The Intern (2015) Review

Lucas Versantvoort / 24 Oct 2015

We've all been there: going to see a comedy and praying fervently that it won't be a complete waste of time. 'Please movie, don't take a hard right at Lame Jokes Avenue.' You hope that a feel-good movie would finally just do as advertised. Fortunately for us, Nancy Meyer's first film in six years does just that.

Ben Whitaker (Robert De Niro) is a 70-year-old widower who bluntly states that retirement has gotten way too boring. Even vacations aren't a solution, because the final destination, home, always reminds him of his wife. He realizes he has to stay active, do something...anything. He applies for a job at a fashion company that's looking for senior citizens (as a way to reach out to the community). The company's led by Jules Ostin (Anne Hathaway) who's so busy that she's persuaded to scour for a new CEO. The investors are concerned that the company could potentially crumble under the weight of its own rapid success, so someone with 'experience' is recommended. Jules agrees to interview several candidates. Meanwhile, Ben, being an intern to Jules, doesn't have a lot to do, but soon finds himself becoming a mentor and a friend of sorts to Jules and aids her in overcoming not just the crises at work, but those at home as well.

I can't emphasize enough how crucial De Niro and Hathaway's acting are to the success of The Intern. Sure, De Niro's not venturing out of his comfort zone at all here, but he's believable and likeable. Same goes for Hathaway. The supporting cast are a surprisingly likeable bunch as well. Usually, comedies tend to suffer from characters who desperately try to be funny, but none of that awkwardness is to be found here. And that's what I found pleasantly surprising on the whole: just the complete lack of awkwardness, both in terms of acting and writing. 

The film's flaws can all be traced back to the fact that, at the end of the day, it's very much a lightweight affair. You could argue for hours about how De Niro's father-knows-best role undermines the film's feminist side, that the role of the massage therapist is underwritten, yadda yadda. You could make a case that the film doesn't treat its topics with the dramatic weight they deserve and you'd be right--I personally felt that the 'cheating' could've been handled differently--but then again, the film never tries to be something it's not. The scenes featuring dramatic content are played out in such a way so as not to derail the film's overall happy-go-lucky mood and flow. The critic in me thinks I should be harsher, but I can't deny that I had a swell time.

The Lobster (2015) Review

Lucas Versantvoort / 23 Oct 2015

As he sat in his theatre seat, he didn't know what to expect. He'd seen the trailer a few times, but it hadn't really told him enough to know what The Lobster was about besides that it featured a hotel for lonely people who'd be turned into animals if they didn't find a partner in time. He figured it'd be a satire on relationships and it turned out it was. He'd also find out The Lobster would be one of those films he'd never want to see again for the rest of his life.

The film started with a woman driving along the countryside in the rain. She pulled over and shot a donkey, then drove away, leaving the other donkey baffled and slowly waddling to the dead donkey. At first, he thought that it looked very realistic and anticipated a credits message that said no animals were harmed during the making of this picture. Then he got to thinking about the film's theme--people turning into animals--and he realized the donkey must've been her unfaithful husband or something. We then cut to David (Colin Farrell) entering The Hotel with his brother who stayed at the same hotel, but didn't find a partner and was turned into the animal of his choice. When asked what kind of animal he'd like to be, David replied, 'a lobster'. David is told how The Hotel works and so began his life there, searching for love.

After the film had concluded, he was left with a dilemma: he knew on the one hand this was quite a smart film, but also that the strength of its satire was also the source of its lack of likeability and lack of replay value. He knew the film was at its satirical best when it played with language. The characters would say what they meant and meant what they'd say, but the bluntness, straightforwardness and 'dry' way of conversing made it quite funny. It was all meant to parody every aspect of relationships, from conversational subjects to how we view each other, from how people select a suitable partner to the first flirtations. This film is almost merciless, he thought, merciless in how it dissects people and relationships. 

Yet, he thought, this type of satire comes at a price. Not only does it make the film come across as unlikable and lacking in replay value, this is exacerbated by the film's length which is too long for the film's subject matter and style. It's obvious the film's promoting healthy relationships (and all that entails) with its parodies, but you still have to sit through all of the director's Variations on a Theme, so to speak. And that ending. Ah, that nauseating ending. Regarding the ending, he thought to himself, 'you know, I remember a time when 'love hurts' referred to 'mental hurt', not physical hurt, but that's just me'. 

