AEOS Review: Whiplash (2014)

Whiplash is a perfect title for this film, because it made me think it was a great example of onomatopoeia, except instead of Whiplash sounding like what it’s describing, the experience of watching Whiplash makes you feel like you’ve underwent whiplash. Then again, you have to appreciate the metaphorical idea the film presents: watching Terrence Fletcher (J.K. Simmons) beat students into beating drums at his tempo provides viewers with an emotional whiplash they get to encounter again and again.

The premise is simple: Andrew (Miles Teller) wants to be the greatest jazz drummer who lived, so much so that he’ll preemptively break up with a girl after having struggled to ask her out in the first place; make a point at a family dinner to educate his extended relatives that becoming part of the core group of a prestigious band ruled by a prestigious conductor at a prestigious conservatory is far greater than making third division on a football team; walk away from a car accident where he’s so badly injured, it’s a wonder he’s able to walk, much less drum; and nearly isolate anyone else who fails to understand his passionate loyalty to drumming.

I think director Damie Chazelle would like viewers to consider that Andrew, himself, is the greatest obstacle he must overcome to achieve his dreams. Yet J.K. Simmons’s best performance-to-date as the dictator-like conductor Terrence Fletcher might prove otherwise. Fletcher knows what Andrew wants. Fletcher’s tactics and attitude bleed brutality. Fletcher appears as a monster to people who are not part of the music world, and yet he’s a true character for many who have climbed the ladder of musical performance at arts schools.

As viewers, we’re waiting for that moment where we see Fletcher shed a moment of vulnerability, and there are even times when we’re convinced that he might have a heart. But his methods are born of madness, possibly drawing from his own insecurities. Fletcher is so set on physically and emotionally driving his students to the edge in order to accomplish . . . what, exactly? Fletcher seeks the best out of his students, right? He’s a teacher, a mode of influence who realizes that saying the words “good job” may be the most harmful to a student’s progress, creating a strain that holds them back from achieving their greatest work. And yet as viewers, we don’t really question whether the lines between his coaching and abusing are blurred, because cussing out a student and hurling furniture at his head would fire many a director, manager, coach, etc. Yet Fletcher believes wholly in his methods, justified or not, if it means getting his way.

Aside from the ending, there are two moments I want to discuss, that I’m willing to allot more time on these points than the rest of the film. Both scenes focus on dialogue instead of the music. The first one I alluded to earlier, when Andrew tries to explain his musical aspirations to his extended family. At a family dinner, family members brush over Andrew’s accomplishments, settling on praising those who have accomplished goals they understand, specifically his cousins’s achievements in sports. Moving up the ranks, going up divisions, getting put on first string, being a starter, catching a ball, making a touchdown, or shooting a basket: all of these ideas are so familiar to us, that they couldn’t help but cheer and acknowledge the accomplishments of an athlete. Similarly in business, a certain protocol is observed and understood: move up the food chain, get promoted, receive a raise, give a presentation, make a sale. Yet in arts, subjectivity plays such a greater role; even more so, being the best has never been enough to make it on Broadway, the Lyric Opera, the Boston Pops, the Mormon Tabernacle Choir, or to be considered among the greatest musicians and artists in history. Art roles and jobs often don’t pay for college, provide a stable job prospect or salary, or appear as a measurable list of goals that you can check off a list as you climb the rings of the artistic ladder. It’s about attending the best schools, making a big break, talking to all the right people, and offering up all the blood, sweat, and tears possible. And even then, there’s no guarantee one will be successful. So it often confuses those who think in terms of logic and measurable means, because art is not measurable. Liken it to attaining goals in sports or business, and you’ll get a conversation at Andrew’s dinner table. The scene presents the constant misunderstanding between logics and artists, and for Andrew, it acts as only more steam in his heated desire to move forward and prove his desire worthy of Fletcher’s expectations, regardless of his family’s inability to comprehend why being a drummer in the core group of Terrence Fletcher’s band at Shaffer Conservatory is worth praising.

