Mighty Fine Reviews
The story is about a man and his family of wife and two daughters and the long and frustrating battle the husband has going through depression of a strong suite. THe husband tries to build a life for his children and his wife and he keeps having problems and then takes it out on his family,
This is a mighty fine movie and i have to say the performances by the four family members are crazy good.
Chazz Palminteri puts in a worthy Oscar Winning performance and I like this guy from the first performance i saw him in the movie Oscar playing a butler for Sly Stallone.
The sad part of this movie this kinda depression can effect anyone and anyones family members what should happen as it did in the movie and sometimes we are not soo lucky but getting help for the members that need it has to happen quick so they can get back on track and progress with their lives.
Not suitable for the kiddies.
Only thoughts and dreams floating through the vast emptiness that was.
Until, like that of a beautiful sunrise, our glorious lord and savior, the almighty ogre, Shrek, was born of these thoughts and dreams, of those whom had not yet come to be.
Shrek is infinitely knowledgeable, and the all powerful ruler of the universe.
For several thousand years, Shrek would pleasure himself in solitude, and he would dream about what could be, and what will be.
Until, he grow so tired of masturbating, that he decided to try anal fisting.
So large was his fist, so intense was the struggle.
The shit that he shat was so glorious, that it flew across the emptiness, and so strong was his passion, that most of his shit was set aflame.
After one huge push, his stomach was empty, and the Earth was formed from the last piece of shit that came from his rectum.
And from his anus flowed blood,
like that of a forest stream on a summer day, and this blood formed the oceans on earth.
Shrek was so pleased with the outcome, that he created the Dinosaurs, with which he lived with for many years. He would pleasure himself with the large reptilian beasts, until one day he let out such a fart that he wiped them out.
For many years again, Shrek was lonely, until from the ashes of the dinosaurs came mankind, a new race of intelligent beings. Shrek now used them to please his desires, and those remained loyal to Shrek, and those who were worthy of him, would sometimes receive a visit from the burly ogre. But unfortunately from the race of mankind came the everlasting evil that is Farquaad, who despised ogres, and swore to defeat our lord. Shrek and Farquaad still clash to this day, and Shrek will forever protect us.
And from here we tell of the exciting adventures of our lord Shrek, and his sub-deities, Puss and Donkey.
Joe Fine (Chazz Palminteri) moves his family from Brooklyn to a beautiful white house in New Orleans, where he owns a factory. However, he's taking a huge risk, as his business is unstable. His daughters, Maddie (Jodelle Ferland) and Natalie (Rainey Qualley), are worried they will not be accepted in their new home in the South, fearing anti-Semitism. But their biggest problem is the one they brought with them. While their father Joe is charming and generous, he's emotionally unstable, given to fits of rage. As his business deteriorates, so does his mental state, and he become a threat to himself and his family.
Not that Mighty Fine has that kind of elegant simplicity as a story, but instead is padded with subplots. The beloved family dog is aging and in ill health. Maddie enters a poetry contest, but writer's block gets the better of her. Natalie tries to win friends and find a boyfriend, but her father's demands and erratic behavior makes that impossible. The anti-Semitism angle doesn't peak the way it should, and there's a subplot about Joe's involvement with loan sharks that doesn't resolve.
Mighty Fine is painful to look at. In an age of high-definition, digital cameras, this film is a throwback. The film was shot on a Super 16mm camera, and then blown up to 35mm in post production. This can look fine in other films, but here, edges are blurry, and colors are dull. It's shot largely in close-ups, and there isn't much coverage, making it look like an ABC after school special. This film simply does not merit a theatrical release.
Through this blurry lens, we watch the Fine family doing a lot of sitting and lying down. There are several scenes of Natalie writing in her journal or working on her poem. In other words, the direction is overall leaden and predictable, and newcomer Qualley, while attractive, is particularly wooden. However, the fault lies with Debbie Goodstein, who directs her first feature narrative film. The script by Goodstein herself--based on her own life--is melodramatic. There is no subtext in Mighty Fine. There is just text. It's in bold, and underlined. "You're ruining my life!" Natalie screams, "Just shoot me!" We know what characters are thinking because they tell us they're thinking. A voice-over narration, read by a flat, nasal Janeane Garofalo as Maddie in her later years, continues well past its welcome. The characters are predictable, making for a story without surprises. Joe does what Joe does, and more of it as the film goes along.
