#43-Breaking Upwards (2009)

Breaking Upwards

Breaking Upwards, now my favorite film of the Mumblecore movement is also one of the most true to the definition. The film, about the hardships of relationships on twentysomethings these days, takes a really tired and cliched plot and makes rather interesting, and what makes it so, is knowing that what actually goes on did really happen. The story is taken from a true experience between stars Daryl Wein and Zoe Lister-Jones, about their breakup, and what they tried to do to come back together.

The story happened between star, co-writer, director, co-producer and editor Daryl Wein, and star, co-writer, co-producer Zoe Jones who found their relationship in a bit of a slump. To try and jump start things again they decide to take "off days" where they only see each other four days a week, and are not allowed to speak to or see each other the other three. They then change the rules to allow the relationship to be open on off-days, and often encourage each other to ask out other people. An interesting idea, but as you watch the the film you realize that it does have some pretty obvious negatives, but some really great positives.

Firstly, because it is based on a true story, and has the actors playing themselves, this all feels like it could really happen in your town, with people you know. There are great little touches and things that add to the authenticity, such as whenever they meet when biking they 'helmet bump' which you see in the trailer. When they first decide to have an open relationship Daryl asks: 'what should I change my facebook status too?' And its all things that really do happen, such as an early scene where they are both eating breakfast together, but are texting different people at the same time. It is an incredibly, and almost painfully, honest look at the way modern society has effected realationships, both for better and worse.

Both Daryl and Zoe give incredibly strong performances (granted as themselves) and because they really did have a realtionship, there is some incredible chemistry there. The film is boasted by some impressive minor characters played by the great Andrea Martin, Julie White, and Olivia Thrilby. Some of the lines that come out during Zoe and Daryl's fights are really kind of heartbreaking because they say things that make sense. Things that people do often feel in realtionships, and things that we face everyday.

The films only problem comes toward the end, when the climax happens. It walks a very fine line between being really, really honestly sad, and just cliched and theatrical. But I think the way its played out leans it toward the former, and allows what happens to make sense, even though the story may have been embellished a little for the screen. Shot on digital video, the most popular format for independent cinema, it looks really good with all its imperfections. For films like this and other independent cinema, I really dig the shakey, handheld, unpolished filming style, it gives everything that happens a sense that its grounded in reality, and that based on these characters actions the plot unfolds, instead of having the plot forced on the characters. Another great aspect is the soundtrack composed by Kyle Forester. Its got hipster tunes that are just hipster enough that feel cool listening to them, but not so much that you feel you're being ironic. I know it sounds weird but its very true, the film has a great soundtrack, with all the songs having been written by Zoe as production went along.

I may be impartial to this film because it depicts the era of realtionships that I grew up, and am still growing up in. I never got a chance to experience things that happen in the great romances of the 30's. That way of life is just foreign to me, and I don't understand how it worked without being able to IM people or send them texts all the time, and I think that breaking upwards makes a good point, that our connections to people have been lessened because of all these diffrerent forms of media we are allowed to communicate to them through 24/7. Making real-life interaction seem less imporant than it was back then, and really is still today

If you can't tell by now, I just loved this film to death. Its honest, and thats the best thing about it. While cinema is mostly escapism sometimes it is just good to see the truth on screen and realize that other people do go through the same thing you do, and people that are in movies. Great writing, excellent direction, solid performances, and a great score make this something that really is to be experienced. It's not easy to find on DVD or in theatres, but it is avalible to watch on Netflix's instant service, and if you subscribe to Netflix this is definatly one to check watch, and if you don't I highly, highly, recommend that you seek this out.

I Give Breaking Upwards A:
5/5

#33-Hedwig And The Angry Inch (2001)

Hedwig And The Angry Inch

Most of the films that are on my "Top Whatever" are films that I have seen years ago. This is not the case with Hedwig And The Angry Inch which I saw for the first time only about a month ago. It is based on an Off-Broadway musical written by and starring John Cameron Mitchell, who also writes, directs and stars here. The film is often compared to The Rocky Horror Picture Show for obvious reasons. A transexual main character, darkly humourous elements, and puck rock themes. It has even gotten to the point where midnight showings complete with shadow casts of the two films are shown back to back. I however, despite how much the midnight movie freak within me disagrees, can easily say that Hedwig And The Angry Inch far surpasses even the best elements of Rocky Horror.


