Somewhere inside Oren Moverman’s (Time Out of Mind, Rampart), The Messenger is a pretty good movie. It has the right tone. It has the right cast. It has the right setting. It has the right director. It just has the wrong plot. Well, I shouldn’t say it has the wrong plot, but I should say that the plot is a bit flawed. And it’s not even faulty so much as it is incongruent. It follows a timeline that we are uncertain of. Does this movie take place over a few weeks, a few months, a little bit more, or somewhere in between. It’s an integral part of the story to know the movie’s time frame because it helps us justify or not justify some of the actions of its characters. The longer the period that this movie takes place, the more likely it is for me to believe the story. The shorter it is, the less likely I am. The reason for this is the characters change too much. And I am not saying people can’t change over a short period, but it seems a stretch for all characters to change how they did in that brief period. But the time frame is never stated. It is implied to be three months, but it isn’t conclusive. For me, it doesn’t help the movie. It leaves me with the burning question of when to go from start to finish.
Category Archives: Jena Malone
Cold Mountain (2003)
The year was 2003, and a quiet little movie named The Lord of the Rings: The Return of the King took home the Academy Awards biggest prize that year, winning Best Picture. Some will argue that this reflected on the culmination of a pretty darn good trilogy and that will ensure that the Peter Jackson franchise was worthy of its share of accolades that maybe Best Picture of the Year wasn’t one of them. I can’t give my personal opinion on that one because I have yet to see the film as of the time of this writing (February 2019). I liked the first two enough and don’t really have a reason for not seeing the third yet other than length and the thought that I should probably watch The Fellowship of the Ring and The Two Towers again beforehand. There was a slightly quieter movie that year that seemed to be the Academy sweetheart heading into Oscar night, a film that reestablished Clint Eastwood as a major force to reckon with as, perhaps, THE best director in Hollywood for the foreseeable future (2004’s Million Dollar Baby being his crowning achievement). Mystic River was nominated for six Academy Awards (including Best Picture and Best Director for Eastwood) and earned both Sean Penn and Tim Robbins their long-awaited trophies. 2003 was also the year for the excellent Seabiscuit, Master and Commander: The Far Side of the World, Monster, and Lost in Translation. But there was one movie that was better than all of these. It too was a major name at Oscar night, earning seven nominations and landing Renée Zellweger her first win after receiving nominations for 2001’s Chicago and 2000’s Bridget Jones’s Diaries at the previous two events. That movie was Anthony Minghella’s (The Talented Mr. Ripley) sweeping Civil War piece Cold Mountain.
Nocturnal Animals (2016)
Almost perfect. While it may not even end up in my top five movies of the year, Tom Ford’s (A Single Man) Nocturnal Animals was almost perfect. I liked it so much in this movie, and Ford almost created a masterpiece, but the movie just felt short. An A- for sure. Maybe even an A. But it won’t be the 49th movie that I’ve seen that I would classify as an A+. Jake Gyllenhaal (Love and Other Drugs, Everest) is better than ever, and he could end up with an Oscar nomination for this film. In a perfect world, he would, especially since he very well may have been the odd man out both in 2015 (Nightcrawler) and 2016 (Southpaw) for a Best Actor Academy Award. But with four of the five slots pretty much locked up (Tom Hanks – Sully, Denzel Washington – Fences, Casey Affleck – Manchester by the Sea, Joel Edgerton (Loving), that leaves only one more nomination between Gyllenhaal, Ryan Gosling (La La Land), Warren Beatty (Rules Don’t Apply), and Andrew Garfield (Hacksaw Ridge). And, to be honest, while his performance was great, it wasn’t nearly the performance he gave in either Nightcrawler or Southpaw. Ford’s chances for a Best Directing nod look even dimmer, and an impressive performance by Amy Adams (The Fighter, American Hustle) may be completely overlooked because she will likely receive a nomination (and may even be the frontrunner) for Arrival, a movie that was released just a week before Nocturnal Animals.
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The Hunger Games: Catching Fire (2013)
I suspended my beliefs at the door when I stepped into the theater to see Francis Lawrence’s (I Am Legend, Water For Elephants) sequel to The Hunger Games. I couldn’t do this for the first movie and was dissatisfied. I wanted the film to be more of a survival movie and less a fantasy/science fiction movie. When I wasn’t able to do that, I just started to question everything that was happening. I liked The Hunger Games but did not love it. I liked it enough to continue with the franchise, though. Every successful fantasy book franchise is being made into a movie these days. I have never read a word of a book or seen a second of the film in either the Harry Potter or Twilight series. I get the cult-like following to both of these movies, though. I do understand how you can be engrossed in a franchise like this. I have not read, nor will I read, any of The Hunger Game books, but I will continue to see the movies, even though I am upset about the franchise’s finale Mockingjay, split up into two movies. I am also lukewarm about the Insurgent franchise coming to the theaters. They showed a trailer for the first Insurgent movies before Catching Fire, and I was disappointed to see Kate Winslet on the screen. In these movies, you don’t need superstars outside the main character or two.
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Into The Wild (2007)
The Sean Penn (The Crossing Guard, The Pledge) directed Into the Wild had all the promise of a movie that could have lived in the lives of high school students around the country for years to come. The novel of the same name, penned by Jon Krakauer, is part of the high school curriculum in many school systems around the country. The movie is rated R. I’ve seen it twice. Had a couple of scenes been toned down, the movie could have easily garnered a PG-13 rating, thus allowing it to be viewed in English class after reading the book. I don’t know if Penn thought about this when making the movie and, if he did, if he even cared. It is, however, food for thought.