AMERICAN WOMAN

Sienna Miller     Christina Hendricks     Aaron Paul     Sky Ferreira     Amy Maddigan

     American Woman reflects the lives of many middle-lower class Americans today who are not necessarily exposed to the “American dream” of getting an education and then proceeding on up the scale. No, it’s more a comment on the lives of these citizens as it is and, unfortunately, the dilemmas many women find themselves in when they have not been steered toward that education we hear so much about, along with self-sufficiency and independence.

     Debra (Miller) finds herself in the all too familiar situation of having to bring up her daughter on her own when she is still not really mature (e.g., rebellious, headstrong, impulsive, and angry), but she is doing the best she can. Somehow, even though her family relationships are studded with conflict, she believes they will support her when push comes to shove.  Debra clearly loves her daughter who is now a teenager and with a son of her own, and the mutual support and affection—even playfulness—between them is obvious.  Clearly, she is not prepared for what happens when her daughter doesn’t come home one night. 

     Along the way, Debra must make compromises in order for herself and her grandson to survive.  At first it’s “anybody who will pay the mortgage and other bills”, then it’s a charmer whose charms are not limited.  As she is fighting her way through these “significant others”, her family tries its best to support her, but she is not ready for that or tolerant enough of them to accept their offers.

     What will happen to this woman?  She has a better chance if she is attractive (which she is), but she also needs capabilities in maneuvering through grief, loss, unexpected responsibilities, and pure luck.  It’s especially disheartening when she becomes involved with Chris (Paul), seemingly a mensch, only to have him turn out to be less than.  Will “true grit”—also passed down as an American virtue—see her through?

     I pondered about why this British-produced film was entitled American Woman.  Is it that this woman’s experience is uniquely American?  I think probably not, but perhaps she embodies the stereotypical view of American women being unprepared for curve balls society might be throwing their way.

     Sienna Miller plays her role with all the flair and pathos it requires, and pretty much holds the movie on her own.  

The American story from a certain woman’s point of view.

Grade:  C+                                    By Donna R. Copeland

THE 9TH LIFE OF LOUIS DRAX

Jamie Dornan   Sarah Gadon   Aaron Paul   Beckham Skodje   Aiden Longworth   Barbara Hershey   Oliver Platt

          Poor Louis (Skodje).  He is accident-prone even from birth, and escapes one close call after another—which he can chronicle in complete detail—then it looks like death finally holds him in its grasp after he falls off a cliff into the ocean.  Louis’ mother Natalie (Gadon) is an attractive blonde who is attentive and caring, and even though his parents quarrel frequently, Louis is close to his father Peter (Paul) as well.  They’re on a picnic for Louis’ 9^th birthday when his parents begin to quarrel and suddenly there is a terrible accident, after which, Louis is taken to the hospital in a coma and his father disappears.

          Louis narrates most of the picture, so we stay in touch with him throughout the film, which opens with him as a young man (Longworth) giving a TED talk.  After that, the story is told in flashback, which involves Louis’ mother, his father, his physician Dr. Pascal (Dornan), and his therapist (Platt).

          Max Minghella has stitched together a mysterious, exciting thriller based on the novel by Liz Jensen.  It has repeated twists, turns and surprises, as well as a bit of sci-fi in a zombie-like figure and in forensic hypnosis.  Alexandre Aja’s direction keeps a good pace, and although the story jumps back and forth in time, it is not as confusing as that sometimes is in films. 

          Beckham Skodje as the young Louis is expressive and convincing, speaking his lines crisply like a precocious child.  His responses to his therapist impress you and make you chuckle at his insight and creativity.  Sarah Gadon brings some of the sexiness and fragility that she shows in the soon-to-be-released Indignation to this role, where in both, the character’s whole story only emerges gradually.  Jamie Dornan as a young, committed physician who is still trying to figure himself out conveys the earnestness and susceptibility required of his role, and Aaron Paul is perfect as an ambiguous character you have conflicting feelings about.  Almost stealing the limelight is Oliver Platt, whose approach to psychotherapy is noteworthy for its quality—a rarity in film, maybe because its writers and director are European rather than Hollywood types.

          9^th Life holds your attention hostage throughout, with just enough of a dash of sci-fi to give it a bit of quirkiness. 

An eventful 9^th life for one young Louis Drax.

Grade:  A-                        By Donna R. Copeland

EYE IN THE SKY

Helen Mirren     Aaron Paul     Iain Glen     Alan Rickman     Barkhad Abdi

          This is a different thriller from most; the tension is mostly in the inaction rather than the action.  Helen Mirren is the no-nonsense Colonel Katherine Powell in London and in direct command of the U.S. drone operators who are waiting to pull the trigger on a target in Kenya.  She is logical and decisive while still being compassionate, unlike some of her superiors who cannot seem to think through problematic situations and come up with a plan.  Clearly, many of them have sat at a desk through most of their careers.  That is unlike Lieutenant General Frank Benson (Rickman), however, who immediately comprehends Powell’s reasoning and is prepared to give his authorization of a strike.  He is a military man.  It is the political officials who may not have had direct experience in war who struggle with making a decision.

         There are agonizing moments as we watch two suicide bombers get fitted with their vests while we wait for multiple authorizations (these have been “kicked upstairs” or over to U.S. officials to avoid personally taking responsibility).  Since this is spur-of-the-moment, many of the authorities are otherwise occupied, and are stunned about making such a decision at all, much less on the fly.  The salient issue has to do with weighing the cost of one innocent casualty versus the potential of killing 80 men, women, and children.  It becomes much more potent because everyone can see a particular little girl who could be caught in the explosion.

         It is instructive for nonmilitary people to see the kind of agony that decision-makers must go through during a war—especially the newly appointed and young drone operators.  In this instance, it is just as agonizing for the audience to sit through long sequences waiting for the higher-ups to make up their mind.  And we have to listen to considerations that have more to do with political fall-out and “covering one’s butt” than humanitarian and ethical concerns, which makes it even more nerve-wracking. 

       During and after this long process, instructions are given as to how to report the incident, and the quote at the beginning of the film becomes applicable:  “In war, truth is the first casualty” (Aeschylus).

          Director Gavin Hood and writer Guy Hibbert have created a fine picture of substance that will grab your attention and pull you right in with the feeling of being a part of the action.  They shed light on the new arena of drone warfare and help us understand some of its complexities.  The cast is part of the excellence of the film, headed up by the ever-perfect Mirren who seems to be able to convincingly play any role.  She and Rickman (May he rest in peace) make a good team, in sync with one another in timing and emotional space.  Aaron Paul subtly evinces the conscience-ridden drone operator who has no experience in actual “kills”, and knows enough about the law that he can request reconsideration of an order.  Barkhad Abdi reprises his role as a Somalian (Captain Phillips), but this time he is one of the good guys—well played. 

Eye in the Sky will make you squirm and groan about wartime decision-making.

Grade:  A                                    By Donna R. Copeland