It’s been quite a nice and mellow three-day weekend for me… the calm before the *storm* as it were, as the later part of September is going to be a pretty busy one for me. Twin Cities Film Fest is just a month away, but we’ll get a preview of the film festivities this coming Friday with the Fundraising Gala. I have a friend from out of the country staying with us the following week and then we’ll be taking a trip to Sedona, AZ and hopefully meet up w/ my pal Cindy C.!
Well, a good part of my weekend is full of script writing… AND dreaming of Deauville — Deauville American Film Festival that is…
Anyhoo, I didn’t go to the cinema all weekend but I must say my home viewing can only be described as eclectic.
At the end of his career, a clueless fashion model is brainwashed to kill the Prime Minister of Malaysia.
Finally got around to seeing this movie. I’m familiar w/ the premise and it’s become such a pop culture phenomenon of sort that a sequel is in the works. I thought I’d watch it before it comes out next year. Crazy that it’s been 15 years since this came out and I think both Ben Stiller and Owen Wilson still look pretty much the same.
They’re both hilarious in this satire of the fashion modeling industry. There are actually some famous male models, like the outrageously gorgeous Tyson Beckford and Claudia Schiffer. In fact, this movie is worth seeing just for the cameo, esp. David Bowie! I expected it to be goofy good fun and it certainly didn’t disappoint.
Long Way Round (2004)
This documentary series follows actors Ewan McGregor and Charley Boorman on a motorcycle trip around the world. The two friends will travel through such places as Siberia, Kazakhstan, Mongolia, and Alaska, before finally ending the journey in New York.
My hubby was watching this when I went downstairs to our entertainment room and we ended up watching a couple of episodes. I thought it was fascinating AND quite hilarious as the Scottish actor and his buddy prepare to go on this crazy motorcycle journey around the world for three months!
They also interviewed their wives (as well as their parents) and their reaction of this trip. But the funniest bits are all the challenges of all the logistics and training (medical, even self defense) as they’d go into some dangerous territories like Ukraine.
Of course the main draw initially is the fact that Ewan is a big film star, but after a few minutes we forget about that as he’s such a real and down-to-earth guy and this film is as much about Ewan & Charlie’s friendship as it is about the motorbike roadtrip.
The Age of Adaline (2015)
A young woman, born at the turn of the 20th century, is rendered ageless after an accident. After many solitary years, she meets a man who complicates the eternal life she has settled into.
I’ve been wanting to see this film for ages. There’s something about this romantic premise that beguilles me. I’m a huge fan of period dramas a la Jane Austen, so more on the old school romance so long as it doesn’t have the name Nicholas Sparks attached to it [shudder]. I have my full review ready so I’ll post that sometime this week. ….
I also rewatched BELLE on Labor Day as I’m in the mood of period dramas. I absolutely LOVE this movie. I’ve seen it a dozen times and it gets me every single time… I have SO many favorite scenes from this film, I wish I could find the one where Davinier declared passionately, ‘I love her, I love her with every breath I breathe!‘ in that carriage [swoon] 😛
But I also LOVE this scene between Belle and John… Gugu Mbatha-Raw and Sam Reid are absolutely perfect together [le sigh]
Well, that’s about it for my weekend. How ’bout you? Seen anything good? …
This past week I got the opportunity to meet up with the filmmakers behind the action thriller NO ESCAPE. So apparently the Coens are not the only brother filmmaker team from Minnesota, and the Dowdles are truly one of the nicest filmmakers I ever had the pleasure to meet. The interview was about an hour late than scheduled, apparently there was a radio interview that ran longer than expected. I was the last of six interviewers scheduled to chat with them, and I had been a bit worried they’d be tired of talking by then.
But as soon as I entered the room of the Marquette Hotel, I was greeted with a big smile from both John Erick Dowdle (director/writer) and his brother Drew (writer). I immediately felt comfortable and at ease with them as I sat down and prepared my iPhone recorder. I’d think that for people who’ve been known for their horror films (Quarantine, Devil, As Above So Below), they’d be all dark and moody, but that’s not at all the case with as they’re all smiles and full of energy.
As soon as I started writing in my notes, John noticed that my Mona Lisa pen is from the Louvre Museum. He remarked that he used to live close to it when he was making As Above So Below in Paris that his then young boy named Henry became so obsessed with the place and started to spell his name H-e-n-r-i. I had to ask about the filming at Paris catacomb, so find that at the end of the interview.
