My Workout For Tuesday January 28

Skyfall Review

    History has a way of defining a person, place, or thing.  There are two extremes to dealing with history - embracing it or burning it down.  The history of the James Bond film series is no exception, and the 50th anniversary of the release of Dr. No serves as a milestone for reflection on the series' history.     Two films define the series' dichotomous directions - From Russia With Love and Goldfinger.  From Russia With Love is the quintessential spy film - James Bond as a soldier for Great Britain, while Goldfinger is the quintessential spy movie - James Bond as a hero for the people.  Both present the series at its finest, and every subsequent film contain elements of both with varying results.  The rest of the best of the series - On Her Majesty's Secret Service, The Spy Who Loved Me, Goldeneye, and Casino Royale - were near-perfect balances of Russia and Goldfinger.     With Casino Royale, the history of the film series was scuttled and refreshed successfully, telling the story of Bond as a neophyte coming to terms with the cost of being the soldier and hero.  Quantum of Solace followed, and while parts of the film were well done, the overall result lacked the spark expected from a Bond film.     Skyfall, the 23rd entry in the James Bond film series, brings back the fun of the series while keeping the depth that Casino Royale brought, resulting in another near-perfect balance.     James Bond, after a failed mission that starts the film briskly, goes into self-imposed retirement, dealing with his failings as an agent and the failings of his superiors.  An attack at MI6 headquarters pushes him to return to the fold.  However, the star agent struggles to reintegrate into the spy life - his talents have worn down, and his emotions are unstable.  The impending world threat, a former MI6 agent named Silva, allows Bond slowly to gain his abilities and self-confidence.  Along the way, he sees the toll the threat has on his boss, M, who is dealing with an internal investigation on her from her superiors.  As the threat grows, Bond and M have no choice but to escape to Bond's family estate, Skyfall, and Bond has to face his past and his possible future.     That's a lot of plot points and thematic elements for a Bond film, but Skyfall never loses its focus, and all of the pieces come together in an impressive and fashion.     The script by Neal Purvis, Robert Wade, and John Logan is superb.  Constructed as a traditional Bond film, it has a deep respect for the history of the film series, yet it continues the deep emotional strides made with Casino Royale.  As traditional of a Bond film as the structure is, the writers made sure to defy expectations, peppering the structure with shocks and surprises, and the shocks never come at expected moments.  Even better is that the writers weren't afraid to pursue dark and challenging moments, be it the opening chase sequence, Silva's attack during M's hearing, and the final assault at Skyfall.  Purvis, Wade, and Logan found the perfect balance of the classic and the modern with their script.     The actors reinforce the emotional depth with excellent performances, never squandering any moments.     As the expected "Bond Girl" of the film, Bérénice Marlohe is a wonderful blend of sexiness and fragility.  Her character is removed from the equation just as she is getting interesting, the only real flaw of the film, but her moments with Bond are electrifying, filled with chemistry.  If Marlohe had been given more on-screen time, she would have been just as memorable as the rest of the cast, but she provides the audience with a good Bond girl.     Naomie Harris infuses Eve, a fellow agent of Bond's, with strength and independence.  Eve has a sexiness about her, not just in her beauty but in her wit and reliability as an agent.  Her moments with Bond are fun and saucy, and Harris will be able to build off of this great role since it is hinted that she will be a recurring character.     In a small but vital role, Albert Finney provides a strong foundation in the final act of the film as Kincade, the gamekeeper of Skyfall.  He gives Kincade a lived-in quality, someone who has seen the fall of the Bond family and is determined to keep the Bond history alive, however small of a life it may be.  He is a window to Bond's past, and Finney is an excellent mix of tragedy and levity.     Ben Whishaw is a delight as Q, the quartermaster of MI6 and Bond's armorer.  He is as mentally active in the mission as Bond is physically, and his dry, quick wit cuts through Bond without hesitation.  The chemistry between Bond and Q is undeniable, and with some of the dark turns the film takes, Whishaw is a welcome relief and fits perfectly into the Bond universe.     Ralph Fiennes is authoritative as Gareth Mallory, M's boss as the Chairman of Intelligence and Security Committee.  He's introduced as the governmental figure who rebels like Bond and M frustrate, but as the film progresses, his shades of grey are developed, becoming someone who fully understands M's struggle between fulfilling governmental duty while being an independent thinker.  Fiennes is another wonderful addition to the cast, and with his role being hinted at as recurring, he will be able to grow into the universe.     The Bond villain is a role that is known to attract fine actors, but sometimes the role doesn't live up to the actor who plays it.  This is not the case with Javier Bardem as Silva.  He's already played an iconic cinematic villain as Anton Chigurh in No Country For Old Men, and his Silva is destined to become  an iconic Bond villain.  Theatrical but infused with terror, Silva is never underestimated.  