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thedullwoodexperiment

~ Viewing movies in a different light

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Tag Archives: Natalie Portman

Vox Lux (2018)

05 Tuesday Mar 2019

Posted by dullwood68 in Movies

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Tags

Brady Corbet, Drama, Fame and fortune, Jude Law, Music, Narration, Natalie Portman, Raffey Cassidy, Review, Stacy Martin

D: Brady Corbet / 114m

Cast: Natalie Portman, Jude Law, Raffey Cassidy, Stacy Martin, Jennifer Ehle, Christopher Abbott, Logan Riley Bruner, Maria Dizzia, Willem Dafoe

In 1999, teenager Celeste Montgomery (Cassidy) is seriously wounded in a school shooting that leaves the rest of her classmates dead. Along with her sister, Ellie (Martin), she writes a song about the experience that is first played at a memorial service for the victims, and which draws the attention of an influential manager (Law). He takes the sisters under his wing, and gets them signed to a record company. Using their song as the launchpad for an album, their manager takes them to Stockholm, where they record new songs, while experiencing the kind of lifestyle that is both attractive and dangerous. In 2017, Celeste (Portman) is on the verge of releasing her sixth album – and making something of a comeback – when terrorists kill a number of tourists at a beach resort in Croatia, and wear masks that are similar to ones used in a music video Celeste made when her career was just starting. Faced with probing questions from the press about any possible links to the terrorists, Celeste also has to cope with the needs of her teenage daughter, Albertine (Cassidy), and her now fractured relationship with Ellie…

With The Childhood of a Leader (2015), actor turned director Brady Corbet established himself in one fell swoop as a movie maker to watch out for. With Vox Lux, Corbet has chosen to explore a familiar narrative – the perils of achieving stardom at a young age and how that same stardom can be both empowering and corruptive – but in an unfamiliar, avant-garde way that frequently stretches the narrative out of shape (and sometimes out of context as well), and presents viewers with two versions of the same character: the naïve, impressionable Celeste, and the jaundiced, disillusioned Celeste. Corbet allows the former version to be likeable and appealing and someone you can sympathise with, an ingenue whisked away from her parents and her small town life and exposed to the “real world” at a bewildering speed, and despite the best intentions of her manager, to the harsh truths of that world. But the latter version is the opposite, jaded and bored and prone to flying off the handle because she’s the one with the talent – Ellie has been all but forgotten in 2017 – and she’s the one carrying everyone else. She wants to connect with her daughter, but has never developed the skills to do so. All she knows is her career.

By showing Celeste at the beginning of her career, and then where she is now, Corbet makes some damning comments about the nature of fame and celebrity, but though the movie is visually fresh and exciting, his narrative isn’t, and Portman’s Celeste is prone to saying things like, “The business model relies on the consumer’s unshakable stupidity” as if this is a) profound, or b) something we didn’t know already. It’s the flaw in Corbet’s screenplay: none of what he’s showing or telling us is new; there are no great revelations here, merely reiterations of ideas that we’ve heard many times before. This makes the movie visually arresting – Corbet isn’t one to shy away from experimenting with an excess of style – but less than intriguing, and though Portman and Cassidy are terrific as Celeste, the character doesn’t get under the viewer’s skin in a way that would allow an emotional response to what she’s going through. Corbet puts Celeste in the midst of tragedy time and again, but how all this actually affects her remains something of an unexplored mystery, and by the end, and an extended sequence that sees Portman strutting her stuff on stage to a buoyant electropop song medley, whatever message Corbet has been trying to get across is lost amongst all the bright lights and the glamour. Or maybe that is the message…

Rating: 6/10 – with narration from Willem Dafoe that feels like it should be attached to an adaptation of a classic novel, and inventive approaches to both its tone and content, Vox Lux is a mixed bag that has the ability to frustrate and reward at the same time; not as compelling a tale of burdensome fame and fortune as it wants to be, but fascinating nevertheless for Corbet’s confidence behind the camera, this is one movie whose merits are likely to be debated for some time to come.

