BROOKLYN

Directed by: John Crowley

Written by: Nick Hornby, Colm Toibin

Starring: Saoirse Ronan, Jim Broadbent

Runtime: 111 minutes

Admittedly so, I watched BROOKLYN very late in the game as far as awards seasons’ concerned.

Prior to purchasing from iTunes, I was fully aware of the following. Thus far, critically, BROOKLYN has received positive hype and excellent reviews. Furthermore, in terms of notoriety, it’s been honored with multiple nominations at almost all the award shows.

After the credits ceased to role, I was flooded with sentimentality.  I certainly complied with all of the positive energy surrounding this picture. Saoirse Ronan delivered a breath taking and genuine performance. Additionally, the narrative themes outlined in BROOKLYN, aided as common denominators amongst many people who come from all different places and backgrounds.

For those of you who are not familiar with the story, Saoirse Ronan plays an Irish Immigrant named Ellis (pronounced Alish). A period piece of the 1950s, Ellis leaves her home country of Ireland and travels by boat to Brooklyn in hopes of starting a better life in America. Her journey is realistic and relatable. It’s relevant on many levels; transitioning to a new city, making new friends and of course, falling in love for the first time.

BROOKLYN touches upon many topics, however my primary focal points will be about homesickness and transitioning to brand new surroundings.

There’s a scene in the first act, that literally pushed my soul down to the deepest part of my belly. Ellis is struggling to find some contentedness in her new life. It’s clear (at least to me) that her character has the fake it until you make it mentality, however, she longs for her mother and sister back in Ireland. She resides at a female boarding house in Brooklyn. She’s quiet amongst the group. She does not feel like herself.

She receives a letter from her sister back in Ireland. Everything about Ireland, everything that pushed her to leave remains the same, however, at this point in the story, it’s the first point of long distance communication she encounters. As the audience we see her read the letter. She clenches to it like some kind of baby blanket. Her reaction to the letter is so intense, you forget that she’s crying over a piece of paper with simple words. I felt her yearn.

So, ladies and gents, who’s has ever felt homesick? (I am front row center, with my hand high in the air). I remember feeling home sick when I left for college, when I moved to New York, etc.. I just really wanted my family. New environments would spiral my anxiety and cause me to feel fearful and sad.

After the homesickness passes, the fun does not stop there. My next demon I go to war with is “the transition phase”. I will forever have a very difficult time adjusting to new places and I am still not entirely sure why. Maybe in my mind I feel a sense of loss and am skeptical of what’s about to happen. I try to work through this with creativity and innovation. I lean on my loved ones for a solid sense of direction. Eventually I come to terms with a renewed commitment, much like Ellis does when she meets Tony Fiorello (Emory Cohen). I embrace this new beginning that is my life; my body and mind become aligned yet again.

Can anyone relate?  What tips do you have to help ride the wave during this temporary time of discomfort?

Yoga Pose: Chair Pose, Half Pigeon

Chair Pose increases your heart rate, stimulates metabolism and builds strength and self-control. Utkata literally translates to “powerful” or “fierce”.

Half Pigeon – People carry a tremendous amount of emotion in their hips. Half Pigeon opens the hip flexors right up. Beauty and virility will exude from the body.

CAROL

Directed by: Todd Haynes

Written by: Phyllis Nagy & Patricia Highsmith

Starring: Cate Blanchett, Kyle Chandler, Rooney Mara

Cinematographer: Edward Lachman

Costume Designer: Sandy Powell

Production Designer: Judy Becker

Runtime: 1 hour and 58 minutes

Carol is based off the novel The Prince of Salt originally written by Patricia Highsmith. Carol centralizes around two characters; Therese (Rooney Mara) who is a very shy shop girl and Carol (Cate Blanchett), a beautiful and confident housewife who struggles in her heterosexual marriage. In the 1950’s, same sex relationships were frowned upon, however, there was nothing frowning about these two characters being together.

We first meet Therese in the department store where she works. She sells dolls, but aspires to be a photographer. She stands confined behind her counter as if she’s waiting for something. We know she surrounds herself with lots of men and is kind of seeing a man named Richard. Carol enters the department store to purchase a doll for her daughter. She’s currently divorcing from her husband Harge (Kyle Chandler). She enchants Therese and in return, Therese leaves a lasting impression on Carol.

They soon reconnect based on a series of circumstances. Carol invites Therese out to her house in New Jersey. While Therese is there, Carol and her soon to be ex-husband Harge get into an argument. Harge, upset by the split and the realization about Carol’s sexuality threatens to take sole custody of their daughter.

