"Chef" and "St. Vincent" Serving Up Saintly Fare

So many films, so little time. While I was compiling my list of the most inspiring films of 2014, I discovered that I had neglected to review any comedies. (Really, can you blame me with redundant studio offerings such as, “Dumb and Dumber to” and “Horrible Bosses 2?”) Where were the all the humorous independent films? Skimming through the movies of 2014, I uncovered two charming indie comedies that were barely blips on my radar: Jon Favreau’s, “Chef,” and Theodore Melfi’s, “St. Vincent."

I had mixed feelings about seeing, “St. Vincent,” because the movie poster made it seem sorta cheesy and cheap. Perhaps the marketing team thought pictures of the stars would sell it. Perhaps they didn't want to give too much away. To tell the truth, I have been struggling with the same problem. How do you promote a simple story without giving away all the comic surprises? The trailer shows Bill Murray as a hedonistic, anti-social grouch who his tired, stressed-out neighbor (Melissa McCarthy) hires to babysit her son (Jaeden Lieberher). As we watch Vincent’s inappropriate, selfish behavior we can’t help wondering how he ever earned the title, “St. Vincent.” The movie doesn't make excuses for Vincent’s bad behavior. (Though he has heard, “It is what it is,” in response to his misfortunes one too many times.) But through the boy’s eyes we discover the good in him as well. (It's not hard to like one of Bill Murray's richest performances. I think he should have been nominated for an Oscar for this one.)  Somehow this old curmudgeon brings out the good (however begrudging) in others. Perhaps his calling as a saint is to bring out the humanity in others.

I had a similar problem with, “Chef” - how to serve what is fresh about the chef’s creation without making it seem like serving leftovers? How about a small sample to whet your appetite? Somehow in his quest for success, Chef Casper (Jon Favreau) has lost his passion for food and life. The restaurant owner forces him to cook his safe, signature dishes for a famous food critic. When the critic pans the uninspired meal, the chef completely loses it. The confrontation goes viral on YouTube. He sets off to rediscover his passion and creativity by opening a food truck. The leisurely cross-country trip gives him a chance to finally be a father to his son (Emjay Anthony).

It's easy to chuckle at the bumbling antics of these flawed men, but what really chokes you up is how much father (or father figure) and son really need each other.

Movie blessings!
Jana Segal
reelinspiration.blogspot.com

"Spare Parts"

In Search of "Spare Parts" and the American Dream...

Carl Hayden Community High School Falcon Robotics Club

Overwhelmed by the myriad of Oscar nominated films in the Cineplex, I had overlooked the one little indie comedy on the marquee. The only thing I heard about it was that it was set in Arizona, but was shot in New Mexico to benefit from their tax incentives. (Don’t get me started…) Like the Hispanic families of the inner-city robotics team, I didn't have great expectations. But it was impossible not to be inspired by this true story of four poor undocumented high school students’ courage and determination to pursue a better life through robotics. They decide to compete against the country’s best including the reigning champions, MIT. It is awe inspiring watching them figure out how to make an underwater robot with an $800 budget, PVC piping and other, “spare parts.”

“Spare Parts,” is based on an article, “La Vida Robot” in Wired magazine. Writer Joshua David explained, “I wanted to write about the amazing thing they had done. If no one tells the stories, the real stories of people trying to do amazing things and succeeding, then the stereotypes persist. I want America to be as good as it can be. I like to find stories that emphasize the people that make the country great.”

Sure, it looks like a TV movie of the week. The school seemed too bright and clean to be the tough school it is made out to be. Director Sean McNamara and screenwriter Elissa Matsueda give it a comic tone to showcase the strengths of comedian George Lopez and to make it accessible to a larger audience. And they succeed. This is the first laugh-out-loud comedy I've seen in quite a while.

The movie may have been even more powerful if they portrayed more of the true day-to-day prejudices and challenges that these undocumented teens faced. The computer teacher (Marisa Tomei) sums it up, "Every day in a hundred ways they are told that they are hopeless, that they are beyond hope." The filmmakers make it accessible to more people by not casting blame. But they do show the results of being treated like a criminal - that you start to behave like a criminal. The brother of one of the team members has bought into this myth and has become a delinquent.

These teens have come to this country with their families to pursue the American Dream. After being rejected for the military, an enterprising young man starts the robotic team in hopes that the competition will lead to employment so he can support his family. In a heartbreaking scene, his mother confesses, "I told you anything could be yours. I don't think I was right."

The teens show incredible courage by continuing to work towards the competition despite daunting challenges such as: supporting a family, protecting a delinquent brother, being tracked down by ICE (Immigration and Customs Enforcement), being homeless, and fear of being deported. Keep in mind this all happened in Phoenix, Arizona where Sheriff Joe Arpaio imprisons undocumented people in tent city while it is 110 degrees outside, in a state where ethnic studies (that promote self-esteem and success in school) are illegal.

“Spare Parts” is an empowering underdog story that shows we can do anything we set our mind to. But it is so much more than that. Actor Esai Morales hopes that this movie will broaden what it means to be an American and our definition of the American Dream.

Movie blessings!
Jana Segal

www.reelinspiration.blogspot.com

Read, "The Real-Life Teachers of "Spare Parts" on What's Wrong with US Schools."

UPDATE: News of what came of the Carl Hayden Community High School Falcon Robotics team.

GOOD NEWS: Tucson police revise immigration policy about asking for papers.

Read my thoughts on, "What's Really Happening on the Arizona/Mexican Border."

Read my review of, "Under the Same Moon."

For more information on the struggles of undocumented workers, watch the documentary, "Immigrant Nation."

"Enough Said..." about my divorce. (Whoops! Did I write that?)

At first glance, “Enough Said,” appears to be just another quirky little, self-deprecating romantic comedy. But writer/director Nicole Holofcener gives us something much more down to earth and real. It is actually a different kind of love triangle. Two recent divorcees, Eva (Julia Louis-Dreyfus) and Albert (James Gandolfini), find comfort in sharing life’s changes until Eva unwittingly befriends her new beau’s ex-wife (Catherine Keener) and starts seeing Albert through his ex-wife’s disgruntled eyes.

