ARTS The Michigan Daily - New Student Edition - Fall 2004 - 7D 'MONSTER' MASH THERON'S PERFORMANCE SAVES MEDIOCRE FILM January 21, 2004 By RaulLanu Daily Staff Writer MOVI E REVIEW There's nothing more annoying than the drooling adoration critics shower on actresses who alter their looks for films. Some exam- ples: Nicole Kidman for wearing a prosthetic Monster nose in "The Hours," At the State Theater Halle Berry for appear- Newmarket ing sans makeup in "Monster's Ball" and - most infuriatingly - Gwyneth Paltrow for donning a fat suit in "Shallow Hal." Now Charlize Theron ("The Italian Job"), usually cast as arm-candy for the leading man, is garnering similar buzz for her portrayal of real-life serial killer Aileen Wuornos in Patty Jenkins' "Mon- ster" - a portrayal that involves fake yel- lowed teeth, splotchy skin, dry stringy hair and an extra 25 pounds to her frame. What separates Theron from the rest of these actresses, however, is that while audi- ence members are aware they are watching Kidman, Barry or Paltrow in their roles, they cannot even find a trace of Theron in Wuornos's character. Theron completely immerses herself in the role, churning out one of the best performances seen in recent years and saving "Monster" in the process. Without a strong female lead, "Monster" would have fallen flat on its face, lacking a tight, well-written script with clear motiva- tions for its characters. The voice-over narra- tion shamelessly pleads for sympathy for Wuornos, and on paper the interactions between Wuornos and her lesbian lover, Selby (Christina Ricci, "Sleepy Hollow"), seem cheesy and superficial, consisting of either adoring compliments (you're-so-beau- tiful) or naive, foolish promises (I'll-buy-you- anything-you-want). Theron, fortunately, more than compen- sates for these flaws in the script. The way she confidently swaggers in order to mask her vulnerability and the nervousness shown through her shaky fingers and spastic head twitch makes her undeniably human. The way she holds a wounded yet passionate look in her eyes communicates all the motivation the audience needs to make her character believable. The way she seems like she's improvising rather than reading a script gives a freshness and sincerity to the otherwise mediocre dialogue. Theron even manages to make a first-kiss scene accompanied by Jour- ney's "Don't Stop Believin' " appear touching rather than sappy - quite an astonishing feat. "Monster" does not go deeply into the events of Wuornos' past that led to prostitu- tion, though sexual abuse and abandonment are mentioned. The film chooses instead to focus on the relationship between Wuornos and Selby and the murderous streak sparked when she is raped by one of her customers - a streak that leaves seven men dead. The relationship between the two women, however, is a bit muddled. Theron makes it clear that when Wuornos meets Selby, she is so damaged and disillusioned by the treat- ment she has received from men that she clings onto Selby out of desperation and hope for something better. Ricci, however, never paints a clear picture of Selby. She can't decide whether she wants Selby to be naive or incredibly selfish. She claims to love Wuornos, yet she gets angry when Wuornos announces she wants to quit "hookin'." Selby's decision to testify against Wuornos also remains unexplored, leaving Selby more an outline than a three-dimen- sional character. Strangely, the audience understands the prostitute/serial killer more than the confused drifter who gets swept into a relationship with her. "Monster" may have its flaws, and its bleak portrayal of humanity can turn off many, but the gritty honesty and uncompro- mising passion that Theron brings to the movie transform it into a captivating drama and forces us to see Wuornos as more than a monster. courtes 0 So F Pctune C,<,; When you're a Jet you're a Jet all the way." GRooviN' GRANDMAS 'BELLEVILLE' AMAZES March 9, 2004 By Hussain EWdrm Daily Staff Writer In his wonderfully bizarre first feature, Sylvain Chomet puts together one of the most unique and oddly engrossing animated films in recent memory. Although recently beat out by "Finding Nemo" at the 76th Annual Academy Awards, "The Triplets of Belleville" was the best animated film of the year as well as one of the top films of 2003. The story revolves around a cheerless young boy named The Triplets of Belleville At the Michigan Theater Son Picture C[assics Courtesy of Newmarket A dab of blush, and she's ready for the Oscars. UNLUCKY THIRTEEN' INNOCENCE LOST IN HAUNTING FILM Movie Madness An all-encompassing guide to Ann Arbor's best and worst cinemas Courtesy or Fox Searchight Lay off me, I'm starving! September 22, 2003 By Mary Hi1llomeier Daily Staff Writer MOVIE REVIEW A brutally honest portrayal of one seventh grader's fall, "Thirteen" raises serious issues concerning America's youth. Laudable for its gritty courage and sensitivity with painful subjects, Catherine Hardwicke's film promises to stay with the audience long after the credits have rolled."" Facing intense Thirteen peer pressure At the State Theater armed only with a Fox Searchlight shaky