His approach to torture is more psychological, and he brings the audience to the brink with how successful he is with his plot.  This may be the first Bond villain in a long time who makes the audience feel like he could win, or at least force Bond into a pyrrhic victory.  As commanding and deadly as Red Grant and Rosa Klebb in From Russia With Love and as theatrical as Auric Goldfinger in Goldfinger, Silva stands among the finest Bond villains, and Bardem should take almost all of the credit for it.     Judi Dench has been M since Goldeneye, but this film may be her shining moment as Bond's boss and the head of MI6.  She has a personal connection to Silva, and she has a close relationship to Bond.  The terror and disappointment in her eyes when sharing scenes with Silva is amazing - she shows so much history with the villain without ever digging into the backstory, and it takes a lot of skill to be able to show that history without telling it.  Even more impressive is that she never takes over a scene when she isn't required, and her scenes at Skyfall are just tremendous.  M is trying to come to terms with her failings as a leader throughout, but Dench not only allows M to deal with these failings but also reinforce why she was the only leader who could have shaped Bond into who he is and trust him unconditionally.     In his third outing as James Bond, Daniel Craig has fully ingrained himself into the legendary spy.  He was a blunt instrument in Casino Royale and a vengeful warrior in Quantum of Solace, but in Skyfall, the spy life has taken its toll on him.  Craig has only been Bond in three films, but he carries a sense of torrid history not seen in any of the previous Bond actors.  He doubts himself and his superiors, but he knows that the mission is most important and strives to overcome his doubts.  What he sees in Silva is his own possible future, while a reference to Skyfall and his eventual return to his family's estate hints at his tortured past.  Bond is a man who is coming to terms with the loss his past contains while learning to appreciate the future M gave him, all the while containing the wit and class the character has had for the past 50 years.  His delivery of the one-liners still needs a little work, but that's a minor quibble compared to how fantastic Craig is as Bond, reinforcing his place as the second-best Bond, and arguably giving Connery competition as the best Bond ever.     The music has always been important in a Bond film, and Thomas Newman's score is a perfect blend of classicism and progressivism.  The James Bond Theme is prevalent as it should be, but some of the more progressive touches are welcome.  There are moments when the music becomes a cousin to the works of Brian Eno, focusing on ambient overtones from electronic instruments.  The balance between past and future is expertly captured by Newman's score, but the microcosm is at its finest with the theme song sung by Adele.  It's as if Shirley Bassey has been properly updated for the 21st century, which may be the highest compliment any Bond theme song could receive, and it stays in the head and gets into your soul.     A special note must be made about the cinematography by Roger Deakins.  His work in Skyfall elevates the film into a visual work of art.  He's worked consistently with the Coen Brothers, and he loves to play with colors.  Just look at the vivid yellows of Turkey, the blues of Shanghai, the reds and browns of Macau, and the greys and stone-like tones of the United Kingdom.  It is a master class in color-focused cinematography, and the framing is a perfect mix of grand and personal.  Deakins' work on Skyfall is nothing short of legendary.     Sam Mendes was the biggest wild card in the film as the director.  Winning an Academy Award for his directorial debut, American Beauty, Mendes is known as a dramatic director with no experience with action scenes, and some of his works have been considered pretentious.  However, Skyfall has no pretentions - Mendes makes sure it is the event film it is meant to be.  He structures the film as a traditional Bond film - a three-act work with a prologue and epilogue - and the film is the second-longest film in the series, but it is wonderfully paced, never overstaying its welcome nor having an overabundance of action or drama.  Everything feels necessary, allowing the audience to become fully invested in the film.  He knows how to work with the actors, and he understands what will make the biggest impacts.  The series has had classy directors before, but no one as unique as Mendes, and his artful eye does wonders for the film and the series.     Skyfall is a traditional Bond film with significant depth, heart, and soul.  It has the expert tension of From Russia With Love, the fun of Goldfinger and The Spy Who Loved Me, and the emotional consequences of On Her Majesty's Secret Service and Casino Royale.  It pays homage to the series' history while looking and moving forward, and it presents a story about the importance of history and the understanding that one may be defined by his or her past but is not controlled by it.  Skyfall is the closest a Bond film has ever come to being an art film, and it sits alongside the best in the series and the best in the genre. Movie Rating: 9.5/10 A somewhat underutilized Bond girl is a minor gripe to what may be one of the most thrilling action films since the turn of the century. Film Rating: 9/10 A Bond film that acts as a successful commentary on the effects of individual history with superb music and visuals that match the themes. Bond Film Rating: 10/10 Another classic that stands alongside From Russia With Love, Goldfinger, On Her Majesty's Secret Service, The Spy Who Loved Me, Goldeneye, and Casino Royale.

