Never Let (This Piece of) Me Go

It's hard not to lose your heart a little to Never Let Me Go at the start. Carey Mulligan, making good on that An Education promise, stares through you with big caring soulful eyes. She even confirms that look with dialogue about being a "carer". Andrew Garfield stares back, through glass, with an uncomplicated smile on his face. He's prone on an operating table and obviously in need of her caring. Never Let Me Go uses a definitive plea as title. Not to be to cruel when faced with so much neediness but can we do some haggling first? May we keep parts of you and discard the rest? Never Let This Piece of Me Go? Consider it a deal.

Cathy H, Tommy D, and Ruth ???

I'd personally like to keep the actors. I've even written up a "Best in Show" column on Andrew Garfield for Tribeca Film. The set decoration has its moments, too. I'll even keep the screenplay so long as I can jettison at least a third of Cathy H's redundant narrated bits and a truly atrocious final speech which ruins the heartbreak of the scene preceding it. You know the type of final speech I'm talking about "Let me spell out the theme for you in case you were two hours late to the movie or took a really long bathroom break." The narration is actually a bit baffling for a film that does, in fact, trust you to fill in some of the blanks. If you're trusting the audience to infer meaning on several occasions, haven't you already decided your audience is a smart one?

More than any film this year, I want to fuss with everything. The first donation needs to be Rachel Portman's score. Give that away immediately. One can half imagine the creative meetings "This is the climax of the film. Make it important." ...only they forgot to mention which scene. The score even treats transitional bits like cars pulling up to buildings as perfect moments to remind you that this is an ominous dystopian tale that is Breaking Your Heart. For all of the inherent power in Never Let Me Go's compelling premise, clever images and nuanced performances -- that seems to be the exhausting directorial mantra for the entire creative team: 'this is the climax, make it important!' But not every scene can be a climax - just as with life, they only happen once. C+

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Links: Cher, Cheyenne, Celestia, Carey and CQueen

Guardian good piece on Anne Heche, her not totally recovered career post-Celestia, and Hollywood's double standards about men and women with troubled souls.
After Elton first look at Cheyenne Jackson on Glee. He's replacing Idina as the Vocal Adrenaline coach. I guess that means he's off 30 Rock? But this'll be a better fit anyway. Yay for singing stars!
Lazy Circles speaking of Cheyenne...
Natasha VC makes a brilliant observation on the quality of Al Pacino's acting.
Broadway Buzz A Cher bio-pic style Broadway musical is in the works from director Andy Fickman (You Again)


Avengers Assemble have you seen these new YouTube shorts, the superhero team gathers to discuss business/politics. It's such a weird concept that I am forced to enjoy. They need to speed up line delivery a bit but each episode has a few good laughs.
Film Freak Central on Let Me In (I thought this review was interesting. Positive but definitely keeps the original in mind.)
Coming Soon Sacha Baron Cohen to play Queen frontman Freddie Mercury in a biopic. Filming starts in 2011. You know what's weird? The internet rumor mill spends so much time talking about pre-production and development that by the time something is official, one could swear it was official 7 or 8 months prior! and that it's totally old news.
PopWrap Carey Mulligan has been making surprise appearances at movie theaters in NYC to introduce Never Let Me Go. How cool.
Pussy Goes Grrr offers up a late "best shot", a minimalist one, from the wonderful Pandora's Box (1929)
/Film Bryan Fuller (Pushing Daisies) writing a new live-action version of Pinnocchio.
37 Posters by Jerod Gibson is a design project using movie quotes in the shape of the movie's iconography for new posters. Fun. The one for The Big Lebowski is probably my favorite.
Movie|Line Andrew Garfield sings "Bed Intruder". Wait, what? I have to post it here. It's just too funny/weird.



HELP. I'm curious as to what you all use for your blog reading? Do you click directly to the sites or do you use a blog reader? In the past I've always used bloglines which is where roughly 2/3rds of my link roundups are pulled from. I have hundreds of subscriptions... some of which I read and some of which... well, there's only so much time. Bloglines is shutting down as of October 1st so I'll have to rebuild elsewhere. I think I'll start from scratch so to as freshen up. Any suggestions?
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Lev @ TIFF: "What's Wrong With Virginia", "Never Let Me Go"

Lev, checking back in. Early mornings and late nights have prevented me from fulfilling my Film Experience duties, so capsule reviews will serve the purposes best. Starting with . . .

The Illusionist which is an achievement in many ways. What makes it so remarkable is its focus on every day sadness. Whereas most animation relies on comedy to engage, Chomet transmits his ideas through small gestures and simple, delicate drama, foregoing laughs for emotion. Every character, plot point, musical cue and lush painting is working in favour of this sadness without ever forcing it or revelling in it; It's a simple story evoked with impassioned feeling . A-

Dustin Lance Black's What's Wrong With Virginia? attempts numerous forays into the group psyche of town and religion but fails. Inconsistency is the word here; Characters come and go, narration is shoved in from different perspectives for no apparent reason. Jennifer Connelly is stuck doing her best Holly Hunter impression, approximating Wanda Holloway without being realistically nuts or even funny. Black, the Director, seems to have little idea how build through composition or montage, but that doesn't excuse Black, the writer, from starting his film with the end. C-

[Editor's Note: Apparently Virginia? is getting critically knocked around quite a lot at the festival. Movie|Line interviewed Dustin Lance Black about the unpleasant response. Good interview]

Predicated upon the intriguing idea of redheads as a discriminated minority, Romain Gavras' Our Day Will Come is an uneven mixture of bold filmmaking and bad decisions. The film stars Vincent Cassel as a psychologist and Olivier Barthélémy as a bullied teen. Clearly the work of a first time director, Gavras has strong ideas that don't always seem thought out as well one would like. Particular moments seem needlessly mean-spirited giving the film a cruel edge that it isn't always justified. Still, it's heady, compelling filmmaking that shouldn't go unnoticed. B-

Of the films mentioned here, Never Let Me Go surely requires the least introduction. Much has been made about plot particulars but they hardly seem worth noting; The sci-fi elements are rooted to a present reality and explained without much fuss which allows the characters to move to the forefront. There's no dwelling on its high-concept premise so it's just one step away from other high-end British productions (not that this is to its detriment). Romanek's form has improved, but the persistent score and unnecessary narration often feel perfunctory. It's the power of the story and performances, particularly Andrew Garfield who takes every gesture and line and tilts it into something unique and devastating, that make Never Let Me Go so emotionally satisfying. B


I'll be back as soon as possible, hopefully with notes on Of Gods And Men, Meek's Cutoff, Blue Valentine and Uncle Boonmee.