Hey, folks. Capone in Chicago here, with a couple of films that are making their way into art houses around America this week or at least expanding to more theaters (maybe even taking up one whole screen at a multiplex near you). Enjoy…



FISH TANK
I got almost the same bitter aftertaste about the world's youth from the British film FISH TANK as I did from Larry Clark's landmark bit of urban horror, KIDS. Now, FISH TANK is a much better movie, but that same overriding sense of concern and flat-out dread for the priorities of younger people still burned into my brain after watching this feature from writer-director Andrea Arnold.

In many ways, the plot of FISH TANK parallels some elements of AN EDUCATION, another recent story of a teen girl falling for an older guy. But the heroine in this film, Mia (played by the extraordinary Katie Jarvis), is growing up under much different circumstances than the bright, well-educated, financially stable girl that Carrie Mulligan portrayed. Fifteen-year-old Mia lives with her younger sister Tyler (Rebecca Griffiths) and her still-young mother Joanne (Kierston Wareing), whose occupation seems to be partying, bringing men home and insulting her children whenever possible. Mia responds in kind by being fiercely disobedient, foul mouthed, and destructive to herself and others. The only thing Mia seems remotely passionate about is dancing, specifically hip-hop dancing, and she's pretty good at it. She has crafted a makeshift rehearsal space in an abandoned building, and spends hours practicing routines and moves.

Her life takes two unexpected changes at the same time. Mom brings home a new boyfriend named Connor (INGLOURIOUS BASTERDS' Michael Fassbender), and Mia finds out about local auditions to become a dancer that specializes in hip-hop, funk, and R&B moves. Connor seems like a righteous dude and seems to genuinely care about Joanne and the girls. He's so respectful and interested in what the family is up to that even the hard-hearted Mia starts to develop a bit of a crush on him. As much of a girl of "the street" as Mia seems to be, we also get a sense from Jarvis' sublimely subtle performance that she doesn't have much in the way of experience with boys. She's got a bit of a thing for a local boy who lives in a trailer with his family, but they mostly just hang out. Mia's feelings for Connor are far more complicated and seem to unleash the hormones to the point where she spies on him and her mother having sex, a thing that both excites and angers her.

Mia's story is one of a girl who has already given up on most of her dreams and hopes of getting out of the life she lives. She's as tough as brick, but there's a clear sense that she wants to be anything but. She often wears her hair in a tight ponytail, but when she lets her hair down, her rough look vanishes and her vulnerability is on full display. Both Connor and the audition add a great deal of anguish and confusion to Mia's life. And trust me when I say that all you'll want for Mia is for something to go right in her life. FISH TANK may be difficult for some to handle on an emotional level, but the journey is worth the frequent heartbreak. The film takes some predictable and not-so-predictable turns in the final act, but even the twists that seem telegraphed from the beginning of the film didn't bother me because the players execute them with such authentic passion. Director Arnold has captured life in all its ugliness and occasional loveliness. Although this film played at many festival last year, I think it's safe to say this is the first truly great movie of 2010.



THE LAST STATION
The fact that this film has had such praise heaped upon it since late last year boggles my mind just a tiny bit, because I couldn't fucking stand this movie despite the fantastic cast and inherently interesting subject matter. All I got out of director Michael Hoffman's heavy-handed adaptation of Jay Parini's novel was a lot of yelling, puffed-out chests, and overwritten dialogue. In fact, other than a pretty special performance by Helen Mirren, I don't think I'd recommend a thing about this period melodrama that focus on the exciting worlds of inheritance, estates, and Russian literature.

Christopher Plummer plays Leo Tolstoy (looking an awful lot like he did on THE IMAGINARIUM OF DR. PARNASSUS. Coincidence?), who lives a very hippie-like existence on a massive estate that he wants nothing more than to see go to the people upon his seeming eminent death. His wife, the Countess Sofya (Mirren), is against this, for obvious reasons. She is afraid all of the money that should rightfully go to her will disappear, leaving her destitute. In a weird and unnecessary plot device, this potentially interesting tale is seen through the eyes of a fictional character named Valentin (James McAvoy), who is employed by Tolstoy as a personal assistant and thrown headfirst into the war-like chaos of the celebrated writer's life. On one side is his wife; on the other is Vladimir Chertkov (Paul Giamatti, using a weird generic European accent seemingly constructed from tubas), a Tolstoy worshiper and one of the writer's closest advisors. The power-hungry Vladimir also hates the Countess and sees her as a money-grubbing devil.

Much of THE LAST STATION consists of arguments, which, passionate as they may be, are tiring to listen to for two hours. Plummer is kind of amusing as the slightly doltish Tolstoy, and Mirren does so little wrong with any performance, she has essentially become the British Meryl Streep (which is not to say that both women don't involve themselves in crappy movies from time to time, they simply are never crappy themselves). I was impressed with her manic performance, which runs the gamut from hysterical to seductive to raging she-devil. I don't think McAvoy is going to gain any new fans with his work in THE LAST STATION, which essentially calls upon him to watch and react to far more interesting people. I think the burden of the film's failure in the acting category belongs to Giamatti, who plays his slightly villainous character with far too obvious a demeanor. The only thing missing is the evil laugh.

But I kept coming back to the simple truth that this is nothing more than a movie about whether a guy changes his will or not, and if you know Russian history (and who among us doesn't) then you already know the outcome. And Hoffman's directing doesn't exactly add much spark to the proceedings. Shouting isn't acting, it's just shouting. And dressing up, shouting in period clothes and funny facial hair does not a compelling film make. If you don't believe me, please feel free to check out THE LAST STATION.



-- Capone
therealcapone@aintitcoolmail.com
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