Cinema Experts

“You see, before he came down here, it never snowed. And afterwards, it did. If he weren't up there now... I don't think it would be snowing. Sometimes you can still catch me dancing in it.”
Tim Burton is a brilliant visual director but with Edward Scissorhands he managed to combine these talents with pure, classic storytelling and serving up a convincingly detailed left-of-center fairytale romance.
The story is fairly basic, being the standard Frankenstein-esque tale of alienation and the empowerment of love. Edward (Johnny Depp) is a lonely man with scissors for hands, crafted by an eccentric inventor (magnificently played by Vincent Price in flashbacks) prior to his death. After Edward witnesses the death of his creator he stays locked away inside his mansion all day, which is located atop the otherwise cheerfully picture-perfect local neighborhood community.
Then one day a nosy neighbor decides to investigate, and ends up bringing Edward to reality. He falls in love with a local girl (Winona Ryder), and is witness first-hand to the joys of life, until accidentally injuring a young boy and becoming the enemy of the overzealous town. Soon everyone is out to get him for no good reason – the climax is beautifully done and, because Burton has allowed his characters to expand so much, it's also very touching.
The movie is decidedly odd but in a good way – the only problem is that it is occasionally quite thin when it comes to actual depth. Burton's never been as good at telling believable stories as he has mythical, exciting fables. The mix of screwball dark comedy, horror, drama, romance and elements and familiar happenings of other genres results in a very different combination. You can literally "feel" the vibe of this picture, its heart pulsing black blood.
The movie was a childhood project of Burton, who drew sketches of Edward as a boy and used to alienate himself from his hostile surroundings by taking refuge in fictional stories involving the scissor-handed hero. As a result Burton's true affinity for the subject is evident – it's clear that he takes this entire project very seriously.
The acting is marvelous – Depp's performance is one of his finest and, arguably, one of the most convincing and fun of all-time. Depp has formed a Scorsese/De Niro-like companionship with Burton over the years, teaming up for various pictures (including Sleepy Hollow and Charlie and the Chocolate Factory). He's always had fun relishing his over-the-top and absurdly dark roles, such as Ichabod Crane in particular. In Scissorhands he gives the equivalent of a Travis Bickle – a man who feels shunned by society, only to open his heart and have it feel crushed again. This is possibly one of the reasons the film is able to affect its audience so well to this very day. The tale does not grow old because the values are timeless.
Edward Scissorhands, despite its occasional flaws, finally gave Burton the chance to unleash his talents as a visual filmmaker along with a pretty solid story mold – the result being a sublimely dark rom-com-drama that never conforms to the typical genre clichés and becomes quite a unique film in its own little world… 9/10

"Well, I've always been a character actor. I've never been a leading man. It gave me an opportunity not to have to take my clothes off all the time."
Arkin, who had been taking acting lessons since age 10, became a scholarship student at various drama academies, including one run by Stanislavsky student Benjamin Zemach, who had taught Arkin a psychological approach to acting. Arkin attended Franklin High School, in Los Angeles, followed by Los Angeles City College from 1951 to 1953. With two friends, he formed the folk music group The Tarriers, in which Arkin sang and played guitar. The band-members co-composed the group's 1956 hit "The Banana Boat Song" - a reworking, with some new lyrics, of a traditional, same-name Jamaican calypso folk song combined with another titled "Hill and Gully Rider". It reached #4 on the Billboard magazine chart the same year as Harry Belafonte's better-known hit version. From 1958 to 1968, Arkin performed and recorded with the children's folk group, The Baby Sitters.
Arkin is one of only six actors to receive an Academy Award nomination for Best Actor for his first screen appearance (for The Russians Are Coming, the Russians Are Coming) in 1966. Two years later, he was again nominated, for The Heart Is a Lonely Hunter.
Arkin is equally comfortable in comedy and dramatic roles. Among those for which he has garnered the most favorable critical attention are his Oscar-nominated turns above; Wait Until Dark, as the erudite killer stalking Audrey Hepburn; director Mike Nichols' Catch-22; The Seven-Per-Cent Solution (where he played Sigmund Freud); writer Jules Feiffer's Little Murders, which Arkin directed; the The In-Laws, co-starring Peter Falk; Glengarry Glen Ross; and Little Miss Sunshine, for which he received his third Oscar nomination, in the category of Best Supporting Actor. On the 11th February 2007 he received a BAFTA Film Award for Best Actor in a Supporting Role for his portrayal of Grandfather Edwin in Little Miss Sunshine. On February 25, 2007, upon winning the Academy Award for Best Actor in a Supporting Role, Arkin, who plays a foul-mouthed grandfather with a taste for heroin said, "More than anything, I'm deeply moved by the open-hearted appreciation our small film has received, which in these fragmented times speaks so openly of the possibility of innocence, growth and connection". At 72 years old, Arkin became the sixth oldest winner of the Best Supporting Actor Oscar.
On Broadway, Arkin starred in Enter Laughing, for which he won a Tony Award, and Luv. He also directed The Sunshine Boys, among others.

