socact-1
Joined Aug 2005
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Reviews6
socact-1's rating
When I first saw the previews for Marley and Me, I thought, ugh, another desperate attempt by Jennifer Aniston to resuscitate her career. I used to be a huge Aniston fan back in the "Friends" days, but it's been years since I've seen any of her movies. And as for Owen Wilson, he always seemed like a goof who rode on the wave of his older brother's success. This movie proved me wrong on both counts.
Marley and Me is about a dog, definitely, but it's just as much about a man (John Grogan, played by Wilson), his wife (Jenny, played by Aniston), and his growing family. The film follows John from his wedding night to the peak of his journalism career a dozen years later, years that are chronicled in his weekly columns for a Florida newspaper. Marley, the lovable but horribly destructive yellow lab, enters his life as a puppy, in an attempt to prepare him and his wife for future children. The dog, as expected, tears apart the house, makes wild escapes, humps the dog trainer, and lovably terrorizes other people. But the film effectively intersperses those episodes with tender, sincere moments of human/dog bonding. Marley is there to comfort Jenny when her husband cannot, adjusts to the children as they grow older, and intrudes on the family's most private moments. He is a constant, and at times, annoying presence, but Marley underscores the emotional tone of the film without dominating it.
Similarly, both Wilson and Aniston deliver understated performances that convey the ups-and-downs of any marriage. While it is the bond between John and Marley that the film explores most deeply, Jenny provides the link between dog, family, and children. In the end, she realizes what Marley has become, and what he has always been, to the two of them. The film's overall tone - light, humorous, but at times very real - builds up to an ending that is surprisingly moving.
Marley and Me is a tender-hearted, easy-going film that will appeal to any dog-lover. But it will also, I think, appeal to anyone who can look back on his or her life and trace a common thread through each passing year. A beloved pet, like Marley, has that unique capability. I wish I could thank my own dog for that. But, as one of the children in the movie tearfully says, I'm sure he already knows.
Marley and Me is about a dog, definitely, but it's just as much about a man (John Grogan, played by Wilson), his wife (Jenny, played by Aniston), and his growing family. The film follows John from his wedding night to the peak of his journalism career a dozen years later, years that are chronicled in his weekly columns for a Florida newspaper. Marley, the lovable but horribly destructive yellow lab, enters his life as a puppy, in an attempt to prepare him and his wife for future children. The dog, as expected, tears apart the house, makes wild escapes, humps the dog trainer, and lovably terrorizes other people. But the film effectively intersperses those episodes with tender, sincere moments of human/dog bonding. Marley is there to comfort Jenny when her husband cannot, adjusts to the children as they grow older, and intrudes on the family's most private moments. He is a constant, and at times, annoying presence, but Marley underscores the emotional tone of the film without dominating it.
Similarly, both Wilson and Aniston deliver understated performances that convey the ups-and-downs of any marriage. While it is the bond between John and Marley that the film explores most deeply, Jenny provides the link between dog, family, and children. In the end, she realizes what Marley has become, and what he has always been, to the two of them. The film's overall tone - light, humorous, but at times very real - builds up to an ending that is surprisingly moving.
Marley and Me is a tender-hearted, easy-going film that will appeal to any dog-lover. But it will also, I think, appeal to anyone who can look back on his or her life and trace a common thread through each passing year. A beloved pet, like Marley, has that unique capability. I wish I could thank my own dog for that. But, as one of the children in the movie tearfully says, I'm sure he already knows.
I went to see Slumdog Millionaire based on the words of countless critics, Top Ten Lists, and awards season rumors. Hailed as one of the best films of the year by virtually every news source in the U.S., I had to see what all the fuss was about. So I took my dad (a guy fairly opposed to subtitles and films with a budget under $100 million), and we saw this film the day before Christmas, when Hollywood releases its arsenal of heavy-hitting Oscar contenders.
For me so far, 2008 seems to be the year of films not living up to expectations. Unfortunately, Slumdog Millionaire seemed to fit into this category, although this is not to say the film is a bad one. It has a compelling storyline, fantastic actors (young and old), adequate suspense, and compelling visuals. To elaborate, the story revolved around one boy's experience on India's version of Who Wants to Be a Millionaire, whose success stems from a lifetime of struggle, betrayal, poverty, and death. The film follows Jamal, the contestant, in snapshots of his young life in Mumbai, from his childhood in the slums to his seat in the Millionaire studio. It is a riveting sequence of events, which both define and challenge Jamal as he grows from a young boy to a young man.
At the center of the story is Jamal's relationship with his brother Salim and friend, Latika. He pursues her throughout the film, as she is lost and found, again and again. These three characters form the emotional center of the movie that culminates in the final scene, and for me at least, their chemistry held the story together. All of the actors playing Jamal, from age 5 through 18, depict a spirited, intelligent little boy whose innocence ebbs as the game show, and his childhood, progresses. It is a tragic, but powerful transformation.
Danny Boyle strings the scenes together with emotion, sensuality, and an innovative soundtrack. He really drew me in to the setting, a difficult feat when trying to bridge American prosperity with Indian poverty (and I especially enjoyed the dig on American tourists). But this film could not have taken place anywhere else, which was especially poignant in the scenes of Mumbai's citizen's watching Jamal on television.
Overall, Slumdog Millionaire was a solid film that offers a refreshing storyline, compelling young actors, and capable direction by Boyle. But I can't see it as an Oscar contender, perhaps for its lack of anything truly exceptional. In a year, though, of superhero franchises, tired sequels, and over-budget epics, I will gladly take a little film like this one that captivates the masses, as Jamal did, with its humility and simplicity.
For me so far, 2008 seems to be the year of films not living up to expectations. Unfortunately, Slumdog Millionaire seemed to fit into this category, although this is not to say the film is a bad one. It has a compelling storyline, fantastic actors (young and old), adequate suspense, and compelling visuals. To elaborate, the story revolved around one boy's experience on India's version of Who Wants to Be a Millionaire, whose success stems from a lifetime of struggle, betrayal, poverty, and death. The film follows Jamal, the contestant, in snapshots of his young life in Mumbai, from his childhood in the slums to his seat in the Millionaire studio. It is a riveting sequence of events, which both define and challenge Jamal as he grows from a young boy to a young man.
At the center of the story is Jamal's relationship with his brother Salim and friend, Latika. He pursues her throughout the film, as she is lost and found, again and again. These three characters form the emotional center of the movie that culminates in the final scene, and for me at least, their chemistry held the story together. All of the actors playing Jamal, from age 5 through 18, depict a spirited, intelligent little boy whose innocence ebbs as the game show, and his childhood, progresses. It is a tragic, but powerful transformation.
Danny Boyle strings the scenes together with emotion, sensuality, and an innovative soundtrack. He really drew me in to the setting, a difficult feat when trying to bridge American prosperity with Indian poverty (and I especially enjoyed the dig on American tourists). But this film could not have taken place anywhere else, which was especially poignant in the scenes of Mumbai's citizen's watching Jamal on television.
Overall, Slumdog Millionaire was a solid film that offers a refreshing storyline, compelling young actors, and capable direction by Boyle. But I can't see it as an Oscar contender, perhaps for its lack of anything truly exceptional. In a year, though, of superhero franchises, tired sequels, and over-budget epics, I will gladly take a little film like this one that captivates the masses, as Jamal did, with its humility and simplicity.