[SPOILER ALERT: Some of the questions might pertain to some plot details about the film. I’ll be sure to mark that in red to warn you]
Q: Can you elaborate more about how the idea of this story came about? You mentioned at the Q&A after the film that a coup happened whilst you were in Thailand?
JOHN: In 2006 my dad and I went to Thailand and we were traveling all around there. And right before we got there, a coup threw out the prime minister and the generals took over the country. There’s a new regime right as we got there and there had been no advanced warning or nothing like that. I started thinking, what if this… I mean, it went smoothly but I thought, what if it didn’t. What if this went very badly like Phnom Penh in 1975 (referring to the Cambodian genocide by the Cambodian Communist Forces Khmer Rouge). What if this went very badly and I had little kids with me. In my last trip to Thailand, we had two little kids with me like Lucy and Beeze, so basically these two girls (in the film) were based on our little sisters. We started building the story from there. As soon as we got back we started expanding on that. Drew and I returned to Cambodia and traveled around to gather little details to make it more authentic.
DREW: Yes our trip back to Asia was in 2008, that was for location scouting to pick up more details. But we didn’t start shooting until 2013.
Q: This question came when my husband and I were discussing the film after we saw it. The rebel group seems to have been building up for some time, like a time bomb that would explode at any moment. Now, the western corporation in the film where Owen Wilson’s character Jack Dwyer works for, they and the others seem to be caught off guard by this. Is that the case or did they know but they choose to ignore it and just left the Dwyers to fend for themselves? I’m just wondering if there’s something sinister behind that?
JOHN: No, I think so many times in these situations… there’s always someone who wants to manage the situation. When we were shooting in Thailand, there was a coup developing while we were there. The people we’re working with was like, ‘oh no, it’s gonna be fine, it’s gonna be fine.’ And literally, we left and two weeks later there was a coup in Thailand. And looking back I thought this must’ve been worse because our friends and family from the United States were like ‘Are you guys being safe over there?’ and we’re like ‘oh yeah, everyone’s fine, it’s not as big a deal as everyone’s making it…’ But I think it was. It’s just people in that situation tries to manage and deny what’s happening. We’re also guilty of that ourselves.
Q: It’s like you were in denial then? It’s like you just brushed it off, oh it’s not as bad as it looks even thought it is.
JOHN: Yeah, I mean if we have this billions of dollars at stake building this waterworks so there can’t be something that would overthrow us. So that would be the corporate mentality.
DREW: Yeah, our partners when we were shooting the movie, Time Warners, they were like ‘oh this was just newspapers, selling newspapers, it’s nothing to worry about and you believe that, you said ‘yeah ok I’ll buy it.’ In terms of the fictional situation in the movie, not only were they not aware of when this was going to happen nor that there’s this level of unrest but they didn’t take them [the rebels] seriously and what they’re capable of and what they’re capable to do.
Q: Now, switching gears a bit about the casting, because I’m always interested in that topic whenever I interview filmmakers. The casting of Owen Wilson here reminds me of the casting of Steve Carell in Foxcatcher as they’re both known for their comedic work. How about Lake Bell who’s also known for being a comedian?
JOHN: She’s amazing. I think comic actors can do anyting. If you can do comedy you can do anyting. For Owen and Lake, I mean when we cast Owen people were like, ‘are you going to give him a crew cut and make him really tough?’ and we’re like ‘no, we want Owen from Marley & Me in this movie.’ And Lake Bell was sort of the same thing. I mean you don’t usually imagine Lake crawling through the mud like she did in this movie. We like that when people don’t usually imagine an actor doing a certain thing. It took a while to convince their agents… and we’re like ‘no, it’s got to be Lake.’
Q: So you already had these two lead actors in mind for the movie?
DREW: Yes, Owen absolutely. We had been building the character around Owen for several years. Things kept falling apart but he kept saying, ‘hey I’m still with you.’ Lake’s casting came much later. But by the time we saw In A World, we’re like ‘oh it has to be her.’
She’s also a writer too, she wrote In A World…
JOHN: Yes she is and she’s brilliant.
DREW: And so is Owen. He’s a brilliant writer himself [he co-wrote three films with Wes Anderson including The Royal Tennenbaums] So to have two actors who knew how to write is such a huge asset for us.
So it’s like they’re allies in the filmmaking process as they can also give you input.
