Skip to main content

I don’t think I know you.

Still Alice
(2014)

(SPOILERS) A worthy movie from a worthy book (of the same name, by Lisa Genova), worthily scripted, directed and acted and scored. Still Alice is so thoroughly commendable, it’s exhausting. Still, Alice got Julianne her Oscar, so there’s a result right there.


Actors always say they never do it for the awards, but the Oscar bait of a disability role can’t not go through their heads at some point. Still Alice is destined to be go down in the annals with other forgotten movies that garnered the acting gong for deserving thesps but in the wrong the picture; there’s Jeff Bridges in another Crazy Heart, then there’s Jessica Lange in Blue Sky. Moore’s good here of course, so why not? Well, because nothing here, save maybe one scene, remotely struggles beyond its well-meaning, consciousness-raising, issue-led scenario. It doesn’t even want you to take too much despair home with you so cuts before things get really bad.


Columbia University linguistics professor Alice Howard learns, following her fiftieth birthday, that she has early onset Alzheimer’s disease. From there, her deterioration is steady, as her family (including Alec Baldwin as hubby John and Kristen Stewart as Lydia, one of her three children) reacts variably but essentially supportively.


Richard Glatzler and Wash Westmoreland, who also penned the screenplay, direct sensitively and subtly, and the performances are strong all round. You’d expect that of Moore and Baldwin of course, but Stewart, who gets a lot of post-Twilight stick that seems to revolve around the precept she can’t act, is particularly notable as the combative daughter who eventually takes the carer role (Kate Bosworth is almost unrecognisable as the more ordered and controlling sibling).


There are notable individual vignettes of the difficulties Alice faces; the first time she gets lost jogging on campus, wetting herself through not being able to find the bathroom in her own house, not recognising her daughters and introducing herself twice to her son’s new girlfriend. The only point where the picture actually manages to grab the viewer, though, is Alice’s pre-recorded suicide instruction to her future self. In a sequence of borderline black comedy, Alice cant follow through and take the prescribed overdose because she keeps leaving her laptop behind to go to the bedroom, and has forgotten the instructions by the time she gets there. 


Elsewhere, the sad piano and sad violins striking up every few minutes give an indication of how staidly button-pushing this is. It’s a variant on the “privileged upper middle class white family with problems” movie (which probably go back to the far superior Ordinary People), one clearly identifying itself as serving an educational purpose when Alice goes to speak at an Alzheimer’s Association conference (and gets a standing ovation) or visits a care home to check out the degredation. I wondered if it would be revealed that Baldwin’s career-minded other half was having an affair, but the picture is too doggedly well meaning for such a twist.



Comments

Popular posts from this blog

What ho, Brinkley. So, do you think we’re going to get along, what?

Jeeves and Wooster 2.4: Jeeves in the Country  (aka Chuffy)
The plundering of Thank You, Jeeves elicits two more of the series’ best episodes, the first of which finds Bertie retiring to the country with a new valet, the insolent, incompetent and inebriate Brinkley (a wonderfully sour, sullen performance from Fred Evans, who would receive an encore in the final season), owing to Jeeves being forced to resign over his master’s refusal to give up the trumpet (“not an instrument for a gentleman”; in the book, it’s a banjulele).

Chuffnall Hall is the setting (filmed at Wrotham Park in Hertfordshire), although the best of the action takes place around Bertie’s digs in Chuffnall Regis (Clovelly, Devon), which old pal Reginald “Chuffy” Chuffnell (Marmaduke Lord Chuffnell) has obligingly rented him, much to the grievance of the villagers, who have to endure his trumpeting disrupting the beatific beach (it’s a lovely spot, one of the most evocative in the series).

Jeeves is snapped up into the e…

She writes Twilight fan fiction.

Vampire Academy (2014)
My willingness to give writer Daniel Waters some slack on the grounds of early glories sometimes pays off (Sex and Death 101) and sometimes, as with this messy and indistinct Young Adult adaptation, it doesn’t. If Vampire Academy plods along as a less than innovative smart-mouthed Buffy rip-off that might be because, if you added vampires to Heathers, you would probably get something not so far from the world of Joss Whedon. Unfortunately inspiration is a low ebb throughout, not helped any by tepid direction from Daniel’s sometimes-reliable brother Mark and a couple of hopelessly plankish leads who do their best to dampen down any wit that occasionally attempts to surface.

I can only presume there’s a never-ending pile of Young Adult fiction poised for big screen failure, all of it comprising multi-novel storylines just begging for a moment in the Sun. Every time an adaptation crashes and burns (and the odds are that they will) another one rises, hydra-like, hoping…

Exit bear, pursued by an actor.

Paddington 2 (2017)
(SPOILERS) Paddington 2 is every bit as upbeat and well-meaning as its predecessor. It also has more money thrown at it, a much better villain (an infinitely better villain) and, in terms of plotting, is more developed, offering greater variety and a more satisfying structure. Additionally, crucially, it succeeds in offering continued emotional heft and heart to the Peruvian bear’s further adventures. It isn’t, however, quite as funny.

Even suggesting such a thing sounds curmudgeonly, given the universal applause greeting the movie, but I say that having revisited the original a couple of days prior and found myself enjoying it even more than on first viewing. Writer-director Paul King and co-writer Simon Farnaby introduce a highly impressive array of set-ups with huge potential to milk their absurdity to comic ends, but don’t so much squander as frequently leave them undertapped.

Paddington’s succession of odd jobs don’t quite escalate as uproariously as they migh…

Angry man is unsecure.

