Miramax Films

Good Will Hunting

Link posted on by moviebloke

(USA 1997)

“Well, I got her number. How do you like them apples?”

—Will Hunting

Good Will Hunting, the final screening of Chicago International Film Festival’s Totally ’90s series, is not something I associate with its director, Gus Van Sant. Frankly, I didn’t know he directed it until I saw his name in the credits.

No, I associate Good Will Hunting with longtime friends Matt Damon and Ben Affleck, who while they were both still relatively unknown turned the former’s drama class project into the script that would become this film (http://www.eonline.com/news/802830/looking-back-at-the-totally-crazy-story-behind-the-making-of-good-will-hunting). The success of Good Will Hunting seemed to come out of nowhere and established both of them as actors—never mind that they snagged the Oscar for Best Screenplay in 1998 (https://www.oscars.org/oscars/ceremonies/1998). Damon and Affleck have both written since, but none of their screenplays has been as successful as this one.

Gerald Lambeau (Stellan Skarsgård), a professor at MIT, is baffled when someone anonymously solves a wicked hahd math problem he posted on a chalkbaord in the hall as a challenge to his students—he expected it to take the entire semester. No one steps up to claim the work. He posts a second problem, one that took his colleagues two years to figure out. He’s amazed when he catches one of the school’s janitors, Will Hunting (Damon), red-handed. Will won’t have anything to do with Lambeau—until he ends up in jail for assault.

Recognizing Will’s gift, Lambeau makes a deal with him: he’ll pay for bail if Will works with him on math and sees a therapist. The problem is, Will doesn’t make it easy to connect. In fact, five different therapists fail. As a last resort, Lambeau calls former classmate Sean Maguire (Robin Williams), who has a similar Southie background as Will and stands up to his crap. Sean sees that Will is deflecting to hide his self-sabotaging tendencies.

Meanwhile, Will meets Skylar (Minnie Driver), who sweeps him off his feet. It all goes well until she tells him she’s going to medical school at Stanford—and asks him to go with her.

The script here is loaded with good ideas and gorgeous details—that story about Sean ditching a Red Sox game to be with a girl he just met in a bar (she would become his wife) is gold. So is Will’s confrontation with a grad student (Scott William Winters) at a dive. Hearing Damon sing “Afternoon Delight” while he’s faking hypnosis is hilarious. The story, though, is predictable. Good Will Hunting excels because of the acting. The casting—by Kerry Barden, Billy Hopkins, and Suzanne Smith—makes all the difference in the world.

With Ben Affleck, Casey Affleck, John Mighton, Rachel Majorowski, Colleen McCauley, Cole Hauser, Rob Lyons, Steven Kozlowski, Jennifer Deathe, Philip Williams, Patrick O’Donnell, Kevin Rushton, Jimmy Flynn, Joe Cannon, Ann Matacunas, George Plimpton, Francesco Clemente

Production: Lawrence Bender Productions, Be Gentlemen Limited Partnership, Miramax Films

Distribution: Miramax Films (USA), Bac Films (France), Buena Vista International (UK), Cecchi Gori Distribuzione (Italy), Filmes Castello Lopes (Portugal), Intersonic (Czech Republic), Laurenfilm (Spain), Lider Films (Argentina), SF Norge A/S (Norway), Scanbox Entertainment (Sweden), Scotia International Filmverleih (Germany), Shochiku-Fuji Company (Japan), Svensk Filmindustri (SF) (Sweden), Svenska Filminstitutet (SFI) (Sweden), United International Pictures (UIP) (Switzerland)

126 minutes
Rated R

(Public Chicago) B

Chicago International Film Festival

https://www.miramax.com/movie/good-will-hunting/

Kill Bill: Volume 1

Link posted on by moviebloke

(USA 2003)

“Revenge is never a straight line. It’s a forest. And like a forest, it’s easy to lose your way. To get lost. To forget where you came in.”