self-image, Tracey (Evan Rachel Wood, "Once and Again") is doomed the moment she enters junior high. Wood encapsulates youthful innocence, enhancing the impact of the corruption that follows. In search of acceptance, Tracey ditches her friends and realigns herself with the dangerously flirtatious, quin- tessential popular girl Evie. Expertly played by newcomer Nikki Reed, Evie's daring schemes and knack for never telling the truth successfully seduce Tracey. Tracey's mother Mel (the flawless Holly Hunter) struggles with alcoholism and discipline issues of her own. This lax atmosphere gives Tracey and Evie free reign to indulge in typical teenage misadventures juxtaposed with swiftly escalating drug use. Both Wood and Reed maintain terri- fying vulnerability throughout the film that starkly contrasts their lack of respect for everything, especially themselves. Although Reed's character is the instiga- tor, she reveals glimpses of inner strug- gle, adding dimension to her character. The semi-autobiographical script, co- written by the teenage Reed and director Hardwicke, rings refreshingly true, adding heartache to Reed's performance when one considers the reality upon which it is based. Hunter's sharp instincts and weath- ered maturity play well against the rebel- lious energy of her fresh co-stars, creating palpable tension from begin- ning to end - tension that is heightened by the Los Angeles setting, the perfect backdrop for Tracey and Evie's unravel- ing for the sake of shallow beauty and false acceptance. Simultaneously frightening and riv- eting, "Thirteen" is a well-crafted story told with honesty and integrity that, although at times difficult to By Niamh Slevin Daily StaffWriter Now that the Madstone Theater's pro- jectors have run their last reels, some Ann Arbor moviegoers wonder where to turn for comparable variety in their film choic- es. As luck would have it, Ann Arbor's streets are filled with a mixture of local favorites and big chain movie houses. The Daily offers the newcomer's guide to Ann Arbor flicks, weighing the pros and cons of each theater's specialty. Michigan Theater 603 E. Liberty St. Pros: The Michigan Theater screens major blockbusters *on occasion, but usually its fare gravitates toward the independent scene. Some of the best indie films and documen- taries find audiences here as well as older mainstream features. The theater's two screening rooms are lavishly decorated with velvet curtains, tasteful murals and leaf-gild- ed hauteur; an organist, perched on a rare 1927 theater pipe organ, entertains the crowd before the feature presentation Wednesday through Sunday evenings. Cons: Because Michigan's main auditori- um is often used for special performances and concerts, the number of movies shown here is somewhat limited. Rating: **** State Theater 233 S. State St. Pros: Just down the street from the Michi- gan Theater, the State Theater offers largely the same types of movies. Leaning toward indie filmmakers, the State is noted for its unusual selection. Its midnight showings of films such as "The Big Lebowski" and "Rocky Horror Picture Show" draw crowds that could easily wrap around the city block. Cons: Located above Urban Outfitters, the State is a small theater space and can feel cramped. While seating is certainly not limit- ed most nights, the seats are distinctly less comfortable than those offered by most big- budget movie houses. Their rigid frames offer no wiggle room to restless patrons. Rating: ***I Goodrich Quality Theaters Quality 16 3686 Jackson Rd. Pros: For mainstream releases, Quality 16 is one of the best choices in town. A pioneer of optional loveseat-style seating with move- able armrests, Quality 16 is a popular spot for couples. With the capacity to air the most in- demand movies virtually every hour, the the- ater draws large crowds for releases such as "The Lord of the Rings." Quality 16 is also the only chain theater in town that still offers student discounts, though the discount seems to shrink with each passing season. Cons: Unlike the Michigan and State, Quality 16 is often swarming with pre-teens and high-schoolers whose boisterous behav- ior can be rather off-putting for those accus- tomed to the quiet atmosphere of the campus theaters. Because Quality 16 is located well beyond walking distance from campus, it is also not always the easiest option for stu- dents. Rating: *** National Amusements Showcase Cinemas 4100 Carpenter Rd. Pros: Again, this chain theater reg- ularly shows the biggest block- busters of the season, and movies are often allowed longer runs than in most theaters. Instead of the typi- cal concession stand, Showcase's spacious lobby is lined with ven- dors selling treats like elephant ears, ice cream and pretzels. Cons: In terms of movie selection, Showcase offers the same, blase fare as every other chain around town, only at a steeper price. The theater extends no stu- dent discount, and prices are nearing the $10 mark for prime-time showings. Locat- ed several miles from campus, Showcase is also quite a trek for those without motor transportation. Rating: ** Village Theater 381 Maple Rd. Pros: Village Theater