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lifejustgotawkward · 6 years

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365 Day Movie Challenge (2018) - #90: Must Love Dogs (2005) - dir. Gary David Goldberg

Full disclosure: I only watched Must Love Dogs because I knew that Glenn Howerton was in it. (Well, OK, I’m also a fan of Diane Lane and John Cusack, but they wouldn’t have been reason enough for me to check out a cookie-cutter romantic comedy.) If you can stream movies from Netflix, you have an hour and a half to kill and you want to watch a lightweight rom-com, Must Love Dogs is mildly palatable entertainment, but don’t watch it if you have any hopes of believable chemistry between the two stars. Diane Lane and John Cusack - the latter of whom was so wonderful in the 80s and 90s but has been struggling to find a fulfilling lead role since the mid-2000s (Love & Mercy was more like supporting work) - are drawn to each other thanks to an internet dating site, but the actors have sparks that resemble friendship more than they do lust, and frankly, it annoys me that Dermot Mulroney (a gifted cellist in real life, may I say) is stuck in one of his perennial “other man” roles here.

Brief flashes of amusement come from Christopher Plummer as Lane’s charmingly roguish father, Elizabeth Perkins (remember when she used to star in rom-coms?) as Lane’s nosy sister, Stockard Channing as one of Plummer’s middle-aged girlfriends, Brad William Henke as Lane’s gay coworker (a stock portrayal for a major-studio film), the aforementioned Glenn Howerton as one of Lane’s many siblings (he doesn’t have many lines but he does have an adorable pet dog), Ben “the guy from Pi” Shenkman as Cusack’s best friend, Jordana Spiro in a small but funny role as one of Cusack’s potential love interests and Marylouise Burke as Lane’s aunt. Too bad the dialogue is so horrendous, though, and that Cusack’s character has so many backwards ideas about women. He comes around by the end, I suppose, but this is yet another Hollywood romance that could only make sense on a screenwriter’s pages.

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badmovieihave · 6 years

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Bad movie I have I Love You Phillip Morris 2009

#I Love You Phillip Morris #EuropaCorp #Jim Carrey #Ewan McGregor #Leslie Mann #Rodrigo Santoro #Antoni Corone #Brennan Brown #Michael Mandell #Annie Golden #Marylouise Burke #David Jensen #Dameon Clarke #Clay Chamberlin #Louis Herthum #Morgana Shaw #Joe Chrest

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caroleditosti · 8 months

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'Infinite Life' by Annie Baker, a Review

'Infinite Life' by Annie Baker is provocative and profound.

(L to R): Kristine Nielsen, Brenda Pressley, Marylouise Burke, Mia Katigbak in Infinite Life (Ahron R. Foster The premise of award-winning Annie Baker’s play Infinite Life, premiering off-Broadway at Atlantic Theater Company’s Linda Gross Theater, is that pain is the crux of life. Directed by James Macdonald, the production focuses on individuals who deal with pain along a continuum from…

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#Annie Baker #Brenda Pressley #Christina Kirk #Infinite Life #James Macdonald #Kristine Nielsen #Mia Katigbak #Pete Simpson

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politickworms · 6 years

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John

17 February 2018, Dorfman

Before this production I hadn’t seen any of Annie Baker’s work staged, but I would count her as one of my favourite playwrights - and certainly one of the most interesting working right now. Strangely, then, I went into John without having read the play, and having been told that it was maybe a little different from her previous pieces. As with most of her other plays, it features a cast of characters with quite major age gaps, which I’d always found interesting in terms of the dynamics of the relationships that are portrayed, but in John there’s a definite sense of the central couple being intruders in a space that is detailed and disquieting. Other writing about the play has talked about a certain sense of spookiness, maybe leaning in a magical realist direction, which gives it a slightly more actively theatrical bent. In fact, each act is prefaced by the owner of the Gettysburg B and B, Mertis, drawing and closing a huge red curtain like you’d find in an old-fashioned proscenium arch theatre.