The second moment is especially memorable, because it sums up Fletcher’s character for the entire film. After being let go at the conservatory for his mistreatment of students, Fletcher is playing piano in a small jazz band in a bar. Andrew’s curiosity leads him to the bar, where he fails to avoid eye contact with Fletcher when the song is over. So the two start chatting, and when the conversation leads to Fletcher’s forced exit from Shaffer, Fletcher defends his brutal methods for helping students achieve their goals. Yet Andrew suggests that such actions could actually depress a student, and drive one away from becoming great if a teacher comes down too harsh. Fletcher responds that one determined to succeed would never get depressed and give up. It’s an interesting perspective, to consider that any student would never grow tired, depressed, or frustrated enough to actually give up if a teacher were regularly cussing them out, seeking to emotionally and physically injure them, in an effort to break a student so far down that they could achieve the best. But sometimes breaking a student – a human being – down to that point isn’t as inspirational as most movies make it, and even Fletcher himself believes here. Because for all the realism a movie like Whiplash is staked in, with a hardcore teacher that students across the globe have sat at the heels of, experienced the torture of being made to feel so little in order to accomplish the goals the teacher has set out for them, it is a line like Fletcher’s that reminds us that taking some of the most emotional people in the world (those involved in the arts, for those who haven’t caught on), and expecting them to not emotionally respond, is actually counter to both what he hopes to accomplish by said methods. Artists are not excluded from depression, feelings of failure, or giving up.

*Phew* OK, taking a breath from all of that heavy talk. I know I have to get in a word or two about the ending . . . some loved it, some hated it, some felt indifferent. I thought it was an interesting choice, and honestly, I respect the decision to have an ending like it: you don’t see it coming. That said, I can’t pretend that I didn’t uncomfortably shift in my seat, trying to sort out what exactly was happening, and wondering what would happen next.

Whiplash opens up a lot of discussion about a lot of things, but I think I’d be doing this review a disservice by not mentioning that similarly to the journey Andrew experienced in developing his drumming skills to become one of the greats, Whiplash started off as writer-director Damien Chazelle’s dream project, the script having sat on the 2012 Black List of best “not yet produced” screenplays. Thanks to producers Right of Way Films and Blumhouse Productions, Chazelle was able to translate his motion picture into a 18-minute short film, which garnered enough attention at the 2013 Sundance Film Festival that Bold Films picked up the original screenplay, giving us what is now Whiplash.

Miles Teller

Andrew’s breakthrough into Terrence Fletcher’s band at the fictional, distinguished Shaffer Conservatory truly mirrors Miles Teller’s graduation into raw, adult performances in film. While he has certainly shined in smaller films or YA adaptations that have him playing the villain (Divergent, 2014), or even occasionally playing an interesting role with promise (The Spectacular Now, 2013), it is Teller’s turn in Whiplash that brings him front and center. What’s more fascinating about his role is that he did a lot of his own drumming after attending a drumming boot camp for two months before filming. However, Teller can’t take all the credit, thanks to the already award-winning editing skills of Tom Cross, who convinced viewers Teller was that good of a jazz drummer. (Fun fact: according to this article, it took two full days to shoot the drum solo in Caravan.)

There isn’t much more I can say about J.K. Simmons other than that this is some of the finest acting he’s ever given. Perhaps he just hasn’t been offered such a meaty role before, but I’d be surprised if his performance in Whiplash didn’t attract at least an Oscar nomination.

Whiplash, however, has more than just career-changing performances. With an impressive jazz soundtrack, sharp editing, and beautiful camera work thanks to cinematographer Sharone Meir, I’d recommend Whiplash to anyone who wants to witness what I believe is one of 2014’s best films, even if I don’t want to see Whiplash again any time soon. (It had that 12 Years a Slave (2013) impact on me that assured me of its greatness, but didn’t make me want to watch it over again.)

I give Whiplash 

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EYES ON SCREEN.

 

It’s your turn now. What did you think of Whiplash? Do you think it will receive any Oscar nominations? Please share your thoughts below.

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Not a Review: Interstellar (2014)

Interstellar really is the second film of 2014 to garner this much attention and discussion. Gone Girl struck most people with awe and terrifyingly great casting, performances, and storytelling. Interstellar, however, seems to elicit more conversation, more discussion, more disagreement, more studies, more generated lists of plot holes and questions and subtexts and metaphors linked to Stanley Kubrick’s 2001: A Space Odyssey (1968).

And that’s all good and grand. Because, folks, even though Interstellar may not be Christopher Nolan’s best film, or considered his best work, it is grand, both on figurative scale to be viewed on seven different possible formats, as well as massive in its ambitious subject matter, as well as tremendous in the spark of conversation and criticism that has quickly followed its release into theaters.

I could continue talking about its reception among film critics, writers, fans, and talkers like myself, who can continue to talk and talk and talk about this film, and yet not really create anything original, or offer any new information that is going to keep you reading beyond this sentence.

