There’s a small moment in Sofia Coppola’s Lost in Translation that’s stuck with me more than the rest of the movie (a movie which is little else besides small memorable moments). It’s the morning when Bill Murray’s character Bob is supposed to leave Tokyo, but he’s all tore up because he’s fallen for the young, idle Charlotte, who’ll stay in Tokyo after he’s gone. Whomever that group of Japanese suits is that’s been hauling from him from job to job wants a picture with him (because he’s a movie star I guess) so they all line up. But when they go to take the photo, Murray’s smile fades and his gaze wanders to watch Charlotte walk to the elevator. The look on his face is packed with enough longing and conflict and anguish to fill a sushi boat—yet his expression is pretty bare. It’s kind of a frown, but not exactly. He looks more tired than anything. It calls to mind the zombie mimicking instructions from Shaun of the Dead: “Vacant, with a hint of sadness. Like a drunk who’s lost a bet.” It’s also sad as hell. It’s not the realization that they’ll never see each other again that gets to me, it’s that damned stare.
Continue reading A Blank Stare Is Worth A Thousand Words
Promised Land (2012)
Directed by Gus Van Sant
Screenplay by John Krasinski & Matt Damon
Story by Dave Eggers
Promised Land is a good movie. And Gus Van Sant is a good director. And Matt Damon and John Krasinski are good actors and writers.
This is a movie that nobody saw last year. It’s a small movie, the kind that still gets made by mega celebrities like Matt Damon but that nobody sees because the market is pretty well taken over by other kinds of movies like Taken 2 and The Vow. But I’m not here to wax pretentiously about lowest common denominato, fluff that ‘Hollywood’ is so ‘evil’ for churning out. (The hipsters have that market well cornered.) I’m here, rather, to talk about Promised Land. But first, about Gus Van Sant.
Continue reading Promised Land: Good Job, Gus