So John is about a couple in their late twenties, Jenny and Elias, on their way home from Thanksgiving who are stopping for a couple of nights at this eccentric B and B in Gettysburg. Elias is a civil war buff and wants to do some local sightseeing during their stay, but Jenny gets really bad cramps and so stays inside, chatting with Mertis and her intriguing friend Genevieve. That’s the plot in a couple of sentences, because Annie Baker as a rule doesn’t do plot - or certainly not big action-y plots - there’s a lot that goes on in John, but it’s what I guess you’d call emotional plotting. Jenny and Elias’ relationship is not in a good place, so we spend time watching them bicker, seemingly salvage things a bit, then fall back into horrible patterns. I’m going to get a little spoiler-y for a second, just to say that I am a huge fan of the women in Annie Baker’s plays who get to be bitches, without having to owe anyone anything. From my read on the play, Elias is the real problem in the relationship, but it’s Jenny that has cheated on him. And in The Flick, Rose is not very nice to either of the guys, just as in Circle Mirror Transformation Teresa strings Schultz along. These women aren’t stereotypically messy, like the “messy” female protagonists you get in rom coms (where messy means, oh my god, they eat all the time but still seem to be tiny? I digress.), they just make poor or hurtful or selfish decisions and, refreshingly, they don’t really get punished for it.

And so we watch Jenny and Elias arguing (including upstairs, out of sight and quite muffled at one point, which is a bit different), watch them both interact with the older women, and we do get some way towards finding out who John is. John the play is long, with the famous Annie Baker pauses, but it’s nice to sit and watch these characters live in front of you. They’re so well written, and well performed by a 3/4 British cast (Marylouise Burke having come over from the US, apparently with considerable Equity negotiations), that I could have done another three hours easily. The forays into less realist moments are really quite wonderful too - particular highlights for me were Genevieve’s second (I think) interval speech, and a lot of the third act, where the lights go down slowly and you feel like you’re entering into something entirely more strange and otherworldly.

It feels very odd to have got this far and not talked about the set at all - in some ways I wish I hadn’t looked at any production photos before I went, because the first reveal of the B and B, with Mertis drawing back the red curtain, must have been quite something for people in the audience who didn’t know how Chloe Lamford had run riot with the kitsch decor, including of course Samantha, the American Girl doll. Jenny and Elias’ reactions to arriving in their ‘home away from home’, as Mertis rather terrifyingly calls it, are pretty great. I found, though, that after a while I got sort of used to the madness of the ornaments and the dolls and the classical jukebox - I was so focused on the characters and the nuances of the dialogue and the acres of subtext under every interaction.

Having missed The Flick a couple of years ago, I was so pleased to be able to see this. I can’t quite tell how I feel about Annie Baker in performance as opposed to on the page - I bought the John playtext this weekend, but haven’t read it yet, I suppose to make sure that my memory of seeing it live wasn’t tainted by my experience of it read. I’m really hoping I get to see any of her other plays, or a new one very soon. I love her work and am very happy to start my live collection off with John, and to have it expand my printed collection.

Side note: she dedicates the final page of the play to her husband (I think) Nico Baumbach, which is Mertis’ incredibly understated but also sort of aggressively beautiful speech about meeting her husband in person for the first time. You hopeless romantic, Annie!

#John #Annie Baker #National Theatre #Anneika Rose #Tom Mothersdale #Marylouise Burke #June Watson #James MacDonald

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frankenpagie · 4 years

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11.19.19

#watched #film #letterboxd #sideways #alexander payne #paul giamatti #thomas haden church #virginia madsen #sandra oh #jessica hecht #marylouise burke #missy doty

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kiss-my-freckle · 3 years

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Rewatch 8x6: The Wellstone Agency

This episode was gorgeous.

Alina should've had breakfast with Red. They could've knocked that crossword out together. She seriously needs to be TeamRed. I like that they opened with the crossword puzzle. Three letter word for "It has benefits." JOB. Yeah.... a benefit to have Red cleaning your mess. Red offers her an omelet. Another egg reference. I'm waiting for the egg Krilov scrambled. She asked if he's giving her a case or a history lesson. Seriously... they've opened up her character for so much possibility with her background. She could totally play his girlfriend or his daughter. She doesn't have a Tom Keen in her life that could taint the education he provides. She lies about Cooper being in a meeting. She actually went to Red herself to tell him she thinks what he's doing with Liz is wrong. A bad case of "Girl has no idea. Girl speaks anyway." She doen't know Red is Liz's mother. Best she not think like everyone else... as if she knows what's best for Liz. Red has to pursue Liz because she's the one making it worse.