Director Nicole Holofcener and Actress Julia Louis-Dreyfus

I actually watched this film a second time for the warm feeling it left me. A recent divorcee myself, I found comfort in sharing their post-divorce challenges. Like Albert and Eva, I was reeling from the thought of my kid leaving for college. After coping with shared custody, empty nest syndrome hit like a ton of bricks. But Eva and Albert discover that sharing coping strategies and jokes makes it a little easier. I cringed as Eva allowed Albert’s ex to vent about him. But I understood how, after going through a broken marriage, she was afraid of making the same mistake twice. Like so many of us in the dating world, she set impossibly high standards so she wouldn't  be hurt again. When the conflict comes to a head, Eva and Albert must decide if sharing their messy lives is worth the effort. This isn't escapist romance. It’s down to earth, awkward, and sometimes comforting like sharing your life.

Love this movie! Enough said. 

Movie blessings! 

Jana Segal

www.reelinspiration.blospot.com

Jana's Guilty Pleasure - "Midnight in Paris"

"Midnight in Paris" is Woody Allen's love letter to Paris. For me it's total wish full-filling escapism. I can watch it over and over just to be in Paris during artistic Renaissance of the 20s and hang out with the visionary artists of the time. It is the story of Gil, a Hollywood screenwriter, (Owen Wilson in the Woody Allen role) who joins his fiancee (Rachel McAdams) and her family on a business trip to Paris. Being in the "City of Lights" rekindles his dream of living in Paris while he writes his novel. Unfortunately, his fiancee and her parents have more lucrative plans for him. In an effort to escape the ensuing conflict, Gil takes a midnight walk and ends up in 1920's Paris. This is a dream come true for the aspiring novelist as he mingles with great artists (Picasso!) and his literary idols including Hemingway himself! His heroes become his peers and even give him advice as he pursues the enchanting young model who eventually becomes his muse.

It is unusual for such a lite-weight romantic comedy to win an Oscar for Best Original screenplay. But, "Midnight in Paris," is highly original.  The action shifts effortlessly back and forth between two time periods. That takes real writing chops. At least Allen has placed his alter ego in a fresh new setting.  In fact, this is one of the most enjoyable Woody Allen films to come out in years.

Have you ever had the feeling that you were stepping back in time as you strolled down a narrow cobble stone street or visited the old haunts of a favorite writer? Then, "Midnight in Paris," should delight the romantic in you and maybe even inspire you to follow your true passion.

Movie Blessings!
Jana Segal
www.reelinspiration.blogspot.com

"The Descendants"

There are times in our lives when our world comes crashing down and we are completely unprepared. Shocked and clueless, we grope around making awkward attempts to deal with the overwhelming situation or to just get by. Like the day my whole life was thrown out of whack when my husband of 23 years announced he wanted a divorce and moved out that afternoon. I did my share of groping to find my footing - not always handling it with the best of grace.

I guess that's why I relate to Alexander Payne's, “The Descendants.” Payne (and Oscar winning co-writers Nat Faxon and Jim Rash) aren't afraid to present a flawed main character, Matt King (George Clooney), who is absolutely clueless about how to handle the life shattering situation he finds himself in when his wife ends up in a coma as the result of a boating accident. To add insult to injury, he discovers that she was cheating on him at the time. It's a one-two punch that leaves him stunned and reeling.

Matt lives in Hawaii, in paradise, but has been so caught up in business transactions that he can't take in the beauty around him. His time has been spent negotiating deals with vacation resorts and condos to sell the pristine forest entrusted to him and the other descendants. This piece of land represents all that he has lost in his life. There was a time that he took his family on regular camping trips there. But he has lost his connection with the land and his family. He has become an absentee husband and father. In fact, he is absent from his own life.

Sometimes it takes a catastrophic event to shake us awake after sleep walking through life. (It took my husband leaving me...) Having been JOLTED awake, Matt is ill equipped to deal with the fall out from the accident on his two troubled daughters. George Clooney brings out the humor as his character gropes around trying to make some sense of the whole mess. When he hears that his wife was cheating, Matt, still in shock, charges off in his clumsy flip flops around a ridiculous circular drive – in search of answers, anything... Later, we can see the inner turmoil in his eyes even as his daughter splashes in the ocean and life goes on around him. Once he has dealt with his own issues, he is better equipped to help others cope with the tragedy. Finally fully awake, Matt sees that he is a part of something bigger than himself. He realizes his responsibility to the land, himself, and those around him. Procuring his place in the world puts his problems in perspective.

As for me, I'm grateful to be awake and learning life's lessons.

Movie blessings!
Jana Segal
www.reelinspiration.blogspot.com

"The Help"

In the prelude, Abileen stoically tells an unseen interviewer that her grandmother was a house slave and her mother was a house maid. She, herself, has raised 17 white children. A naive voice asks if she ever thought of being something else. Her answer is the blank stare of resignation passed on from generations of subservience.

The movie proper starts with recent college grad Skitter (a wide eyed Emma Stone) being interviewed for her first newspaper job. Skitter is hired to write a housekeeping and cooking column – a subject she knows nothing about. No matter. While at a bridge club meeting, she asks her friend permission to interview her maid. Ironically, the maid, Abileen, is the only one she knows who keeps house. It becomes clear that her friend sees Abigail as her property when she catches Skitter affirming Abileen's contribution to the household. She tells Skitter that Abileen will be unable to continue working on the project.

Upset by her friend's mistreatment of Abileen and the unexplained absence of the beloved maid who raised her, Skitter is inspired to write a book on the maids' perspective of working for a white family. Her editor warns that she will never be able to get any maids willing to risk their jobs or their lives to talk to her. It is dangerous. It is 1960, the dawn of the civil rights movement. Jim Crow laws make it illegal to even print civil rights material. Tensions mount as a black activist is killed. The fear is palpable as black passengers are thrown off the bus near the murder sight and Abileen flees for her life past race riots.

