Johnny Simmons

Good God, this is late...even for me. In March, while recapping 2009 I listed my favourite beginnings, my favourite scenes and was supposed to list my favourite endings...well never too late - here they are.
                    
The last few minutes of a film can completely change our feelings of it. A fair film can be changed by a surprise ending and a good film can be destroyed by a poor one. Surprise endings have a better chance to be remembered, but sometimes an ending can be equally satisfying without being a shock. In 2008 there was an embarrassment of richest when it came to endings. There were the subtly surprising like Revolutionary Road and Burn After Reading. Both took secondary characters and made them the focal point for arresting and startling conclusions. There were the tense like Doubt and even In Bruges to an extent. As much as I am reiticent about Streep’s work in the former, she excels in the end. And In Bruges endings is not the copout many claim it to be. There were important closing shots of our protagonists like in The Wrestler and Changeling but my favourite was the sweetness that was The Curious Case of Benjamin Button – episodic, I know, but a lovely ending.

              

Now, on to 2009…Here are the ten closings that were memorable, the top 5 in particular made their films all the better for it. Ummm, spoilers ahead. Obviously. (Couldn't find pictures for the exact scenes in all, apologies), click on the links for my reviews.

Runners Up: A Single Man, Three Blind Mice, Bright Star, Avatar, The Road

I liked 500 Days of Summer, even if I was a bit disappointed. Nevertheless, the ending with all the pithiness that I love was just the right amount of tongue-in-cheek. After Tom finally reaches the 500th day of Summer he meets a girl at a job interview. She doesn’t seem interested, but eventually she acquiesces. Her name? Autumn.You have to love that sort of self awareness in comedies...

       

I know some weren’t too fond of Brothers, but I was. Tobey MaGuire did make my list of favourite actors and though his breakdown scenes are what many remember it is this confession to Portman that sticks with me (not pictured above). Sheridan knows when to tone it down, and it’s the moment we’ve been waiting for. As Sam tells Grace about his role in the death of his friends and as the tears roll down his eyes while U2’s 'Winter' plays in the background, I couldn’t help but be impressed.

      

As Rockwell launches himself to earth amidst the voices of news reporters speaking of his appearance on earth I realised that Duncan Jones had done something brilliant with Moon. It wasn’t my favourite film of the year or anything but it sure was a formidable debut and the way that a clichéd theme like cloning could seem so original impressed me.

          

I’m mixed about the ending of Inglourious Basterds. On one hand it lends an irreverence to the piece that’s notably good, but for some reason it doesn’t make my praise turn into anything particularly voluble – it’s probably the school boyish insolence of that final line. Still, as Landa is outmanoeuvred by the unassuming (or at least boorish) Basterds a sense of significance is felt. I won’t say it’s iconic, but it sure is memorable.

           

Drag Me To Hell is one of the better films of its genre and that depends – to a large extent – on the brilliance of Alison Lohman. As Justin Long takes out that envelope I already get that foreboding sense – though I know I can’t stop what’s coming. It’s a brilliant script decision and it’s so perfectly executed. What came before was good, but it’s the ending of this film that makes it worth it.

                     

The Fantastic Mr. Fox is so much fun, it should be illegal. When Fox carries his family, and best friend, up to the supermarket he’s found there’s a sense of ease that I love. Sure, George Clooney is voicing him, but on rare occasion he doesn’t annoy me – and this is one of them. With the imminent baby and the ensuing speech it only gets better, but what really cinches the brilliance is when the camera pans out and we see the owner of the supermarket that will soon be raided -  Pure brilliance.

               

In some ways Duplicity depended on having this twisty ending. Gilroy's script (though excellent) sometimes tried to do too much, so the audience expected something ludicrous to be the end-all – and it was. The solution for the mystery was satisfying and irreverent all at once. And our protagonists do end up together, although Julia’s Claire isn’t too thrilled at the prospect.

             

Unlike the others the genius in In The Loop’s ending comes form the incongruity of it all, as the credits roll  (not pictured above) and we see the fate of some of our characters. We see Toby leaving the office, Simon after being demoted; and I love Kennedy’s lines to the young (and voracious) up and coming politician as they sit and play Facebook chess.