As the holidays soon approach, Carol and Therese go on a road trip together. It seems that Carol is driving away from her problems, but driving to a place where their relationship can fully exist.

From a film standpoint, I could analyze Carol all day long. From the colors that Todd Haynes incorporates in the characters and in the narration of the story; to the costume design, cinematography and the production value. The cinematography that we see on screen guides us with structure, beauty and light. It’s no secret that I feel positively about it.

The movie also evoked a sense of sadness in me. Therese appears to be timid, but she’s actually super fucking brave. She acts on a feeling, on an instinct and takes a risk. I look at myself right now, at this point in my life and I wonder do I still have that kind of bravery in me? Do I take enough risks in order to be happy?  It brings me back to this feeling of being trapped and thinking this is it for me…is this all life has in store?

I am sure when you see me on snap chat, meet me in person, or hear me talk one might automatically assume that I am loud, crazy, confident, maybe even a tad annoying? I so associate with the shy girl we meet in Therese. I also envy her fearlessness.

Furthermore, I strive for the kind of confidence that Carol embodies. Carol’s not afraid to be Carol. I hope to wake up one day and fully feel satisfied to be Stephanie(that’s me, the one writing this review). Carol carries herself with grace and style. I hope to personify those characteristics as I continue to grow in this world.

Yoga Pose: Four Arm Stand

SPOTLIGHT

Directed by: Tom McCarthy

Written by: Tom McCarthy & Josh Singer

Starring: Rachel McAdams, Michael Keaton

Runtime: 128 minutes

SPOTLIGHT portrays an ethos of journalism and accurate reporting. The film recounts the true story of how The Boston Globe uncovered a massive scandal of child molestation in the Catholic Church. This story not only shook up the entire Catholic Church, but recounted the detailed digging displayed by the Spotlight team. #goteamgo

I very much enjoyed SPOTLIGHT. I admired all of the characters that played part in this story. They all had high amounts of determination and were very hard working. They also gave a shit and stopped at nothing to uncover the truth. Because of their work, previous victims were able to come forward and recount the abuse they suffered in the past.

Some of the characters had a history with the Catholic Church. Sacha Pfeiffer (Rachel McAdams) attended mass on Sundays with her grandma. Everything she had once known was suddenly called into question. SPOTLIGHT proves that humanity and morals can be more worthy than faith in religion. This alone kept me engaged the entire time.

Has anyone ever reached a point in their life where they’re willing to sacrifice their beliefs in order to do what’s right? How far will you dig to find out the truth?

THE REVENANT

Directed by: Alejandro Gonzalez Inarritu

Written by: Mark L. Smith, Alejandro Gonzalez Inarritu, Michael Punke

Starring: Leonardo DiCaprio, Tom Hardy, Will Poulter

Cinematographer: Emmanuel Lubezki

Runtime: 156 minutes

I saw THE REVENANT in the theatres some time ago. I was lucky enough to catch a sneak peak before it was released to audiences’ nation wide. I went to the screening with two of my co-workers who are not only movie buffs, but Alejandro Gonzalez Inarritu fans. After the movie concluded, they were totally blown away. I mean Leonardo, the bear fight, Leonardo, intricate camera work.. and did I mention Leonardo?!

I was impressed for sure. THE REVENANT was simultaneously stunning and brutally violent. I knew right then and there that DiCaprio’s performance as frontiersman Hugh Glass would earn him his much deserved Academy Award. The film was full of Inarritu’s gargantuan vision: a jaw dropping story of revenge set in immeasurable landscape panoramas and untamable geography. I thought about the movie for the next 24 hours. I appreciated it as a work of art, much like an art buff paying tribute to a Picasso or a Monet.

It wasn’t until some months later that THE REVENANT haunted me in the best possible way.

It was just an ordinary Wednesday evening. I got off work around 5:00pm, walked home, changed into my yoga gear and headed to CorePower for a C2 class.

That same evening, my instructor guided us through her opening sequence. Her focal theme for the class was rooting down for a steady balance and to let go of any misunderstandings of why were there. She then referred to the following quote from THE REVENANT.

“As long as you can still grab a breath, you fight. You breathe. Keep breathing. When there is a storm and you stand in front of a tree, if you look at its branches, you swear it will fall. But if you watch the trunk, you will see its stability”.

If you haven’t had the chance to watch the THE REVENANT, it’s an 1800 frontier movie based on true events. THE REVENANT is an immersive and visceral cinematic experience capturing one man’s journey of survival and the extraordinary power of the human spirit.

