En soap (A Soap) (2006)

En soap has a black-humored backbone. Think Transamerica’s darker Danish cousin.

Salon owner Charlotte (Trine Dyrholm) absconds from the home she shares with her boyfriend Kristian (Frank Thiel). She gives him no warning and does it while he’s out of town. She brings to her new pad few possessions and little furniture. The voiceover narration tells us she is bored but does Charlotte have deeper issues? (Yes) Is she a sex addict? (Likely) Is she seeking a feeling that eludes her? (Definitely) Has she found it in Veronica? (All signs point to yes.)

Downstairs neighbor Veronica (David Dencik) is a male-to-female trans woman waiting for approval for her sex-change surgery from the health ministry. She leads a solitary life with Miss Daisy, her scruffy Jack Russell mix. She brings in cash turning tricks with men in her apartment. Her mother (Elsebeth Steentoft) stops by regularly but never for very long. She brings Veronica pâtés and pills and refers to her as Ulrik, much to Veronica's chagrin. Their mutual discomfort is palpable; each wants something the other won’t give. The family patriarch (whom we never meet) is the source of distress to Veronica (who wants to reach out and have him acknowledge her) and to Veronica's mother (who lies to her husband/Veronica’s father about having visited Veronica). After an emotionally trying visit with her dismissive and disappointing mother, Veronica attempts suicide.

When Miss Daisy’s barking, whining and whimpering keeps upstairs neighbor Charlotte awake, she charges downstairs and bangs on Veronica's door. It opens and Miss Daisy leads her to Veronica's bed where she is lifeless in her own puke. Veronica is taken to the hospital and Charlotte watches Miss Daisy. When Veronica returns and fetches her dog, she offers to return the favor.

Charlotte is brusque and offensive to Veronica. Charlotte engages in sex with random guys. She’s uninterested in anything steady or long term. Around Veronica, she’s vulnerable and unguarded and then, Charlotte lashes out and backs off. They play cat and mouse as their chemistry intensifies. Charlotte is taken with Veronica; Veronica is curious about Charlotte. Charlotte grapples with her feelings. Her defenses crack open, especially with the impending final chapter of Veronica’s transition.

Neither is filmed outside the two apartments: Charlotte’s is sparse and bright. Veronica’s is dark and cramped. Veronica introduces Charlotte to a soap opera. Through it, Charlotte gains an understanding about Veronica and the love and acceptance she seeks. There’s a great scene where the two declare themselves boozy lightweights and get their drink on. They dance to “You Take My Breath Away” by The Knife. I loved their moves, their expressions, the moment.

En soap is depressing, leaves a lot unturned but offers hope and longing. We watch the two characters journey and grow closer. Most of their intense feelings are conveyed without words, instead using expressions, silent reactions and subtext. Both actors are expressive and possess a sensitivity that makes this movie work.

Co-writer/Director: Pernille Fischer Christensen

Country: Denmark

Genre: Drama

Run time: 104 minutes

Scale: 4

Crazy Heart (2009)

Perhaps it’s the influence of my favorite not-so-new show Nashville, but I loved Crazy Heart. Jeff Bridges can go from The Dude to Bad Blake and make an oft-told story shine.

Alcoholic country crooner Bad Blake (Jeff Bridges) is playing gigs across the Southwest at unknown saloons, tiny bars and even a bowling alley. With no new songs in years and his unpredictability due to his drinking, washed up Bad is living in the shadow of his former protégé Tommy Sweet, a huge star in the new wave of young Nashville.

Bad grants his first interview in years to a young, unknown writer Jean (Maggie Gyllenhaal). During their interview, the chemistry is electric. Their banter is easy. They possess a comfort level unique between strangers. When Jean asks him about his four marriages and kids, the spell is broken and the interview is over. They agree to meet again the next night. The unlikely pair can’t fight the attraction. With his addiction to whiskey and her affliction for bad boys, can they forge a future?

His agent Jack (Paul Herman) presses him to write songs again and make his way back up. Jack secures him a gig headlining for Tommy Sweet (Colin Farrell). It bring a crushing blow to Bad’s ego. He wants the big bucks but he can’t stand to be an opener and for the star who has surpassed him. Bad balances his life with Jean and her son Buddy, his life on the road and his drinking. He’s even inspired to write until he hits a series of snags that lead to a life-altering rock-bottom.

We don’t meet Tommy Sweet until 42 minutes in but we have heard about him so much, he deserves a drumroll advancing into the shot. The cast is an eclectic delight. The friendship between Wayne (Robert Duvall) and Bad give us perspective into the two men. Bridges as Bad comes alive on stage and provides glimpses into Bad’s past glory. (Bridges and Farrell contributed their own singing.)

