THE MONUMENTS MEN (2014)

February 11, 2014

monuments Greetings again from the darkness. Movies based on real life are often some of my favorites, but that doesn’t let them off the hook in needing to be well made. The real life story of the Monuments Men provides both pride and heartbreak. The Allied group tracked down and rescued so much Nazi-stolen artwork, while at the same time being so short-staffed that they resorted to picking and choosing what parts of history and culture to save.

For much of 2013, this movie was mentioned as a possible Oscar contender. When the release date was delayed and director George Clooney admitted he was struggling with the film’s “tone” – a balance of comedic and dramatic and historic elements – all the warning flags shot up. This final version would certainly have benefited from script improvement, though the cast is so strong and the mission so true, that the film is still enjoyable enough. Director  Clooney and co-writer Grant Heslov have adapted the source material from Robert M Edsel, but Clooney can’t resist stamping the movie with his smirk appeal, despite capturing the look of the era.

The actual Monument Men spend very little time together, so it’s tough to call this an ensemble piece. Bill Murray and Bob Balaban have their own subtle comedy routine going, while John Goodman and Jean Dujardin enjoy a jeep ride. Matt Damon and Cate Blanchett add a dose of gratuitous love interest where it’s not needed, and Hugh Bonneville strikes the heroic pose of redemption. Director Clooney ensures that actor Clooney and his buddy Damon get the most screen time and close-ups, detracting from what the real story should be … the men who saved art and culture.

Michelangelo’s Madonna of Bruges and Hubert van Eyck’s Ghent Altarpiece are supposedly the centerpieces of this group’s mission, but the film really is just an amalgam of individual scenes that leave the viewer working frantically to tie all the pieces together. Shouldn’t that be the filmmaker’s job? The question gets asked a couple of times, “Is art worth a human life?”. That critical theme could have been the core of a far superior movie … one not in such desperate need of suspense rather than more punchlines.

Very few war projects have successfully blended comedy and drama. A few that come to mind are Kelly’s Heroes, The Dirty Dozen and TV’s “Hogan’s Heroes“. It’s a tricky line to walk, even with a great cast. So while this one has sufficient entertainment value for a February release, I would rather recommend two others that deal with this same subject matter: The Rape of Europa (2007, documentary) and The Train (1964, directed by John Frankenheimer, starring Burt Lancaster).

**NOTE: the phrase “women love a man in uniform” was well established prior to anyone seeing John Goodman don the Army green.

**NOTE: the actor playing an elderly Frank Stokes (Clooney’s character) viewing the Madonna near the end of the movie is actually George Clooney’s real life father.

SEE THIS MOVIE IF: it’s February and you just need a pleasant movie break

SKIP THIS MOVIE IF: you are seeking for an in-depth look at the fascinating folks behind this fascinating story

watch the trailer:

http://www.youtube.com/watch?v=CreneTs7sGs

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Posted by David Ferguson

GLORIA (2013, Chile)

February 9, 2014

gloria Greetings again from the darkness. One of my favorite comparison points with non-U.S. films is to imagine how Hollywood might take the same story and twist it for mass appeal. It’s pretty easy to imagine this one as a flat-out comedy with Diane Keaton or Goldie Hawn in the lead. Chilean writer/director Sebastian Lelio takes a much more interesting approach giving us a real world perspective on a divorced middle-aged woman seeking companionship and emotional fulfillment.  It’s easy to understand why this one has been a film festival favorite.

Paulina Garcia plays Gloria, a professional woman who embraces the free-spirited lifestyle that being long divorced allows. She has two adult children who are doing just fine in life, and a neighbor with noisy habits and a bothersome hairless cat. Gloria enjoys singing outloud to the car radio, and drinking and dancing at a local nightclub while maintaining hope that a worthy life companion is still in the cards. In other words, she is neither superwoman nor emotional train wreck. And thanks to the exceptional talents of Ms. Garcia, we are drawn to Gloria and care what happens.

We witness Gloria’s flirtatious glances across the dance floor to Rodolfo (Sergio Hernandez). We next witness a middle-aged bedroom encounter that doesn’t take advantage of the body-double directory. Once the girdle is removed (his), the two adults enjoy the moment, while vividly reminding us that all actors (and certainly all people) don’t look like Brad Pitt and Angelina Jolie. Companionship has always been based on emotions, not aesthetics … despite Hollywood’s efforts to prove otherwise.