            

When people say that Rob Marshall’s unoriginality in Nine was obvious I often wonder if they saw the ending. Sure, he wasn’t as inventive as he was in Chicago but as the melody from "Be Italian" and "Folies Bergeres" play and as I watch Guido’s imaginary world merge with his reality it’s easy to see where Marshall was heading, and I can’t help but respect the guy. Seeing Saraghina putting on her makeup next to a priest and watching Claudia and Stephanie having a conversation all combine and we watch him he actually sit down to make the movie we’ve just seen. It’s an ingenious idea and Marshall doesn’t always succeed, but it works here and concocts a truly memorable ending.

             

Bright Star wasn’t the only period piece unfairly ignored last season; at least it got an Oscar nomination. Pfeiffer’s face in the mirror has become an important shot but what makes Chéri work so brilliantly is the cold narration of Stephen Frears as he tells us of the suicide of the eponymous Chéri It throws the audience, but it’s not just for show. It’s an excellent bit of filmmaking and my favourite ending of the year.

                    

Each part of a film is important – I suppose. I don’t like to look at any particular part is most important, though most would say if it doesn’t start of well all bets are off. Still, it’s important to have a good beginning because sometimes it is nice to catch the audience off guard with a piercing start or some provocative mystery or sometimes just something fun to pique the interest. The thing with some films, I’m not sure what constitutes the beginning. Take Beauty & the Beast. I suppose the “beginning” is the prologue but if I had to decide I’d the say the beginning is everything up to the end of the song “Belle”. We’re a good ten minutes in, but it’s only then that the film really starts. So my “beginnings” my not be accurate, but bear with me. 

 Off the top of my head I’d credit Revolutionary Road with having my favourite beginning of 2008. The first meeting of our protagonists which is so different from what they become…

                       

Now on to 2009…(click on the links for reviews where available)

Taraji is lip-syncing, but the ferocity of it as she gives us every movement with all of the attitude she can muster – and that’s very much, mind you. It’s a shame, the film doesn’t deserve her, but Perry knows to direct his musical numbers and the opening sizzles.

          

Incongruous and strangely funny. Newton has perfect delivery and just listening to he and Schmitz bicker is hilarious. The writing is a strongpoint and the beginning is bitingly excellent.

          

I don’t love Von Trier and sometimes I think he just f***s with me for the fun of it. The scene is beautiful to look at, but sometimes I wonder what the point of the nudity is. What does it add? Damned if I know, but it’s still beautiful.

         

What is the beginning? When I think about the beginning of this film I remember the credits. No film has hade more funs with just rolling credits than this in a while and just the snippets of the schooling (some of which are vaguely familiar from my school days, minus the all girl parts of course ;) handled well.

       

It’s another film I’m not sure where the beginning ends, I don’t think it’s fair to consider the entire chapter 1 as the beginning but even if we excise Landa this scene is so excellent only rivalled by Chapter 4. This is the reason I can’t love Basterds as much. Tarantino tantalises with the excellence in those two scenes and then gets gratuitous in others.

       

This reminds me of Basterds since I take the beginning all the way to the end of the Overture. Few things are as lovely as that overture; Nicole Kidman’s silhouette is just sooooo beautiful. What an entrance and as the ladies enter regardless of how you feel about what comes after you can’t deny it’s just lovely.

          

 Is it wrong that I feel as if the film goes downhill from here? I still like it fine, but the beginning is just so good.

   

Up gives you in its beginning what could have made a beautiful movie in its own…and it goes waaaaaaay downhill afterwards. But I won’t grudge it too much, and the beginning is excellent.

                  

It opens so candidly and hearing Streep and Clooney banter is just hilarious. Sure Streep outshines him, but who doesn’t? She does the best reading of the “I’m pregnant” line. How I wish this was a liveaction film…

        

Not a single film can match the beauty of this opening. Julia and Clive sizzle together and when you give her ammunition she lets loose with it. It’s a perfect setup to keep us guessing, and boy does it work. Pure magic.

