Maine (2018)

29 Friday Mar 2019

Tags

Appalachian Trail, Drama, Hiking, Indie movie, Laia Costa, Matthew Brown, Review, Thomas Mann

D: Matthew Brown / 86m

Cast: Laia Costa, Thomas Mann

Bluebird (Costa) is a young Spanish woman who has come to America to distance herself from her marriage, and to walk the entire length of the Appalachian Trail from Georgia to Maine. On the trail she meets Lake (Mann), and they travel on together, getting to know each other (albeit slowly) and developing an odd kind of friendship. Along the way they meet other hikers who mistake them for a couple, but Bluebird is always quick to dispel this impression. This frustrates and annoys Lake who has developed a crush on Bluebird, and although she is friendly and conspiratorial toward him, she’s also distant and often unresponsive. As the hike continues, Lake tries to forge a closer, stronger relationship with her, but Bluebird remains emotionally reserved, and their uneasy friendship begins to unravel. But when an unexpected turn of events makes it seem as if they’re about to become closer still, the lure of a nearby town prompts Bluebird to abandon her hike without completing it. It also means the probable end of her relationship with Lake, something that he doesn’t know how to deal with. As they head into town in the back of a pick-up truck, the fate of their friendship seems entirely decided…

Opening with a wordless ten-minute sequence that places its main character firmly in the movie’s physical setting, Maine is a low-budget indie offering with a surfeit of ambition that is only fitfully exploited. On the surface, it’s about Bluebird and her search for some kind of meaning to her life – the reason she’s left Spain and her husband is never revealed – but as Matthew Brown’s debut feature (he also wrote the script) unfolds with slow, painful deliberation, whether this is really the case becomes open to question. Much of this is down to Bluebird’s wayward behaviour and the inconsistency that punctuates the time we spend with her. And though it’s always possible that said wayward behaviour could be indicative of a mind that is struggling to make sense of the thoughts inside it, because Brown chooses to make Bluebird’s motivations more ephemeral than concrete, the viewer has no choice but to interpret matters on their own and hope for the best. For many this will mean a frustrating, disappointing viewing experience that tests their patience, and much like Bluebird herself, will mean whether or not they see things through until the end. Though Brown may be aiming for ambiguity, when it’s all there is, it’s not as satisfying as it might sound.

This being essentially a two-hander – other hikers and later, a handful of townspeople, drift in and out of the narrative – much depends on the performances of Costa and Mann. Costa made a big impact in Victoria (2015), and since then has made consistently interesting choices, but here she’s saddled with a character whose arc goes nowhere (though that may be a deliberate choice – who knows?). As a result she gives a spirited yet mannered portrayal that hints at Bluebird being bi-polar, while Mann can only respond by looking confused, upset or defeated by her often callous attitude towards Lake. Their relationship flits between friendly and adversarial, optimistic and regressive, but with all these disparate elements in play it’s hard to know which are sincere and which are diversionary tactics employed by Brown to give the semblance of greater depth to the characters and the material overall. In the end, and despite everyone’s best efforts, Maine remains the kind of movie where getting to know and understand the main protagonists feels as if more effort is required than is necessary, and Brown’s directorial choices serve only to highlight how distant Bluebird and Lake remain from an audience that can’t really connect with them.

Rating: 5/10 – an unsuccessful foray into “trail movie” territory that hints at long-buried emotional traumas in both its main characters, but which refuses to explore them except superficially, Maine undermines audience expectations at every turn by remaining oblique and often dramatically inert; blessed though by Donald R. Monroe’s movement of the camera, and a succession of perfectly framed shots of the Appalachian Trail itself, this will no doubt have its supporters, but this is one time where the Emperor really has forgotten to dress himself before going out in public.

A Walk in the Woods (2015)

18 Friday Dec 2015

Posted by dullwood68 in Movies

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Tags

Appalachian Trail, Bill Bryson, Comedy, Drama, Emma Thompson, Hiking, Ken Kwapis, Literary adaptation, Mary Steenburgen, Nick Nolte, Review, Robert Redford, True story

D: Ken Kwapis / 104m

Cast: Robert Redford, Nick Nolte, Emma Thompson, Mary Steenburgen, Kristen Schaal, Nick Offerman, R. Keith Harris, Susan McPhail

It all starts with a verbal chastisement-cum-ambush on TV: celebrated author Bill Bryson (Redford) is being interviewed and distinctly not feeling the love. When asked if he has retired, Bryson responds by saying, “Writers don’t retire. We either drink ourselves to death or blow our brains out.” The interviewer is unimpressed: “What will it be for you?” Bryson is resigned: “After this interview, probably both.” But the interviewer has found the nub of Bryson’s dilemma as an author, namely what to write about next.

