Film ReviewsGrandma
Dec 11, 2015 Anchorage Press
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Lily Tomlin permeated the entirety of the first draft for this review of Paul Weitz' film Grandma because that is all viewers really need to know. But that would, almost certainly, have been returned with a "WTF?" from the Anchorage Press editor, and to be fair, viewers and readers deserve a better explanation, so here it goes.
Weitz is a seasoned director well-known for films such as American Pie, About a Boy, Little Fockers, and many more. He also has under his belt the hilariously charming television series Mozart in the Jungle about an unorthodox, rebellious, music conductor firmly planted in genius.
Weitz assembles an outstanding cast in Grandma to deliver social commentary wrapped in off-the-cuff, smart dialogue that could be easily missed if viewers aren't listening or miss a visual cue. Luckily the film is filled with great moments so there's always another one just around the corner.
Grandma is built on the experience and talent of strong actresses, but it's hardly a chick-flick. Lily Tomlin plays Elle Reid, the 50-60-70-something year-old grandmother who gets an unexpected visit from Sage, her granddaughter, played by Julia Garner. Sage is desperate for cash to terminate an ill-timed pregnancy and Elle is her best and second-to-last recourse. Her mom, Judy, played by Marcia Gay Harden is her last resort. Judy is a corporate powerhouse with little patience for anything that disrupts her agenda and the order of things, so it's no wonder Sage seeks out her liberal, non-judgemental, feminist grandmother.
The two go on an inter-generational road trip through the lesser known streets of Los Angeles looking for cash from Elle's old friends and ex-lovers. The journey is also a journey through time, mainly Elle's life and in this way Sage and the viewers discover Elle's world and heartaches.
The film features an equally talented supporting cast. The supporting characters are so compelling that the plot could have easily pivoted in any direction just as satisfactorily as staying on its main course. The supporting characters provide markers along the journey, including Olivia (Judy Greer) who sets up the stage for the combative Elle as they break up a 4-month relationship; Deathy is played by Laverne Cox, a tattoo artist with tales to tell; and Carla, the owner of a feminist coffee shop, played by Elizabeth Peña. This is Peña's last role before losing her battle to cirrhosis of the liver. By far the most compelling supporting character is that of Karl, played by Sam Elliot. The chemistry between Elliot and Tomlin is deeply-rooted and flies off the screen with emotions, history and regrets that neither character can forgive or leave behind.
Grandma has a solid storyline, but the film is not about the plot, even though it has buddy-movie moments that make viewers tear up from laughter. The film is about characters, about generations of women who are more alike than different, who love one another despite their tumultuous interactions. The social issues of race, reproductive rights, aging, and LGBT rights are front and center but are presented within the compassionate and realistic context of people who are actually living through them. The beautiful aspect of Grandma is that it takes full advantage of Tomlin's talent and place in cinematic history, down to the fact that Elle wears Tomlin's actual clothes (no special costumes for the part) and drives Tomlin's car, a 1955 Dodge Royal Lancer. Tomlin carved out a career that spans decades, from the 1960s on. It's not a stretch for viewers to look at the character of Elle, a writer and trailblazer in her own right, and see the parallels with Tomlin's trajectory.
Now in her mid-70s, Tomlin is experiencing a renaissance of sorts in her career with a new television show and regular stand-up comedy acts. Alongside her friend, Jane Fonda, she's proving that there's no age cap for dynamic, solid acting. The beautiful jewel in the film is the interaction between Elle and Sage, and Tomlin and Garner. Garner's performance is fresh and filled with wonder, both as a granddaughter discovering herself through her grandmother and as an actress of 21 years of age, taking in and learning from the magnificent performances around her. Young viewers, and not so young viewers will see Grandma from the eyes of a grand-kid, the best vantage point yet.
Grandma shows on Monday, December 14 at 8 p.m. at Beartooth.
Weitz is a seasoned director well-known for films such as American Pie, About a Boy, Little Fockers, and many more. He also has under his belt the hilariously charming television series Mozart in the Jungle about an unorthodox, rebellious, music conductor firmly planted in genius.
Weitz assembles an outstanding cast in Grandma to deliver social commentary wrapped in off-the-cuff, smart dialogue that could be easily missed if viewers aren't listening or miss a visual cue. Luckily the film is filled with great moments so there's always another one just around the corner.
Grandma is built on the experience and talent of strong actresses, but it's hardly a chick-flick. Lily Tomlin plays Elle Reid, the 50-60-70-something year-old grandmother who gets an unexpected visit from Sage, her granddaughter, played by Julia Garner. Sage is desperate for cash to terminate an ill-timed pregnancy and Elle is her best and second-to-last recourse. Her mom, Judy, played by Marcia Gay Harden is her last resort. Judy is a corporate powerhouse with little patience for anything that disrupts her agenda and the order of things, so it's no wonder Sage seeks out her liberal, non-judgemental, feminist grandmother.
The two go on an inter-generational road trip through the lesser known streets of Los Angeles looking for cash from Elle's old friends and ex-lovers. The journey is also a journey through time, mainly Elle's life and in this way Sage and the viewers discover Elle's world and heartaches.
The film features an equally talented supporting cast. The supporting characters are so compelling that the plot could have easily pivoted in any direction just as satisfactorily as staying on its main course. The supporting characters provide markers along the journey, including Olivia (Judy Greer) who sets up the stage for the combative Elle as they break up a 4-month relationship; Deathy is played by Laverne Cox, a tattoo artist with tales to tell; and Carla, the owner of a feminist coffee shop, played by Elizabeth Peña. This is Peña's last role before losing her battle to cirrhosis of the liver. By far the most compelling supporting character is that of Karl, played by Sam Elliot. The chemistry between Elliot and Tomlin is deeply-rooted and flies off the screen with emotions, history and regrets that neither character can forgive or leave behind.
Grandma has a solid storyline, but the film is not about the plot, even though it has buddy-movie moments that make viewers tear up from laughter. The film is about characters, about generations of women who are more alike than different, who love one another despite their tumultuous interactions. The social issues of race, reproductive rights, aging, and LGBT rights are front and center but are presented within the compassionate and realistic context of people who are actually living through them. The beautiful aspect of Grandma is that it takes full advantage of Tomlin's talent and place in cinematic history, down to the fact that Elle wears Tomlin's actual clothes (no special costumes for the part) and drives Tomlin's car, a 1955 Dodge Royal Lancer. Tomlin carved out a career that spans decades, from the 1960s on. It's not a stretch for viewers to look at the character of Elle, a writer and trailblazer in her own right, and see the parallels with Tomlin's trajectory.
Now in her mid-70s, Tomlin is experiencing a renaissance of sorts in her career with a new television show and regular stand-up comedy acts. Alongside her friend, Jane Fonda, she's proving that there's no age cap for dynamic, solid acting. The beautiful jewel in the film is the interaction between Elle and Sage, and Tomlin and Garner. Garner's performance is fresh and filled with wonder, both as a granddaughter discovering herself through her grandmother and as an actress of 21 years of age, taking in and learning from the magnificent performances around her. Young viewers, and not so young viewers will see Grandma from the eyes of a grand-kid, the best vantage point yet.
Grandma shows on Monday, December 14 at 8 p.m. at Beartooth.