The film is about a young boy named Hanzel (Ben Mayor-Goodwin) who is living in communist East Berlin right after the wall has gone up. Not going to school as a child, Hanzel has nothing to do but listen to American Forces Radio, where the great glam rockers of the eighties are constantly on display. David Bowie and Lou Reed being his all time favorites. By the time he has reached teenagehood, he cannot wait to get out of Berlin, and the opportunity presents itself in the form of Sgt. Luther Robinson (Maurice Dean Wint) whom falls in love with Hanzel, and Hanzel with him. The two plan to flee the country and escape then get married in America. This is impossible however because of complete cavity searches, so Hanzel's mother (Alberta Smith) gives her identity to Hanzel and gets him into a doctor to perform the operation. Unfourtanetly, the doctor cuts to short and leaves, now Hedwig (John Cameron Mitchell) with a "one inch mound of flesh". later in America, Sgt. Luther finds a new boy and leaves Hedwig on her own. To support herself she tries to become a glam rocker similair to her favorites in late 90's America, while falling in love with a strict Christain boy Tommy Speck (Michael Pitt).

Lets get this out of the way, the performance here by John Cameron Mitchell is simply fantastic. In this role he completely embodies the character of Hedwig so thouroughly it is uncanny. He was nominated for a Golden Globe for the performance and her surely deserves more recognition than that. He has a great voice that he uses to belt out some fun tunes, great comedic timing and inspiration, and a high bar of expansive dramatic set pieces that cannot be topped. His portrayal is fun, energetic and inventive, and even with wacky costumes and tons of make-up, he manages to bring out some truly deep emotion when the time is right.

The performances across the board are astonishing. Mitchell, Pitt, and Smith all perform admirably. One of Pitt's earliest performanes is a real treat to watch, since I've been enjoying his work ever since I discovered him in Funny Games. Another great, and key performance comes from Miriam Shor who plays the character of Yitzhak another character in drag, this time a woman as a man, and the back up singer in Hedwig's band, who play mostly in salad bars. There are very few other roles in the film, as the stage play was originally a one-man monolouge by whomever was playing Hedwig. The story was expanded here, and these characters being full fledge, and as such the main part of Hedwig is given the most screen time. So much screen time, there are only four supporting roles making five major roles total.

"The moutains streched up to the sky, sometimes higher"

The music in the film is awesome as well. The music was taken exactly from the play to the movie, and the songs written by Stephen Trask are infectious and addictive. They are less glam rock than say Bowie or Queen, but closer to the punk-rock hair bands of the same era. All of the band members have a great stage presence, as all the performances were done live. The songs make you want to get up and jump around, bang your head. In fact I bought the CD and have put some of the songs on my exercise playlist. When the songs are rockin', they rock, but like all great rock band's, Hedwig also has some medatative slow songs, that in all honestly make me feel connected to him. In the context of the story, and the character of Hedwig the final song: Midnight Radio is one of the greatest songs of all time, and is truly heartbreaking.

The story written my Mitchell is near percfection. It has characters we love, and side with, as well as root for and connect to. Hedwig is a truly inspirational creation and I hope there are people out there who look at this, and use it as inspiration to fufill their dreams. The screenplay is strong and unique, with flashbacks and story-tellings of an amazing ability. The direction by Mitchell proves he is more than just a pretty face for screen fame, but a great force to fight with in the directing world. In front of the camera, he is great, and behind the camera he is a genius. Mitchell might as well have redefined the medium with this film, and is someone that I am keeping a very close eye on.

The costumes and make-up are superb as well. Hedwig is a treansexual, and has to be created by make-up in that sense. But being a glam rocker he has all kinds of crazy make-up and costumes that make him a truly Bowie-an figure. Hedwig is to Hanzel, what Ziggy Stardust was to Bowie. Hedwig is sometimes a punk-rocker, a store clerk, a man, a woman, and even a bee-hive queen from '73 but what ultimatly comes out is his humanity.

