AWAY WE GO

Written by Dave Eggers and Vendela Vida
Directed by Sam Mendes
Starring John Krasinski and Maya Rudolph


Burt Farlander: I had a dream about Montreal last week.
Verona De Tessant: Was I topless in it?
Burt Farlander: Yes.

From the moment you see this dilapidated shack of a house, you think how could anyone live here? There is a light on inside so someone must live there. Who could possibly though? It looks as though it could fall in on itself at any moment. And then you see the inside. There is a tool and workstation in the bedroom! What hapless losers call this dump home? Well, that would be Burt Farlander and Verona De Tessant (John Krasinski and Maya Rudolph) and when you meet them, you realize instantly that they deserve so much better. They’re good people who are trying to find their place who haven’t realized yet that they don’t have to stay in one place to find it. They are also just now, both in their early 30’s, waking up to the reality of their adult life and seeing that they’ve got a lot more work to do than they thought. And so away they go in search of a real home in Sam Mendes’s AWAY WE GO.


It might have been the decrepit yet necessary space heater in the living room or the cardboard box that was doubling as a window in the kitchen but it was a lot more likely that it was Verona’s unexpected pregnancy that tipped the couple off. There comes a point in time in our lives when we can no longer just get by on our youthful charms, when we must take specific action to fashion our lives into something we can grow into security or a legacy. That time is now for Burt and Verona. After Burt’s parents (Catherine O’Hara and Jeff Daniels) inform the twosome that they are moving to Belgium for two years, they realize that there is no reason for them to continue living in Colorado as they were only doing so to be close to his parents. All too often, we resign ourselves to what we know and avoid venturing past our safety zones out of fear of the unknown or because of just plain complacency but Burt and Verona have just realized that there is nothing remotely safe about their particular zone. Worse yet, it isn’t home.


This charming road trip film is winning and touching despite its formulaic trappings. After leaving Colorado, Burt and Verona go to Phoenix, Madison and Miami. They even make their way north of the border to Montreal. At each spot, they visit with friends and family in hopes of feeling a connection that might make them want to move there. The premise is inherently episodic as each of these people they meet with has children already and they each have different approaches to proper parenting. There is always something to learn and Mendes does nothing to mask the transparency of their journey. What he does is allow seasoned character actors like O’Hara and Daniels, or Maggie Gyllenhaal, Alison Janney and Chris Messina to bring sincerity and depth to what would otherwise be hollow shells. And with the unavoidably likable Krasinski and the refreshingly honest Rudolph taking us on this ride, even long lulls on the road pass by like a breeze.


AWAY WE GO is the kind of film that makes me wish I had someone to get out there and look for a home with. Burt and Verona are something of a dying breed today. The love they have for each other is deep but practical and at no point in time does either take for granted that they will make it through to the other side without having to do a little work to get there. They also don’t take it all so seriously so as much as they work, they play just as hard. The way in which they play is what gives AWAY WE GO a warmth that I’ve only known from one place before … home.

DVD Review: TIM BURTON'S THE NIGHTMARE BEFORE CHRISTMAS

Written by Tim Burton, Michael McDowell and Caroline Thompson
Words and Music by Danny Elfman
Directed by Henry Selick
Voices by Danny Elfman, Catherine O'Hara, Chris Sarandon and Paul Reubens


I’ve never been able to pin down what exactly is the target audience for TIM BURTON’S THE NIGHTMARE BEFORE CHRISTMAS. It’s a holiday tale seemingly too dark to be a Christmas classic and too warm to be a Halloween fright. It’s animated so that eliminates a good chunk of close-minded adults yet it’s far too scary for younger kids (unless you consider Santa Claus being tortured to be good wholesome fun). It’s a musical too so there go all the adolescents outside of the drama club. That doesn’t leave many but those who do count themselves as part of this film’s loyal following know how lucky they are. Sure, it’s an altogether bizarre amalgamation of two seemingly opposite holidays but it is also incredibly clever, darkly romantic and one of the most underrated and satisfying musicals of our time.


THE NIGHTMARE BEFORE CHRISTMAS originated in Burton’s mind in the early 80’s, while he was working at Disney. Not so surprisingly, the dark story was not the kind of film Disney was looking to make at the time and so it was left behind. Burton left Disney behind as well but went back years later to get his original concept drawings that would become the cast of countless cookey characters that have, since its original 1993 bow, spawned an incredibly successful merchandising line. The first and foremost of these characters is Jack Skellington, the pumpkin king who presides over Halloween Town. The citizens and denizens of Halloween Town aren’t bad people, er, creatures. No, rather they are simply carrying out what they were born to do – bring chills and thrills to the boys and girls of the world on the last day of October. Only after more years than he can count, Jack feels like something now is missing. His emptiness is only exacerbated by a fateful visit to Christmas Town. Jack is overtaken by this indescribable warmth and joy that exudes throughout this place that he’s never known before and suddenly, the world is full of possibilities again.


