Slumdog millionaire

Finally saw this 2008 film. A Mumbai teen who grew up in the slums, becomes a contestant on the Indian version of "Who Wants To Be A Millionaire?" He is arrested under suspicion of cheating, and while being interrogated, events from his life history are shown which explain why he knows the answers. In doing so, the film shows a slice of Indian society. Finely done.

Descendants

A.O. Scott of the NY Times reviewed it two weeks ago: The emotional trajectory of “The Descendants” is familiar enough. It is about the fracturing and healing that take place within families. Matt needs to bond with his children, make peace with his wife and deal with the pesky politics of entitled cousins. As he works his way through these challenges and others, including a confrontation with his wife’s lover (Matthew Lillard), a lively and complicated mesh of plots and subplots takes shape, but the most striking and satisfying aspects of “The Descendants” are its unhurried pace and loose, wandering structure.

It does move at a leisurely pace, without dragging, not hurrying the action to fit a preconception.

 To call “The Descendants” perfect would be a kind of insult, a betrayal of its commitment to, and celebration of, human imperfection. Its flaws are impossible to distinguish from its pleasures. For example: after what feels as if it should be the final scene, a poignant, quiet tableau of emotional resolution and apt visual beauty, Mr. Payne adds another, a prosaic coda to a flight of poetry. Without saying too much or spoiling the mood, I will say that I was grateful for this extra minute, a small gift at the end of a film that understands, in every way, how hard it can be to say goodbye. 

“The Descendants” is rated R (Under 17 requires accompanying parent or adult guardian). Bad language, impossible situations.


In the New Yorker, Anthony Lane makes a comparison to From here to Eternity, and ends his review with a nice twist of that line, in assessing that closing scene. Death, which has loomed ahead throughout, begins to drift away behind them, and the film completes its journey: from eternity to here. ♦

 From left, George Clooney, Shailene Woodley and Amara Miller in "The Descendants." More Photos »

Fox Searchlight

The young actors did great work. Sid is a stoner, yet has an additional dimension that some people miss: he is not a boyfriend in the romantic sense, but simply a friend who is a boy, a young man; what he shares with Alexandra is a sublime friendship, an abiding loyalty.

Very enjoyable.

Last holiday

Perhaps three stars, out of five. One is purely for Latifah's work; she makes the movie work. I chose it based on Joe Morgenstern's review of it (which accompanied a review of ): If Alec Guinness knew he had been replaced by Queen Latifah in a remake of "Last Holiday," he'd roll over in his grave and try to get out in order to see her. That seemed sufficient praise for getting the movie for a Friday night. I agreed then, and do so now, as well, that Queen Latifah is a formidable presence, an actress of charm and reliable tact who has survived any number of flops. But this one just makes it over the bar. once again, Queen Latifah survives some remarkably clumsy filmmaking. More than survives; she manages to prevail.

Metropolitan

Watched this film (on DVD) yesterday; found it enjoyable. An independently-made film (1990), it shows lack of polish, somewhat stilted acting, and limited range. Yet it works. Its very lack of gloss and narrow range of shooting makes for an effective study of characters and development of story line.

Four debutantes and three escorts are friends. They emerge from a debutante ball at the Plaza Hotel (a motif recurring through the film), and look for a cab. Hailing one, as three of them approach the Checker cab the male sees another male nearby, expresses reservation at taking his cab, and winds up inviting him to an after-ball get-together. The seven, a self-styled Rat Pack, hang out, smoke, drink, flirt, play bridge, go to other balls and parties. The eighth, brought in to make for an even number and to relieve "an escort shortage," is not as rich as the others, lives on the West Side (which was then not as classy a neighborhood), and espouses contempt for the cycle of parties and debutante balls. Calling himself a Fourierist (Fourier, Charles French social theorist who advocated a reconstruction of society based on communal associations of producers known as phalanges), he denigrates Jane Austen, elevates Lionel Trilling's criticism, and, despite professed objections to the empty-headedness of snobby trust-funders (his parents divorce has landed him and his mother on the West Side, exiling him from the East Side and his inheritance), becomes one of the group.

It is a really good film. Its simplicity, its low budget, make for good cinema: the film can not hide behind special effects, an expensive budget, or pyrotechnics; it has to deliver, or it would simply implode.

This review is on the mark: Video Librarian Reviews Along with Steven Soderbergh's sex, lies, and videotape, writer-director Whit Stillman's 1990 Metropolitan was one of the most acclaimed breakthrough hits in the burgeoning American independent film scene of the late '80s and early '90s. Stillman's original screenplay earned an Oscar nomination, and deservedly so, since his one-of-a-kind study of young, upper-class Manhattan socialites is simultaneously funny, ruthless, and keenly observant about class distinctions that are rarely acknowledged in popular entertainment. Metropolitan serves up a portrait of jaded, over-privileged denizens of New York City's upper-crust society, viewed from the outsider's perspective of Tom (Edward Clements), a middle-class loner who is unexpectedly welcomed into the inner sanctum of preppies, trust-fund brats, and eager-to-marry debutantes during a Christmas break full of gatherings in posh hotels, restaurants, and ballrooms. The film?s strength lies in its combination of scathing wit, literate sophistication, and refreshing lack of judgment against its characters, many of whom could charitably be described as insufferable snobs. Part of the Criterion Collection, this release features a decent transfer and DVD extras that include Stillman's audio commentary (along with editor Christopher Tellefsen and co-stars Chris Eigeman and Taylor Nichols), which serves as a valuable primer on low-budget filmmaking; outtakes with commentary by Stillman; and an essay by New York historian Luc Sante (placing the film in its proper social context). Highly recommended. (J. Shannon) Copyright Video Librarian Reviews 2006.

I also found an interview with the director.