Baldwin) who is now married to Agness (Bell), a woman quite a few years her junior.

Except for the ages of those involved, the premise is fairly unremarkable. However, that one aspect is explored and exploited wonderfully. In keeping with the overall light tone, age is viewed as a simple matter of fact, not a death sentence to your pursuit of happiness. Even that’s not entirely accurate. For some, their advancing age is actually an excuse to pursue their happiness with even more vigor than they did when they were young.

As you can imagine, this eventually becomes a love triangle with Streep at the center. It is key that she is playing the lead role. Her acting ability is unquestionable and she is again fantastic. However, it’s her looks that make her performance. She’s a household name. We are familiar enough with her to have seen her at various stages of her career and life. We know what she looked like many years ago. Many of us, myself included, think that right now she looks better than she ever has. So, why wouldn’t her ex-husbandt think the same? On top of that, she exudes a certain regality that’s attractive. That’s what keeps the architect who’s just met her, sniffing around.

None of that would matter if it weren’t funny. Fortuanately, this contains plenty of laughs. They feel natural as the actors all seem to be having such fun as things just happen. They rarely feel like they’re simply performing jokes. Among those actors, John Krasinski as Jane’s son-in-law Harley, stands out. He has many of the movies best moments. That said, I have to be fair and say who thinks It’s Complicated is funny and who doesn’t may break down along generational lines. I’m guessing 30 might be the line of demarcation: above it, you’ll love it, below it you’ll loathe it. Maybe.

Romantic comedies are one of my least favorite genres of movies, a shade above romantic musicals. This rises above its contemporaries even though it includes many of their clichés. I wouldn’t call it a great film, but it is certainly an entertaining one. Streep plays perfectly off her male suitors and displays a comedic timing not often associated with her. Yup, I’m drinking the Streep kool-aid. She’s the best.

The Opposite View: Marjorie Baumgarten, Austin Chronicle

What the Internet Says: 6.7/10 on imdb.com, 57% on rottentomatoes.com, 57/100 on metacritic.com

MY SCORE: 7/10

Julie & Julia

Directed by Nora Ephron.
2009. Rated PG-13, 123 minutes.
Cast:
Meryl Streep
Amy Adams
Stanley Tucci
Chris Messina
Linda Emond
Helen Carey
Mary Lynn Rajskub

Plot: In 1949, Julia Child (Streep) begins the journey which will make her a giant in the cooking industry. In 2002, Julie Powell (Adams) starts a blog and challenges herself to cook every recipe in the icon’s legendary cookbook Mastering the Art of French Cooking. within 365 days. Based on two true stories.

The Good: It’s kinda hard to talk about a Meryl Streep movie and not start with her. As Child, Streep is a force of nature that simply dominates her every scene. As fine an actor as Stanley Tucci is, he plays her husband, he simply doesn’t stand a chance because he constantly shares the screen with her. She is “that” good. The movie does a nice job with the more contemporary story of Julie Powell and the strain her quest puts on her marriage. Adams and Messina make a very nice screen couple. As a pleasant surprise, it’s him we wind up rooting for.

The Bad: The telling of the two stories together rob the chronologically earlier part of any mystery. In any biopic, particularly of someone as famous as Child, there’s already an air of inevitability. That feeling is multiplies every time we switch back to Powell and continuous gushing over the icon. While the story of Julie and her husband is done well, it’s predictable. Their half of the movie feels like any number of the rom-coms we’ve already seen.

The Ugly: How Julia reacts when she learns of Julie.

Recommendation: J & J is a movie that really shouldn’t work as it’s constructed. On paper, it seems like it would be better as two separate films. However, the strength of the portrayals, not only by Streep but also by her cast-mates, makes the end result greater than the sum of its parts. Of course, if you require the slightest hint of testosterone-charged excitement to have a pleasurable viewing experience, look elsewhere.

The Opposite View: Kimberley Jones, Austin Chronicle

What the Internet Says: 7.2/10 on imdb.com (6/1/10), 75% on rottentomatoes.com, 66/100 on metacritic.com


MY SCORE: 6.5/10