One of the more interesting aspects of following the relationship between Rodolfo and Gloria is that, in life, we all carry baggage. Sometimes our own baggage is easier to deal with than that of others. The birthday party for Gloria’s son and the ongoing crisis with Rodolfo’s ex-wife and daughters convey just how difficult it can be to recognize the effects of such scenarios.

The class of this sub-genre is the 1978 film An Unmarried Woman with Jill Clayburgh. Of course, in that one, Ms. Clayburgh was significantly younger than the Gloria character here. Still, some of the obstacles are similar and both feature terrific lead performances from actresses. The role of music in Gloria’s life is especially poignant. At one party, there is a wonderful duet of “Aquas de Marco” (Waters of March) originally written by Antonio Carlos (Tom) Jobim. The song and the movie are about the daily progressions of life. The ending is especially spot on thanks to Gloria’s response to the original version of “Gloria” by Umberto Tozzi (re-made in the U.S. by Laura Branigan).

It’s quite easy to view this story through Gloria’s eyes and fully understand her “grow some” comment. However, for a different perspective, try looking at things through Rodolfo’s eyes. Maybe Gloria is a bit more self-centered than what she appears at first glance. There are a couple of scenes … the mirror and the peacock … that hint at this same ideal. This appears to be Mr. Lelio’s way of telling us that life is just not that simple and that we all have defense mechanisms that impact how we are perceived by others. It’s just not as clear-cut as the initial reaction.

**NOTE: this was Chile’s submission for Foreign Language Oscar, but it did not make the final cut.

watch the trailer:

 

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Posted by David Ferguson

OSCAR NOMINATED SHORTS: Live Action and Animated (2013)

February 9, 2014

Greetings again from the darkness. Yes, it’s almost Oscar time again! This past weekend, I took my annual trek to the Magnolia Theatre to check out this year’s nominated Short Films – Animated and Live Action.  If you have never taken advantage of this opportunity, I would encourage you to do so. It is always an interesting 3-4 hours that keeps your mind (and eyes) spinning, while reminding us that short films are quite a different skill set than feature films.  Though I didn’t find this year’s films to be exceptionally memorable, it’s still insightful to view the variance in styles and substance from different countries and filmmakers.  I must say the nominations were a bit heavy on drama, with only a couple of exceptions.  Even the animation films were mostly adult in nature, which is unusual.

Below is my quick recap of each, with each category in order of my preference (not my Oscar predictions):

LIVE ACTION

voorman Helium (Denmark) – a young, terminally ill boy is bed-ridden and trying to come to terms with waiting to die. A kindly orderly befriends him and weaves a fantastical ongoing story to ease the boy’s acceptance of the afterlife.  It’s a combination of fine acting and special effects.

That Wasn’t Me (Aquel No Era Yo, Spain) – aid workers are taken hostage in Sierra Leone and we witness the brutal atrocities of war with an emphasis on child soldiers.  It is extremely well made, but torturous to watch.

Do I Have to Take Care of Everything? (Finland) – a light-hearted look at the chaotic morning of a family running late for a wedding, and the added stress brought on by a Supermom. This was a nice dose of levity amongst the darker films.

The Voorman Problem (UK) – Martin Freeman and Tom Hollander (pictured left) star in a an unusual prison-based vignette where, this time, it’s not the doctor who thinks he is God.

Just Before Losing Everything (Avant Que De Tout Perdre, France) – a frustrating situation where a mother tries to extricate herself and her kids from an abusive home place.  I say frustrating because no one will pick up the phone and call the freakin’ cops.  I understand the fear, but this sets a horrible example for those in this situation.

ANIMATED

get a horse lg Room on the Broom (UK) – this is the simplest story of the group, and it’s designed to be a children’s story with a message.  An extremely friendly witch and her constantly annoyed cat team up with a dog, a bird and a frog to defeat a fire-breathing dragon. It’s from the people who brought us The Gruffalo, and has celebrity voice acting from Gillian Anderson, Simon Pegg and Sally Hawkins.

Mr Hublot (France) – the most intricate and stunning animation of the group features an obsessive-compulsive recluse whose life changes dramatically after he adopts a robodog.

