Tag Archives: Mark Duplass

Review: Blue Jay


Blue Jay is, in some ways, a very simple film. With just two actors on screen for almost the entire runtime, a black-and-white colour palette, and an almost non-existent narrative, it’s a masterclass in barebones cinema. Think of a quiet, low-budget indie film. Now think of a film even more stripped down than that, and you have something approximating Blue Jay.

However, it’s also a film that is a bit difficult to describe. The plot is simple – two former high school sweethearts, Jim and Amanda, unexpectedly meet again 20 years later and spend a day catching up – but the reason it’s actually interesting is much more complicated to define.

A big part of the reason is lead actors Mark Duplass and Sarah Paulson, who imbue their performances with such lived-in believability that you never question Jim and Amanda’s past together, or why they’d be intrigued at the prospect of hanging out again. There is an immediate tenderness to the pair’s chemistry that allows the viewer to buy in to their shared past and also nicely lends credence to some later plot reveals about why the pair’s teenage romance fell apart in the first place.

Another thing the film certainly has going for it is the Duplass touch. Blue Jay is the first of four films that Mark Duplass and his brother Jay are producing for Netflix, and Mark also wrote the script. It has the same micro-melancholy feel of other Duplass brother joints, such as 2012’s Jeff Who Lives at Home and 2011’s Cyrus. But while the brothers directed those other two films themselves, Blue Jay is actually the debut narrative directorial effort from cinematographer Alex Lehmann. By the Duplasses handing over the directing duties to someone who, frankly, has a much stronger eye for composition and cinematography than they do, Blue Jay has a visual beauty that their other films have lacked. The black-and-white cinematography is clean and surprisingly unobtrusive, lending the film a bit of extra, albeit gentle, emotional heft.

Blue Jay has an emotional core that feels genuinely melancholy without ever being melodramatic or self-pitying. It’s the little character touches – for example, Jim’s tendency to cry at nearly anything versus Amanda’s unshakable reserve – that make them feel like real people with a full life’s worth of history, rather than characters created solely for the purpose of a self-contained film. The filmmakers tap into something authentic and intimate in a way that is rarely captured on screen.

The film bound to draw comparisons to Linklater’s Before Sunrise series, and there is a “walk and talk” quality to Blue Jay that makes the comparison apt, as does the film’s limited timeframe. However, while Linklater’s trilogy is full of acerbic dialogue between its two notably articulate protagonists, Blue Jay revels in its own regularity. The conversations between Jim and Amanda feel like discussions anyone could have. That’s not to say that they’re banal, but the film’s emphasis on improvisation allows Duplass and Paulson to explore in a way that feels very natural. The result is something that feels a little less polished, but perhaps all the more emotionally raw because of it.

The old “I laughed, I cried” cliché has maybe never been more true for me than it was with Blue Jay. It’s a film rich in universal truths and an almost indescribable sadness, despite the fact that it comes in such a charming package, courtesy of Duplass and Paulson’s on-screen chemistry. It’s a small film, but don’t let it pass you by.


The Mid-Year Report: Favourite Performances

Which Moonrise Kingdom star will crack my top 10?

  1. Mark Duplass, Safety Not Guaranteed – For bringing humour and humanity to a character who could have seemed way over the top, and for damn near breaking my heart in the process
  2. Jake Johnson, Safety Not Guaranteed – For not only being hilarious, but also taking a stock character (the douche-y, cocky reporter) and making him someone we care about
  3. Jennifer Lawrence, The Hunger Games – For offering a strong, internalized performance to a teen blockbuster
  4. Channing Tatum, Magic Mike – For making me a Channing Tatum fan
  5. Edward Norton, Moonrise Kingdom – For taking a small role and stealing the whole damn movie
  6. Jack Black, Bernie – For bringing ambiguity and heaps of charm to a character who should be black-and-white
  7. Brie Larson, 21 Jump Street – For playing a hugely charming love interest and being genuinely funny in her own right
  8. Chris Hemsworth, Snow White and the Huntsman – For once again playing the macho leading man while still balancing the physical requirements with humour and warmth
  9. Aubrey Plaza, Safety Not Guaranteed – For proving she has the charisma and acting chops to be an offbeat leading lady
  10. Charlize Theron, Snow White and the Huntsman – For bringing the wrath and just generally being fierce