This movie is about the shared delusion that blacks and whites in the South were separate. In 1960s Jaskson, Mississippi, Jim Crow laws and bridge club etiquette rule their lives. The laws were designed to separate the whites from the blacks, but black women had always worked very close to white families - preparing their food, cleaning their bathrooms, and changing their babies' diapers. For generations, the black “maids” raised the white children. Skitter explains to her publisher, “We are raised by our black maids. They love us and we love them, but they can't use the same bathroom.”

The setting is the domestic world of kitchens, nurseries and bathrooms which gives ample opportunities for kitchen (and bathroom) humor. On the whole, writer/director Tate Taylar does a good job balancing comedy and drama. The 146 minutes flies by with some laughs, tears, and dramatic tension. But sometimes the comedy goes a bit over the top. Hilly starts a petition initiating a law to have separate bathrooms for the help - even though her feisty maid, Minny, is the envy of the bridge club for her great cooking. This gives new meaning to the phrase, “Don't crap where you eat.”

There are multiple storylines. Care is given in showing the intertwining lives of the blacks and the whites. The writer seems to be saying both races are enslaved by the cultural restrictions of the time. Even Skitter's mother couldn't stand up to the bigots in her social club. She admits to Skitter, "Sometimes courage skips a generation." But it's the performances of Viola Davis as Abileen and Oscar winner Octavia Spencer as Minny that holds it all together. Davis adds gravity to every scene she is in. In Abileen's carriage we see the weight of generations of suppression as well as the personal risk she is taking with her involvement in the taboo book. Minny is different. After working for segregationist bridge club president Hilly, Minny has had enough. She is a fire cracker ready to explode. These women are survivors. But they have risen above that. They have stood up to their fears. They are heroes in their own civil rights protest and free women. I can't say so much for Hilly and her bridge club.

Movie blessings!
Jana Segal
www.reelinspiration.blogspot.com

Official site: http://thehelpmovie.com/us/

Is the Traditional Role of Father a "Win Win" Scenario?

In honor of Father's Day, lets look at three recent movies that illuminate the role of husbands and/or fathers in the family. With the inherit stresses such as financial responsibilities, can a man find fulfillment and happiness in being a family man? Is all the hard work worth it?

“Soul Surfer” is about a traditional family with a new twist – family life revolves around their passion for surfing. The mother (Helen Hunt) home schools her daughter, Bethany, (AnnaSophia Robb) to allow her to train to be a championship level surfer. The film hints that the father (Dennis Quaid) is no longer able to surf at that level because of a knee injury. But he doesn't have time for regrets. The sport isn't his whole life. This close knit family has created a balanced life that also includes family, friends, and church. So when tragedy strikes (a shark bites off Bethany's arm), the family finds strength in God and each other. The father tries to protect his daughter from the over zealous press. He watches with concern and pride as she struggles to surf with one arm. When she decides it's time to train for the championship, he coaches her. The way the family deals with the tragedy brings them closer together. Supported by understanding parents, Bethany finds her true path and meaning in her life. (It's cool to see a true story about a teenager who embraces a calling greater than herself.)

In “Everything Must Go,” Nick (Will Ferrell) is fired from his job as a result of a dumb mistake he made during a drunken business trip. He comes home to discover that his wife has left him, changed the locks, and thrown his belongings on the lawn. Somewhere along the way, he has forgotten everything that brought him joy – like baseball, his sales career, and having a loving relationship with his wife. Instead, he filled the void with alcohol and the meaningless pursuit of possessions. Without the strong foundation of family to support him, his stupid mistake shatters the marriage and wrecks his life. He has no place to go so he sets up house on the lawn. To buy himself a few more days, he enlists the help of a lonely, aimless boy to organize a phony yard sale. He becomes a sort of pathetic father figure to the kid as he plays catch and teaches the boy sales techniques. In exchange, the kid reminds him of what he lost – the good in himself.

“Win Win,” seems to be about a traditional family with the husband, Nick, acting in the traditional role of bread winner. Nick (Paul Giamatti) is so stressed by financial troubles that his life has become strained and stagnant. Everything he once held dear has lost it's meaning – his role as a husband and father as well as his career as a lawyer for the elderly. He has even lost all joy in coaching the high school wrestling team. He also seems to have lost his moral compass when he becomes a lazy, apathetic custodian of one of his elderly clients for the easy money. He gets more than he bargained for when the old man's teenage grandson (played by wrestling champ Alex Shaffer) shows up to escape his drug addicted mother. The last thing Nick needs is another responsibility. But helping the troubled teen turns out to be a win win for all involved. When the athletic teen joins the wrestling team, it revitalizes the team and the makeshift family. When Nick's stupid mistake is uncovered, will there be a strong enough family foundation to weather the storm?

These three films present a compelling argument that a man can find fulfillment (and, yes, happiness) in overcoming life's struggles through the strength of his family.

Father's Day Blessings!
Jana Segal
www.reelinspiration.blogspot.com

"Certified Copy"

In Tuscany to promote his new book, middle-aged British writer James Miller (William Shimell) is taken for a ride in the country by a gushing fan - a charmingly authentic French woman named Elle (the luminescent Juliette Binoche.) They debate the thesis in his book about copies of fine art having value. He argues that even a copy is a work of art. It is all a matter of perception. "Copies have worth because they lead us to the original." To lighten things up, she takes him on a day trip to the village of Lucignano where young couples go to get married and pledge their undying love. At a coffee shop, the owner compliments Elle on her "good husband" when he leaves to answer his cell. Angry at her real life husband, Ellie takes advantage of the mistake to vent about her husband's many faults. James returns and they keep up the pretense.  They both fall easily into their roles of a couple who has grown apart. The presence of adoring newly wed couples shines a harsh light on their relationship. James complains to Elle that it's unreasonable for her to expect for them to act the same as the young married couples.

"Certified Copy" seems to suggest that relationships, like art, are a matter of perception. James squawks when Elle insists that a statue of a woman leaning her chin on a monster's shoulder is a masterpiece. But a wise, older man explains to James that all Elle needs is for him to put his hand on her shoulder as they walk – to have the perception of being connected. Like the copies of the great masterpieces, this copy of a marriage has worth as long as it leads them back to the original.

