The Spectacular Now

Shailene Woodley and Miles Teller in The Spectacular Now

 

 

Feeling, looking, sounding like a very dark John Hughes film (Breakfast Club, Ferris Bueller period), The Spectacular Now also has in Miles Teller and Shailene Woodley exactly the sort of actors Hughes might have cast – not the prettiest, but the most personable, the most “relatable” as we now say.

 

It’s Teller’s first starring role, after standing out in a series of supporting roles, notably adding a gloss to the comedy 21 & Over that the sub-standard joke writing certainly wasn’t delivering. And at first sight he’s playing a similar kind of character, the bright funny jock. Except this isn’t the successful jock the movies encourage us to pity – because of their muscular lack of sensitivity – but the jock in trouble, the life and soul of the party who simply won’t go home at the end of the night.

 

We meet Teller’s bright, funny, outgoing Sutter right after his blonde, go-getting and hot girlfriend (Brie Larson, blurring on and off a couple of times) has dumped him, for reasons that only gradually become apparent. And in one of cinema’s more unusual meet-cutes, we are introduced to the new girl in the his life, Aimee (Woodley), when she spots him one morning, unconscious drunk on someone’s lawn as she is delivering newspapers.

 

So here he is, a suburban high school legend whose catchphrase is “we are the party”, and here’s her, an academic, optimistic but fragile flower bowled over when his thanks for rousing him off the turf morphs into something that looks faintly, possibly, like a cool ardour.

 

Maybe it’s Sutter’s permanent tipsiness, we don’t know, but this strange meeting and the even stranger hooking up of these two over the following weeks works because we never quite know how serious he is about her. Is he just spinning the wheels until Her Hotness returns? Is Aimee going to be OK? More existentially, is Sutter?

 

After those jokey-jock supporting roles that he could easily have become too associated with (see Seann William Scott and Stifler), the eye-opener is Teller, who has the wryness and intelligence of a young Bill Murray. Woodley we already know from a bunch of TV and The Descendants, and she’s even better than him – watch out for the multi-layered look she gives Teller at the end of the film and start counting down the days till she wins an Oscar.

 

Director James Ponsoldt gives his actors plenty of freedom, and in scenes relying heavily on long, though not ostentatiously long, takes they repay the confidence with moments of interaction that look so right that you’d swear they were improvised. It’s emotional tightrope walking – at parties, at the pool, at school, out on the street, particularly in the bedroom where one of the most tender and believable love-making scenes plays out. Yes, I thought, that is how it is the first time.

 

Ponsoldt and co keep us hanging over the will they/won’t they precipice. And complementing this through-the-fingers romance is the sense that Sutter is out of control to an extent even he isn’t aware of, and that Aimee is a precious creature who needs to be protected from him but who, bright girl, might have her own not entirely selfless agenda.

 

I could do without Sutter’s backstory and the stuff including the search for his father, not because Kyle Chandler isn’t great as the jock’s good-old-boy drunken feckless dad but because we don’t need telling there’s something lurking in the woodshed. By this point Sutter has been berated by and fallen foul of very male authority figure in the film – teacher, boss, what have you – so we kind of know, we know.

 

So there’s an occasional overrun here, an emotional handbrake turn there, and now and again the plot gabbles on just a touch too conveniently, for the purposes of the film rather than its characters.

 

But as the band Phosphorescent’s Song for Zula echoes over the closing credits, its yearning, hopeful U2/Simple Minds vibe is a reminder that this too is how John Hughes used to do it, in the days when John Cusack would hold up a boombox to a sweetheart’s window.

I know that was Cameron Crowe directing Say Anything, but it’s the same achey-breaky thing.

 

 

 

The Spectacular Now – Watch it/buy it at Amazon

 

 

 

 

© Steve Morrissey 2015

 

 

 

 

 

eXistenZ

Jude Law and Jennifer Jason Leigh in eXistenZ

 

A movie for every day of the year – a good one

 

 

14 June

 

Charles Babbage’s difference engine, 1822

On this day in 1822, Charles Babbage presented a paper to the British Royal Astronomical Society. It was called “Note on the application of machinery to the computation of astronomical and mathematical tables”. What he was proposing was, in effect a mechanical computer. First conceived in 1786 by JH Müller, an engineer in the Hessian army, the difference engine was of interest to governments because it allowed them to produce tables (of whatever sort – tides, for instance) much more economically. To this end, in 1823 the British government gave Babbage £1,700 to make his engine. By 1842 they had given him more than £17,000 and there still was no machine. Partly this was because Babbage got bogged down in the detail, partly because he’d moved on to another project (the analytical engine) and partly because it was difficult, using the technology of the day, to work to the tolerances that the difference engine required. The difference engine  was only completed in 1991, with the ancillary printer (Babbage’s plan was to print direct from the machine, avoiding the errors introduced by typesetters – another astonishing concept) only finished in 2000. Both machines worked perfectly.

