Sunshine Cleaning

I saw the previews for Sunshine Cleaning at the local independent theater that I like to visit. I intended to catch this one at the theater…it looked dark and quirky…two elements I seem to like enjoy in movies. I ended up renting this film and watching last night. The film was dark, funny and definitely quirky. It was also realistic, examining relationships through good times and bad.

Sunshine Cleaning examines the life of a former cheerleader (Rose Lorkowski, played by Amy Adams) who must have appeared to have everything…as head cheerleader and main squeeze to the Captain of the football team, Mac (Steve Zahn). Rose didn’t end up with what she expected out of life. She spends her days cleaning houses and her nights sleeping with Mac (now a Police investigator) who married Heather (Amy Redford) instead of Rose. Rose gets little gratification and appears ready for some changes. Mac suggests Rose get into Bio-Hazard cleaning in order to cash in on a lucrative opportunity.



When Rose’s son Oscar (Jason Spevack) gets called to the principal’s office (yet again), Rose realizes she needs to find a better job so she can afford a private school for the gifted but bored boy. Using Mac’s contacts, Rose starts up her own cleaning business with the help of her slacker sister, Norah (Emily Blunt). The two underbid experienced contractors in order to build their business. It is a gruesome affair, cleaning up after suicides and accidents. Yet it seems morbidly rewarding in different ways for the duo. Together, they begin building a business while Rose tries to get her personal affairs on track, as well. Yet Rose seems to be possessed by what her former classmates think about her and gets her priorities just backwards enough to jeopardize everything she has worked for. Does Sunshine Cleaning end up rewarding viewers for hanging in during the good times and bad? It’s an independent film, so you have to watch to find out if the ending zigs or zags.

Sunshine Cleaning, written by Megan Holley had a beautifully presented script with characters that matter. The characters carry this story about hardship and heartache. By making the characters imperfect, Holley makes them real. The struggles of a family broken by suicide and never fully recovered runs as an undercurrent, while pulling back the veil on the damaged emotions and flawed relationships of the family and their interaction with other people. The realistic and well constructed personalities and relationships layered over a rewarding, imaginative and dark story-line make for a tale that held my interest. I found the dialogue to be fresh enough and the interaction of the characters to be vividly credible. Although predictable at times, the plot moved at a good pace and rewarded me for my time.

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Kalifornia

Inspired by his girlfriend's photography, journalist Brian Kessler (David Duchovney) realizes that a combination of photography from the locales of infamous serial killers along with his own perspectives on the crimes could form the foundation of a best seller. Kessler has spent his advance money and needs some financial assistance to bring his dream to reality. He needs someone to split expenses on a criss-cross-country trip to California, stopping at the infamous crime locations along the way. What Kessler does not expect is that he might be closer to getting into the mind of a serial killer than he really ever wanted to be.



Tim Metcalf wrote the screenplay for Kalifornia, which is based on an original story he wrote along with Stephen Levy. The story provides something very different and gripping. I thoroughly enjoy thrillers, and this one provides all the elements to a good thriller. It moves at a good pace, it reveals just enough to keep you wondering when the hammer is going to drop, it has characters that can be unpredictable, the premise offers opportunities for good action and the dialogue adds to the suspense. If anything, the story moves over-the-top at times, slipping into extreme stereotypes or incorporating elements that stretch believability to a breaking point. But the interesting characters, although a bit flat and stereotyped somehow seem to engage the audience. The plot has some predictabiilty, but provides enough twists and turns to keep things interesting.

I appreciate David Duchovney in his Showtime series, Californication. Duchovney convincingly plays a man-ho in that series. Seeing Duchovney sixteen years younger was a shock. He was a bit gangly and green in this film. Not that I didn't like him or his character...but he was not nearly as believable as the backwoods trailer-trash bubba, Early Grayce. Grayce was brought to life by a much younger Brad Pitt, who completely unleashed this character in the film. The character has some cartoonish traits, but Pitt appears to become lost inside this character. Pitt was exceptional. Juliette Lewis also has a character given over to cliche...but she did an excellent job of selling a part that might otherwise have lacked any credibility. Lewis plays Grayce's childish girlfriend, who refuses to believe he is bad because he protects (as well as beats her). Michelle Forbes rounds out the primary cast as Carrie Laughlin, the misunderstood photographer whose photographs are too graphic for "main-stream consumption." Another one-dimensional role that Laughlin makes work with her hot jet-black bob-style hairdo. The cast members had great chemistry, adding to the suspense.

