Underrated Classics: Not Since You

While Sporadic Sporkitudes isn't a strictly film-centered blog (I tend to write about whatever pops into my head at the moment, be it amateur plumbing, karaoke, or Kobe Bryant-induced vomit), I am indeed obsessed with movies and enjoy spouting the occasional review of a film that strikes my fancy (see my Underrated Classics series: She-Devil, Brief Interviews with Hideous Men, While You Were Sleeping). A few days ago, I got my hot little hands on a screener of the independent drama, "Not Since You." It has been described as "The Big Chill for the 21st century." I'd say this is a fairly accurate comparison (it's thankfully less depressing but also has a less phenomenal soundtrack.) I will now attempt to give a fair, objective review that stays (mostly) on topic.

Obligatory Poster

The film focuses on an ensemble cast of characters who reunite at a wedding in Georgia nearly a decade following their 2001 graduation from NYU. Friendships are rekindled, relationships are formed and tested, old scores are settled and old scars are healed. The opening credits feature a montage of photos establishing characters and relationships in days gone by. The final shot is of the entire group of friends gathered in front of the former Manhattan skyline. Not only did these people experience the changes and inevitable drifting that accompanies moving on, but their lives were forever altered after September 11th. (I got a chilling sensation seeing this photo because I also have pictures of me on top of the World Trade Center in June of 2001.)

Upon an initial glance at the cast list, I immediately recognized Sara Rue from the short-lived but outstanding show Popular (as well the best line in Can't Hardly Wait, "SHEEP! You...are all...sheep. Baaa."). Another familiar face was Christian Kane, who I just saw in Angel this morning (What are the odds?). And while I didn't remember the name, I was instantly stoked to see Elden Henson, formerly the Bash Brother Fulton Reed from the Mighty Ducks (HECK YES!).

You go Fulton!

Slowly the characters, now a little older and marginally wiser, arrive on the breathtakingly beautiful Georgian estate to prepare for the wedding of Ashley and Daniel (?). I'm not quite sure of the groom's name because the film makes the interesting choice of essentially ignoring the couple getting married. It would have been nice to get to know their backstory, but since we already know how they end up, the narratives rely on the wedding party themselves. After all, that's where the drama usually stems from in the weddings I've been to. Something about the combination of booze, formal wear, and desperation brings out the worst in people.

Sam (Desmond Harrington)

The primary storyline features Sam, a dreamy but wounded lone wolf who remarkably resembles Smith Jared from Sex and the City, who still pines for his ex-girlfriend Amy, who is now married to Ryan (Christian Kane with an unfortunate-looking long haircut. Why do guys think that looks good?) What Sam lacks in personality, he makes up for in smoldering sexual tension with Amy as they get their groove on at the reception. That white boy has some moves! Their chemistry is so palpable that Ryan, nice but ultimately bland, cuts in during an awesome display of competitive male posturing. Who doesn't love that? But other than the ridiculously good casting of compatible actors, this narrative is somewhat lackluster and predictable until the very end. I was pleasantly surprised by the outcome, but I'll spare you the spoiler.

A damn good actor, but why the hair?

It does you no favors. Veto.

The other prominent love triangle involving Victoria, Howard and Billy, was a bit more interesting. Howard and Billy had been best friends until Victoria left Howard for Billy. Years had gone by since the two had spoken. The wedding trapped them all in the same place and provided ample booze to fuel the ensuing fireworks. Howard and Billy end up brawling on the dance floor. Later, Billy tries to apologize and asks Howard to be the best man at his own wedding. Howard realizes that he was holding the grudge for so long because he felt betrayed, not because he was really in love with Victoria. The dynamic between these two former best friends was that they fell out over a girl, who wasn't really worth it. As Victoria herself claims (in the world's biggest cliche), "you're in love with the idea of me." But it's true. Once Howard realizes that, he and Billy instantly fall back into their friendship as if no time passed at all.

I'll say it, I think Sara Rue looked better before.

But she's adorable regardless.