He didn't regret seeing The Lobster. At least, he thought he didn't. He had always valued honesty and authenticity above all else and that's what the film was going for in the end. By exaggerating and parodying the negative (e.g. unhealthy relationships), you emphasize the positive (e.g. healthy relationships). It's just that the film's repeating the same point over and over occasionally made the film a bit of a drag.

ps: if you're wondering about the writing style, then you obviously haven't seen The Lobster.

Une Enfance (2015) Review

Lucas Versantvoort / 22 Oct 2015

The title immediately makes it clear what kind of film this is going to be: a French-styled glance at the daily life of a teenage boy. The other French film from which all these kinds of films have spawned is, of course, Truffaut's The 400 Blows. A film like this doesn't depend on action, but on careful observation and Une Enfance comes close to reaching the same heights as director Claudel's Il y a longtemps que je t'aime. 

Jimmy, thirteen years old, lives with his mother and stepdad in a small town in Eastern France. He practically takes care of the house alone: his mother's addicted to smack as well as his drunk stepdad who plays the ol' abusive dad role: whining about politics and The Man on the one hand and sitting on his ass all day on the other. He's the kind of guy that'll monologue relentlessly about oppression before threatening Jimmy with a punch in the mouth if he so much suggests rebellious behavior. Yeah, zero points for consistency, slick. Jimmy is the one who has to take care of his little brother, Kévin, making sure he's dressed, fed and ready for school. This is our starting point and from here, we see the situation both gradually change, yet stay the same.

The film's strength is obviously Claudel's gift for observation and psychology. I already mentioned the dual nature of Jimmy's stepdad, but the same applies to his mother who obviously, when she isn't doped up, wants to provide for Jimmy, but is frankly unable to do so on a consistent basis, especially when dear old dad is always nearby. One of the more interesting recurring scenes are those where the mom hugs Jimmy. Jimmy doesn't really enjoy it, because the mom usually spaces out on his shoulder and you soon realize that the motherly hug isn't to comfort Jimmy, but to comfort her. It's these psychological nuances that are littered throughout Une Enfance and add to the experience. If this kind of film relies primarily on observational skills, then Une Enface is worth a watch.

The acting, as expected, is also of a pretty high standard. Jimmy, despite only smiling in the final scene which also functions as a homage to Truffaut's film, carries the film on his shoulders. The mother and stepdad are also played well, though you can imagine they don't exactly exhibit the most character development you've ever seen. Also noteworthy is the kid who plays the little brother. He's only in it for half the film, but displays all the right emotions. I particularly remember the scene where Jimmy and all the school kids performed a high school play and are all standing on stage, facing their proud parents. Predictably, Jimmy's mom and stepdad aren't present, but little Kévin is, wearing the brightest smile you'll ever witness. 

The film isn't perfect, however. Parts of the story are just too predictable. Jimmy secretly takes care of a stray cat. We soon find out that his stepdad hates cats. Hmm, I'm sure nothing bad could possibly come out of this... The crappy state of affairs in Jimmy's family also ensures that there's just too little character development. It's precisely the point, of course, to show the damage the mom and stepdad inflict on Jimmy, but these characters just don't change that much, so it can be tiring to watch a dysfunctional family for over an hour and a half. Another gripe has to do with several non-functional scenes, where Jimmy watches fireworks alone, rides on his bicycle alone, etc. You know the intention is to show Jimmy's daily life in all its detail, but sometimes these scenes can feel a bit like padding, especially when they're accompanied by those tiresome, hazy-voiced ballads. What's worse is that one of these scenes show Jimmy being infatuated with a pretty girl, only to find that this potential subplot is abandoned for pretty much the entire film, save for one scene towards the end.

Nevertheless, Claudel's attention to detail stands tall in the end. Whether it's the portrayal of Jimmy's relationship with Kévin, him taking care of the house, him shortly meeting his real father, him dreaming about his future, these psychological details triumph in the face of any (valid) criticisms and makes Une Enfance worth your time.