Walt Disney has been toying with us for years. The film has only been allowed out of that pesky vault once a year, finding what seemed like a new home in 3D theatres in time for Halloween. Finally, the mouse house has let Jack and friends back into our homes in a 2-disc special edition. “Special” would be putting it mildly. Not only is the film impeccably restored but the extras feel so rare that you truly feel as if you are being treated to a genuinely thorough backstage look at this artistic triumph. Deleted and extended scenes are raw and unfinished, giving them a silent film era look. Actor, Christopher Lee reads Burton’s original poem that the film is based on against illustrations inspired by Burton’s original concept art. Even the teaser trailer is interesting in a time capsule fashion and how often can you say that? It only goes deeper from there. The “Making of” is broken down into each part of production and we are introduced to the delicate intricacies of stop-motion animation. Hundreds of puppets, meticulously detailed sets and unique camera mechanics are only three incredibly fascinating parts of this immense three-year long project. And still, I am only skimming the surface here of what other options are included in this package. Burton’s short film’s VINCENT (the story of an impossibly melodramatic seven-year-old boy descending into the madness of his mind) and FRANKENWEENIE (a mad scientist boy brings his dead pooch back from the dead in this precursor to EDWARD SCISSORHANDS and homage to Frankenstein) are a particularly extraordinary inclusion. And finally, a brand new commentary track was recorded with Burton as well as the two other unsung heroes – director, Henry Selick and composer and lyricist, Danny Elfman (who also contributes Jack’s singing voice). They have plenty to say but oddly, they’re all saying it at different times, having recorded their commentaries seperately. Despite not recording together, they are all on the same page when it comes to their genuine appreciate and pride for this project.


There is not enough space here for me to convey just how unique THE NIGHTMARE BEFORE CHRISTMAS is. Burton, Selick and Elfman, along with the hundreds of other animators and contributors, drew inspiration from such Christmas classics as “Rudolph the Red-Nosed Reindeer” and “How the Grinch Stole Christmas”, turned them inside out and somehow managed to come up with a contemporary version that will remain now forever listed amongst these original classics as a masterpiece all its own. Suffice it to say, it needs to be seen and if you find yourself loving it, then this collector’s edition is a must have.

FILM & DVD

FOR YOUR CONSIDERATION

Written by Eugene Levy and Christopher Guest
Directed by Christopher Guest

It starts around September and goes right through until January when the nominations are announced. Hollywood slowly unveils their most thought-provoking, most dramatic, most controversial films. Some launch in hundreds of theatres throughout North America; others launch in just dozens. Every facet of the way the film is marketed needs to be just right. The stars need to make the talk-show rounds while the critical circles lay claim to their yearly favorites. You don’t want to be oversold and disappoint nor do you want to go unnoticed. What you want is your name called at that ungodly hour. When it is, you will no longer be introduced by your name alone. From now on, your name will always be preceded by Academy Award Nominee. The moniker will open doors for you, get you better scripts with better directors and better paychecks. If you’re none too careful though, it could also get you an overinflated ego that could cause major rifts on set. The doors that open lead to bigger rooms which means bigger possibility for public humiliation when you start to think you’re so much better than you actually are. All of this also means huge potential for laughs and jabs should the entire process of an actor’s performance on it’s way to an Oscar nomination be parodied, especially if it is to be parodied by writers, Christopher Guest and Eugene Levy, of BEST IN SHOW and WAITING FOR GUFFMAN fame. Huge potential can go either way though and sadly for Guest, Levy and the rest of the gang, their latest, FOR YOUR CONSIDERATION, a movie about a movie that starts to generate Oscar buzz, does not live up to its own awards season hype.

As the cast of characters is introduced and the scene is set, promise is shown. Guest himself plays Jay Berman, the director of the small Hollywood production, “Home for Purim.” The film stars veteran film actress, Marilyn Hack (Catherine O’Hara), as a mother nearing her death whose family has come home for the Jewish holiday. Joining Hack in front of the camera are Dad (Harry Shearer), son (Christoper Moynihan), daughter (Parker Posey) and her (scandal!) girlfriend (Mary Pat Hooligan). Other Guest regulars like John Michael Higgins as a neurotic PR guy and Jennifer Coolidge as a vapid producer fill out the space behind the camera. Bob Balaban and Michael McKean play the possessive writing team while Fred Willard and Jane Lynch play entertainment show hosts with permanent smiles hiding their empty souls. The size of the cast stretches so far that when Marilyn learns that an internet site believes her performance to be Oscar worthy, the reaction ripples further than it should. There is no time to develop anyone past the quirkiness that exemplifies most Guest character creations. With a running time of under an hour and half, clearly the time could have been taken. O’Hara’s Hack does receive more focus than any other but even her storyline seems to be missing an enormous chunk as her progression goes from intriguing to perplexing. The Oscar buzz leads to more attention and more focus on the cast and then suddenly, the film ends. I felt as though nothing had happened when so much should have.


While the film does not satisfy on the surface, it does make a strong statement on the ridiculousness of the awards season. Now I’m an Oscar enthusiast but even I can acknowledge how silly the whole thing is. The title, FOR YOUR CONSIDERATION, comes from a common practice for production companies to take out full page ads in Variety asking Academy voters to consider a particular performance when they are making their picks. In the context of Guest’s film, it seems to be asking voters to consider something else entirely, like how out of control this process has become. Recognizing certain performances over others negates the craft itself and creates a hierarchy of status amidst the acting community. As if actors didn’t doubt their abilities enough to begin with, the need for an Oscar to validate your career choice forces talent to become second to recognition. Guest’s inclusion of the entertainment show or film critics and fair-weather executive producers only further criticizes all the hands that manipulate the machine. No role in Hollywood goes untouched by Guest; they all get swept up in the false reality of the pinnacle of success known as the Academy Awards.

Ironically, Catherine O’Hara’s performance in FOR YOUR COSIDERATION has begun to generate some Oscar buzz of its own (which I just contributed to). But anyone who knows a thing or two about what gets a name onto an Oscar ballot knows that no matter how good a performance is (and this one is pretty darn good but not that good), if said performance is better than the film it comes from, the walk to the podium gets that much longer. Christopher Guest better make sure he books ad space in Variety early.