Boston is a classy joint.
Fortunately, I have enjoyed quite a wonderful first week in Boston. My enjoyment was mainly derived from the awesome people I have met (they deserve such a better adjective than just "awesome", but that will have to suffice for now since it IS 3 AM) and the sheer loveliness of the city of Boston. Boston is a walker's city -- it is for those foot-using people who are pedestrians, but do not have pedestrian personalities. With such gorgeous gardens (not to mention the Boston Common -- which I live just a few steps from), antique architecture and billions of fun/stimulating offerings (concerts, flicks, the arts -- it has it all), it is easy to understand how the city has so quickly charmed me.
I promised a few select individuals that I would include certain documents and pictures in this entry, so here ya go Kat and Mary, respectively.
----
Before this review is darted quizzical looks and sarcastic scoffs, let me just get this out of the way; yes, a film about wine and two ordinary guys is one of the most entertaining films of the year. Yes, you heard me correctly. And I must say it was quite a surprise to me as well. Sideways is basically a buddy film which chronicles the last seven days of bachelorhood for Jack (a charismatic Thomas Haden Church) before his marriage. However, this intelligent and sharp film isn’t primarily about Jack and his pending marriage; it mainly focuses on the misfortunate, and oddly loveable schmuck, Miles (a brilliantly cast Paul Giamatti), who has been “officially depressed for two years” due to his divorce and being the author of a lengthy, yet unpublished novel.
Miles is taking Jack, his old roommate from freshman year of college, on the wine tasting road trip through California’s wine country to celebrate and hopefully develop a distinguished pallet. Miles is a self-important and seemingly sophisticated wine elitist who borders on snobbery, and Jack can hardly tell the difference between red and white wine. Their journey becomes deeper as the mileage on the car ascends. On the surface, Miles is in search of exquisite wine and cultivation in Jack’s taste while Jack is in search of carnal pleasures for Miles and himself in an effort to exploit his last week of “freedom”. What these characters don’t realize is that they are actually searching for, and striving to find, themselves.
Due to director Alexander Payne’s talent with flawed characters and comedic presentation of the mundane, he is able to both satirize and sympathize. This is a quality that helps elevate the film to become a humane, complex character study. The leads are perfectly contrasted as the crossword-loving, despondent, intellectual writer and the horny, frat-boyishly crass, yet charming, actor. Miles tucks in his buttoned down shirt while Jack lets it hang loose. These characters are near antitheses of each other, and they have their minor disputes, yet I never for one second doubted their friendship due to their sparkling chemistry which is always evident. They might not always understand each other, or their opposite motives and feelings, but there is an underlying bond of shared failure through life that holds the film and their cathartic journey together.
These poignantly realized characters may be looked down upon by the audience due to their unapproved actions and deceptions, but they are likeable through realism and identification. The internal afflictions of the two main male leads are each masked as mere stereotypical “mid-life crisis”, but the moral and emotional dilemmas faced by both characters transcend age. Their respective plights elicit pathos due to the fact that they are easily relatable. The discreetly conveyed emotions amid the vulgarities and comedic escapades are greatly taken advantage of by the wonderfully emotive Paul Giamatti.
Mr. Giamatti, with his gloomy puppy dog face, is a marvel to watch in a role that is tailor made for his depressive, sarcastic and pessimistic style. Aside from delivering perfectly genuine monologues, he shines most in the moments when his character is drunk. As the wine flows, the camera becomes blurry and Giamatti naturally outperforms every other actor featured in a film released this year. This is the performance of the year, and the Academy should have taken note. He leads the cast of equally convincing and passionate performances which enhance this touching character dramedy. Thomas Haden Church jovially plays Jack with confidence and control, yet subtly hints at an underlying tenderness. As a fellow wine connoisseur and hopeful love interest of Miles, Maya is portrayed with intelligence and vulnerability by the radiant Virginia Madsen. In the best scene in the film, Madsen takes a seemingly theatrical monologue about the life of wine and ardently delivers it with sincerity.
Sideways brilliantly and metaphorically correlates the delicate pinot grape with the human soul. The plot of the film is simple and it follows a predictable plot trajectory, but by focusing on the plot one misses what makes the film so special. The film doesn’t attempt to be twisty, but rather a small beautiful gem about relationships and middle age. It expertly balances comedy and drama; making wise-cracks and presenting immensely complex characters. The closing shot, which is vaguely reminiscent of one of the best endings of the year (Before Sunset) is beautifully hopeful. This film is a work of undeniable maturity filled with characters that are impulsively immature. Similar to the tender growth of the pinot grape, Alexander Payne’s work has evolved and blossomed into an exquisite art.
---
Symbolic of the damaged state (and near obsoleteness) of classic, old-fashioned cinema:
Make way for the ducklings! (I really need to read that):
Serene scenery:
Lounging:
Taking a break on shore:
Can you see the raindrops?