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Life Is Beautiful

Life Is Beautiful was released in 1997 (as La Vita e Bella), but I could just as easily have been convinced that this film was released in 1967. The film has a throwback quality that gave it the same flavor as some of the great films created in the 1960s. The sets, cinematography and even the dialogue had a simple innocent quality that enhanced the experience for me. Roberto Benigni, who also stars in this film, did a phenomenal job as director, giving this film the essence of a Golden Era in Hollywood film.

Life Is Beautiful provides everything a movie-goer could possibly want. The script takes us through the full range of emotions. Benigni introduces us to a sharp young man, Guido Orefice (Benigni) whose mental acuity seems uncanny. Orefice is great with solving riddles, but even better at using his impeccable timing to woo the girl of his dreams, Dora (Nicoletta Braschi). Although Orefice earns a meager but honest living working as a waiter, he relies on his eternal optimism and humor to win Dora from a wealthy suitor (Braschi is Benigni's wife in real life, too!) The two gallop off on a green horse and we are swept forward several years as young Joshua Orefice (Giorgio Cantarini) comes running from the greenhouse. Joshua is willful and every bit as sharp as his father.



The film takes a sour turn as we realize that much has changed since Joshua was born. Nasty signs that declare "Jews and Dogs not allowed to enter" and graffiti mark the walls of the Orefice's town of Arezzo. Sandbags are visible everywhere. The darkening tone escalates, as we see Guido, Joshua and Uncle Eliseo (Giustino Durano) are carted away in a military truck. They arrive at a concentration camp, where Guido uses his quick wits to convince young Joshua that the prison camp is an elaborate game, a surprise for his birthday. Guido's unflappable determination to protect Joshua's innocence even amongst the death and decay of a concentration camp provides for some interesting opportunities to explore the full range of feelings. Hope, despair, humor, love, sadness, loss...this film visits the depths of your soul.

The writing in Life Is Beautiful is nothing short of genius. Benigni co-wrote the story with Vincenzo Cerami. The very idea that you could make a film about fascism, prejudice and life in a concentration camp and find room for humor speaks to the originality and creativity that Benigni and Cerami bring to this script. The plot meanders along with no clear direction, but dark foreshadowing that indicates the coming tribulations. The film is a love story, exploring the uncanny love between Guido and Dora, and the parental love for Joshua. The dialogue has a crisp talkative pace at times, where the sub-titles moved at speed-reader pace. But it was excellent. It did not appear that the humor lost anything in translation. The exceptional exchanges between the characters showed an immense intelligence was applied to this script. Life Is Beautiful had writing that was a breath of fresh air.

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The Soloist

When I saw the previews for The Soloist, I waited eagerly for the release. Then, just when the film hit the theaters, Jamie Foxx had to spout off at the mouth and say some pretty stupid stuff about Miley Cyrus. His comments about a sixteen-year-old making a sex tape and doing heroin and crack jaded me enough to wait for this film on DVD. Thanks Jamie...you saved me some money. The film was not worth full price at the theater.

The Soloist appeals to me because it is a true story that sheds light on mental illness, homelessness (and subtly, the connection between the two). The story begins with a chance encounter between a Los Angeles Times Reporter, Steve Lopez (Robert Downey, Jr.) and a homeless musician, Nathaniel Ayers (Jamie Foxx). Lopez finds Ayers playing a violin with two strings at the base of a statue of Beethoven. In a disjointed conversation, Ayers runs through a litany of music and location related ramblings before Lopez asks about three names written on a nearby tree. Ayers advises Lopez that those were his friends at Julliard. Seeing the potential for a story, Lopez begins running down Ayers' history. What began as a chance encounter leads to an examination of responsibility and friendship.



The story itself could be a powerful, poignant, moving story about an unlikely relationship that grows into true friendship. There were some decent lines, especially Lopez, near the end of the film, reflecting on what he had taken away from his friendship. The film uses flashbacks to pick up some of Ayers' history, which works to an extent. However, the transition between scenes if often jerky with awkward timing. Maybe it was an attempt to convey mental illness to the audience. If that was the source, it didn't work for me. I found many of the scenes to be ill-conceived. There were some opportunities to force emotion from the audience that seemed to be squandered away. I wanted to be moved but found that the material was too sterile. With subject matter as deep and intense as this I expected much more. I place much of the blame for that at the feet of Director Joe Wright, who has an unimpressive resume.