In yoga, it is believed that the human body has seven Chakras, each representing a different center of spiritual power or energy. The first Chakra, Muladhara, is associated with earthly elements and directly links the ability to dig in, stand tall and feel rooted in life. The seventh and final Chakra, Sahasrara, is associated with the rudiments of thought, connection to spirit, universal consciousness, wisdom and enlightenment.

Right then and there, as I sequenced from sun salutation to various balancing poses, I achieved a deeper understanding of Leonardo’s character. It uncoiled right in front of me as I launched into Virabhadra III (this coincidently means a fierce warrior).

Before springing forward, I stood resilient in lunge position, my core was locked and my midline rooted. I focused on the synchronization of straightening my front leg as my back leg elevated. I purposefully positioned my torso steady to stabilize my foundation as I advanced. With each breath, I fought. My arms faltered back and forth; much like the branches of the tree in the storm. My arms, however, did not modify my stability. I too, was imbedded in my mat like the tree trunk to the earth.

DiCaprio gave life to an intolerable idea of suffering, but also to the hope of not giving up. This allows me to deep think and further explore our Chakras.

His character, a man struggling to survive and grieving for the loss of his murdered son never gave up on his breath; his heart continued to beat. His elements of thought never abandoned him even in the darkest of times. To gain revenge and to seek out justice were his universal truths. His spiritual connections grounded him and brought balance back into his life.

Even when this man was mulled by a bear and left for death, he was still standing tall, even if it was not visible to the human eye.

Garudasana (Eagle Pose) is another tricky balancing posture (at least for me). On each side, I always prop my leg down as a kickstand. This modification helps me stay rooted and reminds me that giving up is not an option. Every time I lift my leg (right or left, depending on the side) and cross it over the alternate thigh I wobble like the tree branches. Although I fluctuate, I never desert the pose. This allows me to further develop my focus, strength and serenity.

Yoga Pose: Revolved Crescent Lunge {Parivrtta Anjaneyasana}

Revolved Crescent Lunge is an intense and deep standing twist. This posture strengthens and elongates the spine, groin, chest, lungs & shoulders. It also increases stamina and balance.

THE MARTIAN

Directed by: Ridley Scott & Written by: Drew Goddard
Starring: Matt Damon, Jessica Chastain
Runtime: 144 minutes

When things get so very bad, sometimes the only thing left to do is laugh. I laugh at myself all of the time, even in the moments where I want to break out into a tearful cry. I absolutely have a flare for the dramatics, there’s no dodging that fact. I get worked up very easily. Anyone who knows me well would say the following: I’m fun, I’m great, I am a loyal friend, I make people laugh, I have a temper, I overact and I tend to stir the pot. All true, however, at the end of the day, I try to stay true to myself by grounding, because I am optimistic that this is all apart of life’s journey.

How the fuck does all this babble relate to THE MARTIAN, you ask? It doesn’t, really, if you’re comparing it to the genre of science fiction. There is, however, an absolute correlation if you equate this to the will power of the main character (played by Matt Damon).

For those who haven’t seen THE MARTIAN, it’s about a manned mission to Mars. Astronaut Mark Watney (Matt Damon) is presumed dead after a horrendous storm hits and is left behind by his crew. The audience can clearly see that Watney has survived and wakes to finds himself stranded and alone on the hostile planet. Left with some physical supplies, he must solely rely on his ingenuity, wit and spirit to survive and find a way to signal to Earth that he is alive and breathing.

Damon plays this character with a diligent amount of emotion. He more so crafts the character of Mark Watney with a dry sense of humor. As the audience, I believe this eases us (especially those of us with anxiety) and helps us sit still through his discomforting journey.

When Mark Watney wakes up all by his lonesome on a foreign planet he does not cry. If that were me, I would have been in full blown panic attack mode. Watney, more collected than the average person stranded in space, puts his “freak out” into a box, stores it away and figures out how to fucking survive. It helps that he’s smart and knows how to “science the shit out of his situation”, but his humor acts an aid. Damon portrays that perfectly.

The point I am trying to make, is that even in the most brutal of situations, it’s OK to laugh. Stirring over things, when you’re sad or emotional might tornado you down a dark hole and make everything feel so much worse. We all fall down and we are constantly looking for some new tools to pick ourselves up. Laughter, to me, is one of them.

OBVIOUS CHILD

Directed by: Gillian Robespierre

Writer: Gillian Robespierre, Karen Maine, Elisabeth Holm, Anna.