It is for that reason I have decided not to review Interstellar for All Eyes On Screen. My common consensus? A great movie. My rating? THREE OUT OF FOUR EYES ON SCREEN. My thoughts in summary? Nothing that hasn’t already been said by so many people.

It’s not that I don’t want to share my opinion, or join the masses of everyone out there who has already graciously and meticulously put into words what I haven’t yet done. It’s that in this case, how I feel about Interstellar truly can’t be put into words in a way that would satisfy me, because it evoked so many feelings, included so many ideas, transcended space and time the same way it transcended my own understanding of what was taking place on screen.

I could talk about about how much I was blown away by the scene in which there is this massive wave, bigger than any wave I’ve ever seen, and how it took over the theater screen the same way it almost took out their space craft.

I could talk about Matthew McConaughey re-entering film fans’s lives with his stellar (pun intended) performance that reminded each of us once again that this man is in the acting business for a reason.

I could talk about how Hans Zimmer has the best relationship with lightning strikes, because he continues to hit them every time he produces yet another electrifying score, yet here he is, still breathing. And this time it features an organ, an instrument capable of sounding so powerful and terrifying as being imprisoned in deep space without a ride home.

I could talk about the actors who seemed like they weren’t given enough to do, or how the heck Topher Grace landed himself a most unimportant role in such an important film with such a popular filmmaker.

I could talk about the “controversy” over who younger Murphy (Mackenzie Foy) looked more like: Jessica Chastain or Anne Hathaway. I mean, I’m all Team Chastain here, but seriously, how did this make it into the top list of questions for this film?!

I could talk about scientific jargon, the plot holes that may or may not necessarily play their role in science fiction, or about how Interstellar was never set on being just a scientific film, but more a study on the science of love’s transcendence that just happened to take place in space.

Then again, I could talk and talk and talk about my observations, but at the end of the day, Interstellar has found its place in critics’s reviews and bloggers’s posts, in discussion and questions swirling around in our minds, begging for more conclusion and understanding.

And a film that could spark that kind of response is a very special film indeed.

So to conclude this totally not a review, but a mixed bag of feelings brought to you by Kristin, I kindly ask each of you who leave a comment to include one to three words to describe your overall description or feelings on this film. Because God knows we’ve all been littering the Internet with our extensive musings on a film that has so much to be said about it. And yet Nolan used only one word: Interstellar.

Shame List #25: The Shining (1980)

Shame List Introduction

The Shining is one of 31 films on my Shame List, a list composed of multiple classics and “must-see”- considered films for anyone who likes to consider him/herself a film buff. I created this list with only twenty films, and have added eleven films since by recommendations from friends and fellow movie fans. I’m always looking for recommendations, and my Shame List is my accountability to the movie blogging community that I have – and will – start watching these movies to earn my film buff status. A copy of the list can be found at my post here, and I’m updating per your recommendations, so please keep them coming!


Here’s my review of the third film I can cross off my Shame List:

I feel like I can wash my hands of the “shame” a bit after finally viewing The Shining (1980) for the first time. I always wondered where that haunting image of young Jack Nicholson originated. For someone who has seen movies of him only in his older years when he’s sporting gray hair, it was both a pleasure and a horror to see Nicholson in action in this classic horror film.

So I caught this movie back in October, right around Halloween. But I missed out on posting about it right when it was trendy to do so. So as Thanksgiving approaches with Christmas directly on its heels, here’s just a little summary of my thoughts on the classic horror film, The Shining.

Everyone has stuff to say about this movie. And nothing in this post is going to be purely original regarding the film. I truly wasn’t expecting what I saw, and that was probably what gave me the most joy in seeing it. It’s about a madman portrayed by Jack Nicholson, and frankly, with his balding head and crazy eyes, he seemed to have the role down pat.

It’s common knowledge that Stephen King didn’t care for this film adaptation by Stanley Kubrick. Having not read the book myself, I could only naively say that this is a good stand-alone film. Give me the original source material, and perhaps I could say otherwise. But at the end of the day, we’re talking two different mediums, two different viewpoints, and two different pieces of art. And I liked The Shining, even if didn’t pay the proper homage King was expecting or hoping for from Kubrick.

I think what makes the film so good, so iconic, are the performances alongside the eery score and setting. While there ought to be plenty of praise for the lead Jack Nicholson, I was most moved by Danny Lloyd’s performance of Danny, especially when his “friend in his mouth” took over. Children certainly have the chops to play multi-dimensional characters, and Lloyd’s portrayal was chilling.

