Conceptually, the film actually doesn't hit its point until the final twenty minutes in which Baker finally confronts Ryder and accepts his fate. The final coffee shop scene and discussion conjures memories of Daniel Waters' impeccable dialogue and pace ever-present in 1989's "Heathers". Yes, this isn't "Heathers" and thankfully, it isn't "Hudson Hawk" either, however, "Sex & Death 101", unlike both of the aforementioned films, doesn't stay with you, for better or worse. Again, the final scenes are well worth the wait and highlight exactly why Winona Ryder is everybody's favourite outsider. Her ability to present warped innocence and make it seem endearing is wonderful to watch. The moment that we see Death Nell writing in her journal (a throwback to Veronica Sawyer in Heathers) really emphasises this...Ryder's representation of the madness of youth and sex and sadness, all connected in one bizarre character. So, as a film, "Sex & Death 101" isn't great, but as an example of good screen writing and character development (in the case of Death Nell), it is interesting to experience.
Reviews
5 Reviews
The Ten
(2007)
Written in Stone
15 January 2008
(Mild Spoilers)
Okay, David Wain's "The Ten" isn't attempting to redefine the genre of sketch comedy or satire, nor does it pass judgement on the religious iconography it uses as a template. It merely cheekily plays with the idea of the commandments in a smutty and more often than not, unique way. What I think the strongest part of this film is, is its pre-occupation with the perverse and how one can play that out on screen. The repetition of the Spanish word for vagina, Winona Ryder's hysterical relationship with that dummy, Oliver Platt's "Arnie" impression, Liev Schreiber's cat scan machines and the untimely death of hundreds of children, are all irreverent and interesting approaches to the lessons or moral codes of the ten commandments. Whilst some are better executed than others, I particularly appreciated the astute connection between the "Adultery" segment and Woody Allen's films. The use of the stamp jazz soundtrack as the camera moves down a busy New York street, the inclusion of Dianne Weist as a needy wife, and the self-indulgence of our two infidels all really hit the mark. Even their dialogue seems to be mocking Allen's neurotic adulterous characters. Which, as a Woody Allen fan, I really got into.
If for anything else, one should give "The Ten" a go for its wonderful utilisation of well- known actors for comedy. They seem to really be holding absolutely nothing back, and that is actually a thrilling experience to watch. Particularly the work of Winona Ryder, whose drive off into the sunset with no hands on her steering wheel, crying and laughing like a lunatic whilst sitting next to her lover, a wooden dummy, got me so giggly I couldn't breathe.
Okay, David Wain's "The Ten" isn't attempting to redefine the genre of sketch comedy or satire, nor does it pass judgement on the religious iconography it uses as a template. It merely cheekily plays with the idea of the commandments in a smutty and more often than not, unique way. What I think the strongest part of this film is, is its pre-occupation with the perverse and how one can play that out on screen. The repetition of the Spanish word for vagina, Winona Ryder's hysterical relationship with that dummy, Oliver Platt's "Arnie" impression, Liev Schreiber's cat scan machines and the untimely death of hundreds of children, are all irreverent and interesting approaches to the lessons or moral codes of the ten commandments. Whilst some are better executed than others, I particularly appreciated the astute connection between the "Adultery" segment and Woody Allen's films. The use of the stamp jazz soundtrack as the camera moves down a busy New York street, the inclusion of Dianne Weist as a needy wife, and the self-indulgence of our two infidels all really hit the mark. Even their dialogue seems to be mocking Allen's neurotic adulterous characters. Which, as a Woody Allen fan, I really got into.
If for anything else, one should give "The Ten" a go for its wonderful utilisation of well- known actors for comedy. They seem to really be holding absolutely nothing back, and that is actually a thrilling experience to watch. Particularly the work of Winona Ryder, whose drive off into the sunset with no hands on her steering wheel, crying and laughing like a lunatic whilst sitting next to her lover, a wooden dummy, got me so giggly I couldn't breathe.
