Hooray for the Netflix Instant Queue!

Netflix seems to have made an update to the user interface. A much needed feature, Instant Queue is now available (by the way, it's name used to be Watch Now right? They seem to be using Instant for a while now). Initially it contains the available items from your DVD Queue, but now when you move over the Play button, an option appears which lets you add the title to your Watch Now Queue.

The new queue, added as a tab to the original queue page, also shows the expiration date of the movies. So that, if something is about to expire, you can hurry up and watch.

I believe all this shows (once again) Netflix's commitment to instant watching feature. They are not keeping it as a side item for unpopular video, but trying to move the future of movie rentals to digital medium as they promised. Hopefully, in a few years we won't have to wait for the mail.

I can't help but think though. Remember the times we had to go to a store to pick a movie out of 100 titles available? And now I am complaining about waiting for the mailman to drop my movies, shot in 1935, in my mailbox. You can be sure Netflix, I will find something to complain about in the future.

The Return of Jezebel James

Like many of the Gilmore Girls fans I was counting the days for the premier of The Return Of Jezebel James, Amy Sherman's new baby. Due to some real life drama I missed it by three weeks. And for Fox three weeks are enough to cancel a show. I just watched the first (and last) three episodes of JJ (huh, GG, JJ, what's next?) on hulu.com and here is some postmortem analysis for you.

The premise of the show is the clash of two sisters with different lifestyles (rich, career slave Sarah vs broke, free spirit Coco). Sarah asks Coco to carry a baby for her, while living in her house. The relationship dynamics are somewhat different than GG, since the two main characters provide the main conflict in JJ, rather than supporting each other against the outside world. Also, there is less room for drama in the sit-com format, which is not that big a problem for sit-com based Palladino's.

The writing team (I assume largely AS) seems to be on top of their game in the first three episodes. Fast, wordy dialog and obscure references ranging from Chip and Dale, to Shirley Temple to vampires are in place; the character introductions and theme exposition is handled smoothly. A matching performance from behind the camera (AS directed the two pilot episodes) supports the writing room in tempo.

Unfortunately, JJ takes the hardest hit where it was supposed to be the strongest, Parker Posey (PP, would you look at that!). Amy Sherman is a 1940's style comedy writer. She writes His Girl Friday, she writes Bringing Up Baby and she needs Rosalind Russell or Katharine Hepburn or Carole Lombard or Diane Keaton or (yeah you guessed it right!) Lauren Graham. Her unnatural lines need to be delivered very naturally at lightning speed, otherwise her characters become disturbing rather than charming and funny, as was Parker Posey's Sarah. Posey is among my favorite actresses, but she definitely is not fit for this. Her acting is over the top, her quirkiness forced. I am sure she would have settled in time and made Sarah her own, but TV won't wait for that (especially Fox).

The rest of the cast, Lauren Ambrose, Scott Cohen and the veterans Dianne Wiest, Dana Ivey and Ron McLarty handle their parts better, but they have limited time and little impact.

Long story short, JJ probably just needed some time and maybe a better comedienne in the starring role (Lauren Graham?). I didn't have much hope for it anyway, since cancellation seems to be the common fate of fast, smart comedies these days (I am still grieving the loss of Studio 60).

Juno ****

This year, unwanted pregnancies are to independent filmmakers, what wars are to the mainstream. Juno follows the footsteps of two other unwilling mother-to-be's from Waitress and Bella. Only, at the age of sixteen she is somewhat less experienced in the matters of life.

After seventh or eighth home pregnancy test, high school student Juno MacGuff is convinced that her sex experiment has gone awry (actually, from nature's point of view, it went quite well). Since it is not easy to hide a pregnancy, she starts spreading the news. The grocery store clerk Rollo (Rainn Wilson, none other than The Office's quirky Dwight) is the first one to point out the upcoming difficulties. Her best friend Leah (Olivia Thirby) and her parents, Mac (J.K. Simmons) and Bren (Allison Janney) MacGuff are supportive once the shock wears off. In fact, her father's and stepmom's main concern is the identity of the father, Paulie Bleeker. Anyone remember the goofy kid from Arrested Development, who was in love with his cousin? Paulie is just like him, body and soul, for not only does he have that same slightly geeky attitude, but is also created by the same young actor, Michael Cera. Soon after receiving the news (in a way some might call unusual), Paulie also boards the "Support Juno" train.