I’ve wondered if Shelley Duvall has received as much praise as her costars, because she really does play the character that the audience relates with and roots for. For a while, I chalked her up to a simple housewife who didn’t know how to stand on her own. But of course, as time goes by and her husband has truly cracked and gone over to the side of madness, her character, Wendy, does take charge. It was so refreshing to see another female character be strong and courageous.

The Shining Maze

The maze played one of the most interesting set pieces I’ve seen in a film. We get to see it in both the fall and winter seasons, and I think the contrast in seeing it in both weathers really characterized the maze as either fun or terrifying. The hotel plays its own role in the film as both a haven and a terror for the characters, by playing monster to Wendy and Danny, and partner-in-crime to Jack when he starts to see visions of those who used to run the hotel.

While it seems like multiple people contributed to both the score and soundtrack, a large part of the job fell on the shoulders of music editor Gordon Stainforth, and I think he really delivered in matching the music passages to the scenes in the film.

Kubrick truly doesn’t let any one part of the film go to waste, having pulled out the stops in every area. It’s clear why The Shining has reached its iconic status. While it wasn’t necessarily my favorite film, it is one I would definitely revisit over the Halloween holiday. I recently read there were multiple scenes cut from the film, and I think that was a wise decision. At nearly two and a half hours, the run time had me getting a little impatient as the story built to its final act, and the race for Wendy and Danny to escape came to a halt.

I give The Shining

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ON SCREEN.

 

It’s your turn now. What do you think of The Shining? Do you think King is justified in his disdain for this film adaptation? Where does The Shining rank on Stanley Kubrick’s filmography? And last, but certainly not least, what movie should I watch and cross off my Shame List next (list here)?

All Eyes on the SMALL Screen: The Walking Dead, Ep. 6

Well, I certainly wanted to write recaps for episodes 4 and 5, but alas, my schedule got too hectic and I just missed out. Regardless, I’ll be keeping the same format for this recap, considering information from the previous episodes as common knowledge for regular viewers of season 5. Now, onto the recap!

Plot Breakdown

A Most Necessary Introduction

Undoubtedly, Carol and Daryl have both become fan favorites over the latest seasons of The Walking Dead. Opening the season, Carol when all crazy cool ninja on us, rescuing the entire Rick and company from Gareth and his man-eating friends. Thus, all ties were reunited, even after her decision to take out flu-infested people inside the prison from last season.

After the entire group made it into a church, led there by mysterious Father Gabriel, we all knew it would be too good to be true for the group to stay together for much more than an episode or two. Abraham, Eugene, and their crew, along with Glenn, Maggie, and Tara, took off for the promised land of Washington to find a cure, using the only mode of transportation – a bus – after Abraham helped take out some feisty cannibals. Bob has since passed away, and we’re still left with a big group. However, the format of season five has changed, adding more flashbacks and switchbacks into the season, making viewers keep track of what happens when. And it certainly works to the show’s advantage by keeping us on our toes.

We know that Carol is possibly AWOL. Although we’re not shown what has happened in between Carol and Daryl following after a vehicle and their return to the church, what we do know is that Daryl returns . . . and Carol isn’t with him. It’s someone else, but the person still hasn’t been revealed.

Episode four finally returned us to Beth, whom we hadn’t seen for several episodes, including the final ones from season four. She’s seemingly in a bad situation, stuck with Dawn Lerner (Christine Woods) and her crew in an upper level Atlanta hospital. Lerner has communicated that Beth must “earn her way” before being allowed to leave. What’s pertinent to this long introduction is that we were introduced to a new character in the hospital with Beth: Noah (Tyler James Williams). He, too, has realized that there will be no escaping Grady Memorial Hospital and the police officer from hell, without a plan. While Noah makes it out alive, Beth is recovered by Lerner’s officers and dragged back into the prison hospital.

But the episode ends with yet another cliffhanger: Carol is rolled in on a gurney, seemingly unconscious.

Power Team: Daryl and Carol

Episode 6 picks up with Daryl and Carol having following the mysterious vehicle in the woods to find Beth. After Daryl recognized the same symbol on the back window of the vehicle, the two pursue the vehicle in hopes of finding Beth.

Consumed is a slower-moving episode, and I don’t fault it for that. It doesn’t offer much reprieve for viewers as it still has its share of scary and sudden moments, but it finally opens the door ever so slightly to the inside of Carol’s head, a place that has had to do ALL kinds of things over the last season. Carol and Daryl share a mutual respect for one another, and it shows in how they communicate. They want to understand each other, but there’s no force to know or understand everything suddenly.