The weak directing was offset by stellar performances. Jamie Foxx was exceptional as Ayers. His willingness to give himself over to the part was evident. The rambling disjointed thought processes that manifest themselves as a mumbling jumble of words were not unlike encounters I have had with mentally ill people in the past. Foxx convinced me. He was definitely the bright spot in this film. Robert Downey Jr. was also brilliant, with a role that was not as much of a stretch. However, His delivery helped sell the story. The two had good chemistry and were believable. Catherine Keener had a smaller role as Mary Weston, Lopez' significant other. She had a decent drunk scene, but did not have a very significant role in the film. The actors provided this film with the heart that was lacking in the script and directing.

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A Serious Man

I don’t know how many goyim attended the Coen brothers latest release, A Serious Man, but there were plenty of movie-goers laughing at stuff that this goy didn’t find funny. Maybe it’s a Jewish thing (if you have to ask, you wouldn’t understand). I gave the Coen’s last two movies (Burn After Reading and No Country For Old Men) Five Stars each. A Serious Man reminded me more of The Ladykillers, which I was less enamored by.

A Serious Man begins with a short scene that introduces us to a family curse. The credits follow, before introducing us to Larry Gopnik (Michael Stuhlbarg), a 1960s professor whose luck seems to be a product of the introductory scene. This luck appears to apply to his jobless, homeless brother Arthur (Richard Kind) and most likely passed to his son Danny (Aaron Wolff). The family dysfunction becomes the heart of glib ruminations into every aspect of Gopnik’s life. Attempts to prevent Gopnik’s tenure at his school, a scary neighbor who ignores the property line between their houses and children who view him only as the source of filched money or adjusted television reception. But the worst of it is Larry’s wife, Judith (Sari Lennick) who has decided that she wants a “get” (a traditional Jewish divorce) so that she can marry Larry’s friend, Sy Abelman (Fred Melamed).



A Serious Man lacks a concrete plot, concentrating more on the characters and their interactions while leaving the ending open to interpretation. The concept of this film appeared to be a family curse that we witnessed being manifested on a later generation. The troubles are sometimes trivial, like the property line issue, but the Coen’s seek every opportunity to exploit the effete main character. The subdued comic elements were woven throughout the script seizing every opportunity to elicit laughter. Some of the humor seemed awkward. The audience erupted following the death of a character, puzzling me. I understood the essence of the scene, but didn’t find it amusing. I laughed several times, but much of the humor was shallow and cliché. The characters were quirky and interesting. I enjoyed many exchanges between them.

I am not familiar with Michael Stuhlbarg, but found his performance to be engaging. I liked the way he schlepped along in the film while appearing earnest in his struggles. I wanted his luck to change. I cared less for Kind’s performance, but it was more the role he played. His character irritated me, making it difficult for me to enjoy his performance. Melamed was captivating, bringing a quirky comedic presence to his character that was subtle and enjoyable. Aaron Wolff was also enjoyable as the son. His facial expressions were often more compelling than the script. The cast was not very familiar to me, but did a fine job.

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Junebug

I do not remember seeing advertisements for Junebug, and I am not sure I would have watched it when it was released in 2005 based on the synopsis of this film. However, putting my faith in the sage advice of Netflex, I decided to add this film to my queue. I have been happy finding treasures on NetFlix that I had previously overlooked. Junebug presents an interesting story that, in many ways, reminded me of my own life. The characters were scary-close to my own experiences. I guess that is why Junebug connected with me…it felt close to home.

Junebug introduces us to Madeleine (Embeth Davidtz), a Chicago art dealer and her husband George Johnsten (Alessandro Nivola). We see a rapidly brief romance before catching up with the couple six months later as newly-weds. George is in North Carolina checking out a local artist (David Wark, played by Frank Hoyt Taylor) from Pinnacle, NC, who appears to have some serious psychological issues. But George likes the art enough to advise Madeleine to come down and check out the art for herself. Madeleine likes Warks “Antietam,” relating that she recognizes the corn fields and likes the dog heads and scrotums. The art has a very vulgar quality, but obviously qualities that Madeleine thinks will sell.



