Maggie Gyllenhaal

  • The Lost Daughter (2021)

    ByChristian Sauvé Movie Review

    (Netflix Streaming, July 2022) Slow-moving psychological dramas aren’t my style, and The Lost Daughter tested me. The first film written and directed by Maggie Gyllenhaal (working from a novel) is about motherhood but not the kind of stereotypical motherhood held up as ideal. No, in this case we follow the summertime adventures of an accomplished academic as she experiences the lifestyle of the Greek island she’s visiting, and flashes back to her own progressively unhappy experiences as a young woman. Olivia Coleman stars and features a typically finely honed performance, alongside such notables as Dakota Johnson, Ed Harris, and Peter Sarsgaard. From a certain viewpoint, The Lost Daughter is a successful film: it’s generally well directed, offers a strong showcase for its actors and delves into unconventional topics that are not seldom tackled. But the same film excels in a very specific niche that may not appeal widely: it’s slow-moving, and showcases a rather unlikable protagonist while remaining uninterested in any kind of moral condemnation or celebration. Much of the action being an internal character study, it’s not a film made for suspense or action. And then there’s the Hollywood-dynasty pedigree of its writer-director. In other words—you can see exactly how the film would appeal to critics and the Academy and understand why it ended up with a very long list of accolades—including three Oscar nominations. That doesn’t make it a crowd-pleaser, though: The Lost Daughter’s glum, unsentimental, naturalistic style takes patience and a specific kind of mood to appreciate.

  • Strip Search (2004)

    Strip Search (2004)

    ByChristian Sauvé Movie Review

    (In French, On Cable TV, November 2020) It goes without saying that I can appreciate any film that reinforces my values and outlook on life. But it sometimes happens that a film simply goes too far, preaches too much and wears its politics too visibly on its sleeve that I can turn on it in the worst way. Look: I was around and awake in 2004. I remember how Americans were practically forbidden from speaking ill of any anti-terrorism initiative. I remember the public discourse curdling against any dissenting voice, and anyone trying to introduce any kind of sophisticated analysis being branded as anti-American. I remember the hysteria of the War on Terror and how anyone who thought it may not have been an unqualified good felt so alone. The fact that Strip Search, which makes explicit parallels between terrorism and American values, was made at the time (even as a TV movie!) was nothing short of amazing—which explains why, according to Wikipedia, the film almost immediately disappeared after its HBO premiere. (I ended up seeing in French translation, which is probably significant.) The premise is simple: An American woman gets detained and interrogated in an unspecified Asian country, while an Arabic man gets detained and interrogated in the United States. The parallels between both situations are not meant to be subtle: much of the dialogue is repeated word-for-word in both strands of the plot. Which ends up being the single worst irritant of the film: As a good third of it simply repeats itself with very few variations, the touches of wit of the dialogue get dulled fast, and once you realize that this is what the film is going to do for the following hour, well, you’re stuck with it for the following hour indeed. There’s quite a bit of talent assembled here: Directed by Sidney Lumet and starring no less than Glenn Close (as the American interrogator) and Maggie Gyllenhaal (as the American prisoner), the film hits above its weight in terms of star power. Alas, this comes to naught thanks to the heavy-handed nature of its discourse. Even when I agreed with the intent of the film, I felt irritated by the brute-force nature of its repetitiveness. A savvier script would have intercut into both conversations as a way to show how both were the same, but Strip Search simply re-rolls the tape with very minor variations, with us knowing the exact words about to be repeated for the next few minutes. It probably doesn’t help that, fifteen years later, we don’t need to be convinced about the film’s then-upsetting thesis. We now know about the horrors of Abu Ghraib, of Guantanamo, of secret detention camps and the 2004–2008 period. Strip Search was brave and bold and misguided upon first broadcast. Now, it simply seems misguided—not for the core of what it’s saying than the way it says it, then forces us to listen to it again.

