Le temps d'un été

I saw the Broadway production with Estelle Parsons (Violet); John Cullum (Beverly); and Elizabeth Ashley (Mattie Fae) in 2008. I had read the play prior so I knew the surprises but it didn't take away from the play. The film does justice to the story even with forty minutes edited out of time. The film casting here is perfect but I wonder what the original cast would have added to the film adaptation. While Meryl and Julia earned their nominations, I felt that Deanna Dunagan and Amy Morton deserved their chance on the big screen as Violet and Barbara. Margo Martindale did a fine job as Mattie Fae but Rondi Reed would have been the original. While the film stays true to the story, Meryl is believable as the toxic Violet Weston. Julia Roberts has matured as an actress and can stand in a scene with Streep or anybody else. The film and stage version is not for immature audiences as the writer touches on sensitive subjects. The stage production featured a three story set where it can be difficult for a community theater. The film doesn't need to worry about that issue. The film moves through at a good pace but you wonder about what happened to the family after.

I've never seen the play on which this film is based so in a way it was good to come to this film really knowing nothing more than "people are saying this is good so maybe I should go see it". The plot sees a deeply dysfunctional family of strong-willed and vitriolic women coming back together in the wake of a family tragedy. Resentment, past hurts, bitterness and vitriol are the underlying themes as the family sits around the dinner table. I shan't say too much more than that – not because the plot is best left unknown (although it is) but more because there really isn't too much more actual plot to worry about and instead the film is more about the characters and a study of the family.

In some ways this is a bad thing and it does make the film feel long and rather lacking in a narrative drive. I can understand why many have found it dull and low on direction and focus but for me personally I thought that the strength brought about by this approach was just about enough to overcome the weaknesses inherent in it. That strength is simply in the way that it takes a very talented group of actresses, puts them together and gives them some really strong scenes to get their teeth into. Additionally, and I don't mean to be rude, but this group is of an age which Hollywood casting agents generally starts forgetting exists due to their age. As a result of this the film almost always engages in the moment or in any specific scene as we see instantly recognizable characters lash out at each other, playing out old patterns of hurt in a way that we are able to recognize them as "old patterns" even though we as viewers are here for the first time. So as a collection of scenes, the film is almost always working well – it is just when it has to come together that it doesn't do quite as well.

Despite this it is great to watch the cast go at it. Streep is great as usual and is utterly convincing as someone so engrained in patterns of behavior and carrying so much pain in her that it has affected everything – OK the cancer and the "eating pain" stuff may make it a bit too obvious, but even still she is good at what she has to do. Roberts is not quite on that level here but is still very strong while Nicholson and Lewis do well with big supporting characters. Martindale may not be as big a name (or role) but those that watch Justified already know she has presence and she holds her own here really well. The male cast are very much second fiddle but there are still good turns throughout from Cooper, Shepard, Cumberbatch, Mulroney and McGregor. The risk is that the cast feels too heavy with stars, but they are all so convincing that once they had been on screen for a little, I was more focused on the character than the career.

August Osage County is one of many films getting hyped up around the awards period and as with many films it is not as perfectly brilliant as you'll be told it is. The narrative does move but the film always seems happiest when it is just sitting and letting the family be themselves and as a result it does move slowly and perhaps the story lacks real impact. However, just as the film is happy, so are the cast and the strong individual scenes give plenty for the cast to work with, and they return the favor with a really strong ensemble feel that is engaging and convincingly laced with hurt and anger – and it is this that makes the film strong and worth a look.

It amazes me how you can watch a movie in one period of life, then rewatch it in a fifferent period of life and catch new things. This movie does that, which makes it timeless. I must say, big Sam Shephard fan, so obviously I'm going to like it a little. NOT a Meryl Streep fan but she killed it in this movie.. Julia Roberts, just WOW. I'm not sure if she was nominated but she should have won an Oscar for that performance. It requires an understanding of that kind of life in order to appreciate the movie. Don't listen to critics that have never left the city. They know nothing about the pain this movie seeks to explain.

Before I even start to talk about John Wells' new film "August: Osage County," I have to say I've never seen the stage play or read it by writer Tracy Letts. Following the screening, I felt it was important to disclose. An all-star cast is assembled, all which have individual moments to shine, which is surprising with a cast this size, and for the most part, the film succeeds on multiple levels. Sure to be divisive, "August: Osage County" is tenacious and beautifully constructed. Soulful and unafraid to show the gritty and ugly of the American family, Wells' film is utterly compelling. A must-see for the awards season. An instant Oscar contender.

