Monthly Archives: January 2014

‘August: Osage County’ invites us into a (not so) happy home

As this year seems to be the year for sharp-tongued females, Meryl Streep and Julia Roberts give June Squibb (“Nebraska”) and Jennifer Lawrence (“American Hustle”) a run for their money in this dark drama.

A tragedy brings a dysfunctional family back together only to confirm for them just how spiteful they are to each other especially in the way that their mother, Violet (Streep), treats them.

As it is her 18th Oscar nomination, it comes as no surprise that Streep holds a fantastic performance in her role as the sickly, but despicable and extremely vocal matriarch. With a cigarette in one hand and pills in the other, she spits out what she feels is the truth while reminding each family member of her ability to see and know everything happening behind the scenes. There is a kind of silent pride (not in her ‘gifts’ as she’s very vocal about this), but in how hurtful her words can be. Although poisonous, her personality fits very well into our self-destructing family. It’s clear that the direction in which each sister has chosen to take is the result of their upbringing. Streep makes such a dark, dramatic role look like a piece of cake to portray. It’s almost unfair. Almost.

As ‘August: Osage County’ is a film that focuses primarily on family, the eldest daughter, Barbara (Julia Roberts) is the one who is affected the most. On the brink of divorce, she starts to piece together why her mother is particularly crude (as it’s implied that she’s gotten worse) while the audience slowly pieces together her true character. Barbara is driven to her wits end and uses her rather harsh words to either try to protect her sisters (who, ironically, she’s distanced herself from) and/or discover the truth about her mother’s lifestyle and plans that could further damage her family. At one point, Barbara goes so far as to shout, “I’m in charge now!” In this moment, she is, in fact, a force to be reckoned with and a shift in roles occurs right before our eyes. It’s also evidence to the audience that Roberts, not unlike Streep who is an experienced actress, can hold her own against a woman who’s constantly being dubbed as the best actress in the industry today. Roberts steals this scene (and others after it) that could win her a Best Actress awards this year.

In the dialogue alone, ‘August: Osage County’ can be painful to watch, which only confirms just how brilliant the lead actresses and the casting directors are. ‘August: Osage County’ also contains one of the better endings to a film (in comparison to the Oscar-Nominated films) leaving us with a kind of bittersweet closure that is wholly appropriate to this drama.

As expected with most dramas, ‘August: Osage County’ is dialogue heavy, so the focus is on acting, which is done well here by its cast. Unfortunately, the first act feels like the intermission to the actual film. While it’s necessary to establish characters and set up the premise, this part goes on for a bit too long. Audiences must play the wanting game to get to the point of the movie. Two-thirds of the movie—when we’re not waiting for something to happen—‘August: Osage County’ centers on the flawed relationships between mother and daughters and the affects of those relationships with Barbara’s story being in the forefront. Just before the reveal about the middle daughter, Ivy (Julianne Nicholson), the plot loses its focus in a scene involving Barbara’s daughter, Jean (Abigail Breslin) that isn’t quite out of left field, but adds nothing more to the story than to further justify reasons to be free of Violet’s hold on her daughters.

‘August: Osage County’, much like ‘Out of the Furnace’, is a film that holds incredible talent, but lacks the strength in script to truly make it one of this year’s best.

Jim’s Rating: 7.3/10

‘Saving Mr. Banks’ deserves a chance at every award it’s not getting at the Oscars

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Awards season always tends to bring out some of the best films of the year making it much harder for audiences to decide which ones to see and when. For those more enthusiastic about seeing their favorites of this year winning much-deserved awards, it is all the more frustrating, yet exciting. It is, however, a shame that the Academy didn’t deem ‘Saving Mr. Banks’ worthy of a Best Picture nomination.

After seeking P.L. Travers (Emma Thompson), the author of ‘Mary Poppins’, for 20 years to sign over the rights to make the film, Walt Disney (Tom Hanks) finally convinces Travers to fly to Los Angeles to give him the rights to the story. Before she can do that, however, she has several objections to what Disney and his art department (Bradley Whitford, B.J. Novak, Jason Schwartzman) want to do with the film. It’s through her disapproval that we find out the real story behind the flying, umbrella-carrying nanny.

Among the many strengths of ‘Saving Mr. Banks’ is its cast. Each actor brings his or her own flare to their characters and, in doing so, makes the film all the more enjoyable. Like a very protective mother (and understandably so), Travers—brilliantly played by Thompson—shoots down everything she deems unsuitable, anything that doesn’t relate to themes of darker realism that she wants to relay to children, and/or anything that damages any of the characters, whom she calls family. It’s safe to say that she rules out almost everything—from the scene titles in the screenplay to the dancing animated penguins in the park—and Thompson portrays her with a sharpness (and vulnerability) that is practically perfect in every way.

