Sunday, September 22, 2013

My Moviegoing Break



It's been seven weeks since I saw a movie in a theater.  It's just about the longest I've ever gone without seeing a movie.

We saw Woody Allen's Blue Jasmine, a movie about a woman whose life undergoes a sudden, catastrophic change, and the trouble she has coping with it.  The movie is played like a nervous comedy (imagine, Woody Allen with a nervous comedy!), and I imagined after seeing it that it might be my last film for a few weeks.  There was a birthday to contend with, a ramp-up in work, and my partner and I were heading to Germany on vacation.  My life was filled with the minor distractions and fluctuations that are so commonplace, we take them to be our lives, and give them more weight than they probably need.

To save some money during our splurge of a European vacation, we decided to have our two dogs stay with my parents in the San Diego suburbs.

Our oldest dog, Edward, is about to turn 13, and earlier this year knocked the wind out of us when he developed a sudden (there is no other kind) case of idiopathic vestibular disease -- an unhappy kind of illness that creates intense, continuous dizziness for a dog, to the point that he can't walk and can hardly open his eyes.  As the vets explained, "idiopathic" sounds like "idiotic" for a reason: there's no way to explain it, and doctors are made to feel a little foolish by having to say "it just is."  They shouldn't feel that way at all; life just is.  Woody Allen's Jasmine has trouble with this concept -- it's a good thing she doesn't have dogs.



At any rate, we had let almost every potential bad-news scenario play out in our minds when making the decision to send the dogs somewhere we knew to be safe.  Our biggest concern was that they would not be able to handle Edward's recovery, which was ongoing and significant.

For seven days in Germany, we called San Diego every night, and for seven days we were reminded we were doting canine parents, too attached and too worried about every little thing.  "They are happier here than you could ever even imagine," my mom said. "They won't want to go home!"  We received photos, and if dogs can smile, these dogs were doing it.  We might have been enjoying our vacation, but theirs cost them nothing and they didn't have to worry about airport security, three-minute train connections, or how to convert Euros to dollars.

So, we were all enjoying our time away from each other, and on our second Friday night in Germany, after a particularly long day of train and car travel, we didn't call home.  We didn't feel badly about it, because we had been asked over and over, "Why are you bothering to call?  Everything's fine!"

Since mobile-phone data packages are almost as inscrutable as pre-Rosetta Stone hieroglyphics, we were relying on wifi to keep in touch, which meant my family had no way to call us directly.  So, after one impossibly glorious, unforgettably wonderful day in which we drove to the Czech Republic and back, we called home.

"Something is very wrong with Lucy," we heard. My 77-year-old mother was doing her best to stay calm and upbeat.  Maybe it was just a bee sting, or a small spider bite, but in any event, the vet wasn't too worried -- one look at the photo she sent through had our hearts jumping out of their chests.  There was normally vivacious, irrepressible Lucy laying on her side, her neck swollen to three times its normal size.  Lucy was going to the vet later that day for a follow-up visit, and he expected everything to be fine.

But it wasn't.

The nine-hour time difference wasn't working in our favor.  It was after midnight when we learned that Lucy had been transfered to an emergency clinic; whatever was wrong with her was too much for the local vet to handle.

Our wonderful German friends who were hosting us were being remarkably patient.  They went off to bed, hiding the situation from their small children, and we spent three frantic hours on the phone with vets, with airlines, with credit-card companies and with our family hoping for answers, for solutions, for updates and, most of all, for causes.

No one knew what was wrong with Lucy.  My parents swore she had never been out of their sight for long.  But here is one of life's awful secrets: A moment is always too long, and a moment is almost always unavoidable.

We'll never know exactly what happened.  Maybe it was under a woodpile in the back yard.  Perhaps it was under a tree.  Feasibly, while out on a walk, tight and controlled on a leash, Lucy could have put her nose into a bush, filled with typical curiosity.  In any event, blood tests tell us this happened:

A rattlesnake bit her.



A rattlesnake bite, it turns out, is frequently survivable, both by humans and by dogs.  But what happens after the initial survival is harrowing.