  • White House Down (2013)

    White House Down (2013)

    ByChristian Sauvé Movie Review

    (Video on Demand, January 2014) Director Roland Emmerich is a consummate entertainer, and showing White House Down alongside Olympus Has Fallen, the other great White-House-siege film of 2013, only serves to list why he’s so good at what he does: Good balance between action and humor, clean editing, just-enough character development and a willingness to go insane at appropriate moments… along with self-acknowledgement of outlandish material. The numerous points of comparison between both films only serve to highlight what White House Down does best: Channing Tatum is credible enough as the accidental hero (he’s got confidence without swagger, making him relatable), Jamie Foxx is just fine as a “47th president” clearly modeled after the 44th one, the “threat matrix” idea for the antagonist is ingeniously-executed, the action sequences are vivid without being gory, and the film manages to navigate a tricky line between national symbolism and overblown jingoism. White House Down‘s crowd-pleasing dynamism means that the film as a whole feels like one big competently-executed formula and that’s just fine: the film is easy to watch and enjoy, the only sour note coming late in the conclusion as another wholly-unnecessary antagonist is revealed with a Scooby-Doo-level lack of subtlety. The film is possibly never better than when it acknowledges its own presidential-lawn car chase absurdity with a well-placed “Well, that’s not something you see every day.” –although the “just like in Independence Day” quote comes close. Good turns by numerous supporting players (Maggie Gyllenhaal, Richard Jenkins, James Woods and a remarkable Jason Clarke whose character is best imagined as being exactly “that guy” from Zero Dark Thirty) add just enough to make the film even more enjoyable. While White House Down comes with the usual action-blockbuster caveats (formula all the way, and don’t think too much about it), it’s a remarkably successful example of what it tries to do, and it’s hard to give a better recommendation for this kind of film.

  • Hysteria (2011)

    Hysteria (2011)

    ByChristian Sauvé Movie Review

    (On Cable TV, February 2013)  The British film industry has, by now, perfected the science of transforming transgressive subjects into nice little harmless comedies.  From male stripping to The Fully Monty, from naked geriatric photography to Calendar Girls, from cross-dressing to Kinky Boots… Well, why not?  After those precedents, seeing Hysteria make a gentle period comedy out of the invention of the first vibrator is almost expected.  Hugh Dancy stars as a young doctor whose hand-cramps lead to the creation of an assistive mechanical device, but the real subject of the film is a discussion of the ways women were treated in Victorian England, with medical jargon being used to paper over a real disparity in status.  Hysteria isn’t very subtle about this thematic focus (it’s definitely a modern film congratulating itself for not being Victorian England), but the overall light tone keeps things from getting too ponderous.  The film can depend on the innate charm of Dancy and Maggie Gyllenhaal (in a provocative companion piece to Secretary), with occasional assistance by Rupert Everett in a handful of flashy scenes.  Enjoy the lighthearted atmosphere, but don’t try to fact-check the film against the real history of the electrical vibrator.

  • Stranger than Fiction (2006)

    Stranger than Fiction (2006)

    ByChristian Sauvé Movie Review

    (On DVD, January 2012) Much like I missed seeing author-centric Wonder Boys at the time of its release, it took me years to come along to Stranger than Fiction, a film in which an everyday man suddenly starts hearing narration about his life… informing him that he’s about to die.  The wait was worth it, as Stranger than Fiction features Will Ferrell’s best role to date and a resonant message about life’s most important trivialities.  The script allows itself a bit of fun with literary theory, satirizes the pathologies of authors and leads to a satisfying conclusion.  Ferrell is effectively restrained in this atypical performance and, at the exception of a few shouted Ferellisms, comes across as far more sympathetic than his usual man-child persona.  Meanwhile, Maggie Gyllenhaal is unspeakably cute as the love interest; Dustin Hoffman turns in a charming performance as a literary theoretician called to the rescue and Emma Thompson is pitch-perfect as a neurotic author.  Quirky, oddball and remarkably smarter than most other comedies (the “flours” joke is awesome), Stranger than Fiction asks interesting questions and suggests compelling answers.  The script’s only flaw is a concept that’s almost richer than what the script can deliver: I could have used more scenes from the author’s point of view, or a more sustained interest in the wristwatch.  But what made it on-screen is good enough.  Of course; I’ve written enough fiction to be a particularly good audience for that kind of story.  Non-writer’s opinions may vary… although not by much.

  • Secretary (2002)

    Secretary (2002)

    ByChristian Sauvé Movie Review

    (On DVD, January 2011) In certain circles, Secretary is often held up as a mainstream-friendly introduction to the dominant/submissive mindset –not your usual fare for romantic comedies, and certainly its most enjoyable trait.  Whatever shortcomings the film may have, at least it’s willing to celebrate its kinkiness: The main characters don’t play by the usual rules, and neither does writer-director Steven Shainberg: From the first few moments, Secretary delves deep into kink and makes it feel like a perfectly understandable lifestyle.  As a depressive young woman (Maggie Gyllenhall) falls under the spell of her unusual boss (James Spader, patron saint of proud deviants), the film becomes both stranger and more self-assured.  Despite the added spice of dominance and submission, the core of the film is a solid romance between two characters whose psychological issues complement well.  It’s fun, charming, often cute despite some unpleasant material and absolutely non-threatening.  There are a few problems with the third act, which seems to falter and lose control by going for an overly-public absurdist resolution.  Still, it manages a tricky balance for a difficult subject and it ends on a happy note that pleasantly wraps up everything.  Gyllenhall is mesmerizing in the lead role –nearly ten years later, this is still her career-best performance.  Secretary may not be a particularly great film, but it’s certainly striking, unexpected and confident in the ways it dares celebrate its lack of social convention.  No wonder many people still think of it fondly.