Although screenwriters Kelly Marcel and Sue Smith avoid any inkling of the darker side of Disney, they do write him as a man who’s used to getting everything he wants. Nevertheless, it’s with being in her presence that audiences get to see him progress over time into a two-dimensional character with Travers’ story being the main focus of the film.

‘Saving Mr. Banks’ is one of the better structured and aesthetically pleasing scripts to come out in 2013. As if taking its cue from Ms. Poppins herself, there is neither a single word out of place in the dialogue nor a moment that seems to just fly in out of nowhere. The script moves between Travers’ background and the making of the Mary Poppins film; these two stories gradually mirror each other as we dive deeper into the motivations behind Travers’ decisions by exploring her childhood. Marcel and Smith steadily reveal through her past that nothing is as it seems which is so very well guarded by Travers. In the story of her past, her father (Colin Farrell) lies at the center of both her joy and her pain. Farrell handles the character with the upmost care coming off as a very charming father to his impressionable daughter (a young Travers played by Anne Rose Buckley) and a stubborn, depressed man to an overwhelmed wife, Margaret (Ruth Wilson).

Finally, ‘Saving Mr. Banks’ ends in the same way it begins with a voiceover from Farrell quoting the Mary Poppins film followed by a special treat from the real author herself in the credits.

Although both stories are predictable for the most part, ‘Saving Mr. Banks’ is both beautifully shot as well as masterfully written with lots of neat touches and little tributes to the Disney film, plenty of wonderful scenes (i.e., Travers’ quarrels with the staff, the art department going through the songwriting process and singing along, etc.) and very moving scenes that mostly center around what stories mean to many people and the value of imagination. ‘Saving Mr. Banks’ is worthy of every accolade that it’s not getting at the Oscars. If ’12 Years a Slave’ is the Best Picture that everyone needs to experience at least once, then ‘Saving Mr. Banks’ is the Best Picture that everyone should experience again and again.

Jim’s Rating: 9.25/10

‘Lone Survivor’: One of Peter Berg’s best!

Director/Screenwriter Peter Berg hangs up fighting underwater aliens to fight the Taliban with the Navy in this war drama based on a true story. A team of four SEALs are assigned to take out Ahmad Shahd in a small village in Afghanistan.

The opening sequence, much like the introduction of a documentary, features real-time video of a Marine training camp. Clip after clip, we watch as soldiers-in-training are put through various extremes. In what’s a very nice touch by Berg, it not only establishes empathy within us for these brave men and women, but it also serves as a reference for certain events that take place later on in the film.

Like his character, Mark Wahlberg is an intensely committed actor in this role. It’s a very emotional and intense performance from Wahlberg. He’s no longer an actor portraying a soldier, but a soldier constantly calculating, encouraging his team and fully dedicated to his mission. It’s a role unlike any he’s yet sustained in years and it’s a role that we’re meant to take seriously for a change (relative to his latest roles). Wahlberg shows that he has plenty of range as an actor emotionally and, if not in previous films, people should recognize his true talents in ‘Lone Survivor’.

Once ‘Lone Survivor’ starts to get that “America is the best” feel to it—a vibe that is prominent in war films—it shoots down that idea. Luttrell, who not only experienced it firsthand, but also wrote the novel of which this film is based, focuses our attention towards some of our tactical flaws as well as a small population within Afghanistan that are against the Taliban—a group often overlooked by the media. Focusing more on the humanity of these individuals, we’re encouraged to root for them alongside the Americans. It’s also in these very moments that we start to see a breakdown of the language barrier. Although brief, an exchange between a young boy, his father and Wahlberg’s character, Marcus, is particularly precious—and a bit humorous—as they begin to understand each other.

As much as it was mentioned in dialogue, the men of ‘Lone Survivor’ didn’t feel like the band of brothers that they were meant to be, or at least, convey for the story’s sake. Some dialogue spoken between men hint that there is a close bond between these four men, but it doesn’t register the same impact had Berg taken a little more time to develop a bit more of the characterization with each man. As the story gets more intense, although Berg does a fantastic job at creating that deep sense of elongated terror, the events that transpire in these dire moments don’t make us feel any more sympathy than we’d feel with anyone else in that situation. We aren’t given a chance to really get to know all of these men and that takes a little away from the film.

Not to sound incredibly nit-picky, but the blood used looks fake. As expected in war films, the action scenes get pretty brutal. There are few shots captured in slow motion to get the full effect of what shards and multiple bullets can do to one body. The slow motion sequences, although few, is are subtle, but excellently shot moments. However, this small blunder (along with some of the CGI used) when overlooked is not as effective if it doesn’t look real.