Marriage out of the question, Juno decides to get an abortion, but she can't go through with it at the last moment. The best friend Leah comes up with the next bright idea, looking for adopting parents in classifieds, which brings a rich, suburban couple, the Lorings, into the play. Despite Mark Loring's (another Arrested Development veteran, Jason Bateman) obvious lack of excitement; Vanessa Loring (Jennifer Garner), who believes "she was born to be a mother", and Juno, who is willing to give the baby right away, start the adoption process after the first visit.

Appeal of Jason Reitman's last movie Thank You For Smoking came from it's mix of reality and fantasy. The pro-smoking lobbyist Nick Naylor was neither someone you would see everyday and thus find boring, nor an over the top creation of a writer, whom you couldn't form a connection with. Newcomer screenwriter Diablo Cody seems to have hit the same sweet spot in Juno's group of characters and funny, fast-paced dialogue doesn't hurt either. The only problem for me was the rush towards the end. At 92 minutes the movie is not too long. So, a few minutes could have been added for a smoother, better detailed stop.

These "unwanted pregnancy" movies, all with one word titles pointing to their star, are great showcases for the next generation of female actresses. Keri Russell and Tammy Blanchard had their turns in Waitress and Bella and now it is time for 20 year old Canadian Ellen Page, previously known for her role in another indie, Hard Candy. She not only perfectly delivers Cody's offbeat comedy, but also travels through the dramatic lows of the movie without "hamming" it for a moment. She leaves a permanent mark in the memory as Juno, the pregnant high school girl.

The member of the casting team who said "Let's bring in that father and son team from Arrested Development" deserves a shiny star for the brilliant idea (just email me and I will send your star). The style of comedy is just right for Jason Bateman and Michael Cera and my only regret is that there aren't any scenes featuring them together. (and that's why Ms. Cody doesn't get a star!)

In other major supporting roles, J.K. Simmons and Allison Janney as the "cool" parents, embrace the general subtle tone of the movie, while Olivia Thirby and Rainn Wilson are allowed to be a bit broader in their limited minutes. Finally, Jennifer Garner has the tough job of being the only unfunny person in the comedy.

Good, soft music is a staple of good indie movies and therefore I usually skip it in my reviews, but not this time. Juno's soundtrack album, especially "Anyone Else But You" by Cera and Page, is worth listening to. Now, can someone tell me why it isn't released until January?

Jason Reitman gets his second hit in his second movie. This one applauded even louder than his first. Juno is already getting nominations, critics' awards and is a serious contender for the Oscars. Now, Mr Reitman. Let's see if you can top this off. (I hope he does)

Charlie Wilson's War ****1/2

Cinema showed us wars in many ways. Spielberg took us to the frontline in Saving Private Ryan and captured the human drama in Schindler's List. Richard Fleischer presented the planning behind Pearl Harbor in Tora!Tora!Tora!, while Michael Bay concentrated on the human side 30 years later.

In Charlie Wilson's War Mike Nichols and Aaron Sorkin try yet another approach, go back to a forgotten war after Vietnam, before Iraq and take a look at the current situation from there.

Charlie Wilson (Tom Hanks) is the congressman from second district of Texas and he is enjoying it. Some power, some money, good entertainment, an office filled with beautiful secretaries. What else would a man want? Then one day an image on TV catches his eye during a hot tub party (this should say something about his character). Dan Rather reports from Afghanistan among Afghan mujahidin (warriors), who are fighting against the Russian army. Being a man of power, Wilson finds out that the US support behind Afghans is quite insignificant and makes sure that it increases.

Having done his part, Wilson moves on with his life until a rich, influential Texan widow, Joanne Herring (Julia Roberts) interferes. She sets up a meeting with the president of Pakistan (yes, she has that much influence), who sends Wilson to an Afghan refugee camp on the border to witness the effects of the war firsthand. The field trip puts Wilson into action and with help from the CIA operative Gust Avrakotos (Philip Seymour Hoffman), he starts the war.

I didn't know what to expect from Charlie Wilson's War. A Nichols movie, with long, slow dialogues and heavy performances or an Aaron Sorkin production with fast scenes and snappy jokes. The younger of the two, screenwriter Aaron Sorkin, seems to have prevailed on the familiar ground, the Senate. Once Team Charlie gets rolling there is no stopping them. After the introductions, clash of Charlie's troubles in private life and political arena takes the audience into a torrent of laughter and drama that doesn't calm until the last scene, which is also the moment you are asking yourself "Has it really been that long? I want more!"

