SHADOWS OF THE NYFF part II // Film reviews of The Skin I Live In, The Descendants, and The Artist
A Spanish, American, and French filmmaker walk into a bar. The bartender asks, “Which one of you has a new film out?” Each filmmaker responds that they do. The bartender then says, “Well, which one do I see?” They each respond, “Mine!” “Okay, I’ll see them all. But which one is best?” asks the bartender. A slight pause fills the room. Two filmmakers point at the third and say, “His.” The third filmmaker smiles, lights a cigar and says, “But the other two are damn good. Damn good.” He puffs on his cigar as the other two filmmakers tip their glasses and cheers. Fade out. 
The words “A Film by Almodóvar” have become synonymous with “striking, original, and haunting.” He is truly the most acclaimed Spanish filmmaker internationally and his work strikes of brilliance. Women on the Verge of a Nervous Breakdown, Live Flesh, All About My Mother, Talk to Her, Volver… the list goes on and on. The way he can craft originality into stories that have been told over and over seems endless. So now, Pedro Almodóvar has approached the Horror film with his latest, La Piel Que Habito (The Skin I Live In) (now playing in limited release). Though not in the modern day horror Saw stereotypical genre. This is classic Frankenstein-era horror told in a fractured timeline. Plastic Surgeon Dr. Robert Ledgard (Antonio Banderas) has been working on developing a new skin to help victims of accidents, one that is sensitive to the touch, but is strong enough to withstand even the worst pain. He develops this using cellular therapy, but needs human subjects in order for it to truly be created. But who would sign up for such a risk taking procedure? To answer that question is to spoil all the fun this trippy, violent movie creates.
Banderas hasn’t been this good in ages, and you can tell he relishes the role. He’s caring and aggressive, sinister and sensitive. Elena Anaya is just wonderful as one of his patients who figures into the plot quite prominently. I won’t give away how she figures into everything, but her performance is simply thrilling. You literally can’t take your eyes off of her when she’s on screen, and not just because she’s stunningly beautiful. She captures the essence of the character and scene after scene steals moments and makes them her own. Marisa Paredes plays Marilia, Ledgard’s oldest confidant and as a frequent collaborator with Almodóvar, she knows just how to capture a scene. She’s shines with intensity even when not saying a word at all. Almodóvar has graces us with some very good films throughout the years, topping himself over and over, and I dare say this will top the list yet again. It’s a thrilling and moving journey into a man’s obsession and doesn’t ask us if we’re going along for the ride; it demands it. 
A family brought together by tragedy is one of a writer’s greatest tricks. It’s a pre set up notion that automatically gathers emotions before the story has yet to begin. A well crafted story can start with this beginning and craft a beautiful story beyond the tragedy. That’s exactly what Alexander Payne (Sidways, Election, About Schmidt) has set out to do with his latest film, The Descendants (in limited release 11/16). However, instead of just angling his story about a family grieving over the tragic accident of a family member, he’s also angled in quite a doozy of a secret that elevates the movie into a refreshingly honest and humorous take on the disjointed family in crisis story. George Clooney takes the lead reins as Matt King, a husband and father of two whom in the first moments of the film learns of his wife’s boating accident which has left her in the hospital, comatose. He’s dealing with a lot even before that; his daughter Alexandra (The Secret Life of an American Teenager’s Shailene Woodley) is a rebellious teenager sent off to boarding school and seems to be harboring some real anger towards her family life. He’s also trying to be the best father for his youngest daughter (Amara Miller) while dealing with the life changing decision to sell his family’s land in Hawaii, which would make his family all very rich but might anger many people in the process. To top it all off, his wife may have been engaging in an extramarital affair before her accident. To say the least, Matt is having a bad day.
