Review: "The Fault In Our Stars"

This review originally appeared in Nathaniel's column at Towleroad

Shailene Woodley is everywhere. Which... well, I hope you like looking at her face. Not content to be the face of the post-Hunger Games YA dystopia fever (Divergent), she's also continuing that other everygirl thread in her career. She reads more like a girl next door, someone you know, than a STAR!; pretty but not intimidatingly gorgeous, relatable not charismatically mysterious.  She's specalized in earnest portrayals of ordinary teens getting their first taste of the tough stuff in life: death and desertion (The Descendants), disease and disappointment (The Spectacular Now). Hazel Grace Lancaster, her character in The Fault in Our Stars, doubles down and has to deal with all of it. 

Hazel is a 16 year old with thyroid cancer that has spread to her lungs. She needs an oxygen tank to breathe, which she drags behind her like a depressing carry-on she wishes she could check. Though she's outlived the initial prognosis she's acutely aware that she'll never grow old. Inbetween flashes of well earned self-pity and sarcasm, she worries about her parents (the well cast Sam Trammell and Laura Dern, who is reliably excellent) and how they'll survive her death. She attends a cancer support group for teenagers, at her mother's prodding. Mrs Lancaster hopes it will lift Hazel's depression and help her make friends.

Enter the Dreamboat Boyfriend... 

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Review: A Million Ways to Die in the West

Howdy, y'all! Here's Dancin' Dan with a contrarian opinion on last weekend's 'other' new release, which was not greeted so kindly. - editor.

Seth MacFarlane's A Million Ways to Die in the West is not Ted. That much should be obvious. It does not include a talking teddy bear and takes place in the Old West. But it bears repeating: A Million Ways to Die in the West is not Ted.

Frankly, I hate even making the comparison, but I kept doing so all throughout MacFarlane's seriously funny send-up of Old Hollywood Westerns. Right from the opening moments, it's a step up from Ted's television-quality visuals: Cinematographer Michael Barrett sends us soaring through Monument Valley, site of many of the greatest Westerns ever made, and Joel McNeely concocts a perfect old-fashioned Wild West score. But what really makes the difference here is the humor. For the most part, it's less foul-mouthed than Ted, except when it comes to Sarah Silverman's prostitute Ruth, who giddily talks about all the things she does with her male clients but not with her fiancée Edward (Giovanni Ribisi).

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Review: The Normal Heart

This review was originally published in Nathaniel's column at Towleroad

Mark Ruffalo as Ned Weeks (aka Larry Kramer) recreating a famous televised interview in "The Normal Heart"It's time for that other most-famous AIDS play to have its moment in the television sun. Larry Kramer's "THE NORMAL HEART," arrived Off Broadway in 1985, a half decade or so before Tony Kushner's long since canonized "Angels in America," but it's taken a longer and more circuitous route to mainstream fame. It's HBO to the rescue again with a television adaptation, which, as with the fate of Angels, came on the heels of a long gestating but never-meant-to-be movie version. (Barbra Streisand tried for years to mount a film version of The Normal Heart giving herself the plum role of Emma Brookner a.k.a. 'Doctor Death')

Though it rarely does Kramer's 'Heart' any favors to compare it to the later masterwork, it's hard not to. They're linked in time structure, setting, historical record, and now in HBO incarnations. Think of The Normal Heart as Angels in America's angrier cruder earth-bound cousin. It doesn't bother with symbolism, poetry or spirituality - whether that's through lack of ability, desire, or bilious rejection of the escapist side of the fantastical who can say? Instead, it finds its power in fragile bodies and righteous rage in the face of mundane defeats and every day humiliations.

Which is why it's a little surprising at first to begin with the elemental: the open air, the sun and a glide over the water (supertitle: "1981") as we head to Fire Island...

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X-Men Movie: Shades of Future Franchise Past

[Editor's Navel-Gazing Note: I remind all readers upfront and as apology for this extraordinarily longwinded review that the X-Men are part of Nathaniel's actual soul, having clung to them like actual friends and role models for his entire childhood and adolescence. Other comics were mere 'entertainment'. The X-Men were the loves of his young life. -  Nathaniel]

Daniel Cudmore as Colossus and Fan Bingbing as Blink

The most visually intoxicating character in the latest "When Mutants Collide!" movie is Blink (Fan Bingbing). She has very little dialogue, if any, but linguistic skill is not a mutation ("Hey now...," protests Cypher, who the movies will surely continue to shun). Blink's highly effective signature move involves tossed off pink teleportation portals which she, her teammates, and their enemies jump, run, stumble, fly or are thrown through. Think of it as Nightcrawler's disorientingly rapid teleportation, if it involved all characters in a scene and could be used malevolently against some of them.

In the very exciting opening battle sequence of X-Men Days of Future Past we see this power used frequently and awesomely as she helps her teammates (Warpath, Collosus, Storm, Iceman, Sunspot and more) to surprise, fight back, and evade (for a short time at least) their attackers, an army of mutant-killing robots known as The Sentinels.  But these Sentinels learn quickly, and are very good at their job: killing mutants. The tides turn and a mutant massacre begins... or does it? 

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Cannes Diary Day ???: "The Homesman," Or How Tommy Lee Jones Failed at Feminist Storytelling

Diana Drumm is reporting from Cannes for the The Film Experience. 

Based on the award-winning novel (that Paul Newman was attached to for years) by Glendon Swarthout (“The Shootist”), The Homesman is a bizarre, unwieldy Western about 31 year-old spinster Mary Bee Cuddy (Hilary Swank) and questionable character Briggs (Tommy Lee Jones) who are driving three insane women (Grace Gummer, Miranda Otto, Sonja Richter) back East for treatment, or at least respite from their literally-maddening frontier lives.  

Or for a convoluted, reference-laden way to generalize it all, think of The Homesman as an inverse of the Robert Taylor-starring not-quite-classic Westward The Women (1951) meets the Glenn Close-starring made-for-TV movie Sarah, Plain and Tall (1991) with the madness and mismatches of Quills (2000, Briggs being the less couth, toned down subversive Marquis) divided by the stunning Western cinematography of Brokeback Mountain (2005, via Oscar nominee Rodrigo Prieto). Apologies, my brain is flooded with movies. 

Scale of Tommy Lee Jones orneriness, gender politics, and star cameos after the jump...

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