Brooklyn


The romance of Ireland meets the romance of Long Island.

The romance of Ireland meets the romance of Long Island.

(2015) Romance (Fox Searchlight) Saoirse Ronan, Emory Cohen, Domhnall Gleeson, Julie Walters, Jim Broadbent, Maeve McGrath, Fiona Glascott, Eileen O’Higgins, Peter Campion, Emily Bett Rickards, Eve Macklin, Nora-Jane Noone, Mary O’Driscoll, Samantha Munro, Jessica Paré, Jane Brennan, Eva Birthistle, Brid Brennan, Hugh Gormley, Jenn Murray. Directed by John Crowley

There comes a time in the lives of some people – a lot of people, actually – in which the realization that they have no future sets in. At that moment, they may choose to accept that fate or they may choose to pack up and leave and try to make something of themselves elsewhere.

Eilis Lacey (Ronan) had that decision made for her, by her fiercely protective big sister Rose (Glascott) who wrote Father Flood (Broadbent) in New York to help find Eilis lodging and a job in the Big Apple and so he does, in Brooklyn which in 1951 (when this is set) was full of a rainbow of different cultures, including the Irish. Leaving Rose to care for their widowed mother (J. Brennan) and leaving the employ of a miserable harpy (B. Brennan), she sets sail for the Land of Opportunity.

Once in Brooklyn, she is given lodging at a boarding house run by the no-nonsense Mrs. Kehoe (Walters) who tries to keep Patty (Rickards), Diana (Macklin) and Sheila (Noone) in rein which given their Irish high spirits is no easy task. Desperately homesick, Eilis tries to fit in at the boarding house and tries to fit in at the high-end department store where she works under the watchful eye of Miss Fortini (Paré).

At a dance put on by the local Church, she meets Tony Fiorello (Cohen) who has a thing for Irish girls. His soft-spoken geniality and gentle self-deprecating humor appeals to her and slowly she starts out liking her new beau to falling in love with him. However, a family emergency calls her home to Ireland where she ends up facing a new wrinkle there in the form of a new suitor who is equally kind-hearted and quite the catch, young Jim Farrell (Gleeson) who by the standards of Enniscorthy in County Wexford is well-off. Now the young woman’s heart is torn between two continents and two very different lives. Which will she choose?

Da Queen is fond of describing acting performances that she admires as “quiet,” a trait I find curiously endearing. It means something much different to her than to thee and me and yet in this case, I think she might have something. Ronan is absolutely outstanding here, almost certain to get a nomination for Best Actress at the forthcoming Oscars. Much of her acting takes place in her eyes and on her expressive face; her lilting Irish accent is easily understood, and her longings and yearnings are written in her expressions. Any critic who dismisses the role as bland and unmemorable clearly hasn’t been watching this actress closely, and they are well-advised to – methinks she will be one of the industry’s outstanding actresses for decades to come.

The film is beautifully photographed, from the lush greenery of the Emerald Isle to the windswept barrens of the Long Isle (Long Island NYC) to the brownstone comforts of Brooklyn. Much of the movie takes place in the latter location, a Brooklyn where the Dodgers are still Dem Bums, the streets are alive with color and vitality, Coney Island is still the working class escape and the world is full of possibilities. Sure, this is an idealized Brooklyn because it is largely the Brooklyn of memory and memory makes fonder the places we’ve lived in. The Los Angeles of the 1960s was far from perfect but in my own memory, it is an idyllic place and probably nothing like what it really was and certainly nothing like what it is now. That is the nature of places; they change, often faster and more profoundly than we do ourselves.

While the love triangle between Jim, Tony and Eilis is a bit of a stretch (finding two really nice guys who are actually gentlemen is damn near impossible as any woman will tell you), the relationships that Eilis works out with the two of them feel authentic. Eilis is at times too good to be true – a little naive but with an absolute heart of gold (in fact, the movie has no real antagonist other than the harridan Miss Kelly at the grocery where Eilis works at the movie’s start) and a sweet nature that is straight out of a 50s romance movie.

The world has changed a lot since the time Brooklyn was set in and much of the innocence of that time is long gone. It is not uncommon for those who remember that era to long for its simplicity. Don’t discount the value of nostalgia in marketing a movie – as fellow critic Roger Moore correctly pointed out, the movie seems to be consciously aimed at those who like The Best Exotic Marigold Hotel and My Big Fat Greek Wedding. And there’s nothing wrong with going after that demographic either; certainly the audience we saw at our screening skewed older. However, nostalgia isn’t all this film has going for it; Ronan’s star turn is likely to get that Oscar nod and could well attract more film buffs here than nostalgia-seeking retirees. This is a contender for my year’s best ten list; go give this one a watch and it might end up on yours too.