—Hattori Hanzō

“It’s mercy, compassion, and forgiveness I lack,” The Bride (Uma Thurman) plainly informs one of her assailants before she exacts revenge. “Not rationality.” Uh, really? Right off the bat, Quentin Tarantino’s Kill Bill, Volume 1 (not to be conflated with Kill Bill: Volume 2, which is longer but not quite as good) is an action film packed with snark and coolness. Uma Thurman is The Bride (codeman Black Mamba), who in the sepiatone opening scene is lying on the floor of a chapel in El Paso, Texas. She’s in a wedding dress, bleeding and pleading for her life. “It’s your baby,” she tells Bill (David Carradine, who has a bigger part in the second installment). He shoots her in the head.

Four years later, The Bride wakes up—midfuck, mind you—from a coma in the hospital. There’s no baby. She takes out a would-be rapist, Jasper (Jonathan Loughran), and an orderly named Buck (Michael Bowen), who pimped her out. Incidentally, Buck has a catchphrase that rhymes with his name—you figure it out. The Bride runs off with Buck’s truck, the “Pussy Wagon.” Once she gets her feet and legs moving, she sets out to settle a score—or six. First, though, she has to persuade retired master swordsmith Hattori Hanzō (Sonny Chiba), who runs a sushi bar in Okinawa, to make her a sword.

Kill Bill: Volume 1 is totally far fetched, but that’s not important. Like most Tarantino films, the emphasis here is on the characters and the action, not the plot; otherwise, two hours of not much more than a badass blonde babe methodically killing teammates who double-crossed her when she was a member of something called the Viper Assassination Squad wouldn’t work. Originally intended as one long film (http://killbill.wikia.com/wiki/Kill_Bill:_Vol._1), Kill Bill: Volume 1 depicts two of the paybacks: Vernita Green (Vivica A. Fox), who’s now a housewife and mother in suburban Los Angeles, and O’Ren Ishii (Lucy Liu), the head of the Tokyo Yakuza.

Beautifully staged and shot, the violence is over the top yet perfectly choreographed. The scene at the House of Blue Leaves is eloquent right down to the blood in the snow. Tarantino plays around with the sequence of events and mixes genres including anime. He employs his penchant for sharp dialogue, snazzy settings with memorable names, and sick humor. Plus, he throws in cool music and clothes; Daryl Hannah dressed as a nurse, for example, is fucking fabulous! As a result, Kill Bill: Volume 1 is a dazzling bloodfest. It takes a certain type to love a film like this—and it’s one of my favorites.

With Julie Dreyfus, Chiaki Kuriyama, Gordon Liu, Michael Parks, James Parks, Sakichi Sato, Ambrosia Kelley

Production: A Band Apart

Distribution: Miramax Films

111 minutes
Rated R

(Logan Theatre) A

https://www.miramax.com/movie/kill-bill-volume-1/

Heavenly Creatures

Link posted on by moviebloke

(New Zealand 1994)

“All the best people have bad chests and bone diseases. It’s all frightfully romantic!”

—Juliet Hulme

Forget Lord of the Rings—Heavenly Creatures is Peter Jackson’s coolest film. Before big budget Hollywood blockbuster fantasy franchises, the New Zealand filmmaker wrote, produced, and directed offbeat small-scale gore and porn comedies like Bad Taste (1987), Meet the Feebles (1989), and Dead Alive (1993). I’d already seen that last one by the time Heavenly Creatures came out for a limited run (in the States, anyway) in the fall of 1994. I assumed it would be another messy splatterfest—described to me as a “lesbian murder flick,” what would you think? Turns out, that’s not quite what it is.

Far more than a “lesbian murder flick” or even a brilliant stepping stone to bigger and better things, Heavenly Creatures represents a turning point in Jackson’s career. It’s a rare example of flawless execution across the board. He brings together every element—narrative, character development, casting, visuals, special effects, dialogue, period costumes and sets—to create a real humdinger.