It's even worse when you're 5,000 miles away.  When the airlines tell you the best they can offer is a change of travel that will cost $2,000.  When veterinarians, family and friends all say: "What could you do, even if you flew there right now?"

The worst part is, they're absolutely right.

There are few sentences you never want to hear when you are thousands of miles away, and near the top of the list of those sentences is, "We're doing everything we can."

My family performed heroically.  Not knowing what was wrong with her, they acted as swiftly as they could, but the venom was already doing what it was created to do: to pre-digest the skin and get the victim ready to eat.  Who can blame the snake for doing what snakes do?

The veterinarian staffs at the animal hospitals have been remarkable; caring and patient with two frantic people calling at all hours from thousands of miles away, they never failed to tell us what was happening.  And what was happening was not pretty.  Skin was dying all around the bite area, Lucy's temperature was soaring past 105ยบ F, and her blood was failing to clot in sufficient time to allow manageable healing; the number of blood platelets, which are the cells that rush to the site of an injury, were critically low and falling perilously fast.

And we were being told to just try to enjoy ourselves.

It was the best advice, in retrospect.  Lucy was getting the care she needed, plenty of people -- including total strangers she had never before met -- were worrying about her, and she had her own track record to fall back on:

When she was just three months old, Lucy contracted the canine parvovirus, which has an astonishing 80 percent mortality rate -- but after four days in isolation, IVs attached to every one of her tiny little limbs, she pulled through.  Lucy has been in fights with raccoons, getting herself sliced unpleasantly; she's chased cats through rose bushes, tearing her face enough to require stitches; she's caught her leg in a fence, tearing one of her rear claws almost off.

She is scrappy, she is fearless, she's a troublemaker -- and she is a fighter.



Lucy has also learned not to complain when she's hurt, one of the reasons no one knew there was a problem until the venom had already had critical time to fill her neck.  Though we arrived home within four days of the bite, by that time Lucy could barely rise to greet us.  She had been through days of medical procedures to try to help her, she had endured two nights in critical care, and the worst wasn't yet over.

When we arrived back in L.A., bleary-eyed and filled with anxiety that had prevented us from sleeping for more than 20 hours, we still had to get to San Diego to bring her home.  When we arrived, an infection had started tearing at the skin under Lucy's neck, which had begun to blacken and die.  Normally vocal and excited in a car, Lucy slept all the way home, and the local vet admitted she was beyond his help; she had to go to a specialist.

"We're going to get her through this," our surgeon, Nicole Buote, promised.  "She's made it this far, and we're not going to stop."  Lucy was rushed into surgery.  Two skin-flap procedures were required to close the wound.  Not once, we were told over and over, did Lucy whine, cry or complain.

Though she's made a recovery we would consider nothing short of miraculous -- fueled by the enormous goodwill and assistance of our friends, people who have no reason to help us other than that they are wonderful, kind-hearted and irreplaceable -- Lucy still faces hurdles.

She has developed a skin infection, though it fortunately is not affecting her wound site; an infection, we're told, is not a surprise considering the stress her little body has been through.  Simultaneously, a section of the skin that was used to cover the wound is not quite healing as the vets might like, but they remain optimistic.

"Lucy's healing is my No. 1 priority," Dr. Buote wrote in an email just tonight. Veterinarians, like most doctors, I suppose, do not get the credit they deserve; they help preserve our happiness, and in that sense are some of the most wonderful people in the world.

Lucy wags her tail and gives us kisses, she has a healthy appetite and maintains a quiet dignity and even, if it's possible for a dog, sense of humor. At night, when she breathes heavy or seems in the slightest pain, we turn into middle-aged gay versions of Aurora Greenway in Terms of Endearment, desperately worried something might be wrong, comically so, no doubt.

We get little sleep.  We spend too much time looking things up on the Internet, fueling our fears (but also, at times, buoying our hopes, as we read about pets who have made it through equally difficult challenges). We focus on Lucy's healing, and fret that Edward is feeling neglected.

We focus on work, because we need to pay the mounting bills which are, at best, significant.  And we stay out of movie theaters, because we have made a commitment to be with Lucy at every step of the way out of her injury and back to health.

Personally and professionally, movies have been a constant source of enjoyment, sustaining us through happiness and sadness.  We know too much about how they are made, but we surrender ourselves to them regularly.