After a stop at a temporary home where Carol once had lived before, the duo continues to edge closer to the hospital as they spot vehicles or people. When they discover a vehicle with a matching symbol across the way, they start to exit when Noah suddenly shows up, stealing their weapons and leaving Daryl and Carol to fend for themselves. Unfortunately for Noah, Daryl and Carol are more than capable of retrieving their weapons, and a second meet with Noah that catches him offguard ends with the weapons back in Carol and Daryl’s hands, and a bookshelf on top of Noah. In a moment of mercy, Carol convinces Daryl to help free Noah.

They learn from Noah that Beth is being held “prisoner” at the hospital, and that Lerner has a lot of people and weapons. A new plan is loosely formed between the three for them to return to the church, gather their people, and possibly rescue Beth. But before even the beginning of this plan can take place, Carol is hit by a moving vehicle driven by some of Officer Lerner’s men. The blank is now filled in for why Carol was rolled into the hospital and why Daryl returned to the church without her. Undoubtedly, Noah must be the secret person following Daryl to the church.

Discussion Questions/Thoughts for Episode 506

  • Who’s with Daryl? OK, so I mostly answered this in the last section. I am 95% sure it’s Noah. But that possible 5% has me guessing it’s someone else, just in case the writers are really trying to throw us viewers for a loop!
  • How are Beth and now Carol going to escape? Carol is great when she’s in good health and has weapons. She’s bright, but with some potentially broken bones, and a crew of crazy police officers surrounding them, will Beth and Carol really be able to escape?
  • Will Rick and Co. rescue Beth and Carol? You’d like to think they have enough loyalty to both women that they’d form some kind of rescue plan. But will they do it in time? And with a baby in tow and being three people down (Glenn, Maggie, and Tara), will they have the means to do so?
  • What’s next for Abraham and his gang? Now that Eugene has finally admitted to not knowing anything about how to solve the whole zombie apocalypse problem, what’s next for Abraham? We finally got a glimpse into his past, and it’s not a pretty one. Will he be able to move past this when it seems like the last shred of hope has been pulled out from under him? And will Glenn and Maggie head back to the church to reunite with Rick?
  • What else is Father Gabriel hiding? I’m keeping this same question up as I think it’s likely to be answered in the next couple episodes. We haven’t had an episode with Rick for the past couple episodes, so we’re going to be seeing what’s been happening lately with that group. Will we find out any more information about Gabriel? Who is he connected to, and what’s his deal?

Favorite Moments from the Episode

  • Getting an episode with two of the best characters in the show: Carol and Daryl

Overall, it wasn’t a plot-heavy episode. We still have some questions, but it was nice to get some answers this time around. Do you think both Beth and Carol will make it out alive? What do you think the deal is with Gabriel? Is it possible Eugene is still breathing? Sound off below, because I’d love to know your thoughts!

Matinee Podcast: Big Hero 6 (2014)

Hello all! Apparently I’ve taken off yet another week from blogging without even having realized it. That said, I haven’t taken a break from my TV and movie-watching, and I have several posts I’m planning to put up over the next several days, so stay tuned for posts on The Shining (1980), Interstellar (2014), Whiplash (2014), and the most recent The Walking Dead episode coming your way soon.

That said, I got to see one of the most fun movies of the year . . . and it happened to be animated. Big Hero 6 was one of those films that totally caught me off-guard. It wasn’t that the trailer didn’t make it look appealing. I just didn’t know a whole lot about it. I have never been a huge fan of animated films, although I do have ones that I love (Beauty and the Beast [1991], Aladdin [1992], Monsters University [2013], How to Train Your Dragon [2010], Toy Story 3 [2010] anyone?). But Big Hero 6 not only won me over; it joins the ranks of the ones I love.

Instead of writing my usual style of review for a film, I’m going to direct you over to a podcast I got to be a guest speaker on, because it really sums up my overall feelings for the film better than how I could put it into words for a post.

The Matinee is one of the best organized movie sites I frequently visit. Ryan McNeil is the brains behind the site, and he’s been podcasting for years. About two and a half years ago, I got to meet the Canadian-native only forty-five minutes away from my hometown in Chicago, where we got to talk film with a group of movie-loving nerds.

If you have yet to visit Ryan’s site, I urge you to take this opportunity to do so. You can listen to the episode I spoke on here.