Dutch version

Aan de titel Une Enfance kun je al zien wat voor film dit wordt: een typisch Frans-getinte blik op het dagelijks leven van een tiener in een arm gezin. Die andere Franse film die als bron dient voor veel van dit soort films is natuurlijk Truffaut's The 400 Blows. Een film als Une Enfance is niet afhankelijk van actie, maar van scherpe observaties en in dit opzicht komt Une Enfance in de buurt van het succes van regisseur Claudel's debuut, Il y a longtemps que je t'aime.

Jimmy is dertien jaar oud en leeft bij zijn moeder en stiefvader in een klein stadje. We komen er al snel achter dat hij veel huiselijke verantwoordelijkheden heeft, want zijn moeder en alcoholische stiefvader zijn drugsverslaafd. De stiefvader is echt een ‘lieverdje’: het type dat klaagt over het leven en politiek, maar zelf voornamelijk op z'n achterwerk zit. Het type dat eindeloos zanikt over onderdrukking en tegelijkertijd voortdurend dreigt Jimmy een stoot te verkopen bij enig teken van rebels gedrag, kortom ‘vader van het jaar’. Jimmy is ook degene die zorgt voor z'n kleine broer, Kévin, zorgt dat hij aangekleed is, dat hij eet en klaar is om naar school te gaan. Dit is Jimmy's dagelijks leven en gedurende honderd minuten zullen we dat in al z’n complexiteit aanschouwen.

De kracht van de film zit 'm overduidelijk in Claudel's observatievermogen en psychologisch inzicht, zoals blijkt uit de duale aard van de stiefvader en die van de moeder. Zij wil diep van binnen voor Jimmy kunnen zorgen, maar haar verslaving – aan drugs en aan de stiefvader – zorgen ervoor dat zij nooit echt losbreekt van haar destructieve leefpatroon. Een bepaalde scène keert af en toe terug, wanneer de moeder Jimmy wil knuffelen. Jimmy irriteert zich hier voornamelijk aan, maar doet het toch. Wanneer de moeder steeds haar hoofd op zijn schouders legt, beseffen we snel dat deze moederlijke knuffels niet voor Jimmy bedoeld zijn, maar voor haar.

Het acteerwerk is zoals verwacht behoorlijk goed. De acteur die Jimmy speelt draagt deze film en is indrukwekkend geloofwaardig in de wijze waarop hij bijna ‘emotieloos’ deze tragische jongen portretteert. De moeder en de stiefvader worden ook overtuigend neergezet, hoewel je je kunt voorstellen dat deze niet echt de meeste karakterontwikkeling tonen. Het kleine broertje Kévin is ook vermeldenswaardig en vooral leuk in de scène dat Jimmy net een toneelstuk op school achter de rug heeft en dat hij met z'n klasgenoten op het toneel staat, terwijl de zaal gevuld is met trotse ouders. Jimmy’s ouders zijn niet aanwezig, maar Kévin wel, die met de breedste lach trots naar z'n broer staat te glunderen.

De film is echter niet perfect. Een aantal plotelementen zijn gewoon te voorspelbaar. Jimmy zorgt stiekem voor een kat in z'n overgroeide achtertuin. Z'n stiefvader zegt echter dat hij een hekel heeft aan katten. Hmm, dit zal natuurlijk niet verkeerd aflopen... De armoedige staat van Jimmy's familie draagt bij aan een gebrek aan karakterontwikkeling, de moeder en stiefvader blijven vastzitten in hun gedrag. De bedoeling is dat je de gevolgen van zo'n gezin moet ondergaan, maar feit blijft dat je eigenlijk anderhalf uur naar een destructief gezin zit te kijken en dat kan uiteindelijk vermoeiend worden, zeker met voorspelbare subplots. Ook irritant zijn enkele overgangsscènes waarin er eigenlijk niets gebeurt, maar het de bedoeling is om wat kleur te geven aan Jimmy's dagelijks leven. Jimmy fietst alleen, bekijkt het vuurwerk op oudejaarsavond...alleen. De bedoeling is duidelijk, maar soms voelen ze aan als vulling, zeker wanneer ze begeleid worden door behoorlijk zoetgevooisde nummers.

Uiteindelijk is het Claudel's observatievermogen en oog voor psychologisch detail die Une Enfance diepgang geven. Jimmy's relatie met broertje Kévin, hoe hij probeert te overleven in z'n huis, hoe hij dagdroomt over zijn toekomst, het zijn dit soort psychologische details die de film het kijken meer dan waard maken.