Showing posts with label Pablo Larrain. Show all posts
Showing posts with label Pablo Larrain. Show all posts

Monday, April 11, 2022

(Royal) Family Feud

Films: Spencer
Format: DVD from Sycamore Public Library on rockin’ flatscreen.

There’s a specific breed of actor that has gained the ability to do whatever the hell they want to do for the rest of their careers. Elijah Wood never needs to work again thanks to the Lord of the Rings movies. The same is true of the Harry Potter franchise kids. It’s also true of Robert Pattinson and Kristen Stewart. Neither of them need to work again, and they can pick and choose whatever projects they want to work on. It’s meant that a lot of them have done some really interesting projects. And that’s led us to Kristen Stewart’s work in Spence.

This is, of course, the Princess Diana movie that doesn’t suck as opposed to the 2013 Naomi Watts film. Anyone who has followed Kristen Stewart’s post-Twilight career isn’t terribly surprised at her Oscar nomination for Spencer. She’s done fantastic work over the last half dozen years and probably deserved a nomination for Personal Shopper at the very least. To finally see her get a nomination, and one that is clearly earned, feels like a little bit of justice.

Saturday, July 22, 2017

Camelot Has Fallen

Film: Jackie
Format: DVD from Northern Illinois University Founders Memorial Library on various players.

I can’t say that I was overly excited about the prospect of Jackie, a feeling that was intensified the moment Natalie Portman opened her mouth. It’s worth noting that I honestly have no idea what Jackie Kennedy actually sounded like. It’s such an unusual intonation, but it is evidently quite accurate. It’s just so strange, breathy and with words pronounced so oddly that it was difficult to get my mind around initially.

Jackie is, of course, less the story of Jackie Kennedy than it is the story of her experience after John F. Kennedy’s assassination. The film does jump in time a bit, although in the main it follows her life in those days after Kennedy was killed in Dallas. The frame of the film’s narrative is an interview she gives to an unnamed journalist (Billy Crudup). Scenes take place that come across more or less as her memories of those days, either being explained to this interviewer or in her own memory as he asks questions. I don’t mean to say that it’s dreamlike, but that it plays something like a flashback.