Nonetheless, ‘Lone Survivor’ manages to stay on course regarding its main objective and themes. It’s a step in the right direction for both Berg and Wahlberg. It’s a film in which you can tell both cast and crew had an incredible time shooting this film and it’s brought to our attention on screen. ‘Lone Survivor’ also serves as a reminder to civilians of just how much they suffer so that the rest of us can enjoy our freedoms. It’s one of Berg’s best and definitely worth your time at the movies!

Jim’s Rating: 7.9/10

Jack Ryan: Couple’s Retreat

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We revisit Tom Clancy’s world with Jack Ryan in this latest action film by Director (and Russian baddie) Kenneth Branagh. Jack Ryan (Chris Pine), a CIA analyst investigates accounts in Russia that threaten to destroy the U.S. economy.

In order to differentiate from other government-focused action films, it’s in the small details. Pine’s acting is definitely something not to simply brush over. As it’s often repeated throughout the film, Jack is an analyst, a government employee more apt to sitting behind a desk happily looking over figures, managing finances, and ensuring America’s economic security (cue the ‘Star Spangled banner). However, as we’ve seen in the trailers, things quickly escalate once his status is bumped up considerably. As an operative, Jack is still adjusting to his new found responsibilities and after one act forces him to do something rash, it’s in his body language that you really start to empathize with the boy scout. He’s a little more than uneasy and it’s in this small gesture that we not only start to see a layer peel from Jack, but also evidence of Pine’s acting ability beyond the usual antics required of him in your standard action flick. Nevertheless, we do receive a nice dose of that in this film (i.e., a scene cut right from Indiana Jones and the Temple of Doom, an intense bathroom fight scene, and a motorcycle chase scene).

Additional minute details that are nice to see are the way exchanges are handled and procedures carried out between agents. While it’s something we’ve seen in many films, passing classified documents and/or devices is handled well ehre. As to how this isn’t as redundant and dull as it may seem to include (especially in this type of film), it’s not a device merely to impress audiences, but also play a rather useful role in the story (although, frankly, it does look cool).

As stated previously, Branagh portrays our antagonist whom, for the most part, seems like the typical (i.e., irrationally harsh) enemy, but with time, he starts to become a little more than a flat character in a subplot that involves his family. However, as great as Branagh’s acting is, the story doesn’t go into any real depth about his motivations to plot against the United States. It’s in this miscommunication that he is (mostly) a one-dimensional character, which is a shame given that the role falls on an actor whom many have called “a modern-day Laurence Olivier”.

‘Jack Ryan: Shadow Recruit’ has quite a few moments that just don’t seem to fit either the plot or the characters. In one sequence, Viktor gives a monologue that makes him sound like the very cartoonish and stereotypical foreign bad guy that films over the years have led us to believe is standard. In his monologue, he threatens Jack in a way that you assume, sadly enough, in the first five minutes and is also one that involves Jack’s girlfriend, Cathy (Kiera Knightley), whose character is poorly written (but more on that later). Furthermore, this sequence takes the focus away from the main objective and instead of merely being a subplot, serves more as a means to an end.

While demonstrating that Cathy is an intelligent doctor to Jack’s equally intelligent analyst-turned-operative, she’s a rather irrational and impulsive one. It is in her instability that the story starts to draw its attention. Additionally, the chemistry is a little off balance with Pine clearly showing more affection in his acting. It’s debatable whether this is more of a problem with the script than with the actress’ ability to depict multiple emotions, but since Cathy’s actions rather than her mannerisms imply her feelings towards Jack, the tone of their “relationship” gives off mixed signals making it more difficult to believe these two are a couple.

‘Jack Ryan: Shadow Recruit’, while missing its target regarding script structure and logic, is still a fun, fast-moving mid-winter blockbuster for those that’d like a break from all of the Oscar-chasing dramas.

Jim’s Rating: 6.8/10

‘Inside Llewyn Davis’: The Oscar Isaac Show

inside llewyn davis

“Fare Thee Well [Dink’s Song]”, performed by Oscar Isaac

The Coen Brothers’ latest film follows the life of a struggling folk-singer in Greenwich Village during the 1960s. Through singing, we are invited into the emotions of Llewyn Davis (Oscar Isaac), a man trying to move on with his career after losing his singing partner. As far as the tone of this film goes, just as a warning, this isn’t an easy trip to the cinema. However, there are little moments to humor you as well as give you a distinct movie-going experience.

