Category Archives: Ty Simpkins

Little Children-2006

Little Children-2006

Director Todd Field

Starring Kate Winslet, Patrick Wilson

Top 250 Films #126

Scott’s Review #334

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Reviewed January 9, 2016

Grade: A

Little Children is a subtle, dark drama from 2006 that reminds me a great deal of The Ice Storm and American Beauty- both equally quiet masterpieces. All are similar films about dysfunctional, interpersonal relationships that are damaged.

The great film is one of my more modern all-time favorites.

On the surface, the small suburban Boston town in which the members of the film reside is whimsical, peaceful, and quiet. Spacious colonial and Victorian houses similarly line the sleepy streets.

The small town (unnamed) is affluent and, we learn very early on, is rife with scandal. A child-molester, Ronnie, (Jackie Earle Haley), who is also a resident of the town, living with his mother, has recently been let loose to resume his life, which makes the neighborhood tense and angry.

It is summertime, and the air is thick with heat and secrets.

Other than the child-molester story, the main drama involves Sarah Pierce (Kate Winslet), an intelligent, bored, stay-at-home housewife. She is angry and frustrated.

She cares for her three-year-old daughter Lucy, while her husband is addicted to porn and regularly sniffs panties that he purchases online, even risking his job to immerse himself in his addiction to porn.

They have a sex-less marriage.

Soon, Sarah embarks on a relationship with the resident hunk, Brad (Patrick Wilson), a stay-at-home Dad to four-year-old Aaron. His wife, Katherine (Jennifer Connelly), a “knockout”, produces documentaries and is the breadwinner of the family.

Thrown in the mix is crazed ex-cop, Larry, obsessed with protecting the neighborhood from Ronnie, and a trio of suburban house-wives, who are friendly with Sarah and secretly lust after Brad.

Little Children is a film about relationships, insecurities, and dreams remaining unfulfilled. How these relationships are damaged, filled with angst, or yearning for a resolution far out of reach, are explored and every character is sad in some way.

Each character is unfulfilled and in the middle of all of it is the torrid romance between Sarah and Brad. They while away the summer in romance that we just know will not last. They find some happy moments, but how will this continue?

Tragic is the situation with Ronnie- despite being a child molester he is portrayed as a sympathetic character. The entire town is against him- a sad scene involves the townspeople fleeing the community pool when Ronnie dares to go for a swim.

When he tearfully tells the police that he just wanted to cool down, there is such sadness in his eyes.

Despite being supporting characters in the film, my favorite performances are by Haley and Phyllis Somerville, as Ronnie’s feisty yet haggard mother, May.

Determined to ensure her son has a decent life, she lashes out at anyone who bullies her poor Ronnie. Somerville’s performance is heartbreaking and, in a perfect Hollywood world, she would have received an Oscar nomination.

Happily, Haley did, as injecting any sympathy in a character such as his is a difficult task, but Haley does so in spades.

The film is filled with narrative- in not dissimilar fashion to the classic Barry Lyndon (1975)- as the narrator explains the thoughts and inner turmoil of the characters in regular intervals. This adds layers and clarity to the film.

A masterful scene involves one centered around the dinner table, successfully done. Curious about husband Brad’s daytime life when she is away at work, Katherine invites Sarah and her daughter to join them for a cozy dinner.

As everyone eats and converses, the light bulb suddenly goes on in Katherine’s head and she pieces together events, realizing Brad and Sarah’s true relationship.

All of those days when she knew not where Brad was now came flowing back to her. A similar scene was played out in 2008’s The Kids Are Alright, working successfully in that film too.

The stories eventually intersect and I love this point of the film, especially being that it takes place in a smothering small town.

Character-driven, cynical, tragic, and dark. Little Children (2006) is a humanistic masterpiece that I never tire of watching- one of my favorites.

Oscar Nominations: Best Actress-Kate Winslet, Best Supporting Actor-Jackie Earle Haley, Best Adapted Screenplay

The Whale-2022

The Whale-2022

Director Darren Aronofsky

Starring Brendan Fraser, Sadie Sink, Hong Chau

Scott’s Review #1,328

Reviewed December 28, 2022

Grade: B+

The Whale (2022) is the latest film from director Darren Aronofsky, a filmmaker that I have been a big fan of since viewing the disturbing Requiem for a Dream in 2000. That film made me cringe and squirm in the best possible ways.

His knack for creating psychologically dark yet enthralling films continued with The Wrestler (2008), Black Swan (2010), and mother! (2017).

Any release by Aronofsky will be watched by yours honestly, though I am well aware I will likely leave the theater, drawing deep breaths and trying not to feel disgusted.