 

 

 

eXistenZ (1999, dir: David Cronenberg)

You used to know what you were getting with David Cronenberg. Generally roaming the territory where technological and the human body intersected, to gruesome effect, his films such as Videodrome, Scanners, Dead Ringers, Crash and The Fly all featured people being subject to what became known as “body horror”. These days Cronenberg has broadened his range to make fragrant delights such as the Jung/Freud costume drama A Dangerous Method, but back in the day “body horror” and Cronenberg were pretty much synonymous, even though other people (such as Shin’ya Tsukamoto, with his Tetsuo films) were wading in the same water. What make eXistenZ interesting is that it’s effectively his last gambol through the ooze where metal meets flesh, a fun bit of sci-fi about a computer game virgin being inveigled by the creator of a video game creator into “testing” it for her. Jude Law plays the neophyte, Ted, Jennifer Jason Leigh is Allegra, the uberprogrammer whose dabblings in the territory some say is reserved for God have earned her a fatwa from fundamentalist “Realists”. And of course Allegra has more in mind for the slightly blank Ted than just quickly going through the motions. They enter the reality of eXistenZ, a computer program so vivid that it feels and looks, even tastes, like another world. “Reality is all a construct” is the big idea, lifted from philosophy and worked into … I was going to say a meditation, but in fact Cronenberg is more turning the idea this way and that, seeing which way the light bounces off it most acutely. So after Law and Leigh enter the game they end up at a Chinese restaurant, where they order the special and it turns out to be very special indeed – strong stomach warning. From here Cronenberg takes us to the “gristle gun” scene, in which Law constructs a weapon out of body parts, an echo of the “bioport” we’ve already been introduced to (like a USB socket straight into the small of the back), a foretaste of the bullet in Allegra’s shoulder which turns out to be a tooth. As I said, there’s a rough and ready aspect to Cronenberg’s first entirely original screenplay since Videodrome, which was prompted by the ructions over Salman Rushdie’s book The Satanic Verses, and the subsequent fatwa that put its author under a death sentence. But if it started in Cronenberg’s mind as an exploration of fundamentalism and relativism, it soon morphed into prime cuts of organic tech fantasy. Released around the same time as The Matrix, its special effects and its conceptual reach pale in comparison with the Wachowskis’, but Cronenberg’s film is ageing well, and in any case when you’ve got so much yucky content, who wants to see it all pin sharp? Enjoy.

 

 

Why Watch?

 

  • A good cast – feisty Jennifer Jason Leigh, detached Jude Law
  • The slick trick ending
  • Ian Holm, Christopher Eccleston and Sarah Polley in the support cast
  • Carol Spier’s carnal production design

 

© Steve Morrissey 2014

 

 

eXistenZ – Watch it now at Amazon

 

 

 

 

eXistenZ

Jude Law in eXistenZ

 

 

Combining two fields of interest of director David Cronenberg – the mediated-reality musings of Videodrome and the body horror of almost everything else he’s done – eXistenZ is about a video game designer dropping into the gamesworld she’s created, accompanied by a good-looking marketing trainee, to work out if it still all works after an assassination attempt on its creator. Jude Law is handsome and chiselled and pretty much perfect as the slightly blank computer-game virgin and Jennifer Jason Leigh also scores high as the programmer who’s developed a gaming environment so realistic that it makes real life look lacklustre. This parallel reality where industrial and organic coalesce (a gun that shoots human teeth, a cyberport that seems to share at least some of the functionality of a vagina) is Cronenberg territory par excellence, a space where he can riff on the effects of hard drugs, organic technology and two-headed mutant reptiles, while the likes of Ian Holm, Willem Dafoe and Sarah Polley flap about looking like they wish there was more for them to do. Would eXistenZ be better if more money had been spent on it? The air of fake reality is deliberate – Cronenberg is saying something about the nasty allure of the simulacrum, and if we’re being generous we could account for the slight failure of the stars to connect as deliberate too. Satirical, caustic, inventive but also predictable (of course they get trapped inside the game) and disjointed, eXistenZ also suffers from being released the same month, and dealing with strikingly similar themes, as The Matrix. Even that cyberport looks strangely familiar.
© Steve Morrissey 1999

eXistenZ – at Amazon