Now onto something superficial: Philip Seymour Hoffman is four years younger than Brad Pitt but looks about twenty years older. I continue to love him more than Pitt, but man were their scenes together jarring.
Showing posts with label Philip Seymour Hoffman. Show all posts
Showing posts with label Philip Seymour Hoffman. Show all posts
Tuesday, September 20, 2011
Touchdown!
I don't like to go too in-depth when reviewing movies released by my own studio, but I do want to just share a couple of thoughts on Moneyball which I saw last night. We all know I love inspirational sports movies about sports that I don't like, and Moneyball isn't really an inspirational sports movie, but damn if it isn't about baseball. Here's how little I know about baseball. Freshman year of college I bought a cute green shirt at a thrift store that said "Athletics" and had a baseball on it. I was rather emo at the time and had a penchant for ironic t-shirts from the boys' section of the Goodwill. When people kept asking me if I was from Oakland, I couldn't understand why (I thought it was just like an elementary school's P.E. department shirt). While Moneyball is largely about how statistics factor in to major league baseball, which I didn't quite follow, I still really enjoyed watching the movie. Brad Pitt was excellent in it, the writing was very impressive, and I can't wait to see more and more of Chris Pratt. I'll admit that a movie about baseball being over two hours long doesn't help you forget that baseball is super boring, but even what seemed like superfluous scenes were great.
Now onto something superficial: Philip Seymour Hoffman is four years younger than Brad Pitt but looks about twenty years older. I continue to love him more than Pitt, but man were their scenes together jarring.
Now onto something superficial: Philip Seymour Hoffman is four years younger than Brad Pitt but looks about twenty years older. I continue to love him more than Pitt, but man were their scenes together jarring.
Thursday, February 21, 2008
savage nation
In my never-ending quest to become further acquainted with everything that Philip Seymour Hoffman has ever done on film, I saw Savages earlier this week. I think that this film benefited greatly from its faulty advertising, though, as it was not quite the wry comedy that the trailer led me to believe. Though I was surprised by the tone of the movie, I can't say that I was truly disappointed. I was hoping for some humor a little more zesty than the post-postmodern "jokes." That is to say, the movie opens on perfectly trimmed hedges and slow-motion leisure scenes, which are clearly meant to elicit laughter from the intellectually dissatisfied. Instead, Savages is a very frank look into the challenges posed to those who have to find elder care for their loved one.
Of course, this is all complicated for Jon and Wendy Savage because the father they are trying to find care for in his final weeks abused and abandoned them when they were children. Feeling guilty for having returned the favor, the Savages just try to take care of their father without really paying much attention to him. Some of the sharpest scenes in the movie occur when the self-centered siblings argue aimlessly with each other, and their father tries passively to ignore the pain of his children.
There is a striking lack of humor in Wendy's character, but Laura Linney delivered such an amazing performance that the character becomes sympathetic, when she easily could have stagnated at immature and selfish. She is keenly aware of her shortcomings - unapologetic about her pill-popping, lying to cover up her inadequacies in academia, and dissatisfied with her unhealthy love life - and that is what makes her so approachable. Aren't we all hyper-sensitive to our personality flaws, and critical of people who aren't?
Laura Linney absolutely stole the show here, so it was nice to see PSH sent to the background for once. Even in Anderson's films where he is a tertiary character, he draws so much attention based on his talent at playing the pathetic. I recommend this movie for anyone for whom elder relatives and nursing homes aren't currently a sensitive subject.
Of course, this is all complicated for Jon and Wendy Savage because the father they are trying to find care for in his final weeks abused and abandoned them when they were children. Feeling guilty for having returned the favor, the Savages just try to take care of their father without really paying much attention to him. Some of the sharpest scenes in the movie occur when the self-centered siblings argue aimlessly with each other, and their father tries passively to ignore the pain of his children.
There is a striking lack of humor in Wendy's character, but Laura Linney delivered such an amazing performance that the character becomes sympathetic, when she easily could have stagnated at immature and selfish. She is keenly aware of her shortcomings - unapologetic about her pill-popping, lying to cover up her inadequacies in academia, and dissatisfied with her unhealthy love life - and that is what makes her so approachable. Aren't we all hyper-sensitive to our personality flaws, and critical of people who aren't?
Laura Linney absolutely stole the show here, so it was nice to see PSH sent to the background for once. Even in Anderson's films where he is a tertiary character, he draws so much attention based on his talent at playing the pathetic. I recommend this movie for anyone for whom elder relatives and nursing homes aren't currently a sensitive subject.
Monday, April 30, 2007
i am three thousand percent sure!