Based on the eponymous novel by Thomas Cobb, the movie scored Bridges a Best Actor Oscar, Golden Globe and several other awards. Crazy Heart isn’t a new story but the writing and cast make it a worthwhile viewing. Several folks told me they liked the it despite the country music. I loved the music. If you don’t like the music, you can blame Nashville.

Co-writer/Director: Scott Cooper

Country: US

Genre: Drama

Run time: 106 minutes

Scale: 4

Before Midnight (2013)

A fan of the Ethan Hawke-Julie Delpy-Richard Linklater franchise, I was quick to see Before Midnight. The first two installments are charming and left me needing to know what happened with Céline and Jesse. Could segment three sustain itself and meet expectations?

Before Midnight picks up eight years after Céline (Delpy) serenades Jessie in her excellent Paris flat in Before Sunset. Since then, they got together, lived in NYC, sired twin girls and now live in the City of Lights. As the movie opens, Jesse (Hawke) is dropping off his tween son, Hank (Seamus Davey-Fitzpatrick), at the airport. He’s spent the summer with Jesse, Céline and the twins in Europe.

Immediately afterwards, we are in the car on their road trip discussing their concerns. Jesse is troubled by living a continent away, especially with Hank heading into his teens. Céline is offered a dream job but is unsure. Their connection is still visible. The way they bicker is genuine. As they head to a seaside home where friends converge and dine, chatter swirls around love and relationships. This scene feels contrived. I’m bored watching Céline pretend to be an adoring fan of Jesse’s and the way the conversation drifts because truth is, I prefer to be with Céline and Jesse and see how they are when alone with one another.

I get my wish when the two receive an unexpected night alone. A big fat fight follows. It builds in their hotel room. As they recriminate, I experience that familiar crappy feeling. The one you get during a quarrel. Céline erupts. Jesse is gentle with his volleys but neither backs down. We get backstory tidbits that reveal fissures and relationship issues: feeling put upon, ignored and burdened with the hard work of raising kids. Céline goes the mean route. Is she reacting to the guilt of Jesse having left his wife, that he lives in Paris with Céline and that he is missing this son’s life in Chicago? Is she afraid he might leave? She doesn’t ask about his feelings on it. Instead, she’s adamant that she’s not moving to Chicago.

This one, like the others, is talky but some of discussions run laborious and despite the fighting being realistic, I want to better understand Céline’s motivations. I tired of the yelling. Are they setting up for the next installment—a separation, a divorce? Will they move to Chicago? Will Céline complain incessantly? All said, I’m in the minority; ALL the reviews I read gave nothing but praise for Before Midnight. I’ve thought about it a lot and still wonder what’s next. That fact alone might be the best recommendation.

Co-writer/Director: Richard Linklater

Country: US

Genre: Drama

Run time: 109 minutes

Scale: 4

Carnage (2011)

Initially initially intrigued by the preview for Carnage, I didn’t bother getting my hands on the DVD. Can’t pinpoint why but it looked too smug, despite the quartet of heavy-hitters.

One recent day when I had a visitor, I gave her the choice of movies on hand (thanks Seattle Public Library): The Hedgehog, The Pillow Book and Carnage. After some debate (and a failed effort at watching Pillow Book), we rolled with Carnage.

The movie itself is much like a debate we can break down like this:

On one side of the room, Team A: Penelope (Jodie Foster), point guard and coach of the Longstreet family, married to Michael (John C. Reilly), power forward who (usually) takes direction well. Penelope’s a creative academic; he's a pragmatic, an everyday guy with an edge for scotch and humor. (The Foster-Reilly combo would never have occurred to me but they possessed a chemistry that grew on me.)

Enter Team B: Power-couple Nancy (Kate Winslet) and Alan (Christoph Waltz) Cowan. Even less of an imaginable pairing, but again, it worked. Alan’s cell phone rings incessantly and he always answers. Nancy is increasingly vexed by Alan’s ability to check out.

Their meet-and-greet is precipitated by a violent fight between their sons, the details of which hold the common thread—what happened, how bad was it and what are they going to do about it.

The discussion starts calmly in the Longstreet living room. We can resolve this reasonably, they tell themselves. As the afternoon progresses, we are spectators to an incredible doubles match. They couples quarrel, blame, switch sides, recriminate. There is drinking, crying, vomiting. Followed by more drinking and accusations.

Based on a French play God of Carnage (Le Dieu du carnage) by Yasmina Reza, the entire movie takes place in the Longstreet’s home. The dialogue is rich and keeps you at attention and disbelief as the escalations lead to fiasco. As alliances change, we ride the growing wave of suspense. Each character has his/her strengths to drive the eruptions and wit to the finale.

I loved it. The best part is that each time you think the Cowans are leaving, they don’t.

