Change Your Image
bsquared318
Reviews
Life in Color (2015)
Life In Color: Incredible Debut, Intimate Writing
One of the great pleasures of cinema is that repeated viewings can give way to new gems and intriguing layers dwelling within the very fabric of the film. I first saw Katharine Emmer's Life in Color last year at SXSW, where I praised it for exceptional acting and well-written characters despite its familiar plot. A second viewing almost 11 months to the day after first viewing the film revealed just how brilliant and intimate the writing itself is. Without it, the characters and the actors portraying them would not shine as bright as they do.
Life In Color marks an incredible debut by Katharine Emmer, who in addition to writing and directing the film also serves as the its star, editor and producer. The comparisons to other artists like Joe Swanberg and the Duplass brothers aren't just obvious; they're well-deserved. Emmer's film exudes a confidence and dedication only seen in the most promising of debuts.
Emmer plays Mary, who works a mirthless job as a nanny to children she despises. Costar Josh McDermitt plays Homer, a struggling comedian taking jobs as a birthday clown. Abruptly out of work and nowhere to go, the two find themselves stuck house-sitting together. The chemistry between the film's two stars is natural and entertaining, with Emmer's writing deftly revealing more facets and sides to her characters in a way that keeps the audience engaged throughout.
Emmer employs the most minimalist of plots here. Most of the driving force here is Homer's desire to enter a standup comedy competition, with the rest dedicated almost purely to character moments. The film never exactly stalls because of this, but at times Life In Color spends a bit too much time treading water when it could be confidently swimming in the deep end. Luckily, an eclectic group of side characters sprinkled throughout the film helps keep the treading to a minimum.
Jim O'Heir Life in ColorFortune Feimster's performance as a fellow comic doesn't even feel like acting, boosting the naturalism that makes the film so enjoyable. Jim O'Heir makes a brief appearance in a role that in a larger film would be criticized as stunt casting, but fits in perfectly here and is expertly utilized in the world that Katharine Emmer has created. The biggest standout by far in the film's supporting cast is Adam Lustick as the neurotic, overly energetic friend. Lustick is simultaneously hilarious and annoying, a hard combination to play to success. I hope this won't be the last I see of him.
Life In Color's biggest key to success is its ability to mix comedy and drama in a way that works. Mixing comedy with heavy subjects like depression and unrealized dreams could have easily been a recipe for disaster, but Emmer melds the two to create an environment that plays out in a believable and natural way. There are dozens of instances where the deadpan humor and one- liners bring down the house. In the same way, Emmer's use of a backstory or single line of dialogue provides incredible dramatic catharsis.
By the time the film came to close, I found myself wanting to know about Mary. I would have loved to see Mary be given a big cathartic moment like Homer is given with his father. The flash forward in the film's final moments skips over such a moment. We learn about Homer through his interactions with other characters, but Mary isn't really given anyone else to bounce off of outside Homer. Her character is very guarded by nature, so a way to help bring out more sides to her may have better added to her journey. That's not to say in any way that the scenes between Mary and Homer are revelatory in their own way. They are. There's lots to love here.
Despite its dark material, there's a wonderful elation flowing off the screen by the time the credits begin to roll. With her first film, Katharine Emmer has emerged as an exciting and incredibly talented voice. She has a knack for comedy, but she stages hard-hitting drama just as efficiently. Life In Color gives us two incredibly unique and interesting characters, and surrounds them with people that are just as fascinating. I'm sure they won't be her last.
Transformers: Dark of the Moon (2011)
A New Cinematic Low
There's a scene in Michael Bay's Transformers: Dark of the Moon that is one of the most visually provocative sequences ever put to screen. In it, Megatron marches to the Lincoln Memorial and blasts Abe to pieces. He sits on his new throne while two smaller robots gnaw away at Lincoln's severed head. This image serves as a haunting symbol of the fact that the entire human race will soon be enslaved, their freedom and dignity taken away from them. God, this movie sucked.
I could stand Megan Fox, John Turturro in a thong, and the takeover of the Smithsonian Air Museum with a couple of tasers. As bad as "Revenge of the Fallen" is, I can stand it. Even enjoy it. It's a decent popcorn flick. That being said, I found it easier to eat popcorn during Precious than this cinematic train wreck.
The third installment in Paramount's billion-dollar franchise finds Sam Witwicky in search of a job. He's saved the world twice, been given a medal by the president, graduated from an Ivy League school, and dated really hot girls. Regardless, he still can't get a job outside of the mail room. In the midst of this, he discovers that the malevolent Decepticons are out to take over the world again. The logistics and intricate details of their plan aren't important. Just know that the plan involves an exhaustive barrage of slow motion, explosions, running, and screaming.
Michael Bay's never really been known for his storytelling, but he can make movies flow at an even enough pace. This movie jumps around faster than a bunny rabbit on crack, explains nothing at all and assumes we care about characters who are about as interesting as bird droppings on a telephone pole. Appearances by the likes of Ken Jeong, Stephen Merchant, John Malkovich and Frances McDormand aren't as much welcomed as they are unnecessary. The humor present in previous installments, which at times was cringe-inducing, has all been vanished, replaced instead by an extremely morbid, depressing tone. It's not even exciting.
To be fair, the movie is a technological wonderland. The CGI is effectively placed in the film, the sound design is excellent, and the 3D is actually worth the price. Shia LaBeouf is always fun to watch, and I was actually able to stand new girlfriend Rosie-Huntington-Whiteley.
Despite its achievements on the technological front, the movie is still a mess. The final, incredibly long battle to save the human race will leave you more exhausted than exhilarated. Oh, and the movie's about 157 minutes too long.