Weekly Review -- Through the eyes...

What Maisie Knew (2012) -- The 1897 publication of Henry James's "What Maisie Knew" provoked controversy due to the novel's themes of family unit disintegration and other issues that were simply not public discussion fodder. Like his contemporary Henrik Ibsen, James had managed to bring domestic conflict and female psychology to the forefront of literature. Now, at the beginning of the 21st century, filmmakers Scott McGehee and David Siegel update the story as a sensitive drama with a lot to say about a child's perspective of the often messy adult world.
  
Onata Aprile plays Maisie, a girl left to her own devices as her petty, bitter parents -- an aging rocker (Julianne Moore) and an art dealer (Steve Coogan) -- keep bickering during their separation period. Through their neverending arguments, Maisie finds unexpected solace with her parents' new significant others (Alexander Skarsgård, Joanna Vanderham). In the end, one question lingers -- who is Maisie's true family? 

What is peculiar about the film is its focus on the sort of character that usually gets second billing in any story. Children are frequently presented as descendants or sidekicks, with no opinions to share. McGehee and Siegel see Maisie as a stranger in her own life. They see her as a wounded soul that might not have the necessary maturity to communicate her observations, but one that perceives and processes more than anyone can imagine. This girl floats around as though she is lost at sea. Her world is a lonely one; she has no friend or anchor, no stability or security that every child requires. Her parents do not even use her as a pawn, behaving as if they are stuck with her and obliged to drag her around on errands and assignments and other demands of their respective careers. Hell, these two lovebirds manage to make a whole new career out of fighting. Seldom have there been more realistic break-up altercations in film and kudos goes to Moore and Coogan for pulling off what must not have been the most pleasant scenes to shoot. Over the course of the film, Maisie is rarely happy, her eyes either wide with worry or blank from disappointment, and the scene with the flowers instantly comes to mind. What the two most important adults in her life fail to realize is that, as they keep regressing to toddler tantrums, their daughter keeps maturing before her time. Unable to stop themselves from failing over and over again, they cannot see that they are missing out on the only good thing that has come out of their sorry relationship.

The cast is perfectly chosen. As Maisie, Aprile is a revelation. It takes masterful skill to create a portrayal of so many dimensions and this tiny dynamo never lets up. Moore creates one of the best portrayals of her career and I will be seriously surprised if she does not get recognition come Oscar time. Her Susanna is a clingy and selfish creature, someone who takes off and takes it all. She is needy and self-centered; in her and Maisie's relationship, she is truly the spoiled brat. She sucks as a parent, but is very aware that she sucks as a parent, a knowledge that leads to one of the most poignant scenes with her daughter. Skarsgård is endearing as Susanna's new boyfriend, a nice and unassuming guy who shows Maisie parental love without being a parent himself. Coogan is excellent as a self-absorbed and rather pretentious art dealer, who has no qualms about moving across the pond and leaving his family, while Vanderham is sweetness personified as his new wife.

With What Maisie Knew, McGehee and Siegel have crafted a cinematic rarity, a drama that brims with genuine emotion without resorting to schmaltz or conventions. Its view of a child as a silent narrator instead of a passive bystander is unique even by today's standards and makes this acrimonious tale that much more significant for the audience. Just because the voice has not yet found its footing and just because the age is not yet considered valid, it does not mean that the mind cannot cower in recognition of nuances.

9/10

Trailerblazing -- RoboCop (2014)

RoboCop -- February 7, 2014 -- directed by José Padilha -- starring Joel Kinnaman, Gary Oldman, Michael Keaton, Abbie Cornish, Samuel L. Jackson

Apart from the great cast, what I am most excited about when it comes to this remake is the new angle that the story takes. How would a half-human, half-cyborg behave? Would it be a half-and-half ratio to begin with? Would his or her new reality override memories from their previous life? How would any kind of synthesis with another organism impact the human psyche? As action-filled as the remake obviously is, director Padilha seemingly eschews the action element in favor of deeper issues at hand. I do not recall the original posing too many similar questions, although it did utilize another valid viewpoint to create a terrific exploration of violence in the modern world. It will be interesting to see if and how Padilha's academic background contributes to his vision; according to the IMDb, this gentleman is well-versed in economics and literature, among other subjects. The effects are nicely updated -- check out that gun taking shape at the first hint of a threat! As for the cast, I am looking forward to seeing Gary Oldman, who can simply do no wrong in my book, as well as Michael Keaton's return to the genre. The RoboCop remake looks like a potential breakout hit, one that should be an excellent prelude to the usual blockbuster spring and summer movie season.

Trailerblazing -- Divergent

Divergent -- March 21, 2014 -- directed by Neil Burger -- starring Shailene Woodley, Kate Winslet, Theo James, Ashley Judd, Tony Goldwyn

Let me say right off the bat how unfair I think all of the "Hunger Games" comparisons are. Sure, we have a heroine fighting the odds and a hunky love interest, but is this kind of tale not an ancient, oft-repeated narrative? That said, I like Veronica Roth's unique idea of a society based on a strict categorization of its citizens, a world that neglects the wonderful gray areas that make us human. Talk about boxing in! I have not read the novels yet, so I am not able to partake in the faithful-to-the-source-or-not discussion, but I can say that I am impressed by the amount of detail. The jumps! The test devices! Those tattoos! The relationship between protagonist Tris and her mentor Four is intriguing to say the least, and I do hope that this trilogy turns out to be a good choice for Woodley and James. I quite like the ambiance as well, with Chicago seeming familiar yet sterile enough for us to know that something nefarious is afoot. And then there is Kate Winslet who, judging by this trailer, is not playing nearly as many villains as she should be. I mean... how cold is her character? Director Burger has proved himself adept at fantasy and suspense with 2011's Limitless, so I have no doubt that he will do Roth's story justice. I am looking forward to immersing myself in the trilogy and seeing the first film.