Apart from a few intimate dialogues, the most Nichols-like part of the movie is the ensemble cast. The three leads (Hanks, Hoffman and Roberts) have four Academy Awards and nine nominations among them. Still, it is a war movie and boys do most of the talking, joking and acting. The always "good guy" Hanks effortlessly sells a corrupt congressman as the hero (or he makes it look easy); while Hoffman brings his energy and his mumbling comedy to create the unusual CIA agent Gust. The ladies; Roberts, Amy Adams Oscar nominee from Junebug and Emily Blunt the great comedienne from last year's The Devil Wears Prada don't have enough time to really build character, which leaves them in the background.

Naturally, with this many stars on both sides of the camera, Charlie Wilson's War is creating some awards buzz. Unfortunately, the movie, although written brilliantly, is somewhat light to be considered for the best feature category by the Academy. The acting parts are not long or dramatic, except for Hanks, who may actually land a nomination. Also, Sorkin may go for the Adapted Screenplay. Of course, this is just me talking. Who knows, last year we had Little Miss Sunshine among the dramas and Judi Dench got an Oscar for basically a cameo in Shakespeare In Love. So, there is still hope.

It is funny how time changes things. 10 years ago this would have been an "American hero" movie. They would have sold it as "The American Bond". (of course Emily Blunt would have been 14 and thus too young to play the Bond girl, but I am sure we could have found someone) Now, it is a harsh satire, disguised by smart comedy. It is a different kind of political movie, it is entertaining and it is definitely worth watching.

Bella ****

I am used to finding them in independent theatres, but an indie gem, in a big multiplex? Bella, winner of the People's Choice Award in Toronto Film Festival, was a pleasant surprise on a cold, rainy Sunday.

Staff of a Mexican restaurant is getting ready for the day ahead. The boss, Manny, inspects the kitchen; his brother Jose, who is the chef and the waiters. Someone is missing though, Nina, for the third time in the last few days, which is enough for Manny to fire her.

In case you are wondering, she is late, because she is buying a home pregnancy test and I guess we all know the outcome: It is positive. Once she arrives at the restaurant, she gets yelled at and leaves in a fury. Jose follows and tries to console her.

The scenes following this intro remind of Before Sunrise, just with more drama. In Sunrise, Richard Linklater's couple (Ethan Hawke - Julie Delpy) walked the streets of Vienna chatting casually about life and love. In Bella, Jose and Nina go around New York and then take the train to visit Jose's family. Their chat is not very casual though, for the dialogue revolves around their troubled past and as the day comes to an end moves toward the dark clouds in the future. Director Monteverde mixes heavy dialogue with plot exposition and emotionally charged flashback scenes perfectly to keep the audience wide awake while saying everything he wants to say. (Although I never agreed, this was one of the criticisms against Before Sunrise, some people found the pure dialogue too boring)

You may remember Tammy Blanchard, Nina, from Me and My Shadows, as the Young Judy Garland, undoubtedly one of the most beautiful faces ever to grace the big screen. And what an actress Ms. Blanchard is under that beauty. An unknown for now (and possibly to remain so this awards season too), but soon to be discovered and hopefully enjoyed for years to come. Her co-star Eduardo Verástegui, remarkably, manages to show a lot of emotion using just his eyes, because of all the hair covering his face. The beard, by the way, was a great call. It makes him look like a wise man, a mentor for Nina; rather than a good looking love interest.

Bella is another small movie about the ups and downs of the life. It deals with taking life, giving life and changing life. Watch it and see how a story this small can affect your day.

Beowulf **1/2

There was a hero, he killed monsters and it was a tough read. This is all I remember from Beowulf. (lucky, it's author is no longer with us or I would get a nasty email) Still, I was at the movie theater the day it opened. Because the movie is directed by Robert Zemeckis. You know, the guy who gave us Back To The Future series and more importantly Contact (which for me, a scientist, is inspiring). He is known as one of the special effects wizards and Beowulf was supposed to be his masterpiece. Leap to the next stage in movie history. We were going to go to computer generated movies from live action (like Final Fantasy tried five years ago or Sky Captain and The World of Tomorrow three years ago). Apparently, with all the excitement about the effects, they forgot to write the script.