I suppose I can understand people being baffled by my love for America's Next Top Model, Dirty Dancing, or even Philip Seymour Hoffman. Even some of my closest friends still raise an eyebrow when I wax nostalgic about the sense of security that comes from being engaged in conversation with Professor M. But nothing gets criticized more than my awed respect for The Maury Povich Show. Almost every weekday, if I'm free at noon or 2pm, I turn on Maury.
Types of Maury episodes typically break down into the following categories: paternity testing, unruly teen girls, lie-detector tests, abusive husbands, makeovers, obese toddlers, and sensational events caught on tape. The first three categories form a sort of Venn diagram, and air more frequently than the others. Rarely, there will be an exceptional episode about people with debilitating deformities or strange phobias, but these are few and far between.
A lot of people think of Maury as base entertainment cashing in on the problems of society's trodden-upon -- perhaps going to so far as to liken it to a modern day race-unspecific minstrel show. I can't entirely disprove this, but I'd like to argue that most forms of mainstream entertainment which are popular with the same demographics as Maury's audience are the same way. A lot can be asked about the ethics of a show which parades the sorrows and tribulations of its guests for profit, but the women who bring their fatherless children and cheating husbands onto the show are deeply yearning for answers.
On a basic level, Maury is providing services to people which are too expensive for almost everyone in the population. A trip to NYC to answer the questions that have been plaguing them is very desirable to a lot of people (as evidenced by the show's continued success), at the cost of being exposed on television in moments of vulnerability.
I watch the Maury show for a couple of reasons: it entertains me, and it makes me feel better by giving me the perspective to understand that other people have worse problems than I do. I also tend to think that Maury highlights how chronic some of society's problems are, like infidelity, unprotected sex and the resulting unplanned pregnancies, deadbeat dads, abusive husbands, rebellious teens, obesity, &c.
As a result of the reach Maury has over so many Americans, however, I believe that he has a social responsibility. On a small scale, he helps the individuals on his show, but does nothing to address the problems his show gives light to. This is my one concern, and I am baffled as to why Maury doesn't stress the use of condoms or other forms of birth control on his show. I have never once heard him mention that people wouldn't be going through such trauma if they just took better care of themselves. And I don't know how much a trip to prison and a tongue-lashing by D West is going to help a teenage prostitute in the long run. So though I enjoy The Maury Povich show, I do think it is past time for his audience to recognize the trends they watch on TV every day.
Types of Maury episodes typically break down into the following categories: paternity testing, unruly teen girls, lie-detector tests, abusive husbands, makeovers, obese toddlers, and sensational events caught on tape. The first three categories form a sort of Venn diagram, and air more frequently than the others. Rarely, there will be an exceptional episode about people with debilitating deformities or strange phobias, but these are few and far between.
A lot of people think of Maury as base entertainment cashing in on the problems of society's trodden-upon -- perhaps going to so far as to liken it to a modern day race-unspecific minstrel show. I can't entirely disprove this, but I'd like to argue that most forms of mainstream entertainment which are popular with the same demographics as Maury's audience are the same way. A lot can be asked about the ethics of a show which parades the sorrows and tribulations of its guests for profit, but the women who bring their fatherless children and cheating husbands onto the show are deeply yearning for answers.
On a basic level, Maury is providing services to people which are too expensive for almost everyone in the population. A trip to NYC to answer the questions that have been plaguing them is very desirable to a lot of people (as evidenced by the show's continued success), at the cost of being exposed on television in moments of vulnerability.
I watch the Maury show for a couple of reasons: it entertains me, and it makes me feel better by giving me the perspective to understand that other people have worse problems than I do. I also tend to think that Maury highlights how chronic some of society's problems are, like infidelity, unprotected sex and the resulting unplanned pregnancies, deadbeat dads, abusive husbands, rebellious teens, obesity, &c.
As a result of the reach Maury has over so many Americans, however, I believe that he has a social responsibility. On a small scale, he helps the individuals on his show, but does nothing to address the problems his show gives light to. This is my one concern, and I am baffled as to why Maury doesn't stress the use of condoms or other forms of birth control on his show. I have never once heard him mention that people wouldn't be going through such trauma if they just took better care of themselves. And I don't know how much a trip to prison and a tongue-lashing by D West is going to help a teenage prostitute in the long run. So though I enjoy The Maury Povich show, I do think it is past time for his audience to recognize the trends they watch on TV every day.
trailer rundown
So, I decided it's time to get back into one of my favorite high school pastimes. Spending hours looking at movie trailers online. Here's a few that look worth mentioning:
The TV Set (Now Playing)
Well, I'm interested in the theme of this film - I like the self-reflexive look at the film and TV industry, but I'm not sure if the mood is going to strike the right balance between Punch-Drunk Love and I Heart Huckabees. Anyway, I expect good things from Justine Bateman, David Duchovny, Sigourney Weaver, and Judy Greer, so I may actually see this in theaters instead of netflixing it...