Except lately.  We've remarked how much we miss them, but then look down at our feet and see Lucy sleeping or eating, we feel her wet tongue slide across our cheek and think how precious she is, and we remember how fragile and tenuous our bonds to this life really are -- for anyone, on four legs or two.

Lucy is sleeping now.  She is at my feet, and she looks serene.  I cannot imagine what she has been through.  When I consider my own fear and occasional despair, my own struggle to remain optimistic, my heart both leaps and falls when I think about her own journey, which must be filled with confusion and fright.  We hope we are successful in our efforts to console her.

She is only a foot and a half tall.  And yet she's bigger, more important, more wonderful than the biggest blockbuster on the biggest screen in the world.  She fills my heart with more gladness than E.T., The Poseidon Adventure, Willy Wonka and the Chocolate Factory, The Sound of Music and Defending Your Life put together -- and that's saying something.



I love the movies, but I love this little dog even more.  So, I probably won't be sitting in the darkness of a movie theater for a while yet, and that's OK.  In my life, at least, Lucy, Edward and my indomitable partner Jeff are the three biggest, brightest, most memorable stars of all.

Sunday, August 4, 2013

"Blue Jasmine"




 4 / 5 

Economists tell us we are living in a period of recovery, but for most people, it sure doesn't feel that way.  Allegedly, the tough part is over -- but there's also a sneaking suspicion that the worst is yet to come.

That's the predicament Jasmine French finds herself in, too, in Woody Allen's Blue Jasmine.  She's barely holding on after experiencing a total collapse of life as she knew it.

Her collapse has been a particularly catastrophic one, because Jasmine was married to an impossibly rich man, whose business dealings she never understood but always supported, because he assured her that he would always take care of her.  Right in front of her face, he lied and cheated, he shoved papers in front of her that she signed without thinking, and now she's paying the price for her ignorance.  Her life used to be about shopping on Fifth Avenue, sailing through the waters of the South of France, and avoiding anything that vaguely looked like responsibility.

Things change.

Jasmine has no choice but to take her adoptive sister Ginger up on an offer to live with her in a seedy apartment in one of the less-attractive neighborhoods of San Francisco.  Jasmine swears she's going to do things differently, but she's also numbing herself with endless Stoli martinis (with just a twist of lemon) and a rather alarming number of Xanax throughout the day.

She develops a plan for herself, one as deluded as she is.  She'll learn how to work a computer, then she'll take an online class in interior decorating and get her license, because that is where her true talents lie.

Meanwhile, Ginger suffers through a string of ill-advised husbands and boyfriends and works as a cashier at a little grocery store nearby.  She does whatever she has to do to get through a difficult life.  Ginger had a chance at improving her lot, and resents Jasmine for the way she and her ex-husband lost a bundle of money they had for just a moment.

Blue Jasmine's plot sounds depressing, but since this is Woody Allen, everyone is a little manic and there's always a generous dose of uncomfortable humor to the proceedings.  But not always, because Allen, returning to the U.S. after two successive European films, is making some disturbing observations about a disturbing trait Americans seem to possess to delude ourselves into imagining life is better than it actually is.

The movie is anchored by a remarkably complex performance by Cate Blanchett, who models her characterization after screwball-comedy era Katherine Hepburn (a woman she portrayed in The Aviator), if she had been holed up in Bellevue for a few years.  She talks about taking "Edison's Medicine," electroshock therapy, more than hinting that Jasmine's problems run far deeper than she wants to admit.

As brought to the screen by Blanchett, Jasmine is utterly unpredictable; she is the kind of woman who doesn't simply make bad choices, she lets herself believe they're good ones.  She may be 2,500 miles away from her problems, but she can't escape them, because they're within her.

Sally Hawkins, unforgettable as the ebullient Poppy in Happy-Go-Lucky, is also terrific as she hints at bigger problems for both sisters. They may not share parents, but they do share a similar hopelessness, expressed in different ways.  Jasmine can't picture a life without Hermes bags and dinners at Cirque, while Ginger accepts that a violent auto mechanic and a married man are the best she's entitled to in life.

