Posts Tagged ‘Alzheimer’s Disease’

Six Months On A Regimen Of Woman Filmmakers – Sarah Polley

Posted 21 Jul 2012 — by contributor
Category Essay, Film Reviews, Movies I Got

By Alice Shindelar

Sarah Polley has a knack for symbolism that would seem superfluous in dialogue, too on-the-nose, but which plays out beautifully in her imagesAway from Her, Canada / UK / USA, 2006

Written and Directed by Sarah Polley

Based on the Story The Bear Came Over the Mountain by Alice Munro

Take This Waltz, Canada / Spain / Japan, 2011

Written and Directed by Sarah Polley

Once in a while, an artist comes along who gives voice to your world, to your experience of life, better than you can imagine ever being capable of, and you’re left exposed. Young writer-director Sarah Polley did this to me with her second film, Take This Waltz, and then again when I subsequently saw her first film, Away from Her.

Away from Her, Polley’s faithful adaptation of Alice Munro’s short story The Bear Came Over the Mountain, follows Grant (Gordon Pinsent) as he watches Fiona (Julie Christie), to whom he’s been married since their twenties, descend into the throes of Alzheimer’s Disease. Forgotten, Grant travels through memories of their marriage as he stands by and watches his wife love a fellow patient at the nursing home, Aubrey (Michael Murphy). Like all marriages, Grant and Fiona’s wasn’t a perfect one, but the moments we spend with them in their home before she’s checked into the hospital, their quiet hours, the spark of lust between them that doesn’t need to lead to sex before they sleep, provides witness to the survival of their love – a weathered love. Amongst many other awards, Julie Christie (Darling, Dr. Zhivago) was nominated for an Oscar for her role as Fiona. She nails the role in her ability to let Fiona’s memories fall away with a grace that appears so effortless one cannot doubt the fear and pain she must feel. When you witness the maturity and insight with which this story is told, it’s next to impossible to believe that Polley was only 26 when she made it, and to top it off, it was her first feature.  Read More

Deep Blue Sea – A Gruesome Death Delivery System

Posted 03 Oct 2011 — by Ezra Stead
Category Film Reviews, Movies I Got

By Ezra Stead

Deep Blue Sea, USA / Australia, 1999

Directed by Renny Harlin

Deep Blue Sea is little more than a delivery system for gruesome death scenes, but at that it succeeds tremendously. I traditionally spend the entire month of October watching as many “scary movies” as possible, whether they be truly frightening psychological thrillers, big campy monster movies or anything with a flair for the occult. You know, Halloween-type movies. With that tradition firmly in place this year (since, unlike this time last year, I have what can be called a permanent address), I’ve decided to devote this month to actually writing about some of these films, whether new discoveries or old favorites I’ve decided to revisit, perhaps for the sake of finally writing about them. I will not, of course, cover every single movie I watch, but rest assured that for the rest of this month, you will see no reviews of stark, sober dramas or films with undeniably redeeming social value. It’s all chills, thrills, blood, guts and campy dark humor from here on out. My first entry is really more of an action movie, truth be told, but it does feature giant, super-intelligent sharks eating people, so I think it fits right in.

This is what could be called a guilty pleasure movie, from a director who knows how to make them. While he is not consistently as much fun as my personal favorite guilty pleasure director, Roland Emmerich (Independence Day, The Patriot, 2012), who seems to be intent on destroying the world in nearly every film he makes, Harlin has managed to crank out at least a few enjoyable entertainments, such as Cliffhanger (1993) and The Long Kiss Goodnight (1996). His 1999 film Deep Blue Sea, like the slasher movies it emulates by way of films like Ridley Scott’s Alien (1979) and John McTiernan’s Predator (1987), is less a compelling narrative than it is a sort of delivery system for gruesome death scenes. And that’s fine; when a film realizes its goal, however high or low that goal may be, it succeeds. It is in that spirit, then, that I present my loose, irreverent, spoiler-heavy review, in which we shall look at this film in the way it seems to demand: by examining its death scenes. Read More