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  • Waitress

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    Film Name  Production Year

    Waitress  (2007)

     

    "Waitress" has brilliant casting and direction. Whoever did the casting nailed every role no matter how small with the perfect actor. This movie was directed by Adrienne Shelly, who also wrote the screenplay. (She was murdered just before the film's release when she walked in on a burglar in her home office.)

    The movie is about Jenna (Keri Russell), who is married to a terrible man. Jenna finds out she's pregnant just when she's saved up enough money from waitressing to leave her husband. Russell has a hard, angry face throughout much of the movie, exactly as we'd expect from someone in her position. Her husband, Earl, is played by Jeremy Sisto with totally convincing creepiness as a controlling, needy narcissist. (I don't know where Shelly dredged up his character, but she nailed it in the screen play, and Sisto nailed it in his performance). Jenna falls in love with her doctor (Dr. Pomatter), played superbly by Nathan Fillion. Jenna and Pomatter's scenes range from riotously funny to affectingly poignant. The problem is, he's married, too, and his wife (played by Darby Stanchfield) loves him. I was watching the movie, wondering how Shelly was going to get Jenna and Pomatter out of what clearly is an untenable relationship.

    Aside from the conflict of their adulterous relationship, we have a potentially even more momentous conflict: Jenna doesn't want to be pregnant. It means she can't just run off and leave Earl. Jenna begins a letter to her baby, explaining why she can't love it.

    Meanwhile, her fellow waitresses, her manager, the restaurant owner, and a wealth of others have their fifteen minutes on the screen, adding a richness to the world of Jenna that we're peeking in on. Shelly does get all the conflicts resolved, but the ending is a little too "deus ex machina" for me. Just a little, not enough to spoil it. It's a great, grand film, and Shelly's murderer robbed us all of a wonderful talent. 

     


  • THX 1138

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    Film Name  Production Year

    THX 1138  (1971)

     

    Drug evasion is a criminal act in this film directed by George Lucas, starring Robert Duvall and Donald Pleasance. The film is chock full of fascinating visions, but it doesn't hold together as a story, I'm sorry to say, and the 2004 director's cut has some computer-generated special effects which are intrusive. Lucas needs to stop with the CGI and let his movies alone. (I can hear Obiwan Kenobe now: "Lucas! Stop with the force!")

    The female lead, Maggie McOmie, is very good as LUH 3417, vulnerable and childlike. She leads THX 1138 (by taking him off his medication) into having feelings for the first time. As a result, both are arrested (drug evasion). Unfortunately, we lose the loveable LUH and are stuck with THX for interminable scenes where nothing happens.

    I'd call this movie a series of more or less connected scenes with many excellent ideas, some amusing, some dead-on scary. Lucas does an excellent job of foreshadowing and using early scenes to set us up for what happens later, but the characters are drugged into somnolence, and it's hard to care what happens to anyone but LUH. And she's out after the first half.

    I know this is a cult favorite and was the genesis of lots of dystopian sci-fi hits. I saw it when it first came out (in a theater), and I saw it again in March 2009 (played on wide-screen TV). It holds together remarkably well (except for the late CGI additions) as a vision, but the story just isn't there, and the final scene just doesn't work anymore. I recommend seeing it because of its ideas, which are outstanding.

     


  • Lantana

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    Lantana  (2001)

    This is an excellent film, with great characters and surprising twists. The movie opens with Valerie dead, lying in the thorny brush known locally as lantana - a metaphor, of course, for what life is like for the characters in the tangled plot. Valerie Somers is played by Barbara Hershey, and her husband John Knox by Geoffrey Rush. Anthony LaPaglia plays the police detective Leon Zat investigating her death. We see Valerie and John in flashbacks, showing a deteriorating relationship, and we see Leon in the present, cheating on his wife. Although none of the characters knows each other, their lives are intertwined nonetheless. It's a thicket of relationships that scratches and draws blood.

    LaPaglia and Rush are outstanding. John is a major suspect, as all husbands are in the deaths of their wives, and John and Leon spar as the investigation shows the bad blood between John and Valerie. We learn, finally, that John is factually innocent, but he is morally guilty of her death all the same. Leon at first sneers at John and his naked emotion, but events turn on Leon, wrenching from him his manly self esteem.

    This is an adult film, dealing with adult themes. No action, no gunfights, no superheroes. Just us humans muddling through. Director Ray Lawrence and writer Andrew Bovell give us much to chew over, moments of understanding, and finally acceptance of our condition.


  • Delicatessen

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    Film Name  Production Year

    Delicatessen  (1991)

     

    Brilliantly inspired lunatic genius. This movie is set in another universe that looks like maybe a post-apocalyptic French village. It's along the same lines as Terry Gilliam's "Brazil," a world in which too much has gone wrong and there's an underground group trying to right things. It's another "best movie you've never heard of" candidate, directed by Marc Caro and Jean-Pierre Jeunet; starring a bunch of French actors you've never heard of. (Well, I've never heard of them.)

    I'm unwilling to try to summarize the plot, I won't even try to describe it. It's a bizarre, funny movie that you'll love or hate. The characters are wonderful, the situations are delicious, and the possibilities are intriguing. As I sit here remembering the movie, the scenes wash through my mind, and there is nothing I can recount here that would make any sense.

    Caro has done nothing else I've heard of. Jeunet wrote and directed (in the American English titles) "A Very Long Engagement," "Amelie," and "The City of Lost Children," all of which I've seen, and "Alien 4" (also known as "Alien: Resurrection"), which I've seen parts of as I've surfed the channels. "Delicatessen" is nothing like them, nothing like anything else you've seen.

    Ultimately it's a series of more or less loosely connected skits that are fall off your chair hilarious, tied together in a building with a street-level deli and people renting rooms on the five or so floors above. The originality of the scenes is unequalled. 

     


 

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