Posted in: by Robert Horton, Contributors, Film Reviews

Review: 20th Century Women

There’s a talking dog in Beginners, the 2010 movie that won Christopher Plummer a supporting-actor Oscar. To be precise, the dog speaks in subtitles, which might make the premise easier, or possibly harder, to take. As a general rule I am not opposed to talking-canine scenarios; for instance, the title pet of the cult picture A Boy and His Dog makes a strong argument for the idea. But in Beginners, it was one thing too many in a film that already pushed the boundaries of cuteness.

Its writer/director, Mike Mills, returns with 20th Century Women, a movie with an attractive premise and cast. It’s set in 1979—a cool time to be young, despite what you may have heard—and it puts three distinctive actresses at the forefront of a coming-of-age story.

Continue reading at Seattle Weekly

Posted in: by Robert Horton, Contributors, Film Reviews

Review: Maggie’s Plan

Maya Rudolph and Greta Gerwig

It’s possible that the author of Death of a Salesman might have fathered a child with a gift for the rapid-fire style of screwball comedy. But in her films as writer/director, Arthur Miller’s daughter has remained true to his somber mood. Rebecca Miller seems entirely at home in the heaviness of her 2005 drama The Ballad of Jack and Rose (which starred her husband, Daniel Day-Lewis, no laugh riot himself). And when hilarity breaks out in Miller’s Private Lives of Pippa Lee (2009), it’s like a desperate bark from someone drowning.

Miller’s new film, Maggie’s Plan, has the contours—and the far-fetched storyline—of a screwball comedy, and although it misses the happy rhythm of that ditzy film subgenre, it substitutes something intriguing.

Continue reading at Seattle Weekly

Posted in: by Robert Horton, Contributors, Film Reviews

‘Frances Ha’: A Star Turn for Greta Gerwig

Greta Gerwig (left) and Mickey Sumner romp through the city

From her earliest mumblecore movies, something about Greta Gerwig didn’t quite fit the scene. Here were these lo-fi indie efforts (including LOL, Hannah Takes the Stairs, and Baghead), nobly scruffy around the edges, intended as the antitheses of Hollywood—and right in the middle of them was a movie star.

Hard to miss it: Gerwig may have been an unknown, but she had crack timing and silent-movie eyes. Despite the best efforts of all concerned, she jumped off the screen at you. Non-mumbly filmmaker Noah Baumbach took note and cast Gerwig in his caustic Greenberg, a move that led to a personal and professional partnership between the two.

The fruit of this is Baumbach’s Frances Ha, co-written by and starring Gerwig, an unabashed tribute to the actress’ distinctive (don’t you dare say “quirky”) charms. The outline of a typical indie picture is in place, as we follow 27-year-old Frances and her New York apartment-hopping over the course of a few months. Frances dreams of being a dancer, as though nobody’d told her that if you haven’t made it as a dancer by 27, your dream should probably be in the past tense. (Actually, somebody probably told her. But her go-with-the-flow optimism is undaunted by such realities.)

Continue reading at Seattle Weekly