The story I was most intrigued by was the burgeoning relationship of the adorably shlubby alcoholic, Joey (Elden Henson/Fulton Reed) and the chipper Southern belle Sarah (Sara Rue, who looks gorgeous in the film, but I honestly think she was more beautiful with a little more meat on her bones). We find out from the start that Sarah has been waiting for marriage to have sex, but given the right guy, she'd "totally be inclined to expedite her schedule," (great line, by the way). Joey has shut himself off from the world after arriving late to work on September 11th only to watch his office come crashing down. The two of them have a very sweet, somewhat awkward romance. Both are undeniably likable and unpretentious. Their unconventional relationship was a breath of fresh air.

Undoubtedly the best scene was when they play Redneck Golf, essentially skeet shooting with ill-fated clay pigeons and over-sized rifles. The activity gives the film a greater sense of identity, taking place in the South and embracing its heritage. Not to mention, it provides an excellent physical representation of sexual tension, jealousy, and anger. Nothing is more cathartic than shooting a gun for the frustrated and suspicious Ryan. Sarah and Joey bond when Sarah teaches him how to aim. Billy and Howard have one more confrontation during this sequence and the rifles do a great job of ratcheting up the stakes. A gun goes off by accident, startling the entire party and increasing everyone's anxiety.

The loose ends are wrapped up during a poignant campfire scene in which most everyone has reconciled and accepted that though they have changed, their friendship has not (aww!). The bride and groom (in a rare appearance) give everyone a copy of the Manhattan skyline photo in rememberence of the last time they were all together. The next day before once again going their separate ways, they take a new picture to commemorate the eventful weekend.

Awww once more!

Overall, I enjoyed "Not Since You" immensely. The scenery was gorgeous, as was the score. There were memorable characters and unforgettable moments. It was beautifully shot, and wonderfully acted. And while there were some narratives that were a bit predictable at times, I firmly believe that you don't have to re-invent the wheel as long as the wheel you make is a good one. I hope to see more from Sara Rue who is criminally under-appreciated, as were many of the actors who have yet to see their big break. "Not Since You" is available on Netflix, so I'd recommend it for a lazy Sunday afternoon when you're feeling nostalgic about your own college friends and wondering what they're up to.

Underrated Classics: Brief Interviews with Hideous Men

I've been sick the past few days, so I've been taking advantage of the opportunity to laze about guilt-free with the excuse that I'm convalescing. Of course the only thing different about the past few days is that I've been consuming mass quantities of Vitamin C in addition to staying in my PJs and watching obscene amounts of Netflix Instant Watch. Having finally finished the magnum opus that is Buffy the Vampire Slayer (how epic was that finale??), and completed the entire British sitcom series Coupling, I was in the mood to finally start checking off the actual films that have been sitting in my queue for months. Today's menu consisted of Singles, Doc Hollywood (unintentional 90s Bridget Fonda mini-marathon), and lastly Brief Interviews with Hideous Men.

Obligatory poster. Kind of a boring one at that.

While the first two failed to really catch my imagination, the latter was absolutely riveting. I'd wanted to see Brief Interviews ever since I just barely missed attending the premiere hosted by John Krasinski himself. You undoubtedly recognize Krasinski as the most adorable male creature on Earth, Jim from the Office (which keeps making an appearance in this blog. I like it, but I'm not as obsessed with it as I come off). But this movie was clearly his baby. He adapted it for the screen, produced, directed, and had a significant role. Busy boy. I really had no idea what it was about, other than it was John Krasinski. It didn't get fabulous reviews, and was basically ignored. I guess critics assumed that all Krasinski was good for was being cute, bored, and snarky in 30 minute intervals. So that explains why I just got around to it tonight.

So freaking adorable! How could you not love this face?

The film really has no plot, which I sometimes have a hard time with in movies, but it works with this one. The premise is a grad student, Sara Quinn, interviewing different men about their experiences with life, love, and women. It's presented in a series of anecdotes and snapshots of characters. Some actual interviews, some encounters that Sara overhears. Her character really is a blank slate until the last few minutes of the film in which we realize her motivation. She observes and records with a frosty demeanor, like a scientist studying lab rats. I hated her at first, but then grew to understand and sympathize deeply with her.

