RABBIT HOLE

Written by David Lindsay-Abaire

Directed by John Cameron Mitchell

Starring Nicole Kidman, Aaron Eckhart, Dianne Wiest and Sandra Oh

Becca: I like that thought. Somewhere out there, I'm having a good time.

There are times in our lives where we all find ourselves falling down a hole we didn’t see coming. We are just merrily making our way through the world we know when suddenly, and when we’re not necessarily paying attention, we find ourselves plummeting. While falling alone can be horrifying enough, tumbling down the same hole with your partner can be incredibly difficult and alienating. Nicole Kidman and Aaron Eckhart play parents who have recently lost their young son, Danny, to a car accident, in the delicate drama, RABBIT HOLE. Fortunately for them, director John Cameron Mitchell is there to catch them before they hit the ground.

Mitchell made a name for himself when he first wrote, directed and starred in the film adaptation of his own Off-Broadway show, HEDWIG AND THE ANGRY INCH (click title for review). His exploration of the marginally sexual not only continued its prevalence in his second feature, SHORTBUS, but it would go places most would never dare. In his third and decidedly most accessible work to date, RABBIT HOLE, Mitchell almost abandons sexuality entirely and turns his focus on grief and loss. I use the word, “accessible” loosely, as there is nothing easy about going down this particular hole. David Lindsay-Abaire’s adaptation of his Pulitzer Prize-winning stage play, looks at a couple suffering the unbearable loss of their only child, a story that we have seen a number of times before, and makes it feel like the individual experience it has to be.

Joining Kidman and Eckhart along their journey towards catharsis feels like a privilege, like we don’t really have the right to be there. Each of their experiences is so separate from the other’s, but you can always feel that they are fighting somewhere deep underneath their own hardship to find their way back to each other. Eckhart is strong as a husband who is struggling with doing everything he can not to forget but Kidman is just plain unforgettable. She is doing everything she can to heal, including reaching out to the young boy who was driving the car that killed her son, but she can’t tell if anything is actually working. After all, what level of sadness is needed to let go and see the world the way it once was? That’s the thing about rabbit holes though, both in metaphoric terms and in regards to this film, you’re not the same for having gone down them.

THE DARK KNIGHT

Written by Jonathan Nolan and Christopher Nolan
Directed by Christopher Nolan
Starring Christian Bale, Heath Ledger, Aaron Eckhart, Michael Caine, Gary Oldman, Maggie Gyllenhaal and Morgan Freeman


Alfred Pennyworth: Some men simply want to watch the world burn.

There can only be one Batman and as I sat amongst a full crowd that was silent in awed anticipation at the crack of the film, it is clear that director, Christopher Nolan’s Batman is the one. In BATMAN BEGINS, Nolan (whom at the time he attempted to revive the franchise had only directed a handful of indie projects) took an icon and made him human. Batman, and of course his real life persona, Bruce Wayne, was damaged. He had fears; he had frustrations; he had to find himself. What he found with a little push from Nolan was a flawed figure but also a man whose heroism was defined by his humility and relentless pursuit of justice for those incapable of demanding it for themselves. With the arrival of THE DARK KNIGHT, Nolan has finished with his foundation and taken to the vertigo-inducing heights on the tallest of Gotham’s buildings to analyze the city and all its inhabitants. Gliding both gracefully and dauntingly through all of it is the dark knight himself (reprised by third time Nolan collaborator, Christian Bale). What he sees from his unique view that becomes our privileged spectacle is world of delineating lines and order that is about to torn apart by chaos and chance.


Gotham City must be pretty far down the list of safest places in America to live. Not only does there seem to be nightly violence at the hands of common street thugs but all the crazies seem to end setting up shop there too. Enter the Joker (Heath Ledger). We know nothing of what made him the homicidal maniac he is nor does he have any regard for human life. In fact, he has nothing but disdain for it. Humanity’s rules and order may disgust him but they also make it possible for him to predict how people will behave, allowing him the chance to throw out loops to throw them off and laugh at their expense. The Joker is frightening enough in concept but Ledger’s performance is down right terrifying. As he constantly licks his lips with self-assured cynicism, he cuts to the chase in every scenario. He has no time for any games other than the ones he orchestrates himself and commands control everywhere he goes. His idea of playing always involves games with the ultimate consequence and the highest of stakes. In order to win these games, you must reject what you know and become everything you denounce. Only winners will know the rewards of living both sides of the coin and the Joker is counting on fear to prevail so that he can finally have someone to play with.


