Your Sister’s Sister is a lovely little film for a big screen, an intimate three-hander featuring shifting relationships, secrets revealed and a warmth and generosity towards its characters that continues to captivate even when it is testing them.
Mark Duplass’s Jack has been depressed and bitter since the death of his brother and best friend Iris (Emily Blunt) offers him her family cabin for a few weeks so he can sort himself out. What she doesn’t know is that her sister, Hannah (Rosemarie DeWitt), has also chosen to use the cabin to get over her own recent romantic breakup.
If aliens have been looking down on Earth, watching us with love and amusement over the last few million years (as so many movies have told us they are), they will surely be very worried about recent developments in our culture and what it all means for us as a species. I know I am.
On the surface, the cinematic trend towards “torture porn” films like Hostel and Saw — and their even more dismal cousin The Collector — betrays a weird human human ability to take pleasure in the extreme pain of others that is at odds with how we most of us actually live our lives. I’m curious. What does it all mean?
This was the question I found myself asking as I watched Kevin Greutart’s Saw VII on Saturday afternoon (I say “watched” as, per usual, I found myself staring at the cinema EXIT signs during the more gruesome passages). On closer inspection it’s clear that what we have here is an Old Testament-style morality tale, updated for the attention-deficit, sensation-seeking, modern generation.
Once again the Coen Brothers set a standard for every other film to try and match. True Grit is every bit as brilliant as its reputation would suggest: the best western since Unforgiven and a central performance from Jeff Bridges that is twice as good as the one he secured an Oscar for last year (Crazy Heart).
Bridges plays irascible one-eyed Deputy Marshall Rooster Cogburn, a man with a reputation for shooting first and asking questions later, a man with a taste for whiskey and a distaste for authority. He is hired by spunky 14 year old Mattie Ross (astonishing newcomer Hailee Steinfeld) to hunt down Tom Chaney (Josh Brolin), the man who killed her law abiding, decent, citizen father. Also, hunting Chaney for a huge Federal reward (that dwarfs Mattie’s small bounty) is suave Texas Ranger LaBoeuf (Matt Damon) and soon the chase is on, into lawless Indian territory where the fugitive is holed up.
This year the summer holidays seemed to have been owned by the unlikely figure of T.J. Miller, deadpan comedian, supporting actor and eerily familiar background figure. In Yogi Bear he was the ambitious but dim deputy park ranger easily duped by Andrew Daly’s smarmy Mayor into helping him sell out Jellystone to corporate logging interests, in Gulliver’s Travels he was the ambitious but as it turns out dim mail room supervisor who provokes Jack Black into plagiarising his way into a fateful travel writing gig and in Unstoppable he’s the slightly less dim (and certainly less ambitious) mate of the doofus who leaves the handbrake on and then watches his enormous freight train full of toxic waste roll away.
So, a good summer for T.J. Miller then, what about the rest of us?
The theme for the week seems to be romance and some of the finest love stories of recent (or in fact any) year have just made their way to our screens. Firstly, The Young Victoria where Emily Blunt (Sunshine Cleaning, The Devil Wears Prada) deservedly takes centre stage for the first time as the eponymous royal. Even reviewers are entitled to a little prejudice, and I wasn’t expecting much from this going in, but I left the cinema full of admiration for an intelligent script, perfectly-pitched direction and consistently able performances from expected and unexpected quarters.
Blunt’s Victoria is a headstrong teenager, frustrated by the competing political interests that push and pull her. Only Prince Albert of Saxe-Coburg and Gotha (whose suit was instigated by yet more euro-intrigue) seems to see the real Victoria and offers the new Queen support and independence. The relationship between Blunt’s Victoria and Rupert Friend’s initially nervous but ultimately self-assured Albert is charming, natural and moving and the background of political intrigue and machinations provide necessary (but not overwhelming) context. The Young Victoria is a film that, and I hope this makes sense, is perfectly balanced.