Displaying items by tag: Patrick Wilson

JAY KELLY

US, 2025, 132 minutes, Colour.

George Clooney, Adam Sandler, Billy Crudup, Laura Dern, Patrick Wilson, Riley Keogh, Jim Broadbent, Stacey Keach, Josh Hamilton, Isla Fisher, Louis Partridge, Eve Hewson, Emily Mortimer, Greta Gerwig.

Directed by Noah Baumbach.

A Behind the Scenes story. Or, better, a Behind the Facades story.

Late in this portrait of a very successful film star, someone comments that he is a very good film star – but, as we have seen, there is an implication: is he a good father? Is he a good person?

George Clooney himself is a significant film star. Which means that many audiences will be wondering how his portrayal of Jay Kelly is close to the reality of George Clooney himself. Because Clooney has proven himself quite a genial screen presence over the decades, they will be comfortable enough in looking at Clooney playing a very self-focused, self-satisfied star, inadequate father, quite an unpleasant person in so many ways. (Some bloggers who don’t take to Clooney have considered this film a vanity project – but, it was written and directed by Noah Baumbach, not by Clooney himself.)

One of the successful ways in communicating how Jay Kelly ticks and how his being challenged is in the portrayal of his agent, adviser, friend, continual refuge, Ron. Over the years Adam Sandler has had extraordinary success in very broad comedies. But, now and again, he takes on a serious role. And this is one of his best. He is a wheeler dealer as an agent, very successful. But, he does have a personal life, past regrets, now happy marriage and children. He has sacrificed so much of his life for Jay Kelly and we, and he, wonder how long this can go on.

The film opens with the final sequence of the making of a film, showing Kelly in action, expertly, and all the hustle and bustle of production. Then the news of the death of an old friend who gave him a start, played by Jim Broadbent, but soon indications of a self-focus rather than generosity of spirit. Then he encounters an old friend from acting school. They go for a drink – and a wonderful scene with Billy Crudup dramatising an emotional reading of the menu! But again, unpleasant revelations about Jay Kelly and his career.

Kelly has two daughters – the younger on a trip in France to Italy and Kelly deciding that he will follow his daughter on the train and go to a tribute to himself in Tuscany. At the end of the film, there is a perceptive sequence, an emotional conversation between himself and his older daughter, Riley Keogh.

This is a rather long film and there is all kinds of interesting detail for those caught up in Kelly’s life and career and this challenge to him. Suddenly Stacey Keach turns up as his curmudgeon father, no paternal feelings whatsoever. Patrick Wilson appears as a film star who employs Ron and is firing him… Plenty of episodes to keep the interest.

A highlight with Jay Kelly on the train and his communicating enjoyably with the passengers is a snatch and grab of her purse from an old lady by a German cyclist, his getting off the train and Jay Kelly in pursuit – and, of course, instantly on the Internet. There are the hosts of the festival in Tuscany and their Italian enthusiasm.

Noah Baumbach has worked many years in the film industry. And he is married to Greta Gerwig (who appears briefly as Ron’s wife), working with her in her very successful movie venture, Barbie. Which means that he has a great deal to draw on in taking us behind the scenes, behind the facades.