"Agent Park, next time you feel the urge to unburden yourself, you can rest assured... I've heard it all before. It's a luxury to stand on the moral high ground and critique those of us on the low ground. A lot of people do exactly that. Until they need my help." We saw how this turned out. Alina said she'll never ask for his help, but she did. Ressler said the same in S5. I wonder if they'll be pushing Ressler's in at some point. He didn't ask for Red's help in S5, Red simply offered it. Alina's storyline with this friend of hers feels similar to Ressler's with his brother. Borrowed money from the wrong people. Ressler turned to Liz, Alina turned to Red.

Red knows very well who works for him. He knew Aram spoke sign language, and he knew Aram would be the one they sent undercover because he can speak more languages than they do. An agency that breaks the language barrier between criminals. Hilarious for Cooper to say sign language definitely doesn't count when it's exactly what Red needed. He needs to speak to the owner who's deaf, best put them on the blacklist. An FBI mole storyline for The Wellstone Agency to parallel the KGB mole that stole the Sikorsky Archive in 1990. The Sound of Silence. The deaf owner of Wellstone. Aram speaking sign language. It all reminds me of Lady Ambrosia and Newton Purcell... silence and screaming.

Marylouise Burke was a great choice for Glen's mother. I love how Dembe lets Red vent about Glen. It's hilarious. He just sits there and listens. They throw in a parallel for Liz, despite its context.

Red: “Huey is, in a word, the reason." Two words. "Which is why his failure to attend my memorial would be seen as a snub so great that I'm afraid it may send Mother into a heartbroken tailspin which she may never recover from."

Basically showing Red was referring to Agnes.

Red: She might. Some day. But before then - I fear she may do something that she can never recover from.

They also throw Glen in parallel with Kate despite its context.

Dembe: It's his dying wish. Red: No, it's one of his dying wishes.

Red fulfills both dying wishes for Glen.

Nik: I can’t help you. Tom: Whoever is in here, this is the dying wish of a good woman, alright?

Red: I understand the temptation acting on a fine woman’s dying wish. But your quest has cost Nik Korpal his life, and persisting will put whomever you involve in harm’s way.

Liz: She killed herself so I could get the duffel bag. It was her dying wish. Feel free to honor it.

Kate's dying wish has yet to be fulfilled. Liz doesn't know Red's truth because she still doesn't know his identity. Liz is still trying to honor Tom's dying wish.

Red: You won’t miss a day more with her than is absolutely necessary. You have my word. Liz: And you have mine. That I’m gonna honor Tom’s dying wish. For me to know your truth. Before this is over, I’m going to find out what it is.

That's why this story isn't over.

Aram's conversation with Red's contact reminds me of S5. The pill reminds me of Earl King and The Djinn. The blacklister is a great storyline as they cross into the Russian language for Red's KGB background and the thumb drive. Cooper's scene with Alina about her friend's death feels a lot like his scene with Ressler over Audrey’s prior to him going after Mako Tanida.

Another parallel despite its context. This one, to Red being Ilya.

Red: He told his mother he inspired you to record "Workin' for a Livin'" after a rousing game of beer pong in the back of a bar in Teaneck. Huey: And she believed him?

Ilya: What I can’t figure out is Dom. Why would he tell her all that? Red: In an attempt to help her move on. Ilya: And she believed him?

Aram is getting better out in the field... at thinking on his feet. No Turning Back by Claire Guerreso... great soundtrack for the scene. So dramatic. One of my favorite scenes of Aram... ever. Such a great performance.

"Evidently, Reddington was wearing a wire. One we'll tell the Justice Department that you were wearing." I think Red chose to wear the wire because he's not gonna let The Freelancer's release happen for another blacklister. He's done playing around. It basically removed Red as a CI, leaving the FBI to act as their accusers instead. It not only protects the FBI, it protects Red in the criminal world. His name will no longer come up should others want to face their accuser in court. He gives them a name, allows them to infiltrate, gets the proof they need, and makes it look like they got to these blacklisters on their own.

Cooper is playing a dangerous game with the thumb drive. Making sure Aram keeps it hidden from Red, yet claims to be working with Red at the same time.