The script isn't faultless, though.  Allen gives us an impeccable character study, but pulls his punches on the toughest stuff.  His romanticism was straightforward and potent in Midnight in Paris, but he seems less comfortable with the hardest observations.

Until, that is, the final scene.  Here's where, appropriately, it all coalesces, and it's impossible not to be moved by Jasmine's fate as you watch.

It's only long afterward that the most important questions Blue Jasmine is asking seem to come clear.  Take away the Dior dresses and Louis Vuitton luggage, and forget how easy it is to guffaw at the way Jasmine deals with her overpowering anxiety:

How different are we than Jasmine?  We all played a part in what happened to the world, and it's easy to claim we are blameless for the consequences.

The final shots of Jasmine -- and of Blue Jasmine -- are likely to stay with you for a very long time.  They propel the movie past what flaws it may have, and put it into a class all by itself.

Viewed Aug. 3, 2013 -- ArcLight Hollywood

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Saturday, July 27, 2013

"Blackfish"



 4.5 / 5 

Revise the basic storyline of Blackfish just a bit and make the central character a human instead of a killer whale, and this would be the stuff of Robert Louis Stevenson, even Shakespeare:

A young child is stolen away from his family by heartless bounty hunters, then sentenced to live a life in soul-sapping captivity.  For the next 40 years, he cannot leave the confines of his prison, and can't even eat unless he performs entertaining acts for the powerful beings who control his every move.  At long last, his mind snaps, and he attacks the descendants of his captors, and everyone professes great shock at the actions of this innocent, lost soul, further punishing him until all he can do is wither away in his prison, fated never to see freedom again.

If he were a little boy who grew into a man, we could understand his aggression and even root for him to escape.  But escape isn't possible for Tilikum: He is an enormous, graceful, fiercely intelligent whale who performs for people.  What's surprising isn't that he killed the vivacious, big-hearted woman who worked with him, or even that he had apparently killed people before -- the biggest surprise that comes from watching the riveting documentary Blackfish is that he was normally so patient and even kind, and that he was able to be this considerate of his captors as long as he was.

Tilikum still lives (barely, if you can call it living) at SeaWorld Orlando, three years after he grabbed, attacked and killed trainer Dawn Brancheau, who had worked with him for years.  He's a valuable corporate asset, and has been ever since he was captured in the North Sea; not long after the state of Washington banned the capture of orca whales from the waters of Puget Sound.

Blackfish follows the shocking, heartbreaking story of Tilikum, from the time he was captured until recently, after the fatal incident with long-time whale trainer Brancheau, in which she died in a particularly gruesome, savage way.

But why did it happen?  That's the question Blackfish aims to answer, and it does so impressively, spinning a potentially dry, talking-head documentary into one with a fascinating dramatic rhythm.  It's one of the most dramatically lucid and compelling movies you're likely to see this summer -- all year, for that matter.

Interviews with former SeaWorld Orlando trainers and employees are the core of Blackfish, and they're absorbing and thoughtful, in part because these people aren't just angry; they feel cheated.  They spent years dreaming of working alongside 12,000-pound killer whales as part of the elite "show" team at SeaWorld.  They came to believe, whether through corporate training or simply sincere passion, that they were doing something wonderful, something joyful that should be celebrated.

After the horrific death of Brancheau on Feb. 24, 2010, in front of an audience at the "Dine with Shamu" show, an expensive add-on "attraction" that is still held at the theme park, the half-dozen former trainers begin to rethink everything they knew about their work -- and the motivations of the company that employed them.

For its part, SeaWorld has launched an aggressive campaign to answer the movie's, mostly trying to fault the filmmakers for using illicitly obtained footage. But SeaWorld had a numerous chances to be involved, and declined. Director Gabriela Cowperthwaite also manages to get SeaWorld's views communicated by incorporating courtroom testimony that makes them look bumbling at best and sinister at worst.

Starting with a frightening 911 call the night of the attack, Blackfish includes substantial footage shot of and by SeaWorld Orlando, emphasizing how much SeaWorld emphasized form over substance, appearance over safety.