The male cast portraying her subjects, most known only by their numbers (ie. Subject #51), is both incredible and somewhat random. Just to name a few: Will Forte (one of my favorites, a closeted gay man trying desperately to prove he loves women), Timothy Hutton, Will Arnett, Dominic Cooper, Christopher Meloni, even the lead singer of Death Cab for Cutie, Ben Gibbard, it's hard to imagine these people ever existing in the same universe, let alone the same movie. But it is that diversity that brings such scope to the film and its mission:

To prove that all men are hideous.

No, just kidding. I don't really think that was the point. Though there were times when I couldn't help but feel that. I love sociology and trying to understand people, particularly men whom I don't understand at all. I feel like Brief Interviews gave a glimpse into the male psyche and their views on feminism in today's world. Even the characters who were dark and damaged seemed real and grounded, neither truly evil nor heroic. I love flawed morality, individuals who exemplify the full spectrum of human emotion and motivation. So the film geek in me was super-stoked. Especially when I noted the use of jump cuts, non-linear narrative, and obvious influence by the French New Wave (could I sound any more pompous right now?). Those same elements of the uber-indie film kind of annoyed me at the same time. As if the project was trying far too hard to be taken seriously and made almost a mockery of itself by using so many conventions. But enough academic psychobabble. (I miss film school sometimes, can you tell?)

I'd like to pick out three performances in particular during which I couldn't tear my eyes away from my twelve inch tv screen. Krasinski as a director uses the deceptively simple tactic of turning on the camera and just letting it roll. No cutaways, no different angles, no frills to keep our ADD-addled eyes engaged. You're forced to stare at the actors faces as they unravel their painful tales and you aren't ever allowed to look away. That must be tough for the actors as well as the viewers. They have to get it all right in pretty much one take. The first I really noticed was a relatively unknown actor named Frankie Faison. I'm not sure how his role really fit in with the themes of the other interviews, but his story was intense.

Frankie Faison is amazing.

He talked about his father's career as the best bathroom attendant in one of the top-ranked historical hotels in the area. Everyday his father would show up for work in his freshly pressed all-white uniform and silently hand millionaires and CEOs towels. He took pride in his work, and in being unnoticed though he heard and saw all in the marble men's room with gold-leafed light fixtures. The subject (Faison) could never decide whether to be proud that his father worked so hard to put food on the table, or disgusted that he would degrade himself in such a manner. Faison refused to ever wear a single white article of clothing. The scene would cut back and forth to his father working in the men's room, and the subject relating it afterwards, causing the two realities to merge. This method of storytelling occurs frequently in the film, with great effectiveness.

Oh Dominic...Sigh

Another great performance was by Dominic Cooper, whom I had loved before from The History Boys, The Duchess, and Mamma Mia. I knew he was talented, but his character managed to be unhinged, frightening, and sympathetic all at once. He plays an undergrad in a class Sara TA's for. He writes a provocative paper about the survivors of rape and abuse and challenges Sara to consider the unexpected long-term benefits of such traumatic experiences. Naturally this produces a knee jerk reaction for Sara and all audience members both female and male. But he makes an excellent point. They've been through the worst thing they could ever possibly imagine, and they are still here. I'm not sure if I personally agree with his perspective, but it was thought-provoking. Sara is appalled by this, but Cooper defends his argument in three different scenes cut together. He explains that his sister was raped by four men who inflicted all manner of abuse upon her. But she survived. As his story becomes more and more intense, he finally reveals it was not his sister, but himself who was raped. The more interesting factor is, does this make a difference in how she views his paper? Whoa... mindfuck right?

The last and most impressive display was by John Krasinski himself. I'd seen him in a few bit parts in movies here and there. The films Leatherheads and License to Wed in which he actually had leads, were sadly eh. I was never really in love with any character other than Jim which he plays effortlessly, implying that he is just being himself. The one exception would be Away We Go which you must watch this very instant because it is outstanding. But by the time his big monologue towards the end was finished, I was almost in tears. He plays Sara's ex-boyfriend who cheated on her with some hippie chick. He explains with sociopathic detail about how he managed to seduce this woman with the intent of a one night stand. He connects with her for as long as it took to get her into bed, hitting all the right notes. Krasinski comes off as a jackass, but an insightful one. He's not afraid that the audience might hate him.