Christchurch, New Zealand, 1952: 14-year-old Yvonne Reiper (Melanie Lynskey), who goes by “Pauline,” is a messy-haired, brooding loner at an all-girl high school. In her first scene, she’s wearing a big scowl on her face at an assembly, not singing along with the rest of her classmates—not until the school’s headmaster (Darien Takle) catches her gaze and snaps her into line with a widening of her eyes. Pauline’s father (Simon O’Connor) manages a grocery market and her mother (Sarah Pierse) runs a room and board for college students out of their home.

WARNING: Potential spoilers ahead!

A new student is introduced during French class: Juliet Hulme (Kate Winslet), the privileged daughter of a reknown college professor (Clive Merrison) and a psychologist (Diana Kent). Juliet, who proclaims she’s “actually from England” and chooses the French name “Antoinette,” captures Pauline’s attention when she insults the teacher, Miss Waller (Elizabeth Moody), unleashing a hilarious hissy fit. The scene is, in a word, awesome to watch play out. Right after that, their art teacher, Mrs. Collins (Liz Mullane), pairs the girls for an assignment that Julia disregards; instead, she draws dragon-slaying St. George, depicting him in the likeness of Mario Lanza, “the world’s greatest tenor!” She doesn’t get around to drawing Pauline, her model. Mrs. Collins isn’t impressed, but Pauline is.

Thus begins the girls’ friendship. They bond over their similar pasts involving childhood disease and extended hospital stays, a penchant for drama, and a mutual distaste for their peers (and perhaps social issues that leave a void). Juliet is mischievous and romantic, which softens Pauline and gets her to open up. Sitting out gym, they giggle over sexy WWII pulp novels. They bike through the woods and strip to their underwear, dancing and singing. They hug a bum (played by Jackson himself) on the street. They hold weird rituals for celebrities they like. They make Plasticine models, write stories, and devise an elaborate royal family tree, building around themselves a fantasy medievalesque kingdom called Borovnia where all its inhabitants worship them. Their imaginary world blurs the bounds of reality as their friendship intensifies.

A string of troubles arises that threatens to separate Pauline and Juliet: tuberculosis, an extramarital affair, a divorce, South Africa, and a medical diagnosis of incurable homosexuality. The girls decide to run away to America, but they can’t secure a passport for Pauline. They devise another scheme to stay together, but it’s a risky one: kill Pauline’s mother.

Heavenly Creatures starts out sweet—it’s something of a typical teen movie at first—but it does a complete turnaround. Based on actual events, Jackson wrote the screenplay with Frances Walsh; the real story is sad but compelling, and the script is tight. The casting—married couple John and Ros Hubbard and the aforementioned Mullane—is genius: every single actor is terrific in his or her part, even the minor ones, and it makes Heavenly Creatures all the richer. Many of them turn up in Jackson’s later projects.

Lynskey and Winslet own their characters; I can’t imagine anyone else in their roles. They’re charming, silly, histrionic, desperate, deranged, and ultimately “stark raving mad”—and they portray all of it exceptionally well. They manage to keep the homosexual subtext from getting out of hand. You can tell from Winslet’s first scene—she walks in with that crazy look on her face—that she’s destined for more. She became a star after Heavenly Creatures in a way that Lynskey didn’t, but both are mesmerizing.

The scenes in Borovnia and the Fourth World are nothing short of spectacular. Actually, many of the visuals here are burned into my memory. Alun Bollinger’s camerawork and bleached palette lends a lovely dreamlike quality. Once things start to unravel for these “nice” girls, the whole thing shifts to a darker, more sinister tone. It’s an emotional downward spiral to the end—those splatter films serve Jackson well.

Heavenly Creatures hasn’t lost its luster after nearly 25 years. I lost track of how many times I’ve seen it, yet it continues to suck me in every single time. It’s one of my favorites.

With Gilbert Goldie, Jed Brophy, Peter Elliott, Kirsti Ferry, Ben Skjellerup, Jean Guérin, Stephen Reilly, Jessica Bradley, Alex Shirtcliffe-Scott

Production: WingNut Films, New Zealand Film Commission

Distribution: Miramax Films (USA)

109 minutes (director’s cut)
Rated R

(iTunes purchase) A

https://www.miramax.com/movie/heavenly-creatures/

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