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The Heyday of the Insensitive Bastards (2015)

14 Tuesday Nov 2017

Posted by dullwood68 in Movies

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Tags

Amber Tamblyn, Childhood, Drama, Jacob Loeb, James Franco, Jeremy David White, Jim Parrack, Kate Mara, Keir Gilchrist, Kristen Wiig, Mark Columbus, Memory, Natalie Portman, Review, Ryan Moody, Sarah Jean Kruchowski, Shadae Lamar Smith, Simon Savelyev, Thomas Mann, Vanita Shastry

D: Ryan Moody, Mark Columbus, Sarah Jean Kruchowski, Shadae Lamar Smith, Vanita Shastry, Simon Savelyev, Jeremy David White / 97m

Cast: James Franco, Abigail Spencer, Rico Rodriguez, Matthew Modine, Kate Mara, Amber Tamblyn, Kristen Wiig, Tony Cox, Jimmy Kimmel, Jim Parrack, Natalie Portman, Thomas Mann, Keir Gilchrist, Bo Mitchell, Jacob Loeb, Kelsey Ford, Tyler Labine

A collection of seven short movies adapted from the short story collection of the same name by Robert Boswell, The Heyday of the Insensitive Bastards is that inopportune beast, a movie with no clear, discernible focus other than a plan to relate various tales of longing and regret, and all with the same dour approach to each of the “slices of life” that are depicted. A project that was assembled by graduate students of James Franco’s UCLA moviemaking class, it’s telling that the movie was first seen at the Atlanta Film Festival back in March 2015, but is only now receiving a limited release in the US. It’s an arthouse movie, structured in a way that makes it seem more knowing and truthful than it actually is, and which proves only moderately successful in its aims and ambitions.

The seven tales on display are a mixed bunch, both in terms of their content, and in their relation to each other. The first, A Walk in Winter, sees Conrad (Franco), a young man returning to his hometown to identify the remains of a body that may be that of his long-missing mother. An extended visit to the sheriff’s office reveals a childhood beset by abuse and further mystery. The second, Guests, concerns a young boy, Charlie (Rodriguez), who has to deal with his ailing, cancer-stricken father (Modine) and a school bully at the same time. He’s the quintessential chubby kid who’s picked on because he’s different (thanks to his dad), but he’s not the pushover everyone thinks he is. In the third tale, Almost Not Beautiful, sisters Lisa (Mara) and Amanda (Tamblyn) revisit aspects of their childhood while also trying to reconnect after spending some time apart. In doing so they discover a mutual dependency that they’d forgotten about. The fourth tale, Miss Famous, features a maid, Monica (Wiig), whose antipathy towards her clients provokes fantasies where she is rich and famous.

In the fifth, Lacunae, a young man, Paul (Parrack), also returns to his hometown, ostensibly to see his parents, but also to see an ex-girlfriend, Laura (Portman), who may have given birth to their son. Paul is adamant that the child isn’t his, but he can’t resist seeing for himself. In the sixth tale, Smoke, three friends (Gilchrist, Mann, Mitchell) sit round a camp fire and tell bogus stories of their sexual exploits. Each is seeking approbation from the other two, and each story is clearly a longed-for fantasy. And in the final tale, The Heyday of the Insensitive Bastards, another young man, this time called Keen (Loeb), attends a party where he not only hooks up with a young woman, Lila (Ford), but also finds himself in serious trouble with the law. Each tale is bookended by clips and randomly assembled stills from old home movies and family celebrations, and all of which adds a melancholy feel to the material, and which also serves to provide a sense that these tales take place in a time and a place where nostalgia doesn’t provide a soothing balm, but quite the opposite.

With any collection of stories that are meant to have a unifying theme, that theme needs to be evident – even if it’s to varying degrees – in order for the overall movie to work effectively, and also to offset the obvious problem whereby the viewer is forced to reinvest their attention every ten to fifteen minutes in a new story and new characters, while also attempting to assimilate each tale into an organic whole. This is where any portmanteau movie succeeds or fails, but in this case, it’s very nearly a draw, with three stories lacking any appreciable impact by themselves, three other stories working effectively on their own, and one having a foot in both camps. As a whole, though, the movie remains sporadically engaging, with its broader themes of memory and fantasy pushed to the fore when its more telling themes of disappointment and paralysed ambition should be front and centre. This isn’t a feelgood movie, and nor does it come with any message of hope for its characters. Mistakes have been made, and more mistakes will be made as they move forward with their lives. The question is, will any of them learn from their mistakes?

