Chris Messina

‘Julie & Julia’ Misses Some Ingredients But Still Goes Down Smoothly

BrianTT — Fri, 07 Aug 2009 12:04:51 -0600

Rating: 3.5/5.0

CHICAGO – Like a long meal at a good restaurant where no one can agree on the best course of the evening, Nora Ephron’s “Julie & Julia” with Amy Adams and Meryl Streep will have different highlights for different viewers.

For some, it will be Streep’s pitch-perfect performance, while others find Adams lovable. Thematically, some will latch on to the “do what you dream” message of the film. For this viewer, “Julie & Julia” works best when it focuses not on how we make something of ourselves but the fact that no one does so alone. There is no “Julie” without “Julia” and even the women at the core of the film succeed mostly through the support of the men in their lives.

Amy Adams as Julie Powell.
Photo credit: Jonathan Wenk and Columbia Pictures

Julia Child found her passion through cooking. Julie Powell found it through writing. The fact that one passed along her drive to break out of her dull lot in life through the decades and allowed the other to escape her cubicle drudgery makes for a cinematic and arguably inspirational story. Ephron doesn’t do much more with the material (and two great actresses) than push it along like a TV movie director and there’s a ridiculously unecessary conflict added to the final act, holding “Julie & Julia” back from potential greatness, but there’s still more than enough to take a bite of this cinematic meal about two women with similar names.

Julie Powell (Amy Adams) tried to break free from her boring life and rekindle her passion for writing with “The Julie/Julia Project” in 2002. The goal was to cook all of the 500+ recipes in Julia Child’s “Mastering the Art of French Cooking” in one year in her tiny Queens apartment and blog about it without losing her job or her husband (Chris Messina).

Ephron intercuts Powell’s story with a mini-biopic of Child (Meryl Streep), drawing loose parallels between the two. Both had supportive spouses (Child’s is played by Stanley Tucci). Both set about trying something unique and refused to give up in the face of adversity or even just the interference of real life.

One of the flaws of “Julie & Julia” is that there’s more than enough dramatic material in the life of Child, especially when played by the best actress of all time, to warrant its own film. Child challenged preconceptions in the male-centric world of French cuisine and inspired countless people to follow their similar dreams. It’s not Adams’ fault to say that every time that “Julie & Julia” switches from “Julia” to “Julie,” it loses a little steam.

Meryl Streep as Julia Child.
Photo credit: Jonathan Wenk and Columbia Pictures

The screenwriting decision to flash between the two comes not because Child didn’t have enough dramatic material to justify her own film but because Powell did not. As is always the case, watching someone cook and write doesn’t have the tension-building drama necessary for film. And even the cooking is more underwhelming than it should be. The recipes are used as a device, a plot point, instead of passionately, lovingly recreated like great foodie films “Big Night” or “Babbette’s Feast”.

Despite the directorial flaws of “Julie & Julia” and the relative weakness of the storytelling, there’s enough to admire in “Julie & Julia” to warrant a look. I can’t help but get behind the film thematically given my own awareness that inspiration and the support of a loved one are major ingredients in the recipe of my own life.

On a performance level, Streep is great and everyone else is good (although Messina falls victim to an underwritten character that adds conflict to a climax that doesn’t really have one).

“Julie & Julia” may not be the perfectly-cooked cinema confection that it could have been with some more passionate, inspired direction, but it delivers something tasty enough that you won’t send it back.

‘Julie & Julia’ stars Meryl Streep, Amy Adams, Stanley Tucci, Chris Messina, Mary Lynn Rajskub, and Jane Lynch. It was written and directed by Nora Ephron. It opens on August 7th, 2009. It is rated PG-13.

By BRIAN TALLERICO
Content Director
HollywoodChicago.com
brian@hollywoodchicago.com

‘Away We Go’ From Sam Mendes a Slightly Bumpy Trip Worth Taking

Ebeth — Fri, 12 Jun 2009 12:41:17 -0600

Rating: 3.0/5.0

CHICAGO – Has life always been this difficult? Doesn’t anybody ever stay together anymore? Have the pressures of modern times turned the majority of us into screw-ups?