Get a Horse! (U.S.) – the Disney entry is undoubtedly the most-seen of the group since it was shown prior to Frozen, one of the year’s biggest box office hits.  It’s a fabulous combination of old and new, as it starts out in classic Black & White and morphs into full color.  Mickey (Walt Disney’s voice) and Minnie Mouse are on a joyride with Horace Horsecollar and Clarabelle Cow until Peg-leg Pete starts causing trouble. The only problem with this one is the frenetic pace that makes it impossible to catch all the sight gags.

Feral (U.S.) – speaking of retro, this is Daniel Sousa’s hand-drawn, slightly dark story of the attempt to civilize a young boy raised in the woods.  While it looks beautiful, the story seems incomplete.

Possessions (Japan) – in the footsteps of Japan’s fantastic history of anime, a traveler takes refuge from a storm in a most unusual temple.  The colors are amazing, but the story lacks a real message … every item has a soul??

**NOTE: since it was presented as “Commended”, I would like to mention Pixar’s The Blue Umbrella, which somehow did not make the final cut.  It was shown prior to Monsters University and is a visual delight, and includes the usual Pixar emotions.

here is the teaser trailer for The Blue Umbrella:

2 Comments | Animation, Comedy, Drama, Fantasy, Sci-Fi, Short film, War, World Cinema/Foreign | Tagged: , , , | Permalink
Posted by David Ferguson

TALK TO HER (Hable con ella, Spain, 2002)

January 19, 2014

talk to her Greetings again from the darkness.  Not many writers/directors would put their two lead actresses in a coma for most of the movie.  But then Pedro Almodovar has never been one for a conventional approach.  His creative, challenging and visual story telling is at its peak with Talk To Her.  The Dallas Film Society provided an opportunity for me to revisit this one for the first time since my initial viewing in 2002.  A rare Best Original Screenplay Oscar winner for a Foreign Language film, those eleven plus years have not even slightly dulled the impact.

It’s typically pretty simple to determine what genre a particular film falls into.  Somehow Almodovar walks (and writes) a fine line between love story and horror story … comedy and tragedy. Always an expert at writing interesting female characters, this time he shows the women are the stronger force even while comatose!  The male leads are the ones suffering and dealing with loneliness.  Javier Camara as Benigno is both likeable and suberbly creepy as Alicia’s (Leonar Watling) caregiver.  Dario Grandinetti is stunning as Marco, whose stoic personality can reach dimensions most actors can’t touch. His scenes with Lydia (Rosario Flores) and Benigno are unlike anything ever seen on screen.

The film begins with a ballet piece featuring the amazing Pina Bausch (you should see the 2011 documentary Pina), and the rest of the film features similar pacing … each individual scene and even the film score create the feel of watching a ballet.  There is even a fantasy/faux silent movie sequence within the movie that will cause uneasiness and nervous laughter … while Almodovar again makes the point that the force of women can literally consume a man.

In addition to terrific performances by Camara and Grandinetti, the flashback sequences really allow Ms. Watling (as a fresh-faced dancer) and Ms. Flores (as a confident bullfighter) to prove why these men fell so hard.  One other actress adding interest is Geraldine Chaplin (daughter of Sir Charles) as Alicia’s dance instructor.  Her presence helps tie in the flashbacks and present tense.

While most writers tie up stories with a pretty bow, Almodovar purposefully challenges us to think and feel and dig into our own thoughts and beliefs. He is brilliant (and a bit annoying) with his persistence in making us work so hard. There are decisions coated in gray, rather than black and white.  There are characters who we want to like, but maybe/probably shouldn’t. Pedro’s use of color and texture is fascinating.  This is an example of a master filmmaker at the peak of his craft.  Sure, he has many other excellent films (Volver, All About My Mother, Broken Embraces), but if you only get one Almodovar, make it this one.

**NOTE: The priest in the wedding ceremony is played by Agustin Almodovar, Pedro’s brother and the film’s producer

watch the original trailer:

https://www.youtube.com/watch?v=7fl8tyEIXXI

 

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Posted by David Ferguson

AUGUST: OSAGE COUNTY (2013)

January 12, 2014

august Greetings again from the darkness. Tracy Letts had a very nice year in 2008. He won the Pulitzer Prize and a Tony for writing the play August: Osage County. Since then, he has also written the play and screenplay for Killer Joe, and been seen as an actor in the key role of a Senator in the TV show “Homeland“. This time out, he adapts his own play for director John Wells’ (The Company Men, TV’s “ER“) screen version of August: Osage County.

