Clooney, Sandler explore the cost of fame in Baumbach’s newest
Actor Jay Kelly (George Clooney) prepares to attend a tribute in his honor.
Jay Kelly isn’t a documentary, but you’d be forgiven if you mistake it for one. The picture, directed by Noah Baumbach (Marriage Story) and co-written with the actress Emily Mortimer, is about an aging actor facing his mortality and reflecting on his personal and professional choices. That the titular fictional actor is played by George Clooney creates an odd melding of fact and fiction. As we watch Jay consider his past, present, and future, we can’t help but wonder how much of what we’re seeing on screen is really about Clooney himself. That dichotomy brings an added layer of curiosity to an already thoughtful and absorbing film.
Michael Fassbender portrays the mysterious rocker Frank.
Loosely inspired by alt rocker Chris Sievey’s stage creation Frank Sidebottom, Irish director Lenny Abrahamson’s new film is co-written by Peter Straughan and Jon Ronson, whose memoir details his experiences with Sidebottom. But no knowledge of the film’s backstory is necessary to be utterly delighted by this quirky and very funny film, which chronicles Jon’s (Domhnall Gleeson) induction into, and relationship with, an avant-garde band led by the mysterious Frank (Michael Fassbender). The catch is that Frank wears a large papier-mâché mask not only when on stage, but during all parts of his life (even while showering). What is amazing is that although the mask has just one expression – a crudely drawn, unsmiling, wide-eyed stare, its features seem to change simply by virtue of Fassbender’s tone of voice and body language; his performance is truly remarkable. Why Frank chooses to cover himself this way is one of the film’s central questions; themes of identity, artistic integrity, and creativity are explored with nuanced humor and depth. Does creativity have to stem from inner darkness, the film asks, or can normalcy and happiness drive the creative process just as forcefully? If artistic creations become widely popular, is their worth somehow lessened? With hauntingly beautiful cinematography (many scenes were filmed around Austin) and a weird and wonderful soundtrack, Frank delves into these issues with style, charm, and black humor. Plusses: Unique, intelligent story; brilliant performances by Fassbender and relative newcomer Gleeson. Minuses: Maggie Gyllenhall is slightly grating as fellow band-mate Clara; her range here seems to hover only between fiercely angry and completely insane. Final Analysis: A smart, compelling picture about the inner lives of artists that, frankly (yes, pun intended) may well be one of the best films of the year.
Frank opens today at the Landmark Embarcadero theater in San Francisco and the Landmark Shattuck theater in Berkeley.
Spinning Platters film critics Carrie Kahn and Chad Liffmann present their Top 10 Films of 2013. Here’s Carrie’s list, presented in alphabetical order.
1.) All is Lost
Robert Redford struggles against the elements in All is Lost.
That a film with just a single actor and virtually no dialog can be absolutely riveting is a testament both to Robert Redford’s brilliant acting and to writer/director J.C. Chandor’s exceptional skill at his craft. Redford says more with his rugged face and worried eyes than most actors do with a wordy, five-star script. Not since Jaws and The Perfect Storm has a film so totally absorbed us in a man-against-sea survival story. And Chandor’s ambiguous ending lends itself to hours of debate and discussion; everyone who has seen this film has a strong opinion, and that a near-silent film can generate such passion makes it special and noteworthy. Continue reading “Film Feature: Carrie’s Top 10 Films of 2013”
Just in time for the holidays: The joy and Payne of family
David (Will Forte, right) discusses his stubborn father (Bruce Dern, left) with his exasperated mother (June Squibb).
We are heading into the time of the year when studios typically release what they hope are their best films, the ones they want to be fresh in the minds of Academy members for Oscar Best Picture voting. Director Alexander Payne (Sideways, The Descendants) gets into this game with Nebraska, sure to be a contender in many categories come Oscar time. Beautifully shot in black and white and filled with nuanced and sensitive performances, the picture brilliantly melds Payne’s signature quirkiness with charm, emotional honesty, and wry humor. Continue reading “Film Review: Nebraska”