Honorable Mentions: Woody Harrelson in The Hunger Games (for being his usual sassy self, and also hinting at the dark undertones of Haymitch), Jonah Hill and Channing Tatum in 21 Jump Street (for working together brilliantly), Ewan McGregor and Emily Blunt in Salmon Fishing in the Yemen (for making a fetching pair and elevating otherwise light material), Dane DeHaan in Chronicle (for making a highly charismatic leading debut), Gina Carano in Haywire (for kicking ass and offering up menacing on-screen presence), Matthew McConaughey in Magic Mike (for saying “alright, alright, alright” a couple dozen times).

Safety Not Guaranteed (2012)

Over the past year or so, it seems like we’ve seen a lot of small movies about big, visually challenging concepts that are usually reserved for studio flicks. You know – the end of the world, space travel, the creation of the cosmos. That kind of stuff. And now, Sundance darling Safety Not Guaranteed tackles a similarly sci-fi-inspired theme. But while it might be about time machines and time travel on the surface, like all indie movies of this kind, it’s not really about any of that.

Let me explain. In Safety Not Guaranteed, Aubrey Plaza (Parks and Recreation) plays Darius, an anti-social magazine intern who gets assigned to help investigate a man who claims to be seeking a partner for time travel. “WANTED: Someone to go back in time with me. This is not a joke. You’ll get paid after we get back. Must bring your own weapons. Safety not guaranteed. I have only done this once before” is all the personal ad reads. So, Darius goes with fellow intern Arnau (Karan Soni) and reporter Jeff (New Girl‘s Jake Johnson) to investigate this man, Kenneth (Mark Duplass), who they plan to write a magazine article about. Just like Darius, we’re not sure if Kenneth is crazy, or if there is any truth to his claim. But strangely, it almost doesn’t matter. Safety Not Guaranteed is much more about friendship, love, and regret than it is about a time travel. And as a result, it’s actually a pretty beautiful little movie.

The real strength of this movie is the relationships. First-time screenwriter Derek Connolly does a brilliant job of interweaving the different dynamics of his characters and making their friendships and romances seem natural. Whether it’s Jeff trying to find Arnau some action or Darius’ tentative friendship with the unstable Kenneth, these characters feel like real people because of the way they bounce off each other. The dialogue for the most part feels natural, and this helps prevent the strange premise from bogging the movie down in pure quirk.

Of course, it also helps to have performers who can bring believability to the roles, and director Colin Trevorrow certainly lucked out in that department. Mark Duplass is heartbreaking, funny, and genuinely sweet as Kenneth, who is as innocent as he is caustic. Duplass easily could have gone for an over-the-top performance here, but, as anyone who’s seen any of the films that he and his brother Jay have directed together will know, Duplass looks for the truth in his characters, no matter how strange they may be. One of his real strengths as an actor is in delivering natural-sounding monologues, and he has a couple unlikely, beautiful ones here.

Jake Johnson also delivers an unexpectedly moving performance as Darius’ snarky boss, Jeff. Initially, his character seems to be a pretty standard-issue movie prick, but as we learn more about Jeff, Johnson has the ability to show off some real acting range. As broad and funny as Johnson is in the early scenes of the movie, he becomes emotionally vulnerable in just as big of a way as the movie goes on. He’s not only bitingly funny, but he can communicate so much with a simple facial expression. The result is a scene-stealing performance that suggests big things to come from Johnson.

Despite its grand premise, there’s not a lot to Safety Not Guaranteed. However, there is a real sweetness that I found irresistible. From the gentle humour to the indie rock soundtrack to the montages to the heartfelt performances, everything just fell into place perfectly. And while love and loss may not be novel concepts in Hollywood, this movie has such a pure heart and genuine optimism that it completely won me over. It never really feels cloying, though. The relationships feel genuine and grow organically, and because of that, Safety Not Guaranteed completely enraptured me.