He’s no nearer finding an answer while attending a funeral. While taking a break from the rest of the mourners, he finds himself on part of the Appalachian Trail, a hiking trail that runs 2,200 miles from Springer Mountain in Georgia all the way to Mount Katahdin in Maine. Suddenly inspired, Bryson tells his wife, Catherine (Thompson), that he’s going to hike the entire trail, despite being unfit and too old. Catherine is horrified by the idea, and takes to leaving newspaper and internet clippings around for him to see, with headlines such as “Decomposed body found on trail” in an effort to dissuade him. Eventually she gets him to agree to hike with a companion. Bryson reaches out to several of his male friends but they all turn him down. It’s only when an old friend he hasn’t seen in years, Stephen Katz (Nolte) gets in touch and volunteers to go with him that the trip becomes a go.

There are reservations though (how could there not be?). Bryson and Katz always used to rub each other up the wrong way, and back when they were friends, Katz was an habitual womaniser and alcoholic. But he tells Bryson he’s in good shape and ready to go on the hike. When Bryson and Catherine meet him at the airport, Katz’s physical condition raises cause for concern but he assures them he’ll be fine. They set out on the trail from Springer Mountain and soon find it hard going, much more so than they expected. Along the way they meet a variety of people, including the ever-talkative, ever-opinionated Mary Ellen (Schaal), a woman named Beulah (McPhail) who Katz hits up for a date (unaware that she’s married), and motel owner Jeannie (Steenburgn), who develops a crush on Bryson. They have an encounter with bears, hike through heavy snow drifts, and manage to fall down onto a ledge that they can’t get back up from (until two other hikers come along and rescue them).

And… that’s about it. For most of its running time, A Walk in the Woods proves to be a light-hearted, lightweight walk on the wild side, as Bryson and Katz tramp their way along the trail like two men at the head of the hip transplant list. They reminisce, they argue, they bicker, they explore notions of personal regret, and they remain “nice” throughout. Even when they have the expected and entirely predictable falling out, the movie has made it to that point with so little drama attached to it that you could be forgiven for thinking it had all been written out of the story. And it serves to highlight the story’s one major problem: once they’re on the trail, all the excitement is given little or no attention, and any potential for drama is wasted.

Once on the trail, Bryson and Katz are amiable enough companions, amiable to suit their own needs, and amiable enough for the time to pass without undue hardship or hazards to slow them down (even when they do fall down onto that ledge). It’s a hike that has its fair share of incidents but none of them are dramatic enough to warrant more than a passing interest. There’s also a distinct lack of personal growth for both Bryson and Katz, even though the script by Michael Arndt and Bill Holderman tries hard to include this idea. What we’re left with is a series of mildly amusing anecdotes peppered with isolated, random musings on the fate of the surrounding wilderness (one of the few thematic aspects of the novel retained by the movie). It wouldn’t be so bad if it weren’t so anodyne and disturbingly bland in its execution.

If the movie has anything going for it, it’s the scenery, beautifully lensed by DoP John Bailey. Parts of the trail are absolutely stunning, and the cinematography picks them out and, occasionally, makes them seem hyperreal, as with the McAfee Knob overlook, a jutting piece of rock that allows for a panoramic view of Virginia’s Catawba Valley. Against this splendid backdrop, Bryson and Katz’s mythologising of their younger days pales into insignificance, and the longer the hike goes on, the less involving it becomes, until the viewer is left with the same level of interest as someone having to sit through an extended slideshow of the same journey.

As the OAP’s who can survive a serious fall without so much as a scratch between them, Redford and Nolte make for a comfortable double act, but there’s little that allows them to spark against each other. Thompson makes more of an impression in her limited supporting role than either actor does across the whole movie, while Steenburgen, Schaal and Offerman all make temporary forays into the limelight before being quickly forgotten. Overseeing all this is Kwapis, a director best known for his work on US TV shows such as The Office and Malcolm in the Middle. In actuality he doesn’t so much direct the movie as guide it by the arm from scene to scene so that no harm comes to it.

Rating: 5/10 – with Bryson’s trademark acerbic wit toned down, and his love of knowledge for knowledge’s sake given few occasions to shine, A Walk in the Woods is a passion-free project that ambles along like its two aging stars, and like them, doesn’t take too many risks; with as little ambition employed as possible, it’s still a pleasant enough movie to watch, but it’s not one that will encourage anyone to take up the same challenge that Bryson did.

Wild (2014)

22 Thursday Jan 2015

Posted by dullwood68 in Movies

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Tags

1100 miles, Cheryl Strayed, Drama, Hiking, Jean-Marc Vallée, Laura Dern, Literary adaptation, Pacific Crest Trail, Reese Witherspoon, Review, True story

D: Jean-Marc Vallée / 115m

Cast: Reese Witherspoon, Laura Dern, Thomas Sadoski, Keene McRae, Michiel Huisman, W. Earl Brown, Gaby Hoffmann, Kevin Rankin, Brian Van Holt, Cliff De Young, Mo McRae

While resting at the top of a hill and seeing to an injured toe, Cheryl Strayed (Witherspoon) sees one of her boots tumble to the bottom of the hill. Angry at this unfortunate event, she picks up her other boot and throws it after the first one. From there we flashback to her arrival at a motel and her preparations for the beginning of the 1,100 mile walk that is the Pacific Crest Trail. Setting out alone as a way of healing herself following the end of her marriage to Paul (Sadoski), the death of her mother, Bobbi (Dern), and years of promiscuous, drug-related behaviour, Cheryl’s pack is too heavy, and she needs a ride to the start of the trail, which she finds at a gas station. Once on the trail she begins to relive memories of her childhood, her mother, and her adult life, all jumbled together in a way that confuses her or makes her sad.