With childhood trauma leading the way in explaining why these characters behave and struggle as they do, each director approaches their tale in a way that, unfortunately, isolates each one from the rest. There’s no symmetry to the stories, and no unifying directorial approach (other than that there is no unifying approach), all of which leaves each episode feeling under-developed or prosaic. Despite some good performances – Franco, Tamblyn, Wiig, Portman, Loeb – the movie relates each tale as if it contains a singular message within itself, and a broader message for everyone to pick up as well (though just when is difficult to work out). But the problem is that with only three of the stories working effectively enough on their own – and they are A Walk in Winter, Guests, and The Heyday of the Insensitive Bastards – too much of the movie feels like there should be more to it, and too much of the movie feels like it should be making more of a connection with the viewer.

That said, there’s no denying the ambition and some of the talent on display behind the camera – Moody, Columbus, and White stand out in particular – but it’s all in service to material that isn’t as compelling as it should be given Boswell’s talent as a writer (he also provides the movie with a jaundiced, earnest narration). Some viewers may find some of the tales hard to decipher, while others may feel there’s no need for any deciphering at all, but what is clear is that some amount of interpretation is required, but that it won’t benefit the viewer in the long run. Sometimes, a teenager bragging about having sex with an older woman, is purely wish fulfilment and nothing more. It doesn’t need to resonate, and it doesn’t here. This, ultimately, is where the movie falters, by failing to resonate. And no matter how much effort has been spent, and no matter how much artistic endeavour is on display, when the tale itself isn’t able to carry the viewer forward then it’s time to move on to the next one… unless the next one has the same problem.

Rating: 5/10 – a great idea for a graduate project that proves to be less than a great idea for a movie as a whole, The Heyday of the Insensitive Bastards wants to be engaging and meaningful, but hasn’t the consistency to make it all work; some tolerance is required to get through the more sluggish and unaffecting episodes, but despite a clutch of good performances, it remains a frustrating experience and one that should be approached with caution.

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Jackie (2016)

30 Monday Jan 2017

Posted by dullwood68 in Movies

≈ 2 Comments

Tags

Billy Crudup, Biography, Drama, Funeral, Greta Gerwig, Historical drama, Interview, Jacqueline Bouvier Kennedy, Natalie Portman, Pablo Larraín, Peter Sarsgaard, President John F. Kennedy, Review, The White House, True story

14757631562jackie-movie-poster-natalie-portman

D: Pablo Larraín / 100m

Cast: Natalie Portman, Peter Sarsgaard, Billy Crudup, Greta Gerwig, John Hurt, Richard E. Grant, Caspar Phillipson, Beth Grant, John Carroll Lynch, Max Casella

A week after the assassination of President John F. Kennedy (Phillipson) in November 1963, his widow, Jacqueline Bouvier Kennedy (Portman) – otherwise known as Jackie – summoned the journalist Theodore H. White (Crudup) to her home at Hyannis Port. White had won the Pulitzer Prize for general non-fiction with his book The Making of the President, 1960, an account of the election that saw Kennedy win the Presidency. Jackie’s idea was for White to write an article that would be published in Life magazine, and which would show a correlation between her late husband’s administration and King Arthur’s court at Camelot. White agreed, and guided by Jackie’s suggestions, he wrote a thousand word essay that stressed the Camelot comparison.

This is the basis for Jackie, the latest movie to pick over the bones of Kennedy’s assassination and its wake. By using White’s “interview” with Jackie, the movie shows how Jackie dealt with the demands of suddenly becoming a former First Lady, balancing her public persona with her private feelings, arranging her husband’s funeral, and most important of all, protecting and promoting his legacy. It’s this that forms most of the narrative, as Jackie seeks to cement Kennedy’s place in history. Even riding in a hearse with brother-in-law Bobby Kennedy (Sarsgaard) (and this shortly after Kennedy’s body has been released from Parkland Hospital), Jackie is keen to make the point that nobody remembers James A. Garfield or William McKinley, both assassinated while in office, but they do remember Abraham Lincoln – and all because of his legacy as a President.

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But her husband’s legacy isn’t the only thing she appears focused on. There’s also the matter of what she regards as “the truth”. She wants the American public to see the full horror of what she experienced on 22 November 1963; to this end she doesn’t change out of that famous pink Chanel suit she wore on the day when she’s given the opportunity, and even though it’s spattered with her husband’s blood. She keeps it on for the rest of the day – at Parkland Hospital, during Lyndon B. Johnson’s impromptu inauguration, at the airport in Washington (where she refuses to leave by the back of the plane so as to avoid the reporters), and finally in the White House, where she wanders the various rooms as if only now beginning to come to terms with the enormity of what happened earlier that day in Dallas, Texas.