Cooper: As if I'm not already asking you to do too much, I need you to try and open this drive. Aram: Okay. Is this about a case? Cooper: I'm not sure. Which is why I need you to keep this between us. Nobody knows. Especially Reddington.

Aram: Mr. Reddington told you the name? Why? Cooper: Because we're on the same team. And because he knows we have to work together if we have any hope of bringing Keen home safely.

Skipping out on his halfsies, taking control as if Red works for him.

Aram: Mr. Cooper, um - about, uh - this drive you wanted me to decrypt. Uh, I can't. I reached out to a friend at the NSA. Cooper: Do you trust him? Aram: I do. Cooper: Good. Because if he tells anyone about this, his life could be in jeopardy. Keep me posted.

I believe this thumb drive will play out like the suitcase of bones, and it will most certainly put Liz’s life in jeopardy just as the suitcase put her in a coma. And I think it will be the NSA friend that makes a move rather than Cooper. I don't think he's gonna be anything like Jennifer's friend checking through Koehler's files. After Cooper said to keep it between them, Aram chose to reach out to his NSA friend. Big mistake. Totally different from the Fulcrum, which Aram handed directly back to Liz. He should've given the drive back to Cooper, but he didn't. That'll be his mistake.

Red: Her husband wasn't who he appeared to be. She was in jeopardy. I had to intervene. Cassandra: And... is she still in jeopardy? Red: I hope not.

I think the opposite of 3a could run through 8a. Ressler putting Liz in danger, Aram saving her life. Aram putting Liz in danger, Ressler saving her life.

"He gets her hopes up, and I have to be the one to dash them. Glen at his finest." A great dialogue with double meaning. There’s also a parallel for Tom Keen and Ressler, despite its context.

Huey: And I got to know 'cause I can't get my head around it. Why in the world is Raymond Reddington running errands for a DMV desk clerk?

Ressler: I'm just I'm trying to run my head around all this. So Reddington's not Reddington.

Red: There is one thing that I can't seem to... wrap my head around. Tom. After all the lies, all the deception and humiliation, how you can just forgive and forget.

Rederina is my favorite parallel with Glen because it’s the part of the episode that I find most beautiful.

Death and rebirth.

Paula: Glenn... transitioned. Red: I don't know what that means.

Ilya: It is a mystery, right? So, we give them the answer. Katarina: What does that mean?

It’s complicated.

Huey: I - I didn't ask you what he did. I asked what made him special. Red: That's a bit more complicated. Huey: Ah, I'm sure it is. I'm sure it's incredibly complicated.

Red: It’s complicated.

Red: Oh, I think you’re very special.

Weird and strange.

Huey: And weird and strange. But - I like weird and strange. You said I could ask for any favor... that's the favor. Red: You want me to tell you about how weird and strange Glen was.

Waters: Raymond Reddington. Wow. What a name. What a man. And people think I’m weird.

Liz: You have a picture of my mother in your weird, little apartment. Why?

Denner: You must have known how strange all of this was. Liz: Of course I did.

Huey: That'd be good. Uh, but the truth is, you can't do a bigger favor than revealing somebody's [heart and soul.] Red: No, I don't suppose you can. [Insert Dembe.]

I view Red's eulogy for Glen just as much a eulogy for Katarina Rostova - the person Red used to be. That's why I felt the Statue of Liberty was perfect. The glorious feet of two grande dames, Queen Rostova and Crowned Liberty. One of the saddest differences between Glen and Katarina - they can talk about Glen whenever - wherever they choose. Even saying the name Katarina Rostova has consequences, so her memory fades. Like Katarina, Glen was unafraid. I feel that's the biggest reason Red worries about his memories of Glen fading. Because Red's memories of his former self have, which gives reason for Glen's fearlessness to be the thing he'll miss the most.

Earl Fagen: Living a lie was worse than prison. The day I confessed was the day I went to jail. That was also the day I was set free.

I love the bag Red put Glen’s ashes in. It says "thank you" ... as if thanking Glen at the same time he's spreading his ashes. As they pan to the photo of Glen with his mother, I consider the mother-son parallel, still predicting Scottie and Halcyon being the next big bad because of Tom’s death.

Scotcheroo... a great nickname for Red, I think.

#Rederina

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