JOHN: Absolutely, there’s nothing greater for a director than having a smart actor. I mean those two kids were also very intelligent kids. It helps so much when they’re thoughtful about what they’re doing.
Q: Yes I noticed that the kids were very believable in the movie. Usually kids can look bored in scenes of peril, but here they looked like they’re genuinely scared and upset.
JOHN: Yeah, they were amazing. We read hundreds and hundreds of girls but luckily we picked the right ones. [Sterling Jerins and Claire Geare played the two young siblings in the film]
DREW: Working with Lake too, made these kids worked so much better. They knew exactly what we need and what we’re trying to avoid. In the moment it really helps get that from them.
JOHN: From the moment she was on set, she immediately adopted those two girls. She grabbed them, put them on her lap and said, ‘from now on you’re my little turkeys.‘
Q: What is the biggest challenge filming in a foreign land (in Chiang Mai, Thailand) and display such treacherous conditions on screen? Even that rainy scene towards the end look quite real.
JOHN: Oh we used a rain machine on that scene towards the end but it only had either off or torential downpour, they didn’t have sprinkles [laughs]
Q: Any memorable moment you’d like to share from filming?
DREW: The fire was perhaps the most memorable thing. It’s not so much about Thailand, there was an accidental fire that burned a building down. It was a pretty spectacular moment on the set.
JOHN: We were filming in this government office and when the tank shoots the wall, there was a beam that’s supposed to fall and it didn’t and it started on fire. I mean we’re able to get everyone out and thankfully everyone was safe.
DREW: It was the last take of the take and the actors loved being on set and we’re playing playbacks, I mean it was the end of the day anyway. But we’re supposed to shoot the next day and the whole building was up in flames. We’re like ‘oh no, is this gonna be the end of the movie?’
Q: But other than that, did everything else go as planned?
JOHN: Yeah we shoot the next day, we just picked a different location the show must go on, y’know. It actually was fun the next day as we had limited equipments, it’s like back to basic like in film school, like Gilligan’s Island where we have the coconuts, we’re just cobbling everything together [laughs]
DREW: We had like three cameras and one monitor that smells like barbeque. I mean we got everyone out [from the burning building] but we lost some equipments and we had to order a lot of new sound equipments from Bangkok, so it was a logistical challenge. But that was sort of our own doing.
In terms of the challenge of shooting, we’re really surprised how sophisticated the crew was, we had a Thai producing partner who had to deal with all the bureaucracy there which was significant so we didn’t have to deal much with it ourselves.
JOHN: It was a very smooth film.
Q: How long did it take you to shoot the film?
DREW: 39 days.
JOHN: 39 days of shooting. So it was like, in one day we’re like ‘we have THIS much to do?’ So there’s a lot of big things every day. But thank God that all the crew… I mean one the things I found interesting is that in America, all the crews was so unionized that ‘oh this guy can touch the light but he can’t touch the stand, etc.’ there are so many rules as to who can do what. Whilst in Thailand, everyone is there to help whoever needs help. It’s like there’s a symphony of motion where things happened so smoothly. I mean, there’s camera crew helping the art department when the art department needed help… I don’t know, it’s just a wonderful atmosphere to make a film. We had the time of our lives filming there.
DREW: It was so cooperative and everyone moved so fast. We got the feeling that, I mean this is such a wonderful thing for us, we got the feeling that everyone on the crew really wanted this to be a good movie. I mean there were other times when they’d do a good job but they don’t really care about the movie, they’re just punching the clock, they’re not invested in a kind of creative emotional way. Here it seems like everyone there wanted to have their creative fingerprints on this so it was nice that they really cared.
[spoiler] Q: When you’re watching the film, some people might make the generalization that it’s the natives, who’s being portrayed as evil, chasing this innocent family that happens to be from the West. But then there’s the conversation between Owen Wilson and Pierce Brosnan’s character that seem to offset the perceived prejudice against the enemies/villains of the film. So is that a deliberate thing you did or a natural flow of the story?
DREW: It was very deliberate.
JOHN: Yeah, we really wanted the rebels in the city to have a reason. I think so often when something horrible happened, the tendencies just chug it as ‘oh these people are evil, those people are good’ but we wanted to ask the question why. Why would somebody do this, why would somebody act this way. Not to say that violence is acceptable but these are people who are fighting for their families, their lives and their futures, too. They’re trying to get rid of the foreign influences that were hurting them so we wanted to give a rationale for them.