Along with his brother, Jonathan, Nolan has crafted a dark, twisted dissection of duality and morality that is often shocking, unexpected and intricately detailed. In every superhero tale, everyone always wants to know the man behind the mask. The mask itself, the creation of another persona other than the one that sits safely behind it, initiates the duality that permeates the notion of the superhero figure. Batman is the dark knight. He only comes out at night and no one would suspect the man he is by day might be one and the same. The Joker’s chaos theory ruptures Batman’s controlled existence and forces him to think in a darker fashion than he has ever had to before. Thinking that darkly though can leave you stranded in that space and this is what the Joker is counting on. What makes THE DARK KNIGHT so rich is that almost every character has conflict and questions their actions and motivations. No answer is the clear right answer and deceit seems to play a role in even the most well-intentioned decisions. The greatest irony is that the darkest character actually has the purest of souls while the would be clown seems to have no soul at all. This is perhaps what makes them such worthy adversaries and why they both almost seem to enjoy the challenge.


When THE DARK KNIGHT feels like it might be ending, the anxiety mounts because you won’t want it to end. It has an enormous scope but is somehow still subtle. It is incredibly complex but yet still simple. The film itself is steeped in just as much duality as its hero. Nolan never loses control of his dualistic duty – to create a Batman film that pleases both the masses and the fans, that encompasses the grandness of a blockbuster with the darkness of the independent spirit and wows without resorting to cheap tricks. Once again, Nolan has grounded the sensational on a very firm footing by never allowing Batman to be anything other than a man. We can then stand on the same level ground as the giant bat and feel a satisfaction that is both real and incredible.

THANK YOU FOR SMOKING

Written and Directed by Jason Reitman

Tobacco lobbyist, Nick Naylor, imparts many practical approaches to life’s many problems upon all the people he deals with. He tells people how to see things for a living and knows that they’re listening to him. No one person is perhaps listening to him more than his own son. And though Nick’s confidence might blind him into a false sense of security in life, he is not so far removed as to not know that the molding of his son’s mind is his most important job. Thus, when he tells his son that if you argue correctly then you are never wrong, it is not only the true beauty of argument but it is also a strong, decisive direction to give your son. In that moment, he is a good father and not one of the most hated faces in America. This dichotomy between person and persona is what makes Nick Naylor real and Aaron Echkart’s portrayal of Naylor, as it is guided along it’s unexpected journey by director Jason Reitman, is what makes THANK YOU FOR SMOKING a real smart comedy.

Anyone I know who has avoided seeing this film has done so because they didn’t want to see satirical look at smoking. The shame there is that this film avoids clichés whenever it can and doesn’t bother wasting its or our time positioning Naylor to learn a lesson about tobacco being bad. The lesson Naylor must learn is about pride as his is shaken during the course of the film by a disparaging piece of journalism. When life kicks you to the floor, it does not necessarily mean that everything you knew beforehand was wrong. (Ironically, the last time life did that to me is when I started smoking.) Naylor had a pretty good idea about how to make life work for him but he stopped believing in himself. And when you can’t convince yourself of something, you certainly can’t convince others. Further to the root of this hilarious film are purpose and drive. Naylor’s biggest criticism from those who know him is pointed at his choice to lobby for big tobacco. It seems an easy place to start but it negates that Naylor is good at what he does. He can argue well for those who no one else would dream to argue for. It therefore becomes an inspiration to push yourself as far as possible when you find what you’re truly good at. And once you’re doing something, you might as well do it as well as you can because at the end of the day, everyone’s got their mortgage to pay for and you can’t come back with nothing. That’s a little approach to life I learned from a smooth-talking guy named Nick Naylor.

Son of director Ivan Reitman, Jason has clearly found what he’s good at. THANK YOU FOR SMOKING is his first full-length film and it is sharp and witty. It has an energy that is infectious and a style that is both cool and hip, much in the way one sees smokers, minus the cancer, yellow teeth and bad breath. From the flashy pop-art of the opening credits shaped into cigarette packages to the usage of split screens, ironic subtitling and video, Reitman crafts a sexy, slick film that could have easily turned any of it’s viewers on to smoking. However, in perhaps what is Reitman’s most brilliant touch to this film, not one character ever lights up.