Written by: Corey Wackel
Once in a while, we get that movie that doesn’t seem to be placed in the right calendar month of movie releases. The summer tends to be filled with the usual blockbusters and sequels, and it certainly lacks, for the most part, the heartfelt movies brought forward at the end of the year. Lucky for moviegoers, studios decided to release “My Sister’s Keeper” now, and the film seems to fit just right into this summer’s busy schedule.
It’s hard to sit through a movie you know is going to be heavy on the drama, but “My Sister’s Keeper” is easily worth it. The story of a sister born for the sole purpose of keeping her sister alive seems to play along with the pro-life, pro-choice battle. It’s obviously NOT about that, but the choices faced in the movie require us to ask ourselves where we ultimately stand on the issue. Afterall, the movie does deal with the constant advances of medicine and science, and it’s impossible not to think about how both continue to shape the world around us.
Most of the aspects of the film work to its credit. The film does seem TOO conventional at parts, but it’s important to remember that the movie is based off of the book written by Jodi Picoult. I haven’t had the pleasure to read the book, but it’s safe to say that the screenwriters stuck close to the book and many of the moments that seemed too conventional for a film may have worked much better on paper. Plus, the parts that I did find unnecessary are few and VERY far between. For the most part, the structure of the film is carefully considered. The plot is told in a rather broken structure, but I rather liked that. There’s one story line which much of the movie follows, but we also witness flashbacks that allow us to understand each individual character. We come to understand the situation everyone is in, and through their past interactions we come to truly understand the bonds that hold their lives together. How very rare that is for a film.
The cast is simply a revelation. Individually, everybody does wonders, but as an ensemble the make sure the film works. I find that, in 2009, they are the only ensemble so far who are worthy of the Screen Actors Guild ensemble award. Cameron Diaz shows us that she’s capable of choosing great projects, and she displays her acting skills in full, reminding us that when she’s good, she’s really good. The work from on screen sisters Abigail Breslin (as Anna) and Sofia Vassilieva (as Kate) is great. Breslin again shows why she’s one of the youngest Oscar nominees, adding another great performance to her list. I look forward to seeing what else she has to show us. Vassilieva, meanwhile, is bound to blow anybody away who has an eye for up-and-comers. As the heart of most of the film, her performance is spectacular. She’s heartbreaking and lovable, sometimes in one single moment. The supporting players work well, especially Jason Patrick as the father, Joan Cusack as the judge, and Alec Baldwin as lawyer Campbell Alexander. Baldwin’s performance, in fact, finds a justifiable place on my early list of Oscar contenders.
Director Nick Cassavetes may have been the ideal person to direct this film, as well. A director of few films, Cassavetes has managed to give us “The Notebook” and “John Q” in a very short span. I prefer directors like Cassavetes, though, because they focus heavily on every element of a film as they work on it. They don’t churn them out just to make money or just for the sake of making them. Nick has a different style than his legendary father (director John Cassavetes) but it works for him. He constantly is creating stories with heart and with real meaning. Whether it’s a story about the unconditional power of love at first site or about a parent’s wish to have the best for their children, Cassavetes somehow manages to deeply affect us. In “My Sister’s Keeper” he continues this trend.
At the end of “My Sister’s Keeper” we feel something we don’t often: a powerful connection to what has occurred on the screen. We come to know and love the characters deeply, and we allow ourselves to be deeply affected by everything that has taken place.
Final Comment: “My Sister’s Keeper” proves to be a powerfully heartbreaking film, but one that everybody should see. It’s about very human emotions, and, perhaps most importantly, it shows that film still has the power to move and affect us.
Rating: 8/10
Once in a while, we get that movie that doesn’t seem to be placed in the right calendar month of movie releases. The summer tends to be filled with the usual blockbusters and sequels, and it certainly lacks, for the most part, the heartfelt movies brought forward at the end of the year. Lucky for moviegoers, studios decided to release “My Sister’s Keeper” now, and the film seems to fit just right into this summer’s busy schedule.