REASONS TO GO: Ronan is magnificent. Beautifully shot. Well-written. A lovely slice of life.
REASONS TO STAY: Maybe a little too idealized.
FAMILY VALUES: Some brief profanity and a scene of sexuality.
TRIVIAL PURSUIT: Although Ronan was born in The Bronx, she was raised in Ireland by her Irish parents; this is the first time in a movie that she’s used her native Irish accent.
CRITICAL MASS: As of 12/16/15: Rotten Tomatoes: 98% positive reviews. Metacritic: 87/100.
COMPARISON SHOPPING: Avalon
FINAL RATING: 9/10
NEXT: The Ridiculous 6

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The Spy Next Door


Jackie Chan's lost his nunchuks.

Jackie Chan’s lost his nunchuks.

(2010) Spy Action Comedy (Lionsgate) Jackie Chan, Amber Valletta, Madeline Carroll, Will Shadley, Alina Foley, Magnus Scheving, Billy Ray Cyrus, George Lopez, Katherine Boecher, Mia Stallard, Maverick McWilliams, Quinn Mason, Margaret Murphy, Esodie Geiger, Arron Shiver, Lucas Till, Richard Christie, Kayleigh Burgess. Directed by Brian Levant

How many times have we seen this one – a divorced/widowed single dad/mom starts dating a new guy/gal who has special skills – i.e. a Navy Seal, a martial artist, a superspy. The kids are suspicious/hostile towards the new boyfriend/girlfriend and find many ways to discourage them from dating their parent/break up the relationship. For whatever contrived reason the boyfriend/girlfriend is left alone with the kids who stumble into/are caught in the middle of a dangerous situation. The boyfriend/girlfriend must rescue the kids/keep them safe and eventually they join forces to defeat the bad guy/girl.

This is pretty much the plot of this kid-centric spy. Bob Ho (Chan) is the boyfriend, a boring pen salesman who is really a Chinese spy working for the American government (which is a stretch of disbelief right there). He has recently defeated a Russian baddie (Scheving) who had developed a virus that breaks down petroleum. He intended to infect the world with it, forcing everyone to buy Russian petroleum at ludicrous prices. Why Paul Ryan didn’t think of this I’ll never know.

Anywho, the baddie is broken out by a kind of living Natasha Fatale named Creel (Boecher) and he’s keen to get the formula back and finish the job. The formula is tucked away safely on Bob’s laptop. Of course, the first rule of kidflicks is that one of the three kids (and there are always three) has to be a computer genius. Ian (Shadley), the middle kid, fits this bill. By the way, the other two kids are always an angst-y teen or pre-teen rebelling against everything and pissed off at everyone (Carroll) and a cute as a button princess (Foley). It is with this motley crew that Bob is left when his main squeeze – er, girlfriend – Gillian (Valletta) is called away on a family emergency.

Chan is getting on in years, as we all must but even at 55 (which is how old he was when he filmed this) he is still as entertaining an action hero as there has ever been. His comic timing is priceless, his physical gifts extraordinary. If he’s lost a step or two, and if he relies more on wires than jaw-dropping stunts, well, he’s earned the right. He’s done plenty of spy flicks in his native Hong Kong but the two Hollywood versions he’s done don’t hold a candle to them despite having much larger budgets.

Unfortunately, the buck pretty much stops there. The kids are more or less atrocious with the usually reliable Carroll playing surly, spoiled and bitchy which simply renders her character unwatchable. Carroll would  do much better work in pictures that followed this, particularly in Flipped. Valletta who’s also a decent actress has zero chemistry with Chan; one gets the feeling that they’re just friends without benefits; I can’t imagine the two of them sharing more than a chaste kiss on the cheek. Then again, this is a family film. Lopez and Cyrus as CIA buddies of Bob at least show up on time.

One of my big pet peeves is kid movies that treats kids like absolute morons. I get that playing to the kid fantasy of being in charge is a safe bet but even kids know that adults aren’t bumbling idiots from beginning to end and kid flicks generally portray them that way (moms are the sole exception and for good reason; piss off a mom and her brood won’t be seeing your movie). Nearly as high on the list is Hollywood’s complete fumbling of Chan. One of the great action heroes ever and basically was cast  either in buddy flicks or in hack job kidflicks. It’s like making an Avengers movie with the Hulk and having him stay as Bruce Banner the entire time. No wonder Chan grew disillusioned with Hollywood. I would too.

WHY RENT THIS: Jackie Chan.

WHY RENT SOMETHING ELSE: Everything else.

FAMILY VALUES: There is some cartoon spy flick violence and a bit of rude humor that will delight the average six year old but might have their parents rolling their eyes.

TRIVIAL PURSUIT: The opening montage is made up mostly of Chan’s Hong Kong-made spy movies.

NOTABLE DVD EXTRAS: Chan’s films traditionally show a gag reel of outtakes and pranks over the end credits; if you want to see it without the distraction of the credits, it’s here.

BOX OFFICE PERFORMANCE: $45.2M on a $28M production budget; the movie was just shy of making back it’s investment during the theatrical run.

COMPARISON SHOPPING: The Pacifier

FINAL RATING: 4/10

NEXT: Stories We Tell