“There are two kinds of people in this world, winners and losers.”
Keeping up with the recent buzz-worthy films coming out of Sundance the past couple years, Little Miss Sunshine is a gem of a movie. After loving crowd favorites Primer (2004) and Hustle and Flow (2005), I wasn't quite sure if the hat trick would be made. Sunshine seemed to have the cast, and direction, but the big question would be if it had the laughs to sustain the quirky indie comedy from not being overwrought and boring.
The co-directors set us up for what is to come in a very nicely designed opening sequence by going character to character, showing us each person in a small vignette of their personalities. This is the quintessential messed-up family with good intentions. Mom and Dad are bickering on how to tell their young daughter about her uncle's attempted suicide, while he sits and stares in a strange melancholy next to the mute, troubled son, (on vow of silence in honor of nihilistic mind Nietzsche), while grandpa spews profanities about the lack of dinner variety. I mean this is the epitome of every family function I've ever been privy to. There is so much a viewer can relate to in each member, allowing for a certain amount of compassion for the views of all involved and seeing that each really does want the best for one another, even if they have a messed up way of showing it.
Greg Kinnear and Toni Collette are wonderful as the patriarchs, proving as always that they are probably two of the most under-appreciated actors working today. Very rarely do you get to see them in a starring vehicle, and even though this is an ensemble through and through, they definitely carry it as the driving force. Alan Arkin does his kooky, quasi-angry, sarcastic yelling that he is known for. Everything he has done comes to a surprising result at the eponymous beauty pageant for the biggest laughs of the movie, really great stuff subverting the grotesque surrealism surrounding any pageant of this kind. Paul Dano is great as the troubled teen, trying to find a place in the world for himself, and coming to grips with the need for struggle in order to grow as a person, and Abigail Breslin is phenomenal as the happiest girl alive. Once she finds out she has won her regional on default, (those primary school children and their diet pills), she is on cloud nine as the family makes the road trip all for her.
The real revelation to take from the antics on screen is a career-role for funnyman Steve Carrell. Carrell has genuine talent and his suicidal, top Proust scholar in America, uncle is the shining moment of the film. He maintains the dejected quality throughout; even when doing something for the family, doing good, he is always a beaten man. That kind of character is what is needed for all his sharp, dry sarcastic retorts thrown about. He barely outshines the prop of the year, though, the family's yellow VW van. You will not see better prop-gags as the van takes a licking and keeps on ticking although the tick is faint and slowly fading away.
Little Miss Sunshine lives up to the strong buzz that surrounds it. It is heartwarming and funny at every turn. There are some dark moments, though, as there are in life. This film is a slice of reality, heightened just the right amount, for all to enjoy. And I haven't even mentioned that it happens to be the funniest movie of the year. 9/10