Tomboy


What determines sexual identity?

What determines sexual identity?

(2009) Drama (Rocket/Dada) Zoé Héran, Malonn Lévana, Jeanne Disson, Sophie Cattani, Mathieu Demy, Rayan Bouberki, Yohan Vero, Noah Vero, Cheyenne Lainé, Christel Baras, Valérie Roucher. Directed by Céline Sciamma

Sexuality is a complicated thing, particularly now. Our gender identification itself isn’t always what we’re born with; what really determines who we are sexually is what we feel inside.

Laure (Héran) is the older daughter in a young family that moves into an idyllic French suburb one summer. Her younger sister Jeanne (Lévana) adores her; her father (Demy) is kind and loving, her mother (Cattani) expecting a baby in the fall. It’s a wonderful family environment, the kind we all wish we had and all admire.

Laure wears her hair cropped short and could be taken for a boy. In fact, when one of the neighborhood girls, Lisa (Disson) sees Laure, she does just that. Laure plays along, introducing herself as Mikael (or Mickäel as it is spelled in the credits, although not in the subtitles). At first, it’s mainly so she can play with the boys who seem to be having the most fun.

As the summer wears on, Laure’s deception grows deeper and Lisa and her begin to get closer. Lisa kisses her one afternoon and that just seems to intrigue Laure. She takes great pains to conceal her secret, creating a fake penis to put into her swimsuit to make it appear like she has one. When Jeanne discovers what Laure is up to, she kind of likes the idea of having a big brother to protect her. However, school is approaching and Laure won’t be able to keep her secret forever. But is the truth that Laure is not playing a boy but is one inside?

This is a deceptively simple film that Sciamma wisely leaves very open to interpretation. Some critics and viewers immediately describe Laure as transgender or lesbian, but she just as easily could be experimenting. The thing is, we don’t know for sure because Sciamma deliberately keeps Laure’s thoughts to herself. The point is, it is for Laure to determine her sexual identity, certainly not for us as critics and even not for the viewers, although you will simply because that is our nature to assign roles to people.

Héran is an amazing find as an actress. She’s not so much androgynous as she is a blank canvas and everyone who sees her projects their own interpretation onto that canvas. When she wears a dress, she looks very feminine. When she’s in a wife beater and shorts, she looks very masculine. And for a young actress, she shows an amazing willingness to take chances. She’s the center of the movie and everyone reacts to her; she provides a fine means of delivering emotions and thoughts.

The loving family atmosphere might seem a little bit unrealistic to some; there seems to be absolutely no disharmony early on in the film. We do get an intimate look at the family, not just in a sexual sense (although it is never overtly said, it is clear that husband and wife are very affectionate with each other physically) but just in private moments with one another. We see the family dynamic at work and working well and there’s some comfort in that.

The pacing is slow, like an ideal childhood summer day. Some might find it too slow but that’s part of the movie’s charm; it takes its time to arrive at where it’s going and when it gets there, you get to decide where you are. That’s the genius of European filmmakers is that they don’t feel obliged to spell everything out to their audience; they take it for granted in fact that they’re intelligent enough to fill in their own blanks.

This movie doesn’t take any easy shortcuts; it merely presents the events and lets the audience make the decision as to what they are seeing. Is Laure a transgender? Could be. Is she a lesbian? Could be, too. Is she simply trying to fit into a new neighborhood and got caught in a lie? Also could be. What the movie does is force us to examine our ideas of sexual identity and essentially, our rights to form our own conclusions about who we are sexually. That in itself is a powerful message that is all too rarely delivered in our judgmental society.

WHY RENT THIS: Strong performance by Héran. A compelling slice of life that examines sexual identity in a positive way.
WHY RENT SOMETHING ELSE: The very slow pace may put off American audiences.
FAMILY VALUES: Some mild violence and language as well as adult themes.
TRIVIAL PURSUIT: The project came together extraordinarily fast; the script was completed in April 2010, Héran cast less than a month later, and the film was shot in 20 days in August.
NOTABLE DVD EXTRAS: None listed.
BOX OFFICE PERFORMANCE: $3.3M on a $1M production budget.
SITES TO SEE: Netflix (DVD Rental only). Amazon, iTunes, Vudu, Google Play, M-Go, Hulu
COMPARISON SHOPPING: The Danish Girl
FINAL RATING: 7/10
NEXT: Mustang

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Unstoppable


Unstoppable

Frank Barnes got lost on the way to the dining car.

