Midnight in the Garden of Good and Evil (1997) Directed by Clint Eastwood

Nick:
I like to be contrary. Also, I like to play devil's advocate. I like a good argument, even if I'm not really believing what I'm arguing for. So for quite a few decades now I've been seriously into Clint Eastwood movies. This has pissed off various friends over the years. It's very hard for people to imagine, Mr Eastwood is nowadays very critically approved of, even a genius to some, but at one time, Clint had the critical credibility of say, Arnold Schwarzenegger. Yes, that's right, that bad. Since winning the Best Director Oscar for Unforgiven, Eastwood as a film maker has seen his work, rightly I feel, reappraised. There are the classics (Spaghetti Westerns, Unforgiven, Mystic River etc), the worthy (Bird, Honkytonk Man, Letters From Iwo Jima etc) and the terrible (Firefox, Pink Cadillac, Every Which Way But Loose etc). You could place Midnight  In The Garden Of Good & Evil in the same category as the terrible. This film has a stinker reputation. What was I mentioning about contrary?

It's my second time round with Midnight....and this time I enjoyed the very casual direction, the laid back atmosphere, and unfussy portrait of Savannah's eccentrics. The wit of the script seemed well pitched and not overdone. John Cusack was not so smarmy and annoying as he often is, this time approaching some of the cool he thinks he oozes. Kevin Spacey still sports a ridiculous fake mustache and is the real let down here. He just seems wooden. However,  add a decent Jude Law cameo (pretending to be Jimmy Dean), a strong supporting role from Clint's daughter Alison and the performances are uniformly good. But I forgot to mention the real showstopper : Lady Chablis. The drag queen Lady Chablis plays herself, a comedienne at one of Savannah's club's. Chablis pretty much has all the best lines and steals the picture, it's worth watching Midnight...for Chablis alone.

This true tale of one of Savannah's leading socialites James Williamson, on trial for murdering his gay lover, again, as so often with his cinema, defies Eastwood's usual conservative profile. Yes, the trial section of the film really is rather ponderous, but Eastwood manages to focus on other characters and incidents, which perhaps takes away some of the trial's tension, but does make the film more interesting. So, in the end, Midnight In The Garden Of Good And Evil was not as awful as I expected or even remember. It works, in a lazy-bed-ridden-with-illness kind of way. No masterpiece, and definitely faulty, this is still unusual and out of left-field for most Hollywood fare. I can see its reputation growing over the years.

Astrid:
Kevin Spacey is always an intelligent crook in the 90s movies. John Cusack is usually boring. Jude Law begins his Hollywood career playing the beautiful reckless type. Midnight In The Garden Of Good and Evil is a compilation of clichés, but it is put together from so many pieces that as a whole it's pretty good entertainment.

There is an old-fashioned dryness in the storytelling. The setting in Savannah is overly romantic, especially as it concentrates mostly on rich people. Lady Chablis steals the show any time she is on screen, although you could ask why is she given so much time when she doesn't really advance the plot? But at least Lady Chablis adds a bit of humor and lightness between the dragging court scenes.

To add to the collection of clichés, there is a witch woman called Minerva walking around Savannah night and day. She provides a layer of magic, the good and evil. I like her. Alison Eastwood, Clint Eastwood's daughter plays the love interest. I don't know who to blame, the dad behind the camera or herself, but she is very uninteresting. Had I not been told, I would have never guessed that this was a Clint Eastwood film.

The Brothers Bloom (2008) Directed by Rian Johnson

Nick:
Car boot sale. I picked up The Brothers Bloom at a sale in someone's back yard. 2e. I've had some bargains over the years (especially some incredibly rare vinyl) and I love the idea of rummaging through people's cast-offs. Unfortunately, other people's cast-offs is an apt description for The Brothers Bloom. It's well made, but we've been here before.

This could be a homage to the cinema of Wes Anderson or even PT Anderson. Yes, The Brothers Bloom looks amazing, everything is stylized (in a 1960's way), costume exquisite, casting great. Script? This is the problem, there is a level of wackiness and smart arsed knowing to The Brothers Bloom that is off putting.  You can drown in the great visual opulence on screen, but It's vacuous too.
All the principles are good, Adrien Brody, Rachel Weisz, Mark Ruffalo and Rinko Kikuchi. This film about confidence tricksters actually plays a good one by making you think you're watching something emotionally engaging. You're not.

Still, I can really admire Brody. What a strange looking man, yet beautiful. At the end, where there is the possibility of love, I almost felt a twinge of something. It was nostalgia. I was hoping The Brothers Bloom was some other picture and I could drown in the possibilities. On some other day, in some other mood, this might work. Right now, it feels like a waste.



Astrid:
Last weekend was funny: I suddenly found myself living with two magicians. Both equally bad and both equally enthusiastic about their new and fabulous tricks. I was supposed to play the part of the understanding audience member, who makes the magic work by believing in it. In fact I was the sole target of all this magic and I begged them to leave me alone until they would really learn something...

I'm usually very encouraging, but sometimes you have to be brutally honest to save untalented people from wasting their time on something they will never figure out. Do I really think so? Surely you can learn anything if you put your mind and time to it? The Brothers Bloom has characters that suggest so. It is the story of two con artists. They have made their living through elaborate chains of lies followed by well-timed actions. They are masters at making something look like something that it is not. In the process they have lost themselves. Rachel Weisz plays an eccentric millionaire who passes her time mastering different hobbies all by herself. When she becomes the target of the Bloom brothers, she unravels them in their own game. Love is the antidote to being lost.

The Brothers Bloom is at times an uncomfortable mixture of fairytale, psychoanalyzing, stylish looks, lazy narrating and great actors breezing through various sets in various countries. A quivering naivety persists with a few joyous results, like when Penelope (Weisz) tells the younger Bloom (Adrian Brody) to live life as if the most fantastic story ever told. Then again, it is a little sad in cinema these days, when something that could easily be done visually (that's why it is cinema, right) is only blurted out in lines.