A Scanner Darkly
(2006)
Heartbreaking
1 August 2006
Warning: Spoilers
Richard Linklater's "A Scanner Darkly" is a humanistic and undeniably heartbreaking adaptation of Phillip K Dick's novel. What works is the film's pre-occupation with the human condition, focusing on the emotional and psychological effects of substance abuse, relationships, and essentially, trust, or lack thereof.
The performances are wonderful. Keanu Reeves' portrayal of Bob/Fred is incredibly sensitive and thoughtful. His final scene in the field, picking a blue flower, showed what a subtle and textured actor he can be. Winona Ryder is also really moving as Donna, the object of Bob/Fred's desires. Every word rang true. She seemed to capture a sense of mystery, internal sorrow, and confusion within the phrasing of her dialog and the tiniest of exchanges with Reeves. The scene in which the couple argue about Donna's refusal of intimacy is excellent and the chemistry really tense. There's a wonderful sense of rhythm within the delivery, and the emotion is raw. It is a good comeback. As for Downey Jnr and Harrelson...well, they work incredibly well, bouncing off one another with the an air of campness and fun. Blowing smoke rings, watching someone choke, freaking out about a nine speed bike and the state of the universe, are all delivered with conviction and strength. Downey's Barris is stern, but also a lot of fun. Whilst Harrelson really shines when utterly confused, stoned, and paranoid.
The animation is also really beautiful. It is rich, and hardly distracting (as some have claimed). It works in the film's favor, conveying a sense of hyper-reality that is also embedded within every day life. It feels real, rather than detached or futuristic. We are engrossed, not removed from the story or its characters.
Please see this film. All of you. It broke my heart.
The performances are wonderful. Keanu Reeves' portrayal of Bob/Fred is incredibly sensitive and thoughtful. His final scene in the field, picking a blue flower, showed what a subtle and textured actor he can be. Winona Ryder is also really moving as Donna, the object of Bob/Fred's desires. Every word rang true. She seemed to capture a sense of mystery, internal sorrow, and confusion within the phrasing of her dialog and the tiniest of exchanges with Reeves. The scene in which the couple argue about Donna's refusal of intimacy is excellent and the chemistry really tense. There's a wonderful sense of rhythm within the delivery, and the emotion is raw. It is a good comeback. As for Downey Jnr and Harrelson...well, they work incredibly well, bouncing off one another with the an air of campness and fun. Blowing smoke rings, watching someone choke, freaking out about a nine speed bike and the state of the universe, are all delivered with conviction and strength. Downey's Barris is stern, but also a lot of fun. Whilst Harrelson really shines when utterly confused, stoned, and paranoid.
The animation is also really beautiful. It is rich, and hardly distracting (as some have claimed). It works in the film's favor, conveying a sense of hyper-reality that is also embedded within every day life. It feels real, rather than detached or futuristic. We are engrossed, not removed from the story or its characters.
Please see this film. All of you. It broke my heart.
In Roxy's eyes
30 October 2004
'Welcome Home, Roxy Carmichael", is an endearing, and utterly underrated picture, with more heart and intelligence than it is given credit for. Winona Ryder's portrayal of a sexually confused, socially dysfunctional, and emotionally reserved character, is charming and convincing, bringing truth and credibility to the film. Set over a week dedicated to the return of obscure legend, "Roxy Carmichael", whose most famous contribution to society was having her name in a song, in the small town of Clyde, Dinky Bosseti (Winona Ryder), feels a connection for the first time in her life. The film focuses on the need for mother/ daughter relationships through adolescence, and the sexual development of a young woman through self-discovery and fascination. Relationships between her guidance councillor, her adopted father, and a young town's boy, contrast the romantic appeal of celebrity to highlight the importance of human interaction, allowing for Ryder's character to re-assess her life. If you pass this film in the "comedy" section of your video store, as it is so wrongly placed, pick it up. You will be surprised. If you have ever felt detached from society, or inadequate (particularly during your teenage years), this film is something you will certainly relate to.