Along the trail she meets a variety of people, all of whom help her in some way, either by passing on good advice – fellow hiker Greg (Rankin) – by helping to lighten her pack – Ed (De Young) – or by giving her food – Frank (Brown) and Annette (Hoag). As she tries to make sense of her memories, and the events that have led her to walking the trail, Cheryl becomes more and more proficient at hiking, and more and more aware of how much her life has seemed to lack control. She remembers precious times with her mother, a free spirit who remained positive despite an abusive marriage. And she begins to remember the illness that caused her mother’s death and the effects it had on her, and her brother, Leif (Keene McRae).

The hike throws up some obstacles and encounters that Cheryl has to overcome. A detour due to heavy snowfall proves to be just as awkward as the actual trail, while an encounter with two hunters leads to an uncomfortably tense confrontation with one of them, and the loss of her boots leads to her walking fifty miles in sandals wrapped in duct tape. The hike also throws up emotional problems surrounding the period after her mother’s death, and her marriage, as well as the events that led to her deciding to walk the trail in the hope of putting her life back together.

At first glance, Wild is a collection of disjointed, disconnected, randomly assembled scenes that fail to resonate with each other, and which appear to have been put together by someone whose idea of editing is to chuck each scene up in the air, see where they all land, and then connect them by virtue of which one is closest to another. But to presume that is to miss out on the virtues of one the best edited movies of 2014 – or any year – and which creates its own rhythm, a steady rise and fall that takes each stretch of the trail and cleverly complements Cheryl’s progress on the journey with the progress she makes in dealing with the issues that have brought her there.

It’s a breathtaking accomplishment, with Cheryl the touchstone connecting it all, as her initially frayed and jumbled thoughts gradually straighten themselves out and she – along with the audience – begins to understand the motives and emotions that saw her life crumble and shatter and become self-destructive. As she comes to terms with all the emotional baggage she’s carrying with her (and on top of her “monster” of a rucksack), Cheryl gains an inner strength she’s never had before, and an inner resolve that will ensure she reaches the end of the trail, and a new beginning. In the hands of screenwriter Nick Hornby, this is powerful stuff, with few punches pulled and fewer trite explanations given for Cheryl’s behaviour after Bobbi’s death.

Witherspoon is on fine form here, portraying Cheryl in a way that’s moving and sensitive throughout, imbuing pre- and post-hike Cheryl with two distinct personalities, the first of which is best summed up as unwittingly hostile in her scenes with Bobbi, and self-deprecating in her scenes with Jonathan (Huisman), who she has a one night stand with at the end of the trail (it’s almost like she’s giving herself a reward). As well as an impressive emotional performance, Witherspoon also puts in a tremendous physical performance, making it seem as if she really has walked 1,100 miles in search of the answers to Cheryl’s problems. Witherspoon is a seriously underrated actress, despite her Oscar win for Walk the Line (2004), but here she shows just how effective she can be, juggling grief, sorrow, pain, frustration, regret and anger with a studied intelligence that is quite remarkable.

Making Wild after the success of Dallas Buyers Club (2013), Vallée takes the linear narrative rulebook and throws it out of the window, creating a rich, evocative tapestry of scenes that dovetail and flex around each other with a precision and accuracy that few other directors would attempt, let alone succeed in pulling off. It’s virtuoso stuff, ambitious and bold in its construction, and it makes watching the movie like putting together a jigsaw puzzle: at times frustrating because some of the pieces won’t fit, but when they finally do, everything is that much clearer and precise. Vallée also draws a superb performance from Dern, another actress who has become underrated in recent years, but who plays Bobbi with passion, subtlety and a sound understanding of her failings as a wife and a mother.

The Pacific Coast Trail itself is beautifully filmed by Yves Bélanger, the California, Oregon and Washington locations providing a vivid background to Cheryl Strayed’s trek, and as mentioned before, the whole thing is edited with incredible exactitude by John Mac McMurphy and Martin Pensa. Vallée orchestrates everything with skill, and a visual dexterity that makes Cheryl’s journey so mesmerising to watch.

Rating: 8/10 – Witherspoon and Dern are superb, and the construction of the movie, and its visual splendour, make Wild a fantastic achievement; heartfelt, and demanding of the viewer’s close attention, it’s a movie that weaves its hypnotic spell in scene after scene and proves completely rewarding.