With an ensemble cast matched by very few movies over the years, the screen version begins with what may be its best scene. Weston family patriarch and published poet Beverly (the always great Sam Shepard) is interviewing Johnna for a position as cook and housekeeper when they are interrupted in stunning fashion by Violet (Meryl Streep), Beverly’s acid-tongued wife who is showing the effects of chemotherapy and her prescription drug addiction. This extraordinary pre-credits scene sets the stage for the entire movie, which unfortunately only approaches this high standard a couple more times.

Despite the film’s flaws, there is no denying the “train-wreck” effect of not being able to look away from this most dysfunctional family. Most of this is due to the screen presence of a steady stream of talented actors: in addition to Streep and Shephard, we get their 3 daughters played by Julia Roberts (Barbara), Julianne Nicholson (Ivy) and Juliette Lewis (Karen); Ewan McGregor and Abigail Breslin as Roberts’ husband and daughter; Margo Martindale (Violet’s sister), her husband Chris Cooper (Charles) and their son Benedict Cumberbatch.

As with most dysfunctional family movies, there is a dinner table scene … this one occurring after a funeral. The resentment and regret and anger on display over casseroles is staggering, especially the incisive and “truth-telling” Violet comments and the defensive replies from Barbara. As time goes on, family secrets and stories unfold culminating in a whopper near the end. This is really the polar opposite of a family support system. Unlike many movies, getting to know these people doesn’t make us like them any more.

Meryl Streep’s performance is one of the most demonstrative of her career. Some may call it over the top, but I believe it’s essential to the tone of the movie and the family interactions. Her exchanges with Julia Roberts define the monster mother and daughter in her image theme. They don’t nitpick each other, it’s more like inflicting gaping wounds. Surprisingly, Roberts mostly holds her own … though that could be that the film borders on campy much of the time. Streep’s scene comes as she recalls the most horrific childhood Christmas story you could ever want to hear.

It must be noted that Margo Martindale is the real highlight here. She has two extraordinary scenes … each very different in style and substance … and she nails them both. Without her character and talent, this film could have spun off into a major mess. The same could be said for Chris Cooper, who is really the moral center of the family. While the others seem intent on hiding from their past, he seems to make the best of his situation.

The film never really captures the conflicting environments of the claustrophobic old Weston homestead and the free wide open plains of Oklahoma. The exception is a pretty cool post-funeral scene in a hayfield where Roberts tells Streep “There’s no place to go“. The main difference between the film version and stage version is the compressed time and the decision to include all explosive scenes. There is just little breathing room here. Still, it’s one of the more entertaining and wildly dysfunctional comedy-dramas that you will see on screen, and it’s quite obvious this group of fine actors thoroughly enjoyed the ensemble experience.

SEE THIS MOVIE IF:  you want to sit back and watch family members go at each other with much more verocity than anything at your own family events OR you just want to see some of the best actors working today (Streep, Martindale, Cooper, Cumberbatch)

SKIP THIS MOVIE IF: you can’t imagine sitting through a dysfunctional family dinner so soon after your own holiday family time.

watch the trailer:

http://www.youtube.com/watch?v=4VBEZrkCT8Q

 

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Posted by David Ferguson

ANCHORMAN 2: THE LEGEND CONTINUES (2013)

December 29, 2013

anchorman Greetings again from the darkness. Will Ferrell has been everywhere the past few weeks making promotional appearances as the golden voiced, perfectly coiffed Ron Burgandy. He clearly enjoys this character and is proud (deservedly so) of the franchise he created with business partner and director and co-writer Adam McKay. The first Anchorman: The Legend of Ron Burgandy was released in 2004 and nine years is an unusually long period to wait for a comedy sequel. But it’s not like either Ferrell or McKay need the money, and the golden rule of comedy … timing is everything.

The original movie has reached both classic comedy and cult status, and is one of the most frequently quoted movies from the past decade (“I’m kind of a big thing“). Having such a loyal following means guaranteed box office success for this sequel. So while I found this one somewhat lacking, the true Anchorman fans will embrace it … as proved by the loud laughter throughout the theatre.  And in a movie year strong on drama and somewhat lacking in comedies, it’s nice to hear laughter again.