George Clooney does his best work when he pulls back on the charm and digs into the role of a broken and hurt man, and The Descendents is a great example of that work. His portrayal of Matt King is subtle and true, nailing the small emotions that this man, seemingly “under fire” from all angles, is going through. It’s a beautiful role and Clooney hits all the right notes. He’s quite heartbreaking. As his daughter Alexandra, Woodley firmly marks her place in the Hollywood legion of “people to watch.” She’s tender, angry, and loving, sometimes all at the same time. It’s refreshing to see a teenager character who’s not always winning about her rough teenage life. Instead, Woodley’s character is so loving and supportive of her father that it marks, in my opinion, one of the best father/daughter teams I’ve seen on screen in quite awhile. Both the character and the actress seem to have wisdom beyond their years. I was a bit annoyed at the character of Sid (Nick Krause), Alexandra’s tag along friend. When first appearing on screen, he’s nothing more than a distraction, and I didn’t feel the film needed him. However, as the story moves along, his character comes into full development and he definitely earns the right to stand alongside the King family. Co-Writer and Director Payne has crafted a fine movie here, one that’s heartwarming, quite sad, and hilarious wrapped up into an untied bow. There are no easy decisions in life, and the King family finds that out in folds here. The Descendents may just well be my favorite Payne movie yet. 
There are movies that you like but forget almost immediately after and there are movies you hate. There are movies that sparkle and radiate, and there are movies that seem to get better and better with each viewing. Then, there’s The Artist (limited US release 11/23) a film that I loved so much, I can recall every single moment of it. The part French/part American production stars Jean Dujardin as George Valentin, one of the biggest silent film stars in Hollywood. He’s a household name in everyone’s household. Absolutely magnetic, and his studio boss Al Zimmer (John Goodman) knows it. While posing for the adoring press, Valentin bumps into Peppy Miller (Bérénice Bejo), a young woman fascinated by him. They pose together and it makes the papers the very next day, much to the disagreement of his unhappy wife Doris (Penelope Ann Miller). As fate would have it, Peppy is cast as an extra in Valentin’s new film and when the studio head tries to fire her, Valentin forbids it and keeps her on set. Unknown to anyone around them, the silent film is dying, and “talkies” are about to become the rage. Peppy is ready for it, and is embraced by the new Hollywood system as the “next big thing.” However, Valentin is a silent film start through and through, and may not be coming along for the ride.
French Writer/Director Michael Hazanavicius (the spy parody OSS 117 films) has crafted one of the most beautiful, moving, and inspiring films about Hollywood that I’ve ever seen, and it simply bursts out of the movie screen towards you. What makes the movie so defiantly original is that it’s a movie about silent films that’s shot entirely in black and white and is itself a silent film, save for two scenes involving sound in an incredibly clever and wonderful way. His go to leading man Dujardin is the absolute perfect choice to play the fading silent film star. His beaming smile and knack for comic timing elevates even the smallest scenes. He truly feels like he could have been a huge silent film actor, and without speaking a word captures you into his world and makes you feel like you have been watching this character on screen for years. Bejo is also wonderful as the aspiring actress and dancer Peppy Miller. Her charm and radiance glistens and you never want either actor to leave each others side (and it’s very hard to believe that neither actor knew how to dance before starring in this film). The rest of the supporting players all do great turns as well, from Miller’s dissatisfied housewife to Goodman’s Cecil B DeMille-esque studio head, and especially James Cromwell’s faithful Clifton. The movie in itself is a wonder, and don’t let the silent aspect of the movie turn you away. It’s a magical movie about old Hollywood like you’ve never seen before. This is truly what the magic of movies is made of.
LA PIEL QUE HABITO (THE SKIN I LIVE IN) Written by Pedro Almodóvar, with the collaboration of Agustín Almodóvar and based on the novel Mygale by Thierry Jonquet Directed by Pedro Almodóvar Starring Antonio Banderas, Elena Anaya, Marisa Paredes, Jan Cornet Rated R (for adult language, adult situations, strong sexual situations, graphic violence, nudity) Mateo’s Grade: A-
THE DESCENDENTS Based upon the novel by Kaui Hart Hemmings Screenplay by Alexander Payne, Nat Faxon, Jim Rash Directed by Alexander Payne Starring George Clooney, Shailene Woodley, Amara Miller, Robert Forster, Beau Bridges, Nick Krause, Matthew Lillard, Judy Greer, Patricia Hastie Rated R (for adult language, mild violence) Mateo’s Grade: A
THE ARTIST Written and Directed by Michel Hazanvicius Starring Jean Dujardin, Bérénice Bejo, John Goodman, James Cromwell, Penelope Ann Miller Rated PG-13 (for adult themes) Mateo’s Grade: A+
Bottom Line: As fans of Almodóvar and Payne, you definitely won’t be let down, and as a fan of film in general, Hazanvicius will amaze you.