I like to rethink my favourite parts of films as the year ends. Of course it’s a work in progress. Quite often a favourite does not mean that said film is my favourite and sometimes it does. It’s the moment of the film you remember most, the scene that makes you shed a tear or makes you laugh…the scene that brings my nostalgic memories or worry for the future. It’s the power of films as such. So I’m unveiling my 25 scenes of 2009. I did not include openings or endings because they often serve a completely different purpose, maybe I’ll recap my favourite of each later, perhaps. I can’t say. I tried as much to prevent repeats, but I couldn’t. The fifteen runners up will be listed in alphabetical order and then the top ten by favouritism. It’s purely subjective though, so bear with me.

   

     

I know quite a few were bowled over by this, and I suppose there were many more obviously funny or romantic scenes that I could have chosen – the greeting card moments come to mind, but this is the single moment of 500 Days of Summer that I carried in my memory after seeing it. The preamble of it begins at a club as a persistent patron asks to buy Summer a drink. Tom gallantly gets into a fist fight and he is nonplussed when Summer is miffed on their return home. She grimly responds that they’re just friends when Levitt gives his best scene. His response is so real and so emotional as he leaves – it’s the most poignant part of the film.

     

MaGuire’s breakdown as the end was a contender but the film finest scene occurs with the ensemble present as they all gather for Maggie’s birthday. Sam is already on edge and the tension is palpable.Isabelle opens the door to see her Uncle there with his new date, and she’s already upset. Grace can feel something is amiss and Izzie just keeps pushing it further and further. Sam keeps telling her to stop playing with the balloon with leads to her (fraudulent) claim – you’re just mad because Mom would rather sleep with Uncle Tommy than you. It’s piercing, it’s surprising and it’s incredibly memorable. I love Jake’s reaction as he looks down, as if disappointed and Natalie’s Grace is not so much aghast as saddened and of course Tobey and his perpetual look of bewilderment. A wonderfully directed scene.

    

Duplicity thrives on the mystery, and that ridiculous hair growth scheme. My favourite part occurs when Julia’s Claire must find the blueprints and fax it to her allies in the dead of night. The fine editing is in place and Julia, Clive and the rest of the ensemble do fine work – considering that many of them are already lying to begin. Gilroy knows how to up the adrenaline and he does it here, pulling out all the stops.

     

This scene is just a tidbit, but it stands out. The tale of “Mr. Rochester” has travelled to The Head Mistress, whose office Jenny is called to. It’s a monologue really, and Emma sells it completely – “There may well have been the odd sixth form girl who has lost an important part of herself – perhaps the best part – while under our supervision. These things happen, regrettably. If however we are made aware of this loss, then of course the young lady in question would have to continue her studies elsewhere, if she still has any use for A-Levels. Is that clear?” It is perfection.

    

It’s one of the most chilling parts of the novel and it translates well to screen. Gambon and even Radcliffe sell the emotional weight of the scene and it is sooooo beautiful to look at. The mosaic image is palpable; the cinemotgraphy is enchanting the visual effects are always subtle but never underwhelming. The finest part of an already good film.

   

The scenes don’t seem to have a specific beginning or end, though I did appreciate the cameo of the always wonderful Ralph Fiennes, but the film makes it point in when a suicide bomber enters the picture. Jeremy Renner’s guilt as he’s unable to defuse the bomb is potent and the tension is built up so heavily. It’s a powerful scene.

     

This another film with continuous pieces of brilliance, the one that stands out is the first press conference as a self conscious Tom Hollander all but sinks his career. It’s the first time we see the wonderful Mimi Kennedy (who I cannot stop singing praises to) and the diffidence of Hollander and the obvious humour of the situation cannot be ignored. Such an uncomfortable moment for the characters, such a lovely moment for the audiene.

       

I didn’t expect this to be my favourite of the film, but weeks after it’s the one that I remember vividly. Susie’s sister enters Harvey’s house to find important evidence. The screen is taut with tension and shot by shot Jackson keeps up hooked. It’s also a strong moment for Tucci who sells his character without words. What thrill ride.

     

Need I go on? It's more than the hook being catch, because it's not my favourite song. But the choreography is sensational, the imagery is lovely, the sand in the tambourines, the dancing whores. It's a number that completely satisfies.

    

Precious soars highest when it comes down to the simple things, like Each One, Teach One. The chemistry of the girls is lovely to watch and Paula Patton oversees it all with such candour. I love Jo Ann’s colour choice – fluorescent beige and I love Gabourey’s delivery here – so blunt, and yet a little shy – I can cook. If only the entire film could have felt so sure of itself.

