Reactions to story from Time
Vicky, Cristina, Barcelona and Woody
http://www.time.com/ time/ arts/ article/ 0,8599,1807381,00.htmlReactions / posts that link to this article
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for your consideration
http://richnguyen.us/blog/?p=11something you either understand, or you don’t, regarding Woody Allen’s new movie Vicky Christina Barcelona “VCB is a God’s-eye view of the thesis that “only unfulfilled love can be romantic.” http://www.time.com/time/arts/article/0,8599,1807381,00.html?xid=rss-arts
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Cannes: Woody Allen's 'Vicky Cristina Barcelona'.
http://dorsiatic.blogspot.com/2008/05/cannes-woody-allens-vi...As much a part of Woody Allen's mystique goes to his dedicated audience's experiences with his films as it does his knack for being an auteur. The stories behind the films, about how his fans have reacted to each or all, are certainly an important element when considering his influence. Even when he makes a film that stagnates or a film that hardly makes any strides creatively, his films are a bridge into his mind, and it's always a compelling experience to go there. His latest film, 'Vicky Cristina Barcelona', which debuted at Cannes this year, may have received some pretty mixed reviews thus far (many coming from confusion over whether or not he's parodying himself - he may very well be), but I think he's still more fascinating at his worst than quite a few directors are when they're "on the money". When I first saw that the film was going to play at Cannes, I was interested, but not entirely excited. 'Scoop' looked like it had his idiosyncrasies, but not much intrigue. 'Cassandra's Dream' looks like the opposite. The early reviews affirmed me, many were put off by its pacing, its melodrama, and its odd sexual tension (without actual sex). I was disappointed that a film with such a wonderful cast as this (Javier Bardem, Scarlett Johansson, Penelope Cruz, Rebecca Hall - who played Christian Bale's wife magnificently in 'The Prestige' but has yet to surface to noted acclaim) could be sloughed off as having unfocused tension and chemistry issues. 'Match Point' was such a wonder, an unadulterated joy to behold, that I've almost been holding my breath to see how Allen might evolve next (I thought the new location in Barcelona could do it). Lucky for me, the good stuff is starting to pour in... Kim Voynar of Cinematical gets the idea with Woody Allen, and relates the experience of watching a film of his to opening a Christmas gift from your eccentric aunt, his latest being of the good bunch: "I've said before that a new film from Woody Allen is something like getting a Christmas gift from your eccentric aunt; you never know if you'll get a crocheted toilet paper cozy, or a piece of priceless heirloom jewelry. Fortunately, Allen's newest film, 'Vicky Cristina Barcelona', turns out to be more like the latter. ....Allen has succeeded in making an excellent film; Vicky Cristina Barcelona is a lovely gift from a filmmaker who, when he's on his game, truly hits the mark."Yet if Woody Allen is proficient in anything and quite consistently, it's extracting captivating performances from his actresses (his muse now being Scarlett Johansson, as overexposed as she is), this time from Penelope Cruz, who's still hot (and bothered?) off of 'Volver' and receiving the most glowing responses of any element of the film. It's because of her powerhouse performance in this that's returned my hopes to their high place for this film. Todd McCarthy of Variety: "Cruz, who officially graduated from sex kitten to powerhouse melodramatic actress in “Volver,” is in full Anna Magnani mode here, storming up and down mountain peaks of emotion and captivating everyone in the process. Allen even generates affectionate comic mileage from the common rap on Cruz’s acting–that she’s great in Spanish but blah in English–by having her deliver Maria Elena’s colorful tirades in her native language, only to be told again and again by Juan Antonio to speak English so Cristina can understand her. She’s dynamite here in either language."Professional critics may be losing their jobs and criticism as a whole may be on the decline, but doesn't that just get your blood roiling with anticipatory glee? IMAGE from: FishbowlNY IMAGE from: First Showing
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Today in Cannes Hell: Indy, Indy, Indy! (And Harvey and Woody) [Cannes Film Festival]