But then he relates the story that the hippie chick told him about how she was hitchhiking and was picked up by a sex offender. She knew as soon as she got into the car that something was wrong. Her faith was telling her to look the man directly in his eye and to empathize with him, no matter what. Not to scream, to plea, but to listen. By the time he actually raped her, he was crying. I had mixed feelings about the story itself, but Krasinski's retelling was incredible. He starts off so cool and Jim-like. But the power of the anecdote moved him. And Sara's unflappable expression pisses him off. He knows that she's judging him and calls her out on it. It's a very powerful scene that ruined my view of Jim a little (no man gets to call a woman a bitch under any circumstances), but increased my opinion of John as an actor. Who knew he had such skills?

And one more for good measure. Good on you, John.

To wrap up, Brief Interviews with Hideous Men is sadly underrated (5.7 rating on IMDB). I can't wait to see more from John Krasinski as a director and as an actor with meatier roles than the All-American put-upon male lead in chick flicks. I'm curious to see what he would do with a more conventional film. Plus, he's just pretty to look at, swooooon! I hope I didn't give too much away. There is far too much substance to this film to really ruin it by highlighting a few of its best features. Anyway, give it a chance. It's on instant watch, so there's really no excuse not to.

Underrated Classics: She-Devil

I've spent pretty much the entire day indulging in Halloween candy and Netflix instant watch, and it has been glorious. I focused on the work of the Coen brothers primarily (Raising Arizona, Barton Fink, and The Big Lebowski). Brilliant directors, with such a rare sense of humor and unique perspective on filmmaking (cough pompous cough). But the film that really struck me during today's cinematic binge-fest was the 1989 revenge masterpiece, She-Devil, starring Meryl Streep, Rosanne, and Ed Begley Jr.

Wow, that is a truly awful poster. Disregard this, please.

It was a film I watched a lot on TV when I was younger, but I haven't seen it in probably ten years. I find it sad that it only has a 4.7 rating on imdb, when I think it is immensely satisfying on so many levels. The acting is a bit over the top, especially Meryl Streep as the downward-spiraling romance novelist (she's allowed to have one role that isn't destined for an Oscar nomination). But Roseanne's portrayal of Ruth Patchett, the maligned frump of a housewife should be legendary.

The bodice-rippers that Mary Fisher (Streep) writes provide fantasy and escapism for bored, neglected women like Ruth. For the most part, regular chick flicks serve the same purpose. What makes She-Devil rare is that it features an unlikely heroine who is unattractive (not just in a glasses and ponytail kind of way), surprisingly nefarious, and not above manipulation to reach her goals. This is not a Katherine Heigl movie. Roseanne, though she may have her flaws as an actress, represents a large portion of female movie-goers. She's a helluva lot more relatable than some 5'10' blonde, thin, perky bimbo. Through Ruth, viewers who may have also been wronged by a husband, boyfriend, or life in general, can live vicariously through her plotting and scheming to systematically destroy all that Bob (Begley Jr.) holds dear.

This is the face of America. Deal with it. Hawt.

During that process, Ruth discovers self-confidence, takes pride in her appearance, and develops a small army of women that society disregards as outcasts who don't fit the Mary Fisher mold. I've never personally experienced anything like Ruth's philandering, embezzling, and downright cruel husband. But when Ruth pulls the strings that annihilate Bob's home, career, and freedom (he ends up in prison for 18 months), I'm right there with her, cheering as hellish flames engulf the "she-devil." Now this is my kind of chick flick. And other than maybe Thelma and Louise (whose screenwriter I totally met!), I can't think of another movie that so perfectly demonstrates a true female revenge fantasy. (While I kind of enjoyed John Tucker Must Die, it really doesn't count.)

Ultimately, it's not the greatest movie in the world. But I LOVE it, and it just might be worth checking out if you're feeling kind of man-hatey at the moment.