I am fascinated by how good the composition is in those photographs since I took all of them on a 10 dollar disposable Kodak camera. But, really Mary, these do not compare to most of your beautiful photographers (particularly "Mike's Pasta"). I am extremely envious of your photographer's eye. You only need one eye; can I have the other?
I promised a few select individuals that I would include certain documents and pictures in this entry, so here ya go Kat and Mary, respectively.
----
Before this review is darted quizzical looks and sarcastic scoffs, let me just get this out of the way; yes, a film about wine and two ordinary guys is one of the most entertaining films of the year. Yes, you heard me correctly. And I must say it was quite a surprise to me as well. Sideways is basically a buddy film which chronicles the last seven days of bachelorhood for Jack (a charismatic Thomas Haden Church) before his marriage. However, this intelligent and sharp film isn’t primarily about Jack and his pending marriage; it mainly focuses on the misfortunate, and oddly loveable schmuck, Miles (a brilliantly cast Paul Giamatti), who has been “officially depressed for two years” due to his divorce and being the author of a lengthy, yet unpublished novel.
Miles is taking Jack, his old roommate from freshman year of college, on the wine tasting road trip through California’s wine country to celebrate and hopefully develop a distinguished pallet. Miles is a self-important and seemingly sophisticated wine elitist who borders on snobbery, and Jack can hardly tell the difference between red and white wine. Their journey becomes deeper as the mileage on the car ascends. On the surface, Miles is in search of exquisite wine and cultivation in Jack’s taste while Jack is in search of carnal pleasures for Miles and himself in an effort to exploit his last week of “freedom”. What these characters don’t realize is that they are actually searching for, and striving to find, themselves.
Due to director Alexander Payne’s talent with flawed characters and comedic presentation of the mundane, he is able to both satirize and sympathize. This is a quality that helps elevate the film to become a humane, complex character study. The leads are perfectly contrasted as the crossword-loving, despondent, intellectual writer and the horny, frat-boyishly crass, yet charming, actor. Miles tucks in his buttoned down shirt while Jack lets it hang loose. These characters are near antitheses of each other, and they have their minor disputes, yet I never for one second doubted their friendship due to their sparkling chemistry which is always evident. They might not always understand each other, or their opposite motives and feelings, but there is an underlying bond of shared failure through life that holds the film and their cathartic journey together.
These poignantly realized characters may be looked down upon by the audience due to their unapproved actions and deceptions, but they are likeable through realism and identification. The internal afflictions of the two main male leads are each masked as mere stereotypical “mid-life crisis”, but the moral and emotional dilemmas faced by both characters transcend age. Their respective plights elicit pathos due to the fact that they are easily relatable. The discreetly conveyed emotions amid the vulgarities and comedic escapades are greatly taken advantage of by the wonderfully emotive Paul Giamatti.
Mr. Giamatti, with his gloomy puppy dog face, is a marvel to watch in a role that is tailor made for his depressive, sarcastic and pessimistic style. Aside from delivering perfectly genuine monologues, he shines most in the moments when his character is drunk. As the wine flows, the camera becomes blurry and Giamatti naturally outperforms every other actor featured in a film released this year. This is the performance of the year, and the Academy should have taken note. He leads the cast of equally convincing and passionate performances which enhance this touching character dramedy. Thomas Haden Church jovially plays Jack with confidence and control, yet subtly hints at an underlying tenderness. As a fellow wine connoisseur and hopeful love interest of Miles, Maya is portrayed with intelligence and vulnerability by the radiant Virginia Madsen. In the best scene in the film, Madsen takes a seemingly theatrical monologue about the life of wine and ardently delivers it with sincerity.
Sideways brilliantly and metaphorically correlates the delicate pinot grape with the human soul. The plot of the film is simple and it follows a predictable plot trajectory, but by focusing on the plot one misses what makes the film so special. The film doesn’t attempt to be twisty, but rather a small beautiful gem about relationships and middle age. It expertly balances comedy and drama; making wise-cracks and presenting immensely complex characters. The closing shot, which is vaguely reminiscent of one of the best endings of the year (Before Sunset) is beautifully hopeful. This film is a work of undeniable maturity filled with characters that are impulsively immature. Similar to the tender growth of the pinot grape, Alexander Payne’s work has evolved and blossomed into an exquisite art.
---
Symbolic of the damaged state (and near obsoleteness) of classic, old-fashioned cinema:
Make way for the ducklings! (I really need to read that):
Serene scenery:
Lounging:
Taking a break on shore:
Can you see the raindrops?
I am fascinated by how good the composition is in those photographs since I took all of them on a 10 dollar disposable Kodak camera. But, really Mary, these do not compare to most of your beautiful photographers (particularly "Mike's Pasta"). I am extremely envious of your photographer's eye. You only need one eye; can I have the other?