My very dear friend Lisa Rudin insisted that I watch OBVIOUS CHILD. She kept saying that the main character reminded her of me…  It was unclear whether this was a good or a bad thing, but I trust Lisa’s taste in film like I trust Sandy Kenyon’s.

Prior to watching OBVIOUS CHILD, I shamefully admit that I was completely uneducated as to who Jenny Slate was.  [FYI, she is the actress who plays the main character, Donna Stern].

On screen, she is a total cutie and she’s fucking hilarious. Her comedic timing and delivery remain on point for the duration of the film. These cues allowed for the character to be entirely relatable… at least to me.

OBVIOUS CHILD starts with Donna, late 20s Jewish girl on stage, performing her comedy stand up routine. She jokes with the audience that she is a product of a menorah fucking Natalie Imbruglia. Location wise, we are in Brooklyn.

She satirically makes fun of her relationship. She jokes that her boyfriend Ryan has a “working dick” and refers to her underwear looking like cream cheese at the end of a long day. Ryan, placed centrally in the audience is mortified. He’s also the only one that’s not laughing. About five minutes later, he dumps Donna in the bathroom and tells her that he’s leaving her for her best friend.

#ouch

So, ladies (and gents), what kind of self-destructive behaviors do we (well most of us…) practice when something catastrophic happens in our lives? We go home (alone), open a bottle of vino, drink until we are at least 10 sheets to the wind and make decisions that we immediately regret.

Donna leaves Ryan message after message. She’s drunk, emotional and out of sorts.

Can we now discuss the art of stalking? Is anyone familiar with that particular tactic? Sometimes we stalk an ex, or a person we like… ? Facebook, Instagram, drive-bys, prank calls?

Donna actually inspires me with a new trick. She hides outside Ryan’s house in the freezing cold, telling herself she will leave after two more sips of coffee… the sip number increases until she sees him. She see’s him walking with her ex-best friend and a brand new dog; nothing like pouring fresh salt in the wound.

The writing in OBVIOUS CHILD is so fucking fantastic. I actually want to take some of the phrases and insert them right into my very own vocabulary.

Please see some lines and quotes below:

• Break up = “dumped up with”
• Kill= murder suicide or murder “sui”
• What you say about someone you hate: She’s one of those fucking girls with a thread count (Donna says this about her ex best friend who is now dating her ex boyfriend)
• What you say about happy people who have hurt your feelings: We die a slow death and watch their happiness bloom
• Eyes= Pee Pee Missals
• Liquid Courage = Doctor’s orders (see example below)
• Forgetting to use a condom during intercourse =
• Eating a burrito= mouth fucking a burrito

While the narrative continues to its second act, Donna meets a nice Catholic boy (MAX) at the bar. Max appears to be the perfect rebound dude.

Donna and Max leave the bar together. They’re both wasted. So urinating in a public alley strikes them as a “good idea”. As Donna is squatting and Max is peeing, he accidently farts on her. It’s belly laugh hysterical with a pinch of witt. Later on, Max is nick named “pee fart.

As we dive into Donna’s struggles and in respect to her being a young emerging female, we feel for her and are granted permission to relate to her problems. Just like me, she’s a millennial gal fighting her way through a life crisis. Sometimes when I am upset, humor is my only curing medicine. I think the hilarity in OBVIOUS CHILD is strategically implanted by occupationally, making Donna a stand up comedian.

Donna has a moment in the movie that hits close to home and makes me reflect on the relationship I have with my very own mother.

Donna, feeling lost and scared, crawls into her mom’s her bed. She cries and confesses to her mom that she’s pregnant. In turn, her mother’s response involved neither anger nor disappointment, simply compassion and love.

I have a very similar relationship with my mother. She’s my best friend, but is always on my case about my job, my lack of boyfriend, etc…  I am in a constant state of developing set boundaries, which draw a fine line between her being my mother and my best friend.

BOYHOOD

BOYHOOD, to me, is a masterpiece. The film made me feel high. It touches upon family, divorce, depression, social standards, finding oneself and dips into the cultural differences of the South (Texas). 

The film projects drama with perfect dashes of comedy (I was belly laughing in some scenes) and a few details of suspense (i.e. when the kids were breaking the wood with the blade in the background and when Olivia’s second husband was driving drunk with the kids in the car).

A major component that really struck me, in terms of narrative (both situational and subject to each character), was the psychology and social conditioning carefully intertwined into the story. 