Director: Roman Polanski

Country: US

Genre: Comedy

Run time: 80 minutes

Scale: 4

Friends with Kids (2011)

The Proposal opened my horizons to romantic comedies. The character introductions and situations lead the way. The conflict erupts. An untenable situation that stands to divide the two characters that I am rooting for suddenly arises. After some time, the blocking issue is resolved for a predictable happy ending. It’s an oft-tried, oft-failed formula that, when done well, is a blissful ride.

The first scene of Friends with Kids introduces us to six longtime friends—two couples and two best friends (four of them Bridesmaids alums). They are energetic 30-somethings on the cusp of child bearing and rearing. As children arrive, the tension between the couples and friends is tested. It gives voice to the effects of kids on relationships: some will struggle and make it, others won’t.

In the opening scene, Leslie (Maya Rudolph) and Alex (Chris O’Dowd) announce their pregnancy. We see the changes, the struggles and what follows. Missy (Kristen Wiig) and Ben (Jon Hamm) follow suit with different results. Jason (Adam Scott) and Julie (Jennifer Westfeldt) are best friends who, early on, declared their mutual non-attraction to one another but hatch the perfect plan—conceive and raise a child. The plan works until they start navigating dating and co-parenting.

I had a hard time believing Julie and Jason would end up together if he so adamantly didn’t feel attracted to her. He tries to justify it but it doesn’t seem plausible. Remember the scene in When Harry Met Sally when Harry realizes he wants to be with Sally? There, you believe it. Here, I didn’t believe he would come around.

A few beefs: Hamm needs to stop playing Don Draper. Wiig’s character is criminally underused and undeveloped—1-D all the way. Ed Burns has a bit role in which he is lame and boring. Megan Fox has her usual hot girl role.

I recommend this one with a caveat. The Proposal is a very different movie but after recommending, I learned that some loved it, several hated it and there were eye rolls. Both are worth a roll of the dice.

Writer/Director: Jennifer Westfeldt

Country: US

Genre: Comedy

Run time: 107 minutes

Scale: 3.5

Frygtelig lykkelig (Terribly Happy) (2008)

Following a disturbing personal incident (of which you don’t learn details right away), policeman Robert (Jakob Cedergren) is relocated from Copenhagen to small town Skarrild as punishment. The insular town folk behave as if they are keeping a secret from Robert.

The situation escalates after Robert meets Ingerlise (Lene Maria Christensen), a tormented woman in an abusive marriage with an alcoholic psychopath. Ingerlise and Robert’s attraction is palpable, but Robert tries to keep it professional. As he discovers, Skarrild has a code: They solve their issues without the interference of law enforcement.

At times, Frygtelig lykkelig plays like a Western, as Robert and cowboy-hat-wearing Jørgen (Kim Bodnia), Ingerlise’s husband, go head to head. As we learn what Robert is capable of, this psychological thriller keeps peeling back the layers. You see in detail the disturbing cycle of physical violence in an abusive relationship. There is an especially chilling scene where Ingerlise goes back to Jørgen; her expression during this moment is haunting.

Good versus bad is upturned. The odd characters are hiding  cemeteries in their closets. The movie’s tone toys with your subconscious moral code, creating a discomfort, yet, you remain engaged. It hooks you with one disaster spiraling into the next. It’s like this: Picture you are being chauffeured by a driver who starts recklessly maneuvering. You suddenly don’t trust him, but it’s too late—he’s doing 100 in a 70. He starts laughing and announces that the brakes aren’t working. You are there, you are alert, you are his.

Writer/Director: Henrik Ruben Genz

Country: Denmark

Genre: Thriller

Run time: 90 minutes

Scale: 4

Rabbit Hole (2010)

Rabbit Hole is another movie about death (but with a sense of humor). It tells the story of a what happens to a happily married couple when their young son dies.

Becca (Nicole Kidman) and Howie (Aaron Eckhart) are keeping a normal front but in the safety of their own home, things aren’t good. Controlled Becca is trying to find ways to ease the pain of losing her son. Howie’s desire to move on with their lives unnerves her. They try a grief group but that further divides them. Becca s mom, Nat (Dianne Wiest), annoys her daughter. Becca avoids her former friends. It isn’t until she finds comfort with the most unlikely of allies, Jason (Miles Teller), that she begins to her transformation.

The surprise is how well they filmmakers constructed this story about death. Kidman is excellent. Becca is so unlikeable from the start, even knowing what we know about her situation. Then, she begins to blossom and we reluctantly release the empathy.

Kidman was nominated for heaps of awards for her role. Rabbit Hole is based on a play by David Lindsay-Abaire. See it.