DREW: Yeah, to use John’s example with Phnom Penh in ’75, y’know, I mean you can’t really justify what the Khmer Rouge did in any kind of rational level, I mean they were really really violent and took a lot of lives. But there’s a reason they were doing what they were doing in terms of the foreign involvement in their country, they’ve suffered through a lot of bombings in a war they had nothing to do with. There’s reasons that caused it and again, I mean again you can’t justify their reaction to it but there’s a source to it, they didn’t just do it because they liked to kill people or that they’re just bloodthirsty. Now that’s an extreme example. In our movie, it isn’t just ALL about the natives versus the foreigners, it’s a certain subset of the natives that were in a war path to get rid of the foreigners. There were locals who helped the family and there were locals that also got killed by the rebels.
JOHN: So the Dwyers family is caught in a crossfire. I mean our focus is the Dwyers, just like in Titanic, the focus is on Leo DiCaprio and Kate Winslet’s characters but it doesn’t mean you don’t care about everyone else in the movie. But the film has to have a focal point and for us, having gone to Thailand, my focus has to be from the family.
I’m curious about the process of casting Pierce Brosnan and how he worked with the other cast?
JOHN: We love the idea of Pierce here. Pierce is the kind of guy who could say and do anything and you’d just love him more. He could say the worst, most horrible things and you just love him more. I mean there’s a couple lines in this movie where I think Pierce might be the only human being alive who could deliver those lines and make you like him more. We like turning that James Bond thing on its head, I mean make him an alcoholic with a beard and sort of scuzzy, so we had a lot of fun. Pierce found this documentary Beware of Mr Baker about the [Cream and Blind Faith rock band] drummer Ginger Baker who’s sort of this old surly Brit, so Pierce brought that to the character.
DREW: He’s got so much charm, we grew up loving Pierce Brosnan so to have him in our movie was like a dream.
JOHN: To meet him for the first time was like, ‘ok come on, stay calm.’
So you both were a bit starstruck then?
Oh yeah we were.
Ok last question, about your last film As Above So Below, how did you manage to get the permission from the French government to film in the Paris catacomb?
DREW: That was not easy. I mean we shot in five different parts of the catacombs and some were easier than others, but the main one that we wanted which was the roughest but the most interesting looking, we got the permission literally the night before we’re supposed to shoot. Their bureaucracy doesn’t move very quickly but thankfully we got a French producing partner but we were the first film to shoot inside the catacombs.
JOHN: And probably the last [laughs] We were down there shooting for five weeks, it was a long time to be underground.
DREW: It was cold and wet. It was a lot colder in there than we thought even thought it was in the middle of Summer. It was freezing down there.
Surrounded by skulls too.
JOHN: Yeah, it’s funny there are some parts in No Escape where we found this small space and we thought it was the perfect location and some people were saying, ‘no this is way too small, you can’t film here’ and we’re like ‘we filmed inside the catacomb, this is tons of space!’ I mean once you shoot there, you can shoot anywhere.
Thank you to John & Drew for taking the time to chat!
No Escape is in US theaters now and opens in the UK on Sept 4.
When I first saw the trailer of NO ESCAPE, it definitely promises to be a highly intense action adventure. I have to admit though I was quite surprised by the casting of two actors known mostly for their comedic work: Owen Wilson and Lake Bell, but hey, we’ve got James Bond er Pierce Brosnan in it, whom I associate with this types of films. But it’s the unlikely casting that got me intrigued. The fact that the film is set in South East Asia also piqued my interest.
Well, later this afternoon I’ll have the opportunity to interview the filmmakers behind the film, John Erick Dowdle who directed the film based on the script he wrote with his brother Drew Dowdle.
An intense international thriller, NO ESCAPE centers on an American businessman (Wilson) as he and his family settle into their new home in Southeast Asia. Suddenly finding themselves in the middle of a violent political uprising, they must frantically look for a safe escape as rebels mercilessly attack the city.
It’s always awesome to see Minnesota filmmakers making movies in Hollywood!
Per IMDb, John grew up in the Twin Cities of Minnesota. After graduating St. Thomas Academy, an all-boys, military, Catholic high school, John moved to Iowa City to attend the University of Iowa. There he would make the move from writing to film. Two years later, John moved to Manhattan to attend NYU’s film program. After graduating NYU, John moved to Los Angeles to pursue a career in filmmaking. John wrote and directed his first feature, Full Moon Rising (1996) just out of college. For his sophomore effort, The Dry Spell, John was joined by his brother Drew, who produced the film as John wrote, directed and edited. They now live in Los Angeles, working together as The Brothers Dowdle.
