While We’re Young may not be Noah Baumbach’s best film (I can’t quite decide between Margot at the Wedding, Frances Ha and The Squid and the Whale), but it is certainly his most enjoyable – and commercially viable.
It’s the story of a fortysomething couple who begin hanging around with a twentysomething couple and learning some things about themselves.
First off I have to say that the cinematography and costuming in Red Riding Hood was amazing and the surreal visuals used in various scenes were stunning. The set designers that built the village that the characters live in did an excellent job in creating a balance of of stark isolation and fairytale look to it. None of which, in my opinion was enough to lift this movie out of it’s dull and overuses storytelling.
In the official press release for Red Riding Hood, we are told that Valerie (Seyfried) is a beautiful young woman torn between two men. She is in love with a brooding outsider, Peter (Shiloh Fernandez), but her parents have arranged for her to marry the wealthy Henry ( Max Irons). Unwilling to lose each other, Valerie and Peter are planning to run away together when they learn that Valerie’s older sister has been killed by the werewolf that prowls the dark forest surrounding their village. Red Riding Hood was written by David Johnson and directed by Catherine Hardwicke, who also directed Twilight.
This connection might explain why this re-imagining of the Red Riding Hood story follows the same predicable teen angst romantic triangle as the Twilight movies do. Unfortunately for this movie, it doesn’t have a built in audience from a series of successful novels. Given the fact that no one knew the characters in advance, Red Riding Hood might have fared better if it had been more appealing to a wider range of viewers by focusing on the legend of the werewolf and hunting it rather than focusing on a juvenile romance.
Gary Oldman contributes to the feeling that Red Riding Hood might be directed by Catherine Hardwicke, but it definitely not the new Twilight. The trailer posits it as a supernatural thriller. Check it out.
Atom Egoyan is one of the most interesting directors around. Whether exploring the boundaries of the psychosexual thriller [the incredible Exotica] or the depths of despair [The Sweet Hereafter], his films are usually genuinely affecting and insightful. Chloe – a remake of the French film, Nathalie – returns to the realm of psychosexual thrillers, but seems somehow disconnected from its audience.