Overall, Big Hero 6 has been one of my favorite films of 2014 so far. It strikes that balance between action, humor, and drama . . . in a kids film. And yet at the same time, I wouldn’t call Big Hero 6 just a kids film. It’s a great movie. I give Big Hero 6

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1/2 EYES ON SCREEN.

 

It’s your turn now. Have you seen Big Hero 6? If so, what did you think of it? Where do you think it stands on the spectrum for animated films? Please share your thoughts below, because as always, I’d love to know them.

Fairy Tale Blogathon: Sabrina (1995)

I’m so happy and thankful to participate in this awesome blogathon created and hosted by Fritizi Kramer at her awesome site, Movies SilentlyBeauty and the Beast is one of my favorite fairytales. It stars Belle, and I’ve had the privilege of seeing the original French film the Disney animated film was very loosely based off. Unfortunately, I found out about the blogathon late enough that someone had already selected every possible Beauty and the Beast-based film, that I almost decided not to participate. However, neither the 1954 nor 1995 Sabrina films, paying homage to Cinderella, had been selected yet. I had heard from a few people that they preferred the remake over the original, so I chose that movie, looking forward to being introduced to something new. And truly, the film didn’t disappoint.

Sabrina (1995) doesn’t exactly mirror the beloved animated Disney film, but it has all the bearings necessary to make it a fairytale without it getting into too corny of material. Julia Ormond plays Sabrina Fairchild, the Cinderella of the story. She’s highly relatable as the girl with a crush who simply has no impression of the man of her dreams . . . at the beginning. But after a trip to Paris to forget the man she’s convinced she’s in love with, she returns home with a new look, a new understanding of self, and wave of confidence.

As the chauffeur’s daughter of David Larrabee (Greg Kinnear) and his family, the man who she’s trying to look past, Sabrina is settled on moving forward with her life after returning home. But David and Sabrina share a meet cute when David notices Sabrina at the train station returning home, and unbeknownst to him, Sabrina is this gorgeous woman without a ride in need of his services. As David drives Sabrina home, he begs her to reveal her identity. Sabrina enjoys this newfound attention from the man she never seemed to be able to convince to notice her; that is, until they arrive home and David’s older brother, Linus (Harrison Ford), abruptly interrupts their conversation and announces that it’s Sabrina.

But the plot truly doesn’t thicken until later that evening when Sabrina falls under David’s spell David falls under Sabrina’s spell and announces to his mother and Linus that he no longer wants to be with Elizabeth Tyson, the woman to whom he is engaged. But it’s not just an engagement David would be breaking: it’s a billion-dollar merger forged between the Larrabees and the Tysons, if David were to snub Elizabeth, and thus the Tyson family’s company, with whom the merger was formed. As the calculating, business-only brother he is, Linus sees the situation as an opportunity: deceive Sabrina into liking him, convince David to stay with Elizabeth, and ultimately keep the billion-dollar merger in tack.

For a movie considered within the romantic genre, occasionally gesturing to the story of Cinderella, Sabrina contains a well-formed plot that while it moves a little slow in some parts, ultimately fits under the classic love-story scenario, and is driven home with three strong performances that pull at viewers’s heartstrings throughout.

Paris is used as the “place to get away,” the place to find one’s self, and it works so well in Sabrina. While she struggles to adjust to her short time away in a new place, Sabrina eventually makes friends, learns photography, and finds her place in Paris. It becomes the place that she looks back at fondly and loves, and it fully confirms what many Americans have always believed about Paris: it’s always a place to get away.

Harrison Ford plays Harrison Ford, but he does it so well under the guise of “Linus Larrabee,” that it’s easy to forgive him for playing a version of himself. The chemistry he shares with Julia Ormond is played convincingly, that you know from the moment they meet and he insults her – and she tells him that she knows what he’s doing – that they’ll certainly end up together, even if Cinderella’s story was significantly sweeter in nature. I really enjoyed Greg Kinnear’s performance as the playboy younger brother David who lacked all the responsibility in the world, but relied wholly on his heart to lead him from one woman to another. The contrast between Linus’s and David’s personality and actions is played out so well on screen, and it seems that only Sabrina is best able to point out each man’s lack of balance between work and play. The lines are blurred among the three titular characters when Linus can’t deny his attraction to Sabrina, and in David discovering his brother really isn’t “the only living heart donor,” David realized he must put on his suit, find where his office is, and play the responsible, logical brother in order to keep the merger in play and rescue his brother’s heart from breaking.