Bond Rating: 9.5/10 Although the delivery of some of the one-liners still needs a little work, Daniel Craig not only reinforces how effective he is as Bond, but he also arguably matches Connery's status as the greatest Bond.

The Hunger Games: Catching Fire Film Review

An act.  A simple, defiant act from one person.  The intent was to call one man's bluff.  The result is the beginning of something far larger than one could have imagined, something that could change the world but leave a path of devastation in the process.  Can that person live with himself/herself knowing what the consequences of his/her decision will be?  Can he/she become the hero the larger picture desperately wants him/her to be? This idea is explored in the film The Hunger Games: Catching Fire, Francis Lawrence's adaptation of the second book in Suzanne Collins' massively popular The Hunger Games trilogy, and while it does suffer from "middle film syndrome," the stronger story, excellent acting, and thematic focus make it an improvement over the very good first film. In the 74th Hunger Games, Panem's District 12 tributes Katniss Everdeen and Peeta Mellark challenged the gamemakers and the Capitol by threatening to kill themselves and yield no winner.  The authorities acquiesced and let both live.  However, this act of defiance, coupled with Katniss' compassion toward a tribute from District 11, planted the seeds of insurrection that has been met with equally violent suppression.  President Snow, ruler of Panem, makes a deal with Katniss - sell the idea that her defiance was an act of love for Peeta and aid in quelling the burgeoning rebellious atmosphere or see her and Peeta's loved ones die. Katniss, loyal to her family above all, decides to continue the charade of love, but as the victory lap across the other Districts commences, she witnesses the oppressive state in action, and the charade collapses.  Snow decides that for the 75th Hunger Games, the third Quarter Quell, tributes that survived the previous Games are the only eligible tributes. putting Katniss and Peeta back into the Games.  However, this time isn't just about survival --- revolution is in the air, and Katniss has to decide if she can bring things back to the status quo or if she can become symbol of the revolution that is desired of her. The first film only hinted at the thematic elements that come into play throughout the entire story.  In Catching Fire, the exploration of violence and revolution and the personal cost of each comes to the forefront. Katniss, Peeta, and their mentor, Haymitch Abernathy, all are dealing with Post Traumatic Stress Disorder.  Katniss is explicitly suffering from nightmares and emotional triggers, Peeta is struggling to move forward with his life, and Haymitch is severely self-medicating with alcohol.  Haymitch reiterates to Katniss several times that there are no winners of The Hunger Games, just survivors, and there is no end to the involvement in the Games as now they must be mentors to other tributes from District 12, reliving the horrors the Games gave them.  Compound that with having to keep up the show that Katniss put on involving falling for Peeta, and Katniss sees how the Games have eternally forced her to live a lie, crushing whatever spirit she has left. The first half of the film compares and contrasts this with the unrest and oppression of the Districts and the mindless disconnect of the Capitol.  The second half becomes more plot-driven as the 75th Hunger Games gets underway, causing the film to have a split personality, but the thematic focus is constant, and the brutality of the story's universe is felt with major impact. The screenplay drafted by Simon Beaufoy and rewritten by Michael Arndt (credited as Michael deBruyn) does a great job highlighting the thematic points without making them obvious, and the editing work by Alan Edward Bell as well as the cinematography by Jo Willems fix the incoherence of the action sequences in the first film, making a solid story worth watching.  James Newton Howard's film score accentuates the tonal shifts of the film without becoming overbearing. The strong acting that was the main reason to watch the first film is also much improved. Jennifer Lawrence has been nothing but a high-quality actress since her breakthrough in Winter's Bone, and her winning a well-deserved Oscar for Silver Linings Playbook has not caused her to settle.  The weariness and loss of innocence in Katniss' eyes and her struggles with PTSD draw the audience into the story more than before.  Her chemistry with everyone is natural, and her physicality balances her emotional frailty.  Jennifer Lawrence is still the number one reason why this film series has been successful.  Her talent seems limitless, and with how incredible she is at playing a wide range of roles, she may be this generation's Meryl Streep. Josh Hutcherson improves significantly in this film, not only holding his own against Jennifer Lawrence but also giving the film a counterbalance to Katniss.  While Katniss is struggling with nightmares, Peeta is simply stuck in neutral.  He knows he shouldn't have won the Hunger Games, and he's aware that Katniss' affections were a ruse, but his existence is a lonely one, and his only wish is to form some connection to the one person who is the reason he is still alive.  