"Certified Copy" by renowned auteur Abbass Kiarostami (Taste of Cherry) is a smart, enchanting romance about marriage and the true course of love. Juliette Binoche (deservedly) won Best Actress at Cannes for her vulnerable, sensual portrayal.

Movie Blessings!
Jana Segal
www.reelinspiration.blogspot.com

"Bridesmaids" A Female Driven Comedy for Men.

At first glance, "Bridesmaids" seems like just any other female driven comedy. The main character, Annie, (Kristen Wiig) is in a bad rut. Her negative attitude has caused her to lose her job and get stuck in a one-sided relationship with a jerk. On the bright side, she can always depend on her childhood friend - until that friend announces her up-coming wedding sending Annie into a downward spiral. She is afraid that she is losing her best friend and competes with another bridesmaid (a rich event planner, no less) for the role of maid of honor. "Bridesmaids" is a shiny, new hybrid that Hollywood is taking on a test drive – a star vehicle for women that men can also love.

Annie Mumolo and Kristen Wiig co-writers and producers

In her article, “Why Bridesmaids is Important,” Jamie Denbo writes, “But here's why it's actually important to see Bridesmaids on opening weekend. (Twice if you can afford the admission, time and babysitters). I don't know a female screenwriter, TV writer, actor or comedienne who hasn't heard this statement in the past few months with regards to future projects, "Well, we'll see how Bridesmaids does..." That sentence means that every creative, brilliant, funny woman in Hollywood is (unfairly) being held hostage to a single film's opening weekend box office. Meaning no studio is likely to take any sort of chance on any new projects perceived to be "female driven comedy" unless they have proof that it can perform. And perform well.”

When this article popped up on f.b. I promptly re-posted it. I'm a strong believer that we send a message to Hollywood by how we spend our entertainment dollars. I even have a blog that encourages movie goers to see thought provoking films on opening day. Also, being a woman writer, I am all for anything that gets more women writers working. But after seeing "Bridesmaids" - on opening day no less - I re-read Jamie's article. I agree now more than ever. And it bothers me more.

First, I agree that the movie is hilarious – or has many hilarious scenes. I hope it launches the film careers of some very funny comedians: Kristen Wigg (her expressive, painfully honest responses make her come across – mostly - sympathetic) and Melissa McCarthy who really demonstrates her physical comedy acting chops.

But the idea that every brilliant, funny woman in Hollywood is dependent on its success is shocking and ridiculous. I agree with Ms. Denbo's statement, “When a super hero movie flops, studios never seem to stop making them. Nor do I see "do or die" pressure applied to what's considered to be regular (male?) comedy.” Bridesmaids has been sold as the "female version" of, "The Hangover.” The strategy is to attract men by adding rated R humor. So, if it is really tailored for men's taste, why should female driven comedies be penalized by it's failure? Wouldn't it be fairer to stop making movies with potty humor?

Hollywood still doesn't believe that women movie goers will bring in the big dollars. Didn't they learn anything from the recent success of, "Sex in the City?" Was it a freak phenomenon? Aside from the built in fan base, there is another reason that it was popular that may have been overlooked. Women enjoyed seeing loyal, close female friends portrayed on the big screen. This brings to mind the so-called chick flick, "The Women." I strongly encouraged people to see this smart comedy starring all women with a woman writer/director at the helm. While there were many hilarious comic bits, (I'll never forget health-conscious Meg Ryan chomping down on a bar of butter dipped in chocolate after discovering her husband's affair) there was a big problem with the movie – the women were bitches! The main action was about the women being catty and mean to each other. While I was laughing, I looked around the theater and saw other women with pained looks on their faces. I got some serious backlash from my campaign supporting this film because many women HATED that one of the few movies for woman showed them in such an unlikable manner. Women like to be liked! That doesn't mean there can't be some unlikable characters -we love women villains - but not nearly everyone in a movie named, "The Women!" To it's credit, "Bridesmaids" shows some heart by developing a close relationship between the two women friends. This could be one reason that it has been a hit with women.

Director Anne Fletcher 

I wish I had done a review of the more original, creative 2008 wedding comedy, "27 Dresses." It better represented the so-called "female driven" comedy since it was more of a traditional romantic comedy with a strong female voice (although the trailer flaunted her potty mouth - probably to appeal to the R-rated comedy fans.) And it was the vision of two talented, up and coming women: Aline Brosh McKenna who also wrote the 2006 smash hit, "The Devil Wears Prada" and directed by Anne Fletcher (who also directed the big 2009 hit, "The Proposal.") Two more examples of female driven comedies that made big money.

It's too bad Hollywood feels a need to dumb down the comedy so men will enjoy it. This is insulting to men because it means they can only appreciate adolescent humor. An example is the gratuitous gross-out throw-up scene in "Bridesmaids." When I didn't hear any laughter, I looked around and saw pained looks on both the men's and women's faces. This throw up sequence is just insulting to everyone. I know plenty of twenty-year-old movie-going men who love smart, romantic comedies. Someone, please, bring back great stories that both men and women enjoy like, “Private Benjamin” and, “When Harry Met Sally.”

Hollywood is looking at this all wrong. The female driven romantic comedy isn't dead. There are plenty of fans who are just waiting for some original stories with great characters. Stop making the same old tired romantic comedy and we will come. And, please, give some of those creative, brilliant, funny women a chance! We need them!

Movie Blessings!
Jana Segal
www.reelinspiration.blogspot.com

For the writer's perspective read:
"Interview: 'Bridesmaids' Co-Writer Annie Mumolo Talks Feminine Comedy."

"Mid-August Lunch"

The cliche of the Italian bachelor living at home with a doting mother who waits on him and prepares his favorite meals is turned on it's head in the delicious Italian treat, "Mid-August Lunch." In this film, unemployed fifty-ish bachelor Gianni (Gianni Di Gregorio) shows respect for his ninety-something mother by taking good care of her and lovingly preparing their meals.

