Jethro's note: I have a smart phone! The following review is (mostly) composed on it.
Philipe Djian's novel Oh... was so dark that its film version couldn't get made in English. They tried. But now that film version, Elle, is here in its native language, French, realized by director Paul Verhouven.
The film immediately opens as Michele Leblanc (Isabelle Huppert) is violently raped in her home by a masked man. She spends the next few hours brushing the incident aside like it's a minor nuisance. She has bigger things on her mind. A slacker son, Vincent (Jonas Bloquet), whose pregnant girlfriend, Josie (Alice Isaaz), is a control freak. A cougar mother, Irene (Judith Magre). The challenges of running her video game company. Her affairs. And that her father is a notorious mass murderer and she was an unknowing accomplice.
Her father's crimes tarnished her reputation years after his trial. She doesn't feel inclined to report her incident because of it. To make matters worse, the assailant decides to stalk her. To make things twisted, Michele carries on a relationship with the man even after she finds him out. But on her terms.
David Burke's screenplay sets its audience ill at ease with its opening. They're left to wonder which is more disturbing: the assault or Michele's calm reaction. She even breaks the news of her assault to her friends during dinner. Awkward. It's the start of an unconventional mystery film. As the film goes on and we learn more about her, her reaction makes sense. "My life is messed up. What else is new?" There are bits of black comedy to relieve the tension. Even Michele's father's motive for murder amounts to an extreme temper tantrum.
Huppert is the main reason to see the film. Michele projects herself a strong successful woman. But she finds herself dominated by her past. She certainly doesn't want her present dominated by some masked man either. So she deals with the insanity in a deadpan manner. Some might call her unhinged but she's hard not to watch. Amongst her supporting cast, the best non-spoiler name was Anne Consigny as her best friend, Anna.
Anne Dudley's haunting score is great as is the sound design. Stephanie Fontaine's cinematography is perfectly eerie and editor Job ter Burg assembles it into a tense narrative. They help the suspense move nicely for 130 minutes.
Elle isn't for the feint of heart or subtitle-weary, that's for sure. Expect a lot if you see it. It's a strong mystery film with a strong lead performance and a memorable conclusion. Its unconventional nature is its greatest asset. Believe it.
About Me
- Jethrotcat
- This is the blog where I talk about the latest movies I've seen. These are my two Schnauzers, Rufus (left) and Marley (right, RIP). As of now, the Double Hollywood Strikes are officially over. May the next strikes not last as long as these ones did.
Friday, January 27, 2017
Wednesday, January 25, 2017
Jackie
Oliver Stone famously dramatized the aftermath of JFK's assassination in ... JFK. In his English-language debut, Chilean director Pablo Larrain dramatizes said aftermath from First Lady Jackie Kennedy's perspective in Jackie.
Noah Oppenheim's screenplay goes back and forth in time with Mrs. Kennedy (Natalie Portman). Most of the movie sees her interviewed by Life's Theodore H.White (Billy Crudup) a week after the assassination. We see her guide the press through the White House. We see her arrive in Dallas and her shock and grief over her husband's death. We see her plan John Kennedy's funeral with Robert Kennedy (Peter Sarsgaard). We see her consult a priest (John Hurt) over plans to rebury her short-lived children next to their father. We see a lot of things. Jackie spent a short time making sense of the world.
And I spent 99 minutes making sense of the movie. The screenplay's biggest problem is how it jumbles events around. A few scenes, like the TV White House tour, were easy to guess chronologically. Others were hard to guess. Were they before the funeral? After the funeral? Before Lee Harvey Oswald got shot or after? There weren't many captions to set the dates.
The acting was much better. Portman's Jackie believably goes from "winsome innocence" to world-weariness. Her agony and anger over the assassination is understandable. In private, all she asks herself is "why?" She still tries to put on a brave face for the public and her children. It's the Priest that helps her makes sense of the world. Her accent was on-point with the real Jackie Kennedy, who appears in stock footage (or was it Portman in good recreations?). The best of the supporting cast are Greta Gerwig as Jackie's confidant Nancy Tuckerman and Max Casella as White House liaison and later MPAA head Jack Valenti.
The film's somberness is punctuated by Mica Levi's surreal score. Its darkest themes perfectly capture the feeling that the world has stopped. Its lightest themes are the world trying to start again. And yes, Camelot figures into the soundtrack as we hear the OBC recording of the title tune and its reprise.