Josh Hutcherson stil exudes the same charm as before, but he now gives Peeta more gravitas, more baggage, more of what we wanted him to be in the first film - someone about whom the audience truly cares. Woody Harrelson evolves the darkly comic relief of Haymitch Abernathy in the first film to something more tragic --- a man who is eternally haunted by "winning" a Hunger Game.  He is who Katniss could become.  His alcoholism and sardonic demeanor is still played for laughs from time to time, but Haymitch now imbues that humor with melancholy and provide a reason for Haymitch to be the smart-ass that he is.  Woody Harrelson is just fantastic. Elizabeth Banks takes Effie Trinket, the symbol of Capitol disconnect, and gives her humanity, showing that her fashion and eloquence has become a facade for her compassion.  Lenny Kravitz continues to emanate charm, charisma, and style as Cinna.  Stanley Tucci and Doug Jones provide the necessary jovial counterpoint to the seriousness of the film as the co-hosts of the Hunger Games proceedings.  Donald Sutherland takes President Snow from the imposing father figure in the first film to the great manipulator in this film, and his calm demeanor accentuates the danger of his threats. The newcomers all hold their own against the series' veterans.  Jena Malone is exciting as tribute Johanna Mason, portraying pure id with her deliberate undressing in the presence of Katniss, Peeta, and Haymitch, her unfiltered voice, and her unhinged actions and reactions throughout the Quarter Quell  Jeffrey Wright and Amanda Plummer get to play superego as eccentric, intelligent tributes Beetee and Wiress, respectively, who carefully plan out how to utilize the environment to their advantage, and both shine in their roles.  Sam Claflin is wonderful as tribute Finnick Odair, the ego who helps Katniss and Peeta stay alive while understanding the long-term goal and reminding Katniss of "who the real enemy is."  Philip Seymour Hoffman is in reliably top form as new head Gamemaker Plutarch Heavensbee, and although his appearance is brief, his presence is felt, and it will be a pleasure to he him more in the next installment. The film does suffer a case of "middle film syndrome," mostly due to the nature of the story and how the first book was adapted.   The first film barely hinted at the burgeoning revolution, only showing one riot --- in District 11, and through its focus on the people of the Capitol as the primary viewership, a group that is isolated from the oppression.  The oppression was present, but the unrest was more of an afterthought --- the people of each District had found ways to live within the confines of Panem.  It makes transitioning to the second film jarring as now the oppression and unrest are felt in every frame.  This film succeeds in reintroducing everything and everyone without excessive exposition.  If one was to start watching the series with this entry, he/she would be able to follow the story pretty well with few questions. The ending leaves a bit to be desired emotionally and hangs the story at an ellipses than a defined period.  Many second films, or at least a film prior to the end, hang at an ellipses without completing its own arc --- the implied sole purpose is to set up the next film.  Even great and successful films such as The Lord of the Rings: The Two Towers couldn't circumvent this.  The Empire Strikes Back had a plot-related ellipses, but that film had a complete emotional arc that was independent yet integral to the entire series.  With Catching Fire, by being more literal in its adaptation, the ending introduces new ideas and plot points just to set up the next film, and it makes the film feel incomplete. However, it could be recommended to start with this entry due to it being a different director.  Gary Ross did a successful job with the first film, but Francis Lawrence fleshes out the universe with impressive details and allows the actors to drive the story forward.  Aside from the exposition heavy ending, Francis Lawrence succeeds greatly at the "show, don't tell" approach. The best moment in the film, and the scene that is the one to beat in the entire series, is a brief but powerful sequence involving the announcement that the Quarter Quell will draw its tributes from only the surviving victors of every Game.  It starts with the emotional devastation of Katniss' family, followed by an angry and distressed Haymitch screaming and throwing an empty bottle at the screen, then a stunned and frightened Peeta having the gravity of the announcement push him into his chair, ending with Katniss, emotionally destroyed, running into the woods, gasping for air while screaming in dismay.  This reads like it's melodrama, but the way the director lets the actors play this moment, it's the most human, most emotionally devastating moment in the entire film.  The hope that Katniss accidentally instilled in the Districts after winning the last Game has left these three people in that moment, and it ultimately sets everything in motion for the rest of the story. This moment gives hope that Francis Lawrence will make the next films in the series better and better.  His touch has upped the ante of the series, and while it may be nothing more than the middle film of the series, The Hunger Games: Catching Fire is a great adaptation, a very good film with powerful moments, and a sign that the series is in good hands.