While I didn’t automatically think “Cinderella” when I was watching Sabrina, I did appreciate small cues here and there, such as Sabrina playing the role of a poor, unknown girl, the parties the Larabees threw feeling like the ball Cinderella never got invited to, and the sparkles in the gorgeous shrug Sabrina wore when she showed up to her first ball, earning the compliment of “dazzling” from David. And while Linus isn’t necessary a prince who rescues Sabrina, he does get to be in that overused scene in movies where there’s so much traffic, one is forced to run to said location in order to make it in time. And in time, he makes it to Paris, where Sabrina and he kiss to the fairytale ending of happily ever after.

Of course, Sabrina was one of the best movies I’ve seen that had a fairytale flair on an altogether overdone character story, but its most touching moments were aided greatly with an Oscar-nominated score composed by the legendary John Williams. And while it didn’t strike critics who couldn’t help but compare it the original film, I gladly give Sabrina 

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1/2 EYES ON SCREEN
.

 

Huge thanks again to Fritizi for creating and hosting this fun event! Please do check out her post that links to all those participating in the Fairy Tale Blogathon.

It’s your turn now. Have you seen Sabrina, or its original counterpart? What were your thoughts on the film? Please join in the discussion below, because I would love to know your thoughts.

All Eyes on Bloggers, Ed. 3 + Month in Review: October

Hey all! I have VERY much enjoyed a week off from blogging to catch up on other projects. Of course, I’ve watched a few movies and TV shows this week too. Since I’m a little behind in my blogging, I decided to combine two of my newer series, All Eyes on Bloggers, which will feature some of my favorite posts I’ve read over the month of October, as well as Month in Review for the previous month, into one post.


 All Eyes On Bloggers, Ed. 3

There were so many great posts that made it around this month with the premiere of Gone Girl (2014) and Halloween, that I had a difficult time narrowing down which posts to highlight. One post in particular was written by a friend and previous coworker who is a graphic artist in the Chicago area. Doug reviews the movie Fury (2014) from a unique point of view that I would certainly encourage other friends to read on his site, Point of Exquisite Suspension.

I recently started a new TV review series called All Eyes on the Small Screen, featuring currently aired episodes from season 5 of The Walking Dead (2010 – ). One of my favorite sites to follow these days is Girl Meets Cinema, featuring the fantastic writing of Katy Rochelle. Katy recently wrote one of the most interesting posts on the character Beth from the TWD that had me nodding in agreement the whole time!

And while I know the focus ought to be on the October, November seems to be the month of blogathons since I’ve joined two to participate in later this month. Fritzi Kramer is hosting the Fairy Tale Blogathon at Movies Silently, where I’m excited to review Sabrina (1995), a movie with a Cinderella twist. Get the details here, and if there are any movies left, join in on the fun: the blogathon is held November 9-11!

The second blogathon I’m excited to take part in is hosted by Caz at Let’s Go to the Movies. Unlike any other blogathon I’ve participated in previously, Caz’s blogathon allows each participant to write about movies that take place in their hometown, thus naming the series My Hometown Blogathon, taking place November 22 and 23. Having grown up in the suburbs of Chicago, I am incredibly excited to write about some awesome films and famous people associated with the Windy City. This blogathon is a great one to join if you’re interested as there’s still a few weeks left.

There’s some exciting news for those who follow Tyson over at Head in a Vice. He’s recently started a new site that focuses solely on the horror genre, aptly titled Talking Horror. With a slew of slick writers and new ideas, Tyson’s site is sure to attract anyone who particularly or casually enjoys a horror flick or show.

Speaking of horror, there were many posts published on scarier movies in honor of Halloween. Since I just saw The Shining (1980) for the first time a few days ago, I was more drawn to posts that mentioned the film over the week. Ms. Coolsville of Coolsville reviews ten horror movies, one of which is The Shining; one of my favorite movie blogger writers and friends, Tom of Digital Shortbread, reviews The Shining as part of his Throwback Thursday series on the site; and Laura at Film Nerd Blog included a character from The Shining in her post 10 Films that Prove Kids Are Scary.

And that about wraps up All Eyes on Bloggers, Ed. 3! Now to recap the month . . .


Month in Review: October

Here’s the breakdown for the month of October on All Eyes On Screen:

Blogathons

  • One of the most unique blogathons I’ve participated in thus far was a recast-athon that was hosted at Andrew’s site, A Fistful of Films. I recasted Oscar-winning female lead roles in the films Up in the Air (2009), Black Swan (2010), and Silver Linings Playbook (2012).
  • The other blogathon I was a part of was hosted at Tyson’s previous site, Head in a Vice. Titled “Recommended by,” I watched a movie that I was recommended by a fellow movie blogger, and then reviewed it myself on his site. The great part about the blogathon is that it introduced me to the “Before” series by Richard Linklater.