But this is not a Sea-World-is-Evil story (well, not entirely).  It is a sweeping story that only ends at SeaWorld, and one of its most emotionally candid moments comes when one of the gruff, grizzled whalers who took babies from their families talks about the deep regret he feels and says that of all the things he's done in his life, that was the worst.

Other experts explain how and why whales communicate, and Blackfish works as a primer in orca knowledge that is at least as skewed as the "education" we get at theme parks, and helps us understand the film's most pressing question: How do we resolve the moral dilemma of keeping massive, and massively intelligent, creatures in a tiny pen for their entire lives?

There is room in Blackfish for opposing views, but they are undermined by footage of other shockingly violent, non-fatal incidents.

The urgent, offended, haughty response SeaWorld has given to Blackfish is quite understandable, actually: What else could its executives possibly say?  They're more or less caught red-handed here.

You may have enjoyed SeaWorld before, and been impressed by its claims that the animals in its parks are happy, well-adjusted and carefully monitored. But Blackfish presents damning, incontrovertible evidence to the contrary, and once you see it, you'll hope never to set foot in SeaWorld again.

Viewed July 25, 2013 -- The Landmark



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Sunday, July 21, 2013

"Fruitvale Station"




 5 / 5 

There were so many ways writer-director Ryan Coogler could have gone wrong with Fruitvale Station,  but his film avoids the kind of righteous anger that would have been entirely justified yet hollow, leaving it feeling like a docu-drama-style recitation of facts.

The facts themselves are, indeed, angering: Early on New Year's Day 2009, a 22-year-old, unarmed man named Oscar Grant III was shot and killed by a police officer on the platform of a BART train station in an impoverished area of Oakland, Calif.  The shooting incited rage, and led to protests and riots, while the officer who killed Grant was found guilty of involuntary manslaughter and served 11 months in prison.

But Fruitvale Station isn't about the shooting itself, and it almost certainly takes liberties with the facts.  It tries, instead, for something more: to get us to understand who died that morning, and to appreciate that no matter what we might think going on, Oscar Grant was a real person who died a tragic, senseless death.

After opening with the now-familiar video of the shooting, taken by a BART passenger, Fruitvale Station defies expectations: This is not a movie about a young hoodlum trying to escape the oppressive ghetto, nor does it try to glorify (or condemn) the drug-fueled existence around him.

Rather, Coogler and the extraordinary young actor Michael B. Jordan anchor the story in the final 24 hours of Grant's life, emphasizing the awareness Oscar has that he needs to get a grip on a situation that is rapidly spiraling out of control.

He loves his girlfriend (Melonie Diaz) and their daughter, but he's been cheating and she isn't sure she trusts him anymore.  He needs a job, but he's not mature enough to keep one.  He knows selling pot is an easy way to money, which he desperately needs, but he's increasingly aware it's a dead-end life.

In short, Coogler's screenplay sets up Grant as a perfect screen hero, a character who desperately wants to be better but doesn't know how.  He's surrounded by a loving, supportive family, especially his mother (Octavia Spencer), who has been very clear about her disapproval of the choices that have already landed him in prison once.  But she loves him, and it's easy to see why.  Jordan is a winning, charming actor who brings a sad, defeated edge to his portrayal of Grant.

It's worth saying this again: Fruitvale Station is not a documentary or a fact-based procedural.  It's a deeply felt, engrossing drama that paints a rich, complex picture of a life already filled with loss but tinged with hope; one exchange between Oscar and a white yuppie on a downtown San Francisco street has the potential to take the movie off the rails of disbelief but instead feels true and honest, emphasizing how close -- emotionally and physically -- Oscar was to the kind of life he hoped for, but how out of reach it was for him.  In the Bay Area, one short BART ride is the difference between affluence and desperation.

We know how this story will end.

Oscar won't be able to pull himself out of his past, he won't even make it home on that first day of the year.  If the movie is a little maudlin at times, it has every right to be:  It's a tragedy about a life cut senselessly short, but even more than that, it's a tragedy about the way life gets too much in the way for some unlucky people, about how no one can see past their color or economic condition, about how much it hurts to hope for something that can never happen.  (It also, not inconsequentially, offers a visually satisfying solution to the problem of depicting how people communicate in today's endlessly wired world.)

