Julia Louis-Dreyfus etiketine sahip kayıtlar gösteriliyor. Tüm kayıtları göster
Julia Louis-Dreyfus etiketine sahip kayıtlar gösteriliyor. Tüm kayıtları göster

2 Ekim 2013 Çarşamba

James Gandolfini Dates Julia Louis-Dreyfus In His Fine Final Film ENOUGH SAID

Now playing at an indie art house theater near you:

ENOUGH SAID (Dir. Nicole Holofcener, 2013)









It’s a testament to the talents of Julia Louis-Dreyfus and the late great James Gandolfini that I forgot about Elaine Bendis and Tony Soprano, i.e. their iconic characters from Seinfeld and The Sopranos, while watching Nicole Holofcener’s newest indie rom com ENOUGH SAID.

Sure, Louis-Dreyfus has some of Elaine’s neurotic neediness, and Gandolfini shares some of Tony’s unhealthy appetites, but the people they portray here are grounded in a more stable sensibility. A sensibility that will be recognizable to those who’ve seen Holofcener’s previous movies that have largely dealt with modern women coming to terms with, well, being modern women, and always have Catherine Keener in them (see: WALKING AND TALKING, LOVELY & AMAZING, FRIENDS WITH WOMEN, PLEASE GIVE).

Here Keener plays Gandolfini’s ex-wife, a successful poet (successful enough to know Joni Mitchell) who hires Louis-Dreyfus to be her masseuse after befriending here at a party. Unknown to Keener, Louis-Dreyfus has begun dating Gandolfini, who she met at the same party.

So when Keener complains at length about her ex-husband during their sessions, Louis-Dreyfus is making all kinds of mental notes about her new beau’s faults. Louis-Dreyfus wants a playbook to guide her through the emotional minefield of when dating somebody gets serious, and for a time Keener unknowingly serves that purpose.

This hilariously comes to a head when Louis-Dreyfus can’t help picking on him about such things as the calories in guacamole at a dinner party with Toni Collette and Ben Falcone (Melissa McCarthy’s husband that you may remember as the Air Marshall in BRIDESMAIDS). On the uneasy drive home, Gandolfini remarks: “Why do I feel like I just spent the evening with my ex-wife?”

Despite its rom com-style plotting – i.e. one half of a couple is keeping something from the other until they get way in over their head – ENOUGH SAID doesn’t strain for laughs, or go for cheap one-liners. Holofcener, who wrote the screenplay, simply wants to spend some time with some flawed folks who are making their way through a transitional period.

There’s somewhat of a misshapen subplot concerning Louis-Dreyfus’s daughter (Tracey Fairaway) leaving home for college, with the mother over compensating by becoming way too close to her daughter’s best friend (Tracey Fairaway), but it doesn’t clutter up the main storyline.

Although Holofcener definitely has her own thing going in here films, in tone and relationship perspective, I was reminded of Jay and Mark Duplass’s 2010 comedy CYRUS, which also dealt with a couple who met at a party and have an obstacle or two to overcome, and also had Catherine Keener as the ex-wife. In that and in ENOUGH SAID, both very likable low key indies, I rooted strongly for the leads to stick it out.

The chemistry Gandolfini and Louis-Dreyfus have together is pleasing yet fleeting as we can’t help but be aware that the man is no longer with us. We can at least take a little comfort in the fact that Gandolfini has two more films in the can (small parts in NICKY DUECE and ANIMAL RESCUE set for next year), but that this is his last lead performance is very sad indeed.





ENOUGH SAID will perhaps be remembered more for that than its content, but however people come to it, most will find that it’s a thoughtful and witty take on the insecurities involved with taking a second chance at love. It really shows how good Gandolfini and Louis-Dreyfus were together working with Holofcener's moody material that that’s the real takeaway.





More later...

25 Mart 2013 Pazartesi

New Releases On Blu Ray & DVD: 3/26/13







To barely anybody’s surprise, Daniel Day Lewis won his third Oscar for his powerful portrayal of the 16th President in LINCOLN (my review here), out today in a lavish package on Blu ray and DVD. 