Movie Rating: 8.5/10 A tense and thought-provoking first half gives way to a thrilling second half that don't gel together ideally but are wonderfully executed halves.

Film Rating: 8.5/10 The themes of violence from the first film evolve into revolution and reluctant heroism; even an open-ended conclusion doesn't diminish from overall

Hunger Games Film Rating: 9/10 The efficiency of the first film is traded for a fuller experience, one that is emotionally rewarding and viscerally entertaining.

My Workout For Sunday January 12

I earned 877 points for my workout on Fitocracy!

Cycling (stationary) +70 pts

0:10:00 || 2.7 mi || 7 % (+70 pts)

Dips - Triceps Version +8 pts

12 reps || assisted || 130 lb (+2 pts)

8 reps || assisted || 115 lb (+2 pts)

7 reps || assisted || 115 lb (+2 pts)

6 reps || assisted || 115 lb (+2 pts)

Chin-Up +8 pts

12 reps || assisted || 145 lb (+2 pts)

8 reps || assisted || 130 lb (+2 pts)

6 reps || assisted || 130 lb (+2 pts)

5 reps || assisted || 130 lb (+2 pts)

Bent Over Two-Dumbbell Row +169 pts

20 lb x 12 reps (+41 pts)

25 lb x 12 reps (+42 pts)

30 lb x 10 reps (+43 pts)

30 lb x 10 reps (+43 pts)

Dumbbell Bench Press +199 pts

30 lb x 12 reps (+49 pts)