Mighty Fine feels like a novel adaption, and would have worked better in that medium. It's largely about what Maddie thinks and feels about what's going on; she's merely a narrator, and doesn't do anything. It's a mistake to have these kinds of characters, because in film, the camera is the narrator; it shows us what we need to see and how we see it. Having a narrator character is redundant. Ultimately, the film is about Joe, but his problems are internal--the stuff of short stories and novels. I was never moved by Mighty Fine, and while I didn't hate it, my sympathy for the characters' plight wore off before the credits rolled.
I recognize it. So did most of the people in the audience with me.
Chasing cheap labor and tax incentives of the '70s South in a last ditch effort to save his wheezing garment biz, Joe Fine, a bi-polar tough guy, abuser/lover moves his New York Jewish family to Louisiana and all hell, mostly private, breaks loose. From the opening scene, a trippy, grimly funny, claustrophobic car ride from Brooklyn to the bayou, director Debbie Goodstein captures the dangerous thrill ride that's life with an undiagnosed, smooth-talking, delusional manic-depressive.
Chazz Palminteri's Joe bribes and browbeats his Holocaust survivor wife (Andie MacDowell) who, despite her fragility, willfully hangs onto the illusion of the good husband and father. The elder of Joe's two adolescent daughters (Rainey Qualley), sick of both parents' pathology, lets loose a rebel yell you can hear from New Orleans to New York City. The younger daughter (Jodelle Ferland), unripe, scared and quietly brazen, agonizes over the truth and puts it in writing.
Mighty Fine is also a woman's film, a dar comedy. It's written, directed, produced by a woman; told from a woman√¬Ę(TM)s point of view, set in a household dominated by a man but densely inhabited by females. Leaves me wondering how come that so far, there's not one woman reviewer to add a XX perspective to this flawed but intimate and honest film?
I am actually going to recommend this movie to my book club. I bet the discussion afterwards is going to be kick ass because I think this issue has touched so many of us at one time or another. A strong recommend.
It has some really amusing parts, some quite shocking and overall very dramatic. I would personally suggest going to see the opening!
Just like the tiny mirrors on a disco ball, the movie "Mighty Fine" shows us the many different facets of a family, especially when that family is dealing with Joe Fine, portrayed by Chazz Palminteri. In a live chat after a recent online preview of the film, Palminteri called Joe Fine a "paradox," a man who vacillated between angry rages and being the benevolent charmer who tried to keep everyone happy.
When the Fine family, consisting of dad Joseph, mom Stella, (who spent time in hiding as a child during the Holocaust); 17-year-old Maddie, and younger sister Natalie pull up stakes and move to Louisiana in 1974, we learn that the women of the family hope this move will dilute Joe's tendencies to angry rages. The deterioration of the financing for Joe's business, though, revives the rage monster and it wakes up hungrier than ever.
Stepping away from the heavy topic for a moment, I have to share the fun and retro-themed joy of all the 70's paraphernalia in this film. (I was 10 in 1974, the year in which the film is set.) Since there was a live chat occurring among all of the participant bloggers when we watched the film online, it was amusing to hear reactions ranging from, "Oh My God people once smoked inside houses!" to "Oh yeah, I can remember when we had to dial the phone using that rotary dial."
Back to the film's "heavy topic." It was sobering to hear all of the experiences with emotional abuse that the participant bloggers shared. Women whose mothers made courageous decisions to leave everything behind in order to get out of abusive situations; women who had been victims of abuse themselves; women who hypothesized that in 2012 Joe Fine would have had access to a mental health professional who would do a whole lot more than his family physician, who Joe convinced that the only problem was a bit of business stress.
Natalie Fine recites a poem at the end of the movie. A line from that poem stayed with me after I watched the film, as I tried to decide what to focus on for this blog. Here's the line:
"There's a monster in dad, and it makes him wicked mad."
When asked about emotionally abusive parents such as Joe, Chazz Palminteri said that every parent needs to remember: "You are a mirror."
What did Maddie see in the mirror of her mother when she tried to placate Joseph? What did both girls see when Stella made her final decision?
I hope you will consider finding out how everything ended by going to see Mighty Fine when it is released on May 25.