Film buffs have their choice of a 2 disc or a deluxe 4-Disc Blu-ray Combo Pack Super Set (Blu-ray + Bonus Blu-ray + DVD + Digital Copy). Bonus material includes the featurettes “The Journey to LINCOLN,” “A Historic Tapestry: Richmond, Virginia,” “Crafting the Past,” “In The Company Of Character" and “In Lincoln’s Footsteps.” As usual there’s no director’s commentary (Spielberg hasn’t recorded a commentary for any of his movies), but there’s plenty of Spielberg yakking about making his historical epic here so fans should be happy with this release. 







The first season of HBO’s Veep, you know the show with Julia Louis-Dreyfus as the Vice President, comes out today on Blu ray and DVD, and it’s a nice 2 disc Blu ray with DVD and digital copy set, with a neat art design that makes it resemble The West Wing’s DVD packaging of their seasons. 



I wasn’t much of a fan of the show when it first aired last year, but watching it now I am more appreciating Armando Iannucci’s (IN THE LOOP) shaky cam rhythms capturing the silly politics stressing out all his self centered characters, played by a fine ensemble cast including Anna Chlumsky, Tony Hale, and Matt Walsh, in a world in which the President is never named, political affiliation is never identified, and dignity is never present.





Louis-Dreyfus, who will always be Seinfeld's Elaine Benes to me, won an Emmy for her performance as the vain Veep, Selina Meyer, in the 8 episodes of season one here which are joined by such Bonus Features as “The Making of Veep,” “Misspoke” (a direct to the camera Louis-Dreyfus retracting remarks about Governor Chung), another outtake about Chung (which I don’t get at all), an Anti-Obesity PSA (also has a useless unfunny outtake), and 12 commentaries with cast and crew (I’ve listened to a few of them and they’re pretty entertaining). Annoyingly these extras are listed on the menu on disc one, but when you click on several of them it says “Please Insert Disc 2.”







Last December, I skipped a press screening of Andy Fickman’s PARENTAL GUIDANCE, starring Billy Crystal and Bette Midler as wacky grandparents, so I doubt I’ll put it in my Netflix queue, but for folks who are interested, it’s out now on Blu ray and DVD with several Special Features: commentary (with Crystal and Fickman), gag reel, deleted scenes (also with commentary), and a featurette entitled “FXM Productions Presents: In Character with Billy Crystal, Bette Midler, Marisa Tomei.” Hmm, I didn’t know Marisa Tomei was in it! Still doesn’t make me want to see it though.




A few other films I missed in their theatrical run, but actually might check out, are also out today on Blu ray and DVD: A ROYAL AFFAIR, EASY MONEY (aka SNABBA CASH), and the documentary STEP UP TO THE PLATE (French title: ENTRE LES BRAS), about French chef Michel Bras.







Also in that category is Rick Alverson’s THE COMEDY, which is also available on Netflix Instant. Tim Heidecker of Tim & Eric fame, stars as a guy who I hear is a bit of a dick who harasses people while he’s waiting for his Dad to die. I guess that’s what it’s about. Despite that I hated TIM & ERIC’S BILLION DOLLAR MOVIE, I am very curious about this film. I’ll let you know how it goes.







Andrew Dominik’s KILLING THEM SOFTLY, which featured Brad Pitt doing just that, is out today in both one disc Blu ray and DVD editions. I sort of semi-liked what Dominik was going for in the film, I likened it to a mash-up of GOODFELLAS and MARGIN CALL in my review last November, so I’m curious about what the Special Features are. Well, looks like only some deleted scenes, and a short “making of” featurette (6 minutes). That’s too bad, this is a film that could really use a commentary. 





Older films out today on Blu ray and DVD: THE SANDLOT: 20th Anniversary Edition, JURASSIC PARK (also a 20th anniversary re-issue just in time for the new 3D version of the film), Elia Kazan’s PANIC IN THE STREETS (1950), and Criterion Collection editions of Charlie Chaplin’s excellent MONSIEUR VERDOUX (1947) and and Robert Bresson’s A MAN ESCAPED (1956).




More later...