In the days that follow, we see Jackie behave erratically but with some deep-rooted purpose that only she understands, tackling the issue of whether or not to walk behind the coffin, and what she’ll do once she leaves the White House. She confides in one of her retinue, Nancy Tuckerman (Gerwig), one of the few people who can raise her spirits and bring a smile to Jackie’s face, and a priest, Father Richard McSorley (Hurt), who offers her spiritual comfort. But she remains almost defiantly isolated, determined to continue in her own way, and against the wishes of the new administration when it matters.

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In focusing on Jackie in the hours and days following Kennedy’s assassination, the movie gives the viewer the opportunity to eavesdrop on the very private grief of a very public person, someone who put on a brave face for the cameras, but who also kept herself at a distance, despite wanting people to see “the truth”. It’s this dichotomy that makes Jackie the person endlessly fascinating to observe, and Jackie the movie somewhat disappointing in terms of the narrative. We see Jackie at various points, both in time and in place, throughout the movie. There are scenes in Dallas, in Washington, inside the White House, at Hyannis Port, but many of them feel like snippets of memory, connected discretely to each other by the random nature of Jackie’s thoughts and emotions. When she and White (known only as the Journalist, for some reason, in the credits) sit down to discuss the article, their conversation often goes off at a tangent, and Noah Oppenheim’s screenplay encourages this, as if it will give us a better understanding of Jackie in those four days between JFK’s death and his funeral. But it’s obvious: she’s trying to weather those four days as best she can until she can grieve properly, away from prying eyes.

With the script trying to add layers where they’re not needed, it’s left to Natalie Portman to save the movie from its all-too-clever design, and deliver a nigh-on faultless performance, burrowing under Jackie’s skin and finding the nerve centre of someone who was never entirely comfortable being in the public spotlight, but who instinctively knew the public’s perception of JFK as a great President – hence the parallel with Camelot – needed to be kindled as quickly as possible after his death, and that she was the only one who could do it. Portman portrays this single-mindedness with a quiet intensity, perfectly capturing Jackie’s “feisty” nature in private, and her more vulnerable, debutante persona in front of the cameras and/or reporters’ notebooks. There are moments in the movie when you could be forgiven for thinking that Jackie is “absent” from the room, or a conversation. But Portman’s portrayal is more subtle than that, and she gauges these “absences” with an acute awareness that a character’s stillness or silence often means more than is seen on the surface.

movie_jackie-2016

If there’s one problem with Portman’s magnificent performance, it’s that it overshadows everything else the movie attempts or gets right. Jackie, ultimately, stands or falls thanks to Portman’s efforts, because without her command of the character (and Jackie’s odd accent), the movie lacks little else to keep the audience’s attention from wandering. Making his first English language movie, Chilean director Larraín displays an aptitude for scenes of sombre regret, and along with Portman fleshes out Jackie’s character to impressive effect, but there still remains the feeling that Jackie (the person) has been assembled from random aspects of her personality that seem a good fit for the narrative rather than a true representation of what she was really like at the time. At best, this is an interpretation of Jacqueline Bouvier Kennedy; at worst it’s an impression.

On the technical side, Jackie flits between looking stunning, and looking bland depending on the requirements of the script, and the budget. The interiors of the White House, faithfully recreated in a studio outside Paris, France, are dazzling examples of what can be achieved when you have the talents of production designer Jean Rabasse, art director Halina Gebarowicz, and set decorator Véronique Melery on board. And yet, if you contrast these wonderful sets with the motorcade sequences, it’s like the difference between day and night, with the scenes in Dallas looking like they’ve been shot on a closed stretch of road and with only two cars available for filming. And despite the best efforts of cinematographer Stéphane Fontaine, the movie never overcomes these disparities. In contrast, Mica Levi’s tonal, somewhat sepulchral score is a good match for the material, and acts as an emotional undercurrent to Jackie’s grief and displacement.

Rating: 8/10 – fans of low budget independent dramas will enjoy Jackie for its slow, measured pace, refusal to explain everything that’s going on (with Jackie herself), and Portman’s exquisitely detailed performance; an attempt at an intimate portrayal of a very private person, the movie glides majestically along for most of its running time, and gives the impression of being more meanngful than it actually is, but it still has a lot to offer both the casual and the more interested viewer.