http://defamer.com/391713/today-in-cannes-hell-indy-indy-ind...The first-in-the-world hype accompanying Indiana Jones and the Kingdom of the Crystal Skull's premiere at Cannes appears to remain the only story of interest to most festivalgoers, with everything from live-blogs of the screening to more meditative reads ("I was bored out of my mind," writes A.O. Scott) peppering the spectrum of feedback. Of course there's always Harvey Weinstein, who continues his Cannes dealings with impunity despite our corporate death sentence leveled last week. And people actually seem to like Woody Allen's latest! It's the '80s all over again! But still: Indy takes the day as usual, with Salon's Andrew O' Hehir nicely setting the table for the endless courses to follow: Part of me thinks that some flea-bitten Parisian radicals should come and close this shit down right now. And part of me thinks: You know what? Cannes needs Indy. We've had five days here of earnest and serious filmmaking, ranging from mediocre to outstanding, but nothing that feels like a movie that will rock the world. ... But if you want to know whether Ford, Spielberg and Lucas can recapture their mojo almost 20 years after Indiana Jones and the Last Crusade, the only answers I can provide are frustrating ones, like kind of and maybe and it depends what you mean. Such qualifications are everywhere this morning as reviews surge forth, but Harrison Ford and company couldn't seem to care less. "It is not unusual for something that is popular to be disdained by some people," Ford said at Sunday's press conference. "I work for the people who pay to get in — they are my customers. My focus is on providing the best experience I can." We have our own (spoiler-rific) ideas about the results, but even the worst lambasting wouldn't prevent Ford's "experience" from raking in upwards of $140 million over the five-day Memorial Day frame. Meanwhile, down the block, Harvey Weinstein announced a $60 million adaptation of the novel The Alchemist, to be directed and produced by its leading man Laurence Fishburne. The Hollywood Reporter quotes Harvey as saying: "The book means so much to people on a spiritual level. ... I think there is a bridge to the Middle East in this story." Finally — world peace! From the Weinsteins! It's no less ambitious than restoring Woody Allen's name, we suppose, which the Weinsteins may have done as well with his much-appreciated Cannes premiere Vicky Cristina Barcelona. (The film even has Timecritic Richard Corliss flirting with relevancy with one of his best reviews in years.) Not to be outdone, Harvey's wife Georgina Chapman is designing its stars' premiere attire. Synergy is a beautiful thing, especially when it comes in the form of a "creme silk gown with embroidered straps" on Penelope Cruz. Alas, Harvey, we have not forgotten about Fraggle Rock. You can't stop what's coming. [Photo Credit: Getty Images]
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Today in Cannes Hell: Indy, Indy, Indy! (And Harvey and Woody) [Cannes Film Festival]
http://weeklyexaminer.com/?p=10619Today in Cannes Hell: Indy, Indy, Indy! (And Harvey and Woody) [Cannes Film Festival] The first-in-the-world hype accompanying Indiana Jones and the Kingdom of the Crystal Skull’s premiere at Cannes appears to remain the only story of interest to most festivalgoers, with everything from live-blogs of the screening to more meditative reads (”I was bored out of my mind,” writes A.O. Scott) peppering the spectrum of feedback. Of course there’s always Harvey Weinstein, who continues his Cannes dealings with impunity despite our corporate death sentence leveled last week. And people actually seem to like Woody Allen’s latest! It’s the ’80s all over again! But still: Indy takes the day as usual, with Salon’s Andrew O’ Hehir nicely setting the table for the endless courses to follow: Part of me thinks that some flea-bitten Parisian radicals should come and close this shit down right now. And part of me thinks: You know what? Cannes needs Indy. We’ve had five days here of earnest and serious filmmaking, ranging from mediocre to outstanding, but nothing that feels like a movie that will rock the world. … But if you want to know whether Ford, Spielberg and Lucas can recapture their mojo almost 20 years after Indiana Jones and the Last Crusade, the only answers I can provide are frustrating ones, like kind of and maybe and it depends what you mean. Such qualifications are everywhere this morning as reviews surge forth, but Harrison Ford and company couldn’t seem to care less. “It is not unusual for something that is popular