1. The title, the entire focus on Jay Kelly, has film star, as actor, his real personality?
2. The choice of George Clooney for the role, George Clooney’s reputation, impact as film star, an Oscar, critical applause, his public persona? Audience response to George Clooney, favourable, accepting in this role, some reflection of his own life and career?
3. The film taking us behind the scenes, filmmaking and the opening sequence and his performing the death scene, with the dog, wanting more takes, the response of the director? The detail of the film on set, the various people present, cast, director, producer, writer, their interventions?
4. The film taking us behind the facade of Jay Kelly? The public response, star, fans, people approaching him, on the train and his entertaining the passengers, the tribute in Tuscany, his visit, the hosts, the celebration?
5. His dependence on Ron, Adam Sandler’s performance? Ron, the manager, the agent, promoter, his skills, being busy, his clientele, the time given to Jay Kelly? And the percentage fee? Friendship and support? How deep the friendship? On the part of each?
6. Ron, the plan for the next film, the Lewis brothers, Ron and his hopes, Liz as longtime publicist, her assistant, interventions?
7. The background of Peter, his death, Jay’s memories, Tim and the audition, Peter giving him the chance, promoting him, financial difficulties, asking his help, the meal together, Jay’s refusal, not seeing Peter? The impact of his death? Going to the funeral? His son’s speech?
8. The meeting with Tim, not seeing each other for years, Tim and his work with children, meeting Jay, the cup of coffee, Jay deciding to go, their talk, the memories, the audition? Jay asking Tim to read the menu, the tour-de-force rendition of the menu by Tim, his talent? Tim declaring his hatred, the fight? Jay and his black eye? Tim and his injuries, hospital, the possibilities for suing?
9. The visualising of the audition episode, the friendship, Jay reading for Tim, Tim’s poor audition, Jay asking to read, Peter’s agreement, his getting the part, his career?
10. Jay and his marriages, his daughters, Jessica and her living in San Diego, distance from her father? Daisy, meeting with her, her boyfriend, going to Paris, the jazz festival, not wanting to spend time with her father?
11. Jay, the aftermath of the interlude with Tim, consulting with Ron, Ron, his wife and family, playing tennis, the importance, the match, the phone call, Jay and his demands on Ron, Ron going?
12. The issue of the tribute in Tuscany, the initial refusal, change of mind, Ron and the deals, his other client getting a tribute? Getting on the train, the difficulties, the hassles? Jay being recognised, the reactions, the range of passengers, the old lady being charmed, the two priests and their continual reappearing? The episode with the German cyclist, snatching the bag, jumping off the train, Jay’s pursuit, the hard run, the fight, Jay retrieving the bag? The passengers or following, a claim, and on social media?
13. And the contrast with social media, Tim and his injuries, Jay and violence? Possibilities for suing? Ron, contacts, friends, interventions, settling the case?
14. Liz, on the train, memories of the past with Ron, the separation, Liz and exasperation, getting off the train?
15. Daisy on the train, the encounter with Jay, his tracking her through phones, her boyfriend and his reaction, making films? The other friends? Her not wanting to go to the tribute?
16. Italy, the hosts, the Festival, the cheery driver and her response to Jay? Ben Alcock present, his career, his family present, the large family? His having a drink with Ron, talking about his career, firing Ron? The repercussions for Ron?
17. Jay’s relationship with his father, neglect, inviting his father to the tribute, his arrival, taking over, his personality, jokes and talk, his turn, and his decision not to stay, Jay following him…?
18. Jay, the dinner, the hosts? Ron and his phone calls to his wife? Sitting with Jay, the retrospective (and the use of George Clooney’s films)? The effect on Jay? Ron? The audience and applause?
19. The effect of the awards, then, the family, his wife?
20. Jake, running after the car, Ron and his leaving? Persuading him to come back?
21. Jay, in the woods, the phone call to his daughter, the device of having her present, the conversation, truth being told, his absence in her life, the flashbacks to the two daughters playing, the glimpses of him watching his children? The reality of his career and neglect?
22. Jay Kelly’s journey into self-knowledge, the glamour of his career and fame, the realities of his personality, family life and relationships, relationship with Ron? The future?

INSIDIOUS: THE RED DOOR

US, 2023, 107 minutes, Colour.

Ty Simpkins, Patrick Wilson, Rose Byrne, Sinclair Daniel, Hiam Abbas, Andrew As Store, Peter Dager, David Call, Leigh Whannell, Angus Sampson, Lin Shaye.

Directed by Patrick Wilson.

This is the fifth episode in the Insidious franchise and initial critical and box office positive response indicates that fans of the series have not been disappointed. The Insidious films are the brainchild of Australian writers and directors, Leigh Whannell and James Wan. (And it is they who began the Saw franchise as well as contributing to The Conjuring franchise – and with Patrick Wilson as the star of insidious as well as the Conjuring films, casual viewers of the series may well get them mixed up

However, the screenplay has been cleverly written so that fans will not be confused. It goes back almost 10 years and continues from eerie experiences for Josh Lambert and his young son, Dalton. In case we don’t remember exactly the details, this film opens with them undergoing hypnosis so that the memories of the frightening experiences will vanish, Josh recovering and resuming his life, Dalton, on the other hand, going into coma for a year. Dalton is played by Ty Simpkins who played the young boy it 10 years earlier. Josh, on the one hand, still feels disturbed but does not understand why, difficulties with his wife and divorcing her, puzzles about his supportive mother – who dies and is buried also at the beginning of the film.

