Jennifer Connelly

  • American Pastoral (2016)

    American Pastoral (2016)

    ByChristian Sauvé Movie Review

    (On Cable TV, December 2020) As you know, constant reader, there is no need to lump generations in one monolith: We can find greater affinities with similarly minded members of other generations than create artificial divisions between ourselves and OH MY GOD HERE’S ANOTHER ACCURSED 1960s BABY BOOMER MOVIE. Ahem. Sorry. That just came out. Directed and starring Ewan McGregor (born 1971; a GenXer, if that matters), American Pastoral is an adaptation of the 1997 novel by Philip Roth (born 1933; a Silent Generation, if that also matters) that takes place throughout the 1960s. It focuses on an ordinary man as he undergoes crises marked by his wife’s infidelity but, more crucially, the involvement of their daughter in a deadly bombing. The novel sold well and was acclaimed all the way to a Pulitzer Prize; the film is in the process of disappearing without a trace. Directed without flair by McGregor, American Pastoral struggles to have something to say – the daughter is rebellious, the wife grows distant, the father looks for his fugitive girl and… that’s that. The awards-baiting quality of the film isn’t even remotely matched by bland dialogue and unconvincing plotting. I understand that the adaptation is a rushed, slimmed-down and earnest depiction of a novel that’s far more ironic in framing and purpose. Maybe; but the film itself is also long, uninvolving and featureless. Jennifer Connelly is wasted, but she’s not the only one – all of American Pastoral feels like an aimless production. Hopefully, it will unite all generations – against it.

  • Alita: Battle Angel (2019)

    Alita: Battle Angel (2019)

    ByChristian Sauvé Movie Review

    (On Cable TV, January 2020) For longtime Robert Rodríguez fans, it’s been quite a journey watching him go from the threadbare budgets of El Mariachi to the expansive blockbuster filmmaking of a movie like Alita: Battle Angel. In some ways, however, it was the perfect training: throughout his career, Rodríguez has always squeezed the most out of production values to give the impression of much bigger budgets, and it’s that kind of directorial prowess that is essential to Science Fiction spectacles such as this one. Well, that and a focus on sheer entertainment, which Alita keeps intact. Working from a much-delayed James Cameron adaptation (I’ve heard Alita rumours since the late 1990s, and no wonder technology took a while to catch up to the vision), Rodríguez brings his energy, Latin influences and tight editing to the project. The result is a surprisingly good cyberpunk action movie at the top of the technological sophistication scale. Featuring an android girl taking on a corrupt system, this is an action movie with good intelligible sequences and an editing style that keeps viewers involved in the mayhem. The story does feel familiar (the original manga, after all, is now decades old) and indulges itself into making sure that all characters are connected in some way (again, another manga-compression artifact), but it does move its pieces efficiently and leads to what we expect from a science-fiction spectacular. Rosa Salazar does well in the title role, as a heroine taken apart an improbable number of times. Meanwhile, Christoph Waltz and Mahershala Ali don’t exactly slum it in supporting roles. Robo-fetishists will get their money’s worth here, whereas for everyone else there’s Jennifer Connelly in stockings, garters and bustier. While I wasn’t expecting much, I should have trusted Cameron and Rodríguez (not to mention co-writer Laeta Kalogridis): the film is an interesting, sometimes fun, not necessarily mindless SF action movie—the likes of which we don’t often see enough. Despite my anti-sequel stand, I’m actually annoyed that the disappointing box-office results of the film look as if we’re not going to get the sequels so blatantly set up in the film’s conclusion. Hey, maybe if it does well on the home video market…

  • The Hot Spot (1990)

    The Hot Spot (1990)

    ByChristian Sauvé Movie Review

    (In French, On TV, June 2019) I don’t think that The Hot Spot is all that good a movie, but if you’re the kind of viewer who craves a bit of steamy neo-noir, then it will satisfyingly scratch that particular itch. The film, adapted by none other than Dennis Hopper from a 1950s novel, starts from the familiar premise of a stranger coming into a small Texas town and deciding to stay for a while. This being a neo-noir from the 1980s rather than the 1940s, there’s a lot more explicit sex and violence than its black-and-white predecessors, as our hero frequents a strip bar, befriends women played by Jennifer Connelly and Virginia Madsen, and gradually puts his plan in motion. True to noir, even a canny man of mystery is no match for the machinations of women with their own designs. The visual atmosphere of the movie does reflect the kind of torrid Texan heat best suited for the film’s subject matter. Don Johnson plays the protagonist with a certain stoicism not dissimilar from Kevin Costner, which does suit the film. Meanwhile, I may have been vocal before about how twenty-first century Madsen is more attractive than her younger self, but she looks really nice here (it’s the curly hair and the stockings more than the brief nudity). Meanwhile, Connelly is presented as innocence personified—misleading, but convincing. The pacing of The Hot Spot is a bit too slack for it to rank as a truly good 1980s neo-noir, but if you’re indulgent on that aspect then the film does deliver what it intended, and fans of the genre will find it very much to their liking.