Meanwhile, costume designer Madeline Fontaine perfectly recreates Jackie's famous wardrobe. Cinematographer Stephane Fontaine keeps his focus on Jackie in every scene. Production designer Jean Rabasse provides another good recreation of the 1960's. The Makeup team saves the sight of a wounded President Kennedy for the end and it's shocking.
Jackie could've used more scenes with Jackie and John together. In fact, John Kennedy is barely a presence. But for what we have, the film is a fine study of grief and acceptance. I think what got Jackie going is the knowledge that she and her husband, like Camelot, accomplished a lot in their short time. It reaffirms the power of nostalgia.
The film's somberness is punctuated by Mica Levi's surreal score. Its darkest themes perfectly capture the feeling that the world has stopped. Its lightest themes are the world trying to start again. And yes, Camelot figures into the soundtrack as we hear the OBC recording of the title tune and its reprise.
Meanwhile, costume designer Madeline Fontaine perfectly recreates Jackie's famous wardrobe. Cinematographer Stephane Fontaine keeps his focus on Jackie in every scene. Production designer Jean Rabasse provides another good recreation of the 1960's. The Makeup team saves the sight of a wounded President Kennedy for the end and it's shocking.
Jackie could've used more scenes with Jackie and John together. In fact, John Kennedy is barely a presence. But for what we have, the film is a fine study of grief and acceptance. I think what got Jackie going is the knowledge that she and her husband, like Camelot, accomplished a lot in their short time. It reaffirms the power of nostalgia.
Friday, January 20, 2017
La La Land
An original musical? Those things usually exist on Broadway. But for his followup to Whiplash, writer/director Damien Chazelle has made a rousing original movie musical. This is La La Land.
Once upon a time, which is now, Sebastian and Mia live in that City of Stars, Los Angeles. Sebastian (Ryan Gosling) is a Jazz pianist who wants to open his own Jazz club while Mia (Emma Stone) is a barista who hopes to break into acting. They bump into each other a few times. Sparks soon fly between them no matter how much they deny it in song. Then they stop denying it. They spend the rest of the movie finding their dreams and relationship tested by reality.
Justin Hurwitz's score and the songs he co-wrote with Benj Pasek and Justin Paul are unforgettable. The film opens with a rousing crowd number on a crowded Los Angeles freeway as hopeful drivers greet Another Day of Sun. The number is so energetic it's hard not to smile. The pseudo one-take sequence should earn editor Tom Cross another Oscar and cinematographer Linus Sandgren his first. The instrumental score sets the right mood to the film's wonderful fantasy sequences. Speaking of those scenes, those should secure another Oscar for the vibrant production design.
It helps that the leads are great. The audience is drawn to their idealism and feels for them after every setback. Some setbacks are funny and others are not. Their first duet, A Lovely Night, is a fun way to start a relationship. Their later duet, City of Stars, is another memorable ballad. Mia's climactic number, Audition, is a powerful moment. They're so involving that the ending is sure to stir debate.
La La Land is a fine example of style-and-substance together. The film's 128 minutes tell a meaningful story of people wondering if their dreams are worth it. The audience sees how they are as long as they are persistent in doing what they love. It took five years (and Whiplash) before Chazelle got the greenlight for La La Land. The investment was worth it for everyone involved.
Once upon a time, which is now, Sebastian and Mia live in that City of Stars, Los Angeles. Sebastian (Ryan Gosling) is a Jazz pianist who wants to open his own Jazz club while Mia (Emma Stone) is a barista who hopes to break into acting. They bump into each other a few times. Sparks soon fly between them no matter how much they deny it in song. Then they stop denying it. They spend the rest of the movie finding their dreams and relationship tested by reality.
Justin Hurwitz's score and the songs he co-wrote with Benj Pasek and Justin Paul are unforgettable. The film opens with a rousing crowd number on a crowded Los Angeles freeway as hopeful drivers greet Another Day of Sun. The number is so energetic it's hard not to smile. The pseudo one-take sequence should earn editor Tom Cross another Oscar and cinematographer Linus Sandgren his first. The instrumental score sets the right mood to the film's wonderful fantasy sequences. Speaking of those scenes, those should secure another Oscar for the vibrant production design.