Grendel is the monster's name. He can't take the noise from Hrothgar's people's party, so he attacks and kills all. Quite violently. Then, he goes home and is laid to sleep by his mommy (a little bit Psycho-like). Hrothgar decides to leave, but a hero, Beowulf comes from the sea and volunteers as the monster slayer. They lure Grendel back to the hall, Beowulf fights and kills him, which really angers his Mommy.

Beowulf may be a long poem, but it doesn't contain enough material for a movie. There aren't that many characters (compared to Homer's Iliad or Odyssey for example) and the ones that are available don't have much depth. So, best move would be to use the legend as a starting point and form a story around it. Analyze the characters (all I can see in this version is Beowulf's vanity), twist the plotline (which they already have done, but it just isn't enough). In other words make it exciting. I don't know about others but I started yawning half an hour into the movie (ok it was a late show, but normally I can watch movies even after 36 hours of sleep deprivation) and even the bloody (well, cg blood), loud action scenes didn't help.

The technical aspect. I don't exactly know how to say this, but the animation technology isn't there yet. I admit that some shots are breathtakingly real, but once things, people, animals start moving, the magic is gone. I am not in the business, so I can't be sure, but I guess motion capture just doesn't work for subtle things like a princess's graceful walk. Maybe it needs to be limited to broader characters, for now at least, like Gollum in the Lord Of The Rings (and even his facial expressions were keyframe animated)

The animated characters were created in appearance of actors, so there are some familiar faces. Ray Winstone plays Beowulf and Anthony Hopkins Hrothgar. Robin Wright Penn as Wealthow goes back at least 20 years and looks like Buttercup in The Princess Bride. Crispin Glover plays Grendel the monster, good choice (not that the guy looks like a monster, he is just thin enough. Mr. Glover, no offense sir.) We see John Malkovich and Brendan Gleeson as councils to our hero. Angelina Jolie (as the marketing department repeated a million times) looks real and finally Alison Lohman has a small part in case you missed her.

Is it entertaining? No. Is it groundbreaking? No. Is it worth watching? Obviously, no. I guess we will be stuck with our 35mm film and live action actors for a little while longer.

Lars And The Real Girl ****1/2

An 8-year old dressing up and talking to her dolls is cute. A 20-something doing that is just sad, if not creepy. However, in the hands of first-time director Craig Gillespie and first-time screenwriter Nancy Oliver, the disturbing image turns to a heartwarming movie.

Lars (Ryan Gosling), resident of a small town, is socially dysfunctional. He goes to church, he has a job, but beyond that he avoids all mingling with fellow human beings and neither his brother Gus’s (Paul Schneider) decisive wife Karin (Emily Mortimer) nor his cute coworker Margo (Kelli Garner) can drag him out of his shell.

Then one night, Lars knocks on his brother's door unexpectedly and tells him and Karin, about his female guest, whom he met on the Internet. The couple’s happiness turns to shock once they meet Bianca, for when they expect a missionary in a wheelchair, they find themselves face to face with a plastic doll.

The family doctor, Dr. Dagmar (Patricia Clarkson), calms Gus and Karin down and suggests them to go along with this new arrangement to reveal what actually is troubling Lars. The tricky part of this plan is to convince the townsfolk to accept Bianca as their newest neighbor.

It is possible to approach this material from a sex comedy/schadenfreude angle. You know, make fun of the “crazy” guy, who loves the anatomically correct doll. Or you could go the hard way and ask your viewer to identify with the hero. Nancy Oliver chooses the latter and no matter how hard you resist, she makes you fall in love with her kind-hearted, naive, slightly abnormal hero. But that is not enough for her. So, she starts throwing in little scenes where “normal” people act “crazy”, until you admit your own abnormality and finally identify with Lars.

A big part of Lars’ charm comes from Ryan Gosling. There are things in a character that you just cannot write and those details, like a smile or a walk, make last year’s Academy Award nominee’s performance award-worthy once again.

The character Karin is our representative in the movie. She decides how we will handle Lars. Now tell me, who could play this role better than Emily Mortimer? She, once again, brings out her hidden charm, which is well known to and loved by independent movie followers. Lively Kelli Garner is cast perfectly as static Bianca’s rival. Paul Schneider and Patricia Clarkson top off the principal cast.

Lars and The Real Girl is an elegant analysis of human behavior and a romantic comedy wrapped into a town-size gift package. Don’t miss season's first hidden gem.