  • Crazy Heart (2009)

    Crazy Heart (2009)

    ByChristian Sauvé Movie Review

    (In theatres, February 2010) Yet another entry in the “Film I wouldn’t see if it wasn’t for their Oscar nominations” category.  Would I willingly go see the story of a past-his-prime country music singer who learns to deal with his alcoholism while romancing a single mom half his age?  Gee, Oscar, you really make things difficult for me this year, don’t you?  Cheap shots aside, there’s a little bit to like in Crazy Heart: Jeff Bridges is great in the title role, and the various details about life as an ex country music star are fascinating.  Maggie Gyllenhaal is as cute as she can be (which is a lot) as the single mom, whereas Colin Farrell has a small and perfect supporting role and Robert Duvall is up for another kind bartender role.  This is not a fast film, and it’s definitely aimed at a quiet Midwestern audience.  Bits and pieces of the film are trite and obvious (who couldn’t see the whole “missing child” moment coming?), and the overall arc of the film seems copied from VH1 specials.  Still, for a movie that has practically no guns, explosions, comedy, one-liners, car chases, giant robots or anything designed to get me in the theatre, it’s a bit more bearable that I expected.  But I’m as far from Crazy Heart’s target audience as I could be, so never mind me and go read a review from someone who cares more about the film.

  • Cecil B. Demented (2000)

    Cecil B. Demented (2000)

    ByChristian Sauvé Movie Review

    (In theaters, December 2000) Very uneven satire of the Hollywood movie industry. Though John Waters is revered for his irreverence, Cecil B. Demented seems more like a half-hearted routine satire than a definitive statement on the industry. The best part of the film, aside from some great lines (“Patch Adams doesn’t deserve a director’s cut! It’s long enough as it is!”) is the endearingly kooky troupe of guerrilla filmmakers characters. They promise a much stronger film than what is ultimately presented here, as their innate interest is trampled by a script that simply goes through the motions. The low production values often show and hamper some scenes. The conclusion feels forced and somewhat immature. Film buffs, needless to say, will get much more out of the film than the “average moviegoers” that Cecil B. Demented is lambasting. Worth a rental whenever you’re at the video store and can’t stomach yet another syrupy Hollywood product.

    (Second Viewing, On Cable TV, January 2021) I was curious to revisit Cecil B. Demented after twenty years of film education, now that I can reliably recognize the directors whose names are referenced by the band of cinematic rebels at the heart of the film. The plot is simple enough, as movie outlaws kidnap a Hollywood star in order to force her to star in their guerilla-style production. The real point of the film is to allow writer-director John Waters to rail against the worst aspects of circa-2000 Hollywood (which have only been magnified twenty years later), with blatant messages inserted in the mouths of its speaking characters. It’s surprisingly fun, especially at first: This isn’t meant to be a polished or subtle production, and the rough-hewn charm of its explicit message is part of the film’s entertainment. Cecil B. Demented’s first half, in particular, is quite a bit of fun: Stephen Dorff leads an adorable bunch of misfits, each of them identifying as a rebellious director in cinema history. There’s some serious fun in seeing a young Maggie Gyllenhaal as a Satanist, or an equally baby-faced Michael Shannon as a gay driver. The first half of the film is heavy on jokes and comic wackiness, and stands above the second half, as Waters doesn’t seem to have as good a conclusion in mind for his crew. The deaths pile up, the jokes become cheaper, the suspension of disbelief snaps. Perhaps the film does itself a disservice by being insufficiently caricatural—there’s a clash between Waters’s wilder ideas and gritty cinematography of the film that keeps bringing the film back in the real world where it doesn’t belong. The conclusion seems engineered to be unsatisfying, perhaps betraying the corner in which Waters wrote himself in taking potshots—his rebels aren’t created to have a happy ending. Still, I had a bit of fun in watching Cecil B. Demented now that I can better appreciate where it’s coming from—but it’s not anywhere near to fulfilling its potential.