DVD Review: “Listen Up Philip” 3.13.15

This particular movie piqued my interest after having seen it wind up on many of last year’s top 10 lists from quite a few film critics. A movie that virtually seemed to fall under the radar by most yet even despite of its positive reviews. These are the exact types of films that I thrive on seeking out. As a lot of the time when I take a chance with something that I know little to next to nothing about, I sometimes come away feeling a great sense of having found that hidden gem that I can then spread the word about to the film aficionado friends that I know. If it winds up being disappointing…well, that’s not what really matters. It’s the hope of seeing something new and exciting that drives me to want to see a film that some may hold in a high regard that goes unseen by most if not all of the American public. Such was the case with this film. It played in a very limited release at one of our more local art house, independent cinemas here in Portland that only showcases the kinds of films that fall into this particularly kind of category. That and I’ve always been quite fond of the film’s lead, Jason Schwartzman, having feeling like I’ve almost seemingly grown up right alongside him when he wowed both audiences and critics a like with his breakthrough debut performance in Wes Anderson’s “Rushmore” (1998), which was a major movie for me in terms of my starting to develop an appreciation for both the art of film and its language. I also was intrigued by the film’s supporting cast which boasted Elizabeth Moss (who seems to be showing up everywhere lately, most notably in last year’s trippy SciFi romantic comedy/mindfuck – “The One I Love”) whom I also loved in one of the most underrated, overlooked, and unseen made for cable miniseries – Australian filmmaker Jane Campion’s fantastic murder mystery “Top of the Lake” (2013) which gave me a much deeper appreciation for Moss who won the Golden Globe for Best Actress in a Miniseries for her performance in it. Rounding out the impressive cast was the great Bristish stage and screen actor Jonathan Pryce, who has and will always stick out for me from his lead performance in Terry Gilliam’s undisputed masterpiece “Brazil” (1985). This looked to be one that had the potential to be of great promise, considering the actors involved and the great reviews I had glanced at about it.

The titular character, Philip (played by Schwartzman), is a New York City writer who at first seems so obsessed with himself, so self-absorbed, that he comes across as highly unlikable (think Jeff Daniels’ in Noah Baumbach’s “The Squid and the Whale” (2005) ). He’s a bigot, arrogant, pretentious, and narcissistic. One of those better than everyone young writer types who on the heels of having only published one novel to date but who got critical acclaim for, thinks he’s gods gift to just about everybody he meets. But what’s different from his character than say the Jeff Daniels comparison, is that he’s well aware of all of these things, and we as the viewer are informed of this, throughout most of the film actually, in a brilliant voice over narration by none other than the Eric Bogosian (in what I found to be some of the better use of voiceover since Alec Baldwin’s work on another Schwartzman film – Wes Anderson’s “The Royal Tenenbaums” (2001) ). It seems like every relationship, from Philip’s ex to his now current girlfriend (Moss) is doomed for failure. As he is not willing to recognize anybody’s else’s accomplishments rather than that of his own. Which makes him a likely candidate for most difficult person to be in a relationship with. He does however find solace in another writer Ike (played by the excellent Pryce), an aging writer who has seen his day, and who like Philip, is so selfish that he willfully seems to push away just about every person in his life. The two are almost mirror images of one another. And when Ike invites Philip to his summer home in upstate New York to escape the ever-growing and anxiety ridden demands of the big city life, Philip jumps at the opportunity to stay with his mentor, as he attempts to get his second novel published.

The film winds up being a mostly enjoyable dramedy, with elements of both dark humor and serious drama as the screenplay really attempts to give us, the viewer, full access into the world of Philip and the two different sides in which he projects – his overly confident, cocky exterior as well as the self loathing and deprecation that’s going on in the interior. Schwartzman handles the role rather deftly, and proves to his once again why he has the residual staying power that he’s had as an actor, despite having a number of notable films under his belt and still being as young as he is. The script and story itself reminded me of something out of the Woody Allen, Noah Baumbach, and Wes Anderson cannon. In that there’s a sad, underlying tone with moments of great comedy on display. Juggling several genre elements all jumbled up into one rather remarkably. Which is a testament to its writer director, Alex Ross Perry, who has a couple of features under his belt but this seeming like essentially his debut film, which is mightily impressive given that he is barely 30 years old. The script is razor-sharp, smart, witty, and darkly funny. And came across as being more deeply rooted in reality than a lot of the other increasing number of films that I’ve seen from this genre as of late. While we look at Philip’s character with disdain, there’s also a human element that resides within him that comes across as universal, authentic, and real. This wound up being a mostly rewarding experience, even if it did wind up feeling slightly familiar at times to films like the ones of early Woody Allen. Recommended for those interested in the independent, romantic dramedy genre looking for something new and fresh and for fans of Schwartzman. As this one should have raised a few more eyebrows than it did, and at least to me, seems like it should have gotten quite a bit more attention than it ultimately wound up getting.

[B]

Review: ‘The Double’ 8.31.14

If Woody Allen’s ‘Annie Hall’ is the best movie about middle aged adults falling in love, and Richard Linklater’s “Before Trilogy” is the best set of films about twenty/thirtysomething’s falling in love, then Richard Ayoade’s 2010 remarkable debut – ‘Submarine’ (which made my top 10 films of that year) has got to be the best film about teenagers falling in love. I remember being so moved by ‘Submarine’, so touched, both in its humanity and the way in which its characters were treated. I remember thinking “who is this Ayoade guy”? But at the time I didn’t really care. What I did know is that I just lay witness to one of the most refreshing young talents who made one of the strongest debuts in as far back as I can remember.

So it was only fitting that I would be heavily anticipating Ayoade’s sophomore effort. Especially because from the little bit I read I heard it was more or less an extension of his singular style, his ability to create something new and inventive, while also not conforming to any of Hollywood’s typical movie tropes. All things that were apparent if you saw ‘Submarine’ (and if you haven’t I would highly encourage you to do so). This, co-written and directed by Ayoade, with Avi Korine (Harmony’s brother also getting a co-writing credit), and based loosely on a novel penned by the famous 19th century Russian writer Fyodor Dostoyevsky. Plus starring both Jesse Eisenberg and Mia Wasikowska (is there anything this talented young actress isn’t in?). I thought this had the pedigree to be a great film. And for the most part it is. Set in the future, or a setting that gives no indication of space or time, and the story taking place below ground (at least it appeared to me to), following the central character, Eisenberg, who plays his usual awkward, unconfident, nervous self, but which in this case winds up suiting the material well. Who witnesses an attempted suicide while spying on his love interest through a telescope (a nod to Hitchcock’s ‘Rear Window’), here played by Wasikowska, only to show up the next day to work and there’s a carbon copy of himself, a doppelganger, and that’s where things really start to get interesting. Throughout, I couldn’t stop thinking of Terry Gilliam’s 1985 masterpiece – ‘Brazil’, as this film felt a lot like it in both feel and tone. It’s peculiar, quirky, and very bizarre. It presents the viewer with a lot of questions – are the 2 Eisenberg’s switching identities? Obsessions? Are they both the same person just different versions of one another? This is a film, much like ‘Enemy’, that will have you asking yourself a lot of similar questions throughout. It’s a completely original, highly unique, and singular work. And proves once again that Ayoade is one of the more fresh, talented, and original voices on the filmmaking scene today. This is one that will most likely wind up on my list of Honorable Mentions (#’s 10-20) by year’s end.

Grade: strong B