     

It’s the token “I want” solo number [Part of this World, Belle, Reflections] and Anika owns it with those vocals, and of course the design is beautiful too.

      

I really wish Charlize had more to work with in The Road, she’s phenomenal with her slight role. Her departure from the film is heart-rending and I love Viggo’s reaction. It’s the saddest moment of the film, which is strange considering it’s all rather depressing.

     

I didn’t like this much, but it has one of the best scenes this year, when Judith asks for a divorce I thought the Coens’ were on to something. The dialogue here is brilliant.

It all leads to one of my favourite lines this year “I haven’t done anything. This is not some flashy thing. This is not about woopsy-doopsy." I am so going to use that in a conversation some time.

    

I’ve told you before I was very impressed with Ms. Moore’s bit role in A Single Man, and of course she’s in a favourite scene of mine. As she and Colin dance it’s a really lovely moment in the film (though I suppose it’s not as important as some of the more obvious ones) still, the scene and the subsequent confessions is just sublime in my eyes. Perfection.

     

Whatever it’s errors Jonze captures the wonder of this other world brilliantly. Max's meeting with the wild things is funny, and sweet and magical all at once. It's also a surprisingly strong acting moment for Records who meanders through brilliance and mediocrity for me. Of course Catherine O’Hara’s Judith is a good source of laughter here already setting the pace for her excellent voice work to come.
      

Duplicity is the sophomore effort from Tony Gilroy, the director and writer of the successful Oscar nominated Michael Clayton. Before I continue, I will say that Duplicity suffered from bad advertising. From the previews and the trailers Duplicity seemed to be a romantic comedy with some smartness, but it actually was a smart movie with a little comedy. I’m sure many women [and men] left the theatres just a little chagrined For the record, I did not like Michael Clayton very much. I think I rated it somewhere in the low Bs, but I did not understand why all the critics were going absolutely gaga over it. But as usual I am digressing. Back to Duplicity, or Closer II, as some would like to call it.

Duplicity is an interesting movie, to say the least. If I were to give a synopsis of it it would probably read similar to Prizzi’s Honor, or Mr & Mrs Smith, but it’s not a remake or a reinterpretation of either film. It tells the story of two persons Ray and Claire– spies we’ll call them. The meet at a Fourth of July party, he hits on her, she is not amused...or is she? They have sex, nothing groundbreaking. She leaves before he wakes, just after she searches his hotel room.

Not to be hard on the movie, because I like it, but there are times when it’s trying way too hard. This happens a lot during the middle of the movie. Gilroy throws in twist after twist and it’s almost as if he’s just trying to hoodwink us, just for the sake of having a big surprise. I would hope that you’ve seen Duplicity by now, but in case you haven’t I won’t include any spoilers. Anyhow, after trick after trick Julia and Clive finally come to their conclusion both professionally and personally.

I enjoyed Duplicity. I felt that the second half was very much better than the first. Gilroy tried to pack us too full of information in the first half so that we’re unable to relax, but as it winds down and less information becomes pertinent the audience manages to have some. As with any film of this nature the strength often lies in the script. The script for Duplicity is quite good, and generally I think it supersedes Michael Clayton in its fluidity. The one liners that they provide the cast [especially Julia Roberts] with are priceless. Speaking of Julia Roberts it’s nice seeing her back in comedy. This will always be her forte, so to speak. Even though Erin Brockovich was not exactly a comedy it had that same drollness of Duplicity which Julia always excels at...and what’s more she is still gorgeous doing it. Clive Owen is a good match for her. Although sometimes you feel she’s leading him the tables turn and we realise that he plays the game quietly and she’s more aggressive. It’s good stuff.

The supporting cast do not get the opportunity to shine as much but I will say that I was impressed with Kathleen Chalfant who plays an older spy who knows a lot more than she lets on. Duplicity is a good film, ignore the crazy IMDB subscribers labelling it as one of the worst of all times. Pure nonsense. Sometimes it can be a little smug, but it's still well worth your times. It's out on DVD by now in many countries so if you like comedy with action and a little romance, this is for you.