35 lb x 12 reps (+52 pts)

35 lb x 9 reps (+50 pts)

35 lb x 7 reps (+48 pts)

Barbell Squat +185 pts

45 lb x 12 reps (+43 pts)

55 lb x 12 reps (+46 pts)

65 lb x 10 reps (+48 pts)

65 lb x 10 reps (+48 pts)

Romanian Deadlift +149 pts

45 lb x 12 reps (+34 pts)

55 lb x 12 reps (+36 pts)

65 lb x 12 reps (+39 pts)

75 lb x 10 reps (+40 pts)

Stretching +2 pts

0:10:00 (+2 pts)

Upright Barbell Row +87 pts

45 lb x 12 reps (+21 pts)

45 lb x 12 reps (+21 pts)

55 lb x 12 reps (+23 pts)

55 lb x 10 reps (+22 pts)

Think you can beat me, or want to comment?

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Now available for free on both iPhone and Android!

My Workout For Thursday January 09

I earned 711 points for my workout on Fitocracy!

Dumbbell Bench Press +196 pts

25 lb x 12 reps (+46 pts)

30 lb x 12 reps (+49 pts)

35 lb x 12 reps (+52 pts)

40 lb x 6 reps (+49 pts)

Bent Over Two-Dumbbell Row +163 pts

15 lb x 12 reps (+40 pts)

20 lb x 12 reps (+41 pts)

25 lb x 10 reps (+41 pts)

25 lb x 10 reps (+41 pts)

Standing Dumbbell Upright Row +103 pts

15 lb x 12 reps (+26 pts)

20 lb x 10 reps (+26 pts)

20 lb x 10 reps (+26 pts)

20 lb x 8 reps (+25 pts)

Dumbbell Bicep Curl +102 pts

15 lb x 12 reps (+26 pts)

20 lb x 10 reps (+26 pts)

20 lb x 8 reps (+25 pts)

20 lb x 7 reps (+25 pts)

Dumbbell Shrug +71 pts

15 lb x 12 reps (+17 pts)

20 lb x 12 reps (+18 pts)

25 lb x 10 reps (+18 pts)

25 lb x 10 reps (+18 pts)

Reverse Crunch +52 pts

10 reps (+13 pts)

10 reps (+13 pts)

10 reps (+13 pts)

10 reps (+13 pts)

Cycling (stationary) +14 pts

0:05:30 || 1.0 mi || 5 % (+14 pts)

Dips - Triceps Version +8 pts

12 reps || assisted || 145 lb (+2 pts)

8 reps || assisted || 130 lb (+2 pts)

6 reps || assisted || 130 lb (+2 pts)

4 reps || assisted || 115 lb (+2 pts)

Stretching +2 pts

0:10:00 (+2 pts)

Think you can beat me, or want to comment?

Fitocracy is the social fitness community that has helped hundreds of thousands level up their fitness. Start your fitness transformation today!

Now available for free on both iPhone and Android!

It’s Mad Men Week on The A.V. Club

As you’re probably aware, Mad Men returns on Sunday, April 5, kicking off the final seven episodes of its heralded seven-season run. In honor of the show’s return and final wrapup, The A.V. Club is offering extra madmen-amc coverage all this week. We kick things off today with:

The tao of Don: 17 pop-cultural predecessors to Mad Men

Mad Men’s Jay R. Ferguson on Zach Galifianakis and kids-only planes

Don Draper is no antihero

More at avclub.com

My Workout For Wednesday February 05

I earned 1157 points for my workout on Fitocracy!