Hedwig And The Angry Inch is one of the best, and one of my favorite films of all time. The inspirational story of being who you want to be, and dealing when you have to shows us that being human is not always a gift, but it is never a curse. During all of her turmoil and trouble she never gives up on her dream, and technically fufills it. One of the greatest creations in film history, potrayed by one of the best actors, and given the best platform by one of the best directors. Musically the film is a miracle, and the screenplay is phenomenal. A groundbreaking story that is humours as well as hurtful, giving us a true view of the world, whether we face the same challenges as Hedwig or not.

I Give Hedwig And The Angry Inch A:

5/5

#23-Inland Empire (2006)

Inland Empire

In speaking about Inland Empire, we must speak about it’s complications. The first and foremost being that this film is from David Lynch. Lynch is the creator of the 90’s cult television show Twin Peaks, as well as having three pervious Oscar nominations under his belt. Now, do not let all these impressive accolades fool you, David Lynch is not your typical fancy, high-end drama director, not someone willing to feed you the answers, just so you understand the question. Quite the opposite in fact. David Lynch hates people knowing the answer, or his answer to be precise, often when people ask him about the meanings to his work, his answer is ‘whatever you want them to be.’. Now, having stated this, if you haven’t seen a David Lynch film, do not start with Inland Empire, while this may seem like a negative, it is not. The reason I tell you not to start with this film, is because it is his least accessible, and his most impressive, being that it has no direct, or cohesive narrative. If you would like to watch a Lynch picture, start of with Wild At Heart, The Elephant Man, or The Straight Story, then work your way into Blue Velvet, or Eraserhead, after watching these, you can then fully delve into Lynch’s most luscious works, that include the likes of Lost Highway, Mulholland Dr., and last but not least, Inland Empire.

With no real plot to follow, it is rather hard to explain what goes on. For the first hour or so, the film is rather easy to understand, and a little mystery starts and everything is fine until we reach the two hour mark, then everything just gets weirder, and weirder, until we’ve fully descended into the rabbit hole, but I will try my best. The film opens with a prostitute being led into a dimly lit hotel room, asking the man what is going on, the film fades out, and into another room, this time with proper lighting, but without proper inhabitants. We find three rabbits sitting in a 1950’s art deco house, as if they were on their own sitcom, which it seems they are, with canned laughter coming from an unseen audience whenever one of these strange rabbits speaks. Back in the dusty hotel room, the woman is now crying, sitting on the edge of the bed, watching the television, where we see a strange red-headed woman walking down the sidewalk, we slowly zoom into the TV and watch this woman walk all the way to the home of Nikki Grace, the films main character, all within fifteen minutes.

Nikki Grace (Laura Dern) is a film actress, who hasn’t had a successful part in the last few years. This opportunity shifts after she auditions for a role in a promising new film. Upon receiving the part (prophesized by the strange red-head, who unfortunately also prophesized murder) Nikki starts to get into her character of Sue Blue. Her director (Jeremy Irons) begins to tell everyone on set to get ready, because this film will launch them to the top of everyone’s year end list. This is until things go a little awry. Okay, a lot awry. Nikki begins having a real affair with her characters secret onscreen lover (Justin Theroux), they are also told that the film is a remake of an unfinished Polish film, in which all the films creators had died under mysterious consequences. All this while Nikki begins to lose herself in Sue. Not only is this hard for Nikki, but us as well, because David Lynch never tells us when she is acting as Sue, or when it is real life as Nikki, he does this purposefully. Before we know it, Sue is Nikki, Nikki is Sue, and we have no clue what is fantasy and what is reality, nor do we know if Nikki knows what is fantasy and reality. The film is even harder to understand with it’s three hour running length, and darkly creepy elements.

This, in my opinion, quite simply stated, is David Lynch’s magnum opus. It is filled to the brim with metaphors to the film industry which he has been in for years, and never does it slow down. He creates a fantasy within our own reality, making everything that happens seem oddly logical. He makes this woman, who is in dire trouble, someone to sympathize with, a temporary friend that we hold dear, even if we don’t truly know who she is. Lynch does impossibilities so well, we forget that he is going against everything we know; which is perfect. A director of that has this much power is defiantly a force to be reckoned with. There are very few three hour films that I am willing to sit through multiple times, even three hour films that I enjoy (Dark Knight, Magnolia), but Inland Empire is the exception. It isn’t necessarily because I notice something new in the film every time, but because I notice something different from the same thing. I’ve seen the film three times, the first time I walked out deeply confused and with an odd sense of loss in the pit of my stomach, the second time I walked out understanding more of the films theme, but a little depressed, the third time I walked out overjoyed, and very happy, feeling that the I’ve overcome something. I think this idea of changing emotions will be everyone’s experience, assuming they are willing to sit through the film multiple time, which you basically have to, or you’ll just walk out feeling like you’ve missed something.

