"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

"Her"

Through Theodore's eyes we see, "Her." 

In this SciFi romance, society continues in the direction that it is already heading during this cyberage – playing with the paradox of how we can be constantly connected through social media yet less intimately connected. We have replaced personal interactions with text messages. Even on a physical level sex has been replaced by safe cybersex. The art of letter writing has been lost with the advent of chat, creating an industry for personal correspondence writers. Writer/Director Spike Jonze explores this theme with his main character, Theodore (Joaquin Phoenix), a professional letter writer who specializes in drafting touching, intimate love letters while being totally shut down by fear in his personal life.

Instead of creating a hollow, unfeeling world of SciFi technology, Jonze creates a world where people still strive for human connection. Using the rules of artificial intelligence as a guide, Jonze makes it seem totally feasible that an operating system could be conversational and interactive. After Theodore downloads his own personal assistant operating system (Scarlett Johansson), she introduces herself: “Hi, I’m here. I’m Samantha.” Theodore is taken aback by the beautiful imperfections in her voice. When she wakes him up the next morning, she surprises him by exhibiting a sense of humor. Programmed to anticipate his every need (while making no demands of him), it’s not difficult to believe that Theodore falls for “her.” "Her," really isn't a her at all, but a projection of himself and what he wants in a woman. When Theodore shares the news of this relationship with his ex-wife, she responds, “You’re dating a computer? You always wanted to have a wife without the challenges of actually dealing with anything real. I'm glad you found someone.”

One of the delightful things about their romance is that the filmmaker can’t rely on physical attractiveness to show us why these characters come together. We watch how they inspire each other to grow. Samantha actually helps Theodore face his fear, enabling him to have a real relationship. Jonze, Phoenix, and Johansson have created a uniquely heartfelt love story in, “Her.”

Movie blessings! 

Jana Segal

www.reelinspiration.blogspot.com

OSCAR UPDATE:
Spike Jonze won the Best Original Screenplay Oscar for, "Her," in 2014.

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

"Larry Crowne"

by Guest Reviewer Josh Valentine
Indiebum

Tom Hanks’ “Larry Crowne” is a film that your mom goes to see with her girlfriends. It’s what appears run-of-the-mill romantic comedy starring everyman Tom Hanks and America’s sweetheart Julia Roberts. In some ways, that is the film. But the miracle of “Larry Crowne” is its immediacy and its passion for the human experience. This is a film that came and went in the theaters and it will be forgotten. It shouldn’t.

The film, co-written with Hanks by Nia Vardalos (“My Big Fat Greek Wedding”), and directed by the man himself, is about finding purpose. For most people, it is through purpose that life’s meaning is found. For some, raising a family is their purpose and that gets them through their existential woes. For others, they find this solace in their work. This is the focus of Larry Crowne’s life at U-Mart until he is laid off due to his lack of a college education. Crowne (played with dependable pluck by Hanks) faces a new chapter in his life – a chapter he never expected. He enrolls at the local community college where he meets Mrs. Mercy Tainot (Roberts), a speech and communications professor who’s at her wit’s end of a terrible marriage. He also meets Talia (Gugu Mbatha-Raw), a free-spirit who introduces him to the comfort of being cool. Larry begins to re-experience the life he’s felt he missed after his 20 years in the Navy. “Larry Crowne” is very much a film that encourages the idea that the experience of living is in itself what must be appreciated. For the three major characters, the achievement of purpose is what enlightens their existence.

Hanks, Roberts and Mbatha-Raw all portray their own character arcs to exhibit the theme of purpose. Hanks’ Crowne is generally optimistic, but never felt his past had any merit worth mentioning. He hides from his passion of cooking, because he felt he had done it too long in the Navy. His re-invention is a catalyst for his return to his passion and he is able to grow, even in middle age. Roberts’ character is borderline depressed, and wants to find purpose in her teaching. Thanks to Larry Crowne, she not only re-discovers her enthusiasm – but also finds the grown up man she’s been looking for. The character of Talia is pure optimism but is seemingly lost. When she drops out of college to pursue her dream of owning her own business, she finds her purpose. All of these character arcs seem relatively inconsequential, but really show how something so meaningless can actually change a person’s life forever. The film is surely fantasy, but it’s ideas and main themes of finding purpose are essentially human. This is a human film.

“Larry Crowne” ended its theatrical run recently, but will be on DVD and Blu-ray in November. It’s not essential viewing, but highly recommended. It might even help you find you your purpose.

"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

"Cyrus" and "Winter's Bone" The Ties that Bind

"Winter's Bone" and "Cyrus" are two very different films about the bonds of family.

Director Debra Granik 

In "Winter's Bone,"17 year-old Ree Dolly (Oscar nominated Jennifer Lawrence) is bound by family responsibility. When her daddy goes missing, Ree must take care of her siblings and her mentally ill mother. She has an innate gift for parenting. She teaches the youngins' how to survive in a way they can understand and they show her due respect. But she soon finds that she is way over her head when the sheriff comes by to inform them that they are about to lose their house and farm because Pa put it up for his bail bond, then disappeared. Danger mounts as she is forced to defy her deadly clan's code of silence to find her Pa and bring him home. In authentic "slice of life" style, the filmmaker (Debra Granik) gives us a rare glimpse of the gritty mountain people, customs, and code of conduct of the Ozarks. You can just feel the sticks cracking under Ree's feet as she traverses the backwoods country and tastes the squirrel meat. "Winter's Bone" is about family ties that bind and gag; and finding the strength to survive in the hardest times.

"Cyrus," explores the bond between a mother and son and how much bonding is healthy. John's ex-wife (Catherine Keener) tells him she's getting married then proceeds to invite him to a party to meet other women. John (John Reilly) gets totally sloshed at the party, yet miraculously manages to pick up the most understanding woman, Molly, (the vivacious Marisa Tomei) with his clumsy attempt at honesty. John can't help but be drawn to Molly's kind heart. The relationship gets off to a great start. Then John meets Molly's 21 year-old, home-schooled, new age musician son, Cyrus (Jonas Hill). Suffice it to say that it is a very close family. Single mom Molly is so protective of her boy that she can't see the battle he is waging with John over her affections. "Cryus," has a different tone than most comedies. It is quirky and original, yet it somehow feels real. "Cyrus," is about the ties that blind, eh, bind between mother and son; and whether a mere man should get between them. Can love win out in the end?

It is more than the theme that binds this thriller and comedy. They also share truly original, honest writing and great performances. These are two of the best films I've seen for a while.

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

"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

"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."