Dips - Triceps Version +18 pts

3 reps (+10 pts)

12 reps || assisted || 130 lb (+2 pts)

8 reps || assisted || 115 lb (+2 pts)

5 reps || assisted || 115 lb (+2 pts)

3 reps || assisted || 100 lb (+2 pts)

Standing Barbell Shoulder Press (OHP) +255 pts

45 lb x 12 reps (+59 pts)

55 lb x 12 reps (+64 pts)

65 lb x 10 reps (+66 pts)

65 lb x 10 reps (+66 pts)

Barbell Squat +224 pts

65 lb x 12 reps (+49 pts)

85 lb x 12 reps (+57 pts)

95 lb x 10 reps (+59 pts)

95 lb x 10 reps (+59 pts)

Barbell Incline Bench Press +197 pts

55 lb x 12 reps (+47 pts)

75 lb x 8 reps (+51 pts)

75 lb x 8 reps (+51 pts)

75 lb x 6 reps (+48 pts)

Barbell Deadlift +211 pts

65 lb x 12 reps (+49 pts)

85 lb x 9 reps (+54 pts)

85 lb x 9 reps (+54 pts)

85 lb x 9 reps (+54 pts)

Dumbbell Bench Press +231 pts

25 lb x 12 reps (+46 pts)

30 lb x 12 reps (+49 pts)

40 lb x 8 reps (+53 pts)

40 lb x 5 reps (+46 pts)

40 lb x 3 reps (+37 pts)

Don't know why the bench press is beating me lately. Just need to keep at it...

Stretching +2 pts

0:10:00 (+2 pts)

Standing Calf Raises +19 pts

12 reps || weighted || 85 lb (+5 pts)

12 reps || weighted || 95 lb (+5 pts)

12 reps || weighted || 105 lb (+5 pts)

10 reps || weighted || 115 lb (+4 pts)

Think you can beat me, or want to comment?

Fitocracy is the social fitness community that has helped hundreds of thousands level up their fitness. Start your fitness transformation today!

Now available for free on both iPhone and Android!

My Week With Marilyn Review

Marilyn Monroe is and will always be an enigma.  A movie star by all accounts, Monroe had an ineffable quality that hypnotized men and women alike.  She was the definition of bombshell, but what set her apart from beauties of that ilk in the past, present, and future was that she had the ability as an actor to carry a movie on her shoulders and make it look effortless.

However, that talent was marred by personal issues that eventually led to her death in 1962.  She was plagued by a lack of self-confidence and the struggle to maintain her public image while never fully dealing with her private image.  These issues are well-documented in books, articles, and movies.  Simon Curtis' My Week With Marilyn presents a portion of these issues from another angle with varying results.

Based off of the non-fiction books The Prince, The Showgirl, and Me and My Week with Marilyn, the story is told from the point of view of Colin Clark, the third assistant director of The Prince and the Showgirl the adaptation of the play The Sleeping Prince.  Sir Laurence Olivier brings in Monroe to play the titular Showgirl, and while he gets the performance he wants, he struggles with her emotional and professional baggage, namely her new marriage to playwright Arthur Miller, her acting coach Paula Strasberg, and her knack for taking multiple takes to get the scenes right.  Clark, working through his infatuation with Monroe, strikes up a romance with her, witnessing her lows and her highs in front of and behind the camera.

This film is an acting haven, and the meat of the film lies with all of the actors bringing their A-game.

Michelle Williams becomes Marilyn Monroe.  The mannerisms, the emotional struggle, the effortless shifting between her private and public persona, all of it captured with skill.  All of the facial expressions are uncannily Monroe, and Williams makes sure never to come off as a cheap imitation.  That ineffable quality of Monroe is perfectly emulated, giving us Michelle Williams' best performance to date and maintains her standing as one of the finest actresses of her generation.

Kenneth Branagh fully commits to being Sir Laurence Olivier.  Branagh was the most obvious choice for Olivier - both are Shakespeare experts in theater and film, and both lay claim to the finest Shakespeare adaptations of Henry V and, arguably, Hamlet.  He presents the quiet desperation of an aging British stage actor coming to terms with the youthfulness of the American Method.  His lack of understanding counteracts with his fascination with one take that captures Monroe's perfection versus the many takes to get there.  With that resolve, Kenneth Branagh gives one of his best performances in a long time, and makes me eager to see him age with grace on screen and off.