The Ex (May 11)
Since the disastrous experiment in feeling bad, The Last Kiss, hopefully Zach Braff has realized how important it is that he keep himself involved in projects that are in some way comedic. This movie doesn't look like it will be a comedy to remember for years or anything, but I think the three leads have proven themselves before, and I am always jonesing for more Jason Bateman.
Severance (May 18)
So the first half of the trailer looked like the film would be too slow and low-budget to pull off "dark" without being interesting enough. Once I realized that it's a dark comedy and a slasher movie, I got more excited. I've never really been into the slasher genre, but this seems like it won't be taking that aspect of the film as seriously as it will treat the characters and the social commentary. Plus, Laura Harris from "Dead Like Me"!
Paprika (June 1)
Yoooooooowza... I am woefully unfamiliar with Japanese filmmaking, but this looks like it might be the thing that gets me to sit and watch anime with an eagerness I've never felt before. I mean, I know nothing about the story from the trailer, but visually, it looks like it could be one of the best movies I've ever seen.
Across the Universe (September 28)
MFers took the idea for a Beatles movie musical that I had when I was in the shower in high school and did it so much better than I ever could. Dammit. Seriously though, this looks stunning. Hopefully I can get the image of Evan Rachel Wood and Marilyn Manson doin' it out of my head enough to enjoy this...
The Savages (TBD)
Yesssss! More Philip Seymour Hoffman to turn me on... this movie looks great. What Little Miss Sunshine would be if there were no minors or opportunities to laugh out loud. I'm being serious, I really think this will be moving and funny, and I am really looking forward to the interaction between PSH and Laura Linney. With both of them signed on, I don't really know if I have to say anything else.
This was fun...I'll have to look through more trailers later!
The TV Set (Now Playing)
Well, I'm interested in the theme of this film - I like the self-reflexive look at the film and TV industry, but I'm not sure if the mood is going to strike the right balance between Punch-Drunk Love and I Heart Huckabees. Anyway, I expect good things from Justine Bateman, David Duchovny, Sigourney Weaver, and Judy Greer, so I may actually see this in theaters instead of netflixing it...
The Ex (May 11)
Since the disastrous experiment in feeling bad, The Last Kiss, hopefully Zach Braff has realized how important it is that he keep himself involved in projects that are in some way comedic. This movie doesn't look like it will be a comedy to remember for years or anything, but I think the three leads have proven themselves before, and I am always jonesing for more Jason Bateman.
Severance (May 18)
So the first half of the trailer looked like the film would be too slow and low-budget to pull off "dark" without being interesting enough. Once I realized that it's a dark comedy and a slasher movie, I got more excited. I've never really been into the slasher genre, but this seems like it won't be taking that aspect of the film as seriously as it will treat the characters and the social commentary. Plus, Laura Harris from "Dead Like Me"!
Paprika (June 1)
Yoooooooowza... I am woefully unfamiliar with Japanese filmmaking, but this looks like it might be the thing that gets me to sit and watch anime with an eagerness I've never felt before. I mean, I know nothing about the story from the trailer, but visually, it looks like it could be one of the best movies I've ever seen.
Across the Universe (September 28)
MFers took the idea for a Beatles movie musical that I had when I was in the shower in high school and did it so much better than I ever could. Dammit. Seriously though, this looks stunning. Hopefully I can get the image of Evan Rachel Wood and Marilyn Manson doin' it out of my head enough to enjoy this...
The Savages (TBD)
Yesssss! More Philip Seymour Hoffman to turn me on... this movie looks great. What Little Miss Sunshine would be if there were no minors or opportunities to laugh out loud. I'm being serious, I really think this will be moving and funny, and I am really looking forward to the interaction between PSH and Laura Linney. With both of them signed on, I don't really know if I have to say anything else.
This was fun...I'll have to look through more trailers later!
Tuesday, April 24, 2007
the love song of p. seymour hoffman
As Professor M taught me, a man doesn't have to be drop-dead gorgeous in order to win my love. From the first day sitting in his class, I felt my heart being swept away on the wings of his words forever. Something about his halted swagger, smooth velvety voice, and impeccable fashion sense just work together to create this frenetic sexual energy that radiates through the room as soon as he walks in... In Hollywood there are very few who have this same presence onscreen. One such man is the lovely Philip Seymour Hoffman.