It helps that the leads are great. The audience is drawn to their idealism and feels for them after every setback. Some setbacks are funny and others are not. Their first duet, A Lovely Night, is a fun way to start a relationship. Their later duet, City of Stars, is another memorable ballad. Mia's climactic number, Audition, is a powerful moment. They're so involving that the ending is sure to stir debate.
La La Land is a fine example of style-and-substance together. The film's 128 minutes tell a meaningful story of people wondering if their dreams are worth it. The audience sees how they are as long as they are persistent in doing what they love. It took five years (and Whiplash) before Chazelle got the greenlight for La La Land. The investment was worth it for everyone involved.
Wednesday, January 18, 2017
Lion
After a filmography of commercials and miniseries, including the Emmy-nominated Top of the Lake, director Garth Davis made his feature film debut in Lion. The film version of Saroo Brierley's memoir A Long Way Home is a genuine crowd pleaser.
In 1986, Saroo (Sunny Pawar) and his brother, Guddu (Abhisek Bharate), live in Ganesh Talai, Khandwa, India. They scavenge from trains to support their family. One night, Saroo accompanies Guddu to a train station. Guddu leaves him on a bench and doesn't return. So Saroo heads for an empty train and eventually takes a nap. He wakes up to find himself on a one-way trip to Calcutta.
Since he knows neither his hometown's actual pronunciation nor Bengali, Calcutta's language, Saroo is lost. A good stranger helps him to an orphanage. He's eventually adopted by the Brierleys, Sue (Nicole Kidman) and John (David Wenham), from Tasmania. Twenty years later, Saroo (Dev Patel) heads for college in Melbourne. He tells his new friends of his history and they tell him about Google Earth. He soon uses it to trace his way back home. But what about the home he's already made?
Luke Davies' screenplay unfolds over 121 minutes. Its plot is slow while its story is compelling. How so? It takes an hour or so before Saroo appears as an adult. We see his endearing relationship with Guddu and their nightmarish separation. We empathize as he finds himself lost in an unfamiliar and mostly-uncaring city. Eventually, we get to his time with the Brierleys, his strained relationship with his emotionally unstable adopted brother, Mantosh (Divian Ladwa and Keshav Jadhav), and then, his Google Earth quest.
The film has a good cast. Pawar's young Saroo is an impressionable, likable character. Patel's adult Saroo is fine playing a tormented soul. Kidman is good as is Rooney Mara as Saroo's girlfriend, Lucy. Priyanka Bose was great as Saroo's birth mother, Kamla. Meanwhile, the two actors playing Mantosh, were good, though the character's last scene wasn't dramatically satisfying.
There's another fine technical crew here. Cinematographer Greig Fraser provides excellent landscape shots and alluring city scenes. Together with editor Alexandre de Franceschi, he captures the busyness of Calcutta. The score, by Hauschka and Dustin O'Halloran, is emotive without being melodramatic. They should have pride in their accomplishments here.
In 1986, Saroo (Sunny Pawar) and his brother, Guddu (Abhisek Bharate), live in Ganesh Talai, Khandwa, India. They scavenge from trains to support their family. One night, Saroo accompanies Guddu to a train station. Guddu leaves him on a bench and doesn't return. So Saroo heads for an empty train and eventually takes a nap. He wakes up to find himself on a one-way trip to Calcutta.
Since he knows neither his hometown's actual pronunciation nor Bengali, Calcutta's language, Saroo is lost. A good stranger helps him to an orphanage. He's eventually adopted by the Brierleys, Sue (Nicole Kidman) and John (David Wenham), from Tasmania. Twenty years later, Saroo (Dev Patel) heads for college in Melbourne. He tells his new friends of his history and they tell him about Google Earth. He soon uses it to trace his way back home. But what about the home he's already made?
Luke Davies' screenplay unfolds over 121 minutes. Its plot is slow while its story is compelling. How so? It takes an hour or so before Saroo appears as an adult. We see his endearing relationship with Guddu and their nightmarish separation. We empathize as he finds himself lost in an unfamiliar and mostly-uncaring city. Eventually, we get to his time with the Brierleys, his strained relationship with his emotionally unstable adopted brother, Mantosh (Divian Ladwa and Keshav Jadhav), and then, his Google Earth quest.