The small family has been living off of credit for some time and is months behind on their maintenance and electric bills for their ancient apartment. The landlord is willing to forgive the dept if they take in his mother so he can get away for the Mid-August holiday. The landlord drops off his mother AND his aunt. And soon the doctor's mother joins the mix. So Gianni must survive the weekend playing good host to four strong-willed shut-ins. What impressed me most was how he never loses his manners but treats these woman with the respect earned by those who have reached a certain age.

This is a film about the joys of entertaining. It illustrates the isolation that comes with aging and our continued need to socialize. There is an Italian saying, "A tavola no s'invecchia," that articulates the theme perfectly, "The passage of time is suspended with experiencing the pleasure of good food, good wine and company."

"Mid-August Lunch" dishes up "slice of life" humor with simple, authentic Italian flavors like those in the perch with potatoes, oregano and rosemary lovingly served at the holiday feast.

Movie blessings!
Jana Segal
www.reelinspiration.blogspot.com

"(500) Days of Summer"

By Guest Reviewer Josh Valentine
Indiebum

Tired of the same old love story? That clichéd boy meets girl, they hate each other then learn to love each other, garbage that, while sometimes can be saved by smart filmmakers (Nora Ephron is one of the genre’s saving graces), is just too often filled with “we’ve seen it a million times” junk? Filmmakers like John Hughes, Mike Nichols, Jean-Luc Godard, Woody Allen and most recently Michel Gondry are the few who took the romantic film and created the anti-love story. Instead of overly romanticizing, they showed love for what it really is – painful, happy and everything in between and most importantly were able to present love as something real and not in that perfect little box that we wish it could be.

The debut independent feature by music video director Marc Webb, “(500) Days of Summer,” is both an homage to these great directors, but also a refreshing new film that presents, as its narrator explains, “a story of boy meets girl … not a love story.” An honest film, with an incredible script – this is one of the best films of the year.

“(500) Days of Summer” tells the story of Tom (Joseph Gordon-Levitt), a twentysomething who works for a greeting card company, is obsessed with the music of The Smiths and is hopelessly in love with romantic love. Over the course of, well 500 days, Tom falls for his adorable coworker Summer (Zooey Deschanel), a nihilist pixie with a love for Ringo Starr and a knack for origami. As their romance begins to bloom (over a connection to a Smiths song), the infatuated yet terribly naïve Tom must give in to Summer’s attitude toward love (she doesn’t believe in it) and, of course as their relationship ends – it takes an incredible toll on Tom and not on Summer.

The story sounds somewhat played, but through the pens of scribes Scott Neustadter and Michael H. Weber and through Webb’s lens, Tom and Summer’s story is removed from cliché. The film is very much a modern take on Allen’s “Annie Hall,” in that it doesn’t present love as something tangible and that it shows how the screenplay doesn’t have to be concrete. Like “Annie Hall,” “(500) Days of Summer” is a story about love, yet since the plot is non-linear – we are able to see how the relationship works or worked and what caused the inevitable decline.

Instead of using worn-out flashbacks, the film uses repeated shots – such as a shopping trip to a record shop where Tom tries to show Summer a Ringo record for both his and her approval. As the film progresses, we see the shot repeated and extended to see the reaction shots of both Tom and Summer. It shows the pains of wanting the one you love to share something, and how you know sometimes that it just won’t connect.

It’s not only the honesty of the film or its refreshing storytelling style that makes it so strong – it also features strong performances by its leading up-and-coming stars. Deschanel is already a fairly big star, having proven her range in comedies like “Elf” and the underrated “Eulogy.” She’s perfectly cast, not just for her looks but proves a talent she’s never offered before. Deschanel is quickly becoming America’s new sweetheart. She uses microgestures, small yet endearing smiles that invoke the same lump in one’s throat as would some of Chaplin’s greatest women. If this doesn’t make Deschanel A-list, then there’s something seriously wrong with American audiences.

Gordon-Levitt is superb in the role as Tom. Like Nichols’ Dustin Hoffman in “The Graduate,” Gordon-Levitt is not your average leading man – he’s skinny, has tousled hair and doesn’t have traditionally good looks … but it all works. Tom is something of a classic loser, a late bloomer who seems to always fall for the wrong girl. When he finds happiness, however, the audience can’t help but root for him. It’s exciting to see the kid from “Angels in the Outfield” has grown up to achieve something more than expected.

Following the recent, unexpected death of John Hughes, the film is quite similar to his style in its presentation of love in it’s sometimes more painful ways. In one scene, Tom tries to get Summer’s attention by playing The Smiths’ “Please Please Please Let Me Get What I Want” to no avail. The scene is very Hughes-ian, using both a song used in Hughes’ “Pretty in Pink,” and in its depiction of the Tom’s painful search for attention.

Luckily, these homages and references never steer toward the realm of knock-off, but show how a filmmaker can be influenced by another or others, and create their own visual representation of the anti-love story. The script is possibly one of the strongest and most inspiring written in the past few years as it is both commercial and independent at the same time.

A very exciting film, “(500) Days of Summer” seems as though it could pull off the impossible. It features an intellectual script, fantastical animated sequences and an honest depiction of the struggle between love vs. the relationship. “(500) Days of Summer” is basically a Woody Allen film for those who hate Woody Allen. A standout film, possibly the best of the summer, you’ll be wishing you could fall in love with “Summer” over and over again.

Grade: A

"Sunshine Cleaning"

Sorry that I have gotten behind on my reviews for Reel Inspiration. With organizing Reel Inspiration's successful directing workshop and critiquing a powerful script from one of the directors, I just haven't had the time. Now the Arizona International Film Fest is here... But I'm delighted to introduce a new reviewer, Robin Farmer, who is helping out with a long awaited review of "Sunshine Cleaning." I think you will enjoy her succinct style and her positive take on the theme.

Movie blessings!
Jana Segal
www.reelinspiration.blogspot.com

SUNSHINE CLEANING REVIEW
by guest reviewer Robin Farmer.

“Sunshine Cleaning,” is a sweet story about the glories and grimness of personal shortcomings and family dysfunction. We all fail, but it’s our attitude that will determine if we repeat the experience or grow from it.