to be disdained by some people,” Ford said at Sunday’s press conference. “I work for the people who pay to get in — they are my customers. My focus is on providing the best experience I can.” We have our own (spoiler-rific) ideas about the results, but even the worst lambasting wouldn’t prevent Ford’s “experience” from raking in upwards of $140 million over the five-day Memorial Day frame. Meanwhile, down the block, Harvey Weinstein announced a $60 million adaptation of the novel The Alchemist, to be directed and produced by its leading man Laurence Fishburne. The Hollywood Reporter quotes Harvey as saying: “The book means so much to people on a spiritual level. … I think there is a bridge to the Middle East in this story.” Finally — world peace! From the Weinsteins! It’s no less ambitious than restoring Woody Allen’s name, we suppose, which the Weinsteins may have done as well with his much-appreciated Cannes premiere Vicky Cristina Barcelona. (The film even has Timecritic Richard Corliss flirting with relevancy with one of his best reviews in years.) Not to be outdone, Harvey’s wife Georgina Chapman is designing its stars’ premiere attire. Synergy is a beautiful thing, especially when it comes in the form of a “creme silk gown with embroidered straps” on Penelope Cruz. Alas, Harvey, we have not forgotten about Fraggle Rock. You can’t stop what’s coming. [Photo Credit: Getty Images] Original post by STV Posted on on May 19th, 2008 in 38270 | No Comments »
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More Good Ink for Cruz in Barcelona
http://www.awardsdaily.com/?p=330As the commenters are pointing out, Vicky Cristina Barcelona isn’t getting so many bad reviews as it getting good ones and Penelope Cruz, in particular, is looking like a standout. Woody’s films have always had a knack for winning Oscars for supporting roles for women, so don’t be surprised if Cruz ends up at the top of the list. Here is Todd McCarthy from Variety: Cruz, who officially graduated from sex kitten to powerhouse melodramatic actress in “Volver,” is in full Anna Magnani mode here, storming up and down mountain peaks of emotion and captivating everyone in the process. Allen even generates affectionate comic mileage from the common rap on Cruz’s acting–that she’s great in Spanish but blah in English–by having her deliver Maria Elena’s colorful tirades in her native language, only to be told again and again by Juan Antonio to speak English so Cristina can understand her. She’s dynamite here in either language. Richard Corliss of TIME Mag is impressed: Well, maybe not in that empyrean, but arguably in the ballpark. It’s hard not to feel warmly toward Allen after VCB, his first vital movie since Match Point three years ago (we quickly throw the veil of oblivion over Scoop and Cassandra’s Dream), and maybe his most engaging large-scale effort since, let’s say, Crimes and Misdemeanors nearly 20 years ago. It doesn’t percolate with the inventive comic situations or quotable one-liners of the films that established his meta-movie credentials, Annie Hall and Manhattan; but, like them, this one is about people whose jobs are incidental to their real vocations of falling in love and messing things up. With seven major characters, five of whom have affairs during one Spanish summer, VCB is a God’s-eye view of the thesis that “only unfulfilled love can be romantic.” And again for Ms. Cruz: We’ve saved the most vibrant character for last: Maria Elena, which Penelope Cruz turns into one of her boldest, fullest characters. A painter so sexy that Juan Antonio’s father still has erotic dreams of her, Maria Elena had been Juan Antonio’s muse, competitor and wife; their turbulent marriage ended when she tried to kill him. Of course she shows up, once her ex has set up house with Cristina, allowing Allen to run further amorous permutations. A darkroom kiss between Cruz and Johansson is probably Allen’s most direct expression of romantic-sexual connection. Whenever Bardem or Cruz are on screen, VCB finds its heart. It sees them as fully in tune with their feelings: totally willing, and why not?, to act on impulses they’ve learned to trust. The Americans are children by comparison, a little stiff, so conditioned to overanalyzing every attraction that they would lose the moment — if only there weren’t a Don Juan Antonio to send seismic shivers up their consciences. For Bardem and Cruz, I can’t wait to see this. I’m a little over Ms. Johansson, I’m sorry to say, and it isn’t really her fault - she’s overexposed at this point, sadly.