Hulk (2003)
(SPOILERS) I’m not a Hulk apologist. I unreservedly consider it one of the superior superhero adaptations, admittedly more for the visual acumen Ang Lee brings to the material than James Schamus, Michael France and John Turman’s screenplay. But even then, if the movie gets bogged down in unnecessarily overwrought father-son origins and dynamic, overlaid on a perfectly good and straightforward core story (one might suggest it was change for the sake of change), once those alterations are in place, much of the follow through, and the paralleling of wayward parents and upright children, or vice versa, translates effectively to the screen, even if the realisation of the big green fella is somewhat variable.

I do… very competitive ice dancing.

Justice League (2017)
(SPOILERS) Superheroes, and superhero movies, trade in hyperbole, so it shouldn’t be surprising that DC’s two releases this year have been responded to in like, only each at opposite ends of the spectrum. Wonder Woman was insanely over-praised in the rush to fete a female superhero finally leading a movie, crushing all nuanced criticism in its wake. Justice League, meanwhile, has been lambasted on the basis that it’s more of the same as Batman v Superman: Dawn of Justice, only worse – to the extent there have been calls for a Zach Snyder Director’s Cut, which is quite an extent, as extents go – as it’s guilty of being an unholy clash of styles, grimdark Zach scowling in one corner and quip-happy Joss pirouetting in the other. And yes, the movie is consequently a mess, but it’s a relatively painless mess, with the sense to get in and get out again before the viewer has enough time to assess the full extent of the damage.

That be what we call scringe stone, sir.

Doctor Who The Ribos Operation (1978)
Season 16 is my favourite season, so I’m inevitably of the view that it gets a bad rap (or a just plain neglected one), is underrated and generally unappreciated. Of its six stories, though, The Ribos Operation is probably the one, on balance, that receives the most accolades (on some days, it’s The Pirate Planet; many moons ago, back when DWAS was actually a thing of some relevance, The Stones of Blood won their season poll; there are also those who, rightly, extol the virtues of The Androids of Tara). I’m fully behind that, although truthfully, I don’t think there’s an awful lot between the first four stories. Why, I even have great affection for the finale. It’s only “KROLL! KROLL! KROLL! KROLL!” that comes up a bit short, which no doubt makes me a no good dryfoot, but there you are. If that Robert Holmes script is on the threadbare side, through little fault of his own, The Ribos Operation is contrastingly one of his very best, a hugely satisfyi…

Sometimes when you take people away, they don't come back.

The Ward (2010)
(SPOILERS) I’d felt no particular compunction to rush out and see The Ward (or rent it), partly down to the underwhelming reviews, but mostly because John Carpenter’s last few films had been so disappointing, and I doubted a decade away from the big screen would rejuvenate someone who’d rather play computer games than call the shots. Perhaps inevitably then, now I have finally given it a look, it’s a case of low expectations being at least surpassed. The Ward isn’t very good, but it isn’t outright bad either.

While it seems obvious in retrospect, I failed to guess the twist before it was revealed, probably because I was still expecting a supernatural element to be realised, it being a Carpenter movie. But then, this doesn’t feel very much like a Carpenter movie. It doesn’t have a Carpenter score (Mark Killian) or screenplay (Michael and Shawn Rasmussen) and it doesn’t have Gary B Kibbe as lenser (Yaron Orbach). I suspect the latter explains why it’s a much more professi…

‘Cos I’m the gringo who always delivers.

American Made (2017)
(SPOILERS) This is definitely more the sort of thing Tom Cruise should be doing, a movie that relies both on his boyish™ charm and at least has pretensions of ever so slightly pushing the envelope of standard multiplex fare, rather than desperately attaching himself to an impersonal franchise (The Mummy) or flailingly attempting to kick start one (Jack Reacher: Never Go Back); remember when Cruise wouldn’t even go near sequels (for about 20 years, The Color of Money aside, and then only the one series)? American Made is still victim to the tendency of his movies to feel superstar-fitted rather than remaining as punchy as they might be on paper (Made’s never quite as satirically sharp as it wants to be), but it at least doesn’t lead its audience by the nose.

Rejoice! The broken are the more evolved. Rejoice.

Split (2016)
(SPOILERS) M Night Shyamalan went from the toast of twist-based filmmaking to a one-trick pony to the object of abject ridicule in the space of only a couple of pictures: quite a feat. Along the way, I’ve managed to miss several of his pictures, including his last, The Visit, regarded as something of a re-locating of his footing in the low budget horror arena. Split continues that genre readjustment, another Blumhouse production, one that also manages to bridge the gap with the fare that made him famous. But it’s a thematically uneasy film, marrying shlock and serious subject matter in ways that don’t always quite gel.

Shyamalan has seized on a horror staple – nubile teenage girls in peril, prey to a psychotic antagonist – and, no doubt with the best intentions, attempted to warp it. But, in so doing, he has dragged in themes and threads from other, more meritable fare, with the consequence that, in the end, the conflicting positions rather subvert his attempts at subversion…

You diabolical mastermind, you.

The Avengers Season 4 Ranked – Worst to Best
Season Four is generally held up as the pinnacle of The Avengers, and it certainly maintains the greatest level of consistency in the run. Nevertheless, as I noted a few reviews back, one viewer’s classic is another’s ho-hum with this show, perhaps because it doesn’t elicit the same kind of exhaustive fandom to establish any level of consensus as some series. There follows my Worst to Best ranking of the season, told mostly in pictures. The index for full episode reviews can be found here.