Rose Lorkowski (Amy Adams) and her sister, Norah, (Emily Blunt) are underachieving sisters who hope a new business cleaning up crime scenes will help them find their place in the world. Cleaning up murder scenes is a messy job but doing so provides the sisters an anchor in otherwise unstable lives.

Rose, a former high school cheerleader with self-esteem woes, works as a maid while caring for her son, the likely product of a dead-end relationship with her married high school love, Mac, (Steve Zahn). Norah, a stoner, still lives with her grumpy dad, Joe, (Alan Arkin) a get-rich schemer with responsibility issues of his own.

Mac, a police detective, gives Rose the idea to make more money by forming her biohazard business. She needs the cash to send her smart and troubled son to a private school. An inconsistent optimist, she calls her business “Sunshine Cleaning” because it restores order to places wrecked by the stench and stains of death.

One of the most memorable scenes has Adams explaining, and suddenly realizing, the power of what she does at a baby shower with former, clueless high school friends who live in gated communities.

Wonderfully acted by a strong ensemble cast, the story unfolds to reveal the reason for the tension and low-bar behavior between the siblings and their father in a way that feels organic.

Director Christine Jeffs

From the producers of the Sundance hit, “Little Miss Sunshine,” (and directed by Christine Jeffs) "Sunshine Cleaning," has the same quirky comedic tone just not in mega doses. The script, from first-time screenwriter Meg Holley, aptly examines family dynamics in a fresh, compelling manner full of emotional truth.

In learning how to clean up the dirty deaths of strangers, the sisters transform their troubled relationship and jump start a business that fuels a better life for the entire family.


From the acting, directing, writing and editing, this indie film delivers.

"Happy-Go-Lucky"

I left the screening of "Happy-Go-Lucky" not sure what to think. At times like this I tend to lean on greater minds in the ladies' restroom.

We mulled over the movie we had just seen. Agreed that it was a bit slow getting started as director Mike Leigh set up Poppy's (Sally Hawkins) happy-go-lucky lifestyle with her affectionate girlfriends. But what was the director trying to say? A voice from the next stall suggested that Poppy chose to be happy. (Wasn't that a great lesson for these hard times?) But was there a darker motive? Was this character manic or a desperate people pleaser? Was her optimistic outlook making her life any better?

To be honest, sometimes her giddy, self deprecating laughter and banter got on my nerves. Director Mike Leigh brought out the maddening aspects of her buoyant personality by pitting her (brilliantly) against more pessimistic characters such as her control freak driving instructor, Scott (the hilarious Eddie Marsan).

Scott is driven to distraction by her attention deficit, high heeled boots, and constant cheerful chatter. He instructs her to always expect the worse. He can't conceive that she could be a teacher when she is so immature.

Polly actually has an inspiring rapport with her students. She demonstrates focused insight and empathy when dealing with a bully in her class. Actress Sally Hawkins took what could have been a one note character and shows us her deep empathy and the resulting sadness. She can't make everyone happy. And her own optimistic outlook is tested by a controlling sister, a hurt back, an angry dance instructor, and an odd run in with a homeless man. It's not easy to be happy. You have to work at it.

Poppy has chosen to be happy - even if it takes a bit of work. But is her happiness dependent on making others happy? Can she make her own luck?

I always find it helpful to go back to the opening image of the film to illuminate the theme... Poppy blissfully rides her new bike to a bookstore where she babbles cheerfully to herself and then to a disinterested bystander. Exiting the bookstore, she finds that her bike is gone. Oh, well. She quips, "I didn't even get to say good-bye." Lalala.

So it seems that she has chosen to be happy even when there's no one else around. But she's happiest surrounded by those who love and accept her.

Phil Villarreal summed up the theme perfectly in the first line of his review, "Happiness is a state of mind rather than a reaction to circumstances."

Phil Villarreal, of the Arizona Daily Star, really nailed this review.
http://www.aznightbuzz.com/stories/267286.php

OK. For mature insight of the film, check out Josh Valentine's review:
(I would have posted this in depth review rather than mine, had he written it sooner.)

Movie blessings!

Jana Segal

http://www.reelinspiration.blogspot.com/

Supporting, "The Women"

Diane English's remake of the 1930's classic, "The Women," boasts a cast of all women. I, for one, did not miss the men.

I am so sick of Hollywood pandering to the adolescent mind set. Even romantic comedies have been dumbed down to attract young males. There is a nasty new trend to center romantic comedies on a man-child with all the inherit gross out, potty humor. The directors do try to insert some "heart" into these gag fests. But where is the romance and the smart, witty repartee? I heard it took ten years to get this film made. This doesn't surprise me. Even after the success of the "chick flicks," Sex and the City," and, "The Sisterhood of the Traveling Pants," Hollywood doesn't get it. I see a lot of films. There are women out there who are hungry, HUNGRY for intelligent, moving, character driven films. "The Women," delivers a stick of butter dipped in dark chocolate.

Diane's writing reminds us that comedy can come out of the story and character development - not just sheer shock value. She reminds us that witty dialogue can be damn funny. It seems that Hollywood has forgotten that both men and women (and even some teenage boys!) love the classic comedies of the 40's that feature strong women characters with great dialogue.

To tell the truth, the 1930's version of, "The Women," left me cold with those snooty, upper class voices, catty behavior, and outdated morals. But Diane puts a modern spin on the classic. So while the main characters are definitely privileged, they are still accessible. Much of the credit goes to Meg Ryan's down-to-earth performance as high society good girl, Mary Hanes, and Debra Messing (in her funniest film role) as her artistic, earth-mother friend. Some of the characters do come across as overly catty - especially Mary's best friend fashion magazine editor Sylvie Fowler (played by a strident and crude Annette Benning.) But I figure with friends like Mary she can't be all bad.

Diane does a great job updating the material and dealing with the outdated morals. When Mary finds that her husband is cheating, her mother (Candence Bergen) advises her to stay in the marriage. Diane pokes fun at the archaic values comparing them with those of a 1930's movie. Wink wink.

I'll admit, early in the film, I was turned off by some pretty catty women. But as the film progresses, it shows the strength women get from their loyal friends. Stay with it, and you will be rewarded by smart, witty dialogue, and some big belly laughs.