"Come on baby, do the locomotion"

Not that I am a fan of the Academy Awards, or there picks, much less there wins, I still find it incredibly hard to believe that Laura Dern did not receive a nomination, at least. She has such (a) defined character(s), and pulls it off masterfully. An actress playing an actress playing a character has got to be one of the hardest roles in film history, because you first have to step outside yourself, and act like you are being yourself (one of the hardest things to do in real life), then you have to step outside of that and acting like you’re acting. Not to mention she is playing a character who doesn’t know if she is herself or a character, basically playing both at the same time. By the end of the film I counted Laura Dern playing six different people, or people within the minds of people and this number could be more, could be less. She is able to give each character their own persona and abilities, and is able to get into the mentality of each one, often switching between them each scene, which is an accomplishment in it of itself

This may seem very confusing, and it is. David Lynch gave the film so many literal layers that you have to pick one and stick with it. By the end of the film, you feel as though you’ve completed that specific quest, and next time you will be able to fulfill another, until you’ve connected all the plot strings to get a -hopefully- entire film in your head.

I must applaud Lynch’s writing on this one. Because not because of dialogue, or a specific plot point, but because he wrote each scene the day before shooting. It was originally going to be a set of short films, but eventually grew, and grew as he saw the full extent of Dern’s talent and where the story could go, until finally we have a three hour epic known as Inland Empire. A film that took an abnormally long three years to produce, and compelling all the way through. The direction by Lynch is also amazing as well. He, for whatever reason, knows how to use sound perfectly, or I suppose lack there of. He can completely go without any background noise, or dialogue, and make some of the creepiest scenes in film history. His idea that film is like music greatly shows in all his works. Lynch’s films aren’t about telling a specific story, or sending a certain message, but rather making us feel something. You can break down some of the scariest scenes in Inland Empire (which there are a lot of, even though it is a clear drama), and not find out why you are scared by them. One scene in particular with Dern running down a dirt road in slow motion gives me the chills every time. The picture is also shot completely with digital video, and uses that color pallet to perfection, making every color seem slightly grainy, and washed out, adding to the films dreamlike qualities.

Inland Empire will not be everyone’s cup of tea, in fact, I fear that it will appeal to a very small audience. This being said, that core group of fans will never look at cinema the same again. David Lynch has created something else here, something can induces and displays an amazing range of emotion, and has a certain feeling that floats around the film like a bubble, capturing the audience, an audience that may not understand, or even like what they are watching, but will feel what they are watching. Inland Empire is a film that you have to be ready to watch, one you have to be in the right mind-set for, and one that you want to except, no matter how weird or confusing it gets, you must accept what it is, it is then that you will truly find what lies in the middle of the Empire. Inland Empire is two hours and forty-five minutes of crawling through a dark, depressing, evil, and claustrophobic tunnel, to get fifteen minutes of some of the happiest cinema in history. Inland Empire is one of the best films of the year, the decade, the century, and, of all time.

I Give Inland Empire A:
5/5

#14-Mulholland Dr. (2001)

Mulholland Dr.

David Lynch, who is one of the top film-makers of this generation, in my opinion, brings us a startling dive into the mind of four people. Our is it two? Or three? These are the kinds of questions Mulholland Dr. raises, in it's attempts to slowly rot away at your mind.The film was originally set to be a television show on ABC, but was canceled after a failed pilot episode. While I don't think that Mulholland would have been as good strectched out, I do think Lynch could have pulled it off, hell, just look at Twin Peaks. One of the strangest shows on television, with enough weird concepts to put even the most artsy people off, and Twin Peaks remains one of the best remembered shows of the 90's.

