Word: filming
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...everything is comprehensible.” She gets there through flight, but for those of us hampered by FAA regulations, “Amelia” offers an opportunity for the same experience. It is visually sumptuous, easy to understand, and endowed with the simple romanticism of a Capra film that Earhart might have watched herself. With any other director, it might have become a dark and melodramatic Hilary Swank vehicle. And although some will criticize “Amelia” for not being that, perhaps this is just the kind of film we needed right...
...character is Eliza, a West Village misfit and ex-writer-turned-mommy trying to maintain a marriage, two children, and some semblance of creative vitality—not to mention sanity—amidst the chaos that is the existence of a stay-at-home mom. The film follows Eliza through an exceptionally tumultuous day of blogging, blacktops, and birthday preparations...
When viewed as an ode to New York, however, the film takes on new and energetic light. Hipster bakeries, loudmouthed pedestrians giving anyone and everyone a piece of their mind, alternate side parking, cramped rent-stabilized apartments, class envy and entitlement, annoying tourists—the movie spares no detail in its panoramic coverage of the busiest city in the world. The film’s New York setting enhances the tumult of Eliza’s many mishaps, and provides moments of unexpected fun—most notably Jodie Foster’s hilarious cameo as a fellow...
...young-adult bloodsucker bandwagon. “No,” replies his vampire mentor, the cloaked and mysterious Larten Crepsley (John C. Reilly), “that’s bullshit.” This is not the only instance in Paul Weitz’s new film, “Cirque du Freak: The Vampire’s Assistant,” in which Crepsley correctly associates his young apprentice with tedium, puerility, or just bullshit. In fact, the film is driven by leading adult figures who barely tolerate the unfortunate ingénues who have stumbled into...
...Reilly who steals the show. Clad in a flowing red cape and tight showman pants, Reilly as Crepsley manages to control the flow of the plot without sullying himself in its clichés. In addition to supplying the quips that help to develop the comedic aspects of the film, Crepsley’s cynicism also provides alternative messages to the film’s more obvious moral points about diversity: as a vampire who has lived for 200 years, he philosophizes that “life may be meaningless, but death I still have hope...