The gag to get the doofus gang back together centers around the 1980 development of fictional Global News Network – the birth of 24 hour news (and a lightly veiled reference to CNN). The Ron Burgandy gang is all back: Paul Rudd as Brian Fantana, David Koechner as Champ, and Steve Carell as Brick. Christina Applegate also returns as Veronica Cartright, though sadly she has very few scenes. Newcomers include James Marsden as Ron Burgandy’s professional competition and Meagan Good as the station manager. Kristen Wiig weirds out as the soulmate for Brick, and the bus load of cameos arrives for the gang fight at the end … kind of a spoof of the 1979 cult favorite The Warriors.

I will never criticize a movie that makes so many people laugh. However, I will admit to finding only a few giggles in the two hours (including the Dan Issel reference). It did strike me that many of the best jokes and gags would be difficult for anyone under age 35 to “get”. Period humor abounds. The best jab at the news industry occurs when Ron Burgandy says “Why do we need to tell people what they NEED to know? Why can’t we tell them what they WANT to know?”. That kind of approach would have fit the cerebral humor I could appreciate.

**NOTE: if you are somehow unfamiliar with Anchorman humor, know that nothing is off limits.  There is plenty of humor based on racism, sexism, disabilities and most any other politically incorrect topic you can name.

SEE THIS MOVIE IF: you are fan of the first movie and/or Will Ferrell OR you want to see the most star-studded gang fight in movie history

SKIP THIS MOVIE IF: you are confused by the laughter of others brought on by such movies as Step Brothers, Semi-Pro, or Blades of Glory

watch the trailer:

https://www.youtube.com/watch?v=6VdGI5-z_hg

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Posted by David Ferguson

THE WOLF OF WALL STREET (2013)

December 28, 2013

wolf Greetings again from the darkness. A brilliant and expertly made film that is excruciatingly painful to watch, yet impossible to look away. That would be my one line review. Of course, that line could be followed by a 10 page essay, to which I won’t subject you. How to do justice to this extraordinary three hours of excess and debauchery? How to give due credit the craftsmanship of director Martin Scorcese? How to acknowledge the pure physicality and kinetic energy of Leonardo DiCaprio’s performance? How to heap praise on a project so lacking in morality and decency? There are no easy answers to these four questions, but there is plenty to discuss.

Let’s be clear. This is a vulgar film telling the disgusting story of a crude and egotistical scam artist who defrauded many innocent people. Jordan Belfort’s autobiography serves as the source material for the screenplay from Terrence Winter (“The Sopranos”, “Boardwalk Empire“). Leonardo DiCaprio (in his fifth collaboration with Martin Scorcese) portrays Belfort as the talented stock broker who soaks up lessons from both his mentor and the real world stock market crash of 1987. That Black Monday led him right into the world of penny stocks and huge commissions. Those commissions and his stunning sales skills take him right into a world that rivals that of Caligula or Fellini’s Satyricon. This is certainly DiCaprio’s most free and limitless performance to date … it’s also his most comedic.

wolf5 Sex. Drugs. Rock and Roll. Sorry, that’s not enough for Belfort. He is also driven by money, greed, power and the need to take advantage of the weak. I lost count, but surely Belfort displays more than seven deadly sins. Everything is extreme. Nothing in moderation. Belfort is both smart and stupid. He is the worst of human nature, and when combined with his charisma, becomes very dangerous. Watching him give his invigorating and over-the-top pep talks to the team recalls the cult evangelists we have seen over the years. His religion is money and winning … never accepting “no”. His followers eat it up.

While most of the movie is pedal to the metal, there are two exceptional scenes that really stood out. When a young, eager, new to Wall Street Belfort has lunch with his mentor (played by Matthew McConaughey), we sense him soaking up the lessons … we see the wheels turning to a new way of thinking. McConaughey is in top form here. The other standout scene takes place aboard Belfort’s yacht as he interacts with the FBI agent played by Kyle Chandler. This agent is the closest thing to a moral barometer the movie allows and their dance of dialogue and acting is pure cinematic magic.

wolf6 Jonah Hill as Belfort’s business partner is his physical opposite, and possibly even less morally-centered than Belfort. He is also extremely funny in a demented way. Three very talented film directors have supporting roles. Rob Reiner (in a rare acting gig) plays Belfort’s bombastic dad and firm accountant. Jon Favreau is the high priced attorney fighting off the SEC and FBI. Spike Jonze plays the boiler room manager who first schools Belfort on penny stocks, and sets the wheels in motion. There is also a very sexy, funny performance from Margot Robbie as Belfort’s second wife.