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Jane Got a Gun (2015)

19 Saturday Mar 2016

Posted by dullwood68 in Movies

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American Civil War, Drama, Ewan McGregor, Gavin O'Connor, Joel Edgerton, Natalie Portman, Production problems, Review, The Bishop Gang, Western

Jane Got a Gun

D: Gavin O’Connor / 98m

Cast: Natalie Portman, Joel Edgerton, Ewan McGregor, Noah Emmerich, Rodrigo Santoro, Boyd Holbrook

Since its announcement back in 2012, Jane Got a Gun has had a difficult production history. Lynne Ramsay was the movie’s original director, but with a week to go before actual filming began, disagreements with the producers caused her to leave the project. Natalie Portman remained attached to the project, while her male co-stars changed almost as quickly as they were announced. Michael Fassbender was cast as Jane’s ex-lover, Dan Frost, but had to drop out thanks to scheduling conflicts with X-Men: Days of Future Past (2014). Joel Edgerton, originally cast as the movie’s villain, John Bishop, was recast as Frost. And to take over the vacated role of Bishop, Jude Law was brought on board. However, Law had only signed on because Ramsay was directing; when she left the production, so did Law. Next up as Bishop was Bradley Cooper, but scheduling conflicts would again rob the movie of one of its stars, as the actor was needed on American Hustle (2013) (thank God Ewan McGregor wasn’t too busy).

The script also underwent a rewrite. Brian Duffield’s original screenplay, which had appeared on the 2011 Blacklist, was given an overhaul by Anthony Tambakis and Edgerton, and just in case the changes in acting personnel weren’t enough, first choice DoP Darius Khondji left the project along with Ramsay and was replaced by Mandy Walker. With Gavin O’Connor on board as the movie’s new director, the New Mexico shoot went off relatively smoothly, and a mid-2014 release was pencilled in. But this was pushed back to early 2015, and then delayed again until September. A further delay saw the world premiere arranged for 16 November in Paris, but the terrorist attacks that occurred three days before caused the premiere to be postponed. And to add insult to injury, when the movie was finally released in the US by the Weinstein Company it proved to be the worst wide release in the company’s history.

JGAG - scene1

But what of the movie itself? Is its tortured production and release history reflected in the quality of the movie, or has it managed to overcome all the setbacks that waylaid it over the course of three years? The answer – unsurprisingly – is yes and no. Even if you’re not aware of the movie’s history, watching it will soon give the impression that something’s not quite right, that there’s something missing, something that went astray during filming. And it won’t take the interested viewer long to realise that part of that “something” is cohesion.

Jane Got a Gun takes a non-linear approach to its narrative, offering flashbacks at every opportunity in order to fill in its back story and explain its characters’ motives. While it’s not the first movie to adopt this strategy, it is one that makes a particularly awkward fist of it. And it does so in such a piecemeal fashion that it’s hard to work out if it was a deliberate decision by Tambakis and Edgerton, or was present in Duffield’s original script. Either way, the narrative lacks momentum and comes across as unavoidably fractured. The basic story – frontier wife seeks ex-lover’s help when the gang her husband double-crossed comes looking for them – is strong enough to withstand too much tampering, but here the back story of Jane and Dan just gets in the way. A more straighforward storyline would have benefitted the movie greatly, and maybe there’s another cut of the movie out there somewhere where that approach has been adopted, but otherwise, Jane Got a Gun too often lacks focus in the time it takes for Bishop and his gang to reach Jane’s home.

JGAG - scene2

The movie also struggles with the quality of its dialogue. Some viewers might be convinced that Brian Duffield is a pseudonym for George Lucas, such is the arch, clichéd nature of some of the lines (or that Tambakis and Edgerton shouldn’t be allowed to collaborate on a script ever again) and there are too many moments where the by now trapped viewer will be wincing at some of the utterances that were allowed to stay in place. Whether or not anyone noticed seems irrelevant now given the whole raft of other problems the movie had to deal with, but sometimes the dialogue is so clunky and uninspired that anyone watching will wonder if it had to be that bad.

Thankfully, though, the movie isn’t that bad all the way through. As the beleaguered and heavily put upon Jane of the title, Portman maintains a stoicism and a sense of her rightful place (by her husband) that when Frost’s past relationship with her becomes clearer, along with the undercurrents that bind them together, these aspects give the movie an emotional depth that is pleasantly surprising (and welcome). Portman also knows when to rely on her passivity to speak volumes for the character, as in the early scenes where Jane’s pride is put aside due to the necessity of speaking to Frost. For his part, Edgerton matches Portman for moody introspection, paring Frost down emotionally and physically, letting his injured feelings seep out through the looks and glances he gives Jane. Together, Jane and Frost make for an affecting couple, both tied down by the bad decisions that each has made, and Portman and Edgerton both show the limiting effects those decisions have had, and the overwhelming sense of regret that comes with them.