  • Only the Brave (2017)

    Only the Brave (2017)

    ByChristian Sauvé Movie Review

    (On Cable TV, October 2018) Hollywood has a fixation on making inspiring movies out of tragedies, and firefighter drama Only the Brave pushes this habit to the limit, leaving out a few less-savoury details along the way. The real events on which this film is based (and Only the Brave does itself a disservice by not stating this up-front) are tragic: nineteen close-knit firemen belonging to the fire crew of Prescott, AZ, died while fighting a brushfire. What the film insists on doing is to show the dedication, courage and tenacity of the doomed men, their relationships to be extinguished with their spouses, and so on. Everybody is ennobled in death, and the firefighters here are no exception. It’s a familiar script in that regard. What makes the film work beyond the mournful homage is in its execution from visually-strong director Joseph Kosinski. A solid cast headlines the film, with Josh Brolin as the chief leading the men in danger, and capable actors such as Miles Teller, Jeff Bridges, Jennifer Connelly and Andie MacDowell in supporting roles. The way the firefights are shown is also quite compelling—for a medium-budgeted film, Only the Brave has some exceptional special effects (in daytime, outside, wide-screen) to portray men fighting fires in dangerous circumstances. It’s almost certainly the best firefighter film since Backdraft and its earnestness does manage to keep the film going even when it’s not being subtle about what it’s doing. The film does end at the right moment, though: again, the real-life story had a very unpleasant epilogue, with the widows of some of the dead men having to fight the town council to secure benefits. That part is nowhere in Only the Brave, but then again some things are beyond Hollywood’s ability to transform in a noble uplifting film.

  • The Rocketeer (1991)

    The Rocketeer (1991)

    ByChristian Sauvé Movie Review

    (On DVD, November 2017) For proof that “old-fashioned” in no insult, look no further than The Rocketeer, a glorious throwback to the adventure serials of the 1930s and a highly enjoyable comic-book movie from a time well before the current glut of comic-book movies. If this film has a secret weapon, it’s charm. The kind of quasi-goofy, rather comfortable charm that you get with a morally upstanding square-jawed hero (Billy Campbell), a curly brunette heroine (Jennifer Connelly), a scenery-chomping villain (Timothy Dalton), a fun piece of technology (a rocket backpack!) and a voluntarily retro setting that pays affectionate homage to the best features of the era. Here we are at the heroic age of aviation, with Gee-Bees barnstormers, Hollywood glamour, Nazis lurking at the edges of the screen and Howard Hughes coming up with fantastic inventions. It’s certainly not challenging, but it’s a lot of fun. Director Joe Johnston has proven time and again his ability to deliver straightforward adventures, but The Rocketeer still stands as one of the highlights of his career. The special effects aren’t particularly good, but who cares when the script, and the film, have this scene-to-scene watchability that will keep viewers glued to the screen. A similar movie would probably do better today (The Rocketeer is definitely a spiritual ancestor to Johnston’s Captain America: The First Avenger), and as it turns out there are steady rumblings about a sequel any time soon. I’m looking forward to that.

  • Creation (2009)

    Creation (2009)

    ByChristian Sauvé Movie Review

    (On DVD, October 2010) I’m far too cynical to label any film as a “public service”, but the nature of Creation in today’s hyper-politicized controversy over evolution is such that I can’t help but admire the contribution that a well-made drama can bring to the public understanding of the man behind one of the most fundamental ideas of all times.  A heavily dramatized account of the years Charles Darwin spend perfecting the manuscript for On the Origins of Species, Creation delivers a portrait of the icon as an immensely fallible man, tormented by visions of a dead daughter and debilitating convictions of heresy.  It is, in many ways, a depiction of Darwin influenced by his critics, and yet a revealing look at a time where people thought very differently.  The film wasn’t widely screened in theaters for reasons that soon become obvious to casual viewers: This is a film not of outer action, but inner struggles and the clash of new concepts.  Like many works of primary interest to intellectual audiences, it presents ideas as inherently interesting and studies how people are affected by them.  (Don’t tell anyone, but that’s as good a definition of Science Fiction as any).  It’s not really helpful to add that the film is slow, contemplative and occasionally grating from a contemporary perspective.  At times, overly-dramatic Creation seems to play more as a pre-emptive answer to Darwin’s critics rather than a celebration of the scientist himself.  But there are a few standout sequences in the mix (an accelerated view of how species interact in nature is particularly good), while both Paul Bettany and Jennifer Connelly are effective in their roles.  It all amounts to a film that will be presented in classrooms for a long time, and serve as a reminder that cinema can occasionally rise to the occasion and deliver a compelling celebration of human thought.

  • Labyrinth (1986)

    Labyrinth (1986)

    ByChristian Sauvé Movie Review

    (On DVD, May 2010) Watching this film today is, in many ways, an exercise in nostalgia: As big-budget pre-CGI fantasy filmmaking, it visibly shows its age and the presence of puppets as creatures is a conceit that probably wouldn’t be allowed to go forward given today’s special effects technology.  So watching Labyrinth is, apart from seeing a young Jennifer Connelly in a first starring role, also a game of effect-spotting.  Fortunately, the story is strong enough to sustain scrutiny on its creakiest effects: As a fairy tale, it’s still strong and interesting after nearly a quarter-century.  What doesn’t work as well is the unwieldy mixture of scares and thrills in a film aimed to the younger set, as well as a few musical numbers and comic set-pieces that drag down the story for a while.  Still, Labyrinth’s not such a bad viewing experience, and seeing David Bowie in full goblin-prince attire is enough to compensate for a whole lot of other issues.