Now, I'm warning you, if you are a typical moviegoer, you are not going to enjoy this movie. I hate having to give out warnings like this, because the films are so excellent, but you know that some people just won't like them. Even if you aren't a typical moviegoer, don't watch this until you are ready. There are some movies that you just have to be in the right mind-set for, and no matter how much you've prepared yourself, you are never fully ready for a Lynch film. Many people consider this his best, but I do think that he has one better film out, which I will be reviewing soon to come.

It's almost impossinble to explain Mulholland Dr. without giving away essential plot points, but, I can try. We have a young woman from Canada, who is moving down to Hollywood, California to become an actress. Her aunt is out of town, and she is able to stay at her place. But, upon entering her condo, Bette finds a woman, who has recently been in car crash, and lost her memory has been hiding inside. So, while trying to get a role, Bette decides to help this woman find her memory, along the way they encounter many strange people and things, that you won't believe, even after you see.

First off, let me say that this is David Lynch's most accesible movie, and the easiest to understand. That having been said, you will not understand this movie. I've seen it five times, and still have not come up with an explanation for everything. One thing that I always praise about Lynch films, is how he uses pretty unknown actors and actresses, but they all perform very well. Naomi Watts, gives what is probably her best performance ever, which is very tricky, especially given the role she has to play. Laura Harring also gives a very riviting performance, as a woman with so much character, who may be just that. The film has a wide variety of stange creatues that make up the supporting cast, including: Justin Theroux, Ann Miller, Dan Hedaya, and many others, all of whom perform exactly as they should.

"Blue box, blue key."

One of the reasons I always love Lynch films, is they purposley give the middle finger to traditional narrative. Never will you find a film of his that is normal in anyway. With maybe the exception of The Elephant Man, but we'll let that one slide. I love films like this, for the same reason I love films with open endings. Because it leaves them open for interpertation, and that allows you to make them the movie you want them to be, thus hightening the experience a great deal.

The main story, which was explained above, is simple enough, and could have been turned into a nice, mystery thriller in the hands of another writer/director. But Lynch throws all sense out the window in the first act, puts a bag over your head, and spins you around and around, until you don't know where you are. This is another reason why I love Lynch, his films, at the heart, are all realtivly simple, and easy-going, but with a few sleight's of hand, he turns them into a complete fantasy land, turning everything on it's ear, and telling you it's the toe. His direction is simply fantastic, and his writing superb. While a few of his previous films weren't so good, all are aloud forgiveness, with Mulholland Dr. alone. Lynch alone made this movie worth seeing, backed up by excellent acting, marvelous attention to detail in production, and a great lighting department, Mulholland Dr. is propelled to the front of the pack.

The final thing I would like to comment on, before I finally wrap-up this review, is that I think Lynch should create a funhouse. Not a scary carnival funhouse, but a surrealistic walk-through ride of imagination. One of his best film attributes, is his ability to take sounds and images, and make them what they are not. There are moments in Mulholland Dr. that are some of the scariest I have ever witnessed, and if I were to dissect the scene, and break it down, I would have no clue why they would be scary. He also knows how to use lack of sound to create some very startling effects. One thing that he does perfectly to create tension, is if a camera is running down a long hallway, he makes it one continous shot. One, long, seemingly never-ending shot, which about midway through, loses sound completely, even when whatever jumps out from behind the wall, there is no sound, which makes even more terrifying.

As if you couldn't tell already, Mulholland Dr. is an excellent film. David Lynch (can't say his name enough) has created an amazing realm of peril and chaos, that only he could. I'd like to take a note from Michael Phillips who said "About half-way through, you'll have lost all your bearings, but in a good way, and you certainly won't mind." That about sums up the film, it makes sense, truly, it does. But you won't ever be able to figure out where all the loose ends tie up. Excellent writing, directing, imagery, sound, lighting, music, editing, set design, costumes, make-up, and much, much more definatly make this a film to see.

