Take Two

We rewind to take a fresh look at two films viewed the second time 'round:

TAKE THIS WALTZ (2012) (A-minus) - Writer/director Sarah Polley ("Away From Her") really sticks her neck out for her sophomore effort, and she somehow pulls off a powerful study of emotionally stunted late 20-somethings caught in a laconic love triangle. The premise is awfully twee -- and if you are tired of childlike, earthy Lena-Dunham/Miranda-July Brooklyn types (here transplanted to Polley's Ontario) you might not survive this.

But below the surface there is so much going on here. Michele Williams is her usual brilliant, mesmerizing self as Margot, the pixie stuck in a baby-talk marriage with her lump of a husband, Lou (Seth Rogen). She has a meet-cute (and a heaping helping of coincidence) with hunky Daniel (Luke Kirby, "Tell Me You Love Me") and they gradually start hanging out a bit.

Polley and Williams know Margot inside and out, and the character's moves never ring false, even when she's loopy or annoying or mugging at one of her men. Her laughter and her tears feel achingly real; the tightrope walk performed by Williams here is a marvel. Kirby is strong as her love interest; he reminded me of Chris Messina rolling around with Marin Ireland in "28 Hotel Rooms." And schlubby comic Rogen stretches his acting muscles and acquits himself well here. (Though future directors might want to avoid asking him to cry on cue.) Even smart-alecky comic Sarah Silverman holds her own with the drama queens, turning in a nuanced performance as Lou's sister, Geraldine, a recovering alcoholic.

Polley didn't need to hit us over the head so hard with her Big Theme (Margot doesn't handle the in-betweens so well), but that's a minor flaw. In addition to crafting a savory story, Polley offers dazzling visuals. The film is rich in color and dreamlike blurs of light and shadow. A cartoonish carnival ride accompanied by the '80s classic song "Video Killed the Radio Star" is both exhilarating and melancholy. And when the ride and the music stop, the thunk of reality hits us like a hangover on a too-bright morning.


Will Margot make that transition out of the purgatory of in-betweenness? Does anyone? 

THE BRIDESMAID (2004) (B) - From the gloom factory of Claude Chabrol comes this long shudder revolving around a creepy ice queen who picks up a man at his sister's wedding and makes him a pawn in her twisted existence.

Laura Smet is unsettling as Senta, the bridesmaid in question, who seduces unsuspecting Philippe (Benoit Magimel, a poor man's Jude Law), who sees her as some otherworldly being, a classic concrete bust come to life. Before long, Senta has Philippe fumbling for words after she informs him that life just isn't worth living until a person, among other things, has a homosexual romp or kills someone. He pretends to play along, perhaps hoping she'll leave well enough alone, but it turns out he's way out of her league.

This plays like homage to Hitchcock, and Chabrol finesses the tension expertly. And Smet finds a perfect balance of cool and crazy. But in the end, it just doesn't feel like there's enough at stake here to be either shocked or outraged at the ending.