I must say that these types of thrillers are not usually something I’d see on the big screen as I have such feeble nerves. Given their horror background, there’s definitely nerve-wracking terror and sense of dread, as well as genuine jump scares in this edge-of-your-seat thriller.
I think the less you know about the plot the better, and there’s definitely more emotional resonance than what the trailer/poster have you believe. I’m very impressed by Owen Wilson‘s casting, he’s not an ‘action hero’ or macho tough guy, he’s just an ordinary family man who’s driven to extremes to save his family. His ‘everyman’ persona definitely make you sympathize with him right away, and Lake Bell as his wife is quite convincing here as well, in a role I haven’t seen her portray before. Even the two little girls played by Sterling Jerins and Claire Geare are both terrific here. Kudos to John E. Dowdle for coaxing such a convincing performance out of them, to display authentic sense of terror for such young actors must’ve been very challenging.
How we feel about this survivor-thriller hinges on whether we care or not about Wilson’s family and this film definitely delivers. Pierce Brosnan‘s quite memorable here in a key role. He’s not in the film much but when he’s on screen, he’s definitely memorable. There’s a conversation between his and Wilson’s character that offer an interesting perspective on what’s going on. The film is billed as a coup-gone-horribly-wrong (as the title was going to be The Coup), but there’s more than meets the eye.
The film is bloody but thankfully not gory. The filmmakers wisely choose to show the reaction after a violent act is committed, and what it means to them, rather the act itself. It makes it all the more effective and suspenseful. I think do horror/thriller fans would appreciate the filmmaking style of the Dowdles, and the convincing performances of the actors definitely immerse you in their predicament. Wilson and Bell certainly have dramatic chops on top of being talented comedians.
The scene on the roof is one of the craziest, most intense scenes I’ve ever seen. I think it’d be especially tense if you are a parent, as it’ll make you REALLY think about what you would do in such a dire situation.
The fact that the film was shot on location in Chiang Mai, Thailand certainly makes it look authentic. But the film is set in a fictitious SE Asia country as to not offend the Thai government. Given the recent bomb attack in that country though, it certainly adds to the nightmarish quality of the film. If you like the experience of having your nerve stretched to its snapping point, then this is a film for you.
NO ESCAPE opens in the US on 8/26 and in the UK on Sept 4.
Stay tuned for my interview post with the Dowdle Brothers!
What do you think of this film? Which film of the Dowdle Brothers have you seen?
A year after their father’s funeral, three brothers travel across India by train in an attempt to bond with each other.
To say it’s a quirky movie is an understatement, you’ve come to expect that from Wes Anderson, but I think this one felt extra kooky as it has a bit of a fish-out-of-water tale on top of being a road movie. Peter (Adrien Brody), Jack (Jason Schwartzman) and Francis (Owen Wilson) play a trio of brothers on a *spiritual* journey in India a year after their father’s funeral. Despite not looking at all alike, the three actors actually look pretty believable as a family and the peculiar dynamics among them is pretty fun to watch, at least initially.
The *spiritual* aspect journey is not really there, as it’s used a pretext to the actual reason for the road trip. Francis didn’t tell Peter and Jack about the real reason until later in the film. Apparently a motorcycle accident where he said he nearly died made him want to reconnect with his brothers, and he planned the trip meticulously with the help of his assistant. The title refers to the train that they’re riding on, and it serves as some kind of metaphor. I’m not quite sure what that is, but it could be symbolic to each of the character’s life? Now I really want to LOVE this movie but I feel like I never felt quite invested in the story for whatever reason, and the constant bickering of the tree boys sometimes get tiresome instead of amusing.
About halfway through, I noticed my hubby nearly falling asleep watching this. Though I was more engaged than him, I could understand why he tuned out. Nothing rarely happened in this movie, it was simply one kooky scenario after another along their journey, i.e. Peter buying a small cobra in a box (and later losing it), Francis having one of his very expensive shoe stolen, a weird ceremonial burying of a peacock feather that I have no clue what it’s about, etc. I think the only truly memorable scene, which is the most emotional one of the entire 1.5 hour running time, is the time the three brothers rescued three Indian young boys who fall into a river. It’s a moment of benevolence for all three of them that seemed quite life-changing.
