The Fall (2006)

"The Fall" is a lush fantasy that combines the elements of period costume drama, surrealist art film, and swashbuckling adventure to dazzling effect. It is gorgeous, yes, but the beauty proves to be more than just visual as it also delivers a beautiful story with touching performances, particularly from one little girl actor, Catinca Untaru, as the emotional center of the film, Alexandria.

  The first thread of the story is set in a 1920's Los Angeles hospital, where 5-year-old immigrant Alexandria (Untaru) is being treated for a broken arm she suffered falling from an orange tree. Bored and reduced to throwing oranges at the priest (Grant Swanby) for entertainment, she is intrigued when she meets despondent stuntsman Roy, who is willing to entertain her with stories of adventure and derring-do... for a price (don't worry, this is not the story of a Polanski-wannabe and his child victim, although it does get dark).

Alice in Wonderland (2010)

  Okay. Forget that well-loved pop-up book you cherished when you were eight. If you know Tim Burton in the slightest, you won't need to be told this isn't anything like that. Fans of the director's work- Beetlejuice, The Nightmare Before Christmas, even Sweeney Todd- will allow him to take the story from Lewis Carroll's hands and adapt -- hence, take great liberties with it. Others will wince at the special effects and try to call a brightly colored, non-Burtonized Wonderland to their mind.

     First, though, let me make something clear -- I like Tim Burton very much. I know that we live in a society where children watch Saw and Pulp Fiction with wild abandon, but I think kids should watch kid's movies up until a certain age. I did not categorize this as "family" because I don't think should be considered that by a long shot. I remember at one time literally covering my mouth with my hand and considering the ludicrousness of the PG rating.

Me & Orson Welles

     You needn't know much about Orson Welles to see (or like) this movie. Nor do you need to devour Shakespeare. As an unsophisticated and non-well-read viewer, I found Me & Orson Welles to be an enjoyable and unpretentious period piece by Richard Linklater, the director of the also enjoyable, unpretentious, but more comically oriented The School Of Rock. But now, instead of the manic Jack Black, Linklater has cast Zac Efron in the lead, a controversial decision considering many non-twelve-year-old girls consider him a pretty boy unfit for anything past High School Musical. But don't worry, the guy doesn't seem limited to teenybopper franchises, and he does fine here, in a film he rather self-importantly deemed the first of his roles he was actually interested in.

   He is backed up by virtual unknown Christian McKay, Eddie Marsan, and talented but typecast Leo Bill, who is forever willing to play the nerd, misfit, psychotic, or pervert. Efron plays Richard Samuels, an ambitious and slightly naive "almost eighteen-year-old" living in new York City in 1937 who regularly skips school, much to the chagrin of his disgruntled mother, and gets a part in the Mercury Theater's production of "Julius Caesar" after publicly singing an awful song about cereal. Womanizer Joe Cotten (James Tupper) and womanizer-in-training Norman Lloyd (Leo Bill), who both have their minds on only one thing (and it's not theater), show him the ropes along with Assistant Sonja (Claire Danes), who Richard promptly develops a crush on.

     The show revolves around keeping Orson happy, a self-obsessed terror set on his own talent. Richard won't be paid. You must not argue. The actors laugh, as a knee-jerk reaction, at Orson's unfunny jokes. What does he earn for all this? "The chance to be sprayed by Orson's spit." Why does Richard keep the job at all? He has hope he can make it in the acting business. It's better than going to school. Sonja might be a big part of it. Norman and Joe classily comment that "every man in the show wants to get into her pants," then make a bet- the first one to succeed gets five dollars. It is easy to guess that Sonja will be furious and broken-hearted that Richard made the bet, but it doesn't happen, which highlights the unexpected turns the movie takes.

    The rest of the movie concentrates on the quirks of the cast and Orson's ego, as well as Richard's realization that whatever turn the show takes, he wants to be a "part of it all." This is well done, except for occasional bad line. For instance? "What's it like to be a beautiful woman?" Richard randomly asks Sonja. *Wince* What gutter did they pull that from? The only saving grace is that Sonja receives it as a bad line. Zac Efron starts out rather awkward in the first five minutes, delivering such off-kilter lines as "you play with real feeling." The heavily romanticized dialogue just doesn't feel natural, and it's a relief when the lines become smoother and wittier.

   Christian McKay plays Orson Welles as perfectionistic, hard-headed, and childish. When he gets in a fight with his actors, he hollers at the top of his lungs, trademark spit spurting out of his mouth, "I am Orson Welles! And every single one of you stands as a adjunct to my vision!" Mm-kay... His unfailingly reasonable agent John Houseman (Eddie Marsan) tries to get through to him, but the bottom line is nothing that Orson Welles doesn't want to do will even be brought to the table. He is a great character, and you see something sympathetic in him, then he throws you for a double loop. Me & Orson Welles is a historical film for people who don't have the time and patience for historical films, and establishes Zac Efron as an actor worthy of some respect (Rated PG-13.)