I Give Mulholland Dr. A:
5/5

#5-Synecdoche, New York (2008)

Synecdoche, New York

The newsest film from the most original screen-writer today, Charlie Kaufman, Synecdoche (pronounced Si-Nec-Do-Ke), New York is an ambitious piece of fiction, that will hopefully keep you entire to the amazing ending. I love Kaufman's work, and I hope to review more on this site in the months to come, he truly is a genious, and needs to be recognized as such. First entered in contest at the Cannes film festival, Synecdoche, New York, is more grounded in reality that most of Kaufman's other work. That isn't saying much however. Synecdoche had the highest budget of any Kaufman film, and that is only twenty million. Unfoutanetly, this is also the lowest grossing film, making back only four million. Granted this film was only put in limited realese, and is the type of film a general audience isn't interested in seeing. This, like of all of his work, is very much a fantasy, visually, and storywise, in some cases, but its true heart is so grounded in reality, that it almost makes you happy that life isn't this great crazy world that he has envisioned, this is why I like Kaufmans work, it's mostly happy, yet underminingly depressing, and therefore, creates an amazing emotion.

First let me start by saying that this film has an incredible cast, including, but not limited to: Phillip Seymour Hoffman, Cathrine Keener, Michelle Williams, Samantha Morton, Emily Watson, Hope Davis, Jennifer Jason Leigh, Dianne Wiest, the list could just go on, and on. All of them perform so amazingly in this piece, especially because it takes place over the course of nearly thirty years. The characters age, and chance nearly ever frame, and the actors keep up and know how to move and speak. I think that Hoffmans performance alone by the end of this movie make it well worth watching, add in the rest of the cast, and everything else, and oh, it is such a great life experience.

The story, like all of Kaufmans work is original and groundbreaking. Caden Cotard is a playwrite, who is having trouble with his home life. However his plays are going fantasictally. Eventually, his wife leaves him, takes their daughter, and sends him into a mid-life crisis. Once his production of Death of a Salesman gets reviewed marvelously by critics, he is given a grant to make the world a better place through plays. So he sets out to make an epic, about life. Thousands of cast members, all with seperate storys, the play being over 17 years into production, and all taking place on a life-size New York set, inside an impossibly large wearhouse.

Now, I liked this story, well, I liked the idea anyway, it was fun, and intriguing. But, then you start to watch the movie, and he doesn't even get the warehouse until at least fifty minuets in. And this movie is about two hours long. So it was kind of slow at the beggining, but once it got rolling it was very interesting and fun. Ideas come into play about Cotards character within his own play, so while he's directing, thats part of his life, so then he has to direct himself, directing the cast, then he has to direct himself, directing himself, directing his cast, and so on and so forth, until we have nearly six Caden Cotards running around. It was very cool.

"I didn't jump Sammy! Get up!"

This is also Kaufman's first time directing a picture. And he did an okay job, an excellent job for a first time. However, like I mentioned above, the pacing seemed very off at some points, and the story had scenes that take thirty seconds, and scenes that take thrity minutes, and it all seemed very strange, with the jumping and editing. I feel that Kaufman is more of an Assitant Director than a full-fledged one.

The music, was also phenomonal in this film. Not only the music but the camera work, the whole sweeping city sky-line that is all in one tiny building, the excellent sense of lighing. The techinal stand-point of the movie was great. The make-up and costume design team really should be given some credit here, they make all the actors swap age rapidly, and the clothes keep up with all of them, and their characteristcs perfectly.

Now, with about fifteen minutes left in the film, I was thinking the entire scope of it over to myself, wondering how I was going to grade it and what I was going to write about it. I WAS going to give it a 3.5, because of the odd pace, and the slow start, but then, the last ten minutes of the film started. That is when I totally understood it. The whole idea behind this story that Kaufman had created, the idea behind the film, it's about life, and dealing with how much of a pain it is, and was there a point to us being created at all, will we be remembered, did we do something people will know forever, or will we just be forgotten about, like our great-great-great grandparents whose names we don't even know. And that is when I figured out how amazing the movie was. And how everybody, goes through the ideas and emotions at some point in their life. And I think it might have effected me strongly because I had just gotten out of that phase.

Overall, Synecdoche, New York, is an amazing film, from nearly every single standpoint there is. Lighting, script, music, costumes, acting, effects, make-up, and some many other things, including an amazing ending, with a great message. A slow start, and odd sense of direction do hinder the film slightly, but in no way make it any less enjoyable.

I Give Synecdoche, New York A:

5/5