specializes in second-run showings, meaning its selec- tions air only a few weeks before hitting video stands. However, if you can't wait just that long, Village Theater is the place to stop. Tickets run only a couple of bucks per customer. Cons: In comparison to the other four, Village Theater is fairly rough on the eyes. Most patrons agree that the theater could use some heavy renova- tion, which seems unlikely to happen given its meager revenues. Rating: * Champion and his obese dog Bruno who are taken care of by his loving grandmother, Madame Souza. Her life's mission seems to be the search for any conduit of joy for her grandson. Once she discovers his love of bicycles, cycling becomes their existence. Endless training, the passage of time and French citizenship lead to nowhere else but the Tour de France. However, during the race, Champion is kidnapped by French mobsters. Springing to action, his decrepit grandmoth- er, Bruno and an aged group of singing triplets team up in Belleville to come to his rescue. And from there, the story only gets more surreal. Though the plot is fun and enjoyable, the highlight is the film's exaggerated style. There is a dark and odd underlying sense of humor that often comes through as unexpect- ed laughter. Visually dense, the animation style is unlike any audiences have previously seen. The animation works on many lev- els and is often a send-up of American and French culture - rampant con- sumerism and globalization. The images are complex and demand astute attention, which more than compensates for the fact that this is a dialogue-free film. While this may seem to be anathema to the modern audience, the film boasts an incredible soundtrack that guarantees the audience leaves the theater singing and unaware of the lack of dialogue. Although the grandmother's love is the overarching theme of the film, there is none. of the fluffiness and overwrought sentimen- tality that defines American animation. There are no cute characters with Happy Meal tie- ins. This is one of those films that acts like it is not for children and means it. "Belleville" will scare the hell out of any child. Chomet's vision is a different kind of beautiful, as well as a solid sign that ani-; mation can still be done with a pencil and: some imagination. Surviving the dr January 12, 2004 By Zach Mabee Daily StaffWriter MOVIE REVIEW Attempting to make a movie about the American Dream is, even in the most skilled hands, almost always a flawed undertaking. The story of coming to America has been told so many times that nearly any permutation of it hardly seems innovative - or even interesting. "In America" fills the tired tale of immigrant life in America with a In America previously unseen vigor, a forceful intensity At the State Theater that, in emphasizing struggle with brutal hon- 20th Century Fox esty, makes triumph indescribably sweeter. The story, rooted in Director Jim Sheridan's own immigrant expe- rience, follows Johnny (Paddy Considine, "24 Hour Party People") and Sarah (Samantha Morton, "Minority Report"), a young Irish couple, and their two daughters, Christy (Sara Bolger, "A Love Divided") and Ariel (Emma Bolger), as they settle in Manhattan, start their lives anew and try to leave behind the anguish of their past. Problems abound from day one as Johnny struggles to find work "eamIn a despondent as an actor and Sarah earns a meager wage at an ice cream parlor. All the while, their tenement is barely habitable, and they have virtually no money. It's only when they befriend a reclusive neighbor that they discover hope and strength amidst seemingly endless despair. Both the grief and eventual hope are very tangible emotions, and they're roused wonderfully through subtle filmmaking. Certainly the loss of a loved one has its effect on the family, but their struggle and pain are conveyed most clearly through everyday frustrations. Watch- ing Johnny cart an air conditioner angrily through the city streets to help his girls on a summer day or seeing him risk their entire savings to win Ariel an E.T. doll at the fair proves his unyielding desire to please his girls. This meditative style also allows Sheridan to capture the essential beauty of scenes that can only be appreciated appropriately on film. From a musically-charged snowball fight in a wintry landscape to a solemn close-up of a newborn child, "In America" makes great the most simple, potentially trivial, moments. It also capitalizes on the most basic, unrefined roles of the film: The best movie about c those of the two sisters - played by actual sisters - Christy and sanity to their parents Ariel. They complement each other ideally, as Christy reveals a taci- within and outside t turn understanding and appreciation for her family's lot, while Ariel coherence to a famil teems with vigor and innocent curiosity. Indeed, their unity brings never reached its swee America' y Courtesy of 20th Century Fox coming to America since ... "Coming to America." ' chaotic lives and buttresses relationships both he family. As children, they provide crucial ly that, without it, would have crumbled and et deliverance. Dal~v Arts