My words don’t do justice to the manic existence and frenzied scenes of sex, profanity and drug use. The black comedy mixed in prevents this from being the bleak portrayal that it could have been, but don’t underestimate the depths to which the characters will stoop to get what they want. This one makes a similarly themed American Hustle look like a Disney flick. Consider yourself warned … and don’t think you can just turn away from the screen.

**NOTE: the soundtrack is quite diverse and complements the pace of the film.  The musical director is Robbie Robertson, who was part of The Band when Martin Scorcese directed The Last Waltz

watch the trailer:

https://www.youtube.com/watch?v=iszwuX1AK6A

 

2 Comments | Comedy, Drama | Tagged: , , , , , , , , , , , , | Permalink
Posted by David Ferguson

SAVING MR. BANKS (2013)

December 22, 2013

banks1 Greetings again from the darkness. Surely it’s a coincidence that Disney Studios has released this movie just a few months ahead of the 50th anniversary of the classic Mary Poppins film. Regardless of the promotional angle, the story of Walt Disney (played by Tom Hanks) going all out to woo stuffy Brit writer PL Travers (Emma Thompson)actually turns out to be a well made and pretty interesting story of two stubborn people butting creative heads. Even better is a behind the scenes glimpse of the creative and collaborative process of bringing the Travers book(s) to the big screen.

Director John Lee Hancock is the perfect fit with his track record of glossy, feel-good, inspired by true life stories with The Blind Side and The Rookie. We never lose sight that this is a Disney production of a Disney story. The only Disney blemish shown is a quick shot of him stubbing a cigarette in an ashtray. Mr. Disney was an expert at hiding his smoking habit from the public … well at least until he died from lung cancer in 1966, a mere two years after the premiere of Mary Poppins. Mostly Walt is depicted as working diligently to provide the trust and security that Travers sought in protecting her most precious flying nanny.

banks2 The real star here is Emma Thompson’s portrayal of Travers. Her desperate need for money is mentioned once, but the story is more concerned with her innate need to protect the legacy of her story … no animation, no mean Mr Banks, no Dick Van Dyke, and no silly songs. Watching her interact with the songwriting Sherman brothers (Jason Schwartzman, BJ Novak) and the Disney screenwriter played by Bradley Whitford is the most fun this movie has to offer. Her “no, no, no” mindset is quite frustrating for the quite successful Disney creative team. The armchair psychology is really where the movie falters a bit. Watching Walt struggle to mesmerize Travers with his Disney magic feels a bit forced, and when combined with numerous flashbacks to her childhood, leave the audience way ahead in figuring out the key to her heart and mind.

Once the daddy issues come to light, we get Hanks’ best scene in the film. As he finally connects with Travers by laying bare his childhood (and fatherly) challenges, he eloquently explains the importance of imagination and storytelling for both children and adults. A desire to re-write or re-imagine our childhood seems to be at the core of many adults. It seems many dwell on the negative aspects of childhood, and even here, Travers’ dad (Colin Farrell) may be the nicest alcoholic who ever inspired their kid to be a writer.

PL Travers (born Helen Lyndon Goff) wrote 8 Mary Poppins books between 1934 and 1988, but was so unhappy with the film version that she never agreed to a sequel and it wasn’t until the 1990’s when she agreed to a stage version (no Americans allowed!). She passed away in 1996 at the age of 96, and the actual recordings played over the closing credits show just how well Ms. Thompson captured the strong will of the author.

**NOTE: Tom Hanks has an impressive family tree.  He is a distant cousin of Walt Disney and Abraham Lincoln.

**NOTE: On his deathbed, the last words Walt Disney wrote were “Kurt Russell”.  The reason for this was never discovered, although Mr. Russell was under a 10 year contract with Disney at the time.