“Away We Go” is a chronicle of couple – Burt and Verona (John Krasinski of NBC’s “The Office” and Maya Rudolph of “Saturday Night Live”) – attempting to resolve just that.

Maya Rudolph (left) stars as Verona and John Krasinski (right) stars as Burt in Sam Mendes’ “Away We Go”.
Image credit: François Duhamel

A narrative map of stops along the road to self-discovery, the film is an exploration of the complications and confusions in modern relationships.

Thirty-somethings Burt and Verona – a pair stunted in their college days (living with borrowed furniture and a cardboard window) – are expecting. What they’re not expecting is to be left completely alone in the venture as Burt’s parents (played by Catherine O’Hara and Jeff Daniels) announce their planned move to Belgium one month before the baby’s due date.

Unsettled by this lack of support with no family or friends left in the area, the couple sets off on a city-by-city tour with the goal of finding their niche: a new job, new community and new home all their own.

John Krasinski stars in Sam Mendes’ “Away We Go”.
Image credit: François Duhamel

Each stop on their itinerary is an intended visit to a mosaic of colorful “characters”. A credit to writers Dave Eggers and Vendela Vida, the film excels in finding humor in the quirky: those crazed to the point of awkwardness but sane just enough to function in society.

From the appearance of Burt’s egocentric and insensitive parents to the couple’s brief encounter with a sociopath-in-the-making youth, the oddities sprinkled into several of the characters make for some great “it’s funny ‘cause it’s true” moments.

Among the drop-ins we find Allison Janney as Lily (from the acclaimed “Juno”). In a complete 180 from her conservative “West Wing” role, she plays a loud and social bubble-invading blast from Verona’s professional past. Though a few notes of overacting, Janney hits the mark more often than not.

Allison Janney stars as Lily in Sam Mendes’ “Away We Go”.
Image credit: François Duhamel

Playing opposite Janney as Lowell (Lily’s husband), stand-up comedian Jim Gaffigan stumbles through a half-enthused performance. Be it the writing or Gaffigan’s interpretation of the character, the humor in his scenes feels forced within a film that’s clearly trying to not.

A couple with much the same dynamic, Maggie Gyllenhaal (of “The Dark Knight” and “Stranger Than Fiction”) energizes as pop-spiritual, in-a-realm-of-her-own LN (formerly known as Ellen) whereas Josh Hamilton’s flat appearance as LN’s husband Roderick can’t be deemed yang to her yin.

Remarkable are Chris Messina and Melanie Lynsky’s performances as Tom and Munch as longtime college friends of Burt and Verona. Both of these actors – as adoptive parents experiencing the agony of multiple miscarriages – create two heartbreaking personas and leave an empathic physical ache within the audience.

Perfectly attuned to the subtleties of “Away We Go,” the soundtrack by new artist Alexi Murdoch is the movie. It would be a challenge to find music that’s a better addition to this script.

John Krasinski (left) stars as Burt and Maya Rudolph (right) stars as Verona in Sam Mendes’ “Away We Go”.
Image credit: François Duhamel

Despite the multiple take-offs, the number of descents within “Away We Go” do leave it slightly south of its destination. Some of its character quirks (such as LN and Roderick’s “spirituality”) are too emphasized and leave the moviegoer wishing the writers had hit the breaks just a bit sooner.

Attempts to capture a natural, chit-chat flow within the characters (something Maya Rudolph does excel in) succeed at times, but leaves a few scenes between the couple feeling dull and contrived.

Often quite endearing and dead on as sentimental, goofy-nerd Burt, John Krasinski has a few moments of wide-eyed and aimless line sputtering that seem out of place. Equally out of place is the final line of the movie, which – spoken by Verona – seems out of character. It’s a clunk at the end of a pretty piano piece.

In creating Verona, the writers and director Sam Mendes (who directed “American Beauty,” “Jarhead,” “Revolutionary Road” and “Road to Perdition”) are graced by Maya Rudolph’s touching portrayal. A role seemingly destined for Rudolph, she floats through a performance that’s memorable and complete.

Director Sam Mendes on the set of his new film “Away We Go”.
Image credit: François Duhamel

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Read more film reviews from critic Elizabeth Oppriecht.