It’s hard to sit through a movie you know is going to be heavy on the drama, but “My Sister’s Keeper” is easily worth it. The story of a sister born for the sole purpose of keeping her sister alive seems to play along with the pro-life, pro-choice battle. It’s obviously NOT about that, but the choices faced in the movie require us to ask ourselves where we ultimately stand on the issue. Afterall, the movie does deal with the constant advances of medicine and science, and it’s impossible not to think about how both continue to shape the world around us.
Most of the aspects of the film work to its credit. The film does seem TOO conventional at parts, but it’s important to remember that the movie is based off of the book written by Jodi Picoult. I haven’t had the pleasure to read the book, but it’s safe to say that the screenwriters stuck close to the book and many of the moments that seemed too conventional for a film may have worked much better on paper. Plus, the parts that I did find unnecessary are few and VERY far between. For the most part, the structure of the film is carefully considered. The plot is told in a rather broken structure, but I rather liked that. There’s one story line which much of the movie follows, but we also witness flashbacks that allow us to understand each individual character. We come to understand the situation everyone is in, and through their past interactions we come to truly understand the bonds that hold their lives together. How very rare that is for a film.
The cast is simply a revelation. Individually, everybody does wonders, but as an ensemble the make sure the film works. I find that, in 2009, they are the only ensemble so far who are worthy of the Screen Actors Guild ensemble award. Cameron Diaz shows us that she’s capable of choosing great projects, and she displays her acting skills in full, reminding us that when she’s good, she’s really good. The work from on screen sisters Abigail Breslin (as Anna) and Sofia Vassilieva (as Kate) is great. Breslin again shows why she’s one of the youngest Oscar nominees, adding another great performance to her list. I look forward to seeing what else she has to show us. Vassilieva, meanwhile, is bound to blow anybody away who has an eye for up-and-comers. As the heart of most of the film, her performance is spectacular. She’s heartbreaking and lovable, sometimes in one single moment. The supporting players work well, especially Jason Patrick as the father, Joan Cusack as the judge, and Alec Baldwin as lawyer Campbell Alexander. Baldwin’s performance, in fact, finds a justifiable place on my early list of Oscar contenders.
Director Nick Cassavetes may have been the ideal person to direct this film, as well. A director of few films, Cassavetes has managed to give us “The Notebook” and “John Q” in a very short span. I prefer directors like Cassavetes, though, because they focus heavily on every element of a film as they work on it. They don’t churn them out just to make money or just for the sake of making them. Nick has a different style than his legendary father (director John Cassavetes) but it works for him. He constantly is creating stories with heart and with real meaning. Whether it’s a story about the unconditional power of love at first site or about a parent’s wish to have the best for their children, Cassavetes somehow manages to deeply affect us. In “My Sister’s Keeper” he continues this trend.
At the end of “My Sister’s Keeper” we feel something we don’t often: a powerful connection to what has occurred on the screen. We come to know and love the characters deeply, and we allow ourselves to be deeply affected by everything that has taken place.
Final Comment: “My Sister’s Keeper” proves to be a powerfully heartbreaking film, but one that everybody should see. It’s about very human emotions, and, perhaps most importantly, it shows that film still has the power to move and affect us.
Rating: 8/10
Written by: Tim Luisi
In the process of adapting great books into film it seems as if some element inevitably will go wrong. A character is butchered by the screenwriter, essential scenes are left completely to the side, or the tone of the book is ignored and substituted for something much worse or conventional in order to dumb the story down for the general audience. Fortunately, My Sister’s Keeper, adapted from the great book by Jodi Piccoult, doesn’t fall into any of these temptations and winds up instead as a very touching and impacting adaptation.
The film, directed by John Cassavettes (John Q. and The Notebook), starts off with a very tastefully done credit sequence and immediately gets the audience oriented into its world with a voiceover explaining exactly what the situation is.