With little money at his disposal, his partner recently deceased, and his career as a professional folk singer looking pretty bleak, we see Davis constantly moving from apartment to apartment with colleagues, friends, and acquaintances. Throughout the film, we only hear of one tie to any family and even that’s arguable to a certain degree given other people’s attitudes towards Davis. At times, their bitterness particularly in Jean (Carey Mulligan) is justified considering Davis’ impulsiveness and/or rudeness. With all of his constant shifting and determination to land the right gig, we spot a bit more humanity in him through his music. The lyrical makeup of many of those is a bit downtrodden, but they are appropriate for Davis as well as a gateway to his true feelings. Ellen Chenoweth, the casting director for this film, has placed the perfect person to relay these emotions in Oscar Isaac. As he sings, Isaac pours out so much emotion especially in a slower version of “Fare Thee Well”, a song previously performed by him and his partner (Marcus Mumford). It is in these moments that we can fully grasp just how deep his emotions run and Isaac completely defines this for us in his voice.

Audiences are also treated to songs performed by Justin Timberlake, Carey Mulligan, Marcus Mumford, and Adam Driver. “Please, Mr. Kennedy” is a particularly amusing sequence in which Isaac, Timberlake, and Driver collaborate. Between Timberlake’s jovial mannerisms and Driver’s backup vocals (or noises, rather), it’s one of those occasional moments of hilarity that is both appreciated and ever so properly placed. John Goodman, in the short period of time that he’s in the film, manages to amuse us in his rather harsh dialogue to Davis about his life and his career, while making us feel for Davis (as if we needed another reason to feel bad for him). Although most of his one-liners are in the trailer, it’s still nice to see the Coen favorite shine in a role not too unlike his character in ‘O Brother, Where Art Thou’ given that ‘Inside Llewyn Davis’ is a film about one man’s odyssey.

While there are little moments to amuse us (especially a subplot surrounding a cat), ‘Inside Llewyn Davis’ is an emotional downer. Highlighting the fact that not every folk singer met success, there is a kind of low and heavy tone as illustrated by the (almost) washed-out/blue cinematography. Audiences, like Davis, aren’t going to get a satisfactory result as we sometimes discover in life. The point of this movie is to show what’s going on inside Llewyn Davis during this dark period in his life. As this is completely acceptable given that the stereotype of most Hollywood films is to display success stories, the story’s structure starts to give rather rapidly in the last third of the film.

At a certain point, the film starts to repeat itself. A storytelling technique like this one would have a more substantial impact in either a thriller or a science fiction movie where psychologically toying with one’s audience is the goal. Using this technique in a drama would send a clearer message to audiences if it led to something other than an ending that leaves absolutely nothing to the imagination. Our character utters a single line and we’re left cold in the dark with no closure. ‘Inside Llewyn Davis’ constantly emphasizes the life of a not-so-successful folk singer, but without a final plot point, it’s as though there wasn’t much thought given to the end of the script and it raises the question as to whether or not we’re meant to care about his Davis’ life and where he might end up. We’re not left wanting more, but with a sort of emptiness.

‘Inside Llewyn Davis’ is a testament to what actors—particularly Isaac—can bring emotionally in song. Although its script diminishes the film’s Oscar-winning potential, the story is unique in the way that it breaks from the normal.

Jim’s Rating: 7.2/10

A father and his adult son come to an understanding in ‘Nebraska’

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Although its slow pacing and gradual reveal about one of its protagonists’ past may not wow and excite all audiences, Alexander Payne’s latest film simply and wonderfully tells a story through a father-and-son relationship amidst the serene landscape of the mid-western United States.

David Grant (Will Forte), after trying to convince his father, Woody (Bruce Dern), of the scam he’s fed into when he receives a letter saying that he’s won a sweepstakes, hesitantly travels with his father to Lincoln, Nebraska to claim what Woody believes will be a million dollars. Along the way, David discovers more about his disgruntled father than Woody has led him to believe in adolescence.

One does not simply discuss a film by Alexander Payne without mentioning the landscape so beautifully captured (with help, of course, from cinematographer Phedon Papamichael). Even though ‘Nebraska’ is shot in black and white, the road trip from Montana to Nebraska speaks of a quiet majesty despite the tension that resides in the Grant family and in the community once word of Woody’s fortunes has spread.

While living seemingly simple lives being in a very rural part of the United States, the Grants’ lives aren’t anywhere near simple. David Grant is having issues of his own when his father—to much of his mother’s (June Squibb) discontent as well as his own—is hellbent on getting to Lincoln to claim his prize money. Like all adult children at one point in their lives, David struggles to get his father to see reason. Will Forte plays his role well as the ever-frustrated, but sweet son trying to find out the real reason as to why he’s so determined to attain something impossible and, at the same time, deal with his mother whose off-color and vulgar remarks and actions don’t help the situation. There’s an authenticity there that makes him a great presence and counterpart to Dern’s Woody. In many ways, Forte also adds to the humor to scenes, especially in ones where very little is said.