All in all, “Away We Go” proves a satisfying, rare look at the intricate dynamics between people – all types of people – as they struggle for balance in this “crazy world”. Driving straight into the difficult themes of separation, divorce, childbirth, death and infertility, this is a film with a little something for everyone who has lived.

It’s especially for those currently experiencing these trials of life. Though not without its valleys, “Away We Go” delivers just enough to be a worthy trip to the theatre.

“Away We Go” from director Sam Mendes stars John Krasinski, Maya Rudolph, Maggie Gyllenhaal, Allison Janney, Jeff Daniels, Jim Gaffigan, Catherine O’Hara and Chris Messina. “Away We Go,” which opened in Chicago on June 12, 2009 and opens in other limited cities on June 5, 2009, is rated “R” for language and some sexual content.

By ELIZABETH OPPRIECHT
HollywoodChicago.com
elizabeth@hollywoodchicago.com

Hit-or-Miss Mastermind Woody Allen Recaptures Genius With Eccentric ‘Vicky Cristina Barcelona’

HollywoodChicago.com — Thu, 14 Aug 2008 23:01:00 -0600

Rating: 4.0/5.0

CHICAGO – While legendary writer and director Woody Allen can’t always be equated with sheer genius these days and is more accurately described as a hit-or-miss proposition, the sorely undermarketed and film-festival touring “Vicky Cristina Barcelona” serves as unquestionable retribution for his recently questionable work.

The film, which stars Hollywood sensations Javier Bardem, Scarlett Johansson and Penélope Cruz, all throughout makes you feel like Allen’s script has something brilliant up its artistic sleeve. While at times you’ll easily predict when sex is on deck, Allen uses “No Country for Old Men” star Javier Bardem literally as his blunt instrument.

Penélope Cruz stars as María Elena in “Vicky Cristina Barcelona” from director Woody Allen.
Photo credit: Victor Bello, The Weinstein Company

In the real world, of course, even a man of his charisma couldn’t walk up to a woman with Scarlett Johansson’s magnetism and lure her into a weekend of bliss and eroticism with these simple words: “We’re getting on my plane in an hour for a weekend of drinking fine wine and making love.”

While Bardem can this time because Allen’s script makes Johansson’s risqué character do it, his true treat is scoring a triple play by convincing Johansson’s rule-driven friend – played by the relatively unknown Rebecca Hall – to seek the same interesting slice of life.

Hall’s character is completely out of character in going along with this ride and is in the process of marrying a man who feels to her much like a sedative.

Javier Bardem (left center) and Scarlett Johansson (right center) star in Woody Allen’s “Vicky Cristina Barcelona”.
Photo credit: Victor Bello, The Weinstein Company

Amid all the wining and dining, Bardem displays his range as an actor. He puts out of our mind his powerfully villainous character in “No Country for Old Men” and completely transforms himself for Allen’s creation into an artistic, charismatic and confident Spanish lover.

The protagonists, of course, wouldn’t be complete without the antagonistic presence of Penélope Cruz. Despite training rigorously with a teacher and a paintbrush for her painting scenes, though, Cruz still admits to having “faked” these scenes.

In fact, Cruz says in real life she’s a “terrible artist” and is nothing like her “Vicky Cristina Barcelona” character. While she gets by with the brush in the film, it’s not her painting that ultimately slathers herself memorably onto you.

Left to right on set: Javier Bardem, Penelope Cruz, Scarlett Johansson and Woody Allen for “Vicky Cristina Barcelona”.
Photo credit: Victor Bello, The Weinstein Company

It’s her irate, suicidal and jealous performance that stands out with its emotional and physical carnage. Cruz landed the role of María Elena from director Woody Allen in 40 seconds flat.

Scarlett Johansson’s appearance in the latest Allen work of art is especially his personal joy. Despite appearing in three Allen films in the past three years (“Match Point” in 2005, “Scoop” in 2006 and “Vicky Cristina Barcelona” in 2008), Johansson decisively denies being his latest “muse”.

When the subject has come up repeatedly in press junkets for the film, she always says they take pleasure in “having fun” together. The 72-year-old Allen, on the other hand, liberally confesses that the 23-year-old “Lost in Translation” star has often been the muse for many of his latest films.

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View our full, high-resolution “Vicky Cristina Barcelona” image gallery.