As the audience's window to the story, Eddie Redmayne does a fine job as Colin Clark.  Clark is largely two-dimensional, and because he is a window for the audience, all that matters to us with him is that we see what he sees, but he allows us to feel his infatuation in all of its glory from conception to heartbreak, and Redmayne carries the film well.  It may not be the showiest acting, but Eddie Redmayne holds his own amongst acting giants.

The supporting rolls make impacts as well.  Dame Judi Dench is as wonderful as always as Dame Sybil Thorndike, a stalwart of British acting amazed by Monroe's magic.  Julia Ormond briefly shines as Vivian Leigh, showing the admiration and jealousy as an actress seeing her former glory passed onto Monroe.  Dougray Scott, unrecognizable as Arthur Miller, presents a husband who was captivated by his wife's public image while unable to deal with her personal strife.  Dominic Cooper, as one of Marilyn's entourage and a man who had been in a similar situation as Clark, personifies Clark's conscience and better judgment with ease.  Emma Watson, maturing gracefully from her stint in the Harry Potter series, is ever impressive in the small role of Clark's initial interest.

This kind of acting pedigree could have made any film great if there was a strong backbone to support it.  However, director Simon Curtis never balances his work with the actors with a firm grasp on the technical aspects of the film.

The nature of the story is basic - man falls for woman, woman eventually falls for man, man and woman have a jolly time together, man and woman eventually part ways.  There are a lot of more interesting details that pepper the story or could pepper it - British stagecraft versus American Method, Vivian Leigh and her eventual mental decline, Sir Laurence Olivier and his aging perspective - but those details are so briefly handled that they come off as missed opportunities.  In fact, those avenues are more interesting than the actual trajectory of the film.  The framework provided by screenwriter Adrian Hodges isn't enough to keep the audience's interest.

What's more frustrating is that the editing was sloppy, making what should have been a simple approach messy.  The flow of the film isn't consistent as it wants to move briskly with a story that has no choice but to take its time.  Scenes involving body doubles are obvious, bordering on unintentionally funny.  Equally heinous are the cuts within a scene between a close-up and a general shot that don't match.

The more subtle but still important error made by this film is that it tells a specific story with a general theme about Marilyn that everyone knows already - her public persona was in conflict with her private life.  No new insight is gained.  If the audience knows the general idea before seeing the film, what purpose does the film serve for the audience?

It's a fundamental question that Simon Curtis doesn't answer.  The purpose it serves for everyone else involved is to showcase talents either developed or developing.  The unfortunate thing about *My Week With Marilyn* is that it is unnecessary, not functioning fully as art or entertainment.  However, as a showcase for the actors and how the director works with the actors, it is a minor but unmistakable triumph. Movie Rating: 5/10 It's the basic story of a romantic fling between an ordinary man and a complicated woman.  Moments of humor and drama, but nothing special story-wise. Film Rating: 7/10 The acting across the board is the sole reason to see this film.  It's a master class in how to emulate well-known figures without becoming caricatures. Biopic Rating: 5/10 Michelle Williams is a wonderful Marilyn Monroe.  However, the story doesn't shed light on anything new about Monroe.

A Review of Rogue One: A Star Wars Story

A Review of Rogue One: A Star Wars Story

The first two paragraphs of the opening scroll of Star Wars is as follows: “It is a period of civil war. Rebel spaceships, striking from a hidden base, have won their first victory against the evil Galactic Empire. During the battle, Rebel spies managed to steal secret plans to the Empire’s ultimate weapon, the DEATH STAR, an armored space station with enough power to destroy an entire planet.”…

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This is how "Numb" was during the Achtung Baby sessions.  An industrial rock hymn.  While the song it would eventually become is a staggering success, "Down All The Days" shows how many directions U2 were willing to go with their core.  And a beautiful approach this song would have been.

My Workout For Saturday January 18

I earned 525 points for my workout on Fitocracy!

Moving boxes +480 pts

4:00:00 || Easy (+480 pts)

Shoveling snow +45 pts

0:15:00 (+45 pts)

Think you can beat me, or want to comment?

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