Some of the metaphors range from obscure to obvious, but since I don’t really connect with the characters, it’s lacking emotional resonance for me. The Louis Vuitton luggage set with their dad’s initial on them represent an emotional baggage of some kind, though I still have no clue just who their father was other than he must’ve been well off. Towards the end, their mother (Anjelica Huston) entered the picture. I wouldn’t spoil it for you but that experience also changed the way they look at their lives and each other. By the end, their relationship had a 180-degree turn from being reluctant siblings who couldn’t stand each other. “I wonder if the three of us would’ve been friends in real life. Not as brothers, but as people,” Jack asked halfway through, and I think the ending answered that question for us. I do like that the story is primarily focused on these three characters from start to finish. Bill Murray‘s cameo as a businessman felt like it was well, obligatory, as I don’t think there’s really a point to his appearance.
Now, I’m glad I finally saw this as even a so-so Wes Anderson film and despite its flaws, it’s still fairly entertaining. I quite like the music here by The Kinks, The Rolling Stones and the French song in the finale Aux Champs Élysées seems to fit the mood of the scene perfectly. That said, I don’t consider this one my favorite amongst Anderson’s work. In fact, it’s just not something I’m keen on watching again, unlike The Fantastic Mr Fox, Moonrise Kingdom, or his latest one, The Grand Budapest Hotel. Stay tuned for my review of that on Friday!
Happy Monday, everybody! It’s actually a Columbus Day holiday here, but no, I didn’t get a day off 😦
Hope you had a wonderful weekend, wherever you are. Well, mine was quite lovely. I took a much-needed blogging/computer break on Saturday to spend the entire day outdoors starting with a jog around the beautiful Lake Calhoun with friends, then off to a small town south of the Twin Cities to go hiking and take in the gorgeous Fall colors. This has got to be the best Autumn season ever with hardly any rain and temps holding in the 70s and 80s!
But guess what, despite my hectic weekend, I actually had time to see not one but two movies, no, NOT the weekend box office winner Reel Steel, not even sure I want to rent that one. I finally caught Midnight in Paris at a local indie theater, and The Beaver that’s been sitting on our counter for a whole week.
Midnight in Paris
I feel that the less you know about this film the better, which is why I’m not going to go into the plot details too much and just leave you with this IMDb description:
A romantic comedy about a family traveling to the French capital for business. The party includes a young engaged couple forced to confront the illusion that a life different from their own is better.
For most people, the appeal of this film is likely to be the ever-so-prolific Woody Allen. But his work has been hit and miss for me so the appeal of this film for me is the enchanting city of Paris and boy, this film practically doubles as a tourism video for the City of Lights. Seems like Allen’s love affair with Europe continues [his last few films were filmed in London & Barcelona] and cinematographer Darius Khondji indulges him with gorgeous shots of his city muse.
I had some doubts about Owen Wilson in the lead role but he turned out to be perfectly cast as a disillusioned Hollywood screenwriter who calls himself a ‘hack’ and longs to finally finish his novel. His comic timing as Gil generates plenty of laugh in the scenes spent during the day with his fiancée Inez’s family and friends, but his wide-eyed bewilderment when the clock strikes midnight is even more fun to watch.
Again, I’m glad I didn’t know much about the plot as what Gil encounters from midnight until the wee hours is full of surprises! Checking out the characters’ name on its IMDb would easily give it away but I suggest you refrain from doing that unless you don’t mind being spoiled.
Like most of Woody Allen’s films, this one is comprised of a large ensemble cast including Kathy Bates, Adrien Brody and also feature a small cameo of French first lady Carla Bruni. I also didn’t know Tom Hiddleston [Thor‘s Loki] is in this one, so it was a pleasant surprise! The usually likable Michael Sheen and Rachel McAdams portray their unsympathetic characters quite well, Sheen especially as the smarty-pants college professor friend of Inez. Marion Cotillard is lovely as always and her role as the free-spirited French beauty Adriana seems tailor-made for her. Her scenes with Wilson are easily the highlights of the movie for me.
I’m so glad I finally caught this film before its theatrical run is over! My hubby was initially reluctant to see it but he ended up loving it as much as I did. It’s truly an enchanting and magical film that’s full of whimsical yet poignant dialog complemented by beautiful scenery. It’s quite predictable how Gil will come to his senses by the end, but his journey to get there is wonderful to watch. I’ll definitely be seeing this one again.