The film has a good cast. Pawar's young Saroo is an impressionable, likable character. Patel's adult Saroo is fine playing a tormented soul. Kidman is good as is Rooney Mara as Saroo's girlfriend, Lucy. Priyanka Bose was great as Saroo's birth mother, Kamla. Meanwhile, the two actors playing Mantosh, were good, though the character's last scene wasn't dramatically satisfying.
There's another fine technical crew here. Cinematographer Greig Fraser provides excellent landscape shots and alluring city scenes. Together with editor Alexandre de Franceschi, he captures the busyness of Calcutta. The score, by Hauschka and Dustin O'Halloran, is emotive without being melodramatic. They should have pride in their accomplishments here.
Lion maybe slow, but its ending is satisfying. It ends well even if it's not a complete happy ending. But at least it ends on a strong note after a long odyssey. It surely deserves whatever praise comes its way.
Friday, January 13, 2017
Hidden Figures
One scene from Fantastic Four has the future Doctor Doom moan how the astronauts got all the glory for their space adventures and the scientists who helped them got zilch. While this isn't true (hi, Wernher von Braun), we now have a movie to acknowledge three such scientists' achievements. This is the film of Margot Lee Shetterly's nonfiction book, Hidden Figures, a compelling story of how math figured into the space race.
Anyway...
Katherine Johnson (Taraji P. Henson), then Goble, is a NASA mathematician along with Mary Jackson (Janelle Monae) and Dorothy Vaughan (Octavia Spencer). As they are African-American women in 1961, their achievements go unnoticed in the midst of segregation. Katherine is selected to join the Space Task Group to assist their calculations. Her calculations are miles above those of stuffy genius Paul Stafford (Jim Parsons) and impress manager Al Harrison (Kevin Costner). But Katherine still feels out of place in an office of white men; especially since the nearest segregated bathroom is a half-mile away.
Meanwhile, Dorothy finds herself roadblocked when she tries for a promotion. She proves herself when she works NASA's new IBM machine when the other scientists can't. Mary fights for the right to attend night classes at a segregated school to get a engineer position. Katherine meets her future husband, Col. Jim Johnson (Mahershala Ali), and helps the Space Task Group launch John Glenn into space and back.
Director Theodore Melfi adapted the screenplay with co-writer Allison Schroeder. Its best part is how it manages the story arcs for its three main characters. Their struggles are given equal importance to the plot and its historic resolution. The three spend their first scene together with car trouble and their dialogue introduces their personalities. We see through them how segregation laws were not just immoral, but impractical, especially when it involves a bathroom.
The characters are a winning ensemble. Taraji P. Henson, as Katherine, is a perfectly introverted genius. Her math skills are outstanding and her romance with Col. Johnson is endearing. Dorothy gets things done and when she's roadblocked, she does it. A segregated library won't let her borrow a FORTRAN manual? She "borrows" it. Mary has a great sense of humor and her legal struggle is compelling. Costner and Parsons are also good as is Kirsten Dunst as Dorothy's condescending supervisor. Mahershala Ali is just as likable here as he is in Moonlight.
The technical crew also deserve acknowledgement. Hans Zimmer, Pharrell Williams and Benjamin Wallfisch punctuate the film with strong instrumentals and catchy tunes. Editor Peter Teschner balances the comedy and drama just nicely. The production, sound and costume designs were good and the visual effects were nice. The only problem was either with Mandy Walker's cinematography or the projector; the color quality sometimes changed during scenes.
Hidden Figures is a great acknowledgement to the scientists who helped the space race. It also shows how it wouldn't have worked if the most-qualified were kept away. Hopefully, it will inspire people to acknowledge the main characters and others in their field beyond Oscar season. It's sure to show up when the nominations are announced in T-Minus 10 Days.
Anyway...
Katherine Johnson (Taraji P. Henson), then Goble, is a NASA mathematician along with Mary Jackson (Janelle Monae) and Dorothy Vaughan (Octavia Spencer). As they are African-American women in 1961, their achievements go unnoticed in the midst of segregation. Katherine is selected to join the Space Task Group to assist their calculations. Her calculations are miles above those of stuffy genius Paul Stafford (Jim Parsons) and impress manager Al Harrison (Kevin Costner). But Katherine still feels out of place in an office of white men; especially since the nearest segregated bathroom is a half-mile away.