Prozac Nation
(2001)
So much potential
27 September 2004
As a fan of Elizabeth Wurtzel's witty and emotionally manipulative memoir, I was disappointed with the melodramatics of 'Prozac Nation', the motion picture. The essence of Wurtzel's novel is lost in its screen adaptation, and despite the
screenwriter's attempts to structure a plot around a series of disconnected
episodes within the book, each character is under-developed, and the college
setting laughable. What certainly worked for the film, was a terrific ensemble cast, particularly Jessica Lange, who is suitably under-stated, and moving in her portrayal of a destructive mother. This, for me, is Christina Ricci's 'Girl
Interrupted", as she also produced the project, indicating that there is an
attachment between the actress and the piece. She, for the most, is utterly
convincing as the self-indulgent, erratically manic, and destructive Elizabeth, honing the precocious depressive tremendously well. Which is, either engaging or incredibly un-nerving for the audience. Depending on your position, the
audience must understand that Elizabeth is not a character that we are
supposed to empathise with or pity, but be affected, and repulsed by, and I
guess that is what can distract viewers from the film's loose narrative. Despite its perks, the film plunges into soap style melodrama that distracts and disengages from perfectly good performances. The film is saturated with camera shots that are out of focus, and sped up frames that keep Elizabeth, 'The Outsider" still, and detached from everything around her, and whilst this can work on a
television show like "Party of Five", or 'Dawson's Creek", the seriousness of the material, does not call for lazy film making. "Prozac Nation" is an overall, unsatisfying movie experience, and for someone who waited four years to see what was constructed, I must say that I agree with Elizabeth Wurtzel's thoughts against it. What I feel really indicated the drop in quality, was the film's jacket tagline, 'The most controversial film of the year". If that is not a shameless call to "eccentric" or thrill seeking audience members , then I do not know what is... it takes a very serious issue, and attempts to make younger people interested and attracted to the idea of mental illness, with little originality, or inner truth. Jessica Lange and Ricci, are superb, and work extremely well together, though are drowned by the morose structure, dull musical selection (although the score is lovely), and severely under-developed and stock supporting characters.
screenwriter's attempts to structure a plot around a series of disconnected
episodes within the book, each character is under-developed, and the college
setting laughable. What certainly worked for the film, was a terrific ensemble cast, particularly Jessica Lange, who is suitably under-stated, and moving in her portrayal of a destructive mother. This, for me, is Christina Ricci's 'Girl
Interrupted", as she also produced the project, indicating that there is an
attachment between the actress and the piece. She, for the most, is utterly
convincing as the self-indulgent, erratically manic, and destructive Elizabeth, honing the precocious depressive tremendously well. Which is, either engaging or incredibly un-nerving for the audience. Depending on your position, the
audience must understand that Elizabeth is not a character that we are
supposed to empathise with or pity, but be affected, and repulsed by, and I
guess that is what can distract viewers from the film's loose narrative. Despite its perks, the film plunges into soap style melodrama that distracts and disengages from perfectly good performances. The film is saturated with camera shots that are out of focus, and sped up frames that keep Elizabeth, 'The Outsider" still, and detached from everything around her, and whilst this can work on a
television show like "Party of Five", or 'Dawson's Creek", the seriousness of the material, does not call for lazy film making. "Prozac Nation" is an overall, unsatisfying movie experience, and for someone who waited four years to see what was constructed, I must say that I agree with Elizabeth Wurtzel's thoughts against it. What I feel really indicated the drop in quality, was the film's jacket tagline, 'The most controversial film of the year". If that is not a shameless call to "eccentric" or thrill seeking audience members , then I do not know what is... it takes a very serious issue, and attempts to make younger people interested and attracted to the idea of mental illness, with little originality, or inner truth. Jessica Lange and Ricci, are superb, and work extremely well together, though are drowned by the morose structure, dull musical selection (although the score is lovely), and severely under-developed and stock supporting characters.
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