From the top to the bottom, this film exists and succeeds by its performances. At the top of the heap and best in show is the stunning and beautiful Oscar-winning actress Julia Roberts. Her turn as Barbara Weston is in the top three performances she's ever delivered. Roberts dives into herself in a way we haven't seen since "Erin Brockovich." The narrative fully turns on her character and in the final half of the film, she pulls the train through to the station. I'm incredibly impressed with her work. Roberts is a revelation and reminds the world how good she really is. A sure-fire Oscar contender.

As Violet Weston, a role played by Deanna Dunagan on Broadway, there were high expectations to see what 3-time Academy Award Winner Meryl Streep would bring to the role. For the past few years, I've begged for Streep to "dirty it up" and play a role like this. A drug-addicted matriarch who a gutter mouth lets Streep give a fresh take on a character. Her performance is middle of the road for what Streep has delivered in her career. That can mean different things to different people. Middle of the road for Streep could be the best of any actor. I walked out of the theater feeling the same way I felt following the end credits of "Doubt." Streep excels in many areas of acting, but I feel when it comes to stage adaptations to the big screen, Streep doesn't live in the character as comfortably as she would in any other role. There are times that the role does go a bit over-the-top. That being said, Streep is still plenty great as she's been in other roles as of late. She inhabits lots of Violet's beats and mannerisms and gives dynamite exchange with some of her co-stars. It's a performance that will surely land her another Best Actress nomination.

Trying to pick any of the supporting characters to single out is like trying to pick your favorite child. Margo Martindale as Mattie Fae is ballsy and spunky and its good to see an actor of her caliber finally getting a chance to rip into a role like this. Her character reveals the film's darkest secret which gives her an edge over some of her co- stars, which Wells directs masterfully with DP Adriano Goldman.

I could eat Benedict Cumberbatch up with a spoon. As "Little Charles," he definitely has the narrative's most sympathetic story but more importantly, in a film that is full of despicable people, he manages to pull the audience in to root for him, even when you know he's doing something terribly wrong.

I've longed for Juliette Lewis to get back in Oscar's graces following her nomination over twenty years ago in Martin Scorsese's "Cape Fear." She as dynamic as we've seen her in the last few years, delivering her best turn yet as Karen. A true professional. Ewan McGregor continues to elevate himself as one of our finest actors working today as Bill, Barbara's estranged husband. As someone who is on the opposite side of the rational spectrum when compared the Weston ladies, McGregor stands out as a positive take. Unfortunately, he only gets one scene to really let loose in a memorable manner.

I can recall being floored by the work of Julianne Nicholson in the little indie that no one saw, "Flannel Pajamas" nearly seven years ago. I've never fully revisited her work since despite stints on "Conviction" and "Law & Order: Criminal Intent." As Ivy, the one sister that stayed behind, Nicholson embraces her natural and simplistic mannerisms that give her role a much-needed arc in the narrative. In a perfect world, we would be looking at Julianne Nicholson for serious Oscar consideration.

Brief but all too clear as perfection, Sam Shepard ignites his brief screen time as Beverly Weston, the patriarch of our family. Same could be said for Misty Upham as Johnna, our Native American housekeeper sitting as a silent observer.

Academy Award winner Chris Cooper shines when he takes on sensitive and accessible performances. With a tough exterior but a soft and loving emotional center, Cooper acts as an sentimental pillar to our tale. If there is room for a man in an Oscar lineup from a film dominated by women, he is likely it.

Director John Wells has a strong hold on the material. He understands where he wants the narrative to go, putting an emphasis on the story and letting any directorial styles take a backseat. It's definitely appreciated in a story that has so many moving parts. Writer Tracy Letts adapts his own play and in the second half really stretches out his legs as the story takes shape for certain characters. The first thirty minutes are rough. The dialogue isn't as quick as snapping your finger. Some monologues run a little long and there are a pair of instances where I checked out of the story for a moment.

The Weinstein Company have quite a gem on their hands. Lots of heart and laughs, "August: Osage County" has the year's best cast ensembles and is one of the year's best films.

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Granted, I wouldn't last five minutes with this bunch. But having grown up with people not unlike this, I found the parrying and thrusting to be quite real. These characters are all inflicted with the same disease; they need love and drill for it, but they are incapable of letting go of their submerged self-hatred and continue to bring each other down. If you can get past that, you can sit and watch the disaster happen and appreciate some really intense performances. Black comedy is not "funny" the way that farce or physical comedy are. Black comedy draws its strength from seeing our lives as absurd and unfulfilled and still going on. Sartre thought that we all had had a terrible joke pulled on us. If we live in this septic tank, bless us. If we can rise above it, bless us too. The dialogue is real, the awful failure to express love and respect is well presented, painful as it may be. While this was not a pleasant experience, I could not take my eyes off the principles. I think about this movie all the time which means it must have got to me.