Sarah Silverman: We Are Miracles

Sarah Silverman: We Are Miracles

Sarah Silverman: We Are Miracles

Sarah Silverman headlines her very first new HBO comedy special in front of an intimate audience of 39.

Sarah Silverman is a comedian that’s always been around, but an artist I never directly got into by chance. I watched a few episodes of The Sarah Silverman Program, which was too obscure for my taste. But I always enjoyed her cameo in Judd Apatow’s Funny People, Louie and thought she gave an effective supporting performance in Sarah Polley’s Take This Waltz. I enjoyed clips of her standup onlinebut have not seen her perform a complete comedy hour till now.

The decision to shoot the special at the Largo Comedy Club in front of 39 people is a great one. Silverman never looks far off into the distance or above to a balcony booth. There’s no big giant TV screen of her in the background for the cheap seats. The intimacy of the Largo lends itself for Silverman’s raunchy off-the-wall random tangent comedy, giving her much more freedom to roam from topic to topic without transitions.  “I don’t need segue ways.” Silverman quips,
“The brain doesn’t work that way.”

Some of the joke highlights were a childhood story of how her older sister used to scare her, sin atonement in Christianity and a bit about the Make A Wish foundation. It’s nice how much politically incorrect jokes she gets away with, showing an affable innocent girly  persona can really go a long way to make hard topics durable.

The whole experience is more akin to a live show, as Silverman is able to milk laughs from silences and even counter critique audience reactions when they aren’t up to par. It’s always awkward when comedians do audience interaction in big theater shows and this completely fixes that. The reactions from the 39 people create a more potent, immersive connection to Silverman’s perspective. And making 39 people laugh, after all, is much harder than making 200 people laugh.

The Call by Brad Anderson

The Call by Brad Anderson

The Call by Brad Anderson

When a veteran 911 operator takes a life-altering call from a teenage girl who has just been abducted, she realizes that she must confront a killer from her past in order to save the girl’s life.

The Call is a tense thriller that fully explores and delivers on its premise. Everything feels like it’s happening before us. Solving one problem creates another and time always seems to be running out. I watched this with my family and it was so gripping that they became totally responsive to it. They were covering their eyes, flinching and screaming at the television at different points.

Thriller movie elements aside, director Brad Anderson brings the audience inside the world of police procedures and emergency call centers. It is well researched and minute with its real world details. The things that we don’t like to know or look at in real life crimes and murders are drawn as a source of tension. The stress and emotional detachment that is required in being an emergency operator is incorporated dramatically into the story. Together this washes away the genre conventions of a typical cop film and instead feels like we are looking into the lives of real-life police officers handling crime.

This is not Halle Berry’s most demanding performance but she does effectively transport the audience into her plight. Berry plays a lot of emotions despite being confined at a desk for a majority of the film. It’s a very pronounced performance. Morris Chestnut seems too aware of himself to really convince me of his character. It seems like he’s always detached from his own environment. There’s a bit of a sick pleasure in watching Abigail Breslin being kidnapped because she was so profoundly annoying in Definitely Maybe. That’s probably me being mean. But here, Breslin plays the situation very real. Michael Eklund is convincingly creepy as the scene-stealing villain. The scariest thing about serial killers or murderers in real life is that nobody ever looks like a serial killer. They all appear as normal people and are protected by the benefit of the doubt. Eklund’s character practically shifts the film into horror film territory.

As it moved toward to the finale, even on the very edge of my seat, I was still secretly wishing for something to really wow me at the end. I don’t know if it was because I liked The Machinist and developed an expectation from Brad Anderson. There were about two three ways the story could have finished that would have been fine, but nothing mind-bending. But it did deliver. My secret wish was fulfilled. The finale to The Call is a gutsy, left-turn ending that pulled the rug right under me. As it went to black, my mouth went agape pondering about what the fates of all the characters.

With the current trend of long running two-hour films, any film that has the discipline to wrap up around 90 minutes is praiseworthy. There is no fat to be trimmed here. The Call might be a film that goes unnoticed under the radar with its lower budget and hype. I saw it on DVD myself. It is the tensest movie I’ve seen this year. Hopefully there’s less lag time from now till Brad Anderson’s next project.

Mr. Nobody by Jaco Van Dormael

Mr. Nobody by Jaco Van Dormael

Life is full of choices. Every choice you make leads you onto a different set of choices. You never can possibly know what the best version of your life can be. That’s scary, after all, how do you make your life a worthy one?

A family is broken. A father and mother bring their son Nemo to a train station. Nemo is presented with a choice: should he board the train with his mother or stay with his father? Nemo ponders on this. The film proceeds to play out all the possibilities, showing twelve different lives of Nemo’s life spawning from this one choice.

The film functions on dream logic. We move from the physical into the imaginary, the metaphysical and dream states. It sounds confusing, doesn’t it? Yet the most noteworthy accomplishment is that each transition  is completely intelligible. Director Jaco Van Dormael constructs an inner logic for the audience. As the story progresses and branches out into new stories, we completely know where we are at and it all makes perfect sense. This all makes me realize one thing. This story could not have been told in another medium other than film. It incorporates every bit of film language possible: crosscutting, time transitions, spatial transitions, camera focal length etc.. Even a goddamn crane shot had a legitimate narrative reason for being there. And damn, that impresses me.

It’s not overly cerebral either. Nemo’s potential paths are centered around three women: Anna (played by Diane Kruger), Nemo’s potential one true love, Elise (played by Sarah Polley), a woman that Nemo loves but does not reciprocate and  Jean (played by Linh Dan Pham), as a woman who loves him but Nemo does not care for (this one really broke my heart). Much of the film is an examination of love and happiness. There’s a scene where the teenage Nemo rejects Anna’s invitation to swim with her on the beach. Anna leaves and we see them later as adults bumping into each other in a train station awkwardly years later. Nemo then ponders why he rejected her that day. And the film proceeds to play the alternate scenario, where he tells Anna the truth: Nemo does not know how to swim and did not know what to tell her.

I am a Jared Leto fan (I like his band 30 Seconds to Mars as well). Sometimes it’s possible to like an actor for his choices and he is certainly that case. It’s admirable that he takes smaller roles in art film projects that he respects rather than milk his looks to be famous (which he can totally do). He was great in Requiem For A Dream and Chapter 27 and also the most heartfelt part in Alexander and Lord of War. This is a challenging role and he takes it head on. He plays a convincing 117 year old man and it is fun to watch him play Nemo in the various versions.

Other noteworthy performances are Sarah Polley, who in one version is suffering chronic depression from an unhappy marriage, which she played very dimensionally. Watching her made me think how easily one-note the role could have been. Also Toby Regbo and Juno Temple as the teenage versions of Nemo and Anna falling in love was very endearing and they really sell the innocent sweetness of first love.

One bit I take issue with was the use of “Where is my Mind?” by The Pixies, which is eternally attributed to Fight Club, a film in which Jared Leto is in. There could been other songs to put in that scene. However that’s a minor complaint at best.

This film was released in 2010 and I saw it at the Hong Kong International Film Festival. Though in my opinion, this film is not talked about enough and definitely needs to be seen by more people. Mr. Nobody took me away. It broke my heart, touched me and made me ponder about life’s ironies. By the end I left the theater reflecting on my life and how I should live it.

I recommend everybody see it.