Movie blessings!

Jana Segals

www.reelinspiration.blogspot.com

Check out my later reflections on, "The Women," in the review, "Bridesmaids" A Female Driven Comedy for Men.

"Float"

The movie follows the lives and relationships of the staff of Float Ice-cream Parlor. The company slogan is, "It's all about the ice-cream." That certainly seems to be owner Ray Fulton's (Gregory Itzen) motto. He works late every evening and when he finally gets home he is still preoccupied by the business. Ray ponders a possible tomato flavored ice-cream as his wife surveys his wilted garden. His wife asks him repeatedly if he has watered the roses. "Are you listening to me at all?" she laments. He answers, "You want me to wake up and swell the roses." Freud couldn't have summarized the theme better.

Float is meant to be a home away from home. But when his wife leaves him, Ray moves into a bachelor pad with his store manager and an ex-employee that he recently fired. Each of these characters has a problem finding themselves. The slick manager, Gevorg (Hrach Titizian), struggles with living up to his Armenian family's expectations while chasing tail and conducting shady deals. Ramon (Johnny Asuncion) tries to find some semblance of a life after being fired for getting into a fist fight at work. He searches ardently for what he is truly meant to do - whether it's mixed martial arts, a green card marriage or whatever comes easy. Ray discovers that he spent his whole life providing for his family, but in the process he lost track of them and himself. His life has truly become "all about the ice-cream." Now he has all the time in the world to find himself. His new frathouse lifestyle gives him the leisure to do all the things he once enjoyed. The roomies bond, support each other's romantic pursuits, and become sort of a makeshift family.

Writer/director Johnny Asuncion takes on the worthy theme of self identify and friendship. However, some story threads are never picked up. Gevorg is so busy pursuing his first real relationship that he never confronts his family about their expectations. Ray gropes to find himself and reconnect with his daughter, but never touches base with his wife. Was this omission intentional or the result of a ruthless edit? Perhaps the director is saying that family demands aren't as important as being true to ourselves? You decide...

In the last shot Ray finally waters that rose bush and the rose is flourishing.

Reel Inspiration is proud to have "Float" as one of our myspace friends. Please, support this talented filmmaker by attending "Float" at a festival near you.

Movie blessings!
Jana Segal
www.reelinspiration.blogspot.com

myspace.com/floatmovie

"Then She Found Me"

Actress/Director Helen Hunt

Award-winning actress Helen Hunt makes her feature directing debut with, "Then She Found Me," adapted from the best-selling Elinor Lipman novel about an adopted woman who wants to have her own child.

At first, I had some problems getting into it. The opening sequences felt rushed and contrived. Before April has a chance to deal with one tragedy, another one takes it's place. Writer/Director Helen Hunt seems to rush through some life altering events without allowing her character to learn the inherit lessons.

April has an urgent need to have her own baby to experience that special bond that she never felt as an adopted child. That's when her shallow, self-centered husband (Matthew Broderick) chooses to leave her.

Before she has time to digest that her husband is gone, she meets a man who just might be her soul mate - the father of one of her students. The film seems to be saying that love doesn't come in a neat little package (a bundle of joy) or even at a good time. Love is messy - full of human weakness and flaws. In this case, the package comes with a lot of extra baggage. Colin Firth is vulnerable and sexy as the recently dumped father of two who bumbles his way through the initial stages of this potentially important relationship. Helen Hunt gives an honest, nuanced performance as the confused and conflicted April. Kudos to Ms. Hunt for creating the most romantic relationship I've seen in a very long time.

To further complicate matters, April's birth mother (Bette Midler) turns up to show how really flawed love can be. This is your typical sitcom fare with Midler playing it predictively over the top. However, despite the best jokes being thrown away in the trailer, the Divine Miss M got some good laughs. And there are some touching moments of genuine bonding between the two women.

I also appreciate how the film touches on the spiritual side of being Jewish - not just having the characters perform rituals for the sake of tradition.

Sometimes good art, like life and love, can be flawed. I found this to be the case with THEN SHE FOUND ME. I'm looking forward to seeing it again. If you've been longing for a truly romantic comedy, go see THEN SHE FOUND ME as soon as possible and bring your friends. Lets send a message to Ms. Hunt to keep up the good work!

Movie Blessings!
Jana Segal
www.reelinspiration.blogspot.com

"The Band's Visit"

The Egyptian Police Band arrives in Israel to perform at the Arab Cultural Center in Peta Tikva. When their ride doesn't show up, they manage to catch the last bus of the day despite the language barrier. The bus drops them off in the desolate town of Betah Tikva. But the differences in the two towns is much greater than the first letter of their names. The progressive notion of music bridging cultural divides hasn't reached this abandoned development of Betah Tikva. The bored local cafe owner laments, "There is no Arab culture, no Israeli culture, no culture at all."

The surreal sight of the Arab Police Band in their pressed, sky blue uniforms is a welcome diversion from the monotony of this dead town. So, Dina, the cafe owner (Ronit Elkabert) offers lodging in her home and recruits her neighbors as unlikely good Samaritans. Unemployed Itzik brings some of the band members home to crash his distant wife's pathetic attempt at a birthday celebration. There is obvious tension between the Arabs and Jews who speak their own language among themselves. They speak in a compromise language, English, to communicate to each other. When language fails them, they attempt to connect through music with a weird, impromptu sing-a-long. The clarinet player shares his unfinished concerto. He gains new insight into his creative process from this family that has also stalled. The rejected husband offers him understanding and inspiration, "Perhaps your concerto is about a baby sleeping in the next room and tons of loneliness." It is the expression of solitude that brings them together.

Dina, who has been in one shallow affair after another, seems desperate for any kind of human connection. She must deal with cultural differences in male/female relationships when she tries to tease the emotionally stunted band leader, Colonel Tewfiq Zakria, (Sasson Gabai) out of his shell. He tries to share his love of music but it is so overwhelming that he must resort to sharing his love of fishing instead.