Meanwhile, Dorothy finds herself roadblocked when she tries for a promotion. She proves herself when she works NASA's new IBM machine when the other scientists can't. Mary fights for the right to attend night classes at a segregated school to get a engineer position. Katherine meets her future husband, Col. Jim Johnson (Mahershala Ali), and helps the Space Task Group launch John Glenn into space and back.
Director Theodore Melfi adapted the screenplay with co-writer Allison Schroeder. Its best part is how it manages the story arcs for its three main characters. Their struggles are given equal importance to the plot and its historic resolution. The three spend their first scene together with car trouble and their dialogue introduces their personalities. We see through them how segregation laws were not just immoral, but impractical, especially when it involves a bathroom.
The characters are a winning ensemble. Taraji P. Henson, as Katherine, is a perfectly introverted genius. Her math skills are outstanding and her romance with Col. Johnson is endearing. Dorothy gets things done and when she's roadblocked, she does it. A segregated library won't let her borrow a FORTRAN manual? She "borrows" it. Mary has a great sense of humor and her legal struggle is compelling. Costner and Parsons are also good as is Kirsten Dunst as Dorothy's condescending supervisor. Mahershala Ali is just as likable here as he is in Moonlight.
The technical crew also deserve acknowledgement. Hans Zimmer, Pharrell Williams and Benjamin Wallfisch punctuate the film with strong instrumentals and catchy tunes. Editor Peter Teschner balances the comedy and drama just nicely. The production, sound and costume designs were good and the visual effects were nice. The only problem was either with Mandy Walker's cinematography or the projector; the color quality sometimes changed during scenes.
Hidden Figures is a great acknowledgement to the scientists who helped the space race. It also shows how it wouldn't have worked if the most-qualified were kept away. Hopefully, it will inspire people to acknowledge the main characters and others in their field beyond Oscar season. It's sure to show up when the nominations are announced in T-Minus 10 Days.
Monday, January 9, 2017
Loving
2017 marks fifty years since the Supreme Court decision of Loving v. Virginia. And while the movie Loving is a holdover from last year, its timing is perfect. The movie is a strong portrait of the plaintiffs behind the landmark case.
1958, Virginia. Richard Loving (Joel Edgerton) and Mildred Jeter (Ruth Negga) are in love. Because he's white and she's black, their state's anti-miscegenation laws aren't on their side. So they go to Washington DC to get married. Somebody alerts the authorities to their married bliss and they're arrested in the middle of the night. A plea agreement keeps them out of prison and away from Virginia. Their dreams of married life will have to go elsewhere.
The Civil Rights Movement steps in. The Lovings are introduced to the ACLU, who are willing to take their case to the Supreme Court. While Richard is exhausted by the ordeal, Mildred is hopeful they'll win. They both realize that their victory will help other mixed-race couples in their situation.
Writer/Director Jeff Nichols dramatized the events told in the documentary, The Loving Story. The Academy classified this as an Adapted Screenplay, rather than Original like the WGA, for this reason. The story is good no matter the classification. It starts when Mildred tells Richard she's pregnant and Richard decides to marry her. Their chemistry tells a lot about them straight away. They're as devoted as any couple of their day. One can feel the outrage when they're arrested for the crime of marriage.
As stated before, Edgerton and Negga's performances as the Lovings are great. Their supporting cast is made of a few fine actors. Michael Shannon has a nice cameo as Life Magazine photographer Grey Villet. Bill Camp is also good as the Lovings' first lawyer, Frank Beazley, who is more sympathetic to them than other Virginia officials. Nick Kroll and Jon Bass are the best; as ACLU lawyer Bernie Cohen and law expert Phil Hirschkop, they provide some well-needed comic relief.
David Wingo's score is a perfectly melancholic soundtrack. The production design and cinematographer Adam Stone present a subdued depiction of the 58-67. Editor Julie Monroe's work is the best; her best moments come in the Lovings' arrests and a dramatic scene between Richard and his younger son, Donald. The makeup work was good too; it certainly made Edgerton an unrecognizable blonde.
Loving's biggest issue is its subdued 122 minutes. Its pace is slow and certain events are told in passing. It may not strike some as strong storytelling but I think it's fine. An overdramatic version would've made the story less meaningful. This film wants you to know the Lovings as people; like Villet's photos, it works.