Madeleine and George have only been together for six months. Madeleine has not yet met George’s family. Pinnacle is merely a half hour from George’s hometown, so the two decide the time has arrived to meet the family. The family dynamics mirror the dynamics of most normal, slightly dysfunctional (and likely average) families in America. Some qualities were exaggerated for effect, but the emotional aspects of individual relationships between family members make the film interesting and relevant. Madeleine is showered with adulation from George’s sister-in-law, Ashley (Amy Adams). Ashley has a bubbly ubiquitous energy that seems both childish and adorable. Ashley is excited by Madeleine’s arrival. The same cannot be said for George’s mother Peg (Celia Weston) who Madeleine mistakenly calls “Pat” during their first encounter. Peg may be a protective mother who won’t find any woman satisfactory for her son…or she may just be a strong personality who rules her roost. Speaking of roosts, Scott Wilson plays Peg’s hen-pecked husband Eugene. Eugene is a quiet, quirky fellow who appears to avoid conflict. George’s brother Johnny is a brooding and explosive under-achiever who seems troubled at George’s arrival. He is also reluctant to accept Ashley’s pregnancy.

Junebug follows the family through the mundane motions of breakfast, painting fingernails, a baby shower, church dinner and more. While plotting a seemingly routine course for the visit, we observe Madeleine and George both learning things about each other that they didn’t know. In a sense, it is an opportunity for them to grow as husband and wife. We also begin to learn details about the other characters, some of which play into the climax of the film. Subtle cues are provided that foreshadow the ending without giving away too much. Even with a suspicion of where the plot was heading, it was enjoyable to pick up the nuance without having the message spelled out in block letters like much of the mindless drivel out there. The dialogue (especially Ashley’s) is exceptional. The family interaction, as well as thematic material, is expertly woven into the dialogue for viewers to consume. Although sluggish at times, the story was well thought out with an obvious avoidance of cliché.

There were many hidden undercurrents worked into this script. I am not sure I caught them all, and may have to make this one of those rare films that I watch a second time. There were some themes that seemed more obvious than others, and I haven’t fully analyzed how all of it applies to the story. But one element that I found intriguing was the juxtaposition of the relationship between the two brothers and their spouses. They both appear to be with the right spouse. Yet George and Ashley seem to connect with each other in a spiritual way, while Johnny and Madeleine appear to experience some sexual energy. The exchanges between the four create some depth.

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I Am David

NetFlix let me down this time. The database suggested that I Am David would register better than four stars for me. I liked the concept and felt like there were definitely some good concepts explored. However, the film had the quality (especially dialogue) of an “Afternoon Special.” The poorly written dialogue was tepidly adapted by Paul Feig from a novel written by Anne Holm. Reading the synopsis of the book, it appears that Feig added an interesting twist to the plot, but changed some elements of the story. This is one where the book might be far superior to the cinematic version.

David (Ben Tibber) is a fictitious boy who, at twelve years of age, has very few memories of anything other than his life in a post-WWII concentration camp. Ben want to escape the camp and enlists the aid of Johannes (James Caviezel). Johannes has become fond of the boy, offering him advice to help him survive. After a brief exchange in the camp, we are guided through twenty minutes of action, overlapped by instructions that have been given to David prior to his escape. The instructions are step-by-step directions to assist David in finding his way to Denmark. Several borders and unexpected challenges await the young escapee on his journey. David meets a variety of people who each share something with David, helping him to understand life outside the confines of a concentration camp.



I Am David is a tender poignant tale that has two very good plot twists to enhance the value of the story. The excellent concept is compromised by dialogue which seems like it is drawn directly from a first –grade reader. The dialogue borders on insulting in simplicity. The film has a run-time of ninety minutes, the first twenty being narrated. That leaves precious little time to develop the characters that David meets on his journey. It seems as if David bounces from one experience to the next with little opportunity to fully engage the other characters. This made the dialogue even more tedious and superficial. The characters really did not matter to me. There was an excellent plot twist at the end that could have paid out in spades if it had been played right. As it was, I merely yawned at the ending. It was squandered on characters that just did not matter to me.

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