JGAG - scene3

As the villainous trail boss and outlaw Bishop, McGregor has a hard time making him less unctuous and more intimidating than the character appears at first, and he’s not helped by the kind of moustache that cries out to be twirled (while he makes mwah-hah-hah sounds). Emmerich’s role is fleshed out by the flashbacks, and there are efficient turns in minor roles from Santoro and Holbrook, otherwise it’s all Portman and Edgerton, one decision the script gets right all along. There’s a fiery showdown that is let down slightly by the same shot being included twice, and a twist in the tale that facilitates a happy ending the movie didn’t really need, but all in all the tone and the pacing allow the movie to breathe when it needs to, and gives the viewer the chance to appreciate the movie’s better qualities, buried as they are beneath some of the less effective narrative decisions.

In addition it’s beautifully shot by Walker, and the editing by Alan Cody, who did some excellent work on the mini-series The Pacific (2010), matches the laconic, melancholy mood so perfectly at times that, again, you wish the script had been tighter. O’Connor doesn’t give the audience anything too spectacular or impressive to look at – what Ramsay would have made of the material remains a tantalising prospect – but he does keep a firm rein on proceedings and doesn’t make the mistake of including too many obvious directorial flourishes (though there are a few too many moments where the action is seen through a window or is distorted by glass). Backed up by a low-key yet expressive score from Lisa Gerrard and Marcello De Francisci, Jane Got a Gun may not be a movie that has overcome its troubled production history entirely, but it does get more things right than wrong.

Rating: 6/10 – good Westerns are hard to find these days, and while Jane Got a Gun suffers from a lack of cohesion in its story elements, it still contains enough good material to be worth watching; with good performances from Portman and Edgerton to help things along, this is one movie that deserves to be known for something more than the difficulties it faced in getting made.

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Trailer – Jane Got a Gun (2015)

08 Tuesday Dec 2015

Posted by dullwood68 in Movies

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Ewan McGregor, Natalie Portman, Preview, Trailer, Western

It seems that eventually, and even if you’re an actress whose career to date has involved making largely independent movies with the occasional foray into big budget features, then it will come to pass that you will play the heroine in an action movie. And now it’s Natalie Portman’s turn (and before anyone mentions it, no, her role in Your Highness (2011) doesn’t count – it’s just a crap comedy, not an action movie). Here she plays a frontierswoman who falls foul of a ruthless gang of outlaws (led by Ewan McGregor) when her husband crosses their path. She seeks the help of an ex-lover (played by Joel Edgerton) to face them down. From the trailer it’s clear that Jane Got a Gun looks as if it’s got enough Western clichés in it to stuff an unfortunate mule, but the cast usually deliver good value, and though the production has had its problems – original director Lynne Ramsay quit the project early on, cinematographer Darius Khondji and star Jude Law quit as well in support of Ramsay, its world premiere was scheduled for 16 November in Paris, but following the terror attacks was cancelled – there’s still enough here to keep the movie looking like an interesting prospect, and Portman’s final line in the trailer is delivered so convincingly you’ll want to see the movie just to find out if she does what she threatens.

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Ten Stars and the Movies You Might Not Realise They Were In

10 Sunday May 2015

Posted by dullwood68 in Movies

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Actors, Actresses, Amy Adams, Cameos, Cameron Diaz, Colin Firth, Early movies, Ian McKellen, Jason Statham, Jeremy Renner, Julianne Moore, Leonardo DiCaprio, Movie stars, Natalie Portman, Nicolas Cage, Performances, Robert Downey Jr, Stars

Sometimes, watching old movies can provide the occasional surprise, like seeing an actor or actress in an early role – or movie – when you least expect it. This happened to me recently when I saw National Lampoon’s Senior Trip (1995) (I’m a National Lampoon movie completist – what can I say?). Imagine my surprise when I saw Jeremy Renner’s name come up in the title credits. Imagine my further surprise when it turned out he gave one of the best performances in the movie (though not that much of a surprise if you’ve seen it).