Anna Fitzgerald, played by an always charismatic Abigal Breslin, was created in a test tube, and as she says “was not a coincidence”. She was brought into the world for a purpose: to save her sister Kate (Sophia Vassilieva) who at five years old was diagnosed with cancer. From the minute that Anna is born she is a donor for her sister; first cord blood, then platelets, then born marrow, and then asked to give up a kidney which could harm her in the future. Always poked, prodded, and ready for surgery, Anna has finally had enough and goes to lawyer Campbell Alexander (Alec Baldwin) with the intention of suing her parents (Cameron Diaz and Jason Patric) for the rights to her own body. What follows is a very memorable and engaging story which shows the struggles that the Fitzgerald family has with the daughter’s decision, and one which asks the audience to consider how they would feel if they were in the same situation.
There is much to admire in this film, including the subtle direction of Nic Cassavettes and the screenwriters of the film. After a few early scenes which could induce a groan or two due to how familiar and staged they feel, everything seems to come together. While there are still the regular tear-jerker histrionics in place a la Terms of Endearment, it feels in this film as if these moments are earned rather than forced. Indeed, there are some truly beautiful and heart-breaking scenes in this film.
By wisely having a narrative depending on flashbacks and voiceover, the audience is given much insight into the Fitzgerald family and is able to understand the motivations of each character. In fact, each character is given at least one voiceover, something taken directly from the novel, but which could have failed in clumsier hands.
While Cassavettes and the screenwriters did impressive work, there was nothing more exhilarating about this film than the acting ensemble, sure to still be one of the greatest at the end of the year. From stars to unknowns everyone is exceptional here and each performance could not possibly work without the support of everyone else.
Abigal Breslin, the lead of the film proves once again why she is one of the most talented young actresses in Hollywood, while Cameron Diaz off of the heels of one of her biggest disappointments shows her tantalizing if not often realized potential as a great dramatic actress. Alec Baldwin, meanwhile, can add another success to his surprisingly strong run as of late, offering comic relief where it is desperately needed. Jason Patric and Thomas Dekker, also offer good supporting turns as the father and brother of Kate Fitzgerald.
While all of the performances mentioned range from good to great, the show truly belongs to two actresses: Joan Cusack and Sophia Vassilieva.
Quite simply put Cusack has never been better than she is in this film. Known for her excellent comedic portrayals she knocks this small but difficult role of the judge in the court case, out of the park and will hopefully be in contention for best supporting actress at years end. In contrast, Vassilieva is given much to do, often covered in fake vomit or blood, and pulls off the extremely complex role admirably. She is a true natural, displaying pain, heartbreak, and joy at the switch of a button. Nothing she does seems inauthentic, and without her stunning debut, the film could have been labeled as forgettable. As it stands, however, her performance can be compared to such great film debuts as Jodie Foster in Taxi Driver and Dakota Fanning in I am Sam. She will truly be someone to watch in the future.
This film, while excellent, does suffer through certain problems. To begin with, some of it feels uneven and at times all too familiar. In addition the music seems to be trying too hard to obtain emotion from the audience. Also, there are certain subplots from the book that were taken out due to time constraints which seemed to hurt two characters in particular: Jesse (the brother) and Campbell Alexander, both of which have much more going in on the novel.
But these problems are neither here or there. Criticism cannot rely on what should have been, only what is. Despite the issues that this film has, this is still one of the more emotional films of the year, and is a proud owner of the best ensemble so far this year. In a summer filled with explosions, this is one intimate drama that found a way to make its own mark and is easily more memorable and impressive than most other films that could be found in theaters right now.
Rating: 7.5/10
In the process of adapting great books into film it seems as if some element inevitably will go wrong. A character is butchered by the screenwriter, essential scenes are left completely to the side, or the tone of the book is ignored and substituted for something much worse or conventional in order to dumb the story down for the general audience. Fortunately, My Sister’s Keeper, adapted from the great book by Jodi Piccoult, doesn’t fall into any of these temptations and winds up instead as a very touching and impacting adaptation.