Shame List, From Page to Screen,
and AEOS Reviews

  • A little over a month ago, I came up with my own Shame List that includes 31 must-see-movies-for-any-movie-buff. The first one I was able to cross off my list was Roman Holiday (1953), one of the few movies I awarded a FOUR EYES ON SCREEN review.
  • The second film I was happy to cross off my Shame List was Annie Hall (1977), a film that while I didn’t quite dig, I still enjoyed and did not regret watching.
  • One of the most time-consuming posts I enjoy writing are my From Page to Screen reviews, where I review both the book and film adaptation of a story, and then compare and contrast the two. My heavily debated review certainly raised some eyebrows, but I stand by my thoughts on David Fincher’s film, Gone Girl (2014).
  • An unexpected gem that I will not be revisiting any time in the near future is The Skeleton Twins (2014), a depressing dramadey that stars SNL alumns Kristen Wiig and the wonderful Bill Hader.
  • One of the best movies I’ve seen so far this year starred none other than Keanu Reeves. John Wick (2014) was my must-see film for the month of October.

Lists/Miscellaneous Posts

All Eyes on the SMALL Screen Recaps

  • My newest series for the site is All Eyes on the SMALL Screen, which features detailed recaps for the current season of The Walking Dead. The premiere is killer (pun-intended) and a must-watch for fans of the show.
  • I combined my recaps for episodes 2 and 3 in this nifty post here. Stay tuned for Episode 4’s recap coming soon.

Best Movie [I saw in theaters] This Month

John Wick

Unfortunately, I didn’t make it to the theater as often as I would have liked this month. That being said, John Wick was one of the most solid, unexpectedly awesome thrillers I’ve seen so far this year. From beginning to end, it was a fast-paced ride that showcased some great cinematography as well as complemented Keanu Reeves’s growing filmography.

Worst Movie [I saw in theaters] This Month

Gone Girl

Let it be known that I saw far fewer films in theaters that I was hoping to for the month. Gone Girl was an exceptionally good movie from David Fincher, although I wouldn’t consider it among his top five best films. That being said, I still thoroughly enjoyed Gone Girl, and it makes this spot only for the lack of films I saw in theaters during the month of October.

Looking Forward to November

After looking at my previous month in review, I’m disappointed to say that I saw only half the movies on the list that I was highly anticipating. Some of the films never even made it into a wide enough release to be shown in theaters near me, while other movies received negative enough reviews that I didn’t bother spending the money to see them in theaters. Looking beyond last month, here are the major movies I’m anticipating for the month of November.

Interstellar (11/7)

The movie that makes it highest on my list for Most Anticipated Movie of the Year goes to Interstellar, the latest film Christopher Nolan has made. I’m very excited to see it over the weekend, despite the somewhat mediocre reviews I’ve glimpsed so far.

Big Hero 6 (11/7)

Big Hero 6 is a movie I know relatively little about. In spite of that wrinkle, I’ll be participating in a podcast later next week that’s all about the movie, so stay tuned!

Theory of Everything (11/7)

The big pull for me to see Theory of Everything has everything to do with Eddie Redmayne. Of course, the story seems intriguing as well, but it seems very Oscar-baitish. I’m hoping my instinct is wrong and that it will deliver, but then again, I was rooting for The Judge too, and look how that turned out.

The Hunger Games: Mockingjay Part 1 (11/21)

Of course this list would not be complete without the next Hunger Games (2012) movie making the list. Mockingjay Part 1 certainly appears to have potential, aside from the fact that it’s adapting only half a book and making us wait an entire year for the conclusion. Having read the books already, I know what will be happening, but watching it unfold on screen is an entirely other experience. I was a big fan of the first two installments, particularly Catching Fire (2013), so my expectations are high.

The Imitation Game (11/21)

Yet another movie that appears full of Oscar bait, yet appears to deliver having already established itself with some solid reviews from critics. No doubt one of my favorite actors, (who is also recently engaged) Benedict Cumberbatch, will offer one of his best performances yet (or so I hope). I think this movie will be making a hit at February’s Academy Awards, but maybe I shouldn’t be that hopeful this soon.

It’s your turn now. What were the best movies you saw this month? What movies are you anticipating most next month? Please join the conversation below, because I would love to know your thoughts.