SEE THIS MOVIE IF: you are interested in the creative collaboration process between two very talented sides with extremely different motivations

SKIP THIS MOVIE IF: you are expecting a kids’ or family movie about the classic Mary Poppins movie.

watch the trailer:

https://www.youtube.com/watch?v=a5kYmrjongg

 

Leave a Comment » | Comedy, Drama | Tagged: , , , , , , , , , | Permalink
Posted by David Ferguson

AMERICAN HUSTLE (2013)

December 21, 2013

american1 Greetings again from the darkness. Over the years, there have been some very entertaining con artist films, and they range from outright comedy (Dirty Rotten Scoundrels) to cheeky (The Sting) to dramatic (The Grifters). My personal favorite is David Mamet’s House of Games, a very quiet and subtle look at the con. The stylistic opposite of Mamet’s gem is the latest from director David O Russell. It’s like comparing Duke Ellington to Donna Summer – both of which are featured on this soundtrack.

For the past few months, I have said that this film’s trailer is one of the best I have ever seen. The energy and visuals were enthralling and have had me anxiously awaiting a chance to see the film. So please understand when I say that american2the movie does not quite match the expectations, it’s not really a criticism … more of a tip of the cap to the marketing efforts. This is one showy, flamboyant, often frenetic wild ride that is also a bit messy and sometimes even clunky.

Hair, clothes, cars, music … the best and worst of the 1970’s … are on full display. Christian Bale sets a new standard for worst (and most elaborate and labor-intensive) comb-over in film history. Bradley Cooper’s perm wins the contest for tightest curls over Emma Thompson in Saving Mr Banks. Jeremy Renner’s pompadour would make any rockabilly performer envious. And let’s not forget the women. Amy Adams and Jennifer Lawrence provide a steady stream of flowing and floppy locks that would keep any shampoo or blow dryer american3company in business. The soundtrack, usually coordinated to story events, also includes Steely Dan, Jeff Lynne, Elton John and many others.

Director Russell’s most recent films include The Fighter and Silver Linings Playbook. He is obviously infatuated with odd characters who are slightly off center from society. What better topic than con artists so desperate to be liked that they spend all effort trying to rip off the gullible types? Now mix that trait with the overly ambitious persona of Bradley Cooper’s FBI Agent and the US Attorney played by Alessandro Nivola, and you have a collision of worlds that results in a fictionalized account of the ABSCAM events of the late 70’s and early 80’s. I say fictionalized because the film starts with a banner that states “Some of this actually happened”. What did or what didn’t really doesn’t matter here.

Who is playing whom? What is real and what is part of the con? Those are the questions that we as viewers ask, and oddly enough, these are the same questions the key characters ask. If they can’t tell, we certainly have little chance.

american4 This one is all about the characters. Mr. Bale (40 lbs heavier) bears no resemblance to Batman, or even Bruce Wayne. He embodies the falsely confident con man. Cooper is a bit over-hyped in his role, while Adams is at her best in a role that is the film’s most diverse. The real explosion comes every time Jennifer Lawrence is on screen. Not only do things blow up in her kitchen, but she jolts the film in each of her scenes. Some may be tired of Ms. Lawrence’s recent success, but as a film lover, I put her screen presence very near that of Marilyn Monroe. She grabs our attention and squeezes like a vise. That’s talent that very few possess.

Supporting work that should be noted includes Louis CK as Cooper’s reluctant supervisor, Michael Pena as a fake sheik (can they do that?), Jack Huston and Shea Whigham (both from “Boardwalk Empire“), and the great and rarely seen Anthony Zerbe (one of the all time TV villains). There is also a high profile cameo that seems right in line with Russell’s adoration of Scorcese’s Goodfellas.

If you are looking for a film to analyze and dissect, you will be most disappointed in this one. If you are looking for a fun, wildly visual and very entertaining retro film, this one should fit the bill. Just keep your hand on your wallet and don’t be one of the suckers.

SEE THIS MOVIE IF:  you are up for a wildly entertaining movie OR you want to see some of the craziest hairstyles packed into a single movie

SKIP THIS MOVIE IF: scary hairstyles, bizarre characters and exemplary acting aren’t enough to distract you from an inconsistent script

watch the trailer:

https://www.youtube.com/watch?v=ST7a1aK_lG0

3 Comments | Comedy, Drama | Tagged: , , , , , , , , , , , | Permalink
Posted by David Ferguson

INSIDE LLEWYN DAVIS (2013)

December 15, 2013

Greetings again from the darkness. If you are a follower of the filmmaking Coen Brothers (and you should be), then you are quite aware of their complete lack of artistic interest in any traditionally successful character. Their work is inspired by life’s obstacles and tough luck, even if brought on by a character’s own poor judgment. Coen Bros stories revolve around those who carry on and have (blind?) faith that their approach, no matter how ill conceived, is the only option … the only path worth taking. Their main character this time out apparently thinks life is filled with only careerists (sell-outs) or losers (those who can’t catch a break).