Okay, so I've only seen twelve of his 47 IMDb acting credits, but I just wanted to say a few sweet words. The first time I was aware of PSH's virility and verve was in his role as Lester Bangs in Almost Famous. "The only true currency in this world is what we share with someone else when we're uncool." Teenage Kat in high school with her headphones on and her awkwardness and her dirty sneakers pretty much went nuts for that line. I later realized he wasn't a one-hit wonder when I saw him ironically-sans-pornstache in Boogie Nights. Paul Thomas Anderson brought us the ultimate trifecta of sexy-ugly with PSH, John C. Reilly, and Mark Wahlberg, and while the last two were running around shirtless and doing chicks, PSH's Scotty was making me sweat. Maybe it's the short shorts and the ill-fitting tank tops stretched over his expanse of stomach, maybe it's his awkwardly colored and poorly styled hair, but he brings so much anguish to his unrequited love for Dirk Diggler that whenever his character takes center stage, the dramatic irony reaches uncomfortable levels and I can't help but squirm in my seat watching everything go wrong.
What I loved about seeing many of Boogie Nights' actors return to working together in Magnolia was that they were still playing characters as insecure as their previous roles, but with completely different strengths and dynamics. As hospice nurse Phil Parma, he conveys a sensitivity and tranquility that Scotty would have been incredibly jealous of. At first I assumed the character was gay, but upon repeated viewings I realize this is not necessarily true. Though Parma lacks the raw sexiness of PSH, he is a completely believable young man who has simply settled into his place in life, but still manages to be surprised by what can make him feel. (Wow, just thinking of these PTA films is making me write an ode to John C. Reilly in my head. Maybe later...)
I wasn't sure what to expect out of Capote, movie-wise, but I am still impressed by PSH's range two years later. Apologetic yes-man Brandt in The Big Lebowski, greasy deviant priest Veasey (what a great name) in Cold Mountain, and now unlikable leading man. You know you've made it as a star when... Sure, at first the Truman voice was disconcerting, but the pacing and atmosphere of the picture allowed me to look past it after a while. As far as how the film made me feel about the true events and real people that inspired it, I won't attribute that to Mr. Hoffman. But the fact that he could bring gravitas to a character that most viewers are familiar with, all the while taking that squeaky voice completely seriously, just makes my heart swell.
Oh, what a man!
~Kat
P.S.
Okay, so I've only seen twelve of his 47 IMDb acting credits, but I just wanted to say a few sweet words. The first time I was aware of PSH's virility and verve was in his role as Lester Bangs in Almost Famous. "The only true currency in this world is what we share with someone else when we're uncool." Teenage Kat in high school with her headphones on and her awkwardness and her dirty sneakers pretty much went nuts for that line. I later realized he wasn't a one-hit wonder when I saw him ironically-sans-pornstache in Boogie Nights. Paul Thomas Anderson brought us the ultimate trifecta of sexy-ugly with PSH, John C. Reilly, and Mark Wahlberg, and while the last two were running around shirtless and doing chicks, PSH's Scotty was making me sweat. Maybe it's the short shorts and the ill-fitting tank tops stretched over his expanse of stomach, maybe it's his awkwardly colored and poorly styled hair, but he brings so much anguish to his unrequited love for Dirk Diggler that whenever his character takes center stage, the dramatic irony reaches uncomfortable levels and I can't help but squirm in my seat watching everything go wrong.
What I loved about seeing many of Boogie Nights' actors return to working together in Magnolia was that they were still playing characters as insecure as their previous roles, but with completely different strengths and dynamics. As hospice nurse Phil Parma, he conveys a sensitivity and tranquility that Scotty would have been incredibly jealous of. At first I assumed the character was gay, but upon repeated viewings I realize this is not necessarily true. Though Parma lacks the raw sexiness of PSH, he is a completely believable young man who has simply settled into his place in life, but still manages to be surprised by what can make him feel. (Wow, just thinking of these PTA films is making me write an ode to John C. Reilly in my head. Maybe later...)
I wasn't sure what to expect out of Capote, movie-wise, but I am still impressed by PSH's range two years later. Apologetic yes-man Brandt in The Big Lebowski, greasy deviant priest Veasey (what a great name) in Cold Mountain, and now unlikable leading man. You know you've made it as a star when... Sure, at first the Truman voice was disconcerting, but the pacing and atmosphere of the picture allowed me to look past it after a while. As far as how the film made me feel about the true events and real people that inspired it, I won't attribute that to Mr. Hoffman. But the fact that he could bring gravitas to a character that most viewers are familiar with, all the while taking that squeaky voice completely seriously, just makes my heart swell.
Oh, what a man!
~Kat
P.S.
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