It got me thinking about other stars and their early appearances, and what other movies are out there with fledgling – or fleeting – performances from today’s big name actors and actresses. So, a few quick searches on imdb.com later, and voilà!, this post was born. I hope you have some fun with it, and if there are any other examples that you think should have been included, or are worth mentioning, feel free to let me know.

Leonardo DiCaprio – Poison Ivy (1992)

While it’s well-known that DiCaprio’s first movie role was in Critters 3 (1991), what’s perhaps less well-known is his participation in Katt Shea Ruben’s perverse shadow play of teenage sexuality run amok. But before anyone gets too excited, his role in the movie (as ‘Guy”) amounts to a walk-on part where he comes out of a school building and crosses in front of the camera. It’s a blink-and-you’ll-miss-it part, and perhaps best regarded as an example of how good DiCaprio’s agent was back then: out of nothing he got ninth billing.

Robert Downey Jr – Weird Science (1985)

Way back before he became Marvel’s go-to guy for the grounding of their Cinematic Universe, Downey Jr made an appearance in this fondly remembered ode to teenage hormones and the fetishisation of Kelly LeBrock. Cast as “Ian”, Downey Jr plays a bit of a douchebag who acts as a bully to the two main characters. It’s not a particularly memorable role, and there’s nothing to suppose that his career would take off in the way it has – twice – but it’s in keeping with John Hughes’ studied look at teenagers and their idiosyncrasies, and isn’t too embarrassing when looked back on from thirty years later.

Robert Downey Jr

Julianne Moore – The Hand That Rocks the Cradle (1992)

As the realtor who holds the key to the reason for Rebecca De Mornay’s psychotic dismantling of Annabella Sciorra’s life, Moore made only her second movie, and met a memorable end in a booby-trapped greenhouse. Feisty and forthright – almost a template for some of her future roles – the Oscar-winning actress catches the eye but still doesn’t quite give notice of how good an actress she really is. That would be left to Short Cuts (1993), one of her most memorable performances.

Julianne Moore

Colin Firth – The English Patient (1996)

As the movie’s star-crossed lovers, everyone remembers Ralph Fiennes and Kristin Scott Thomas, but when it comes to the actor playing Thomas’s jilted husband, that’s when the mind may well go completely blank. But Firth matches his (then) more illustrious co-stars, and shows that, only a year after playing Mr Darcy in the BBC’s Pride and Prejudice, that he can play a cuckold just as well as a romantic heart-throb.

Colin Firth

Ian McKellen – Last Action Hero (1993)

In amongst Last Action Hero‘s gunfire and car chases and explosions, you may remember towards the end of the movie, the character of Death from Ingmar Bergman’s The Seventh Seal (1957) stepping out of the big screen and into the real world. As audacious homages go it’s a great example of what made the movie so uneven, but McKellen brings the necessary gravitas to the role, and even adds a degree of nonchalant amusement.

Ian McKellen

Amy Adams – Talladega Nights: The Ballad of Ricky Bobby (2006)

Though Adams has a track record in comedies before and since Talladega Nights, it’s unlikely that most people would place her as Will Ferrell’s love interest, whatever the circumstances (though the glasses may have helped). But as Susan, Ricky Bobby’s assistant-cum-paramour, Adams more than holds her own amidst all the manic goings-on and provides a welcome distraction from the otherwise testosterone-laden script.

Amy Adams

Cameron Diaz – Fear and Loathing in Las Vegas (1998)

One of a number of cameos in Terry Gilliam’s spirited psychedelic imagining of Hunter S. Thompson’s book, Diaz’s appearance as “Blonde TV Reporter” is brief, but a great example of the kind of “roles” that some stars will take either as a favour to the director, or just to be involved in a particular movie project. Plus it’s always fun to see someone pop up unexpectedly in a movie, even if it’s only for a moment.

Cameron Diaz

Nicolas Cage – The Cotton Club (1984)

Working with his uncle, Francis Ford Coppola, Cage’s turn as Richard Gere’s unpredictable, violent brother is another of the actor’s mercurial early roles, and a reminder of the raw, vital talent that has been lost in the welter of tired, mortgage-paying performances Cage has given us in recent years. Taking what could have been a stereotypical role and giving it the kind of spin only he could, it shows Cage acting up a storm and commanding the viewer’s attention.

Nicolas Cage

Jason Statham – Collateral (2004)

Billed as “Airport Man”, Statham has a small but pivotal role in Michael Mann’s L.A.-set thriller, and he more than holds his own in his scene with Tom Cruise. It’s the kind of unexpected appearance that enriches a movie, and lets the audience know that Statham – already an established star in his own right – can still do character work when required… and very effectively.