So, the present. Josh is disturbed at his mother’s funeral when he encounters the doctor who hypnotised him but does not recognise him. And the disturbances begin again, vague memories of his absent father, but, gradually, his becoming possessed by visions of bodied and disembodied characters, more and more disturbed. And he has lost the bond with his son. He does off to drive Dalton to his new college, help him settle in, but Dalton is a strange character in himself, dark, morose, a skilful artist who has drawn a portrait of his grandmother, but, like his father, becoming more and more possessed by strange creatures in his imagination and dreams.

Dalton has enrolled in art classes and experiences the highly demanding lecturer, played by Haim Abbas, who illustrates her themes by some of the ferocious Goya paintings, the father devouring his child. She encourages the artists to be quiet, count back from 10, then paint what emerges from their psyche. Dalton starts to paint ominous pictures, especially a red door and a mysterious ferocious character, at first not distinguishable, but then resembling his father, with an axe. Dalton has disturbing dreams, fantasies, out of body experiences.

There is a potential strong anchor in Dalton’s life, a new student, Chris (a vigorous performance by Sinclair Daniel), supporting Dalton, trying to understand him, sharing in some of his fearful experiences.

Josh goes through an MRI process but there is nothing wrong with his brain. But he does go into a deep sleep, nightmares, confronting his inner fears, understanding his father, eventually bonding with Dalton.

Patrick Wilson has been convincing in both the Insidious and Conjuring films – and, this time he is the director. Allegedly the end of the series, but with audience interest who knows what creative turns screenwriters can come up with.

1.     The popularity of the series? This one the fifth? Presupposing earlier films in the series, characters, suppression of memories, surfacing of memories? And the appearance of Elise?

2.     The title, in this film, astral projections, insidious presence, handed on from father to son? The red door, Dalton and his painting, the continued painting, the appearance of the door, behind the door?

3.     The opening with the funeral, the family home, driving Dalton to college, the rooms, the art lectures, the frat party, Josh and his MRI scan, the visits to the home? The contrast with the eerie sequences, astral projections, creatures, intrusions, nightmares, threats and violence, jump scares for the audience? The musical score?

4.     The initial visit to the hypnotist, the suppression of the memories, in Josh, Dalton in coma for a year? His wife and her knowing the truth? Josh’s mother knowing the truth? Her death, the funeral, the presence of the hypnotist? The beginning to jogging Josh’s memory?

5.     The tension in the family, the divorce, Josh and the children, the visits, his wife and her love for Josh, her not being able to handle the situation? The death of the mother? Dalton’s portrait, indication of secrets?

6.     Josh, trying to bond with Dalton, Dalton’s reactions, driving him to college, the frat notices, Josh carrying the luggage, the room, the bed, putting the pictures on the wall, the arrival of Chris, the mistake with the name, male/female? Her staying one night, the discussions, her getting the change of room, going upstairs? Her bright personality?

7.     The art classes, the teacher, strong-minded, the artist refusing to destroy his painting, leaving? Josh, tearing up the painting, the praise of the painting, her praise of Josh’s determination? The lectures, counting from 10, painting whatever surfaced, Josh and the red door, the sinister presence, the black? The teacher and her comments about Goya and his experiences, surfacing in his painting? The father devouring the child?

8.     Josh, going to the MRI, the sinister experiences, asleep, waking, the further presences? The story of his father, absence, hostility? His father’s note about things ending? His death? Yet a sinister presence? Josh and his contact with Dalton? Going to the home, his wife revealing the truth, his sleeping, going into a trance, the violent experiences, the threat of his father, the axe, his becoming like his father, the memories of the past, Dalton is a boy, the frightening situations, Josh possessed by his father, leading to saving Dalton? His waking up and reassured?

9.     Dalton, painting, his quiet personality, Chris forcing him to go to the frat party, the decision that it was lame, Nick, his speech, his room, Chris and Dalton sharing, the apparition of the vomiting man?

10.  The further nightmares, Dalton continuing the painting, black, the figure as is father and the red door, the threats to Chris, her handling the situation, yet her fright, the issue of darkness and lights, danger under the bed? The buildup to the apparitions, sinister, the sinister score? Dalton saved by his father?

11.  A happy ending between Chris and Dalton? Happy reconciliation between Dalton and his father? With the whole family?

12.  The place of this film in the series, and Patrick Wilson directing?