The film, directed by John Cassavettes (John Q. and The Notebook), starts off with a very tastefully done credit sequence and immediately gets the audience oriented into its world with a voiceover explaining exactly what the situation is.
Anna Fitzgerald, played by an always charismatic Abigal Breslin, was created in a test tube, and as she says “was not a coincidence”. She was brought into the world for a purpose: to save her sister Kate (Sophia Vassilieva) who at five years old was diagnosed with cancer. From the minute that Anna is born she is a donor for her sister; first cord blood, then platelets, then born marrow, and then asked to give up a kidney which could harm her in the future. Always poked, prodded, and ready for surgery, Anna has finally had enough and goes to lawyer Campbell Alexander (Alec Baldwin) with the intention of suing her parents (Cameron Diaz and Jason Patric) for the rights to her own body. What follows is a very memorable and engaging story which shows the struggles that the Fitzgerald family has with the daughter’s decision, and one which asks the audience to consider how they would feel if they were in the same situation.
There is much to admire in this film, including the subtle direction of Nic Cassavettes and the screenwriters of the film. After a few early scenes which could induce a groan or two due to how familiar and staged they feel, everything seems to come together. While there are still the regular tear-jerker histrionics in place a la Terms of Endearment, it feels in this film as if these moments are earned rather than forced. Indeed, there are some truly beautiful and heart-breaking scenes in this film.
By wisely having a narrative depending on flashbacks and voiceover, the audience is given much insight into the Fitzgerald family and is able to understand the motivations of each character. In fact, each character is given at least one voiceover, something taken directly from the novel, but which could have failed in clumsier hands.
While Cassavettes and the screenwriters did impressive work, there was nothing more exhilarating about this film than the acting ensemble, sure to still be one of the greatest at the end of the year. From stars to unknowns everyone is exceptional here and each performance could not possibly work without the support of everyone else.
Abigal Breslin, the lead of the film proves once again why she is one of the most talented young actresses in Hollywood, while Cameron Diaz off of the heels of one of her biggest disappointments shows her tantalizing if not often realized potential as a great dramatic actress. Alec Baldwin, meanwhile, can add another success to his surprisingly strong run as of late, offering comic relief where it is desperately needed. Jason Patric and Thomas Dekker, also offer good supporting turns as the father and brother of Kate Fitzgerald.
While all of the performances mentioned range from good to great, the show truly belongs to two actresses: Joan Cusack and Sophia Vassilieva.
Quite simply put Cusack has never been better than she is in this film. Known for her excellent comedic portrayals she knocks this small but difficult role of the judge in the court case, out of the park and will hopefully be in contention for best supporting actress at years end. In contrast, Vassilieva is given much to do, often covered in fake vomit or blood, and pulls off the extremely complex role admirably. She is a true natural, displaying pain, heartbreak, and joy at the switch of a button. Nothing she does seems inauthentic, and without her stunning debut, the film could have been labeled as forgettable. As it stands, however, her performance can be compared to such great film debuts as Jodie Foster in Taxi Driver and Dakota Fanning in I am Sam. She will truly be someone to watch in the future.
This film, while excellent, does suffer through certain problems. To begin with, some of it feels uneven and at times all too familiar. In addition the music seems to be trying too hard to obtain emotion from the audience. Also, there are certain subplots from the book that were taken out due to time constraints which seemed to hurt two characters in particular: Jesse (the brother) and Campbell Alexander, both of which have much more going in on the novel.
But these problems are neither here or there. Criticism cannot rely on what should have been, only what is. Despite the issues that this film has, this is still one of the more emotional films of the year, and is a proud owner of the best ensemble so far this year. In a summer filled with explosions, this is one intimate drama that found a way to make its own mark and is easily more memorable and impressive than most other films that could be found in theaters right now.
Rating: 7.5/10