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More film reviews from critic Adam Fendelman.

Johansson follows in the shadows of actresses and former Allen lovers Diane Keaton and Mia Farrow. Instead of it being Johansson in 2005’s “Match Point,” Allen initially selected British star Kate Winslet.

While Winslet may have gone on to muse Allen thereafter, she pulled out from the 2005 film to spend more time with her children.

Despite its interesting backstory and compelling film story, the whole work of art that is “Vicky Cristina Barcelona” goes somewhat to poop in its anti-climatic ending. You can feel Allen struggling with how to end this fascinating journey. His decision to waiver somewhere in the grey matter of life is a tragically unfulfilling choice.

Had the ending been rewritten, “Vicky Christina Barcelona” would be one of Allen’s finest works without question. Even without the rewrite, though, it stands as one Allen magnum opus nonetheless.

“Vicky Cristina Barcelona,” which is written and directed by Woody Allen and stars Javier Bardem, Scarlett Johansson, Penélope Cruz, Rebecca Hall, Patricia Clarkson and Chris Messina, opens on Aug. 15, 2008.

By ADAM FENDELMAN
Editor-in-Chief
HollywoodChicago.com
adam@hollywoodchicago.com

Wily ‘Ira & Abby’ Averts Predictable Hollywood Boy Meets Girl Trap

HollywoodChicago.com — Fri, 26 Oct 2007 19:05:03 -0600

CHICAGO – Groucho Marx once said: “Marriage is a wonderful institution … but who wants to live in an institution?” For the romantic and humorously charged “Ira & Abby,” holy matrimony seems a stressful but hilarious adventure.

Jennifer Westfeldt in “Ira & Abby”.
Photo courtesy of IMDb
Ira Black (Chris Messina) is the be-all archetype for a neurotic New York Jew. He has spent 12 years in psychoanalysis, both of his parents are therapists and he can’t finish anything he starts including his doctorate dissertation to become a licensed therapist.

It’s clear he likes to over think things. When he decides to join a gym, he meets Abby Willoughby (Jennifer Westfeldt): a free spirit in the truest sense of the word.

Within six hours of knowing each another, they decide to tie the knot. From then on, the happy couple gets a crash course in in-laws, infidelity, spotted pasts and every facet of marriage they never would have imagined before.

Jennifer Westfeldt and Chris Messina in “Ira & Abby”.
Photo courtesy of IMDb
The chemistry between Messina and Westfeldt works wonderfully. Where most romantic comedies with kooky couples feel either forced or fall flat, “Ira & Abby” only succeeds.

The odd couple seems more like a couple close friends you set all your relationships against. Pair that with Robert Klein and Fred Willard – who play Ira and Abby’s fathers, respectively – and every scene swells with comic possibility.

Fred Willard and Judith Light in “Ira & Abby”.
Photo courtesy of IMDb
Westfeldt, who penned the “Ira & Abby” script along with 2004’s affectionate “Kissing Jessica Stein,” no doubt drew from her own thoughts on married life. In reality, she has been in a 10-year relationship without saying “I do”.

The story works because it doesn’t fall into the predictable Hollywood happy love story trap where boy meets girl, boy loses girl and boy gets girl back.

Instead, most of the viewing pleasure comes from watching people react to extreme situations not unlike common ones people face every day.

Chris Parnell (left), Jennifer Westfeldt and Jason Alexander in “Ira & Abby”.
Photo courtesy of IMDb
Rather than relying on the crutch of using therapists to explore the protagonist’s thoughts and motivations, Westfield turns the convention on its side by painting the absurd lengths people will go through to find answers to personal problems through psychology.

In the season that has seen such loathsome films as “Good Luck Chuck” and “The Heartbreak Kid,” “Ira & Abby” is remarkable proof that a compelling and funny love story can appear on celluloid.

Straddling the line between whimsical absurdity and heartbreaking reality, the movie delightfully steers the audience to every corner of what it means to be in a committed relationship.

“Ira & Abby” opened in Chicago at Landmark Century Center Cinema on Oct. 19, 2007.

By DUSTIN LEVELL
Senior Staff Writer
HollywoodChicago.com
dustin@hollywoodchicago.com