For movie watchers, few things can be more frustrating than films that begin with a sequence of immense promise, only to show over the remainder that the emperor truly wears no clothes. Two new examples come from the horror realm.
Until now, Ethan Hawke was having a wonderful year. Before Midnight, the third leg of his trilogy with director Richard Linklater and actress Julie Delpy, brought waves of critical acclaim and talk of another Oscar nomination for their collaborative screenplay, while The Purge turned a meager investment into a highly profitable box-office take.
Neither a chain of spice stores nor a Food Network program, The Seasoning House is a bleak-as-nuclear-winter thriller set during the Balkan conflict of the 1990s. A deaf girl named Angel (Brit teen Rosie Day) is taken from her home by soldiers who shoot her mother dead.
Paul Schrader’s The Canyons opens and closes with a montage of abandoned movie theaters. For this film in particular, that choice strikes one as symbolic in several ways: not only as a comment on the state of the industry, but on the state of The Canyons itself. You’re unlikely to find many 2013 films this empty.
What's a director of classic musicals doing in science fiction? Making Saturn 3, one of the worst of the genre Hollywood made in the immediate post-Star Wars / Alien era. Stanley Donen (Singin' in the Rain) takes to it about as well as you'd expect; he's in over his head.
John Hughes, for all the love people heap on his ’80s teen movies, was far too easy on high school. Maybe your high school experience was different than mine — and, if so, congrats. For many of us, however, those years were a marathon of self-pity, heartache, passion and anything else you’d find on an album by The Smiths.
That’s what makes The Perks of Being a Wallflowerso impressive. It understands the excess of feeling that characterizes being a teenager, and it doesn’t prettify or minimize the trials faced by the shy and socially awkward kid sitting alone in the school cafeteria.
Written and directed by Stephen Chbosky, who has done an admirable job adapting his heralded young-adult novel of the same name, the film follows Charlie (Logan Lerman, The Three Musketeers), a quiet and withdrawn boy starting his freshman year. He is smart and compassionate, but bears the psychological scars left from a best friend who committed suicide and a beloved aunt (Melanie Lynskey, Win Win) who died in a car crash.
It is not surprising, perhaps, that Charlie has difficulty making friends, although he finds some inspiration courtesy a nurturing English teacher (Paul Rudd, Wanderlust). Things brighten when Charlie meets Patrick (Ezra Miller, We Need to Talk About Kevin) and Sam (Emma Watson of theHarry Pottermovies), a pair of stepsiblings at peace with not being part of the in crowd.
are kind and open to Charlie, and soon welcome him into a circle of
friends — stoners, punks, assorted outcasts — whom Sam describes as “the
land of misfit toys.” Charlie is introduced to drugs, good music and the thrills of The Rocky Horror Picture Show. And he falls for the easy-to-fall-for Sam.
Charlie’s new friends ease his loneliness, they have their own pain.
Patrick, who is gay, dates a closeted football player mired in guilt.
Sam’s low self-esteem guides her into relationships with crummy guys.
Like Charlie, they are searching for love and acceptance, a journey that
doesn’t take a straight line.
Drenched in romanticism, The Perks of Being a Wallflowerdeftly
captures the operatic mood swings of youth, a time when the perfect
song playing over the car radio can seem to ignite infinite
possibilities. Chbosky matches that with a soundtrack that collects some
intoxicating alt-rock from the ’80s and ’90s.
important is the film’s impeccable casting. Lerman is affecting, and
Watson proves she’ll be just fine in a post-Hermione career. Miller,
however, is superb. After a hair-raisingly psychotic turn in 2011’s We Need to Talk About Kevin, he is amazingly effective illustrating the complexities behind Patrick.
Perhaps fitting for
a movie that smells like teen spirit, Chbosky is a bit more successful
eliciting emotion than he is with plot. Charlie’s friend who killed
himself is briefly mentioned and, curiously, never revisited. It is
among a handful of contrivances that can be forgiven in light of the
After all, nothing says high school like messiness and imperfection.