(2010) Action Thriller (20th Century Fox) Denzel Washington, Chris Pine, Rosario Dawson, Kevin Chapman, Kevin Dunn, Ethan Suplee, Kevin Corrigan, Jessy Schram, Lew Temple, T.J. Miller, David Warshofsky, Elizabeth Mathis, Meagan Tandy, Andy Umberger. Directed by Tony Scott

Director Tony Scott and actor Denzel Washington have made five films together thus far, of which this is the most recent to date. They have run the gamut from action classics to just-cash-the-paycheck-and-run. Where does this one fall in?

Frank Barnes (Washington) is a veteran locomotive engineer who after 28 years on the job is being forced to retire in a few weeks. He is breaking in Will Colson (Pine), a wet-behind-the-ears conductor who has family that are high muckety mucks in the union. They are headed out on a freight run that will take them out of Will’s hometown of Stanton, Pennsylvania where his estranged wife Darcy (Schram) and young daughter are sleeping.

Meanwhile, over in a different part of Pennsylvania, Dewey (Suplee), a foul-up of an engineer, does the unthinkable; he leaves his cab while his train is under power to flip a switch. While he’s out, the trains’ throttle slips and begins to pick up speed while the gaping-mouthed Dewey watches. He makes a run to try to get into the cab but falls flat on his tush, much to the amusement of other workers in the yard. That will be the last anyone will be amused by the situation.

The train begins to pick up speed on a deadly course for Stanton. It is also carrying six tanker cars full of molten phenol, an extremely toxic chemical. As yard master Connie Hooper (Dawson) puts it, “it’s not just a train; it’s a missile the size of the Chrysler Building.” She neglects to add “and it’s heading straight for town!” With an antiquated curve that someone inconveniently put fuel depot tanks next to, a derailment in Stanton would be the biggest catastrophe that Pennsylvania has ever had – since the Eagles choked in the Super Bowl anyway. Cue the music of impending doom.

With corporate stooge Oscar Galvin (Dunn) putting the company’s profits ahead of the human toll that would surely result of a derailment in Stanton next to those fuel tanks, things look grim for the citizens of Stanton. Attempts to get an engineer on board via helicopter fail miserably, as do attempts to derail the train. However, after Barnes narrowly avoids being ploughed into by the runaway, he decides that the only way to avert disaster is to chase after the train backwards, hook it up to his own engine and try to wrest control of the train from the unmanned engine but can he make it in time?

Scott is a very competent director when he is in his element and this one fits perfectly in his comfort zone. He knows how to jack up the tension effectively, and while some of his methods are a bit cliché (A trainload of school children are approaching in the opposite direction on the same track? Horrors!) he at least doesn’t try to call attention to his own directing skills.

Washington has aged gracefully (which not all movie stars do) and has played this kind of working class hero many a time. He brings the right mix of gravitas and humor to the role, and reminds us once again just why he is one of the top stars in Hollywood. That Chris Pine (Captain Kirk in the recent Star Trek reboot) not only holds his own with Washington but actually makes his own mark leads me to believe that Pine is no one-trick-pony and could have a career in Hollywood comparable to Washington’s.

Dawson is one of those actresses who always seems to put on a good performance no matter what genre she’s doing or what kind of character. Here she’s a frustrated manager who knows that the people above her are corrupt and/or ignorant; eventually she just throws her hands up and allows Frank and Will to access their inner hero.

The movie contains very little CGI, which is rather refreshing. The trains look like trains and not like those created by CGI. Often, modern directors over-rely on computer graphics, confusing realism with real. Obviously, not a problem here. The action sequences of the train demolishing cars and derailers are pretty impressive, and again are mostly done with real trains.

This is the kind of movie that makes for a pleasant 90 plus minutes of entertainment. You don’t have to think too much and you don’t have to do much more than munch your popcorn and slurp your soda. Just sit back, relax and enjoy the ride. Perhaps that was a bad choice of words…

REASONS TO GO: Scott and Washington are old hands at this kind of action thriller. Pine holds his own with Washington which is no easy feat.

REASONS TO STAY: There are a few action clichés here which will remind audiences uncomfortably of The Taking of Pelham 123.

FAMILY VALUES: There is a little coarse language and some action violence. This is perfectly fine for most older kids and teens.

TRIVIAL PURSUIT: The “Stanton Curve” depicted in the film actually exists as a rail line in Belaire, Ohio where the line runs on a historic elevated viaduct just after crossing the Ohio River. However, the fuel storage tanks shown in the film had to be added optically; nobody in real life is irresponsible enough to put fuel tanks in a location where a derailing train could impact into them and cause a devastating explosion – at least, I hope so.

HOME OR THEATER: This is a big bad action movie; to get its full effect you should see this in a darkened multiplex, preferably stuffing your face with popcorn, candy and soda. Hey, they’re all bad for you – why start feeling guilty now?

FINAL RATING: 6/10

TOMORROW: Harry Potter and the Deathly Hallows Part 1