Jason Statham

Natalie Portman – Mars Attacks! (1996)

Three years before she became Queen Amidala in Star Wars Episode I: The Phantom Menace (1999), Portman took a supporting role as the President’s daughter, Taffy, in Tim Burton’s anarchic alien invasion romp. Sharing scenes with Jack Nicholson and Glenn Close, Portman enters into the spirit of things with gusto, and has one of the best lines in the movie: “Guess it wasn’t the dove.”

Natalie Portman

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Thor: The Dark World (2013)

05 Tuesday Nov 2013

Posted by dullwood68 in Movies

≈ 3 Comments

Tags

Action, Aether, Alan Taylor, Anthony Hopkins, Asgard, Chris Hemsworth, Dark Elves, Fantasy, Greenwich, Loki, Malekith, Marvel, Marvel Cinematic Universe, Natalie Portman, Review, Tom Hiddleston

Thor The Dark World

D: Alan Taylor / 120m

Cast: Chris Hemsworth, Natalie Portman, Tom Hiddleston, Anthony Hopkins, Christopher Eccleston, Stellan Skarsgård, Kat Dennings, Idris Elba, Jaimie Alexander, Zachary Levi, Ray Stevenson, Tadanobu Asano, Adewale Akinnuoye-Agbaje, Rene Russo

Another sequel to Avengers Assemble, rather than to the first Thor movie, this opens with a prologue that introduces us to the Dark Elves, evil creatures who want to see an end to the Nine Realms (if you’re not a Marvel fan, just go with me on this).  Their leader Malekith (Eccleston) plans to use the Aether, a swirling mass of energy that will allow him to do this when the realms are in alignment.  Thwarted by Odin’s (Hopkins) father, Malekith is forced into hiding, and the Aether is hidden “where no one will find it”.

Fast forward five thousand years (how often the realms are in alignment) and Malekith returns to do his worst.  Meanwhile, Loki (Hiddleston) is imprisoned in Asgard, Jane Foster (Portman) is unhappy that two years have past since she last saw Thor (Hemsworth), and Thor is busy bringing peace to the Nine Realms by fighting anyone who stands in his way.  Alerted to strange phenomena in a deserted warehouse somewhere in London, Jane stumbles across the Aether and becomes its host.  With Jane’s life on the line, it’s up to Thor to save both her and thwart Malekith’s evil plans.  But in order to do so he’ll need help…

Thor The Dark World - scene

This third outing for Thor is huge fun from start to finish, with spectacular set-pieces, humour that ranges from subtle to broader than Volstagg’s (Stevenson) pectorals, gravitas courtesy of Hopkins (as Odin) and Russo (as Frigga), further explorations of the fraternal bond that chafes between Thor and Loki, and the best cameo from another Avenger… ever.  The romance between Thor and Jane is given more space – which is a good thing otherwise Portman would have remained sorely under-used – while the accepted jealousy that Sif (Alexander) feels towards Jane is handled effectively.  It’s the quiet moments such as these that offset the action sequences so well, and while those sequences are directed with accomplished flair by Taylor, it’s the ongoing character developments that Marvel are getting right each time.  At the heart of the film , though, is the relationship between Thor and Loki, here given added depth by their having to work together to defeat Malekith; the interaction between Hemsworth and Hiddleston is a joy to watch.  Hiddleston has a ball (again) as Loki and grabs all the best lines, while Hemsworth continues to mature in the role he’s made his own.  Of the supporting cast, Elba, Russo and Dennings shine, while Eccleston makes more of a villain whose sole motivation seems to be ‘destroy everything’.

Taylor handles the various twists and turns of the storyline with experienced aplomb – can we stop mentioning he worked on Game of Thrones now? – and while the script by Christopher Yost, Christopher Markus and Stephen McFeely has its fair share of plot contrivances, they don’t detract from the enjoyment provided by this latest instalment in Marvel’s plans to dominate the cinema box office.  There’s also some great location work at Greenwich (three stops from Charing Cross on the underground – really?), and fantastic production design courtesy of Charles Wood.

Rating: 8/10 – top-notch episode from Phase 2 of the Marvel Universe that also helps set up the forthcoming Guardians of the Galaxy; bold and more confident in every way.  And by the way, note to Marvel: find some way to give Loki his own movie – okay?

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