1958, Virginia. Richard Loving (Joel Edgerton) and Mildred Jeter (Ruth Negga) are in love. Because he's white and she's black, their state's anti-miscegenation laws aren't on their side. So they go to Washington DC to get married. Somebody alerts the authorities to their married bliss and they're arrested in the middle of the night. A plea agreement keeps them out of prison and away from Virginia. Their dreams of married life will have to go elsewhere.
The Civil Rights Movement steps in. The Lovings are introduced to the ACLU, who are willing to take their case to the Supreme Court. While Richard is exhausted by the ordeal, Mildred is hopeful they'll win. They both realize that their victory will help other mixed-race couples in their situation.
Writer/Director Jeff Nichols dramatized the events told in the documentary, The Loving Story. The Academy classified this as an Adapted Screenplay, rather than Original like the WGA, for this reason. The story is good no matter the classification. It starts when Mildred tells Richard she's pregnant and Richard decides to marry her. Their chemistry tells a lot about them straight away. They're as devoted as any couple of their day. One can feel the outrage when they're arrested for the crime of marriage.
As stated before, Edgerton and Negga's performances as the Lovings are great. Their supporting cast is made of a few fine actors. Michael Shannon has a nice cameo as Life Magazine photographer Grey Villet. Bill Camp is also good as the Lovings' first lawyer, Frank Beazley, who is more sympathetic to them than other Virginia officials. Nick Kroll and Jon Bass are the best; as ACLU lawyer Bernie Cohen and law expert Phil Hirschkop, they provide some well-needed comic relief.
David Wingo's score is a perfectly melancholic soundtrack. The production design and cinematographer Adam Stone present a subdued depiction of the 58-67. Editor Julie Monroe's work is the best; her best moments come in the Lovings' arrests and a dramatic scene between Richard and his younger son, Donald. The makeup work was good too; it certainly made Edgerton an unrecognizable blonde.
Loving's biggest issue is its subdued 122 minutes. Its pace is slow and certain events are told in passing. It may not strike some as strong storytelling but I think it's fine. An overdramatic version would've made the story less meaningful. This film wants you to know the Lovings as people; like Villet's photos, it works.
Tuesday, January 3, 2017
Sing
I saw a record 62 movies on the big screen last year. One of them didn't get a review out before year's end. Here it is. The end of my movie year 2016 begins 2017. This is the animated musical extravaganza Sing.
Buster Moon (Matthew McConaughey) the koala is the proud owner of the Moon Theater. At least he would be if he wasn't flat broke. He decides to host a singing competition to save the theater. A mishap with his assistant, Mrs. Crawley (director Garth Jennings), raises the prize money from $1,000 to $100,000 and sends the typoed fliers across the city faster than you can say "oversight." A lot of animal citizens turn out but only a few get chosen.
Those few are Johnny (Taron Egerton) the son of a bank robber gorilla, Rosita (Reese Witherspoon) the housewife sow, Gunter (Nick Kroll) the large ham, Mike (Seth MacFarlane), the insufferable Rat Pack singing mouse, Meena (Tori Kelly) the shy elephant and Ash (Scarlett Johansson) the punk rocker porcupine. Now it's time to rehearse for the big show. The acts' personal problems threaten to literally bring down the house. Buster needs the show to work or he'll have to find a new line of work.
The story is basically Babes in Arms meets American Idol/The Voice/Insert Something Here with funny animals. What makes it work is its ensemble. The film successfully juggles the stories of its animal cast. We get to know them all as a likable bunch of characters. Mike, though, stretches his likability thin, but he has his moments. Even the also-rans get a chance to pop up throughout the rest of the story. Our main cast's stories resolve wonderfully during the finale.
The film crams even more pop standards (roughly 60!) than Trolls. The song selections are fun even if you don't recognize them. They're sung greatly especially during emotional moments. A new song, Faith, begins the ending credits. An instrumental score by Joby Talbot also sets things going. The music sounds great thanks to the sound design.
The film's unnamed city is a cool animal metropolis. It's not as exotic as Zootopia, which the film may remind viewers of, but it's an appealing city nonetheless. Its citizens are a nice, eclectic bunch of species. The Moon Theater looks pretty good for a rundown institution. Overall, it looks like a nice place to live.
Sing is an awesome ensemble animated movie. It has great acting, visuals, music and sound. Its only real flaw is that it's a bit overlong at 110 minutes. But it's an earnest, feel-good film. It's definitely worth seeing at any price during the holidays and beyond.
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