On the other hand, there is a good chance that I will feel a sense of accomplishment and satisfaction knowing that I have seen something of artistic distinction.

Not an easy watch, The Whale left me satisfied, in an Aronofsky way, but recognizing the overwhelming dirtiness and nastiness of the supporting characters and the pitiful nature of our protagonist, a good, decent guy.

Charlie (Brendan Fraser) is an obese, six-hundred-pound English teacher who makes his living teaching online classes from the safety of his meek apartment. Embarrassed by his weight, he refuses ever to turn on his camera.

Racked with guilt over abandoning his family and grieving the loss of the male partner he left them for, Charlie is slowly eating himself to death. Over a week, he tries to find redemption when he reconnects with his angry teenage daughter.

He is cared for by a night nurse and the sister of his deceased partner, named Liz (Hong Chau), while visited by a church missionary, Thomas (Ty Simpkins), and his estranged daughter, Elle (Sadie Sink, and his ex-wife, Mary (Samantha Morton).

Let’s give Brendan Fraser the Oscar right now. His performance is a primary reason to see the film, and he envelops himself in the role while making a ‘comeback’ to the Hollywood circle.

The actor does more than wear a fat suit. He delivers an emotional turn as a lost soul who has spiraled out of control since his partner’s death. A recluse, he wheezes and struggles to walk to the bathroom while downing two meatball subs with extra cheese for lunch and two pizzas for dinner.

In a heartbreaking scene, he goes on an eating binge fueled by anger, vomiting it all up soon after. Charlie is a kind and decent person, having faced demons most of his life and trying to live out his final days in peace. He is suffering from heart failure and will not go to the hospital.

Fraser delivers his best work of the career. He channels the proper emotional honesty that makes the character believable. He is hurting, and the audience is along for the ride as he journeys to find purpose before the inevitable occurs.

Before I criticize the supporting characters, I want to stress that the acting by Sink, Morton, Chua, and Simpkins is excellent. Any award recognition provided to any of them will be well-deserved. For upstarts like Sink and Simpkins, this could be the boost they need for a lengthy career.

With that said, the cruelty heaped on Charlie is astonishing and challenging to watch, making the characters of Elle and Mary unlikable. Thomas and Liz are a bit better until Thomas reveals that both Charlie’s weight and sexual orientation disgust him.

Liz is Charlie’s best friend and the most relatable, but she is unnecessarily harsh with him when he chokes on food and doesn’t exude much warmth. Of course, she has her demons like the other characters.

A controversy regarding The Whale has emerged, and there is a certain ‘fat shaming’ to be endured. If I were overweight, I would not see the film since the face stuffing and cruel fat criticisms are part of the experience.

I ruminated throughout The Whale on how easily it could be a stage version. Only one set, Charlie’s dark and dusty apartment in rural Idaho, is used, and only five principal characters exist.

Fraser’s performance is pure genius and worth the price of admission, but there is difficulty with some other aspects of The Whale (2022).

Aronofsky fans should see the film, but fair-weather fans or non-fans should be forewarned that it is a heavy and depressing journey.

Oscar Nominations: 2 wins-Best Actor-Brendan Fraser (won), Best Supporting Actress, Hong Chau, Best Makeup and Hairstyling (won)

Revolutionary Road-2008

Revolutionary Road-2008

Director Sam Mendes

Starring Leonardo DiCaprio, Kate Winslet

Scott’s Review #598

Reviewed January 10, 2017

Grade: A

Revolutionary Road (2008) is an outstanding film- what superior, human, raw acting by stars Leonardo DiCaprio and Kate Winslet.

The duo reunites in film over ten years after the monstrous success of Titanic (1997).

The trailers might lead one to believe that this film is a romantic comedy or some type of love story- it is a love story, but a very real, dark one.

Both characters are flawed.

Set in affluent New England, somewhere in Connecticut to be precise, April and Frank seemingly have it all. He is a successful doctor, and she is the perfect housewife, they live a happy existence free of problems- or do they?

Slowly, the audience sees their lives spin out of control and varying emotions between the pair emerge to the surface.

Great supporting turns by Kathy Bates and Michael Shannon as characters presenting roadblocks to April and Frank’s happiness.

If you are looking for a film with true, gritty, layered acting, this is it. Revolutionary Road (2008) is a much more complex film than the previews would allow you to think.

It shows the depth of DiCaprio’s and Winslet’s acting ability. Some might feel it is a bit slow-moving, but the payoff is worth it.

Oscar Nominations: Best Supporting Actor-Michael Shannon, Best Art Direction, Best Costume Design