Meanwhile, the superficial heartthrob, Kaled, (Salah Bakri) uses the power of music to pick up women by crooning a Chet Baker tune. Always out for a good time, he invites himself along on an already awkward double date to a disco roller rink. What develops is a touching moment of human kindness and one of the funniest moments in the film.

Despite it's satirical surface, "The Band's Visit," is really a sweet, lighthearted film about people connecting, not politics. It is about breaking down the walls that separate us. It's about hope.

Movie Blessings!
Jana Segal
www.reelinspiration.blogspot.com

"The Bucket List"

OK. I'll admit I have my guilty pleasures. These are films I see not because they are great art or original storytelling but because they make me feel good. "The Bucket List," falls into this category. It's a feel good movie with some laughs. You can pretty much figure out the whole story from the trailer - yet you still want to be in that world. Jack Nicholson plays a gruff businessman who is treated for cancer. He eventually connects with his trivia spouting, family-man roommate (Morgan Freeman) because of their shared condition. When they discover that they both have less than a year to live, they make a list of things they would like to do before they "kick the bucket" and go out and do them.

The problem I have with the script is that everything comes so easily to them. First, they have unlimited financial resources to travel the world because one of them is rich. I could live with this contrivance if the filmmaker used that screen time to develop the relationship of the two characters. But their relationship comes easily too. There are no real obstacles to overcome that would allow them to fully bond. But luckily, Jack Nicholson and Morgan Freeman give such lived-in performances that we feel like we know them. While gazing at the pyramids, they touch on universal themes such as the importance of faith and share some regrets. They challenge each other to discover the true joy in life. It is certainly a joy to watch Jack Nicholson and Morgan Freedman at the top of their game (and the top of the world!) If this movie inspires you to find the joy in life or contemplate it's meaning, I'd say that was worth the price of admission.
Movie Blessings!
Jana Segal
www.reelinspiration.blogspot.com "The Bucket List" provides much-needed education on living and dying for American society. --Janet Grace Riehl, (www.riehlife.com)

Loved The Bucket List, by the way. Dave and I are making our own Bucket List now! Woo hoo! Reel Member, Tammy Swanson

"Juno"

by guest reviewer Gary Ray

One Liner Review

If you’ve seen the trailer for Juno and decided that it’s
not for you, please read on: I’d like to change your mind.
I thought the same thing when I saw the trailer: here we
go again, another “quirky” movie peopled with characters
who’d never do or say half the things they door say and
with a lead character that spouts smart-alecky remarks
that no one could possibly dream up that didn’t have a
week to ponder them.

Then I saw the movie.  Arms folded.  Third row.  In
the first several scenes, my worst fears had come
true— yes, the film was exactly like the trailer.
Then, bit by bit, scene by scene, the story began to
surprise me.  My arms unfolded.  I relaxed. I laughed.
The characters were real.  And the acting— superb.
I know that lead Ellen Page is getting the lion’s share
of the praise (she was the only one nominated for an
Independent Spirit Award), but the rest of the ensemble
possibly give stronger performances than she does.
Michael Cera is astonishingly natural (and understatedly
funny). And one thing I love about the screenplay is
the relationship between him and his baby-mama Juno:
they’re just friends.  They had sex once.  But the script
doesn’t dwell on any “what are we gonna do!” madness.

And then there are Juno’s parents played by Allison
Janney (The West Wing)and J. K. Simmons (he plays Peter
Parker’s editor at the newspaper in the Spiderman movies)
who give stellar performances. And, finally— if I can
think of another superlative—there is Jennifer Garner and
Jason Bateman, who steal the show: both magnificent. It’s
the Garner storyline in particular that, in the final
analysis, won me over on Juno.

As with all great movies, it’s not just the beating of
one single note: but an array of subplots and minor
characters whose lives are affected by the lead
character’s trajectory that make for an ideal movie
experience.  We see how Juno is affecting so many
people’s lives. And, in her separate relationships
with the Garner and Bateman characters, we see an
evolution in her understanding of human nature. And
again, how many movies about teen pregnancy do you know
that aren’t about what a big, dumb mistake it is.
Juno is practically matter-of-fact about the pregnancy
itself. Instead it’s about the world we live in.  Its
about how less screwed up Juno is in light of how more
screwed up the adults are around her. And it’s about
how everything can be okay, no matter how bleak the
outlook.

OSCAR UPDATE: Juno was nominated for Best Picture, Best Directing, Best Actress and Best Screenplay. Diablo Cody won a well deserved Best Screenplay Oscar for her witty and honest writing in Juno. She gave a moving acceptance speech thanking her amazing director (Jason Reitman), lead actress (Ellen Page), and her mom for "accepting me just the way I am."

"Lars and the Real Girl"

"Lars and the Real Girl," is a touching comedy about how a lovable, extreme introvert decides to open up to the possibility of love by ordering a rubber girlfriend on the internet. When the members of his church learn that Lars has a delusion, they decide to help Lars resolve his issues by embracing his silicone girlfriend without a hint of judgment. They accept her into the community even bringing casseroles and sitting with Lars when his girlfriend is sick.

I embraced the story because, like the congregation, I genuinely cared about Lars. This is in part because of excellent performances poised between earnestness and farce. Don't miss this tender comedy. It is the feel good movie of the year.

OSCAR UPDATE: Nancy Oliver was nominated for Best Screenplay. (One of four women writers nominated!)

Lars Lindstrom is a lovable introvert whose emotional baggage has kept him from fully embracing life. After years of what is almost solitude, he invites Bianca, a friend he met on the internet to visit him. He introduces Bianca to his brother Gus and his wife Karen and they are stunned. They don't know what to say to Lars or Bianca--because she is a life-size doll, not a real person and he is treating her as though she is alive. They consult the family doctor Dagmar who explains this is a delusion he's created--for what reason she doesn't yet know but they should all go along with it. What follows is an emotional journey for Lars and the people around him. 

If you're looking for movies where people are genuinely kind to each other -- a new kind of love story -- watch, "Bella," and, "Lars and the Real Girl." You'll be thankful you did.




Movie Blessings,
Jana Segal
www.reelinspiration.blogspot.com