Johnny Simmons

The coming of age film (regardless of what genre it hides itself in) is one that filmmakers and audiences often latch on. It’s not always the literal coming of age (though it sometimes touches on becoming an adult) – from Juno to Almost Famous to Mean Girls. Either could be fall into the category, and this year we had quite a few. Two came from Sundance. Precious (review) and An Education (my three reviews) both centre on their heroines as they are edified about life and its machinations. I suppose standing next to Clarice Jenny’s story could lose some its significance, but even though she doesn’t suffer at the hands of psychotic mother her coming of age is still as poignant and precious (yes, I went there) as her teenage counterpart. Education, in its basest form, plays an important role for both girls. Ms. Rainns and Ms. Stubbs are the two important teachers in each girl’s life. Though Jenny spends most of her time ignoring the importance of her education and Precious spends most of her time doubting her potential. Two beautiful moments in each film occur because of these women. My favourite moment in Precious is when Paula Patton completely sells her line “I love you!” It’s a strong moment for Gabourey but Patton’s delivery is on point. Similarly, in An Education Olivia Williams shines in her plea for Jenny to remain in school, "You can do anything you want to."

                   

Ellen Page’s Babe Ruthless doesn’t come of age in school, she grows on the track. I wonder if I misjudged Ellen Page? Juno didn’t do anything for me, but I’m awaiting her next venture before I make a decision. Unfortunately for Susie Salmon she doesn’t get the chance to revel in her education or in sports. Her life is snatched from her as a teenager and her coming of age is the most curious. She is fourteen for the entire film, yet she must grow as much as the years continue. The terror in her eyes as Tucci closes in on her in that pivotal scene is one of the strongest acting scenes of the last year. It’s a prodigious performance even if the film was panned, but you all remember how I felt about those Lovely Bones. The coming age film that should be getting such horrible reviews should be I Love You, Beth Cooper (my only F last year). The less said about the film, the better. But I do wonder how the bland Hayden Panneteire would try to sell a scene opposite Tucci if she was on Ronan’s shoes – not very well, I presume.

              

In The Young Victoria Emily Blunt must play the young Queen as she grows before her eyes. On the basest of levels, perhaps Miranda Richardson could shake hands with Mo’Nique’s Mary Jones, but then again no. Miranda’s seeming impassivity is not a sign of hatred, or jealousy she’s just a queer mother. There’s a pivotal (somewhat) scene in the film regarding a shooting and I love the shot of Miranda immediately after – no words, but her very face haunts me, even if the film is only okay. In Where the Wild Things Are Max doesn’t quite come of age as the film ends, I can’t be too sure if he’s learned anything – unlike Coraline (which incidentally would fit right into this category) I can’t discern any realisation of the importance of his family at the film ends. But, I suppose, that’s all moot.

              

I'm still on that somewhat foolhardy quest to watch as many films as I can before the end of this month when I'll start recapping the last year in film. So here are three more, somewhat overdue, reviews. Will either of them make a change to the Encore Award Nominations? Peut-etre.

Surprisingly, quite entertaining with good blends of drama and comedy. In a year of female directors it’s a pity that Drew couldn’t have gotten just a LITTLE more love. It seems like an ideal Golden Globe nominee for musical or comedy. Ellen Page is better here than in Juno, and that’s a bigger compliment than it seems. The film is actually casted to almost glorious perfection, which I was not quite expecting. But of course, the consummate supporting actress of them all steamrolls the entire cast even when she doesn’t try. It's Marcia Gay Harden for the win. Yep.        B

             

Damn, this is one bleak film. Clocking in at just below 90 minutes I don’t know why more people haven’t seen it. Of course it’s pretty grim. But it’s not as unnerving as previews would have you think. Viggo Mortenson is as usual excellent, perhaps his best ever – perhaps. The atmosphere is so palpably apocalyptic and Kodi Smith-McPhee is something of a revelation. But the person who deserves much praise is Charlize Theron who fades away before half an hour but is exceptional in her bit role. Is it too late to start a campaign for her and Mortenson?              B

                    

We see Amy Adams as an adult again; it’s been some time. It’s easy to place it as a trifling bauble but it has a whole lot of heart in it and does well what it has. It gets a bit of uncertain somewhere towards the middle but it’s able to pull it off, even though it could have been just a tighter. Still, it’s a pleasant piece and Alan Arkin is a charm to watch as is Emily Blunt who needs to get a significant role pronto. In the end I like it. And you’ll probably like it. B-