Nevertheless, no one in this film holds a candle to how many times Squibb steals the scene from Dern. Squibb plays the very definition of an old nag and, even at times where you start to feel sorry for both father and son, you can’t help but laugh and secretly yearn for more (i.e., visiting her sister-in-law’s house, “paying her respects” to her dead relatives, etc) from her.

Ultimately, ‘Nebraska’ mainly focuses on the relationship between father and son. While it takes the film a while to get there, the start of a father-and-son relationship this late in both men’s lives is a refreshing thing to see in cinema. ‘Nebraska’ is really not about trying to reach the impossible, but looking beneath the surface and obtaining what is possible (or what was there all along). In this case, it’s an understanding between two relatives after so many years of disconnect and miscommunication. Underneath the long pauses and the stillness that this environment and its characters provide, screenwriter Bob Nelson has unveiled a beautiful story.

With ‘Nebraska’, once the objective has been set it starts to move, but only just enough to provide space for character introduction, then development and then finally the plot. ‘Nebraska’ is its own special film that—given awards season—should be placed into its own category being unlike any other film this year. It is a steady, but amusing plot with wonderful performances by its cast and a story with a real genuine feel. Payne’s ‘Nebraska’ is definitely worth every dollar at the movies.

Jim’s Rating: 8.25/10

‘Frozen’: A delightful animated film with strong, powerhouse performances

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Although many have argued that it isn’t reminiscent of “classic Disney”, ‘Frozen’ sets the bar high for animated films, especially with songs and voices like these.

Elsa (Idina Menzel), a newly-appointed Queen has powers to freeze anything in her path—including people—and has had to keep this secret from her sister, Anna (Kristen Bell) after a childhood incident. After Elsa freezes the entire town, Anna must try to convince her to turn everything back to normal with help from ice harvester Kristoff (Jonathan Groff) and a talking snowman, Olaf (Josh Gad).

Given that it’s a Disney animated musical, it has to be beyond fantastic and with Idina Menzel, Kristen Bell, and Jonathan Groff starring—three performers well-known in Broadway—you are guaranteed nothing short of spectacular. To start us off on our icy adventure, we’re treated to the sort of gruff, but booming voices of ice harvesters in “Frozen Heart” which sets the somewhat darker tone of the animated film relative to the recent Disney animated films before it. As we are first introduced to Anna, we are delighted with Kristen Bell’s playful (and lyrically amusing), “Do You Want to Build a Snowman?” establishing the relationship between the two sisters. Although progressively sad as the song moves our sorrowful tale, Bell’s voice still leaves a sense of playfulness and optimism.

Not to diminish Bell’s great vocal range and performance, Menzel holds nothing back, particularly in “Let It Go”. Her singing is unmatched in this film as she emits emotion and power in a song about the freedom to be herself (see video link below). For the ‘Wicked’ fans, this number is sure to bring the same chills heard in “Defying Gravity”. Other highlights include “In the Summer” in which a lovable snowman (voiced by Josh Gad) sings about how he’ll spend his time in the summer. While regrettable for the snowman, there are several lyrics in the song that surprisingly make you feel otherwise. Finally, “For the First Time in Forever” is sure to please with a duo featuring both Bell and Menzel, which not only establishes each of their character traits further, but it also reaffirms the impeccable talents of these two vocalists.

“Let It Go”, performed by Idina Menzel

Where the vocalists abound, the story (and logic) lacks. Being that its demographic is that of small children, it shouldn’t make a huge difference. Nevertheless, the main plot should focus on getting the kingdom back to its previous state. In efforts to make the story more rounded, a love story (and semi love triangle) is added. If the story didn’t deviate too much from the main objective than this would be completely understandable, but what the story does is not only include this subplot but then make it somewhat pointless to include. In doing so, the love story seems a bit rushed between the two characters that end up together, which is a point that the songwriters make earlier in the film. As mentioned earlier, ‘Frozen’ is essentially a children’s movie, but for the adults accompanying them or attending out of sheer interest, this deviation from the story may make the film slightly less enjoyable than originally anticipated.

‘Frozen’ is definitely a film worth seeing for the singing, the amusing lyrics, and the hilarious (and adorable) characters. Its themes about being yourself, love, and family is sure to please and entertain both children and adults.

Jim’s Rating: 8/10