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Cannes: Vendredi, 16 Mai
http://fataculture.wordpress.com/2008/05/17/cannes-vendredi-...Un Conte de Noël (A Christmas Tale) Another day came and went on the Rivera, and a few more positive reviews. The films screened yesterday, 16 May, were Tyson, Vicky Cristina Barcelona, Soi Cowboy, Moscow, Belgium, Un Conte de Noël, Rumba and The Seven Days. Updates may follow. In Competition: “Un Conte de Noël” by Arnaud Desplechin Andrew O’Hehir, “This won’t be an easy sell even to European audiences, and it’s not likely to win the Palme d’Or. But if I see another film all year long that prickles me, disturbs me or moves me half as much, I’ll be surprised.” Glenn Kenny: “The bourgeois-dysfunctional-family-comes-together-for-a-holiday setup is one of the hoariest in any medium, but if anybody can conjure something fresh out of it, it’s Desplechin, and boy does he ever…. The creation of such a vivid, individualized group of characters and such a compelling roster of dilemmas is a staggering enough feat. But what makes this movie such a darkly exuberant feast is Desplechin’s storytelling.” Fabien Lemercier, “The film is as brilliant as it is cruel, and brings together the sweetness of intelligence and cinematic know-how with its characters’ overflowing bitterness…Its explosive elegance is near perfect, yet it successfully manages to keep the audience at an emotional distance.” Kim Voynar, “”This could have been an emotionally wrenching film, but Desplechin keeps the tone light, infusing the drama with humor in the most unexpected places, and offers Henri’s girlfriend, Faunia (frequent Desplechin actress Emmanuelle Devos), as the amused Shakespearean witness to the whole affair to lighten the heavy load,” Kenneth Turan, “Unexpected but still made squarely in the French humanist tradition, this is a film you don’t want to see end, not because the people are so happy but because they are so human and so alive,” Un Certain Regard: “Tyson” by James Toback Ty Burr, “”The saddest film I’ve seen at Cannes - and that’s saying something - is Tyson,…The tragedy is that, by the end, Tyson, an old man at age 40, seems to have acquired self-knowledge but not genuine wisdom; he has renounced the animal within but seems uncertain with what to replace it. You come out of the movie hoping for the best and fearing for the worst, which already is a more nuanced position than you probably went in with. A strong, troubling work, with some astonishing fight footage from the 80s and 90s.” Todd McCarthy, “Although straightforward in format, the film capitalizes on an obviously intense connection between filmmaker and subject with psychological acuity and emotional power.” Allan Hunter, “”People may be less inclined to judge after watching this feature-length interview, but the feeling of never entirely understanding what makes Tyson tick still persists,…All the mellow musings on his past misdemeanours and a life littered with second chances never quite takes us to the heart of this tragic figure.” “Soi Cowboy” Thomas Clay Leslie Felperin, “”This slowburning, enigmatic drama, mostly about a Danish man and a Thai woman awkwardly living together in Bangkok, is deeper and more likeable than Clay’s controversial debut, The Great Ecstasy of Robert Carmichael. Gone are the latter film’s shock tactics, allowing Clay’s cinematic sophistication to sparkle all the better.” Jonathan Romney, “A very un-British director, Clay is doffing his hat here to auteurs such as Carlos Reygadas and Thailand’s Apichatpong Weerasethakul. Perhaps the least British UK film you’ve ever seen, Soi Cowboy confirms - as his first film didn’t quite - that Clay is a man to watch.” Boyd van Hoeij, “The problem with Soi Cowboy is that this quiet is awfully quiet. Antonioni, to whom this film pays ‘indirect homage’ as the director puts it, made ennui exciting cinematographically, but Clay’s screenplay and editing leave out almost anything that might make the two main characters worthwhile to take an interest in for an hour or two.” Out of Competition: “Vicky Cristina Barcelona” by Woody Allen Todd McCarthy, “Vicky Cristina Barcelona” is a sexy, funny divertissement that passes as enjoyably as an idle summer’s afternoon in the titular Spanish city. With Javier Barden starring as a bohemian artist involved variously with Scarlett Johansson, Penelope Cruz and Rebecca Hall, pic offers potent romantic fantasy elements for men and women and a cast that should produce the best commercial returns for a Woody Allen film since “Match Point.” And, in the bargain, if Barcelona wants even more visitors than it already attracts, this film will supply them.” Ty Burr, “It’s true that VCB is travel porn at its most arrant, an upscale tourist fantasy of Barcelona locations and table settings, fine wines and clichéd Catalan studs whispering outre sexual possibilities in the ears of shallow, susceptible American women……The movie’s inordinate, even ridiculous fun, despite an overly chatty narrative track (not sure by whom at this writing) that I wanted to slap down after about five minutes…. Bardem is simply delicious as a post-Valentino roué who’s just as sexy but not quite as smart as he thinks. When he, Johansson, and Cruz settle into a sensual ménage a trois, it’s hard not to think Allen has become the dirty old man of the movies. However he gets his jollies, though, Vicky Cristina Barcelona is an unexpected picnic - a lightweight New Yorker short story lit up with real warmth.” Jeff Wells, “The only parts of Woody Allen’s Vicky Cristina Barcelona that really and truly feel alive and crackling are the Spanish-language scenes between Javier Bardem and Penélope Cruz.” Richard Corliss, “Whenever Bardem or Cruz are on screen, VCB finds its heart. It sees them as fully in tune with their feelings: totally willing, and why not?, to act on impulses they’ve learned to trust. The Americans are children by comparison, a little stiff, so conditioned to overanalyzing every attraction that they would lose the moment — if only there weren’t a Don Juan Antonio to send seismic shivers up their consciences.” Critics’ Week: “Moscow, Belgium” by Christophe van Rompaey Jordan Mintzer, “Although it may not sound like the most exciting place on earth, Moscow, Belgium is packed with plenty of drama, laughs and sentimental charm.” Boyd van Hoeij, “Especially during its first hour, the Flemish box office sensation toys with cliché material with such an assured sense of direction and such a strong screenplay that it simply is a pleasure to watch.” “Rumba” by Dominique Abel, Fiona Gordon and Bruno Romy Jordan Mintzer, “Like an episode of “Sesame Street” scripted by Luis Bunuel and helmed by Jacques Tati, “Rumba” turns dark tragedy into deadpan comedy through a series of surreal G-rated gags. An impressive do-it-yourself feature about a couple fun-loving dance freaks whose careers are cut short by a nasty car accident, this clever, near-silent comedy should bop around plenty of fests after preeming in Cannes’ Critics’ Week. Set for fall release in France, pic could find an adequate place offshore in the arthouse conga line with creative marketing.” “The Seven Days” by Ronit and Shlomi Elkabetz Jay Weissberg, “Unsurprisingly, thesping is flawless, and the ensemble cast, largely made up of top Israeli performers, work together seamlessly. Ronit Elkabetz (”The Band’s Visit”) of course is a highlight, but so too are the seething Azoulay Hasfari and her more tempered but equally impressive male colleagues — it’s hard to single out one performer when they seem to share completely in this family’s pain and culpability.”