Director: John Cameron Mitchell

Country: USA

Genre: Drama

Run time: 129 minutes

Scale: 3.5

Fish Tank (2009)

Fish Tank is celluloid rawness. Fifteen-year-old Mia (Katie Jarvis) busts onto the screen gulping alcohol from any bottle she can get her hands on, head-butting a former friend for no apparent reason and trying to liberate a neglected horse. The moment her party-girl mom’s one-night stand catches her dancing in her council estate kitchen, Mia’s life changes.

Mia lives in a den of hostility with her younger sister Tyler (Rebecca Griffiths) and their critical mother Joanne (Kierston Wareing). The three are foul-mouthed and rage-filled. When Joanne’s new boyfriend Connor (Michael Fassbender) starts giving Mia the attention she’s starved for and encourages her dreams of being a hip-hop dancer, she puts her fury aside. She lessens her missions to chaos and destruction in lieu of the dancing, especially when a big audition comes her way. Just as it appears she’s getting on track a huge betrayal derails her. You don’t cross Mia Williams unless you are ready for her wrath. The dance scene shared by the three ladies at the end is priceless. A great movie without this scene but their connection utters the feeling they don’t state.

Brutal, cutting, unsanded—Mia is an animal I didn’t want to release. Get comfortable on the edge of your sofa for the maelstrom from which you won’t be able to turn. In the end, I was upset with Mia’s choice; I wanted her to return to school and expand upon her awakening. She’s a fighter but where will she end up? This is a genuine ending but I’m still mad at her for leaving.

Andrea Arnold also directed the brilliant Red Road (which was meant to be the first in a trilogy using the same actors).

Writer/Director: Andrea Arnold

Country: UK

Genre: Drama

Run time: 122 minutes

Scale: 5

Savage Grace (2007)

Savage Grace is an uneven and slow slog. I’d go as far as calling it boring. It shocks you over and over but in between, the unsympathetic characters provoke anything but distaste, revulsion and confirmation that people with too much money are miserable wagons.

This disturbing mess tells the alleged true story of Barbara Daly Baekeland (Julianne Moore) and Brooks Baekeland (Stephen Dillane); the latter the heir to the Bakelite plastics fortune. They have a son, Antony (Eddie Redmayne), who is doted on by his mother and ignored by his father. The family travel the world mingling with persons of high social caliber. Brooks is irritated while Barbara is in her element pushing Tony’s accomplishments onto the annoyed guests.

(Spoiler Alert: Read at Your Own Risk!)

Tony’s interest is mildly peaked when he meets hot Spaniard Blanca (Elena Anaya) but that doesn’t stop him from sexing it up with his male buddy (see picture). Barbara pushes Tony and Blanca to sleep together, but soon Brooks runs away with Blanca leaving wife and son behind never to look back. Tony is crushed by his dad’s abandonment and his “inheriting” his mother, her depression and her suicidal tendencies.

Many lurid events follow: Barbara takes up with a gay man. They  engage in a ménage à trois with Tony. Tony is numb as his mother’s keeper, confidante and sometimes lover. I wasn’t expecting the final scene where Barbara mounts her son, has sex with him and asks him if he came. When he says no, she gives him a hand job. Once done, they get up and contemplate what to order for dinner. Tony stabs and kills her. After nearly eight years in a psychiatric hospital, Tony is released and moves in with his maternal grandmother. Within a week, he stabs her. She survives but Tony goes to Rikers Island where within the year he’s dead by suffocation with a plastic bag (it was uncertain if it was a suicide or murder).

A fucking mess.

Director: Tom Kalin

Country: USA

Genre: Drama

Run time: 97 minutes

Scale: 2

Blue Valentine (2010)

Blue Valentine is a gripper illustrating the breakdown of a marriage. It’s BLEAK and if you are having issues in your relationship, do not see it; you may not feel any better.

The story is told in flashbacks from the semi-happier beginnings down the path toward The End. Couple Cindy (Michelle Williams) and Dean (Ryan Gosling) are strained in their interactions. She barely looks at him; he keeps trying to get something going. She rejects him. They don’t connect. Dean’s goal is to be with Cindy and their child. Cindy wants him to do something with his life.

There are intense close-ups of grief, loneliness and pain. There’s explicit sex. Most scenes are tense and uncomfortable, but the acting is stellar. How did Williams and Gosling get through this without falling apart emotionally? The only ray of light wasn’t part of the movie. No, it was the guy doing yoga in the theater hallway entrance. From my left peripheral, I saw movement of his pointed hand changing as he shifted positions; a man wearing a flannel doing yoga as he watched Blue Valentine. It made me chuckle when I would have otherwise cried.

There are missing pieces, such as what happened to Dean’s moving job? A key moment where things must have gone amok but they were already on the dark track to emotional despair.

So much alienation.

Co-Writer/Director: Derek Cianfrance

Country: USA

Genre: Drama

Run time: 118 minutes

Scale: 4