In one of the first scenes we see Patricia Arquette’s character, OLIVIA, arguing with her boyfriend. She says, “I had a mother and now I am a mother”. In her mind, those words counter balance a particular lifestyle, which propels her social conditioning types of choices. 

Furthermore, her character also goes back to school for psychology. In one scene where Mason drops into one of her classes we see her preaching about the mind, social philosophies, etc… She wants to create a “normal” family world for her children. Linklater does an excellent job highlighting what is normal to each character. In Olivia’s mind (Arquette), she’s putting her kids first, however, she’s really responding to the conditioning of the correct thing to do in society by living under a roof with a man, allowing her kids to call someone “dad”. That idea of normal that she chases, may not be what’s best for her and her kids as we later see that she marries not one but two alcoholics. Mason’s idea of “normal” is just his mom, his sister and his estranged father. That works for him. 

At the end of the day, whether you’re a kid or an adult, everyone is really just figuring it out. One of Ethan Hawk’s final lines in the movie is “Were all just winging it”. Although this film is entitled BOYHOOD, it could really be called ADULTHOOD as every character evolves through the leaps and bounds of life. 

Hawk’s character, Mason SR., does not know how to be a “normal” father at first. He’s estranged, not around much, lives life like a reckless teenager, however, above it all, he does love his children. As time progresses, he grows up and takes a different (a slightly less normal path) on becoming the best possible father he can be.

BOYHOOD is like an anthology collection of many shorts. Variety’s review accounts that the film contains 143 scenes. Interaction with time carries on the story. The only evolvement we rely on are the aesthetic changes that the characters go through in terms of aging and the changes in history and pop culture.

I read a review where the critic said “Fixating on imperfections while discussing “Boyhood” would be as petty as criticizing the sculpting of individual stones in a cathedral. The totality matters” and I honestly could not agree more. You can find criticism in anything that is looked upon up close, however, as a whole, BOYHOOD is a solid work of art.

LA LA LAND

Directed by Damien Chazelle

Starring Emma Stone, Ryan Gosling

I got the chance to see LA LA LAND a few months before the film opened theatrically. LA LA LAND anchored as opening night for The Chicago International Film Festival. It was also the eve of my 29th birthday. The idea of aging yet another year was bumming me out so I needed a necessary distraction.

Two hours and 38 minutes later {approximately}, I walked out of the theatre feeling inspired, creative and appreciative of what film can do to our emotions.  I found myself captivated with the dancing; I appreciated the singing; I was impressed by the performances.

The filmmaking was enthusiastic with purely relatable themes. LA LA LAND is about a jazz musician (RYAN GOSLING) who falls for an aspiring actress (EMMA STONE) in Los Angeles. They are both struggling to find success within their designated careers. Working in the film industry is rough and dreams are often shattered. There’s rejection, harsh treatment, rejection, harsh treatment. It takes a strong soul to carry on time after time. I’ve also found that there’s a tremendous amount of hard work with very little pay off. I work in film and oftentimes doubt I’m strong enough to succeed.

No doubt that filmmaker Damien Chazelle draws inspiration from musicals of the 1940s & 1950s, which really allows for the silent film era to drive LA LA LAND’s narrative landscape. Additionally, these aspects contribute to the building and the realism of the romantic relationship that Sebastian (Ryan Gosling) and Mia (Emma Stone) embark upon.

I can’t say enough kind words about LA LA LAND. Everyone should go see it. It’s an important and amazing film.  Without giving too much away, I think an imperative theme for me is this notion that people can be in relationships, break up and not actually hate each other. In LA LA LAND there’s no actual antagonist; there’s no bad guy. I think in society we have this notion where people can be together, in relationships, and then once it’s over have nothing to do with one another; to hate each other. Can some emotional history resonate in respect for each individual? Even if they don’t stay together.

Obviously each circumstance varies and sometimes break ups are that painful where you can’t be friends. This resonates with me because it makes me think about my own parents. They divorced when I was four years old, my brother was two.  Their divorce was messy. My dad, the non-marrying type never quite adjusted to family life. He’s a great dad, but the everyday thing was hard for him. My mom was left to take care of us (my brother and I). They battled years in court and didn’t get along for quite some time. This idea of them being married at one point and loving one another remains so distant for me.

Yoga Pose: Firefly Pose. This is a challenging balancing pose that requires mental determination and confidence. When you let go, the energy will start to flow, even when it doesn’t necessarily feel right or good. Very few people can get into firefly pose the first time. Self-doubt, fear, negativity, and even stress limit our connection to our inner light; when we let go, things will settle.