*
 

The Living & the Dead

  Not your first pick for Mother's Day, The Living and the Dead is morbid and horrifying, and I mean that, strangely, as a compliment. It is a family drama, a psychological thriller, a tragedy, an art film, all these things at once, and and despite it's flaws, it doesn't overextend.

   The film opens with Lord Donald Brocklebank (Roger Lloyd-Pack), a worn-down, silent shell of an old man, pushing an empty wheelchair through a quiet room. The image delivers the same feeling as a dark grey painting, lonely and despondent. He watches, lip quivering, as an ambulance pulls into his massive estate. Cut back an undetermined amount of time. Donald stands straighter. He maintains a kind of pride that must come with being one of the British elite, but he is grieving. He has a lot to grieve about.

    His wife, Lady Nancy Brocklebank, is terribly sick and probably won't be with him much longer. The bills are piling up, and they will soon lose their mansion. His son James (Leo Bill, in an over-the-top performance that works), dashes around the house with little clear purpose.

    James is in his mid-to-late twenties. He is stuck in a kind of permanent childhood, the kind of childhood that is made up of nightmares, not whimsy. Although Simon Rumley, the director, describes him as "mentally challenged," I suspect paranoid schizophrenia.

    James is by far my favorite character in the film. He is a complicated movie creation, and his emotional limitations do not hold back his complexity or ambiguity as a person. Donald treats James with the casual cruelty that is most likely inflicted on the mentally ill more often than we think, condescending to him, forbidding him to use the phone or answer the door. James is desperate to prove to his father that he is an independent adult and plans to do so by taking care of his mother.

   His father understandably rejects the idea. In an matter of days, James will have locked the door, shut out the nurse, skipped his pills, and may have destroyed the lives of those closest to him. Soon, as his lucidity deteriorates, the viewer begins to wonder if the past events were only in James' head. This is a film for a patient audience -- it's a while before anything happens and the reality of the events is questionable.

    The atmosphere is palpable, and the characters are well developed. There are many plot holes and unanswered questions throughout the film, as the story itself seems on the edge of reality, with its Gothic features and abstract images.

    People have had different opinions on whether James is "good" or "bad." He is a disturbing character, to be sure. He is not a sex maniac, mad slasher, or stony-faced killer, but an exceptionally childlike and deeply disturbed man. This movie might make you feel differently about a crime, in the paper, in which mental illness was a factor. Despite naysayers, The Living and the Dead is an emotional bombshell and thought-provoking film.

Vera Drake

    Mike Leigh's 2004 effort, Vera Drake, is sure to be controversial, but not for the reasons you might expect. Instead of providing shock value (and the blood and guts of franchises such as Saw and Hostel,) Vera Drake takes a hot-button topic and views it from a much-maligned perspective. It may make you uncomfortable or angry, but the well made status of the film is hard to deny. The eponymous Vera is a jolly 1950's housewife who lives in post-war Britain and works cleaning other people's homes. She is the proud mother of two adult children, sarcastic Sid (Daniel Mays) and excruciatingly shy Ethel (Alex Kelly) and wants to find a eligible bachelor for her isolated daughter. She is happily married to mustached mechanic George (Richard Graham).

     In secret, Vera is an abortionist, terminating women's pregnancies for no pay. She uses the same soothing rhetoric for every incident and is never caught. The procedure is relatively clean and safe, and as far as she is concerned she does no wrong. I didn't always like Vera. She was blind to the implications of her acts and cheery to a fault. Yet she always tried to do the right thing. I think something horrible happened in her past, but it was never fully explained. Yet, life goes on. Vera and George find a possible "eligible bachelor," Reg (Eddie Marsan), an introvert highly affected by the war. Vera continues her operations with women who have been  put into contact with her friend Lily (Ruth Sheen), who has untrustworthy motives. But when a near tragedy occurs, Vera is put out in the open and ages ten years in a strenuous couple of days.

     Possibly more interesting than Vera are her kids Ethel and Sid. Ethel holds herself hunched and quiet, with zero self-esteem. She meets her match with Reg, who seems as unsure of the courtship as she is. I wasn't quite sure where their relationship would go. Sid and his friend Ronny (Leo Bill) discuss post war issues and try to score a dance at a party, and Sid is the one to reasonably question his mother when the doody hits the fan.

    The film has a strong sense of place. A rape scene occurs, and it is handled tastefully (as tastefully as a rape can be). Imelda Staunton gives a great performance, going from a cheery, confident woman to a slumped person who can barely drag her feet across the floor.

    Vera is not a liberal Wonder Woman, a superhero who keeps her powers of cheerful strength no matter what. She is vulnerable and fallible, and she can be and will be broken.  But somehow, I wasn't as involved the second time I watched it as I could have been. I think the director was pushing me too hard with the tragedy of it all and what a great person Vera is. That never helps. You've got to hand it to Sid though. With everyone else referring to  the center of the operations as "trouble" and "problems," Sid is the first to offer the humanizing word "babies." (Rated R.)
rating- **