llewyn6 The titular Llewyn Davis (played by Oscar Isaac) is introduced to us onstage at the Gaslight singing a beautiful folk song. Moments later he is lying in the back alley after taking a whipping from a mysterious stranger. It’s not until this scene is repeated again for the film’s finale do we understand the cause of this effect. See, Llewyn is not a very likable guy. We learn he is still grieving from the suicide of his musical partner (as sung by Marcus Mumford), and that he bounces from sofa to sofa amongst acquaintances and family members. Llewyn has no friends, only acquaintances too kind to throw him out … even if he might be the father of an unwanted baby, or if he accidentally allows a beloved pet cat to escape, or he uses excess profanity in front of kids.

The story is based in the folk music scene of 1961 Greenwich Village in the pre-Bob Dylan days. The Coen’s were inspired by the memoirs of Dave Van Ronk entitled “The Mayor of MacDougal Street“. So while the songs are real and the characters are often inspired or based upon real artists of the time, Llewyn’s story is pure Coen fiction. From a viewer’s perspective, that means cringing, levels of discomfort, uneasy chuckling and moments of rapture … such as John Goodman evoking a drugged out Doc Promus spewing harsh poetic diatribes.

llewyn5 We never really know if the Coens are making a statement or tossing it out for us to debate. Are they saying that even the ugliness of Llewyn’s personality can produce something as beautiful as music, or are they saying that we allow ourselves to get tricked by beautiful music into thinking that the artist must also be pure? Carey Mulligan (as Jean) has one of the film’s best and most insightful lines when she tells Llewyn he is “King Midas’ idiot brother“. Her pure disgust (and expert rendering of the F-word) and anger contrasts with her angelic onstage persona with husband Jim (Justin Timberlake).

As always, the Coens provide us a constant flow of interesting and oddball characters. In addition to Goodman’s jazz hipster, we get Garrett Hedlund as an ultra cool (til he’s not) valet, Adam Driver as a cowboy folk singer, Troy Nelson as a virtuous Army folk singer (based on Tom Paxton), and Llewyn’s Upper East side cat owners, his spunky sister, and best of all F Murray Abraham as Bud Grossman, the owner of Chicago’s Gate of Horn club. Based on the real Albert Grossman who discovered Peter, Paul and Mary, and managed Bob Dylan (whose spirit lingers all through this movie), Grossman is the lone witness to Llewyn’s audition. This may be the most touching musical moment of the movie (“The Death of Queen Jane”), but it’s clearly the wrong song for the moment.

llewyn3 Oscar Isaac is exceptional as Llewyn Davis. He captures that crisis of self that’s necessary for an artist whose talent and passion is just out of step with societal changes. We feel his pain, but fail to understand the lack of caring he often displays towards others. We get how his need for money overrides his artistic integrity as he participates in the absurd novelty song “Please Mr Kennedy”. Why Isaac’s performance is not garnering more Oscar chat is beyond my understanding. It’s possibly due to the fact that the movie and his character are not readily accessible to the average movie goer. Effort, thought and consideration is required.

If you are expecting a feel good nostalgic trip down the folk singer era of Greenwich Village, you will be shocked and disappointed. Instead, brace yourself for the trials of a talented musician who wrongly believes the music should be enough. Speaking of music, the immensely talented T Bone Burnett is the man behind the music and it’s fascinating to note how he allows the songs to guide us through the story and keep us ever hopeful of better days. This is the Coen Brothers at their most refined and expert.

**NOTE: It’s kind of interesting to think that both this movie and Saving Mr Banks are both based in 1961 and the two films are being released at the same time in 2013.  Though totally unrelated, they do provide a stark contrast in NYC vs LA.

SEE THIS MOVIE IF: you are a Coen Bros fan or past due for an introduction

SKIP THIS MOVIE IF: you’ve tried, but Coen Bros humor is just a bit too dark or esoteric for your tastes

watch the trailer:

https://www.youtube.com/watch?v=LFphYRyH7wc

 

 

 

 

1 Comment | Comedy, Drama, Musical | Tagged: , , , , , , , , , , | Permalink
Posted by David Ferguson

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