By showing us the small details of Oscar's final day, Coogler has made a beautiful, thoughtful elegy for an entire life, a powerfully but quietly anguished film that shocks and angers in equal measure.  The shock isn't just because of the forceful brutality used on the BART platform, it's because what happened that morning robbed one deserving, striving, imperfect person of the rest of his life.  

Fruitvale Station began with characters I thought had no relation at all to my life, and ended with me openly weeping for them.  It is undoubtedly one of the best movies of the year.

Viewed July 21, 2013 -- ArcLight Hollywood

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Saturday, July 20, 2013

"The Conjuring"



 3.5 / 5 

Strip away the existential anguish of The Exorcist and you've got The Conjuring, a movie that claims to be just as certain about the existence of demonic possession but lacks the sincere religious inquiry of William Friedkin's punishing 1973 classic.

Released almost exactly 40 years after that movie, The Conjuring is a surprisingly, refreshingly straightforward and restrained horror movie, a ghost story that adds on fear of the Devil, or perhaps an exorcism movie with a ghostly twist, but either way, it's a tense and memorable movie that continues the recent (and encouraging) trend of scary movies that are actually scary, not simply bloody.

Director James Wan also, interestingly, made the torture-porn Saw, a movie I can't bring myself to watch.  In The Conjuring, though, there are just two or three moments where the red stuff pours out.  Mostly, this is a movie filled with rattling doors and dread-laden shadows.

Set in 1971 and based on an allegedly true story, The Conjuring begins three years earlier with the introductory tale of two young nurses and a very unfriendly doll, who unleashes such a frenzy of haunted activity that they turn to Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga, both of whom are both impossibly attractive and very effective).  The Warren are a husband-and-wife team of ghostbusters whose practice is oriented toward demonology -- they believe in evil spirits, and they have both the emotional scars and the physical artifacts to prove it.  They spend their days battling angry ghosts and their evenings giving lectures on college campuses.

(The Warrens were also involved, a few years after the events of The Conjuring, in the Amityville Horror incident, which paved the way for the kind of campy movie that this could have been, but isn't.)

Meanwhile, a middle-aged couple and their five daughters move to an old, rundown farmhouse in the middle of the New England countryside -- just where, it so happens, one of the Salem witches died, but not before cursing the land.  But Carolyn and Roger (Lili Taylor and Ron Livingston, both unexpected, unglamorous casting choices, and both terrific) can't turn down a bank-auction deal, so in they move.

The family dog senses something's amiss and refuses to come into the house, and Roger finds a boarded-up cellar, while Carolyn and the girls experience strange incidents at night and all the clocks stop at precisely 3:07 a.m. every night.  (In the logic of the movie, there's no room for questioning things like what would happen if someone set a clock ahead 10 minutes.)

The Warrens are called into investigate, and they stumble onto the mother lode of demonic possessions.  The house is a hotbed of paranormal activity, and even they're a little skittish about taking this case.

The discovery of who and what is in the house with the family allow for fun tension to mount, and director Wan is almost shockingly restrained; his scares are genuine, rarely the result of simply being startled by a crash of music or a smash-cut visual shock.  Oh, they're there, of course, but mostly they're earned and work within the context of the story.

It's a good, old-fashioned horror movie.  It works in every possible way you'd want a movie like this to work.  While it lacks some of the visual panache of the low-budget Insidious, The Conjuring is damned scary -- and also quiet and relaxed when it needs to be.  Wan and his screenwriters, Chad and Carey Hayes, trust their material, so we trust them.

It's not a deep movie, and lacks the disturbing, unforgettable challenges of faith and belief that The Exorcist forced upon its audience (and it's worth comparing the two, since there are signs The Conjuring would like to be taken that seriously.

But as an example of what can be done when a screenwriter, a director and a group of actors are determined to make a top-notch, compelling piece of entertainment -- not just a "franchise" or a merchandise-ready cinematic product -- The Conjuring excels.

Add in some nice period touches and great costuming, and The Conjuring turns out to be one of the summer's most unexpectedly compelling and fulfilling entertainments.



Viewed June 20, 2013 -- AMC Burbank 16


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